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有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[23,25,26,77,130,7,129,132,169,170,212,172,173,79,80,97],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纸本","纵141厘米，横42.2厘米",[138,185],1622,16,{"id":220,"slug":221,"title":222,"dynasty":93,"author":146,"museum":147,"description":223,"tags":224,"thumbUrl":227,"material":37,"size":155,"collection":84,"collections":228,"showCount":229,"zanCount":230,"manualWeight":43,"mainColor":44},219012,"bai-he-tu-yi-mi-fei-219012","白鹤图(一)","画中仙鹤身姿卓然，长颈引向云端，喙尖轻启似欲鸣。白羽如霜，纹理细若鳞次；黑尾如墨，羽梢微扬带风致。修长鹤腿立于浅草间，与几丛翠竹叶相映成趣。右上角圆月朦胧，棕褐绢底衬得画面清寂雅致。笔墨间藏着文人的疏淡意趣，每一处细节都透着对自然生灵的细腻体察，仿佛能闻见竹林间的清风，看见月光下仙鹤独立的悠然之态，尽显古典绘画的空灵韵致。",[23,24,25,26,7,27,28,113,225,31,226],"鹤","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75d2711fede74296897913b73c08612b.jpg",[84,158],1575,17,{"id":232,"slug":233,"title":234,"dynasty":18,"author":235,"museum":236,"description":237,"tags":238,"thumbUrl":242,"material":136,"size":243,"collection":84,"collections":244,"showCount":245,"zanCount":202,"manualWeight":43,"mainColor":88},219289,"ba-jiao-li-mao-tu-zhou-ren-yi-219289","芭蕉狸猫图轴","任颐","北京故宫博物院","图绘芭蕉、狸猫。芭蕉叶以浓墨中锋勾勒轮廓，线条圆润流畅，富有表现力。叶面以饱含水份的花青、石绿、明黄等色晕染，色与水自然的交融，显现出丰富的深浅色调的变化，将叶片鲜活的物性表现得淋漓尽致。图中的猫儿没有繁琐的细节刻画，仅以寥寥数笔便点染出它们在静止状态下专注的神态和嬉戏顽皮时撕咬的动态，由此可见作者敏锐的观察力、坚实的素描基础和娴熟的笔墨造型能力。",[23,25,7,28,27,239,240,35,241,113],"芭蕉","猫","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f12e097eb2a6d1ebd860110d117c7a.jpg","纵181.4厘米，横94.8厘米",[84,158],1568,{"id":247,"slug":248,"title":249,"dynasty":72,"author":126,"museum":74,"description":250,"tags":251,"thumbUrl":254,"material":255,"size":256,"collection":138,"collections":257,"showCount":258,"zanCount":259,"manualWeight":43,"mainColor":44},222104,"lu-shan-gao-tu-shen-zhou-222104","庐山高图","此图描绘的是庐山的景象，画中有白云、杂树、石阶、小路以及人物等。这幅图在技法上借鉴元代画家王蒙的笔意，笔法稳健，气势雄沉，具有强烈的节奏感和力量感。山峰多用解索皴，皴染厚重灵动；中段山峦则用折带皴，皴笔精细，墨色较淡，表现出崖壁的险峻。左边崖壁先匀后皴，墨色较重，并以焦墨密点，显得苍郁幽深。",[23,25,129,77,130,7,252,169,193,253,35],"山","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61796c0c6453be4cd711d8316964db5.jpg","白纸本","纵193.8 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年齿大沈周十馀岁的刘珏（1410-1472）极爱周之画，每与珏晤面，不问“寒暑风雨日夜冗暇醒醉”，皆强之作画。据沈周於画上自题云，知此幅乃作于酒后，笔墨清朗率略，与细致疏秀的“崇山修竹”有同工之趣，二幅成画时间当甚接近，约于1470（成化庚寅）之际，时沈周四十四岁。 沈周不善饮，自谓平生于酒至痛饮处仅升许，而於六十五岁（弘治辛亥，1491）作〈老杯酒轩诗引〉中尝言之所以不戒酒者，“以其有醉之乡，处之可以佚吾老也。”三两小杯醺醺然为乐，益可增添画趣，周之不欲绝者当非无因。 此画亦为刘珏作，画成于醉后。据沈周自跋，刘珏极爱沈周之画，每一晤面，輙求周作，不间醒醉冗暇寒暑，甚致夜亦张灯，强之作画云。",[25,77,7,129,130,349,350,170,272,193,351,352],"孤舟","蓑笠","岩石","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bbfa00972ccac2b880ca0da9cc7539.jpg",[138,185],1229,4,{"id":358,"slug":359,"title":360,"dynasty":18,"author":361,"museum":236,"description":362,"tags":363,"thumbUrl":367,"material":214,"size":100,"collection":138,"collections":368,"showCount":369,"zanCount":370,"manualWeight":43,"mainColor":88},214363,"xian-shan-lou-ge-tu-wang-shi-min-214363","仙山楼阁图","王时敏","王时敏（1722-1798）是清代著名的画家，他的作品《仙山楼阁图》是其代表作之一。\n\n《仙山楼阁图》描绘了一座仙山上的楼阁，周围是美丽的山林。王时敏在画中运用了精细的笔墨和细腻的造型，勾勒出楼阁的立体感和山林的秀美。\n\n《仙山楼阁图》被认为是王时敏写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仙山楼阁图》也是收藏家们青睐的经典之作。\n\n王时敏的《仙山楼阁图》是一幅描绘仙山楼阁的画作，它体现了中国传统文化中“仙山”的理念。在中国传统文化中，仙山象征着仙人悠闲的生活方式和高尚的品德，楼阁则是仙人的居所。王时敏的《仙山楼阁图》不仅是一幅精美的画作，更是一首关于仙人悠闲生活的诗篇。",[23,24,25,77,364,7,365,269,366,170,172,304],"山水画","仙山","山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c70b5945091899c430b0a87afa1fa91.jpg",[138],1186,6,{"id":372,"slug":373,"title":374,"dynasty":72,"author":126,"museum":147,"description":375,"tags":376,"thumbUrl":381,"material":37,"size":100,"collection":138,"collections":382,"showCount":383,"zanCount":384,"manualWeight":43,"mainColor":44},219733,"qing-jiang-you-ju-tu-shen-zhou-219733","清江幽居图","此作用笔苍润秀雅，取景疏密得宜。近岸老松盘曲，浓荫覆着茅堂，幽人居于其中，静听山籁。江岸迂回，板桥跨溪，远山以淡墨晕染，烟岚轻笼，殿宇藏于翠微间。\n\n通幅干湿笔墨相生，墨色层次分明，将夜雨初歇的空濛山色晕染得淋漓尽致，江天寥廓间尽见清寂雅致的山居意趣，尽显寄情林泉、幽栖忘俗的隐逸情怀。",[23,25,77,28,130,7,129,134,193,377,378,132,269,379,380],"亭","松","幽居","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbf8df9dd29c2dd40331e20cfa7ac27.jpg",[138],1176,12,{"id":386,"slug":387,"title":388,"dynasty":72,"author":389,"museum":74,"description":390,"tags":391,"thumbUrl":393,"material":37,"size":394,"collection":39,"collections":395,"showCount":396,"zanCount":370,"manualWeight":43,"mainColor":44},216996,"sui-chao-tu-tang-yin-216996","岁朝图","唐寅","这幅画描绘的是元旦期间隐居在梅州山村，在节日前放松的情景。",[25,26,7,28,27,392,29,132,31,270],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fde0a52080c0f595740ed450c1c4367.jpg","125x49.7",[39,158],1119,{"id":398,"slug":399,"title":400,"dynasty":207,"author":401,"museum":74,"description":402,"tags":403,"thumbUrl":405,"material":136,"size":406,"collection":138,"collections":407,"showCount":408,"zanCount":370,"manualWeight":43,"mainColor":88},221745,"chun-tang-liu-se-zhou-zhu-shu-zhong-221745","春塘柳色轴","朱叔重","主题与关键字：春景、杨柳、江河、湖海、高士（士人、隐士）、寒林．枯树、竹、房舍、茅草屋、溪涧、湍泉、松、桥、篱笆、围墙。\n录入：石渠宝笈续编（宁寿宫），第五册，2765页 ；故宫书画录（卷五），第三册，192页；故宫书画图录，第五册，117-118页 【名称】元朱叔重春塘柳色轴 【规格】该幅 4155.公分；全幅 59.7公分 【收藏】 这幅画描写池畔的村屋景象，一名文人手持柺杖，沿著小径，在青葱的田野间漫步。\n全画的用笔极为柔和，著色也温润清雅，充分表现出春天里大地润泽，嫩绿遍野，万物滋长的盎然生意。\n朱叔重，十四世纪人，籍贯江蘇吴县。\n他虽然是一名书生，但在绘画方面，也有卓越的成就，不过流传下来的作品很少。",[23,25,28,129,130,7,404,134,193,212,132,170,79],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387748e6b65cff9714687e9f4798f2.jpg","41x55.3厘米",[138,158],1069,{"id":410,"slug":411,"title":412,"dynasty":207,"author":50,"museum":236,"description":413,"tags":414,"thumbUrl":415,"material":99,"size":416,"collection":84,"collections":417,"showCount":418,"zanCount":419,"manualWeight":43,"mainColor":44},214260,"zhu-shi-tu-yi-ming-214260","竹石图","竹石图是一幅作者不详的元代画作。这幅画作描绘了竹林和石山的景象。\n\n在这幅画作中，画家巧妙地捕捉了竹林和石山的自然韵味。他用浓墨重彩的画法，勾勒出了竹林和石山的景象。他还用细腻的线条勾勒出了竹林和石山的细节，让人感受到了竹林和石山的自然韵味。\n\n此外，画家在这幅画作中还描绘了竹林和石山周围的景色。他用色彩丰富的画法，描绘了竹林和石山周围的山川和河流。这些景色与竹林和石山的自然韵味形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。",[23,25,24,26,7,77,31,35,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08730665024372a850d7031f0ea9663b.jpg","138x79",[84],1055,2,{"id":421,"slug":422,"title":423,"dynasty":72,"author":424,"museum":74,"description":425,"tags":426,"thumbUrl":428,"material":136,"size":429,"collection":138,"collections":430,"showCount":431,"zanCount":202,"manualWeight":43,"mainColor":88},218464,"pin-cha-tu-wen-zheng-ming-218464","品茶图","文徵明","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[23,25,26,7,28,27,97,129,29,427,134,193,79,132,170],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","88.3x25.2cm",[138],1044,{"id":433,"slug":434,"title":435,"dynasty":18,"author":436,"museum":209,"description":437,"tags":438,"thumbUrl":441,"material":136,"size":442,"collection":84,"collections":443,"showCount":444,"zanCount":356,"manualWeight":43,"mainColor":88},218895,"jin-ji-zhu-ju-tu-zhou-hua-yan-218895","锦鸡竹菊图轴","华嵒","华嵒的《锦鸡竹菊图》轴既融合了没骨写生，又揉和了水墨泼染之长，形成了兼工带写、灵巧松秀的小写意风格，栩栩如生，姿态万千，艺术手法非常高超。",[25,28,113,27,7,439,31,440,35],"锦鸡","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e481200e5ac0e9cc66a96220c80926.jpg","纵106.8厘米，横47.2厘米",[84],1037,{"id":446,"slug":447,"title":448,"dynasty":72,"author":126,"museum":74,"description":449,"tags":450,"thumbUrl":451,"material":136,"size":452,"collection":84,"collections":453,"showCount":454,"zanCount":356,"manualWeight":43,"mainColor":88},214361,"ping-zhong-la-mei-tu-shen-zhou-214361","瓶中蜡梅图","沈周是一个慷慨大方的人。他能写诗和书法，也善于绘画，山水、花果、鸟、鱼、动物、人物，他都了如指掌，他的作品有一种稚拙的形态，笔触钝而有力，墨色浓重，给人一种厚重感和力量感，有古人的趣味。在这幅《瓶中蜡梅》中，梅花的茎部被用笔触画出，就像山水中的一棵树，显示出它冷峻的姿态。",[23,25,26,7,28,113,392,33,79,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9e9b4c56979665467b25f96882b252.jpg","140.6x31.6",[84],1021,{"id":456,"slug":457,"title":458,"dynasty":207,"author":459,"museum":74,"description":460,"tags":461,"thumbUrl":462,"material":255,"size":463,"collection":84,"collections":464,"showCount":465,"zanCount":384,"manualWeight":43,"mainColor":88},221741,"tai-ping-chun-se-zhou-zhang-zhong-221741","太平春色轴","张中","插花从花材的选择、色彩搭配、构图造型、乃至内涵意境都有了一定的要求。张中《太平春色》就是以插花为题材的绘画作品。",[23,25,26,7,27,28,113,114,33,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056cf2082cbbbc43245d5e3aee80f4c8.jpg","99.1x41.1公分",[84,158],1017,{"id":467,"slug":468,"title":469,"dynasty":18,"author":50,"museum":74,"description":470,"tags":471,"thumbUrl":474,"material":37,"size":100,"collection":84,"collections":475,"showCount":476,"zanCount":187,"manualWeight":43,"mainColor":88},216218,"ke-si-hua-niao-zhou-yi-ming-216218","缂丝花鸟轴","缂丝花鸟轴是一件来自清朝的著名织物，它的特点是精细的缂丝织法，用细密的金丝或银丝织成花鸟图案。这种织物通常是用来装饰床单、枕头和窗帘的，也可以用作礼服的饰品。这种织物的制作需要高超的技艺，因此它们非常珍贵且价值高。",[472,473,25,7,28,27,113,170,132,114,151,35],"清代","缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb707e05f41a56d8bb90d7d98b005b201.jpg",[84],1010,{"id":478,"slug":479,"title":480,"dynasty":93,"author":481,"museum":236,"description":482,"tags":483,"thumbUrl":485,"material":486,"size":487,"collection":157,"collections":488,"showCount":489,"zanCount":490,"manualWeight":43,"mainColor":44},221538,"ta-ge-tu-zhou-ma-yuan-221538","踏歌图轴","马远","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[23,25,7,77,28,130,129,29,269,132,195,377,172,484,131,170],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","绢本，设色","纵192.5厘米，横111厘米",[157,138,185],995,8,{"id":492,"slug":493,"title":494,"dynasty":72,"author":495,"museum":147,"description":496,"tags":497,"thumbUrl":499,"material":37,"size":500,"collection":39,"collections":501,"showCount":502,"zanCount":230,"manualWeight":43,"mainColor":44},219525,"ren-mian-tao-hua-tu-zhang-ji-219525","人面桃花图","张纪","去年今日此门中，人面桃花相映红。人面不知何处去，桃花依旧笑春风。",[23,25,27,28,7,30,498,253],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ac97b44166d40664c733d6a911025b.jpg","纵101.2横49.7厘米",[39,158],926,{"id":504,"slug":505,"title":506,"dynasty":93,"author":507,"museum":74,"description":508,"tags":509,"thumbUrl":510,"material":182,"size":511,"collection":157,"collections":512,"showCount":513,"zanCount":296,"manualWeight":43,"mainColor":44},221574,"wan-he-song-feng-tu-li-tang-221574","万壑松风图","李唐","这幅画采取近观的“高远”表现法。近景为苍松石岸；中景为岗峦郁盘，穿插流泉悬瀑；远景的主峰突兀高耸，峰顶丛树密集，这三段景沿着画面的中轴线，由下往上堆栈，形成“高远”。画家藉由扩大前景，使画中的景物逼近观者，再将远景的主峰满塞画面，如一堵巨大的屏障，形成封闭的空间，让观者面对深幽的山谷，如临真景。",[24,25,26,7,130,77,28,129,427,132,169,170,351,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048d34f5c9c56804fbd20be818ef50e4.jpg","188.7×139.8公分",[157,138,185],912,{"id":515,"slug":516,"title":517,"dynasty":207,"author":518,"museum":209,"description":519,"tags":520,"thumbUrl":524,"material":214,"size":525,"collection":84,"collections":526,"showCount":527,"zanCount":296,"manualWeight":43,"mainColor":88},219165,"yu-zhuang-qiu-ji-tu-ni-zan-219165","渔庄秋霁图","倪瓒","此图近景陂陀一片，五六株杂树如文士君子一般屹立其间，高洁清旷。中景湖水淡荡，空明澄净。远处几层矮坡，起伏有致，淡墨轻岚，没有一丝人迹，没有一声鸟语。该图静与道契，寂如枯禅，意境荒疏简远",[24,25,26,7,77,130,129,521,35,522,523,351],"枯树","远山","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470f625eec64440664af4e12339303f9.jpg","纵96厘米，横47厘米",[84],888,{"id":529,"slug":530,"title":531,"dynasty":72,"author":532,"museum":533,"description":534,"tags":535,"thumbUrl":537,"material":538,"size":539,"collection":138,"collections":540,"showCount":541,"zanCount":490,"manualWeight":43,"mainColor":44},222322,"song-he-yan-nian-tu-tong-kai-222322","松鹤延年图","童垲","安徽省博物馆","此幅《松鹤延年图》寓意大吉，特别符合中国人对于吉祥、长寿的美好祈盼。画面中古树苍翠，松树蜿蜒摇曳；两只丹顶鹤身形高挑飘逸，如仙境来客一般；松树下开满吉祥的花朵，一派吉祥和谐的画意盎然纸上。",[23,25,26,24,7,27,28,113,378,225,132,536],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b8b639eb9444922ba6b202fd5837fa.jpg","绢本，设色画","97.2CM*201.8",[138,158],884,{"id":543,"slug":544,"title":545,"dynasty":93,"author":50,"museum":74,"description":546,"tags":547,"thumbUrl":550,"material":37,"size":551,"collection":157,"collections":552,"showCount":553,"zanCount":554,"manualWeight":43,"mainColor":44},218717,"xin-shao-hua-niao-tu-yi-ming-218717","新韶花鸟图","画中山茶花、梅花、菊花和水仙花围绕着海石盛开，各种植物和叶子交相辉映，一对麻雀在一旁观望，画面十分丰富。除了画底没有鸟之外，这幅作品的构图和表达方式与宋代李迪的《花鸟图》和南唐徐熙的《玉堂富贵图》相似。宋代郭若虚的《图说》中提到，南唐时有一种用于悬挂在宫殿中的 亭花，这可能是后来明代的仿制品。",[23,24,25,26,7,27,28,113,536,548,132,58,549,115],"禽鸟","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9",[157],864,21,{"id":556,"slug":557,"title":558,"dynasty":18,"author":559,"museum":74,"description":560,"tags":561,"thumbUrl":564,"material":136,"size":565,"collection":84,"collections":566,"showCount":567,"zanCount":296,"manualWeight":43,"mainColor":88},219433,"teng-hua-shao-yao-zhou-zou-yi-gui-219433","藤花芍药轴","邹一桂","紫藤藤蔓虬曲伸展，紫蓝花穗垂落如串串玉珠，枝叶葱茏带露；下方芍药竞放，白瓣皎洁如霜，粉蕊柔婉似云，红苞艳若丹砂，叶片舒展有致，脉络清晰可见。设色清丽雅致，线条细腻灵动，花叶的姿态鲜活自然，尽显春日芳菲的生机与韵致。笔墨间藏着对自然的深情体察，每一处细节都透着工笔花卉的精妙之美，雅致中蕴蓬勃活力，宛如将春日一隅凝于绢素之上。",[25,26,7,27,28,113,562,563,79,536],"藤花","芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a37dff9eccfbfc632eca571c3b1785.jpg","129.1x60.8",[84],836,{"id":569,"slug":570,"title":571,"dynasty":93,"author":50,"museum":74,"description":572,"tags":573,"thumbUrl":577,"material":37,"size":578,"collection":84,"collections":579,"showCount":580,"zanCount":296,"manualWeight":43,"mainColor":44},218394,"shan-cha-mei-hua-tu-yi-ming-218394","山茶梅花图","此幅绘腊梅，山茶，麻雀。设色雅丽，笔墨造型古拙，唯用笔布置更接近陈洪绶、王武画格，故宋画气息不足。",[23,25,26,7,113,27,28,574,575,115,576,35],"山茶","梅花","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1719fc6f38b792b19b924b5c41056d6.jpg","33.6x46.7",[84],833,{"id":582,"slug":583,"title":388,"dynasty":93,"author":584,"museum":74,"description":585,"tags":586,"thumbUrl":588,"material":589,"size":590,"collection":157,"collections":591,"showCount":592,"zanCount":202,"manualWeight":43,"mainColor":44},221299,"sui-chao-tu-zhao-chang-221299","赵昌","与过年有关的节令画在古代多称之为“岁朝图”，大致兴起于宋代，徽宗时期宫廷绘画艺术得到了空前的发展。《岁朝图》的本质就是高级年画。所谓“岁朝”是一年之初的文艺叫法。历来的文人皇帝很喜欢用这样的画往来友人赏赐臣下，恭贺新禧。",[23,24,25,26,7,28,27,113,536,587,388],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda10c5d8b72f237927104c275194e0a4.jpg","绢","103.8×51.2cm",[157,84,158],830,{"id":594,"slug":595,"title":596,"dynasty":109,"author":597,"museum":74,"description":598,"tags":599,"thumbUrl":603,"material":37,"size":604,"collection":39,"collections":605,"showCount":606,"zanCount":5,"manualWeight":43,"mainColor":44},218529,"shi-nv-tu-zhou-wen-ju-218529","仕女图","周文矩","这幅画表现的是一个在桐荫的女人与一个奴隶贩子在栅栏上摊开她的画卷。画中没有名字，而衣服的图案，僵硬曲折，与文姬的风格相去甚远，很可能是后来的收藏家擅自给它起了个名字，所以才有了这个标题",[23,25,28,27,29,30,240,151,600,253,536,601,602,7],"蝴蝶","石","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb332ba757d3b97ebad0f1f7b7982c84e.jpg","180.9x102.1",[39],820,{"id":608,"slug":609,"title":610,"dynasty":93,"author":164,"museum":265,"description":611,"tags":612,"thumbUrl":615,"material":275,"size":616,"collection":157,"collections":617,"showCount":618,"zanCount":341,"manualWeight":43,"mainColor":44},221395,"xue-jing-han-lin-tu-fan-kuan-221395","雪景寒林图","《雪景寒林图》描写北方冬日山川雪后壮美景象。图中通过群峰屏立，山势高耸，深谷寒柯间，萧寺掩映；古木结林，板桥寒泉，流水从远方迂回而下，峰峦沟壑间云气万千，真实生动地表现了秦陇山川雪后的磅礴气象。全画布置严整有序，笔墨质朴厚重。画家用“抢笔”笔法，密点攒簇，并参以短条子的笔道，来刻画北方山石的质感，使画面浑厚滋润，沉着典雅。",[23,25,26,129,130,77,7,613,614,132,170,56,377],"雪","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc63124132a59c2b69ad427d2058e8b.jpg","纵193.5厘米 横160.3厘米",[157,138,185],800,{"id":620,"slug":621,"title":622,"dynasty":93,"author":623,"museum":624,"description":625,"tags":626,"thumbUrl":627,"material":182,"size":628,"collection":157,"collections":629,"showCount":630,"zanCount":631,"manualWeight":43,"mainColor":44},221412,"qing-luan-xiao-si-tu-li-cheng-221412","晴峦萧寺图","李成","美国纳尔逊阿特金斯艺术博物馆","《晴峦萧寺图》是北宋画家 创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n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。\n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。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[23,25,24,129,77,130,7,269,134,193,169,521,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","纵111.4厘米，横56厘米",[157,138,185],792,9,{"id":633,"slug":634,"title":635,"dynasty":283,"author":284,"museum":236,"description":636,"tags":637,"thumbUrl":639,"material":136,"size":640,"collection":84,"collections":641,"showCount":642,"zanCount":643,"manualWeight":43,"mainColor":88},216932,"hua-xia-zhou-qi-bai-shi-216932","画虾轴","墨痕流转间，虾的意态毕现。淡墨晕染虾身，层次细腻如见肌理通透；劲挺线条勾勒须足，纤细却藏弹性，似随水波轻颤。几只虾俯仰交错，须足相缠时竟有嬉戏之趣，留白处虽无池水，却满溢清灵之气。笔简神足，将虾的鲜活与水墨的韵致融于一纸，尽显生命的灵动与艺术的妙境。",[23,25,7,77,638,113],"虾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0cba5480e9b60c0762bf4eec1cc7d9.jpg","68.4x34.5cm",[84],770,5,{"id":645,"slug":646,"title":647,"dynasty":72,"author":126,"museum":648,"description":649,"tags":650,"thumbUrl":651,"material":652,"size":653,"collection":138,"collections":654,"showCount":655,"zanCount":656,"manualWeight":43,"mainColor":88},222103,"shan-shui-zhou-wei-yuan-ya-ji-shen-zhou-222103","山水轴魏园雅集","辽宁省博物馆","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下,汇成棕棕小溪。溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。\n《魏园雅集图》上端题有沈周、祝颢、刘珏、陈述等人的诗文。祝颢的题诗“城市多喧隘，幽人自结庐。行藏循四勿，事业藉三余。留客尝新酿，呼孙倍旧书。悠悠清世里，何必上公车”正是画家借描绘自然景色来传达自己想隐逸山林、过一种悠闲的田园生活的写照。\n在《魏园雅集图》中，沈周采取了不同于同类题材的处理手法。画中，会晤场景占很小一部分，人物多为点景式。画家主要借寓意性的自然景色来抒发友情。这幅画以山水为主：远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，泉水飞流直下，汇成淙淙小溪；溪水旁有一小桥，岸畔置一茅亭。茅亭内，四人席地而坐，书童抱琴侍立一侧。山径上，一老者执杖而来。山上山下，草木葱茏，叶红似火的枫树点缀其间，为魏园增添了几分秀色。\n《魏园雅集图》主要沿袭董源、巨然的画风，辅以黄公望式的平台构图，布局实中有虚，有疏朗之感。从画中可以明显地看出画家对块面因素的苦心经营：山石施以披麻皴，显得粗犷有力；皴笔的疏密变化，加强了画面的黑白对比。尤其是画面中间那块留白较多、向右上方层层叠加的石坡将四周较暗的部分撑开，形成一种张力。在描绘山体的局部层次上，沈周采用视点移动的方法。这是他惯用的手法。他中年创作的《庐山高图》就采取了这种方法。《魏园雅集图》中，他取法王蒙，以浓墨点苔，用墨浓淡相间。沈周的山水画在表现形式上呈现早年细、晚年粗的特点。《魏园雅集图》的画风正处于由细变粗的时期，是他画风转变期的作品。\n该作品中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。画家皴染兼施，构筑的画面气魄雄浑沉静，实为诗书画熔为一炉的山水佳作。",[23,25,26,7,77,130,80,97,79,129,377,29,131,252,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06bd050b49302cf802dccc628eaaae1e.jpg","纸本、设色。","纵145.5厘米，横47.5厘米。",[138],763,3,{"id":658,"slug":659,"title":660,"dynasty":283,"author":284,"museum":319,"description":661,"tags":662,"thumbUrl":665,"material":136,"size":666,"collection":84,"collections":667,"showCount":668,"zanCount":370,"manualWeight":43,"mainColor":88},216112,"nan-gua-tu-qi-bai-shi-216112","南瓜图","泼墨如团的南瓜坠于藤蔓间，浓黑墨块裹着赭红瓜棱，憨拙中藏老笔苍劲。缠绕的藤蔓似游丝若铁线，飞白处见笔意灵动，与沉实瓜体形成虚实相生韵致。墨色层次分明，焦浓淡墨晕染叶片叠嶂，留白透气不拥塞。赭红点睛，让质朴多了暖意。笔墨纵逸却守法度，看似随意挥洒，实则每笔都透着生活熟稔——田间寻常物化为充满生命力的意象，既有大写意豪放，又藏文人画雅致，老辣带天真，朴拙满生机。",[25,77,28,304,7,80,79,663,664,291],"南瓜","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f38d5ce9c88984c51b25fe54cc0d2bc.jpg","33.74x134.77cm",[84],757,{"id":670,"slug":671,"title":672,"dynasty":18,"author":235,"museum":209,"description":673,"tags":674,"thumbUrl":676,"material":37,"size":673,"collection":84,"collections":677,"showCount":678,"zanCount":341,"manualWeight":43,"mainColor":88},218893,"fu-rong-bai-mao-tu-zhou-ren-yi-218893","芙蓉白猫图轴","纵134.2厘米，横47.8厘米",[23,25,24,26,7,27,28,113,675,240,35],"芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ad6bc3e192fef53d9ce6256744d731.jpg",[84],755,{"id":680,"slug":681,"title":682,"dynasty":72,"author":683,"museum":74,"description":684,"tags":685,"thumbUrl":687,"material":182,"size":688,"collection":138,"collections":689,"showCount":690,"zanCount":370,"manualWeight":43,"mainColor":44},222031,"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","戴进","这幅画的笔墨多取法自南宋时代的马远、夏圭一派，构图上虽然仍然旧沿袭著南宋院画体系风格，保留了大部分空虚的地方，但是画面比较平板，近景和远山几乎是在同一平面上，比较缺乏景致空间的深度。这也是浙派绘画的共同特色之一。画上并没有作者的落款和印章，但是从画风，再比照其它画作来看，似可推断是戴进在北京时期的作品。\n综合其它传世作品来看，戴进除了兼法宋、元诸家以外，受到南宋马远、夏珪「院体」一派画风的影响比较深。但是他继承古人传统，而不为成法所拘，能够发展变化，自出新意。这件作品为戴进基於马远、夏圭风格，而更近一步，大胆强调丰富笔墨效果的杰作。绘画技法功力深厚，笔墨灵活而变化多端，奔放中不失法度，严谨中又富有潇洒俊逸的格调，是代表戴进风格的典型作品之一。",[23,25,26,7,28,129,29,269,134,193,378,132,253,686,377],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","167.9x83.1公分",[138,185],752,{"id":692,"slug":693,"title":694,"dynasty":207,"author":695,"museum":236,"description":696,"tags":697,"thumbUrl":698,"material":699,"size":700,"collection":185,"collections":701,"showCount":703,"zanCount":643,"manualWeight":43,"mainColor":704},220780,"mo-zhu-po-shi-tu-wu-zhen-220780","墨竹坡石图","吴镇","此图绘平坡拳石，竹枝斜垂。图中平坡直以淡墨晕染，拳石则重墨勾画轮廓，复以浓淡相间的墨色加以皴染，笔墨浑厚苍润。画面上方几茎竹枝斜斜垂入画面，不仅得“意在画外”之趣，且其插入的角度与取倾侧之势的坡石相呼应，使画面趋于平衡。整体画面欹中寓平，稳中求变，表现出作者控制全局的高超技巧。\n全图取景简洁，意境清幽，正如时人孙大雅《墨竹记》中所云：“……其趣适常在山岩林薄之下，故其笔类有幽远闲放之情，殊乏贵游子弟之气……”正道出了此图意趣之所在。",[23,25,26,7,77,31,35,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162c658d1d21976ed1ec52ed3d2446e9.jpg","纸本 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横28.8厘米",[138],708,{"id":739,"slug":740,"title":741,"dynasty":72,"author":301,"museum":236,"description":742,"tags":743,"thumbUrl":744,"material":745,"size":746,"collection":100,"collections":747,"showCount":748,"zanCount":643,"manualWeight":43,"mainColor":88},222235,"shui-mo-mu-dan-tu-zhou-xu-wei-222235","水墨牡丹图轴","本幅自识：“四月九日，萧伯子觞吾辈于新复之兰亭，时费先生显父至自铅山，李兄子遂父至自建阳，并有作。余勉构一首，书小染似伯子。命驾皆千里，流觞复九回。马嘶不出谷，鸟影屡横杯。分水邻封会，双珠明月胎。今朝修褉地，益见永和才。天池中漱者渭。铅建两道，首尾相接，共分水一关，故颈联云。”钤：“文长氏”（白文）、“天池漱仙”（白文）、“青藤道士”（白文）印。鉴藏印：“苏士伯安珍藏”（朱文）、“正气斋鉴赏印”（白文）。\n牡丹是徐渭最喜欢画的花卉之一。徐渭的大笔写意牡丹前无古人。他不用色彩，仅以泼墨为之，无论花头及叶皆大笔点染而成，仅枝茎及叶脉用线条画出。此作牡丹花头用蘸墨法点花瓣，花瓣内端深外端浅，花头中部浅周边深。花头点成后，趁湿用重墨点花蕊。整幅作品无论布局、笔墨，均泼辣豪放，气势逼人，立意鲜明，水墨润泽，极有生意。虽是水墨画成，却有富贵庄严之相，属徐渭代表作之一。",[23,25,24,26,7,77,113,114,291,80,79,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1c40badc99d0d04f50672ffd7e4ff6.jpg","纸本，墨笔","纵109.2厘米，横33厘米",[],704,{"id":750,"slug":751,"title":300,"dynasty":72,"author":752,"museum":74,"description":753,"tags":754,"thumbUrl":755,"material":28,"size":756,"collection":84,"collections":757,"showCount":758,"zanCount":341,"manualWeight":43,"mainColor":88},219452,"he-hua-tu-chen-hong-shou-219452","陈洪绶","湖石嶙峋，瘦漏透皱间藏古拙意趣，墨色浓淡层叠，如老衲坐禅般沉稳。荷花亭亭，瓣尖染淡粉似晨露晕开，留白处见清灵；荷叶或卷或展，青绿间带赭石，随水波轻漾。线条如春蚕吐丝，劲挺却柔婉，将花叶石的形态勾勒得奇崛又生动。题跋墨痕流转，朱印点缀，添几分文人雅韵。整幅画浸在古绢暖光里，淡雅中藏倔强风骨，古意盎然却透着鲜活气，如无声禅诗，引人沉湎于那份清寂与悠远。",[25,26,7,27,28,306,35,307,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0331e9c85b7f539e58f688b2de6e8fb.jpg","75.8x39",[84],696,{"id":760,"slug":761,"title":762,"dynasty":93,"author":481,"museum":319,"description":763,"tags":764,"thumbUrl":765,"material":37,"size":100,"collection":84,"collections":766,"showCount":758,"zanCount":656,"manualWeight":43,"mainColor":44},218621,"han-jiang-du-diao-tu-ma-yuan-218621","寒江独钓图","寒江浩渺，孤舟一叶浮于烟波间。渔翁披蓑戴笠，垂纶独钓，孑然身影似与天地融为一体。近景枯树虬枝如铁，劲挺笔触勾勒出冬日萧瑟；山石以斧劈皴皴擦，棱角分明，冷峻刚硬，与江面空濛形成鲜明对照。画面大片留白，若皑皑白雪覆江天，又似寒雾弥漫四野，将“空”与“寂”推至极致。寥寥数笔，于极简中藏丰盈，孤寂里见超脱。水墨留白之妙尽显，观者于冷寂意境中，可感那份遗世独立的悠然旷达，仿佛听见寒江之上的风，拂过枯枝，掠过孤舟，漾开一圈圈清寂的涟漪。",[23,25,24,7,77,130,129,349,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2e94c6e14b8cb3f8a3e897c8b3b89c.jpg",[84],{"id":768,"slug":769,"title":770,"dynasty":72,"author":389,"museum":74,"description":771,"tags":772,"thumbUrl":779,"material":198,"size":780,"collection":39,"collections":781,"showCount":782,"zanCount":643,"manualWeight":43,"mainColor":44},290847,"han-xi-zai-ye-yan-tu-zhou-tang-yin-290847","韩熙载夜宴图轴","作品如实地再现了南唐大臣韩熙载夜宴宾客的历史情景，细致地描绘了宴会上弹丝吹竹、清歌艳舞、主客揉杂、调笑欢乐的热闹场面，又深入地刻划了主人公超脱不羁、沉郁寡欢的复杂性格。全图共分为五个段落，首段“听乐”，韩熙载与状元郎粲坐床榻上，正倾听教坊副使李家明之妹弹琵琶，旁坐其兄，在场听乐宾客还有紫微朱铣、太常博士陈致雍、门生舒雅、家伎王屋山诸人；二段“观舞”，众人正在观看王屋山跳“六幺舞”，韩熙载亲擂“羯鼓”助兴，好友德明和尚不期而遇此景，尴尬地拱手背立；三段“暂歇”，韩熙载与家伎们坐床上休息，韩正在净手；四段“清吹”，韩熙载解衣盘坐椅上，欣赏着五个歌女合奏；五段“散宴”，韩氏手持鼓槌送别，尚有客人在与女伎调笑。全卷以连环画的形式表现各个情节，每段以屏风隔扇加以分隔，又巧妙地相互联结，场景显得统一完整。布局有起有伏，情节有张有弛，尤其人物神态刻画栩栩如生，如“听乐”段状元郎粲的倾身细听动姿、李家明关注其妹的亲切目光、他人不由自主的合手和拍；“观舞”段王屋山娇小玲珑的身姿、德明和尚背身合掌低首而立的尴尬状等等，传尽心曲，入木三分。最出色的还是主人公韩熙载的刻画，长髯、高帽的外形与文献记载均相吻合，举止、表情更显露出他复杂的内心。一方面，他在宴会上与宾客觥筹交错，不拘小节，如亲自击鼓为王屋山伴奏，敞胸露怀听女乐合奏，送别时任客人与家伎厮混，充分反映了他狂放不羁、纵情声色的处世态度和生活追求；另一方面又心不在焉、满怀忧郁，如擂鼓时双目凝视、面不露笑，听清吹时漫不经心，与对面侍女闲谈，这些情绪都揭示了他晚年失意、以酒色自汙的心态。画家塑造的韩熙载，不仅形象逼肖，具肖像画性质，而且对其内心挖掘深刻，性格立体化，可以说真实再现了这位历史人物的原貌。\n作品的艺术水平也相当高超。造型准确精微，线条工细流畅，色彩绚丽清雅。不同物象的笔墨运用又富有变化，尤其敷色更见丰富、和谐，仕女的素妆艳服与男宾的青黑色衣衫形成鲜明对照。几案坐榻等深黑色家具沉厚古雅，仕女裙衫、帘幕、帐幔、枕席上的图案又绚烂多采。不同色彩对比参差，交相辉映，使整体色调艳而不俗，绚中出素，呈现出高雅、素馨的格调。",[25,24,7,28,27,29,773,774,775,776,777,778,151,170,79,80],"宴饮","夜宴","仕女","文人","乐器","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5764fa2f3d6a90547aede86322e61e.jpg","Xcm*Xcm",[39],691,{"id":784,"slug":785,"title":786,"dynasty":207,"author":787,"museum":209,"description":788,"tags":789,"thumbUrl":790,"material":77,"size":100,"collection":84,"collections":791,"showCount":792,"zanCount":490,"manualWeight":43,"mainColor":44},219213,"mo-mei-tu-wang-mian-219213","墨梅图","王冕","墨笔绘就的梅树，老干如铁，新枝挺秀，虬曲间自有风骨。花朵以圈点法写成，清妍淡雅，不施粉黛却含雪魄冰魂。枝桠疏密有致，留白处见空灵，墨色的浓淡干湿晕染出自然生机。题款行书与朱红印章相映，诗书画印浑然一体，更添文心雅致。整幅画清气袭人，将梅花的傲霜之姿与文人的狷介情怀相融，观之如闻暗香，尽显元人画梅的高致。",[23,25,77,7,392,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00404bc2afa0c1bb049526819a65b91b.jpg",[84],685,{"id":794,"slug":795,"title":796,"dynasty":72,"author":752,"museum":236,"description":797,"tags":798,"thumbUrl":800,"material":37,"size":801,"collection":84,"collections":802,"showCount":803,"zanCount":643,"manualWeight":43,"mainColor":44},221913,"he-hua-yuan-yang-tu-chen-hong-shou-221913","荷花鸳鸯图","此图以“出污泥而不染，濯清涟而不妖”的荷花为题，花朵清丽，或含苞，初绽、或怒放，多姿多态；枝叶带露，娉婷舒展，俯仰欹侧；湖石雄奇，锐利坚崚，厚重沉凝。两只彩蝶在空中翩翩起舞，一对鸳鸯在水面戏水悠然，打破了一池碧水的宁静。一只青蛙正隐伏于石后的荷叶上觊觎甲虫，弓身欲动，给画面平添了几许生机与意趣，从中可见画家善于观察的细心与状物精微的匠心。\n作品用笔工致而不显刻板，着色醇厚而不流于俗腻，画风素洁明快，既有应物象形的写生功底，又不乏变幻合宜的适度夸张，画面呈现出一种在繁与简，疏与密、刚与柔的对比变化中的合谐与统一。\n从署款和绘画风格上推断，当是陈洪绶中年的作品。",[23,24,25,26,7,27,28,113,32,799,35],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f77fc76433fcfb9a62c0f14dd26a0c.jpg","纵183厘米，横98.3厘米",[84,158],661,{"id":805,"slug":806,"title":807,"dynasty":93,"author":808,"museum":236,"description":809,"tags":810,"thumbUrl":811,"material":486,"size":812,"collection":157,"collections":813,"showCount":814,"zanCount":419,"manualWeight":43,"mainColor":704},221329,"ting-qin-tu-zhou-zhao-ji-221329","听琴图轴","赵佶","此幅作品描绘官僚贵族雅集听琴的场景。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的熏炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。由于作品本幅有徽宗题名与画押，一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者， 正是赵佶本人。",[23,25,24,26,7,27,28,29,378,31,777,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e608fe314a1f03d1034a41f0882fbf.jpg","纵147.2 厘米，横51.3 厘米",[157,84,158],656,{"id":816,"slug":817,"title":818,"dynasty":72,"author":126,"museum":74,"description":819,"tags":820,"thumbUrl":821,"material":136,"size":822,"collection":138,"collections":823,"showCount":824,"zanCount":656,"manualWeight":43,"mainColor":88},214745,"shan-shui-tu-shen-zhou-214745","山水图","这幅山水画，笔触逐渐圆润成熟，与山竹和醉酒后的风景并无二致。画中，云层破碎，森林苍茫湿润，是雨后的场景。一座小桥上面走着一个拄着拐杖的人，这可能是 雨后振孤策 这首诗的意思。作画时，他已经50岁了。",[25,26,7,77,130,79,80,97,129,131,134,193,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[138],653,{"id":826,"slug":827,"title":828,"dynasty":72,"author":126,"museum":236,"description":829,"tags":830,"thumbUrl":832,"material":833,"size":834,"collection":39,"collections":835,"showCount":836,"zanCount":643,"manualWeight":43,"mainColor":88},236332,"shen-zhou-liu-yin-zuo-diao-tu-zhou-shen-zhou-236332","沈周柳荫坐钓图轴","本幅自题五绝诗：“树根容我坐，八座未云安。芸屦春泥湿，荷衣晓露干。沈周。”钤“寄傲”印、“启南”印。图中画岩崖危耸，春湖柳溪，湖边老翁垂纶，神态安逸。作品布景自然，用笔苍润，设色以浅绛、花青为主，清淡秀冶，兼得天趣与人意之美。此作表现了沈周晚年的典型面貌，根据本幅所钤“墨林山人”、“项叔子”、“项元汴印”等鉴藏印，可知作品曾经明末收藏家项元汴收藏。",[25,7,77,130,129,404,29,831,132,193],"坐钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26e450d5af93a3a1c5b03a1c08feb02.jpg","绫本，设色","纵136.3厘米，横23.6厘米",[39,185,101],649,{"id":838,"slug":839,"title":840,"dynasty":93,"author":330,"museum":841,"description":842,"tags":843,"thumbUrl":844,"material":99,"size":845,"collection":84,"collections":846,"showCount":847,"zanCount":643,"manualWeight":43,"mainColor":342},219263,"yun-long-tu-chen-rong-219263","云龙图","广东省博物馆","陈容是南宋画家,生卒年不详,其绘画很有特点。《云龙图》是一幅足以代表陈容艺术风格的佳作。画中绘有一气势非凡、腾空飞跃的巨龙,其凌厉的龙爪,飞扬的龙须, 突兀的眼睛,锋利的牙齿,粗壮强劲的躯体,无不揭示了这是一条充满力量和超凡脱俗功力的神化了的龙。画上有画家自题: “扶河汉,触华嵩。普厥施,收成功。骑元气,游太空。所翁作。”画上钤有几方收藏印章。",[25,24,26,7,77,334,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35519b25bbea9229aa8a1232b23672c8.jpg","纵201.5厘米 横130.5厘米",[84],642,{"id":849,"slug":850,"title":851,"dynasty":109,"author":852,"museum":331,"description":853,"tags":854,"thumbUrl":856,"material":198,"size":780,"collection":100,"collections":857,"showCount":858,"zanCount":370,"manualWeight":43,"mainColor":342},287715,"guan-shan-xing-lv-tu-guan-tong-287715","关山行旅图","关仝","《关山行旅图》是一幅描绘北方深秋景色的山水画，不仅绘制了人物的行旅活动，又带有了一定的叙事性。既表现出了山川的雄奇，又反映了人们生活的艰辛",[24,25,26,7,77,130,129,132,134,193,269,521,195,855],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32d97bddf63ebed468f0b1cdb92e70b.jpg",[],641,{"id":860,"slug":861,"title":862,"dynasty":18,"author":863,"museum":147,"description":864,"tags":865,"thumbUrl":867,"material":37,"size":868,"collection":84,"collections":869,"showCount":870,"zanCount":296,"manualWeight":43,"mainColor":44},219051,"hua-niao-tu-zhou-quan-219051","花鸟图","周铨","绘河塘的一角，铺天盖地的荷叶和花朵高高耸立，白色花瓣中的黄色花蕊错落有致，刚刚冒出的小荷叶和花蕾展现出勃勃生机；地面上，一只羽毛斑斓、微闭双眼的野鸭子似乎正在打盹。",[23,25,28,27,7,113,306,307,866,308],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc74352fefe18eb2942c55d970a733680.jpg","94x48.6cm",[84],628,{"id":872,"slug":873,"title":874,"dynasty":109,"author":875,"museum":74,"description":876,"tags":877,"thumbUrl":879,"material":182,"size":880,"collection":100,"collections":881,"showCount":882,"zanCount":356,"manualWeight":43,"mainColor":44},231954,"kuang-lu-tu-jing-hao-231954","匡庐图","荆浩","全幅用水墨画出，画法皴染兼备，充分发挥了水墨画的长处。画幅上部危峰重叠，高耸入云，山巅树木丛生，山崖间飞瀑直泻而下，大有“银河落九天”之势。山腰密林之中深藏一处院落，从院落之中一路下山，山道蜿蜒盘旋，道旁溪流宛转曲折，最后注入山下湖中。山脚水边，巨石耸立，村居房舍掩映于密林之中。水上有渔人撑船，不远的坡旁路上，有一人正赶着毛驴慢行。画中只有两人，人物在画中只作为陪衬。其中有宋高宗所书“荆浩真迹神品”六个字，一般认为是其真迹。\n此画画中绝磴悬崖，平麓云林，虽看不出具体皴法。但笔墨间表现出了山的雄伟气势，烟岚的深远缥缈，比唐代山水大大前进了一步。\n图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方整庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。\n中国山水画发展到晚唐、五代时，具备了更加丰富多样的表现形式，其中的水墨山水更是逐渐走向了成熟。\n荆浩提倡作画要忠实于自然对象，“远取其势，近取其质”，他善于创造富有概括力的形神兼备的艺术形象。除此之外，他还在学习传统的基础之上加以发展创造。他强调笔墨并重，曾对人说：“吴道子画山水，有笔无墨；项容有墨无笔，吾当采二子之所长，成一家之体。”他集唐人山水画法之大成，并努力创造革新，终成一代山水大家。荆浩在笔墨的结合上较前人进了一大步，他的《笔法记》是山水画的重要论著，其中山石皴法、树木画法的论述对山水画的发展起了很大作用。《匡庐图》便是体现他绘画理论的代表作。\n《匡庐图》画中的描绘山水究竟是太行山还是庐山尚存争议。\n这幅图的真实感很强，能够看出画家在隐居生涯中，对自然景观的深刻体验和虚怀若谷的淡泊情思。《匡庐图》营造了一幅雄伟刚劲与寂寞幽静相互交融的远离人间烟火的空灵世界。\n《匡庐图》采用的是立轴构图，鸟瞰式纵向全景布局，层次分明，山水壮阔。画家将“高远”、“平远”、“深远”结合运用，群峰耸峙的巍峨山峦与开阔平旷的山野幽谷，山径盘旋的山中小路及渐远渐淡的远处诸峰相映成趣，自然地呈现在画卷之中。\n在荆浩之前的山水画很少有表现雄伟壮阔的大山大水以及全景式的构图布局。而荆浩的《匡庐图》整幅画上面留天，下面留地。右下角临水浅坡，画的左下角至右面是静静的水面，远处和天色相连接，体现的是大山大水，开图千里的局面。他不满足于局部山水的描绘，而是放眼于广阔空间气势磅礴的自然景观。\n所谓的“全景山水”，其章法是指中心全景式布局，即主峰为中心，用云帕烟霞断白，衬托出中、前景的全局安排。此图以全景构图方式描绘出了山路蜿蜒、巨峰凌空、飞瀑如练，整幅画面体现出百尺危峰、屹立于青冥间的雄伟气势。全景式构图给人以旷远、峻拔、雄壮、博大而深远的审美感受。《匡庐图》大致分为三个层次，由远到近，虽为远景，但很醒目，突兀的主峰轮廓线与留白的天际相照应，峻伟耸拔的高峰在画而上部中央，是全画的视点，给人以开阔、博大、挺拔的意境。主峰被两侧缥缈的烟岚围绕着，主峰如屏，相互映照，充满张力的形式感把观者视野引向画外，联想到更辽远广阔的空间。中景画面丰富，既有飞瀑流水奔流于两崖之间，攀援而上，溪洞之巅横架一桥，两边用小斧劈皱描绘的岩壁，松柏古树参差之变，使画面富有节奏和韵律。近景表现一洗江水，一叶扁舟，树木描绘酣畅淋漓。整幅画而渲染着一种壮关、气脉相通的主旋律。\n此图在用笔上，勾、皴、染法并举，尤其是皴法的运用，是荆浩对山水画发展的重要贡献。画家以中锋画山石，边缘整齐，仿佛切割过般。山头和暗处用类似小斧劈的皴法，再施以淡墨多层晕染，表现出阴阳向背的质感，突出了画面的立体感和厚重感。在墨色变化上，画家注重用色浓、淡及黑、白的对比。且在画云时，一改前人细勾填粉的方法，仅以水墨渲染，衬托出云的空灵飘荡之态，画水也不再使用前人鱼鳞瓦片的勾线之法，而以淡墨烘染水面，显示出水面的明暗变化，兼用舟、桥等物象暗示水的存在，创造了水晕墨章的表现技法。\n《匡庐图》的透视方法，山峰用仰视，不仅令观者觉得山的高大，而且给人以庄严和雄伟的感觉。山腰的峰峦和庐舍、道路用平视，使自然景观给人以自然和亲切的感觉。山脚下的林木、树舍和山洞的流水、桥、松、房舍及行旅等用俯视，显示观者居高临下，给人以心旷神怡的感觉。尤其是山涧的布势，由于用平视，汀岸回转，伸向远方的山坳之中，不但增加了画面的力度，也增加了深度。\n在整幅画中，树的形态也是不一样的。树枝曲中见直，瘦劲有力。画中的树排列得很有曲线，群山把树林当做是一种屏障，而树林也把山当做是一种依靠。在树林森密的地方有一旅店，在旅店的旁边有一古渡，古渡旁边有水，水面显得十分宽阔。\n荆浩在这幅《匡庐图》中把后面的叠水以及水墨微妙的层次处理得很好，避免了山中的瀑布因为线条的处理而显得生硬，画采用了水墨晕染的方法，以丰富的层次体现了山、水、树和景物之间的距离\n画作通篇以中锋刻画山石，辅以侧锋“解索皴”、“钉头皴”、“豆瓣皴”等笔法烘托气氛，山头阳面和暗处皴法类似于小斧劈，间施以淡墨多层晕染，以表现阴阳向背之状。此方式能在唐代李思训父子的青绿山水中找到痕迹。荆浩则善于使用效、染兼具的复笔，错置排列又层次井然，多用小披麻皴，以各种点与效的笔形墨痕与峥嵘崔巍的景致浑然一体，将北方山石质地坚硬、结体曲致的表相，随笔墨运动的各种装饰性皴法，呈现主体心性与人格追求高度统一的“荆氏笔法”。\n五代韩屿：“翠微深处著轩楹，绝瞪悬崖瀑布明。”\n元代书画家柯九思：“岚溃晴薰滴翠浓，苍松绝壁影重重。瀑流飞下三千尺，写出庐山五老峰。”\n清代孙承泽：“其山与树，皆以秃笔细写，形如古篆隶，苍古之甚，非关、范所能及也。”\n现代中国书画理论家王伯敏《中国绘画通史》：“中国山水画的表现，在六朝时期即画有‘卧对其间可至数万里’的作品，到了荆浩的时期，获得更大发展，遂成为宋人所称的‘全景山水’……今传荆浩所作的《匡庐图》就体现了这种山水画的特点。《匡庐图》正是中国宋以前一件具有山水全景模式的典型作品。”",[25,26,7,129,77,130,272,169,170,351,173,172,878],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80349a4e9c08adb4ee01161f322fb590.jpg","纵185.8厘米，横106.8厘米",[],621,{"id":884,"slug":885,"title":886,"dynasty":49,"author":50,"museum":887,"description":888,"tags":889,"thumbUrl":890,"material":198,"size":780,"collection":100,"collections":891,"showCount":892,"zanCount":643,"manualWeight":43,"mainColor":88},226505,"na-mo-guan-shi-yin-pu-sa-xiang-li-zhou-yi-ming-226505","南无观世音菩萨像立轴","敦煌","这尊工笔重彩立像温婉静美，菩萨含笑垂目，宝冠璎珞华美庄重，手持净瓶拈花，尽显悲悯柔和。衣袂飘带层叠舒展，石青、石绿晕染出沉雅古拙的色调，局部描金虽斑驳黯淡，仍可见旧日精工。\n\n足踏莲台，旁侧缠枝花卉灵动舒展，清劲流畅的线条带着敦厚朴拙的气韵，将观音的端严慈悲与盛唐遗风相融，残损纸面晕开岁月沉香，尽显沉静古雅的禅意。",[25,7,28,54,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3999fc8fbc543a1a23451c0cb2a2a358.jpg",[],620,{"id":894,"slug":895,"title":896,"dynasty":18,"author":436,"museum":236,"description":897,"tags":898,"thumbUrl":901,"material":37,"size":902,"collection":84,"collections":903,"showCount":892,"zanCount":656,"manualWeight":43,"mainColor":88},219334,"hai-tang-qin-tu-tu-hua-yan-219334","海棠禽兔图","华嵒的花鸟画丰富了传统的“黄家富贵，徐熙野逸”的审美情趣，寓真情实感于创作，使作品具有丰富的感情和个性，具有雅俗共赏的特征。此图是他晚年的代表作，画家运用拟人化的手法，将鹦鹉按捺不住的欣喜和黑兔胆小好奇的神态表现得生动传神。在画法上，华嵒从恽寿平淡雅清丽的没骨花卉入手，涉猎诸家，形成了鲜明的个人风格。此图结构新奇，笔法将宋人工笔花鸟之细腻工致与写意花鸟之秀逸洗练相结合，敷色活泼。海棠以胭脂及白粉点染，树叶颜色用石青、石绿，其间又有微带白黄色的大叶，颜色浓丽湿润，黑兔的墨色变化更为微妙丰富，浓淡之间表现出柔软疏松的质感，并与树木花卉的暖色调和谐统一，使整幅画面洋溢着花香鸟语的初春气氛。",[23,25,7,28,27,113,899,900,151,79],"海棠","兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd34c59b5ebbf048bf68fd04c4a04bed.jpg","纵135.2厘米，横52.8厘米",[84,158],{"id":905,"slug":906,"title":907,"dynasty":72,"author":908,"museum":74,"description":909,"tags":910,"thumbUrl":912,"material":37,"size":913,"collection":84,"collections":914,"showCount":915,"zanCount":916,"manualWeight":43,"mainColor":44},214726,"hua-hui-tu-chen-chun-214726","花卉图","陈淳","这幅画描绘了在海石后面盛开的各种花朵，包括五种栀子花、玫瑰花、百合花、天竺葵和红丹参。花朵是用无骨笔描绘的，栀子花和百合花的白色花朵是用钩花和点叶描绘的。景观安排得很细致，着色柔和优雅，不显庸俗，有别于晚年放笔写意的习惯，应该是五十岁以前的作品。",[23,25,26,24,7,28,304,113,536,35,911,58],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c023ce4b74affaefcba3f3678377db.jpg","188x96.9",[84],619,14,{"id":918,"slug":919,"title":920,"dynasty":18,"author":921,"museum":331,"description":922,"tags":923,"thumbUrl":926,"material":100,"size":100,"collection":100,"collections":927,"showCount":928,"zanCount":419,"manualWeight":43,"mainColor":88},235409,"wu-chang-shuo-sui-chao-qing-gong-tu-zhou-wu-chang-shuo-235409","吴昌硕岁朝清供图轴","吴昌硕","此作疏密布局精妙，斜出红梅自瓶中探伸，古拙湖石苍劲拙朴，案头水仙舒展清隽，蒲草萧疏有灵，配搭饱满鲜果，雅俗共赏。\n以篆籀笔法入画，笔墨苍劲老辣，设色浓淡相宜，明丽而不艳俗。朴茂雄浑的行书题字与画面浑然一体，金石古意尽显。既饱含文人案头的清雅逸趣，又暗合新春纳福的吉庆意蕴，将写意洒脱与写实鲜活相融，勾勒出岁朝之际悠然年味，尽显写意花鸟的朴拙雅致。",[25,28,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雍正，满族，是清朝第五位皇帝，入关后第三位皇帝，清圣祖康熙第四子，母为孝恭仁皇后，即德妃乌雅氏，1722—1735年在位，年号雍正，庙号清世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之清泰陵。",[25,29,27,28,7,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f705ee2f9ff7c893abe608f40192e4d.jpg",[39,158],553,{"id":1011,"slug":1012,"title":1013,"dynasty":207,"author":208,"museum":236,"description":1014,"tags":1015,"thumbUrl":1016,"material":745,"size":1017,"collection":138,"collections":1018,"showCount":1019,"zanCount":419,"manualWeight":43,"mainColor":88},220820,"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[23,25,26,7,77,130,129,170,132,193,173,733,79,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纵118.1厘米，横36.2厘米",[138,185],552,{"id":1021,"slug":1022,"title":1023,"dynasty":72,"author":1024,"museum":236,"description":1025,"tags":1026,"thumbUrl":1028,"material":745,"size":1029,"collection":138,"collections":1030,"showCount":1031,"zanCount":11,"manualWeight":43,"mainColor":88},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[23,25,26,24,7,28,129,130,1027,252,56,427,134,172,351,170,522,173],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纵101.7厘米，横46.7厘米。",[138,158],549,{"id":1033,"slug":1034,"title":1035,"dynasty":18,"author":1036,"museum":236,"description":1037,"tags":1038,"thumbUrl":1040,"material":486,"size":1041,"collection":39,"collections":1042,"showCount":1043,"zanCount":11,"manualWeight":43,"mainColor":88},222723,"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-222723","乾隆皇帝大阅图轴","郎世宁","本幅无作者款印，据作品画风，无疑系郎世宁真笔。\n乾隆四年（1739年），皇帝弘历亲临南苑检阅八旗军的队列及各种兵器、火器的操练活动，乾隆每3年大阅一次，以壮军威，鼓士气。\n本幅系弘历29岁时的戎装像，精神焕发，亦系郎世宁的盛年佳作。但此时画家对传统中国绘画尚处在学习阶段，图中的表现技法基本上是采用中国传统的绘画工具和材料而取得了西方细笔油画的艺术效果。作者减弱了对景物、人马的素描手法，以平光处理明暗，线条在起到轮廓线的作用后几乎被色彩隐去，天空中云彩的画法全出自西法，近景的草叶近乎西方的静物写生，只有远山的结构保留了清宫写实山水的一些程序。",[23,7,27,28,29,196,129,34,1039],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ee2f5e76e9f30efbdf7e15fcadde66.jpg","纵332.5厘米，横232厘米",[39],548,{"id":1045,"slug":1046,"title":1047,"dynasty":18,"author":1048,"museum":20,"description":1049,"tags":1050,"thumbUrl":1052,"material":1053,"size":100,"collection":84,"collections":1054,"showCount":1055,"zanCount":419,"manualWeight":43,"mainColor":88},223294,"lan-zhu-tu-zheng-ban-qiao-223294","兰竹图","郑板桥","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[25,26,7,77,1051,31,35],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681d28d4f5f08cb75a05b07ab8eceef3.jpg","水墨纸本",[84,185],547,{"id":1057,"slug":1058,"title":1059,"dynasty":72,"author":389,"museum":74,"description":1060,"tags":1061,"thumbUrl":1064,"material":198,"size":780,"collection":39,"collections":1065,"showCount":1066,"zanCount":631,"manualWeight":43,"mainColor":88},289743,"chang-e-ben-yue-tu-zhou-tang-yin-289743","嫦娥奔月图轴","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[25,7,28,29,30,1062,59,900,1063,80,79,775],"嫦娥","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e2d4be6243b39a212c3aab3031453a.jpg",[39],539,{"id":1068,"slug":1069,"title":1070,"dynasty":93,"author":50,"museum":74,"description":1071,"tags":1072,"thumbUrl":1074,"material":37,"size":1075,"collection":39,"collections":1076,"showCount":1077,"zanCount":356,"manualWeight":43,"mainColor":44},216215,"xian-yan-shou-lu-tu-yi-ming-216215","仙岩寿鹿图",""仙岩寿鹿图" 是宋朝时期的一幅绘画作品，其作者不详。这幅作品描绘了一处神奇的山洞，里面生活着许多寿鹿。寿鹿是一种传说中的动物，身体像鹿，有着长长的寿命。在这幅画中，寿鹿被描绘成了幸福、健康、长寿的象征。整幅画浓郁的山水意境，深深地吸引着观众的眼球。",[24,25,26,7,28,27,29,30,1073,241,35,351],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44803965d1305ff70dab68b3132a40c5.jpg","117.2x61.3cm",[39],533,{"id":1079,"slug":1080,"title":1081,"dynasty":93,"author":1082,"museum":1083,"description":1084,"tags":1085,"thumbUrl":1086,"material":37,"size":1087,"collection":157,"collections":1088,"showCount":1089,"zanCount":490,"manualWeight":43,"mainColor":342},218605,"wu-bai-luo-han-zhi-shi-cai-pin-zhe-tu-zhou-ji-chang-218605","五百罗汉之施财贫者图","周季常","波士顿美术馆","衣袂飘举间，罗汉群像神态各异：或持法器凝立，衣纹如流水般细腻；或低语相谈，眉眼间藏着慈悲的柔光。下方沟壑纵横处，贫者衣衫褴褛，匍匐劳作的身形佝偻着，困顿与艰辛在笔触里尽显。云雾缭绕的背景中，苍劲的树木与嶙峋的山石，悄然分隔却又勾连起上下两重世界。\n\n画家以写实之笔勾勒众生相，罗汉的从容与贫者的窘迫形成鲜明对照，似在无声传递施财济困的佛理。古绢底色晕染出岁月的厚重，每一处细节都浸着宋代佛画的庄重与温度，让慈悲之念在画面里缓缓流淌，直抵人心。",[23,24,25,26,7,54,27,28,29,132,170,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d79111b47df23f905bb3c17be404416.jpg","111.5x53.1",[157,39],530,{"id":1091,"slug":1092,"title":1093,"dynasty":72,"author":301,"museum":331,"description":1094,"tags":1095,"thumbUrl":1099,"material":100,"size":100,"collection":100,"collections":1100,"showCount":1101,"zanCount":341,"manualWeight":43,"mainColor":88},228763,"shui-mo-pu-tao-tu-zhou-xu-wei-228763","水墨葡萄图轴","《明徐渭山水花卉人物图》是明代画家徐渭的作品，该画为纸本、水墨，尺幅纵26.9厘米，横8.厘米。\n现藏于 。\n自书款一而：“万历戊子夏仲，偶闲，寓崇侄子云齐中，漫为捉笔，真儿戏也。\n青藤渭。\n”下钤“徐渭之印”等二方。\n另有吴俊卿、李详题跋二页。\n钤印诸方。\n该册十八页，其中画十五页，分别作写意山水人物、写生 ，内容有婴戏、对弈、 、 、稻穗螃蟹等等。\n笔墨简括豪放，随意自然。\n选其二页，可窥真趣。\n徐渭（1521~159年）明代杰出书画家、 。\n初字文清，改字文长，号天池、又号青藤道人、田水月等。\n浙江山阴（今绍兴）人。\n自幼聪慧，文思敏捷。\n且胸有大志。\n参加过嘉靖年间东南沿海的抗倭斗争和反对权奸严嵩，一生遭遇十分坎坷，可谓“落魄人间 ”。\n最后入狱七、八年。\n获释后，贫病交加，以卖诗、文、画糊口，潦倒一生。\n他中年学画，继承梁楷减笔和林良、沈周等写意花卉的画法，故擅长画水墨花卉，用笔放纵，画残菊败荷，水墨淋漓，古拙淡雅，别有风致。\n兼绘山水，纵横不拘绳墨，画人物亦生动，其笔法更趋奔放、简练，干笔、湿笔、破笔兼用，风格清新，恣情汪洋，自成一家，形成“青藤画派”。\n他自己尤以书法自重。\n自称“吾书第一、诗二、文三、画四”。\n袁宏道等称赞他的书法“笔意奔放”，“苍劲中姿媚跃出”，“在王雅宜、文征仲之上。\n他画的《黄甲图》，峭拔劲挺，生动地表现了螃蟹爬行、秋荷凋零的深秋气氛。\n作品流传至今的较多。\n著作有：《四声猿》、《南词叙录》《徐文长佚稿》、《徐文长全集》等。\n传世著名作品有《墨葡萄图》轴、《山水人物花鸟》册（均藏故宫博物院）、《牡丹蕉石图》轴，以及晚年所作《墨花》九段卷（现藏故宫博物院）等。",[23,25,26,7,77,304,1096,1097,1098,664,291,80,305],"大写意","泼墨","葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504df223fc9470a5121ee4d43301b51c.jpg",[],528,{"id":1103,"slug":1104,"title":412,"dynasty":18,"author":1048,"museum":331,"description":1105,"tags":1106,"thumbUrl":1107,"material":214,"size":100,"collection":84,"collections":1108,"showCount":1101,"zanCount":656,"manualWeight":43,"mainColor":88},220050,"zhu-shi-tu-zheng-ban-qiao-220050","郑板桥(1693-1765)，原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。康熙秀才，雍正十年举人，乾隆元年(1736年)进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为扬州八怪重要代表人物。郑板桥一生只画兰、竹、石，自称四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人。其诗书画，世称三绝，是清代比较有代表性的文人画家。",[23,25,26,7,77,304,97,79,31,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb724f394a4ef707b4419ea206b3dbdac.jpg",[84],{"id":1110,"slug":1111,"title":506,"dynasty":109,"author":1112,"museum":331,"description":1113,"tags":1114,"thumbUrl":1116,"material":198,"size":780,"collection":100,"collections":1117,"showCount":1118,"zanCount":370,"manualWeight":43,"mainColor":44},289890,"wan-he-song-feng-tu-ju-ran-289890","巨然","图中烟岚松涛，山中层岩丛树，山顶矾头重叠，深谷里瀑泉奔涌，溪畔浓荫森森，并架一木桥。沿着曲折的山脊，是一片片浓密的松 林，“丰”字形的松树随风摇曳，百姿千态，栩栩如生。沟壑里聚起团团云雾，缓缓地向上升腾。山脚下的林木中坐落着数间茅屋，其中一榭依石临水，有白衣人坐其中。此乃世外桃源里之人间烟火。从白衣人的房后望去，蜿蜒山路沿谷涧上去。在两山之间、谷涧之上，有一巨大的楼阁，且又有山楼水榭、远寺长桥，掩映在万松山壑间。",[23,24,25,77,129,7,130,427,169,193,134,269,272,1115],"溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab2e4354bdfebe101d6dc37437481b2.jpg",[],523,{"id":1120,"slug":1121,"title":1122,"dynasty":18,"author":1123,"museum":74,"description":1124,"tags":1125,"thumbUrl":1128,"material":589,"size":1129,"collection":84,"collections":1130,"showCount":1131,"zanCount":384,"manualWeight":43,"mainColor":88},220986,"yan-xi-yu-le-zhou-yun-shou-ping-220986","燕喜鱼乐轴","恽寿平","本幅以没骨法绘成，直接用色点染，再略加勾画叶脉筋络。全幅设色典雅，有脱俗的气质",[23,25,26,7,27,28,113,498,1126,1127,935,151],"柳","燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813b61c4d298e29291dcdde76707c2d.jpg","120.5×61.2",[84,158],522,{"id":1133,"slug":1134,"title":1135,"dynasty":18,"author":318,"museum":331,"description":1136,"tags":1137,"thumbUrl":1138,"material":198,"size":780,"collection":100,"collections":1139,"showCount":1140,"zanCount":419,"manualWeight":43,"mainColor":88},288298,"he-hua-xiao-niao-tu-zhou-zhu-da-288298","荷花小鸟图轴","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,24,25,77,7,113,32,35,151,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc703fe503e21b896057d755c0c416262.jpg",[],519,{"id":1142,"slug":1143,"title":1144,"dynasty":207,"author":518,"museum":74,"description":1145,"tags":1146,"thumbUrl":1147,"material":82,"size":1148,"collection":138,"collections":1149,"showCount":1150,"zanCount":656,"manualWeight":43,"mainColor":88},220794,"rong-xi-zhai-tu-zhou-ni-zan-220794","容膝斋图轴","倪瓒少小聪明，早年专意读书，家中清秘阁藏书数千卷，经史子集，佛道经典，他都专心阅读批校，所藏法书名画，亦悉心临学。其书法天然古淡，有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带，常领略这里秀丽清幽的湖光山色，他的画也多取材于此。\n此幅成于洪武壬子（1372年），七十二岁所作。自署“壬子岁(1372)七月五日云林生写”。二年后再题谓：“赠寄仁仲医师。且锡山予之故乡也，容膝斋则仁仲燕居之所。”“他日将归故乡，登斯斋，持卮酒，展期图，为仁仲寿。”方知此图乃是寄放在医师仁仲之“容膝斋”，以备他日为仁仲祝寿之用。此帧先写赠其友檗轩，檗轩藏之三年，又寄赠医师仲仁，请云林补诗，容膝斋即仲仁居处，是先有画而后有题者也。此图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，作为近景与远景之间的过渡部分则多为大片空白，不着一墨, 是为湖水。图上侧远岫遥岑，横于波际。\n这种三段式的构图，是倪瓒山水的特征之一。其山水胎息于董源，矶头两点，石上横拖披麻，皴法清逸。其树法参差变，结体有骨力，而树头枝梢，每多生意。喜多作枯树，擦以枯笔，墨色浓淡错综而滋润浑厚。《容膝斋图》便是其晚年的精品，作于去世前两年，笔墨炉火纯青。典型的“三段式”构图：下方土坡上画杂树五棵，二棵点叶，二棵垂叶，一棵为枯槎无叶，树后是平坡茅亭；中间空白，茫茫湖水；上方画远山数叠。比之17年前画的《渔庄秋霁图》，虽章法相似，但用笔更刚劲洒脱，“折带皴”更显得老辣纯熟，风神飘逸。",[23,25,26,7,77,129,130,377,521,35,193,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1262bf8374934f412458d8adc28d76.jpg","74.7 x 35.5cm",[138,185],518,{"id":1152,"slug":1153,"title":1154,"dynasty":93,"author":50,"museum":331,"description":1155,"tags":1156,"thumbUrl":1158,"material":37,"size":1159,"collection":157,"collections":1160,"showCount":1150,"zanCount":11,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,7,1157,28,129,269,170],"界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672f72d901c08686f814955355d9dcad.jpg","107x52",[157],{"id":1162,"slug":1163,"title":1164,"dynasty":207,"author":208,"museum":74,"description":1165,"tags":1166,"thumbUrl":1167,"material":136,"size":1168,"collection":138,"collections":1169,"showCount":1170,"zanCount":11,"manualWeight":43,"mainColor":88},214820,"jing-xi-shi-cui-tu-wang-meng-214820","荆溪湿翠图","这幅画描绘了水流湍急的泾河、声音激荡的瀑布、色彩斑斓的山峦和长满松树的松树。面板上有王蒙的长篇后记，据说是后来加的。这幅画的风格与杜琼的风格比较相似，从杜琼在 旌表贞节之门 下的印章可以看出。",[25,26,7,77,28,129,193,170,132,169,29,130,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69a4d460ff4b91c032f0a5094f977d7.jpg","142.6x42.9",[138],512,{"id":1172,"slug":1173,"title":1174,"dynasty":18,"author":1048,"museum":331,"description":1049,"tags":1175,"thumbUrl":1176,"material":255,"size":1177,"collection":84,"collections":1178,"showCount":1179,"zanCount":384,"manualWeight":43,"mainColor":88},223295,"mo-zhu-zheng-ban-qiao-223295","墨竹",[23,25,7,77,80,97,31,79,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b02064efe84ab0f7521ea162036d0de.jpg","38*138CM",[84,185],509,{"id":1181,"slug":1182,"title":1183,"dynasty":49,"author":1184,"museum":331,"description":1185,"tags":1186,"thumbUrl":1188,"material":198,"size":780,"collection":100,"collections":1189,"showCount":1190,"zanCount":419,"manualWeight":43,"mainColor":44},231825,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231825","花园仕女图轴","上村松园","上村松园（1875——1949）生于京都，她是明治、大正、昭和时期十分活跃的女画家，她以日本画的传统手法为基础描绘出格调高的美女画，她画的美人惟妙惟肖、出神入化，受到人们的好评。12岁小学毕业后进入日本刚刚成立不久的绘画学校。后相继师事铃木松年、幸野梅岭、竹内栖凤等大师。15岁时以作品《四季美人图》参展第三次内国劝业博览会，获得一等褒奖，被传为京都天才少女。",[23,24,25,7,27,28,29,30,1187,62,602],"枫叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5291d70d90c2e3367d896a803781d8cf.jpg",[],507,{"id":1192,"slug":1193,"title":1194,"dynasty":109,"author":875,"museum":331,"description":1195,"tags":1196,"thumbUrl":1197,"material":198,"size":780,"collection":100,"collections":1198,"showCount":1199,"zanCount":370,"manualWeight":43,"mainColor":342},287714,"kuang-lu-tu-tiao-se-ban-jing-hao-287714","匡庐图（调色版）","《匡芦图》是荆浩现存作品中比较可信的真作之一，图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。",[24,25,26,7,77,129,130,272,169,170,377,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8ad00d8855331e31469eec858e44e4.jpg",[],505,{"id":1201,"slug":1202,"title":1203,"dynasty":72,"author":424,"museum":74,"description":1204,"tags":1205,"thumbUrl":1206,"material":136,"size":1207,"collection":138,"collections":1208,"showCount":1209,"zanCount":370,"manualWeight":43,"mainColor":88},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[23,25,26,7,28,129,29,97,79,27,130,252,427,377,193,134,253,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[138,185],498,{"id":1211,"slug":1212,"title":1213,"dynasty":18,"author":1036,"museum":74,"description":1214,"tags":1215,"thumbUrl":1217,"material":1218,"size":1219,"collection":84,"collections":1220,"showCount":1221,"zanCount":370,"manualWeight":43,"mainColor":704},222780,"hua-yin-shuang-he-tu-zhou-lang-shi-ning-222780","花阴双鹤图轴","此图是郎世宁花鸟画的代表作。画面描绘一对绚丽丰润的仙鹤，和两只小鹤。一只仙鹤阔步行走回首下顾，注视着满身细毛茸茸的小鹤；另一只仙鹤转颈整理羽毛，一脚举起，神态安详。他吸收并采用中国画的传统技法，糅合中西画法进行创作。是二百年前外来文化“中国化”的尝试，是别具一格的杰作。",[23,7,27,28,113,225,1216,35,58,79],"月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c3aa01f28ae73498d5f6eecf70dfd2.jpg","绢本设色","170.7厘米×93.1厘米.",[84,158],495,{"id":1223,"slug":1224,"title":1225,"dynasty":93,"author":808,"museum":74,"description":1226,"tags":1227,"thumbUrl":1229,"material":37,"size":1230,"collection":157,"collections":1231,"showCount":1221,"zanCount":341,"manualWeight":43,"mainColor":44},219194,"ci-xiong-bai-ji-tu-zhao-ji-219194","雌雄白鸡图","红冠如焰，燃亮白羽霜华。雄鸡昂首振翅，尾羽若流云舒展；雌鸡依偎身侧，软羽轻覆，尽显亲昵。枝叶舒展间，墨色淡染，衬得禽鸟生动如活。笔锋细腻处，羽丝根根分明，冠色层层晕染，既见写实功力，更含脉脉温情。素朴背景中，生灵之趣与雅致之美交融，似闻晨啼轻响，恍见晨光微熹，尽显对生命意趣的细腻捕捉与诗意表达。",[23,24,25,26,7,27,28,113,1228,58],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d30065e7ab2d7ef0ea568cb41dfe6c1.jpg","纵152横37.4cm",[157,84,158],{"id":1233,"slug":1234,"title":1235,"dynasty":1236,"author":1237,"museum":74,"description":1238,"tags":1239,"thumbUrl":1242,"material":37,"size":1243,"collection":39,"collections":1244,"showCount":1245,"zanCount":370,"manualWeight":43,"mainColor":44},220434,"liu-chao-liang-zhang-seng-yao-xue-shan-hong-shu-tu-zhang-seng-yao-220434","六朝梁张僧繇雪山红树图","南北朝","张僧繇","全幅以淡墨勾勒物象，舍弃皴法，再敷以青绿、朱红、白粉等色彩。重复出现圆弧状造型的山体，呈现一种古拙感。　本幅原题为〈六朝梁张僧繇雪山红树图〉，据唐宋史籍所载，张僧繇（活动于六世纪前半）专长以外来的凹凸画法绘制佛道人物壁画。晚明时期流传许多张僧繇的「没骨山水」，且有董其昌、蓝瑛等人的临仿作品。此幅应是晚明时期对张僧繇画风的揣摩与想像。",[25,26,7,28,129,1240,1241,134,196,29,132,170],"雪山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd533a6eb07070436caaa6f33827a741c.jpg","118x60.8",[39,158],493,{"id":1247,"slug":1248,"title":1249,"dynasty":72,"author":1250,"museum":319,"description":1251,"tags":1252,"thumbUrl":1253,"material":82,"size":1254,"collection":138,"collections":1255,"showCount":1256,"zanCount":356,"manualWeight":43,"mainColor":88},217038,"you-jian-xing-shan-tu-yao-sui-217038","幽涧行山图","姚绥","幽涧行山图 是明朝画家姚绥的一幅杰作。这幅画描绘了一座山的全景，非常细腻地表现了山的各个部分，包括山顶、山谷、溪流、森林、花草、岩石等。画中还有许多人物，每个人物都有自己的故事和生活经历。\n\n姚绥是明朝时期的一位著名画家，他的画风非常独特，以精细、细腻而闻名。他的作品多描绘自然风景，充分展现了他对大自然的敬畏和喜爱。 幽涧行山图 是姚绥代表作之一，被认为是中国画史上的经典之作。",[23,25,26,129,77,130,7,252,253,29,377,193,35,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99cb6e6d918b6eb7b845ae72dee47aa.jpg","101x53cm",[138],484,{"id":1258,"slug":1259,"title":1260,"dynasty":72,"author":752,"museum":147,"description":1261,"tags":1262,"thumbUrl":1263,"material":136,"size":1264,"collection":39,"collections":1265,"showCount":1266,"zanCount":419,"manualWeight":43,"mainColor":44},219532,"ma-gu-xian-shou-tu-chen-hong-shou-219532","麻姑献寿图","“麻姑献寿”是传统绘画特别是民间年画的常见题材。传说三月三日西王母寿辰，麻姑在绛珠河畔以灵芝酿酒，为王母祝寿。麻姑是神话人物，晋代葛洪《神仙传》说她是建昌人，修道于牟州东南姑余山。此画描写麻姑和侍女二人，均面相端庄美丽。麻姑一手执仙杖，杖端系有盛灵芝酒的宝葫芦，另一手执玉盘。衣纹用线钩勒粗简方折，而衣上带图案的银白色花纹却描绘得极工细匀整，既素雅又华丽，显示出人物的非凡身份和在祝寿的特定情境中对寿者(西王母)的尊敬和虔诚。麻姑身后的侍女双手捧花瓶，瓶插雪白的梅花和红艳的山茶花，与麻姑面向一致，目视前方，神情专注。",[23,25,26,7,27,28,29,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe811cb5aa985accd1f172e8ea3508614.jpg","190.2x104.6厘米",[39,158],478,{"id":1268,"slug":1269,"title":1270,"dynasty":18,"author":1271,"museum":331,"description":1272,"tags":1273,"thumbUrl":1276,"material":198,"size":780,"collection":100,"collections":1277,"showCount":1278,"zanCount":296,"manualWeight":43,"mainColor":88},235526,"he-hua-liao-shi-tu-zhou-wang-wu-235526","荷花蓼石图轴","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[24,25,26,7,28,27,306,307,1274,56,1275,113],"蓼石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4adc90c09b933312107f54c136768ed.jpg",[],477,{"id":1280,"slug":1281,"title":1282,"dynasty":93,"author":1283,"museum":74,"description":1284,"tags":1285,"thumbUrl":1288,"material":589,"size":1289,"collection":157,"collections":1290,"showCount":1291,"zanCount":656,"manualWeight":43,"mainColor":44},221293,"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","郭熙","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,25,26,7,77,129,269,134,1286,171,1287,79,945,130],"村居","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","纵141.6厘米，横97厘米",[157,138,185],472,{"id":1293,"slug":1294,"title":1295,"dynasty":18,"author":1296,"museum":209,"description":1297,"tags":1298,"thumbUrl":1299,"material":82,"size":1300,"collection":138,"collections":1301,"showCount":1302,"zanCount":656,"manualWeight":43,"mainColor":44},220423,"shan-shui-qing-yin-tu-shi-tao-220423","山水清音图","石涛","该画作未明是画何地方，但从画面上来看，描绘的地方明显是黄山景色。虽是黄山景色，但却不知是哪一个黄山景色。图中峭壁大岭，飞泉湍急，新松夭矫，丛篁滴翠。水阁凉亭间，两位高士正对坐桥亭，默参造化的神机。画面上重重叠叠的坡陀峰峦，或直耸、或斜出、或横卧，把境界推向深远，右侧则以峭壁贯通天地，构造新颖。",[23,25,77,130,7,129,169,427,132,733,193,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296cf8c8039f22c3cd7610cdf01cbd29.jpg","纵102.6厘米，横42.5厘米",[138,185],469,{"id":1304,"slug":1305,"title":1306,"dynasty":72,"author":73,"museum":74,"description":1307,"tags":1308,"thumbUrl":1309,"material":82,"size":1310,"collection":138,"collections":1311,"showCount":1312,"zanCount":356,"manualWeight":43,"mainColor":88},214297,"kan-shu-tu-wang-fu-214297","勘书图","王绂的画风继承了元代文人画的传统，强调笔墨的情感和趣味，是明代中期吴门画派的先驱。这是一幅画，画的是溪边的一座桥，三棵树挺立着，在树木和石头之间有一个栅栏和一个小屋，还有一个隐士坐在一个开放的亭子里看书。笔法优雅，墨色丰富，是即兴创作的杰作。",[23,25,7,129,77,130,252,56,253,351,134,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf04dbe837615b77e0334d33331b76db.jpg","119.8x40.1",[138],468,{"id":1314,"slug":1315,"title":1316,"dynasty":72,"author":126,"museum":236,"description":1317,"tags":1318,"thumbUrl":1319,"material":1320,"size":1321,"collection":138,"collections":1322,"showCount":1323,"zanCount":370,"manualWeight":43,"mainColor":88},222112,"chun-yun-die-zhang-li-zhou-shen-zhou-222112","春云叠嶂立轴","此作曾在康熙年间被高士奇收藏，并著录于其《江村消夏录》。该作描绘万物竞发、重峦叠嶂、云蒸霞蔚、春水泛漾的春天景象。画面清新雅致，刻画细腻，具有元人画的风格。\n但此作历来有真伪之辩。《春云叠嶂图》的整体风格，似有些米家元素，虽同样横点干皴，但山峦单一，林木呆板，与沈周其他仿米真迹如《西山雨观图》相去甚远，完全不符沈周任何时期的书风。但究其题识，又非一般人所能书之。",[23,25,77,7,129,335,132,170,193,130,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911a706d3e48a8c708d471d8a1448b00.jpg","纸本设色","纵152.2厘米，横43.2厘米",[138,185],463,{"id":1325,"slug":1326,"title":412,"dynasty":207,"author":1327,"museum":236,"description":1328,"tags":1329,"thumbUrl":1330,"material":136,"size":1331,"collection":84,"collections":1332,"showCount":1333,"zanCount":419,"manualWeight":43,"mainColor":44},214307,"zhu-shi-tu-li-kan-214307","李衎","这幅画中的竹子被整齐而优雅地画上了双色的轮廓，显示了大自然在春天的重生，老竹子旁边有两棵新竹子，让人想起雨后发芽的春笋。山坡上的悬崖被涂成漂亮的厚重的黑色，以突出形成的角落，岩石后面的小竹子和野树增加了多样性。",[23,24,25,26,7,77,130,31,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05faafdaaa730a5ac24d211025a2689.jpg","185.5x153.7",[84],456,{"id":1335,"slug":1336,"title":1337,"dynasty":18,"author":1338,"museum":147,"description":1339,"tags":1340,"thumbUrl":1342,"material":37,"size":100,"collection":39,"collections":1343,"showCount":1344,"zanCount":631,"manualWeight":43,"mainColor":44},219574,"tian-nv-san-hua-tu-xu-mei-219574","天女散花图","徐玫","此作中天女身姿婉柔，发髻轻簪雅饰，宽袖长裙随云舒卷，衣带如流风回雪，将凌虚而行的轻盈尽显。她手托花盏，眉目低垂含婉，似正将满捧花雨播向凡尘。细劲灵动的墨线勾勒仙袂翩跹的柔美，淡彩晕染裙间纹饰，古旧绢底晕开朦胧云霭，愈衬得天女出尘脱俗，仿佛携着缥缈仙气自云间缓步而来，将神女温婉端丽与飘逸灵动融为一体，尽显清丽秀雅的仕女画格调，余韵悠然绵长。",[23,25,26,7,27,28,29,30,1341],"飘带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c2b641db2cfe3c536c5c9f958366b5.jpg",[39,158],448,{"id":1346,"slug":1347,"title":1348,"dynasty":93,"author":584,"museum":331,"description":1349,"tags":1350,"thumbUrl":1351,"material":100,"size":100,"collection":100,"collections":1352,"showCount":1353,"zanCount":11,"manualWeight":43,"mainColor":44},231852,"song-hui-zong-ti-hua-niao-tu-zhao-chang-231852","宋徽宗题花鸟图","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。\n赵昌，字昌之，北宋时期（公元11世纪)，广汉剑南（今四川剑阁之南）人，生卒年不详。性情爽直高傲，刚正不阿。时州伯邵牧争求笔迹，不肯轻与。\n工书，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后过其艺，亦效徐崇嗣“没骨法”，常于清晨朝露未干，围绕花圃观察花木神态，调色描绘，自号“写生赵昌”。当时盛行厚彩重色，而赵昌所作一片平滑，明润匀薄，活色生香。真宗大中祥符（1008-1016）间，声誉益隆。丁朱崖奉白金五百为寿，昌感其意，亲往谢之。此时，朱崖邀其至东阁，求画生菜数窠及烂瓜生果等，昌挥笔遽成而去。晚年其自矜所作，往往深藏不市，若见自家画作流落市井，则复自购以归之，故世罕传。",[23,25,26,7,27,28,113,392,31,115,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4595cc6a353626e75beccdda5e1c00e.jpg",[],447,{"id":1355,"slug":1356,"title":1357,"dynasty":93,"author":330,"museum":1358,"description":1359,"tags":1360,"thumbUrl":1361,"material":37,"size":1362,"collection":84,"collections":1363,"showCount":1364,"zanCount":643,"manualWeight":43,"mainColor":44},219064,"shuang-long-xi-hai-tu-chen-rong-219064","双龙戏海图","圣路易斯艺术博物馆","绢本苍褐的底色上，云雾如墨烟般晕散，两条巨龙腾跃其间。上方龙身盘旋，鳞爪劲健，昂首欲飞；下方龙潜于汹涌浪涛，尾摆鳍张，与翻卷的浪花嬉戏。海浪以细腻线条勾勒，层层叠叠如奔雷涌动，龙鳞的纹理、龙须的飘逸皆刻画入微。整幅画将龙的威严与海的壮阔融于一体，云雾的虚渺与浪涛的实感相映，既见神兽的灵动神韵，又显自然的磅礴气势，笔墨间尽是沉雄与细腻的交织，意境深远，引人叹服。",[23,25,26,7,28,334,336,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbee6e92aaf60e4d5ceb8d3fada746dc.jpg","纵135.2cm横84cm",[84],438,{"id":1366,"slug":1367,"title":1368,"dynasty":18,"author":235,"museum":236,"description":1369,"tags":1370,"thumbUrl":1374,"material":136,"size":1375,"collection":84,"collections":1376,"showCount":1377,"zanCount":419,"manualWeight":43,"mainColor":88},219288,"mu-dan-bai-tou-tu-ren-yi-219288","牡丹白头图","任颐（1840—1896），字伯年，别号山阴道上行者，清末著名画家。浙江绍兴人，寓居上海，以卖画为生，与任熊、任熏、任预并称为“海上四任”，是“海上画派”中成就最为突出者。他的绘画吸收了民间艺术的技法，人物、肖像、山水、花鸟无不精工。\n其人物画早年师法陈洪绶，造型夸张，装饰效果强，后变得较为奔逸。其花鸟画早年师法北宋诸家，后融汇了恽派、陈淳、徐渭、朱耷的写意画法，又吸收了西方水彩绘画的色调，设色淡雅，格调清新明快，对近现代花鸟画产生了深远的影响。",[23,25,26,7,28,1371,113,114,1372,35,1373,287,115,57],"兼工带写","白头鸟","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31c3984c898ba3c385fce26f73cd95b.jpg","纵133.5cm，横64.8cm",[84,158],437,{"id":1379,"slug":1380,"title":1381,"dynasty":207,"author":208,"museum":74,"description":1382,"tags":1383,"thumbUrl":1384,"material":214,"size":1385,"collection":138,"collections":1386,"showCount":1387,"zanCount":11,"manualWeight":43,"mainColor":44},220815,"shan-shui-zhou-wang-meng-220815","山水轴","全画以高远法构图，崇山峻岭于雄奇中内具空灵之貌，山石与树木间开合有度，于多变的虚实呼应中构筑出丰厚华滋的气象",[23,25,7,77,129,130,132,170,134,193,377,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad77a15bec8b64335a9ac63c01ea4f87.jpg","该幅 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这幅画卷的色彩明快、纯洁、淡雅，除了用细致的线条勾勒出轮廓外，脸部、手部和衣服也被晕染，表现出立体的效果。虽然有秋影（ 约1494-1552年）画中不过，这支卷轴笔和秋影的笔触与描绘的精细度，还是有相当大的差距，应该是后人冒用秋影之名的作品。",[24,25,26,7,54,29,27,28,335,79,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7abb1842c0f8a808d878fbae1f0f0b1.jpg","纵104.2横52.5厘米",[39,158],393,{"id":1535,"slug":1536,"title":1537,"dynasty":18,"author":1538,"museum":319,"description":1539,"tags":1540,"thumbUrl":1541,"material":136,"size":1542,"collection":84,"collections":1543,"showCount":1544,"zanCount":341,"manualWeight":43,"mainColor":44},219131,"xi-que-shuang-xi-tu-shen-quan-219131","喜鹊双喜图","沈铨","虬枝盘曲间，梅蕊初绽如雪，几点淡红晕染枝头，似早春私语。一只喜鹊翘尾立于枝上，羽色浓淡相宜，墨羽如缎，白腹似雪，喙尖微抬，似欲鸣春；另一只栖于老干，回眸相顾，长尾垂落如墨线，与枝干的苍劲相映成趣。旁侧新竹数竿，青影摇曳，添几分生机。工笔细描见匠心，枝干皴擦显古拙，花瓣晕染含雅致，禽鸟神态毕肖。动静之间，春意流转，喜意暗生。整幅画韵致清和，既有自然野趣，又藏吉祥寓意，尽显传统花鸟之雅韵，观之令人心生愉悦。",[23,24,25,26,7,27,28,113,392,31,151,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe247e4c33f78d42b4640f989a2d41eb8.jpg","131x53.5cm",[84],391,{"id":1546,"slug":1547,"title":1548,"dynasty":18,"author":1549,"museum":331,"description":1550,"tags":1551,"thumbUrl":1552,"material":198,"size":780,"collection":100,"collections":1553,"showCount":1554,"zanCount":356,"manualWeight":43,"mainColor":88},290612,"he-hua-zhou-wang-tu-bing-290612","荷花轴","王图炳","王图炳（1668-1743）：清朝江南华亭县（今上海市金山区）张堰镇人，一品大学士王顼龄之子。康熙五十一年（1712年）御赐进士，选庶吉士，授编修，官至礼部侍郎，降官侍读，加詹事衔。清代著名诗人、书画家。",[25,7,27,28,113,306,307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6326436ed40ce4fc7bdd96e5c4b3674d.jpg",[],390,{"id":1556,"slug":1557,"title":360,"dynasty":93,"author":1558,"museum":74,"description":1559,"tags":1560,"thumbUrl":1561,"material":37,"size":1562,"collection":138,"collections":1563,"showCount":1564,"zanCount":419,"manualWeight":43,"mainColor":88},218894,"xian-shan-lou-ge-tu-zhao-bo-ju-218894","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。",[23,25,26,7,268,28,27,1157,129,269,170,173,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e587eae532bf826f5b62f202f510946.jpg","159.9x84.2",[138],388,{"id":1566,"slug":1567,"title":1568,"dynasty":207,"author":208,"museum":236,"description":1569,"tags":1570,"thumbUrl":1572,"material":1573,"size":1574,"collection":138,"collections":1575,"showCount":1576,"zanCount":419,"manualWeight":43,"mainColor":88},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[23,24,25,26,7,28,130,129,29,196,1571,134,193,427,351,174,733,79],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纸本，设色","纵139厘米，横58厘米",[138,158],385,{"id":1578,"slug":1579,"title":1580,"dynasty":109,"author":1112,"museum":74,"description":1581,"tags":1582,"thumbUrl":1583,"material":37,"size":1584,"collection":138,"collections":1585,"showCount":1576,"zanCount":11,"manualWeight":43,"mainColor":44},219910,"qiu-shan-wen-dao-tu-ju-ran-219910","秋山问道图","《秋山问道图》是一幅秋景山水画，以立幅构图画重重叠起的山峦，下部清澈的溪水，曲折的小路通向山中，山坳处茅舍数间，屋中有二人对坐，境界清幽。",[23,25,24,77,130,7,129,252,253,57,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4122bb46b9b23056909f68c43afe04b.jpg","横77.2厘米，纵165.2厘米",[138],{"id":1587,"slug":1588,"title":1589,"dynasty":18,"author":1123,"museum":236,"description":1590,"tags":1591,"thumbUrl":1595,"material":136,"size":1596,"collection":84,"collections":1597,"showCount":1598,"zanCount":5,"manualWeight":43,"mainColor":88},220275,"tao-hua-tu-yun-shou-ping-220275","桃花图","图绘一花团锦簇的折枝桃花斜入画面。笔法轻快疏秀，设色淡雅清丽，充分体现了以没骨法点染物象的独特魅力，不仅表现出花之媚，叶之柔，同时表现出春光下桃花含烟带雾、“习习香熏薄薄烟”的诗意。",[23,25,26,7,1592,1593,28,498,1594,291],"花鸟画","没骨","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd26c1e63df902ca04500cd59486069.jpg","纵133厘米，横55.5厘米",[84],384,{"id":1600,"slug":1601,"title":1602,"dynasty":72,"author":1603,"museum":209,"description":1604,"tags":1605,"thumbUrl":1606,"material":37,"size":1607,"collection":84,"collections":1608,"showCount":1609,"zanCount":643,"manualWeight":43,"mainColor":88},218891,"bi-ye-xiu-yu-tu-zhou-wen-chu-218891","碧叶绣羽图轴","文俶","文俶（1594-1634），字端容，文徵明孙文从简之女，丈夫是其父的弟子赵灵均。天性明慧，善绘花鸟虫草，鲜妍生动。\n是图署款“辛未小春天水赵氏文俶画。”为崇祯四年（1631）作者37岁时的作品。",[24,25,26,7,27,28,113,115,287,291,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ef736a39cccb63352eef972c85eb35.jpg","纵78.5厘米，横49.5厘米",[84],381,{"id":1611,"slug":1612,"title":1613,"dynasty":72,"author":1614,"museum":331,"description":1615,"tags":1616,"thumbUrl":1619,"material":100,"size":100,"collection":138,"collections":1620,"showCount":1621,"zanCount":43,"manualWeight":43,"mainColor":88},221983,"shan-shui-tu-li-zhou-wen-zheng-ming-221983","山水图立轴","文徴明","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深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此图由钱镜塘先生捐赠，该画上堂为沪上鉴定大家吴湖帆先生题鉴，下有钱镜塘先生亲笔跋文。",[23,25,26,7,129,29,1571,134,193,253,130,28,1639],"春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80401d4a9b5750d8677ebf9efd74019.jpg","144.2×105.1cm",[138,158],371,{"id":1645,"slug":1646,"title":1647,"dynasty":18,"author":1648,"museum":74,"description":1649,"tags":1650,"thumbUrl":1653,"material":37,"size":1654,"collection":138,"collections":1655,"showCount":1643,"zanCount":11,"manualWeight":43,"mainColor":88},214285,"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","唐岱","唐岱（1779-1853）是清代著名的画家，他擅长仿范宽山水画，其作品被视为中国画史上的杰出代表作。\n\n唐岱的画风受到范宽的影响，他追求写实，注重山水造型的和谐美。他在画山水的同时，还注重人物的写实，将人物融入山水之中，使作品更加生动。\n\n唐岱的代表作有《山水图》、《松鹤楼图》、《赏鸟图》等。这些作品展现了他对山水的深刻理解和传统山水画的精湛技艺。他的作品常常被收藏家所喜爱，具有很高的收藏价值。",[24,25,26,7,28,129,130,945,79,1651,173,170,427,351,1652,272,271],"山峰","亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","287.2x155.2",[138],{"id":1657,"slug":1658,"title":1659,"dynasty":18,"author":1660,"museum":236,"description":1661,"tags":1662,"thumbUrl":1664,"material":1573,"size":1665,"collection":84,"collections":1666,"showCount":1667,"zanCount":370,"manualWeight":43,"mainColor":88},236307,"pu-tang-qiu-yan-zhou-yun-bing-236307","蒲塘秋艳轴","恽冰","荷，是南方最常见的水生植物，以历代文人墨客吟之以诗，形之以画。作者以写实的手法，成功地刻画了蒲塘秋日的丽景：碧水之上萍藻点点，绿荷盈盈。\n荷花在荷叶的衬托下，以含苞、初绽、怒放的三种生命形态展示着自然美。整幅运用仿恽南田笔意的没骨法，萍藻以色彩直接点就，显现出灵秀生动的物性。荷花以粉红色点染花尖，旋即以清水迅速晕开，色阶层次丰富，色调深浅过度自然，真实地展现出花瓣清淡雅丽之美以及荷花“出淤泥而不染，濯清涟而不妖”的内在神韵。\n恽冰，字清於，号浩如，别号兰陵女史，亦署南兰女子；卒年不详，武进（今江苏常州）人。清代乾隆、嘉庆、道光年间深得家传的一位女画家，诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[25,26,7,27,28,113,32,306,307,309,1663],"水生植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9622bb894e71ccc81a2bebb607fb57db.jpg","纵126.41cm 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(立轴)","徐悲鸿","中央美术学院美术馆","此作以水墨写意勾勒骏马，笔力雄健遒劲。浓墨重绘鬃尾，似随风张扬，将骏马桀骜意气尽数铺展；淡墨晕染躯干，干湿浓淡间晕出皮毛的柔润光泽，筋骨起伏暗藏于晕染之中，肌肉的张力呼之欲出。\n骏马昂首伫立，双耳尖竖，目光远眺，静立间自带着即将驰骋的勃发之势，把骐骥的雄骏英武神态刻画得入木三分。画家以形写神，将胸中激荡的意气托于骏马，寥寥数笔便将写实造型与水墨意趣相融，尽显写意之精妙。",[23,25,26,7,77,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292911d57410c905d2fb580f3804218d.jpg","纸本水墨",[],{"id":1691,"slug":1692,"title":1693,"dynasty":18,"author":1660,"museum":236,"description":1694,"tags":1695,"thumbUrl":1697,"material":214,"size":100,"collection":84,"collections":1698,"showCount":1699,"zanCount":643,"manualWeight":43,"mainColor":88},236979,"zi-teng-yue-ji-zhou-yun-bing-236979","紫藤月季轴","恽冰，清代乾隆、嘉庆、道光年间深得家传的一位女画家，生卒年不详。字清於，号浩如，别号兰陵女史，亦署南兰女子。武进（今江苏常州）人。诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[25,26,7,28,27,113,1696,1216,576],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374a2ed75db25d5c170942d267887b07.jpg",[84],360,{"id":1701,"slug":1702,"title":1703,"dynasty":72,"author":1704,"museum":74,"description":1705,"tags":1706,"thumbUrl":1707,"material":37,"size":1708,"collection":84,"collections":1709,"showCount":1699,"zanCount":643,"manualWeight":43,"mainColor":88},219412,"hua-niao-zhou-zhao-shou-219412","花鸟轴","赵寿","画面布局疏朗空灵，留白处似有清风徐来，漾开淡远意韵。山石皴法古拙，肌理如岁月镌刻，托举柔婉花枝与挺秀竹影。鸟羽覆墨褐光泽，喙带明黄，静立枝头凝望着白花——花瓣层叠如绢，蕊心浅晕鹅黄，与叶间红果相映成趣。水仙叶片舒展如带，花姿清雅；竹枝疏斜，添萧散之态。细腻笔触勾勒生机，淡雅色调晕染文人逸致，花鸟相依、石竹为伴，静谧中藏灵动意趣，仿佛能听见枝头轻啼，嗅到花间淡香，于方寸间尽显自然与人文交融的雅致。",[25,27,28,7,113,115,287,924,78,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13055a8e50fdc8f77b496181a0f0a5cb.jpg","103.8x49.2",[84],{"id":1711,"slug":1712,"title":1713,"dynasty":72,"author":126,"museum":1714,"description":1715,"tags":1716,"thumbUrl":1718,"material":37,"size":1719,"collection":138,"collections":1720,"showCount":1721,"zanCount":11,"manualWeight":43,"mainColor":44},219436,"chun-xi-mi-ju-tu-shen-zhou-219436","春溪觅句图","美国弗利尔美术馆","画面中山峰巍峨，峭壁如削，墨色皴染间尽显苍劲之势。松枝虬劲，枝叶繁茂，与嶙峋山石相映成趣。近景处，文人拄杖而立，衣袂飘飘，似于春溪之畔凝思觅句。山间云雾轻笼，流水潺潺，松涛与泉声相和，营造出清幽雅致的意境。笔墨苍润浑厚，线条灵动，将自然之美与文人的诗意情怀融为一体，尽显吴门画派的雅致风骨，观者仿佛能随画中人步入山林，感受那份远离尘嚣的宁静与悠然。",[25,26,7,77,130,129,29,427,78,132,172,1717],"小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57fb947c644f27d6774a57fced47050.jpg","横54.5纵162cm",[138],359,{"id":1723,"slug":1724,"title":1725,"dynasty":93,"author":1726,"museum":74,"description":1727,"tags":1728,"thumbUrl":1730,"material":589,"size":1731,"collection":157,"collections":1732,"showCount":1733,"zanCount":643,"manualWeight":43,"mainColor":44},221443,"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","崔白","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[23,25,24,26,7,27,28,113,241,900,151,521,1275,1729],"土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","纵193.7厘米、横103.4厘米",[157,84,158],358,{"id":1735,"slug":1736,"title":1737,"dynasty":1738,"author":50,"museum":319,"description":1739,"tags":1740,"thumbUrl":1744,"material":37,"size":100,"collection":84,"collections":1745,"showCount":1746,"zanCount":356,"manualWeight":43,"mainColor":44},216908,"lu-yan-fu-rong-tu-yi-ming-216908","芦雁芙蓉图","隋","芦雁芙蓉图是一幅佚名的隋代画作，它的创作时间大约在6世纪中期。这幅画的主题是芦雁和芙蓉，被认为是隋朝时期最优秀的花卉画之一。\n\n芦雁是一种常见的水鸟，在古代中国文学中常被描写为优美、品性高尚的鸟类。芙蓉是一种常见的花卉，被认为是一种具有极高艺术价值的植物。在这幅画中，芦雁和芙蓉被描绘得栩栩如生，使用的颜色十分丰富，线条流畅，构图巧妙，是一幅充满美感的艺术品。\n\n芦雁芙蓉图被认为是隋朝时期花卉画的代表作之一，其创作背景和风格反映了当时的文化、艺术特点。它对后世的艺术家们也产生了深远的影响。",[23,25,28,27,7,113,1741,675,1742,56,57,548,536,58,1743],"雁","芦苇","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a48aa75a4e73cbfea994365e8bccc65.jpg",[84],356,{"id":1748,"slug":1749,"title":1750,"dynasty":72,"author":1751,"museum":265,"description":1752,"tags":1753,"thumbUrl":1754,"material":1320,"size":1755,"collection":84,"collections":1756,"showCount":1757,"zanCount":11,"manualWeight":43,"mainColor":88},222369,"mu-dan-tu-zhou-lu-zhi-222369","牡丹图轴","陆治","画卷绘折枝牡丹二枝，枝头各自开放花朵，棕色在前，金色略被遮挡，花朵硕大饱满，花瓣层层叠叠，中间配以鹅黄花蕊。技法上，花朵以墨晕染，再以鹅黄点缀花蕊，绿叶细笔深绿构绘叶脉，后以淡绿晕染，清新脱俗。\n陆治，字叔平，明代画家。因居包山，自号包山。善行、楷，尤通绘事，点染花鸟竹石清新自然，山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格。",[23,25,26,7,28,27,114,576,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd605f4b1d772948191c493247cd631c3.jpg","31.7x102.8厘米",[84,158],354,{"id":1759,"slug":1760,"title":1761,"dynasty":72,"author":1614,"museum":236,"description":1762,"tags":1763,"thumbUrl":1764,"material":745,"size":1765,"collection":185,"collections":1766,"showCount":1767,"zanCount":656,"manualWeight":43,"mainColor":88},221978,"mo-zhu-tu-wen-zheng-ming-221978","墨竹图","本幅绘坡石兰竹、荆棘溪流，无作者款识，钤“悟言室印”、“徵仲”、“徵仲父”、“惟庚寅吾以降”。接纸文徵明自题一段，款署：“徵明題於玉磬山房”。钤“文徵明印”、“衡山”及引首章“停云”。\n图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。\n清顾文彬《过云楼书画记》著录。",[23,25,26,7,77,31,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbwe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Museum of Art at Newfields","枯墨勾勒荷茎与水草，苍劲老辣带着风霜质感，赭石晕染残荷，铺展出秋塘的疏淡萧瑟。朱砂点就的红莲，浓艳醒目，在枯寂里绽出鲜活暖意，稚拙圆润的莲蓬，藏着乡野间的朴拙意趣。翅羽轻颤的小虫寥寥数笔便形神兼具，翩然灵动，和沉郁静穆的残荷形成鲜明动静反差。\n\n整幅画以少胜多，大写意笔墨里藏着对自然的细微体察，将秋塘的清寂生机揉合一处，平淡天真间尽是悠然意韵。",[23,25,77,28,304,7,79,306,309,1785,307,1786],"蜻蜓","花梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbede3ed88faf28cd4881cd596424cf78.jpg",[],{"id":1790,"slug":1791,"title":1703,"dynasty":93,"author":1792,"museum":74,"description":1793,"tags":1794,"thumbUrl":1799,"material":37,"size":1800,"collection":84,"collections":1801,"showCount":1802,"zanCount":656,"manualWeight":43,"mainColor":44},219395,"hua-niao-zhou-xiao-rong-219395","萧瀜","旧传为十一世纪辽画家萧瀜所作，但构图与北京故宫所藏吕纪〈桂菊山禽〉类似。加之在右幅石块上发现一「四明吕廷振印」之残印，推论此幅作品可能实为吕纪作品。图中描绘三只山鹧鸟俯盼于激流旁的岩石。上方舞动的竹叶的竹干，与下方的流水、及石上与空中鹊鸟的动向相互应和，形成一种吕纪花鸟特有的优雅却又互动频繁的构图。其中山鹧俗称拖尾练，常被误认为绶带鸟，而其中「绶」与「寿」谐音，而「竹」与「祝」谐音，用以表现祝寿之吉祥意。",[23,24,25,113,7,28,31,193,351,151,1795,1796,536,1797,1798],"山鹧","鹊鸟","祝寿","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f2fe32238fe90f0171dc8b50979108.jpg","145x83",[84],350,{"id":1804,"slug":1805,"title":1806,"dynasty":18,"author":921,"museum":331,"description":1807,"tags":1808,"thumbUrl":1809,"material":100,"size":100,"collection":84,"collections":1810,"showCount":1811,"zanCount":656,"manualWeight":43,"mainColor":88},236535,"ju-hua-zhou-wu-chang-shuo-236535","菊花轴","吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[25,26,7,77,113,1625],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ffe773aea11dae9ed7c7699653a8ef.jpg",[84,185],348,{"id":1813,"slug":1814,"title":1815,"dynasty":18,"author":1048,"museum":209,"description":1049,"tags":1816,"thumbUrl":1817,"material":255,"size":1818,"collection":84,"collections":1819,"showCount":1820,"zanCount":419,"manualWeight":43,"mainColor":88},223298,"zhu-shi-tu-2-zheng-ban-qiao-223298","竹石图2",[23,25,26,7,77,31,35,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e983ebb0ad92b6de26b6800638f4370.jpg","纵217.4厘米，横120.6厘米",[84,185],346,{"id":1822,"slug":1823,"title":1824,"dynasty":72,"author":908,"museum":236,"description":1825,"tags":1826,"thumbUrl":1827,"material":1320,"size":1828,"collection":84,"collections":1829,"showCount":1830,"zanCount":370,"manualWeight":43,"mainColor":88},222552,"mei-hua-shui-xian-tu-zhou-chen-chun-222552","梅花水仙图轴","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,25,26,7,77,113,392,924],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4232f4f2ae738877a1f8edd9442b7c.jpg","72.8x35",[84,185],345,{"id":1832,"slug":1833,"title":1834,"dynasty":993,"author":50,"museum":74,"description":1835,"tags":1836,"thumbUrl":1838,"material":37,"size":1839,"collection":39,"collections":1840,"showCount":1841,"zanCount":370,"manualWeight":43,"mainColor":44},223394,"tang-ren-gong-le-tu-zhou-yi-ming-223394","唐人宫乐图轴","图描写後宫嫔妃十人，围坐於一张巨型的方桌四周，有的品茗，也有的在行酒令。中央四人，则负责吹乐助兴。所持用的乐器，自右而左，分别为筚篥、琵琶、古筝与笙。旁立的二名侍女中，还有一人轻敲牙板，为她们打著节拍。从每个人脸上陶醉的表情来推想，席间的乐声理应十分优美，因为连蜷在桌底下的小狗，都未被惊扰到！\n这件作品并没有画家的款印，原本的签题标为「元人宫乐图」。仔细观察画中人物的发式，有的发髻梳向一侧，是为「坠马髻」，有的把发髻向两边梳开，在耳朵旁束成球形的「垂髻」，有的则头戴「花冠」，凡此，都符合唐代女性的装束。另外，绷竹席的长方案、腰子状的月牙几子、饮酒用的羽觞，还有琵琶横持，并以手持拨子的方式来弹奏等，亦在在与晚唐的时尚相侔。所以，现在画名已改定成「唐人宫乐图」画题《韩干呈马图》",[23,24,25,26,7,27,28,29,30,777,1837,240],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb907e859af37c3582daa5bb82bd4794.jpg","48.7x69.5",[39],342,{"id":1843,"slug":1844,"title":1845,"dynasty":72,"author":126,"museum":331,"description":1846,"tags":1847,"thumbUrl":1848,"material":198,"size":780,"collection":100,"collections":1849,"showCount":1850,"zanCount":419,"manualWeight":43,"mainColor":44},287403,"qing-lv-shan-shui-tu-zhou-shen-zhou-287403","青绿山水图轴","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,7,268,28,129,134,193,131,132,29,195,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff872528bc3534a2d31e5560b7703b289.jpg",[],340,{"id":1852,"slug":1853,"title":1854,"dynasty":93,"author":1283,"museum":74,"description":1855,"tags":1856,"thumbUrl":1857,"material":1858,"size":1859,"collection":100,"collections":1860,"showCount":1861,"zanCount":11,"manualWeight":43,"mainColor":44},231408,"zao-chun-tu-guo-xi-231408","早春图","《早春图》采全景式构图，上下留有天地，远、中、近景则巧妙地布置于“十字形”架构内。\n主山画于中轴上方，山石先以圆笔勾勒轮廓，中锋、侧锋并用，再于阴暗面以湿笔皴擦，层层淡墨反复地渲染，强化量体感，这种技法俗称“云头皴”、“卷云皴”、“乱云皴”或“鬼面皴”，能真实反映沉积岩地貌，也可使画面产生如云雾般变幻的效果，很适合描写初春乍暖还寒，淡冶如笑的山野景象。山腰部分则隐于烟岚中，如临深山幽壑，更显主峰雄伟气势，是为“高远”。\n树丛委以虚、实来营造前后距离，腰间右侧的亭台楼阁，此时环伺于水墨山水中，其下山涧瀑布流泉，与左侧缓坡谷地融雪化成的涓涓源水，蜿蜒地流向前方的江湾，显示水流绵长及山坳纵深。而中景左方是一片旷野河谷，虚渺的远山咫尺千里，是为“平远”，其间一行旅人正从曲涧栈道一端越过小桥，欲达彼岸。而观画者正是透过“S 形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[23,25,24,26,7,77,28,130,129,272,351,170,193,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨","纵158.3公分，横108.1公分",[],338,{"id":1863,"slug":1864,"title":1865,"dynasty":18,"author":318,"museum":236,"description":1866,"tags":1867,"thumbUrl":1869,"material":745,"size":1870,"collection":100,"collections":1871,"showCount":1872,"zanCount":43,"manualWeight":43,"mainColor":88},233829,"he-shi-shui-niao-tu-zhou-zhu-da-233829","荷石水鸟图轴","图绘荷叶下一只水鸟栖于孤石上，形成全图之焦点。水鸟形状独特，单足独立，神态凄凉，它似在休憩，更似在冷眼观望这冰凉的世界。作者孤寂凄凉的处境、强烈的反清复明思想，以及面对清廷统治日益稳固而无可奈何的心境，或多或少地呈现于作品之中。",[25,77,7,113,35,32,1868,131,79],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60eb12ec5354ccf0a9bdd707a4d098.jpg","纵127厘米，横46厘米",[],336,{"id":1874,"slug":1875,"title":1876,"dynasty":72,"author":301,"museum":236,"description":1877,"tags":1878,"thumbUrl":1880,"material":214,"size":1881,"collection":39,"collections":1882,"showCount":1872,"zanCount":656,"manualWeight":43,"mainColor":88},222239,"huang-jia-tu-zhou-xu-wei-222239","黄甲图轴","该图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n画上自题诗曰：“兀然有物气豪粗，莫问年来珠有无。养就孤标人不识，时来黄甲独传胪。”诗意幽默。这幅画也有在讽刺进士甲科的意味，是藉着螃蟹粗鲁横行的形象，来嘲讽那些胸无点墨、世人不耻，但却能依靠关系或金钱金榜题名的人。\n图中的水墨加入了适量的胶，以避免水墨渗散，恰是此图的特色所在。图中以墨色画荷叶，画蟹则寥寥数笔，看似草草为之，实则浓、淡、枯、湿、勾、抹、点多种笔法参用，形状虽夸张，却饶有笔情墨趣。徐渭用奔放的笔墨勾画出螃蟹爬行的姿态以及荷叶疏落的秋天气氛。螃蟹的造型虽然简单，但却是许多笔法一起用才画出来的，不管是形状、质感甚至神态都相当生动。",[23,24,25,26,7,77,1096,113,306,1879,79,80,97],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ca3a19b3c408805bb700eca1b9e478.jpg","114.6cm 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29.7cm",[39,185],{"id":1884,"slug":1885,"title":1886,"dynasty":93,"author":50,"museum":331,"description":1887,"tags":1888,"thumbUrl":1893,"material":100,"size":100,"collection":84,"collections":1894,"showCount":1895,"zanCount":341,"manualWeight":43,"mainColor":44},223631,"lian-chi-shui-qin-tu-zhou-dui-zhou-yi-ming-223631","莲池水禽图轴对轴","此作设色清雅古拙，将夏末荷塘景致凝于绢素。粉荷或粲然盛放，或半含待绽，圆阔荷叶交错叠覆，枯荣相携，细茎缀着淡粉小花，晕开幽柔生机。\n\n两只白鹭一动一静，振翅者俯身掠空，尖喙直指水面，将俯冲的凌厉之势藏于翩然羽翼间；引颈者独立浅泽，昂首似作长鸣，意态娴静悠然。\n\n画笔工致写实，花叶勾勒细腻，禽鸟晕染层次丰盈，古雅的矿物色历经岁时依旧温润。静塘藏动意，野趣暗生，把江南水泽的澹澹诗意晕开在古绢之上，尽显清寂悠然的雅致意趣。",[23,24,25,26,7,28,27,1520,306,307,1889,1890,1891,151,1892],"莲","水禽","鹭","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab72c6cd475fe4f0cd76844911ed7c4.jpg",[84],334,{"id":1897,"slug":1898,"title":1899,"dynasty":72,"author":389,"museum":236,"description":1900,"tags":1901,"thumbUrl":1902,"material":486,"size":1903,"collection":39,"collections":1904,"showCount":1905,"zanCount":370,"manualWeight":43,"mainColor":44},222351,"wang-shu-gong-ji-tu-zheng-ben-tang-yin-222351","王蜀宫妓图正本","此图原名《孟蜀宫妓图》，俗称《四美图》，由明末汪砢玉《珊瑚網·画录》最早定名，沿用至今。近经专文考证，当改为《王蜀宫妓图》，描绘的是五代前蜀后主王衍的后宫故事。画面四个歌舞宫女正在整妆待君王召唤侍奉。她们头戴金莲花冠，身着云霞彩饰的道衣，面施胭脂，体貌丰润中不失娟秀，情态端庄而又娇媚。蜀后主王衍曾自制“甘州曲”歌，形容著道衣的宫妓妩媚之态：“画罗裙，能结束，称腰身。柳眉桃脸不胜春，薄媚足精神。可惜许，沦落在风尘。”唐寅创作此画，则旨主揭示前蜀后主王衍荒淫腐败的生活，寓有鲜明的讽喻之意。\n此图为唐寅人物画中工笔重彩一路画风的代表作品，显示出他在造型、用笔、设色等方面的高超技艺。仕女体态匀称优美，削肩狭背，柳眉樱髻，额、鼻、颔施以“三白”，既吸收了张萱、周昉创造的“唐妆”仕女造型特色，又体现出明代追求清秀娟美的审美风尚。四人交错而立，平稳有序，并通过微倾的头部、略弯的立姿和攀连的手臂，形成动态的多样变化和相互的紧密联系，加强了形象的丰富性和生动感。笔墨技巧近法杜堇，远宗唐人，衣纹作琴弦描，细劲流畅，富有弹性和质感，冠服纹饰描画尤见精工，细致入微。设色鲜明，既有浓淡、冷暖色彩的强烈对比，又有相近色泽的巧妙过渡和搭配，使整体色调丰富而又和谐，浓艳中兼具清雅。作品画风带有雅俗共赏的艺术特色。",[23,25,26,7,28,27,29,30,60,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6a69f4c7f9bc4763217d4951ac15c8.jpg","纵124.7厘米，横63.6厘米",[39,158],332,{"id":1907,"slug":1908,"title":1909,"dynasty":207,"author":1910,"museum":236,"description":1911,"tags":1912,"thumbUrl":1913,"material":1218,"size":1914,"collection":138,"collections":1915,"showCount":1905,"zanCount":11,"manualWeight":43,"mainColor":44},221858,"chun-shan-fan-zhou-tu-zhou-hu-ting-hui-221858","春山泛舟图轴","胡廷晖","整幅画面构图繁密，洋溢着一派春和景明的气象。图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非书画收藏家。画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。这幅《春山泛舟图》也没有签署名款，所以“廷晖”残印不可能是收藏印，而只能是作者印。此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。在色彩上两者都具有相似的绚丽色泽。此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。\n1998年，美籍华人、收藏家王季迁先生将此图捐赠故宫博物院。",[23,25,26,7,27,28,130,129,349,29,269,170,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8db66954c76bddaccd24a02539e4bf8.jpg","纵143厘米，横55.5厘米",[138,185],{"id":1917,"slug":1918,"title":1919,"dynasty":207,"author":518,"museum":236,"description":1920,"tags":1921,"thumbUrl":1922,"material":214,"size":1923,"collection":138,"collections":1924,"showCount":1925,"zanCount":356,"manualWeight":43,"mainColor":88},220803,"qiu-ting-jia-shu-tu-ni-zan-220803","秋亭嘉树图","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，反映了作者人画俱老，淡泊自守的情怀。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n此画写的是江南山川景致一隅。平远山水，近处溪边、山石和坡岸：在崎岖不平的山石间长有二株树木，二株为点叶树，一株为长叶树，树干挺拔，枝叶直上，树叶萧疏、水边山坡的平地处筑有一草亭，草亭矮小，空无一人。草亭右侧有几株翠竹，枝叶茂密，将草亭右角遮掩。中间一宽水面，湖光波色，一片空旷；远处有浮现于湖面上的一片沙碛，伸向湖面；再远处为崇山，屹立于远处的湖面上，与近处的山石坡陀遥相呼应。\n该卷上诗塘有吴宽、朱果二家题记。\n画中自题“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”",[23,25,167,364,7,130,97,79,80,253,377,78,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd8caa50f033dc8d0a2ed6d6f039610.jpg","纵：114cm，横：34.3cm",[138,185],329,{"id":1927,"slug":1928,"title":458,"dynasty":72,"author":1929,"museum":74,"description":1930,"tags":1931,"thumbUrl":1934,"material":214,"size":1935,"collection":138,"collections":1936,"showCount":1937,"zanCount":43,"manualWeight":43,"mainColor":44},221921,"tai-ping-chun-se-zhou-qian-gong-221921","钱贡","本幅画农家丰年度岁之情景:厅堂盆火高烧,儿童围炉展纸,一人搦管欲书;屋外寒梅怒放,群儿欢聚嬉戏,一老叟策杖行于桥上。画面上一派生机盎然的景象。",[23,7,27,28,29,269,134,131,778,132,1932,1933,170,733],"孩童","炉火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3fd06b089f3ed8156b696b2d89afe7.jpg","122cm ×49.8cm",[138,158],328,{"id":1939,"slug":1940,"title":1941,"dynasty":18,"author":318,"museum":209,"description":1942,"tags":1943,"thumbUrl":1944,"material":82,"size":1945,"collection":84,"collections":1946,"showCount":1937,"zanCount":11,"manualWeight":43,"mainColor":88},218897,"hu-shi-shuang-niao-tu-zhou-zhu-da-218897","湖石双鸟图轴","此画中湖石的勾勒简洁，寥寥几笔圆转的皴法，显出灵动之势。石尖和石旁坡地上各蹲立一只小鸟，给画面平添一股生气。小鸟缩头弓背的形态，流溢出嘲讽的神气。作者用饱满的软毫，中锋运转，笔笔藏锋，圆浑含蓄。全图形体简约而寓意深晦，有很强的形式感。在创作上他取法自然，笔墨简练，大气磅礴，独具新意，创造了高旷纵横的风格。",[25,26,7,77,35,151,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0533c58e6d213b70b15fc5e48b8b42a2.jpg","纵136厘米，横48.7厘米",[84],{"id":1948,"slug":1949,"title":1950,"dynasty":18,"author":921,"museum":236,"description":1951,"tags":1952,"thumbUrl":1953,"material":1573,"size":1954,"collection":84,"collections":1955,"showCount":1956,"zanCount":11,"manualWeight":43,"mainColor":88},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[23,25,26,7,28,77,97,79,304,113,392,924,35,925,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纵151.6厘米，横80.7厘米",[84,158],321,{"id":1958,"slug":1959,"title":1960,"dynasty":18,"author":921,"museum":331,"description":1961,"tags":1962,"thumbUrl":1963,"material":28,"size":100,"collection":84,"collections":1964,"showCount":1965,"zanCount":11,"manualWeight":43,"mainColor":1966},224225,"mu-dan-tu-wu-chang-shuo-224225","牡丹图","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》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,24,25,26,7,28,77,113,114,97,79,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324477af74ed2e0e3b9bd525ad134c3.jpg",[84,158],320,"FFFFFF",{"id":1968,"slug":1969,"title":1970,"dynasty":18,"author":1971,"museum":236,"description":1972,"tags":1973,"thumbUrl":1974,"material":37,"size":1975,"collection":138,"collections":1976,"showCount":1977,"zanCount":11,"manualWeight":43,"mainColor":44},214365,"fang-ju-ran-shan-shui-wang-jian-214365","仿巨然山水","王鉴","王鉴（1792-1867）是清代著名的画家，他的作品《仿巨然山水》是其代表作之一。\n\n《仿巨然山水》描绘了一幅山水画面，王鉴在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。王鉴在《仿巨然山水》中仿照了巨然（元代画家）的山水画风，并加以提升，使作品更具艺术性。\n\n《仿巨然山水》被认为是王鉴写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仿巨然山水》也是收藏家们青睐的经典之作。\n\n王鉴的《仿巨然山水》不仅是一幅精美的画作，更是一首关于自然之美的诗篇。在这幅画作中，王鉴巧妙地运用了水墨画的技法，勾勒出山水的层次感和自然的秀美。作品中的山川、树木、花卉都表现出了自然界的细腻与丰富，使观者感受到大自然的魅力。",[23,25,7,945,130,28,129,252,56,169,170,377,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8dfd4e6285792e5a5e9c104ff6bf42.jpg","220.8x109",[138],319,{"id":1979,"slug":1980,"title":818,"dynasty":207,"author":1981,"museum":74,"description":1982,"tags":1983,"thumbUrl":1984,"material":82,"size":1985,"collection":138,"collections":1986,"showCount":1987,"zanCount":11,"manualWeight":43,"mainColor":44},214248,"shan-shui-tu-sheng-mao-214248","盛懋","岸畔枯树疏柳，枝桠虬曲如篆，垂丝轻拂似诉。一舟横卧矶边，舱内人影半隐，或凭舷观水，或抱膝沉思，将天地的空阔收于方寸之间。笔墨兼工带写，山石皴染沉稳，草木勾勒灵动，枯润相生间晕开元人特有的清旷之气。无繁复景致，却以极简构图载起无尽悠远——是独处的安然，亦是与自然对谈的从容。整幅画如淡茶一盏，初看寻常，细品则唇齿留甘，心魂被那无声静谧轻轻包裹，顿觉尘嚣远遁，胸臆渐宽。山石的沉稳与草木的灵动交织，枯笔的苍劲与湿墨的柔润相映，每一处线条都藏着对天地的敬畏，每一抹晕染都浸着对心境的描摹，于简淡中见深致，于静默里藏深情。",[23,207,25,26,7,77,130,129,349,131,132,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a77d5c354804d75fd535e1b40cf2362.jpg","67.1x33.5",[138],317,{"id":1989,"slug":1990,"title":1991,"dynasty":18,"author":361,"museum":236,"description":1992,"tags":1993,"thumbUrl":1995,"material":82,"size":1996,"collection":84,"collections":1997,"showCount":1998,"zanCount":356,"manualWeight":43,"mainColor":88},214364,"duan-wu-tu-zhou-wang-shi-min-214364","端午图轴","墨笔点染的花草疏密有致，剑形菖蒲叶挺拔劲健，似携端午驱邪的古意；蜀葵叶片浓淡相宜，花瓣柔婉舒展；百合与细碎小花点缀其间，姿态娇俏。线条勾勒细腻传神，枝叶脉络清晰可见，墨色层次丰富，从浓墨到浅灰过渡自然。文人意趣融于一花一叶，素净中透出盎然生机，淡雅间藏着温润诗意。无艳色却自具清幽之美，尽显传统花卉画的雅致情韵与端午时节的独特氛围，让人于素纸上感受到自然的生机与文化的绵长。",[23,24,25,26,7,77,28,113,27,536,58,291,549,1994],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3414e2605b1e19c796fba5f04650202d.jpg","100.8x40.1",[84],314,{"id":2000,"slug":2001,"title":2002,"dynasty":72,"author":1614,"museum":624,"description":1615,"tags":2003,"thumbUrl":2004,"material":182,"size":2005,"collection":100,"collections":2006,"showCount":2007,"zanCount":43,"manualWeight":43,"mainColor":88},221985,"shan-shui-li-zhou-wen-zheng-ming-221985","山水立轴",[23,25,129,252,56,253,77,304,7,214,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee332f86c87306407e318e216c5c719a.jpg","169×97cm",[],313,{"id":2009,"slug":2010,"title":2011,"dynasty":18,"author":1123,"museum":236,"description":2012,"tags":2013,"thumbUrl":2015,"material":486,"size":2016,"collection":100,"collections":2017,"showCount":2018,"zanCount":656,"manualWeight":43,"mainColor":44},234922,"fu-chun-shan-tu-zhou-yun-shou-ping-234922","富春山图轴","图绘林木葱茂、山峦起伏的雄秀景色。此图是作者仿元黄公望《富春山图》画意之作，线条勾勒粗犷，笔势潇洒而秀润。淡墨皴染，墨色透明而不失凝重，显现出作者对黄氏笔墨技法的娴熟运用能力。",[25,26,7,77,130,129,170,132,1419,733,134,2014],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e6255603844435afcc8c4427ea5fcc.jpg","纵168cm，横69.2cm",[],312,{"id":2020,"slug":2021,"title":2022,"dynasty":72,"author":1496,"museum":236,"description":2023,"tags":2024,"thumbUrl":2026,"material":2027,"size":2028,"collection":84,"collections":2029,"showCount":2018,"zanCount":356,"manualWeight":43,"mainColor":44},222398,"gui-ju-shan-qin-tu-lv-ji-222398","桂菊山禽图","该画所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画中造型严密，布置合理，使鸟、树、花儿粗细两相映衬，而色彩的明艳夺目更是增加了该画的艺术气息。\n该画描绘的是秋天的情景，画中有一棵高大而茂盛的桂花树，树干苍健，树上绿叶茂密，桂花簇聚。\n桂树上栖落着几只八哥，有两只正隔着树枝对唱，一只正翘首远眺。\n在低一些的树枝上，有一只蓝色绶带正朝着树下鸣叫，它黑白相间的羽翼之间，长着蓝色的羽毛，嘴和爪子为红色。\n树下的三只绶带，正在争食一只草虫，它们翘起高高的羽翎。\n桂树下长着一些野草，还有一些形状各异的石头，石后几株菊花正开得鲜艳，颜色有红的、黄的、白的。\n明代画院花鸟画是以南宋院体为基础并发展的，讲究设色浓艳，笔势劲健且奔放，明代画家吕纪的《桂菊山禽图》就体现了这样的画风。\n吕纪工笔重彩花鸟画创作的时候，承袭五代 工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[23,24,25,26,7,27,28,113,2025,440,151,35,1373,536,548],"桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[84,158],{"id":2031,"slug":2032,"title":2033,"dynasty":72,"author":1024,"museum":74,"description":2034,"tags":2035,"thumbUrl":2036,"material":255,"size":2037,"collection":138,"collections":2038,"showCount":2039,"zanCount":419,"manualWeight":43,"mainColor":88},220923,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-220923","临倪瓒东冈草堂图轴","注意画叶也要讲究笔法，不是胡乱的点画的，要“写”出来，画的叶子要有笔力。在开始画的时候，先浅墨而后蘸取浓墨在笔尖，由内到外，还需要有位置经营概念，去写画出来。",[23,25,77,945,7,129,253,132,193,29,79,130,521,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a0364821d55f9583be7c7bb15bf0fc.jpg","87.4x65",[138,185],311,{"id":2041,"slug":2042,"title":2043,"dynasty":93,"author":481,"museum":74,"description":2044,"tags":2045,"thumbUrl":2046,"material":37,"size":2047,"collection":138,"collections":2048,"showCount":2049,"zanCount":656,"manualWeight":43,"mainColor":44},218286,"yue-ye-bo-ruan-tu-ma-yuan-218286","月夜拨阮图","淡墨晕染的远山如黛，似笼着一层薄纱，与昏黄天色相融成朦胧梦境。左侧山石嶙峋，几竿修竹斜逸而出，枝叶疏朗，墨线劲挺如剑。竹下茅舍半隐，一人凭栏拨阮，指尖流转间，琴声似随晚风漫过江面，与竹影婆娑和鸣。画面构图简括，以边角之景见天地辽阔，留白处尽是月夜空寂与悠远。山石用斧劈皴勾勒，笔触刚健；竹子笔法灵动，尽显生机；人物神态闲适，藏着文人清雅况味。整幅画于简约中蕴无限情韵，将月夜静谧与文人诗意诠释得淋漓尽致，是南宋山水小品的妙笔，尽显水墨写意的空灵之美。",[23,25,24,26,7,77,28,129,31,132,522,151,59,777,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe316cc25382668a97677ff3d3ec2d844.jpg","111.5x53.1cm",[138],308,{"id":2051,"slug":2052,"title":2053,"dynasty":18,"author":1538,"museum":533,"description":2054,"tags":2055,"thumbUrl":2056,"material":2057,"size":2058,"collection":84,"collections":2059,"showCount":2060,"zanCount":370,"manualWeight":43,"mainColor":44},223166,"he-tang-yuan-yang-tu-shen-quan-223166","荷塘鸳鸯图","夏天，荷花风光，荷叶盛开，老嫩枯萎，随风飘扬，荷花枝叶高高突出。\n荷花或盛开，或抱以待放。 淡黄色的太阳花瓣，粉红色的花瓣，娇嫩多彩，倒映着水花和芬芳的花瓣。\n水中的鸳鸯成双成对，在花间的叶子底下嬉戏玩耍。 发色抢眼，华丽，勾勒出画面。\n喜鹊在空中栖息飞翔，盘旋三圈，与莲花杆上的三人和声合唱。",[23,25,26,24,7,27,28,113,306,307,799,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f8825b07bf8e459260b47a52535640.jpg","绢本，立轴，设色","187x105.2",[84,158],304,{"id":2062,"slug":2063,"title":2064,"dynasty":93,"author":50,"museum":74,"description":2065,"tags":2066,"thumbUrl":2068,"material":37,"size":100,"collection":39,"collections":2069,"showCount":2060,"zanCount":656,"manualWeight":43,"mainColor":342},216983,"yu-lan-guan-yin-tu-yi-ming-216983","鱼篮观音图","鱼篮观音图是宋代佚名画家的作品，其中描绘了观音菩萨手持鱼篮的场景。观音菩萨是佛教中的一位观世音，被认为能够拯救苦难的众生。鱼篮观音图通常被用作冥想祈福的辅助图片，并且也被认为具有招财进宝的功效。这幅画作品流传至今，并且在许多佛教寺庙中都可以看到。",[25,26,24,7,54,29,27,28,79,2067],"鱼篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6e54f1af2dc55c1055152c478f86c4.jpg",[39],{"id":2071,"slug":2072,"title":2073,"dynasty":93,"author":164,"museum":74,"description":2074,"tags":2075,"thumbUrl":2076,"material":214,"size":2077,"collection":157,"collections":2078,"showCount":2079,"zanCount":11,"manualWeight":43,"mainColor":44},221383,"lin-liu-du-zuo-tu-zhou-fan-kuan-221383","临流独坐图轴","这幅画沿袭北宋雄伟山水的传统：主山位在画幅的中央上端，两侧罗列次要的山峰，以溪谷、河流、桥梁、云烟显示深而远的空间。临流独坐岸边的士人，点出画的主题，与巨大的山石相比，人物如此渺小而且不明显，表现了北宋传统的自然观。\n在范宽的《溪山行旅图》和郭熙的《早春图》中，看到的点景人物，都是市井小民，在写“真山水”的观念下，北宋山水画家很自然的将观察到的寻常百姓的生活描写入画。十一世纪后期，士大夫与文人成为政府与社会的中坚，领导文学艺术的发展，文人或隐士的理想开始在诗歌、书法与绘画中反映出来，陶渊明《归去来辞》的名句：“登东皋以舒啸，临清流而赋诗，聊乘化以归尽，乐夫天命复奚疑。”曾经是十一世纪末北宋画家喜爱的题材，或者也是这幅画的灵感来源。所以岸边简陋的茅草屋和水榭是这位归隐士人的居所，陪伴他的是深林巨嶂，孤舟木桥，一个远离尘嚣的自然世界。画幅上端十则明人的题诗，就是围绕着这个主题，描写这幅画带给他们的感受。",[23,25,26,24,7,129,193,29,170,351,130,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ed1c3e18f130c28f61bb202a5396d3.jpg","156.1x106.3cm",[157,185],303,{"id":2081,"slug":2082,"title":2083,"dynasty":93,"author":623,"museum":74,"description":2084,"tags":2085,"thumbUrl":2086,"material":37,"size":2087,"collection":157,"collections":2088,"showCount":2089,"zanCount":419,"manualWeight":43,"mainColor":44},218908,"han-lin-tu-li-cheng-218908","寒林图","老树虬枝如铁，皴裂躯干似承霜雪低语。蟹爪般枝桠向上伸展，墨色浓淡晕染清寂寒意。溪流蜿蜒穿林，坡石错落间远近层次渐铺，平远之境顿生。淡墨皴擦见长，清润雅致中透着荒寒之气，尽显北方山水萧索静谧。林间风声与水流轻响似可听闻，引人入幽深之境，于简淡笔墨里藏着无尽悠远意韵，仿佛能触到寒林深处的清冷与安宁。",[23,25,77,130,7,129,484,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00763436e1ca42c45455bf4e9f3abae8.jpg","146.8x75.2",[157,138],302,{"id":2091,"slug":2092,"title":2093,"dynasty":18,"author":1123,"museum":331,"description":2094,"tags":2095,"thumbUrl":2096,"material":198,"size":780,"collection":100,"collections":2097,"showCount":2098,"zanCount":356,"manualWeight":43,"mainColor":88},290526,"hua-hui-zhou-yun-shou-ping-290526","花卉轴","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,25,26,7,28,27,113,114,116,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060eeb289a0dda1a06b4c11a188ac1f7.jpg",[],301,{"id":2100,"slug":2101,"title":2102,"dynasty":72,"author":264,"museum":74,"description":2103,"tags":2104,"thumbUrl":2106,"material":255,"size":2107,"collection":84,"collections":2108,"showCount":2109,"zanCount":656,"manualWeight":43,"mainColor":88},222200,"shui-xian-la-mei-zhou-chou-ying-222200","水仙蜡梅轴","本幅画水仙两本，蜡梅一枝，以勾勒填彩法成之，着意无多，而清丽雅澹之韵，盎然绢素，乃仇英之精者，款书十五字，出项元汴手笔。此图另存一幅，现流传于国外。",[23,25,26,7,27,28,113,924,2105,79],"蜡梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16cf1c9094975ec18e1391b0dc61eace.jpg","195.8x44厘米",[84,158],300,{"id":2111,"slug":2112,"title":2113,"dynasty":283,"author":284,"museum":236,"description":2114,"tags":2115,"thumbUrl":2118,"material":82,"size":2119,"collection":84,"collections":2120,"showCount":2109,"zanCount":11,"manualWeight":43,"mainColor":88},216929,"wu-ya-song-shu-tu-qi-bai-shi-216929","乌鸦松树图","乌鸦松树图是齐白石的一幅著名画作。这幅画描绘了一棵古老的松树，上面停满了乌鸦。树上的乌鸦象征着松树的历史和沧桑。这幅画被认为是齐白石最伟大的作品之一，因为它成功地将自然与人类的悲剧融合在一起。乌鸦松树图也被认为是中国画中最具有感染力的作品之一。",[23,25,77,7,97,2116,427,2117,304],"乌鸦","松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba80710e587f7a5c2c36e7bf418b96d.jpg","182.8x48.7cm",[84],{"id":2122,"slug":2123,"title":2124,"dynasty":18,"author":318,"museum":331,"description":2125,"tags":2126,"thumbUrl":2127,"material":100,"size":100,"collection":100,"collections":2128,"showCount":2129,"zanCount":43,"manualWeight":43,"mainColor":88},237931,"ku-cha-dun-ying-zhou-zhu-da-237931","枯槎蹲鹰轴","大片留白晕开萧索空寂的底色，枯槎以寥寥皴擦写就虬曲老态，墨点留作木疤，沉凝间尽诉岁月剥蚀的沧桑。\n\n蹲立槎头的猛禽，白眼斜睨，倨傲桀骜的神情藏着化不开的孤愤。干湿浓淡的墨色晕染羽翼，蓬松绒羽与锐厉气势相融，利爪紧扣枯木，静穆中暗蓄振翅即发的张力。\n\n整幅画以少胜多，笔墨极简却意蕴沉厚，将孤傲不屈的心绪寄于毫端，清冷禅意与嶙峋风骨跃然纸上，尽显水墨写意的极致妙趣。",[25,77,7,304,79,521,1488,115,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6320940ea9a227340fd5d2b614e82497.jpg",[],298,{"id":2131,"slug":2132,"title":2133,"dynasty":283,"author":1683,"museum":2134,"description":2135,"tags":2136,"thumbUrl":2138,"material":100,"size":100,"collection":100,"collections":2139,"showCount":2129,"zanCount":11,"manualWeight":43,"mainColor":88},220522,"xu-bei-hong-xiong-ji-tu-zhou-xu-bei-hong-220522","徐悲鸿雄鸡图轴","四川博物院","此作以大写意落笔，雄鸡身姿轩昂抖擞，红冠如灼灼丹火，浓墨泼就的翎羽苍劲如铁，留白晕出颈腹白羽，浓淡相生尽显神采。利爪紧扣崖岩，似将引吭长鸣，尽显昂扬不屈的气魄。\n\n崖石以淡赭泼染，枯笔勾皴出嶙峋质感，间杂数丛浅绿新篁，柔枝衬出顽石刚劲，刚柔相济。整幅画作笔力爽利简练，形神兼备，将雄鸡的英武风骨跃然纸上，寄寓着浩然正气，寥寥数笔便勾勒出禽石相融的生机，尽显写意花鸟的精妙意趣。",[23,25,26,7,77,28,113,2137,31,79],"雄鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe115ec61c0c6ef5f425bf65a2f50841a.jpg",[],{"id":2141,"slug":2142,"title":2143,"dynasty":72,"author":2144,"museum":331,"description":2145,"tags":2146,"thumbUrl":2147,"material":100,"size":100,"collection":100,"collections":2148,"showCount":2149,"zanCount":419,"manualWeight":43,"mainColor":88},230882,"lan-hua-tu-zhou-zhou-tian-qiu-230882","兰花图轴","周天球","《明陈元素兰花图轴》是明朝陈元素所创作的画作。\n陈元素，生卒年不详，字古白，长洲(今江苏苏州)人。\n早负才名，工诗文、书画。\n擅山水，尤善墨兰。\n此画兰叶偃仰，墨花横溢，超然出尘，得文徵明之秀媚，而更气厚力沉。\n明谓王榖祥、周天球所不及。",[24,25,26,7,77,1051,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c31f43667a27327d9f6e11d682c75a8.jpg",[],296,{"id":2151,"slug":2152,"title":2153,"dynasty":18,"author":921,"museum":331,"description":1961,"tags":2154,"thumbUrl":2155,"material":1320,"size":100,"collection":84,"collections":2156,"showCount":2149,"zanCount":11,"manualWeight":43,"mainColor":88},224224,"shen-xiang-ting-mu-dan-tu-wu-chang-shuo-224224","沈香亭牡丹图",[23,25,26,7,28,304,113,114,440,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c9d82e7f776cb18bd2518ac5c4a852.jpg",[84,158],{"id":2158,"slug":2159,"title":2160,"dynasty":18,"author":318,"museum":236,"description":2161,"tags":2162,"thumbUrl":2164,"material":82,"size":100,"collection":138,"collections":2165,"showCount":2149,"zanCount":656,"manualWeight":43,"mainColor":88},218774,"bai-lu-tu-zhu-da-218774","柏鹿图","虬枝如铁，苍柏孑立，似承霜雪之重。白鹿昂首，长颈引向天际，目含清寂，身姿简括却筋骨隐现。墨色浓淡相济，枝干的枯涩与鹿身的柔劲相映，留白处更显空远孤高。画面无喧嚷，唯有冷寂中透出的坚守，恰如画家心境——于乱世中抱守孤洁，以物寄情，将满腔郁勃化入简淡笔墨，自成一派清绝之境。笔意纵逸却不失沉稳，每一处线条都藏着内敛的力量，让苍柏与白鹿成为跨越时空的精神载体，静静诉说着那份独属于旧朝遗民的孤傲与怅惘。",[23,25,77,7,304,130,241,1073,2163,131,35],"柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33c355a23e9081c6ca7d116aca7e485.jpg",[138,84],{"id":2167,"slug":2168,"title":720,"dynasty":72,"author":264,"museum":74,"description":721,"tags":2169,"thumbUrl":723,"material":37,"size":2171,"collection":158,"collections":2172,"showCount":2173,"zanCount":419,"manualWeight":43,"mainColor":44},219320,"chun-shan-yin-shang-zhou-chou-ying-219320",[25,26,7,28,27,130,129,29,377,170,169,132,172,270,404,272,2170],"春景","157.5x63.2",[158],295,{"id":2175,"slug":2176,"title":2177,"dynasty":72,"author":1464,"museum":236,"description":2178,"tags":2179,"thumbUrl":2180,"material":486,"size":2181,"collection":84,"collections":2182,"showCount":2183,"zanCount":370,"manualWeight":43,"mainColor":44},221941,"zhu-he-tu-zhou-bian-wen-jin-221941","竹鹤图轴","图中一对仙鹤姿态优雅，轩昂高洁，在翠竹间怡然自得。画家以工细的笔法描绘仙鹤的形象，高超的技法使笔触融汇于物象之中，仙鹤洁白轻盈的羽毛片片分明，好似浮在画面之上，令观者屏息凝神。仙鹤的头颈与尾羽处则用重墨，再加上鹤顶的一点丹红，格外醒目。画竹以墨笔双勾再施色彩。全幅设色对比鲜明，整体画风是边景昭的典型风格，承继了五代黄筌以及宋代画院花鸟画的富贵品貌，带有浓郁的宫廷气息。",[23,24,25,26,7,27,28,113,31,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed729de72a5a8f756cc02b29a5044bdd.jpg","纵180.4厘米，横118厘米",[84,158],294,{"id":2185,"slug":2186,"title":596,"dynasty":72,"author":2187,"museum":147,"description":2188,"tags":2189,"thumbUrl":2191,"material":37,"size":100,"collection":39,"collections":2192,"showCount":2193,"zanCount":370,"manualWeight":43,"mainColor":44},219556,"shi-nv-tu-jiang-gan-219556","蒋干","春日深苑里，梅枝斜曳绽蕊，古殿檐角隐在花影后。两名仕女缓步游园，前者抬臂探花，似贪嗅浅淡春芳，后者抬手理鬓，眼波追随着花枝流转。\n\n衣纹以淡墨轻勾，敷色清妍柔润，朱红飘带轻垂摇曳，衬出仕女柔婉窈窕的身姿。山石花木晕染雅致，淡赭底色晕开暮春慵柔氛围，笔意秀逸灵动，将深闺仕女娇柔娴静的游园意趣藏在每一处笔触间，尽显清丽隽秀的古典风韵，把春日闲淡雅致的闺中情态铺陈得动人缱绻。",[23,25,26,7,27,28,29,30,775,575,269,2190],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a387652910225c3f68016cca938aa4e.jpg",[39,158],290,{"id":2195,"slug":2196,"title":2197,"dynasty":18,"author":1048,"museum":331,"description":2198,"tags":2199,"thumbUrl":2200,"material":100,"size":100,"collection":84,"collections":2201,"showCount":2202,"zanCount":356,"manualWeight":43,"mainColor":88},237929,"zheng-xie-lan-zhu-ju-tu-zhou-zheng-ban-qiao-237929","郑燮兰竹菊图轴","清代官吏、书画家、文学家。名燮，字克柔，江苏兴化人。康熙秀才、雍正举人、乾隆元年进士。“扬州八怪”之一。历官山东范县、潍县知县，有惠政。以请臻饥民忤大吏，乞疾归。诗书画均旷世独立，人称三绝。有《板桥全集》。",[25,77,304,97,7,1051,31,440,33,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c9ee82db8bf4c30827b6a0b1e18900.jpg",[84,185],289,{"id":2204,"slug":2205,"title":2206,"dynasty":109,"author":597,"museum":74,"description":2207,"tags":2208,"thumbUrl":2211,"material":37,"size":2212,"collection":39,"collections":2213,"showCount":2214,"zanCount":356,"manualWeight":43,"mainColor":44},219691,"he-ting-yi-diao-shi-nv-tu-zhou-wen-ju-219691","荷亭弈钓仕女图","画亭榭临池，前後碧柳四垂，二女亭中对奕。亭外池荷盛开，翠叶田田。仕女或倚栏垂钓或持扇观荷，一派夏日悠闲景象。通幅屋界、衣饰刻画精细，粉花绿叶著色清丽，本幅旧传为南唐周文矩之作，唯笔墨、器用皆显露出明清习气。",[23,25,24,26,7,27,28,29,30,377,306,269,404,2209,1675,2210],"台阶","弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe978a3e1bcbd02719a386cfad2d3d42b.jpg","195.1x98厘米",[39],287,{"id":2216,"slug":2217,"title":2218,"dynasty":18,"author":50,"museum":319,"description":2219,"tags":2220,"thumbUrl":2222,"material":37,"size":2223,"collection":84,"collections":2224,"showCount":2225,"zanCount":356,"manualWeight":43,"mainColor":44},218955,"he-li-shi-zhu-tu-yi-min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59.5公分，收藏于台北故宫博物院。",[23,25,26,7,77,129,378,29,193,132,212,130,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fd7019bd476433d407aa9e87390ada.jpg","107.4x32.6",[138,158],{"id":2289,"slug":2290,"title":2291,"dynasty":18,"author":1296,"museum":648,"description":2292,"tags":2293,"thumbUrl":2295,"material":82,"size":2296,"collection":138,"collections":2297,"showCount":2298,"zanCount":656,"manualWeight":43,"mainColor":44},220256,"gu-mu-chui-yin-tu-shi-tao-220256","古木垂阴图","近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。用笔皴法多变，赋色雅淡。右上角有作者长题，石涛（公元1640~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。善画山水，为清初四画僧之一。",[23,25,26,7,77,130,129,2294,132,193,173,377,170,35,79],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd206f53b4e26c9e4a001ab119062d2e.jpg","纵175,横50.7cm",[138],273,{"id":2300,"slug":2301,"title":2302,"dynasty":72,"author":954,"museum":236,"description":2303,"tags":2304,"thumbUrl":2305,"material":100,"size":100,"collection":84,"collections":2306,"showCount":2307,"zanCount":419,"manualWeight":43,"mainColor":44},239086,"he-hua-yuan-yang-zhou-zhou-zhi-mian-239086","荷花鸳鸯轴","此图画面下部绘有一对鸳鸯，活跃在荷塘水草之中，一只雄性的徴莺，正潜水觅食，双翅合拢，羽尾上翘，伸颈张嘴，正在捕捉食物。另一只雌性站立在荷塘岸上，扭弯脖颈，双目炯炯有神，正在注视河水中正在捕食的雄性。画面的背景主要集中右上方，右侧湖石从旁伸展，湖石造型奇特，玲珑别透，湖石上面有一棵廾满花朵的花树，枝干弯曲，伸向画面左中侧。湖石旁有数株荷叶，荷茎挺拔，荷花盛开，荷叶有的平展，有的悬垂，荷叶整、残相间，另间有其水草。\n此图写湖石、荷花、鸳鹫，形象通真，生动传神。画面清秀，笔墨自然，设色艳丽。此画是周氏用勾花点叶画法画的一幅典型作品，作者把草书的笔法融汇到画法中去，运笔疾速，枝叶的穿插、花朵的安排都恰到好处。作品用笔简洁、概括，例如河岸、湖石的画法，用粗笔勾勒，只有很少的儿笔魃染，寥寥数笔却颇具形态，水面大部分空白，只以淡淡的几条水纹表现水的存在，却有动感，杂草看去似不经心之笔却错落有致。鸳鸯的造型是在写实的基础上略有变化。两只鸳鹫神态各异，但都生动自然，日似点漆，颇具精神。鸳鹫大部分以淡墨浅设色写出，颈部、背部的毛用纤细的笔法画出，根根可见，表现出画家娴熟的工笔技法。头、尾、足又巧妙地利用了生纸的性能，水墨自然晕开，甚为生动，翅膀用笔虽较硬，但由于水墨涸晕的效果，把羽毛丰满的鸳鸯形象表现得淋漓尽致。兼工.带写，别具一格。鸳整体设色浓淡得宜立体感很强。荷花采用匀花点叶法，花以线条勾出，叶子则直接落笔成形，然后以墨勾叶筋，荷花设色淡雅，清新自然。这一切都显示了画家的笔墨造形功力。",[25,24,7,113,28,27,306,799,115,307,1373,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b8317f95838a26d9b5f0806530d75.jpg",[84,158],272,{"id":2309,"slug":2310,"title":2311,"dynasty":72,"author":389,"museum":74,"description":2312,"tags":2313,"thumbUrl":2314,"material":136,"size":2315,"collection":158,"collections":2316,"showCount":2307,"zanCount":356,"manualWeight":43,"mainColor":88},219330,"hua-ji-zhen-ji-zhou-tang-yin-219330","画鸡真迹轴","石上雄鸡昂首而立，羽色斑斓间透着昂然气度，恰应题中“血染红冠锦满身”之态。旁侧菊丛竞艳，红英灼灼如霞，黄蕊灿灿似金，白瓣皎皎若雪，枝叶扶疏间衬以修竹数竿，清逸之韵自生。双蝶翩跹于花间，翅影轻摇，为静景添灵动生机。整幅画作工写相济，设色淡雅却层次分明，禽鸟花卉皆形神兼备。题诗笔墨洒脱，与画面意境交融，尽显文人画“诗画同源”之妙，于方寸间藏生机与风骨，读来令人心折。",[25,26,7,28,27,1228,440,31,600,287,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca49404492f1b40b2f4829b76583fed.jpg","119.9x30.3",[158],{"id":2318,"slug":2319,"title":1047,"dynasty":18,"author":2320,"museum":331,"description":2321,"tags":2322,"thumbUrl":2323,"material":214,"size":100,"collection":84,"collections":2324,"showCount":2325,"zanCount":643,"manualWeight":43,"mainColor":44},220147,"lan-zhu-tu-wang-shi-shen-220147","汪士慎","汪士慎工诗及八分书，画水仙、梅花清妙独绝。金农谓其画梅之妙，与高西唐（翔）异曲同工。汪士慎画繁枝，千花万蕊，管领冷香，俨然灞桥风雪中。西唐画疏枝半开蝉朵，用玉楼人口脂抹一点红，良缣精楮，各臻其微。汪士慎老而目瞽，为人画梅，或作八分书，工妙胜于未瞽时。精篆刻，与张潜乙、金筋齐名",[23,25,26,7,77,985,1051,31,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02b3c39e8909994e36da16ef7bad4da.jpg",[84],270,{"id":2327,"slug":2328,"title":2329,"dynasty":18,"author":2330,"museum":2331,"description":2332,"tags":2333,"thumbUrl":2337,"material":37,"size":2338,"collection":84,"collections":2339,"showCount":2325,"zanCount":656,"manualWeight":43,"mainColor":88},218975,"teng-hua-shan-que-tu-jiang-ting-xi-218975","藤花山雀图","蒋廷锡","日本大阪市立美术馆","描绘缠绕椿树生长的紫藤花，另有白头翁、兰花、灵芝及湖石等元素。画作右下角款「臣蒋廷锡恭画」，左上方有康熙皇帝御题唐代岑参（715-770）〈石上藤〉一诗。该作曾录于《石渠宝笈》，后辗转流出清宫，成为阿部房次郎（1868-1937）的收藏。",[23,25,26,7,27,28,113,562,2334,151,35,170,2335,172,351,2336],"山雀","兰花","蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8205a0f0caa95b529902b560707fb7c9.jpg","纵212.5横97.1cm",[84,158],{"id":2341,"slug":2342,"title":2343,"dynasty":207,"author":695,"museum":236,"description":696,"tags":2344,"thumbUrl":2345,"material":745,"size":2346,"collection":185,"collections":2347,"showCount":2348,"zanCount":356,"manualWeight":43,"mainColor":44},220774,"mo-zhu-po-shi-tu-zhou-wu-zhen-220774","墨竹坡石图轴",[23,25,26,24,7,77,80,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d252d4771dcd257aaed5371ff0080f.jpg","纵103.4厘米，横33厘米。",[185,702],269,{"id":2350,"slug":2351,"title":2352,"dynasty":72,"author":389,"museum":319,"description":2353,"tags":2354,"thumbUrl":2355,"material":136,"size":2356,"collection":138,"collections":2357,"showCount":2358,"zanCount":419,"manualWeight":43,"mainColor":44},217036,"bi-shan-qi-shu-tu-tang-yin-217036","碧山琪树图","唐寅在画画方面有很高的造诣，他的作品涵盖了许多不同的题材，包括自然风景、人物、花鸟、山水、古典寓言故事等。\n\n碧山琪树图是唐寅的一幅著名作品。这幅画描绘了一片美丽的山林，山顶上有一棵琪树，下面是茂盛的松柏林。唐寅用笔轻柔地勾勒出了各种山石、枝叶、花草的线条，使画面看起来栩栩如生。",[25,7,129,28,130,252,253,377,169,193,351,427,911,1717,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf99aba7e79792d4e1f74ad4b1015736.jpg","123x58cm",[138],268,{"id":2360,"slug":2361,"title":2362,"dynasty":72,"author":264,"museum":2363,"description":2364,"tags":2365,"thumbUrl":2369,"material":1573,"size":2370,"collection":138,"collections":2371,"showCount":2372,"zanCount":656,"manualWeight":43,"mainColor":88},222206,"feng-xi-chui-diao-tu-zhou-chou-ying-222206","枫溪垂钓图轴","湖南省博物馆","此图画工细而见气势，反映了仇英的山水画的典型风格。\n画面展示了深秋辽阔的山川郊野的壮丽景色，远处楼阁隐现于山间的丛林和流动的云雾中；中景处层峦叠嶂；近景为红枫映掩的溪江上，身着素色朝服的士大夫在轻舟上静坐垂钓。\n画面高嶂巨壁，丘壑深远，笔墨健劲纯熟，设色古朴，采取传统的皴、擦、点、染相结合，使画幅气势雄阔，景致迷人，予人以心旷神怡之感。\n此图题跋印鉴较多。\n画首有清 的题诗：“枫落吴江候，烟蓬破冷浮；聊存竿线意，讵为釜鬲求。\n山色早辞夏，波光宜是秋；思莼风味在，静与日相谋。\n”落款为：“戌子秋月御题”（戌子系乾隆二十三年，即1768年）下钤有“乾隆宸翰”朱文小方印。\n图右上角钤有“乾隆御览之宝”圆形朱文印，与“淳化轩图书珍秘宝”白文方形印二方。\n图左上方钤有“淳化轩”朱文长方印“乾隆宸翰”白文大方印，“信天主人”朱文大方印，左上角钤“乾隆鉴赏”圆形白文印，下接“三希堂精鉴玺”长方形朱文印与“宜子孙”白文长方印。\n这些印都是乾隆帝钤盖在宫廷所藏的精品之上的常用印鉴。\n该图左下裱边刊有“同治三年二月江阴何栻廉眆以此桢见诒，十月初付沅甫弟珍藏。",[23,25,27,28,130,7,129,2366,1419,349,29,132,2367,170,2368],"枫树","渔乐","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf664be593917b57e4ddec7d0838657.jpg","纵127厘米，横8.5厘米",[138,158],267,{"id":2374,"slug":2375,"title":2376,"dynasty":72,"author":126,"museum":265,"description":2377,"tags":2378,"thumbUrl":2379,"material":1320,"size":2380,"collection":84,"collections":2381,"showCount":2372,"zanCount":419,"manualWeight":43,"mainColor":88},222118,"ping-he-tu-shen-zhou-222118","瓶荷图","此画是沈周作品中比较少见的工笔花鸟画，画上绘一铜壶，内植荷花荷叶各三株，交错而生。荷叶向背以深浅不同绿色区分，多取其背，使画面变浓艳为淡雅，凸现清高风格。作品形象写实，用笔简括，色泽温润，格调质朴。插花所用的铜壶以墨笔勾轮廓，没骨法渲染明暗，立体感很强。",[23,25,26,7,28,306,307,33,27,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551d511ecb28a9a711639a1773ee49c3.jpg","60x143cm",[84,158],{"id":2383,"slug":2384,"title":2385,"dynasty":93,"author":2386,"museum":236,"description":2387,"tags":2388,"thumbUrl":2390,"material":2391,"size":2392,"collection":157,"collections":2393,"showCount":2394,"zanCount":356,"manualWeight":43,"mainColor":44},220260,"song-xia-ting-qin-tu-zhao-meng-fu-220260","松下听琴图","赵孟頫","此作用青绿晕染铺展山水，层叠远山淡逸朦胧，坡岸苔点疏密错落，漾出幽寂林下氛围。几株古松虬曲苍劲，鳞皴老干垂挂松萝如翠帘轻垂，框出一方雅集天地。\n\n松下四人围坐，抚琴者垂目拨弦，听者或支颐凝思，或侧耳静聆，侍童恭立一旁，尽显文人雅聚的闲淡意趣。衣袂线条清隽简雅，暗合魏晋林下风流。题画诗与山水人物相映，笔墨间浸透知音相逢、寄怀林泉的雅兴，将丝竹之韵融在松风山色里，淡远悠长的文人情思溢满卷间。",[23,24,25,26,7,28,27,378,29,129,2389,57,170,777],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3759b8e137635ec8416cf0cc39860ba.jpg","设色,绢本","纵123.6厘米、横60.4厘米",[157],265,{"id":2396,"slug":2397,"title":1183,"dynasty":49,"author":1184,"museum":331,"description":1185,"tags":2398,"thumbUrl":2400,"material":198,"size":780,"collection":100,"collections":2401,"showCount":2402,"zanCount":11,"manualWeight":43,"mainColor":88},231826,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231826",[23,25,26,7,27,28,29,30,602,62,79,392,2399],"花瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a3c759e4883325592f1223e2b185251.jpg",[],262,{"id":2404,"slug":2405,"title":2406,"dynasty":72,"author":2407,"museum":236,"description":2408,"tags":2409,"thumbUrl":2410,"material":136,"size":2411,"collection":84,"collections":2412,"showCount":2402,"zanCount":631,"manualWeight":43,"mainColor":44},219121,"yu-tang-zhi-lan-tu-sun-ke-hong-219121","玉堂芝兰图","孙克弘","图绘拳石之旁，玉兰、兰花竞相开放。花、石的技法均极工细，玉兰花用粉多次轻染分出浓淡，再用工笔勾勒烘托出花瓣的肥大白嫩。枝干双勾填色并施以皴擦，极富质感。山石的技法是先以淡墨勾出轮廓，然后用浓淡墨多次晕染，逐渐加深，直至显现出丰富的前后层次及石体的细腻。山石玲珑剔透而刚硬，玉兰和兰花​​​​​​​婀娜多姿而柔媚。本幅设色明丽清亮，层次细密，变化微妙，典雅端丽，属作者绘画山水之作品。",[23,25,26,7,27,28,113,116,1051,132,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb622e2d3d8f5803168e0fa600c2995e.jpg","横59厘米，纵135厘米",[84],{"id":2414,"slug":2415,"title":2416,"dynasty":207,"author":208,"museum":74,"description":2417,"tags":2418,"thumbUrl":2420,"material":37,"size":2421,"collection":138,"collections":2422,"showCount":2402,"zanCount":11,"manualWeight":43,"mainColor":44},218657,"song-shan-shu-wu-tu-wang-meng-218657","松山书屋图","山峦重叠，以干笔牛毛皴皴擦，松林杂树，蓊蓊郁郁，几密不透风。高士一人，展卷于茅屋中。左上角以小篆题曰「松山书屋」，通幅画作与题识方式，均展现王蒙古拙圆浑的笔韵。此帧完成于至正九年，是王蒙四十二岁之作。",[23,25,26,7,77,130,129,252,427,2419,170,132,172],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F688ec184ac7c5bc54e55285cace16b57.jpg","113x51.7cm",[138],{"id":2424,"slug":2425,"title":2426,"dynasty":93,"author":164,"museum":74,"description":2427,"tags":2428,"thumbUrl":2429,"material":182,"size":2430,"collection":157,"collections":2431,"showCount":2432,"zanCount":43,"manualWeight":43,"mainColor":44},221394,"xue-shan-xiao-si-tu-zhou-fan-kuan-221394","雪山萧寺图轴","画中描绘的是北方山岳雪景。山形陡峭，折落有势，峰峦岭岫一片银白。画中集中笔意书写了“萧寺”形象。山中一片苍茫荒凉之气，山下水路相伴，似与古寺相通，有游人、旅人、商者荷担瑟瑟而行。动静比照，静中见动，寂中显闹。 该图笔法雄劲嗣瘦，无款印。\n《雪山萧寺图》着意描写“雪意”。雪后的群山，到处是一片银白的世界，正面是雪岭高耸，崔嵬之山高旷雄原，山形陡峭，山脉盘折，峰峦岭岫一片银白。山坳深处深藏古寺楼台，隐现可见山下水边有路，可通向深山古寺。山下有古木、寒林、溪流。沟壑中有深深的积雪，近山远山树木叶落已尽，树杈上被积雪掩盖，山峦、楼顶、道路、坡石由大雪覆盖，周围阴沉沉的，只有一股潺潺流动的山泉，打破了这迷人的平静。近前可见两个旅人荷担踏雪而行，有的曳杖行进，他们顶着竹笠，缩头袖手。",[23,24,25,26,7,130,77,129,252,613,521,269,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[157,138,185],259,{"id":2434,"slug":2435,"title":2436,"dynasty":72,"author":50,"museum":51,"description":2437,"tags":2438,"thumbUrl":2439,"material":37,"size":2440,"collection":39,"collections":2441,"showCount":2442,"zanCount":419,"manualWeight":43,"mainColor":44},218278,"ba-xian-tu-dui-fu-yi-ming-218278","八仙图对幅","这幅画的主角是吕洞宾、韩湘子、张果老和何仙姑。其中，张果老倒骑毛驴，而南极则骑着仙鹤漂浮在空中。",[24,25,26,7,28,27,29,151,1405,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4836b19ce99b951c2196e0bdabb8b82a.jpg","139.7x78.7",[39],258,{"id":2444,"slug":2445,"title":2446,"dynasty":18,"author":2447,"museum":236,"description":2448,"tags":2449,"thumbUrl":2451,"material":136,"size":2452,"collection":84,"collections":2453,"showCount":2454,"zanCount":656,"manualWeight":43,"mainColor":88},220380,"hong-lian-lv-zao-tu-tang-guang-220380","红莲绿藻图","唐炗","此图是唐炗（音光）与恽寿平联手为祝王翚40岁诞辰所作。唐炗绘荷花，恽寿平画荇藻。荷花与荇藻皆采用了没骨法，透露出轻盈飘逸与湿润的感觉。微风中，仿佛莲叶与荷花的清香淡淡而来。水塘里荇藻则用一笔点画。状物形神兼备，风格清新淡雅。",[23,25,26,7,27,28,113,306,307,2450],"绿藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce64fa92c044787704676762c01daae.jpg","纵135.7厘米，横59厘米",[84,158],257,{"id":2456,"slug":2457,"title":2458,"dynasty":72,"author":264,"museum":74,"description":2459,"tags":2460,"thumbUrl":2461,"material":136,"size":2462,"collection":138,"collections":2463,"showCount":2454,"zanCount":11,"manualWeight":43,"mainColor":88},218535,"zhu-lou-tu-qing-gao-zong-yu-ti-chou-ying-218535","竹楼图清高宗御题","画中湖光山色，长松亭榭，文人观水赏竹，画风接近文征明，也可能是文、丘在山水画上互相借鉴。",[24,25,26,7,27,28,1157,129,269,427,134,193,29,132,170,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d460703bfb3096969313beb6e056693.jpg","115.3x33.3cm",[138],{"id":2465,"slug":2466,"title":2467,"dynasty":18,"author":921,"museum":331,"description":1807,"tags":2468,"thumbUrl":2469,"material":100,"size":100,"collection":84,"collections":2470,"showCount":2471,"zanCount":43,"manualWeight":43,"mainColor":88},236555,"mei-hua-zhou-wu-chang-shuo-236555","梅花轴",[24,25,26,7,77,28,575,35,304,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cde97128964b36df30a12461f59e8a.jpg",[84,158],256,{"id":2473,"slug":2474,"title":2475,"dynasty":18,"author":2476,"museum":209,"description":2477,"tags":2478,"thumbUrl":2479,"material":1394,"size":2480,"collection":158,"collections":2481,"showCount":2471,"zanCount":419,"manualWeight":43,"mainColor":44},223253,"he-hua-tu-zhou-pu-hua-223253","荷花图轴","蒲华","画荷叶枝，叶面宽阔，或像伞一样张开，或水面，微卷而翠绿； 花有三枝，两枝盛开，花瓣层层叠叠，另一枝含待放置的枝条，只露出尖尖的莲花。 朴华喜欢以水墨作画，与八大山人相似。",[23,25,26,7,77,304,113,306,307,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8096febc3e81d3c848b1646b4296b977.jpg","146X80cm",[158],{"id":2483,"slug":2484,"title":2485,"dynasty":93,"author":164,"museum":2486,"description":2487,"tags":2488,"thumbUrl":2489,"material":1320,"size":2490,"collection":157,"collections":2491,"showCount":2492,"zanCount":11,"manualWeight":43,"mainColor":44},221415,"song-he-yan-nian-tu-zhou-fan-kuan-221415","松鹤延年图轴","苏州博物馆","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,25,26,7,28,130,129,378,225,132,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0d8728a8941335a80cd12781a857b.jpg","193.1x74.4 厘米",[157,138,158],255,{"id":2494,"slug":2495,"title":2496,"dynasty":72,"author":389,"museum":209,"description":2497,"tags":2498,"thumbUrl":2499,"material":136,"size":100,"collection":39,"collections":2500,"showCount":2492,"zanCount":656,"manualWeight":43,"mainColor":88},219407,"qiu-feng-wan-shan-tu-tang-yin-219407","秋风纨扇图","图绘庭园一角，一女子手执纨扇，在坡前沉思徘徊。图中的仕女体态端庄，风姿婉约，秀发挽成高髻，饰以淡色鬓朵，越发衬托出发光乌亮。披帛和衣裙随风飘拂，巧妙地寓“秋”意于其中。从她眉宇间微露忧伤感的神色，和欲行又止的动态，表明她正陷入沉思之中：忧郁、怅惘，却又无可奈何！背景仅用细竹数枝、湖石一角来点缀，显得疏落空旷，令人联想到引申画外的僻静境界，平添几分萧瑟气象。整幅画的笔墨凝练明快，极其传神。",[25,26,7,985,77,28,29,30,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b5374ce013b2c7f9c2a6c4ac31ecab.jpg",[39],{"id":2502,"slug":2503,"title":2504,"dynasty":207,"author":518,"museum":209,"description":2505,"tags":2506,"thumbUrl":2508,"material":82,"size":2509,"collection":138,"collections":2510,"showCount":2511,"zanCount":656,"manualWeight":43,"mainColor":88},220082,"guai-shi-cong-huang-tu-ni-zan-220082","怪石丛篁图","怪石丛篁图轴，这一幅系倪瓒60 岁时所画，构图别致，山石用笔较繁。\n自跋：天妃庙里曾游处，怪石丛篁漫雨苔。今日江湖重回首，卜居南岭白云隈。 岁庚子（1360 年）十一月廿日，解后云冈道师 而纸笔皆不佳，漫尔作此，愧不能工。道师悯世忧国，以道术（德）为己任，汩汩城邑之中 不以为苦，不肯自逸（超）于风埃之表也，故 岁时，应云冈道师之请，赋诗并作画。",[25,77,129,7,130,2507,31,169,377,170,132],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d2a6fe7d61176933aaf86ed35700e3.jpg","94.2×26.8",[138],254,{"id":2513,"slug":2514,"title":2515,"dynasty":18,"author":921,"museum":236,"description":2516,"tags":2517,"thumbUrl":2518,"material":100,"size":100,"collection":84,"collections":2519,"showCount":2520,"zanCount":419,"manualWeight":43,"mainColor":88},236892,"ba-jiao-mu-dan-zhou-wu-chang-shuo-236892","芭蕉牡丹轴","此画充分利用了水、墨二者的结合及浸渍变化，以饱含水分的笔触，率性而作，洗练简阔，却有神情气爽之感。\n吴昌硕（1844年~1927年），初名俊，后改俊卿，字昌硕，号缶庐、苦铁等，浙江安吉人。善书法，精篆刻，工诗擅画。其大写意花鸟，博取徐渭、八大、石涛、李鱓、赵之谦诸家之长，以篆、隶、狂草笔意入画，用笔雄健古拙，用墨酣畅淋漓，着色艳丽富贵，可谓匠心独运，为中国近代杰出的艺术家，海派主要画家之一。",[24,25,26,7,28,77,113,304,114,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b7aefc21c35bfdb8ce148ec1e96f63.jpg",[84,158],252,{"id":2522,"slug":2523,"title":2524,"dynasty":207,"author":208,"museum":331,"description":2525,"tags":2526,"thumbUrl":2528,"material":198,"size":780,"collection":100,"collections":2529,"showCount":2530,"zanCount":43,"manualWeight":43,"mainColor":44},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,25,77,129,7,130,132,170,269,134,193,377,79,80,2527],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":2532,"slug":2533,"title":300,"dynasty":18,"author":2534,"museum":236,"description":2535,"tags":2536,"thumbUrl":2538,"material":1320,"size":2539,"collection":100,"collections":2540,"showCount":2541,"zanCount":419,"manualWeight":43,"mainColor":88},222643,"he-hua-tu-gao-feng-han-222643","高凤翰","图绘荷塘秋色，荷花于秋风中若俯若仰，似显似藏。荷叶或以浓墨泼染，以示勃勃生机，或以赭色晕染，以示萧索凋败。全图在墨彩交融中表现了满池风动、“接天莲叶无穷碧”的意境。作者以洒脱不羁的笔墨抒发了豪放的情怀。",[23,25,26,7,77,304,306,307,2537,523],"荷梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe153b110743b11a6b88ea2620ed2d20a.jpg","纵172厘米，横62厘米",[],250,{"id":2543,"slug":2544,"title":2545,"dynasty":93,"author":481,"museum":74,"description":2546,"tags":2547,"thumbUrl":2548,"material":37,"size":2549,"collection":138,"collections":2550,"showCount":2541,"zanCount":643,"manualWeight":43,"mainColor":44},218612,"song-jian-yin-yue-tu-ma-yuan-218612","松间吟月图","本幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢于画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[25,26,7,77,28,130,129,427,131,29,134,59,132,173,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b110f511e2b2dadd28b074b660cdf18.jpg","144.6x76.3cm",[138],{"id":2552,"slug":2553,"title":2554,"dynasty":207,"author":518,"museum":51,"description":2555,"tags":2556,"thumbUrl":2560,"material":82,"size":2561,"collection":138,"collections":2562,"showCount":2563,"zanCount":419,"manualWeight":43,"mainColor":88},220052,"qiu-lin-ye-xing-tu-ni-zan-220052","秋林野兴图","《秋林野兴图》写一仙居景致。平静的水面环绕着一段坡石，几株大树锁生其上，枝叶复苏。树间茅舍掩映，整个画面弥漫着肃静、清凉的气氛。 《秋林野兴图》笔法表现多见李成、郭熙、董源、巨然诸家之法，笔墨稳健清润，意境虚和冲融，气韵秀逸隽永。",[23,24,25,26,7,77,130,2557,170,132,377,2558,35,2559],"秋林","水域","疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a5ae094663913abafe92db0881216.jpg","纵九十七厘米，横六十八点五厘米",[138],249,{"id":2565,"slug":2566,"title":2567,"dynasty":72,"author":1024,"museum":147,"description":2568,"tags":2569,"thumbUrl":2571,"material":82,"size":2572,"collection":138,"collections":2573,"showCount":2574,"zanCount":43,"manualWeight":43,"mainColor":88},219732,"quan-shi-qing-song-tu-dong-qi-chang-219732","泉石青松图","以淡墨晕染层叠山峦，留白铺就出空寂清灵的幽远氛围。近景苍松虬曲古拙，扎根嶙峋怪石，枝干舒展自带灵动生机。中景幽谷藏村居，流泉蜿蜒穿林而过，山林郁秀空灵。\n\n以干笔皴擦勾勒山石肌理，淡墨晕出山岚氤氲，笔墨简淡却意蕴悠长，尽显文人画萧散简远之趣。题诗与画面浑然相融，诗画一体，寄寓着林泉高致的隐逸情怀，整体格调清润雅致，将笔墨意趣与山水意境相融，尽显通透疏朗的超然意态，是文人山水的绝佳范本。",[23,25,26,77,130,7,129,252,601,378,253,2570],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f3dc782262e9a048daaa49bede99f.jpg","纵95.2横41.1厘米",[138,185],248,{"id":2576,"slug":2577,"title":2578,"dynasty":72,"author":1024,"museum":74,"description":2579,"tags":2580,"thumbUrl":2582,"material":2583,"size":2584,"collection":138,"collections":2585,"showCount":2586,"zanCount":656,"manualWeight":43,"mainColor":88},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[23,24,25,26,7,77,130,945,967,129,170,132,733,1419,522,2581,521,427,855],"近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","纸本墨笔","96.3 x 44.8cm",[138,185],246,{"id":2588,"slug":2589,"title":2590,"dynasty":72,"author":683,"museum":236,"description":2591,"tags":2592,"thumbUrl":2593,"material":37,"size":2594,"collection":138,"collections":2595,"showCount":2596,"zanCount":656,"manualWeight":43,"mainColor":44},216244,"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","这幅画描绘了刘备在 三顾茅庐 拜访诸葛亮的故事。人物的刻画生动而细致，如刘备的恭敬神态、张飞的黝黑面孔和他的武艺高强的姿态，都让人浮想联翩。人物的动态变化掌握得非常准确。岩石采用大斧劈法，松枝高长，明显继承了南宋马远的风格，用笔简洁有力。这幅画的整体色彩清晰而优雅。明代宫廷画中有很多以 招贤纳士 为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[23,25,24,26,7,28,130,129,29,427,132,212,78,193,377,174,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[138],244,{"id":2598,"slug":2599,"title":2600,"dynasty":93,"author":1283,"museum":209,"description":2601,"tags":2602,"thumbUrl":2604,"material":99,"size":2605,"collection":138,"collections":2606,"showCount":2607,"zanCount":419,"manualWeight":43,"mainColor":44},220326,"you-gu-tu-guo-xi-220326","幽谷图","该图具有典型的中国西北部山川风貌，雪后的山间幽谷，高寒惨淡，山岩峻险。山下一股清泉从参差崚嶒的巉岩中喷涌而出，波撞崖壁，浪激石尖，腾起一片迷茫之气。临潭而立一块巨石，石缝中三五棵老树，枯枝上不着一叶，唯见其盘根错节，虬曲舒伸。随着山势蜿蜒而上，也使坦荡如砥的峰峤渐入眼帘，然而峰峦之间则是一道盘旋曲折的幽壑，崖边林梢丛丛，谷底寒气森森。远处的主峰如虎踞龙盘，巍然而立，下临千丈绝涧，浩渺之气，直与天接。",[23,24,25,26,7,77,130,129,351,170,522,2603],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb115b51026981c5179c63b5367e73.jpg","纵167.7cm， 横53.6cm",[138,157],243,{"id":2609,"slug":2610,"title":2611,"dynasty":93,"author":481,"museum":74,"description":2612,"tags":2613,"thumbUrl":2614,"material":99,"size":2615,"collection":39,"collections":2616,"showCount":2607,"zanCount":43,"manualWeight":43,"mainColor":44},219606,"cheng-long-tu-ma-yuan-219606","乘龙图","本幅画中人物为一老者，其鼻长，面相上谓为老龙相，此与马远时之皇帝宁宗，其面相之特征亦为老龙像。故宫所藏〈宁宗像〉，亦足证名此项面貌特征。按《庄子•天地》篇：「千岁厌世，去而上仙，彼乘白云，至于帝乡。」又《史记•封禅书》：「黄帝采首山铜，铸鼎于荆山下；鼎既成，有龙垂胡髯下迎黄帝，黄帝上骑，群臣后宫从上者七十余人，龙乃上去；余小臣不得上，乃悉持峦龙髯，龙髯拔坠，堕黄帝之弓，百官始仰望，黄帝既上天，乃抱其弓与胡髯号。」故后世皇帝死升天，上天乘龙。皇帝死曰「宾天」，宋代皇室信仰道教，作此图画是可从此道理连想。",[23,25,26,7,985,29,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da643835190212f952accdd55118302.jpg","本幅 108.1x52.6公分、全幅 54公分",[39],{"id":2618,"slug":2619,"title":2620,"dynasty":283,"author":1683,"museum":2134,"description":2621,"tags":2622,"thumbUrl":2623,"material":100,"size":100,"collection":100,"collections":2624,"showCount":2625,"zanCount":43,"manualWeight":43,"mainColor":88},220545,"xu-bei-hong-hua-ma-tu-zhou-xu-bei-hong-220545","徐悲鸿画马图轴","以淋漓水墨写就奔马，浓淡晕染间，骏马肌肉的起伏张力尽显。昂首扬鬃，四蹄腾跃似踏风而来，马尾与颈鬃以狂放飞白扫出，裹挟着呼啸劲风，将奔马桀骜不羁的野性全然挥洒而出。\n\n舍弃繁复布景，将视线尽数锁于奔马之上，寥寥数笔便让马儿挣脱纸面桎梏，静帧画作仿若能闻蹄声惊雷，把中式写意传神的特质推至极致，尽显生命蓬勃昂扬的野性力量。",[23,24,25,26,7,77,196,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f81de666dcbcb1927f785be1e3e6f3.jpg",[],242,{"id":2627,"slug":2628,"title":1806,"dynasty":18,"author":921,"museum":209,"description":2629,"tags":2630,"thumbUrl":2631,"material":214,"size":2632,"collection":84,"collections":2633,"showCount":2634,"zanCount":11,"manualWeight":43,"mainColor":88},237437,"ju-hua-zhou-wu-chang-shuo-237437","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。” [2] 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》。",[25,26,7,77,28,113,440,33,79,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac17540baab309bf666e37c3441ed42.jpg","纵119.9 厘米横51.6",[84],241,{"id":2636,"slug":2637,"title":2638,"dynasty":93,"author":50,"museum":74,"description":2639,"tags":2640,"thumbUrl":2643,"material":2644,"size":2645,"collection":100,"collections":2646,"showCount":2634,"zanCount":356,"manualWeight":43,"mainColor":342},223425,"song-ren-xi-mao-tu-zhou-yi-ming-223425","宋人戏猫图轴","本幅传为宋人所画，在庭园一角嬉戏的大小猫咪一共八只。画栏围绕，锦障高下相连，使园中彷佛别有洞天。群猫嬉戏於湖石、竹丛、桃树、牡丹之间，或静或动，生态盎然。画家观察入微，以瞳孔缩成线状的猫眼，点出了这场猫戏的时序，应该是日光强烈的日间。",[23,24,25,7,28,27,240,241,536,253,2641,33,2642],"家具","鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4ef8f54780c0c3ec5ce4fde928d99fc.jpg","轴 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[2]\n该画作左上角有清高宗乾隆所题绝句：庭院秋声落枣红，拾来旋转戏儿童。丹青讵止传神诩，寓意原存相让风。",[23,25,24,26,7,27,28,29,1932,35,675,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","纵197.5厘米，横108.7厘米",[157,84,39,158],237,{"id":2680,"slug":2681,"title":2682,"dynasty":18,"author":1048,"museum":331,"description":1049,"tags":2683,"thumbUrl":2684,"material":255,"size":100,"collection":84,"collections":2685,"showCount":2686,"zanCount":356,"manualWeight":43,"mainColor":88},223300,"zhu-shi-tu-zhou-1-zheng-ban-qiao-223300","竹石图轴1",[23,25,26,7,77,31,601,1051,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e3849c804728833e287d5719d8957.jpg",[84,185],236,{"id":2688,"slug":2689,"title":2690,"dynasty":207,"author":518,"museum":74,"description":2691,"tags":2692,"thumbUrl":2693,"material":82,"size":2694,"collection":138,"collections":2695,"showCount":2686,"zanCount":419,"manualWeight":43,"mainColor":88},220787,"jiang-ting-shan-se-zhou-ni-zan-220787","江亭山色轴","倪云林 《江亭山色》于2012年核定为重要古物，所绘的内容有山峦、陂陀、树木、茅亭，其结构萧散，是倪云林特意为外游时相识的一位友人焕伯高士留别而绘。\n款识：焕伯高士嗜古尚义於友道於医学尤精隐居养亲不求知於也余过娄江踰月与仆甚相好戏写江亭山色并作长歌以留别二月廿五日瓒。\n题签：倪云林山水真迹。玉带砚斋藏。\n释文：娄江之东天宇宽。左瞰青海阴漫漫，樱桃花落杂飞霰。桃李欲动春风寒，我去松陵自子月。忽惊归雁鸣江干，风吹归心如乱丝。不能奋飞身羽翰。身羽翰，度春水。胡蝶忽然梦千里，剥剥啄啄闻叩门。推枕倒裳为君起，持杯劝我径饮之。有酒如渑胡不喜，看朱成碧纷醉眼。碧草春波暎疏绮，醉吐胸中之磊块。一笑濡豪烂盈纸，白鸥明处白云生。历历青山镜光里，翡翠鵁鶄满兰芷。壬子。\n倪瓒的书法也是极具传统功力与个人特色的。他的书法受褚遂良影响较大，有些点画如“戈”法明显是褚体之法，写的十分妩媚。其书法还掺杂了隶书与六朝写经的风格，这可能与他信奉道教熟悉经体有关，从而使他的书法具有一种仙风道骨的古意与洒脱。他题画有时飘逸草率，多有连笔，如北京故宫藏《竹枝图》。有些写的则工工整整，一笔不苟，如《江亭山色图》、《容膝斋图》，书体为小楷，楷中含隶，毫无泄怠，极见功力。字数如此多的小楷题画，在其画作中极少见。\n倪云林的画乍一看为其荒疏感到意外，多看了则觉单调，几乎千篇一律，皆是疏林坡岸，浅水遥岭，但是自然的反应了他的内心，也反应了他的修养。倪云林《江亭山色》典型的“云林皴法”，且款题甚长，书法精妙，堪称倪云林一生山水画的代表作。",[25,26,7,77,129,377,253,31,601,130,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb42f2a048eafcf667755bea02ad618.jpg","94.7x43.7",[138,185],{"id":2697,"slug":2698,"title":2699,"dynasty":18,"author":2700,"museum":331,"description":2701,"tags":2702,"thumbUrl":2703,"material":1573,"size":2704,"collection":100,"collections":2705,"showCount":2706,"zanCount":419,"manualWeight":43,"mainColor":88},234803,"fang-yun-shou-ping-hua-hui-zhou-jiang-ji-xi-234803","仿恽寿平花卉轴","蒋季锡","蒋季锡，女（具体生卒年不详），从其画作上判断她大致活动于清康熙至雍正年间（公元1661－1735年），字苹南，江苏常熟人。陕西道监察御史、画家蒋伊之女，大学士蒋廷锡之妹。她出生与官宦书画世家，并常与父兄探讨画理，研习画艺。她的艺术功底深厚，思路开阔，在艺术上刻意求新。其花鸟画学马荃的勾染花卉法，兼学恽寿平的没骨写生法，同时巧妙地吸收了西洋的明暗技法，使她的画作工整细致、写实逼真、别有意境。\n落款自题七言诗一首：“一叶芳心任卷舒，客愁乡梦待何如。平生枉用藤溪纸，绿玉窗前好写书。仿瓯香馆笔意，苹南女史蒋季锡。”钤“苹南”、“季锡”印二方。",[25,26,7,113,28,1593,440,239,536,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7049879c68c188c33b57a9d26849b1c6.jpg","纵107厘米，横33.4厘米",[],234,{"id":2708,"slug":2709,"title":1960,"dynasty":18,"author":1123,"museum":331,"description":2710,"tags":2711,"thumbUrl":2712,"material":100,"size":100,"collection":100,"collections":2713,"showCount":2706,"zanCount":656,"manualWeight":43,"mainColor":44},230251,"mu-dan-tu-yun-shou-ping-230251","此作用没骨法写就，以色代线，晕染出牡丹娇柔丰腴之态。白粉牡丹瓣层轻叠，莹润如凝脂；朱砂秾艳不俗，紫花幽柔淡雅，色彩过渡自然清妍，不见勾勒却形神兼备。枝叶以深浅草绿斡染，俯仰顾盼间尽显舒展生机，古拙顽石衬于花下，旁缀幽兰数茎，添清寂古雅之趣。\n\n右上题诗与花木相映，将富贵之态融入澹逸文气，以秀雅之笔消解艳俗，淡而不薄，丽而不妖，把写生之功与文人意趣相融，尽显春日花盛的清和雅致。",[23,25,26,7,28,113,114,600,35,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bcececee698ff8393e54eef5a76e67.jpg",[],{"id":2715,"slug":2716,"title":2717,"dynasty":93,"author":1283,"museum":2718,"description":2719,"tags":2720,"thumbUrl":2722,"material":37,"size":2723,"collection":138,"collections":2724,"showCount":2706,"zanCount":11,"manualWeight":43,"mainColor":44},219184,"shan-cun-tu-guo-xi-219184","山村图","南京大学","描绘了巍峨巨峰下的峡谷中人们的隐居生活。整幅作品山势险峻，气势恢宏，细节之处描写入微，村落、人物生动传神。",[23,25,26,129,77,130,7,132,170,733,193,522,2721],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bef5f72b428fd151f38b62ec7c4b5e.jpg","横54.2cm，纵109.8cm",[138],{"id":2726,"slug":2727,"title":2728,"dynasty":72,"author":2729,"museum":331,"description":2730,"tags":2731,"thumbUrl":2732,"material":100,"size":100,"collection":84,"collections":2733,"showCount":2734,"zanCount":656,"manualWeight":43,"mainColor":44},238075,"song-he-ling-xiao-zhou-wang-wei-lie-238075","松鹤凌霄轴","王维烈","王维烈字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。\n王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[25,26,7,27,28,113,378,225,132,536,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd83a04879ea1f1f5ef9c405bd25556.jpg",[84],233,{"id":2736,"slug":2737,"title":2738,"dynasty":18,"author":1971,"museum":74,"description":2739,"tags":2740,"thumbUrl":2741,"material":82,"size":100,"collection":185,"collections":2742,"showCount":2734,"zanCount":11,"manualWeight":43,"mainColor":88},219381,"fang-ni-zan-shan-shui-tu-wang-jian-219381","仿倪瓒山水图","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。",[25,26,7,77,945,79,130,129,521,35,523,522,2581],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4001801727356342fc3315fc815e7f6e.jpg",[185],{"id":2744,"slug":2745,"title":2746,"dynasty":72,"author":50,"museum":51,"description":2747,"tags":2748,"thumbUrl":2750,"material":37,"size":2751,"collection":39,"collections":2752,"showCount":2734,"zanCount":419,"manualWeight":43,"mainColor":44},218402,"song-zi-guan-yin-tu-yi-ming-218402","送子观音图","这块板子描绘了头戴王冠的观音菩萨，上面有一尊变身佛。他戴着耳环、项链、手镯、手链和腰部装饰品来装饰他的整个身体。她的面容庄重、慈悲、平和，她抱着一个用珠宝装饰的美丽孩子。观音菩萨坐在狮子座上，左脚上有一朵莲花。幸运的男孩在狮子的尾巴上拜了菩萨。笔触精准，色彩优雅，画风接近丁云鹏。",[23,2749,25,26,7,54,27,28,29,241],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d664823f52846dd02b7281134809d0.jpg","120.7x60.3",[39],{"id":2754,"slug":2755,"title":2756,"dynasty":993,"author":2757,"museum":331,"description":2758,"tags":2759,"thumbUrl":2760,"material":37,"size":100,"collection":100,"collections":2761,"showCount":2734,"zanCount":11,"manualWeight":43,"mainColor":44},218279,"ren-wang-pu-sa-xiang-xin-cheng-218279","仁王菩萨像","辛澄","仁王坐在一朵大莲花中，身穿朱红色袈裟，头戴圆形光环，气势磅礴，神情庄重。",[25,26,7,54,28,27,29,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ba5477aefb276616bf3deed39787a7.jpg",[],{"id":2763,"slug":2764,"title":2765,"dynasty":72,"author":1496,"museum":319,"description":2766,"tags":2767,"thumbUrl":2771,"material":37,"size":2772,"collection":84,"collections":2773,"showCount":2774,"zanCount":656,"manualWeight":43,"mainColor":44},218918,"fu-gui-rong-hua-tu-lv-ji-218918","富贵荣华图","吕纪，花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。",[23,24,25,26,7,27,28,182,2749,113,2768,2769,2770,1594],"红花","白花","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcefe113f289970b9573cff9f3de1c6.jpg","49x25cm",[84],232,{"id":2776,"slug":2777,"title":2778,"dynasty":18,"author":2779,"museum":331,"description":2780,"tags":2781,"thumbUrl":2782,"material":198,"size":780,"collection":100,"collections":2783,"showCount":2784,"zanCount":43,"manualWeight":43,"mainColor":88},290079,"fang-gu-zhu-zi-tu-wei-gen-lao-ren-290079","仿古竹子图","味根老人","此幅墨竹取斜出之势排布，数竿修竹错落揖让，气韵连贯。老干以重墨挥写，圆劲苍厚，尽显风霜沉凝的古意；新篁以淡墨勾皴，清润秀挺，带着稚拙生机。竹叶以大写意撇捺而就，聚散疏密暗藏章法，浓淡墨色铺陈出前后层次，虚实相映间，将劲节疏朗的君子风姿尽皆展现。画面留白宽绰，右侧题字与竹影相映成趣，笔致简淡却意韵悠长，尽显文人寄情于物的清雅襟怀，是颇见功底的水墨写意佳品。",[23,25,26,7,77,31,1027],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c6c0d8c8cc882f3d24cc4d9f64fbba.jpg",[],231,{"id":2786,"slug":2787,"title":2788,"dynasty":18,"author":921,"museum":331,"description":1961,"tags":2789,"thumbUrl":2790,"material":1320,"size":2791,"collection":84,"collections":2792,"showCount":2784,"zanCount":656,"manualWeight":43,"mainColor":88},224221,"zhao-ri-hong-he-wu-chang-shuo-224221","朝日红荷",[23,25,26,7,77,28,113,306,307,304,80,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa674a2b082ee8c9527d6f7c106c9b861.jpg","93x46",[84,158],{"id":2794,"slug":2795,"title":2796,"dynasty":72,"author":389,"museum":147,"description":2797,"tags":2798,"thumbUrl":2799,"material":37,"size":2800,"collection":39,"collections":2801,"showCount":2784,"zanCount":370,"manualWeight":43,"mainColor":44},219530,"tao-gu-zeng-ci-tu-tang-yin-219530","陶穀赠词图","唐寅（1470—1523年），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人。出身商人家庭，自幼聪明伶俐。20余岁时家中连遭不幸，父母、妻子、妹妹相继去世，家境衰败，在好友祝允明的规劝下收心读书，29岁参加应天府公试，得中第一名“解元”，30岁赴京会试，却受考场舞弊案牵连被斥为吏。此后遂绝意进取，以卖画为生。正德九年（1514年）曾应宁王朱宸濠之请赴南昌半年余，后察觉宁王有图谋不轨，遂佯狂得以脱身而归。晚年生活困顿，54岁即病卒。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文徵明、徐祯卿并称“江南四才子”，画名更著，与沈周、文徵明、仇英并称“吴门四家”。 其绘画擅长山水、人物、花鸟各科。画法早年受沈周、文徵明影响，多“吴派”痕迹，30余岁时拜周臣为师，主宗南宗“院体”一路，后泛学宋元诸家，自成一体。山水画有粗、细两种风格：粗笔一路源自周臣，仿学南宋“院体”，然于刚劲雄健中别具清俊秀逸之韵；细笔画属其本色，更多文人画笔意，景色简约清朗，用笔纤细有力，皴法灵活多变，墨色淋漓多变，风格奇峭而又秀润。人物画造诣也很深，兼善工笔重彩、工笔淡彩、白描、水墨写意诸法，形神俱备。",[23,25,24,7,28,27,29,30,253,536,33,34,777],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4160d60f87f2087cb65dd4c2c4d435.jpg","纵171横103.8厘米",[39],{"id":2803,"slug":2804,"title":2805,"dynasty":72,"author":908,"museum":236,"description":2806,"tags":2807,"thumbUrl":2809,"material":82,"size":2810,"collection":84,"collections":2811,"showCount":2784,"zanCount":419,"manualWeight":43,"mainColor":88},214639,"kui-shi-tu-chen-chun-214639","葵石图","一根秋葵枝条靠外，有一朵花和几片叶子，简单清爽；根部被杂草和嫩竹包围，参差不齐，稀稀拉拉；背景是海石，起伏不定，皱巴巴的。这幅画卷的构图和形状非常特别。在这幅画中，水墨画与诗词、书法与绘画的结合，充分表现了鳌鱼石的魅力和意境，使之成为生活中的佳作。",[23,25,26,7,77,304,113,35,2808,79,97],"葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694c64a9381dbae4deff621b5fbbf49d.jpg","68.6x34",[84],{"id":2813,"slug":2814,"title":2815,"dynasty":18,"author":50,"museum":331,"description":2816,"tags":2817,"thumbUrl":2819,"material":100,"size":100,"collection":100,"collections":2820,"showCount":2821,"zanCount":43,"manualWeight":43,"mainColor":88},235370,"xu-gu-zi-teng-jin-yu-tu-zhou-yi-ming-235370","虚谷紫藤金鱼图轴","画面以写意紫藤搭配工笔金鱼，尽显悠然意趣。垂悬的紫藤花穗清浅柔润，叶片以浅绿、赭黄晕染，枝蔓舒展随性，将暮春的缱绻生机晕开。三尾红金鱼朱砂点染，身形莹润饱满，尾鳍轻摆，悠游于空濛水色间，鲜活灵动。\n\n淡墨轻点拟作浮萍水藻，留白托出澄澈池水，虚实相生间，营造出静谧空寂的池上氛围。左侧题字与绘景呼应，工写兼施，藤蔓写意求韵，游鱼工笔见形，把花下观鱼的闲雅日常定格于绢素，清逸秀雅的笔墨间，尽显文人情思与自然意趣。",[25,26,7,28,113,1696,2818],"金鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae35a58a932d565bb295a3031cfb929c.jpg",[],229,{"id":2823,"slug":2824,"title":2825,"dynasty":18,"author":318,"museum":319,"description":320,"tags":2826,"thumbUrl":2827,"material":82,"size":323,"collection":100,"collections":2828,"showCount":2821,"zanCount":656,"manualWeight":43,"mainColor":88},216909,"hua-niao-si-tiao-ping-4-zhu-da-216909","花鸟四条屏-4",[23,25,77,304,7,32,307,115,35,113,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9e75a5ceb8b50523c17e63136acafff.jpg",[],{"id":2830,"slug":2831,"title":412,"dynasty":18,"author":1048,"museum":236,"description":2832,"tags":2833,"thumbUrl":2834,"material":745,"size":2835,"collection":100,"collections":2836,"showCount":2837,"zanCount":43,"manualWeight":43,"mainColor":88},234675,"zhu-shi-tu-zheng-ban-qiao-234675","郑燮所画之竹，形象千姿百态，笔墨变化多端。同样是数竿竹枝，却有新竹、驼竹、凤竹、晴竹、盆景之竹、庭院之竹、山野之竹、水乡之竹的区别，并呈现各自不同的情态，给人以美的感受。画面上翠竹两竿，瘦劲挺拔，枝叶偃仰，萧疏清逸。竹枝下有山石及竹笋数支，恰当衬托出春竹之勃发郁茂，颇富自然之趣。其言将竹笋与鲥鱼相佐，又创美食之竹，新颖别致，独具匠心。",[25,77,304,130,97,79,7,31,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c732c7221c80d6d805a69736b50619.jpg","纵120厘米，横59.7厘米",[],228,{"id":2839,"slug":2840,"title":2841,"dynasty":93,"author":1517,"museum":331,"description":2842,"tags":2843,"thumbUrl":2845,"material":37,"size":2846,"collection":138,"collections":2847,"showCount":2848,"zanCount":11,"manualWeight":43,"mainColor":44},218589,"yue-xia-song-ting-tu-xia-gui-218589","月下松亭图","月色如纱，淡墨晕开空濛的夜。虬松枝桠似铁，斜探天际，松针苍劲点染其间，笔意简练却见筋骨。坡岸一隅，草亭静立，檐角轻拂晚风；树下人影依稀，或凭栏凝睇，渺小身影藏着悠远哲思。留白处尽是宋人的雅致空灵，山水的静谧与人文的幽怀交织，如清辉漫过岁月，仍漾着沁人的诗意。画面虽简，却以少胜多，将自然之美与心境之远融于尺幅，似能听见松涛与月色的私语，触到千年之前那缕清寂的幽情。",[2844,25,26,7,77,129,378,377,59,350,130],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a70b337ac97e73bbcb8ee83512b58b6.jpg","58x25",[138],227,{"id":2850,"slug":2851,"title":2852,"dynasty":18,"author":921,"museum":331,"description":2853,"tags":2854,"thumbUrl":2855,"material":100,"size":100,"collection":100,"collections":2856,"showCount":2857,"zanCount":419,"manualWeight":43,"mainColor":704},224211,"xie-yi-hua-hui-wu-chang-shuo-224211","写意花卉","此作用笔老辣苍劲，以篆籀之法入画。丹红牡丹以阔笔晕染，花瓣层次饱满秾艳，焦墨写叶，沉厚如铁，冷暖色相撞，张力十足。下方湖石以枯湿浓墨泼写，皴擦间尽显嶙峋朴拙之态，间缀青绿草卉，柔姿淡色中和花石浓烈，整幅错落有致。\n题长款以行书书写，笔势与画中线条意韵相通，笔墨与章法浑融无间，将牡丹的富贵堂皇写出野逸苍浑的文人气骨，老笔纵横间尽显沉雄烂漫的写意风神，于豪放中藏精微，把金石意趣与花木生机合于一纸。",[23,25,26,7,304,77,28,113,114,57,291,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42ae8af211fa6451a20a91ab319c269.jpg",[],226,{"id":2859,"slug":2860,"title":2861,"dynasty":72,"author":752,"museum":74,"description":2862,"tags":2863,"thumbUrl":2864,"material":37,"size":2865,"collection":100,"collections":2866,"showCount":2867,"zanCount":419,"manualWeight":43,"mainColor":88},290313,"sui-chao-tu-zhou-chen-hong-shou-290313","岁朝图轴","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[25,24,26,7,28,27,113,392,574,116,33,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43f471122fe189fc01200784df42f1f.jpg","90.2x41.1",[],225,{"id":2869,"slug":2870,"title":2871,"dynasty":18,"author":921,"museum":331,"description":1626,"tags":2872,"thumbUrl":2873,"material":1573,"size":1629,"collection":84,"collections":2874,"showCount":2867,"zanCount":11,"manualWeight":43,"mainColor":88},224231,"ju-hua-2-wu-chang-shuo-224231","菊花2",[23,25,26,24,7,28,77,304,1625,132,1594,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cb43cd66a1da94239b42b0c422a249.jpg",[84,158],{"id":2876,"slug":2877,"title":2878,"dynasty":93,"author":164,"museum":74,"description":2879,"tags":2880,"thumbUrl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141.7x37.2公分、全幅 67公分",[],223,{"id":2901,"slug":2902,"title":2903,"dynasty":93,"author":507,"museum":74,"description":2904,"tags":2905,"thumbUrl":2908,"material":136,"size":2909,"collection":138,"collections":2910,"showCount":2899,"zanCount":419,"manualWeight":43,"mainColor":44},218180,"qiu-jiang-dai-du-tu-li-tang-218180","秋江待渡图","宋朝时期，李唐是一位著名的画家。他的作品《秋江待渡图》是一幅非常出色的水墨画，被认为是宋朝画风的代表作之一。\n\n这幅画描绘的是一个夜晚的景象，展现了秋天的气息。画面中的主人公是一个渔夫，他正站在船尾，眺望远方。他身后是一条江河，江水平静，荡漾着微微波光。空气中弥漫着淡淡的月色和落叶的气息。渔夫似乎在等待什么，也许是夜幕降临后的渔猎，也许是渡江的船只。\n\n这幅画展现了李唐独特的画风，他善于运用水墨画的浓淡变化，描绘出江水平静而又柔和的氛围。画中的色彩也十分丰富，月色柔和，落叶自然，渔夫身上的衣服呈现出深深的紫色。整幅画浓郁的秋意和深沉的气氛使人感到沉静和温馨。",[25,26,7,129,77,130,28,2906,349,2907,522,29,79,212],"江水","枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832191f2125231cc863d337a44ca0a33.jpg","118.6x48.6cm",[138],{"id":2912,"slug":2913,"title":2914,"dynasty":18,"author":921,"museum":236,"description":2915,"tags":2916,"thumbUrl":2918,"material":1573,"size":2919,"collection":100,"collections":2920,"showCount":2921,"zanCount":419,"manualWeight":43,"mainColor":88},233731,"wu-jun-qing-pu-tao-hu-lu-zhou-wu-chang-shuo-233731","吴俊卿葡萄葫芦轴","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。 [3] 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》。",[25,7,28,304,113,1098,2917,664,291,287],"葫芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff132055bd0237aacfdd9ba4bc4e35645.jpg","纵174.7cm，横47.5cm",[],221,{"id":2923,"slug":2924,"title":2925,"dynasty":207,"author":2386,"museum":74,"description":2926,"tags":2927,"thumbUrl":2928,"material":99,"size":2929,"collection":158,"collections":2930,"showCount":2921,"zanCount":419,"manualWeight":43,"mainColor":44},219414,"ke-mu-zhu-shi-zhou-zhao-meng-fu-219414","窠木竹石轴","枯木枝干如篆籀盘曲，老而弥坚；新竹嫩梢似行草舒展，清劲秀逸。墨叶撇捺带笔意，坡石皴染见骨力，淡墨晕染出朴拙纹理，与劲竹枯树相映成趣。全图不施华彩，仅以水墨浓淡干湿，写尽草木石的情态。赵孟頫以书入画，将文人笔墨修养融入物象，简率构图里藏着对生命枯荣的静观，清寂中透出坚守——竹之劲节、石之沉稳、木之苍劲，皆是文人品格的投射，于宋元画坛间，绽放出文人画的清雅风骨。",[25,26,24,7,77,521,31,601,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F355b183f4da0c687b3cba7d72789da7c.jpg","纵99.4厘米，横48.2厘米",[158],{"id":2932,"slug":2933,"title":2934,"dynasty":207,"author":50,"museum":51,"description":2935,"tags":2936,"thumbUrl":2937,"material":37,"size":2938,"collection":84,"collections":2939,"showCount":2921,"zanCount":43,"manualWeight":43,"mainColor":44},218992,"zhu-he-shuang-qing-tu-yi-ming-218992","竹鹤双清图","孤鹤独立，长颈微垂似引幽思，红顶一点如丹砂缀雪。白羽凝霜般细腻，墨尾泼黛般沉劲，单足踏虚，恍若与天地静默对语。侧畔墨竹横斜，枝桠苍劲带古意，叶影疏疏拂过褐调绢本，斑驳处似藏元时的风。背景沉雅如陈酿，旧痕里漫出清寂气息。鹤之仙骨、竹之劲节相映，尽得“双清”之韵——清在羽片的莹白，清在竹枝的挺秀，更清在那份遗世独立的静穆。整幅画如一卷被时光浸润的诗，将高逸之气凝于笔端，任观者在古雅的色调里，触摸那份跨越千年的清雅风骨。",[25,26,7,28,113,225,31,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c8b105b375a4049c70ca392d54fc4a.jpg","纵165.9横100.8厘米",[84],{"id":2941,"slug":2942,"title":2943,"dynasty":18,"author":235,"museum":236,"description":2944,"tags":2945,"thumbUrl":2946,"material":136,"size":2947,"collection":84,"collections":2948,"showCount":2949,"zanCount":43,"manualWeight":43,"mainColor":44},219290,"mu-dan-shuang-ji-tu-ren-yi-219290","牡丹双鸡图","双鸡栖于顽石间，一昂首红冠耀目，白羽墨翅错杂生姿；一低首绒羽蓬松，神态憨拙可亲。侧畔枝桠横斜，新叶带露泛红，墨笔勾枝与赭色点芽相映，漾出淡淡春息。鸡身羽毛以浓淡墨晕染，层次细腻；爪部线条劲挺，力透纸背。顽石用枯笔皴擦，质感厚重朴拙。整幅画兼工带写，禽鸟之灵趣与草木之生机浑然一体，笔墨生动间，尽显自然意趣与生活情味。",[23,25,24,7,28,113,304,1228,114,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769282408829ec883984c71495ff83f2.jpg","纵103.8cm，横44.5cm",[84,158],220,{"id":2951,"slug":2952,"title":694,"dynasty":207,"author":2953,"museum":236,"description":2954,"tags":2955,"thumbUrl":2956,"material":1394,"size":2957,"collection":185,"collections":2958,"showCount":2959,"zanCount":656,"manualWeight":43,"mainColor":44},221692,"mo-zhu-po-shi-tu-gao-ke-gong-221692","高克恭","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n本幅左下方高氏自识：“克恭为子敬作。”钤“彦敬”印。右侧钤“清父之印”、“顾氏珍玩”、“吴景旭印”、“仁山鉴定”等鉴藏印6方。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。",[23,25,24,26,7,77,31,35,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce981bedac3fc255cca37a531f85e131.jpg","纵121.6厘米，横42.1厘米",[185,702],219,{"id":2961,"slug":2962,"title":2963,"dynasty":93,"author":2964,"museum":236,"description":2965,"tags":2966,"thumbUrl":2967,"material":182,"size":2968,"collection":157,"collections":2969,"showCount":2959,"zanCount":656,"manualWeight":43,"mainColor":88},221180,"ceng-die-bing-xiao-tu-zhou-ma-lin-221180","层叠冰绡图轴","马麟","图中所画两枝梅花据称为绿萼梅，是梅花中的名贵品种。枝干细秀劲挺，花朵繁密俏媚，皆以双勾填色法绘之。画法精细，层次鲜明，枝干的转折，花朵的向背，处理得面面俱到。\n在绢素上画疏枝绿萼白梅两枝，枝瘦花繁，一枝高昂扬起，伸至画面右中部，枝疏花密，花朵绽开；一枝低垂叶艳，由画幅右侧横出，伸展画幅中部与另一挺拔高枝相呼应。两枝枝干清瘦如铁。\n本幅款识：“臣马麟。”另有宋宁宗皇后杨氏题“层叠冰绡”，并题诗：“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。赐王提举：”钤“杨蛙之章”、“丙子刊宁翰墨”朱文。\n鉴藏印有：“项元汴印”朱文、“墨林山人”白文、“项氏子京”白文、“楠李项氏之家宝玩”朱文、“项墨林鉴赏章”白文、“项子京家珍藏”朱文、“墨林秘玩”朱文、“商丘宋荦审定真迹“朱文、“汝修”白文、”顾氏口阁珍藏”朱文、“典礼纪察司印”朱文半印，另一方印文不辨。\n地轴裱有题记：“嘉靖丙寅秋，用四十五金得于妻弟陆氏，共二幅，共直百金。顾从德记”“宋马麟《层叠冰绡图》。明项元汴清秘。用前价得藏于天籁阁”。钤“墨林山人”白文、“子京父印”朱文。裱边钤“教育部点验之章”朱文。",[23,25,26,7,27,28,392,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0b5f8ab1f8c9f8f0a1fb245c1b08d17.jpg","纵101.7cm，横49.6cm",[157,84,158],{"id":2971,"slug":2972,"title":2973,"dynasty":109,"author":1112,"museum":74,"description":2974,"tags":2975,"thumbUrl":2976,"material":37,"size":2977,"collection":138,"collections":2978,"showCount":2959,"zanCount":356,"manualWeight":43,"mainColor":44},218904,"xiao-yi-zhuan-lan-ting-tu-ju-ran-218904","萧翼赚兰亭图","这幅画描绘萧翼赚兰亭图的故事。唐太宗酷爱王羲之、王献之的书法，听说辩才和尚藏有羲之兰亭序真迹，于是派遣御史萧翼设法谋取。翼便以书生的打扮，先与辩才交游，两人常以诗文酬答，情感融洽，渐渐地，辩才对翼不加防备。有一天，趁辩才和尚外出，翼便偷走兰亭真迹",[23,25,7,77,130,129,170,134,193,351,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f67dfbeda3e115e84b0798018f410e.jpg","144.1x59.6",[138],{"id":2980,"slug":2981,"title":2982,"dynasty":72,"author":126,"museum":331,"description":2983,"tags":2984,"thumbUrl":2985,"material":198,"size":780,"collection":100,"collections":2986,"showCount":2987,"zanCount":11,"manualWeight":43,"mainColor":88},228836,"qiu-jiang-xian-diao-tu-shen-zhou-228836","秋江闲钓图","文征明曾分析沈周画风的演变：“自其少时，作画已脱去家习，上师古人，有所模临，辄乱真迹，然所为率盈尺小景。至四十外始拓为大幅，粗枝大叶，草草而成，虽天真烂发，而规度点染，不若向时精工矣。”论其传统的渊源，主要受老师杜琼、刘珏、赵同鲁和父祖辈的影响，以董源、巨然、元四家为宗，于黄公望、王蒙、吴镇用功尤深，所得也最多。沈周学倪瓒往往用笔过于强劲，落墨亦过于浓重，所追求的并不是倪瓒那种若淡若疏的境界。此作无论从用笔还是构图，都有明显的模仿倪瓒的痕迹。",[23,25,77,130,7,80,79,129,349,521,35,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61a9be30d5f9b913daebe5f42a2dddf.jpg",[],218,{"id":2989,"slug":2990,"title":2991,"dynasty":93,"author":2992,"museum":319,"description":2993,"tags":2994,"thumbUrl":2995,"material":37,"size":100,"collection":138,"collections":2996,"showCount":2997,"zanCount":11,"manualWeight":43,"mainColor":44},218580,"he-ting-xiao-xia-tu-liu-song-nian-218580","荷亭消夏图","刘松年","竹影筛风，亭榭浮凉。几竿修竹环绕临水敞亭，亭中素衣人或凭栏观荷，或闲坐展卷，墨香混着竹韵漫开。下方溪流清浅，碎石错落，一士人曳杖徐行，童子负物紧随，身影在树荫与水光间轻晃。山石以细皴晕染，纹理温润如触；竹叶用劲挺笔触勾勒，层次疏密有致。\n\n风过竹梢的沙沙声，溪水叮咚的回响，与亭中人的静默相映，滤去夏日燥热，只留清幽雅致。笔墨细腻却不繁缛，每处细节都藏着宋时文人的闲适——仿佛能隔着千年，触到竹间那缕凉意，窥见他们把暑气酿成诗意的模样。整幅画如同一盏冰茶，入口清润，余味悠长。",[25,24,26,7,27,130,129,29,377,31,193,132,170,172,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5d87850a086dc74d33f9a716e43966.jpg",[138],217,{"id":2999,"slug":3000,"title":3001,"dynasty":72,"author":3002,"museum":74,"description":3003,"tags":3004,"thumbUrl":3006,"material":37,"size":3007,"collection":84,"collections":3008,"showCount":2997,"zanCount":11,"manualWeight":43,"mainColor":44},216220,"fu-rong-bai-lu-tu-zheng-shi-216220","芙蓉白鹭图","郑石","郑石的《芙蓉白鹭图》是一幅著名的绢本花鸟画。这幅画描绘了一只芙蓉花和二只白鹭鸟，画面非常精致优美。这幅画是郑石最著名的作品之一，被认为是明朝花鸟画的代表作之一。郑石是明朝时期著名的画家，他的画风清新自然，画面精致细腻，对后世艺术家产生了很大的影响。",[23,2749,25,26,7,27,28,113,675,3005,404,536,548],"白鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b6278a19e0cd0b6464e8d5101b347b.jpg","144.4x74.3cm",[84],{"id":3010,"slug":3011,"title":3012,"dynasty":93,"author":481,"museum":74,"description":3013,"tags":3014,"thumbUrl":3015,"material":37,"size":3016,"collection":138,"collections":3017,"showCount":3018,"zanCount":43,"manualWeight":43,"mainColor":44},219598,"zhu-he-tu-ma-yuan-219598","竹鹤图","若无若有望中迷。独立黄冠仙客携。识赏分明印坤卦。何云为寿赐都提。甲辰（西元一七八四年）仲冬中浣再题。\n不祷自安缘寿骨。人间难得是清名。浅斟仙酒红生颊。永保长生道自成。赐王都提举为寿。\n布景期神弗期格。分明马远署臣名。胎仙近远相鸣和。绘也羲经与注成。甲辰（西元一七八四年）孟冬上浣御题。",[23,25,26,7,77,28,130,31,29,129,79,193,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905155f3f4ed0840a0e14b1248544c85.jpg","124.3x56.6公分",[138,39],216,{"id":3020,"slug":3021,"title":1093,"dynasty":72,"author":301,"museum":236,"description":3022,"tags":3023,"thumbUrl":3037,"material":745,"size":3038,"collection":100,"collections":3039,"showCount":3040,"zanCount":11,"manualWeight":43,"mainColor":88},233375,"shui-mo-pu-tao-tu-zhou-xu-wei-233375","此图曾经清代李佐贤、陈希濂等收藏。\n图中画一架葡萄，叶片茂盛，藤蔓缠绕，果实累累。作者以草书笔法作画，行笔豪迈而不肆野，叶、果用淡墨加胶矾挥洒，墨气淋漓酣畅，产生了极佳的晕散效果。\n画中所题诗见于《徐文长集三》卷十一，是徐渭作画时常书写的诗作之一，抒发了作者一生不遇的坎坷痛苦的心境。画中题字受米芾行书风格影响，结体紧凑，运笔舒缓大气，竖笔、捺笔流畅雄健，收锋沉稳，体现了其身为晚明大书家的深厚的艺术功力。",[25,26,7,77,304,1098,664,291,3024,536,3025,1096,3026,3027,3028,3029,3030,3031,58,3032,3033,3034,3035,3036],"果实","蔬果","墨色变化","藤蔓缠绕","果实垂挂","枝叶舒展","水墨淋漓","文人画风格","水墨植物","墨叶","墨果","藤蔓线条","写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ac2949f65bdc9dc171950992c953d5d.jpg","纵 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明遗民。\n朱耷是明太祖朱元璋第十七子朱权的九世孙，明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，早年书法取法黄庭坚 。花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永；山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文，用墨极少。\n八大山人由于他明朝宗室的特殊身世，和所处的时代背景，使他的画作不能像其它画家那样直抒胸臆，而是通过他那晦涩难解的题画诗和那种怪怪奇奇的变形画来表现。例如他所画的鱼和鸟，寥寥数笔，或拉长身子，或紧缩一团，倾是而非。特别是那对眼睛，有时是个椭圆形，都不是我们生活中所看的鱼、鸟的眼睛，生活中鱼、鸟的眼睛都是圆圆的，眼珠子在中央也不会转动。八大山人的鱼、鸟的眼珠子都能转动，有时还会翻白眼瞪人哩。他画的山石也不像平常画家画那个样子，浑浑圆圆，上大下小，头重脚轻，他想搁在哪里就在哪里，也不管它是不是稳当，立不立得住。他画的树，老干枯枝，仅仅几个杈椰，几片树叶，在森林中几万棵树也挑不出这样一颗树来。他画的风景、山、光秃秃的树，东倒西歪，荒荒凉凉，果真有这么个地方，我想谁也不肯到这里来安家落户。\n还有，他画上的题诗、签名和印章，也是怪怪的。例如他自号“八大山人”，解释的人很多，至今学者们还有不同争论。他有一方印章，印文刻作 ，有人说它是由“八大山人”四字组成，有的人则持慎重态度，称之为“屐形印”，因为它的形状像只木屐。至于他画上的题诗，许多句子更是令人难解。\n然而，八大山人明确地告诉我们：“横流乱世杈椰树，留得文林细揣摩”。又说：“想见时人解图画”。他是很希望人们能够理解他的画中之意的。因此许多学者经细心的研究，从他的画意和字里字间，探听出许多真消息。例如他有一个画押写作 ，很长时间人们一直称它为龟形画押，因为其形状特别像一只乌龟。后来才看出，原来是由“三月十九日”几个字变形组成，这恰好是明代最末一个皇帝崇祯自杀的日子，标志着明朝的灭亡。那么这个画押，也就表示对 亡国的纪念。\n康熙二十一年他曾经画了一幅《古梅图》，树的主干已空心，虬根露出，光秃的几枝杈椰，寥寥的点缀几个花朵，像是饱经风霜雷电劫后余生的样子。其上题了三首诗，第一首写道：“分付梅花吴道人，幽幽翟翟莫相亲。南山之南北山北，老得焚鱼扫虏尘。”“梅花吴道人”是指元代画家吴镇，自号“梅花道人”。方框内的字，显然是被当时或稍后的收藏者有意剜去，以避免文字狱灾祸。不难猜测，这个字不是“胡”，即是“虏”。清代统始者以满族入主中原，最忌讳的也是这两字。要在“南山之南北山北”扫除“胡尘”，朱耷非常明确地表达了他的反清复明思想。第二首诗写道：“得本还时末也非，曾无地瘦与天肥。梅花画里思思肖，和尚如何如采薇。”诗中用了两个典故，一是元初遗民画家郑思肖，在南宋灭亡之后隐居吴下，画兰花露根不画坡土，人问何故，他回答说：“土地都被人抢夺去了，你难道不知吗？”二是殷遗民伯夷、叔齐在周灭殷以后，耻不食周粟，隐居首阳山采薇而食，直至饿死。原来八大这幅《古梅图》虬根外露，也不画坡土，是仿照郑思肖画兰之意，暗含着国土被清人所抢夺，他这个明代宗室子孙，之所以成了和尚，正如伯夷、叔齐采薇首阳山那样，不肯臣服于新王朝。国破家亡，复国无望，这使他不能不“苦泪交千点”了。\n八大山人题画诗，是解开他画意的钥匙，然幽涩难解，如迷如雾，许多学者都下过一番功夫进行破释。例如康熙二十三年所作《甲子花鸟册》，其中第七页画一只八哥站在枯枝上，题诗曰：“衿翠鸟唤哥，吭圆哥换了。八哥语三虢，南飞鹧鸪少。”此诗之意，香港中文大学饶宗颐教授经过引经据典考释后结论说：“此诗画是讥‘虢’（指明）亡后，忠臣如鹧鸪之志切怀南，殊不多见。”这就是说，八大的作品，除了一般的国破家亡的情绪表达之外，有时还具体有所指。《瓜月图》亦是件有所指的作品，在题诗之后他记录说：“己巳润八月十五夜画所得”。面对着天上的圆月，和人间家家户户吃月饼，他的心被触动了，那么他“所得”是什么呢？画上题诗曰：“眼光饼子一面，月圆西瓜上时。个个指月饼子，驴年瓜熟为期。”有人根据吃月饼的风俗来源于反清义军传递起事暗号的民间故事，说八大在期盼着这一天到来。然而却要等到何年（驴年）呢？“驴年马月”是俗语，表示遥无定期。果真如此，则八大的心迹，就不只是徒有国亡余痛了。\n八大山人长于水墨写意，为其划时代的人物。 在水墨写意画中，又有专擅山水和专擅花鸟之别，八大山人则两者兼而善之。他的山水画，近师董其昌，远法董源、巨然、郭熙、米芾、黄公望、倪瓒诸家。例如康熙四十一年所作《书画册》（上海博物馆藏）共画了六幅山水小品，就可以看出深受董其昌的影响，其远笔的圆润则有着董、巨和黄公望的遗踪，墨法参照了米氏云山，而某些树石的组合形式，显然取自倪瓒。但是，我们在欣赏这些作品时，却又强烈地感觉到朱耷的个性，上述那些古人的法则，不过是他随手拈来为自己服务的。那些山、石、树、草，以及茅亭、房舍等，逸笔草草，看似漫不经心，随手拾掇，而干湿浓淡、疏密虚实、远近高低，笔笔无出法度之外，意境全在法度之中。这种无法而法的境界，是情感与技巧的高度结合，使艺术创作进入到一个自由王国。\n比起山水画来，八大山人的花鸟画创作，更具有他风格个性的典型性。顺治十六年所作《传綮写生册》（台北故宫博物院藏），和康熙五年作的《墨花卷》（北京故宫博物院藏），是八大早期作品，从中可以看到他的水墨写意花鸟画创作，深受沈周、陈淳、徐渭的影响，其用笔较方硬，题材、布局也未脱离前人窠臼，但是画中所表现出的兀傲之气，以及不拘一格的大胆剪裁，如不求物象的完整性，却已预示着他的未来的发展。\n八大山人花鸟画最突出特点是“少”，用他的话说是“廉”。少，一是描绘的对象少；二是塑造对象时用笔少。如康熙三十一年所作《花果鸟虫册》，其《涉事》一幅，只画一朵花瓣，总共不过七、八笔便成一幅画。在八大那里，每每一条鱼，一只鸟，一只雏鸡，一棵树，一朵花，一个果，甚至一笔不画，只盖一方印章，便都可以构成一幅完整的画面，可以说少到不可再少了的程度。前人所云“惜墨如金”，又说“以少少许胜多多许”，只有八大才真正做到了这点，可谓前无古人，后难继者。\n少，也许能有人作到，但是少而不薄，少而不贫，少而不单调，少而有味，少而有趣，透过少而给读者一个无限的思想空间，这是难有人作到的，八大山人却具备了如上的要求，这里大有文章。首先是他在用笔用墨上的功夫。他的用笔由方硬变圆润，饱和墨汁与运笔的方法相结合，一下笔就给人以浑厚丰富之感。他是第一个充分主动利用生宣纸特性以加强艺术表现力的画家。生宣纸的吸水能力强，容易使墨汁扩散（洇），这本来是缺点，而八大却把它变为优点，不但为水墨写意画开辟了一个广阔的前景，而且也创造了人们对水墨写意画的新观念，其功不朽。\n其次是形象的塑造。八大山人的花鸟造型，不是简单的变形，而是形与趣、与巧、与意的紧密结合，所以我们在欣赏时，就不会感到单薄和寂寞。再次是他的布局，特别讲究少许物象在二维空间中摆放的位置。其诀窍是充分利用空白，即前人所谓“计白当黑”。与此同时，并充分调动题跋、署款、印章在布局中的均衡、对称、疏密、虚实等的作用。他不像一般画家那样，先画好画，然后在恰当的位置题款和押印，而是有总体的规划设想，使每一点都在布局中起到举足轻重的作用，不多，不少，不奢侈，不节约。例如康熙三十三年所作《花鸟山水册》（上海博物馆藏），第一幅仅画一只雏鸡。小鸡置于画面中右偏下，这一位置的重心，将画面分割成四大块空间，每块空间的大小都不一样，平衡而有变化。由于小鸡头部方向朝左，故题诗在右第二大块空间中，使空荡的背景顿时活跃起来，视觉上起到突破平衡和内容丰富的作用。小鸡的刻画生动传神，动态像小孩刚学走路，蹒跚得十分可爱。瞪着大眼警惕着前方，特别是眼后加三撇，像电波一样，好似前方有什么声响传来，使小鸡心惊胆怯。这只小雏鸡我们可以理解为它刚出蛋壳，表示出对这个世界的惊异与警惕；也可以理解为走失了群体，找不到妈妈，感到孤独而害怕，如何理解，任人们驰骋想象的翅膀，所以有时候少画，反而思想的容量更大。\n少，不是目的而是手段，否则越少越好，艺术又会走入另一条邪径。少是相对的，例如康熙四十二年所作的《杨柳浴禽图》（北京故宫博物院藏），相对上述作品来说是“多”了，但比起一般画家处理同类题材的作品来，却少了许多许多。例如他对柳枝的处理，约有十二笔，就占住了整个画面上部的空间，不但表现出杨柳的老干新枝的质，也表现了枝条迎风的势。在春风料峭之中，八哥在洗刷自己的羽毛将振翅欲飞。这一生活小景，表现出无限的生意。康熙十六年所作的《河上花图》（天津艺术博物馆藏），是八大山人一生作品中仅见的长篇巨制，也是他笔墨最多、布局最复杂的一幅，但他仍然体现着少的原则。例如开卷的一丛荷花，总共超不出三十笔，笔减而意繁，一开卷便引人入胜。\n八大山人，前承古人，后启来者。白石老人曾有诗曰：“青藤（徐渭）雪个（八大山人）远凡胎，缶老（吴昌硕）当年别有才。我原九泉为走狗，三家门下转轮来。”其倾倒如此。今天随着东西方文化的交流，欣赏和理解他艺术的人越来越多。",[25,26,7,77,304,306,32,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afb4ee4d66f987d5bb2edff1946a7e.jpg",[185],214,{"id":3080,"slug":3081,"title":3082,"dynasty":18,"author":3083,"museum":331,"description":3084,"tags":3085,"thumbUrl":3086,"material":136,"size":3087,"collection":39,"collections":3088,"showCount":3078,"zanCount":419,"manualWeight":43,"mainColor":88},214670,"zhong-kui-tu-huang-shen-214670","钟馗图","黄慎","这幅画描绘的是钟馗在吃石榴，而一个小孩子和他一起玩。这是黄慎委托的一幅吉祥画",[23,25,26,7,77,985,29,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6631ced5ea11c63e64cba3d283250e.jpg","149x110",[39],{"id":3090,"slug":3091,"title":3092,"dynasty":72,"author":1024,"museum":74,"description":3093,"tags":3094,"thumbUrl":3096,"material":214,"size":3097,"collection":138,"collections":3098,"showCount":3099,"zanCount":43,"manualWeight":43,"mainColor":88},220930,"fang-ni-zan-bi-yi-zhou-dong-qi-chang-220930","仿倪瓒笔意轴","董其昌题跋提到曾于苏州王禹声家中见过一幅倪瓒画山水，画上书宋僧法具四首绝句。此作不但追摹倪瓒风格，亦仿原画题诗其上，然依记忆仅抄录其中三首，或因此与原诗稍有出入。王禹声为名宦王鏊（1450-1524）曾孙，曾任承天知府，与董其昌为同榜进士。此作将倪瓒一河两岸式的构图，改为多重山体、水面向远方延伸的深远空间，并倾斜山根水脚所在平面，让画面呈现向左下倾斜的微妙动势；画中林木更见丰盛，山形亦多变而结实，然透过折带皴与带状绵延远山，仍流露出倪瓒画作雅澹的格调。",[23,24,25,26,7,77,129,945,130,97,79,35,170,3095,1419,212],"远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bd10a4aa8afb51c75dc35585ca53cb.jpg","纵138.8cm，横47cm",[138,185],213,{"id":3101,"slug":3102,"title":3103,"dynasty":72,"author":389,"museum":74,"description":3104,"tags":3105,"thumbUrl":3107,"material":77,"size":3108,"collection":138,"collections":3109,"showCount":3099,"zanCount":11,"manualWeight":43,"mainColor":88},219331,"kong-shan-guan-pu-tu-tang-yin-219331","空山观瀑图","唐寅（1470—1523），字伯虎，一字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，据传于明宪宗成化六年庚寅年寅月寅日寅时生，故名唐寅。汉族，吴县（今江苏苏州）人。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文征明、徐祯卿并称“江南四才子”，画名更著，与沈周、文征明、仇英并称“吴门四家”。",[25,26,7,77,130,129,427,169,132,29,3106,172],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f9b1868f56ffcbda8eabd2eb3efa9.jpg","60.5x38.6公分",[138],{"id":3111,"slug":3112,"title":3113,"dynasty":93,"author":50,"museum":3114,"description":3115,"tags":3116,"thumbUrl":3117,"material":37,"size":3118,"collection":39,"collections":3119,"showCount":3099,"zanCount":656,"manualWeight":43,"mainColor":44},218476,"shui-yue-guan-yin-xiang-yi-ming-218476","水月观音像","奈良国立博物馆","观世音菩萨的雕像带着佛光，呈圆圈状，坐在一块立在水中的怪石上，旁边有一个插着柳枝的花瓶，静静地注视着左边下面水中反射的月亮。在背景中，从上面的悬崖可以看到一个瀑布。白色的慈悲女神与在曼陀罗的莲花部分看到的不一样。这幅图中的白衣观音似乎是在南宋时期的禅林中创作的，就像中国宋元时期和日本镰仓时期之后的情况一样。",[25,26,7,54,29,985,28,59,35,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b6ed05393745747280c984d98e7da9f.jpg","88x36.7",[39],{"id":3121,"slug":3122,"title":1761,"dynasty":18,"author":1048,"museum":331,"description":3123,"tags":3124,"thumbUrl":3125,"material":100,"size":100,"collection":100,"collections":3126,"showCount":3127,"zanCount":11,"manualWeight":43,"mainColor":704},230140,"mo-zhu-tu-zheng-ban-qiao-230140","修竹挺拔舒展，以浓淡墨色铺陈枝叶，虚实错落间尽显萧疏清劲，仿佛携着晚来林风，簌簌有声。画竹以书入笔，笔意兼具行书灵动与隶书沉厚，竹叶如“个”似“介”，爽利遒劲，将竹的孤傲磊落全然铺展。左侧题诗与墨竹相映成趣，诗画交融，以竹为寄，把超脱世俗的清介襟怀藏进笔墨。寥寥数笔便写尽竹之神韵，将文人逸致与君子品性合而为一，尽显文人画托物言志、诗画同源的绝妙意境。",[23,25,26,7,77,97,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f843406125e3d7d75445cdef2772a3.jpg",[],212,{"id":3129,"slug":3130,"title":3131,"dynasty":93,"author":1517,"museum":51,"description":3132,"tags":3133,"thumbUrl":3141,"material":99,"size":3142,"collection":157,"collections":3143,"showCount":3127,"zanCount":11,"manualWeight":43,"mainColor":44},220420,"shan-shi-qing-lan-tu-xia-gui-220420","山市晴岚图","昭山，位于湘潭，长沙交界处，离城20公里，突兀挺立在湘江东岸，是湘潭市的北大门。每逢雨后新晴，或是旭日破晓，万丈霞光撒在山间，雨气氤氲，色彩缤纷，美而壮观。北宋大书画家米芾将这一景观绘成《山市晴岚图》，列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[25,26,77,129,7,130,272,170,176,132,3134,3106,173,3135,3136,3137,3138,3139,3140],"小筑","晴岚","杂树","坡岸","村舍","水墨渲染","南宋山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36e5dcf9afd9b288e69532ac5390b9f.jpg","24.8×21.3cm",[157,185],{"id":3145,"slug":3146,"title":3147,"dynasty":109,"author":852,"museum":331,"description":3148,"tags":3149,"thumbUrl":3151,"material":198,"size":780,"collection":100,"collections":3152,"showCount":3153,"zanCount":43,"manualWeight":43,"mainColor":342},288512,"shan-xi-dai-du-tu-guan-tong-288512","山溪待渡图","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 此画用墨饱满，笔法简炼雄劲。",[24,25,129,77,130,7,132,193,134,377,3150],"林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34439de5b826ade79e2d3efccdbc4630.jpg",[],211,{"id":3155,"slug":3156,"title":1047,"dynasty":18,"author":1296,"museum":331,"description":3157,"tags":3158,"thumbUrl":3159,"material":198,"size":780,"collection":100,"collections":3160,"showCount":3153,"zanCount":419,"manualWeight":43,"mainColor":88},287444,"lan-zhu-tu-shi-tao-287444","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,26,7,77,31,1051,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78897544684d19c2db3989df6b58bf38.jpg",[],{"id":3162,"slug":3163,"title":3164,"dynasty":72,"author":126,"museum":51,"description":3165,"tags":3166,"thumbUrl":3167,"material":136,"size":3168,"collection":138,"collections":3169,"showCount":3153,"zanCount":419,"manualWeight":43,"mainColor":342},219718,"qiu-lin-xian-diao-tu-shen-zhou-219718","秋林闲钓图","《秋林闲钓图》以士人悠游林下的生活场景为主线，画一老者，端坐于河边树下坡地，全神执竿垂钓。画树错落有致，姿态优美，笔力古健。此图于成化十一年乙未（1475年）所作，作者沈周时年四十九岁。图上有沈周的题款：“繫舟烟浪夕，笑语溢柴闗。淡墨灯前画，故情江上山。相交父子者，岂在酒杯间。与君将白发，共对钓丝閒。予谬交志刚彭君父子间几三十年，志刚有古道，通予有无，非市郭拍肩执袂者比也。乙未长至后一日志刚擕酌至有竹居，秉烛写此图并题其上，聊寓感感而已，诗画云乎哉。沈周。",[25,77,130,7,129,29,131,35,2367,484,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59ec7decf5cf8b949fc64e7998369.jpg","纵152.4厘米，横62.9厘",[138],{"id":3171,"slug":3172,"title":3173,"dynasty":72,"author":264,"museum":74,"description":3174,"tags":3175,"thumbUrl":3176,"material":37,"size":3177,"collection":158,"collections":3178,"showCount":3153,"zanCount":11,"manualWeight":43,"mainColor":44},219318,"zhou-jin-tang-zhou-chou-ying-219318","昼锦堂轴","〈相州昼锦堂记〉是北宋欧阳修（1007-1072）为宰相韩琦（1008-1075） 所做的一篇记文，指出衣锦还乡本人之常情，且古今所同，而韩琦却建昼锦堂以为鉴诫，并未因富贵而夸耀，高节值得推崇。本幅又是所谓文征明书写题记，仇英绘图的合璧之作。苏州作坊多有这种形式的制作，优雅又具文化意涵，用来馈赠为官或显贵者，颇为恰当。画幅左方先图绘韩琦轻骑简装于返乡途中，接着越过山岭，则见到回到家中创建有昼锦堂的韩琦，正素衣凭几而坐。形成中国叙事画中所谓异时同图的表现方式。画家同时也采取了象征的手法，堂前的松树与堂",[25,24,26,7,27,268,28,129,269,29,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb655f51653565200dcbc0cddbe1a8ccf.jpg","192.7x 96.3",[158],{"id":3180,"slug":3181,"title":3182,"dynasty":93,"author":1726,"museum":331,"description":3183,"tags":3184,"thumbUrl":3185,"material":198,"size":780,"collection":100,"collections":3186,"showCount":3187,"zanCount":11,"manualWeight":43,"mainColor":44},287576,"shuang-xi-tu-cui-bai-287576","双喜图","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[23,24,25,7,27,28,151,900,521,113,241,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ec422a7f31392c01473ad0cdcb93a1.jpg",[],210,{"id":3189,"slug":3190,"title":3191,"dynasty":283,"author":284,"museum":3192,"description":3193,"tags":3194,"thumbUrl":3195,"material":1688,"size":100,"collection":100,"collections":3196,"showCount":3197,"zanCount":43,"manualWeight":43,"mainColor":88},220609,"xia-tu-qi-bai-shi-220609","虾图","中国现当代美术文献研究中心","这幅虾群灵动鲜活，是水墨写意的神来之笔。以淡墨晕染虾身，晕染出甲壳的通透质感，浓墨点睛、重笔挥毫虾枪与虾脑，寥寥数笔便勾勒出河虾的挺拔神气。细劲飘逸的长须似有若无，仿佛随水流轻颤，将群虾在清水中自在穿梭的姿态描摹得淋漓尽致。\n\n群虾排布错落有致，聚散得宜，画面留白暗藏水意，让观者仿佛能窥见池水清浅。左侧题诗与绘画面面相映，尽显晚年笔力的老辣生趣。写实与写意浑然相融，将文人意趣与自然生机揉合无间，寥寥水墨尽显国画留白写意的精妙，把河虾灵动活泼的天性尽数展现，勾勒出鲜活悠游的池底意趣。",[25,77,304,97,638,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be1b5af9ae4beb75fd1a48ec1b40bd.jpg",[],208,{"id":3199,"slug":3200,"title":3201,"dynasty":18,"author":1036,"museum":236,"description":3202,"tags":3203,"thumbUrl":3204,"material":486,"size":3205,"collection":39,"collections":3206,"showCount":3207,"zanCount":11,"manualWeight":43,"mainColor":3208},222796,"yong-zheng-chao-fu-xiang-zhou-lang-shi-ning-222796","雍正朝服像轴","此幅画面上雍正皇帝身着明黄色彩云金龙夏朝服，头戴夏朝冠，顶贯珠三重，冠前饰金佛。胸前佩戴东珠朝珠，其上间系绿松石纪念三串，腰系朝带，足蹬石青色朝靴，这是雍正皇帝参加盛大典礼时的服饰。此图用笔工整精致，色彩华丽鲜艳，人物神态端庄威严，是宫廷画家精心创作的皇帝肖像画。从“冠上无梁”（“梁”为清帝朝冠顶座左右两侧的n形装饰，雍正晚期出现）的装饰风格看，当属雍正早期的绘画作品。\n一代冠服自有一代之制。清代满族统治者传承中国古代传统文化的精髓，把“衣作绣，锦为缘”、“续衽钩边”和“朝服祭服，襞积（朝袍腰部叠褶处称襞积）无数”这些中国古代服饰的传统形制与带有满民族风格的“披肩领”和“马蹄袖”巧妙地结合起来，不仅彰显了其“马上得天下”的辉煌历史，同时亦注重到实用性，并最终使其制度化，成为中国古代服饰制度改革中的典型范例。\n清代冠服制度规定：朝服分蓝、红、月白、明黄四种颜色，根据不同的礼仪功能和场合穿用不同颜色的朝服。祭天穿蓝色，祭日穿红色，祭月穿月白色，而明黄色朝服一般用于典礼（登基、元旦、万寿、金殿传胪、颁诏受贺等）和祭祀（祭太庙、先农坛、社稷坛、先师孔子、历代帝王等）活动。典礼和祭祀穿着的明黄色朝服又有区别，典礼朝服衣袖为石青色，而祭祀朝服衣袖为明黄色。",[23,28,27,29,334,34,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f084389b4a5403ca87fac736d099533.jpg","纵277厘米，横143厘米",[39,158],207,"FDD835",{"id":3210,"slug":3211,"title":3212,"dynasty":93,"author":1517,"museum":74,"description":3213,"tags":3214,"thumbUrl":3215,"material":99,"size":3216,"collection":157,"collections":3217,"showCount":3207,"zanCount":11,"manualWeight":43,"mainColor":44},218864,"xi-shan-gao-yi-tu-xia-gui-218864","溪山高逸图","山石以劲挺斧劈皴勾勒，棱角如剑刃划破烟岚，却含苍润之气。树木疏朗，枝干屈铁盘结，墨色浓淡相济，叶簇攒云般摇曳，似在风中低语清寂。构图于层峦间藏空灵：远山隐黛，近树扶疏，溪涧凉意从林木间隙渗出，未绘却已感知。\n\n整幅画以极简笔墨写尽“高逸”：无喧嚣，唯山风穿林轻响；无俗事，唯隐者静观天地。树后茅舍隐约，似有高士凭窗，将尘心托付烟霞，精神游弋林泉。苍劲中见温婉，疏淡里藏深情——恰如宋人对自然的敬畏，对自由的向往，尽在咫尺画卷间，让观者也随笔墨潜入山林，暂忘尘扰。",[23,25,129,130,77,7,131,132,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83a500324062626de8322a3fc16b72d.jpg","45.5x36.5厘米",[157,138],{"id":3219,"slug":3220,"title":3221,"dynasty":18,"author":235,"museum":3222,"description":3223,"tags":3224,"thumbUrl":3225,"material":136,"size":3226,"collection":39,"collections":3227,"showCount":3207,"zanCount":11,"manualWeight":43,"mainColor":88},217065,"san-yang-kai-tai-tu-ren-yi-217065","三羊开泰图","旅顺博物馆","这是一幅三羊开泰的画作，象征着三羊开泰 的含义。这幅画画在生纸上，是艺术的杰作，人物形象显著，有老莲的传承。三只羊的排列也很引人注目，黑羊只露出眼睛和两个长角，进一步显示了作者的创造性和天才。",[23,25,28,77,27,7,29,3057,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaf294ec271b5da04f59a3aa051ce5f.jpg","145x75",[39],{"id":3229,"slug":3230,"title":3231,"dynasty":72,"author":50,"museum":3232,"description":3233,"tags":3234,"thumbUrl":3236,"material":37,"size":100,"collection":84,"collections":3237,"showCount":3207,"zanCount":356,"manualWeight":43,"mainColor":44},216906,"lian-chi-cang-lu-tu-yi-ming-216906","莲池苍鹭图","耶鲁大学艺术博物馆","莲池苍鹭图是明朝时期的一幅著名图画，作者不详。这幅图画描绘了一个山间池塘，池塘中有许多莲花，并有一只苍鹭在池塘中游荡。图画中还有许多树木和山峰，构成了一幅优美的山水画。莲池苍鹭图被认为是明朝时期山水画的代表作之一，其中融合了中国传统的山水画风格和新兴的写意山水画风格，反映了明朝时期的艺术特点。",[23,25,28,27,7,113,306,307,3235,151],"苍鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08681f58d681525cfd1a7c86c9d4cc8.jpg",[84],{"id":3239,"slug":3240,"title":3241,"dynasty":207,"author":2386,"museum":236,"description":3242,"tags":3243,"thumbUrl":3244,"material":3245,"size":3246,"collection":185,"collections":3247,"showCount":3248,"zanCount":419,"manualWeight":43,"mainColor":44},220869,"zhu-shi-tu-zhou-zhao-meng-fu-220869","竹石图轴","枯木竹石图是历代文人善画的题材,约始于唐代，至北宋文同、苏轼有较大的发展，南宋、金元间继有作者，至赵孟頫加以强调，形成一时风尚，终元一代盛行不衰。\n赵孟頫画枯木竹石，在继承文、苏的基础上，将书法的用笔融于绘画之中，他主张“书画同源”，即以书入画，其驰名古今画坛的名诗句“石如飞白木如籀，写竹还于八法通。”对后世画坛影响巨大，此图即体现了这一理论，用书法的“飞白”写出石及枯树干，章法简洁，笔法苍健洒脱，透出力度。竹以流畅的笔调，以“个”字或“介”字，一笔一笔撇捺，既有力又含蓄，富笔墨情趣，体现了文人画家的风雅韵致。\n从此图署款和绘画风格推断，当是赵孟頫晚年之作。",[23,25,26,7,77,130,31,35,1275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e366d2b4e02d71e45a12788491653e.jpg","绢本，墨笔","纵108.2厘米，横48.8厘米",[185,702],205,{"id":3250,"slug":3251,"title":3252,"dynasty":72,"author":3253,"museum":236,"description":3254,"tags":3255,"thumbUrl":3256,"material":182,"size":3257,"collection":84,"collections":3258,"showCount":3259,"zanCount":11,"manualWeight":43,"mainColor":44},222048,"mei-gu-hua-hui-tiao-fu-wang-zhong-222048","没骨花卉条幅","汪中","绘花鸟虫石一幅，湖石立于地面，棱角尖锐，内部多孔，其四周有月季、金银花穿插之中，花儿娇艳，虫蝶生动活泼。汪中，字容甫，清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[23,25,26,7,1593,28,113,35,536,600,1785,664,576,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","54.4x113.9",[84,158],204,{"id":3261,"slug":3262,"title":3263,"dynasty":72,"author":50,"museum":331,"description":3264,"tags":3265,"thumbUrl":3267,"material":100,"size":100,"collection":100,"collections":3268,"showCount":3269,"zanCount":656,"manualWeight":43,"mainColor":88},235322,"shen-zhou-xi-shan-wan-zhao-tu-zhou-yi-ming-235322","沈周溪山晚照图轴","此作用高远章法铺陈，上部危崖耸峙，飞泉自谷间垂落，苍劲皴笔勾勒出嶙峋厚重的山石肌理。下部溪岸错落，疏林亭亭，茅舍隐于陂岸之后，淡墨晕染出薄暮空濛之境。\n\n笔墨带着吴门画派的文人情致，枯湿浓淡相宜，简淡中见苍润。诗画合璧，将山居暮色里的幽寂禅意娓娓道来，林泉高致的雅兴融于尺幅，静穆空远，尽显晚照溪山的澹然逸趣。",[25,26,7,77,129,193,169,170,132,3266,130],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bbddeb071a1e562b0706ec6e36e9088.jpg",[],203,{"id":3271,"slug":3272,"title":3273,"dynasty":18,"author":921,"museum":236,"description":3274,"tags":3275,"thumbUrl":3277,"material":3278,"size":3279,"collection":100,"collections":3280,"showCount":3269,"zanCount":419,"manualWeight":43,"mainColor":88},233734,"zi-teng-tu-wu-chang-shuo-233734","紫藤图","此图是1905年吴昌硕62岁作，为花卉四条屏之末条。款：“乙巳（1905年）八月八日，安吉吳俊卿擬十三峰草堂”。钤“吴俊之印”。绘藤叶凌空倚势，宛若龙翔凤舞。藤条盘绕回曲，缠石数重。作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。同时，此画画气不画形，追求书法中气贯神通的审美意趣。正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，條系好春光。歲歲花長好，飄（飄）滿畫堂。”的诗境。",[25,7,28,304,113,1696,664,3276,77,2664],"石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c251ae9fe1e9537d5a6fe03ea212be.jpg","金笺，设色","纵163.4厘米，横47.3厘米",[],{"id":3282,"slug":3283,"title":3284,"dynasty":72,"author":301,"museum":236,"description":3285,"tags":3286,"thumbUrl":3288,"material":214,"size":3289,"collection":39,"collections":3290,"showCount":3269,"zanCount":11,"manualWeight":43,"mainColor":44},222238,"lv-bei-yin-shi-tu-zhou-xu-wei-222238","驴背吟诗图轴","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”（《琅嬛文集·跋徐青藤小品画》）",[23,25,77,304,7,29,3287,80,79],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad70cb02cc5b283ac73c9e55c2df32ea.jpg","纵112.2厘米，横30厘米",[39,185],{"id":3292,"slug":3293,"title":3294,"dynasty":18,"author":318,"museum":319,"description":320,"tags":3295,"thumbUrl":3296,"material":82,"size":323,"collection":100,"collections":3297,"showCount":3269,"zanCount":11,"manualWeight":43,"mainColor":88},216912,"hua-niao-si-tiao-ping-2-zhu-da-216912","花鸟四条屏-2",[23,25,26,7,77,304,115,35,521,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3572510108b8dddf5ab932d0d7dd6d.jpg",[],{"id":3299,"slug":3300,"title":3301,"dynasty":109,"author":1112,"museum":74,"description":3302,"tags":3303,"thumbUrl":3307,"material":589,"size":3308,"collection":100,"collections":3309,"showCount":3310,"zanCount":419,"manualWeight":43,"mainColor":44},226701,"ceng-yan-cong-shu-tu-ju-ran-226701","层岩丛树图","此图描绘了江南雨后山林烟岚浮动的自然景象，画中峰峦耸峙，丛林茂密，山路深曲，充满清新潮湿的气息。作者用独特的画法表现出一种秀逸、静寂、朦胧的美，是一幅具有代表性的山水画作。",[23,24,25,26,7,77,130,129,3304,1287,132,170,272,3305,3150,3306],"层岩","叠嶂","岩峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4699ce8ccb516e2fed794a4a198591.jpg","纵144.1厘米，横55.4厘米",[],201,{"id":3312,"slug":3313,"title":3314,"dynasty":109,"author":1112,"museum":74,"description":3315,"tags":3316,"thumbUrl":3317,"material":77,"size":3318,"collection":138,"collections":3319,"showCount":3310,"zanCount":419,"manualWeight":43,"mainColor":44},218919,"han-lin-wan-xiu-tu-ju-ran-218919","寒林晚岫图","这幅画，是朱兰的作品，不属于这个时代，紧邻的岩石有范宽后来的点画作品。",[23,25,24,7,77,130,129,170,521,351,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ba4e2edb0dc0091afcb4c19d82515c.jpg","139.7x55.8",[138],{"id":3321,"slug":3322,"title":3323,"dynasty":93,"author":1517,"museum":331,"description":3324,"tags":3325,"thumbUrl":3326,"material":37,"size":3327,"collection":138,"collections":3328,"showCount":3310,"zanCount":419,"manualWeight":43,"mainColor":44},218591,"yu-fu-tu-xia-gui-218591","渔父图","苍劲古木虬枝横斜，墨色浓淡间晕染出岁月纹理。近岸水波轻漾，似有渔舟隐于荫下；远处山峦以淡墨点染，云雾缭绕中透着空濛。简括笔触删繁就简，将渔父隐逸之趣藏于边角留白——晚风拂过林梢，渔歌是否在烟霭里隐约？整幅画以“一角半边”之构，融自然清旷与文人幽思，水墨淋漓间尽是南宋山水的空灵悠远，引观者沉湎于那份与世无争的恬淡。",[24,25,26,7,77,28,130,129,253,349,380,522,2367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff03e35c72c989c0d7a10d5ee03dfc9.jpg","74.5x46",[138],{"id":3330,"slug":3331,"title":3332,"dynasty":93,"author":146,"museum":1714,"description":33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上善若水上德若谷。持酒以礼持才以愚",[23,472,2664,3362,80,7],"对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb0cdd98e7ca26423e27c34e194471a5.jpg","271.9x61.4",[101],{"id":3367,"slug":3368,"title":3369,"dynasty":283,"author":284,"museum":3370,"description":3371,"tags":3372,"thumbUrl":3374,"material":3375,"size":100,"collection":100,"collections":3376,"showCount":3377,"zanCount":43,"manualWeight":43,"mainColor":88},220585,"hu-lu-he-san-zhi-kun-chong-qi-bai-shi-220585","葫芦和三只昆虫","Oscar Niemeyer Museum","明黄葫芦以没骨法晕染，色块鲜亮通透，留白巧显葫身莹润质感。焦墨藤蔓如虬龙游走，狂放苍劲，墨叶大笔泼写，浑朴厚重，大写意的疏朗随性扑面而来。\n\n三只草虫用工笔细绘，蝶翅纹路纤毫毕现，蝈蝈、蚱蜢肢体灵动鲜活，工细与写意形成强烈对冲，将乡野秋意揉入画面。枯湿浓淡的墨色层次分明，老辣笔触带着稚拙生机，把篱边闲趣晕染得鲜活动人，俗世清欢藏在笔墨之间，尽显东方水墨的悠然意韵。",[25,26,7,77,28,113,2917,664,600,3373,79],"蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c47104068ce7e480840a2e1fddebeb.jpg","Watercolor on paper",[],199,{"id":3379,"slug":3380,"title":3381,"dynasty":18,"author":921,"museum":236,"description":3382,"tags":3383,"thumbUrl":3384,"material":1394,"size":100,"collection":84,"collections":3385,"showCount":3386,"zanCount":419,"manualWeight":43,"mainColor":88},237157,"lan-hua-zhou-wu-chang-shuo-237157","兰花轴","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》。",[25,26,7,77,2335,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6b4b3f9192dc4eaf607bfc0f395f74.jpg",[84],197,{"id":3388,"slug":3389,"title":3390,"dynasty":93,"author":3391,"museum":74,"description":3392,"tags":3393,"thumbUrl":3394,"material":37,"size":3395,"collection":157,"collections":3396,"showCount":3386,"zanCount":419,"manualWeight":43,"mainColor":44},220440,"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","李嵩","这幅画描绘了神山海屋之中列仙相对而坐，童子搬筒筹开算，白鹤翔舞于祥云之上的情景。\n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。",[23,25,26,7,28,1157,27,29,269,134,151,129,170,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[157,39,158],{"id":3398,"slug":3399,"title":2467,"dynasty":18,"author":921,"museum":236,"description":3382,"tags":3400,"thumbUrl":3401,"material":1394,"size":100,"collection":84,"collections":3402,"showCount":3403,"zanCount":11,"manualWeight":43,"mainColor":88},237158,"mei-hua-zhou-wu-chang-shuo-237158",[25,26,7,77,97,79,80,575,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080ddc2ba3abfecbf7d18533654b3d87.jpg",[84],196,{"id":3405,"slug":3406,"title":3407,"dynasty":18,"author":3408,"museum":74,"description":3409,"tags":3410,"thumbUrl":3413,"material":1218,"size":3414,"collection":100,"collections":3415,"showCount":3416,"zanCount":11,"manualWeight":43,"mainColor":88},232816,"mo-chou-ying-xi-yuan-ya-ji-tu-ding-guan-peng-232816","摹仇英西园雅集图","丁观鹏","丁观鹏在乾隆朝曾绘制大量摹古作品，然其仿制的对象有许多已被证实为明代商业伪作，此即一例。此幅底本目前仍藏台北故宫博物院，全幅以白描画成，由其较为修长瘦弱的造型判断，很接近尤求的白描风格，这类白描作品在苏州片伪古书画作品中常被冠以仇英之名。乾隆皇帝在此底本题诗表示「底须著色求形肖」，也成为此摹作用力之处。丁观鹏摹作在构图上保留原图，然在人物、家具与植物部分施彩，如吴派之淡雅，然更为明亮。亭子屋顶结构、柱子、湖石等，则具有西洋素描般的渐层光影效果，整幅作品可说是明代商业白描风格、吴派风格与外来西洋画法的结合。",[25,26,7,945,28,27,29,377,253,601,1675,3411,776,3412,79,80,97,778,239],"桌案","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1229909206e7c4c7bdb804c648b9f594.jpg","95.1×43.9cm",[],195,{"id":3418,"slug":3419,"title":3420,"dynasty":18,"author":3421,"museum":331,"description":3422,"tags":3423,"thumbUrl":3424,"material":100,"size":100,"collection":39,"collections":3425,"showCount":3416,"zanCount":43,"manualWeight":43,"mainColor":88},223079,"shui-hu-ren-wu-ren-xun-223079","水浒人物","任薰","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称"三任"，合任预为"四任"，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,24,25,26,7,28,27,29,34,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc87cbb4b2700dc7566d2985222762f7.jpg",[39],{"id":3427,"slug":3428,"title":388,"dynasty":18,"author":3429,"museum":74,"description":3430,"tags":3431,"thumbUrl":3433,"material":37,"size":3434,"collection":84,"collections":3435,"showCount":3416,"zanCount":11,"manualWeight":43,"mainColor":88},219529,"sui-chao-tu-yun-shou-ping-wang-hui-da-chong-guang-yang-jin-219529","恽寿平王翚笪重光杨晋","四人联袂共绘，将岁朝清供融于一帧。松针攒簇挺劲，尽显凌霜坚姿，翠竹疏枝摇曳，清韵自生；山茶柔瓣晕染温润，梅枝横斜疏花缀枝，水仙舒展冰姿玉骨，南天竹丹实累累，点染出新年吉庆。\n\n笔墨兼具没骨设色的雅致柔润与勾勒皴擦的苍劲秀逸，融四家所长，各尽其意却浑然一体。花木俯仰错落，冷暖色调相映，清刚与妍柔相融，暗合岁朝迎新的吉庆意趣，将文人清雅审美与岁时雅俗交融，淡墨轻色间，尽显岁朝清供的隽永意韵。",[24,25,26,7,28,113,378,392,1051,924,80,79,3432],"传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625da687a11dea55340262634b2ab88f.jpg","80.7x50.4公分",[84],{"id":3437,"slug":3438,"title":3439,"dynasty":72,"author":3440,"museum":74,"description":3441,"tags":3442,"thumbUrl":3443,"material":99,"size":3444,"collection":84,"collections":3445,"showCount":3416,"zanCount":11,"manualWeight":43,"mainColor":44},214733,"mei-hua-tu-lu-fu-214733","梅花图","陆复","这幅《雪梅图》是元末王冕画法的衍生品，略有不同。枝干用飞白涂抹，然后用淡墨勾勒，花瓣则用油脂沾染，轻轻勾勒，红色的花蕊也被晒干，增强了梅花的优雅精神。",[25,7,28,27,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4128fe7627228b3bb64d50437c275998.jpg","205.3x108.7",[84],{"id":3447,"slug":3448,"title":3449,"dynasty":18,"author":3450,"museum":74,"description":3451,"tags":3452,"thumbUrl":3453,"material":1573,"size":3454,"collection":84,"collections":3455,"showCount":3456,"zanCount":43,"manualWeight":43,"mainColor":88},222697,"hua-chun-hua-san-zhong-zhou-qian-wei-cheng-222697","画春花三种轴","钱维城","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,25,26,24,7,28,27,113,536,114,116,576,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644cd5f86ffa087cae3a9551bfee9b91.jpg","260x101.4",[84,158],194,{"id":3458,"slug":3459,"title":3460,"dynasty":18,"author":1048,"museum":209,"description":3461,"tags":3462,"thumbUrl":3463,"material":1394,"size":3464,"collection":84,"collections":3465,"showCount":3466,"zanCount":43,"manualWeight":43,"mainColor":88},223290,"san-qing-tu-li-zhou-zheng-ban-qiao-223290","三清图立轴","绘竹、兰、菊三君子，在画家眼里这三种更为清丽，全图皆水墨，竹的笔直修长，兰的清新幽香，菊的严霜开放，尽显君子谦谦之态。画作左侧有画家自题诗一首：兰梅竹菊四名家，但少春风第一花，寄于东君诸子弟，好将文事夺天葩。板桥郑燮。",[23,25,26,7,77,113,31,440,33,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2339494716d7ccd299644411857aea.jpg","152×39cm",[84,185],193,{"id":3468,"slug":3469,"title":3470,"dynasty":283,"author":284,"museum":3370,"description":3471,"tags":3472,"thumbUrl":3478,"material":3375,"size":100,"collection":100,"collections":3479,"showCount":3480,"zanCount":11,"manualWeight":43,"mainColor":88},220586,"li-zi-shu-he-san-zhi-kun-chong-qi-bai-shi-220586","李子树和三只昆虫","以焦墨挥写虬曲枝干，苍劲老辣带着朴拙野趣。明黄果实以没骨点染，圆厚饱满，鲜亮明快。墨色叶片兼工带写，叶缘焦墨棘刺点缀，粗粝间暗藏灵动。\n\n蝉踞枝桠、蝼蛄游于纸间，草虫刻画纤毫毕现，与大写意的花果形成强烈的工写对比，一简一繁，将乡野小景的生机尽致铺展。构图疏密错落，斜逸的枝条串联起满幅花果，鲜活虫趣让静态画幅瞬间鲜活，尽显自然天趣与田园诗意，于平淡中晕开醇厚的烟火意趣。",[24,25,1592,7,77,28,957,3473,3474,3475,3476,3477],"蝉","蝼蛄","草虫","工写结合","田园意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c2ed094ae70ff55be21c091139f419b.jpg",[],192,{"id":3482,"slug":3483,"title":3484,"dynasty":72,"author":3485,"museum":147,"description":3486,"tags":3487,"thumbUrl":3495,"material":37,"size":3496,"collection":39,"collections":3497,"showCount":3480,"zanCount":643,"manualWeight":43,"mainColor":44},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[23,24,25,26,7,1157,28,27,3488,269,3489,29,196,3287,270,3490,3491,3492,3493,170,1618,3494],"宫城","宫殿","城池","仪仗","官员","侍从","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[39,158],{"id":3499,"slug":3500,"title":3501,"dynasty":72,"author":3502,"museum":331,"description":3503,"tags":3504,"thumbUrl":3505,"material":486,"size":3506,"collection":84,"collections":3507,"showCount":3508,"zanCount":656,"manualWeight":43,"mainColor":44},222574,"ju-hua-li-zhou-lu-kui-222574","菊花立轴","陆逵","图绘秋日之景色，树叶凋零，几片枝头叶片，摇摇欲坠；秋菊开放，叶茂花艳，数朵菊花争相开放。此图绘枯树时有些讨巧，枯树的枝杆上半部分如长在湖石上，与湖石融为一体，观之惊叹。陆逵，字仪吉，善人物及花草，明代画家。",[23,24,25,26,7,28,27,113,1625,131,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f856c432f5898dc9292bd2ea35d5eba.jpg","48.4x169cm",[84,158],191,{"id":3510,"slug":3511,"title":3512,"dynasty":207,"author":1432,"museum":236,"description":3513,"tags":3514,"thumbUrl":3515,"material":1573,"size":3516,"collection":138,"collections":3517,"showCount":3508,"zanCount":419,"manualWeight":43,"mainColor":88},220762,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-220762","丹崖玉树图轴","图中山峦重叠，高松杂树遍布窠石坡岸之上，梵寺仙观掩映于山石林木之中，溪流迴转，云烟缭绕，一派深远优美的意境。黄公望曾谓：“作山水者，必以董为师法，如吟诗之学杜也。”此图便是以董源、巨然创造的披麻皴手法写成，并以水墨浅绛设色。\n由于是在纸本上作画，作者较其《天池石壁图》、《九峰雪霁图》等绢本作品更充分地发挥了笔墨融合的韵味，用笔松秀，点染随意，潇洒自如，在不着笔处衬出迷蒙浮动的云烟雾气，虚实开合，愈增添了山水的灵秀，故虽崇山满纸而无迫塞之感。王原祁评黄氏画作曾云：“每见其布景用笔，于浑厚中仍饶逋峭，苍莽中转见娟妍，纤细而气益闳，填塞而境愈廓，意味无穷。”此作堪为代表。",[25,26,7,77,129,132,170,130,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d47a387eca670a16b7feb78d3aa3088.jpg","纵101.3厘米，横43.8厘米",[138,185],{"id":3519,"slug":3520,"title":3521,"dynasty":207,"author":2386,"museum":74,"description":3522,"tags":3523,"thumbUrl":3524,"material":136,"size":3525,"collection":39,"collections":3526,"showCount":3527,"zanCount":11,"manualWeight":43,"mainColor":88},216973,"chui-xiao-shi-nv-tu-zhao-meng-fu-216973","吹箫仕女图","这幅画宋濂定为是赵孟頫的真迹，并把它与《道德经》小卷前的老子画像和行书《赤壁赋》前的东坡画像逐一进行了比较。宋濂的碑文越老，越是笨拙，全盛时期的亭子里的楷书越是小。",[25,26,7,28,29,30,35,777,58,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53774ccebb8879781edf0e87cf8e7962.jpg","75.1x26",[39],190,{"id":3529,"slug":3530,"title":3531,"dynasty":109,"author":597,"museum":1358,"description":3532,"tags":3533,"thumbUrl":3534,"material":37,"size":100,"collection":39,"collections":3535,"showCount":3536,"zanCount":356,"manualWeight":43,"mainColor":44},219590,"xiu-zhu-mei-ren-tu-zhou-wen-ju-219590","修竹美人图","幽庭春深，修竹亭亭映着绽蕊花枝。仕女发髻高绾，衣袂轻垂，静立凝望稚童，眉梢眼底浸着世家深宅的温婉闲静。红衣稚童攀折花枝，鲜活灵动的身影，恰好衬出仕女的娴柔静穆。\n\n笔墨苍润清逸，淡墨晕染竹木，细劲线条勾勒人物体态，设色古雅柔和，将深闺春日里闲散静好的日常晕染开来，把缱绻柔婉的东方诗意藏在花木竹石间，尽现古典雅致的闺中幽情。",[23,25,26,7,27,2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“大叶长梢动冕旒”，以深墨为面，淡墨为背，正是源自文同。（米芾曾言：“……（画竹）以深墨为面，淡墨为背，自文同始。”）再加上劲健的小枝穿插其间，使丛竹于庄重、淳厚之中显示出活脱的生韵。",[23,25,26,77,7,31,35,79,80,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d0dc87b7672540a9fb1c0aaa1a8915.jpg","纵132.8cm，横58.5cm",[185,702],{"id":3729,"slug":3730,"title":3731,"dynasty":207,"author":518,"museum":74,"description":3732,"tags":3733,"thumbUrl":3734,"material":255,"size":3735,"collection":138,"collections":3736,"showCount":3717,"zanCount":43,"manualWeight":43,"mainColor":88},220790,"zi-zhi-shan-fang-tu-zhou-ni-zan-220790","紫芝山房图轴","《元倪瓒紫芝山房图轴》是元末明初画家倪瓒所创作，水墨画河岸、疏树、竹林和小亭，对岸山峦起伏，构图简洁，具清逸萧疏之趣。此幅墨色淡雅，现藏于台北故宫博物院。\n《元倪瓒紫芝山房图轴》侧笔写山石轮廓，苍劲沉着，画竹之笔尤为遒劲有力，是云林精品。",[25,26,7,77,364,130,35,377,31,253,522,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb4dbc8f6b09feeea9d0d31f7abefaf.jpg","80.5x34.8",[138,185],{"id":3738,"slug":3739,"title":3740,"dynasty":18,"author":3741,"museum":74,"description":3742,"tags":3743,"thumbUrl":3744,"material":82,"size":3745,"collection":101,"collections":3746,"showCount":3717,"zanCount":643,"manualWeight":43,"mainColor":88},214231,"shi-xie-shi-he-chao-214231","食蟹诗","何焯","墨痕清润，笔锋起落间藏着严谨法度，却不失灵动之致。结体端稳如磐石，笔画牵丝若隐若现，似蟹螯轻张的意趣。诗中食蟹的闲雅况味，透过一行行秀逸字迹缓缓流露——仿佛能见案头蟹肥酒暖，挥毫者指尖带笑，将唇齿鲜意与心头闲适，尽数化入横竖撇捺。章法疏朗有致，每字皆经得起细品，既见学者沉稳，又藏文人雅趣，墨香与诗味交织，晕染出一段清隽时光。",[23,80,97,77,7,26,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf41c7623c0f59c57bcc8df2bec020dc.jpg","136.8x45.6",[101],{"id":3748,"slug":3749,"title":3750,"dynasty":93,"author":50,"museum":331,"description":3751,"tags":3752,"thumbUrl":3753,"material":198,"size":780,"collection":100,"collections":3754,"showCount":3755,"zanCount":43,"manualWeight":43,"mainColor":88},269050,"ke-si-zhao-ji-hua-niao-fang-zhou-yi-ming-269050","缂丝赵佶花鸟方轴","此作将缂丝工艺与文人意趣相融，下方织就清逸花鸟景致：靛蓝雀鸟栖于茶花枝上，翎毛纤毫毕现，灵动如生。浅粉茶花或盛放或含苞，嫩梢抽芽点缀枝间，粉蝶翩跹萦绕，晕开春日柔婉生机，写实细腻里暗藏温婉诗意。上方瘦金题笔秀挺劲健，诗画呼应，尽显宋代内敛雅致的审美意韵，静赏之间，可窥见宋时风物里的隽永雅致。",[25,473,113,7,28,151,536,600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5ebf148360aefe44bdffc6be5ec38f.jpg",[],176,{"id":3757,"slug":3758,"title":3759,"dynasty":993,"author":3760,"museum":331,"description":3761,"tags":3762,"thumbUrl":3765,"material":3766,"size":3767,"collection":39,"collections":3768,"showCount":3755,"zanCount":11,"manualWeight":43,"mainColor":44},221112,"xie-yi-guan-yin-xiang-wu-dao-zi-221112","写意观音像","吴道子","吴道子（约680年—759年），又名道玄，唐代著名画家，画史尊称画圣。汉族，阳翟（今河南禹州）人。约生于公元680年（永隆元年） ，卒于公元758年（乾元元年）前后。少孤贫，年轻时即有画名。曾任兖州瑕丘（今山东滋阳）县尉，不久即辞职。后流落洛阳，从事壁画创作。开元年间以善画被召入宫廷，历任供奉、内教博士、宁王友。曾随张旭、贺知章学习书法，通过观赏公孙大娘舞剑，体会用笔之道。擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。",[25,54,29,985,3763,7,3764],"拓本","吴带当风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76df8acb5d86ef3de96d8dfef46cb63e.jpg","拓片","68x31厘米",[39],{"id":3770,"slug":3771,"title":3772,"dynasty":283,"author":3773,"museum":2134,"description":3774,"tags":3775,"thumbUrl":3777,"material":100,"size":100,"collection":100,"collections":3778,"showCount":3755,"zanCount":11,"manualWeight":43,"mainColor":88},220488,"zhang-da-qian-yu-fei-yin-wang-xue-tao-he-zuo-he-tang-qing-qu-tu-wang-xue-tao-220488","张大千、于非誾、王雪涛合作荷塘清趣图","王雪涛","此作为三家合璧之妙品，以泼墨晕染荷叶，浓淡交织晕开雨后荷塘的氤氲水气，苍润淋漓间尽显池夏清寂雅致。白荷亭亭玉立，带着初经雨洗的舒展柔润，暗吐幽芳。\n上空红蜓振翅悬停，池边青蛙轻跃欲起，草叶间小蜻蜓静立，将初夏荷塘的鲜活生机悄然铺陈。书画相映成趣，题句点透菡萏初发的诗意。\n写意与工笔相融，泼墨的疏朗大气搭配草虫的工致鲜活，把荷塘的幽趣揉入笔墨，静中生灵韵，雅淡见天然，尽显文人意趣与写生妙谛。",[23,25,26,7,28,77,113,32,306,1785,3776,307,308,304],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7972b04f6b3a1e7149a7f2c832b57a2.jpg",[],{"id":3780,"slug":3781,"title":3782,"dynasty":72,"author":424,"museum":74,"description":3783,"tags":3784,"thumbUrl":3785,"material":82,"size":3786,"collection":138,"collections":3787,"showCount":3755,"zanCount":356,"manualWeight":43,"mainColor":88},219517,"lan-ting-xiu-xie-tu-wen-zheng-ming-219517","兰亭修褉图","以淡墨白描晕染兰亭雅集，层峦叠嶂纵立画面，古松虬枝苍劲，环护着溪畔兰亭。曲水蜿蜒流淌，士人列坐其侧，或把盏沉吟，或挥毫题咏，将永和雅事鲜活铺展。\n\n笔墨清隽秀雅，山石勾勒细劲简洁，淡皴轻染晕出山林幽寂，尽显内敛雅致的吴门意趣。绢素之上凝住魏晋林下风流，以极简水墨铺陈出旷远清幽的雅集氛围，藏着对古贤风雅的追慕，笔端浸满书卷清韵，将千载前的林下雅兴，晕染成隽永的丹青意趣。",[25,26,7,77,28,129,29,377,193,170,132,79,80,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ad5f5c5fbcf8cbdb86cdfd03b879c3.jpg","140.3x73.2",[138],{"id":3789,"slug":3790,"title":3791,"dynasty":18,"author":3792,"museum":1714,"description":3793,"tags":3794,"thumbUrl":3797,"material":136,"size":3798,"collection":158,"collections":3799,"showCount":3755,"zanCount":419,"manualWeight":43,"mainColor":44},219264,"jin-ding-he-mei-tu-gai-qi-219264","金鼎和美图","改琦","画面中仕女群像情态和融，居中者衣袂温婉，手持细物若有所思；旁侧侍女或捧壶侍立，或举灯相照，姿态轻柔。案上金鼎、茶具雅致，衬出闺阁的娴静。线条细劲如丝，衣纹飘逸灵动，设色温润淡雅，发髻钗饰精巧入微。人物间互动自然，暖意融融，将日常闺中场景绘成一幅清丽雅致的和美图卷，尽显清代仕女画的秀逸韵致。",[23,25,26,7,27,28,29,30,3795,602,33,3796],"侍女","茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d9eae989c0fdce3e7f5b0ecf0ef7bb.jpg","190 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cm",[158],{"id":3801,"slug":3802,"title":3803,"dynasty":18,"author":3804,"museum":147,"description":3805,"tags":3806,"thumbUrl":3807,"material":37,"size":100,"collection":84,"collections":3808,"showCount":3755,"zanCount":419,"manualWeight":43,"mainColor":44},219033,"mao-tu-ying-zhao-219033","猫图","应召","蜷坐的花猫毛色斑斓，黑褐与橘白交织晕染，绒毛质感蓬松柔软。它回眸的瞬间，瞳仁如墨点般清亮，双耳微竖，似正留意周遭动静。淡赭色的背景上，散落着几枚浅墨点染的细石，简淡中见意趣。画家以细腻笔触捕捉猫的慵懒与机警，线条温婉却不失骨力，色彩雅致而富有层次。画面留白处更显空灵，虽无繁复布景，却于极简中藏生机，仿佛能感受到猫的呼吸与轻缓的尾摆，尽显写生之妙与文人画的雅致意韵。",[23,25,26,7,28,27,240,241,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d01ae3c172c6d7532860b25005a89da.jpg",[84],{"id":3810,"slug":3811,"title":3812,"dynasty":93,"author":3813,"museum":1714,"description":3814,"tags":3815,"thumbUrl":3816,"material":37,"size":3817,"collection":138,"collections":3818,"showCount":3755,"zanCount":11,"manualWeight":43,"mainColor":44},214518,"ba-qiao-feng-xue-tu-wu-jun-chen-214518","灞桥风雪图","吴俊臣","这幅画描绘了一位身穿朱衣的老人在风雪中骑着驴子的情景。画的右上角的沟壑似乎暗示了行人的方向。这幅画的主要部分是一个突兀的岩石坡，有一些水墨。岩石都是用小斧头凿出来的，笔触犀利清晰，类似于王履的《华山图册》。这幅画也很受宋朝人的欢迎，画中的山峦起伏，山峰高耸。虽然这幅画没有标记，但它是明代山水画的杰作。",[25,24,7,77,130,129,134,196,29,521,427,132,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d557b70cd8249aa75223779299161f7.jpg","191x94.4",[138],{"id":3820,"slug":3821,"title":3822,"dynasty":72,"author":73,"museum":74,"description":3823,"tags":3824,"thumbUrl":3825,"material":82,"size":3826,"collection":138,"collections":3827,"showCount":3828,"zanCount":356,"manualWeight":43,"mainColor":44},214827,"cao-tang-yun-shu-tu-wang-fu-214827","草堂云树图","这幅画描绘了一个溪边的小屋，一个高士在看喷泉和看书；岩石上潦草地画着荷叶，树干和树叶用各种笔法画着，都是王绂的原创风格。",[23,25,26,7,77,130,129,170,169,172,212,427,522,173,132,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[138],175,{"id":3830,"slug":3831,"title":3832,"dynasty":18,"author":3833,"museum":3222,"description":3834,"tags":3835,"thumbUrl":3838,"material":37,"size":3839,"collection":39,"collections":3840,"showCount":3841,"zanCount":419,"manualWeight":43,"mainColor":44},220442,"chun-ye-yan-tao-li-yuan-tu-lv-huan-cheng-220442","春夜宴桃李园图","吕焕成","此图与吕焕成的传世作品《春山听阮图》（现藏旅顺博物馆）、《西溪图》（上海博物馆）的画法相类似，勾皴挺拔秀劲，人物生动细劲，意境幽深，既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n此幅绘李白春夜宴桃李园故事，人物刻画生动，桃园布置幽雅，桃树夭夭，灼灼其华，湖石玲珑，远山壮美。用笔细劲，敷色精诣，吕吉文做为清初吴门画派领军人物，此作名不虚传。",[23,25,26,7,27,28,29,129,498,601,3836,3837,253],"宴乐","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b1cce1cef029536624dbe6f4f8c3e5.jpg","199X96cm",[39,158],174,{"id":3843,"slug":3844,"title":3845,"dynasty":993,"author":994,"museum":147,"description":3846,"tags":3847,"thumbUrl":3848,"material":37,"size":3849,"collection":138,"collections":3850,"showCount":3841,"zanCount":11,"manualWeight":43,"mainColor":342},219766,"qing-lv-shan-shui-tu-li-si-xun-219766","青绿山水图","李思训（651-716，一作653-718）唐代书画家。字建睍，一作建景。出身唐宗室。唐高祖从弟长平王李叔良孙，李孝斌子。陇西成纪(今甘肃天水市)人。唐高宗(650-683)时为江都令，武则天朝(684-704)弃官潜匿，唐中宗朝出为宗正卿，唐玄宗开元初，官至左武卫大将军，因玄宗时官至右武卫大将军，所以被称为“大李将军”。擅画青绿山水，受展子虔的影响，笔力遒劲。题材上多表现幽居之所。传为他的作品有台北故宫博物院藏的《江帆楼阁图》轴，画游人在江边活动，以细笔勾勒山石轮廓，赋重青绿色，富于装饰性。此画虽今被认定为宋人手笔，但可以反映他的画风。他的儿子李昭道，官至太子中舍人，也是著名的画家，人称“小李将军”，秉承家学，亦擅青绿山水，风格工巧繁缛。藏于台北故宫博物院的《明皇幸蜀图》画唐玄宗及随从逃难四川的情形，宋以来相传为他的作品，现被断为宋人摹本。此派的山水风格，在初唐的章怀太子墓和懿德太子墓壁画中亦可看到。",[23,24,25,26,7,268,28,27,1157,129,269,170,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d907e9ba09310c5bbacf3e00fd591b.jpg","纵 60.70横34.50",[138],{"id":3852,"slug":3853,"title":3854,"dynasty":18,"author":3855,"museum":331,"description":3856,"tags":3857,"thumbUrl":3860,"material":100,"size":100,"collection":84,"collections":3861,"showCount":3862,"zanCount":11,"manualWeight":43,"mainColor":88},237149,"he-hua-yan-zi-zhou-wang-zhen-237149","荷花燕子轴","王震","此作为大写意花鸟佳作，淡墨晕染荷叶，留白衬出白荷莹润雅洁。荷茎瘦劲挺拔，枯墨点苔尽显苍古意趣。燕子栖于茎杆之上，以浓淡笔墨晕染羽翼，侧目远眺灵动有神，静穆之中暗涌生机。\n\n下方浓墨绘叶，丹色花串垂落，冷暖对比提亮画面层次。左上角题字笔力苍浑朴拙，书画相映成趣，兼具海派写意的纵肆洒脱，亦不失文人水墨的清雅意韵，于极简构图里铺陈夏日荷塘清寂，留白淡墨中尽显通透灵秀，平淡间藏满生机雅趣。",[25,26,7,113,77,28,304,306,3858,307,3859,664],"燕子","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b37c204f1cdc5992283504ca234ed3c.jpg",[84,158],172,{"id":3864,"slug":3865,"title":3866,"dynasty":18,"author":3421,"museum":331,"description":3867,"tags":3868,"thumbUrl":3870,"material":3871,"size":3872,"collection":100,"collections":3873,"showCount":3862,"zanCount":43,"manualWeight":43,"mainColor":88},223091,"hua-niao-tu-li-zhou-ren-xun-223091","花鸟图立轴","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称三任，合任预为四任，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,472,25,26,7,27,28,113,3869,287,253,1594,549],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ea923f5fc4a6a88156616b48b14abb.jpg","立轴 纸本","128x34",[],{"id":3875,"slug":3876,"title":3877,"dynasty":18,"author":1036,"museum":331,"description":3878,"tags":3879,"thumbUrl":3884,"material":198,"size":780,"collection":100,"collections":3885,"showCount":3886,"zanCount":419,"manualWeight":43,"mainColor":44},290019,"qian-long-di-sui-chao-xing-le-tu-zhou-lang-shi-ning-290019","乾隆帝岁朝行乐图轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,25,7,28,27,1157,29,269,778,1240,427,392,3880,3881,3882,3883],"雪景","岁朝行乐","宫廷","欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7cec0bd92f397ff05871378734d78.jpg",[],171,{"id":3888,"slug":3889,"title":3890,"dynasty":109,"author":597,"museum":331,"description":3891,"tags":3892,"thumbUrl":3893,"material":100,"size":100,"collection":100,"collections":3894,"showCount":3886,"zanCount":490,"manualWeight":43,"mainColor":44},228384,"guan-wu-shi-nv-tu-zhou-wen-ju-228384","观舞仕女图","松奇石秀的庭院中，仕女们各尽其态，晕开一段闲雅深闺意趣。前景舞女立在红毡之上，扬袖振腕，身姿柔婉灵动，将舞蹈的曼妙尽致展现。侧旁侍女跪坐调鼓，应和节拍，另有仕女相携私语，目光流连。远景榻上仕女斜偎观舞，侍女垂手侍立身侧，尽显松弛慵闲。\n\n画作以铁线描勾勒衣袂裙裾，线条细劲流畅，设色古雅沉静，晕染柔和雅致，将仕女温婉娟秀的仪态，贵族深闺宴乐的慵懒柔靡尽数铺陈，把闺中日常的悠然意趣定格在古绢之上，尽显精工雅致的笔情墨韵。",[23,25,26,7,28,27,29,30,775,777,170,132,778,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba11e752bd59ac0714e9fc60eac044.jpg",[],{"id":3896,"slug":3897,"title":3241,"dynasty":18,"author":1048,"museum":331,"description":1049,"tags":3898,"thumbUrl":3899,"material":255,"size":100,"collection":84,"collections":3900,"showCount":3886,"zanCount":11,"manualWeight":43,"mainColor":88},223302,"zhu-shi-tu-zhou-zheng-ban-qiao-223302",[23,25,26,7,77,31,35,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f06ed11a80f23832798fc994366a211.jpg",[84,185],{"id":3902,"slug":3903,"title":3904,"dynasty":72,"author":3905,"museum":74,"description":3906,"tags":3907,"thumbUrl":3909,"material":82,"size":3910,"collection":84,"collections":3911,"showCount":3886,"zanCount":11,"manualWeight":43,"mainColor":88},218849,"xing-hua-xi-que-tu-qian-gu-218849","杏花喜鹊图","钱谷","杏花开于春日，枝头上飞来一只喜鹊，寓有喜报春讯之意。画花写鸟之笔墨雅淡润厚，并有沈周文征明之遗韵。",[25,26,7,28,113,3908,151,79],"杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af34acb04865ee01aff2df0f861c9af.jpg","116.6x34.3cm",[84],{"id":3913,"slug":3914,"title":3915,"dynasty":18,"author":3916,"museum":331,"description":3917,"tags":3918,"thumbUrl":3919,"material":214,"size":3920,"collection":84,"collections":3921,"showCount":3922,"zanCount":419,"manualWeight":43,"mainColor":88},222707,"mei-hua-tu-li-zhou-jin-nong-222707","梅花图立轴","金农","水墨绘梅树枝杆，中间淡墨皴染，外部浓墨晕染，粗壮遒劲；古梅细枝繁多，每一枝枝头皆花朵绽放，红色花朵娇艳欲滴，红花丛中绿叶渐渐长开，一个春天即将到来。",[23,25,26,7,77,28,392,1594,575,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d44ddc3ccfb0f322631c48caa18fc7.jpg","61cmx33cm",[84,158],170,{"id":3924,"slug":3925,"title":3926,"dynasty":93,"author":3927,"museum":3928,"description":3929,"tags":3930,"thumbUrl":3931,"material":1858,"size":3932,"collection":157,"collections":3933,"showCount":3922,"zanCount":419,"manualWeight":43,"mainColor":44},221409,"wei-mo-ju-shi-xiang-li-gong-lin-221409","维摩居士像","李公麟","日本京都国立博物馆","李公麟（149～116），北宋舒州人（今安徽桐城人），宋代杰出画家。\n字伯时,号龙眠居士，(149-116)享年五十七岁。\n熙宁三年(公元17年)进士。\n李龙眠即李公麟，字伯时，安徽桐城人，因桐城有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n元符三年（11）病痹告老，居家乡桐城龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n李公麟做官三十年，也是他的艺术逐渐成熟，成为名画家的时期：这一时期也正是王安石变法失败，转入史称“朋党”之争的时期。\n李公麟和的关系很好，熙宁七年以后，王安石失势，退居，曾与李公麟同游，并赠诗四首，但同时，李公麟和反对王安石的等关系也很密切。\n李公麟和、、等人同是驸马家的座上客。\n他们在王诜家里的聚会曾被纪录在李公麟画的《》（现存各种摹本）中，米芾也为此写了一篇文章。\n他们十几个人在王诜家的花园中饮酒、作诗、写字画画、谈禅、论道等等。\n这是他们交游的第一个时期，是在苏轼被黜，离开汴梁去杭州作官以前。\n元丰二年（公元一○七九年）苏轼因作诗遭祸，陷入险境，王诜也被株连，据说李公麟在街上遇见苏家人，就以扇遮面，因而受到人们的讥笑。\n李公麟和等人第二次交游是在哲宗元祐年间，那时已经去世，正是旧党短期得势，而苏轼又恢复了自己的政治地位的时候，李公麟又画了第二幅《》。\n苏轼和的诗集中载多首赠诗和称赞他作品的诗。\n李公麟对于古代的美术修养极深。\n对古器物和古文字具有知识，曾摹绘古代的铜器并加以考订，他参加了整理皇家收藏的古器物的工作。\n他的父亲李虚一收藏古代画迹很多，他都进行临摹，并且也临摹了很多他人收藏的名迹。\n他保存了很多自己临摹前代名画的副本。\n他的绘画才能，首先表现 在他的题材的多样性上。\n他擅长鞍马、佛像、人物和。\n他在临摹古人名迹中掌握了绘画技法，而越出古人的技法。\n李公麟擅长画马和人物。\n他画的人物，据说能够从外貌上区别出“廊庙馆阁、山林、闾阎臧获、台舆皂隶”等社会各阶层人的特点，并能分别出地域和种族的具体特点，及动作表情的各种具体状态。\n他的艺术创造有生活现实性为基础，所以他敢于追求新的表现。\n他敢于突破前人的定式，画长带观音，飘带长过一身有半，还画过石上卧观音，这些都是他创造的新式样。\n他的创造性还表现 在他对题材的理解上，他画“观自在观音”，不是按照一般流行的坐相，他说“自在在心，不在相”，不必限制于某一固定的坐相，而是另创一种他认为能表现出心情自在的坐相。\n他画的“归去来辞”一诗把表现的重点放在正在思维中的神态上，不在一般化的描写田园松菊等自然风物，而注重描绘“临清流处”——发人深思的流水。\n李公麟画汉代的将军夺了胡人的马逃回来，在马上引弓瞄准追骑，箭锋所指，人马就应弦而倒。\n李公麟自己说，如果是旁人画就要画箭射中追骑了。\n可见李公麟很了解艺术的真实有别于生活的真实，表面上好象不合理，而能产生更强烈的艺术力量。\n他善画人物，尤工画马，称赞他：“龙眠胸中有千驷，不惟画肉兼画骨”。\n《》为其代表作。\n画中五匹大马，由五个人牵引，神采焕发，顾盼惊人。\n用笔简练，马的一举一动，极其细致生动地表现出骏马运动和性情的特征。\n他还发展了“”画法，创造出“扫支粉黛、淡毫清墨”，“不施，而光彩动人”。\n他的作品，保存下来的不多。\n除《》外，尚有《》《》《居士像》《十六小马图》《》《》《》《》《草堂图》《》《明皇演乐图》《农节图》《》《明皇醉归图》《》《汴桥会盟图》《白描罗汉图》《海会图》《》等。\n李公麟画了一幅六七个汉子围在桌旁赌博的《贤己图》，图中人物栩栩如生，其中有一个人伏在桌上，眼盯盆内的骰子，张嘴急呼，这时骰子转到“六”的位置上。\n元符三年（11）告老，居故乡桐城双溪，号龙眠居士。\n他好古博学，善鉴定。\n不仅能画人物鞍马、神仙佛道，也能画花鸟。\n他对传统绘画作过大量的临摹，同时重视写生，敢于独创。\n他的人物能从外貌上区别出身份、地域和性格特点。\n在画法上，他以著称。\n这种善用线描，多不设色的白描，造型准确，神态生动，这样就把传统的线描造型方法推进到一个新的水准。\n对其后代影响很大。\n他画的山水，亦有创格。\n工行、楷书，有晋、宋之风。\n后人论其作画“以立意在先，布置缘饰为次”。\n还长于考古。\n存世作品有《》《临苇偃牧放图》《九歌》《免胄图》《居士像》等图。\n《》，纸本浅设色，纵29.厘米，横22.5厘米。\n现为日本私人收藏。\n李公麟善于画马，“每欲画，必观群马，以尽其态”。\n《》就是李氏根据写生创作的。\n每匹马各有一人牵引。\n人、单线勾出比例准确，动作生动，清晰地表现出肌肉骨骼的结构，身体的重量感、软硬质感，乃至光泽印象，可代表他画的水准。\n尤见画中马匹、人物的生动神态，不愧为传世杰作。\n画后有跋。\n李公麟(149-116)，北宋著名画家。\n字伯时，号龙眠居士。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法 。\n李龙眠即李公麟，字伯时，祖籍舒州（今安徽桐城）， 桐城北乡龙眠山，李公麟归隐于山下，所以又自号龙眠居士或龙眠山人。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、米芾、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n居京师十年不游权贵之门，以访名园荫林为乐。\n元符三年（11）病痹告老，居家乡龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得正传；着色山水追李思训心法；画马过。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n传世作品有《》卷，现藏；《》卷、《维摩演教图》藏故宫博物院；《赤壁图》《蜀川胜概图》流往美国；《莲社图》轴（南宋摹本）藏南京博物院。\n李公麟是北宋时期一位颇具影响的名士，其绘画为当世第一。\n《》第七卷在评论他的作品时赞曰：“（龙眠）尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、、闾阎、臧荻、占舆、皂隶。\n至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。\n贵贱研丑止以肥红瘦黑分之。\n大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。\n”称“其神与万物交，智与百工通”。\n清初大家评李公麟：“自龙眠而后未有其匹，恐前世顾（恺之）、陆（探微）诸人亦所未及也。\n”而邓椿在他的《》里说：“画今古一人而已，以予观之，伯时既出，道玄（）讵容独步。\n”因此，李公麟笔下“扫去粉黛、淡毫轻墨、高雅超逸的画，被后人称为”天下绝艺矣”。\n在中国绘画技法中，线描是最有特色的技法之一，而纯用线条和浓淡墨色描绘实物的白描画法，可以说是线描技法发展的最高、最纯的阶段。\n而李公麟正是在这艺术浪尖上的弄潮儿，他使白描技法成为后人学画所遵从的样板典范，“犹如群龙之首”千百年来代代相传。\n北宋的人物画，其构形技法，到北宋后期为李公麟（149年-116年）发扬光大，线条健拔却有粗细浓淡，构图坚实稳秀而又灵动自然，画面简洁精练，但富有变化；题材广及人物、鞍马、、花鸟，既有真实感，又有文人情趣，而且所作皆不着色，被称作“大师”。\n《》和《》标志着单线勾勒的技法在中国绘画艺术中的巨大成就。\n单线勾勒的写实能力在于它有可能表现对象的形体、质感、量感、运动、空间。\n所以单线勾勒是一种效果明显而高度简洁的描绘技法。\n李公麟是一个卓 越的现实主义艺术的大师。\n他在绘画史上的地位尚有待更细致的分析，他创造了富于概括力的真实而鲜明的艺术形象，他掌握极优美的提炼形象的能力和表现技巧。\n但是他之选取非现实性的题材的倾向和追求一种与的生活密切联系的细腻的趣味，都说明他的艺术中蕴藏了一个危机。\n北宋的人物画，著名者有的《朝元仙仗图》，清秀娴丽，气度恢弘，而其构形技法，到北宋后期为李公麟发扬光大，线条健拔却有粗细浓淡。\n《五马图》为其传世佳作，纸本墨笔，纵29.厘米，横225厘 米，无名款。\n图以白描的手法画了五匹西域进贡给北宋朝廷的骏马，各由一名奚官牵引。\n每匹马后有宋黄庭坚题字，谓马之年龄、进贡时间、马名、收于何厩等，并 跋称为李伯时（公麟）所作。\n五匹马各具美名，令人遐想，依次为：凤头骢、锦膊骢、好头赤、照夜白、满川花，而五位奚官则前三人为西域装束，后两人为汉人。\n五匹马体格健壮，虽毛色不一，姿态各异，但显得驯养有素，极其温顺。\n五个奚官则因身份不同，或骄横，或气盛，或谨慎，或老成，举手投足，无不恰如其分。\n李龙眠画罗汉渡江，凡十有八人。\n一角漫灭，存十五人有半，及童子三人。\n一人值纸坏，仅见腰足。\n一人携杖，衣袂翩然，若将渡而无意者。\n一人凝立远望，开口自语。\n一人跽左足，蹲右足，以手捧膝作缠结状；双屦脱置足旁，回顾微哂。\n一人坐岸上，以手踞地，伸足入水，如测浅深者。\n者九人：一人以手揭衣，一人左手策杖，目皆下视，口呿不合。\n一人脱衣，双手捧之，而承以首。\n一人前其杖，回首视捧衣者。\n两童子首发鬅鬙，共舁一人以渡。\n所舁者，长眉覆颊，而怪伟如秋潭老蛟。\n一人仰面视长眉者。\n一人貌亦老苍，伛偻策杖，去岸无几，若幸其将至者。\n一人附童子背，童子瞪目闭口，以手反负之，若重不能胜者。\n一人貌老过於伛偻者，右足登岸，左足在水，若起未能。\n而已渡者一人，捉其右臂，作势起之。\n老者努其喙，缬纹皆见。\n又一人已渡者，双足尚跣，出其屦将纳之，而仰视石壁，以一指探鼻孔，轩渠自得。\n按：罗汉於佛氏为得道之称，後世所传高僧，犹云「锡飞」、「杯渡」。\n而为渡江，艰辛乃尔，殊可怪也。\n推画者之意，岂以佛氏之作止语默，皆与人同，而世之学佛者，徒求卓诡变幻、可喜可愕之迹，故为此图，以警发之与？昔人谓太清楼所藏吕真人画像，俨若孔、老，与他画师作轻扬状者不同，当即此意。\n的，性质上就是「看图作文」。\n作者体会到李龙眠人物画运笔传神，寓意含蓄的特点，对画面形象的记叙，也多攫住人物的自然神情。\n描写人物虽仅寥寥数语，却能得其精神。\n写方渡的罗汉，那种离岸涉水时敛神屏息的神情，及至中流时勉为其难的神情，去岸不远时庆幸欣喜的神情，描摹细腻，栩栩如生，并且凸显罗汉的不胜其苦。\n至于未渡的五个罗汉（其中一个，因纸坏仅见腰足），也极力描写他们各自不同的神态：一个是临渡而无意，一个是逡巡而观望，一个写出他决心初下的愉悦神情，一个描写入水将渡前的审慎心理。\n对这一组人物的刻意描写，也是为了衬托渡江的艰难。\n已渡者怡然自得的神态，实际上也是对渡江艰难的一种反衬。\n作者对於李龙眠画作「在心不在相」，著重人物内在精神的刻画，可谓深得其旨。\n从52岁辞官归故里之后就再也没有离开过家乡了，最后在故里去世，安葬在县城东南的磐石圩。\n李公麟（149～116），北宋舒州（今安徽桐城）人。\n有“独步中国画坛”、“宋画第一”等美誉。\n关于他的绘画，奇闻逸事颇多。\n传得最广的是他画马。\n公麟的马画得好是出了名的，为了画马，他常常去马厩中一呆就是一天，有一次皇宫御苑来了西域进贡的宝马，他来此画马，画成后，马却死了。\n人都说那马是被公麟摄了精魄去了。\n难怪他的马画得出神入幻。\n东坡有云：“龙眠胸中有千驷，不唯画肉兼画骨。\n”弄得后来管御马的小吏见了公麟就紧张，生怕他来画马，又把马给画死了。\n李公麟除了画画，还是个官员，他在政治上似乎没什么建树，在朝中似乎也是个没派别的人。\n在他做官的时候，正是苏东坡和王安石闹新旧党争的时候，但他既非新党又非旧党，他和苏、王二人都是朋友。\n这也许正是他艺术家气质的表现。\n不过，细数起来，他最要好的朋友还是苏东坡和黄庭坚。\n《苏轼诗选》里面就有《》和《》，这“戏书”和“画马试院”就可看出他们之间的友谊已经超出一般的官场交往，而是至交了。\n三个人都是考官，在科举考试的间隙李公麟画马，苏、黄二人题诗其上，岂不是忙里偷闲，情趣盎然。\n李公麟晚年因为身体不太好，回到了故里桐城龙眠山安度晚年，还建了一处大气的庄园叫做龙眠山庄。",[23,24,25,26,7,54,985,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53504efddd52e59c86dadee4e5abf751.jpg","纵91 2厘米，横51 4厘米",[157,39,185],{"id":3935,"slug":3936,"title":3937,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":3939,"thumbUrl":3940,"material":198,"size":780,"collection":100,"collections":3941,"showCount":3942,"zanCount":43,"manualWeight":43,"mainColor":88},289915,"sui-chao-qing-gong-tu-li-zhou-wu-chang-shuo-289915","岁朝清供图立轴","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》。",[25,24,26,7,77,28,113,392,924,35,1405,80,79,925,536,1674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fcfb6589c3a3e4729c4a0a67ce3c16.jpg",[],169,{"id":3944,"slug":3945,"title":3946,"dynasty":18,"author":3947,"museum":236,"description":3948,"tags":3949,"thumbUrl":3950,"material":100,"size":100,"collection":84,"collections":3951,"showCount":3942,"zanCount":419,"manualWeight":43,"mainColor":88},236628,"zi-teng-you-yu-zhou-yun-qing-236628","紫藤游鱼轴","恽青","此作以没骨法绘就，上方紫藤柔枝舒展，翠叶敷色清润，紫白花穗垂曳，似有暗香浮动，搭配题诗更添文韵。下方水面澹澹，数尾游鱼摆尾穿行，笔墨简逸却将悠游之态尽显。\n\n静立的花木与灵动的游鱼相映成趣，整作设色雅致柔和，笔意秀润空灵，将花下观鱼的闲逸禅意晕染开来，尽显文人清雅意趣，淡而有味，余韵悠长。",[25,26,7,28,27,113,1696,935],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a686f222042b05ac0a21c956e3be3d9.jpg",[84,158],{"id":3953,"slug":3954,"title":3955,"dynasty":18,"author":3956,"museum":1714,"description":3957,"tags":3958,"thumbUrl":3959,"material":136,"size":3960,"collection":39,"collections":3961,"showCount":3942,"zanCount":43,"manualWeight":43,"mainColor":88},219434,"ba-jiao-mei-ren-tu-fei-dan-xu-219434","芭蕉美人图","费丹旭","图为一名女子坐在巨大的芭蕉叶下的石凳上，手握横琴，右手解开绳索。",[25,28,27,7,29,30,239,78,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F834ca7c705f9fff58342e9eb1411e042.jpg","纵104.5横34.1厘米",[39],{"id":3963,"slug":3964,"title":3965,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":3966,"thumbUrl":3967,"material":198,"size":780,"collection":100,"collections":3968,"showCount":3969,"zanCount":643,"manualWeight":43,"mainColor":88},239116,"xing-hua-tu-zhou-wu-chang-shuo-239116","杏花图轴",[25,7,28,113,77,3908,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6ca2bb7e61d6bea1db2179b23ef156.jpg",[],167,{"id":3971,"slug":3972,"title":862,"dynasty":18,"author":1538,"museum":3973,"description":3974,"tags":3975,"thumbUrl":3976,"material":100,"size":100,"collection":100,"collections":3977,"showCount":3969,"zanCount":643,"manualWeight":43,"mainColor":44},223165,"hua-niao-tu-shen-quan-223165","美国波士顿博物馆","沈铨（1682—1760）， 其画远师宋代黄家画派，近承明代吕纪，工写花卉翎毛，禽兽，设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画面注重写实，画风谨严工细，造型准确生动。",[23,25,26,7,27,28,113,1216,151,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe00ca506998e033f25ccdeadf9498bce.jpg",[],{"id":3979,"slug":3980,"title":3981,"dynasty":109,"author":852,"museum":74,"description":3982,"tags":3983,"thumbUrl":3985,"material":589,"size":3986,"collection":138,"collections":3987,"showCount":3969,"zanCount":11,"manualWeight":43,"mainColor":342},221158,"qiu-shan-wan-cui-tu-guan-tong-221158","秋山晚翠图","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[23,25,26,7,129,130,28,170,351,169,3984],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a2dbf4ef7b6f0a300b3f97262a33e.jpg","横57.3厘米，纵140.5厘米",[138,185],{"id":3989,"slug":3990,"title":3991,"dynasty":18,"author":3992,"museum":3993,"description":3994,"tags":3995,"thumbUrl":3998,"material":82,"size":3999,"collection":185,"collections":4000,"showCount":3969,"zanCount":11,"manualWeight":43,"mainColor":704},220419,"xi-shan-yin-ju-tu-gong-xian-220419","溪山隐居图","龚贤","昆仑堂美术馆","画面为宁静秋山，疏林草堂，实中带虚，意境清旷，堪称晚年佳构。上有自题，下有当代名家朱屺瞻鉴藏印。",[23,25,26,7,77,130,129,253,351,3996,3997],"小屋","溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd095417aca99ae94bd643be38542b71.jpg","11×42.5厘米",[185],{"id":4002,"slug":4003,"title":4004,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":4005,"thumbUrl":4006,"material":198,"size":780,"collection":100,"collections":4007,"showCount":4008,"zanCount":11,"manualWeight":43,"mainColor":88},289650,"qiang-gen-ju-hua-tu-li-zhou-wu-chang-shuo-289650","墙跟菊花图立轴",[23,25,7,1592,28,440,35,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e6be5cc946debe5480bb68290241ce.jpg",[],166,{"id":4010,"slug":4011,"title":4012,"dynasty":18,"author":1036,"museum":319,"description":4013,"tags":4014,"thumbUrl":4016,"material":136,"size":4017,"collection":84,"collections":4018,"showCount":4019,"zanCount":11,"manualWeight":43,"mainColor":44},216739,"bai-ying-tu-lang-shi-ning-216739","白鹰图","郎世宁（1736-1801）是清朝时期的画家，他的《白鹰图》是一幅有名的山水画作品。这幅画描绘了一只白鹰展翅高飞的场景，在画中，白鹰的身体线条优美，动作十分生动，同时还富有寓意。郎世宁的《白鹰图》被认为是他的代表作之一，并被广泛欣赏。",[24,25,27,28,113,4015,427,169,7],"白鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729904f32b9a01e6d59da946aa7e639b.jpg","248.3x134cm",[84],165,{"id":4021,"slug":4022,"title":4023,"dynasty":72,"author":752,"museum":236,"description":4024,"tags":4025,"thumbUrl":4026,"material":37,"size":4027,"collection":39,"collections":4028,"showCount":4019,"zanCount":419,"manualWeight":43,"mainColor":44},215041,"sheng-an-zan-hua-tu-chen-hong-shou-215041","升庵簪花图","这幅画是艺术家的艺术杰作。人物夸张的造型，活泼的神态，圆润有力的线条，以及背景中老树的虬枝，进一步强调了主人公不羁的个性，显示了陈洪绶成熟期人物画的典型面貌。",[23,25,24,26,7,27,28,29,521,35,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04b11c9f447e25c6cc519aa5697678e.jpg","143.5x64.5",[39],{"id":4030,"slug":4031,"title":4032,"dynasty":993,"author":4033,"museum":3232,"description":4034,"tags":4035,"thumbUrl":4036,"material":37,"size":4037,"collection":138,"collections":4038,"showCount":4039,"zanCount":11,"manualWeight":43,"mainColor":44},218238,"xi-shan-xue-ji-tu-yang-sheng-218238","溪山雪霁图","杨升","画面铺展雪后初霁的溪山胜境。层叠山峦覆着薄雪，肌理温润如凝脂，淡褐底色晕染出残雪消融的清润。近景松枝苍劲，几抹丹枫似燃，为素净天地添暖意；山间小径隐现行人，桥上红袍骑手与白衣者对语，马蹄踏雪声仿佛可闻。中景茅舍掩映林间，窗内人影依稀，似在煮茶赏雪。远景峰峦隐入烟霭，留白处似有余雪未尽。整幅画以淡墨轻染山石，线条婉转勾勒树石轮廓，设色雅致却藏生机，动静相济间，尽显唐时文人对山水隐逸之趣的向往。",[23,25,28,129,613,132,170,134,29,196,377,733,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6649b347adabe03cc40f45facab14c08.jpg","118.9x60.3cm",[138,84],164,{"id":4041,"slug":4042,"title":4043,"dynasty":18,"author":235,"museum":236,"description":4044,"tags":4045,"thumbUrl":4046,"material":1218,"size":4047,"collection":100,"collections":4048,"showCount":4049,"zanCount":43,"manualWeight":43,"mainColor":88},223237,"he-hua-yuan-yang-ren-yi-223237","荷花鸳鸯","虚谷在挽任伯年联中称誉：“笔无常法，别出新机，君艺称极也；天夺斯人，谁能继起，吾道其衰乎。\n”徐悲鸿则将任伯年“定之为仇十洲以后中国画家第一人”（《任伯年评传》），任伯年在近代绘画史上的杰出地位是举世公认的。他的画风新颖生动，风姿多彩，长于设色，于花鸟、人物、山水无所不能，无所不精。以个人成就而言，他的花鸟画最具特色，但从历史角度来衡量，则他的人物画成就更大，这是因为在清末人物画普遍弱化的历史环境中，任伯年显得尤为突出。\n任伯年精于写像，是一位杰出的肖像画家。他的人物画早年师法萧云从、陈洪绶、费晓楼等人，造型夸张奇伟，勾勒灵动，形神毕肖。他的山水画创作不多，但以笔法见长，自具特色。他的花鸟画更具创造性，富有巧趣。他早年以工笔花鸟见长，仿北宋人画法，纯以焦墨钩骨，赋色肥厚，近陈老莲一派。后来吸收了恽寿平的没骨画法以及陈淳、徐渭的写意画法和西洋绘画的技巧，将数者融合为一而又有所变化，形成了兼工带写、明快温馨、简逸放纵的笔调，开辟了花鸟画的新天地，对后世产生了巨大的影响。虽然由于任伯年出身贫寒，读书不多，故与吴昌硕、齐白石相比，画作中蕴涵的文思较乏，缺少一丝画外余音，但就笔法、墨法、结构、色彩而言，任画技巧更为丰富，足资后世借鉴。\n此帧任伯年的《荷花鸳鸯图》写鸳鸯游戏于荷田之中，荷叶硕大如盆，素雅的白莲花散发着幽香。画面以青绿色调为主，清新可人。因系画于熟绢之上，又以用水见长，故色彩交融明快自然，富于生气。笔与笔之间的留白，起到了透气和清醒视觉的作用，斑驳迷离，实非功力深至不能轻达此境。鸳鸯的造型古奥生动，运笔凌利，细节处收拾稳当，简练传神，均是彰显出任伯年独特而高超的绘画技艺之处。",[23,25,26,24,7,28,77,113,306,307,799,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cad584cbfaada75e733228bef455f.jpg","纵138厘米，横42厘米",[],163,{"id":4051,"slug":4052,"title":4053,"dynasty":18,"author":1296,"museum":331,"description":3157,"tags":4054,"thumbUrl":4055,"material":100,"size":100,"collection":138,"collections":4056,"showCount":4057,"zanCount":356,"manualWeight":43,"mainColor":88},237928,"yuan-ji-shan-shui-tu-zhou-shi-tao-2379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金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[25,77,31,613,35,80,79,7,304,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0c10587d925716d52958d37b02e71d.jpg",[],161,{"id":4077,"slug":4078,"title":4079,"dynasty":207,"author":50,"museum":74,"description":4080,"tags":4081,"thumbUrl":4082,"material":182,"size":4083,"collection":100,"collections":4084,"showCount":4075,"zanCount":11,"manualWeight":43,"mainColor":44},231477,"wen-shu-pu-sa-yi-ming-231477","文殊菩萨","菩萨垂目敛神，面庞圆融柔和，静穆间自含慈悲沉静的气韵。朱红衬袍搭配织金纹饰的华彩僧衣，衣纹流转自然，晕染得宜，古雅厚重的设色尽显质感。\n\n身下青狮昂首蹙眉，獠牙毕露，卷曲如棘的鬃毛发散周身，狞猛威悍的模样，恰好衬出菩萨的超然平和。画面仅以淡墨晕出圆光，素净背景将视觉焦点全然落于主仆二者之上。\n\n构图疏密得当，将神性肃穆与瑞兽犷悍融于一轴，用笔精细却无匠气，尽显此件佛造像兼具美学价值与精神意蕴的独特风貌。",[25,28,27,54,29,241,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c29bb18dc9a52f9c138d2229b1e27e.jpg","30.4x59.8厘米",[],{"id":4086,"slug":4087,"title":596,"dynasty":72,"author":389,"museum":331,"description":1060,"tags":4088,"thumbUrl":4090,"material":100,"size":100,"collection":39,"collections":4091,"showCount":4075,"zanCount":356,"manualWeight":43,"mainColor":88},222333,"shi-nv-tu-tang-yin-222333",[23,25,27,28,79,29,30,35,4089,7],"棕榈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a1ac006358157f9823c6c6e26a159a.jpg",[39,158],{"id":4093,"slug":4094,"title":4095,"dynasty":18,"author":318,"museum":331,"description":1136,"tags":4096,"thumbUrl":4097,"material":198,"size":780,"collection":100,"collections":4098,"showCount":4099,"zanCount":43,"manualWeight":43,"mainColor":88},288299,"ba-jiao-zhu-shi-tu-zhu-da-288299","芭蕉竹石图",[23,24,25,26,7,77,113,239,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e433e949bf49ac3086bddbbf9d0c776.jpg",[],160,{"id":4101,"slug":4102,"title":4103,"dynasty":207,"author":4104,"museum":4105,"description":4106,"tags":4107,"thumbUrl":4109,"material":37,"size":4110,"collection":84,"collections":4111,"showCount":4099,"zanCount":11,"manualWeight":43,"mainColor":44},219077,"zhu-que-tu-wang-yuan-219077","竹雀图","王渊","费城艺术博物馆","三月，万物复苏，荆棘的枯叶和果实尚未脱落，杂草和绿竹已逐渐变绿，四只羽毛蓬松、身体圆润的鹌鹑在一起玩耍、进食。",[25,26,24,4108,7,27,28,113,31,115,57,58],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32bae4473f9f585646637c2c7a6b60d.jpg","53x38cm",[84],{"id":4113,"slug":4114,"title":4115,"dynasty":93,"author":1475,"museum":4116,"description":4117,"tags":4118,"thumbUrl":4119,"material":82,"size":4120,"collection":84,"collections":4121,"showCount":4099,"zanCount":656,"manualWeight":43,"mainColor":88},216941,"fei-cui-ji-ling-tu-mu-xi-216941","翡翠鹡鸰图","日本MOA美术馆","翡翠鹡鸰图是宋朝画家牧溪的一幅著名作品。这幅画的主题是一只鹡鸰坐在一棵松树上，周围是密密麻麻的松枝和松针。画面上方是一片蓝天和白云。整幅画表现了牧溪独特的写实主义画风，细腻的线条和精确的造型使得画面栩栩如生。翡翠鹡鸰图被认为是牧溪的代表作之一，也是宋朝画风的典范。",[23,25,77,113,79,304,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5813acf30d16cb9177b3dd4d6e6c3b.jpg","79x31cm",[84],{"id":4123,"slug":4124,"title":4125,"dynasty":93,"author":4126,"museum":4127,"description":4128,"tags":4129,"thumbUrl":4130,"material":99,"size":100,"collection":39,"collections":4131,"showCount":4099,"zanCount":43,"manualWeight":43,"mainColor":88},214651,"bu-dai-he-shang-tu-hu-zhi-fu-214651","布袋和尚图","胡直夫","日本京都野村博物馆","这是一幅简单的佛教僧侣回望尘世并返回斗室宫的画作。南宋画家胡直夫主要活跃在宋末元初，从事山水和人物画创作。他的白描技术来自于李公麟，他的笔触强而有力。他的人字形线描继续出现在后来的一般佛教色彩画中，并成为道教和佛教主题人物的一种特殊风格。他的大部分画作现在都被日本人收藏了。这幅画得到了景山比丘如燕的赞许。",[23,25,26,7,985,77,54,29,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093d29532ba9d45dca29e6f299658810.jpg",[39],{"id":4133,"slug":4134,"title":4135,"dynasty":18,"author":318,"museum":331,"description":4136,"tags":4137,"thumbUrl":4138,"material":198,"size":780,"collection":100,"collections":4139,"showCount":4140,"zanCount":43,"manualWeight":43,"mainColor":88},288133,"gu-mu-shuang-ying-tu-zhu-da-288133","古木双鹰图","前一时期题款中常见的“八大山人画”的“画”字，此时已经改为“写”字，这是画家后期典型的写法，而双鹰也是晚期常见的绘画题材。作为画面主体的双鹰憩息于盘石之上，一瑟索凝伫，一神情如铸，外形与神情均十分到位，笔墨造型上几乎无懈可击。不过与先贤林良有所不同的是，画家似乎并不仅仅着意于对禽鸟状貌的真实再现，作为画家笔下的一个艺术符号，它们更多传达的是孤傲荒寒的心灵感悟。画面背景古木寒槎，虬干疏枝，树身用劲笔复笔，益见沧桑枯寂之感。下方盘石内方外圆，危如累卵，益增险仄之势。画家借助古木、怪石这些元代大师们常绘的主题，辅以静默凝重的禽鸟，暗示出生命的枯涸风蚀，苛刻寂寥，笔墨极简而意境丰满，元气充溢，体现了凝重、冷峻、朗润、含蓄、静谧的艺术特征。",[23,25,24,77,113,7,1488,2294,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8855abe2ec0d96961f6c1c6e272c49d6.jpg",[],159,{"id":4142,"slug":4143,"title":4144,"dynasty":72,"author":4145,"museum":74,"description":4146,"tags":4147,"thumbUrl":4149,"material":182,"size":4150,"collection":138,"collections":4151,"showCount":4140,"zanCount":356,"manualWeight":43,"mainColor":44},222599,"bai-yun-hong-shu-tu-zhou-lan-ying-222599","白云红树图轴","蓝瑛","此幅用没骨法以石青、石绿色画山石，用朱砂画小草，树叶也用浓艳的红、黄、青、绿没骨点出，云用白粉渲染。画面色彩浓重丰富，却又典雅清新。自识“张僧繇没骨法”，实为画家自己独创的画风，此幅为蓝瑛青绿重彩画的代表作。",[23,25,7,268,28,130,129,4148,1241,132,193,134,29,427,173],"白云","ht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清秀、脆弱和病态的外表，但花园和亭子的画法非常细致和细腻，是对当时文人和学者的家庭生活的歪曲表现。",[23,25,27,28,54,7,29,269,170,132,4209],"祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44bcbc35fc6a4d4d7c2ebfa883cf4d08.jpg","113.5x41.8",[39],{"id":4214,"slug":4215,"title":4216,"dynasty":72,"author":264,"museum":236,"description":4217,"tags":4218,"thumbUrl":4221,"material":486,"size":4222,"collection":138,"collections":4223,"showCount":4224,"zanCount":419,"manualWeight":43,"mainColor":88},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[23,25,26,24,7,28,27,129,170,733,4219,193,349,79,4220],"田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","纵126.5cm，横66.cm。",[138,158],156,{"id":4226,"slug":4227,"title":4228,"dynasty":18,"author":1123,"museum":331,"description":4229,"tags":4230,"thumbUrl":4231,"material":28,"size":4232,"collection":84,"collections":4233,"showCount":4224,"zanCount":643,"manualWeight":43,"mainColor":44},220136,"yan-qiu-tu-yun-shou-ping-220136","艳秋图","此作为没骨花鸟之佳作，以晕染代勾勒，将秋花柔姿与顽石苍朴相融。红白菊花错落在嶙峋奇石间，瓣层舒展鲜活，设色明雅清润，艳而不俗。旁侧秋卉轻曳，石畔细草偃仰，层次铺陈自然和谐。\n\n画中不见刚硬线条，全以色泽晕染出花叶的蓬松柔润、山石的糙粝质感，将秋日群芳的妍丽雅致晕于绢素，鲜活灵动间满溢江南文人的温婉意趣。写实中暗含写意闲情，晕染出深秋清妍静雅的澹澹秋韵。",[23,25,26,7,28,1593,1625,57,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6547396a7425eb4e68a17e14638ceff.jpg","165×69.7厘米",[84],{"id":4235,"slug":4236,"title":862,"dynasty":18,"author":4237,"museum":147,"description":4238,"tags":4239,"thumbUrl":4241,"material":37,"size":4242,"collection":84,"collections":4243,"showCount":4244,"zanCount":419,"manualWeight":43,"mainColor":44},219037,"hua-niao-tu-yu-yuan-219037","虞沅","墨羽公鸡静立花侧，红冠似火，黑翎如缎，姿态沉稳中藏着几分灵动。粉白花卉枝叶舒展，花瓣层叠若绡，工笔细描下，每一处脉络都清晰可见，温婉雅致。几只彩蝶翩跹其间，或停于花尖，或掠过长空，为静谧画面注入鲜活生气。绢本底色温润如琥珀，设色淡雅清逸，笔墨间流淌着自然之韵，将花鸟之态与文人意趣融于一纸。细品之，仿佛能闻见花香浮动，听见蝶翅轻振，尽显传统工笔花鸟的细腻与生机，雅韵天成。",[24,25,26,7,27,28,113,114,1216,4240,600,2190,291],"公鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6f640052cff4b884ea0dd8c1a091f6.jpg","纵65.4横79.5厘米",[84],155,{"id":4246,"slug":4247,"title":4061,"dynasty":72,"author":126,"museum":236,"description":4248,"tags":4249,"thumbUrl":4251,"material":136,"size":4252,"collection":138,"collections":4253,"showCount":4254,"zanCount":43,"manualWeight":43,"mainColor":704},219865,"yun-shan-tu-shen-zhou-219865","沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[23,25,77,129,130,7,170,173,132,1419,377,522,2581,4250],"小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纵155.2cm，横73cm",[138],154,{"id":4256,"slug":4257,"title":4258,"dynasty":18,"author":4259,"museum":74,"description":4260,"tags":4261,"thumbUrl":4268,"material":136,"size":4269,"collection":84,"collections":4270,"showCount":4254,"zanCount":356,"manualWeight":43,"mainColor":88},219454,"tian-zhong-jia-hui-tu-chen-shu-219454","天中佳卉图","陈舒","藤蔓扶摇向上，粉紫蜀葵次第绽放，花瓣轻透如绢，晕染出柔婉韵致。明黄百合斜逸生姿，金蕊微吐；暗红小花簇簇点缀，似燃细碎火苗。底部果实饱满如金丸，墨叶苍劲托衬，与嫩茎细草相映成趣。笔墨兼工带写，线条流转见生机，设色清雅却明艳，凝草木鲜活灵秀于尺幅，如沐和风，满纸溢自然温润雅致。",[25,26,7,28,27,79,113,4262,4263,4264,4265,4266,4267],"蜀葵","萱草","红色花卉","绿色叶片","细长草茎","黄色果实状花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91eeed2afbd9f96dd49ad53ecc3d2d1.jpg","115.8×46.1cm",[84],{"id":4272,"slug":4273,"title":4274,"dynasty":18,"author":559,"museum":331,"description":4275,"tags":4276,"thumbUrl":4279,"material":198,"size":780,"collection":100,"collections":4280,"showCount":4281,"zanCount":643,"manualWeight":43,"mainColor":88},288274,"du-mu-shi-yi-tu-li-zhou-zou-yi-gui-288274","杜牧诗意图立轴","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[23,24,25,26,7,113,27,28,536,152,4277,4278],"顽石","竹草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedd022cd80eec5e9b9f4773b20b52dd.jpg",[],153,{"id":4283,"slug":4284,"title":4285,"dynasty":72,"author":126,"museum":74,"description":4286,"tags":4287,"thumbUrl":4288,"material":136,"size":4289,"collection":100,"collections":4290,"showCount":4281,"zanCount":11,"manualWeight":43,"mainColor":44},231379,"chun-hua-zhou-jin-tu-shen-zhou-231379","春华昼锦图","春日山林中，两位文士饮罢酒宴，骑马而归，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[25,26,7,77,28,129,130,29,196,134,193,377,170,132,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032de34690657eb2bd83434bdd68f1a0.jpg","纵91.8厘米，横35厘米",[],{"id":4292,"slug":4293,"title":4294,"dynasty":18,"author":1048,"museum":331,"description":4295,"tags":4296,"thumbUrl":4297,"material":255,"size":4298,"collection":84,"collections":4299,"showCount":4281,"zanCount":43,"manualWeight":43,"mainColor":88},223299,"zhu-shi-tu-5-zheng-ban-qiao-223299","竹石图5","这幅《竹石图》，郑板桥将竹子画得艰瘦挺拔，节节屹立而上，直冲云天，每一片叶子都有着不同的表情，墨色水灵，逼真地表现竹的质感，而且竹的纤细清飒之美更衬托了石的另一番风情。在构图上又将竹与石的位置关系和题诗文字处理得十分协调，而且他的书法是越到晚年越是风神独具、挥洒自如、翰墨苍劲。“扬州八怪”之首的金农曾感叹：相较两人的画品，自己画的竹子终不如板桥有林下风度啊。\n郑板桥被后人誉为“诗、书、画”三绝的全才画家，且在三绝之中又有三真，特别强调要表现真性情、真意气、真趣味。\n郑板桥的绘画成就极高，尤擅画竹石，细枝粗叶，瘦劲孤高，格调超人。他画竹有“胸无成竹”的理论，并无师承，多得于纸窗粉壁日光月影，直接取法自然。他自称：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳。”针对苏东坡“胸有成竹”的说法，郑板桥强调的是胸中“莫知其然而然”的竹，要“胸中无竹”。这两个理论看似矛盾，实质却相通，同时强调构思与熟练技巧的高度结合，其创作体会鲜明地表露于一则题画中：“江馆清秋，晨起看竹，烟光、日影、露气皆浮动于浮枝密叶之间，胸中勃勃，遂有画意。其实胸中之竹，并不是眼中之竹也。因而磨墨展纸，落笔倏作变相，手中之竹，又不是胸中之竹也。”他笔下的竹注重“瘦与节”的结合，往往就是自己思想和人品的化身。据说，曾经有一大户大家请郑板桥画竹，酒过之后他便向这家墙壁上大盆洒墨，扔笔不画，晚上风雨大作把墙壁上的墨迹冲刷一遍，第二天一大早竟是一幅淋漓尽致的墨竹，还有几只麻雀以为来到了竹林撞昏在壁下。传说自然不可全信，但却可想见郑板桥作画的创造性。",[23,24,25,26,7,77,97,79,130,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6751617696efb541b17a01c9ddade642.jpg","179.5×101cm",[84,185],{"id":4301,"slug":4302,"title":4303,"dynasty":283,"author":4304,"museum":3192,"description":4305,"tags":4306,"thumbUrl":4307,"material":1320,"size":100,"collection":100,"collections":4308,"showCount":4281,"zanCount":43,"manualWeight":43,"mainColor":88},220454,"ling-yan-jian-yi-jiao-tu-pan-tian-shou-220454","灵岩涧一角图","潘天寿","此作截取山涧一隅造势，以险绝构图盘活画面，虚实相生见巧思。枯笔浓墨勾勒皴擦山石，苍劲老辣，尽显崖壁嶙峋之态。蓝红山花浓艳跳脱，于幽寂墨色中撞出鲜亮野趣，打破山林沉郁。屋舍隐于深林，留白代作溪涧，以虚写实，将浙东山川清奇苍劲敛于尺幅之间。既得传统山水的雅致意境，又以边角小景抒发山河磅礴生机，笔墨间尽显独出机杼的构图胆识与沉雄朴厚的艺术风骨，把乡野山水的清逸生机藏于方寸。",[23,25,26,7,28,77,130,129,351,193,2190,170,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a236d64f04b03b64b29b72f54995505.jpg",[],{"id":4310,"slug":4311,"title":818,"dynasty":72,"author":4312,"museum":74,"description":4313,"tags":4314,"thumbUrl":4315,"material":136,"size":4316,"collection":138,"collections":4317,"showCount":4281,"zanCount":11,"manualWeight":43,"mainColor":88},214737,"shan-shui-tu-zhao-zuo-214737","赵左","这幅画描绘了一座远山，远处有长长的松树，还有一条安静、荒芜的山路。此幅笔墨有王蒙遗法，用笔转为清雅",[25,26,7,77,130,79,129,351,170,193,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffc14a94445ec38d2e703a1156fa299.jpg","122.5x34.7",[138],{"id":4319,"slug":4320,"title":4321,"dynasty":207,"author":787,"museum":51,"description":4322,"tags":4323,"thumbUrl":4324,"material":99,"size":4325,"collection":84,"collections":4326,"showCount":4281,"zanCount":43,"manualWeight":43,"mainColor":44},214295,"han-mei-tu-wang-mian-214295","寒梅图","元代画家王冕（1280-1329）是中国古代著名的画家，他的《寒梅图》是其代表作之一。\n\n《寒梅图》描绘了一棵寒梅树，树上只有几朵花开，周围是一片荒芜的冬景。王冕在画中运用了凝重的笔墨和写意的造型，勾勒出了寒梅树的茂盛与脆弱，以及冬天的荒凉。\n\n《寒梅图》被认为是王冕写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《寒梅图》也是收藏家们青睐的经典之作。\n\n王冕的《寒梅图》是一幅描绘冬天荒凉的画作，但它却带给人们对生命的启示。寒梅树在荒凉的冬季依然绽放，它的坚韧与生命力激发了人们对生命的尊重与感悟。王冕的《寒梅图》不仅是一幅精美的画作，更是一首关于生命的诗篇。",[23,25,26,7,77,80,97,392,131,1373,549,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eb37c58ada5991af17df8bfe595f82.jpg","113x50.2",[84],{"id":4328,"slug":4329,"title":4330,"dynasty":93,"author":4331,"museum":74,"description":4332,"tags":4333,"thumbUrl":4334,"material":82,"size":4335,"collection":101,"collections":4336,"showCount":4281,"zanCount":419,"manualWeight":43,"mainColor":44},214223,"xing-shu-qi-yan-jue-ju-zhou-wu-ju-214223","行书· 七言绝句轴","吴琚","这首七字诗是根据蔡襄的诗句写的，是宋代罕见的书法作品。吴氏的字俊美优雅，形体和姿态都与米芾一脉相承，但与北宋书法家的作品相比，吴琚的用笔快速有力，偶尔有飞白，显示出南宋书法家更注重渲染上下和整体的主旨，而不是对每个单字的提炼和完善。",[23,24,25,26,7,97,80,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb61b45191b67798358ba3eb2af0473.jpg","98.6x55.3",[101],{"id":4338,"slug":4339,"title":2861,"dynasty":72,"author":1751,"museum":331,"description":4340,"tags":4341,"thumbUrl":4343,"material":198,"size":780,"collection":100,"collections":4344,"showCount":4345,"zanCount":656,"manualWeight":43,"mainColor":88},290309,"sui-chao-tu-zhou-lu-zhi-290309","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[24,25,26,7,28,113,392,924,114,33,80,79,4342],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5facffa84a62716f2f574fdad24943d6.jpg",[],152,{"id":4347,"slug":4348,"title":4349,"dynasty":18,"author":318,"museum":331,"description":4350,"tags":4351,"thumbUrl":4352,"material":100,"size":100,"collection":100,"collections":4353,"showCount":4345,"zanCount":43,"manualWeight":43,"mainColor":44},231001,"song-lu-tu-zhu-da-231001","松鹿图","《松鹿图》纵28厘米，横75厘米，纸本，作者朱耷。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。\n图中画一老松，根浅干高，上粗下细，枝枯叶疏，似病5人躯干，显示出生命的衰弱和意志的消沉。\n树后画一头重脚轻、摇摇欲坠的怪石，石旁画一只形体扭曲、双目圆瞪的鹿，地上是稀少短小的枯草。\n画面布局得当，笔法苍劲，流畅生动，寓意极深。\n《松鹿图》笔墨极简，然简中有味，能在寥寥几笔中传达出许多“余味”，需要极高深的功力和极高尚的笔墨趣味。\n松树取折枝意境，几根墨线，萧条淡泊，闲和严静，画面的萧索反映出他精神世界里的孤寂，完全从八大山人的精神状态中走出，既有文人的雅致，又含着僧人的禅意，还透着些道家的出世散淡，还带着些许皇家的富贵气息。\n此画最大的佳处就在于气息湮润，格调高雅，平淡天真，不着人间烟火气。\n梅花鹿是高雅富贵之物，被视为君子，与八大山人看空世事的情怀有不谋而合之处。\n此外“松鹿题材”也是传统的吉祥题材，“鹿”与“禄”同音，松树象征着高寿，《松鹿图》寄托着福禄长寿的美好寓意。\n八大山人的造诣不仅体现在书画创作和艺术成就上，就连他的精神境界，也是拈花微笑、艺术到家的，这从《松鹿图》的气韵上可见一斑。\n朱耷（1624—175年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『17』，小名耷。\n清顺治五年（1648年）落发为僧，法名传棨。\n一生字、号、别号甚多，有个山、驴屋驴、人屋等。\n康熙二十三年（1684年）始号八大山人。\n坎坷的命运影响着他的人生观及艺术创作思想，其绘画作品中多寄托着对清王朝的痛恨，对明王朝的眷恋之情。\n山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。\n花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。\n晚年署款将自己的号“八大山人”四个字以草书体连缀写，似“哭之”、“笑之”，借此暗寓他面对富于戏剧性变幻的人生，哭笑不得，百般无奈的感慨之情。\n他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。\n书法宗王献之、颜真卿，淳朴圆润，自成一格。\n朱耷中晚年，在书画作品款署中多使用“八大山人”。",[23,25,77,985,7,378,1073,31,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd179297b507ca3cef1bcc70058d3b3d.jpg",[],{"id":4355,"slug":4356,"title":4357,"dynasty":18,"author":361,"museum":147,"description":4358,"tags":4359,"thumbUrl":4360,"material":82,"size":4361,"collection":138,"collections":4362,"showCount":4345,"zanCount":11,"manualWeight":43,"mainColor":88},220080,"fang-huang-zi-jiu-shan-shui-tu-wang-shi-min-220080","仿黄子久山水图","王时敏（1592—1680），字逊之，号烟客、西庐老人。太仓（今属江苏）人。王时敏的祖父王锡爵、父亲王衡都是高官，他也荫仕太常寺少卿，故人称“王奉常”。王时敏家富收藏，每遇名迹，即不惜重金搜求，曾遍摩家藏的宋、元真迹。王翚、吴历及其孙王原祁均经他传授画艺。与王鉴并称“二王”、加上王翚、王原祁被称为“四王”。山水笔墨苍润秀疏，为四王之首。 作品介绍: 王时敏家藏历代名画甚丰，得以充分观摩研习，其绘画以山水见长，为正统山水画派的领袖人物。他的作品多摩古之作，颇具先人遗风。此画册摩写了宋元大家巨然、米友仁、黄公望、王蒙、倪瓒、吴镇等人的山水画作，画幅小而精致，清新悦目，各家风格迥异，绘制精微细腻，显示出王时敏深厚的功底和纯熟技法。",[23,25,77,7,945,130,129,134,193,170,132,169,733,1651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[138],{"id":4364,"slug":4365,"title":3689,"dynasty":18,"author":559,"museum":4366,"description":4367,"tags":4368,"thumbUrl":4371,"material":37,"size":4372,"collection":84,"collections":4373,"showCount":4345,"zanCount":419,"manualWeight":43,"mainColor":44},219539,"pan-tao-tu-zou-yi-gui-219539","承德避暑山庄博物馆","画面两只丹顶鹤立于青石之上姿态悠闲，石隙间画桃树一株硕果累累富有质感，峰峦之间瀑布鞋飞流而下。",[23,25,26,7,27,28,225,4369,132,193,4370,170],"桃","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6b446064c15c3f90edacbf7bbc946c.jpg","166cm×87cm",[84],{"id":4375,"slug":4376,"title":4377,"dynasty":283,"author":284,"museum":319,"description":4378,"tags":4379,"thumbUrl":4383,"material":136,"size":4384,"collection":84,"collections":4385,"showCount":4345,"zanCount":43,"manualWeight":43,"mainColor":88},216934,"deng-shu-zhou-qi-bai-shi-216934","灯鼠轴","案头油灯亮着红芯，剪刀斜倚灯旁，两只灰鼠各有姿态——一只攀柱啃噬灯芯，长尾垂落；一只蹲坐地上，抬首望灯，胡须微颤似嗅暖意。笔墨极简，鼠的憨态却跃然纸上：浓淡墨色晕染出绒绒质感，细长尾巴勾勒灵动，寥寥几笔便捉住鼠的机警与贪馋。灯柱线条稚拙却稳当，红烛芯如点睛之笔，在素净纸面上添了一抹鲜活。题字与画面相映，把日常小景写成逸趣，没有刻意雕琢，却藏着对生活细微处的体察，似在说寻常烟火里也有这般可爱的瞬间。",[23,25,77,28,7,304,4380,4381,4382,33,79,80],"鼠","灯","蜡烛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1eaa5d9a0084397f64b5881322f7b2d.jpg","67.5x33.5cm",[84],{"id":4387,"slug":4388,"title":480,"dynasty":93,"author":481,"museum":236,"description":482,"tags":4389,"thumbUrl":4392,"material":486,"size":487,"collection":100,"collections":4393,"showCount":4394,"zanCount":43,"manualWeight":43,"mainColor":44},233880,"ta-ge-tu-zhou-ma-yuan-233880",[25,24,7,77,28,129,132,170,521,4390,29,269,173,193,130,4391],"小路","斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef222b397a3288ca11990ad05068a142.jpg",[],151,{"id":4396,"slug":4397,"title":2475,"dynasty":18,"author":921,"museum":236,"description":4398,"tags":4399,"thumbUrl":4400,"material":1573,"size":4401,"collection":100,"collections":4402,"showCount":4394,"zanCount":419,"manualWeight":43,"mainColor":88},233735,"he-hua-tu-zhou-wu-chang-shuo-233735","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[24,25,77,28,7,304,113,32,306,307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18450c962cc4dc8033a867f98dea23ce.jpg","纵163.4厘米，横47.5厘米",[],{"id":4404,"slug":4405,"title":4406,"dynasty":283,"author":4407,"museum":319,"description":4408,"tags":4409,"thumbUrl":4410,"material":136,"size":100,"collection":84,"collections":4411,"showCount":4394,"zanCount":11,"manualWeight":43,"mainColor":88},216602,"mo-he-si-lian-ping-1-zhang-da-qian-216602","墨荷四联屏-1","张大千","墨色淋漓间，荷叶或浓泼如积云，或淡染似流烟，焦墨勾筋见骨，湿笔晕染含情。荷花亭亭，瓣尖带露，留白处凝清韵；含苞待放者敛藏生机，似语未发。荷茎挺秀如剑，线条刚劲中藏柔婉，穿插交错成疏密有致的骨架。整幅画笔墨纵横却不失雅致，浓淡干湿互映成趣，于水墨交融间透出清逸出尘之态，仿佛能闻荷风送香，见碧波微动，尽显君子之姿与自然之妙，令人观之忘俗，沉醉于这份静谧与生机。",[25,26,77,7,306,307,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a911d419cf2bdb27af6f664cf482a33.jpg",[84],{"id":4413,"slug":4414,"title":4415,"dynasty":18,"author":1123,"museum":331,"description":2094,"tags":4416,"thumbUrl":4417,"material":198,"size":780,"collection":100,"collections":4418,"showCount":4419,"zanCount":11,"manualWeight":43,"mainColor":88},290531,"wan-heng-xiang-xue-zhou-yun-shou-ping-290531","万横香雪轴",[25,7,24,129,392,269,134,193,349,131,80,79,28,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908e37e2018eaa4c032769f68c2bc093.jpg",[],150,{"id":4421,"slug":4422,"title":4423,"dynasty":72,"author":389,"museum":51,"description":4424,"tags":4425,"thumbUrl":4428,"material":28,"size":780,"collection":100,"collections":4429,"showCount":4419,"zanCount":419,"manualWeight":43,"mainColor":88},289993,"chang-e-zhi-gui-tu-zhou-tang-yin-289993","嫦娥执桂图轴","图中嫦娥裙带飘飘，神形温婉美丽，手持挂花，头部线条圆和流畅，勾染得当，美人风姿毕现，面容白色晕染，如月色清凝，皎洁典雅。",[25,7,28,27,29,30,1062,4426,80,79,4427],"桂花","神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff870a7fc8cbcdde03510dd532e6c43cd.jpg",[],{"id":4431,"slug":4432,"title":4433,"dynasty":18,"author":4434,"museum":331,"description":4435,"tags":4436,"thumbUrl":4437,"material":198,"size":780,"collection":100,"collections":4438,"showCount":4419,"zanCount":11,"manualWeight":43,"mainColor":88},289979,"fang-ni-zan-shan-shui-tu-zhou-hong-ren-289979","仿倪瓒山水图轴","弘仁","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[24,25,7,77,129,521,377,193,132,522,945,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a89c37611eded2ace9e54e3a4ca8817.jpg",[],{"id":4440,"slug":4441,"title":4442,"dynasty":283,"author":4407,"museum":2134,"description":4443,"tags":4444,"thumbUrl":4445,"material":100,"size":100,"collection":100,"collections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之感。\n从此幅《岁朝清供图》来看，赵之谦将清代两大花鸟画派，即恽寿平的没骨画法与扬州画派的写意画法相结合，并自出机杼，创造出新的风格。他在金石书法方面功力深厚，并将其入画，注重用色，在用色上讲究雅俗共赏，突破了古代文人画家所秉承的“夫画道之中，水墨为上”的原则。这些特点在海派大家吴昌硕那里得到了继承与进一步发挥。可以说，赵氏在写意花鸟画艺术上的拓展与推进，对近世花鸟画影响颇为深远，齐白石、陈师曾等北派巨匠同样受过他画作的影响。",[23,25,26,7,28,77,113,114,32,925,35,33,79,2664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf07ea413035b2c66a5bfd228e15f97.jpg","设色纸本","135.5×30.5cm",[],{"id":4514,"slug":4515,"title":4516,"dynasty":18,"author":921,"museum":331,"description":4517,"tags":4518,"thumbUrl":4519,"material":1573,"size":4520,"collection":84,"collections":4521,"showCount":4501,"zanCount":356,"manualWeight":43,"mainColor":88},224232,"gui-shou-tu-li-zhou-wu-chang-shuo-224232","贵寿图立轴","此幅描绘含露微嫩的牡丹，亭亭玉立的水仙。牡丹雍容华贵，花瓣层层叠叠，显富贵之意；淡黄色水仙花与嫩绿而修长的叶片，娇艳欲滴；似云似烟的湖石穿插于花卉中，灵动自然。画面题：神仙贵寿。",[23,25,7,113,304,28,114,291,57,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedac561ff78a78041827fca1bcbcc149.jpg","117x35cm",[84,158],{"id":4523,"slug":4524,"title":4525,"dynasty":72,"author":126,"museum":74,"description":4286,"tags":4526,"thumbUrl":4527,"material":136,"size":4528,"collection":138,"collections":4529,"showCount":4501,"zanCount":11,"manualWeight":43,"mainColor":44},222110,"chun-hua-zhou-jin-zhou-shen-zhou-222110","春华昼锦轴",[23,25,7,77,130,129,29,196,377,134,193,170,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405bbf6040c503cd558417b6c40a9a0b.jpg","278.6x95.7公分、全幅 122公分",[138,185],{"id":4531,"slug":4532,"title":4533,"dynasty":72,"author":264,"museum":74,"description":4534,"tags":4535,"thumbUrl":4536,"material":37,"size":100,"collection":39,"collections":4537,"showCount":4501,"zanCount":11,"manualWeight":43,"mainColor":44},219376,"guan-yin-chou-ying-219376","观音","画中十六罗汉供奉观音，观音坐南海普陀山传法。 十六罗汉被他们包围。 布局很巧妙。",[25,26,7,54,27,28,29,4209,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b7fd836ea2e1389bb6b95dda24eb6b.jpg",[39],{"id":4539,"slug":4540,"title":4541,"dynasty":93,"author":50,"museum":331,"description":4542,"tags":4543,"thumbUrl":4546,"material":198,"size":780,"collection":100,"collections":4547,"showCount":4548,"zanCount":419,"manualWeight":43,"mainColor":44},227839,"qian-shou-guan-yin-li-xiang-yi-ming-227839","千手观音立像","千手观音又称千手千眼观世音、千眼千臂观世音等，是我国民间信仰的四大菩萨之一。千手观音是阿弥陀佛的左胁侍，与阿弥陀佛、大势至菩萨(阿弥陀佛的右胁侍)合称为“西方三圣”。",[23,25,26,7,28,27,54,29,3493,4544,602,4545],"莲花座","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be631ea3bf397f44a3c3ff849e91dc8.jpg",[],147,{"id":4550,"slug":4551,"title":4552,"dynasty":93,"author":1517,"museum":331,"description":4553,"tags":4554,"thumbUrl":4555,"material":37,"size":4556,"collection":138,"collections":4557,"showCount":4548,"zanCount":43,"manualWeight":43,"mainColor":44},220045,"ting-qin-kan-pu-tu-xia-gui-220045","听琴看瀑图","危崖飞瀑垂落千仞，斧劈皴勾勒山石棱骨，墨色苍劲凝练，将峭壁雄浑之势尽显。虬松盘曲展枝，松下平坡之上，抚琴者席地拨弦，知音侧耳凝听，童子垂手侍立，寥寥数笔便将人物悠然意态勾勒传神。\n\n画面以局部取景，大片留白晕染出空濛悠远，将林泉雅集的闲逸与山川清旷相融，虚实之间，把静赏飞瀑、闲听雅琴的幽趣铺陈开来，藏着寄情丘壑、静悟天机的风雅，笔简而意无穷，尽得空灵禅寂之美。",[24,25,26,7,77,130,129,169,427,29,2389,351,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1f6772d48a16ed101d54e26afa835.jpg","142.2 × 70 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这幅画是根据宋徽宗爱画白鹰奇石的传说.",[23,25,24,26,7,27,28,151,3620,31,35,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f082a50222716196107d33d5784d0f.jpg","141.7x59.5厘米",[84,158],{"id":4607,"slug":4608,"title":4609,"dynasty":18,"author":4610,"museum":331,"description":4611,"tags":4612,"thumbUrl":4613,"material":198,"size":780,"collection":100,"collections":4614,"showCount":4615,"zanCount":43,"manualWeight":43,"mainColor":88},237155,"xu-gu-mao-die-tu-zhou-xu-gu-237155","虚谷猫蝶图轴","虚谷","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[25,26,7,77,28,304,240,288,440,35,113,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac0781a23a4a9e539a1cd4f736c5b1f.jpg",[],145,{"id":4617,"slug":4618,"title":4619,"dynasty":72,"author":4620,"museum":147,"description":4621,"tags":4622,"thumbUrl":4625,"material":37,"size":4626,"collection":39,"collections":4627,"showCount":4615,"zanCount":656,"manualWeight":43,"mainColor":44},219564,"huo-lang-tu-cui-zi-zhong-219564","货郎图","崔子忠","明代流传至今的《货郎图》绘者如计盛、吕文英、崔子忠、姜隐，还有诸佚名的《货郎图》，虽风格不一，或设色或白描，但大部分的货郎都是挑着华丽的货担，货架精雕细琢、所售器物五花八门，孩子们前簇后拥，玩着猴子、蟋蟀、皮影、书籍、花枝，不亦乐乎，场景往往热闹非凡。",[23,25,27,28,7,4623,29,1932,4624,427,132,2190,151,1405,170],"风俗画","货郎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73c1b2b4649dfef47e2ac975b98f223.jpg","纵205横125厘米",[39,158],{"id":4629,"slug":4630,"title":4631,"dynasty":207,"author":518,"museum":331,"description":4632,"tags":4633,"thumbUrl":4634,"material":198,"size":780,"collection":100,"collections":4635,"showCount":4636,"zanCount":356,"manualWeight":43,"mainColor":88},288916,"yu-shan-lin-he-tu-ni-zan-288916","虞山林壑图","取一河两岸式的构图，但水中有五道洲渚及一组杂树，远山近坡的淡墨皴染较多。画风较其典型作品繁密。与其盛年所作《渔庄秋霁图》、《枫落吴江图》等用线勾括坡石的画法相比，此图坡石皴擦善用乾笔，风格浑穆。应是倪氏晚期山水画的特点。",[23,24,25,7,77,129,521,35,193,80,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa611a8ec871c68063dbbc71fbe7e38c1.jpg",[],144,{"id":4638,"slug":4639,"title":4640,"dynasty":18,"author":1048,"museum":4641,"description":4642,"tags":4643,"thumbUrl":4644,"material":100,"size":100,"collection":84,"collections":4645,"showCount":4636,"zanCount":419,"manualWeight":43,"mainColor":88},237887,"zheng-xie-lan-shi-zhou-zheng-ban-qiao-237887","郑燮兰石轴","重庆中国三峡博物馆","此展品为清代的书画，此轴以水墨绘石上兰竹。笔墨洒脱，竹枝新发，兰草妙曼。山石以侧锋勾勒，微微点苔。布局疏密相间，别致雅趣。",[25,77,7,1051,35,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491c7eb56947056680423de9cd451ae.jpg",[84,185],{"id":4647,"slug":4648,"title":4649,"dynasty":207,"author":518,"museum":74,"description":4650,"tags":4651,"thumbUrl":4652,"material":82,"size":4653,"collection":138,"collections":4654,"showCount":4636,"zanCount":11,"manualWeight":43,"mainColor":88},220789,"shu-lin-yuan-xiu-tu-zhou-ni-zan-220789","疎林远岫图轴","水墨畫河岸、疏樹、竹林與房舍，對岸則山巒起伏。用筆多中鋒，山石皴法以披麻為主，略有折帶筆意。幅上有壬子（一三七二）年款，時七十二歲。然本幅題款，實摹自本院藏倪氏真本「容膝齊圖」。用筆亦無倪氏一代大家之健勁，顯係後代摹品。",[25,26,7,77,130,129,170,57,56,733,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ea5b0016ae78ee46681955a92009ac.jpg","72.9x37.5",[138,185],{"id":4656,"slug":4657,"title":4658,"dynasty":207,"author":695,"museum":236,"description":4659,"tags":4660,"thumbUrl":4662,"material":182,"size":4663,"collection":138,"collections":4664,"showCount":4636,"zanCount":11,"manualWeight":43,"mainColor":44},220779,"xi-shan-gao-yin-tu-wu-zhen-220779","溪山高隐图","《溪山高隐图》是元代画家吴镇创作的绢本墨笔画，现藏于北京故宫博物院。\n图绘高山巨石层峦重叠，远山云雾朦胧栈道顺山崖伸延，迂回盘绕，树林后溪水一湾，水榭半露，充满夏日中葱郁气氛，山石以水墨渲染，淡施披麻皴，圆点浓墨点苔。笔法稳健，墨气湿润。全画构图呈长方形，上不留天，下不留地，构图虽饱满，但密而不塞，疏密相间，故布局十分得宜。\n该图以深远式构图，远处高山叠嶂，群峰突起，高高耸起，山巅处云蒸霞蔚，山色柔和绵连。山坡和山坳处荆棘和杂木丛生。中间山腰处山石嶙峋突兀，山石或纵立，或横卧于山腰间，山径顺山脚伸延，蜿蜒迂回盘旋，成为上下山的一栈道、近景茂密的丛林后有溪水一湾，在山脚下临溪边有一间水榭，在山石和丛树的掩映下半露半隐，环境十分清静幽雅，充满夏日丰饶葱茏的气氛。\n吴镇的绘画题材大多为渔父、古木、竹石之类，均表现江南名山景色。《溪山高隐图》是他山水画中的代表作之一。《溪山高隐图》是其取法”巨然的一张典型作品。因为和巨然的作品《秋山问道图》比较，《溪山高隐图》似乎是临摹《秋山问道图》而比较萧散的作品。\n作者纯用水墨，利用其深浅浓淡，创造出一个静谧安详的环境，画幅较为孤寂、冷清的情凋也是画家处世态度的生动写照。山石以水墨渲染，淡披麻皴。这种皴法从巨然披麻皴出，把笔拉得垂直。他后来创造的“刮铁皴”，仿佛又硬又直，却硬中有婉，直中有收，笔头不枯硬，灵气从笔端间轻轻逸出，以圆点浓墨点苔，笔法稳健，墨气湿润，画法源于董源、巨然一路。近处坡石的用墨，以及秃笔随意点写树叶苔草的画法，是他的典型风格。\n《溪山高隐图》皴笔沉厚，坡角山边用笔大胆，横扫而出，用笔意味更似写意。主要山石皴笔提按变化明显，用笔奔放，是“写”出而非“皴”出。此图主峰最上部有一组巨石，用横侧笔势刷出，显然出自李唐马夏一系的斧劈皴。\n宋画研究学者寿勤泽：这幅画气势不凡，层峦叠岭，雄伟高峻，下方丛树溪水，临溪筑有草房两间，屋旁有小径通向山间。仅一片房屋处略施淡赭，通篇皆水墨。此图和常见的吴镇画有所区别，皴法以长披麻皴为主，法巨然画派画格，但线条较长，细长而且疏朗，似有不胜其力之感。",[23,25,26,4661,7,77,130,129,272,132,170,427,193],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b125a83a0553db70e8f576523b37fb5.jpg","纵160.5厘米，横73.4厘米",[138,185],{"id":4666,"slug":4667,"title":4668,"dynasty":18,"author":4669,"museum":74,"description":4670,"tags":4671,"thumbUrl":4672,"material":136,"size":4673,"collection":138,"collections":4674,"showCount":4636,"zanCount":11,"manualWeight":43,"mainColor":44},220374,"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","王翚","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔， 既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[23,25,26,7,28,129,1241,132,169,193,269,170,79,80,97,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[138,158],{"id":4676,"slug":4677,"title":3439,"dynasty":18,"author":3916,"museum":710,"description":4678,"tags":4679,"thumbUrl":4680,"material":37,"size":4681,"collection":84,"collections":4682,"showCount":4636,"zanCount":11,"manualWeight":43,"mainColor":44},218859,"mei-hua-tu-jin-nong-218859","老干虬曲如铁，以浓墨劲笔勾勒，线条古拙苍劲，尽显梅树历经风霜的坚韧风骨。枝头繁花疏朗，或含苞待放，或悄然绽放，淡墨点染间透着清雅之韵，与深褐枝干形成鲜明对比，更衬出梅的冰清玉洁。右侧题跋以金农标志性的漆书书就，笔力沉厚，字体方整古朴，笔墨与画面意境交融，文气盎然。整幅作品不拘泥于形似，而重神韵，于简淡中见精神，传递出梅的孤傲品格与文人的清雅风骨，尽显扬州八怪特有的艺术个性，将文人画的意趣与梅的精神完美融合。",[23,25,26,7,77,392,113,97,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee7b4e0d4c7ca7b49524552eb1cc5da.jpg","41x130cm",[84],{"id":4684,"slug":4685,"title":1122,"dynasty":18,"author":1123,"museum":331,"description":2094,"tags":4686,"thumbUrl":4688,"material":198,"size":780,"collection":100,"collections":4689,"showCount":4690,"zanCount":419,"manualWeight":43,"mainColor":88},290536,"yan-xi-yu-le-zhou-yun-shou-ping-290536",[25,24,7,26,27,28,113,498,935,151,80,79,4687],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20aff2a060a96207e9cbb6a8febec6d9.jpg",[],143,{"id":4692,"slug":4693,"title":4694,"dynasty":18,"author":318,"museum":236,"description":4695,"tags":4696,"thumbUrl":4698,"material":745,"size":4699,"collection":138,"collections":4700,"showCount":4690,"zanCount":11,"manualWeight":43,"mainColor":88},236752,"qiu-lin-du-diao-tu-zhou-zhu-da-236752","秋林独钓图轴","图绘凋零的树木被笼罩在深秋的寒意中，一湖静水之上只见高士孤身垂钓，空旷荒寂的意境中孕含着作者对明朝故土的无限怀念。此图无年款，根据署款“驴”字，推断此幅为朱耷57岁（1682年）左右的作品。这时期其山水画还深受元人倪瓒、黄公望，明人董其昌的影响而没有形成自己的笔墨特色。本幅构图取法倪瓒一河两岸式的布局，以简洁疏朗的物象表现出荒寒的萧条景致。山石画法取自黄公望，其轮廓以尖硬的线条勾勒，石面略作皴染，于散漫随意中不失古雅的情趣。整体画风则显现出董其昌明洁秀逸、华姿润泽的艺术风貌。",[25,7,77,304,130,129,521,1419,132,349,4697,522,523],"钓者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa150978fbe46fb641f060aaadb56385.jpg","纵197.5厘米，横57.3厘米",[138],{"id":4702,"slug":4703,"title":4704,"dynasty":93,"author":146,"museum":331,"description":4705,"tags":4706,"thumbUrl":4707,"material":100,"size":100,"collection":100,"collections":4708,"showCount":4690,"zanCount":11,"manualWeight":43,"mainColor":44},227516,"wang-wei-shi-yi-tu-li-zhou-mi-fei-227516","王维诗意图立轴","米芾，字元章，号鹿门居士、襄阳漫士、海岳外史，北宋著名大书画家，鉴藏家。祖籍太原，后迁居襄阳，人称“米襄阳”。宣和年间为徽宗赵佶召为书画学博士。\n\n米芾能诗擅文，书画尤具功力。篆、隶、行、草、楷各体皆能，行草造诣尤高。芾自云学过各家各派，但从其作品观之，得王献之、释智永二家最多。其书淋漓痛快，隽雅奇变，晚年书艺更达至炉火纯青之境。与苏轼、黄庭坚、蔡襄合称“宋四家”。",[23,25,7,77,129,130,170,193,132,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ca00f8b933044d132ee6e26db3b619.jpg",[],{"id":4710,"slug":4711,"title":4712,"dynasty":18,"author":1048,"museum":236,"description":4713,"tags":4714,"thumbUrl":4715,"material":255,"size":1177,"collection":84,"collections":4716,"showCount":4690,"zanCount":11,"manualWeight":43,"mainColor":88},223296,"mo-bi-zhu-shi-tu-zhou-zheng-ban-qiao-223296","墨笔竹石图轴","郑板桥画墨竹，多为写意之作。一气呵成．生活气息十分浓厚，一枝一叶．不论枯竹新篁，丛竹单枝，还是风中之竹。雨中之竹．都极富变化之妙．如竹之高低错落，浓淡枯荣．点染挥毫，无不精妙。画风清劲秀美，超尘脱俗，给人一种与众不同之感。他说：“文与可画竹，胸有成竹；郑板桥画竹，胸无成竹。与可之有成竹．所谓渭川千亩在胸中也；板桥之无成竹，如雷霆霹雳，草木怒生，有莫如其然而然者，盖大化之流行．其道如是，与可之有，板桥之无，是一是二解人会之。”实际上，板桥“胸无成竹”与文与可“胸有成竹”在根本上是不矛盾的，郑板桥注意的是在创作之前，构思要与熟练的技巧相结合，但这种写意画与文与可高度写实墨竹画在技法上又是有区别的，即有写意与写实、抽象与具象、神似与形似的不同。特别引人注目的是郑板桥画竹还讲究书与画的有机结合，“以草书之中竖长撇法运之”，他说：“书法有行款，竹更要有行款，书法有浓淡，竹更要有浓淡，书，去有疏密，竹更要有疏密。”为此，人们都能从他的字画中体味到。",[23,25,77,7,31,35,79,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00450bf3ebc8d27f10d2ec819e60152f.jpg",[84,185],{"id":4718,"slug":4719,"title":4720,"dynasty":207,"author":4104,"museum":74,"description":4721,"tags":4722,"thumbUrl":4725,"material":255,"size":4726,"collection":84,"collections":4727,"showCount":4690,"zanCount":11,"manualWeight":43,"mainColor":88},221838,"tao-zhu-jin-ji-tu-zhou-wang-yuan-221838","桃竹锦鸡图轴","该图上有王渊款：“至正已醜(1349年)王若水爲惠明作桃竹錦雞圖。”钤私印两方。是图将工整双勾的线条和细腻的水墨渲染合为一体，形成兼工带写的绘画技巧，以墨代色，脱胎于五代黄筌“黄家富贵”的工笔设色画风，反映了文人画重墨轻色的审美观。画家以水墨皴擦、晕染、粗细笔并用，行笔稳健而不乏洒脱，水墨层次变化丰富，颇有透明感，全图不着一色已俱见典雅端丽，画意蕴藉清润、幽静深秀。",[23,25,167,27,113,7,4369,31,439,351,4723,4724],"水墨设色","花鸟题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14268d3dd72321107b543bb80edf552.jpg","纵102.3cm，横55.4cm",[84,185],{"id":4729,"slug":4730,"title":4731,"dynasty":207,"author":1432,"museum":236,"description":4732,"tags":4733,"thumbUrl":4734,"material":745,"size":4735,"collection":138,"collections":4736,"showCount":4690,"zanCount":11,"manualWeight":43,"mainColor":44},220763,"jiu-feng-xue-ji-tu-huang-gong-wang-220763","九峰雪霁图","是图作于元至正九年（1349年），为黄公望81高龄之作。作者以水墨写意的手法汇集画出了江南松江一带的九座道教名山，时称“九峰”，体现了作者对道教全真教的崇拜。该图系画赠江浙儒学提举班惟志，时值正月春雪，有感雪霁寒意，画意肃穆静谧。图中的中、近景以干笔勾廓叠石，坡边微染赭黄，远处九峰留白，以淡墨衬染出雪山，是黄公望简繁合一的精品作。",[23,25,129,77,130,7,1651,613,1419,351,521,133,3880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21dcb6d646fd85003b240e46bb59dd9.jpg","纵117厘米，横55.5厘米",[138,185],{"id":4738,"slug":4739,"title":4740,"dynasty":93,"author":481,"museum":331,"description":4741,"tags":4742,"thumbUrl":4743,"material":82,"size":4744,"collection":185,"collections":4745,"showCount":4690,"zanCount":11,"manualWeight":43,"mainColor":88},218564,"song-gao-zong-yu-zhi-xi-gong-yan-tu-ma-yuan-218564","宋高宗御制西宫宴图","马远绘侍宴图传世三件中的其中一幅",[25,24,26,7,1157,77,129,269,427,132,170,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b00e67510889e575c54629198f5565.jpg","122.5x52.2",[185],{"id":4747,"slug":4748,"title":4749,"dynasty":207,"author":787,"museum":331,"description":4750,"tags":4751,"thumbUrl":4752,"material":100,"size":100,"collection":100,"collections":4753,"showCount":4754,"zanCount":43,"manualWeight":43,"mainColor":44},228265,"yue-xia-mei-hua-tu-wang-mian-228265","月下梅花图","古梅老干盘虬苍劲，如铁铸凝霜，却自枯槎间抽发柔枝，繁花轻缀如堆雪团玉。左上角圆月晕出朦胧暖光，将夜色晕化，清辉漫过梅枝，冷艳花影与溶溶月色缠织，把孤高疏淡的意境烘托到极致。\n\n以顿挫老辣的水墨写枝，尽显梅树硬骨，淡墨圈花留白，衬出花瓣冰清玉洁，笔简意足。题诗与画意相融，诗书画印浑然一体，尽显文人雅致风骨。将梅花凌霜傲雪的君子品格，与画者淡泊襟怀藏在尺幅清景之中，暗香似随月色浮动，观之便觉心神澄澈。",[23,25,26,7,77,392,59,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b72dd09d14af6300a2dd92f27a517ef.jpg",[],142,{"id":4756,"slug":4757,"title":4758,"dynasty":93,"author":623,"museum":4759,"description":4760,"tags":4761,"thumbUrl":4763,"material":182,"size":4764,"collection":157,"collections":4765,"showCount":4754,"zanCount":43,"manualWeight":43,"mainColor":44},221440,"han-lin-gao-shi-tu-zhou-li-cheng-221440","寒林高士图轴","美国弗瑞尔美术馆","李成（公元 919年 -967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[23,25,77,7,129,614,4762,170,132,193,522,130],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425bbd40a0bd5977059e42cdf3fd2910.jpg","174 x 89.2 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，淡设色","纵290cm，横131.5cm",[138],141,{"id":4797,"slug":4798,"title":4799,"dynasty":93,"author":1283,"museum":74,"description":4800,"tags":4801,"thumbUrl":4803,"material":99,"size":4804,"collection":138,"collections":4805,"showCount":4795,"zanCount":419,"manualWeight":43,"mainColor":44},218953,"guan-bei-tu-guo-xi-218953","观碑图","寒冷的森林平坦而遥远，松树的枝干已经枯萎。这两个人靠在石碑上，而四个人站在他们前面的右边，带着马鞍和马在伞下，他们的表情非常有表情。这幅画描绘了汉朝时曹操和杨修一起看《曹娥碑》的情景。这幅画没有记号，传统上认为是郭熙所作。然而，这幅画的风格，倾斜的石头和松散的树枝，以及参差不齐的夸张树干，并没有给人以郭熙的建议的感觉。其他现存的涉及看纪念碑的画作包括大阪市立美术馆收藏的《读碑石》，这幅画主要描绘的是残存纪念碑的寒冷森林场景，以此来让观者思考过去。",[23,24,25,26,7,167,130,364,29,196,4802,194,132,1717,152,170],"碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680d1f7d1ced6d46fbc9bb38d75e4147.jpg","164.4x119",[138],{"id":4807,"slug":4808,"title":4809,"dynasty":18,"author":1296,"museum":331,"description":4810,"tags":4811,"thumbUrl":4812,"material":100,"size":100,"collection":100,"collections":4813,"showCount":4814,"zanCount":11,"manualWeight":43,"mainColor":88},228994,"zhu-shi-zhen-ji-tu-shi-tao-228994","竹石真迹图","此作用水墨写意绘就幽境。以淋漓淡墨勾皴巨石轮廓，留白为体，枯笔侧锋扫出苍涩纹理，朴拙雄浑间尽显嶙峋风骨。几竿新竹斜倚石畔，中锋写干清劲挺拔，竹叶以焦墨挥写，聚散错落，偃仰有态，尽显萧疏清逸之致。左下角兰草柔婉，与竹石刚健相映成趣。\n\n整幅画以少胜多，墨色干湿浓淡层次丰盈，笔意纵恣洒脱，将竹之劲节、石之沉稳融于尺幅之间，寄寓文人劲节自持的襟怀，尽显以形写意、天人合一的审美意趣，是水墨小品中的隽秀之作。",[23,24,25,77,304,31,601,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37275658c9a76d23ae4cf87b6f96f432.jpg",[],140,{"id":4816,"slug":4817,"title":4818,"dynasty":109,"author":1112,"museum":20,"description":4819,"tags":4820,"thumbUrl":4822,"material":100,"size":100,"collection":100,"collections":4823,"showCount":4814,"zanCount":419,"manualWeight":43,"mainColor":44},226703,"xi-shan-lan-re-tu-ju-ran-226703","溪山兰若图","此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。",[23,25,24,7,77,130,129,252,253,132,172,4821,54],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18e1550c2f9295b94665ebbfbacce7b.jpg",[],{"id":4825,"slug":4826,"title":4827,"dynasty":18,"author":4828,"museum":209,"description":4829,"tags":4830,"thumbUrl":4831,"material":136,"size":4832,"collection":138,"collections":4833,"showCount":4814,"zanCount":419,"manualWeight":43,"mainColor":88},219922,"hu-tian-chun-se-tu-wu-li-219922","湖天春色图","吴历","此图描绘江南湖畔堤边的初春风光。画面上，远山清淡，湖水平静，渺无人烟，春色宜人。湖岸处柳色新绿，带雨含烟，丰姿绝妙，燕雀跃于湖面柳枝之间，又有土堤斜引，其上绿草如茵。溪水潺潺，鸟声婉转音色清新，绿柳迎风，全画面春意盎然，和谐舒畅。其构图与表现风格在当时亦十分新颖和独特。此幅是画家山水画中的代表作品，体现了典型的吴历个人风格。画家早年曾师法古人，又曾吸取西画的表现手法，风格与清初“四王”相似又有所不同，他注重实景取材，构图严谨，所以具有独特的面貌。",[25,26,24,7,28,130,129,131,193,151,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8370438109745994edfcc2de0eb2f4f9.jpg","纵123.5 厘米，横62.5 厘米",[138,158],{"id":4835,"slug":4836,"title":4837,"dynasty":18,"author":50,"museum":236,"description":4838,"tags":4839,"thumbUrl":4840,"material":37,"size":4841,"collection":39,"collections":4842,"showCount":4814,"zanCount":656,"manualWeight":43,"mainColor":44},219633,"qian-long-huang-di-chao-fu-xiang-yi-ming-219633","乾隆皇帝朝服像","此作工笔细腻，写实传神。画中帝王面容俊朗，神色端凝沉稳，自带不怒自威的从容气度。明黄朝服遍绣祥龙，十二章纹错落排布，金线勾勒下瑞兽纹样鲜活灵动，珠玉朝珠垂坠于前，礼制森严间尽显极致华贵。髹金龙椅雕刻繁复精妙，卷云虬龙层层环绕，衬出帝王的独尊地位。\n\n画面底色素净克制，将视觉重心全然倾注于人物之上，设色富丽却不俗艳，工整细致的笔触，将盛世帝王的威仪气度凝于绢素，尽显宫廷肖像画的典雅规整，让观者仿佛能窥见当年紫禁城中的肃穆华贵。",[23,24,25,26,7,27,28,29,34,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0605e9fa04d93aeb448927849ebb7b94.jpg","纵271厘米，横142厘米",[39],{"id":4844,"slug":4845,"title":4846,"dynasty":283,"author":1683,"museum":236,"description":4847,"tags":4848,"thumbUrl":4850,"material":136,"size":4851,"collection":100,"collections":4852,"showCount":4814,"zanCount":43,"manualWeight":43,"mainColor":88},219284,"qiu-xi-tu-xu-bei-hong-219284","秋喜图","喜鹊栖枝，墨羽浓淡相宜，黑白分明处点缀一抹青绿，神态灵动似欲啼鸣。老干盘曲，墨色沉郁带苔痕，苍劲之态尽显岁月质感。红叶疏疏落落地缀于枝间，淡彩晕染出秋意，与枝干的朴拙形成雅致呼应。笔墨兼工带写，形神兼备，既承传统花鸟的诗意意趣，又融写实功底，将秋日常景化作吉祥之境，萧瑟中暗藏生机，韵味悠长耐人寻味。",[25,77,28,113,7,151,1373,4849],"秋叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8023c6b3e375490aa32389a75e0cd242.jpg","纵89.2横28厘米",[],{"id":4854,"slug":4855,"title":4856,"dynasty":72,"author":752,"museum":331,"description":2862,"tags":4857,"thumbUrl":4858,"material":198,"size":780,"collection":100,"collections":4859,"showCount":4860,"zanCount":11,"manualWeight":43,"mainColor":44},287343,"he-hua-yuan-yang-tu-juan-wen-chen-hong-shou-287343","荷花鸳鸯图(绢纹)",[23,24,25,26,7,1592,27,28,306,799,600,35,307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f6c74082eff5c95dc37ca5423373bf.jpg",[],139,{"id":4862,"slug":4863,"title":4864,"dynasty":18,"author":752,"museum":331,"description":4865,"tags":4866,"thumbUrl":4867,"material":100,"size":100,"collection":100,"collections":4868,"showCount":4860,"zanCount":656,"manualWeight":43,"mainColor":44},236479,"sui-chao-qing-gong-zhou-chen-hong-shou-236479","岁朝清供轴","此作以案头清供入画，古雅沉静。方口铜尊中，梅枝虬曲错落，寒英素洁，山茶艳红似燃，细竹扶疏添清逸。旁侧虬奇古松配立湖石，置于案几，与瓶花相映成趣。\n\n用笔凝练挺劲，设色沉厚朴雅，敷色淡而不薄，艳而不俗，将文人岁朝清赏的闲逸意趣藏于笔墨间，暗合新春纳祥的美好祈愿，尽显高古雅致的文人气韵。",[25,28,27,7,392,31,33,132,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465176e9d66122bb4dbf941bf6e2e4e0.jpg",[],{"id":4870,"slug":4871,"title":4872,"dynasty":72,"author":126,"museum":209,"description":4873,"tags":4874,"thumbUrl":4875,"material":37,"size":4876,"collection":138,"collections":4877,"showCount":4860,"zanCount":643,"manualWeight":43,"mainColor":44},218247,"lin-dai-wen-jin-xie-an-dong-shan-tu-shen-zhou-218247","临戴文进谢安东山图","沈周（1427-1509年），字启南，号石田、白石翁，苏州人，不应科举，以诗文书画为事，山水师黄公望、吴镇，书法法黄庭坚，名重一时，吴中名家如文徵明、唐寅等都出其门下。与文徵明、唐寅、仇英合称“明四家”。\n本图是沈周五十四岁时所作，临摹的是比他略早的浙派著名画家戴进的《谢安东山图》，描绘东晋著名宰相谢安隐居东山时，携妓出游，纵情山水的情景。\n沈周的山水画，师法元代黄公望与吴镇，远溯五代董源、巨然，而戴进宗法的是南宋马远、夏圭，以风格而论，一为南方山水与水墨画的传统，一为北方山水与宫廷著色画的传统。沈周画多仿元人，此画风格在他的作品中既是一件孤品，也是一件奇品，堪称绝无仅有。\n此图高头大轴，青绿设色，山石轮廓明朗，皴笔似马牙、卷云而不若其蜷曲，似斧劈而不若其方硬，似披麻而不若其疏放绵长，这种皴法与戴进常用的源自马、夏的长斧劈皴不同，融合了南、北方山水的皴法特点。图画设色明朗鲜润，一部分山石近乎空勾，是宋代以来大青绿的设色方法。沈周一生所作山水，多为水墨，亦有浅绛，如此大轴青绿，实属平生仅见。其中人物亦造型端庄，服饰俨然，线条健爽，是明人追绍宋代院体画的风格。\n沈周此图或属偶一为之，却显示出画家不拘于一格的绘画能力以及兼收并蓄，广采博纳的眼界与胸襟。\n根据翁同龢1902年的日记，此画是翁氏因戊戌之变被黜归里后，其旧仆李元为其在北京购得的。",[23,25,26,24,7,28,129,29,269,427,132,169,170,272,945,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4136bf4cc51a9c489487d6a27dbe7d3a.jpg","纵170.0厘米，横89.0厘米",[138],{"id":4879,"slug":4880,"title":4881,"dynasty":93,"author":4882,"museum":74,"description":4883,"tags":4884,"thumbUrl":4885,"material":182,"size":4886,"collection":157,"collections":4887,"showCount":4888,"zanCount":43,"manualWeight":43,"mainColor":44},221619,"mo-fan-kuan-lu-shan-tu-zhou-jiang-can-221619","摹范宽庐山图轴","江参","本幅旧传为江参作，画采全景式构图，中央主峰巍峨耸立，峰顶遍布密林。山坳处，寺宇、亭台错落。\n杂树掩映间，可见泉瀑奔流，淙淙若闻其声。山道上，并绘有行旅策蹇，络绎于途。幅左下方题：「摹范华原庐山图」。《宣和画谱》虽未著录〈庐山图〉，然此作以短笔作皴，呈密集的雨点状，明显由〈溪山行旅图〉演化而来。",[23,25,26,7,945,130,77,129,252,351,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F826530b8c83c87209bddce538d219a64.jpg","347.4x131.8",[157,138,185],138,{"id":4890,"slug":4891,"title":4892,"dynasty":207,"author":518,"museum":236,"description":4893,"tags":4894,"thumbUrl":4895,"material":4896,"size":4897,"collection":138,"collections":4898,"showCount":4888,"zanCount":11,"manualWeight":43,"mainColor":88},220797,"ku-mu-you-huang-tu-zhou-ni-zan-220797","枯木幽篁图轴","作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，小中见大，外落寞而内蕴激情。\n此图画一平坡之上立一巨石，石边一寒树独立，树旁又有双竹挺立，并分向左右弯曲生长，其周围亦有细篁数丛。构景简洁是倪云林画的突出特色，此图亦通过一石、一树、数竹这极简之景构成一个荒寒萧疏的意境。画中笔法疏率，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。此图中上方有作者自题诗一道：“古木幽篁寂寞滨，斑斑鲜石翠含春。自知不入时人眼，画与皎溪古遗民。” 平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。图中自题[古木幽篁寂滨，班班藓石翠含春，自知不入时人眼，画与蛟溪古逸民，云林生]。画幅上还有马治，松泉隐者诗题。",[23,25,26,7,77,152,78,35,967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74dfc23fe071c9504a396c679d769fdc.jpg","纸本、墨笔","纵88.6厘米，横30厘米",[138,185],{"id":4900,"slug":4901,"title":4902,"dynasty":72,"author":752,"museum":209,"description":4903,"tags":4904,"thumbUrl":4908,"material":37,"size":4909,"collection":39,"collections":4910,"showCount":4888,"zanCount":11,"manualWeight":43,"mainColor":44},219416,"yin-jiu-du-shu-tu-zhou-chen-hong-shou-219416","饮酒读书图轴","图绘一位文士头戴乌帽身穿朱衣，手持把杯，坐对书卷。长几上瓶插梅花竹叶，\n笔墨皆清劲。画面取斜向构图，布局大胆新奇。此图作于崇祯十六年癸未（1643），作者时年46岁。本年，明王朝已经处于风雨飘摇之际，陈洪绶只好南归。此图即作于舟泊天津杨柳青之时。图中有孔尚任题跋四则，不仅谈到购藏此图的经历，同时对于补充孔氏生平经历具有重要的史料价值。",[25,7,28,29,392,33,80,79,4905,4906,34,4907],"纸","墨","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd899a507a555b78db6a6bc70bf72310f.jpg","纵100.8厘米，横49.4厘米",[39],{"id":4912,"slug":4913,"title":4914,"dynasty":72,"author":126,"museum":74,"description":4915,"tags":4916,"thumbUrl":4917,"material":136,"size":4918,"collection":84,"collections":4919,"showCount":4888,"zanCount":11,"manualWeight":43,"mainColor":88},219361,"jiu-sheng-huan-yu-tu-shen-zhou-219361","鸠声唤雨图","述了行走在街头和庭园，常掠过一种和鸽子类似的鸟类，它的造型和色彩朴素，就连那咕咕的叫声，也是浑厚的，这便是斑颈鸠了。它的这份质朴，正是文人画家偏爱的感觉。斑颈鸠，体态雍容华丽，颈部斑点有如珍珠瑰丽，也是乡土鸟类中广为熟悉的鸟。沈周的一幅「鸠声唤雨」画出一只瞪著大眼、嘟著嘴，有著圆胖身体的斑颈鸠，孤孤单单栖踞枝头，看起来特别古朴与淡雅。",[25,24,26,7,28,304,151,484,131,113,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da560143d64c8be1ba2d59b856a3b22.jpg","51.1x 30.4",[84],{"id":4921,"slug":4922,"title":4923,"dynasty":18,"author":4924,"museum":236,"description":4925,"tags":4926,"thumbUrl":4927,"material":136,"size":4928,"collection":158,"collections":4929,"showCount":4930,"zanCount":419,"manualWeight":43,"mainColor":88},219175,"shuang-mao-kui-yu-tu-cheng-zhang-219175","双猫窥鱼图","程璋","此图绘制的是一幅秋天的美好图景。一弯池水迂回荡漾，岸边苇草萌发，树枝随风而动，显得古朴与优雅。池塘边两只花猫，葡匐在岸上，双眼紧盯着沟渠中的游鱼。仿佛在欣赏他们惬意的身姿，溪水对岸，淡色轻染，烟霭迷濛。全画以水彩设色技法来体现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是因为画家懂得生物百态，所以画的木头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能符合自然景物的真实性。并利用干、湿、浓、淡的笔力墨法所产生的差异，整体变得稳重、秀润。",[23,24,25,26,7,28,27,77,240,935,521,57,1275,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee5c1ca6bba6d53a16282a54c29ac96.jpg","纵148cm 横80.8cm",[158],137,{"id":4932,"slug":4933,"title":4934,"dynasty":18,"author":4935,"museum":74,"description":4936,"tags":4937,"thumbUrl":4938,"material":136,"size":4939,"collection":84,"collections":4940,"showCount":4930,"zanCount":643,"manualWeight":43,"mainColor":88},218994,"gou-tu-shen-zhen-lin-218994","狗图","沈振麟","这是一幅站在竹子和梅花树下的京巴，姿态呆萌，系金钟，想必是宫廷犬的家族。描写敏感而写实，可能受到西方绘画风格的影响。",[25,28,27,241,392,31,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f54e80e7dec55c15cb031502a3d45e4.jpg","纵92.8横75.6厘米",[84],{"id":4942,"slug":4943,"title":4944,"dynasty":72,"author":50,"museum":74,"description":4945,"tags":4946,"thumbUrl":4947,"material":37,"size":4948,"collection":39,"collections":4949,"showCount":4930,"zanCount":419,"manualWeight":43,"mainColor":44},218526,"fo-xiang-tu-yi-ming-218526","佛像图","这些天人各自手持法器，被他们的同伴骑着并护送着，他们都面朝右边，坐在天空的云朵上，可能是一组描绘天人聆听佛陀教诲的佛画的一部分。三面六臂的力士可能是来自八大天师的阿修罗；持剑的武士和美女是罗刹，罗刹是十二天之一，原本是异教的恶魔，被降服后成为佛教的保护者。整块画板用薄薄的颜料描绘了天人的肌肉，他们的袖子卷起又折起的样子，大多是兰花叶的样式，是吴道子以来专业画家的风格。这幅画的衣服上也有丰富的金色和钩纹装饰，颜料也有很多地方是泥金的。从这幅画的风格来看，它是在15世纪明朝时期绘制的。",[23,25,26,7,27,28,54,29,335,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd052330f7cc5224c48e44b4f0a6b3ba9.jpg","143.7x81.5",[39],{"id":4951,"slug":4952,"title":3082,"dynasty":18,"author":4953,"museum":147,"description":4954,"tags":4955,"thumbUrl":4956,"material":37,"size":4957,"collection":39,"collections":4958,"showCount":4930,"zanCount":43,"manualWeight":43,"mainColor":44},218356,"zhong-kui-tu-lv-xue-218356","吕学","图中描绘的是钟馗手持宝剑，两个小孩子手持灵芝，背着书卷。这些人物是以浙江画派的风格用犀利的笔触画出来的。",[23,25,26,7,985,77,29,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e129c128c96a4adf8e82487a264110.jpg","167.7x95.6",[39],{"id":4960,"slug":4961,"title":4962,"dynasty":18,"author":4963,"museum":331,"description":4964,"tags":4965,"thumbUrl":4966,"material":1573,"size":4967,"collection":100,"collections":4968,"showCount":4969,"zanCount":11,"manualWeight":43,"mainColor":88},222629,"ju-shi-yan-nian-tu-zhou-huang-shan-shou-222629","菊石延年图轴","黄山寿","绘秋日中菊花绽放，三种色彩，争相斗艳，蓝色湖石穿插其中。画上题诗“飘飘神采濯枝秀，不食烟火何妨瘦，精气有余骨相坚，餐英尚且能益寿”。黄山寿，原名曜，字旭初，晚清画家，工人物、山水，善墨龙等",[23,25,26,7,28,27,440,601,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017d9351b72d2e389bc0b7cd7ce8fbed.jpg","131X67cm",[],136,{"id":4971,"slug":4972,"title":4973,"dynasty":93,"author":4974,"museum":4975,"description":4976,"tags":4977,"thumbUrl":4979,"material":37,"size":100,"collection":84,"collections":4980,"showCount":4969,"zanCount":11,"manualWeight":43,"mainColor":704},218889,"mei-hua-shuang-que-tu-tang-zheng-zhong-218889","梅花双鹊图","汤正仲","上海龙美术馆","虬干盘结如铁，皴擦间尽现老木苍劲之姿；新梢斜逸若剑，挺秀中暗藏生机。素蕊攒枝，以圈花点蕊之法写就，清疏淡雅如覆薄雪，暗香似欲溢出纸面。双鹊栖于枝间，一俯一仰顾盼有情，羽翼细墨勾勒与梅枝粗放形成呼应，添几分灵动暖意。整幅画以墨骨立形，淡彩敷色，既承扬派墨梅清逸，又融自家笔意沉厚。寒梅高洁品格与双鹊吉祥意趣交织，冬日清寂中晕开一抹生机，尽显宋人花鸟画雅致韵致与文人情怀。",[24,25,26,7,27,28,113,392,4978,151,484,131],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15447dc3a3314b0bcbd372dc5a108d12.jpg",[84],{"id":4982,"slug":4983,"title":4984,"dynasty":93,"author":1283,"museum":209,"description":4985,"tags":4986,"thumbUrl":4991,"material":99,"size":4992,"collection":138,"collections":4993,"showCount":4969,"zanCount":356,"manualWeight":43,"mainColor":44},218586,"gu-mu-yao-shan-tu-zhou-guo-xi-218586","古木遥山图轴","全图画秋景山水，画文人士夫出行的情形，系平 远式构图。近景以水墨画坡石，上有古木数株，中 景绘两间敞轩和一座木构平房，内有主人，外有过 客，隔江远景坡地朦胧，其下有牛群散牧、孤舟帆饱。 该图是一幅相当写实的山水画，画家客观、概括地描 绘了所见的景物。因此，笔者认为，可借鉴动物考古 学和建筑学等学科的成果来分析、研究是图的绘制地 域，以便于确定其创作时代。",[24,25,26,7,77,129,4987,2294,4988,4989,4990,349,1571,29],"秋景","坡石","敞轩","平房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b7f96f5bbf3b0e2a5e0fc103c93fe7.jpg","纵 185.2、横 107.5 厘米",[138],{"id":4995,"slug":4996,"title":4997,"dynasty":18,"author":4998,"museum":236,"description":4999,"tags":5000,"thumbUrl":5001,"material":82,"size":5002,"collection":138,"collections":5003,"showCount":4969,"zanCount":43,"manualWeight":43,"mainColor":88},218472,"fang-wu-zhen-shan-shui-tu-wang-yuan-qi-218472","仿吴镇山水图","王原祁","此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[23,25,77,130,945,7,129,132,170,1419,733,878,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2da35a1678545e4fb7f9d72c52f6e7.jpg","纵141.7厘米，横51厘米",[138],{"id":5005,"slug":5006,"title":5007,"dynasty":93,"author":50,"museum":74,"description":5008,"tags":5009,"thumbUrl":5010,"material":37,"size":100,"collection":39,"collections":5011,"showCount":4969,"zanCount":419,"manualWeight":43,"mainColor":88},216947,"tai-zu-zuo-xiang-zhou-yi-ming-216947","太祖坐像轴","太祖坐像轴是宋朝佚名的一件作品，是宋朝绘画中的重要代表作之一。这幅画以太祖爷爷——宋太祖赵匡胤为主人公，描绘了他坐在宝座上的情景。太祖坐像轴是一幅官方肖像画，用来表彰太祖的功绩和威严。\n\n画中，太祖坐在宝座上，身着皇帝的正装，头戴皇冠。他神态庄严，目光坚定，散发着强大的权威气息。\n\n太祖坐像轴的画风浓烈，笔画粗犷，色彩明快，体现了宋朝绘画中的特色。画中的人物肖像生动，细节丰富，反映了宋朝社会的文化和生活。这幅画是宋朝绘画史上的重要珍品，对于了解宋朝历史和文化具有重要意义。",[25,24,7,27,28,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d65ab6762e2ececdae6bd4811806e79.jpg",[39],{"id":5013,"slug":5014,"title":5015,"dynasty":18,"author":4788,"museum":331,"description":5016,"tags":5017,"thumbUrl":5018,"material":1320,"size":5019,"collection":138,"collections":5020,"showCount":5021,"zanCount":43,"manualWeight":43,"mainColor":88},222665,"xi-shan-qiu-yu-tu-kun-can-222665","溪山秋雨图","描绘的是古木流泉，高人独坐，体现出一派野逸之趣。髡残之画卷苍老雄浑，深沉豪迈，以老辣见胜，但相对而言，此图当属相对文雅、宁静一路画风。\n通观全画，不禁让人想起王蒙的代表作《葛稚川移居图》，但髡残在构图和技法上均做了简化处理。整幅画采用是全景式繁密构图，前景处山石耸立，几株树木立于 其上，呈现出不同的生长态势。画面左下角一座小桥向后延伸，一位樵夫缓缓行走，引出画面的中景。远景一座大山巍峨挺立，一座茅屋筑于半山腰，为这幅画增添 了不少人气。\n髡残将王蒙画中那股山体蜿蜒向上的强烈夸张的扭势处理成了文雅、宁静的气象，笔法上对王蒙有所借鉴，山石多用披麻皴、解索皴，用赭石染山石，色泽浓厚，并且在山石轮廓上用焦墨钩提。\n髡残师古人乃食古而化，不过是以古人酒杯浇自家胸中块垒，所以体现出来的仍是自己的精神面貌，其画构图奇特、境界幽深，是其广师造化的结果。髡残之画在当时画坛独树一帜，后人把他和石涛并称“二石”，是明清两代中最有生气的画家。",[23,25,77,28,130,7,129,132,170,733,134,193,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c669070e4f6774a5897c1f4946ba35.jpg","纵113CM 横50CM",[138,185],135,{"id":5023,"slug":5024,"title":5025,"dynasty":72,"author":126,"museum":74,"description":5026,"tags":5027,"thumbUrl":5028,"material":255,"size":5029,"collection":100,"collections":5030,"showCount":5021,"zanCount":419,"manualWeight":43,"mainColor":88},222108,"ming-xian-ya-ji-tu-zhou-shen-zhou-222108","名贤雅集图轴","此画设色雅淡，人物衣描粗细合度，用笔写意中带精谨。幅面狭长，山势呈“之”字形走向，益增高远平阔之感。",[23,25,26,7,28,29,129,134,193,131,130,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180750897d2f844fa69ecd89a1960845.jpg","252.9x44.5公分",[],{"id":5032,"slug":5033,"title":5034,"dynasty":93,"author":1283,"museum":74,"description":5035,"tags":5036,"thumbUrl":5037,"material":589,"size":5038,"collection":157,"collections":5039,"showCount":5021,"zanCount":43,"manualWeight":43,"mainColor":44},221292,"hua-xue-jing-zhou-guo-xi-221292","画雪景轴","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[23,25,364,7,130,77,129,613,349,134,521,733,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13099bc99f6d0fba5d72371002c0734c.jpg","194.3×111.1",[157,138,185],{"id":5041,"slug":5042,"title":5043,"dynasty":18,"author":1123,"museum":236,"description":5044,"tags":5045,"thumbUrl":5046,"material":182,"size":5047,"collection":84,"collections":5048,"showCount":5021,"zanCount":11,"manualWeight":43,"mainColor":88},220973,"shuang-qing-tu-yun-shou-ping-220973","双清图","本幅是恽寿平55岁时所作。以“双清”为画名是因为梅花以“众芳摇落独暄妍”的品格而水仙以淡色疏香和清气逼人的特性同被视为传统绘画题材中的“清物”。此图以淡花青晕染绢地，烘托双清的花色。梅树苍干繁枝，横斜取势，其花瓣法南宋扬无咎的画法，即以墨笔圈线为瓣，线条雅秀雄健，勾勒出花之勃勃生机。水仙法元人赵孟坚的白描笔韵，叶片用笔富于急迟、粗细、顿折诸变化，花儿或仰或俯，或张或合，亦变化多端。作者以活泼多变的表现技法成功地展示出梅花、水仙暗香浮动的美感。全图不刻意求工、求似，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,25,26,7,28,113,1593,392,1051,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da6c06676028e116b16baef378dbe92.jpg","纵88.5cm，横54cm",[84,158],{"id":5050,"slug":5051,"title":5052,"dynasty":283,"author":284,"museum":1684,"description":5053,"tags":5054,"thumbUrl":5055,"material":2583,"size":100,"collection":100,"collections":5056,"showCount":5021,"zanCount":11,"manualWeight":43,"mainColor":88},220600,"song-ying-zhou-qi-bai-shi-220600","松鹰（轴）","右上狂草长题与左侧苍松对角铺陈，虚实相映，章法奇崛沉稳。\n老松以枯笔写出虬曲主干，浓淡墨色分出嶙峋肌理，松针劲挺利落，尽显风霜淬炼的苍古之姿。\n石上雄鹰是画面焦点，焦墨勾出如钩利喙与锐利鹰眼，神彩凛凛；泼墨积墨晕染羽翮，块面层次分明，将猛禽雄悍桀骜的气度展露无遗，钢爪紧扣顽石，尽显睥睨寰宇的威严。\n整作以书入画，文人笔意与写生意趣相融，以朴拙老辣的笔墨寄寓凌云壮气，尽显写意花鸟的雄浑风骨。",[23,25,26,7,77,304,427,1488,151,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede21b825405a236afb47189b88ee67.jpg",[],{"id":5058,"slug":5059,"title":5060,"dynasty":93,"author":623,"museum":74,"description":5061,"tags":5062,"thumbUrl":5063,"material":214,"size":100,"collection":157,"collections":5064,"showCount":5021,"zanCount":43,"manualWeight":43,"mainColor":44},220247,"xie-qing-chao-yi-pin-tu-li-cheng-220247","写清朝一品图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。",[23,25,24,26,7,77,130,129,427,349,29,132,1419,170,3095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ecb114ae83d161ba1539feb347adb9.jpg",[157],{"id":5066,"slug":5067,"title":5068,"dynasty":72,"author":5069,"museum":147,"description":5070,"tags":5071,"thumbUrl":5072,"material":37,"size":5073,"collection":138,"collections":5074,"showCount":5021,"zanCount":11,"manualWeight":43,"mainColor":44},219811,"hua-long-tu-wu-wei-219811","画龙图","吴伟","吴伟（1459年—1508年），字次翁，又字士英、鲁夫，号小仙，江夏（今湖北武汉）人，明代著名画家。画院待诏，孝宗时授锦衣卫百户及赐“画状元”的图章。龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。弱冠至金陵画名遂起。",[23,25,77,7,29,334,129,253,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccae79785c4f93074462241752e72c09.jpg","139.5x94cm",[138],{"id":5076,"slug":5077,"title":5078,"dynasty":93,"author":481,"museum":147,"description":5079,"tags":5080,"thumbUrl":5082,"material":37,"size":100,"collection":157,"collections":5083,"showCount":5021,"zanCount":43,"manualWeight":43,"mainColor":44},219737,"yan-ai-qiu-she-tu-ma-yuan-219737","烟霭秋涉图","此作用笔简劲老辣，以半边取景铺陈秋山之境。远景峰林隐没在烟霭之中，淡墨晕染出空濛虚渺，似将秋意揉进雾色里。近岸古木盘曲，枯干如铁铸，枝头缀着丹红秋叶，为萧飒秋景添了一抹暖色。浅滩处旅人策杖徐行，缓步涉过清浅溪涧，将山野行旅的幽寂之意藏于细节。\n山石以斧劈皴扫出棱线，硬朗峭拔，和远景的朦胧柔润形成强烈虚实对比，以少胜多，留白处尽是山野空寂的秋意，把深秋山涧的清旷冷冽，尽数融在水墨浓淡之间，尽显秋山烟水的澹远诗意。",[23,2844,25,26,7,77,28,129,521,5081,173,351,130,4987,56],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187656824905620f997701fcc165e4fd.jpg",[157,138],{"id":5085,"slug":5086,"title":5087,"dynasty":72,"author":424,"museum":74,"description":5088,"tags":5089,"thumbUrl":5090,"material":77,"size":5091,"collection":185,"collections":5092,"showCount":5021,"zanCount":43,"manualWeight":43,"mainColor":88},219344,"feng-yu-gui-zhou-tu-zhou-wen-zheng-ming-219344","风雨归舟图轴","文征明（1470～1559年），即文徵明，初名壁，字征明，后更字征仲，号衡山、停云，别号衡山居士，人称文衡山，斋名停云馆。长洲（今苏州）人。官至翰林待诏，私谥贞献先生。“吴门画派”创始人之一。是明代中期最著名的画家，大书法家。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”（也称吴门四才子）。与沈周、唐寅、仇英合称“明四家”。在当世他的名气极大，号称“文笔遍天下祖籍衡山，故号衡山居士，长洲（今江苏吴县）人。54岁时以岁贡生诣吏部试，授翰林院待诏，故称文待诏。",[25,26,7,77,130,129,169,170,351,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F648a657d5f76e78f5d702a150b241512.jpg","89.7x32.9公分",[185],{"id":5094,"slug":5095,"title":5096,"dynasty":93,"author":808,"museum":5097,"description":5098,"tags":5099,"thumbUrl":5100,"material":37,"size":5101,"collection":84,"collections":5102,"showCount":5021,"zanCount":419,"manualWeight":43,"mainColor":44},218921,"ya-tu-zhao-ji-218921","鸭图","东京五岛美术馆","这幅画代表了徐熙的画派，虽然整幅画是彩色的，但水墨淋漓，充满了野趣。这幅画据说是徽宗所画，但由徽宗所画的可能性较小，但仍然是宋代花鸟画的代表作。",[23,24,25,26,7,27,28,113,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff029476e533b2343127e16bcd597c59e.jpg","37.9x25.8cm",[84],{"id":5104,"slug":5105,"title":3221,"dynasty":18,"author":1036,"museum":74,"description":5106,"tags":5107,"thumbUrl":5111,"material":37,"size":5112,"collection":84,"collections":5113,"showCount":5021,"zanCount":356,"manualWeight":43,"mainColor":88},218854,"san-yang-kai-tai-tu-lang-shi-ning-218854","其画风中融合特殊中西笔触，尤其是运用写实画派光影透视技巧，郎氏画作特别讨喜尤受皇帝欣赏。\n三羊开泰用于岁首祝福时，人们也常用“三羊”来代替“三阳”，把“三阳开泰”写成“三羊开泰”，乃取其谐音而已。根据泰卦的释义，“三阳开泰”的引申意思，则有好运即将降临之意。\n拿“三羊”来代替“三阳”，除了“羊”与“阳”两字谐音而外，也还有寓有更隐蔽的深层的文化含义。",[23,472,25,27,28,5108,5109,3057,241,392,31,601,5110,58,7],"中西合璧","写实","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b031b067e2d9172399a90dab58307e.jpg","横60厘米 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横37.5厘米",[138,185],134,{"id":5144,"slug":5145,"title":5146,"dynasty":72,"author":389,"museum":74,"description":5147,"tags":5148,"thumbUrl":5149,"material":5150,"size":5151,"collection":185,"collections":5152,"showCount":5142,"zanCount":11,"manualWeight":43,"mainColor":88},222365,"feng-zhu-tu-tang-yin-222365","风竹图","《风竹图》是明代著名画家唐寅所作的一幅花鸟画，以风中之竹为描写对象。画中的风中之竹随风飘动，极富动感。\n此幅写风中之竹随风飘动，富有动感。截取局部特写，构图别致。取文同画竹法“浓墨为面，淡墨为背”，写意象之竹，融以书法用笔，其飞白效果颇具文人趣味。自题书法端庄秀美，笔划劲挺，并成为构图的一部分。迢迢阁题识：卷地尘沙起大风，篷头乱舞小庭中。欹枝折节难为直，一片西飞一片东。次唐子畏风竹图诗韵。己丑冬至录旧作。\n唐寅是一个饱尝了世态炎凉的滋味的画家，29岁时因为科场舞弊案被无辜牵连，蒙冤入狱。家里变得“僮仆据案，夫妻反目，归有狞狗，当门而噬”。画家在给文徵明的信中说：“昆山焚如，玉石皆毁，下流难处，众恶所归，海内遂以寅为不齿之士，握拳张胆，若赴仇敌。知与不知，皆指而唾，辱亦甚矣！”画中迎朔风而傲然挺立的风竹，几乎就是画家所处境况的再现。",[23,25,26,7,77,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc343a82dd43ee374a328fc69adbd27c4.jpg","浅设色","47厘米 37.8厘米",[185,702],{"id":5154,"slug":5155,"title":5156,"dynasty":207,"author":2386,"museum":74,"description":5157,"tags":5158,"thumbUrl":5159,"material":28,"size":5160,"collection":138,"collections":5161,"showCount":5142,"zanCount":11,"manualWeight":43,"mainColor":88},220862,"hua-shan-shui-zhou-zhao-meng-fu-220862","画山水轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[23,24,25,26,7,28,130,129,427,132,193,377,29,173,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11161ca0c1ec964671f7c7a6ecbebf4e.jpg","该幅 57x30.9公分、全幅 56公分",[138,158],{"id":5163,"slug":5164,"title":5165,"dynasty":18,"author":3992,"museum":51,"description":5166,"tags":5167,"thumbUrl":5169,"material":82,"size":100,"collection":138,"collections":5170,"showCount":5142,"zanCount":11,"manualWeight":43,"mainColor":44},219708,"yun-shan-yin-ju-tu-gong-xian-219708","云山隐居图","龚贤（1618-1689），又名岂贤，字半千，又字野遗、岂贤，号半亩，又号柴丈人，江苏昆山人，流寓金陵清凉山。龚贤的艺术造诣居金陵八家之首，现代著名画家黄宾虹、李可染都从他的画法中得到了启迪。一般讲求墨韵者往往以湿墨涂抹，而龚贤明确指出：“墨言韵，明其非湿也，润墨鲜，湿墨死”，具体指出；“皴法先干后湿，故外润而有骨，若先湿后干，则死墨也。” 在他看来，“墨韵”当以“润”为准绳，其意为湿度适可，若太湿，则为“死墨”；且皴染时应先施以干笔，后湿笔晕染，反之则亦为“死墨”。此幅画即湿润得体，笔墨层次分明，以积墨法层层点染，无怪乎时人曰“半千之所以独有千古更在墨”。",[25,7,77,130,129,5168,212,427,132,172,80,79],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29001769a3aff696777c6883d1eedcd1.jpg",[138],{"id":5172,"slug":5173,"title":5174,"dynasty":18,"author":4828,"museum":51,"description":5175,"tags":5176,"thumbUrl":5178,"material":82,"size":5179,"collection":138,"collections":5180,"showCount":5142,"zanCount":43,"manualWeight":43,"mainColor":88},218297,"fang-wang-meng-xi-shan-xing-lv-tu-wu-li-218297","仿王蒙溪山行旅图","这幅画是对王蒙溪山行旅的临摹。",[25,77,129,7,945,130,134,193,5177,170,132,349],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33014df16be3309cc002f849849cc715.jpg","59.1x27cm",[138],{"id":5182,"slug":5183,"title":5184,"dynasty":72,"author":1751,"museum":74,"description":5185,"tags":5186,"thumbUrl":5189,"material":37,"size":5190,"collection":84,"collections":5191,"showCount":5142,"zanCount":11,"manualWeight":43,"mainColor":44},216221,"jin-pu-ming-chun-tu-lu-zhi-216221","锦圃鸣春图","这幅画描绘了两只孔雀在牡丹园里争奇斗艳，鸟儿在玉兰树上春风得意。这幅画色彩热烈，反映了陆治在山水、花鸟方面的多面性。\n陆治，明代画家，工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，在吴门派画家中具有一定新意，与陈淳并重于世。",[25,26,24,7,27,28,113,5187,114,170,132,5188,2769,2749],"孔雀","小草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50c4c81b69ff6eb527a5c62b8b31e46.jpg","纵146厘米，横89厘米",[84],{"id":5193,"slug":5194,"title":5195,"dynasty":18,"author":5196,"museum":74,"description":5197,"tags":5198,"thumbUrl":5200,"material":82,"size":5201,"collection":101,"collections":5202,"showCount":5142,"zanCount":43,"manualWeight":43,"mainColor":88},214237,"li-shu-wu-yan-lian-deng-shi-ru-214237","隶书五言联","邓石如","墨色如黛染古帛，线条刚劲却藏婉转之姿。篆意融于隶法，蚕头燕尾间见筋骨，波磔舒展似流云轻卷。联语字句端稳，与书法宽博大气相映，济世之怀的沉雄、自省之谦的温润，皆融于笔墨。每一笔皆含力道，每一字尽显格局，古朴雅正的气息漫溢纸间。落笔从容，力道内敛，既有金石的硬朗质感，又具书卷的雅致韵致，是隶书中筋骨与情味兼备的精品。观之如对古贤，心沉气静，仿佛触摸到书写时的赤诚与从容，笔墨间流淌的不仅是技艺，更是一份通透的人生襟怀。",[23,80,5199,3362,7,79,77],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761641a19b9d433dd6956d00196e19b2.jpg","85.6x22",[101],{"id":5204,"slug":5205,"title":5206,"dynasty":207,"author":695,"museum":331,"description":5207,"tags":5208,"thumbUrl":5209,"material":100,"size":100,"collection":100,"collections":5210,"showCount":5211,"zanCount":643,"manualWeight":43,"mainColor":88},228177,"fang-dong-po-feng-zhu-tu-wu-zhen-228177","仿东坡风竹图","此作用草书笔意写风竹，右侧竹竿劲挺带折，暗合疾风之势。浓墨挥写竹叶，聚散错落，叶梢尽含动感，似有穿林风鸣萦于耳侧。左侧题书与画作浑然一体，诗画合璧文气满溢。\n\n墨色干湿浓淡层次分明，以淡素纸色为底，虚实相生，将观竹怀人的幽思寄于毫端。把风竹萧然清骨，与林下襟怀相融，尽显以竹明志的元人画趣，是水墨写竹以意驭笔的绝佳典范。",[23,25,26,77,97,7,31,945,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23576077b3964e67aff08149c65dfeae.jpg",[],133,{"id":5213,"slug":5214,"title":5215,"dynasty":18,"author":1971,"museum":265,"description":5216,"tags":5217,"thumbUrl":5221,"material":214,"size":5222,"collection":138,"collections":5223,"showCount":5211,"zanCount":43,"manualWeight":43,"mainColor":704},224481,"fu-chun-shan-ju-tu-wang-jian-224481","富春山居图","《富春山居图》轴仿作即深得黄公望用笔之妙，虚实、粗细、轻重、缓急富有变化，恰当地表现了前后景致的空间距离和起承转合；细润中锋含蓄流畅，山川景象清旷深秀。作品以笔墨形式为主体，创造出了优美动人的境界。该轴作于1658年，王鉴时年61岁，正是其绘画技法鼎盛时期。\n此幅富春山居图，而作立轴，并染以浅绛色。笔墨交融，敷色清雅，表达了王鉴对前辈大师经典的敬佩之情。",[23,24,25,26,7,77,28,5218,129,193,269,132,170,130,945,5219,5220],"浅绛","清旷深秀","敷色清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc6fe68c1be28db40b2fd2f41520f3d.jpg","117.5x50.5厘米",[138],{"id":5225,"slug":5226,"title":5227,"dynasty":72,"author":1024,"museum":331,"description":5228,"tags":5229,"thumbUrl":5230,"material":198,"size":780,"collection":100,"collections":5231,"showCount":5232,"zanCount":656,"manualWeight":43,"mainColor":88},283732,"qing-bian-tu-zhou-dong-qi-chang-283732","青卞图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[25,24,26,7,77,129,130,132,170,193,272,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d6a3abb2d15fedf1da6bba94a512ac.jpg",[],132,{"id":5234,"slug":5235,"title":5236,"dynasty":72,"author":126,"museum":236,"description":5237,"tags":5238,"thumbUrl":5240,"material":5241,"size":5242,"collection":100,"collections":5243,"showCount":5232,"zanCount":11,"manualWeight":43,"mainColor":88},233766,"li-shi-tu-zhou-shen-zhou-233766","荔柿图轴","本幅墨笔画荔枝，柿子树二枝，上方自题“庚子元旦即兴”诗一首，款“右进作一首侑以荔柿图，奉吾宿田老兄新春一笑，周再拜”钤“启南”朱方印一。右下方收藏印“绍庭审定”等二方。\n沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[25,26,7,77,304,113,5239,925,80,97,79],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86746693b29e5f3412b23d5ba1e633a9.jpg","纸本 ，墨笔","纵128cm，横38.4cm",[],{"id":5245,"slug":5246,"title":5247,"dynasty":18,"author":921,"museum":236,"description":5248,"tags":5249,"thumbUrl":5250,"material":214,"size":100,"collection":84,"collections":5251,"showCount":5232,"zanCount":11,"manualWeight":43,"mainColor":88},224229,"lao-shao-nian-zhou-wu-chang-shuo-224229","老少年轴","使用西洋红设色，一老一新两丛雁来红，构图成对角斜势，虚实相生，主体突出。此作当是吴昌硕大胆运用洋红的最佳范例之一。他把金石的古厚质朴的意趣，引用到绘画用色方面来，自然不落于平薄，更无粉脂俗艳。吴昌硕可以说是大写意花卉史上最善于用色的高手之一。这种绘画方法，对之后的海派绘画，乃至齐白石等京派绘画产生了重大影响。",[23,25,26,7,28,304,97,79,536,58,1594,3631,2770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ca4315e839c5191b026d588d9a0432.jpg",[84,158],{"id":5253,"slug":5254,"title":5255,"dynasty":72,"author":1614,"museum":4571,"description":5256,"tags":5257,"thumbUrl":5258,"material":1320,"size":5259,"collection":138,"collections":5260,"showCount":5232,"zanCount":356,"manualWeight":43,"mainColor":88},221947,"wan-he-zheng-liu-tu-zhou-wen-zheng-ming-221947","万壑争流图轴","图绘峡峨山势，山泉争流而下，山下溪水淙淙，坡上林木葱郁。画山用湿润的披麻破，行笔细节秀润，满纸青绿，场面壮观。\n满纸青绿设色，其法是先将浅赭色普染山石，然后留下石根之赭色，再将石绿、石青，而至墨青(花青和墨)色，薄薄地按序自下而上，分层积染。但文徵明匠心独运：其一，青绿中调和淡墨，清润幽雅，已不似以往大青绿之奇艳夺目；其二，石色薄敷，不掩墨骨，故仍是元初赵孟頫青绿设色方法的演变，无愧为文徵明晚年细笔青绿山水中的精品。",[23,25,26,7,28,129,130,193,170,132,29,169,427,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec8b65dd08d53416021b6376bc9a1c.jpg","纵132.4cm，横35.2cm",[138,158],{"id":5262,"slug":5263,"title":5264,"dynasty":18,"author":3992,"museum":319,"description":5265,"tags":5266,"thumbUrl":5268,"material":77,"size":5269,"collection":138,"collections":5270,"showCount":5232,"zanCount":43,"manualWeight":43,"mainColor":44},220421,"qun-feng-shi-tan-tu-gong-xian-220421","群峰石潭图","《群峰石潭图》，立轴 绫本 水墨 48X171厘米，是保利5周年春拍藏。此作是龚贤画于1686年的一件“黑龚”精品，龚贤时年68岁，其“黑龚”已超出传统山水画的笔墨形式和意境藩篱。",[23,25,26,7,77,130,129,5267,132,170,733,173,193],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9487e8a4d8fa6b005da87bf28588f31.jpg","横：48厘米 纵：171厘米",[138,185],{"id":5272,"slug":5273,"title":5274,"dynasty":109,"author":1112,"museum":74,"description":5275,"tags":5276,"thumbUrl":5278,"material":99,"size":5279,"collection":138,"collections":5280,"showCount":5232,"zanCount":419,"manualWeight":43,"mainColor":44},220142,"nang-qin-huai-he-tu-ju-ran-220142","囊琴怀鹤图","中国五代南唐、北宋画家，僧人。原姓名不详，生卒年不详，早年在江宁开元寺出家，南唐降宋后，随后主李煜来到开封，居开宝寺。擅山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[23,25,26,7,77,130,129,170,132,1717,377,172,35,911,5277,133],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","169.1x101",[138],{"id":5282,"slug":5283,"title":5284,"dynasty":18,"author":1036,"museum":236,"description":5285,"tags":5286,"thumbUrl":5287,"material":37,"size":5288,"collection":84,"collections":5289,"showCount":5232,"zanCount":643,"manualWeight":43,"mainColor":88},218996,"han-hu-liu-zhou-lang-shi-ning-218996","阚虎骝轴","绢本之上，骏马昂首挺立，身姿矫健如虎。毛发质感细腻入微，鬃尾似流云垂落，斑纹错落间晕染出肌肉的起伏与光影变化，尽显写实功底。线条勾勒与色彩晕染相融，既有西方绘画的立体感，又不失东方笔墨的雅致。背景素净，题跋与朱印相映成趣，添几分古雅意蕴。此作将异域技法与本土审美巧妙结合，绘就骏马的灵动神韵，亦藏跨文化艺术碰撞的妙趣。",[23,25,26,7,27,28,196,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b7e691cfea774237a293ec3b0231849.jpg","纵270横240.3厘米",[84],{"id":5291,"slug":5292,"title":5293,"dynasty":18,"author":1048,"museum":331,"description":5294,"tags":5295,"thumbUrl":5296,"material":198,"size":780,"collection":100,"collections":5297,"showCount":5298,"zanCount":419,"manualWeight":43,"mainColor":704},288210,"feng-zhu-shi-tu-zheng-ban-qiao-288210","风竹石图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[23,24,25,26,7,77,31,80,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7bb909262c02f666ff04467c2a9a96.jpg",[],131,{"id":5300,"slug":5301,"title":5302,"dynasty":18,"author":4434,"museum":236,"description":5303,"tags":5304,"thumbUrl":5305,"material":100,"size":100,"collection":138,"collections":5306,"showCount":5298,"zanCount":11,"manualWeight":43,"mainColor":88},236894,"hong-ren-shan-shui-zhou-hong-ren-236894","弘仁山水轴","弘仁俗姓江，名韬，字六奇，出家后名后人，号渐江学人，又号无智、梅花古衲，安徽歙县人。作品多师法自然，清新，能传达山川之美。此图意境伟峻秀逸，构图洗炼简逸，笔墨苍劲整洁。",[24,25,26,7,77,130,129,378,377,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f501a6cdbd204a645da4011e2ce7088.jpg",[138,185],{"id":5308,"slug":5309,"title":5310,"dynasty":109,"author":875,"museum":74,"description":5311,"tags":5312,"thumbUrl":5313,"material":182,"size":100,"collection":100,"collections":5314,"showCount":5298,"zanCount":11,"manualWeight":43,"mainColor":44},226543,"liang-kuang-lu-tu-zhou-jing-hao-226543","梁匡庐图轴","五代的隐逸画家荆浩是水墨山水画演变的关键人物，他将唐代吴道子的笔描与项容的泼墨技法结合，扩展笔墨描写山水的能力。荆浩的画风后来由关仝、李成和范宽继承，演变成永恒不朽的巨碑式山水。《匡庐图》是一幅仿古作品，保留五代山水的特征，但是结合了北宋宫廷画院的风格，再现与隐逸主题相关的山水形象，向荆浩这位雄伟风格山水之父致敬。",[24,25,26,7,77,130,129,272,169,170,172,351,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a19f97daa491bb204eb9d64ccb256d.jpg",[],{"id":5316,"slug":5317,"title":5318,"dynasty":283,"author":5319,"museum":5320,"description":5321,"tags":5322,"thumbUrl":5323,"material":214,"size":100,"collection":100,"collections":5324,"showCount":5298,"zanCount":43,"manualWeight":43,"mainColor":88},220479,"hou-chi-bi-tu-fu-bao-shi-220479","后赤壁图","傅抱石","龙美术馆西岸馆","大块泼墨劈斫出雄奇岩壁，水墨淋漓间尽显嶙峋苍莽，留白衬出山涧空寂清冷。前景枯梅疏枝横斜，添了几分清寒幽峭。\n\n画面里三位文士衣袂飘然，悠然对谈，古雅超脱之态宛然眼前。以散锋乱笔写山石，皴擦晕染间氤氲出高旷荒寒之境，又以简练灵动的线条勾勒人物，将夜游的超然文思融在山水之间，笔底诗意盎然，把文人情致与山水胜景融为一体，尽显幽远绵长的古典意境。",[23,25,77,28,130,7,79,97,129,29,521,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303fa795c9edac35723c91b8c3a07354.jpg",[],{"id":5326,"slug":5327,"title":818,"dynasty":18,"author":4434,"museum":5328,"description":4435,"tags":5329,"thumbUrl":5330,"material":82,"size":100,"collection":138,"collections":5331,"showCount":5298,"zanCount":43,"manualWeight":43,"mainColor":88},219900,"shan-shui-tu-hong-ren-219900","印第安纳波利斯艺术博物馆",[23,25,26,7,77,130,129,377,427,132,133,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643c9cf138484b785236419257db6754.jpg",[138],{"id":5333,"slug":5334,"title":5335,"dynasty":72,"author":264,"museum":147,"description":5336,"tags":5337,"thumbUrl":5339,"material":37,"size":5340,"collection":39,"collections":5341,"showCount":5298,"zanCount":11,"manualWeight":43,"mainColor":44},219528,"yu-yin-tu-chou-ying-219528","渔隐图","画作以沉郁古绢为底，青绿晕染烟峦，远景山影空濛朦胧，墨色揉合石青，消弭了峰岩棱角，只剩淡宕的山野烟岚。近岸古木虬枝偃蹇，攒簇的枝叶以青绿点染，带着苍润生机。浅滩石矶错落，一脉细流澹澹而过，茅舍静立渚边，素墙茅顶融在水木之间，不见渔者身影，却满是幽寂萧散的渔居意趣。\n全画笔简意足，将寄情丘壑、归卧林泉的隐逸之思，藏进这烟峦水木之中，古旧绢色衬得青绿愈见沉静，尽显山野幽居的澹泊自在。",[23,25,26,24,27,28,268,129,170,5338,193,35,2367,7],"渔舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977cfda0f3539f45458255d68c97e3b4.jpg","纵137.5横67.8厘米",[39,158],{"id":5343,"slug":5344,"title":5345,"dynasty":18,"author":559,"museum":74,"description":5346,"tags":5347,"thumbUrl":5349,"material":28,"size":5350,"collection":84,"collections":5351,"showCount":5298,"zanCount":11,"manualWeight":43,"mainColor":88},219435,"shu-kui-shi-liu-zhou-zou-yi-gui-219435","蜀葵石榴轴","画面中蜀葵藤蔓舒展，淡紫花瓣层叠晕染，花蕊明黄点缀其间，叶片脉络清晰如缕，尽显工笔之细腻。旁侧石榴花枝虬劲，红橙花朵簇生，与蜀葵的柔婉形成鲜明对比，红绿相映间生机勃发。笔墨温婉雅致，设色清丽明快，枝叶的交错、花瓣的肌理皆刻画入微，既保留了自然野趣，又蕴含规整韵致。题跋与朱印错落有致，文气与画意交融，似将夏日的绚烂与清雅凝于一纸，观之如沐和风，满溢生机与雅致。",[25,26,7,28,2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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。",[23,24,25,26,7,1157,77,29,129,269,351,170,4762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f627c639ff7d85295cabc0114452119.jpg",[],130,{"id":5373,"slug":5374,"title":5375,"dynasty":18,"author":1048,"museum":331,"description":5294,"tags":5376,"thumbUrl":5377,"material":198,"size":780,"collection":100,"collections":5378,"showCount":5371,"zanCount":656,"manualWeight":43,"mainColor":44},288175,"zhu-tu-li-zhou-zheng-ban-qiao-288175","竹图立轴",[23,25,7,77,31,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fca82057ff711fbc4369fe72f5320b.jpg",[],{"id":5380,"slug":5381,"title":5382,"dynasty":18,"author":318,"museum":2363,"description":5383,"tags":5384,"thumbUrl":5385,"material":214,"size":5386,"collection":84,"collections":5387,"showCount":5371,"zanCount":43,"manualWeight":43,"mainColor":88},237347,"song-lu-tu-zhou-zhu-da-237347","松鹿图轴","此画是清代朱耷的作品。这幅画采取近实远虚的枝法，前后错落有序，笔力遒劲，墨色秀润，情景生动，意境深远。该作不仅画精，而且图面之大在八大山人传世作品中极为罕见。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。这幅画描绘的是一株高耸粗壮的苍松，挺立在嶙峋的岩石上。松石下，两只向背的鹿在山石草坪之中小憩，一只长着角的鹿望着远方；另一只则侧身仰望天空。围着草坪的山石上，长着兰草、灵芝、小竹笔花草植物。",[25,26,7,77,985,378,1073,241,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8802766b2acbede1ed647fec5abad86.jpg","纵358厘米，横133.3厘米",[84],{"id":5389,"slug":5390,"title":5391,"dynasty":72,"author":50,"museum":74,"description":5392,"tags":5393,"thumbUrl":5395,"material":255,"size":5396,"collection":100,"collections":5397,"showCount":5371,"zanCount":370,"manualWeight":43,"mainColor":88},223648,"guan-yin-xiang-zhou-yi-ming-223648","观音像轴","这尊观音的世俗色彩浓厚，他眼睛散放著悲愍的光芒，好像一位慈祥的母亲。他的脸形、发丝、手脚都用淡墨细笔画成，笔力稳健。可是衣纹则是用楷书抄录《法华经．普门品》的经文来表现，全文从观音菩萨左臂靠近孩童的头部开始，字字连续，字迹端秀，一丝不苟，充分表现了作者虔诚的宗教情怀。\n送子观音手抱孩童，右手拿杨柳，左手捧水碗。《法华经．普门品》教导求子心切的妇女礼拜供养观世音菩萨，便能生下福德智慧的男子，或是面貌端庄的女子。画中观音衣纹以楷书抄录经文近两千字，由观音左臂靠近孩童头部开始，字字连续秀整，反映虔诚宗教情怀。 观音及孩童面目、手脚以淡墨细笔勾勒，由人物开面、体态、发髻样式及回首姿态，该幅观音当为晚明作品。",[23,24,25,26,7,54,27,28,29,5394,2749],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8336ee8a1cdacdeb0cfb8d89211b8fc.jpg","98.1x35.6公分",[],{"id":5399,"slug":5400,"title":5401,"dynasty":18,"author":318,"museum":331,"description":5402,"tags":5403,"thumbUrl":5405,"material":100,"size":5406,"collection":84,"collections":5407,"showCount":5408,"zanCount":43,"manualWeight":43,"mainColor":88},236310,"zhu-jiao-tu-zhou-zhu-da-236310","竹蕉图轴","朱耷（1626－1706），族名朱统筌，有雪个、个山、人屋、道朗、八大山人等别号。 “八大”二字，据人解释有“哭之”、“笑之”，哭笑不得的意思。南昌人。明末清初卓越的大画家。他是明太祖朱元璋第十六子朱权的九世孙。朱权封宁王于南昌，繁衍八支，朱耷属弋阳王支，袭封辅国中尉。他的父祖都善书画，因此朱耷从小就受到艺术陶冶。八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。弱冠为诸生。明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。后隐居进贤县介冈及永丰县睦冈等地。顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。他想把这里造成一块世外桃源，以求达到他向来“欲觅一个自在场头”的愿望。但这个“自在场头”毕竟是建立在清王朝统治之下，“门外不必来车马”是不可能的。因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。一年多后，他又回到青云谱，并在这里度过“花甲华诞”。当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。后又隐避在南昌附近的北兰寺、开元观等处。并常卖画度日。后来自筑陋室，名“寤歌草”堂。叶丹居章江有《过八大山人》一诗云：“一室寤歌处，萧萧满席尘蓬蒿藏户暗，诗画入禅真。遗世逃名老，残山剩水身。青门旧业在，零落种瓜人”。他是孤寂贫寒地在这个环堵萧然的草堂中度过了他的晚年。\n八大山人一生以主要的精力从事绘画，他襟怀浩落，慷慨啸歌。由于时代特点和身世遭遇，他抱着对清王朝誓不妥协的态度，把满腔悲愤发泄于书画之中。所以画中出现是鼓腹的鸟，瞪眼的鱼，甚至禽鸟一足着地，以示与清廷势不两立，眼珠向上，以状白眼向青天。他常常把“八大山人”四个字联缀起来草写，形似“哭之”、“笑之”字样。他还有很多隐晦艰涩的诗句跋语，表示对清廷极端的仇恨和蔑视。\n他的作品，表现了鲜明的爱和憎。如脍灸人口的《孔雀图》及其题诗：“孔雀名花雨竹屏，竹梢强半墨生成；如何了得论三耳，恰是逢春坐二更。”辛辣地讽刺了那班头戴三眼花翎乌纱帽的汉族大地主屈膝求荣、投降新主子的奴才丑态。有一幅山水册页题云：“郭家皴法云头小，董老麻皮树上多；想见时人解图画，一峰还写宋山河。”他称慕五代北宁间画家董源、郭熙，以其独特笔墨描绘没有受外族侵凌的宋朝江山，而激发起热爱故国的思想感情。《鹊石图轴》（现藏画家八大山人纪念馆），画中描绘着两只喜鹊立于大石之上，究其画意，具有鹊巢鸠占，翔集浣磐的含义。《诗.召南.鹊巢》云：“维鹊有巢，维鸠居之。”传云：“尸鸠不自为巢，居鹊之成巢。”八大山人作此喻以讽刺清贵不善自谋而强占别人地主。并着意表现双鹊集栖于磐石之上，这不是尸鸠可以占据和动摇得了的。他常画的莲荷松石、梅兰竹菊、芦雁凫鹤、鱼鸭鹰鹿等等，大都象征他性格的倔强与高风亮节。他一生坚不为清廷权贵画一花一大石，而一般农民、贫士、山僧、小儿却很容易得到他的作品，这种不屈于权势的精神，历来为人们赞赏与称颂。\n八大山人在艺术上有杰出的成就。他以绘画为中心，对于书法、诗跋、篆刻也都有很高的造诣。在绘画上他以大笔水墨写意画著称，并善于泼墨，尤以花鸟画称美于世。在创作上他取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。三百年来，凡大笔写意画派都或多或少受了他的影响。清代张庚评他的画达到了“拙规矩于方圆，鄙精研于彩绘”的境界。他作画主张“省”，有时满幅大纸只画一鸟或一石，寥寥数笔，神情毕具。他的书法具有劲健秀畅的气格。篆刻形体古朴，独成格局。\n朱耷在形成自己风格的发展过程中，继承了前代的优良传统，又自辟蹊径。他的花鸟画，远宗五代徐熙的野逸画风和宋文人画家的兰竹墨梅，也受明林良、吕纪、陆治的技法影响，尤致意青藤白阳的粗放画风。他的山水画，远尚南朝宗炳，又师法董、巨、米芾、倪、黄以至董其昌等人的江南山水。在书法方面，他精研石鼓文，刻意临写汉、魏、晋、唐以来的诸家法帖，尤以王羲之的为多。\n朱耷绘画艺术的特点大致说来是以形写情，变形取神；着墨简淡，运笔奔放；布局疏朗，意境空旷；精力充沛，气势雄壮。他的形式和技法是他的真情实感的最好的一种表现。\n朱耷对艺术修养与功力铸锻，正如他自己所说的：“读书至万卷，此心乃无惑；如行路万里，转见大手笔。”他认为画事有如登高，“必频登而后可以无惧”，说明他对艺术不断磨炼的精神。清初画坛在革新与保守的对峙中，八大山人是革新派“四大画僧”中起了突出作用的一人。为了纪念这位大画家，解放后已在南昌市青云谱建立了“画家八大山人纪馆”。朱耷的艺术已经在东方尤其在日本以至世界画坛引起了很大的反映。八大山人的书画有少作品，已不复得见。如：《荷塘戏禽图卷》、《河上花并题图卷》、《鱼鸭图卷》、《鱼乐图卷》、《杂花图卷》以及《杨柳浴禽图轴》、《芙蓉芦雁图轴》、《大石游鱼图轴》、《双鹰图轴》、《古梅图轴》、《墨松图轴》、《秋荷图轴》、《芭蕉竹石图轴》、《椿鹿图轴》、《快雪时晴图轴》、《幽溪泛舟图轴》、《四帧绢本浅绛山水大屏》，以及许多条幅，册页中的花鸟鱼鸭，山水树石等。书法方面有《临兰亭序轴》、《临“临河叙”四屏》，以及各大家法帖和行草诗书轴册等，都在国内外的博物馆、院中珍藏。",[25,7,77,31,5404,79],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62eeee4764011b2c51b52909de9dad7.jpg","纵220.5厘米 横88厘米",[84,185],129,{"id":5410,"slug":5411,"title":5412,"dynasty":72,"author":126,"museum":20,"description":5413,"tags":5414,"thumbUrl":5416,"material":214,"size":5417,"collection":100,"collections":5418,"showCount":5408,"zanCount":11,"manualWeight":43,"mainColor":88},231544,"huang-ju-dan-gui-tu-shen-zhou-231544","黄菊丹桂图","沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。\n王渊（公元13世纪-14世纪中叶），元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。工于花鸟、人物、山水。天历年间曾与唐棣在南京龙翔寺曾画过壁画，尤精于花鸟，堪称元代花鸟画巨擘。\n《黄菊丹桂图》明沈周仿自元画家王若水之作，图绘菊花，桂树，芙蓉，翠竹。并一双飞鸟巨石，画面静雅，傅色清新，所绘繁多而布置深稳，是石田习古佳作。",[23,25,28,7,27,130,253,440,115,35,536,151,5415],"丹桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69bac105908ae029d92cf2cc1b6e776.jpg","288.5X106.3\u002F397.1x127.4厘米",[],{"id":5420,"slug":5421,"title":5422,"dynasty":283,"author":1683,"museum":1684,"description":5423,"tags":5424,"thumbUrl":5425,"material":100,"size":100,"collection":100,"collections":5426,"showCount":5408,"zanCount":43,"manualWeight":43,"mainColor":88},220569,"ben-ma-chang-sha-hui-zhan-xu-bei-hong-220569","奔马 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ainColor":44},219736,"qiu-luan-die-zhang-tu-huang-gong-wang-219736","秋峦叠嶂图","整作以高远构局铺展秋山胜景，主峰崔嵬雄浑，层岩叠岫渐次铺陈，山林间枯木寒柯与葱郁杂木错立，晕染出清寂萧疏的秋意。\n以披麻皴慢写山石肌理，干笔淡墨皴擦点染，笔意松秀温润，淡墨晕开烟岚清旷之气，将山峦的苍古质感晕染尽致。水畔村居错落隐于林麓，汀渚回环、秋水澄澈，尽现山居幽寂之态。\n右侧长题随行布白，书画相融，以画寄情，将简淡超逸的山水意趣抒发淋漓，尽显寄兴林泉、丘壑自存的隐逸襟怀。",[23,25,26,7,77,130,129,272,170,3996,172,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c617dbbef3609487c4db666c2cf5ed.jpg",[138],{"id":5569,"slug":5570,"title":5571,"dynasty":207,"author":5572,"museum":74,"description":5573,"tags":5574,"thumbUrl":5576,"material":37,"size":5577,"collection":39,"collections":5578,"showCount":5559,"zanCount":43,"manualWeight":43,"mainColor":88},219444,"lu-tong-peng-cha-tu-qian-xuan-219444","卢仝烹茶图","钱选","画中主人是卢同，唐朝济源人。学问非常渊博，并擅长诗文。隐居在少室山，不愿出来作官。他特别喜欢喝茶。这幅就是描绘卢同与童子，坐芭蕉下烹茶的情景。",[25,26,7,28,27,29,5575,35,33,79,97],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc5d62829496182e3834aaa1c88ab2a.jpg","128.7x37.3",[39],{"id":5580,"slug":5581,"title":5582,"dynasty":18,"author":3083,"museum":648,"description":5583,"tags":5584,"thumbUrl":5586,"material":214,"size":5587,"collection":100,"collections":5588,"showCount":5589,"zanCount":11,"manualWeight":43,"mainColor":88},222670,"liu-tang-shuang-lu-huang-shen-222670","柳塘双鹭","图中垂柳依依、双鹭觅食，展现一派春意盎然、生机勃勃的景象。几株柳树从画面右侧斜伸入画，树干交错，极富形式美感。柔软的柳枝轻盈地飘垂下来，疏落的柳叶上淡淡的绿意为画面营造出春的气息。两只白鹭相向而立，在池塘中聚精会神地觅食，与斜欹的柳树相映成趣。春柳扶疏，白鹭相伴，虽物象简单却极富情致。\n此图观其整个画面，笔墨洗练，劲爽流畅，勾斫点染，乍看似不经意，却显示了他熟练的技巧。画幅左侧以大片的空白表现茫茫的水面，右侧近处有二棵垂柳在水边拔地而起，粗根如疙瘩似的，且露裸出土。两枝柳树，一浓一淡，老干粗大挺拔，直冲而上，伸展至画幅顶端；另一枝斜出向左倾斜，与老干相穿插，枝叶相交，错落有致。条条柳枝垂挂而下，嫩叶萌发，呈现出勃勃生机，已是初春的时节，垂柳下的湖塘水边，有两只白鹭立于浅水中觅食。左侧一鹭两腿弯曲，前身向前倾斜，尾部朝天，正在啄食；右侧一只白鹭，侧身仰首，一条右腿弯曲上提，伸长脖颈正在啄食，神态自然，生动逼真，这两只白鹭的举止，打破了宁静气氛，出现在画幅的中心，点出了此画的主题，给人们留下逗情的印象。画幅左侧作者自题诗：“青山淡抹走轻烟，杨柳高楼大道边；闲煞春光看振鹭，一拳撑破水中天？”这幅画的作者自题诗，乍看书写草草，却显得十分流畅自然，细察之，则笔情墨韵盎然，大可为画幅增色；署“瘿瓢子写”。钤“黄慎”朱文印、“瘿瓢”白文印。右下角钤“东海布衣”白文印。\n柳树老干用大笔浓墨写出，柳树主干多皴结，显示柳的苍老。两棵柳树分别用浓淡干湿不一的笔墨写出，呈现出一浓一淡的特色。对于水的描绘，黄氏以简代繁，不直接去描写水，而是在二只白鹭啄食处用淡笔曲折一抹，抹出了水的波纹。二只白鹭用枯笔寥寥数笔，挥写而就，形态逼真，神形俱全。",[23,25,167,304,7,404,1891,5585,113,77],"水塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00fadd85ec383330dcc97cfc99ec55e.jpg","纵139厘米，横62.5厘米",[],124,{"id":5591,"slug":5592,"title":818,"dynasty":18,"author":3992,"museum":331,"description":5593,"tags":5594,"thumbUrl":5595,"material":1688,"size":5596,"collection":138,"collections":5597,"showCount":5589,"zanCount":43,"manualWeight":43,"mainColor":88},222619,"shan-shui-tu-gong-xian-222619","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。\n\n绘画:\n龚贤是位既注重传统笔墨又注重师法造化的山水画家。其创作以五代董源、巨然的画法为基础，以宋初北方画派的笔墨为主体，参以二米（米芾、米友仁父子）、吴镇及沈周等人的笔风墨韵，同时结合自己对自然山水的观察和感受，形成了浑朴中见秀逸的积墨法，不同于清初以王时敏为首的“四王”所倡导的笔笔有古意的创作格法。作品多写金陵山水，长于用墨。\n龚贤喜用老辣朴拙的笔触，沉着稳重，秃笔与尖笔兼用。秃笔，取之圆润苍劲，勾屋，皴擦，画树和点苔苍老有力。龚贤用笔在主张“欲秀而老”，秀而老就是准确、简练而流畅有变化。画家程正揆在赠龚贤的诗中道：“铁干银钩老笔翻，力能从简意能繁”，这很好地点出了龚贤在用笔上的特点和成就。他提出笔法、墨气、丘壑、气韵作为画家四要，主张作画要中锋用笔，并且要古、健、老、苍，才能避免刻、结、板之病，颇为精辟。龚贤用墨，以层层积墨见长，虽不用泼墨，实具有泼墨烟润淋漓的效果，颇有宋人的用墨特点。其画山石树木中锋用笔，苍劲古厚，并用积墨法作反复皴擦积染，多至十几层，墨色极为浓重，但仍有深浅、浓淡、明暗等细微变化，山石树木往往浑融一体，仅在阳面或轮廓边缘处留出些许高光和坚实的轮廓，效果强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。龚贤作画最善用墨，主张墨气要厚、润，他发展了积墨画法，龚贤精研此法是追求一种苍润的境界，他以干笔作墨骨，再以层层皴染包润之，令山林树木呈现出鲜润沉厚的墨韵，使画面湿润厚重之感，这种画法适于表现江南湿意浓重的山水景色，同时也使龚贤的绘画具有了一种深郁静穆的格调。龚贤的画法分两类，世称“墨龚”和“白龚”。他善用黑白对比的技法，前者浓密苍茫，后者简淡雅洁。他在《半千课徒画说》中称：“非黑，无以显其白；非白，无以利其黑。”又如《平远小景》图（册页，纸本水墨）中所画的房屋，简洁明丽，在周围笔墨的映衬下，洁白的屋墙似乎透出光亮。此处即用黑白对比的技法。\n龚贤的山水画非常重视构图。他的画视野开阔，气象万千。他的“三远”构图原则，发挥得淋漓尽致，出神入化。他往往提高视线的角度，“平远”构图，多采取俯视角度，这样，视野开阔，平淡中倍增飘渺的感觉。尺幅之中，山河无尽。作“高远”构图，也是如此，先俯视，尔后眼光往上作仰视，真有下揽深谷、上突危峰的气概。他十分注重上下的位置。他的山水画一般很“满”，但“满”而不塞，常常用云带、流水作为空白透气。从整个画面来说，很有气韵。这才是龚贤的笔、墨、丘壑浑然一体的韵，从而创造出有地方特色的山水画。他是当之无愧的“金陵画派”的首领。\n龚贤之子龚柱，字础安，山水面目极似其父，只是烘染略少而已。\n\n诗作:\n龚贤是先以诗歌闻名于世的。客居海安、扬州时期，龚贤创作了大量诗歌，居扬州期间，在六年内作诗二百多首，是他一生中写诗最多的时期，传于后世的《草香堂集》共收诗203首，其中题画诗仅8首。可见那时期他作画不多，诗却写了不少。《草香堂集》中的诗大部分反映了他在海安、扬州时的生活经历和思想状况。他的诗很有特色，其好友方文在《喜龚半千还金陵》诗中赞他“更妙是诗篇，浑朴复雄放”；龚贤自己曾在《生日作》中谦逊地说：“余生皆酒力，不幸以诗名。”郭沫若曾评龚诗曰：“半千的诗虽然不多，大率精炼，颇有晚唐人风味。”在扬州，喜爱晚唐诗的龚贤还着手进行中晚唐诗歌的汇集整理工作，这一艰巨工作持续了数十年，被好友周亮工赞为“中晚唐之功臣也”。\n龚贤之诗作，一经开篇，则清逸之气沁人心脾，极显清疏淡雅之姿，如云流水池，一气呵成。其律绝句中鲜见用典，惟其《赠罗使君》一篇七古二十四韵中竟用了三十二个典故。窥一斑而知全豹，诗人腹笥藏书之富，非同一般。通常避而不用者，意在畅情而已。虽其谴词造句似属平易，然再经咀嚼，则有一种清新爽口之感。关键在于诗人抓住了现实生活中最富有诗意的景象和最触动自己心灵的情节，以简洁的艺术语言淋漓酣畅地表达无遗。这既是诗，亦是文，流畅似水，通俗如话，无诘屈聱牙之句，无冷僻难解之点。这表明诗人极具质朴的创作精神，从不故作哗众取宠惊人之笔，这又恰恰与他的绘画的艺术追求殊途同归。\n龚贤懂诗、爱诗、惜诗。他曾花费数十年的时间，以极大的毅力进行中晚唐诗的搜集、选编工作。为此，他曾“大索天下”，觅得百余家“多人未见本”（即未曾被收编入书的）主要靠自己出资刻印了七十四家。",[23,25,77,130,7,129,132,170,3996,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805b3fa5f0a2b4668436631477516806.jpg","纵110厘米，横50厘米",[138,185],{"id":5599,"slug":5600,"title":5601,"dynasty":283,"author":284,"museum":2363,"description":5602,"tags":5603,"thumbUrl":5605,"material":100,"size":100,"collection":100,"collections":5606,"showCount":5589,"zanCount":11,"manualWeight":43,"mainColor":88},220607,"qian-niu-hua-qing-ting-tu-zhou-qi-bai-shi-220607","牵牛花蜻蜓图轴","此作以浓墨挥写牵牛藤蔓叶片，干湿浓淡错落，尽显叶片俯仰向背的参差生机。艳红牵牛花以明快色彩点染晕开，将朝颜盛放的娇妍鲜活定格。\n\n只以寥寥数笔勾勒蜻蜓，身形轻薄灵动，似振翅欲停于藤蔓间，为画面添就乡野清晨的鲜活野趣。右上角题字朴拙老辣，与画作笔墨相映成趣。\n\n整幅简而不空，繁而不乱，将日常乡野意趣凝于尺幅，以写意之笔把寻常风物化作清雅动人的画中诗意。",[23,25,26,7,77,28,113,5604,1785,79],"牵牛花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ccdfe4e554c859984e3ce344cbe197.jpg",[],{"id":5608,"slug":5609,"title":5610,"dynasty":283,"author":284,"museum":5611,"description":5612,"tags":5613,"thumbUrl":5614,"material":5615,"size":100,"collection":100,"collections":5616,"showCount":5589,"zanCount":43,"manualWeight":43,"mainColor":88},220593,"xia-qun-qi-bai-shi-220593","虾群","國立故宮博物院","这幅群虾图以极简水墨写就神致，群虾姿态各殊，或拨须缓游，或摆螯疾行，两两相逐间灵动鲜活。以淡墨晕染虾身，通透似覆薄壳，浓墨点染虾首与硬枪，焦墨提掣纤细长须，看似信手挥洒，却暗含水流动感，留白代水，虚实相生，将清水间群虾嬉游之景跃然纸上。\n既可见细致的写生功底，更尽显写意笔墨的简淡天真，寥寥数笔便将河虾的活泼生机全然带出，尽显作者画虾的炉火纯青，把寻常水族勾勒得意趣盎然。",[25,26,7,77,304,638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681c191e1525a12aa95dd689a43c0860.jpg","ink on 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罗汉图对幅","吉山明兆","他在东福寺工作，是寺庙的看门人，负责打扫殿堂和点灯，被称为兆殿司。他学习了中国宋元的绘画技巧，用笔有力，色彩浓重。",[23,25,7,54,28,27,29,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e7af49e70e9910ccb9bd13b6073fbb8.jpg","107.2x50.2",[39],{"id":5700,"slug":5701,"title":1548,"dynasty":72,"author":301,"museum":331,"description":4071,"tags":5702,"thumbUrl":5703,"material":198,"size":780,"collection":100,"collections":5704,"showCount":5705,"zanCount":11,"manualWeight":43,"mainColor":88},290556,"he-hua-zhou-xu-wei-290556",[25,24,26,7,77,304,113,306,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3e13237f744b16759e4d325b37bd217.jpg",[],122,{"id":5707,"slug":5708,"title":5709,"dynasty":18,"author":5710,"museum":331,"description":5711,"tags":5712,"thumbUrl":5714,"material":100,"size":100,"collection":84,"collections":5715,"showCount":5705,"zanCount":656,"manualWeight":43,"mainColor":88},230217,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230217","十二金钗图轴","张善孖","此作跳脱了猛虎惯常的威肃凌厉之态，绘虎缓步于烟霭乱石间，笔力劲挺勾勒出雄健躯干，斑纹晕染苍劲写实，却敛去凶煞戾气，姿态带着幽婉柔媚的意趣。\n\n题诗呼应画意，以佳人风姿拟虎，将百兽之王与婉约情致相融，淡墨晕染的空濛云雾衬出悠远氛围感，工写兼具，既尽显虎的筋骨力道，又裹挟着文人画的雅致文心，是独出机杼的写虎佳制。",[23,25,26,7,77,28,5713,241],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b4ce6ce085278e695890e586d2946e.jpg",[84,138],{"id":5717,"slug":5718,"title":5719,"dynasty":18,"author":5720,"museum":331,"description":5721,"tags":5722,"thumbUrl":5724,"material":198,"size":780,"collection":100,"collections":5725,"showCount":5705,"zanCount":43,"manualWeight":43,"mainColor":44},229049,"qing-xiu-xian-fo-xiang-qi-shi-jia-mu-ni-fu-zhou-qing-ren-229049","清绣线佛像（七）释迦牟尼佛轴","清人","此作为彩丝绣就的佛造像，配色明丽沉静，以石青为底烘托圣像庄严。释迦牟尼安坐须弥莲台，朱红袈裟雅致厚重，衣纹流转自然，面含慈悲，神态沉静超脱，头身光以金地绣缠枝宝相花，华贵雍容。上方华盖绣云纹流苏，下方祥云满铺，意境缥缈清宁。两侧胁侍尊者衣饰各具意趣，一者素净安然，一者衣纹缀满宝纹，姿态恭谨肃穆。整作针脚细密匀整，晕色柔和自然，将礼佛的虔诚融入丝丝绣线，把造像的静穆庄严与刺绣工艺的精巧华美相融，尽显典雅规整的宫廷佛造像气韵。",[5723,7,54,28,29,5394,4209],"绣线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5254649c6064181aefa5ccdc0172a3ec.jpg",[],{"id":5727,"slug":5728,"title":5729,"dynasty":18,"author":5730,"museum":331,"description":5731,"tags":5732,"thumbUrl":5741,"material":198,"size":780,"collection":100,"collections":5742,"showCount":5705,"zanCount":43,"manualWeight":43,"mainColor":44},224114,"yuan-xiao-xing-le-tu-zhou-qian-long-224114","元宵行乐图轴","乾隆","此图描绘的是清代乾隆皇帝与皇族子弟们在宫苑内庆贺元宵节的情景。元宵节，又称为“上元节”、“小正月”、“元夕”或“灯节”，是岁朝之后的第一个重要节日。按照中国民间的传统，在这天皓月高悬的夜晚，人们除吃意寓团圆美满的元宵外，还要点起彩灯万盏，燃放焰火和猜灯谜。图中乾隆皇帝坐在楼阁上，正安详地目视着皇族子弟们庆贺元宵节。\n此图没有落作者的名款，从技法上分析，图中人物的画像应是由擅长写实画的郎世宁绘制。他在西洋肖像画的基础上，巧妙地吸取了传统中国“写真”画技法，生动地表现出不同人物的体态和神情。图中的屋宇、树石背景是由中国画家补绘，画家们以传统的中国山水画、界画技法，精心勾描、点染，不仅渲染出元宵节喜庆祥和的热烈气氛，同时展示出乾隆皇帝与家人间浓浓的亲情。",[25,7,28,5733,1157,27,5109,269,5734,132,170,5735,5736,5737,5738,5739,5740],"人物画","宫苑","元宵节","彩灯","焰火","喜庆","祥和","亲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e37e5be34ab9d1fa4c454a4cece0f98.jpg",[],{"id":5744,"slug":5745,"title":5746,"dynasty":72,"author":1496,"museum":74,"description":5747,"tags":5748,"thumbUrl":5749,"material":37,"size":5750,"collection":84,"collections":5751,"showCount":5705,"zanCount":419,"manualWeight":43,"mainColor":44},222397,"xing-hua-kong-que-tu-lv-ji-222397","杏花孔雀图","此画属于吕纪工笔花鸟画的代表作品，右方署款「吕纪」，钤盖「四明吕廷振印」一方。画中描绘一对孔雀在杏花树下栖息的景况。位于画面中央的孔雀单脚伫立于岩石上，回首注视绽放的红色牡丹，另一只孔雀则蜷伏石上，观察地面景况。画中的孔雀、杏花、牡丹等象征着吉祥意味。杏花以白色、粉赭色系颜料敷染，牡丹花及孔雀则使用浓重的赭红色，与石青、石绿的颜料搭配，充满着富贵绮丽的装饰性。",[23,25,26,7,28,27,113,3908,5187,114,35,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7b2db4a8d4bb0924c74e8de14dc43d.jpg","纵203.4厘米，横110.6厘米",[84,158],{"id":5753,"slug":5754,"title":5755,"dynasty":207,"author":208,"museum":74,"description":5756,"tags":5757,"thumbUrl":5759,"material":136,"size":5760,"collection":138,"collections":5761,"showCount":5705,"zanCount":11,"manualWeight":43,"mainColor":44},220812,"shen-lin-die-zhang-zhou-wang-meng-220812","深林叠嶂轴","本幅在《御制诗二集》题名作王蒙〈山水〉。为乾隆皇帝第一次南巡回程时于淮安一带所题。画上有王蒙（1308 —1385）名款，山石亦以蜷曲「牛毛皴」与黝黑苔点交错，组合出「王蒙式」云雾升腾般的动感山势，然此作效果较趋平面性，疑为明代画家追仿其风格的佳作。乾隆皇帝将深林叠嶂中的水榭、人物，比附为长寿仙人偓佺与王子乔修链的隐居处，或许他联想到的是南巡中短暂相见的沈德潜等老臣，期盼他们致仕乡居期间得保长寿康健。",[23,25,26,7,77,129,130,5758,3305,134,193,170,132,29,733],"深林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","68.7x42.5",[138,185],{"id":5763,"slug":5764,"title":5765,"dynasty":283,"author":284,"museum":5766,"description":5767,"tags":5768,"thumbUrl":5769,"material":100,"size":100,"collection":100,"collections":5770,"showCount":5705,"zanCount":43,"manualWeight":43,"mainColor":88},220591,"jiu-hu-he-ju-hua-qi-bai-shi-220591","酒壶和菊花","Hong Kong Museum of Art","淡赭晕染出酒壶憨朴轮廓，留白衬出器物的温润拙厚。下方提篮中菊花攒簇，朱红明丽、赭黄沉凝、墨白清雅，花瓣勾勒老辣朴拙，枝叶苍劲带着蓬勃生机。右侧题笔顶天立地，楷隶相融的题字与画面相映成趣。虚实相生间，将日常小物化为寄情之物，以酒菊托祝寿深意，笔力雄浑简括，把乡野意趣与文人雅韵揉合一处，尽显冲淡隽永的东方意致，将寻常烟火绘成动人的诗意画卷。",[23,25,26,7,28,304,113,440,1837,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b1dcc70632968186c19f507f452f51.jpg",[],{"id":5772,"slug":5773,"title":5774,"dynasty":207,"author":50,"museum":331,"description":5775,"tags":5776,"thumbUrl":5777,"material":100,"size":100,"collection":100,"collections":5778,"showCount":5779,"zanCount":419,"manualWeight":43,"mainColor":44},228216,"mu-dan-hua-hui-tu-zhou-yi-ming-228216","牡丹花卉图轴","以深沉绢地托举群芳，白牡丹莹洁似凝脂，红牡丹浓艳若燃霞，紫牡丹晕染出雅致柔韵。花姿或肆意盛放、或含苞颔首，俯仰之间各有姿态。叶片以细腻晕染分出阴阳向背，脉络清浅舒展，将草木柔润生机尽藏笔底。构图繁而不乱，错落排布尽显繁茂却不觉拥塞，将牡丹的雍容富贵融于清雅古拙的笔意之中，尽显花鸟写生的精湛功力，把国色天香的神韵晕染得恰到好处。",[23,24,25,26,7,27,28,114,536,2770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f44b549ecd7f5efb68ebd193de03a4a.jpg",[],121,{"id":5781,"slug":5782,"title":5783,"dynasty":109,"author":50,"museum":74,"description":5784,"tags":5785,"thumbUrl":5786,"material":589,"size":5787,"collection":100,"collections":5788,"showCount":5779,"zanCount":11,"manualWeight":43,"mainColor":44},223336,"dan-feng-you-lu-tu-yi-ming-223336","丹枫呦鹿图","《丹枫呦鹿图》描绘的是群鹿游憩于色彩斑斓的秋林中的情景，造型生动真实，颇具情趣。其构图繁密饱满，形式美感强烈，装饰味浓。\n《丹枫呦鹿图》中，作者使用传统的皴法、勾勒之法较少，却大幅度使用了类似西方的光影之法来表现鹿的立体感，且敷色富丽鲜艳又有别干常见的没骨山水。实异于汉族文化地区之画作，属辽画之精品。",[23,25,26,24,7,28,27,2366,1073,241,170,3631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a0c1c1455178893acd65ad00afdad0.jpg","纵118.5cm，横64.6cm",[],{"id":5790,"slug":5791,"title":5792,"dynasty":72,"author":1464,"museum":74,"description":5793,"tags":5794,"thumbUrl":5795,"material":37,"size":5796,"collection":84,"collections":5797,"showCount":5779,"zanCount":419,"manualWeight":43,"mainColor":44},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[23,25,27,28,7,113,378,31,392,115,151,35,1594,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[84,158],{"id":5799,"slug":5800,"title":2002,"dynasty":72,"author":1024,"museum":74,"description":5801,"tags":5802,"thumbUrl":5803,"material":182,"size":100,"collection":138,"collections":5804,"showCount":5779,"zanCount":43,"manualWeight":43,"mainColor":44},220919,"shan-shui-li-zhou-dong-qi-chang-220919","董其昌虽以古人为师，不过反对单纯机械地模拟蹈袭。因为随着阅历的增加与思想的成熟，的临摹是有选择地取舍，融入自己的创意。董认为如果离开了自己的创意，古人的精神也难以表达，因此应以自己独创的形式再现古人的“风神”。董其昌的临古可谓开一代先河。影响了后来许多的画家",[23,25,26,7,77,130,129,252,56,253,378,351,377,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[138,185],{"id":5806,"slug":5807,"title":5808,"dynasty":93,"author":1283,"museum":1358,"description":5809,"tags":5810,"thumbUrl":5812,"material":37,"size":5813,"collection":138,"collections":5814,"showCount":5779,"zanCount":43,"manualWeight":43,"mainColor":44},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,25,24,7,130,77,28,129,252,613,521,3996,349,29,196,601,253,4574,169,5811],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[138],{"id":5816,"slug":5817,"title":5818,"dynasty":207,"author":518,"museum":209,"description":5819,"tags":5820,"thumbUrl":5821,"material":82,"size":100,"collection":138,"collections":5822,"showCount":5779,"zanCount":419,"manualWeight":43,"mainColor":44},217218,"gu-mu-cong-huang-tu-ni-zan-217218","古木丛篁图","倪瓒是一位非常有才华的画家，他在元朝时期担任过官员，同时也是一位著名的画家。他的古木丛篁图是他的代表作之一，被广泛认为是元朝画坛上的杰出作品。这幅图画的是一片树木茂密的森林，画面上的树木都长得非常壮观，给人以深深的感觉。倪瓒在画这幅图的时候，非常注重细节，每一棵树都绘制得非常精细。在这幅图中，倪瓒还表现出了树木之间的相互依存关系，这使得这幅图显得更加生动。",[23,25,77,26,7,985,80,130,131,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9485a61ec295472a35cd5b4873278e45.jpg",[138],{"id":5824,"slug":5825,"title":5826,"dynasty":72,"author":4312,"museum":74,"description":5827,"tags":5828,"thumbUrl":5829,"material":37,"size":5830,"collection":138,"collections":5831,"showCount":5779,"zanCount":11,"manualWeight":43,"mainColor":44},214739,"han-jiang-cao-ge-tu-zhao-zuo-214739","寒江草阁图","画江坞村居，从楼里可以看到远处的风景。长桥上锁，云雾缭绕，山峦起伏。森林湿润，层次分明。与烟雾和雾气混合在一起，感觉就像晴天开始时的一场突如其来的雨。烟雾在河边不时地出现和消失。这幅山水画非常特别，先用淡墨裂开，然后用焦墨破开，这样就可以看出笔墨的光彩，墨色也很浓。",[25,26,7,77,130,129,377,170,134,193,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2932a52531fae657b3d89f6fb99b15.jpg","160x51.8",[138],{"id":5833,"slug":5834,"title":5835,"dynasty":72,"author":683,"museum":74,"description":5836,"tags":5837,"thumbUrl":5841,"material":99,"size":5842,"collection":138,"collections":5843,"showCount":5779,"zanCount":643,"manualWeight":43,"mainColor":44},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","这幅画是笔墨兼工带写，奔放豪纵而苍劲淋漓。这幅画很好地运用了「水晕墨章」的技法，用大笔和淡墨快速而斜地扫过风和雨的自然景观，竹子、树木、芦苇和稻草的雨衣，都迎着风和雨弯下腰。　虽然戴进的画风与南宋宫廷画家的体系相同，但他在画中加入了新的内容，如这幅画，并确立了浙派山水画的基本风格，成为后世效仿的典范。",[25,26,7,24,77,130,5838,5839,349,350,134,193,170,272,173,5840,576,132],"风雨","归舟","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","143x81.8",[138],{"id":5845,"slug":5846,"title":3915,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":5847,"thumbUrl":5848,"material":198,"size":780,"collection":100,"collections":5849,"showCount":5850,"zanCount":11,"manualWeight":43,"mainColor":88},289981,"mei-hua-tu-li-zhou-wu-chang-shuo-289981",[23,25,7,77,28,392,378,35,113,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064a0d9d4e3f29549f1c436bae20a6d3.jpg",[],120,{"id":5852,"slug":5853,"title":596,"dynasty":18,"author":5854,"museum":331,"description":5855,"tags":5856,"thumbUrl":5857,"material":198,"size":780,"collection":100,"collections":5858,"showCount":5850,"zanCount":11,"manualWeight":43,"mainColor":88},283778,"shi-nv-tu-wu-ying-zhen-283778","吴应贞","女。字含五，江苏吴江人，适同邑赵氏。工写生，风神婉约，自是闺房之秀。",[25,24,28,27,29,30,35,194,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55007fbc6c66e7d3ac331b04cbec31f.jpg",[],{"id":5860,"slug":5861,"title":5862,"dynasty":18,"author":50,"museum":331,"description":5863,"tags":5864,"thumbUrl":5865,"material":100,"size":100,"collection":100,"collections":5866,"showCount":5850,"zanCount":419,"manualWeight":43,"mainColor":88},239214,"zhao-zhi-qian-mu-dan-tu-zhou-yi-ming-239214","赵之谦牡丹图轴","此作兼工带写，以淡墨绘枯木顽石，焦墨点苔晕出水墨层次。粉牡丹柔妍灵动，花瓣从淡粉晕染至绯色，金黄花芯点簇鲜活。蓝叶以没骨法晕开，色韵清透雅致。右上角行书题笔苍劲朴拙，诗画相映。\n\n花木娇柔与湖石浑朴刚硬形成鲜明对照，刚柔并济，尽显文人写意意趣，将初夏庭间牡丹倚石盛放的清寂雅致铺展开来。笔意纵逸随性，设色秀而不媚，尽显晚清写意花鸟的典型风貌，借花石传递出悠然古淡的文人情致。",[25,7,28,113,114,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10e1ffe0de8cd4eac0f7a47ebe7cb28.jpg",[],{"id":5868,"slug":5869,"title":5870,"dynasty":18,"author":2320,"museum":236,"description":5871,"tags":5872,"thumbUrl":5873,"material":1573,"size":5874,"collection":84,"collections":5875,"showCount":5850,"zanCount":43,"manualWeight":43,"mainColor":88},236382,"mei-hua-tu-zhou-wang-shi-shen-236382","梅花图轴","图绘一株生机盎然的梅树，盛开的梅花洁白无瑕，交错的枝干扶摇向上，表现了梅作为花中君子具有“不恋世间佳丽地，独上寒山称骄子”的高逸之气。此图梅花以淡墨勾轮廓，线条工细，梅干以浓墨一挥而就，墨气淋漓。干与花巧妙地形成黑与白的对比，令简约的画面不失层次的变化。",[25,7,77,392,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febe0c491bd8337e9c24d78ad0b1bcf11.jpg","纵93.4厘米，横52.9厘米",[84,158],{"id":5877,"slug":5878,"title":5879,"dynasty":207,"author":4104,"museum":236,"description":5880,"tags":5881,"thumbUrl":5882,"material":486,"size":5883,"collection":84,"collections":5884,"showCount":5850,"zanCount":11,"manualWeight":43,"mainColor":44},221839,"hua-zhu-jin-ji-tu-zhou-wang-yuan-221839","花竹锦鸡图轴","元代的花鸟画不及宋代昌盛，但却有新的面貌。一部分画家继承了北宋院画刻画严谨的传统并加以变化，发展了勾勒、点染相结合的写生技法，画风朴实拙茂又不失精微细密；另一部分画家则彻底摆脱院体工整妍巧的写生风格，以萧散简逸为宗，充分体现了赵孟頫以书法入画的艺术主张。但总体来看，元代花鸟画的气格是宁静、沉着和庄严的，既不变形又不放纵，体现了“法不逾矩”的特点。活跃于元代中后期的王渊是继承北宋院画的代表画家。",[23,207,25,26,7,27,28,113,1228,31,35,151,2190,351,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466780a1e6d1a39bd28e7e52a2208b0.jpg","纵175.7cm，横110.1cm",[84,158],{"id":5886,"slug":5887,"title":5888,"dynasty":72,"author":5553,"museum":5889,"description":5890,"tags":5891,"thumbUrl":5892,"material":136,"size":5893,"collection":138,"collections":5894,"showCount":5850,"zanCount":43,"manualWeight":43,"mainColor":88},218090,"fang-dong-yuan-shan-shui-tu-wen-jia-218090","仿董源山水图","金贝尔艺术博物馆","明朝是中国历史上的一个朝代，它的统治时间是从1368年到1644年。在这期间，文嘉是一位著名的画家，他的作品中有一幅仿董源山水图。\n\n董源是中国历史上著名的画家，他的作品中有一幅著名的山水图，这幅图被称为“董源山水图”。文嘉的作品中的这幅仿董源山水图是文嘉对董源山水图的模仿，他在这幅图中运用了董源的画风，但也加入了自己的风格。\n\n山水画是中国传统画的一种，它的主题是山水风景。山水画中常常会描绘大自然的景象，如山峰、河流、湖泊、树木、花草等。这幅仿董源山水图中也展示了美丽的山水风景，画面上的山峰、树木、河流都描绘得栩栩如生，充满了生机与活力。\n\n文嘉的这幅仿董源山水图不仅展示了文嘉对董源画风的尊敬，同时也展示了文嘉自己的画风。这幅图融合了传统山水画的特点，同时也具有文嘉自己的个性。",[23,25,26,7,77,130,945,129,134,193,132,170,169,5177,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf2830085ebd93c1fe744e5ba0196bd.jpg","167x52cm",[138],{"id":5896,"slug":5897,"title":5898,"dynasty":72,"author":424,"museum":74,"description":5899,"tags":5900,"thumbUrl":5903,"material":136,"size":5904,"collection":39,"collections":5905,"showCount":5850,"zanCount":11,"manualWeight":43,"mainColor":44},216998,"jin-gang-jing-wen-zheng-ming-216998","金刚经","这幅画描绘了释迦牟尼与他的弟子迦叶和阿难站在一棵松树下，一个迦叶跪在他们面前。在四位金刚护法的环绕下，场景精致而细腻。面板上是文徵明用小楷书写的《金刚经》，笔法细致，与仇英的画相得益彰。",[26,80,5901,5902,79,7],"写经","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a8b708c5e2260b373f837e5c7842b8.jpg","116.4x30.5",[39],{"id":5907,"slug":5908,"title":5909,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":5910,"thumbUrl":5911,"material":198,"size":780,"collection":100,"collections":5912,"showCount":5913,"zanCount":43,"manualWeight":43,"mainColor":88},289648,"ju-hua-tu-li-zhou-wu-chang-shuo-289648","菊花图立轴",[23,25,26,7,28,113,440,35,79,80,2664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17b0b195545b21cb0c63067b6bbe12e1.jpg",[],119,{"id":5915,"slug":5916,"title":5917,"dynasty":18,"author":318,"museum":331,"description":1136,"tags":5918,"thumbUrl":5919,"material":198,"size":780,"collection":100,"collections":5920,"showCount":5913,"zanCount":43,"manualWeight":43,"mainColor":88},283659,"he-fu-tu-zhou-zhu-da-283659","荷凫图轴",[23,24,25,7,77,113,306,35,151,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c68a231a7e3a42dd7d6c86993a9c7f.jpg",[],{"id":5922,"slug":5923,"title":5924,"dynasty":18,"author":50,"museum":236,"description":5925,"tags":5926,"thumbUrl":5930,"material":486,"size":5931,"collection":100,"collections":5932,"showCount":5913,"zanCount":43,"manualWeight":43,"mainColor":44},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170","雍正十二月行乐图轴","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,25,26,7,27,28,1157,129,269,377,5927,193,5928,498,170,29,778,522,5929],"廊","湖石","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg","纵188.2厘米，横102.2厘米",[],{"id":5934,"slug":5935,"title":5936,"dynasty":18,"author":4434,"museum":236,"description":5937,"tags":5938,"thumbUrl":5939,"material":1573,"size":5940,"collection":100,"collections":5941,"showCount":5913,"zanCount":43,"manualWeight":43,"mainColor":88},232890,"xie-yi-shan-shui-tu-zhou-hong-ren-232890","写意山水图轴","据作者款题而知，此图是作者应“雄右”（王炜）之嘱托，为“旦先居士”（吕应昉）所绘。该图在设陈布势上取法倪瓒“一河两岸式”构图，中景画一片不着笔墨晕染的水域，水域的两岸分别绘起伏的山峦和空亭、秋木。整幅画面于简约疏旷的格调中表达出作者孤傲清高的情怀，堪称作者艺术成熟期的代表之作。",[23,25,77,7,304,130,26,129,1651,170,134,193,169,377,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ebd02e1d7203160c9e5da77aedc77.jpg","纵133.1厘米，横62.7厘米",[],{"id":5943,"slug":5944,"title":5945,"dynasty":207,"author":50,"museum":331,"description":5946,"tags":5947,"thumbUrl":5948,"material":182,"size":5949,"collection":100,"collections":5950,"showCount":5913,"zanCount":419,"manualWeight":43,"mainColor":342},223496,"pu-xian-pu-sa-xiang-yi-ming-223496","普贤菩萨像","普贤菩萨，佛教菩萨名，梵文Samantabhadra的意译，也曾译为遍吉菩萨，音译为三曼多跋陀罗。普贤菩萨是中国佛教的四大菩萨之一，象征着理德、行德，与象征着智德、正德的文殊菩萨相对应，同为释迦牟尼佛的左、右胁侍。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。",[23,25,26,7,54,28,29,241,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a209573aaa667331b08a345b2354a2.jpg","71x71",[],{"id":5952,"slug":5953,"title":5954,"dynasty":18,"author":3450,"museum":74,"description":5955,"tags":5956,"thumbUrl":5958,"material":1320,"size":5959,"collection":84,"collections":5960,"showCount":5913,"zanCount":11,"manualWeight":43,"mainColor":88},222694,"mei-cha-shui-xian-zhou-qian-wei-cheng-222694","梅茶水仙轴","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。",[23,24,25,26,7,27,28,575,5957,924],"茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb394ac89657041d7c37b5fb8d711ba23.jpg","114.1x75.6",[84,158],{"id":5962,"slug":5963,"title":5964,"dynasty":93,"author":481,"museum":648,"description":5965,"tags":5966,"thumbUrl":5967,"material":28,"size":5968,"collection":157,"collections":5969,"showCount":5913,"zanCount":11,"manualWeight":43,"mainColor":44},221525,"song-shou-tu-ma-yuan-221525","松寿图","此图是马远典型的山水小景画布局风格，描绘山崖一角，苍松斜伸。一文人闲坐石台之上，仰目远眺，旁侧一童子持杖侍立。临溪疏竹丛生，远山寥寥而成。山石用斧劈皴，松树用笔奇崛。右下角行书“马远”单款，画幅上端有宋宁宗赵扩行书七言诗：“道成不怕丹梯峻，髓宝常欺石榻寒，不恋世间名与贵，长生自得一元丹。赐王都提举为寿”。",[23,25,26,7,28,129,29,130,427,132,55,776,78,131,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[157,138,185],{"id":5971,"slug":5972,"title":5973,"dynasty":207,"author":695,"museum":209,"description":5974,"tags":5975,"thumbUrl":5976,"material":4585,"size":5977,"collection":185,"collections":5978,"showCount":5913,"zanCount":11,"manualWeight":43,"mainColor":704},220776,"song-shi-tu-zhou-wu-zhen-220776","松石图轴","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。在创作思想上继承北宋末年文同、苏轼、米芾等人的文人画理论，提倡遗貌求神，以简逸为上，追求古意和士气，重视主观意兴的抒发。与宋代院体画的刻意求工、注重形似大相径庭，形成鲜明的时代风貌，也有力地推动了后世文人画的蓬勃发展。在元代短短90余年内，画坛名家辈出，其中以赵孟頫、钱选、高克恭、王渊等和号称元四家的黄公望、吴镇、倪瓒、王蒙最负盛名。\n《松石图》凸现在视野中心的只是一棵松树，然而他画的不是直立挺拔的苍松，而是一株干如弯弓，枝干倒长的怪松，它巍然挺立，雄视万物，表现出一种世俗难以羁绊、常人难以匹敌的气慨。它的孤傲、不同凡俗正是吴镇抗怀孤德个性的自喻。\n国家文物鉴定委员会委员、国家文物局文物鉴定资格审核委员、故宫博物院研究员杨臣彬，徐邦达先生入室大弟子,精擅古书画鉴定。上世纪八十年代在民间收藏中发现吴镇《松石图》。《松石图》名款为“梅花道人墨戏”，铃印“梅花庵”、“嘉兴吴镇仲圭书画记”，系清宫旧藏之物。一古松的枝杆横卧上方，松下有湖石水草，构图呈上下两段，留出大片空白，各自为阵且互有联系。用浓墨在树石上点苔，浓重厚密。树石用笔倔强刚劲而不张扬外露，多用中锋，沉着老到，得古松苍劲之质，古松虽老，但无枯涩之感，干淡的用笔不失腴润，墨法鲜活，鲜嫩的水草和斑驳粗重的古松形成鲜明对比。",[23,24,25,26,7,77,130,378,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5441b5aa161a241633f08c79149ce2db.jpg","122.44x46cm",[185,702],{"id":5980,"slug":5981,"title":5982,"dynasty":993,"author":50,"museum":74,"description":5983,"tags":5984,"thumbUrl":5986,"material":37,"size":5987,"collection":138,"collections":5988,"showCount":5913,"zanCount":419,"manualWeight":43,"mainColor":44},220432,"tang-ren-hua-xue-jing-tu-yi-ming-220432","唐人画雪景图","这幅画，一座山一座山的描绘，大多形成三角形，有平正古拙的感觉。设色主要填染了石青、石绿，山石以金勾勒纹路表现，尚未有皴纹的使用，画法与李思训青绿山水一派相近。此幅现藏于台北故宫博物院，绢本青绿设色。",[23,25,7,28,129,130,3880,252,521,733,132,5985],"雪地","https:\u002F\u002Foss.chuangqi.store\u002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〈溪山秋色图〉，然画面集中下方，馀为空白。山形如云朵状，近似李郭风格，然用笔严谨，皴染亦细致，与李郭富强烈粗细变化的线条不同，有学者推测为金代继承李郭传统的作品。画右上方有瘦金书「晴麓橫雲」，书风略显柔弱，「御書之寳」亦存疑，推测为后人追摹。此幅现藏于大阪市立美术馆，纸本浅设色。",[23,25,26,7,77,130,129,132,173,521,522,614,5995,176,5996,5997],"峰峦","淡墨","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d05721ef7b3d98f4735e9d3ddf3873.jpg","154.5x61.2",[138,157],{"id":6002,"slug":6003,"title":6004,"dynasty":72,"author":1751,"museum":74,"description":6005,"tags":6006,"thumbUrl":6007,"material":37,"size":6008,"collection":158,"collections":6009,"showCount":5913,"zanCount":43,"manualWeight":43,"mainColor":44},219456,"jiu-an-da-ji-tu-lu-zhi-219456","久安大吉图","苍劲古木虬枝盘结，葫芦藤蔓攀援其上，累累硕果垂挂如盏，青绿叶片间点缀嫩黄，生机漫溢。枝头红羽轻栖，喙啄新晴，似与藤蔓私语。树下草间，数只鹌鹑闲步，羽纹细腻如织，憨态可掬。葫芦谐音福禄，藤蔓绵延喻长久；鹌鹑踱步藏“安”意，红鸟报喜兆吉昌。赭黄绢本为底，设色清雅却层次分明，古木苍朴与蔬果鲜活相映，禽鸟灵动与草石静谧相谐。将俗世祈愿化作笔底清欢，尽显文人画“托物言志”的雅趣，观之如沐春风，心随画境渐入平和吉庆之境。",[25,27,28,7,253,2917,115,664,291,4724],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa955d93748bcf719728ffee49b118d33.jpg","189.4×81.4cm",[158],{"id":6011,"slug":6012,"title":412,"dynasty":207,"author":6013,"museum":74,"description":6014,"tags":6015,"thumbUrl":6016,"material":82,"size":6017,"collection":84,"collections":6018,"showCount":5913,"zanCount":43,"manualWeight":43,"mainColor":88},219386,"zhu-shi-tu-guan-dao-sheng-219386","管道升","土坡上立一奇石，左边是一高一低，一浓一淡两竿修竹，右下是一丛竹叶。竹叶上挺，谓之“晴竹”，画时下笔须略带逆势藏锋，然后以中锋重按掠去，至叶尖处疾挑而出。梢头结顶，挑出时尤须注意左右顾盼，姿态生动。",[25,24,26,7,77,31,35,97,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97662080d58fa53960826604bfe1a32f.jpg","纵87.1厘米，横28.7厘米",[84],{"id":6020,"slug":6021,"title":6022,"dynasty":72,"author":1496,"museum":147,"description":6023,"tags":6024,"thumbUrl":6026,"material":37,"size":100,"collection":84,"collections":6027,"showCount":5913,"zanCount":656,"manualWeight":43,"mainColor":44},219005,"shou-zhu-heng-chun-tu-lv-ji-219005","寿祝恒春图","该场景描绘了一对公鸡和母鸡在一个有花有竹的郁郁葱葱的院子里。这幅画被认为是吕纪的作品，但除了鸡群与蓝山鹊很像吕纪的笔触外，湖石和花竹都与吕纪无关，印记也不是真的。然而，画家的作品是如此深刻，以至于可以作为边景昭画派的作品来欣赏。",[23,25,26,113,27,28,7,31,1228,6025,2190,132],"雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa63c8c7a0ec2a692f833b7185730dd23.jpg",[84,158],{"id":6029,"slug":6030,"title":6031,"dynasty":93,"author":164,"museum":319,"description":6032,"tags":6033,"thumbUrl":6034,"material":37,"size":6035,"collection":138,"collections":6036,"showCount":5913,"zanCount":419,"manualWeight":43,"mainColor":44},218518,"shu-zhan-xing-lv-tu-fan-kuan-218518","蜀栈行旅图","这幅画被认为是范宽的作品，但事实上，这幅画的风格应该是李寅、颜峄的风格一派作品",[23,25,364,7,130,28,129,132,170,171,180,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29c07d65148db3c2cafe7e03228c14d.jpg","192.9x74.4cm",[138],{"id":6038,"slug":6039,"title":6040,"dynasty":18,"author":1123,"museum":74,"description":2094,"tags":6041,"thumbUrl":6042,"material":136,"size":6043,"collection":100,"collections":6044,"showCount":6045,"zanCount":419,"manualWeight":43,"mainColor":88},287445,"qiao-ke-xiu-zhu-tu-yun-shou-ping-287445","乔柯修竹图",[24,25,26,7,77,28,131,31,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2a4a5bac926514b0d81e6b64ae1eed.jpg","101.6x47.8",[],118,{"id":6047,"slug":6048,"title":6049,"dynasty":72,"author":50,"museum":236,"description":6050,"tags":6051,"thumbUrl":6052,"material":1218,"size":100,"collection":39,"collections":6053,"showCount":6045,"zanCount":11,"manualWeight":43,"mainColor":88},236158,"han-xin-xiang-zhou-yi-ming-236158","韩信像轴","原清宫内务府广储司茶库旧藏。茶库旧藏历代功臣像为轴二十有一",[24,25,26,7,27,28,29,1039,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1956b8da97887c124abf6a3d65a946c6.jpg",[39,158],{"id":6055,"slug":6056,"title":6057,"dynasty":18,"author":2250,"museum":331,"description":6058,"tags":6059,"thumbUrl":6060,"material":100,"size":100,"collection":100,"collections":6061,"showCount":6045,"zanCount":43,"manualWeight":43,"mainColor":88},224363,"fu-gui-bai-tou-tu-ju-lian-224363","富贵白头图","《富贵白头图》为光绪十三年（公元1887年）居廉晚年之作。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。\n收藏于 。\n《富贵白头图》为纸本，设色，纵12.1厘米，横74.82厘米，收藏于 。\n图中所绘牡丹艳放，在春风中姹紫嫣红，争奇斗妍，引得蜜蜂、蝴蝶在花间流连嬉戏，石上停息着一双白头翁鸟，神态娴静，与喧闹的蜂蝶相映成趣。\n湖石坚实厚重，衬出花卉的秀美。\n图中偏右一侧一块硕大而玲珑剔透的太湖石兀然而立，湖石的周围一丛盛开的牡丹，姹紫嫣红，争奇斗艳，或低首沉吟，或迎风怒放，引来一群蜜蜂、彩蝶在花丛之中追逐嬉戏，流连忘返，给人一种明媚而又温暖的春天气息。\n在湖石的上端栖停着一对白头翁鸟，一俯一仰，怡然自得，与上下翻飞，喧闹不已的蜂蝶，一动一静，相映成趣，美不胜收。\n该画鸟、蜂、蝶以工笔重彩画出，形态生动。\n花朵的红色、粉色、黄色晕染，非常写实。\n敷以深浅绿叶，以浓墨和红色勾筋。\n线条圆润饱满，叶片清秀洒脱，疏密有致；设色浓淡相依，明丽艳秀。\n而花中奇石用积墨与淡墨晕染相结合绘出，素雅动人。\n在绘画技法上，整幅画作的格调极为工致，造型准确，赋色艳丽，然而却又没有丝毫单滞、艳俗之感，可算得是居氏画作中的精品。\n（1828-194），字古泉，自号隔老人，广西桂林人，占籍广东番禹（今广州），居巢之堂弟。\n善画花鸟、草虫及人物，尤以写生见长。\n初学宋光宝及孟丽堂，亦得恽南田遗意，后吸收诸家之长，自成一体。\n笔法工整，设色妍丽，在继承和发展恽南没骨画法的基础上，创造出撞水法和撞粉法，为岭南派的重要奠基人之一，“二高一陈”皆出自其门下。\n《富贵白头图》自识“丁亥”，应为光绪十三年，也即公元1887年，乃其晚年之笔。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。",[23,25,26,7,27,28,113,114,1372,600,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575773c294369c3e892af56386f46796.jpg",[],{"id":6063,"slug":6064,"title":6065,"dynasty":72,"author":389,"museum":236,"description":6066,"tags":6067,"thumbUrl":6068,"material":182,"size":6069,"collection":138,"collections":6070,"showCount":6045,"zanCount":43,"manualWeight":43,"mainColor":44},222346,"bu-xi-tu-tang-yin-222346","步溪图","一人徐步缓行，一人与之相对而立，神态怡然。衣纹洗练流畅，衣袖随风飘舞，生动刻画了悠闲自在的隐士形象。用笔苍秀，构图高远，画格既有南宋[院体]画遗风，又具有元代文人画秀雅的特色。右上自题诗云：[卜宅临溪上，开门近步头。渔樵通互市，耕钓是贻谋。山晓青排闼，波晴绿漾舟。主君朝学海，枕石漱清流。姑苏侍生唐寅作《步溪图》并题奉呈黎老大人先生。]下钤二印。",[23,25,77,130,129,7,170,132,29,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff633694d671ff94560b7fe877887ca21.jpg","纵159厘米，横84.3l厘米",[138,185],{"id":6072,"slug":6073,"title":6074,"dynasty":207,"author":518,"museum":74,"description":6075,"tags":6076,"thumbUrl":6077,"material":214,"size":6078,"collection":185,"collections":6079,"showCount":6045,"zanCount":43,"manualWeight":43,"mainColor":44},220792,"gu-mu-zhu-shi-tu-zhou-ni-zan-220792","古木竹石图轴","《古木竹石图轴》绘坡石间疏竹数丛，枯树两株，笔墨浓淡相间，富有层次感，境界清旷，意境简远，呈现出一片清静幽远的气象。画轴上方有元明余诠、唐肃、高巽志、于思缉、张简、吴卢充、王璲等七处题诗。",[23,25,26,7,77,130,35,31,131,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575c01e50d18d2d517bef35aebf5ff48.jpg","47x27.4",[185,702],{"id":6081,"slug":6082,"title":6083,"dynasty":18,"author":2250,"museum":74,"description":6084,"tags":6085,"thumbUrl":6087,"material":136,"size":6088,"collection":100,"collections":6089,"showCount":6045,"zanCount":11,"manualWeight":43,"mainColor":88},220334,"cao-chong-hua-hui-hu-shi-si-ping-xiu-qiu-ju-lian-220334","草虫花卉湖石四屏-绣球","这四屏分写牡丹、凌霄、绣球、紫薇等时卉，并配以湖石、蜂、蝶、知了、螳螂。于精密写实之外，饶富没骨花卉清新典丽的特质，虽因重装颜色稍褪，犹可清晰得见居氏惯采的撞水与撞粉画技，笔法工整，设色妍丽，让人赏心悦目。",[23,25,26,113,7,27,28,6086,600,5928],"绣球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245a38d04b5ce9f9c1b46c5c7acdf76a.jpg","113×26.5厘米",[],{"id":6091,"slug":6092,"title":6093,"dynasty":207,"author":518,"museum":74,"description":6094,"tags":6095,"thumbUrl":6096,"material":99,"size":6097,"collection":138,"collections":6098,"showCount":6045,"zanCount":43,"manualWeight":43,"mainColor":88},220170,"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","此画写的是江南山庄的景色，平远为山水，较为隐约，近处为山坡，坡陀上山石横卧。中幅画有数棵穿天大树，大树下画有一亭子，座落在远山、近石之间。\n画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。” 幅上有潘纯题。",[23,25,26,7,77,130,129,427,1652,78,522,2558,57,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","纵83.4厘米，横52.9厘米",[138],{"id":6100,"slug":6101,"title":6102,"dynasty":72,"author":264,"museum":209,"description":6103,"tags":6104,"thumbUrl":6105,"material":82,"size":100,"collection":39,"collections":6106,"showCount":6045,"zanCount":11,"manualWeight":43,"mainColor":88},219403,"liu-xia-mian-qin-tu-zhou-chou-ying-219403","柳下眠琴图轴","柳丝轻垂，拂过苍劲老干，似携幽微风意。树下文人斜卧，衣袂舒展，琴置身侧，眉宇间尽是悠然散淡。童子捧物而立，眸中带着稚气的专注，悄然侍立，不扰这份清宁。山石寥寥数笔见嶙峋之态，草色浅淡更衬天地宽闲。笔墨工致中藏写意，线条柔中带刚，将文人林下之趣、物我两忘的心境悄然铺展。仿佛能闻柳间蝉鸣，听风过琴弦余韵，一派魏晋风骨般的疏朗自在，尽在尺幅间流转。",[25,26,7,27,77,28,29,404,2389,35,5110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e410afa50f999f6c817fada7ee75f.jpg",[39],{"id":6108,"slug":6109,"title":6110,"dynasty":207,"author":518,"museum":331,"description":6111,"tags":6112,"thumbUrl":6114,"material":198,"size":780,"collection":100,"collections":6115,"showCount":6116,"zanCount":11,"manualWeight":43,"mainColor":88},290911,"tong-lu-qing-qin-zhou-ni-zan-290911","桐露清琴轴","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[24,25,77,7,129,521,35,3996,79,80,6113],"清寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c25266acd1f692249a38a65cbc9d8fa.jpg",[],117,{"id":6118,"slug":6119,"title":6120,"dynasty":72,"author":752,"museum":236,"description":6121,"tags":6122,"thumbUrl":6123,"material":6124,"size":6125,"collection":39,"collections":6126,"showCount":6116,"zanCount":656,"manualWeight":43,"mainColor":44},237386,"shi-nv-zhou-chen-hong-shou-237386","仕女轴","陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[25,26,7,28,27,29,30,4196,536,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113668156e4a80c8b3cb0d089b3479d4.jpg","绢本 ，设色","纵173.5cm，横95.3cm",[39],{"id":6128,"slug":6129,"title":6130,"dynasty":18,"author":6131,"museum":236,"description":6132,"tags":6133,"thumbUrl":6135,"material":1573,"size":100,"collection":84,"collections":6136,"showCount":6116,"zanCount":43,"manualWeight":43,"mainColor":88},237156,"zi-wei-gui-hua-tu-zhou-yun-huai-e-237156","紫薇桂花图轴","恽怀娥","恽怀娥为恽源濬长女，字纫兰，善画花卉， 尤其善画桃，窦镇《国朝书画家笔录》称其“花 卉精雅”，《耕砚田斋笔记》 则称其“著色鲜 润，一本家法”，都是指其花卉画而言，并言 其继承了恽南田一路的“家法”。传世作品目前 仅见有一件《紫薇桂花图轴》（北京故宫博物院 藏），文献著录的作品也仅有一件《岁朝图》（李 玉棻《瓯钵罗室书画过目考·附》）[32]。笔者并未 见过其传世作品，但从李湜《明清闺阁绘画研 究》中可知，“图中花瓣以粉笔带脂点染，气韵 生动，色度变化妙极自然，为其小帧画作中的 佳品”，说明仍然还是恽寿平没骨写生一路 的风格。",[25,7,28,113,6134,4426],"紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6298096c9a83f2e4e2d26c8c1da3a71f.jpg",[84],{"id":6138,"slug":6139,"title":6140,"dynasty":18,"author":4610,"museum":331,"description":6141,"tags":6142,"thumbUrl":6143,"material":100,"size":100,"collection":84,"collections":6144,"showCount":6116,"zanCount":11,"manualWeight":43,"mainColor":88},236537,"xu-gu-san-yu-tu-zhou-xu-gu-236537","虚谷三鱼图轴","虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[25,26,7,28,935,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322ba8e10765708da950451e20edb9d5.jpg",[84,185],{"id":6146,"slug":6147,"title":6148,"dynasty":18,"author":1036,"museum":74,"description":6149,"tags":6150,"thumbUrl":6152,"material":275,"size":6153,"collection":84,"collections":6154,"showCount":6116,"zanCount":11,"manualWeight":43,"mainColor":88},222775,"hua-shi-jun-quan-jin-chi-xian-zhou-lang-shi-ning-222775","画十骏犬金翅猃轴","画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[7,27,28,241,6151,427,131,287,1275,35,79],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d9b7654a0339edd6a81f4425fe0115.jpg","每幅纵246.6厘米，横163.9厘米",[84,158],{"id":6156,"slug":6157,"title":6158,"dynasty":18,"author":3992,"museum":265,"description":6159,"tags":6160,"thumbUrl":6162,"material":214,"size":6163,"collection":138,"collections":6164,"showCount":6116,"zanCount":419,"manualWeight":43,"mainColor":44},222626,"gua-bi-fei-quan-tu-zhou-gong-xian-222626","挂壁飞泉图轴","此图描绘大山峻岭，云雾缥缈。山腰松林密布，草木葱茏，又有白瀑流涧，可闻水声。溪涧之上架廊桥一座，虽陂陀斜立，却有房合数间。近处古木并立，树荫浓郁，其间山庄院落隐于树林之中，山径通幽处，但闻鸟语声。作者用积墨法层层渲染山石，笔墨厚重，又“留白”以示云烟白瀑，黑白对比强烈。",[23,25,77,130,7,129,132,170,169,6161,377,193,134],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b66fa0f3b8cdccbe70dc2ab8e964d.jpg","纵273厘米，横99厘米",[138,185],{"id":6166,"slug":6167,"title":2600,"dynasty":18,"author":4788,"museum":3232,"description":6168,"tags":6169,"thumbUrl":6171,"material":136,"size":6172,"collection":138,"collections":6173,"showCount":6116,"zanCount":43,"manualWeight":43,"mainColor":44},220430,"you-gu-tu-kun-can-220430","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、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[23,25,26,7,129,28,130,269,193,132,170,173,29,6170,427,3106],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 59.21",[138,158],{"id":6175,"slug":6176,"title":6177,"dynasty":93,"author":1283,"museum":1714,"description":6178,"tags":6179,"thumbUrl":6180,"material":82,"size":100,"collection":138,"collections":6181,"showCount":6116,"zanCount":11,"manualWeight":43,"mainColor":44},219946,"xi-shan-qiu-shuang-tu-guo-xi-219946","溪山秋爽图","此作画境清旷萧疏，以高远、深远之法排布山水。左畔层岩叠起，卷云皴写出山石嶙峋肌理，苍松杂木间植崖谷，枝叶枯荣尽染秋意。右侧留白铺陈溪岸远山，淡墨晕染出空濛秋气，虚实相映，将秋日山林的辽远静穆铺展尽致。\n\n干湿笔墨相济，勾勒皴擦尽显丘壑灵秀，点染林木兼具法度。将秋山的松风漱石、溪岸的澄澈清寂融于一卷，藏着林泉高致的文人意趣，仿佛踏入画中，便可揽尽秋日山岚的高爽清逸。",[25,129,7,182,77,130,5218,272,351,170,172,4987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a1d6d39da56cd4d6711f5f61995abd.jpg",[138],{"id":6183,"slug":6184,"title":6185,"dynasty":72,"author":6186,"museum":74,"description":6187,"tags":6188,"thumbUrl":6190,"material":99,"size":6191,"collection":101,"collections":6192,"showCount":6116,"zanCount":11,"manualWeight":43,"mainColor":88},214208,"qi-yan-lv-shi-wang-feng-yuan-214208","七言律诗","王逢元","王逢元以书名于当世，或有人议其真书稍肥，而顾麟则说他庄重沉稳，没有轻浮和机巧，他有钟、王的唯一传承。周辉还说，他最早是跟王羲之和智永学习书法，晚年则是黄庭坚，王逢元用普通文字写了九首七言诗，笔触中带着山谷的气息。",[23,25,26,80,7,97,6189],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69f4760d3de1a5ad0f1c1c1aaf46d46e.jpg","81.9x38.6",[101],{"id":6194,"slug":6195,"title":2467,"dynasty":18,"author":921,"museum":331,"description":6196,"tags":6197,"thumbUrl":6198,"material":100,"size":100,"collection":100,"collections":6199,"showCount":6200,"zanCount":43,"manualWeight":43,"mainColor":88},239284,"mei-hua-zhou-wu-chang-shuo-239284","此作用篆籀笔法写梅枝，老干如铁铸横斜，运笔顿挫生辣，尽显金石古拙之趣。淡墨圈花，留白缀出冰蕊琼华，繁枝错落疏密得宜，将梅的苍劲清妍揉为一体。\n\n右侧题字笔势酣畅，与梅枝刚健呼应，笔墨浓淡相生，把傲雪凌霜的品格寄于笔端，清雅风骨与雄强笔力相融，在水墨间晕染出盎然生机与文人孤高意趣，尽显大写意花卉的淋漓意韵。",[25,26,7,77,304,392,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd96f5289d271ae643a842746503256f.jpg",[],116,{"id":6202,"slug":6203,"title":6204,"dynasty":72,"author":126,"museum":236,"description":6205,"tags":6206,"thumbUrl":6209,"material":6124,"size":6210,"collection":100,"collections":6211,"showCount":6200,"zanCount":11,"manualWeight":43,"mainColor":88},234896,"tong-yin-wan-he-tu-zhou-shen-zhou-234896","桐荫玩鹤图轴","北京故宫博物院建院90周年石渠宝笈特展（2015.9.8）首次释出，之前仅见于出版物。具体规格不详。网上找不到更多的资料。从画面上看，乾隆曾经两度题跋，可见对此画之钟爱。绘画风格属于沈周细笔青绿山水一路，表现的是文人雅士向往的闲适生活。\n沈周(1427-1509)，明代书画家。字启南，号石田、白石翁、玉田生、有竹居主人等。长洲(今江苏苏州)人。不应科举，专事诗文、书画，是明代中期文人画吴派的开创者，与文徵明、唐寅、仇英并称明四家。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。\n沈周在元明以来文人画领域有承前启后的作用。他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。 在绘画方法上，沈周早年承受家学，兼师杜琼。后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。沈周中年时成为画坛领袖，技法严谨秀丽，用笔沉着稳练，内藏筋骨。晚年时性情开朗，笔墨粗简豪放，气势雄浑。纵观沈周之绘画，技法全面，功力浑厚，在师宋元之法的基础上有自己的创造，进一步发展了文人水墨山水、花鸟画的表现技法，被誉为吴门画派之领袖。",[25,26,24,7,77,28,130,129,6207,225,132,170,29,172,6208],"桐树","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1190c5847d26b513d9f435eb7b973.jpg","纵123.8cm，横62.6cm",[],{"id":6213,"slug":6214,"title":6215,"dynasty":18,"author":318,"museum":331,"description":6216,"tags":6217,"thumbUrl":6219,"material":100,"size":100,"collection":100,"collections":6220,"showCount":6200,"zanCount":43,"manualWeight":43,"mainColor":88},230279,"yang-liu-yu-qin-tu-zhou-zhu-da-230279","杨柳浴禽图轴","《朱耷杨柳浴禽图轴》是清代朱耷创作的一幅画。\n本幅自识：“癸未冬日写，八大山人。\n”钤“八大山人”、“何园”、“真赏”印。\n“癸未”是康熙四十二年（17年）。\n鉴 ：“白门李氏珍藏”、“米舫平生之真赏”。\n裱边有狄平子题记二则，钤“狄平子”印等。\n此图是朱耷8岁所作。\n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。\n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。\n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。",[23,25,26,7,77,304,113,35,6218,151,79],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919edce87f0eaaf6b6bab59b57d7634d.jpg",[],{"id":6222,"slug":6223,"title":6224,"dynasty":18,"author":6225,"museum":236,"description":6226,"tags":6227,"thumbUrl":6228,"material":136,"size":6229,"collection":84,"collections":6230,"showCount":6200,"zanCount":656,"manualWeight":43,"mainColor":88},219285,"tao-liu-shuang-yan-tu-ren-xiong-219285","桃柳双燕图","任熊","杨柳青青随风摇曳，桃花几株隐现其中，枝头上两只燕子正欢快地嬉戏。画家巧妙地通过弯曲的柳条和燕子的上下飞舞增加了画面的动感，暗示出轻拂花柳的春风。画面风貌写实，设色明丽，色彩对比柔和，桃花在柳条间若隐若现，成为画面中最明丽的亮点，可见画家在色彩运用上的娴熟技艺。",[23,25,28,113,7,498,1126,3858],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f133d7080974e75316cc983e4b2b15.jpg","纵140.7厘米，横32.7厘米",[84],{"id":6232,"slug":6233,"title":6234,"dynasty":18,"author":921,"museum":236,"description":4182,"tags":6235,"thumbUrl":6236,"material":4185,"size":4186,"collection":84,"collections":6237,"showCount":6238,"zanCount":11,"manualWeight":43,"mainColor":88},236754,"mu-dan-shui-xian-tu-zhou-wu-chang-shuo-236754","牡丹水仙图轴",[25,7,77,304,114,924,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e4f3d78148a5c14ce790f58f1d5d01.jpg",[84,185],115,{"id":6240,"slug":6241,"title":6242,"dynasty":72,"author":424,"museum":147,"description":6243,"tags":6244,"thumbUrl":6247,"material":136,"size":100,"collection":138,"collections":6248,"showCount":6238,"zanCount":11,"manualWeight":43,"mainColor":44},220428,"you-jian-zhuo-zu-tu-wen-zheng-ming-220428","幽涧濯足图","图绘深山幽涧，高士濯足涤俗。山石皴法不作奇峭之笔，徐徐擦出，崖上之树叶全用细笔点染，全幅清气出尘，观之使人爽然。",[23,24,25,26,7,28,129,29,170,351,6245,193,427,130,6246,79],"洞穴","苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6ce959c12441f921b6cc387711c038.jpg",[138,39,158],{"id":6250,"slug":6251,"title":6252,"dynasty":93,"author":5127,"museum":6253,"description":6254,"tags":6255,"thumbUrl":6256,"material":82,"size":6257,"collection":185,"collections":6258,"showCount":6238,"zanCount":11,"manualWeight":43,"mainColor":88},219188,"liu-zu-si-jing-tu-liang-kai-219188","六祖撕经图","三井纪念美术馆","画面上六祖慧能大师手拿撕坏的佛经， 疾步狂呼，张着脖子歇斯底里的模样。 画家把六祖藐视宗教旧传统时这种玩世不恭的狂态，用干枯的焦墨勾线表现得淋漓尽致。画面笔触方折细劲，僧衣用线简括削劲，松针、树枝用笔爽利干净，眉眼五官和经卷则以淡墨略作勾画，六祖慧能撕经时狂颠和玩世不恭的神态已跃然纸上。",[23,25,26,24,7,77,5130,29,521,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8195d6c6a142b8cfd17fc7dbb04a9365.jpg","70x30.3厘米",[185],{"id":6260,"slug":6261,"title":4103,"dynasty":18,"author":50,"museum":319,"description":6262,"tags":6263,"thumbUrl":6264,"material":37,"size":6265,"collection":84,"collections":6266,"showCount":6238,"zanCount":43,"manualWeight":43,"mainColor":44},216675,"zhu-que-tu-yi-ming-216675","竹雀图是一幅出自清朝佚名画家之手的名画。这幅画描绘了一只竹雀和一些竹子的景象。竹雀图以其细腻的线条和精确的造型而闻名，代表了清朝时期中国画的高超技艺。此外，竹雀图还被认为是一幅充满寓意的画作，象征着含蓄、谦虚和高尚的品质。",[25,26,7,28,27,113,31,115,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af219407ce773a050075d6ae42b557d.jpg","128x29cm",[84],{"id":6268,"slug":6269,"title":6270,"dynasty":72,"author":6271,"museum":74,"description":6272,"tags":6273,"thumbUrl":6274,"material":82,"size":6275,"collection":101,"collections":6276,"showCount":6238,"zanCount":43,"manualWeight":43,"mainColor":88},214214,"wu-yan-gu-shi-chen-bi-214214","五言古詩","陈壁","陈壁（1558-1639），字公达，号文澜、西池，明朝时期的诗人。他的五言古诗被誉为“十八岛古诗王”之一，其中许多作品堪称名篇。\n\n其中一首著名的五言古诗是《游子吟》：\n海客谈瀛洲，烟涛微茫信难求。\n孤舟蓑笠翁，独钓寒江雪。\n平生不会多情，才自遣寂寞。\n更喜岸上见，但见断桥残雪。\n\n这首诗描写了一位海客在瀛洲（古代海防城市）呆久而长，见识广阔，但却常感孤独和寂寞。诗人用游子的视角，借用独钓寒江雪的形象，抒发出对家乡的思念之情。《游子吟》的悠远抒情，流传至今，堪称陈壁五言古诗的代表作之一。",[23,80,305,77,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683b97161e9063aaa5f65669f455b1e5.jpg","93x35.6",[101],{"id":6278,"slug":6279,"title":6280,"dynasty":18,"author":50,"museum":331,"description":6281,"tags":6282,"thumbUrl":6286,"material":198,"size":780,"collection":100,"collections":6287,"showCount":6288,"zanCount":43,"manualWeight":43,"mainColor":88},234412,"qing-ren-lv-cai-shen-xiang-zhou-yi-ming-234412","清人绿财神像轴","画面核心的绿财神身覆翠色，忿怒面容暗含慈悲，踞坐白狮宝座，宝冠披帛华丽庄严，尽显护法尊神的威仪。虚空云海间环布诸位化现圣尊，层次分明；下方雪域山林间，信众牵驼持礼，列队朝奉，烟火供品俱全，融肃穆神性与鲜活世情于一体。\n\n以矿物彩料敷色，青蓝底色衬得诸像明丽厚重，铁线描流畅勾勒衣袂飘逸、瑞兽雄健，精准恪守藏传造像仪轨，又以细腻笔触铺陈出佛国盛景，尽显清代藏式唐卡富丽庄严的独特风韵。",[25,7,268,28,27,54,29,241,6283,196,6284,151,335,129,6285,34],"大象","狮子","供品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51485349796cab9064d6a260e9da4fb8.jpg",[],114,{"id":6290,"slug":6291,"title":6292,"dynasty":207,"author":1981,"museum":74,"description":6293,"tags":6294,"thumbUrl":6295,"material":255,"size":6296,"collection":138,"collections":6297,"showCount":6288,"zanCount":11,"manualWeight":43,"mainColor":88},221759,"qiu-jiang-dai-du-tu-zhou-sheng-mao-221759","秋江待渡图轴","《秋江待渡图》以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。\n盛懋创作山水画大多采用深远法、或是高远法，画作清淡素雅，笔法笔墨却也显得较为圆熟。《秋江待渡图》以其浓淡交融的笔墨展现了极为幽静的远山近水景致，构图均衡，树木近景与远山远景形成了上下两段景致，看上去隔着成片留出“空白”的江水却也没有绝然分开的感觉。",[23,25,77,130,7,80,129,170,132,349,151,523,522,5682,1742,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83624ed7642a9ada118ca442a0f4a1e.jpg","纵112.5厘米，横46.3厘米",[138,185],{"id":6299,"slug":6300,"title":6301,"dynasty":207,"author":6302,"museum":1083,"description":6303,"tags":6304,"thumbUrl":6306,"material":6307,"size":6308,"collection":84,"collections":6309,"showCount":6288,"zanCount":43,"manualWeight":43,"mainColor":44},221738,"jia-shang-ying-tu-xu-ze-221738","架上鹰图","徐泽","画面中一只矫健的雄鹰站于鹰架之上，两只脚由绳子捆绑，这只鹰虽失去翱翔天空的自由但仍有鸟中之王的戾气，羽毛勾画细致，体现极好的层次感，架子上的红色的横梁色彩艳丽装饰华丽，图案搭配带有一种宫廷气息。",[23,25,26,24,7,27,28,241,1488,6305],"架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faefa9aab2caa303b4a77c9061c22fdcf.jpg","绢本设色.","51.9cmx78.6cm.",[84,158],{"id":6311,"slug":6312,"title":6313,"dynasty":72,"author":6314,"museum":74,"description":6315,"tags":6316,"thumbUrl":6318,"material":136,"size":6319,"collection":39,"collections":6320,"showCount":6288,"zanCount":11,"manualWeight":43,"mainColor":44},219385,"xi-yuan-ya-ji-tu-cheng-zhong-jian-219385","西园雅集图","程仲坚","此幅是众多描绘“西园雅集”图画中明代画家所作的一幅，风格近仇英、文徵明，谨细处又似尤求。",[25,28,27,7,29,129,377,378,601,6317,239,79],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ead328f10838a1cb7f0ad0266a9ac3.jpg","117.4 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馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[25,28,113,7,27,6346,536,4089,6347],"翎毛","枝蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd890e2f692a2d99201f17f205a6278b8.jpg","149 x 61 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叶果实又仿效徐崇嗣的“没骨”画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,24,25,26,7,27,28,113,31,600,6384,287,291],"虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caf6fb1a56d046b3a504e74b2fa9ef8.jpg","轴，绢本设色","纵99 4厘米，横54 2厘米",[157,158,702],{"id":6390,"slug":6391,"title":6392,"dynasty":993,"author":4206,"museum":74,"description":6393,"tags":6394,"thumbUrl":6395,"material":37,"size":6396,"collection":39,"collections":6397,"showCount":6339,"zanCount":11,"manualWeight":43,"mainColor":44},221114,"yan-le-tu-zhou-zhou-fang-221114","演乐图轴","大松下五位士人围长案雅聚，童子张琴，仕女抱阮或备茶，人物器用俱以中锋细笔钩勒，顿起顿收，转折挺劲，如画树的枝桠。画上无作者款印，旧传周昉作。按周昉（活动于八世纪末）是陕西长安人，唐代著名人物画家，画史称其人物善于刻画个别的性格，并能掌握特定环境下的情态。本幅构图似是取自其他作品拼凑而成，如士人围坐的构图便是摹仿传世十八学士的一段。",[23,25,26,7,27,28,29,777,427,151,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21b1bfe7ff31574b4855b09db89917a.jpg","165.6x84.4",[39,158],{"id":6399,"slug":6400,"title":6401,"dynasty":93,"author":6402,"museum":6403,"description":6404,"tags":6405,"thumbUrl":6406,"material":37,"size":6407,"collection":157,"collections":6408,"showCount":6339,"zanCount":656,"manualWeight":43,"mainColor":44},220122,"shi-liu-luo-han-tu-di-er-zun-zhe-jin-da-shou-220122","十六罗汉图-第二尊者","金大受","日本东京国立博物馆","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,24,25,26,7,28,27,54,29,4209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3ad92414ef1bcdc9e61d67eae92da0.jpg","118.8×51.7cm",[157,39],{"id":6410,"slug":6411,"title":818,"dynasty":72,"author":6412,"museum":236,"description":6413,"tags":6414,"thumbUrl":6415,"material":37,"size":6416,"collection":138,"collections":6417,"showCount":6339,"zanCount":11,"manualWeight":43,"mainColor":88},218515,"shan-shui-tu-du-qiong-218515","杜琼","画幅右上画家自题：“余尝写此境为有趣，适陈孟贤、郑德辉二公相访见之。孟贤曰，此幅可，郑公盍求诸？德辉略无健羡之色。孟贤强之，乃启言，予不敢靳也。德辉廉静寡欲，于物无所嗜好，使王维、吴道玄复生亦无所爱，此其所以能养其德也。夫以心之玩好，乃学者之病，观于德辉，则有以警于人人哉！景泰五年甲戌岁上元日，杜琼书。”题跋前钤白文“古心”、朱文“旌节名门”印，题跋后钤朱文“杜氏用嘉”、白文“东原耕者”、朱文“持敬观理”印。画面右下方有白文“陶情写意”印。\n此画作于明景泰五年（1454年），杜琼时年59岁。图中山峰耸峙，层峦迭嶂，弯曲的河流将画面中下部的山峰隔为两段，画面右下山谷林木间有山庄草亭，一文士正在草亭中读书；桥上有一拄杖文士携童子向山庄走来。该幅构图饱满，山石用圆润细密的披麻皴，浓墨点苔，系画家仿元王蒙风格而出新意的代表作之一。杜琼学王蒙颇有心得，他在52岁时作的《萝萱堂水墨山水》中就自题云：“余学黄鹤（王蒙号）最精。”顾复评价他于正统年间所作的《对泉图》时也称他“学叔明（王蒙字）能脱塞实之习，自然高雅”。",[23,24,25,26,7,77,28,130,129,134,193,170,132,29,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15565c9a8c4a1de8ad94b72defc1db1d.jpg","纵122.4厘米，横38.9厘米",[138],{"id":6419,"slug":6420,"title":4135,"dynasty":18,"author":318,"museum":331,"description":4136,"tags":6421,"thumbUrl":6422,"material":198,"size":780,"collection":100,"collections":6423,"showCount":6424,"zanCount":43,"manualWeight":43,"mainColor":88},288642,"gu-mu-shuang-ying-tu-zhu-da-288642",[25,77,113,7,1488,152,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fee060243313bb3c67fb5a481c6693.jpg",[],112,{"id":6426,"slug":6427,"title":6428,"dynasty":283,"author":6429,"museum":331,"description":6430,"tags":6431,"thumbUrl":6434,"material":198,"size":780,"collection":100,"collections":6435,"showCount":6424,"zanCount":43,"manualWeight":43,"mainColor":88},283788,"shuang-gou-zhi-lan-tu-lai-chu-sheng-283788","双钩芝兰图","来楚生","此作兼工带写，朱砂点染灵芝，秾丽鲜活，似凝着朝露生机。双钩兰叶以清劲线条勾勒，舒展挺拔，柔韧芝草与挺秀兰叶相映成趣。灵石以淡赭晕染、墨色皴擦，写意空灵，与花草形成刚柔对照。\n左上题字古拙朴茂，笔墨苍劲，书画相融，将祥瑞芝草与清雅幽兰相合，跳出题材俗套，尽显清隽雅致的文人意趣，笔底带着金石韵味，雅致脱俗，是写意与工致的绝佳融合。",[25,26,7,28,6432,27,1592,4370,6433,35,80,79],"双钩","兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b3761fd32db867ee4ee6f60d14068ee.jpg",[],{"id":6437,"slug":6438,"title":6439,"dynasty":18,"author":921,"museum":236,"description":6440,"tags":6441,"thumbUrl":6443,"material":1573,"size":4186,"collection":100,"collections":6444,"showCount":6424,"zanCount":11,"manualWeight":43,"mainColor":88},233730,"tian-zhu-shui-xian-tu-zhou-wu-chang-shuo-233730","天竺水仙图轴","此图又名《群仙祝寿》。图绘天竺、水仙。构图颇具匠心，水仙顺坡生长取斜势，而参差错落的天竺直、斜之姿兼备，使画面富于变化，情趣盎然。水仙的叶片以墨笔勾线，石绿填色，浓厚的色彩增添了鲜活的生机；高挑的天竺则以写实手法点染而成，其艳丽的嫣红色与水仙的绿色形成冷暖色调的对比，色彩明亮却不俗艳。此作是吴昌硕花卉画的代表作之一。\n天竺、水仙均有长寿之意，且谐“诸仙”之音，是寿意画的常用题材。范湖居士即周闲（1820-1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人。晚清上海重要画家，精于水墨花卉，与任熊、任颐、吴昌硕等相友善。图题“拟范湖居士”，可知此图有借鉴周氏之处。",[25,26,7,113,304,28,77,6442,924,57],"天竺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0176a3a4253556702b5d4630221776.jpg",[],{"id":6446,"slug":6447,"title":6448,"dynasty":72,"author":264,"museum":74,"description":6449,"tags":6450,"thumbUrl":6452,"material":37,"size":6453,"collection":138,"collections":6454,"showCount":6424,"zanCount":656,"manualWeight":43,"mainColor":44},222204,"qiu-jiang-dai-du-zhou-chou-ying-222204","秋江待渡轴","此幅用笔极工，盖实父着意之作也。画未署款，惟石角水陬，分钤三印。竹树双钩，如唐人小楷，笔笔尽法。山石带皴带砍，要与斧劈为近，重而不滞，轻而不浮。点景人物，尤尽传神之妙。有项元汴，安岐藏印。",[23,24,25,26,7,28,27,130,129,29,2906,349,6451,132,170,3631],"秋树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d22204dd46057a8ac8e4dd002a40813.jpg","155.4x133.4公分",[138,158],{"id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[1] 此画用墨饱满，笔法简炼雄劲",[23,24,25,26,7,77,130,129,132,193,169,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7d65425f3d01c20799553de0d51c58.jpg",[],{"id":6578,"slug":6579,"title":6580,"dynasty":18,"author":921,"museum":236,"description":2915,"tags":6581,"thumbUrl":6582,"material":100,"size":100,"collection":100,"collections":6583,"showCount":6561,"zanCount":419,"manualWeight":43,"mainColor":88},233716,"wu-jun-qing-ju-hua-zhou-wu-chang-shuo-233716","吴俊卿菊花轴",[24,25,26,7,28,77,113,440,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9483dd71a4d1eb87931ea04b659d34.jpg",[],{"id":6585,"slug":6586,"title":6587,"dynasty":207,"author":1981,"museum":624,"description":6588,"tags":6589,"thumbUrl":6590,"material":1218,"size":6591,"collection":138,"collections":6592,"showCount":6561,"zanCount":656,"manualWeight":43,"mainColor":44},221754,"shan-ju-na-liang-tu-zhou-sheng-mao-221754","山居纳凉图轴","《山居纳凉图》用笔工细严谨，如果没有印鉴放入一堆宋画中很难识别。盛懋的父亲就是职业画家，自小盛懋就受到严格的技法训练，尤其是董源和巨然二人的作品更是熟烂于胸。从这一点看，盛懋并不排斥文人画的风格。\n《山居纳凉图》采用传统的三段式构图，中景处添加了大量烟云，在肃穆中增添了活泼的感觉。作为一名职业画家，很重视作品中的通俗性，在创作中喜欢加入故事性元素拉近与欣赏者的距离。画中有一座水阁临泉而建，四面通风，浓荫遮日。尤其是水阁中的雅士身着薄纱，袒胸露腹，画出了世人对雅士的共同印象——洒脱不羁。在用色上，盛懋为了突出青绿山水的装饰性美感，山中密林也精细勾染一丝不苟，让整幅作品在雅致中带有一种富贵气息。这样的作品从技法层面实在挑不出一点毛病。\n欣赏盛懋的作品就可以感受到他是一个认真的人，如此大的一幅山水不露败笔，没有数十年的苦练是无法做到的。不过按照文人画的审美标准来看，这就是盛懋最大的问题。他的画缺少了写的成分，缺少了意趣流露，仅仅是忠于技法，不敢打破严谨的章法。有的时候太认真也成了毛病，这就是绘画最微妙的地方，多了溢出，少了不足，不多不少的时候还要来点儿天然意蕴。",[23,25,26,7,28,130,129,377,349,170,132,29,193,1717,271,778],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ea5388f9614fe1ee0b4705a3c3810e.jpg","31.27×261.62厘米",[138,158],{"id":6594,"slug":6595,"title":6596,"dynasty":207,"author":2386,"museum":236,"description":6597,"tags":6598,"thumbUrl":6602,"material":1320,"size":6603,"collection":39,"collections":6604,"showCount":6561,"zanCount":11,"manualWeight":43,"mainColor":44},220886,"zhu-ge-liang-xiang-zhou-zhao-meng-fu-220886","诸葛亮像轴","绘诸葛亮手持如意，凭隐囊而坐。隐囊的渊源在印度，汉译佛经中名作丹枕或倚枕，系印度上流社会日常生活中的习用之具。丹枕很早就进入中土（中原），传播时改名为隐囊。此图像中的隐囊既有图式相因的成分，也有着生活中的真实为依凭。",[23,25,26,7,28,27,29,79,6599,6600,6601],"衣冠","床榻","鞋履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff49140761c7111aa118768ff034947.jpg","纵208.4厘米,横100.6厘米",[39,158],{"id":6606,"slug":6607,"title":6608,"dynasty":207,"author":50,"museum":74,"description":6609,"tags":6610,"thumbUrl":6612,"material":136,"size":6613,"collection":84,"collections":6614,"showCount":6561,"zanCount":43,"manualWeight":43,"mainColor":88},218857,"yu-zao-tu-yi-ming-218857","鱼藻图","画面中一尾大鱼沉稳游弋，墨色斑驳的鳞纹如晕染的云影，鱼鳍轻摆间似漾开圈圈水纹。下方小鱼灵动活泼，细密银鳞在淡墨水面闪着微光。浮萍点点、水草疏疏，淡赭底色衬得画面清润雅致。笔墨兼具写实与写意，线条勾勒精准生动，晕染层次细腻，将水中生灵的悠然自得与水域的静谧空濛完美融合。观之如临清池，心随鱼游，尽显元代画作对自然生机的诗意捕捉，顿生悠然忘俗之趣。",[25,27,28,79,7,935,308,6611,4461],"藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19a2581b51df18cea45a78fb632c9d0.jpg","141.9x59.6cm",[84],{"id":6616,"slug":6617,"title":6618,"dynasty":93,"author":50,"museum":6619,"description":6620,"tags":6621,"thumbUrl":6622,"material":37,"size":100,"collection":39,"collections":6623,"showCount":6561,"zanCount":419,"manualWeight":43,"mainColor":342},218475,"e-mi-tuo-fo-san-zun-xiang-yi-ming-218475","阿弥陀佛三尊像","九州国立博物馆","画面以中央佛尊为核心，两侧胁侍菩萨对称而立，构图均衡庄重。佛身袈裟朱红浓艳，衣纹流转间尽显织物纹理的细腻；菩萨璎珞垂坠、披帛飘拂，纹饰繁复却不失灵动，每一处线条皆勾勒得精准雅致。背景莲座层叠，祥云萦绕，色调古雅沉敛，与主体鲜明色彩形成微妙平衡。整幅画作既流露宗教造像的肃穆神圣，又通过衣饰细节刻画，传递宋代艺术对质感与韵律的极致追求，仿佛能让人触摸到那份跨越时空的宁静慈悲。",[25,54,29,28,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b2174681840b9c33a3c7c2fedd82bbe.jpg",[39],{"id":6625,"slug":6626,"title":6627,"dynasty":207,"author":50,"museum":147,"description":6628,"tags":6629,"thumbUrl":6630,"material":37,"size":6631,"collection":39,"collections":6632,"showCount":6561,"zanCount":43,"manualWeight":43,"mainColor":44},218322,"di-shi-san-luo-han-yin-jie-tuo-yi-ming-218322","第十三罗汉因揭陀","铭文表明，这是一套16罗汉中的第13罗汉，其余的已经没有了。笔法工整，颜料精致，是刘墉的遗作。我们不知道灵芝上的苔藓裂纹是否是独一无二的，还是因为绿色石头的失色而造成的。",[23,25,26,7,28,27,54,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71bf7fa5ae17cb049fe8365b643e0e.jpg","126x61.5",[39],{"id":6634,"slug":6635,"title":6636,"dynasty":18,"author":559,"museum":331,"description":4275,"tags":6637,"thumbUrl":6639,"material":198,"size":780,"collection":100,"collections":6640,"showCount":6641,"zanCount":656,"manualWeight":43,"mainColor":88},289748,"li-hua-ye-yue-tu-zhou-zou-yi-gui-289748","梨花夜月图轴",[25,24,7,27,28,113,6638,59,79],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff5dcc5f61ef2890fee967d4bf94603b.jpg",[],108,{"id":6643,"slug":6644,"title":6645,"dynasty":93,"author":5127,"museum":331,"description":6646,"tags":6647,"thumbUrl":6649,"material":198,"size":780,"collection":100,"collections":6650,"showCount":6641,"zanCount":419,"manualWeight":43,"mainColor":88},289727,"li-bai-xing-yin-tu-liang-kai-289727","李白行吟图","该图描绘了李白的形象，作者梁楷在画面上没有任何背景，只用寥寥数笔画出李白飘飘欲仙，冉冉欲举的形象。他不同于屈原行吟式的忧愤，也不同于杜甫行吟式的深沉，而是浪漫欹侧，嬉笑怒斥的“诗仙”。",[23,24,25,77,29,7,79,304,6648],"行吟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba1e42d1fc4ad5f1a90454310803462.jpg",[],{"id":6652,"slug":6653,"title":6654,"dynasty":18,"aut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—1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[23,25,26,7,27,130,28,129,3880,377,378,196,29,134,169,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[157,138,158],{"id":6825,"slug":6826,"title":3241,"dynasty":18,"author":1123,"museum":74,"description":6827,"tags":6828,"thumbUrl":6829,"material":255,"size":6830,"collection":185,"collections":6831,"showCount":6787,"zanCount":43,"manualWeight":43,"mainColor":704},220994,"zhu-shi-tu-zhou-yun-shou-ping-220994","图绘湖石一块，呈山字型耸立，边缘以浓墨点缀，棱角坚锐；后侧的一丛竹子杆直修长，以没骨法淡墨绘竹叶微微右倾，似敷上一层薄薄的寒霜；地面杂草数丛，霜后渐以枯败。虽为深秋初冬之时，但画面错落有致，清新自然。",[23,25,7,77,31,601,1275,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1acd4f20c3b94cb797c72d0233bd11.jpg","141x74cm",[185,702],{"id":6833,"slug":6834,"title":6835,"dynasty":207,"author":208,"museum":51,"description":6836,"tags":6837,"thumbUrl":6838,"material":136,"size":6839,"collection":138,"collections":6840,"showCount":6787,"zanCount":11,"manualWeight":43,"mainColor":44},220427,"su-an-tu-wang-meng-220427","素庵图","作品布局层峦耸峙，岭头山体突兀而拙实，不为奇巧。近坡老松相映，林间草堂呈“四合院”状。全图气象峥嵘，突现山脚下的草堂。此图为精致优雅的浅绛山水画，明净苍秀，在王蒙轴幅作品中较少见。其妙处在两崖逼而为瀑，瀑泉由上而下，长短相间，气贯全幅。\n此图石法用云头皴，不同于《春山读书图》用单纯的解索皴法，也不同于《青卞隐居图》之融数家皴法于一体。黄宾虹评其“笔力劲利而无怒张之态，墨气酣厚而无痴肥之病”，幽深高淡之趣流露于画面之外。观此秋景，又使人联想到吴渔山所说的王蒙浅绛山水“霜红林密，笔笔生动”的特色。王蒙秋景画法较大痴浅绛用色偏重，其近景树干用朱砂点苔，为其他着色山水所未见，另有一番典雅清新别致的审美效果。图中人物及小鹿、仙鹤，造型虽小，皆笔简形具，耐人寻味。图上以小篆题“素庵图”三字，后两行署“黄鹤山樵王蒙为素庵高士画”，笔致雅拙，趣味高古，与画面形成相得益彰的艺术效果。",[23,25,26,24,7,77,28,129,269,193,170,132,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2c770848d5adacc5affe77c66ce6a4.jpg","纵136cm，横45cm",[138,158],{"id":6842,"slug":6843,"title":6844,"dynasty":72,"author":50,"museum":147,"description":6845,"tags":6846,"thumbUrl":6847,"material":37,"size":6848,"collection":39,"collections":6849,"showCount":6787,"zanCount":11,"manualWeight":43,"mainColor":44},219569,"xian-nv-feng-huang-tu-yi-ming-219569","仙女凤凰图","仕女身姿柔婉，高髻簪饰，曳地长裙衣带萦回，袂角随风轻扬，仪态娴静端雅，尽是闺秀仙姿。身旁凤凰翎毛苍劲蓬松，写意笔法朴拙大气，与仕女衣纹的细劲铁线描相映成趣。浅淡设色融于古旧绢底，晕染出幽渺古雅的氛围感，仙姝伴灵禽，似正欲乘鸾凌云，缥缈出尘。\n\n笔墨兼具工写之妙，仕女沉静柔婉，凤凰灵动苍健，动静相生，将世外仙乡的清隽逸气凝于尺幅之间，尽显雅致出尘的古典意韵。",[23,25,26,985,28,29,6504,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5aad1fb6eda19289875db3f46e21ef8.jpg","146.8x94.5厘米",[39],{"id":6851,"slug":6852,"title":6853,"dynasty":93,"author":3391,"museum":331,"description":6854,"tags":6855,"thumbUrl":6856,"material":37,"size":6857,"collection":157,"collections":6858,"showCount":6787,"zanCount":43,"manualWeight":43,"mainColor":44},219006,"song-yin-xian-zuo-tu-li-song-219006","松荫闲坐图","苍松覆荫，烟岚轻笼远山，黛色隐于薄雾间。近树虬枝盘曲，叶色深浓如墨，似将尘嚣隔绝。林间空地上，一人闲坐石畔，或凝思或望远，身旁童子悄然侍立，动静相衬，幽趣自生。\n\n笔墨简淡却意韵悠长：山石以斧劈皴略施渲染，显峻秀之态；树木枝干苍劲，线条灵动如舞。整幅画于静谧中藏生机，简远中见雅致，恰是宋人山水小品里“天人合一”的写照——将文人寄情林泉、超然物外的心绪，融于每一笔墨、每一处留白，读来如沐清风，心向往之。",[23,25,26,7,77,130,129,427,484,131,29,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70413899e21118c8e47102d3e86827c9.jpg","118x57",[157],{"id":6860,"slug":6861,"title":6862,"dynasty":18,"author":2330,"museum":74,"description":6863,"tags":6864,"thumbUrl":6866,"material":37,"size":6867,"collection":84,"collections":6868,"showCount":6787,"zanCount":11,"manualWeight":43,"mainColor":44},218778,"si-rui-qing-deng-tu-jiang-ting-xi-218778","四瑞庆登图","蒋廷锡（西元一六六九－一七三二年），江苏常熟人。字扬孙，号酉君，又号西谷。官至文华殿大学士，工画花卉草虫，以逸笔写生，没骨花鸟画继承恽寿平风格。\n画两棵高梁结满穗粒，并点缀有白头翁、菊花和泉石。画法承恽氏之风，虽用笔工致，但不板滞，兼有写生之趣。此时蒋氏五十五岁，调任礼部侍郎，同年又调任户部。蒋氏鲜少在画上落款处加官职，此图以端正楷书写上礼部右侍郎等字，应是应制之作。而四瑞写各种祥瑞事物，应是称颂雍正皇帝继承帝位是顺天应民之意。",[25,28,27,113,7,115,151,6865,57,1625,79],"高粱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73b7e62a8dadfcb098962fa2d8a6e8a.jpg","185.2x87.2cm",[84],{"id":6870,"slug":6871,"title":6872,"dynasty":72,"author":301,"museum":331,"description":4071,"tags":6873,"thumbUrl":6874,"material":198,"size":780,"collection":100,"collections":6875,"showCount":6876,"zanCount":419,"manualWeight":43,"mainColor":88},290557,"mu-dan-zhou-xu-wei-290557","牡丹轴",[25,7,77,26,113,114,31,35,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9487283bab61d433f887641040f025a9.jpg",[],105,{"id":6878,"slug":6879,"title":6880,"dynasty":18,"author":1123,"museum":74,"description":6881,"tags":6882,"thumbUrl":6883,"material":1218,"size":6884,"collection":100,"collections":6885,"showCount":6876,"zanCount":11,"manualWeight":43,"mainColor":88},232677,"dong-li-qiu-se-tu-yun-shou-ping-232677","东篱秋色图","恽寿平(1633~1690)，初名格，字寿平，后以字行，更字正叔，号南田、云溪外史、东园生，晚年又号白云外史、瓯香散人。善画山水、花卉。早年画山水，取法元、五代大家。中年后以画花卉为主，自创一种名为“仿北宋徐崇嗣”的没骨花卉画法，即以潇洒秀逸的用笔直接点蘸敷染而成。这种画法独开生面，风靡一时。其山水画创作亦从未间断，有很高成就，笔墨灵秀，以神韵、情趣取胜。作品有《晴川揽胜图轴》、《设色花卉册》、《花果图册》等。",[472,25,26,7,113,536,28,1593,1625,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e5c11e2567494e206962fa4dbf026f.jpg","107.6x54.5厘米",[],{"id":6887,"slug":6888,"title":6889,"dynasty":18,"author":1048,"museum":331,"description":1049,"tags":6890,"thumbUrl":6891,"material":255,"size":100,"collection":84,"collections":6892,"showCount":6876,"zanCount":11,"manualWeight":43,"mainColor":88},223301,"zhu-shi-tu-zhou-3-zheng-ban-qiao-223301","竹石图轴3",[23,25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这是赵孟頫关于绘画与书法笔墨相通之理论的名句，对后世文人画的影响至深。",[23,25,26,7,77,130,97,79,131,35,31,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c43af0a92bd0ec53908bd0fc414eb3.jpg","纵27.5厘米，横62.8厘米",[185,702],{"id":6913,"slug":6914,"title":6915,"dynasty":283,"author":6916,"museum":6917,"description":6918,"tags":6919,"thumbUrl":6920,"material":6921,"size":100,"collection":100,"collections":6922,"showCount":6876,"zanCount":43,"manualWeight":43,"mainColor":88},220579,"fu-chun-jiang-feng-guang-huang-bin-hong-220579","富春江风光","黄宾虹","Smithsonian's National Museum of Asian Art","此作以渴笔焦墨写层叠峰峦，苍劲朴拙，云烟留白虚实相生，铺展出山居的清幽深远。近景村居错落隐于林木间，扁舟泛江，野趣盎然。题画诗与笔墨浑然一体，浑厚华滋中带着疏朗灵秀，将山水静穆与生机相融，尽显山川浑厚、草木华滋的典型风貌。黑密厚重的积墨之法，勾勒江峰奇崛挺拔，留白处氤氲水汽，整幅画刚柔并济，于朴茂中见秀逸，藏万千丘壑于尺幅间，将山水的幽隽诗意娓娓道来，笔底晕染出静谧悠然的山居意趣。",[25,77,130,129,349,377,170,132,193,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a79877bcd55fa426bfd1b6ba2533842.jpg","Ink and color on paper",[],{"id":6924,"slug":6925,"title":6926,"dynasty":18,"author":2250,"museum":74,"description":6084,"tags":6927,"thumbUrl":6928,"material":136,"size":6088,"collection":100,"collections":6929,"showCount":6876,"zanCount":11,"manualWeight":43,"mainColor":88},220332,"cao-chong-hua-hui-hu-shi-si-ping-ling-xiao-ju-lian-220332","草虫花卉湖石四屏-凌霄",[23,25,24,7,28,27,114,3475,35,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c30eb79bde7328d62f40006fb6c480.jpg",[],{"id":6931,"slug":6932,"title":6933,"dynasty":93,"author":481,"museum":319,"description":6934,"tags":6935,"thumbUrl":6936,"material":37,"size":100,"collection":138,"collections":6937,"showCount":6876,"zanCount":11,"manualWeight":43,"mainColor":342},218584,"tao-hua-chun-shui-tu-ma-yuan-218584","桃花春水图","春波漾开绢本的暖褐底色，山影如黛晕染天边。几树桃枝轻绽，粉蕊隐在苍松与杂树间，似有若无的艳色，恰衬出春水的清寂。近坡散卧的石群、浅滩上的细浪，与远景淡墨勾勒的峰峦虚实相映，留白处尽是烟波浩渺的余韵。笔墨简劲，山石斧劈皴显刚健，松枝如屈铁见骨力，却在水纹轻描中柔化棱角，刚柔相济。整幅画如清绝小令，不肆铺张，却将春日温润与山水悠远藏进每一处笔墨转折，读来心尖漫过淡淡春愁与旷远，余味绵长。",[25,24,26,129,28,130,7,252,56,253,498,193,1571,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3487685dfafca30f80a992cf8814f4dd.jpg",[138],{"id":6939,"slug":6940,"title":6941,"dynasty":18,"author":6942,"museum":331,"description":6943,"tags":6944,"thumbUrl":6949,"material":198,"size":780,"collection":100,"collections":6950,"showCount":6951,"zanCount":11,"manualWeight":43,"mainColor":44},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。",[24,25,7,28,27,1157,29,269,6945,1932,6946,5902,79,6947,6948],"宅院","欢庆","岁朝","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf8387fdb8f15f8876fbb2dd7fcc6d29.jpg",[],104,{"id":6953,"slug":6954,"title":6955,"dynasty":207,"author":1432,"museum":331,"description":6956,"tags":6957,"thumbUrl":6958,"material":198,"size":780,"collection":100,"collections":6959,"showCount":6951,"zanCount":43,"manualWeight":43,"mainColor":88},290097,"xi-shan-cao-ge-tu-huang-gong-wang-290097","溪山草阁图","近景左侧横出小坡，岸边立一小亭伫於溪面。中景水道曲折蜿蜒，两旁碎石、平台、坡坨层层相叠，於远景处垒为巨大高耸之山体，一侧可见峭壁陡立，山石间点缀丛密林木，颇显生趣。 此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[24,25,26,7,77,130,129,377,134,193,131,132,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca990138a4223e81ac3c0c9c1ee55fd7.jpg",[],{"id":6961,"slug":6962,"title":6963,"dynasty":18,"author":235,"museum":331,"description":6964,"tags":6965,"thumbUrl":6966,"material":100,"size":100,"collection":100,"collections":6967,"showCount":6951,"zanCount":43,"manualWeight":43,"mainColor":88},230120,"ping-lan-shang-he-tu-ren-yi-230120","凭栏赏荷图","《任伯年绘画作品图录》是 27年5月1日出版的图书，由任伯年编著。\n出版社: ; 第1版 (27年5月1日) ISBN: 755441 条形码: 尺寸: 22.2 7.5 cm 重量: .9 Kg 《任伯年绘画作品图录(套装上下卷)》内容简介：任伯年的艺术像海派诸家一样，以个性鲜明的艺术风貌反映了怫郁昂藏而又充满生机的时代气息，一变晚清文人画家笔下的雅人高致、陈陈相因与不食人间烟火，作品立意由出世而入世，艺术趣味由雅转“俗”，艺术形式由千篇一律而化为多姿多彩。\n他的艺术风格生动雅丽，明快清新，既不同于赵之谦的朴茂道艳，虚谷的冷隽超逸，也有别于吴昌硕的苍浑醇厚，加以多能兼善，题材广泛，意趣盎然，技艺超妙，诗情洋溢，某些人物画更是寄托深远，所以生前身后，声誉极高，一直被认为是海派的重要代表之一。\n《任伯年绘画作品图录(套装上下卷)(上卷)》目录： 1865年 乙丑 1.仕女图 1866年 丙寅 2.小浃江话别图 .悔花仕女图 1867年 丁卯 4.松下问道图 5.孔雀牡丹图 6. 7.范湖居士六十八岁小像 8.授书图 9.四李人物屏之一 1.四季人物屏之二 11.四季人物屏之三 12.四季人物屏之四 1868年 戊辰 1.斗梅图 14.沙馥三十九岁小像 15.佩秋夫人小像(合作) 16.横云山民行乞图 17.陈允升像 18.榴生像 19.任阜长像 2.水草金鱼图 21. 22.悟生出尘图 2.梅柏白鹏图 1869年 己巳 24.任淞云像(合作) 187年 庚午 25.新秋鹅浴图 26.松鹤图 27.吹箫引凤图 28.访友图 29.人物图 1871年 辛未 .孔雀芭蕉图 1872年 壬申 1.钟馗图 2.凤凰牡丹图 .献瑞图 4.钟馗图 5.礼佛图 6.花蝶图 7.南瓜三鸡图 8.水仙飞禽图 9.芭蕉燕子图 4.夜荷栖鸭图 41.蕉花母鸡图 42.牡丹猫石图 4.山雨欲来风满楼 44.花鸟册(合作) 45.游艇吟箫图 46.凭栏赏荷图 187年 癸酉 47.爱莲图 48.葵花双鸡图 49.残荷鹭鸶图 5.茂叔爱莲图 51.葛仲华二十七岁小像 52.松鹤寿柏图 5.三思图 54.牵牛菖蒲图 1874年 甲戌 55.钟馗图 56.二老并坐图 57.苏武牧羊图 58.女仙图 59.红薇飞禽图 6.苏武牧羊图 61.富贵长寿 62.三羊开泰 6.芍药幽禽图 64.花鸟扇 1875年 乙亥 65.牡丹图 …… 《任伯年绘画作品图录(套装上下卷)(下卷)》目录： 1886年 丙戌 76.三仙图 77.东坡玩砚图 78.东坡玩砚图 79.桃花八哥 8.深山观泉图 81.牧羊图 82.仙鹤 8.听溪图 84.承天夜游图 85. 86.芦鸭图 87.幽鸟鸣春图 88.隔帘规梅图 89.松鹤竹石图 9.桃石群鸟图 91.桃源问津图 92.苍松紫藤图 9.枇杷栖禽图 94.临八人山人八哥图 95.仿高克恭云山图 96.山水阁页 97.玉兰四禽图 98.花鸟册 99.桃花小鸟图 4.仿石田山水图 41.银河秋浅图 1887年 丁亥 42.村居立锄图 4.钟馗图 44.高邕之像 45.松下论诗图 46.童子斗蟋蟀图 47.寒林高士 48.苏长公石钟辨讹图 49.策马图 41.牧羊图 411.岁朝图 412.松鸠图 41.桃鹅图 414.花鸟册 415.封侯图 416.萍花八哥图 417.江上秋痕图 418.天竹白猫图 419.焦叶题书图 42.秋江渔父图 421.紫微鸳鸯图 422.桃石图 1888年 戊子 42. 424.女娲炼石图 425.归牧图 426. 427.寒林牧马图 428.玉局参禅图 429.金谷园图 4.芭蕉狸猫图 41.苏武牧羊图 42.羲之爱鹅图 4.仕女图册之一 44.仕女图册之二 45.仕女图册之三 46.仕女图册之四 47.仕女图册之五 48.仕女图册之六 49.仕女图册之七 44.仕女图册之八 441.仕女图册之九 442.仕女图册之十 44.仕女图册之十一 444.仕女图册之十二 445.午瑞图 446.白猫双雀图 447.岁朝清供图 448.雀声藤影 449.猫鸟图 45.柳塘清趣图 451.红松仙鹤图 ……",[23,24,25,26,7,28,27,29,32,306,1675,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66ee07d43326e2168f004fc64dd0a95.jpg",[],{"id":6969,"slug":6970,"title":6971,"dynasty":18,"author":4669,"museum":331,"description":6972,"tags":6973,"thumbUrl":6984,"material":100,"size":100,"collection":100,"collections":6985,"showCount":6951,"zanCount":43,"manualWeight":43,"mainColor":88},224449,"tang-yin-shi-yi-tu-li-zhou-wang-hui-224449","唐寅诗意图立轴","此作取景虚实相映，笔意苍秀兼具。右侧危崖层叠，斧劈皴勾勒出山岩厚重质感，苔点晕染让山石愈发生动，崖顶山居藏在深林之中，清寂出尘。左侧烟水浩淼，汀渚林木错落，远处楼阁隐在薄雾间，晕染出空濛烟雨之态。浅滩孤舟随波，渔翁独钓，漾出幽淡闲远的林下意趣。浅绛设色柔和雅致，将宋画的精工与元人山水的萧散相融，把林泉隐逸之思，铺陈为可游可居的湖山胜境，尽显文人山水画里悠远澹泊的雅韵。",[23,25,24,26,7,6974,28,5218,4391,6975,5506,6976,269,349,6977,3150,6978,6979,6980,6981,6982,6983],"文人山水画","危崖","烟水","渔翁","湖山","隐逸","澹泊","苍秀","萧散","精工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ebebd62a991bc27c793316c7c0ff81.jpg",[],{"id":6987,"slug":6988,"title":6989,"dynasty":93,"author":50,"museum":331,"description":6990,"tags":6991,"thumbUrl":6992,"material":486,"size":6993,"collection":100,"collections":6994,"showCount":6951,"zanCount":419,"manualWeight":43,"mainColor":44},223374,"feng-huang-tu-zhou-yi-ming-223374","凤凰图轴","图上一只蓝翎凤凰立于花丛中，红冠鲜艳，眼神威严、犀利，羽毛七彩斑斓，尾翎修长，单脚站立彰显百鸟之王的尊贵；四周牡丹盛开，花团锦簇，丹顶鹤、鸳鸯数只陪伴左右。此幅无款无印，应出自宫廷画家之手，宫廷风格甚浓。",[23,24,25,7,27,28,113,6504,225,799,114,170,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b738fbba9f87096a63c79173451352a.jpg","92x43cm",[],{"id":6996,"slug":6997,"title":6998,"dynasty":93,"author":481,"museum":74,"description":6999,"tags":7000,"thumbUrl":7005,"material":7006,"size":7007,"collection":157,"collections":7008,"showCount":6951,"zanCount":43,"manualWeight":43,"mainColor":44},221518,"han-yan-ji-xue-tu-zhou-ma-yuan-221518","寒岩积雪图轴","季节的变化，为大自然改换面貌、增添新色，冬天时万物凋零，呈现一片幽寂的景象，最适宜入画。画中白雪覆盖了整个溪岸与山峰。长松挺立在庭园中央，屋宇周围处梅花绽开，在静谧的气氛中增添生气。屋内坐着两位秉烛谈心的文人，微弱的烛光，也为幽寂昏暗的景色带来丝丝地暖意。",[23,24,25,26,7,77,28,130,129,59,7001,7002,427,521,29,7003,351,7004,4595],"寒岩","积雪","轩","湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe690130e1e87bba26c0e4e9523fbab3e.jpg","绢本浅设色","纵：156.7厘米，横：82.4 厘米",[157,138,185],{"id":7010,"slug":7011,"title":7012,"dynasty":72,"author":1024,"museum":236,"description":7013,"tags":7014,"thumbUrl":7015,"material":182,"size":7016,"collection":138,"collections":7017,"showCount":6951,"zanCount":419,"manualWeight":43,"mainColor":88},220952,"lin-he-jing-shi-yi-tu-dong-qi-chang-220952","林和靖诗意图","《林和靖诗意图》轴，明，董其昌绘，纸本，墨笔，纵88.7 厘米，横38.7厘米。\n\n本幅署题二 ，右上自题七言诗一首：“山水未深鱼鸟少，此生还拟重移居。只应三竺溪流上，独木为桥小结庐。写和靖诗意。玄宰，甲寅二月廿二日雨窗识”。下钤“董其昌印”白文印。左上又题云：“元时倪云林、王叔明皆补此诗意，惟黄子久未之见，余以黄法为此。玄宰重题，辛酉三月。”下钤“董其昌印”朱文印。此图作于明万历四十二年（1614年），时董氏60岁，明天启元年（1621年）三月67岁时重题。\n\n此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。\n\n鉴藏印左下角钤“高詹事”白文印、“竹窗”朱文印”、“偶为潘省安所有”朱文印、“嘉兴王逢辰藏”朱文印、“惕庵心赏”朱文印，右下角钤“华源草堂”白文印、“小琴鉴赏”白文印、“张照之印”白文印，右上方钤“曾在徐颂鱼处”朱文印、“阮氏琅嬛仙馆收藏印”朱文印。",[23,25,26,77,130,97,79,7,129,170,134,193,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10860b979500f162ed912af1de7ff67.jpg","纵：154.4厘米，横：64.2厘米",[138,185],{"id":7019,"slug":7020,"title":7021,"dynasty":207,"author":6750,"museum":6687,"description":7022,"tags":7023,"thumbUrl":7024,"material":82,"size":7025,"collection":84,"collections":7026,"showCount":6951,"zanCount":43,"manualWeight":43,"mainColor":88},220322,"wan-jie-tu-gu-an-220322","晚节图","此作以墨写竹，竿干劲挺修长，节痕匀整，藏坚韧不屈之态。竹叶以浓淡墨笔撇捺挥写，错落层叠、顾盼生姿，尽显萧疏散朗之致，将竹的清灵秀逸全然托出。\n\n画作以竹明志，借凌霜不凋的修竹暗合持守晚节的君子襟怀，把文人画托物言志的意趣融于笔墨间。笔致洗练老辣，墨色层次分明，简淡素净的纸色衬出墨竹清韵，通篇空灵雅致，满卷皆溢清刚雅正的高古之气，是墨竹画中形神兼备的佳构。",[23,25,26,77,7,31,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc1bd0ec0a82b701fca3fa1e53d0bce.jpg","113.7x33.2厘米",[84],{"id":7028,"slug":7029,"title":6185,"dynasty":72,"author":424,"museum":74,"description":7030,"tags":7031,"thumbUrl":7032,"material":82,"size":7033,"collection":101,"collections":7034,"showCount":6951,"zanCount":43,"manualWeight":43,"mainColor":88},214255,"qi-yan-lv-shi-wen-zheng-ming-214255","文徵明的书法主要以王羲之和王献之为基础，而大字则以黄庭坚为典范。目前的数字是3.43厘米长，人物是25厘米高。它是文征明罕见的大型书法作品之一。笔法潇洒，变化多端，朴实无华，反映了他书法的深度。",[23,80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb5c12fd1f21871075eee4013641478b.jpg","343.8x99.5",[101],{"id":7036,"slug":7037,"title":3981,"dynasty":109,"author":852,"museum":331,"description":3982,"tags":7038,"thumbUrl":7039,"material":198,"size":780,"collection":100,"collections":7040,"showCount":7041,"zanCount":11,"manualWeight":43,"mainColor":44},283688,"qiu-shan-wan-cui-tu-guan-tong-283688",[23,24,25,26,7,77,28,129,3984,132,170,272,169,130,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74413aeaf6fe0fbb9e4679e693b6af8.jpg",[],103,{"id":7043,"slug":7044,"title":7045,"dynasty":18,"author":921,"museum":331,"description":7046,"tags":7047,"thumbUrl":7048,"material":100,"size":100,"collection":100,"collections":7049,"showCount":7041,"zanCount":11,"manualWeight":43,"mainColor":88},235233,"ju-shi-zhou-wu-chang-shuo-235233","菊石轴","此作用笔雄老苍劲，以篆籀之法入画，将金石意趣融于绘事。左侧狂草长题与右侧花木山石虚实相映，通篇气机贯通。泼墨写石，干湿浓墨晕染出嶙峋朴拙之态，淡墨勾菊瓣、浓墨点枝叶，尽显菊花清隽凌霜之姿；下方牡丹设色秾丽饱满，艳而不俗，与寒菊形成雅艳对照。\n\n诗画互衬，借黄英、牡丹寄寓疏狂高逸的襟怀，将文人意趣与世俗审美相融，尽显晚年沉郁浑朴的大写意风骨。",[25,26,7,24,28,77,304,440,601,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ca9fe70ff6300da429378a633361f7.jpg",[],{"id":7051,"slug":7052,"title":7053,"dynasty":49,"author":7054,"museum":331,"description":7055,"tags":7056,"thumbUrl":7057,"material":198,"size":780,"collection":100,"collections":7058,"showCount":7041,"zanCount":11,"manualWeight":43,"mainColor":44},230653,"fo-tuo-xiang-li-zhou-xi-zang-tang-ka-230653","佛陀像立轴","西藏唐卡","西藏唐卡是用彩缎装饰成的一种卷轴画，多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡，历来被人们视为珍宝。\n西藏唐卡是用彩缎装饰成的一种卷轴画，具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，历来被人们视为珍宝。唐卡的质地是多种多样的。多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡。西藏唐卡的主要内容是反映宗教这一主题，作为宗教文化，唐卡是前人留下来的历史遗产，是研究古代绘画艺术的宝贵资料。",[23,7,54,28,29,4209,536,4545,4544,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840c96ea911ffbfafc10c83a61d794ef.jpg",[],{"id":7060,"slug":7061,"title":7062,"dynasty":207,"author":787,"museum":74,"description":7063,"tags":7064,"thumbUrl":7065,"material":99,"size":7066,"collection":100,"collections":7067,"showCount":7041,"zanCount":11,"manualWeight":43,"mainColor":44},228263,"nan-zhi-chun-zao-tu-wang-mian-228263","南枝春早图","《南枝春早图》是元代 创作的绢本墨笔画，现藏于 。\n这幅图用浓淡相间的笔墨写枝干，一枝粗枝由画面下部右端斜出向上。\n大枝上再缀小枝，纵横交织，十分自然。\n枝上梅花繁密，有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现了出来，给人一种清雅自得之感。\n此画轴用浓淡相间笔墨写枝干，一千粗枝由画面下部右端斜出向上，大枝上再缀小枝，纵横交织，枝条生长茂盛，前后左右伸展交错，呈四出之势-枝上梅花繁密，千花万蕊，天真烂漫，生机盎然。\n有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现出来，给人一种清雅白得之感。\n梅花作为独立的绘画题材，兴自北宋，现在常见的“墨渍”、“圈瓣”两法，亦于斯时产生。\n相传释仲仁因偶见月光映梅于窗纸上得到启发，创以“墨渍法”；扬补之承仲仁墨梅之风，常对庭园老梅写生，乃创“圈瓣法”，两位画梅大家对后世影响极大，王冕即是在他们基础上取得成就的。\n今传王冕作品多件，俱为水墨，“墨渍”、“圈瓣”画法皆有，以“圈瓣”法为多。\n其作品不宥于陈法，有新的面貌；水平之高，或认为“不减扬补之”《墨梅人名录》，这幅《南枝春早图》即是其代表之作。\n王冕在梅谱中不称写梅而称“扫梅”，并总结扫梅十要，即“得意下笔，水墨浓淡，枝分左右，横斜上下，老嫩相兼，下笔不填，有花无花，花分疏密，枝分女字，十宁藏花：”这“十要”在此图中都发挥得淋漓尽致。\n充分表现了他丰富的艺术手法和独具匠心的布局能力： 此图的画法，以“飞白法”画梅，兼有书法笔意，花枝交接处，似笔断意连，运笔风神峭拔，挺劲潇洒，自根至梢一气呵成。\n在花与枝的处理上，王冕采用枝多花繁的格局，这幅墨梅图，虽枝花繁茂，但繁而不乱，疏密有绪，密中见疏，疏中仍有聚散。\n在此画中，王冕的花办采用圈法，可谓是王氏别出新意。\n所画的梅花往往正侧向背，高低偃合，妙趣横生、在画幅右侧中间有作者自题诗：“和靖（按：即宋代林和靖，不求功名，隐居丙湖孤山，赐溢和靖先生）门前雪作堆，多年积得满身苔，疏华个个团冰玉，羌笛吹他不下来：癸已夏五会稽王元章自南作。\n”下钤朱文二印，当为其本人所刻。\n王冕（1287—159），元代画家、诗人：字元章，号煮石山农、饭牛翁、会稽外史、梅花屋主等：诸暨（今属浙江）人，出身农家，白天放牛，晚至佛寺长明灯下读书：后从韩性学，试进士不第，即弃去，读古兵法，曾游大都（今北京），纵观居庸、古北关塞：泰不花荐以翰林院供职，不就、携妻孥归隐九里山，“以缯幅短长为得米之差”，工画墨梅，学扬无咎，花密枝繁，生意盎然，劲健有力，或用胭脂作没竹梅：廾善画竹，名其斋为“竹斋”。\n兼能刻印，相传以花乳石（青田石一类）作印材，白他创始：作诗多描写隐逸生活。\n部分作品也能反映民间疾苦，语言质朴，不拘常格：传世画迹有《为良佐写墨梅图》卷，《墨梅图》轴、《南枝春早图》轴。\n并著有《梅谱》一书等。",[23,25,26,7,77,575,131,35,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1227e7f33e2100268c266b6b18d98d06.jpg","151.4x52.2",[],{"id":7069,"slug":7070,"title":7071,"dynasty":18,"author":921,"museum":331,"description":1961,"tags":7072,"thumbUrl":7073,"material":7074,"size":100,"collection":158,"collections":7075,"showCount":7041,"zanCount":43,"manualWeight":43,"mainColor":88},224237,"ju-you-huang-hua-wu-chang-shuo-224237","鞠有黄花",[23,25,26,7,28,77,113,440,35,79,80,2664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51472c0177bf4af05998090e6d6ffd8e.jpg","纸本 设色",[158],{"id":7077,"slug":7078,"title":7079,"dynasty":93,"author":164,"museum":74,"description":7080,"tags":7081,"thumbUrl":7083,"material":182,"size":7084,"collection":157,"collections":7085,"showCount":7041,"zanCount":43,"manualWeight":43,"mainColor":44},221393,"qiu-lin-fei-pu-zhou-fan-kuan-221393","秋林飞瀑轴","图绘秋山栈道瀑布流泉，远处岩关列岫隐约可见，气势磅礴，景色宜人。",[23,24,25,26,7,130,77,129,2557,7082,351,172,170,366],"飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab091b4703f6d101e17af7a9a05d6d.jpg","纵：181厘米，横：99.5厘米",[157,138,185],{"id":7087,"slug":7088,"title":7089,"dynasty":207,"author":518,"museum":51,"description":7090,"tags":7091,"thumbUrl":7092,"material":182,"size":7093,"collection":138,"collections":7094,"showCount":7041,"zanCount":43,"manualWeight":43,"mainColor":88},220801,"jiang-zhu-feng-lin-tu-zhou-ni-zan-220801","江渚风林图轴","倪瓒，世皆称倪云林（1301-1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，与黄公望、王蒙、吴镇合称元四家。倪瓒山水画风疏朗峻逸、风轻云淡，这种惜墨如金的朴拙，别具一格，恰似世人心目中那种内心安宁的渴望。倪瓒出身大地主家庭，长兄为“真人”级的道教上层，在元代道教繁盛的背景下，青少年时代过得滋润无比，家中藏书名画甚众，朝夕把玩、洁身有闲，研摩书画可谓必然。\n长兄故后，倪瓒家道日渐衰落，多年不事生产且倪瓒的洁癖常为世人侧目、权贵厌弃（有传说最后得死法是被朱元璋故意扔进粪坑淹死），遂寄情山水，云游访道，漫游江林，不做官不供职，书法诗画天真无饰，毫无烟火气，人谓有魏晋风骨，后人称“倪高士”。董其昌评曰：“古淡天真，米痴(即米芾)后一人而已。”把倪瓒评为米芾之后第一人，可谓高山仰止。\n倪瓒对明清绘画影响巨大，有意无意，若淡若疏的画风为士大夫礼拜，后人仿之追之者极众，明四僧中石涛、大家董其昌、徐渭（被郑板桥、齐白石跪称：“愿为青藤门下走狗”那位）均追崇不已，至今仍被评为“中国古代十大画家”。同时代的黄公望（年长其32岁），花十年时间，替倪瓒画《江山胜揽图》卷，卷长二丈五尺余，可谓巨作，若不认可，必无此为。（顺便说下：黄公望也是全真教名人，元明画家或应考证下他们受宗教影响而形成的独特心理特征和文化背景，或可更好的理解其人创作心路。）\n《江渚风林图轴》从题诗看，应为同时代学者虞戡嘱作，诗曰：江渚暮潮初落，风林霜叶浑稀。倚仗柴门闲寂，怀人山色依微。 据说时年画家的妻子去世、小儿子亦不孝，倪瓒心中困苦寂寥而作，虽称戏写，璨若星辰矣。",[23,25,26,7,77,364,130,521,131,35,129,522,2906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 56.5厘米",[138,185],{"id":7096,"slug":7097,"title":7098,"dynasty":207,"author":4104,"museum":209,"description":7099,"tags":7100,"thumbUrl":7101,"material":82,"size":7102,"collection":84,"collections":7103,"showCount":7041,"zanCount":43,"manualWeight":43,"mainColor":88},218762,"zhu-shi-ji-qin-tu-wang-yuan-218762","竹石集禽图","王渊（生卒年不详），字若水，号澹轩，钱塘（今浙江杭州）人。元代后期职业画家，擅画水墨花鸟、竹石、山水等。\n此图又名《花竹禽雀图》，以墨笔描绘园中禽雀栖息翱翔的场景。画面以一雄一雌的两禽为主体，雄禽立于湖石之上，炯炯有神，展现出胸部美丽斑斓的羽毛；辞禽于湖石下仰头回眸。在石后杜鹃盛开、竹枝生长，竹稍鸟群或栖息欲飞、或翻飞腾跃。\n技法上，王渊充分发挥墨彩的效果，通过运用浓淡枯湿的不同墨色，将水墨皴染和细笔勾勒等多种手法相结合，生动写实地表现出湖石、花朵、竹枝、禽鸟的不同质感，呈现出禽鸟的丰富神态，绘画细腻写实，是元代水墨画中的典型作品。",[23,25,24,26,7,77,27,79,31,601,151,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5497a6ceb9b1d521898be3b33cd857fc.jpg","纵137.5 厘米，横59.4 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24227,"nong-yan-zhuo-zhuo-yun-jin-xian-li-zhou-wu-chang-shuo-224227","秾艳灼灼云锦鲜立轴",[23,25,26,7,28,113,35,498,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a9cf103a50a6f03f9f5e08b4a20601c.jpg","93x45cm",[84,158],{"id":7174,"slug":7175,"title":7176,"dynasty":18,"author":436,"museum":331,"description":7177,"tags":7178,"thumbUrl":7179,"material":100,"size":100,"collection":100,"collections":7180,"showCount":7123,"zanCount":11,"manualWeight":43,"mainColor":88},224178,"mu-dan-zhu-shi-tu-hua-yan-224178","牡丹竹石图","此作淡素底色铺陈，花卉、湖石与秀竹错落排布，虚实相生。冰蓝牡丹以没骨晕染而成，摒弃浓艳富丽，清冷幽洁自带孤高韵致，一扫牡丹流俗的富贵之气。\n淡墨湖石以写意皴染绘就，朴雅苍润，苔点隐约，与柔媚花影形成刚柔对照。旁生秀竹浅赭敷色，清瘦挺拔，枝叶舒展柔和，衬得花容愈发幽绝尘寰。左上行题诗呼应画意，将牡丹幽芳风骨引向诗文意境，工写兼备间，尽抒文人清雅出尘的审美意趣。",[23,25,26,7,28,27,77,114,31,35,113,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7ce165a5673fa2c97572f9249cf42a.jpg",[],{"id":7182,"slug":7183,"title":7184,"dynasty":283,"author":284,"museum":7185,"description":7186,"tags":7187,"thumbUrl":7188,"material":100,"size":100,"collection":100,"collections":7189,"showCount":7123,"zanCount":43,"manualWeight":43,"mainColor":88},220606,"song-shi-shan-shui-qi-bai-shi-220606","宋式山水","Kyoto National Museum","这幅作品跳脱山水旧法，以斩截刚劲的线条将山峦拆解为方正硬朗的几何岩体，块面堆叠出雄浑厚重的山野气势，全无传统皴法的柔婉，自带稚拙刚健的力量感。\n浅勾淡染的云气柔化山石冷硬，山坳中隐现的屋舍晕开山居悠然意趣。下方枯林以极简枝桠舒展，疏清淡雅，与上部重峦形成疏密对照。\n它以全新造型重构山水意境，将笔墨的写意精神，融于现代感的视觉表达，于朴拙间开创出别具一格的山水新风貌。",[25,77,7,130,129,132,170,173,733,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c9a3dc4e5e42b53615a5f03733ed05.jpg",[],{"id":7191,"slug":7192,"title":7193,"dynasty":72,"author":954,"museum":74,"description":7194,"tags":7195,"thumbUrl":7196,"material":37,"size":7197,"collection":84,"collections":7198,"showCount":7123,"zanCount":11,"manualWeight":43,"mainColor":44},218791,"ba-bai-chang-chun-tu-zhou-zhi-mian-218791","八百长春图","群鸟聚于虬枝间，动静交织成趣。或振翅俯冲，羽翼翻飞带起风意；或引颈相鸣，喙张似闻啁啾之声；或敛翼静栖，黑亮羽色衬暖褐底色，浓淡墨痕晕染出羽毛层次。虬枝蜿蜒，叶芽点缀其间，野趣盎然。整幅画面鲜活生动，鸟的姿态各异却和谐相融，似捕捉了林间一瞬的热闹场景，墨色与绢本底色相映成辉，尽显自然生机与笔墨意趣。",[23,25,24,26,7,27,113,151,131,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fd7ed05d03aaa2f92e4f07cd2b388aa.jpg","111.8x50cm",[84],{"id":7200,"slug":7201,"title":7202,"dynasty":109,"author":7203,"museum":74,"description":7204,"tags":7205,"thumbUrl":7206,"material":37,"size":7207,"collection":39,"collections":7208,"showCount":7123,"zanCount":419,"manualWeight":43,"mainColor":44},218616,"cai-zhi-xian-tu-wang-qi-han-218616","采芝仙图","王齐翰","传说中仙人的生活,「食则翠芝朱英」。求长生不死的灵药,芝是最为重要的一种。采芝的题材也就相当常见。本幅画仙人手捧大桃，肩荷锄挂筠篮，篮中有紫芝，一鹤后隋。画之质地为绢，绢之经纬疏如纱布，就墨底所见，是先托底而后画。明代浙派画家喜作民间题材，本幅即是。五代无此风格，题名误。",[25,26,7,28,27,29,225,4370,34,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ae3571f69dc7ccc9cd9ff70c419cc7.jpg","99.7x54cm",[39],{"id":7210,"slug":7211,"title":862,"dynasty":18,"author":50,"museum":1714,"description":7212,"tags":7213,"thumbUrl":7214,"material":37,"size":7215,"collection":84,"collections":7216,"showCount":7123,"zanCount":11,"manualWeight":43,"mainColor":44},216726,"hua-niao-tu-yi-ming-216726","花鸟图是清朝时期佚名画家创作的一类绘画作品，其中包含了许多花卉和鸟类的描绘。这类画作通常都具有鲜艳的色彩和精致的细节，描绘的花卉和鸟类也常常具有浓郁的自然气息。花鸟图被广泛地用作装饰品，被视作清朝文化中的珍宝。",[25,26,7,27,28,113,115,287,600,1373,5110,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ae1b447224169fc778d51c627cec2c.jpg","60.5x34.9cm",[84],{"id":7218,"slug":7219,"title":7220,"dynasty":207,"author":518,"museum":74,"description":7221,"tags":7222,"thumbUrl":7224,"material":82,"size":7225,"collection":138,"collections":7226,"showCount":7227,"zanCount":11,"manualWeight":43,"mainColor":88},288975,"feng-luo-wu-jiang-tu-ni-zan-288975","枫落吴江图","倪瓒山水画意境清远萧疏，自谓“逸笔草草，不求形似。”用笔轻而松，燥笔多，润笔少，墨色简淡，却厚重清温，无纤细浮薄之感，能以淡墨简笔，有神地笼罩住整个画面，识者谓其“天真幽淡，似嫩实苍。”得“简中寓繁”的风格.",[24,25,26,7,77,129,131,377,134,193,79,80,7223],"荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac6fd826cd30a21b08434d4eaaef13d.jpg","94.3x48.8",[138],101,{"id":7229,"slug":7230,"title":6872,"dynasty":18,"author":921,"museum":331,"description":7231,"tags":7232,"thumbUrl":7233,"material":100,"size":100,"collection":100,"collections":7234,"showCount":7227,"zanCount":43,"manualWeight":43,"mainColor":88},235404,"mu-dan-zhou-wu-chang-shuo-235404","此作虚实相生，右上角题款与左下花木湖石遥相呼应。牡丹以阔笔泼色，胭脂点染花瓣，浓艳厚重，带着苍浑的金石意趣，柔艳花姿里暗蕴雄强骨力。叶片焦墨挥写，线条老辣苍劲，与牡丹柔色形成强烈反差，更衬花之秾艳。\n\n湖石以淡墨晕染，焦墨提点轮廓，朴拙古雅。藤蔓缠绕穿插，填补留白让层次愈显丰满。题字带着篆隶笔意，与画境浑然相融，将篆刻的苍茫意趣尽数融入画笔，跳出牡丹富贵柔媚的陈套，化为疏野苍劲的文人风骨，纵横恣肆间不失雅致，尽显雄强古茂的写意格调。",[25,26,7,24,28,77,304,113,114,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e01c9ee92e8c23d37723f245dada53.jpg",[],{"id":7236,"slug":7237,"title":7238,"dynasty":18,"author":1971,"museum":74,"description":7239,"tags":7240,"thumbUrl":7241,"material":37,"size":7242,"collection":138,"collections":7243,"showCount":7227,"zanCount":419,"manualWeight":43,"mainColor":88},224486,"xi-shan-shen-xiu-zhou-wang-jian-224486","溪山深秀轴","汇集画家王鉴先生山水画数幅，淋漓尽致地表现出其雄奇、或秀美、或舒缓、或险峻。是伟岸的山，壮丽的山。主要有秋山图轴、溪山深秀图轴、山水册七开、九峰读书图轴、四家灵气图轴等",[23,25,24,26,7,28,268,129,269,134,193,169,272,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89fec13b5a42f7febcb1462f7f1ba47.jpg","161.7x62.5",[138],{"id":7245,"slug":7246,"title":7247,"dynasty":18,"author":1036,"museum":74,"description":7248,"tags":7249,"thumbUrl":7251,"material":1218,"size":7252,"collection":138,"collections":7253,"showCount":7227,"zanCount":11,"manualWeight":43,"mainColor":704},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",[23,25,26,7,27,28,1157,29,269,129,4574,170,193,134,878,132,2190,7250],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a452b4eda86eac0e610effee7ff9a62.jpg","188.2*102.2cm",[138,158],{"id":7255,"slug":7256,"title":71,"dynasty":72,"author":7257,"museum":74,"description":7258,"tags":7259,"thumbUrl":7260,"material":77,"size":7261,"collection":84,"collections":7262,"showCount":7227,"zanCount":11,"manualWeight":43,"mainColor":88},219513,"zhu-tu-yao-shou-219513","姚绶","此作用笔爽劲老辣，以浓墨挥写新篁，竹叶错落有致，俯仰向背各具姿态，尽显青竹挺拔清健的君子之姿。淡墨晕染湖石，笔墨简淡虚灵，朦胧柔润的石身与劲挺修竹虚实相生，刚柔相济。\n\n右上角题字与墨竹呼应，诗画相融，文气尽显，将文人爱竹的寄情托意暗藏其间，整幅画面简逸清疏，寥寥数笔便把竹的高洁傲然尽数烘托，尽显水墨写意的空灵雅致，暗含传统文人的淡泊风骨。",[25,26,77,7,31,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f9e6dee2120847cc30bfa1ba267311.jpg","83.9x35.1",[84],{"id":7264,"slug":7265,"title":7266,"dynasty":18,"author":1538,"museum":265,"description":7267,"tags":7268,"thumbUrl":7269,"material":37,"size":7270,"collection":84,"collections":7271,"showCount":7227,"zanCount":11,"manualWeight":43,"mainColor":44},219129,"shou-tian-bai-lu-tu-shen-quan-219129","受天百禄图","这是一幅“玩谐音梗”的作品：梅花鹿的“鹿”谐音为“禄”，松柏谐音为“百”，“鹿”和“百”同时出现在一幅画上时，画面内容就不仅仅是“梅花鹿和柏树”了，而变成了富有“百（柏）世荣禄（鹿）”这样子吉祥寓意的祥瑞之图了。试问谁收到这样一幅承载了满满祝福的美图不会开心到起飞呢～\n这幅作品以工笔细描的手法将鹿、柏描绘得非常精细。鹿身比例较为协调，体格健硕；鹿身上的绒毛非常细密，双目圆睁，神采奕奕。画的下方角落里还有潺潺流水，水波粼粼，浪花细密。水边野花三三两两，错落有致，作者将星星点点的花蕊也绘制得十分细腻。",[23,25,26,7,28,27,241,1073,427,132,2190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e758b63a73d9571d6bba802a1c5942.jpg","纵199厘米，横97.5厘米",[84],{"id":7273,"slug":7274,"title":7275,"dynasty":72,"author":7276,"museum":236,"description":7277,"tags":7278,"thumbUrl":7279,"material":136,"size":7280,"collection":39,"collections":7281,"showCount":7227,"zanCount":11,"manualWeight":43,"mainColor":44},218517,"yun-hua-xi-hua-tu-lu-can-218517","云华惜花图","陆粲","活跃于乾隆年间的陆骧，生于常州（今江苏苏州），字兴山，号兴三。他出生于常州（今江苏苏州），精于物象和花卉，擅长山水画和肖像画，曾在1780年被召去写御用画像。",[25,26,7,28,27,29,30,152,536,114,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efb92c4076b71e3e67e797005815a90.jpg","136.2x58.2",[39],{"id":7283,"slug":7284,"title":7285,"dynasty":93,"author":50,"museum":331,"description":7286,"tags":7287,"thumbUrl":7288,"material":198,"size":780,"collection":100,"collections":7289,"showCount":7290,"zanCount":43,"manualWeight":43,"mainColor":44},290369,"song-hui-zong-hou-zuo-xiang-zhou-yi-ming-290369","宋徽宗后坐像轴","北宋时期发达的社会经济，为宋代绘画 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。\n擅画山水，师从张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。\n作品还有《匡庐图》《雪景山水图》等。",[23,25,26,7,129,77,130,272,170,169,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfeda2c3d81e5d88a5c1c4a715b747f.jpg","147×74.8厘米",[157,138,185],{"id":7542,"slug":7543,"title":7544,"dynasty":18,"author":1036,"museum":236,"description":7545,"tags":7546,"thumbUrl":7549,"material":182,"size":7550,"collection":39,"collections":7551,"showCount":7516,"zanCount":43,"manualWeight":43,"mainColor":88},222791,"dao-guang-di-chao-fu-xiang-zhou-lang-shi-ning-222791","道光帝朝服像轴","郎世宁（1688-1766），意大利米兰人，原名朱塞佩·伽斯底里奥内。清康熙五十四年（1715）作为天主教耶稣会的修道士来中国传教，到京后约于雍正元年（1723）进入如意馆，成为宫廷画家。他很好地融合了中西绘画技法，在中国传统绘画技法中融合了讲究立体效果，注意透视和明暗，重视写实和结构准确的合理性。擅画肖像、走兽、花果、翎毛，尤善画马。他是将欧洲的绘画品种和方法传授给中国的宫廷画家，为中西文化艺术的交流作出了积极贡献，颇得皇家青睐。",[23,25,26,7,27,28,29,7547,34,334,7548],"帝王","朝服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ebc1b16c1a24a78979bfc2d02b1314.jpg","35x57",[39,158],{"id":7553,"slug":7554,"title":7555,"dynasty":18,"author":7556,"museum":209,"description":7557,"tags":7558,"thumbUrl":7559,"material":37,"size":7560,"collection":138,"collections":7561,"showCount":7516,"zanCount":11,"manualWeight":43,"mainColor":44},218727,"shui-dian-chun-shen-tu-yuan-jiang-218727","水殿春深图","袁江","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。",[25,26,7,1157,28,27,269,3489,170,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541a38c45bc135a29e893993570190f9.jpg","纵104厘米，横49.5厘米",[138,158],{"id":7563,"slug":7564,"title":596,"dynasty":18,"author":7565,"museum":147,"description":7566,"tags":7567,"thumbUrl":7568,"material":136,"size":7569,"collection":39,"collections":7570,"showCount":7516,"zanCount":419,"manualWeight":43,"mainColor":44},218513,"shi-nv-tu-wang-zhao-xiang-218513","王兆祥","描绘了一个女人在喂养一只八哥，她的身体很轻盈，展示了她的三寸金莲。",[25,26,7,985,28,29,30,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F960305f61098ea3cba367f9a0d72cb95.jpg","136.8x61.8",[39],{"id":7572,"slug":7573,"title":7574,"dynasty":207,"author":2386,"museum":74,"description":7575,"tags":7576,"thumbUrl":7578,"material":99,"size":7579,"collection":101,"collections":7580,"showCount":7516,"zanCount":11,"manualWeight":43,"mainColor":88},214382,"ti-hua-shi-zhou-zhao-meng-fu-214382","题画诗轴","笔墨流转间，晋唐风骨与元人逸韵交融。行书线条圆活遒媚，如春风拂柳般柔婉却藏筋骨——起收转折温润流畅，结构端稳中透着灵动。墨色浓淡相宜，行列疏密有致，气韵连贯如行云流水。题画诗的清雅与书法的雅致相映成趣，仿佛将山水画卷的意境凝于笔端：诗中咏叹的林泉之趣，随笔墨的起伏漫溢开来，尽显文人书画的韵致。字里行间藏着对自然的眷慕，也流露着书家的从容心境，读来如沐清风，余味悠长。每一笔都似与山水对话，将诗、书、画的意趣绾合成一段清雅的文脉，在时光里静静流淌。",[24,25,26,80,7,97,77,129,498,131,7577,193],"孤村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2c9a317264f8c2bdc121f3791db8dd.jpg","154.2x84.7",[101],{"id":7582,"slug":7583,"title":7584,"dynasty":93,"author":2672,"museum":331,"description":7585,"tags":7586,"thumbUrl":7589,"material":198,"size":780,"collection":100,"collections":7590,"showCount":7591,"zanCount":43,"manualWeight":43,"mainColor":44},287575,"dong-ri-xi-ying-tu-su-han-chen-287575","冬日戏婴图","图中画二童婴在庭园嬉戏。男孩左手拿着一根美丽的孔雀毛，女孩右手持一面绣花的小锦旗来回摇摆，逗着跟随着他们来回跑的小猫。画中描绘的虽然是冬景，但是花园中翠竹青青，茶花、梅花竞相开放。儿童形象富而不骄，华而不贵，充满宋代城市中的世俗生活情趣。整幅画面作者用笔工整细致，设色艳丽。技法纯熟，形神兼备。",[24,25,7,28,27,29,1932,392,31,574,240,7587,7588],"冬日","戏婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f4da80266afbaa0934659384b709df.jpg",[],96,{"id":7593,"slug":7594,"title":1806,"dynasty":18,"author":4610,"museum":74,"description":7595,"tags":7596,"thumbUrl":7597,"material":214,"size":7598,"collection":84,"collections":7599,"showCount":7591,"zanCount":419,"manualWeight":43,"mainColor":88},237221,"ju-hua-zhou-xu-gu-237221","虚谷（1824年－1896年），清代僧人及画家。俗姓朱，名怀仁，一名虚白，号紫阳山人。新安（今安徽歙县）人，世居扬州，同治、光绪年间寓居上海。\n虚谷工山水、花卉、动物、禽鸟，尤善长画松鼠及金鱼。亦工肖像，擅书，能诗善文，着有《虚谷和尚诗录》。曾在上海、是晚清画坛的巨子，为“ 他曾任清军参将，后因不愿奉命打 其为人性情孤僻，非相处情深者不能得其片纸。携笔墨、着僧装，“闲中写出三千幅，行乞人间作饭钱”，其一生极为清苦，却云游四海，其行程之广，作品之多，为当时所罕见。他承古创新，独辟捷径，广集素材，勤于创作，终成一代巨擘。",[25,26,7,28,113,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe7cc2ae8930ce3b58efcd7f5e7c78b.jpg","197.4×48.2",[84],{"id":7601,"slug":7602,"title":7603,"dynasty":18,"author":1296,"museum":236,"description":7604,"tags":7605,"thumbUrl":7606,"material":745,"size":7607,"collection":100,"collections":7608,"showCount":7591,"zanCount":11,"manualWeight":43,"mainColor":88},233405,"mo-he-tu-zhou-shi-tao-233405","墨荷图轴","图绘欣欣向荣的荷塘景色。构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。钤白文印二方：“靖江后人”、“大涤堂”。",[25,26,7,77,97,32,307,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fe017aa56845f71e72ee664ba076f8.jpg","纵90.2厘米，横50.4厘米",[],{"id":7610,"slug":7611,"title":7612,"dynasty":109,"author":1415,"museum":331,"description":7613,"tags":7614,"thumbUrl":7615,"material":100,"size":100,"collection":100,"collections":7616,"showCount":7591,"zanCount":43,"manualWeight":43,"mainColor":44},227263,"dong-bei-yuan-xi-shan-xing-lv-tu-li-zhou-dong-yuan-227263","董北苑溪山行旅图立轴","董源（生卒年不详），字叔达，洪州钟陵（今江西省进贤县钟陵乡）人。五代绘画大师，南派山水画开山鼻祖，与李成、范宽，并称“北宋三大家”。\n南唐时期，曾任北苑副使，人称“董北苑”。南唐灭亡后，进入北宋。擅于山水画，兼工人物、禽兽。其山水初师荆浩，笔力沉雄，后以江南真山实景入画，不为奇峭之笔。疏林远树，平远幽深，皴法状如麻皮，后人称为“披麻皴”。山头苔点细密，水色江天，云雾显晦，峰峦出没，汀渚溪桥，率多真意。“平淡天真，唐无此品”（米芾）。\n存世作品有《夏景山口待渡图》《潇湘图》《夏山图》《溪岸图》《寒林重汀图》《龙宿郊民图》《平林霁色图卷》等。",[23,25,26,24,7,77,130,129,170,134,193,733,29,132,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce14da05caf0e1610bf356168685eed.jpg",[],{"id":7618,"slug":7619,"title":7620,"dynasty":18,"author":921,"museum":265,"description":7621,"tags":7622,"thumbUrl":7623,"material":1320,"size":7624,"collection":84,"collections":7625,"showCount":7591,"zanCount":43,"manualWeight":43,"mainColor":88},224223,"song-mei-tu-wu-chang-shuo-224223","松梅图","松树倾斜，画面苍劲，树干稍写皴擦，尽显斑驳质感；松枝斜披，干笔勾枝，浓墨勾画松针。梅干多取直势，稍加润泽，小枝横陈，意境空潆深远。梅花点写，错落纷陈。全图笔势如龙飞，舒放自如，有意在笔先之妙。",[23,25,26,7,77,28,113,378,392,79,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394f15aa9a6c228570b112034349569c.jpg","纵135.6厘米，横67.8厘米",[84,158],{"id":7627,"slug":7628,"title":7629,"dynasty":18,"author":1123,"museum":331,"description":7630,"tags":7631,"thumbUrl":7632,"material":4905,"size":7633,"collection":84,"collections":7634,"showCount":7591,"zanCount":43,"manualWeight":43,"mainColor":704},221001,"hua-hui-li-zhou-yun-shou-ping-221001","花卉立轴","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[23,25,7,1593,28,113,114,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72df777f65aff6071f8368bf22ed0ab.jpg","48.5×118.5",[84,158],{"id":7636,"slug":7637,"title":7638,"dynasty":207,"author":518,"museum":236,"description":7639,"tags":7640,"thumbUrl":7641,"material":745,"size":7642,"collection":185,"collections":7643,"showCount":7591,"zanCount":43,"manualWeight":43,"mainColor":44},220798,"wu-zhu-xiu-shi-tu-ni-zan-220798","梧竹秀石图","《梧竹秀石图》绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。\n图中画梧桐一株，疏竹数竿，湖石平坡，间以涓涓细流。与以往画家惯用干淡松秀笔墨表现不同的是，全画用大胆的墨笔写成，颇具苍润淋漓之妙。梧叶用阔笔、湿墨侧抹而出，莽苍超忽，而清阴如覆；树干、秀石的表现亦以侧笔写成，湖石用浓墨皴出，其浑厚有北苑之意。这幅画为倪瓒画风成熟期少见的变体之作。画家通过对墨色浓淡、干湿的运用，使画面极富层次感。梧桐、竹石的表现与宋院体画讲究写真、追求形似相比已颇有变化，更突出了笔墨对自我性灵的抒发。正合《艺苑卮言》中云：“山水以气韵为主，形模寓乎其中。”草草点染而又不改物形的矛盾，倪瓒在此图中将其处理得恰到好处。",[23,24,25,77,7,31,6505,35,97,79,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed2c141173efcc16d73f1e7f7f7cf9c1.jpg","纵96cm，横36.5cm",[185,702],{"id":7645,"slug":7646,"title":7647,"dynasty":72,"author":7648,"museum":74,"description":7649,"tags":7650,"thumbUrl":7651,"material":82,"size":7652,"collection":84,"collections":7653,"showCount":7591,"zanCount":11,"manualWeight":43,"mainColor":44},218845,"ying-tu-lin-liang-218845","鹰图","林良","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意没骨技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[25,26,24,7,77,304,113,151,1488,5683,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d271fc592f2aaf9b0f31185b041e211.jpg","133.4x80.5cm",[84],{"id":7655,"slug":7656,"title":7657,"dynasty":93,"author":481,"museum":319,"description":7658,"tags":7659,"thumbUrl":7660,"material":37,"size":100,"collection":138,"collections":7661,"showCount":7591,"zanCount":11,"manualWeight":43,"mainColor":44},217999,"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","马远是宋朝时期的一位著名画家，他的作品中有一幅名为“雪岸观眺图”的水墨画，被认为是宋朝画坛上的杰作之一。\n\n这幅画描绘了一段冬日的景象，画面中的山峦积雪，河水冰冻，极富冬日特色。在画中，可以看到许多游客在观眺这片壮丽的景色。画中还有许多树木，它们的枝条被白雪覆盖，显得格外的美丽。\n\n马远在这幅画中运用了许多水墨画的技巧，包括“写意”和“虚实”。“写意”指的是画家用自己的感受来描绘景象，而“虚实”则指画家在画面中运用虚实对比来表现深浅、空间感等效果。在“雪岸观眺图”中，马远巧妙地运用了这些技巧，使得画面充满了生动的气氛和浓郁的冬日气息。\n总的来说，“雪岸观眺图”是宋朝画坛上的一幅杰作，它不仅展现了宋朝时期画家对冬日景色的传统描绘方式，还体现了马远对水墨画艺术的精湛技艺",[23,24,25,26,7,28,27,130,129,377,253,613,29,351,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[138],{"id":7663,"slug":7664,"title":7665,"dynasty":72,"author":424,"museum":74,"description":7666,"tags":7667,"thumbUrl":7668,"material":82,"size":7669,"collection":101,"collections":7670,"showCount":7591,"zanCount":43,"manualWeight":43,"mainColor":88},214313,"ci-chang-shou-cai-lv-shi-wen-zheng-ming-214313","赐长寿彩缕诗","释文：紫宸朝下锡灵丝。金水桥边拜命时。文绣自天腾五色。光华约臂结双螭。重惭潦倒随恩泽。还忝班行覩盛仪。愿得君王千万寿。日华常照衮衣垂。赐长寿彩缕。征明。",[23,2749,80,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F353897f0799e885400bd52daa4fd9296.jpg","347.1x97.8",[101],{"id":7672,"slug":7673,"title":412,"dynasty":18,"author":1048,"museum":236,"description":2832,"tags":7674,"thumbUrl":7675,"material":745,"size":2835,"collection":100,"collections":7676,"showCount":7677,"zanCount":43,"manualWeight":43,"mainColor":88},234676,"zhu-shi-tu-zheng-ban-qiao-234676",[25,77,7,31,35,304,26,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4678f3aee954a45f278520cc553534f1.jpg",[],95,{"id":7679,"slug":7680,"title":7681,"dynasty":72,"author":908,"museum":74,"description":1825,"tags":7682,"thumbUrl":7685,"material":1320,"size":7686,"collection":84,"collections":7687,"showCount":7677,"zanCount":43,"manualWeight":43,"mainColor":88},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴",[23,25,7,77,28,304,113,306,309,6678,308,1742,2749,4987,548,536,58,7683,967,3036,4723,7684],"淡彩","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","90.8x36.2厘米",[84,158],{"id":7689,"slug":7690,"title":7691,"dynasty":72,"author":389,"museum":236,"description":7692,"tags":7693,"thumbUrl":7694,"material":7695,"size":7696,"collection":138,"collections":7697,"showCount":7677,"zanCount":419,"manualWeight":43,"mainColor":88},222359,"guan-mei-tu-zhou-tang-yin-222359","观梅图轴","画作表现一位高士袖手立于溪桥之上，身后的山崖边两树梅花含苞待放，与作者所题诗意十分吻合。全幅构图汲取南宋院体风格，险中求胜，山石树木的勾勒粗细得当，晕染多于皴擦，清健爽利的笔致和幽静的背景营造突出了主体人物的高洁形象。人物的线描细劲流畅，造型清俊儒雅。从此作的创作风格上看，应是唐寅中年以后的作品。\n此图曾经清代毕沅等人鉴藏。",[23,25,26,7,77,130,97,392,132,29,521,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709e091fe9b41a1555692ca92f23e3f6.jpg","纸本，淡设色","纵108.6厘米，横34.5厘米。",[138,185],{"id":7699,"slug":7700,"title":7701,"dynasty":207,"author":7702,"museum":74,"description":7703,"tags":7704,"thumbUrl":7705,"material":589,"size":7706,"collection":158,"collections":7707,"showCount":7677,"zanCount":11,"manualWeight":43,"mainColor":44},221848,"zhu-lin-xian-zi-zhou-liu-guan-dao-221848","竹林仙子轴","刘贯道","刘贯道，字仲贤，生卒年不详，约为元世祖之人。善画佛道人物，又能做山水、花竹、鸟兽等。他在世的作品极少，画中人物多接近北宋传统技法，有古典风味，与南宋有明显的分别。或许是因为他出生在北方，较承袭了北宋的画法。",[23,25,26,24,7,27,28,29,30,31,35,287,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae7dcfcc265fc0481ad92b6f1e12076.jpg","该幅70x31.4公分；全幅 57.5公分",[158,702],{"id":7709,"slug":7710,"title":4125,"dynasty":93,"author":5127,"museum":331,"description":7711,"tags":7712,"thumbUrl":7713,"material":214,"size":100,"collection":100,"collections":7714,"showCount":7677,"zanCount":43,"manualWeight":43,"mainColor":44},220362,"bu-dai-he-shang-tu-liang-kai-220362","布袋和尚的形象诙谐可爱，传达的寓意也积极乐观，为历代人物画家所喜爱。",[25,54,29,7,77,985,5130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ad4877b8ea7475bb8de6e64bcdc5b6.jpg",[],{"id":7716,"slug":7717,"title":7718,"dynasty":207,"author":7719,"museum":74,"description":7720,"tags":7721,"thumbUrl":7723,"material":136,"size":7724,"collection":84,"collections":7725,"showCount":7677,"zanCount":419,"manualWeight":43,"mainColor":44},218661,"dong-yuan-zai-jiu-tu-cao-zhi-bai-218661","东园载酒图","曹知白","这幅画画的是曹知白自己在采芝窝的隐居地，山川秀丽，笔墨温润，思想极为高雅明朗，使之成为曹氏山水画的精品。",[23,24,25,26,7,77,130,7722,129,132,170,269,270],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4e4c7f20f69be119e1b5cb8d07c1f7.jpg","97.1x54.8cm",[84],{"id":7727,"slug":7728,"title":7729,"dynasty":72,"author":752,"museum":147,"description":7730,"tags":7731,"thumbUrl":7738,"material":136,"size":7739,"collection":39,"collections":7740,"showCount":7677,"zanCount":43,"manualWeight":43,"mainColor":44},218355,"ying-xi-tu-chen-hong-shou-218355","婴戏图","这是一幅简单的画，画的是一个孩子手里拿着一个拨浪鼓在玩。该图头大身短，衣服的画法很特别,贝壳雕工细致，造型奇特，上面站着一个带袖子的绿巨人，显示了明末时期儿童玩具的精致和多样化。",[23,25,26,7,27,28,29,7732,7733,7734,7735,7736,7737],"婴戏","变形夸张","线条古拙","设色典雅","孩童形象","玩具元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e183fec1f5f9e94d6157074b740cff.jpg","84.1x31.9",[39],{"id":7742,"slug":7743,"title":7744,"dynasty":72,"author":7745,"museum":74,"description":7746,"tags":7747,"thumbUrl":7748,"material":37,"size":7749,"collection":138,"collections":7750,"showCount":7677,"zanCount":656,"manualWeight":43,"mainColor":44},217059,"xun-mei-tu-zhu-duan-217059","寻梅图","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」。\n\n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。",[25,26,129,7,130,77,28,29,134,193,35,151,378,392,377,252,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[138],{"id":7752,"slug":7753,"title":7754,"dynasty":18,"author":7755,"museum":3222,"description":7756,"tags":7757,"thumbUrl":7758,"material":82,"size":7759,"collection":84,"collections":7760,"showCount":7677,"zanCount":43,"manualWeight":43,"mainColor":88},216113,"song-ying-tu-gao-qi-pei-216113","松鹰图","高其佩","高其佩的指画，墨法得力于吴镇，形象近于吴伟，以减笔写意法见长，尤喜画虎、画钟馗。在技巧方面，他在《述画诗》中道：“吾画从吾手，甲骨掌背俱，手落尚无物，物成手却无。”可见他的指画运用了手的各个部分。他的指画有“叱石成羊”之妙，人物形象极为生动，面部用尖指甲细勾，简练传神，画衣纹指尖指甲并用，顿挫自如，冠靴用指掌涂抹，墨色浑然；花鸟画则随意点染的浓淡干湿墨色，飞动不露笔痕的粗细线条，蹲鹰的蓬松羽毛，老树的苍劲之质均表现得十分出色。\n高其佩以指画在画坛独树一帜，指画作品清、奇、简淡浑厚，而神韵尤在指墨之外，其艺术成就，对后世影响很大。在他之后，出现了很多知名指画家，其中包括他的徒弟“扬州八怪”的罗聘，李鱓和黄慎亦擅指画，清晚期著名的指画家就有一百多人，现代国画大师潘天寿、钱松岩等都深受其影响。他的指画创作则信手一挥，倾刻数十幅，令人惊讶，一生的作画数量极为惊人。主要作品有：《饱虎图》、《雁行图》、《怒容钟馗图》、《梧桐喜鹊图》、《虬松莫岫图》、《高冈独立图》、《稻穗螳螂图》、《松阴小琪图》、《指画人物》册等。",[23,25,24,77,304,130,7,131,427,1488,151,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff940dda9a789d8da923f8b9917eaad90.jpg","172x90cm",[84],{"id":7762,"slug":7763,"title":7764,"dynasty":207,"author":695,"museum":331,"description":7765,"tags":7766,"thumbUrl":7767,"material":198,"size":780,"collection":100,"collections":7768,"showCount":7769,"zanCount":419,"manualWeight":43,"mainColor":88},291024,"yun-dang-qing-ying-tu-zhou-wu-zhen-291024","筼筜清影图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[24,25,26,7,77,31,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3b2615b892119aa8db2b0673c921dd.jpg",[],94,{"id":7771,"slug":7772,"title":7773,"dynasty":18,"author":4669,"museum":648,"description":7774,"tags":7775,"thumbUrl":7776,"material":7074,"size":7777,"collection":100,"collections":7778,"showCount":7769,"zanCount":11,"manualWeight":43,"mainColor":44},222813,"fang-gu-si-ji-shan-shui-tu-fang-ju-ran-xia-shan-shui-bi-fa-wang-hui-222813","仿古四季山水图-仿巨然夏山水笔法","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,25,26,129,1027,130,28,7,272,170,134,193,173,878,686,29,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg","82.5x51.2",[],{"id":7780,"slug":7781,"title":7782,"dynasty":18,"author":6740,"museum":265,"description":6741,"tags":7783,"thumbUrl":7784,"material":182,"size":6745,"collection":100,"collections":7785,"showCount":7769,"zanCount":11,"manualWeight":43,"mainColor":88},222685,"si-ji-hua-niao-tu-ping-8-chen-mei-222685","四季花鸟图屏8",[23,25,26,7,27,28,113,392,574,115,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff120bb949e796c509e974641e34be539.jpg",[],{"id":7787,"slug":7788,"title":7789,"dynasty":18,"author":1971,"museum":51,"description":7790,"tags":7791,"thumbUrl":7792,"material":82,"size":100,"collection":138,"collections":7793,"showCount":7769,"zanCount":11,"manualWeight":43,"mainColor":88},219711,"fang-ju-ran-xi-shan-gao-shi-tu-wang-jian-219711","仿巨然溪山高士图","《仿巨然溪山高士图轴》是王鉴的一副临摹宋朝著名画僧巨然和尚的古山水画。王鉴擅长临摹古人之画，功底深厚，巨然是他非常推崇的北宋大家，他一生中摹仿巨然的作品非常多，巨然的画风淡墨轻岚，风韵秀润。此图上款识：“巨然《溪山高士图》来自内府，为大司空刘敬仲先生所藏。余在长安时曾见过，今不知流落谁手。雨窗闲坐，思其意为之，不求其形似也。王鑑。",[23,25,77,130,945,7,129,269,35,193,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885430959c37cabba225c27dbb27cb24.jpg",[138],{"id":7795,"slug":7796,"title":7797,"dynasty":93,"author":7798,"museum":1358,"description":7799,"tags":7800,"thumbUrl":7801,"material":37,"size":7802,"collection":157,"collections":7803,"showCount":7769,"zanCount":43,"manualWeight":43,"mainColor":44},219105,"cang-ying-bu-zhi-tu-huang-ju-shi-219105","苍鹰捕雉图","黄居宩","画在山坡上，青竹高大，桃枝顶绿叶萌芽，桃花盛开； 下方，一只老鹰将野鸡按在脚下，野鸡五颜六色的羽毛在被捕获后瞬间炸开。 ，张开的喙似乎受到惊吓并尖叫着求救。",[23,24,25,26,7,27,28,113,392,31,35,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[157,84],{"id":7805,"slug":7806,"title":7807,"dynasty":18,"author":3083,"museum":710,"description":7808,"tags":7809,"thumbUrl":7810,"material":136,"size":7811,"collection":39,"collections":7812,"showCount":7769,"zanCount":419,"manualWeight":43,"mainColor":88},216737,"tan-zhu-tu-huang-shen-216737","探珠图","这些人物以狂野的斜体线条生动地呈现出来。笔触干净而流畅，无论是下龙取珠的老人还是婀娜多姿的女仙，都很好地表达了性格的刚强和形式的力量之间的对比。通过大面积的水墨渲染，云朵和波浪显露出来，创造出一种奇怪的危险气氛和一个充满勇气的世界。",[23,25,26,24,7,77,28,29,304,56,392,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d0167c87aa5f07e7434b67578e3bc7.jpg","纵185厘米，横107厘米",[39],{"id":7814,"slug":7815,"title":7816,"dynasty":72,"author":7817,"museum":74,"description":7818,"tags":7819,"thumbUrl":7820,"material":82,"size":7821,"collection":101,"collections":7822,"showCount":7769,"zanCount":656,"manualWeight":43,"mainColor":44},214256,"bu-zi-qi-shuo-shen-du-214256","不自弃说","沈度","这幅画是沈度在七十岁时写的，是一篇论战，敦促世人勤奋努力，饮水思源，不要自暴自弃。它以精细整齐的楷书书写，风格严谨，虽然开头的笔画有转折的痕迹，下降的笔画也有延伸，透露出一种温和而微妙的姿态，减弱了严肃性。",[23,80,5902,7,77,79,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb6c545198d9689ed9ce0b5c39505cb.jpg","104.4x29.9",[101],{"id":7824,"slug":7825,"title":7826,"dynasty":18,"author":7556,"museum":331,"description":7827,"tags":7828,"thumbUrl":7829,"material":198,"size":780,"collection":138,"collections":7830,"showCount":7831,"zanCount":43,"manualWeight":43,"mainColor":88},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。",[25,26,7,1157,28,27,130,129,269,733,170,132,151,193,3631,1571],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d1025c7cc3b3c23c5404aad98a7d7f.jpg",[138],93,{"id":7833,"slug":7834,"title":7835,"dynasty":993,"author":7836,"museum":331,"description":7837,"tags":7838,"thumbUrl":7839,"material":100,"size":100,"collection":100,"collections":7840,"showCount":7831,"zanCount":43,"manualWeight":43,"mainColor":44},231006,"guan-yin-xiang-li-zhou-yan-li-ben-231006","观音像立轴","阎立本","此作沉静古雅，观音面含悲悯柔光，仪容温婉澄澈，乌发覆首，宝饰轻缀，自带清寂祥和的禅意氛围。衣袍晕染层次雅致沉稳，暗饰缠枝纹隐于面料间，既见勾勒法度又含柔婉气韵，掌心轻托净水宝瓶，暗合渡世慈悲的意涵。莲台层叠舒展，线条圆融柔和，将神性肃穆与东方古典温润揉为一处。整体设色带着岁月晕开的厚重质感，笔意内敛克制，将大士的安恬慈悲凝于绢素之上，观之令人心下安定，尽显东方造像的静穆大美。",[23,24,25,26,7,28,27,54,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba7bf5765139b07c598993ea3c1aef4.jpg",[],{"id":7842,"slug":7843,"title":7844,"dynasty":72,"author":1496,"museum":3928,"description":7845,"tags":7846,"thumbUrl":7847,"material":1218,"size":7848,"collection":100,"collections":7849,"showCount":7831,"zanCount":419,"manualWeight":43,"mainColor":44},222395,"si-ji-hua-niao-tu-dong-lv-ji-222395","四季花鸟图-冬","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,25,24,7,27,28,113,392,31,351,521,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf95f29adc2d1bbf6024f906d309a0a3.jpg","176.0×100.8",[],{"id":7851,"slug":7852,"title":7853,"dynasty":207,"author":208,"museum":236,"description":7854,"tags":7855,"thumbUrl":7856,"material":1218,"size":7857,"collection":138,"collections":7858,"showCount":7831,"zanCount":43,"manualWeight":43,"mainColor":44},220818,"guan-shan-xiao-si-tu-zhou-wang-meng-220818","关山箫寺图轴","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”。",[23,25,26,7,129,28,130,1157,272,269,193,170,3631,151,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1601b0cd43037b968c1bf32d6a8e7830.jpg","纵161.7cm，横56cm",[138,158],{"id":7860,"slug":7861,"title":7862,"dynasty":207,"author":50,"museum":331,"description":7863,"tags":7864,"thumbUrl":7865,"material":37,"size":7866,"collection":39,"collections":7867,"showCount":7831,"zanCount":419,"manualWeight":43,"mainColor":44},218450,"e-mi-tuo-fo-tu-yi-ming-218450","阿弥陀佛图","佛像庄严伫立，右手施无畏印，左手自然垂落，姿态慈悲安详。身着暗红袈裟，饰金色法轮纹样，衣袂垂落间尽显古朴庄重。肤色温润，头光与背光层次分明，暗褐背景更衬神圣。装裱精致，上下深蓝底金纹织物，中间金色祥云边框环绕，金彩熠熠与暗红袈裟相映。整体色调深沉华丽，肃穆中透着慈悲，尽显元代佛教艺术的庄严典雅，仿佛能让人感受到超越时空的宁静与神圣。",[23,25,26,7,28,27,54,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f3ca149a4f4214a7e0dedff73f805c.jpg","98.2x41.9",[39],{"id":7869,"slug":7870,"title":7871,"dynasty":72,"author":683,"museum":74,"description":7872,"tags":7873,"thumbUrl":7874,"material":37,"size":7875,"collection":39,"collections":7876,"showCount":7831,"zanCount":43,"manualWeight":43,"mainColor":44},216954,"mu-niu-tu-dai-jin-216954","牧牛图","戴进对人物的描绘通常是蚕头鼠尾式的，笔触笨拙而有力。柳树沾满了墨水，密密麻麻地洒满了叶子，加上风中摇曳的小草，纸面上一片清凉，沁人心脾。",[24,25,26,7,28,77,130,29,1571,404,5110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c8c78bf69b7ec732d14fa5209f10d6.jpg","38.6x30.6",[39],{"id":7878,"slug":7879,"title":7880,"dynasty":72,"author":4312,"museum":74,"description":7881,"tags":7882,"thumbUrl":7883,"material":37,"size":7884,"collection":138,"collections":7885,"showCount":7831,"zanCount":11,"manualWeight":43,"mainColor":44},214741,"qiu-lin-shu-wu-tu-zhao-zuo-214741","秋林书屋图","这幅画表现的是一个男人独自坐在森林下的书房里，云雾笼罩着远处的山。构图很简单，将河流和天空留白，加上一些水墨，这幅画的特点是柔和和优雅。",[25,364,77,130,7,79,2557,2419,170,132,193,522,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c65d9c974db8e736b5c1f04d0b6cde.jpg","103.1x51.4",[138],{"id":7887,"slug":7888,"title":7889,"dynasty":18,"author":1971,"museum":6403,"description":7890,"tags":7891,"thumbUrl":7892,"material":82,"size":7893,"collection":138,"collections":7894,"showCount":7831,"zanCount":43,"manualWeight":43,"mainColor":88},214546,"feng-lin-tu-wang-jian-214546","风林图","这幅画据说是沈周临摹的，是后世的典范，因为沈周为元四家建立了方法。用墨深入人心，笔触比沈周的更柔和，没有老辣。",[25,26,7,77,130,129,170,132,5683,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbbfe89cadeb3bc96eed8e040b30a40c.jpg","88.2x51.3",[138],{"id":7896,"slug":7897,"title":7898,"dynasty":207,"author":50,"museum":74,"description":7899,"tags":7900,"thumbUrl":7901,"material":82,"size":7902,"collection":101,"collections":7903,"showCount":7831,"zanCount":43,"manualWeight":43,"mainColor":88},214226,"jie-shu-qu-li-si-yu-yi-ming-214226","节书曲礼四语","节书曲礼四语是一首中国古代诗歌，出自元代的《全唐诗》。这首诗描写了四种不同的语言，分别是中文、汉语、维吾尔语和朝鲜语，并表示希望这些语言能够和谐相处，共同促进人类的文化交流。\n\n节书曲礼四语的具体内容如下：\n\n节书曲礼四语，和音精妙。\n中文汉语维吾尔，朝鲜语合唱。\n多少有知音，同声高谈。\n千言万语，和谐相处。\n\n这首诗倡导文化多样性，认为人类不同的语言是一种财富，应该尊重和保留。通过这首诗，作者希望人类能够像唱四语曲一样，和谐相处，共同促进文化交流。",[23,25,26,80,305,77,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504b68b34acfe1381dc81ff64340b981.jpg","56.5x25.9",[101],{"id":7905,"slug":7906,"title":7907,"dynasty":93,"author":3391,"museum":331,"description":7908,"tags":7909,"thumbUrl":7911,"material":198,"size":780,"collection":100,"collections":7912,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":44},288495,"fen-xiang-bo-ruan-tu-li-song-288495","焚香拨阮图","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。",[24,25,26,7,28,29,30,777,27,778,170,239,776,7910,3411],"焚香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e91c925d5a97ce7aba2fd11b9a72400.jpg",[],92,{"id":7915,"slug":7916,"title":7917,"dynasty":72,"author":301,"museum":236,"description":7918,"tags":7919,"thumbUrl":7920,"material":1394,"size":3289,"collection":100,"collections":7921,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":88},233886,"lv-bei-yin-shi-tu-xu-wei-233886","驴背吟诗图","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”",[25,77,304,7,29,3287,1373,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d461acc6ac4f5a17dde4039154ab4c.jpg",[],{"id":7923,"slug":7924,"title":7925,"dynasty":93,"author":3927,"museum":331,"description":7926,"tags":7927,"thumbUrl":7928,"material":100,"size":100,"collection":39,"collections":7929,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":342},228895,"bai-miao-fo-xiang-di-san-zun-zhe-li-gong-lin-228895","白描佛像第三尊者","此作用笔兼具铁线之刚劲与游丝之柔韧，行云流水般勾勒出尊者清癯沧桑的风骨。眉峰微蹙垂目凝神，仿佛正于幽林静悟禅机，沉静淡然的禅意溢于眉眼之间。衣褶线条随体态利落转折，纱罗布料的垂坠轻薄之感呼之欲出，将静坐的松弛动态尽显。旁侧挺劲棕榈与层叠奇石，以淡墨轻擦晕染，寥寥数笔铺陈出空山幽寂的林下氛围。整幅以白描立骨，不施浓艳敷色，尽显素雅古拙的韵致，将禅家内敛沉静的气度融于笔墨，尽显清雅文人意趣。",[23,25,26,7,985,54,29,253,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b0cb0ff09215be2d518fb581eea61d.jpg",[39],{"id":7931,"slug":7932,"title":7933,"dynasty":72,"author":389,"museum":236,"description":1900,"tags":7934,"thumbUrl":7935,"material":236,"size":1903,"collection":39,"collections":7936,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":88},222350,"wang-shu-gong-ji-tu-tang-yin-222350","王蜀宫妓图",[23,25,26,7,27,28,29,30,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2185c945ec24f42176232f09a48815d.jpg",[39,158],{"id":7938,"slug":7939,"title":7940,"dynasty":93,"author":164,"museum":331,"description":2487,"tags":7941,"thumbUrl":7942,"material":28,"size":7943,"collection":157,"collections":7944,"showCount":7913,"zanCount":11,"manualWeight":43,"mainColor":44},221431,"qiu-yi-tu-li-shan-fan-kuan-221431","秋意图立軕",[23,25,26,7,28,129,130,132,170,193,4987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3263c8c2537dc9bc31283a3c58aea08c.jpg","50.8x36.5",[157,138,158],{"id":7946,"slug":7947,"title":7948,"dynasty":18,"author":4259,"museum":74,"description":7949,"tags":7950,"thumbUrl":7951,"material":37,"size":7952,"collection":84,"collections":7953,"showCount":7913,"zanCount":656,"manualWeight":43,"mainColor":88},219455,"tian-zhong-jia-hui-chen-shu-219455","天中佳卉","山石层叠，青绿晕染间见苍劲肌理，墨线勾勒出嶙峋之态；旁侧花枝扶疏，红英灼灼若焰，粉瓣轻舒似云，橙黄花朵衬着修长叶片，清雅动人。笔墨兼工带写，设色明丽却不失蕴藉，将草木的生机与石的沉稳相融，尽显初夏时节的盎然意趣。仿佛微风拂过，花香浮动，叶片轻颤，于静谧中藏着灵动，是一幅雅致动人的案头清供佳制，尽显文人画的秀逸之韵。",[25,28,27,77,113,7,35,536,576,132,3579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541bb4ac861feedf8baad632d78276d4.jpg","115.8x46.1",[84],{"id":7955,"slug":7956,"title":7957,"dynasty":18,"author":4610,"museum":331,"description":4611,"tags":7958,"thumbUrl":7960,"material":198,"size":780,"collection":100,"collections":7961,"showCount":7962,"zanCount":419,"manualWeight":43,"mainColor":88},237154,"xu-gu-fo-shou-pi-pa-zhou-xu-gu-237154","虚谷佛手枇杷轴",[25,26,7,28,77,113,7959,957,79],"佛手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c22a161fdeda5bce69030c4501bc0a0.jpg",[],91,{"id":7964,"slug":7965,"title":1806,"dynasty":18,"author":4610,"museum":331,"description":6141,"tags":7966,"thumbUrl":7967,"material":100,"size":100,"collection":84,"collections":7968,"showCount":7962,"zanCount":43,"manualWeight":43,"mainColor":88},236536,"ju-hua-zhou-xu-gu-236536",[25,26,7,77,28,113,440,304,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b132bc15cc8d2b8bf8215263d9b1c17.jpg",[84,185],{"id":7970,"slug":7971,"title":7972,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":7973,"thumbUrl":7974,"material":198,"size":780,"collection":100,"collections":7975,"showCount":7962,"zanCount":11,"manualWeight":43,"mainColor":88},235635,"bai-lian-tu-zhou-wu-chang-shuo-235635","白莲图轴",[25,26,7,77,28,113,32,307,1594,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c0df205ec2ce42c42492c16896f1a8.jpg",[],{"id":7977,"slug":7978,"title":796,"dynasty":18,"author":235,"museum":236,"description":4044,"tags":7979,"thumbUrl":7980,"material":7981,"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、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[25,7,473,113,306,307,27,28,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5496eee4f3b0cb9dd3c8db2a7491703.jpg",[],90,{"id":8051,"slug":8052,"title":8053,"dynasty":18,"author":2250,"museum":331,"description":8054,"tags":8055,"thumbUrl":8056,"material":100,"size":100,"collection":100,"collections":8057,"showCount":8049,"zanCount":419,"manualWeight":43,"mainColor":88},238999,"fu-gui-bai-tou-tu-zhou-ju-lian-238999","富贵白头图轴","此作用湖石撑起画面骨架，瘦漏透皱，空灵奇崛。牡丹攒簇于石畔，粉娇黄雅、紫柔朱艳，花瓣晕染柔润饱满，枝叶疏密错落，尽显盛放之态。\n\n两只白头翁静立石巅，亲昵相依，另有蛱蝶逐花蹁跹，满幅皆是融融春意。设色明丽却不甜俗，没骨技法将花叶的娇柔鲜活尽致展现，湖石以勾勒皴擦带出嶙峋质感，工写相宜。\n\n祥瑞意趣藏在鲜活景致中，将春日生机与美好祈愿揉合，笔底含情，把灵秀雅致凝于尺幅间。",[25,24,7,27,28,113,114,115,600,57,2190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc5e8dafcd23c0f7abfb2e6f9f962f77.jpg",[],{"id":8059,"slug":8060,"title":8061,"dynasty":18,"author":1123,"museum":331,"description":8062,"tags":8063,"thumbUrl":8064,"material":100,"size":100,"collection":138,"collections":8065,"showCount":8049,"zanCount":43,"manualWeight":43,"mainColor":88},237098,"yun-shou-ping-hu-shan-tu-zhou-yun-shou-ping-237098","恽寿平湖山图轴","恽寿平(初名格；1633—1690)，字寿平，以字行，又字正叔，别号南田，一号白云外史、云溪史、东园客、巢枫客、草衣生、横山樵者。江苏武进人，清代著名画家。\n创常州派，为清朝“一代之冠”。特点是以潇洒秀逸的用笔直接点蘸颜色敷染成画，讲究形似，但又不以形似为满足，有文人画的情调、韵味。其山水画亦有很高成就，以神韵、情趣取胜，与“四王”、吴历并称“清初六大家”。他又善诗文和书法，诗被誉为“毗陵六逸之冠”。书法主要学褚遂良，被称为“恽体”。",[25,26,7,77,130,129,349,404,132,173,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edf4c0fe6fe2640f88f0e56ef758d77.jpg",[138],{"id":8067,"slug":8068,"title":3073,"dynasty":18,"author":921,"museum":331,"description":4398,"tags":8069,"thumbUrl":8070,"material":100,"size":100,"collection":84,"collections":8071,"showCount":8049,"zanCount":11,"manualWeight":43,"mainColor":88},236709,"mo-he-zhou-wu-chang-shuo-236709",[25,26,7,77,304,32,306,80,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26fa54def8562aff21aef714166c0d1f.jpg",[84,101],{"id":8073,"slug":8074,"title":8075,"dynasty":18,"author":3576,"museum":331,"description":8076,"tags":8077,"thumbUrl":8078,"material":100,"size":100,"collection":100,"collections":8079,"showCount":8049,"zanCount":419,"manualWeight":43,"mainColor":44},228927,"bai-tou-rong-gui-tu-li-zhou-ma-quan-228927","白头荣贵图立轴","此作绘就清秋雅景，桂树虬枝斜出，繁花缀于叶间，两只白头翁栖于枝头，羽色晕染细腻，灵动悠然，似在细嗅甜香。苔石苍古朴拙，旁侧芙蓉柔花绽蕊，粉白相衬，妍丽温婉。\n\n笔触工秀兼具，禽鸟绒毛蓬松鲜活，花叶勾勒柔婉，设色明丽雅致却艳而不俗。以白头翁谐“白头”，丹桂、芙蓉寄寓荣华，将秋日生机与吉庆祈愿相融，笔底尽是温婉意趣，静赏间漫溢清和雅致的古典韵味。",[23,24,25,26,7,27,28,113,114,1372,132,1594,291,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa823023cfbac82a24300a34fb689b2f2.jpg",[],{"id":8081,"slug":8082,"title":3323,"dynasty":207,"author":695,"museum":331,"description":8083,"tags":8084,"thumbUrl":8087,"material":100,"size":100,"collection":100,"collections":8088,"showCount":8049,"zanCount":43,"manualWeight":43,"mainColor":44},228011,"yu-fu-tu-wu-zhen-228011","《渔父图》是元代画家 创作的绢本墨笔画，现藏于北京故宫博物院。\n《渔父图》画远山丛树，流泉曲水，老树平坡。\n坡旁溪水一泓，小舟闲泊。\n一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。\n笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。\n坡旁水泽，小舟闲泊。\n一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。\n对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。\n并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。\n”下钤二印。\n图上有清人王铎诗题。\n吴镇的父亲在宋朝是抗金的将军，其叔父与赵孟頫是至交。\n吴镇秉性孤傲，从不愿意与权势者来往，不愿意做官，也很少卖画，不是卖不掉，而是不愿意卖。\n渔、樵、耕、读是古代文人最爱追求的生活方式，“渔父”的形象是清高、隐士的代名词，特别是在元朝，渔父形象大量出现在文学作品、绘画艺术中，成为文人们的感情寄托。\n吴镇对渔父题材更是情有独钟，但他并不是主要歌颂渔父形象，更多是将渔父形象置于某种背景中，营造出一种空无的境界。\n渔父之意对吴镇而言，是一种超然的生活姿态。\n渔父之“父”又作“甫”，是对老年男子的称呼。\n老年人历经沧桑，明于得失，归心淡泊，古称人老之后不归禅则归道，隐含着超脱之情。\n吴镇那种“曲直知有节”不肯傍人篱落的思想也从他画的众多的《渔父图》中反映出来。\n从“至元二年秋八月“判断，是吴镇五十七岁时的作品。\n《渔父图》中的渔父也和竹子一样，是一个象征意义的形象，透露了元代社会的某些侧面的现实情况。\n《渔父图》是将画者的心襟气象与关乎画面自身形式规范的内在结构有机结合起来的典范之作，其所描绘的场景并未脱离视觉真实，但它注重的已不再是真实物象本身，而是借此传达画家对于宇宙韵律的体吾与把握，进而表现陶冶于自然之中、与天地同体的人格境界。\n据题画诗，可以体悟到吴镇想要云游于天地云水之间、超脱而归于自然的“渔隐”心理。\n墨分五色，而“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。\n画山水选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。\n画中载酒船头、垂钓湖面的渔者，沉迷于水天朗月之间，融合在宇宙的秩序和节奏之中，云雾山岚、西风芦荻、水波鱼跃皆与人心息息相通，主观情调与自然景象的交流互渗构成了超出于画面自然山水本身的艺术灵境。\n《渔父图》无论远景、近景均如沐浴在水中，给人“水墨淋漓幛犹湿”之感，但由于渔船与渔父皆以细笔勾出，与湿笔大点大染的山石树木形成鲜明的线面对比、因面画面充溢的湿重之气并没有使人产生闷塞之感。\n此外，吴镇的《渔父图》皆用笔苍劲有力，诗与画交相辉映，形成迷蒙幽深、自由无限的艺术境界。\n故宫博物院研究馆员 ：画中的构图严整精练，置景平奇相间，把处于静态的树木坡石处理得颇有动感，近坡、渔翁、远山三组景物在结构上顾盼自如。\n北京故宫博物院所藏《渔父图》上有清人王铎题诗，此卷曾经明人詹僖，清人吴荣光、潘正炜收藏，现收藏于北京故宫博物院。\n217年9月6日—2月5日，北京故宫博物院举办赵孟頫书画特展，其中《渔父图》为展出珍品之一。\n吴镇（128—154），字仲圭，号梅花道人、梅沙弥，嘉兴人。\n相传吴镇年轻时喜结交豪侠一流的人物，后隐居乡里，以卖卜为生，并吟诗写字作画以消遣，诗书画逐渐有名之后，兼以卖画为生。\n吴镇擅画水墨山水，师法巨然，间学马远、夏主的斧劈皴和刮铁皴，擅用湿墨表现山川林木郁茂景色。\n与 、 、王蒙合称“元四家”。\n传世作品有《双桧平远图》《渔父图》《墨梅图》等。",[23,25,77,130,7,129,349,8085,521,131,132,522,523,170,8086],"渔父","岸边植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03dd03517bdc35106836bd25b858314f.jpg",[],{"id":8090,"slug":8091,"title":2475,"dynasty":18,"author":709,"museum":331,"description":8092,"tags":8093,"thumbUrl":8094,"material":100,"size":100,"collection":100,"collections":8095,"showCount":8049,"zanCount":43,"manualWeight":43,"mainColor":88},224332,"he-hua-tu-zhou-li-shan-224332","这幅作品以书入画，诗墨相融。狂放苍劲的题笔沿边排布，与水墨荷塘相映成趣。荷叶以泼墨晕染，浓淡干湿间尽显酣畅野逸，墨色沉凝处如积雨重碧，浅淡处似晓露初歇。花瓣以淡墨轻勾，含露亭亭，在浓墨荷叶的衬托下愈显清柔雅致。\n笔线纵恣写意，荷梗挺拔舒展，卷叶、莲蓬错落点缀，虚实相生间晕开荷塘清寂又蓬勃的生机。整幅将物象风神与文人意趣交织，以大写意笔法把荷塘逸态与胸中意气相融，尽显疏朗狂逸的格调，是性情与笔墨共生的绝佳范本。",[23,25,26,7,77,304,97,79,306,307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b036304de3bc3acd1b8f63768ad6326.jpg",[],{"id":8097,"slug":8098,"title":8099,"dynasty":72,"author":389,"museum":3222,"description":8100,"tags":8101,"thumbUrl":8102,"material":486,"size":8103,"collection":100,"collections":8104,"showCount":8049,"zanCount":419,"manualWeight":43,"mainColor":44},222344,"song-lin-yang-bian-tu-tang-yin-222344","松林扬鞭图","图绘春雪消融，鲜花盛开的季节，文人逸士策马扬鞭结伴郊游的美好景致。画心左上角有画家自题七言诗一首：“女几山前春雪消，路傍仙杏发柔条。心期此日同游赏，载酒扬鞭过野桥。”署款“唐寅”。钤“南京解元”、“六如居士”二印。",[23,25,77,28,130,7,427,29,196,132,272,170,195,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41ce84768985f365b4a778ba934bd0d.jpg","145.3cm 横：72.5cm。",[],{"id":8106,"slug":8107,"title":8108,"dynasty":18,"author":1123,"museum":74,"description":8109,"tags":8110,"thumbUrl":8111,"material":214,"size":8112,"collection":138,"collections":8113,"showCount":8049,"zanCount":11,"manualWeight":43,"mainColor":88},220971,"fang-ni-zan-gu-mu-cong-huang-tu-yun-shou-ping-220971","仿倪瓒古木丛篁图","《仿倪瓒古木丛篁图》仿倪瓒遗意，画古木平泉，丛篁积翠。技法上，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。构图简洁，画面丰富，为倪瓒作画特色。",[23,25,26,7,77,130,945,131,31,35,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c40f667736f6fd2b6ac59e572161654.jpg","纵81cm，横32.7cm",[138,185],{"id":8115,"slug":8116,"title":8117,"dynasty":207,"author":695,"museum":236,"description":8118,"tags":8119,"thumbUrl":8121,"material":182,"size":8122,"collection":138,"collections":8123,"showCount":8049,"zanCount":11,"manualWeight":43,"mainColor":44},220783,"lu-hua-han-yan-tu-wu-zhen-220783","芦花寒雁图","《芦花寒雁图》是元代画家吴镇创作的一幅绢本墨笔画，现收藏于北京故宫博物院。\n《芦花寒雁图》以平远法绘秋日水滨景色，水面微波荡漾，蒹葭苍苍，一双芦雁振翅飞起，渔父于舟头仰首凝视。画面空灵寒寂，形成了平淡清远的境界。图中以平行置景的手法表现空阔无际的水泊，以浓淡变化的水墨表现远近层次，平中见奇。\n此图中心部分画了一个大的芦苇塘，时已深秋，两岸芦花在随风摆动。塘中画一正在行驶的小船，船头一艄公须髯飘拂，一边划桨，一边昂首望天，他显然听到了寒空雁叫，才把目光转向天空。上部空中，有两只孤雁，正背着小船的方向飞去。\n自屈原《渔父》及《庄子》中的渔父形象在文学作品中出现后，渔父成了清高孤洁、避世脱俗、浪迹江湖的隐士化身。渔父形象的大量出现并形成一种风气是在元代。由于元代在中国历史上是蒙古民族入主中原并统治全中国的朝代，其民族歧视政策使大量文人都采取古典绘画的人文意蕴了不与之合作的态度。在这种社会背景下，渔父清高、避世、逍遥的人生为许多隐退文人所仿效，这其中，吴镇对渔父最为情有独钟。\n吴镇在元至顺元年（公元1330年）所绘的《芦花寒雁图》是其一系列“渔隐”主题作品中的一幅，在画中适当变化了《寒林重汀图》中的构画元素。\n《芦花寒雁图》中双雁起飞，渔父仰首观望，通过细致描绘周边环境，巧妙地把渔父安排于水面一个较突出的位置。 此图画幅不大，却意境深远。画面采用三段式构图，平行的披麻皴。横向铺开，除了渔父和寒雁外，《芦花寒雁图》中的大多物象都能在《寒林重汀图》中找到，可见董源对吴镇的影响。\n此图技法上用柔润的线条勾写物象，笔法灵活，疏简秀逸，自然平淡，苍润华滋，具有文人的书卷气。图中山石、坡地直接用大笔，连扫带染，使得皴笔与渲染的墨色自然地交融在一起。再加以披麻皴，罩一层水墨，略分浓淡，以区分山石的凹凸向背。在水域的处理上，更是用湿笔淡墨层层铺陈。在用墨上，饱蘸水分，将江南湿润的空气流动在画中。",[23,25,26,7,77,130,79,349,350,8120,151,129],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d33051a230060350c9af21019672658.jpg","纵83.3厘米，横27.8厘米",[138,185],{"id":8125,"slug":8126,"title":8127,"dynasty":207,"author":1327,"museum":236,"description":8128,"tags":8129,"thumbUrl":8130,"material":37,"size":8131,"collection":84,"collections":8132,"showCount":8049,"zanCount":11,"manualWeight":43,"mainColor":44},220342,"mu-yu-zhu-tu-li-kan-220342","沐雨竹图","自宋以来，梅、兰、竹、菊被士大夫称为“四君子”，象征“清高”“幽洁”“虚心”“隐逸”“气节”等精神品格。当社会危机、民族危机严重时，一些知识分子无力抗争，在孤愤与绝望中把情感寄托于笔墨，通过高度净化了的形式，表现这几种植物的品性，以喻君子的傲骨和高风。入元以后，“四君子”画不但更为兴盛，而且在思想情感的表现上更加丰富和深刻，笔墨情趣也更加讲究。特别是墨竹，用笔单纯简洁、挥洒自由，具有书法的意态，引起了士大夫的强烈兴趣。",[25,26,7,77,27,31,601,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcead2e46dbd68e83194ae99afee9827.jpg","纵111.5厘米，横55 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任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。\n王鉴的祖父王世贞（1526年— 1590年）是晚明著名文人、鉴藏家和显宦，官至南京刑部尚书，精古诗文，与李攀龙等并称“后七子”，为文坛盟主；富收藏，尔雅楼中藏书万卷，书画文物无数；著有《弇州山人四部稿》、《艺苑后言》等。父王士骥，万历十七年（1589年）进士，官吏部员外郎。王鉴出身于这样一个文学世家和官宦门第，自幼即受到良好的文化教养和艺术熏陶，“缔岁即好点染”，他亦自述：“自幼习董熟耳。”表明他最早学画是从董源入手的。以后又追踪巨然和元四家，万历四十五年（1617年）时的《仿云林山水轴》和天启元年（1621年）拟巨然的《山水图》，可证其最早的画学渊薮。",[24,25,26,7,77,130,945,129,272,170,427,351,733,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg",[138,185],{"id":8436,"slug":8437,"title":8438,"dynasty":18,"author":1296,"museum":236,"description":8439,"tags":8440,"thumbUrl":8441,"material":214,"size":8442,"collection":100,"collections":8443,"showCount":8395,"zanCount":419,"manualWeight":43,"mainColor":88},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","图绘疏林湖畔高士拽杖独行的情景。设景布势以“S”形湖堤为主线，通过对近景树石的具象描绘，烘托出远山平湖的虚空迷蒙，画面空间在景致的虚实互映中得“咫尺千里”之趣。画中的山石杂木以饱含水分的润墨表现，点染生动，显现出作者较强的笔墨驾驭能力。此图并非对实景写生，而是作者“搜尽奇峰打草稿”后的胸中丘壑的写照，面目独具，妙得自然。",[25,77,7,130,129,134,193,170,733,132,151,35,352,378,522,855,686,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],{"id":8445,"slug":8446,"title":8447,"dynasty":109,"author":8448,"museum":331,"description":8449,"tags":8450,"thumbUrl":8452,"material":100,"size":100,"collection":100,"collections":8453,"showCount":8395,"zanCount":656,"manualWeight":43,"mainColor":44},227262,"xue-jing-ba-jiao-han-que-tu-huang-ju-cai-227262","雪景芭蕉寒雀图","黄居寀","麻雀是我们生活中常见的鸟类，身形娇小，机敏灵活，却也憨态可掬，更因为打不倒的顽强生命力，在画家们的笔下，散发出了生机勃勃的魅力，一幅花鸟画中，因为麻雀的构成，顿时“活”了起来，因此国画麻雀也相当受画家和收藏者们喜爱",[23,24,25,26,7,28,113,27,3880,239,8451,392,675],"寒雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267d2fc6d76d34d83a59c288d428c4e8.jpg",[],{"id":8455,"slug":8456,"title":8457,"dynasty":18,"author":1296,"museum":331,"description":8458,"tags":8459,"thumbUrl":8460,"material":198,"size":780,"collection":100,"collections":8461,"showCount":8395,"zanCount":43,"manualWeight":43,"mainColor":44},224528,"mu-dan-lan-hua-tu-zhou-shi-tao-224528","牡丹兰花图轴","石涛的花鸟、兰竹，多用水墨写意法，行笔爽利，用墨淋漓简练，给人以清峻、挺拔、浑厚之感。石涛的兰竹画为中国画史中的一绝。图中兰叶瘦劲，浓墨托出，交迭穿插，兰花散发出幽香。",[23,24,25,26,7,77,304,80,79,113,114,1051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9163948f16c605409d424d9bc05e56.jpg",[],{"id":8463,"slug":8464,"title":8465,"dynasty":72,"author":8466,"museum":74,"description":8467,"tags":8468,"thumbUrl":8469,"material":1688,"size":8470,"collection":138,"collections":8471,"showCount":8395,"zanCount":43,"manualWeight":43,"mainColor":88},222166,"ban-chuang-qing-cui-tu-zhou-xia-chang-222166","半窗晴翠图轴","夏昶","夏昶（1388—1470），字仲昭，號自在居士，江蘇崑山人。永樂十三年（1415）進士，官至太常寺卿。精於楷書，曾為永樂皇帝書榜。師法王紱（1362－1416），繪竹觀察入微，名聲遠播域外。 墨竹取其一竿，由底部凌空而起，枝幹堅立。巧妙運用濃淡墨色變化，表現竹葉正反向背，畫面大量留白，營造層次空間感。竹爲文人士大夫節操象徵，夏氏為官處事清廉，墨竹瘦勁孤高，為其人格寫照。",[23,25,26,7,77,31,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83d9c2987b664b21c5009d24314eaec2.jpg","139.2x45.3厘米",[138,185],{"id":8473,"slug":8474,"title":5973,"dynasty":207,"author":1981,"museum":236,"description":8475,"tags":8476,"thumbUrl":8477,"material":1394,"size":8478,"collection":138,"collections":8479,"showCount":8395,"zanCount":11,"manualWeight":43,"mainColor":44},221756,"song-shi-tu-zhou-sheng-mao-221756","本幅左上款署：“至正己亥仲秋廿二日武唐盛懋子昭作此图为祐祯寿。”下钤“子昭”、“盛懋”印。“至正己亥”为至正十九年（1353年），受画人“祐祯”不知为何许人。本幅左下钤鉴藏印“囗公读过”、“见阳图书”、“寒云珍藏元人名迹”、“子安珍藏记”。\n此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[23,24,25,26,7,77,130,427,57,35,131,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484705e5dcac0a31f081986fc89320e9.jpg","纵77.4厘米，横27.2厘米",[138,185],{"id":8481,"slug":8482,"title":8483,"dynasty":93,"author":481,"museum":74,"description":8484,"tags":8485,"thumbUrl":8486,"material":486,"size":8487,"collection":157,"collections":8488,"showCount":8395,"zanCount":43,"manualWeight":43,"mainColor":44},221527,"ban-qiao-ta-xue-tu-ma-yuan-221527","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[23,25,26,364,7,77,130,28,252,601,253,134,29,196,195,613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","纵99cm，横59.1cm",[157,138,185],{"id":8490,"slug":8491,"title":8492,"dynasty":72,"author":1024,"museum":265,"description":8493,"tags":8494,"thumbUrl":8496,"material":8497,"size":8498,"collection":138,"collections":8499,"showCount":8395,"zanCount":11,"manualWeight":43,"mainColor":704},220896,"jiu-feng-han-cui-tu-dong-qi-chang-220896","九峰寒翠图","董其昌书法上有“邢张米董”之称，即把他与临邑邢侗、晋江张瑞图、须天米钟并列；绘画上有南董北米之说。莫是龙、陈继儒提倡“南北宗”之说，即把“院体”山水画与“文人画”分为南北两派。董其昌一生创作的书画作品不可胜数，临仿古人的绘画和诗帖是其中的一个重要部分。他在《画禅室随笔》中所说的“读万卷书”正是指一个人要想成为艺术家，必须学习传统，学习古人。他17岁开始学习书法时临写颜真卿的《多宝塔》，22岁学习绘画时师法黄公望，以后又遍学诸家，这种以古人为师的作法八十而不辍，伴其终生。他广泛吸取对唐宋元诸家优长，抉精探微，使其书画取得了超越古人的艺术成就。\n在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵佶、米芾诸名家法书，于万历三十一年（1603年）刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸，他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。",[23,24,25,26,7,77,28,130,129,521,132,522,8263,170,1594,8495],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 墨笔","123.7cmx46cm",[138,185],{"id":8501,"slug":8502,"title":8503,"dynasty":72,"author":1024,"museum":1714,"description":8504,"tags":8505,"thumbUrl":8506,"material":82,"size":8507,"collection":138,"collections":8508,"showCount":8395,"zanCount":11,"manualWeight":43,"mainColor":88},220002,"pei-jin-gong-shi-yi-tu-dong-qi-chang-220002","裴晋公诗意图","此图是董其昌仿黄公望笔法画唐代裴度的诗意。题跋：门径俯清溪，茅檐古木齐。红尘飞不到，时有小禽啼。君山丈见访海上，写此为赠。补裴晋公（度）诗意图也。 丁已正元三日玄宰识。",[23,25,26,7,77,130,129,132,170,733,29,1419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c018965263283f7d9de23c6134c8ab.jpg","130.5×39.2cm",[138],{"id":8510,"slug":8511,"title":8512,"dynasty":18,"author":8513,"museum":147,"description":8514,"tags":8515,"thumbUrl":8520,"material":37,"size":8521,"collection":39,"collections":8522,"showCount":8395,"zanCount":11,"manualWeight":43,"mainColor":88},219558,"chun-jie-mo-jing-tu-xu-ting-kun-219558","春节磨镜图","徐廷琨","深宅巷口寒梅初绽，年意漫溢在古雅院墙间。老匠人俯身转轴磨镜，铜轮轻转，正将镜面拭得锃亮。仕女携稚子围拢观望，孩童们或捧起面具把玩，或躲在朱门后探头窥看，更有小顽童踮脚逗趣，把岁朝的松弛鲜活尽数铺展。朱红楹联衬着素淡院墙，冷枝与暖色调相映，笔触细腻温婉，将市井年俗的温情揉进淡墨浅彩里，把巷陌间的年节烟火定格，晕开旧时光里独有的团圆暖意。",[23,25,28,27,7,29,8516,8517,8518,392,3362,8519,733,57,6462],"老人","儿童","妇女","磨镜工具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b293983689f1320abb018c4c354e19.jpg","53x109cm",[39,158],{"id":8524,"slug":8525,"title":8526,"dynasty":93,"author":2672,"museum":74,"description":8527,"tags":8528,"thumbUrl":8529,"material":37,"size":8530,"collection":39,"collections":8531,"showCount":8395,"zanCount":11,"manualWeight":43,"mainColor":44},219402,"wu-rui-tu-zhou-su-han-chen-219402","五瑞图轴","本幅描绘五个孩童带着各式的面具，模仿大人们跳起「大傩舞」，傩是一种驱鬼避邪的仪式﹐主要是以扮演各种鬼怪所害怕的人物﹐以达驱鬼除邪的目的。本幅不但设色鲜艳丰富，画家更精心描绘衣服上的各种质材与花纹。画中场景设在一个置有湖石的花园，湖石以细笔皴擦质地，并以留白显示突起的棱线，地面则以排点与平行短线表现树叶与杂草，这些特点显示与弘治宫廷画家吕文英作品有相同的描绘格套，应为明代宫廷风格。",[24,25,26,7,27,28,29,1932,114,31,132,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9ef843f31da8da3bf30cd9d26b5ab.jpg","165.5x102.5",[39],{"id":8533,"slug":8534,"title":8535,"dynasty":18,"author":4828,"museum":236,"description":8536,"tags":8537,"thumbUrl":8538,"material":37,"size":8539,"collection":138,"collections":8540,"showCount":8395,"zanCount":43,"manualWeight":43,"mainColor":44},218495,"shan-shui-tu-zhou-wu-li-218495","山水图轴","吴历（1632—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。少年时遭遇明亡，信奉佛教，后转为信奉基督教。曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。吴历以其独到的艺术风貌与“四王”、恽寿平并称“清初六大家”。据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,25,7,77,130,129,252,56,170,733,134,351,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6b4dd37202170810c221a4959124c1.jpg","64.9x32cm",[138],{"id":8542,"slug":8543,"title":8544,"dynasty":72,"author":50,"museum":1714,"description":8545,"tags":8546,"thumbUrl":8547,"material":37,"size":8548,"collection":39,"collections":8549,"showCount":8395,"zanCount":11,"manualWeight":43,"mainColor":44},218275,"ji-le-tu-yi-ming-218275","伎乐图","衣袂相偎处，古调似欲漫出绢素。一人执杖而立，衣纹沉郁如暮云垂落；一人抱阮斜倚，弦上仿佛栖着未散的余音。线条简淡却藏韵致，服饰褶皱如流水舒展，古雅色调晕染出时光的温润。两人姿态亲昵，似共守一段静谧辰光，又或在乐声里彼此慰藉。无繁复布景，仅以人物相依与乐器呼应，便勾勒出伎乐生涯中的一抹温情——让千年后的观者，仍能触到那份含蓄暖意与悠然古意，于绢素间听见岁月的轻吟。",[25,7,28,27,29,30,777],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb577d3e5073e741217357fcfbccf10a8.jpg","83.4x38.2",[39],{"id":8551,"slug":8552,"title":8553,"dynasty":72,"author":8554,"museum":74,"description":8555,"tags":8556,"thumbUrl":8557,"material":82,"size":8558,"collection":101,"collections":8559,"showCount":8395,"zanCount":43,"manualWeight":43,"mainColor":44},214207,"xing-shu-zhou-zhang-rui-tu-214207","行书轴","张瑞图","释文：借问欲栖珠树隺。何年却傍帝城飞。果亭瑞图。",[23,80,97,7,4906,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7ddc20f101ed60c4ac5b9f77df0b3b.jpg","166.1x41.3",[101],{"id":8561,"slug":8562,"title":8563,"dynasty":72,"author":752,"museum":331,"description":2862,"tags":8564,"thumbUrl":8565,"material":198,"size":780,"collection":100,"collections":8566,"showCount":8567,"zanCount":43,"manualWeight":43,"mainColor":44},290354,"hua-he-hua-zhou-chen-hong-shou-290354","画荷花轴",[24,25,26,7,28,113,306,35,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daddd5c38e884b7ee705d40059080ce.jpg",[],85,{"id":8569,"slug":8570,"title":8571,"dynasty":18,"author":235,"museum":236,"description":8572,"tags":8573,"thumbUrl":8574,"material":1573,"size":8575,"collection":39,"collections":8576,"showCount":8567,"zanCount":43,"manualWeight":43,"mainColor":88},237136,"ren-yi-feng-chen-san-xia-tu-zhou-ren-yi-237136","任颐风尘三侠图轴","该图的大致内容是：隋末司徒杨素的侍妾红拂女与才子李靖相爱后私定终生，后在剑侠虬髯客的帮助下为唐王李世民建立了功勋。所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。\n风尘三侠指隋末唐初三位豪杰：虬髯客、李靖和红拂女。出自唐传奇《虬髯客传》。李靖于隋末在长安谒见司空杨素，为杨素家妓红拂所倾慕，随之出奔，途中结识豪侠张虬髯，后同至太原，通过刘文静会见李世民。虬髯客本有争夺天下之志，见李世民神气不凡，知不能匹敌，遂倾其家财资助李靖，使辅佐李世民成就功业。后虬髯客入扶馀国自立为王。李靖、红拂、虬髯三人，后人亦称“风尘三侠”。\n任颐《风尘三侠图》所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。画家用钉头鼠尾描组成火焰般的衣纹，表现出自己内心按捺不住的激情。任颐曾多次以风尘三侠为题作画，反映了画家对描绘反封建题材的人物画怀有炽热的创作热情。\n马匹作白描法，颇有装饰趣味，黑驴用没骨法，但肌肤的表现效果欠佳。",[24,25,26,7,28,27,29,196,3287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11f741247a6bb0597dc560a48dfb84f.jpg","纵148.5cm、横66cm",[39],{"id":8578,"slug":8579,"title":8580,"dynasty":18,"author":921,"museum":236,"description":8581,"tags":8582,"thumbUrl":8583,"material":214,"size":100,"collection":84,"collections":8584,"showCount":8567,"zanCount":11,"manualWeight":43,"mainColor":88},236981,"qiu-se-zhou-wu-chang-shuo-236981","秋色轴","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。” 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cm",[138],{"id":8658,"slug":8659,"title":8660,"dynasty":18,"author":1036,"museum":74,"description":8661,"tags":8662,"thumbUrl":8663,"material":37,"size":8664,"collection":158,"collections":8665,"showCount":8567,"zanCount":419,"manualWeight":43,"mainColor":88},219302,"shi-jun-tu-zhi-ru-yi-cong-zhou-lang-shi-ning-219302","十骏图之如意骢轴","银鬃如瀑覆颈垂尾，肌理间星斑错落似落雪沾霜。骏马昂首而立，筋肉起伏藏于柔毫之下——西洋写实技法精准勾勒骨相，东方水墨晕染鬃毛显柔韵。绢本素净如宣纸，衬得如意骢神骏挺拔，姿态灵动若将嘶鸣。旁侧墨笔题跋与朱印相映，添文人雅趣。中西技法相融，既存西域良驹的雄健风骨，又含中式审美的含蓄意境，成鞍马画作中跨文化对话的传世妙品。",[25,26,7,27,28,196,241,5109,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38449328316c44de09d076a3ad08c00d.jpg","231.2x278.1",[158],{"id":8667,"slug":8668,"title":8669,"dynasty":72,"author":908,"museum":331,"description":8670,"tags":8671,"thumbUrl":8673,"material":198,"size":780,"collection":100,"collections":8674,"showCount":8675,"zanCount":43,"manualWeight":43,"mainColor":88},290918,"ping-he-xie-sheng-zhou-chen-chun-290918","瓶荷写生轴","陈淳（1483－1544），字道复，自号白阳山人，江苏长洲人。擅长写意花卉，尤妙写生。款‘辛丑秋日’，时年五十八岁。宋、明以后，花道兴盛，仿古铜觚既可插花，亦可为书斋案头摆饰，深得文人推崇。长梗荷花与叶柄向上伸展，几乎占满画面，独树一格。以钩勒法写荷，没骨法写叶，杂草劲挺交错其中。寥寥几笔写出花叶形态，水墨交融层次丰富，将文人审美情趣与花卉写意完美结合，应是画家醉后遣兴之作。",[25,7,77,113,306,33,79,8672],"写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde40b5e80b3b9679327bf17061f192c9.jpg",[],84,{"id":8677,"slug":8678,"title":2861,"dynasty":72,"author":8679,"museum":331,"description":8680,"tags":8681,"thumbUrl":8683,"material":198,"size":780,"collection":100,"collections":8684,"showCount":8675,"zanCount":11,"manualWeight":43,"mainColor":44},290312,"sui-chao-tu-zhou-tao-cheng-290312","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[25,26,7,24,28,113,378,392,8682,79,80,97,33],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf77270b17ed20c031bfe4c49651301a.jpg",[],{"id":8686,"slug":8687,"title":8688,"dynasty":18,"author":50,"museum":236,"description":8689,"tags":8690,"thumbUrl":8691,"material":1218,"size":8692,"collection":100,"collections":8693,"showCount":8675,"zanCount":419,"manualWeight":43,"mainColor":44},223473,"zhi-ping-shi-nv-tu-yi-ming-223473","执瓶仕女图","画中少女立于画中，长袍长裙飘扬，高举丝绸高瓶，丝绒修长，露出的右手指甲细长，这姑娘应为高官达人家眷或宫廷内女子",[25,26,7,28,27,29,30,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c7df1b022f11cc8235ca9a2a3f80c2.jpg","92x56厘米",[],{"id":8695,"slug":8696,"title":8697,"dynasty":72,"author":73,"museum":74,"description":8698,"tags":8699,"thumbUrl":8700,"material":1320,"size":8701,"collection":138,"collections":8702,"showCount":8675,"zanCount":419,"manualWeight":43,"mainColor":44},222525,"shan-ting-wen-hui-tu-wang-fu-222525","山亭文会图","此图是王绂的代表作，写文人雅士于山亭聚会的情景。该图立意古逸，构图严谨。图中笔墨浑厚华滋，在继承元代文人画的基础上融合进了自己的笔意。山石先以枯淡墨皴写，按结构层层叠加，最后以浓重墨勾勒点苔，使整幅画面有苍润之感。\n此画立意古逸，构图严谨，山上小溪、泉水流淌有声，山下河中可泛舟，山林间亭台楼阁隐现，这是一处可游可居的幽雅胜境。近景古朴山亭中已有几个文人在那里论诗作画，山下还有文人或乘舟、或步行赶来应约赴会。此图山水胜境为文人雅集提供了优美环境，文人雅集又为山水胜境增添了诗情画意。\n此画笔墨深厚滋润，结构繁密，但密而不塞。画法上颇富于变化，是在王蒙的章法上加以变化而来。山石皴法点苔，似从王蒙法度中来，然后用笔粗犷，又有新意。有的山石以枯笔作解索皴，兼用乱柴皴、小斧劈皴，笔线富于动感。然后层层迭染，最后以浓墨勾皴打点，积墨层层，显得凝重厚实。树木和茅亭的画法在王蒙、倪瓒之间，笔力雄劲，墨气沉厚。即使山顶的小树，也一一画出树干，各具形态，而不是元画中常见的以点为树的处理。整个画面具有既苍茫湿润又清灵爽利的特殊效果。",[25,26,7,77,130,129,377,29,170,132,193,173,1717,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15b31f796803782232999124a14bbe4.jpg","纵219厘米，横87.6厘米",[138,185],{"id":8704,"slug":8705,"title":8706,"dynasty":72,"author":1614,"museum":74,"description":8707,"tags":8708,"thumbUrl":8709,"material":182,"size":8710,"collection":138,"collections":8711,"showCount":8675,"zanCount":43,"manualWeight":43,"mainColor":88},221969,"fang-wang-meng-shan-shui-zhou-wen-zheng-ming-221969","仿王蒙山水轴","该幅画叠峦飞瀑，山溪蜿蜒。全作景密而笔松，意精而迹放，清奇浑厚。此帧纸狭而长，构景重叠而繁复。徵明晚年好作此种，晚期吴派亦多受此影响。\n五月五日，仿王蒙山水轴。此幅构景重叠而繁复，略似沈周庐山高，而庐山高为宽纸短幅，其中时以云水隔断，此帧纸狭而长，峰峦晴爽，故更觉繁密重叠也。徵明晚年好作此种，晚期吴派亦多受此影响。结顶一山，石纹勾勒，甚为奇特，董其昌山水，常在群山中一两处作奇石，盖亦自此出。\n此帧董其昌旁题云：“文待诏仿黄鹤山樵，几欲乱眞”，是出自由衷之赞语。此帧景密而笔松，意精而迹放，清奇浑厚，兼而有之。是大家悉力之作。",[23,25,7,77,130,945,129,132,170,169,377,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd029fea8a32761fc2fa01e64733e96fa.jpg","全幅 57.2公分",[138,185],{"id":8713,"slug":8714,"title":8715,"dynasty":993,"author":8716,"museum":74,"description":8717,"tags":8718,"thumbUrl":8719,"material":486,"size":8720,"collection":39,"collections":8721,"showCount":8675,"zanCount":11,"manualWeight":43,"mainColor":44},221134,"da-bei-guan-yin-xiang-zhou-fan-qiong-221134","大悲观音像轴","范琼","头戴宝冠，宝冠中画阿弥陀佛，在青色莲台上结跏趺坐。\n他有三只眼睛、四十二只手，每只手掌中间还画一只眼睛，是密教中千手千眼观音（又称大悲观音）的一种类型。\n此幅右下方有范琼（活动于八四六－八七九年）的题款，虽然清代的查士标和张丑都认为这是一幅范琼的真迹，可是这幅观音女相的造形与唐代的 不同，反而和明代的观音较为接近，所以推测它可能是一件明代的画作。\n范琼，唐文宗时人。86至84（开成年）与陈皓、彭坚同时同艺寓居蜀城（今成都）。三人善画人物、佛像、天王、罗汉、鬼神。三人同手于诸寺图画佛像。自大中至乾符，笔无暂释，图画二百余间墙壁。如圣寿寺大殿释伽像，行道北方天王像、西方变相、殿上小壁水月观音等，与圣兴寺大殿东北二方天王、药师十二神、释迦十弟子、弥勒像、大悲变相等；名目虽同，形状一无同者。\n尝作刍瑟磨像两堵，设色未半，笔踪俨然，后之妙手终莫能继。\n大中年（八四七至八五九）所绘大悲观音像躯不盈尺而三十六臂皆端重安稳，所执诸物各尽其妙。\n笔迹如缕而精劲温润，妙穷毫厘。\n其卢楞伽、曹仲宣之徒欤。\n《德隅斋画品、米芾画史、图画见闻志》",[24,25,26,7,54,29,28,27,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cbcfa8a4804974fb3a4d454c07fde3.jpg","该幅 67.3x39.9公分；右上边题签 23.8x2公分；左下方题 26.7x8.7公分",[39,158],{"id":8723,"slug":8724,"title":8725,"dynasty":72,"author":389,"museum":74,"description":8726,"tags":8727,"thumbUrl":8729,"material":82,"size":8730,"collection":39,"collections":8731,"showCount":8675,"zanCount":419,"manualWeight":43,"mainColor":88},220377,"ban-ji-tuan-shan-tu-tang-yin-220377","班姬团扇图","画中，班姬手拈纨扇，独自在棕榈树下悄然而立。尽管画的是明眸粉颊、姿容秀丽，神情却怅然若有所思。庭前，点缀着一株花蕊绽放的蜀葵，画家应是想藉此来暗示时序已属夏末秋凉的季节。\n唐寅原是恋恋红尘里的有情种子，素来就擅长图写女性形象。本幅援引文学作品入画，透过人物与景境的巧妙配搭，具体呈现了画中人的感情和际遇。这份深刻、动人的描写力，无疑已让观者超迈了时空的隔阻，共感于汉代美人的沧桑与情痴！",[23,25,26,7,28,27,29,30,253,57,778,8728,79,8262],"团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c91421866b019a6fe5f56d55012294.jpg","150.4×63.6公分",[39,158],{"id":8733,"slug":8734,"title":8735,"dynasty":72,"author":50,"museum":6403,"description":8736,"tags":8737,"thumbUrl":8742,"material":2391,"size":100,"collection":158,"collections":8743,"showCount":8675,"zanCount":11,"manualWeight":43,"mainColor":342},220336,"kong-que-ming-wang-yi-ming-220336","孔雀明王","主尊身色莹白慈悲，六臂分持莲华、鲜果、摩尼宝珠与孔雀翎，怀捧宝瓶，璎珞衣饰以金彩勾勒，尽显华贵庄严。乘骑孔雀羽翼丰美晕染细腻，翎羽层次分明，神姿昂然。背景以深褐为底，孔雀开屏式圆光环伺主尊，眼纹环饰精巧神秘。整体设色沉厚古雅，工笔细密入微，衣袂织物的柔润光泽与造像的神圣感融为一体，在静谧肃穆的氛围里，传递出密宗造像护国息灾的神圣力量，是极具代表性的佛绘精品。",[23,25,27,28,7,54,29,5187,115,5394,8738,8739,8740,8741,1743,536],"多臂人物","重彩","装饰图案","佛教题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe61e91b9aaf3f5abd9e79c97669b37e.jpg",[158],{"id":8745,"slug":8746,"title":8747,"dynasty":72,"author":7745,"museum":236,"description":8748,"tags":8749,"thumbUrl":8751,"material":37,"size":8752,"collection":138,"collections":8753,"showCount":8675,"zanCount":419,"manualWeight":43,"mainColor":44},219127,"yan-jiang-yuan-tiao-tu-zhu-duan-219127","烟江远眺图","此图作全景山水，取景开阔，山高水远。前景画坡岸高树，雅士临江远眺；中景巨峰突起，陡然屹立；远景舟船重峦置于迷蒙的烟霭之间，随山势渐远。作品承传李成、郭熙派系的意韵与气魄，笔法简劲，墨色秀润，树石勾染精细，设色淡雅。",[23,25,77,28,7,129,130,349,170,351,522,8355,29,8750,79],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1843cff6121583b9f2e9339e3c4eeb.jpg","纵168.2厘米，横107厘米",[138],{"id":8755,"slug":8756,"title":8757,"dynasty":207,"author":8758,"museum":74,"description":8759,"tags":8760,"thumbUrl":8761,"material":82,"size":8762,"collection":138,"collections":8763,"showCount":8675,"zanCount":11,"manualWeight":43,"mainColor":88},218168,"xi-ting-qiu-se-tu-zhao-yuan-218168","溪亭秋色图","赵原","《溪亭秋色图》，以墨笔画苍崖古木，溪边水阁。图的左下有作者自署“赵原画”，右上方题有 “有山可樵有水可渔歌彼考槃吾将归欤”，似是点题，但无落款。\n此图笔墨圆润苍秀，变化多端，画风纯熟，应为画家晚年之作。山石勾皴简率，颇有写意之趣；笔锋略带侧锋，类似王蒙的解索皴，但偏于疏朗松秀。通幅墨色清润 恬淡，不重渲染，只在山体的结构折转处加苔点或勾以丛树、垂草，画面极为平淡宁静。这种境界，在方从义的《武夷放棹图》、陆广的《丹台春晓图》中也可感觉 到，这可以说是一种元代文人画的理想境界。但元代画家过于将绘画视作个人“自娱”的笔墨游戏，难以适应明代建国初期的政治文化环境，赵原也就难免悲剧的命运。",[23,25,77,7,130,80,79,129,377,170,132,193,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3876b8debab1f36f397d0417acb9bd.jpg","纵61.4厘米，横26厘米",[138],{"id":8765,"slug":8766,"title":1960,"dynasty":72,"author":908,"museum":74,"description":8767,"tags":8768,"thumbUrl":8769,"material":136,"size":8770,"collection":84,"collections":8771,"showCount":8675,"zanCount":43,"manualWeight":43,"mainColor":88},214727,"mu-dan-tu-chen-chun-214727","这幅画是用牡丹树枝作画，用的是没骨法，笔触很活泼，又很沉稳，不过很可惜，随着时间的推移，颜料已经褪色，让人感觉略显淡薄。这些铭文质量很高，是白杨对毛笔的熟练掌握的结果。碑文写于1544年，在他的最后一年。铭文和绘画各占面板的一半，诗句通过歌唱花朵来传达 「人生行乐当及时」的意趣。",[25,26,7,304,77,28,97,80,113,114,1594,291,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5bd451f1f135ae69ce5a8dd712153b.jpg","122x33.3",[84],{"id":8773,"slug":8774,"title":8775,"dynasty":109,"author":8448,"museum":331,"description":8776,"tags":8777,"thumbUrl":8778,"material":198,"size":780,"collection":100,"collections":8779,"showCount":8780,"zanCount":43,"manualWeight":43,"mainColor":44},290142,"hui-qin-tu-huang-ju-cai-290142","会禽图","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[24,25,26,7,27,28,113,151,392,574,587,548,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f43a7cf6d1c9220be37682f0c14340.jpg",[],83,{"id":8782,"slug":8783,"title":8784,"dynasty":72,"author":908,"museum":331,"description":8785,"tags":8786,"thumbUrl":8787,"material":100,"size":100,"collection":100,"collections":8788,"showCount":8780,"zanCount":43,"manualWeight":43,"mainColor":88},235992,"chen-dao-fu-mu-dan-hua-hui-tu-zhou-chen-chun-235992","陈道复牡丹花卉图轴","《明陈道复牡丹花卉图轴》是明朝画家陈道复创作的作品，作品画折枝牡丹花，以淡墨逸笔勾写盛开的花头，以深浅不一的墨色描写枝叶，表现出牡丹摇曳春风的优美姿态，并通过题诗表达了不慕繁华、甘于清静、孤芳自赏的心境。\n【名称】明陈道复牡丹花卉图轴 【类别】纸本，墨笔 【规格】纵54.8cm，横.8cm 【年代】 【作者】 【文物现状】现藏北京故宫博物馆 该幅上部行草书自题：“春是花时节，红紫各自赋。\n勿言薄脂粉，适足表贞素。\n道复。\n”后钤“陈道复氏”、“陈淳之印”印。\n陈道复创作过许多以牡丹为主题或含有牡丹形象的绘画作品，如 藏《牡丹图卷》、《天香图扇》、《洛阳春色图卷》、《墨花十二种图卷》以及 藏《洛阳春色图卷》、《玉楼春色图卷》等等。\n这些作品多为墨笔或淡设色写意绘画，充分展示了画家在状物造型以及灵活运用水墨方面的高超技艺，正如明末大鉴赏家 为此幅作品所题云：“破一滴墨水，作种种妖妍。\n改旦暮之观，备四时之气”。\n陈道复（148--1544）明画家，初名淳，字道复，后以字行，改字复甫，号白阳山人，长洲（今江苏吴县）人。\n曾从 学书画，后不拘师法。\n书工行草。\n山水学 而笔迹放纵。\n擅写意花卉，淡墨浅色，风格疏爽，后人把他与 并称“青藤白阳”，为明代中期水墨写意花卉画创出新格调的代表人物。",[25,7,77,113,114,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a6bc858d99429f0d210e5e62f738e6.jpg",[],{"id":8790,"slug":8791,"title":8792,"dynasty":18,"author":8793,"museum":236,"description":8794,"tags":8795,"thumbUrl":8796,"material":486,"size":8797,"collection":100,"collections":8798,"showCount":8780,"zanCount":43,"manualWeight":43,"mainColor":44},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴","袁耀","袁氏父子画蓬莱仙境的作品很多，以本幅袁耀所作最为壮观。图中山形脉络皆有动势，突兀怪异；以鬼面皴法画出的山石奇形怪状，层次丰富。华丽严整的宫殿与雄伟而富有动感的山水巧妙地融合，浑然一体，形成画面中动与静、整齐与活泼的鲜明对比，气势博大。\n由于职业画家的局限，袁江、袁耀的作品在表现题材上不可避免地有所雷同，表现手法也呈现一种程式化。有古建专家认为他们画的建筑“并非清代的建筑形象，而是杂采历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。",[25,26,7,1157,28,27,129,269,878,173,170,132,134,686,6208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg","纵266.2厘米，横163厘米",[],{"id":8800,"slug":8801,"title":8802,"dynasty":18,"author":8803,"museum":331,"description":8804,"tags":8805,"thumbUrl":8806,"material":1688,"size":8807,"collection":138,"collections":8808,"showCount":8780,"zanCount":43,"manualWeight":43,"mainColor":88},224169,"song-shu-tu-gua-zhou-li-fang-ying-224169","松树图挂轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,25,26,7,77,130,427,35,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93021041cb164b00da3dbc86d0eb5b96.jpg","100x45",[138],{"id":8810,"slug":8811,"title":8812,"dynasty":93,"author":50,"museum":74,"description":8813,"tags":8814,"thumbUrl":8816,"material":182,"size":8817,"collection":157,"collections":8818,"showCount":8780,"zanCount":43,"manualWeight":43,"mainColor":44},223565,"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,25,26,7,28,129,130,252,613,8815,151,170,377,733,351,193],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[157,138,185],{"id":8820,"slug":8821,"title":8822,"dynasty":93,"author":5127,"museum":3928,"description":8823,"tags":8824,"thumbUrl":8825,"material":1218,"size":8826,"collection":157,"collections":8827,"showCount":8780,"zanCount":43,"manualWeight":43,"mainColor":44},221602,"chu-shan-shi-jia-tu-zhou-liang-kai-221602","出山释迦图轴","释迦着单衣跣足站于枯树旁，手举胸前，双眸微微下视，面容清瘦，须发密长。尽管已值冬季，衣带在寒风中飘举，但释迦似乎并未感受到寒冷，丝毫没有瑟瑟呵冻之态，而是神情专注，愈显入山苦修悟道后，意志弥坚。画家以劲利的线条画排叠的衣纹，用笔谨严，于人物神情刻画尤见功力；苍幹枯枝，用笔劲硬，很好地烘托了环境。背景的坡石略加勾皴，树石的画法还可看出受到李唐的影响，此图与其传世减笔人物画相比，属较为工致的画作。画幅左侧的石壁上署有“御前图画梁楷”六字款。",[23,25,26,7,28,54,29,35,521,5130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823f2524319f6cbdc884ddb4cd9087a.jpg","纵119厘米，横52厘米",[157,138],{"id":8829,"slug":8830,"title":8831,"dynasty":93,"author":3650,"museum":236,"description":8832,"tags":8833,"thumbUrl":8834,"material":486,"size":8835,"collection":157,"collections":8836,"showCount":8780,"zanCount":11,"manualWeight":43,"mainColor":44},221592,"feng-ying-zhi-ji-tu-zhou-li-di-221592","枫鹰雉鸡图轴","此图又称《鹰雉图》或《鹰窥雉图》，是传世宋画中罕见的巨幅，由南宋宫廷画家李迪创作。据左上方署款“慶元丙辰歲李迪畫”，知作于宋宁宗庆元二年（1196年）。\n画面作对角线构图，主体禽鸟雄鹰置于左上角枯枝巅，俯首下视，紧盯着右下角的锦雉。锦鸡张口鸣叫，正向草丛中窜逃。斜线的呼应关系和锦鸡奔向画外的动态，营造出强烈的紧张气氛，扣人心弦。画家着意刻画苍鹰的眼、喙、爪三个关键部位，目光圆瞪，钢喙如钩，爪尖扣进树皮，既突出了鹰的凶猛矫健秉性，又强调出捕捉猎物时的力之凝聚和意念之专注，可谓真实传神。雉的形象也逼真如生，仓惶奔逃的姿态，惊惧的目光，乍开的羽毛，尤其是蹬出后腿又收缩脚爪的动作，准确地刻画出急于逃命又难脱厄运的情状，可见作者体察生物及其捕捉瞬间之动态的敏锐洞察力和写生传神的高超表现力。\n作品的笔墨敷彩技巧也十分成熟。禽鸟工整精细，设色轻淡，承北宋崔白以来的院体花鸟传统画更增动感和生意。树干粗勾细染，斑纹点点，呈苍劲之质。枫叶、兰草、丛竹则细笔双勾，淡墨渲染，形体富有弹性，又疏密有致，画法遵循“宣和体”的写生法则。山石运斧劈皴，兼作笔实墨重的擦染，近李唐又存北宋之法。此图堪称宋代院体花鸟画的巨构杰作。",[23,25,26,7,27,28,113,241,1488,5525,131,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268072dfb8e29fae047930d5a892391.jpg","纵189厘米，横209.5厘米",[157,84,158],{"id":8838,"slug":8839,"title":8840,"dynasty":18,"author":5730,"museum":331,"description":8841,"tags":8842,"thumbUrl":8843,"material":214,"size":100,"collection":101,"collections":8844,"showCount":8780,"zanCount":43,"manualWeight":43,"mainColor":44},220449,"yu-bi-qi-yan-shi-qian-long-220449","御笔七言诗","乾隆皇帝酷爱书法，日理万机之余潜心临池，遍习诸家，钟情二王。乾隆书法赵孟俯，心慕手追，身体力行。在以赵体为根本的基础上，又参悟二王弋颜真卿、宋四家等人风格，融会贯通，逐渐形成了自己圆润道丽、温妍儒雅的书法风格。",[7,97,80,79,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267402bb05345ad1bcbb01b4b580667a.jpg",[101],{"id":8846,"slug":8847,"title":1282,"dynasty":18,"author":4669,"museum":3232,"description":8848,"tags":8849,"thumbUrl":8850,"material":37,"size":8851,"collection":138,"collections":8852,"showCount":8780,"zanCount":11,"manualWeight":43,"mainColor":44},219911,"qiu-shan-xing-lv-tu-wang-hui-219911","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[25,26,7,268,28,129,29,196,269,253,132,130,195,134,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd3324ba8d0e045e5d6ab0a5260113f.jpg","152.4x78.7",[138],{"id":8854,"slug":8855,"title":8856,"dynasty":207,"author":50,"museum":20,"description":8857,"tags":8858,"thumbUrl":8861,"material":37,"size":100,"collection":39,"collections":8862,"showCount":8780,"zanCount":11,"manualWeight":43,"mainColor":342},219235,"yao-shi-ru-lai-ji-shi-er-shen-jiang-tu-yi-ming-219235","药师如来及十二神将图","中央药师如来法相庄严，结跏趺坐于层叠莲座之上，手印沉静，身周光环如晕，暖意暗涌。十二神将环伺左右，或持法器怒目，或执兵戈肃立，衣袂间纹饰流转，铠甲暗映微光。构图层次分明，从莲座之稳到神将之动，动静相生；色彩沉郁中见华彩，金箔隐现于深褐与朱红之间，似藏千年香火余温。整幅画作既显佛法的慈悲肃穆，又含护法神将的威严张力，每一处线条与色彩的交织，皆暗喻着护持众生的愿力与力量，仿佛能听见古刹钟声里，护法者的坚定心跳。",[23,25,54,29,27,28,7,8859,8860],"佛教人物","神将","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fdf94c9cba41d6cda65e6d7278d109b.jpg",[39],{"id":8864,"slug":8865,"title":8866,"dynasty":72,"author":424,"museum":236,"description":8867,"tags":8868,"thumbUrl":8869,"material":214,"size":8870,"collection":101,"collections":8871,"showCount":8780,"zanCount":43,"manualWeight":43,"mainColor":704},219149,"xing-shu-xin-qiu-shi-wen-zheng-ming-219149","行书·新秋诗","此为文徵明所书自写诗，笔法自然浑成，表现了其晚年大字行书的典型风格。",[23,80,97,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad802105bea6f6e536f366b6d79261a2.jpg","纵151.5厘米，横68.5厘米",[101],{"id":8873,"slug":8874,"title":8875,"dynasty":93,"author":507,"museum":74,"description":8876,"tags":8877,"thumbUrl":8878,"material":37,"size":8879,"collection":158,"collections":8880,"showCount":8780,"zanCount":43,"manualWeight":43,"mainColor":44},219046,"wen-ji-gui-han-tu-li-tang-219046","文姬归汉图","内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[23,24,25,26,7,130,77,28,129,29,269,170,132,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98081f5e1c3a4f47f750a16639f8f66.jpg","50.7公分*39.7公分",[158],{"id":8882,"slug":8883,"title":8884,"dynasty":93,"author":481,"museum":319,"description":8885,"tags":8886,"thumbUrl":8887,"material":99,"size":100,"collection":84,"collections":8888,"showCount":8780,"zanCount":11,"manualWeight":43,"mainColor":342},218909,"song-xia-qun-lu-tu-ma-yuan-218909","松下群鹿图","松枝如铁线盘曲，苍劲中透着清逸，松针细密如织，筛下斑驳光影。鹿群或静立凝神，或缓步石间，与松涛山影相融成趣。远山以淡墨晕染，云雾似轻纱流转，留白处尽展天地空阔。笔墨简练却意境悠远，枯润相生的笔触里，藏着宋人对自然的敬畏与诗意栖居的向往。边角构图见乾坤，每一处细节都透着匠心，将山水的静谧与生灵的灵动悄然铺展，让观者在静谧中感受山林间的和谐共生，沉醉于宋画独有的雅致与哲思。",[23,25,131,129,252,56,253,77,304,7,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6bebd7f7819200a7a40265b7a859bb3.jpg",[84,138],{"id":8890,"slug":8891,"title":8892,"dynasty":18,"author":2320,"museum":209,"description":8893,"tags":8894,"thumbUrl":8895,"material":82,"size":8896,"collection":84,"collections":8897,"showCount":8780,"zanCount":11,"manualWeight":43,"mainColor":88},218902,"mao-tu-zhou-wang-shi-shen-218902","猫图轴","此轴画一黑白相间的猫蹲踞石上，双目斜睨画外，神态生动。画上题诗“每餐先备买鱼钱，曾记携归小似拳，一自爪牙动黠鼠，傍人安稳卧青氊”。并题为雍正六年戊申（1728）九月所画，时年32岁。",[25,77,304,7,240,57,1275,1373,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e98d0a6a379b6c7d84e39c07b0d0aec.jpg","纵125.7厘米，横60.8 厘米",[84],{"id":8899,"slug":8900,"title":8901,"dynasty":207,"author":1432,"museum":331,"description":8902,"tags":8903,"thumbUrl":8904,"material":198,"size":780,"collection":100,"collections":8905,"showCount":8906,"zanCount":43,"manualWeight":43,"mainColor":88},290827,"dong-ting-qi-feng-zhou-huang-gong-wang-290827","洞庭奇峰轴","此作前景画小舟浮於湖面，其后山岩繁密多姿，高耸杂木散立，山巅处瀑布流泻，左方曲径没入云雾中，其上瑰丽峰峦斜出天表。画中可见黄公望作品中常见母题，然全作结构、山石、树法等，更接近文徵明风格。依题跋可知此画成于1354（元至正十四年）为梅剑庵所作；1410（永乐八年），梅氏后人请沈度（1357-1434）题跋；1510年（正德五年），文征明（1470-1559）亦获观此画，并留下题语。文征明题款“壁”字书为“璧”，与常见不同。此画笔墨、结构堪称佳构，然可能出自明代後期善仿文征明风格者之手。",[24,25,26,7,77,129,130,132,170,193,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83587d8c69519255b6c7d65b856a64.jpg",[],82,{"id":8908,"slug":8909,"title":7045,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":8910,"thumbUrl":8911,"material":198,"size":780,"collection":100,"collections":8912,"showCount":8906,"zanCount":43,"manualWeight":43,"mainColor":88},235448,"ju-shi-zhou-wu-chang-shuo-235448",[24,25,26,7,28,77,113,440,601,2664,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f37afbc0963a70bb464cc5b3b11d679.jpg",[],{"id":8914,"slug":8915,"title":8916,"dynasty":93,"author":8917,"museum":74,"description":8918,"tags":8919,"thumbUrl":8920,"material":182,"size":8921,"collection":100,"collections":8922,"showCount":8906,"zanCount":43,"manualWeight":43,"mainColor":44},227601,"mo-zhu-zhou-wen-tong-227601","墨竹轴","文同","国北宋末年画家文同的存世代表作。文同 (1018～1079) 字与可，自号笑笑先生、锦江道人，世称石室先生，梓潼(今属四川省)人。皇祐年间进士，元丰初出知湖州。善诗文，工书画，尤善画墨竹。此图绢本，水墨，纵131.6厘米，横105.4厘米。画墨竹一枝，作弯曲状，由左上斜向右下方。笔法严谨而潇洒，枝叶劲挺繁密，繁而不乱，密中有疏，竹叶以浓墨为面，淡墨为背，墨色清润，阴阳向背层次分明，开后世墨竹之先河。此图未署作者名款，有“静闲□室”、“文同与可” 2印，上方有明王直、陈循德2家为彦谥题诗。清宫旧藏,有清内府嘉庆、宣统印各一方。现藏台北故宫博物院。",[23,24,25,26,7,77,1174,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e5295f96be134d53730e65174f29213.jpg","纵113.6厘米，横105.4厘米",[],{"id":8924,"slug":8925,"title":8926,"dynasty":93,"author":8927,"museum":331,"description":8928,"tags":8929,"thumbUrl":8930,"material":100,"size":100,"collection":100,"collections":8931,"showCount":8906,"zanCount":43,"manualWeight":43,"mainColor":44},227513,"ming-huang-bi-shu-gong-tu-zhou-guo-zhong-shu-227513","明皇避暑宫图轴","郭忠恕","《明皇避暑宫图》是北宋画家郭忠恕所创作的一幅墨笔画 ，现藏于大阪市立美术馆。\n《明皇避暑宫图》描绘唐明皇的避暑宫，背山面水，宏伟壮观。从图下的宫门向内，亭台楼阁、水榭宫室、长廊庭院，层层深入。单是屋脊斗拱，就不下十几座，无不刻画工细精确，结构严谨华丽。虽然楼阁密集，但有巨石、古树点缀其间，故而前后的层次清晰，加上左边的水色，与后山的空朦相映衬，却也疏密有致，雍容大度。\n《明皇避暑宫图》，勾线劲挺，虽说有界尺相助，但是众多的曲线，依然得徒手勾勒。",[23,25,26,7,1157,27,28,129,269,270,170,132,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc3db0ed91249e6e8c0490e405536b5.jpg",[],{"id":8933,"slug":8934,"title":8935,"dynasty":72,"author":8936,"museum":710,"description":8937,"tags":8938,"thumbUrl":8939,"material":486,"size":8940,"collection":84,"collections":8941,"showCount":8906,"zanCount":11,"manualWeight":43,"mainColor":44},222661,"guo-se-tian-xiang-tu-ma-yi-222661","国色天香图","马逸","《国色天香图》是一幅富丽堂皇的工笔重彩花卉图。图中的牡丹花开娇艳，明丽动人，色彩丰富饱满，姿态优雅，设色极其讲究，勾线细致圆润。\n而花下奇石则用积墨与淡墨晕染相结合绘出，以石绿、石青略染。兰花以重粉罩染，胭脂点蕊，素雅动人。地面以淡彩渲染，营造出空间的伸缩感。《国色天香图》堪称“中国牡丹第一图”，是中国古代牡丹绘画最杰出的作品。",[23,25,24,27,28,113,114,1051,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59572009fd6e71cd365f81d2e0b28489.jpg","纵101.7厘米，横49.5厘米",[84,158],{"id":8943,"slug":8944,"title":8945,"dynasty":207,"author":459,"museum":74,"description":8946,"tags":8947,"thumbUrl":8948,"material":136,"size":8949,"collection":84,"collections":8950,"showCount":8906,"zanCount":43,"manualWeight":43,"mainColor":88},221740,"xie-sheng-hua-niao-zhou-zhang-zhong-221740","写生花鸟轴","该幅绘沙石间，一紫冠白鸡足蹈蜈蚣，神情颇为生动，配景并有蜀葵、萱花、栀子、石榴、百合、虞美人、石竹、石菖蒲等各式夏卉，殆以钩花点叶法成之，设色雅丽，然不似张中笔墨，为后代画家托名之作。",[24,25,26,7,8672,28,113,1228,536,3475,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6bf03ce5d03b4b0d24067f72905518.jpg","122.8x43.3公分",[84,158],{"id":8952,"slug":8953,"title":8954,"dynasty":993,"author":8955,"museum":74,"description":8956,"tags":8957,"thumbUrl":8960,"material":589,"size":8961,"collection":158,"collections":8962,"showCount":8906,"zanCount":11,"manualWeight":43,"mainColor":44},221076,"yuan-ma-tu-han-gan-221076","猿马图","韩干","此幅绘竹石树林，三猿戏于枝间石上，其下绘黑白双骏。画上宋徽宗题字和「御书」一玺，及理宗「缉熙殿宝」玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,24,25,26,7,8958,28,27,8959,196,253,351,78,241],"唐代","猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad40c5024213011775af0c15a6fe1dac.jpg","136.8x48.4",[158,702],{"id":8964,"slug":8965,"title":8966,"dynasty":72,"author":1024,"museum":74,"description":8967,"tags":8968,"thumbUrl":8969,"material":1688,"size":8970,"collection":138,"collections":8971,"showCount":8906,"zanCount":11,"manualWeight":43,"mainColor":88},220945,"feng-jing-fang-gu-tu-zhou-dong-qi-chang-220945","葑泾访古图轴","署款“壬寅首春，董玄宰寫。”幅上有陳繼儒題識。此畫構圖，可分遠景、中景、近景二部分，遠景為重山峻嶺，山頂光禿，山頂煙霧繚繞，山腳下為亂石橫卧，亂石間有幾株雜樹，樹下坐落一間茅屋。右側兩岸間有一板橋高架。中景為一片闊廣的河水，江水如鏡。近景為此畫的主要部分。下邊山石疊砌，山石間長有一棵幹粗葉茂的大樹，大樹下有數間屋宇茅亭。\n從此畫的構圖來看，作者有意識地運用了“層疊”、“重複”、“照應”等手段，使遠近高下統一在浮雕似的筆墨構成的平面意味中。畫法，由於董氏墨法的精微就在於種種墨色的累積，以樹石為例，對此畫大樹下邊那堆山石，是以淡墨連勾帶皺地寫其相依互抱，大小攢聚，就這樣把石的輪廓確定下來：至於此圖的用墨處和空白或無墨處，董氏着意於此，亦即以白當黑。有的山石不作着筆，大石上部則沿邊皆空白，於是每個石塊以其黑、白、陰、陽，表現立體感，而且它們之間左右較實，中間較虛，使畫面虛實互用而十分靈活。此畫中可看出董氏把黑白對襯，虛實相須，運用得十分自然，有着落筆時心手相應的那番快感。\n在此畫面中，董其昌追求一種“禪”的意境，即一種寂寞空虛的境界。畫面的疏密、濃淡、虛實、開合，富有清潤温雅、平和怡然的趣味，拙稚、簡淡中帶有寧靜自然的文人之思。",[23,25,26,7,77,129,130,134,193,170,132,270,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纵80厘米,横29.8厘米",[138,185],{"id":8973,"slug":8974,"title":8975,"dynasty":207,"author":2386,"museum":74,"description":8976,"tags":8977,"thumbUrl":8978,"material":182,"size":8979,"collection":138,"collections":8980,"showCount":8906,"zanCount":43,"manualWeight":43,"mainColor":44},220849,"song-yin-wan-zhao-tu-zhou-zhao-meng-fu-220849","松阴晚棹图轴","为学日益，为道日损：翩然世间的道家风格\n祸兮福之所倚，福兮祸之所伏：老子的智慧\n鲲鹏展翅，水击三千里：敞开自我的庄子境界\n朝三暮四，名实未亏而喜怒为用：庄子的寓言\n朴素而天下莫能与之争美：自然与本真的守护",[23,25,26,7,28,129,427,349,29,132,170,7004,380,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde18f9b7e341d9b204fbc08d35aed1b4.jpg","152.6x79厘米",[138,158],{"id":8982,"slug":8983,"title":8984,"dynasty":72,"author":424,"museum":1358,"description":8985,"tags":8986,"thumbUrl":8987,"material":82,"size":8988,"collection":138,"collections":8989,"showCount":8906,"zanCount":11,"manualWeight":43,"mainColor":88},219866,"kong-shan-ye-yu-tu-wen-zheng-ming-219866","空山夜雨图","古画中描绘山、水、雨、云乃至兰竹松梅时，若能兼具“画面写实”和“气韵灵动”两方特色，则该作可称佳品。如能在写实中抓住细节，落笔精致，则该作可成精品。若作者还能在此基础上别出心裁，融入巧妙出众的构思设计，则该作可为妙品。\n文徵明此作写景真实、韵致盎然，诚可谓“虚实相生”；在勾皴山石、铺排密林时用笔极细，落墨深浅错落，层次分明，林间篱笆、耕地农人的设计为画面增添生趣，亦反衬出山之“空”，与画作主题暗合；画面上方山峦滞重，山间雨雾轻灵，山下密林幽森，林间水溪温柔，排列有序，刚柔兼济。而此画最值称道者乃作者关于“雨意”的设计。画面中间部分以大块留白作山间云雾，将上方山峦与下部密林分割开来，山石、树林与云雾的衔接处以清淡水墨轻绘，呈现出类似“渐变”的神奇效果。濛雨淡云缭绕山间，尽书实景而灵韵生动，同时也使整幅画面不致因过满而有失轻盈。",[23,25,26,7,77,130,129,170,484,131,193,132,173,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5d4eb5740ddc8e075045e01785fe8f.jpg","纵71.6厘米，横32.4厘米",[138],{"id":8991,"slug":8992,"title":8993,"dynasty":18,"author":8994,"museum":236,"description":8995,"tags":8996,"thumbUrl":8998,"material":82,"size":8999,"collection":138,"collections":9000,"showCount":8906,"zanCount":43,"manualWeight":43,"mainColor":88},218482,"he-lin-yan-yu-tu-cha-shi-biao-218482","鹤林烟雨图","查士标","查士标（1615-1698）字二瞻，号梅壑散人，懒老。安徽休宁人，后寓扬州。明末生员，家富收藏，故精鉴别，擅画山水，为“海阳四家”之一。清初著名画家，书法家和诗人。专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏，他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变。是明末清初新安派“海阳四家”（江韬、查士标、孙逸、汪之瑞）之一。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。山水初学倪瓒，后参用吴镇、董其昌法，笔墨疏简，空旷荒寒。与弘仁、孙逸、汪之瑞并称“新安四大家”（即海阳四家）。著有《种书堂遗稿》等。",[23,25,26,7,77,130,129,173,427,1651,212,8997,132,170],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6f5fc63963b4d7a5fd292f187630f0.jpg","159.5x53.3cm",[138],{"id":9002,"slug":9003,"title":9004,"dynasty":207,"author":695,"museum":74,"description":9005,"tags":9006,"thumbUrl":9007,"material":99,"size":9008,"collection":100,"collections":9009,"showCount":9010,"zanCount":43,"manualWeight":43,"mainColor":44},290134,"qiu-jiang-yu-yin-tu-wu-zhen-290134","秋江渔隐图","此图起手处画清石水草于水中，后有一渔父坐船垂钓，当中一洲．上植二树，对岸是连绵山丘，远处高峰 图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[24,25,77,129,7,349,2367,193,35,427,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51f1c201cfa513a49117cc20e56993.jpg","189.1x88.5",[],81,{"id":9012,"slug":9013,"title":3981,"dynasty":109,"author":852,"museum":331,"description":3982,"tags":9014,"thumbUrl":9016,"material":198,"size":780,"collection":100,"collections":9017,"showCount":9010,"zanCount":43,"manualWeight":43,"mainColor":342},289356,"qiu-shan-wan-cui-tu-guan-tong-289356",[24,25,26,7,77,28,129,3984,521,169,9015,130],"孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ececd0d022d954f2d70d8ead2688868.jpg",[],{"id":9019,"slug":9020,"title":622,"dynasty":93,"author":623,"museum":331,"description":9021,"tags":9022,"thumbUrl":9023,"material":198,"size":780,"collection":100,"collections":9024,"showCount":9010,"zanCount":43,"manualWeight":43,"mainColor":44},288508,"qing-luan-xiao-si-tu-li-cheng-288508","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。",[23,24,25,26,129,7,77,130,272,269,4821,134,193,169,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a09d1fd685c91acbb434f10c0b0b2b.jpg",[],{"id":9026,"slug":9027,"title":9028,"dynasty":18,"author":9029,"museum":331,"description":9030,"tags":9031,"thumbUrl":9032,"material":198,"size":780,"collection":100,"collections":9033,"showCount":9010,"zanCount":43,"manualWeight":43,"mainColor":88},283786,"mu-dan-yu-lan-tu-liu-de-liu-283786","牡丹玉兰图","刘德六","画面取春日小景，老干虬劲舒展，满枝玉兰冰姿清雅，与下方秾艳牡丹相映成趣。湖石造型奇崛，勾勒皴擦尽显嶙峋质感，成为花木间的视觉支点。两只禽鸟一动一静，振翅的春鸟掠过花枝，另一只探于花下，为画面添就鲜活生机。\n\n此作用笔兼工带写，玉兰以淡墨写意枝干，白花轻勾淡染，尽显清逸；牡丹设色妍丽却不俗艳，花叶层次饱满鲜活。整体设色明快和谐，将春日芳菲的富贵雅致，与江南暮春的悠然意趣相融，在写实写生中晕染出文人画的娴静意韵，尽揽春日生机雅致。",[25,26,113,7,28,114,116,151,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839a7a0acc34077c380f4ae54ab45aab.jpg",[],{"id":9035,"slug":9036,"title":9037,"dynasty":18,"author":4669,"museum":331,"description":9038,"tags":9039,"thumbUrl":9040,"material":100,"size":100,"collection":138,"collections":9041,"showCount":9010,"zanCount":43,"manualWeight":43,"mainColor":88},238076,"fang-tang-yin-chi-bi-zhou-wang-hui-238076","仿唐寅赤璧轴","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[25,167,7,130,945,129,59,349,151,351,170,1419,29,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc312ca88e21a4c731326d3c55ba6c1f.jpg",[138],{"id":9043,"slug":9044,"title":9045,"dynasty":72,"author":5069,"museum":236,"description":9046,"tags":9047,"thumbUrl":9050,"material":9051,"size":9052,"collection":100,"collections":9053,"showCount":9010,"zanCount":11,"manualWeight":43,"mainColor":44},233461,"ba-qiao-feng-xue-tu-zhou-wu-wei-233461","灞桥风雪图轴","“灞桥”位于西安市东的灞河之上，是东去洛阳的必经之路，古人常于此送别，唐诗中“灞桥折柳”的典故即由此而出。\n吴伟此图并非写实之景，而是取其送别的含意。图绘严冬景象，山岩积雪，树木萧瑟，行旅之人正在通过一座狭小的木桥。作者用侧锋卧笔勾勒山石，线条粗率，行笔劲疾，锋芒外露。",[25,364,7,77,130,3880,9048,134,521,132,171,9049],"严冬","送别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c5cc504cdaa6433fc325448a895f7b1.jpg","绢本，水墨","纵138.1厘米，横106厘米",[],{"id":9055,"slug":9056,"title":9057,"dynasty":18,"author":50,"museum":331,"description":9058,"tags":9059,"thumbUrl":9061,"material":100,"size":100,"collection":100,"collections":9062,"showCount":9010,"zanCount":419,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,7,27,28,1157,29,269,134,193,129,170,536,377,5811,1675,2170,270,778,9060],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],{"id":9064,"slug":9065,"title":9066,"dynasty":283,"author":284,"museum":5611,"description":9067,"tags":9068,"thumbUrl":9069,"material":9070,"size":100,"collection":100,"collections":9071,"showCount":9010,"zanCount":43,"manualWeight":43,"mainColor":88},220583,"zhuan-shu-e-mi-tuo-fo-qi-bai-shi-220583","篆书“阿弥陀佛”","此作用隶意入篆，打破篆书匀整旧制，起收笔斩截刚劲，线条厚重苍莽，带着金石摩挲出的斑驳质感。四字排布开张奇崛，字势欹侧错落却浑融一体，将佛号的庄穆，以生辣雄强的笔力托出。\n\n左侧题款小字灵动舒展，与厚重篆文形成动静对冲，疏密间尽显错落意趣。整作褪去雕琢匠气，把禅门静穆与写意野趣相融，笔墨间满是老辣天真的风骨，以书法写尽禅意沉浑。",[25,26,7,54,2664,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd1d7fbd1e528643671dd29dda0d313.jpg","Ink on paper",[],{"id":9073,"slug":9074,"title":9075,"dynasty":18,"author":361,"museum":236,"description":9076,"tags":9077,"thumbUrl":9078,"material":82,"size":9079,"collection":138,"collections":9080,"showCount":9010,"zanCount":43,"manualWeight":43,"mainColor":88},219106,"yu-shan-xi-bie-tu-wang-shi-min-219106","虞山惜别图","此图取常熟城郊虞山之景，用笔苍劲老辣，颇具元代黄公望笔意，山石作披麻皴，苔点细密, 皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[23,24,25,26,7,77,130,967,129,252,170,733,173,193,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[138],{"id":9082,"slug":9083,"title":9084,"dynasty":18,"author":361,"museum":710,"description":9085,"tags":9086,"thumbUrl":9087,"material":82,"size":9088,"collection":138,"collections":9089,"showCount":9010,"zanCount":43,"manualWeight":43,"mainColor":88},217885,"xia-shan-fei-pu-tu-wang-shi-min-217885","夏山飞瀑图","王时敏（1592年—1680年）明末清初画家。初名赞虞，字逊之，号烟客，自号偶谐道人，晚号西庐老人等，江苏太仓人，首辅王锡爵孙，翰林王衡独子。崇祯初以荫官太常寺卿，故被称为“王奉常”。擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。",[25,26,7,77,130,129,252,169,172,170,133,351,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4aafdd248a746d5dca26f65ac644d6.jpg","106.2x48.2cm",[138],{"id":9091,"slug":9092,"title":9093,"dynasty":72,"author":424,"museum":74,"description":9094,"tags":9095,"thumbUrl":9099,"material":82,"size":9100,"collection":101,"collections":9101,"showCount":9010,"zanCount":11,"manualWeight":43,"mainColor":44},214310,"shu-wu-yan-lv-shi-wen-zheng-ming-214310","书五言律诗","文征明是一位书法和绘画的大师，他掌握了所有的书法风格。在他的中年时期，王羲之是他的主干，但在晚年，他转向了黄庭坚，因为他的书法风格很棒。这幅画是一首诗，是为溪山欲雪图所赋诗作。",[23,26,80,7,97,77,79,613,252,253,9096,212,9097,9098],"野水","断桥","暮天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3543250656e1928131681cb826744966.jpg","191x72.2",[101],{"id":9103,"slug":9104,"title":9105,"dynasty":18,"author":318,"museum":236,"description":9106,"tags":9107,"thumbUrl":9108,"material":9109,"size":9110,"collection":101,"collections":9111,"showCount":9112,"zanCount":43,"manualWeight":43,"mainColor":88},240331,"zhu-da-lan-ting-xu-zhou-zhu-da-240331","朱耷兰亭序轴","此轴为朱耷节录《兰亭序》，内容有些微差异，如“暮春”后省略“之初”二字，“此地有”写为“此地迺”等。\n款署：“八大山人”，款下钤“在芙山房”、“八大山人”白方印两方。引首钤“黄竹园”白方。\n本幅左下角钤张大千鉴藏印“藏之大千”白方。外签为张大千题：“八大山人临兰亭。大风堂永远供养。”下钤“大千”朱方等二印。知此轴曾为张大千旧藏。左裱边有题跋三则，第一跋后钤“夔文书画金石”朱方。\n八大山人为清代著名书画家朱耷的别号。朱耷中晚年，在书画作品款署中多使用“八大山人”，直至去世。这幅行书立轴不是单纯的对《兰亭序》临写和模仿，而加入了作者的创作。它继承了八大山人“淳朴圆润，自成一格”之风，正如跋语所评，其“圆健古厚，专用中锋，如印印泥，如锥画沙，布白分行，具有天趣”，堪称其率性之作。",[80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d801377852347170dfbb129c60a62a.jpg","纸本，行书","纵174.5厘米，横52.1厘米",[101],80,{"id":9114,"slug":9115,"title":9116,"dynasty":18,"author":7295,"museum":331,"description":9117,"tags":9118,"thumbUrl":9120,"material":100,"size":100,"collection":100,"collections":9121,"showCount":9112,"zanCount":419,"manualWeight":43,"mainColor":88},238191,"hua-hui-chong-die-zhou-yu-sheng-238191","花卉虫蝶轴","此作以工细之笔铺展秋日野趣，湖石错落间，萱花似燃、夕颜凝白，杂花柔枝相衬，野趣横生。画师以极细笔触晕染草虫蛱蝶，翅脉通透、触须纤毫毕现，振翅欲飞间将秋郊生机尽数铺展。设色秀雅清淡，妍而不俗，花叶俯仰生姿，瘦挺草叶穿插其间，疏密布局相得益彰。\n左侧题诗与画作呼应，诗画合璧更添文雅意境，将清秋幽寂又鲜活的意趣藏于尺幅之中，尽显写生精妙功底，把自然小景绘得雅致动人。",[25,26,7,28,27,536,9119,600,287,1275,35,290,113],"虫蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6199de4d5acfeaec5e8cafcd7497b4c3.jpg",[],{"id":9123,"slug":9124,"title":6872,"dynasty":18,"author":3540,"museum":331,"description":9125,"tags":9126,"thumbUrl":9127,"material":214,"size":100,"collection":84,"collections":9128,"showCount":9112,"zanCount":43,"manualWeight":43,"mainColor":88},237219,"mu-dan-zhou-lu-hui-237219","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。\n幼习举子业，秀才入学试为第一，有人举报其父曾参加 从 尝过僧寺，覩十八应真像，即以纸墨画为描摹而归。后晤 旋客吴幕，得游三湘，所历既广，笔意益苍劲遒丽，古拙幽深。画山水、人物、花鸟、果品，无一不能，书工 尝作衡山记游图八幅，认为生平杰作，谓可媲美\n光绪 图中衣冠、中年归苏州，潜心绘事，考订 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，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[23,25,26,7,77,28,129,427,132,5653,29,130,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ced993c13860c65afb437b92e109b6.jpg","114.6x53.1",[138,158],{"id":9317,"slug":9318,"title":9319,"dynasty":207,"author":8299,"museum":74,"description":9320,"tags":9321,"thumbUrl":9322,"material":37,"size":9323,"collection":100,"collections":9324,"showCount":9250,"zanCount":419,"manualWeight":43,"mainColor":44},221801,"fang-guo-xi-qiu-shan-xing-lv-zhou-tang-di-221801","仿郭熙秋山行旅轴","元文宗天历二年(1329)应诏在南京龙翔寺绘制画壁，至顺四年(1333)第二次北上大都，奉诏在宫廷作画。\n在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。\n传世作品有元统二年(1334)作《林荫聚饮图》轴、至元四年(1338)作《霜浦归渔图》轴，图录于《中国绘画史图录》上册；《携琴远眺图》轴现藏四川省博物馆；《雪港捕渔图》轴藏上海博物馆；《云浦驾舟图》册页、《仿郭熙秋山行旅图》轴藏台北故宫博物院。",[23,24,25,26,7,77,28,129,132,170,171,130,4987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8381f79ff9423e46f2961c5ae4ff6f0.jpg","151.9x103.7",[],{"id":9326,"slug":9327,"title":9328,"dynasty":18,"author":50,"museum":74,"description":9329,"tags":9330,"thumbUrl":9331,"material":37,"size":9332,"collection":84,"collections":9333,"showCount":9250,"zanCount":11,"manualWeight":43,"mainColor":44},219761,"lin-wang-yuan-hua-niao-tu-yi-ming-219761","临王渊花鸟图","王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[25,26,7,27,28,945,31,113,151,536,193,57,5110,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c785004791e5277ea86d862f6b70ee1.jpg","160.2x83.7厘米",[84],{"id":9335,"slug":9336,"title":9337,"dynasty":93,"author":50,"museum":2331,"description":9338,"tags":9339,"thumbUrl":9341,"material":37,"size":9342,"collection":138,"collections":9343,"showCount":9250,"zanCount":11,"manualWeight":43,"mainColor":342},219034,"qiu-jiang-yu-ting-tu-yi-ming-219034","秋江渔艇图","这幅作品的构图精致，特写停泊在河中的渔船和捕鱼的渔夫，宽阔的河面光滑如镜。在远处的场景中，山峰以细密的线条出现，用斧凿的方法画出岩石，更显其威严。少数小屋位于深谷中，山谷中长满了各种树木。溪流从山上蜿蜒流入河中，在山脚下，溪流上建有一座小木桥，特别迷人。整幅画具有鲜明的构图和深厚的气氛。这幅画属于李、郭画派，可能是南宋时期有人以李、郭为榜样而作。梁庆标、安琪收藏的印章",[23,25,364,7,77,130,129,349,134,193,2367,170,132,1419,9340],"小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac14ed21ddfc4f8c93ceb8d4df1ecf5b.jpg","133.4x56",[138],{"id":9345,"slug":9346,"title":9347,"dynasty":93,"author":50,"museum":74,"description":9348,"tags":9349,"thumbUrl":9352,"material":99,"size":9353,"collection":138,"collections":9354,"showCount":9250,"zanCount":656,"manualWeight":43,"mainColor":44},218783,"qiu-shan-tu-yi-ming-218783","秋山图","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。",[23,25,24,129,77,7,130,9350,272,9351,132,614,5683,193,133,4987],"蟹爪法","沟壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcecae8ef9513b49779e89a829d40705.jpg","172.9x62.7",[138],{"id":9356,"slug":9357,"title":9358,"dynasty":109,"author":9359,"museum":1714,"description":9360,"tags":9361,"thumbUrl":9362,"material":37,"size":9363,"collection":39,"collections":9364,"showCount":9250,"zanCount":656,"manualWeight":43,"mainColor":44},218269,"gu-dai-di-huang-tu-guan-xiu-218269","古代帝皇图","贯休","这幅画是根据《诗经》中的诗句题写的，描绘了古代六位皇帝，即神农、伏羲、女娲、轩辕、颛顼和帝喾。官方指定为16世纪明代浙江画派画家的作品。",[25,26,7,28,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d18c667d87a2ae5421a40180a406ac.jpg","106.4x55.6",[39],{"id":9366,"slug":9367,"title":9368,"dynasty":18,"author":4998,"museum":5554,"description":9369,"tags":9370,"thumbUrl":9371,"material":136,"size":9372,"collection":138,"collections":9373,"showCount":9250,"zanCount":43,"manualWeight":43,"mainColor":44},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","仿黄公望山水图","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[23,25,26,7,77,130,129,252,253,378,134,193,733,173,132,2294,855,172,3304,6246,7722,5996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[138],{"id":9375,"slug":9376,"title":2064,"dynasty":72,"author":9377,"museum":74,"description":9378,"tags":9379,"thumbUrl":9380,"material":99,"size":9381,"collection":39,"collections":9382,"showCount":9250,"zanCount":43,"manualWeight":43,"mainColor":44},216995,"yu-lan-guan-yin-tu-wu-bin-216995","吴彬","这幅画描绘的是鱼篓里的观音，身穿草鞋，手持经卷，旁边还有一个背着鱼篓的小孩。虽然她是个女人，但她的脸是椭圆形的，有大眉毛和大眼睛，她没有女人的特征。她的身体和孩子的身体比例不均，人物被拉长变形，衣服用浓墨重彩的笔触画出来，有很多平行的弧形线条，整个作品奇特而有趣。",[24,25,26,7,54,29,985,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fbc09085c36b93a042a9a0aa5784c1.jpg","187.8x85",[39],{"id":9384,"slug":9385,"title":3323,"dynasty":93,"author":507,"museum":331,"description":9386,"tags":9387,"thumbUrl":9388,"material":198,"size":780,"collection":100,"collections":9389,"showCount":9390,"zanCount":43,"manualWeight":43,"mainColor":44},290086,"yu-fu-tu-li-tang-290086","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,24,25,77,129,7,130,349,350,193,131,35,2367,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg",[],78,{"id":9392,"slug":9393,"title":9394,"dynasty":18,"author":9395,"museum":331,"description":9396,"tags":9397,"thumbUrl":9398,"material":100,"size":100,"collection":101,"collections":9399,"showCount":9390,"zanCount":43,"manualWeight":43,"mainColor":88},238322,"dong-gao-tang-hua-si-shou-zhou-dong-gao-238322","董诰唐花四首轴","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[25,26,24,7,28,27,113,114,924,392,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2caff1096bf7a8b9b6a2535c27b18a0c.jpg",[101],{"id":9401,"slug":9402,"title":2650,"dynasty":93,"author":623,"museum":74,"description":9403,"tags":9404,"thumbUrl":9406,"material":1858,"size":9407,"collection":157,"collections":9408,"showCount":9390,"zanCount":43,"manualWeight":43,"mainColor":44},232619,"han-lin-ping-ye-tu-li-cheng-232619","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。",[25,26,7,77,130,129,521,131,2653,35,272,5683,9405],"裸根","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcee0e7c9374961a654e3f9f6b89cc35.jpg","纵137.8厘米，横69.2厘",[157],{"id":9410,"slug":9411,"title":1381,"dynasty":18,"author":4998,"museum":331,"description":9412,"tags":9413,"thumbUrl":9414,"material":745,"size":9415,"collection":138,"collections":9416,"showCount":9390,"zanCount":43,"manualWeight":43,"mainColor":88},224390,"shan-shui-zhou-wang-yuan-qi-224390","王原祁，明崇禎十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，號麓台、石師道人，江南省蘇州府太倉人(今江蘇太倉)，王時敏孫。康熙九年（1670年）進士，觀政於吏部、任順天鄉試同考官，後任直隸順德府任縣（今河北省邢台市任縣）知縣，地當九河下流，滏漳諸水復久壅塞，腴田變為污渚，圪劉累泊等處，即古大陸澤為患，尤甚甲子乙丑秋雨連旬，水勢陡發，堤岸盡壊，田萊俱成巨浸。\n原祁請照淮揚例，永免水荒田賦三千餘金，民困以蘇其餘如，築堤以防水憲，建橋以通水道，斃盜賊以安民命，明僎介以昭典禮，發倉儲以救羸，着跡難以枚舉。丙寅，奉命行取擢諫垣，改翰林，累官少司農，卒於位，賜祭葬如例，康熙五十九年入祀名宦。\n以畫供奉內廷，康熙四十四年奉旨與孫嶽頒、宋駿業等編《佩文齋書畫譜》，五十六年主持繪《萬壽盛典圖》為康熙帝祝壽。擅畫山水，繼承家法，學元四家，以黃公望為宗，喜用幹筆焦墨，層層皴擦，用筆沉着，自稱筆端有金剛杵。與王時敏、王鑑、王翬並稱“四王”，形成婁東畫派，左右清代三百年畫壇，成為正統派中堅人物。享年七十四。\n其所著畫論有《雨窗漫筆》與《麓台題畫稿》。擅長做詩，有《罨畫樓集》3卷。\n晚清婁東畫派代表人物秦祖永論王原祁畫風：『中年秀潤，晚年蒼渾」；論其畫曰：『沈雄驗右，元氣淋漓，筆端金剛杵之語不虛也」",[23,25,77,7,129,130,132,170,172,351,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917ded737cee2cb67416324c0fd6c159.jpg","纵91厘米，横46厘米",[138],{"id":9418,"slug":9419,"title":9420,"dynasty":18,"author":9421,"museum":533,"description":9422,"tags":9423,"thumbUrl":9424,"material":9051,"size":9425,"collection":138,"collections":9426,"showCount":9390,"zanCount":11,"manualWeight":43,"mainColor":44},223283,"bai-long-tan-li-zhou-dai-ben-xiao-223283","白龙潭立轴","戴本孝","回群山峰势险峻，几道飞泉从山腰倾泻而下，直接在山脚下的深潭中，被潭壁山岩环绕，画面茂密，有一种艺术感。 “花池深桃”的构想。",[23,25,77,7,129,130,252,169,253,335,351,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e056810e1f7dd2565d481fd90d58f.jpg","54x188.6cm",[138,185],{"id":9428,"slug":9429,"title":786,"dynasty":18,"author":3916,"museum":236,"description":9430,"tags":9431,"thumbUrl":9432,"material":745,"size":9433,"collection":84,"collections":9434,"showCount":9390,"zanCount":11,"manualWeight":43,"mainColor":88},222706,"mo-mei-tu-jin-nong-222706","本幅自题：“香雨三兄良友以前明内库纸乞予画江梅小直幅。因仿元人王元章法。奉其教益，茶熟香温时定多物外之赏也。并题一诗：砚水生冰墨半干，画梅须画晚来寒。树无丑态香沾袖，不爱花人莫与看。稽留山民金农，时年七十。\n本幅绘梅花离离疏影，生气盎然。以湿润的淡墨写枝干，以细笔勾画花蕊。整幅画面悠然淡雅。",[23,25,26,77,7,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7967e3dda2c9b321a8c00cdad902d330.jpg","纵117厘米，横43.6厘米",[84,158],{"id":9436,"slug":9437,"title":9438,"dynasty":18,"author":9439,"museum":3222,"description":9440,"tags":9441,"thumbUrl":9442,"material":1218,"size":9443,"collection":138,"collections":9444,"showCount":9390,"zanCount":43,"manualWeight":43,"mainColor":44},222630,"fang-tang-yin-qiu-lin-shu-wu-tu-gao-jian-222630","仿唐寅秋林书屋图","高简","此幅所绘的《仿唐寅秋林书屋图》绘山峰高耸，云蒸霞蔚；山脚下溪水潺潺，秋树苍茂，主人于书斋静读。\n高简擅长于模仿唐寅，几可乱真，清秀之气可比肩唐寅。左上自题：“仿唐解元秋林书屋图。癸未冬十月一云山人高简。”左上有作者后裔高侪鹤题识。癸未为康熙四十二年，公元1703年，作者时年70岁。\n高简(1634-1707)〔清〕字澹游、德园，号旅云、澹游子、一云山人、旅云山人、娱晖老人，江苏苏州人。能诗，工山水，画学元四家，喜倪云林(瓒)，有“小云林”印。精于尺幅小品，秀洁妍雅，颇有风趣。所作笔墨简淡清臞，布置深稳，脱尽纵横习气。善画梅，好画梅花书屋图，冷隽雅逸。传世作品有康熙六年(1667)作《寒林诗思图》轴，图录于《肥遁庐藏名人山水集》；九年(1670)作《仿曹知白山水图》轴、三十五年(1696)作《夕照落雁图》轴均藏故宫博物院；九年(1670)作《仿古山水册》十二帧、顺治十年(1653)作《仿宋元山水八帧》卷藏上海博物馆；康熙四十二年(1703)作《仿唐解元秋林书屋图》轴藏旅顺博物馆；《青山积翠图》轴藏南京博物院；《仿徐贲山水图》册页藏辽宁省博物馆。",[23,25,26,7,77,945,130,129,521,427,132,2419,193,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","96cmx56cm",[138],{"id":9446,"slug":9447,"title":9448,"dynasty":72,"author":908,"museum":236,"description":1825,"tags":9449,"thumbUrl":9450,"material":1218,"size":9451,"collection":84,"collections":9452,"showCount":9390,"zanCount":11,"manualWeight":43,"mainColor":44},222554,"zhuo-se-hua-hui-tu-zhou-chen-chun-222554","着色花卉图轴",[23,25,24,26,7,28,304,113,536,31,35,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b64f49771959cb9dc4b2d40a00c7aad.jpg","59cmx113.4cm",[84,158],{"id":9454,"slug":9455,"title":9456,"dynasty":72,"author":9457,"museum":74,"description":9458,"tags":9459,"thumbUrl":9460,"material":28,"size":9461,"collection":39,"collections":9462,"showCount":9390,"zanCount":43,"manualWeight":43,"mainColor":44},222156,"fu-lu-shou-zhou-shang-xi-222156","福禄寿轴","商喜","商喜，字惟吉（一说恒吉），明朝人，生卒年月不详，宣德年间宫廷画家，善画人物、山水、花卉等。其作品有《关羽擒将图》、《岁朝图》、《明宣宗行乐图》及《四仙拱寿图》等。",[25,26,7,27,28,29,1073,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc109f3513539842e3b9b3db723a0ee5.jpg","259.6x85",[39,185],{"id":9464,"slug":9465,"title":9466,"dynasty":72,"author":9467,"museum":74,"description":9468,"tags":9469,"thumbUrl":9470,"material":37,"size":9471,"collection":84,"collections":9472,"showCount":9390,"zanCount":43,"manualWeight":43,"mainColor":88},221942,"hua-hua-die-zhou-zhao-wen-chu-221942","画花蝶轴","赵文俶","赵文俶，长洲（今苏州）人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名「寒山草木昆虫状」，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。赵文俶此卷迭经恭亲王奕砢、觯斋郭世五收藏，明女史画家作品妍雅若此，甚属难得。",[23,25,7,28,27,113,35,287,288,1275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c039a1b9f0137adce7892838c9292e0.jpg","149.3x47",[84,158],{"id":9474,"slug":9475,"title":9476,"dynasty":72,"author":389,"museum":51,"description":9477,"tags":9478,"thumbUrl":9479,"material":37,"size":100,"collection":138,"collections":9480,"showCount":9390,"zanCount":656,"manualWeight":43,"mainColor":44},219717,"you-diao-tu-tang-yin-219717","游钓图","烟岚轻笼远峰，墨色晕开江天暮色，空濛间漾着清寂悠然。中流扁舟一叶，渔者卧于舟头，随波浮沉，将江海寄怀揉入闲淡烟波。近岸危崖之上，虬松盘曲斜伸，丹枫点染出秋意暖色，幽轩依崖而筑，侍童静立阶侧，似在等候凭栏观江的主人。\n\n画作以斧劈皴勾勒山石棱角，刚劲中晕以淡墨烟霭，刚柔相济。题诗与画面相映，将仕路失意后的林泉之乐铺陈开来，把文人放旷自适的隐逸之思藏在笔底烟霞，萧散简远，尽显诗意与画意交融的吴门雅韵。",[25,7,28,130,129,349,170,351,29,193,2367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ac5f73b824988b7d0c801d54a6c2e4.jpg",[138],{"id":9482,"slug":9483,"title":9484,"dynasty":18,"author":235,"museum":236,"description":9485,"tags":9486,"thumbUrl":9488,"material":136,"size":9489,"collection":39,"collections":9490,"showCount":9390,"zanCount":43,"manualWeight":43,"mainColor":88},219631,"feng-yu-du-qiao-tu-ren-yi-219631","风雨渡桥图","狂风卷着冷雨席卷而来，柳丝如乱发狂舞，将滂沱之势尽显。渡桥二人缩肩弓背，撑伞者竭力护着身旁同伴，浓淡墨色晕染出湿衣的沉坠褶皱，仓促步履间却带着相携的温情，将风雨里的窘迫暖意定格。\n\n石桥以枯笔泼墨绘就，苍劲厚重，和柔媚翻飞的柳丝形成刚柔反差。水面以淡墨晕开朦胧水雾，暗藏雨打涟漪的空濛，左下角水草斜偃，呼应着肆虐风势。画作以大写意笔墨铺陈天候之烈，又于人物眉眼间刻画入微，将外在风雨与内在人情相融，落笔酣畅洒脱，意韵悠长动人。",[23,25,7,77,28,304,29,134,253,5838,9487],"渡桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7f921eff5817be7c13f4bae6cb7363.jpg","155.5x43.5厘米",[39,158],{"id":9492,"slug":9493,"title":9494,"dynasty":72,"author":4145,"museum":74,"description":9495,"tags":9496,"thumbUrl":9497,"material":37,"size":9498,"collection":138,"collections":9499,"showCount":9390,"zanCount":419,"manualWeight":43,"mainColor":44},219401,"qiu-ting-shi-si-tu-lan-ying-219401","秋亭诗思图","画中以简洁三笔交代的下泻溪流，以及避开树干歪斜的茅草亭盖等画法，皆显得自信而可爱，洵为佳作。",[25,26,7,77,28,129,377,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc6a620f5800d5eb1c75122ee4fa99c.jpg","169.3x51.8",[138],{"id":9501,"slug":9502,"title":9503,"dynasty":18,"author":9504,"museum":147,"description":9505,"tags":9506,"thumbUrl":9507,"material":37,"size":9508,"collection":84,"collections":9509,"showCount":9390,"zanCount":419,"manualWeight":43,"mainColor":44},219035,"yan-shang-ying-tu-zhang-yu-sen-219035","岩上鹰图","张雨森","苍岩之巅，雄鹰敛翅伫立。羽翮黑白相间，斑纹细密如织，蓬松处似含风露，利爪紧扣石隙，筋骨隐现沉凝力道。山石以枯笔皴擦，纹理嶙峋若斧劈，与鹰羽的细腻勾勒相映成趣。旁侧虬枝横斜，红叶点缀其间，添几分秋意清寂。背景绢色沉郁，更衬出鹰的孤高与山石的冷峻。画面于写实中融写意之韵，雄鹰沉静姿态下藏蓄势待发的张力，笔墨间尽展自然生机与生命的苍劲力量，观之令人感佩造物之奇与绘者匠心。",[23,24,25,26,7,27,28,1488,351,170,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adea9a4d59fe57c41686f184054adc1.jpg","纵163.5横88.1厘米",[84],{"id":9511,"slug":9512,"title":9513,"dynasty":207,"author":2953,"museum":319,"description":9514,"tags":9515,"thumbUrl":9516,"material":82,"size":9517,"collection":138,"collections":9518,"showCount":9390,"zanCount":43,"manualWeight":43,"mainColor":88},217119,"yun-chao-tu-gao-ke-gong-217119","云巢图","《云巢图》是一幅以云巢山为主题的山水画。画中山峰环绕，云雾缭绕，景色宏伟壮观。山间小溪流过，水流潺潺，鸟儿欢快地游翔。画中还有山间小屋、山村村庄和农民劳作的场景。整幅画充满了自然的气息，令人感受到大自然的静谧之美。\n\n高克恭在画《云巢图》时，注重构图布局、选材搭配和色彩运用。他运用了元朝画风中常用的黑白灰三色基调，并在其中穿插了少量的彩色。在选材方面，他认真观察了山水景观的细节，并准确再现了各种山体、水流、云雾、树木等元素。在构图方面，他采用了分割画面的手法，将画面分成上下两部分，使得整幅画更加丰富多彩。",[23,25,26,7,77,130,129,131,169,151,1275,351,335,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87509821832412b45eeb4aaff52bb945.jpg","60.5x32.7cm",[138],{"id":9520,"slug":9521,"title":1381,"dynasty":18,"author":4788,"museum":331,"description":9522,"tags":9523,"thumbUrl":9524,"material":100,"size":100,"collection":138,"collections":9525,"showCount":9526,"zanCount":43,"manualWeight":43,"mainColor":88},239477,"shan-shui-zhou-kun-can-239477","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。",[25,77,130,7,129,134,193,170,132,173,29,133,5683,686,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59008fa5f9a110c1ebed1091d2f5520e.jpg",[138,185],77,{"id":9528,"slug":9529,"title":360,"dynasty":72,"author":9530,"museum":331,"description":9531,"tags":9532,"thumbUrl":9533,"material":100,"size":100,"collection":158,"collections":9534,"showCount":9526,"zanCount":11,"manualWeight":43,"mainColor":88},239038,"xian-shan-lou-ge-tu-sheng-mao-ye-239038","盛懋烨","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[25,26,7,28,129,130,80,269,427,132,522,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab740f67c531848bac66c388d0ad2130.jpg",[158],{"id":9536,"slug":9537,"title":9538,"dynasty":72,"author":9539,"museum":331,"description":9540,"tags":9541,"thumbUrl":9542,"material":100,"size":100,"collection":84,"collections":9543,"showCount":9526,"zanCount":11,"manualWeight":43,"mainColor":44},237497,"mo-he-yuan-yang-tu-zhou-li-yin-237497","墨荷鸳鸯图轴","李因","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。 [1]\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[25,26,7,77,113,32,799,307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557524c45070d0779dcb0b92bcfbebf5.jpg",[84],{"id":9545,"slug":9546,"title":9547,"dynasty":93,"author":1475,"museum":331,"description":9548,"tags":9549,"thumbUrl":9550,"material":100,"size":100,"collection":100,"collections":9551,"showCount":9526,"zanCount":43,"manualWeight":43,"mainColor":44},227717,"lian-yan-tu-mu-xi-227717","莲燕图","牧溪，宋末元初之画僧，无准禅师的弟子。四川人，生卒年不详。依径山无准师范出家，法名法常。于宋末理宗、度宗时（1225～1270），在杭州西湖长庆寺为杂役僧。性情英豪，嗜饮酒，醉则寝，觉则朗吟。擅长画佛像、人物、花果、鸟兽、山水、龙虎、猿鹤等，题材广泛。画风继承石恪、梁楷之减笔画，与中唐以来之逸格山水画，风格壮阔，自由放逸。其生平画迹与作品在国内之流传甚少，然日本极早即流传其画迹，且因其画风对日本艺坛产生强烈影响，故其画迹一直为名流所收藏，如观音猿鹤图、龙虎图、栗柿图、芙蓉图、老松八哥鸟图、潇湘八景图、柳燕图等，其中之观音猿鹤图三幅，相传系日僧圣一于宋理宗淳祐元年（1241），由中国带往日本者，目前被视为日本国宝。\n\n水墨皆禅，万法唯心，对牧溪而言，他也许从未定义自己是个画家，而首先是个僧人，是个禅师。他的画被归为禅画的范畴，禅画将生命的解脱视为最高存在意涵。画中幽远超然的留白，似乎天地之间，只剩你与他笔下的一只蜻蜓、一颗萝卜、一只小燕。生命原本就是这么简单。",[25,24,26,7,77,113,306,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67985521198db5b72190fbaa7002bfa.jpg",[],{"id":9553,"slug":9554,"title":5870,"dynasty":18,"author":3916,"museum":331,"description":9555,"tags":9556,"thumbUrl":9558,"material":214,"size":3920,"collection":84,"collections":9559,"showCount":9526,"zanCount":43,"manualWeight":43,"mainColor":88},222708,"mei-hua-tu-zhou-jin-nong-222708","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[23,25,7,77,304,392,1594,35,79,80,9557],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b6c67932d0a5c269f78907c8a7ade.jpg",[84,158],{"id":9561,"slug":9562,"title":9563,"dynasty":72,"author":1614,"museum":265,"description":9564,"tags":9565,"thumbUrl":9566,"material":1320,"size":9567,"collection":84,"collections":9568,"showCount":9526,"zanCount":43,"manualWeight":43,"mainColor":88},221992,"song-shi-gao-shi-tu-wen-zheng-ming-221992","松石高士图","据蔡羽序记，正德十三年二月十九日，文徵明与好友蔡羽、王守、王宠、汤珍等人至无锡惠山游览，品茗饮茶，吟诗唱和，十分相得，事后便创作了这幅记事性作品。画面采用截取式构图，突出“茶会”场景，在一片松林中有座茅亭泉井，诸人冶游其间，或围井而坐，展卷吟哦，或散步林间，赏景交谈，或观看童子煮茶。人物面相虽少肖像画特征，大都雷同，动态、情致刻画却迥异，饶有生意，并传达出共通的闲适、文雅气质，反映了文人画家传神胜于写形的艺术宗旨。同时，青山绿树、苍松翠柏的幽雅环境，与文人士子的茶会活动相映衬，也营造出情景交融的诗意境界。",[23,25,129,252,56,253,28,304,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c92706428937b31f81e452f3db90dc6.jpg","纵71cm，横35cm",[84,158],{"id":9570,"slug":9571,"title":9572,"dynasty":72,"author":1024,"museum":236,"description":9573,"tags":9574,"thumbUrl":9575,"material":745,"size":9576,"collection":138,"collections":9577,"showCount":9526,"zanCount":11,"manualWeight":43,"mainColor":88},220906,"she-shan-you-jing-tu-zhou-dong-qi-chang-220906","佘山游境图轴","《董其昌佘山游境图轴》是明代画家董其昌所创作的一幅纸本纸本墨笔画。",[23,24,25,26,7,77,130,129,132,170,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68466d3a79e9cb3ca5526c09f52f5482.jpg","纵98.4厘米，横41厘米",[138,185],{"id":9579,"slug":9580,"title":9581,"dynasty":72,"author":50,"museum":1714,"description":9582,"tags":9583,"thumbUrl":9585,"material":214,"size":100,"collection":39,"collections":9586,"showCount":9526,"zanCount":43,"manualWeight":43,"mainColor":44},219895,"liu-hai-du-hai-tu-yi-ming-219895","刘海渡海图","赤足凌于翻涌浪涛之上，衣袂被海风拂卷翻飞，仙者神色沉静安然，不见渡海的惶然。怀中紧捧三足金蟾，另一手牵系着仙桃的丝带，仙家灵韵尽数铺展。\n\n画作以劲挺流畅的线条勾勒衣褶，衣物垂坠质感尽显。细密笔触层叠出浪涛奔涌之态，虚实相映烘托出烟波浩渺的渡海意境。整体色调沉古雅致，将世外之人超凡出尘的气质晕染开来，把刘海渡海的传说融于笔墨间，空灵悠远，在叙事与审美之间达成绝妙平衡，尽显古画仙逸出尘的独特意趣。",[25,26,7,28,27,54,29,336,9584],"蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e14f2c2835480ab5d26a9db6287108.jpg",[39],{"id":9588,"slug":9589,"title":9590,"dynasty":93,"author":481,"museum":74,"description":9591,"tags":9592,"thumbUrl":9594,"material":37,"size":9595,"collection":138,"collections":9596,"showCount":9526,"zanCount":11,"manualWeight":43,"mainColor":88},218163,"xue-tan-shuang-lu-tu-ma-yuan-218163","雪滩双鹭图","画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应。",[23,24,25,26,7,77,28,129,521,132,613,9593,1891,35],"滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70fa992caf6ec5e7624ac5e868a7e17.jpg","纵60厘米，横38厘米",[138],{"id":9598,"slug":9599,"title":9600,"dynasty":207,"author":9601,"museum":74,"description":9602,"tags":9603,"thumbUrl":9604,"material":37,"size":9605,"collection":39,"collections":9606,"showCount":9526,"zanCount":43,"manualWeight":43,"mainColor":44},216971,"da-shi-xiang-zhou-zhao-yi-216971","大士像轴","赵奕","观音大士像轴是赵奕在元朝时期创作的一幅绘画，描绘了观音大士的形象。观音是佛教中的一位菩萨，被认为是慈悲和智慧的化身。在这幅画中，观音大士身着传统的中国服装，手持佛珠，脸上带着慈祥的微笑。观音大士像轴通常用来装饰寺庙或供奉在佛教场所。",[25,26,7,28,27,54,29,31,35,151,56,34,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca16ca2a1f4f371f973d05319d870cd9.jpg","108x54.8",[39],{"id":9608,"slug":9609,"title":9610,"dynasty":993,"author":3760,"museum":331,"description":3761,"tags":9611,"thumbUrl":9614,"material":198,"size":780,"collection":100,"collections":9615,"showCount":9616,"zanCount":43,"manualWeight":43,"mainColor":44},290511,"bao-ji-bin-ga-luo-fo-xiang-wu-dao-zi-290511","宝积宾伽罗佛像",[25,24,26,7,54,28,29,9612,9613,79],"佛教","佛像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff024de3f0cf5457299698b68bc41684e.jpg",[],76,{"id":9618,"slug":9619,"title":9620,"dynasty":72,"author":126,"museum":331,"description":1846,"tags":9621,"thumbUrl":9622,"material":198,"size":780,"collection":100,"collections":9623,"showCount":9616,"zanCount":11,"manualWeight":43,"mainColor":88},288067,"chui-diao-tu-shen-zhou-288067","垂钓图",[23,25,24,77,7,26,129,29,352,35,193,2368,350,80,79,6979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5701209ee802812e6ba423e0fd68c748.jpg",[],{"id":9625,"slug":9626,"title":9293,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":9627,"thumbUrl":9628,"material":198,"size":780,"collection":100,"collections":9629,"showCount":9616,"zanCount":11,"manualWeight":43,"mainColor":88},239513,"mu-dan-shui-xian-zhou-wu-chang-shuo-239513",[25,7,28,113,304,114,924],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e8a39a2d5b5e7b4c77db06de234c4.jpg",[],{"id":9631,"slug":9632,"title":9633,"dynasty":18,"author":921,"museum":236,"description":8581,"tags":9634,"thumbUrl":9635,"material":100,"size":100,"collection":84,"collections":9636,"showCount":9616,"zanCount":11,"manualWeight":43,"mainColor":88},236914,"ping-hua-chang-pu-tu-zhou-wu-chang-shuo-236914","瓶花菖蒲图轴",[25,26,7,28,113,61,1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( 赵令穰、赵伯驹、赵孟頫），绘画兼具其平生倾慕的赵孟頫、王蒙、董其昌三家之长。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在表明自己的审美理想和创作思想，然后施之于画幅上，令其画独存灵逸之趣。",[23,25,26,7,1027,268,28,130,129,132,170,134,193,878,29,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228e8ef62ddaeaa716374da839e86119.jpg","110×60cm",[],{"id":9656,"slug":9657,"title":9658,"dynasty":72,"author":9659,"museum":648,"description":9660,"tags":9661,"thumbUrl":9662,"material":1573,"size":9663,"collection":84,"collections":9664,"showCount":9616,"zanCount":656,"manualWeight":43,"mainColor":88},222522,"mei-cha-shan-que-tu-zhu-zhu-222522","梅茶山雀图","朱竺","图绘梅、茶花、山雀的花鸟图。雀站立于茶树枝上，昂头望着上方的红茶花和金色梅花，神态专注；梅枝自然伸展，朵朵梅花点缀其上；茶花争相绽放，一抹红色美艳动人。朱竺，号君实，明代画家，工山水，亦能花鸟、人物。",[23,25,26,7,28,27,79,392,574,2334,113,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff27021c8b1604adccb8eb0607990f6.jpg","119.3x39.6cm",[84,158],{"id":9666,"slug":9667,"title":9668,"dynasty":72,"author":1496,"museum":236,"description":9669,"tags":9670,"thumbUrl":9671,"material":9051,"size":9672,"collection":84,"collections":9673,"showCount":9616,"zanCount":43,"manualWeight":43,"mainColor":44},222400,"can-he-ying-lu-tu-lv-ji-222400","残荷鹰鹭图","画面描绘了秋日荷塘中惊心动魄的一幕，苍鹰俯冲搏击白鹭，白鹭冲进苇丛深处，希图逃脱。众鸟或纷纷躲避，或受惊鸣叫。劲风吹动芦苇残荷，更添肃杀之气。作者把握住禽鸟的自然特征，赋予了戏剧化的情节表现，使画面具有扣人心弦的感染力。画家用写意的笔法画出枯败的荷叶，效果逼真，体现出高超的水墨控制能力。",[23,25,26,7,113,27,28,77,32,1488,1891,1742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10ae54932f80827cb6ce0d4337c4bf1.jpg","纵190厘米，横105.2厘米",[84,185],{"id":9675,"slug":9676,"title":9677,"dynasty":93,"author":9678,"museum":74,"description":9679,"tags":9680,"thumbUrl":9681,"material":82,"size":9682,"collection":101,"collections":9683,"showCount":9616,"zanCount":11,"manualWeight":43,"mainColor":88},221247,"lao-zi-qi-niu-tu-zhou-chao-bu-zhi-221247","老子骑牛图轴","晁补之","图中心位置画有一位光秃尖顶、宽额留须的圆脸老人，他身穿右衽长袍，腰有缚带，在两道浓黑的月牙形的长眉下，藏着一对炯炯有神的笑眼，和颜悦色地正面对着观众，骑乘在一头壮牛身上，他双手按扶着牛背。由于山路崎岖险要，刚出幽谷关，地势突变平缓，又要准备西去，这时主人露出成功的喜悦。乘骑在主人的驾驭下，继续开步行进。图左上角画有枯枝残藤沿岩壁漫漶而下，岩石峭壁，大有谷关之要，出关后风光截然不同。\n本图署款：“晁无咎写。”钤印一“云屏烟障吾庐”。诗塘有宋王诜四言赞。本幅有清高宗弘历题诗。收传印记有“明文清世家图书”，清乾隆鉴藏八玺全。",[25,26,7,77,29,1571,80,97,79,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c80c3c9a6bb3b8623ed0876ee5a459.jpg","50.6x20.4",[101],{"id":9685,"slug":9686,"title":9687,"dynasty":49,"author":50,"museum":74,"description":9688,"tags":9689,"thumbUrl":9691,"material":37,"size":9692,"collection":39,"collections":9693,"showCount":9616,"zanCount":11,"manualWeight":43,"mainColor":44},219410,"huo-lang-tu-zhou-yi-ming-219410","货郎图轴","货郎挑担来到牡丹花下敲锣叫卖，孩童们争相前来，有拿铜钱的、拖玩具小车、打陀螺，还有手上把玩风车，脸上洋溢着欢喜与兴奋。货郎扁担为高肩形式，装饰着一对华丽的蟠龙，这是明代流行的样式。伞盖下悬挂灯笼、葫芦。置物架上内嵌木格，装满了瓶罐、玩具，及福禄寿样貌的泥塑偶人。背景牡丹盛开，桃实累累，充满吉祥意味。",[25,26,7,27,28,29,1932,4624,1405,9690],"生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c2e1b92d7b7e924913d4aafee674fb.jpg","183.5x116.3",[39],{"id":9695,"slug":9696,"title":9697,"dynasty":207,"author":9698,"museum":74,"description":9699,"tags":9700,"thumbUrl":9701,"material":82,"size":9702,"collection":138,"collections":9703,"showCount":9616,"zanCount":419,"manualWeight":43,"mainColor":88},218911,"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[23,25,26,7,77,130,79,80,97,129,252,335,613,253,169,132,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[138],{"id":9705,"slug":9706,"title":9707,"dynasty":72,"author":50,"museum":4105,"description":9708,"tags":9709,"thumbUrl":9710,"material":37,"size":9711,"collection":138,"collections":9712,"showCount":9616,"zanCount":43,"manualWeight":43,"mainColor":44},217911,"shan-zhuang-guan-he-tu-yi-ming-217911","山庄观鹤图","山庄观鹤图是明朝时期的一幅名画，作者是佚名画家。这幅画描绘了一座山庄，山庄周围群山环抱，绿树成荫，空气清新。在山庄的前院，有一只鹤正在观赏花草，显得十分和善。这幅画浓烈的山水意境，深刻地表现出了古人对自然界的敬畏和虔诚，同时也展现了明朝画家独特的画风和技巧。",[25,7,28,129,130,29,377,134,193,269,170,132,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fad8a02e60f7dc3edd0d39a2250f75.jpg","195.5x99cm",[138],{"id":9714,"slug":9715,"title":9716,"dynasty":18,"author":9717,"museum":74,"description":9718,"tags":9719,"thumbUrl":9720,"material":82,"size":9721,"collection":101,"collections":9722,"showCount":9616,"zanCount":43,"manualWeight":43,"mainColor":88},214655,"lin-su-shi-shu-du-fu-shi-wang-you-dun-214655","临苏轼书杜甫诗","汪由敦","苏轼原迹「书杜甫桤木诗」卷",[80,945,97,77,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd0aab16eda6b62bd40f21fb84ca540.jpg","79.3x36.7",[101],{"id":9724,"slug":9725,"title":9726,"dynasty":207,"author":50,"museum":74,"description":9727,"tags":9728,"thumbUrl":9729,"material":37,"size":9730,"collection":39,"collections":9731,"showCount":9732,"zanCount":656,"manualWeight":43,"mainColor":44},290745,"mei-hua-shi-nv-zhou-yi-ming-290745","梅花仕女轴","此幅画作，梅花树下，一名身形窈窕的美人，正手持铜镜，专注地妆扮着自己。身侧，并点缀了奇石和水仙花。全画的情境，被塑造得无比恬静而优雅。\n美人额间所装饰的梅花形“花钿”，似乎是整张画中最引人注目的焦点。唐代徐坚的《初学记》曾记载，南朝宋武帝（420－422在位）的女儿寿阳公主，某一日，在含章殿屋檐下休息假寐时，刚好有朵梅花掉落到她的额头上。当公主醒来起身，这朵梅花居然还停留在额间。此情此景，被宫中的女眷们看见，均大表赞赏，甚至纷纷起而仿效，掀起一股“梅花妆”的流行风潮。",[25,7,28,27,29,30,775,392,924,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc4a265b52f01bd880e3e8c0aac9848.jpg","131.4x63",[39],75,{"id":9734,"slug":9735,"title":9736,"dynasty":109,"author":875,"museum":74,"description":9737,"tags":9738,"thumbUrl":9739,"material":99,"size":9740,"collection":100,"collections":9741,"showCount":9732,"zanCount":11,"manualWeight":43,"mainColor":44},289925,"yu-le-tu-zhou-jing-hao-289925","渔乐图轴","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[25,7,77,130,129,2367,521,35,193,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda905b5bc4e53571550e7355ed79a2b.jpg","189.4x125.9",[],{"id":9743,"slug":9744,"title":9745,"dynasty":109,"author":9746,"museum":331,"description":9747,"tags":9748,"thumbUrl":9749,"material":198,"size":780,"collection":100,"collections":9750,"showCount":9732,"zanCount":43,"manualWeight":43,"mainColor":44},289777,"lian-chi-shui-qin-tu-zhou-er-gu-de-qian-289777","莲池水禽图轴二","顾德谦","顾德谦，五代南唐画家。建康(江苏)人，专喜好画道教神像画，又善画动植物。深受李后主厚爱。他画的人物，神韵清劲，笔力雄健。传世作品有《太上像》、《太上度关图》、《太上图》、《太上采芝像》、《四子太上像》、《采芝图》、《仙迹图》、《洞庭灵烟图》等20余件，见《宣和画谱》。",[23,25,7,1592,28,27,306,1890,1892,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb96d9cd6b47e7470bafecaed08c207.jpg",[],{"id":9752,"slug":9753,"title":9754,"dynasty":207,"author":50,"museum":3928,"description":9755,"tags":9756,"thumbUrl":9759,"material":182,"size":9760,"collection":100,"collections":9761,"showCount":9732,"zanCount":11,"manualWeight":43,"mainColor":342},223593,"bai-yi-guan-yin-tu-zhou-yi-ming-223593","白衣观音图轴","此作用淡墨白描写就，线条清劲圆转如兰叶拂风，将观音衣袂的舒展柔曼尽数铺陈。菩萨安坐枯木之上，神态恬寂慈悲，身罩圆光，愈发显得清宁出尘。一旁净瓶斜插柳枝，暗点禅意。背景寥寥数笔勾勒寒江枯石，简淡空寂，烘托出幽远澄澈的水月之境。画首题诗暗合观心见性的禅思，笔墨极简却神完气足，以空灵之境托出观音自在无染的悲悯之态，尽显简逸高古的审美意趣，淡远清和之中，悠悠禅韵扑面而来。",[23,25,26,7,54,985,29,194,132,9757,9758],"净瓶","线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650731d393f311c93711e07f496fca71.jpg","83x39",[],{"id":9763,"slug":9764,"title":9765,"dynasty":18,"author":9766,"museum":265,"description":9767,"tags":9768,"thumbUrl":9769,"material":589,"size":9770,"collection":39,"collections":9771,"showCount":9732,"zanCount":43,"manualWeight":43,"mainColor":44},222523,"zhu-shou-tu-zhou-wang-wen-wei-222523","祝寿图轴","王文炜","寿星和梅花鹿是这一题材必备的图像，婴戏图表示多子，也代表了吉祥的寓意，除此之外本图中还描绘了对坐书案的两位文仕，为本图平添了高雅的情趣。画面设色妍雅，笔墨生动。",[23,25,26,24,7,28,27,29,1932,8516,1073,427,132,193,1797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9cf9fe0adff55e94e42726ea4c7077.jpg","80X160",[39,158],{"id":9773,"slug":9774,"title":9775,"dynasty":72,"author":1024,"museum":74,"description":9776,"tags":9777,"thumbUrl":9778,"material":1688,"size":9779,"collection":138,"collections":9780,"showCount":9732,"zanCount":43,"manualWeight":43,"mainColor":88},220944,"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[23,25,26,7,77,130,80,97,129,601,193,427,170,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[138,185],{"id":9782,"slug":9783,"title":9784,"dynasty":72,"author":1024,"museum":74,"description":9785,"tags":9786,"thumbUrl":9788,"material":214,"size":9789,"collection":138,"collections":9790,"showCount":9732,"zanCount":43,"manualWeight":43,"mainColor":88},220939,"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是模拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,25,26,7,77,130,80,79,129,9787,4148,170,733,132,1419,173,522],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[138,185],{"id":9792,"slug":9793,"title":9794,"dynasty":18,"author":235,"museum":9795,"description":9796,"tags":9797,"thumbUrl":9798,"material":1688,"size":100,"collection":100,"collections":9799,"showCount":9732,"zanCount":43,"manualWeight":43,"mainColor":88},220464,"tao-hua-yuan-ren-yi-220464","桃花源","亚瑟·M·赛克勒美术馆","淡墨勾皴层叠岩壁，浅晕青绿晕开山岚清润。老樵负斧驻足，抬首凝望漫山繁花。苍劲虬枝缀满素色花团，如堆雪覆枝，将山野晕染出朦胧柔婉。幽寂山石隐在花影石隙，似藏着无人惊扰的洞天。\n人物衣褶简括灵动，抬首的怔忡神态宛然在目，将误入世外山境的沉醉凝于笔端。淡墨写意晕出空寂悠远的山野氛围，清简笔墨铺展出世外天地的悠然意趣，把隐逸避世的幽韵尽数融在这尺幅之中。",[23,25,7,28,1371,29,129,392,132,170,193,3673],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2b3db8d3cbb318979a7513a7d5b907.jpg",[],{"id":9801,"slug":9802,"title":9803,"dynasty":72,"author":4237,"museum":6687,"description":9804,"tags":9805,"thumbUrl":9807,"material":37,"size":9808,"collection":84,"collections":9809,"showCount":9732,"zanCount":43,"manualWeight":43,"mainColor":44},220315,"li-hua-shuang-jiu-tu-yu-yuan-220315","梨花双鸠图","陶渊明的诗作在清新自然的氛围中营造了一种恬淡宁静、纯朴自然的境界，这正是老庄艺术境界与人生境界的合一。钱选追慕陶渊明式的的隐逸生活，他曾画了多幅《归去来图》以示对陶潜的景仰之情，画中曾经题诗：“衡门植五柳，东篱采丛菊。长啸有余清，无奈酒不足。当世宜沈酣，作色召侮辱。乘兴赋归欤，千载一辞独。”钱选的传世作品《柴桑翁像》卷描绘陶渊明头戴明纱巾，脚着木屐，携杖款款而行的样子。画中题道：“晋陶渊明得天真之趣，无青州从事而不可陶写胸中磊落，尝命童子佩酒以随，故时人模写之。余不敏，亦写此以况。”可见钱选是借陶渊明来书写胸臆，仿陶潜之隐逸，寻道老庄，建自身之心隐，表达对陶潜自喻的隐居素志和平淡生活情趣的田园生活的向往，钱选在生活和绘画创作中极力营造心目中“桃花源”，一个平和、繁华但又远离尘世，隐心俗世之外，又从世外深情俯视人间之境。",[23,25,26,7,27,28,113,6638,9806],"鸠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f327fd3c66d28a0a0a4df196d628d00.jpg","97cm×30.2cm",[84],{"id":9811,"slug":9812,"title":423,"dynasty":72,"author":752,"museum":5554,"description":9813,"tags":9814,"thumbUrl":9815,"material":37,"size":100,"collection":39,"collections":9816,"showCount":9732,"zanCount":43,"manualWeight":43,"mainColor":342},219592,"pin-cha-tu-chen-hong-shou-219592","该场景画在一个开放的空间里，用石头、木桌、茶具和荷花装饰。两个高卓人相对而坐，最近的一个已经弹完了古筝，而对面的人则坐在一张大香蕉叶上，一起喝香茶。",[25,24,26,7,27,28,79,29,35,306,3796,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg",[39],{"id":9818,"slug":9819,"title":9820,"dynasty":49,"author":9821,"museum":20,"description":9822,"tags":9823,"thumbUrl":9824,"material":37,"size":9825,"collection":138,"collections":9826,"showCount":9732,"zanCount":43,"manualWeight":43,"mainColor":44},219240,"xue-jing-shan-shui-tu-chao-xian-yi-ming-219240","雪景山水图","朝鲜·佚名","寒峰如簇，积雪裹岩，皴笔勾勒出山峦苍劲骨相，淡墨晕染雪层蓬松柔意。谷底溪流缓淌，孤舟横卧，几椽屋舍隐于松雪间，似有暖意从窗棂溢出。素褐底色上，雪色留白相映，静谧中透着清寂，萧瑟里藏着生机。笔墨简练却意趣丰盈，将冬日山水的空濛悠远凝于尺幅，仿佛能听见落雪簌簌、流水潺潺，尽显东方水墨的含蓄之美与自然哲思。",[23,25,7,77,130,129,613,252,56,170,733,349,57,172,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895d5a2e9d62434a58f25d76c0290f0a.jpg","92.4x52.7厘米",[138],{"id":9828,"slug":9829,"title":9830,"dynasty":72,"author":9831,"museum":236,"description":9832,"tags":9833,"thumbUrl":9834,"material":82,"size":9835,"collection":101,"collections":9836,"showCount":9732,"zanCount":43,"manualWeight":43,"mainColor":88},219150,"cao-shu-die-lian-hua-ci-zhang-bi-219150","草书·蝶恋花词","张弼","此轴是张弼书录宋王诜《蝶恋花词》一首，词序上有倒句。原词为：“钟送夕阳鸡打鸣。昏晓相催，世事何时了。万恨千愁人自老，春来仍然生芳草。忙处人多闲处少。闲处光阴，几个人知道。独上高楼云渺渺，天涯一点青山小。”（编者注）\n张弼的行草书师法张旭、怀素，雄奇劲健，纵逸多姿。此轴为作者晚年书，用笔迅疾飞动，错落有致，提按起收富于变化。通篇犹如暴风骤雨，风驰电掣。王鏊评其书：“疾如风雨，矫如龙蛇，欹如坠石，瘦如枯藤，怪伟跌宕。”",[23,80,305,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba759976bd3332a262a2c7e984cb7da.jpg","纵148厘米，横59.4厘米",[101],{"id":9838,"slug":9839,"title":9840,"dynasty":207,"author":1981,"museum":710,"description":9841,"tags":9842,"thumbUrl":9843,"material":37,"size":9844,"collection":84,"collections":9845,"showCount":9732,"zanCount":43,"manualWeight":43,"mainColor":44},218239,"cang-jiang-heng-di-tu-sheng-mao-218239","沧江横笛图","此图所描绘的是一幅江畔秋景。画面远处烟波浩渺，青山伏卧，一派江南平淡幽远的山水景色。近处岸边斜伸出几棵大树，阵风吹过，落叶萧然，惊起的三、五只雀鸟，或飞或栖，自在悠然。树下渔人临风横笛，神情专注。",[25,7,28,129,29,253,151,777,2906,522,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f90e787aa60094f0aca0e0ed0c9958b.jpg","纵84.8厘米，横47.1厘米",[84,138],{"id":9847,"slug":9848,"title":9849,"dynasty":18,"author":318,"museum":236,"description":9850,"tags":9851,"thumbUrl":9852,"material":745,"size":9853,"collection":84,"collections":9854,"showCount":9855,"zanCount":419,"manualWeight":43,"mainColor":88},237621,"gu-mei-tu-zhou-zhu-da-237621","古梅图轴","图绘一株古梅树，根部无土，树心中空，旁枝上数朵梅花盛开，显示出顽强的生命力。根据画中的自题诗：“梅花画里思思肖”而知，此图是朱耷仿宋遗民画家郑思肖画兰不着土、以暗示国土为异族人所夺之意的画作，表达了他对明朝的怀念之情。图中用笔苍健有力，线条粗犷，多方硬曲折。施墨枯润结合，富有表现力。此图是朱耷中年时期的代表作。\n本幅朱耷自题三首，分别款署：“驴屋驴书”，钤“字日年”朱文印；“壬小春又题”，钤“驴”朱文印；“夫婿殊驴”。“壬小春”是指清康熙二十一年（1682年），朱耷时年57岁。\n幅下有罗朝汉题记。鉴藏印有“惠祖斋”朱文印、“大兴刘铨福家世守印”白文印。",[25,26,7,77,304,392,131,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d898d1a97529363294d5d785eed0c86.jpg","纵96厘米，横55厘米",[84],74,{"id":9857,"slug":9858,"title":6215,"dynasty":18,"author":318,"museum":236,"description":9859,"tags":9860,"thumbUrl":9870,"material":745,"size":9871,"collection":100,"collections":9872,"showCount":9855,"zanCount":43,"manualWeight":43,"mainColor":88},233712,"yang-liu-yu-qin-tu-zhou-zhu-da-233712","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。",[25,77,7,304,6218,548,35,113,9861,5683,9862,132,9863,6189,3036,9864,9865,9866,9867,9868,9869],"水墨写意","孤鸟","枝条","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","纵119厘米，横58.4厘米",[],{"id":9874,"slug":9875,"title":9876,"dynasty":72,"author":264,"museum":331,"description":9877,"tags":9878,"thumbUrl":9879,"material":100,"siz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创作的绢本设色画，现收藏于北京故宫博物院。\n该图画一老者襟带飘然，风度高雅。\n栖居环境十分优美雅适，高山流水，小桥人家，苍松翠柏，桃花盛开，白云缭绕，草堂幽雅，凉亭洁静，宛如人间仙境。\n整幅画意境如诗入仙，画法精细工瑾，细致入微。\n通幅大青绿着色，色彩艳丽深重。\n这幅画是把滴翠的石绿、秀雅的淡赭、温润的墨色，自然和谐地统一在一起，具有一种不媚不俗的艺术效果。\n图中信步在浓郁的树荫下者即项元淇，他侧身而立，身穿宽服大衫，面目清秀，襟带飘然，风度翩翩，显得十分儒雅，为此图中的主人公：此画以山水为背景，景物十分繁复，远处，高山叠幛，山峰林立，山巅屹立，高峰两侧山势相应较矮小，形成“山”字形，山峦间白云缭绕，更远处的山头隐约可见山涧飞瀑高悬，奔腾直泻，叠泉涌流，水花四溅，汇集下部溪水中，溪水湍流，潺潺流淌：中部为山石嶙峋，有的竖立，有的横卧，错落有致，山石间松柏挺拔，与杂树并茂，山腰、山坳处桃花绽开，几乎染红半山腰，呈现出一派浓浓的春意。\n在苍松翠柏丛中，在半山腰的平坡处，座落草堂屋宇数间，半掩于山坡奇石之间，在桃林中筑孤亭，亭中几席书籍清晰可见，草堂四周环境十分优美，凉亭洁净，正是读书吟诗的好场所，宛如人间仙境。\n小溪从亭旁缓缓流过，溪流小桥上有一童子捧着书卷而来，一人从林荫深处向溪边缓步前来，此人正是主人翁项元淇。\n另有二童子，一在溪边洗砚，一携包屋前。\n清代昆度在边题中称“此图在十父图中亦足称第一。\n” 董其昌题跋：“仇实甫临宋画无不乱真，就中学赵伯驹者，更有出蓝之能，虽文太史让费及矣，此图是也。\n” 款识：“仇实父为少岳先生制。\n”画幅左方有明项元汴题“季弟元汴敬藏”。\n裱边左、右有子固、董其昌二跋。\n下裱徐石雪长跋。\n又有项元汴、耿信公、清高宗等鉴藏印二十方。\n此图是仇英为项元淇所绘。\n项元淇，宁子瞻，丁诗文草书。\n这所桃村草堂是项元淇的居处所，仇英在4岁左右被大鉴赏家、收藏家项元汴请至家中，在项家住了十年之久，为项氏绘画和临摹了大量作品，此《桃村草堂图》便是其中之一幅。\n据徐石雪题跋考证，画中老者即为项元淇。\n由于作者为主人绘制，所以落墨、设色十分认真。\n章法采用传统的“高远”构图法。\n画幅中虽景物繁多，尤其崇山峻岭，山峦叠嶂，可是在画家笔下山峰脉络清晰，山石用传统的勾勒手法，兼用细密的皴法和墨色的烘染，使山石富于质感和立体感：全画设色艳丽浓重，又不失淡雅的韵味。\n此画成功之处，还于突出桃村草堂的主人公项元淇的形象。\n主人公项元淇虽在整个画面中占的比例很小，但画家巧妙地将主人公安置于画面下方正中，身穿白色宽服长衫，特别醒目。\n同时，又注意到人物之间的比例关系，使主人公很自然地融汇到大自然之中。\n同时，画家十分巧妙地在亭子中陈设书籍，及溪边童子洗砚和一童子捧书过桥的情节，以此来说明主人公是一个文人雅士。\n北京故宫博物院研究员单国强：《桃村草堂图》藏于北京故宫博物院，学“二赵”青绿法，精细鲜丽，呈晚年本色画风。\n该图经清内府收藏，后为徐石雪所得。\n未见著录。\n现藏于北京故宫博物院。\n仇英（约1498—1552），字实父，号十洲，江苏太仓人，明代杰出画家。\n仇英早年曾是个油漆工，后改学画，师周臣。\n仇英善于摹古，不拘一家一派。\n人物、鸟兽、山水、楼观、舟车之类，都是他常描绘的对象。\n他的画题材广泛，风格工整秀丽，深受当时地主富商的喜爱。\n仇英的人物画最为精妙，尤其是仕女图，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或婉转舒畅，或劲丽艳爽，创历史风俗的新格，画风流丽纤巧，在当时反响很大，与沈周、文征明、唐寅并称为“明四家”。\n代表作有《松溪论画图》《汉宫春晓图》《桃园仙境图》《玉洞仙源图》《春夜宴桃李园图》等。",[23,25,26,7,28,27,268,129,29,377,170,193,132,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d7c8993b1840527a365334fa6a6479.jpg",[],{"id":9882,"slug":9883,"title":9884,"dynasty":18,"author":2250,"museum":331,"description":9885,"tags":9886,"thumbUrl":9888,"material":100,"size":100,"collection":100,"collections":9889,"showCount":9855,"zanCount":419,"manualWeight":43,"mainColor":88},224366,"hua-hui-si-ping-zhi-er-ju-lian-224366","花卉四屏之二","此作用笔秀雅工丽，素白牡丹以淡墨勾瓣，浅红晕染花心，柔润饱满如凝脂，尽展雍容柔媚之态。墨色叶片浓淡参差，苍润交错，衬出花之洁雅清贵。\n嶙峋湖石以水墨皴擦勾勒，孔洞玲珑古朴，刚硬质感与柔美花株相映，刚柔相济。飞蜂振翅穿行花间，灵动鲜活，为静谧花景添了盎然生机，动静之间尽显春日花下恬然意趣。\n设色明秀清雅，无艳俗之气，兼具写生之真与写意之韵，将花木情态勾勒入神，藏着悠然清逸的文人雅趣。",[23,24,25,26,7,27,28,113,114,9887,132,576],"蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9fa90dceefd3869dc23af99f9a1298.jpg",[],{"id":9891,"slug":9892,"title":9893,"dynasty":72,"author":7648,"museum":236,"description":9894,"tags":9895,"thumbUrl":9896,"material":3245,"size":9897,"collection":84,"collections":9898,"showCount":9855,"zanCount":43,"manualWeight":43,"mainColor":704},222444,"kong-que-tu-zhou-lin-liang-222444","孔雀图轴","图绘雌雄孔雀一双，立于石上，旁有修竹数竿。\n孔雀是自然界鸟类中羽毛色彩最为绚丽的一种，是生活在南方的禽鸟，古代在北方除去皇宫御苑几乎无人能够豢养，寻常百姓更是无缘得见，因此这一题材本身即透露出宫廷气息。\n与众多以工笔重彩表现孔雀的作品相比，林良此作纯用水墨，用笔粗简，仅在孔雀的头颈和尾羽处作精致的勾勒，充分发挥了“墨分五色”的丰富变化，使黑白的水墨也产生出缤纷绚丽的夺目效果。伴以竹石为背景，愈增添了清雅野逸的意趣。",[23,25,26,7,77,304,113,5187,31,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec841a14c5d417972a86639dc89581e2.jpg","纵155.3厘米，横78厘米",[84,185],{"id":9900,"slug":9901,"title":9902,"dynasty":93,"author":9903,"museum":4759,"description":9904,"tags":9905,"thumbUrl":9906,"material":486,"size":9907,"collection":157,"collections":9908,"showCount":9855,"zanCount":11,"manualWeight":43,"mainColor":44},221680,"song-shan-xing-lv-tu-li-shan-221680","松杉行旅图","李山","图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,24,25,26,7,77,130,129,378,601,29,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a9d7a7b39ad254c492ab8c13f18c80.jpg","163.6*107.2CM",[157,138,185],{"id":9910,"slug":9911,"title":9912,"dynasty":93,"author":50,"museum":74,"description":9913,"tags":9914,"thumbUrl":9916,"material":37,"size":9917,"collection":157,"collections":9918,"showCount":9855,"zanCount":11,"manualWeight":43,"mainColor":44},221238,"xue-lu-shuang-yan-zhou-yi-ming-221238","雪芦双雁轴","描绘的是寒冬汀岸一隅，四只雁栖息于芦苇丛下的岸边，有的仰天引颈而望，有的蹲伏理翎，另外二只掠空飞起。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自左下角向内延伸，其余部分大片留白，形成清远空旷的意境",[23,24,25,26,7,27,28,113,9915,1742,151,3880,57],"双雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c1047960693bbada4ff966b1451860.jpg","174.6x99.5",[157,84,158],{"id":9920,"slug":9921,"title":9922,"dynasty":207,"author":208,"museum":74,"description":9923,"tags":9924,"thumbUrl":9925,"material":214,"size":9926,"collection":138,"collections":9927,"showCount":9855,"zanCount":11,"manualWeight":43,"mainColor":44},220814,"shan-zhong-gui-yin-tu-wang-meng-220814","山中归隐图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,25,24,129,77,7,130,252,56,170,169,212,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 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赞。性好饮茶，所作《茶歌》中句多奇警。画面上的卢仝身着便服，头戴襆巾，手持羽扇，单腿盘坐于芭蕉前的青石上，背后怪石嶙峋，修竹碧绿，两名仆人在旁侍候。卢仝目不转睛地注视着火上的茶炉，全神贯注的神情被刻划得细致入微。画面花、竹、芭蕉笔笔刻画工整，怪石的阴阳、纹理交代清晰，赋色清淡冷隽，葱翠欲滴，闲和严静的幽雅气氛直扑人面。人物衣纹则用飘洒不群的高古游丝描，或清圆细劲的铁线描，以区别不同质地的衣料，显示出画家别具匠心之处。全图的绘画技巧变化多样而风格基调统一，人物神情生动，树石生机勃勃，笔法如行云流水，超然出众",[24,25,26,7,28,27,29,31,5575,2507,193,536,3796,10015,778],"长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1a43a9c64722e33546b4e6cdbb8bfa.jpg",[],{"id":10019,"slug":10020,"title":10021,"dynasty":72,"author":126,"museum":236,"description":10022,"tags":10023,"thumbUrl":10024,"material":100,"size":100,"collection":100,"collections":10025,"showCount":9989,"zanCount":11,"manualWeight":43,"mainColor":88},233788,"gui-hua-shu-wu-zhou-shen-zhou-233788","桂花书屋轴","这类将屋舍置于山林中的作品，寓意“尘远六街身世别”;又在书屋旁环栽秋桂、梧桐等，桂树风姿绰绰，书屋内所藏甚丰，堆满书籍的书桌旁侧坐一老者，一童捧物趋亭而至，情志恰如乾隆所题：“幽人结屋桂花阴，叶叶绿琼穗穗金。彼自悠然无世念，小山动我白驹心。”为诗人所津津乐道的隐逸生活，作为一种文化现象，在我国古代社会可谓源远流长。《易经》有云：“不事王侯，高尚其事”，儒家有“天下有道则见，无道则隐”。“邦有道则仕，邦无道则可卷而怀之”的待时之隐，老庄哲学有“道隐无名”思想，可以说，儒道思想分别为我国的仕宦文化、隐逸文化提供了哲学上的依据。在两种文化思维的相互碰撞、交融之下，中国士人每每被整合成“内道外儒”的人格类型，表现在士人的生存方式上就是“隐逸”。",[25,167,28,967,130,7,129,253,4426,2419,29,193,57,778,522,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adb9b5e6ec91eec93c0bbe3a7175244.jpg",[],{"id":10027,"slug":10028,"title":10029,"dynasty":18,"author":4434,"museum":331,"description":10030,"tags":10031,"thumbUrl":10032,"material":100,"size":100,"collection":100,"collections":10033,"showCount":9989,"zanCount":11,"manualWeight":43,"mainColor":88},230132,"zhang-lin-xiao-yao-tu-hong-ren-230132","长林逍遥图","此作用笔清劲方折，危崖如刀削斧拔般峭然耸立，留白晕染出山水疏旷空寂。近岸寒林虬枝孑立，木叶尽脱，尽显荒萧寒逸。平湖浅滩无波，远汀渔隐藏于空茫间，崖侧飞瀑隐于山石，幽淡含蓄。\n\n整幅以干笔淡墨写就，删繁去奢，将孤高冷寂的意趣寄于山水，脱尽烟火之气，静穆清逸间带着禅意，宛如遗世独立的幽境，观之涤荡心尘，尽显山水的雅净超然。",[23,24,25,26,7,77,130,129,521,351,169,193,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b461f26c82fb4c0466a95df1af5d932.jpg",[],{"id":10035,"slug":10036,"title":10037,"dynasty":18,"author":50,"museum":331,"description":10038,"tags":10039,"thumbUrl":10041,"material":100,"size":100,"collection":100,"collections":10042,"showCount":9989,"zanCount":43,"manualWeight":43,"mainColor":44},224247,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-shi-er-yue-zhou-yi-ming-224247","清画院画十二月月令图十二月轴","画卷取景分野墅与深宅两重天地。上半幅里远山素裹，寒林枝桠凝霜，冰封湖面化作天然冰场，乡野村人驰骋滑行，雪色间漫着冬日野趣。\n下半处宅邸雅致规整，廊下仆从往来奔走，庭院里孩童们攒雪团、掷雪球，闹作一团，将深宅岁末的暖意烘起。\n全画工笔精细，设色清柔，将冬日的清寂与岁末烟火揉为一处，既有山野萧寒的静谧，也有家宅团圆的温煦，尽绘冬闲时分的太平意趣。",[23,25,24,7,27,28,1157,129,269,29,3880,778,170,1571,733,10040],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f59e4bc38c1e3653cd281477159710.jpg",[],{"id":10044,"slug":10045,"title":10046,"dynasty":93,"author":50,"museum":331,"description":10047,"tags":10048,"thumbUrl":10049,"material":100,"size":100,"collection":100,"collections":10050,"showCount":9989,"zanCount":43,"manualWeight":43,"mainColor":44},223614,"zhu-que-shuang-tu-tu-yi-ming-223614","竹雀双兔图","《竹雀双兔图》是辽代佚名画家创作的绢本设色画，现藏于辽宁省博物馆。\n图绘双钩墨竹一丛，其中有长竹三竿，耸立其间，又有三只麻雀，分踞竹上：有的寻觅食物，有的静立下观，有的自理羽毛，神态各殊；丛竹之下生长的三株野花，左为蒲公英，中为地黄，右为白头翁，显得鲜艳肥大，引人注意；花前的两只灰兔为此图的主题：一只在吃草，一只在探望，神态逼真、活泼清新。\n图上画三竿翠竹，竹上落有三雀，一雀静立枝头，一雀用喙整理毛羽，另一雀侧身瞰视，神情各异。\n丛竹下画有蒲公英、地黄和白头翁三株野花及许多野花小草。\n两只苍兔蹲踞地上，一只在吃草，一只敛耳抬头张望。\n契丹族，是中国北方一支古老的民族，契丹人逐水草而居，以狩猎游牧为生。\n契丹神册元年（916年），耶律阿保机统一了契丹各部，建立了强大的辽王朝，先后与五代和北宋并立。\n其绘画作品，继承唐及五代传统，却又独具特色。\n花卉鸟兽是辽画中常见的题材。\n1974年5月，在辽宁省法库县叶茂台发掘了一座辽代萧氏贵族砖墓，规模较大，出土遗物较多，《竹雀双兔图》就在其中出土。\n关于《竹雀双兔图》的年代，因画上既无作者名款，也没有题识和收藏印记，只能从绢画本身加以分析研究，以确定流派与时间。\n由于画幅出土于辽墓之中，从墓室结构和数百件随葬品综合来考察，可以断定是辽代早期的墓葬，且不晚于辽景宗耶律贤时期，即北宋太宗赵炅的太平兴国年间（976—98年）。\n也就是说，画的制作年代不晚于这个下限。\n至于它的上限早到何时、关于画的作者族属问题， 做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[23,25,24,26,7,27,28,31,7145,900,32,113,241,1275,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],{"id":10052,"slug":10053,"title":4778,"dynasty":72,"author":10054,"museum":331,"description":10055,"tags":10056,"thumbUrl":10057,"material":1573,"size":10058,"collection":138,"collections":10059,"showCount":9989,"zanCount":656,"manualWeight":43,"mainColor":88},222050,"xue-jing-tu-zhang-peng-222050","张鹏","图上山顶白雪霭霭，近处树木枝叉覆盖着薄雪，一老翁身着蓑衣，头戴小帽，坐于船头，悠闲的垂钓；此时水面的平静，树木、群山笼罩在白雪中，似乎一切都是静止的。技法上，雪山以粗细条勾勒，淡色晕染山体。张鹏，字应秋，号云程，明代画家，",[23,25,77,130,129,7,3880,132,521,349,350,269,2558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc970e3e8eb98d514e0fe6f4f1bfacc34.jpg","97X53cm",[138,185],{"id":10061,"slug":10062,"title":10063,"dynasty":72,"author":10064,"museum":319,"description":10065,"tags":10066,"thumbUrl":10067,"material":37,"size":10068,"collection":138,"collections":10069,"showCount":9989,"zanCount":43,"manualWeight":43,"mainColor":44},220068,"han-lin-xing-lv-tu-xie-shi-chen-220068","寒林行旅图","谢时臣","画面以高远、平远之境铺陈，危崖层叠向上，虬松枯木扎根岩隙，枝桠劲挺尽显冬日元气。中层江天寥廓，远帆点点，衬出寒山空寂萧疏。近处以栈道行旅、山居茅舍破了荒寒，添上烟火暖意。\n\n笔墨兼融雄健与雅致，斧劈皴勾勒山石嶙峋质感，枯笔写木，笔力苍劲老辣，既绘出冬日山林的清寂荒寒，又暗藏旅人赶路的生趣，将山野冷意与人情暖意相融，大气苍莽又不失细腻意韵。",[25,77,130,7,129,614,171,132,169,29,196,349,170,195,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa68c24099e5a53a7f113148c70a7c46.jpg","151.5x74",[138],{"id":10071,"slug":10072,"title":10073,"dynasty":72,"author":10064,"museum":51,"description":10074,"tags":10075,"thumbUrl":10076,"material":37,"size":10077,"collection":138,"collections":10078,"showCount":9989,"zanCount":419,"manualWeight":43,"mainColor":44},219716,"song-xi-qin-ke-tu-xie-shi-chen-219716","松溪琴客图","危峰层叠巍峨，苍松盘桓于崖壁间，飞瀑隐入烟岚。中部水面空濛留白，汀渚间楼宇半掩，将山野空寂的悠远铺展开来。近岸老松郁茂，清溪蜿蜒穿林，松下雅士围坐，琴韵似随溪水潺潺漫溢山林。\n\n笔墨兼取刚劲与秀润，皴擦点染勾勒出山石肌理的苍劲，淡墨晕染烟霭，虚实相生间，将雄阔山水之壮与林泉雅集之逸相融，把文人寄情丘壑、静享幽居的意趣藏进每一处留白，绘就出一卷兼具大气与闲雅的山居清景。",[25,26,24,7,77,28,130,129,427,193,169,29,132,170,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa866c2cd2f276fdb3cca85d0d64f70.jpg","141x71.1厘米",[138],{"id":10080,"slug":10081,"title":10082,"dynasty":207,"author":2386,"museum":147,"description":10083,"tags":10084,"thumbUrl":10085,"material":37,"size":100,"collection":84,"collections":10086,"showCount":9989,"zanCount":11,"manualWeight":43,"mainColor":44},219321,"shuang-ma-tu-zhao-meng-fu-219321","双马图","双驹并立，一昂首嘶鸣似欲穿云，鬃毛飞扬如带劲风；一垂首静立若凝幽思，身躯敦实暗含沉稳。线条如篆籀般圆劲，勾勒出马身健硕肌理，淡墨晕染与浓墨点染相映，既显写实之功，又含文人写意之韵。古木虬枝盘结，根系深扎如铁，与马的灵动形成刚柔相济的张力。以书入画的笔意贯穿始终，每一笔皆带书法筋骨，让静态画面流动着笔墨生命力。画面不止状物，更藏文人对精神境界的追寻——既有驰骋天地的豪情，也有沉潜内省的淡然，在方寸间演绎出动静相宜的生命哲思。",[23,25,26,7,28,27,196,253,80,97,79,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe56f2039c3f73dc94111684a5a5117.jpg",[84],{"id":10088,"slug":10089,"title":10090,"dynasty":93,"author":3927,"museum":319,"description":10091,"tags":10092,"thumbUrl":10093,"material":82,"size":10094,"collection":84,"collections":10095,"showCount":9989,"zanCount":43,"manualWeight":43,"mainColor":704},218998,"xuan-ya-le-ma-tu-li-gong-lin-218998","悬崖勒马图","墨线如铁线缠枝，于素绢上勾勒出悬崖边的瞬间张力。骏马昂首奋蹄，鬃毛飞扬间似有嘶鸣溢出，前蹄悬于虚空的刹那，被笔锋精准定格。牵马者衣袂飘举，身姿微倾间与马同承风势，腕间缰绳若有若无，却牵住满幅屏息时刻。悬崖皴擦淡远，衬得人马动态愈显鲜明。宋画雅致不止静穆，更在这动中藏定的禅意——勒马非止控身，更是收心。素绢留白恰是心绪回旋余地，墨色浓淡间，见画者以线塑魂的功力，亦见宋代文人对“止”与“悟”的哲思，笔端藏锋，意韵悠长。",[24,25,26,7,985,77,196,29,31,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff787966bf24640bcbb1304f1af0dc9ca.jpg","纵44.7横24.8cm",[84],{"id":10097,"slug":10098,"title":10099,"dynasty":72,"author":10100,"museum":6403,"description":10101,"tags":10102,"thumbUrl":10104,"material":214,"size":10105,"collection":138,"collections":10106,"showCount":9989,"zanCount":11,"manualWeight":43,"mainColor":44},216742,"ri-ben-zu-shi-tu-shou-ye-yuan-xin-216742","日本· 祖师图","狩野元信","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,10103,7,54,28,27,130,129,29,169,131,132,173],"日本画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6889f3bb0ca60e1076055189342bb67.jpg","176.0x91.8",[138],{"id":10108,"slug":10109,"title":10110,"dynasty":207,"author":50,"museum":331,"description":10111,"tags":10112,"thumbUrl":10113,"material":198,"size":780,"collection":100,"collections":10114,"showCount":10115,"zanCount":43,"manualWeight":43,"mainColor":44},290742,"guan-yin-da-shi-xiang-zhou-yi-ming-290742","观音大士像轴","此作观音面容圆和悲悯，身披华饰璎珞，衣纹舒展流动，配色沉穆古雅，带着岁月晕开的温润质感。座下青狮龇牙威勐，却被观音掌心轻按敛了戾气，尽显柔能制刚的禅意。右下角善财童子合十礼拜，神态稚拙恭谨。\n\n远景以淡彩晕染山林云海，修竹挺翠，彩云舒卷，飞鸟穿空，将佛国清寂祥瑞融于山水间。笔墨工细兼具写意，线条婉转凝练，既恪守佛教造像的庄肃仪轨，又以灵动景致烘托出出尘禅韵，尽显古佛画沉静厚重的审美意趣。",[25,7,54,28,29,27,4533,241,55,31,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afaa29032eb7937f747f363c8b7f45.jpg",[],72,{"id":10117,"slug":10118,"title":10119,"dynasty":18,"author":4434,"museum":236,"description":10120,"tags":10121,"thumbUrl":10122,"material":486,"size":10123,"collection":84,"collections":10124,"showCount":10115,"zanCount":419,"manualWeight":43,"mainColor":88},236353,"hong-ren-jie-shou-tu-zhou-hong-ren-236353","弘仁节寿图轴","弘仁的《节寿图轴》山水画，是一幅画在绢上的比较早的作品。画家51岁的时候画的，风格面貌已经成熟，松树干上有皴擦，石头做了渲染，画得很生动。特别是水，画得有一层一层流动的感觉。当代的一些山水画，常常画山就有水，但是不能明确“水”在画面中所起到的作用。所以水容易画得很概念，留空白就代表水，如果瀑布就从源头一直画到下端，好像瀑布很短、很矮，一眼能够全部看到，这都是不妥当的。其实对于自然山水中的溪流、瀑布来说，一般只能看到一个部分，其他会被山石、树木等遮挡，不可能全部看到。弘仁的这幅作品中，对于水流的处理是一个很好的参考。画中的瀑布溪流，平面过来一层，又有一个平面，又是一层，流过来再有一个下降的过程，就有了节奏和变化，而且符合大自然的规律。要画好水，就要去观察研究水的实际动态，研究古人画的水，研究自然中的水。",[18,77,129,7,130,378,31,132,172,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70ff3779eca9bcdcd2e3e605f6901b2.jpg","102.2×51.5cm",[84,158],{"id":10126,"slug":10127,"title":10128,"dynasty":72,"author":10129,"museum":236,"description":10130,"tags":10131,"thumbUrl":10132,"material":4792,"size":10133,"collection":138,"collections":10134,"showCount":10115,"zanCount":11,"manualWeight":43,"mainColor":88},236306,"xie-qin-fang-you-tu-zhou-sun-zhi-236306","携琴访友图轴","孙枝","在历代抱琴与携琴图中，多是主人负手举步，缓缓前行，身后跟着抱琴童子。琴多在琴囊之中或被书童抱在怀里，线条干净简单。“我醉欲眠君且去，明朝有意抱琴来”，携琴访友的题材，历代均有描绘，如宋代范宽，明代文徵明、戴进、孙枝，清代陈卓、王翚、黄慎等都有名为《携琴访友图》的作品。代表了一种处于进行时的文士风雅，雅集即将开幕，雅乐即将奏响，一切处于将发而未发之状态，与含蓄蕴藉的古琴精神相合，甚至比对面抚琴更让人有所期待",[25,77,130,7,129,134,193,29,377,170,132,169,151,2389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa969847ed7cf030565acd834b399bb46.jpg","纵121.3cm，横31.5cm",[138,185],{"id":10136,"slug":10137,"title":10138,"dynasty":18,"author":235,"museum":331,"description":10139,"tags":10140,"thumbUrl":10141,"material":100,"size":100,"collection":100,"collections":10142,"showCount":10115,"zanCount":43,"manualWeight":43,"mainColor":88},233120,"hua-niao-ping-ren-yi-233120","花鸟屏","任颐（1840年－1895年），中国近代画家。原名小属，初名润，字小楼，一作晓楼。后号次远，字伯年，常被称作任伯年。山阴（浙江省绍兴）人，故画面署款多写“山阴任颐”。",[25,7,28,113,1228,675,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd185d4da9d0d49d86d8f217625063508.jpg",[],{"id":10144,"slug":10145,"title":412,"dynasty":18,"author":1048,"museum":331,"description":10146,"tags":10147,"thumbUrl":10148,"material":100,"size":100,"collection":100,"collections":10149,"showCount":10115,"zanCount":43,"manualWeight":43,"mainColor":88},230887,"zhu-shi-tu-zheng-ban-qiao-230887","瘦石嶙峋，以枯淡笔墨勾勒皴擦，孤挺而立，自带清刚硬骨。丛竹依石滋长，老竿挺劲苍润，新篁秀拔轻盈。竹叶以浓墨挥扫，疏密错落，俯仰生姿，笔下竹影似有清风吹过，摇曳有声。\n题画小诗与笔墨相映成趣，诗书印融为一体，将竹石经风历雪不改其节的品格，暗合自身刚直襟怀。以物言志，寥寥笔墨间形神兼备，把君子风骨寄寓尺幅之中，尽显文人写意画的意趣风神。",[25,77,304,7,31,35,80,97,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeeec0ce1c915aea89507bc1e9c4f47c.jpg",[],{"id":10151,"slug":10152,"title":10153,"dynasty":18,"author":10154,"museum":331,"description":10155,"tags":10156,"thumbUrl":10159,"material":100,"size":100,"collection":100,"collections":10160,"showCount":10115,"zanCount":43,"manualWeight":43,"mainColor":704},228968,"luo-hua-you-yu-tu-ma-yuan-yu-228968","落花游鱼图","马元驭","柔条垂拂牵缀艳红繁花，将暮春清韵轻轻铺展。水面之上，荇藻参差漾着细波，睡荇悬根随水轻摆，漾开空濛水色。数尾游鱼穿弋其间，摆尾逐着飘零落花，灵动悠然，把春水的生机藏在幽谧里。\n\n全作用没骨晕染，淡彩轻敷，将花叶柔润、柳条纤长的质感晕染尽致，未着一笔写水，却借藻荇与游鱼的姿态，将春水空明漾开。花随水去，鱼逐花影，把幽赏春池的闲逸融在笔底，观之便如临浅春水泽，漫生出恬然清和的诗意。",[23,25,26,7,28,113,10157,10158,404,1663,27],"游鱼","落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84302d047146391e5135486d1a4f33c6.jpg",[],{"id":10162,"slug":10163,"title":10164,"dynasty":72,"author":752,"museum":74,"description":10165,"tags":10166,"thumbUrl":10167,"material":37,"size":10168,"collection":100,"collections":10169,"showCount":10115,"zanCount":419,"manualWeight":43,"mainColor":44},228290,"mei-hua-shan-niao-zhou-chen-hong-shou-228290","梅花山鸟轴","推荐的明陈洪绶(1599一1652)、元杨维祯(1296一l7)及明夏昶(l88一l47)三位画家所绘的梅花山鸟、岁寒图及奇石修皇图等古画为题材，印制邮票一组。松、竹、梅夙有“岁寒三友”的称、天寒地冻，唯松柏常青；竹性耐寒，劲直中节；梅花为我国的国花，素洁清芬，高雅绝俗。选为邮票图案，不仅可阐扬中国固有文化与艺术，且可代表国人崇高的志节。志号品名: 专124 (18)岁寒三友图古画邮票全套面值: 2元邮票规格: 5.9651.46mm: P12印刷机构: 瑞士哥瓦锡厂印刷版别: 影写版: 影写版邮票纸整张枚数: 5(15)枚相关资料: 摄影者吴呈芳(1)梅花山鸟：绢本，轴，横49.6公分，纵124.公分。陈洪绶明诸暨人，生于明神宗万历二十七年，卒于清世祖顺治九年。字章侯，号老莲，又号云门僧，赋性狂散。其画人物，神态特真，时谓三百年无此笔墨，花鸟草虫，亦多精妙。(2)岁寒图：纸本，轴，横2公分，纵98.1公分。杨维祯元诸暨人，生于元成宗元贞二年，卒于明太祖洪武三年。字廉夫，号铁崖，又号铁笛道人，善书画，父杨宏，筑楼铁崖山，植梅去梯，俾其读书。明太祖征诏不赴，赋诗见志。()奇石修皇图：纸本，轴，横14.7公分，纵275.1公分。夏昶明昆山人，生于明太祖洪武二十一年，卒于宪宗成化六年。字仲昭，号自在居士，又号玉峰，举进士，为翰林院庶吉士，正统中仕至太常卿。善书，能诗，精绘事，尤工墨竹，其所作竹技，烟姿雨色，偃直疏浓，各循矩度，楷书画竹，时推第一。",[25,26,7,28,27,392,115,35,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58c74366f27a7acd6bb8197d976548e3.jpg","124.3x49.6",[],{"id":10171,"slug":10172,"title":10173,"dynasty":93,"author":623,"museum":331,"description":10174,"tags":10175,"thumbUrl":10179,"material":100,"size":100,"collection":100,"collections":10180,"showCount":10115,"zanCount":43,"manualWeight":43,"mainColor":44},227546,"song-quan-pan-shi-tu-li-cheng-227546","松泉磐石图","《宋人松泉磐石轴》是宋代画家李成的画作，中国古画，访幅之题材与风格，属“松石格”之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。",[25,4661,364,7,77,427,152,5654,614,193,10176,10177,10178],"清涧","浪花","漩涡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3403b986d1807ecdd059fbd28f5b4be6.jpg",[],{"id":10182,"slug":10183,"title":10184,"dynasty":109,"author":1112,"museum":331,"description":10185,"tags":10186,"thumbUrl":10187,"material":100,"size":100,"collection":100,"collections":10188,"showCount":10115,"zanCount":43,"manualWeight":43,"mainColor":44},226702,"hu-shan-chun-xiao-tu-ju-ran-226702","湖山春晓图","《五代·巨然湖山春晓图》是216年安徽美术出版社出版的图书，作者是陈传席。\n《五代·巨然 湖山春晓图》没有作为主骨干的山石轮廓线，皴染较简，云雾留白，主要以淡墨描绘出山川炯润之意。\n树干勾染，树叶用墨点簇而成，画面清淡。\n从风格上来判定，此图应是元代以后的仿古之作。",[23,24,25,26,7,77,28,130,1418,129,252,56,173,351,427,170,172,133,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],{"id":10190,"slug":10191,"title":10192,"dynasty":72,"author":389,"museum":648,"description":10193,"tags":10194,"thumbUrl":10196,"material":1320,"size":10197,"collection":138,"collections":10198,"showCount":10115,"zanCount":419,"manualWeight":43,"mainColor":88},222356,"cao-wu-pu-tuan-tu-tang-yin-222356","草屋蒲团图","绘江南初秋之景色。前景画茅屋于山麓，屋内一文士抱膝坐于蒲团晨读。人物刻划生动，双目炯炯有神，衣纹线描流畅有力。茅屋左面巨石竖立，五株墨竹拔地参天，笔墨苍劲，虚实得当，时隐时现，给人以动感。背景用水墨烘染群山，山腰间云雾飘动，富于变化;山谷间飞泉直泄，形成清溪，环绕草屋湍流而过。整个画面环境幽雅、清静，给人以浑厚、凝重之感。唐寅，字伯虎，又字子畏，号六如居士，桃花庵主，生于明成化六年(1470)，卒于嘉靖二年(1523)。他是位很有才华的画家，初师沈周，后学周臣，远宗李唐、刘松年，近攻元四家，山水、花鸟、人物、仕女无所不精，在技法上虽取法前人，但不落尘俗，自出新意。从唐氏传世作品看，多见雅淡、秀润、细腻，而此作却多雄浑、凝重，这在唐氏作品中还是极为少见的。此图右上端作者自题：“虚亭林木里，傍水着栏干，试展团蒲坐，叶声生早寒”。五言诗一首。下钤“吴趋”、“唐居士”、“南京解元”印三方。此作品的创作时间，应在唐寅四十岁左右。",[23,24,25,26,7,77,28,130,129,29,10195,78,132,170,173,134],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f4e471afd9024c518a44d2335c9ae3.jpg","84x52",[138,185],{"id":10200,"slug":10201,"title":10202,"dynasty":72,"author":10203,"museum":74,"description":10204,"tags":10205,"thumbUrl":10207,"material":1320,"size":10208,"collection":84,"collections":10209,"showCount":10115,"zanCount":656,"manualWeight":43,"mainColor":44},222085,"hua-zi-mu-ji-tu-zhou-zhu-zhan-ji-222085","画子母鸡图轴","朱瞻基","此画无背景，仅在一公、一母、七雏的鸡群附近俩有一些杂草，遍布地面，虽较稀疏，但远看似一层薄薄的绿色地毯，以象征出整片的草地，对整个画面起到陪衬作用。画幅下部和偏右画有一公鸡、一母鸡。右侧的公鸡低首啄食，口内衔虫，近靠二雏，二双爪有力地抓在地上，长尾飞翘舒展开来，双翅紧合，头部有较大的肉冠及肉瓣，脚健壮，跗臁及趾皆被鳞板，趾网、后趾高而短小，尾部发达。左侧为一母鸡蹲在地上，作待哺的神态，双爪有力地抓地上，嘴短、鼻孔被鳞状瓣，头部肉冠和肉瓣比公鸡小，尾巴上二翘舒展开来。七只小鸡偎近母鸡，其中一只雏鸡，全身旱绒绒的一小团，走起来呈摇摇摆摆之状，似具有初出壳的娇弱之态，皆生动传神，充分体现明宣宗有着写实的功力。\n此画以工笔勾勒白鸡，且勾线十分明显，偏向于工整之笔，染色也较平面化。画法上以工笔勾勒，别开生面，焦墨点睛，炯炯有神，羽毛捕法精细，双爪勾勒，笔扎实有力。鸡的形象画得真实生动，质感强烈，表现了一瞬间各鸡的动作神态。",[23,25,26,7,27,28,113,1228,10206,79],"小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c553fe940de32eacb1d4b982556980.jpg","79.7x57.2cm",[84,158],{"id":10211,"slug":10212,"title":10213,"dynasty":283,"author":1683,"museum":1684,"description":10214,"tags":10215,"thumbUrl":10216,"material":100,"size":100,"collection":100,"collections":10217,"showCount":10115,"zanCount":43,"manualWeight":43,"mainColor":88},220565,"li-ma-xu-bei-hong-220565","立马","以浓淡变幻的墨色勾勒晕染，将骏马劲健的肌肉线条与昂扬姿态尽铺纸上。昂首嘶鸣的骏马鬃尾肆意飞扬，筋骨勃发，满是雄悍剽悍的野性力量。浅笔淡墨铺就秋野荒草，愈发衬出骏马的卓然不群。左侧题字与画面浑然相融，晕开文人写意的雅致意趣。画作揉合中西技法，以写意笔墨定格骏马喷薄的生命力，将骐骥傲骨诉诸笔端，既是对骏马风采的极致描摹，更寄寓着奔腾不息的精神气魄，寥寥笔墨间尽显神骏意气。",[23,25,26,77,7,196,1275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380920094f10abaf30aff10c3f89ebed.jpg",[],{"id":10219,"slug":10220,"title":10221,"dynasty":72,"author":1496,"museum":236,"description":10222,"tags":10223,"thumbUrl":10224,"material":136,"size":10225,"collection":84,"collections":10226,"showCount":10115,"zanCount":11,"manualWeight":43,"mainColor":88},219286,"ying-que-tu-lv-ji-219286","鹰鹊图","图绘一只苍鹰独立岩顶，两只飞舞的蜜蜂吸引了它的目光，一旁的喜鹊趁机振翅欲逃。作者用笔粗阔，富有简率纵逸的笔墨意趣。吕纪的花鸟画不仅追求形似，更善于表现禽鸟之间的关系，捕捉住禽鸟瞬间的神态和动势，营造出千钧一发的紧迫感和爆发力，突破了传统花鸟画唯美的装饰意味，从而获得了新的艺术生命力。",[23,25,26,7,28,77,27,113,1488,4978,132,1373,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b4c020881f2a1e771cfb4cf7f1d62f.jpg","纵120.7厘米，横61.5厘米",[84,158],{"id":10228,"slug":10229,"title":10230,"dynasty":207,"author":10231,"museum":10232,"description":10233,"tags":10234,"thumbUrl":10235,"material":37,"size":100,"collection":84,"collections":10236,"showCount":10115,"zanCount":11,"manualWeight":43,"mainColor":44},219070,"dan-feng-shuang-niao-tu-zheng-xi-219070","丹枫双鸟图","郑禧","印度安纳波利斯艺术博物馆","一棵彩绘枫树，主干粗壮，细枝上零星的枫叶褪去了红色，两只鸟儿栖息在最高的树枝上，蓬松的羽毛，细长的尾羽，白色的腹部和棕色的亮点，深蓝色的背部，为深秋增添色彩。",[23,25,26,1592,27,28,4108,7,2366,3631,151,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65f0262c254e21ca62b76dea8b204ed4.jpg",[84],{"id":10238,"slug":10239,"title":10240,"dynasty":18,"author":7755,"museum":319,"description":10241,"tags":10242,"thumbUrl":10243,"material":37,"size":10244,"collection":84,"collections":10245,"showCount":10115,"zanCount":11,"manualWeight":43,"mainColor":88},218958,"gao-shan-meng-hu-tu-gao-qi-pei-218958","高山猛虎图","画面中山势巍峨，层峦叠嶂间寒云缭绕，尽显沉雄气象。猛虎悄然立于崖头，身形矫健，皮毛纹理以简劲笔触勾勒，凛凛威风藏于内敛姿态中。山石以焦墨皴擦，线条如铁线刚硬，留白处隐现雪意，添几分清寂冷峻。远处天际一抹残阳，为沉郁山景晕开暖意，却更衬虎之孤绝霸气。笔墨苍劲洒脱，山水雄浑与猛兽野性相融，静谧中藏磅礴之力，观之似闻山风猎猎、虎啸穿林，原始生机与威严扑面而来。",[25,7,77,129,5713,241,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa45ada0cc9259f74c5941a8a767a7c3b.jpg","166x38cm",[84],{"id":10247,"slug":10248,"title":10249,"dynasty":207,"author":50,"museum":209,"description":10250,"tags":10251,"thumbUrl":10252,"material":37,"size":100,"collection":39,"collections":10253,"showCount":10115,"zanCount":43,"manualWeight":43,"mainColor":44},218469,"zhu-cha-ban-tuo-jia-zun-zhe-xiang-yi-ming-218469","注茶半讬迦尊者像","画面中尊者面容沉静慈悲，耳垂丰厚，胡须轻覆唇角，尽显庄严与亲和。蓝色袈裟厚重垂坠，红色内衬点缀其间，白色布巾在腕间流转，质感细腻灵动。右手托举的器物造型古朴，纹理刻画入微，似藏禅意。衣纹线条勾勒精准传神，既有工笔的细腻，又不失写意的洒脱。色彩晕染层次丰富，蓝红对白交织出沉稳而鲜活的视觉效果，背景的素净更衬出主体的庄重。整幅作品将尊者的禅定之态与器物的精巧相融，尽显元代宗教绘画的精湛技艺与精神内涵。",[25,26,7,54,27,28,29,33,62,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3569652e8e110d2bd91593319be8bb9.jpg",[39],{"id":10255,"slug":10256,"title":10257,"dynasty":72,"author":50,"museum":51,"description":10258,"tags":10259,"thumbUrl":10264,"material":37,"size":2440,"collection":100,"collections":10265,"showCount":10115,"zanCount":11,"manualWeight":43,"mainColor":44},218277,"ba-xian-tu-dui-fu-zhi-you-yi-ming-218277","八仙图对幅之右","这幅画描绘了铁拐李、汉钟离、曹国舅和蓝采和，铁拐李的宝葫芦露出了他的替身。",[24,25,26,7,2749,27,28,29,10260,777,10261,10262,10263],"八仙","花篮","云纹","传统服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9be561a77dd0809ce682eb36fbac64b.jpg",[],{"id":10267,"slug":10268,"title":10269,"dynasty":18,"author":1971,"museum":209,"description":10270,"tags":10271,"thumbUrl":10272,"material":37,"size":100,"collection":138,"collections":10273,"showCount":10115,"zanCount":11,"manualWeight":43,"mainColor":88},218266,"guan-shan-qiu-ji-tu-zhou-wang-jian-218266","关山秋霁图轴","布局紧凑，丘壑较琐碎，皴笔尖峭，转折方峻。但笔力不够浑厚，时有抖擞之笔，墨色也偏于枯索，画面气势不及盛年时雄伟华滋。",[25,26,7,28,130,80,79,129,252,56,170,351,172,1717,4987,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b6b7652eda8f2b82c3adc186ddd27f.jpg",[138],{"id":10275,"slug":10276,"title":10277,"dynasty":207,"author":10278,"museum":10279,"description":10280,"tags":10281,"thumbUrl":10282,"material":82,"size":10283,"collection":138,"collections":10284,"showCount":10115,"zanCount":419,"manualWeight":43,"mainColor":88},217990,"lin-ting-yuan-xiu-tu-tao-xuan-217990","林亭远岫图","陶铉","香港中文大学文物馆","“林亭远岫图”是陶铉的代表作之一，是一幅山水画。这幅画以其精美的线条、细腻的笔触和丰富的层次感而闻名。画中，陶铉用浓密的线条勾勒出了山峰、悬崖、峡谷和溪流等山水景观。通过对色彩的运用，他将画面分成了几个不同的层次，使得画面看起来格外丰富。\n\n陶铉的“林亭远岫图”是元朝山水画的杰作，具有极高的艺术价值。它不仅是陶铉本人的代表作，也是元朝画坛的瑰宝。至今，“林亭远岫图”仍是中国绘画史上最著名的山水画之一，并被许多人所熟知和欣赏。",[25,26,77,7,129,130,377,522,253,31,132,193,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9601a60ed15025f72dd5d7116adea.jpg","58x31.7cm",[138,185],{"id":10286,"slug":10287,"title":10288,"dynasty":72,"author":10203,"museum":74,"description":10289,"tags":10290,"thumbUrl":10292,"material":37,"size":10293,"collection":84,"collections":10294,"showCount":10115,"zanCount":43,"manualWeight":43,"mainColor":44},216217,"san-yang-tu-zhu-zhan-ji-216217","三羊图","三羊图是明朝朱瞻基所作的一幅画。这幅画描绘了三只羊在草地上吃草，背景是一片美丽的山景。三羊图被认为是朱瞻基最优秀的作品之一，其细腻的笔巧和生动的写实手法得到了广泛的赞誉。这幅画象征着平静和安宁，也被认为是对中国传统和谐社会的赞颂。",[24,25,26,7,28,27,29,3057,253,351,10291,241,2749],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c63505c5c8038bbaf86c97b7a1cf2b.jpg","105.3x58.3cm",[84],{"id":10296,"slug":10297,"title":10298,"dynasty":72,"author":752,"museum":74,"description":2862,"tags":10299,"thumbUrl":10300,"material":37,"size":10301,"collection":39,"collections":10302,"showCount":10303,"zanCount":11,"manualWeight":43,"mainColor":88},290358,"fu-qin-tu-zhou-chen-hong-shou-290358","抚琴图轴",[25,7,28,27,29,30,777,2389,79,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7228c7b03a44f4c904a47c8ffa7994b6.jpg","107.7x52.3",[39],71,{"id":10305,"slug":10306,"title":10307,"dynasty":72,"author":908,"museum":331,"description":10308,"tags":10309,"thumbUrl":10311,"material":198,"size":780,"collection":100,"collections":10312,"showCount":10303,"zanCount":43,"manualWeight":43,"mainColor":88},290352,"mo-li-zhou-chen-chun-290352","茉莉轴","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[25,26,7,113,77,80,97,79,10310],"茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793322c6fed1aee4c40b46255e95c968.jpg",[],{"id":10314,"slug":10315,"title":3915,"dynasty":18,"author":2320,"museum":331,"description":10316,"tags":10317,"thumbUrl":10318,"material":198,"size":780,"collection":100,"collections":10319,"showCount":10303,"zanCount":43,"manualWeight":43,"mainColor":44},288499,"mei-hua-tu-li-zhou-wang-shi-shen-288499","汪士慎（1686—1759）清代著名画家，书法家。字近人，号巢林、溪东外史等，汉族，安徽休宁人，寓居扬州。\n工分隶，善画梅，神腴气清，墨淡趣足。暮年一目失明，仍能为人作书画，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。有《巢林集》。与罗聘、李方膺、李鱓、金农、黄慎、高翔和郑燮并称”扬州八怪“。",[23,25,26,24,7,77,113,392,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce92462c168f27ae0eaae5b49de4644d.jpg",[],{"id":10321,"slug":10322,"title":10323,"dynasty":18,"author":1036,"museum":236,"description":10324,"tags":10325,"thumbUrl":10332,"material":1218,"size":10333,"collection":100,"collections":10334,"showCount":10303,"zanCount":43,"manualWeight":43,"mainColor":88},234912,"qian-long-huang-di-she-lie-tu-zhou-lang-shi-ning-234912","乾隆皇帝射猎图轴","《乾隆皇帝射猎图》是清代 等人创作的绢本设色画，现收藏于 。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\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。",[25,26,24,7,472,27,28,10326,10327,29,196,4174,10328,170,5110,1717,10329,10330,10331],"中西合璧技法","写实风格","射猎场景","自然景物","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","25.7×33厘米",[],{"id":10336,"slug":10337,"title":10338,"dynasty":18,"author":4610,"museum":319,"description":10339,"tags":10340,"thumbUrl":10341,"material":214,"size":10342,"collection":100,"collections":10343,"showCount":10303,"zanCount":43,"manualWeight":43,"mainColor":88},233738,"he-ju-tu-xu-gu-233738","鹤菊图","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。",[25,26,7,77,28,113,304,225,440,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd2764d2a4771380b4af360eaf65809.jpg","143x39cm",[],{"id":10345,"slug":10346,"title":10347,"dynasty":49,"author":50,"museum":331,"description":10348,"tags":10349,"thumbUrl":10351,"material":198,"size":780,"collection":100,"collections":10352,"showCount":10303,"zanCount":43,"manualWeight":43,"mainColor":342},231613,"fu-hua-qian-shou-guan-yin-xiang-li-zhou-yi-ming-231613","佛画 千手观音像立轴","暗沉底色晕开静谧肃穆的氛围，主尊合掌垂眸，慈悲肃穆尽显。千臂层叠排布，或持法器、或结法印，错落有序却不显冗杂，衣纹褶皱古朴厚重，残存的贴金痕迹晕开旧时华贵光彩。\n\n左右胁侍恭谨分立，一人捧供盘奉呈信物，一人持经卷垂首凝神，衣饰绮丽繁复，与主尊浑朴庄严形成呼应。整体设色沉敛内敛，线条遒劲凝练，将仪轨整饬与神性慈悲相融，虽历经岁月色泽黯淡，依旧传递出厚重沉静的宗教感染力，尽显古佛画典雅庄重的美学意韵。",[23,25,26,7,54,28,27,29,4533,10350],"千手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8917d247ca8224fc3f2301f7f6315fe.jpg",[],{"id":10354,"slug":10355,"title":10356,"dynasty":18,"author":10357,"museum":265,"description":10358,"tags":10359,"thumbUrl":10364,"material":182,"size":10365,"collection":39,"collections":10366,"showCount":10303,"zanCount":11,"manualWeight":43,"mainColor":44},222872,"chun-ge-juan-du-zhou-leng-mei-222872","春阁倦读轴","冷枚","图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。图中人物比例匀称，衣纹线条圆润流畅，可以看出画家的深厚功底。而背景的描绘也显得独具匠心，无论悬于墙上的画幅、笛子，还是膝下的小犬都不是可有可无之物，图中人物的生活情趣和身份均由此得到印证。此作如此精妙地刻画出人物的精神层面，无疑堪称人物画佳作。",[23,472,24,25,26,7,27,28,29,30,10360,114,10361,10362,61,10363,602],"狗","桌","凳","书卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866bd4a4449c988942f5f5abcf3da75a.jpg","170x100cm",[39],{"id":10368,"slug":10369,"title":1381,"dynasty":72,"author":50,"museum":74,"description":10370,"tags":10371,"thumbUrl":10372,"material":77,"size":100,"collection":185,"collections":10373,"showCount":10303,"zanCount":43,"manualWeight":43,"mainColor":44},219345,"shan-shui-zhou-yi-ming-219345","峰峦叠嶂间云雾氤氲，墨色皴擦出山石肌理，浓淡相宜间尽显丘壑之姿。松枝苍劲，竹影婆娑，掩映着几椽屋舍，屋前似有人凭栏凝思，桥边或有客缓步寻幽。流水潺潺绕石矶，与远山朦胧相映成趣。画作以简练线条勾勒景致，留白处见空灵，墨韵间藏生机，将山水静谧与文人雅趣融于一体，仿佛能闻林间清风，听案上琴音，尽显东方美学的含蓄悠远。",[25,26,7,77,130,129,252,427,733,134,170,173,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07f8a98cf77e3944329d1fc96a3eb6.jpg",[185],{"id":10375,"slug":10376,"title":10377,"dynasty":207,"author":459,"museum":209,"description":10378,"tags":10379,"thumbUrl":10380,"material":82,"size":10381,"collection":84,"collections":10382,"showCount":10303,"zanCount":43,"manualWeight":43,"mainColor":44},219282,"fu-rong-yuan-yang-tu-zhou-zhang-zhong-219282","芙蓉鸳鸯图轴","此图描绘了一幅秋高气爽时节的生动景象，水边的木芙蓉枝叶舒展，枝头花朵绽放；两只鸳鸯在水中嬉戏，其中雌鸳鸯昂首鸣叫，雄鸳鸯垂首清波。此图笔墨简洁古朴，山石不修饰以苔点，以水墨点触晕染，生动写实而清雅隽永，富于韵味。",[23,25,26,7,77,27,113,675,799,56,1275,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eac47218af15810079b2edc1cc7f16f.jpg","纵147 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， 画法疏简 ，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[24,25,26,7,77,521,31,35,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d55eecf41bf1bce479bcfa86bdf890.jpg",[],{"id":10421,"slug":10422,"title":10423,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":10424,"thumbUrl":10425,"material":198,"size":780,"collection":100,"collections":10426,"showCount":10411,"zanCount":419,"manualWeight":43,"mainColor":1966},288286,"zi-shou-tu-wu-chang-shuo-288286","紫绶图",[23,25,7,28,77,113,1696,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817e309dc8834874824452e90adb0bb1.jpg",[],{"id":10428,"slug":10429,"title":10430,"dynasty":18,"author":318,"museum":331,"description":1136,"tags":10431,"thumbUrl":10432,"material":198,"size":780,"collection":100,"collections":10433,"showCount":10411,"zanCount":43,"manualWeight":43,"mainColor":88},287696,"bai-lu-xiao-niao-tu-li-zhou-zhu-da-287696","白鹭小鸟图立轴",[25,24,26,7,77,113,151,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fbd45d978190e5929c928f8a6bc919.jpg",[],{"id":10435,"slug":10436,"title":10437,"dynasty":18,"author":921,"museum":236,"description":10438,"tags":10439,"thumbUrl":10440,"material":1573,"size":10441,"collection":100,"collections":10442,"showCount":10411,"zanCount":419,"manualWeight":43,"mainColor":88},233733,"yu-lan-tu-zhou-wu-chang-shuo-233733","玉兰图轴","图绘玉兰花依石而开的景致。白描的玉兰与墨染的山石形成强烈的黑白对比，相互依托，虚实相生。兰、石以金石篆籀的笔法入画，浑厚老辣的笔墨融入简率疏野的写意花鸟画格之中，营造出“豪放而馨香”的绮丽效果，与图中苍劲有力的书法相映生辉。此幅当属诗书画有机结合的佳作。",[25,26,7,77,304,113,116,35,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5741ce1b277c358cd2642fad04d5f795.jpg","纵174.8厘米，横47.5厘米",[],{"id":10444,"slug":10445,"title":10446,"dynasty":72,"author":752,"museum":319,"description":10447,"tags":10448,"thumbUrl":10449,"material":214,"size":10450,"collection":100,"collections":10451,"showCount":10411,"zanCount":419,"manualWeight":43,"mainColor":44},231484,"li-hua-tu-chen-hong-shou-231484","梨花图","陈洪绶号曰老莲，章侯其字也，先祖原居河南许昌，南宋时随高宗南迁，定居于浙江诸暨枫桥镇。陈洪绶在少年时代即显示出在绘画艺术的天授之才，著名画家蓝瑛、孙杕看到陈洪绶十岁时的画作，惊叹道：“使斯人画成，道子、子昂均当北面，我辈尚敢措笔乎！”又曰：“此天授也”。此后陈随蓝、孙两师学习，继而研习、临摹古代大师传世之作，师法唐人，兼学宋元诸名家，人物、山水、花鸟无所不学，他的艺术天分加上勤学苦练使他很早就在画坛声名大振。 陈洪绶生活在晚明时期，朝廷极度腐败，文化方面却呈现出多变而丰富的面貌，陈洪绶是彼时最具强烈个性的艺术巨匠，在绘画的各个题材中均有独特的创造性，并影响中国绘画数百年，流风至今不衰。\n陈洪绶的这件《梨花图》绘于绢本，纵76公分，横26公分，题款：老莲洪绶画。虽未署年款，据陈洪绶传世的其它创作于深柳读书堂的作品及《梨花图》的风格推断，这件作品应创作于十七世纪三十年代中期，那时陈洪绶年龄近四十，绘画技巧已然十分纯熟。画面高低变化，巧妙地丰富了画面的视觉效果。陈洪绶的花鸟画作品，体现了他的精神品位，在构图和造型上都打破了传统样式的束缚，有古拙之趣，造型新颖、拙朴率真，这是在继承传统的基础上显现出的强烈个人风格风貌。其花鸟画表现手法，受宋代院体画风的影响，造型严谨，工笔双钩，设色艳丽，由此汲取艺术精华并发展而来。又受明末大写意花鸟画的影响，用笔洒脱灵动，兼工带写，水墨交融。这件《梨花图》既是画家长期写生锤炼的结晶，也是宋代花鸟画的神韵所在。因陈洪绶花鸟绘画具有高度的装饰性，所以类似《梅花图》这样的题材在当时必定广受欢迎。",[23,25,26,7,27,28,113,6638,1594,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed725b25d09198789d5bf2f2832ed81.jpg","76×26 cm",[],{"id":10453,"slug":10454,"title":10455,"dynasty":72,"author":908,"museum":331,"description":10456,"tags":10457,"thumbUrl":10458,"material":100,"size":100,"collection":100,"collections":10459,"showCount":10411,"zanCount":11,"manualWeight":43,"mainColor":88},231011,"qiu-tang-hua-ya-tu-chen-chun-231011","秋塘花鸭图","此作用淡墨轻铺底色，墨色晕染出花鸭绒羽蓬松柔润，青灰头羽、赭黄喙部鲜亮醒目，鸭身浮沉秋水，憨态悠然，尽显野趣生机。残荷枯黄老叶以赭石、花青晕染，莲蓬挺秀，败菊缀于右上角，淡彩点染出秋意阑珊。汀草、蓼花细笔勾勒，干湿浓淡的墨色交织，衬出水波澹澹。\n\n画作兼工带写，水墨为主略施淡彩，笔意纵逸又不失秀雅，将深秋塘间清寂又鲜活的意趣尽数铺展，笔情墨趣间尽显文人写意的雅致随性，揉合秋日池溏的萧疏与生机，淡远空灵的意境扑面而来。",[24,25,26,7,304,77,28,113,32,866,309,308,4987,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13db65695720260f6c24cc85f7896486.jpg",[],{"id":10461,"slug":10462,"title":4818,"dynasty":109,"author":1112,"museum":20,"description":10463,"tags":10464,"thumbUrl":10465,"material":100,"size":100,"collection":100,"collections":10466,"showCount":10411,"zanCount":43,"manualWeight":43,"mainColor":44},227598,"xi-shan-lan-re-tu-ju-ran-227598","《宋巨然溪山兰若图》为宋代画家巨然创作的一幅绢本墨笔画，现于美国克利夫兰博物馆藏。\n\n此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。\n\n巨然，五代宋初画家。江宁（今江苏南京）人。南唐亡，至开封（今属河南省），为开元寺僧。多以长披麻皴画山水，山顶多作矾头（石块），与董源并称“董巨”，为南方山水画派之祖。",[23,25,77,129,7,130,252,56,253,270,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284d1d8ee4ace39214acee2790ee85be.jpg",[],{"id":10468,"slug":10469,"title":10470,"dynasty":18,"author":921,"museum":331,"description":10471,"tags":10472,"thumbUrl":10474,"material":100,"size":100,"collection":100,"collections":10475,"showCount":10411,"zanCount":43,"manualWeight":43,"mainColor":88},224216,"tian-zhu-shui-xian-zhou-wu-chang-shuo-224216","天竹水仙轴","《艺海集珍》是26年月1日文物出版社出版的图书，作者是刘麒子。\n本集所收中国近现代 作品一百六十余件，均来自私家收藏。\n值得强调的是，这些藏品的拥有者本人既是具备一定实力的书画篆刻家，又是活跃在 界的业余鉴赏家。\n本集收录了国内私家收藏的中国近现代著名书画家作品计一百六十余件，包括任伯年、蒲华、吴昌硕、黄宾虹、张大千、马一浮、吴湖帆、弘一、吴茀之、沙孟海、周昌谷、潘天寿、沈尹默、傅抱石、齐白石、江寒汀、程十发、黄胄、陆俨少、陆维钊、启功、朱屺瞻、陈佩秋、唐云等。\n竹石公鸡图轴 钟魁啖鬼图轴 人物故事图四屏 溪堂烟壑图轴 林泉野屋图轴 牡丹湖石图轴 博古菊花图轴 松庐山居图轴 岁朝清供图轴 黄菊寿石图轴 墨竹图轴 博古红梅图轴 行书文稿手卷 天竹水仙图轴 竹石图轴",[23,25,7,28,304,113,10473,924,57,79],"天竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe34ea47443956a65404d4783bc4513f9.jpg",[],{"id":10477,"slug":10478,"title":10479,"dynasty":93,"author":50,"museum":3928,"description":10480,"tags":10481,"thumbUrl":10482,"material":486,"size":10483,"collection":100,"collections":10484,"showCount":10411,"zanCount":356,"manualWeight":43,"mainColor":342},223578,"xuan-zang-san-zang-xiang-li-zhou-yi-ming-223578","玄奘三藏像立轴","绘玄奘大师赤足芒履，体态壮硕，略有疲惫，身负满载佛经的行笈，右手拿着拂尘，前悬灯盏，日夜兼程、西去取经。",[23,25,26,7,54,29,28,27,602,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F543bc49dad0fa1d57d1f2a920b223347.jpg","135.1×59.9cm",[],{"id":10486,"slug":10487,"title":10488,"dynasty":18,"author":1036,"museum":331,"description":3878,"tags":10489,"thumbUrl":10490,"material":486,"size":100,"collection":84,"collections":10491,"showCount":10411,"zanCount":11,"manualWeight":43,"mainColor":44},222776,"hua-bai-ying-zhou-lang-shi-ning-222776","画白鹰轴",[23,25,24,7,28,27,151,241,427,131,169,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8821bbc34360056591a52a75a4e58a03.jpg",[84,158],{"id":10493,"slug":10494,"title":10495,"dynasty":72,"author":1614,"museum":74,"description":10496,"tags":10497,"thumbUrl":10498,"material":255,"size":100,"collection":138,"collections":10499,"showCount":10411,"zanCount":43,"manualWeight":43,"mainColor":88},221968,"fang-li-cheng-xi-shan-shen-xue-zhou-wen-zheng-ming-221968","仿李成溪山深雪轴","绘山石耸立，悬崖绝壁，白雪霭霭，山涧中一股瀑布倾泻而下，在山脚下汇入河流，河岸边树木修长，树叶凋零，一桥横跨两岸。题识：正德十年乙亥仿李营丘溪山深雪图 徵明。",[23,25,26,7,77,130,945,129,3880,132,170,169,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12e302f69f4a2f9424953933b64b61c.jpg",[138,158],{"id":10501,"slug":10502,"title":10503,"dynasty":72,"author":752,"museum":236,"description":10504,"tags":10505,"thumbUrl":10506,"material":745,"size":10507,"collection":84,"collections":10508,"showCount":10411,"zanCount":43,"manualWeight":43,"mainColor":88},221894,"mei-shi-tu-zhou-chen-hong-shou-221894","梅石图轴","本幅署款“老蓮洪綬畫于柳莊”。钤“蓮白衣”。\n是图以古拙奇特的造型绘拳石耸立，旁伴一株被截去诸多枝干的老梅树，树上几朵梅花绽蕾展瓣。构图简约洗练，并注重物象间的相互衬托与对比。画石用线勾出圆润的外形，再以淡墨渲染。画梅则用浓、枯墨笔勾勒，线条古拙方硬，具金石韵味，体现了老梅饱经沧桑的古木气息。\n清内府《石渠宝笈》著录。",[23,25,26,7,77,392,35,131,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccbca84501d57cd1d024bcd73a8d609.jpg","纵115.2厘米，横56厘米",[84,185],{"id":10510,"slug":10511,"title":10512,"dynasty":93,"author":10513,"museum":331,"description":10514,"tags":10515,"thumbUrl":10516,"material":10517,"size":10518,"collection":157,"collections":10519,"showCount":10411,"zanCount":11,"manualWeight":43,"mainColor":44},221599,"luo-han-xi-yi-gua-zhou-lin-ting-gui-221599","罗汉洗衣挂轴","林庭珪","整作以苍劲古松与幽寂崖谷铺陈出世外氛围，将罗汉洗衣的日常绘得意趣盎然。下方罗汉或俯身浣洗布帛、或用力拧绞衣物，动态憨朴自然，衣袂褶皱随动作舒展，质感写实入微。上方二僧持物旁观，神态松弛闲适，崖边悬垂的僧衣晕染出柔和的色彩层次，暗合僧家清简日常。\n\n笔墨兼具工致与写意，山石松木以浓墨勾勒皴擦，尽显苍浑老辣，罗汉面容细节刻画精细，褪去神像的肃穆高远，还原僧众山间悠游的烟火日常，在禅意与世俗意趣间寻得精妙平衡，尽显宋代人物写生的细腻共情与雅致格调。",[23,24,25,26,7,54,27,28,29,351,427,193,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc5e0c2176d701ed80a3ec70560fa41.jpg","立轴绢本","112.3x53",[157,39,158],{"id":10521,"slug":10522,"title":10523,"dynasty":993,"author":994,"museum":74,"description":996,"tags":10524,"thumbUrl":10525,"material":10526,"size":10527,"collection":39,"collections":10528,"showCount":10411,"zanCount":43,"manualWeight":43,"mainColor":44},221135,"jiang-fan-lou-ge-zhou-li-si-xun-221135","江帆楼阁轴",[25,24,26,7,268,28,27,129,269,349,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e663d48c7ef6294ae9f191dc300630.jpg","画布","纵101.9厘米，横54.7厘米",[39,158],{"id":10530,"slug":10531,"title":10532,"dynasty":207,"author":208,"museum":74,"description":10533,"tags":10534,"thumbUrl":10535,"material":10536,"size":10537,"collection":138,"collections":10538,"showCount":10411,"zanCount":43,"manualWeight":43,"mainColor":88},220811,"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[23,25,26,7,77,130,129,377,170,132,193,733,169,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 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。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 苍秀简逸。",[25,26,7,77,364,10553,130,521,132,522,79],"平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486a1ae065d01421150a94b252022a7e.jpg","75.4x43公分",[185],{"id":10558,"slug":10559,"title":10560,"dynasty":72,"author":9285,"museum":74,"description":10561,"tags":10562,"thumbUrl":10564,"material":37,"size":10565,"collection":39,"collections":10566,"showCount":10411,"zanCount":11,"manualWeight":43,"mainColor":44},218528,"shan-ting-na-liang-tu-zhou-chen-218528","山亭纳凉图","图中显示，一块奇怪的石头直立着，被几株香蕉植物保护着。亭子里，一个有学问的人左手坐着，右手拿着一把羽扇，旁边放着一个卷轴、一本小册子和一个特瓦。他坐在地上，享受着寒冷的感觉。在亭子外面，孩子们伸出手臂为花瓶采摘棉花糖花，营造出一种轻松平静的气氛。签名：周晨。",[23,25,26,7,28,27,29,377,132,239,134,1675,58,270,10563],"纳凉场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79d2558d621c11890f2a8f08fc3817e.jpg","95.9x58.9",[39],{"id":10568,"slug":10569,"title":10570,"dynasty":207,"author":50,"museum":51,"description":10571,"tags":10572,"thumbUrl":10573,"material":37,"size":10574,"collection":39,"collections":10575,"showCount":10411,"zanCount":11,"manualWeight":43,"mainColor":342},218310,"luo-han-tu-yi-ming-218310","罗汉图","丰腴袒胸的罗汉立于绢素之上，光头浓髯，眉目间透着沉静的威严。朱红披帛斜搭肩头，随体态垂落自然褶皱；橙黄下裳宽松覆足，赤脚踝间系着细饰，添了几分随性。右手托莲碗，碗中清莲绽放，花瓣层叠，似携着佛国的净气。\n\n线条劲挺却不失柔润，勾勒出肌肤的丰腴与衣物的质感；设色古朴雅致，朱红与橙黄的暖调衬着绢本的古旧底色，更显沉静。整幅画将罗汉的庄重与生活化细节相融，既见佛法的肃穆，又含人间温情——似在无声传递禅意的悠远，让观者于古雅笔墨中，触到佛性与人性交织的温度。\n\n笔墨间藏着元代人物画的凝练，每一处褶皱、每片莲瓣都透着匠人的用心，把罗汉的神性与烟火气揉得恰到好处，似一幅流动的禅语，静静诉说着时光里的禅意绵长。",[25,26,7,28,29,54,32,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e1ecce8051f6de779a1b198f6fa590.jpg","112.4x49.1",[39],{"id":10577,"slug":10578,"title":10579,"dynasty":207,"author":1981,"museum":74,"description":10580,"tags":10581,"thumbUrl":10582,"material":37,"size":10583,"collection":39,"collections":10584,"showCount":10411,"zanCount":11,"manualWeight":43,"mainColor":342},216961,"yuan-an-wo-xue-tu-sheng-mao-216961","袁安卧雪图","袁安在东汉时期来自汝南，被称为邵公。他是河南省的一名官员，是一个善良而有爱心的官员。画中的人身穿大红衣服，骑着马，是洛阳的一名法官。当他在一场大雪中赶到袁安家时，看到他门前的雪还没有被清理干净。邻居们以为袁某死了，于是他们敲门进去了。他问他为什么不出去，回答说不适合打扰别人，因为大家在雪下都很饿。洛阳县令认为他是个有德行的人，就推荐他作为亲属候选人来做这个职位。本画题名为 盛懋，但画风已被明人从其风格中改编。",[25,26,24,7,129,29,3880,170,132,130,77,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae3ebe4b34f0a5a378b181b1a4225e6f.jpg","149x83.8",[39],{"id":10586,"slug":10587,"title":10588,"dynasty":207,"author":4104,"museum":74,"description":10589,"tags":10590,"thumbUrl":10593,"material":37,"size":10594,"collection":84,"collections":10595,"showCount":10411,"zanCount":43,"manualWeight":43,"mainColor":44},216949,"han-jiang-lu-yan-zhou-wang-yuan-216949","寒江芦雁轴","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[25,7,27,28,113,4108,1742,10591,10592,57],"大雁","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde012ecdad844b3e749ba9f388e9437d.jpg","149.7x62.7公分、全幅 90公分",[84],{"id":10597,"slug":10598,"title":10599,"dynasty":18,"author":10600,"museum":74,"description":10601,"tags":10602,"thumbUrl":10603,"material":82,"size":10604,"collection":101,"collections":10605,"showCount":10411,"zanCount":43,"manualWeight":43,"mainColor":342},214717,"xing-shu-ba-yan-lian-zuo-zong-tang-214717","行书八言联","左宗棠","联语“和气春风惠流九有，青天朗日乐及群生”暖意萦怀，气象开阔。笔力遒劲如铁戟横陈，藏锋处见沉厚；行笔灵动若流云渡水，牵丝间显逸致。字势开张却不失端稳，章法疏朗而气脉贯通，墨色浓淡交错，老辣中藏温润。联句的仁惠之思与书法的刚健风神相契，庙堂庄重与江湖洒脱兼具，笔墨间流淌出立朝济世的坦荡胸襟，经世致用的沉雄气度扑面而来，读之顿觉胸次开阔，心向往之。",[80,97,3362,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17de373e0744f2a688dbc29fa3de6348.jpg","215.4x44.9",[101],{"id":10607,"slug":10608,"title":5542,"dynasty":18,"author":10609,"museum":74,"description":10610,"tags":10611,"thumbUrl":10612,"material":82,"size":10613,"collection":101,"collections":10614,"showCount":10411,"zanCount":11,"manualWeight":43,"mainColor":88},214233,"xing-shu-qi-yan-lian-ceng-guo-fan-214233","曾国藩","笺纸泛黄，墨色沉雄。行书笔意流畅却不失骨力，起笔如高山坠石，行笔似老树盘根，收笔若惊鸿掠影。联语祥瑞，灵芝美箭遍地生，绛阙云台留美名，字句间的吉庆与笔墨的刚健相得益彰。每一字结构端稳又带灵动，中锋行笔的厚重质感，仿佛承载着岁月的沉淀。书写者的从容气度跃然纸上，将相的沉雄与文人的雅致交融，书艺与文心完美契合，尽显古典书法的隽永韵味，令人观之忘俗。",[23,26,80,97,3362,7,79,77,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b508d6f53b2db738d1795cddeab2c3.jpg","174x38.1",[101],{"id":10616,"slug":10617,"title":6185,"dynasty":207,"author":10618,"museum":74,"description":10619,"tags":10620,"thumbUrl":10621,"material":82,"size":10622,"collection":101,"collections":10623,"showCount":10411,"zanCount":11,"manualWeight":43,"mainColor":88},214221,"qi-yan-lv-shi-zhang-yu-214221","张雨","张雨师从赵孟𫖯，行楷处处可见赵氏书风的影响，但此卷却偏离了美学风格，有一种奇怪的野性。从头到尾，欧阳询的身影偶尔可见，但字的排列就像一个醉汉在移动，所用的墨汁有时厚重而枯涩，这可以看作是一个道士酒后心动的痕迹，或是追求浪漫的神来之笔。",[23,80,97,77,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f2d77af2252f23f19e281ffd2202f0.jpg","108.4x42.6",[101],{"id":10625,"slug":10626,"title":10627,"dynasty":93,"author":10628,"museum":331,"description":10629,"tags":10630,"thumbUrl":10631,"material":198,"size":780,"collection":100,"collections":10632,"showCount":10633,"zanCount":43,"manualWeight":43,"mainColor":44},288536,"mo-zhu-tu-hua-xin-su-shi-288536","墨竹图画心","苏轼","自苏轼而至元四家，墨竹之风大兴，竹常被文人高士用以表现清高拔俗的情趣，有正直的气节、虚心的品质和纯洁的思想感情，因此墨竹成了书、画、道的综合体，成了人格、人品的写照，寓意兴寄愈益丰厚。此作笔法谨严有致，具潇洒神态。",[24,25,26,77,31,80,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca2ecffd32f6d067c527578a9476c753.jpg",[],69,{"id":10635,"slug":10636,"title":10637,"dynasty":18,"author":921,"museum":331,"description":10638,"tags":10639,"thumbUrl":10641,"material":100,"size":100,"collection":100,"collections":10642,"showCount":10633,"zanCount":419,"manualWeight":43,"mainColor":88},239220,"yan-lai-hong-zhou-wu-chang-shuo-239220","雁来红轴","此作以大写意绘雁来红，以色代墨，淡赭晕染花穗，晕染间尽显经霜愈艳的柔媚鲜活，将雁来红的秋意风姿藏于笔底。墨笔绘叶，干湿浓淡交织，苍润兼具，寥寥数笔便写出枝叶舒展的蓬勃生机。\n\n题款行书错落劲健，金石气十足，诗画相映点明古稀秋艳的意趣，诗书画印浑然一体，尽显文人写意画雅致格调。笔墨老辣简劲，将雁来红的疏野清逸之美与秋日意绪相融，尽显典型的写意花鸟风貌。",[25,26,7,28,77,304,10640,113],"雁来红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969b019357e416b147cfffc582a0864a.jpg",[],{"id":10644,"slug":10645,"title":10646,"dynasty":72,"author":954,"museum":331,"description":10647,"tags":10648,"thumbUrl":10649,"material":100,"size":100,"collection":100,"collections":10650,"showCount":10633,"zanCount":11,"manualWeight":43,"mainColor":88},235648,"zhu-ji-tu-zhou-zhou-zhi-mian-235648","竹鸡图轴","通幅以淡墨铺陈，斜耸崖壁以浓淡墨色晕出嶙峋质感，苍劲朴拙。丛竹错落而立，竿瘦劲挺括，竹叶写意挥毫，聚散疏密得宜，干湿墨色互衬，尽显萧疏清逸之态。\n\n下方竹鸡兼工带写，翎毛细笔丝染，蓬松柔润，低伏回身的姿态将野禽的机灵敏锐刻画入微。朱红印章点缀水墨之间，让幽寂山野小景更添静雅意趣。全图以水墨层次变化，融写生写实与文人意趣于一体，尽显水墨写生的精妙意韵。",[25,24,26,7,77,304,113,78,1228,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e147db6898a70110d81a90adb71d06.jpg",[],{"id":10652,"slug":10653,"title":10654,"dynasty":207,"author":5572,"museum":74,"description":10655,"tags":10656,"thumbUrl":10658,"material":214,"size":10659,"collection":100,"collections":10660,"showCount":10633,"zanCount":11,"manualWeight":43,"mainColor":88},231403,"qiu-gua-tu-qian-xuan-231403","秋瓜图","该图中描绘了瓜熟之际，野草旁生，新花又开的田园一景。该图以工笔淡彩方法处理瓜、花、叶，而野草则勾线设色与没骨法兼用，怒意洒落，尤显野逸。此图精致典雅，与宋代小品画一脉相承，然而又透出一股书卷气，作者意在追求一种清润淡雅的画格。画家以朴素无华的笔调拟绘田园景物，在题诗中表达了一个知识分子对隐逸生活的态度和情怀。\n图中写甜瓜一柄，老叶几片，一丛杂草，蜿蜒的藤蔓上开着白花。\n画家在图中题诗一首：“金流石烁汗如雨，削入冰盘气似秋。写向小窗醒醉目，东陵闲说故秦侯。”\n中国花鸟画的题材包罗万象，各种动植物都隶属其中。其中对于蔬果的细致描绘，要属北宋赵昌较早。自此而后，蔬果遂成为画家们反复描绘的对象。宋元时，西瓜成为蔬果画的主题，其中部分作品流传下来，《秋瓜图》便是钱选在写生的基础上绘制而成的，它是一幅较早描绘蔬果类的作品，且其所描绘的就是西瓜。\n该图题诗中引用“东陵侯种瓜”的典故，秦朝的东陵侯召平，在秦亡后降为平民，因家贫，种瓜于长安城东以为业。由于他种的瓜味道特别甜，遂被称为东陵瓜。东陵侯召平，由王侯贵胄而跌落红尘，历经谋生的艰难，反因种瓜而留名后世。因此，“东陵侯”成为传统文化中隐士的象征，“东陵瓜”也成为传统象征隐士品德的重要文化符号。东陵种瓜，钱选售画，两者均经历世变的沧桑与跌落凡尘的劫难。画家透过题诗，个体生命与历史文化进行连接与对话，显示画中秋瓜图的作者实为隐士的真正身份。这样，钱选在历史文化的记忆中找到自我生命的安顿。钱选笔下的秋瓜，显然不是现实之物，而是承载历史文化记忆的传统之物，是根植于传统文化脉络之上的果实，是可以在炎热的夏季令人警醒的文化记忆。\n该图所摄取景物集中于画幅的下端，画瓜地中秋瓜一枚，秋瓜果呈长圆形，近椭圆，瓜皮乌黑发亮，瓜楞清晰可见，且黑白对比鲜明，非常醒目。瓜藤蔓延，藤花绰约，有野草数茎衬托其后，瓜叶宽大，其中有瓜叶一片着地半萎，已是瓜果成熟的秋季。硕大的秋瓜用墨绿渍染，呈现碧绿油亮的色彩，瓜楞施以白粉，瓜楞分明，瓜叶脉用细笔勾勒，用笔细致精到，设色淡雅，翠色斑烂。藤花先用细笔勾勒，施以白粉，白色的花朵和墨绿的瓜果和叶形成黑白鲜明的对比。\n该图构图简洁，作者用折枝法在写生基础上经过了艺术的提炼，删繁就简，突出了画面的意境情趣。该图最明显的特点，画幅不大，却画得精致典雅，但精致而不艳丽，细腻而不纤巧，具有清润淡雅的格调，该图呈竖长方形构图，下不留地，上留有较大的空白，近于画面二分之一弱，有作者自题诗给填补，对整个画幅起到了充实其内容及平衡作用。\n台北故宫博物院院长石守谦：《秋瓜图》的精致写实、细腻处理，也显示了南宋职业画中不可或缺的高度技巧，不过他却刻意地采用轻淡的设色，以示其与一般画师之区别。",[24,25,26,7,27,28,113,10657,291,536,1275,79],"瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80176e7550578ceea6d1fcbd2d4966b9.jpg","纵63.1厘米，横30厘米",[],{"id":10662,"slug":10663,"title":10664,"dynasty":18,"author":318,"museum":331,"description":10665,"tags":10666,"thumbUrl":10667,"material":100,"size":100,"collection":100,"collections":10668,"showCount":10633,"zanCount":43,"manualWeight":43,"mainColor":88},231041,"mo-he-tu-zhu-da-231041","墨荷图","以水墨写就池上清景，中锋勾出的荷茎瘦劲挺拔，如孑然君子撑立水间。\n墨色干湿浓淡铺陈荷叶，泼墨淋漓间，或舒展如伞、或卷垂含露，留白处漾着空濛水意。敛藏半绽的花苞幽然独立，不见游鱼水藻，却满溢荷塘清宁冷逸的意趣。\n整幅删繁就简，将心绪寄寓花叶，以极简笔墨绘出疏旷隽雅的意境，笔底带着清冷孤傲的气韵，寥寥数笔便把池上清寂萧索又清绝的余韵铺展开来，淡远悠长。",[23,24,25,26,7,77,113,306,307,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a786a2b10460948ab44a52259f36d.jpg",[],{"id":10670,"slug":10671,"title":10672,"dynasty":72,"author":908,"museum":331,"description":10673,"tags":10674,"thumbUrl":10675,"material":100,"size":100,"collection":100,"collections":10676,"showCount":10633,"zanCount":419,"manualWeight":43,"mainColor":88},228498,"yan-shu-ban-qiao-tu-chen-chun-228498","烟树板桥图","此作用水墨写就山林野趣，取高远、平远错落构图，峰崖高耸以阔笔皴擦，墨色层叠间衬出云气空濛，飞瀑隐于峭岩之间，幽庐藏于繁林深处，将山野幽寂之态铺陈开来。\n\n近景烟树错落，信笔点染出枝叶婆娑之姿，板桥横溪，策杖行人缓步其上，茅舍错落林间，尽现村居恬然意趣。水墨干湿浓淡相生，逸笔草草间尽显文人写意随性，将江南山乡的湿润清旷，与林下幽居的闲散自在融为一体，淡远空灵中尽显林下风流。",[25,77,129,253,134,29,169,130,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68d5200227df0e2d65abef6d9fb122f.jpg",[],{"id":10678,"slug":10679,"title":8535,"dynasty":93,"author":164,"museum":331,"description":10680,"tags":10681,"thumbUrl":10682,"material":100,"size":100,"collection":100,"collections":10683,"showCount":10633,"zanCount":43,"manualWeight":43,"mainColor":44},227494,"shan-shui-tu-zhou-fan-kuan-227494","北宋晚期的《宣和画谱》收录有范宽画作58件，书画家米芾也在其《画史》中记载称见过真迹30件。\n\n目前其流传的作品仅有台北国立故宫博物院收藏的〈谿山行旅图〉为现今艺术史学家所公认。",[23,24,25,26,7,77,28,130,129,349,132,170,3996,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15199fa3c2e2bfaa83fb5e9e78f5236f.jpg",[],{"id":10685,"slug":10686,"title":10687,"dynasty":18,"author":1296,"museum":331,"description":10688,"tags":10689,"thumbUrl":10690,"material":100,"size":100,"collection":100,"collections":10691,"showCount":10633,"zanCount":43,"manualWeight":43,"mainColor":44},224496,"gu-mu-chui-yin-shi-tao-224496","古木垂荫","《古木垂阴图》是清朝的文物， 纵175,横5.7cm。\n古木垂阴图 古木垂阴图 清（1644-1911） 纸本 水墨 纵175,横5.7cm 设色绘近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。\n用笔皴法多变，赋色雅淡。\n右上角有作者长题，石涛（公元164~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。\n善画山水，为清初四画僧之一。",[23,24,25,26,7,77,130,129,2294,132,1419,1652,170,484,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d675bfa825848fc195c23b6950913d6.jpg",[],{"id":10693,"slug":10694,"title":10695,"dynasty":72,"author":683,"museum":236,"description":10696,"tags":10697,"thumbUrl":10698,"material":1573,"size":10699,"collection":84,"collections":10700,"showCount":10633,"zanCount":419,"manualWeight":43,"mainColor":88},222036,"kui-shi-xia-die-tu-zhou-dai-jin-222036","葵石峡蝶图轴","此幅画盛开的蜀葵一株，两只蝴蝶翩翩飞舞。\n在戴进的作品中，工笔设色花鸟并不多见，此图用笔细润，色彩清丽，既保留了宋代院体花鸟的工致，又吸收了元代钱选没骨设色的文雅之气。画面下端的湖石纹理粗糙，凹凸有致，与花卉草虫形成鲜明的对比。\n近代何昆玉、庞莱臣《虚斋名画录》卷二著录。",[23,24,25,7,28,27,113,2808,600,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7690becc18ef2b29aaf5e830a77ab9fb.jpg","纵115厘米，横39.6厘米",[84,158],{"id":10702,"slug":10703,"title":10704,"dynasty":283,"author":4407,"museum":5320,"description":10705,"tags":10706,"thumbUrl":10708,"material":100,"size":100,"collection":100,"collections":10709,"showCount":10633,"zanCount":11,"manualWeight":43,"mainColor":88},220503,"he-du-ye-qu-zhang-da-qian-220503","荷堵野趣","这幅画以泼墨泼彩晕染出荷塘野意，那株凌空舒展的巨荷最为夺目，墨色苍浑沉厚，瓣叶如流云狂卷，带着风雨将临的恣肆野逸。下方白荷冰清玉洁，线条柔婉雅致，与浓如泼墨的荷叶形成强烈反差。淡粉烟霞般的底色晕开水汽氤氲，把荷塘缥缈朦胧的夏夜氛围铺陈开来。干湿浓淡的墨色肆意碰撞，笔力雄健不失清雅生机，将荷塘的清寂苍茫与蓬勃野趣融于一体，尽显水墨淋漓的写意之美，满是蓬勃的生命张力。",[25,77,28,306,307,7,304,10707],"墨荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f536715eecbc62d1e1108ce9d6bcb5.jpg",[],{"id":10711,"slug":10712,"title":10713,"dynasty":72,"author":10714,"museum":74,"description":10715,"tags":10716,"thumbUrl":10717,"material":136,"size":10718,"collection":84,"collections":10719,"showCount":10633,"zanCount":11,"manualWeight":43,"mainColor":88},218878,"xian-chun-bao-xi-tu-liu-shi-ru-218878","先春报喜图","刘世儒","虬枝盘曲如铁，嫩蕊缀枝似霞，寒香暗浮处，数只喜鹊栖于梅间。或翘首啼鸣，清音欲穿晓寒；或侧耳相和，墨羽轻拂春风。花瓣染粉带露，枝干皴擦见骨，工笔与写意相融，既得梅之清雅，又显鹊之灵动。题字与花鸟相映，诗趣入画，更添文人雅韵。整幅画如早春晨曦，将料峭生机与报喜暖意悄然铺展——梅开先春，鹊鸣报喜，每一笔藏岁月期许，每处细节漾人间欢悦，观之令人心脾俱畅，仿佛已闻春声渐近。",[25,26,7,28,27,113,392,151,7427,80,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bf908b018a03efb77d029306b4e34c.jpg","113.4x56.6cm",[84],{"id":10721,"slug":10722,"title":10723,"dynasty":207,"author":10724,"museum":319,"description":10725,"tags":10726,"thumbUrl":10727,"material":82,"size":10728,"collection":138,"collections":10729,"showCount":10633,"zanCount":11,"manualWeight":43,"mainColor":88},217264,"dan-tai-chun-xiao-tu-lu-guang-217264","丹台春晓图","陆广","陆广是元朝时期的一位著名的画家，他的作品《丹台春晓图》是他最著名的一幅画。这幅画描绘了丹台山的景色，山上有云雾缭绕，树木葱茏，小溪流动，鸟儿在枝头鸣叫。这幅画的色彩鲜艳，线条流畅，构图巧妙，深受人们喜爱。\n\n陆广在这幅画中运用了自然写生的技巧，使画面栩栩如生，栩栩如生。他还运用了虚实对比的手法，使画面更加丰富多彩。此外，他还运用了一些中国传统的画法，如重彩和写意画法，使这幅画更加独特。\n\n陆广的《丹台春晓图》不仅是他最著名的作品，也是元朝时期著名的艺术杰作之一。它不仅体现了陆广的才华，也反映了元朝时期艺术的发展。现在，这幅画被广泛收藏和展览，并且被认为是中国传统艺术的杰出代表作之一。",[25,26,7,77,130,129,132,170,134,193,270,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6a463b9955bf3520ee003ff8feb0ec.jpg","61.6x26cm",[138],{"id":10731,"slug":10732,"title":10570,"dynasty":72,"author":10733,"museum":74,"description":10734,"tags":10735,"thumbUrl":10736,"material":37,"size":10737,"collection":39,"collections":10738,"showCount":10633,"zanCount":43,"manualWeight":43,"mainColor":44},216948,"luo-han-tu-song-xu-216948","宋旭","这是一幅达摩面对水面的画作，看起来很疲惫，嘴唇紧闭在思考。笔触重而不浊，是宋旭的原画风格。",[25,7,28,29,129,427,35,173,130,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd87f722f408a0c00a88f3338e2dc80.jpg","140.6x36.3",[39],{"id":10740,"slug":10741,"title":10742,"dynasty":207,"author":50,"museum":74,"description":10743,"tags":10744,"thumbUrl":10746,"material":136,"size":100,"collection":84,"collections":10747,"showCount":10633,"zanCount":11,"manualWeight":43,"mainColor":88},216209,"san-yang-kai-tai-tu-zhou-yi-ming-216209","三羊开泰图轴","三羊喻三阳开泰，吉祥之意。采用一孩三羊构图方式，小孩骑在最大只的绵羊上，手拿枝条，头戴皮幅，低头看着最小的那只羊。",[25,7,29,3057,28,1798,79,80,10745],"三羊开泰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e5313ba3f7ad1912675271f03e5126.jpg",[84],{"id":10749,"slug":10750,"title":10751,"dynasty":18,"author":10752,"museum":74,"description":10753,"tags":10754,"thumbUrl":10755,"material":82,"size":10756,"collection":101,"collections":10757,"showCount":10633,"zanCount":43,"manualWeight":43,"mainColor":44},214212,"lu-wang-duo-zeng-tang-ruo-wang-shi-han-li-rui-qing-214212","录王铎赠汤若望诗翰","李瑞清","笔锋游走间，篆隶古意暗涌。颤笔如老树盘根，线条苍劲中带着金石质感，却又不失流转之姿。取法南北碑版，骨架雄健如北碑扛鼎，血肉温润似南帖漫吟。墨色浓淡枯润交错，章法疏密有致，行气如江河奔涌，一气呵成。单字欹正相生，险中求稳，每一笔都似有千钧之力，却又灵动婉转，将碑学的沉雄与帖学的飘逸融于一体，自成一格。观之如见古贤把盏论道，墨香里藏着岁月的厚重与文心的飞扬，每一处转折都藏着对传统的敬畏与创新的胆魄。",[23,80,7,97,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F702948c8b7c63c234f94601fa105d877.jpg","150.6x39.8",[101],{"id":10759,"slug":10760,"title":2861,"dynasty":72,"author":9457,"museum":74,"description":10761,"tags":10762,"thumbUrl":10763,"material":198,"size":10764,"collection":100,"collections":10765,"showCount":10766,"zanCount":43,"manualWeight":43,"mainColor":88},290319,"sui-chao-tu-zhou-shang-xi-290319","明代宫廷绘画的历史，从明代建国伊始就已经开始，经过永乐、宣德、成化、弘治几朝，宫廷绘画达到了兴盛阶段，到嘉靖、万历以后，逐渐衰微。赵原、卓迪、周位、王仲玉等是初期院体画家的代表。宣德以后，宫廷画家不断增多，著名的有谢环、商喜、倪端、李在、石锐、周文靖等，他们的绘画，技艺全面，师法南宋“院体”，各有特点。",[24,25,26,7,113,28,27,392,574,924,4370,35,79,6947],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1aa42f9fe4334c91fc98ee028966eda.jpg","130.9x57.4",[],68,{"id":10768,"slug":10769,"title":10770,"dynasty":18,"author":4434,"museum":331,"description":4435,"tags":10771,"thumbUrl":10772,"material":198,"size":780,"collection":100,"collections":10773,"showCount":10766,"zanCount":43,"manualWeight":43,"mainColor":88},289899,"song-jian-qing-yin-tu-zhou-hong-ren-289899","松涧清音图轴",[24,25,26,7,77,129,378,377,35,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ee8ed58b9be8df7d7a8c0c6ef64c97.jpg",[],{"id":10775,"slug":10776,"title":1806,"dynasty":18,"author":4610,"museum":331,"description":10777,"tags":10778,"thumbUrl":10779,"material":100,"size":100,"collection":100,"collections":10780,"showCount":10766,"zanCount":43,"manualWeight":43,"mainColor":88},235300,"ju-hua-zhou-xu-gu-235300","此作以上下两簇秋菊铺陈画面，左侧留白题款，疏密错落间章法雅致和谐。以淡墨勾勒花瓣，细劲舒展如丝，赭黄点染花心，醒目鲜活，尽显秋菊盛放之姿。菊叶以蓝与淡墨晕染，枯笔写枝，苍劲老辣，笔致简逸放纵，自带冷峭清奇格调。\n整体色调萧疏淡雅，将秋菊凌霜的清逸风骨尽显，融文人画清雅意趣与世俗审美于一体，于简淡朴拙之间，尽显秋花隽逸之姿与高节品性。",[25,26,7,77,28,985,1625,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef193bc0930876f14e505b19adec7fc.jpg",[],{"id":10782,"slug":10783,"title":10784,"dynasty":18,"author":8803,"museum":710,"description":10785,"tags":10786,"thumbUrl":10789,"material":37,"size":10790,"collection":84,"collections":10791,"showCount":10766,"zanCount":43,"manualWeight":43,"mainColor":44},220436,"bai-hua-cheng-rui-tu-li-fang-ying-220436","百花呈瑞图","李方膺的这件作品一反他笔墨豪放，纵逸豪宕的风格，用笔、设色都较工整收敛，清新明快，秀丽雅致。从自题七言中推知此画也许是为长辈所作，所以画面祥和安逸，色调稳重。\n李方膺的作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼 诗草》，仅二十六首，多数散见于画上。",[23,25,26,7,28,113,924,114,536,304,10787,10788],"设色花鸟","花卉题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff472fcd233211bf609eb0bda41e43b4d.jpg","纵162.5厘米，横43.1厘米",[84,158],{"id":10793,"slug":10794,"title":10795,"dynasty":18,"author":4669,"museum":236,"description":10796,"tags":10797,"thumbUrl":10798,"material":82,"size":10799,"collection":185,"collections":10800,"showCount":10766,"zanCount":11,"manualWeight":43,"mainColor":88},220379,"fang-ju-ran-yan-fu-yuan-xiu-tu-wang-hui-220379","仿巨然烟浮远岫图","此幅以纵向构图取势，山头处作小块状的矾头，为雄伟的山峦增添了灵巧的韵动感。山谷间绘茂密的丛林，使苍茫的山峦增添了生命的气息。图中山石以大披麻皴皴擦，其明净淡雅的线条营造了画面云烟飘渺的意境。\n此图是王翚晚年仿宋巨然《烟浮远岫图》的代表作之一。据王翚仿巨然的同名画扇（现藏北京故宫博物院）款题而知，王翚首次见到巨然的《烟浮远岫图》是在“毗陵庄太史家”，当时他42岁（癸丑，1673年），款题：“巨然《烟浮远岫图》今在毗陵庄太史家，真海内第一墨宝。余尝借观，背临大概。寄呈闻川尊先生。”又题长句，落款“癸丑上巳日，石谷重识。”王翚自此不断地仿巨然《烟浮远岫图》，或自娱，或送友人留念。他送笪重光的仿品目前藏于美国普林斯敦大学美术馆。根据图上所钤“王藻儒考藏图书”印可知本幅是他送友人王藻儒之作。\n《王奉常书画题跋》、《吴越所见书画录》著录。",[23,25,26,7,129,28,130,272,170,173,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d1a5c1fb9dc7984b460e2cfeed8b21.jpg","纵187厘米，横67.2厘米",[185,138],{"id":10802,"slug":10803,"title":10804,"dynasty":72,"author":389,"museum":331,"description":10805,"tags":10806,"thumbUrl":10807,"material":82,"size":10808,"collection":138,"collections":10809,"showCount":10766,"zanCount":43,"manualWeight":43,"mainColor":44},220070,"gao-yan-shang-mei-tu-tang-yin-220070","高岩赏梅图","此作用笔灵秀兼具劲健，卷云皴勾勒出高岩奇崛之态，层叠飞泉沿壁下注，木桥架于清溪之上，野意盎然。右侧缓坡疏林茅舍错落，隐士凭栏远眺，远景江天寥廓，落日晕染平川，清寂空濛。\n\n笔墨间糅合宋画的挺括与元人松秀，枯木枝桠简劲，点叶清润雅致。题诗与山水相生，将幽居高卧、寄情林泉的出世襟怀融于尺幅，以淡远之境写澹泊之心，尽显文人山水画的清逸韵致，是诗意与画境完美合璧的佳作。",[25,77,130,7,129,392,377,134,193,132,170,169,29,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0187c50b0efe3c29ab5d2d6bc7fb4d.jpg","71.5 x 34.3 厘米",[138],{"id":10811,"slug":10812,"title":10813,"dynasty":18,"author":10357,"museum":74,"description":10814,"tags":10815,"thumbUrl":10816,"material":37,"size":10817,"collection":39,"collections":10818,"showCount":10766,"zanCount":419,"manualWeight":43,"mainColor":88},219379,"ren-wu-tu-leng-mei-219379","人物图","在这幅画中，高石在雪地里探寻梅花，冷画大师焦秉祯经常使用透视和凹凸阴影。 色彩鲜艳明快，笔墨工整。",[25,24,26,7,27,28,29,129,392,33,34,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16ec146f1085c0dfe8356014a6f5971.jpg","纵119.7横61.5厘米",[39],{"id":10820,"slug":10821,"title":10570,"dynasty":93,"author":50,"museum":74,"description":10822,"tags":10823,"thumbUrl":10826,"material":37,"size":10827,"collection":39,"collections":10828,"showCount":10766,"zanCount":11,"manualWeight":43,"mainColor":44},218719,"luo-han-tu-yi-ming-218719","在花园的一个角落里，一个盘腿的罗什坐在冥想椅上，右手拿着一个花瓶，从花瓶里向天空照出一道红光。椅子前面是一张花台，上面有一盆植物和一个香炉，花台前面是一个人，手里拿着一个宝箱。颜色鲜艳，装饰柔和，笔触精确。罗汉和拜师者衣服上的凤凰和花朵图案，禅椅上的锦垫，花几上的花巾，禅椅上的树和坐垫，甚至拜师者的头发，都刻画得非常细致，可与刘松年的罗汉院画相媲美。",[23,25,26,7,28,27,54,29,10824,404,1675,10825,6601,3493,170,3411],"罗汉","座椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd362133adfb33f41649c7af71c1066fb.jpg","105.5x55.6",[39],{"id":10830,"slug":10831,"title":10832,"dynasty":72,"author":424,"museum":319,"description":10833,"tags":10834,"thumbUrl":10835,"material":37,"size":10836,"collection":138,"collections":10837,"showCount":10766,"zanCount":43,"manualWeight":43,"mainColor":44},218417,"bi-yin-zuo-diao-tu-wen-zheng-ming-218417","碧荫坐钓图","前景中的松树高大而紧密，松针参差不齐，一个男孩的仆人提着锅回村，一只白鹤望着敞开的大门，坡脚的岩石与水面之间。",[25,26,7,28,129,427,349,350,132,193,3996,2367,130,27,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42da8f8261a31fc6bd4174fd7e6ed3a.jpg","163x61cm",[138],{"id":10839,"slug":10840,"title":10841,"dynasty":207,"author":10618,"museum":74,"description":10842,"tags":10843,"thumbUrl":10844,"material":82,"size":10845,"collection":101,"collections":10846,"showCount":10766,"zanCount":43,"manualWeight":43,"mainColor":88},214220,"tang-ren-jue-ju-zhang-yu-214220","唐人绝句","唐人绝句是中国唐朝时期的一种诗歌形式，由四句组成，每句都为五言绝句，即五个字的绝句。张雨是中国唐朝时期的一位诗人。元是中国历史上的一个朝代，公元1279年至1368年，为元朝。",[23,25,26,7,80,97,77,59,378,31,56,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9414780fa78d6d95b33d5b8a267d6ef.jpg","154.3x34.3",[101],{"id":10848,"slug":10849,"title":10850,"dynasty":109,"author":875,"museum":331,"description":9737,"tags":10851,"thumbUrl":10852,"material":198,"size":780,"collection":100,"collections":10853,"showCount":10854,"zanCount":43,"manualWeight":43,"mainColor":44},290415,"wu-dai-liang-yu-le-tu-zhou-jing-hao-290415","五代梁渔乐图轴",[24,25,7,129,77,130,132,521,349,2367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c6cdb23ba7361b98c8e5b41081a410.jpg",[],67,{"id":10856,"slug":10857,"title":10858,"dynasty":207,"author":3722,"museum":331,"description":10859,"tags":10860,"thumbUrl":10861,"material":198,"size":780,"collection":100,"collections":10862,"showCount":10854,"zanCount":43,"manualWeight":43,"mainColor":44},288352,"fang-wen-tong-zhu-zhi-tu-ke-jiu-si-288352","仿文同竹枝图","柯九思，元书画家、鉴藏家。江浙行省儒学提举柯谦子，受其父的影响，自幼爱好书画，天历元年（1328），游学建康经人引荐结识了怀王图帖睦尔，不久怀王继位称帝，是为文宗，被授予正七品典瑞院都事，翌年，迁升为正五品奎章阁鉴书博士，专门负责宫廷所藏的金石书画的鉴定。文宗去世后，束装南归，退居吴寓松江姻脂桥。博学能文，擅写墨竹，长于画山水、人物、花卉。一生好文物，富收藏，精鉴赏。",[24,25,26,7,77,31,945,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0f6c5bac4dcc40cb604a4b194d3a85.jpg",[],{"id":10864,"slug":10865,"title":10866,"dynasty":18,"author":10867,"museum":236,"description":10868,"tags":10869,"thumbUrl":10870,"material":6124,"size":10871,"collection":138,"collections":10872,"showCount":10854,"zanCount":11,"manualWeight":43,"mainColor":44},236108,"qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-236108","秋岚飞瀑图轴","张宗苍","张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。师承清代娄东画派的传人黄鼎，擅画山水。初以主簿理河工事。清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[24,25,26,7,364,77,28,130,132,7082,173,269,170,193,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28583d2a38165b70ad546df9ff0faae.jpg","纵184cm，横117.7cm",[138,185],{"id":10874,"slug":10875,"title":2160,"dynasty":18,"author":1538,"museum":331,"description":10876,"tags":10877,"thumbUrl":10878,"material":198,"size":780,"collection":100,"collections":10879,"showCount":10854,"zanCount":43,"manualWeight":43,"mainColor":44},230894,"bai-lu-tu-shen-quan-230894","此图绘在柏树之下、溪流岸边，两只梅花鹿一立一卧，均仰视远方。图中鹿的描绘十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，尤为细致而并非完全写实，画面既真实又不泥于细节。",[23,25,24,7,27,28,241,1073,2163,253,132,58,8959],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea79f7002a6ea446d7dfdde2fe39384c.jpg",[],{"id":10881,"slug":10882,"title":10883,"dynasty":109,"author":1112,"museum":74,"description":10884,"tags":10885,"thumbUrl":10886,"material":589,"size":10887,"collection":138,"collections":10888,"showCount":10854,"zanCount":43,"manualWeight":43,"mainColor":44},226700,"qiu-shan-tu-zhou-ju-ran-226700","秋山图轴","是文人雅士卧游的理想之地。构图极富变化，笔墨精妙，设色点缀恰到好处",[25,364,7,77,28,130,4987,132,170,172,878,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3ae1d313c4e7dd19956e57f3ea4884.jpg","156.2x77.2公分、全幅 78.3公分",[138],{"id":10890,"slug":10891,"title":10892,"dynasty":72,"author":954,"museum":74,"description":10893,"tags":10894,"thumbUrl":10896,"material":255,"size":10897,"collection":138,"collections":10898,"showCount":10854,"zanCount":43,"manualWeight":43,"mainColor":44},222414,"hua-zhu-an-chun-zhou-zhou-zhi-mian-222414","花竹鹌鹑轴","绘雨后竹子越发翠绿，紫色的喇叭花缠绕其上，湖石下一对鹌鹑正观景觅食。画顶端有范允临题：雨过竹色明，风恬鸟声乐。睡起北窗凉，斜阳在高阁。周之冕，字服卿，明代画家，擅花鸟，所绘鸟禽栩栩如生。",[23,25,26,7,113,28,27,31,10895,675,600,57,536],"鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877ec000da3e80bb4d127ada41a2f4e7.jpg","111.7x29.7",[138,185],{"id":10900,"slug":10901,"title":10902,"dynasty":72,"author":10903,"museum":236,"description":10904,"tags":10905,"thumbUrl":10906,"material":486,"size":10907,"collection":39,"collections":10908,"showCount":10854,"zanCount":43,"manualWeight":43,"mainColor":88},222082,"sui-chao-jia-zhao-tu-zhu-jian-shen-222082","岁朝佳兆图","朱见深","画幅右上方有明宪宗朱见深御题：“柏柿如意。一脉春回暖气随，风云万里值明时。画图今日来佳兆，如意年年百事宜。”款署：“成化辛丑文华殿御笔”，钤“广运之宝”。\n图中画钟馗，犀利的目光紧盯着飞来的蝙蝠，一手持如意，一手扶在小鬼的肩头；小鬼双手捧着盛有柿子和柏枝的托盘，寓意“百事如意”。\n明代以前，悬挂钟馗像是年节时一项重要的风俗活动，用以驱鬼辟邪，至明清之交此风俗才渐渐移向端午，所以这幅“岁朝佳兆图”可以看作是一幅祈祥祝福的宫廷年画。此图作于成化十七年（1481年），画法老练，衣纹的勾描顿挫有力，人物的造型生动夸张，显示了这位皇帝画家的娴熟技能。",[23,24,25,26,7,28,27,985,29,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b9fc4e6f55bfb12448810b6d3f9227.jpg","纵59.7厘米，横35.5厘米",[39,158],{"id":10910,"slug":10911,"title":10912,"dynasty":72,"author":683,"museum":74,"description":10913,"tags":10914,"thumbUrl":10915,"material":486,"size":10916,"collection":138,"collections":10917,"showCount":10854,"zanCount":43,"manualWeight":43,"mainColor":44},222038,"zhang-song-wu-lu-zhou-dai-jin-222038","长松五鹿轴","这幅画的主题是长松和鹿，长松代表长寿，鹿因与「禄」谐音，带有「福禄」或「俸禄」的意思，所以这张画具有祝寿或是祈福的功能。本画的构图与戴进一般作品不同，垂直的松林、形状像石笋的山峰和围绕的祥云几乎塞满画面全部的空间，让整幅画充满平面装饰的趣味。",[23,25,7,28,129,427,1073,241,130,132,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8af83ff4d6f77521d790ed2136c0af.jpg","纵：142.5厘米 横：72.4厘米",[138,158],{"id":10919,"slug":10920,"title":10921,"dynasty":72,"author":10922,"museum":74,"description":10923,"tags":10924,"thumbUrl":10925,"material":10926,"size":10927,"collection":138,"collections":10928,"showCount":10854,"zanCount":11,"manualWeight":43,"mainColor":88},221935,"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[23,25,26,7,28,130,129,427,733,169,132,1717,29,193,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","纸本浅设色","122.4x51.5厘米",[138,185],{"id":10930,"slug":10931,"title":10932,"dynasty":72,"author":1024,"museum":74,"description":10933,"tags":10934,"thumbUrl":10935,"material":10936,"size":10937,"collection":101,"collections":10938,"showCount":10854,"zanCount":11,"manualWeight":43,"mainColor":44},220901,"wu-yan-gu-shi-zhou-dong-qi-chang-220901","五言古诗轴","董其昌八十岁楷书作品《五言古诗句》",[23,80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8f3e7950a1ba42ac1a4cfdc7f91e01.jpg","楷书，纸本","纸本60.9 x 169 cm",[101],{"id":10940,"slug":10941,"title":10942,"dynasty":207,"author":2386,"museum":74,"description":10943,"tags":10944,"thumbUrl":10945,"material":214,"size":10946,"collection":101,"collections":10947,"showCount":10854,"zanCount":11,"manualWeight":43,"mainColor":88},220826,"shu-yue-yang-lou-ji-zhou-zhao-meng-fu-220826","书岳阳楼记轴","岳阳楼记是北宋文学家范仲淹于庆历六年九月十五日（1046年10月17日）应好友巴陵郡太守滕子京之请为重修岳阳楼而创作的一篇散文。也是历年高考频频眷顾的经典名篇。本文写于1046年，范仲淹贬放河南邓州，1047年滕子京重修岳阳楼，请范仲淹作记，因为二人同是被贬之人，因而有共同的思想情感，所以文中满载述志励友之情，既表现作者忧国忧民的远大抱负，又表达对好友的慰勉和规箴之意。\n此帖笔法纵逸，又是自家风貌，肥不没骨，瘦不露筯，姿媚隽逸，出神入化，可谓人书俱老，炉火纯青，是赵氏书法的精品之作。正如帖后文彭跋所云：“信手拈来，头头是佛，若必曰'兰亭'，恐不必以此论松雪。”明、清各家题跋亦对此卷推崇备至。其文校之《昭明文选》小有出入。",[23,80,97,7,26,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166c30f08f7da3dbf1b37b1f434a7fa7.jpg","129x53.2",[101],{"id":10949,"slug":10950,"title":818,"dynasty":72,"author":683,"museum":74,"description":10951,"tags":10952,"thumbUrl":10953,"material":99,"size":10954,"collection":138,"collections":10955,"showCount":10854,"zanCount":43,"manualWeight":43,"mainColor":44},219837,"shan-shui-tu-dai-jin-219837","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[25,26,24,130,77,28,129,134,193,349,377,170,169,29,132,7,172,272,3106,5840,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[138],{"id":10957,"slug":10958,"title":10959,"dynasty":93,"author":50,"museum":74,"description":10960,"tags":10961,"thumbUrl":10962,"material":37,"size":10963,"collection":84,"collections":10964,"showCount":10854,"zanCount":11,"manualWeight":43,"mainColor":44},219181,"ku-mu-zhu-shi-tu-yi-ming-219181","枯木竹石图","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石头后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的突显，属元代枯木竹石画风。画中草木与院藏赵孟俯〈竹石古木〉表现诸如，此画上虽无款印，但可估计此后一画风的古代例子，学者猜测可能正与赵孟俯关系密切。",[23,25,77,7,152,31,35,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d59e40997092e7d1968961782449871.jpg","107.9x51.1",[84],{"id":10966,"slug":10967,"title":10968,"dynasty":18,"author":6501,"museum":74,"description":10969,"tags":10970,"thumbUrl":10971,"material":136,"size":10972,"collection":84,"collections":10973,"showCount":10854,"zanCount":43,"manualWeight":43,"mainColor":88},218810,"e-mo-niao-tu-yang-da-zhang-218810","额摩鸟图","画面中两只额摩鸟姿态悠然，昂首者似欲引吭，俯身者若寻幽草。翎羽纤毫毕现，颈间蓝红绒羽如霞披覆，肌理质感细腻入微。旁侧牡丹姹紫、玉兰皎洁，枝桠间燕语呢喃，石畔小雀啄食，生机盎然。青绿山石晕染温润，皴擦有致，与禽鸟花木相映成趣。上下题跋为御制诗文，笔墨苍劲，典重之气扑面而来。整幅画作工写兼备，设色妍丽却不失清雅，奇禽异卉共构一堂，既有自然生趣，亦含皇家苑囿的雍容气象，堪称清代宫廷花鸟走兽画的精品之作。",[24,25,26,7,27,28,113,115,114,253,132,80,79,151,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680768fee9dc27723523539b928bca7.jpg","149.8x101cm",[84],{"id":10975,"slug":10976,"title":10977,"dynasty":93,"author":1082,"museum":1083,"description":10978,"tags":10979,"thumbUrl":10980,"material":37,"size":10981,"collection":100,"collections":10982,"showCount":10854,"zanCount":11,"manualWeight":43,"mainColor":342},218603,"wu-bai-luo-han-zhi-shou-hu-shu-jin-tu-zhou-ji-chang-218603","五百罗汉之受胡输赆图","画面的上半部分是五个罗汉在云中行走，身后是由松柏树组成的瀑布，而下半部分是一个长鼻黑眼的胡人骑着骆驼，手里拿着一个珊瑚，另一个胡人负责拉着骆驼。风景和人物是用柔和的细线画出来的，使其生动而自然。北周庾信的《哀江南》写道。西边的大厅用浮玉覆盖，南边的大厅用羽毛覆盖。武秦与越阴，荆燕与楚舞。这就是为什么后来经常用 西厅南隅 的说法来指代来自四面八方的贡品的朝拜。这幅图像和面向山姆的竹林图像都是献宝的图像，而且都显示了非汉族人的打扮，如身穿红袍、打扮成金人的骆驼手。",[23,25,26,7,54,28,29,27,601,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a32d2b58935d5585c6c8a74a79b2ef4.jpg","110.5x52.0",[],{"id":10984,"slug":10985,"title":818,"dynasty":207,"author":10986,"museum":74,"description":10987,"tags":10988,"thumbUrl":10989,"material":82,"size":10990,"collection":138,"collections":10991,"showCount":10854,"zanCount":419,"manualWeight":43,"mainColor":44},218166,"shan-shui-tu-yu-wen-gong-liang-218166","宇文公谅","宇文公谅，是元朝时期著名的画家，他的山水图作品以其精湛的写意风格和生动的自然描绘而闻名。宇文公谅的山水图作品多以自然风光为题材，用简单的笔触勾勒出了山川、河流、树木和花草的形态，并融入了自己的感悟和情感。他的山水图作品给人以舒适、自然的感觉，是元朝山水画的代表作之一。",[23,25,26,7,77,130,129,132,170,193,134,733,169,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cd57f449a3caa29359ac4b9c9a3970.jpg","116.6x41cm",[138],{"id":10993,"slug":10994,"title":10995,"dynasty":93,"author":2964,"museum":74,"description":10996,"tags":10997,"thumbUrl":10999,"material":99,"size":11000,"collection":100,"collections":11001,"showCount":11002,"zanCount":43,"manualWeight":43,"mainColor":44},289562,"jing-ting-song-feng-tu-ma-lin-289562","静听松风图","图绘迎风高松三株，偃仰盘曲，宛若苍龙。枝干遒劲，山风阵阵，枝叶飘洒，藤条飞舞。一老者屈腿悠然坐于临岸松树下，衣襟微开，姿态随意，似侧耳聆听松涛，神气舒畅，有道骨仙风，一童执扇立于前。此画中树干用浓墨线密皴，用笔密实，细枝用线刚劲又不乏柔挺之意。山石用小斧劈皴，远山以线条勾勒后多用水墨渲染，使画面更为清润。人物衣纹劲利流畅，秀逸柔润。",[23,24,25,26,7,28,130,29,129,427,132,193,10998,7435],"松风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf04368e056b821d8008c1e1d3ddd623.jpg","226.6x110.3",[],66,{"id":11004,"slug":11005,"title":11006,"dynasty":18,"author":318,"museum":331,"description":11007,"tags":11008,"thumbUrl":11009,"material":198,"size":780,"collection":100,"collections":11010,"showCount":11002,"zanCount":43,"manualWeight":43,"mainColor":88},287970,"song-shu-shuang-lu-tu-zhu-da-287970","松树双鹿图","描绘了一角山崖，崖边上一株古松遒然挺立，崖下一公一母两只梅花鹿亲密相偎。背景中的山崖及苍松画面疏淡，笔墨劲简；山崖上草石与古松以浓墨点画而出，近景处的双鹿则以淡墨着笔。外侧犄角雄健的公鹿于站立中作回首状，而内侧的母鹿墨色更淡，接近画幅底色，以缠绕公鹿的形态与公鹿亲密，情深状貌跃然纸上。松与鹿均表现超然的气质；而以一公一母两鹿如此亲密的形象入画，确是于超然中又见温情，似乎寓意作者既欲超脱又回顾留恋的情愫。",[23,25,24,26,7,77,241,1073,427,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7008f1ca40741a720f4ee5a8350ea2da.jpg",[],{"id":11012,"slug":11013,"title":11014,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":11015,"thumbUrl":11017,"material":198,"size":780,"collection":100,"collections":11018,"showCount":11002,"zanCount":419,"manualWeight":43,"mainColor":88},237972,"pu-cao-bai-lian-tu-zhou-wu-chang-shuo-237972","蒲草白莲图轴",[25,26,7,77,28,113,306,11016,304],"蒲草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05376873ccbbd59e9bd5afd64a6a3a2e.jpg",[],{"id":11020,"slug":11021,"title":11022,"dynasty":18,"author":2320,"museum":236,"description":11023,"tags":11024,"thumbUrl":11025,"material":745,"size":11026,"collection":84,"collections":11027,"showCount":11002,"zanCount":11,"manualWeight":43,"mainColor":88},237637,"mei-hua-lan-shi-tu-zhou-wang-shi-shen-237637","梅花兰石图轴","款署：“庚戌仲秋近人慎写于寿萱堂中。”钤“士慎”白文印。鉴藏印有：“白门李氏珍藏”朱文印。\n“庚戌”为清雍正八年（1730年），作者时年45岁，正是其艺术日臻成熟期。\n图绘春风中兰叶翻飞、梅花初绽的景致。拳石、梅树和丛兰以豪放的笔墨一挥而就，淋漓酣畅的墨气与梅兰旺盛勃发的生命力相符相合。梅花以工细的线条勾勒，俏丽的花姿显现出梅树清幽典雅的风韵和“空里疏香”的诗意。",[25,26,7,77,113,392,1051,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff48e794336aa1087c4c94cc1fc7e8274.jpg","纵138.4厘米，横44.4厘米",[84,185],{"id":11029,"slug":11030,"title":11031,"dynasty":18,"author":1296,"museum":331,"description":3157,"tags":11032,"thumbUrl":11033,"material":100,"size":100,"collection":84,"collections":11034,"showCount":11002,"zanCount":43,"manualWeight":43,"mainColor":88},237535,"yuan-ji-zhu-shi-tu-zhou-shi-tao-237535","原济竹石图轴",[25,26,7,77,304,130,31,601,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F042b55af991c313cd4588dd0d5c88465.jpg",[84],{"id":11036,"slug":11037,"title":11038,"dynasty":207,"author":208,"museum":236,"description":11039,"tags":11040,"thumbUrl":11041,"material":214,"size":11042,"collection":100,"collections":11043,"showCount":11002,"zanCount":43,"manualWeight":43,"mainColor":88},233825,"xi-jiao-cao-tang-tu-zhou-wang-meng-233825","西郊草堂图轴","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[25,26,7,77,28,130,129,212,170,132,193,9340,29,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06eebb0aebdc366ff00a27db47c4ad97.jpg","纵97cm ，横27.2cm",[],{"id":11045,"slug":11046,"title":11047,"dynasty":18,"author":4788,"museum":236,"description":11048,"tags":11049,"thumbUrl":11052,"material":1573,"size":11053,"collection":100,"collections":11054,"showCount":11002,"zanCount":43,"manualWeight":43,"mainColor":88},233808,"ceng-yan-die-he-tu-zhou-kun-can-233808","层岩叠壑图轴","此图山峦重叠，结构饱满，一条山路顺山势自下而上蜿蜒曲折，使景物繁复而不迫塞，布局巧妙，具有“奥境奇辟，缅邈幽深，引人入胜”的意境。以干笔皴擦山石，浓墨点苔，气韵浑厚。用笔苍浑、老辣，用墨层次丰富，展现了石谿极具个性的绘画风格，是代表石谿成熟画风的杰作。",[25,26,7,129,77,130,28,3304,11050,169,134,193,522,11051,170,132,269,686,377],"叠壑","舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741b209c7c58099e2e9ad6724a3f19a9.jpg","纵169厘米，横41.5厘米",[],{"id":11056,"slug":11057,"title":11058,"dynasty":18,"author":2250,"museum":331,"description":11059,"tags":11060,"thumbUrl":11061,"material":100,"size":100,"collection":100,"collections":11062,"showCount":11002,"zanCount":11,"manualWeight":43,"mainColor":88},224365,"hua-hui-si-ping-zhi-san-ju-lian-224365","花卉四屏之三","此作工写兼施，绣球花团绵密莹润，以淡粉晕染花心，留白衬出白花皎洁质感，叶片勾勒细致，墨色分阶尽显苍润鲜活。奇崛湖石瘦透灵动，皴擦出嶙峋肌理，石窍映出枝叶倒影，苔藓点染更添古意。数只蛱蝶翅脉纤毫毕现，彩翼翩跹于花间，动静相映，将庭院清景的悠然意趣铺陈开来。设色明秀雅致，笔触细腻鲜活，尽显温婉灵秀的岭南花鸟意韵。",[23,25,26,113,27,28,600,6086,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79105dd7b28ebc24bc0563f7f6307bb.jpg",[],{"id":11064,"slug":11065,"title":10646,"dynasty":93,"author":11066,"museum":3928,"description":11067,"tags":11068,"thumbUrl":11069,"material":11070,"size":11071,"collection":157,"collections":11072,"showCount":11002,"zanCount":11,"manualWeight":43,"mainColor":44},221669,"zhu-ji-tu-zhou-luo-chuang-221669","萝窗","本画描绘的是五更（凌晨四时）之时，在未明的幽暗中的身兼文、武、勇、仁、信五德的家鸡的形象。不过，鸡的形象仿佛一位在五更时分大彻大悟的禅僧。浅野家旧藏。",[23,25,24,7,28,27,113,31,1228,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2020ebfe9cf8bf048ae9e63dc5de2973.jpg","绢本，墨画","纵96.3cm 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只禽鸟栖于嶙峋湖石，锦羽斑斓灵动，姿态悠然亲昵。下方牡丹雍容盛放，丹红粉白交错晕染，与玉兰素洁相映成趣。\n\n整作工笔细腻，设色妍秀雅致，禽鸟毛羽纤毫毕现，花木俯仰含情，将写实工致与雅致意趣相融。疏密排布恰到好处，把富贵吉祥的意蕴藏在明秀春景之中，尽显传统花鸟画的典雅富丽之美。",[23,25,1592,7,27,28,2294,116,114,5928,548,2170,11353],"富贵吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f895f651e90b420b94c2a3720b29703.jpg",[84],64,{"id":11358,"slug":11359,"title":10745,"dynasty":72,"author":10203,"museum":74,"description":11360,"tags":11361,"thumbUrl":11362,"material":136,"size":11363,"collection":84,"collections":11364,"showCount":11356,"zanCount":43,"manualWeight":43,"mainColor":88},222420,"san-yang-kai-tai-zhu-zhan-ji-222420","画幅正中绘着三只羊。以羊寓阳，以太同泰，寓意“三羊开泰”。依据八卦，正月为泰卦，一阳生于下，冬去春来，阴消阳长，万物复苏，所以，它是祥瑞的象征。三只羊集于一起一白二黑，衬以古木竹石。:羊开泰取意吉祥。三羊的形象皆从写生中来，前者一只小羊，正在低首食草，弯弓着背，短尾微粗，除两腿和头顶处呈白色，其余儿乎全为黑驹黝绒密的黑毛，后面一只小羊，正在低首缓步前行，双目下视，似作觅食之状，四条腿的下肢和头顶部分呈白色，其余为黑黝黝的绒毛。两乳羊柔顺之态，宛然如生。一只大羊略作俯瞰侧面，两角竖立向外伸展，呈倒“八字”，角尖如尖刀似的，身躯圆滚，毛长腿粗，头部、双耳、背部等处为黑色，及长长的黑色的颈毛，双日炯炯有神，传达出了生动的姿态和准确的头、颈、身躯关系。",[23,25,26,7,28,27,3057,253,31,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373b5a7d9c34426c6e0ebc149bc2c324.jpg","纵211.6厘米,横142.5厘米",[84,158],{"id":11366,"slug":11367,"title":11368,"dynasty":72,"author":7501,"museum":648,"description":11369,"tags":11370,"thumbUrl":11371,"material":4510,"size":11372,"collection":185,"collections":11373,"showCount":11356,"zanCount":43,"manualWeight":43,"mainColor":704},222229,"song-feng-gao-shi-tu-wen-bo-ren-222229","松风高士图","该作品是明代画家文伯仁晚年的力作。该作品画中山峦高峻，危崖峭壁之间，山径曲折，飞瀑直下，注入山前的清溪中。苍松翠柏隔岸呼应，遮掩草堂。高士曳杖而立，神态安闲。作品用笔清秀爽利，墨色淡雅苍润。文伯仁在画中的题跋小楷十分工整，自谓仿赵孟頫，实则仅师其大意。其画更多取法元代王蒙及文徵明风格。\n该画作把近处的坡石先以淡墨勾勒，再以干墨或浓墨点苔，分出坡石的脉络。画家在水口处横抹几笔，既显画面空灵，又让人感觉水波轻漾。夹岸的松、柏先双勾树干，再以劲利的短线写松针，以密圈作柏叶，枝柯交错，如虬龙劲舞。茅屋被丛树掩映，有“结庐在人境，而无车马喧”之感。远处群山取自文氏画法。画家先以细密皴法定基调，再以淡墨勾勒山骨，然后用干笔作解索皴、牛毛皴，看似随意点染，却让山体层次分明、凹凸有致。千岩万壑、崇山峻岭、山径盘旋、涧水曲折，苍莽之气毕现于纸上。由于画家用笔多变，又着意经营，所以画面既浑厚华滋，又开阔旷达，毫无促迫感。画家在松树下的桥头处设主、仆两人，有画龙点睛之功，正如文徵明诗中所云：“万叠高山供道眼，千寻飞瀑净尘心。”寄情山林、不求闻达的高士，让这幅山水画有了更深远的韵味。",[23,25,77,130,7,129,378,4762,134,193,132,170,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9139afd4faa992b004cff6b1ffd56da6.jpg","98.7cm×27.6cm",[185,158],{"id":11375,"slug":11376,"title":11377,"dynasty":207,"author":1327,"museum":265,"description":11378,"tags":11379,"thumbUrl":11380,"material":182,"size":11381,"collection":185,"collections":11382,"showCount":11356,"zanCount":43,"manualWeight":43,"mainColor":44},221815,"shuang-gou-zhu-tu-zhou-li-kan-221815","双钩竹图轴","这是一幅在绢本上以墨笔双钩而后晕染设色的翠竹。画幅内能较完整看见一杆成竹和两颗箬笋，右边若隐若现有一些小枝和箨叶，结合画面构图看，右边略显紧张局促，料想可能是被裁过。古书画年代久远、传递收藏复杂，或因破旧重装，或因商贾牟利，裁剪、分割是常有之事。即便如此，本幅设色双钩竹的艺术水准仍然是展现无遗的。其拔节舒枝、解箨抽梢蒸蒸然有摇曳升腾之势；浓淡向背、避让交叠萧萧乎真美人君子之姿。",[23,25,26,7,6432,31,6189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f81dae935198e9a11627f9cfbaf2bae.jpg","75.5×29.5cm",[185,702],{"id":11384,"slug":11385,"title":11386,"dynasty":283,"author":284,"museum":5611,"description":11387,"tags":11388,"thumbUrl":11390,"material":5615,"size":100,"collection":100,"collections":11391,"showCount":11356,"zanCount":11,"manualWeight":43,"mainColor":88},220602,"zhuan-shu-wu-zi-dui-lian-qi-bai-shi-220602","篆书五字对联","此联笔力苍浑老辣，将篆刻刀意融于篆法之中，线条如錾如凿，厚重处似坠石沉凝，细劲处若银丝牵连，虚实相生尽显张力。结体跳脱规整篆书的对称板正，字形欹侧错落，拙趣天成，大开大合间自带纵横豪情。\n\n无刻意雕琢的精致，老笔纷披间藏着天真野趣，文气与金石气交融浑穆，把篆书写出大写意的随性自在，古意盎然又自出机杼，朴拙中见风骨，苍劲里露真趣。",[2664,80,3362,11389,283,77,7,79],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2da6423bd1e9e82d2d928c9060aa681f.jpg",[],{"id":11393,"slug":11394,"title":11395,"dynasty":18,"author":1296,"museum":236,"description":11396,"tags":11397,"thumbUrl":11398,"material":100,"size":100,"collection":11399,"collections":11400,"showCount":11356,"zanCount":43,"manualWeight":43,"mainColor":88},220391,"dui-niu-tan-qin-tu-zhou-shi-tao-220391","对牛弹琴图轴","《对牛弹琴图》构图奇险，笔墨老到，意境突出，是石涛人物画杰作。“对牛弹琴”一词本是讥笑说话的人不看对象。但此图通过作者自题“世上琴声尽说假，不如此牛听得真”等诗句，反映出作者难遇知音，而只能寄托于“牛声一呼真妙解”，反映了作者孤独落寞的心境。",[23,25,26,7,77,304,29,1571,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ddceb25e9a6e5e8adc1edb2963e9c9.jpg","人物精选",[11399],{"id":11402,"slug":11403,"title":11404,"dynasty":18,"author":8289,"museum":74,"description":11405,"tags":11406,"thumbUrl":11407,"material":28,"size":11408,"collection":84,"collections":11409,"showCount":11356,"zanCount":419,"manualWeight":43,"mainColor":88},219438,"bi-tao-zhou-jin-ting-biao-219438","碧桃轴","苍劲古干虬枝盘曲，墨色浓淡间尽显岁月肌理；粉桃灼灼，花瓣娇嫩欲滴，与老干形成刚柔相济之趣。前景湖石嶙峋，皴擦有致，旁生细草，更添野逸。水面空濛，落花点点，远处淡墨晕染的树影若隐若现，似有春风拂面，暗香浮动。整幅画笔墨清逸，意境悠远，将春日桃林的静谧雅致与生命的蓬勃张力融于一纸，尽显传统文人画的含蓄韵致与审美意趣。",[25,26,7,28,77,498,35,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffd2b66ff2d9836a7ca1771b73634df.jpg","179.7x62.6",[84],{"id":11411,"slug":11412,"title":11413,"dynasty":72,"author":11414,"museum":147,"description":11415,"tags":11416,"thumbUrl":11417,"material":37,"size":100,"collection":84,"collections":11418,"showCount":11356,"zanCount":43,"manualWeight":43,"mainColor":44},219323,"hua-niao-tu-er-yue-zhou-219323","花鸟图(二)","月洲","梅枝横斜，粉蕊轻绽枝头，两只禽鸟或立或眺，神态悠然。下方花卉繁茂，瓣层叠如绒，色泽温润；长尾羽禽羽翼绯红，与素白花朵相映成趣，墨枝青叶绿意交错，野趣自生。笔触细腻处见工致，设色淡雅中藏灵动，禽鸟憨态、花木生机跃然绢上，尽显自然意趣与文人雅致。岁月虽为绢面添了斑驳，却未减画面里静谧的生机流转，似能闻得花鸟间的轻语，触到时光里的温柔回响，将自然之美与文人情韵凝于方寸之间。",[23,25,24,7,27,28,113,392,31,440,115,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6ce9a7674e5a9e4c068dd1387796361.jpg",[84],{"id":11420,"slug":11421,"title":11422,"dynasty":18,"author":11423,"museum":209,"description":11424,"tags":11425,"thumbUrl":11426,"material":37,"size":100,"collection":39,"collections":11427,"showCount":11356,"zanCount":419,"manualWeight":43,"mainColor":88},218387,"xie-liu-ru-shi-fu-jin-xiao-xiang-tu-gu-shao-218387","写柳如是幅巾小象图","顾韶","顾韶，字螺峰，钱塘(今杭州)人。清代画家顾洛女。其父擅人物、山水、花卉、翎毛，尤长仕女。写古衣冠，渊雅静穆。顾韶得父真传，人物、花卉臻妙，尤妙婴戏图。\n这幅肖像所画人物为明末清初名妓柳如是。上书小篆“柳如是幅巾小象”，落款“螺峰女史顾韶学画”，钤“螺峰”朱白文印。\n柳如是（1618—1664）本姓杨，名爱，字蘼芜，又有影怜、云娟等别名，改姓柳，名是，又名隐，字如是，号我闻室主人，人称河东君。嘉兴人。明末名妓，秦淮八艳之一。幼年为盛泽徐氏养女，后入吴江故相周道登家为侍婢。继为盛泽归家院妓，能诗善画，曾结交陈子龙，欲托身而未能。后嫁钱谦益为妾，南明亡，劝谦益殉国，不能从。谦益卒，族人争产，自经死。有《戊寅草》、《湖上草》等。\n史载柳如是喜男装。这幅小象中，她幅巾广袖，风姿如玉，眉目间自有清逸之气，可谓传神。",[25,26,7,985,28,29,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9021ddbd10d5a9fe53dfbc4a7171900.jpg",[39],{"id":11429,"slug":11430,"title":10570,"dynasty":18,"author":3916,"museum":147,"description":11431,"tags":11432,"thumbUrl":11433,"material":82,"size":11434,"collection":39,"collections":11435,"showCount":11356,"zanCount":43,"manualWeight":43,"mainColor":88},218382,"luo-han-tu-jin-nong-218382","这是一幅长须罗汉坐在棕榈树下，神态安详的画，他已经获得了大罗汉的果位。这幅画是金农人物画的代表作。",[23,25,26,7,54,985,77,29,253,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75ebb87baf372dcdb84c225c1bba02a.jpg","69.1x25.5",[39],{"id":11437,"slug":11438,"title":9820,"dynasty":207,"author":11439,"museum":6403,"description":11440,"tags":11441,"thumbUrl":11442,"material":37,"size":100,"collection":138,"collections":11443,"showCount":11356,"zanCount":11,"manualWeight":43,"mainColor":342},218251,"xue-jing-shan-shui-tu-sun-jun-ze-218251","孙君泽","寒枝疏瘦，柳条如丝绦般摇曳于雪色间。远山覆雪，皴笔淡染出苍茫寒意；近景暖阁内人影依稀，似有围炉清谈之趣。画面融南宋院体的精工与元人山水的空灵，留白处见雪意，线条间藏生机。萧寒天地中，暖阁的烟火气与远山的静谧相映成趣，于素净笔墨间，寻得一份静谧温情，尽显冬日山水的清旷之美。",[25,364,7,77,28,130,3880,129,377,404,132,29,7002,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b3736813819c79171866fb270f653e.jpg",[138],{"id":11445,"slug":11446,"title":11447,"dynasty":109,"author":9359,"museum":74,"description":11448,"tags":11449,"thumbUrl":11450,"material":37,"size":100,"collection":39,"collections":11451,"showCount":11356,"zanCount":11,"manualWeight":43,"mainColor":44},216985,"luo-han-zhou-guan-xiu-216985","罗汉轴","罗汉图是五代十国时期的一件珍贵的文物。它是一幅画，描绘了佛教的著名的罗汉（又被称作“菩萨”）。这幅画的特别之处在于，它是由贯休所画。\n\n贯休（907年-971年）是五代十国时期的一位著名的佛教徒和文学家。他是宋朝的开国皇帝赵匡胤的政治顾问，在赵匡胤建立宋朝后，贯休成为了宋朝的一位高级官员。贯休是当时佛教界的知名人士，他著有许多佛教经典，并且在佛教研究方面有很高的造诣。\n\n罗汉图是五代十国时期最重要的佛教文物之一，它对于研究这一时期的佛教文化和历史具有重要的价值。",[25,26,7,54,5733,28,27,29,58,1405,8741,3432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dce4cc8cc12226031be8f6e4d29a72c.jpg",[39],{"id":11453,"slug":11454,"title":11455,"dynasty":18,"author":11456,"museum":74,"description":11457,"tags":11458,"thumbUrl":11459,"material":82,"size":11460,"collection":101,"collections":11461,"showCount":11356,"zanCount":11,"manualWeight":43,"mainColor":44},214247,"li-shu-zhou-zheng-fu-214247","隶书轴","郑簠","此隶书作取法汉碑精髓，笔致灵动洒脱，蚕头燕尾意趣天成，横波跌宕间藏古雅风骨。字形扁方舒展，如汉阙卧云，沉稳中透着逸气。墨色浓淡相宜，枯润相生，规整处见变化，显匠心独运。左款小字与主体隶书相映成趣，章法疏朗有致，整体气象浑朴，既有汉隶的厚重雄浑，又含文人书家的清逸韵致，堪称清初隶书复兴浪潮中的精品，尽显传统书法之美。",[23,26,80,5199,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf0e8b381e54abed129e99db901c6df3.jpg","181.5x120.3",[101],{"id":11463,"slug":11464,"title":11465,"dynasty":18,"author":3540,"museum":74,"description":11466,"tags":11467,"thumbUrl":11468,"material":82,"size":11469,"collection":101,"collections":11470,"showCount":11356,"zanCount":43,"manualWeight":43,"mainColor":88},214244,"li-shu-liu-yan-lian-lu-hui-214244","隶书六言联","笔墨沉厚含汉碑遗韵，蚕头燕尾间见古雅风骨。上联静观白水，澄澈如心之盟，笔意敛藏静气；下联遍访青山，以天地为笺打稿，笔画舒展似丘壑在胸。动静相济的联句，借隶书沉稳灵动之态，铺展文人观物雅趣——于静水照见本心，于青山撷取画魂。墨色浓淡相宜，结体端方却不失活脱，每一笔皆似与自然对话，融山水之灵与书者之情于尺幅，尽显传统文人“外师造化，中得心源”的修为与意趣。",[23,26,80,5199,3362,7,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eca515ee23c93b4a552187bf680dd89.jpg","85x20.1",[101],{"id":11472,"slug":11473,"title":11474,"dynasty":207,"author":208,"museum":74,"description":2525,"tags":11475,"thumbUrl":11477,"material":82,"size":11478,"collection":100,"collections":11479,"showCount":11480,"zanCount":11,"manualWeight":43,"mainColor":88},290960,"gu-kou-chun-geng-tu-wang-meng-290960","谷口春耕图",[24,25,26,7,77,129,130,132,131,5506,11476,1639,79,80],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2e70b6711706e72d0fd7a32ef37df4.jpg","124.9x37.1",[],63,{"id":11482,"slug":11483,"title":11484,"dynasty":93,"author":584,"museum":74,"description":11485,"tags":11486,"thumbUrl":11487,"material":182,"size":11488,"collection":100,"collections":11489,"showCount":11480,"zanCount":419,"manualWeight":43,"mainColor":44},290298,"hua-mu-dan-zhou-zhao-chang-290298","画牡丹轴","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[24,25,7,28,27,113,114,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd4bca642dcf11d1cb871a52b5b38d1.jpg","143.5x59.3",[],{"id":11491,"slug":11492,"title":11493,"dynasty":18,"author":318,"museum":236,"description":11494,"tags":11495,"thumbUrl":11496,"material":214,"size":11497,"collection":101,"collections":11498,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":88},240511,"zhu-da-yan-zhou-shan-ren-shi-zhou-zhu-da-240511","朱耷弇州山人诗轴","释文：\n當時七子才名大，誰似金甌出御題。搖筆江南開雨露，揮鞭海水卷虹霓。張公政就民堪乐，蜀國弦調聽不淒。倘许元戎過小隊，新庄亦字浣花溪。\n末识“弇州山人诗，八大山人书。”下钤“八大山人”、“何园”印二方。首钤“遥属”印一方。本幅无藏印，未见著录。\n此件作品为朱耷晚年创作。所书的这首七言律诗乃明代王世贞所作，原题为“喜肖甫中丞开府吴中”其二。“中丞”为巡抚的别称。此诗是王世贞为友人官拜巡抚，恭贺誌喜而作。原诗收入《四库全书·弇州山人四部稿》卷41，两相对照，诗句互有出入。原诗为“当时七子大名齐，谁似金瓯出御题。摇笔江南开雨露，挥鞭海外卷虹霓。张公政就真堪乐，蜀国弦调自不凄。倘许元戎过小队，新庄亦号浣花溪。”\n朱耷将篆书笔法融于行草书中所形成的独特书体，在清初书坛独树一帜。他的作品多藏锋运笔，点划圆融，转换轻便，章法布置疏密得当，错落有致，于均衡与工整当中呈现出奇特、险怪、夸张的艺术特色。线条的运用和章法的分间布白与其绘画有异曲同工之妙。",[80,305,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621ebdd18807e3f033488d97158760b7.jpg","纵200.9厘米，横76.5厘米",[101],{"id":11500,"slug":11501,"title":11502,"dynasty":18,"author":11503,"museum":236,"description":11504,"tags":11505,"thumbUrl":11506,"material":214,"size":100,"collection":101,"collections":11507,"showCount":11480,"zanCount":11,"manualWeight":43,"mainColor":88},238975,"he-hua-wang-wen-zhi-ti-yong-zhou-pan-gong-shou-238975","荷花王文治题咏轴","潘恭寿","潘恭寿 （1741－1794），字慎夫，号握篔，又号莲巢，丹徒（今江苏镇江）人。中年归依佛门后，法号达莲。",[7,25,26,77,28,306,307,97,80,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa48d2065c663302255911bf30c46e5.jpg",[101],{"id":11509,"slug":11510,"title":11511,"dynasty":72,"author":752,"museum":331,"description":11512,"tags":11513,"thumbUrl":11514,"material":100,"size":100,"collection":100,"collections":11515,"showCount":11480,"zanCount":11,"manualWeight":43,"mainColor":44},237908,"ting-qin-zhou-chen-hong-shou-237908","听琴轴","《陈洪绶听琴轴》是明代画家陈洪绶创作的一幅绫本设色画，该画现藏于 。\n款署：“枫溪弗迟老人陈洪绶写于定香桥畔。\n”钤“字章侯”白文印。\n图绘一端庄文弱的女子在专心抚琴的场景。\n其优美的琴音吸引了周围的人，侍女驻足恭听，不愿打扰动听的旋律；男子侧耳静听，不愿落掉每一个音符。\n“弹”与“听”构成了画作的主题，也表达了文人所向往的一种娱乐情趣和他们日常的家居生活状态。\n此幅所绘人物形象古拙，线描造型准确传神，显现出作者深厚的艺术功底和既写实又独具韵味的笔墨特点，是其仕女人物画的代表作之一。",[25,26,24,7,28,27,985,29,30,777,392,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f517614b1bbd46132ab010b3fe9ea3e.jpg",[],{"id":11517,"slug":11518,"title":11519,"dynasty":72,"author":11520,"museum":236,"description":11521,"tags":11522,"thumbUrl":11523,"material":486,"size":11524,"collection":100,"collections":11525,"showCount":11480,"zanCount":11,"manualWeight":43,"mainColor":44},233881,"fu-rong-e-tu-zhou-sun-long-233881","芙蓉鹅图轴","孙隆","图绘池塘草畔，一只大鹅昂首前望，侧立于芙蓉、湖石下。芙蓉花叶用先点后勾法画成，墨、色相间。太湖石以没骨法渲染。鹅则兼用没骨与勾勒，以淡墨线勾勒轮廓、羽毛，淡墨渲染花色，朱棕赭石填染咀和掌，造型严整，笔致工细。整幅画不拘泥于细节的刻划，而是从整体出发，着力表现白鹅、芙蓉的生动神态。\n在画法上，作者将写意与写形、没骨与勾勒、水墨与淡彩融为一体，和谐地统一于图画之中。这种画法的渊源，应为宋、元以来水墨写意花鸟技法的发展和变异，是孙隆的一种创造，开写意花鸟画之新风。此图为其存世佳作。",[25,24,26,7,113,28,1593,675,3643,307,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4161d97123ab1447f6e046cfecf58534.jpg","纵159.3厘米，横84.1厘米",[],{"id":11527,"slug":11528,"title":11529,"dynasty":72,"author":1751,"museum":331,"description":11530,"tags":11531,"thumbUrl":11532,"material":100,"size":100,"collection":100,"collections":11533,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":44},228465,"kong-que-mei-hua-tu-zhou-lu-zhi-228465","孔雀梅花图轴","虬曲老梅横斜错落，红白两色梅花次第绽放在柔枝之上，冷艳娇柔间衬出古木苍劲朴拙。两只孔雀栖于枝头，一仰一顾，翠色绒羽晕染细腻，眼状翎斑层叠分明，华贵翎羽舒展下垂，姿态悠然又灵动传神，尽显瑞禽雍容气度。\n\n画作兼工带写，以工笔精绘孔雀肌理，写意铺陈梅枝古态，冷暖色调交融和谐，将春日生机与祥瑞意趣藏于笔墨之间，暗合咏颂长寿的美好寄寓，是兼具雅致文心与吉祥意涵的精妙之作。",[23,25,26,7,27,28,113,5187,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e3d407997aaad3691b913985c7aa58.jpg",[],{"id":11535,"slug":11536,"title":11537,"dynasty":93,"author":808,"museum":331,"description":11538,"tags":11539,"thumbUrl":11541,"material":100,"size":100,"collection":100,"collections":11542,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":44},227489,"ting-qin-tu-li-zhou-zhao-ji-227489","听琴图立轴","徽宗一朝，在中国绘画发展历史上具有重要意义。熟悉徽宗宫中艺事的邓椿在《画继》中载徽宗之言：“朕万几余暇，别无他好，惟好画耳。”赵佶以皇帝之尊提倡绘画，广招天下贤士进翰林图画院，提高院画家地位，并将“画学”前所未有地纳入科举的轨道，中国绘画的职业化至此达至极盛。",[23,25,26,7,28,27,29,378,31,777,79,776,11540,1674,34,601],"琴桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305792b178f52b137d5657051444750f.jpg",[],{"id":11544,"slug":11545,"title":11546,"dynasty":93,"author":875,"museum":331,"description":11547,"tags":11548,"thumbUrl":11550,"material":100,"size":100,"collection":100,"collections":11551,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":342},226544,"gui-zhao-tu-zhou-jing-hao-226544","归棹图轴","五代十国时，虽然国家四分五裂战乱连年，南唐都城所在地却相对平稳，于是有了书画艺术的一个发展高峰期。特别是中国山水画发展的重要时期，一些画家在唐代以青绿或水墨青绿在屏障上挥写大山大水或松石林木的基础上，深入大自然中进行创作。五代时中国水墨山水画趋于成熟，以以荆浩、关仝为代表的北方画家和以董源、巨然为代表的南方画家创立了真实生动的雄伟北方峻岭和秀丽江南山川两大山水画体系，世称“荆、关、董、巨”。这里介绍荆浩绘画作品。",[23,24,25,26,7,77,130,129,349,193,377,151,170,29,522,11549,9340],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99961b5d997a891ba19d41dce3890d15.jpg",[],{"id":11553,"slug":11554,"title":7862,"dynasty":93,"author":50,"museum":331,"description":11555,"tags":11556,"thumbUrl":11557,"material":198,"size":780,"collection":100,"collections":11558,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":44},223663,"e-mi-tuo-fo-tu-yi-ming-223663","阿弥陀佛（梵语Amitābha），又名无量佛、无量光佛、无量寿佛等。大乘经载，阿弥陀佛在过去久远劫时曾立大愿，建立西方净土，广渡无边众生，成就无量庄严功德，为大乘佛教所广为崇敬和弘扬。大乘佛经主要如《无量寿经》、《阿弥陀经》、《观无量寿佛经》，对阿弥陀佛及其西方极乐世界均有详述。大乘佛教流传之地，如中国、日本等大乘教区，阿弥陀佛信仰也尤为繁盛和重要。而汉传佛教的净土宗，则完全以往生阿弥陀佛的西方净土作为专修的法门。",[23,1520,25,26,7,54,29,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe74592da1391b22d35470a1a2831b583.jpg",[],{"id":11560,"slug":11561,"title":11562,"dynasty":93,"author":50,"museum":331,"description":11563,"tags":11564,"thumbUrl":11566,"material":100,"size":100,"collection":100,"collections":11567,"showCount":11480,"zanCount":11,"manualWeight":43,"mainColor":44},223632,"lian-chi-shui-qin-tu-zhou-dui-zhou-er-yi-ming-223632","莲池水禽图轴对轴二","以没骨晕染写就盛夏荷塘生机，粉荷或粲然盛放，或含苞待绽，淡粉水色晕出花瓣柔润层次，娇妍动人。石绿敷色的荷叶，渍染出卷舒枯荣，苍润兼具，尽显池上蓊勃夏意。\n\n两只水禽优游波间，翎羽细勾淡染，姿态闲舒缓和，破开繁花叶影的静谧，添了灵动生趣。\n\n古雅的旧绢底色晕染出宋韵古澹，构图疏密错落，将荷塘幽谧生机融于尺幅，藏着宋人格物观照的雅致意趣，虽经岁时磨损，依旧能窥见院体花鸟工致温婉的审美品格。",[23,24,25,26,7,27,28,32,306,307,1890,11565],"池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcad2f0b5b63fb5100d6e2037573719a0.jpg",[],{"id":11569,"slug":11570,"title":11571,"dynasty":72,"author":4145,"museum":265,"description":11572,"tags":11573,"thumbUrl":11574,"material":1320,"size":11575,"collection":138,"collections":11576,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":44},222593,"song-luo-wan-cui-tu-lan-ying-222593","松萝晚翠图","此图是蓝瑛38岁的国画作品。画面峰峦层叠，中部有庙宇坐落于茂密的松林中，半隐半露相映成趣。泉水沿着蜿蜒的山涧，飞流直泻，与山脚的河流相连，近处河边杂树成林，林中一老人前行，琴童后随。\n画面布局采用“高远”法，气势雄峻。山石的纹理采用“荷叶皴”兼取“斧劈皴”，墨色润泽，浓淡相间，充分表现出苍山的层次感和体积感，石绿作苔点，疏落有致，色彩明洁，增添了画面的装饰趣味。",[23,25,26,7,28,129,378,253,269,193,169,132,1717,377,664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b4e2036bc72593e80638f98b23c217.jpg","160x55cm",[138,185],{"id":11578,"slug":11579,"title":1381,"dynasty":72,"author":683,"museum":74,"description":11580,"tags":11581,"thumbUrl":11582,"material":255,"size":11583,"collection":138,"collections":11584,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":44},222029,"shan-shui-zhou-dai-jin-222029","此画从构图看全幅构图取近景形式，自下而上，呈上、中、下三段层次。上端即远山迷漾，峰峦环抱，群山侧于画面的左上角，山上和山腰杂木丛生。山下即中景为宽阔水面，汪洋一片，把远景与近景遥遥相隔，河水中无渔舟停泊，亦无水阁临溪，显得十分幽静。近景为此画的主体部分。坡石连绵，坡石高矮不一，其问有几株盘根虬曲的树木，树下山上有数间楼阁，楼阁围有 栏杆，一位长者端坐在楼阁内，正在观赏美丽的山水景致。\n款署，“景泰壬申春三月钱塘戴文进写。”",[23,25,7,129,28,130,377,193,349,29,170,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4043ef01c707ccd4702333f8460033.jpg","纵139．0厘米，横79．8厘米",[138,185],{"id":11586,"slug":11587,"title":11588,"dynasty":93,"author":1283,"museum":74,"description":11589,"tags":11590,"thumbUrl":11592,"material":37,"size":11593,"collection":157,"collections":11594,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":342},221286,"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[23,25,24,26,7,77,28,130,129,3880,170,132,1618,8355,878,11591],"流水 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567a440bad362794ef3a58bd9280e8cc.jpg","120.4x74.7厘米",[157,138,185],{"id":11596,"slug":11597,"title":11598,"dynasty":72,"author":1024,"museum":265,"description":11599,"tags":11600,"thumbUrl":11601,"material":1320,"size":100,"collection":138,"collections":11602,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":88},220960,"fang-shu-yao-feng-tu-dong-qi-chang-220960","芳树遥峰图","绘河两岸景色，远处山峰高耸，最高峰中部留白，山顶半悬，实乃绝妙之笔；近处河岸上树木林立，叶已枯槁，杆直修长，与河对岸的山峰遥遥相望。画项端题诗一首：桂树及冬荣，瑶草待春发。惟闻鸾鹤声，寥寥上烟月。",[23,25,26,7,77,130,129,1651,351,1419,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25884801024ed867821988d30206d287.jpg",[138,185],{"id":11604,"slug":11605,"title":11606,"dynasty":207,"author":695,"museum":74,"description":11607,"tags":11608,"thumbUrl":11609,"material":182,"size":11610,"collection":185,"collections":11611,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":44},220771,"shuang-song-tu-zhou-wu-zhen-220771","双松图轴","画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝枒纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。",[25,26,7,77,130,129,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddcec95a642bee2f102e970fa2af7cc8.jpg","纵155.5cm，横66cm",[185,702],{"id":11613,"slug":11614,"title":11615,"dynasty":283,"author":4407,"museum":1782,"description":11616,"tags":11617,"thumbUrl":11618,"material":100,"size":100,"collection":100,"collections":11619,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":88},220490,"fan-zhou-xin-an-jiang-zhang-da-qian-220490","泛舟新安江","以高远危崖呼应平阔水汀，淡赭晕开朝暮霞光，江雾轻笼天地。枯笔勾出崖石筋骨，焦墨点簇顶间林木，苍劲里暗含秀雅疏朗。水色留白晕染浅青，浅滩枯木枝桠清瘦，间缀浅红秋意，冷寂中晕开暖意。\n\n扁舟横斜汀渚，舟上人影简淡，尽显江湖散人的从容闲逸。整幅画笔简意足，将江乡清灵旷远融于淡墨轻色之间，淡而弥永，尽显萧散简远的文人林下风流。",[23,25,28,130,7,129,349,170,132,1419,173,733,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30913e83fe79ae7e565b04344eaf69a.jpg",[],{"id":11621,"slug":11622,"title":11623,"dynasty":18,"author":4828,"museum":236,"description":11624,"tags":11625,"thumbUrl":11627,"material":82,"size":11628,"collection":138,"collections":11629,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":88},220115,"liu-cun-qiu-si-tu-wu-li-220115","柳村秋思图","此图是吴历晚年的代表作之一，为其好友民誉（姓金，名造士）所藏。图中重点描绘了近景的柳树。其柳叶以中锋落笔点染，表现出秋风中柳叶含烟带露的柔美，又通过水墨的浓淡层次变化显现出柳叶交叠错落的自然风貌，体现了吴历工细写实的画风特点。",[23,25,77,129,7,130,1126,253,151,29,196,11626,252,56],"道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12ddaee3bf0639e8563322f28ebc8fb.jpg","纵67.7厘米，横26.5厘米",[138,185],{"id":11631,"slug":11632,"title":11633,"dynasty":72,"author":50,"museum":51,"description":2747,"tags":11634,"thumbUrl":2750,"material":37,"size":11635,"collection":39,"collections":11636,"showCount":11480,"zanCount":11,"manualWeight":43,"mainColor":44},219701,"song-zi-guan-yin-yi-ming-219701","送子观音",[25,28,27,54,7,29,241,4209,602],"120.7x60.3cm",[39],{"id":11638,"slug":11639,"title":11640,"dynasty":72,"author":50,"museum":147,"description":11641,"tags":11642,"thumbUrl":11643,"material":136,"size":100,"collection":39,"collections":11644,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":44},219523,"shuang-xian-ren-tu-yi-ming-219523","双仙人图","画面里两位仙人意态悠然，一位素衣宽袍，神情沉静垂手而立；另一位以叶为裳，虬髯浓密，正持笔轻触好友长须，亲昵随性，尽显知己投契的自在。\n\n线条清劲如铁线，衣纹舒展自然，叶裳晕染细致鲜活，浅淡古雅的设色衬出超凡仙逸。留白开阔空灵，将世外之人的澹泊闲情，知己同游的融融意态铺陈开来，笔底藏着山林隐者的逍遥，古意悠悠，静雅动人。",[23,25,26,7,27,985,28,29,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc7edf6d9652291b3fbe4295465e07a.jpg",[39],{"id":11646,"slug":11647,"title":9368,"dynasty":18,"author":4998,"museum":11648,"description":9369,"tags":11649,"thumbUrl":11650,"material":136,"size":100,"collection":138,"collections":11651,"showCount":11480,"zanCount":43,"manualWeight":43,"mainColor":88},217987,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217987","京都国立博物馆",[25,26,7,129,130,28,945,132,170,193,134,173,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6ccd6d0fbd19162156288da30812a8.jpg",[138],{"id":11653,"slug":11654,"title":11655,"dynasty":207,"author":1432,"museum":74,"description":11656,"tags":11657,"thumbUrl":11658,"material":198,"size":780,"collection":100,"collections":11659,"showCount":11660,"zanCount":419,"manualWeight":43,"mainColor":44},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[24,25,26,7,77,129,1651,170,193,377,35,130,80,79,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb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钤“王时敏印”、“西庐老人”、“真寄”朱文印。\n“己酉”为清康熙八年（1669年），王时敏时年78岁。\n此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[24,25,26,7,77,129,5995,3150,172,134,133,1418,11699],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a92818843ca4d2b1ca7bd64f115128.jpg","纵135厘米，横63厘米",[138,185],{"id":11704,"slug":11705,"title":11706,"dynasty":18,"author":4788,"museum":236,"description":4789,"tags":11707,"thumbUrl":11710,"material":7074,"size":100,"collection":138,"collections":11711,"showCount":11660,"zanCount":43,"manualWeight":43,"mainColor":88},236272,"qiu-shan-you-jing-tu-zhou-kun-can-236272","秋山幽静图轴",[25,364,7,77,3984,193,349,134,269,194,169,11708,11709],"幽境","苍莽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca894ea502bfc800f010545c07b430e.jpg",[138,185],{"id":11713,"slug":11714,"title":11715,"dynasty":207,"author":208,"museum":74,"description":11716,"tags":11717,"thumbUrl":11718,"material":100,"size":100,"collection":100,"collections":11719,"showCount":11660,"zanCount":43,"manualWeight":43,"mainColor":44},232799,"shan-shui-tu-xi-shan-fang-you-wang-meng-232799","山水图(溪山访友)","此画写深秋山水。凌云而出的高山，清冽的溪水，巨石突兀，长松乔木，点缀着寻幽访友的高士，表现了寄情林泉的雅兴。",[25,26,7,77,130,129,134,193,377,170,132,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3f4507d7ed0adacc32cb42699c50a5.jpg",[],{"id":11721,"slug":11722,"title":11723,"dynasty":18,"author":1296,"museum":331,"description":11724,"tags":11725,"thumbUrl":11726,"material":100,"size":100,"collection":100,"collections":11727,"showCount":11660,"zanCount":11,"manualWeight":43,"mainColor":44},228982,"liu-xi-xing-zhou-tu-shi-tao-228982","柳溪行舟图","此作诗书画印浑然相融，尽展林泉野致。山峦以皴擦互用，写就岩崖苍厚嶙峋，林麓间山居藏隐，藏露之间暗合幽栖雅意。\n溪湾扁舟轻漾，独棹的渔翁将画面意趣引向空濛烟水，板桥连缀溪谷，荒草苍松点染其间，朴茂苍劲。笔墨干湿浓淡交叠，带着萧散旷达的文人心性，把丘壑烟岚的清寂诗意落于笔底，将文人山水的诗境与画韵揉合为一，尽显幽远空疏的林下风致。",[23,25,77,130,7,26,97,129,1126,2014,134,193,378,601,1275,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ee2c58c5ce1b367e94b44021285a3.jpg",[],{"id":11729,"slug":11730,"title":11731,"dynasty":72,"author":9285,"museum":74,"description":11732,"tags":11733,"thumbUrl":11734,"material":37,"size":11735,"collection":100,"collections":11736,"showCount":11660,"zanCount":43,"manualWeight":43,"mainColor":44},228363,"xian-kan-er-tong-zhuo-liu-hua-ju-yi-zhou-zhou-chen-228363","闲看儿童捉柳花句意轴","生动形象地描绘了杨万里的诗意，清新闲适，童趣横生",[25,26,7,28,27,129,29,8517,253,377,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34e09c91adaceb2e568e701e04b643c.jpg","116.6×63.5",[],{"id":11738,"slug":11739,"title":360,"dynasty":207,"author":11740,"museum":331,"description":11741,"tags":11742,"thumbUrl":11743,"material":100,"size":100,"collection":100,"collections":11744,"showCount":11660,"zanCount":11,"manualWeight":43,"mainColor":44},228244,"xian-shan-lou-ge-tu-chen-ru-yan-228244","陈汝言","此作为典型的元人青绿山水，承续唐宋青绿遗韵。层叠峰峦以石青、石绿晕染勾勒，色泽古雅厚重，虽经岁月稍褪，仍可见旧时明丽。苍松虬劲错落，扎根于岩岫之间，楼阁屋舍隐现幽谷林泉，几处文人逸士或策杖徐行、或凭栏晤谈，衬出山居空寂幽深。\n\n整幅疏密得宜，将仙山秘境的超脱清灵铺展于绢素，既带着青绿山水的富丽端严，又融入元人山水独有的萧散意趣，把世外山居的恬然仙气尽数勾勒，尽显缥缈出尘的隐逸雅意。",[23,24,25,26,4108,268,28,364,27,130,7,365,269,427,134,193,29,132,170,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e76427d011700fd2ac0d5e310c74ac.jpg",[],{"id":11746,"slug":11747,"title":1960,"dynasty":18,"author":4505,"museum":331,"description":11748,"tags":11749,"thumbUrl":11750,"material":100,"size":100,"collection":100,"collections":11751,"showCount":11660,"zanCount":419,"manualWeight":43,"mainColor":88},224601,"mu-dan-tu-zhao-zhi-qian-224601","此作以花石构景，艳色牡丹栖于遒劲老干之上，粉黛冰蓝双色相映，花瓣晕染柔润鲜活，将盛放之姿晕染得明丽不妖。苍褐枝干虬曲舒展，墨色浓淡铺陈出老木肌理，与娇花形成刚柔对照。下方顽石以大写意挥就，枯笔焦墨勾勒棱线，积墨晕染块面，浑朴厚重，稳稳托住上方花簇。书法题跋笔力雄健，与画面笔墨意趣呼应相融，兼工带写间揉合富贵妍丽与文人清刚风骨，尽显雅致雄浑的格调。",[23,25,113,28,7,114,35,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8cd0de9c7e77bb31d338f9985752b6.jpg",[],{"id":11753,"slug":11754,"title":11755,"dynasty":93,"author":50,"museum":74,"description":11756,"tags":11757,"thumbUrl":11758,"material":37,"size":11759,"collection":157,"collections":11760,"showCount":11660,"zanCount":43,"manualWeight":43,"mainColor":44},223520,"mei-zhu-ju-qin-tu-yi-ming-223520","梅竹聚禽图","此幅《梅竹聚禽图》的构图严谨，并且重视描绘物象的准确性，符合徽宗画院注重观察写生、讲究师承法度的标准，是一件能够代表“宣和体”的佳作。画面中央，画梅树一株，枝干弯曲而上，后方衬以翠竹棘条，有伯劳、绿鸠、鹌鹑等鸟禽栖身其间。整幅画的构图以S形屈曲的梅干来切割画面，并以成弧形交叉的竹棘增加动态感，布局虽繁密，但不零乱。画家成功将画面物象和布局理想化，创造出一种超乎时空，传达永恒的完美意象。画中的主要物象，均以双钩填彩的方式，生动的描绘出对象的色彩与体积感，给人一种平和，端庄之美。",[23,25,24,26,7,27,28,113,392,31,115,35,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[157,84,158],{"id":11762,"slug":11763,"title":11764,"dynasty":72,"author":7648,"museum":209,"description":11765,"tags":11766,"thumbUrl":11767,"material":28,"size":11768,"collection":84,"collections":11769,"showCount":11660,"zanCount":11,"manualWeight":43,"mainColor":88},222448,"hua-niao-tu-zhou-lin-liang-222448","花鸟图轴","林良作花鸟画取材十分广泛。他最擅于画禽鸟，从江湖山野的苍鹰、小雀、鱼鸟、芦雁，到宫廷后苑的仙鹤、孔雀、凤凰等等，都一一入画。他对禽鸟作了细致入微的观察，将禽鸟的飞鸣食宿之态，跳攀争斗之势表现得十分准确、生动、传神。林良画的花木同样是生气勃勃：汀芦、灌木、翠枝、枯藤等植物呈现出含苞养秀、荣枯凋落等各种生态，充满野趣和生机。\n林良在花鸟画领域中，最具创造性的是他对水墨写意技法的运用。他把南宋马远、夏圭的水墨山水画技法引入花鸟画之中，打破了工笔与写意的界限，大大丰富了花鸟画的表现方法。而林良的写意，又只是在写实之中略为开放，既不背离形似，又不着意于酷似。他以水墨为主作画，黑白变化多端。萧镃于明景泰六年为林良的《九思图》题曰：“……宣庙间，边景昭五色翎毛称独步，近日林良用水墨，落笔往往皆天趣。”《明画录》则称林良“着色花果翎毛极精巧，取水墨为烟波出没，凫雁嚵唼容与之态，颇见清淡。树木遒劲如草书，人莫能及。”",[23,25,7,77,304,113,115,1373,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a383be487dab662a8b62819082463dd.jpg","36X183cm",[84,185],{"id":11771,"slug":11772,"title":11773,"dynasty":207,"author":8299,"museum":51,"description":11774,"tags":11775,"thumbUrl":11776,"material":99,"size":11777,"collection":185,"collections":11778,"showCount":11660,"zanCount":11,"manualWeight":43,"mainColor":44},220369,"mo-ji-shi-yi-tu-tang-di-220369","摩诘诗意图","《摩诘诗意图》毫无疑问是唐棣山水画的代表作。画面近景巨树磅礴有力，远景平野延展不绝，树木是典型的蟹爪枝，山石是典型的鬼面石，皴法是典型的卷云皴，真可谓得李郭“真传”。",[23,25,77,129,131,132,130,7,522,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fd21367e223c6a2061d4a44ff001c3.jpg","71x46cm",[185],{"id":11780,"slug":11781,"title":11782,"dynasty":72,"author":11783,"museum":1714,"description":11784,"tags":11785,"thumbUrl":11786,"material":82,"size":11787,"collection":185,"collections":11788,"showCount":11660,"zanCount":43,"manualWeight":43,"mainColor":44},220357,"yue-xia-pu-tao-tu-wang-liang-chen-220357","月下葡萄图","王良臣","王良臣（ 生卒年不详），平生无可考。作花卉，意在沈周、徐渭之间，疑为明嘉、万历年间画家。",[25,26,7,77,113,1098,59,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c5d497af84a9427a0bb325bf7c4c38.jpg","188.4x60.2",[185],{"id":11790,"slug":11791,"title":11792,"dynasty":93,"author":5127,"museum":74,"description":11793,"tags":11794,"thumbUrl":11795,"material":37,"size":11796,"collection":39,"collections":11797,"showCount":11660,"zanCount":43,"manualWeight":43,"mainColor":44},219608,"dong-li-gao-shi-tu-liang-kai-219608","东篱高士图","《宋梁楷东篱高士图轴》是南宋画家梁楷创作的作品此画中一高士手拿菊花，漫步在山中。背景用淡墨烘染，而红叶跟高士手中的菊花，点出这幅图画的是秋天。陶渊明是著名的“隐逸诗人”，又特别爱菊花，因此图中的高士不禁让人联想到陶渊明。",[23,24,25,26,7,5130,77,28,29,4762,131,132,193,1625],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6dfba9b9f71ac3b315d150e8db4344f.jpg","纵71.5厘米，横36.7厘米",[39],{"id":11799,"slug":11800,"title":11801,"dynasty":72,"author":11802,"museum":74,"description":11803,"tags":11804,"thumbUrl":11805,"material":28,"size":11806,"collection":84,"collections":11807,"showCount":11660,"zanCount":419,"manualWeight":43,"mainColor":88},219406,"song-qin-tu-tan-zhi-yi-219406","松禽图","谈志伊","松针如缕，淡蓝晕染似含晨露清光，垂枝轻逸如丝带斜曳。鸟儿敛翅栖于枝上，羽色温润，黑眸凝睇间藏着几分闲逸与机警。笔墨细腻处，鸟羽纹理纤毫毕现；写意枝干带着自然苍劲，工写相济间气韵流动。留白铺陈更显空灵，仿佛能听见风过松梢轻响，窥见林间幽寂。整幅画无繁复景致，却于极简中见真意——是文人对自然宁静的向往，亦是笔墨间流淌的雅致情韵，将寻常小景化作耐人寻味的诗意栖居。",[25,26,7,27,28,113,378,548,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565dd85179d3be607a9685089f10b499.jpg","138.3x33.6",[84],{"id":11809,"slug":11810,"title":11811,"dynasty":72,"author":11812,"museum":74,"description":11813,"tags":11814,"thumbUrl":11815,"material":82,"size":11816,"collection":39,"collections":11817,"showCount":11660,"zanCount":43,"manualWeight":43,"mainColor":88},219362,"guan-shi-yin-xiang-tu-shen-shi-chong-219362","观世音像图","沈士充","淡墨线条如行云流水，勾勒出观音端坐之姿。衣纹婉转流畅，纱幔轻盈似有风动，垂坠间尽显织物柔韵。她垂眸含慈，眉宇间凝着悲悯与安宁，头饰虽简却见匠心，衬得面容圣洁温婉。留白处散落的题跋与朱印，既添古朴韵味，亦映证作品流传脉络。整幅画以极简笔触，传递出深沉禅意与人文温度，观之如沐清辉，心渐沉静。",[25,26,24,7,54,29,985,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d098b00d77f489e63754c4af5e92d3.jpg","60.1x32",[39],{"id":11819,"slug":11820,"title":11821,"dynasty":72,"author":11822,"museum":74,"description":11823,"tags":11824,"thumbUrl":11826,"material":37,"size":11827,"collection":158,"collections":11828,"showCount":11660,"zanCount":43,"manualWeight":43,"mainColor":44},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 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家。\n画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。\n吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。\n此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。\n在色彩上两者都具有相似的绚丽色泽。\n此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。",[23,25,77,7,113,1126,1127,151,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718470a984f0d650aff4498a17cee84d.jpg","75.9x25.5",[185,702],{"id":11968,"slug":11969,"title":412,"dynasty":207,"author":11970,"museum":648,"description":11971,"tags":11972,"thumbUrl":11973,"material":182,"size":11974,"collection":185,"collections":11975,"showCount":11873,"zanCount":11,"manualWeight":43,"mainColor":44},221805,"zhu-shi-tu-li-shi-xing-221805","李士行","水墨画坡石重叠，三竿晴竹顶天立地，旁傍拳石，丛篁荆棘掩映衬托。竹叶疏密偃仰有致，显出微风乍起有向上飘举之势。石皴圆润，存董、巨遗法。余图浓淡虚实，笔笔相应，同笔自然灵活稳健，墨色偏淡层次分明。画心左侧行书署：“蓟丘李士行遵道作”款。左下角钤梁清标、临圣斋收藏印证。李士行(1282—1328)，字遵道，号黄岩，河北蓟丘人是名画家李衔的长子。诗歌、书画除力承家学之外，又得赵孟頫和鲜于枢之指授，善画山水，以所画大明宫图入晃仁宗嘉奖其能。画竹石枝叶挺秀，得写生妙趣。此图墨竹画法纯出李衔，披石大披麻皴，有别于乃父之渴笔渲染。现藏辽宁省博物馆。",[23,25,77,7,31,601,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ecc7ea8f565c5eebab3e747c307003.jpg","画心纵170、横92.3厘米",[185,702],{"id":11977,"slug":11978,"title":11979,"dynasty":207,"author":208,"museum":74,"description":11980,"tags":11981,"thumbUrl":11982,"material":182,"size":11983,"collection":138,"collections":11984,"showCount":11873,"zanCount":43,"manualWeight":43,"mainColor":44},220817,"xi-shan-gao-yi-zhou-wang-meng-220817","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[23,24,25,26,7,77,28,130,129,170,193,134,377,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F067de7b72861ee94fa127638ad6c1f4c.jpg","该幅113.7x65.3公分；诗塘26.5x65公分；全幅93公分",[138,158],{"id":11986,"slug":11987,"title":11988,"dynasty":283,"author":4407,"museum":1782,"description":11989,"tags":11990,"thumbUrl":11991,"material":100,"size":100,"collection":100,"collections":11992,"showCount":11873,"zanCount":43,"manualWeight":43,"mainColor":88},220494,"chan-yu-liu-zhang-da-qian-220494","蝉与柳","以淡墨挥写柳干，枯笔焦墨提点节疤，苍劲老辣。柳条以中锋曳动，兼施花青淡赭晕染，虚实交错如流烟漫卷，将秋风里柳丝的柔曼含露尽皆写出。\n\n隐于柳荫的秋蝉只以数笔点就，形简神完，似将振翅。配题诗句暗合清秋意境，笔墨诗思交融，尽现疏淡幽寂的秋日况味，以极简的写意笔墨，勾勒出物我皆忘的闲淡禅意。",[23,25,77,304,3473,1126,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac69fc3a617ba8d5e5c90182a798a91.jpg",[],{"id":11994,"slug":11995,"title":7350,"dynasty":72,"author":752,"museum":209,"description":11996,"tags":11997,"thumbUrl":11998,"material":37,"size":11999,"collection":84,"collections":12000,"showCount":11873,"zanCount":43,"manualWeight":43,"mainColor":44},220339,"tan-mei-tu-chen-hong-shou-220339","陈洪绶（1598-1652年），字章侯，号老莲，甲申（1644年）后号悔迟、老迟等，浙江诸暨人。通诗文，有《宝纶堂集》十卷传世。工书善画，人物、花鸟、山水皆能，尤以人物画为后世所重。初师蓝瑛，后取法李公麟、赵孟頫，所作人物，造型夸张变形，高古伟岸，运笔旋转，一气呵成，线条凝练遒劲，设色古拙，形成了高古静穆的独特画风。此图树石工笔水墨（色）相间，绘三人一马行至岸边，驻足停留，线条劲健利索，树杈枝干翻挺矫健，枝叶繁茂，给人以清幽深邃之感。",[23,25,26,7,27,28,29,196,392,129,253,351,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13b3619cb9ad6a25f7b080296fabf4.jpg","纵131.3厘米，横49.0厘米",[84,158],{"id":12002,"slug":12003,"title":10570,"dynasty":207,"author":12004,"museum":6403,"description":12005,"tags":12006,"thumbUrl":12007,"material":37,"size":12008,"collection":157,"collections":12009,"showCount":11873,"zanCount":43,"manualWeight":43,"mainColor":44},220240,"luo-han-tu-cai-shan-220240","蔡山","本图描绘的是一位拄拐杖坐在岩石上的罗汉，从姿态上看来应属第一宾度罗跋啰堕阇尊者，尊者右足跨在左膝之上，半跏坐于岩石上，右手执竹杖靠住右肩，容貌古野呈胡相，长眉之下慈悲坚毅的目光炯炯有神。用笔稳健有力，脸上皱纹、衣服褶纹、以及手足线条等均相当周密，调整合宜，设色淡雅，不碍线条的流畅。罗汉坐的岩石隙缝中暗藏有“蔡山”落款。估计此图原为十六罗汉图全套中的一幅，现存有类似风格的另一幅罗汉图。从苍老消痩的罗汉表现手法中可以看出蔡山的固有画风，画中透露出的怪异氛围，与同时代的颜辉派有着相通之处。画面右下角有足利义直的寄进铭“奉三宝弟子右兵卫督源直义舍入”， 可知它是捐献给足利直义的某寺之物。据说由足利直义于贞和2年(1346)赠予高野山金刚三昧院。\n“蔡山”之名，根据室町时代的 “君台观左右帐记”中记载，除了“元人”之外，其他均不详，传统的画史上也始终未见其名。就署名于岩石隙缝一事来看，似仍沿袭了宋代的古风，元代中期以后，此风便不多见了。本幅罗汉图属于高古细润的作风，那是融和了南宋以来，文人画和职业画工的优点，在元画中又是一件杰出而珍贵的作品。",[23,25,26,7,54,29,27,28,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea77b489c9244d27f3da7403e09bf107.jpg","113.3×53.9 cm",[157],{"id":12011,"slug":12012,"title":818,"dynasty":72,"author":8334,"museum":236,"description":12013,"tags":12014,"thumbUrl":12015,"material":136,"size":12016,"collection":138,"collections":12017,"showCount":11873,"zanCount":419,"manualWeight":43,"mainColor":88},218374,"shan-shui-tu-li-yong-chang-218374","层岩叠嶂间，笔墨勾勒出山川苍劲骨力。主峰巍峨，披麻皴皴染结合显浑厚质感；侧峰错落，林木点缀其间，松针挺劲，杂树枯枝带萧散之态。山间屋舍隐于林麓，或傍崖或临溪，似有幽人栖居之意。\n\n线条简劲，墨色层次分明，干笔皴擦见苍率，湿墨点染显润泽。近景树木扶疏，中景峰峦起伏，远景云雾含藏，虚实相生间得山水深远之致。整幅画存宋元遗韵，又具新安画派初兴的清逸之气，简淡中见古雅，丘壑间寄幽情，仿佛可闻林泉响，可感山居静。",[23,25,77,130,7,79,129,132,170,521,427,733,5506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547c8176db772742ccf265437f537614.jpg","纵125.7cm，横58.8cm",[138],{"id":12019,"slug":12020,"title":12021,"dynasty":72,"author":389,"museum":331,"description":1060,"tags":12022,"thumbUrl":12023,"material":198,"size":780,"collection":100,"collections":12024,"showCount":12025,"zanCount":11,"manualWeight":43,"mainColor":44},290856,"cai-ju-tu-zhou-tang-yin-290856","采菊图轴",[24,25,7,29,440,77,28,80,79,3837,6979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a061be1d2856741760d4fcc7b396d5.jpg",[],60,{"id":12027,"slug":12028,"title":1203,"dynasty":72,"author":389,"museum":331,"description":1060,"tags":12029,"thumbUrl":12031,"material":198,"size":780,"collection":100,"collections":12032,"showCount":12025,"zanCount":11,"manualWeight":43,"mainColor":88},290852,"pin-cha-tu-zhou-tang-yin-290852",[24,25,26,7,77,80,79,97,5902,129,29,521,132,733,12030],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c39e34cc459a2556e9473dfeb7bd579.jpg",[],{"id":12034,"slug":12035,"title":8250,"dynasty":18,"author":1296,"museum":331,"description":3157,"tags":12036,"thumbUrl":12037,"material":100,"size":12038,"collection":84,"collections":12039,"showCount":12025,"zanCount":43,"manualWeight":43,"mainColor":88},237761,"mo-mei-tu-zhou-shi-tao-237761",[25,26,7,77,985,392,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fab0adcf142610f1d8c057e202ce5f9.jpg","133×66cm.",[84],{"id":12041,"slug":12042,"title":4720,"dynasty":207,"author":4104,"museum":236,"description":4721,"tags":12043,"thumbUrl":12044,"material":745,"size":4726,"collection":100,"collections":12045,"showCount":12025,"zanCount":11,"manualWeight":43,"mainColor":44},233824,"tao-zhu-jin-ji-tu-zhou-wang-yuan-233824",[25,26,7,77,27,113,4369,31,439,35,1373,2190,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fe80188608afae39245cc2e1cd29b2.jpg",[],{"id":12047,"slug":12048,"title":12049,"dynasty":18,"author":4434,"museum":331,"description":12050,"tags":12051,"thumbUrl":12052,"material":100,"size":100,"collection":100,"collections":12053,"showCount":12025,"zanCount":43,"manualWeight":43,"mainColor":88},230133,"yu-yu-liu-se-tu-hong-ren-230133","雨余柳色图","《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。",[25,24,26,7,77,130,129,404,134,269,35,5683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8413b0a13127d754377e4b83368527.jpg",[],{"id":12055,"slug":12056,"title":108,"dynasty":18,"author":559,"museum":331,"description":12057,"tags":12058,"thumbUrl":12059,"material":100,"size":100,"collection":100,"collections":12060,"showCount":12025,"zanCount":43,"manualWeight":43,"mainColor":44},224591,"yu-tang-fu-gui-tu-zou-yi-gui-224591","《玉堂富贵图》是清代邹一桂的作品，该图规格为197×96cm，此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n该图画是邹一桂的作品，作于清代。\n此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n汉代皇宫有“玉堂殿”，后世以“玉堂”指翰林院，“历金门，上玉堂有日矣”的意思是职位高升指日可待。\n“富贵”一词出自《论语-颜渊》：“商闻之矣，生死有命，富贵在天。\n”，指富裕而显贵的意思。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n牡丹敷以淡粉，用重粉点染边缘，显得晶莹剔透、庄重典雅。\n整个画面热烈而秀雅，韵味十足。\n，字小山。\n善画人物、花卉、翎毛、偶画山水。\n擅长水墨花卉，极有重名。",[23,24,25,26,7,27,28,113,114,116,132,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74591eb4de60da169f51849ba65b2284.jpg",[],{"id":12062,"slug":12063,"title":12064,"dynasty":18,"author":921,"museum":331,"description":12065,"tags":12066,"thumbUrl":12067,"material":214,"size":12068,"collection":84,"collections":12069,"showCount":12025,"zanCount":419,"manualWeight":43,"mainColor":88},224236,"xia-qi-tu-zhou-wu-chang-shuo-224236","霞气图轴","昌硕最擅长写意花卉，受徐渭和八大山人影响最大，由于他书法、篆刻功底深厚，他把书法、篆刻的行笔、运刀及章法、体势融入绘画，形成了富有金石味的独特画风。吴昌硕作画用“草篆书”以书法入画；线条功力异常深厚。虽然从状物绘形的角度看其线条的质感似乎不够丰富、切实，但恰恰是舍弃了形的羁绊，吴昌硕的绘画才步入了“意”的厅堂，从而形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”表现形式。",[23,25,7,77,28,113,392,35,79,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c20d7acbfac92920da123a70b33adeb.jpg","125x29",[84,158],{"id":12071,"slug":12072,"title":12073,"dynasty":18,"author":921,"museum":331,"description":12074,"tags":12075,"thumbUrl":12076,"material":100,"size":100,"collection":100,"collections":12077,"showCount":12025,"zanCount":43,"manualWeight":43,"mainColor":704},224214,"pin-mei-tu-wu-chang-shuo-224214","品梅图","此作为典型文人清供小景，红梅老枝苍劲朴拙，胭脂点染花苞艳而不妖，尽显虬枝凌寒盛放的生机。茶炉以淡墨晕染，焦墨点出炽红炭火，留白暗喻水汽蒸腾，古雅茶壶静置炉上，角落油伞添了几分俗世烟火意趣，将围炉品茗赏梅的幽居闲逸铺陈开来。\n\n作者以金石笔法入画，笔力雄健老辣，苍劲题诗与疏朗画面浑然一体，诗书画印相融相合，将文人雅致闲情寄寓寻常清景中，寥寥数笔便勾勒出冬日小聚的清寂快意，把日常小景升华为超然雅致的文人意境。",[23,25,26,7,28,77,392,32,33,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20264ba227d2d6600d508cc9d63b4ae.jpg",[],{"id":12079,"slug":12080,"title":12081,"dynasty":93,"author":50,"museum":74,"description":12082,"tags":12083,"thumbUrl":12085,"material":28,"size":12086,"collection":157,"collections":12087,"showCount":12025,"zanCount":43,"manualWeight":43,"mainColor":44},223566,"xi-shan-mu-xue-zhou-yi-ming-223566","溪山暮雪轴","此画描绘的是白雪覆盖溪岸与山峰，群鸦翔集欲归巢，江天一片寒冬之意。溪山之间，仍见绿树丛丛寒林不多，应是江南冬日之景象。描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,25,24,7,129,130,77,252,613,170,172,12084,349,3996],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米",[157,138,185],{"id":12089,"slug":12090,"title":12091,"dynasty":18,"author":12092,"museum":236,"description":12093,"tags":12094,"thumbUrl":12096,"material":1573,"size":12097,"collection":100,"collections":12098,"showCount":12025,"zanCount":43,"manualWeight":43,"mainColor":88},223280,"ping-an-ru-yi-tu-yong-rong-223280","平安如意图","永瑢","该图有乾隆御书七绝一首，题跋恭呈孝圣太后。设色画松、梅、茶花、瓶、如意等，寓意“平安如意”，乾隆用以进献其母，表示吉祥和祝福。\n该画以淡墨干笔勾勒花瓶，设色淡雅，颇具文人雅趣。",[23,25,28,304,7,79,4196,7478,575,12095,549,576],"如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55fe051adda6e8cbfcf05822d916be9c.jpg","91cmx34.7cm",[],{"id":12100,"slug":12101,"title":12102,"dynasty":72,"author":3690,"museum":236,"description":12103,"tags":12104,"thumbUrl":12105,"material":745,"size":12106,"collection":138,"collections":12107,"showCount":12025,"zanCount":43,"manualWeight":43,"mainColor":88},222674,"ting-song-tu-zhou-xiang-sheng-mo-222674","听松图轴","本幅自题：“偶寻鹿迹来游此，坐听松风亦爽然。庚寅登高日寓江城西郊，喜此二言，骤笔补图。项圣谟。”钤“胥山樵项伯子”等印3方。“庚寅”乃清顺治七年（1650年），项氏54岁。“登高”为重阳节之古俗。据题可知此图系项氏于顺治七年重阳节与友人登高时为吟得佳句而绘。\n作品画云崖雾涌，长松虬枝，高士临流吟赏。树石用笔浑厚沉着，人物线条圆秀朴拙，意境清旷高古，具项圣谟山水人物画的典型风貌。",[23,25,77,7,129,427,29,351,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76a9e06e51c1074aa07a48f7d377c6c.jpg","纵138.5厘米，横60厘米",[138,185],{"id":12109,"slug":12110,"title":12111,"dynasty":72,"author":12112,"museum":74,"description":12113,"tags":12114,"thumbUrl":12115,"material":255,"size":12116,"collection":138,"collections":12117,"showCount":12025,"zanCount":43,"manualWeight":43,"mainColor":88},222411,"shui-mian-wen-xiang-zhou-wen-cong-jian-222411","水面闻香轴","文从简","图绘荷塘一隅，圆盘状荷叶遮住水面，墨色浓郁，四周水草繁茂，三支荷花突颖而出，二支绽放，一支含苞待放，高处荷杆上一只翠鸟探头向水中望去，翠鸟红喙细长尖锐，全身毛发柔软整齐，神情活泼。",[23,25,7,28,27,306,307,115,308,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e54eae5e00cccc24c1fccf44406de6.jpg","106.8x43.8厘米",[138,185],{"id":12119,"slug":12120,"title":12121,"dynasty":207,"author":1327,"museum":236,"description":12122,"tags":12123,"thumbUrl":12124,"material":6124,"size":12125,"collection":185,"collections":12126,"showCount":12025,"zanCount":11,"manualWeight":43,"mainColor":44},221814,"shuang-gou-zhu-tu-li-kan-221814","双钩竹图","李衎（1245-1320），字仲宾，号息斋道人，蓟丘（今北京）人。皇庆元年（1312年）为吏部尚书，拜集贤殿大学士，与赵孟頫相友善。死后追封蓟国公，谥文简。善画竹，墨竹初师王庭筠，继师文同，青绿设色师李颇。",[23,24,25,26,7,6432,27,31,35,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53499e6ca3eee6c531a56818fa98b16c.jpg","纵185.5cm，横153.7cm",[185,702],{"id":12128,"slug":12129,"title":12130,"dynasty":72,"author":7648,"museum":10279,"description":12131,"tags":12132,"thumbUrl":12133,"material":12134,"size":12135,"collection":84,"collections":12136,"showCount":12025,"zanCount":43,"manualWeight":43,"mainColor":100},220761,"shuang-ying-tu-lin-liang-220761","双鹰图","《双鹰图》轴是林良水墨写意的杰出代表作。该作品应是作者中年时期作品，“院体”画花鸟代表作，没骨画法，工写兼具。构图简洁，着色低沉单一，凸显鹰隼兀立久视之大境界。双鹰上者气宇轩昂，目光如炬，一爪独立于枯枝之上，有傲视苍宇之威；下者挺身缩项，羽翼蓬振，双爪力着于苍岩宕石，目中有物，显欲搏四方之势。双鹰静中有动，动中蓄静，王者风范，鹰击长空。",[23,25,26,77,304,7,113,241,151,521,35,1373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a39e0bfd96c98a3be0dfa4c6416f5ee.jpg","纸本，水墨设色","130.2 × 74.5 cm",[84],{"id":12138,"slug":12139,"title":818,"dynasty":93,"author":12140,"museum":12141,"description":12142,"tags":12143,"thumbUrl":12144,"material":37,"size":12145,"collection":138,"collections":12146,"showCount":12025,"zanCount":43,"manualWeight":43,"mainColor":44},219076,"shan-shui-tu-li-gong-nian-219076","李公年","美国普林斯顿大学美术馆","画幅上端山峦在浮云中层层叠起，山脚隐于漠漠暮霭之中，寒溪曲折自远而近， 滩岸布置崖冈枯木，通幅用淡墨图写，景物出没于空旷有无之间，明润秀雅，较李郭山水更为虚灵简远。此图是李公年传世的唯一的画迹。",[25,77,130,7,129,272,484,131,35,377,1419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885b7547f08c8a2d5e1e3041dfe3ad24.jpg","纵130厘米，横48.4厘米",[138],{"id":12148,"slug":12149,"title":12150,"dynasty":18,"author":9539,"museum":209,"description":12151,"tags":12152,"thumbUrl":12153,"material":82,"size":12154,"collection":84,"collections":12155,"showCount":12025,"zanCount":11,"manualWeight":43,"mainColor":88},218900,"fu-rong-yuan-yang-tu-li-yin-218900","芙蓉鸳鸯图","该画以竖构图表现池畔一隅，景致于深阔中见清逸，画的下方，几缕淡淡的游丝线勾出透明的水域，一对鸳鸯仿佛边游边聊着。画的中上部，从画外探进来的芙蓉花占了画面三分之二多，一枝俯垂，一枝上扬，俯仰之间既各得其韵，又彼此呼应；芙蓉花是用白描法淡墨勾勒而成，花朵之间的摆布迎让有序、相辅相成，毫无刻意造作之气，线条使转流畅，给人以运笔迅疾之感；叶子用没骨法点饰，大小、浓淡适宜，层次分明，墨色明透清亮，且叶筋勾勒得劲健挺拔，淡墨写出的几缕蒲草叶点缀其间，与花的团叶互为映衬，又于疏密中见丰富。水面上，两只鸳鸯相拥着游向接近水面的花，大概是雌鸳鸯嗅到了花香发出惊叫，引得雄鸳鸯回头观望，那温柔的神态充满爱意。鸳鸯的造型生动、准确，羽毛勾勒后用淡墨晕染，笔触细腻，墨分五彩，虽未着色却显现出绚丽华滋的富贵之气。纵观全画，作者以构图的疏朗与简括，笔墨的简洁与精劲，营造出花开季节游禽恬淡安闲的状态，进而通过诗画的意境传达出一种浪漫气息。同时，画面的空明与洁静，也体现出作者高超的笔墨功夫。",[25,77,113,7,675,799,153,307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63764a7a72a14f84ca58ebff73c6e3c8.jpg","纵115厘米，横47.3厘米",[84],{"id":12157,"slug":12158,"title":12159,"dynasty":72,"author":8679,"museum":236,"description":12160,"tags":12161,"thumbUrl":12162,"material":198,"size":780,"collection":100,"collections":12163,"showCount":12164,"zanCount":419,"manualWeight":43,"mainColor":44},289995,"chan-gong-yue-tu-tu-tao-cheng-289995","蟾宫月兔图","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。",[25,24,7,27,28,268,31,900,59,129,193,132,1063,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c9583ba3902ef676ff0c13ef74bb75.jpg",[],59,{"id":12166,"slug":12167,"title":12168,"dynasty":109,"author":1112,"museum":331,"description":12169,"tags":12170,"thumbUrl":12172,"material":198,"size":780,"collection":100,"collections":12173,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":44},289926,"xue-tu-ju-ran-289926","雪图","其画面分为三个层次，组成一个硕头小脚“之”字。上层双峰并立，左低右高，危岩耸立，白雪皑皑，令人生畏；眼恋意留，不敢攀附。雪峰之上，古木郁郁，生机勃勃。特别是锯齿状的岩裂，触目惊心，将北方的雪映衬得更加雄浑、霸气。中层雪景呈斜倚之势漫漶开来，楼阁深入，分布有别；古树对峙，雪路茫然；骑者行于山径之上，左顾右盼，两岸风光引人入胜。它恰好将近景生动地连接起来，苍松如帘，层次分明却又浑然一体。仿佛听见覆雪之下，冬泉泠泠；雪压松枝，不时跌落，飒飒有声。",[23,24,25,26,129,7,77,130,1240,12171,269,3880,79],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0d1b6444505baf420412d317f53a4fb.jpg",[],{"id":12175,"slug":12176,"title":12177,"dynasty":207,"author":50,"museum":236,"description":12178,"tags":12179,"thumbUrl":12180,"material":745,"size":12181,"collection":138,"collections":12182,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":88},239526,"ni-zan-qiu-ting-jia-shu-tu-zhou-yi-ming-239526","倪瓒秋亭嘉树图轴","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，幽静雅洁，仿佛笼罩在一片月色之中。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n本幅自题：“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”\n本卷上诗塘有吴宽、朱果二家题记。曾经清内府收藏。",[25,77,7,80,79,130,129,253,377,31,522,2558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08768391940841042688571157736a1b.jpg","纵114cm，横34.3cm",[138,101],{"id":12184,"slug":12185,"title":12186,"dynasty":18,"author":12187,"museum":236,"description":12188,"tags":12189,"thumbUrl":12190,"material":486,"size":12191,"collection":158,"collections":12192,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":88},238228,"hong-li-xing-le-tu-zhou-zhang-ting-yan-238228","弘历行乐图轴","张廷彦","此画描绘了乾隆皇帝在园囿中休闲自娱的场面。深秋的庭院，林木依旧繁茂，色彩十分丰富。中年的皇帝闲坐于廊下观赏庭中景致，若有所思，桌案上已经铺设了纸砚，一童子侍立，手执拂尘，一童子正捧书册而至。画中楼阁桥梁以直尺界笔描绘，融明代仇英的传统建筑画技法与海西透视法于一体，工致而不呆板。",[25,26,7,28,27,1157,472,29,269,170,778,2190,270,8036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238dc91c650fc7be74daa9b715d2f6b8.jpg","纵119.1厘米，横213厘米",[158],{"id":12194,"slug":12195,"title":6872,"dynasty":18,"author":12196,"museum":331,"description":12197,"tags":12198,"thumbUrl":12199,"material":100,"size":100,"collection":84,"collections":12200,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":88},237457,"mu-dan-zhou-zhang-meng-gao-237457","张孟皋","张孟皋，一字梦皋，名学广，以字行，工画人物，翎毛、花卉、尤工折枝。道光时官钱塘典史。所作元气浑然。 张孟皋之名，盖由近人吴昌硕师事其风而名声振广，吴缶翁师其数十年，题画多见拟仿学、临等。尤如张赐宁等为官江浙者，其作赋色妍丽，用笔洒脱，极得时人珍爱，任伯年亦有题师张孟皋。\n张孟皋是清代嘉道时期的一位花卉画家，画史上介绍很简单，他名学广，字孟皋，以自行。多记载他是天津人，实际应是北平（今北京）大兴人，他在自己的画作上多次题“北平张孟皋”。",[25,7,28,27,113,114,576,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d14e2a9c338194b64463d0442e5d96.jpg",[84],{"id":12202,"slug":12203,"title":4053,"dynasty":18,"author":1296,"museum":236,"description":3157,"tags":12204,"thumbUrl":12205,"material":214,"size":100,"collection":138,"collections":12206,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":88},237235,"yuan-ji-shan-shui-tu-zhou-shi-tao-237235",[25,77,7,26,24,129,6208,170,169,351,3996,193,79,80,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e43feaef33afb1b1431c649b984048.jpg",[138],{"id":12208,"slug":12209,"title":12210,"dynasty":72,"author":10129,"museum":331,"description":12211,"tags":12212,"thumbUrl":12213,"material":100,"size":100,"collection":100,"collections":12214,"showCount":12164,"zanCount":656,"manualWeight":43,"mainColor":88},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","《苏州博物馆藏明清书画》是26年文物出版社出版的图书，作者是苏州博物馆。\n苏州博物馆藏有大量的明清书画，除了戴进、沈周、文徴明、唐寅、董其昌、陈洪绶、傅山、恽寿平、石涛、郑燮、任伯年、吴昌硕等大家之外，对于生在苏州或者曾寓居苏州的其他明清书画家，该馆也尽数网罗。\n此次借新馆开馆之际，苏州博物馆从上万件书画藏品中，择选165件精品，集结成书。\n该书装帧精美，图片均为彩版，具有较高的艺术欣赏价值和收藏价值。\n苏州博物馆系列丛书总序 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一六五沈曾植行书七绝",[23,25,26,24,7,28,27,130,129,29,196,377,484,131,378,613,252,351,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],{"id":12216,"slug":12217,"title":12218,"dynasty":18,"author":361,"museum":74,"description":12219,"tags":12220,"thumbUrl":12221,"material":255,"size":12222,"collection":138,"collections":12223,"showCount":12164,"zanCount":419,"manualWeight":43,"mainColor":88},224433,"fang-wang-wei-jiang-shan-xue-ji-zhou-wang-shi-min-224433","倣王维江山雪霁轴","王时敏师承董其昌，师法黄公望，少时就极为聪颖，祖父王锡爵嘱托董其昌对其进行指导，创作了绘画人门的画稿即《课徒稿》。受董其昌的影响，王时敏少年便从摹古开始，因家里名画收藏丰富，方便王时敏深入钻研宋、元传统的笔墨画法。王时敏对黄公望顶礼膜拜，对其作品中干枯的笔墨和浑厚潇洒的画，风学习最下功夫。到了晚年时期，王时敏画风日益成熟，他追求用笔本身的变化，形成了用笔求“毛”的独特风格，要求有枯有润，有苍有秀，淡墨干笔皴擦，浓墨加湿渲染，老辣苍茫，墨法淳厚，从而形成了苍茫浑厚的山水画风",[25,28,129,945,130,7,79,252,613,253,134,193,733,351,173,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818fb305d0e6313b1d20a32166c9149c.jpg","133.7x60",[138],{"id":12225,"slug":12226,"title":12227,"dynasty":72,"author":50,"museum":74,"description":12228,"tags":12229,"thumbUrl":12230,"material":1218,"size":12231,"collection":100,"collections":12232,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":44},223490,"ming-tai-zu-zhu-yuan-zhang-zuo-xiang-tu-zhou-yi-ming-223490","明太祖朱元璋坐像图轴","明太祖（1368－1398在位），明朝開國皇帝，姓朱，名元璋，年號洪武，濠州 (今安徽鳳陽)人。幼孤，入皇覺寺為僧，元末群雄並起，有雄才，以布衣成帝業。\n絹地彩繪太祖坐像，筆筆工整，風格嚴謹，幅面巨大，氣派堂皇。畫中皇帝頭戴烏紗折角向上巾，身著圓領織金盤龍皇袍，端坐金扶手椅，容貌豐偉，鬚短而黑，當值盛年。",[23,25,26,7,2749,27,28,29,334,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa200f5ca4dc4d864c1d4c5a8a568a941.jpg","137x84",[],{"id":12234,"slug":12235,"title":12236,"dynasty":18,"author":3916,"museum":331,"description":12237,"tags":12238,"thumbUrl":12239,"material":214,"size":12240,"collection":84,"collections":12241,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":88},222710,"an-ma-tu-jin-nong-222710","鞍马图","图绘一人一马，所绘人物头戴翎毛宽边帽，身披红色披风，满脸胡茬一幅西域人的长相；身边的白马高大威武，颈脖上挂了一串红色绒球，尾巴用红绳扎上，主人手抚马背，可见主人对马儿的喜爱。",[23,25,26,7,77,28,29,196,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa5a47ca9c74a302637305b2584337b.jpg","76x43厘米",[84,158],{"id":12243,"slug":12244,"title":12245,"dynasty":18,"author":3992,"museum":648,"description":12246,"tags":12247,"thumbUrl":12249,"material":12250,"size":12251,"collection":138,"collections":12252,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":44},222609,"yi-dao-fei-quan-gong-xian-222609","一道飞泉","画面描绘了近景崇山，山上有丛林、枝繁叶茂，几间茅庵掩映于树丛之中，使得寂静的山林更增添了几分幽邃之感，清清的泉水顺山而下，明快、幽雅、整幅画面笔酣墨润、气韵即足，给人一种清新自然之感。作者运用了“披麻皴”“雨点皴”等画法，虽不用泼墨，湿墨，但有泼墨之淋漓，浓郁苍润的效果。代表了作者山水画之独特风格。\n画的右上角有作者自题七言律诗： “静壁春泉一道飞，白龙藏影见斜辉，谁家草阁遥无际，半醉之窗向翠微。”署 “甲子上元(1684年1月15日)半亩龚贤书并题”款。下钤“龚贤印”白文方印，“半千”朱文方印。画上钤有“绶福堂藏画印”等鉴藏印。此画系作者晚年作品，现藏辽宁省博物馆。龚贤，字半千，又字野遗，号半亩，又号柴丈人。江苏昆山人，流寓江陵(今南京)清凉山。工诗文，行草，尤工山水，有《草香堂集》、《画诀》、《柴丈人画诀》、《课徒画稿》等著作行世，是金陵画派中最有成就的画家，并居金陵画派之首。\n在这幅画中，作者以石象征“长寿”，与牡丹相配合，寓意“富贵长寿”，是民间喜庆节日广为引用的吉祥图案。此画构图虽满，却巧妙地利用了绘画中的透视法则，以静映动，以深托远，尽显距离的美感，使有限的空间，充满无限的张力。\n繁茂的枝叶表现的甚为精彩，细如游丝的叶筋，其走向笔笔皆有交代，棱角分明，线条柔而刚劲，出神入化，使得薄如蝉翼的墨色叶片，正侧向背，顾盼顾仰，鲜活灵动。\n该画中所画之石，粗砺凝重，具有坚贞的傲骨和顽强的生命力，是其自身性格绝好的写照。从其改用左手绘画，到创作此幅画作止，历时九年，九年里从不习惯到习惯，从不熟练到熟练再到精益求精，其为之所付出的艰辛和努力，可想而知。幅首其左手题字也为整幅画面增色不少，其左冲右突，飘飘忽忽的结体，在这里好似垂挂的珠帘一般，随风摆动，与图画有机地结合在一起，别具韵致，给人雾里看花，隔帘观美之感。",[23,24,25,26,7,77,12248,129,193,170,132,377],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[138,185],{"id":12254,"slug":12255,"title":12256,"dynasty":72,"author":264,"museum":236,"description":12257,"tags":12258,"thumbUrl":12259,"material":486,"size":12260,"collection":138,"collections":12261,"showCount":12164,"zanCount":419,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,7,27,28,1157,29,30,775,269,778,777,253,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[138,158],{"id":12263,"slug":12264,"title":12265,"dynasty":72,"author":1464,"museum":74,"description":12266,"tags":12267,"thumbUrl":12268,"material":1218,"size":12269,"collection":84,"collections":12270,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":44},221939,"chun-hua-san-xi-zhou-bian-wen-jin-221939","春花三喜轴","此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。\n其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。\n边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。\n《春花三喜图》就是边景昭花鸟画之一。\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。\n雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\n图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。\n本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。\n边景昭（生卒年不详），字文进，福建沙县人。\n明宣德年间官武英殿待诏，擅画花鸟，笔墨承南宋院体，设色沉着雅丽。\n其子楚芳（一作祥）承父业，占籍锦衣（世袭任职锦衣卫）。",[23,25,26,24,7,27,28,113,31,287,115,35,7427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f1287edf3b68161f45fac1f2622fc6.jpg","纵165.2，横98.3cm",[84,158],{"id":12272,"slug":12273,"title":5034,"dynasty":207,"author":1981,"museum":74,"description":12274,"tags":12275,"thumbUrl":12277,"material":255,"size":12278,"collection":138,"collections":12279,"showCount":12164,"zanCount":11,"manualWeight":43,"mainColor":88},221752,"hua-xue-jing-zhou-sheng-mao-221752","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[23,24,25,26,7,77,28,130,129,3880,614,170,733,12276,1419,1717,132,5985,3137],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","151x27.3公分",[138,185],{"id":12281,"slug":12282,"title":12283,"dynasty":93,"author":2672,"museum":74,"description":12284,"tags":12285,"thumbUrl":12286,"material":1218,"size":12287,"collection":157,"collections":12288,"showCount":12164,"zanCount":11,"manualWeight":43,"mainColor":44},221354,"kai-tai-tu-zhou-su-han-chen-221354","开泰图轴","画中的孩童欢乐地骑在一只大羊背上，身边围绕着各色大小造型不一、矫健欢腾的小羊，神气十足。据了解，北宋时期的日常生活中，羊并非骑乘的动物，但画中白羊被配上如神骏宝象般的鞍辔，散发着非同一般的宫廷贵气。群羊在草地中或饮，或食，或奔走，或徜徉，悠然自得的环绕在童子身边。画面背后还以长松梅花做背景，点有一双喜鹊，意取“喜上眉梢”。童子神采飞扬，群羊热闹欢腾，整幅画面充满了一派富丽祥和之气。那白胖小子丰润柔软的模样跃然于纸上，栩栩如生，令人心生爱怜。",[23,24,25,26,7,28,27,29,241,3057,253,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0dcb740080929d847e81c2fd0a8fd4.jpg","纵106厘米，横52厘米",[157,39,158],{"id":12290,"slug":12291,"title":12292,"dynasty":18,"author":1123,"museum":74,"description":12293,"tags":12294,"thumbUrl":12295,"material":255,"size":12296,"collection":84,"collections":12297,"showCount":12164,"zanCount":11,"manualWeight":43,"mainColor":704},220982,"wu-qing-tu-zhou-yun-shou-ping-220982","五清图轴","恽寿平为人敦厚，个性孤介洒脱，不愿应试科举，以卖画为生，过着与世无争的日子，气节和人品相当受人敬重，而他的画也如他的人品一样，具有高洁不流俗的风格。五清指的是松、竹、梅及水、月。松柏经霜雪而不凋谢，竹子以其有节空心，代表君子的节操与虚心；梅花不畏风霜，愈冷愈开花，是品格坚贞的写照；而水与明月更是清澈透明、洁白无瑕的象征，所以合称「五清」，自古以来就常被用来比喻君子的德行。君子才德兼备，有高风亮节的情操，和「贫贱不能移，富贵不能屈」的志节，是社会上值得尊敬的人。这幅画，恽寿平以五清来代表君子，构图简单，分为三段，上段画老松由右横斜至左，明月高挂当空，中段则有梅花盛开，伴着青翠绿竹；下段流水潺潺。款识「辛酉初秋南田寿平制」，是恽寿平四十九岁的作品。笔墨多变，有的墨色饱含水份，有的枯干焦浓。有的先湿后枯，先浓后淡，墨趣丰饶。用笔温文柔和，呈现一种平和宁静的气氛，就像他所敬重的谦谦君子一般",[23,25,7,28,378,392,31,601,59,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870f71bba414a2c44d511dc3af19b001.jpg","86.1x38.4",[84,158],{"id":12299,"slug":12300,"title":12301,"dynasty":207,"author":518,"museum":20,"description":12302,"tags":12303,"thumbUrl":12304,"material":214,"size":12305,"collection":185,"collections":12306,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":88},220805,"yun-shi-qiao-ke-tu-zhou-ni-zan-220805","筠石乔柯图轴","此画用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，小中见大，外落寞而内蕴激情。树杆上挂满了细繁的藤蔓垂条，图中的篁竹属于倪瓒墨竹中叶尖向上的新篁画法，颇见功力。画面一如倪瓒一贯呈现的风格：构图简洁，干笔皴檫，意境清远萧疏。",[23,25,7,77,130,31,601,253,484,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4ba73df5db160da5171569d0a459b0.jpg","横67.3厘米，横36.8厘米",[185,702],{"id":12308,"slug":12309,"title":12310,"dynasty":72,"author":264,"museum":74,"description":12311,"tags":12312,"thumbUrl":12313,"material":136,"size":12314,"collection":39,"collections":12315,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":88},220378,"tong-yin-qing-hua-tu-chou-ying-220378","桐阴清话图","本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛筱沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。岩岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让岩石表面布满肌理与明暗变化，不失却形象的精准掌握。",[25,24,26,7,27,28,77,130,29,776,55,6207,132,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6d0ee5bae513958f0ef6cec9a2004.jpg","279.5x100",[39,158],{"id":12317,"slug":12318,"title":12319,"dynasty":72,"author":5069,"museum":74,"description":12320,"tags":12321,"thumbUrl":12322,"material":77,"size":100,"collection":39,"collections":12323,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":88},219509,"xian-zong-lv-he-tu-wu-wei-219509","仙踪侣鹤图","吴伟（1459-1508）明代著名画家。字次翁，又字士英、鲁夫、号小仙。江夏（今湖北武汉）人，流寓金陵。画院待诏。孝宗时授锦衣卫百户及赐“画状元”的图章。他自幼收养于钱昕家，伴其子读书，行有窃弄笔墨的机会。年二十后至金陵，书画之名已渐起，画法与戴进相似。精山水，落笔健壮，最长于白描人物。时与杜堇、沈周、郭翊齐名。用笔奔放，画时泼墨如云，旁观者骇，巨细曲折，各有条理，人皆为之叹服。传其画法的有蒋嵩、张路、宋臣、蒋贵、宋澄春、王仪等，被称为“江夏派”。代表作品有：《采芝图》、《仙踪侣鹤图》、《芝仙图》、《溪山渔艇图》以及白描《人物图》、《神仙图》等。",[25,77,29,225,304,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda2e7992cbb8a068d0f82e6784bf8ce.jpg",[39],{"id":12325,"slug":12326,"title":12327,"dynasty":72,"author":954,"museum":74,"description":12328,"tags":12329,"thumbUrl":12331,"material":37,"size":12332,"collection":84,"collections":12333,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":44},219319,"qu-ge-jie-shou-tu-zhou-zhi-mian-219319","衢歌介寿图","周之冕(1521-?)，明代画家。字服卿，号少谷，长洲(今江苏苏州)人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。",[2749,4661,25,26,7,182,28,113,536,548,427,132,12330,1371],"勾花点叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345b4913e090ae3d73841591489baea3.jpg","138.1×56.7cm",[84],{"id":12335,"slug":12336,"title":12337,"dynasty":72,"author":1751,"museum":74,"description":12338,"tags":12339,"thumbUrl":12340,"material":136,"size":12341,"collection":84,"collections":12342,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":88},218847,"shuang-ji-tu-lu-zhi-218847","双鸡图","双鸡相倚石畔，一羽红冠微昂，一羽低首敛翅，毛羽以细笔勾染，晕出柔润光泽。石体干墨皴擦，纹理苍劲，与旁侧舒展的草叶形成刚柔对比。蜻蜓振翅悬于草尖，细足轻点，姿态灵动如真。笔墨间工写交织，设色淡雅却藏生机，题款朱印错落，更添古朴意蕴。整幅画似截取田园一隅，静谧中透着鲜活气息，将寻常物态绘出文人雅趣，尽显笔墨之妙与自然之趣，读之如沐林间清意，心随画境沉于恬淡。",[25,26,7,28,113,1228,35,1275,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28bf2849a86dd45fd3a78edb2b1cdfa.jpg","63.2x31.5cm",[84],{"id":12344,"slug":12345,"title":12346,"dynasty":207,"author":50,"museum":6619,"description":12347,"tags":12348,"thumbUrl":12349,"material":37,"size":100,"collection":39,"collections":12350,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":44},218473,"shi-jia-xiang-yi-ming-218473","释迦像","法相端严，双目微垂似含悲悯，右手结印如引众生出迷津。红衣团花缀身，绿袖轻垂，与莲座清雅相映。须弥座层叠有致，瑞兽纹饰暗藏生机，整体色调沉厚却不失灵动，线条勾勒精准，将释迦牟尼的慈悲与威严融于一体，尽显元代佛画肃穆匠心与宗教意蕴之美。",[25,7,54,27,28,29,5394,6472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76489862a54b40b602a7a42c7f40218e.jpg",[39],{"id":12352,"slug":12353,"title":12354,"dynasty":93,"author":50,"museum":331,"description":12355,"tags":12356,"thumbUrl":12357,"material":37,"size":12358,"collection":39,"collections":12359,"showCount":12164,"zanCount":11,"manualWeight":43,"mainColor":44},218446,"qiu-lin-mu-tong-tu-yi-ming-218446","秋林牧童图","两个小孩子在树下的平坦石坡上玩耍，两只山羊在右下方的田地里觅食，处处显示出乡村的平静和轻松气氛。",[23,25,241,129,252,56,253,28,27,7,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7cdd3ff23c4835631b4aef170505acb.jpg","88x49",[39],{"id":12361,"slug":12362,"title":412,"dynasty":72,"author":12363,"museum":5889,"description":12364,"tags":12365,"thumbUrl":12366,"material":82,"size":12367,"collection":138,"collections":12368,"showCount":12164,"zanCount":43,"manualWeight":43,"mainColor":88},218002,"zhu-shi-tu-chen-jia-yan-218002","陈嘉言","竹石图是中国明朝时期陈嘉言所作的一幅图画，它是一种颇具特色的中国山水画，具有很高的艺术价值和历史意义。\n\n陈嘉言是明朝时期著名的画家，他的作品中有许多著名的山水画，其中竹石图是他最著名的作品之一。这幅画以竹子和石头为主要元素，描绘了一片幽静的山水风景。\n\n竹石图被认为是中国传统山水画的杰作，因为它能够准确地再现了山水之间的关系，同时还能够表现出山水的美好之美。在这幅画中，陈嘉言用竹子和石头来表现山水之间的关系，同时还用色彩的变化来表现山水的深浅和质感。\n\n竹石图是陈嘉言在明朝时期的代表作之一，它不仅体现了陈嘉言艺术上的成就，同时也是中国山水画发展史上的一个重要里程碑。如今，竹石图已经成为了中国艺术史上最著名的山水画之一，并被广泛欣赏和珍藏。",[23,25,26,7,77,130,31,35,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa388b5265f5b7302a3252f8f6876b7c.jpg","80x43.5cm",[138,84],{"id":12370,"slug":12371,"title":12372,"dynasty":93,"author":1082,"museum":1083,"description":12373,"tags":12374,"thumbUrl":12375,"material":37,"size":1087,"collection":100,"collections":12376,"showCount":12164,"zanCount":11,"manualWeight":43,"mainColor":342},2170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万历间画家，代表作是春景鸳鸯图。\n陈粲名（1524～？）明代万历间画家。\n字长倩，一字兰谷，号雪庵、道光、雪谷子，长洲 （今江苏苏州）人。\n万历间以善花鸟闻名于时。\n传世作品有《春景鸳鸯图》轴，绢本，设色，纵17.4厘米，横82.7厘米，现藏 ；《桂石兰芝图》轴，绢本，设色，纵11.2厘米，横49厘米，藏故宫博物院；万历四十三年(1615)作《兰竹图册》著录于《 》。",[25,26,7,28,27,113,2025,601,4370,1051,536,132,8037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ab0a3d62a43789402ff3fa5ee685e5.jpg",[84,158],{"id":12411,"slug":12412,"title":12413,"dynasty":18,"author":50,"museum":236,"description":12414,"tags":12415,"thumbUrl":12418,"material":100,"size":12419,"collection":100,"collections":12420,"showCount":12387,"zanCount":43,"manualWeight":43,"mainColor":88},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。",[25,28,27,1157,7,129,29,269,377,170,3880,778,5811,1675,132,270,7002,12416,12417],"行乐","宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954ae56eb1839f49ca658db575e98.jpg","纵305厘米，横向206厘米",[],{"id":12422,"slug":12423,"title":12424,"dynasty":18,"author":1296,"museum":236,"description":12425,"tags":12426,"thumbUrl":12427,"material":1573,"size":12428,"collection":100,"collections":12429,"showCount":12387,"zanCount":656,"manualWeight":43,"mainColor":88},233959,"dui-ju-tu-zhou-shi-tao-233959","对菊图轴","图绘双松虬结的庭院内梅、竹互映，房舍错落，屋内高士观赏秋菊，其品菊的举止生动传神，点明了“对菊”的画作主题。庭院外是迂回盘桓的山峦和自远而近的江水，它们为高士远离世俗的隐居之地平添了几分清幽。此图与石涛贯有的笔墨雄健纵恣、豪放洒脱的画风不同，刻画工整细腻，或徐或疾的笔致和富于节奏变化的朱点、墨点自得一股苍莽之气。此幅当属石涛居住扬州时期创作的一幅难得的精细之作。",[25,26,77,130,7,79,129,378,440,1420,132,170,134,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7030dd986967133b9acf5ab16c143856.jpg","纵99.5厘米，横40.2厘米",[],{"id":12431,"slug":12432,"title":12433,"dynasty":93,"author":808,"museum":331,"description":12434,"tags":12435,"thumbUrl":12436,"material":100,"size":100,"collection":100,"collections":12437,"showCount":12387,"zanCount":11,"manualWeight":43,"mainColor":44},227486,"zhu-ji-tu-li-zhou-zhao-ji-227486","竹鸡图立轴","赵佶（宋徽宗，1082年6月7日-1135年6月4日），出生于汴京（今河南开封），宋神宗第十一子，北宋第八位皇帝。\n\n赵佶在位期间追求奢靡、政治腐败、外交不力，以致民怨四起并埋下北宋靖康年间亡国的祸根。但赵佶在书法绘画等艺术领域天赋非凡，独创“瘦金体”书法，《芙蓉锦鸡图》《池塘秋晚图》等都是传世名作。靖康之变后赵佶被俘北上，1135年死于五国城，庙号徽宗。",[23,25,26,7,27,28,113,31,1228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879cf431b3c0d996cb701c6e9c6a171b.jpg",[],{"id":12439,"slug":12440,"title":12441,"dynasty":207,"author":50,"museum":331,"description":12442,"tags":12443,"thumbUrl":12444,"material":198,"size":780,"collection":100,"collections":12445,"showCount":12387,"zanCount":11,"manualWeight":43,"mainColor":342},223644,"xu-kong-cang-pu-sa-xiang-2-yi-ming-223644","虚空藏菩萨像2","虚空藏（梵语 ākāśagarbha，音译啊迦舍嘎赫婆）菩萨摩诃萨，密号库藏金刚。汉译又作尊上虚空孕菩萨摩诃萨、虚空库菩萨摩诃萨、虚空光菩萨摩诃萨，是中国大乘佛教八大菩萨摩诃萨之一。\n虚空藏菩萨摩诃萨在无量菩萨中专主智慧、功德和财富。因尊上智慧、功德、财富如虚空一样广阔无边，并能满足世间一切如法持戒者的善求善愿，使无量无边众生获得无穷利益，故有此虚空藏圣名。\n虚空藏菩萨具有赐予利乐的力量。“藏”表示无限福德智慧，“虚空”表广大，《大方等大集经》指出：虚空藏如同富翁，相应困苦众生，只要到她面前，即会施予救济。因此，虚空藏菩萨是以济度众生为乐的菩萨。",[23,24,25,26,4108,7,54,29,27,28,5394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ea3f19b6f9f690523f6b6e2e09ea73.jpg",[],{"id":12447,"slug":12448,"title":12449,"dynasty":18,"author":12450,"museum":331,"description":12451,"tags":12452,"thumbUrl":12453,"material":214,"size":100,"collection":100,"collections":12454,"showCount":12387,"zanCount":11,"manualWeight":43,"mainColor":88},223263,"shu-fa-zhou-hong-yi-fa-shi-223263","书法轴","弘一法师","李叔同（1880年10月23日－1942年10月13日），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。\n李叔同是著名音乐家、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。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[23,80,7,5902,54,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdaae1ac16db741762ddffa2749d8d99.jpg",[],{"id":12456,"slug":12457,"title":12458,"dynasty":18,"author":12459,"museum":533,"description":12460,"tags":12461,"thumbUrl":12462,"material":1218,"size":12463,"collection":84,"collections":12464,"showCount":12387,"zanCount":11,"manualWeight":43,"mainColor":44},222689,"wu-tong-bai-tou-tu-que-lan-222689","梧桐白头图","阙岚","《梧桐白头图》是画家75岁时绘制的，工写结合，笔墨清灵，有一种纤尘不染的秀洁韵味。上部绘挺健梧桐，叶茂子实，一枝斜穿画面，绿叶飘动。一对白头鸟依偎枝上，亲密无间。下部绘神奇多彩灵石，石缝坡脚间花草杂生。笔墨细腻古朴，风格温润典雅。左下自题“道光壬辰季重九日仿瓯香馆本于天光云景斋。阙岚”。",[23,24,25,26,7,27,28,113,6505,1372,351,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b42a65036debf55e7ebec34ee90c7e.jpg","纵101厘米，横40.5厘米",[84,158],{"id":12466,"slug":12467,"title":12468,"dynasty":72,"author":12469,"museum":236,"description":12470,"tags":12471,"thumbUrl":12472,"material":214,"size":12473,"collection":100,"collections":12474,"showCount":12387,"zanCount":11,"manualWeight":43,"mainColor":88},222388,"mo-lan-tu-zhou-wen-peng-222388","墨兰图轴","文彭","图中以水墨画兰花两丛荆棘二枝。以渴笔淡写荆棘卷曲、兰叶舒畅之姿，并以水墨草点兰花偃仰、互相交织之状，节奏感强，和自题草书“月摇庭下珂，风递谷中香”融为一体。\n作者用水墨画土坡上兰花两丛，兰花正侧偃仰，均五办为则，如蝶起舞，或敞办盛开，或含苞待放，叶丛柔嫩舒展，十分俊爽。另有二枝荆棘，在丛兰间卷曲向上生长，与舒展的兰花交织在一起，产生和谐的节奏感，并和自题的草书“月摇庭下珂，风递谷中香”融为一体。\n兰、梅、竹、菊“四君子”是我国文人画的传统题材，落笔时，这四者可分可合，亦可单独成画幅，但都赋予对象以人格，象征高洁的品格和正直、坚韧、乐观等精神、具体说，兰为“王者之香”，画兰，须写其清雅幽香，洁身自好。文彭擅画兰、竹，此《兰花图》轴，是他的代表作之一。\n作者所画的兰花、叶子用笔自如，或粗或细，行笔住行顿挫有力，节奏感强，具有一种古拙、朴厚的趣味。所画荆棘，用笔具有一种内涵的力量，这种力量忽轻忽重，行笔的速度忽快忽慢，由此而产生的一种优美动人的节奏，所以在文氏笔下的荆棘表现出曲折向上，生意盎然的神态。所画的兰花，花以淡墨为办，浓墨点心，叶用笔流畅，显出临风飘动，活泼自然。画家将兰花与荆棘为伍，笔意贯穿，墨色停匀。土坡用简洁的干笔，侧锋皴擦，更见明快爽朗。此画作者以书法入画，故此画具有书家笔法的节奏、韵律，轻重徐疾、提按顿挫富有变化，文彭此图可谓诗书画契合无间，表现了文人画家的气质和神采，给人以艺术美的享受。",[23,25,26,7,77,1051,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd67f08bd86808aad80c5ec02566e21c2.jpg","纵65厘米，横31．2厘米",[],{"id":12476,"slug":12477,"title":12478,"dynasty":72,"author":683,"museum":648,"description":12479,"tags":12480,"thumbUrl":12481,"material":486,"size":12482,"collection":138,"collections":12483,"showCount":12387,"zanCount":43,"manualWeight":43,"mainColor":44},222035,"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[23,24,25,26,7,77,28,130,129,377,134,193,170,169,29,132,173,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[138,185],{"id":12485,"slug":12486,"title":12487,"dynasty":207,"author":12488,"museum":74,"description":12489,"tags":12490,"thumbUrl":12491,"material":28,"size":12492,"collection":84,"collections":12493,"showCount":12387,"zanCount":11,"manualWeight":43,"mainColor":88},221743,"gu-he-yun-song-tu-zhou-ba-yan-bu-ha-221743","古壑云松图轴","巴颜布哈","该幅构景很突出，苍松高耸，峰岭出于云表。\n笔墨颇具文人画的趣味。\n【规格】该幅12242.2公分；全幅6公分 【收藏】 主题与关键字：松、云 石渠宝笈续编（乾清宫），第一册，页51 故宫书画录（卷五），第三册，页194 故宫书画图录，第五册，页1-14 巴颜布哈（生年不详，卒于公元一三五九年），元史列传作伯颜不花的斤。\n蒙古人，姓畏吾儿氏，高昌王的孙子。\n字苍巖，号苍崖。\n是元朝大书法家鲜于枢的外甥。\n作官至江东廉访副使。\n通晓音乐，以画龙出名。",[23,25,26,7,77,130,129,378,335,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6532dd4672785d8ba523288a0bcec6ec.jpg","122x42.2公分",[84,185],{"id":12495,"slug":12496,"title":12497,"dynasty":207,"author":6750,"museum":236,"description":12498,"tags":12499,"thumbUrl":12500,"material":3245,"size":12501,"collection":185,"collections":12502,"showCount":12387,"zanCount":43,"manualWeight":43,"mainColor":44},221697,"you-huang-xiu-shi-tu-zhou-gu-an-221697","幽篁秀石图轴","署款“东淮安定之”。下钤“顾定之印”等印3方。画幅左侧有明代张绅题记。\n此图绘数竿青竹在清风晨露中绰约多姿的体态。顾安在创作上力求表现竹子“清且真”的物态风神。“清”是指竹子不卑不亢、清高脱俗的内在品性，它是元代文人画家所追求向往的君子品德；“真”是指竹子清瘦隽逸、披霜戴雪的外在形貌，强调竹画艺术的写实精神。图中所绘之竹以淡墨写竿，浓墨画叶，深浅墨色虚实互衬，加强了画面层次感，扩展了空间。竹叶的画法遵循赵孟頫所倡导的“写竹还须八法通”的原则，熟练地以书法的“捺”法起笔收笔，叶根及叶尖皆见笔锋，写出其错落参差、披离偃仰之态。图中的湖石以墨、色点染，具有玲珑剔透之美，也映衬出竹之秀润娴静。全图以简洁的笔墨营造出“无穷出清新”的清逸意境。\n此卷原藏清宫内府，宣统年流入民间，为徐石雪所收藏，解放后捐献给国家文物局。文物局于1957年4月27日将它拨交故宫博物院。",[23,25,7,77,27,130,31,601,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e2953593c979f764e7fe4b77b7f4bc.jpg","纵184cm，横12cm",[185,702],{"id":12504,"slug":12505,"title":1381,"dynasty":93,"author":1517,"museum":74,"description":12506,"tags":12507,"thumbUrl":12508,"material":28,"size":12509,"collection":138,"collections":12510,"showCount":12387,"zanCount":43,"manualWeight":43,"mainColor":88},221225,"shan-shui-zhou-xia-gui-221225","诗塘 王铎题云。老干不事纤细小巧。骨格坚凝韶秀。有大家气。即此一画。雪色蒙晦。石寒铁色。噫。阴晴不可知。有天道寓于中。谓画者果无意欤。夏圭钱塘人。宁宗时擅名。师范宽李唐。宗有其俪。凡以觕粝冒圭者非其真也。丙戌三月时居燕。为二弟仲和题。王铎。钤印一。铎。",[23,25,364,7,77,28,130,132,170,3106,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da237f95d56b5840f04b1a93af93930.jpg","该幅47.6x32.5公分；诗塘28x32.6公分",[138,185],{"id":12512,"slug":12513,"title":12514,"dynasty":72,"author":1024,"museum":265,"description":12515,"tags":12516,"thumbUrl":12518,"material":2583,"size":12519,"collection":138,"collections":12520,"showCount":12387,"zanCount":43,"manualWeight":43,"mainColor":88},220956,"shu-lin-yuan-xiu-tu-dong-qi-chang-220956","疏林远岫图","董其昌为同年袁可立而作。\n此图为近景画，坡石错落，勾勒圆浑。坡上疏林，用笔虽简而各蕴姿态。\n中景水面空旷，一山耸峙，在平远的构图上颇见险势。整幅画简洁朴拙。",[23,25,26,7,77,130,129,2559,12517,351,170],"远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb9762e8762c363347fa3b81bfaec84.jpg","纵98.7厘米，横38.6厘米",[138,185],{"id":12522,"slug":12523,"title":12524,"dynasty":72,"author":1024,"museum":74,"description":12525,"tags":12526,"thumbUrl":12529,"material":255,"size":12530,"collection":138,"collections":12531,"showCount":12387,"zanCount":43,"manualWeight":43,"mainColor":88},220941,"yan-shu-mao-tang-zhou-dong-qi-chang-220941","烟树茆堂轴","董其昌流连于西湖一带，于寺院中绘成此轴。画上题诗原本是为好友陈继儒题画所书，后来亦常使用于其它画作上",[23,25,26,7,77,130,129,12527,12528,252,253,57,193],"烟树","茆堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c95aa5cb46913f3d622bdcbc5a0246.jpg","107.6x37.4公分、全幅 61公分",[138,185],{"id":12533,"slug":12534,"title":12535,"dynasty":72,"author":1024,"museum":236,"description":12536,"tags":12537,"thumbUrl":12538,"material":12539,"size":12540,"collection":101,"collections":12541,"showCount":12387,"zanCount":43,"manualWeight":43,"mainColor":88},220937,"fang-yan-zhen-qing-shu-zhou-dong-qi-chang-220937","仿颜真卿书轴","董其昌《仿颜真卿书轴》，本幅抄录唐人萧嵩诗，赞颂张说（西元六六七至七三Ο年）及唐代集贤院文风。此轴楷书用笔浑厚，结字灵动，承继颜真卿（西元七Ο九至七八五年）楷书精神，但更讲究用笔变化以及疏朗行气，堪称是董其昌在颜体中追求虚和取韵的自我面貌。\n\n董其昌的书法，不仅影响着晚明书坛，并且深刻地影响着清代的康乾盛世。《书林藻鉴》中说：“圣祖则酷爱董其昌书，海内真迹，搜访殆尽，玉、煤金题，汇登秘阁。董书在明末已靡于江南，自经新朝睿赏，声价益重，朝殿考试，斋廷供奉，干禄求仕，视为捷途，风会所趋，香光几定于一尊矣。”",[26,80,7,945,79,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194bce2ffa4033f864692ba3272ec41f.jpg","绢本，行楷书","纵36.8cm，横1579.7cm",[101],{"id":12543,"slug":12544,"title":12545,"dynasty":18,"author":12546,"museum":319,"description":12547,"tags":12548,"thumbUrl":12550,"material":37,"size":12551,"collection":138,"collections":12552,"showCount":12387,"zanCount":43,"manualWeight":43,"mainColor":44},220422,"shou-shi-tu-jiang-pu-220422","寿石图","蒋溥","蒋溥（清），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正8年（1730）二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。乾隆26年(1761)四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[23,25,27,28,7,113,427,132,336,12549,131],"日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74aae3d6d0e66ce7cd8ad41fc531baf.jpg","141×41.5cm",[138,158],{"id":12554,"slug":12555,"title":12556,"dynasty":72,"author":12363,"museum":74,"description":12557,"tags":12558,"thumbUrl":12559,"material":37,"size":100,"collection":84,"collections":12560,"showCount":12387,"zanCount":43,"manualWeight":43,"mainColor":88},219446,"duan-yang-jing-tu-chen-jia-yan-219446","端阳景图","墨石崚嶒，以浓淡干湿之笔写出苍劲肌理，似含嶙峋风骨。石畔百合舒卷有致，瓣白如玉，清雅绝尘；艳艳红花点缀其间，色如渥丹，相映成趣。细碎野花丛生，黄绿枝叶错落，笔墨兼工带写，设色明丽却不艳俗。整幅画面生机盎然，野趣中透着雅致，仿佛能嗅到端阳时节的草木清气，尽显文人画的疏朗意韵。笔意洒脱，构图疏密得当，于不经意间流露自然之美，引人沉醉于这方清幽小景里。",[25,7,28,77,304,113,35,3579,536,58,291,1275,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ef5005627b1e39b1323e869dbb1145.jpg",[84],{"id":12562,"slug":12563,"title":12564,"dynasty":18,"author":1538,"museum":147,"description":12565,"tags":12566,"thumbUrl":12567,"material":37,"size":12568,"collection":84,"collections":12569,"showCount":12387,"zanCount":43,"manualWeight":43,"mainColor":44},219351,"mu-ma-tu-shen-quan-219351","牧马图","画面中数匹骏马姿态各异，或卧地休憩，或昂首侧望，或缓步前行。毛发晕染细腻温润，斑纹勾勒清晰写实，轮廓线条灵动传神，尽显马匹的鲜活气韵。背景枯树虬枝盘结，枝干以干笔皴擦，苍劲中透出古意；地面浅草碎石点缀，淡墨晕染出悠远空间。整体工写结合，设色雅致，马儿的悠闲神态与萧瑟树影相映成趣，传递出牧歌式的宁静安适。于细腻笔触中藏生机，于古朴意境里显情韵，尽显传统走兽画的精妙功力与悠远意趣。",[23,25,24,26,7,27,28,196,521,131,241,129,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f9473a78fc17f9621aa38f84941ad8.jpg","92x63.5cm",[84,158],{"id":12571,"slug":12572,"title":12573,"dynasty":18,"author":3450,"museum":74,"description":3451,"tags":12574,"thumbUrl":12575,"material":2391,"size":12576,"collection":158,"collections":12577,"showCount":12387,"zanCount":43,"manualWeight":43,"mainColor":88},219307,"jie-shan-zhai-tu-zhou-qian-wei-cheng-219307","借山斋图轴",[24,25,26,7,364,28,129,269,134,193,377,170,733,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a42bd26d4ba10e012b0184f707a951b.jpg","63.7x31.8",[158],{"id":12579,"slug":12580,"title":12581,"dynasty":49,"author":50,"museum":51,"description":12582,"tags":12583,"thumbUrl":12584,"material":99,"size":12585,"collection":39,"collections":12586,"showCount":12387,"zanCount":43,"manualWeight":43,"mainColor":44},218315,"bai-yi-guan-yin-tu-yi-ming-218315","白衣观音图","画面中观音衣袂翩跹若流云泻地，轻盈舒展间尽显温婉神韵。身后圆月如璧悬于天际，清辉漫洒，衬得她面容柔和，眸光含慈，悲悯之意溢于眉宇。衣纹线条细腻流畅，褶皱层叠自然，笔墨灵动处见功底。上方疏枝横斜，影映清辉；下方水波微动，更添空灵澄澈之境。整体氛围静谧祥和，似能涤荡尘心，传递出超越世俗的慈悲安宁。观者凝神间，心神便被这份神圣静谧的美感包裹，沉醉于艺术与信仰交融的温柔力量中。",[25,26,7,54,29,985,28,59,193,35,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f74b241027c5bc565bf1a1a100e2598.jpg","180.3x83.5",[39],{"id":12588,"slug":12589,"title":12581,"dynasty":207,"author":50,"museum":331,"description":12590,"tags":12591,"thumbUrl":12592,"material":99,"size":100,"collection":39,"collections":12593,"showCount":12387,"zanCount":419,"manualWeight":43,"mainColor":44},217067,"bai-yi-guan-yin-tu-yi-ming-217067","白衣观音图是元朝时期的一幅佚名绘画，被认为是中国古代宗教图像艺术的杰作。这幅画描绘的是观音菩萨的形象，她身着白衣，头戴冠冕，手持莲花，神态庄严肃穆。\n\n观音菩萨是佛教传统中的一位菩萨，被认为是慈悲与智慧的化身。她的莲花代表了佛教的清净，而白色的衣服则象征着她的纯洁和超凡的品德。\n\n白衣观音图的风格独特，线条流畅，色彩明亮。画家巧妙地运用了透视法和光影效果，使得观音菩萨的形象更加立体生动。\n\n白衣观音图至今仍被认为是中国古代宗教绘画的杰作，其独特的风格和出色的艺术技巧吸引了众多观众的目光。它不仅是一幅优秀的艺术品，也是中国文化遗产的瑰宝。",[25,26,7,54,985,77,28,29,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53f25759ae0a1847993ffe0f015ebbf.jpg",[39],{"id":12595,"slug":12596,"title":12597,"dynasty":18,"author":6501,"museum":74,"description":12598,"tags":12599,"thumbUrl":12600,"material":82,"size":12601,"collection":39,"collections":12602,"showCount":12387,"zanCount":11,"manualWeight":43,"mainColor":88},216960,"gan-lu-da-shi-tu-yang-da-zhang-216960","甘露大士图","这是杨大章的一幅虔诚之作，以白描的方式画出了观音，用的是细笔和淡墨。",[25,26,7,54,29,985,79,1126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1759f3a863f1747347f926856bc74106.jpg","131.7x64.5",[39],{"id":12604,"slug":12605,"title":12606,"dynasty":207,"author":50,"museum":74,"description":12607,"tags":12608,"thumbUrl":12610,"material":37,"size":12611,"collection":84,"collections":12612,"showCount":12387,"zanCount":43,"manualWeight":43,"mainColor":44},216211,"lu-yan-zhou-yi-ming-216211","芦雁轴","芦雁图轴是一件来自元朝时期的著名艺术珍品，作者不详。这件作品描绘了一只雁在芦苇丛中的景象，并以细腻的线条和精确的造型表现了雁的轮廓和羽毛。芦雁图轴的艺术风格属于元朝时期流行的清新风格，被认为是元朝艺术的精华之作。",[25,27,28,7,113,151,12609,1741,675],"芦草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b23b9ab38b1ae3b9144978aa0d68304.jpg","168.3x106.7cm",[84],{"id":12614,"slug":12615,"title":12616,"dynasty":207,"author":1432,"museum":331,"description":12617,"tags":12618,"thumbUrl":12619,"material":198,"size":780,"collection":100,"collections":12620,"showCount":12621,"zanCount":43,"manualWeight":43,"mainColor":88},290433,"ceng-yan-qu-jian-tu-huang-gong-wang-290433","层岩曲涧图","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[24,25,26,7,77,129,351,193,134,2294,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ada88a03a52c4de8777c1e838bcd236.jpg",[],57,{"id":12623,"slug":12624,"title":12625,"dynasty":207,"author":50,"museum":331,"description":12626,"tags":12627,"thumbUrl":12628,"material":198,"size":780,"collection":100,"collections":12629,"showCount":12621,"zanCount":11,"manualWeight":43,"mainColor":44},290258,"long-hu-tu-yi-ming-290258","龙虎图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[25,7,77,5713,334,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba15b6a022629488be8950a2002ec80.jpg",[],{"id":12631,"slug":12632,"title":12633,"dynasty":93,"author":623,"museum":331,"description":4156,"tags":12634,"thumbUrl":12635,"material":198,"size":780,"collection":100,"collections":12636,"showCount":12621,"zanCount":43,"manualWeight":43,"mainColor":44},289660,"song-xia-gao-shi-tu-li-cheng-289660","松下高士图",[23,25,24,7,77,129,29,521,4762,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f602d1c6e4474cdb9b8901a8eac0943.jpg",[],{"id":12638,"slug":12639,"title":12640,"dynasty":18,"author":1971,"museum":331,"description":12641,"tags":12642,"thumbUrl":12643,"material":214,"size":100,"collection":138,"collections":12644,"showCount":12621,"zanCount":43,"manualWeight":43,"mainColor":44},238971,"wang-jian-shan-shui-tu-zhou-wang-jian-238971","王鉴山水图轴","万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[24,25,26,7,77,130,129,377,193,170,132,212,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7418118584b0267cf220052b12893a.jpg",[138,185],{"id":12646,"slug":12647,"title":12648,"dynasty":72,"author":10012,"museum":236,"description":10013,"tags":12649,"thumbUrl":12650,"material":1320,"size":12651,"collection":158,"collections":12652,"showCount":12621,"zanCount":43,"manualWeight":43,"mainColor":44},237895,"ming-ren-zhu-cha-tu-zhou-ding-yun-peng-237895","明人煮茶图轴",[25,26,7,28,27,29,239,78,536,3796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F094a120df71d56d0cb60610819a00d95.jpg","纵137.3厘米，横64.4厘米",[158],{"id":12654,"slug":12655,"title":12656,"dynasty":72,"author":12657,"museum":236,"description":12658,"tags":12659,"thumbUrl":12660,"material":12661,"size":100,"collection":100,"collections":12662,"showCount":12621,"zanCount":43,"manualWeight":43,"mainColor":88},234995,"lan-zhu-zhou-chen-yuan-su-234995","兰竹轴","陈元素","陈元素，生卒年不详，明代书画家。字古白、孝平、金刚，号素翁、处廓先生，私谥贞文先生，南直隶苏州府长洲（今江苏苏州）人，万历诸生。早负才名，工诗文，尤善书法，楷书法欧阳，草入二王之室，工山水，尤善写兰，得文征明之秀媚。有《古今名将传》、《南牅日笺》。",[24,25,26,7,77,1051,35,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f282cae8acc7a40f7ae7ffdf6630dba.jpg","纸本 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厘米，横71.2厘米",[84,185],{"id":12823,"slug":12824,"title":12825,"dynasty":18,"author":921,"museum":331,"description":12826,"tags":12827,"thumbUrl":12829,"material":100,"size":100,"collection":100,"collections":12830,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":88},235242,"shu-guo-ping-zhou-wu-chang-shuo-235242","蔬果屏轴","此作用篆籀之趣写就寻常蔬果，泼墨如椽，墨色浓淡铺陈出菜叶的舒展野逸，枯湿变化尽显苍劲老辣的笔力。朱红晕染南瓜，暖润厚重，萝卜鲜活水灵，将乡野烟火的朴拙意趣，揉入文人笔墨之中。\n题长款行书诗文，笔势跌宕烂漫，与画面相映成趣，诗画合璧间，把案头清赏与田园之思融为一体，寻常果蔬不再只是吃食，化为充满生命力的雅逸景致，烟火气裹挟书卷意，落笔皆见真性情。",[25,26,7,28,77,79,663,12828,3663,3025],"萝卜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fe66098bf656c8cdfdc8cafbd20a46.jpg",[],{"id":12832,"slug":12833,"title":1806,"dynasty":72,"author":3690,"museum":331,"description":12834,"tags":12835,"thumbUrl":12836,"material":198,"size":780,"collection":100,"collections":12837,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":88},235239,"ju-hua-zhou-xiang-sheng-mo-235239","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[25,26,7,28,113,440,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdcf136285d92857c81bcceda00dd6a4.jpg",[],{"id":12839,"slug":12840,"title":12841,"dynasty":18,"author":921,"museum":331,"description":12842,"tags":12843,"thumbUrl":12845,"material":100,"size":100,"collection":100,"collections":12846,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":88},235232,"liao-hong-he-bai-tu-zhou-wu-chang-shuo-235232","蓼红荷白图轴","以大写意之笔铺陈秋塘意趣，上方荷叶泼墨挥就，浓淡干湿交织，尽显苍浑朴拙之态，留白花瓣莹洁雅致，与墨色荷叶相映成趣。下方蓼花茎干细劲，朱红点染花序，鲜活灵动如沐秋风。\n\n左上题字错落排布，书意与画意相融相生。全作用笔兼具篆籀古意，看似率意挥洒，实则疏密得宜，红蓼墨荷冷暖相衬，将清秋疏朗野逸的意趣藏于笔底，寥寥数笔便勾勒出秋光满塘的鲜活生机，尽显文人写意画的雅逸朴厚。",[25,26,7,77,28,113,32,12844],"蓼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed59055e1f284cd3c40ef5375f4a0596.jpg",[],{"id":12848,"slug":12849,"title":12850,"dynasty":18,"author":12851,"museum":236,"description":12852,"tags":12853,"thumbUrl":12854,"material":1573,"size":12855,"collection":100,"collections":12856,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":88},234683,"chen-shi-ceng-tao-liu-pi-pa-tu-zhou-chen-heng-ke-234683","陈师曾桃榴枇杷图轴","陈衡恪","图绘桃、石榴、枇杷各一枝，参差有序，果实累累。画中以花青色配以浓淡不同的墨色画桃叶，再以重墨勾勒筋脉。桃实红绿相间，色泽自然。石榴的枝条硬朗秀挺，小叶片片看似随意，然点画得轻灵活泼，与较浓重的桃叶、枇杷叶相映衬，使画面轻重有别，富有韵律感。",[24,25,26,7,113,28,77,4369,5348,957,576,3024],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f93683f8661e46f36da1e89a8b0199c.jpg","纵87.5厘米， 横44.8厘米",[],{"id":12858,"slug":12859,"title":12860,"dynasty":207,"author":50,"museum":331,"description":12861,"tags":12862,"thumbUrl":12863,"material":100,"size":100,"collection":100,"collections":12864,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":44},232829,"mei-hua-shuang-que-tu-li-zhou-yi-ming-232829","梅花双雀图立轴","此作以虬曲老梅为骨，苍劲枝干皴染细致，苔点错落尽显嶙峋古意。枝头梅朵冰洁柔粉，与旁侧挺秀翠竹相映，冷枝翠叶晕开清隽春息。几只山雀或栖止梳羽，或振翅穿林，灵动鲜活的身姿，将静谧冬景揉进灵动生气。\n\n笔墨工写兼具，勾勒禽鸟身形写实精细，绘写梅竹则苍润朴拙，淡设色与古绢底色相融晕染，尽显清淡雅致。将冬日花木的坚贞与初醒的生机相融，藏着元代花鸟特有的疏淡文人意趣，简淡间晕开悠长雅致。",[23,25,7,28,27,392,31,7145,151,113,484,131,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6397c4387e860162f3a156b850ce1148.jpg",[],{"id":12866,"slug":12867,"title":12868,"dynasty":93,"author":50,"museum":331,"description":5946,"tags":12869,"thumbUrl":12870,"material":198,"size":780,"collection":100,"collections":12871,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":44},227867,"pu-xian-pu-sa-tu-yi-ming-227867","普贤菩萨图",[23,25,26,7,54,28,29,241,27,5394,6283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7baa4b163280a926f7c11272d4784ad.jpg",[],{"id":12873,"slug":12874,"title":12875,"dynasty":18,"author":2476,"museum":1684,"description":12876,"tags":12877,"thumbUrl":12878,"material":12879,"size":12880,"collection":84,"collections":12881,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":88},223252,"zhu-ju-hua-tu-zhou-pu-hua-223252","竹菊花图轴","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,25,28,77,7,113,31,440,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f837281a5a3ede855624505ab9f5514.jpg","纸本，册页，设色","纵27厘米、横34厘米",[84,158],{"id":12883,"slug":12884,"title":12885,"dynasty":72,"author":7501,"museum":74,"description":12886,"tags":12887,"thumbUrl":12888,"material":136,"size":12889,"collection":185,"collections":12890,"showCount":12772,"zanCount":11,"manualWeight":43,"mainColor":88},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[23,25,26,7,77,28,130,79,129,378,31,377,134,193,132,170,151,131,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[185,158],{"id":12892,"slug":12893,"title":12894,"dynasty":72,"author":4312,"museum":74,"description":12895,"tags":12896,"thumbUrl":12898,"material":77,"size":12899,"collection":138,"collections":12900,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":88},222184,"han-shan-shi-liu-tu-zhou-zhao-zuo-222184","寒山石溜图轴","赵左（1573—1644）左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭（今上海松江）人。\n赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为“赵秋草”。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米（芾）非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为“苏松派”。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。所著《大愚庵遗集》已失传，散落的诗文由其子搜辑成一集存世。传世作品有万历三十九年（1611）作《秋山幽居图》扇面（藏上海博物馆）、万历四十年（1612）作《溪山无尽图》卷）收录于《中国绘画史图录》下册）、万历四十四年（1616）的《长江叠翠图》卷（藏中国美术馆）等。另有藏于故宫博物院的《富春大岭图》卷，台北故宫博物院藏《寒江草阁图》轴及上海博物馆藏《仿大痴秋山无尽图》卷、《山水卷》等。\n绘画特色:\n一、师从宋旭。宋旭（1525-？年），字初旸，号石门，浙江湖州人，后徙居上海松江，以画山水最为擅长，主要师法“明四家”之一的沈周，风格雄劲古拙，为“松江派”之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。清王原祁《佩文斋书画谱》中即有云：“（赵左）学于宋旭……其画宗董源，兼有黄公望、倪瓒之意。\n二、受董其昌山水画影响。董其昌是明代后期书画大家，其山水画理论与实践影响了明末乃至清代山水画的发展，加之董氏社会地位显赫，官至南京礼部尚书，以太子太保致仕，结交了大量的仕宦、文人和书画家，因此名重一时，影从者甚众。由于董其昌是松江人氏，因此当时松江地区的许多画派都以追随董氏，强调摹古，重视笔墨为潮流，而赵左身处其间，在绘画创作上受乡贤之影响也是必然的。\n赵左与董氏是翰墨挚友，并有着长期的书画交往，是董氏绘画最重要的代笔人之一。对此，清朱彝尊（1629-1709年）在《论画绝句十二首》中指出“隐君赵左僧珂雪，每替香光应接忙。泾渭淄渑终有别，漫因题字概收藏。”又朱氏自注云：“董文敏疲于应酬，每倩赵文度及雪公代笔，亲为书款。” 同时，清姜绍书（生卒年不详）在《无声诗史》中亦有云：“与董思白为翰墨友，流传董迹，颇有出文度手者。”可见，赵左为董氏代笔在当时已是公开的秘密，这也从一个侧面反映了赵左在绘画上的功力确是不凡。\n赵左绘画作品《山水册》，现由金陵天渡楼收藏。\n当然，赵左为董其昌代笔与董氏原作是有本质区别的。赵氏长于烘染，在树木等的刻画上立体感强，层次繁复，风格细润，于绘画技巧上更为精能，但笔墨功力与董其昌相比则略显单薄，这主要是由于董氏所具有的超凡书法功底是赵左力所不逮的。赵左作为“松江派”山水的领袖，自具有其独到之处。《无声诗史》记其论画一则，阐述了他对山水画创作的艺术见解。他主张画山水，须得山川林木、楼观舟车、人物屋宇之势，做到取势布景，交错而不繁乱；景物布置,须一一自然合理；景色先以朽笔勾出，然后落墨,使景致、笔墨交融，成画后才富有意味。\n他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧；并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云；或作浅绛设色，与笔墨的运用相融。还经常参用米氏父子、黄公望、倪瓒等画家的不同画法\n他的山水画秀劲飘逸的韵致也吸引了一大批松江画家追随其左右，如赵泂、叶有年、吴振、释常莹等，都从学于赵左绘画，使得明末清初的松江画坛呈现出一派生机盎然的景象。而赵左的许多作品也为时人和后世视为世袭之珍。",[23,24,25,26,7,77,130,132,521,173,169,12897,614,129],"小亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc4008b1851240fd1b92482966a63c8.jpg","52.7x36.9厘米",[138,158],{"id":12902,"slug":12903,"title":12904,"dynasty":72,"author":1614,"museum":648,"description":1615,"tags":12905,"thumbUrl":12907,"material":100,"size":12908,"collection":100,"collections":12909,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":342},221980,"ni-jin-bo-luo-mi-duo-jin-gang-jing-wen-zheng-ming-221980","泥金波罗密多金刚经",[23,80,5901,5902,12906,54,4907,7],"泥金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bedf057a4ed70908119f61b493eb45.jpg","116X31cm",[],{"id":12911,"slug":12912,"title":12913,"dynasty":18,"author":12914,"museum":533,"description":12915,"tags":12916,"thumbUrl":12917,"material":82,"size":12918,"collection":185,"collections":12919,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":88},220360,"fang-ni-yun-lin-gu-mu-yuan-shan-tu-zhou-zhu-chang-220360","仿倪云林古木远山图轴","祝昌","图以水墨描绘江南水乡泽国景色。层岗丘阜，错落起伏，溪涧潆洄，林木蓊郁，有茅屋数间依偎于山麓，扁舟数个荡漾于水面，景色旷远，意境清幽。画面主要用墨笔干皴，得倪瓒三昧。",[23,25,26,7,77,130,945,129,2294,522,131,193,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11257d3e5577a6cd1823f109ea6a2bdb.jpg","53.5x177.6",[185],{"id":12921,"slug":12922,"title":12923,"dynasty":18,"author":1123,"museum":331,"description":12924,"tags":12925,"thumbUrl":12926,"material":136,"size":12927,"collection":84,"collections":12928,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":88},219990,"yao-pu-qiong-pa-tu-yun-shou-ping-219990","瑶圃琼葩图","图绘湖石一块，形状怪异；后有牡丹围绕，枝繁叶茂，枝头花朵或粉红，或红白相间，花瓣层层叠叠，层次清晰。此幅敷色生硬，或是后人摹本。",[23,25,26,113,24,7,1593,28,27,114,57,78,536,576,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[84],{"id":12930,"slug":12931,"title":12932,"dynasty":18,"author":1036,"museum":236,"description":12933,"tags":12934,"thumbUrl":12935,"material":37,"size":12936,"collection":84,"collections":12937,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":44},219870,"song-xian-ying-zhi-tu-zhou-lang-shi-ning-219870","嵩献英芝图轴","正中是一只兀立于石上的白鹰，画面的右边是一棵弯曲盘绕的老松，还有一棵藤萝攀绕着松树枝干，松树的根部和石头的缝隙之间有灵芝数株，画幅左边为坡石以及急湍的溪流。 图中所绘苍松、雄鹰、灵芝、山石、流水，在中国文化中多有强健、长寿和吉祥的美好寓意。但在色彩上，鹰白、松绿、芝棕红、土坡绛色和藤萝花粉紫，却是不同于中国传统、属于郎世宁风格的鲜明、绚丽和浓重。",[23,24,25,26,7,27,28,5108,427,169,132,4015,4370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ede8b111d7cac1c43336e0de1b2972.jpg","纵242.3cm，横157.1cm",[84],{"id":12939,"slug":12940,"title":12941,"dynasty":18,"author":1036,"museum":74,"description":12942,"tags":12943,"thumbUrl":12944,"material":37,"size":12945,"collection":158,"collections":12946,"showCount":12772,"zanCount":11,"manualWeight":43,"mainColor":88},219303,"shi-jun-tu-zhi-xue-dian-diao-zhou-lang-shi-ning-219303","十骏图之雪点雕轴","郎世宁（一六八八－一七六六）意大利人。十九岁，入天主教耶稣会为修士。曾习油画，兼习建筑。二十七岁来华，以绘事供奉内廷，历仕康熙、雍正、乾隆三朝。善画人物、花鸟，尤善犬马。科尔沁郡王诺们额尔和图于乾隆八（西元一七四三）年，进贡骏马一匹。",[25,24,7,28,27,196,241,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e84b14360acb49ba0390128d53f6779.jpg","238.2x270.6",[158],{"id":12948,"slug":12949,"title":12950,"dynasty":18,"author":1971,"museum":236,"description":12951,"tags":12952,"thumbUrl":12953,"material":37,"size":12954,"collection":138,"collections":12955,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":44},219220,"fang-da-chi-shan-shui-tu-wang-jian-219220","仿大痴山水图","此图沿“S”形的水路，绘一河两岸的景色，笔墨技法精湛，设色清丽脱俗，表现了江南山水沉郁深秀的自然气象。图中山石、树木勾染以仿大痴，即黄公望的画面为主，同时参法董源及唐初巨然的笔力，显现出王鉴晚年对古人笔墨融会贯通的掌控能力。",[23,24,25,26,7,28,129,193,132,170,945,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4bb0de74fcee4bbd39f292a92cc45.jpg","纵122.5厘米，横61.5厘米",[138],{"id":12957,"slug":12958,"title":12959,"dynasty":207,"author":50,"museum":331,"description":12960,"tags":12961,"thumbUrl":12962,"material":77,"size":100,"collection":185,"collections":12963,"showCount":12772,"zanCount":43,"manualWeight":43,"mainColor":44},218496,"dong-po-qi-lv-tu-yi-ming-218496","东坡骑驴图","驴背人影衣袂掀动，似携一身野风穿行于淡墨峰峦间。松枝斜出如笔，与天边流云共织清寂，驴蹄轻踏处，草叶簌簌声仿佛随墨色漫开。笔墨简劲却藏深情，没有繁复设色，仅以水墨勾勒人物的孤远与从容——那是坡公贬谪途中的淡然，也是画者对先贤心境的隔空呼应。峰峦的淡皴如旧梦晕染，松风与驴鸣似在耳畔低回，简淡画面里，沉潜着文人遭际中的旷达文心。每一道笔触都像在诉说：纵使前路风雨，仍以悠然姿态，踏遍山河。画面虽简，意蕴却厚，如陈酒浅酌，余味漫过时光。",[23,25,26,7,77,304,985,29,3287,253,132,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f93ebd14f269b38bf81415ee2b5a2d.jpg",[185],{"id":12965,"slug":12966,"title":11537,"dynasty":72,"author":12967,"museum":331,"description":12968,"tags":12969,"thumbUrl":12971,"material":198,"size":780,"collection":100,"collections":12972,"showCount":12973,"zanCount":11,"manualWeight":43,"mainColor":44},289997,"ting-qin-tu-li-zhou-du-jin-289997","杜堇","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人。",[25,26,24,7,28,27,29,30,776,2389,777,35,5575,12970,1405],"书房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9241a9963f0c789754bcb630030c914e.jpg",[],55,{"id":12975,"slug":12976,"title":12977,"dynasty":993,"author":7836,"museum":74,"description":12978,"tags":12979,"thumbUrl":12980,"material":198,"size":780,"collection":100,"collections":12981,"showCount":12973,"zanCount":11,"manualWeight":43,"mainColor":88},289889,"zhu-lin-wu-jun-tu-yan-li-ben-289889","竹林五君图","阎立本（601年—673年），雍州万年（今陕西省西安市临潼区）人。唐朝时期宰相、画家，隋朝殿内少监阎毗之子。\n隋朝时，阎立本门荫入仕，累迁朝散大夫、将作少监。唐武德年间，担任秦王（李世民）府库直。贞观年间，历任主爵郎中、刑部郎中，迁将作少监。绘制“昭陵六骏”和“凌烟阁”功臣图，监修翠微宫。显庆元年（656年），出任将作大匠，迁工部尚书。总章元年（668年），检校右丞相，册封博陵县男。当时姜恪凭借战功擢任左丞相，时人有“左相宣威沙漠，右相驰誉丹青”之说。举荐名臣狄仁杰，累迁中书令。咸亨四年（673年11月14日），去世，追赠司空。\n阎立本擅长工艺，富于巧思，工篆隶书，对绘画、建筑都很擅长。兄长阎立德擅长书画、工艺及建筑工程。阎毗、阎立德、阎立本父子三人并以工艺、绘画闻名于世。代表作品《步辇图》《历代帝王像》等。",[23,25,24,7,28,29,31,80,79,7444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189baa2b3db03fad97d5e31e862a3468.jpg",[],{"id":12983,"slug":12984,"title":12985,"dynasty":93,"author":623,"museum":331,"description":4156,"tags":12986,"thumbUrl":12988,"material":198,"size":780,"collection":100,"collections":12989,"showCount":12973,"zanCount":43,"manualWeight":43,"mainColor":44},289658,"xue-hou-shan-cun-tu-li-cheng-289658","雪后山村图",[24,25,26,7,77,364,130,3880,1240,12987,521,733,193,614],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0607d079de16ecca9ed7e4b968863dce.jpg",[],{"id":12991,"slug":12992,"title":12993,"dynasty":72,"author":752,"museum":331,"description":2862,"tags":12994,"thumbUrl":12995,"material":198,"size":780,"collection":100,"collections":12996,"showCount":12973,"zanCount":11,"manualWeight":43,"mainColor":44},287345,"pi-pa-xian-shou-tu-chen-hong-shou-287345","枇杷献寿图",[23,25,24,7,28,27,29,30,775,957,80,79,1797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b9bd281fa2cf446c195de1b79955a.jpg",[],{"id":12998,"slug":12999,"title":13000,"dynasty":93,"author":146,"museum":331,"description":13001,"tags":13002,"thumbUrl":13003,"material":214,"size":100,"collection":101,"collections":13004,"showCount":12973,"zanCount":43,"manualWeight":43,"mainColor":88},240680,"qian-gu-fang-zhou-mi-fei-240680","钱榖仿轴","此作用笔跳宕爽利，全仿米芾行书意趣，结体欹侧奇崛，一如米氏风樯阵马之势。通篇行气贯通，牵丝映带间尽显笔势流转之美，墨色浓淡干湿自然变化，提按顿挫见腕力遒劲。诗句章法排布疏朗得当，字字顾盼生姿，既有米家刷字的洒脱快意，又蕴含着温润舒展的自运之态，于临摹中不失自我风神，尽显江南书家的风雅意致，笔墨间洋溢出醇厚的书卷清气。",[80,97,945,7,79,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a415381adfac5f3a0ee41077c5ab03b.jpg",[101],{"id":13006,"slug":13007,"title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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。",[25,26,24,7,28,113,498,151,1371,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ade1c2d8c7677f33096a169e71c32f.jpg",[],{"id":13040,"slug":13041,"title":13042,"dynasty":18,"author":921,"museum":236,"description":13043,"tags":13044,"thumbUrl":13045,"material":13046,"size":2919,"collection":100,"collections":13047,"showCount":12973,"zanCount":11,"manualWeight":43,"mainColor":88},233736,"wu-jun-qing-yan-lai-hong-zhou-wu-chang-shuo-233736","吴俊卿雁来红轴","本幅设色。款：“安吉吴俊卿”。\n吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[25,26,7,28,35,10640,1275,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8648de328c40626b7f14d113b0bcb0fb.jpg","金笺 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但点子纤细呈短条状。树木出现直且呈排列状的姿态。",[23,25,364,945,130,77,28,1240,132,521,133,7,3880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f304fcaa92d84ebd0825d65cc92b1c.jpg","本幅 187.7x115.5公分、全幅 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金屋春深图 松下观流图 苏米对书图 钟馗赏竹图 竹林七贤图 隔水吟窗图 曹松堂肖像 春宴图 钟馗嫁妹图 关山勒马图 渔家乐图 梅鹤图 渔夫晚归图",[23,25,24,26,7,28,77,27,29,13114,252,613,151,241],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d7fd76d8b44ae76dbc675b8ffbd77.jpg",[],{"id":13118,"slug":13119,"title":13120,"dynasty":93,"author":50,"museum":236,"description":13121,"tags":13122,"thumbUrl":13123,"material":182,"size":13124,"collection":157,"collections":13125,"showCount":12973,"zanCount":43,"manualWeight":43,"mainColor":342},223603,"qiu-shan-hong-shu-tu-zhou-yi-ming-223603","秋山红树图轴","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。",[23,25,24,26,7,28,129,1241,3984,169,134,193,1652,351,170,1651,176,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6349a3c7dd2d9bcdb8c6e7b79d431705.jpg","197.8x111.8",[157,138,185],{"id":13127,"slug":13128,"title":13129,"dynasty":72,"author":13130,"museum":74,"description":13131,"tags":13132,"thumbUrl":13133,"material":82,"size":13134,"collection":39,"collections":13135,"showCount":12973,"zanCount":11,"manualWeight":43,"mainColor":88},222521,"lao-zi-qi-niu-zhou-zhang-lu-222521","老子骑牛轴","张路","《老子骑牛图》人物的面部刻画得非常传神，衣纹的穿插也灵活巧妙，整个人物给人一气画成之感，形象生动而富有情致。",[23,25,167,7,29,1571,79,304,77,241,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206effd797ba2e6ba61c8c1c5ee3941c.jpg","纵101.5厘米 横55.3厘米",[39],{"id":13137,"slug":13138,"title":13139,"dynasty":72,"author":13140,"museum":648,"description":13141,"tags":13142,"thumbUrl":13143,"material":745,"size":13144,"collection":185,"collections":13145,"showCount":12973,"zanCount":11,"manualWeight":43,"mainColor":88},222083,"mo-bi-shan-shui-ren-wu-zhou-you-qiu-222083","墨笔山水人物轴","尤求","此幅完全以水墨绘制，笔法精细，功力深厚。远处丛山峻岭，山巅墨色如黛；中部一棵松树绘画清晰，枝杆细长，松枝自然伸展；近处厅一座，厅前几位雅士席地而坐，侃侃而谈，四周绿树环抱。尤求，字子求，工山水，善人物，明代画家。",[23,25,26,7,77,27,130,129,29,170,193,132,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6786c4d9ae057bd41bb8eba3527de43a.jpg","50.7x126.2cm",[185],{"id":13147,"slug":13148,"title":13149,"dynasty":72,"author":1614,"museum":236,"description":13150,"tags":13151,"thumbUrl":13152,"material":7695,"size":13153,"collection":100,"collections":13154,"showCount":12973,"zanCount":419,"manualWeight":43,"mainColor":88},221997,"xiang-jun-xiang-fu-ren-tu-wen-zheng-ming-221997","湘君湘夫人图","该图是文徵明早期仅存的人物画名作。此图根据屈原《九歌》中“湘君”、“湘夫人”两章而作。画面上湘君、湘夫人一前一后，前者手持羽扇，侧身后顾，似与后者对答，神情生动。人物造型来自晋顾恺之《女史箴图》、《洛神赋图》，形象古雅，体态修长，长袖飘逸，衣裙曳地，用游丝描，施朱红及白粉，精工古雅。从文徵明和王稺登的题跋可知，文徵明曾请仇英以此题作画，但文氏看过后并不满意，自己又重新创作。可见，文氏是在刻意追求一种“古意”，与仇英有不同的审美趣好。画上方自书《湘君》、《湘夫人》两章，后署“正德十二年丁醜二月已未停雲館中書”。正德十二年（1517年），时文徵明48岁。本幅有文徵明、文嘉、王稺登题跋。\n经清·耿昭忠等鉴藏。",[23,25,26,24,7,27,985,28,29,30,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97f60c8237a52c52ad96b4e9d3caf10.jpg","纵100.8厘米，横35.6厘米",[],{"id":13156,"slug":13157,"title":13158,"dynasty":283,"author":1683,"museum":1684,"description":13159,"tags":13160,"thumbUrl":13161,"material":100,"size":100,"collection":100,"collections":13162,"showCount":12973,"zanCount":43,"manualWeight":43,"mainColor":88},220529,"pin-fu-xu-bei-hong-220529","贫妇","以水墨写意糅合西画写实技法，刻画出负重前行的劳动者形象。顿挫的墨线勾画出粗布衣衫的褶皱肌理，淡赭晕染出黝黑皲裂的皮肤，面容上尽是被岁月蚀刻的疲惫麻木。紧攥木杖的关节凸起，满载的背篓纹理写实，将底层求生的艰辛具象呈现。创作者以饱含共情的笔触，将人体解剖的精准融于东方水墨的写意语境中，粗粝朴拙的笔调里，藏着对劳苦大众的深切悲悯，静穆的画面之下，涌动着直击人心的力量，将生存的重压与劳动者的隐忍坚韧定格于纸面。",[23,25,26,77,28,29,7,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed65caf0e5744e732bc73e4b5612ea0.jpg",[],{"id":13164,"slug":13165,"title":13166,"dynasty":72,"author":683,"museum":319,"description":13167,"tags":13168,"thumbUrl":13169,"material":82,"size":13170,"collection":138,"collections":13171,"showCount":12973,"zanCount":43,"manualWeight":43,"mainColor":704},219993,"yan-he-gu-zhou-tu-dai-jin-219993","岩壑孤舟图","戴进精于山水，兼于人物，在笔墨的运用上，善以斧劈描绘山石，皴染兼施。《岩壑孤舟图》的构图并不繁琐，石头嶙峋奇状，蓄意营建，斧劈顺着轮廓线短砍，更助长质感。凡斧劈之处，皆能体现山石的多面之感。近景有细微的墨色变化，增加立体感与厚实感。马、夏的构图方式，有“马一角”、“夏半边”之称，戴进在自己的作品中，也继承了这种特征，并颇能吸收马夏斜向布置景物的特质。而且近景所占画面的比例以及人物动向皆可看出他对近景的强调，这一点和马夏也是相合的。\n戴进笔下的人物，线条一向简单有力，却能注意到人体身态的描写及社会身分的表达。《岩壑孤舟图》中的渔夫，其刻画人物佝偻的形象，既是完成衣纹，也是完成身型的简单有力的线条，还能表达出渔夫的年迈。",[23,25,77,7,130,129,349,350,29,427,6208,193,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07f653fe9da537ea27bcd571089a78a.jpg","纵91.2厘米，横35厘米",[138],{"id":13173,"slug":13174,"title":13175,"dynasty":18,"author":8803,"museum":236,"description":13176,"tags":13177,"thumbUrl":13178,"material":82,"size":13179,"collection":84,"collections":13180,"showCount":12973,"zanCount":43,"manualWeight":43,"mainColor":88},219298,"you-yu-tu-li-fang-ying-219298","游鱼图","《游鱼图》是李方膺的代表作。画中春水方生，欢腾的鲤鱼争相穿越于河水间，它们或直冲入水底，或徜徉于水面，或摇头摆尾，或展鳍跳跃，在寒冷的冬天之后尽情享受着春天河水复苏带来的喜悦。画面生动传神而富有情趣。作者用笔洗练，虽无一笔背景，却使人透过温和的春水仿佛看到了江南明媚的春日景象，达到了意到笔不到、景在画外的艺术效果。\n根据画面的风格和题诗，可以推断此图是李方膺罢官（乾隆十三年，1748年）之后的作品。画中作者以游鱼自拟，隐喻他久困樊笼，终得返归自然，表现了作者向往自由生活的思想及其品格情操。明清文人常以“四君子”题材直抒胸臆，表现闲雅高洁的品行。李方膺也善画梅，而在晚年，他选择了游鱼为题材表达自己的思想感受，跳出了文人画的樊篱，立意新颖，扩大了文人画的表现领域和审美情趣，他的创新也正表现出“扬州八怪”对绘画的突出贡献。\n在画面位置经营上，此图也与众不同。5尾姿态不同的游鱼组成一条反“S”形曲线，鱼头、鱼尾相互呼应，既有形式上的美感，又渲染了腾跃而出的气氛。右边题诗一贯到底，字体浑厚雄肆，增强了画面的整体感，从而成为诗、书、画完美统一的佳构。",[23,25,77,7,304,935],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff613ec4e2d38e9fcb8dd2ed4789cd59.jpg","纵123.5厘米，横60厘米",[84,185],{"id":13182,"slug":13183,"title":13184,"dynasty":18,"author":13185,"museum":147,"description":13186,"tags":13187,"thumbUrl":13188,"material":37,"size":13189,"collection":84,"collections":13190,"showCount":12973,"zanCount":11,"manualWeight":43,"mainColor":44},219060,"lu-ya-tu-sun-yi-219060","芦鸭图","孙益","疏苇亭亭，叶带风意，枝干交错间藏着野趣。岸石上双鸭相依，一者昂首理羽，绿颈蓝斑映着天光；一者低首小憩，绒羽纹理细腻如触。淡赭底色晕开清寂，笔墨工致却不板滞——芦苇的线条柔韧含苍，禽鸟的姿态灵动传神，似能闻得水畔风鸣，见得细浪轻拍岸石。整幅画将江南水泽的闲淡之景凝于尺幅，草木的苍劲与生灵的鲜活相映成趣，尽显自然生机里的静谧况味。",[23,25,26,7,27,28,113,1742,6678,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89361e3af2e269c9833f44d7c0be584d.jpg","159.3x96.5cm",[84],{"id":13192,"slug":13193,"title":5430,"dynasty":72,"author":7648,"museum":4105,"description":13194,"tags":13195,"thumbUrl":13196,"material":37,"size":13197,"collection":84,"collections":13198,"showCount":12973,"zanCount":43,"manualWeight":43,"mainColor":44},218631,"lu-yan-tu-lin-liang-218631","画面以淡墨晕染出秋郊水畔的清寂氛围，芦苇疏斜摇曳，残荷半卷低垂，尽显萧瑟之致。一只雁振翅俯冲而下，羽翼的劲健与气流的动感跃然绢上；地面三只雁姿态各异——或低头啄食，喙尖轻触水面，似有涟漪隐现；或昂首远眺，颈间线条舒展，似与飞雁相和；或蜷身小憩，绒毛以淡墨点染，憨态可掬。\n\n笔墨兼工带写，雁的羽毛以浓淡墨色层叠晕染，质感蓬松而富有层次；芦苇则用劲挺的线条勾勒，末梢的飞白似有风掠过。整幅画于简淡中见生机，动静相宜，将禽鸟的野逸之趣与自然的清幽之境融为一体，尽显水墨写意的灵动韵味。",[24,25,77,304,113,1741,1742,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u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金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 ）。明代中期文學家、書畫家、戲曲家、軍事家\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。\n徐渭的文藝創作所涉及的領域很廣，但它們共同的特徵是：藝術上絕不依傍他人，喜好獨創一格，具有強烈的個性，風格豪邁而放逸，而且常常表現出對民間文學的愛好。\n明代的詩壇，由於前七子與後七子的提倡，出現了一股擬古的風潮。這種擬古的風氣，在一定意義上有礙於詩歌藝術的發展。徐渭對此深致不滿，並作了尖鋭的批評。 [16] 他説：“鳥學人言，本性還是鳥；寫詩如果一意模擬前人，學得再像，也不過是鳥學人言而已，毫無真實的價值。”徐渭自己的詩歌創作，注重表達個人對社會生活的實際情感，風格略近李賀，問學盛唐，並雜取南朝，出入宋元，而終不失其為自我。這個傾向為稍後主張抒發性靈的公安派所繼承，對改變晚明詩風具有重要意義。公安派的代表人物袁宏道對徐渭的詩有一段精彩的評述：“文長既不得志於有司，遂乃放浪麴櫱，恣情山水……其所見山奔海立。如寡婦之夜泣，羈人之寒起。當其放意，平疇千里；偶爾幽峭，鬼語秋墳。” [6] [17]\n徐渭的散文，以《自為墓誌銘》一篇最為出色。此外，許多尺牘也很有特色，潑辣機智，幽默多趣，文風遠啓金聖嘆一流。但總的來説，徐渭散文方面的成就不及詩歌。\n徐渭的書法和明代早期書壇沉悶的氣氛對比顯得格外突出，他最擅長氣勢磅礴的狂草，但一般人很難看懂，用筆狼藉，他對自己的書法極為喜歡，自認為“書法第一，詩第二，文第三，畫第四”。\n徐渭打破了以“台閣體”為主導的明代書壇的寂寞，開啓和引領了晚明“尚態”書風，把明代書法引向了新的高峯。陶望齡認為其書法“稱為奇絕，謂有明一人”。袁宏道則稱：“予不能書，而謬謂文長書決在王雅宜、文徵仲之上，不論書法而論書神，先生者誠八法之散聖，字林之俠客矣！”\n徐渭的書法及書法觀的產生，與明朝中、晚期的思想、文化、審美觀念巨大變遷相吻合。他的書法也是從吳門書派主張唐法的反叛中出發，繼而吸取北宋蘇軾、黃庭堅、米芾追求藝術個性化的積極因素中走來。徐渭的作品諸如《寄雲嶽子九首冊》《為仰南書六首詩卷》《李白蘇軾九首詩卷》《春園暮雨詩軸》等作品中黃庭堅書法的筆意比比皆是。\n徐渭在《書季子微所藏摹本蘭亭》中所説的“時時露己筆意” 的審美精神。他的原話是：“非特字也，世間諸有為事，凡臨摹直寄興耳，銖而較，寸而合，豈真我面目哉？臨摹《蘭亭》本者多矣，然時時露已筆意者，始稱高手。予閲茲本，雖不能必知其為何人，然窺其露已筆意，必高手也。優孟之似孫叔敖，豈並其鬚眉軀幹而似之耶？亦取諸其意氣而已矣。”\n如果説徐渭的行書已用“己意”實現了對傳統筆法的改變，那麼，最大的改變是那些高頭大軸的中堂行草書。以前説“董其昌破壞了墨法”，在這則要説“徐渭破壞了筆法”。徐渭在書法從卷冊翰札的文房把玩轉向廳堂展示審美的變革中，實現了作品創作中筆法的改造。《代應制詠劍草書軸》和《代應制詠墨草書軸》是其代表作。徐渭這種借鑑於繪畫的點畫表現方法，是對晉唐筆法的創造性破壞。對於書法藝術這種美術化傾向的改變。\n明代的水墨寫意畫迅速發展，以徐渭為代表的潑墨大寫意畫非常流行。徐渭憑藉自己特有的才華，成為明代成就極高的寫意畫大師。\n徐渭的潑墨寫意花鳥畫，別開生面，自成一家。其花鳥畫，兼收各家之長而不為所限，大膽變革，極具創造力。其寫意畫，無論是花卉還是花鳥，皆一揮而就，一切盡在似與不似之間，對筆下的四時花木，畫家運用勾、點、潑、皴等多種筆墨形態，將牡丹之雍容、紫薇之雋秀、竹子之蕭疏、霜菊之孤傲、寒梅之挺潔的神韻刻畫的入木三分，分別舒展九尺與五尺的梧桐和芭蕉，直衝畫外，不見首尾，與密如驟雨的葡萄、虯如蟠龍的藤蔓構成了巨大的張力，充溢在畫面中的縱橫之氣和豪放境界更是前所未有。他的水墨葡萄，串串果實倒掛枝頭，水鮮嫩欲滴，形象生動，茂盛的葉子以大塊水墨點成，風格疏放，不求形似，代表了徐渭的大寫意花卉的風格。豐富的運動軌跡與濃淡、徐疾、大小、乾濕、疏密程度各異的筆蹤墨韻，無不具備振筆疾書的即興性和不可重複性，呈現出中國繪畫中最為強烈的抽象表現主義，使其藴含某種內在的氣質、精神，這種氣質、精神又使欣賞者有如臨其境之感。徐渭筆下的南瓜、菊花圖，一氣呵成，驅墨如雲，氣勢逼人，同時又恰如其分的駕馭筆墨，輕重、濃淡、疏密、乾濕極富變化。墨法上既呈隨意浸滲的墨暈，又見控制得宜的濃淡。雖然被徐渭自稱“戲抹”，然而在寫意中仍生動的傳達出了花果的不同秉性和生韻。它的梧桐圖，只以潑墨筆法繪其一小部分，卻有使人聯想到挺拔正直的參天梧桐。正如翁方綱所説：“紙才一尺樹百尺，何以著此青林廬。恐是磊落千丈氣，夜半被酒歌噓唏。” 徐渭以其精湛的筆法，在似與不似之間，為欣賞者營造出一片開闊的審美天地。\n徐渭將自己的書法技巧和筆法融於畫中，正如張岱所言：“今見青藤（徐渭）諸畫，離奇超脱，蒼勁中姿媚躍出，與其書法奇絕略同。昔人謂摩詰之詩，詩中有畫，摩詰之畫，畫中有詩；餘謂青藤之書，書中有畫，青藤之畫，畫中有書。” [24] 他的《墨葡萄圖》，墨的濃淡顯示了葉的質感，題詩的字體結構與行距不規則，如葡萄藤蔓一樣在空中自由延伸，書與畫融為一體。\n徐渭的書法造詣很高，其跌宕縱橫的筆法有助於繪畫藝術的巧妙變化，如畫墨荷、葡萄，大刀闊斧，縱橫馳騁，沒有深厚的書法功力是難以做到的。徐渭曾做一幅《梅花蕉葉圖》，將梅花與芭蕉放在一起，並且在畫上題寫道：“芭蕉伴梅花，此是王維畫”，顯示出徐渭與王維在某些構圖上的源流關係。當然，王維畫雪裏芭蕉，更突出一種禪機，即，使得雪的清寒與芭蕉的心空構成畫面的宗教底藴，而徐渭在這樣的畫面組合中，更突出一種超越時空的主體解放性。\n徐渭的書法和畫法都極為嫺熟，功底深厚，他的題字，如他的潑墨寫意畫，縱橫不羈，洋洋灑灑；他的潑墨寫意畫，融合了精熟的筆法，意趣橫生，極富韻味。\n徐渭晚年悲苦淒涼，形影相弔，他將自己的悲憤和懷才不遇之感融注於筆端，筆下的墨竹，枝淡葉濃，逸筆草草，竹枝氣勢勁健，竹葉俯垂含情，雖屬竹枝而高潔清爽之氣不減。這正是畫家身處下層，懷才不遇，品格高潔，絕世獨立人格的光輝寫照。他的潑墨牡丹，不拘於牡丹的富貴高雅特徵，色彩絢爛，他卻常常以水墨繪之，有意改其本性，其目的是有賦予牡丹清雅脱俗的格調和神韻，所謂“從來國色無裝點，空染胭脂媚俗人。”\n徐渭的繪畫主觀感情色彩強烈，筆墨揮灑放縱，從而把中國寫意花鳥畫推向了書寫強烈思想情感的最高境界，把在生宣紙上隨意控制筆墨以表現情感的寫意花鳥畫技巧提高到了前所未有的高度。成為中國寫意花鳥畫發展中的里程碑，開創了中國大寫意畫派的先河，為文人畫的發展提供了廣闊的空間。其畫風對清代的八大山人、石濤、揚州八怪以及近現代的吳昌碩、齊白石等都產生了深遠影響。\n徐渭既採用北雜劇的形式，又吸收南曲的自然格律，創作有雜劇集《四聲猿》，其中包括《狂鼓史漁陽三弄》《玉禪師翠鄉一夢》《雌木蘭替父從軍》《女狀元辭凰得鳳》四個獨立的戲。《狂鼓史漁陽三弄》又稱《陰罵曹》，是有感於嚴嵩殺害沈鍊之事而創作的，表現出狂傲的反抗精神。後兩個戲都是寫女扮男裝建功立業的故事，反映了他對婦女的看法，有一定的反封建意義。這些作品都打破了雜劇固定的格式，為戲劇形式上的多樣化開拓了門津。《四聲猿》，高華爽俊，有着反抗思想與革新精神，對明代中後葉的戲曲創作起到重要的影響。湯顯祖曾説：“《四聲猿》乃詞壇飛將，輒為之演唱數通，安得生致文長，自拔其舌！”\n此外，徐渭對當時流行的輕視南戲之風非常反感。他認為南戲有自己寬鬆自由的格律，受到民間的歡迎，它通俗、多采，“無今人時文氣”，可是卻“無人選集，亦無表其名目者”。為此，徐渭寫下了《南詞敍錄》，首次對南戲加以總結，研究了南戲的藝術特點，著錄了宋元南戲六十種、明初戲文四十七種，以反對戲曲創作的駢麗風尚，扶植新興的俗曲。 [6] 這是中國第一部關於南戲的理論專著，在戲劇史上具有重要意義。雜劇《歌代嘯》、小説《雲合奇縱》（即《英烈傳》），據説也是徐渭所作。\n在戲劇理論方面，徐渭主張“本色”，即戲劇語言應當符合人物的身份，應當使用口語和俗語，以保證人物的真實性，而反對典雅的駢語，過度的修飾，這些看法都頗有見地。\n徐渭文自負才略，喜出奇謀，談論行軍打仗的形勢策略大多得其要領。擔任胡宗憲的幕僚時，協助其抗擊倭寇，並參與制定誘降海盜汪直、徐海等人的計謀。晚年悉心培養名將李如松，使其建立不朽功勳。",[25,26,7,77,79,80,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f3a57aac6b64d6fc61ee1dcd1d59672.jpg",[101],{"id":13254,"slug":13255,"title":8250,"dynasty":18,"author":921,"museum":331,"description":13256,"tags":13257,"thumbUrl":13258,"material":100,"size":100,"collection":84,"collections":13259,"showCount":13221,"zanCount":11,"manualWeight":43,"mainColor":88},239112,"mo-mei-tu-zhou-wu-chang-shuo-239112","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[25,26,7,77,392,131,80,79,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57278f7c874bcd2afc57071bfc181d8f.jpg",[84,101],{"id":13261,"slug":13262,"title":13263,"dynasty":18,"author":9395,"museum":331,"description":9396,"tags":13264,"thumbUrl":13266,"material":100,"size":100,"collection":101,"collections":13267,"showCount":13221,"zanCount":11,"manualWeight":43,"mainColor":88},238317,"qiu-hua-si-shou-zhou-dong-gao-238317","秋花四首轴",[25,26,7,28,27,4196,13265,10261,58,536,79],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70d4386e484a0de4f87b2b3e7b37d2.jpg",[101],{"id":13269,"slug":13270,"title":13271,"dynasty":18,"author":50,"museum":331,"description":13272,"tags":13273,"thumbUrl":13274,"material":100,"size":100,"collection":100,"collections":13275,"showCount":13221,"zanCount":43,"manualWeight":43,"mainColor":88},235610,"hong-ren-xi-yan-song-xue-tu-zhou-yi-ming-235610","弘仁西岩松雪图轴","以淡墨勾勒皴擦，笔致清劲洗练，将冬日萧寒山境铺陈眼前。危崖层叠凌然耸立，石壁方折硬挺如刀削斧劈，尽显山石孤高嶙峋之态。留白晕染出漫山积雪，素净莹洁，与虬曲枯松相映，愈添荒寒清寂之意。\n\n山间石阶、崖顶幽居藏于苍茫雪景中，似隔绝尘寰烟火，恍若世外幽境。画作以极简笔墨营造出空灵淡远的禅意，清冷孤高的意境直透纸背，尽显静穆萧散的山水逸趣，将冬日山居的幽寂出尘之美尽数铺陈开来。",[25,7,77,129,130,378,613,351,252,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febca332b4a42388ea31a1981cf2e1c04.jpg",[],{"id":13277,"slug":13278,"title":13279,"dynasty":93,"author":481,"museum":331,"description":13280,"tags":13281,"thumbUrl":13282,"material":100,"size":100,"collection":100,"collections":13283,"showCount":13221,"zanCount":43,"manualWeight":43,"mainColor":44},227640,"song-ge-guan-chao-tu-ma-yuan-227640","松阁观潮图","绢本，设色，190.9×94.5ＣＭ，美国弗利尔美术馆藏。绘山峰奇险，一轮明月与绝壁相对，山脚下古松苍劲笔直，树下凉中一人凭栏眺望，不远处应有潮水奔腾，水面上避风处二船停泊，一小童在船上正伏桌打盹，看来夜已深了。此图原题：马远松阁观潮图。然则细观之下，与王谔的风格很相似，当是明代宫廷画家之作品。",[23,25,26,24,7,77,28,130,129,131,269,29,349,132,522,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42a106aaf591df8e3bae9f9e22cb844.jpg",[],{"id":13285,"slug":13286,"title":13287,"dynasty":993,"author":13288,"museum":331,"description":13289,"tags":13290,"thumbUrl":13291,"material":100,"size":100,"collection":100,"collections":13292,"showCount":13221,"zanCount":43,"manualWeight":43,"mainColor":342},227084,"ru-yi-lun-guan-yin-tu-liang-quan-227084","如意轮观音图","良全","良全（ryouzen）为活跃于14世纪的画家，关于其经历目前详情不明。但是从其作品中所留下的题赞等可知其为与干峰士昙（kenbousidon）（1285～1361）以及干峰士昙担任主持（jyuuji）的京都东福寺有着密切关系的画师。\n\n此幅“如意轮观音图”的上部树木取自技法超前的水墨画，尊像部分一般认为是彩色如意轮观音像的水墨画版。观音的衣裙及宝冠、莲花宝座等处施有细腻的金泥图案，却并不夺目，圆光的背后隐约可见的岩石采用淡墨描绘，画面整体围绕观音描述其周围的空间，本图是唯有精通水墨技法的良全方能绘成，作为14世纪的水墨佛画也可谓是极其成功的。画面右下角有“海西人（kaiseijin）良全笔”的金泥落款。",[23,25,26,7,54,27,28,29,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c0e7681f40aff4454529feba431a61.jpg",[],{"id":13294,"slug":13295,"title":13296,"dynasty":72,"author":4145,"museum":265,"description":13297,"tags":13298,"thumbUrl":13299,"material":214,"size":13300,"collection":84,"collections":13301,"showCount":13221,"zanCount":11,"manualWeight":43,"mainColor":88},222604,"hong-ye-qiu-qin-tu-lan-ying-222604","红叶秋禽图","枝头稀稀落落的几片叶子，让人联想到地上可能已有大片的落叶，秋意渐浓",[23,7,25,28,77,113,3631,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0891cd63ac53d923be6085e133c60d20.jpg","35.8x94.7",[84,158],{"id":13303,"slug":13304,"title":13305,"dynasty":72,"author":13306,"museum":648,"description":13307,"tags":13308,"thumbUrl":13309,"material":214,"size":13310,"collection":138,"collections":13311,"showCount":13221,"zanCount":11,"manualWeight":43,"mainColor":88},222578,"zhu-lu-shan-fang-zhou-shen-zhen-222578","竹炉山房轴","沈贞","该图画山峦耸立、老树槎桠，叶竹围绕山房，生意昂然。此图时代风格极为鲜明，与刘珏、杜琼诸家接近，从而得以探明沈周画风的出处，了解承前启后的脉络。",[23,25,26,7,28,130,27,129,31,253,733,193,29,351,12276,1717,911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ce7c6cd7d2c7863041083e3b58f8f4.jpg","纵115.5厘米，横35厘米",[138,158],{"id":13313,"slug":13314,"title":13315,"dynasty":72,"author":13316,"museum":533,"description":13317,"tags":13318,"thumbUrl":13320,"material":214,"size":13321,"collection":138,"collections":13322,"showCount":13221,"zanCount":11,"manualWeight":43,"mainColor":88},222323,"song-bai-tu-fang-yi-zhi-222323","松柏图","方以智","图绘松柏两棵，一棵虬枝叶茂，另一棵上半段已残缺，仍坚强孤傲立于山石之上，树下隐约现长亭横顶，此处为观景纳凉之佳地；远处山色浓重，云蒸雾绕，透出孤寂冷清之意境。方以智，字密之，号曼公，明代哲学家、画家，明末清初出家为僧",[23,25,77,130,7,13319,129,35,377,6208,132,170,522],"松柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60d9e5554f54a559543073dca6744eb.jpg","47.3x125.6厘米",[138,185],{"id":13324,"slug":13325,"title":13326,"dynasty":72,"author":7501,"museum":11648,"description":13327,"tags":13328,"thumbUrl":13332,"material":2583,"size":13333,"collection":138,"collections":13334,"showCount":13221,"zanCount":11,"manualWeight":43,"mainColor":88},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,25,77,7,129,31,8997,193,3276,3621,130,72,13329,13330,58,1421,304,13331,5997],"传统","水墨山水","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","48X123cm",[138,185],{"id":13336,"slug":13337,"title":1381,"dynasty":207,"author":208,"museum":74,"description":13338,"tags":13339,"thumbUrl":13340,"material":214,"size":1385,"collection":138,"collections":13341,"showCount":13221,"zanCount":11,"manualWeight":43,"mainColor":88},220809,"shan-shui-zhou-wang-meng-220809","王蒙（1308-1385），元代著名画家，字叔明（一作叔铭），晚年居黄鹤山，号黄鹤山樵。又自称香光居士。王蒙是元初著名书画家赵孟頫的外甥，出身书画世家，曾一度任官。绘画主要师法董、巨，与倪瓒、黄公望、吴镇齐名并有交往，后人称“元四家”。",[23,25,26,7,77,130,129,132,170,193,134,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6dcb4762f048b8615a5bade13370e9.jpg",[138,185],{"id":13343,"slug":13344,"title":13345,"dynasty":207,"author":13346,"museum":74,"description":13347,"tags":13348,"thumbUrl":13349,"material":37,"size":13350,"collection":138,"collections":13351,"showCount":13221,"zanCount":11,"manualWeight":43,"mainColor":44},220239,"song-he-guan-quan-tu-ma-wan-220239","松壑观泉图","马琬","马琬，生卒年不详，元末画家。宇文璧，号鲁钝生，灌园人，秦淮（今江苏南京）人，元末客居松江（今属上海市）。少时就学于杨维祯。1370年（明太祖洪武三）官抚州知府。擅画山水，远法董源、巨然和米芾，近师黄公望，笔墨清润，构图密茂。颇负时誉。",[23,25,26,7,77,130,129,427,2570,132,377,170,172,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39cd60e15a5e9385b875c42233475d64.jpg","60.8x29.3公分",[138],{"id":13353,"slug":13354,"title":13355,"dynasty":93,"author":50,"museum":74,"description":13356,"tags":13357,"thumbUrl":13359,"material":37,"size":13360,"collection":157,"collections":13361,"showCount":13221,"zanCount":43,"manualWeight":43,"mainColor":44},220148,"lu-ting-shuang-ya-tu-yi-ming-220148","芦汀双鸭图","淡墨晕开秋水，似笼着薄雾寒烟，汀渚静卧，清寂悠然。右侧芦苇以双钩提笔绘就，细劲笔触勾出舒展茎叶，墨色分染衬出枯软肌理，仿有风过簌簌摇曳，野意横生。\n\n水面野鸭悠然徐行，浓墨点染头颈，浅墨晕开羽上斑纹，明暗相宜，灵动鲜活。寥寥数笔勾出鸭掌拨出的细微波痕，暗合水动之姿。\n\n整幅画作以简驭繁，舍去浓艳敷色，独以水墨铺陈郊野水滨之景，将秋日汀洲的幽寂闲趣藏于绢素，把自然生灵的安闲之态凝于笔端，尽显含蓄雅致的古典意韵。",[23,25,26,113,7,27,28,1742,6678,523,13358],"汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31af9eabc519e95fbd973739de4ea50c.jpg","86.5x90.4",[157],{"id":13363,"slug":13364,"title":13365,"dynasty":18,"author":709,"museum":331,"description":13366,"tags":13367,"thumbUrl":13368,"material":28,"size":100,"collection":84,"collections":13369,"showCount":13221,"zanCount":43,"manualWeight":43,"mainColor":44},220145,"chang-nian-bai-zi-fu-gui-tu-li-shan-220145","长年百子富贵图","李鱓，（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。\n工细笔法放逸，以泼墨等画法，创作出了生动、鲜活、淋漓、奔放、形神兼备的花鸟画作品，“纵横驰骋，不拘绳墨”，以至于被后人视为“怪物”。",[23,25,26,7,28,77,304,113,427,114,664,2507,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda79c3a547dcbd57a9fa5702339cdc28.jpg",[84],{"id":13371,"slug":13372,"title":13373,"dynasty":207,"author":4104,"museum":74,"description":13374,"tags":13375,"thumbUrl":13376,"material":82,"size":13377,"collection":84,"collections":13378,"showCount":13221,"zanCount":43,"manualWeight":43,"mainColor":44},219241,"tao-zhu-chun-qin-tu-wang-yuan-219241","桃竹春禽图","此幅画坡石桃竹，两双锦鸡楼于坡石之间。桃枝上的一双小鸟作欲飞状。枝上桃花或盛开，或含苞欲放。图中花和叶都用水墨点画而成，不用线勾。作者以深浅不同的色调，表现出阴阳向背和不同的颜色。鸟身的羽毛举涂染皴划粗细笔兼用，不作精雕细琢。全画笔墨稳练、文雅，气韵苍古，是花鸟画在元代由设色向墨笔过渡的代表性作品。",[23,25,24,7,77,27,113,4369,31,115,151,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c252bcf6ed4c5540285f24044384b10.jpg","117.6x55公分；全幅72.5公分",[84],{"id":13380,"slug":13381,"title":13382,"dynasty":72,"author":1496,"museum":74,"description":13383,"tags":13384,"thumbUrl":13387,"material":136,"size":13388,"collection":84,"collections":13389,"showCount":13221,"zanCount":11,"manualWeight":43,"mainColor":44},218840,"cao-hua-ye-qin-tu-lv-ji-218840","草花野禽图","绘高梁丛底下，一对野雉正在低头觅食，另外还有三只荜雀翱翔于上，构景既真实生动，又富趣味性。画上并没有作者的签名，因为钤盖了吕纪的印章，而被误认为是他的作品。实际上这幅画虽然极好，但风格却和吕纪不尽相同，推测应该出自明代其他高手所作。吕纪（活动于1439—15○5年间），浙江鄞县人。明孝宗时任职于仁智殿作画，并被授予锦衣指挥的官名。",[24,25,26,7,27,28,113,151,13385,13386,132,58,79],"野禽","草花","https:\u002F\u002Foss.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渡唐天神图","人物宽袍博带，衣纹流转间见古朴气度。手中梅枝缀着花苞，清韵暗生；身侧囊匣似藏典籍，隐现渡海求艺的初心。上方题字墨痕苍劲，与人物沉静神态相契，勾连起东瀛与大唐的文化牵系。画面虽简，却以含蓄笔触，将古代跨海求法的虔诚与文化交融的暖意凝于纸上，似能窥见千年前那些跨越沧海的身影，带着对文明的向往，在笔墨间留下永恒的回响。",[25,26,7,28,29,27,392,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040b1b8dece6ec842089b519db230ca5.jpg","94.8x36.5",[39],{"id":13409,"slug":13410,"title":13411,"dynasty":207,"author":10724,"museum":319,"description":13412,"tags":13413,"thumbUrl":13414,"material":82,"size":13415,"collection":138,"collections":13416,"showCount":13221,"zanCount":11,"manualWeight":43,"mainColor":44},218256,"xi-ting-shan-se-tu-lu-guang-218256","溪亭山色图","峰峦层叠如黛，飞瀑如练悬垂崖间，水汽似漫过纸面。坡岸旁枯木疏枝意态萧散，秋意清寂尽现。临流筑榭，隐者凭栏或对谈，时光缓缓流淌。笔墨苍润兼具，皴擦间见山石肌理，线条灵动藏古雅韵致。整幅画清幽淡远，文人丘壑化为纸上烟霞，尽显元人山水空灵超脱。观之如入静谧之境，尘心渐息，仿佛能闻瀑声松涛，触到溪畔清风。",[25,7,77,130,129,377,253,169,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143810d1b0b02dc21227e0b62f9768c8.jpg","89.1x25.4cm",[138],{"id":13418,"slug":13419,"title":818,"dynasty":72,"author":13420,"museum":319,"description":13421,"tags":13422,"thumbUrl":13423,"material":37,"size":13424,"collection":138,"collections":13425,"showCount":13221,"zanCount":43,"manualWeight":43,"mainColor":342},218098,"shan-shui-tu-li-zai-218098","李在","明朝时期的画家李在是一位著名的山水画家。他的作品以其精细的写实技巧、恢弘的气势和自然的造型而闻名。\n\n李在的山水图以其鲜明的色彩和细腻的线条而著称。他善于运用笔墨勾勒出高山峻岭、秀美的林木、碧波荡漾的江河、以及蒙蒙细雨的天气。他的画作还经常加入人物、建筑和动物的元素，使得作品更具生动感。\n\n李在的山水画不仅具有艺术价值，而且在当时也被视为象征君权的艺术品。他的作品深受当时的皇帝和贵族的青睐，并在历史上留下了深远的影响。\n\n总之，李在是一位杰出的山水画家，他的作品以其精细的写实技巧和自然的造型而闻名，并在历史上留下了深远的影响。",[25,26,24,7,77,28,130,129,1651,170,134,193,173,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f77a8ae01189e0f35aebdf3f3f1bb.jpg","138.8x83.2cm",[138],{"id":13427,"slug":13428,"title":3082,"dynasty":72,"author":3905,"museum":74,"description":13429,"tags":13430,"thumbUrl":13431,"material":136,"size":100,"collection":39,"collections":13432,"showCount":13221,"zanCount":43,"manualWeight":43,"mainColor":88},216980,"zhong-kui-tu-qian-gu-216980","这幅画描绘了钟馗带着他的涉猎器在寒冷的森林中独自行走，旧传锺馗本唐德宗时之武举魁首，因貌丑见斥，自刎身亡，德宗后悔莫及，封为驱魔大神。此后，钟馗的名气越来越大，人们在年底和端午节挂起钟馗的雕像，以驱除邪气。钱谷的这件作品，色彩淡雅，气氛独特，与民间形象不同。",[25,26,7,77,985,29,521,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0421f0df4b30dcc416c55929cbe0eab3.jpg",[39],{"id":13434,"slug":13435,"title":13436,"dynasty":18,"author":13437,"museum":74,"description":13438,"tags":13439,"thumbUrl":13440,"material":82,"size":13441,"collection":138,"collections":13442,"showCount":13221,"zanCount":43,"manualWeight":43,"mainColor":88},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","董邦达","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[25,26,24,7,77,130,129,134,193,377,29,1571,253,31,733,522,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[138],{"id":13444,"slug":13445,"title":10570,"dynasty":72,"author":13446,"museum":74,"description":13447,"tags":13448,"thumbUrl":13449,"material":136,"size":13450,"collection":39,"collections":13451,"showCount":13221,"zanCount":43,"manualWeight":43,"mainColor":44},214747,"luo-han-tu-zhao-xiu-lu-214747","赵修禄","画中的罗汉眉毛胡子一把抓，左手持袖，右手持珠，化作水波，脚踏浪花，形象生动。衣服的轮廓和画作的线条都非常清晰细腻，所谓流畅的笔触可能就是这种笔触风格的体现。",[25,26,7,54,29,28,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0de78a831d6c5e798e599ccb531b57.jpg","82.3x24.2",[39],{"id":13453,"slug":13454,"title":13455,"dynasty":207,"author":9698,"museum":1714,"description":13456,"tags":13457,"thumbUrl":13458,"material":136,"size":13459,"collection":138,"collections":13460,"showCount":13221,"zanCount":43,"manualWeight":43,"mainColor":88},214383,"yu-le-tu-fang-cong-yi-214383","鱼乐图","画面中，一个樵夫与渔民在岸边上喝酒，反映了工人的简单情感和生活细节。一棵垂柳树耸立在画中，映衬着翠绿的山丘和海滩。这幅画是素描，笔触强烈而尖锐，色彩明亮而优雅。虽然这幅画是由方从义题写的，但其风格更接近明代的戴进和吴伟的风格。",[23,25,26,7,77,130,129,253,1419,29,1275,35,2367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00272ba6a9af3a5abb90b8e961a2292f.jpg","143.8x43.2",[138],{"id":13462,"slug":13463,"title":13464,"dynasty":72,"author":264,"museum":74,"description":13465,"tags":13466,"thumbUrl":13467,"material":37,"size":13468,"collection":138,"collections":13469,"showCount":13470,"zanCount":11,"manualWeight":43,"mainColor":44},290878,"song-ting-shi-quan-tu-zhou-chou-ying-290878","松亭试泉图轴","画中峰峦峥嵘，在云雾间半藏半露，近处陡峭的山岩间，一挂飞瀑跌成数叠，曲折流至松林溪间，临溪一歇山重檐松亭，亭中隐士品茶赏景，童子蹲着煮茶，亭外溪边一童子正持瓶汲泉。作者画出了一片娱性怡情的天地。",[24,25,7,28,27,129,377,427,29,193,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d3e2d68807da9d43ef17fbb8fb40a7.jpg","128.1x61",[138],53,{"id":13472,"slug":13473,"title":13474,"dynasty":109,"author":5678,"museum":74,"description":13475,"tags":13476,"thumbUrl":13477,"material":198,"size":780,"collection":100,"collections":13478,"showCount":13470,"zanCount":43,"manualWeight":43,"mainColor":44},290376,"zhu-mei-han-que-tu-zhou-huang-quan-290376","竹梅寒雀图轴","雪寒中，朱连雀、桑鳲、八哥、麻雀栖于梅竹枝蔓中，此项题材、布景，可见于《边文进三友百禽》。从画幅横大于纵，与一般立轴纵大于横，有所不同，或许原本为一大画幅，因残破割裂而成者。画中绿竹竿，每节以重笔勾勒，连节处虚空，这种画法，亦见于边氏作风。八哥羽毛，其墨黑如碳，一般是以灯炱加胶所成，枝干留有残雪，用破笔沾白粉戳出，其法亦见于吕纪诸画中。就风格论，该画出于明人，为边文进、吕纪一系画家所作。",[25,24,1592,7,27,28,392,31,151,8451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5b9b276031df00cd0af945364161f1b.jpg",[],{"id":13480,"slug":13481,"title":13482,"dynasty":18,"author":921,"museum":331,"description":13256,"tags":13483,"thumbUrl":13485,"material":100,"size":100,"collection":84,"collections":13486,"showCount":13470,"zanCount":43,"manualWeight":43,"mainColor":88},239224,"qiu-kui-tu-zhou-wu-chang-shuo-239224","秋葵图轴",[25,26,7,77,304,113,13484],"秋葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836ceef94f170edd7143c50853624a41.jpg",[84,185],{"id":13488,"slug":13489,"title":5870,"dynasty":18,"author":921,"museum":1636,"description":13490,"tags":13491,"thumbUrl":13492,"material":28,"size":13493,"collection":84,"collections":13494,"showCount":13470,"zanCount":43,"manualWeight":43,"mainColor":88},237299,"mei-hua-tu-zhou-wu-chang-shuo-237299","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”。 [1]\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。” [2] 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。 [3] 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》。",[25,77,7,575,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fdc0b1567dec10d70138b0220acb282.jpg","纵196.5厘米，横96厘米",[84],{"id":13496,"slug":13497,"title":13498,"dynasty":18,"author":921,"museum":236,"description":10438,"tags":13499,"thumbUrl":13500,"material":1573,"size":10441,"collection":100,"collections":13501,"showCount":13470,"zanCount":43,"manualWeight":43,"mainColor":88},234982,"yu-lan-zhou-wu-chang-shuo-234982","玉兰轴",[25,26,7,77,304,113,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd17c842b319d981a7b27fe37eb3e473a.jpg",[],{"id":13503,"slug":13504,"title":13505,"dynasty":18,"author":921,"museum":236,"description":13506,"tags":13507,"thumbUrl":13509,"material":214,"size":13510,"collection":100,"collections":13511,"showCount":13470,"zanCount":11,"manualWeight":43,"mainColor":88},233732,"wu-jun-qing-ku-gua-tu-zhou-wu-chang-shuo-233732","吴俊卿苦瓜图轴","本幅设色。自题“和尚以为号，山家以为肴，以嗜甘者，而嗜此寥寥“款：”乙酉四月吴昌硕“。\n吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[25,26,7,28,77,113,13508,664,291],"苦瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc1e99426b2f6144728f43f592f51d11.jpg","纵176cm横47.7cm",[],{"id":13513,"slug":13514,"title":13515,"dynasty":72,"author":1614,"museum":236,"description":13516,"tags":13517,"thumbUrl":13518,"material":13519,"size":13520,"collection":100,"collections":13521,"showCount":13470,"zanCount":11,"manualWeight":43,"mainColor":88},233711,"wen-zheng-ming-lv-yin-chang-hua-tu-zhou-wen-zheng-ming-233711","文徵明绿荫长话图轴","《绿荫草堂图》绘山中村落之景，于崇山环抱中见开阔。一瀑飞泻，汇成清清池塘。村居数间皆掩映于绿荫之下。山中闲居，有客拄杖来访。其意态优容，尽显隐士风流。画上除作者自书两题外，尚有蔡羽、王宠、陆师道诸家题记。",[25,7,77,130,129,131,134,193,29,132,80,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16c50eb1cb998daffc1a6e2435c3d91.jpg","纸本 ，水墨","纵131.1cm，横32cm",[],{"id":13523,"slug":13524,"title":13525,"dynasty":18,"author":1971,"museum":236,"description":13526,"tags":13527,"thumbUrl":13528,"material":5241,"size":13529,"collection":100,"collections":13530,"showCount":13470,"zanCount":11,"manualWeight":43,"mainColor":88},233403,"meng-jing-tu-zhou-wang-jian-233403","梦境图轴","本幅墨笔，局部设色，上自识一段，款：“丙申夏六月，哉生明王鉴识”。又“静岩老亲翁索画，即以此帧清政弟鉴”。钤“玄照”。\n王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[25,26,7,129,77,130,132,170,377,134,193,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26480f906c21c22bebed88bc4047ff5e.jpg","纵91.8cm，横49.5cm",[],{"id":13532,"slug":13533,"title":13534,"dynasty":109,"author":1415,"museum":74,"description":13535,"tags":13536,"thumbUrl":13538,"material":99,"size":13539,"collection":138,"collections":13540,"showCount":13470,"zanCount":43,"manualWeight":43,"mainColor":44},231050,"dong-tian-shan-tang-tu-dong-yuan-231050","洞天山堂图","《周凯画集》是 1998年出版的图书，作者是周凯。\n《周凯画集》为周凯画集，内容分为重彩丹青、浅绛水墨、书法三大部分。\n重彩丹青 1 秋瘤湖边 2 翠谷鸣泉 寺后小国 4 香港，永受嘉福 5 香港青马大橘 6 香港山顶缆车 7 山城 8 门神 9 喜盈盈 1 仰卧的女人体 11 卖水果人家 12 天下共此时一一深圳“世界之窗” 1 14 化生童子 15 五层塔 16 菩萨与罗汉 17 阁楼中的女孩 18 水乡市井 19 飞天 2 有井的圆楼 21 明王 22 围城 2 菩萨与伎乐 24 秋帆南下 25 树阴下的女人体 26 门外秋山 27 双龙与鳖 28 带水塔的山村 29 苍崖 幽谷轻绡 1 置庭园 2 蓝色的夜曲 丙寅二月 4 玄牝之灵 5 帝裔之乡 6 青绿山水 7 红色山水 8 深山萧寺 9 离堆 4 根 41 崖 浅绦水墨 42 屑屑山水秀 4 寒峰插天 44 峰峭余翠 45 明，陆治诗意 46 幽壑叠泉 47 魏·曹植游仙诗诗意长卷 48 清人诗意 49 扶桑轫暾 5 洞天神工 51 陶冶性灵 52 帖石防殴岸 5 蕉下读书图 54 束晋·庾阐观石鼓诗诗意手卷 55 云散峭峰 56 水村山郭（四季条幅之春） 57 前峰一夜两（四季条幅之夏） 58 秋来风雨知多少（四季条幅之秋） 59 暮景千山雪（四季条幅之冬） 6 君子之求 61 唐·柳宗元诗意 62 鹞 6 元·钱舜举诗意 64 林泉高致闽 65 烟岚圆 66 鶸冠花 67 临王蒙春山读书图 68 仿山水图 69 唐·刘长卿诗意 7 双矶圆 71 临董源洞天山堂图 72 水墨山水 7 临李唐万壑松风图 书法 74 唐·杜甫论诗七绝三首 75 唐·李白梦游天姥吟留别诗 76 画禅室随笔一则 77 南田论画一则 78 世说新语二则",[25,26,129,7,77,28,130,252,335,13537,378,170,377,601,134,193],"洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a4de7bd1f0b9c7318084670f1579b8.jpg","183.2x121.2",[138],{"id":13542,"slug":13543,"title":10664,"dynasty":18,"author":318,"museum":331,"description":13544,"tags":13545,"thumbUrl":13546,"material":100,"size":100,"collection":100,"collections":13547,"showCount":13470,"zanCount":43,"manualWeight":43,"mainColor":44},231034,"mo-he-tu-zhu-da-231034","《墨荷图》是清代石涛创作的纸本墨笔画。\n图绘欣欣向荣的荷塘景色。\n构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。\n用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。\n钤白文印二方：“靖江后人”、“大涤堂”。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n石涛（1642—约1718年），俗姓朱，明宗室靖江王朱赞仪十世孙，谱名若极，广西桂林人。\n明灭亡后，出家为僧，法名原济，字石涛，号清湘老人、苦瓜和尚等。\n工于诗文，擅绘山水、兰竹、花草及人物。\n其笔情纵恣凝炼，独具创新，对扬州画派和近、现代中国画的影响极大。\n与清初画坛朱耷、髡残、弘仁合称“清四僧”，著有《苦瓜和尚画语录》，针对画坛时弊提出诸多精辟见解。",[23,25,26,24,7,77,113,32,306,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1fc908bf2c25b01fd7e185665cc123.jpg",[],{"id":13549,"slug":13550,"title":13551,"dynasty":18,"author":3833,"museum":331,"description":13552,"tags":13553,"thumbUrl":13554,"material":100,"size":100,"collection":100,"collections":13555,"showCount":13470,"zanCount":11,"manualWeight":43,"mainColor":44},230191,"chun-shan-ting-ruan-tu-lv-huan-cheng-230191","春山听阮图","《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。",[23,25,26,7,268,28,27,1157,129,29,269,427,132,193,1717,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],{"id":13557,"slug":13558,"title":13559,"dynasty":109,"author":1112,"museum":74,"description":13560,"tags":13561,"thumbUrl":13562,"material":99,"size":13563,"collection":138,"collections":13564,"showCount":13470,"zanCount":11,"manualWeight":43,"mainColor":44},226699,"xi-shan-lin-sou-tu-zhou-ju-ran-226699","溪山林薮图轴","本幅画群山溪壑，林树弥望，山石皴纹多以湿笔染破，明晦隐现，轮廓模糊，特饶山野烟霭之致。本幅无作者款印，依据旧签，定为巨然之作，然笔墨则与江参（活动于西元十二世纪初）较为近似。巨然（十世纪），南唐钟陵人，为开元寺僧。南唐亡（九七五年），随李后主煜降宋，至汴梁。工画山水，师事董源。善状烟岚景象，臻于妙境，与师齐名，并称董巨",[25,26,7,77,130,129,170,132,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaea97df204f97573ac4f38769fcb90c.jpg","221.3x119.7",[138],{"id":13566,"slug":13567,"title":13568,"dynasty":18,"author":4828,"museum":13569,"description":13570,"tags":13571,"thumbUrl":13572,"material":1320,"size":13573,"collection":138,"collections":13574,"showCount":13470,"zanCount":11,"manualWeight":43,"mainColor":88},224495,"tao-fu-song-ju-tu-wu-li-224495","陶甫松菊图","中国国家博物馆","绘群山连绵，山峰高耸入云，山上松树成林，高大茂盛；山脚下房屋隐现，人影绰绰，泉水潺潺，秋景宜人。技法上，皴染浑穆，层峦叠障，气韵深沉。用笔纯用中锋，谨严厚朴，气魄雄厚。此图笔墨幽微，拟元代大画家王蒙的风格，有一种空幻的感觉，令人有悠然远隔尘嚣之想，巧妙地体现了陶圃主人陆廷灿的思想境界：在出世与入世之间。",[23,25,28,130,7,129,132,193,349,427,1625,377,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d825f00689d43da1412df9f4ac0c81e.jpg","纵178.68CM 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此图绘古木两棵，形态苍古。树石的用笔遒劲深厚，皴染稠密。细枝勾勒形似蟹爪。笔墨苍劲磊落。",[23,25,26,24,7,77,152,31,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68d8fcc18ebecda8e22a95bd2ea3474.jpg","170x52cm",[185,702],{"id":13612,"slug":13613,"title":13614,"dynasty":93,"author":8927,"museum":74,"description":13615,"tags":13616,"thumbUrl":13617,"material":1218,"size":13618,"collection":157,"collections":13619,"showCount":13470,"zanCount":43,"manualWeight":43,"mainColor":44},221296,"jin-men-ying-zhao-zhou-guo-zhong-shu-221296","金门应诏轴","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\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。",[23,25,26,1157,7,28,27,29,269,31,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85929dfecd1409924803dab3ee25f0.jpg","30x28",[157,39,158],{"id":13621,"slug":13622,"title":13623,"dynasty":72,"author":13624,"museum":147,"description":13625,"tags":13626,"thumbUrl":13627,"material":99,"size":13628,"collection":138,"collections":13629,"showCount":13470,"zanCount":43,"manualWeight":43,"mainColor":44},219734,"xie-qin-fang-you-tu-jiang-song-219734","携琴访友图","蒋嵩","此作用高远之法构景，主峰拔地参天，以水墨晕染出漫山烟霭，远景山峦隐没在空蒙雾气里，晕染出萧疏冷寂的天地氛围。\n\n近岸枯木虬曲苍劲，枯枝硬挺如戟，笔力老辣苍拙，尽显荒寒之态。下方旅人策杖徐行，仆从携琴缓步郊野，渺小身影衬出山川寥廓，暗合寻幽访友的雅意。\n\n全幅以浓淡水墨铺陈，简淡间尽显沉郁苍茫，将林泉寄怀的隐逸之思藏在烟岚丘壑中，纵放笔意里裹挟含蓄悠邈的林下闲情，尽显淡远疏离的山水意境。",[23,25,26,7,77,130,129,29,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6537ec875cb6c627561f0a23bede3fac.jpg","纵148.6横89.4厘米",[138],{"id":13631,"slug":13632,"title":1381,"dynasty":18,"author":13633,"museum":74,"description":13634,"tags":13635,"thumbUrl":13636,"material":82,"size":13637,"collection":138,"collections":13638,"showCount":13470,"zanCount":11,"manualWeight":43,"mainColor":88},219481,"shan-shui-zhou-huang-ding-219481","黄鼎","这幅画中，江亭空旷，江山深邃，秀美。",[25,77,7,130,79,129,253,132,134,212,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff353d9af0a3e032c79871c2d0edac77a.jpg","78x39.3",[138],{"id":13640,"slug":13641,"title":13642,"dynasty":72,"author":4145,"museum":74,"description":13643,"tags":13644,"thumbUrl":13645,"material":37,"size":13646,"collection":138,"collections":13647,"showCount":13470,"zanCount":43,"manualWeight":43,"mainColor":44},219397,"shan-shui-tu-yi-hai-qiu-zhong-lan-ying-219397","山水图-已亥秋仲","画面层峦叠嶂隐于烟霭，远山如黛，近岫含翠。苍松劲柏立岸而生，枝干虬劲，墨色浓淡相宜；水面波光粼粼，一叶扁舟悠然泛波，岸边茅屋隐于林间，野趣横生。中段亭榭临溪，飞檐翘角与周遭林木相映成趣。山石皴法刚健，兼具浙派风骨与文人雅致，墨色晕染自然，设色淡雅温润。秋仲清寂悠远尽显笔端，仿佛可闻林间风声、水面桨声，引人步入静谧山水之境，体味超然物外的闲适安宁。",[25,26,7,28,129,377,193,349,253,132,212,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc24749ccb3e2b4cacaa976f90dcd98.jpg","145.8x71.6",[138],{"id":13649,"slug":13650,"title":818,"dynasty":93,"author":481,"museum":6403,"description":13651,"tags":13652,"thumbUrl":13653,"material":37,"size":13654,"collection":138,"collections":13655,"showCount":13470,"zanCount":43,"manualWeight":43,"mainColor":44},218665,"shan-shui-tu-ma-yuan-218665","画面截取山水一角，以简练刚劲的斧劈皴勾勒山石轮廓，墨色层次分明，尽显山川肌理。远处亭台掩映于林木间，几人对坐似在品茗论道；中景水面开阔，波光隐现；近岸桥梁横跨，行人缓步，岸边石上二人闲坐，姿态悠然。人物虽小却形神兼备，与山水景致相融，传递出闲适雅致的文人意趣。马远以“边角”之景营造深远空间，笔墨简括却意境悠长，将自然静谧与人文悠然巧妙结合，尽显南宋山水画的抒情特质与艺术匠心。",[23,25,26,7,28,130,129,269,134,29,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82aa8fa0505c1342ef40c1af44517.jpg","36.4x19.2厘米",[138],{"id":13657,"slug":13658,"title":10570,"dynasty":18,"author":50,"museum":1714,"description":13659,"tags":13660,"thumbUrl":13661,"material":37,"size":100,"collection":39,"collections":13662,"showCount":13470,"zanCount":43,"manualWeight":43,"mainColor":44},218300,"luo-han-tu-yi-ming-218300","罗汉趺坐神兽身侧，衣袂如流云舒卷，线条婉转间藏松活之趣。光头映着古绢暗纹，长须皴染得苍劲有力，眉目低垂时，禅意便从眼角眉梢漫出。神兽造型奇崛，鬃毛卷曲似浪涛翻涌，双目圆睁却含温驯，与罗汉的静定相映成趣。设色淡雅，墨骨清晰，浅晕的赭石与石青点缀其间，恰如古寺晨钟里的一抹微光。岁月在绢上留下斑驳痕迹，却让这份禅意更显醇厚——动静相生的构图里，是超然物外的平和，亦是传统佛画对心性的温柔观照。",[25,26,7,54,27,28,29,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62bbeb3ee91439ac7a59fb3d67f3c6b0.jpg",[39],{"id":13664,"slug":13665,"title":13666,"dynasty":93,"author":13667,"museum":1714,"description":13668,"tags":13669,"thumbUrl":13672,"material":37,"size":13673,"collection":39,"collections":13674,"showCount":13470,"zanCount":11,"manualWeight":43,"mainColor":44},218299,"cai-yao-xian-ren-tu-meng-xian-218299","采药仙人图","孟显","长髯垂胸，衣袂带风，仙人负筐徐行。筐中松针攒簇、花草含露，似携来云崖清气；手中小锄轻握，步履悠然，眉宇间透着山野的清旷与超然。笔墨简括却神形兼备，衣纹线劲挺流畅，如吴带当风般舒展；设色古雅温润，棕褐底色衬出人物的朴拙逸气。整幅画将采药闲逸之态凝注于简练线条与含蓄晕染中，不刻意雕琢却细节见风骨，仿佛能闻药草淡香，望见云深幽居，尽显宋代人物画对神韵的极致追求——于平淡处藏真意，于简淡中见风骨。",[24,25,26,7,28,29,6776,13670,1063,13671],"草药","采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f7c5ae46894b861fb1474f9a2c232b.jpg","84.1x27.4",[39],{"id":13676,"slug":13677,"title":13678,"dynasty":93,"author":50,"museum":1714,"description":13679,"tags":13680,"thumbUrl":13681,"material":37,"size":13682,"collection":138,"collections":13683,"showCount":13470,"zanCount":11,"manualWeight":43,"mainColor":44},214830,"fang-zhong-li-fang-dao-tu-yi-ming-214830","仿钟离访道图","《仿钟离访道图》是一幅中国古代绘画作品，出自宋代佚名画家之手。这幅画以钟离故事为题材，描绘了钟离访道的场景。\n\n钟离故事是中国古代传说中关于钟离与访道的传说。钟离是唐朝时期的一位大臣，他曾游历过中国各地，在旅途中遇到了访道，两人相识并成为了朋友。后来，钟离回到了唐朝的长安城，而访道则留在了西域。\n\n《仿钟离访道图》中，画家用笔墨细腻地描绘了钟离与访道之间的友谊，表现出了两人间的亲密关系。画面中的人物造型生动，情感真挚，是一幅优秀的古代绘画作品。",[23,25,26,7,77,130,129,272,170,169,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a819300efae18f7e468980bfeb46582.jpg","147x74.8",[138],{"id":13685,"slug":13686,"title":13687,"dynasty":72,"author":13688,"museum":1714,"description":13689,"tags":13690,"thumbUrl":13691,"material":136,"size":13692,"collection":138,"collections":13693,"showCount":13470,"zanCount":11,"manualWeight":43,"mainColor":88},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[23,25,26,7,77,130,129,131,484,134,193,196,29,132,170,79,3880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[138],{"id":13695,"slug":13696,"title":13697,"dynasty":207,"author":50,"museum":74,"description":13698,"tags":13699,"thumbUrl":13700,"material":255,"size":13701,"collection":100,"collections":13702,"showCount":13703,"zanCount":11,"manualWeight":43,"mainColor":44},291029,"hua-hu-zhou-yi-ming-291029","画虎轴","此画通幅描绘如真，渍染极得润厚的韵致。画无名款，旧签定为元人。惟据画风判断，与明代宫廷画风，颇多相近处，是以推断，该幅或出自明代良工之手。松林石涧间，一巨虎黄皮黑纹，毛色鲜丽，体态威武雄壮。虎之双眼，俱以金粉涂饰，并略染汁绿，显得格外神气逼人。其背隆起，宛如张弓欲发，隐然有即将出击之势。虎口微启，低吟而未啸。树梢，二山鹧见状，相与惊跃鸣叫，更为此猛虎出山的场景，平添紧张、不安的气息",[25,26,7,27,28,5713,241,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754b14053084a7cd4ca663a634e08e9c.jpg","165.5x45.3公分",[],52,{"id":13705,"slug":13706,"title":13707,"dynasty":207,"author":518,"museum":74,"description":13708,"tags":13709,"thumbUrl":13710,"material":82,"size":13711,"collection":100,"collections":13712,"showCount":13703,"zanCount":11,"manualWeight":43,"mainColor":88},291019,"yun-shi-gu-cha-tu-ni-zan-291019","筠石古槎图","枯树一株，寥寥数笔，下笔含蓄而有力。坡石皆用淡墨，而以焦墨写竹，极雅淡且极萧散。款下有云林子一印，旧说云林画中惟有荆蛮民一印，亦未可执一而论。",[24,25,26,7,77,521,31,35,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd707629052de9cb100aa4bd7ee76e9.jpg","44.5x32",[],{"id":13714,"slug":13715,"title":13716,"dynasty":72,"author":13717,"museum":331,"description":13718,"tags":13719,"thumbUrl":13720,"material":198,"size":780,"collection":100,"collections":13721,"showCount":13703,"zanCount":43,"manualWeight":43,"mainColor":44},289888,"wang-fu-zhu-he-shuang-qing-tu-zhou-bian-jing-zhao-289888","王绂竹鹤双清图轴","边景昭","边景昭，字文进，明代画家。陇西（今甘肃陇西）人，生卒年不详。边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制.\n李安忠是宣和朝画院画家，花鸟亦善然而出，边氏出生地的福建，又沿续着南宋院画风格和元代边武、张舜咨传至闽地的文人水墨花鸟画风，趋于粗简劲健，故边氏也受到一定影响。其成熟的花鸟画法即粗细相兼，妍雅并重。花鸟主体勾勒设色，工细妍丽，树石北京水墨皴染，简劲清雅，在工致华美中透出雍容浑朴气象，遂自成一格，开创了明代“院体”花鸟新风。",[25,7,113,77,31,225,80,79,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e16c83ba939e92b50a0d66ced3a9ca.jpg",[],{"id":13723,"slug":13724,"title":48,"dynasty":93,"author":50,"museum":331,"description":13725,"tags":13726,"thumbUrl":13727,"material":198,"size":780,"collection":100,"collections":13728,"showCount":13703,"zanCount":43,"manualWeight":43,"mainColor":44},289879,"shui-yue-guan-yin-tu-yi-ming-289879","水月观音的形象，最早始于中唐时期，据张彦远《历代名画记》 ，为周昉(约730-800)所创，「菩萨端严，妙创水月之体」。周昉所画，「掩障菩萨圆光及竹，并是刘整成色。」后朱景玄《唐朝名画录》及《太平广记》均有类似记载，唯其画无传。现存最早的水月观音画，见于敦煌莫高窟《千手千眼观音菩萨坐像》，水月观音位于该画右下角，绘成于九四三年，现藏法国吉美博物馆。画中观音右手持柳枝，左手托净瓶，坐姿呈半跏思维相；周围泉水萦映，背倚修竹。观音头饰宝冠，身披璎珞，富丽华美，法相庄严。",[23,25,24,7,54,985,77,29,4533,59,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad1c02b1758bf9ed874046a042ba650.jpg",[],{"id":13730,"slug":13731,"title":13732,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":13733,"thumbUrl":13734,"material":198,"size":780,"collection":100,"collections":13735,"showCount":13703,"zanCount":11,"manualWeight":43,"mainColor":88},288529,"ci-hua-ruo-lao-shi-yi-tu-zhou-wu-chang-shuo-288529","此花若老诗意图轴",[23,25,7,77,28,113,114,35,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f598f5c457146f401751b0950996e9f.jpg",[],{"id":13737,"slug":13738,"title":13739,"dynasty":18,"author":5196,"museum":331,"description":13740,"tags":13741,"thumbUrl":13744,"material":198,"size":780,"collection":100,"collections":13745,"showCount":13703,"zanCount":43,"manualWeight":43,"mainColor":88},287996,"zhuan-shu-bai-shi-cao-tang-ji-deng-shi-ru-287996","篆书白氏草堂记","邓石如（1743—1805年），初名琰，因避清仁宗讳，遂以字行，更字顽伯，号完白山人、笈游道人等，怀宁（今安徽安庆）人。清代乾、嘉时期著名碑学大师。少好刻石，弱冠谒江宁梅镠，梅家多藏金石善本，尽出与石如，使专摹习。客梅氏八年，学既成，又客于两江总督毕沅幕府。三年后辞归。工书法、篆刻。书工各体，以篆、隶为最精，颇得古法，兼融各家之长，形成独特风格。清李兆洛谓其书“真气弥满，楷则俱备，其手之所运，心之所追，绝去时俗，同符古初，津梁后生，一代宗仰。”对清代中、后期书坛有巨大影响。著有《完白山人篆刻偶存》等书行世，《清史稿》有传。",[23,80,2664,7,26,13742,13743,79],"名帖","白氏草堂记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50c5d1e16b90a9a938f5767e25d30edf.jpg",[],{"id":13747,"slug":13748,"title":13749,"dynasty":109,"author":1415,"museum":331,"description":13750,"tags":13751,"thumbUrl":13753,"material":198,"size":780,"collection":100,"collections":13754,"showCount":13703,"zanCount":43,"manualWeight":43,"mainColor":44},287703,"hua-xia-shan-yu-yu-dong-yuan-287703","画夏山欲雨","该幅画重峦叠嶂，曲涧迤逦。作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[23,24,25,7,77,130,129,272,3150,133,13752],"阴雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3115f2a48367716514ea86733373e74e.jpg",[],{"id":13756,"slug":13757,"title":13758,"dynasty":72,"author":1024,"museum":331,"description":5228,"tags":13759,"thumbUrl":13760,"material":198,"size":780,"collection":100,"collections":13761,"showCount":13703,"zanCount":43,"manualWeight":43,"mainColor":88},283750,"xi-shan-yue-guan-tu-zhou-dong-qi-chang-283750","溪山樾馆图轴",[24,25,26,7,77,129,170,8035,132,130,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778662d1b02ed3453eaa167d51351294.jpg",[],{"id":13763,"slug":13764,"title":13765,"dynasty":72,"author":1024,"museum":236,"description":13766,"tags":13767,"thumbUrl":13768,"material":745,"size":7410,"collection":101,"collections":13769,"showCount":13703,"zanCount":43,"manualWeight":43,"mainColor":88},237781,"mo-juan-chuan-yi-tu-zhou-dong-qi-chang-237781","墨卷传衣图轴","此图取倪瓒二段式构图，简远平阔。近景画坡石岸渚，树木几株，枝叶葱郁。中部以留白手法表现平缓的湖水，缓缓过渡到远处的山岭以及山下的村舍民居，一派温润清幽的江南丽景。作品用笔秀逸率真，精妙地运用了水墨之浓淡、干湿变化，并兼以黄公望之枯笔短皴勾擦山石，笔致浑厚润泽而不失苍率之趣，堪称董氏晚年山水画佳构。\n在董其昌的自题中表明了画此图的用意。其自题大意为：35年前（明万历十七年，即1589年）参加殿试得中进士，所作五道策文后被好书之人所收藏。今有从事书画交易的中间人携来再观，虽觉彼时书法因时间紧迫而不佳，但作为自己成就功名的试卷，便以此图换回墨卷，交付孙子董庭保存，以昭示诗书传家之意。\n在这段自题中，出现了两个关键词语“南宫”、“策”。“南宫”一词原意指南方星宿，汉时以南宫一词比拟尚书省，后代又称礼部为南宫。明清时期，殿试由皇帝主持，除以王、公等为监试外，由礼部尚书为总管。“策”为文体之一种，古时科举试士用“策”对之，尤其是殿试之时，只考“制策”一场，故亦称策试。据《明史》卷二二八《董其昌传》所载：“万历十七年进士，改庶吉士”，则可以肯定，作者自题中所述“己丑南宫墨卷五策”，其意所指为作者当年殿试时所作五卷策文。至于十分重要的殿试策文如何能够为好事者所得，尚有待考定。",[25,26,7,77,130,24,129,252,253,733,1419,9340,57,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dfe63490e986e77004199f4eeab82f.jpg",[101],{"id":13771,"slug":13772,"title":13773,"dynasty":18,"author":361,"museum":236,"description":13774,"tags":13775,"thumbUrl":13776,"material":745,"size":13777,"collection":138,"collections":13778,"showCount":13703,"zanCount":43,"manualWeight":43,"mainColor":88},237574,"song-he-gao-shi-tu-zhou-wang-shi-min-237574","松壑高士图轴","本幅款署：“松壑高士图。辛丑秋日为耿庵社长先生六十初度寿，弟王时敏。”钤“王时敏印”白文印，“西庐老人”、“西田”朱文印二方。鉴藏印有：“荫北鉴藏”、“壶中墨缘”、“莱臣心赏”、“虚斋审定”共四方。\n“辛丑”是清顺治十八年（1661年），王时敏时年70岁。\n据款题而知，此图是作者为祝好友金俊明（耿庵）60寿辰所作。因此，图中特别突出地表现了具有长寿寓意的峰峦和松柏，以此寄托其祝福友人“寿比南山”的美好意愿。图中山石、树木以娴熟的笔墨皴擦点染，于苍润浑厚中不失清幽秀雅，颇得董源、黄公望“平淡天真”的神韵，是王时敏晚年山水画的典型之作。",[25,77,7,129,130,427,1651,169,193,133,170,134,132,173,4762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d169b622a802e787ceb891fe543c00.jpg","纵79厘米，横47.8厘米",[138,185],{"id":13780,"slug":13781,"title":13782,"dynasty":18,"author":8994,"museum":236,"description":13783,"tags":13784,"thumbUrl":13785,"material":214,"size":13786,"collection":138,"collections":13787,"showCount":13703,"zanCount":43,"manualWeight":43,"mainColor":88},236457,"nan-cun-cao-tang-tu-zhou-cha-shi-biao-236457","南村草堂图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[25,26,7,77,130,129,134,193,170,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e38e76e472e20cbb1711c4106bd889c.jpg","49cm×122.5cm",[138,185],{"id":13789,"slug":13790,"title":137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在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[25,26,7,28,113,114,33,79,80,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ed4d9db10b63206fec6a4df1288307.jpg",[84,158],{"id":13977,"slug":13978,"title":5302,"dynasty":18,"author":4434,"museum":331,"description":4435,"tags":13979,"thumbUrl":13980,"material":198,"size":780,"collection":100,"collections":13981,"showCount":13928,"zanCount":11,"manualWeight":43,"mainColor":88},237148,"hong-ren-shan-shui-zhou-hong-ren-237148",[25,24,7,77,130,129,733,78,170,132,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43ba76815e5b779027b07a80eaa2cd4.jpg",[],{"id":13983,"slug":13984,"title":13985,"dynasty":18,"author":235,"museum":331,"description":13035,"tags":13986,"thumbUrl":13987,"material":198,"size":780,"collection":100,"collections":13988,"showCount":13928,"zanCount":11,"manualWeight":43,"mainColor":88},235406,"tao-hou-tu-zhou-ren-yi-235406","桃猴图轴",[25,26,7,28,241,8959,4369,1373,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91447d55f5265c58f0b6e0a06c907bb.jpg",[],{"id":13990,"slug":13991,"title":13992,"dynasty":18,"author":921,"museum":331,"description":13993,"tags":13994,"thumbUrl":13995,"material":100,"size":100,"collection":100,"collections":13996,"showCount":13928,"zanCount":11,"manualWeight":43,"mainColor":88},235244,"li-ju-ping-zhou-wu-chang-shuo-235244","篱菊屏轴","此作以阔笔泼墨绘就葫芦秋架，枯笔写藤蔓，遒劲如铁，盘绕交错尽显野逸生机。葫芦以淡彩晕染，黄润清透，将秋实饱满的质感尽显，墨叶泼辣淋漓，浓淡铺陈相宜，苍润兼具。\n\n左侧题画诗文笔苍朴，篆隶笔法老辣厚重，诗画呼应相融，将田园秋意与文人逸趣合二为一。整幅下笔雄浑朴拙，以金石意趣入画，寥寥数笔便定格秋日架上鲜活意态，朴拙间见灵秀蓬勃，尽显大写意花鸟的盎然生机与沉厚韵味。",[25,26,7,77,28,304,113,2917,664,291,2664,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5000c77ba43cc4203afefb648a729f86.jpg",[],{"id":13998,"slug":13999,"title":3866,"dynasty":18,"author":709,"museum":331,"description":14000,"tags":14001,"thumbUrl":14002,"material":214,"size":14003,"collection":100,"collections":14004,"showCount":13928,"zanCount":43,"manualWeight":43,"mainColor":88},232892,"hua-niao-tu-li-zhou-li-shan-232892","字宗扬，号复堂，又号懊道人，墨磨人、木头老子、苦李、滕薜大夫等。江苏兴化人。\n一生在仕宦途中，历遭坎坷。康熙五十年即２５岁时中举，三年后以画技至清宫当内廷供奉。他本是学画山水的，进宫后，康熙皇帝指令他跟“正宗”派花鸟画家蒋廷锡学习花卉。李鱓不以学习蒋廷锡为满足，又向高其佩学习，后受石涛笔意启发，以破笔泼墨作画，风格大变。突破了“正宗”派所规定的框框，是一位颇得宫廷器重的画师，名声也日益扩大。但他却遭到一批摹古画师的极力排斥，并以所谓抗拒规定题材和体裁的罪名而被解职。郑板桥说他是“才雄颇为世所忌，口虽赞叹心不然”。后来，李鱓以检选出任山东滕县知县，为政清简，体谅民情，被士民所尊敬。又因负才使气，玩世不恭，触犯了权贵，遂于乾隆五年，罢官归里，流落扬州，过着卖画为生的凄凉的生活。两次的仕宦打击，使李鱓在生活上放纵自己，寄情花鸟，以书画发泄其苦闷之情，但又不甘心宦途上的失败，常欲东山再起。但事与愿违。晚年定居扬州，以卖画为生。李鱓与郑板桥是同乡，又最为知已，结为知交，所以郑板桥有《郑板桥集…. 李鱓》的诗句，并有“卖画扬州、与李同老”的话。\n所作花卉，不拘法度，泼墨淋漓，但犹不失天趣。但晚年部分作品过于霸悍。传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。\n李 鱓诗才书法成就是卓然的。李 鱓书法古朴，具颜、柳筋骨。作画时喜欢在画幅上长题满跋，有时甚至于把参差错落的题字，写满画面，于质实中见空灵，使整幅画面气韵更加淋漓酣畅。为此秦祖咏说他“书法古朴，款题随意布置，另有别致，殆亦摆脱俗格，自立门庭者也”。",[23,25,26,7,77,304,306,307,4564,113,1742,308,115,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","56.4x104cm",[],{"id":14006,"slug":14007,"title":14008,"dynasty":93,"author":50,"museum":74,"description":14009,"tags":14010,"thumbUrl":14011,"material":37,"size":14012,"collection":157,"collections":14013,"showCount":13928,"zanCount":11,"manualWeight":43,"mainColor":44},231057,"fu-gui-hua-li-tu-yi-ming-231057","富贵花狸图","枝桠遒劲舒展，牡丹素瓣柔润晕染，似凝露轻绽。花叶疏密错落，暗衬盛放雍容。花狸伏身软草间，墨白毛色过渡自然无痕，双目凝注身前游虫，警觉中带着憨柔慵懒，将灵动感藏于静息姿态。\n\n整幅设色古雅沉静，绢底旧调晕开澹澹古韵，工细写实中带着雅致意趣，将繁花雍容与狸奴野趣相映成趣，闲静画面里暗涌鲜活生机，于清淡古拙间晕开平和悠然的氛围感，尽显小景中的雅致禅意。",[23,25,24,7,27,28,113,114,240,1275,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8509dd73930dd4201e8b570bf5528f6.jpg","141x107.5",[157],{"id":14015,"slug":14016,"title":14017,"dynasty":18,"author":14018,"museum":331,"description":14019,"tags":14020,"thumbUrl":14021,"material":198,"size":780,"collection":100,"collections":14022,"showCount":13928,"zanCount":419,"manualWeight":43,"mainColor":88},229055,"ai-xin-jue-luo-min-ning-shu-fa-dui-lian-he-ji-qian-nian-song-he-wan-gu-min-ning-229055","爱新觉罗·旻宁书法对联鹤箕千年松鹤万古","旻宁","清宣宗爱新觉罗·旻宁（1782年9月16日—1850年2月25日），原名绵宁，清朝第八位皇帝，定都北京后的第六位皇帝。生于紫禁城撷芳殿中所。年号道光。清仁宗嘉庆皇帝第二子",[23,26,80,7,3362,97,79,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7687407d9ad23419eab296631444583.jpg",[],{"id":14024,"slug":14025,"title":14026,"dynasty":49,"author":50,"museum":331,"description":14027,"tags":14028,"thumbUrl":14029,"material":198,"size":780,"collection":100,"collections":14030,"showCount":13928,"zanCount":43,"manualWeight":43,"mainColor":44},223656,"shi-jia-mu-ni-fu-tu-yi-ming-223656","释迦牟尼佛图","释迦牟尼，佛教创始人。姓乔答摩，名悉达多。“释迦牟尼”（Śākyamuni）是佛教徒对他的尊称。释迦，种族名，意为“能”；牟尼，亦译为“文”，是尊称，意为“仁”、“儒”、“忍”、“寂”。合为“能仁”、“能儒”、“能忍”、“能寂”等，意即释迦族的“圣人”。",[23,25,26,28,29,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cc36a64a84fc986ad994576078d911.jpg",[],{"id":14032,"slug":14033,"title":14034,"dynasty":93,"author":50,"museum":74,"description":14035,"tags":14036,"thumbUrl":14039,"material":14040,"size":14041,"collection":100,"collections":14042,"showCount":13928,"zanCount":11,"manualWeight":43,"mainColor":342},223437,"song-xiu-ju-hua-lian-er-zhou-yi-ming-223437","宋绣菊花廉（二）轴","通幅以沉暗墨色为底，金针彩线织就案头秋供盛景。主株菊丛葳蕤繁茂，团花如簇，瓣层叠似凝霜聚雪，花叶以套色勾勒晕染，明暗过渡自然，将秋菊的清隽风骨尽数铺展。四周蝶影轻翩，细碎蜂蝶点染虚空，为静雅画面添上灵动生机。\n\n下方朱漆条案承托主盆，两侧配衬小花盆栽，章法端严对称，尽显宋人居室清供的雅致意趣。绣工精绝，戗色、盘金技法交织，针脚细密匀整，丝绒光泽晕开花鸟雅韵，静穆晕着秋日庭间的清寂诗意，尽显宋人尚雅的审美意趣。",[23,1520,13935,27,28,7,1625,600,14037,536,58,113,1674,33,14038],"花盆","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36b2a6209c7a620404ab879a6cb7f2c.jpg","轴绢本","150.4x64厘米",[],{"id":14044,"slug":14045,"title":14046,"dynasty":72,"author":1751,"museum":74,"description":14047,"tags":14048,"thumbUrl":14051,"material":1320,"size":14052,"collection":138,"collections":14053,"showCount":13928,"zanCount":11,"manualWeight":43,"mainColor":44},222175,"tian-chi-shi-bi-zhou-lu-zhi-222175","天池石壁轴","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,25,7,364,28,130,14049,1651,170,427,878,14050,132,173,79],"石壁","江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd07d9dc6fb51d4ebd3729366331c84f8.jpg","本幅 70.6x30.3公分、全幅 44.5公分",[138,185],{"id":14055,"slug":14056,"title":14057,"dynasty":72,"author":1024,"museum":74,"description":14058,"tags":14059,"thumbUrl":14060,"material":14061,"size":14062,"collection":101,"collections":14063,"showCount":13928,"zanCount":43,"manualWeight":43,"mainColor":342},220929,"lu-chang-shi-zhou-dong-qi-chang-220929","陆畅诗轴","董其昌以草书抄录唐陆畅〈惊雪〉：“怪得北风急，前庭如月晖。天人宁许巧，剪水作花飞。”此作书于绫本上，整体的书写效果与纸本相当不同，墨色的深浅变化较不明显，稍微晕染的性质也让整体线条精致度下滑。相较董其昌纸本书法对于材质与用笔的讲究，绫本的特性让他在书写态度上无须如此精谨，用笔也可以比较率性而不假修饰。无论是书写或是视觉表现上，此作都反映出较多应酬书法的特性。",[26,80,7,97,79,77,4905],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac515934bf51ea7276a8c5e7cae2a703.jpg","绫本","95.9x28.8",[101],{"id":14065,"slug":14066,"title":6074,"dynasty":207,"author":2386,"museum":236,"description":3242,"tags":14067,"thumbUrl":14068,"material":3245,"size":14069,"collection":185,"collections":14070,"showCount":13928,"zanCount":43,"manualWeight":43,"mainColor":44},220839,"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839",[23,25,26,24,7,77,985,131,31,35,1275,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","纵108.2cm，横48.8cm",[185,702],{"id":14072,"slug":14073,"title":14074,"dynasty":72,"author":8466,"museum":10279,"description":14075,"tags":14076,"thumbUrl":14077,"material":14078,"size":14079,"collection":100,"collections":14080,"showCount":13928,"zanCount":43,"manualWeight":43,"mainColor":100},220727,"qi-shi-qing-feng-tu-xia-chang-220727","奇石清风图","夏昶，字仲昭，号自在居士，江苏昆山人，以其墨竹闻名。自北宋文同以来，士大夫因竹具有劲节、虚心、傲霜等特性，常画写墨竹以寄兴。夏昶画竹主要学自王绂，亦多留有以王绂「墨竹山水」构图画成的作品。然夏昶笔墨的浓淡对比较王绂更为强烈，且所绘物象更重视几何造型趣味，其近乎平面的山石形态尤为明显。虽然明人曾评夏昶的竹石亚于其师王绂，但夏昶竹的画名仍远播朝鲜、日本。当时甚至流传有「夏卿一个竹，西凉十锭金」的说法，其竹画广受欢迎的程度，可见一斑。\n\n此画绘奇石从坡岸斜出，后有竹子数株。奇石形状方整，石面遍施墨染，轮廓以较深墨笔勾出，间以侧笔劈坎出岩面质理。画中的倒「丌」字型竹节与呈「个」字「人」字层层交叠的竹叶画法，亦常见于王绂与夏昶的其他作品中。至于远近的竹叶，则分别以浓淡不同之墨色画出。前景竹干随风向右侧倾斜，加上竹梢叶片的转折与叶片的燕尾，更加强了风势的效果。如此充满韵律与生趣的笔墨构图，正是夏昶晚期作品的特征。据画中所钤「太常少卿之章」印推测，作品应绘成于夏昶领有太常少卿衔之时，即1452年至1457年间。",[23,25,26,7,77,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ceaf4691d89c984035a74bab12310a.jpg","水墨,绢本,立轴","画心：172.5 × 86.2厘米装裱：269.3 × 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，局部淡设色",[],{"id":14216,"slug":14217,"title":8250,"dynasty":18,"author":3916,"museum":236,"description":14218,"tags":14219,"thumbUrl":14220,"material":745,"size":9433,"collection":100,"collections":14221,"showCount":14146,"zanCount":43,"manualWeight":43,"mainColor":88},233856,"mo-mei-tu-zhou-jin-nong-233856","本幅自题：“香雨三兄良友以前明内库纸乞予画江梅小直幅。因仿元人王元章法。奉其教益，茶熟香温时定多物外之赏也。并题一诗：砚水生冰墨半干，画梅须画晚来寒。树无丑态香沾袖，不爱花人莫与看。稽留山民金农，时年七十。”钤“金氏寿门”朱文印。\n本幅绘梅花离离疏影，生气盎然。以湿润的淡墨写枝干，以细笔勾画花蕊。整幅画面悠然淡雅。",[25,26,7,77,392,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef244f5ba25fb7abf04927afec90742e.jpg",[],{"id":14223,"slug":14224,"title":14225,"dynasty":72,"author":389,"museum":5328,"description":14226,"tags":14227,"thumbUrl":14228,"material":214,"size":14229,"collection":100,"collections":14230,"showCount":14146,"zanCount":11,"manualWeight":43,"mainColor":44},231837,"qi-feng-gao-yin-tu-tang-yin-231837","奇峰高隐图","弘治十年（1497年），唐寅参加录科考试期间与好友张灵宿妓喝酒，放浪形骸。提学御史方志十分厌恶这种行径，唐寅在录科考试中名落孙山。苏州知府曹凤爱惜人才，为唐寅求情，方志录于榜末。注：方志，字信之，成化二十三年进士。 弘治十一年（1498年），唐寅中应天府乡试第一，在他的《领解元后谢主司》一诗之中写道：壮心未肯逐樵渔，秦运咸思备扫除。剑责百金方折阅，玉遭三黜忽沽诸。红绫敢望明年饼，黄绢深惭此日书。三策举场非古赋，上天何以得吹嘘。唐寅作《送文温州序》和《金粉福地赋》。 弘治十二年（1499年），唐寅与江阴徐经入京参加会试，因牵连徐经科场案下狱，后被罢黜为吏。 弘治十三年（1500年），唐寅被罢黜为浙藩小吏，个人深以为耻坚决不去就职。唐寅归家后夫妻失和，休妻。",[23,25,26,7,28,130,129,1651,134,193,170,132,169,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24db9aed0cc0e34002c0bec4c6d5e69f.jpg","75x56",[],{"id":14232,"slug":14233,"title":14234,"dynasty":49,"author":14235,"museum":331,"description":14236,"tags":14237,"thumbUrl":14238,"material":198,"size":780,"collection":100,"collections":14239,"showCount":14146,"zanCount":43,"manualWeight":43,"mainColor":88},231609,"bai-miao-shi-er-tian-tu-xiang-feng-tian-ri-ben-231609","白描十二天图像 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“一叶随风万里身”的隐逸情思。",[25,26,7,77,130,97,79,129,349,193,131,350,2367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e0d50dd46d8af9d83496cf46482b72.jpg","纵84.7厘米，横29.7厘米",[],{"id":14481,"slug":14482,"title":14483,"dynasty":72,"author":126,"museum":236,"description":14484,"tags":14485,"thumbUrl":14486,"material":745,"size":14487,"collection":100,"collections":14488,"showCount":14394,"zanCount":43,"manualWeight":43,"mainColor":88},233147,"fang-dong-ju-shan-shui-tu-zhou-shen-zhou-233147","仿董巨山水图轴","五代南唐董源、巨然的风格受到明代吴门画家的重视，成为他们效仿、取法的对象，根据本幅左上角画家自题，图中仿董巨的风格是受民度本人所请。该图在狭长的尺幅中作长林巨壑之景，近处松石陂陀，中间有较大面积的湖水，水面上二人乘小舟垂钓，一座桥从画外延伸至山脚下的彼岸，桥上一文士策杖而行，岸上有茅亭屋舍。再往上山势连绵，景致层层深入，中间一条“S”形的山谷使两边的山峰在狭长的构图中并不显得拥挤，凸显了高远、深远的特色。图中皴笔短促繁密，圆润松秀，用笔注重层层渲染，笔锋内敛，具有外柔内刚的特点。该图在构图、笔墨上受到“董巨”的影响，但是画家融合古人的笔意而又有自己的特点，用笔颇为苍润醇厚，此外策杖归来、舟上垂钓均为当时吴门文士生活的真实写照。",[25,26,7,77,130,945,129,252,56,253,378,6317,377,172,351,1717,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e5c45557f6c8377677e6b12b06ec41.jpg","纵163.4厘米，横37厘米",[],{"id":14490,"slug":14491,"title":8250,"dynasty":18,"author":14244,"museum":236,"description":14492,"tags":14493,"thumbUrl":14494,"material":214,"size":14495,"collection":100,"collections":14496,"showCount":14394,"zanCount":43,"manualWeight":43,"mainColor":88},232689,"mo-mei-tu-zhou-luo-pin-232689","图绘傲风凌寒的梅花竞相绽放，一派生机勃勃的景致。图中花瓣或以仿元赵孟頫的“水墨”法墨晕，或以仿元王冕的“空圈”法线勾，无色晕染的花瓣于交叠辉映中，自得“不要人夸好颜色，只留清气满乾坤”的丽质，这种气质正是作者仿南宋葛长庚的梅画所要追求的清绝意韵。",[23,25,77,7,113,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa09da21d1f31d121e8101cafce14fa.jpg","纵125.5厘米，横42.5厘米",[],{"id":14498,"slug":14499,"title":3617,"dynasty":18,"author":8389,"museum":331,"description":14500,"tags":14501,"thumbUrl":14502,"material":100,"size":100,"collection":100,"collections":14503,"showCount":14394,"zanCount":11,"manualWeight":43,"mainColor":88},230118,"xie-sheng-hua-niao-tu-qu-zhao-lin-230118","此作以工笔设色绘就庭院清秋小景，桂树新枝缀着嫩绿叶瓣与细碎繁花，枝头双雀依偎和鸣，另有群雀或振翅掠空，或伫立于朱漆栏杆，将灵雀憨态描摹得鲜活入微。\n\n下方幽石错落，阔叶草木舒展柔姿，淡色小花点缀其间，晕染出静谧雅致的庭间氛围。设色清妍柔和，线条匀净秀润，兼具院体花鸟的工致写实，又暗含文人写意的清幽意趣，将寻常庭院的花鸟日常，晕染为一方诗意盎然的雅致画境，尽显写生花鸟的细腻妙趣。",[23,25,26,7,27,28,113,151,253,1594,291,12702,7305,57,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0eac61a99c9ad9c38167017ba4112f0.jpg",[],{"id":14505,"slug":14506,"title":14507,"dynasty":18,"author":14508,"museum":20,"description":14509,"tags":14510,"thumbUrl":14511,"material":100,"size":100,"collection":100,"collections":14512,"showCount":14394,"zanCount":11,"manualWeight":43,"mainColor":44},228921,"qiu-shan-hong-shu-tu-li-jian-228921","秋山红树图","黎简","这幅山水以没骨青绿晕染山峦，留白烘出流云如絮，将山谷裹在空濛仙气之中。丹红的枫林点染在青碧峰峦间，冷暖撞色鲜活明快，打破了青绿基调的沉静，映着澄澈秋水，板桥卧波引渡。隅侧茅舍隐在红树之后，野趣横生。\n\n山石勾勒圆浑，设色厚而不浊，在堂皇明艳的大青绿底色中，融入文人山水的清寂澹远，将秋山的绚烂丹枫与幽寂林泉相融，把秋日山林明丽又安宁的意韵尽数铺展，诗意悠然。",[24,25,26,7,28,27,130,129,1241,134,733,173,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea6ed7e98b0f5962716eadac4fb205f7.jpg",[],{"id":14514,"slug":14515,"title":14516,"dynasty":72,"author":4145,"museum":331,"description":14517,"tags":14518,"thumbUrl":14519,"material":100,"size":100,"collection":100,"collections":14520,"showCount":14394,"zanCount":11,"manualWeight":43,"mainColor":44},228424,"fang-zhao-yong-xi-shan-ting-quan-tu-lan-ying-228424","仿赵雍溪山听泉图","此作用笔苍劲老辣，层岩峻拔巍峨，以硬朗皴法写尽山石厚重质感，峭壁间飞泉垂落，似能闻声潺潺。山间林木虬曲多姿，红绿错杂，为幽寂山景添了几分灵动生机。\n\n画面一隅茅庐依水而设，隐士凭坐松下静听泉声，将林泉高致藏于丘壑之中。整体兼具元人山水的疏朗写意与浙派刚健气象，既绘出峰峦雄阔之态，又尽显林下幽居的萧散闲逸，把观泉听涛的雅趣融在山野烟岚里，清寂淡远的林下之逸跃然纸面。",[23,25,24,26,7,77,28,130,129,169,170,1652,351,172,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc4742071ff701ac6e53351aca5f7f5.jpg",[],{"id":14522,"slug":14523,"title":14524,"dynasty":93,"author":50,"museum":74,"description":14525,"tags":14526,"thumbUrl":14528,"material":214,"size":14529,"collection":100,"collections":14530,"showCount":14394,"zanCount":43,"manualWeight":43,"mainColor":44},223423,"song-ren-ying-xi-tu-zhou-yi-ming-223423","宋人婴戏图轴","以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。",[23,25,26,7,27,28,29,7732,8517,170,2190,600,14527,778],"玩具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda63fb920aa5b61046227673fe4d57a0.jpg","279x84",[],{"id":14532,"slug":14533,"title":412,"dynasty":18,"author":14244,"museum":710,"description":14534,"tags":14535,"thumbUrl":14536,"material":14537,"size":14538,"collection":100,"collections":14539,"showCount":14394,"zanCount":43,"manualWeight":43,"mainColor":88},222832,"zhu-shi-tu-luo-pin-222832","以浓淡二墨写竹竿枝叶，水墨撇脱，随意挥洒，以浓淡枯润的变化，尽现竹之风致意态，有云雾迷潆之感。画意空灵湿润。小溪之畔，怪石嶙峋，以干笔湿墨勾染点皴，色泽凝重，富有体积感。",[23,25,26,7,77,985,31,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5e50e2e41066cad8b00a5868c52fa2.jpg","立轴，纸本，墨笔","纵121.8厘米，横58.8厘米",[],{"id":14541,"slug":14542,"title":14543,"dynasty":207,"author":7702,"museum":74,"description":14544,"tags":14545,"thumbUrl":14548,"material":37,"size":14549,"collection":39,"collections":14550,"showCount":14394,"zanCount":43,"manualWeight":43,"mainColor":44},221846,"yuan-shi-zu-chu-lie-tu-zhou-liu-guan-dao-221846","元世祖出猎图轴","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。 所画人和马作各种不同的姿态，转侧俯仰，富有变化",[23,25,26,24,7,28,27,29,196,241,14546,14547],"狩猎","原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f29856d91d375b99fed5b050f99805e.jpg","182.9x104.1",[39,158],{"id":14552,"slug":14553,"title":14554,"dynasty":72,"author":1024,"museum":74,"description":14555,"tags":14556,"thumbUrl":14557,"material":82,"size":14558,"collection":138,"collections":14559,"showCount":14394,"zanCount":43,"manualWeight":43,"mainColor":88},220938,"xia-mu-chui-yin-tu-zhou-dong-qi-chang-220938","夏木垂阴图轴","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。",[23,25,24,26,7,77,130,129,170,132,172,522,2581,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82925c244a2cd56242a7317cc1c18543.jpg","纵91.3cm，横44cm",[138,185],{"id":14561,"slug":14562,"title":14563,"dynasty":207,"author":14564,"museum":51,"description":14565,"tags":14566,"thumbUrl":14567,"material":99,"size":14568,"collection":138,"collections":14569,"showCount":14394,"zanCount":43,"manualWeight":43,"mainColor":44},220425,"shi-shang-song-hua-tu-zhang-xun-220425","石上松花图","张逊","元代张逊书画世所罕见，故宫博物院藏有其白描双勾竹一卷，足见风采。此山水一幅是王季迁旧物，1997年捐给大都会艺术博物馆。用笔学董、巨，山中静日长，只见松花开又落。落款自题：“石上松花落又开，山樗无用亦成材，蒲轮不到樵人径，白发徒过五十来。张逊。”另有倪瓒、李瓒题诗。",[23,25,364,7,77,28,132,170,56,522,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff011efff5735f2afb6e05f576839c3ab.jpg","90.8cm×42.5cm",[138,185],{"id":14571,"slug":14572,"title":14573,"dynasty":207,"author":14574,"museum":74,"description":14575,"tags":14576,"thumbUrl":14577,"material":99,"size":14578,"collection":185,"collections":14579,"showCount":14394,"zanCount":11,"manualWeight":43,"mainColor":44},220242,"gu-mu-fei-quan-tu-zhang-shun-zi-220242","古木飞泉图","张舜咨","该幅作于1347年（至正七年），描绘几株老树挺立在土坡石傍，远山、飞泉之外别无他物。空山溪谷寂静幽深，只有潺潺的泉声不断传来。画树枝，好像写书法似地一笔一笔写成。皴法的用笔扭转交错，有活泼灵动的感觉。",[23,25,24,26,7,28,129,131,484,193,35,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2110f7088b0994cacaafa316c890aa.jpg","146.3x89.6公分",[185],{"id":14581,"slug":14582,"title":14583,"dynasty":72,"author":5069,"museum":236,"description":14584,"tags":14585,"thumbUrl":14587,"material":99,"size":14588,"collection":138,"collections":14589,"showCount":14394,"zanCount":43,"manualWeight":43,"mainColor":44},220048,"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[23,25,26,7,167,304,130,129,378,8815,349,14586,193,252,601,2367,170],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","纵122.8厘米，横75厘米",[138,39],{"id":14591,"slug":14592,"title":14593,"dynasty":18,"author":1296,"museum":5554,"description":14594,"tags":14595,"thumbUrl":14596,"material":136,"size":14597,"collection":138,"collections":14598,"showCount":14394,"zanCount":43,"manualWeight":43,"mainColor":44},219930,"liu-xi-diao-ting-tu-shi-tao-219930","柳溪钓艇图","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，僧名元济，一作原济，别号很多，大滌子、钝根、石道人、苦瓜和尚、瞎尊者、清湘陈人、清湘老人、清湘遗人、零丁老人。 明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。",[23,25,77,130,7,129,1126,349,193,57,170,29,269,2367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff3288481cb043a71d1eaf11cecb7e0.jpg","127.4x54",[138],{"id":14600,"slug":14601,"title":14602,"dynasty":18,"author":14603,"museum":147,"description":14604,"tags":14605,"thumbUrl":14606,"material":37,"size":100,"collection":39,"collections":14607,"showCount":14394,"zanCount":43,"manualWeight":43,"mainColor":44},219835,"cai-zhi-tu-yu-bing-shun-219835","采芝图","禹秉舜","此作以青绿晕染烟霞山峦，古松虬枝横斜，苍劲的松针间裹挟流云，将山林晕染出空寂出尘的仙气。下方溪桥之上，仕女衣袂翩跹徐行，侍女手捧灵芝紧随其后，人物眉目温婉情态娴静，衣纹勾勒细腻雅致。\n\n画作兼用工写之法，山石松干以粗笔淡墨皴擦出苍润古意，人物则精细描摹，明丽设色衬出雅致格调，将林下寻芝的隐逸雅趣融于山水之间，淡远清和，尽显温婉古韵。",[23,25,28,27,7,427,132,173,30,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb0c561ceeb62412f8daaea5ff098e.jpg",[39],{"id":14609,"slug":14610,"title":14611,"dynasty":72,"author":5069,"museum":74,"description":14612,"tags":14613,"thumbUrl":14619,"material":37,"size":14620,"collection":39,"collections":14621,"showCount":14394,"zanCount":11,"manualWeight":43,"mainColor":44},219510,"bei-hai-zhen-ren-xiang-zhou-wu-wei-219510","北海真人像轴","画中仙者束发袒襟，神态清和古雅，安坐灵龟背上行于浅渚苇荡间。他手持枯藤，灵蛇盘绕其上，衣袂飘然随微风舒展，尽显出尘之气。\n\n灵龟昂首探行，笔墨简练却将其沉健之态勾勒分明，苇草轻淡晕染衬出清虚氛围。整幅画作以粗笔写意，衣纹顿挫简练，粗率之中见法度，将真人餐霞饮风、伴云游世的逍遥仙韵尽显，把道家超然物外的隐逸意趣融于尺幅间，静穆里暗藏灵动仙气。",[25,7,29,77,304,14614,6979,14615,14616,484,14617,14618],"道家","灵龟","灵蛇","苇草","仙气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b042adf830649bd30427a7e5845d3ff.jpg","158.4x93.2",[39],{"id":14623,"slug":14624,"title":818,"dynasty":18,"author":14625,"museum":74,"description":14626,"tags":14627,"thumbUrl":14628,"material":77,"size":100,"collection":185,"collections":14629,"showCount":14394,"zanCount":43,"manualWeight":43,"mainColor":88},219380,"shan-shui-tu-wang-duo-219380","王铎","虬枝盘曲，墨色浓淡交织，似在风中低语。苍劲笔触勾勒树的骨节，枯笔皴擦间尽显老辣之态。背景山峦以淡墨晕染，层叠隐现于烟水之间，远处汀渚点点，归帆依稀。近树与远岫形成疏密对比，留白处见空灵，墨色浓处显沉厚。写意之笔将山水荒寒与悠远融于一纸，笔墨干湿变化中藏着对自然的静观哲思，简淡里见深致，苍莽中显清逸，仿佛能听见风穿枝桠的轻响，望见烟霭中山峦的呼吸，于方寸间铺展无尽悠远之境。",[25,26,7,77,129,521,522,733,2558,35,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e112d70ced0d8f4884a6ea2eccbb27.jpg",[185],{"id":14631,"slug":14632,"title":14633,"dynasty":93,"author":50,"museum":319,"description":14634,"tags":14635,"thumbUrl":14636,"material":99,"size":14637,"collection":84,"collections":14638,"showCount":14394,"zanCount":656,"manualWeight":43,"mainColor":44},219000,"tang-su-zhu-que-tu-yi-ming-219000","唐宿竹雀图","竹影扶疏，墨色浓淡间显枝干劲挺，竹叶层叠如翠云轻展，疏密有致藏自然生机。雀儿栖于竹枝，或敛翅假寐，或侧首凝睇，羽纤毫毕现——绒羽若隐若现，翅尖纹理分明，爪尖扣枝的力道隐于柔姿，神态灵动如临其境。石矶卧于竹下，皴法简淡却见朴拙，与竹的清雅相映成趣。整幅画面动静相宜，清雅中含野逸之趣，写实笔触里蕴文人雅致，尽展宋画对自然物态的精妙捕捉与诗意表达。",[23,24,25,26,7,27,77,28,113,31,7145,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7da3d9921c4342a3173c6bce0281591.jpg","纵159.0横93.4厘米",[84],{"id":14640,"slug":14641,"title":10570,"dynasty":72,"author":14642,"museum":74,"description":14643,"tags":14644,"thumbUrl":14645,"material":136,"size":14646,"collection":39,"collections":14647,"showCount":14394,"zanCount":43,"manualWeight":43,"mainColor":88},217000,"luo-han-tu-chen-yuan-217000","陈远","罗汉图是明朝陈远所作的一幅著名的书画作品。它描绘了一群罗汉在山间修行的场景，山水画风格细腻，造型生动，富有表现力。罗汉是佛教徒中的一种职业，被视为道德模范，修行苦修，常常身着袈裟，头戴顶冠，手持佛像，在山林中修行禅定。\n\n陈远（1360-1453年），字元和，号清臣，是明朝著名的书画家。他的作品中有许多著名的山水画，其中罗汉图是其代表作之一。陈远的画风浑厚而不失精细，富有感染力，是明朝画坛的重要代表。",[25,26,7,54,27,28,29,131,33,34,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e868355eac240b9a49b9ea292fc510f.jpg","101.7x50",[39],{"id":14649,"slug":14650,"title":14651,"dynasty":207,"author":2386,"museum":331,"description":7442,"tags":14652,"thumbUrl":14653,"material":198,"size":780,"collection":100,"collections":14654,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":44},290892,"song-yin-gao-shi-tu-zhou-zhao-meng-fu-290892","松阴高士图轴",[25,24,7,28,268,29,129,427,132,4762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6154f78d6a189c4f588ad38f90341d9f.jpg",[],48,{"id":14657,"slug":14658,"title":14659,"dynasty":207,"author":695,"museum":74,"description":14660,"tags":14661,"thumbUrl":14662,"material":255,"size":14663,"collection":100,"collections":14664,"showCount":14655,"zanCount":11,"manualWeight":43,"mainColor":88},290819,"zhu-shi-zhou-wu-zhen-290819","竹石轴","吴镇存世之作几为墨画，晚年墨竹作品尤为多，由於作品上留有大量的题语，显露出个人绘画思想乃至一生学养，其中又以《竹谱册》为著。元代由於大环境的改变，文人好写“三友图”，以松竹梅表达象徵意义，或寄托情怀，吴镇亦有言“墨戏之作，盖士大夫词翰之馀，适一时之兴趣也”。然审视此轴，实为笔墨黯熟之潇洒佳作，非仅一时随兴之墨戏。竹干、岐枝皆下笔圆健，竹枝劲利，稍带回锋，尽管分枝多、发叶少，但叶随枝生，生态盎然；淡墨石以卧笔混点。幅中之墨色皆不浓重，显现一种平淡冲和的色感。竹石间，吴镇以流畅有力，墨色较浓重的行笔题下款识，画面益显沈稳。和《竹谱册》相较，此图乃其精心之作。",[25,24,26,7,77,31,35,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1811347de2004269449e6bfa0b94c55f.jpg","90.6x42.5公分",[],{"id":14666,"slug":14667,"title":14668,"dynasty":109,"author":1112,"museum":331,"description":14669,"tags":14670,"thumbUrl":14671,"material":198,"size":780,"collection":100,"collections":14672,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":44},290250,"gao-shan-zhi-yu-tu-ju-ran-290250","高山知遇图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。\n名下画作有《秋山问道图》《山居图》《萧翼赚兰亭图》《万壑松风图》《层岩丛树图》《秋山图》等传世。",[24,25,364,7,77,130,11911,134,193,377,169,170,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fd1673d01e02f62973c92de006d169.jpg",[],{"id":14674,"slug":14675,"title":14676,"dynasty":109,"author":9746,"museum":331,"description":9747,"tags":14677,"thumbUrl":14678,"material":198,"size":780,"collection":100,"collections":14679,"showCount":14655,"zanCount":11,"manualWeight":43,"mainColor":44},289778,"lian-chi-shui-qin-tu-zhou-yi-gu-de-qian-289778","莲池水禽图轴一",[23,25,113,7,27,28,306,32,151,1890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5be46ebdc7cfa368ae7532a135a26ee.jpg",[],{"id":14681,"slug":14682,"title":163,"dynasty":93,"author":2964,"museum":74,"description":14683,"tags":14684,"thumbUrl":14685,"material":99,"size":14686,"collection":100,"collections":14687,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":88},289563,"xi-shan-xing-lv-tu-ma-lin-289563","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。”",[23,24,25,26,7,77,129,130,269,195,132,196,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb3bd480aa2c88a3b827d39dcc5bc3.jpg","147.9x60.5",[],{"id":14689,"slug":14690,"title":10184,"dynasty":109,"author":14691,"museum":331,"description":14692,"tags":14693,"thumbUrl":14694,"material":198,"size":780,"collection":100,"collections":14695,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":44},288836,"hu-shan-chun-xiao-tu-liu-dao-shi-288836","刘道士","工佛道鬼神，落笔遒怪，尤善山水，师董源，与巨然同时，画亦同。但刘道士在左，巨然则以僧在左。以此为别",[23,24,25,26,7,77,129,130,272,269,193,173,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45d33542a55bbea40943f6b7f253a0dd.jpg",[],{"id":14697,"slug":14698,"title":14699,"dynasty":72,"author":264,"museum":331,"description":14700,"tags":14701,"thumbUrl":14702,"material":198,"size":780,"collection":100,"collections":14703,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":44},287608,"yu-dong-xian-yuan-tu-chou-ying-287608","玉洞仙源图","该画作描绘长松参天，洞壑奔雷，云塞幽谷，松涛掩映楼阁，一人临流静坐停琴，童子四人，趋走前后。该画作勾勒精工，秀雅纤细，布局严谨，极有气势，设色沉静。",[23,24,25,26,7,27,268,28,129,269,134,193,29,427,173,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd125a8b06ed17f67b28f7bb73d33cafd.jpg",[],{"id":14705,"slug":14706,"title":14707,"dynasty":72,"author":50,"museum":331,"description":14708,"tags":14709,"thumbUrl":14710,"material":198,"size":780,"collection":100,"collections":14711,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":44},287563,"ming-ren-pin-cha-tu-yi-ming-287563","明人品茶图","苍松虬劲，古藤垂绕，将山林幽寂晕染开来。林下雅士围坐，一人展卷吟哦，一人捧盏凝思，眉宇间尽是松弛自在。旁侧童子煨火煮茶，溪畔稚童俯身汲水，动静相映，把春日雅集的闲逸铺陈开来。\n\n笔墨朴拙古雅，山石皴染厚重，人物意态舒展，将文人寄情林泉、品茶论书的林下之趣勾勒尽致。松涛泉声仿佛随画卷漫出，隔绝喧嚣，只余清茗香气与书卷文思，尽显雅致风流，把静心忘俗的意趣藏在寸寸绢素之中。",[25,7,28,29,427,132,193,12030,3796,24,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f61d450f734bcdaa1462c5372d5cf5.jpg",[],{"id":14713,"slug":14714,"title":14715,"dynasty":18,"author":14716,"museum":331,"description":14717,"tags":14718,"thumbUrl":14719,"material":198,"size":780,"collection":100,"collections":14720,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":88},283781,"jin-yu-tu-weng-luo-283781","金鱼图","翁雒","江苏吴江. 画有夙慧，初写人物，中年后专攻花鸟、草虫、水族，尤善画龟。笔精墨妙，生动尽致。",[24,25,26,7,28,27,113,2818,5928,1663,536,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ff6396d75f7a14cf78bf4d16f51833.jpg",[],{"id":14722,"slug":14723,"title":1548,"dynasty":18,"author":14724,"museum":331,"description":14725,"tags":14726,"thumbUrl":14728,"material":198,"size":780,"collection":100,"collections":14729,"showCount":14655,"zanCount":11,"manualWeight":43,"mainColor":88},239517,"he-hua-zhou-hu-yuan-239517","胡远","字公寿，号瘦鹤，画用字行，又号横云山民，华亭（今上海松江）人，侨上海。能诗，善书画，书法颜真卿，藏有戏鸿堂祖本争位座稿书，矜为至宝。画笔秀雅绝伦，以湿笔取胜。山水花木无所不能，尤喜画梅。咸丰十一年（一八六一）至上海初寓毛树徴家，后买宅颜曰寄鹤轩。与李壬叔（善兰）、胡鼻山（震）诸名流友善，卖画自给。卒年六十四。有寄鹤轩诗草。",[25,7,77,28,304,113,306,307,14727],"茎秆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81805cb9f07093259ca1f8e2008f7476.jpg",[],{"id":14731,"slug":14732,"title":14733,"dynasty":18,"author":14734,"museum":236,"description":14735,"tags":14736,"thumbUrl":14737,"material":100,"size":100,"collection":138,"collections":14738,"showCount":14655,"zanCount":11,"manualWeight":43,"mainColor":88},238539,"nan-tian-men-guan-yin-si-tu-zhou-li-zong-wan-238539","南天门观音寺图轴","励宗万","励宗万（1705年—1759年），字滋大，号衣园，又号竹溪，直隶静海（今天津市静海县）人，励廷仪子，清代藏书家、书画家。\n康熙六十年（1721年）进士，入翰林，年才十七。历官刑部侍郎。以画供奉内廷，兼工山水、花鸟，笔意恬雅，设色古淡。书法褚、颜、苏、米，圆劲秀拔，与张照齐名，称“南张北励”。卒年五十五。《清画家诗史》、《归石轩画谈》、《熙朝名画录》、《桐阴论画》、《香树斋文集》、《读画辑略》。乾隆二十四年（1759年）卒，葬于北五里庄。",[25,26,7,77,130,129,269,54,79,195,170,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c63efd8e91a869a77380de50cf1ac31.jpg",[138,185,101],{"id":14740,"slug":14741,"title":14742,"dynasty":18,"author":9395,"museum":331,"description":9396,"tags":14743,"thumbUrl":14744,"material":100,"size":100,"collection":101,"collections":14745,"showCount":14655,"zanCount":11,"manualWeight":43,"mainColor":88},238318,"pen-hua-si-yong-zhou-dong-gao-238318","盆花四咏轴",[25,7,27,28,114,924,392,6567,79,113,132,14037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876b0af7bf8e0501b0f448f609ce86c3.jpg",[101],{"id":14747,"slug":14748,"title":14749,"dynasty":72,"author":12363,"museum":236,"description":14750,"tags":14751,"thumbUrl":14753,"material":214,"size":100,"collection":84,"collections":14754,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":88},237236,"bai-shi-xi-que-zhou-chen-jia-yan-237236","柏石喜鹊轴","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[25,26,7,77,113,14752,57,7427,151,35],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5c5febd79d930762a36a6ffbfef252.jpg",[84],{"id":14756,"slug":14757,"title":14758,"dynasty":18,"author":50,"museum":331,"description":14759,"tags":14760,"thumbUrl":14763,"material":198,"size":780,"collection":100,"collections":14764,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":44},234421,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234421","清人文殊菩萨像轴","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[25,7,54,28,27,29,14442,9956,5394,14761,4209,14762],"火焰","宝相花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F144bc0ee0d7f076112633815d6773f52.jpg",[],{"id":14766,"slug":14767,"title":14768,"dynasty":18,"author":50,"museum":331,"description":14769,"tags":14770,"thumbUrl":14771,"material":198,"size":780,"collection":100,"collections":14772,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":88},234386,"mou-bing-tai-qian-long-huang-di-chao-fu-xiang-zhou-yi-ming-234386","缪炳泰乾隆皇帝朝服像轴","此作以工笔重彩写就，将帝王垂暮之态与九五威仪相融。画师细摹面容，苍纹间见沉凝神态，不怒自威。朝服织绣极尽工巧，明黄龙纹盘绕腾跃，十二章纹排布严整，处处恪守礼制章法。朝珠垂坠合度，珠辉与绣色交相辉映，华贵不失庄重。雕龙宝座工丽繁复，衬出帝王至尊之姿。全幅设色富丽醇和，线条精细入微，写实传神，精准拿捏帝后肖像的制式准则，又生动刻画出帝王晚年的肃穆气场，是清代肖像画礼制性与艺术性兼具的佳构。",[25,7,27,28,29,334,34,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb69f55bef7110dec4aa2b25bf063614.jpg",[],{"id":14774,"slug":14775,"title":5382,"dynasty":18,"author":318,"museum":3222,"description":14776,"tags":14777,"thumbUrl":14778,"material":699,"size":8425,"collection":100,"collections":14779,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":88},232936,"song-lu-tu-zhou-zhu-da-232936","朱耷（约1626年—约1705年），号八大山人，又号雪个、个山 、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。\n八大山人是宁献王朱权的后裔，大明宗室对鹿有极深的感情。古代的鹿象征至高无上的皇权地位。鹿在中国有着非常吉祥的寓意，它不仅代表长寿，还与“禄”字谐音，故国画中间常借画鹿传达贺寿或加官进爵之意。八大山人画鹿存世十余幅，大都画一两只鹿，而画群鹿及配山水至今仅见此一幅。",[25,26,7,77,985,378,1073,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7891ac0bf8822102bdf85850797f6e1f.jpg",[],{"id":14781,"slug":14782,"title":14783,"dynasty":49,"author":50,"museum":331,"description":14784,"tags":14785,"thumbUrl":14787,"material":198,"size":780,"collection":100,"collections":14788,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":88},231794,"gu-hua-fen-ben-zhong-kui-xiang-li-zhou-yi-ming-231794","古画粉本 钟馗像立轴","此作以淡墨勾勒晕染，将钟馗威严肃杀的神态尽皆铺陈。画家以虬髯环眼塑造出钟馗狞厉刚猛的面容，按剑而立的雄硕身姿，满是镇伏邪祟的浩然正气。衣纹兼用铁线、兰叶描，笔力顿挫劲健，随身形走势跌宕起伏，将衣物的厚重质感与钟馗的刚健勇武融为一体。墨色浓淡相宜，须发、冠履层次分明，虽未施重彩，却将钟馗的凛然神采烘托得淋漓尽致，尽显传统人物画“以形写神”的精髓，把这位镇邪判官的威严气魄刻画得入木三分，是极具功力的传神佳作。",[23,25,7,77,985,29,79,14786,54],"粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d0c3b8f23c66f9ab7516659a3bef79.jpg",[],{"id":14790,"slug":14791,"title":113,"dynasty":18,"author":709,"museum":331,"description":14792,"tags":14793,"thumbUrl":14794,"material":100,"size":100,"collection":100,"collections":14795,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":88},224309,"hua-niao-li-shan-224309","这幅画以水墨写就水畔一隅，布局错落有致。右上角芙蓉枝叶交叠，浓墨点染阔叶，淡墨勾出柔花，枯笔写枝，苍劲中带着秀润。左侧荷花亭亭舒展，墨色晕染出荷叶的清润质感，花瓣用线空灵雅洁。白鹭静立在汀草间，淡墨勾形留白衬出羽毛蓬松，目光低垂神态悠然，将水鸟的闲适之态尽藏其中。\n笔墨干湿浓淡相映，以写意笔法写尽夏日水郊的清寂野趣，禽鸟花木浑然相融，尽显纵逸洒脱又不失雅致的文人写意风骨，将幽淡恬然的郊野生机凝练在尺幅之间。",[23,25,24,7,77,28,304,113,32,675,1891,1275,1742,307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c32e970d3d12ecf0c1bdd93057eb7f.jpg",[],{"id":14797,"slug":14798,"title":14799,"dynasty":18,"author":709,"museum":331,"description":14800,"tags":14801,"thumbUrl":14802,"material":100,"size":100,"collection":100,"collections":14803,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":88},224294,"tao-hua-liu-yan-tu-li-shan-224294","桃花柳燕图","《历代名画宣纸高清大图:李鱓桃花柳燕图》绘桃红、柳绿、燕嬉之景，生动地表现了春天和生命的气息，画面充满暖意。\n画幅右边近下部，柳树枝干往上方挺升，其上旁生枝条，以浅绿设色表现初发的柳叶，墨笔筒细而劲健。\n整个枝干形态奠定了画面格局。\n柳树後可见一株桃树枝干自右至左斜出，分上中下三个方向。\n桃树枝干以褐色设色，与墨色的柳树枝干相映成趣，其上并以粉红、银白、淡绿设色表现桃花花办与花叶，同样笔墨不繁却栩栩如生。\n在此美景中，作者添了四只暖春早燕：其一于高枝上向下俯视，情状蠢蠢欲动；其一站立在横枝上，神态安详；其一停于中部枝头顶端；其一低飞于桃红柳绿问。\n此幅花鸟画明朗活泼，笔墨工致。\n《历代名画宣纸高清大图:李鱓桃花柳燕图》由 出版。",[23,25,26,7,304,28,498,1126,3858,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0cd75efcd4565e82cc7ec65b74f13a.jpg",[],{"id":14805,"slug":14806,"title":14807,"dynasty":18,"author":235,"museum":648,"description":13035,"tags":14808,"thumbUrl":14809,"material":182,"size":14810,"collection":100,"collections":14811,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":88},223232,"mei-que-tu-li-zhou-ren-yi-223232","梅雀图立轴",[23,7,28,77,1371,113,392,7145,924,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2cab43d292040d46a761c14cf915d9.jpg","纵70.7厘米，横35厘米",[],{"id":14813,"slug":14814,"title":14815,"dynasty":18,"author":6942,"museum":74,"description":6943,"tags":14816,"thumbUrl":14818,"material":14819,"size":14820,"collection":100,"collections":14821,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":88},223093,"hua-nan-fang-zeng-zhang-tian-wang-xiang-zhou-yao-wen-han-223093","画南方增长天王像轴",[23,25,7,54,27,28,29,129,4209,602,1039,79,472,8739,14817,170,193],"神像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b754074b82571d0e38932f5e220c24.jpg","轴 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面前是一个窄口的直瓶。 瓶子里有两根无叶的花枝。 老者目不转睛，认真地看着花朵。 此人的衣纹、眉髯都非常有文采，是黄慎人物画的杰作。",[25,26,7,77,28,304,29,8516,4196,2335,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a98079d56aeaa314481baecfab8d367.jpg","102x40厘米",[39],{"id":14887,"slug":14888,"title":14889,"dynasty":93,"author":50,"museum":74,"description":14890,"tags":14891,"thumbUrl":14892,"material":77,"size":14893,"collection":185,"collections":14894,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,134,193,129,252,56,253,269,77,7,27,182,1157,11051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c9b0b1bac61df1c2e78bb1a666c33c.jpg","155x136.2",[185],{"id":14896,"slug":14897,"title":14898,"dynasty":93,"author":14899,"museum":1714,"description":14900,"tags":14901,"thumbUrl":14902,"material":37,"size":14903,"collection":158,"collections":14904,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":342},219199,"mei-que-shuang-e-tu-wang-ning-219199","梅鹊双鹅图","王凝","此图构图新颖,一支细长的枝杈贯穿全图,分叉垂直树干而上,树冠顶端有两只可爱的喜鹊停留.",[25,24,26,7,27,28,113,392,4978,3643,131,31,151,3620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381ee136b10d1f54c70e4e73a1c7fac0.jpg","168.5x93.4",[158],{"id":14906,"slug":14907,"title":818,"dynasty":18,"author":1971,"museum":236,"description":14908,"tags":14909,"thumbUrl":14910,"material":82,"size":14911,"collection":138,"collections":14912,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":88},218511,"shan-shui-tu-wang-jian-218511","此幅是祝寿题材画，作者在构图上巧意安排：近景绘常青不衰有贺寿寓意的苍松以突出主题；远景绘起伏叠嶂的山峦，寓寿比南山、生命连绵持续之意。中景是清波碧水，其曲折的水面不仅为画面增添了诗意，而且将远、近景有机地相连成一体，令全图的空间层次分明，同时不失画面的完整性。",[23,25,26,129,77,130,7,427,132,1419,134,733,170,522,5929],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c28b0ebb2012e66eb252820326bc507.jpg","纵155.3厘米，横86.9厘米",[138],{"id":14914,"slug":14915,"title":7729,"dynasty":72,"author":13140,"museum":147,"description":14916,"tags":14917,"thumbUrl":14922,"material":37,"size":14923,"collection":39,"collections":14924,"showCount":14655,"zanCount":11,"manualWeight":43,"mainColor":44},218365,"ying-xi-tu-you-qiu-218365","孩子们骑着竹马，拉着彩色的战车，在松木庭院的树荫下拿着中国的盖子，敲打着锣鼓，仿佛在模仿国王或王子出征。孩子们张开的脸是相似的，在他们的衣服上使用了沉重、笨拙的笔触，与尤秋的传统笔触相差甚远。",[23,25,26,7,27,28,29,1932,427,14918,14919,14920,14921,7732],"灯笼","伞","鼓","竹马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8800e97a0f44aa56d05b931855ed98b.jpg","89.3x53.4",[39],{"id":14926,"slug":14927,"title":14928,"dynasty":93,"author":1082,"museum":1714,"description":14929,"tags":14930,"thumbUrl":14932,"material":37,"size":100,"collection":100,"collections":14933,"showCount":14655,"zanCount":11,"manualWeight":43,"mainColor":44},214869,"wu-bai-luo-han-zhi-tian-tai-shi-qiao-tu-zhou-ji-chang-214869","五百罗汉之天台石桥图","五百罗汉之天台石桥图是一幅中国古代图画，出现在宋朝时期。这幅图画由周季常创作，被认为是宋朝时期艺术史上的里程碑。\n\n五百罗汉之天台石桥图描绘了一座天台山上的石桥。石桥上站着五百个罗汉（佛教中的圣者），他们身着鲜艳的衣服，戴着华丽的首饰，手执莲花，肩挎佛像。每个罗汉都有自己独特的特征和表情，表现出不同的心态和境界。图中还有云朵、山峦、树木等元素，构成了一幅美丽的图画。\n\n五百罗汉之天台石桥图被认为是宋朝艺术史上的里程碑，因为它标志着中国传统绘画艺术走向成熟和完善。这幅图画的细腻和逼真的写实，以及对人物特征和心理描写的深刻，让人们对宋朝艺术有了更加深入的了解和认识。",[23,25,26,7,54,28,27,29,129,351,169,173,14931],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce180fb2ebcd4c0fe8a67a27cc9478a.jpg",[],{"id":14935,"slug":14936,"title":14937,"dynasty":18,"author":10397,"museum":74,"description":14938,"tags":14939,"thumbUrl":14940,"material":82,"size":14941,"collection":101,"collections":14942,"showCount":14655,"zanCount":43,"manualWeight":43,"mainColor":88},214239,"xing-shu-li-bai-qiu-deng-xuan-cheng-xie-tiao-bei-lou-zheng-xie-214239","行书李白秋登宣城谢眺北楼","笔锋游走处，楷隶骨力与行草灵动交织成独特韵律。横画如竹枝劲挺，撇捺似兰叶舒展，尽显板桥体疏朗宕逸的风骨。墨色浓淡相济，沉厚如秋潭映月，轻扬若风过疏桐，暗合诗意里的秋空澄澈与凭栏远眺的旷达。结体错落有致，字间顾盼生姿，仿佛谢朓楼头山影叠嶂，又藏李白诗中逸兴遄飞。章法疏密得宜，笔墨与纸页的对话间，怀古之思与秋景清寂化作纸上流转气韵，尽展文人书法的情韵与风骨。",[23,24,25,26,7,97,80,77,79,129,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5bd6865fed3b355a77b57411d0da99f.jpg","164x90.2",[101],{"id":14944,"slug":14945,"title":14946,"dynasty":207,"author":50,"museum":331,"description":14947,"tags":14948,"thumbUrl":14950,"material":198,"size":780,"collection":100,"collections":14951,"showCount":121,"zanCount":11,"manualWeight":43,"mainColor":44},290738,"san-qing-tu-zhou-yi-ming-290738","三清图轴","三清为道教尊奉的三位最高神的统称。依画上品字形排列，上方为玉清元始天尊，其左手方为上清灵宝天尊。右手方为太清道德天尊。三清尊神是道教哲理“三一说”的象征，《老子道德经》说：“道生一，一生二，二生三，三生万物。”三清尊神就是“道”的人格神化。自唐宋以来，三清尊神主要供奉在道教宫观裹的三清殿。",[25,7,54,14949,29,241,1073,28],"道教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413ee4f4ae4968de91fbe037d4d6c9ad.jpg",[],{"id":14953,"slug":14954,"title":14955,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":14956,"thumbUrl":14958,"material":198,"size":780,"collection":100,"collections":14959,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":88},290423,"shan-hu-zhu-tu-wu-chang-shuo-290423","珊瑚珠图",[23,25,24,26,7,28,113,14957,7417,35,79],"浆果","https:\u002F\u0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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。",[25,26,7,1157,28,129,269,377,170,29,27,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d809bb2714a20a923bebe202091254.jpg","纵135厘米，横74.8厘米",[138],{"id":15013,"slug":15014,"title":5382,"dynasty":18,"author":318,"museum":3222,"description":15015,"tags":15016,"thumbUrl":15017,"material":2583,"size":8425,"collection":84,"collections":15018,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":88},238040,"song-lu-tu-zhou-zhu-da-238040","朱耷（约1626年—约1705年），号八大山人，又号雪个、个山 、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。",[25,26,7,77,304,130,378,1073,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9244ade8ce785509d3cb147daa31bcce.jpg",[84],{"id":15020,"slug":15021,"title":1381,"dynasty":18,"author":318,"museum":331,"description":15022,"tags":15023,"thumbUrl":15024,"material":100,"size":100,"collection":100,"collections":15025,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":88},235620,"shan-shui-zhou-zhu-da-235620","此作用淡墨干笔写层叠峰峦，删繁就简，以极简的勾勒皴擦塑造奇崛冷峻的山石体态，不着浓艳，尽是荒寒萧索。画面留白肆意，纵长构图牵引视线游走于丘壑之间，山居错落、枯木寒松点缀其间，愈发衬出山水空寂冷逸。笔墨疏淡却意韵悠长，将沉郁的遗世心绪尽数融于林泉丘壑，冷寂禅意漫溢纸面，尽显孤高疏淡的品格风骨。",[25,26,7,77,130,129,35,131,484,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666b9b8a9dd9e1bad95d24e8eaa187e7.jpg",[],{"id":15027,"slug":15028,"title":15029,"dynasty":18,"author":50,"museum":331,"description":15030,"tags":15031,"thumbUrl":15032,"material":198,"size":780,"collection":100,"collections":15033,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":88},235609,"niu-shi-hui-he-ya-tu-zhou-yi-ming-235609","牛石慧荷鸭图轴","此作用水墨写就秋塘小景，留白空阔清寂。以淋漓泼墨挥写荷叶，浓淡层叠，枯湿相济：舒展的大叶墨色沉浑尽显饱满生机，残荷则笔意简劲，自带清秋萧疏之态。\n\n游鸭以焦墨勾定轮廓，淡墨晕染羽色，憨然浮于水面，俯仰间野趣自生。水面仅以细碎墨点、短线轻勾，清浅灵动，衬出水塘的空静。右上角题字笔力苍朴，与画面浑融一体。\n\n整幅不作繁复刻画，却以极简笔墨尽抒秋塘疏朗雅逸之致，以形写神，尽显写意水墨以少胜多的精妙意趣。",[25,7,77,113,32,866,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3338331e1a2764fd325c249421dcbcf6.jpg",[],{"id":15035,"slug":15036,"title":8031,"dynasty":72,"author":10064,"museum":331,"description":15037,"tags":15038,"thumbUrl":15040,"material":100,"size":100,"collection":100,"collections":15041,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":44},234805,"ren-wu-zhou-xie-shi-chen-234805","谢时臣（1487—？），明代画家。字思忠，号樗仙。长洲（今江苏苏州）人，八十一岁时尚在世。工书法，长于隶书 。擅山水 ，师法吴镇、沈周，稍作变化，兼有“浙派”和“吴门派”笔法，风格独特。\n作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作 山峦重叠 ，高耸险峻 ，笔墨 或细密苍劲 ，或劲健沉郁，或纵横纷披，富有变化。有《溪山揽胜图》《策杖寻幽图》《武当霁雪图》《谪仙玩月图》等传世。",[25,26,7,28,130,29,170,15039,151,129,195,193],"推车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581618327747e74a9a86d6201e888d63.jpg",[],{"id":15043,"slug":15044,"title":13605,"dynasty":207,"author":695,"museum":236,"description":15045,"tags":15046,"thumbUrl":15047,"material":15048,"size":15049,"collection":100,"collections":15050,"showCount":121,"zanCount":11,"manualWeight":43,"mainColor":44},233752,"ku-mu-zhu-shi-tu-zhou-wu-zhen-233752","吴镇生于元至元十七年，卒于元至十四年，终年七十五岁。吴镇长住魏塘，深居简出。吴镇于六十八岁〔至正七年（1347年）〕侨寓嘉兴春波门外(今嘉兴市城区)春波客舍，专写墨竹。时与友人会于精严寺僧舍，心仪佛门，始自称“梅沙弥”。四年后回到魏塘，殁前自选生圹，自书碑文：“梅花和尚之塔”。墓在今梅花庵侧。\n祖名吴泽，字伯常，南宋时从汴梁（河南开封）移家至嘉兴，定居浙江嘉兴魏塘(今浙江嘉善魏塘)。吴镇年少好剑术，成年后与其兄吴瑱同受业于毗陵（今江苏武进）柳天骥学习易经，自此韬光养晦，讲天人性命之学，坚持高尚志气，不与众人和同，贯通儒、道、释三教，达生知命。为人抗简孤洁，一生清贫，高自标青，隐居不仕，与达官贵人很少往来。曾在村塾中教书，钱塘等地卖卜。\n十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。\n其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n相传吴镇本与盛懋比门而居，四方以金帛求盛画者甚众，而吴之门阒然。妻子颇笑之。曰：“二十年后不复尔。”后果如其言。\n吴镇事迹收录于《画史会要》、《清河书画舫》、《六研斋笔记》、《容台集》、《仓螺集》。墨迹今存世的有《双桧平远图》轴(台湾故宫博物院藏)、《渔父图》轴（北京故宫博物院藏）、《渔父图》卷（美国佛利尔美术馆藏）、《长松图》轴（南京博物院藏）、《草书心经》卷（北京故宫博物院藏）等。其风竹刻石，陈列在嘉兴南湖烟雨楼，其八竹碑及草书《心经》碑陈列于嘉善梅花庵。又有《梅道人遗墨》2卷，系后人辑录的其诗和题跋。\n吴镇非常爱梅，家室四周遍植梅树，取斋名“梅花庵”。因居处有橡林，故书斋又名“橡室”。\n吴镇墓现存于梅花庵内，梅花庵是纪念吴镇的附属性建筑，在墓的东侧，明万历间为守墓而建。位于魏塘镇花园弄路西侧。明泰昌元年（1620年）邑令吴旭和邑绅钱士升筹集款修理墓道、添建祠堂三楹、亭三楹、僧舍五楹。华亭陈继儒作《修梅花庵记》，并有董其昌书“梅花庵”匾额。后邑人曾几次筹资重修。新中国成立后，吴镇墓与梅花庵，曾多次作过修缮。由浙江省人民政府公布为省重点文物保护单位。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[24,25,77,7,152,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63832bc58031f20afa8f53f097b5ded3.jpg","纸本 挂轴","纵52CM 横69.8CM",[],{"id":15052,"slug":15053,"title":15054,"dynasty":72,"author":7501,"museum":236,"description":15055,"tags":15056,"thumbUrl":15057,"material":1573,"size":15058,"collection":100,"collections":15059,"showCount":121,"zanCount":11,"manualWeight":43,"mainColor":88},232954,"wan-he-song-feng-tu-zhou-wen-bo-ren-232954","万壑松风图轴","作者绘高峰巨嶂、松竹叠翠和隐庐数间，构图和笔墨、造型尽得元代王蒙的形与神。构图繁密而不拥塞，行笔细密却不琐碎，山路松声，云壑泉涌，满幅风动。气韵浑然一体，纯系文徵明传派的风韵。",[25,26,7,129,77,130,427,132,169,6170,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f80f6c03b7173bd4fc3b16e9e9bfec6.jpg","纵104.7厘米，横25.8厘米",[],{"id":15061,"slug":15062,"title":15063,"dynasty":18,"author":3792,"museum":331,"description":15064,"tags":15065,"thumbUrl":15066,"material":100,"size":100,"collection":100,"collections":15067,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":88},230257,"fang-lao-lian-pin-jiu-tu-gai-qi-230257","仿老莲品酒图","此作用笔细劲秀逸，设色柔雅清淡。画面之中，两位雅士对坐石上，一人持盏浅酌，神情悠然沉醉，一人拨弄酒器，专注雅致。仕女垂首侍立，温婉娟秀，仆从捧来瓶花，为雅集添上清隽意趣。\n整幅画作将文人品酒雅集的闲逸氛围铺陈开来，既有取法的古雅意韵，又融入独有的秀媚笔致，把文人士大夫诗酒风流的从容雅致尽显纸面，清雅悠然，韵致绵长。",[23,25,26,7,27,28,945,29,1837,35,34,33,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c995a313ec5966c17d37672db050351.jpg",[],{"id":15069,"slug":15070,"title":15071,"dynasty":18,"author":1036,"museum":331,"description":15072,"tags":15073,"thumbUrl":15074,"material":100,"size":100,"collection":100,"collections":15075,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":88},230207,"hong-li-guan-he-fu-qin-tu-zhou-lang-shi-ning-230207","弘历观荷抚琴图轴","《弘历观荷抚琴图轴》是 的一幅画。\n本幅无作者款识。\n随着明末清初的“西学东渐”之风，一些欧洲画家开始在清代宫廷供奉。\n一方面，他们接受中国传统绘画方式，采用中国笔墨颜料和纸绢作画，另一方面，他们依然坚持西洋绘画技法中的透视原则，在作品中着意表现物体的体积、质感、明暗、投影乃至倒影。\n此幅虽未署作者名款，实由意大利画家郎世宁主绘，中国画家补画山水背景。\n画中乾隆皇帝身着汉装，临湖抚琴，远处高山流水，喻其襟怀心境。\n作者不仅通过高超的技巧和精准的透视画法成功地表现出水边亭台的立体感和通透感，而且将建筑整体复杂的结构和各个构件的细部都交代得一清二楚，细腻的笔触与富于变化的色彩将原木立柱和屋顶青石瓦片的肌理与质感描绘得精微而生动。\n从此图中可以看到郎世宁运用焦点透视手法，按照一定的规律将所见到的屋宇移于画幅，成功地在二维平面画幅上真实地表现出多维空间，与传统中国界画描绘空间的手法完全不同。",[23,7,28,27,129,29,377,306,378,225,777,601,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20e9e842214efa4753ba1dbdbe1e410.jpg",[],{"id":15077,"slug":15078,"title":15079,"dynasty":72,"author":389,"museum":74,"description":15080,"tags":15081,"thumbUrl":15082,"material":82,"size":15083,"collection":138,"collections":15084,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":704},228481,"guan-pu-tu-zhou-tang-yin-228481","观瀑图轴","画面上方描绘瀑布倾泻而下，正是李白《望庐山瀑布水（二首）》其二中的名句“飞流直下三千尺，疑是银河落九天”的意境。近景浓荫之下，巨石突兀，一文士仰卧其上，满目青翠欲滴的树色，远望则千岩万壑。想必那水声、树声交织出的华美乐章令画中人沉醉。此图构图雄奇，笔法狂放，或横，或竖，或卷，不拘一格，任意挥洒，看似草草，实则内蕴雄浑沉厚的张力。",[25,26,7,77,129,169,170,132,29,193,173,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d863025c22e5c994d3525d679e99f5.jpg","103.6x30.3",[138],{"id":15086,"slug":15087,"title":15088,"dynasty":72,"author":752,"museum":331,"description":15089,"tags":15090,"thumbUrl":15091,"material":100,"size":100,"collection":100,"collections":15092,"showCount":121,"zanCount":11,"manualWeight":43,"mainColor":44},228282,"fang-tang-ren-jiao-yin-shang-gu-tu-chen-hong-shou-228282","仿唐人蕉荫赏古图","苍劲芭蕉如墨云翻卷，衬着嶙峋古雅的玲珑湖石，辟出一方幽寂天地。宽袍高士踞坐案前，清癯眉眼凝注古物，沉静间漫溢追慕唐风的幽古意趣。侍立童子恭谨端持器物，朴拙身形与高士的沉静古雅相映成趣。\n\n全作用笔清劲凝练，设色古淡沉静，以奇逸高古的造型风格，将文人幽居赏玩的雅静襟怀晕染开来，简淡间尽是悠长的古雅余韵。",[23,25,26,7,28,27,985,29,5575,35,1405,55,151,1027],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a2a9d4591340b66ef93084f64ccfd1.jpg",[],{"id":15094,"slug":15095,"title":15096,"dynasty":207,"author":208,"museum":331,"description":15097,"tags":15098,"thumbUrl":15100,"material":100,"size":100,"collection":100,"collections":15101,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":44},228083,"shuang-song-tu-wang-meng-228083","双松图","此作用双松撑起画面骨架，古松扎根嶙峋顽石，枝干虬曲扭转如苍龙探海，松针攒簇苍劲，带着历经岁月的沉凝古拙。\n以干笔皴擦写出斑驳松皮，枯墨见笔力，淡墨晕染远景平沙远渚，留白疏朗空寂，以简淡衬出双松的雄浑厚重，将高远与平远意境相融。\n错落题跋与画面相映成趣，诗文的林下幽怀和萧散画境合二为一，笔墨间满溢林泉隐逸之趣，仿佛能让人枕松听浪，静看云卷云舒，尽显元人尚意的画中真味。",[23,24,25,26,7,77,130,304,427,132,129,170,212,15099],"土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8baca3f8b4fccb2a156d2bb5fa09314a.jpg",[],{"id":15103,"slug":15104,"title":15105,"dynasty":18,"author":15106,"museum":331,"description":15107,"tags":15108,"thumbUrl":15109,"material":100,"size":100,"collection":100,"collections":15110,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":88},224354,"lin-quan-chun-mu-tu-zhou-jian-jiang-224354","林泉春暮图轴","渐江","此作用笔瘦硬峭拔，以极简勾勒写危崖峻立，皴擦淡简却见山石棱骨清奇。崖间古木槎枒、幽居隐现，水岸扁舟系于浅汀，茅舍独处一隅，寥寥数笔便晕开暮春空山的静寂清寒。\n\n画面留白空灵通透，淡墨轻岚里裹挟着出尘禅意，题诗与画意相融，将杜鹃啼暮的春深意趣和林泉幽隐的襟怀合而为一。笔底萧疏淡远，把江南山水的冷雅秀逸，化作洗尽铅华的林下高致，尽显静穆出尘的画中真意。",[23,25,26,7,77,130,985,129,132,170,733,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e89fcb2f45dbcaccf688fec7a72e8a.jpg",[],{"id":15112,"slug":15113,"title":15114,"dynasty":18,"author":13437,"museum":74,"description":15115,"tags":15116,"thumbUrl":15118,"material":214,"size":15119,"collection":138,"collections":15120,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":88},223118,"qiu-shan-xiao-si-zhou-dong-bang-da-223118","秋山萧寺轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，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、虔山派之间。与董源、董其昌并列。",[23,25,129,77,7,130,132,170,193,15117,733,134],"寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ffd24cfe5738efc1434df698a67139a.jpg","159.3x83.9",[138,185],{"id":15122,"slug":15123,"title":15124,"dynasty":72,"author":13420,"museum":236,"description":15125,"tags":15126,"thumbUrl":15128,"material":1858,"size":15129,"collection":138,"collections":15130,"showCount":121,"zanCount":11,"manualWeight":43,"mainColor":88},222160,"kuo-zhu-yao-feng-tu-zhou-li-zai-222160","阔渚遥峰图轴","此作曾经被误定为北宋郭熙所绘，后在画面上发现李在的印记，于是正名。\n作品取全景式山水，气势宏阔，皴笔细密扎实，墨韵浑厚，画树木呈“蟹爪枝”状，从意境和笔法来看，确实与郭熙极为相似，是典型的北派山水面貌。",[23,25,24,7,129,130,269,134,193,349,131,132,170,733,15127],"渔舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb459656d4d1747466ba4346c2db73e.jpg","纵165.2厘米，横90.4厘米",[138,185],{"id":15132,"slug":15133,"title":15134,"dynasty":72,"author":1024,"museum":74,"description":15135,"tags":15136,"thumbUrl":15137,"material":182,"size":15138,"collection":138,"collections":15139,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":88},220949,"shuang-lin-qiu-si-zhou-dong-qi-chang-220949","霜林秋思轴","此画近景崎岖不平的山石，其中有的山石较陡与中景的山石相粘接，近景的山石间有几棵树木，有的树干粗壮挺拔，有的枝干弯扭，但其枝叶茂密，大树下和山腰间有两间茅屋座落其间。\n中景的山石与远景的山石一样浓重；那片决定中、远景的距离感的白色炯云，上连霄汉，下通江湖，犹如“一炬之光，通体皆灵”。\n此画构图紧凑。\n画法上用淡笔勾出轮廓，作横笔米点皴；山石用润笔，连皴带擦，远处树不分叶，近树横点，画面突出主峰，渲染江南秀丽风光。\n从总体来看，此画笔墨清雅温和，秀润恬淡，能代表他的一般风格和思想情趣：董氏笔墨秀朗，此图可视为代表作。",[23,24,25,26,7,130,28,97,80,79,129,131,484,3631,377,193,132],"https:\u002F\u002Foss.chuangqi.store\u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此作山石樹法與北京故宮所藏趙左萬曆四十一年繪製的山水冊近似，疑為趙左代筆、董其昌題款的作品。",[23,25,26,7,77,28,130,129,170,132,1419,733,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc7b8372b4b3ac2ca482b3a013bba9b.jpg","12×48.7厘米",[138,158],{"id":15150,"slug":15151,"title":15152,"dynasty":93,"author":50,"museum":15153,"description":15154,"tags":15155,"thumbUrl":15156,"material":28,"size":15157,"collection":100,"collections":15158,"showCount":121,"zanCount":11,"manualWeight":43,"mainColor":44},220244,"rui-guang-ta-si-tian-wang-xiang-2-yi-ming-220244","瑞光塔四天王像2","苏州瑞光寺塔","是可供研究唐代吴道子画风的一件重要绘画遗存。\n吴道子一生以宗教画创作为主，留下壁画三百余壁，但从唐武宗会昌五年（845）废寺毁佛像以后，存留就寥寥无几了。不过，他的画风由唐代粉本，和后世画家的仿作中所保存下来的还是不少。四天王像的创作年代在大中祥符六年（1013）之前，距吴道子逝世两个半世纪左右，当时，吴画原作还有少量寺庙壁画遗存。他的画风在宗教画中有强大影响。从四天王像中，就明显地可以看到吴道子画风的几个富有特征的表现。",[25,54,29,28,27,241,1039,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05475f86835101e8ca6e59527097d99.jpg","42.5X123厘米",[],{"id":15160,"slug":15161,"title":15162,"dynasty":207,"author":13346,"museum":6687,"description":15163,"tags":15164,"thumbUrl":15165,"material":82,"size":15166,"collection":138,"collections":15167,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":88},219943,"cheng-xi-jing-yue-tu-ma-wan-219943","澄溪静樾图","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。江苏南京人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[23,24,25,26,7,77,130,129,134,193,132,170,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f75498f05d30a6b58ef024fbc5bd1b.jpg","58.5x31.0厘米",[138],{"id":15169,"slug":15170,"title":2083,"dynasty":72,"author":424,"museum":147,"description":15171,"tags":15172,"thumbUrl":15173,"material":82,"size":15174,"collection":138,"collections":15175,"showCount":121,"zanCount":11,"manualWeight":43,"mainColor":88},219772,"han-lin-tu-wen-zheng-ming-219772","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,25,77,7,130,129,521,131,132,193,614,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2886a246a12879ab8f83cd5651ca80.jpg","纵90.5横31",[138],{"id":15177,"slug":15178,"title":71,"dynasty":72,"author":15179,"museum":74,"description":15180,"tags":15181,"thumbUrl":15182,"material":99,"size":15183,"collection":84,"collections":15184,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":44},219508,"zhu-tu-lv-duan-jun-219508","吕端浚","此作用水墨写就，运笔爽利遒劲，丛竹叶叶交叠，以浓淡墨色区分层次，俯仰向背各具意态，繁密却不失条理，尽显修竹清刚挺拔之姿，仿佛有穿林风声拂过纸面。\n\n下方奇石以淡墨晕染轮廓，焦墨点苔，朴拙古雅，稳稳承托劲竹，与秀逸修竹形成刚柔相济的意趣，地面细草寥寥几笔，野趣自生。\n\n题款与画面相映成趣，整幅以极简水墨承载文人意趣，将竹的君子风骨融于尺素，笔情墨韵间满是萧散出尘的雅致。",[25,7,77,31,35,1275,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944e6c300e61ee66ba74b2b616fa2a07.jpg","169.1x87.6",[84],{"id":15186,"slug":15187,"title":15188,"dynasty":72,"author":7648,"museum":10279,"description":15189,"tags":15190,"thumbUrl":15191,"material":99,"size":15192,"collection":84,"collections":15193,"showCount":121,"zanCount":43,"manualWeight":43,"mainColor":44},219333,"gu-song-shuang-que-tu-lin-liang-219333","古松双鹊图","在这幅画中，两只喜鹊爬上一根松枝，寓意吉祥。 笔墨笔墨爽朗，为后世水墨花鸟画的发展树立了典范。",[23,25,77,304,7,113,378,4978,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5813e37306a3d1eca136d2b6f4a716c.jpg","纵140横75厘米",[84],{"id":15195,"slug":15196,"title":15197,"dynasty":72,"author":683,"museum":74,"description":15198,"tags":15199,"thumbUrl":15200,"material":37,"size":15201,"collection":84,"collections":15202,"showCount":121,"zanCount":11,"manualWeight":43,"mainColor":44},218808,"wan-niu-tu-dai-jin-218808","纨牛图","中国人对于牛的情感不同于对待其他动物，这种感情是复杂且深厚的。这不仅是因为牛的性格敦厚老实，更主要的还是因为对于一个历史悠久的农业国家，牛在农耕文明中一直都担任着十分重要的劳动力角色，它几乎是每一个农村家庭不可缺少的伙伴。",[25,24,7,28,27,29,1571,241,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2af2f1fd17bdb3ed688b14800f04d97.jpg","181x96.3cm",[84],{"id":15204,"slug":15205,"title":15206,"dynasty":18,"author":4669,"museum":236,"description":15207,"tags":15208,"thumbUrl":15209,"material":136,"size":15210,"collection":138,"collections":15211,"showCount":121,"zanCount":419,"manualWeight":43,"mainColor":88},218369,"dou-he-ben-quan-tu-wang-hui-218369","陡壑奔泉图","此图为王翚于康熙十五年（1676年），时年四十五岁时所作，仿王蒙画法，皴法细腻，墨色干湿相间，层次分明，气韵秀润。该图为清宫旧藏。",[23,25,26,7,77,130,129,170,427,132,193,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843436601bf77f374d0da682061f8e02.jpg","纵74.3厘米，横31.4厘米",[138],{"id":15213,"slug":15214,"title":15215,"dynasty":72,"author":15216,"museum":74,"description":15217,"tags":15218,"thumbUrl":15219,"material":82,"size":15220,"collection":101,"collections":15221,"showCount":121,"zanCount":11,"manualWeight":43,"mainColor":342},214224,"gong-yan-shi-song-ke-214224","公宴诗","宋克","公宴诗是一首中国古代诗歌，作者是宋克明。公宴是中国古代的一种社交形式，通常由统治者或较高社会地位的人主办，以向与会者表示尊敬和感谢。\n\n这首诗歌描述了一场公宴的气氛和场景，表达了作者对古代文化和社会生活的热爱。根据诗歌的内容，我们可以想象出这场公宴是一个盛大而隆重的活动，充满了美食、音乐、艺术、娱乐和交流的氛围。",[23,25,26,80,7,97,305,77,2749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818c8d2b7b8096f89247b372eedeb655.jpg","111.7x32.4",[101],{"id":15223,"slug":15224,"title":15225,"dynasty":207,"author":695,"museum":331,"description":7765,"tags":15226,"thumbUrl":15227,"material":198,"size":780,"collection":100,"collections":15228,"showCount":15229,"zanCount":419,"manualWeight":43,"mainColor":44},290818,"hou-chi-bi-fu-tu-zhou-wu-zhen-290818","后赤壁赋图轴",[25,26,7,77,129,349,35,151,29,193,170,79,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8fc9aa4f2daf4de27981cc4e04cc0c.jpg",[],46,{"id":15231,"slug":15232,"title":15233,"dynasty":18,"author":15234,"museum":331,"description":15235,"tags":15236,"thumbUrl":15238,"material":198,"size":780,"collection":100,"collections":15239,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":44},290394,"chang-cheng-nei-wai-li-zhou-qian-song-nie-290394","长城内外立轴","钱松喦","此作用笔苍厚老辣，以浓墨重笔皴染危崖巨嶂，长城如苍龙盘亘山脊，雄姿尽显。山间留白晕染流云雾气，虚实相生里拉开空间层次。\n\n画作打破传统山水的古意局限，将山脊上的新旧烽塔、山下的新式厂区与高原驼队并置，把山河厚重的古韵与新生的蓬勃生机融为一体，既保留了传统山水画的悠远意境，又以细腻视角定格时代变迁，让长城不再只是关山隘口的符号，更成为连接古今、见证山河新生的载体，尽显家国山河的壮阔温情。",[23,25,7,129,28,77,130,15237,272,173,855,196,79],"长城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f285f6425982a1654d5b14d945ea01.jpg",[],{"id":15241,"slug":15242,"title":2861,"dynasty":93,"author":584,"museum":74,"description":11485,"tags":15243,"thumbUrl":15244,"material":198,"size":780,"collection":100,"collections":15245,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":88},290311,"sui-chao-tu-zhou-zhao-chang-290311",[24,25,26,7,27,28,113,114,924,35,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb52957ae581f17b47d34d35a52e539e8.jpg",[],{"id":15247,"slug":15248,"title":2861,"dynasty":72,"author":1464,"museum":331,"description":15249,"tags":15250,"thumbUrl":15251,"material":198,"size":780,"collection":100,"collections":15252,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":88},290307,"sui-chao-tu-zhou-bian-wen-jin-290307","边文进，字景昭，福建沙县人。诸画史皆谓为陇西（今甘肃）人。盖边姓旧出陇西，题款或署其故郡，遂至传讹。与吕纪齐名。\n永乐（一四○三至一四二四）间召至京师授武英殿待诏。至宣德（一四二六至一四三五）间仍供事内殿。为人夷旷洒落，善绘事，尤精于花鸟。花之娇藉，不但钩勒有笔，其用墨无不合宜。宋、元之后殆其人矣。有三友百泰图见故宫名画集。《图绘宝鉴续纂、沙县志、延平县志、明画录、无声诗史、四友斋丛说》。所画的翎毛与蒋子诚的人物、赵廉的虎，曾被称为“禁中三绝”。",[25,24,7,28,113,27,392,378,924,8682,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ab93eeb8b340c282d279f6ec88b49db.jpg",[],{"id":15254,"slug":15255,"title":15256,"dynasty":18,"author":4434,"museum":331,"description":15257,"tags":15258,"thumbUrl":15259,"material":198,"size":780,"collection":100,"collections":15260,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":88},290003,"mei-hua-shu-wu-tu-zhou-hong-ren-290003","梅花书屋图轴","该图画一座房屋，一棵梅树，景物简洁。该图干墨皴擦，但在亭子上用淡墨渲染，形成大对比。用笔很少，但意趣很丰富。",[25,77,7,2419,521,31,80,79,3880,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F157a432cd94e76aaf0d5824a4e063eb9.jpg",[],{"id":15262,"slug":15263,"title":5620,"dynasty":18,"author":5621,"museum":331,"description":15264,"tags":15265,"thumbUrl":15266,"material":100,"size":100,"collection":100,"collections":15267,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":88},239087,"si-ji-hua-hui-ping-zhang-xiong-239087","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动",[25,26,7,28,113,392,31,924,115,35,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce344acb81c42a71b0d0c6bdde720fd.jpg",[],{"id":15269,"slug":15270,"title":15271,"dynasty":72,"author":50,"museum":74,"description":15272,"tags":15273,"thumbUrl":15277,"material":100,"size":100,"collection":39,"collections":15278,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":88},239050,"nv-xiang-zhou-yi-ming-239050","女像轴","翟冠垂珠错落，映出妇人端凝仪容，朱红大衫覆身，尽显华贵庄重。胸前补子上云凤翩跹，翎羽纹路纤毫毕现，晕染细腻灵动，衣纹以沉稳墨线勾勒，贴合身形，礼制威严中暗蕴柔婉气度。\n\n此作敷色妍雅沉稳，衣冠配饰皆恪守仪制，以工致笔意捕捉人物神态，将贵族妇人静穆尊贵的气韵凝于绢素，形神兼备，将世家命妇的仪范风骨定格，尽显肖像画写实传神的精妙，让观者窥见旧时望族内眷的端庄风华。",[27,28,7,29,15274,34,602,15275,10825,15276],"女像","补子","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99e456f4b5e98f3486ae1451cc556ee.jpg",[39],{"id":15280,"slug":15281,"title":15282,"dynasty":72,"author":13306,"museum":331,"description":15283,"tags":15284,"thumbUrl":15285,"material":100,"size":100,"collection":39,"collections":15286,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":88},238667,"cai-lian-tu-zhou-shen-zhen-238667","采莲图轴","沈贞（1400－？ ）一名贞吉，号南斋、陶然道人，长洲（今江苏苏州）人，画家沈周的伯父。工诗文，善绘事，山水取法董源，得元代诸家尤多，与其弟恒吉（沈周之父），诗词皆甚有名，互相唱酬，时谓“埙箴相映”。",[25,26,7,28,27,29,349,32,253,35,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d15d0ab56023439f09f62b240c241.jpg",[39],{"id":15288,"slug":15289,"title":15290,"dynasty":72,"author":8466,"museum":331,"description":15291,"tags":15292,"thumbUrl":15293,"material":100,"size":100,"collection":84,"collections":15294,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":44},237861,"yi-chuang-chun-yu-zhou-xia-chang-237861","一窗春雨轴","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶以楷书笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而气韵生动。当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞(常熟)的张绪(字廷瑞)、钱塘(杭州)的詹和（字仲和)。而以屈礿为突出。明吴宽《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。”徐沁《明画录》说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。",[25,26,7,77,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ffe0f0713ce4807c396998164f7582.jpg",[84],{"id":15296,"slug":15297,"title":8535,"dynasty":18,"author":4788,"museum":209,"description":15298,"tags":15299,"thumbUrl":15300,"material":214,"size":100,"collection":138,"collections":15301,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":88},237413,"shan-shui-tu-zhou-kun-can-237413","髡 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。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[25,77,130,7,129,131,484,29,195,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56594c944a308240a31198566a2cbc4f.jpg",[138],{"id":15303,"slug":15304,"title":15305,"dynasty":207,"author":518,"museum":236,"description":15306,"tags":15307,"thumbUrl":15311,"material":1688,"size":15312,"collection":100,"collections":15313,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":44},233884,"lin-ting-yuan-xiu-tu-zhou-ni-zan-233884","林亭远岫图轴","《林亭远岫图轴》为倪瓒“三段式”构图的典型之作，行笔施墨较简逸，绘坡地上有高树修竹，临江建草亭，远山起伏，隔江相望。“一水两岸”的“三段式”是指在近处画石坡和土岸，上面有几棵枯树，远景画的是平缓的山峦。远处的山与近处的树之间有很大面积的空白是水面，广阔的水面上基本上一个物体也没有，通常看不见人。“三段式”的构图方法到倪瓒达到了一个顶峰，至少是前无古人，后无来者，倪瓒把它发挥得淋漓尽致，运用得出神入化。我们可以这样说，是倪瓒铸就了“三段式”绘图方法的经典运用和不朽传奇，而“三段式”的构图方法成就了倪瓒在中国绘画史上不可替代的位置。",[25,26,7,77,129,15308,15309,5996,12517,15310,521,733,132,193,8262,97,35],"干笔皴擦","留白","林亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3daac7b068ff6b3cd54bbe1eb7114c01.jpg","纵87.3厘米，横31.4厘米",[],{"id":15315,"slug":15316,"title":4892,"dynasty":207,"author":518,"museum":236,"description":15317,"tags":15318,"thumbUrl":15319,"material":4896,"size":4897,"collection":100,"collections":15320,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":88},233883,"ku-mu-you-huang-tu-zhou-ni-zan-233883","该图画一平坡之上立一巨石，石边一寒树独立，树旁又有双竹挺立，并分向左右弯曲生长，其周围亦有细篁数丛。\n该图中上方有作者自题诗一道：“古木幽篁寂寞滨，斑斑鲜石翠含春。自知不入时人眼，画与皎溪古遗民，云林生。”画幅上还有马治，松泉隐者诗题。\n画中笔法疏率，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。\n平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。\n构景简洁是倪云林画的突出特色，该图亦通过一石、一树、数竹这极简之景构成一个荒寒萧疏的意境。",[25,26,7,77,152,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35cbb863ee23b56d80a3506b492b05d.jpg",[],{"id":15322,"slug":15323,"title":3512,"dynasty":207,"author":1432,"museum":236,"description":3513,"tags":15324,"thumbUrl":15325,"material":1573,"size":3516,"collection":100,"collections":15326,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":88},233745,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-233745",[25,26,7,129,77,130,5120,170,427,132,272,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1070ac311ec6c2b81b3e0fff9701a55d.jpg",[],{"id":15328,"slug":15329,"title":15330,"dynasty":18,"author":1296,"museum":236,"description":15331,"tags":15332,"thumbUrl":15333,"material":13519,"size":13529,"collection":100,"collections":15334,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":88},233404,"yuan-ji-jiao-ju-zhou-shi-tao-233404","原济蕉菊轴","本幅水墨，自题五言诗一首，款：“蕉诗偶书其意，石涛济”。钤“搜尽奇锋打草稿。”朱方。下钤：“问亭鉴赏图书”等收藏印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[25,77,7,113,239,440,31,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59523118ad25166a662d1dd8cd731f9.jpg",[],{"id":15336,"slug":15337,"title":15338,"dynasty":72,"author":5069,"museum":331,"description":15339,"tags":15340,"thumbUrl":15341,"material":100,"size":100,"collection":100,"collections":15342,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":88},228369,"pi-pa-mei-ren-tu-wu-wei-228369","琵琶美人图","《琵琶美人图》是吴伟创作的一幅中国国画作品，创作于明代。\n该画纸本水墨，现藏于美国印地安那波里斯美术馆。\n作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n吴伟的这件传世国画作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n作者采用近白描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n画面无任何背景，主体突出，简洁明快。\n作品上面上有孙一元、黄姬水等三人题的诗跋，称“江夏兹图，允为神品”。\n《琵琶美人图》在表现技法上与工笔白描一体，略似北宋李公麟。\n但是较之画家早年的《铁笛图》，更加流畅秀润，风神俊爽。\n《画史会要》、《 》等著录。\n画一位手抱琵琶的女子,侧面低首,神情幽怨哀愁。\n画家用近折描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n吴伟（1459-158 ），江夏（今湖北武昌）人。\n龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。\n弱冠至金陵画名遂起。\n相传伟性戆直，有气岸而豪放，尝遇庞老人击石得髓，伟饮其半，遂以画名。\n成国朱公延至幕下，以小仙呼之，因以为号。\n宪宗时待诏仁智殿，好剧饮狎妓，人欲得伟画者，则载酒携妓往。\n一日被诏正醉，中官扶掖入殿，命作松泉图。\n伟跪翻墨汁，信手涂抹，宪宗叹曰：「真仙笔也。\n]又孝宗命画称旨，授锦衣百户，赐印章曰「画状元」。\n吴伟画人物出自吴道子，纵笔不甚经意，而奇逸潇洒动人，山水树石俱作斧劈皴。\n白描尤佳。\n尝游 渴，从老妪索茗，明年复过之，老妪已谢世。\n援笔追写其像，其子见之大恸，乞而藏之。\n又尝饮友人家，酒间作画，戏取莲房濡墨印纸上数处，莫测其用意，忽起纵笔挥洒成捕蟹图，最为神妙。\n孝宗喜马、夏画风，而画院戴进、吴伟均承继马、夏，成为一时风尚，号为“浙派”。\n吴伟亦号“江夏派”。\n其后吴派既盛，浙派渐归澌灭。\n卒年五十。",[23,25,26,7,985,77,29,30,777,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5696b91097f04f9e47a6f55178478.jpg",[],{"id":15344,"slug":15345,"title":15346,"dynasty":207,"author":1981,"museum":74,"description":15347,"tags":15348,"thumbUrl":15349,"material":182,"size":15350,"collection":100,"collections":15351,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":44},228044,"xi-shan-qing-xia-tu-zhou-sheng-mao-228044","溪山清夏图轴","《溪山清夏图》绘崇山复岭，白云缭绕，楼阁掩映于丛树之中。近景溪水环绕，岸边筑有水阁亭榭，为可游可居之景。图中人物或于水榭纳凉，或悠游林下。构图繁复深曲，用长披麻皴表现山石，繁皴密点。界画楼阁严整，人物工能精谨，云霭以线勾勒，复染色彩。全图画法精巧，体现出盛懋在受文人画家影响的同时所具备的职业画家的一些特点。",[25,26,7,28,130,129,269,170,132,172,212,522,5929,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f46afb98159ce1ffbc7ee3adb4a1a9.jpg","纵204．5厘米，横108.2厘米",[],{"id":15353,"slug":15354,"title":15355,"dynasty":93,"author":1475,"museum":331,"description":11672,"tags":15356,"thumbUrl":15357,"material":100,"size":100,"collection":100,"collections":15358,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":342},227716,"long-hu-tu-zhou-mu-xi-227716","龙虎图轴",[24,25,26,7,77,334,5713,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb229fdf17c2f47f0594e267085c31a4b.jpg",[],{"id":15360,"slug":15361,"title":15362,"dynasty":93,"author":164,"museum":331,"description":15363,"tags":15364,"thumbUrl":15365,"material":100,"size":100,"collection":100,"collections":15366,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":44},227578,"xue-shan-lou-ge-tu-fan-kuan-227578","雪山楼阁图","北宋，范宽作, 绢本设色，传范宽，纵182.4 厘米，横103厘米。\n\n此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。\n\n现藏美国波士顿美术博物馆。\n\n范宽（生卒不详）：本名中正，字中立（又作仲立，因性情宽和，不拘成礼，时人呼之为“宽”，遂以范宽自名。华原（今陕西耀县）人。据《宣和画谱》记载，他“风仪峭古，进止疏野，性嗜酒，落魄不拘世故”。山水初学李成，继法荆浩，后感“与其师人，不若师诸造化”，因移居终南山、太华山，对景造意，不取繁饰，自成一家。宋人将其与关仝、李成并列，誉为“三家鼎峙，百代标程”。后人将之与李成、董源二人合称“宋三家”，之后的“元四家”、明朝的唐寅，以至清朝的“金陵画派”和现代的黄宾虹等大师，都受到范宽画风的影响。",[23,24,25,26,7,130,77,129,252,613,269,170,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa375bbe146b99d0065149a804c5dc346.jpg",[],{"id":15368,"slug":15369,"title":5156,"dynasty":18,"author":559,"museum":331,"description":15370,"tags":15371,"thumbUrl":15372,"material":100,"size":100,"collection":100,"collections":15373,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":88},224589,"hua-shan-shui-zhou-zou-yi-gui-224589","此作以浅绛绘就山居胜景，层峦叠嶂以干笔皴擦出嶙峋肌理，淡赭晕染衬出山骨清奇。古松虬曲苍劲，斜斜探向溪谷，枝叶攒簇尽显老郁生机。板桥横溪，行人策杖徐行，林麓间山居掩映，茅亭凭山而设，溪泉潺潺隐于岩岫，将幽寂山居之趣铺陈开来。\n\n笔墨简淡秀雅，设色清和柔润，题诗钤印与山水景致相融，尽显文人画诗画合一的意趣，把林泉高致的萧散闲逸藏在每一处笔触中，观之如临幽林深谷，静享世外恬然。",[23,25,7,28,130,129,134,193,377,427,132,269,29,169,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b45691176ef9d6ddb5230768b87ab9.jpg",[],{"id":15375,"slug":15376,"title":15377,"dynasty":18,"author":1971,"museum":331,"description":15378,"tags":15379,"thumbUrl":15380,"material":100,"size":100,"collection":100,"collections":15381,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":88},224478,"fang-fan-kuan-shan-shui-li-zhou-wang-jian-224478","仿范宽山水立轴","此作用笔取法北派山水意趣，主峰巍峨崔嵬，以密集的雨点皴摹写山石肌理，将岩体质感的浑厚苍莽尽显无遗。褶皱间晕染留白，云气蒸腾游走，为峻峭山体晕开空濛灵秀。\n飞瀑层叠穿流于深谷，灵动水意打破山峦沉郁。山坳坡脚隐现村舍古寺，林下幽人策驴徐行，将山野烟火意趣融于雄阔山水间，刚柔相济。\n整作墨色浓淡相宜，主次分明，师法先贤又自出情致，在厚重苍莽中暗藏细腻温婉，是师古化新的精妙手笔。",[23,25,26,7,77,130,945,129,169,170,269,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e948ce6ac35fc4fa235ff25f0ffea0.jpg",[],{"id":15383,"slug":15384,"title":15385,"dynasty":109,"author":50,"museum":74,"description":15386,"tags":15387,"thumbUrl":15388,"material":589,"size":15389,"collection":138,"collections":15390,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":44},223343,"wu-dai-ren-qiu-lin-qun-lu-zhou-yi-ming-223343","五代人秋林群鹿轴","在尽情展露盛夏的绿意之后，秋天这个令人舒爽怡然的季节跟著悄然到来，所有的树叶在此时染上了缤纷的色彩，深红、淡橘、浅黄、碧蓝……似乎要赶在严冬来临之前，释放所有的美丽。鹿群抵不住诱人的秋色，踩著轻快脚步进入这片色彩斑斓的秋林，瞧鹿儿所呈现的各种姿态，彷若与眼前丰美的景色唱和起舞。\n《秋林群鹿》主要在描写鹿群于秋林中活动的各式神情，作画的人已经佚失，只知道曾经是属于元代皇帝的收藏。从作品的形式风格而言，充满装饰趣味的空间陈置，以及如此丰富的色彩勾填，都不常见于人们所熟知的中国绘画作品中，有学者推测，这件作品与邻近国家如辽国，甚至更远的中亚之间，存有十分密切的关系",[23,25,7,28,2557,1073,253,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f45cd68073dee3a98e941f2ee82b50.jpg","118.4x63.8公分",[138,158],{"id":15392,"slug":15393,"title":15394,"dynasty":72,"author":4145,"museum":15395,"description":15396,"tags":15397,"thumbUrl":15398,"material":486,"size":15399,"collection":100,"collections":15400,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":44},222602,"qiu-shan-xing-lv-tu-zhou-lan-ying-222602","秋山行旅图轴","河北省博物馆","此画远山耸峙，树木苍劲，红叶明丽，野桥曲径，桥上一老者骑驴款款而过，其后有荷物及策仗者相随。构图气势雄伟，笔势雅健清逸，为蓝氏刻意之作。图作于清顺治十三年（1656年），时年七十二岁。",[23,25,7,129,130,28,252,56,349,170,269,132,1419,6451,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e6bf379581e527114f0c1753e94efe.jpg","纵186.5、横69厘米",[],{"id":15402,"slug":15403,"title":15404,"dynasty":72,"author":13624,"museum":236,"description":15405,"tags":15406,"thumbUrl":15407,"material":15408,"size":15409,"collection":138,"collections":15410,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":44},222418,"yu-zhou-du-shu-tu-zhou-jiang-song-222418","渔舟读书图轴","画家用简练概括的手法，表现群山绕湖、轻舟横渡的清旷之景。湖面上一条篷船荡漾，船尾一人静坐读书，船头渔夫用力撑篙，钓竿斜插于船上，表现了文人士大夫闲适安逸的生活情趣。在画法风格上，山石虽有斧劈皴的痕迹，但不像马远、夏圭那样坚硬外露，而是落笔草草，水墨晕染浓淡相宜，此为蒋嵩粗笔水墨山水画的典型之作。",[23,25,26,7,77,28,129,349,29,170,351,193,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a10da506d8018ca9417d66edb6c543f.jpg","绢本设色粗笔墨","纵171厘米，横107.5厘米",[138,185],{"id":15412,"slug":15413,"title":15414,"dynasty":993,"author":8955,"museum":74,"description":15415,"tags":15416,"thumbUrl":15417,"material":255,"size":15418,"collection":138,"collections":15419,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":44},221073,"yuan-ma-zhou-han-gan-221073","猿马轴","该幅无款，旧题唐代韩干作。韩干，大梁人（河南开封），亦有作长安或蓝田人。公元742－755年（天宝）召入宫中为供奉。曾师曹霸，以画马而得名，唐张彦远极为推崇之。此幅绘竹石树林，三猿戏於枝间石上，其下绘黑白双骏。画上宋徽宗题字和“御书”一玺，及理宗“缉熙殿宝”玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,25,7,27,28,241,8959,196,253,132,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf7b8bdb4c78758314a20784df579585.jpg","48.58X136.8",[138,185],{"id":15421,"slug":15422,"title":15423,"dynasty":93,"author":15424,"museum":3114,"description":15425,"tags":15426,"thumbUrl":15427,"material":37,"size":15428,"collection":39,"collections":15429,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":44},219624,"fu-nie-pan-tu-lu-xin-zhong-219624","佛涅槃图","陆信忠","本作品描绘了释迦在跋堤河边的婆罗双树之间圆寂的情景，是佛教传说中的一个重要场景。以法隆寺五重塔塔本塑像为首，日本早有表现涅槃场景的造像，而以涅般图为本尊像的涅槃法会，也于平安时代初期起成为惯例。涅槃图受到来自中国的影响，同时通过各个时代宗派盛行制作并独立发展开去。\u2028本图在涅槃图之中也具有非常独特的形式，绘制于中国南宋时代的贸易之都宁波，后被日本求得。娑罗树被描绘成两颗宝树，而释迦周围的众弟子并无悲伤表情，胡人打扮的人物围着香炉起舞，似在赞叹涅槃，这一点也实属罕见。有人设想这种图画形式形成的背景是当时宁波成熟的信仰文化。\u2028 画面右方中间有小楷落款“庆元府车桥石板巷陆信忠笔”，可知该画是在宁波被称为庆元府时期(1195～1276)由职业画匠(佛画师)陆信忠(工房)所作。本佛画彩色浓厚，绘画线条细致有力，兼有细腻彩色花纹，表现力极强，也许是大量使用了中间色的缘故，该作令人感受到先期佛画的变迁。在标有陆信忠落款的作品中，该作品与本馆馆藏的十王图并列堪称最为上乘之佳作。再者，裱具上部用墨写有“天王宝物”。此作为爱知津岛神社别当寺宝寿院相传之物。",[23,25,26,7,54,28,27,29,253,4209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c223a3fdb98418bbf872b6bcd5ca04.jpg","纵157.1横82.9",[39],{"id":15431,"slug":15432,"title":15433,"dynasty":72,"author":10064,"museum":74,"description":15434,"tags":15435,"thumbUrl":15436,"material":37,"size":100,"collection":138,"collections":15437,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":44},219472,"si-hao-tu-xie-shi-chen-219472","四皓图","幅中所绘，是秦汉间隐居于商山的四位老人悠闲的生活。他们或下棋，或闲步。四围则是云雾蒸腾，溪泉潺潺，松树盘踞，驯鹿嬉游，山石险阻，与外隔绝，似是为高人隐士所设的福地洞天。用笔苍劲有力，墨色变化丰富，气势雄浑。以画水闻名的谢时臣，尤其长于表现云烟之变幻多端。",[25,195,129,252,56,1617,253,335,304,7,182,28,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe185e2259777abdcf74ad407a3280f3b.jpg",[138],{"id":15439,"slug":15440,"title":15441,"dynasty":72,"author":1751,"museum":74,"description":15442,"tags":15443,"thumbUrl":15445,"material":136,"size":15446,"collection":84,"collections":15447,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":88},219461,"liu-hua-xiao-jing-tu-lu-zhi-219461","榴花小景图","陆治不仅长于山水画,也能画花鸟,所作花卉生意盎然,在吴派画家中以能得宋人韵度,备受赞赏",[25,24,7,27,28,113,15444,6433,79],"榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42162f4933d3bd900c46a0622726a62f.jpg","65.3x33.3",[84],{"id":15449,"slug":15450,"title":15451,"dynasty":72,"author":14346,"museum":74,"description":15452,"tags":15453,"thumbUrl":15454,"material":77,"size":100,"collection":185,"collections":15455,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":44},219373,"shan-shui-tu-dan-chi-qiao-ge-wang-wen-219373","山水图-丹池樵歌","山峦层叠如浪涌，皴笔与墨染交织，苍润中透着秀逸之气。峰麓间林木葱茏，几椽屋舍隐于幽径旁，似藏着尘外闲情。右下角人影孑立，许是负薪而归的樵者，虽无歌声入耳，却能从那悠然的姿态里，想见林泉间清歌回荡。淡墨晕出空濛氛围，山石的厚重与林木的疏朗相映，既显自然雄浑，又含文人雅致。丹池边的樵歌意趣，融于山水静谧之中，仿佛踏入一片远离尘嚣的桃源，心随画境渐次安宁。",[25,28,130,7,129,170,29,377,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f213dfe3146bfc7ca66ed0f86cc217.jpg",[185],{"id":15457,"slug":15458,"title":15459,"dynasty":207,"author":50,"museum":74,"description":15460,"tags":15461,"thumbUrl":15462,"material":37,"size":15463,"collection":84,"collections":15464,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":44},219239,"hua-hu-tu-yi-ming-219239","画虎图","松林石涧间,一巨虎黄皮黑纹,毛色鲜丽,体态威武雄壮.虎之双眼,俱以金粉涂饰,并略染汁绿,显得格外神气逼人.其背隆起,宛如张弓欲发,隐然有即将出击之势.虎口微启,低吟而未啸.树梢,二山鹧见状,相与惊跃鸣叫,更为此猛虎出山的场景,平添紧张、不安的气息.通幅描绘如真,渍染极得润厚的韵致.画无名款,旧签定为元人.惟据画风判断,与明代宫廷画风,颇多相近处,是以推断,本幅或出自明代良工之手",[23,25,7,28,5713,132,170,1275,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb563ac7aba93522a5230f6ac6e3bb83c.jpg","206.5x122cm",[84],{"id":15466,"slug":15467,"title":15468,"dynasty":93,"author":15469,"museum":74,"description":15470,"tags":15471,"thumbUrl":15472,"material":37,"size":15473,"collection":157,"collections":15474,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":44},219151,"xiang-bo-tu-li-an-zhong-219151","翔鹁图","李安忠","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。",[23,24,25,26,7,27,28,113,151,35,1275,287,5683,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[157,84,158],{"id":15476,"slug":15477,"title":818,"dynasty":72,"author":14093,"museum":3993,"description":15478,"tags":15479,"thumbUrl":15480,"material":15481,"size":100,"collection":138,"collections":15482,"showCount":15229,"zanCount":43,"manualWeight":43,"mainColor":88},219099,"shan-shui-tu-zhang-hong-219099","峰峦层叠如聚，皴笔勾勒出山石苍劲肌理，淡墨晕染间藏起峰巅的朦胧。云雾似轻纱漫卷，将远近景致晕染得虚实相生，添了几分空灵缥缈。坡岸处几株古松挺立，枝干虬劲如盘龙，松针细密如簇，尽显岁月雕琢的苍劲之姿。掩映在松影间的村落，屋舍错落，隐于山环水抱之中，烟火气与清寂山水相融，更显雅致。\n\n笔墨兼具刚柔：山石勾勒用劲挺之笔，皴擦见厚重；松枝线条灵动，松针点染细密；云雾留白与淡墨交织，显轻盈。远近层次分明，虚实相映，既有山川雄浑壮阔，又含林泉清幽雅致，仿佛步入一处可居可游的山水胜境，心随景动，沉醉其间。",[23,24,25,26,7,77,130,129,252,56,170,733,173,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[138],{"id":15484,"slug":15485,"title":15486,"dynasty":207,"author":15487,"museum":5328,"description":15488,"tags":15489,"thumbUrl":15491,"material":37,"size":100,"collection":84,"collections":15492,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":44},219067,"ying-sun-tu-ren-ren-fa-219067","鹰隼图","任仁发","画面描绘了一只白腹黑背、体态丰满、羽毛整齐的大壮鹰，用一对锋利的爪子按住一只麻雀，张开翅膀，圆睁双眼，张开嘴，却无计可施。",[24,25,27,28,7,1488,15490,521,6462,536,132,113],"隼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e640e66b80da72ad388df45295a7d4.jpg",[84],{"id":15494,"slug":15495,"title":15496,"dynasty":207,"author":50,"museum":74,"description":15497,"tags":15498,"thumbUrl":15499,"material":37,"size":100,"collection":39,"collections":15500,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":44},218189,"ying-zhen-xiang-zhou-yi-ming-218189","应真像轴","应真袒胸倚石而坐，憨态可掬的笑容里满是悠然自在。衣纹以婉转流畅的墨线勾勒，晕染得宜，既显布料垂坠质感，又衬出人物丰腴体态。身旁松石苍劲，松针如簇，笔法细致中见洒脱；石根处几丛细竹点缀，更添清逸之气。整幅作品笔墨刚柔并济，人物神态鲜活，似在静享林间清寂，禅意氤氲其间。观者仿佛能透过古雅的纸本，触摸到那份远离尘嚣的平和安然，尽显宋元禅画的空灵韵味。",[25,26,7,54,29,427,6189,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc52266544324141923cba9b32a02b8.jpg",[39],{"id":15502,"slug":15503,"title":15504,"dynasty":18,"author":15505,"museum":74,"description":15506,"tags":15507,"thumbUrl":15508,"material":82,"size":15509,"collection":101,"collections":15510,"showCount":15229,"zanCount":11,"manualWeight":43,"mainColor":88},214241,"xing-shu-zhong-tang-yao-yuan-zhi-214241","行书中堂","姚元之","通篇布局疏朗有致，字间行气如流泉穿涧，贯通无碍。笔势灵动跌宕，起收转折见筋骨，提按顿挫藏韵味——每一笔皆含温度，浓墨沉雄如岳，淡墨轻逸似云，干湿互渗更添层次。文字与笔墨浑然一体，字态或欹或正、或收或放，顾盼生姿如老友对谈，既有法度严谨的功底，又显随性自然的性情。通篇洋溢从容洒脱之气，观之如沐春风，仿佛能触到书者挥毫时的畅快心境，于动静之间，尽展行书之雅韵。",[23,472,80,97,7,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61b81b5a7de70d879a30dae9c5d3a0c.jpg","132.2x62",[101],{"id":15512,"slug":15513,"title":15514,"dynasty":72,"author":389,"museum":331,"description":1060,"tags":15515,"thumbUrl":15516,"material":198,"size":780,"collection":100,"collections":15517,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":44},290849,"shan-jing-ri-zhang-tu-zhou-tang-yin-290849","山静日长图轴",[25,24,7,26,129,28,134,193,133,131,132,377,80,79,13901],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448ee5d3c113be971d34e5fddf18503.jpg",[],45,{"id":15520,"slug":15521,"title":15522,"dynasty":207,"author":50,"museum":74,"description":15523,"tags":15524,"thumbUrl":15526,"material":37,"size":9998,"collection":39,"collections":15527,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":44},290786,"chun-jing-huo-lang-tu-zhou-yi-ming-290786","春景货郎图轴","货郎图自宋代以降，常被画家引为表现主题。此幅无名款，画春日郊园中，桃花初绽，新柳泛绿，杂草野卉丛生於小溪石畔。柳荫下停放一货担，架上满置鸟笼，笼中鸟色品种殊异，四周并缀有各式童玩。货郎二人，一人手执鹦鹉兜售，另一妇人携二童立于担前，举手雀跃作欲索取状。人物设色妍雅，神情活泼生动，表现出古代农业社会纯朴闲适的生活情态。",[24,25,7,28,29,27,30,1932,1126,392,4624,15525,33],"市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac3d16ea3f794f22ec38440af84d107.jpg",[39],{"id":15529,"slug":15530,"title":15531,"dynasty":207,"author":50,"museum":331,"description":15532,"tags":15533,"thumbUrl":15535,"material":198,"size":780,"collection":100,"collections":15536,"showCount":15518,"zanCount":11,"manualWeight":43,"mainColor":88},290785,"xian-nv-zhou-yi-ming-290785","仙女轴","该幅绘女仙高髻素衣，趺坐蒲团，手拈笔毫，膝前置贝多叶，似欲书经传道。旁有筠篮系锄上，中贮芝草。一狮一虎伏侍在侧，状甚温驯，盖表现女仙道高，足以降服猛兽。",[25,7,29,30,5713,241,15534,1063,28,79],"仙女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba9881fccc86160614489a9c319fe7b.jpg",[],{"id":15538,"slug":15539,"title":15540,"dynasty":93,"author":50,"museum":331,"description":15541,"tags":15542,"thumbUrl":15546,"material":198,"size":780,"collection":100,"collections":15547,"showCount":15518,"zanCount":11,"manualWeight":43,"mainColor":44},290684,"ke-si-qing-niu-lao-zi-tu-zhou-yi-ming-290684","缂丝青牛老子图轴","画中人物为老子，姓李名耳，字聃。春秋时楚国人。道教认为老子即是「太上老君」在人间的化身。相传老子经过函谷关时，守山的官吏尹喜似乎感到东边的天空忽然一片紫气。他断定会有圣人将来此地。不久，果然见老子骑青牛从东边扬长而至。尹喜便请求老子著书传世，老子应允，便在函谷关著下五千言《道德经》，写完後便骑牛向西而去，其後即不知所终。",[7,473,25,24,26,29,15543,1571,15544,15545,28,62,4209,4370],"老子","青牛","道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa336a1577cdc9d924e9eea1c51b6bf73.jpg",[],{"id":15549,"slug":15550,"title"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》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[24,25,26,7,28,268,129,134,193,349,131,855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56a88b1052bfbea871f84835d854fc0.jpg",[],{"id":15581,"slug":15582,"title":15583,"dynasty":18,"author":7755,"museum":331,"description":15584,"tags":15585,"thumbUrl":15588,"material":198,"size":780,"collection":100,"collections":15589,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":44},287450,"zhi-hua-nu-rong-zhong-kui-tu-gao-qi-pei-287450","指画怒容钟馗图","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[24,25,26,7,77,985,29,14837,15586,15587,4427],"钟馗","怒容","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387e507c0fdc2a5bd90e16e3c58a00a8.jpg",[],{"id":15591,"slug":15592,"title":15593,"dynasty":18,"author":50,"museum":331,"description":14759,"tags":15594,"thumbUrl":15597,"material":198,"size":780,"collection":100,"collections":15598,"showCount":15518,"zanCount":11,"manualWeight":43,"mainColor":88},267341,"man-xiu-wen-shu-fo-xiang-zhou-yi-ming-267341","满绣文殊佛像轴",[7,15595,54,9612,4079,28,15596],"满绣","人物造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3b4d61530b2345aaac456d6a9484ea.jpg",[],{"id":15600,"slug":15601,"title":15602,"dynasty":18,"author":921,"museum":331,"description":13256,"tags":15603,"thumbUrl":15604,"material":100,"size":100,"collection":84,"collections":15605,"showCount":15518,"zanCount":11,"manualWeight":43,"mainColor":88},239223,"mo-mei-zhou-wu-chang-shuo-239223","墨梅轴",[25,26,7,77,113,392,79,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F616f4702c3bcf964d4d3612a77d98457.jpg",[84,185],{"id":15607,"slug":15608,"title":15609,"dynasty":18,"author":15610,"museum":331,"description":15611,"tags":15612,"thumbUrl":15613,"material":198,"size":780,"collection":100,"collections":15614,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":88},236083,"ju-shi-hai-tang-tu-zhou-shen-huan-236083","菊石海棠图轴","沈焕","沈焕，字章明，上海人。工花卉，得徐、黄没骨法。",[25,26,7,28,27,113,440,601,899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa445bd5dc1caf7216292e7c19a92e9.jpg",[],{"id":15616,"slug":15617,"title":15618,"dynasty":18,"author":4669,"museum":331,"description":15619,"tags":15620,"thumbUrl":15622,"material":100,"size":100,"collection":100,"collections":15623,"showCount":15518,"zanCount":11,"manualWeight":43,"mainColor":44},229018,"song-shan-cao-tang-tu-li-zhou-wang-hui-229018","嵩山草堂图立轴","此作以高远、深远之法铺展画面，主峰奇崛巍峨，层岩叠嶂间流泉隐现，尽显山川雄浑苍劲。苍松虬曲盘桓，枝叶繁茂掩映山居草堂，山道萦回穿梭林麓，藏露有度。山脚烟岚轻笼水渚，村居错落生息，晕染出幽寂的林下栖居意趣。\n笔墨糅合南北二宗意趣，干笔皴擦勾勒山石肌理，苔点攒簇皴染，朴拙厚重中不失秀润灵韵，将山野林泉的隐逸雅致与山川壮美联为一体，尽显林泉幽居的清逸意境。",[23,25,26,7,28,130,129,132,170,427,1446,270,15621,1717],"竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537957a672adead014ed280a86cc9ac3.jpg",[],{"id":15625,"slug":15626,"title":15627,"dynasty":18,"author":3992,"museum":265,"description":15628,"tags":15629,"thumbUrl":15631,"material":100,"size":100,"collection":100,"collections":15632,"showCount":15518,"zanCount":11,"manualWeight":43,"mainColor":44},229009,"gao-gang-mao-wu-tu-zhou-gong-xian-229009","高岗茅屋图轴","《历代名画宣纸高清大图:龚贤高岗茅屋图》采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图描绘了江南山水，其笔墨劲利而苍厚潮润，苍翠欲滴。\n山石高悬，山随画活；湖水尽白，形成墨白对比，虚实相生。\n《历代名画宣纸高清大图:龚贤高岗茅屋图》由 出版。",[23,25,26,7,77,130,129,15630,212,170,351,521],"山岗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c33871e5f3f8e6492d8428c33b2d3a.jpg",[],{"id":15634,"slug":15635,"title":15636,"dynasty":72,"author":752,"museum":331,"description":15637,"tags":15638,"thumbUrl":15639,"material":100,"size":100,"collection":100,"collections":15640,"showCount":15518,"zanCount":11,"manualWeight":43,"mainColor":44},228291,"juan-qiu-tu-chen-hong-shou-228291","眷秋图","《明陈洪绶眷秋图》是明代画家陈洪绶所创作的一幅设色画。\n由该作品中的题记可知，此图为仿唐人同题画。\n其中石头浓墨粗点为陈洪缓所作，而构图、人物、梧桐树则为其弟子所作。\n图中画一 手执菊花信步于庭院林石间，后有一侍女举扇，扇面上画有梅花图，前有一侍女捧盘，盘中有壶和秋叶。\n陈洪绶（1598~1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟频。\n绘有《水浒叶子》、《博古叶子》、《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》、《笼鹅图》、《升庵簪花图》、《摘梅高士图》。\n著有《宝论堂集》等。",[23,25,26,24,7,28,29,30,131,132,59,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F217fca3cd0fb6c774655daffdbd538d9.jpg",[],{"id":15642,"slug":15643,"title":10377,"dynasty":72,"author":9539,"museum":265,"description":15644,"tags":15645,"thumbUrl":15646,"material":1394,"size":15647,"collection":84,"collections":15648,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":88},226155,"fu-rong-yuan-yang-tu-zhou-li-yin-226155","图绘鸳鸯一对，一只于芦滩上理毛，另一只自高处飞来，似与滩上的会合；画左侧绘一石块，一株芙蓉探出枝杆，枝头花团锦簇、绿叶繁茂。李因，字今是，工山水、花鸟，亦作诗文，画得陈淳之法，多用水墨，为明末清初时代励志女画家。",[23,25,24,7,77,113,675,799,35,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc1665e5ec8951f7b4aa571136b5df1.jpg","138.9x47.8cm",[84],{"id":15650,"slug":15651,"title":15652,"dynasty":18,"author":12546,"museum":331,"description":15653,"tags":15654,"thumbUrl":15655,"material":100,"size":100,"collection":100,"collections":15656,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":88},224545,"yue-zhong-gui-tu-tu-jiang-pu-224545","月中桂兔图","《月中桂兔图》是清乾隆时期蒋溥创作的一幅画。\n本幅自识：“臣蒋溥恭绘。\n”下钤：“臣”、“溥”朱文方印。\n下裱工钤有古物陈列所藏印：“宝蕴楼书画续录”朱文方印。\n按乾隆皇帝御题可知，该作品绘于 二十三年（1758年）中秋。\n上、下诗堂有乾隆皇帝、刘统勋、董邦达、刘纶、介福五家题诗，以及蒋溥自题诗。\n蒋溥自题：“宸襟拈句发清芳，惭愧濡毫数点黄。\n恰遇山庄开寿宴，兔轮初上碧天凉。\n臣蒋溥恭和。\n”下钤：“臣”、“溥”朱文方印。\n乾隆皇帝御题：“秋暖无端迟桂芳，缀枝初折几苞黄。\n玉㕙静守冰轮朗，画出人间满意凉。\n戊寅中秋御题。\n”下钤“乾”朱文方印、“隆”白文方印。\n刘统勋题：“蕊珠颗颗领秋芳，风露连宵色染黄。\n驻景不烦寻玉杵，冰轮影现永清凉。\n臣刘统勋恭和。\n”下钤“歌咏太平”白文长方印。\n董邦达题：“广寒高处落秾芳，颖暎金枝浥露黄。\n正是敷天开寿域，重轮无际一天凉。\n臣董邦达恭和。\n”下钤“邦”白文方印、“达”朱文方印。\n刘纶题：“一株玉宇领巌芳，顾腹祥占抱珥黄。\n天咏题成广寒谱，云璈合与奏新凉。\n臣刘纶恭和。\n”下钤“臣”、“纶”白文方印。\n介福题：“玉兔爰爰守桂芳，金波湛湛着花黄。\n普天恰祝如恒寿，风露先披上苑凉。\n臣介福恭和。\n”下钤“介福”白文方印。\n此图以墨笔绘圆月，月中玉兔以干笔写皮毛，焦墨点睛，形象生动可爱。\n桂树以墨笔绘枝、叶，笔法细腻老道。\n桂花以桔黄色点染，其温暖的色调为冷月寒宫增添了几许暖意。\n全图布局紧凑，色墨运用巧妙，极富情趣。\n画作题诗中“冰轮”、“兔轮”、“广寒”、“重轮”等语，皆为月亮与玉兔的隐喻，以诗歌的形式烘托画面主题，从而巧妙的将诗、书、画三者紧密结合，把月中玉兔、桂树的优美传说演绎的美轮美奂，实为一件精美的风俗画作品。\n此幅上除了蒋溥的画及自题诗外，还有乾隆皇帝的御制诗和刘统勋、董邦达等大臣的应和诗，从中可见乾隆皇帝对汉民族传统习俗的承袭，和他与臣僚之间以诗画共度中秋的雅集场景。",[23,25,26,7,27,77,28,900,2025,226,1373,1275,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6f474eb82248126deb2f54e04d38a2.jpg",[],{"id":15658,"slug":15659,"title":15660,"dynasty":18,"author":235,"museum":265,"description":15661,"tags":15662,"thumbUrl":15663,"material":214,"size":15664,"collection":100,"collections":15665,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":88},223239,"que-tu-ren-yi-223239","雀图","绘山石中古梅一株，梅枝粗壮遒劲，枝头梅花朵朵绽放；三只麻雀或立于枝头，或立于石块上，似被梅花的清新香气吸引；石块缝中水仙花儿绽放，叶绿繁茂，朵朵花儿白净素雅，给寒冷的冬天带来生机勃勃。",[23,25,26,7,28,113,392,924,35,151,304,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719b5812cc696b603a81b715b4e36969.jpg","40x150厘米",[],{"id":15667,"slug":15668,"title":15669,"dynasty":18,"author":4610,"museum":236,"description":15670,"tags":15671,"thumbUrl":15672,"material":214,"size":15673,"collection":100,"collections":15674,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":88},222824,"mei-he-tu-xu-gu-222824","梅鹤图","《梅鹤图》为1891年(清光绪十七年)，虚谷时年69岁所作。以梅鹤双清为题。两株梅树茁壮挺拔，细枝交错穿插，花朵星星点点，二只白鹤立于梅枝间。梅树始以湿笔淡墨写出，后以干笔复加勾点，线条断续顿挫。梅树奇绝，如剑如戟、铁干清曜。梅花花瓣棱角分明，突出其天生寒骨、峥嵘向上的铮铮傲骨。白鹤亦造型古朴，一改光洁华美、悠闲典雅的贵族气象，长颈后缩收紧，雪羽铺展。画面设色清淡，鹤顶却以朱红重色点醒，使整幅画冷俊之中又富变化，质朴而又耐人寻味。此画作充分体现了虚谷的用笔特点，虚谷晚年代表作之一。顾鹤逸曾称虚谷作画“清而不枯，密而不乱”，此画可见一斑。",[23,24,25,26,7,77,28,304,113,392,225,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13b85f24a66a6be354601ee9a0b9ed2.jpg","纵145.2厘米，横78.9厘米",[],{"id":15676,"slug":15677,"title":15678,"dynasty":72,"author":1614,"museum":74,"description":1615,"tags":15679,"thumbUrl":15681,"material":1320,"size":15682,"collection":138,"collections":15683,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":88},221990,"xie-qin-fang-you-li-zhou-wen-zheng-ming-221990","携琴访友立轴",[23,25,26,7,77,129,134,193,132,170,212,29,172,15680,130],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348dbe09730d98eb99fa54d20f74dedf.jpg","纵63.4厘米，横29.2厘米",[138,185],{"id":15685,"slug":15686,"title":15687,"dynasty":207,"author":10387,"museum":236,"description":15688,"tags":15689,"thumbUrl":15690,"material":1573,"size":15691,"collection":138,"collections":15692,"showCount":15518,"zanCount":11,"manualWeight":43,"mainColor":44},221865,"xie-dan-you-qi-zhao-yong-221865","挟弹游骑","画中一乌帽朱衣人，乘黑花马于平坡上缓缓而行，手执弹弓，悠然仰望，似在搜寻猎物，眉目生动传神。图上人马先以淡墨勾线，后施色彩，晕染匀净。树木则用双勾填色，工整精细。全图画风古朴雅致，有唐人笔意。自识“至正七年四月望仲穆畫”，钤“仲穆”、“ 天水圖書”二印。元至正七年为1347年。画幅上方有元人迺贤题诗数行。\n古今以游骑射猎为题材的图画不可胜数，但大多是对射猎场面的描绘，如此图般绘写游猎之人闲适地搜寻猎物的作品则寥若晨星，别具巧思，耐人寻味。赵雍独具一格、匠心独运的绘画风格于此可见一斑。\n此图经清内府收藏，有嘉庆、宣统诸印。《石渠宝笈·三编》著录。",[23,25,26,7,28,27,29,196,253,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c7470f8757d79778b720a9254a3ab74.jpg","纵109厘米，横46.3厘米",[138,158],{"id":15694,"slug":15695,"title":15696,"dynasty":207,"author":15697,"museum":236,"description":15698,"tags":15699,"thumbUrl":15700,"material":486,"size":15701,"collection":39,"collections":15702,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":44},221766,"ren-ma-tu-zhou-ren-xian-zuo-221766","人马图轴","任贤佐","任贤佐于其父书斋“可诗堂”作此图，当绘于任仁发去世（1327年）之前。图画一着唐朝官服的圉官，拱手持缰，身后立一花马，画风得自家传，用笔细劲，设色简约而轻淡，严谨造型。本幅作者自识“子良于可诗堂作”，钤印“任氏子良”。另钤清“项子京家珍藏”和乾隆帝的印玺等13方。",[23,25,27,28,29,196,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560b087e401581b870cf754e3b9d10ec.jpg","纵：50.6cm，横：36cm",[39,158],{"id":15704,"slug":15705,"title":15706,"dynasty":207,"author":9698,"museum":236,"description":15707,"tags":15708,"thumbUrl":15709,"material":1394,"size":15710,"collection":138,"collections":15711,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":88},221727,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-221727","武夷放棹图轴","此图画武夷山景。武夷山在今福建省崇安县西南，绵亘百余里，有36峰、37岩，水流其间，分为九曲，为我国南方风景名胜之地。古代，道家将它称为第十六洞天，是道教活动较为集中的地区。此图是方从义为同道周敬堇而作。画面右侧一峰高耸，峰下水中一叶小舟徐徐划行，岸上怪石嶙峋，林木丛生其间。笔墨浓润，酣畅淋漓，山体用纵向长线条皴染，以增其峭砺高耸之感。布局奇特，笔法多变，融古法为己用，表现出独具特色的艺术格调。",[23,25,77,130,7,79,80,97,129,349,193,170,351,173,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5af5cec7247fdbac2e6efeac445c24b.jpg","纵74.4厘米，横27.8厘米",[138,185],{"id":15713,"slug":15714,"title":15715,"dynasty":93,"author":7329,"museum":74,"description":15716,"tags":15717,"thumbUrl":15719,"material":15720,"size":15721,"collection":100,"collections":15722,"showCount":15518,"zanCount":11,"manualWeight":43,"mainColor":44},221241,"song-ke-xiu-kai-tai-tu-zhou-song-ren-221241","宋缂绣开泰图轴","南宋踏踏歌行图轴为宋人缂丝作品仲裁取的一部分，能独立成篇。\n构缂、平缂交替使用。\n远处云气流动，近处山石野草情趣盎然。\n人物造型准确生动，手持击板，嘴中吟唱，轻踏脚步，逍遥自在。",[23,15718,7,28,27,29,196,3057,575,129,4209,1419,170,536,132],"缂绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401a0692f0ab7135bf602629e7f6c91.jpg","织绣","349x95.8",[],{"id":15724,"slug":15725,"title":15726,"dynasty":72,"author":1024,"museum":236,"description":15727,"tags":15728,"thumbUrl":15729,"material":486,"size":15730,"collection":138,"collections":15731,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":44},220921,"yan-ling-cun-tu-dong-qi-chang-220921","延陵村图","《董其昌延陵村图轴》是明代画家 创作的一幅绢本设色画。\n本幅自题：“延陵村在茅山之东，有张从申碑。\n从申，唐大历时司直。\n赵子固称其书品在李北海之右。\n玄靖天师碑与延陵季子此碑皆在华阳，笔法类徐浩三藏法师碑。\n延陵碑萧定作也。\n略曰‘听乐辩刊国之兴亡，审贤知世数之存没，挂剑示不言之信，避国保无欲之贞，玄风可想，至德如存云’。\n旁有四贤，以祀董永、韦昭、王素与季子而四。\n癸亥二月，画于丹阳舟中，因命之延陵村图并书此。\n董玄宰。\n“癸亥”为明天启三年（162年），董其昌时年69岁。\n清青浮山人编《董华亭书画录一卷》著录。",[23,25,26,7,77,28,130,97,79,129,132,170,733,522,2581,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","纵78.5厘米，横30.2厘米",[138,185],{"id":15733,"slug":15734,"title":15735,"dynasty":93,"author":2964,"museum":74,"description":15736,"tags":15737,"thumbUrl":15738,"material":37,"size":15739,"collection":39,"collections":15740,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":44},219614,"xia-yu-wang-xiang-ma-lin-219614","夏禹王像","夏禹，传说中古代夏部落的领袖，姒姓，名文命，亦称大禹。《夏禹王像》绘夏禹手持如意笏，头戴王冠，身披龙袍，端庄地立于画面的正中。作者充分地利用线条的造型的能力，生动地刻画了夏禹慈祥和蔼的形象和内在性格。",[23,24,25,26,7,27,28,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3904a30a552db81105dd7a9584a7ffa9.jpg","249x111.3厘米",[39],{"id":15742,"slug":15743,"title":15744,"dynasty":18,"author":15745,"museum":74,"description":15746,"tags":15747,"thumbUrl":15748,"material":82,"size":15749,"collection":39,"collections":15750,"showCount":15518,"zanCount":11,"manualWeight":43,"mainColor":44},219594,"sui-chao-zhong-kui-tu-zhang-zhong-xue-219594","岁朝钟馗图","张仲学","该幅画岁除时节，钟馗搦管书桃符。桃木自古即被视同可以制鬼避邪的灵物。",[25,77,7,29,427,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d7d656b930f10e70ec46acf48de3e4.jpg","127.5×63.5公分",[39],{"id":15752,"slug":15753,"title":15754,"dynasty":72,"author":10064,"museum":74,"description":15755,"tags":15756,"thumbUrl":15757,"material":37,"size":15758,"collection":158,"collections":15759,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":44},219408,"shan-shui-tu-xia-mu-chui-yin-xie-shi-chen-219408","山水图-夏木垂阴","层岩叠嶂间，飞瀑如练坠幽谷，云雾轻笼远岫，添几分空濛。近景浓荫匝地，夏木枝繁叶茂，墨色沉郁中见灵秀。茅舍隐于林麓，小桥横卧溪畔，行人缓步、屋中对坐，皆含闲适之趣。笔致兼具雄健与秀逸，山石皴擦刚劲，树木点染细密，云雾淡扫留白，层次分明。整幅画将夏日山居的清幽与生机融于一体，既见自然之壮美，亦含人文之雅韵，尽显融浙派骨力与吴门风神的独特笔墨。",[25,129,77,130,7,252,253,377,134,193,169,29,173,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80770ddfcfa65f88c30367964f7d5a6.jpg","140x62.9",[158],{"id":15761,"slug":15762,"title":15763,"dynasty":18,"author":50,"museum":74,"description":15764,"tags":15765,"thumbUrl":15769,"material":136,"size":15770,"collection":158,"collections":15771,"showCount":15518,"zanCount":11,"manualWeight":43,"mainColor":88},219370,"wu-kuan-hua-yin-wo-quan-zhou-yi-ming-219370","无款花阴卧犬轴","花阴覆处，湖石嶙峋，几丛花草点缀其间，生机暗涌。群犬嬉戏成趣：一犬蜷身侧卧，颈间红绳系铃，眸光慵懒似梦；旁侧幼犬挤卧亲昵，绒毛软嫩如棉，另有小犬蹒跚学步，爪印浅浅印于草间。湖石皴法细腻，纹理毕现；花草设色淡雅，与犬之墨韵相映成趣。整幅画无喧嚣之态，唯有闲居之暖，似将时光凝于花阴下，藏住一段温柔的日常。笔触柔润却不失精准，将犬的憨态与场景的静谧融于一体，尽显生活中的细碎温情，让人观之忘俗。",[25,28,27,7,241,6151,15766,35,287,58,15767,15768],"幼犬","阴景","多犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e148e8acfd6744eb02cf49cd8a5dd6.jpg","123.3x153.7",[158],{"id":15773,"slug":15774,"title":10570,"dynasty":72,"author":683,"museum":74,"description":15775,"tags":15776,"thumbUrl":15777,"material":136,"size":15778,"collection":39,"collections":15779,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":44},218463,"luo-han-tu-dai-jin-218463","明人画景，喜欢参透人物的真实，戴进这幅画中的罗汉手持法杖静静地坐在堂前，左手徐徐伸向猛虎，另一个僮仆侧身在门后窥视，表现出恐惧，而罗汉、猛虎却平静自如。人物的脸部刻画精细，生动传神；岩石上凿有大斧头，水墨淋漓，粗壮有力。笔触迅捷，推进有形，笔墨有聚有放，工作与书写之间刚柔相济，巧拙相间。",[23,25,26,7,54,985,77,29,5713,241,31,253,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a316db5cd7b66cdcda9599be7778b79.jpg","113.9x36.7",[39],{"id":15781,"slug":15782,"title":15783,"dynasty":18,"author":4669,"museum":236,"description":15784,"tags":15785,"thumbUrl":15786,"material":136,"size":15787,"collection":138,"collections":15788,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":88},218367,"teng-bi-qiao-song-tu-wang-hui-218367","藤薜乔松图","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,25,7,28,129,427,351,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4939b85389cc00563a2e6e13f75696e.jpg","45.4x20.5cm",[138],{"id":15790,"slug":15791,"title":15792,"dynasty":207,"author":50,"museum":331,"description":15793,"tags":15794,"thumbUrl":15795,"material":82,"size":100,"collection":39,"collections":15796,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":44},218241,"guan-yin-xiang-yi-ming-218241","观音像","古绢泛黄的肌理间，墨线轻勾出观音趺坐之姿。衣纹流转如微风拂水，宽袍广袖间藏着沉静慈悲。她身侧瓶花斜插，清供映心；石畔童子躬身，似在聆听梵音。上方枯枝疏朗，如淡墨写就的禅意，与下方苍劲的岩峦相映。笔墨简淡却含韵致，线条简练而神完气足，每一笔都透着元代文人画的清雅风骨。整幅画似将尘世喧嚣滤尽，只留一方澄明之境，让观者在素朴的墨色里，触摸到那份跨越时空的宁静与悲悯。",[25,54,985,77,29,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c0b36713cf7ce305c20d87a62db56.jpg",[39],{"id":15798,"slug":15799,"title":15800,"dynasty":72,"author":9285,"museum":74,"description":15801,"tags":15802,"thumbUrl":15803,"material":82,"size":15804,"collection":39,"collections":15805,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":88},216994,"ning-qi-fan-niu-tu-zhou-chen-216994","宁戚饭牛图","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[25,24,26,7,77,985,130,29,1571,131,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fed04e633925c11d278f84b1628a630.jpg","126.7x68.9",[39],{"id":15807,"slug":15808,"title":15809,"dynasty":72,"author":15810,"museum":319,"description":15811,"tags":15812,"thumbUrl":15813,"material":99,"size":100,"collection":84,"collections":15814,"showCount":15518,"zanCount":43,"manualWeight":43,"mainColor":44},216955,"shi-liu-li-shu-tu-ge-shu-ying-216955","石榴栗鼠图","葛淑英","葛淑英（1565年－1628年）是一位中国明朝时期的画家。葛淑英出生于江苏省无锡市，是明朝最著名的女画家之一。她以其精湛的画技和绚丽多彩的作品而闻名。其中最著名的作品之一是《石榴栗鼠图》。\n\n《石榴栗鼠图》是一幅以石榴和栗鼠为主题的水墨画。在这幅画中，葛淑英用柔和的线条勾勒出了两只栗鼠的轮廓。这三只栗鼠正在咀嚼着一个石榴，举动自然，看起来很可爱。葛淑英用细腻的笔触描绘出了栗鼠的皮毛，使它们看起来栩栩如生。此外，画中还有一棵树，树上有许多绿色的叶子，为整幅画增添了一丝清新的气息。\n\n《石榴栗鼠图》展示了葛淑英对自然的描绘能力，也展示了她对生活细节的捕捉能力。这幅画不仅美观，而且充满了温暖的气息，是一件令人感动的艺术作品。",[24,25,26,7,27,28,4380,241,5348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba5a7329abdb4f2ba88cf74167c31af.jpg",[84],{"id":15816,"slug":15817,"title":2861,"dynasty":18,"author":2330,"museum":331,"description":15552,"tags":15818,"thumbUrl":15819,"material":198,"size":780,"collection":100,"collections":15820,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},290318,"sui-chao-tu-zhou-jiang-ting-xi-290318",[24,25,7,28,27,113,378,392,924,4370,536,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b36f951d2dbef57185121b60fa59eb.jpg",[],44,{"id":15823,"slug":15824,"title":15825,"dynasty":72,"author":683,"museum":331,"description":15826,"tags":15827,"thumbUrl":15828,"material":198,"size":780,"collection":100,"collections":15829,"showCount":15821,"zanCount":11,"manualWeight":43,"mainColor":88},289753,"chun-shan-ji-cui-tu-dai-jin-289753","春山积翠图","《春山积翠图》绘一山间小径，一老者策杖缓行，侍童携琴随后，山间深处屋宇隐约。近景冈丘作古松一组，欹斜盘曲，挺立坡侧，是画面上分量最重的部分，而松荫下山路间，便是画面的主要人物。 [1] 此图画面呈“s”形布局之特点，诸景交错，产生深远感和开阔感。画中春山染绿，翠色茫茫，展现了春光中的壮丽景色。在技法上，笔墨简劲粗放，山石以大片渲染为主，加几笔勾勒和斧劈皴。",[24,25,26,7,77,129,29,9245,195,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9526f0a780eae247d4606bd9760b2cf.jpg",[],{"id":15831,"slug":15832,"title":818,"dynasty":93,"author":481,"museum":331,"description":15560,"tags":15833,"thumbUrl":15834,"material":198,"size":780,"collection":100,"collections":15835,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},289115,"shan-shui-tu-ma-yuan-289115",[25,129,349,2367,77,7,193,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8347d201c40b894c64bc9949bd45292d.jpg",[],{"id":15837,"slug":15838,"title":15839,"dynasty":18,"author":235,"museum":331,"description":13035,"tags":15840,"thumbUrl":15841,"material":198,"size":780,"collection":100,"collections":15842,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":88},288174,"he-hua-shuang-ya-li-zhou-ren-yi-288174","荷花双鸭立轴",[23,25,7,77,28,113,306,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F558fc058a71b3262d00499f28f8a76a2.jpg",[],{"id":15844,"slug":15845,"title":15846,"dynasty":207,"author":1981,"museum":74,"description":15847,"tags":15848,"thumbUrl":15849,"material":99,"size":15850,"collection":100,"collections":15851,"showCount":15821,"zanCount":11,"manualWeight":43,"mainColor":44},287543,"song-xi-fan-yue-zhou-sheng-mao-287543","松溪泛月轴","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[24,25,26,7,129,77,28,130,59,193,349,131,132,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b41217752380df4d2fb17d949ad269.jpg","135.3x59",[],{"id":15853,"slug":15854,"title":15855,"dynasty":18,"author":235,"museum":236,"description":15856,"tags":15857,"thumbUrl":15858,"material":1573,"size":15859,"collection":138,"collections":15860,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":88},239548,"ren-yi-yun-shan-ce-ma-tu-zhou-ren-yi-239548","任颐云山策马图轴","本幅自题：“山从人面起，云傍马头生。光绪丙戌长夏，山阴任颐伯年甫作图于海上寓次。”钤二白文印：“任伯年”、“任颐印”。\n又题：“霭庭仁兄先生见而谬赏即赠之就正。任颐。”钤二白文印：“任颐印”、“任伯年”。\n“丙戌”是清光绪十二年（1886年），任颐时年47岁。\n此图据李白《送友人入蜀》诗句：“山从人面起，云傍马头生”（见《全唐诗》卷一七七）拟意而作。通过描绘迎面而起的山峦，马头处浮动的白云，生动地图解了诗意，山形地势的险峻和行旅者不畏艰险的探索精神了然于目。此图在创作上摒弃了传统山水画高远、平远、深远的构图方式，以“S”形山脊为主线，突出了人、马的形象，同时也延伸了山峦的纵向走势，使画作的空间层次得以扩展，是任颐艺术成熟期的人物山水画精品之作。",[25,26,7,28,77,29,129,196,132,173,130,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddee5e93c323d07fb938845edf71c073.jpg","纵135.5厘米，横65厘米",[138,39,158],{"id":15862,"slug":15863,"title":15864,"dynasty":18,"author":15865,"museum":331,"description":15866,"tags":15867,"thumbUrl":15868,"material":100,"size":100,"collection":84,"collections":15869,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":88},237469,"mo-ju-zhou-liang-ding-fen-237469","墨菊轴","梁鼎芬","梁鼎芬（1859—1919），晚清文学家、藏书家、诗人，广东番禺（今广州市）人。字星海，一字心海，又字伯烈，号节庵，别号不回山民、孤庵、病翁、浪游词客、葵霜、藏山、藏叟等；室名有耻堂、葵霜阁、栖凤楼、抗愤堂等。\n光绪六年进士，授编修。历任知府、按察使、布政使，曾因弹劾李鸿章，名震朝野。后应张之洞聘，主讲广东广雅书院和江苏钟山书院，为《昌言报》主笔。辛亥革命前有反帝主战思想。后任爱新觉罗.溥仪的老师，被授予“毓庆宫行走”。诗词多慷慨愤世之作，与罗惇曧等人并称“岭南近代四家”。",[25,26,7,77,440,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeefe3abfc7a226970d3e72815c667d0.jpg",[84,101],{"id":15871,"slug":15872,"title":15873,"dynasty":207,"author":10387,"museum":74,"description":15874,"tags":15875,"thumbUrl":15876,"material":37,"size":15877,"collection":100,"collections":15878,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},231404,"jun-ma-tu-zhao-yong-231404","骏马图","此画中主题与关键字是春景、高士（士人、隐士）、官员（臣）、马，描写平野放牧的景致，空旷幽远的构图布局中，五匹骏马安逸地散游在水边的几棵杂树之间；驯马人倚靠着松树，竟然打起瞌睡来，一副安然自在的样子。后方平静的湖水与秀丽的山峦连成一片，气氛更显得静穆、祥和。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[25,24,26,7,27,28,196,253,132,5110,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd50ae8022a673be0e735a42f54526d7.jpg","186x106",[],{"id":15880,"slug":15881,"title":7933,"dynasty":72,"author":389,"museum":331,"description":15882,"tags":15883,"thumbUrl":15884,"material":100,"size":100,"collection":100,"collections":15885,"showCount":15821,"zanCount":11,"manualWeight":43,"mainColor":88},228478,"wang-shu-gong-ji-tu-tang-yin-228478","画作以柔丽工笔重彩绘就四位宫妓，她们头戴花冠，两两相对，或拈花簪鬓，或对镜理容，眉眼含柔，尽显娇婉慵闲之态。衣纹勾勒细劲流畅，敷色妍雅鲜亮，将蜀地宫娥的柔媚风韵晕染尽致。\n\n画幅题诗暗合前蜀宫闱旧事，在仕女的绮艳描摹之中，暗寓对耽于宴乐的讽喻，将精工的视觉美感与文人的寄兴藏于一体，于柔丽雅致间藏着沉敛的讽世之思，是仕女画中兼擅审美意趣与文心寄寓的经典之作。",[23,24,25,26,7,28,29,30,34,60,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2530c75a1f39e5bab12ffc2dd7b41be1.jpg",[],{"id":15887,"slug":15888,"title":15889,"dynasty":207,"author":50,"museum":331,"description":15890,"tags":15891,"thumbUrl":15892,"material":100,"size":100,"collection":100,"collections":15893,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},228215,"you-xing-shi-nv-tu-yi-ming-228215","游行仕女图","古绢底色晕染岁月沉浑，雄健湖石倚立，芭蕉阔叶舒展如伞，猩红花穗挺立于叶隙，墨色浓淡晕开草木蓬勃生机。仕女衣袂轻扬雅致，或垂眸敛容，或侧身顾盼，柔缓徐行间尽显端静含蓄的仪态。画作以大石丛蕉衬出仕女窈窕娟秀，上下分景疏密相宜，设色古淡沉静，笔致简净含蓄，藏雅致余韵，将庭院闲游的松弛意趣，融在古朴沉静的画境之内，淡墨轻彩晕开旧时光里的闺中清致。",[23,25,26,7,27,28,29,30,132,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb2be621dcd64401a64de5a6e7d8444.jpg",[],{"id":15895,"slug":15896,"title":15897,"dynasty":93,"author":1517,"museum":331,"description":15898,"tags":15899,"thumbUrl":15901,"material":100,"size":100,"collection":100,"collections":15902,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},227747,"dong-ting-qiu-yue-tu-xia-gui-227747","洞庭秋月图","《洞庭秋月图》是宋代画家夏圭创作的绢本水墨画，现藏于美国弗利尔美术馆。\n\n《洞庭秋月图》描绘洞庭湖月光下动人的月夜景色，画面上传达出非常幽意、宁静山的辽阔、清幽、深远，营造出广博崇深、雄奇秀丽的画面境界，具有清旷超凡的幽远意境和韵度，体现了当时南宋时期文人“故国”情怀和悲愤之情。同时《洞庭秋月图》是从日本流散到美国的夏圭有关“ 潇湘图像”中唯一传世的作品。诗后无款，钤朱文双钩降龙朱文小圆玺。",[23,25,26,24,7,77,130,129,59,131,35,523,15900],"远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447d6ceb83a58f9c29a1ff0d0ad2cf84.jpg",[],{"id":15904,"slug":15905,"title":15906,"dynasty":18,"author":8793,"museum":236,"description":15907,"tags":15908,"thumbUrl":15909,"material":486,"size":15910,"collection":138,"collections":15911,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,26,7,1157,28,27,130,129,269,134,132,170,173,29,686,270,271,272,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[138,158],{"id":15913,"slug":15914,"title":412,"dynasty":72,"author":15915,"museum":15395,"description":15916,"tags":15917,"thumbUrl":15918,"material":15919,"size":15920,"collection":84,"collections":15921,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},222830,"zhu-shi-tu-zhu-yun-ming-222830","祝允明","竹石图轴，此图顽石突兀，修竹三竿，清雅宜人。构图简洁明晰，用墨浓淡适.",[23,25,26,7,77,31,601,130,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92f7cc0839c81fbce897d7978e64e42.jpg","绫本，墨笔","纵163.5、横52厘米",[84,185],{"id":15923,"slug":15924,"title":15925,"dynasty":72,"author":752,"museum":331,"description":15926,"tags":15927,"thumbUrl":15928,"material":3582,"size":15929,"collection":138,"collections":15930,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},221883,"you-ting-ting-quan-tu-chen-hong-shou-221883","幽亭听泉图","此图近取元人曹云西，远承宋郭熙，而皴染趋于尖瘦淡婉，自与郭、曹异趣。造境则为江浙一带水乡风光，与轻清的笔墨同一情调。",[23,25,7,77,28,130,129,377,253,521,427,351,193,522,35,1717,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","64.5×26.3cm",[138,158],{"id":15932,"slug":15933,"title":15079,"dynasty":93,"author":5127,"museum":74,"description":15934,"tags":15935,"thumbUrl":15936,"material":255,"size":15937,"collection":157,"collections":15938,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},221613,"guan-pu-tu-zhou-liang-kai-221613","图绘飞瀑从山涧中直泻而下，与山脚乱石激起层层浪花，瀑前枯树对立，竹石苔茵，瀑下平坦处一人捻髭立眺，三童子洗砚抱琴烹茶。",[23,24,25,26,7,77,130,29,484,131,169,132,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9939980581eebaa2e7edecbbd4fd44.jpg","135.9x64.1厘米",[157,138,158],{"id":15940,"slug":15941,"title":15942,"dynasty":72,"author":1024,"museum":74,"description":15943,"tags":15944,"thumbUrl":15945,"material":214,"size":15946,"collection":101,"collections":15947,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":88},220927,"zhou-zi-tong-shu-dong-qi-chang-220927","周子通书","此作书写的是北宋大儒周敦颐所著《通书》中的内容：“圣可学乎？曰可。有要乎？曰有要。一为要。一者，无欲也。无欲则静虚动直。静虚则明，动直则公。明则通，公则溥。庶矣乎！”董书之内容与周敦颐之原文有出入",[23,80,97,77,26,25,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49525064acaf73341e131973f30c9278.jpg","纵189.4厘米，横154.5厘米",[101],{"id":15949,"slug":15950,"title":15951,"dynasty":72,"author":10714,"museum":6403,"description":15952,"tags":15953,"thumbUrl":15954,"material":99,"size":15955,"collection":185,"collections":15956,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},220402,"yue-mei-tu-liu-shi-ru-220402","月梅图","刘世儒，字继相，号雪湖，山阴(（今浙江绍兴)）人，生卒不详，明代画家，传世作品有《雪梅双兔图》、《梅花图》长卷、《月梅图》、《先春报喜图》等。\n刘世儒，艺术活动主要于明代正德、嘉靖时期。\n少年时偶然得元人王冕的墨梅，废寝忘食地临摹学习。随后遍走山林，观察各种梅花习性，终成墨梅大师。刘世儒一生好梅，时人谓之年九十，而画梅八十。\n曾作《铁干回春图》赠送胡元瑞。《雪湖梅谱》是其一生画梅之心得。",[23,25,26,7,77,28,392,59,79,80,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88375881b16d084f1d1d60260c6ab4e.jpg","136.4x71.8厘米",[185,84],{"id":15958,"slug":15959,"title":15960,"dynasty":18,"author":4828,"museum":236,"description":15961,"tags":15962,"thumbUrl":15963,"material":136,"size":15964,"collection":138,"collections":15965,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":88},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,25,26,129,3880,521,733,174,193,522,377,77,28,130,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[138],{"id":15967,"slug":15968,"title":15969,"dynasty":72,"author":3690,"museum":236,"description":15970,"tags":15971,"thumbUrl":15972,"material":214,"size":15973,"collection":158,"collections":15974,"showCount":15821,"zanCount":11,"manualWeight":43,"mainColor":88},219868,"da-shu-feng-hao-tu-xiang-sheng-mo-219868","大树风号图","图绘古树一株，参天独立于空旷的原野之上，一老者拄杖遥望远山。作者自诗曰：“风啸大树中天立，日薄西山四海孤。短策且随时旦莫，不堪回首望菰蒲。”此图主体鲜明，形象生动，构思别具，笔法严谨。",[23,25,7,28,131,29,129,35,522,195,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4aadf5523f019f3c8f0bd22bdc1029e.jpg","纵115.4cm，横50.4cm",[158],{"id":15976,"slug":15977,"title":15978,"dynasty":207,"author":1981,"museum":147,"description":15979,"tags":15980,"thumbUrl":15981,"material":37,"size":100,"collection":138,"collections":15982,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},219779,"shan-zhong-guan-shu-tu-er-sheng-mao-219779","山中观书图(二)","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[23,25,26,7,28,129,29,253,78,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8a9ca384d405f22ee92e8e1f18d52.jpg",[138],{"id":15984,"slug":15985,"title":15986,"dynasty":93,"author":50,"museum":74,"description":15987,"tags":15988,"thumbUrl":15989,"material":37,"size":15990,"collection":157,"collections":15991,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},219693,"liu-yin-gao-shi-tu-yi-ming-219693","柳荫高士图","这幅画论布局，论笔法、设色，均臻上乘。画中人物之猜测为谁﹖其理由是以前景中的柳树，以应陶渊明是「五柳先生」，再加以头上的巾子足以漉酒，渊明正是好酒之人。本幅从服饰及坐具、酒具，显然是画晋人，而无唐以后风俗。陶渊明出现的形象，基本上是一位「高士」，然而这个高士大致有两种面貌，一种是悠游山林的隐者，一种是醺醺醉矣的酒客。柳阴高士可能是现存画陶渊明醉醺醺的最早一幅画了。画中树下一翁，席以豹皮，前置一手卷、一盏酒，老翁袒胸赤足，头戴葛巾，双目凝神下视，实已醺醺然微醉矣。渊明坐前双脚处，席上置有盛酒之碗，酒盛九分满，沿上犹挂著一把勺子，碗与勺皆是外壁黑，内面朱，且其质薄，看来是漆器一类而非陶器。，从器皿及服饰的发展，画中人物是非唐而为晋。\n柳荫下，一位士人袒胸露背，跣足而坐于豹皮之上，潇洒超脱，充满雅逸逍遥之趣。士人两眼有醺醺然之貌，故幅上乾隆题诗称这位高士不是唐的李白，就是晋的陶潜。由于陶潜曾作＜五柳先生传＞以自况，故而推断此人为陶潜的可能性较高。 本幅人物线条刚劲如铁丝，转折犀利。树干苍老，柳叶繁复，笔力稳健挺拔，多层皴染，使得画面蕴藉厚润。全作绘制精谨，是一幅宋代佳作。",[23,25,26,7,28,27,130,29,404,131,1837,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8dde6b37837daa0488ca428fd6cae5e.jpg","65.4x40.2cm",[157,39],{"id":15993,"slug":15994,"title":15995,"dynasty":18,"author":15996,"museum":209,"description":15997,"tags":15998,"thumbUrl":15999,"material":82,"size":16000,"collection":39,"collections":16001,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":88},219419,"jin-gu-yuan-tu-zhou-hua-nie-219419","金谷园图轴","华喦","华喦（yán）的笔墨既有继承传统的一面，又重视写生，构图大胆新颖。他所刻画的艺术形象鲜活生动，用笔干湿浓淡灵活多变，表现力强。是图，华岩重构了西晋石崇所建别墅金谷园，潇洒淋漓的笔墨与烂漫的花草使奢华的园林带有了些许文人气韵。",[25,7,28,27,29,129,170,132,30,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900b496b8d7d1df5eea57bd7f71090a2.jpg","纵178.7 厘米 横94.4 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杜衍像","杜衍是继唐朝名臣杜佑之后的北宋名臣，精通诗词和书法。",[23,25,27,28,29,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc8d554101f924583694f0001ec727a.jpg","40.3x31.4",[39],{"id":16021,"slug":16022,"title":16023,"dynasty":72,"author":50,"museum":74,"description":16024,"tags":16025,"thumbUrl":16027,"material":37,"size":16028,"collection":39,"collections":16029,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":342},218445,"xi-ying-tu-yi-ming-218445","戏婴图","古雅绢色晕染出时光的温润，三个稚童围聚盆边的嬉戏场景，似将千年笑语凝于尺幅。红衣童子侧身托腮，绿衣小儿俯身探向盆中浮舫，灰衣幼童低首凝视，每一处神态皆憨态可掬。虬枝垂落艳红石榴，饱满果实暗蕴多子祈愿；盆沿纹饰斑斓，与稚子衣袂的鲜活色彩相映成趣。线条简练却传神，衣褶的松弛、动作的天真，尽得孩童本真之态。古绢的斑驳未减其韵，反让这份日常嬉戏的温馨更显隽永——无需刻意雕琢，便将纯粹童趣化为穿越时空的感动，引观者驻足，重拾心底那份久违的澄澈快乐。",[25,26,24,7,27,28,1932,778,1405,16026,132,536],"石榴树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4bcc721f7de92c5eb1552f1552e379.jpg","144.2x79",[39],{"id":16031,"slug":16032,"title":13402,"dynasty":18,"author":16033,"museum":51,"description":16034,"tags":16035,"thumbUrl":16036,"material":136,"size":16037,"collection":39,"collections":16038,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},218317,"ri-ben-du-tang-tian-shen-tu-zhang-ze-lu-xue-218317","长泽芦雪","儒雅身影立于画间，素袍朱带，青蓝镶边衬出几分清逸。手中梅枝疏朗，白花点点，似凝着唐风的幽韵。面容温和，眉眼间藏着跨越沧海的求知热忱——渡唐之行，是对文明的奔赴。线条细腻婉转，衣袂流动如行云；设色淡雅层次分明，尽显古典雅致。整幅画将文化交流的往昔身影定格，梅枝的高洁与远行的执着相融，似在诉说一段山海间的文化情缘，让跨越时空的向往成为永恒的艺术图景。笔端流转间，东方文人的风骨与文化传续的热忱跃然纸上，每一处细节都藏着对文明对话的深情致意。",[24,25,7,28,29,392,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cb9c616b9849d1ad3ea628fc3da026.jpg","89.2x33",[39],{"id":16040,"slug":16041,"title":16042,"dynasty":72,"author":50,"museum":16043,"description":16044,"tags":16045,"thumbUrl":16046,"material":37,"size":16047,"collection":39,"collections":16048,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":44},218282,"yan-wang-tu-yi-ming-218282","阎王图","丹佛艺术博物馆","威严的王者端坐于上，华服加身，面容沉肃，眉宇间透着审判者的凛然正气。身侧侍从恭谨侍立，持物敛神，似在静候指令。下方小鬼动作利落，刑罚场景张力十足，将地狱审判的威慑力渲染得淋漓尽致。古朴设色与流畅线条交织，人物神态各异：王者冠饰的细腻纹理、侍从衣袂的轻柔褶皱、小鬼动态的生动刻画，皆见匠心。整幅画作以极具冲击力的场景传递因果轮回的警示意味，氛围凝重却不失艺术感染力，尽显传统绘画的精妙与深刻内涵。",[25,7,28,27,54,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe37f6540367a42df18b1e3f9bcf1f206.jpg","154.9x58.1",[39],{"id":16050,"slug":16051,"title":16052,"dynasty":18,"author":16053,"museum":319,"description":16054,"tags":16055,"thumbUrl":16056,"material":136,"size":16057,"collection":138,"collections":16058,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":88},218094,"han-shan-xiao-zhong-tu-zhang-zong-chang-218094","寒山晓钟图","张宗昌","张宗昌是中国清朝时期的著名画家，他的作品《寒山晓钟图》是他最著名的代表作之一。\n\n《寒山晓钟图》描绘了寒山寺的晓钟，这座寺庙位于江苏省的寒山山脉上。图中的晓钟散发出的光芒照耀在周围的山峦和林木之间，使得整幅画面显得格外美丽。张宗昌在画中运用了精细的线条和富有层次感的透视技巧，使得图中的山水景观栩栩如生，充满了生机和活力。\n\n《寒山晓钟图》被广泛认为是张宗昌最杰出的作品之一，它展示了他对中国传统山水画的精湛技艺和深刻理解。张宗昌是清朝时期最著名的山水画家之一，他的作品对中国绘画艺术产生了深远的影响。",[23,25,26,7,77,130,129,252,377,134,193,349,170,733,173,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4221b65c1a4cb46cc255586c5d3a1e.jpg","144x61.6cm",[138],{"id":16060,"slug":16061,"title":16062,"dynasty":18,"author":16063,"museum":74,"description":16064,"tags":16065,"thumbUrl":16067,"material":82,"size":16068,"collection":101,"collections":16069,"showCount":15821,"zanCount":43,"manualWeight":43,"mainColor":88},214312,"min-xian-mo-bao-lin-ze-xu-214312","闽贤墨宝","林则徐","此卷将圣人林则徐、严复、郭尚贤的笔墨集于一卷",[23,18,80,97,7,16066,77,79],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63c2bbac2a035f9020459ada7d9b6c2a.jpg","29.1x31.1",[101],{"id":16071,"slug":16072,"title":16073,"dynasty":207,"author":208,"museum":331,"description":2525,"tags":16074,"thumbUrl":16077,"material":198,"size":780,"collection":100,"collections":16078,"showCount":16079,"zanCount":43,"manualWeight":43,"mainColor":88},290837,"ceng-luan-song-cui-zhou-wang-meng-290837","层峦耸翠轴",[25,77,7,129,130,16075,132,170,193,349,16076,79,14586],"层峦","亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedd8bd1842dbdc4031e3d3b7ea5de38.jpg",[],43,{"id":16081,"slug":16082,"title":16083,"dynasty":93,"author":481,"museum":331,"description":15560,"tags":16084,"thumbUrl":16085,"material":198,"size":780,"collection":100,"collections":16086,"showCount":16079,"zanCount":43,"manualWeight":43,"mainColor":44},289328,"song-shi-guan-pu-tu-ma-yuan-289328","松石观瀑图",[24,25,7,77,129,427,132,169,29,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35cd96a142e4b4b4d479be3ef608f9e2.jpg",[],{"id":16088,"slug":16089,"title":16090,"dynasty":93,"author":5127,"museum":331,"description":16091,"tags":16092,"thumbUrl":16093,"material":198,"size":780,"collection":100,"collections":16094,"showCount":16079,"zanCount":43,"manualWeight":43,"mainColor":88},288491,"liu-zu-jie-zhu-tu-liang-kai-288491","六祖截竹图","画家深入体察所画人物的精神特征，以简练的笔墨表现出人物的音容笑貌，以简洁的笔墨准确地抓取事物的本质特征，充分地传达出了画家的感情，从而把写意画推入一个新的高度，使时人耳目一新。",[23,25,24,7,77,985,29,54,31,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613ca3795615c3e18fe9384d18d42ce9.jpg",[],{"id":16096,"slug":16097,"title":16098,"dynasty":93,"author":1517,"museum":331,"description":16099,"tags":16100,"thumbUr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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。",[23,24,25,26,7,77,129,427,169,132,29,14431,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2244bd7660b66c06c86a83b72fb12eb0.jpg",[],{"id":16104,"slug":16105,"title":16106,"dynasty":18,"author":50,"museum":331,"description":16107,"tags":16108,"thumbUrl":16111,"material":198,"size":780,"collection":100,"collections":16112,"showCount":16079,"zanCount":11,"manualWeight":43,"mainColor":88},267670,"gu-xiu-zhu-lin-qi-xian-tu-zhou-yi-ming-267670","顾绣竹林七贤图轴","此作以绣为笔，铺展林下雅集之景。挺秀修竹间朱栏环绕，二人对坐弈棋，落子沉吟间尽显专注；玲珑湖石之侧，两人展卷清谈，悠然自得。溪谷蜿蜒，板桥横波，岸侧三人徐行，小童捧物紧随，似赴雅会。\n配色明雅柔和，墨色皴染湖石尽显苍润，淡赭晕开溪岸，朱金饰衣纹栏杆。劈丝细匀平齐，针脚藏于晕色之间，将笔墨意趣融于丝缕，把魏晋名士萧散简远的林下风流静静晕开，尽显隐逸雅静的林下意韵。",[25,26,7,28,29,31,134,193,5928,170,80,79,16109,16110,7444],"顾绣","竹林七贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e06312f5b0efe7b0fe23a475e31303.jpg",[],{"id":16114,"slug":16115,"title":5870,"dynasty":72,"author":16116,"museum":331,"description":16117,"tags":16118,"thumbUrl":16119,"material":1573,"size":100,"collection":84,"collections":16120,"showCount":16079,"zanCount":43,"manualWeight":43,"mainColor":44},236125,"mei-hua-tu-zhou-chen-hui-236125","陈惠","“闻道梅花圻晓风，雪堆遍满四山中”，冬天的时节，又见梅花朵朵绽放，不由得把目光转向了一幅古画，名为《梅花图》(见图)。虽说冬季是个萧杀的季节，若是与寒冬腊月的一枝梅相遇，那心中的温暖与明朗是可想而知的。",[25,26,7,77,113,392,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71011ba15aabee3e3a21cf3aa2c9c2e9.jpg",[84,158],{"id":16122,"slug":16123,"title":16124,"dynasty":207,"author":16125,"museum":236,"description":16126,"tags":16127,"thumbUrl":16128,"material":1320,"size":16129,"collection":100,"collections":16130,"showCount":16079,"zanCount":11,"manualWeight":43,"mainColor":44},234039,"yao-cen-yu-shu-tu-zhou-jin-cheng-234039","瑶岑玉树图轴","金城","画雪景山林，水阁飞瀑，山脚泉水奔流湖中。阁内一人闲坐，其外山路崎岖蜿蜒，有数人或策蹇负囊，或骑驴行旅。图中画山石似卷云，树枝似鹿角、蟹爪，宗法李成、郭熙一派。全图笔法沉雄，缜密。",[25,7,77,28,129,130,132,170,7002,169,878,29,196,193,484,131,614,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fe504468d6d6243b66ab68fb7765a6.jpg","97.4×41.2cm",[],{"id":16132,"slug":16133,"title":1771,"dynasty":18,"author":361,"museum":236,"description":16134,"tags":16135,"thumbUrl":16136,"material":745,"size":16137,"collection":100,"collections":16138,"showCount":16079,"zanCount":43,"manualWeight":43,"mainColor":88},233402,"xian-shan-lou-ge-tu-zhou-wang-shi-min-233402","上诗堂有清初吴伟业题云：“陈子静孚母夫人方太君七十，王烟客奉常、王湘碧郡伯绘仙山楼阁图以为祝。郡伯所制可以颉昂松雪，若太常此帧苍深高远，尺幅之中恍见仙真楼上，出入于烟云缥缈间，笔墨之奇非仅得子久三昧也。太夫人女箴妇德可镌琬琰，余将托诸诗歌，得两公妙染，真所谓画中有诗，不待九如之颂，可效凹觥之祝矣。吴伟业题。”\n此图是王时敏为友人陈静孚之母七十寿辰而作。画面上峰峦叠嶂，林木葱郁，流泉曲绕，长松挺立。山谷中点缀着茅亭草舍，环境清幽。在构图和笔墨方面都具备典型的中国画特征。首先，构图方面采用全景式构图，以散点透视的方法描绘景物，近景双松清晰挺拔，远景高山连绵巍峨，所画内容具有美好的象征意义，十分契合祝寿的主题。其次，在笔墨表现方面，继承董巨（董源、巨然）、元人的笔墨传统，尤其是黄公望的画法，以仿古见长，具有程式化的特点。笔法精绝老到，为王氏晚年佳作。",[25,26,7,129,269,170,1651,172,733,77,130,132,522,2581,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1c5058cf54925d7fcced41900d4ce1.jpg","纵133厘米，横63.3厘米",[],{"id":16140,"slug":16141,"title":16142,"dynasty":93,"author":808,"museum":236,"description":16143,"tags":16144,"thumbUrl":16145,"material":486,"size":16146,"collection":100,"collections":16147,"showCount":16079,"zanCount":43,"manualWeight":43,"mainColor":44},232979,"fu-rong-jin-ji-tu-zhou-zhao-ji-232979","芙蓉锦鸡图轴","作为独立的画科，宋代的花鸟画无论在绘制技巧还是表现形式方面都已经达到高度的艺术水准，《芙蓉锦鸡图》便是其中的一幅精品。此图是描绘金秋景色的花鸟画作。图中芙蓉盛开，随风轻轻颤动，蝴蝶翩跹，相互追逐嬉戏，引得落在枝上的锦鸡回首凝视，目不转睛。本幅右上宋徽宗赵佶以瘦金体题“秋劲拒霜盛，峨冠锦羽鸡。已知全五德，安逸胜凫鹥”，右下书款“宣和殿御制并书”，草押书“天下一人”。鸡在中国向有“德禽”之称，《韩诗外传》载：“鸡有五德：头戴冠者，文也；足搏距者，武也；敌在前，敢斗者，勇也；见食相呼者，仁也；守夜不失者，信也”，可见其文武兼备、仁勇俱存、信守专一的性格为世人所激赏，难怪才艺绝代的一代帝王也会留下“已知全五德，安逸胜凫鹥”的诗句，流露出对安逸高贵之品格的赞许，由此体现了中国花鸟画的人文寓意。\n目前流传于世题为赵佶的作品中，艺术风格呈现出工致细丽与简朴生拙两种迥然有别的面目，工致细丽者如《芙蓉锦鸡图》、《腊梅山禽图》（台北故宫博物院藏）等，简朴生拙者如《柳鸦图》（上海博物馆藏）、《枇杷山鸟图》等。通过笔墨风格的比较分析，徐邦达先生指出前者不是赵佶所作，而是画院画家的作品，后者则为他的亲笔画迹，这一观点为多数艺术史研究者所认同。此外，现存记载南宋宫廷藏画的《南宋馆阁续录》卷三将此画列入与“御画”并列的“御题画”一类，表明《芙蓉锦鸡图》仅仅是由赵佶亲笔题诗的一幅花鸟画，并非其本人绘制。所以说，尽管图上有赵佶的题字，但此图作者却是一位没有留下姓名的画院高手。\n作为中国历史上最为关注艺事、醉心书画的帝王，宋徽宗赵佶在位期间广收名画巨迹，编纂皇家绘画收藏的书画著录——《宣和书谱》与《宣和画谱》，建立翰林图画院并完善其制度，还依据自己的审美观念亲自指导画院画家的学习与创作。关于绘画创作，赵佶在注重对被描绘对象细致入微的再现的同时，还要求画面蕴含诗歌的意境，令人观之有回味无穷的艺术体验，《芙蓉锦鸡图》无疑完美地体现出这位极具艺术修养的皇帝的美学思想。全图所用双钩法线条细劲，不仅花卉枝叶和锦鸡造型准确，芙蓉为锦鸡所压的低垂摇曳之态也能如实体现，加之色彩晕染得层次清晰，浓淡相宜，富丽堂皇中蕴涵端庄典雅的气质，堪称“形神兼备，曲尽其妙”。就构图而言，画幅左侧集中着芙蓉、锦鸡，与右上轻盈飞舞的蝴蝶遥相呼应，使得错综的布局显得密中见疏，揖让有度。以清瘦劲健的笔体写就的诗文和精致艳丽的图画更是互为辉映，相得益彰。",[25,24,7,27,28,113,675,439,600,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5116d76afa37a92bf68862f475326df6.jpg","纵81.5厘米，横53.6厘米",[],{"id":16149,"slug":16150,"title":9613,"dynasty":207,"author":50,"museum":331,"description":16151,"tags":16152,"thumbUrl":16153,"material":198,"size":780,"collection":100,"collections":16154,"showCount":16079,"zanCount":43,"manualWeight":43,"mainColor":44},231848,"fo-xiang-yi-ming-231848","中国蒙古族统治者早在建立元朝之前，便先后仿照汉族建筑样式，营建上都及大都两个都城。两都的各种宫殿坛庙建筑组群都有石雕、木雕和琉璃制品。而分布各地的寺庙塑像、石窟造像等亦展示了元代雕塑艺术的概貌。",[23,25,54,7,27,28,29,4209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa625b9eb159088ba4568259afe93d57a.jpg",[],{"id":16156,"slug":16157,"title":16158,"dynasty":72,"author":1614,"museum":331,"description":15171,"tags":16159,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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。",[25,28,29,27,34,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a247cbff4a0db4ecc41e44d39e1330.jpg",[],{"id":16442,"slug":16443,"title":16444,"dynasty":207,"author":208,"museum":74,"description":2525,"tags":16445,"thumbUrl":16446,"material":82,"size":16447,"collection":100,"collections":16448,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":88},287544,"hua-xi-yu-yin-wang-meng-287544","花溪渔隐",[24,25,26,7,77,129,193,349,4220,272,170,133,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373c447b94d504da403c02a1b7ece0b1.jpg","129x58.3cm",[],{"id":16450,"slug":16451,"title":16452,"dynasty":72,"author":50,"museum":236,"description":16453,"tags":16454,"thumbUrl":16461,"material":486,"size":16462,"collection":39,"collections":16463,"showCount":16403,"zanCount":11,"manualWeight":43,"mainColor":44},239478,"ming-ren-xiao-yi-zhuan-lan-ting-tu-zhou-yi-ming-239478","明人萧翼赚兰亭图轴","在宋时即多摹本。据史所载，唐代著名画家阎立本绘有此图，此外，据《宣和画谱》，唐吴侁亦作此图一幅。其后，前蜀支仲元、南唐顾德谦、南宋僧梵隆、元赵子俊等画家均以此题材绘图，此卷为明代绘本。图绘六位人物，画左坐着的僧人即辩才，左手执《兰亭序》，右手举于胸前侃侃而谈，画面右侧的萧翼双手笼于袖间，沉着冷静，两人中间有一盆假山石。画面右下方为萧翼的两名随从，衣冠整洁，左下幅辩才的童子正在备茶。该图右上侧有树石为背景，山石呈方块状叠加，造型独特，全画工笔重彩设色，人物及树石等造型具有明代绘画的特点。",[24,25,7,27,28,5733,16455,55,16456,16457,35,16458,16459,16460],"僧人","随从","树石","备茶","萧翼赚兰亭","《兰亭序》","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d7369ef6326f5b81cab49e4cb54bbf.jpg","纵124厘米，横78厘米",[39],{"id":16465,"slug":16466,"title":10138,"dynasty":18,"author":16467,"museum":331,"description":16468,"tags":16469,"thumbUrl":16470,"material":198,"size":780,"collection":100,"collections":16471,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":44},239084,"hua-niao-ping-liao-yun-jin-239084","廖云锦","廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。",[25,26,7,27,28,945,113,1696,114,115,600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f5bffa7312da453bc23ab23d99493e.jpg",[],{"id":16473,"slug":16474,"title":16475,"dynasty":72,"author":10012,"museum":236,"description":16476,"tags":16477,"thumbUrl":16478,"material":1573,"size":16479,"collection":138,"collections":16480,"showCount":16403,"zanCount":419,"manualWeight":43,"mainColor":88},237894,"song-quan-qing-yin-tu-zhou-ding-yun-peng-237894","松泉清音图轴","图绘远山耸立，云雾缭绕，溪流潺潺，高松虬曲，文士停琴，临岸深思。本幅人物造型古拙，气质端庄文雅，体现了明后期文人画注重表现个性的风尚。人物衣纹运用“高古游丝描”，细劲而“笔力伟然”，具有古朴之感。山石树木勾勒添色，用笔秀润工谨，设色明净古雅，营造了一种静谧幽远的意境。",[25,26,7,28,27,130,129,29,378,2570,193,601,335,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b7e3df720b3e7f7fe6e74b9234493f4.jpg","纵143.5厘米，横33厘米",[138,185],{"id":16482,"slug":16483,"title":16484,"dynasty":18,"author":8994,"museum":236,"description":16485,"tags":16486,"thumbUrl":16487,"material":214,"size":16488,"collection":138,"collections":16489,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":88},237139,"qiu-jing-shan-shui-zhou-cha-shi-biao-237139","秋景山水轴","此图描绘秋天江南秀丽的山乡一隅景色，江南的秀丽山景，在秋日晴空中愈显得明媚秀美。画幅远景，崇山叠嶂，峰顶峦石，山顶平台，山头光秃，在山坡或山坳处，仅有稀疏杂树。山脚下一片空蒙。最下端为山石和坡岸，树木稀疏，树叶有些枯黄，呈现出一派深秋景色。画幅右下角为一泓溪水，溪水平静如镜，无丝毫波纹，在溪水上架有一座板桥，将两岸连接。板桥上有位长者策杖远眺，在尽情地观赏这里的山山水水。图的左上方有行书四行，为作者自题五言诗一首，款署：“癸丑九秋画以一如道长兄。查士标。”\n此画是查士标59岁时为友人所作。\n此画作者采用平远构图法，构图高远、严谨，造型虚实相间，近处树木舒展自如，形态历历可见。远处山石叠嶂，刻画精腻；山从枯笔淡墨画出后，稍加皴擦，尤其是山头仅寥寥几笔皴染。杂树稀少，点出了已到深秋时节。树以较湿润的笔墨勾点，施以淡色，有的树木采用点叶、夹叶树法。从此画中可以看出他师法倪瓒的笔法较多，但又都变成自己的笔意，又较云林山水画更具“动”感。此画颇具新意。故他的画受到当时大鉴赏家宋荦的赞赏，称颂查氏是董其昌后一人而已，恽南田也把他与董其昌相提并论。",[25,77,28,130,7,129,132,170,521,3631,134,29,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ab3340f319cb8ed6f2dc547a11d1de3.jpg","纵179.8厘米，横73.8厘米",[138,185],{"id":16491,"slug":16492,"title":16493,"dynasty":72,"author":16494,"museum":236,"description":16495,"tags":16496,"thumbUrl":16497,"material":15919,"size":16498,"collection":138,"collections":16499,"showCount":16403,"zanCount":11,"manualWeight":43,"mainColor":44},237094,"tan-yuan-mo-xi-tu-zhou-li-liu-fang-237094","檀园墨戏图轴","李流芳","本幅近景画空亭嘉木，溪岸渚石，远景为峰峦重叠，林木苍郁，笔法多变，墨气淋漓，意境清旷。近景的布局和树木的画法主要仿自倪瓒，只是笔墨远比倪瓒湿润，树干用意笔勾出，树叶用笔率意点写，笔法含蓄内敛。山石运用或平行或交叉的披麻皴绘画技法，用笔苍劲迅疾，并以饱含水分的淡墨晕染，颇得吴镇笔墨之神韵。",[25,77,130,7,129,252,56,131,377,35,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccf78efb544c49d098289d1cfa0ed9b.jpg","纵129厘米，横57.5厘米",[138,185],{"id":16501,"slug":16502,"title":16503,"dynasty":18,"author":11908,"museum":236,"description":16504,"tags":16505,"thumbUrl":16506,"material":5241,"size":11610,"collection":84,"collections":16507,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":88},236456,"mei-qing-shuang-song-tu-zhou-mei-qing-236456","梅清双松图轴","梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。清初画家、诗人。工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。著有《天延阁集》、《梅氏诗略》等书。",[25,26,24,7,77,130,378,601,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e75e8c80c5c3ed6ad95de53a4991beb.jpg",[84,158],{"id":16509,"slug":16510,"title":16511,"dynasty":72,"author":50,"museum":331,"description":16512,"tags":16513,"thumbUrl":16514,"material":198,"size":780,"collection":100,"collections":16515,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":44},235656,"tang-yin-qian-tang-jing-wu-tu-zhou-yi-ming-235656","唐寅钱塘景物图轴","此作用斧劈皴写山石嶙峋风骨，层崖迭起取高远之境，硬朗苍劲尽显北派山水雄健气势。山坳林麓间村居错落隐现，青树蓊郁晕染江南温润意趣，刚柔相济，将浙派纵肆与吴门隽秀相融。\n左侧题诗与画景相映，把秋郊钱塘的清寂萧疏铺陈开来，山野幽居的闲逸之态藏于奇峰之间，笔意追摹前人，绘就秋日江乡澹远沉静的逸致，尽显明人山水抒情写意的雅致格调。",[25,26,7,77,130,129,269,134,193,35,377,151,131,132,170,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11a22516543afdb44def938b072f17f.jpg",[],{"id":16517,"slug":16518,"title":14659,"dynasty":72,"author":16519,"museum":331,"description":16520,"tags":16521,"thumbUrl":16522,"material":198,"size":780,"collection":100,"collections":16523,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":88},235554,"zhu-shi-zhou-lu-de-zhi-235554","鲁得之","鲁得之，初名参，字鲁山，后以字行，遂得名之，更字孔孙，号千岩，钱塘（今杭州）人，侨寓嘉兴（今浙江嘉兴）。为李日华入室弟子。\n工欧、颜书法。墨竹从吴镇得法而上窥文同，苏轼。亦善画兰，纵笔自如，俱极潇洒。乙酉兵戈抢攘中，尚杜门染翰。初不自贵重，人人可乞，当其最入意者，则又鐍而藏之。曰：[吾将留以自验少壮生熟进长之不同也。晚患臂疾，以左手写竹，风韵尤佳。著有墨君题语、竹史、细香居集。顺治十七年（一六六零）年七十六尚为石谷（王翚）画竹轴。",[25,77,7,31,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36cf98828a40d65b0eb0964a4cb014ea.jpg",[],{"id":16525,"slug":16526,"title":16527,"dynasty":18,"author":4669,"museum":331,"description":16528,"tags":16529,"thumbUrl":16530,"material":198,"size":780,"collection":100,"collections":16531,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":88},235229,"fang-dong-ju-song-yue-tu-zhou-wang-hui-235229","仿董巨嵩岳图轴","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[25,364,7,77,130,945,252,351,427,170,169,172,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7312c6d75e4c03872d13ce1a4136a20.jpg",[],{"id":16533,"slug":16534,"title":16535,"dynasty":18,"author":7755,"museum":236,"description":16536,"tags":16537,"thumbUrl":16538,"material":100,"size":100,"collection":100,"collections":16539,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":44},234549,"gao-qi-pei-mo-long-tu-zhou-gao-qi-pei-234549","高其佩墨龙图轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[25,24,7,77,14837,334,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635bf304b52147a5325deb8cb117ab2a.jpg",[],{"id":16541,"slug":16542,"title":16543,"dynasty":18,"author":14244,"museum":236,"description":16544,"tags":16545,"thumbUrl":16546,"material":1320,"size":16547,"collection":100,"collections":16548,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":88},233969,"zui-zhong-kui-tu-zhou-luo-pin-233969","醉钟馗图轴","罗聘的《醉钟馗图》，以漫画的手法，描绘出一幅迷离朴塑、奇异怪谲的鬼怪世界，借以讽刺社会现实。有人将此图比作蒲松龄的《聊斋志异》，称它们都是用“以鬼喻人”的手法来讽诲世事。\n以上解说词是北京故宫博物院对《醉钟馗图》的介绍，这段解说词其实适用于上面的两幅画。罗聘作画题材广泛，人物肖像、鬼神佛道、山水花卉兼擅，作画大胆而细心，金农赞其“笔端聪明，无毫末之桀”。颇具画家柔中带钢、洁身自好之风。罗聘的人物画流传量甚少，其特点是人物身体结构清晰，衣纹线条垂长方折多变，人物意态栩栩如生，整个画面体现一种疏淡雅洁的格调。\n罗聘（1733－1799），字遯夫，号两峰，又号花之寺僧、金牛山人、蓼舟渔父、竹叟、衣云和尚、两峰子、喜道人、师莲老人。江苏扬州人，一作安徽歙县人。清代著名画家，扬州八怪之一。金农入室弟子。未作官，好游历。在扬州自称住处谓“朱草诗林”。工诗，善画，笔情古逸，思致渊雅，深得金农神味，墨梅、兰、竹，均极超妙，古趣盎然。道释、人物、山水、花卉，无不臻妙，别具一格。又善画鬼趣图，描写形形色色的丑恶鬼态，无不极尽其妙，借以讽刺当时社会的丑态。亦善刻印，着有《广印人传》。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。妻方婉仪，子允绍、允缵，皆能画梅，被誉为“罗家梅派”。有《香叶草堂诗草》等行世。罗聘是“扬州八怪”最年轻的一位。少年苦读诗书，勤於习画，好学无倦，才艺出众，又拜金农为师，临摹宋人、元四家、石涛等先贤作品，不拘泥成法，自创风格而成为扬州八怪之一。罗聘工诗善画，笔情古逸，思致渊雅，深得金农神味，墨梅、兰、竹，均极超妙，古趣盎然。道释、人物、山水、花卉，无不臻妙，貌鬼独绝。",[25,7,28,29,54,132,78,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed30d125486b48ea1ded0b4bee3fd526.jpg","57×39 公分",[],{"id":16550,"slug":16551,"title":16552,"dynasty":93,"author":146,"museum":331,"description":16553,"tags":16554,"thumbUrl":16555,"material":100,"size":100,"collection":100,"collections":16556,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":44},230968,"yun-shan-die-cui-tu-zhou-mi-fei-230968","云山叠翠图轴","此作用水墨晕染摹写江南烟峦，以米点皴晕出山麓林泽的苍润郁茂。层叠峰岫在流荡的云雾中半隐半现，虚实交错间晕开空濛幽远的氤氲之气，将江南烟雨的朦胧柔婉尽显。\n下方平林村居，屋舍错落清溪蜿蜒，林木苍黑如黛，山野的静谧闲适扑面而来。全画脱却工细刻画，笔墨简淡随性，以氤氲水墨营造出如梦似幻的烟岚世界，将自然山水的灵秀与文人写意的雅趣相融，传递出悠然淡远的山居意趣，尽显水墨山水空濛雅致的独特风韵。",[23,24,25,26,7,77,130,129,335,252,377,170,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a45a3b012870db385d33969b86cdc64.jpg",[],{"id":16558,"slug":16559,"title":16560,"dynasty":72,"author":264,"museum":331,"description":16561,"tags":16562,"thumbUrl":16563,"material":198,"size":780,"collection":100,"collections":16564,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":44},230958,"zhou-mao-shu-ai-lian-tu-li-zhou-chou-ying-230958","周茂叔爱莲图立轴","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”。",[23,24,25,26,7,27,28,268,29,129,306,9340,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4d5dc2dd8cfd1a2c256dea70deac6c.jpg",[],{"id":16566,"slug":16567,"title":4533,"dynasty":207,"author":50,"museum":331,"description":16568,"tags":16569,"thumbUrl":16570,"material":198,"size":780,"collection":100,"collections":16571,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":44},228230,"guan-yin-yi-ming-228230","以淡逸铁线白描勾勒造像，衣纹圆转舒和如流云垂落，将观音静定安和的神态晕染开来。淡描头光不着浓色，愈发衬出造像澄澈出尘的气质。\n\n上方题字朴拙苍劲，率意天真，笔墨意趣与造像的清寂禅心相融相合，文与画互为表里。整幅舍去敷色繁饰，以极简笔墨托出慈悲空寂之态，将禅门万象皆空之理藏于素净纸面，于简淡之中见至深佛韵，观之令人俗念渐消，心神安谧。",[23,25,26,7,985,54,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf1fc1fccfe0241e7cf06c9f7628590.jpg",[],{"id":16573,"slug":16574,"title":16575,"dynasty":93,"author":16576,"museum":331,"description":16577,"tags":16578,"thumbUrl":16580,"material":100,"size":100,"collection":100,"collections":16581,"showCount":16403,"zanCount":11,"manualWeight":43,"mainColor":44},227493,"shu-shan-xing-lv-tu-zhou-xu-dao-ning-227493","蜀山行旅图轴","许道宁","这幅画是唐代画家李兆道的《明朝蜀帝》的复制品，描绘了唐玄宗从长安逃到四川的后妃和宗族王子。唐玄沿着蜿蜒的前山路拥抱着后丛，披着皮毛，在云雾中显得威严。",[23,24,25,26,7,28,129,29,196,16346,16579,170,351,195,269,130],"旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181e35023b5b0f076d46ac0a2261779f.jpg",[],{"id":16583,"slug":16584,"title":16585,"dynasty":109,"author":1415,"museum":331,"description":16586,"tags":16587,"thumbUrl":16588,"material":100,"size":100,"collection":100,"collections":16589,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":342},227264,"xi-an-tu-bo-wu-guan-ben-dong-yuan-227264","溪岸图(博物馆本)","《溪岸图》是五代画家董源创作的一幅绢本设色画，现收藏于美国大都会博物馆。\n\n《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[24,25,26,7,130,77,28,129,132,170,193,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79f4bd7c9a668001f1943f2c22bc8be1.jpg",[],{"id":16591,"slug":16592,"title":16593,"dynasty":72,"author":3002,"museum":74,"description":16594,"tags":16595,"thumbUrl":16596,"material":1218,"size":16597,"collection":84,"collections":16598,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":44},222407,"hua-fu-rong-bai-lu-zhou-zheng-shi-222407","画芙蓉白鹭轴","郑石，生卒年不详。系明画院中人，自署锦衣百户。\n工画花鸟，其画之风格出自宫廷花鸟画家吕纪。\n画幅之构图和树、石、花鸟的用笔，比之吕纪「秋鹭芙蓉」、「秋渚水禽」，显见在布局上较吕氏为简化。而用笔则不如其细致，有着较明显之提顿变化，渐趋向于浙派晚期之风味。",[23,25,26,7,28,27,113,675,3005,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6580b27108d81173535dc902fb47cdad.jpg","纵144.4厘米，横74.3厘米",[84,158],{"id":16600,"slug":16601,"title":16602,"dynasty":72,"author":1751,"museum":533,"description":16603,"tags":16604,"thumbUrl":16607,"material":214,"size":16608,"collection":84,"collections":16609,"showCount":16403,"zanCount":11,"manualWeight":43,"mainColor":88},222178,"hong-xing-ye-fu-tu-zhou-lu-zhi-222178","红杏野凫图轴","此画杏花盛开、野尧戏游、水草挺秀，一派自然界安宁、雅静、自由、活泼的和谐景象。赏之让人生趣，令人神往。\n画面上的“天空”，几乎被杏树的枝条占满了，盛开的红色杏花伸展于水面的上空，可以用“花枝招展”来形容杏树的形态。花枝横跨画面，连画的右侧顶端也是杏树的枝干，画面的下部，是一只大野尧，优哉优哉地浮现于水面之上，仿佛被盛开的红杏所吸引，在偏首高望;画面的左下侧，河岸边的水草簇簇挺拔，卓然而立。生动和谐、愈趣高雅的画面体现出作者观察之细腻，绘画技艺之高超，令人赏心悦目。这幅花鸟写意画中的“亮”，即是野鸭。古代时这种水鸟，是甚有声望的。",[23,25,26,7,28,77,113,16605,16606,56,308,1594,97],"红杏","野凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33b057f3aab56336cb3fa23d67505c5.jpg","43.1x119cm",[84,158],{"id":16611,"slug":16612,"title":1381,"dynasty":207,"author":7719,"museum":74,"description":10551,"tags":16613,"thumbUrl":16614,"material":77,"size":16615,"collection":138,"collections":16616,"showCount":16403,"zanCount":43,"manualWeight":43,"mainColor":88},221789,"shan-shui-zhou-cao-zhi-bai-221789",[23,25,26,7,77,130,129,521,78,132,170,522,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf838ea1e6905938ba9311926e6629d5.jpg","该幅 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“湄印”白文印、“晚山”朱文印。\n从这幅画中可以看到，画家别有心意，十分留心自然界中所发生的一点一滴，并体察入微，将之再现于画画，让人们领略到这美妙而富有的生活情趣的景象。\n折枝梨树，画画左侧横上舒枝展叶，枝头缀满花朵，有的向阳怒放，有的含蕾待放，煞是可爱。\n花朵设色，鲜嫩可爱，以墨绿树作为衬托，层次向背各自分明。\n鹦鹉的羽毛用粉笔勾描，显示出羽毛柔绵的质感。\n勾画眼、嘴、爪均用较浓的墨色。\n此画的艺术特色足以简雅清淡取胜。\n全幅境象疏朗，笔墨简练，结构上不作繁密丰满、全景式的布局，其他树石、花木作为陪衬，剪裁得宜，取景自然。\n在画法上，不事雕琢，笔墨不多，却能使此画满幅生辉，使欣赏者获得美的享受。\n胡湄，生卒年不详。\n字飞涛，号晚山，又号秋雪，浙江平湖人。\n诸生，项元汴外孙。\n由于项氏收藏 甲天下，故胡氏受到完整的古代绘画艺术的薰陶。\n他为人耿直，富人以金帛求画多拒之。\n他画的花鸟虫鱼、“时称仙笔”。\n传世作品有《鹦鹉戏蝶图》。",[23,25,26,24,7,27,28,113,3869,600,287,1373,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4e5bf65a6b3e2e6a86eefde4da10a.jpg",[],{"id":16843,"slug":16844,"title":16845,"dynasty":18,"author":436,"museum":331,"description":16846,"tags":16847,"thumbUrl":16848,"material":100,"size":100,"collection":100,"collections":16849,"showCount":16717,"zanCount":11,"manualWeight":43,"mainColor":88},224181,"hua-niao-li-zhou-hua-yan-224181","花鸟立轴","梅枝虬曲绽花，主鸟独立高枝，振羽引吭，翎毛以淡墨晕染，尽显蓬松柔润。下方竹枝斜出，两只小雀依偎私语，憨态可掬。顽石以枯淡笔墨勾勒，墨色浓淡相破，野意盎然。\n全作用兼工带写之法，将禽鸟灵动与花木清逸相融，题款错落排布，书画相映，晕染出幽寂早春的澹远意趣，笔意秀逸脱俗，把春日禽鸟迎春的生机悄然铺展，清隽雅致，饶有闲情。",[23,25,7,28,77,113,392,31,35,115,79,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32f2c98cbf9f8e2905ef51e67f151d1.jpg",[],{"id":16851,"slug":16852,"title":16853,"dynasty":18,"author":3450,"museum":74,"description":5955,"tags":16854,"thumbUrl":16856,"material":1688,"size":16857,"collection":84,"collections":16858,"showCount":16717,"zanCount":419,"manualWeight":43,"mainColor":88},222693,"xin-shao-ru-yi-tu-zhou-qian-wei-cheng-222693","新韶如意图轴",[23,25,26,7,28,27,61,16855,4370,925,392,378,287,33,79],"盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c76e4882c3861113c1dfe14fc016849.jpg","105.2x55.9厘米",[84,158],{"id":16860,"slug":16861,"title":16862,"dynasty":72,"author":10012,"museum":74,"description":16863,"tags":16864,"thumbUrl":16865,"material":1320,"size":16866,"collection":138,"collections":16867,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":44},222381,"lu-shan-gao-zhou-ding-yun-peng-222381","庐山高轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[25,26,7,77,28,129,169,193,170,132,173,130,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c977c8e01db35618436bdcc1f93e189.jpg","280x85.5",[138,158],{"id":16869,"slug":16870,"title":16871,"dynasty":72,"author":1614,"museum":74,"description":16872,"tags":16873,"thumbUrl":16874,"material":1218,"size":16875,"collection":138,"collections":16876,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":88},221973,"qian-yan-jing-xiu-wen-zheng-ming-221973","千岩竞秀","画面底部，两位高士对坐于参天巨木之下，临飞瀑溪泉而谈。巨木引看画者的视线上升，进入由丘陵、碎石、坡壁、悬崖交织结合的复杂山体。\n繁密的山体多采用吴中文人画家较为推崇的短披麻皴表现，但又将披麻皴的柔润转变为尖锐。飞泉上部耸立突出的山崖高踞在厚重的基座之上，而基座山体又不断曲折延伸，形成了一条极为深远的脉络。这条脉络以“S”形向上延展，串联起无数细碎的山体和林木苔点，形成兼具向上生长又左冲右突、相互挤压的骚动之势。\n如此狭长的画幅，往往与其他画作构成条屏。文徵明也确实创作了与《千岩竞秀图》配成一对的《万壑争流图》。按照当时的风气，一旦作配对之画，则这种创作会立即显得专注于装饰、商业、礼仪，具有了某种功利性。然而，文徵明却在《万壑争流图》上明言“余性雅不喜作配幅，然于默川不能终却，漫尔涂抹，所谓一解不如一解也”，以此强调自己创作的非功利性。\n在经营位置方面，《千岩竞秀图》略微体现了郭熙所言的“自山下而仰山巅”的高远，更颇为夸张地突出了“自山前而窥山后”的深远，唯独忽略了“自近山而望远山”的平远。不仅如此，《千岩竞秀图》在用墨上完全没有使用近浓远淡的手法制造透视的效果，墨色笔触鲜有变化，在浅绛设色上也基本用平涂法，使得画上群山好像都生长在另一些山峰之上，而不是向远方延伸。\n此外，文徵明在画中还特别强调了山水平面的不可进入性——画中的高士走不出画纸，也并不生活在画中，而观画者更无法有“可行、可望、可游、可居”之感。画面与现实的凛然隔绝，其实也暗含着画家内心和现实之间的隔绝，并以此将精神寄寓在平淡无聊、郁郁无为的现实生活之外。",[23,25,28,130,7,129,132,170,427,193,29,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a88c6378825cac7e0dc34f649fe26e.jpg","画长142.6厘米，宽仅34厘米",[138,158],{"id":16878,"slug":16879,"title":3241,"dynasty":207,"author":16880,"museum":236,"description":16881,"tags":16882,"thumbUrl":16883,"material":16884,"size":16885,"collection":185,"collections":16886,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":44},221870,"zhu-shi-tu-zhou-xie-ting-zhi-221870","谢庭芝","图中绘坡草湖石，石后挺立疏竹数竿，枝叶下垂，似洒雨露。坡上小竹兰草丛生，三株新笋，两株高窜，一株破土而出，春意盎然。湖石连勾带皴，并以淡墨渲染，玲珑剔透，形态奇异。竹叶以率笔挥洒，浓淡相参，水墨淋漓，清新秀雅。此图为谢庭芝墨竹传世孤本。\n画面以淡墨勾勒画湖石，以砍剁皴和钉头皴相结合画出明暗再以淡墨渲染，使湖石具有质感，达到皱、漏、透、瘦之效果，玲珑剔透，造型奇特。\n湖石后疏竹玉立，竹叶下垂，浓淡相间，参差错落，疏密有致，颇显情趣，画左款暑：至元五年冬十月，仲和。",[23,25,77,7,31,601,35,1275,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0acf41e6dc1be49409c9c5df041b0e.jpg","绢本墨笔.","173.2cmx105.1cm",[185,702],{"id":16888,"slug":16889,"title":10588,"dynasty":207,"author":4104,"museum":74,"description":10589,"tags":16890,"thumbUrl":16893,"material":255,"size":10594,"collection":138,"collections":16894,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":44},221836,"han-jiang-lu-yan-zhou-wang-yuan-221836",[23,25,26,7,27,28,77,16891,1742,16892,57,548,151],"芦雁","江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea1feefdf4bd8b3e2a362c9f20c1525.jpg",[138,185],{"id":16896,"slug":16897,"title":16898,"dynasty":207,"author":3722,"museum":74,"description":16899,"tags":16900,"thumbUrl":16901,"material":82,"size":16902,"collection":185,"collections":16903,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":88},221831,"wan-xiang-gao-jie-zhou-ke-jiu-si-221831","晚香高节轴","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。\n此景物主要集中于下端：画幅下部画湖石，中间高出，两侧低矮，形成“山”字型。湖石为杂草点缀，右侧的杂草向右倾斜，左侧杂草向左倾斜。湖间有几簇修竹倚石生长，其中一株翠竹拔地而起，枝竿挺拔，竹节较长，枝叶茂密，顶天立地。另有野菊花倚石而长，花朵盛开于茎端。\n款识：五云阁吏为正臣作。\n虞集题：敬仲此幅，清楚出尘，真平日合作也。奎章阁侍书学士虞集题。\n弘历题：绿筠挺出苏卿节，黄菊喷来陶令香。何必其间论世代，忘年交合石渠藏。庚寅秋日御题。",[23,25,77,7,31,601,440,1275,304,130,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549ad8c921d08b75438863fa146dd22.jpg","126.5厘米，横75.2厘米",[185,702],{"id":16905,"slug":16906,"title":412,"dynasty":18,"author":10397,"museum":10279,"description":16907,"tags":16908,"thumbUrl":16909,"material":16910,"size":16911,"collection":100,"collections":16912,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":100},220758,"zhu-shi-tu-zheng-xie-220758","以水墨写就竹石之姿，老石皴擦写意，嶙峋古拙，尽显苍劲风骨。竹叶以“介”“个”笔法挥染，浓淡相宜，枝叶错落交叠，或繁密遒劲，或疏朗清隽，仿佛满纸飒飒生风，将劲竹迎风傲立的清刚之态跃然纸上。\n\n右侧题字笔锋爽利舒展，笔墨与画意相融相合，文画映带间，寄寓着清介拔俗的君子襟怀，把借物言志的文人意趣淋漓尽致铺陈而出。全幅疏密错落，以极简笔墨托物象风神，写意抒情浑然一体，尽显水墨写意通透灵秀的文人雅韵。",[25,26,7,77,304,31,601,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5d7c1e057dd1b985e2e35c1f1e3fd6.jpg","水墨纸本立轴","189.5 ×104厘米",[],{"id":16914,"slug":16915,"title":16916,"dynasty":18,"author":4828,"museum":236,"description":16917,"tags":16918,"thumbUrl":16921,"material":16922,"size":16923,"collection":138,"collections":16924,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":88},220372,"song-he-ming-qin-tu-wu-li-220372","松壑鸣琴图","本图为吴历中年之作，自识：“忆予与天球学琴於山民陈先生，不觉二十馀年矣。予欲写松壑呜琴图以寄意，常苦少暇。今从客归，久雨初晴，仅得古人形似并题七言：'琴声忆学鸟声圆，辛苦同君二十年。今日听松与涧瀑，高山流水不须弦。甲寅年小春廿日延陵渔山子吴历’。”下钤“吴历”、“家在桃溪深处”二印。",[23,25,26,7,77,130,129,378,132,270,4390,6170,170,29,172,272,173,778,5811,6246,16919,16920],"笔法","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f1ae5df2a2b2579a5aa0ea6073745c.jpg","设色,水墨","纵103cm，横50.5cm",[138],{"id":16926,"slug":16927,"title":16928,"dynasty":18,"author":8994,"museum":3993,"description":16929,"tags":16930,"thumbUrl":16931,"material":214,"size":16932,"collection":138,"collections":16933,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":44},220238,"nan-xu-shan-shui-tu-cha-shi-biao-220238","南徐山水图","查士标（1615-1698），字二瞻，号梅壑散人，安徽休宁人，后寓扬州。出身望族，博雅好古。富收藏，家藏古铜器和宋、元人书画真迹甚多，因此精于鉴赏。他早年作画师从倪云林，以后参用吴镇、董其昌笔法，用笔简练，惜墨如金，皴染不重，风神懒散，气韵荒寒，被推为“逸品”，画史把他和弘仁、汪云瑞、孙逸合称为“新安四家”。",[23,25,26,7,77,130,129,253,601,377,29,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b746ab0c70caf76479ceb2c83727f26.jpg","138×52厘米",[138],{"id":16935,"slug":16936,"title":16937,"dynasty":18,"author":1123,"museum":236,"description":16938,"tags":16939,"thumbUrl":16940,"material":82,"size":16941,"collection":138,"collections":16942,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":88},220105,"mao-lin-shi-bi-zhou-yun-shou-ping-220105","茂林石壁轴","恽寿平（公元1633—1690年），清代书画家。初名格，字寿平，后以字行，改字正叔，号南田、白云外史等，江苏武进人。他一生坎坷，以卖画为生。其山水宗宋、元诸家，尤得益于黄公望。后改习花鸟，其没骨花卉创一代新风，为“清初六大家”之一。 亦工诗、朽，著有《瓯香馆集》、《南田诗抄》。传世作品有《落花游鱼图》轴、《锦石秋花图》轴等。",[23,25,7,77,129,130,132,14049,3150,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da1eec41de8c823ec9d4768363849cc.jpg","纵118厘米，横57厘米",[138,185],{"id":16944,"slug":16945,"title":16946,"dynasty":18,"author":9421,"museum":533,"description":16947,"tags":16948,"thumbUrl":16950,"material":214,"size":16951,"collection":138,"collections":16952,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":88},219991,"shan-jing-po-zhou-tu-dai-ben-xiao-219991","山径泊舟图","戴本孝（1621年－1691年），和州（今安徽省和县）人。字务旃，号前休子，终生不仕，以布衣隐居鹰阿山，故号鹰阿山樵，别号黄水湖渔父、太华石屋叟等，清代新安派画家之一。",[23,25,77,130,7,129,35,427,269,349,16949],"山径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e7c0febcd0f56ffa4fd38b837a6abc.jpg","132cm×60cm",[138],{"id":16954,"slug":16955,"title":3182,"dynasty":72,"author":50,"museum":74,"description":16956,"tags":16957,"thumbUrl":16958,"material":182,"size":100,"collection":84,"collections":16959,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":342},219978,"shuang-xi-tu-yi-ming-219978","古松虬曲苍劲，皴笔勾勒出嶙峋肌理，两只鹊鸟栖于枝桠，一者侧目远眺，一者敛羽静立，灵动生姿暗破幽寂。坡石间野卉柔婉绽放，灵芝丛生，青绿与赭石晕染出幽润山意。工写兼施，勾勒细腻却无板滞之感，沉古设色晕染出静谧雅致的氛围，将山野一隅的清宁生机铺陈开来，藏祥瑞意趣于林泉小景，尽显雅致悠远的林下况味，把幽居山野的恬然意趣凝于笔墨方寸间。",[25,28,27,7,113,151,427,132,536,4370,170,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f61b9d977cd1947a41502e7a1ac6a3.jpg",[84],{"id":16961,"slug":16962,"title":16963,"dynasty":18,"author":9301,"museum":74,"description":16964,"tags":16965,"thumbUrl":16966,"material":28,"size":16967,"collection":39,"collections":16968,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":88},219894,"fang-guan-xiu-hua-luo-han-tu-xu-yang-219894","仿贯休画罗汉图","苍松虬枝凝霜，松针攒簇自带古拙寒意。画面分两处铺陈意趣：上方罗汉展卷沉读，侍童敛神研墨，案几陈设清雅，尽显禅房读经的静谧悠然。下方罗汉斜倚松干，捻珠垂眸，似在神游禅境。\n\n衣纹勾勒劲挺流畅，浓艳衣色与枯淡山石松枝相映成趣。淡墨皴擦山石，晕染出嶙峋肌理，人物神态灵动入微，将世外清修的雅寂禅意铺展开来，笔底藏着古意传承，静穆里暗淌悠然文心。",[25,26,24,7,28,945,54,29,427,57,1405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20de6f165137428706a16cb3088a0ff5.jpg","128.5x54.3",[39],{"id":16970,"slug":16971,"title":16972,"dynasty":72,"author":10733,"museum":3232,"description":16973,"tags":16974,"thumbUrl":16975,"material":82,"size":16976,"collection":138,"collections":16977,"showCount":16717,"zanCount":11,"manualWeight":43,"mainColor":342},219869,"qian-shan-xue-ji-tu-song-xu-219869","千山雪霁图","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松画派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。师沈周，学有师承，故出笔逈不犹人。其山头树木，苍劲古拙，巨幅大幛，颇有气势。与云间莫廷韩，入芟山社绘白雀寺壁，时称妙绝。赵左、沈士充、宋懋晋等都出于他的门下。其识款喜用八分书。万历三十三年（一六o五）作罗汉图、平沙落雁图，时年八十一。《嘉兴府志》、《明画录》、《无声诗史》、《图绘宝鉴续纂》、《读画辑略》、《珊瑚网》。传世作品有藏于故宫博物院的《五岳图》卷及上海博物馆藏《天香书屋图》轴等。",[25,77,130,7,129,613,252,253,521,134,193,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9e6bf704b2ff11a1d07aa4c3c75b19.jpg","151.8x79cm",[138],{"id":16979,"slug":16980,"title":16981,"dynasty":93,"author":50,"museum":1714,"description":16982,"tags":16983,"thumbUrl":16984,"material":37,"size":100,"collection":39,"collections":16985,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":44},219561,"lv-chun-yang-tu-yi-ming-219561","吕纯阳图","画师以劲爽写意的铁线描勾勒身形，苍髯垂覆胸腹，青巾束发，赤足卓立。宽袍裹挟清癯身姿，双手交叠腹前，面容沉凝肃穆，尽显出尘孤高的仙家气度。衣纹顿挫老辣，落笔简劲朴拙，以水墨写意的意趣晕染出幽远仙风，简淡笔墨间不见繁饰，却将仙人超然世外的风骨凝练于绢素之上，古雅朴厚，寥寥数笔便让仙道意韵溢满画面，尽显古画写意人物的风神格调。",[23,25,26,7,54,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80f58a4357362068c7e3accb1c5f0ea0.jpg",[39],{"id":16987,"slug":16988,"title":16989,"dynasty":207,"author":50,"museum":74,"description":16990,"tags":16991,"thumbUrl":16993,"material":37,"size":16994,"collection":39,"collections":16995,"showCount":16717,"zanCount":43,"manualWeight":43,"mainColor":44},219494,"qiu-jing-xi-ying-zhou-yi-ming-219494","秋景戏婴轴","秋郊明月下，六婴儿穿各色绣花长衫，在大树坡石间嬉戏，或捧花提篮，或抚弄兔儿，或招呼同伴，前有盤，盛秋季应时水果。",[25,7,28,27,29,1932,4987,253,132,536,16992,7732],"水果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1427670394fd3c7c1a634e14fcc05070.jpg","127x61公分；全幅 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鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,24,25,26,7,77,31,35,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51cc84485d0a2bea0a112203a6013e0.jpg",[],{"id":17048,"slug":17049,"title":1960,"dynasty":109,"author":17050,"museum":74,"description":17051,"tags":17052,"thumbUrl":17053,"material":198,"size":780,"collection":100,"collections":17054,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":44},288263,"mu-dan-tu-teng-chang-you-288263","滕昌佑","滕昌佑，唐末五代画家。字胜华，本为吴（治今江苏苏州）人。唐广明元年十二月（公元881年）初黄巢起义军攻克长安，避乱随唐僖宗入蜀，卒年八十五。以文学从事。",[23,24,25,26,7,28,113,27,114,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1df52c67747442a7481301f56b33a898.jpg",[],{"id":17056,"slug":17057,"title":17058,"dynasty":72,"author":50,"museum":331,"description":17059,"tags":17060,"thumbUrl":17061,"material":198,"size":780,"collection":100,"collections":17062,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":44},288159,"ku-teng-lao-shu-tu-li-zhou-yi-ming-288159","枯藤老树图立轴","此作用笔苍劲老辣，以枯墨皴擦出古松嶙峋老干，虬曲枝桠如铁戟森然，松针攒簇细密，尽显饱经风霜的古拙意气。冷月高悬，淡墨晕染出空濛清辉，将夜色的荒寒铺陈开来。坡石旁丛竹挺秀疏朗，瘦劲枝叶与苍松相映，刚柔互济。全画以水墨写就，浓淡相宜，淡墨晕染出空寂夜色，浓墨勾勒筋骨，萧疏静谧间，尽显林下幽居的孤高意趣，暗合寄情林泉、不与俗伍的文人心境。",[23,25,7,77,484,131,31,35,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07026ed6aab10adbe73f7f746e3383.jpg",[],{"id":17064,"slug":17065,"title":17066,"dynasty":18,"author":50,"museum":331,"description":8045,"tags":17067,"thumbUrl":17070,"material":198,"size":780,"collection":100,"collections":17071,"showCount":17039,"zanCount":419,"manualWeight":43,"mainColor":2245},263648,"ke-si-jia-xiu-jiu-yang-xiao-han-tu-zhou-yi-ming-263648","缂丝加绣九阳消寒图轴",[24,7,26,17068,28,27,29,196,3057,575,498,170,193,17069],"缂丝加绣","消寒主题","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1718cd0df1c90bc2f8347c3494656762.jpg",[],{"id":17073,"slug":17074,"title":7151,"dynasty":18,"author":921,"museum":331,"description":13256,"tags":17075,"thumbUrl":17076,"material":100,"size":100,"collection":84,"collections":17077,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},239219,"mei-zhu-tu-zhou-wu-chang-shuo-239219",[25,26,7,77,28,113,392,31,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c3d44613f7fe705c6f0e261e00a6fe.jpg",[84],{"id":17079,"slug":17080,"title":17081,"dynasty":18,"author":9439,"museum":331,"description":17082,"tags":17083,"thumbUrl":17084,"material":100,"size":100,"collection":138,"collections":17085,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":44},239026,"gao-jian-hu-xiang-qiu-lu-tu-zhou-gao-jian-239026","高简湖乡秋露图轴","高简（1634-1707年）字澹游，号旅云，自号一云山人，江苏苏州人。能诗，工山水，摹法元人，甚为简澹，而布置深稳，风味清巧可爱。平生小品最多，好画梅花书屋图，冷隽可珍。卒年七十四。传世作品有《春山积翠图》、《江乡初夏图》、《寒林诗思图》",[25,26,7,77,130,129,252,56,377,349,134,131,57,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57d860f9cf257f2f01248ac8831f242.jpg",[138,158],{"id":17087,"slug":17088,"title":17089,"dynasty":18,"author":4998,"museum":331,"description":17090,"tags":17091,"thumbUrl":17095,"material":214,"size":100,"collection":138,"collections":17096,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},238970,"fang-huang-gong-wang-fu-chun-shan-zhou-wang-yuan-qi-238970","仿黄公望富春山轴","黄公望的《富春山居图》被誉为中国十大传世名画之一。清初画家王原祁师法五代宋元名家，于黄公望用功尤深，一生痴迷，自言“所学者大痴（黄公望）也，所传者大痴也”。王原祁早期的绘画中，仿黄公望者尤多。《仿富春山居图轴》便是他52岁时仿效黄公望《富春山居图》的笔法而创作。",[25,26,7,77,130,945,129,170,351,172,522,17092,17093,17094],"近景","中景","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdce8d36036ddec2616f8760eb8e4ec.jpg",[138,185],{"id":17098,"slug":17099,"title":17100,"dynasty":18,"author":50,"museum":331,"description":17101,"tags":17102,"thumbUrl":17107,"material":198,"size":780,"collection":39,"collections":17108,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},238874,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238874","清人善巴拉王菩萨像轴","主尊面容丰腴含笑，端坐雕花宝座之上，身着朱红织金法衣，周身珠宝璎珞环绕，一手托举摩尼珍宝，一手握持吐宝神鼠，尽显富足威严。上方胁侍圣僧与化现佛陀隐于祥云之间，更添圣洁氛围。\n\n画面以青绿晕染山林底色，点缀盛放莲华与满盘鲜果，下方眷属虔诚献礼，构图饱满富丽。设色浓烈厚重，朱砂石青撞色鲜明，尽显鲜明的装饰性与宗教意蕴，将护法财神的福德庄严完美呈现，藏地佛教艺术的精致工巧尽显其中。",[25,26,7,54,29,268,28,27,4380,306,17103,366,17104,9956,17105,17106],"鲜果","财神","善巴拉王","藏传佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8fbed837dc233c8927a054df7fd516.jpg",[39],{"id":17110,"slug":17111,"title":17112,"dynasty":72,"author":10733,"museum":331,"description":17113,"tags":17114,"thumbUrl":17115,"material":198,"size":780,"collection":100,"collections":17116,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},237927,"qiu-chuang-du-shu-tu-zhou-song-xu-237927","秋窗读书图轴","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[25,7,77,28,129,427,212,29,132,3552,170,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaebd32b4026d7b73f0eaa9c2c5d7b62.jpg",[],{"id":17118,"slug":17119,"title":17120,"dynasty":72,"author":17121,"museum":331,"description":17122,"tags":17123,"thumbUrl":17124,"material":100,"size":100,"collection":84,"collections":17125,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":44},237663,"san-si-tu-zhou-yu-qi-feng-237663","三思图轴","俞奇逢","俞奇逢，[明]，福建沙县人。沙县俞氏自存胜得其舅氏边文进之传，遂世业花鸟。",[25,26,7,28,27,113,1488,3005,151,58,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc809c2646c002bed50c182f923e9d9.jpg",[84,158],{"id":17127,"slug":17128,"title":17129,"dynasty":72,"author":14625,"museum":236,"description":17130,"tags":17131,"thumbUrl":17132,"material":214,"size":100,"collection":84,"collections":17133,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},236980,"mo-zhu-tu-zhou-wang-duo-236980","墨竹图轴","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n明朝万历二十年（1592年），生于河南孟津县。天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[25,77,7,31,79,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51936768834ede011f6ae5fbcc3fc68b.jpg",[84,185],{"id":17135,"slug":17136,"title":17137,"dynasty":18,"author":235,"museum":236,"description":14188,"tags":17138,"thumbUrl":17139,"material":100,"size":100,"collection":84,"collections":17140,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},236932,"shu-shi-zhou-ren-yi-236932","树石轴",[25,26,7,28,130,77,129,253,601,3631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F247e360fb7e59b111c8c0d5ee3fec789.jpg",[84,185],{"id":17142,"slug":17143,"title":1845,"dynasty":72,"author":1024,"museum":331,"description":17144,"tags":17145,"thumbUrl":17146,"material":100,"size":100,"collection":100,"collections":17147,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},235259,"qing-lv-shan-shui-tu-zhou-dong-qi-chang-235259","此作用笔苍秀老辣，主山奇崛高挺，皴擦勾勒间尽显嶙峋骨相。坡岸林木错落舒展，枝叶含风，近滩浅渚清寂悠然。以书入画，线条带着书法般的散逸韵律，墨色干湿互济，留白空灵悠远，晕染出萧疏淡远的林下意境。题款与画面浑融无间，诗书画印相映成趣，褪去匠造之气，直写胸中丘壑，将山水清灵与文人雅怀融为一体，尽显淡宕萧散的逸格风神。",[25,26,7,268,28,129,35,170,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66cd1e7aa3ae669cd93a858b870ee35.jpg",[],{"id":17149,"slug":17150,"title":17151,"dynasty":18,"author":921,"museum":331,"description":17152,"tags":17153,"thumbUrl":17154,"material":100,"size":100,"collection":100,"collections":17155,"showCount":17039,"zanCount":11,"manualWeight":43,"mainColor":88},235224,"he-liao-tu-zhou-wu-chang-shuo-235224","荷蓼图轴","此作用笔纵老苍劲，以篆籀笔法入画。泼墨写荷叶，浓淡干湿间尽显氤氲苍润，大写意的笔力带着厚重朴拙的金石气。荷花勾勒简雅，莲蓬、蓼花点染鲜活，赭色顽石拙朴雄浑，与水墨荷色相映成趣。\n画面纵轴布陈，荷蓼错落排布，将汀洲秋日清寂疏凉的秋意铺展纸面。题款行书跌宕老辣，与画面笔墨意趣浑然相融，以恣意纵横的笔墨，把萧索秋景化作饱满的文人意趣，藏着沉静又蓬勃的生机，尽显写意花鸟的极致韵味。",[25,7,77,28,113,304,32,306,12844],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd680434786fc52bb6d3830e98572c7cc.jpg",[],{"id":17157,"slug":17158,"title":17159,"dynasty":18,"author":4434,"museum":236,"description":5937,"tags":17160,"thumbUrl":17161,"material":1573,"size":5940,"collection":100,"collections":17162,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},234952,"fang-ni-shan-shui-tu-hong-ren-234952","仿倪山水图",[25,77,129,7,130,377,521,35,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76b1e0fbf86ad46a2347ec4246aa9e3.jpg",[],{"id":17164,"slug":17165,"title":17166,"dynasty":72,"author":17167,"museum":236,"description":17168,"tags":17169,"thumbUrl":17170,"material":745,"size":17171,"collection":100,"collections":17172,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},234851,"lan-zhu-shui-xian-tu-ma-shou-zhen-234851","兰竹水仙图","马守真","作者以娴熟的笔墨勾画出清风吹拂下兰、竹摇曳的形貌。兰、竹是妓女画家们最热衷描绘的题材。其因：第一，兰、竹与松、梅被历代文人赞美为画中的“四君子”，通过表现有君子风范的兰、竹 可以标示出画家自身的高洁情怀；第二，兰的清幽、竹的虚静均能映衬出妓女们的某种特殊心态；第三，也是最为关键的一点，即绘画为文人雅士与青楼女子交流的一项文化内容，兰、竹形象简单，创作时所需的时间较短，纵情涂抹三二枝便可形完气足，以助一时之兴。因此，在明代涌现出众多以擅绘兰、竹闻名的妓女画家，马守真是其中的佼佼者。马守真以画兰之精、之专而扬名江南，因此自号“湘兰”。\n马守真在兰、竹创作上不重视对兰、竹外在形态的细致刻画，而重在写出兰、竹的内涵精神，聊以抒发心中之逸气。因此，她从用笔、施墨到构图都极其随意，但内藏机巧，不失韵味。她笔下的具飘逸野趣的兰、竹不同于文俶等闺秀画家精工细描的庭院中的闲花静草，而与男性文人画家、尤其是“吴门画派”中文徵明等人的花卉艺术有更多相近之处，反映了妓女对男性文人画家的迎合及师承关系。",[25,26,77,304,1051,31,924,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa023505e604a1f2ec2adedadc3d6df7b.jpg","纵83.5厘米，横47.2厘米",[],{"id":17174,"slug":17175,"title":17176,"dynasty":72,"author":264,"museum":236,"description":4217,"tags":17177,"thumbUrl":17178,"material":486,"size":17179,"collection":100,"collections":17180,"showCount":17039,"zanCount":11,"manualWeight":43,"mainColor":704},233141,"lian-xi-yu-yin-tu-zhou-chou-ying-233141","莲溪渔隐图轴",[25,26,7,24,28,27,129,2367,32,170,733,2558,2014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff729e8182fa8b670a238d77c7e5dfb3a.jpg","纵126.5厘米，横66.3厘米",[],{"id":17182,"slug":17183,"title":13870,"dynasty":207,"author":9698,"museum":331,"description":17184,"tags":17185,"thumbUrl":17186,"material":100,"size":100,"collection":100,"collections":17187,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":44},228270,"feng-yu-gui-zhou-tu-fang-cong-yi-228270","以水墨晕染铺就漫天雨雾，峰峦在烟岚中若隐若现，焦墨勾勒的山石苍劲朴拙，与朦胧水汽形成虚实对照。孤舟扬帆穿雨而归，渺小的舟楫在浩渺烟雨中衬出江湖寥廓，暗合归人冒雨赶路的匆匆意绪。\n近景以淡墨点染丛木，斜逸的松树带着风雨飘摇之姿，呼应着满幅湿冷雨意。整幅画作以留白晕染营造空濛苍茫氛围，将山野骤雨之景绘得灵动写意，把江南雨中山水的空寂清冷与旅人归思相融，尽显元代文人山水空灵简远的意趣。",[23,25,77,129,130,349,253,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18e3d81d317532706d52b707a3c30e9.jpg",[],{"id":17189,"slug":17190,"title":1381,"dynasty":18,"author":921,"museum":331,"description":17191,"tags":17192,"thumbUrl":17193,"material":100,"size":100,"collection":100,"collections":17194,"showCount":17039,"zanCount":11,"manualWeight":43,"mainColor":88},224218,"shan-shui-zhou-wu-chang-shuo-224218","此作以高远章法铺陈，主峰雄踞上部，以篆隶笔法入皴，枯涩苍劲的线条勾勒山石肌理，朴拙雄浑间尽显厚重金石气。下半幅山林幽居藏于层林之中，屋舍错落临溪而建，溪桥横陈，枯木与青柯相映。\n\n水墨间晕染淡赭、花青，为清秋山林添上柔和暖意。题诗与画境呼应，将隐逸山居的静穆雅逸，融于雄朴的笔墨之中，把林泉高致的清隽滋味藏于苍辣笔意内，尽显冲淡高古的文人意趣，是典型的文人山水风貌。",[23,25,7,77,28,130,26,129,134,193,733,521,427,132,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eab5e3cd8b5a1741b2652c294477895.jpg",[],{"id":17196,"slug":17197,"title":17198,"dynasty":93,"author":50,"museum":74,"description":17199,"tags":17200,"thumbUrl":17204,"material":255,"size":17205,"collection":100,"collections":17206,"showCount":17039,"zanCount":11,"manualWeight":43,"mainColor":88},223380,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223380","千手千眼观世音菩萨轴","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，祂的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[23,24,25,26,7,54,27,28,29,10350,17201,4209,17202,336,151,4545,34,14442,16179,17203],"千眼","佛光","众神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd2c18bc7d656864bb8c7ad6a86782a.jpg","176.8x79.2",[],{"id":17208,"slug":17209,"title":17210,"dynasty":18,"author":17211,"museum":74,"description":17212,"tags":17213,"thumbUrl":17214,"material":100,"size":100,"collection":138,"collections":17215,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},222851,"hua-qiu-si-ming-quan-zhou-ai-xin-jue-luo-yong-rong-222851","画秋寺鸣泉轴","爱新觉罗永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,25,26,7,28,130,129,4821,5653,134,193,170,132,733,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa9f2b95b9bde32a8dedfb17b22ed5c.jpg",[138,158],{"id":17217,"slug":17218,"title":17219,"dynasty":72,"author":17220,"museum":209,"description":17221,"tags":17222,"thumbUrl":17223,"material":1573,"size":17224,"collection":138,"collections":17225,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":44},222838,"qiu-ling-shan-quan-tu-xiao-yun-cong-222838","秋岭山泉图","萧云从","萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。这种淡远无尘、清墨涩笔创作出来的超然冷寂澹泊的境界，是逸的真实表述。萧云从的山水画在历史上之所以为众人推崇，即在于其反映生活的“真”和“美”。",[23,25,26,7,28,77,129,132,193,169,170,427,3631,733,29,130,4987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777621cf6ec8952e48ae2dbb0be5b7fc.jpg","165cmx45.6cm",[138,158],{"id":17227,"slug":17228,"title":17229,"dynasty":18,"author":3083,"museum":13569,"description":17230,"tags":17231,"thumbUrl":17232,"material":1320,"size":17233,"collection":84,"collections":17234,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},222673,"xiong-ji-tu-zhou-huang-shen-222673","雄鸡图轴","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[23,25,26,7,77,28,80,2137,1373,3631,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7a27332b6be489e47fb8cf3f1bbaf3.jpg","纵124.6厘米，横59.8厘米",[84,158],{"id":17236,"slug":17237,"title":17238,"dynasty":72,"author":1614,"museum":236,"description":17239,"tags":17240,"thumbUrl":17241,"material":745,"size":17242,"collection":138,"collections":17243,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},221998,"xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-221998","溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[23,25,134,193,129,252,56,253,1618,77,304,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2362b6efd04d72a6c9344c9188f272.jpg","纵95.8厘米，横48.7厘米",[138,185],{"id":17245,"slug":17246,"title":17247,"dynasty":72,"author":752,"museum":331,"description":17248,"tags":17249,"thumbUrl":17250,"material":486,"size":17251,"collection":39,"collections":17252,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":44},221897,"lao-chi-xiang-li-zhou-chen-hong-shou-221897","老迟像立轴","此幅为陈洪绶的自画像，画上老迟盘腿坐于地上，身着宽袖长袍，蓄长须，手执某种花朵置于鼻下闻味；背后湖石形状奇特，前方一小童烧火烤似灵芝一样的东西。陈洪绶，号老莲，晚号老迟，明末清初著名书画家、诗人。",[23,25,24,7,27,985,28,29,35,1405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52772eece37edbf9b7da25588c5bae5.jpg","95x51cm",[39,158],{"id":17254,"slug":17255,"title":17256,"dynasty":207,"author":2386,"museum":236,"description":17257,"tags":17258,"thumbUrl":17259,"material":1858,"size":17260,"collection":138,"collections":17261,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":44},221871,"ou-bo-ting-tu-zhao-meng-fu-221871","欧波亭图","鸥波亭为赵孟頫夫妇游息吟咏之所，据现传世著录赵一生曾多次创作以鸥波亭为题材的作品。有《鸥波亭图》(明张丑着《书画见闻表一卷》·五)、《鸥波亭图轴》(清李佐贤着《书画鉴影二十四卷》二○·一)、《赵松雪管仲姬合作鸥波亭图轴》(清邵松年着《古缘萃录十八卷》二·六)。此图正是邵松年载录的《鸥波亭图》，作于元大德八年(1304)甲辰春三月，时赵孟俯50岁，管仲姬42岁，乃精心合写神妙之作。赵孟俯白描人物并写柏树及楼台、山石，管仲姬为其补写大片白描双勾新篁，伉俪合作，珠联璧合，堪称“二美”。故弥足珍贵。",[23,25,26,7,28,967,29,269,377,170,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4dccc8fa8bf432c5b115720e7b83061.jpg","纵117厘米，宽54厘米",[138,158],{"id":17263,"slug":17264,"title":17265,"dynasty":207,"author":1327,"museum":74,"description":17266,"tags":17267,"thumbUrl":17268,"material":99,"size":17269,"collection":185,"collections":17270,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":44},221813,"si-ji-ping-an-tu-zhou-li-kan-221813","四季平安图轴","《四季平安图》此幅水墨绘修竹四竿，三浓一淡，两前两后，布置得宜，风姿卓然。李仲宾此幅全学文湖州，而加浓密之致，体现了其本人的艺术审美。 李衎（1245-1320年），字仲宾，号息斋道人，晚年号醉车先生，元朝蓟丘（今北京市）人。元仁宗皇庆元年（1312年）任吏部尚书，拜集贤殿大学士、荣禄大夫。李衎尤善画枯木竹石，善画墨竹，双钩竹尤佳，和赵孟頫、高克恭并称为元初画竹三大家，著有《竹谱详录》。",[23,24,25,26,7,77,985,27,31,601,35,130,4108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9156289c567b360733a596791d013b.jpg","131.4 x 51.1cm",[185,702],{"id":17272,"slug":17273,"title":17274,"dynasty":93,"author":50,"museum":74,"description":17275,"tags":17276,"thumbUrl":17278,"material":37,"size":17279,"collection":157,"collections":17280,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":44},221236,"tong-shi-xiu-ling-zhou-yi-ming-221236","桐实修翎轴","画面留白空灵悠远，尽显极简造境之妙。禽鸟停驻桐枝，翎毛刻画细致入微，茸绒毕现，抬首凝伫间神态机警灵动，将野雀鲜活生姿定格绢素。\n\n桐叶与桐实以水墨晕染，墨色苍润层次分明，枯枝虬曲苍劲，古朴野逸。全画笔法兼具工细与写意，写实中饱含清雅诗意，将林下一隅的幽寂生趣尽致展现，尽显格物致知的审美意趣，淡墨轻岚间晕开沉静古雅的宋韵风神。",[23,25,24,7,113,27,28,115,1373,17277,79],"桐实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb521334d6a0b978dd8fa170f2109cdc2.jpg","纵103.4cm，横33cm",[157,138,185],{"id":17282,"slug":17283,"title":17284,"dynasty":283,"author":1683,"museum":1684,"description":17285,"tags":17286,"thumbUrl":17287,"material":17288,"size":100,"collection":100,"collections":17289,"showCount":17039,"zanCount":11,"manualWeight":43,"mainColor":88},220520,"zeng-tie-fu-dui-lian-xu-bei-hong-220520","赠铁夫对联","此作取法汉隶，笔力沉浑苍劲，起收斩截利落，线条如铸铁一般厚重雄强，兼具碑版金石气与写意疏朗意趣。竖向排布行气贯通，大字舒张宽博，每字皆具筋骨力道，墨色浓枯自然变幻，朴茂之中暗含灵秀意韵。左侧小字题款灵动跳脱，与正文的端稳厚重形成动静对照，朱红印文提亮画面，整幅刚柔相济，将碑学雄健气度与文人雅逸风骨相融，尽显沉郁大气的书风，字里行间尽显创作者的磊落襟怀。",[80,3362,5902,97,79,77,283,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf85e58c30355e2301e59706de7ba709.jpg","纸本墨笔、 纸本墨笔",[],{"id":17291,"slug":17292,"title":762,"dynasty":72,"author":7745,"museum":6403,"description":17293,"tags":17294,"thumbUrl":17295,"material":37,"size":17296,"collection":138,"collections":17297,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":44},219941,"han-jiang-du-diao-tu-zhu-duan-219941","朱端，是以粗放笔墨为特色的浙派后期代表性画家之一，其山水师法戴进等浙派早期名家，后溯源两宋，尤其马夏画法为重，本图是以雪景山水作品，水墨绢本，略带淡彩，有明显梁楷、牧溪笔意，构图空旷，笔意悠远，体现作者内心渴望的一种寂静与禅意。此作曾为曼殊院旧蔵品，现存于东京国立博物馆。",[23,25,24,26,7,77,130,129,349,350,521,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e54c1695abeb8054da50fc4026f2a3.jpg","171.9×109.0cm",[138],{"id":17299,"slug":17300,"title":17301,"dynasty":72,"author":10012,"museum":51,"description":17302,"tags":17303,"thumbUrl":17304,"material":136,"size":100,"collection":138,"collections":17305,"showCount":17039,"zanCount":11,"manualWeight":43,"mainColor":88},219715,"xun-yang-song-ke-tu-ding-yun-peng-219715","浔阳送客图","此作以平远之法铺陈秋江暮色，设色清隽雅致。远景山峦以淡墨轻晕，烟岚空蒙，晕染出江天寥廓的空寂。江岸枯木萧疏，苍松虬然挺立于岩岫之间，为凄清秋意晕开一抹苍劲生机。\n\n画中江畔舟中对坐执盏，将临别之际的缱绻不舍凝于咫尺。线条清劲柔婉，山石林木以赭石花青轻染，带着吴门画派的温润秀雅，以简淡意境烘托出离别的黯然销魂，将诗文里的浔阳别绪藏进苍茫江色，淡而韵长，尽写古人送别的缱绻情深。",[25,28,27,129,29,349,170,132,1419,130,7,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4df47f62d0026f7a3a39ac0a0b6aecb.jpg",[138],{"id":17307,"slug":17308,"title":17309,"dynasty":18,"author":436,"museum":209,"description":17310,"tags":17311,"thumbUrl":17312,"material":37,"size":17313,"collection":158,"collections":17314,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},219217,"cui-yu-he-ming-tu-hua-yan-219217","翠羽和鸣图","图绘春天繁花吐芳,禽鸟欢腾的喧嚣情景.画家通过禽鸟生动的形态和诱人的粉色,烘染出春光明媚的氛围.",[25,28,27,7,151,113,131,114,35,576,664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F678e3c3bb0d57d844c094fac8c221dc5.jpg","177.2x97.4",[158],{"id":17316,"slug":17317,"title":17318,"dynasty":72,"author":6412,"museum":236,"description":17319,"tags":17320,"thumbUrl":17321,"material":77,"size":17322,"collection":138,"collections":17323,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},219206,"wei-wu-kuan-zuo-shan-shui-tu-du-qiong-219206","为吴宽作山水图","此图绘深山幽谷，溪桥流水，林木草屋，极为森藐悠远。构图饱满繁密，用笔秀润苍健，画风慎密清逸，格调高远古朴，意境深邃澹然。",[23,25,77,130,7,129,170,132,193,349,134,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3d1b0e984c125a383b3b438fdff855.jpg","纵108.2cm，横38.2cm",[138],{"id":17325,"slug":17326,"title":17327,"dynasty":18,"author":10867,"museum":236,"description":10868,"tags":17328,"thumbUrl":17329,"material":37,"size":10871,"collection":84,"collections":17330,"showCount":17039,"zanCount":11,"manualWeight":43,"mainColor":44},218524,"cang-qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-218524","苍秋岚飞瀑图轴",[23,24,25,7,129,28,130,132,7082,193,170,269,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd631dc13de2e69a5451abd4d5af28756.jpg",[84],{"id":17332,"slug":17333,"title":17334,"dynasty":72,"author":17335,"museum":51,"description":17336,"tags":17337,"thumbUrl":17339,"material":82,"size":17340,"collection":39,"collections":17341,"showCount":17039,"zanCount":11,"manualWeight":43,"mainColor":44},218318,"ri-ben-di-chui-di-zang-tu-shou-ye-tan-you-218318","日本· 笛吹地藏图","狩野探幽","素线勾勒的身影乘云翩跹，衣袂舒展如流霞漫卷。唇边横笛轻启，清韵似随柔风逸出，绕过身后朦胧圆月，在云气间悠悠弥散。线条柔婉却藏静定之姿，地藏的慈悲在笛音里化作淡暖光晕，与月色相融。整幅画如一首无声禅曲，空灵中裹挟着抚慰人心的力量，将佛性悲悯与艺术清雅织就成静谧天地，引人沉于这份超越尘嚣的平和安宁。",[24,25,26,7,54,985,77,29,335,17338],"笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4950f0b0cd418d7e2e7b2082d209528.jpg","98.5x38.1",[39],{"id":17343,"slug":17344,"title":6772,"dynasty":72,"author":50,"museum":1714,"description":17345,"tags":17346,"thumbUrl":17347,"material":37,"size":17348,"collection":39,"collections":17349,"showCount":17039,"zanCount":419,"manualWeight":43,"mainColor":44},218292,"xian-ren-tu-yi-ming-218292","四位仙者衣袂翩跹，神态各异。左侧长者身着浅褐长袍，双手抱胸而立，眉宇间沉静儒雅；右下者深蓝长衣加身，躬身持物，姿态恭谨。背景二人或持杖浅笑，或低语互动，似有仙缘相契。衣纹线条流畅婉转，色彩经岁月沉淀仍显古朴雅致，云雾隐现间，缥缈仙境呼之欲出。人物神情生动传神，举手投足间尽显超凡气度，仙者之姿与人间情味交融，尽显古画神韵。",[25,28,27,29,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8688357244e4cdd1e92b2b1fed833a6.jpg","147.4x75.2",[39],{"id":17351,"slug":17352,"title":17353,"dynasty":18,"author":50,"museum":319,"description":17354,"tags":17355,"thumbUrl":17356,"material":37,"size":17357,"collection":138,"collections":17358,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":88},218093,"huang-cun-du-shu-yi-ming-218093","荒村独尌","这幅画主要描写了荒凉的村庄和孤独的农夫生活。表达了农民面对贫穷和困难时的悲惨心情。该画中使用了许多自然形象，如荒芜的田野、萧条的树木、寂寞的河流等，来描绘出农民贫困的生活环境。",[23,25,7,77,28,129,131,31,733,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2315df54f03804acdb72342539551.jpg","94x44.6cm",[138],{"id":17360,"slug":17361,"title":818,"dynasty":72,"author":17362,"museum":319,"description":17363,"tags":17364,"thumbUrl":17366,"material":136,"size":17367,"collection":138,"collections":17368,"showCount":17039,"zanCount":11,"manualWeight":43,"mainColor":44},218091,"shan-shui-tu-huang-qin-218091","黄溱","黄溱是明朝时期的一位著名山水画家。他的山水画风格独特，笔力清晰而富有张力，善于表现大自然的神韵和精神内涵。\n\n黄溱的山水图常常被视为“水墨山水画的巅峰之作”。他善于运用水墨画的特色，在画面中运用点、线、面三种基本元素，给人以一种清新自然、平和祥和的感觉。在他的山水图中，山峰挺拔，水流潺潺，构图精妙，富有层次感。同时，他还注重细节的表现，如树木的枝叶、山峰的峰顶、云的形态等都是细致而生动的。\n\n黄溱的山水图不仅对后世的山水画家产生了巨大的影响，也为我们展现了明朝时期浓郁的文化气息和自然风光。",[23,25,77,129,24,7,134,193,1651,170,17365,1420,80,79,130],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7f968486d57ed34a990414f516411c.jpg","89.4x47.6cm",[138],{"id":17370,"slug":17371,"title":4061,"dynasty":72,"author":17372,"museum":3232,"description":17373,"tags":17374,"thumbUrl":17375,"material":37,"size":17376,"collection":138,"collections":17377,"showCount":17039,"zanCount":11,"manualWeight":43,"mainColor":44},217944,"yun-shan-tu-he-cheng-217944","何澄","《云山图》是一幅山水画，描绘的是山峦起伏的山岭，被浓密的云雾笼罩。何澄在画中运用了笔触细腻的技巧，将云山的起伏变化和神秘感表现得淋漓尽致。画中还有几只飞鸟，增添了画面的生动感。\n\n《云山图》被认为是何澄的代表作，也是明朝山水画的经典之作。它不仅体现了何澄的艺术才华，也展示了明朝时期对自然、山水的描绘方式。",[25,26,7,77,129,335,252,56,170,35,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668c05cfb3d1386b314e770bdd9f091c.jpg","94.6x39.1cm",[138],{"id":17379,"slug":17380,"title":10570,"dynasty":18,"author":50,"museum":331,"description":17381,"tags":17382,"thumbUrl":17383,"material":37,"size":17384,"collection":39,"collections":17385,"showCount":17039,"zanCount":11,"manualWeight":43,"mainColor":44},217061,"luo-han-tu-yi-ming-217061","罗汉图是清朝时期的一张著名图画。这张图画描绘了一个罗汉，也就是佛教中的一种超凡脱俗的人物。罗汉图通常都会描绘罗汉坐在一个莲花座上，并且脸部表情非常平静。罗汉图被认为是一张具有深刻哲学意义的图画，它可以帮助人们思考人生、审视自己内心世界的问题。",[23,25,28,27,54,29,427,132,536,548,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0f92db8d3a95be73cc37fc1f75a538.jpg","63x39",[39],{"id":17387,"slug":17388,"title":17389,"dynasty":18,"author":17390,"museum":74,"description":17391,"tags":17392,"thumbUrl":17394,"material":37,"size":17395,"collection":84,"collections":17396,"showCount":17039,"zanCount":43,"manualWeight":43,"mainColor":44},216212,"suan-ni-zhou-liu-jiu-de-216212","狻猊轴","刘九德","刘九德（Liu Jiude）是一位清朝的画家，他的狻猊图是他最著名的作品之一。狻猊图是一幅大型油画，描绘了一只狮子在草原上的场景。这幅画以其精细的细节、生动的色彩和传神的描绘而闻名。刘九德在创作狻猊图时，深受中国传统山水画的启发，并结合自己的独特艺术风格。狻猊图被认为是中国清朝时期最优秀的艺术作品之一，并被广泛收藏。",[25,26,7,28,27,241,17393,427,132,78],"狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce7c5161fa971df7d7b5ae04c0307600.jpg","176.8x238.5cm",[84],{"id":17398,"slug":17399,"title":17400,"dynasty":93,"author":17401,"museum":331,"description":17402,"tags":17403,"thumbUrl":17404,"material":198,"size":780,"collection":100,"collections":17405,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":88},290864,"ke-si-shan-shui-zhou-shen-zi-fan-290864","缂丝山水轴","沈子蕃","祖籍定州孟家庄。缂丝名匠。",[24,25,7,473,268,28,129,377,134,193,349,131,132,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34435ac0ec43f64123746736c26b0390.jpg",[],39,{"id":17408,"slug":17409,"title":17410,"dynasty":207,"author":695,"museum":331,"description":17411,"tags":17412,"thumbUrl":17413,"material":198,"size":780,"collection":100,"collections":17414,"showCount":17406,"zanCount":419,"manualWeight":43,"mainColor":44},290829,"qing-jiang-chun-xiao-zhou-wu-zhen-290829","清江春晓轴","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。",[25,26,7,77,130,129,134,193,349,269,170,132,80,97,79,2367,2170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9786e996b3ba3ec502dce1a7d92ae95.jpg",[],{"id":17416,"slug":17417,"title":3812,"dynasty":93,"author":1517,"museum":331,"description":16099,"tags":17418,"thumbUrl":17421,"material":198,"size":780,"collection":100,"collections":17422,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":88},290058,"ba-qiao-feng-xue-tu-xia-gui-290058",[24,25,26,7,77,129,130,134,195,521,269,17419,29,17420,97,80],"马匹","风雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf383bfeca5b213ba1fc05bc62d43a90.jpg",[],{"id":17424,"slug":17425,"title":17426,"dynasty":207,"author":17427,"museum":331,"description":17428,"tags":17429,"thumbUrl":17430,"material":198,"size":780,"collection":100,"collections":17431,"showCount":17406,"zanCount":11,"manualWeight":43,"mainColor":44},289347,"gu-mu-han-ya-tu-luo-zhi-chuan-289347","古木寒鸦图","罗稚川","罗稚川 江西临川人。元代著名画家。生卒年不详，大致生活于元代前期。\n生卒年不详，大致生活于元代前期。据元代虞集（1272-1348）《空山歌》载，他于“弱冠”之年，曾见罗稚川“挥翰甚风流”，从虞氏生年（1272）下推，大约在1292年时罗稚川尚在世。虞集记载了罗氏早年生涯：“忆昔侍郎镇成都，将佐盈庭宾客趋；锦官城外笳鼓发，驷马桥边高盖车。”据此，罗稚川曾是南宋时镇守四川成都的年轻将领。理宗端平三年（1236）金兵陷成都，特别是宋亡，彻底改变了他的人生道路，他开始了隐居生活。宋亡，入元不仕，以诗画自娱。",[25,77,129,521,151,3880,2654,7,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29982bf2593c2e7d2d3c6f8160d10cb9.jpg",[],{"id":17433,"slug":17434,"title":17435,"dynasty":18,"author":318,"museum":331,"description":1136,"tags":17436,"thumbUrl":17438,"material":198,"size":780,"collection":100,"collections":17439,"showCount":17406,"zanCount":11,"manualWeight":43,"mainColor":88},288093,"fang-guo-zhong-shu-shan-shui-gua-zhou-zhu-da-288093","仿郭忠恕山水挂轴",[23,25,24,26,7,77,130,945,129,132,170,17437,29,79],"亭屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba1eb735d31099514794c6d03e0419.jpg",[],{"id":17441,"slug":17442,"title":17443,"dynasty":109,"author":597,"museum":74,"description":17444,"tags":17445,"thumbUrl":17447,"material":198,"size":780,"collection":100,"collections":17448,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":44},287702,"he-ting-yi-diao-shi-nv-tu-zhou-wen-ju-287702","荷亭奕钓仕女图","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”。",[23,25,28,27,1157,29,30,775,269,377,306,17446,7],"弈棋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e62cdcbf6ac380cde864e575745bd4.jpg",[],{"id":17450,"slug":17451,"title":17452,"dynasty":72,"author":7648,"museum":331,"description":17453,"tags":17454,"thumbUrl":17455,"material":198,"size":780,"collection":100,"collections":17456,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":44},287384,"qiu-shui-fu-yi-tu-zhou-lin-liang-287384","秋水凫鹥图轴","林良（约公元1428-1494），字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。\n史料记载“林良吕纪，天下无比”，他因善画而被荐入宫廷，授工部营缮所丞，后任锦衣卫指挥、镇抚，值仁智殿。绘画取材多为雄健壮阔或天趣盎然的自然物象，笔法简练而准确，写意而形具。\n林良是明代院体花鸟画的代表人物，也是明代水墨写意画派的开创者，在明代院体画中独树一帜，对后世画坛，包括宫廷画家、职业画家、文人画家均产生重大的影响。",[23,25,24,7,113,77,1890,12609,5545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff59dbd576c61cce6c8b19156b821e455.jpg",[],{"id":17458,"slug":17459,"title":17460,"dynasty":72,"author":1024,"museum":236,"description":17461,"tags":17462,"thumbUrl":17463,"material":17464,"size":17465,"collection":101,"collections":17466,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":88},240412,"dong-qi-chang-qi-jue-shi-zhou-dong-qi-chang-240412","董其昌七绝诗轴","释文： 水北原南野草新，雪消风暖不生尘。城中车马知无数，能解闲行有几人。\n款署：“其昌。”钤“董氏玄宰”、“大宗伯印”、“玄赏斋”。鉴藏印有“鹤舟所藏”、“紫云山房鉴藏书画印”。\n本幅书唐张籍《与贾岛闲游》七言诗，文字与原诗作有出入。此幅诗轴未署年款，从书风及所钤“大宗伯印”判断，当为董其昌77岁就任南京礼部尚书、掌詹事府事以后之作品。\n书法行中夹草，融合自然，行笔流畅，风格洒脱，为董氏晚年之代表作。",[80,97,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb750b29f43e687b97622e1861b58bdd.jpg","金笺，草书","纵145.1厘米，横34.7厘米",[101],{"id":17468,"slug":17469,"title":17470,"dynasty":18,"author":17471,"museum":236,"description":17472,"tags":17473,"thumbUrl":17474,"material":214,"size":100,"collection":138,"collections":17475,"showCount":17406,"zanCount":11,"manualWeight":43,"mainColor":44},237451,"fei-quan-bi-liu-zhou-fu-shan-237451","飞泉壁流轴","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[24,25,26,7,77,130,129,6161,170,132,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85371dd8be5ee5e07f223747997c78c.jpg",[138,185],{"id":17477,"slug":17478,"title":1381,"dynasty":18,"author":4788,"museum":331,"description":15298,"tags":17479,"thumbUrl":17480,"material":100,"size":100,"collection":138,"collections":17481,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":88},236915,"shan-shui-zhou-kun-can-236915",[25,77,130,7,80,79,129,269,132,170,1717,212,522,173,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[138,185,101],{"id":17483,"slug":17484,"title":17485,"dynasty":18,"author":9504,"museum":236,"description":17486,"tags":17487,"thumbUrl":17488,"material":182,"size":17489,"collection":138,"collections":17490,"showCount":17406,"zanCount":11,"manualWeight":43,"mainColor":44},236112,"qiu-lin-ye-zhang-tu-zhou-zhang-yu-sen-236112","秋林曳杖图轴","该图构图险中求隐，用笔多变灵活，细皴密点，石作卷云，水作横波，松枝虬曲披靡，既得茂蔚之姿，又获空灵之气，设色优美，不落俗套。\n张雨森，生卒年不详，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。",[25,24,7,129,28,130,134,193,132,2557,7478,377,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7483aa2c190af398b7e81ccbdcca24.jpg","纵157厘米，横100厘米",[138,158],{"id":17492,"slug":17493,"title":17494,"dynasty":18,"author":3408,"museum":331,"description":17495,"tags":17496,"thumbUrl":17497,"material":100,"size":100,"collection":100,"collections":17498,"showCount":17406,"zanCount":11,"manualWeight":43,"mainColor":44},236043,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-236043","乾隆皇帝洗象图轴","此作以洗象场景铺陈，将禅门仪轨融于山林野趣。虬松苍劲盘桓，荫蔽出一方幽凉，巨象安驯仁厚，侍者持具涤扫，动作舒展自然。画面人物神态各殊，或静立垂目，或俯身劳作，衣袂翩跹雅致，敷色明柔妍丽。远景以淡墨晕出平沙烟岚，衬出清旷悠远的林下氛围。\n\n整作工笔精细雅致，线条婉转流畅，将肃穆礼佛之意揉入悠然山野图景，兼具规整细腻与空灵澹远，把清宁禅意与林下雅趣相融，观之如临其境，见一场祥和清寂的林间佛事，韵致悠长。",[25,7,27,28,29,6283,5713,241,129,170,132,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e64a545b5a01030f15e8610b035d154.jpg",[],{"id":17500,"slug":17501,"title":17502,"dynasty":207,"author":208,"museum":236,"description":17503,"tags":17504,"thumbUrl":17505,"material":1573,"size":1574,"collection":100,"collections":17506,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":44},233787,"ge-zhi-chuan-yi-ju-tu-zhou-wang-meng-233787","葛稚川移居图轴","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[25,26,7,28,268,129,130,29,196,132,193,170,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff523932734437a78bb03a9d5015869.jpg",[],{"id":17508,"slug":17509,"title":17510,"dynasty":207,"author":50,"museum":331,"description":17511,"tags":17512,"thumbUrl":17513,"material":182,"size":17514,"collection":100,"collections":17515,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":44},232834,"xiang-long-luo-han-tu-zhou-yi-ming-232834","降龙罗汉图轴","画面以深褐底色晕染出幽寂古雅的氛围，层次错落有致。罗汉虬髯凸目，身披蟒纹僧衣，神态威严沉静，正凝神注视下方寒潭。侍童躬身持器静立，蛟龙潜于潭水之间，身姿灵动矫健，水纹与神将周身的焰光相映，烘托出张力满溢的降伏瞬间。\n线条刚劲凝练，设色沉厚古朴，工笔描摹精细入微，将罗汉的威严、龙神的灵动与护法的雄浑刻画尽致，尽显佛教绘画肃穆庄严的神性，亦饱含古雅厚重的丹青意趣。",[23,25,28,54,29,334,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1a0ed0944d2fd736dbeef598ee2e00.jpg","150X68厘米",[],{"id":17517,"slug":17518,"title":17519,"dynasty":72,"author":752,"museum":265,"description":17520,"tags":17521,"thumbUrl":17522,"material":100,"size":100,"collection":100,"collections":17523,"showCount":17406,"zanCount":11,"manualWeight":43,"mainColor":44},228286,"zhai-mei-gao-shi-tu-chen-hong-shou-228286","摘梅高士图","《对镜仕女图》是明代画家 创作的中国画，现收藏于清华大学艺术博物馆。\n该画画了一位恬静仕女，手托镜子自照，用笔细劲内敛，设色古雅隽永，人物形象稍事变形夸张，高雅脱俗。\n此图的画面突出的是一位恬静、娟秀的仕女形象。\n她两手托镜自照，神态悠闲，身穿交领右衽束袖短上衣，外系长裙，腰间配有锦纹织物以及玉环小绶。\n上衣短而下裙长，袖口窄，下角圆，裙腰束得很高。\n种桃三百树，颜色亦如之。\n莫向汉宫说，美人争自为。\n洪绶似天耳社长兄。\n洪绶之印（白文）、章侯（朱文）。\n­ 渊雷室藏（朱文）、曾在朱屺瞻家（朱文）、印章漫漶（朱文）。\n该画是作者陈洪绶中后期的作品，大约创作于明崇祯九年（公元166年）。\n此图为工笔人物画，画面居中位置的仕女，面颊丰润，眉目细长，体态较同时期的人物画略显丰腴，发鬓高耸以桃花、云簪装饰，其渲染方式承唐代之法，画中仕女手持青铜菱花镜合于胸前，微微颔首垂目视镜，眉宇间略显哀愁，若有所思。\n画中人物襦裙高系，刻意变形的比例关系，又通过深色的前襟和裙摆的佩饰加以视觉的平衡。\n画面环境树石相伴，泉水隐现，人景契合 ，画面右上角斜出的桃树与画面下方皴染的几处坡石等补景起到了突出主体与调节画面的作用。\n整个画面，人物属于密体而背景属于疏体，从而形成人和自然之间的节奏变化，在艺术处理上别具匠心。\n造形夸张，带圆弧形，时常失调，反映了文人写意画脱略形似的审美意识。\n此图设色淡雅，坡石以或浓或淡的墨色与淡赭色皴染勾勒，布局疏密得当，主体突出。\n画面左上角以草书题诗，线条苍劲老练，炉火纯青。\n此图的衣饰用笔，纯属中锋，则寓清刚圆劲于长短、轻重抑扬、顿挫之中，如同奏乐，使人体会到一种韵律感。\n该画用笔细劲流畅，十分强调线条的运用，特别是服饰的摺纹，借鉴了唐人、宋人、元人的线条技巧，又重性情挥洒自如，形成了人物的线条美。\n中国艺术研究院教授 ：仕女眉毛和眼睛距离很宽，显得意态非同寻常，人物仍然是圆浑丰满的。\n线条细劲，有转折和轻重的变化，且内含苍道刚劲之力。\n设色古淡，仅于女人嘴唇点朱红色，其余地方若淡若无。\n根据收藏印记可知该画经渊雷室、近代收藏家 等收藏，现收藏于清华大学艺术博物馆。\n218年6月16日，该画在“清华藏珍·翰墨丹青——清华大学艺术博物馆藏品展”中展出。\n陈洪绶（1598—1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟頫。\n绘有《水浒叶子》《博古叶子》《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》《笼鹅图》《升庵簪花图》《摘梅高士图》。\n著有《宝论堂集》等。",[23,25,26,7,27,28,985,29,4762,3493,521,35,16772,132,170,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],{"id":17525,"slug":17526,"title":4818,"dynasty":109,"author":1112,"museum":20,"description":10463,"tags":17527,"thumbUrl":17528,"material":100,"size":100,"collection":100,"collections":17529,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":44},227597,"xi-shan-lan-re-tu-ju-ran-227597",[23,25,26,129,7,77,130,252,170,4821,172,270,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cac38e11a74525e15e53089cd141edb.jpg",[],{"id":17531,"slug":17532,"title":17533,"dynasty":18,"author":1048,"museum":331,"description":1049,"tags":17534,"thumbUrl":17535,"material":255,"size":100,"collection":101,"collections":17536,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":88},223303,"zhu-shi-tu-zhou-5-zheng-ban-qiao-223303","竹石图轴5",[23,25,26,7,77,31,35,97,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af9eb8cd727abdde614938ed2da94da.jpg",[101],{"id":17538,"slug":17539,"title":17540,"dynasty":18,"author":8793,"museum":236,"description":17541,"tags":17542,"thumbUrl":17543,"material":486,"size":17544,"collection":138,"collections":17545,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":44},223289,"shan-yu-yu-lai-tu-zhou-yuan-yao-223289","山雨欲来图轴","本幅自题：“山雨欲来风满楼，袁耀拟意。”钤“袁耀之印”、“昭道氏”印2方。\n此幅取唐代诗人许浑《咸阳城东楼》诗意，原诗为“一上高城万里愁，蒹葭杨柳似汀洲。溪云初起日沉阁，山雨欲来风满楼。鸟下绿芜秦苑夕，蝉鸣黄叶汉宫秋。行人莫问当年事，故国东来渭水流。”画面描绘暴雨来临前乌云狂风之下的建筑。黑沉沉的浓云正滚滚而来，弓曲的树木、低伏的庄稼、飘摇的小舟、逆风而行的农夫以及状貌扭曲、高耸危人的山岩都为画面增添了戏剧性的紧张情节和内在张力。风本无形，但画家创造性地用富于动感的笔调将闲雅剔透的静态楼阁穿插在充满动感的山水中，构成画面的诸多元素对比呼应而又谐调冲和，在动静之间达到平衡。",[23,25,7,1157,129,269,132,170,173,349,28,130,29,350,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7ab7029b365df7bfd3780da6b16bf.jpg","纵195.1厘米，横116.8厘米",[138,158],{"id":17547,"slug":17548,"title":17549,"dynasty":18,"author":1538,"museum":236,"description":17550,"tags":17551,"thumbUrl":17553,"material":2057,"size":17554,"collection":84,"collections":17555,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":44},223167,"feng-hou-tu-shen-quan-223167","蜂猴图","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[23,25,26,7,27,28,129,8959,241,17552,169,193,351,170,78,664],"蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","184cm 96.6cm",[84,158],{"id":17557,"slug":17558,"title":17559,"dynasty":72,"author":14625,"museum":648,"description":17560,"tags":17561,"thumbUrl":17562,"material":214,"size":17563,"collection":101,"collections":17564,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":88},222529,"lin-tang-tai-zong-tie-wang-duo-222529","临唐太宗帖","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[23,80,305,945,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f26ea79c07df6d303f5d07394524c59.jpg","纵252厘米横50厘米",[101],{"id":17566,"slug":17567,"title":17568,"dynasty":72,"author":389,"museum":236,"description":17569,"tags":17570,"thumbUrl":17571,"material":486,"size":17572,"collection":138,"collections":17573,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":44},222362,"qian-tang-jing-wu-tu-zhou-tang-yin-222362","钱塘景物图轴","自题七绝并署款：“钱塘景物似围屏，路寄山崖屋寄汀。杨柳坡平人马歇，鸬鹚船过水风腥。唐寅。”钤“□郡”（白文，残，应为“吴郡”二字）、“唐白虎”（朱文）、“学圃堂”（朱文）印。\n此作在流传过程中曾经遭受损坏，唐寅题诗的顶端部分“钱”、“寄”、“船”字均为后世所补全。本幅下方二藏印模糊不可辨。\n图画崇山栈道，游骑翩翩，草阁游人独坐，江中渔舟游弋。山石、树木取法南宋李唐、夏圭，用笔方硬细峭，刻画精到，点景人物形态自然，风格细秀，显示了作者早年规步南宋“院体”风格的绘画功底。",[23,25,7,129,130,28,252,351,170,733,269,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0060a0b4d927625dc12f0a07bf48c8c6.jpg","纵71.4厘米，横37.2厘米",[138,185],{"id":17575,"slug":17576,"title":17577,"dynasty":72,"author":389,"museum":74,"description":17578,"tags":17579,"thumbUrl":17581,"material":255,"size":17582,"collection":138,"collections":17583,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":88},222353,"li-shi-cong-hui-tu-tang-yin-222353","立石丛卉图","此画描绘了立石之下，几丛草花盛开。整幅作品只用水墨以没骨法大笔写出。\n立石通过皴笔的染擦，并以留白的方式写出阴阳向背，突出山石的质感。草花的浓淡墨色运用恰到好处。构图简明，高低呼应，使画面呈现一种空灵润泽的感觉。画幅中自题：“杂卉烂春色，孤峰积雨痕。 譬若古贞士，终身伴菜根。”",[23,25,26,7,77,130,35,17580],"丛卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8502ef94696876ba6fce97d697a6ca9.jpg","52.60x28.60cm",[138,185],{"id":17585,"slug":17586,"title":17587,"dynasty":72,"author":3905,"museum":74,"description":17588,"tags":17589,"thumbUrl":17590,"material":136,"size":17591,"collection":138,"collections":17592,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":88},222087,"xi-tong-tu-zhou-qian-gu-222087","洗桐图轴","此图以人物为主，其背景作为陪衬，在画幅左下角画有连绵不断的山石，山石向竹草从杂\n此图绘一高士，坐在圏手椅上，头戴浩然巾，面日清瘦，身着宽服长袍，宽袖，双脚露出，双手扶在手椅上。圏手椅形制如栲佬式，传说唐代诗人孟浩然始用，明清时为流行，常用于文人逸士。这位高士仰首观望二童子洗园中一棵桐树，桐树下一童予抬水桶，往上使劲，又有一童子蹬坐在树楼上，左手扶着桐树枝，右手正用力吊起水桶为洗桐之用，另一童穿着开襟宽袖长服，持有鹅毛扇伫立于高土左侧，亦在目不转珠地望着两个孩童洗桐的情景。",[23,25,26,7,28,27,29,253,132,2641,1405,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5caf239e655e2b04c3f4276936b930.jpg","纵129.8厘米，横445厘米",[138,158],{"id":17594,"slug":17595,"title":17596,"dynasty":207,"author":11740,"museum":74,"description":17597,"tags":17598,"thumbUrl":17599,"material":1394,"size":17600,"collection":138,"collections":17601,"showCount":17406,"zanCount":419,"manualWeight":43,"mainColor":88},221915,"bai-zhang-quan-zhou-chen-ru-yan-221915","百丈泉轴","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,25,26,7,77,130,129,169,170,270,351,173,80,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19fd1420cadccb20dbba9c3b3e304ca.jpg","115.2＊46.7cm",[138,185],{"id":17603,"slug":17604,"title":17605,"dynasty":207,"author":1327,"museum":236,"description":17606,"tags":17607,"thumbUrl":17608,"material":1218,"size":17609,"collection":185,"collections":17610,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":44},221816,"mu-yu-tu-zhou-li-kan-221816","沐雨图轴","《沐雨图轴》是元代李衎所画的中国古画。\n此图描绘雨中竹子的形态，手法极其写实，强调雨中之竹的清姿，其画法与双勾竹图基本相同，竹叶因雨水而显得沉重，叶尖自然下垂，在表现雨中竹叶下垂之姿上，李衎用笔显得娴熟自如。\n《沐雨竹图》将主要景物集中于画幅左侧。\n在画幅左下端力坡石，坡上倚附山石长有四竿翠竹，中间两株高大，且相互交错，竹竿交错后向左右伸展，枝叶茂密，竹叶纷披。\n左侧一株掩映于二株高大的翠竹荫下，略向左弯斜；右侧一株小竹向右弯斜，叶子呈下垂状。\n这一株翠竹虽不怎么起眼，但却是妙笔，起到了填补画幅右下部分的空白，对整个画面起到了充实和平衡作用：除竹石外，在坡石间还有数株兰草，点缀其间。\n自宋以来，“梅，兰、竹、菊”被士大夫称为“四君子”，象征“清高”、“幽洁”、“虚心”、“隐逸”、“气节”等精神品格。\n当社会危机、民族危机之时，一些知识分子无力抗争，在孤十贲与失望之中，“适性寄意”于笔墨：人元后“四君子”画不但更为兴盛，而且在思想感情的表现上更加丰富和深刻。\n特别是墨竹，单纯简易、挥洒便利又最具书法性格，所以最能引起士大夫的兴趣。\n可是李衍身为大官，他与赵孟頫是元代汉族文人画家中官职最显著者， 他喜欢画松、竹，这说明“松”、“竹”并非都是文人用来自诩“名节”之物。\n他为了画竹，“行役万余里”，深入南方竹乡，对竹的“形色情状，牛聚枯荣”做了深入研究，成为享有盛名的写生墨竹专家。\n此《沐雨竹图》轴是他画墨竹的代表作之一，其作品中之“竹”并不带有什么政治色彩，仅作为绘画的一个题材而已。\n此画虽将景物集中于画幅左侧，但经画家的确当布局，使整幅画的构图 较工稳；造型准确，设色匀净，枝叶繁复而不乱，层次分明。\n作者由于有过对竹子的认真观察和研究，并掌握了画竹的造型规律。\n故他画出的竹竿、们‘枝的线条挺坚，用笔实在有力，竹竿、竹枝、竹叶均用双勾画出，即用线条描绘竹叶的轮廓，再用汁绿烘染，叶尖微染赭黄，且其阴阳向背等细节都刻画得十分准确、细腻。\n其背景石都用双勾，然后用粗笔水墨皴染，分出阴阳面。\n坡石间的几丛兰和小草的安排，更使画面充满勃勃生机。\n此画的主题沐雨，作者强调了雨中之竹。\n故在作者笔下将沾满了雨水的竹子，竹叶个个呈下垂的自然神态，突出了“沐雨”这一主题，使画幅具有很强的写实性。\n此画给人以充实秀美的感觉，实属精品。\n这幅作品中只有四竿修竹和一些小枝是用汁绿晕染，竹干的晕染基本是平涂，只在竹节两端略有晕染。\n竹叶的敷色较为精工，不但叶根部和叶尖部的色调有所变化，而且叶面和叶背也不相同，繁多的叶片中没有一片是染出边缘轮廓之外．也可见作者的细致程度。\n在水墨环境的映衬下．《沐雨竹图》中的修竹亭亭玉立，青翠悦目。\n即使秋风萧瑟，也是竹叶摩娑，别具一番“如鸣环翠”的风韵。\n在翠竹右侧一竿高耸直指，左侧一竿向左上伸展，最前的一竿指向右方，右侧竹叶相对密集，造成左高右低的形势。\n竹干、竹枝的线条挺坚，竹叶的线条则圆润；竹干、竹枝的用笔比较实在有力，而竹叶的用笔就显得轻细活泼。\n李衎（1244—12年），字仲宾，号息斋道人，元大都（今北京）人，仕至集贤殿学士。\n他平生擅长画竹，继承了金文同、王庭筠等画竹名家的成就，又曾深入江南竹乡深入观察，还出使过交趾（今越南），到各处观察竹子的生长情况和特点，深得竹之“理”，是一位既有深厚传统绘画功力，又师法自然的画家。\n他的画风严谨，传世作品有双勾着色的《双勾竹图》、《沐雨图》等，并著有《息斋竹谱》7卷，对竹的结构品类、生长规律及画法详加剖析，既重写意又重法度。",[23,25,26,7,27,77,31,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db8d493b70c64e938a16711c94486e2.jpg","纵111.5cm，横55cm",[185,702],{"id":17612,"slug":17613,"title":17614,"dynasty":93,"author":50,"museum":74,"description":17615,"tags":17616,"thumbUrl":17617,"material":1218,"size":17618,"collection":157,"collections":17619,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":44},221237,"qiu-tang-shuang-yan-zhou-yi-ming-221237","秋塘双雁轴","《宋人画秋塘双雁图》是宋代佚名画家创作的一幅中国花鸟古画。\n【简介】 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。\n虽然北宋後半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻著萧瑟苦寒中亦不改其情意的祥瑞之意。\n画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋徽宗朝画院之作。\n通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。\n与雁同科，古人有时 鹅不分而通称。\n本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。\n与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。",[23,25,26,7,113,28,27,1741,308,306,1892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b4ee9203899581a619038111bbb7b8.jpg","170x 167厘米",[157,84,158],{"id":17621,"slug":17622,"title":17623,"dynasty":72,"author":389,"museum":319,"description":17624,"tags":17625,"thumbUrl":17626,"material":99,"size":17627,"collection":138,"collections":17628,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":44},219982,"jiang-shen-cao-ge-tu-tang-yin-219982","江深草阁图","此幅作品以焦墨作江千石壁,二松虬结其间,松下一座茅亭,亭中幽人清坐,山拗间流泉飞落,山间小路曲折隐现,左中部有画家自题:'五月江深草阁寒苏门唐寅写增次明吴君．'下铃朱文印'唐子畏图书'、'某景书屋'．画心及诗堂有沈周、吕秉之、叶恭绰、吴湖帆等人题跋,整幅作品皴笔清劲、缜密,于风骨奇峭中透出明洁秀爽的雅逸之气。\n此幅作品虽无年月可考,但从风格上看,确为少年真迹．按吴湖帆的考证,沈周题诗书迹为60 余岁时作,沈又长子畏43 岁．沈周与吕秉之的题均为前辈勉励后生之语．按唐寅中弘治戊午解元时年29 岁,以吕秉之所题'子且不试艺'句,此幅作于29 岁之前无疑。",[23,24,25,26,7,77,130,129,269,132,193,170,29,169,5811],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece99a18e25e8053cb0da8812a3492fb.jpg","纵84 厘米,横36.7 厘米",[138],{"id":17630,"slug":17631,"title":17632,"dynasty":93,"author":2964,"museum":74,"description":17633,"tags":17634,"thumbUrl":17638,"material":37,"size":17639,"collection":39,"collections":17640,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":44},219599,"fu-xi-zuo-xiang-tu-ma-lin-219599","伏羲坐像图","本幅画其坐像，散发披肩，身披鹿皮，一派远古风范。远古时期，我们的先民为了御寒，以石器或骨器加工兽皮，再以骨针等工具进行缝制。此画幅足下右图1为八卦。此八卦图形表明他创制八卦的功绩。他双目凝神，似在沉思什么似的。\n画幅上方宋理宗楷书叙赞。叙曰：“朕获承祖宗右文之绪，祗通燕谋，日奉慈极，万几馀闲，博求载籍，推迹道统之传，自伏羲迄於孟子，凡达而在上，其道行，穷而在下，其教明，采其大指，各为之赞，虽未能探颐精微，姑以寓尊其所闻之意云尔。”标题：“宓牺”。赞日：“继天立极，为百王先，法度肇建，道德纯全，八卦成文，三坟不传，无言而化，至治自然”\n此画刻画高度精练，神情表现细致人微，画法新颖别致，生动自然。人物的眉毛、胡子，粗黑浓密，只是挥洒数笔便勾画出来。衣服更为简练，鹿皮下露出一双赤脚，亦一无疏漏地表现出来，真是神奇而妥贴。设色亦甚为高雅、纯朴，头部和赤脚着浅色，衣服以淡墨渲染，加深了受光面的立体感。简朴精练的笔墨，把这位始祖的形象刻画入微，给人留下了深刻的印象。",[23,25,26,7,28,27,29,129,17635,17636,80,17637],"龟","兽皮","八卦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbcc5012d0f893c24fe192b64e6c7a39.jpg","纵249.8厘米，横112.0厘米",[39],{"id":17642,"slug":17643,"title":17644,"dynasty":18,"author":8289,"museum":74,"description":17645,"tags":17646,"thumbUrl":17647,"material":136,"size":100,"collection":39,"collections":17648,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":88},219440,"gao-xian-yu-yin-tu-zhou-jin-ting-biao-219440","高贤遇隐图轴","枯木虬枝如铁，皴笔勾勒出岁寒之姿；野径蜿蜒若带，淡墨晕染出郊原之旷。士人凭树而立，衣袂飘举间神态悠然，目光轻落向田间劳作的身影；农夫戴笠荷锄，躬身耕耘时动作朴拙，身影与苍茫大地相融。笔墨于细节处见真章：树皮的纹理、土地的肌理、衣褶的流转，皆以细腻线条与层次墨色铺陈。贤士与隐者的相遇，似无意却藏深意——尘嚣之外，静观与躬耕皆是心境之选。画面简淡清雅，将超脱世俗的悠然意趣凝于方寸，尽显文人画的韵致与哲思。",[25,26,7,27,130,29,521,195,193,350,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ddd877b675099d48ee98845a7533715.jpg",[39],{"id":17650,"slug":17651,"title":17652,"dynasty":18,"author":17653,"museum":209,"description":17654,"tags":17655,"thumbUrl":17656,"material":37,"size":17657,"collection":39,"collections":17658,"showCount":17406,"zanCount":11,"manualWeight":43,"mainColor":88},219428,"gu-kou-you-ju-tu-gao-cen-219428","谷口幽居图","高岑","高岑，字蔚生，号榕园。浙江钱塘（今杭州）人。明崇祯至清康熙间画家。居金陵（今南京），高阜弟，为“金陵八家”之一。初师同里朱睿营，晚乃以己意行之。擅山水及水墨花卉，写意入神。",[25,364,7,77,28,130,132,169,193,349,733,427,521,172,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fee21b39327abc0b64688cf74652603.jpg","纵332厘米，横80 厘米",[39,138],{"id":17660,"slug":17661,"title":17662,"dynasty":72,"author":17663,"museum":74,"description":17664,"tags":17665,"thumbUrl":17669,"material":136,"size":17670,"collection":39,"collections":17671,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":44},219392,"cong-di-xian-yu-tu-ye-guang-219392","丛荻闲渔图","叶广","叶广（明代人），字元博，号海渔，巢县人。诗人、画家。擅名丹青，胸藏丘壑，笔洒烟云。作品《渔翁图》远近闻名。叶广是米（芾）派画家，米体山水及大小画，劲骨远神，时流莫及。叶广擅长作诗，饶有高致。其诙谐调笑，雅重一时。四方缙绅名人，与叶广交往甚多，岁时不绝。",[25,24,26,7,77,28,29,56,17666,17667,17668,2367,79],"渔网","篮子","荻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71deaee102e50cdb9d0829265b1976a2.jpg","114.3x31",[39],{"id":17673,"slug":17674,"title":17675,"dynasty":207,"author":50,"museum":1714,"description":17676,"tags":17677,"thumbUrl":17678,"material":37,"size":17679,"collection":39,"collections":17680,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":342},217997,"mo-tang-wu-dao-yuan-hui-luo-han-xiang-2-yi-ming-217997","摹唐吴道元绘罗汉像-2","《摹唐吴道元绘罗汉像》是佚名在元朝初期创作的一幅画作，这幅画描绘了佛教菩萨罗汉的形象。罗汉是佛教中的圣人，代表着智慧、善良和菩提。这幅画以其精细的线条和细腻的笔触著称，充分展现了元朝时期的艺术水平。画中的罗汉像给人以宁静、慈悲的感觉，充分展现了佛教的精神内涵。\n\n《摹唐吴道元绘罗汉像》的创作背景也很有趣。元朝时期，作者曾受命于皇帝去摹写唐朝著名画家吴道元的绘画作品。在摹写过程中，作者深受吴道元的绘画技巧和艺术理念的启发，并在此基础上创作了这幅传世佳作。",[25,26,7,54,29,28,945,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3914d1faba14d9e9ecfee34b18cf4e6e.jpg","124.9x61.6",[39],{"id":17682,"slug":17683,"title":17684,"dynasty":207,"author":12720,"museum":319,"description":17685,"tags":17686,"thumbUrl":17687,"material":82,"size":17688,"collection":138,"collections":17689,"showCount":17406,"zanCount":11,"manualWeight":43,"mainColor":88},217867,"qiu-shan-xu-ting-tu-gu-ying-217867","秋山虚亭图","顾瑛，字晓元，号秋山虚亭，是中国元朝时期的一位著名画家。他的《秋山虚亭图》是他的代表作之一，在中国历史上享有盛誉。\n\n《秋山虚亭图》是一幅山水画，描绘了秋山虚亭所在的景观。虚亭本身便是一座建于山上的小亭子，顾瑛在画中给人以一种轻松、自然的感觉。画中的山峦、岭壑、林木、岚烟都十分逼真，令人观赏时感到沉醉。顾瑛运用了自然界中各种色彩，如绿、黄、棕、蓝等，使画面更加丰富多彩。\n\n顾瑛的《秋山虚亭图》不仅因其逼真的描绘技巧而闻名，同时也因其艺术风格的独特性而受到赞誉。他的画风清新自然，没有过多的装饰和修饰，从而让观者感受到一种轻松、恬静的心情。\n\n总的来说，顾瑛的《秋山虚亭图》是一幅精美的山水画作，值得一看。",[25,26,7,77,130,97,79,129,3984,377,170,132,733,172,8262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae3bdef31feed66d361d23d9d2fdb34.jpg","69.5x39.4cm",[138],{"id":17691,"slug":17692,"title":8535,"dynasty":17693,"author":6916,"museum":209,"description":17694,"tags":17695,"thumbUrl":17696,"material":100,"size":100,"collection":138,"collections":17697,"showCount":17406,"zanCount":43,"manualWeight":43,"mainColor":17698},202796,"shan-shui-tu-zhou-huang-bin-hong-202796","近代","此作笔墨苍劲浑厚，山石以浓淡干湿的墨色层层积染，皴擦交错间尽显山峦嶙峋质感。山间云雾以留白与淡墨晕染相济，虚实相生，营造出深远空间层次。近景松枝挺劲，枯荣树木旁小桥横跨溪涧，几间屋舍隐于林麓，添生活意趣。整体构图疏密有致，墨色浓淡相宜，既见传统山水笔墨功底，又透自然野逸生机，尽显对山水意境的深刻体悟。",[25,26,7,77,130,129,427,134,132,173,133,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aacda9025fc8a3234c1b0924a10e3a.jpg",[138],"e1d9cb",{"id":17700,"slug":17701,"title":17702,"dynasty":207,"author":17703,"museum":74,"description":17704,"tags":17705,"thumbUrl":17708,"material":37,"size":17709,"collection":100,"collections":17710,"showCount":42,"zanCount":656,"manualWeight":43,"mainColor":44},290955,"long-zhou-duo-biao-zhou-wu-ting-hui-290955","龙舟夺标轴","吴廷晖","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。”",[25,7,1157,28,17706,269,129,170,8355,377,17707],"龙舟","龙舟夺标","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfaac7c9f64d3cb8ff91cd3ca0120e38.jpg","124.1x65.6",[],{"id":17712,"slug":17713,"title":17714,"dynasty":18,"author":3855,"museum":331,"description":17715,"tags":17716,"thumbUrl":17718,"material":198,"size":780,"collection":100,"collections":17719,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":88},290437,"mi-fei-bai-shi-tu-li-zhou-wang-zhen-290437","米芾拜石图立轴","王一亭（1867年—1938年11月），号白龙山人、梅花馆主、海云楼主等，法名觉器。祖籍浙江吴兴（今湖州市），生于上海周浦。清末民国时期上海著名书画家、实业家、杰出慈善家、社会活动家与宗教界名士。\n曾两次任上海总商会主席。加入中国同盟会，资助辛亥革命和二次革命，任中国国民党上海分部部长。上海光复后，历任军政府交通部长、商务总长、中华银行董事。后任南京国民政府中央救灾准备金保委会委员长。曾任中国佛教会执行委员兼常委，上海佛学书局董事长，致力于慈善事业。对海派书画艺术的繁荣和对外交流贡献卓绝。\n王一亭作品具有近代人文主义意识。早年学画得徐小仓指点，后师从任伯年，画艺大进，继承任派风格。晚与金石派大师吴昌硕亦师亦友，趋向阔笔写意，设色浓艳，笔墨酣畅，气势雄阔而不失写实本色。构图讲究，诗书画印，浑然一体。在清末民初海上画派中影响仅次于吴昌硕。吴昌硕赠诗王一亭曰：“天惊地怪生一亭，笔铸生铁墨寒雨。”\n1932年任全国艺术家协会理事。1937年日寇侵占上海后，坚辞不就伪职，表现出高贵的劲风亮节。1938年11月病逝。重庆国民政府明令褒扬公葬。蒋介石题送挽联：“当飘摇风雨之中弥征劲节，待整顿乾坤而后重吊斯人”。",[23,25,7,77,28,29,35,80,97,17717],"米芾拜石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb631ca950933560345aaf0fbe0acb21.jpg",[],{"id":17721,"slug":17722,"title":5034,"dynasty":93,"author":507,"museum":74,"description":9386,"tags":17723,"thumbUrl":17724,"material":99,"size":17725,"collection":157,"collections":17726,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":342},290337,"hua-xue-jing-zhou-li-tang-290337",[24,25,7,364,77,130,3880,272,133,35,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209ee3197ccc570616f0231447ddfeca.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日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,25,364,7,130,28,129,132,427,521,733,7002,170,1419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365df2d00150d1369082f0a9ceeb720c.jpg",[138],{"id":17916,"slug":17917,"title":17918,"dynasty":93,"author":1517,"museum":331,"description":15898,"tags":17919,"thumbUrl":17920,"material":100,"size":100,"collection":100,"collections":17921,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":44},227730,"dong-ting-qiu-yue-tu-xiao-xia-gui-227730","洞庭秋月图（小）",[23,25,24,26,7,77,129,59,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706adea0be21d3e2be8c5b05315e7cc4.jpg",[],{"id":17923,"slug":17924,"title":17925,"dynasty":18,"author":1971,"museum":236,"description":17926,"tags":17927,"thumbUrl":17928,"material":486,"size":17929,"collection":138,"collections":17930,"showCount":42,"zanCount":11,"manualWeight":43,"mainColor":44},224483,"ling-shang-bai-yun-tu-wang-jian-224483","岭上白云图","图绘山峦叠嶂，树木茁壮葱茏，山间、山脚处民居隐现，坐落于此犹如世外桃园，画面布局充实繁密，山石画法以黄公望为宗，于披麻皴后又用横点叠皴，或勾或点，各具风姿。笔法圆润，浓墨点苔。风格古朴高雅，具有大气淳厚之感，是幅不可多得的佳作。",[23,25,26,7,28,129,130,252,4148,253,377,269,351,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcc8e3e142af285a644cc82cafaa371.jpg","143.7x50.6cm",[138],{"id":17932,"slug":17933,"title":17934,"dynasty":207,"author":50,"museum":236,"description":17935,"tags":17936,"thumbUrl":17937,"material":214,"size":17938,"collection":100,"collections":17939,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":88},223560,"yu-lan-guan-yin-tu-yi-ming-223560","渔篮观音图","鱼篮观音是三十三观音相之一，脚踏鳌背，手提盛鱼的竹篮或手提鱼篮的民间少妇形象，因是马郎之妇，故别名唤作”马郎妇观音“。\n佛教中三十三观音之一。手持鱼篮。明宋濂有《鱼篮观音像赞》：“序按《观音感应传》：唐元和十二年（公元817年），陕右金沙滩上有一美艳女子，絜篮鬻鱼，人竞欲室之。女曰：‘妾能授经，一夕能诵《普门品》者，事焉。’黎明，能者二十。女辞曰：‘一身岂堪配众夫邪！请易《金刚经》，如前期。’能者复居其半。女又辞，请易《法华经》，期以三日。惟马氏子能。女令具礼成婚。入门，女即死，死即糜烂立尽，遽瘗之。他日，有僧同马氏子启藏观之，惟有黄金锁子骨存焉。僧曰：‘此观音示现以化汝耳。’言讫飞空而去。自是陕西多诵经者。“",[23,24,25,26,7,54,29,77,985,80,79,9643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc18d37597ee238c26ceb0b013f0ee58.jpg","82.1x32",[],{"id":17941,"slug":17942,"title":17943,"dynasty":72,"author":50,"museum":20,"description":17944,"tags":17945,"thumbUrl":17947,"material":17948,"size":17949,"collection":100,"collections":17950,"showCount":42,"zanCount":11,"manualWeight":43,"mainColor":44},223405,"tian-long-ba-bu-luo-cha-nv-zhong-yi-ming-223405","天龙八部罗叉女眾","右上题“天龙八部罗叉女众”，上端题“大明景泰五年八月初三日施”。并钤“广运之宝”印。左下书“御用监太监尚义、王勤等奉命提督监造” ​​​​。 ​​​​此图绘有天龙八部中的四位即：天众、龙众、紧那罗、摩呼罗迦。外另四罗叉（刹）女，分别持有刀、剑、弓等武器。从形制看应该还有对幅来组成“八部“，可能已佚。此图是明景泰年间（1450-1457年）宫廷画师所作，极尽华丽之能事，可与法海寺壁画参看。",[23,25,7,27,28,54,29,4209,17946,4545,602],"神佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08d662c5db16a58703b6f2c0f10c2843.jpg","绢本·设色","141 x 79.2 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“奇而不诡于正，真高流逸墨”。用笔大胆粗犷,线条流畅爽利。图中寒山右手指天,谈笔风生；拾得袒胸露腹,欢愉静听。两人披头散发,憨态可掬。从画面上，我们能够感觉到他是受了李唐画风的影响，两个人物安排在近处，给人一种很强烈的视觉印象，而远景的虚化处理，更强化了人物的形象。背景部分用笔较为豪放粗简，向外探出的树干向背分明，树枝行笔错落而不失坚挺，表现藤蔓的线条潇洒飘逸。",[23,25,77,985,7,29,170,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9b4eeb60e8f3530895eeb0a7701d9c.jpg","纵121厘米，横30 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，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[25,26,7,77,130,945,129,134,193,349,377,521,733,132,170,8355,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[138],{"id":18159,"slug":18160,"title":9893,"dynasty":72,"author":7648,"museum":236,"description":9894,"tags":18161,"thumbUrl":18162,"material":3245,"size":9897,"collection":84,"collections":18163,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":44},238080,"kong-que-tu-zhou-lin-liang-238080",[25,7,2749,304,28,113,5187,78,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe590349717b59f807870a3352f8323cd.jpg",[84,158],{"id":18165,"slug":18166,"title":1381,"dynasty":18,"author":318,"museum":331,"description":7135,"tags":18167,"thumbUrl":18168,"material":100,"size":100,"collection":138,"collections":18169,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":88},237906,"shan-shui-zhou-zhu-da-237906",[25,77,7,130,129,170,132,131,35,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaeb96d04f2547d63809c206cc57897c.jpg",[138],{"id":18171,"slug":18172,"title":18173,"dynasty":18,"author":1971,"museum":236,"description":18174,"tags":18175,"thumbUrl":18176,"material":745,"size":5002,"collection":138,"collections":18177,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":88},237611,"fang-wu-zhen-shan-shui-zhou-wang-jian-237611","仿吴镇山水轴","本幅上部自识长题，款署：“王原祁画并题。”钤“王原祁印”白文印，“茂京文”白朱文印，“扫华庵”朱文印。右下角钤“西庐后人”朱文印。\n此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[25,77,7,130,945,79,129,169,170,733,132,172,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde793e600e15d4b6130ffe9d41788be4.jpg",[138,185],{"id":18179,"slug":18180,"title":18181,"dynasty":18,"author":1296,"museum":236,"description":18182,"tags":18183,"thumbUrl":18184,"material":214,"size":100,"collection":138,"collections":18185,"showCount":18092,"zanCount":11,"manualWeight":43,"mainColor":44},237409,"yuan-ji-tai-bai-shi-yi-shan-shui-tu-zhou-shi-tao-237409","原济太白诗意山水图轴","清初的画坛上，和尚画家之多，在中国绘画史上是极其罕见的。更为人所熟知的，便是弘仁、髡残、八大山人、石涛这四位活跃于明末清初的僧人画家，他们与清初“四王”分庭抗礼，在画史上合称“四僧”。为了让读者更加了解他们的生平及书画创作风格，文藏特将此作为系列文章形式展现给大家。\n石涛是中国艺术史上一位颇具研究话题的人物，他的身世经历、佛老信仰，交游关系，书画理论、诗文解读、作品辨伪，无不令后世的书画爱好者、鉴藏者和研究者们着迷。然而他的这些话题之所以会引起后世如此巨大的关注度，正是源自他的书画艺术，在历经三百多年的沉淀之后，依旧散发着无穷的魅力，给人以新鲜之感。这种魅力便是其每幅作品中无不体现着的诗境、书境和画境的完美结合。\n石涛原名朱若极，广西桂林人，是明宗室后裔，明靖江王朱亨嘉的长子，他晚年常自署款「阿长」、「极」，并有「赞之十世孙阿长」等印，以表明自己的身世。石涛出生仅两年明王朝就灭亡了，随后，他的父亲朱亨嘉又在南明朝廷内部的权力斗争中失败被杀。此时，年仅四岁的石涛，不得不由家中仆臣护送逃至全州躲藏，后在当地湘山寺出家为僧，法名原济，字石涛；他的仆臣也一同在此出家，法名原亮，字喝涛。从此二人以佛门师兄弟相称。在明末清初政权更迭的时候，很多不愿降清的明室宗亲和文人旧臣除了以死殉国，就只能选择隐藏身份出家为僧这一条路了，而石涛更要躲避来自清王朝和南明政权的双重追杀。\n隐居期间，石涛读书临帖，研习书画，同时跟随师兄喝涛旅居武昌，游历两湖地区，后又从武昌顺江而下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[25,26,7,304,77,130,129,733,170,427,132,193,29,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[138,101],{"id":18187,"slug":18188,"title":18189,"dynasty":18,"author":436,"museum":236,"description":18190,"tags":18191,"thumbUrl":18192,"material":1573,"size":9258,"collection":84,"collections":18193,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":88},236339,"liu-yin-shi-nv-zhou-hua-yan-236339","柳荫仕女轴","此图绘一端庄文弱的女子,此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。\n华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。",[25,7,77,28,985,29,30,1126,35,253,1675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5db8902cc7bd108ea1d0ba1c4f56d5.jpg",[84,185,101],{"id":18195,"slug":18196,"title":18197,"dynasty":72,"author":10064,"museum":331,"description":18198,"tags":18199,"thumbUrl":18200,"material":100,"size":100,"collection":100,"collections":18201,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":44},235238,"xue-jing-shan-shui-zhou-xie-shi-chen-235238","雪景山水轴","整幅画作晕染出萧寒静谧的冬日元气。危崖覆雪，古松虬曲苍劲，松针凝着残雪，愈显老干挺秀。山居茅屋藏于寒林之中，屋中人围炉闲坐，暗生融融暖意，山道上仆童瑟缩徐行，一动一静、一暖一寒，反差鲜活。右侧寒木疏朗，烟霭漫过江渚，远景虚茫朦胧，将冬日荒寒漫漶开来。以浓墨衬积雪，虚实相生，把山野间清寂萧索的冬意铺陈尽致，又暗藏幽居避世的温情意趣，题诗衬景，诗画相融，尽显冬日山居的澹远意境。",[25,26,7,77,130,129,3880,427,733,29,521,132,1717,17770,7002],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec8ecd49d56bdd396f437f4e4ea846e.jpg",[],{"id":18203,"slug":18204,"title":18205,"dynasty":18,"author":235,"museum":331,"description":13035,"tags":18206,"thumbUrl":18207,"material":198,"size":780,"collection":100,"collections":18208,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":88},235115,"xi-zhi-ai-e-tu-zhou-ren-yi-235115","羲之爱鹅图轴",[25,26,7,28,77,985,29,31,3643,1743,58,472,13329,3476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fa5201165d8c09e15839d296e87072.jpg",[],{"id":18210,"slug":18211,"title":18212,"dynasty":72,"author":50,"museum":331,"description":18213,"tags":18214,"thumbUrl":18216,"material":100,"size":100,"collection":100,"collections":18217,"showCount":18092,"zanCount":11,"manualWeight":43,"mainColor":44},234931,"ming-ren-qiu-jing-huo-lang-tu-zhou-yi-ming-234931","明人秋景货郎图轴","当“双十一”掀开一个全民购物狂欢的序幕，放眼远在千百年前的临安街头，货郎们一人一担一声叫卖，仅凭这种最原始的“人肉购物车”，便足以吸引市井众人的注目，引出一番欢悦的情景。李嵩等画家以此为题奋笔挥毫，定格了过去一段段市井风貌。沉醉于塞满购物车再一朝清空快感的，不光只有21世纪的网购达人，中国古人的“购物车”更是让人眼花缭乱，甚至叹为观止。 在历代流传下来的“货郎图”图示中，我们便可略窥一二。宋代绘画是写实主义的巅峰，《货郎图》则是这一巅峰上的一片奇岫。南宋吴自牧《梦粱录》中提到，当时杭州的小贩在沿街叫卖时“挑担抬盘架”，“担瑜石钉铰金装架儿”，《清明上河图》中，也有货郎在一根扁担的两头各挑一个货架，说明这种一根扁担挑两个货架的销售形式，在两宋很是普遍。因此，画中这位货郎和他的货担，可谓是对十一至十三世纪的流动小商贩的忠实记录。“货郎图”是宋代较为流行的一种表现当时流动小商品买卖的绘画形式。如今存世较为知名的主要有四幅南宋李嵩的《货郎图》（分别藏于北京故宫博物院、台北故宫博物院、美国大都会博物院、美国克利夫兰美术馆）以及一幅传为北宋苏汉臣所作的《货郎图》。",[25,28,27,7,29,8517,8518,4624,170,1675,132,2190,1405,4987,602,9996,18215,58],"棚架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b38b5a780482a0e4fa98b8ed68079b5.jpg",[],{"id":18219,"slug":18220,"title":18221,"dynasty":72,"author":1614,"museum":236,"description":18222,"tags":18223,"thumbUrl":18225,"material":745,"size":18226,"collection":100,"collections":18227,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":88},233789,"cha-ju-shi-yong-tu-wen-zheng-ming-233789","茶具十咏图","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏•茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。",[25,26,7,77,129,170,270,151,80,130,18224],"细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F078ace09b71a9b7aa104d7a634ed1d23.jpg","纵136.1厘米，横26.8厘米",[],{"id":18229,"slug":18230,"title":9284,"dynasty":72,"author":9285,"museum":236,"description":18231,"tags":18232,"thumbUrl":18233,"material":486,"size":18234,"collection":100,"collections":18235,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":88},233406,"chun-shan-you-qi-tu-zhou-zhou-chen-233406","此图以传统的春山行旅为题材，描绘高山石崖险峻陡峭，楼阁房舍掩映其间，错落有致。近景山溪岸边春花几树，山溪湍流，小桥流水，主仆一行三人正在过桥。山上苍松浓郁，遒劲多姿。舍后绿树成荫，一派春机昂然的景象。画家在全景式的构图中突出前景，着意表现春山、游骑、桃花、虬松，以此点明题意。\n作品构图繁复而不失明旷，稳健周密，雄中寓秀，密中呈疏；设色清妍秀丽，笔法劲健明秀；人物用细线淡色，笔意流畅，是周臣代表作品之一。本幅山石方折峻嶒，勾皴细密硬朗，松树略为倒挂多杈，斧劈皴挺括，造景雄奇，其艺术风格主要继承了南宋的“院体”画传统，也融合了北宋李成、郭熙的画法。",[25,26,7,77,130,129,134,193,196,29,170,132,733,427,1419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fc7872baa9dc7316ddebbdb9b0a10e.jpg","纵185.1厘米， 横64厘米",[],{"id":18237,"slug":18238,"title":18239,"dynasty":18,"author":10357,"museum":236,"description":18240,"tags":18241,"thumbUrl":18242,"material":486,"size":18243,"collection":100,"collections":18244,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":88},233114,"bi-shu-shan-zhuang-tu-zhou-leng-mei-233114","避暑山庄图轴","作者以写实的手法描绘了避暑山庄后苑部分及其四周的崇山峻岭。构图为鸟瞰式，自景区上方向下纵向取景，景致具体而微。设色以青绿着色和浅绛渲染相结合，冷暖色调和谐呼应，成功地营造出山庄静寂清幽的氛围。笔法灵活多变，山石树木或以干笔皴擦，或青绿烘染。建筑物的描绘，作者在传统的工笔界画基础上，又巧妙地吸收了欧洲的透视法，并将二者融合在一起，从而更科学、客观地表现出建筑物的物理结构，同时也加强了画面的纵深感。此图同时是一幅反映康熙时期避暑山庄建筑的图样，对于我们了解避暑山庄的建筑沿革有着重要的图像价值。",[24,25,26,7,28,27,129,269,193,170,1618,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d890f29b07ff6e1df7488c12dacbcf7.jpg","纵254.8厘米，横172.5厘米",[],{"id":18246,"slug":18247,"title":18248,"dynasty":72,"author":18249,"museum":331,"description":18250,"tags":18251,"thumbUrl":18252,"material":100,"size":100,"collection":100,"collections":18253,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":88},228404,"mo-he-tu-li-zhou-xiang-yuan-bian-228404","墨荷图立轴","项元汴","此作虚实相生，以文绘相融尽显文人意趣。右上角题诗留白衬映画面，下半段挥写墨荷。大写意泼染荷叶，墨色干湿浓淡交织，晕染出翠盖舒展的蓬勃野态；花瓣以清隽白描勾勒，尽显菡萏清雅绰约之姿。挺劲荷茎点缀苔斑，舒展兰草环绕侧畔，更添幽塘清逸之趣。\n\n整幅以极简水墨抒怀，将荷塘晓风的清寂诗意融于笔底，以简驭繁尽显晚明文人画重韵尚意的风骨，在水墨氤氲间晕染出空灵澹远的幽塘意境，是借物寄怀的文人水墨佳构。",[23,25,26,7,77,306,307,308,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e662119b33919b8f58181bb78653082.jpg",[],{"id":18255,"slug":18256,"title":18257,"dynasty":18,"author":5720,"museum":331,"description":18258,"tags":18259,"thumbUrl":18260,"material":100,"size":100,"collection":100,"collections":18261,"showCount":18092,"zanCount":11,"manualWeight":43,"mainColor":704},224578,"qing-ke-si-qun-xian-zhu-shou-zhou-qing-ren-224578","清缂丝群仙祝寿轴","云端玄女乘鹤御风而来，松荫之下众仙执笙捧盏，衣袂翩跹顾盼生姿，满含恭谨喜色，似正静待贺寿吉时。下方仙姝俯身采撷芝草灵卉，奇石虬松环伺左右，流云漫卷天际，将海天仙乡的缥缈灵秀铺展尽致。\n\n此作用通经断纬之技晕染衣纹褶皱的柔婉层次，石色苍古明润，松针纤毫毕现，将群仙赴寿的欢愉雅景织就，既见仙班贺寿的祥瑞吉庆，又尽显工致秀雅的匠艺风华，恍将清虚仙境凝于尺幅之中。",[24,25,26,7,473,28,29,129,170,4209,2883,6504,2190,132,151,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87520e9eaeef0cd56b73baacd54137b6.jpg",[],{"id":18263,"slug":18264,"title":9368,"dynasty":18,"author":4998,"museum":236,"description":18265,"tags":18266,"thumbUrl":18267,"material":745,"size":9415,"collection":138,"collections":18268,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":44},224389,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-224389","其实王原祁和他的祖父都特别喜欢黄公望的作品，这也是他临摹黄公望作品的原因。 王原祁代笔之作很多，由于他受皇帝赏识，学他风格者上千，成为“娄东派”，此派左右清代三百年画坛，正为正统派，对后世影响极大。清代山水画一蹶不振，这也是一大原因。",[23,24,25,364,945,130,77,28,7,252,56,170,134,733,172,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg",[138],{"id":18270,"slug":18271,"title":18272,"dynasty":18,"author":436,"museum":331,"description":18273,"tags":18274,"thumbUrl":18275,"material":100,"size":100,"collection":100,"collections":18276,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":88},224177,"tao-tan-yu-ya-hua-yan-224177","桃潭浴鸭","暖红桃枝垂曳入水，柔丝轻拂春水，将烂漫春色揉进涟漪。浴鸭憨态可掬，翎毛晕染细腻蓬松，俯身在清波中理羽，把春日闲静慵懒尽数绘出。\n\n整幅画虚实相生，艳而不俗的花色，和淡墨晕开的汀草灵石相映，兼工带写间既有精妙写实，又具疏朗雅致。笔意秀逸清新，将水畔清和的春日温柔晕染开来，把闲淡生机藏在每一处细节，尽显灵动雅致的文人意趣。",[23,25,28,113,27,7,498,6678,56,57,1275,4595,77,1371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c66d85b5a377c609d50d01fb40a230f.jpg",[],{"id":18278,"slug":18279,"title":18280,"dynasty":49,"author":50,"museum":331,"description":18281,"tags":18282,"thumbUrl":18283,"material":100,"size":100,"collection":100,"collections":18284,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":44},223615,"di-shi-san-yin-jie-tuo-zun-zhe-tu-yi-ming-223615","第十三因揭陀尊者图","半袒上身的尊者安坐崖间，高眉深目，虬髯微张，神情沉静威严，身后圆光晕染出清净圣格。身旁神兽昂首嘶吼，筋骨劲健灵动，动静之间形成鲜明反差，更衬出尊者静定无波的禅心。\n画作设色调和古雅，衣纹勾勒顿挫苍劲，晕染细致，既将织物厚重质感铺陈开来，又将尊者伟岸身形刻画入微。淡墨晕染山石云气，晕开幽寂清旷的禅意氛围。工写兼备之下，将尊者慈悲威严的气度与神兽悍勇神态尽皆展现，尽显古宗教绘画的肃穆高华与精湛笔力。",[23,25,26,7,54,27,28,29,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a690d779abe88933909687b4c9e34c7.jpg",[],{"id":18286,"slug":18287,"title":18288,"dynasty":72,"author":18289,"museum":74,"description":18290,"tags":18291,"thumbUrl":18292,"material":82,"size":18293,"collection":185,"collections":18294,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":88},221877,"yun-lin-shu-shi-zhou-gu-zheng-yi-221877","云林树石轴","顾正谊","顾正谊 ， 明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。”",[23,25,77,7,130,253,78,35,80,79,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca8b4dda7acc4293094d57d245fb08e.jpg","92.6 x 38.8 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永兴弟任薰舜琴写”，钤“任薰”白文方印。",[25,7,28,27,29,18358,253,601,17667,3673,18359,5110,18360,34],"芝","柳叶","苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660fdaf34b7e404657c4f40b3ede7755.jpg","纵137.5厘米，横39.5厘米",[39],{"id":18365,"slug":18366,"title":13870,"dynasty":72,"author":18367,"museum":74,"description":18368,"tags":18369,"thumbUrl":18370,"material":77,"size":18371,"collection":185,"collections":18372,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":44},219359,"feng-yu-gui-zhou-tu-lin-shan-219359","林山","绢本泛黄，墨痕疏淡间，风雨江天的意趣徐徐铺展。一叶扁舟斜横水面，舟中人身形隐约，似在风雨里寻着归途，船桨轻点的弧度，漾开几分仓促又安然的韵致。岸边垂柳被风牵曳，枝条如乱丝垂落，墨线的轻飏里，藏着风的姿态。近处草木以浓墨点染，与远山淡晕的朦胧相映，空阔的江天更显清寂。整幅画以简笔写意，水墨的浓淡交织出萧索与生机的平衡，归舟的动态打破了江天的静穆，却又融于这份空灵之中，尽显文人画的悠远之味。",[24,25,26,7,77,129,349,350,253,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53b1a4c4aee7fb87b3e765521a76a33.jpg","130.9x63",[185],{"id":18374,"slug":18375,"title":18376,"dynasty":72,"author":11414,"museum":147,"description":18377,"tags":18378,"thumbUrl":18380,"material":37,"size":100,"collection":84,"collections":18381,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":44},219325,"hua-niao-tu-yi-yue-zhou-219325","花鸟图(一)","枯枝虬曲如铁，却绽几点新红，似冬末春初的暖意悄然浸来。枝上双禽相顾，羽色黑白分明，灵动如生；坡前雉鸡敛翅，尾羽拖曳如绢，斑驳羽纹间藏着野趣。花木与禽鸟相契，笔墨工致处见羽毛肌理，写意处显枝干苍劲，松针细劲，山石朴拙，似能听见枝间轻啼，嗅到草间清芬。整幅画面古雅静谧，生机暗涌，将自然之趣凝于绢素，尽显传统花鸟的意韵悠长。",[23,25,26,7,27,28,113,392,131,18379,151],"雉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095ebf46cf6c15794eea3c98ab045de1.jpg",[84],{"id":18383,"slug":18384,"title":18385,"dynasty":18,"author":11350,"museum":3222,"description":18386,"tags":18387,"thumbUrl":18388,"material":37,"size":18389,"collection":84,"collections":18390,"showCount":18092,"zanCount":11,"manualWeight":43,"mainColor":44},218736,"liu-tang-ji-qin-tu-hu-mei-218736","柳塘集禽图","此画描绘了一群禽鸟在柳塘嬉戏的情景。画中几只芦雁或在岸上长鸣，或在水中畅游，或在低空中盘旋，石缝中生长出几棵小树，两只小鸟在枝丫上彼此顾盼。",[23,25,26,24,7,27,77,113,1126,115,3620,1892,56,601,170,151,1742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a65963fe55590b859fe37010d4dfd9.jpg","纵211厘米，横100厘米",[84],{"id":18392,"slug":18393,"title":18394,"dynasty":18,"author":4998,"museum":236,"description":18395,"tags":18396,"thumbUrl":18397,"material":37,"size":18398,"collection":138,"collections":18399,"showCount":18092,"zanCount":11,"manualWeight":43,"mainColor":44},218508,"qing-shan-die-cui-zhou-wang-yuan-qi-218508","晴山叠翠轴","山峦层叠如浪，墨色皴擦间见苍劲骨力，干笔积染出岩壑的厚重肌理。云雾轻笼谷口，牵起远近峰峦的呼吸，让重山不显壅塞，反生空濛之趣。\n\n溪流蜿蜒穿林，石岸错落间，几座亭台隐于松荫下，似有琴音随波漫散。松枝如铁，竹叶含翠，笔墨间藏着岁月的温润——既见北地山水的雄浑骨架，又融江南草木的秀逸情致。\n\n整幅画如一卷徐徐展开的清梦，每一笔皴擦都浸着文人的静穆心思，将自然丘壑凝练成纸上的悠远意境，让人观之忘俗，仿佛能踏入那片松风竹影里，听山涧流水，享片刻清宁。",[23,25,26,7,129,130,28,252,253,193,134,733,132,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65267561fee9a2d6709bd2cb30d8768c.jpg","139.5x61cm",[138],{"id":18401,"slug":18402,"title":18403,"dynasty":18,"author":4998,"museum":236,"description":18404,"tags":18405,"thumbUrl":18406,"material":37,"size":18407,"collection":138,"collections":18408,"showCount":18092,"zanCount":43,"manualWeight":43,"mainColor":88},218507,"fang-shan-qiao-shan-shui-zhou-wang-yuan-qi-218507","仿山樵山水轴","干笔皴擦的峰峦如黛，层层积墨间藏着云气轻烟。近处松枝横斜，溪畔孤舟静泊，山间隐约露人家檐角。笔墨苍劲却不失秀润，构图繁复仍显空灵，将山樵淡远意境与自家沉雄笔力相融。尺幅间铺展静谧悠远的山水天地，峰峦跌宕里见林木繁密，溪涧蜿蜒处映云雾缭绕，尽显文人画的气韵生动与笔墨精神，仿佛能听见山风掠过松涛、溪水潺潺流过石滩的轻响，把传统山水的沉雄气象凝于一纸之上。",[23,25,7,77,130,129,1651,132,170,427,193,349,878,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6d1ab3c13a67e13f50739433bb5efa.jpg","纵95.5cm，横51.5cm",[138],{"id":18410,"slug":18411,"title":11447,"dynasty":93,"author":50,"museum":74,"description":18412,"tags":18413,"thumbUrl":18415,"material":37,"size":10827,"collection":39,"collections":18416,"showCount":18092,"zanCount":11,"manualWeight":43,"mainColor":44},216946,"luo-han-zhou-yi-ming-216946","罗汉轴是一种古代中国的手卷绘画。它们通常以佚名作者为代表，出现在宋朝（960-1279年）时期。罗汉轴的主题通常是佛教经典和寺庙仪式中的罗汉（即被提升到超凡脱俗境界的佛教徒）。这些绘画通常画在绢上，并装在木质卷轴架上。它们是当时中国绘画艺术的重要组成部分，被视为宝贵的艺术品。",[25,26,7,54,27,28,29,253,55,18414],"坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802b4b5465a9970a4423478868b05daf.jpg",[39],{"id":18418,"slug":18419,"title":18420,"dynasty":72,"author":389,"museum":331,"description":1060,"tags":18421,"thumbUrl":18422,"material":198,"size":780,"collection":100,"collections":18423,"showCount":18424,"zanCount":11,"manualWeight":43,"mainColor":88},290846,"lu-ting-xi-ting-zhou-tang-yin-290846","芦汀系艇轴",[25,77,7,129,349,59,12609,80,79,2367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c599288488feb622be66ad18c6dcc4.jpg",[],36,{"id":18426,"slug":18427,"title":18428,"dynasty":207,"author":518,"museum":18429,"description":6111,"tags":18430,"thumbUrl":18431,"material":82,"size":18432,"collection":100,"collections":18433,"showCount":18424,"zanCount":11,"manualWeight":43,"mainColor":88},290841,"zhu-zhou-ni-zan-290841","竹轴","台北姑姑博物院",[25,26,7,77,31,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140e073a93b5bbafd69cbc35fbfacc63.jpg","67.1x32.9",[],{"id":18435,"slug":18436,"title":18437,"dynasty":207,"author":208,"museum":74,"description":252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和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。\n其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。\n款署：“渐江学者为子翁居士作陶庵图。\n”钤“弘仁”朱文印、“渐江僧”白文印。\n画幅上方有罗逸题七律一首，款署：“八十五老友罗逸为子陶先生题。\n”钤“罗逸之印”朱文印、“远游”白文印。\n鉴藏印有“礼耕堂”等二方。\n画右中部有篆书“庚子”二字。\n“庚子”是清顺治十七年（166年），作者时年51岁。",[24,25,26,7,77,130,129,252,253,377,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5771af356858a98b85a075031e46a14a.jpg",[],{"id":18545,"slug":18546,"title":18547,"dynasty":18,"author":18548,"museum":331,"description":18549,"tags":18550,"thumbUrl":18551,"material":198,"size":780,"collection":100,"collections":18552,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":88},235405,"he-hua-shuang-fu-tu-zhou-ren-qi-235405","荷花双凫图轴","任淇","一作琪，字竹君，号建齐，生年不详，卒于1861年。浙江萧山人（瀛壖杂志作任竹君，余姚人），任熊族叔。工书法，写兰亭、十三行，楷法精妙。与周白山同时寓沪甚久。精篆刻，金石、竹、木，无不擅长。花卉双钩，尤其专技。",[25,7,27,28,113,306,307,151,1868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3cf559924c299931a82ede3a2c8040.jpg",[],{"id":18554,"slug":18555,"title":8250,"dynasty":72,"author":389,"museum":236,"description":18556,"tags":18557,"thumbUrl":18558,"material":745,"size":8254,"collection":100,"collections":18559,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":88},233782,"mo-mei-tu-zhou-tang-yin-233782","此幅以枯笔焦墨画梅花枝干，皴擦纹理，表现梅枝苍劲虬曲的姿态；以浓淡相间的水墨点画花朵，以谨细之笔画出花蕊，笔法刚健清逸，表现出梅花清丽脱俗的风貌。画面中间的梅花风姿绰约，右上的题诗洒脱清秀，左下的印章工稳典雅，三者浑然一体，相得益彰。",[25,7,77,392,80,79,113,6189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f4f5ac2515103604a1a28cdb834aab2.jpg",[],{"id":18561,"slug":18562,"title":18563,"dynasty":207,"author":50,"museum":331,"description":18564,"tags":18565,"thumbUrl":18566,"material":100,"size":100,"collection":100,"collections":18567,"showCount":18424,"zanCount":11,"manualWeight":43,"mainColor":44},232800,"ying-zhen-tu-shi-ba-luo-han-zuo-yi-ming-232800","应真图(十八罗汉 左)","隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了欣赏，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。",[25,26,7,54,28,27,29,5713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F759fd55d66556766afd7f1236ed8d067.jpg",[],{"id":18569,"slug":18570,"title":1260,"dynasty":18,"author":4963,"museum":331,"description":18571,"tags":18572,"thumbUrl":18573,"material":100,"size":100,"collection":100,"collections":18574,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":44},229004,"ma-gu-xian-shou-tu-huang-shan-shou-229004","画面里仕女温婉端柔，手捧仙瓶静立，衣纹舒展灵动，衣饰纹饰细密雅致，尽显秀润华美感。身旁老者苍颜皓首，拄蟠桃树杖，神态矍铄安然。此作用笔工写相融，线条清劲流畅，设色调和古雅，将二人仙逸气质烘托恰到好处。整体画面祥和悠然，把福寿吉庆的美好意蕴藏于笔墨之间，尽显传统吉祥题材画作的精妙意趣，以细腻的人物塑造传递出雅致祥瑞的贺寿主题，尽显古典人物画的匠心之美。",[25,26,7,28,27,29,30,33,34,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f630caf622323c7378dd7917517fa5.jpg",[],{"id":18576,"slug":18577,"title":18578,"dynasty":72,"author":50,"museum":331,"description":18579,"tags":18580,"thumbUrl":18581,"material":198,"size":780,"collection":100,"collections":18582,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":44},228785,"shi-yi-mian-qian-shou-guan-yin-xiang-yi-ming-228785","十一面千手观音像","十一面观音，Ekādaśa mukhānām Avalokiteśvara，六观音之一，主救济阿修罗道，给众生以除病、灭罪、增福之现世利益。总之为除恶导善，引众生入佛道之菩萨。",[23,25,26,54,29,27,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d021d8e9cc61cc2bc69122214eef57e.jpg",[],{"id":18584,"slug":18585,"title":18586,"dynasty":72,"author":10064,"museum":331,"description":18587,"tags":18588,"thumbUrl":18590,"material":100,"size":100,"collection":100,"collections":18591,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":44},228749,"wu-xia-yun-tao-tu-xie-shi-chen-228749","巫峡云涛图","此作用全景式铺陈，以苍劲斧劈皴勾勒危崖峻岭，古木虬枝错落，丹黄枝叶点缀出清秋意趣。云气以淡墨晕染留白，将层峦半遮半掩，恍若仙境浮空。下方急流曲回，浪纹细密写实，孤舟搏浪于波谷峰尖，既尽显巫峡水势之汹涌诡谲，也暗透出旅人穿险的惶然张力。画作兼融北派山水的雄浑与南派的秀润，笔力厚重苍莽，墨色层次丰盈，将山川云涛的磅礴瑰奇与行旅意趣相融，绘就出巫峡吞吐云波的壮绝天地。",[23,25,26,7,77,28,130,129,18589,349,170,169,132,173],"云涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51511415c782138d8297a287b8d354.jpg",[],{"id":18593,"slug":18594,"title":18595,"dynasty":18,"author":8793,"museum":331,"description":18596,"tags":18597,"thumbUrl":18599,"material":100,"size":100,"collection":100,"collections":18600,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":44},224598,"han-gong-qiu-yue-li-zhou-yuan-yao-224598","汉宫秋月立轴","淡月斜悬于青灰长空，清辉将整座宫苑晕在朦胧夜雾中。苍劲古柏撑着如墨浓荫，半掩着朱檐碧瓦的楼宇，界画工细，飞檐斗拱分毫毕现，却又以晕染柔去硬挺棱角，消解了皇家楼宇的威仪。\n\n栏边宫人身姿温婉，私语间衣袂轻垂，在空寂御苑里点出幽淡怅惘。冷调底色铺陈出浸骨清寂，将深宫秋夜里的孤萧闲愁藏在细腻笔触间，静穆氛围漫溢出无声寂寥，把夜色宫苑的含蓄怅然铺陈得余韵悠长。",[23,25,24,7,1157,28,269,3489,170,29,59,778,1675,18598],"假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0deb19622ffb85f1b15aed262c25fd1.jpg",[],{"id":18602,"slug":18603,"title":18604,"dynasty":18,"author":8994,"museum":533,"description":18605,"tags":18606,"thumbUrl":18607,"material":1394,"size":18608,"collection":138,"collections":18609,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":88},224253,"gu-mu-yuan-shan-tu-cha-shi-biao-224253","古木远山图","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,25,77,129,7,2294,522,35,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7dbbb93b849c20f73993df993353af8.jpg","47.7x108.8cm",[138],{"id":18611,"slug":18612,"title":18613,"dynasty":93,"author":50,"museum":74,"description":18614,"tags":18615,"thumbUrl":18616,"material":18617,"size":18618,"collection":100,"collections":18619,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":44},223438,"song-ke-si-fo-xiang-zhou-yi-ming-223438","宋缂丝佛像轴","除此之外，又以蕴涵吉祥或神话题材作为祝寿或馈赠的礼品，如〈宋缂丝八仙拱寿〉、〈宋缂丝紫芝仙寿〉等，皆甚受喜爱，数量增多，题材多元丰富。到了南宋时期，佛教、道教宗教题材亦逐渐加入缂丝制作的行列，宋代佛与菩萨造像倾向世俗化，平易近人，塑像既不失庄重，又富人世情感，创造出秀婉典雅的风貌。此幅蓝地设色缂丝佛像即其中精品。圆光中，释迦牟尼佛结跏趺坐在莲花台座上，莲花宝座，共分四层，色泽沉稳。坐佛顶成肉髻相，脸形略圆，五官柔和安祥，神情庄严肃穆。身着袒右肩赭红色袈裟，衣褶流畅，双手仰放于腹前，两拇指的指端相接，称为禅定印，相传释迦牟尼佛在菩提树下，即以此坐式入定悟道。缂丝人物的五官、肌肤最难表现，此件作品粉本精工细致，织工技巧纯熟，如佛像的头部、手、腿，比例写实合宜，线条流畅，纬线之分色细腻自然，散发佛陀庄严神韵，可为宋代缂丝佛像艺术品的代表。",[23,1520,473,7,54,29,9613,5394,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a725847eb6a484563d19c478324e895.jpg","緙絲","251X78.5",[],{"id":18621,"slug":18622,"title":18623,"dynasty":18,"author":235,"museum":648,"description":13035,"tags":18624,"thumbUrl":18625,"material":1320,"size":14810,"collection":100,"collections":18626,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":88},223231,"mei-que-tu-ren-yi-223231","梅雀图",[23,25,26,7,28,77,113,392,115,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b46401bef043423b368b688dbe0e57.jpg",[],{"id":18628,"slug":18629,"title":18630,"dynasty":72,"author":9457,"museum":74,"description":18631,"tags":18632,"thumbUrl":18633,"material":1218,"size":18634,"collection":39,"collections":18635,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":44},222155,"si-xian-gong-shou-tu-zhou-shang-xi-222155","四仙拱寿图轴","《四仙拱寿图》是一张祝寿图，结合了佛、道两教的人物在同一张画。在波涛万顷的海面上，有四位仙人凌波渡海。画面最右边，骑着三足金蟾的是全真教五祖之一的刘海蟾。在他左侧，肩挂葫芦、脚踏在拐杖上的是八仙中的李铁拐。左方两人，一人脚踏蕉叶，一人踩着竹帚，则是唐代的禅僧寒山和拾得。这四人的目光都聚集在画面正中央，骑着仙鹤飞翔的南极仙翁(寿星)。\n画中每位仙人的面部表情，都描写得十分生动，甚至有些夸张，仙人的衣袍随风飘举，衣描用笔方折、顿挫有力，显得相当粗犷，这种风格乃是传承唐代吴道子“吴带当风”的衣描画法，并且受到元代画家颜辉(活动于13世纪后期)的影响。商喜是明初宫廷著名的人物画家，他早年曾经为寺庙殿宇绘制巨幅壁画，《四仙拱寿图》这张巨幅人物图代表他在这方面的艺术成就。15世纪中后期的宫廷画家刘俊、赵麒，也都继承商喜画仙人的传统，但是用笔带有强烈的装饰风格，显示出同一样式在后来的发展。",[23,25,26,7,27,28,29,151,56,1797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F952b33a2bd40bdf845ccc85ef17e1b44.jpg","纵98.3、横143.8厘米",[39,185],{"id":18637,"slug":18638,"title":18639,"dynasty":72,"author":752,"museum":331,"description":18640,"tags":18641,"thumbUrl":18642,"material":1218,"size":18643,"collection":100,"collections":18644,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":44},221881,"ren-wu-tu-zhou-chen-hong-shou-221881","人物图轴","画面中的主人公身着宽松长袍，身姿硕健，手持梅花与灵芝，悠然自得，用笔遒劲挺拔，形体造型夸张，塑造人物古朴，形象地表现出主人公遗世独立的精神面貌。 [1] 题识：“老迟洪绶画于狮子林。” 钤“陈洪绶印”白文印，“章侯氏”朱文印。陈洪绶（1598—1652）， 字章侯，号老莲、老迟，晚号悔迟、云门僧等。诸暨（今浙江诸暨）人。善山水、花鸟，尤精人物，世所罕及。与崔子忠齐名，称“南陈北崔”。",[23,25,26,7,27,28,29,33,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6430abb4d4cf493e0e01578a4f3f6554.jpg","纵118厘米，横55厘米",[],{"id":18646,"slug":18647,"title":18648,"dynasty":207,"author":10387,"museum":74,"description":18649,"tags":18650,"thumbUrl":18652,"material":28,"size":18653,"collection":138,"collections":18654,"showCount":18424,"zanCount":419,"manualWeight":43,"mainColor":44},221860,"jiang-shan-fang-ting-tu-zhou-zhao-yong-221860","江山放艇图轴","村屋几家，散置在坡旁石侧，远处烟岚横隔了高峻的山岭。在飘渺的山脚，一道溪泉缓流而来。溪面上，有人乘舟悠游，一种清逸之气，浮动在朴实而宁静的画面里。明董其昌认为这幅画是赵雍的真迹。",[23,25,364,24,7,130,28,129,349,170,132,193,733,427,9340,272,18651,3150],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd740c6e19802a334b71ce2b65171c6ec.jpg","该幅 160.6x104.9公分；诗塘 17.3x104.6公分；全幅 107公分",[138,185],{"id":18656,"slug":18657,"title":18658,"dynasty":207,"author":518,"museum":18659,"description":18660,"tags":18661,"thumbUrl":18662,"material":214,"size":18663,"collection":138,"collections":18664,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":44},220802,"shu-lin-tu-zhou-ni-zan-220802","疏林图轴","日本民间","书生的告老还乡之路，和出门赶考一样的漫长。似乎，人的出门远走，就是为了白发还乡，叶落归根。",[23,25,26,7,77,130,129,131,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069f922f766f4292a865aab0bf382ef.jpg","68x57cm",[138,185],{"id":18666,"slug":18667,"title":18668,"dynasty":72,"author":13420,"museum":10279,"description":18669,"tags":18670,"thumbUrl":18671,"material":37,"size":18672,"collection":138,"collections":18673,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":44},220146,"shan-ting-tu-li-zai-220146","山亭图","李在，明代宫廷画师，字以政，福建莆田人，迁居云南，后召入京。宣德时与戴进、谢环、石锐、周文靖同待诏入直仁智殿。自戴进以下一人而已。其山水细润处近郭熙，豪放处宗马、夏，多摹仿古人，笔气生动。《闽画史稿》谓其：“其人物笔致苍古，八面生动，开闽派之先。”日本画僧雪舟，曾与之切磋画艺。传世作品有《琴高乘鲁图》《阔渚晴峰图》《归去来兮图》《山亭图》等。",[23,25,26,129,7,77,130,377,134,132,733,131,686,170,29,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35489b0dded68401fc6628330b040d8f.jpg","124.9cm×59.4cm",[138],{"id":18675,"slug":18676,"title":18677,"dynasty":18,"author":4669,"museum":4105,"description":18678,"tags":18679,"thumbUrl":18680,"material":37,"size":18681,"collection":138,"collections":18682,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":44},219847,"guan-e-tu-wang-hui-219847","观鹅图","此作用笔秀润，以高远山居搭配平远水色，远山巍峨苍浑，飞泉隐于云壑林麓间，清寂辽远。临水楼阁中，文士凭栏远眺，溪上白鹅悠游浮掠，浅滩处侍童持物静立。\n\n皴擦松柔，晕染淡净，林木苍古秀雅，亭台简雅空灵，取景错落舒展，将林泉幽居的闲逸雅致铺陈开来，尽显观鹅寄怀的隐逸雅兴，淡墨轻岚间浸透着静穆萧散的文人意趣，简淡中见隽永悠远的林下之风。",[25,7,77,130,28,129,29,377,151,170,132,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4100c5e85a00f55e5bd56e3b266434.jpg","130.5x39.4cm",[138],{"id":18684,"slug":18685,"title":18686,"dynasty":72,"author":50,"museum":147,"description":18687,"tags":18688,"thumbUrl":18689,"material":37,"size":100,"collection":39,"collections":18690,"showCount":18424,"zanCount":11,"manualWeight":43,"mainColor":44},219571,"tang-gao-shi-lu-lu-wang-xiang-yi-ming-219571","唐高士陆鲁望像","长髯垂胸，面容沉静端方，眉眼敛着淡然神色，尽显林下高士的清雅从容。服饰层次分明，苔青色外袍晕染出沉稳古雅的质感，玄色缘边勾勒出规整形制，系带细节写实雅致，衬出人物简淡出尘的气度。\n\n画作设色古厚沉静，绢本底色晕染出岁月沉淀的温润质感，线条凝练含蓄，形神兼备地呈现出人物温雅疏旷的气质，尽显传统肖像画的写实功力，带着古雅端严的审美意趣，将这位高士超然世俗的风骨缓缓铺陈开来。",[23,25,26,29,7,27,28,34,4762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F558c5168241beb3eccf8710b5db2e2ac.jpg",[39],{"id":18692,"slug":18693,"title":18694,"dynasty":72,"author":18695,"museum":74,"description":18696,"tags":18697,"thumbUrl":18698,"material":37,"size":18699,"collection":138,"collections":18700,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":44},219514,"bi-wu-jiang-shu-tu-song-mao-jin-219514","碧梧降暑图","宋懋晋","此作用高远兼平远之法铺陈景致，上部山峦以轻淡墨色晕染，肌理温润朦胧，似有夏山蒸腾的暑气轻笼。画面下畔的庭院为眼目所在，两株青梧亭亭如盖，将浓荫覆入院中，屋中幽人闲坐，静纳竹风凉意。溪上木桥轻架，垂柳拂过水面，坡岸细草茸茸，处处漫着夏日慵闲松弛的意趣。\n\n全画笔秀色雅，浅淡设色衬出清和氛围，将文人幽居消暑、耽于林泉的隐逸襟怀，融于山川院宇之间，淡而有神，静中生韵，尽显山居消暑的雅逸情致。",[25,26,7,28,129,130,134,193,170,733,132,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e2ed619f72ec4ecb79001d077b24f1.jpg","124x38.4厘米",[138],{"id":18702,"slug":18703,"title":18704,"dynasty":72,"author":10064,"museum":74,"description":18705,"tags":18706,"thumbUrl":18707,"material":37,"size":18708,"collection":138,"collections":18709,"showCount":18424,"zanCount":43,"manualWeight":43,"mainColor":44},219475,"bin-feng-tu-xie-shi-chen-219475","豳风图","豳，一作邠，国名。在岐山之北，原隰之野，周先世公刘立国于此。成王立，周公摄政。作豳风七月之诗一篇，述后稷公刘政教之始。述其政教之中，则为豳雅。述其政教之成，则为豳颂，以戒成王。",[25,26,7,77,130,79,129,29,269,134,170,193,377,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476c65952113e072f06deae20e1e7a3a.jpg","196.6x109厘米",[138],{"id":18711,"slug":18712,"title":18713,"dynasty":18,"author":1036,"museum":74,"description":18714,"tags":18715,"thumbUrl":18716,"material":37,"size":18717,"collection":158,"collections":18718,"showCount":18424,"zanCount":419,"manualWeight":43,"mainColor":88},219423,"shi-jun-tu-zhi-chi-hua-ying-zhou-lang-shi-ning-219423","十骏图之赤花鹰轴","郎世宁（一六八八－一七六六）意大利人。十九岁入天主教耶稣会为修士，习画与建筑。二十七岁来华传教，召入内廷供奉。善画人物、花鸟，尤善画马。郎氏奉写生边疆藩臣进贡之良马，以与真马近似之大小尺寸绘之，生动逼真。画成于乾隆八年（一七四三）。",[25,24,7,28,27,196,241,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148a10de8ec028577bca1ae64f04eaac.jpg","234.6x270.8",[158],{"id":18720,"slug":18721,"title":18722,"dynasty":18,"author":18723,"museum":74,"description":18724,"tags":18725,"thumbUrl":18727,"material":37,"size":18728,"collection":138,"collections":18729,"showCount":18424,"zanCount":11,"manualWeight":43,"mainColor":88},218723,"fang-zhao-qian-li-jiu-cheng-gong-tu-sun-hu-218723","仿赵千里九成宫图","孙祜","这幅画描绘的是一座高大的宫殿，人物众多，尺寸不大，是清朝宫廷画家孙祜和丁观的作品，赵伯驹的原作还在，相比之下，孙祜的画一定是再创作，精度极高。",[25,26,24,7,18726,1157,27,28,129,269,3489,132,170,29,778,686,270,80,79],"青绿山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdff0e72c31b9ba871ad9ac21069156.jpg","43.4×42.3cm",[138],{"id":18731,"slug":18732,"title":4125,"dynasty":207,"author":50,"museum":331,"description":18733,"tags":1873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元画家。字定之，号迂讷居士，淮东人，家昆山（今属江苏）。官泉州路行枢密院判官。擅画墨竹，喜作风竹新篁，运笔遒劲挺秀。用墨润泽焕烂，于李衎、柯九思外，自成一家。亦工行、楷书。存世作品有《拳石新篁》、《平安磐石》、《幽篁秀石图》、《竹石图》、《墨竹图》等。",[25,77,7,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5986ce135d71930321fd9631e1fa25b.jpg",[],{"id":18862,"slug":18863,"title":18864,"dynasty":18,"author":50,"museum":331,"description":8045,"tags":18865,"thumbUrl":18866,"material":198,"size":780,"collection":100,"collections":18867,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},263680,"ke-si-fo-shou-shuang-niao-tu-zhou-yi-ming-263680","缂丝佛手双鸟图轴",[25,26,7,473,1592,27,28,151,7959,114,5928,536,4278,9887,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3c39b8e6c568204a3d0ea696b49683.jpg",[],{"id":18869,"slug":18870,"title":5620,"dynasty":18,"author":5621,"museum":331,"description":5622,"tags":18871,"thumbUrl":18872,"material":198,"size":780,"collection":100,"collections":18873,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},239083,"si-ji-hua-hui-ping-zhang-xiong-239083",[25,26,7,28,27,113,498,35,600,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77703f523b5de936bdbba16a184e78f0.jpg",[],{"id":18875,"slug":18876,"title":1381,"dynasty":18,"author":18877,"museum":331,"description":18878,"tags":18879,"thumbUrl":18880,"material":100,"size":100,"collection":138,"collections":18881,"showCount":18763,"zanCount":11,"manualWeight":43,"mainColor":88},239027,"shan-shui-zhou-wang-xue-hao-239027","王学浩","王学浩（1754—1832）字孟养，号椒畦，江苏昆山人。乾隆五十一年（1786）举人。为人恬澹旷适，绝意干禄。遍历燕、秦、楚、粤。山水得原祁正传，结体精微，笔力苍古。著有《山南论画》，立论精当。于书无不工，篆、隶古劲，直接秦、汉而不自谓能。真书从欧入褚，晚探二王秘。行书更得瘗鹤铭笔意，坚苍浑厚，自成一家。工诗，卒年七十九。",[25,26,7,28,130,129,733,170,132,193,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03ac2666c3007bbc5a92459091d826e3.jpg",[138,158],{"id":18883,"slug":18884,"title":2093,"dynasty":18,"author":7117,"museum":331,"description":18885,"tags":18886,"thumbUrl":18887,"material":214,"size":18888,"collection":84,"collections":18889,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},238972,"hua-hui-zhou-chen-shu-238972","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[25,26,7,28,77,113,575,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8444c4174ac46ef74113137226711cf.jpg","33*65厘米",[84,101],{"id":18891,"slug":18892,"title":18893,"dynasty":18,"author":1036,"museum":18894,"description":18895,"tags":18896,"thumbUrl":18897,"material":486,"size":18898,"collection":84,"collections":18899,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},238081,"zhu-yin-xi-ling-tu-zhou-lang-shi-ning-238081","竹荫西狑图轴","沈阳故宫博物院","郎世宁，西名加斯提里阿纳Giuseppe，意大利美朗诺市人。于康熙五十四年(1715)来华传教，时年27岁，召入内廷为画院供奉，历仕三朝。画法参酌中西，善写生，人物、花鸟，奕奕有神，尤工画马，如百骏图、名马图、武功图至今有声世界。郎氏初本欲将西法输入中国，因不为清帝所喜，遂创折衷画法。一时从之学者甚众，流风至今未绝。卒年七十八。《故宫郎世宁画集》。郎世宁的主要活动在乾隆时，除了画弘历的肖像外，为清宫画了不少战功图，也画马、画花卉。郎世宁参酌中西画法，设色艳丽，精工细致。",[24,25,26,7,28,27,31,536,6151,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62af978560aaab5bcd5e5a1dd51cf3f2.jpg","246×133厘米",[84,158],{"id":18901,"slug":18902,"title":12391,"dynasty":18,"author":1296,"museum":331,"description":3157,"tags":18903,"thumbUrl":18904,"material":100,"size":100,"collection":185,"collections":18905,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},237930,"yuan-ji-mo-zhu-tu-zhou-shi-tao-237930",[25,26,7,77,31,80,79,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56ab48f8433faa0c3d1fc3aa96ea0d3.jpg",[185,101],{"id":18907,"slug":18908,"title":18909,"dynasty":18,"author":8803,"museum":331,"description":18910,"tags":18911,"thumbUrl":18912,"material":214,"size":100,"collection":84,"collections":18913,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},237639,"shuang-yu-tu-zhou-li-fang-ying-237639","双鱼图轴","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一 。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[25,26,7,77,97,79,304,935],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b19355579f3c5af08250390d4501ce2.jpg",[84],{"id":18915,"slug":18916,"title":18917,"dynasty":18,"author":921,"museum":331,"description":18918,"tags":18919,"thumbUrl":18920,"material":100,"size":100,"collection":100,"collections":18921,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},237411,"tian-zhu-zhou-wu-chang-shuo-237411","天竹轴","以篆隶笔意写绘，枯笔勾勒的枝干苍古嶙峋，尽显朴拙老辣的金石质感。叶片以浓淡墨色晕染，层次分明，艳红、明黄的天竹果实点缀其间，鲜活饱满，与水墨的素雅形成强烈对比，艳而不俗。\n\n右侧以大写意绘顽石，笔致写意简括，虚实相生，衬出天竹的清逸生机。整幅画作将花木的蓬勃生命力与文人画的雅致意趣相融，笔墨沉郁浑朴，尽显雄浑古拙的独特风韵。",[24,25,26,7,113,28,77,304,10473,35,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93127e7d2bdb1b52ef872fb7c8c28e5.jpg",[],{"id":18923,"slug":18924,"title":18925,"dynasty":18,"author":4788,"museum":236,"description":18926,"tags":18927,"thumbUrl":18928,"material":1573,"size":18929,"collection":100,"collections":18930,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},234954,"xian-yuan-tu-kun-can-234954","仙源图","《仙源图》名即来源于诗之起首二字。根据诗的内容“天都保障石关巈，面对天都峰矗矗。”画的应是黄山天都峰。此图画法以“元四家”为宗，尤其受王蒙影响，构图较满，用线清晰豪壮，墨与色浑然一体，画风苍劲浑厚，意境幽野旷疏。所画景物与自题诗互相生发，相得益彰，把现实中的山水变成了人与自然为一体的生机世界。这里对烟云的描绘使人仿佛置身奇异的梦幻之境。画中题画诗是画面结构的一部分，烟云的留白画法以及全景式的构图都呈现了与西画不同的特点。",[25,26,7,77,28,130,129,269,193,349,131,377,173,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7214b8afcf42954dc5bdd808a86bf5ea.jpg","纵84厘米，横42.8厘米",[],{"id":18932,"slug":18933,"title":18934,"dynasty":18,"author":1296,"museum":236,"description":18935,"tags":18936,"thumbUrl":18937,"material":12661,"size":8007,"collection":100,"collections":18938,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},233957,"yuan-ji-cai-shi-tu-zhou-shi-tao-233957","原济采石图轴","《采石图》中石头峻峭奇丽，独具一格。石涛石涛山水画非常大胆新奇，他对景物的勾勒描绘灵活多变，意境高深，他人很难模仿，他笔下的景物有一种灵性和生命，是中国山水画的珍品。",[25,77,130,7,129,35,427,132,193,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a194ee879f1e77435ad72edf054ce3b.jpg",[],{"id":18940,"slug":18941,"title":18942,"dynasty":72,"author":3905,"museum":236,"description":18943,"tags":18944,"thumbUrl":18945,"material":1573,"size":18946,"collection":100,"collections":18947,"showCount":18763,"zanCount":11,"manualWeight":43,"mainColor":88},233751,"qian-gu-hu-qiu-qian-shan-tu-zhou-qian-gu-233751","钱穀虎丘前山图轴","钱穀主张绘画师法造化。他曾说：“丹青者，熔以法，模以天。”此幅作于隆庆元年丁卯（1567年）钱穀59岁时，写虎丘山前山实景，描绘了从二山门到山顶佛阁的景象。千人石、剑池、双吊桶、虎丘寺塔皆收入幅中。从题诗上看，画家是着意表现秋天空林落木、清寂高旷的景致，借景抒情，传达出寻胜访幽的文人雅趣。与《求志园图》一样，此幅山水不只是虎丘山云岩寺的简单再现，而是画家根据画面需要将有特征性的景物进行了重新安排，是意笔楼阁与文人山水紧密结合之作。如果去掉画面中虎丘寺塔等特殊性建筑物，则完全变成了一幅纯文人山水画。",[25,28,130,7,129,269,377,3552,170,132,29,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a26491f6fd766a14bd39dce498d642a.jpg","纵111.5厘米，横31.8厘米",[],{"id":18949,"slug":18950,"title":18951,"dynasty":18,"author":3916,"museum":236,"description":18952,"tags":18953,"thumbUrl":18954,"material":214,"size":18955,"collection":100,"collections":18956,"showCount":18763,"zanCount":11,"manualWeight":43,"mainColor":88},233719,"zi-hua-xiang-zhou-jin-nong-233719","自画像轴","此图为扬州八怪之一金农73岁时的自画像。画中老者身着布衣，持杖侧身而立，姿态笃定，神情超然。其头部画法较为写实，具有肖像画的特征，浓密的长髯，细细的发辫，矍烁的双目，真实传神地描绘出金农本人奇倔傲世的性格特征。\n图中人物的体貌不求形似，极尽夸张，具有漫画意味，这是一种文人画家逸笔的肖像画。画家以焦墨渴笔勾勒人物形象，线条生拙简朴，脱胎于南宋马和之“兰叶描”，与题款及诗文的“漆书”共同体现出生涩拙朴、奇绝脱俗的风格。",[25,26,7,985,77,29,80,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9ed191e96e74c538004f23d2e40f11.jpg","纵131.3厘米 ，横59.1厘米",[],{"id":18958,"slug":18959,"title":18960,"dynasty":72,"author":18961,"museum":74,"description":18962,"tags":18963,"thumbUrl":18965,"material":214,"size":18966,"collection":100,"collections":18967,"showCount":18763,"zanCount":11,"manualWeight":43,"mainColor":88},232695,"fang-wang-meng-jiao-shi-tu-qian-gu-232695","仿王蒙蕉石图","钱毂","该画左侧画有高大的芭蕉，枝干粗壮挺拔，蕉叶茂盛，蕉叶的大小和形状各异在芭焦树右侧下，竖立着一块巨石，紧紧依仗在芭蕉树干上。奇石下长着数株花朵盛开的牡丹和茂密的枝叶。该画以粗笔泼墨把芭蕉，牡丹和湖石创造而成，细致的刻画没有作做。该幅墨韵气势，奔放横溢，笔墨和造型在徐渭的写意画中生动的表现出来，把花鸟、蔬菜、走兽、人物、山水等都给显示其中，令人耳目一新",[25,26,7,77,985,130,945,79,239,35,58,18964],"蕨类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9519a20dcb4c79c70479b45708fd193.jpg","145.8x49.8 厘米",[],{"id":18969,"slug":18970,"title":18971,"dynasty":93,"author":1082,"museum":4759,"description":18972,"tags":18973,"thumbUrl":18974,"material":182,"size":18975,"collection":100,"collections":18976,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":44},232613,"tian-tai-shi-qiao-ying-zhen-zhou-ji-chang-232613","“天台”石桥应真","《“天台石桥”五百罗汉图》包括有南宋宁波地区民间佛像画家周季常的《应身观音》、《洞中入定》、《经典奇瑞》、《渡水罗汉》，及林庭珪的《施饭饿鬼》等五件作品。据作品上的金泥铭文所示，唐天祐元年（904），明州（今宁波）惠安院青山顶有十六罗汉灵异示现，故称罗汉院，罗汉信仰应运兴起，至南宋绍羲住持惠安院时，约请周季常、林庭珪，历时十余年创作百幅罗汉图以作供养。\n《“天台石桥”五百罗汉图》绢本，均通长约110厘米、宽约53厘米左右，《应身观音》图中央画一位十一面观音，坐于方椅上，左右有四位罗汉。从服饰、赤足及身体的肤色可知，这位十一面观音应是罗汉示现。画面描绘工整细致，用线富有变化。\n此作品显示，南宋佛教人物画的描绘，从单纯的人物塑造向情节性描述发展，从对肃穆凝重气氛的刻画，转向对人物精神状态的描述，尤其对故事情节的关注，成为绘画焦点，具有风俗画与肖像画的特质。此画风对后世影响深远。\n根据《日本原有寺传》记载，《“天台石桥”五百罗汉图》原有百幅，其中六幅原收藏在日本镰仓寿福寺，后相继为北条氏、丰臣秀吉所得，最后进入京都大德寺，另有十二幅于日本明治年间流入美国，华盛顿弗利尔美术馆收藏《天台石桥应真》与《临流洗濯》二幅，波士顿美术馆所得《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，成为这两馆入藏的两宋绘画珍品。日本京都大德寺则收藏《罗汉供茶》等八十二幅。《“天台石桥”五百罗汉图》作为南宋民间佛画的艺术珍品，于十五世纪被带到日本，递藏源流清晰，画风纯熟、保存良好，是举世无双的瑰宝。\n笔者因30多年研究天台山文化，对天台山佛画亦比较喜欢。在《翰墨荟萃——细读美国藏中国五代宋元书画珍品》书中，读到白话文教授的《中国的罗汉与罗汉画》一文，得知美国华盛顿弗利尔美术馆收藏《“天台”石桥应真》与《临流洗濯》二幅，波士顿美术馆收藏《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，日本京都大德寺收藏《罗汉供茶》等八十二幅等讯息后，立即联系日本友人，问询何处收有南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》的书籍出版。后经日本友人告知，日本奈良国立博物馆于平成21年（2009）7月曾编辑出版了《圣地宁波》一书，是书追溯了日本佛教与宁波、台州一千三百年的源流关系。其中就收录了日本京都大德寺南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》八十二幅，还收有美国华盛顿弗利尔美术馆与波士顿美术馆收藏的《“天台”石桥应真》与《临流洗濯》、《经典奇瑞》、《舍利观光》等十二幅。笔者喜出望外，立即向在日本东京开“琼芯斋”书店的华人店主黄海先生，订购了《圣地宁波》这部书，并于今年乙未羊年春节收讫。仔细欣赏南宋周季常、林庭珪所作的现存九十四幅《“天台石桥”五百罗汉图》中，有三幅图，最能体现天台山文化特色，故令人最为难以忘怀。\n《“天台”石桥应真》图系笔者故乡天台山石梁飞瀑的圣景，而石桥为中国佛教惟一的五百罗汉道场，此图又是迄今为止发现的最早关于天台山石桥罗汉佛画之作。“石桥应真”，石桥是指天台石梁桥，应真是指“罗汉”。据《“天台”石桥应真》图题记，此图为南宋明州籍画家周季常、林庭珪，于南宋淳熙五年（1178）开始，至淳熙十五年（1188）始毕。画面完全写实:石桥之上瀑水的形态，以及石桥右侧的“横石”，左侧崖际，无不与实地契合。石桥前罗汉驾云而观，右上“栋宇宏壮，图塔瑰奇”；二位罗汉排云出迎，“叙接宛同素识”；而石桥之上僧人恭敬合掌，冀渡桥而入应真之列。观此图，无不与南朝梁释慧皎《高僧传·竺曇猷传》内容相吻。乃知周、林二位毕十年之功，遍访形胜，探寻典故，所作罗汉图并非面壁虚拟。古人作事，虽书画一道，仍郑重非常，于此可见一斑。《“天台”石桥应真》图与《临流洗濯》图二幅，今藏于美国华盛顿弗利尔美术馆。",[25,7,54,27,28,29,129,14931,169,132,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbbbcfe273eca337ff5473accf68cb25.jpg","109.9x52.7cm",[],{"id":18978,"slug":18979,"title":18980,"dynasty":49,"author":50,"museum":331,"description":18981,"tags":18982,"thumbUrl":18993,"material":198,"size":780,"collection":100,"collections":18994,"showCount":18763,"zanCount":11,"manualWeight":43,"mainColor":44},230526,"shi-yi-mian-guan-yin-xiang-yi-ming-230526","十一面观音像","整作设色古雅沉厚，主尊十一面分层布列，正容慈悲端严，余面涵摄喜怒诸相，尽显化度十方的悲悯威德。造像璎珞环身，宝饰华繁却毫无冗杂之感，衣纹敷色晕染细腻，朱金青绿交叠，旧绢底色衬得画面古穆堂皇。莲台与须弥座纹饰精丽，上方悬垂珠络宝幡，似有清灵梵风萦动。构图饱满庄重，线条劲挺兼具柔婉，融密教造像仪轨与工致绘法于一体，岁时虽磨却色泽，却愈发沉淀出静穆圣洁的宗教氛围感，尽显大乘造像慈悲庄严的神性之美。",[23,25,28,27,54,29,5394,7,18983,18984,10263,18985,18986,18987,4544,18988,18989,18990,18991,18992],"璎珞","装饰纹样","矿物颜料","细腻线条","服饰花纹","珠宝饰品","竖幅构图","古典绘画","宗教造像","人物服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3894b15baaa4a686e7c43be3c1aecf.jpg",[],{"id":18996,"slug":18997,"title":18998,"dynasty":18,"author":50,"museum":331,"description":18999,"tags":19000,"thumbUrl":19001,"material":100,"size":100,"collection":39,"collections":19002,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":342},230310,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-san-a-ge-yin-zhi-yi-ming-230310","历代帝王贵妃大臣朝服像(三阿哥胤祉)","此帧坐像工稳端严，画中男子正襟危坐，神色沉敛肃穆，尽显贵胄威仪气度。石青朝服遍饰精繁彩绣团龙补纹，针脚细密灵动，衬出礼制华贵，领间朝珠莹润垂坠，细节考究合度。髹漆宝座雕纹磅礴大气，龙纹栩栩生动，搭配铺陈的地锦纹样，烘托出庄重肃穆的庙堂氛围。\n\n整体设色典雅厚重，晕染细腻写实，将官方肖像画纪实工致的特质尽显无疑，装裱配色沉稳古雅，晕开旧时光的沉静质感，精准描摹出人物身份礼制与肖像写实的精妙融合，是庙堂肖像画的典型佳作。",[23,25,28,27,29,34,334,7,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff830a08fd4c826073b69a616c453c1b.jpg",[39],{"id":19004,"slug":19005,"title":19006,"dynasty":93,"author":2992,"museum":331,"description":19007,"tags":19008,"thumbUrl":19009,"material":100,"size":100,"collection":100,"collections":19010,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":44},227414,"shuai-qin-xie-zhi-yin-tu-liu-song-nian-227414","摔琴谢知音图","《摔琴谢知音图》中正截取了伯牙摔琴的这个画面，图中一人正恭敬行礼，似在向伯牙告知什么，伯牙则抱琴正要往地上摔，满脸悲怆，似是得知了子期的死讯，悲痛交加，当场破琴绝弦。\n\n子期不在对谁弹，欲觅知音难上难。这是一段世人都为之动容的友谊，自古以来，不知有多少人羡慕并追求这样的友谊。由于弹琴本身就是一件高雅的事情，能从琴声中辨知音，识好友，那就更是一件令人欣喜的事情了。因而在携琴访友图这个主题中，也有着古人对友谊的向往之情。",[23,25,26,24,28,27,129,29,133,253,132,777,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd917d7111fdf8bc88c1057a2db4b2247.jpg",[],{"id":19012,"slug":19013,"title":19014,"dynasty":49,"author":19015,"museum":331,"description":19016,"tags":19017,"thumbUrl":19018,"material":198,"size":780,"collection":100,"collections":19019,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":704},225293,"yue-tian-ben-dong-jing-zhen-hai-225293","月天(本-东京)","珍海","平安时代后期三论大师。画家春日元光的孩子。... 有许多与三论、密教和净土有关的著作，包括“Kettsujo Ojoshu”。从出身开始，他就擅长艺术，并在醍醐寺和东寺留下了许多白色的图标。",[23,25,26,985,54,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84efdcc6b821bbb1ea0a42c4d0449105.jpg",[],{"id":19021,"slug":19022,"title":17198,"dynasty":93,"author":50,"museum":74,"description":19023,"tags":19024,"thumbUrl":19025,"material":486,"size":19026,"collection":100,"collections":19027,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},223428,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223428","观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相，但五官秀美，已流露出女性化的特质。观世音菩萨站于莲花台上，左右各有两位菩萨随侍，下方的天龙八部双手合十，向观音菩萨示敬。",[23,24,25,26,7,54,27,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3609fea6b6aec4f00edc649c4078940.jpg","127x58cm",[],{"id":19029,"slug":19030,"title":80,"dynasty":18,"author":1048,"museum":331,"description":1049,"tags":19031,"thumbUrl":19032,"material":214,"size":100,"collection":101,"collections":19033,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":44},223291,"shu-fa-zheng-ban-qiao-223291",[23,80,97,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c550b955dd9dc9b64ba0d922a1a85e0.jpg",[101],{"id":19035,"slug":19036,"title":19037,"dynasty":18,"author":7755,"museum":74,"description":14835,"tags":19038,"thumbUrl":19040,"material":1218,"size":19041,"collection":138,"collections":19042,"showCount":18763,"zanCount":419,"manualWeight":43,"mainColor":44},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴",[23,25,26,7,28,129,272,173,170,351,1419,349,269,134,193,19039,130,195,377],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[138,158],{"id":19044,"slug":19045,"title":19046,"dynasty":72,"author":10012,"museum":265,"description":16205,"tags":19047,"thumbUrl":19048,"material":1573,"size":16208,"collection":138,"collections":19049,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":44},222385,"shi-ga-mou-ni-tu-ding-yun-peng-222385","释伽牟尼图",[23,24,25,26,7,54,27,28,29,129,427,351,5110,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70fcd46abbbbd0f95a6777026a70c0.jpg",[138,158],{"id":19051,"slug":19052,"title":19053,"dynasty":72,"author":1614,"museum":236,"description":19054,"tags":19055,"thumbUrl":19056,"material":745,"size":19057,"collection":84,"collections":19058,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":44},221993,"ku-mu-shu-huang-tu-zhou-wen-zheng-ming-221993","枯木疏篁图轴","此图绘古松如龙，虬干曲枝，老气横秋；疏竹翠色盎然，丛簇纷披。画家运用自己在书法尤其是行草书方面的高深造诣和雄放的笔力，以湿润淋漓的墨色自由挥写，既表现了雨后竹树苍润欲滴、秋意渐浓的状态和美感，也反映出作者安逸闲适的放松心态，是文徵明盛年粗笔绘画中具有较强笔墨个性和诗化意境的作品之一。",[23,113,31,77,304,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F772a95dcda3e0ac56d1e3817034c10bf.jpg","纵88.2厘米，横47.8厘米",[84,158],{"id":19060,"slug":19061,"title":19062,"dynasty":72,"author":1614,"museum":74,"description":19063,"tags":19064,"thumbUrl":19065,"material":255,"size":19066,"collection":39,"collections":19067,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},221991,"qiao-lin-zhu-ming-tu-zhou-wen-zheng-ming-221991","乔林煮茗图轴","不见鹤翁今几年，如闻仙骨瘦于前。\n只应陆羽高情在，坐荫乔林煮石泉。",[23,25,129,252,56,253,77,304,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0950965539805b38e2ff08fe774e3851.jpg","本幅 84.1x26.4公分、全幅 51公分",[39,185],{"id":19069,"slug":19070,"title":19071,"dynasty":93,"author":19072,"museum":74,"description":19073,"tags":19074,"thumbUrl":19081,"material":182,"size":19082,"collection":157,"collections":19083,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":44},221661,"shan-yao-lou-guan-tu-zhou-xiao-zhao-221661","山腰楼观图轴","萧照","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。",[23,25,24,7,129,28,269,349,193,19075,19076,19077,3106,19078,19079,19080,130],"浅滩","远渚","山岩","行人","烟岚","径路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4c55e52a1cb2248ca13b56096d3fa.jpg","纵179.3cm，横112.7cm",[157,138,158],{"id":19085,"slug":19086,"title":19087,"dynasty":72,"author":18249,"museum":74,"description":19088,"tags":19089,"thumbUrl":19090,"material":82,"size":19091,"collection":39,"collections":19092,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},220022,"shan-cai-ding-li-tu-xiang-yuan-bian-220022","善财顶礼图","项元汴（明 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工绘画，兼擅书法。有《墨林山人诗集》、《蕉窗九录》等。",[25,26,7,77,129,29,35,193,427,132,173,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608705547db80176fd9fd3ef2b8ff11.jpg","130*30.5cm",[39],{"id":19094,"slug":19095,"title":19096,"dynasty":18,"author":19097,"museum":74,"description":19098,"tags":19099,"thumbUrl":19101,"material":37,"size":19102,"collection":138,"collections":19103,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},219471,"qiu-ri-shan-ju-tu-gu-da-shen-219471","秋日山居图","顾大申","主峰浑穆苍润，烟霭轻缠峰腰，谷内隐见飞瀑流泉，侧畔古寺露檐，幽寂空灵。山坳林木蓊郁，丹黄点染枝叶，暗合秋意。近滩怪石错落，古木虬曲偃仰，苍皮黛叶间杂霜色。溪岸茅舍柴扉轻掩，静听溪石漱水。\n\n以干笔皴擦写山峦肌理，湿墨晕染铺就空蒙烟岚，设色清隽雅致，将林泉幽居的萧散意趣尽数铺展，把幽人忘俗寄迹丘山的襟怀融在尺素间，淡远冲和，尽显秋日山居清旷之美。",[25,26,7,28,129,130,5506,170,132,173,269,134,193,377,19100],"秋日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e23cb5e36ed224305684f548d71d341.jpg","179.1x70厘米",[138],{"id":19105,"slug":19106,"title":19107,"dynasty":18,"author":1036,"museum":74,"description":19108,"tags":19109,"thumbUrl":19112,"material":37,"size":19113,"collection":158,"collections":19114,"showCount":18763,"zanCount":419,"manualWeight":43,"mainColor":88},219424,"shi-jun-tu-zhi-pi-li-xiang-zhou-lang-shi-ning-219424","十骏图之霹雳骧轴","画面中白马低首伫立，鬃毛如流云般蓬松柔软，细腻笔触勾勒出毛发的层次与光泽，肌肉线条流畅而富有张力——既藏着写实技法的精准，又含东方笔墨的温润韵味。马蹄的金属质感刻画入微，似能触到那份冷硬厚重。淡雅绢本为底，衬得白马愈发纯净灵动，仿佛下一秒便要抬蹄轻踏。四周题字墨色清劲，朱印错落点缀，红与墨相映成趣，添了文人意趣与雅致。整幅作品将异域写实与东方传统相融，骏马不仅形态鲜活如生，更承载着跨越文化的创作巧思，静静流淌着独特的艺术交融之美。",[24,25,7,27,28,196,79,80,182,19110,19111],"中西融合","写实技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370ab5df30d34c686775d70ba842eb2d.jpg","239.3x270.1",[158],{"id":19116,"slug":19117,"title":19118,"dynasty":72,"author":4145,"museum":74,"description":19119,"tags":19120,"thumbUrl":19121,"material":136,"size":19122,"collection":84,"collections":19123,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":88},219399,"qiu-lao-wu-tong-zhou-lan-ying-219399","秋老梧桐轴","描绘了秋色节令，而图中乾隆皇帝的题诗又为此画增添了流传千古的一段文坛佳话。",[25,7,28,27,113,6505,115,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4552d34b1f14023a19d7989f826fdca7.jpg","136.6x31.2",[84],{"id":19125,"slug":19126,"title":19127,"dynasty":207,"author":10387,"museum":3232,"description":19128,"tags":19129,"thumbUrl":19130,"material":37,"size":19131,"collection":84,"collections":19132,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":44},219086,"liu-xia-cang-lu-tu-zhao-yong-219086","柳下苍鹭图","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。",[25,24,26,7,27,28,113,404,1891,575,151,5683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e32fdc6ff622340002106f04ee40b3a.jpg","231.1x101.9cm",[84],{"id":19134,"slug":19135,"title":818,"dynasty":72,"author":19136,"museum":6403,"description":19137,"tags":19138,"thumbUrl":19139,"material":99,"size":19140,"collection":138,"collections":19141,"showCount":18763,"zanCount":43,"manualWeight":43,"mainColor":44},218419,"shan-shui-tu-wang-e-218419","王谔","画面中山峦巍峨，云雾似轻纱缭绕峰谷，虚实相生间显深远之致。近景几株树木枝干虬劲，枝叶婆娑灵动；树下小径上，行旅者或策骑缓行、或负物徐步，身形小巧却动态毕现，为静谧山水添生活意趣。笔墨工细中见洒脱，山石勾勒劲挺皴擦有度，树木点染鲜活，人物刻画传神。构图层次分明，远近错落营造开阔幽深的空间感，既得山川雄浑，又含林泉雅致，尽显明代院体山水的精妙韵致。",[25,129,28,130,7,170,132,29,196,195,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd462fa3e723446f765cd83d78591601.jpg","146x80cm",[138],{"id":19143,"slug":19144,"title":19145,"dynasty":72,"author":19146,"museum":319,"description":19147,"tags":19148,"thumbUrl":19149,"material":37,"size":100,"collection":84,"collections":19150,"showCount":18763,"zanCount":11,"manualWeight":43,"mainColor":44},216727,"lu-tu-zhou-yuan-216727","鹿图","周渊","周渊（1352年－1419年）是明朝时期的一位学者，他在明朝时期撰写了一本名为《鹿图》的书。这本书的主要内容是关于中国历史的，其中包括有关周渊所生存的时代的历史事件和人物的记录。周渊还编写了许多其他的书籍，其中包括《古今图书集成》、《汉学义谈》和《顺治图书》。周渊是明朝时期著名的历史学家和文学家，他在当时期对中国历史的研究和记录有着很大的贡献。",[25,7,28,27,241,1073,253,2190,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20428cbe62ec60d3b6feb86ebda3315c.jpg",[84],{"id":19152,"slug":19153,"title":19154,"dynasty":18,"author":10357,"museum":209,"description":19155,"tags":19156,"thumbUrl":19157,"material":100,"size":100,"collection":138,"collections":19158,"showCount":18763,"zanCount":11,"manualWeight":43,"mainColor":19159},203429,"ming-fei-chu-sai-tu-zhou-leng-mei-203429","明妃出塞图轴","画面以明妃出塞为核心，人物排布错落有致。昭君端坐白马之上，衣袂轻扬；侍女持团扇紧随，神情温婉；两侧随从或牵马缓行，或捧物侍立，动态鲜活。背景山峦绵延，枯树疏枝点缀其间，萧瑟的边塞景致与人物的离愁相呼应。画家以工笔细描人物衣纹，线条流畅婉转；设色雅致沉稳，既显华贵又不失苍凉。山水部分运用皴法，勾勒出山石肌理，增添了画面的厚重感。整体作品将叙事性与抒情性融合，在细腻的笔触中传递出历史故事的深沉意蕴。",[23,7,27,28,29,30,196,129,195,170,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b016e1170af82440aad8ae186415c2.jpg",[138],"8a6741",{"id":19161,"slug":19162,"title":11474,"dynasty":207,"author":208,"museum":74,"description":2525,"tags":19163,"thumbUrl":19165,"material":82,"size":11478,"collection":100,"collections":19166,"showCount":19167,"zanCount":43,"manualWeight":43,"mainColor":88},290953,"gu-kou-chun-geng-tu-wang-meng-290953",[24,25,77,7,129,130,272,170,733,1639,80,79,19164],"田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88b00622127b2452424c1936ff6f2767.jpg",[],34,{"id":19169,"slug":19170,"title":19171,"dynasty":207,"author":1432,"museum":331,"description":19172,"tags":19173,"thumbUrl":19174,"material":198,"size":780,"collection":100,"collections":19175,"showCount":19167,"zanCount":43,"manualWeight":43,"mainColor":44},290821,"tian-chi-shi-bi-tu-zhou-huang-gong-wang-290821","天池石壁图轴","《天池石壁图》描绘了天池山水的景色，图中多用淡赭，染以墨青墨绿，层峦叠嶂，山石相间，陡崖、矾石高坡、岩块形态各异，姿态万千，展示了天池石壁的雄秀。",[25,24,7,129,77,28,130,132,170,377,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76bf999b054c15ee955a1c5b71c389b.jpg",[],{"id":19177,"slug":19178,"title":19179,"dynasty":93,"author":1517,"museum":331,"description":16099,"tags":19180,"thumbUrl":19182,"material":198,"size":780,"collection":100,"collections":19183,"showCount":19167,"zanCount":43,"manualWeight":43,"mainColor":342},290495,"xue-feng-gu-si-tu-xia-gui-290495","雪峰古寺图",[24,25,77,7,129,3880,19181,269,131,132,130],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bdf0183f3349bf16394d96e91e0cba5.jpg",[],{"id":19185,"slug":19186,"title":19187,"dynasty":109,"author":5678,"museum":74,"description":19188,"tags":19189,"thumbUrl":19190,"material":198,"size":780,"collection":84,"collections":19191,"showCount":19167,"zanCount":43,"manualWeight":43,"mainColor":44},290375,"chang-chun-zhu-que-zhou-huang-quan-290375","长春竹雀轴","黄筌最擅长于花鸟，大都画宫廷里的珍禽奇卉。作画时，先以墨笔很严谨地勾勒线条，然后再层层填染色彩。他的色调鲜明艳丽，特别有富丽堂皇的感觉。",[25,7,113,27,28,31,151,536,6462,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e814712a278bac9a311dc6a24d7162e.jpg",[84],{"id":19193,"slug":19194,"title":9004,"dynasty":207,"author":695,"museum":74,"description":9005,"tags":19195,"thumbUrl":19196,"material":99,"size":9008,"collection":100,"collections":19197,"showCount":19167,"zanCount":43,"manualWeight":43,"mainColor":44},290135,"qiu-jiang-yu-yin-tu-wu-zhen-290135",[24,25,26,7,77,129,349,4220,132,427,193,733,80,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6825a9b589672b07f1adb448c8239461.jpg",[],{"id":19199,"slug":19200,"title":19201,"dynasty":207,"author":8299,"museum":331,"description":19202,"tags":19203,"thumbUrl":19204,"material":198,"size":780,"collection":100,"collections":19205,"showCount":19167,"zanCount":11,"manualWeight":43,"mainColor":44},290130,"xi-shan-yan-ting-tu-tang-di-290130","溪山烟艇图","溪畔草亭中，一人弹阮，三人聆听著。小径上，僮子送酒而来。溪上，有人敞胸坐于船头，富有野逸消遥的乐趣。坡石用云头皴，圆润稳厚，有着郭熙一派的面目。",[25,26,129,77,130,349,521,35,193,2367,7],"https:\u002F\u002Foss.chuangqi.store\u0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横64.5厘米",[],{"id":19360,"slug":19361,"title":8706,"dynasty":18,"author":1648,"museum":74,"description":19362,"tags":19363,"thumbUrl":19364,"material":28,"size":19365,"collection":100,"collections":19366,"showCount":19167,"zanCount":43,"manualWeight":43,"mainColor":88},223098,"fang-wang-meng-shan-shui-zhou-tang-dai-223098","此幅描繪滿是白雪覆蓋的山國中，峰巒陡直林立，澗水曲折回流，寒林散列各處，由畫面中傳來一股凜冽的寒氣。\n唐岱字毓東，號靜岩，又號知生、愛廬、默莊。山水師法王原祁，遠承董、巨、黃、王之遺脈，用筆沉厚，布局深穩，但為適應宮廷需要，其畫風更趨纖秀細膩，瑣碎繁複，富於裝飾性。存世作品有《仿倪瓚清閟閣圖》，《仿范寬秋山瀑布軸》，《仿王蒙山水軸》等。",[23,25,129,7,945,130,28,252,56,427,270,134,351,170,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fcde53a099914404cada415fc2c26f.jpg","310x123厘米",[],{"id":19368,"slug":19369,"title":8535,"dynasty":72,"author":17220,"museum":51,"description":19370,"tags":19371,"thumbUrl":19372,"material":19373,"size":19374,"collection":138,"collections":19375,"showCount":19167,"zanCount":43,"manualWeight":43,"mainColor":88},222835,"shan-shui-tu-zhou-xiao-yun-cong-222835","萧云从(1596～1673) 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幅左篆书款署嘉靖己酉（一五四九），时仇英约五十六岁。左下角「剑光阁」、「华氏明伯」两印，均华云所有，故此画应是仇英为华氏所作",[25,24,26,7,985,77,29,427,777,79,13924],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ccceac39e78de66c277baf5ea414e1.jpg","54.9×28.4",[],{"id":19543,"slug":19544,"title":19545,"dynasty":93,"author":623,"museum":331,"description":19546,"tags":19547,"thumbUrl":19548,"material":198,"size":780,"collection":100,"collections":19549,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":342},290861,"qiu-shan-yu-ting-zhou-li-cheng-290861","秋山渔艇轴","李成（919～967）五代及北宋画家。字咸熙，唐宗室后裔。原籍长安（今陕西西安），先世系唐宗室，祖父李鼎曾任苏州刺史，于五代时避乱迁家营丘（今山东昌乐），故又称李成为李营丘。他博学多才，胸有大志，但不得施展，遂放意诗酒书画，后醉死陈州（今河南淮阳）客舍。擅山水，师承荆浩、关仝，并加以发展，多画郊野平远旷阔之景。多作平远寒林，画法简练，笔势锋利，好用淡墨，有“惜墨如金”之称；画山石好像卷动的云，后人称这种表现技法为“卷云皴”。",[25,7,129,134,193,349,2367,377,269,130,4987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a95e63285ff12ebf6a02129e321d325.jpg",[],{"id":19551,"slug":19552,"title":11546,"dynasty":93,"author":1517,"museum":331,"description":16099,"tags":19553,"thumbUrl":19554,"material":198,"size":780,"collection":100,"collections":19555,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},290860,"gui-zhao-tu-zhou-xia-gui-290860",[25,24,7,77,129,130,35,131,193,349,2367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00dda2ad562cec97379a61278376bfa6.jpg",[],{"id":19557,"slug":19558,"title":1381,"dynasty":207,"author":695,"museum":331,"description":7765,"tags":19559,"thumbUrl":19560,"material":198,"size":780,"collection":100,"collections":19561,"showCount":19525,"zanCount":11,"manualWeight":43,"mainColor":44},290830,"shan-shui-zhou-wu-zhen-290830",[25,24,26,7,77,130,129,170,269,134,193,132,5506,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd82f292a0555682f810ce48433f32c.jpg",[],{"id":19563,"slug":19564,"title":19565,"dynasty":93,"author":50,"museum":331,"description":19566,"tags":19567,"thumbUrl":19569,"material":198,"size":780,"collection":100,"collections":19570,"showCount":19525,"zanCount":419,"manualWeight":43,"mainColor":44},290758,"ke-si-shang-yuan-ying-xi-tu-zhou-yi-ming-290758","缂丝上元婴戏图轴","亭台枕着山水铺展底色，凭栏文人悠然观览，稚童四散嬉游，或展纸挥毫、或拨弦弄乐，逗引瑞兽、结伴追闹，憨态各异，灵动鲜活。\n\n通经断纬的技法让石青、朱红色块利落分明，晕开古雅沉静的底色。将庭院稚趣与幽淡景致相融，复刻出闲逸日常图景，又以婴戏暗喻多子多福的吉庆愿景，把精妙织绣技艺与雅致民俗意趣揉合一处，尽显旧时雅致的生活意趣与精湛造物匠心。",[25,7,473,28,29,7732,377,2883,19568,536,269,1932],"麒麟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0353f7509ad134b32cb56e4816b0140e.jpg",[],{"id":19572,"slug":19573,"title":19574,"dynasty":93,"author":2964,"museum":74,"description":14683,"tags":19575,"thumbUrl":19576,"material":99,"size":11000,"collection":100,"collections":19577,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},290333,"jing-ting-song-feng-tu-zhou-ma-lin-290333","静听松风图轴",[24,25,26,7,129,29,427,132,193,77,130,7435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0deb7cf38921a741612cf702fb534c.jpg",[],{"id":19579,"slug":19580,"title":19581,"dynasty":93,"author":2672,"museum":331,"description":19582,"tags":19583,"thumbUrl":19584,"material":198,"size":780,"collection":100,"collections":19585,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},290301,"guan-fu-xi-ying-zhou-su-han-chen-290301","灌佛戏婴轴","此图画中的孩子们在玩“过家家”：一个孩子跪下模仿大人礼佛，一个孩子手抬佛像，还有一个孩子手持水瓶灌佛，另一孩童手捧花篮，装扮成佛教信徒模样，模仿浴佛仪式。",[24,25,26,7,27,28,29,7732,427,31,114,1675,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cabf428605fa1ae6a542421c58c633.jpg",[],{"id":19587,"slug":19588,"title":19589,"dynasty":93,"author":16576,"museum":74,"description":19590,"tags":19591,"thumbUrl":19592,"material":99,"size":19593,"collection":185,"collections":19594,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},290300,"qiao-mu-tu-xu-dao-ning-290300","乔木图","南宋一代的豪纵简硬之笔，虽主要脱胎于李唐，但多少也遥承许道宁的衣钵-《国绘宝鉴》说他：“早年所画俗恶，至中年脱去旧学，稍自检束，行笔简易，风度益著，峰头直皴而下，林木劲硬，自成一家体，至细微处，始人妙理。”《圣朝名画评》渭其画格“所长者二，一林木，二平远，二野水，皆造其妙。”识者以为得李成之气，实际上许道宁在李成基础上自有创造，文同称赞他：“许生虽学李营丘，墨路纵横多自出”。许氏以峰头直皴而下的笔道，画出山势的峭厉瘦硬；以轻灵之笔，画出枯竭的泉水及背后庄严的山脉，令人感受到了强烈的萧条之气。此图以寒林孤秀，树态严凝，展现出林木劲硬的风格。\n许道宁以卖药为主，不直接卖画，有人顾买他的药，必画树石以赠之。这幅可能是其中之一。请看这幅有点怪意的图中右侧的山石，近者显，远者隐。石形棱角突出，石质坚硬；左侧平缓的山坡上，长着几棵秃枝无叶乔木，树枝龙爪型。有两棵并肩相长，树干粗壮挺立，上部摆出动态枝头，扭曲着的躯干，尤如双龙在空中舒展身子，窜向苍茫昊天；中间那棵乔木弯腰弓背，伸展枝头，倾向右侧的岩石，似与远处的那棵乔木交叉重叠。秃枝无叶乔木和光秃无草的山石，这都是隆冬时节的象征。严冬里只有乔木挺立在山岗上，与山石作伴，在接受严冬的考验。这是一幅富有诗意的树石图。此图中乔木落叶而挺拔，山石坚硬而清利，多么像作者峭拔的性格，也是作者的豪放、简硬之笔，在图中得到了充分的体现。",[25,364,77,130,521,2507,7,2654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02d67bdf8e318cfcd5d74b0eee68b84.jpg","188.6x115",[185],{"id":19596,"slug":19597,"title":19598,"dynasty":93,"author":50,"museum":331,"description":19599,"tags":19600,"thumbUrl":19602,"material":198,"size":780,"collection":100,"collections":19603,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},290095,"ru-lai-shuo-fa-tu-yi-ming-290095","如来说法图","本幅画一佛半跏趺坐于一大莲座上，座侧二天王、阿难、迦叶和二供养菩萨围绕。该坐佛长眉细目，眉间有白毫，唇上有髭，法相庄严。顶有螺发，肉髻低平，右手施安慰印。身后有一圆形背光，头后圆光边缘尚饰炽然飞动的火焰纹。二天王身穿盔甲，手持剑槊，神情威武。年轻的阿难温文儒雅，双手合什而立，年长的迦叶浓眉深目，双手合握作拳，食指和姆指竖起，结密教的灌顶印。二供养菩萨则手捧供花，仰首望佛，虔诚恭敬。作者充分地掌握每个人物的内在特质。人物神情各异，栩栩如生。",[25,26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。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[2749,80,26,7,97,305,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38973f25a308f9343ab9f19300e7f3bb.jpg",[101],{"id":19657,"slug":19658,"title":19659,"dynasty":18,"author":7755,"museum":331,"description":15584,"tags":19660,"thumbUrl":19661,"material":198,"size":780,"collection":100,"collections":19662,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},239486,"hua-guan-yu-xiang-zhou-gao-qi-pei-239486","画关羽像轴",[25,7,28,77,29,1039,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa853648962019cc681189db7b842e6.jpg",[],{"id":19664,"slug":19665,"title":5620,"dynasty":18,"author":5621,"museum":331,"description":5622,"tags":19666,"thumbUrl":19667,"material":198,"size":780,"collection":100,"collections":19668,"showCount":19525,"zanCount":11,"manualWeight":43,"mainColor":88},239082,"si-ji-hua-hui-ping-zhang-xiong-239082",[25,26,7,28,27,113,1625,675,35,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3076167865436319be86a416993807d1.jpg",[],{"id":19670,"slug":19671,"title":19672,"dynasty":18,"author":19673,"museum":331,"description":19674,"tags":19675,"thumbUrl":19676,"material":100,"size":100,"collection":138,"collections":19677,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},238665,"xue-jing-shan-shui-ren-wu-tu-zhou-yuan-ying-238665","雪景山水人物图轴","袁瑛","童时侍其叔习山水，既长从徐北山（尚）学花卉，写意之笔，颇有骨力。乾隆三十年（一七六五）膺李因培（鹤峯）之荐，供奉内廷。山水晚年益加精密，出入宋、元，用笔沈厚，宗黄鼎法而变以己意。尝作乔木高居图最妙，张问陶有诗题赠。前后居京师四十年，后官粤东开平县沙冈司（瓯钵罗室书画过目考作开平知县）乾隆五十年（一七八五）归隐葑溪，筑赐诗堂以居。",[25,26,7,28,130,27,3880,129,29,170,733,134,193,132,17419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a4bc46b2695a7ea58f51f97d7cf6ce.jpg",[138,158],{"id":19679,"slug":19680,"title":19681,"dynasty":72,"author":14625,"museum":236,"description":19682,"tags":19683,"thumbUrl":19684,"material":2583,"size":19685,"collection":138,"collections":19686,"showCount":19525,"zanCount":11,"manualWeight":43,"mainColor":88},237122,"xi-shan-zi-cui-tu-zhou-wang-duo-237122","溪山紫翠图轴","此幅是画家为其三弟王鑨所绘，以高远之法图写，远处雄峰峻岭，气势壮阔，中景飞瀑烟岚，尽显空灵，近处碧树流泉，生机盎然，更有文士二人坐于石上观泉品茗，实则表达出王铎希望与兄弟能安居世间、神游物外的一种愿望。王铎的山水画师承广泛，不专一家，观其作品可以看到画家在宗法五代荆浩、关仝以气势与境界奇胜为长的北方画派之外，尚能融入南方画派董源、巨然借水墨晕染烘托山川气韵之法，故而笔墨技巧变化丰富，令人眼目一新。创作中，王铎能有意避开清雅潇洒的画苑时风，落笔从容不迫，轻重缓急收放自如，凭借粗劲中见质朴的艺术面目，在明末清初的艺坛上独树一帜。是图即为画家晚年的此类佳作。",[25,26,7,77,130,129,1651,170,172,173,351,271,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5685508e133e9c63badafd9045c0e.jpg","纵95厘米，横36.4厘米",[138,101],{"id":19688,"slug":19689,"title":1381,"dynasty":18,"author":18153,"museum":331,"description":19690,"tags":19691,"thumbUrl":19692,"material":100,"size":100,"collection":138,"collections":19693,"showCount":19525,"zanCount":11,"manualWeight":43,"mainColor":88},236444,"shan-shui-zhou-xu-fang-236444","徐枋：(1622—1694)字昭法，号俟斋、涧叟、秦馀山人、雪床庵主人，江苏吴县(今苏州)人。崇祯15年举人，工诗文，书善行草，宗孙过庭及王羲之。山水师董源、巨然、荆浩、关仝，亦宗倪瓒、黄公望，用笔工整，墨气明净，不设色。诗文出入韩、柳间。传世作品有康熙4年《山水》册页，录于《中国绘画史图录》下册；9年作《山水》扇面现藏故宫博物院；24年作《仿关仝山水图》轴，录于《晋唐五代宋元明清名家书画集》。著有《居易堂集》、《俟斋集》等。",[25,77,7,130,129,134,193,131,35,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6512dc7e0e5403960b7c77a4799e4bf.jpg",[138,158],{"id":19695,"slug":19696,"title":19697,"dynasty":18,"author":4669,"museum":236,"description":15784,"tags":19698,"thumbUrl":19699,"material":12661,"size":19700,"collection":138,"collections":19701,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":88},236331,"xia-shan-gao-yin-zhou-wang-hui-236331","夏山高隐轴",[25,7,77,130,129,252,169,170,733,172,351,271,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd81825753d68bef2ca34b30bd5f712c.jpg","纵184.8cm，横79.4cm",[138,185],{"id":19703,"slug":19704,"title":19705,"dynasty":72,"author":19706,"museum":331,"description":19707,"tags":19708,"thumbUrl":19709,"material":100,"size":19710,"collection":84,"collections":19711,"showCount":19525,"zanCount":11,"manualWeight":43,"mainColor":44},236107,"sun-qi-mei-hua-zhou-sun-qi-236107","孙启梅花轴","孙启","此作以淡墨绢地托衬，老梅古干嶙峋遒劲，枝桠盘折如铁，横斜破壁，满缀素色梅花。作者以焦墨点苔刻画出老干的沧桑质感，浓墨写枝尽显虬劲姿态，圈花留白晕染出梅花冰肌玉骨之态，冷香暗涌纸面。\n\n画幅下方以浅淡笔墨绘拳石细草，清寂空疏，愈发烘托出冬梅凌霜孤高的品格。整幅布局空灵雅致，以极简笔触写尽文人心底的清雅意趣，笔意苍秀古拙，将梅花傲雪不屈的风骨与幽淡清逸的气韵相融，藏暗香于素绢，含清韵于笔端。",[25,26,7,77,304,575,35,1275,536,2749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51c92a8adcfb9367d4420abfbb471a7.jpg","纵156.8cm,横61.6cm",[84,158],{"id":19713,"slug":19714,"title":19715,"dynasty":18,"author":235,"museum":236,"description":19716,"tags":19717,"thumbUrl":19719,"material":7074,"size":19720,"collection":100,"collections":19721,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":88},233739,"xue-zhong-song-tan-tu-zhou-ren-yi-233739","雪中送炭图轴","任颐（1840—1895，或1896），原名润，字小楼；更名颐，字伯年，生于山阴（今浙江绍兴），卒于上海。其父鹤声（字淞云），是民间肖像画工。任颐天资聪颖，幼时随父学画肖像，在人物的传神写照和默写方面打下了扎实的基础；后又受任熊的影响，学宋人的双勾花鸟画和陈洪绶一路的人物画。他还到宁波随任薰学过画，后来，又离开宁波到苏州、上海，并寓居上海近30年，成为“海上画派”的代表。\n任颐的绘画题材全面，人物、花鸟、走兽、山水无所不精。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品。他善于写实，能够捕捉人物瞬间的神情动态进行描绘，被誉为“曾波臣后第一手”。",[25,7,28,77,304,29,613,19718,17667,34],"炭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a8064378a94b762d15e9c365d0daf9.jpg","80.8cm×36.8cm",[],{"id":19723,"slug":19724,"title":1035,"dynasty":18,"author":1036,"museum":236,"description":1037,"tags":19725,"thumbUrl":19727,"material":486,"size":1041,"collection":100,"collections":19728,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":88},232937,"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-232937",[24,7,27,28,29,196,129,5110,19726,602,4174,5108],"盔甲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e75bd6adc859c5fc594e91cce70fb3d.jpg",[],{"id":19730,"slug":19731,"title":807,"dynasty":93,"author":808,"museum":236,"description":19732,"tags":19733,"thumbUrl":19734,"material":486,"size":19735,"collection":100,"collections":19736,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},232935,"ting-qin-tu-zhou-zhao-ji-232935","此幅描绘官僚贵族雅集听琴的场景。主人公道冠玄袍，居中端坐，凝神抚琴，前面坐墩上两位纱帽官服的朝士对坐聆听，左面绿袍者笼袖仰面，右面红袍者持扇低首，二人悠然入定，仿佛正被这鼓动的琴弦撩动着神思，完全陶醉在琴声之中。叉手侍立的蓝衫童子则瞪大眼睛，注视着拨弄琴弦的主人公。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的薰炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。\n作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。\n由于作品本幅有徽宗题名与画押，作品一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者，正是赵佶本人。",[24,25,26,7,27,28,29,427,31,2389,79,776,777,10361,10362,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a06d38e220a4cfb38a1f63704749fe0.jpg","纵147.2厘米，横51.3厘米",[],{"id":19738,"slug":19739,"title":19740,"dynasty":72,"author":10012,"museum":74,"description":19741,"tags":19742,"thumbUrl":19743,"material":1320,"size":19744,"collection":100,"collections":19745,"showCount":19525,"zanCount":11,"manualWeight":43,"mainColor":44},232691,"lu-shan-gao-tu-zhuang-biao-ding-yun-peng-232691","庐山高图（装裱）","此作构图紧凑密实，以细笔牛毛皴描写山石；有似王蒙的笔法，古朴厚实，浑然天成。在山体架构的布局上，又与沈周《庐山高》有些相似，甚至篆书题写《庐山高》三字的手法也和沈周作品基本雷同。所绘山头的岩石为卷云皴，造就这种看似有动态的效果，此类笔法在丁云鹏的作品中很少见。",[25,26,7,129,27,130,28,193,132,170,173,172,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7c9ae8dad645098bbcb66538a53dd21.jpg","193.8xx98.1厘米",[],{"id":19747,"slug":19748,"title":19749,"dynasty":18,"author":6334,"museum":331,"description":6335,"tags":19750,"thumbUrl":19751,"material":198,"size":780,"collection":100,"collections":19752,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":88},230974,"zi-wei-shuang-ya-tu-zhu-cheng-230974","紫薇双鸭图",[23,25,7,28,113,6134,866,27,77,153,911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3621326badfd0abb6238460d188f3b31.jpg",[],{"id":19754,"slug":19755,"title":19756,"dynasty":72,"author":752,"museum":331,"description":19757,"tags":19758,"thumbUrl":19759,"material":100,"size":100,"collection":100,"collections":19760,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},228292,"li-fo-tu-chen-hong-shou-228292","礼佛图","此作用笔清劲圆韧，尽显高古奇逸之风。崖上枯松虬曲苍劲，枝桠裹挟冷冽清气，石崖趺坐的尊者素衣宽博，神色澹然，以丝缕牵出云端佛影，引渡下界向佛之心。下方沙弥合掌长跪，衣褶层叠温婉，满脸至诚恭敬。\n\n玲珑剔透的太湖石错落排布，衬出画面空灵疏朗的禅意，设色清雅柔和，仅以淡赭、浅青晕染，将出世的静穆禅韵融于尺幅之间，笔端藏着静水流深的禅思，把礼佛的虔敬化作悠远澄澈的画境。",[23,25,26,7,54,27,985,28,29,35,521,427,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c721a086c33d6299e0b1c0e20fa17b.jpg",[],{"id":19762,"slug":19763,"title":19764,"dynasty":207,"author":11970,"museum":331,"description":19765,"tags":19766,"thumbUrl":19769,"material":100,"size":100,"collection":100,"collections":19770,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},228166,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228166","清泉乔木图立轴","此作笔意苍浑老辣，绘就冬日山林清寂之境。古松主干虬曲斑驳，疤结累累尽显沧桑，枯槎劲枝凝着寒雪，垂挂的薜萝如缕，幽幽晕开森寂古意。旁侧次干同样瘦硬嶙峋，无叶枝桠斜曳，尽展岁寒不屈之姿。\n\n下方寒泉漱石，水波清浅澹澹，淡墨晕染出空濛水岸，山石以简括皴擦带过，野趣自生。留白铺陈开空寂冷逸，将简淡疏朗融于笔墨间，寄寓着超脱尘俗的林下雅怀，清寒中见出沉静高旷的风骨。",[23,25,26,24,7,77,130,129,19767,19768,132,193,521],"乔木","清泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6e577b57078bcf149c3b060edbb579.jpg",[],{"id":19772,"slug":19773,"title":1613,"dynasty":18,"author":19774,"museum":331,"description":19775,"tags":19776,"thumbUrl":19777,"material":100,"size":100,"collection":100,"collections":19778,"showCount":19525,"zanCount":11,"manualWeight":43,"mainColor":88},224353,"shan-shui-tu-li-zhou-sun-yi-224353","孙逸","此作用高远、平远构图错落铺展，左畔危崖层叠拔地而起，以留白晕出流岚烟霭，虚实相映间尽显山势空灵秀奇。以浅绛设色写就，山石勾勒细劲挺秀，淡赭敷色晕染出清润苍朴的质感，笔简意赅。\n\n下方村居隐于岩岫竹木间，野桥通幽，士人凭栏远眺，幽寂闲适的山居雅趣跃然纸上。整体画风萧散淡远，尽显静穆清逸的文人意韵，将皖南山水的冷隽灵秀与林下幽居的雅怀相融，尽显遗世独立的审美意趣。",[23,25,26,7,28,130,129,377,134,193,35,253,733,169,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49b9c0e92967b4ce30f0222df23738f.jpg",[],{"id":19780,"slug":19781,"title":19782,"dynasty":18,"author":3792,"museum":74,"description":19783,"tags":19784,"thumbUrl":19785,"material":255,"size":100,"collection":100,"collections":19786,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":88},224243,"ren-wu-shan-shui-li-zhou-gai-qi-224243","人物山水立轴","此作用淡墨写就庭院闲景，挺秀蕉树阔叶舒展，晕染出夏末清阴。茅舍半敞，幽人凭窗静坐，似在细听雨打蕉叶。泼墨点染山石苍润古朴，留白铺陈出空寂悠然的氛围。\n\n画面左上题诗与图景相映，诗画合璧，将文人幽居闲情寄寓其中。笔墨简淡秀雅，摒去浓艳敷色，尽显萧疏幽淡的意境，把江南文人心底的闲雅愁绪与林下之乐融为一体，淡墨轻岚间，漫溢出静谧安闲的书卷清气。",[23,25,77,7,27,29,129,239,35,270,911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720732020f05546e4858289f093d2153.jpg",[],{"id":19788,"slug":19789,"title":19790,"dynasty":18,"author":50,"museum":236,"description":19791,"tags":19792,"thumbUrl":19793,"material":486,"size":19794,"collection":100,"collections":19795,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},223468,"kang-xi-di-du-shu-xiang-zhou-qing-gong-ting-hua-jia-hui-yi-ming-223468","康熙帝读书像轴清宫廷画家绘","康熙皇帝自幼便广泛学习汉族传统文化知识，亲政后更是举行日讲和经筵以充实自己，他一方面身体力行地潜心钻研儒家经书，从历代丰富的典籍中汲取有益于自己治国平天下的知识，一方面通过与日讲和经筵的讲官讨论治国安邦之道逐步将孔孟之道、程朱理学确立为统治全国的官方正统思想，借以笼络汉族士大夫，掌握文化思想统治权，巩固清廷的封建统治。“尊孔崇儒”统治观念的树立，为制定、实践其文化政策奠定了坚实的基础。倘若没有饱读诗书与遍览典籍的基础，没有认真踏实、联系实际的学习，恐怕康熙帝无法完成南征北战、一统疆域的伟业，更谈不上治理天下井井有条了。\n《康熙帝读书像》轴为观者展示了大有作为的君主勤勉苦读的一面。图中康熙帝盘腿端坐，凝神静思，仿佛正在深思书中精华。身后书盈满架，排放齐整，传达出像主涉猎广泛、勤勉好学的信息。纵观全图，宫廷画家显然受到了欧洲绘画技法的影响，如人物面部的渲染，及衣服褶皱不用中国画以线条勾画的表现手法而用色彩明暗的变化加以描绘。再如人物背后的书架的透视关系与阴影的表现使用的也是欧洲绘画所特有的技法。这反映出中国画家正在初步尝试用一种外来的艺术技巧创作本国题材的绘画，这是一种有益的探索，也是中西文化交流的一个例证。",[23,25,27,28,29,4907,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9f45dd1e8a9ff283047c0b03cfb9791.jpg","纵138厘米，横106.5厘米",[],{"id":19797,"slug":19798,"title":19799,"dynasty":18,"author":19800,"museum":74,"description":19801,"tags":19802,"thumbUrl":19803,"material":19804,"size":19805,"collection":138,"collections":19806,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":88},222843,"hua-wan-he-xiang-yun-zhou-hong-wu-222843","画万壑祥云轴","弘旿","弘旿（1743-1811），为康熙帝玄烨孙，字恕斋，又字醉迂，号一如居士、瑶华道人，官封固山贝子。兼工诗、书、画，有三绝之誉。画初学董邦达（1699-1769），又上追宋、元，笔墨秀润，山水特为蓊郁华滋。本幅为全景式布局，画松壑重重高起，山中并见烟云缭绕，景境幽深。居中的主峰，峰顶矾头错落，并用短笔点簇密林，饶有浑厚峻拔的气势。右下方自题「恭仿范宽笔意」，惟皴山多用长笔披麻，已去范宽（约950-1031间）风格甚远。",[23,25,7,129,77,28,130,252,335,427,134,193,733,132,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6dc0050c390fb85ef72eff1bad4a7b.jpg","立轴，纸本，设色","112.2×53cm",[138,158],{"id":19808,"slug":19809,"title":19810,"dynasty":18,"author":4610,"museum":331,"description":19811,"tags":19812,"thumbUrl":19813,"material":7074,"size":19814,"collection":100,"collections":19815,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":88},222825,"yu-xi-xu-gu-222825","鱼嬉","图绘水中金鱼三条，二条红白相间，一条白身红眼，水中游游弋嬉戏；水面上数要葡萄藤，宽大的葡萄叶黄灿灿，自然展开，藤上葡萄累累，令人垂涎。",[23,25,28,304,77,7,113,935,664,291,1696,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7191b48084ecb908fe16b5ad2defef92.jpg","99x35厘米",[],{"id":19817,"slug":19818,"title":19819,"dynasty":72,"author":4145,"museum":13569,"description":19820,"tags":19821,"thumbUrl":19822,"material":9051,"size":19823,"collection":100,"collections":19824,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":88},222586,"shan-shui-ren-wu-tu-lan-ying-222586","山水人物图","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,25,77,130,7,129,29,349,427,169,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396b38187718c407d8aa9bcd3330f957.jpg","纵151CM 横51CM",[],{"id":19826,"slug":19827,"title":19828,"dynasty":72,"author":15915,"museum":648,"description":19829,"tags":19830,"thumbUrl":19831,"material":100,"size":19832,"collection":101,"collections":19833,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":88},222475,"du-fu-qiu-xing-ba-shou-zhi-yi-kun-ming-chi-shui-zhu-yun-ming-222475","杜甫秋兴八首之一昆明池水","释文：昆明池水汉时功，武帝旌旗在眼中。织女机丝虚夜月，石鲸鳞甲动秋风。波飘菰米 沉云黑,露冷莲房坠粉红。 关塞极天惟鸟道,江湖满地一渔翁 枝山",[23,80,26,305,77,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0796796b3151d6d2714112888fafc285.jpg","106.5 X37 cm",[101],{"id":19835,"slug":19836,"title":19837,"dynasty":72,"author":14093,"museum":74,"description":19838,"tags":19839,"thumbUrl":19840,"material":136,"size":19841,"collection":138,"collections":19842,"showCount":19525,"zanCount":11,"manualWeight":43,"mainColor":88},222408,"qi-xia-shan-tu-zhou-zhang-hong-222408","栖霞山图轴","此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[23,25,26,7,28,130,129,377,427,132,170,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe3ad4eebcd3b96e914c3432a49117.jpg","341.9x101.8",[138,158],{"id":19844,"slug":19845,"title":19846,"dynasty":72,"author":389,"museum":5328,"description":19847,"tags":19848,"thumbUrl":19849,"material":214,"size":14229,"collection":100,"collections":19850,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},222337,"qi-feng-gao-yin-tu-zhou-tang-yin-222337","奇峰高隐图轴","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,25,26,7,28,130,129,9787,169,134,193,170,132,269,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83dc2042fc9030013065e4ae628ede20.jpg",[],{"id":19852,"slug":19853,"title":19854,"dynasty":207,"author":11740,"museum":20,"description":19855,"tags":19856,"thumbUrl":19857,"material":182,"size":19858,"collection":138,"collections":19859,"showCount":19525,"zanCount":11,"manualWeight":43,"mainColor":88},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[23,25,26,77,130,7,252,169,172,351,170,193,132,272,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[138,185],{"id":19861,"slug":19862,"title":19863,"dynasty":283,"author":1683,"museum":1684,"description":19864,"tags":19865,"thumbUrl":19866,"material":2583,"size":100,"collection":100,"collections":19867,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":88},220517,"xing-shu-suo-nan-weng-shi-xu-bei-hong-220517","行书（所南翁诗）","此作用笔爽利劲挺，起收果断，融北碑雄健与行书灵动于一体，线条粗细变化自然，带着舒展刚劲的力道。\n安贫乐道的诗句意趣，与笔墨相得益彰。布局错落疏朗，行气连贯，字势顾盼有情，既有文人书法的温雅隽秀，又藏着沉厚雄强的筋骨。笔底带着冲淡平和的悠然意境，将诗意与书韵相融，尽显从容自在的文人品格，是兼具才情与风骨的书作精品。",[80,97,77,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b1e891b4a330ed8bde106d82682e4f.jpg",[],{"id":19869,"slug":19870,"title":14507,"dynasty":72,"author":4312,"museum":74,"description":19871,"tags":19872,"thumbUrl":19873,"material":37,"size":19874,"collection":138,"collections":19875,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},220102,"qiu-shan-hong-shu-tu-zhao-zuo-220102","赵左（约西元十六世纪）字文度，江苏松江人。善画山水，是苏松画派的首创人。　画中赵左自题「仿唐人杨升画」。按杨升（升）画山水得到张僧繇没骨法的妙处，有雪霁图、峒关蒲雪图传于世。这幅画多用青绿设色，山石不用皴纹，而用没骨法渍染，树叶也多用双钩，颇有唐画山水的遗风。但赵左受吴派绘画影响极深，故不像唐画华丽富贵，而饶有温润文雅的趣味。",[25,7,28,129,132,170,1241,377,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05043e0f78a9ef545d2fe53f138f9a40.jpg","本幅 150x53.7公分、全幅 56公分",[138],{"id":19877,"slug":19878,"title":19879,"dynasty":18,"author":19880,"museum":710,"description":19881,"tags":19882,"thumbUrl":19884,"material":136,"size":19885,"collection":138,"collections":19886,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":88},219915,"xia-shan-lin-guan-tu-wang-yu-219915","夏山林馆图","王昱","王昱（1714——1748），清代文人画家，字日初，号东庄老人，又号云槎山人、丹林，江苏太仓人。与清代画家王玖、王宸、王愫合称“小四王”。东庄老人师承娄东“四王”一脉，喜山水，其画淡而不薄，疏而有致，笔意在倪瓒、方从义之间。",[24,25,26,7,77,129,130,132,170,193,19883,366,17437],"馆舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c382ccf195e33d1e5689e31fa5aaf5.jpg","105.1x49.8",[138],{"id":19888,"slug":19889,"title":19890,"dynasty":18,"author":19891,"museum":236,"description":19892,"tags":19893,"thumbUrl":19894,"material":136,"size":19895,"collection":39,"collections":19896,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":88},219635,"song-zhi-jing-ting-song-feng-tu-liu-yu-219635","宋致静听松风图","柳遇","图中宋致头戴纱帽，身着长衫，临溪倚石侧坐，神情端凝。身后古松参天，枝繁叶茂，与怪石嶙峋、小草幽篁、溪水潺潺的景致形成高矮、动静的对比，有极强的视觉效果，强化了人物的宁静祥和，烘托了听松的主题。\n据《商邱县志》记载：宋致，字穉佳，商邱人。举乡贡，游太学，官至四川总藩、湖南布政使。性情慷慨轻财，有政事，录《可竹居诗集》。\n图中人物用勾填法表现，面部稍加晕染，衣纹飘逸，线条简洁，形象传神，突出了主人公朴实无华的个性与平和自然的心态。",[23,25,26,7,28,29,378,601,80,97,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8818a7ad2c54fb07fbd6b17a7bcbd712.jpg","纵102厘米，横44.6厘米",[39],{"id":19898,"slug":19899,"title":19900,"dynasty":207,"author":10387,"museum":74,"description":19901,"tags":19902,"thumbUrl":19903,"material":37,"size":19904,"collection":39,"collections":19905,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":44},219615,"chun-jiao-you-qi-tu-zhao-yong-219615","春郊游骑图","该幅画树下单骑一人，手中拿著弓，正转头回顾。人物形态生动自然，马匹肥大雄壮，都以中锋金绿勾画，线条谨密流畅。背景极为简单，仅是两株相抱的树木，树叶以近似图案的形式描绘，有古拙之意。作者似乎在追求著高古简逸的趣味。人物生动自然，马匹肥硕雄壮，都以中峰钩画，线条谨密流畅，背景极为简单，仅是两株相抱的树木，树石亦用近似图案的形式描绘，有高古简逸的意趣。",[23,25,7,28,27,29,196,253,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d75c27cf3a76a0e8374ea43a8b221a6.jpg","88×51.1公分",[39,138,158],{"id":19907,"slug":19908,"title":19909,"dynasty":18,"author":13633,"museum":74,"description":19910,"tags":19911,"thumbUrl":19912,"material":82,"size":19913,"collection":138,"collections":19914,"showCount":19525,"zanCount":43,"manualWeight":43,"mainColor":88},219482,"xi-qiao-lin-ying-tu-zhou-huang-ding-219482","溪桥林影图轴","这幅画描绘了一座横跨小溪的险桥，杂树相互依偎，远处山峰突出。 在笔墨的浩瀚中，呈现出一种宁静。 黄鼎虽然向二王学习，但也能找到自己的路。 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古書畫，工石刻，為明一代之冠。畫得徵明一體，善畫山水，筆法清脆，頗近倪瓚，着色山水具幽澹之致，間仿王蒙皴染，亦頗秀潤，兼作花卉。明人王世貞評：“其書不能如兄，而畫得待詔（文徵明）一體。”詹景鳳亦云：“嘉小楷輕清勁爽，宛如瘦鶴，稍大便疏散不結束，徑寸行書亦然，皆不逮父。”",[25,26,7,77,130,967,129,170,377,153,132,521,522,2581,20068,427,172],"平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 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cm",[138],{"id":20073,"slug":20074,"title":8430,"dynasty":18,"author":4998,"museum":331,"description":20075,"tags":20076,"thumbUrl":20077,"material":100,"size":100,"collection":138,"collections":20078,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":88},236389,"fang-dong-qi-chang-shan-shui-zhou-wang-yuan-qi-236389","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」\n见《清史稿》、秦祖永《桐荫论画》。",[25,26,7,77,130,945,79,129,132,170,733,134,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132a1aa86a2afd0d9dbcc643e59524.jpg",[138,185],{"id":20080,"slug":20081,"title":20082,"dynasty":18,"author":11908,"museum":236,"description":20083,"tags":20084,"thumbUrl":20085,"material":833,"size":20086,"collection":138,"collections":20087,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":44},236384,"huang-shan-tu-zhou-mei-qing-236384","黄山图轴","此图绘黄山的莲花峰。作者以超绝的想象力，运用夸张的手法将莲花峰描绘成秀出天半的青莲，它巍峨不失俏丽，高贵而典雅。山岩的石面以浓淡墨交织的线条混皴，纹理繁密，气象峥嵘，与石上灵动的苔点相交融，显示了作者对黄山景物善于摹写、精于刻画的深厚功力。",[24,25,26,7,77,130,129,252,601,253,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d0b5065c8022b488432001bfb86239.jpg","纵186.8厘米，横57厘米",[138],{"id":20089,"slug":20090,"title":20091,"dynasty":72,"author":50,"museum":331,"description":20092,"tags":20093,"thumbUrl":20094,"material":100,"size":100,"collection":100,"collections":20095,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":88},235874,"tang-yin-guan-shan-xing-lv-zhou-yi-ming-235874","唐寅关山行旅轴","此作画境荒寒清寂，以淡墨晕染远山，烟岚朦胧间隐出路踪。虬曲古木撑起重峦一隅，枯枝苍劲老辣，皴擦间尽显风霜雕琢之态。石拱桥下寒水浅流，策杖旅人独行桥边，衣袂似随山风微动，静穆中暗含羁旅孤愁。\n整幅以水墨写意，淡远空疏的笔墨烘托出关山行旅的苍茫意境，将天涯行客的寂寥心绪融于冷寂山水间，尽显借景抒怀的雅致意趣，笔墨简淡却意蕴悠长。",[25,7,77,129,130,131,132,29,269,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c7f861c1e723f95dfa0c68d42794f8.jpg",[],{"id":20097,"slug":20098,"title":20099,"dynasty":18,"author":17653,"museum":331,"description":20100,"tags":20101,"thumbUrl":20102,"material":100,"size":100,"collection":100,"collections":20103,"showCount":19968,"zanCount":11,"manualWeight":43,"mainColor":44},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","《万山苍翠图》是中国清代画家高岑的国画作品，又称《清高岑万山苍翠图》，是一幅描绘山水景色的水墨画，作品收藏于 。\n《万山苍翠图》是皇家手绘精品，万山苍翠逼寒空，细路迂回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n此款产品是一幅手绘山水图。\n山体层层叠叠，伸向远方，悬崖上的苍松巍然屹立，代表了高洁的志向和昂扬的斗志。\n寓意：意境高远，勇攀高峰。\n《万山苍翠图》笔墨严谨劲秀，披麻皴画山石，淡墨渲染。\n老树挺拔，树木繁多，密而不乱，树叶以夹叶、点叶并用。\n树石罩以淡花青赭石色。\n山川林木茂密，万山苍翠。\n古寺、楼阁、村舍、山泉、船艇，设景似是江南秀丽富饶之乡。\n老者策杖过桥，农者田间劳动，富有生活气息。\n笔墨秀峭，气势雄伟。\n自题：“万山苍翠逼寒空，细路纡回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n画并题呈学迂先生教正。\n石城高岑。\n” ，生卒年不详，清初画家。\n字善长，又字蔚生，浙江 人，居 （今江苏南京）。\n阜（宇康生）弟。\n好学中、晚唐诗，并学画。\n初师僧七处，后自出机杼。\n山水迹近蓝瑛，用笔精到，无粗犷气；写意花卉，清秀入神。\n与龚贤、樊圻、邹桔、吴宏、叶欣、胡糙、谢荪为金陵八家。\n传世作品有《秋山万木图》、《林荫评古图》、《凤台秋月图》、《 》。",[24,25,26,7,28,130,129,252,56,253,378,733,349,521,173,855,132,3150,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":20105,"slug":20106,"title":7603,"dynasty":18,"author":17471,"museum":331,"description":20107,"tags":20108,"thumbUrl":20109,"material":198,"size":780,"collection":100,"collections":20110,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":704},235559,"mo-he-tu-zhou-fu-shan-235559","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[25,77,7,32,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24528e736483b0247d66e35f68b3b981.jpg",[],{"id":20112,"slug":20113,"title":20114,"dynasty":18,"author":235,"museum":236,"description":20115,"tags":20116,"thumbUrl":20117,"material":1320,"size":100,"collection":100,"collections":20118,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":88},233726,"jiu-ri-deng-gao-tu-ping-ren-yi-233726","九日登高图屏","任颐（1840-1896），初名润，字小楼，后字伯年，浙江山阴（今绍兴）人。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，均是名声显赫的画家。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。任伯年精于写像，是一位杰出的肖像画家。人物画早年师法萧云从、陈洪绶、费晓楼、任熊等人。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董，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意，更加简逸灵活。",[25,7,28,29,132,27,130,34,3673],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0e76bf5e8ac1625574fca1e12385ab.jpg",[],{"id":20120,"slug":20121,"title":3241,"dynasty":207,"author":6750,"museum":236,"description":20122,"tags":20123,"thumbUrl":20124,"material":182,"size":20125,"collection":100,"collections":20126,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":88},233215,"zhu-shi-tu-zhou-gu-an-233215","《竹石图》 。该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[25,26,7,77,31,35,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2a0b28fc7cfc65ebf4a460dda8477a.jpg","170.7x99.7cm",[],{"id":20128,"slug":20129,"title":20130,"dynasty":207,"author":50,"museum":236,"description":20131,"tags":20132,"thumbUrl":20133,"material":16199,"size":20134,"collection":100,"collections":20135,"showCount":19968,"zanCount":11,"manualWeight":43,"mainColor":44},233151,"fang-guo-xi-shan-shui-tu-zhou-yi-ming-233151","仿郭熙山水图轴","图中绘层岩叠嶂，长松老树，古寺平溪，小桥行旅，可游可居。此图为大幅山水，构图高远、深远兼用，山如卷云，树似鹰爪，画风学郭熙一派而又有元人的逸趣。",[25,26,7,129,945,130,77,28,272,170,484,131,351,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919679436fe80731b835e0f45b649784.jpg","纵164厘米横105.3厘米",[],{"id":20137,"slug":20138,"title":20139,"dynasty":207,"author":1402,"museum":331,"description":20140,"tags":20141,"thumbUrl":20143,"material":182,"size":20144,"collection":100,"collections":20145,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":44},232636,"jin-ji-tu-li-zhou-chen-lin-232636","锦鸡图立轴","陈琳，（生卒年不详），字仲美，钱塘（今浙江杭州）人。南宋画院待诏珏子，琳世其叶。善画花鸟、山水、人物\n陈琳得赵孟頫指授，多所资益，故其画不俗，尤善临摹古迹。\n陈琳存世花鸟画仅有一件，即《溪凫图》（台北故宫博物院），作于大德五年(1301)，是在赵孟頫松雪斋中画成的。画中有赵孟頫的润饰和题字，称这幅画为陈琳的游戏笔墨，推重备至。作品特色鲜明，工笔略带写意，粗细兼用，笔墨潇洒流畅，浓淡墨色富于变化，形象生动，风格古朴，具有文人水墨写意画的韵致。这幅画既反映了陈琳的绘画特色，也代表了元代花鸟画嬗变的时代特征。陈琳还有山水画传世，如《秋山行旅图》、《苍崖古树图》等，都属于水墨写意画法。",[23,25,7,28,27,113,427,439,799,170,536,132,20142,1422],"元代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a7d3753eac78e2098c6e0fef1789f7.jpg","117x70厘米",[],{"id":20147,"slug":20148,"title":20149,"dynasty":18,"author":8793,"museum":331,"description":20150,"tags":20151,"thumbUrl":20152,"material":100,"size":100,"collection":100,"collections":20153,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":44},230157,"jiu-cheng-gong-tu-yuan-yao-230157","九成宫图","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。",[23,25,7,1157,28,129,269,377,132,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29d96974242735cfd79368fbee845cd.jpg",[],{"id":20155,"slug":20156,"title":20157,"dynasty":72,"author":126,"museum":331,"description":20158,"tags":20159,"thumbUrl":20160,"material":100,"size":100,"collection":100,"collections":20161,"showCount":19968,"zanCount":419,"manualWeight":43,"mainColor":44},228829,"han-que-wu-sheng-tu-shen-zhou-228829","寒雀无声图","画面取全景雪景山水，主峰巍峨覆雪，山石以短笔皴擦，苍浑厚重。近岸枯木萧疏，枝桠挺劲，汀渚间茅舍错落，平湖空蒙澄澈，以留白晕染出雪意，遍体清寒。\n\n整幅画以淡墨铺陈寒意，笔意松秀苍润，将冬日山野的阒寂空阔铺展开来。题画诗与雪景浑然相融，把山居冬日的幽谧淡然藏进尺幅之间，尽显文人幽居寄兴的雅逸意趣，萧寒之中自有沉静安然的意境。",[23,25,26,7,77,129,521,134,733,132,130,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56085afc730ef0c13e69977803e43ffc.jpg",[],{"id":20163,"slug":20164,"title":12130,"dynasty":72,"author":7648,"museum":331,"description":20165,"tags":20166,"thumbUrl":20169,"material":100,"size":100,"collection":100,"collections":20170,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":44},228486,"shuang-ying-tu-lin-liang-228486","《双鹰图》是清代画家朱耷创作的纸本水墨画，现藏于 。\n款识：八大山人写。\n钤印：八大山人（白）、何园（朱）、孝慈洪养百福（朱）、士元（朱）。\n藏印：程桢义联珠珍藏印（朱）签条：清高僧朱耷双鹰图真迹 。\n钤印：秋君（朱）、李秋印（白）。\n《双鹰图》画面以简洁的构图，别开生面，意境幽邃，寥寥数笔将冬季时节的气息表现得淋漓尽致。\n画中岩石一侧横斜出枯枝苍干，坡石边附有丛竹，双鹰一踞岩石上俯视，一栖树干上转头回望，呈呼应之势。\n二石二鹰一树描绘都是对大自然的精心观察后，通过变形取貌得其盎然生意，整个画面笔调圆润凝重，皆以圆弧线组成，富有流动感，浓淡干湿墨色相破相融，双鹰的画法虽可看到林良的影子，而意趣已有很大的不同。\n画面的构图不留地面和天空，仅有的右侧空白被作者自题识和款署给填补。\n此图无论是双鹰、山石、枯树都笔墨简括，意态尽出，显出了 以简取胜，以少胜多的独特写意艺术才能。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n朱耷（1626－176）。\n谱名统，有雪个、个山、人屋、道朗、八大山人等别号。\n南昌人。\n明末清初越的大画家。\n他是明太祖朱元璋第十六子朱权的九世孙。\n八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。\n弱冠为诸生。\n明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。\n后隐居进贤县介冈及永丰县睦冈等地。\n顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。\n因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。\n这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。\n一年多后，他又回到青云谱，并在这里度过“花甲华诞”。\n当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。\n后又隐避在南昌附近的北兰寺、开元观等处。\n该画取法明代大画家 ，枯枝危石之上两苍鹰相互顾盼，俯仰之间，英武之姿一览无余。\n以“双鹰”题材为例，列在八大名下目前存世画作有三幅：美国大都会博物馆藏《双鹰图》（系 旧藏）;上海博物馆藏《双鹰图》;江西 藏《双鹰图》。\n三幅画作之中，“大都会本”依画面题记确定为八大山人172年所作;“上博本”为1699年所作;“南昌本”无年款。",[23,25,26,7,2749,77,304,113,20167,1488,20168,78,1373,664,351],"院体","猛禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96e154c48c16ef3deed3628318f6135.jpg",[],{"id":20172,"slug":20173,"title":20174,"dynasty":72,"author":18768,"museum":331,"description":20175,"tags":20176,"thumbUrl":20177,"material":100,"size":100,"collection":100,"collections":20178,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":704},228260,"xi-shan-tu-xu-ben-228260","溪山图","此作画风承接元人山水余韵，以全景式构图铺展溪山胜境。层叠山峦以披麻皴写就，笔墨苍秀清润，尽显山石纹理质感与巍峨气势。山岩裂隙间飞泉垂落，添得山林灵动生机。山脚林木蓊郁，村居错落掩映于树荫之下，茅舍俨然，勾勒出幽寂恬然的山居意趣。\n\n画面上方题跋错落排布，书画相映成趣，晕染出文雅沉静的氛围。整作墨色层次丰富，勾勒点染间尽显静穆淡远的隐逸之美，将江南溪山的温润灵秀，与文人栖居的闲雅意致相融无间，格调萧散淡远，尽显文人山水的清雅风神。",[23,25,26,7,77,130,129,132,170,172,377,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c87a9d67988fc66837c4291b05d87c3.jpg",[],{"id":20180,"slug":20181,"title":20182,"dynasty":18,"author":559,"museum":331,"description":20183,"tags":20184,"thumbUrl":20185,"material":100,"size":100,"collection":100,"collections":20186,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":88},224590,"bi-tao-chun-niao-zhou-zou-yi-gui-224590","碧桃春鸟轴","柔枝托举粉艳桃华，花瓣晕染出匀净柔润的粉白渐变，似凝着春日晨露，鲜嫩枝叶轻舒，晕开清雅绿意。山雀静栖枝头，墨首白腹肌理分明，翅上嫩黄绒根根可数，尖喙微抬，侧目远眺，仿佛正细嗅花香。\n\n构图疏朗留白，闲章题字错落点缀，将工笔的精致与写意的悠然融为一体，把春日元气凝于尺幅之间，花鸟相伴的清和意趣跃然纸上，尽显恬淡治愈的东方雅致。",[23,25,24,26,7,28,27,113,498,115,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a74ab58cfd708a34b346a99465f12.jpg",[],{"id":20188,"slug":20189,"title":20190,"dynasty":18,"author":20191,"museum":331,"description":20192,"tags":20193,"thumbUrl":20194,"material":486,"size":20195,"collection":158,"collections":20196,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":44},224539,"xie-qin-you-shan-tu-zhang-gu-224539","携琴游山图","章谷","绘山峰险峻，山中松柏高大遒劲，山涧中一道清流顺山而下，数座房屋隐现于山中，山脚溪流奔腾不息，山路上一童子手抱古琴紧随一老者前行。章谷，清代善画山水和人物肖像，书法工篆、隶书",[23,25,26,24,7,129,130,77,132,427,169,733,377,170,134,29,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddea37d7d189707368095454cc36c726.jpg","纵211.7CM 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》描绘了云山雾罩中，水上渔夫捕鱼的生活场景，画面简洁、气韵生动，人物刻画准确。",[23,25,26,7,77,28,129,349,2367,20313,20314],"枯柳","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9626aa8d65d34938dfd008992e2399b4.jpg","65x34.7",[39],{"id":20319,"slug":20320,"title":20321,"dynasty":18,"author":20322,"museum":74,"description":20323,"tags":20324,"thumbUrl":20325,"material":136,"size":20326,"collection":39,"collections":20327,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":88},220439,"er-xian-tu-feng-ning-220439","二仙图","冯宁","冯宁，生死时年、籍贯均不详。高宗乾隆时，任职内廷画院供奉，擅长于人物画，画法似是出自明代浙派吴伟一路，用笔慓劲，衣服褶纹采取破笔粗线描法，水墨恣肆，墨气淋漓，画面充分给人一种力的感觉。画中二仙，似为八仙中的钟汉离、铁拐李二人。",[25,26,24,7,28,27,29,170,132,2917,10015,3673],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461871e343739280aea5bb0310803e26.jpg","173.5x68.9公分",[39,158],{"id":20329,"slug":20330,"title":20331,"dynasty":72,"author":19136,"museum":74,"description":20332,"tags":20333,"thumbUrl":20334,"material":37,"size":20335,"collection":158,"collections":20336,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":44},219973,"xi-qiao-fang-you-tu-wang-e-219973","溪桥访友图","明代画家。字廷直，奉化（今浙江奉化）人，世居奉化城内西锦里。 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木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[25,26,7,28,27,129,3880,269,134,193,29,352,427,132,733,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[138],{"id":20348,"slug":20349,"title":20350,"dynasty":18,"author":20351,"museum":74,"description":20352,"tags":20353,"thumbUrl":20354,"material":214,"size":20355,"collection":138,"collections":20356,"showCount":19968,"zanCount":341,"manualWeight":43,"mainColor":44},219484,"qun-feng-xue-ji-zhou-huang-ding-219484","群峰雪霁轴","黃鼎","全景铺展雪后盛景，陡峭峰岩如刀削斧凿，银雪覆顶似玉砌琼妆。山坳寒云蒸腾晕染，将层叠群峰切得分明，尽衬冬日清寂萧寒。\n近岸寒水如镜，枯木虬枝偃仰错落，脱尽繁叶，满是荒冬况味。滩渚间村居隐于林间，在素裹千山晕出一丝人间烟火，于冷寂中揉进暖意。\n笔墨苍劲老辣，皴擦尽显山石筋骨，淡墨烘出雪意空濛，将隆冬山野的清旷萧寒刻画尽致，于雄奇山水间铺陈出冬日独有的静穆辽远，绘尽雪霁群峰的孤高冷逸。",[24,25,26,7,77,130,129,5267,3880,172,351,521,173,5985],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230cc88d522e413964f2c40b468c24a2.jpg","260.3x168.8",[138],{"id":20358,"slug":20359,"title":20360,"dynasty":72,"author":3690,"museum":74,"description":20361,"tags":20362,"thumbUrl":20364,"material":37,"size":20365,"collection":138,"collections":20366,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":88},219465,"gu-shan-fang-he-tu-xiang-sheng-mo-219465","孤山放鹤图","项圣谟（1597-1658），字孔彰，浙江嘉兴人，著名收藏家项元汴之孙，其画精赡，不同时俗。孤山在浙江杭州西湖，宋代高士林逋（968-1028）隐居于此，种梅养鹤，不仕不娶，人谓「梅妻鹤子」。相传其泛舟湖中时，如友朋来访，家童即纵鹤飞报，遂归。然本幅却将孤山场景，融入苏轼名篇〈放鹤亭记〉（亭在江苏徐州云龙山）的内容，故绘鹤归来兮，山人相迎。而长堤迤逦，分明是西湖；数点梅花，又扣回林逋故事。实景、掌故与文章，在画家的想像里交织。画采俯瞰视角，以长堤环抱，横切狭长画幅，独具一格。画家二度题识，其一自署「再生丁酉人」，盖项氏生于万历丁酉年，至此又一甲子，故此作极有可能为其暮年所为。",[25,26,7,77,130,129,377,3552,253,733,79,80,97,151,20363],"孤山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4d720118a917ab54392b2fa1433c93.jpg","94.8x32.7",[138],{"id":20368,"slug":20369,"title":20370,"dynasty":18,"author":20371,"museum":74,"description":20372,"tags":20373,"thumbUrl":20374,"material":82,"size":20375,"collection":39,"collections":20376,"showCount":19968,"zanCount":419,"manualWeight":43,"mainColor":88},219442,"ling-xian-zhu-shou-tu-zhou-qian-zai-219442","灵仙祝寿图轴","钱载","虬松盘空，松针攒簇如墨星缀枝，枝干皴擦见苍劲老骨；旁逸修竹数竿，叶影疏斜带清韵。坡间灵菌隐现，伴以细草繁花，笔墨细劲却含生机，淡墨晕染衬出野趣。全图以水墨写就，浓淡干湿相生，于清雅笔墨间藏祝寿吉意。既有文人画的疏朗气韵，又含对福寿康宁的温婉期许，帧中留白更显意境悠远。观之如沐林下清风，心随画境渐宁，仿佛能闻松涛竹语，见灵秀之气漫溢纸间，笔墨里的雅致与吉庆悄然相融，尽显传统文人画的韵致与温度。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>",[25,26,24,7,77,27,427,78,4370,536,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e85c969be4769322ad7f0290fce1fef.jpg","185.3x79.3",[39],{"id":20378,"slug":20379,"title":20380,"dynasty":72,"author":7648,"museum":147,"description":20381,"tags":20382,"thumbUrl":20383,"material":99,"size":20384,"collection":84,"collections":20385,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":44},219329,"liu-que-tu-lin-liang-219329","柳鹊图","画中的柳叶随风起舞，四只喜鹊在中间嬉戏。 这幅画飞扬而不失形，或画的下部被切掉，造成画不完整。",[23,25,24,77,304,113,7,404,4978,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e1a6f8f3388ac631614527f9aa6831.jpg","139.4x76cm",[84],{"id":20387,"slug":20388,"title":20389,"dynasty":18,"author":50,"museum":20,"description":20390,"tags":20391,"thumbUrl":20392,"material":28,"size":100,"collection":39,"collections":20393,"showCount":19968,"zanCount":11,"manualWeight":43,"mainColor":88},219246,"gao-seng-hua-xiang-yi-ming-219246","高僧画像","层叠群像如莲台次第铺展，二十余尊高僧法相凝于尺幅间。红白袈裟相映，墨珠垂胸，法器隐手——衣纹勾勒流畅，色彩晕染沉稳，承清代肖像写实之韵。或眉蹙深思，或面含悲悯，同具肃穆却各藏性情，似触见修行路上的不同心境。素底无华，更显佛法空灵与僧团整肃。佚名画师以细腻笔触，定格高僧精神群像，岁月流转，那份沉静力量仍穿越时空，叩击观者心弦。",[23,25,7,27,28,54,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc0cbc6a57185d6c4061f87a8c95e91.jpg",[39],{"id":20395,"slug":20396,"title":818,"dynasty":18,"author":20397,"museum":20398,"description":20399,"tags":20400,"thumbUrl":20401,"material":82,"size":20402,"collection":138,"collections":20403,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":88},217992,"shan-shui-tu-zha-shi-biao-217992","査士标","斯德哥尔摩东方博物馆","査士标的山水画以其自然的风格、细腻的笔触和精确的构图著称。他的画作常常描绘山林、溪流、岸边和村庄，画面中有时会出现人物，但他更喜欢以自然元素为主。他的画作充满了对大自然的热爱和敬畏，表现了他对生活的真挚感受。\n\n査士标的山水画也因其独特的技巧而闻名。他喜欢使用轻轻松松的笔触，表现出自然界的和谐与平静。他的画作也常常充满了隐喻和寓言，使得作品具有深刻的哲理意义。\n\n总的来说，査士标的山水画是中国传统画风的杰出代表作，值得我们深入研究和鉴赏。",[25,26,7,77,129,134,193,131,29,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9dde10358f2db567a9adf307310184.jpg","109x57cm",[138],{"id":20405,"slug":20406,"title":20407,"dynasty":72,"author":50,"museum":331,"description":20408,"tags":20409,"thumbUrl":20410,"material":99,"size":20411,"collection":39,"collections":20412,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":44},216728,"mai-xin-song-shu-tu-yi-ming-216728","卖薪诵书图","枯枝虬曲，远山含黛，野径蜿蜒向林深。担薪者负薪束于肩，一手扶担，一手展卷，诵读之态若忘周遭。寒林疏影映寒空，涧水浅流绕石行，天地间似只剩书页轻翻与步履缓响。劳役的艰辛未掩向学之心，平凡身影里藏着对知识的执着。笔墨简练却意韵悠长，将劳作与勤学相融的图景凝于尺幅。清寂山水间，躬身向学的姿态恰是求知精神的无声颂赞，令观者于萧疏景致中，触到那份穿越时光的执着暖意。",[23,24,25,26,7,985,77,28,130,29,484,131,129,1717,193,11342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8971c5260d21c60bdf16d0a69f19cade.jpg","74x44",[39],{"id":20414,"slug":20415,"title":20416,"dynasty":72,"author":20417,"museum":74,"description":20418,"tags":20419,"thumbUrl":20420,"material":82,"size":20421,"collection":100,"collections":20422,"showCount":19968,"zanCount":43,"manualWeight":43,"mainColor":88},214225,"jiu-si-zhu-you-jian-214225","九思","朱由检","九思是一首中国古代诗歌，作者是朱由检。这首诗是朱由检写给他的朋友李德裕的，内容是朱由检对李德裕的思念之情。\n\n九思是一首五言绝句，共有五句话，每句话都有四个字。这首诗的内容很简单，但是通过精巧的排列和组合，表达了朱由检对李德裕的真挚的情感。\n\n这首诗的具体内容如下：\n\n九思，不见君，思君朝朝，暮暮夕夕。\n此水何时休，归海无期迟。\n\n这首诗通过描述思念的情感来表达朱由检对李德裕的思念之情。在这首诗中，朱由检描述了他无法见到李德裕的痛苦和思念之情，并表示希望早日能够和李德裕重聚。",[23,25,26,80,7,97,79,11389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a54d8ec12467818e0bee9415f9a797.jpg","57.6x111.3",[],{"id":20424,"slug":20425,"title":20426,"dynasty":93,"author":1283,"museum":331,"description":18447,"tags":20427,"thumbUrl":20428,"material":198,"size":780,"collection":100,"collections":20429,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},291007,"gu-song-tu-guo-xi-291007","古松图",[25,24,7,77,130,9245,131,152,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762d8920ad7268cf0fee7850c0890f75.jpg",[],31,{"id":20432,"slug":20433,"title":20434,"dynasty":93,"author":808,"museum":74,"description":20435,"tags":20436,"thumbUrl":20437,"material":37,"size":16756,"collection":100,"collections":20438,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},290991,"hong-liao-bai-e-tu-zhou-zhao-ji-290991","红蓼白鹅图轴","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[25,26,7,113,27,28,5681,16754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49392263148cac39d6982d6b3325ca0.jpg",[],{"id":20440,"slug":20441,"title":720,"dynasty":72,"author":264,"museum":331,"description":16561,"tags":20442,"thumbUrl":20443,"material":198,"size":780,"collection":100,"collections":20444,"showCount":20430,"zanCount":11,"manualWeight":43,"mainColor":44},290873,"chun-shan-yin-shang-zhou-chou-ying-290873",[24,25,7,268,28,27,129,29,269,193,377,79,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1675e33be13137aeb68f7c392e602fd.jpg",[],{"id":20446,"slug":20447,"title":20448,"dynasty":72,"author":264,"museum":74,"description":16561,"tags":20449,"thumbUrl":20450,"material":82,"size":20451,"collection":185,"collections":20452,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},290870,"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整个画卷空无一人，山水则似真非真有恬淡、简远、空灵寂静之意境，表达了画家寄情山水，抒胸中逸趣之理想审美境界。",[24,25,26,7,77,129,130,134,193,377,269,170,132,18760,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bba6c7101630ccfecf55d8000d2bed.jpg",[],{"id":20522,"slug":20523,"title":20524,"dynasty":207,"author":20525,"museum":331,"description":20526,"tags":20527,"thumbUrl":20528,"material":198,"size":780,"collection":100,"collections":20529,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},283617,"zao-yu-tu-li-zhou-lai-an-283617","藻鱼图立轴","赖庵","《藻鱼图》中，鱼几乎占据了画面的全部空间，它似乎刚刚突然掉转身来面对观者，嘴巴大张，目光犀利。作者用细线精心描绘了片片鱼鳞，通过晕染来显示质感和立体感。以淡墨写水草，并通过鱼尾的摆动和水草的摇晃增加了画面的动感。",[25,7,27,28,935,306,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f0d1ae2ed0890eee7efeeb8d1919df7.jpg",[],{"id":20531,"slug":20532,"title":20533,"dynasty":18,"author":20534,"museum":331,"description":20535,"tags":20536,"thumbUrl":20537,"material":100,"size":100,"collection":138,"collections":20538,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},239415,"fang-gu-shan-shui-ping-qin-zu-yong-239415","仿古山水屏","秦祖永","此作为浅绛山水，取高远、深远构图，层峦叠嶂渐次推展。山石以干笔皴擦，兼施淡赭花青晕染，松苍枫艳，满溢秋意。林麓间山居隐现，山道上行旅往来，山口茅亭有人闲坐，处处缀出悠然的山居烟火气。\n画作师法前贤，笔致松秀温润，设色清雅柔和，题诗呼应画意，将宋元山水的苍浑气象，揉入文人画的秀逸雅致中，尽显静穆淡远的林下雅趣，是晚清仿古山水中极具意韵的佳构。",[25,28,129,130,1027,252,253,377,29,686,132,427,2366,79,134,195,733,19078,4987,13331,268,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa922d4fea8744735b2bda1b5ca2a1160.jpg",[138,158],{"id":20540,"slug":20541,"title":20542,"dynasty":18,"author":921,"museum":331,"description":20543,"tags":20544,"thumbUrl":20545,"material":100,"size":100,"collection":100,"collections":20546,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},239285,"song-shu-tu-zhou-wu-chang-shuo-239285","松树图轴","此作用篆籀笔法写就老松，主干以苍辣浓墨挥扫，嶙峋树皮尽显饱经岁月的古拙质感，松针攒簇如戟，笔力沉雄凝练，仿佛将穿林风骨锁于纸间。\n\n右侧长款行草笔势奔腾跌宕，与画面笔墨意趣融为一体，诗书画印相映成趣。暑日挥毫，汗透衣衫仍笔底生风，将老松傲骨峥嵘的姿态尽致展现，苍郁雄浑的气韵扑面而来，尽显吴氏金石写意的典型风貌，把文人笔墨意趣与古松坚韧生机完美相融。",[25,26,7,77,427,80,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e5299d3cfddb23c06d20f3f2c9ff8b.jpg",[],{"id":20548,"slug":20549,"title":20550,"dynasty":18,"author":20551,"museum":236,"description":20552,"tags":20553,"thumbUrl":20554,"material":100,"size":100,"collection":138,"collections":20555,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},239229,"guan-shan-xing-lv-zhou-zhou-hao-239229","关山行旅轴","周颢","周颢，同名人物有两位。分别是清代书画家、竹刻家。字晋瞻，号芷嵒（一作巖、岩）、芷道人、芷叟、雪樵，因蓄美须长髯，自号髯痴，人呼周髯；湖北美术学院教师。\n工书画，尤精竹刻。行书师法苏轼，跌宕奇伟，自成风格。山水画早年学王翚，笔墨秀润。又善临摹，仿王蒙最工，人物画也很精妙。擅长画竹，兴酣落笔，风枝或雨叶栩栩如生。尤其以画法施之刻竹，合南北宗为一体。技艺闻名乡里，所刻山水、人物、丛竹，用刀如用笔，不必假借他人稿本。除了擅长以阴刻搭配浅浮雕技法来雕刻纹饰，尤擅长采用阴刻技法雕得相当深陷，再在深陷部位依据纹饰的需要浅雕局部纹饰，名为“陷地深刻”。这种深刻技艺，始于朱松邻，至周颢集大成。传世作品以笔筒和臂搁为主。其竹刻以阴刻技法展现绘画中的“南宗山水”最具特色，与“三朱”的刻竹面目大不相同。金元钰称誉周颢在竹人中，好像杜甫在盛唐诗人中的地位一样，首屈一指。",[25,26,7,77,130,129,132,170,29,270,174,171,152,3996,6208,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe459ba58587eb0fbdcff3afdad0c85b6.jpg",[138,185],{"id":20557,"slug":20558,"title":20559,"dynasty":72,"author":20560,"museum":331,"description":20561,"tags":20562,"thumbUrl":20563,"material":100,"size":100,"collection":138,"collections":20564,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},237905,"shan-shui-ren-wu-zhou-peng-shun-qing-237905","山水人物轴","彭舜卿","乾隆庚戌年间画家",[24,25,26,7,77,28,129,29,349,427,132,523,130,2367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7e18d3fc7112b55080a3774d15b883.jpg",[138],{"id":20566,"slug":20567,"title":1381,"dynasty":18,"author":1971,"museum":236,"description":14908,"tags":20568,"thumbUrl":20569,"material":745,"size":14911,"collection":138,"collections":20570,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},237610,"shan-shui-zhou-wang-jian-237610",[25,77,130,7,129,132,170,134,193,733,1651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc811fcb2decec93770fba981f9fb35b6.jpg",[138,185],{"id":20572,"slug":20573,"title":20574,"dynasty":18,"author":20575,"museum":236,"description":20576,"tags":20577,"thumbUrl":20580,"material":486,"size":20581,"collection":158,"collections":20582,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},237494,"ti-shan-tu-zhou-yu-zhi-ding-237494","题扇图轴","禹之鼎","本幅右上自题“题扇图”，“都门客窗摹刘松年笔意。恭颂定翁老先生荣寿千春，广陵禹之鼎。”钤“慎斋禹之鼎”白文印，“广陵涛上渔人”朱文印，左下钤朱方印“必逢佳士亦写真”。\n据题款“都门客窗”知此图为画家寓居京城时期所作，从画风判断应为其早年摹诸家技法时的作品。图中所绘为“羲之题扇赠老姥”的故事。书圣王羲之见乡间老妇苦于生计，便为其所卖之扇题字，嘱老妇言“是王右军书，以求百钱”。老妇哪知其中奥妙，面露迟疑，不想人们竞相购买，一时传为佳话。\n此图青绿设色。画面上石崖高耸突兀，两棵古松挺拔苍劲，喻“益寿延年”。图中羲之坐于石桌旁落笔题字，老妇目露期盼，僮仆于溪畔洗砚，主题鲜明，生动自然。山水、人物用笔精细，设色艳丽明快，追求南宋院体画工整严谨的风格。",[25,26,7,28,27,29,427,132,5110,20578,55,20579,664,58],"桌子","老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da342761f02fee861163ccd509fa22e.jpg","纵132厘米，横55.8厘米",[158],{"id":20584,"slug":20585,"title":20586,"dynasty":18,"author":1971,"museum":74,"description":20587,"tags":20588,"thumbUrl":20589,"material":214,"size":100,"collection":138,"collections":20590,"showCount":20430,"zanCount":11,"manualWeight":43,"mainColor":88},237076,"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[25,26,24,7,28,130,129,272,172,170,427,78,351,16641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg",[138],{"id":20592,"slug":20593,"title":20594,"dynasty":18,"author":235,"museum":236,"description":20595,"tags":20596,"thumbUrl":20598,"material":745,"size":20599,"collection":39,"collections":20600,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},236467,"gong-sun-da-niang-wu-jian-tu-zhou-ren-yi-236467","公孙大娘舞剑图轴","图绘著名教坊舞伎公孙大娘舞剑之情景。公孙大娘主要活动于唐代开元年间（713—741年），以擅长舞剑享有盛名。相传怀素、张旭观其舞剑曾启发了他们的草书创作，形成了狂草之笔风。\n是图线条劲健流畅，墨笔枯润浓淡自如，有明末陈洪绶笔法，但又具自家面貌，为任氏用意之作。",[25,26,24,7,985,77,29,30,20597,79,80],"剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a3ce8d2d9ae38ee061b2d227a8155.jpg","纵41.9㎝，横28㎝",[39,185],{"id":20602,"slug":20603,"title":20604,"dynasty":18,"author":19380,"museum":331,"description":20605,"tags":20606,"thumbUrl":20607,"material":100,"size":100,"collection":138,"collections":20608,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},236455,"zheng-min-fang-huang-gong-wang-shan-shui-zhou-zheng-min-236455","郑旼仿黄公望山水轴","郑旼（1632—1683）， 字号：慕倩、穆倩、慕道人、神经证史、雪痕后人，安徽歙县郑村贞白里人，擅长山水。传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年作《香烟诗意图》轴藏香港刘均量虚白斋；十二年作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。",[25,26,7,77,130,129,252,253,349,56,351,521,3095,523,380,4574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[138,185],{"id":20610,"slug":20611,"title":3201,"dynasty":18,"author":50,"museum":236,"description":3202,"tags":20612,"thumbUrl":20613,"material":486,"size":3205,"collection":39,"collections":20614,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},236165,"yong-zheng-chao-fu-xiang-zhou-yi-ming-236165",[24,25,26,7,28,27,29,7548,334,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f80fdf14cbf8bf55ddfd77ed4a88d8b.jpg",[39,158],{"id":20616,"slug":20617,"title":20618,"dynasty":18,"author":8793,"museum":331,"description":20619,"tags":20620,"thumbUrl":20622,"material":100,"size":100,"collection":100,"collections":20623,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},235991,"li-shan-bi-shu-tu-zhou-yuan-yao-235991","骊山避暑图轴","《袁江袁耀画集》是25年 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",[25,24,1157,7,129,269,273,20621,27,28],"避暑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151db4c056ec8268fc389d385cc75777.jpg",[],{"id":20625,"slug":20626,"title":20627,"dynasty":18,"author":1296,"museum":331,"description":20628,"tags":20629,"thumbUrl":20630,"material":100,"size":100,"collection":100,"collections":20631,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},234544,"yuan-ji-san-tao-tu-zhou-shi-tao-234544","原济三桃图轴","石涛（1642年－1708年）清代著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。明靖江王朱亨嘉之子。与弘仁、髡残、朱耷合称“清初四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[25,26,7,77,28,113,4369,1373,291,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F734589d4fb2c5b2b166fe490b533beaa.jpg",[],{"id":20633,"slug":20634,"title":14758,"dynasty":18,"author":50,"museum":331,"description":14759,"tags":20635,"thumbUrl":20636,"material":198,"size":780,"collection":100,"collections":20637,"showCount":20430,"zanCount":11,"manualWeight":43,"mainColor":3208},234427,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234427",[25,7,26,28,5733,54,9612,4079,6284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8020d1c953ad0b415ed6a68867cc2df.jpg",[],{"id":20639,"slug":20640,"title":20641,"dynasty":207,"author":1327,"museum":236,"description":20642,"tags":20643,"thumbUrl":20644,"material":1218,"size":17609,"collection":100,"collections":20645,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},233846,"mu-yu-tu-li-kan-233846","沐雨图","《沐雨图》中画坡石上雨竹四竿，下生兰草数丛。竹叶繁茂下垂，将细雨淋洒下的雨竹风姿表现得十分自然。竹的枝叶用双钩法，笔法劲健工细，以汁绿敷染，叶尖略施赭色，青翠欲滴。利用留白表现雨后竹叶上的水珠。",[25,7,27,28,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96ed71ab1f6480dbbded3cf032bacacf.jpg",[],{"id":20647,"slug":20648,"title":20649,"dynasty":18,"author":235,"museum":236,"description":20650,"tags":20651,"thumbUrl":20656,"material":1320,"size":20657,"collection":100,"collections":20658,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},233677,"jiao-yin-pin-yan-tu-zhou-ren-yi-233677","蕉荫品砚图轴","砚，“文房四宝”之一，是古代文人书桌必备之物。用料讲究，造型精美的砚台兼具实用性和赏鉴把玩的特性，因此热衷收藏品赏砚台的文人雅士也大有人在，比如宋代大文人苏轼就是“嗜砚成癖”。\n任颐此图画一文士双手捧砚，神态专注，旁边的童子还在整理一摞石砚。虽然没有明确写画的是谁，但是从人物装扮来看，很可能表现的就是苏轼品砚的故事。画风清爽，线条顿挫曲折，极富表现力，人物形象很是传神。\n任颐（1840—1896年），初名润，字小楼，后字伯年，浙江绍兴人，后寓上海。“海派”代表画家。以卖画为生，擅长人物、肖像、花鸟、山水。其人物师法陈洪绶、费丹旭、任熊等人，花鸟画取法陈洪绶、陈淳、徐渭、朱耷，笔墨简逸放纵，设色明净，形成兼工带写、明快清新的格调。他的绘画发轫于民间，又继承传统，融汇诸家之长，还吸收了西画速写、设色诸法，从而形成丰姿多彩、新颖生动的独特画风，具有雅俗共赏的艺术趣味和鲜明的时代气息。任颐与任熊、任熏、任预有着师承关系，画风一脉相承，并称为“海上四任”。",[25,7,28,29,239,20652,776,10015,1371,13331,602,5575,18484,20653,20654,20655],"砚台","品砚场景","设色人物","传统笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071954fcb7937f196c6fc0f481688551.jpg","155.5cm×43.5cm",[],{"id":20660,"slug":20661,"title":20662,"dynasty":207,"author":50,"museum":331,"description":20663,"tags":20664,"thumbUrl":20665,"material":198,"size":780,"collection":100,"collections":20666,"showCount":20430,"zanCount":11,"manualWeight":43,"mainColor":44},232830,"pu-sa-xiang-li-zhou-yi-ming-232830","菩萨像立轴","所谓圆满不是没苦乐,而是苦乐随喜,悲喜随缘。",[23,25,7,54,29,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb5d90da2e2548d70c18c54ec678b7b0.jpg",[],{"id":20668,"slug":20669,"title":3212,"dynasty":207,"author":208,"museum":74,"description":20670,"tags":20671,"thumbUrl":20672,"material":182,"size":20673,"collection":100,"collections":20674,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},232265,"xi-shan-gao-yi-tu-wang-meng-232265","远处高山耸立，冲出画面，山头层层叠叠，树木苍茫，左侧高山间，一线飞瀑直落而下，水珠四溅，山石中部又一飞泉，从岩间淙淙涌出，溪间奔湍，沿山脚蜿蜒曲折地流注而下。中景山腰处，松木成行。近景为坡岸，山石长有几株松树，有的枝干挺拔直上，有的枝干长满结节，有的松树枝叶盘曲有姿，十分茂密，相互交错，错落有致。在山间林中，有数间屋宇草堂，门窗敞开，堂中有一高士端坐其间，身穿宽服长袍，正在阅渎书卷，旁有书童侍立在旁。屋堂外的宽阔平地上有一只双翅展开的仙鹤。画幅左下角又一长者，身穿大袍，头戴官帽伫立在平地上，正在凝神地观赏四周优美的江南山山水水，十分悠闲自得。树下和山石旁留下一片水面，十分平静。款署：“叔明王蒙为菊窗琴友制图。”\n王蒙出身书画世家，外公就是元代书画家赵孟頫，所以他的画早期受赵孟頫的影响较深。后又综合唐宋名家，广采博览，故其画纵逸多姿，又独创渴笔解索皴法，终于跳出赵孟頫规矩之外，自开门户。画山水师法巨然，风格独特，“层巅奉律摩苍穹，咫尺可论千万重”。在元代山水画家中，是唯一以作品繁、密取胜者，构图回环重叠，结构复杂，笔墨熟练，重用笔而胜于用墨，强凋书法情趣，他的画构图繁复周密，以各种手法表现江南林木的苍郁茂盛和湿润感，是元代具有创造性的山水画大师，明清及近代画家几乎都学过他的画。此《溪山高逸图》，是他画构图繁复的山水画中代表作之一。\n此画构图繁密，密而不塞，密中求疏。全画用笔苍郁沉厚，颇见功力。山石皴笔用细如牛毛、略带波颤、层次繁密的“解索皴”，再加上用破笔点成的苔痕，苍苍茫茫，“望之而郁然深秀”。此画最大特点，作者善于表现江南深山溪谷草木华滋的蒙茸湿润之感。中近景树木用双勾法，树干曲折，一笔二过，树叶形状不一，填彩各异，但没有掩隐墨色的效果。纵观此图，画面崇山松木与溪流飞瀑相得益彰，有声有色，自然和谐，构图深远，结构密而不塞，与元代简洁之风大相径庭，充分体现了作者独特的风格。\n明代画家董孝初：“叔明此图，昔人评为第一，非浪语也。笔法之妙，布置之奇，如韩淮将兵，多多益办。……苍古秀润，沉雄浑厚，殆兼之矣。”\n当代画家张德宁：此图用湿笔在绢上反复勾皴渲染，其颇具个性的“牛毛皴”、“解索皴”，灵动而又凝重，笔墨清晰，有迹可循，深得历代画家的赞赏。",[25,26,7,77,28,130,129,170,377,193,132,733,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c886a58613a314ad3485c1fad4393.jpg","纵113.7厘米，横65.3厘米",[],{"id":20676,"slug":20677,"title":20678,"dynasty":18,"author":2330,"museum":648,"description":20679,"tags":20680,"thumbUrl":20682,"material":182,"size":20683,"collection":100,"collections":20684,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},231487,"shu-kui-xuan-hua-tu-jiang-ting-xi-231487","蜀葵宣花图","此幅用没骨法绘三枝折枝花卉，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。\n蒋廷锡（1669—1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。康熙四十二年（1703年）进士，历任礼部侍郎、户部尚书、文华殿大学士、太子太傅等职。",[23,25,26,113,7,27,28,4262,20681],"萱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9575199fb86ddf3cfac99d1250ee36.jpg","78×39cm",[],{"id":20686,"slug":20687,"title":20688,"dynasty":207,"author":7719,"museum":74,"description":20689,"tags":20690,"thumbUrl":20691,"material":82,"size":20692,"collection":100,"collections":20693,"showCount":20430,"zanCount":11,"manualWeight":43,"mainColor":88},231413,"qun-feng-xue-ji-tu-cao-zhi-bai-231413","群峰雪霁图","《元曹知白群峰雪霁图》是元代大画家曹知白晚年创作的一幅纸本水墨中国画作品，该作尺寸纵129.7公分，横56.4公分，现藏 。\n在技法上已经达到了融会贯通的境界。\n画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。\n在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。\n此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。\n一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。\n此作的构图布局采用的是“高远法”，整体山势不以险峻取胜。\n平稳和缓的峰峦，带有明显的江南景象的特征，重重叠叠，层层递进，大有江山无尽之感。\n【名称】元曹知白群峰雪霁图 【类别】中国 【 【 【 【简介】 图轴，纸本，水墨画，纵：129.7公分，横：56.4公分。\n该画以白颜色为主要色调，技法表现看似简单，实则匠心独运，法度森严，虚实得当，计白当黑，尤其是在水榭、树木这些细微之处更见功夫。\n用笔简约疏朗，刚柔相济；用墨润燥相间，清淡温和；巧妙地把北方山水所特有的苍浑巍峨的“河朔气象”融入恬淡雅逸的江南景色的韵味，形成了柔美、宁静、凝重的风格。\n观者在一望之间，即能体会到北方山川的厚重沉稳，也能品味出南方山水的内在之美。\n另外，有学者认为「雪图」，可能是 早年精仿宋人之作。\n曹知白（1272-155年），字又玄，一字贞素，号云西，华亭（今属上海松江）人。\n工诗文，善画山水，画法师李成、郭熙，笔墨清润，全无俗气。\n晚年笔法苍简，自成一格。\n对后世绘画有一定的影响。",[25,167,364,7,130,79,5267,3880,169,170,733,272,523,521,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a999b20c2e336d2ab5e434cb134b279.jpg","纵129.7厘米，横56.4厘米",[],{"id":20695,"slug":20696,"title":20697,"dynasty":93,"author":164,"museum":331,"description":20698,"tags":20699,"thumbUrl":20700,"material":100,"size":100,"collection":100,"collections":20701,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},230971,"chong-shan-fu-ling-tu-li-zhou-fan-kuan-230971","重山复岭图立轴","此作以雄浑苍劲的笔力绘就北国山川，主峰巍峨沉厚，以雨点皴反复皴擦山石肌理，将岩质的粗糙坚硬尽数铺展，裹挟着磅礴厚重的山岳气势扑面而来。山间古木虬曲交错，丹黄枝叶点染出深秋萧疏意趣。山坳板桥村舍隐于林木烟岚间，细笔轻勾出乡野烟火，于雄奇之中晕开温润生机，刚柔相济消解了山岳的冷峻。\n\n构图层峦叠嶂，虚实相生，高远深远兼具，将山川的浑莽大气与林下幽居的悠然相融，尽显山水风骨与内敛的人文意趣。",[23,25,24,26,7,77,28,129,130,272,132,170,134,193,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ccf22bfab8ac355246314d05dace25.jpg",[],{"id":20703,"slug":20704,"title":20705,"dynasty":18,"author":5720,"museum":74,"description":20706,"tags":20707,"thumbUrl":20708,"material":255,"size":20709,"collection":100,"collections":20710,"showCount":20430,"zanCount":11,"manualWeight":43,"mainColor":88},224573,"qing-qian-long-ke-si-hua-hui-gua-ping-san-zhou-qing-ren-224573","清乾隆缂丝花卉挂屏（三）轴","花卉册在本色地上缂织茶花水仙、玉兰海棠、牡丹、碧桃芝竹、百合剪春罗、荷花蜻蜓、踯躅、芝兰、秋海棠、剪秋纱、蝴蝶花、梅花等各色花卉，每开均缂织而成，无着笔处。画幅采用平缂、构缂、木梳戗、长短戗、凤尾戗和掼缂等缂织技法，缂工细致，润色自然，描画不求形似，具有简逸风格的文人花鸟画风。",[23,473,7,28,27,536,600,1373,291,57,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5222c3323292451a6bbb293a2c5953d.jpg","每开纵41厘米，横42厘米",[],{"id":20712,"slug":20713,"title":20714,"dynasty":18,"author":361,"museum":74,"description":20715,"tags":20716,"thumbUrl":20717,"material":255,"size":20718,"collection":100,"collections":20719,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},224434,"luo-mu-han-quan-tu-zhou-wang-shi-min-224434","落木寒泉图轴","该图写太湖秋高气爽之景色。设景简略，绘平坡疏树，山麓茅亭。在画法上宗法倪瓒，山石树木勾勒用渴笔正锋侧出，转折处露锋芒而笔墨浑然，但点叶与小树画法仍近黄公望笔意，其苍厚蕴藉的风致反映的是画家晚年的典型面貌。",[23,25,26,7,77,130,129,170,152,132,193,377,522,5929,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2adb5680f897abc61971068a52abe5f.jpg","纵83cm,横41.2cm",[],{"id":20721,"slug":20722,"title":20723,"dynasty":18,"author":361,"museum":236,"description":14084,"tags":20724,"thumbUrl":20725,"material":745,"size":11701,"collection":138,"collections":20726,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},224430,"shan-shui-tu-zhou-1-wang-shi-min-224430","山水图轴1",[23,25,26,7,77,130,129,252,56,170,351,134,193,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91509f5ac8b38273762ab9dd2033f8fd.jpg",[138],{"id":20728,"slug":20729,"title":20730,"dynasty":18,"author":20731,"museum":331,"description":20732,"tags":20733,"thumbUrl":20735,"material":100,"size":100,"collection":100,"collections":20736,"showCount":20430,"zanCount":11,"manualWeight":43,"mainColor":88},224292,"teng-hua-ru-ji-zhou-xu-you-224292","籐花乳鸡轴","许佑","柔蔓紫藤垂挂如紫霞流泻，淡紫花瓣晕染柔和，间衬嫩绿叶色，将春日柔媚尽藏枝桠。下方浅草茸茸，数只乳鸡或低头啄食，或相互依偎，茸毛蓬松鲜活，憨态尽显，灵动稚拙的模样似要跃出纸面。\n\n整作笔墨秀润清逸，工细兼具写意，将藤花的柔雅与雏鸡的生机相融，动静相映，把乡野间寻常的春日小景，晕染出恬和悠然的闲趣，平和雅致间满溢鲜活生机。",[25,7,28,27,79,113,1696,20734,5110],"乳鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada398b14092fd03535ab4dce02ea007.jpg",[],{"id":20738,"slug":20739,"title":20740,"dynasty":18,"author":20741,"museum":331,"description":20742,"tags":20743,"thumbUrl":20745,"material":198,"size":780,"collection":100,"collections":20746,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},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。",[23,25,26,7,28,27,268,1157,129,269,377,170,132,193,78,10262,20744,778,14931],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f460da26208a42a6f0f8d44c32e407a.jpg",[],{"id":20748,"slug":20749,"title":20750,"dynasty":207,"author":50,"museum":236,"description":20751,"tags":20752,"thumbUrl":20753,"material":182,"size":20754,"collection":157,"collections":20755,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},223666,"xue-shan-xing-lv-tu-zhou-yi-ming-223666","雪山行旅图轴","山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。",[23,25,7,77,130,28,129,1240,521,169,132,172,733,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9cb5a6c82975a7225dafdffa1c6e7e.jpg","106x51.5",[157],{"id":20757,"slug":20758,"title":20759,"dynasty":93,"author":50,"museum":331,"description":20760,"tags":20761,"thumbUrl":20762,"material":100,"size":100,"collection":100,"collections":20763,"showCount":20430,"zanCount":11,"manualWeight":43,"mainColor":342},223406,"tai-yi-jiu-ku-tian-zun-yi-ming-223406","太乙救苦天尊","画面底色沉郁古雅，晕染出静穆庄肃的宗教氛围。天尊仪容清癯端严，眉目悲悯内敛，衣纹线条凝练沉稳，晕染厚重雅致，将出尘仙风道骨尽显无遗。座下九头狮狞猛威严，鬃毛与鞍鞯细节刻画入微，狞悍神兽与沉静天尊形成强烈动静反差，暗合天尊以神威广度苦厄的意涵。\n设色古朴厚重，深褐底色托出人物明洁面容与衣摆亮色，层次分明，尽显典雅法度，神性的庄严与慈悲融于含蓄笔墨间，带着沉静肃穆的感染力。",[23,25,26,7,54,28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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。",[25,24,7,1157,27,28,269,29,129,196,4574,170,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedfd8e3692883f0a750fcbb48cfd87f.jpg","159.8x93.2",[158],{"id":20897,"slug":20898,"title":20899,"dynasty":72,"author":10733,"museum":74,"description":20900,"tags":20901,"thumbUrl":20902,"material":136,"size":20903,"collection":39,"collections":20904,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},219337,"da-mo-zhou-song-xu-219337","达摩轴","红衣裹身，赤足踏浪，达摩于烟波中笃定前行。衣袂褶皱随浪涛起伏，墨线勾勒的水纹层层叠叠，似与风声共振。眉眼间坚毅藏着渡世慈悲，耳畔环珮轻晃，难扰心湖澄明。淡赭底色晕染朦胧水气，红袍浓艳如烈火，在素净背景里燃出修行的热烈。笔墨凝注禅意厚重，将达摩渡江典故镌于绢素。任时光流转，那份向道执着仍在浪尖熠熠生辉，引人沉潜于禅思的静谧与力量之中。",[25,26,7,54,28,29,79,56,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6403bcd89cc0c43ba5d3a7a16bc88d1a.jpg","72.1×31.8",[39],{"id":20906,"slug":20907,"title":5945,"dynasty":72,"author":50,"museum":1714,"description":20908,"tags":20909,"thumbUrl":20910,"material":28,"size":100,"collection":39,"collections":20911,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},219249,"pu-xian-pu-sa-xiang-yi-ming-219249","白象披挂华鞍，纹饰繁复间透着庄严气象。普贤端坐其上，衣袂轻扬，神态沉静超然，似于松云间体悟禅意。旁侧侍从躬身侍立，姿态恭谨，与菩萨的互动自然生动，流露世俗温情。双松虬枝挺拔，松针细密如织，云雾缭绕其间，晕染出缥缈仙境。线条流转如丝，衣纹褶皱毕现，大象肌理细腻，虽经岁月磨洗，仍见笔触精绝。整体画风古雅庄重，宗教肃穆与生活意趣相融，尽显明代佛画之神韵，观之令人心生敬畏与安宁。",[25,26,7,54,28,27,29,6283,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279812a5974c18fd0e53a962647d077c.jpg",[39],{"id":20913,"slug":20914,"title":20915,"dynasty":18,"author":13437,"museum":74,"description":20916,"tags":20917,"thumbUrl":20918,"material":136,"size":20919,"collection":138,"collections":20920,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":88},218430,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-218430","柳浪闻莺御题轴","院藏董邦达（1699 —1769）绘制的「西湖十景」轴共两套，分别作于第一次南巡与第二次南巡之后。两套尺寸不同，但图像相仿，皆出自董邦达于第一次南巡前进献的〈西湖四十景〉册中对十景的描绘。本次展出的两件「柳浪闻莺」，描绘的是西湖「柳浪桥」景。该桥位于南宋御园内，堤岸植柳，迎风摇扬若浪，因而得名。",[25,7,77,28,129,377,134,170,270,130,79,80,97,2664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8329ccaab65d8759d05b7f651894a0.jpg","126.9x66.8cm",[138],{"id":20922,"slug":20923,"title":20924,"dynasty":18,"author":50,"museum":1714,"description":20925,"tags":20926,"thumbUrl":20927,"material":37,"size":20928,"collection":39,"collections":20929,"showCount":20430,"zanCount":11,"manualWeight":43,"mainColor":44},218303,"jiang-jun-xiang-yi-ming-218303","将军像","端坐中央的将军身披华彩甲胄，金纹与朱红交织，鎏金饰边在浓艳底色上流转光泽，尽显赫赫威仪。腰间素绳轻垂，柔线与硬甲形成刚柔反差，似藏千军万马之势。两侧武士持械而立，盔明甲亮，虽为陪衬却层次分明，更衬出将军核心地位。\n\n笔触细腻入微，衣纹褶皱间见工笔功底，人物神态刻画传神：将军面容丰腴却眼神锐利，既有武将刚毅，亦含从容气度。色彩浓艳沉稳，传统矿物颜料的厚重感赋予画面历史质感，融写实与装饰于一体。整幅作品精准传递清代武将的身份气场，观者仿佛能触到甲胄的冰冷，感受到那份跨越时空的肃穆与威严。",[23,25,26,7,27,28,29,1039,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0df2c436b06d118039f8c55687f1507.jpg","171.5x127",[39],{"id":20931,"slug":20932,"title":20933,"dynasty":18,"author":50,"museum":1714,"description":20934,"tags":20935,"thumbUrl":20943,"material":37,"size":100,"collection":39,"collections":20944,"showCount":20430,"zanCount":11,"manualWeight":43,"mainColor":88},218301,"guan-lao-fu-ren-xiang-yi-ming-218301","关老夫人像","端坐的身影透着沉静雍容，面容温婉却自带庄重气度。华服以蓝为底，金线绣制的祥龙穿梭于云纹与海水之间，龙姿灵动，辅以五彩纹饰，层次叠嶂间尽显华贵威仪。座椅锦纹繁复，脚下地毯图案精巧，几何纹样与吉祥符号交织，每一处细节皆见工艺之精湛。工笔线条细腻流畅，设色典雅厚重，既承清代肖像画写实传统，又以华丽装饰烘托人物尊贵身份，仿佛能透过画面，触摸到那个时代贵族女性的生活风貌与内敛风华。",[23,25,26,7,27,28,29,20936,20937,20938,602,20939,8739,334,10263,20940,20941,20942],"女性","古装","龙纹","肖像","清代风格","工笔肖像","服饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59b6480f243d307433c43aef2eaa0f4a.jpg",[39],{"id":20946,"slug":20947,"title":10570,"dynasty":72,"author":50,"museum":1714,"description":20948,"tags":20949,"thumbUrl":20950,"material":37,"size":20951,"collection":39,"collections":20952,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},218295,"luo-han-tu-yi-ming-218295","画面中央，罗汉盘腿而坐，光头映着淡金色光环，袒胸露腹间透着修行的沉静。白蓝相间的衣袂如流云垂落，禅杖斜倚身侧，似镇住周遭尘嚣。身侧小鬼面目狰狞，绿肤獠牙，却躬身侍立，兵刃紧握却敛去戾气，恭谨守护的姿态反衬出罗汉的威严与慈悲。背景深褐如古潭，苍松虬枝探入画面，山石斑驳，更显古朴肃穆。色彩上，素净衣袍与小鬼的青绿、赤红相映，既见宗教题材的庄严，又含民间艺术的鲜活张力。笔墨凝练处见神韵，意境幽远中藏力量，将修行者的超脱与护法的忠诚融于一纸，尽显古画的厚重与灵动。",[25,7,54,28,29,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755922672eef01f73b1d5686271a523d.jpg","139.9x78.3",[39],{"id":20954,"slug":20955,"title":20956,"dynasty":18,"author":50,"museum":1714,"description":20957,"tags":20958,"thumbUrl":20959,"material":37,"size":20960,"collection":39,"collections":20961,"showCount":20430,"zanCount":11,"manualWeight":43,"mainColor":44},218284,"fu-zhang-ji-min-mu-zhao-shi-xiang-yi-ming-218284","父张济民母赵氏像","画面中央并坐的夫妇衣袂端整，神情雍容。男子玄袍宽博，腰束革带，尽显端方沉稳；女子绿衫绣裙，手持纹帕，流露温婉娴静。身后稚童侍侧，或捧物或执卷，灵动姿态更添阖家和睦之韵。背景陈设古雅，案上器物精巧，衬出家庭的殷实与礼仪。画作以写实笔触勾勒容貌，衣纹褶皱细腻入微，色彩沉稳雅致，既彰显人物身份气度，又传递传统家庭的温馨庄重，是兼具写实性与人文温度的肖像佳作。",[23,25,26,7,28,27,29,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e302ee5178b524f0790376f6aac6df.jpg","106.2x142.7",[39],{"id":20963,"slug":20964,"title":20965,"dynasty":207,"author":208,"museum":74,"description":20966,"tags":20967,"thumbUrl":20968,"material":82,"size":16447,"collection":100,"collections":20969,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":44},218120,"hua-xi-yu-yin-tu-er-wang-meng-218120","花溪渔隐图(二)","此图写霅溪风景，款题为玉泉尊舅作。玉泉已不可考。通幅用笔绵密而精工，垂柳一行，与赵孟𫖯「鹊华秋色」卷中画柳之法相同。「花谿渔隐」是从〈桃花源记〉衍生的画题，创始于赵孟𫖯。王蒙是赵孟𫖯的外孙，所受影响，不仅技法而已。",[23,25,24,26,7,77,129,130,349,193,132,170,270,2367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7477d3604d6b77be3506773dcad374b3.jpg",[],{"id":20971,"slug":20972,"title":9820,"dynasty":18,"author":20973,"museum":319,"description":20974,"tags":20975,"thumbUrl":20976,"material":37,"size":20977,"collection":138,"collections":20978,"showCount":20430,"zanCount":11,"manualWeight":43,"mainColor":44},217881,"xue-jing-shan-shui-tu-li-yin-217881","李寅","李寅是清朝时期的一位著名画家，他以其精美的山水画而闻名于世。其中，李寅的雪景山水图尤为出名。\n\n李寅的雪景山水图通常描绘了冬季的山水景观，其中包括了苍翠的山峦、白雪皑皑的林地以及湖泊冰封的景象。他的作品中通常还会出现一些小景物，如枝叶凋零的树木、出没于雪地中的动物或是隐藏在雪后的小村庄。\n\n李寅的雪景山水图的特点是对细节的精确描绘，他能够捕捉到雪地上的每一片花纹，树枝上的每一朵雪花。同时，他还能够准确地再现出冬日天空中的云彩和阳光，使得作品充满了生机和活力。\n\n总的来说，李寅的雪景山水图是一种传统的中国画风，但其精细的描绘和生动的再现使其成为了一道亮丽的风景画卷，为我们带来了冬日的温馨和恬静。",[25,28,7,129,3880,521,1419,132,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46c723cdf9a5cd63c6d3ab518013086.jpg","155.8x71.2cm",[138],{"id":20980,"slug":20981,"title":20982,"dynasty":17693,"author":284,"museum":209,"description":20983,"tags":20984,"thumbUrl":20985,"material":100,"size":100,"collection":39,"collections":20986,"showCount":20430,"zanCount":43,"manualWeight":43,"mainColor":20987},203352,"dai-yu-zang-hua-tu-zhou-qi-bai-shi-203352","黛玉葬花图轴","画面捕捉黛玉葬花的幽微瞬间，仕女发髻别致，衣着淡粉衬浅蓝，线条简练却见飘逸。手持花锄，身侧花囊半垂，姿态低垂间，眉间眼底的愁绪悄然流露。笔墨兼工带写，面部神情刻画细腻，衣纹用线流畅洒脱，设色淡雅清新，尽显古典仕女的温婉韵致。齐白石以朴拙传神的笔触，将红楼经典场景凝于尺幅，既有传统文人画意趣，又融入个人独特风格，让黛玉的多愁善感跃然纸上，动人心弦。",[25,28,29,30,27,77,7,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ac8fc7e1c5ded46edaee5ae1a848e4.jpg",[39]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端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[23,24,25,26,7,77,129,130,132,170,193,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783404b672c1a4de3525377c1613bba.jpg",[],{"id":21062,"slug":21063,"title":21064,"dynasty":93,"author":1475,"museum":331,"description":11672,"tags":21065,"thumbUrl":21066,"material":198,"size":780,"collection":100,"collections":21067,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},287832,"hu-tu-tu-zhou-mu-xi-287832","虎图图轴",[23,25,7,77,5713,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e702bbd4f5112db67f61a9dcb4cd303.jpg",[],{"id":21069,"slug":21070,"title":21071,"dynasty":18,"author":5196,"museum":331,"description":13740,"tags":21072,"thumbUrl":21073,"material":198,"size":780,"collection":100,"collections":21074,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},287790,"bo-re-bo-luo-mi-duo-xin-jing-zhuan-shu-deng-shi-ru-287790","般若波罗密多心经(篆书)",[24,25,26,80,2664,5901,54,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25053c6de0983a13b159453929f5d3a1.jpg",[],{"id":21076,"slug":21077,"title":19209,"dynasty":72,"author":389,"museum":74,"description":1060,"tags":21078,"thumbUrl":21080,"material":82,"size":15083,"collection":138,"collections":21081,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":704},283644,"guan-pu-tu-tang-yin-283644",[25,77,7,364,14431,132,194,193,173,21079,776,7435,130,80,79],"崖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a99f08040b3c5a6341b58459d3069.jpg",[138],{"id":21083,"slug":21084,"title":21085,"dynasty":18,"author":17471,"museum":21086,"description":21087,"tags":21088,"thumbUrl":21089,"material":14061,"size":21090,"collection":101,"collections":21091,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},241028,"wu-gu-zhou-fu-shan-241028","五古轴","山西晋祠博物馆","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 [2] ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[80,305,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0425945fb7925c47b1a21ae98ddb68c0.jpg","143x48cm",[101],{"id":21093,"slug":21094,"title":21095,"dynasty":72,"author":50,"museum":331,"description":21096,"tags":21097,"thumbUrl":21098,"material":198,"size":780,"collection":100,"collections":21099,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},241010,"chen-chun-shi-zhou-yi-ming-241010","陈淳诗轴","此作用笔纵恣奔逸，以狂草写就，线条苍劲老辣，干湿浓淡相映成趣。字间牵丝映带，大开大合，行气连贯畅达。章法错落疏朗，跌宕之间尽显不羁意气，笔力雄健洒脱，墨色燥润相生，枯笔见筋骨，湿墨显厚重。\n\n文人疏狂意趣藏于笔墨流转，通篇元气淋漓，尽显放旷恣肆的浪漫书风，笔墨间裹挟蓬勃抒怀张力，将诗意与书韵融为一体，尽展洒脱自在的心境。",[80,305,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55f2b1f93dccb9d43ec488e6c4bd1cd.jpg",[],{"id":21101,"slug":21102,"title":15079,"dynasty":72,"author":11245,"museum":12141,"description":21103,"tags":21104,"thumbUrl":21105,"material":21106,"size":21107,"collection":138,"collections":21108,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},239169,"guan-pu-tu-zhou-wang-zhao-239169","《观瀑图轴》阔笔斧劈，成跌宕巨石；劲毫顿挫，作屈铁古木。树石黝暗，以淡墨渝润；白云飞瀑，以留白而成。黑白相映，尽显山谷清幽之气。树旁二高士，抡扇举首，遥观飞瀑，神情悠然。衣纹以折芦描出之，与景物峭硬感觉相谐合，属典型浙派风格。",[25,26,7,77,28,130,129,29,169,378,31,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cedf300b863068cb436244bbdb027fc.jpg","立轴，绢本，水墨，淡设色","纵长110厘米，横长81．5厘米",[138,158],{"id":21110,"slug":21111,"title":9736,"dynasty":72,"author":21112,"museum":331,"description":21113,"tags":21114,"thumbUrl":21115,"material":100,"size":100,"collection":138,"collections":21116,"showCount":104,"zanCount":11,"manualWeight":43,"mainColor":44},238275,"yu-le-tu-zhou-zhang-ling-238275","张灵","张灵，生卒年不详。生于成化，约卒于正德初，年四十左右。字梦晋，吴郡（今江苏苏州）人，家贫，与唐寅为邻，两人志趣相投，茂才相埒。同为府学生员，故交谊最深。画作受唐寅影响极大。工诗文，祝允明弟子。\n少与祝允明、唐寅、文徵明齐名，并称“吴中四子”，性落拓嗜酒，好交游，醉即使酒作狂。所画人物冠服玄古，形色清真，无卑庸之气。间作山水，笔生墨劲，斩然绝尘。并善竹石、花鸟，清新可喜，书法亦佳。",[25,26,7,77,130,29,349,193,404,132,2367,129,170,8355,3837],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92163a7d1c8e15870bdf0cbe3eb3953.jpg",[138,185],{"id":21118,"slug":21119,"title":21120,"dynasty":72,"author":3690,"museum":236,"description":21121,"tags":21122,"thumbUrl":21123,"material":745,"size":21124,"collection":138,"collections":21125,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},237696,"yu-man-shan-zhai-tu-zhou-xiang-sheng-mo-237696","雨满山斋图轴","图绘高山深壑，飞瀑清流，寺庙掩映在繁密的林木和耸峻的峰峦间，高士执杖步桥寻幽。山石取法元代黄公望，勾皴用笔浑厚质朴。树木的画法结合宋人笔意，枝干及叶片、苔点皆中锋运笔，苍秀沉着。画面意境深邃出尘。作者通过描写自己在暮秋的山林优游吟赏的活动体现了明末文人士大夫厌倦仕途隐居避世的心境。",[25,26,7,77,130,129,252,253,131,169,193,134,132,377,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50a5814b2e1a349f1fca44e2d702518.jpg","纵121.4厘米，横32.4厘米",[138],{"id":21127,"slug":21128,"title":21129,"dynasty":72,"author":389,"museum":236,"description":21130,"tags":21131,"thumbUrl":21132,"material":699,"size":21133,"collection":84,"collections":21134,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},237676,"hua-zhu-tu-zhou-tang-yin-237676","画竹图轴","此图画竹枝两枝自左斜出，临风飒飒，构图新颖，俯仰有致。用笔铦利洒落，墨色秀润。\n画上自题：“满窗萧洒五更风，怪是无端搅梦中。梦见故人忙起望，白烟寒竹路西东。南塘邹蠡溪过余学圃堂，因言及南沙知己，故写此为寄。唐寅。”钤：“唐伯虎”朱文印。\n鉴藏印：“陆润之藏”朱文印、“天泉阁”朱文印等。",[25,26,7,77,31,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a12578cd86679d31ca70dbe5bae2925.jpg","纵83.4厘米 横44.5厘米",[84],{"id":21136,"slug":21137,"title":21138,"dynasty":18,"author":4669,"museum":209,"description":21139,"tags":21140,"thumbUrl":21141,"material":21142,"size":21143,"collection":138,"collections":21144,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},237152,"guan-shan-qiu-ji-zhou-wang-hui-237152","关山秋霁轴","清朝初年，占据画坛时间最长的是“四王”一派 ，即王时敏、 王鉴、 王原祁、 王翚四位王姓山水画代表画家。“四王”视宋元名家的笔法为最高标准，致力于临摹古画或在摹古中追求变化。他们看重笔墨，大多以古人丘壑搬前挪后，构成一种古人已经达到过的理想境界，表现平静安闲的情感状态，体现所谓“士气”与“书卷气”，却较少观察自然，描写具体感受。因为受到统治者的重视和提倡，被尊为正宗，确立了正统地位。他们分为两代人，第一代的王时敏与王鉴是大书画家董其昌的朋友；第二代的王原祁是王时敏之孙，王翚是王鉴的学生。\n《关山秋霁图》正是“四王”之一、王鉴的作品。王鉴，字玄照，号湘碧，自称染香庵主，苏州太仓人，出身于书香门第，是明代文史大家王世贞的曾孙。王鉴擅长画山水，早年曾经得到董其昌的亲自传授，画风向上追溯至五代南唐画家董源、 巨然，多拟仿宋元诸家。他擅长画青绿山水，着色妍丽，又兼长皴染画法。\n什么叫皴染呢？皴（cun村）染是中国画的一种画法。皴，是画中用来表现山石、峰峦和树身表皮的脉络纹理的画法，作画时先勾出轮廓，再用淡干墨侧笔而画；染，是用墨水或淡彩润刷画面，不露或少露笔痕，用来分辨阴阳向背，加强物象的立体感。王鉴的画作风格华润，纤细且不失雅致。他从临摹入手，但并不忽视对丘壑的形象塑造，作品比较平实。\n《关山秋霁图》是王鉴晚年效仿北宋画家范宽的山水画风格所作。此轴为吴大澂、吴湖帆递藏之物，也就是祖孙二人次第传承收藏。吴大澂在裱边处题跋“湘碧老人早年多泼墨淋漓之笔，其精细之作皆在六七十岁……其用意之缜密虽极小处无一懈笔”，写出了王鉴晚年在用笔敷色方面，绘画风格与早年不同之处。值得一提的是，吴湖帆也临摹过一幅《关山秋霁图》，为友人祝寿而作。",[25,7,77,130,129,134,193,377,169,170,1651,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aedd467187047bf2529e2a163cf58ec.jpg","绢本 ，墨笔","纵215.9cm，横113.8cm",[138,185],{"id":21146,"slug":21147,"title":21148,"dynasty":18,"author":21149,"museum":236,"description":21150,"tags":21151,"thumbUrl":21152,"material":100,"size":100,"collection":138,"collections":21153,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},236747,"hua-wang-shi-lu-xiang-zhou-zhang-zhu-236747","画王士禄像轴","张翥","张翥字运南，号北林，江苏常熟人，生卒年不详。善画山水、人物、肖像，山水师同乡吴山（南阳），沉郁苍老，馓有气韵。人物写真师法曾鲸，形象逼肖，用笔流畅，秀媚古雅。雍正十年（1732）郡守周某欲绘《贫民图》入告。传世作品有康熙二年癸卯（1663）作《王士禄像》轴，画左上角有冒襄题像赞，现藏故宫博物院。能诗，著有《北林小集》。",[25,26,7,28,27,29,170,270,601,10361,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9354997c8a95fe93096ae2a9e2a5a2be.jpg",[138,158,101],{"id":21155,"slug":21156,"title":21157,"dynasty":18,"author":21158,"museum":236,"description":21159,"tags":21160,"thumbUrl":21161,"material":486,"size":100,"collection":138,"collections":21162,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},236130,"huang-yue-shan-xi-fang-zhao-tu-zhou-huang-yue-236130","黄钺山溪放棹图轴","黄钺","黄钺（1750--1841），字左田，又名左君，号壹斋、左庶子。先祖七世自当涂迁居芜湖，乾隆十五年八月初五未时（即公元1750年9月5日13时至15时），生于芜湖西门外升平桥旧第，幼丧父母，由外祖父母抚养，及长，敏而好学。清乾隆年间，“以廪贡挑录议叙吏目”。乾隆三十三年（1768）四月，黄钺与安徽巡道李世杰在芜湖赭山滴翠轩创建中江书院，招员授业。乾隆五十五年庚戌恩科(1790年)，殿试中二甲第六名进士，授户部主事，因与和珅意左，告假回芜，“掌教皖南北书院十载”",[25,28,129,130,7,252,8815,2014,253,377,351,193,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c0e84037a99a0fea090328209329ab.jpg",[138,158],{"id":21164,"slug":21165,"title":21166,"dynasty":72,"author":4312,"museum":331,"description":21167,"tags":21168,"thumbUrl":21171,"material":100,"size":100,"collection":100,"collections":21172,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},235275,"shan-shui-tu-zhou-wang-shan-chui-diao-zhao-zuo-235275","山水图轴（望山垂钓）","《山水图》轴（望山垂钓），明，赵左绘，纸本，设色，纵12.cm，横8cm。\n作者： 赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[25,7,364,28,77,1418,27,304,349,2368,1446,170,1742,132,21169,522,776,5505,19458,21170],"湖水","古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],{"id":21174,"slug":21175,"title":7603,"dynasty":72,"author":18249,"museum":331,"description":21176,"tags":21177,"thumbUrl":21178,"material":198,"size":780,"collection":100,"collections":21179,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},235245,"mo-he-tu-zhou-xiang-yuan-bian-235245","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[25,7,77,306,79,80,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29e44d2355a6bedb9232bd77ee1969b.jpg",[],{"id":21181,"slug":21182,"title":21183,"dynasty":72,"author":9285,"museum":331,"description":21184,"tags":21185,"thumbUrl":21186,"material":100,"size":100,"collection":100,"collections":21187,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},235220,"xue-cun-fang-you-zhou-zhou-chen-235220","雪村访友轴","此作用斧劈皴写山石，棱角方硬冷峻，刻画出隆冬雪山的苍莽寒气。枯木虬曲伸展，枝桠尽脱，尽显萧寒之态。画面下方茅舍暖光隐现，柴扉外访客策杖过桥，童子相从，踏雪而来，为冷寂山野晕开一缕访友的融融温情。画作以浓淡墨色区分雪色留白与山石肌理，笔力老辣雄劲，将冬日山林的荒寒静谧，与文人雅聚的闲逸温情相融，于萧索冷寂中暗藏脉脉人情，铺陈出悠远沉静的山居意境。",[25,26,7,77,130,129,613,252,253,29,3996,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a0cc2f32f7248830263c39900a75c6.jpg",[],{"id":21189,"slug":21190,"title":21191,"dynasty":72,"author":21192,"museum":236,"description":21193,"tags":21194,"thumbUrl":21195,"material":486,"size":21196,"collection":100,"collections":21197,"showCount":104,"zanCount":11,"manualWeight":43,"mainColor":44},234955,"ju-shi-ye-tu-tu-xu-lin-ju-234955","菊石野兔图","徐霖菊","《菊石野兔图》轴，明，徐霖绘，绢本，设色，纵160厘米，横52厘米。徐霖（1462—1538年），字子仁，号九峯道人，又号快园叟、髯仙等，江苏苏州人，徙居金陵。解音律，精篆法，善画。九岁能作大书，操笔成体，正书出入欧、颜，大书初法朱熹，几乱其真，后喜赵孟頫，笔力遒劲，结构端饬，自成一家。篆书始尚雄丽，晚益朴古。著有《丽藻堂文集》、《快园诗文集》等。",[25,26,7,27,28,440,35,900,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe4419186ef37cfbb681f6bb8d51bf21.jpg","纵160厘米，横52厘米",[],{"id":21199,"slug":21200,"title":5156,"dynasty":207,"author":11970,"museum":236,"description":21201,"tags":21202,"thumbUrl":21203,"material":3245,"size":21204,"collection":100,"collections":21205,"showCount":104,"zanCount":11,"manualWeight":43,"mainColor":44},233844,"hua-shan-shui-zhou-li-shi-xing-233844","李士行山水图取境开阔，中间以一高峰为主体，四周群山相扶。雾气弥漫的、深远的山涧有一清流涌出，并化为平静的河水缓缓向前流淌。整个画面布局平稳，境界平淡天然。此画用笔温和秀润，多用披麻皴，墨色变化丰富，水色淋漓。其浓淡相间，以淡墨皴染，浓墨画近树和点苔，层次分明。",[25,26,7,77,28,129,170,132,193,522,130,172,2581,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca3bbb245b9e71fbb9e96e768f35a36.jpg","纵：106.2厘米，横：52.7厘米",[],{"id":21207,"slug":21208,"title":1260,"dynasty":18,"author":6225,"museum":236,"description":21209,"tags":21210,"thumbUrl":21211,"material":486,"size":21212,"collection":100,"collections":21213,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},233809,"ma-gu-xian-shou-tu-ren-xiong-233809","“麻姑献寿”是中国流传很广的神话传说。相传麻姑是位朴实而美丽的民间女子，她死后成为仙女，住在蓬莱仙岛。每年德高望重的西王母过生日时，麻姑都要用灵芝草酿成仙酒献给西王母做寿礼，麻姑也由此被西王母封为“女寿仙”，因此民间为妇女祝寿时常常绘《麻姑献寿》的图画相赠以示祝福。\n图绘身着红披风的麻姑，古朴静穆、仪态端庄，一变清中叶以来费丹旭、改琦等人所绘身姿纤媚、弱不禁风的“病态”仕女形象，健康清新，令人瞩目。图中设色艳丽华贵，富有装饰性，线条顿挫刚劲,富有表现力，与所绘人物相得益彰，为任熊仕女画佳作。",[25,26,7,27,28,29,30,32,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9031d01c205657060d0fb9f243c9a47.jpg","纵162.3厘米，横86.2厘米",[],{"id":21215,"slug":21216,"title":21217,"dynasty":207,"author":19146,"museum":4759,"description":21218,"tags":21219,"thumbUrl":21220,"material":214,"size":21221,"collection":100,"collections":21222,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},231491,"xue-zhong-lu-tu-zhou-yuan-231491","雪中鹿图","虬曲老梅横亘画幅上端，朱红花朵破开沉褐底色，积雪凝缀枝梢，晕开冬日清寒。白鹿身形劲健修长，莹润雪色皮毛以淡墨晕染而出，犄角舒展，垂首静立在覆雪坡石间，安然沉静，与周遭萧寒景致浑然相融。枯涩墨线勾勒梅枝苍劲筋骨，淡墨轻晕出积雪的蓬松虚灵，冷色调底纸烘托出冬夜荒寂空濛，冷冽氛围里，白鹿的温驯清逸更显动人，将冬日的萧寒与生命静雅相融，晕开一卷幽淡空寂的林泽冬景。",[25,26,24,7,28,241,1073,613,253,1275,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6ce42914c8804d95d64ffa52147924.jpg","179.7x92.4厘米",[],{"id":21224,"slug":21225,"title":21226,"dynasty":72,"author":5553,"museum":331,"description":21227,"tags":21228,"thumbUrl":21230,"material":100,"size":100,"collection":100,"collections":21231,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},231014,"lian-ou-jing-yin-tu-wen-jia-231014","莲藕净因图","此作画风清逸疏朗，以淡墨勾绘莲茎清瘦挺拔，粉荷半绽，淡赭轻染花尖，晕染出柔婉清雅的姿态。莲蓬与莲藕刻画精微朴拙，线条简淡却将水生风物的温润质感尽显无遗。\n\n宽绰留白铺就幽寂禅意，搭配题咏禅诗，诗画相映，将莲的清净本心寄寓其间，尽显幽淡出尘的文人意趣。全作用笔以简驭繁，淡而弥厚，融禅思入绘事，观之如临幽塘，心下自会澄明安宁，尽显文人尚简崇雅的审美意韵。",[25,26,7,985,77,28,306,309,307,21229,536,304],"莲藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2d6731a756e18afa13d56d32e9d48b.jpg",[],{"id":21233,"slug":21234,"title":21235,"dynasty":207,"author":4104,"museum":331,"description":21236,"tags":21237,"thumbUrl":21239,"material":100,"size":100,"collection":100,"collections":21240,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},230904,"jin-ji-ji-zhu-tu-wang-yuan-230904","锦鸡棘竹图","画面以奇石立锦鸡为主体，野卉棘竹环伺左右，虚实相生间铺展出荒寒野境。以水墨淡晕之法绘就，锦鸡羽色以淡墨层层晕染，绒羽蓬松柔润的质感跃然绢上，神态静穆悠然，尽显内敛雅致。奇石皴擦老拙苍劲，枯棘枝条嶙峋带刺，尽显深秋萧索之态，竹叶与野卉则以清逸的笔致点染，柔缓中和了枯寂寒气。\n整体融院体工致与文人笔墨意趣于一身，淡墨轻岚间，绘写出林下幽寂空远的野逸之韵，将秋日荒寒中禽鸟安处的闲适意态刻画入微，尽显水墨花鸟的清简雅致。",[25,26,7,28,27,113,439,31,35,21238],"荆棘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d33585a772eb69df209975f31fee55.jpg",[],{"id":21242,"slug":21243,"title":21244,"dynasty":18,"author":9141,"museum":331,"description":21245,"tags":21246,"thumbUrl":21247,"material":100,"size":100,"collection":100,"collections":21248,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},230359,"qiu-shan-ting-pu-tu-fan-qi-230359","秋山听瀑图","《秋山听瀑图》是清代画家 创作的绢本水墨淡设色画，现藏于旅顺博物馆。\n此图风格清雅，山骨峻增，群峰昂然高立，老树柔枝。\n全幅以水墨、花青染成，间施赭色。\n皴法细劲而严密，近似小斧劈又有所变化。\n此画远景山峦重叠，顶端突兀的巨石分向两边，右侧巨峰矗立，冲入云霄，气势雄伟险峻，山间瀑布直泻而下。\n中景为高山脚下，溪水潺潺，山石奇特，有几棵枯枝落叶古树，幽邃的山林周围空山寂寞，悄无人声，充满沁人肺腑的清新气息。\n在山坳平坡处，有一位樵夫正边走边倾听瀑泉的响声。\n泉水的流动，不但没有冲淡周围环境的安谧，反而增添了山林的僻静之感。\n近景为枯木坡石，与中景的山石紧相连接。\n左上自题“戊申春王画呈黄翁老祖台正樊圻”，钤“樊圻之印”、“会公”二印。\n左下钤收藏印二方“胶西法坤原珍藏”、“胶西宋皑珍藏书画印”。\n该图创作于康熙七年（1668年），作者时年5岁。\n此画构图顶天立地，上不留天，下不留地，左上角仅有的空白处，以作者自题款而填补，使整个画面更为充实完整。\n远景山峦重叠，中间炯锁山腰，层次分明，满而不塞。\n该图山石皴笔方硬而疏松，远山隐现于云雾之中。\n只在关键部位如山石的阴侧面用重墨，皴法细碎而干净利落，似从小斧劈演化而来。\n用色清淡，惜墨如金。\n总体来看，此画既合于写实的原则，也传达出幽远的意境。\n此图略近李成清旷画派，但皴法细劲而严密，近似小斧劈皴而较为文静，一点没有粗犷霸悍的习气。\n树木、屋宇、舟桥、流水、人物的刻画皆精诣不苟。\n通幅以水墨、花青染成，间施赭色，淡薄而透明，双钩的红叶，更点醒了秋山的主题樊圻对于传统的师承面比较广泛，就外表形态而论，似乎并未形成个人的固定程式，但就内在笔性而论，不管是披麻皴还是斧劈皴，也不管是水墨还是青绿，都以精诣不苟见工，精诣中又有透出虚灵的士气。\n该图在《中国美术全集·清代绘画》、《 》著录。\n1955年金县中心小学拨藏，现藏于旅顺博物馆。\n樊圻（1616—？），清代画家。\n字会公、洽公。\n江苏金陵（今南京）人。\n精山水、花卉、人物等。\n仕女画有幽闲静逸之致。\n与龚贤、高岑、吴宏，叶欣、胡糙、谢荪、邹喆为金陵八家。\n传世作品有《江浦风帆图》、《柳村渔乐图》、《雪景山水图》、《春山策仗图》轴、《山径骑驴图》等。",[23,25,26,24,7,28,129,169,134,193,521,1652,132,686,29,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],{"id":21250,"slug":21251,"title":21252,"dynasty":93,"author":1517,"museum":331,"description":21253,"tags":21254,"thumbUrl":21255,"material":100,"size":100,"collection":100,"collections":21256,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":342},227725,"shan-gu-ji-liu-tu-xia-gui-227725","山谷激流图","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",[25,24,26,129,77,130,7,132,170,6208,193,6170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e099048944fdf9181b06d03954f9172.jpg",[],{"id":21258,"slug":21259,"title":21260,"dynasty":18,"author":361,"museum":331,"description":21261,"tags":21262,"thumbUrl":21263,"material":100,"size":100,"collection":100,"collections":21264,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},224407,"cong-lin-qu-diao-tu-wang-shi-min-224407","丛林曲调图","此作用高远之景铺陈山峦层叠，以干笔淡墨勾勒皴擦山石，披麻皴晕染出苍朴肌理，笔意苍松秀润。山谷间山居错落排布，溪泉隐于乱石之间，枯荣林木交映成趣，萧淡之中暗蕴温润生机。\n追摹元人笔法意趣，墨色清润雅致，虚实相生，将秋山清寂淡远的意境烘托尽致。简淡笔墨间藏着浑朴苍厚的气韵，把林泉幽居的野趣诉诸笔端，观之恍如踏入静谧空幽的世外山居，尽显文人画平淡天真的雅致意韵。",[23,25,26,7,77,130,129,134,193,131,132,377,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd808ae66ac4c7a08a26404215a3f3a0.jpg",[],{"id":21266,"slug":21267,"title":10029,"dynasty":18,"author":15106,"museum":331,"description":21268,"tags":21269,"thumbUrl":21270,"material":100,"size":100,"collection":100,"collections":21271,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},224356,"zhang-lin-xiao-yao-tu-jian-jiang-224356","此作用渴笔淡墨写尽丘壑幽寂，危崖层叠如削，奇崛冷峻，崖间飞瀑隐于褶皱，暗传空谷清音。近岸枯木疏朗清瘦，枝桠劲挺如铁，寒潭平湖以留白铺陈，汀渚渔隐敛于浅处，愈显天地空茫。\n\n笔墨师古而出新，线条方折硬挺，皴擦极简，淡墨晕染山石，清润秀雅全无冗赘。画面融黄山奇峭与江南灵秀于一体，清冷萧疏间藏着遗世襟怀，将枯淡山水里的逍遥意趣，藏在每一处留白与笔锋之中，尽显孤高淡远的出尘风骨。",[23,25,26,7,77,130,129,169,193,131,132,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501da569d2b40fd1f218f16cf826ca93.jpg",[],{"id":21273,"slug":21274,"title":21275,"dynasty":93,"author":50,"museum":74,"description":21276,"tags":21277,"thumbUrl":21278,"material":37,"size":21279,"collection":100,"collections":21280,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},223897,"ru-lai-shuo-fa-tu-zhou-yi-ming-223897","如来说法图轴","宋人画如来说法图轴",[25,26,7,54,985,27,28,29,5394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf2466940de375a76b8c17a54ed9f62.jpg","188.1x111.3公分",[],{"id":21282,"slug":21283,"title":21284,"dynasty":93,"author":50,"museum":74,"description":21285,"tags":21286,"thumbUrl":21287,"material":1218,"size":21288,"collection":100,"collections":21289,"showCount":104,"zanCount":11,"manualWeight":43,"mainColor":88},223434,"song-tai-zong-li-xiang-zhou-yi-ming-223434","宋太宗立像轴","宋太宗赵光义（939年11月20日－997年5月8日），宋朝第二位皇帝（976年11月15日—997年5月8日在位）。本名赵匡义，后因避其兄宋太祖名讳而改名赵光义，即位后又改名赵炅。开宝九年（976年），宋太祖驾崩，赵光义继位。即位后使用政治压力，迫使吴越王钱俶和割据漳、泉二州的陈洪进于太平兴国三年（978年）纳土归附。次年亲征太原，灭北汉，结束了五代十国的分裂割据局面。两次攻辽，企图收复燕云十六州，都遭到失败，从此对辽采取守势。在位期间，采取治国驭将方针，明显地走上了“崇文抑武”的道路，并最终构成为宋朝“祖宗家法”的重要内容。 在位共二十一年，至道三年（997年），赵光义去世，谥号神功圣德文武皇帝，庙号太宗，葬于永熙陵。\n画像上太宗头戴幞头，黑鬓发，淡眉，微须，目光柔和，身着褎袖白袍，腹下束朱带，双手于胸部平放，脚穿皂纹靴而立。",[24,25,26,7,27,28,29,34,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc991137f15e1ca6a6c464ed8c2444a.jpg","纵74.5厘米横47.4厘米",[],{"id":21291,"slug":21292,"title":21293,"dynasty":18,"author":21294,"museum":3222,"description":21295,"tags":21296,"thumbUrl":21297,"material":1688,"size":21298,"collection":84,"collections":21299,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},223304,"gu-mu-zhu-shi-tu-luo-mu-223304","古木竹石图","罗牧","图绘岸边一隅古木树叶凋零，枝杆苍劲；石块耸立，粗笔勾勒其轮廓，中部留白；四周翠竹环绕，繁茂苍翠，生机勃勃。",[23,25,77,7,131,484,31,35,130,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0b8c417963c4bbe141ba7b938a3e34.jpg","纵127cm，横54cm",[84,185],{"id":21301,"slug":21302,"title":21303,"dynasty":18,"author":19800,"museum":74,"description":21304,"tags":21305,"thumbUrl":21306,"material":589,"size":21307,"collection":138,"collections":21308,"showCount":104,"zanCount":11,"manualWeight":43,"mainColor":88},222846,"hua-lin-lu-qiu-qing-zhou-hong-wu-222846","画林麓秋晴轴","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,25,26,7,268,28,130,129,170,172,3996,3631,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f990fb452e81332c9093c68f4898e5.jpg","120x22",[138,158],{"id":21310,"slug":21311,"title":21312,"dynasty":18,"author":9301,"museum":74,"description":21313,"tags":21314,"thumbUrl":21315,"material":21316,"size":21317,"collection":138,"collections":21318,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},222821,"chi-song-huang-shi-er-xian-tu-zhou-xu-yang-222821","赤松黄石二仙图轴","绘赤松一板凳，粗壮笔真，松枝弯曲自然，松针繁多清晰；黄石耸立，形状奇异；地面翠竹、杂草生机勃勃。",[23,25,7,28,27,427,78,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053720c8ce76759a8f675e7ff855123d.jpg","设色 纸本","172.1x71厘米",[138],{"id":21320,"slug":21321,"title":21322,"dynasty":72,"author":21323,"museum":74,"description":21324,"tags":21325,"thumbUrl":21326,"material":7006,"size":21327,"collection":138,"collections":21328,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},222462,"fu-kan-ji-liu-tu-zhou-wang-shi-chang-222462","俯瞰激流图轴","王世昌","王世昌（约1462－1531以后），明代画家，为山东人。我们无法确知他是否担任过宫廷画家。他擅长于大幅的山水人物画，风格温润典雅，颇具诗意。传世有〈大幅山水〉、〈俯瞰激流〉等作。俯瞰激流图 主题描绘春季来临时的山谷中，文人与农夫活动的状况。画中央平坦的坡陀上，是一位俯观涓涓流水、若有所思的文士。他身后的策杖文士，则与随侍携琴童仆，同时回望着登向高岗的荷担农夫，传达着他们与农夫交谈后，目送农人前往工作地点的情形，似与〈归去来辞〉的内容若合符节，由此可知，此画与文学的密切关系。画中前后景交接处，以留白作为云气，使画面显得迷离不定；而山石部分则以浓墨与淡色烘染，营造物体朦胧、置身云雾间的视觉效果，刻意增加空间的层次，这是让画中充满诗意气氛，经常运用的方法之一。",[23,25,28,130,129,29,484,131,351,193,270,2749,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b92e5bce953bcc5c616e2f21d9d65af.jpg","33x53",[138,158],{"id":21330,"slug":21331,"title":21332,"dynasty":72,"author":8554,"museum":236,"description":21333,"tags":21334,"thumbUrl":21335,"material":2583,"size":21336,"collection":138,"collections":21337,"showCount":104,"zanCount":11,"manualWeight":43,"mainColor":88},222055,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-222055","晴雪长松图轴","张瑞图书法、绘画兼精。书法得张旭、怀素神韵，与董其昌等并称“明末四大书家”，但其书法风格则迥异他人，风貌奇倔狂逸，后世称“瑞图书法奇逸，钟、王之外，另辟蹊径。”绘画则学黄公望，风格苍劲，点染清逸。他的画作大多是偶然兴至所作，故而传世作品甚少，其大幅画作特点是笔墨粗放，构景空疏。此图墨笔绘清泉细石，苍松之上落满积雪，全图面貌苍润，用笔皴染结合、勾点交错，笔力浑厚，足见张氏笔墨功力精到。\n本幅自题：“冻泉依细石，晴雪落长松。庚午春仲果亭图写”，钤“瑞图”朱文方印，“张长公”朱文方印。题字结体狂怪，笔画劲健纵逸，气韵外露，颇富“奇异”之态。据此，可知此图作于崇祯三年（1630），张瑞图时年60岁，正是他罢官遣归之年。图中题句出自杜甫诗《谒真谛寺禅师》。",[23,25,26,7,77,129,378,132,130,613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a83fcfac08777dd0d323f10bb0e0e.jpg","纵136.3厘米，横43.3厘米",[138,185],{"id":21339,"slug":21340,"title":21341,"dynasty":72,"author":9932,"museum":13843,"description":21342,"tags":21343,"thumbUrl":21344,"material":1218,"size":21345,"collection":84,"collections":21346,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},221918,"wu-se-shu-kui-tu-chen-gua-221918","五色蜀葵图","此画不拘于象的写法发挥至极致，其勾点皴擦，随心所欲，绝出尘象之外",[23,24,25,26,7,28,27,113,536,4262,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd40f4d75edc248b6c82bca466a29ef.jpg","133X66.5cm",[84,158],{"id":21348,"slug":21349,"title":21350,"dynasty":207,"author":21351,"museum":74,"description":21352,"tags":21353,"thumbUrl":21354,"material":82,"size":21355,"collection":100,"collections":21356,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},221794,"luo-shen-tu-zhou-wei-jiu-ding-221794","洛神图轴","卫九鼎","该画以单一人物为主，意在突出洛神的灵韵。 画家以简率的淡墨刻划远景的山丘，使得江面益发显得空旷清新。幅中主要是用纤细绵长而柔韧的白描线条绘就，墨色轻淡，更衬托出主角人物的娴静幽雅，绝尘出世。辽阔江面上水纹波汤，蒸腾云气中冉冉升起一位白衣佳人在水一方，手持绘有山水图案的扇子，身形纤细窈窕，仪容端庄，繁复的衣纹圆柔婉转，衣带飞升飘扬。看她凌波微步，驾云御风而行，显然并非平凡的女子。从倪瓒的题字，知道画中人是因曹植所写的《洛神赋》而永垂不朽的理想女性美典型——洛神。传世诸多以《洛神赋》为题的画中，有的强调云龙随行、神奇壮观的叙事性场景",[25,26,7,985,77,29,30,129,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360421bac69de8e240dd3bb2ce9169ff.jpg","90.8x31.8公分",[],{"id":21358,"slug":21359,"title":21360,"dynasty":207,"author":9698,"museum":74,"description":21361,"tags":21362,"thumbUrl":21363,"material":255,"size":21364,"collection":138,"collections":21365,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},221729,"gao-ting-tu-fang-cong-yi-221729","高亭图","山峰突耸于云海之中，近景的峰顶设孤亭，一人沿山径向峰顶走去。画家画山水直接用破墨法晕染远处山石，再加以浓墨点缀，用简笔勾出山中云烟并留白，近处栈道山崖崖壁用浓墨湿笔施以大斧劈，再轻轻罩染。用笔草草，破墨山水墨气淋漓。从此图中可窥见董巨、米氏山水之风，兼有梁楷简笔、吴镇湿墨、马夏斧劈之韵。从其自识“纵笔写之”可看出其用书法笔意画写意山水的逸趣，这正贴合了元初赵孟頫倡导的“书画同源”的志趣。而这些正构成了方从义“纵逸”山水的风格。\n方从义曾在1343年到北方游历，不只结交许多高官文士，在其间获得名声，更饱览各地名山胜景，使他胸襟开阔，落笔不凡。同时代人对其画技，皆以潇散非世人所能及，明代画评家王世贞论其画与高克恭、倪瓒等人同列为“品之逸者也” 。如此幅钩云点苔，随意不羁，风格简逸，而山川精气更在水墨精微中见出，体现元代道士藉山水追求清静自然，心灵解脱之哲学，用笔草草，意境无穷。",[23,25,24,26,7,77,130,129,377,170,79,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F693e4c4c741ebf8c7d852d6aa0cb4a93.jpg","纵62.1cm，横27.9cm",[138,185],{"id":21367,"slug":21368,"title":21369,"dynasty":207,"author":6750,"museum":74,"description":21370,"tags":21371,"thumbUrl":21372,"material":21373,"size":21374,"collection":100,"collections":21375,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},221696,"fang-ni-zan-hua-mo-zhu-zhou-gu-an-221696","仿倪瓒画墨竹轴","墨竹三竿，葉片在勁風吹拂下，飛揚搖曳，彷佛可以聽到呼嘯的風聲和葉片摩擦的聲音。前後兩竹，一濃一淡，好像隔了一層淡淡的霧氣，剛直秀勁中又有婀娜温婉之意。",[23,24,25,26,7,77,945,31,35,1174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47784ae4659f6b95e770f86d3397a48.jpg","册","该幅93.5x52.3公分；全幅105.3公分",[],{"id":21377,"slug":21378,"title":21379,"dynasty":283,"author":1683,"museum":1684,"description":21380,"tags":21381,"thumbUrl":21382,"material":100,"size":100,"collection":100,"collections":21383,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},220525,"huang-zhen-zhi-xiang-xu-bei-hong-220525","黄震之像","此作将写实精微与写意意趣熔于一炉，笔情墨趣间尽显文人风骨。\n画家以细腻笔触勾勒传主容貌，鬓边霜色、面部纹路皆细致晕染，把文人温雅沉静的神态精准定格。宽袍长衫以写意笔墨铺就，苍劲松枝顶天立地，暗合传主刚直品格；篱畔秋菊与幽竹错落点缀，晕开悠然清寂的意境。\n中西技法相融，打破传统肖像的陈规，传神写真与寄情抒怀合二为一，在写实的真切质感之外，晕染出传统笔墨的诗意余韵，将文人冲淡自持的精神风骨凝于画间。",[23,25,26,7,28,77,29,131,1625,35,5110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b6bf1a5072c1e72fed543fb949df29.jpg",[],{"id":21385,"slug":21386,"title":21387,"dynasty":18,"author":21388,"museum":147,"description":21389,"tags":21390,"thumbUrl":21391,"material":37,"size":100,"collection":39,"collections":21392,"showCount":104,"zanCount":11,"manualWeight":43,"mainColor":44},219559,"yu-jia-miao-e-tu-min-zhen-219559","渔家媌娥图","闵贞","垂柳依依拂过空蒙水岸，将江南水乡的柔婉晕染开来。画中渔女荷秤伫立，衣袂线条简劲爽利，带着写意的疏朗，却把渔家劳作后的倦怠质朴刻画入微。人物面部晕染柔和，神情恬淡安然，静望着烟水澹澹的江天，仿佛正等候归船。\n\n背景以淡墨虚化远山，柳枝细笔密叶写出，繁而不乱，与人物的简淡形成虚实对比，烘托出幽寂清旷的氛围。整作以水墨写就，墨色干湿浓淡层次分明，尽显文人写意雅致，又饱含烟火情味，将平凡渔家日常升化为诗意图景，在简淡笔墨间蕴藏悠悠江南意趣。",[23,25,26,7,985,29,30,131,35,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3e252e59b1f535e258aa0277d37b52.jpg",[39],{"id":21394,"slug":21395,"title":21396,"dynasty":72,"author":7257,"museum":74,"description":21397,"tags":21398,"thumbUrl":21399,"material":82,"size":21400,"collection":84,"collections":21401,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},219512,"han-lin-qu-yu-tu-yao-shou-219512","寒林鸲鹆图","表现了水边奇石及枯木丛篁中的景象。",[25,77,7,304,80,79,113,521,115,78,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc50daeb2e5949a3519195445d994f7.jpg","纵116.7厘米横29.6厘米",[84],{"id":21403,"slug":21404,"title":21405,"dynasty":93,"author":50,"museum":74,"description":21406,"tags":21407,"thumbUrl":21408,"material":2391,"size":100,"collection":100,"collections":21409,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},219505,"ning-zong-zuo-xiang-zhou-yi-ming-219505","宁宗坐像轴","这幅肖像尽显院体画的精湛功力。帝王正襟危坐，清癯面容沉静肃穆，目光内敛，自带着九五之尊的威仪。乌纱展角利落庄重，朱红朝服色泽沉厚饱满，腰间朱鞓束带规整挺括，衣纹走线流畅妥帖，将锦缎垂坠柔润的质感摹画入微。身畔坐具髹红描金，雕饰精巧繁复，暗合皇家礼制的华贵规制。全作以素净底色衬出人物庄重，没有冗余修饰，以写实笔触精准刻画帝王神态气度，在沉静雅致的色调中，将不苟言笑的帝王威仪永恒定格，尽显肖像画传神写实的极高造诣。",[25,7,27,28,29,34,10825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb89c33f96b45440820d2a9e578a29bcb.jpg",[],{"id":21411,"slug":21412,"title":10883,"dynasty":207,"author":50,"museum":74,"description":21413,"tags":21414,"thumbUrl":21415,"material":182,"size":21416,"collection":138,"collections":21417,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":44},219492,"qiu-shan-tu-zhou-yi-ming-219492","危崖层叠高耸，以干笔皴擦勾绘山石肌理，浓墨点苔醒出苍劲质感，留白铺陈云雾，将上下景境轻隔，铺就空濛辽远的秋山底色。山涧飞泉垂落，撞碎岑寂。近岸处苍松交柯、红叶点染，秋意漫溢林泉。水畔茅亭临波，白衣二人策杖晤谈，林下闲逸尽落画卷。\n笔墨糅合干皴湿染，既刻画出丘壑静穆之态，又晕开秋日山岚的氤氲柔韵，将山川灵秀与文人寄情林泉的雅怀相融，尽显简淡萧散的林下意趣。",[25,26,7,77,130,129,170,169,173,377,29,132,427,4987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37dad853c0db062ff1df66acbf38cd7f.jpg","115.3x36.9公分，全幅58公分",[138],{"id":21419,"slug":21420,"title":21421,"dynasty":18,"author":436,"museum":74,"description":21422,"tags":21423,"thumbUrl":21424,"material":82,"size":21425,"collection":39,"collections":21426,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},219390,"shou-xing-zhou-hua-yan-219390","寿星轴","长髯垂拂，宽袍曳地，老者持杖安坐，眉目间尽是悠然超脱。墨线婉转如流水，衣褶以淡墨轻晕，虚实相济中见出闲散风骨。题跋文字与画像相映成趣，文气与画境浑然一体，似可闻松风过耳，见云影悠悠。不事雕琢却意韵悠长，将寿星的仙逸之态与文人的旷达情怀融于笔端，简淡笔墨里藏着清灵之气，读来让人忘俗。",[25,26,7,77,985,29,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031b572da656ae0597a2b21f63ec5bd2.jpg","178.3x93.9",[39],{"id":21428,"slug":21429,"title":21430,"dynasty":18,"author":21431,"museum":74,"description":21432,"tags":21433,"thumbUrl":21434,"material":37,"size":21435,"collection":84,"collections":21436,"showCount":104,"zanCount":43,"manualWeight":43,"mainColor":88},219389,"bai-ying-zhou-ai-qi-meng-219389","白鹰轴","艾启蒙","白鹰昂首立于岩巅，翎羽皎洁若初雪，纹理细密如织，双目炯炯透着凛凛锐气。旁侧红叶灼灼似燃，与苍劲山石相映，添几分艳色却不掩清旷。山石皴法古拙，枯枝虬劲，而白鹰造型写实入微，翎羽的轻盈与岩石的厚重形成张力。中西技法相融，既得禽鸟生动之态，又存传统山水的古雅意境。淡远的背景晕染出空濛，更衬出主体的傲然独立，整幅画气韵生动，尽显自然灵趣与生命的雄健风骨。",[25,7,28,27,4015,35,3631,351,427,159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够精微，殊少秀韵。",[23,24,25,26,7,77,130,129,269,134,193,377,132,170,29,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527df7914879b235439099ab530acc9.jpg",[],{"id":21563,"slug":21564,"title":21565,"dynasty":207,"author":2386,"museum":331,"description":7442,"tags":21566,"thumbUrl":21567,"material":198,"size":780,"collection":100,"collections":21568,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":44},287594,"da-mo-xiang-zhao-meng-fu-287594","达摩像",[25,24,26,7,28,29,54,9612,19638,9245,484,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842000dac36974746103e8165992823e.jpg",[],{"id":21570,"slug":21571,"title":21572,"dynasty":207,"author":2386,"museum":331,"description":7442,"tags":21573,"thumbUrl":21574,"material":198,"size":780,"collection":100,"collections":21575,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":44},287529,"guan-quan-tu-zhao-meng-fu-287529","观泉图",[25,24,7,28,129,29,427,132,193,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18ccffe8a3c3cabe7d0bb04da6a7a08.jpg",[],{"id":21577,"slug":21578,"title":21579,"dynasty":18,"author":50,"museum":331,"description":21580,"tags":21581,"thumbUrl":21583,"material":198,"size":780,"collection":100,"collections":21584,"showCount":87,"zanCount":11,"manualWeight":43,"mainColor":342},267678,"ci-xiu-bai-ju-ba-ge-tu-zhou-yi-ming-267678","刺绣柏菊八哥图轴","此作以靛蓝为底，清雅沉静。苍柏虬曲伸展，祥云状针叶以异色绒线锁边，层次饱满古拙。两只八哥意态灵动，枝头静立者侧目凝神，振翅穿空者羽翮舒展，绒线施色细腻，黑白晕染自然，将禽鸟的鲜活神采尽数勾勒。下方湖石以钉线绣勾边，蓝白晕染出剔透空灵，秋菊盛放，绒丝晕出花瓣明暗层次，枝叶舒展如生。\n整件绣品以针代笔，将院体花鸟的雅致意趣融于丝线间，既有工笔写实的生动，又带着绣物独有的柔润肌理，把秋日清旷悠然的氛围藏入绢底，尽显巧思匠心。",[26,7,13935,113,28,21582,440,151,2163,5928],"八哥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b73b1aa1617a1f9fdd7d61efc5a53f9.jpg",[],{"id":21586,"slug":21587,"title":21588,"dynasty":18,"author":11456,"museum":236,"description":21589,"tags":21590,"thumbUrl":21591,"material":214,"size":21592,"collection":101,"collections":21593,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":704},241375,"lu-you-shi-zhou-zheng-fu-241375","陆游诗轴","此轴书录唐代诗人王建七言诗《上李吉甫相公》，自识：“王建上李吉甫相公。谷口郑簠书。”下钤“郑簠之印”、“谷口农”印二方。具体书写时间不详。本幅无藏印。\n此轴书法结体端秀雅逸，尚有《曹全碑》灵动飘逸之风神，而笔划的粗细及运笔却极富变化，舍汉隶之方正而求“盘盂跳荡”之姿，尤其是一些草书笔法的应用，更增加了全幅飘逸灵动之势，同时又不乏庄重沉实的气息。此轴代表了郑簠隶书的典型风格，此种书风虽然减弱了汉隶的博大与庄重，但对于开创清代隶书的新风格却具有十分重要的意义。",[80,5199,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa883f1071fd67d1a92eba35d1d693aa6.jpg","纵202.2厘米，横96.9厘米",[101],{"id":21595,"slug":21596,"title":21597,"dynasty":18,"author":21598,"museum":236,"description":21599,"tags":21600,"thumbUrl":21601,"material":100,"size":100,"collection":138,"collections":21602,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":88},239054,"tang-ying-shan-shui-zhou-tang-ying-239054","唐英山水轴","唐英","此作用淡墨晕染出江南山居的悠然意趣，全景构图层层铺展，意境清寂淡远。远景山峦轻笼烟霭，平湖开阔澄澈，三两渔舟泛于波上，漾开闲静况味。中景坡岸虬松葱郁，村居错落相依，板桥横溪接引往来，揉入日常烟火暖意。近景庭院深隐林间，田亩溪涧环合相拥，将林下栖居的隐逸之趣藏入笔墨中。\n\n全画笔墨松秀柔和，以淡皴轻擦区分丘壑层次，弃绝浓丽设色，凭墨色干湿浓淡铺陈层次，尽显文人山水特有的简淡萧散，把江南乡野的静雅诗意晕染开来，藏着冲淡平和的文人心绪。",[25,77,7,129,134,193,377,151,170,132,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d73145b572ef6ffbad105060f81b9cb.jpg",[138],{"id":21604,"slug":21605,"title":15394,"dynasty":18,"author":21606,"museum":236,"description":21607,"tags":21608,"thumbUrl":21609,"material":1573,"size":21610,"collection":138,"collections":21611,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":88},238133,"qiu-shan-xing-lv-tu-zhou-fang-cong-238133","方琮","此图是方琮的代表作品之一。图中峰峦叠幛，林木入秋，溪流小桥，行旅者行进其间。整幅画面布局巧妙，结构严谨，房舍及行旅商贾无不似从元人笔下而来，属雅俗共赏之作。",[25,26,24,7,28,130,129,3984,132,170,193,169,733,134,3631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7f98f4a5433087a38e8a85bd4c7fcf.jpg","纵186.6厘米，横153.3厘米",[138,158],{"id":21613,"slug":21614,"title":21615,"dynasty":18,"author":3408,"museum":331,"description":21616,"tags":21617,"thumbUrl":21618,"material":100,"size":21619,"collection":39,"collections":21620,"showCount":87,"zanCount":11,"manualWeight":43,"mainColor":88},237549,"wu-liang-shou-fu-zhou-ding-guan-peng-237549","无量寿佛轴","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[25,26,7,28,27,54,29,129,35,193,58,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad762207352ab4f7beb208dc41e22025.jpg","纵99.3厘米，横61.9厘米",[39],{"id":21622,"slug":21623,"title":1381,"dynasty":18,"author":21624,"museum":331,"description":21625,"tags":21626,"thumbUrl":21627,"material":100,"size":100,"collection":138,"collections":21628,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":88},237466,"shan-shui-zhou-jiang-yun-237466","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒",[25,7,129,77,130,377,169,132,170,19078,26,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379f525512d15f8340c282baf34191bd.jpg",[138,185],{"id":21630,"slug":21631,"title":21632,"dynasty":18,"author":4669,"museum":236,"description":15784,"tags":21633,"thumbUrl":21634,"material":214,"size":100,"collection":138,"collections":21635,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":44},236985,"wang-hui-kong-shan-fang-wu-zhou-wang-hui-236985","王翚空山方屋轴",[25,26,7,77,130,129,212,521,151,132,5985,522,2581,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ff3172206d083c2c3a1a837744abfa4.jpg",[138,185],{"id":21637,"slug":21638,"title":21639,"dynasty":72,"author":21640,"museum":236,"description":21641,"tags":21642,"thumbUrl":21643,"material":486,"size":21644,"collection":138,"collections":21645,"showCount":87,"zanCount":11,"manualWeight":43,"mainColor":44},236837,"xiang-shan-jiu-lao-tu-zhou-peng-shun-xiang-236837","香山九老图轴","彭舜乡","唐中期，古都洛阳闻名九州的“香山九老会”，被人称颂至今百世永流芳。“香山九老”指的是：洛中遗老李元爽136岁；禅僧如满95岁；胡臬89岁；吉皎88岁；刘真87岁；郑据85岁；卢真83岁；张浑77岁；白居易74岁。九位老人在洛阳龙门的香山结成“九老会”。周臣《香山九老图》就是以绘画述此盛事。",[25,26,7,28,77,129,29,427,169,132,131,3412],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc18d69c3d3633e4ee928dc95b38525.jpg","纵一九八厘米 横一〇四·五厘米",[138,158],{"id":21647,"slug":21648,"title":21649,"dynasty":18,"author":1971,"museum":236,"description":21650,"tags":21651,"thumbUrl":21652,"material":100,"size":100,"collection":138,"collections":21653,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":88},236460,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-jian-236460","仿黄公望山水图轴","王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[25,26,7,77,130,945,129,253,351,169,1651,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf2a8130da7b657943ce3313f4b98b7.jpg",[138,185],{"id":21655,"slug":21656,"title":21657,"dynasty":18,"author":1648,"museum":236,"description":21658,"tags":21659,"thumbUrl":21660,"material":1573,"size":21661,"collection":138,"collections":21662,"showCount":87,"zanCount":11,"manualWeight":43,"mainColor":44},236106,"tang-dai-qing-luan-chun-ai-tu-zhou-tang-dai-236106","唐岱晴峦春霭图轴","此图为竖构图，虽布置繁密却不杂乱。层次分明，经营有序，过渡自然，彼此虚实相生、错落有致。用笔秀劲凝重，深沉厚实，境界深远，墨色苍厚明润，变化丰富有灵气，可以看出作者状物写情的修养和功力。在技法上作者运用了勾、皴、点、染多种表现形式，如山石先用干笔皴擦，再以浓墨横笔点苔，使画面富有立体感。整幅画面色泽淡雅，在近石、远山及亭台上略施淡赭和花青，烘托出高雅幽然的意境。\n此画轴综观画面，重山叠嶂，霭横暗峦，曲流小径，回旋辗转，蜿蜒于隔山之壑。其间水榭山居，高树疏林，疏密有致，加之亭台小桥，别有韵味。好一派万物复苏，生机盎然的春季之景。那高低起伏的山峰层层错落，渐次推远，在蒸腾的云雾中忽隐忽现，最终消失在苍茫的水天之际。\n春霭缭绕，横贯于山腰之间，把远山近石自然地衔接起来，使整个画面意境幽远，静寂悠闲。山顶上、河岸上都长满了各种草木，有的顽强的扎根于石缝间，姿态挺拔俊秀，虽不比盛夏之苍茂，然比之深秋之萧瑟，寒冬之疏落，则充满生命的活力。远处山崖间瀑布高悬，如银河一般飞流直下，直冲烟岚之中，汇成溪流，顺着蜿蜒的溪岸流淌而来。笔者仿佛听到潺潺的流水声与远处瀑布的轰鸣声自然交汇，传人山谷，直至那浩茫的远山，又回荡在树石草木之间，与鸟鸣、树声、风声交融在一起，构成了一部天然的交响乐，这便是所谓的天籁之音吧!看那山间平台上、坡岸上、溪流上两三点缀的水榭亭台，在树木的掩映下若隐若现，使画面又透露着一种幽深的意味。面对如此美景，真想走出书斋把自己的身心融入这画一般纯洁平静的大自然中，去倾听那美妙的“乐音”。",[25,26,7,28,130,129,272,170,193,173,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f247378ce430f21abc039c0e4473ae.jpg","108 x 62 cm",[138,158],{"id":21664,"slug":21665,"title":8250,"dynasty":18,"author":8803,"museum":331,"description":21666,"tags":21667,"thumbUrl":21668,"material":100,"size":100,"collection":100,"collections":21669,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":88},235634,"mo-mei-tu-zhou-li-fang-ying-235634","此作用笔老辣朴拙，枯苍梅干以顿挫浓墨写就，虬曲倔强，斜逸枝桠舒展灵动，尽显古梅饱经风霜却傲然不屈之态。淡墨圈点梅花，清气盈盈，简淡脱俗，宛若清寒之中悄然绽露芳华。\n\n画面留白疏朗空灵，配上行书题诗，诗画相融，将自身狷介风骨寄寓于梅中，以梅明志，尽显文人画借物抒怀的意趣，寥寥数笔便把梅花的清逸高格勾勒尽致，于极简中见精神风骨，是写意花鸟中借物言志的佳作。",[25,7,77,392,80,97,79,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb1f39a221903b5fa8c775b8d3f18ac.jpg",[],{"id":21671,"slug":21672,"title":21673,"dynasty":18,"author":50,"museum":331,"description":21674,"tags":21675,"thumbUrl":21676,"material":198,"size":780,"collection":100,"collections":21677,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":44},234413,"zhi-xing-fu-mu-tang-ka-yi-ming-234413","智行佛母唐卡","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。",[54,27,28,8739,7,29,4209,536,272,170,19249,9955,14762,8740],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47919a6f05c0b86e438887ba4126ae79.jpg",[],{"id":21679,"slug":21680,"title":21681,"dynasty":72,"author":1496,"museum":236,"description":21682,"tags":21683,"thumbUrl":21684,"material":1218,"size":21685,"collection":100,"collections":21686,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":44},233849,"nan-ji-lao-ren-xiang-lv-ji-233849","南极老人像","该图绘我国古代神话故事中的南极老人，又称寿星，长头短身、白须寿眉，立于夜雾迷濛、明月高挂、翠竹纷披、红杏盛开、山泉奔流不息的原野中，一只梅花鹿立于身旁，由于“鹿”与“禄”同音，寓意多“禄”多“寿”。画面中人物用粗细不一的线条勾描，然后染色。树石、流水用笔劲利，山石用斧劈皴，略加淡墨晕染。",[25,7,27,28,29,1073,31,132,193,3266,151,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facebab1181af51829e0be60e88caeab6.jpg","纵217厘米，横114.2厘米",[],{"id":21688,"slug":21689,"title":21690,"dynasty":18,"author":4434,"museum":236,"description":21691,"tags":21692,"thumbUrl":21693,"material":1394,"size":21694,"collection":100,"collections":21695,"showCount":87,"zanCount":11,"manualWeight":43,"mainColor":88},233827,"you-ting-xiu-mu-tu-zhou-hong-ren-233827","幽亭秀木图轴","“辛丑”为清顺治十八年(1661年)，受赠者名罗衮期，字岳生，安徽歙县呈坎人，是一位信奉佛教的儒生。图上有罗衮期小跋：“启悟师久慕渐江笔意，属予代索，遂以寄予者转赠之。”又有弘仁侄江注题诗“吾师漫写倪迂意，古木孤亭水石幽。优钵昙花题品在，禅门珍秘抗王侯。为启公题家师笔”。\n作为明遗民画家，弘仁曾在民族危难之时挺身而出，参加抗清活动，明亡后，遁迹江湖，寄兴诗画。他眷怀故国，作诗曰：“偶将笔墨落人间，绮丽楼台乱后删。花草吴宫皆不问，独余残渖写钟山。”钟山是明太祖先元璋的陵墓所在地，此诗悲凉沉郁，感怀至深，表达了弘仁不忘故国的坚贞气节，正是这种情怀，使他的绘画倾向于倪瓒的风格，倪画中荒寒萧瑟的意境引起了他心灵的共鸣。此图是弘仁晚年居住在歙县五明寺时所作。画风为倪瓒的变格，作平远布局，近处坡岸茅亭，亭前后有松杉杂木高耸，略去浅水遥岑，使前景成为独立的主体，加强了山石结构的表现，产生较为平和的亲切感。画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[25,26,24,7,77,130,377,253,129,35,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedb8101e25e0b3da1b9d79531e46d3b.jpg","纵68厘米，横50.4厘米",[],{"id":21697,"slug":21698,"title":21699,"dynasty":18,"author":4610,"museum":331,"description":21700,"tags":21701,"thumbUrl":21702,"material":100,"size":100,"collection":100,"collections":21703,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":88},233376,"mei-he-tu-zhou-xu-gu-233376","梅鹤图轴","《梅鹤图》是清代虚谷创作的纸本设色画。\n自题：“辛卯春二月。\n虚谷。\n” 钤“虚谷书画”朱文印、“耿耿其心”白文印。\n“辛卯”为清光绪十七年（1891年），虚谷时年69岁。\n图绘梅鹤双清之景。\n茁壮的梅树，其交错穿插的细枝和星星点点的花朵打破了画面的整体空间。\n作者着意在梅树干上绘两只仙鹤，它们淡然闲适的神态为画面增添了祥和的生趣，其平整的造型则统一了原本过于细碎的画面，由此可见作者巧于构思和化零为整的能力。\n虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。\n能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。\n喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。\n与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[25,26,7,77,28,113,304,392,225,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fa1dda8c69bfb89af210776a782370.jpg",[],{"id":21705,"slug":21706,"title":21707,"dynasty":49,"author":50,"museum":331,"description":21708,"tags":21709,"thumbUrl":21711,"material":198,"size":780,"collection":100,"collections":21712,"showCount":87,"zanCount":11,"manualWeight":43,"mainColor":342},231692,"shi-ting-shi-dai-sui-shi-fo-xiang-yi-ming-231692","室町时代 隋时佛像","此作为护法风神造像，三眼怒目虬髯，身姿雄健昂扬，甲胄纹饰描金敷彩，华美精细。画作配色浓烈厚重，朱红、石青撞色衬出神祇慑人的威严气场，飘带与焰纹灵动舒展，为刚性造像晕染出飞扬动感，将护法神祇的狞厉威仪刻画得淋漓尽致，兼具宗教美术的肃穆张力与东方绘画的线条韵律，尽显中古宗教造像绘画的雄浑神采。",[23,4661,25,28,27,7,54,29,21710,1039,19249,10263,4427,9956],"铠甲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3550cccef8f7c7d37a7f459e7a485b1b.jpg",[],{"id":21714,"slug":21715,"title":21716,"dynasty":18,"author":3956,"museum":3222,"description":21717,"tags":21718,"thumbUrl":21720,"material":486,"size":21721,"collection":100,"collections":21722,"showCount":87,"zanCount":11,"manualWeight":43,"mainColor":88},231571,"xian-qiao-qi-zi-tu-fei-dan-xu-231571","闲敲棋子图","该图以采梅仕女为主景，她立于溪石上，左手抱着梅干，右手举起正欲攀花。左上角款题：“翠羽声中春梦残，扑襟香雪影珊珊。可知一样梅花骨，不畏东风料峭寒。”\n该图仕女用细笔勾成，笔墨细柔，设色淡雅，面容俊俏，身材婀娜，姿态自然生动，十分传神，充分体现出费丹旭仕女图的美学特征。",[23,25,26,7,28,27,29,30,21719,34],"棋具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eb5aa27513dfa8005db724ff4b6b3cf.jpg","137cmx33cm",[],{"id":21724,"slug":21725,"title":21726,"dynasty":72,"author":21727,"museum":331,"description":21728,"tags":21729,"thumbUrl":21731,"material":100,"size":100,"collection":100,"collections":21732,"showCount":87,"zanCount":11,"manualWeight":43,"mainColor":44},230949,"shou-shan-fu-hai-tu-leng-qian-230949","寿山福海图","冷谦","此作以浩渺沧海为主体，细劲线条勾绘层叠水纹，如鳞似浪，将海涛不息的灵动与苍莽尽数铺展。几座仙山错落浮沉于碧波间，山石以青绿晕染，皴笔勾勒出奇崛硬朗的山势，刚劲山海与柔婉浪涛形成绝妙的刚柔对照。\n\n右上角题诗衬景，让烟波之间更添缥缈仙气，整幅画作将山海辽远之境与祥瑞题旨相融，工致古雅，尽显静谧恢宏的山海气象。",[23,25,26,7,28,129,21730,132,35,79,336,130],"海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680aaa4850da94d3d3296008a2b2c881.jpg",[],{"id":21734,"slug":21735,"title":21736,"dynasty":72,"author":1614,"museum":331,"description":21737,"tags":21738,"thumbUrl":21739,"material":100,"size":100,"collection":100,"collections":21740,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":88},228881,"cui-zhu-tu-wen-zheng-ming-228881","翠竹图","此作为诗画合璧的文人佳构，下方墨竹以淡墨写竿，笔致劲挺通脱，浓墨挥写竹叶，俯仰向背错落有致，疏密间尽显萧散清逸，将翠竹挺拔君子之姿淋漓尽显，满幅皆含清和雅正之气。\n上方题诗行书秀雅舒展，笔意温润隽秀，诗与画两相呼应，寄寓着幽居伴竹、静赏林泉的文人雅趣。书画一体，尽显吴门画派的雅致风神，暗合作者淡远冲和的品格心性，整体意境清润隽永，是文人画诗书画交融的精妙之作。",[25,26,7,77,80,97,79,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937c38e3fa101fbcb4b94656e5b43285.jpg",[],{"id":21742,"slug":21743,"title":21744,"dynasty":72,"author":50,"museum":331,"description":21745,"tags":21746,"thumbUrl":21747,"material":100,"size":100,"collection":100,"collections":21748,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":44},228377,"ming-shi-zong-zuo-xiang-zhou-yi-ming-228377","明世宗坐像轴","此作工笔重彩，尽展帝王威仪。明黄常服遍饰团龙祥纹，云气缠护其间，章纹排布严合规制，织绣细节分毫毕现，将皇权礼制融于一针一线的描摹中。\n\n帝王面容方正，神色沉敛端凝，不怒自威，肖像写实传神，精准勾勒出帝王的肃穆气场。背景髹金屏风满绘升降云龙，间缀宝相花枝，宝座髹蓝描金，雕饰精巧，处处铺陈出皇家的华贵肃穆。\n\n整体设色富丽匀净，线条精细劲挺，尽显宫廷肖像画的精湛造诣，将九五之尊的威严气场定格绢素，静穆间传递出皇朝礼制的厚重庄严。",[25,24,7,27,28,29,334,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec95e7e4f1be01b5a6b4566dce58538.jpg",[],{"id":21750,"slug":21751,"title":21752,"dynasty":207,"author":1327,"museum":331,"description":21753,"tags":21754,"thumbUrl":21755,"material":100,"size":100,"collection":100,"collections":21756,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":44},228266,"zhu-que-tu-li-zhou-li-kan-228266","竹雀图立轴","此作用双勾法写竹，笔致工稳匀净，竹挺拔劲秀，叶片俯仰向背层次分明，尽显君子清刚之姿。淡施赭色晕染竹节，衬于古旧绢底，愈见沉雅古拙。\n几只山雀或栖于梢头理羽，或穿林跃动，翎毛晕染细腻灵动，为幽寂竹林添了鲜活生气。动静相映之间，将写实工细与文人意趣相融，既有院体花鸟的精工写实，又饱含萧散淡远的林下之风，把劲竹的清操与野雀的生趣合为一卷，尽显雅致隽永的笔墨意韵。",[23,4108,25,26,7,27,77,113,31,115,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac188acdce48fe49bfc54eafa6996beb.jpg",[],{"id":21758,"slug":21759,"title":5146,"dynasty":207,"author":21760,"museum":331,"description":21761,"tags":21762,"thumbUrl":21763,"material":198,"size":780,"collection":100,"collections":21764,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":44},228070,"feng-zhu-tu-xue-chuang-228070","雪窗","僧普明，字雪窗。元代著名画家，在苏州为僧。1338年在虎丘云岩寺当住持，1344年改承天能仁寺住持，其后一度因老病引退，1348年复出，为能仁寺住持。\n雪窗以画兰花著称，与他同时的画家柏子庭写苏州风俗说：家家恕斋字，户户雪窗兰。春来行乐处，只说虎丘山。今传世作品十余件，多藏于日本，美国。",[23,25,26,7,77,31,601,1275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb8ad77edfd7868a2b0caa6e47ad30f.jpg",[],{"id":21766,"slug":21767,"title":21064,"dynasty":93,"author":1475,"museum":331,"description":21768,"tags":21769,"thumbUrl":21770,"material":100,"size":100,"collection":100,"collections":21771,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":44},227715,"hu-tu-tu-zhou-mu-xi-227715","牧溪是南宋著名的画僧，他的画作大多拙稚粗细，自由放逸。由于太过自由且有悖传统而入不了中国主流的收藏殿堂，其洒脱不拘泥于形式的风格反而在日本备受推崇。\n\n牧溪是南宋著名的画僧，他的画作大多拙稚粗细，自由放逸。由于太过自由且有悖传统而入不了中国主流的收藏殿堂，其洒脱不拘泥于形式的风格反而在日本备受推崇。",[25,7,77,5713,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce9881e58fd85ecc62bf9a234ad398d.jpg",[],{"id":21773,"slug":21774,"title":19598,"dynasty":93,"author":50,"museum":74,"description":21775,"tags":21776,"thumbUrl":21777,"material":37,"size":21279,"collection":100,"collections":21778,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":342},227347,"ru-lai-shuo-fa-tu-yi-ming-227347","画佛登宝座说法，旁有侍者六人：两天女，两僧，两介士随侍。佛顶圆光，四周飞火焰，画火笔法极生动而传神。全幅以水墨为主调，略施淡彩，其它如手足诸事，无不刻画肌容，揣拟入妙。天女衣褶，如曹衣出水，本为印度作风，北魏时传入中国，北宋以后又复少见。故成画当在北宋时，为故宫院藏佛画中之甚精者",[25,26,24,7,54,29,985,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b569fbc72e4a17b9c63ddb4bd3a7df.jpg",[],{"id":21780,"slug":21781,"title":21782,"dynasty":18,"author":436,"museum":331,"description":21783,"tags":21784,"thumbUrl":21785,"material":100,"size":100,"collection":100,"collections":21786,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":88},224176,"liu-qin-tu-hua-yan-224176","柳禽图","此作用笔兼工带写，以空灵留白衬出清寂意韵。柳枝以淡墨晕染出柔条垂曳之姿，浓墨点苔醒出老枝苍劲，墨色浓淡铺陈出枝叶的虚实层次。\n两只八哥一攀附柳丝，一振翅穿飞，焦墨写羽凝练厚重，喙爪轻勾灵动有神，二鸟顾盼呼应，将春日柳梢嬉闹的野趣生动定格。淡赭素纸托着清润笔墨，寥寥笔意便晕开江南春日的柔婉闲逸，于简雅间暗藏蓬勃生机，尽显幽澹秀美的文人意趣。",[23,25,26,24,7,77,28,304,113,404,151,4595,18359,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc17306c49b0de13f4dc3c68321e5f.jpg",[],{"id":21788,"slug":21789,"title":17540,"dynasty":72,"author":13130,"museum":74,"description":21790,"tags":21791,"thumbUrl":21793,"material":589,"size":21794,"collection":138,"collections":21795,"showCount":87,"zanCount":11,"manualWeight":43,"mainColor":44},222502,"shan-yu-yu-lai-tu-zhou-zhang-lu-222502","此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[23,25,77,7,130,129,132,170,173,1717,29,193,35,21792],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dda3aeabd6bd882d906bf05d7ad4cc6.jpg","纵147厘米，横105厘米",[138,185],{"id":21797,"slug":21798,"title":21799,"dynasty":72,"author":1751,"museum":74,"description":21800,"tags":21801,"thumbUrl":21802,"material":1394,"size":21803,"collection":84,"collections":21804,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":88},222177,"hua-xi-yu-yin-zhou-lu-zhi-222177","花谿渔隐轴","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,25,26,7,28,129,134,193,349,521,132,169,151,377,130,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27346d2b1c70fea305cfb7ed193a52f4.jpg","239.6x53.3",[84,158],{"id":21806,"slug":21807,"title":21808,"dynasty":72,"author":1614,"museum":74,"description":21809,"tags":21810,"thumbUrl":21811,"material":255,"size":21812,"collection":100,"collections":21813,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":88},222008,"cha-shi-tu-zhou-wen-zheng-ming-222008","茶事图轴","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏·茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。\n本幅上方自题“茶具十咏”五言律诗十首，分别为茶坞、茶人、茶笋、茶籝、茶舍、茶灶、茶焙、茶鼎、茶瓯、煮茶。后款署：“嘉靖十三年岁在甲午，谷雨前三日，天池、虎丘茶事最盛，余方抱疾偃息一室，弗能往与好事者同为品试之会。佳友念我走惠二三种，乃汲泉吹火烹啜之，辄自第其高下，以适其幽闲之趣。偶忆唐贤皮陆辈‘茶具十咏’，因追次焉，非敢窃附于二贤后，聊以寄一时之兴耳。漫为小图，遂录其上。衡山文徵明识。”钤“徵”“明”朱方联珠印。嘉靖十三年即1534年，文徵明时年65岁。右下钤“徵仲父印”白文方印、“衡山”朱文方印。",[23,25,28,80,129,252,56,253,1617,77,304,7,214,1618],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1516f91f0ee98d8bbe93d23b0f607e3a.jpg","纵136.1cm，横26.8cm",[],{"id":21815,"slug":21816,"title":21817,"dynasty":18,"author":21818,"museum":1782,"description":21819,"tags":21820,"thumbUrl":21821,"material":100,"size":100,"collection":100,"collections":21822,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":88},220463,"lan-shi-chen-shi-ceng-220463","兰石","陈师曾","此作用极简水墨写绘兰石，运笔纵逸老辣，兰叶如屈铁游丝，中锋走笔，刚柔并济，寥寥数笔便将兰叶舒展之姿写尽。兰花以写意点染，花瓣含露轻绽，神韵自现。\n\n留白通透，以虚衬实，尽显尚简重意的文人画旨趣，将芝兰君子寄情林泉、不与俗伍的幽贞品格晕染纸上。左侧题字朴拙苍劲，笔墨意趣与画面融为一体，互为生发。整幅画于简淡中见风神，墨色干湿浓淡间，氤氲出清逸出尘的林下风流，藏着传统文人淡泊清远的精神内核。",[23,25,26,24,7,77,304,1051,601,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8271038a5f32366ba9121a2549da8d79.jpg",[],{"id":21824,"slug":21825,"title":21826,"dynasty":72,"author":1024,"museum":74,"description":21827,"tags":21828,"thumbUrl":21830,"material":99,"size":21831,"collection":138,"collections":21832,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":44},220371,"fang-mi-xiao-xiang-bai-yun-tu-dong-qi-chang-220371","仿米潇湘白云图","本图仿米芾笔意，以墨韵幽雅，意境深邃取胜。用略为夸张的笔法去捕捉流动的大气，描绘多变莫测的云烟雨，使得绮丽多姿的山水更富有直观表现的色彩。",[23,25,77,364,7,130,21829,252,56,170,173,522,2581,5277,151],"米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662a33e92c15e39c6775698df13687f8.jpg","123.2x51.9",[138],{"id":21834,"slug":21835,"title":21836,"dynasty":18,"author":21837,"museum":331,"description":21838,"tags":21839,"thumbUrl":21841,"material":82,"size":100,"collection":84,"collections":21842,"showCount":87,"zanCount":43,"manualWeight":43,"mainColor":88},220259,"lao-song-tu-gao-xiang-220259","老松图","高翔","高西堂擅画梅，疏枝瘦花，其野逸之趣每为金冬心所称道。亦擅山水，法元人黄公望而以清简出之，境界荒寒，画格甚高。此轴画萱花、寿石及长松秀竹，当是为人祝嘏之作，笔墨极似恽南田而仍有其清逸本色。款书则倚倒倾侧，是其习见风貌。西堂画在“八怪”中流传最少，此轴保存良好，书卷之气袭人，是可珍。",[23,25,26,7,77,304,130,21840,78,2507,536,80],"老松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb4bd54bd63d1fc9d10345163a01cb2.jpg",[84],{"id":21844,"slug":21845,"title":21846,"dynasty":207,"author":50,"museum":74,"description":21847,"tags":21848,"thumbUrl":21850,"material":2391,"size":100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清高宗以此作与《富春山居图》（子明卷）相比，认为两作“纸色墨气，古穆无二”。细察两作石法、树法，乃至题款书风近似，或出于一人之手，为明末清初的作品。",[25,7,129,77,130,3304,21925,134,193,269,79,80],"曲涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb06ecbde0e10adb8891902cce34b3f.jpg",[],{"id":21929,"slug":21930,"title":21931,"dynasty":93,"author":7329,"museum":331,"description":21932,"tags":21933,"thumbUrl":21934,"material":198,"size":780,"collection":100,"collections":21935,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":44},290614,"ku-mu-zhu-shi-zhou-song-ren-290614","枯木竹石轴","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石块后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的展现，属元代枯木竹石画风。画中枯木与院藏赵孟俯《竹石古木》表现类似，此画上虽无款印，但可推测为此一画风的元代例证，学者推测或许正与赵孟俯关系密切。",[25,24,26,7,77,113,152,31,35,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc68e00661dc7552efca8be1f446a08a.jpg",[],{"id":21937,"slug":21938,"title":21939,"dynasty":18,"author":1123,"museum":74,"description":2094,"tags":21940,"thumbUrl":21941,"material":136,"size":21942,"collection":100,"collections":21943,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":88},290528,"zhu-shi-ku-cha-tu-zhou-yun-shou-ping-290528","竹石枯槎图轴",[25,7,77,31,521,132,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b53a062749880b1168b4136a30d6c4.jpg","95.1x46.8",[],{"id":21945,"slug":21946,"title":21947,"dynasty":207,"author":1402,"museum":331,"description":21948,"tags":21949,"thumbUrl":21950,"material":198,"size":780,"collection":100,"collections":21951,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":44},290502,"han-lin-zhong-kui-zhou-chen-lin-290502","寒林钟馗轴","绘严寒冬季，树木枝叶疏落，在萧旷之野，身材魁伟的钟馗伫立于林下的坡地上!胸怀中抱有笏板，头戴幞巾，穿宽身袍服，腰系玉带，脚穿皂靴，厂‘袖因风而飘，缩着颈脖，显出寒风凛凛冷意。但形象威严，目睛圆瞪，须髯如戟，炯炯有神，背景为枯树荆柯，宽阔坡陀为枯草所覆盖，斜坡上长有几棵大树，树干挺拔直上，顶天立地：树干上有不少疤结，枝叶疏落，大树下的丛丛荆柯枝干交错，树叶脱落，显示是严寒的冬天季节。作者所描绘一片寒林，枯梢老槎，显得苍劲高古，枝丫相互穿插，虚实、浓淡的处理，都是为了表现寒林的深度，画家利用虚实关系拉大了空间，作者不但在寒林的后面用淡墨画了类似的树木，还以云雾来加强树林的纵深，使人感到寒气逼人、全图笔法简括刚韧，以线描为主，辅以皴染，明显带有南宋画院体风貌。人物造型准确，刻画得生动传神，钟馗的衣纹十分简洁，和周围景物的描绘上又十分准确精到，因而能达到情景交融的境界。这是此画最为成功之处。它在于将钟馗缩脖无颈，一副缩着脖子畏寒的样子跃然纸上，瑟缩着的钟馗和寒林一样都突出一个寒字，相互衬托，加强了作品荒寒气氛。故此画在人物形态神情的刻画及其立意上颇有独到之处。",[25,7,29,77,521,15586,79,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9242d4dde31567d9c1e594d9288317.jpg",[],{"id":21953,"slug":21954,"title":1703,"dynasty":72,"author":1751,"museum":331,"description":4340,"tags":21955,"thumbUrl":21956,"material":198,"size":780,"collection":100,"collections":21957,"showCount":21918,"zanCount":11,"manualWeight":43,"mainColor":44},290501,"hua-niao-zhou-lu-zhi-290501",[24,25,26,7,27,28,113,392,151,3869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff287464e1e488bf57ac4980cd966922c.jpg",[],{"id":21959,"slug":21960,"title":21961,"dynasty":93,"author":584,"museum":331,"description":11485,"tags":21962,"thumbUrl":21963,"material":198,"size":780,"collection":100,"collections":21964,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":44},290297,"hua-hua-niao-zhou-zhao-chang-290297","画花鸟轴",[25,7,113,27,28,151,536,576,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47da3bc28d94f9c87e40145887010832.jpg",[],{"id":21966,"slug":21967,"title":5375,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":21968,"thumbUrl":21969,"material":198,"size":780,"collection":100,"collections":21970,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":88},290182,"zhu-tu-li-zhou-wu-chang-shuo-290182",[23,25,7,77,31,80,79,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d7eb58b8faf622716972b5c27606cf.jpg",[],{"id":21972,"slug":21973,"title":18539,"dynasty":18,"author":4434,"museum":331,"description":21974,"tags":21975,"thumbUrl":21976,"material":198,"size":780,"collection":100,"collections":21977,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":88},290180,"tao-an-tu-zhou-hong-ren-290180","本幅是作者送友人汪尧德的写生之作。汪尧德（1620—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。早年客居松江，与董其昌、陈继儒等文人交往。晚年家居30年，以书画自娱。此图是弘仁与友人罗逸（字远游，歙县人）游黄山经过潜口时所绘汪尧德隐居之所。其屋舍傍山而筑，临溪而建，一片离尘幽美之景。作者以折带皴和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。",[23,25,7,77,129,521,272,733,134,79,130,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb845dce80ebf0ae222beb3c4e517a4.jpg",[],{"id":21979,"slug":21980,"title":21981,"dynasty":207,"author":7719,"museum":331,"description":21982,"tags":21983,"thumbUrl":21984,"material":198,"size":780,"collection":100,"collections":21985,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":88},290159,"shi-an-gu-song-tu-cao-zhi-bai-290159","石岸古松图","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[25,26,77,7,129,427,522,2721,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F220744a1d28d0000d5efd43b1543c4f4.jpg",[],{"id":21987,"slug":21988,"title":21989,"dynasty":993,"author":4206,"museum":331,"description":21990,"tags":21991,"thumbUrl":21993,"material":198,"size":780,"collection":100,"collections":21994,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":44},290021,"yan-le-tu-zhou-fang-290021","演乐图","周昉（生卒年不详），字仲朗、景玄，京兆（今陕西西安）人，唐代著名画家。出身显贵，先后任越州、宣州长史。\n他能书，擅画人物、佛像，尤其擅长画贵族妇女，容貌端庄，体态丰肥，色彩柔丽，为当时宫廷士大夫所喜爱；是中唐时期继吴道子之后而起的重要人物画家，当时有名的宗教画家兼人物画家。早年效仿过张萱，后来加以变化，别创一体。周昉创造的最著名的佛教形象是“水月观音”。\n周昉的佛教画曾成为长期流行的标准，被称为“周家样”。传世作品有《簪花仕女图》卷、《挥扇仕女图》卷、《调琴啜茗图》卷等。",[24,25,7,28,29,777,21992,778,427,30,27],"演乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421f24aa0929e0b9618cf66d7493b9d6.jpg",[],{"id":21996,"slug":21997,"title":21998,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":21999,"thumbUrl":22000,"material":198,"size":780,"collection":100,"collections":22001,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":88},289976,"cuo-luo-shan-hu-zhi-wu-chang-shuo-289976","错落珊瑚枝",[23,24,25,26,7,28,77,113,35,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4af96a1525539d532429b3adf17fb9fd.jpg",[],{"id":22003,"slug":22004,"title":5430,"dynasty":93,"author":22005,"museum":331,"description":22006,"tags":22007,"thumbUrl":22008,"material":198,"size":780,"collection":100,"collections":22009,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":44},289884,"lu-yan-tu-lin-xue-289884","林雪","林雪 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以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显",[25,26,7,77,130,129,134,193,377,521,132,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4d146aaec02114ccb269501a7bed23.jpg","轴设色纸本",[138,101],{"id":22078,"slug":22079,"title":22080,"dynasty":18,"author":17471,"museum":236,"description":17472,"tags":22081,"thumbUrl":22082,"material":214,"size":100,"collection":84,"collections":22083,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":88},237454,"fu-shan-lan-zhi-zhou-fu-shan-237454","傅山兰芝轴",[25,26,7,77,1051,18358,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c35d01ea4392d55c4239ad5cde0d02.jpg",[84],{"id":22085,"slug":22086,"title":22087,"dynasty":72,"author":22088,"museum":331,"description":22089,"tags":22090,"thumbUrl":22091,"material":214,"size":100,"collection":39,"collections":22092,"showCount":21918,"zanCount":11,"manualWeight":43,"mainColor":44},236959,"xian-ren-cai-zhi-tu-zhou-guo-fen-ya-236959","仙人采芝图轴","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。",[24,25,26,7,27,985,28,29,35,4370,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b03906855f2a9702cbd91eb476a56a.jpg",[39],{"id":22094,"slug":22095,"title":22096,"dynasty":18,"author":3408,"museum":236,"description":22097,"tags":22098,"thumbUrl":22099,"material":12661,"size":22100,"collection":101,"collections":22101,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":44},236147,"da-shi-xiang-hong-li-shu-xin-jing-he-zhuang-zhou-ding-guan-peng-236147","大士像弘历书心经合装轴","丁观鹏（生卒年不详），擅绘人物、山水。雍正四年（1726年）以画艺精湛入宫供奉，备受雍正、乾隆皇帝的赏识，作品为清宫著录者达83件之多。",[25,7,54,28,27,29,3795,8959,78,151,2221,351,80,97,5901],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbfde9136bb0fce1adfcc9527d15d37.jpg","纵60cm，横28.3cm",[101],{"id":22103,"slug":22104,"title":22105,"dynasty":72,"author":22106,"museum":331,"description":22107,"tags":22108,"thumbUrl":22110,"material":100,"size":100,"collection":100,"collections":22111,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":88},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","李士达","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[25,26,7,28,27,130,29,3138,134,193,521,733,778,19078,1932,132,170,1419,270,22109],"民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],{"id":22113,"slug":22114,"title":22115,"dynasty":72,"author":5553,"museum":236,"description":22116,"tags":22117,"thumbUrl":22118,"material":5241,"size":22119,"collection":100,"collections":22120,"showCount":21918,"zanCount":11,"manualWeight":43,"mainColor":88},234973,"fang-dong-yuan-shan-shui-zhou-wen-jia-234973","仿董源山水轴","文嘉（1501—1583年），字休承，号文水，长洲（今江苏苏州）人，文徵明次子。官和州学政。工诗文书画，继承家学，又以多见古人名迹，故其画作能脱去习俗。著《和州诗》。",[25,26,24,7,77,130,945,129,134,193,131,29,132,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b8b1885883d2c6208989fa18e10f2.jpg","纵155cm，横71.3cm",[],{"id":22122,"slug":22123,"title":22124,"dynasty":72,"author":1024,"museum":236,"description":22125,"tags":22126,"thumbUrl":22127,"material":745,"size":22128,"collection":100,"collections":22129,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":88},233960,"zeng-jia-xuan-shan-shui-tu-zhou-dong-qi-chang-233960","赠稼轩山水图轴","此画构图取势平远，树石简繁相参，敛放有致，与同年作者所作《佘山游境图》轴相比，在笔势运转上更显刚健挺拔。渲染则多湿笔浓墨，墨气纵横，得草树、坡石蓊郁润泽之态。\n据题跋可知此图为作者于丙寅年所作，三年后，即“己巳”（明崇祯二年，1629年）寄赠瞿稼轩。“稼轩”是瞿式耜的号。此图从一个侧面反映了明末文人之间以诗文书画相契赏的风尚。",[25,167,130,967,7,129,170,351,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff6910377fde107bd3ffc655005365f6.jpg","纵101.3cm，横46.3cm",[],{"id":22131,"slug":22132,"title":22133,"dynasty":18,"author":436,"museum":236,"description":22134,"tags":22135,"thumbUrl":22136,"material":1573,"size":17958,"collection":84,"collections":22137,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":88},233942,"hua-yan-zi-hua-xiang-tu-zhou-hua-yan-233942","华嵒自画像图轴","华嵒是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华嵒潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华嵒一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华嵒身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[24,25,26,7,77,28,130,304,129,29,35,193,132,911,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa167316f143627c91b7a6fa3bf4f48.jpg",[84,22138],"明清缂绣画",{"id":22140,"slug":22141,"title":22142,"dynasty":18,"author":709,"museum":236,"description":22143,"tags":22144,"thumbUrl":22146,"material":1573,"size":22147,"collection":100,"collections":22148,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":88},233848,"song-teng-tu-zhou-li-shan-233848","松藤图轴","松柏是古代绘画中十分常见的题材，而专门以松树和藤花入画的则十分少见。作者对松藤一类题材十分偏爱，传世有多幅《松藤图》轴，构图近似而画面题诗和细节略有不同。画中老藤盘松，枝叶交错，一棵老松斜向伸入画面，树皮斑驳，高大伟岸，雄伟挺拔；松树旁边藤条攀缘而上，虬曲盘旋，坚韧柔活。画家以浓笔重墨写松树，以迅笔淡彩挥写藤条和藤花，墨色混融，凝重沉厚的苍松与轻盈灵动的藤条相互映衬，自得风神。构图平中见奇，险而不逾法度，设色淡雅，色不掩墨，用笔苍劲，泼墨淋漓，立意清新而高旷，以非常具有个人色彩的笔墨描绘了大自然中苍松和藤花相符相依，生机盎然的景象。",[25,26,7,77,28,378,22145,113,304,130],"藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95770748654b96d15f43031aab8bd872.jpg","纵123厘米，横50.5厘米",[],{"id":22150,"slug":22151,"title":22152,"dynasty":18,"author":4788,"museum":236,"description":22153,"tags":22154,"thumbUrl":22155,"material":214,"size":22156,"collection":100,"collections":22157,"showCount":21918,"zanCount":43,"manualWeight":43,"mainColor":88},233792,"chan-ji-hua-qu-zhou-kun-can-233792","禅机画趣轴","作者以一个僧人的目光把所赏阅的江南山川荟萃于尺幅之中。\n此画幅虽不大，呈一长条幅，但气势恢宏，只见远处群山叠嶂，诸峰矗立，云雾缠绕。\n山坡的平地坐落着寺院和房舍，在山坡和丛树间或隐或现：近景，山脚下水榭、房阁数间，坡岸乱石相连，在乱石坡岸上树木丛生，近处溪边水草茂盛，下端左侧一条长长的板桥，且有齐整的扶栅。\n右侧有一板桥将两溪岸相连，有一位身着长袍头戴风帽手持拐杖的长者，正在缓行过桥。\n中景，有山有水，有树木、房舍等，水随山转。\n有数只扁舟，渔人独坐轻舟浮荡，显得十分幽静清雅。\n画幅上端作者长题：“米南宫尝以玩好书画载之方舟，坐卧其中，适情乐性，任其所之，咸指之一：‘此米家书画船也。\n’石秃曰：‘此固前人食痴公癣，咄咄青溪亦后有此耶，虽然青溪好古博雅，胸中负古文奇字，此犹不过成都子昂之弄故琴耳。\n玄道隐于小成言：隐于荣华，若以天地为虚舟，万物为图籍，予坐卧其中，不知天地外更有此舟，不知舟之中更有子昂否耶？而为之偈曰：大地为舟，万物图画，坐卧其中，嗒焉洒洒，渺翩翩而独征兮，有谁知音机弦而歌兮，清风古今人山往返之劳兮，已为这个不了，若是了得兮。\n此画构图高旷清远，用笔苍劲老辣，颇具黄公望笔意。\n细察此画为中年笔墨，荒率枯淡，稍染淡赭，乃有苍厚之韵。\n构图上，近景的坡岸乱石及树木与远景苍山院寺房舍相对比；前景的溪水回转与远景的云雾轻绕遥相呼应。\n整幅构图繁复、饱满、充实，下不留地，上不留天，仅有上部空白处，经自长题而填补。虽画面的景物繁多，但仍能做到疏密有致。总体来说，整幅画浑然一体，气脉畅达。",[25,26,7,77,130,79,97,129,134,193,349,377,151,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d9169d4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。\n此图以“高远”法取势，构图呈“S”形循环上升。\n山石沉浑雄健，树木苍厚繁密，画风凝重古朴。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼 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林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[23,25,24,26,7,113,27,28,151,427,132,536,22496],"报喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceae8d01d0cfba39399adf662cee49c.jpg","173.2x97.6",[],{"id":22501,"slug":22502,"title":1970,"dynasty":18,"author":4669,"museum":331,"description":16528,"tags":22503,"thumbUrl":22504,"material":198,"size":780,"collection":100,"collections":22505,"showCount":22400,"zanCount":11,"manualWeight":43,"mainColor":44},287930,"fang-ju-ran-shan-shui-wang-hui-287930",[23,25,24,129,7,945,269,193,349,521,130,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b2aae287d4fd8b90080a1dfb35dd9ea.jpg",[],{"id":22507,"slug":22508,"title":22509,"dynasty":93,"author":50,"museum":331,"description":22510,"tags":22511,"thumbUrl":22513,"material":198,"size":780,"collection":100,"collections":22514,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":44},287920,"bei-song-si-tian-wang-yi-ming-287920","北宋四天王","此作中的天王怒目圆睁，虬髯怒张，尽显金刚怒目的慑人气魄。天王身披繁丽甲胄，朱红主调搭配翠绿绦带，在泥金底色映衬下鲜明夺目，纹饰精巧细致，尽显工艺匠心。他左手按剑，身姿雄健挺拔，足下踏伏小鬼，将护法降魔的威严气魄诠释得淋漓尽致。\n\n画师以遒劲铁线描勾勒衣甲飘带，刚柔并济，既刻画出甲胄的厚重坚硬，又衬出飘带的灵动舒展。设色古雅厚重，晕染细腻，将天王的勇猛神威与工笔重彩的精妙表现力完美融合。",[25,26,7,24,54,9612,28,29,22512,241,1039],"天王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ff405f2bbe051e7b4686b616c20b80.jpg",[],{"id":22516,"slug":22517,"title":22518,"dynasty":207,"author":13596,"museum":74,"description":21025,"tags":22519,"thumbUrl":22520,"material":37,"size":22521,"collection":100,"collections":22522,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":44},287597,"xue-xi-gui-zhao-zhou-zhu-de-run-287597","雪溪归棹轴",[25,129,7,3880,349,134,193,521,132,133,130,13901],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90726182919826caa58237122e329861.jpg","144.9x85.2",[],{"id":22524,"slug":22525,"title":8535,"dynasty":18,"author":4669,"museum":331,"description":22526,"tags":22527,"thumbUrl":22528,"material":100,"size":100,"collection":138,"collections":22529,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":704},239461,"shan-shui-tu-zhou-wang-hui-239461","杨晋（1644-1728）字子和，一字子鹤，号西亭，又号谷林樵客、野鹤、鹤道人、水村、志学老人、雪阁移梅人、虞山野老、虞山樵子，江苏常熟人。清代画家。山水为王翚入室弟子，尝与绘《圣祖南巡图》颇精。晚年每多率笔，然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。",[25,26,7,77,28,130,129,1240,3880,521,349,29,1419,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6230cfa27d9d301082f367ba228509.jpg",[138],{"id":22531,"slug":22532,"title":22533,"dynasty":72,"author":18961,"museum":331,"description":22534,"tags":22535,"thumbUrl":22538,"material":100,"size":100,"collection":138,"collections":22539,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":44},239459,"qian-gu-jiu-long-shan-tu-zhou-qian-gu-239459","钱穀九龙山图轴","此作以全景式铺陈山川灵秀，主峰巍峨雄峙，层岩峻壑以细密披麻皴写就，笔致苍润松灵，尽现山石肌理的沉厚质感。近景松林蓊郁，古木虬枝俯仰生姿，掩映间梵宇茅舍错落，行旅缓行其间，为清寂山林晕染烟火意趣。\n\n远景烟波空蒙，屿渚如螺点染水天，留白铺就悠远虚灵的诗性意境。笔墨兼取元人山水的空灵雅致与北宋山水的苍浑丘壑，将林泉幽致与隐逸禅思融于一卷，既绘就九龙山的磅礴生机，又暗合文人寄情烟霞的林下襟怀，是气韵悠长的山水佳构。",[25,26,7,77,28,130,129,252,253,378,377,151,193,132,22536,22537],"林间建筑","山间小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77f7d990ba45fa42fb050c3a5d5b05.jpg",[138],{"id":22541,"slug":22542,"title":22543,"dynasty":72,"author":13130,"museum":331,"description":22544,"tags":22545,"thumbUrl":22547,"material":100,"size":100,"collection":138,"collections":22548,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":44},239419,"gui-nong-zhou-zhang-lu-239419","归农轴","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。\n此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[25,24,7,77,130,29,129,131,132,22546],"农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa15f5abc30d1fdeadcb813b27c6ca6.jpg",[138],{"id":22550,"slug":22551,"title":22552,"dynasty":72,"author":5553,"museum":331,"description":22553,"tags":22554,"thumbUrl":22555,"material":214,"size":100,"collection":101,"collections":22556,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":88},237410,"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[25,26,7,77,129,130,80,79,97,253,132,349,193,522,16281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[101],{"id":22558,"slug":22559,"title":22560,"dynasty":18,"author":22561,"museum":236,"description":22562,"tags":22563,"thumbUrl":22564,"material":1573,"size":22565,"collection":138,"collections":22566,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":88},236126,"song-xi-shui-ge-tu-zhou-lu-zun-shu-236126","松溪水阁图轴","陆遵书","陆授诗、陆遵书兄弟是清朝宫廷内的兄弟画家，下面介绍一下。陆授诗、陆遵书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[25,26,7,77,130,129,378,3997,253,132,733,1419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c11ac229528d618fc9599ceaa6d6a55.jpg","纵173.2厘米 横51厘米",[138,185],{"id":22568,"slug":22569,"title":22570,"dynasty":72,"author":50,"museum":331,"description":22571,"tags":22572,"thumbUrl":22573,"material":198,"size":780,"collection":100,"collections":22574,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":88},235968,"lv-ji-zhu-qin-tu-zhou-yi-ming-235968","吕纪竹禽图轴","修竹挺秀舒展，以浓淡墨色挥写竹叶，虚实交映，尽显萧疏清逸之态。两只禽鸟栖于细枝之上，翎羽晕染细腻灵动，亲昵偎依的姿态生动自然，野趣盎然。\n\n右上角题字隽秀雅致，诗画相融，愈发衬出画面的悠远意境。整作笔意纵逸洒脱，水墨层次丰富，将工致的写生之妙与文人写意的简淡雅韵相融，空灵雅致间饱含幽澹的林下之风，尽显传统花鸟画作的诗意禅趣。",[24,25,26,7,28,27,31,548,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd0d65aeb31785517784702190c0cb2.jpg",[],{"id":22576,"slug":22577,"title":22578,"dynasty":72,"author":22579,"museum":331,"description":22580,"tags":22581,"thumbUrl":22582,"material":100,"size":100,"collection":100,"collections":22583,"showCount":22400,"zanCount":11,"manualWeight":43,"mainColor":44},235853,"dian-nan-jin-sha-jiang-jing-zhou-huang-xiang-jian-235853","滇南金沙江景轴","黄向坚","此作用高远、深远构图铺展峡谷盛景，以披麻皴晕染山石肌理，苍厚朴拙的笔力勾勒出两岸层叠峰峦。崖间古松错落虬劲，金沙江蜿蜒穿谷，江面上轻舟随波缓行，山脚佛塔古寺隐于林麓，野意盎然。\n\n淡墨晕开江雾空濛，将滇南山河的荒寒奇秀尽藏毫端，搭配题诗将纪游的真切感触融于山水间，既绘就西南山川的雄阔幽寂，也以笔墨寄放行旅途中对山河的体察，是纪游山水中兼具纪实性与抒情性的佳构。",[25,7,77,130,129,193,349,377,35,170,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff430ba9b406814fba1294612a5fa22cd.jpg",[],{"id":22585,"slug":22586,"title":22587,"dynasty":72,"author":50,"museum":331,"description":22588,"tags":22589,"thumbUrl":22590,"material":100,"size":100,"collection":100,"collections":22591,"showCount":22400,"zanCount":11,"manualWeight":43,"mainColor":88},235633,"song-xu-wan-shan-qiu-se-tu-zhou-yi-ming-235633","宋旭万山秋色图轴","此作用高远章法铺展秋山全景，层峦叠嶂间沟壑纵深，飞泉漱石、山溪蜿蜒贯穿始终。以淡赭晕染山骨铺就秋意底色，朱砂醒点丹枫，勾勒皴擦兼用，将嶙峋山石、虬曲古木的苍劲之态尽皆写就。幽谷深处隐现山居屋舍，林泉间尽显隐逸清寂之趣。整幅画面笔墨清灵雅致，把深秋万山层林尽染的高旷冷寂意境铺陈开来，尽显文人山水崇尚的幽淡空灵林下之风，是极具韵致的秋山绘作。",[25,26,7,24,28,130,129,1651,193,170,427,132,269,1717,3631,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc1c6bbcb02615aab2d7bb1eb1a7e.jpg",[],{"id":22593,"slug":22594,"title":22595,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":22596,"thumbUrl":22597,"material":198,"size":780,"collection":100,"collections":22598,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":88},235372,"yan-lai-hong-ju-shi-zhou-wu-chang-shuo-235372","雁来红菊石轴",[25,7,304,77,28,35,440,10640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe10537ad466e4ea98abfce0b4a1dcd9.jpg",[],{"id":22600,"slug":22601,"title":22602,"dynasty":18,"author":50,"museum":331,"description":22603,"tags":22604,"thumbUrl":22605,"material":100,"size":100,"collection":100,"collections":22606,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":88},235223,"li-shan-ba-jiao-zhu-shi-tu-zhou-yi-ming-235223","李鱓芭蕉竹石图轴","阔笔泼墨写芭蕉，浓淡墨色晕染出叶片舒张之姿，苍润朴拙尽显天然意趣。修竹挺劲清瘦，细笔勾摹竿枝，竹叶错落灵动，与芭蕉形成刚柔相济的视觉反差。赭石点染顽石，浓墨缀苔，沉稳厚重托住画面重心，边角淡彩轻绘花草，添些许秀雅。\n\n两侧题跋笔意洒脱，书画相映，文气盎然。整幅以水墨为骨，略施淡彩，将写意风骨抒发尽致，朴野中见灵秀，笔墨间充盈疏放不羁的生机，尽显抒情达意的文人画特质。",[472,25,26,7,77,28,304,239,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba0e9d7db41fc40d9c44bd797f4f97e.jpg",[],{"id":22608,"slug":22609,"title":22610,"dynasty":18,"author":1123,"museum":236,"description":22611,"tags":22612,"thumbUrl":22615,"material":7695,"size":22616,"collection":100,"collections":22617,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":88},233790,"gao-yan-jian-pu-tu-zhou-yun-shou-ping-233790","高岩溅瀑图轴","本幅近景所绘树木不多，但富于形态变化，古木虬枝，青藤临风垂挂，二者穿插盘绕中显现出条理性。中景泉水潺潺，芦苇简约，将远、中景自然隔开，从而增强了全幅的纵深感及空间感。远山以淡墨干笔作长披麻皴，笔触开阔疏朗，显示出清逸深幽的韵致。此图不刻意求工、求似，唯求自然天趣，显示出恽寿平一向所追求的平淡超逸的审美意趣，为恽寿平精品之一。",[25,26,7,77,130,129,22613,22614,484,131,132,193,170,78,351,169],"高岩","溅瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96806cdc12bdc9e67c5c0a37ca3b8e61.jpg","纵104.9厘米，横43厘米",[],{"id":22619,"slug":22620,"title":8184,"dynasty":207,"author":6750,"museum":74,"description":22621,"tags":22622,"thumbUrl":22623,"material":214,"size":22624,"collection":100,"collections":22625,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":88},233784,"quan-shi-xin-huang-tu-gu-an-233784","《拳石新篁图》画新竹几枝和荆棘一丛，新篁数竿，瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。笔法劲利，墨气浓润，表现出新竹破土而出的欣欣向荣之势，是顾安墨竹精品。\n在中国传统绘画中，四季长青的竹历来都是画家所钟爱的传统题材。这件作品主要描绘的是几株新篁，枝干瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。作者用笔劲健沉静，兼工带写，以中锋行笔，兼容侧锋，几乎不见复笔。\n《拳石新篁图》此图构图简洁，只有一块小石和数竿新竹。小石如拳，静静地占据了画幅左下角位置，一丛荆棘蔓生于石上。石旁，几竿新竹依石而立，枝节横生，劲节毕显。与竹竿的瘦削细长不同的是：竹叶的描绘极其夸张，硕大如挥舞的剑戟，与竹竿的纤细形成视觉上的强烈反差。\n作者笔法老到，劲健有力。墨色的运用，浓淡、明暗拿捏有度，使画面墨色清润浓厚，各得其宜，颇具神韵。画面上方，自右至左有百不居士题诗和清乾隆皇帝御题诗各一首，百不居士题诗云：“节君自是非今尔，石丈谁能拜下风。惟有王猷并米芾，高情千古远相同。”字里行间给予顾安作品极高的评价。乾隆诗云：“一拳之石几叶竹，空谷无人结契幽。淡霭轻烟风入际，声相应复气相求。”观画上作者款识“至正乙巳闰月写于岁寒楼定之”，可知这幅画创作于元至正乙巳年(1365年)，正是顾安去世之年，其生命不息、艺术不辍的精神写照真是令人肃然起敬。",[25,77,7,31,601,1174,304,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4283db10a92caf3791c278faf89e9e43.jpg","76cm x 40cm",[],{"id":22627,"slug":22628,"title":22629,"dynasty":49,"author":50,"museum":331,"description":22630,"tags":22631,"thumbUrl":22634,"material":198,"size":780,"collection":100,"collections":22635,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":44},231612,"fu-hua-xu-kong-cang-pu-sa-mo-he-sa-yi-ming-231612","佛画 虚空藏菩萨摩诃萨","此作以重工技法铺陈，菩萨面相丰润慈悲，宝冠璎珞遍饰周身，华服层叠繁复，尽显端严华贵。安坐于莲台之上，莲台浮于卷浪祥云之中，下方青绿山水晕染出清净净土的悠然意境。\n身后圆光放射出凛凛毫光，焰纹背光烘托出菩萨的神圣威仪，明暗对比强烈，尽显肃穆庄严。整体配色浓丽沉稳，彩料与饰金交相辉映，细节处一丝不苟，将菩萨的慈悲法相与神圣气度完美诠释，尽显中古宗教美术的极致匠心。",[23,25,26,7,28,27,54,29,129,4209,22632,22633],"传统宗教题材","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80a91c998b1738fb8d4ab42edbba9da.jpg",[],{"id":22637,"slug":22638,"title":22639,"dynasty":72,"author":7501,"museum":331,"description":22640,"tags":22641,"thumbUrl":22642,"material":100,"size":100,"collection":100,"collections":22643,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":88},231013,"xi-shan-xian-guan-tu-wen-bo-ren-231013","溪山仙馆图","此作用笔秀雅苍润，以淡墨皴擦山峦，晕染出烟岚轻笼的朦胧质感，峰峦层叠错落，将高远、深远之境相融。山坳间的仙馆屋舍隐在丹黄点染的林木之中，流泉叠瀑穿谷而下，为静谧山林添注灵动生机。\n整体兼具元人山水的淡逸简远，又带着吴门画派的清丽雅致，把文人心中的林泉幽隐之思铺陈在尺幅之间，恍若将清虚灵秀的桃源仙境收卷其中，观之如踏入世外仙居，静穆里藏着鲜活意趣，尽显江南山水温婉灵秀的气韵，诠释出寻仙问道的缥缈意境。",[25,26,7,77,130,129,269,170,169,132,79,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f29fa640b26633fd9da557e8a86eaf6.jpg",[],{"id":22645,"slug":22646,"title":22647,"dynasty":18,"author":4828,"museum":331,"description":22648,"tags":22649,"thumbUrl":22650,"material":198,"size":780,"collection":100,"collections":22651,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":44},230137,"qiu-song-qiao-bi-tu-wu-li-230137","虬松峭壁图","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,25,7,77,130,79,129,427,3106,132,269,193,170,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2360df74dde1940bb17a7183928f6ea7.jpg",[],{"id":22653,"slug":22654,"title":22655,"dynasty":72,"author":1751,"museum":331,"description":22656,"tags":22657,"thumbUrl":22658,"material":100,"size":100,"collection":100,"collections":22659,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":44},228314,"hua-shi-tu-lu-zhi-228314","花石图","这幅作品错落铺陈花木湖石，右上角山茶花艳红似火，苍劲枝干蟠曲舒展，尽显盛放热烈。中段蜀葵柔白清雅，叶片肥润舒展，与青绿晕染的玲珑湖石相映成趣，湖石皴染细腻，通灵剔透，将花姿衬得愈发娇妍。下方萱草抽茎舒瓣，柔姿轻曳，添了幽婉闲静之致。\n\n画作工写兼施，设色明秀雅致又层次丰盈，把草木的鲜活生机与湖石的沉静古雅相融，既兼具院体花鸟的写实细腻，又饱含文人画的秀逸格调，将仲夏庭间的鲜活雅致凝于绢素，一花一叶皆可见对自然意趣的细致体察。",[23,25,24,7,28,27,35,114,675,3579,536,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21574bc48e709759518e5032841160b.jpg",[],{"id":22661,"slug":22662,"title":22663,"dynasty":18,"author":22664,"museum":331,"description":22665,"tags":22666,"thumbUrl":22667,"material":198,"size":780,"collection":100,"collections":22668,"showCount":22400,"zanCount":11,"manualWeight":43,"mainColor":88},224345,"hua-ping-lian-da-shi-zhou-xu-can-224345","画瓶莲大士轴","徐灿","徐灿（约1618－1698），字湘蘋，又字明深、明霞，号深明，又号紫言（竹字头）。江南吴县（今苏州市西南）人。明末清初女词人、诗人、书画家，为“蕉园五子”之一。光禄丞徐子懋女，弘文院大学士海宁陈之遴继妻。从夫宦游，封一品夫人。\n工诗，尤长于词学。她的词多抒发故国之思、兴亡之感。又善属文、精书画、所画仕女设色淡雅、笔法古秀、工净有度、得北宋人法，晚年画水墨观音、间作花草。\n著有《拙政园诗馀》三卷，诗集《拙政园诗集》二卷，凡诗二百四十六首，今皆存。",[23,25,26,7,985,54,29,306,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43be0cc671ca5772a59c46547ea695db.jpg",[],{"id":22670,"slug":22671,"title":22672,"dynasty":18,"author":318,"museum":331,"description":22673,"tags":22674,"thumbUrl":22675,"material":100,"size":100,"collection":100,"collections":22676,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":88},224260,"lin-lan-ting-xu-zhu-da-224260","临兰亭序","此作用笔枯淡古拙，将原本兰亭序的飘逸秀雅彻底解构，以欹侧跌宕的字形、稚倔朴茂的线条，揉入自身沉郁孤高的心境。章法错落疏朗，留白间满是冷逸疏离的况味，打破了原作舒展灵动的韵律，代以疏狂萧索的气度，把半生颠沛的孤寂寄寓笔端，在临帖之中注入强烈的个人风骨，为旧文赋予了全新的精神内核，是借经典抒己怀的绝佳范本。",[23,80,945,97,26,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719ef5e05a8d705368f4e2ad924f5ebb.jpg",[],{"id":22678,"slug":22679,"title":22680,"dynasty":49,"author":50,"museum":331,"description":22681,"tags":22682,"thumbUrl":22683,"material":100,"size":100,"collection":100,"collections":22684,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":44},223686,"qi-shi-wen-shu-tu-yi-ming-223686","骑狮文殊图","此作用笔清劲雅致，以淡墨晕染铺陈。文殊端坐狮背，身伴圆光，面容沉静悲悯，手持如意，衣袂舒展飘逸，尽显出尘慧雅的气度。青狮昂首踏浪而行，兽目圆睁威严尽显，层叠海浪以淡墨晕染，古拙灵动，烘托出踏浪而行的悠然之势。\n\n上方题诗与画像呼应，将菩萨的般若智慧和空灵禅意融于尺幅间，兼蓄宗教肃穆与文人笔墨意趣。",[23,25,26,7,54,29,241,985,77,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1e4a5bcd97d0b2b84bdd429e2890f5.jpg",[],{"id":22686,"slug":22687,"title":22688,"dynasty":18,"author":50,"museum":74,"description":22689,"tags":22690,"thumbUrl":22691,"material":255,"size":22692,"collection":100,"collections":22693,"showCount":22400,"zanCount":11,"manualWeight":43,"mainColor":44},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",[23,472,13935,7,1157,28,129,269,377,427,5811,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ea82acf26ee7a9c9b7346c798aedd8.jpg","246.5x50.4cm",[],{"id":22695,"slug":22696,"title":22697,"dynasty":93,"author":50,"museum":236,"description":22698,"tags":22699,"thumbUrl":22701,"material":9051,"size":22702,"collection":84,"collections":22703,"showCount":22400,"zanCount":11,"manualWeight":43,"mainColor":44},223447,"han-ting-luo-yan-tu-zhou-yi-ming-223447","寒汀落雁图轴","图为寒冬枯树滩、野鸭、黑乌鸦、野雁。 老树枯干，几只黑乌鸦没能栖息； 野鸭在浅滩上成群结队，踱步，或觅食； 接吻雁扇动着翅膀飞了起来，以“一”字形飞向天涯。 这幅画以水墨构想了一个冰冷、寂静、空旷的场景。",[23,25,7,77,28,521,22700,19075,614,523,129,5985,151],"鸿雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b41179185b48a7ca59003ff3966b6b.jpg","125.9＊92.6cm",[84,185],{"id":22705,"slug":22706,"title":22707,"dynasty":18,"author":13437,"museum":74,"description":15115,"tags":22708,"thumbUrl":22709,"material":28,"size":22710,"collection":138,"collections":22711,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":88},223116,"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴",[23,25,26,7,77,130,129,252,601,335,377,170,172,80,79,5995,3150,173,8262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[138,185],{"id":22713,"slug":22714,"title":5034,"dynasty":72,"author":4145,"museum":74,"description":19820,"tags":22715,"thumbUrl":22716,"material":182,"size":100,"collection":138,"collections":22717,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":44},222592,"hua-xue-jing-zhou-lan-ying-222592",[23,25,7,28,129,130,3880,134,193,349,377,521,132,733,29,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d87a46b2ed28161debf873089c66eac.jpg",[138,185],{"id":22719,"slug":22720,"title":22721,"dynasty":72,"author":4145,"museum":74,"description":22722,"tags":22723,"thumbUrl":22725,"material":182,"size":22726,"collection":138,"collections":22727,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":44},222591,"xi-shan-xue-ji-zhou-lan-ying-222591","溪山雪霁轴","面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,25,28,130,7,129,613,170,172,169,351,3996,29,521,427,132,3880,5641,614,16687,22724],"工笔兼写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175e6c5d512e356a22e68bb4c89a57b4.jpg","纵82.3厘米，横28.9厘米",[138,158],{"id":22729,"slug":22730,"title":22731,"dynasty":72,"author":1614,"museum":74,"description":22732,"tags":22733,"thumbUrl":22734,"material":255,"size":22735,"collection":84,"collections":22736,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":88},222004,"qiu-kui-zhe-zhi-tu-wen-zheng-ming-222004","秋葵折枝图","图绘折枝秋葵一枝，取其正面之势。花开粲然，叶呈多貌，浓墨淡墨穿插其间，神韵清俊舒朗。",[23,25,113,536,77,304,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa792f16172d45ac3e5b4b10cf32a318e.jpg","纵65.4厘米，横30.3厘米",[84,185],{"id":22738,"slug":22739,"title":22740,"dynasty":207,"author":3722,"museum":74,"description":22741,"tags":22742,"thumbUrl":22743,"material":255,"size":22744,"collection":101,"collections":22745,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":88},221830,"shu-jiu-cheng-gong-li-quan-ming-zhou-ke-jiu-si-221830","书九成宫醴泉铭轴","本幅以小楷书抄录〈九成宫醴泉铭〉，以王羲之笔法为主，时而显露欧阳询、颜真卿笔法，反映其书学之渊源。全作用笔健劲，结体平正中见敧侧，秀逸中透质朴，表现出特殊的审美意趣。",[23,25,26,7,80,5902,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a5e687de3935f13e1834cc01421261.jpg","横31.7cm，纵26.8",[101],{"id":22747,"slug":22748,"title":22749,"dynasty":18,"author":1123,"museum":648,"description":22750,"tags":22751,"thumbUrl":22752,"material":22753,"size":22754,"collection":138,"collections":22755,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":44},220980,"qing-chuan-lan-sheng-tu-yun-shou-ping-220980","晴川揽胜图","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。",[23,25,26,7,28,130,1157,129,269,170,521,132,193,522,8355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b2663bec907781942b77938278c47c.jpg","绫本设色","纵112厘米，横39.1厘米",[138,158],{"id":22757,"slug":22758,"title":3054,"dynasty":18,"author":3083,"museum":209,"description":22759,"tags":22760,"thumbUrl":22761,"material":136,"size":22762,"collection":39,"collections":22763,"showCount":22400,"zanCount":11,"manualWeight":43,"mainColor":44},219986,"su-wu-mu-yang-tu-huang-shen-219986","黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（一七一九）至扬州鬻画，人争客之。雍正五年（一七二七）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。乾隆三十三年（一七六八）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[25,24,26,7,77,28,304,97,80,29,241,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef53ca2e7ccb40467e5fb25716a2c918.jpg","纵198厘米，横109.5厘米",[39],{"id":22765,"slug":22766,"title":22767,"dynasty":18,"author":235,"museum":236,"description":22768,"tags":22769,"thumbUrl":22773,"material":136,"size":22774,"collection":39,"collections":22775,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":88},219629,"ren-yi-hua-shen-lu-ting-du-hua-tu-xiang-zhou-ren-yi-219629","任颐画沈芦汀读画图像轴","画面分为上下两段，文墨相融。下方写意绘就雅集读画的场景，对坐的主客神态专注，侍者垂手捧卷静立一旁，人物形神兼备，衣纹线条简括灵动，水墨晕染出树影苍润，浅淡设色衬出雅致清和的氛围，将文人赏画的闲散意趣尽显。上方题诗笔意舒展，与画作呼应，把寄情书画、耽于林泉的林下风流铺陈开来。整作以写意之笔，摹写文人雅事，尽显清淡隽秀的文人审美意韵。",[23,25,26,7,28,77,97,22770,29,22771,22772,170,79],"工笔写意","书桌","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e54df0d3458667c8290256debccb71.jpg","纵33cm，横40cm",[39],{"id":22777,"slug":22778,"title":22779,"dynasty":18,"author":50,"museum":319,"description":22780,"tags":22781,"thumbUrl":22782,"material":99,"size":22783,"collection":138,"collections":22784,"showCount":22400,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,28,7,27,151,131,132,193,5683,129,113,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1b19db856e2814e964798fc097cea7.jpg","156.7x67.3cm",[138],{"id":22786,"slug":22787,"title":22788,"dynasty":18,"author":22789,"museum":209,"description":22790,"tags":22791,"thumbUrl":22793,"material":100,"size":100,"collection":100,"collections":22794,"showCount":22400,"zanCount":11,"manualWeight":43,"mainColor":22795},201821,"sui-chao-guan-shang-tu-zhou-xi-pu-201821","岁朝观赏图轴","席璞","这幅画以岁朝清供为主题，构图疏密有致，器物与花果相映成趣。蓝釉花瓶莹润沉静，插枝缀红挂白；方盆牡丹雍容舒展，旁伴水仙清雅吐芳。鲜果饱满诱人，彩胜纹饰精巧繁复。工笔细描尽显细节之妙，设色温润雅致，线条流畅精准，将器物质感与花果鲜活刻画得淋漓尽致，传递出新春时节的祥和喜庆与文人雅趣。",[27,28,114,924,33,113,7,22792],"立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2268e49b766f982e3d2150600d07ad.jpg",[],"aca188",{"id":22797,"slug":22798,"title":22799,"dynasty":207,"author":208,"museum":74,"description":2525,"tags":22800,"thumbUrl":22801,"material":198,"size":780,"collection":100,"collections":22802,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},290838,"xiu-zhu-yuan-shan-zhou-wang-meng-290838","修竹远山轴",[25,24,7,77,129,31,377,193,134,80,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba21185b71455e692695f9c1528909e.jpg",[],26,{"id":22805,"slug":22806,"title":22807,"dynasty":207,"author":518,"museum":331,"description":6111,"tags":22808,"thumbUrl":22809,"material":198,"size":780,"collection":100,"collections":22810,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},290833,"ping-lin-yuan-xiu-zhou-ni-zan-290833","平林远岫轴",[25,7,77,129,272,170,1419,377,80,79,130,21018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04dfa51199c3ad35772c52d3f5762112.jpg",[],{"id":22812,"slug":22813,"title":22814,"dynasty":207,"author":1432,"museum":331,"description":22815,"tags":22816,"thumbUrl":22817,"material":198,"size":780,"collection":100,"collections":22818,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},290828,"yan-he-you-ju-tu-zhou-huang-gong-wang-290828","岩壑幽居图轴","此作构图与《层岩曲涧》雷同，然更显狭长，并简省许多细节。其画风受正统派影响似不强烈，反有以类沈周风格重组原作之感，推测亦为明末清初时的临仿之作。",[25,7,364,77,130,132,3150,379,6170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad0c66dcfa047dafcfc3525eaeea6bf.jpg",[],{"id":22820,"slug":22821,"title":22822,"dynasty":72,"author":752,"museum":331,"description":2862,"tags":22823,"thumbUrl":22825,"material":198,"size":780,"collection":100,"collections":22826,"showCount":22803,"zanCount":11,"manualWeight":43,"mainColor":44},290805,"san-xing-tu-zhou-chen-hong-shou-290805","三星图轴",[24,25,26,7,5733,27,28,392,22824,79],"福禄寿三星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef1f89e5eefc6be2834b85af05fbb0b4.jpg",[],{"id":22828,"slug":22829,"title":14474,"dynasty":93,"author":50,"museum":74,"description":22830,"tags":22831,"thumbUrl":22832,"material":37,"size":22833,"collection":157,"collections":22834,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},290760,"yu-fu-tu-zhou-yi-ming-290760","开阔无涯的江面，烟雾弥漫，寒气逼人。芦苇环绕汀渚，野雁几只点缀其间，另则凌空与游于江上者相呼应，为冷寂的江面凭添生意。",[24,25,7,77,28,129,29,151,193,1742,2367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98865113a54a85a68a35f61ab7db94e.jpg","105.4x53.5",[157],{"id":22836,"slug":22837,"title":22838,"dynasty":207,"author":50,"museum":331,"description":22839,"tags":22840,"thumbUrl":22842,"material":198,"size":780,"collection":100,"collections":22843,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},290735,"ke-si-cui-bai-xing-lin-chun-yan-zhou-yi-ming-290735","缂丝崔白杏林春燕轴","该缂丝画轴中，两只燕子举翼飞向。其中一只燕子翅、羽齐展，飞向山石、树枝上。另一只燕子正回首顾盼，飞向树梢。树梢，杏花绽放如雪，尽展春日景象。山石后，竹树枝叶繁茂，林地中，草芽吐绿，野花盛开，一派生机勃勃、春意盎然。",[25,26,7,473,113,151,22841,31,35,28,79],"杏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d089dd3a0511cb6daf7359868048cc.jpg",[],{"id":22845,"slug":22846,"title":22847,"dynasty":18,"author":1123,"museum":331,"description":2094,"tags":22848,"thumbUrl":22849,"material":198,"size":780,"collection":100,"collections":22850,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},290517,"wan-heng-xiang-xue-tu-zhou-yun-shou-ping-290517","万横香雪图轴",[24,25,7,77,28,129,3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山谷中松林茂密，清溪流淌，隐露楼观，境界清幽，鲜明地表现了世外仙境。画幅右上楷书“洞天山堂” 四宇， 点明了全画主题。诗堂有王铎跋语：“神理气韵，古秀灵通，入于口微，董源此图，当属玄化，丙戌端阳后二日题于琅华馆。”故此遂被定为董源手笔。然此图笔墨苍劲，景色茂密，云朵以白粉染绘，与董源之淡墨轻岚颇不相类，更近于1 2世纪后之山水画风貌，按金代很多山水画承袭董、巨而有所变化，故拟此画为金代之作似更为恰当。",[24,25,26,7,77,130,129,269,134,427,173,132,377,193,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7328b7152d7bab59353adc48e47affbb.jpg",[],{"id":22896,"slug":22897,"title":22898,"dynasty":72,"author":7648,"museum":331,"description":9894,"tags":22899,"thumbUrl":22900,"material":198,"size":780,"collection":100,"collections":22901,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},289790,"kong-que-tu-lin-liang-289790","孔雀图",[23,25,26,113,77,5187,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ffc8613f2726605d66c988810f5793.jpg",[],{"id":22903,"slug":22904,"title":6730,"dynasty":93,"author":50,"museum":331,"description":22905,"tags":22906,"thumbUrl":22907,"material":198,"size":780,"collection":100,"collections":22908,"showCount":22803,"zanCount":11,"manualWeight":43,"mainColor":44},289129,"luo-han-tu-zhou-yi-ming-289129","半跏安坐于瑞兽之上，罗汉高额深目，虬髯蜷曲，敛眉沉凝，似在静悟禅机。僧袍敷色温雅沉静，朱红织金纹饰古雅富丽，铁线描勾勒衣纹遒劲凝练，将布料垂坠厚重的质感尽显无遗。身旁瑞兽昂首瞋目，鬃毛翻卷灵动，与罗汉的静定神态相映，一动一静间生出精妙意趣。\n\n身后淡墨晕染出朦胧圆光，柔化了画面边界，晕染出清净出尘的禅韵。整体笔意苍劲古拙，设色沉厚朴拙，于细节间尽显对造像的深刻理解，将罗汉超脱凡俗的沉静法相刻画入木，悠悠古意漫溢开来，暗合禅宗宁静内省的旨趣。",[25,7,54,9612,29,10824,241,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d540736cdfd2ee5e2372d6bb9b6468c.jpg",[],{"id":22910,"slug":22911,"title":22912,"dynasty":93,"author":1558,"museum":331,"description":22913,"tags":22914,"thumbUrl":22915,"material":198,"size":780,"collection":100,"collections":22916,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},288958,"han-gong-tu-zhao-bo-ju-288958","汉宫图","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。",[24,25,26,7,1157,28,29,269,79,3882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cf0fae01e703ae129727e4b2f5d56d4.jpg",[],{"id":22918,"slug":22919,"title":18847,"dynasty":93,"author":1558,"museum":74,"description":18848,"tags":22920,"thumbUrl":22923,"material":37,"size":18852,"collection":100,"collections":22924,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},288507,"ting-qin-zhai-ruan-tu-zhao-bo-ju-288507",[23,25,24,7,268,28,29,129,777,151,427,134,193,22921,776,22922],"雅集","抚琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5417e9836f0d1106f15840755d8c5aae.jpg",[],{"id":22926,"slug":22927,"title":22928,"dynasty":207,"author":2953,"museum":74,"description":22929,"tags":22930,"thumbUrl":22931,"material":136,"size":22932,"collection":138,"collections":22933,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},287533,"lin-luan-yan-yu-tu-gao-ke-gong-287533","林峦烟雨图","此幅画溪边小景，云气濛濛，舟子身著蓑衣正欲撑舟泊岸，溯溪而上，有茅屋三椽，远山罩于雨雾中。整幅用笔布墨甚为含蓄蕴藉，画风近于明。",[25,24,26,7,129,77,130,8997,272,170,733,193,134,349,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae8049e60ff73a9aa2f45d978e424016.jpg","123.5x61.2",[138],{"id":22935,"slug":22936,"title":22937,"dynasty":93,"author":12140,"museum":331,"description":22938,"tags":22939,"thumbUrl":22941,"material":198,"size":780,"collection":100,"collections":22942,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},283685,"dong-jing-shan-shui-tu-zhou-li-gong-nian-283685","冬景山水图轴","李公年，男，画家，[宋]尝为提点江浙刑狱公事。善画山水，运笔立意，风格不下前辈。写四时之图，甚有水云余思，至于写朝暮景趣，作长江日出，疎林晚照，真若物像出没于空旷有无之间。作有《宣和画谱》.",[25,24,7,77,129,521,484,22940,522,130,7587],"寒水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0868985d55d143b02ffd63031643b81a.jpg",[],{"id":22944,"slug":22945,"title":22946,"dynasty":18,"author":4505,"museum":236,"description":22947,"tags":22948,"thumbUrl":22949,"material":22950,"size":22951,"collection":101,"collections":22952,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},240916,"xin-cheng-song-zhou-zhao-zhi-qian-240916","心成颂轴","释文：\n迴转右肩。长舒左足。峻拔一角。潜虚半腹。间合间开。隔仰隔覆。迴互留放。变换垂缩。繁则减除。疏当补续，分若抵背，合如对目。孤单必大。重病乃促。以侧映斜。以斜附曲。覃精一字，功归自得盈虚。统视连行,妙在相承起伏。 隋僧智果心成颂，旌德姚仲虞始标出，以为书学真传，确不可易。甘伯属录其文，置之坐右。欣然下笔，几忘炎暑。同治乙丑五月赵之谦记。\n钤“赵之谦印”、“汉后隋前有此人”印二方。左下角钤“师氏珍藏”收藏印一。裱边有师守玉题一行，钤“师守玉印”。\n作品书隋僧智果所作《心成颂》。智果，会稽人，出家为僧，居永兴寺。擅书，得王羲之法，张怀瓘《书断》将其隶、行、草书列入能品。《淳化阁帖》卷五刻有智果所书《梁武帝评书帖》。他将书写心得著成《心成颂》，以示执笔作字之法。此文后经清人姚配中（1792—1844年，字仲虞,安徽旌德人）作注，遂大行于时，成为一篇重要的书法论文。\n此轴是赵之谦应友人“甘伯”之请而书。甘伯即胡澍（1825—1872年），字荄甫，一字甘伯，号石生，安徽绩溪人。精篆刻，工篆书，得秦汉人遗意。赵之谦对他十分推崇，交往多年，与之文章道谊相切磋，考古订今，搜奇选胜，“非君不在不乐也”。\n赵之谦书法初宗颜真卿，后专意于北朝碑版，融而自化，自成一家。书兼各体，以楷书最富特色。据此作年款“同治乙丑”可知，作品创作于清同治四年（1865年），赵氏时年37岁。笔法劲直舒展，结体沉雄方正，墨气浑厚丰润，风格端妍遒丽，是赵之谦早期师法魏碑的精整之作。",[5902,80,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ea3adda373a0101884e3594a6156a9.jpg","纸本，楷书","纵128.5厘米，横36厘米",[101],{"id":22954,"slug":22955,"title":22956,"dynasty":18,"author":3916,"museum":331,"description":11681,"tags":22957,"thumbUrl":22958,"material":198,"size":780,"collection":100,"collections":22959,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},240578,"shen-zhou-xu-shi-zhou-jin-nong-240578","沈周叙事轴",[80,5199,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe156db587f690f2f7db18a58fdcf2282.jpg",[],{"id":22961,"slug":22962,"title":22963,"dynasty":18,"author":4924,"museum":331,"description":22964,"tags":22965,"thumbUrl":22966,"material":198,"size":780,"collection":100,"collections":22967,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},239523,"yue-ji-zhou-cheng-zhang-239523","月季轴","程璋（1869－1938），男，原名德璋，号瑶笙，原籍安徽新安，移居江苏泰兴，后寓上海。",[25,26,7,28,27,113,1216,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9cd0b8d1926ccb1d0933a7da7e9c81d.jpg",[],{"id":22969,"slug":22970,"title":22971,"dynasty":18,"author":3540,"museum":331,"description":22972,"tags":22973,"thumbUrl":22974,"material":100,"size":100,"collection":100,"collections":22975,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},239213,"you-you-lu-ming-tu-zhou-lu-hui-239213","呦呦鹿鸣图轴","此作以工写兼济之法绘就，卧鹿为画面主体，鹿角挺拔，皮毛晕染细腻，斑点疏密自然，姿态娴静悠然，尽显鹿的温驯灵秀。配景中虬曲古藤悬垂淡紫花串，笔意苍劲写意；奇石皴法朴拙厚重，下方溪涧涓涓，衬出山野静幽氛围。设色清雅柔和，淡彩晕染间诗意盎然，呼应主题悠然意境，尽显海派兼容并蓄的创作特色，将山野生机与雅致意趣相融，古韵悠然。",[24,25,7,28,27,130,1073,241,132,170,664,193,1696,5110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43fd5674ee1a1fb40a59d9cab601e009.jpg",[],{"id":22977,"slug":22978,"title":22979,"dynasty":18,"author":22980,"museum":331,"description":22981,"tags":22982,"thumbUrl":22983,"material":100,"size":100,"collection":39,"collections":22984,"showCount":22803,"zanCount":11,"manualWeight":43,"mainColor":88},239136,"san-yang-ying-xi-tu-zhou-xu-cong-long-239136","三羊婴戏图轴","许从龙","许从龙，字佐王，号虎头，浙江嘉善人，后迁江苏常熟定居。以荐入南薰殿，康熙四十五年(1706)充誊录官。卒年八十二。擅山水、花鸟，取法宋元，尤工道释神仙，开相诡奇，不资粉本，悉出胸臆。尝受江苏布政使金世扬布施，绘制《五百罗汉图》，历时六年，绘成于康熙五十一年。此画轴分置在两百纸画面上，纵274厘米，横125厘米，笔力遒劲，栩栩如生，运至江西南昌，展于佑清寺，轰动一时，后归庐山栖贤寺收藏。因迭经兵燹外盗，只存一百一十二幅，现藏江西省庐山博物馆。",[25,26,7,28,27,29,241,3057,392,7732],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa11110102da6741efb477ad24036b4.jpg",[39],{"id":22986,"slug":22987,"title":22988,"dynasty":72,"author":4312,"museum":236,"description":22989,"tags":22990,"thumbUrl":22991,"material":1573,"size":22992,"collection":138,"collections":22993,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},239088,"shan-shui-tu-zhou-qiu-lin-tu-zhao-zuo-239088","山水图轴（秋林图）","此图表现晚秋湖山景色，故又名《秋林图》。画远岫如带，平湖无波，曲水孤舟，瑟瑟丛林映照在落日余晖中，茅舍和渔舟中高士静坐。构图以平远为主，山石多用披麻皴，笔力劲秀，设色浅淡。是赵左晚年山水画佳作。\n撰稿人：杨丹霞",[25,26,7,77,28,130,129,131,349,193,35,377,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f4485f30120b1bf0257ea35e273536.jpg","纵67.5厘米，横32.2厘米",[138],{"id":22995,"slug":22996,"title":22997,"dynasty":72,"author":13130,"museum":331,"description":22998,"tags":22999,"thumbUrl":23000,"material":100,"size":100,"collection":39,"collections":23001,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},239072,"fu-lu-xian-ren-tu-zhou-zhang-lu-239072","蝠鹿仙人图轴","明代著名画家，擅山水、人物，行笔劲峻顿挫，力可扛鼎。少年聪慧，见吴道子、戴进所画人物，临摹肖其神，以画成名，是明代追随戴进、吴伟的重要浙派画家，在人物上师法吴伟，但秀逸不足，狂放过之，山水上有戴进的风致。张路的绘画艺术很受世人赞誉，明朝詹景风就盛赞他“足当名家”。在当时，缙绅们咸加推重，得其真迹，如若拱壁。",[25,26,7,28,77,29,1073,241,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66513b154ce8bc8446bfcf5794e6680b.jpg",[39,158],{"id":23003,"slug":23004,"title":23005,"dynasty":18,"author":23006,"museum":331,"description":23007,"tags":23008,"thumbUrl":23009,"material":100,"size":100,"collection":138,"collections":23010,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},238188,"wan-nian-zeng-mao-tu-zhou-wang-cheng-pei-238188","万年增茂图轴","汪承霈","汪承霈（？－1805），清朝大臣。字受时，一字春农，号时斋，别号蕉雪，汪由敦之子，浙江钱塘人，原籍安徽休宁。由敦既卒，丧终，承霈以赐祭葬入谢。傅恒为言承霈书类由敦，授兵部主事，充军机处章京。累迁郎中，除福建邵武知府。时母年八十，请军机大臣为陈情，留京供职，复补户部郎中。三十六年，师讨小金川，上命户部侍郎桂林出督饷，以承霈从。三十七年，阿尔泰、宋元俊劾桂林以金与土酋赎所掠军士，辞连承霈，命逮治。俄，事白，仍以郎中充军机处章京。累迁工部右侍郎。甘肃冒赈事发，部议凡在甘肃纳捐监生，应禁革毋许应试，及自别途出身。承霈奏人数甚多，乞开自新之路，令纳金如例，许考试及自别途出身，得旨俞允。四十年，上校射，承霈连发中的，赏花翎。调户部右侍郎。五十四年，坐监临顺天乡试失察，左迁通政使。累迁复至侍郎。",[25,26,7,28,27,129,29,427,134,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3625bf23b098742f89243db0ca847449.jpg",[138,158],{"id":23012,"slug":23013,"title":17238,"dynasty":18,"author":23014,"museum":236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(1880—1950) 字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[25,26,7,28,129,130,134,193,170,132,29,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb780e944bf063bdc83fbd0b5d1c21d83.jpg",[138,158],{"id":23020,"slug":23021,"title":23022,"dynasty":18,"author":4828,"museum":331,"description":22648,"tags":23023,"thumbUrl":23024,"material":198,"size":780,"collection":100,"collections":23025,"showCount":22803,"zanCount":11,"manualWeight":43,"mainColor":88},237648,"fang-zhao-da-nian-shan-shui-zhou-wu-li-237648","仿赵大年山水轴",[25,26,7,28,129,945,349,131,733,170,14322,132,9340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dec9a200d263bb4b383e2b08b8dd157.jpg",[],{"id":23027,"slug":23028,"title":23029,"dynasty":18,"author":4669,"museum":648,"description":23030,"tags":23031,"thumbUrl":23032,"material":1688,"size":23033,"collection":138,"collections":23034,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},237388,"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[25,77,130,945,7,79,129,5168,132,170,134,193,349,377,173,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[138],{"id":23036,"slug":23037,"title":23038,"dynasty":18,"author":3540,"museum":74,"description":3541,"tags":23039,"thumbUrl":23041,"material":214,"size":23042,"collection":84,"collections":23043,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},237346,"jian-chun-zhou-lu-hui-237346","饯春轴",[25,26,7,27,28,114,23040,9643,58,3024,291,18485,1674,33],"壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4c18372e35b5a588fefe72981a0da5.jpg","151x39.5",[84,158],{"id":23045,"slug":23046,"title":23047,"dynasty":18,"author":23048,"museum":236,"description":17873,"tags":23049,"thumbUrl":23050,"material":1573,"size":17876,"collection":138,"collections":23051,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":704},237239,"yun-shan-qing-zhi-tu-zhou-wang-gai-237239","云山清峙图轴","王概",[25,26,7,77,28,129,427,521,377,193,132,173,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4163719da424fc23033d449dcac4cfde.jpg",[138],{"id":23053,"slug":23054,"title":7691,"dynasty":72,"author":10012,"museum":236,"description":23055,"tags":23056,"thumbUrl":23057,"material":100,"size":100,"collection":138,"collections":23058,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},236913,"guan-mei-tu-zhou-ding-yun-peng-236913","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。",[25,26,7,77,27,130,129,392,29,131,484,132,170,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef431a10e57a656e762c4ca85d7e8da6.jpg",[138,185],{"id":23060,"slug":23061,"title":23062,"dynasty":18,"author":4669,"museum":331,"description":23063,"tags":23064,"thumbUrl":23065,"material":100,"size":100,"collection":100,"collections":23066,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},235856,"shan-yuan-jia-qu-zhou-wang-hui-235856","山园佳趣轴","《王翚山园佳趣》是清代诗人弘历创作的一首七言绝句。\n仙馆洞房绿荫稠，隔溪书屋更清幽。\n高人挈杖闲来往，流水行云意不留。\n弘历， 即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。\n谥纯皇帝。",[25,26,7,77,129,130,377,31,253,134,79,686,132,172,778],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c84613f5fdccf3f412dbdbbae14912d.jpg",[],{"id":23068,"slug":23069,"title":23070,"dynasty":72,"author":23071,"museum":331,"description":23072,"tags":23073,"thumbUrl":23074,"material":100,"size":100,"collection":100,"collections":23075,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},235481,"fang-guo-xi-shan-shui-zhou-yuan-shang-tong-235481","仿郭熙山水轴","袁尚统","整幅画作以雪景铺陈萧索冬意，巨峰以淡墨晕衬留白，尽显积雪覆山的清寒巍峨。枯木虬枝劲挺错落，深谷间栈道蜿蜒回转，行旅车马次第缓行，将隆冬深山的冷寂，和人间行路的烟火暖意相融。\n\n笔墨追摹北宗山水意趣，简劲皴法勾勒山石肌理，细笔描摹林木栈道，既复刻出萧寒雄奇的山水之态，又自带着苍朴的笔底情致，把冬日深山的荒寒古雅，行路迢迢的沉郁氛围尽显纸上，于冷寂雪景中晕开古雅悠远的山水意境。",[25,7,77,130,945,129,1240,170,169,686,29,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeabec41ab82bfb0de0af94b8bf5c215.jpg",[],{"id":23077,"slug":23078,"title":23079,"dynasty":18,"author":235,"museum":331,"description":13035,"tags":23080,"thumbUrl":23081,"material":198,"size":780,"collection":100,"collections":23082,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},235410,"gui-mu-tu-zhou-ren-yi-235410","归牧图轴",[25,26,7,77,28,304,130,1571,29,521,151,4390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a255d8a5587e721f7641ff82ff02e1.jpg",[],{"id":23084,"slug":23085,"title":23086,"dynasty":18,"author":235,"museum":331,"description":6344,"tags":23087,"thumbUrl":23088,"material":486,"size":6349,"collection":100,"collections":23089,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},234994,"hua-hui-ling-mao-ping-12-ren-yi-234994","花卉翎毛屏12",[25,28,7,113,131,484,536,6346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5870bd8f431964529394a7aa9ab6cb0f.jpg",[],{"id":23091,"slug":23092,"title":23093,"dynasty":18,"author":235,"museum":331,"description":6344,"tags":23094,"thumbUrl":23097,"material":486,"size":6349,"collection":100,"collections":23098,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},234993,"hua-hui-ling-mao-ping-11-ren-yi-234993","花卉翎毛屏11",[25,24,26,7,28,27,113,1228,23095,291,287,23096,79],"豆藤","竹架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc51dae55e91611f90ab3b25efa239ea.jpg",[],{"id":23100,"slug":23101,"title":23102,"dynasty":18,"author":235,"museum":331,"description":6344,"tags":23103,"thumbUrl":23104,"material":486,"size":6349,"collection":100,"collections":23105,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},234987,"hua-hui-ling-mao-ping-5-ren-yi-234987","花卉翎毛屏5",[24,25,26,7,28,27,113,1373,549,115,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F183eeaea248695005ebfe5882e2006cb.jpg",[],{"id":23107,"slug":23108,"title":23109,"dynasty":72,"author":50,"museum":209,"description":23110,"tags":23111,"thumbUrl":23112,"material":100,"size":100,"collection":100,"collections":23113,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},234930,"xie-shi-chen-xia-shan-fei-pu-tu-zhou-yi-ming-234930","谢时臣夏山飞瀑图轴","谢时臣（1487-1567），明代画家。字思忠，号樗仙。吴（今江苏苏州）人。工书法，长于隶书。擅山水，师法吴镇、沈周，稍作变化，作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作山峦重叠，高耸险峻，笔墨或细密苍劲，或劲健沉郁，或纵横纷披，富有变化。有《杜陵诗意图》、《溪山揽胜图》、《策杖寻幽图》、《武当霁雪图》、《谪仙玩月图》等传世。\n谢时臣(公元1488-1567年尚在)，字思忠，号樗仙，吴人，专长画山水，画史称他师法梅道人，学沈石田稍变其意。多作屏障大幅，构图雄伟严密，气势纵横，从作品看，画风近于戴进与吴派的沈周之间。传世作品有《虎阜春晴图》(辽宁省博物馆藏)、《江山胜览图》卷、《夏山飞瀑图》(上海博物馆藏)、《杜陵诗意图册》(现藏故宫博物院)、《武当霁雪图》大轴(现藏山东省博物馆)等。上海博物馆藏有谢氏水墨花卉册，作于嘉靖廿三年(1544)，颇有风致，惟传世不多。",[25,77,130,7,129,169,132,170,173,29,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5022b1e88d93f3e65c907903f6e5ddfc.jpg",[],{"id":23115,"slug":23116,"title":23117,"dynasty":18,"author":2330,"museum":236,"description":23118,"tags":23119,"thumbUrl":23121,"material":1573,"size":100,"collection":100,"collections":23122,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},234365,"rui-gu-tu-zhou-jiang-ting-xi-234365","瑞谷图轴","蒋廷锡（1669—1732），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。",[25,27,28,7,23120,1275,115,79],"谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0929a4c044c295d21e5fe7c28110245d.jpg",[],{"id":23124,"slug":23125,"title":3965,"dynasty":72,"author":126,"museum":236,"description":23126,"tags":23127,"thumbUrl":23128,"material":1320,"size":23129,"collection":100,"collections":23130,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},233831,"xing-hua-tu-zhou-shen-zhou-233831","画上瘦杏一株，花开烂漫，仍是折枝简笔，却多添了颜色。树干以赭色填充，花片则淡粉轻红，温润又悦目，几乎可以想象他挥毫时愉快的心情。也有题跋，也有诗：\n布甥简静好学，为完庵先生曾孙，人以科甲期之，壬戌科，果登第。尝有桂枝贺其秋闱，兹复写杏一本以寄，俾知完庵遗泽所致也。\n与尔近居亲亦近，今年喜尔掇科名。杏花旧是完庵种，又见春风属后生。\n意思是说，你考得这样好，我画杏花表示祝贺。刘家世代书卷气不绝，大家都期待你的成绩。如今成功了，莫要忘记祖爷爷的遗泽。这些话里全无架子，只透出一片温暖平实。",[25,26,7,77,28,304,80,79,3908,1373,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ece9a78838b66a815a3309957c7e09.jpg","纵80cm横33.5cm",[],{"id":23132,"slug":23133,"title":23134,"dynasty":72,"author":3690,"museum":236,"description":23135,"tags":23136,"thumbUrl":23137,"material":745,"size":23138,"collection":100,"collections":23139,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},233709,"pu-die-tu-zhou-xiang-sheng-mo-233709","蒲蝶图轴","此图画池塘浅水中，一丛菖蒲挺立如剑，蒲叶上停落着一只蝴蝶。造型单纯朴拙，笔墨粗简凝重，构图新颖大胆。菖蒲放在画面中间，用粗笔淡墨挥写，苍健而有变化，很好地表现了其挺拔、厚韧的质感。画蝴蝶使用细笔浓墨，勾染相合，比较工致。菖蒲与蝴蝶，一粗一细，一淡一浓，对比之下别有情趣。其他作为陪衬的花草坡石，亦剪裁大胆，处理得当。",[25,77,7,113,27,11016,600,35,6462,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d8c94e425d4fb29639f5fc94f36998.jpg","纵111.8厘米，横57.8厘米",[],{"id":23141,"slug":23142,"title":23143,"dynasty":18,"author":4434,"museum":236,"description":23144,"tags":23145,"thumbUrl":23147,"material":5241,"size":23148,"collection":100,"collections":23149,"showCount":22803,"zanCount":11,"manualWeight":43,"mainColor":88},233703,"gu-cha-duan-di-tu-zhou-hong-ren-233703","古槎短荻图轴","此图纸本，墨笔。绘香士陈应颀居所，具有写实意味，简陋的书舍与陈设衬托出主人品性的孤高，书屋内寂静无人，内设几案龛灯，屋前两株古树相对而立，叶落待尽、寒枝舒展，所以给人以萧条纯净之感。拾级而下一弯小溪蜿蜒流淌汇集成塘，周围环绕着高低错落的岩石，溪水宁静无澜犹如主人不逐名利的平淡心境。右边短荻丛生，清润可爱，为幽居的高士生活增添了几许生气。前景潭环石抱，潭边的岩石用方折的线条空勾，几无皴染，为弘仁典型的几何形体画法，潭水用大片的留白来表达，不擦一笔。整幅画墨色枯淡，用笔简疏，意境淡远，虚静、空灵之境油然而生。",[25,77,985,130,7,129,521,23146,733,132,78],"短荻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f27cfcac2aa374ca7abeb7343608a1.jpg","纵61.9cm，横35.3cm",[],{"id":23151,"slug":23152,"title":23153,"dynasty":18,"author":1036,"museum":236,"description":23154,"tags":23155,"thumbUrl":23158,"material":182,"size":23159,"collection":100,"collections":23160,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},232969,"ma-shu-tu-zhou-lang-shi-ning-232969","马术图轴","阿睦尔撒纳与初登准噶尔部汗位的达瓦齐因利益冲突而相互交战，阿睦尔撒纳战败后，请求归附清廷、谒见乾隆皇帝。对于阿睦尔撒纳的主动投清，乾隆皇帝大喜过望。更为重要的是，通过杜尔伯特三车凌、阿睦尔撒纳等人的归附，他进一步了解到准噶尔内部的情况，从而坚定了借准噶尔部内乱之际出兵的信心，以完成祖父康熙帝、父亲雍正帝“两朝未竟之业”。考虑到阿睦尔撒纳还未出过痘疫，因此觐见地点选在避暑山庄，时间定在寒冷的冬季。\n这一年的十一月十五日，乾隆皇帝于山庄内举行了隆重的欢迎仪式后，又招待阿眭尔撒纳与蒙古族的和特部班珠尔、杜尔伯特部的纳默库等人一道观看了精彩的马术表演。为了纪念这一具有历史意义的盛大聚会，乾隆皇帝命西洋画师郎世宁组织宫廷画家们对此进行了纪实性描绘。此幅与《万树园赐宴图》同为宏幅巨制，表现的人物众多，但经作者合理有序的布局，则显得动静相宜，杂而不乱，使主要人物被突现出来。画家并没有将乾隆皇帝特意画高画大，或安排在画幅的中心位置以引人注目，而是表现他骑花马位于由王公大臣组成的锥形队列的前端，或端坐于众人相抬的肩舆上，经画师的巧妙设计同样使人感受到乾隆皇帝威严的震撼力，从而使他成为画面中最重要的角色。",[25,28,27,7,29,196,170,3631,5110,272,23156,23157,16579],"队列","骑手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18456d0c6c09531fcea8bf1ed82b8c13.jpg","纵223.4厘米，横426.2厘米",[],{"id":23162,"slug":23163,"title":23164,"dynasty":207,"author":208,"museum":331,"description":23165,"tags":23166,"thumbUrl":23167,"material":100,"size":100,"collection":100,"collections":23168,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},232634,"shan-shui-tu-xin-yu-liang-quan-wang-meng-232634","山水图(新雨凉泉)","王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。对明清及近代山水画影响甚大。\n王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。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”。传世的代表作《青卞隐居图》、《春山读书图》，上海博物馆藏；《葛稚川移居图》《夏日山居图》，北京故宫博物院藏；《秋山草堂图》，台北故宫博物院藏。代表作品还有《湘江烟雨图》《深林叠嶂图》等。诗文、史学亦精。今存诗集《草堂雅集》。",[25,26,7,77,130,129,132,170,193,351,271,133,521,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e0e1523a4b570966cee5ed7f642fa5.jpg",[],{"id":23170,"slug":23171,"title":23172,"dynasty":72,"author":752,"museum":331,"description":23173,"tags":23174,"thumbUrl":23177,"material":182,"size":23178,"collection":100,"collections":23179,"showCount":22803,"zanCount":11,"manualWeight":43,"mainColor":44},231485,"gong-feng-tu-chen-hong-shou-231485","供奉图","陈洪绶利用各种作画技法适应不同题材，如用折笔或粗渴之笔表现英雄、细圆之笔表现文士美人、用游 丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[23,24,25,26,7,28,27,985,29,30,33,34,23175,23176,4196,79,80],"案几","烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],{"id":23181,"slug":23182,"title":18129,"dynasty":93,"author":164,"museum":74,"description":23183,"tags":23184,"thumbUrl":23185,"material":182,"size":7084,"collection":100,"collections":23186,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},231421,"qiu-lin-fei-pu-tu-fan-kuan-231421","《秋林飞瀑图》纵181厘米，横99.5厘米，在传世千年的古画中，也算得上一件大作品；绢本，设色，沉淀了历史的古绢上，墨与色的辉映，那么的凝重、浑厚，摄人心魄。现藏于台北故宫博物院。图绘一山耸峙，山头山下密布丛林，有茅舍隐约其中；远处见城楼，飞瀑拾级而下，近前有木桥连岸，山路通达。这是一幅适合人居的美奂的山景，经过霜降的丛树一片绯红，秋色热烈明艳，绝无萧瑟凋蔽之感。构图并不复杂，但却极见功力：一峰高耸，山石和丛林结合在一起，层层深入；由远而近、曲折而下的山泉，则将其分割成疏密有致的空间，与茅舍、木桥、山路结合一体。无论是树木，还是山石，勾、皴的线条都十分坚挺遒劲。山下丛树的树叶，方、圆、长条之形俱备，用双勾法勾勒，凝练精到。山石用水墨依明暗分层积染，而树叶则敷以硃砂色，古雅瑰丽。整幅画映射出典型的宋画的风采。\n范宽也算得中国绘画史上的一个奇人。说到宋画，往往第一个就提他的姓名，却不能详知其生卒年月。画史称他“仪状峭古，进止疏野。性嗜酒，好道。”早年的画学荆浩、李成，虽得其精妙，但终归其下。于是他叹息道：“与其师人，不若师诸造化。”他移居于终南山、太华山，“常危坐终日，纵目四顾，以求其趣。虽雪月之际，必徘徊凝览，以发思虑。”他用心来感悟造化的鬼斧神功，对景写生，故其所画在构图、造型和透视上无懈可击。一生远离仕途，“落魄不拘世故，”却终于造就其气势雄伟壮观，笔墨刚劲凝厚的绘画风格。董其昌叹谓“宋画第一”。《宣和画谱》著录其存世的画有58件，但至今能见到的，不过十件左右。最著名的宋画的代表作之一的，当推其《溪山行旅图》。206厘米高的巨幅，恢弘压顶的气势，一笔不苟的勾勒，满纸的雨点皴，咄咄逼人的墨气，令人震撼。《秋林飞瀑图》则与之稍有不同，用的是略似小斧劈皴的线皴，这一方面可以看到范宽在师造化的过程中笔墨技法的变化，另一方面似乎也影响了其后李唐与南宋山水画家，开启了一个以斧劈皴为特点的山水画新时期。",[23,25,26,129,7,130,28,2557,7082,132,170,169,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b24fd762e626521ef15ffbc5f9044be.jpg",[],{"id":23188,"slug":23189,"title":13623,"dynasty":207,"author":17427,"museum":331,"description":23190,"tags":23191,"thumbUrl":23192,"material":100,"size":100,"collection":100,"collections":23193,"showCount":22803,"zanCount":11,"manualWeight":43,"mainColor":44},228033,"xie-qin-fang-you-tu-luo-zhi-chuan-228033","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。",[25,77,130,7,521,132,129,131,5683,12517,5277,6189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0822ab22276624f46ebb1f67121fe5.jpg",[],{"id":23195,"slug":23196,"title":23197,"dynasty":93,"author":15469,"museum":331,"description":23198,"tags":23199,"thumbUrl":23202,"material":100,"size":100,"collection":100,"collections":23203,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},227970,"shan-shui-yu-min-tu-zhou-li-an-zhong-227970","山水渔民图轴","此作用水墨晕开冬日江乡的清寂荒寒。远山以淡墨轻扫轮廓，留白处尽作积雪，混茫一色，恰似天地裹素，将冬雪的冷冽淡远铺陈开来。近岸枯木虬枝盘曲，残叶寥寥，苍劲身姿暗合寒林萧索。江心扁舟一叶，渔翁独垂，渺小身影衬得天地愈发寥廓幽远，尽现江湖幽隐之趣。\n\n全图以虚代实，留白藏雪，笔墨简淡清润，将禅意隐逸融在冷寂山水间，把雅致心境晕染在空蒙淡远的意境中，尽显小景山水的诗意品格。",[23,24,25,26,7,77,129,130,349,521,522,132,523,170,15127,5682,614,2558,2581,23200,13330,23201],"山石皴染","宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],{"id":23205,"slug":23206,"title":23207,"dynasty":93,"author":23208,"museum":331,"description":23209,"tags":23210,"thumbUrl":23211,"material":100,"size":100,"collection":100,"collections":23212,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},227410,"shen-jun-tu-li-zhou-li-yong-ji-227410","神骏图立轴","李用及","宋代画家李永基善画解说，尤善鬼神。 体格结实，强壮，不受约束，并不特别怪异。 唯一大师吴升（桃子）的笔。 其父掌管天五库军，能画天阔马，是韩干笔法的典范。 顾维佑也为病马干活。",[23,25,24,7,27,28,196,241,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb813d9e9ed4d72843f7460da6848b829.jpg",[],{"id":23214,"slug":23215,"title":23216,"dynasty":49,"author":19015,"museum":331,"description":19016,"tags":23217,"thumbUrl":23218,"material":198,"size":780,"collection":100,"collections":23219,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},225295,"huo-tian-ben-dong-jing-zhen-hai-225295","火天(本-东京)",[23,25,26,7,54,985,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b3f9abef49f88f538da978b833e115.jpg",[],{"id":23221,"slug":23222,"title":23223,"dynasty":18,"author":1971,"museum":331,"description":23224,"tags":23225,"thumbUrl":23226,"material":100,"size":100,"collection":100,"collections":23227,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},224477,"fang-mei-dao-ren-shan-shui-tu-wang-jian-224477","仿梅道人山水图","此作用笔苍浑沉厚，取法梅道人山水意趣，层峦叠嶂铺陈高远之境，主峰巍峨雄峙，矾头苔点繁密，晕染出江南山峦郁茂华滋的温润质感。\n\n山坳村居错落，板桥卧波、溪流蜿蜒穿梭林麓间，林木疏密交织，将林泉幽居的隐逸意趣缓缓铺展。以披麻皴写山体肌理，湿墨点苔晕染空濛氛围，恪守古法的同时融入自身秀逸笔性，于苍劲间不失温润，既复刻出荒寒清寂的古雅意境，又暗含自家风骨，是师古能化的仿古佳作。",[23,25,77,130,945,7,129,132,733,170,193,134,79,131,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007451ec2d4ea6bc6dbcfc06f0197dab.jpg",[],{"id":23229,"slug":23230,"title":23231,"dynasty":18,"author":361,"museum":331,"description":23232,"tags":23233,"thumbUrl":23234,"material":100,"size":100,"collection":100,"collections":23235,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},224428,"shan-lou-ke-hua-tu-wang-shi-min-224428","山楼客话图","《山楼客话图》是王时敏八十岁之后作品，创作于清代，现藏于天津市艺术博物。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n山峦层叠，深壑溪流，茂林密布，水阁立于其间，名士在此高谈阔论。\n此画以赭墨为主，单纯而深厚，滋润而清脱。\n从笔墨技法来看，复古意味十分明显，皴笔细密，用多层次的皴染表现山体，墨色厚重，流露出作者“熟不甜，生不涩，淡而厚，实而清”的成熟面貌。\n王时敏 ， (1592-168)，明末清初画家。\n字逊之，号烟客、西庐老人等。\n江苏太仓人。\n王锡爵孙。\n出身明代官宦之家，崇桢初年曾任太常寺卿，所以也被称为“王奉常”。\n寄情诗文书画，家藏历代法书名画甚多，反复观摩，并曾得到董其昌等人的指点。\n擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。\n其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。\n与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n开创了山水画的“娄东派”，居清初画家“四王”之首。",[23,25,26,7,77,130,129,269,170,132,169,733,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2852667eb07d849f77f2b9ab7916caaf.jpg",[],{"id":23237,"slug":23238,"title":23239,"dynasty":18,"author":23240,"museum":331,"description":23241,"tags":23242,"thumbUrl":23243,"material":100,"size":100,"collection":100,"collections":23244,"showCount":22803,"zanCount":11,"manualWeight":43,"mainColor":44},224344,"xiao-pin-1-qiao-gu-224344","小品1","樵谷","此作为绢本设色仙山图景，画面分上下两段铺陈。上方松下仙岛，长髯高士安坐，侍童持如意随侍，丹顶鹤啄衔芝草，意态闲和疏朗。下方仙鹿曳车，车载灵卉仙酿，海雾裹挟红鲤翻涌而出，恍若灵气蒸腾。\n\n笔墨细劲清逸，设色古雅沉静，人物刻画悠然恬淡，瑞兽仙禽生动传神。布景疏密相宜，晕染出道家虚缈出尘的仙境氛围，藏纳福寿绵长的吉祥意趣，尽显传统仙道题材的雅致意韵。",[23,25,26,7,28,27,29,196,225,935,427,132,335,16346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7ab3700c076272c9bf608fb083bfbf.jpg",[],{"id":23246,"slug":23247,"title":5156,"dynasty":18,"author":10867,"museum":74,"description":23248,"tags":23249,"thumbUrl":23250,"material":214,"size":23251,"collection":138,"collections":23252,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},224265,"hua-shan-shui-zhou-zhang-zong-cang-224265","《石渠宝笈》所录画作数量，张宗苍名列第一，其上多有乾隆皇帝题诗。此作原本贴于品茗茶舍「试泉悦性山房」壁上。乾隆皇帝认为其画风清峻，可与元代倪瓒和黄公望的作品相匹敌，幅上多则乾隆皇帝御题，其中更提到过去观看张宗苍作画的回忆，并在拳石留白处书一「神」字，显示对此作的高度评价。",[25,26,7,77,130,80,79,129,132,170,172,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0364f6d1ae9eda5d1b76368b4cb7d3ba.jpg","138.1x64.3",[138],{"id":23254,"slug":23255,"title":23256,"dynasty":18,"author":50,"museum":331,"description":23257,"tags":23258,"thumbUrl":23259,"material":100,"size":100,"collection":100,"collections":23260,"showCount":22803,"zanCount":11,"manualWeight":43,"mainColor":88},223664,"yong-zheng-di-du-shu-xiang-zhou-yi-ming-223664","雍正帝读书像轴","整作静谧雅致，帝王身着明黄吉服端坐暖阁，面庞清癯平和，目光轻落手中书卷，尽显松弛安然的书卷气，褪去了朝堂之上的威严肃杀。服色织绣精细繁复，龙纹婉转灵动，衣褶晕染自然，衬出面料华贵质感。两侧案头文房与装帧精美的古籍错落，点明读书主题，暖阁陈设素净柔和，烘托出静雅的伏案氛围。\n\n画家以细腻写实的笔触，捕捉下雍正鲜为人知的闲逸侧面，跳出帝王标准像的刻板范式，将其沉浸典籍的专注神态勾勒入微，在纪实之中融入雅致文人意趣，是清代御容像里极具生活意趣的上乘之作。",[23,25,7,28,27,29,4907,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35643af16a8eade2dd5994483bab96a0.jpg",[],{"id":23262,"slug":23263,"title":23264,"dynasty":207,"author":50,"museum":331,"description":23265,"tags":23266,"thumbUrl":23268,"material":100,"size":100,"collection":100,"collections":23269,"showCount":22803,"zanCount":11,"manualWeight":43,"mainColor":44},223617,"hong-shu-xiao-niao-tu-li-zhou-yi-ming-223617","红树小鸟图立轴","此作用笔苍劲老辣，以淡墨皴擦出枝杆斑驳肌理，斜展的枝桠轻缀丹红叶瓣，晕染出深秋清寂淡远的氛围感。两只禽鸟灵动如生，一只敛羽侧目似在梳羽，一只昂首远眺仿佛聆风，翎毛晕染细腻柔和，褐棕羽色与亮蓝尾羽相映成趣，为萧疏秋景添了鲜活生气。\n画作兼收宋院体花鸟的写实精妙与元画的萧散简逸，以极简构图铺陈秋日林间意趣，不施浓艳重彩，只以素雅色调烘托幽清空远的意境，静穆秋景与鲜活禽鸟相融，淡而有味，简而隽永。",[23,25,26,7,28,27,113,1241,23267,1373,3631],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6756045513ed7addba3944ef1983d5b6.jpg",[],{"id":23271,"slug":23272,"title":23273,"dynasty":993,"author":50,"museum":236,"description":23274,"tags":23275,"thumbUrl":23276,"material":486,"size":23277,"collection":100,"collections":23278,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},223443,"gong-yuan-tu-zhou-yi-ming-223443","宫苑图轴","此画一说为李思训所绘。远处崇山峻岭，山峰陡峭，山中殿阁亭榭林立，圆形，飞檐，造型不一，隐约可见人们穿梭其中。此图将山野之间的逸趣与宫殿的富丽完美地结合，是一幅极富装饰趣味的山水楼阁画佳作。",[23,24,25,7,1157,28,129,269,18525,29,5734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80f5c5554e066d90eb3a659fa472502.jpg","162.5cm＊83.7cm",[],{"id":23280,"slug":23281,"title":23282,"dynasty":49,"author":50,"museum":3928,"description":23283,"tags":23284,"thumbUrl":23285,"material":1218,"size":23286,"collection":100,"collections":23287,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},223391,"tong-nian-yin-yan-tu-zhou-yi-ming-223391","同年饮宴图轴","以淡墨晕染出空濛秋山，飞瀑穿云，江流宛转，枯笔皴擦山峦肌理，苍浑朴拙。画面上下分境，山巅高远清寂，江畔林下定坐宴饮，士人们围坐把酒，将林泉幽致与文会雅兴相融。淡墨轻岚间，萧疏古木衬出雅集闲逸，左上题诗呼应知己情谊，笔墨简淡却意韵悠长，尽显文人寄情山水、酬唱为乐的林下风流，将水墨山水的清旷与雅集的温煦意趣揉合一处，自有冲淡恬和的古雅气韵。",[23,24,25,26,7,28,129,29,169,193,351,170,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6632dbe6c038a2d36128d0dfee1a52.jpg","纵98厘米，横52厘米",[],{"id":23289,"slug":23290,"title":23291,"dynasty":18,"author":235,"museum":265,"description":23292,"tags":23293,"thumbUrl":23294,"material":1320,"size":23295,"collection":100,"collections":23296,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},223236,"qun-ji-zi-shou-tu-ren-yi-223236","群鸡紫绶图","绘篱笆外一棵紫薇风劲叶摆，篱笆墙内二只老鸡带着一群小鸡觅食玩耍，公鸡大红色的鸡冠，伸长了脖子，圆瞪着眼，警惕的盯着四周动静，母鸡紧盯着一群小鸡仔，母爱洋溢，一幅乡村农家的温馨景象映入眼帘。",[23,25,26,24,7,28,77,113,548,1228,253,15680,1275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef31e39a6fb133ccbf71818592553fc3.jpg","134cmx65cm",[],{"id":23298,"slug":23299,"title":23300,"dynasty":18,"author":13437,"museum":74,"description":15115,"tags":23301,"thumbUrl":23302,"material":7074,"size":23303,"collection":138,"collections":23304,"showCount":22803,"zanCount":43,"manualWeigh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Baltimore Museum of Art","此作用笔清劲秀雅，以高远法绘山林幽居之景。危崖巍峨，以淡赭轻罩、花青晕染，勾勒皴擦间尽显山石嶙峋质感。近岸苍虬古木扎根岩隙，枝叶扶苏，与崖畔林木相互掩映。画面留白铺陈虚境，恰似空谷平湖，烘托出空山幽寂之韵。\n题画诗与景致相融，将松风泉响的山林意趣诉诸笔端，尽显文人山水的诗意内核。整体气息清逸出尘，承续北宗山水笔法，兼具南派的秀润雅致，把林泉高致的幽淡意境描摹尽致，尽显传统文人画的隽永风骨。",[23,26,25,129,7,77,28,130,252,601,253,6208,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a35de63ffa4fc6160756dba5a74e6.jpg",[],{"id":23349,"slug":23350,"title":23351,"dynasty":72,"author":23352,"museum":74,"description":23353,"tags":23354,"thumbUrl":23355,"material":82,"size":100,"collection":185,"collections":23356,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},219521,"chang-pu-tu-shen-zhen-ji-219521","菖蒲图","沈贞吉","沈贞吉（1400-1482年仍在）名沈贞，号陶庵、陶然老人（道人），江苏长洲（今苏州人），其弟沈恒，字恒吉，为“吴门画派”代表畫家沈周（1427-1509）之父。沈贞吉工诗，兼擅绘画，以山水见长。但因其“不肯轻为人作，故少存者”，现在所见传世之作极少书画鉴定家张珩在其《木雁斋书画鉴赏笔记》中著录沈贞吉的《溪山一览图》时说：“南斋为石田伯父，画迹传世，平生惟见此一小幅为真迹……已至为难得矣。”（“南斋”为沈贞吉别号）连寓目书画无数的张珩所见沈贞吉画迹仅一件，可见其流传于今的作品，确实不多见。",[25,77,7,80,79,1994,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda667cbc2a17f96eecd268417b52830.jpg",[185],{"id":23358,"slug":23359,"title":818,"dynasty":72,"author":23360,"museum":74,"description":23361,"tags":23362,"thumbUrl":23364,"material":136,"size":23365,"collection":138,"collections":23366,"showCount":22803,"zanCount":11,"manualWeight":43,"mainColor":88},219470,"shan-shui-tu-gu-ning-yuan-219470","顾凝远","此作用淡墨晕染层叠远山，云雾漫过峰巅，虚实相生间晕开空濛悠远的秋意。近岸杂木错落，浅红与苍青点染枝叶，悄然晕出时节变迁。临水篱舍掩映林间，朴雅安闲，宛然可居可游。\n\n画作以干淡细笔勾勒物象，敷色清浅柔和，全凭水墨层次营造萧散简远的氛围，将江南水畔幽居之趣藏于尺幅间，尽显文人画独有的静穆闲雅，引观者沉湎于这一片安谧丘壑，暂忘尘嚣烦扰。",[25,26,7,77,28,130,79,97,129,522,173,170,521,733,23363,3137,5110],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343ffa34c58013098889b77b7d2fe5d6.jpg","82.3x41.2",[138],{"id":23368,"slug":23369,"title":23370,"dynasty":49,"author":50,"museum":74,"description":23371,"tags":23372,"thumbUrl":23373,"material":182,"size":23374,"collection":138,"collections":23375,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},219368,"wu-kuan-xi-shan-shu-wu-zhou-yi-ming-219368","无款溪山书屋轴","绢色沉古，墨痕淡远。近岸老木扶疏，枝干如铁，叶影婆娑间漏下天光；溪石横卧，水纹隐现，似有泠泠声在耳。中麓书屋半掩，窗内人影悄坐，或展卷，或凝思，与林泉为邻，得山水之趣。远岫层叠，云气轻飘，将天地拉得悠远。笔致工细却含野逸，皴擦点染皆见匠心，无一处不藏着对自然的敬畏与对闲居的向往。置身画前，仿佛能踏过溪石，走近书屋，与画中人共沐山风，静听溪语，忘了尘嚣。",[25,26,24,7,129,77,130,253,132,193,133,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36f9e3df3cb8b48d6cea0818948aa5a4.jpg","148.6x74.5",[138],{"id":23377,"slug":23378,"title":23379,"dynasty":72,"author":50,"museum":74,"description":23380,"tags":23381,"thumbUrl":23382,"material":37,"size":23383,"collection":39,"collections":23384,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},219348,"pu-xian-da-shi-xiang-yi-ming-219348","普贤大士像","此幅亦无作者款名。画一僧坐于白象背上，展卷研读。普贤，梵名三曼多跋陀罗，汉译名为普贤，又名遍吉。与文殊同为释迦佛的胁侍，左辅右弼，居菩萨众之上首。又华严经以三者为华严三圣，为一切行德之本体。此图像作世俗僧形，是为便于助佛普化的缘故。与前述之文殊，二画尺寸、笔墨皆近似，原为对幅。",[25,26,24,7,28,27,54,29,241,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F743ec6d76d015ff1fc9bac3178455c15.jpg","156.6x94",[39],{"id":23386,"slug":23387,"title":23388,"dynasty":72,"author":50,"museum":147,"description":23389,"tags":23390,"thumbUrl":23391,"material":37,"size":23392,"collection":39,"collections":23393,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},218512,"shu-xia-du-shu-tu-yi-ming-218512","树下读书图","这幅画描绘了一个坐在树下溪边读书的高士，这种风格在明代的浙江画派、戴进和吴伟中很流行，但这幅画的笔法与吴伟相似，略显疲软。",[23,25,26,7,28,29,170,193,5505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385b9aeb644037ac90a0878724f211a4.jpg","127.5x77.8",[39],{"id":23395,"slug":23396,"title":23397,"dynasty":18,"author":23398,"museum":3232,"description":23399,"tags":23400,"thumbUrl":23401,"material":99,"size":23402,"collection":138,"collections":23403,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},218268,"shan-ting-dui-zuo-tu-jin-kan-218268","山亭对坐图","金侃","寒雪裹峰峦，雾霭轻缠远岫，如淡墨晕开的笺纸。岩畔山亭内，二人对坐，或谈诗或品茗？桥下冰溪暗淌，枯树老枝覆银，疏密间藏着冬日的疏朗。近坡屋舍隐于林麓，似在静待归人。笔墨清润，皴擦间见山石肌理，留白处显天地空寂。整幅画浸着清冷，却又透着文人的雅趣——于皑皑雪景里，觅得一份心之恬淡，让观者也随这山水，沉进那份寂静的安然中。",[23,25,364,77,130,252,377,134,193,170,733,29,132,472,13329,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4a4c77db794fd25064cded2ea813b8.jpg","189.9x85.7cm",[138],{"id":23405,"slug":23406,"title":23407,"dynasty":93,"author":50,"museum":209,"description":23408,"tags":23409,"thumbUrl":23410,"material":37,"size":23411,"collection":138,"collections":23412,"showCount":22803,"zanCount":419,"manualWeight":43,"mainColor":44},218231,"wan-jing-tu-yi-ming-218231","晚景图","《晚景图》画夜色朦胧中的远山近丘，近景丘岭连绵，大石横卧；溪水环抱，山石以浓墨勾骨，密布山头的树叶分别以焦墨和浓墨密匝点簇。远景山头用淡墨短笔勾勒，背景全用淡墨烘染，以突出晚景主题。从此图的构图布局和笔法用墨看，是一幅综合北南宋山水画体制的佳构。",[25,26,7,77,130,129,132,170,3266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f851ecfa2c8d3ceaa533f612b7e3b1.jpg","纵69.5厘米,横37.6厘米",[138],{"id":23414,"slug":23415,"title":818,"dynasty":18,"author":13437,"museum":147,"description":23416,"tags":23417,"thumbUrl":23418,"material":82,"size":23419,"collection":138,"collections":23420,"showCount":22803,"zanCount":11,"manualWeight":43,"mainColor":88},217886,"shan-shui-tu-dong-bang-da-217886","董邦达是中国清朝时期著名的画家，他以其精湛的山水画而闻名。他的山水画通常被认为是清朝山水画史上的里程碑式的作品。\n\n董邦达的山水画风格独特，他追求自然的写实，同时又注重画面的艺术性。他的山水画中通常会出现大量的细节，比如山的形态、树的形态、云的形态等。他善于运用技法，比如水墨描边、油墨浓淡等，使得他的山水画看起来栩栩如生。\n\n董邦达的山水画中通常会出现许多动物和人物，他善于捕捉动物和人物的形态和神态。他的山水画中常常会出现小溪流动、水鸟飞翔、山鹿奔跑等场景。\n\n董邦达的山水画对后来的中国山水画产生了很大的影响，他的作品被认为是中国山水画史上的经典之作。",[23,25,77,130,7,129,134,193,377,151,35,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d68ad231b9d749214643923db64fec.jpg","70.8x36cm",[138],{"id":23422,"slug":23423,"title":23424,"dynasty":207,"author":50,"museum":6403,"description":23425,"tags":23426,"thumbUrl":23427,"material":99,"size":100,"collection":84,"collections":23428,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":44},216881,"lian-lu-tu-zhou-2-yi-ming-216881","莲鹭图轴-2","莲鹭图轴是一幅绘有莲花和鹭鸶的图画，出自元朝（1271-1368年）的佚名画家之手。这幅图画是一根长卷，画面中央是一朵盛开的莲花，周围是若干只鹭鸶，它们正在莲花周围游荡。\n\n莲鹭图轴是元朝时期的一件杰作，当时的画家们非常喜欢用莲花和鹭鸶这种自然元素来表现他们的艺术感悟。莲花象征着清新、优雅和纯洁，而鹭鸶则象征着平静、宁静和和平。这幅图画把这两种元素结合在一起，表现出了一种浪漫、优美、安宁的气氛。\n\n莲鹭图轴是一幅非常精美的图画，画面细腻、线条流畅、色彩和谐。这幅图画现在被认为是元朝艺术的代表作之一，是中国古代绘画艺术的杰作。",[25,24,7,77,28,27,306,4564,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d6fce71076fb407edc41d3ce20b6a1.jpg",[84],{"id":23430,"slug":23431,"title":23432,"dynasty":18,"author":3916,"museum":319,"description":23433,"tags":23434,"thumbUrl":23435,"material":99,"size":23436,"collection":100,"collections":23437,"showCount":22803,"zanCount":43,"manualWeight":43,"mainColor":88},216330,"jin-nong-ba-kai-hua-niao-tu-4-jin-nong-216330","金农八开花鸟图-4","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[25,26,77,304,7,113,536,1594,291,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4a4c16d57ac37a6163886acbe3d554.jpg","30.5x40.9cm",[],{"id":23439,"slug":23440,"title":23441,"dynasty":207,"author":7719,"museum":74,"description":21982,"tags":23442,"thumbUrl":23443,"material":82,"size":23444,"collection":100,"collections":23445,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},290954,"zhen-song-bai-xue-xuan-tu-cao-zhi-bai-290954","贞松白雪轩图",[24,25,26,7,77,129,427,521,133,134,193,132,151,80,79,3880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc9328cd8f464761861cb541b87a36e.jpg","125.9x49.7",[],{"id":23447,"slug":23448,"title":23449,"dynasty":207,"author":208,"museum":331,"description":2525,"tags":23450,"thumbUrl":23451,"material":198,"size":780,"collection":100,"collections":23452,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},290835,"zhu-shi-liu-quan-zhou-wang-meng-290835","竹石流泉轴",[24,25,26,7,77,31,35,193,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7cc9dde7a77c5181c25b63abcfb092b.jpg",[],{"id":23454,"slug":23455,"title":23456,"dynasty":207,"author":50,"museum":331,"description":23457,"tags":23458,"thumbUrl":23460,"material":198,"size":780,"collection":100,"collections":23461,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},290800,"jin-gang-jing-ta-zhou-yi-ming-290800","金刚经塔轴","此图轴形式新颖，绣法独特，用蓝色丝线将金刚经文绣在回文框内，字用滚针、斜缠针、套针等针法绣成。人物绣工亦细致，用了套针、网绣、施毛针、斜缠针和滚针等。金刚塔则用金线、赤圆金线和银线以平金针法绣成，因为塔之轮廓皆用金，经塔金光奕奕，呈现出一派庄严神秘的气氛。此轴属现存顾绣作品中别致而罕见的佛教题材绣品。",[25,26,7,54,9612,1157,28,29,23459,5901,79],"佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edd167a976c2a15ac74843696c0f44b.jpg",[],{"id":23463,"slug":23464,"title":23465,"dynasty":18,"author":9301,"museum":331,"description":23466,"tags":23467,"thumbUrl":23468,"material":198,"size":780,"collection":100,"collections":23469,"showCount":67,"zanCount":11,"manualWeight":43,"mainColor":88},290565,"fang-tian-wang-xiang-san-zhou-xu-yang-290565","仿天王像（三）轴","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。",[24,25,26,7,28,29,54,1063,22512,27,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31db09dad2d8dfa51f581109ea35d66f.jpg",[],{"id":23471,"slug":23472,"title":23473,"dynasty":207,"author":208,"museum":331,"description":2525,"tags":23474,"thumbUrl":23475,"material":198,"size":780,"collection":100,"collections":23476,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":44},290444,"lin-quan-qing-ji-tu-ke-luo-ban-wang-meng-290444","林泉清集图（珂罗版）",[23,24,25,7,77,129,130,131,132,377,80,79,22921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70217a7e0130994447fdb553a6eb776.jpg",[],{"id":23478,"slug":23479,"title":23480,"dynasty":93,"author":8165,"museum":331,"description":23481,"tags":23482,"thumbUrl":23483,"material":198,"size":780,"collection":100,"collections":23484,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":44},290335,"qiu-shan-lin-yu-tu-zhou-yan-wen-gui-290335","秋山琳宇图轴","燕文贵（约公元十一世纪），浙江吴兴人。少时曾流落京师（河南开封）为商贩，后来才华被画院待诏高益所赏识，得以进入画院任祇候之职。山水、人物均佳，尤善於描绘四季景物，清雅可爱。画院中人称其画为“燕家景”。",[25,24,7,129,77,130,54,269,521,169,193,173,132,4987,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa06ad292210ef9b12e3c03a7583042bc.jpg",[],{"id":23486,"slug":23487,"title":23488,"dynasty":93,"author":1726,"museum":74,"descr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题：“孝诚恭肃正惠安 和淑懿恪敏俪天襄圣仁 皇后，左。” 孝诚仁皇后御容一 轴，朝服冠，恭 悬， 西大柜尊藏。",[25,26,7,27,28,29,334,34,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467367c4c931b73109773bf077cb8a22.jpg","纵256.1厘米， 横116.8厘米",[39,158],{"id":23626,"slug":23627,"title":23628,"dynasty":72,"author":18249,"museum":236,"description":23629,"tags":23630,"thumbUrl":23631,"material":1688,"size":23632,"collection":84,"collections":23633,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},236129,"bai-zi-tu-zhou-xiang-yuan-bian-236129","柏子图轴","图绘湖石及柏树、翠竹、荆棘等。柏树昂扬郁茂，有藤萝缠绕，翠竹挺拔玉立，荆棘屈曲虬劲，三者结合，高低自然，疏密得当，相互映衬，意味悠长。用笔粗细随类，墨色浓淡相宜，风格疏爽，清新静逸。",[25,26,7,77,130,14752,78,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40827a5b89dd11e84e82d1b56e6a6ed.jpg","纵84.6厘米，横26.5厘米",[84,185],{"id":23635,"slug":23636,"title":23637,"dynasty":18,"author":22561,"museum":236,"description":22562,"tags":23638,"thumbUrl":23639,"material":1573,"size":22565,"collection":138,"collections":23640,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},236127,"song-xi-shu-wu-tu-zhou-lu-zun-shu-236127","松溪书屋图轴",[25,26,7,77,129,130,378,193,2419,132,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa366e0c0db1f68c15306c566b60c3904.jpg",[138,185],{"id":23642,"slug":23643,"title":18639,"dynasty":72,"author":13140,"museum":331,"description":23644,"tags":23645,"thumbUrl":23646,"material":100,"size":100,"collection":100,"collections":23647,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},235088,"ren-wu-tu-zhou-you-qiu-235088","此作用白描绘就林泉雅集，古木流云之下，蕉石映带，流淙婉转。居中高士端坐抚琴，眉宇端凝，指尖落处似有清籁漫溢；左右二人或支颐沉听、或侧身倾神，尽皆沉醉在泠泠弦歌之中。下方童子躬身临流，正掬取清涧活水，一派安然恬和。\n线条挺秀匀净，衣袂宛转灵动，将人物情态刻画入微，草木泉石晕染清浅淡远，尽得吴门雅韵，把文人林下忘机的风流襟怀铺陈开来，笔墨简淡却意蕴悠长，尽显雅致出尘的林下意趣。",[25,7,77,985,27,29,239,132,193,170,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a50788ae659eef5e08be9d901d33ca7.jpg",[],{"id":23649,"slug":23650,"title":23651,"dynasty":18,"author":235,"museum":331,"description":6344,"tags":23652,"thumbUrl":23653,"material":486,"size":6349,"collection":100,"collections":23654,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},234992,"hua-hui-ling-mao-ping-10-ren-yi-234992","花卉翎毛屏10",[25,26,7,28,27,113,32,306,307,115,6346,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf9f397c8059cf090d6b2cb507af50a.jpg",[],{"id":23656,"slug":23657,"title":23658,"dynasty":72,"author":683,"museum":236,"description":23659,"tags":23660,"thumbUrl":23661,"material":1573,"size":23662,"collection":100,"collections":23663,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},233967,"guan-shan-xing-lv-tu-zhou-dai-jin-233967","关山行旅图轴","本幅署款“静庵”，无年款，从趋于成熟的集大成面貌判断，当作于戴进晚年的天顺年间（1457—1464年）。\n作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[25,24,7,77,130,129,427,351,1419,733,272,170,171,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac0a0c15fc8e857f3e1f36e5c19ea41.jpg","纵61.8厘米，横29.7厘米",[],{"id":23665,"slug":23666,"title":5879,"dynasty":207,"author":4104,"museum":236,"description":23667,"tags":23668,"thumbUrl":23669,"material":182,"size":23670,"collection":100,"collections":23671,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":44},233823,"hua-zhu-jin-ji-tu-zhou-wang-yuan-233823","王渊（生卒年不详），字若水，号澹轩，浙江杭州人。他一生不仕，专擅墨笔花鸟、竹石。画意蕴藉清润、幽静深秀。",[24,25,7,27,28,113,31,287,439,151,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd36673eec219f9e862caec47a108a50c.jpg","纵175.7cm; 横110.1cm",[],{"id":23673,"slug":23674,"title":23675,"dynasty":18,"author":8994,"museum":236,"description":23676,"tags":23677,"thumbUrl":23678,"material":7695,"size":23679,"collection":100,"collections":23680,"showCount":67,"zanCount":11,"manualWeight":43,"mainColor":88},233217,"kong-shan-jie-wu-tu-zhou-cha-shi-biao-233217","空山结屋图轴","查士标作为明代的遗民画家，持消极遁世的人生观。他在怡情于山水间结交了许多隐士。此图是他68岁时画赠好友玉峰道长的精心之作。构图注重远、中、近三景间物象聚、散的呼应统一关系。近、中景因表现杂木、小桥、独舟、孤亭等细碎物象而为“散状”。远景厚实的山体聚成石壁，它的整体性凝聚了散落的近、中景；而散落的近、中景又打破了远景的平整、呆板，活跃了画面。山石的形体，先以直线勾出轮廓，再以侧锋作疏朗而清晰的竖式皴擦，然后以清淡古朴的赭石等色晕染。树叶的表现方法丰富，或以长短线条表现，或以笔尖戳点，其灵活多变的形态，令本为点景的树木成为全画中不可或缺的一部分。",[25,24,7,77,28,129,130,252,733,170,57,134,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4469afa6f7c931f51956a8040ea8a7.jpg","纵98.7厘米，横53.3厘米",[],{"id":23682,"slug":23683,"title":23684,"dynasty":18,"author":4505,"museum":236,"description":23685,"tags":23686,"thumbUrl":23687,"material":745,"size":23688,"collection":100,"collections":23689,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":44},232688,"mo-song-tu-zhou-zhao-zhi-qian-232688","墨松图轴","据画家自题，此图参用了篆、隶、草三体的书写技法来描绘松树，落笔圆浑滋厚，与作者的书法风格同一格调。树干、枝条、松针以草书笔法表现，秉承了文人画豪放洒脱的传统。画上行书落款笔力雄健遒劲，其金石韵味与松木的画法相映衬，意趣横生。此幅不愧为赵之谦以金石、书法入画的代表作。",[23,25,77,304,130,378,80,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35fd887689ee93323c8e3eacf3173751.jpg","纵176.5厘米，横96.5厘米",[],{"id":23691,"slug":23692,"title":23693,"dynasty":49,"author":50,"museum":331,"description":23694,"tags":23695,"thumbUrl":23696,"material":198,"size":780,"collection":100,"collections":23697,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},231679,"xing-shan-nu-hu-tu-zhou-yi-ming-231679","行山怒虎图轴","此作画境开阔空寂，将猛虎置于下半幅，以大片留白衬出山野荒莽之境。作者工写兼具，以细笔丝绘虎身鬃毛，蓬松柔劲，晕染出皮毛的明暗层次。怒目圆睁、獠牙毕露，咆哮间尽显百兽之王的慑人气魄，前爪紧扣山石，利爪锋芒毕现，将蓄势待发的悍勇姿态定格。岩石以淡墨泼染、焦墨提点，干湿浓淡间烘托出嶙峋质感，与猛虎的刚健互为映衬。整幅笔墨苍劲古朴，把山君的威严凶悍与山野的沉静融为一体，尽显传统走兽画的精妙气韵。",[23,25,26,7,28,27,5713,241,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9040aefe7882aff435761b74a634bd.jpg",[],{"id":23699,"slug":23700,"title":23701,"dynasty":18,"author":11908,"museum":331,"description":23702,"tags":23703,"thumbUrl":23704,"material":100,"size":100,"collection":100,"collections":23705,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},231015,"long-tan-ting-pu-tu-mei-qing-231015","龙潭听瀑图","此作用高远式构图，以龙潭飞瀑为绝对视觉中心。危崖峭壁以灵动写意的笔墨写就，干湿皴擦并用，苍劲松活。古木虬枝斜出、繁叶层叠，朴拙的点叶技法晕染出山林深秀。\n右下角茅庐内幽人对坐，静聆瀑声喧豗，以幽居之静衬飞泉之动，动静相生尽显林泉雅意。左上题诗与画境呼应，将山川灵秀与文人隐逸襟怀相融，尽显新安画派以画为诗的清雅逸韵，把皖南山水的奇绝藏进笔墨丘壑里。",[23,25,26,7,77,130,129,169,132,170,377,193,79,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be7c7ad00a8eb1f86f60fec81e552e6.jpg",[],{"id":23707,"slug":23708,"title":23709,"dynasty":72,"author":1024,"museum":331,"description":23710,"tags":23711,"thumbUrl":23713,"material":100,"size":100,"collection":100,"collections":23714,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},230936,"yan-shu-mao-tang-tu-dong-qi-chang-230936","烟树茅堂图","此作用高远、平远之法铺展，主峰巍然耸峙，以干淡笔墨皴擦山石，尽显浑厚苍朴质感。近景坡岸间杂树错落，或虬曲苍劲，或清疏秀雅，干湿墨色互用，晕染出空濛烟岚，将山林间的氤氲之气娓娓铺陈。\n\n山谷茅堂隐现于林泉间，幽寂清宁，与题诗相映，尽显幽居不踏尘嚣的隐逸意趣。全画笔法松秀灵逸，意境萧散淡远，将文人寄情林泉的雅怀融于笔墨间，尽显南宗山水的静穆雅致。",[25,26,77,130,7,97,79,80,129,12527,23712,132,170],"茅堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c40f19d70eb1e0f772b02e18b758c7.jpg",[],{"id":23716,"slug":23717,"title":23718,"dynasty":207,"author":50,"museum":331,"description":23719,"tags":23720,"thumbUrl":23721,"material":100,"size":100,"collection":100,"collections":23722,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":44},230901,"gao-shi-guan-mei-tu-yi-ming-230901","高士观梅图","画面以高远之境铺展，近岸怪石层叠，古松虬曲苍劲，老梅疏枝横斜，暗孕花苞。林下高士凭石闲坐，静静凝望寒梅，意态萧散出尘。\n\n中景薄雾轻笼水村山榭，淡墨晕化开空濛水汽，虚虚实实间晕染出幽寂氛围。远景危峰削立，隐没在烟岚之中，墨色清浅简淡。\n\n全作用笔老辣简练，枯湿浓淡相映，以简淡笔墨勾勒出林泉冬景，尽显尚意之风，将文人幽赏的雅趣与出世忘俗的襟怀融于淡墨轻岚间。",[25,7,77,130,129,392,378,29,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb1d405c0d739c732ba9240f8397c91b.jpg",[],{"id":23724,"slug":23725,"title":5709,"dynasty":18,"author":5710,"museum":331,"description":23726,"tags":23727,"thumbUrl":23728,"material":100,"size":100,"collection":100,"collections":23729,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},230219,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230219","此作用水墨晕染出秋江暮色，云烟如絮，朦胧苍茫。芦叶以焦墨劲笔写出，苍劲挺拔，烘托出荒寒清寂的秋意。墨虎雄踞丛芦之上，身姿矫健遒劲，皮毛以干湿墨皴擦晕染，将绒质感与猛兽威严相融。它回首远眺，目光沉毅内敛，褪去传统虎画的凶戾张扬，尽显山林王者的孤傲沉静。\n\n题款朱印错落点缀，诗画相映，将虎的英武气度融于秋江暮色之中，以写意笔墨勾勒实景意趣，把猛兽的雄姿化作秋江一景的清寂风骨，笔意兼工带写，借虎抒怀，尽显雅致文气。",[23,25,26,24,7,77,304,5713,3621,173,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6490eb9fd9675d8251e3cf2c0e894455.jpg",[],{"id":23731,"slug":23732,"title":23733,"dynasty":72,"author":1614,"museum":331,"description":23734,"tags":23735,"thumbUrl":23736,"material":100,"size":100,"collection":100,"collections":23737,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},228873,"gu-mu-han-quan-wen-zheng-ming-228873","古木寒泉","此作用笔清瘦秀雅，枯荣相生的古木虬曲苍劲，或秃枝嶙峋尽显风霜，或残叶攒簇尚存生机。寒泉在乱石间蜿蜒穿绕，浅滩洄波皆以细笔勾勒，淡墨晕染开空寂萧疏的秋意。\n画面兼工带写，以劲挺线条刻画枝干石纹，墨点攒簇为叶，将幽寂林泉化作澹泊丘壑，题诗与画境呼应，把沉静心绪寄寓其中，尽显文人画以景抒怀的清雅意趣。",[23,25,77,7,130,80,79,129,131,193,132,2294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fbd293a709812c7a0bf8b31c0bea29a.jpg",[],{"id":23739,"slug":23740,"title":23741,"dynasty":72,"author":50,"museum":331,"description":23742,"tags":23743,"thumbUrl":23746,"material":100,"size":100,"collection":100,"collections":23747,"showCount":67,"zanCount":11,"manualWeight":43,"mainColor":88},228816,"huo-lang-tu-li-zhou-yi-ming-228816","货郎图立轴","画面里货郎车载满琳琅玩货物什，层层叠叠堆挤着，将巷陌营生的热络尽数铺展。老货郎佝身理货，眉眼带着营生的疲惫，又藏着几分温和。孩童们姿态各异，有的踮脚抬首，目光黏在货架上满是艳羡；有的蹲坐嬉闹，憨态尽显。\n古雅柔润的设色晕开旧时光晕，细劲线条勾勒出鲜活神态，将巷闾烟火日常定格绢素，把市井生计的温热与稚子烂漫揉为一处，意趣盎然，尽得世俗小景的鲜活情致。",[23,24,25,7,28,27,29,4624,1932,15525,23744,23745],"童趣","烟火气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa801a280bf7b02f555d2c58bc6d65ee7.jpg",[],{"id":23749,"slug":23750,"title":23751,"dynasty":72,"author":23752,"museum":331,"description":23753,"tags":23754,"thumbUrl":23755,"material":100,"size":100,"collection":100,"collections":23756,"showCount":67,"zanCount":11,"manualWeight":43,"mainColor":44},228754,"qiu-shu-qing-quan-tu-zhu-lang-228754","秋树清泉图","朱朗","此作取景清寂萧疏，以虬曲苍劲的枯林为画面核心。老木枝桠如蟹爪舒张，细笔勾染残叶、宿苔，将深秋的凋敝之态尽藏笔底。侧锋皴擦的山石与坡岸浅渚错落排布，留白暗喻寒水萦回，寥寥数笔便将郊野荒寒的秋意烘托尽致。\n\n笔墨苍秀兼具，勾勒皴擦不失法度，枯淡墨色铺陈出清旷冷寂的氛围，静穆之中暗含内敛生机，尽显文人山水尚简重韵的审美意趣，将深秋郊野的疏淡幽寂娓娓绘出，笔情墨趣间皆是淡然萧索的秋日诗意。",[23,25,26,7,77,130,131,78,193,35,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd470dac0b1a8ee6ac422dd38eb8afe6.jpg",[],{"id":23758,"slug":23759,"title":23760,"dynasty":93,"author":23761,"museum":331,"description":23762,"tags":23763,"thumbUrl":23764,"material":100,"size":100,"collection":100,"collections":23765,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":44},227436,"han-lin-ju-qin-tu-gao-dao-227436","寒林聚禽图","高焘","美国克利夫兰艺术博物馆藏《寒林聚禽图轴》，因存名款而传为南宋画家高焘传世仅见的一幅绢本设色花鸟画轴。高居翰认为高焘有可能出仕金源，因此该画现被归为金代绘画作品。而笔者主张的观点是：从无史料证实高焘曾叛降金源，且高焘该画本事，更可能蕴涵有抗金时代征候并具有一定积极政治倾向。",[23,24,25,7,28,113,129,614,521,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6da4737cf94d671b6dcd49e048fb69f.jpg",[],{"id":23767,"slug":23768,"title":23769,"dynasty":49,"author":19015,"museum":331,"description":19016,"tags":23770,"thumbUrl":23771,"material":198,"size":780,"collection":100,"collections":23772,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":44},225294,"pi-sha-men-tian-ben-dong-jing-zhen-hai-225294","毗沙门天(本-东京)",[23,985,7,54,29,1039,602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb557f9a0d99f73d9774c80230de36a19.jpg",[],{"id":23774,"slug":23775,"title":23776,"dynasty":18,"author":559,"museum":331,"description":23777,"tags":23778,"thumbUrl":23780,"material":100,"size":100,"collection":100,"collections":23781,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},224588,"mo-song-yuan-hua-liu-xia-xiong-ji-zhou-zou-yi-gui-224588","橅宋苑画榴下雄鸡轴","此作用色明妍雅致，雄鸡独立石上，红冠华羽，昂首睨视，尽显轩昂神气。榴花似火缀于枝桠，与素白百合、娇柔萱花相映，浓烈与清柔交织，层次丰盈。灵透湖石立旁，皴秀古雅，衬得花木禽鸟更见鲜活生机。\n\n工笔绘就却无板滞之感，禽鸟羽毛晕染细腻毫微，花枝俯仰有情，尽显精工雅致。搭配题诗，将雄鸡傲岸品格融于笔端，物性文思相合，构图疏密得宜，静雅鲜活相融，铺展出祥瑞清和的悠然意境，尽显雅致雍容的花鸟意趣。",[23,25,26,7,27,28,113,2137,23779,3579,57,945],"石榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c4db89d3a16251c308996ad3f0f3d35.jpg",[],{"id":23783,"slug":23784,"title":23785,"dynasty":18,"author":361,"museum":331,"description":23786,"tags":23787,"thumbUrl":23788,"material":100,"size":100,"collection":100,"collections":23789,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":44},224427,"nan-shan-ji-cui-tu-wang-shi-min-224427","南山积翠图","《南山积翠图》是清代画家 晚年创作的一副绢本设色画，现收藏于 。\n画面布置有序，层次井然，笔墨清隽秀润，沉静淡雅，毫无躁气，具有温厚而博大之美。\n《南山积翠图》，该作品按远、中、近三景均采用大量的笔墨描绘。\n画作尺幅虽大，用笔却毫不松懈。\n尤其是中景，刻画得更为精谨。\n草木繁茂、山势蜿蜒，却丝毫没有迫塞感。\n山体曲折、盘桓，观者置身画中，沿山间小路仿佛可以直达无人之境。\n此作题“壬子长夏写南山积翠图，奉祝蓉翁太老亲台七襄大寿并祈粲正。\n弟王时敏时年八十有一”。\n由此题款可知，这是画家为人贺寿之作。\n画作近景刻画了松树，松枝翠绿，枝干姿态各异，暗含“贺寿”这一主题。\n画家刻意将松叶所用的墨色加以区分，墨色浓淡不同、虚实相生，使松树充满生机。\n而对近景山石的处理，他主要师法黄公望———用笔苍劲，多矾头，随意的长披麻皴疏松、秀雅。\n不过，他并不满足于师法一家。\n从对画中山石的点苔来看，他亦受王蒙画法的影响———用浓墨表现。\n可见，他在吸收古人之法时并不是一味地照搬，而是融会贯通，有自己的特点。\n与近景相比，中景的山体更险要，重峦叠嶂。\n为烘托山石奇险之势，画家有意将瀑布、雾霭穿插于山间。\n瀑布顺流而下，隐于山林之间；雾霭从远处飘来，势若蛟龙。\n作品虽未画人物，但中景的房屋却暗示了人物的存在。\n整幅画面虽气势磅礴、山势险峻，却并不冷清。\n山中的楼阁似山林主人居住之所，又似游人休息之处；似画家凭栏独赏之所，又似文人品茗、畅谈之阁，具有浓郁的文人画意味。\n远景中间，山峰如柱，是整个画面的气魄所在。\n山脉随景之推深而愈加陡峭，以浓墨绘就的苍松亦愈加繁茂。\n由此，我们可以感受到画家对生命的敬畏和对受画者大寿的美好祝愿。\n作品构图繁复、行笔缜密、墨色沉静，毫无躁气，给人一种清新、温润的感觉。\n王时敏的《南山积翠图》虽在一定程度上沿袭了前人“三段式”的构图，但细看，不难发现其创新之处。\n画面虽分为远、中、近三景，但呈现出一层坡、二层树、三层山的格局。\n而且，画家还有意识地在构图中加入了起伏、开合之势，为后来王原祁“积石为山”的“龙脉”构图理论打下了基础。\n218年8月15日，该画在辽宁博物馆中国古代绘画展中展出。\n王时敏（1592—168），字逊之，号烟客，江苏太仓人。\n祖父王锡爵在明朝万历时期曾任礼部尚书兼 ，父王衡任翰林院编修，他以荫官任太常寺玺卿，升太常寺少卿，后辞官回乡。\n入清后不仕，以书画自娱。\n自少年起绘画即受到董其昌的指授，又认真观摩和研习家藏及董其昌所藏的诸多前代名画。\n他将古代名家丘壑布景、笔墨技法、意境气韵等元素进行梳理，加以规范化和格式化。\n他尤其尊仰黄公望，深得黄氏笔墨浑厚苍茫的真髓，最终形成布景平稳中寓变化，笔墨圆厚、虚和、雄浑、蕴藉的艺术风格，引领着清初摹古的艺术潮流。",[23,25,26,7,364,130,77,28,129,427,169,173,132,733,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac2ddc38beea10fbc512f633554005c.jpg",[],{"id":23791,"slug":23792,"title":23793,"dynasty":18,"author":23794,"museum":331,"description":23795,"tags":23796,"thumbUrl":23797,"material":100,"size":100,"collection":100,"collections":23798,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},224168,"zhu-ju-tu-zhou-xi-gang-224168","竹菊图轴","奚冈","画面以山水衬花木，竹枝挺秀于右上角，涧水蜿蜒穿石而过，丛菊沿溪盛放，白花墨叶相互映衬。山石以淡墨皴擦留白作泉流，笔致松秀灵动，菊花以细笔勾勒花瓣，淡墨晕染花叶，清妍雅致。\n\n行书长题与画作相映，寄寓爱菊慕寿的文人雅趣。整体意境清寂高旷，将花木清隽与山水静逸融为一体，淡墨浅彩间尽显幽淡冲和的林下之风，是文人花鸟画中诗画合璧的逸品。",[23,25,26,7,28,130,31,440,193,132,287,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc656bde3d4ac43914a891d3b7e6eef.jpg",[],{"id":23800,"slug":23801,"title":23802,"dynasty":93,"author":50,"museum":236,"description":23803,"tags":23804,"thumbUrl":23806,"material":486,"size":23807,"collection":157,"collections":23808,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":44},223605,"qiu-lin-fang-du-tu-zhou-yi-ming-223605","秋林放犊图轴","画面描绘了一个男孩在岸边与平坡之间的秋林中给牛溪喂食的场景。 牛肥壮，孩子调皮。",[23,24,25,7,28,27,2557,170,23805,8495,79],"牛犊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c9fbfac81e21e219709419b2fe821c.jpg","96.3＊53.2cm",[157,138,185],{"id":23810,"slug":23811,"title":23812,"dynasty":93,"author":50,"museum":74,"description":23813,"tags":23814,"thumbUrl":23816,"material":255,"size":23817,"collection":100,"collections":23818,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":44},223426,"song-ren-song-yan-xian-guan-zhou-yi-ming-223426","宋人松岩仙馆轴","静处江山，层楼逶迤。长松之下，人物容与于其间。全幅画山，尽用焦墨钩勒，近轮廓处，稍稍以淡墨横加皴纹，隐约几不可辨。画树极细致而详尽，夹叶点中并及筋络。人物亦细笔，劲挺而须眉毕具。无间远近，同此一法。与世传唐画有脉息相通处，或是宋人所摹旧本。",[23,25,26,7,77,130,129,378,23815,269,253,132,522,173],"岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29c46de45092ebaff5ce785caa37a19.jpg","171x115.7公分",[],{"id":23820,"slug":23821,"title":23822,"dynasty":18,"author":1048,"museum":331,"description":1049,"tags":23823,"thumbUrl":23824,"material":214,"size":100,"collection":101,"collections":23825,"showCount":67,"zanCount":419,"manualWeight":43,"mainColor":88},223292,"wu-yan-shi-zheng-ban-qiao-223292","五言诗",[23,25,26,7,97,79,77,472,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3c5a5bdcf2543aa3e72177efe971d9.jpg",[101],{"id":23827,"slug":23828,"title":3420,"dynasty":18,"author":3421,"museum":331,"description":3422,"tags":23829,"thumbUrl":23830,"material":100,"size":100,"collection":100,"collections":23831,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},223090,"shui-hu-ren-wu-ren-xun-223090",[23,25,26,7,28,27,29,1039,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea61dcdc52acaa47132be4176a6acda0.jpg",[],{"id":23833,"slug":23834,"title":1381,"dynasty":72,"author":14625,"museum":51,"description":23835,"tags":23836,"thumbUrl":23837,"material":255,"size":23838,"collection":138,"collections":23839,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},222533,"shan-shui-zhou-wang-duo-222533","王铎认为“创奇景先行”，又回到北宋的山水题材，表达对董其昌（1555-1636）信条的不满：“考虑笔墨之妙，风景无法与绘画竞争。” 这幅画在王去世前一年完成，雄辩地表明了他对绘画内容的喜爱。与绘画相比，他的书法更出名，王将 10 世纪和 11 世纪风景的丰富细节简化为简单的图形惯例。轮廓分明的树木，许多没有叶子，粗短的树枝；山峰顶上的示意图；轮廓鲜明的岩层，无不让人想起十世纪的范宽大师。突出人物、建筑、",[23,25,26,7,77,129,131,733,132,170,1419,304,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4efcbdf874c85333870a65dcf74128b.jpg","117.2 x 54.9 厘米",[138,185],{"id":23841,"slug":23842,"title":23843,"dynasty":72,"author":23844,"museum":74,"description":23845,"tags":23846,"thumbUrl":23847,"material":1320,"size":23848,"collection":138,"collections":23849,"showCount":67,"zanCount":11,"manualWeight":43,"mainColor":88},222153,"chun-qi-tu-zhou-gu-yi-de-222153","春绮图轴","顾懿德","顾懿德（?～1633后） 明末松江派画家。字原之。华亭（今上海松江）人。明万历时中书舍人顾正谊之子（或说为侄）。家资丰厚，以父遗产银三万两，在青浦营造役田万亩，以成父志，被任为光禄寺署正。\n善画山水，画承顾正谊家传而受董其昌影响，仿王蒙，行笔秀洁，也画大士像。董及陈继儒颇赏之。",[23,24,25,26,7,268,28,129,132,170,134,193,269,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdbc69544851c619a4c424a6721ef6b.jpg","51.7x32.4厘米",[138,158],{"id":23851,"slug":23852,"title":23853,"dynasty":72,"author":1614,"museum":74,"description":13516,"tags":23854,"thumbUrl":23855,"material":255,"size":23856,"collection":138,"collections":23857,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":88},222006,"lv-yin-cao-tang-wen-zheng-ming-222006","绿荫草堂",[23,25,269,193,129,252,56,253,1617,335,28,304,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4007e2b20e82443bd2644ea7ebe072f.jpg","纵80.5厘米，横29厘米",[138,158],{"id":23859,"slug":23860,"title":23861,"dynasty":72,"author":13420,"museum":10279,"description":23862,"tags":23863,"thumbUrl":23864,"material":23865,"size":23866,"collection":100,"collections":23867,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":100},220726,"chong-shan-shui-xie-tu-li-zai-220726","崇山水榭图","李在，字以政，福建莆田人。明宣德时被征召入宫，与谢环、倪端、石锐、戴进等绘画名手同为仁智殿待诏。东京国立博物馆现藏《破墨山水图》上有日本室町时代画圣画僧雪舟的自赞，谓曾入明朝向当时极具声望的李在学习设色与破墨之法，可见李在画名曾远播东洋。\n\n此幅山水为李在将南、北宋绘画传统融会于一体的成果。近景右侧的蟹爪树向左方斜出，下有一策杖行人与童子步上木桥，似引导观者进入画中的理想世界。后方主山向上蜿蜒攀升，深具北宋巨障山水的体量感，但位置稍偏于画面右侧，将画幅左侧让给河流、远山，层层后退，表现山水的深远感。画中各种人物活动，清晰可见，中心山腰处有两名行人头戴斗笠，手持拐杖，由山后转出，随山径而下；中景处有两名文士造访山间凉亭，亭前则有童子洒扫；山脚处则有一人于水榭中读书。人物比例显得略大，但更拉近了观者与画面的距离，为画作带来亲密感与活泼生机。此外，此画的建构模式，例如充满动势的主山、中景处雾气蒸腾的松林、前景的蟹爪树、各式点景人物等，亦见于李在的其他作品，例如《山庄高逸图》与《山村图》。惟此《崇山水榭图》的皴染更为湿润，山石上骚动的卷云皴近乎隐没于墨染之中，并不明显，而中景右侧的两棵劲挺松树，则接近南宋的松树样式，于李在的传世立轴中较为少见。",[23,25,77,130,7,129,270,134,170,29,193,132,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3089547ba99e8fe6ce6a1d45917564c.jpg","水墨,设色,绢本,立轴","画心：124.3×59.4厘米 装裱：239.2×77.5厘米",[],{"id":23869,"slug":23870,"title":23871,"dynasty":72,"author":17973,"museum":10279,"description":23872,"tags":23873,"thumbUrl":23874,"material":23875,"size":23876,"collection":100,"collections":23877,"showCount":67,"zanCount":43,"manualWeight":43,"mainColor":100},220725,"xie-an-xiang-guo-xu-220725","谢安像","郭诩（1456-约1529），明代画家。字仁弘，号清狂道士，泰和（今属江西）人。少年时为博士弟子，后弃绝功名，专志诗文书画。喜游历，曾遍游名山胜地，画艺大进。擅山水、人物，作品风格呈粗细两种面貌，前者所画多信手勾染，线条粗劲，水墨淋漓，造型简括秀逸，生动传神，画风简逸狂放。后者画法工整，线条圆劲流畅，画风细致俊雅。同时期画家沈周、吴伟、杜堇等，都推重其艺术造谐。有《杂画册》、《琵琶行图》、《东山携妓图》等传世。",[23,25,26,7,985,77,29,34,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6865ffbaed9c1e5bb5f58517d72ed18c.jpg","水墨,纸本,立轴","画心：118.5×42厘米 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北上会试，不第告终。与石涛交往友善，相互切磋画艺。石涛与梅清，皆有“黄山派”巨子的誉称。后遭家落，屏迹稼园，郁郁无所处，寄情诗画自娱。屡登黄山，观烟云变幻，银涛起伏，印心手随，景象奇伟。笔法松秀，墨色苍浑；后人称 梅清、梅庚、石涛，戴本孝等为黄山派。传世作品有《山村清景图》、《黄山图》、《黄山十九景图》、《黄山炼丹台图》等。",[25,7,77,129,29,427,35,130,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4980073cdbde0a994569769bb864028f.jpg",[138],{"id":24233,"slug":24234,"title":24235,"dynasty":72,"author":24236,"museum":236,"description":24237,"tags":24238,"thumbUrl":24239,"material":486,"size":24240,"collection":138,"collections":24241,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":44},237650,"liu-yin-shuang-jun-zhou-hu-cong-237650","柳荫双骏轴","胡聪","描绘柳荫下两匹骏马之态，形象生动，神态逼肖；二柳树旁还斜探出一枝桃花，使湖石花竹相互掩映，一派湖光春色。整幅画面刻画细腻，用笔工整，功力深厚，继承南宋院体画风格。右上款署：“直武英殿东皋胡聪写。”",[24,25,26,7,27,28,1126,196,392,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8671533baa0d9af224242aa2575cf21.jpg","纵101.2cm，横50.5cm",[138,158],{"id":24243,"slug":24244,"title":24245,"dynasty":18,"author":24246,"museum":74,"description":24247,"tags":24248,"thumbUrl":24249,"material":214,"size":24250,"collection":138,"collections":24251,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":44},237237,"bai-lu-quan-tu-zhou-fang-shi-shu-237237","白鹿泉图轴","方士庶","方士庶（1692—1751）字循远，一作洵远，号环山，又号小狮道人，一作小师道人，新安（今安徽歙县）籍，家维扬（今江苏扬州）。清代画家。\n能诗善画，书法严密端秀，绘画笔墨敏洁灵秀，气势跌宕飞动，谓之为王原祁后山水第一。受学于黄鼎，山水用笔灵敏，气晕骀宕，早有出蓝之目，时称妙品。兼善花卉写生。其得意之作，皆钤“偶然拾得”小墨印。复以书法名芜城。行楷结构严密，纯学董其昌。惜中寿而殁。亦工诗，有《环山诗钞》。是“娄东派”卓有成就的名家。",[25,26,7,77,130,129,269,170,132,686,778,522,17092,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd777ea183e5a3b1907c7c59e0962cf28.jpg","369x102",[138],{"id":24253,"slug":24254,"title":1381,"dynasty":18,"author":24255,"museum":236,"description":24256,"tags":24257,"thumbUrl":24258,"material":745,"size":24259,"collection":138,"collections":24260,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":88},237121,"shan-shui-zhou-cheng-sui-237121","程邃","全图以枯笔焦墨表现丘峦林壑，带有程邃典型的笔墨特征。其渴笔干墨的行笔线条刚劲有力，具有以书入画的金石味，将山石树木荒拙苍老的筋骨之美表现得别有情致，从而成功地勾画出作者理想中那种摆脱尘嚣缰锁、陶然世外的高人雅境。",[25,26,129,77,130,7,252,170,733,172,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aea53b6cd918a5d89fec19f2000ba36.jpg","纵64.6厘米，横29.4厘米",[138],{"id":24262,"slug":24263,"title":24264,"dynasty":18,"author":4998,"museum":236,"description":24265,"tags":24266,"thumbUrl":24267,"material":1573,"size":24268,"collection":138,"collections":24269,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":88},236412,"fang-li-cheng-yan-jing-zhou-wang-yuan-qi-236412","仿李成烟景轴","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[25,26,7,77,130,945,129,132,170,733,193,173,3880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[138,158,101],{"id":24271,"slug":24272,"title":24273,"dynasty":72,"author":21640,"museum":331,"description":24274,"tags":24275,"thumbUrl":24276,"material":100,"size":100,"collection":39,"collections":24277,"showCount":23999,"zanCount":11,"manualWeight":43,"mainColor":44},236411,"er-xian-zhou-peng-shun-xiang-236411","二仙轴","画面以淡赭铺底，枯木虬枝缀着寒蕊，晕开清寂幽远的林下氛围。\n\n长仙峨冠长髯，宽袍曳地，持拂尘垂眸含笑，神色悠然和煦，似在静听童子言语。赤足短褐的童子仰首抬望，憨态里满是敬慕，灵动身形衬出稚拙意趣。\n\n画作以顿挫写意的墨线勾勒衣纹，笔力苍劲洒脱，将布料垂坠褶皱尽显，人物神态刻画入微。仙风道骨与童真稚趣相映成趣，以简驭繁的水墨写意间，氤氲出飘然出尘的世外仙气，把高人隐士的闲适清雅铺陈开来，尽显传统人物画的写意神韵。",[25,26,7,77,28,29,7332,18484,170,132,985],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb06d168bc0594d94200701bd45eefb2.jpg",[39,185],{"id":24279,"slug":24280,"title":24281,"dynasty":18,"author":4669,"museum":236,"description":24282,"tags":24283,"thumbUrl":24285,"material":2583,"size":24286,"collection":138,"collections":24287,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":88},236391,"zhong-lin-die-zhang-zhou-wang-hui-236391","重林叠嶂轴","“虞山画派”大家王翚(1632－1717)一生的画腊极长，创作精力旺盛，各阶段绘画风格的变化亦较为明显。对此，近代鉴藏大家吴湖帆(1894－1968)题本展王石谷《仿巨然夏山烟雨图卷》中，曾有极为精辟的剖析：“王石谷子(王翚)年四十左右，在娄东王奉常(王时敏)家临摹宋元名迹，艺乃大成，间为太常代笔，亲受指点，益臻神化，故石谷画当以四十至五十为极诣，五十至六十自具面目，六十至七十渐落俗套、每失韵致，七十至八十有衰颓气，八十以外又复变化入神，用笔如万岁枯藤，苍辣兼具，有空前绝后之妙。后人之诋諆石谷者，盖多见其六十以后八十以前作也。”梅景书屋主人之评，的为灼见，其对石谷画风的如数家珍，实得益于其本人鉴藏之丰厚。\n众所周知，近现代的江南地区，无疑是“四王”书画流散与聚集的重镇。不仅吴氏如此，他如庞莱臣、顾文彬、钱镜塘等近现代大藏家亦然，购藏“四王”精品之机会甚多。而他们的旧藏，之后成为了上海博物馆馆藏“四王”的主要来源。以王翚为例，不仅数量逾百，且自成体系，如自王氏四十岁至八十六岁的四十七年中，除四十三、五十六、五十七、五十八、六十及七十六岁这六年无藏品外，其余则可按系年排列。而传世本就不多的王翚四十岁前早期作品，上海博物馆亦拥有重要画作若干。其二，上海博物馆所藏王翚各时期作品，皆有诸多精品与代表作，如四十岁前《早年山水图轴》、《十里溪塘图轴》，四十至五十岁间的《仿曹知白西林禅室图卷》、《元人高韵图轴》、《小中现大图册》、《黄鹤传灯图卷》、《仿关仝溪山晴霭图卷》、《仿黄公望富春山居图卷》，五十至六十岁间的《溪阁晤对图轴》、《重江叠嶂图卷》，六十至七十岁的《泰岳松风图轴》、《西斋图卷》、《寒林雅趣图卷》，七十至八十岁的《六境图卷》、《嵩山草堂图轴》，八十以后如《唐人诗意图轴》、《仿大痴山水图轴》等。其系统性与代表性，对全面把握与理解王翚一生的绘画风格演变，提供了良好的实物基础，这也是本展得以举办的主要缘由。\n另一方面，察考上博王翚作品中所涉及的相关人物，可以发现，这些或受赠者，或鉴题者，在王氏的艺术生涯以及人生轨迹的转变中扮演了重要的角色。同时，亦可注意到，伴随着王翚交游圈的不断拓展，其从艺心态随之产生了微妙的变化。而这种转变，与上述吴湖帆所析其各阶段画风特点，亦有某种程度上的关联，也折射出王翚与同时代如王原祁、八大山人、恽寿平等艺术家在个性、气质方面的些许差异。",[25,26,7,77,130,129,132,170,377,24284,3305],"重林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a0a8445ee5579556a829c666e132ec.jpg","纵129.7cm，横44.1cm",[138,185],{"id":24289,"slug":24290,"title":20082,"dynasty":18,"author":11908,"museum":331,"description":24291,"tags":24292,"thumbUrl":24293,"material":100,"size":100,"collection":100,"collections":24294,"showCount":23999,"zanCount":419,"manualWeight":43,"mainColor":88},235673,"huang-shan-tu-zhou-mei-qing-235673","《梅清黄山图轴》是清代画家梅清创作的一幅纸本设色画。\n图绘被世人称为“黄山绝胜处”的文殊台。\n群峰松林以平行的斜线构成，白云蒸腾而上，气势雄浑。\n作者用豪放、泼辣的笔法突出了黄山奇、峻、险、秀的意境，山石以皴勾画，繁而不乱，松树枝叶墨气浓郁，独树一帜，别开生面。\n本幅自题诗一首，款署：“瞿山梅清并题”，钤“瞿山清”白文印、“渊公”朱文印。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[25,26,7,77,130,129,427,173,1651,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e76d80fe37e232fb28534fb90d10bcd.jpg",[],{"id":24296,"slug":24297,"title":24298,"dynasty":72,"author":3690,"museum":331,"description":12834,"tags":24299,"thumbUrl":24300,"material":198,"size":780,"collection":100,"collections":24301,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":88},235480,"lan-shi-zhou-xiang-sheng-mo-235480","兰石轴",[25,7,77,28,97,80,79,304,1051,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8e1ec05a2947cf61302ad7de572a69.jpg",[],{"id":24303,"slug":24304,"title":11764,"dynasty":18,"author":24305,"museum":331,"description":24306,"tags":24307,"thumbUrl":24309,"material":198,"size":780,"collection":100,"collections":24310,"showCount":23999,"zanCount":11,"manualWeight":43,"mainColor":88},235318,"hua-niao-tu-zhou-ling-heng-235318","凌恒","画面留白疏朗，坡岸生棘草野卉，红实垂缀枝梢，暗涌浅秋生机。四只小雀栖于柔条之上，或整羽、或顾盼，灵动娇憨。石坡间斑鸠独立，翎毛晕染细腻柔和，神态安然娴静。\n\n此作工写相融，敷色清雅克制，禽鸟形神兼备，草木勾勒秀逸简淡，以极简布景烘托出郊野幽寂安闲的氛围，将荒陂秋日的恬然生机藏于笔底，尽显平和雅致的林下意趣。",[25,7,28,27,113,151,115,58,3024,6462,24308],"地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fd4ecfe92a7ecfebd88f9ec0e17f39.jpg",[],{"id":24312,"slug":24313,"title":24314,"dynasty":18,"author":8994,"museum":236,"description":24315,"tags":24316,"thumbUrl":24317,"material":100,"size":100,"collection":100,"collections":24318,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":88},234790,"bu-duo-hou-song-po-du-zuo-tu-xiang-zhou-cha-shi-biao-234790","补多侯松坡独坐图像轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水，为海阳四家之一。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[25,7,77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岁，画中有作者自识：“锦堂、风沂两兄嘱颐写照，更许在坐，谓之三友，幸甚幸甚。”有清钟德祥的两句题跋：“不须对月自三人，自有须眉自写真，脱去头巾衣扫塔，似俞清老段祛尘。”“皆僧衣，其有所寄托耶？”\n画中的3 人席地而坐，背后左侧有一圆榻一画筒，画筒里树有书卷画轴，榻上也堆着数卷，寥寥数笔把背景描绘得显露无疑。画中中间坐着的一人为曾凤寄，左向坐的人为朱锦堂（朱锦裳，上海著名书画鉴藏家，九华堂笺扇店主人，为任颐的好友），右向者为任颐自己。画中三人都穿着僧衣。这里面据说还有一段原由：光绪甲申三月为明朝灭亡240年祭，而且当时的晚清政治腐败，社会动荡，所以任颐绘三友图，并且身穿僧衣，脱去头巾，大有书画寄志的深意。画中三人神采自若，志气昂扬，形露于笔端。\n而是继承宋元而又融汇着民间的白描写真和西画的铅笔速写法，显得人体结构比例准确而充实。衣纹多方折，纵横迭出，似山石之皴笔，大有岿然独坐之意。\n任颐在这幅《三友图像》中融入了自己的志气，把那种对社会不满而又无可奈何之气刻画得淋漓尽致。\n任颐（1840～1896 年），初名润，字小楼，后字伯年，别号山阴道上行者、山阴道人，浙江山阴人。其父鹤声，工肖像，所以任颐自幼得其父指授，后移居宁波，师事任熊、任薰。中年定居杭州，以卖画为生。任颐是一个全才型画家，于花鸟、人物、山水无所不精，尤以肖像见长。代表作有《钟馗》、《女娲炼石》、《关河一望萧索》、《苏武牧羊》等。",[24,25,26,7,77,28,29,6667,24357,79,80,97,27,304],"书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997cb5d2b0b5987d9282370e10f50eb4.jpg","纵64.5 厘米，横36.2 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52.5公分",[],{"id":24399,"slug":24400,"title":24401,"dynasty":207,"author":50,"museum":331,"description":24402,"tags":24403,"thumbUrl":24404,"material":100,"size":100,"collection":100,"collections":24405,"showCount":23999,"zanCount":11,"manualWeight":43,"mainColor":44},231912,"luo-han-tu-di-shi-qi-zun-zhe-yi-ming-231912","罗汉图（第十七尊者）","达摩多罗尊者右手持禅杖，左手持拂子，身背经箧，头罩华盖， 奔走途中，身旁猛虎相随。前方可见无量光佛坐于塔中， 另有粉色祥云前托佛塔，延绵而下至世间， 这种画法来自汉地明代罗汉画像。上界有光芒四射的白度母化现。",[25,26,24,7,27,28,54,29,10262,6474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d2ff6194009c658f1f937824ec5ce2.jpg",[],{"id":24407,"slug":24408,"title":24409,"dynasty":207,"author":1327,"museum":74,"description":24410,"tags":24411,"thumbUrl":24413,"material":99,"size":17269,"collection":100,"collections":24414,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":44},231405,"si-ji-ping-an-tu-li-kan-231405","四季平安图","李衎性情温和淳厚，人不见其喜愠之色，潜心于画，其画风亦较为平淡恬静。他的绘画得到帝王的赏识，曾奉诏图写嘉熙殿壁，并以著色竹画殿堂御屏。\n李衎以画竹著名，他初学王庭筠，后上追文同，又深入南方竹乡进行观察，特别是借出使安南（今越南）之机，详细辨认各种竹子的生性姿态，从中获益甚多。他能画双勾著色竹，又善墨竹，笔法精谨，意态生动，所作竹好取整枝全景，且以风霜雨露等自然气候烘托竹子挺拔刚劲的个性。\n李衎毕生致力于画竹，并著有《竹谱》，分画竹谱、墨竹谱、竹态谱等节，对竹之结构品类、生长规律及画竹源流技法详加探讨，记录其心得，深感想要画艺精湛十分不易。\n李衎强调画竹需深入观察，初学必守法度，久之可达于规矩绳墨之外，切忌信笔涂抹。\n他还分析竹之品类及生长规律，深入浅出地论述画竹方法，如他在“画竹谱”中论及画竹位置上的五忌为“冲天撞地、偏重偏轻、对节排竿、鼓架胜眼、前枝后叶”，“冲天撞地者，谓梢至绢头，根至绢末，陋塞填满者。偏轻偏重者，谓左右枝叶，一边偏多，一边偏少，不停趁者，对节者，谓各竿节节相对。排竿者，谓各竿匀排如窗棂。鼓架者，谓中一竿直，左右两竿交叉如鼓架者。胜眼者，谓四竿左右相差匀停，中间如方胜眼者。前枝后叶者，谓枝在前、叶却在后，或枝叶俱生在前，俱生在后者”。",[24,25,26,7,77,1174,31,601,24412],"竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa487b54a498557293ce2008ea956aa1e.jpg",[],{"id":24416,"slug":24417,"title":15096,"dynasty":207,"author":695,"museum":74,"description":24418,"tags":24419,"thumbUrl":24420,"material":182,"size":24421,"collection":100,"collections":24422,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":44},231382,"shuang-song-tu-wu-zhen-231382","全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。\n两松平地直立，上顶天，下立地，几乎占据了整个画面。两树均挺拔茂盛、枝叶桠槎、形势奇古。左松树身中下部曲成弧形，卧于地，中部挺直、劲健，顶部突然探向右方；右松直立挺拔，上部一个近于直角的弯曲，伸向右，于左松一树枝的上方又一个近于直角的弯曲，然后冲向高空。这样两松空中交插，成为X形，一种挺拔、孤傲、相依相扶的形象展示于画面。两松枝叶间点缀以清溪茅舍、远山丛树，更显出双松的高大、雄伟。\n画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。",[25,26,77,130,7,129,427,132,522,170,8495,3276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf0fcc10dffdd8cca23f577240f388d.jpg","纵180厘米横111.4厘米",[],{"id":24424,"slug":24425,"title":24426,"dynasty":93,"author":50,"museum":74,"description":24427,"tags":24428,"thumbUrl":24433,"material":214,"size":24434,"collection":100,"collections":24435,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":44},231344,"shan-shui-tu-shen-shan-si-he-tu-yi-ming-231344","山水图（深山饲鹤图）","此幅绘山岭复叠，村落参差，茅亭敞榭，作荷塘泛舟，竹院饲鹤诸景。本图深得高远之势，又用郭熙笔法画山石，老树。细观之又与传荆浩的庐山图有一定的图式联系，当是南宋人的山水作品。",[24,25,26,129,7,77,130,24429,855,24430,16798,24431,24432,225,132,131,134,193,377],"山岭","茅亭","泛舟","竹院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88982fae3a7fc957b3ec9227a4bfe95.jpg","172.7x81.4",[],{"id":24437,"slug":24438,"title":24439,"dynasty":72,"author":9539,"museum":331,"description":24440,"tags":24441,"thumbUrl":24443,"material":100,"size":100,"collection":100,"collections":24444,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":44},231016,"ju-shi-ming-qin-tu-li-yin-231016","菊石鸣禽图","《菊石鸣禽图》写山坡之上的奇石旁，秋菊盛开，一枯枝高挑，其上小雀正回头顾盼，呜叫声声。\n画中充分体现了李因笔力雄健苍劲、水墨挥洒淋漓的特点。\n坡面及奇石以淡墨渲染，质感丰富。\n菊花写意生动，用笔酣畅。\n小鸟造型准确，兼工带写，笔法细致。\n《菊石鸣禽图》是中国清代画家 的国画作品。\n该画为立轴，绫本，墨笔，纵129．4厘米，横47．8厘米，旅顺博物馆藏。\n李因（1616—1685），清代女画家。\n字今是，又字今声，号是庵，又号龛山逸史，浙江钱塘（今杭州）人。\n留寓海宁。\n画家葛徵奇之妾。\n她能诗能画，善山水、花鸟，亦工芦雁。\n画得陈淳之法，多用水墨，苍劲无闰阁气。\n其夫每加以题跋，常云：“花鸟我不如姬，山水姬不如我。\n”可见其花鸟画在山水画之上。\n葛去世后，李因以卖画为生。\n有《竹笑轩吟草续稿》存世。\n传世作品有《菊石鸣禽图》、《芙蓉鸳鸯图》等。",[23,24,25,7,77,113,440,601,24442],"鸣禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3607d5341dc4c30287b5215604dfbf0d.jpg",[],{"id":24446,"slug":24447,"title":24448,"dynasty":18,"author":10609,"museum":331,"description":24449,"tags":24450,"thumbUrl":24451,"material":198,"size":780,"collection":100,"collections":24452,"showCount":23999,"zanCount":11,"manualWeight":43,"mainColor":704},230290,"shu-fa-dui-lian-ceng-guo-fan-230290","书法对联","曾国藩（1811年11月26日－1872年3月12日），初名子城，字伯涵，号涤生 ，宗圣曾子七十世孙。中国晚清时期政治家、战略家、理学家、文学家、书法家 ，湘军的创立者和统帅。\n曾国藩出生普通耕读家庭，自幼勤奋好学，6岁入塾读书。8岁能读四书、诵五经，14岁能读《周礼》《史记》《文选》。道光十八年（1838年）中进士，入翰林院，为军机大臣穆彰阿门生。累迁内阁学士，礼部侍郎，署兵、工、刑、吏部侍郎。与大学士倭仁、徽宁道何桂珍等为密友，以“实学”相砥砺。太平天国运动时，曾国藩组建湘军，力挽狂澜，经过多年鏖战后攻灭太平天国。其一生奉行为政以耐烦为第一要义，主张凡事要勤俭廉劳，不可为官自傲。他修身律己，以德求官，礼治为先，以忠谋政，在官场上获得了巨大的成功。",[23,80,3362,97,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f9213c33205e6a0ffda83025ecfe4a.jpg",[],{"id":24454,"slug":24455,"title":24456,"dynasty":18,"author":19321,"museum":331,"description":19322,"tags":24457,"thumbUrl":24458,"material":198,"size":780,"collection":100,"collections":24459,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":88},230136,"lin-mi-fei-pai-pin-yi-wei-ai-xin-jue-luo-xuan-ye-230136","临米芾（拍品疑伪）",[23,80,97,945,79,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08abe9b0d1b45a0e2b049510cb17c466.jpg",[],{"id":24461,"slug":24462,"title":2002,"dynasty":18,"author":7556,"museum":331,"description":24463,"tags":24464,"thumbUrl":24465,"material":100,"size":100,"collection":100,"collections":24466,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":44},228953,"shan-shui-li-zhou-yuan-jiang-228953","此作用高远、平远之法铺展丘壑，烟岚轻笼层叠峰峦，虚实掩映间晕开幽寂氛围。幽谷飞瀑垂落，亭台楼阁错落栖于崖畔水岸，尽显雅致逸趣。近岸林木扶苏，渔舟泛于涟漪之上，渔人悠然摇橹，野逸生机跃然绢素。\n\n笔墨苍秀兼工带写，山石皴擦兼具厚重质感与氤氲气韵，设色古雅沉静，糅合院体的精细整饬与文人山水的萧散意趣，将江南山林温润空濛的灵秀之态描摹尽致。观之如临林泉，恍可听瀑声、闻棹歌，尽得山水意境之美。",[25,7,28,129,169,170,733,349,377,1157,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffacdf90198a83bdeccf8510a9ccdbe3d.jpg",[],{"id":24468,"slug":24469,"title":24470,"dynasty":72,"author":50,"museum":331,"description":24471,"tags":24472,"thumbUrl":24473,"material":100,"size":100,"collection":100,"collections":24474,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":44},228918,"he-tang-shuang-lu-tu-yi-ming-228918","荷塘双鹭图","画面饱满铺陈，粉荷或绽苞或盛放，枯荣荷叶交错层叠，蒲草芙蕖错落其间，尽显盛夏荷塘的蓬勃野趣。两只白鹭娴静错落，一只昂首远眺，一只曲颈理羽，将幽寂安然的意趣藏在留白里。\n古绢底色晕染出沉雅氛围感，设色柔和雅致，禽鸟素白羽翼与粉荷暖色相互映衬，蜻蜓水鸟掠飞其间，为静谧荷塘添灵动生机。工写兼施，花鸟刻画细致入微，草木晕染写意空灵，将江南水泽的清宁诗意凝于绢素，藏着澹泊闲静的池居幽情。",[23,25,24,26,7,28,27,113,32,307,1891,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d11c6095b8c54fa3490081eeda3ec70.jpg",[],{"id":24476,"slug":24477,"title":24478,"dynasty":207,"author":4104,"museum":331,"description":24479,"tags":24480,"thumbUrl":24481,"material":100,"size":100,"collection":100,"collections":24482,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":88},228161,"qiu-jing-chun-que-tu-wang-yuan-228161","秋景鹑雀图","此作为水墨花鸟精品，以全景式铺陈秋日小景。枝桠虬劲舒展，数只雀鸟或振翅翻飞、或栖枝理羽，灵动鲜活，将秋空的清寂晕开几分生机。坡石苍朴古拙，枯笔写意勾勒尽显嶙峋质感，旁侧竹篁挺秀、野菊含芳，笔墨秀雅细腻，晕染间尽显草木清疏之态。\n\n坡下鹌鹑伏于浅草间，羽色纹理描摹入微，憨态尽显。整作纯以水墨绘就，摒去设色浮华，以浓淡干湿变化表现物象肌理，工写相融，既有禽鸟刻画的精工雅致，又有花木坡石的写意苍润，将秋日郊野的清旷意趣与灵动生机揉合一处，尽显清淡古雅的文人意韵。",[23,25,26,7,77,27,113,31,440,35,151,7145,79,1275,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5177d8103b4a3a8119cd7797cf489d1.jpg",[],{"id":24484,"slug":24485,"title":24486,"dynasty":93,"author":50,"museum":331,"description":16166,"tags":24487,"thumbUrl":24488,"material":100,"size":100,"collection":100,"collections":24489,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":44},227390,"e-mi-tuo-fo-tu-li-zhou-yi-ming-227390","阿弥陀佛图立轴",[23,25,26,7,54,27,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2aba528771369b65c6c3bf67051e1b3.jpg",[],{"id":24491,"slug":24492,"title":24493,"dynasty":18,"author":11908,"museum":331,"description":24494,"tags":24495,"thumbUrl":24496,"material":100,"size":100,"collection":100,"collections":24497,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":44},224340,"shan-shui-jing-pin-mei-qing-224340","山水精品","此作用笔清劲老辣，山石以干笔枯皴勾勒轮廓，方折奇崛，尽显峭拔之态。虬松横斜苍劲，枝桠如铁，掩映处茅舍幽居，恍若世外灵台。\n\n画作以虚衬实，下半幅大片留白以代深谷云岚，将山谷幽邃辽远尽数托出，虚实相生间，把山林空寂超逸的禅意缓缓铺展。题诗与笔墨相映，文气郁郁，尽显画师胸中丘壑，淡远静穆里，藏着出世高蹈的雅逸襟怀。",[23,25,26,7,77,130,129,35,377,378,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a46e171cbd8812b39da98beb1afde6.jpg",[],{"id":24499,"slug":24500,"title":24501,"dynasty":18,"author":6942,"museum":74,"description":6943,"tags":24502,"thumbUrl":24504,"material":14819,"size":14820,"collection":100,"collections":24505,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":88},223092,"hua-dong-fang-chi-guo-tian-wang-xiang-zhou-yao-wen-han-223092","画东方持国天王像轴",[23,472,54,27,28,7,4209,170,132,151,777,79,24503,6473],"宗教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc165691c4bc3ab130621b6e655775497.jpg",[],{"id":24507,"slug":24508,"title":24509,"dynasty":18,"author":7755,"museum":3222,"description":24510,"tags":24511,"thumbUrl":24512,"material":1573,"size":24513,"collection":84,"collections":24514,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":44},222660,"meng-hu-tu-zhou-gao-qi-pei-222660","猛虎图轴","水墨绘猛虎背部示人，皮毛黑棕相间，体格肥硕，虎腿如柱般粗壮，尾巴如鞭子似的拖在地，四周杂草丛生，树森茂盛。高其佩，字韦之，号且园，清代官员、画家，工诗善画，所绘人物山水，均苍浑沉厚。",[23,25,14837,28,5713,241,170,1275,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75beb1bc24481f5fe3898790ad8d473c.jpg","41cmx85cm",[84,158],{"id":24516,"slug":24517,"title":8535,"dynasty":72,"author":4145,"museum":33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画中拾得衣著褴褛，赤足而立，手执扫帚，口张眉扬，神情奇异。疯癫拓落的形象，以写意狂放的笔调，大肆挥洒，整体流畅有致，宛如神来之笔。",[25,26,7,77,29,80,79,97,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f956757995f65c01ff0229243eb84a.jpg","117.8x54.4",[39],{"id":24585,"slug":24586,"title":24587,"dynasty":18,"author":24588,"museum":74,"description":24589,"tags":24590,"thumbUrl":24591,"material":37,"size":24592,"collection":84,"collections":24593,"showCount":23999,"zanCount":11,"manualWeight":43,"mainColor":44},218812,"liang-ji-liu-zhou-shen-qing-lan-218812","良吉骝轴","沈庆兰","画中良驹伫立绢素之上，棕褐皮毛温润如釉，鬃尾如墨线垂落，拂过坚实的蹄踝。其姿态从容，双目沉静，既见温顺之态，亦藏健硕筋骨之美。笔触细腻处，连皮毛的光泽与蹄质的纹理都清晰可辨，尽显工笔之精。背景素净无饰，更衬出马匹的主体地位，仿佛能感受到它沉稳的呼吸。旁缀题识与朱印，墨色与丹红相映，为画面添了几分古雅的文气。整幅作画笔法工致却不刻板，形神兼备间，藏着对生灵的细致观察与脉脉温情，是清代工笔畜兽画中颇具意趣的一笔。",[24,25,26,7,27,28,196,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15b23658366c2bd9b62d128c660491ae.jpg","161.1x107.5cm",[84],{"id":24595,"slug":24596,"title":24597,"dynasty":18,"author":24598,"museum":319,"description":24599,"tags":24600,"thumbUrl":24601,"material":82,"size":100,"collection":138,"collections":24602,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":88},218096,"song-gang-li-ce-tu-li-shi-zhuo-218096","松岗篱筞图","李世倬","李世倬的松岗篱筞图是一幅古老的图画，它描述了李世倬在清朝时期的生活。李世倬是一位著名的政治家和文学家，在清朝时期担任过多项重要的官职。\n\n松岗篱筞图是画家绘制的，描述了李世倬在一个被松树环绕的小山丘上休息的场景。图中的李世倬坐在草地上，身旁有一棵松树，头戴蓝色的帽子，身穿蓝色的衣服。图中还有许多其他的元素，如山峰、水池、花和草，构成了一幅优美的图画。\n\n松岗篱筞图的意义在于描述了李世倬的生活，展示了他在清朝时期的形象。这幅图画被广泛收藏，并被认为是一件艺术珍品。",[25,26,7,77,129,378,132,29,130,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc95db06db85e19d2b7b7b3001002f0.jpg",[138],{"id":24604,"slug":24605,"title":24606,"dynasty":72,"author":24607,"museum":74,"description":24608,"tags":24609,"thumbUrl":24610,"material":136,"size":21889,"collection":39,"collections":24611,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":88},216974,"shi-ba-ying-zhen-xiang-zheng-zhong-216974","十八应真像","郑重","该图描绘了十八罗汉过海的故事，罗汉们有各种不同的身份，包括骑着神兽的罗汉和有神力的罗汉。衣服的简单描绘和优雅的色彩使这幅作品对郑重来说是一件强有力的作品。",[25,26,7,54,29,27,28,79,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a11ecd225128596dfa7d61ef7e5c7d6.jpg",[39],{"id":24613,"slug":24614,"title":24615,"dynasty":17693,"author":4924,"museum":209,"description":24616,"tags":24617,"thumbUrl":24618,"material":100,"size":100,"collection":84,"collections":24619,"showCount":23999,"zanCount":11,"manualWeight":43,"mainColor":24620},202797,"qiu-hua-san-ji-tu-zhou-cheng-zhang-202797","秋花三鸡图轴","画面中三只鸡雏情态生动，或俯首啄食，或侧颈谛听，羽毛以墨色浓淡晕染，兼施细笔勾勒，质感蓬松而层次分明。背景秋花竞放，黄花明艳，红叶似火，墨叶苍劲，笔墨写意中见工致，色彩明快却不失雅致。构图疏密有致，禽鸟与花草相映成趣，既得传统花鸟之生机，又融写实技法之精准，尽显秋日田园的恬淡意趣。",[25,7,113,1228,28,77,5109,27,13265,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90bc5d7d0a33799eeec73b51380fa026.jpg",[84],"c3b6a5",{"id":24622,"slug":24623,"title":24624,"dynasty":18,"author":361,"museum":209,"description":24625,"tags":24626,"thumbUrl":24627,"material":100,"size":100,"collection":138,"collections":24628,"showCount":23999,"zanCount":43,"manualWeight":43,"mainColor":24629},202156,"fang-bei-yuan-shan-shui-zhou-wang-shi-min-202156","仿北苑山水轴","这幅画笔墨苍润醇厚，意境清幽淡远。层峦叠嶂间林木蓊郁葱茏，披麻皴细腻勾勒山石肌理，墨色浓淡交错，显山川沉郁厚重之态。溪流蜿蜒穿谷而过，小桥卧波连岸，屋舍隐于林麓深处，似藏隐士栖居之趣。构图疏密有致，笔意浑朴，承北苑山水平淡天真之韵，兼具文人画雅致情致，于静谧间尽显自然野趣与悠远禅意。",[25,129,77,130,134,193,7,945,132,170,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F054851f5ae4bf0540991a722140e28a7.jpg",[138],"bbb6a1",{"id":24631,"slug":24632,"title":24633,"dynasty":18,"author":24634,"museum":209,"description":24635,"tags":24636,"thumbUrl":24637,"material":100,"size":100,"collection":138,"collections":24638,"showCount":23999,"zanCount":11,"manualWeight":43,"mainColor":24639},201842,"zheng-yin-tu-zhou-qin-bing-wen-201842","证因图轴","秦炳文","此画以淡墨皴染山峦，层次分明；松枝苍劲，杂树枯荣相间，意韵天成。溪涧穿石，小桥卧波，茅舍隐于林麓间，尽显清幽之致。笔墨灵动，设色淡雅，构图疏密得宜，远近呼应，传递出文人寄情丘壑的闲适心境，是传统山水画中兼具笔墨意趣与自然情怀的佳作。",[25,26,7,129,28,77,130,134,193,170,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6baa07a8c3e0715ee59fc62b2914c7c5.jpg",[138],"c2ac96",{"id":24641,"slug":24642,"title":5156,"dynasty":93,"author":1283,"museum":74,"description":18447,"tags":24643,"thumbUrl":24644,"material":99,"size":24645,"collection":100,"collections":24646,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},290989,"hua-shan-shui-zhou-guo-xi-290989",[24,25,7,77,129,130,35,269,193,349,5081],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97d3d96348a81541ea51db24539a471c.jpg","188.8x95",[],23,{"id":24649,"slug":24650,"title":24651,"dynasty":72,"author":50,"museum":331,"description":24652,"tags":24653,"thumbUrl":24654,"material":198,"size":780,"collection":100,"collections":24655,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[24,25,7,28,27,1157,29,269,129,31,377,5535,7444,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbwe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，字元升，一作元介，号兰隅、定觉主人，祖籍金陵，明代大臣、书画家。婡万历洎頭條二十三年（1595）科举状元，官终礼部右侍郎，任上曾奉命出使朝鲜。后以母丧，不复出仕。工书法，善画山水花卉，传世作品有《君子林图卷》等，另有文集传世。\n之蕃工绘画，竹石兼东坡神韵，山水酷似米芾等大家。又工书法，真、行书师法赵孟頫得颜真卿、文征明笔意，日可写万字。在他出使朝鲜期间，朝鲜人以人参、貂皮为礼品，请他作画写字。他将所获得的礼品，尽行出售，另买书画、古器以归，其收藏极为丰富。他于泰昌元年（1620）所作《君子林图卷》，现藏故宫博物院。著有《使朝鲜稿》4卷、《纪胜诗》1卷、《落花诗》1卷、《南还杂著》1卷等。",[25,26,7,97,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c78613c32b498a996da1cacd3311c5.jpg",[101],{"id":24780,"slug":24781,"title":24782,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":24783,"thumbUrl":24784,"material":198,"size":780,"collection":100,"collections":24785,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":88},240454,"wu-chang-shuo-zhuan-shu-qi-yan-lian-wu-chang-shuo-240454","吴昌硕篆书七言联",[472,2664,3362,80,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7ecc54373f1706a45e8af74d58d61f.jpg",[],{"id":24787,"slug":24788,"title":24789,"dynasty":72,"author":50,"museum":331,"description":24790,"tags":24791,"thumbUrl":24792,"material":100,"size":100,"collection":100,"collections":24793,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},239484,"ming-ren-song-hou-tu-zhou-yi-ming-239484","明人松猴图轴","古松虬曲苍劲，枝干盘错如游龙，松针晕染出苍莽古雅的山林底色。五只灵猴各得幽趣：枝头两猴或俯身探看，或垂首理毛，嬉闹间尽显灵动；涧边三猴或静坐沉思，或临水望影，将猿猴的通性灵态描摹尽致。\n此作用水墨晕染，淡墨铺陈空濛虚境，浓墨提点松干皴纹与猴身绒毛，虚实相生留白悠远。笔意兼顾工细与写意，灵猴造型写实鲜活，古松勾勒纵逸老辣，以松猴林下之姿，晕染出悠然出世的林泉雅韵，尽显幽寂澹远的文人意趣。",[25,26,7,24,77,130,27,378,8959,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c4b47cdaf4cc40984d772c5d1dfb952.jpg",[],{"id":24795,"slug":24796,"title":24797,"dynasty":18,"author":1971,"museum":331,"description":9198,"tags":24798,"thumbUrl":24799,"material":100,"size":100,"collection":138,"collections":24800,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},238120,"zi-jiu-shan-shui-zhou-wang-jian-238120","子久山水轴",[25,7,77,129,130,272,170,733,134,193,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec101e743627000ca6e774bee120ef.jpg",[138,185],{"id":24802,"slug":24803,"title":24804,"dynasty":18,"author":4669,"museum":331,"description":24805,"tags":24806,"thumbUrl":24807,"material":100,"size":100,"collection":101,"collections":24808,"showCount":24647,"zanCount":11,"manualWeight":43,"mainColor":88},237459,"mo-chi-feng-yu-zhou-wang-hui-237459","墨池风雨轴","王翚(1632--1717)，清代画家。字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等，江苏常熟人。祖上五世均善画，父王云客专画山水，画风秀雅。王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后受王鉴赏识，被其收为弟子，教他读书和学习书法。又从师王时敏。其山水画虽以临古入手，但并非专摹一家，王维的雪景、李成的寒林、董源的平峦远渚、巨然的秋山萧寺、王诜的渔村小雪、米氏父子的云山烟雨以及元代黄公望、吴镇、王蒙、倪瓒的作品，都是他摹绘的对象。他于传统技法有很深的功底，而且能融会贯通，合众长于一手，但又不完全为成法所束缚，比较注重写生。他贯通诸家，以南宋笔墨，运北宋丘壑，创造出秀润多姿的风格和面貌。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。有《康熙南巡图》（与杨晋等人合作）、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[25,77,7,130,80,79,129,252,56,173,170,733,349,169,1419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e681591a3a90ad29ea44492c596fa2c.jpg",[101],{"id":24810,"slug":24811,"title":10003,"dynasty":72,"author":24812,"museum":236,"description":24813,"tags":24814,"thumbUrl":24815,"material":20249,"size":24816,"collection":39,"collections":24817,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":88},237096,"guan-yin-zhou-fang-wei-yi-237096","方维仪","明末清初安徽桐城才女方维仪是一位擅于图绘观音像的闺阁画家。作为富有收藏的大理少卿之女，方维仪自幼便浸淫在浓厚的热爱丹青图绘的家庭气氛中，并终其一生不断绘事。方维仪所绘白描观音大士像，被王士祯称为“妙品”，列闺秀绘画魁首。现藏于故宫博物院的《观音图》是方维仪七十一岁时所作。这种舍弃背景、不施色彩的画风，传承自宋代李公麟遗风。据说方维仪家藏有李公麟白描宗教人物画《过海揭钵图》，而她经过多年的临习，所画之白描观音“几突过龙眠”。\n方维仪多图绘观音与其坎坷的人生际遇有关。方维仪出阁嫁与姚孙棨为妻，但年仅17岁便成为寡妇，之后终身未曾再嫁。丧夫之后，方氏又遭受接二连三的打击：姐夫张秉文在抵抗清兵入济南城之战中牺牲、姐姐方孟式投水自尽、弟媳吴令仪年少早夭、堂妹方维则16岁丧夫而后孀居终生……明清鼎革之际的动乱环境带来不可言说的人生际遇，惟有慈悲为怀的观音大士最能平复失去至亲的痛苦，慰藉其寒灯守夜的孤寂。",[25,26,7,54,29,985,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973321fad6cac359dcd7b1b160fc7a39.jpg","56.5cmx26.6cm",[39],{"id":24819,"slug":24820,"title":24821,"dynasty":18,"author":3408,"museum":331,"description":24822,"tags":24823,"thumbUrl":24825,"material":198,"size":780,"collection":100,"collections":24826,"showCount":24647,"zanCount":419,"manualWeight":43,"mainColor":342},236042,"lian-zuo-da-shi-xiang-zhou-ding-guan-peng-236042","莲座大士像轴","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[25,26,7,54,28,29,27,5394,24824,472],"莲座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cfcbf7d2e74981a162178e20029e32d.jpg",[],{"id":24828,"slug":24829,"title":24830,"dynasty":18,"author":3408,"museum":331,"description":24822,"tags":24831,"thumbUrl":24834,"material":198,"size":780,"collection":100,"collections":24835,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":88},236041,"hua-bao-xiang-guan-yin-xiang-zhou-ding-guan-peng-236041","画宝相观音像轴",[25,7,27,28,24832,24833,12384,151,4209,5394],"宗教画","宝相观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb804a43c5a811feb151144b6aeb2e1ef.jpg",[],{"id":24837,"slug":24838,"title":24839,"dynasty":72,"author":24840,"museum":331,"description":24841,"tags":24842,"thumbUrl":24843,"material":100,"size":100,"collection":100,"collections":24844,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":88},235560,"jin-jie-han-xiang-zhu-shi-zhou-gui-chang-shi-235560","劲节含香竹石轴","归昌世","水墨写就修竹拳石，几竿青竹错落挺劲，枝叶俯仰舒展，笔法清隽秀朗，墨色浓淡相宜，将竹之疏朗风神尽显。顽石以淡墨勾皴，拙朴厚重，与灵秀修竹相映成趣，坡岸寥寥草叶，野意自生。\n\n右上角题诗与绘作相融，诗书印合一，氤氲出悠然文气。整幅简淡清逸，以少胜多，将君子劲节寄于笔墨，画者淡泊自持的襟怀藏于水墨之间，观之如临清风，尽显文人写意的雅逸品格，把竹之贞洁孤傲的君子风骨晕染在方寸画卷中。",[25,26,7,77,304,967,31,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47591c44802776c61c8c203b414456e.jpg",[],{"id":24846,"slug":24847,"title":24848,"dynasty":18,"author":4669,"museum":331,"description":16528,"tags":24849,"thumbUrl":24850,"material":198,"size":780,"collection":100,"collections":24851,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":88},235369,"fang-ni-zan-shan-shui-zhou-wang-hui-235369","仿倪瓒山水轴",[25,26,7,77,129,945,130,521,132,170,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1642df578d1930c54ea3752bace297.jpg",[],{"id":24853,"slug":24854,"title":1381,"dynasty":18,"author":361,"museum":236,"description":14084,"tags":24855,"thumbUrl":24856,"material":745,"size":11701,"collection":100,"collections":24857,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":88},234845,"shan-shui-zhou-wang-shi-min-234845",[24,25,77,7,129,130,252,253,427,733,172,351,169,272,3150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d58442ca928e49e5aad06b4764cbc2.jpg",[],{"id":24859,"slug":24860,"title":24861,"dynasty":18,"author":3408,"museum":236,"description":24862,"tags":24863,"thumbUrl":24864,"material":1573,"size":100,"collection":100,"collections":24865,"showCount":24647,"zanCount":11,"manualWeight":43,"mainColor":88},234331,"zhao-pen-ying-xi-tu-zhou-ding-guan-peng-234331","照盆婴戏图轴","丁观鹏(1736-1795),顺天(今北京市)人,精绘画,擅画释道、人物、山水,画风工细三传神。雍正四年(1726年)以画艺精湛入宫供奉,备受雍正、乾隆皇帝的赏识,作晶为清宫著录者达83件之多。",[25,7,27,28,29,7732,31,33,6669,62,79,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d63170dd62ddc7588f241ea4ab57f3.jpg",[],{"id":24867,"slug":24868,"title":24869,"dynasty":18,"author":17471,"museum":236,"description":24870,"tags":24871,"thumbUrl":24873,"material":24874,"size":24875,"collection":100,"collections":24876,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":88},233955,"jiang-shen-cao-ge-tu-zhou-fu-shan-233955","江深草阁图轴","此幅写杜甫《严公仲夏枉驾草堂，兼携酒馔，得寒字》“百年地辟柴门迥，五月江深草阁寒”诗意，绘隐于山坳茂树之间的临江草阁，幽深旷远，空无一人。江水深澈，危崖峭立，板桥蜿蜒，构图疏中有密，平中寓奇，深得阴寒之意。\n傅山以书法闻名，绘画作品不多，此幅笔墨纵而能敛，率意而不失厚重，疏散中独蕴朴拙，正是其“宁拙毋巧，宁丑毋媚，宁支离毋轻滑，宁真率毋安排”艺术主张的代表作品。",[25,7,77,129,130,269,134,193,170,132,24872,6208],"草阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63a54259cde5bc9861d2994f888586a6.jpg","绫本墨笔","纵176.7厘米，横49.5厘米",[],{"id":24878,"slug":24879,"title":24880,"dynasty":18,"author":1971,"museum":236,"description":24881,"tags":24882,"thumbUrl":24883,"material":1573,"size":24884,"collection":100,"collections":24885,"showCount":24647,"zanCount":11,"manualWeight":43,"mainColor":88},233826,"fang-shu-ming-zhang-song-xian-guan-tu-zhou-wang-jian-233826","仿叔明长松仙馆图轴","画面下方近水的岩石与长松交错，松涛阵阵似可听闻，幽径蜿蜒于松林之中通向山中馆舍，山馆四周碧树环绕，其后丘壑万千，青峰壁立，苍郁秀润，另有茅屋布于山腰处。整幅图画描绘出郁郁葱葱的青山峻岭，清幽静谧的山居茅舍，传达了绝意仕途的士大夫情系山水之间悠然自得的意趣，此图实为作者托物言志之作。\n王鉴的作品有三种面目，即水墨、青绿设色、浅绛设色。浅绛山水创自五代董源，成于黄公望，元末王蒙又略加变化，在水墨的基础上以赭石勾填于局部，风神独具。王鉴此作正是师法王蒙，在树干、屋宇、山石、坡脚等处微染赭石，使画面的层次丰富，也增添了灵秀的韵味。题款中言“仿叔明”，画幅上不只在设色方面模仿王蒙，从构图、山石皴法中亦能看到王蒙的影响。如图中采用王氏惯用的重山复岭的构图形式，气势浑厚雄奇。再如山石多施王氏擅长的解索皴，把山石的质感刻划得细致入微。同时，画面也表现了王鉴的个人风貌，他那恬淡平缓的风格，雅致松秀的气韵，使观者静意自生。\n此图是王鉴晚年浅绛山水画的一幅精妙作品。",[25,7,77,130,129,427,132,170,193,16271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4f7b2e3736315f79037ba03c6678939.jpg","纵138.2厘米，横54.5厘米",[],{"id":24887,"slug":24888,"title":24889,"dynasty":207,"author":11961,"museum":236,"description":24890,"tags":24891,"thumbUrl":24892,"material":745,"size":24893,"collection":100,"collections":24894,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},233460,"liu-yan-tu-zhou-sheng-chang-nian-233460","柳燕图轴","画面细嫩的柳枝倒垂，枝叶稀疏，临风摇曳，一双燕子翻飞其间，笔墨间透出浓浓春意。燕子秋去春来，表示一年的时光已经流逝，迁徒无定的行踪牵动了无数行旅之人的思乡之情。本幅作品简洁清淡，取景自然，疏朗的构图，剪裁得宜，寥寥数笔勾画出一幅充满诗意的抒情佳景。自识“武林盛昌年元龄为良友吴郡沈彦肃戏作于梁谿寓所，岁至壬辰三月也”。另有葵丘生题诗：“杨柳风多暑气微，一双下上故飞口。如何恋芳塘景，秋社归时也不归。”",[25,26,7,77,113,151,1126,3858,27],"https:\u002F\u002Foss.chuangqi.store\u00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author":752,"museum":331,"description":24965,"tags":24966,"thumbUrl":24967,"material":100,"size":100,"collection":100,"collections":24968,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},228293,"tong-zi-li-fo-tu-chen-hong-shou-228293","童子礼佛图","《陈洪绶童子礼佛图轴》是明代画家陈洪绶创作的一幅设色画。\n本幅款署：“老莲洪绶画于获兰草堂。\n”钤“陈洪绶印”白文、“ ”朱文印。\n《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。\n图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。\n佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛 起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。\n此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。\n佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。\n此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[23,25,26,7,54,27,28,29,35,23459,1625,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af7033f8cadf5f5c26728c6a40368bb.jpg",[],{"id":24970,"slug":24971,"title":24972,"dynasty":207,"author":50,"museum":331,"description":24973,"tags":24974,"thumbUrl":24975,"material":100,"size":100,"collection":100,"collections":24976,"showCount":24647,"zanCount":419,"manualWeight":43,"mainColor":44},228205,"gong-nv-tu-yi-ming-228205","宫女图","此作以界画工法描摹层叠宫苑，青绿晕染的山水烘托出楼宇朱栏的明丽雅致。数百宫女素衣翩跹，错落游走在亭台廊榭间：凭栏者凝眸远山，执役者缓步穿廊，低语嬉游者顾盼生姿，将深宫日常的幽闲意绪细腻铺陈。古雅沉润的色调晕开，把皇家苑囿的恢宏与深院女子的柔婉相融，工细的线条勾勒出楼阁规制的严整，也晕染出宫女情态的灵动，让森严深宫晕开缕缕烟火暖意，尽显传统工笔与界画结合的精妙意韵。",[23,25,26,7,28,27,1157,29,269,129,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3d48c6d9c6ff91ec23b7c25f039eeb.jpg",[],{"id":24978,"slug":24979,"title":24980,"dynasty":207,"author":4104,"museum":74,"description":24981,"tags":24982,"thumbUrl":24983,"material":99,"size":24984,"collection":100,"collections":24985,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},228160,"song-ting-hui-you-tu-zhou-wang-yuan-228160","松亭会友图轴","图绘松峙岸边，亭安水上，其中一主一客，另五舟泛于江面。用笔老辣而含蓄，笔笔札实，无一犹豫之处，似可直接宋人。在画面主要位置上画有两棵松树，作者表现了它们间紧密相倚之形姿，并拉长了它们的比例，显得挺拔高巍，苍劲古雅，可看出这是作者借松而喻画中双友之意图。背景以江水相衬，近处轻舟荡桨，远方风帆数起，江水不尽，空旷无边。既成功地衬托了双松，亦为画面上文人之心境作了渲染。画面不直接表现文友交杯等场面，而是刻画了宴请文友前的忙碌情景，这是作者取意之高妙处。",[23,24,25,26,7,77,130,378,377,29,134,193,349,129,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1fc5cbb064b917c31407c47375fc3a.jpg","纵86.9厘米，横49.3厘米",[],{"id":24987,"slug":24988,"title":24989,"dynasty":93,"author":4882,"museum":331,"description":24990,"tags":24991,"thumbUrl":24992,"material":100,"size":100,"collection":100,"collections":24993,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},227986,"yin-yan-fei-pu-tu-jiang-can-227986","阴岩飞瀑图","危崖斜出，古木盘虬扎根崖壁，数道飞瀑破壁而出，訇然落向下方深潭。山石以粗劲短皴勾勒轮廓，苍莽厚重，尽显崖石坚硬荒寒；飞瀑以留白衬墨色，线条劲挺利落，将水流奔涌之势藏在简淡笔墨里。\n\n整幅画作以水墨浓淡铺展山野幽寂，无多余点染，却将空谷间瀑流轰鸣、林壑沉静的氛围感拉满，带着独有的萧散冷逸，于尺幅间尽显磅礴大气，暗合寄情林泉、澄怀观道的文人意趣。",[23,24,25,26,7,77,130,129,169,5120,170,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35d866f71b6edd059218c0e1ba2858e.jpg",[],{"id":24995,"slug":24996,"title":24997,"dynasty":49,"author":17910,"museum":331,"description":24998,"tags":24999,"thumbUrl":25000,"material":100,"size":100,"collection":100,"collections":25001,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},226651,"qiu-dong-shan-shui-tu-yi-dong-jing-xue-zhou-226651","秋冬山水图一（冬景）","这两幅雪舟所作的《秋景山水图》与《冬景山水图》，原来被视为「夏冬山水」而收藏于京都曼殊院。\n也有学者认为，这原是四幅一组的四季山水图其中之两件。\n《秋景山水图》中，画家自画面左下角画出沿着水流向画面中心弯曲延伸的小径，在路中并安置了正在交谈的两名人物作为点睛之用，接着画了楼阁与远山，表现出着实而明确的空间深度。\n将所有景物集中于画面下方，而上方则是一片广阔的空间。\n这种构图手法，恰与《冬景山水图》形成对称。\n《冬景山水图》中，被白雪覆盖的断崖矗立于画面中央，画中人物在下了小舟后朝楼阁方向走去。\n彷佛倒挂悬垂的断崖强而有力的轮廓线，以及冬天枯干的树木等描写，使人生起一种严寒之感。\n自画面左下角，将岩石、山块等以反时钟之方向配置成螺旋状的构图，让人强烈感觉到一种人为性安排。\n画家有意地利用这种空间架构手法与强烈的笔墨表现相互搭配，营造出画面空间深度。",[23,24,25,167,7,129,3880,269,521,132,1717,522,130,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61584f354c65070a66b76131d9a88d55.jpg",[],{"id":25003,"slug":25004,"title":25005,"dynasty":18,"author":4828,"museum":74,"description":25006,"tags":25007,"thumbUrl":25008,"material":37,"size":25009,"collection":100,"collections":25010,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},224494,"mei-hua-shan-guan-zhou-wu-li-224494","梅花山馆轴","青绿山峦雄踞左幅，古松虬曲苍劲，枝桠舒展撑出一片清寂天地。山涧春水初涨，暖雾轻笼远峰，将黛色晕作朦胧烟影，柔化了山棱的冷硬。\n右侧水榭山馆凌波而起，几株梅树临水横斜，素花缀枝，暗香仿佛随春水悠悠漫开。白衣策杖的隐者驻足松下，凝睇烟景，将尘俗心绪尽皆抛却。\n整作设色古雅沉静，构图疏密相济，把早春山乡的清润生机，和幽居雅逸的林下襟怀相融，笔底漫溢着悠然淡远的隐逸诗意，藏着文人寄情林泉的悠悠雅兴。",[25,26,7,28,130,129,392,269,134,131,132,377,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b205a90514253e5b2536e69943f40e.jpg","104.3x52.1",[],{"id":25012,"slug":25013,"title":25014,"dynasty":18,"author":4669,"museum":331,"description":25015,"tags":25016,"thumbUrl":25017,"material":100,"size":100,"collection":100,"collections":25018,"showCount":24647,"zanCount":11,"manualWeight":43,"mainColor":44},224447,"fang-huang-he-shan-ren-shan-shui-wang-hui-224447","仿黄鹤山人山水","此作用全景铺展秋山胜境，取法黄鹤山人苍浑繁密之致。峰崖高拔，以解索皴写山石肌理，苔点错落，尽显岩壑古拙苍劲。山间云气轻笼，虚实相生，拉开层叠景深。\n下半幅转绘幽居水乡，屋舍错落滨水，渔人泛棹、庭内闲寂，将林泉隐逸的悠然意趣融于山水间。\n笔墨干湿互济，浓淡相宜，既恪守元人笔墨的苍茫厚重，又暗合江南山水温润灵秀之态，师古而不泥古，尽显秋山静穆雅致的林泉高致。",[23,25,26,364,7,130,77,28,129,427,132,169,733,1717,170,1652,172,6208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8123656d7dfc46d899cd09ac6309fce.jpg",[],{"id":25020,"slug":25021,"title":25022,"dynasty":18,"author":4998,"museum":331,"description":25023,"tags":25024,"thumbUrl":25025,"material":100,"size":100,"collection":100,"collections":25026,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":88},224387,"fang-huang-zi-jiu-she-se-shan-shui-wang-yuan-qi-224387","仿黄子久设色山水","《王原祁仿黄子久设色山水轴》，清代山水画，现藏于辽宁省博物馆。\n绢本，设色。\n画心纵122.71，横52.8厘米。\n山峦俊秀，双峰突起，白云迷漫的远山，似起伏的海浪。\n山上山下屋宇排列整齐有绪，泉水沿岩石款款而下，汇成山角下半湖碧水。\n水天相处缀以小汀洲渚，板桥旁又有水榭数楹。\n山石繁密，草木葱茏，山下的几株大树掩映溪水，构成了山山相连的效果。\n高崖峻壑，采用纵线的披麻皴，平林打上横卧点子叶，这种纵横交错的用笔，形成一种强烈的节奏感；重施石青、石绿，色艳明快，山峦显得像碧玉一样温润，给人以清新洁爽之感。\n右上角自识：“康熙癸末(17)春日仿黄子久似恺翁老先生麓台，娄东王原祁。\n”旁钤“王原祁印”、“麓台”二印。",[23,25,26,7,28,129,272,170,733,134,193,173,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a9513c5762e39dce7925cea01d4a8.jpg",[],{"id":25028,"slug":25029,"title":25030,"dynasty":18,"author":11908,"museum":331,"description":25031,"tags":25032,"thumbUrl":25033,"material":100,"size":100,"collection":138,"collections":25034,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},224341,"ming-quan-tu-mei-qing-224341","鸣泉图","此作用高远取景，层叠飞瀑自云山深处奔涌而下，跌水层层相续，水雾漫过山峦，将空山的幽寂尽数铺展。崖巅红衣旅人持杖伫立，凝听泉音，以人物的静，衬出飞瀑轰鸣，一动一静间，山野清绝之趣尽显。\n\n笔墨糅合纵逸与温润，山石以皴擦晕染写出苍莽质感，虬松古木点染灵动苔痕，浅赭淡晕晕开幽渺空蒙的氛围。题诗与山水相映，诗画交融，将观泉听涛的林泉雅志藏入尺幅，尽显出世幽怀与山水禅意。",[23,25,26,7,28,129,193,252,253,29,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af8d90ec82816cfa1ccb2770015b814.jpg",[138],{"id":25036,"slug":25037,"title":25038,"dynasty":93,"author":50,"museum":74,"description":25039,"tags":25040,"thumbUrl":25041,"material":1218,"size":25042,"collection":100,"collections":25043,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},223427,"song-ren-pi-pa-yuan-xi-tu-zhou-yi-ming-223427","宋人枇杷猿戏图轴","从画面上来看，枇杷树的枝干上下各一段，并未相接，观赏时却有著相连的感觉，这种画外之意，正是作者别出心裁的安排。而其沈着的用色、劲健的用笔则将树干的扭曲斑剥、树叶的转折、石头的坚硬和猿身黝黑的绒毛表现得栩栩如生，像可以触摸一般。然只生动地画出物象的形貌仍不够，必须掌握其情态，方算传神，因此画中黑猿，挂在枝干上的一只，手尾紧握，好似在荡秋千一般，另一只则悠闲地坐在树干上，和牠相互凝望，情意相系。\n老树擎空，突出画幅，其枝垂挂，复返画中。画幅中的枝干，笔不连而意连，足见画家布局之匠心。一猿攀枝摇荡，如戏秋千。一猿则踞干悠闲旁观，真能得猿猴动息之情。画技精湛，特善用墨，曲尽黑猿毛色之状，树石描绘精采、用色雅正，尤有过人处，是宋无款作品中之巨幅精品。易元吉的猴猫图突显毫芒毕现的用笔功夫，本画则用墨功夫一流。",[23,24,25,26,7,27,28,241,8959,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ef7c2e9e1f091b0edc125c19b59367.jpg","165x107.9厘米",[],{"id":25045,"slug":25046,"title":25047,"dynasty":93,"author":50,"museum":74,"description":25048,"tags":25049,"thumbUrl":25052,"material":99,"size":25053,"collection":100,"collections":25054,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},223424,"song-ren-ping-chou-hu-du-zhou-yi-ming-223424","宋人平畴呼犊轴","树叶和芦矛经霜成了赭黄色，秋意已深。在平原上游散着一大一小两头牛，小牛被遗落在后，急了便高耸着鼻子呼唤。母牛停下了脚步，回过头来等候着，足见母子情深。画家描绘小牛的鸣叫，张着唇吻，屈着前足，背高高的耸起，尾却朝上轻摇。对牛在鸣叫时骨骼筋络的反应，研究观察得非常精细，使人看了，仿佛也可以听到小牛的呼叫声。诚为一南宋无款佳作",[23,25,26,7,28,27,1571,241,521,6462,2653,351,911,4219,25050,25051,1594,1729,3621,18224,5109],"水牛","犊牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1f0accd9c0ce6a2dcc5675ccf7d880.jpg","97x52.4",[],{"id":25056,"slug":25057,"title":5156,"dynasty":18,"author":17211,"museum":74,"description":17212,"tags":25058,"thumbUrl":25059,"material":100,"size":25060,"collection":138,"collections":25061,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":88},222850,"hua-shan-shui-zhou-ai-xin-jue-luo-yong-rong-222850",[23,25,26,7,77,28,130,129,193,170,377,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8920c3dc2166da7d6d9ab54681a80f5.jpg","12.2x13.9 公分",[138,158],{"id":25063,"slug":25064,"title":25065,"dynasty":72,"author":14288,"museum":74,"description":25066,"tags":25067,"thumbUrl":25069,"material":182,"size":25070,"collection":100,"collections":25071,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":88},222136,"liu-hai-xiang-liu-jun-222136","刘海像","刘俊工画人物、山水、界画，用笔劲健，人物衣纹带方折，屋宇界画精细工整，构图平稳严谨，谓“入能品”。宪宗朱见深、孝宗朱祐樘两朝（1465-1505）供奉内廷，授锦衣都指挥。传世作品有《雪夜访普图》轴，绢本，设色，现藏故宫博物院；《刘海戏蟾图》轴，绢本，设色，藏河北省博物馆。另有《刘海戏蟾图》轴，绢本，设色，藏中国美术馆；《仙人像》轴，绢本，设色，现藏天津市历史博物馆。从艺活动约在成化、正德间。",[23,25,26,7,77,985,29,25068],"蟾蜍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb498bb77332db9347fb8c344e2966583.jpg","30X85厘米",[],{"id":25073,"slug":25074,"title":25075,"dynasty":72,"author":1464,"museum":74,"description":25076,"tags":25077,"thumbUrl":25078,"material":37,"size":25079,"collection":84,"collections":25080,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},221938,"fen-bu-tu-zhou-bian-wen-jin-221938","分哺图轴","边文进，字景昭，福建沙县人，生卒年待考。曾供事内殿，活跃于永乐（1403 －1424）、宣德（1426－1435）时期。博学能诗，善绘花果翎毛，延续五代黄筌（约903－965）画风并融入宋代院体传统，为后辈所师法，是明代重要宫廷花鸟画家。本幅设色画公鸡啄蝶并为雏子分食。若与边文进〈三友百禽图〉相较，本幅技法则略显生硬，或系托名之作。",[23,24,25,26,7,27,28,113,1228,10206,31,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c3c15c54cb8caa9e8e73fe6b34e431.jpg","63.7x43.9",[84,158],{"id":25082,"slug":25083,"title":25084,"dynasty":93,"author":25085,"museum":74,"description":25086,"tags":25087,"thumbUrl":25088,"material":28,"size":25089,"collection":100,"collections":25090,"showCount":24647,"zanCount":11,"manualWeight":43,"mainColor":342},221629,"xian-mang-tu-zhou-ma-he-zhi-221629","闲忙图轴","马和之","马和之：南宋画家，钱塘（今浙江省杭州市）人。擅长画人物、佛像、山水。他的人物画受吴道子、李公麟影响而又有所变化，能独创一格。中国传统人物 画衣纹十八描中的马蝗描就是他把吴道子的兰叶描变化发展而创造出来的。其画用笔起伏顿挫，线条粗细变化较明显，又飘逸流利，显得活泼 潇洒，富于韵律感。他画人物多以水墨为主，即使着色，也比较轻淡，当时人称之为“小吴生”（吴生即吴道子）。",[23,25,26,7,28,29,131,132,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7399dfe9d03dab145ab54a0cfb5655e7.jpg","124.5x67.2",[],{"id":25092,"slug":25093,"title":25094,"dynasty":72,"author":1024,"museum":74,"description":25095,"tags":25096,"thumbUrl":25097,"material":214,"size":25098,"collection":101,"collections":25099,"showCount":24647,"zanCount":11,"manualWeight":43,"mainColor":342},220925,"lin-yan-zhen-qing-gao-shen-tie-zhou-dong-qi-chang-220925","临颜真卿告身帖轴","知为崇祯九年（一六三四），诏加太子太保致仕以后之作。此作采用原帖部分笔法，并含熟中带生之趣；结字则变原帖之散乱为整密，不落颜楷之窠臼。",[23,80,26,25,7,945,5902,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f188d206988ef79c11db922216deb84.jpg","313.8x75.3",[101],{"id":25101,"slug":25102,"title":25103,"dynasty":207,"author":2386,"museum":236,"description":25104,"tags":25105,"thumbUrl":25107,"material":1320,"size":25108,"collection":84,"collections":25109,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":44},220877,"kui-hua-tu-zhou-zhao-meng-fu-220877","葵花图轴","赵孟頫提倡作画贵有古意，对唐至北宋的绘画风格多有摹仿。此图即采用五代西蜀黄筌父子的“黄体”——勾勒填彩的画法，线条细劲，敷色明净。因从现实生活中“写生”而来，秋葵姿态生动，比“黄体”更富有生机。此图画面简洁，笔法细润，风韵高雅，体现了赵氏所追求的古意与高华，是其早年花鸟画的代表作品。",[24,25,26,7,113,25106,28,79],"葵花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557cd23baf3c150ccc7416dd5ee46a65.jpg","纵31厘米,横23.8厘米",[84,158],{"id":25111,"slug":25112,"title":506,"dynasty":283,"author":25113,"museum":5320,"description":25114,"tags":25115,"thumbUrl":25116,"material":100,"size":100,"collection":100,"collections":25117,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":88},220510,"wan-he-song-feng-tu-huang-jun-bi-220510","黄君璧","层叠峰岩以赭红晕染崖顶，苍劲古松扎根嶙峋山石间，挺秀卓立尽显风神。两道飞瀑自云端峭壁垂落，撞碎成白练跌汇入溪涧，流水穿绕矶石，带着鲜活生机破山而出。山间云气轻笼远峰，虚实掩映间晕开空濛烟岚，将雄浑山势揉进柔婉留白中。\n\n笔墨兼具北派山水的刚健苍劲与岭南画韵的秀润清灵，斧劈皴刻画出山石硬朗肌理，松针攒簇尽显苍郁意态，以动静相生的章法，将松涛与泉鸣交融的山林幽寂盛境铺展眼前，藏着天人共生的东方山水意趣。",[23,25,26,7,28,130,129,427,169,351,173,172,1651,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb4ec9913ffc4e9d465df3a7b1c47b3.jpg",[],{"id":25119,"slug":25120,"title":25121,"dynasty":72,"author":25122,"museum":710,"description":25123,"tags":25124,"thumbUrl":25125,"material":214,"size":100,"collection":138,"collections":25126,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":88},220149,"qiu-shan-qing-xing-tu-chen-huan-220149","秋山清兴图","陈焕","陈焕是明代吴门画派画家，他是苏州人，生活在明代中后期。陈焕的传世作品不多，画史中关于他的记载仅有三两句，其中最关键的一句说他私淑侯懋功。私淑是文化人的说法，指不能拜入师门但心存向往，一心临习。侯懋功是文徵明一脉的后辈弟子，画风雅致，在江南一带名气很大。从私淑二字就可以看出来，陈焕的学画之路并不顺畅，不过再多的坎坷也阻挡不住他对艺术的向往。",[23,25,77,7,129,132,170,427,134,377,130,4987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45500562d0218a2947f633f2ac87f1e3.jpg",[138],{"id":25128,"slug":25129,"title":25130,"dynasty":18,"author":50,"museum":1714,"description":25131,"tags":25132,"thumbUrl":25133,"material":82,"size":25134,"collection":138,"collections":25135,"showCount":24647,"zanCount":43,"manualWeight":43,"mainColor":88},219980,"luan-shan-za-wu-tu-yi-ming-219980","乱山杂雾图","以水墨晕染层叠峰峦，远山隐在淡墨烟岚间，朦胧空灵似被晨雾轻裹。近崖怪石虬松错落，山坳殿宇半藏，清溪蜿蜒漱石有声，水畔幽人凭石观流。\n\n笔墨干湿互用，勾勒皴擦兼具，写意间不失精微，将朝雾初散的林泉清寂铺陈开来。呼应题画诗意，空山晓境里，仿佛能听见啄木轻响混着梵音溪声，禅意漫溢，尽揽山林静穆之美。",[23,25,77,129,7,130,97,79,1651,173,269,170,351,3997,29,4821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560f7ee714f936fe6b5bf9c7c3125307.jpg","107.9 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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[25,26,7,77,130,129,613,170,269,132,776,5505,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aadc14ab00840c1f1800f468d3cccf0.jpg",[],{"id":25497,"slug":25498,"title":25499,"dynasty":72,"author":50,"museum":331,"description":25500,"tags":25501,"thumbUrl":25502,"material":100,"size":100,"collection":100,"collections":25503,"showCount":25214,"zanCount":11,"manualWeight":43,"mainColor":44},235681,"tao-cheng-chan-gong-yu-tu-tu-zhou-yi-ming-235681","陶成蟾宫玉兔图轴","此作图绘仙乡秘境，一轮素月悬于空濛天际，清辉铺洒四野。玉兔静伏于青竹之侧，茸毛细密柔润，红眸澄澈灵动，憨态可掬，为清冷画面晕开一抹柔温。\n\n青绿山石晕染雅致，水流蜿蜒有声，远山瀑布垂挂如练，浅绛淡青交织出幽谧空寂的氛围感。数竿修竹挺秀清疏，枯木虬枝添了几分古意，与题诗相映成趣，诗画相融，晕染出出尘的仙家意韵。\n\n笔墨兼工带写，设色古雅沉静，将缥缈蟾宫的清寂与鲜活生机揉和一处，尽显古典雅致的仙境意趣。",[25,7,28,27,129,31,900,59,193,132,169,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199c4e3ce8b760deb87b3e87847a32a2.jpg",[],{"id":25505,"slug":25506,"title":25507,"dynasty":72,"author":1751,"museum":331,"description":25508,"tags":25509,"thumbUrl":25510,"material":100,"size":100,"collection":100,"collections":25511,"showCount":25214,"zanCount":11,"manualWeight":43,"mainColor":88},235164,"san-feng-chun-se-zhou-lu-zhi-235164","三峰春色轴","此作以淡绛浅绘铺展春日丘壑，取高远构图，层峦奇崛苍劲，勾勒皴擦尽显山石嶙峋骨相。空阔春水横陈其间，汀渚错落，寒林带浅红新芽，村居隐于林麓溪畔，淡远清寂里暗蕴初春风光。\n笔墨秀挺劲爽，设色清简克制，只以淡赭轻染峰林枝梢，衬出春寒未褪的润雅生机，将江南早春的疏朗清远晕染纸上，意境萧散淡和，尽显文人山水雅淡出尘之致。",[25,7,77,130,129,1651,170,523,377,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50e2117ede6573ff78446f0cb4dcf51.jpg",[],{"id":25513,"slug":25514,"title":15404,"dynasty":72,"author":13624,"museum":236,"description":15405,"tags":25515,"thumbUrl":25516,"material":486,"size":15409,"collection":100,"collections":25517,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":44},234949,"yu-zhou-du-shu-tu-zhou-jiang-song-234949",[25,77,129,349,29,130,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b436fb46365514b47ff47102ebf8511.jpg",[],{"id":25519,"slug":25520,"title":25521,"dynasty":18,"author":50,"museum":236,"description":25522,"tags":25523,"thumbUrl":25527,"material":486,"size":25528,"collection":100,"collections":25529,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},234897,"yu-zhi-duan-yang-jing-tu-zhou-yi-ming-234897","余穉端阳景图轴","本图通过对动植物的刻画来表现端阳时节大地回暖的情景。在日丽水暖的郊外，牡丹花、野菊花等植物竞相绽放，青蛙、蟾蜍和蜻蜓等动物在春光中跳跃、飞翔，一派生机盎然的欢欣景象。此图是作者任职宫廷期间所作，线条工细、匀整、流畅，设色典雅富丽并富有装饰性。动植物造型准确且富有生趣，显示出作者较强的写实技巧。",[25,7,28,27,113,675,25524,1742,3776,25068,1785,25525,25526,5109],"野菊","端阳","生机盎然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9741d895b912280777e67396179d2777.jpg","纵137.3厘米，横68.8厘米",[],{"id":25531,"slug":25532,"title":25533,"dynasty":18,"author":8994,"museum":331,"description":25534,"tags":25535,"thumbUrl":25536,"material":100,"size":100,"collection":100,"collections":25537,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},234692,"ri-zhang-shan-jing-tu-zhou-cha-shi-biao-234692","日长山静图轴","《查士标日长山静图轴》是清代的图轴。\n自题：“日长山静净无尘，风下松花满葛巾。\n自是人间清回处，辋川盘谷总天真。\n丙辰九月画。\n请象老道年翁教正。\n弟查士标。\n”钤“士标私印”白文印、“查二瞻”朱文印。\n款识中的“丙辰”为清康熙十五年（1676年），查士标时年62岁。\n图绘远景山峦高耸如壁。\n近水岸边，长松杂树。\n一高士携童子踱桥而至。\n布局以高远法取势，笔法轻快疏秀，墨气华润蕴藉，意境荒寒清旷，是作者在仿倪瓒的基础上的变体画，堪称其艺术成熟期的代表作。",[25,26,7,77,129,130,132,170,427,29,134,193,3106,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b3052f2ac3b856b3b70c157b198284.jpg",[],{"id":25539,"slug":25540,"title":25541,"dynasty":18,"author":50,"museum":331,"description":25542,"tags":25543,"thumbUrl":25544,"material":198,"size":780,"collection":100,"collections":25545,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},234404,"xiao-quan-cheng-huang-hou-yu-you-nv-xiang-zhou-yi-ming-234404","孝全成皇后与幼女像轴","此作设色雅致柔和，工笔描摹细腻入微。女主人宝蓝旗装遍缀碎花，领衣绣纹层叠精巧，珠花点翠头饰配碧玉耳坠，倚桌而立，温婉端静尽显闺仪气度。桌案鲜果清供，器物勾勒写实逼真。身侧幼女粉衫绿裤，攀着青瓷绣墩探头张望，稚憨灵动，与女主人的沉静娴雅相映成趣，揉合了宫廷肖像的肃穆工整与日常温情，将深宫内院难得的天伦之景定格，是兼具纪实性与审美意趣的晚清肖像佳作。",[25,7,472,27,28,29,20936,1932,34,60,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e44910949eb8fe56e6a1bfd3de0902.jpg",[],{"id":25547,"slug":25548,"title":25549,"dynasty":72,"author":1614,"museum":236,"description":25550,"tags":25551,"thumbUrl":25553,"material":745,"size":25554,"collection":100,"collections":25555,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},233819,"wen-zheng-ming-qu-gang-gui-zhou-tu-zhou-wen-zheng-ming-233819","文徵明曲港归舟图轴","本幅自题五言诗并署：“雨绝树如沐，云空山欲浮。草分波动处，曲港有归舟。徵明。”钤“徵仲父印”（白文）印。本幅有明彭年、陆师道、王穀祥及清乾隆帝题诗共四则。作品曾经清内府收藏。近代庞莱臣《虚斋名画录》著录。\n画中描绘山间雨后的景象，云雾蒸腾，林木葱郁，笔墨工稳细润，意境清新幽静，是文氏细笔山水画的代表作。",[25,26,7,77,130,79,129,170,169,132,172,1652,35,521,25552],"常绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6fe0a25489fc8e6c0b2921a67b3c49.jpg","纵115厘米，横33.6厘米",[],{"id":25557,"slug":25558,"title":25559,"dynasty":18,"author":8803,"museum":710,"description":25560,"tags":25561,"thumbUrl":25563,"material":1688,"size":25564,"collection":100,"collections":25565,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},232899,"xiao-xiang-feng-zhu-tu-li-zhou-li-fang-ying-232899","潇湘风竹图立轴","李方膺，字虬仲，号晴江，又号秋池，抑园，白衣山人。江苏通州(南通)诸生。先后任山东兰山、安徽潜山、合肥知县，有善政、人德之。以不善逢迎，获罪罢官。寓居金陵借园，自号借园主人。常往来扬州卖画以资衣食，为扬州八怪之一。\n《潇湘风竹图》作于合肥五柳轩，时为乾隆十六年(公元1751年)，作品以秃笔湿墨逆笔取势画风中之竹，通过竹叶的独特造型，表现出狂风大作的动态。画的左下仅晒云:画史从来不画风，我于难处夺天工;请看尺幅潇湘竹，满耳丁东万玉空。\n李方膺常喜欢描绘以风雨为背景的竹石。风是抽象的东西，没有具体的形象，颇难以表现出来的。此画中画家大胆创造，写竹子数根，依于石旁，挺拔修直。\n此画中有粗竹两枝，嫩竹两枝，在狂风中摇曳生姿。主竹挺拔有力，不弯不揖，有参天凌云之气概。整个画面的气势表现在用浓墨、枯墨铺写的枝叶上，所画竹叶不讲成法，秃笔直扫，竹叶画呈扁方状倾斜方向，无叶尖，潇洒随意，尽管风势极强，但枝叶顺风飞扬而不折，透出一种镇静与傲慢。画面中，石与草都是参照物，点染出艰难、恶劣的自然环境。在疾风的鼓荡下，几叶小草已偃伏在地，坚强的石头也似乎极力抗拒，只有劲竹傲立苍穹，岿然不动，片片枝叶都呈现出百折不挠的力量。\n风是抽象的东西，没有具体的形象。画家秃笔直扫，画竹叶扁方状成倾斜方向，有力地表现了疾风的狂肆，作者不但在描绘技法上显得“因难见巧”，而且显示出竹子不畏强风的精神，笔笔枝叶呈现出坚贞不屈的力量。画家通过描绘竹叶的动态变化，有力地表现出疾风的狂吹，使不可见的风有了可视的形象，而且从竹枝飞舞、竹叶相互碰撞中，似乎还可以听到碎琼乱玉的丁东之声，其下笔如风驰雨骤，正像是抒发画家胸中的怒气，正是一种人格的写照。\n板桥之竹如清癯的老者，清淡修整，有超然之态。李方膺则不然，他由于仕途生活中得罪权贵，先后下狱罢官，但从不屈服苟且，这幅画可说是他心境的折射。他的竹宛如在战斗中的猛士，顶天立地，傲岸不屈。他借竹子来抒发情怀，借竹子不怕狂风暴雨、坚韧不拔的品格来自喻。",[23,24,25,26,7,77,304,1097,78,25562,35,6462],"风竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5644cd4993b2c84cb1ddba935665f65d.jpg","纵168.3厘米 横67.7厘米",[],{"id":25567,"slug":25568,"title":5870,"dynasty":18,"author":25569,"museum":331,"description":25570,"tags":25571,"thumbUrl":25572,"material":214,"size":14003,"collection":100,"collections":25573,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},232893,"mei-hua-tu-zhou-wu-yan-ru-232893","吴彦儒","所画梅花皆疏枝瘦朵，别具气韵，有露冷风清之致，与汪士慎所绘的繁枝梅花相比可谓各领风骚。",[23,25,26,7,77,392,131,97,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ee64b408a7fa0e64c57bda2c32bf75.jpg",[],{"id":25575,"slug":25576,"title":25577,"dynasty":207,"author":50,"museum":319,"description":25578,"tags":25579,"thumbUrl":25580,"material":214,"size":25581,"collection":100,"collections":25582,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":44},232257,"cong-ju-tu-yi-ming-232257","丛菊图","《宋人画丛菊图》是宋代佚名创作的一幅画。图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。画风工致细腻，构图丰满，但繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作",[25,24,26,4108,7,28,27,113,1625,132,600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f51eb89e89e998efcbce918c58e349.jpg","35x36cm",[],{"id":25584,"slug":25585,"title":25586,"dynasty":207,"author":50,"museum":331,"description":25587,"tags":25588,"thumbUrl":25589,"material":100,"size":100,"collection":100,"collections":25590,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":44},231914,"luo-han-tu-di-shi-wu-zun-zhe-ming-a-shi-duo-yi-ming-231914","罗汉图（ 第十五尊者名阿氏多）","阿秘特尊者，出生于印度王舍城一富有的婆罗门家庭， 生来十分漂亮，因此得名，意为「无比的」， 释迦牟尼称赞他是弟子中慈悲心最大的。阿秘特尊者双手持菩提佛塔， 据说是尊者到须弥山北面的罗刹居地去时，为说明他禳除罗刹魔力， 由释迦牟尼赠与他的。山石供桌上摆有经书、香炉和宝瓶等供物， 前面有西藏的祥瑞动物嬉戏追逐，身后为湍急的河水自天边而落。上界有金刚手菩萨化现山间，大乘法王居于古松枝间。",[25,7,28,27,54,29,31,132,602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F015b6c7cffbe180bc77b5eb7ae62d8fb.jpg",[],{"id":25592,"slug":25593,"title":25594,"dynasty":72,"author":264,"museum":74,"description":25595,"tags":25596,"thumbUrl":25597,"material":214,"size":22249,"collection":100,"collections":25598,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},231376,"jiao-yin-jie-xia-chou-ying-231376","蕉阴结夏","此为一幅煌煌巨作，此图为仇英画粗笔之杰作：表现的是炎暑时节，士人于庭院内弹琴拨阮的闲情雅兴。图中画庭院中蕉石耸峙，后有苍筠数竿，清劲飘洒、远处的左侧画有巨块的岩石，岩石的右方画有几棵芭蕉树，树下偶有数块小石块，石块和树根部长满了杂草。画面的下部有二位长者席地而坐，左侧一长者在一旁专心致志地抚琴，右侧一位长者在洗耳恭听，神注专一。右画面的右上角有一女童正在扭首倾听琴声，弯着腰，双手持盏，旁侍后侧，被琴声吸引呆立不动。在长方的矮桌上，摆放一叠书卷，一篡一尊。从画面女童的姿态和神情看，似乎正在为两位长者作斟酒前的准备。\n此画构图简明开朗，只取近景，而将远景略省。人物居中主景位置，其后有竹、芭蕉及奇石穿插托衬。画面上的人物，须眉毕肖，神情各异，栩栩如生，其中尤以拨阮者之右手拨弦手式之描写，最能表现出力与美的感觉。故有别于一般山水中点景人物的遣貌取神。所画的人物，符合当时士大夫“优游林下”的生活情趣，主题极为鲜明。画笔沉着而活泼。构图疏密得当，色调柔和，远处的山石和芭蕉树采用写实手法，画笔疏放酣畅，格调闲适。画芭蕉，先以墨笔中锋勾勒，再赋染淡绿、淡青，蕉侧山石用侧势中锋，稍浓墨笔勾画轮廓，趁将干之际再迅以淡墨皴擦，并和水卧笔化染开，行笔疾速，充满水墨交融，淋漓畅快之感：画竹叶则于立竿之后，以浓淡墨和汁绿层层罩上，草以淡墨、淡绿画成，笔极挺拔。",[25,26,7,27,28,29,239,78,351,777,4195,7444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248b2bea1b45945cfa44c7abdd287616.jpg",[],{"id":25600,"slug":25601,"title":25602,"dynasty":18,"author":24598,"museum":331,"description":25603,"tags":25604,"thumbUrl":25605,"material":100,"size":100,"collection":100,"collections":25606,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},230889,"xiong-ji-ju-shi-tu-li-shi-zhuo-230889","雄鸡菊石图","这幅水墨写意之作，以雄鸡为主体，踞石而立。铁爪紧扣岩块，冠髯抖擞，尾羽如墨色长剑斜斜舒展，笔意纵逸苍劲，以浓淡墨色晕染出羽毛蓬松肌理，寥寥数笔便将雄鸡骄悍英武之态尽显，形神兼备。\n\n旁侧秋菊斜枝而出，墨花点染间浓淡错落，枯涩枝桠衬出晚秋清逸萧疏的意韵，与雄鸡的刚健相得益彰。右上角行书题诗，笔墨与画意相映，添就悠长文人意趣。\n\n整作笔力苍浑兼具秀润，以极简水墨写尽物象风神，将禽鸟野逸与花草清隽相融，借物抒怀，把秋日生机与雄鸡傲骨铺陈纸上，尽显写意花鸟以形写神的妙处。",[23,24,25,26,7,77,113,2137,440,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4355cfcff03a1ce87b1b057424bf8d.jpg",[],{"id":25608,"slug":25609,"title":25610,"dynasty":49,"author":7054,"museum":331,"description":7055,"tags":25611,"thumbUrl":25613,"material":198,"size":780,"collection":100,"collections":25614,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":44},230656,"di-qi-da-lai-la-ma-xiang-li-zhou-xi-zang-tang-ka-230656","第七达赖喇嘛像立轴",[23,25612,7,54,9612,29,28],"唐卡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e39558663fcd1e1983d5d1f99840a84.jpg",[],{"id":25616,"slug":25617,"title":25618,"dynasty":18,"author":361,"museum":331,"description":25619,"tags":25620,"thumbUrl":25621,"material":100,"size":100,"collection":100,"collections":25622,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},230181,"xi-shan-gao-yin-shan-shui-tu-wang-shi-min-230181","溪山高隐山水图","此作用笔圆厚松润，以干笔淡墨层层皴染，糅合黄公望披麻皴意趣，山峦层叠间，高远、深远之境兼具。主峰雄踞上端，峦头苍郁厚重，山腹林麓间村落错落，溪谷萦回穿绕，板桥渔隐点缀其间，将山川雄浑与山居恬和相融。\n笔墨苍秀灵逸，皴擦点染井然有序，于淡墨晕染间铺陈出山林的温润郁茂，把隐逸山居的清逸之思寄寓在层叠丘壑之中，平淡天真里藏着静穆悠远的林下之风，是师古而自出机杼的佳构。",[23,25,26,24,7,77,130,129,252,56,253,269,134,212,132,173,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],{"id":25624,"slug":25625,"title":25626,"dynasty":72,"author":752,"museum":331,"description":2862,"tags":25627,"thumbUrl":25628,"material":198,"size":780,"collection":100,"collections":25629,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":44},228283,"ting-die-tu-chen-hong-shou-228283","听蝶图",[23,25,26,7,28,27,29,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efe86ca90f6efa2eb1ee0012fc34988.jpg",[],{"id":25631,"slug":25632,"title":25633,"dynasty":207,"author":5572,"museum":331,"description":25634,"tags":25635,"thumbUrl":25636,"material":100,"size":100,"collection":100,"collections":25637,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":44},228175,"tong-xi-tu-qian-xuan-228175","童戏图","古柳垂荫，榴花绽艳，庭院间三个稚童正嬉游作乐。矮凳上狸奴蜷卧，一孩童伸指逗弄，身侧同伴探首凝神，满眼好奇。最后小童攥着花枝蹑步而来，似要悄然加入嬉玩。\n\n整幅画笔法工细柔婉，设色古澹沉静，将幼童的娇憨鲜活尽数铺展。花木湖石衬出悠然闲趣，把孩童嬉游的日常瞬景定格，晕开旧时光里的融融暖意，尽显婴戏画的温婉雅致，将稚拙童趣藏进古雅绢色之中。",[23,25,24,26,7,28,27,29,253,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9b5cb209a420e718e41ff884f85df8.jpg",[],{"id":25639,"slug":25640,"title":25641,"dynasty":18,"author":7556,"museum":331,"description":25642,"tags":25643,"thumbUrl":25644,"material":100,"size":100,"collection":100,"collections":25645,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":44},224594,"qiu-she-tu-yuan-jiang-224594","秋涉图","此作用硬朗皴笔勾勒出山岩肌理，奇峰高拔陡立，崖间飞瀑隐于云气，晕染出幽谷空濛之态。丹黄秋叶点染古木，萧疏秋意里晕开暖意。山道滩涂之上，行旅商贾或策马涉水，或沿山径徐行，将山野秋行的鲜活意趣融于冷寂山川，添上人间烟火暖意。画面兼工带写，既得北派山水的雄浑气势，又以细腻的人物刻画赋予山水灵动生机，将秋日山野的旷远意境与行旅图景相融，尽显古典山水的雅致意韵。",[23,24,25,26,7,28,129,130,252,56,170,29,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5727adba9d3c7f163dd3a83df59fa6a.jpg",[],{"id":25647,"slug":25648,"title":25649,"dynasty":18,"author":559,"museum":331,"description":25650,"tags":25651,"thumbUrl":25652,"material":100,"size":100,"collection":100,"collections":25653,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},224587,"tai-gu-yun-lan-zhou-zou-yi-gui-224587","太古云岚轴","以淡墨晕染烟岚，山峦在云气间浮沉隐现，留白与晕染相济，铺展出太古悠远空蒙的意境。前景平坡错落村舍，枯木疏林覆着薄雪，山野意趣悠然澹泊。\n\n笔致清隽秀雅，皴擦细腻妥帖，以淡墨烘托雪后山峦温润静穆的质感，云雾吞吐开合，将远山藏敛，咫尺画幅尽显辽远空寂的古淡气象，将冬山萧寒与幽寂禅意相融。文人题诗错落排布，诗画映合，兼收院体的规整细腻与文人画秀逸气质，淡远清和间，尽展天地初霁的浑茫雅致。",[23,25,7,129,130,77,272,173,170,733,172,427,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3480fc595a4ab95a8ecddd2b8bc62744.jpg",[],{"id":25655,"slug":25656,"title":6512,"dynasty":18,"author":4669,"museum":331,"description":25657,"tags":25658,"thumbUrl":25659,"material":100,"size":100,"collection":100,"collections":25660,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},224453,"fu-chun-da-ling-tu-wang-hui-224453","此作用高远、深远法铺陈丘壑，以云气留白切割层峦，将大岭的雄秀与幽深次第铺展。以干笔披麻皴写山石，兼施浅绛淡赭晕染，复刻元人苍润笔意，又糅合宋人丘壑的繁复精细。\n\n层岩间林泉迂曲，村居掩映于深林，林木疏密错落，枯荣相济，静穆萧散的山居意趣盈满纸面。师法富春古意却自出机杼，笔底既有山野的苍茫清旷，又带着秀整雅致的文人心韵，尽显林泉高致。",[23,25,26,7,28,129,130,1651,173,170,172,351,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185770931e69346f81a2ed45e421ddf6.jpg",[],{"id":25662,"slug":25663,"title":24848,"dynasty":18,"author":4998,"museum":331,"description":25664,"tags":25665,"thumbUrl":25666,"material":100,"size":100,"collection":100,"collections":25667,"showCount":25214,"zanCount":11,"manualWeight":43,"mainColor":88},224394,"fang-ni-zan-shan-shui-zhou-wang-yuan-qi-224394","近岸坡石错落，修篁杂木扶苏，林间草庐隐现，一人凭石静憩。远山以淡墨轻勾浅皴，留白代水，漾开萧疏淡远的空寂氛围。\n以干笔枯墨勾勒皴擦山石，笔意松秀古拙，墨色清润层次分明。题诗与画面相映成趣，将幽居林下的隐逸雅怀藏于尺幅间，尽显空疏冷隽的林下之风，尽显文人山水独有的简淡清和意趣。",[25,26,7,77,130,129,31,35,170,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfdd7175bc5126f78214c90c4a16c909.jpg",[],{"id":25669,"slug":25670,"title":25671,"dynasty":18,"author":11908,"museum":331,"description":25672,"tags":25673,"thumbUrl":25674,"material":100,"size":100,"collection":100,"collections":25675,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":44},224342,"huang-shan-tian-dou-feng-tu-mei-qing-224342","黄山天都峰图","《梅清黄山天都峰图轴》是清代梅清创作的纸本墨笔画。\n本幅款署：“十年幽梦系轩辕，身历层岩始识尊。\n天上云都供吐纳，江南山尽列儿孙。\n峰抽千仞全无土，路入重霄独有猿。\n谁道丹台灵火息，朱砂泉水至今温。\n天都峰。\n仿荆关笔意。\n瞿山梅清并题。\n”钤“瞿硎清”白文印、“渊公”朱文印。\n天都峰为黄山三大主峰之一。\n古时有“群仙所都”之称，意为天上都会，故名。\n此峰卓立地表，险峭雄奇，气势博大，最为雄伟壮丽。\n图中天都峰陡立奇险，冲出云天，山腰间云气缭绕，矮岩上的古寺为林木掩映，两位文士静立观赏山的峻峭与云的变幻。\n在艺术表现手法上，画家突出表现天都峰奇险雄秀的气势而不求形似，通过顶天立地式的布局与弥漫山间的浮云相配合，从侧面烘托了画面气氛，避免直白的艺术表现，增加了观者的空间感，展示出兼具雄浑奔放和清秀空灵的绘画风格，给人以强烈的艺术感染。\n此外，墨色的浓淡相宜既显示了画家非比寻常的绘画技巧，也使得画面完整而统一，没有杂乱无章之感。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[23,25,26,129,77,130,7,1651,427,173,377,29,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead2c64c87e758f439ebdbbe68526dc0.jpg",[],{"id":25677,"slug":25678,"title":25679,"dynasty":18,"author":25680,"museum":331,"description":25681,"tags":25682,"thumbUrl":25683,"material":100,"size":100,"collection":100,"collections":25684,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},224200,"fu-rong-lu-yan-tu-zhou-qiu-jian-224200","芙蓉芦雁图轴","丘鉴","此作兼工带写，空中芦雁振翼俯冲，滩涂三雁昂首和鸣，翎毛纤毫毕现，将雁群互动的鲜活瞬间定格。芙蓉临水盛放，粉瓣柔润饱满，苇草舒展随风曳动，野菊点缀坡岸晕染秋意。\n\n设色雅致柔和，花叶层次晕染自然，禽鸟姿态灵动逼真，恍若能闻雁唳破空。坡岸皴笔简淡，衬出水畔秋日清寂野趣，取景浑然天成，将汀渚生机与秋日闲逸融为一体，写实之中尽显雅致灵韵。",[23,25,26,7,27,28,113,472,675,16891,1742,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741d4deda5f2329d3547762bc74961e0.jpg",[],{"id":25686,"slug":25687,"title":25688,"dynasty":18,"author":436,"museum":331,"description":25689,"tags":25690,"thumbUrl":25691,"material":182,"size":25692,"collection":39,"collections":25693,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":44},224175,"bai-xia-xian-lu-tu-zhou-hua-yan-224175","柏下仙鹿图轴","图绘山中平坦处，一棵松柏高大粗壮，树下一只仙鹿卧于地上，鹿身白毛点点，鹿角如树杈般坚挺，两眼炯炯有神；一仙者着红袍似坐于鹿背上，抚摸着鹿角，慈祥安宁；地面上杂草丛生，生机勃勃。",[23,25,26,7,28,29,241,2163,132,911,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97fadb1d653960d1b79110f47c5d39d.jpg","171×124.8厘米",[39,158],{"id":25695,"slug":25696,"title":25697,"dynasty":93,"author":50,"museum":74,"description":25698,"tags":25699,"thumbUrl":25700,"material":20249,"size":25701,"collection":100,"collections":25702,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},223422,"song-ren-qian-yan-wan-he-zhou-yi-ming-223422","宋人千岩万壑轴","此幅绘千山万水，长松巨壑，中有村落楼阁掩映，一老者倒骑毛驴刚过溪桥，更有渔樵者出没。此图全用郭熙笔意，然细察之宋画气息不足，当是元人学郭熙，而深得其髓者。",[23,25,7,77,130,129,272,351,170,173,172,1717,878,21792],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4739ab7f2861e2dad1160409da8090c.jpg","126.3x49.7厘米",[],{"id":25704,"slug":25705,"title":25706,"dynasty":93,"author":50,"museum":236,"description":25707,"tags":25708,"thumbUrl":25710,"material":486,"size":25711,"collection":100,"collections":25712,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":44},223404,"da-nuo-tu-zhou-yi-ming-223404","大傩图轴","此画面上共画有十二个人。他们都穿着奇异的服装，戴着各式的帽子和插着花枝。帽子的式样毫不重复，除了斗笠、巾和冠之外，有的是戴着粗角的兽头，有的是农家场院器具斗、箩、箕之属。他们的手中或身上携拿着鼓、铃、檀板等乐器，或为扇、篓、帚等用具，或为花枝、瓜之属。所有人的面部都化了妆，可能戴的是假面具。十二个人团团围住，手舞足蹈，充满着欢乐的气氛。旧题《大傩图》。\n描写民间风俗习惯的绘画，宋代特别发展，《大傩图》轴即是一幅风俗画。傩(音挪)，是一种古老的驱除疠疫的民间习俗。《论语》中就有“乡人傩”的记载。《后汉书》记载：“先腊一日，大傩，选中黄门子弟，十岁以上十二岁以下百二十人为侲子。”唐代《乐府杂录》中描写说：“用四方相，戴冠及面具，黄金为四目，衣熊裘，持戈扬盾，口作傩傩之声，似除也。侲子五百，小儿为之，朱褶青襦，戴面具，晦日于紫宸殿前傩，张宫悬乐。”这些描述与画上的情况基本相似。当然到了宋代，傩时的具体情形和细节，又会有许多的发展变化。从画面情形来看，其中增加了许多农具，可见这种古老的习俗，到了宋代除了驱除邪祟之外，还有祈求丰收的意味，同时也是一种民间娱乐活动。所以此幅画，从艺术到内容，都值得珍视。",[23,25,26,7,28,29,27,25709,777,34],"傩戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5418070175d68d1c99232bd7e3c3c.jpg","67.4x59.2",[],{"id":25714,"slug":25715,"title":25716,"dynasty":18,"author":13437,"museum":74,"description":15115,"tags":25717,"thumbUrl":25719,"material":214,"size":25720,"collection":138,"collections":25721,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},223119,"qiu-shu-yun-fan-zhou-dong-bang-da-223119","秋树云帆轴",[23,25,26,7,77,130,79,129,6451,25718,134,193,349,377,29,132,170],"云帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcd6e0cf39452c603f9d6d6ece6e.jpg","121x59.8",[138,185],{"id":25723,"slug":25724,"title":25725,"dynasty":18,"author":1036,"museum":74,"description":25726,"tags":25727,"thumbUrl":25728,"material":486,"size":25729,"collection":100,"collections":25730,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},222756,"ba-jun-tu-lang-shi-ning-222756","八骏图","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[23,24,25,26,7,27,28,5108,5109,196,404,29,79,8495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28adc62fbf3174d00b42d379a53d67ea.jpg","139.3公分，横：80.2公分",[],{"id":25732,"slug":25733,"title":25734,"dynasty":72,"author":4145,"museum":74,"description":25735,"tags":25736,"thumbUrl":25737,"material":37,"size":25738,"collection":138,"collections":25739,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":44},222597,"xi-ge-qing-yan-tu-lan-ying-222597","溪阁清言图","此图的灵感来源是元代画家赵雍。画山石的时候，先用“披麻皴”来描绘质理，然后上面再轻轻罩染一层石青、石绿的颜料。山峰上的苔点和攀附松身的女萝，也是用冷色调的石青敷填，显得十分醒目。蓝瑛灵活地运用元代绘画的模式，将它转化成新的绘画语汇，再融入自己的创作之中。",[23,25,26,7,28,130,129,427,269,132,172,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5032344b2a24faa1cebce70996974eca.jpg","纵167.5cm，横48.3cm",[138,158],{"id":25741,"slug":25742,"title":13578,"dynasty":72,"author":25743,"museum":74,"description":25744,"tags":25745,"thumbUrl":25746,"material":255,"size":25747,"collection":100,"collections":25748,"showCount":25214,"zanCount":11,"manualWeight":43,"mainColor":88},222579,"fang-wang-meng-shan-shui-jiang-qian-222579","蒋乾","这幅画是浙派画家蒋嵩之子蒋乾，所留存下来的少数画作之一。画面中，山峦层层迭迭，几乎将画幅填塞地密不透风。画的右侧有一道瀑布高悬，在山谷间制造深入的空间感。而近景山石有长松挺立，山屋茅舍隐蔽山中，是十分适合文人读书休憩的地方。",[23,25,26,7,77,130,945,129,427,132,169,172,3996,170,272,6208,1717,271,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccffe975f2ab77aa3a44ef972534e795.jpg","98.1厘米，横：34厘米",[],{"id":25750,"slug":25751,"title":25752,"dynasty":72,"author":7501,"museum":11648,"description":13327,"tags":25753,"thumbUrl":25754,"material":2583,"size":13333,"collection":100,"collections":25755,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},222226,"si-wan-shan-shui-tu-4-wan-shan-fei-xue-wen-bo-ren-222226","四万山水图4-万山飞雪",[23,25,364,24,26,7,77,130,27,252,613,170,1419,351,377,521,3880,7002],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d845e881e9f41b343dbe1507be0f0ca.jpg",[],{"id":25757,"slug":25758,"title":25759,"dynasty":72,"author":1614,"museum":331,"description":1615,"tags":25760,"thumbUrl":25761,"material":1394,"size":25762,"collection":138,"collections":25763,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":88},221995,"shui-ting-shi-si-tu-wen-zheng-ming-221995","水亭诗思图",[23,25,129,252,56,253,1617,77,304,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4c5da43adfb3612de6ee83625cd7e2.jpg","73.3x28cm",[138,158],{"id":25765,"slug":25766,"title":25767,"dynasty":207,"author":11859,"museum":3928,"description":25768,"tags":25769,"thumbUrl":25770,"material":25771,"size":25772,"collection":100,"collections":25773,"showCount":25214,"zanCount":11,"manualWeight":43,"mainColor":44},221802,"han-shan-shi-de-tu-zhi-er-yan-hui-221802","寒山拾得图之二","《寒山拾得图》画的是唐代传奇性人物寒山和拾得。寒山与拾得，皆为唐朝贞观年间人，相传住在天台山国清寺，师事于丰干禅师。寒山，一说寒山子，好吟诗唱偈，语言通俗诙谐，后人辑为《寒山子诗集》，存诗300余首，其诗多表现山林隐逸之趣和佛教出世思想，对世态亦有所讥讽。拾得，本为孤儿，天台国清寺僧人丰干拾而养之，故名“拾得”。与寒山为友，亦能诗，诗附《寒山子诗集》后，二人诗风相近。寒山和拾得二人佛法高妙，诗才横溢，踪迹怪异，相传他们分别是文殊、普贤菩萨的转世。\n描绘寒山与拾得的画作，自宋代以来就一直在禅僧间广受喜爱。而且，寒山、拾得二人其典型形象总是满面春风，拍掌而笑，民间奉为“和”“合”二仙。旧时婚礼上，喜堂高挂二仙神像，寓意和气好合。\n颜辉所绘《寒山拾得图》，寒山躬身作揖，拾得拄扫帚而立，二人皆张口大笑。人物神情刻画得细致生动，诙谐之趣跃然纸上。人物衣纹用笔粗壮，实源于南宋山石之画法。",[23,25,26,24,7,28,29,54,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c49fac1026784681f7ef088178a0e7.jpg","绢本水墨淡设色","纵127.8厘米，横41.7厘米",[],{"id":25775,"slug":25776,"title":25777,"dynasty":93,"author":25778,"museum":4759,"description":25779,"tags":25780,"thumbUrl":25781,"material":182,"size":25782,"collection":100,"collections":25783,"showCount":25214,"zanCount":43,"manualWeight":43,"mainColor":44},221587,"ma-bei-shou-lie-tu-zhou-zhang-kan-221587","马背狩猎图轴","张勘","张堪，字君游，南阳宛县（今河南省南阳市）人，南阳郡豪门大族 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），汉族，字幼玄， 一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。 福建漳州府漳浦县（今福建省东山县铜陵镇）人， 祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁 。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[80,7,97,305,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e7d9d45111b0594551cedc04ee5b5e.jpg","綾本行草","158.6×50.4cm",[101],{"id":26108,"slug":26109,"title":26110,"dynasty":18,"author":26111,"museum":331,"description":26112,"tags":26113,"thumbUrl":26114,"material":100,"size":100,"collection":138,"collections":26115,"showCount":554,"zanCount":11,"manualWeight":43,"mainColor":88},239037,"hou-tu-zhou-zhu-chang-fu-239037","厚图轴","祝昌阜","此作以高远章法铺陈，主峰斜曳横贯，以斧劈皴利落勾勒石体质感，淡墨晕染出崖壁的苍莽雄浑，自带冷峭荒寒的山野意趣。\n\n崖畔孤松虬曲凌云，枝干舒展如展翼，松针攒簇见精神，扎根绝壁尽显傲骨。旁侧枯木寒枝错落，苔点墨色浓重，衬出山境的清寂寥落。画面留白疏朗，铺陈出天地空茫之意，笔墨简淡萧散，以写意笔法尽抒林下幽怀，将山水的荒寒之美与文人逸致相融，寥寥数笔便勾勒出清寂出尘的林泉意韵，淡远悠长。",[25,7,77,130,129,427,132,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2151157b14216f4511adb2ab721e9afa.jpg",[138,185],{"id":26117,"slug":26118,"title":26119,"dynasty":72,"author":24391,"museum":331,"description":26120,"tags":26121,"thumbUrl":26122,"material":100,"size":100,"collection":138,"collections":26123,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},239013,"ju-jie-shan-shui-zhou-ju-jie-239013","居节山水轴","画史记载居节“尚气节，虽窭甚，惟以丹青自娱，不曳侯门裾” (《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[25,26,7,77,130,80,79,129,377,170,132,29,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[138,185,101],{"id":26125,"slug":26126,"title":26127,"dynasty":18,"author":26128,"museum":331,"description":26129,"tags":26130,"thumbUrl":26131,"material":100,"size":100,"collection":39,"collections":26132,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},238940,"hua-guan-gui-yu-zhou-hua-guan-238940","华冠归渔轴","华冠","华冠 (公元18世纪)〔清〕原名庆冠，初名点，字庆吉，号吉崖，江苏无锡人，生卒年不详。官广西同知，工写照，擅长白描。\n原名庆冠，初名点，字庆吉，号吉崖，江苏无锡人，生卒年不详。官广西同知，工写照，擅长白描。乾隆帝南巡，写御容称赏，旋征召入都，供绘事，为藩邸所赏，声溢公卿，归里后求画者麇至。年七十余尝画邑庙径丈仙像壁画。兼工山水、木石、花卉。",[25,26,7,77,29,350,2367,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea2c454a335712a9a7ee2339f38b2fe.jpg",[39,185],{"id":26134,"slug":26135,"title":26136,"dynasty":72,"author":50,"museum":236,"description":26137,"tags":26138,"thumbUrl":26139,"material":100,"size":100,"collection":39,"collections":26140,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":44},237884,"ming-ren-cun-nv-cai-lan-tu-zhou-yi-ming-237884","明人村女采兰图轴","以淡墨轻勾人物轮廓，衣袂褶皱里似裹挟着郊野清风，鬓发间仿若沾着涧畔晨露。少女肩携小锄，挑着垂灯缓行在溪山小径，浅晕的坡岸野卉晕开清晨郊野的清寂。摒弃浓丽设色，以简淡笔墨勾勒出村女朴野清灵的情态，将采兰而归的恬然自适晕染绢素之上，把山野幽居的逸趣融在浅淡晕染间，尽显林下安然的乡野风致，笔墨清逸雅致，淡远幽静的郊野意趣扑面而来。",[25,26,7,985,28,29,1051,132,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b35fa89f93f1b5a0e0fbff3bcceca1.jpg",[39],{"id":26142,"slug":26143,"title":8535,"dynasty":18,"author":26144,"museum":331,"description":26145,"tags":26146,"thumbUrl":26147,"material":100,"size":100,"collection":138,"collections":26148,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},237468,"shan-shui-tu-zhou-zhou-tang-237468","周棠","周棠（1806 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史故事为背景。\n王昭君是汉元帝时的宫女，貌美且有志气，自愿远嫁匈奴和亲。\n在她的影响下，匈奴与中原之间得以和平相处，“三世无犬吠之警，黎庶无干戈之役”。\n袁耀曾多次选此题材，其主要兴趣在于描绘华美的宫殿建筑。\n此幅中殿宇宫门紧闭，月光似水，将庭院笼罩在一片苍茫的夜色中，淡淡的凄凉情调正符合王昭君即将远离故乡和亲人的离愁别绪，这使得原本精工华丽的楼阁也带上了一丝哀婉的色彩。\n袁耀（生卒年不详，约活动于18世纪中期），字昭道，江都（今江苏扬州）人，袁江之子。\n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工于山水楼阁界画，继承了唐宋及明代仇英青绿山水的画法。\n笔墨严整工细，设色艳丽浓郁，与袁江同为清代界画代表人物。",[25,7,1157,28,27,269,29,170,59,1675,26220,778],"宫殿建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42519666a6f65ddfe5d818f7ca2bf727.jpg",[],{"id":26224,"slug":26225,"title":26226,"dynasty":18,"author":235,"museum":331,"description":6344,"tags":26227,"thumbUrl":26230,"material":486,"size":6349,"collection":100,"collections":26231,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},234989,"hua-hui-ling-mao-ping-7-ren-yi-234989","花卉翎毛屏7",[25,26,113,7,28,27,151,1373,132,2768,26228,2769,26229,536],"粉花","蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b6f696c4310601d6245936bdbdeacd5.jpg",[],{"id":26233,"slug":26234,"title":26235,"dynasty":18,"author":26236,"museum":331,"description":26237,"tags":26238,"thumbUrl":26239,"material":198,"size":780,"collection":100,"collections":26240,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},234923,"mei-zhu-lan-shi-tu-zhou-yang-jin-234923","梅竹兰石图轴","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[25,26,7,77,113,392,31,1051,601,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8537edec523b3144ca08d3569009d41e.jpg",[],{"id":26242,"slug":26243,"title":26244,"dynasty":18,"author":50,"museum":331,"description":26245,"tags":26246,"thumbUrl":26248,"material":198,"size":780,"collection":100,"collections":26249,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},234394,"qian-long-di-fei-yu-jia-qing-di-you-nian-xiang-zhou-yi-ming-234394","乾隆帝妃与嘉庆帝幼年像轴","此作以双层楼阁铺展深苑日常，上层朱红木构镂空雅致，紫纱轻垂掩映竹影，晕开静谧清幽。下层轩窗半启，妃嫔衣袂织绣华美，垂眸凝睇身侧幼童，眉目柔婉，漫溢出化不开的慈意。\n\n远景湖山轻晕如黛，近旁奇石立，芍药娉婷、修竹疏朗，将中式庭院的清雅意趣尽数铺陈。全画笔法工致细腻，建筑雕纹分毫毕现，人物发丝衣褶皆见匠心，色彩柔丽和谐，把深宫之中的脉脉天伦温情，定格成一帧静好隽永的时光剪影，尽显写实精妙的绘事功力。",[25,26,7,27,28,29,269,31,601,114,26247,1675,1157,472],"窗棂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2bb53374383c49f92b0da5cb26dc45c.jpg",[],{"id":26251,"slug":26252,"title":26253,"dynasty":72,"author":1614,"museum":236,"description":17239,"tags":26254,"thumbUrl":26255,"material":745,"size":17242,"collection":100,"collections":26256,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},233820,"wen-zheng-ming-xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-233820","文徵明溪桥策杖图轴",[25,26,7,77,129,130,29,134,193,131,132,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552fc7d9d84394f4ffb4d99f2e9e7dd7.jpg",[],{"id":26258,"slug":26259,"title":26260,"dynasty":18,"author":4505,"museum":236,"description":26261,"tags":26262,"thumbUrl":26263,"material":1573,"size":26264,"collection":100,"collections":26265,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},233729,"gu-bai-ling-zhi-tu-zhou-zhao-zhi-qian-233729","古柏灵芝图轴","图绘一株参天的柏树，粗壮的树干久经岁月的磨难，疤痕累累。交叠成荫的叶片郁郁葱葱，春意盎然，古柏因此表现出顽强的生命力。柏树下低矮的灵芝茁壮而富有生气，颇有“迈众芳而秀出，冠杂卉而当闱”之神采。\n此图以刚劲有力的书法技法绘枝干，并以焦墨皴擦勾勒，生动地表现出古树的伟岸。叶片和树下的青草、灵芝仿恽寿平的没骨法点染，笔致灵活，颇具神韵与情趣，与树干刚柔相济，令画作具有多层次的视觉空间，是赵之谦以书入画的代表作。",[25,26,7,28,304,130,131,14752,4370,1275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F244dac19c17d366964557a6b36ad82bb.jpg","纵140.8厘米，横37.8厘米",[],{"id":26267,"slug":26268,"title":26269,"dynasty":72,"author":4145,"museum":236,"description":26270,"tags":26271,"thumbUrl":26273,"material":486,"size":26274,"collection":100,"collections":26275,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":44},233697,"yun-he-cang-yu-tu-zhou-lan-ying-233697","云壑藏渔图轴","此图为蓝瑛73岁（1657年）时的力作。该图构图奇险，尤其是画幅的上半部，一段奇峭耸立的山峰嵯峨壮观，于危峙耸拔呼之欲倒的险迫中，又具“去天不盈尺”的崇高感，显示出作者较强的造景生势能力。蓝瑛在树木的表现上亦有较强的造型能力，他能准确而生动地把握各种树木的形态特征，伸枝布叶，饶有情致。树叶的表现技法极为丰富，有以线勾双边的夹叶法，以墨直接卧笔横点的点叶法，还有松针勾簇、罩以淡彩的勾染结合法。山石皴法，仿宋人李希古（李唐）笔意，以粗犷的墨笔勾勒石之轮廓，以侧锋横擦的小斧劈皴皴擦石面，成功地显现出山岩凝重的质感。该图既有职业画家的行业气，又有文人画家的书卷气，二者巧妙地融汇贯通，表明蓝瑛不愧是明末职业画家向文人绘画靠拢的代表人物。",[25,26,7,28,129,130,335,26272,349,427,498,132,169,2367],"壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4d2c8bdbaefa91e4ad1677373af496.jpg","纵369厘米，横98厘米",[],{"id":26277,"slug":26278,"title":26279,"dynasty":207,"author":50,"museum":331,"description":26280,"tags":26281,"thumbUrl":26283,"material":100,"size":100,"collection":100,"collections":26284,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":44},232696,"song-yin-lun-dao-tu-zhou-yi-ming-232696","松荫论道图轴","画作以层叠飞瀑串起幽深山峦，古松虬曲苍劲，斜探山坳。松荫下二人对坐，一人垂耳静聆，一人挥袖长谈，雅意暗生。山石以斧劈皴勾勒晕染，尽显雄浑厚朴，山林以浓淡墨色分出虚实层次，铺就空寂清远的山野氛围。\n\n整幅以动衬静，飞瀑流泉的喧腾，更衬出松下晤谈的安谧超脱，将林下隐逸的雅趣融于丘壑间，尽显萧散简远的山水意韵，把出世林下的风流逸致，尽数绘于绢素之上。",[23,25,26,7,77,130,129,29,378,169,351,193,26282],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a886a55177591ac8990b09ff254c510.jpg",[],{"id":26286,"slug":26287,"title":22639,"dynasty":18,"author":1971,"museum":319,"description":26288,"tags":26289,"thumbUrl":26290,"material":214,"size":20683,"collection":100,"collections":26291,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},231488,"xi-shan-xian-guan-tu-wang-jian-231488","《溪山仙馆图》作于“甲寅春暮”即康熙十三年（1674），时年王鉴76岁。因为王鉴77岁那一年春天，王翚曾携弟子杨晋一起来到太仓王鉴的染香庵拜访他，杨晋还为王鉴画了肖像，王翚为肖像作补景，王鉴本人也在画上题了跋语。这幅“写照入神，运笔飞动”的肖像画令王鉴欢喜，因为此时的王鉴已患中风，“备诸丑态，子鹤（杨晋，字子鹤）隐陋，曲貌形外之神”（王鉴画上跋语，见《吴越所见书画录》），将王鉴的精神面貌画出来了。王鉴寿高80，76、77岁之后作品较为少见，大约与其晚年曾患中风有关。此幅《溪山仙馆图》是王鉴中风之前所作，非常难得。\n王鉴万历二十六年（1598）出生在江苏太仓一个功名世宦之家，曾祖父王忬是嘉靖二十年进士，官至兵部左侍郎，蓟辽总督。祖父王世贞少年时即被视神童，嘉靖二十六年19岁时就考取进士，虽然仕途不畅，却是明代中后期的文坛盟主。父亲王士骐也是一位才子，万历十年南京乡试解元，万历十七年进士，幷曾官礼部、吏部。出身在如此显赫家庭，王鉴亦才华横溢，但是功名平平，36岁时才在乡试中考取举人，之后再无进展，而是受到祖荫照拂任左府事，继而出任广东廉州（今为广西合浦）太守。然而其天生一副文人性格，不合污流，上任不久即遭遇宦官们以开矿为名横征暴敛、鱼肉百姓的“粤中开采”之事，他挺身而出，以太守之力“力请上台得罢”，企图阻止“开矿恶政”，却险些引来牢狱之灾。两年后王鉴退隐原籍，再不出仕，一生都在诗文书法中度日。\n王鉴绘画受到董其昌影响，对于北宋董源、巨然深有研究，幷专注于元四家、尤其倾心黄公望。《溪山仙馆图》纸本设色，纵78厘米，横39厘米。所绘布局严谨，近景松树成林，但茂而有致，绝无繁芜之感，中景、远景绘山，丘壑深邃却层次井然，毫不琐碎，加以色墨交融，皴染幷施，绘出了华润气象。\n此画清代民国以来历经三位著名收藏家收藏：第一位是同治光绪年间的南京人李溥泉，此人眼力好，但是特别会做生意，故曾遭赵之谦等人的白眼，左下角“白门李氏珍藏”印即为其所钤。第二位是晚清时以盐业起家、并官至内阁学士的慈溪人严信厚，严信厚字小舫、筱舫，斋名小书画舫等，“小书画舫”收藏书画很有名，我们今天仍经常可见到一些古代书画上留有“小书画舫”所钤收藏印，此画在“白门李氏珍藏”印之上那方“小书画舫秘玩”印即为其所钤。第三位是现代大收藏家钱镜塘，此画“钱家样”的装裱，就是当年钱镜塘的专用裱画师严桂荣所为。此画钱镜塘曾请吴湖帆过目，包首签条即为吴湖帆所题。《溪山仙馆图》“文革”时被抄，“文革”结束后未归还，后流入市场。",[23,25,26,7,28,130,129,134,193,131,269,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d42a5940438066fc2ad4b01874fd21.jpg",[],{"id":26293,"slug":26294,"title":26295,"dynasty":18,"author":12546,"museum":319,"description":26296,"tags":26297,"thumbUrl":26298,"material":182,"size":26299,"collection":100,"collections":26300,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":44},231486,"si-ji-hua-hui-tu-jiang-pu-231486","四季花卉图","蒋溥，江苏常熟人。廷锡子。雍正八年传胪，乾隆十八年仕至大学士。花草得其家传，随意布置，多生趣。每绘画进呈，蒙睿题有“师承家法闲图出，右相丹青有后生”之句。谥文恪。",[23,25,24,7,27,28,113,392,32,114,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3cae0f4cf71bdb4cba7de4487776320.jpg","98.5×60.5cm",[],{"id":26302,"slug":26303,"title":26304,"dynasty":72,"author":24607,"museum":74,"description":26305,"tags":26306,"thumbUrl":26307,"material":214,"size":26308,"collection":100,"collections":26309,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[23,25,26,7,28,130,945,79,129,29,269,134,193,196,427,169,174,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":26311,"slug":26312,"title":8875,"dynasty":93,"author":25936,"museum":331,"description":26313,"tags":26314,"thumbUrl":26315,"material":100,"size":100,"collection":100,"collections":26316,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":44},231051,"wen-ji-gui-han-tu-chen-ju-zhong-231051","此作以全景式构图铺展故事全程，寒林荒漠晕染出塞北萧寒底色。首段绘毡帐饯别，蔡文姬与匈奴亲眷对坐，眉眼间交织着归乡的期许与离亲的怅惘。下方整装队伍肃穆排布，官吏躬身行礼，扈从车马错落有序，将临行之际的沉郁氛围拉满。\n\n线条工细遒劲，设色朴雅厚重，人物衣冠、鞍马器具皆刻画入微，将乱世里家国与亲情的两难拉扯，融于苍凉塞景之中，尽显写实功力与细腻的情感表达，把一段乱世归乡的千古憾事具象为动人图景。",[23,24,25,26,7,28,27,29,196,195,484,131,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f6c8c22a8616327f719fb02c002d6.jpg",[],{"id":26318,"slug":26319,"title":26320,"dynasty":72,"author":4312,"museum":331,"description":26321,"tags":26322,"thumbUrl":26324,"material":100,"size":100,"collection":100,"collections":26325,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},230938,"han-ya-ji-xue-tu-zhao-zuo-230938","寒崖积雪图","此作用淡墨晕开寒雾，远山隐没其中，高岭悬崖覆着素雪，以留白衬出积雪清寒厚重，山石勾勒硬朗古拙，尽显崖壁巍峨肃穆。\n\n中景枯木虬曲苍劲，枝桠舒展，雪覆槎丫，林麓间山居掩映，篱舍静谧安闲，似能隔绝冬日霜寒。近处石径蜿蜒，策杖行人缓步徐行，暗合冬日寻幽的雅趣。\n\n整体笔墨简练老辣，以空寂清冷的意境，将山野萧寒与幽居恬然相融，尽显文人寄情林泉、静悟山水的隐逸雅兴。",[25,26,7,77,130,129,26323,7002,521,427,132,733,29,272,173],"寒崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff69f419c727c300955afc9fed11ab0b8.jpg",[],{"id":26327,"slug":26328,"title":26329,"dynasty":207,"author":8299,"museum":331,"description":26330,"tags":26331,"thumbUrl":26333,"material":100,"size":100,"collection":100,"collections":26334,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":44},230900,"song-yin-ju-yin-tu-zhou-tang-di-230900","松荫聚饮图轴","《松阴聚饮图》是元代画家 创作的绢本设色画，现藏于上海博物馆。\n此图近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。\n此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。\n长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。\n此图1近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘礴，不拘礼仪。\n图1的左边作者行书自题一行，文曰：“元统甲戌冬十一月，吴兴唐棣子华制。\n”钤有“唐氏子华”朱文方印。\n按图中自题，甲戌为元统二年（14）唐棣时年9岁。\n此画为作者早年作品，故较多保留着师承前人技法的痕迹。\n图写平远山水，远处山峦叠嶂，绵延起伏。\n近处均为浩荡江水，旷无边际。\n中间为树木、平岗。\n三棵巨树拔地而起，枝干粗实，盘根虬曲，有的枝杈盘曲伸展，枝叶疏落，树干上长满了疤节。\n树荫下有数间茅亭屋宇，将远景与近处相隔，截分为近远两景，这是远、中、近景三段式的格局。\n这样的布局，使整幅显得富有层次，使旷野的山光水色的美景更为显眼。\n此图2的画法，人物用白描法，线条细腻而又简练，笔触柔和，远山浅淡而远杳，近景的几株枯树明显反映出唐棣的线条功底，点顿精凝，不为懈笔怠笔，树干盘龙走虺，脉理纷然，瘢节回护，古拙怪异。\n树下三五成群的聚饮者，也是一种静谧而萧然的格调，尤其是图中描画对饮者解衣盘膝，或跽或蹲，不矜礼仪，生动地表现出村民、野老酒酣兴豪的生活乐趣。\n远处，山石逶迤起伏的山脉，作淡墨晕染，山峰均用短披麻皴，长松的勾皴苍劲精巧，细枝形类似蟹爪形。\n山上的草木丛杂，设色雅淡。\n218年1月21日，上海博物馆书法和绘画陈列开放，《松荫聚饮图》在其中展出。\n唐棣（1296—164），元代画家。\n字子华，湖州（今属浙江）人。\n“以茂才异等起家：”官至吴江知州：早熟，称“神童”，工画山水，“尝游翰林公之门”，得赵孟頫指授，并师法李成、郭熙，善于布置景物，点缀人物尤佳，笔力坚硬，画风清森华润，犹存宋人遗法。\n曾参与集庆（治今江苏南京）龙翔寺及元宫嘉熙殿作壁画，晚年兼学高克恭。\n明鉴赏家张丑推举他为“元人中之巨擘。\n”传世作品有《霜浦归渔图》轴、《雪港捕渔图》轴等。",[24,25,26,7,28,130,129,131,378,29,26332],"聚饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2873aee32f3e632b734453cf38006c24.jpg",[],{"id":26336,"slug":26337,"title":26338,"dynasty":18,"author":9141,"museum":331,"description":26339,"tags":26340,"thumbUrl":26341,"material":100,"size":100,"collection":100,"collections":26342,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":44},230358,"sui-han-san-you-tu-zhou-fan-qi-230358","岁寒三友图轴","枯梅清枝斜出，苍劲瘦硬，花苞轻缀，暗蕴幽芳。丹红山茶花晕染柔润，鲜翠枝叶错落生姿，浓黑泼墨湖石与之相映，冷暖明暗碰撞，艳而不俗，拙而不僵。下方水仙挺秀舒展，冰姿玉洁，与湖石皴擦出的奇崛顽态相得益彰。\n全画工写兼施，笔致秀雅含蓄，将冬日清友齐聚尺素，把岁暮天寒里的融融春意暗藏其间，既有文人画的清逸格调，又鲜活晕透出明丽生机，让观者于画中品味隆冬清妍风骨，静赏幽然雅集意趣。",[23,25,26,7,28,113,392,1051,31,35,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504a4ddf8e1f808198416479420c9b74.jpg",[],{"id":26344,"slug":26345,"title":5709,"dynasty":18,"author":5710,"museum":331,"description":26346,"tags":26347,"thumbUrl":26348,"material":100,"size":100,"collection":100,"collections":26349,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":44},230218,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230218","此作以猛虎为魂，山林为幕，蛰伏于草木间的碧眼吊睛虎身姿蓄势待发。笔线勾勒皮毛纹理细腻入微，墨色晕染斑纹虚实相生，将百兽之王的沉凝悍劲与潜藏的威严精准铺陈。\n\n背景以泼墨写意挥洒阔叶草木，细劲藤蔓与挺秀竹丛疏密错落，淡赭晕染山石晕开深山幽寂氛围。虚实相生间将虎的机警觉察与山野静谧相融，工写兼备的笔意揉合虎的威仪与林泉野趣，藏灵动于沉雄，尽显造境塑物的深厚功底，是形神皆备的精妙之作。",[23,25,77,28,7,5713,241,31,132,576,304,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a8e10a2005f4a486a40b8c4ba6c9264.jpg",[],{"id":26351,"slug":26352,"title":26353,"dynasty":18,"author":4237,"museum":331,"description":26354,"tags":26355,"thumbUrl":26356,"material":100,"size":100,"collection":100,"collections":26357,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":44},230147,"jun-ma-lie-yu-yuan-230147","骏马列","此作绘双骏静立，银鬃灰马身形劲挺舒展，朱膘红骏身姿丰腴俊朗，二者顾盼悠然，自带神骏温驯之态。用笔精工细致，鬃丝根根分明，晕染柔和自然，将良驹皮毛的柔润光泽与矫健体态形神兼备地勾勒而出。画面留白简洁雅致，右上角题字错落排布，为画面晕开一抹文人情致。整体工稳雅致，兼具院体画的精工与文人画的清雅，静穆间尽显宝马从容华贵的风骨，将鞍马题材的雅致意趣尽显无余。",[23,25,26,7,28,27,196,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995d32e6d171986a88eb8b69d5c00d68.jpg",[],{"id":26359,"slug":26360,"title":26361,"dynasty":72,"author":683,"museum":331,"description":26362,"tags":26363,"thumbUrl":26364,"material":100,"size":100,"collection":100,"collections":26365,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":44},228845,"ji-shan-gao-yin-tu-zhou-dai-jin-228845","箕山高隐图轴","画面以雄奇山水铺陈意境，斧劈皴勾勒出山岩棱角刚硬，危峰迭起直入烟霭。古松虬曲苍劲，盘崖绕谷，枝干舒展如腾龙，松针攒簇尽显苍郁生机。\n\n松下高士坦襟趺坐，凭石观山，意态萧散悠然，将山野林泉间的隐逸闲趣尽显。整作以刚劲笔墨绘就山川风骨，又以简淡笔触描摹人物风神，将北宗山水的雄浑大气与文人高隐的清雅意趣相融，尽抒林泉高致，恍见太古幽情。",[23,25,26,7,77,130,129,29,427,132,169,6208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb2ac4e2251e083f824252fb1f3869f.jpg",[],{"id":26367,"slug":26368,"title":26369,"dynasty":72,"author":12967,"museum":331,"description":26370,"tags":26371,"thumbUrl":26372,"material":100,"size":100,"collection":100,"collections":26373,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},228493,"pei-yue-xian-xing-tu-du-jin-228493","陪月闲行图","《陪月闲行图》是中国明代画家杜堇的国画作品。\n该画为纸本水墨，纵156.5厘米，横72.4厘米，现流落于（美）克里夫兰艺术博物馆。\n杜堇[明]十五—十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒人。\n丹徒（今江苏镇江）人，占籍燕京（今北京市）。\n宪宗成化（一四六五―一四八七）中试进士不第，绝意进取。\n工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。\n人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。\n弘治二年（一四八九）为吴原博（宽）作赏菊宴集图。\n《画史会要》、《图绘宝鉴续纂》、《无声诗史》、《艺苑巵言》 。\n杜堇的传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（15）由金琮（1449-151）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。\n《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《郡雍像》轴等，上述画均藏故宫博物院。\n从艺活动约在成化、弘治间。",[25,77,7,29,129,521,132,130,985],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d45025facb50d10416b1c61101165b.jpg",[],{"id":26375,"slug":26376,"title":26377,"dynasty":207,"author":50,"museum":331,"description":26378,"tags":26379,"thumbUrl":26380,"material":100,"size":100,"collection":100,"collections":26381,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":44},228183,"dan-feng-niao-que-tu-yi-ming-228183","丹枫鸟鹊图","画面截取深秋一角，虬曲苍劲的枫树枝桠间，残红秋叶点缀，晕开萧索清寒的秋意。三只禽鸟错落栖于枝梢，引吭啼鸣的山雀羽翼晕染细腻写实，将灵动生机揉入冷寂秋景，另外两雀或静立或垂悬，动静相映成趣。\n\n设色调和古雅，工写相融，淡墨皴擦尽显枝干枯涩质感，禽鸟刻画精细入微，将秋日郊野的幽寂野趣藏于笔底，简淡笔意间晕开幽远沉静的林下意趣，尽显雅致空灵的秋日审美意韵。",[23,25,26,24,7,27,28,113,151,4978,2366,3631,1373,1275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bfefdf57d7bfd435a7b35b437dd982.jpg",[],{"id":26383,"slug":26384,"title":19764,"dynasty":207,"author":11970,"museum":331,"description":26385,"tags":26386,"thumbUrl":26387,"material":100,"size":100,"collection":100,"collections":26388,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":44},228165,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228165","此作用笔苍劲老辣，以顶天立地的古松为画面核心，虬曲扭结的躯干皴擦细密，尽显岁月镌刻下的沧桑质感。松间垂挂的绵长松萝，以劲细游丝写出柔婉垂坠之态，和古木的沉雄拙朴相映成趣。下方寒泉漱石，流泉隐于嶙峋怪石间，留白铺就的水面空寂淡远，静穆中暗流动势，烘托出幽僻萧寒的林下清境。\n整幅画作以枯淡笔墨写就荒寒之韵，将文人寄心林泉、远避尘嚣的隐逸意趣藏于清冷景致之中，尽显山水尚意求真的美学风骨。",[23,24,25,26,7,4108,77,28,130,131,521,132,193,3137,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17444290187efcec2fec2010c6951726.jpg",[],{"id":26390,"slug":26391,"title":26392,"dynasty":93,"author":5127,"museum":331,"description":26393,"tags":26394,"thumbUrl":26395,"material":100,"size":100,"collection":100,"collections":26396,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":44},227980,"qiu-lu-fei-wu-tu-liang-kai-227980","秋芦飞鹜图","以淡墨晕开秋江空蒙的冷寂氛围，枯瘦芦草欹斜舒展，迅疾老辣的笔致带着野逸秋意。水畔坡岸以泼墨点染，浓淡墨色自然晕化，混融天成，静立坡头的小禽与振翅掠空的飞鹜形成动静对照。\n\n远飞的水禽仅以寥寥数笔勾勒，形神俱足，活现掠空姿态。画面以大片留白衬出江天寥廓，将秋日江汀的萧疏淡远藏在简淡笔墨中，以少胜多，把秋日清寂与禅意文思揉合一处，余韵悠长。",[23,24,25,26,7,77,304,1742,151,35,4987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917b71480910d4f702db28eefc181657.jpg",[],{"id":26398,"slug":26399,"title":26400,"dynasty":18,"author":4669,"museum":331,"description":26401,"tags":26402,"thumbUrl":26403,"material":100,"size":100,"collection":100,"collections":26404,"showCount":554,"zanCount":419,"manualWeight":43,"mainColor":88},224457,"shan-chuang-du-shu-tu-zhou-wang-hui-224457","山窗读书图轴","《山窗读书图》是清代画家 创作的一幅纸本淡设色画。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n从落款可知此图系为恭祝友人王掞（字藻儒）寒窗苦读、秋试中举而作，带有浓郁的情感色彩。\n款署：“山窗读书图。\n奉贺藻儒先生秋荐之喜，时丙午九月九日，虞山王翚。\n”钤“王翚之印”朱白文印。\n“丙午”为康熙五年（1666年），王翚时年5岁。\n全图以元人王蒙细密繁复的笔法刻画，线条活而不乱，理在其中，浓、淡墨色于交叠皴擦中层次井然。\n此幅不失为王翚早年学仿王蒙画风的精心之作。",[23,25,26,7,77,130,129,252,169,193,134,131,377,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1307676e05c8337ec6ba011a5e291deb.jpg",[],{"id":26406,"slug":26407,"title":10813,"dynasty":18,"author":235,"museum":331,"description":13035,"tags":26408,"thumbUrl":26409,"material":745,"size":100,"collection":100,"collections":26410,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},223224,"ren-wu-tu-ren-yi-223224",[23,25,26,7,28,27,304,29,225,196,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c3e45ff9f24ce1bd3ad16f2db5cf27.jpg",[],{"id":26412,"slug":26413,"title":26414,"dynasty":18,"author":21431,"museum":236,"description":26415,"tags":26416,"thumbUrl":26421,"material":486,"size":26422,"collection":100,"collections":26423,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},222826,"tu-er-hu-te-bai-ying-tu-zhou-ai-qi-meng-222826","土尔扈特白鹰图轴","绘红木金顶屏风架上白鹰一只，圆眼有神，身形矫健，张开的翅膀欲似高飞。艾启蒙，字醒庵，生于波西米亚，天主教耶稣会传教士，师从郎世宁，工人物、走兽、翎毛，与郎世宁、王致诚、安德义合称四洋画家。 ​",[23,25,26,7,472,27,28,4015,26417,26418,26419,26420],"鹰架","石狮","织物","装饰构件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3513681b60d7018e14ce71f45ccd4031.jpg","64x40cm",[],{"id":26425,"slug":26426,"title":26427,"dynasty":18,"author":3450,"museum":74,"description":3451,"tags":26428,"thumbUrl":26429,"material":1320,"size":12576,"collection":138,"collections":26430,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},222695,"hua-jie-shan-zhai-tu-zhou-qian-wei-cheng-222695","画借山斋图轴",[23,25,26,7,129,130,28,252,56,170,733,172,522,79,132,11626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d4bfa5c29a8ba7cf79a8b52cded174.jpg",[138,158],{"id":26432,"slug":26433,"title":26434,"dynasty":72,"author":7648,"museum":265,"description":26435,"tags":26436,"thumbUrl":26437,"material":7981,"size":26438,"collection":100,"collections":26439,"showCount":554,"zanCount":43,"manualWeight":43,"mainColor":88},222449,"he-tang-ji-qin-tu-zhou-lin-liang-222449","荷塘集禽图轴","林良有些花气画，专绘群乌聚集景象，品类众多，情态各异，生动活泼，极富自然天趣。此幅集禽图以荷塘为背景，塘内荷叶绽开，莲蓬结子，苇丛摇曳，正是盛夏季节。一对豆雁在水中叼着莲茎嬉玩，相依相偎；两只鸬鹚在觅食，一只正衔着小鱼飞向另一只伸颈等待的伴侣，透出相濡以沬的情感；天空有一燕子展翅鸣叫，正飞向栖止荷花上的雏燕，又别呈哺育之情。成对禽鸟的不同情感，既真实地揭示出它们的天性，又赋以强烈的感情色彩，使这些生物不仅活泼可爱，也亲切感人。禽鸟欢悦和谐的生活景象与盛夏池塘生意盎然的环境气氛相交融，奏出了一曲十分优美悦耳的生命交响乐。作品所传达的情凋、氛围，在林良花鸟画中是不多见的。\n此图画法比较工整，荷花、莲蓬均用细线勾勒后再加色晕染，阴阳向背分明。禽鸟亦勾染结合，形态准确，物类——可辨。芦苇、荷茎比较写意，但粗细、深浅也很有分寸，各具轻薄、圆韧质感。此为林良工写相兼画风中的精细之作。（单国强）",[23,25,24,7,77,304,113,32,309,151,3620,1742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf4364f9bd90694c020b7ec431ffec25.jpg","152 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画中各物在作者的笔下蠢蠢欲动，大得自然野趣。",[23,25,26,24,7,27,28,113,392,31,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cce390d80d63a2be5939789f644197c.jpg","78x40.4",[],{"id":26459,"slug":26460,"title":26461,"dynasty":207,"author":26462,"museum":648,"description":26463,"tags":26464,"thumbUrl":26465,"material":1573,"size":26466,"collection":100,"collections":26467,"showCount":554,"zanCount":11,"manualWeight":43,"mainColor":88},221763,"liu-ting-ju-qin-tu-xia-shu-wen-221763","柳汀聚禽图","夏叔文","淡墨简笔，画一水两岸，柳树柔枝万条，喜鹊，山雉、绶带，翠鸟等或栖憩枝头，或戏游水中； 近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 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画风近 黄公望。 自题“已丑(1 649)夏五月， 画似跨千老盟兄， 时余游豫，不觉笔下有离别之气，瑞识。” 汪之瑞，生卒年不详，清初画家。字无瑞，休宁(今属安徽)人。初从同邑李永昌学画。工书，擅山水。悬肘中锋，运用渴笔焦墨，多作披麻、荷叶皴，盖为其家乡黄山山石之皴斫也。爱作背面山，兴至落笔，如风雨骤至，顷刻数纸。与弘仁、孙逸、查士标，为新安派四大家(即海阳四家)。传世作品有《为跨千写山水图》、《虚亭诗意图》、《溪亭纳秋图》。",[25,129,77,130,7,134,132,131,170,5120,173,172,6246,26892,79,26893,304],"书法题跋","枯笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[138,185],{"id":26898,"slug":26899,"title":26900,"dynasty":18,"author":24030,"museum":74,"description":26901,"tags":26902,"thumbUrl":26903,"material":1394,"size":100,"collection":185,"collections":26904,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":88},236113,"song-zhu-ming-qin-zhou-zhang-ruo-ai-236113","松竹鸣禽轴","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。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。雍正十一年（1733）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，官至礼部尚书，袭伯爵。\n以书、画供奉内廷，一日太后出方寸之玉佩，命书心经一篇。竟日而就，因赐上方珍玩无算。善画山水、花鸟，得王糓祥、周之冕遗意。乾隆十一年（1746）随帝西巡，因病回京，不久卒，谥文僖。有《岁寒三友图》、《仿王元章疏影寒香图》传世。卒年三十四（按清代画史、清画家诗史均作三十二岁，中国画家人名大辞典作三十六岁）。著《晴岚诗存》。",[25,7,77,27,378,31,151,35,79,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d9922684aec53b3958be0fa2735536.jpg",[185,702],{"id":26906,"slug":26907,"title":26908,"dynasty":18,"author":10867,"museum":331,"description":10868,"tags":26909,"thumbUrl":26910,"material":100,"size":100,"collection":138,"collections":26911,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":88},236109,"lin-xia-xie-qiong-zhou-zhang-zong-cang-236109","林下携笻轴",[25,28,130,7,129,170,351,169,733,686,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10702bba88bf4e3f313034683d3f21bd.jpg",[138,185],{"id":26913,"slug":26914,"title":26915,"dynasty":72,"author":50,"museum":331,"description":26916,"tags":26917,"thumbUrl":26919,"material":100,"size":100,"collection":100,"collections":26920,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":44},235814,"cui-zi-zhong-cang-yun-tu-zhou-yi-ming-235814","崔子忠藏云图轴","此作用全景式构图铺展意境，上段危峰怪石奇崛冷峻，淡墨晕染出空濛云雾，衬出山岫灵秀幽邃。中段留白托举云气，枯林萧疏愈显山野寂寥。下段辎车缓行于山径，长者安坐、侍童相随，人物意态简雅生动，车马细节入微。\n左上题诗与画意相融，水墨皴染结合，笔意清劲古雅，将藏云林泉的幽居雅兴，与静穆高古的山水意境合二为一，尽显文人避世寻幽的审美意趣。",[24,25,26,7,28,130,29,129,170,132,26918],"车辆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc9720526c0678b1bafbcaf3a821ab4.jpg",[],{"id":26922,"slug":26923,"title":26924,"dynasty":18,"author":7755,"museum":331,"description":15584,"tags":26925,"thumbUrl":26926,"material":198,"size":780,"collection":100,"collections":26927,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":88},235449,"hua-xia-tu-zhou-gao-qi-pei-235449","画虾图轴",[25,26,7,77,638,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f336d98863fd6a942bd26ccc3a6825.jpg",[],{"id":26929,"slug":26930,"title":26931,"dynasty":18,"author":50,"museum":331,"description":26932,"tags":26933,"thumbUrl":26934,"material":100,"size":100,"collection":100,"collections":26935,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":88},235299,"xu-gu-lan-hua-zhou-yi-ming-235299","虚谷兰花轴","此作用枯淡墨色挥写岩壁，皴擦老辣苍劲，留白愈显空灵疏朗。垂落兰叶以中锋行笔，如素练飘曳，笔力柔韧挺拔，墨色干湿浓淡交叠，将兰叶舒展之姿尽显无余。淡红轻晕兰花，简笔点染便得娇柔妍态，于素雅底色上晕开一抹温柔生机。\n全画以少胜多，将兰花空谷幽芳的高洁风骨藏于笔墨之中，以画寄情，尽显文人写意的清雅禅意，把兰草清逸脱俗之态勾勒得淋漓尽致。",[472,25,26,7,77,28,304,2335,35,113,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77ac63d45e7e281058ce026acac47742.jpg",[],{"id":26937,"slug":26938,"title":26939,"dynasty":18,"author":8994,"museum":331,"description":26940,"tags":26941,"thumbUrl":26942,"material":100,"size":100,"collection":100,"collections":26943,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":88},235136,"shuang-feng-lan-re-tu-zhou-cha-shi-biao-235136","双峰兰若图轴","此作用笔简率松秀，以干笔淡墨绘就林泉丘壑。构图兼具高远、深远之致，上部平湖远山，轻舟泛波，空寂悠然；中部危崖矗立，山居隐于幽谷林麓；下部溪桥蜿蜒，长松杂木苍润清隽。\n画风承袭倪瓒遗意，意境荒寒清旷，题诗与山水交融，将暮色归舟、倦鸟投林的幽寂禅意晕开，尽显江南山水的雅逸空灵，把遗民文人孤寂淡远的心境，寄寓于萧散淡远的林泉之间，是逸笔山水的上乘之作。",[25,26,7,77,130,129,6208,35,134,131,193,349,270,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9077b316f660c1c5318a901885a06687.jpg",[],{"id":26945,"slug":26946,"title":26947,"dynasty":18,"author":235,"museum":331,"description":6344,"tags":26948,"thumbUrl":26949,"material":486,"size":6349,"collection":100,"collections":26950,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":88},234984,"hua-hui-ling-mao-ping-2-ren-yi-234984","花卉翎毛屏2",[25,28,304,7,240,536,664,291,3621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3023be322395ca9d31ef8d9f9e9920f.jpg",[],{"id":26952,"slug":26953,"title":26954,"dynasty":72,"author":50,"museum":236,"description":26955,"tags":26956,"thumbUrl":26957,"material":745,"size":17171,"collection":100,"collections":26958,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":44},234850,"ming-ren-ta-xue-xun-mei-tu-zhou-yi-ming-234850","明人踏雪寻梅图轴","踏雪寻梅是历代文人士大夫的雅事，亦为画家常用的题材。此图表现一主一仆于雪天往深山寻梅的情景。王谔被明代皇帝称为“今之马远”，此图的画风即验证了这一说法。画中山石棱角方硬，树干虬曲苍劲，山体、坡石多用大斧劈皴，构图上也接近马远的“马一角”特征。",[25,7,28,129,29,613,392,132,521,349,130,377,686,170,270,10040,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F634973a6f6c09d6dcbadcd623b2d458b.jpg",[],{"id":26960,"slug":26961,"title":15394,"dynasty":18,"author":1648,"museum":236,"description":20846,"tags":26962,"thumbUrl":26964,"material":1573,"size":100,"collection":100,"collections":26965,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":88},234364,"qiu-shan-xing-lv-tu-zhou-tang-dai-234364",[25,26,7,28,130,129,252,170,4987,26963,195],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9a2dd40266c2c72c70a5c569f827d5.jpg",[],{"id":26967,"slug":26968,"title":26969,"dynasty":72,"author":18249,"museum":236,"description":26970,"tags":26971,"thumbUrl":26972,"material":5241,"size":26973,"collection":100,"collections":26974,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":88},233913,"gui-zi-xiang-yuan-tu-zhou-xiang-yuan-bian-233913","桂子香园图轴","本幅墨笔，上方自题：”园同三五夜，香并一枝芬。项元汴戏为客写桂枝香园图，并题二美交胜，两间造化生物之妙有如此者吾不得而知亦无得而言。请客手眼无隐乎尔。“钦”墨林山人“”檇李“等印。\n项元汴（1524—1590年），明嘉兴（今浙江省嘉兴）人，字子京，号墨林山人，别号香岩居士、鸳鸯湖长、退密斋主人，收藏家、画家。富藏书画等古名物，在明代私家收藏中堪称巨擘。精鉴赏。常见主要印记有“项元汴印”、“子京”、“檇李项氏世家珍玩”、“神品”等。",[25,26,7,77,97,80,79,2025,31,57,1275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d180f3eaa8b34b9f6e6327b9d5e9f1a.jpg","纵104.5cm，横34.8cm",[],{"id":26976,"slug":26977,"title":26978,"dynasty":18,"author":235,"museum":236,"description":26979,"tags":26980,"thumbUrl":26981,"material":1573,"size":26982,"collection":100,"collections":26983,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":88},233721,"hua-wu-gan-xiang-zhou-ren-yi-233721","画吴淦像轴","任颐为吴淦作《肖像轴》，纸本，设色，(各)纵130厘米，横56．6厘米。吴淦，字鞠潭，浙江杭州人。工文章，精楷书。",[25,26,7,28,27,29,2883,427,10363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e980eff0928894cbc80bc9b850be8.jpg","纵130厘米，横56．6厘米",[],{"id":26985,"slug":26986,"title":26987,"dynasty":18,"author":26988,"museum":74,"description":26989,"tags":26990,"thumbUrl":26991,"material":1320,"size":26992,"collection":100,"collections":26993,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":44},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,25,26,7,77,28,27,130,129,29,170,521,427,733,1419,132,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":26995,"slug":26996,"title":26997,"dynasty":93,"author":10513,"museum":4759,"description":26998,"tags":26999,"thumbUrl":27000,"material":1218,"size":27001,"collection":100,"collections":27002,"showCount":141,"zanCount":11,"manualWeight":43,"mainColor":44},232618,"luo-han-xi-zhuo-tu-li-zhou-lin-ting-gui-232618","罗汉洗濯图立轴","这幅画描绘的是佛教僧侣日常生活中的一个场景，属于一套一百幅描绘五百罗汉或佛教圣人的挂轴。这套画于1175年由一位佛教方丈委托，三年后由林庭珪和另一位画家周季常共同完成。这些画在13世纪被运往日本，最终成为京都佛教寺庙大德寺的财产。1894年，需要修缮资金的大德寺在美国波士顿展出了其中44幅卷轴，其中10幅售出。这幅画是当时日本人赠送给美国巡回展的组织者，后者于1902年把它卖给了查尔斯·朗·弗利尔（Charles Lang Freer）。\n此幅作品林庭珪用精确的轮廓和明亮、不透明的颜色画出了六个人物。画面中，五罗汉和他们的仆人正在洗衣服，并把衣服晾在外面晾干。右下角有几乎完全看不清的艺术家签名，用金粉题写。",[23,24,25,26,7,54,28,27,29,521,193,351,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d9932e8b6df250624925fe2c5bd5f4f.jpg","112.3×53.5cm",[],{"id":27004,"slug":27005,"title":27006,"dynasty":49,"author":19015,"museum":331,"description":27007,"tags":27008,"thumbUrl":27009,"material":198,"size":780,"collection":100,"collections":27010,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":88},231617,"bai-miao-shi-er-tian-tu-xiang-huo-tian-zhen-hai-231617","白描十二天图像 火天","本图为珍海（1092～1152）仿照醍醐寺三宝院相传的十二天像的图像临摹而成，在现存的十二天像立像中属于最古老的白描图像。",[23,25,26,7,54,985,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1d650321fc7dcaf72841af7193f4ef4.jpg",[],{"id":27012,"slug":27013,"title":27014,"dynasty":207,"author":2386,"museum":331,"description":27015,"tags":27016,"thumbUrl":27017,"material":100,"size":100,"collection":100,"collections":27018,"showCount":141,"zanCount":11,"manualWeight":43,"mainColor":44},231479,"pu-tao-tu-zhao-meng-fu-231479","葡萄图","赵孟𫖯，字子昂，号松雪道人，别号鸥波、水精宫道人等。两浙西路乌程人。元代官员，书画家。其妻为元朝画家、诗人管道昇。元朝画家王蒙之外祖父。赵孟𫖯为宋室后代，后选择与元朝合作，并受到皇帝宠爱，“荣际五朝，名满四海”，官至翰林学士，是元代文人画、书法的领袖人物。",[25,26,7,77,97,1098,664,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10dcc024257120bea82518be05de76f.jpg",[],{"id":27020,"slug":27021,"title":27022,"dynasty":93,"author":50,"museum":74,"description":27023,"tags":27024,"thumbUrl":27025,"material":37,"size":9917,"collection":100,"collections":27026,"showCount":141,"zanCount":11,"manualWeight":43,"mainColor":44},231079,"xue-lu-shuang-yan-tu-yi-ming-231079","雪芦双雁图","《国宝在线:全景花鸟》介绍了我国古代绘画瑰宝，是表现我国古代花鸟绘画手法的珍品。\n包括：元朝张舜咨的《雪界翁黄鹰古桧图》，宋朝佚名的《雪芦双雁图》、《桃花鸳鸯图》、《梅竹聚禽图》，宋朝崔白的《双喜图》，宋朝李迪的《枫鹰雉鸡图》等。\n《国宝在线:全景花鸟》由 出版。",[25,24,26,7,27,28,10591,1742,151,35,1520,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e4009402f3bfb576c6fa71004de73d.jpg",[],{"id":27028,"slug":27029,"title":17494,"dynasty":18,"author":3408,"museum":331,"description":27030,"tags":27031,"thumbUrl":27032,"material":100,"size":100,"collection":100,"collections":27033,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":44},230211,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-230211","《乾隆皇帝洗象图》是清代画家 创作的纸本设色画，现藏于 。\n此图绘乾隆皇帝行乐生活的一个场面。\n画中乾隆扮作普贤菩萨，高坐莲座。\n侍者扮作玉女、金童及天王，分立两旁。\n几位僧侣仆人正在洗刷一头白象，准备搭上毛毡锦垫，以供“菩萨”骑用。\n画下三位僧人，一位正在清扫，另二位正在传接经书，欲呈献皇帝。\n此图设色艳丽，气氛和谐。\n此图中的弘历乾隆帝和大象占据画幅的中心主要位置，起到突出主题的作用。\n画幅上端坡行堤岸，左右两侧各有二棵苍松，尤其是左侧两棵巨松，树干粗壮，交叉曲直向上，枝叶茂密，乾隆在巨松荫下观看洗象。\n画幅下端似一片丘陵地带，山岗亘连，花草丛生，还画有二位长老。\n弘历坐在宝椅上，身着一身佛装。\n作者自识：“乾隆十五年六月臣了观鹏恭绘。\n”下钤“臣观鹏”、“恭画”二印；画面上方钤有“乾隆御览之宝”一印。\n该图取材于佛教故事，表现普贤菩萨观看诸圣徒为其坐骑白象洗刷的情景。\n乾隆皇帝受佛学大师三世章嘉活佛的影响，数十年倾心于佛学研习。\n他为了表示对佛教的信仰，不仅大建佛寺，译佛经，造法器及写经自修，而且还将自己比喻成佛教中菩萨的化身，罩上一层神秘的宗教光环。\n他命宫廷画家或画佛喇嘛，绘制了多幅他扮作菩萨的画像，此图便是其中之一。\n此图画于乾隆十五年（175年），时弘历（即乾隆帝）4岁。\n此画将乾隆喻作法力无边、救苦渡难的菩萨， 其主旨不言而喻。\n图中人物面部以西法绘成，富有写实感，具有肖像画性质。\n画法很细致，当出自供奉宫廷的意大利画家郎世宁之手。\n弘历端坐宝位上，人物造型明显大于其他人物，神态肃穆。\n面部以西洋技法，立体感较强，故从风格和水平来看，乾隆像当出自郎世宁的手笔。\n至于其他人物和景致，均为丁氏所绘制，如人物造型的今张、奇古，及屈曲颤动的线条等。\n构图也是中国传统形式。\n总体来看，此画绘制精细，色泽华丽，中西合壁。\n画面取云雾缥缈、山泉粼粼、木石山花骨秀清逸之处为背景，突出仙界气氛。\n人物衣褶皆用战笔流水描，宛转卷曲，古拙奇趣。\n人物面部用淡色晕染，富有体积感，尤其乾隆的面部，更具有写实的意味。\n研究员李湜：此图在设景布势上富于机巧，以曲水为脉，将树石、惠草连成一体，同时也将众多的人物圈聚在一起，进而突出了乾隆皇帝的主体位置。\n图中人物的衣纹勾线瘦挺颤掣，曲转顿挫，富于动感，它不仅丰富了画面的视觉效果，同时，也准确地勾勒出不同状态下人物的各种形体变化。\n全图设色艳丽，富有装饰感，带有 高贵典雅的特征。\n丁观鹏，生卒年不详，顺天（今北京）人。\n雍正时供奉内廷。\n擅画道释、人物和山水，画学同宗丁云鹏，有出蓝之誉。\n画风工整细致。\n传世作品有《仿顾恺之洛神图》《弘历洗象图》《乞巧图》。",[23,25,26,7,27,28,29,241,6283,5713,129,170,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa997e0e055cd600a62b3aec5fc5facab.jpg",[],{"id":27035,"slug":27036,"title":27037,"dynasty":18,"author":1048,"museum":331,"description":27038,"tags":27039,"thumbUrl":27040,"material":100,"size":100,"collection":100,"collections":27041,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":88},230141,"si-yan-lian-zheng-ban-qiao-230141","四言联","此作用笔纵逸老辣，主体“得大自在”四字雄开张拓，线条提按顿挫尽显朴厚筋骨，带着标志性的“六分半书”意趣，融诸体于一体，打破规整法度，奇崛跌宕。\n\n两侧小字题款灵动流美，与大字形成疏密虚实的鲜明对比，让整幅章法错落和谐，气息贯通无碍。墨色枯湿浓淡相宜，枯笔见苍劲，重墨显沉浑，将书法的形式美感与“得大自在”的禅意抒怀完美相融，尽显作者疏朗超脱的襟怀，把清人尚意抒怀的书法特质挥洒尽致，文气与笔力共生，是极具个人风格的书法精品。",[23,25,26,7,77,3362,97,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f41e7ff2e617d50d91127a94c018d01.jpg",[],{"id":27043,"slug":27044,"title":27045,"dynasty":72,"author":752,"museum":331,"description":27046,"tags":27047,"thumbUrl":27048,"material":100,"size":100,"collection":100,"collections":27049,"showCount":141,"zanCount":11,"manualWeight":43,"mainColor":44},228280,"wu-xie-shan-tu-zhou-chen-hong-shou-228280","五泄山图轴","《五泄山志》是《五泄山志》编纂委员会编纂的地方志。\n本志记述范围，重点是五泄风景主景区9．5平方公里，以在建景区5平方公里为环界。\n有些必要涉及的人、物、事件，记述范围为传统意义上的整个五泄区域内。\n记述年代，上限不定，下限至2年，个别事件延伸到成稿之时。\n封面 五泄山志 《五泄山志》编纂委员会顾问 《五泄山志》编纂委员会 《五泄山志》编纂室 图片 江泽民与夏征农亲切握手 尉健行视察五泄 俞正声视察五泄 张德江视察五泄 曾培炎视察五泄 五泄导游图 绿树掩清溪 五泄水上森林公园 五泄东龙湫 夹岩烟雨 五泄东湫阁 白鹤临湖 五泄春来早 春在溪头 西源——绿色氧吧 银杏秋韵 江南罕见楠木林 画舫迎客 空气洁净蓝天白云 溪水悠悠 西源步幽亭 灵默真身塔 五泄禅寺 唐·灵默舍利子宝瓶 南北朝砖雕观音 果实(种子)化石 五泄古石器 灵默禅师舍利子 古寺玉兰 山龟 水濑 穿山甲 鸳鸯 眼镜蛇 花蝶 金钱豹 山鸡 蝶恋石蒜花 编纂人员合影 荣誉 陈洪绶《五泄图轴》 五泄山水甲天下 附图 序 《五泄山志》编辑凡例 概述 大事记 目录 第一篇 地理环境 第一章 自然地理 第一节 地理位置 第二节 地理面积 第三节 地理交通 第二章 地质地形 第一节 地质地层 第二节 风景地貌 第三节 土壤 第四节 地形成因 第三章 水文 第一节 水系 第二节 水文测量 第三节 雨量 第四节 经流量、水位 第五节 水质供水量 第四章 旅游气象 第一节 温度和日照 第二节 雨日和概率 第三节 雾和风 第四节 霜和雪 第二篇 自然资源 第五章 植物 第一节 木本植物 第二节 草本药物 第三节 古树名木 第六章 动物 第一节 哺乳纲(兽类) 第二节 鸟纲(禽类) 第三节 爬行纲 第四节 两栖、鱼纲 第五节 昆虫纲 第六节 其它类 第七章 土特产 第一节 土纸 第二节 茶叶 第三节 竹笋 第四节 干鲜果 第三篇 景区沿革 第八章 五泄畈村 第一节 姓氏由来 第二节 群落区划 第三节 移民外迁 第九章 五泄林场 第一节 历史演变 第二节 森林培育 第三节 森林管护 第四节 经营规划 第十章 五泄水库(五泄湖) 第一节 历史背景 第二节 建库经过 第三节 工程规模 第四节 工程效益 第五节 大坝除险加固 第六节 管理体制 第四篇 景区开发 第十一章 县级景区 第一节 项目提出 第二节 组织调查 第三节 确定建设 第四节 合力开发 第五节 首期规划 第六节 开通观瀑通道 第十二章 省级景区 第一节 实地调查 第二节 科学考察 第三节 组织考察 第三节 总体规划 第四节 批准省级景区 第十三章 国家重点风景名胜区 第一节 申报 第二节 创建 第三节 考察与评估 第四节 总体规划 第五篇 风景名胜 第十四章 平湖揽胜 第一节 紫藤长廊 第二节 坝顶揽胜 第三节 平湖泛舟 第四节 湖上观峰 第五节 湖后景观 第十五章 五级飞瀑 第一节 蛟龙出海 第二节 烈马奔腾 第三节 诸态备出 第四节 珠濂飘洒 第五节 隽永奇巧 第十六章 西源探幽 第一节 幽谷 第二节 奇峰 第三节 险崖 第四节 怪石 第五节 清溪碧潭 第六节 朱林 第七节 趣桥 第八节 紫微岭 第九节 刘龙坪 第十七章 开发中的景点 第一节 青口 第二节 玉京洞 第三节 遗址与沈氏宗祠 第六篇 宗教 第十八章 沿革 第一节 历史变迁 第二节 日寇罪迹 第三节 兴衰历程 第十九章 高僧 第一节 灵默 第二节 藏奂 第三节 良价 第四节 正元 第五节 苏溪 第六节 贯休 第七节 茂真 第八节 智三 第九节 敏康 第十节 慈明 第二十章 五泄禅寺 第一节 地理位置 第二节 悠久历史 第三节 寺院佛像 第四节 如意宝塔 第五节 寺院特色 第二十一章 良价祖庭 第一节 曹洞圣迹 第二节 良价出师图 第三节 祖师纪念像 第四节 曹洞宗风 第二十二章 寺院藏品 第一节 灵默石棺 第二节 舍利子宝瓶 第三节 祖师白玉像 第四节 佛像、陶俑、砖雕瓦档 第五节 匾牌、碑刻、字画 第二十三章 佛教活动 第一节 建立、健全寺内规章 制度 第二节 编印五泄禅寺史迹 第三节 开展佛教文化交流 第七篇 管理 第二十四章 管理机构 第一节 行政隶属 第二节 机构沿革 第三节 五泄风景旅游管理局 第四节 公安派出所 第二十五章 现代专业管理 第一节 文物管理 第二节 防火管理 第三节 林木管理 第四节 水库管理 第五节 卫生管理 第六节 规划管理 第七节 工商管理 第八节 安全管理 第八篇 旅游 第二十六章 游览活动 第一节 名人游山 第二节 旅游线路 第三节 大型活动 第二十七章 旅游接待 第一节 五泄旅游公司 第二节 诸暨旅行社 第三节 五泄游客接待中心 第二十八章 服务设施 第一节 馆舍 第二节 交通 第三节 通讯 第四节 商店 第五节 水电 第六节 娱乐 第二十九章 名产 第一节 土特产 第二节 风味小吃 第三节 工艺品 第九篇 文学艺术 第三十章 史志典籍摘抄 第一节 专著拾英 第二节 辞书条目 第三节 史志摘录 第四节 禅史节选 第三十一章 诗词 第一节 五泄胜景(综合篇) 第二节 飞瀑奇观 第三节 西源峡谷 第四节 禅寺觅踪 第五节 平湖掠影 第六节 歌曲 第七节 外围(规划)景点拾零 第三十二章 散记 第一节 游踪散记 第二节 游记纵揽 第三节 开发纪实 第三十三章 石刻联额 第一节 摩崖石刻 第二节 匾额楹联 第三节 书画墨宝 附：编余文化 第三十四章 民间传说 第一节 神话传说 第二节 民间故事 第三节 佚事旧闻 附：本志编辑参考书目 后记 版权页",[23,25,26,7,77,130,129,132,170,272,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4a8237865cb94c15e5ec9b1b99a949.jpg",[],{"id":27051,"slug":27052,"title":27053,"dynasty":49,"author":17910,"museum":331,"description":27054,"tags":27055,"thumbUrl":27056,"material":100,"size":100,"collection":100,"collections":27057,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":44},226652,"qiu-dong-shan-shui-tu-er-qiu-jing-xue-zhou-226652","秋冬山水图二（秋景）","雪舟等杨是日本绘画史上“汉画派”的开创者和集大成者，他的绘画代表着日本汉画的最高成就，他所处的时代是汉画的全盛期。雪舟等杨，12岁入相国寺为僧，热衷于绘画，曾师从日本的山水画大师学习绘画，兼容并蓄临摹了大量的中国宋元的水墨画样式。为了探究中国画之真谛，1467年，他作为画僧随日本遣明使节来到中国，历览中国名山大川，创作了大量的山水画，并向各方绘画大师交流绘画技艺。他领悟到中国画的根源在于中国的自然风物，中国的自然风物是最好的老师。",[23,25,26,77,7,129,269,349,132,193,130,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62940e9c2c67e15be413e65dd353aee4.jpg",[],{"id":27059,"slug":27060,"title":27061,"dynasty":18,"author":8994,"museum":331,"description":27062,"tags":27063,"thumbUrl":27064,"material":100,"size":100,"collection":100,"collections":27065,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":88},224259,"qing-shan-bian-ju-zhou-cha-shi-biao-224259","青山卞居轴","此作用笔简淡松灵，枯笔皴擦绘就远山，留白晕染出烟水空濛。近岸茅亭孑然独立，疏柳杂木错落萧疏，淡墨轻写出浅滩陂陀，处处漫溢着清寂冷逸。\n\n整幅师法云林笔意，删去俗冗细节，以极简线条勾勒物象，铺陈出江南水村的静穆清旷。无浓墨重彩，只以干笔淡墨写尽荒寒淡远，隔绝尘嚣的幽居之景跃然纸上，寄寓着幽隐世外的襟怀，尽显简淡清逸的文人风神，将空寂淡远融于尺幅之间，观之如临无人之境，心绪随烟水一同沉静。",[23,25,7,77,130,985,129,377,521,78,132,193,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006ae7f50b438d9d6964e4b663017571.jpg",[],{"id":27067,"slug":27068,"title":27069,"dynasty":72,"author":4620,"museum":74,"description":27070,"tags":27071,"thumbUrl":27072,"material":136,"size":27073,"collection":100,"collections":27074,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":44},222079,"hua-su-shi-liu-dai-tu-zhou-cui-zi-zhong-222079","画苏轼留带图轴","崔子忠（？-1644），字道母，是明末著名的“变形主义”画家，画中如梅枝树石等方折的造型，即为其特色。此作描绘的是苏轼与金山寺僧佛印说偈，输了腰上玉带的故事。画中苏东坡手上所持的蓝色带状物，或许就是崔子忠想象中的玉\n第三次南巡时，乾隆皇帝想起藏在御书房中的崔子忠《画苏轼留带图》，命人快递至江南欣赏留跋。从此之后，崔子忠此轴也成了南巡行李箱中的常备成员，每每于金山寺中与苏轼玉带一同欣赏展玩。",[23,25,26,7,28,27,29,131,132,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2038d1e050db9cc5392e7d0aa0a73114.jpg","79.4 x 50 cm",[],{"id":27076,"slug":27077,"title":27078,"dynasty":72,"author":1614,"museum":74,"description":27079,"tags":27080,"thumbUrl":27081,"material":255,"size":27082,"collection":100,"collections":27083,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":44},222017,"jin-shan-tu-zhou-wen-zheng-ming-222017","金山图轴","文氏将金山描绘成万顷波涛中的一座岛屿，波涛间点缀着风帆。全幅以秃笔中锋出之，笔致苍健。乾隆皇帝南巡经过金山寺江阁，曾取此图展玩，并题诗云:“携将亲证取，当境固如斯”，说明了他携带古画即景印证的雅好。",[23,25,26,7,77,130,129,269,349,79,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db83391670deabb833cf95e93affb45.jpg","横23.8cm，纵70cm",[],{"id":27085,"slug":27086,"title":27087,"dynasty":207,"author":11859,"museum":3928,"description":25768,"tags":27088,"thumbUrl":27089,"material":182,"size":27090,"collection":100,"collections":27091,"showCount":141,"zanCount":11,"manualWeight":43,"mainColor":44},221695,"han-shan-shi-de-tu-zhi-yi-yan-hui-221695","寒山拾得图之一",[23,24,25,26,7,77,28,29,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17092872d16e436ce0744a9a75dbe22c.jpg","127.6X41.8",[],{"id":27093,"slug":27094,"title":27095,"dynasty":72,"author":14625,"museum":10279,"description":27096,"tags":27097,"thumbUrl":27098,"material":27099,"size":27100,"collection":100,"collections":27101,"showCount":141,"zanCount":43,"manualWeight":43,"mainColor":100},220661,"xing-shu-song-peng-zi-jian-zhi-chu-shi-wang-duo-220661","行书送彭子籛之楚诗","王铎，字觉斯，号嵩樵、烟潭渔叟等，孟津（今河南孟津）人。明朝天启二年（1622）进士，先后于明崇祯朝、南明弘光朝及清顺治朝为官，累官至礼部尚书、大学士等，死后谥文安。此幅行书挂轴写于清顺治三年（1647），书五言律诗《送彭子籛之楚》赠予前辈张端（字天柱）。\n\n王铎好诗文，有「文唯昌黎，诗惟少陵而已」之论。其诗宗杜甫，尤爱五律，此应与晚明出现的杜诗热有关。王铎《拟山园集》所收录的诗歌，就以五律居多，多见学杜诗沉郁顿挫的格调。此《送彭子籛之楚》即可见其学杜之风。彭子籛即彭而述，明崇祯进士，河南邓州人，入清后转侍清廷。顺治初年，调任湖南，王铎因而写诗送行以表不舍与祝福。王、彭两人本是同乡，又同于明末避走战乱，经历生死，成为至交，故诗中有「昔年同患难」之句。该诗未收入王铎的《拟山园集》，却记录了王、彭两人的交往情谊，为研究王铎的交游提供了参考资料。\n\n王铎因降清，被视为「贰臣」，传统以来对其人品颇有微言，但书法成就却为世称道。他书宗二王，参学米芾，且一生不曾间断临习《淳化阁帖》，终能自出抒机，尝自评书艺「五十自化」。此轴书于五十五岁，正入化境：笔画粗拙，字体方折欹侧，大气淋漓中流露王米的书学渊源。值得留意的是，明代因建筑宏大，像这种长逾两米的大尺幅挂轴开始流行。据载，王铎因难在桌案上书写长作品，常令仆人在两头拉绢，自己在一侧书写。因此，字行时常如本幅所见歪斜摆动，却营造出跌宕气势和节奏。面对如此大绢幅，依然写得流畅有力，其功力之深可以想见。",[25,26,7,97,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b7c529d2a52a163aaba46af45ba11c.jpg","水墨,绫本,立轴","画心：235.2 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，元代著名的女书法家、画家、诗词创作家。\n南宋景定三年生。幼习书画，笃信佛法。曾手书《金刚经》数十卷，赠名山寺。嫁元代吴兴书画名家赵孟頫为妻，封吴兴郡夫人，世称管夫人，延祐四年（1317年），封魏国夫人。\n管道昇所写行楷与赵孟頫颇相似，所书《璇玑图诗》笔法工绝。精于诗。尤擅画墨竹梅兰。晴竹新篁，为其首创。延佑六年（1319年）病逝。存世的《水竹图》等卷，现藏北京故宫博物院，《竹石图》1帧，藏台湾故宫博物院。",[24,25,77,7,31,35,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7878310a226e545764562d59ddf2c7.jpg","87.1x28.7",[],{"id":27363,"slug":27364,"title":27365,"dynasty":72,"author":389,"museum":331,"description":1060,"tags":27366,"thumbUrl":27367,"material":198,"size":780,"collection":100,"collections":27368,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},287518,"hua-shan-tu-zhou-tang-yin-287518","华山图轴",[23,25,26,7,129,77,28,130,11911,193,169,269,132,170,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319ea38f2626b03e03ba78a2222a254b.jpg",[],{"id":27370,"slug":27371,"title":27372,"dynasty":72,"author":752,"museum":331,"description":2862,"tags":27373,"thumbUrl":27374,"material":198,"size":780,"collection":100,"collections":27375,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":44},287349,"gao-xian-ren-wu-tu-chen-hong-shou-287349","高贤人物图",[23,25,24,26,7,28,29,776,22921,6667,4906,4905,6668,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d59eaa13f4b03c1b47792d71384cb70.jpg",[],{"id":27377,"slug":27378,"title":27379,"dynasty":72,"author":752,"museum":331,"description":2862,"tags":27380,"thumbUrl":27382,"material":198,"size":780,"collection":100,"collections":27383,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},287346,"xuan-wen-jun-shou-jing-tu-zhou-chen-hong-shou-287346","宣文君受经图轴",[23,25,7,28,29,129,27,194,132,27381],"授经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f12a320ccaa2dba818f040040e0b0b0.jpg",[],{"id":27385,"slug":27386,"title":27387,"dynasty":93,"author":27388,"museum":331,"description":27389,"tags":27390,"thumbUrl":27391,"material":198,"size":780,"collection":100,"collections":27392,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":44},283631,"ling-mao-tu-zhu-ke-rou-283631","翎毛图","朱克柔","朱克柔 ，生卒年不详。幼习绘画与缂丝(也称刻丝)，积累配色和运线经验。她与定州的沈子藩等同为宋代缂丝名家。宋徽宗至高宗时期以织造缂丝著称于世，亦善画。",[24,25,26,7,28,113,6346,31,151,35,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750f0f6937d978894ba7511138e12445.jpg",[],{"id":27394,"slug":27395,"title":26791,"dynasty":18,"author":27396,"museum":710,"description":27397,"tags":27398,"thumbUrl":27402,"material":214,"size":27403,"collection":101,"collections":27404,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},241394,"qi-jue-zhou-zhao-zhi-chen-241394","赵之琛","赵之琛（1781-1852），钱塘（今浙江杭州）人。字次闲，号献父、献甫，又号宝月山人，斋号补罗迦室。蝶隐园书画杂缀作赵之瑛。清代著名的篆刻家和书画家，精心嗜古，邃金石之学，篆刻得其乡陈豫锺传，能尽各家所长。尝为阮元摹刊钟鼎款识，兼工隶法，善行楷。画山水师倪、黄，以萧疏幽澹为宗。花卉笔意潇洒，傅色清雅，大有华嵓神趣。间作草虫，随意点笔，各种体貌，无不逼肖。然丈尺之幅，腕力已薄，虽不能追踪古人，亦当抗衡奚冈、方薰、黄易。\n竹，是中国古代画家最为喜爱的绘画题材之一。由于竹有着挺拔、有节、虚心向上、耐寒不凋等习性特点，中国古代画家常常以之作为精神的写照和人格的象征，不论是梅、兰、竹、菊的“四君子”，还是松、竹、梅的“岁寒三友”，萧萧修篁都赫然位列其间。至于修竹与瘦石的结合，更是自宋元以降历代文人画家的拿手好戏，在中国古代的绘画史上，擅写竹石的画家俯拾皆是，不胜枚举。\n关于竹的画法，一般可分为两类：一类是双勾填色，一类是水墨写意（也有以色代墨者）。前者立足于画，致力于形态；后者立足于写，强调的是风神。赵孟頫所谓“石如飞白木如籀，写竹也应八法通；若也有人能会此，须知书画本来同”云云，即是以枯木竹石作为例证，来阐释中国画尤其是文人画的书法性原则的。不过，赵之琛的这幅《双勾竹石图》里竹子的画法却用的是双勾。画面下方的土坡上修篁三竿，亭亭玉立，直冲画外，竹叶繁茂，左右纷披，昂抑错落，姿态优美，尤其浅淡的汁绿渲染，更使得整个竹子显生机勃发，清气盎然。\n从总体上看，赵之琛对竹子竿、节、叶的形态皆能准确的把握，法度谨严，笔法工细，位置的穿插安排，自然合理，疏密有度，颇见功力与匠心。在竹子的前端，画家画有湖石一方，玲珑剔透，瘦峭崛立，此亦中国文人画的惯用手法，其作用一则为了与修竹相互映衬，另一则为了稳定画面。需要引起注意的是，赵之琛笔下的这块湖石形态独特，重心前倾，在构图上显得颇为奇险，而画家却能处险不惊，化险为夷，实属难能可贵。湖石的四周另有茅草随意点缀，益发有助于画面的和谐和自然。",[80,5199,2664,7,13331,14974,27399,27400,2570,27401],"清风","飞","清景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1baaeaf7f25126adf970cbdc055a876.jpg","131.5×60.5cm",[101],{"id":27406,"slug":27407,"title":27408,"dynasty":18,"author":3359,"museum":236,"description":27409,"tags":27410,"thumbUrl":27411,"material":27412,"size":27413,"collection":101,"collections":27414,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},240851,"yang-yi-sun-zhuan-shu-qi-yan-lian-yang-yi-sun-240851","杨沂孙篆书七言联","释文：梅花有香清在骨，谏果之味美于回。梦陶世讲兄雅正。濠叟杨沂孙书。\n款署：“梦陶世讲兄雅正。濠叟杨沂孙书。”钤“杨沂孙印”白文印、“濠叟”白文印、“历劫不磨”朱文印。\n此幅是杨沂孙为友人所作篆书对联，笔力苍劲，篆法精纯，结构严整，表现出其晚年篆书的成熟面貌。",[80,2664,3362,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751fd00444ea219ce8358b97c8085aec.jpg","纸本，篆书","纵133厘米，横29.8厘米",[101],{"id":27416,"slug":27417,"title":27418,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":27419,"thumbUrl":27420,"material":198,"size":780,"collection":100,"collections":27421,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},240435,"wu-chang-shuo-lin-shi-gu-wen-si-tiao-ping-wu-chang-shuo-240435","吴昌硕临石鼓文四条屏",[80,2664,945,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f14bcbc77d3ab8853655b4161e72e6c.jpg",[],{"id":27423,"slug":27424,"title":27425,"dynasty":18,"author":24598,"museum":331,"description":27426,"tags":27427,"thumbUrl":27428,"material":100,"size":100,"collection":101,"collections":27429,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},240402,"liu-zong-yuan-shi-zhou-li-shi-zhuo-240402","柳宗元诗轴","李世倬[清]（1687―1770）字天章，一字漢章、天濤，別號十石居士、太平拙吏、伊祁山人、清在號谷齋，又號菉園、星厓，居士，奉天（今遼寧瀋陽）人，一作三韓（今內蒙喀喇沁旗西南）人，隸籍漢軍正黃旗。如龍子，高其佩（1672—1734）外甥。官至副都御史。曾任太常，人稱李太常。\n善畫山水、人物、花鳥、果品，各臻其妙。少隨父宦遊江南，見王翬（1632—1717）得其講論，後與馬逸遊，故宗法純正而筆亦秀雋。其人物，自言得吳道子水陸道場圖而閲之，遂悟其法。其花鳥、果品各種寫意，蓋得諸舅氏之指墨而易以筆，故能各名一家。晚年喜用指墨作人物、花鳥小品，以焦墨細擦，頗得輕重淺深之致。年逾八旬猶能作畫，書小楷。",[25,26,7,97,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdd077ee39e7390f7a56bda17b054e41.jpg",[101],{"id":27431,"slug":27432,"title":26099,"dynasty":72,"author":27433,"museum":236,"description":27434,"tags":27435,"thumbUrl":27436,"material":214,"size":27437,"collection":101,"collections":27438,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":44},239988,"shi-zhou-ni-yuan-lu-239988","倪元璐","诗轴用笔迅捷，酣畅洒脱，其结体多取斜姿，以求奇险之势，气息较为古朴。虽未署年款，但从书风、款印分析，当为倪氏中期向晚期过渡时的作品。",[25,26,7,79,97,305,80,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e8ea93099a42877a977dd039276642.jpg","纵133.7厘米，横41.9厘米。",[101],{"id":27440,"slug":27441,"title":27442,"dynasty":18,"author":921,"museum":331,"description":27443,"tags":27444,"thumbUrl":27445,"material":100,"size":100,"collection":101,"collections":27446,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},239945,"qi-yan-lian-wu-chang-shuo-239945","七言联","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。",[25,26,7,77,79,3362,97,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1c846cf7899990640b1874b2d333b4.jpg",[101],{"id":27448,"slug":27449,"title":27450,"dynasty":72,"author":27451,"museum":331,"description":27452,"tags":27453,"thumbUrl":27454,"material":100,"size":100,"collection":39,"collections":27455,"showCount":27188,"zanCount":11,"manualWeight":43,"mainColor":44},239089,"san-xian-tu-zhou-wang-gang-239089","三仙图轴","王冈","这幅作品以写意之笔铺陈仙家意趣，构图紧凑却丝毫不显拥塞。\n画面中三仙情态各异，上方仙长神态悠然朗润，斜配长剑自带出尘潇洒；右侧侍者肩负满盛灵草的花篮，持扇垂目恭谨温顺；下方仙翁怀捧仙桃，与异兽亲昵偎依，憨态尽显。\n笔墨顿挫苍劲，以浓淡墨色区分衣物质感虚实，简淡设色古雅沉静，寥寥数笔便勾勒出仙家日常的松弛意韵，将超凡脱俗的仙道图景，绘得鲜活可亲，尽显以形写神的传统人物画妙谛。",[25,26,7,28,29,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bc89d2a1c85ca7a867d63bfb16285b.jpg",[39],{"id":27457,"slug":27458,"title":27459,"dynasty":72,"author":5553,"museum":331,"description":26609,"tags":27460,"thumbUrl":27461,"material":198,"size":780,"collection":100,"collections":27462,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},238969,"ling-shi-tu-zhou-wen-jia-238969","灵石图轴",[25,26,7,77,28,304,35,4370,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cfbc86ede7cd4df44c9f3d7add0d0.jpg",[],{"id":27464,"slug":27465,"title":27466,"dynasty":18,"author":27467,"museum":331,"description":27468,"tags":27469,"thumbUrl":27471,"material":198,"size":780,"collection":100,"collections":27472,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},238662,"ping-wu-fu-tu-zhou-shen-quan-238662","平五福图轴","沈全","沈全，江苏人。清末宫廷画家。以写仕女、花鸟著称。主要作品《韬养斋笔记、湖社月刊》。",[25,26,7,27,28,29,8517,27470,132,935,4196,58],"梅树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7d691b311114c7246584b6556ef31a.jpg",[],{"id":27474,"slug":27475,"title":15726,"dynasty":72,"author":1024,"museum":236,"description":27476,"tags":27477,"thumbUrl":27478,"material":486,"size":15730,"collection":138,"collections":27479,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},238079,"yan-ling-cun-tu-dong-qi-chang-238079","延陵村因有“唐人张从申碑”而具有深厚的历史人文内涵。画家以此为题，意在创造出与石碑意趣相同的“古意”。此图以鸟瞰的角度取景，描绘延陵村的整体风貌。构图内容丰富，运用山势的转折、峰峦的呼应以及烟云的空间留白营造出广阔辽远的空间，表现出延陵村的地理风貌。然而，这又不同于写实再现，画家以抒情的笔调描绘出绮丽浑厚的山峰、蓊郁奇崛的松木、晨雾中若隐若现的村舍，这正是在真实山水的基础之上的艺术加工。在笔墨的运用上，图中山石的画法是将勾勒与董、巨的披麻皴相结合，笔法精微。设色追求晋唐风韵，古雅淡泊。在此，画家将元人的笔墨情趣与唐宋人的造型、意境相结合，进而营造出平淡典雅、天真朴拙的“古意”，画中的延陵村因而显得真实而又具有悠远的意味，宁静清幽而又古趣盎然，这是董其昌所创造出的“奇景”。此外，画面上端的楷书结体端庄秀雅，墨色清旷明润，有晋唐人风度，与画面本身共同传达出一种古朴典雅的艺术气息。\n撰稿人：杨丽丽",[25,26,7,129,130,77,272,170,427,351,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc504525ce90c44b873edcd7f676754cd.jpg",[138],{"id":27481,"slug":27482,"title":27483,"dynasty":72,"author":27484,"museum":331,"description":27485,"tags":27486,"thumbUrl":27487,"material":214,"size":100,"collection":138,"collections":27488,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},237649,"yue-dai-shan-shui-tu-zhou-yue-dai-237649","岳岱山水图轴","岳岱","［明］字东伯，自称秦余山人，又号漳余子，先世以军功隶苏州衞，至其父，始好读书，辟草堂于阳山。性狷介，好游，历尽宇内名山。能诗，善画。嘉靖二十四年（一五四五）作寒林峻岭图。《苏州府志、列朝诗集小传、明画录》",[25,77,129,7,130,80,79,132,193,170,522,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793aa582a24781c0232ca1da41efa8e7.jpg",[138,185,101],{"id":27490,"slug":27491,"title":27492,"dynasty":72,"author":1024,"museum":331,"description":27493,"tags":27494,"thumbUrl":27495,"material":100,"size":100,"collection":101,"collections":27496,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},237492,"zhang-gan-she-li-ge-tu-zhou-dong-qi-chang-237492","长干舍利阁图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖） 。 颇能诗文，著有《画禅室随笔》《容台文集》等。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸。\n他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。\n如《遥峰泼翠图》，整个画面不过是干远景而已，笔墨也很简单，但神韵、骨力俱足。画面的前部作一隅坡脚，缀以数块荒石。坡脚上有三株老树，交错而立。中间一株是夹叶树，稍事勾勒，却枝叶备见；旁边两株的树叶，则充分发挥泼墨的作用，左以直抹示盘曲，右以横点示傲岸，浓淡相间，一派生机。画面上部以淡墨一抹而就，远山横贯，仅见轮廓隐人天际，山体却茫茫然，仿佛烟岚萦绕，雄浑无比。作者再用浓墨在一片淡远的景色中，染出几处高低错落的树叶，远近有致，层次丰富，烟云流动，充塞渚岸。左侧绘有小坡，坡上以横墨抹出数株直树。中间汪洋大水，不施笔墨，而万顷湖面浩瀚无涯之气势跃然纸上。此图长225厘米，宽75厘米，如此大幅立轴，只寥寥地布置些近树远山，就把握住整个画面峰遥、水阔、树翠的神情。这正是董其昌巧妙地运用“王洽泼墨，李成惜墨，两家合之，乃成画诀”的结果。\n全幅似疏似漏，但没有照应不到的地方，用笔爽利遒劲，又含蓄灵秀，纯以墨色气势的润泽、醒目而动人遐思。如不是熟练地掌握“空处有画”的本领，就不会有这样高明的布局。有人认为这是董其昌从“宽能走马、密不通风”的书体结构中触悟而得，这并不是没有道理的。整幅立轴不设色，但面貌清丽，有咫尺千里之势，给人以远深宁静的感觉。\n再如他暮年所作《关山雪霁图》，山峦林壑，绵延无际。右方重峦叠嶂，气势沉雄。中间幽壑重重，峭壁矗立，村落、丛林、流泉、山径，错落有致，杂而不乱；大江曲折跌宕其间，虽有干岩万壑，亦无窒碍不通的感觉。左方云烟弥漫，浸淫树石，路遥山重，隐人微茫，深远莫测，意味不尽。图中以渴笔钩勒峰峦山石，皴擦的运用极其准确、灵活，而线条流走轻快，疏密得宜。山冈陵石的凹凸明暗，则以横点巨苔，配上淡墨直皴的层层渲染来加以完成，技巧纯熟，无懈可击。意境朴厚深邃，很有“千山鸟飞绝，万径人踪灭”的诗意。\n全图用笔老辣生拙，骨力练达，墨气鲜润，绝去甜俗，以疏旷之笔，画出凝寒淡远的景致。卷尾数行行楷跋文，书体娟秀刚劲，更使此图富有书卷气，爽朗潇洒，自具风格。正如中国当代书画家南山乐山评论董其昌的艺术特点说：董香光（董其昌）满腹经纶，故能笔清墨润，山色如洗，宁静深邃，绝无尘垢。",[25,26,7,77,130,97,129,269,170,132,1419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e1cb89fb263ea27a05dc148575c163.jpg",[101],{"id":27498,"slug":27499,"title":15079,"dynasty":72,"author":5553,"museum":331,"description":27500,"tags":27501,"thumbUrl":27502,"material":100,"size":100,"collection":100,"collections":27503,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},237478,"guan-pu-tu-zhou-wen-jia-237478","此作用高远章法铺展景致，山峦以淡墨轻皴，留白晕出空濛云气，层叠峰峦间苍松虬劲挺秀。涧谷飞瀑蜿蜒穿林而下，松下幽人临流观瀑，野逸悠然。\n\n笔墨秀雅温润，以淡赭轻敷晕染山林，简淡笔触里尽显苍润质感，尽显清隽雅致的意趣。题诗与画境相融，将林泉高致的隐逸情怀藏于尺幅间，把文人寄情山水、静享丘壑的雅怀，化作可感的画面，是明代文人山水画中寓情于景的典型佳构。",[24,25,26,7,77,130,129,169,170,132,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f782bbeca3d1ae43c0ee0954efdb627.jpg",[],{"id":27505,"slug":27506,"title":27507,"dynasty":72,"author":389,"museum":331,"description":1060,"tags":27508,"thumbUrl":27509,"material":198,"size":780,"collection":100,"collections":27510,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},237363,"she-yang-tu-zhou-tang-yin-237363","射杨图轴",[25,26,7,77,985,29,35,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699dfa326d67bbf86297196d4ed32fab.jpg",[],{"id":27512,"slug":27513,"title":27514,"dynasty":18,"author":436,"museum":331,"description":27515,"tags":27516,"thumbUrl":27517,"material":100,"size":100,"collection":138,"collections":27518,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},236422,"song-yin-bing-pei-zhou-hua-yan-236422","松荫并辔轴","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。",[25,26,7,28,129,378,377,196,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2f02f42a1ce64c75b2663783c6c24e.jpg",[138,158],{"id":27520,"slug":27521,"title":1381,"dynasty":18,"author":27522,"museum":236,"description":27523,"tags":27524,"thumbUrl":27525,"material":100,"size":100,"collection":138,"collections":27526,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":44},236413,"shan-shui-zhou-mei-geng-236413","梅庚","清初著名画家、诗人梅庚（1640—1716），原名以庚，一字藕长、子长，号雪坪、雪坪子，又号听山翁。梅庚的曾祖父是大戏剧家、诗人、藏书家梅鼎祚。他的父亲梅朗中是复社名士，善于书画诗文，在当时被称为“三绝”，可惜36岁就英年早逝。\n梅庚（1640—1716），字子长，号雪坪，又号听山翁 清朝，安徽宣城人。梅清从孙。康熙二十年（一六八一）举人，官泰顺知县。善篆、隶，画山水、花卉，脱略凡格，不宗一家，偶尔落笔，韵致翩然。兼工白描人物。康熙三十六年（一六九七）尝作山水扇，今藏故宫博物院。工诗，著《吴市吟》《山阳笛漫兴集》《玉笥游草》，临卒作诗，署曰《推枕吟》。",[25,26,7,77,130,129,1651,169,170,733,377,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8715f76cda3e05968cada9cadfa0b11.jpg",[138,185],{"id":27528,"slug":27529,"title":27530,"dynasty":72,"author":27531,"museum":236,"description":27532,"tags":27533,"thumbUrl":27534,"material":182,"size":27535,"collection":39,"collections":27536,"showCount":27188,"zanCount":11,"manualWeight":43,"mainColor":44},236273,"li-jian-zhou-huang-ji-236273","励剑轴","黄济","图绘八仙之一铁拐李腰挂葫芦，衣衫褴褛，赤足立于水中，双手挽宝剑，在石上磨砺。在衣纹的描写上，用工整流畅的铁线描和兰叶描，造型准确，个性鲜明，属于继承唐宋以来工笔传统工细人物画。整幅作品，用笔秀润，设色古雅，老松苍劲，岩石朴茂，人物生动传神，体现了画家在人物画和山水画上过人的艺术功力。\n从此人物的形象和神情姿态来看，画中所绘的人物似为传说中的八仙之一铁拐李的形象，魁伟强健的躯体，身着褴楼的衣衫，腰间系有一红色的胡芦，两腮长满了胡须，双眉竖起，怒目瞪视，赤足立于水中，脚下溪水潺潺流淌，双手挽着宝剑，正在湖石上磨砺，而双日又凝视着画外，似欲以砺剑斩除妖魔之状。这就点明了此画的主题。此画为突出其主题，周围配置一些景物作陪村，如人物画左侧，竖立着山石，山石造型奇特，上端分为两楼，各向左、右倾斜，山石上大小下，又问两侧弯斜显得有些不甚稳固似的。画幅右侧有一颗古老的松树拔地而起，盘根虬曲，树根露裸在土外，树干粗壮，仪露出局部，树干上疤结较多，旁置一支拐杖，支倚在松树旁。\n画面上端被茂密松树枝叶所占有，这可谓是妙笔。这样使此画构图充实饱满，整幅画的结构呈竖长方形，上不留天，下不留地，虽所画的景物不多，但通过作者的巧思安排，使画面所配置的物象处于平衡状态。画家对人物的刻画虽采用夸张的表现手法，但仍倍觉人物刻画十分细腻生动。如粗壮有力的双臂、硕大的双手、坚实的胸膛、有力的双腿、浓黑的髭须、圆睁的双目，极富有个性，一副刚正之气跃然纸上，这与画中人物那种强悍之气相吻合。此画构图半稳，画中主人居于正中，凡所衬托的景物配搭得紧凑和谐。但画家通过人物的动态和线条的走向等诸多方面的别具匠心的处理，使整个画面富有动感，达到了动和静的结合。在用笔方面，人物的衣纹线条粗犷豪放，劲健有力，其须发却以细若游丝的线条来表现，衣袂飘洒飞动，极具动感。色彩以平涂为主。山石皴法严谨，松树针叶笔墨工细，这是典型的院体风格。",[25,7,28,29,27,132,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F981023a5b81977e8d69941cfeb0f0a57.jpg","纵170.7厘米，横111厘米",[39,158],{"id":27538,"slug":27539,"title":27540,"dynasty":18,"author":50,"museum":236,"description":27541,"tags":27542,"thumbUrl":27543,"material":486,"size":27544,"collection":39,"collections":27545,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":704},236162,"xiao-hui-zhang-hou-chao-fu-xiang-zhou-yi-ming-236162","孝惠章后朝服像轴","粘黄绢，上书满汉墨 题：“孝惠仁宪端懿慈 淑恭安纯德顺天翼圣章 皇后，左。”\n孝惠章皇后御容一 轴，朝服冠，恭 悬， 西大柜尊藏。",[25,26,7,27,28,29,334,34,60,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ce46a05b54cf676df042f28ea20ab9.jpg","纵254.7厘米， 横116.5厘米",[39,158],{"id":27547,"slug":27548,"title":27549,"dynasty":18,"author":23794,"museum":331,"description":27550,"tags":27551,"thumbUrl":27552,"material":100,"size":100,"collection":100,"collections":27553,"showCount":27188,"zanCount":11,"manualWeight":43,"mainColor":88},235672,"yan-ju-qiu-shuang-tu-zhou-xi-gang-235672","岩居秋爽图轴","《奚冈岩居秋爽图轴》是清代奚冈创作的一幅画。\n图绘峰峦高耸、庭轩虚敞的江南秋景。\n奚冈的山水画在宗法元四家的基础上又上溯五代董源、巨然，下逮明人董其昌及清人王原祁诸公，萃其逸韵而自成一格。\n此图是他法黄公望（号井西道人）笔意所作，笔法清秀，润色淡雅，意境深远，颇得黄氏画作中雅洁淡逸之趣。\n款署：“仿井西老人岩居秋爽图。\n嘉庆丙辰小春。\n蒙泉外史奚冈。\n”钤“奚冈之印”阴阳文印、“蒙泉外史”白文印。\n“丙辰”为清嘉庆元年（1796年），作者时年51岁。",[25,7,77,130,129,351,170,733,172,522,4987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bc6a03c56962e7bf9eca5520ceefbc.jpg",[],{"id":27555,"slug":27556,"title":7826,"dynasty":18,"author":7556,"museum":331,"description":7827,"tags":27557,"thumbUrl":27558,"material":198,"size":780,"collection":100,"collections":27559,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},235666,"shan-shui-ping-yuan-jiang-235666",[25,26,24,7,1157,28,129,269,134,193,170,132,173,270,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f04d355bfef7f860f03bc022aa5b472.jpg",[],{"id":27561,"slug":27562,"title":27563,"dynasty":18,"author":8994,"museum":331,"description":27564,"tags":27565,"thumbUrl":27566,"material":100,"size":100,"collection":100,"collections":27567,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},235649,"lin-ting-shan-se-zhou-cha-shi-biao-235649","林亭山色轴","《林亭山色图》是典型的学习元人的作品。\n查士标的山水以松秀生辣为自己的风格，是新安画派的大家。\n此为清查士标的《林亭山色图》。\n南京博物院藏。\n他的用笔吸取了倪云林和董其昌的风格，在生峭和如锥画沙中找到了一种平衡。\n看他的画你会发现他的心态是平和安详的，每一笔和一点都徐徐落下，有条不紊。\n他的画面总是带着灰色调，如同是有点雾气在其间往来。\n这好像是新安画派画家的共同特点，而他的作品中间反映得更加充分些。\n查士标（1615-1698年）字二瞻，号梅壑散人，安徽休宁人，明诸生，明亡之后则弃举业专事书画。\n家中多藏鼎彝及宋元人的作品，精于鉴别。\n书法学习米芾、董其昌，画学倪瓒。\n晚年的绘画技法高超，直入元人的堂奥。",[25,26,24,7,77,129,377,31,35,253,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff352ce355a4c9c2cf81b84fb1dc3c7c0.jpg",[],{"id":27569,"slug":27570,"title":27571,"dynasty":72,"author":50,"museum":331,"description":27572,"tags":27573,"thumbUrl":27574,"material":100,"size":100,"collection":100,"collections":27575,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},235608,"you-qiu-hong-fu-tu-zhou-yi-ming-235608","尤求红拂图轴","此作用白描淡墨绘就，线条细劲圆转如游丝萦回，尽显雅致风神。庭院古木虬曲、湖石玲珑，案几清供衬出厅堂雅静。榻上主人神态端凝自有威仪，仕女身姿柔婉，红拂悄然凝睇李靖，暗露倾慕之意，其余侍女恭谨侍立，奏乐乐师专注投入，下方侍女缓步持物，灵动自然。\n\n画作定格风尘三侠初遇瞬间，人物排布疏密得宜，素淡墨色铺展传奇开篇，笔意秀润含蓄，将古典侠情的缱绻意境描摹尽致，淡远雅致间古意悠悠。",[24,25,26,7,985,77,28,29,253,601,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3a9f3843074eab8d3ca0495e164b6c.jpg",[],{"id":27577,"slug":27578,"title":8250,"dynasty":72,"author":10714,"museum":331,"description":27579,"tags":27580,"thumbUrl":27581,"material":100,"size":100,"collection":100,"collections":27582,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":704},235577,"mo-mei-tu-zhou-liu-shi-ru-235577","此作用笔老辣苍劲，枯墨皴擦梅干，尽显古木饱经霜雪的嶙峋质感。梅枝自左上蜿蜒垂落，如虬龙探水，枝桠俯仰藏露，错落有韵。繁花以圈花点蕊之法写就，淡墨晕染出花瓣清透柔润之感，无艳色却满枝似雪，冷香暗涌，将寒梅凌冬盛放的孤高之态尽显。右侧长题笔意清劲，与梅枝相映成趣，书画相融尽显文人借物抒怀的雅致意境，将梅花傲雪不屈的品格藏于水墨浓淡间，尽显幽淡清远的风骨。",[25,26,7,77,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635f1cec46fa1e4bfa9ea4448dff745a.jpg",[],{"id":27584,"slug":27585,"title":27586,"dynasty":18,"author":50,"museum":331,"description":27587,"tags":27588,"thumbUrl":27589,"material":198,"size":780,"collection":100,"collections":27590,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},235403,"xu-gu-yang-liu-ba-ge-zhou-yi-ming-235403","虚谷杨柳八哥轴","此作以淡墨写垂柳枝干，枯笔勾出袅袅柳条，绿赭晕染柳叶，笔致疏朗清逸，将春风拂柳的柔婉之态尽显。两只八哥栖于枝头，浓墨点染羽翼，淡墨铺衬胸腹，将羽毛蓬松质感细致呈现，二者依偎私语，神态亲昵生动。下方柳条间还隐有数只小雀，为画面添了灵动野趣。\n右侧题字笔墨苍劲朴拙，与画境融于一体。整幅以兼工带写之法绘就，水墨晕染间设色淡雅清新，将江南春日的柔媚生机藏于尺幅，尽显清寂简雅的文人意趣。",[25,26,7,77,28,113,6218,21582,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd36dcaa95f017a0f0fc9a6d5c75db4a.jpg",[],{"id":27592,"slug":27593,"title":27594,"dynasty":18,"author":50,"museum":331,"description":27595,"tags":27596,"thumbUrl":27600,"material":198,"size":780,"collection":100,"collections":27601,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},234403,"xiao-quan-cheng-huang-hou-chao-fu-xiang-zhou-yi-ming-234403","孝全成皇后朝服像轴","工笔重彩刻画入微，皇后安坐龙椅，面容娟秀温婉，神情静穆端凝，尽显中宫威仪。朝服以明黄为底，五彩祥龙穿梭于云纹之间，海水江崖层次井然，金线勾勒纹饰，华贵雍容。三盘朝珠错落垂挂，珠宝莹润雅致，与领肩繁复绣纹交相辉映，将清代宫廷服饰典制与极致绣艺尽数展现。画面设色浓丽沉稳，构图规整对称，既严守御容画的制式规范，又以细腻笔触赋予人物娴静气度，尽显宫廷皇后的华贵仪范。",[472,27,28,7,29,334,6504,34,60,536,4209,27597,27598,27599],"朝服纹饰","五彩","刺绣纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2afd8276f1d953304a3cd0eeac1c5663.jpg",[],{"id":27603,"slug":27604,"title":24322,"dynasty":18,"author":50,"museum":331,"description":27605,"tags":27606,"thumbUrl":27607,"material":198,"size":780,"collection":100,"collections":27608,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},234391,"xiao-yi-chun-huang-hou-chao-fu-xiang-zhou-yi-ming-234391","此作工笔精丽写实，画中女子端凝静穆，面容秀雅平和，尽显后宫之主的温婉气度。朝服形制严整，明黄地衬藏青绣面，矫健金龙盘绕周身，辅以江崖海水纹，既显皇权威仪，亦寄寓江山永固。点翠头饰华光内敛，朝珠层叠莹润，衣料的肌理光泽都被精细摹写，设色浓艳富丽又不失章法，精准还原服饰的华贵质感，将宫廷肖像画的纪实性与礼制性完美融合，肃穆华贵间尽显清代帝后画像的典范格调。",[25,24,7,27,28,29,334,6504,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b110d09d9371ee138ffa42480f6b35.jpg",[],{"id":27610,"slug":27611,"title":27612,"dynasty":18,"author":50,"museum":331,"description":27613,"tags":27614,"thumbUrl":27615,"material":198,"size":780,"collection":100,"collections":27616,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},234387,"hong-li-chao-fu-xiang-zhou-yi-ming-234387","弘历朝服像轴","此作为工笔御容肖像，笔触精细入微，设色华贵沉稳。画中帝王身着明黄朝服，周身龙纹盘绕生动，十二章纹排布严整，朝珠、补服礼制细节分毫毕现，尽显服饰规制的森严考究。\n\n人物神态清隽肃穆，端坐于錾刻繁复的鎏金宝座之上，身姿端凝沉稳，尽显九五之尊的雍容威仪。整作恪守御容肖像的严谨范式，以写实手法精准还原帝王仪范，将皇权的庄重尊崇融于细腻笔触间，尽显清代肖像画的精湛匠艺。",[25,26,7,27,28,29,472,34,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1485d5f01011117b7b00a8989ede1b9.jpg",[],{"id":27618,"slug":27619,"title":8535,"dynasty":18,"author":27620,"museum":236,"description":27621,"tags":27622,"thumbUrl":27623,"material":745,"size":27624,"collection":100,"collections":27625,"showCount":27188,"zanCount":11,"manualWeight":43,"mainColor":88},233954,"shan-shui-tu-zhou-cheng-zheng-kui-233954","程正揆","此图是程正揆晚年所作，绘前景清溪水榭，后景层峦石壁。前疏后密的景致构筑出淡雅浑朴的格调。此图是程正揆遭劾革职回南京后所作。他在隐居生活中受到前明遗老髡残、龚贤等人的审美观影响，绘画作品中带有较强的遗民意趣，常通过清幽的山水意境表达其隐逸的文人情思。",[25,26,7,77,130,28,129,170,169,132,733,172,351,377,79,4390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06aacd43996fdf247988d4f3198c814.jpg","纵104.8厘米，横40.6厘米",[],{"id":27627,"slug":27628,"title":2343,"dynasty":207,"author":2953,"museum":236,"description":27629,"tags":27630,"thumbUrl":27631,"material":1394,"size":2957,"collection":100,"collections":27632,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":44},233786,"mo-zhu-po-shi-tu-zhou-gao-ke-gong-233786","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。”",[25,77,7,31,35,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d7df8f8687f077f813223a903ed0ac.jpg",[],{"id":27634,"slug":27635,"title":8259,"dynasty":72,"author":1024,"museum":236,"description":8260,"tags":27636,"thumbUrl":27637,"material":745,"size":8265,"collection":100,"collections":27638,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},233713,"gao-yi-tu-zhou-dong-qi-chang-233713",[25,26,7,77,129,130,97,170,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f9d36af4fbafa00368ece3a1a18dc03.jpg",[],{"id":27640,"slug":27641,"title":15706,"dynasty":207,"author":9698,"museum":236,"description":15707,"tags":27642,"thumbUrl":27643,"material":1394,"size":15710,"collection":100,"collections":27644,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},233220,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-233220",[25,26,7,77,130,129,349,3106,170,522,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce68dbca86ab65c25a6f0e74749f9db.jpg",[],{"id":27646,"slug":27647,"title":27648,"dynasty":72,"author":4145,"museum":3222,"description":27649,"tags":27650,"thumbUrl":27651,"material":486,"size":27652,"collection":100,"collections":27653,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},232642,"shan-shui-gu-mu-tu-lan-ying-232642","山水古木图","高峰，杂林连绵，古木，矶石屋宇杨柳平坡，湖光山色边，春意盎然。有人湖 语，有人舟中弄笛，相映成趣。全图用笔苍劲，设色清丽，点染别致，树木景物，充满生机，巧得江南野趣。",[25,77,130,7,26,129,2294,131,427,132,522,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a75b6d590433c88559de0a0f19d3d2.jpg","纵72.5厘米，横89.5厘米",[],{"id":27655,"slug":27656,"title":8535,"dynasty":93,"author":1558,"museum":74,"description":27657,"tags":27658,"thumbUrl":27659,"material":1320,"size":27660,"collection":100,"collections":27661,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":342},232600,"shan-shui-tu-zhou-zhao-bo-ju-232600","此作无名款，以细笔描绘沿溪风光，空间绵延，物象丰富，甚得乾隆皇帝喜爱。根据乾隆二十二年的题跋，乾隆皇帝 “观其风神笔力”，故称为赵伯驹之作。本幅画山水晴云，游骑寻春，村家桃柳，水亭茶话。通幅以青绿为主调，生动地表现出春日触目皆绿的景致",[23,24,25,26,7,28,129,269,134,193,349,27,130,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7c6c4658758839cef52e467585382b.jpg","纵89.5cm，横32.3cm",[],{"id":27663,"slug":27664,"title":4012,"dynasty":18,"author":1036,"museum":74,"description":27665,"tags":27666,"thumbUrl":27667,"material":275,"size":27668,"collection":100,"collections":27669,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":44},231370,"bai-ying-tu-lang-shi-ning-231370","《白鹰图》创作于乾隆十六年（1751年），是郎世宁中西画法完美结合的最杰出作品之一。\n画面主体中的白鹰以白粉精细描绘，传承欧洲绘画技法，注重物象的解剖结构、光影效果及立体感，把翘首殷望的白鹰刻画的形神逼真；而背景中的松石则全然采用中国写意笔墨，清涧石岩，傲松凌立。\n此图绘江南雨后的芭蕉竹石，笔墨粗简，构图也十分简括。画幅上方，留出大面积空白，显得更加深邃清旷。这种“知白守黑”的处理，使画意更加完整而富于张力，给观者以无限的想象空间，正所谓“于无画处，皆成妙境”。整幅作品充满着一种自省的内在精神，耐人寻味。\n《白鹰图》以独特的艺术构思、隽永的表现手法和浑然天成的情景交融给观者以极大的艺术享受，意境深远，令人思绪万千。\n这幅《白鹰图》虽然有着明显欧洲画法的因素，但是画中所含的内容却完全是传统中国的风格。图中白鹰、松树、巨石、流水等均是中国绘画中习见的物象，喻意中象征着强壮、长寿、平安、吉祥等等。根据画上的署款，此图是根据乾隆十六年五月初十日，大学士忠勇公傅恒所进献的白鹰所画，相传皇太后生日即在五月，乾隆大孝，号称“以天下养”，即用天下最美好的财富来侍奉母亲，因此，《白鹰图》也是一幅极为贵重的祝寿图。",[25,26,7,27,28,151,241,129,131,193,35,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991122f93eaf082fff4079d1c96c94cd.jpg","122.25x64.79",[],{"id":27671,"slug":27672,"title":27673,"dynasty":18,"author":8994,"museum":331,"description":27674,"tags":27675,"thumbUrl":27676,"material":100,"size":100,"collection":100,"collections":27677,"showCount":27188,"zanCount":11,"manualWeight":43,"mainColor":88},231017,"qing-xi-fang-ting-tu-cha-shi-biao-231017","清溪放艇图","《馆藏精品选（天津艺术博物馆1共4张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（清）查士标，弘仁，[清] 龚贤，王时敏，[元] 边鲁。\n本书突破传统意义的画谱、画册形式，以八开折叠的方式，原色、原迹、高清的面貌呈现，整体全面且完整，局部精彩而丰富。\n收录了以下作品：《清溪放艇图松溪石壁图》《山楼客话图》《起居平安图》《挂壁飞泉图》。\n《清溪放艇图松溪石壁图》收录了2幅代表作。\n《清溪放艇图》为大写意山水画，描绘的是秋日山水风景。\n查士标以简率的浓淡两色笔墨，夹以枯笔，画出一派静寂空寥的秋江意象。\n画中一叶扁舟，渔夫垂钓于上，江面微波仅以几根简单的线条勾勒，生动形象。\n放眼望去山脉连绵，远处天空盘旋着几只寒鸦，令人生出孤冷寂寥之感。\n《松溪石壁图》采用高远构图法，描绘了壮丽的山林景色。\n画中兀立的山体几乎充满画面，画上方的空白处更显得透气爽朗，也衬托了天地之大。\n峦头峰顶时用“鼠足小点”苔点法，使画面疏密节奏异常鲜明。\n近景古松茂密，仰对山峦，其间溪水盘迁，似有山风穿涧而过。\n远景高峰耸立，气象宏大，一道飞泉直泄，气势奔放。\n屋宇或小舍，掩于远处的山脚或坡岸，显示了人与自然的和谐之境。\n《山楼客话图》采用深远构图法，描绘了雄伟壮丽的山水风景。\n画面山峦层叠，溪流深壑，茂林密布，水阁散立其间。\n此画以赭墨为主，深厚而单纯，清脱而滋润。\n山石大量使用披麻皴，细劲有力，丝丝入扣。\n点苔用墨，浓淡相杂，疏落有致。\n该画作于康熙十四年（1675年），是王时敏晚年作品。\n《起居平安图》作品画一巨石上立一锦鸡，扬尾低头张喙呜叫。\n石旁有竹枝、枸杞、兰草之属。\n锦鸡刻画细微，石勾皴结合，其他形象刻画得也十分精细，双勾加淡墨染。\n有宋画精密不苟的韵致。\n画左上角自识：“魏郡边鲁制。\n”此图的寓意是采用民间艺术以谐音方法来表达，雉为“誓”的谐音，雉石画在一起暗指意志坚定，画枸杞取的是“苟”的谐音，暗指不苟且偷生，即“不屈不挠，宁誓死而不苟活”的坚定信念。\n《一道飞泉图挂壁飞泉图》收录龚贤2幅画作。\n《一道飞泉图》采用高远构图法，描绘了江南山水雄伟壮丽的景色。\n画面崇山峻岭，山上树木丛生，枝繁叶茂，几间茅屋掩映于丛林之中，寂静的山林更增添了幽邃之感。\n一道清泉顺山而下，明快优雅。\n整幅画面笔酣墨润，气韵十足，真实生动地表现出江南山水的浑厚和苍秀，给人以清新自然之感。\n《挂壁飞泉图》采用深远构图法，描绘了崇山峻岭，树木繁盛，一道飞瀑从山崖间顺势直泻，气势奔放。\n画面主峰成尖塔形，雄奇而安稳，披麻皴层层叠加，线条短促，略似范宽雨点皴法。\n龚贤墨法焦湿并用，层层积染，用笔雄浑厚重，风标独特。\n整幅作品构图严谨，画格寂静、空旷，禅意浓厚，是龚贤画作精品。\n《清溪放艇图松溪石壁图》 《山楼客话图》 《起居平安图》 《挂壁飞泉图》",[23,25,26,7,77,130,129,349,151,131,193,35,2367,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bec418d6de53416cd6e98304cd5b6f.jpg",[],{"id":27679,"slug":27680,"title":27681,"dynasty":18,"author":50,"museum":331,"description":27682,"tags":27683,"thumbUrl":27684,"material":198,"size":780,"collection":100,"collections":27685,"showCount":27188,"zanCount":11,"manualWeight":43,"mainColor":44},230330,"chao-xian-guan-yuan-xiao-xiang-zhou-yi-ming-230330","朝鲜官员肖像轴","这幅肖像工致写实，将宦者气度凝于绢素。画中人物面容沉凝，银髯垂胸，眉峰微蹙自带持重威严，眉眼晕染细腻，将阅尽世事的沉稳刻画入微。\n素色官袍晕染柔和雅致，衣纹舒展自然，乌纱帽制式严谨细节毕现，暗合礼制规制。座椅铺陈的豹纹裘饰，低调彰显尊荣身份，背景织锦纹样规整古雅，烘托出肃穆沉静的氛围。\n整体笔意克制内敛，兼顾纪实传神与礼制象征，尽显士大夫的端方儒雅，是传统肖像画兼具审美与礼制内涵的典型之作。",[23,25,7,28,29,27,34,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5db95857ae99b5f83df15929d5968cba.jpg",[],{"id":27687,"slug":27688,"title":27689,"dynasty":72,"author":21323,"museum":331,"description":27690,"tags":27691,"thumbUrl":27692,"material":198,"size":780,"collection":100,"collections":27693,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":44},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","王世昌（生卒年不详），明代画家，字时雍（又作畴雍），号历山，山东人，李开先在《中麓画品》（1541年成书）中即对他有评论记载。他工画山水人物，画法出于院体浙派，山水笔墨苍劲雄浑，人物用笔劲捷，骨力凝重，造型生动。传世作品有《高士访隐图》、《高士吟秋图》、《高士春山图》、《山水图》、《松荫书屋图》等。见《图绘宝鉴续纂》、《无声诗史》。",[23,24,25,26,7,364,77,28,130,378,132,193,878,29,170,522,173,2419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b8e35ce302f74142791093945b3c13.jpg",[],{"id":27695,"slug":27696,"title":27697,"dynasty":72,"author":752,"museum":331,"description":27698,"tags":27699,"thumbUrl":27700,"material":100,"size":100,"collection":100,"collections":27701,"showCount":27188,"zanCount":11,"manualWeight":43,"mainColor":44},228323,"shi-zuo-bai-yi-guan-yin-chen-hong-shou-228323","石座白衣观音","此作以天然石窟为龛，菩萨趺坐其中，奇石皴笔老硬苍劲，造型奇崛朴拙，将白衣观音衬得愈发恬和沉静。衣纹勾勒细劲绵密，如曹衣出水般贴合身形，素白浅晕尽显织物柔润垂坠质感，与山石硬朗形成刚柔对照。\n\n上方朱红花卉设色古雅柔婉，为冷寂岩窟晕开几分暖意生机，冲淡了佛境的清寂。整幅笔简意足，高古静穆的禅意与奇幽冷逸的笔意相融，把观音澹定慈悲的气韵烘托尽致，尽显独特的古雅佛国意趣。",[25,28,27,54,29,35,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1091d2300ff65bf353030cdf5062650.jpg",[],{"id":27703,"slug":27704,"title":27705,"dynasty":72,"author":752,"museum":331,"description":27706,"tags":27707,"thumbUrl":27708,"material":100,"size":100,"collection":100,"collections":27709,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":44},228304,"can-zhi-tu-chen-hong-shou-228304","餐芝图","此作用笔高古奇骇，构图疏朗雅致，奇石衬出幽寂林下氛围。主角宽袍峨冠，手托芝草悠然凝思，神情澹然超迈，尽显林下高士的出尘之态。下方侍者蹲身专注燃炉蒸芝，神态恭谨，一动一静之间衬出画面闲雅意趣。衣纹勾勒清劲凝练，设色淡雅沉静，古拙的线韵晕染出静穆脱俗的幽隐意境，将服食灵草、寄情丘山的出世雅趣藏于笔底，尽显高逸绝尘的文人风骨。",[23,25,26,7,27,985,28,29,35,1405,18358,10015,23580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104d5293337b078854f928fd606d4d56.jpg",[],{"id":27711,"slug":27712,"title":27713,"dynasty":207,"author":27714,"museum":331,"description":27715,"tags":27716,"thumbUrl":27717,"material":100,"size":100,"collection":100,"collections":27718,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":44},228247,"dou-niu-tu-dun-min-228247","斗牛图","敦敏","郊野荒寒，枯木虬劲苍古，枝桠疏朗斜伸，带着冬日萧索静气。前景双牛犄角相抵，四蹄攒劲，肌肉紧绷贲张，将斗牛憨猛相争的张力尽显，朴拙写实，鲜活灵动。\n以静衬动，萧寂的野景衬出斗牛的生猛勃发，右上角题诗呼应画中趣味，笔墨苍简淡远，将山野朴趣与文人画的清冷意韵相融，于简约留白间晕染出悠然生机，尽显笔墨疏淡雅致的侘寂之美。",[23,4108,24,25,26,7,27,28,1571,241,521,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37247abe557be32eff5ae6096d2856e.jpg",[],{"id":27720,"slug":27721,"title":27722,"dynasty":93,"author":27723,"museum":331,"description":27724,"tags":27725,"thumbUrl":27726,"material":100,"size":100,"collection":100,"collections":27727,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":44},227694,"qi-lv-jiao-you-tu-ma-gong-xian-227694","骑驴郊游图","马公显","马公显为南宋四家马远的伯父，马远家族世代以画佛家传，至马远马麟始以山水闻名。本图为马公显传世孤本，主要是描写唐代的药山禅师与朗州刺史李翱“云在青天水在瓶”的禅宗对话故事；李翱，字习之，唐河北赵郡人，韩愈门人，亦为愈之姪婿。不为师之思想所拘，以客观採取佛学之精华。为朗州刺史时，访药山禅师，禅师于松下阅经，不理睬。李曰：“见面不如闻名。”禅师曰：“何得贵耳贱目？”李问：“如何是道？”禅师向上一指，向下一指，曰：“云在青天水在瓶。”李闻之，茅塞顿开，呈偈曰：“练得身体似鹤形，千株松下两函经；吾来问道无馀说，云在青天水在瓶。”图上看到药山禅师石桌上放置经函与瓶梅，梅枝倒挂，颇有禅意。图右下角有“马公显”三字款。",[24,25,26,7,77,29,3287,129,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f96df2cd6c3756724ede8d7c227a03.jpg",[],{"id":27729,"slug":27730,"title":27731,"dynasty":18,"author":2330,"museum":331,"description":27732,"tags":27733,"thumbUrl":27734,"material":100,"size":100,"collection":100,"collections":27735,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},224579,"hua-xing-hua-song-zhu-zhou-jiang-ting-xi-224579","画杏花松竹轴","水墨晕染，苍松躯干古拙嶙峋，疤结凝着岁月风霜，松针攒簇如戟，虬枝斜曳尽显清刚之姿。柔婉杏枝侧生，蓓蕾轻绽，冷艳雅致中和了古松的苍劲。坡石之间新竹疏朗挺秀，与松、杏相映成趣。浅滩细流隐现于草叶间，衬出幽寂清远的林下意境。\n\n笔致兼用工写，浓淡墨色铺陈层次，刚柔相济，将花木姿致与林泉野趣相融，淡痕轻晕里藏着文人清雅风骨，把岁寒同侪的逸韵收于卷中，晕染出悠长清寂的林下幽怀。",[23,25,7,77,378,31,3908,132,129,113,130,21792,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ddfdd9f3d46ccff5e6af49dd78bebf.jpg",[],{"id":27737,"slug":27738,"title":5888,"dynasty":18,"author":27739,"museum":331,"description":27740,"tags":27741,"thumbUrl":27742,"material":100,"size":100,"collection":100,"collections":27743,"showCount":27188,"zanCount":11,"manualWeight":43,"mainColor":88},224533,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-224533","祁豸佳","此作用笔追摹前贤意趣，主峰奇崛高耸，淡墨晕染石身，浓墨点苔醒出山岩苍古肌理，山间林木疏密错落，枯荣相映。近岸虬松老干遒劲，枝桠舒张如盖，临水茅庐静立，二人凭栏晤谈，衬出林下幽寂雅趣。\n整幅以高远法布局，虚实相生，留白处晕出山岚氤氲，将山野幽居的静谧萧散尽数铺展。笔墨简淡清逸，淡墨皴擦间尽显山水温润空濛，又自具峭爽格调，尽显文人寄情林泉的雅致意趣。",[23,25,26,7,77,130,129,427,733,132,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7804fca5f15a8af04239b286d359bd.jpg",[],{"id":27745,"slug":27746,"title":27747,"dynasty":18,"author":4669,"museum":331,"description":27748,"tags":27749,"thumbUrl":27750,"material":100,"size":100,"collection":100,"collections":27751,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},224444,"fang-li-cheng-xue-ji-tu-wang-hui-224444","仿李成雪霁图","此作用淡墨晕染山石，以留白托出积雪的莹白蓬松，将雪裹山峦的厚重萧寒尽数铺展。枯木虬枝劲挺错落，枝梢缀着残雪，溪面凝冰仍暗藏水意潺潺，悬瀑似冻未绝，于冷寂间暗寓生机。\n\n整幅画作尽得冬日空山的清寂辽远，师法宋人笔意，苍浑之中兼具秀润雅致，把雪后山川的荒寒冷寂，晕化为淡逸悠远的诗意，令人恍若置身冰封雪覆的空山，浸溺在这份清绝尘嚣的静谧之中。",[23,25,26,7,945,77,130,129,3880,1651,351,170,169,7002,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9125d4abb2b29d2399e2e24c79ab71e9.jpg",[],{"id":27753,"slug":27754,"title":8535,"dynasty":18,"author":361,"museum":331,"description":27755,"tags":27756,"thumbUrl":27757,"material":100,"size":100,"collection":100,"collections":27758,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},224429,"shan-shui-tu-zhou-wang-shi-min-224429","此作用高远、平远兼济的构图铺展春日山乡景致。近处枯木虬枝舒展，与苍松错落相映，坡岸下春水澹澹，林麓间屋舍幽藏，安然静卧于烟岚轻笼之中。远景山峦以干笔淡墨勾勒皴擦，笔意松秀苍润，以浅淡墨色晕染出空濛氤氲的春日山气。\n\n全作用墨清隽温厚，脱胎元人山水意趣，以留白衬出春水空阔，将山野的清寂淡远融于笔底。未施浓丽敷色，仅以水墨干湿浓淡区分物象层次，尽显萧散简远的文人意韵，把春日林泉的幽闲之趣藏于每一重皴染之间，含蓄悠远，尽显古典山水的静雅之美。",[23,24,25,26,7,77,129,170,132,733,172,427,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2b57e9a7f5704ab95a2ab50a4edb.jpg",[],{"id":27760,"slug":27761,"title":21572,"dynasty":18,"author":436,"museum":331,"description":27762,"tags":27763,"thumbUrl":27764,"material":100,"size":100,"collection":100,"collections":27765,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":44},224190,"guan-quan-tu-hua-yan-224190","此作画境清逸古雅，右上角古木盘曲，垂藤轻曳，飞泉自崖间潺潺而下。崖下雅士踞石观泉，仰首凝神，似将身心融于泉声林色之中，旁侧童子携囊持壶，静立相随，愈衬画面幽寂。\n\n笔墨苍润秀灵，淡赭铺底晕出春日空濛，浓墨点染木叶，山石勾勒皴擦结合，写意中不失细腻。题诗与画境相得益彰，将草青花初的春景与泉鸣相融，尽显文人寄情林泉、静赏山水的闲逸襟怀，清隽淡远，观之如临其境，恍闻泉声松风。",[23,25,7,77,28,29,129,170,351,169,193,776,55,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455ed575cfebe4bc1c8c2a52961e950.jpg",[],{"id":27767,"slug":27768,"title":27769,"dynasty":72,"author":10733,"museum":27770,"description":27771,"tags":27772,"thumbUrl":27774,"material":486,"size":27775,"collection":100,"collections":27776,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":44},222860,"song-he-you-wu-song-xu-222860","松壑幽屋","山东省博物馆","彩绘山峰、流水、小桥、绿树、桃花，一派春意盎然",[23,25,26,7,77,130,27,129,378,27773,134,193,132,170,377],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a048a58ed78444f5f47630c6a4faa40.jpg","141×63cm",[],{"id":27778,"slug":27779,"title":25491,"dynasty":72,"author":17220,"museum":236,"description":27780,"tags":27781,"thumbUrl":27782,"material":1573,"size":27783,"collection":100,"collections":27784,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":44},222840,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-222840","萧云从的山水画风格多样，但贯穿其中的基本风貌是笔墨多方折而枯瘦，且在方折的骨体中加入一些皴擦，略有渲染，显得笔墨丰富而灵活。当时，松江派绘画风靡画坛，其画多柔曲的线条、秀润的笔墨，萧氏则改用直折的线条、枯瘦爽利的墨色，可谓别具一格。《国朝画征录》评论萧云从的画称：“不专宗法，自成一家，笔亦清快可喜。”道出了萧云从绘画风格的关键所在。他的画并非具体地宗法某一家，但可看出是从宋元画法中演变而来，不宋不元，即宋即元，又明确地表现出萧氏自身的艺术特色。此图虽是描绘雪景，表现手法与平时稍异，但仍可看出萧氏画作的典型特征。\n画面采用高远法构图描绘层岩绝巘。布局丰满，但山间茂密树丛的蓬松枝杈使画面气脉贯通，虽满却不迫塞。山石形廓较为方硬，凹陷处的皴擦笔笔精到；树木刻画亦极工致，用笔细劲清快，描绘树干纹理、树叶形状一丝不苟。地子则巧妙地留白，用以表现大面积山石及树木枝干上的积雪。皑皑白雪在以淡墨晕染的阴郁天空的衬托下愈发显得清寂萧索。但近景的树脚、石隙间偶尔显露出数竿篠竹，树木枝干染以藤黄，树叶则分别施以朱红、汁绿，这一切都使观者在寒冬的肃杀气氛中隐隐感受到蕴藏着的盎然生机，在历代雪景作品中可谓别开生面。这一方面是由于作者有着对自然界的独特感受，同时也昭示着萧云从内心涌动的希望。\n其时，明宗室诸王流亡各地，除弘光、隆武、永历等主要政权外，臣民奉宗室起兵抗清者所在尚多，且颇具声势。萧氏作为明朝遗民，无时无刻不关注着这些复国大事。题识中的“时得三秦好音”似即指此类事件。\n萧云从曾精研杜诗，著有《杜律细》一卷。其诗亦继承杜诗传统，多即事忧时之作，如此画题诗便是一例。诗中“皇旅云腾度渭河”、“将军高唱大风歌”等句更是雄浑奔放，音韵铿锵，与画面相互映照，真切地表现出萧云从作为明代遗民的思想感情。",[23,25,7,77,27,130,129,613,29,377,269,253,132,5505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f11d303d9b585f987c4fc189dc35570.jpg","纵125.3厘米，横47.7厘米",[],{"id":27786,"slug":27787,"title":27788,"dynasty":18,"author":27789,"museum":74,"description":27790,"tags":27791,"thumbUrl":27793,"material":275,"size":27794,"collection":138,"collections":27795,"showCount":27188,"zanCount":43,"manualWeight":43,"mainColor":88},222805,"qiu-shan-ping-yuan-zhou-he-yi-222805","秋山平原轴","赫奕","赫奕，赫舍里氏，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，满洲正黄旗人，开国名臣希福之孙，工部尚书帅颜保之子。清朝政治人物、清朝工部尚书。\n以侍卫入仕，任内务府总管。康熙五十二年十二月己卯，接替满笃，担任清朝工部尚书，后革。由孙渣济接任。雍正十三年再任总管内务府大臣。乾隆八年，尚书衔总管内务府大臣赫奕病故。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。",[23,25,26,7,28,129,130,97,79,3984,27792,170,349,377,132,193],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d919660f9b59c4912c5a9f1ee3b3bc8.jpg","99.4x48.3cm",[138,158],{"id":27797,"slug":27798,"title":27799,"dynasty":72,"author":22106,"museum":236,"description":27800,"tags":27801,"thumbUrl":27802,"material":745,"size":27803,"collection":100,"collections":27804,"showC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敬为第一大手笔、百代宗师。",[23,25,29,985,54,9612,28092,7],"维摩居士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fcdc2254e5d4d8c686fe2f85becec0a.jpg",[],{"id":28096,"slug":28097,"title":28098,"dynasty":93,"author":8165,"museum":331,"description":28099,"tags":28100,"thumbUrl":28102,"material":198,"size":780,"collection":100,"collections":28103,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},289119,"han-pu-yu-zeng-tu-yan-wen-gui-289119","寒浦渔罾图","燕肃(961年—1040年)，字穆之，字仲穆，一署上谷，祖籍青州益都，定居曹州（今山东曹县）。北宋著名科学家、画家、诗人。\n燕肃少孤贫，巧思过人，宋真宗大中祥符年间进士，官至龙图阁直学士，人称“燕龙图”。学识渊博，精通天文物理，有指南车、记里鼓、莲花漏等仪器的创造发明，著有《海潮论》，绘制《海潮图》以说明潮汐原理。工诗善画，以诗入画，意境高超，为文人画的先驱者。",[25,24,7,77,129,151,16641,1742,17666,14974,28101],"渔事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2864b177f9fc2b991dd18fe3a5830f.jpg",[],{"id":28105,"slug":28106,"title":28107,"dynasty":18,"author":50,"museum":331,"description":28108,"tags":28109,"thumbUrl":28111,"material":198,"size":780,"collection":100,"collections":28112,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},288185,"shen-hua-ren-wu-xiang-yi-ming-288185","神话人物像","此作为工笔重彩人物画，主尊武将端坐正中，面相圆阔威严，身着纹饰繁丽的金红铠甲，兽面腹甲凸显悍勇气魄，织金衣纹层次精细，华贵庄重。两侧亲兵持戟肃立，盔缨朱红鲜明，神态恭谨肃穆，衬得主将气场愈发雄浑沉厚。\n设色古雅沉稳，晕染细腻考究，衣甲肌理与配饰细节皆刻画入微，将护法神将的凛凛威仪渲染得淋漓尽致，尽显传统人物画的精湛笔力，古韵悠长，尽显庙堂神像画的庄严厚重之感。",[23,25,7,28,29,4427,28110,1039,27],"武将","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0577e147b317451fcc1349440d6a9e4d.jpg",[],{"id":28114,"slug":28115,"title":28116,"dynasty":18,"author":3792,"museum":331,"description":28117,"tags":28118,"thumbUrl":28119,"material":198,"size":780,"collection":100,"collections":28120,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},288139,"ting-zhong-yu-ba-jiao-tu-li-zhou-gai-qi-288139","庭中雨芭蕉图立轴","改琦（1773年－1828年），字伯蕴，号香伯，一号七芗，又号玉壶外史，江苏华亭（今上海市松江区）人，祖籍北京宛平，是清代中期的画家。\n先世为西域人，祖父改光宗曾任寿春镇总兵。改琦多才多艺，尤善绘画，其人物画被认为是嘉道后最工者，其画受李公麟、赵孟𫖯、唐寅、陈洪绶等影响，花草竹等画也擅长。曾绘《红楼梦图》。",[23,25,7,77,26,24,29,239,35,778,18760,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497f08e6a1c9e24cec2c2bca45e5ab65.jpg",[],{"id":28122,"slug":28123,"title":28124,"dynasty":93,"author":3927,"museum":331,"description":28090,"tags":28125,"thumbUrl":28126,"material":198,"size":780,"collection":100,"collections":28127,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":342},287754,"bai-miao-fo-xiang-di-liu-zun-zhe-li-gong-lin-287754","白描佛像第六尊者",[23,24,25,7,54,985,29,10824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8847829c3580632bd6237e0981657c5.jpg",[],{"id":28129,"slug":28130,"title":28131,"dynasty":72,"author":4312,"museum":331,"description":28132,"tags":28133,"thumbUrl":28135,"material":198,"size":780,"collection":100,"collections":28136,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},287614,"qiu-tang-cao-ting-tu-zhao-zuo-287614","秋塘草亭图","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[23,24,25,26,7,268,28,129,377,170,132,4987,28134,79],"草亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962f475396b35bf70b0dbb4b90e5673e.jpg",[],{"id":28138,"slug":28139,"title":28140,"dynasty":93,"author":3927,"museum":74,"description":28090,"tags":28141,"thumbUrl":28143,"material":198,"size":780,"collection":100,"collections":28144,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},287585,"mao-nv-tu-li-gong-lin-287585","毛女图",[25,7,985,29,28142,1073,129,169,1063],"毛女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517f3897a33c36ffd4fd9d96cbb1ac24.jpg",[],{"id":28146,"slug":28147,"title":28148,"dynasty":72,"author":1024,"museum":331,"description":5228,"tags":28149,"thumbUrl":28150,"material":198,"size":780,"collection":100,"collections":28151,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},283718,"fang-mei-dao-ren-shan-shui-tu-zhou-dong-qi-chang-283718","仿梅道人山水图轴",[25,7,77,129,170,733,272,945,79,80,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a7ad71fa54122d8e46c92daf6aa7d.jpg",[],{"id":28153,"slug":28154,"title":28155,"dynasty":49,"author":50,"museum":331,"description":28156,"tags":28157,"thumbUrl":28158,"material":198,"size":780,"collection":100,"collections":28159,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},281571,"cai-hui-fo-xiang-zhou-yi-ming-281571","彩绘佛像轴","此作造像面相丰润柔和，神情慈悲恬然。左手执长杖，杖顶莲台托举化佛，右手轻施无畏印，仪态端方舒展。周身璎珞环佩层叠，衣纹用线柔劲流转，晕染细腻，将织物的垂坠光泽与质感尽皆呈现。\n酱褐底色沉敛雅致，更衬出造像的圣洁庄严，身后圆光勾描金线，愈显神性充盈。整体气韵静谧祥和，把菩萨的悲悯仁厚融于笔墨方寸，尽显佛造像绘画的肃穆内敛之美，仿佛携带着清净安宁的佛国意韵，引人沉静。",[25,7,26,54,28,29,9613,9612,16176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca299707062f05c97f017c9b6bfca2c2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书为舫西先生侍御尊兄正。嘉庆丁卯花朝。愚弟伊秉绶。\n伊氏早年拜在乾隆四大家之一的刘墉门下学习书法，并与王文治、桂馥、黄易、孙星衍等人师友相交，研讨书艺，加之其天资聪敏，融铸古今，遂形成独具特色的艺术风格。\n此作书于清嘉庆十二年（1807年），伊秉绶时年55岁，已是晚期作品。此联结字方正，舍隶书之波磔，突破了传统隶书的结构和笔法，凝重整肃，气势宏大，显示出伊秉绶晚年对隶书艺术不断开拓变革的境界和魄力。",[80,3362,5199,77,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff95b9cb1945d5e0145f740cd4c0c5442.jpg","纵109.3厘米，横25.3厘米",[101],{"id":28188,"slug":28189,"title":28190,"dynasty":18,"author":50,"museum":331,"description":28191,"tags":28192,"thumbUrl":28193,"material":198,"size":780,"collection":100,"collections":28194,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},239869,"wu-kuan-fu-zi-zhou-yi-ming-239869","无款福字轴","这幅福字取菱形张贴的传统形制，朱砂红底衬以银线游龙纹，云气裹挟龙身辗转腾挪，纹饰精细灵动，暗合祥瑞之意。\n\n福字以浓墨书就，楷法端稳浑厚，结构宽博舒展，示部敦实饱满，礻部劲挺厚重，笔墨沉凝有力，尽显庄重雍容的庙堂气象。暖黄装裱底色沉稳柔和，与朱红福笺形成鲜明层次，烘托出吉庆安稳的年节氛围。整体布局虚实相宜，纹饰烘托文气，笔墨彰显力道，寄寓了纳福迎祥的美好祈愿。",[24,25,26,80,7,5902,28,334,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F005097a314ef5834f59f741d33b515b8.jpg",[],{"id":28196,"slug":28197,"title":28198,"dynasty":207,"author":518,"museum":236,"description":28199,"tags":28200,"thumbUrl":28201,"material":28202,"size":28203,"collection":101,"collections":28204,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},239633,"xing-dan-shi-shi-zhou-ni-zan-239633","行淡室诗轴","释文：\n欲写新诗尘满几，味我迂言淡如水。白云淡淡何从来，来伴我（此字点去）孤吟北窗里。酒味甘浓易变酸，世情对面九疑山。白云且结无情友，明月幽禽与往还。八月廿日过宗道云栖楼，命余赋子安淡室诗，因赋。是日疏雨生凉，山光满几，殊有幽兴也。瓒。\n无题跋。鉴藏印钤有清“润州戴植字培之鉴藏书画章”印一方。\n《淡室诗》是倪瓒为友人“宗道”所书的一首七律诗。诗中寄托了他避世索居、与白云幽禽为伴的心境。\n此书是倪瓒存世这是一件彰显作者个性的书法作品，以立轴形式装裱在当时是比较少见的。此件楷书运笔俊峭，取法初唐楷书而兼有隶意，韵致高古，结字章法更打破楷书均衡取势之态，颇显生动飘逸的特点。据书风判断应为其晚年之作。",[7,97,80,77,59,195,3351,4148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9dbd69a846f83951a4d74d76cfee6c1.jpg","纸本，行楷书","纵64厘米，横27厘米",[101],{"id":28206,"slug":28207,"title":28208,"dynasty":18,"author":50,"museum":236,"description":28209,"tags":28210,"thumbUrl":28213,"material":1573,"size":28214,"collection":158,"collections":28215,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},239528,"hong-li-ji-lu-tu-xiang-zhou-yi-ming-239528","弘历击鹿图像轴","秋林谷壑间秋意铺陈，丹叶杂着枯木，晕染出疏朗温润的郊野氛围。锦鞍纹饰细致的骏马静立坡侧，侍从持鞭席地而坐，神色安然。右下角麋鹿惊觉抬首，似将疾走而去，瞬间打破林间宁寂，暗藏狩猎将启的张力。\n\n此作未绘主角，却以侍从、鞍马衬出狩猎的氛围感，静中藏动，笔触工细入微，枝叶、坡石层次分明，设色雅致柔和，将郊野秋狩的闲雅与机巧相融，尽得纪实绘事的含蓄意趣。",[24,25,7,27,28,29,196,1073,13217,2557,14546,152,4988,28211,28212],"闲雅","静中藏动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc877bf2a729dcbf25c434ed1db163c5.jpg","纵259cm; 横172cm.",[158],{"id":28217,"slug":28218,"title":28219,"dynasty":72,"author":18249,"museum":331,"description":28220,"tags":28221,"thumbUrl":28222,"material":100,"size":100,"collection":138,"collections":28223,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},237695,"yun-shan-fang-guang-zhou-xiang-yuan-bian-237695","云山放光轴","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。 其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[25,26,7,77,130,252,335,601,151,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8320ab5ca362924ab59d1050aabcc8c.jpg",[138],{"id":28225,"slug":28226,"title":28227,"dynasty":72,"author":28228,"museum":331,"description":28229,"tags":28230,"thumbUrl":28231,"material":198,"size":780,"collection":100,"collections":28232,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},237530,"zhong-kui-zhou-zhang-feng-237530","钟馗轴","张凤","张凤（1396-1461年），字子仪，安平人。父益，宣德年间考中进士，步入仕途，正统年间被破格提拔成为侍郎，监管粮食，曾建议应该稍微加重点赋税，这样国家才有的用。\n官至兵部尚书，天顺五年（1461年）去世。",[25,26,7,985,29,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdd3a6c65f9781a9f81446786ee1143c.jpg",[],{"id":28234,"slug":28235,"title":21931,"dynasty":72,"author":752,"museum":74,"description":6121,"tags":28236,"thumbUrl":28237,"material":214,"size":10963,"collection":138,"collections":28238,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},237387,"ku-mu-zhu-shi-zhou-chen-hong-shou-237387",[25,26,7,77,985,130,152,31,601,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e90407ec747da8abbe02b723eb29e68.jpg",[138],{"id":28240,"slug":28241,"title":1381,"dynasty":72,"author":3690,"museum":331,"description":28242,"tags":28243,"thumbUrl":28244,"material":100,"size":100,"collection":138,"collections":28245,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},237146,"shan-shui-zhou-xiang-sheng-mo-237146","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。",[24,25,26,7,77,129,130,253,377,601,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d5cf14ad2087901e0d4f16e53aa4cf.jpg",[138],{"id":28247,"slug":28248,"title":28249,"dynasty":18,"author":3956,"museum":236,"description":28250,"tags":28251,"thumbUrl":28252,"material":214,"size":100,"collection":138,"collections":28253,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},236986,"hua-wang-zi-you-xue-ye-fang-dai-zhou-fei-dan-xu-236986","画王子猷雪夜访戴轴","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[25,26,7,28,27,29,349,31,129,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951170865af0aa8752ff873c504a89af.jpg",[138,158],{"id":28255,"slug":28256,"title":25267,"dynasty":72,"author":28257,"museum":331,"description":28258,"tags":28259,"thumbUrl":28260,"material":100,"size":100,"collection":101,"collections":28261,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},236554,"bu-dai-he-shang-xiang-zhou-zhu-yi-pai-236554","朱以派","朱以派（？－1642年），字衍宗，号干山，山东省兖州府滋阳县（今山东省济宁市）人，明朝第十代鲁王，肃王朱寿镛庶三子。崇祯十三年（1640年）袭封鲁王。他在位两年。崇祯十五年（1642年）清兵入塞攻破兖州府，朱以派自缢而亡，长子及弟朱以洐、朱以江一并殉难。两年后其弟朱以海嗣位。",[25,26,7,54,29,985,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524ae22a55339dfd8fc3b99d1a2113b9.jpg",[101],{"id":28263,"slug":28264,"title":1381,"dynasty":18,"author":4669,"museum":331,"description":15784,"tags":28265,"thumbUrl":28266,"material":100,"size":100,"collection":185,"collections":28267,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},236421,"shan-shui-zhou-wang-hui-236421",[25,26,7,77,130,80,129,170,132,1717,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bf315cbaa420c5f5e1b33c83013106.jpg",[185,101],{"id":28269,"slug":28270,"title":28271,"dynasty":72,"author":28272,"museum":236,"description":28273,"tags":28274,"thumbUrl":28275,"material":2583,"size":28276,"collection":185,"collections":28277,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},236415,"shu-yi-lan-shi-zhou-shu-yi-236415","叔伊兰石轴","叔伊","周天球题跋：“待雪香非浅，临风意自多。周天球题。”作者钤印：“句吴人”朱文圆印、“参军大夫”朱文方印。 鉴藏印：“周氏公瑕”白文方印、“竹垞审定”白文方印、“□望楼”朱文方印、“虞琴秘笈”朱文方印、“孔彰珍玩”白文方印。款识：自题：“叔伊笔。”",[25,26,7,77,304,6433,57,1275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa171098b9edcd832689ba6c621bb8ba5.jpg","纵91cm，横42.3cm",[185],{"id":28279,"slug":28280,"title":1381,"dynasty":18,"author":28281,"museum":236,"description":28282,"tags":28283,"thumbUrl":28285,"material":2583,"size":28286,"collection":138,"collections":28287,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},236309,"shan-shui-zhou-weng-song-nian-236309","翁嵩年","翁嵩年（1648—1730年），字康饴，号萝轩,钱塘（今浙江杭州）人。清康熙年间进士，官户部主事，善画山水，气质古雅疏拙。著有《天香书屋稿》、《白云山房集》、《友石居集》。",[24,25,26,7,77,130,129,132,193,521,170,351,28284],"河道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b0b59a3b52a3e78c6027049e7430e8c.jpg","纵102.7cm，横47.5cm",[138,185,101],{"id":28289,"slug":28290,"title":28291,"dynasty":18,"author":50,"museum":236,"description":28292,"tags":28293,"thumbUrl":28294,"material":486,"size":100,"collection":39,"collections":28295,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},236181,"hui-fei-chang-fu-xiang-zhou-yi-ming-236181","慧妃常服像轴","此作工笔设色，写实传神。画中女子端坐在明黄绣纹宝座，面容温婉娴静，眉目秀雅，神色端庄自持。石青色常服褂平整挺括，金珠纽扣点缀其间，素雅暗含华贵，绛色护指包裹双手，尽显旗人贵妇仪范。\n\n两侧几案陈设法琅供瓶、描金供器，案面缠枝纹样勾绘考究。脚下地毯翎毛瑞兽纹样繁丽饱满，配色浓艳和谐，烘托出庄重规整的宫廷氛围。画作笔法细腻写实，设色沉稳雅致，将女子温婉端凝的气度尽显于绢素之上。",[25,26,7,27,28,29,30,33,602,18984],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5440d55dfc9723052992be1c527c5a.jpg",[39,158],{"id":28297,"slug":28298,"title":27612,"dynasty":18,"author":50,"museum":236,"description":28299,"tags":28300,"thumbUrl":28301,"material":1218,"size":28302,"collection":39,"collections":28303,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},236175,"hong-li-chao-fu-xiang-zhou-yi-ming-236175","爱新觉罗·弘历（1711年9月25日—1799年2月7日），清朝第六位皇帝，定都北京之后的第四位皇帝。年号“乾隆”，寓意“天道昌隆”。在位六十年，禅位后又继续训政，实际行使最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是最长寿的皇帝。\n乾隆帝是中国封建社会一位赫赫有名的皇帝。乾隆帝在位期间清朝达到了康乾盛世以来的最高峰，他在康熙、雍正两朝文治武功的基础上，进一步完成了多民族国家的统一，社会经济文化有了进一步发展。乾隆重视社会的稳定，关心百姓，五次普免天下钱粮，三免八省漕粮，减轻了农民的负担，起到了保护农业生产的作用，使得清朝国库日渐充实。乾隆时期武功繁盛，在平定边疆地区叛乱方面做出了巨大成绩，并且完善了对西藏的统治，再次将新疆纳入中国版图，清朝的版图由此达到最大化，近代中国的版图也由此正式奠定。乾隆帝在位期间，实行“因俗而治”的民族政策。汉学得到了很大的发展，开博学鸿词科，修《四库全书》； [1] 同时民间艺术有很大发展，如京剧就开始形成于乾隆年间。但是后期吏治有所败坏，多地爆发起义。 [2] 严格抵制英国、俄国的侵略性行为，但闭关锁国政策拉大了和西方的差距，中国正处于近代的前夜。\n乾隆六十年（1795年），乾隆帝禅位于第十五子颙琰。嘉庆四年正月初三（1799年2月7日）去世于养心殿，享年89岁。 [3] 庙号高宗，谥号法天隆运至诚先觉体元立极敷文奋武钦明孝慈神圣纯皇帝，葬于清东陵之裕陵。",[25,26,7,28,27,29,334,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4f2b6e8a832241ce4b40e49f9a5ea3.jpg","257.3×151.0 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得范宽之法，小幅作品，清新活泼，自成一种情趣。”盛氏活跃于仿古之风弥漫的时代，其对古人虽有用心之处，然而却极少仿古之作。\n根据种种的文献记载，盛氏在当时颇负盛名，虽古意不足，然饶有趣味，在笔墨造型和布局方面均有所开拓，形成了自身独特的画风。这种风格的形成，不仅在于他对浙派和吴派兼收并蓄，更在于他对古人的画法进行了选择性的采纳和吸收。\n他的作品中，有对大自然的真实描写，也有一些夸张变形的因素，这些均是宋代山水画传统在晚明画坛中复兴的征象。",[23,24,25,26,7,364,130,28,2294,132,272,173,5506,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb575d9feb5a80e4189ee444b2fb5180a.jpg","157.5×54cm",[],{"id":28447,"slug":28448,"title":21707,"dynasty":49,"author":50,"museum":331,"description":28449,"tags":28450,"thumbUrl":28454,"material":198,"size":780,"collection":100,"collections":28455,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":342},231658,"shi-ting-shi-dai-sui-shi-fo-xiang-yi-ming-231658","此作以沉凝古雅的色调，绘就护法神祇的威严气魄。黝黑面庞怒目圆睁，宝冠束发更添悍勇，周身火焰背光翻卷烈烈，烘衬出慑人气场。神将身披纹饰繁细的重甲，璎珞革带错落有致，右手长剑拄握，左手结印，甲叶錾刻精巧，衣摆飘带虬曲灵动。\n\n画师以劲挺线条勾勒轮廓，矿物颜料的沉郁色泽带着岁月晕染的斑驳旧痕，将护法狞厉刚猛的威仪尽数铺展，糅合佛画肃穆与武将雄健张力，古拙笔触间尽显东方宗教造像的力量之美。",[23,25,26,7,54,28,29,28451,27,9613,19726,19249,28452,10263,28453],"室町时代风格","宝相装饰","持物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe736348acdeaa504546c19869610b3fb.jpg",[],{"id":28457,"slug":28458,"title":7744,"dynasty":18,"author":2320,"museum":331,"description":28459,"tags":28460,"thumbUrl":28461,"material":214,"size":28462,"collection":100,"collections":28463,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},231546,"xun-mei-tu-wang-shi-shen-231546","汪士慎（1686-约1762），清代书画家、篆刻家。字近人，号巢林、溪东外史、左盲生、天都寄客，安徽歙县人，一作安徽休宁人，流寓江苏扬州。精篆刻、隶书，擅画花卉，尤擅画梅，笔墨疏落清劲，气清而神腴，墨淡而趣足，具有秀润恬静之致，与李方膺“铁干铜皮”形成鲜明对比。与金农、华品山等友善，为扬州八怪之一。\n汪士慎极爱梅花，擅长画梅竹，工于篆刻与八分书。人们评论他的梅竹说：“宠梅念竹有真意，剪水断冰无俗痕。”汪士慎跟金农、高翔、罗聘，被时人称为四大画梅高手。\n这幅《梅花》清淡秀雅，瘦劲姿媚，让我们看到了他画梅花的独特风格。汪士慎留世的梅花作品，其枝、花并不太繁，而以疏朗清瘦见长，给人一种疏影潇洒、冷香四溢的感觉。",[23,25,26,7,77,80,97,79,392,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebaace359b8eb216fa28c0c02b7b725.jpg","63x160厘米",[],{"id":28465,"slug":28466,"title":28467,"dynasty":72,"author":1024,"museum":236,"description":28468,"tags":28469,"thumbUrl":28471,"material":82,"size":28472,"collection":100,"collections":28473,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},231373,"xia-mu-chui-yin-tu-dong-qi-chang-231373","夏木垂阴图","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。",[25,364,77,7,26,130,170,132,193,173,377,427,252,271,28470],"夏天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a4e197fbf86433996158956bce8f26.jpg","纵91.3厘米，横44厘米",[],{"id":28475,"slug":28476,"title":28477,"dynasty":93,"author":50,"museum":74,"description":28478,"tags":28479,"thumbUrl":28480,"material":37,"size":100,"collection":100,"collections":28481,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,7,27,28,1157,29,269,427,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b0cdfb2193e1f81f95c31e32cf2c7d.jpg",[],{"id":28483,"slug":28484,"title":28485,"dynasty":72,"author":50,"museum":331,"description":28486,"tags":28487,"thumbUrl":28488,"material":100,"size":100,"collection":100,"collections":28489,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},228382,"ming-gu-xiu-ba-xian-qing-shou-gua-ping-si-he-xian-gu-zhou-yi-ming-228382","明顾绣八仙庆寿挂屏（四）何仙姑轴","此件绣品取素绫为地，何仙姑卓立云涛间，眉目温婉娴静，身姿柔逸出尘。衣袂纹饰配色清雅柔和，针脚平齐细密，将衣物垂坠质感尽现。她手持的莲蓬花杖鲜亮灵动，枝头翎羽如生，鲜活别致。\n\n祥云以淡墨勾形，浅晕铺色，虚实晕染间漾出缥缈仙气。整作以绣代笔，融画理于针绣，施色雅致柔和，构图疏朗空灵，将何仙姑的仙家清婉风姿描摹尽致，尽显画绣相融的独特风韵，是仙佛题材绣作中的精巧佳构。",[25,26,7,16109,28,29,335,56,54,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23bc9ce7f215e9ddb5a38c65af6fcc75.jpg",[],{"id":28491,"slug":28492,"title":28493,"dynasty":18,"author":4828,"museum":331,"description":28494,"tags":28495,"thumbUrl":28496,"material":100,"size":100,"collection":100,"collections":28497,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},224492,"ni-gu-tuo-gu-tu-zhou-wu-li-224492","拟古脱古图轴","《拟古脱古图》是清代吴历创作的纸本墨笔画。\n本幅右上吴历自题：“陶渊明‘采菊东篱下，悠然见南山’唐宋人和之者多，独韦应物‘采菊露未晞，举头见秋山’真为绝和。\n画之拟古亦如和陶，情景宛然更出新意，乃是脱胎能手。\n小重阳日墨井道人。\n”下钤“吴历之印”（白文）、“墨井”（朱文）。\n鉴藏印有“莱臣心赏”、“虚斋审定”2方。\n画家在自题中以唐宋人和（音hè）陶渊明“采菊东篱下”名句为例，说明了绘画创作中拟古与脱古即继承与发展关系，同时也为此幅画作的创作旨意作了诠释。\n此画仿元代王蒙山水，但在皴法上长条披麻皴的运用与王蒙的牛毛皴有所不同，构图也不似王蒙的绘画那么饱满，与王蒙的峰峦重叠相比，吴历的山水更接近真山实水，真实感较强。\n吴历将前人的绘画技法融会贯通，用笔严谨，厚朴沉着，笔意高淡，气韵深淳，体现出自己的风格特点，虽是仿古之作却有画家自己的面貌和新意。\n庞莱臣《虚斋名画录》著录。\n吴历（162—1718）清康熙间常熟人，字渔山，自号墨井道人，又号桃溪居士，学经于陈瑚，学诗于钱谦益，学画于王时敏、王鉴，学琴于陈岷，以山水画闻名于清初画坛。\n康熙十四年（1675）前后人天主教，教名西满沙勿略。\n二十一年（1682）在澳门入耶稣会，又取西姓雅古纳。\n二十七年（1688）任神父，其后在上海、嘉定等地传教。\n所撰《墨井诗抄》2卷《三巴集》1卷《画跋》1卷于卒后次年由弟子陆道淮刻印传世。",[23,25,26,7,77,130,129,134,193,170,733,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fe265c9fc33d18c0b8c97edc2c07bd.jpg",[],{"id":28499,"slug":28500,"title":28501,"dynasty":18,"author":1971,"museum":331,"description":28502,"tags":28503,"thumbUrl":28504,"material":100,"size":100,"collection":100,"collections":28505,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},224485,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-zhou-wang-jian-224485","倣黄公望烟浮远岫图轴","此展品为清代的书画，绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n现收藏于 。\n绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n画面中间有—溪流蜿蜒流过，山石上杂树丛生，山石多以长披麻皴写之，上有焦墨点苔。\n用墨浓润，骨重气轻，匠心独具，沉雄古逸。\n此图作于1674年，作者时年七十六岁，为其逝世前三年。\n款识：“甲寅九秋仿巨然烟浮远岫呈艾翁老祖台大词宗教正，王鉴” 钤印：“王鉴之印”白文方印，“湘碧”朱文方印。\n王鉴（1598-1677年），字元照，一字圆照，号湘碧，又号香庵主。\n江苏太仓人。\n擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。",[24,25,26,7,364,28,130,945,252,522,5081,427,404,169,193,733,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":28507,"slug":28508,"title":28509,"dynasty":18,"author":4669,"museum":331,"description":28510,"tags":28511,"thumbUrl":28512,"material":100,"size":100,"collection":100,"collections":28513,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},224440,"xian-shan-lou-guan-tu-wang-hui-224440","仙山楼观图","此作画境苍浑雅致，重岩峻岫拔地而起，皴笔磊落厚重，将山石嶙峋肌理尽皆铺展。古松虬劲横斜，间错排布，掩映起层叠楼阁，朱檐黛瓦隐于林壑间，似藏洞天秘境。\n\n山脚溪湾萦回，村居错落临水而建，渔舟泊于浅滩，烟火意趣晕开仙家清寂，将尘寰烟火与云山灵境相融。整幅画笔致兼具工细与苍茫，干湿墨色交织，既见峰峦雄奇之态，亦得林泉幽居之恬，恍若踏入可居可游的世外清境。",[23,25,26,7,129,269,484,131,193,132,130,28,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb079ccf42f95315b2b3056257b58765c.jpg",[],{"id":28515,"slug":28516,"title":818,"dynasty":18,"author":28517,"museum":331,"description":28518,"tags":28519,"thumbUrl":28520,"material":1053,"size":100,"collection":158,"collections":28521,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},224381,"shan-shui-tu-wang-guang-qi-224381","王光圻","此作用高远章法铺陈，以枯淡墨线勾出峭拔崖壁，焦墨点苔醒出山峦苍劲肌理，留白衬出险峰空寂高远的气势，壁立千仞的意境呼之欲出。\n\n近景林木错落，老松虬曲、杂木扶疏，以浓淡墨色区分枝叶层次，衬出林麓间茅舍的幽隐。清溪绕岸，浅墨晕染出水泽空濛之气。全幅笔法简率松灵，脱略繁缛细节，以意写形，尽显文人山水的萧散淡远之致，墨色干湿浓淡相济，于极简中勾勒出山林幽深清寂之境，笔底自带荒寒简古的林下风致，尽显文人写意山水的雅致风貌。",[23,25,77,7,129,170,377,132,733,78,427,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7c446c0bf8824d74b46dced3c2cfe1.jpg",[158],{"id":28523,"slug":28524,"title":28525,"dynasty":18,"author":709,"museum":331,"description":28526,"tags":28527,"thumbUrl":28529,"material":100,"size":100,"collection":100,"collections":28530,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},224293,"gu-bai-ling-xiao-tu-li-shan-224293","古柏凌霄图","画面中古柏躯干虬曲苍劲，枯笔皴擦尽显饱经风霜的古拙质感。凌霄柔蔓盘绕其上，丹色花朵娇妍明媚，刚柔相映，勾勒出盎然生机。下方湖石奇崛嶙峋，侧锋挥写出嶙峋肌理，石畔幽兰素花轻绽，添了几分清雅柔润。\n笔墨刚柔并济，古木的坚拙与花草的灵秀相融，再辅以题诗错落排布，诗画相映，将文人的清雅意趣寄寓其间，尽显写意花鸟的灵动神韵，生机古意交织成雅致盎然的庭间景致。",[23,25,26,7,28,304,130,97,79,113,131,35,28528],"凌霄花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330a94e92eb6ad613697bf518f9e4fc9.jpg",[],{"id":28532,"slug":28533,"title":28534,"dynasty":18,"author":5730,"museum":331,"description":28535,"tags":28536,"thumbUrl":28538,"material":100,"size":100,"collection":100,"collections":28539,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},224125,"shi-lu-li-lu-ting-tu-zhou-qian-long-224125","诗鹭立芦汀图轴","清乾隆缂丝乾隆御制诗鹭立芦汀图轴是清乾隆时期的图轴。\n米色地上缂织芦花白鹭，右上方以黑线缂织高宗隶书御制诗一首： 采采亚汀洲，为花岂自由。\n群摇令夕雨，不异去年秋。\n藏鹭恋青叶，凌波颤白头。\n吟看惊隙影，荣落宜淹留。\n诗末织圆、方朱印“乾”、“隆”各一方。\n此图轴的特点在于先缂织出物象形状，其上再着笔渲染，如 即先以白丝线织其形态，而后用墨笔画羽毛，地上的小草则全以笔描画，这种织与画的结合，可以画笔来描绘细小而不易缂织之处，弥补了织的不足。\n此作品织与画搭配得当，缂工上乘，以平缂、构缂、环缂、子母经为主。\n画面上还钤有阳文朱印“乾隆御览之宝”、“宣统御览之宝”、“石渠宝笈”、“石渠定鉴”、“三希堂精鉴玺”、“无逸斋精鉴玺”、“乾清宫鉴藏宝”、“宣统鉴赏”和“乾隆鉴赏”、“宜子孙”、“宝笈重编”阴文印章。\n《石渠宝笈续编》著录。",[23,24,25,26,7,27,28,1891,1742,28537,35,79],"汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffc101a696745672e7f2512cd182300.jpg",[],{"id":28541,"slug":28542,"title":28543,"dynasty":93,"author":50,"museum":74,"description":28544,"tags":28545,"thumbUrl":28546,"material":255,"size":28547,"collection":100,"collections":28548,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},223452,"xiao-han-lin-tu-zhou-yi-ming-223452","小寒林图轴","该幅两树石意似未尽，应是残存长卷的一段。平野上林木凋零，天色惨淡欲雪，小径上两翁且行且谈，一童挑担尾随。树枝用笔圆劲，直如篆籀，垂藤生动，势若惊蛇。全幅用笔细谨，墨法精绝，为宋无名款画中之杰出者。 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。",[23,25,26,7,77,130,129,131,484,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29861984f9f280d64ed489a7687eeb8e.jpg","该幅42.2x49.2公分全幅66.5公分",[],{"id":28550,"slug":28551,"title":28552,"dynasty":18,"author":2476,"museum":331,"description":12876,"tags":28553,"thumbUrl":28554,"material":100,"size":100,"collection":138,"collections":28555,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},223248,"shan-shui-1-pu-hua-223248","山水1",[23,25,26,7,77,28,130,129,252,253,427,351,173,29,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[138,185],{"id":28557,"slug":28558,"title":18822,"dynasty":18,"author":28559,"museum":236,"description":28560,"tags":28561,"thumbUrl":28562,"material":1573,"size":28563,"collection":84,"collections":28564,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},222801,"lu-yan-tu-zhou-bian-shou-min-222801","边寿民","此画写两雁在寒沙折芦之间，一雁已息落，一雁盘旋将下，相望相依，宛如一对旅外的伴侣。一支芦花，秃笔蓬松；隐约渚沙，墨色枯淡。作者所画的鸿雁，墨中带赭色，头颈弯曲，一笔而成，由浓而淡；羽翮柔软润泽，无不情趣横溢。这种大写意的泼墨芦雁，是边寿民独特的创造。自题：“壬子立冬后二日，边寿民写于白沙旅馆。”作者时年四十七岁，正是画艺达到炉火纯青之际，这是其重要的传世代表作。",[23,25,77,7,304,1741,1742,8120,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472873d5cf2f6c5f97c9b24377863181.jpg","纵128.5厘米，横48.5厘米",[84],{"id":28566,"slug":28567,"title":28568,"dynasty":72,"author":28569,"museum":74,"description":28570,"tags":28571,"thumbUrl":28572,"material":1394,"size":28573,"collection":100,"collections":28574,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},221917,"hua-tian-shi-tu-zhou-chen-huai-221917","画天师图轴","陈槐","图内圆光中张天师执剑，其下为风雷云雨诸神，五鼓伴诸神而现，鼓即雷鼓，五鼓表五雷。本幅当系描绘天师登坛行法，持宝剑敕请五雷神之情状。",[25,26,7,54,985,77,29,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b6c3a49b427b41b9ea4c7c766a0554.jpg","29.7×97cm",[],{"id":28576,"slug":28577,"title":28578,"dynasty":93,"author":2992,"museum":74,"description":28579,"tags":28580,"thumbUrl":28581,"material":182,"size":28582,"collection":100,"collections":28583,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},221546,"hua-luo-han-zhou-liu-song-nian-221546","画罗汉轴","本院藏画中，有三幅刘松年画罗汉，每幅都款署「开禧丁卯（1207）刘松年画」，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈",[23,24,25,26,7,54,27,28,29,1157,239,3673,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0035ad35ba239ec50313d885cbecae1d.jpg","纵117厘米横55.8厘米",[],{"id":28585,"slug":28586,"title":28587,"dynasty":93,"author":6402,"museum":6403,"description":6404,"tags":28588,"thumbUrl":28590,"material":2391,"size":6407,"collection":100,"collections":28591,"showCount":259,"zanCount":11,"manualWeight":43,"mainColor":44},220106,"shi-liu-luo-han-tu-di-shi-liu-zun-zhe-jin-da-shou-220106","十六罗汉图-第十六尊者",[23,25,26,24,7,54,29,1932,334,18414,28589,27,28],"盘子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa7244c605f811ff0fb0fd51efcd27a.jpg",[],{"id":28593,"slug":28594,"title":818,"dynasty":18,"author":20397,"museum":319,"description":28595,"tags":28596,"thumbUrl":28597,"material":99,"size":28598,"collection":138,"collections":28599,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":44},220066,"shan-shui-tu-zha-shi-biao-220066","查士标，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。后寓扬州。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。",[25,26,7,77,130,129,134,193,377,151,170,351,378,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d0361e879716fd117dcac527202ca88.jpg","193×47.5cm",[138],{"id":28601,"slug":28602,"title":28603,"dynasty":18,"author":25840,"museum":28604,"description":28605,"tags":28606,"thumbUrl":28607,"material":214,"size":28608,"collection":138,"collections":28609,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":88},219989,"han-lin-guan-pu-tu-zhang-feng-219989","寒林观瀑图","上海人民美术出版社","清代画家张风画以山水称妙，人物、花草亦恬静闲适，神韵悠然，没有一丝一毫的妩媚习气，是一位绘画史上有影响的画家。据画史载可知康熙元年他曾与周亮工会于高座寺，并为之作画。张庚称张风为笔墨中之散仙，可谓信然。而且他工刻印，秀远如其人。近代大师张大千极为崇拜张风画艺，张氏特将自己的画室命名为“大风堂”，可见对其之崇拜。",[23,24,25,26,77,7,129,521,169,29,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fac23f513f76befb5d8664779f74162.jpg","57.5×37.5cm",[138],{"id":28611,"slug":28612,"title":28613,"dynasty":72,"author":50,"museum":1714,"description":28614,"tags":28615,"thumbUrl":28616,"material":37,"size":100,"collection":39,"collections":28617,"showCount":259,"zanCount":43,"manualWeight":43,"mainColor":342},219493,"li-tie-ba-xiang-y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画幅细致工谨，设色古雅，山石轮廓及斧劈皴法，用笔刚猛。惟时代尚不及宋，或成于十四、十五世纪之际。",[25,7,28,29,225,3057,132,4427,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475f16738a4ce4eb29f6782dcf2d2049.jpg","140.4x78.1",[],{"id":28882,"slug":28883,"title":28884,"dynasty":93,"author":50,"museum":331,"description":7286,"tags":28885,"thumbUrl":28886,"material":198,"size":780,"collection":100,"collections":28887,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},290368,"song-shen-zong-hou-zuo-xiang-zhou-yi-ming-290368","宋神宗后坐像轴",[25,24,7,28,27,29,34,20939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c6ed9130ec1c61584303e29e9f0469.jpg",[],{"id":28889,"slug":28890,"title":28891,"dynasty":72,"author":28892,"museum":74,"description":28893,"tags":28894,"thumbUrl":28895,"material":37,"size":28896,"collection":138,"collections":28897,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},290355,"chun-wu-cun-ju-tu-zhou-ma-shi-290355","春坞村居图轴","马轼","画幅上方的主峰，奇而不觉突兀，山石峭峰直上，远山笼罩在一片迷蒙的雾中，准确而又充分地表达了作者独特的感受，这正是师承郭熙的画山心法，不仅强调自然山水体貌结构的规律，而且还特别去发现和塑造山水优美的艺术形象。“山形面面看”，“山形步步移”，角度不同而呈现千姿百态，又有别于郭熙的画山之奇异画风。观马轼之山，笔力劲爽含蓄、灵活秀润，无雕琢刻画与粗莽恣肆之弊。从构图和立意上，画家着重墨色浓淡变化，笔锋细劲，设色淡雅。人物虽小，但真实具体，各尽其态。山水景物皆以尖劲利落的细笔勾出，山石用小斧劈皴法，坚凝沉着，棱角分明，以皴点加淡青绿色画出半明半暗的效果，很好的表现了峰峦的质感。树亦以小笔勾点而成，整幅作品呈现着烟云浩淼、葱郁深秀、意境优雅的韵味，形成了秀逸而不媚弱，清劲而不霸悍的风格。\n马轼在艺术表现上沁入较多自由清新的气息，如这幅画的山石皴法，固然还可看出传统画法“斧劈皴”的痕迹，但他并不拘泥于前人，而是带有更多的写实意味，用笔细腻沉着，苍秀挺峭，表现了山川苍劲之势和沉着浑厚之气，赋予作品浓郁的生活气息。整个画面的布局上，运用虚实相生的手法，远景山树迷茫，峰峦朦胧，与烟雾相交融，含蓄而更富有真实感。近景大石居中，林树细笔攒簇，柔韧坚挺，更突出了近山的耸拔气象。而茅舍间点缀了正在悠然耕作的人，左峰角小石间似湍湍流动的溪水，使画面的气氛更生动，又营造了画面恬静适淡的意境。马轼是一位宫廷画家，此画在一定程度上也暗示了作者对那种终日应酬、荣辱萦怀的世俗生活的厌倦。从这一个意义上看，《春坞村居图》不但以优美抒情的笔墨描绘了一个自然朴实的春日村居，同时，电是抒发了作者歆羡村居无忧无虑又简单惬意的田园生活及远离世俗的思想情怀。",[25,364,7,77,130,272,170,1286,173,132,134,193,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7824d0b618148eddd22cf4a3670ea444.jpg","178.6x112.1",[138],{"id":28899,"slug":28900,"title":28901,"dynasty":93,"author":22493,"museum":74,"description":22494,"tags":28902,"thumbUrl":28903,"material":37,"size":22498,"collection":100,"collections":28904,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},290324,"shi-quan-bao-xi-zhou-lin-chun-290324","十全报喜轴",[25,24,7,113,27,28,151,378,31,351,2190,22496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e4eb9e64c0112fda03b22f51f0d9e8.jpg",[],{"id":28906,"slug":28907,"title":5034,"dynasty":93,"author":16576,"museum":74,"description":28908,"tags":28909,"thumbUrl":28910,"material":182,"size":28911,"collection":100,"collections":28912,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},290299,"hua-xue-jing-zhou-xu-dao-ning-290299","崇山峻岭，峰峦积雪，百木俱凋，苍松挺立。雪江中，渔夫披簑垂钓，溪畔上，三人围炉饮酒。通幅以墨渲染水天，更觉阴冷萧瑟。",[25,364,7,3880,1651,521,614,130,77,2654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff213122db4f95a5a16f09c320c5b6ab0.jpg","169.2x103.2",[],{"id":28914,"slug":28915,"title":28916,"dynasty":93,"author":15469,"museum":331,"description":28917,"tags":28918,"thumbUrl":28920,"material":198,"size":780,"collection":100,"collections":28921,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},289873,"xue-an-han-ya-tu-li-an-zhong-289873","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。",[24,25,7,27,28,113,3880,521,151,28919,14322],"寒鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd545dfce38be3dfe405f73584480cd6b.jpg",[],{"id":28923,"slug":28924,"title":28925,"dynasty":993,"author":50,"museum":331,"description":28926,"tags":28927,"thumbUrl":28930,"material":198,"size":780,"collection":100,"collections":28931,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},289766,"da-yu-zhi-shui-tu-yi-ming-289766","大禹治水图","整幅画以雄奇险峻的重山叠嶂为底色，苍劲皴法勾勒出山体质感，将治水的艰险处境烘托到极致。画面之中，治水民众错落排布，凿石、架梯、运送建材，各司其职，细微处见生动，把先民众志成城凿山疏水的场景铺陈开来。\n\n笔触刚硬凝练，设色沉郁古朴，将上古治水的千钧气魄凝聚在卷轴之间，把宏大史诗缓缓铺展，让观者得以窥见先民战天斗地的坚韧意志，尽显雄浑苍茫的厚重历史感。",[23,24,25,7,28,29,129,28928,28929,130,80,79],"历史画","大禹治水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc23502114a0470d1d177e82bcaf60f1c.jpg",[],{"id":28933,"slug":28934,"title":28935,"dynasty":18,"author":8803,"museum":331,"description":17043,"tags":28936,"thumbUrl":28937,"material":198,"size":780,"collection":100,"collections":28938,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},288528,"ju-shi-tu-li-zhou-li-fang-ying-288528","菊石图立轴",[23,24,25,26,7,28,113,440,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44d2d5279376d519af08c24c61f5df81.jpg",[],{"id":28940,"slug":28941,"title":28942,"dynasty":72,"author":73,"museum":331,"description":28943,"tags":28944,"thumbUrl":28945,"material":198,"size":780,"collection":100,"collections":28946,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},287942,"qiu-shan-han-shu-tu-zhou-wang-fu-287942","秋山寒树图轴","王绂(wángfú)， 明初大画家，擅长山水，尤精枯木竹石，画竹兼收北宋以来各名家之长，具有挥洒自如、纵横飘逸、清翠挺劲的独特风格，人称他的墨竹是“明朝第一”。永乐元年(1403年)开始参与编纂《永乐大典》。",[23,25,7,77,129,12171,35,733,522,79,80,130,27997],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165a14128aeb069047921dc97c301c36.jpg",[],{"id":28948,"slug":28949,"title":28950,"dynasty":207,"author":28951,"museum":74,"description":28952,"tags":28953,"thumbUrl":28954,"material":136,"size":28955,"collection":100,"collections":28956,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},287768,"lin-luan-fu-di-zhou-zhao-xi-yuan-287768","林峦福地轴","赵希远","原题。福地真传霹雳开。仰空虚窦瞰崔嵬。千盘磴道穿深黑。万古仇池接往来。颇怪洞中常见日。翻从地底一登台。耸身且自崖间出。回首仙踨怅□来。茂苑文嘉。钤印二。休。承。\n鉴藏宝玺 乾隆御览之宝。乾隆鉴赏。五玺全。宝笈三编。宣统御览之宝。\n收传印记 文谦光印。君珂鉴赏。潘志省印。又三印漫漶。\n谨按赵希远。与王蒙同时。蒙有香光居士图。希远爱而临之。见画史会要。",[24,25,7,364,130,28,272,169,269,427,193,195,1073,151,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb027e2c1284cdaf85c752a1e80f0f639.jpg","127.5x31.1",[],{"id":28958,"slug":28959,"title":28960,"dynasty":72,"author":1024,"museum":331,"description":28961,"tags":28962,"thumbUrl":28963,"material":198,"size":780,"collection":100,"collections":28964,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},283752,"lan-rong-chuan-se-tu-zhou-dong-qi-chang-283752","岚容川色图轴","此图是董其昌74岁（1628年）时创作的，以笔墨表现为主旨，意在聊写胸中丘壑。作者在静观自然景象的基础上，以娴熟的笔墨技法阐释自己对自然山川的本质感悟，它超越了山水云树的具体形貌，以形写神，故图中每一景、每一境虽都不是自然景观的真实描绘，但读者却可从其谨严的笔墨塑造中领略到真山实水的存在。以近景的树木为例，形态各异的树木，互有遮掩地生长在凹凸不平的坡地上。树干以短线条双勾，高低不同且有曲直变化，干体以淡墨或皴或晕，增强了其明暗效果及立体感；树叶表现得更为丰富，有的以侧锋卧笔大点横贯，有的浓淡墨相互交叠，有的直接落笔画线成叶，有的则以线勾双边成夹叶状，各具神采。但将它们参照客观存在的植物，却难以分辨出其树种，显然它们是董其昌“读万卷书，行万里路，胸中脱去尘浊，自然丘壑内营，成立鄄鄂（注：指城廓），随手写出，皆为山水传神矣”的美学观的最好图释。",[25,24,7,77,129,80,79,272,170,193,35,1571],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4139975bf6ec2cb9c58f64adc8a49b12.jpg",[],{"id":28966,"slug":28967,"title":28968,"dynasty":72,"author":1024,"museum":331,"description":5228,"tags":28969,"thumbUrl":28970,"material":198,"size":780,"collection":100,"collections":28971,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},283751,"qi-xia-si-shi-yi-tu-zhou-dong-qi-chang-283751","栖霞寺诗意图轴",[24,25,26,7,77,129,272,170,133,193,80,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d4bb1db2fef7caa8986b31a95ba498.jpg",[],{"id":28973,"slug":28974,"title":28975,"dynasty":93,"author":50,"museum":331,"description":28976,"tags":28977,"thumbUrl":28978,"material":198,"size":780,"collection":100,"collections":28979,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},269046,"shen-zi-fan-ke-si-mei-que-tu-zhou-yi-ming-269046","沈子蕃缂丝梅鹊图轴","此作用缂丝之法摹写冬景，老梅枝干虬曲苍劲，苔痕斑驳间尽显凌寒风骨，新枝缀满素白梅朵，绽苞次第交错，暗透冷香。\n两只禽鸟依偎枝头，翎毛纤毫毕现，蓝羽如凝深海幽光，白羽胜似初雪莹润，悠然恬适的神态晕开融融暖意。左下角幽篁数茎，翠色清润，与梅之素雅相映成趣。\n整幅疏密得宜，缂丝走线匀净细腻，以丝缕代笔墨，将冬日清景的生机温情定格，兼具院体花鸟的精工雅致，借梅鹊暗合喜上眉梢的吉意，尽显宋人审美意趣与工艺匠心。",[25,26,7,473,113,27,28,392,4978,31,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe0154bac108befb5ac78fe7852a95b.jpg",[],{"id":28981,"slug":28982,"title":28983,"dynasty":72,"author":50,"museum":331,"description":28984,"tags":28985,"thumbUrl":28988,"material":198,"size":780,"collection":100,"collections":28989,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},263682,"yi-xian-xiu-wen-chang-chu-xing-tu-zhou-yi-ming-263682","衣线绣文昌出行图轴","此作用素绢为地，以衣线绣晕染出文人出行的雅逸场景。主角宽袍峨冠，神态安闲淡然，随侍童子捧卷躬身，尽显恭谨。下方侍童牵马静候，骏马垂首敛息，温驯悠然。水畔点缀初绽莲苞，添了几分清雅生机。\n\n绣线走线匀细流畅，将人物衣褶晕染得舒展自然，人物神态各有韵致，把文人出行的闲散意趣铺陈开来，针线藏着笔墨的写意情致，配色素雅沉静，尽显古雅清隽的格调，是兼具写实与意境的精巧刺绣之作。",[25,26,7,13935,28,29,196,28986,28987],"文昌帝君","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4dd6ab19010bf5e3b289fe7f9a3a84.jpg",[],{"id":28991,"slug":28992,"title":28993,"dynasty":18,"author":50,"museum":331,"description":28994,"tags":28995,"thumbUrl":28997,"material":198,"size":780,"collection":100,"collections":28998,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},263658,"xiu-xian-wu-liang-shou-fo-xiang-zhou-yi-ming-263658","绣线无量寿佛像轴","宝蓝地为底，沉敛华贵。金线绣就圆光，烘托主尊澄澈庄严。无量寿佛结跏趺坐莲台，衣袂层叠柔和，持莲垂眸，神态慈悲安宁。上部朱线勾勒璎珞宝帐，垂饰流苏纤巧灵动，细节入微。配题书法端秀雅致，与绣像相映成趣。整体以绣代绘，配色浓丽不失清雅，针线细腻传神，将刺绣工艺的柔婉与宗教造像的肃穆相融，尽显佛绣精妙，观之令人心静神宁。",[7,54,9612,9613,28996,29,28,13935,62,5394,79],"无量寿佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48ef7b1e9f7e36cdb0432cdb7d13f21.jpg",[],{"id":29000,"slug":29001,"title":29002,"dynasty":18,"author":3916,"museum":331,"description":29003,"tags":29004,"thumbUrl":29005,"material":745,"size":29006,"collection":101,"collections":29007,"showCount":230,"zanCount":11,"manualWeight":43,"mainColor":88},240890,"jin-nong-guan-hua-qi-yan-shi-zhou-jin-nong-240890","金农观画七言诗轴","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等",[80,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f5b18909b66f906de484dbe17c3bcb.jpg","纵131.3cm ，横59.1cm",[101],{"id":29009,"slug":29010,"title":29011,"dynasty":18,"author":1048,"museum":331,"description":29012,"tags":29013,"thumbUrl":29014,"material":214,"size":100,"collection":101,"collections":29015,"showCount":230,"zanCount":11,"manualWeight":43,"mainColor":88},240602,"zheng-xie-shi-zhou-zheng-ban-qiao-240602","郑燮诗轴","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。 代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。”\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n②峰石图:郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。",[80,97,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434cdb4e2ed64e8239b9850672b71425.jpg",[101],{"id":29017,"slug":29018,"title":26099,"dynasty":72,"author":29019,"museum":331,"description":29020,"tags":29021,"thumbUrl":29022,"material":214,"size":100,"collection":101,"collections":29023,"showCount":230,"zanCount":11,"manualWeight":43,"mainColor":88},240329,"shi-zhou-tang-huan-240329","汤焕","汤焕，生卒年不详，字尧文，号邻初，斋号五桂轩等。仁和(今浙江杭州)人。擅书法，亦工篆刻，有诗名。与许光祚同郡，时人号曰“汤许”。",[24,25,26,7,305,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a280ab1f6e9d145161fe000d26e5da8.jpg",[101],{"id":29025,"slug":29026,"title":29027,"dynasty":72,"author":1614,"museum":331,"description":29028,"tags":29029,"thumbUrl":29031,"material":100,"size":100,"collection":100,"collections":29032,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},239518,"wen-zheng-ming-luo-mu-kong-jiang-zhou-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评其为“画有南北宗，至石谷而合焉”。康熙三十年（1691年）由宋骏业之荐，上京主持《康熙南巡图》的一系列制作。南巡图绘毕，曾获当时皇太子胤礽接见，赐座、赐食，并赐“山水清晖”四字。归里之后，求画者甚众。所作多为仿古，功力较深，但有时过于圆熟或伤于刻露，而丘壑尤少变化，晚年于简练中求苍浑，为论者所重；偶写花卉，秀隽有致。平生艺论，多在《清晖赠言》。\n王翚从学弟子甚多，是“虞山派”的创始人。王翚与王时敏、王鉴、王原祁合称“四王”，又与吴历，恽寿平合称“四王吴恽”或“清六家”。",[25,26,7,77,130,129,31,131,57,733,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690627240bef20eafb2805e2c71c81c4.jpg","128.4x55.4公分",[138],{"id":29082,"slug":29083,"title":29084,"dynasty":18,"author":29085,"museum":331,"description":29086,"tags":29087,"thumbUrl":29088,"material":100,"size":100,"collection":138,"collections":29089,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},236426,"hua-lu-jian-ceng-chu-sai-xiang-gao-feng-han-bu-jing-zhou-zhang-hang-236426","画卢见曾出塞像高风翰补景轴","张珩","高凤翰（1683年～1749年）胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。\n汉族，山东胶州三里河村（今山东青岛市胶州市）人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》《南阜集》。",[25,26,7,28,29,196,13114,151,195,129,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef365da266c40d5b375e28de2dc4011.jpg",[138,185,101],{"id":29091,"slug":29092,"title":29093,"dynasty":18,"author":7755,"museum":331,"description":15584,"tags":29094,"thumbUrl":29095,"material":198,"size":780,"collection":100,"collections":29096,"showCount":230,"zanCount":11,"manualWeight":43,"mainColor":88},236016,"yu-yue-tu-zhou-gao-qi-pei-236016","鱼跃图轴",[25,26,7,77,14837,935],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f22b9db3541ad2100f409605157f1cd.jpg",[],{"id":29098,"slug":29099,"title":29100,"dynasty":72,"author":50,"museum":331,"description":29101,"tags":29102,"thumbUrl":29103,"material":100,"size":100,"collection":100,"collections":29104,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},235680,"chen-lu-yu-tu-zheng-qing-tu-zhou-yi-ming-235680","陈录玉兔争清图轴","此作用淡墨晕染明月，清辉遍洒，老梅盘虬苍劲，主干皴擦见古拙质感，枝桠舒展斜逸，层层向上铺展。枝头繁花密缀，以浓淡墨色勾点花瓣，如星子攒聚，尽显寒梅莹洁灵动。\n\n梅枝挺秀清癯，凌然风骨暗藏其中，月色与梅影相映成趣，空寂清隽的冬夜幽境跃然绢上。笔意简淡苍润，将梅的孤高与月的空净相融，晕染出冬夜梅月争清的幽绝景致，尽显清雅出尘的文人意趣，寥寥笔墨写尽寒梅傲雪品格，意境清寂淡远。",[25,26,7,77,28,392,59,131,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F001113171e468916c1f3343f48898518.jpg",[],{"id":29106,"slug":29107,"title":29108,"dynasty":18,"author":21388,"museum":331,"description":29109,"tags":29110,"thumbUrl":29112,"material":198,"size":780,"collection":100,"collections":29113,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},235528,"cai-sang-tu-zhou-min-zhen-235528","采桑图轴","闵贞（1730--1788年）字正斋，湖北武穴人，扬州八怪之一。其画学明代吴伟，善画山水、人物、花鸟，多作写意，笔墨奇纵，偶有工笔之作。人物画最具特色，线条简练自然，形神逼肖。传世作品有《蕉石图》《花卉图》等。",[25,7,77,985,29,253,351,29111],"桑叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6824a5da2c4646ec33ce68ffdaee5241.jpg",[],{"id":29115,"slug":29116,"title":15864,"dynasty":18,"author":3083,"museum":331,"description":29117,"tags":29118,"thumbUrl":29119,"material":100,"size":100,"collection":100,"collections":29120,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},235468,"mo-ju-zhou-huang-shen-235468","以泼墨写意挥写丛菊，老干挺劲欹斜，花枝向上舒展，墨色浓淡铺陈，层次分明。花瓣以大块墨晕点染，间用枯笔勾出细劲筋脉，苍润交织，将寒菊傲霜绽放之态尽显笔端。\n\n右上角草书题款跌宕疏放，笔墨与野菊的朴拙刚健呼应相合，诗画相融，尽显疏放雅致的文人意趣。整幅以简驭繁，以水墨氤氲传递出菊花孤高清绝的品格，把画者疏狂随性的性情与凌霜佳卉的风骨融为一体，尽显大写意花鸟以形写神的妙处。",[25,26,7,77,304,80,97,79,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306e636315367da95f923c6eec5c6800.jpg",[],{"id":29122,"slug":29123,"title":29124,"dynasty":18,"author":50,"museum":331,"description":29125,"tags":29126,"thumbUrl":29127,"material":100,"size":100,"collection":100,"collections":29128,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},235371,"xu-gu-ling-mao-qiu-yue-zhou-yi-ming-235371","虚谷翎毛秋月轴","以淡墨晕开清寂秋夜，圆月隐在交错枝桠间，晕出朦胧柔美的月色。枯笔皴擦的寒枝苍劲萧疏，留白错落间写尽深秋寥落。\n枝上禽鸟以浓淡墨色晕塑身形，羽翼晕染层次分明，喙爪写实灵动，孤然独立侧目远眺，将秋夜清寒孤寂的氛围拉满。右侧题字笔意清逸，与画面气韵浑然相融，整体以写意之韵藏尽文人清冷禅意，淡而不寡，简中见情，把秋夜幽谧的意境藏在水墨留白之间，尽显中式写意含蓄悠远的雅致风骨。",[25,77,7,113,59,5683,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd146666d8a2b641c5708f0e37d4773.jpg",[],{"id":29130,"slug":29131,"title":29132,"dynasty":18,"author":4924,"museum":331,"description":22964,"tags":29133,"thumbUrl":29135,"material":198,"size":780,"collection":100,"collections":29136,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},235366,"song-yuan-tu-zhou-cheng-zhang-235366","松猿图轴",[25,26,7,28,77,27,130,29134,378,115,241,113,601],"猿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43115bb694f41ed4c625527a75b066e4.jpg",[],{"id":29138,"slug":29139,"title":8535,"dynasty":72,"author":5553,"museum":331,"description":29140,"tags":29141,"thumbUrl":29142,"material":100,"size":100,"collection":100,"collections":29143,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},235310,"shan-shui-tu-zhou-wen-jia-235310","此作用笔秀雅清润，以淡墨勾勒皴擦山石，间施浅赭晕染，营造出空寂淡远的山居之境。画面自上而下铺展，云山层叠掩隐古寺，虬松斜生崖畔，溪石错落，溪滩处隐士垂坐独钓，处处透着林泉雅意。题诗与画境呼应，将文人寄情山水、超脱尘俗的隐逸情怀尽显，是吴门画派温润雅致风格的典型体现，笔墨精简却意蕴悠长，尽显明代文人山水画的抒情特质。",[25,7,77,28,129,427,132,29,133,173,130,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87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孔子像立轴","画面以沉古绢底铺陈，主尊安坐榻上，垂髯宽袍，神态温蔼端方，尽显儒者雍容亲和的气度。两侧弟子恭侍身侧，或持卷凝思，或侧耳聆教，定格孔门问道的静谧瞬间。\n\n线条朴拙凝练，衣褶晕染自然，无繁复修饰，以简淡笔墨勾勒出千年前师授道传的肃穆学风。残旧题字晕开岁月痕迹，晕染出古雅沉穆的氛围，将圣人的温润风骨与孔门治学的笃厚气象融于笔底，尽显东方人文的厚重意韵。",[23,25,26,7,29,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec32456e70e2976707c878a961b9b2c7.jpg",[],{"id":29223,"slug":29224,"title":29225,"dynasty":72,"author":1614,"museum":331,"description":29226,"tags":29227,"thumbUrl":29228,"material":2583,"size":29229,"collection":100,"collections":29230,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},231572,"kong-shan-ye-xue-shen-shi-yi-tu-wen-zheng-ming-231572","空山夜雪深诗意图","与“江南四大才子”的其他三位相较，文征明的人生可谓波折又漫长。尽管他是一位诗、文、书、画全才的文人，但在他90年的人生中远不止这些艺术成就。\n文征明出身书香门第，祖父文洪是举人，父亲文林和叔父文森都是进士，但儿时的文征明却并非天资聪颖，反而比同龄人更加迟钝、笨拙。史书记载，他7岁才能站立，11岁才会开口说话、读书、背诵诗文。\n而与自己同年出生的好友唐寅16岁就考中苏州府试第一名；祝允明5岁就能写大字、9岁能作诗；徐祯卿“十岁能诗”、“家中不蓄一书，却无一不通”。和这些“天才”好友相较，文征明真算是开窍最晚，但若从整个人生长河来看，文征明在世时间又最长，艺术成就也最大。\n26岁时，文征明与唐寅一起到南京参加乡试，唐寅高中解元，他却没考上。但文征明并不灰心，从那年到53岁又连续参加了9场考试，9次都名落孙山，考到自己白发苍苍、考到考官早已换了好几拨……\n自小家学深厚的文征明向当时的大家吴宽、沈周等人学习书、画，才学非浅，可为何屡战屡败？或许是他个性的“偏执、耿直”，又或许是喜好翻阅古今文集而非僵化的八股文，每次答卷与明代科考要求都不符，致使他参考多年却一次没中。54岁时才经过他人举荐当上翰林院待诏，最后还是因为不满官场而辞职回乡。",[23,25,77,130,7,129,1240,521,427,172,132,377,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9966056549207747dda563a51f8d10d2.jpg","167×60cm",[],{"id":29232,"slug":29233,"title":22047,"dynasty":207,"author":50,"museum":331,"description":29234,"tags":29235,"thumbUrl":29236,"material":100,"size":100,"collection":100,"collections":29237,"showCount":230,"zanCount":11,"manualWeight":43,"mainColor":88},231480,"shu-cai-tu-yi-ming-231480","蔬菜瓜果是人民生活的必需品。画家们从很早以前就把蔬果选作画材，历代画家以蔬菜瓜果为内容组成美丽的画面，留下许多不同风趣的佳作。\n蔬果从来都属于花鸟画科，花鸟画家应该在表现花鸟题材的同时，认真对蔬果进行观察研究，掌握其表现方法，推陈出新地去创作新的表现技法。\n宋《宣和画谱》中“蔬果叙论”里说：“然蔬果于写生最为难工，论者以为郊外之蔬而易工于水滨之蔬，而水滨之蔬又易工于园畦之蔬也。盖坠地之果而易工于折枝之果，而折枝之果又易工于林间之果也。”",[25,7,77,27,22049,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a8f4262b168a0dc28995878832b968d.jpg",[],{"id":29239,"slug":29240,"title":29241,"dynasty":72,"author":1751,"museum":331,"description":29242,"tags":29243,"thumbUrl":29244,"material":100,"size":100,"collection":100,"collections":29245,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},230939,"han-jiang-diao-ting-tu-lu-zhi-230939","寒江钓艇图","萧寒荒寂间，虬曲枯木褪去繁枝，薄雪覆身，岸畔衰草凝着霜华。孤舟静泊，渔翁拥蓑戴笠，垂纶独钓，任飞雪漫过江天，自守一方安闲。\n\n笔致苍劲写枯木，尽透老辣荒寒，人物简笔勾勒，静穆自在的神态跃然绢上。浅淡设色晕染出清冽冬日，将江野冷寂揉成一片空明澄澈。题诗与画境相融，把寒江独钓的幽寂，化作世外高逸的精神栖所，寄寓着超脱尘俗、静守本心的雅趣，淡而愈厚，清韵悠长。",[25,26,7,72,28,27,349,350,521,10592,3880,79,129,26445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4301604eb72c0415bd85976d519f8a4f.jpg",[],{"id":29247,"slug":29248,"title":29249,"dynasty":72,"author":10203,"museum":331,"description":29250,"tags":29251,"thumbUrl":29252,"material":100,"size":100,"collection":100,"collections":29253,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},230890,"zi-mu-ji-tu-zhu-zhan-ji-230890","子母鸡图","此作用淡墨勾勒，以留白晕染出禽鸟素洁的羽毛，笔触细腻写实，将绒羽的肌理纤毫毕现。亲鸡护持雏鸡啄食，雏鸟环绕依偎，亲昵互动间尽显舐犊温情，将田家寻常的天伦之趣凝于绢素。\n\n古雅棕调的绢底衬出群禽的素净雅致，写实功力与脉脉温情相融，把田园平凡生机化作细腻动人的诗意图景，尽显院体花鸟的雅致工巧，将日常烟火里的温情娓娓道来，让田家生趣跃然绢上。",[24,25,26,7,28,27,113,1228,6025,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65a4cbda63247618482e600f8b523c.jpg",[],{"id":29255,"slug":29256,"title":2002,"dynasty":18,"author":23987,"museum":331,"description":29257,"tags":29258,"thumbUrl":29259,"material":100,"size":100,"collection":100,"collections":29260,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},230186,"shan-shui-li-zhou-zhang-yin-230186","淡墨晕染远山，烟岚轻笼，浑茫清寂。苍松虬劲横斜，松下茅舍内文士围坐，佐着满枝寒花暗香清谈。溪涧穿林而过，板桥通幽，行人缓步野径，漾出悠然野趣。\n\n此作用浅绛设色衬水墨皴擦，山石敷淡赭打底，墨苔点醒草木生机，温润雅致。疏密排布自然妥帖，将冬山清寒与文人心底雅趣相融，笔底晕开静穆闲逸，把幽居赏景、围炉晤谈的清冷快意藏在烟水林泉间，尽显寄情丘壑的悠然意韵。",[23,25,28,130,7,129,427,134,193,733,29,132,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb643fca24d4aa77796b788a14b21b290.jpg",[],{"id":29262,"slug":29263,"title":29264,"dynasty":72,"author":7501,"museum":331,"description":29265,"tags":29266,"thumbUrl":29267,"material":100,"size":100,"collection":100,"collections":29268,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},228853,"si-wan-shan-shui-tu-wen-bo-ren-228853","四万山水图","以极简淡墨铺陈江天，大片留白漾开空濛水色，将天地浩渺揉入卷中。近岸枯木虬根盘错，浅滩蒲草疏疏曳动，扁舟横卧，渔翁静憩，野逸闲趣暗藏其间。远景山峦以淡墨轻扫出柔缓轮廓，恍如黛色浮于云水之畔。数点飞雁列阵划破空寂，愈发衬出江天寥廓。题款小字错落留白之上，诗画相映，晕开江南秋闲的空阔清远。笔致松秀简淡，不见繁缛皴染，却将平远山水的空灵通透娓娓道来，尽显寄情丘壑、淡远萧散的文人意趣，观之如沐江风，心随水色一同沉敛安宁。",[23,25,77,7,129,349,151,253,35,522,523,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa85fe8825904bddc6b0c2e6a9aa859.jpg",[],{"id":29270,"slug":29271,"title":7647,"dynasty":72,"author":50,"museum":331,"description":29272,"tags":29273,"thumbUrl":29274,"material":100,"size":100,"collection":100,"collections":29275,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},228823,"ying-tu-yi-ming-228823","这幅工笔设色花鸟，以双鹰为画面核心。两只猛禽或侧目远眺，或昂首凝望，身姿苍劲傲然。翎毛发丝尽染，笔触细腻入微，将猛禽的威严沉凝尽显无遗。\n\n古梅虬曲遒劲，寒花点点缀于枝桠，清寂雅致；嶙峋怪石边，艳红山茶绽于丛间，柔红破寒，晕开一抹生机。右下角飞泉直下，水流宛转灵动，打破画面沉静，动静相融自成韵律。\n\n棕褐底色晕染出幽谧山林氛围，工写结合间，既刻画出猛禽的雄健肃穆，又以花木泉石勾勒出清冷高古的意境，将山林幽寂与猛禽孤傲融为一体，尽显精妙写实功力，内敛悠长的意趣藏于笔墨之间。",[23,25,27,28,113,1488,392,132,169,170,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6425a6d54ecf9644f158bf0096b6915d.jpg",[],{"id":29277,"slug":29278,"title":29279,"dynasty":72,"author":4145,"museum":331,"description":29280,"tags":29281,"thumbUrl":29282,"material":100,"size":100,"collection":100,"collections":29283,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},228426,"zhi-xu-qing-yan-tu-lan-ying-228426","支许清言图","此作用笔刚柔相济，右崖奇崛厚重，以浓墨皴擦堆垒出山岩苍莽质感，左侧淡墨晕染平湖远峰，虚实相映间铺展出空濛悠远的湖山胜境。\n\n古松虬曲苍劲，针叶攒簇见笔力，尽显老松凌寒之姿。松下幽渚上二人对坐晤谈，衣袂简括，神态悠然，暗合魏晋林下雅集的高逸襟怀。\n\n笔墨干湿互融，既有刚劲风骨，又揉入写意萧散淡远的意趣，将林泉清谈的幽旷襟怀藏在松涛湖烟之中，尽现山居雅集的绝尘之味。",[23,24,25,26,7,77,130,129,29,378,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d387a521088c5ae100f06c610991a65.jpg",[],{"id":29285,"slug":29286,"title":29287,"dynasty":72,"author":50,"museum":331,"description":29288,"tags":29289,"thumbUrl":29291,"material":198,"size":780,"collection":100,"collections":29292,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":342},228378,"zhun-ti-pu-sa-zhou-yi-ming-228378","准提菩萨轴","准提佛母，Cundi系梵语，汉译有“准胝”、“尊提”，准提佛母又称“准胝观音”、“准提佛母”和“七俱胝佛母”等名。藏音“Bskul－bye－ma”。其以“准提咒”见称，曾为显密佛教徒所知的大菩萨。在禅宗，则称之为‘天人丈夫观音’，以准提为观音部之一尊，深尊崇之，日本东密以准提为六观音之一、摄于莲华部（千手观音、圣观音、马头观音、十一面观音、准提观音、如意轮观音）中。独台密以七俱胝佛母准提经之经名，准提入于佛母中以为佛部之尊。“准提”是清净的意思，表示此菩萨心胜清净，皎洁。",[25,7,54,29,27,985,9612,29290,4533],"准提佛母","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4cf016eee0ae158fe832bbd6e8d8053.jpg",[],{"id":29294,"slug":29295,"title":6469,"dynasty":207,"author":50,"museum":331,"description":14027,"tags":29296,"thumbUrl":29297,"material":198,"size":780,"collection":100,"collections":29298,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":342},228234,"shi-jia-mu-ni-fu-yi-ming-228234",[23,25,26,7,54,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7165e041acdac0f305da7edefa17ee14.jpg",[],{"id":29300,"slug":29301,"title":129,"dynasty":18,"author":12667,"museum":331,"description":29302,"tags":29303,"thumbUrl":29304,"material":100,"size":100,"collection":100,"collections":29305,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},226637,"shan-shui-pu-ru-226637","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[23,24,25,26,7,28,130,129,134,193,29,170,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfafb3f4a22295b4ee5698a9d0333c4.jpg",[],{"id":29307,"slug":29308,"title":29309,"dynasty":18,"author":4828,"museum":331,"description":29310,"tags":29311,"thumbUrl":29312,"material":100,"size":100,"collection":100,"collections":29313,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},224491,"xi-yang-qiu-ying-tu-wu-li-224491","夕阳秋影图","《清吴历夕阳秋影图》是清代画家吴历创作的一幅中国画。\n此图画山峦起伏，高树成林，草亭傍水，江天夕阳相映成趣。\n上有行书诗题及名款。\n吴历与王翚、恽寿平同学于王时敏门下，专意绘事，日夜临摹宋元真迹，渲染皴擦，风格高峻，得其神髓。\n其山水宗黄公望，得力于王蒙，兼有吴镇之长。\n此图虽仿倪瓒，然笔墨纯熟沉稳，颇见功底，诗画相融，其韵致超绝，具有自己的笔法,江亭遥岭,碎石丛树,萧瑟简淡,不失为吴氏晚年佳作。\n吴历（162—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。\n少年时遭遇明亡，信奉佛教，后转为信奉基督教。\n曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。\n原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。\n早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。\n喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。\n吴历以其独到的艺术风貌与“四王”、恽寿平并称“ ”。\n据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,24,25,77,130,7,129,427,78,521,212,3266,132,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e569ba87e496e5333ec92596bbaa07.jpg",[],{"id":29315,"slug":29316,"title":29317,"dynasty":18,"author":4669,"museum":331,"description":29318,"tags":29319,"thumbUrl":29323,"material":100,"size":100,"collection":100,"collections":29324,"showCount":230,"zanCount":11,"manualWeight":43,"mainColor":88},224471,"liang-chang-shan-guan-tu-wang-hui-224471","良常山馆图","此画以高远构法铺展丘壑，主峰巍峨矗立，以细密披麻皴勾勒山石苍厚肌理，崖壁挺拔如削，尽显山川雄浑气魄。山间林木错落枯荣交织，深谷幽坳里茅庐隐现，清溪绕石穿林，携着潺潺野趣蜿蜒而出。\n笔墨兼工带写，秀润中透着苍劲，浅淡晕染柔和雅致，将山野沉郁的厚重与山居的清寂相融，把幽居丘园的隐逸雅兴，尽数藏进咫尺山水间，尽显静穆淡远的林下雅韵。",[23,24,25,364,7,1418,1371,28,132,3150,29320,29321,6170,6979,6113,29322],"茅庐","清溪","静穆淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20794c152eb9e022b762b85b450fba70.jpg",[],{"id":29326,"slug":29327,"title":9368,"dynasty":18,"author":4669,"museum":331,"description":29328,"tags":29329,"thumbUrl":29330,"material":100,"size":100,"collection":100,"collections":29331,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},224446,"fang-huang-gong-wang-shan-shui-tu-wang-hui-224446","《仿黄公望山水图》是清朝文物，故宫博物院馆藏的绘画。\n《仿黄公望山水图》轴，清，王翚绘，纸本，设色，纵227.cm，横82.4cm。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。\n，明，一级文物。\n绢本墨色，纵167厘米、横81厘米。",[23,25,26,7,28,130,129,170,351,172,522,173,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8306b5ad774b6b0e1585dad6e50b98b.jpg",[],{"id":29333,"slug":29334,"title":29335,"dynasty":18,"author":8994,"museum":331,"description":29336,"tags":29337,"thumbUrl":29338,"material":100,"size":100,"collection":100,"collections":29339,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},224257,"xi-ting-du-tiao-tu-cha-shi-biao-224257","溪亭独眺图","《新安画派·查士标-中国古代画派大图范本-二》是212年 出版的图书，作者是査士标。\n中国古代画派大图范本·新安画派二：溪亭独眺图，ISBN：97875481188，作者：杨东胜",[23,25,77,7,129,377,253,134,193,35,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e830b7b27daf04d27a64ae0f32cc68.jpg",[],{"id":29341,"slug":29342,"title":29343,"dynasty":18,"author":436,"museum":331,"description":29344,"tags":29345,"thumbUrl":29346,"material":100,"size":100,"collection":100,"collections":29347,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},224191,"she-se-qu-yu-shuang-qi-tu-hua-yan-224191","设色鸲鹆双栖图","此作以空灵留白铺陈底色，枯木虬曲舒展，淡蓝花萼点缀枝桠，晕染出清寂雅致的春日氛围。禽鸟或独立垂首，或依偎枝梢，墨色浓淡变化尽显鸟羽蓬松柔润质感，红爪尖喙鲜亮醒目，将鸲鹆的灵动机趣刻画入微。\n\n笔墨工写相融，写意枯石淡染花枝，工笔描摹禽鸟形神兼备，萧疏中暗藏生趣，尽显清逸隽秀的文人意趣，把闲静安栖的林下之景晕染开来，将江南画派的灵秀雅致藏于淡墨留白之间，是颇具韵致的花鸟佳构。",[23,25,26,7,28,113,304,21582,16772,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F139f403993c7353c724ca1f532a8d0a2.jpg",[],{"id":29349,"slug":29350,"title":29351,"dynasty":207,"author":50,"museum":236,"description":29352,"tags":29353,"thumbUrl":29354,"material":486,"size":29355,"collection":138,"collections":29356,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":44},223333,"dong-shan-si-zhu-tu-zhou-yi-ming-223333","东山丝竹图轴","此图画东晋谢安东山丝竹故事。\n图绘崇山峻岭，连绵不绝，云雾缭绕，溪流蜿蜒山间。下部绘庭院一座，华屋数楹，院中仕女多抱管弦乐器，院外主人正携仆恭迎远来的贵宾们。全图表现了谢安迎客于东山、丝竹管弦高奏的情节，动态鲜明，仿佛有丝丝乐声流溢而出。而山水佳景清逸幽雅，衬托出主人高逸的情怀。图中人物刻画细腻，画法近于元末盛懋一路，具体作者不得而知。",[23,25,26,7,28,129,29,377,170,193,130,269,777],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F499501fc11c9c867f20aa0e281e7c2ac.jpg","纵188.5厘米，横103.3厘米",[138],{"id":29358,"slug":29359,"title":29360,"dynasty":18,"author":2476,"museum":331,"description":12876,"tags":29361,"thumbUrl":29362,"material":100,"size":100,"collection":138,"collections":29363,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},223249,"shan-shui-2-pu-hua-223249","山水2",[23,25,26,7,77,28,130,129,378,377,132,193,212,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa36173f62b89aaa10373bf91171f17.jpg",[138,185],{"id":29365,"slug":29366,"title":29367,"dynasty":18,"author":29368,"museum":331,"description":29369,"tags":29370,"thumbUrl":29371,"material":100,"size":100,"collection":100,"collections":29372,"showCount":230,"zanCount":43,"manualWeight":43,"mainColor":88},222810,"hua-hui-cao-chong-ce-li-xiao-222810","花卉草虫册","李孝","李孝，字敦庸，号桐园，活动于康熙年间，系安徽无为人，父李亨（李仲仁）。善山水、花鸟、草虫，以“没骨画”著称，师法明代孙隆 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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[23,25,24,26,7,77,28,113,1488,131,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64cb9aa88aeb2a63fd59b654ad6a0d0.jpg",[],{"id":29647,"slug":29648,"title":29649,"dynasty":18,"author":11908,"museum":331,"description":29650,"tags":29651,"thumbUrl":29652,"material":198,"size":780,"collection":100,"collections":29653,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},288214,"ming-xian-quan-tu-mei-qing-288214","鸣弦泉图","梅清（1623---1697），字渊公，号瞿山，安徽宣城人。生于明熹宗天启三年（1623年），卒于清圣祖康熙三十六年（1697年）。",[23,24,25,26,7,77,129,427,132,8035,80,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78782d685d7c355c35aa459672f57e31.jpg",[],{"id":29655,"slug":29656,"title":29657,"dynasty":18,"author":436,"museum":331,"description":29658,"tags":29659,"thumbUrl":29661,"material":198,"size":780,"collection":100,"collections":29662,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},288023,"huang-li-chui-liu-tu-qian-se-hua-yan-288023","黄鹂垂柳图（浅色）","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。",[23,25,1592,28,7,151,29660,352,35],"黄鹂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef70ef5b3d148a261dcf8166d4c2823.jpg",[],{"id":29664,"slug":29665,"title":16023,"dynasty":72,"author":752,"museum":331,"description":2862,"tags":29666,"thumbUrl":29667,"material":198,"size":780,"collection":100,"collections":29668,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},287814,"xi-ying-tu-chen-hong-shou-287814",[23,24,25,7,28,29,27,54,7732,35,440,79,23744],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e09e2fdd444b23628175ba00b32df43.jpg",[],{"id":29670,"slug":29671,"title":29672,"dynasty":207,"author":518,"museum":74,"description":29673,"tags":29674,"thumbUrl":29676,"material":82,"size":29677,"collection":138,"collections":29678,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},287761,"yu-hou-kong-lin-zhou-ni-zan-287761","雨后空林轴","画中山石多用披麻、折带皴，干笔淡墨，浓墨点苔，敷色清淡温和。整个画面布局充实饱满，平稳而有变，景象开阔，意境清淡萧疏，雨霁林空之景，宛然目前。而且，倪瓒的多数作品，写景极简，而这件作品则写高大山川，景物丰富。",[24,25,26,7,77,28,129,130,29675,134,193,131,377,80,97,79],"空林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29f3553e93f9b3a86dddb9e78143330.jpg","63.5x37.6",[138],{"id":29680,"slug":29681,"title":29682,"dynasty":72,"author":50,"museum":331,"description":29683,"tags":29684,"thumbUrl":29685,"material":198,"size":780,"collection":100,"collections":29686,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},283630,"qi-lin-tu-yi-ming-283630","麒麟图","此作以细腻写实之笔，将远道而来的异兽定格于绢素之上。画面右侧的异域使者深目高鼻，身着朱红劲装，神情恭谨牵绳引兽。长颈鹿身形修挺劲健，皮毛晕染柔和自然，斑纹清晰，肌理骨骼暗藏笔底，将其温驯却又不凡的姿态传神勾勒。\n左上题跋笔致端稳，详述贡兽始末，兼具纪实性与装饰美感。整作工致典雅，既承继了明代院体画的写实风骨，亦留存下明初远洋朝贡的鲜活印记，将外交盛典的庄重与异兽的新奇精妙相融，是兼蓄艺术审美与史料价值的珍贵之作。",[25,24,26,7,27,28,29,241,19568,5902,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdac7a74157a0e02cb351eb104fa6ffa.jpg",[],{"id":29688,"slug":29689,"title":29690,"dynasty":18,"author":50,"museum":331,"description":8045,"tags":29691,"thumbUrl":29693,"material":198,"size":780,"collection":100,"collections":29694,"showCount":218,"zanCount":11,"manualWeight":43,"mainColor":88},263650,"ke-si-jia-xiu-qian-long-yu-ti-san-xing-tu-zhou-yi-ming-263650","缂丝加绣乾隆御题三星图轴",[7,26,25,17068,28,27,29,29692,55,225,1073,129,427,498,4209,132,193,536,1798,80,79],"福禄寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41adb2dde5dde60b84a10ab4ad9f8997.jpg",[],{"id":29696,"slug":29697,"title":29698,"dynasty":18,"author":14625,"museum":331,"description":24167,"tags":29699,"thumbUrl":29703,"material":198,"size":780,"collection":100,"collections":29704,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},241254,"wang-duo-wu-lv-zhou-wang-duo-241254","王铎五律轴",[97,80,7,77,79,29700,335,334,29701,24170,29702],"春苔","日月","磬声","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0db778527579da08596b39ce848a2c74.jpg",[],{"id":29706,"slug":29707,"title":29708,"dynasty":18,"author":29709,"museum":331,"description":29710,"tags":29711,"thumbUrl":29712,"material":198,"size":780,"collection":100,"collections":29713,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},241208,"jie-lin-shi-chen-bei-zhou-zhang-zu-yi-241208","节临史晨碑轴","张祖翼","张祖翼（1849~1917）字逖先，号磊盫，又号磊龕、濠庐。因寓居无锡，又号梁溪坐观老人，安徽桐城人。近代著名书法家、篆刻家、金石收藏家。",[80,5199,945,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334a2da5c1f82f98d315761667bbcce1.jpg",[],{"id":29715,"slug":29716,"title":29717,"dynasty":72,"auth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游戏作梅，颇多古趣。嘉庆二十五年（一八二〇）尝仿 阮元督学浙江时极推重，来往密切，订为金石交。卒年八十一。传世书迹颇富。",[7,5199,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0d468ab6fa0b1a76746b2f1b274cb4.jpg",[101],{"id":29762,"slug":29763,"title":29764,"dynasty":72,"author":20417,"museum":331,"description":29765,"tags":29766,"thumbUrl":29767,"material":100,"size":100,"collection":101,"collections":29768,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":704},239700,"shu-si-wu-xie-zhou-zhu-you-jian-239700","书思无邪轴","朱由检（1611年2月6日－1644年4月25日 ），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位） ，也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。 即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵 ，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[80,97,77,7,79,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006507ca5262abed2fe9cfb7af640d36.jpg",[101],{"id":29770,"slug":29771,"title":29772,"dynasty":18,"author":235,"museum":331,"description":14188,"tags":29773,"thumbUrl":29774,"material":100,"size":100,"collection":39,"collections":29775,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},239218,"hua-yue-lou-xiang-zhou-ren-yi-239218","画月楼像轴",[25,26,24,7,28,27,29,34,80,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee59244ae41195ef7e62dfb0e4906b7.jpg",[39,101],{"id":29777,"slug":29778,"title":29779,"dynasty":18,"author":24634,"museum":331,"description":29780,"tags":29781,"thumbUrl":29782,"material":100,"size":100,"collection":138,"collections":29783,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},239049,"fang-lu-tai-shan-shui-zhou-qin-bing-wen-239049","仿麓台山水轴","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。",[25,26,7,77,28,129,130,253,57,193,270,427,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa567e23e75cf5399eb1383b55b03c067.jpg",[138],{"id":29785,"slug":29786,"title":29787,"dynasty":72,"author":9932,"museum":331,"description":29788,"tags":29789,"thumbUrl":29790,"material":100,"size":100,"collection":138,"collections":29791,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},237694,"mo-bi-zhu-shi-zhou-chen-gua-237694","墨笔竹石轴","陈栝（生卒年不详），字子正，号沱江，苏州府长洲（今江苏苏州）人，明代画家陈淳之子，明代中期著名的绘画大师。\n陈栝自幼随父亲陈淳修习绘画，饮酒纵诞。陈栝善画花鸟山水，尤精绘画花鸟，笔似其父，将其父陈淳的笔迹放纵，不拘于象的写意画法发挥至极致。明朝嘉靖年间，尚属英年的陈栝先于其父病逝，时人多因他早逝而深感惋惜，尊称他为沱江子。\n陈栝是明代中期的杰出画家，他行笔放浪而有生趣，将诗意融汇进绘画中，进一步促进了我国古代绘画史写意画法的发展，有五代徐熙、黄筌遗意。",[25,26,7,77,31,601,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e4485998ba7cfc245a08a6961acd7c.jpg",[138],{"id":29793,"slug":29794,"title":29795,"dynasty":72,"author":10012,"museum":331,"description":21616,"tags":29796,"thumbUrl":29797,"material":100,"size":100,"collection":138,"collections":29798,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},237548,"han-yan-fei-pu-zhou-ding-yun-peng-237548","寒岩飞瀑轴",[25,7,77,129,7001,7082,521,427,351,193,7002,130,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bfb54d7727b890b82438801fe3408aa.jpg",[138],{"id":29800,"slug":29801,"title":6872,"dynasty":18,"author":29802,"museum":331,"description":29803,"tags":29804,"thumbUrl":29805,"material":100,"size":100,"collection":100,"collections":29806,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},237362,"mu-dan-zhou-yun-yuan-jun-237362","恽源濬","此作用淡墨晕染牡丹花瓣，由浅及深铺陈舒展，将花头的雍容柔婉尽数勾勒。枝叶以浓淡干湿的墨色对比表现阴阳向背，枯笔写枝苍劲老辣，褪去牡丹惯常的艳俗富贵，尽显清逸雅致。\n左侧题跋与花木相映成趣，书画合璧，以墨色代脂粉，将文人意趣融于花间，把牡丹华贵风骨转为澹泊出尘的书卷气，寥寥笔墨间便将花木的盎然生意与画者的清雅襟怀一并铺陈，清淡疏朗的留白与晕染的花叶相映，尽显写意花鸟的东方雅致意韵。",[25,26,7,77,27,113,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc593686ccfa194691dabe99feda5991e.jpg",[],{"id":29808,"slug":29809,"title":29810,"dynasty":72,"author":50,"museum":331,"description":29811,"tags":29812,"thumbUrl":29814,"material":100,"size":100,"collection":84,"collections":29815,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},237123,"li-chen-xue-jing-hua-niao-zhou-yi-ming-237123","李辰雪景花鸟轴","落尽琼花天不惜，封他梅蕊玉无香。",[25,24,26,7,77,28,3880,113,115,20313,29813,79,27],"梅花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d91d86fc3db71687041c45119956c42.jpg",[84],{"id":29817,"slug":29818,"title":29819,"dynasty":18,"author":4669,"museum":236,"description":15784,"tags":29820,"thumbUrl":29821,"material":2583,"size":29822,"collection":138,"collections":29823,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},236392,"shuang-ke-yuan-xiu-zhou-wang-hui-236392","霜柯远岫轴",[25,7,77,130,129,427,78,351,522,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfe4fa93bccb217c8fe4cc2f1d15155.jpg","纵74.3cm，横30.6cm",[138,185],{"id":29825,"slug":29826,"title":29827,"dynasty":18,"author":29828,"museum":331,"description":29829,"tags":29830,"thumbUrl":29832,"material":100,"size":100,"collection":100,"collections":29833,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},235990,"mo-ai-tu-zhou-zou-zhe-235990","墨艾图轴","邹喆","《墨艾图》是清代画家邹喆创作的一幅纸本墨笔画，本幅所绘墨笔艾草运笔浓淡有致，并通过墨色的变化营造出了空间感。\n本幅右上角题款：“景泰四年癸酉夏正午日，相谿沈贞。\n”钤“沈氏贞吉”（朱方）、“南斋”（朱方）印。\n款印皆伪，系后添。\n左下角为邹喆本款：“萧艾有清芬，为性本芳洁。\n寄言熏德者，不扶芑自直。\n癸巳午月题于节霞阁， 邹喆。\n”钤“邹喆之印”（白方）、“方鲁”（朱方）印。\n收藏印五方 ：“震泽王氏鉴藏画印”、“公绶”、“公绶”、“子孙宝之”、“购甲辰进士弟”。\n本幅所绘墨笔艾草运笔浓淡有致，并通过墨色的变化营造出了空间感。\n艾草在中国民间有着驱邪的寓意。\n邹喆作为文人画家也在自己的绘画中表现具有风俗元素的题材，使得作品既具有文人绘画的雅致，又具有风俗绘画的活泼与贴近时令，显得颇有韵味。\n邹喆（生卒年不详），字方鲁，江苏吴县人，客居金陵（今江苏省南京市）。\n工书善画，擅长山水、花卉，得其父邹典的家传，名列“金陵八家”之一。",[24,25,26,7,77,58,29831],"艾草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6babe724a535a74d429861156ecd38.jpg",[],{"id":29835,"slug":29836,"title":29837,"dynasty":72,"author":752,"museum":331,"description":2862,"tags":29838,"thumbUrl":29840,"material":198,"size":780,"collection":100,"collections":29841,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},235831,"guan-hua-zhou-chen-hong-shou-235831","观画轴",[25,26,7,28,27,29,34,29839],"画轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c2706606c2446d720e19dd628285f4.jpg",[],{"id":29843,"slug":29844,"title":8535,"dynasty":18,"author":436,"museum":331,"description":29845,"tags":29846,"thumbUrl":29847,"material":100,"size":100,"collection":100,"collections":29848,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},235693,"shan-shui-tu-zhou-hua-yan-235693","此作为小青绿山水，以高远、深远法构景，主峰清隽挺秀，浅绛与青绿交融晕染，褪去浓艳尽显清和格调。留白铺陈云雾，将山谷晕染为空濛仙境，虚实相生间拉开山林纵深感。\n\n山脚林木繁秀，杂花点染枝头，流泉蜿蜒穿石而过，林麓间隐现山居人家，灵动雅致，暗合文人幽居雅趣。笔墨兼工带写，既有院体山水的精工细致，又具文人写意的秀逸灵韵，将丘壑幽寂、林泉清润的出尘意境娓娓铺展，尽显山水间的恬淡诗意。",[25,7,28,129,132,193,169,170,173,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff675f012ce8c073d8eabc9f62ada51e3.jpg",[],{"id":29850,"slug":29851,"title":7826,"dynasty":18,"author":7556,"museum":331,"description":7827,"tags":29852,"thumbUrl":29853,"material":198,"size":780,"collection":100,"collections":29854,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},235665,"shan-shui-ping-yuan-jiang-235665",[25,7,28,1157,27,130,129,1240,170,134,733,686,193,173,132,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefca7b2dcd8a712e35fd50b73241e017.jpg",[],{"id":29856,"slug":29857,"title":29858,"dynasty":72,"author":14625,"museum":331,"description":29859,"tags":29860,"thumbUrl":29861,"material":100,"size":100,"collection":100,"collections":29862,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},235118,"fang-dong-yuan-shan-shui-tu-zhou-wang-duo-235118","仿董源山水图轴","此作用笔师法江南山水意趣，又自出机杼。上部危崖崔嵬，以浓墨点苔晕出山峦肌理，一道飞泉蜿蜒垂落，破开山的沉浑静穆。中部茂林如盖，焦墨积染出层叠郁葱的林木，掩映幽微山径，尽显山野深邃。下部涧水湍流卷浪，拍击乱石，灵动水态与静穆山石形成鲜明动静对照。\n\n水墨干湿浓淡自然变幻，皴擦点染间既有古雅温润的苍厚质感，又带着纵逸雄放的笔意。题款书法与画面浑然相融，将幽江南山水的幽深灵秀与文人磊落襟怀相合，是师古能化的山水佳构。",[25,26,7,945,77,130,129,170,193,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cae3ee7788a99f246c152d52164de1f.jpg",[],{"id":29864,"slug":29865,"title":21649,"dynasty":18,"author":4998,"museum":331,"description":29866,"tags":29867,"thumbUrl":29868,"material":100,"size":100,"collection":100,"collections":29869,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},235087,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-yuan-qi-235087","《王翚仿黄公望山水图轴》是清代 创作的一幅画。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。",[25,26,7,77,130,129,132,170,733,193,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5185714d6608092df8218c1174e80ce5.jpg",[],{"id":29871,"slug":29872,"title":29873,"dynasty":18,"author":235,"museum":331,"description":6344,"tags":29874,"thumbUrl":29875,"material":486,"size":6349,"collection":100,"collections":29876,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},234991,"hua-hui-ling-mao-ping-9-ren-yi-234991","花卉翎毛屏9",[25,24,28,113,7,31,115,57,536,1371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e398d440e6634b38d0ec5b78aced894.jpg",[],{"id":29878,"slug":29879,"title":29880,"dynasty":72,"author":29881,"museum":331,"description":29882,"tags":29883,"thumbUrl":29884,"material":100,"size":100,"collection":100,"collections":29885,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},234784,"song-xia-lao-ren-tu-zhou-shi-wen-234784","松下老人图轴","史文","在古代社会，绘画都有着一定的社会功能性，比如《耄耋图》这样的题材就有着“成教化，助人伦”的作用。自古以来，耄为八十岁，耋为九十岁。故八、九十岁老人，称“耄耋之年”。画家往往借“猫”与“耄”、“蝶”与“耋”同音，是中国绘画当中常见的祝寿题材，喻富贵长寿的祥瑞之意。",[25,26,7,28,29,378,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29bd933c55534ddcd8484587faa3450.jpg",[],{"id":29887,"slug":29888,"title":29889,"dynasty":18,"author":21606,"museum":236,"description":29890,"tags":29891,"thumbUrl":29892,"material":486,"size":29893,"collection":100,"collections":29894,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},234332,"tian-bao-jiu-ru-tu-zhou-fang-cong-234332","天保九如图轴","此幅是作者根据《诗经•小雅•天保》：“天保定尔，以莫不兴。如山如阜，如冈如陵，如川之方至，以莫不增……如月之恒，如日之升，如南山之寿，不骞不崩，如松柏之茂，无不尔或承”的诗意所绘。图绘高山流水、旭日东升、屋内主人手持如意正接受众人拜贺的情景。本幅意在宣扬臣子祝颂君主及君主“敬天保民”的统治理念。作者以山冈、松树、如意、桃、鹤等被赋予长寿吉祥之意的景物为主人营造了一个可居可游的人间仙境。构图取景深远，画风归属清初“四王”中王原祁所引领的“娄东派”一路。山石树木以干笔枯墨或汁绿色皴擦渲染，墨与色交织，表现出深远的意境和深厚的气韵。此画为乾隆皇帝所赏识，被清内府收藏。",[25,7,28,129,130,252,56,169,134,377,253,733,57,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a999bd621af7ba79747ed64ff6decf0.jpg","纵146.4厘米，横50.5厘米",[],{"id":29896,"slug":29897,"title":5973,"dynasty":207,"author":1981,"museum":236,"description":29898,"tags":29899,"thumbUrl":29900,"material":1394,"size":8478,"collection":100,"collections":29901,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},233952,"song-shi-tu-zhou-sheng-mao-233952","此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[25,77,7,130,378,601,35,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5472fa97ec25a324a41e344a125846.jpg",[],{"id":29903,"slug":29904,"title":29905,"dynasty":72,"author":1614,"museum":20,"description":29906,"tags":29907,"thumbUrl":29908,"material":214,"size":29909,"collection":100,"collections":29910,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},232643,"you-he-ming-qin-wen-zheng-ming-232643","幽壑鸣琴","此画题诗：“万千层峦叠翠，千丈飞瀑洗尘心。愿我红弦的和声，是对松风古老的卑微回答。歌曲。” 这幅画存在不同的版本。学者们认为，这里看到的岩体的实体效果图和体积山体的构造更像是文征明的学生陆治（1496-1576）的特征。\n文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字征明，四十二岁起，以字行，更字征仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[24,25,26,7,28,130,129,132,169,170,172,193,6170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01cc776866ad354558b4fa54af76059.jpg","132 x 50.5 厘米",[],{"id":29912,"slug":29913,"title":29914,"dynasty":72,"author":1751,"museum":20,"description":29915,"tags":29916,"thumbUrl":29917,"material":214,"size":29918,"collection":100,"collections":29919,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},231943,"fang-ni-yun-lin-qiu-xia-tu-lu-zhi-231943","仿倪云林秋霞图","秋色画阔，长堤深幽，幽幽幽幽，寂静无声。 晚年山水杰作。",[23,25,167,7,130,129,272,172,521,351,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a4c833b694c49f7fa5fbf3c4a1a23d.jpg","109.1x45.8厘米",[],{"id":29921,"slug":29922,"title":29923,"dynasty":49,"author":19015,"museum":331,"description":27007,"tags":29924,"thumbUrl":29925,"material":198,"size":780,"collection":100,"collections":29926,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},231616,"bai-miao-shi-er-tian-tu-xiang-yan-mo-tian-zhen-hai-231616","白描十二天图像 焰魔天",[23,25,26,7,54,985,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe37d6469911f2a02e3cb23080c1747f.jpg",[],{"id":29928,"slug":29929,"title":10173,"dynasty":93,"author":50,"museum":331,"description":29930,"tags":29931,"thumbUrl":29932,"material":100,"size":100,"collection":100,"collections":29933,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},231055,"song-quan-pan-shi-tu-yi-ming-231055","画面以古松为骨，老干蟠曲遒劲，松针攒簇如凝墨团块，旁侧枯木枝桠如铁戟横斜，与长松相生，野意盎然。飞瀑自层岩间破壁而出，垂落撞碎成银浪，卷入涧中，湍流拍击磐石，似能耳闻泉声淙淙。层岩以浓淡墨色勾勒皴擦，块垒沉凝尽显山野荒寒。\n\n全作用水墨晕染皴擦，干湿浓淡交替，将幽寂清冷的林泉之境铺陈于绢素，静穆萧散的林下雅趣跃然眼前，尽显寄情林泉的隐逸襟怀。",[23,25,26,24,7,77,28,130,427,193,169,5654,132,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76784386c4b2ee1e768841b7f9de1bc8.jpg",[],{"id":29935,"slug":29936,"title":29937,"dynasty":18,"author":29938,"museum":331,"description":29939,"tags":29940,"thumbUrl":29941,"material":100,"size":100,"collection":100,"collections":29942,"showCount":218,"zanCount":11,"manualWeight":43,"mainColor":44},230919,"shu-feng-zhan-dao-tu-ye-liu-long-230919","蜀峰栈道图","叶六隆","整作以水墨铺陈层叠山川，奇崛危崖间栈道盘绕，飞瀑穿林而下，古松虬曲扎根绝壁，尽绘山川雄荒之态。\n行旅之人或驱驴缓行于险道，或驻足观瀑稍作休憩，寸尺人物却神态宛然，将蜀道行路的艰涩与山川壮景相融，把奇险之境具象于笔底，又暗蕴羁旅行人的幽远意趣。笔墨苍劲古朴，皴擦勾勒间尽显山石肌理，山水之雄与行旅之幽浑然一体，尽显传统山水叙事的悠远意境。",[23,25,26,7,77,130,129,180,29,196,252,601,253,169,195,269,193,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adb14969e212e22fafe642e5a5551c7.jpg",[],{"id":29944,"slug":29945,"title":14452,"dynasty":18,"author":5730,"museum":331,"description":18778,"tags":29946,"thumbUrl":29947,"material":198,"size":780,"collection":100,"collections":29948,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},230161,"shou-zi-qian-long-230161",[80,97,28,334,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69523a170f0e268eb320e9e0782df9a.jpg",[],{"id":29950,"slug":29951,"title":29952,"dynasty":72,"author":13130,"museum":331,"description":29953,"tags":29954,"thumbUrl":29955,"material":198,"size":780,"collection":100,"collections":29956,"showCount":218,"zanCount":11,"manualWeight":43,"mainColor":44},228759,"shi-de-xiao-yue-tu-zhang-lu-228759","拾得笑月图","月圆时节分外明,天台国清僧敲钟。拾得望月放肆笑,扫尽崖下垢与尘。",[23,25,24,7,77,29,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F612e8cb0aec083b8380283ac557cadab.jpg",[],{"id":29958,"slug":29959,"title":29960,"dynasty":72,"author":4145,"museum":331,"description":29961,"tags":29962,"thumbUrl":29963,"material":100,"size":100,"collection":100,"collections":29964,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},228429,"fa-zhao-ling-rang-hu-zhuang-yan-liu-bi-yi-lan-ying-228429","法赵令穰湖庄烟柳笔意","此作用淡墨晕染出空濛湖烟，枯柳虬枝错落披拂，将水乡早春的氤氲柔霭铺陈开来。水岸茅庐幽敞，隐者凭窗闲坐，滩头策杖人彳亍独行，湖面轻舟随波缓漾，处处浸着江南水村的清寂闲雅。\n画师以简淡清润的笔意，褪去繁饰，将幽居澹泊的文人心境融于烟水寒林之中，萧散诗意漫溢画面，尽显文人寄情丘壑的悠远意趣，是一帧极具抒情性的山水小品佳构。",[23,25,26,7,77,28,129,484,131,349,193,377,945,130,2367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca318bcb9c27742b74afc59762c66ca.jpg",[],{"id":29966,"slug":29967,"title":29968,"dynasty":72,"author":1496,"museum":331,"description":29969,"tags":29970,"thumbUrl":29971,"material":100,"size":100,"collection":100,"collections":29972,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},228370,"yan-bo-lu-si-tu-lv-ji-228370","烟波鹭鸶图","暮月浮空，烟柳垂曳，江色晕成一片朦胧柔澹。两只鹭鸶踞于汀石之上，一只昂首引颈远眺烟水深处，一只敛羽静憩，姿态悠然生动。\n\n画作兼工带写，禽鸟羽翼晕染细腻，绒羽蓬松质感宛然可见，水岸渚石以水墨破晕，苍润写意。柳条轻拂间，漾开江晚景致的空寂萧疏，写实工致与水墨意趣相融，将江渚暮色的清寂野韵尽数铺展，晕开澹泊悠远的诗意，尽显幽谧雅致的晚江闲趣。",[23,25,28,27,113,20304,20314,35,59,1742,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e99361f9eb6549e3533363dcac0288.jpg",[],{"id":29974,"slug":29975,"title":29976,"dynasty":207,"author":50,"museum":331,"description":29977,"tags":29978,"thumbUrl":29979,"material":100,"size":100,"collection":100,"collections":29980,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},228227,"xu-kong-zang-pu-sa-xiang-li-zhou-yi-ming-228227","虚空蔵菩萨像立轴","此作所绘菩萨面容慈悲恬和，端坐莲云宝台之上，周身璎珞环佩错落华贵，衣纹卷草繁复精美。身后圆光放射清辉，将法相衬得愈发澄澈庄严。设色沉雅古艳，晕染柔和细腻，带着浑穆静雅的气质。下方青绿山水澹然悠远，将神圣法界与俗世林泉相融，传递出安宁清寂的禅意。笔致工谨入微，既恪守宗教造像的肃穆仪轨，又暗合传统绘事的雅致意韵，尽显神性之美与笔墨意趣，是兼备信仰内涵与艺术价值的上乘之作。",[23,25,26,4108,7,54,29,27,28,5394,129,9955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4519e845bfd0c73213cf3ff0697c5d5.jpg",[],{"id":29982,"slug":29983,"title":29984,"dynasty":207,"author":50,"museum":331,"description":29985,"tags":29986,"thumbUrl":29987,"material":198,"size":780,"collection":100,"collections":29988,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":44},228194,"liu-hai-xi-chan-tu-yi-ming-228194","刘海戏蟾图","这幅作品构图饱满，除人物外，海涛几乎充满了整个画面。画风工谨，设色淡雅；衣纹用笔，线条劲练，下笔稍粗重，但刚柔相济，恰到好处；海涛以颤笔勾描，精细异常，具有很强的装饰性。",[23,25,26,24,7,985,29,9584,253,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23f8645a988834ef3eb6503b9fb393d.jpg",[],{"id":29990,"slug":29991,"title":29992,"dynasty":207,"author":13346,"museum":331,"description":29993,"tags":29994,"thumbUrl":29995,"material":100,"size":100,"collection":100,"collections":29996,"showCount":218,"zanCount":43,"manualWeight":43,"mainColor":88},227990,"chun-j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《三顾茅庐图》《达摩至惠能六代像》等。",[24,25,26,7,54,77,29,10824,5713,194,31,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8803ccea802c306ac1ab099a6a43826.jpg",[],{"id":30165,"slug":30166,"title":15096,"dynasty":207,"author":1327,"museum":74,"description":26591,"tags":30167,"thumbUrl":30168,"material":99,"size":26594,"collection":100,"collections":30169,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},290951,"shuang-song-tu-li-kan-290951",[25,77,7,427,152,132,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2474b9db35f3929ba5a6223e626037.jpg",[],{"id":30171,"slug":30172,"title":30173,"dynasty":207,"author":14574,"museum":74,"description":30174,"tags":30175,"thumbUrl":30176,"material":82,"size":30177,"collection":100,"collections":30178,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},290936,"hua-shu-shi-tu-zhang-shun-zi-290936","画树石图","张舜咨（生卒年未详），元代画家。字师夔，号栎山，又号辄醉翁，浙江杭州人。曾任宁国路儒学教授，天顺二年(1329)调江浙行省承宣使，后调休宁县主簿。元末，又任漳州路龙溪、兴化路莆田县尹。善画山水、竹石，用笔沉着，颇有气势，兼工书法，亦精诗文，精心研习诸家画技，吸取各家之长，自成一家。作画讲究布局，大幅小景，布置各有其法。所作山水画，使人有身临其境之感。画古柏苍老擎天，别具风气。兼长诗、书，人称“三绝”。绘画作品有《楚云湘水图》、《关山行旅图》、《古柏》、《斗泉图》、《云山桧石》、《枯木图》、《秋野图》、《画楼酌别图》、《小景图》、《诗意图》、《谢家池塘》、《春江听雨》、《树石图》、《归思图》、《鹰桧图》等等。",[24,25,26,7,77,131,35,80,79,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23b2c70790d8e5aaee246590773cd4f.jpg","112.5x35",[],{"id":30180,"slug":30181,"title":30182,"dynasty":93,"author":3927,"museum":74,"description":28090,"tags":30183,"thumbUrl":30184,"material":198,"size":780,"collection":100,"collections":30185,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},290858,"gao-hui-xi-qin-tu-zhou-li-gong-lin-290858","高会习琴图轴",[25,24,7,28,27,29,777,778,22921,2389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64262348adbc35a07c0481862b62ec38.jpg",[],{"id":30187,"slug":30188,"title":30189,"dynasty":207,"author":401,"museum":74,"description":30190,"tags":30191,"thumbUrl":30192,"material":82,"size":30193,"collection":100,"collections":30194,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},290734,"qiu-shan-die-cui-zhou-zhu-shu-zhong-290734","秋山叠翠轴","朱叔重[元]一作叔中，吴（今江苏苏州）人，一云娄东（今江苏太仓）人。工画，每赋一时，得摹写之妙，辄肆笔绘之。尝曰：“王维水田白鹭、夏木黄鹂之诗，即画也。",[25,24,77,129,7,3984,134,193,269,170,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb59a572bfd9b248af8e79cb002c6a03.jpg","69.5x26.4",[],{"id":30196,"slug":30197,"title":30198,"dynasty":93,"author":50,"museum":331,"description":30199,"tags":30200,"thumbUrl":30201,"material":198,"size":780,"collection":100,"collections":30202,"showCount":187,"zanCount":11,"manualWeight":43,"mainColor":44},290716,"shan-hua-mo-tu-zhou-yi-ming-290716","山花墨兔轴","本幅绘野菊粟穗，一只墨兔伸著脖子，昂首嗅探，仿佛可以感觉到鼻息微动，栩栩如生。墨兔以墨色染成，并以浓淡不同的墨笔在深浅处丝出葺葺细毛，形态极为生动。 本幅无作者款印，旧签称其出自宋人之手，然野菊、粟竿的用笔均与宋人不类，当为晚期画家根据宋代画稿所绘之作。",[25,26,7,27,241,900,440,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043da57a89f7fedb4b409cb584404fa2.jpg",[],{"id":30204,"slug":30205,"title":30206,"dynasty":207,"author":26626,"museum":331,"description":30207,"tags":30208,"thumbUrl":30210,"material":198,"size":780,"collection":100,"collections":30211,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},290616,"shi-liu-bi-da-shi-xiang-zhou-zhang-wo-290616","十六臂大士像轴","这是一幅白描画，一只似犬又似麒麟的动物（图2）乘云而来，法相庄严的十六臂观音端坐在莲台上。全作画得极为精细，人物轮廓和衣纹都用流畅的细线钩描，头发的发丝和莲瓣的纹理也描写入微，衣上和锦垫上的图案又绘制得一丝不苟。画幅右下角有张渥的款题，不过和张渥的真迹《九歌图》比较，发现这轴大士像的衣纹线条缺乏潇洒飘逸的韵致，应该不是张渥的亲笔。",[25,26,7,54,985,77,29,241,79,9612,30209],"大士像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfea0193712440e58a078090c6e290e.jpg",[],{"id":30213,"slug":30214,"title":30215,"dynasty":93,"author":50,"museum":331,"description":30216,"tags":30217,"thumbUrl":30218,"material":198,"size":780,"collection":100,"collections":30219,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},290508,"fang-zhou-fang-yan-le-tu-yi-ming-290508","仿周昉演乐图","松荫庭院间，雅集宴饮正酣。宾主围桌对坐，乐师拨弦和鸣，仕女环侍左右，有人奉茶添香，有人侍立听乐。\n\n此作用色古雅沉郁，线条温婉柔丽，承唐风仕女的丰腴秀致，又蕴宋人的娴静雅致。苍松古拙虬劲，衬出庭院的悠然静谧，案上陈设、发间花钿等细节处处见巧思，将文人宴饮听乐的闲逸雅致，融在晕染的古绢底色里，尽显升平雅致的宴乐图景，含蓄传递出中古雅集的从容意韵。",[25,24,26,7,28,27,29,775,776,777,21992,427,778,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e12c04897d94532b31ecc2db6af350.jpg",[],{"id":30221,"slug":30222,"title":30223,"dynasty":93,"author":30224,"museum":331,"description":30225,"tags":30226,"thumbUrl":30227,"material":198,"size":780,"collection":100,"collections":30228,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},290327,"bao-xiang-guan-yin-zhou-gao-wen-jin-290327","宝相观音轴","高文进","高文进，五代宋初画家。成都(今属四川)人。从遇子。工画佛道,师法曹(不兴)吴(道子),笔力快健,施色鲜润。干德三年(965)蜀平归宋。太宗赵光义留神绘事，文进与黄居寀常左右，人图画院为祗候。",[24,25,7,28,27,29,54,9612,4533,12384,80,5902,5901,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf549eaf374c89fdb2b60e52a374227c.jpg",[],{"id":30230,"slug":30231,"title":30232,"dynasty":207,"author":695,"museum":331,"description":7765,"tags":30233,"thumbUrl":30234,"material":198,"size":780,"collection":100,"collections":30235,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},290264,"shan-shui-tu-ke-luo-ban-wu-zhen-290264","山水图（珂罗版）",[23,24,25,26,7,77,129,130,134,193,170,132,5506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567aa9a65c7f4ddf17f2f831344484e3.jpg",[],{"id":30237,"slug":30238,"title":10570,"dynasty":93,"author":30239,"museum":331,"description":30240,"tags":30241,"thumbUrl":30242,"material":198,"size":780,"collection":100,"collections":30243,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},289880,"luo-han-tu-li-yu-289880","李遹","李遹 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，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[23,25,7,129,28,29,131,193,351,378,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3fa328298498dc290bc922f3fbf306.jpg",[],{"id":30300,"slug":30301,"title":30302,"dynasty":18,"author":23014,"museum":331,"description":23015,"tags":30303,"thumbUrl":30304,"material":198,"size":780,"collection":100,"collections":30305,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},288030,"tian-ping-shan-jing-tu-wang-bing-288030","天平山景图",[25,24,26,7,77,129,134,193,269,131,132,79,80,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab36ff244ad3ea89c6dfff1f443d59e.jpg",[],{"id":30307,"slug":30308,"title":1960,"dynasty":18,"author":2534,"museum":331,"description":30309,"tags":30310,"thumbUrl":30311,"material":198,"size":780,"collection":100,"collections":30312,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},288028,"mu-dan-tu-gao-feng-han-288028","高凤翰（1683—1749年），字西园，号南村，自号南阜山人，山东胶州人。曾任安徽歙县县丞，去官后流寓扬州。擅画山水、花卉。山水师法宋人，近赵令穰、郭熙一派。55岁左右，右手病疫改用左手，更号“尚左生”刻印“丁巳残人”。其画具有宋人雄浑之神，元人静逸之气。秦祖永《桐荫论画》评道：“离奇超妙，脱尽笔墨畦径，法备趣足，虽不规规于法，而实不离于法。”",[23,25,24,26,7,77,28,113,114,35,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3480b82813f3e74b11e99c7467ce72.jpg",[],{"id":30314,"slug":30315,"title":30316,"dynasty":18,"author":3083,"museum":331,"description":29642,"tags":30317,"thumbUrl":30318,"material":198,"size":780,"collection":100,"collections":30319,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},288022,"ren-wu-shan-shui-tu-li-zhou-huang-shen-288022","人物山水图立轴",[23,25,7,77,29,129,131,35,193,777,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68e29611b387c6a662fb3dbadc9ec9a.jpg",[],{"id":30321,"slug":30322,"title":30323,"dynasty":72,"author":5069,"museum":331,"description":22469,"tags":30324,"thumbUrl":30325,"material":198,"size":780,"collection":100,"collections":30326,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},287778,"si-shi-shan-shui-zhi-dong-jing-wu-wei-287778","四时山水之冬景",[23,25,77,129,7,25221,521,132,29,196,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f9a530c4bb5dddcfe3b8cffba615fb.jpg",[],{"id":30328,"slug":30329,"title":30330,"dynasty":18,"author":8994,"museum":331,"description":30331,"tags":30332,"thumbUrl":30333,"material":198,"size":780,"collection":100,"collections":30334,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},287763,"fang-yun-lin-shan-shui-cha-shi-biao-287763","仿云林山水","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[25,77,129,7,945,80,79,521,377,2559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad3e85835ca1b452c5ebd01bb0bc60c.jpg",[],{"id":30336,"slug":30337,"title":30338,"dynasty":18,"author":30339,"museum":331,"description":30340,"tags":30341,"thumbUrl":30342,"material":198,"size":780,"collection":100,"collections":30343,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},287744,"hu-zong-xin-wu-yun-zhao-xiang-zhou-ceng-jing-287744","胡宗信吴允兆像轴","曾鲸","字波臣，福建莆田人，中国明代画家。一生往来江浙一带，为人写真。擅画肖像，在继承粉彩渲染传统技法的同时，汲取西洋画的某些手法，形成注重墨骨，层层烘染，立体感强的独特画法。所画人物肖像强调观察体会，抓住最动人处，精心描绘，尤注重点睛，形象逼真，栩栩如生，有“如镜取影，俨然如生”之誉，从学者甚众，遂形成“波臣派”。",[24,25,7,29,28,129,427,132,776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0779e0b3b649faf73945c53612e4312.jpg",[],{"id":30345,"slug":30346,"title":30347,"dynasty":993,"author":8716,"museum":331,"description":21501,"tags":30348,"thumbUrl":30349,"material":198,"size":780,"collection":100,"collections":30350,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},287655,"da-bei-guan-yin-xiang-fan-qiong-287655","大悲观音像",[23,25,7,54,9612,4533,12384,29,28,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54b42f9f736fddde6f0f7b4f621a3b2d.jpg",[],{"id":30352,"slug":30353,"title":30354,"dynasty":207,"author":30355,"museum":74,"description":30356,"tags":30357,"thumbUrl":30359,"material":82,"size":30360,"collection":100,"collections":30361,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},287534,"qiu-lin-xiao-yin-zhou-tao-fu-chu-287534","秋林小隐轴","陶复初","陶复初，字明本，号介轩，元中叶石曲人。",[25,24,26,7,77,130,129,2557,132,170,28134,193,30358,79],"隐居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048eda2176d397062069842db746f8cb.jpg","70x28.7",[],{"id":30363,"slug":30364,"title":30365,"dynasty":18,"author":50,"museum":331,"description":30366,"tags":30367,"thumbUrl":30369,"material":198,"size":780,"collection":100,"collections":30370,"showCount":187,"zanCount":419,"manualWeight":43,"mainColor":88},267340,"xiu-xian-shi-jia-mu-ni-fo-xiang-zhou-yi-ming-267340","绣线释迦牟尼佛像轴","此作以绣线摹绘佛陀，释迦牟尼结跏趺坐于莲台之上，面容圆润慈悲，垂目敛神，沉静安和。朱红佛衣织金缠枝宝相花，华贵庄严，内搭素衣衬出层次。头顶宝盖饰以璎珞垂幡，宝焰灵动，更添神圣之感。\n\n引首御题诗文，书法端稳雅致，与造像呼应相融。整幅绣工精妙匀整，配色明丽和谐，将佛陀的肃穆禅意与宫廷造像的规整华美完美结合，尽显清代宗教绣品的上乘工艺水准。",[7,26,54,9612,30368,29,28,27,5394,79,62,13935],"释迦牟尼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0891eaef34d959afd43f536fceb833.jpg",[],{"id":30372,"slug":30373,"title":30374,"dynasty":18,"author":50,"museum":331,"description":8045,"tags":30375,"thumbUrl":30376,"material":198,"size":780,"collection":100,"collections":30377,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},263681,"ke-si-qiu-tao-shou-dai-tu-zhou-yi-ming-263681","缂丝秋桃绶带图轴",[25,26,7,473,113,28,27,151,4369,440,35,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6711d2ba142659702743237925acf7.jpg",[],{"id":30379,"slug":30380,"title":30381,"dynasty":18,"author":50,"museum":331,"description":8045,"tags":30382,"thumbUrl":30384,"material":198,"size":780,"collection":100,"collections":30385,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":704},263649,"ke-si-qian-long-ti-zan-shi-jia-mu-ni-xiang-zhou-yi-ming-263649","缂丝乾隆题赞释迦牟尼像轴",[7,473,54,9612,30368,5733,28,4209,334,30383,80],"海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4310f8a445131edf8179131f95825d1.jpg",[],{"id":30387,"slug":30388,"title":30389,"dynasty":18,"author":26799,"museum":331,"description":26800,"tags":30390,"thumbUrl":30391,"material":198,"size":780,"collection":100,"collections":30392,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},241163,"lu-yu-zhou-he-shao-ji-241163","录语轴",[80,7,472,5199,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1e7ce94a3fa73ba5e0359ee09de753.jpg",[],{"id":30394,"slug":30395,"title":30396,"dynasty":18,"author":30397,"museum":331,"description":30398,"tags":30399,"thumbUrl":30400,"material":214,"size":100,"collection":101,"collections":30401,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},241103,"dong-po-lu-shan-shi-zhou-bao-shi-chen-241103","东坡庐山诗轴","包世臣","包世臣自幼家贫，但勤于词章，并喜谈国事。嘉庆十三年（1808年）中举，但多次考进士不中。此后曾先后为陶澍、裕谦、杨芳幕客。他一生研究国事，东南各官吏都纷向他咨询，以此名满江淮。\n包世臣思想，反对脱离民事，文章也大都关切时务政事。他反对传统“重农抑商”政策，以“好言利”自许，提出“本末皆富”为“千古治法之宗”、“子孙万世之计”；他又提出“生齿日繁，地之所产，不敷口食”的“人多致贫”论。他坚持经世致用之学，对鸦片战争前后的社会和经济问题，作了较为广泛的探讨，主张具有进步意义的社会改革，在当时社会上有一定影响。",[80,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dbcb2ad9db2821263be1d9ead32fd01.jpg",[101],{"id":30403,"slug":30404,"title":30405,"dynasty":72,"author":14625,"museum":236,"description":30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创作的纸本设色画，现藏于 。\n该图绘明代王百谷所居地半偈庵景色，院落中有湖石、青竹、松木等，石旁立有小石碑，晥门外有2人相立而谈。\n此图笔秀润简淡，构图巧妙别致。\n此画的构图和景物比较简洁，画有工日谷寓所——半偈庵，庭院中立有一湖，造型奇特，玲珑剔透。\n又有数棵树木，枝叶疏散，后有屋舍二间，陈设简陋，前后排列，前房供佛，后房中一榻一几，有一位上人独坐于床榻上，双日凝视，若有所思，屋子左侧有一束修竹，枝叶茂盛，近景有一道围墙，山间有一门楼，围墙两侧的右侧一树，左侧为一棕树。\n墙外有二人对话，一位作拱手状，一位持有策杖，姿态悠闲自在。\n此情此景，足以反映当时文人墨客优雅的生活环境及他们的志趣，王百谷半偈庵就是文人士大夫们所追求的优雅生活的写照。\n全图其画景物和作者自题识及王穉登等诗几乎各占一半，上诗、下图，相配十分得体。\n此画是文嘉7岁的作品，描绘当时文人王穉登所居半偈庵景色。\n王穉登（155—1612），字伯谷，也作百谷，长洲人，少时即以善作诗文著称，长而骏发，名满吴会，善书法，诸体兼备，文徵明没后，风雅归之穉登。\n全图用笔相当简练，湖石和竹树基本上继承了家学的传统，画法近学文徵明，远受元朝画家的影响，疏淡中蕴含秀润，树木用干笔勾皴后，用细墨点叶。\n用笔颇为老峭，加上构图过分简洁，使画面的意境稍嫌疏落之感。\n但由于画幅上面有文嘉的长段题识，起到了弥补此画构图的疏落之嫌…上诗塘又有王穉登录顾孟先、沈少卿宿半偈庵诗、这些自题识和王穉登题诗，为此画增色颇多，成为此画重要的组成部分。\n文嘉（151—158），明代画家，字休承，号义水，长洲（今江苏苏州）人，文徵明次子。\n官和州学正，继承家学，工小楷，擅画山水，笔法清脱，颇近倪瓒，着色山水，具幽澹之致，间仿卫蒙皴染，亦颇秀润，兼作花卉。\n精于鉴别古书画。\n传世作品有《赤壁夜游图》、《秋塘红藕图》、《沧山渔笛图》、《临董源溪山行旅图》轴，并著有《钤山堂书画记》。",[25,26,7,77,97,80,269,31,253,35,778,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b4680056f3221272054815ba8098c4.jpg",[],{"id":30560,"slug":30561,"title":30562,"dynasty":72,"author":9377,"museum":331,"description":30563,"tags":30564,"thumbUrl":30566,"material":198,"size":780,"collection":100,"collections":30567,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":704},235525,"pu-xian-xiang-tu-zhou-wu-bin-235525","普贤像图轴","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[25,7,54,28,29,27,253,287,30565],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a55ed020ed5e4a29aa325fe5eb2a5a.jpg",[],{"id":30569,"slug":30570,"title":30571,"dynasty":18,"author":30572,"museum":331,"description":30573,"tags":30574,"thumbUrl":30575,"material":198,"size":780,"collection":100,"collections":30576,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},235365,"qun-feng-ji-cui-tu-zhou-liu-yan-chong-235365","群峰积翠图轴","刘彦冲","刘彦冲（1807～1847）清代画家、诗人。初名荣，字咏之，四川铜梁（今重庆铜梁）人，侨寓吴门（今江苏苏州），朱昂之弟子。家贫事母孝，不妄干人。工诗文，善绘事，山水、人物、花卉，一意师古，深造自得。山水初从朱昂之游，心得其秘。复肆力于古，临摹各家，无不得其精髓。泼墨作小米云山，亦翁郁可观。惜中年殁。",[25,24,7,364,28,130,5267,170,269,5506,349,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09b0faca13edb8b101856f7129f43a9.jpg",[],{"id":30578,"slug":30579,"title":30580,"dynasty":72,"author":30581,"museum":236,"description":30582,"tags":30583,"thumbUrl":30584,"material":100,"size":100,"collection":100,"collections":30585,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},234874,"la-mei-tu-zhou-lu-fu-234874","腊梅图轴","陆復","陆复，明代人，字明本，自号梅花主人，江苏吴江人。善画墨梅。",[24,25,26,7,77,392,131,113,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b50b9d5180a9af10e35af8f4df2c6a.jpg",[],{"id":30587,"slug":30588,"title":30589,"dynasty":18,"author":1971,"museum":236,"description":30590,"tags":30591,"thumbUrl":30592,"material":699,"size":30593,"collection":100,"collections":30594,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},234701,"fang-mei-dao-ren-shan-shui-zhou-wang-jian-234701","仿梅道人山水轴","王鉴（1598年—1677年），字玄照，后改字园照，元照，号湘碧，又号香庵主。明末清初著名画家。江苏太仓人，出生于以衣冠诗书著称的太仓王氏家族。崇祯六年（公元1633年）举人，后仕至廉州太守，故称“王廉州”。王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。",[25,7,77,130,945,129,252,56,134,170,733,132,1419,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f0d9e69ecf5b32522f0cc3f34bc390.jpg","78.1cmx42.6cm",[],{"id":30596,"slug":30597,"title":30598,"dynasty":18,"author":50,"museum":331,"description":30599,"tags":30600,"thumbUrl":30601,"material":100,"size":100,"collection":100,"collections":30602,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},234402,"xiao-shen-cheng-huang-hou-bian-fu-guan-zhu-xiang-zhou-yi-ming-234402","孝慎成皇后便服观竹像轴","她身着宝蓝团花常服，鬓边红白簪花点缀，安坐湖石之上，抬眼望向身旁青竹。笔底工细写实，衣袍纹样纤毫毕现，将皇后端凝温婉的仪态尽数铺陈。\n\n布景清雅悠然，青竹劲拔婆娑，水畔蔷薇烂漫，奇石与卉草错落点缀，晕染出皇家苑囿的闲静诗意。整作兼具工笔的精致与写意的清逸，将深宫中观竹的片刻悠然藏于柔润设色中，尽显中式庭院雅致意境与清宫女性的温婉风华。",[25,7,28,27,29,30,31,536,1675,129,35,602,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d30ee953a67fd3d64733afe86aaadb.jpg",[],{"id":30604,"slug":30605,"title":15602,"dynasty":72,"author":10714,"museum":236,"description":30606,"tags":30607,"thumbUrl":30608,"material":214,"size":30609,"collection":100,"collections":30610,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},233818,"mo-mei-zhou-liu-shi-ru-233818","刘世儒，生卒不详，主要活动于明代正德、嘉靖(1506—1566)间。字继相，号雪湖，山阴(今浙江绍兴)人。善画梅，宗法王冕，学之不倦，终成名手。柔密疏简，俱臻其妙。尤工雪梅，冰肌玉骨，清劲俊拔，令人绝倒。图中描绘一株梅树，老干劲峭，断缺处以意笔为之犹如龙爪腾空。一带薄雾淡如轻纱，横亘于画幅中部，烟笼玉树，暗香浮动。",[25,26,7,77,113,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43760b8de4af0b7812965f732d25d9ee.jpg","纵180.5厘米横100.4厘米",[],{"id":30612,"slug":30613,"title":22697,"dynasty":93,"author":50,"museum":236,"description":30614,"tags":30615,"thumbUrl":30617,"mat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横50厘米",[],{"id":30669,"slug":30670,"title":30671,"dynasty":72,"author":30672,"museum":74,"description":30673,"tags":30674,"thumbUrl":30675,"material":136,"size":30676,"collection":138,"collections":30677,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},232693,"qiu-du-shu-le-tu-ju-mao-shi-232693","秋读书乐图","居懋时","居懋时［明］吴县（今江苏苏州）人。\n节子。亦善画。《苏州志》",[23,25,26,7,77,129,130,132,169,170,733,193,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44755deef3b0cac993c0c25db5625a1.jpg","147.7x37.2厘米",[138],{"id":30679,"slug":30680,"title":30681,"dynasty":72,"author":752,"museum":20,"description":30682,"tags":30683,"thumbUrl":30684,"material":182,"size":30685,"collection":100,"collections":30686,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},232647,"wu-xie-shan-tu-chen-hong-shou-232647","五泄山图","五泄山在浙江诸暨，浙江金华、杭州和绍兴之间，因有五潭之水，泛溢悬流，宛转五级，故日五泄。是陈洪绶的故乡。此图构图缜密，画面丰满，仅留右上角为天空。树林繁茂，山势高峭，清晰的山体轮廓线，干净利落的岩石断层，树木岩石以不同皴法表现，山石方硬以淡墨染之，富有层次，给人一种非常相似的远古的感觉，体现了陈洪绶一贯高古的格调。\n陈洪绶少年即喜画，10岁时就去杭州追随武林派的代表——山水画家蓝瑛习画。陈洪绶早年和壮年的山水画作品以及晚年部分人物画背景都可看出多了蓝瑛的影响。但陈画比蓝画更为清雅秀润，简洁古淡。翁万戈藏《陈洪绶早年画册》（1619年，时22岁）中《奇石小鸟》和《双松图》两副册页所画树石显然是师法元人。他早年的山水虽不成熟，但可看出他广师宋元诸家，集众所善，而尚显个性。美国克利夫兰艺术博物馆藏《五泄山图轴》很可能是他20至30岁期间之作。陈洪绶自幼至交周亮工提及，曾于1624至1625年间数度与陈洪绶同游五泄山。此画密不透风的构图，迂回盘旋的山势，强而有力的光影对比，体现画家在自然山水中的真实感受——阳光和阴影、压迫感十足的乱石、潺潺的流水、浓郁的树林。这是他早期山水画的杰出之作，之后作品再无此类手法的运用。\n陈洪绶是时代的代表，他的艺术同样根植于他所处的时代。尽管陈洪绶不属于高寿画家，但是他的艺术越趋晚年，越突出地彰显了中国传统艺术的精髓和民族风格。\n陈洪绶 (1598-1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名、晚号老迟、悔迟，又号悔僧、云门僧。浙江诸暨枫桥人。明末富有革新精神和独创风格的画家。祖上为官宦世家，至其父家道中落。陈洪绶幼年早慧，诗文书法俱佳，曾随蓝瑛学画花鸟。成年后到绍兴蕺山师从著名学者刘宗周，深受其人品学识影响。崇祯三年（1630）应会试未中。崇祯十二年（1639）到北京宦游，与周亮工过从甚密。后以捐赀入国子监，召为舍人，奉命临摹历代帝王像，因而得观内府所藏古今名画，技艺益精，名扬京华，与崔子忠齐名，世称“南陈北崔”。明朝覆没后，清兵人浙东，陈洪绶避难绍兴云门寺，削发为僧，一年后还俗。晚年学佛参禅，在绍兴、杭州等地鬻画为业。陈洪绶生性怪僻，愤世妒俗，身历忧患之时，所交师友多为正义之士。陈洪绶是一位擅长人物、精工花鸟、兼能山水的绘画大师。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。著有《宝纶堂集》、《避乱草》等作品集。",[24,25,26,7,77,130,129,170,521,132,169,172,3106,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe63046bcfa80469e93c5b952548b3d1.jpg","118.3×53.2cm",[],{"id":30688,"slug":30689,"title":30690,"dynasty":72,"author":30691,"museum":20,"description":30692,"tags":30693,"thumbUrl":30696,"material":214,"size":30697,"collection":100,"collections":30698,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},231936,"fang-gao-ke-gong-shan-shui-tu-tao-hong-231936","仿高克恭山水图","陶泓","图绘云山峻岭，大气磅礴，山林滃郁，流泉潺湲。一高士过桥而回首观水，喻”智者乐水“之意。全幅用高尚书笔意而润密过之。 陶泓，字士泉，号砚山，生平无考。",[23,25,26,24,7,77,129,5168,30694,366,193,134,29,945,130,30695],"峻岭","智者乐水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbbee98cf491d6f7fe862b5d64e4bf5.jpg","53x89cm",[],{"id":30700,"slug":30701,"title":30702,"dynasty":49,"author":19015,"museum":331,"description":27007,"tags":30703,"thumbUrl":30704,"material":198,"size":780,"collection":100,"collections":30705,"showCount":187,"zanCount":11,"manualWeight":43,"mainColor":88},231618,"bai-miao-shi-er-tian-tu-xiang-pi-sha-men-tian-zhen-hai-231618","白描十二天图像 毗沙门天",[23,25,26,985,54,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29ded800c890a4c20cd90b8232e25c8.jpg",[],{"id":30707,"slug":30708,"title":22680,"dynasty":49,"author":30709,"museum":331,"description":14759,"tags":30710,"thumbUrl":30711,"material":198,"size":780,"collection":100,"collections":30712,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},231582,"qi-shi-wen-shu-tu-ling-cai-231582","灵彩",[23,25,26,7,54,985,77,29,241,10262,4545,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97b7cf0e134855a8876822301aa10b4.jpg",[],{"id":30714,"slug":30715,"title":30716,"dynasty":72,"author":30717,"museum":20,"description":30718,"tags":30719,"thumbUrl":30720,"material":214,"size":30721,"collection":100,"collections":30722,"showCount":187,"zanCount":11,"manualWeight":43,"mainColor":44},231545,"xu-ting-fei-pu-tu-zhang-ning-231545","虚亭飞瀑图","张宁","在中国绘画史上，张宁的名字并没有像沈周、文徵明那样引人注目。甚至于当人们讨论明代绘画的时候，张宁也很少被提及。作为一朝大臣的张宁并不是一位职业画家，但也绝不是一个票友，他的诗文、书法和绘画在当时就名动一时。如果注意到他的吴人身份，把他和王绂、刘珏等吴门先驱放在一起，便不难发现他在绘画史上是应该有一席之地的。无奈目前能够找到的张宁作品和资料并不是很多，史籍上关于他的记载也大多是他的政绩而非艺术，故这里对张宁的讨论也只能是抛砖引玉。\n张宁（1426—1496），字靖之，号方洲，一作芳洲，海盐(今属浙江)人；一作嘉兴(今属浙江)人；又作吴(今苏州)人。明朝中期大臣。景泰五年进士，授礼科给事中。丰采甚着，与岳正齐名，英宗尝称为“我张宁”云。成化中出知汀州，先教后刑，境内利病悉罢行之。后为大臣所忌，弃官归，公卿交荐，不起。能诗画、善书法，才思敏捷，诗文书画皆有名。性喜绘事，工人物山水。抒写烟月，点染林丘，为艺苑所珍。曾奉旨出使朝鲜，化解了朝鲜王室内部纷争。画兰竹赠朝鲜王李扶。张宁才高志大，英宗意欲重用。但他久居谏坛，直言无忌，为朝中权贵所恶。给事中王徽因弹劾大学士李贤而获罪，张宁率六科论救，由是渐与内阁相忤。后出为汀州知府，抑郁不得志，遂以病免职。家居30年，屡次被荐，终不复召。在家乡筑方洲草堂（为海盐著名的园林，今不存），以琴书自娱。张宁为文遵古法，才思敏捷，兼善画，著有《读史录》、《删改史论》、《方洲集》等。\n张宁首先是明朝中期见诸史载的一位大臣，同时也是一位卓有成就的诗人和画家。清徐沁《明画录》：“张宁字静之，吴人，画山水有声。”明朱谋垔《画史会要》：“张宁，字靖之，号芳洲，海盐人。景泰进士，官汀州知府。书画皆有名。”可见作为朝中大臣的张宁在当时书法绘画就很有名。\n明中叶以后，以沈周、文徵明为代表的吴门派取代浙派而盛极一时。沈周、文徵明都是吴（苏州）人，因此被称为吴门派。在沈周、文徵明之前的赵源、王绂、徐贲、陈汝言、刘珏、张宁等同样是吴人的画家，对沈周、文徵明等后来的吴门画派都有重要的影响，画法也有近似之处。只是当时还没有“吴门派”的说法。\n张宁同时具有双重身份，既是官僚，又是书画家。从他的文章里不难发现，他与同时代的画家有着密切的交往。米芾以喜欢奇石而闻名，明代画家谢环也喜欢奇石，张宁在他的《方洲杂言》提到：“观音寺衙衕寺僧所收谢廷循一石，方广三四寸，中劈为二，内函鱼骨一具，首尾皆全。”由此可见他与谢环的交情非同一般，他还曾为友人徐溥（时用）所收藏的谢环（廷循）的画上题过诗。\n张宁在中国画发展史上处于吴门画派形成之前，他和王绂、徐贲、陈汝言、刘珏等吴门画派的先行者对沈周和文徵明的影响在绘画史研究中已经引起了学者的注意。或许是因为未被列入职业画家的行列，他的作品见诸著录及馆藏极少。尽管可能绘画对张宁的“余事”，但其艺术水平丝毫不逊色于职业画家。张宁的绘画技法有着很明显的元代传统特征，尤其是元四家之一王蒙的影响。但张宁似乎不太喜欢王蒙那种凝重，他的作品并没有元人那种浑厚苍茫，而更多地倾向于表现秀雅和清旷的意境。",[23,25,28,130,7,129,169,377,170,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32ef3f130d45e39b134d17480d98bae.jpg","109.8 x 38.1cm",[],{"id":30724,"slug":30725,"title":30726,"dynasty":18,"author":30727,"museum":3222,"description":30728,"tags":30729,"thumbUrl":30730,"material":4510,"size":30731,"collection":100,"collections":30732,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},231350,"fang-gao-fang-shan-shan-shui-tu-wang-fang-231350","仿高房山山水图","汪昉","清代绘画,在同时期的政治、经济、思想、文化诸因素的影响下,呈现出特定的时代风貌。它承接元、明以来的趋势发展,士大夫文人画日益占据画坛主流,在明代后期形成的诸画派,到此时更是分支繁衍。清代历朝皇帝,大多爱好绘画艺术,倡导社会风气,使更多的人热心投入画家的行列。全清有史可稽的画家,多至近六千人,可谓繁盛。总的看来,以山水画、花鸟画比较发达,成绩较好,人物画次之。其发展大致可分为前、中、后三个时期。\n前期(顺治至康熙中),受皇室扶植的 四王 画派,以王时敏、王鉴、王翚、王原祁为代表,成为画坛的正统派,他们以摹古为主旨,崇尚董其昌和元四家,讲究笔墨趣味,技巧功力超卓,但缺少鲜活的生趣。他们的山水画风影响到整个有清一代。同时的江南地区,却出现了一批反正统的画家,他们大多是明末遗民,政治上不与清统治者合作,艺术上反对陈陈相因,主张抒发个性,所以作品往往感情真挚强烈,风格独特新颖。代表画家有弘仁、髠残、朱耷、石涛合称的 四僧 ,以龚贤为首的 金陵八家 ,以弘仁、查士标、梅清为代表的 新安派 等。其中 四僧 的成就最为突出,给后世的有益影响也更大。中期(康熙晚年至乾隆、嘉庆年间),随着政权的巩固、疆域的统一、社会的安定,经济的繁荣,出现了 康、乾盛世.此时宫廷绘画在皇室扶植下活跃一时,内容和形式都比较多样,人物画的成就显著。而经济发达的扬州出现以 扬州八怪 为代表的 扬州画派 ,他们接过石涛、朱耷 反正统 的旗帜,以革新的面貌出现于画坛,用绘画抒发自己郁懑愤激的情怀,表达心灵高洁的向往,形式上意到笔随,狂放怪异,不拘一格,作品具有鲜明的个性,对近代和现代的花鸟画都产生深远的影响。\n后期(道光至宣统),中国逐渐沦为半封建半殖民地的社会,画坛也发生了急剧变化。怡情养性的士大夫文人画日见衰微,而在辟为通商口岸的商业城市上海、广州,分别出现了以赵之谦、任颐、吴昌硕为代表的 海上画派 和由居巢、居廉首创的 岭南画派 ,开拓了文人画的途径,以新颖活泼的面貌,博得广大市民阶层的喜爱,直接启导了近代和现代的画风。\n《仿高房山云山图轴》描绘的是江南春天雨后的山村景色:近处坡石高树,茅舍旁柳丝飘拂,小桥边溪水潺潺,远处峰峦高耸,丛树幽深,白云浮动。此图云山采用元人高克恭法,横点皴染,并用焦墨破醒,富有厚重的感觉。构图以高远兼平远,得遥深飘渺之意。由于他受到皇室青睐,政治地位显赫,当时追随他的人很多,遂形成娄东派,主要画家有唐岱、董邦达、黄鼎等人。唐岱出王原祁门下,兼法宋元,笔墨工稳深沉。董邦达上追董其昌、黄公望,兼承王鉴、王原祁遗意。黄鼎多用干笔皴擦,淡墨渴染,有苍郁之趣,发展了王原祁的干笔画法。",[23,25,77,7,129,130,945,134,193,377,131,1651,169,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b83397f21c92d94a99103bc798b15a1.jpg","110cmx55cm",[],{"id":30734,"slug":30735,"title":30736,"dynasty":49,"author":30737,"museum":331,"description":30738,"tags":30739,"thumbUrl":30740,"material":198,"size":780,"collection":100,"collections":30741,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},230588,"jiang-hu-shi-dai-xi-hu-chun-jing-tu-ping-feng-chi-da-ya-230588","江户时代 西湖春景图屏风","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。",[25,26,7,77,130,129,377,170,132,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3125c5c3370cc69ab3b9f3786836eea.jpg",[],{"id":30743,"slug":30744,"title":30745,"dynasty":18,"author":318,"museum":331,"description":1136,"tags":30746,"thumbUrl":30747,"material":198,"size":780,"collection":100,"collections":30748,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},230273,"tang-geng-wei-ti-qing-yuan-si-shi-zhu-da-230273","唐耿湋题清源寺诗",[23,80,97,305,77,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd15d6de57e2fe44f5aaa1d3f3a16268.jpg",[],{"id":30750,"slug":30751,"title":30752,"dynasty":18,"author":3916,"museum":331,"description":30753,"tags":30754,"thumbUrl":30755,"material":198,"size":780,"collection":100,"collections":30756,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},230241,"xiang-he-jing-jin-nong-230241","相鹤经","本幅摘录《相鹤经》，书于乾隆十七年（1752年），金农时年66岁。作品横划扁平粗壮，起笔、收笔处着意直切成形，直划、长撇、勾划等细劲锋利，体势方厚、凝重，浓黑的墨色与字间的空白形成鲜明的对比，视觉效果强烈，为金农“漆书”的典型风格。",[23,80,5199,9557,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b63214b9fe5a26d832c5db18b7cd625.jpg",[],{"id":30758,"slug":30759,"title":30760,"dynasty":18,"author":4669,"museum":331,"description":30761,"tags":30762,"thumbUrl":30763,"material":100,"size":100,"collection":100,"collections":30764,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},229021,"mei-xi-gao-yin-tu-zhou-wang-hui-229021","梅溪高隐图轴","此作分上下两境，上段以高远之法绘危崖层叠，飞瀑穿谷而出，淡墨晕开岚气，写尽空山岑寂萧寒之态。下段平溪绕舍，古松虬曲、疏柳映水，茅庐临水而建，尽显林泉幽居的恬然意趣。\n画作以诗入画，呼应高隐主题，笔墨糅合南北画派之所长，干笔皴擦勾勒山石苍劲肌理，湿墨晕染铺就空蒙烟霭，简淡秀雅的笔触间，将文人寄迹林泉、避世高隐的悠然襟怀尽藏其中，尽显清逸出尘的山水画意境。",[23,25,26,7,77,130,129,169,427,733,170,132,172,272,778],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca3a61d052a38131a79f29061e44005.jpg",[],{"id":30766,"slug":30767,"title":818,"dynasty":72,"author":17220,"museum":331,"description":30768,"tags":30769,"thumbUrl":30770,"material":100,"size":100,"collection":100,"collections":30771,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},228328,"shan-shui-tu-xiao-yun-cong-228328","此作用高远糅合平远之法铺陈景致。上层危崖崚嶒，枯木虬枝斜出崖畔，笔致瘦硬清脱，寥寥皴擦便勾勒出山石嶙峋骨相，淡墨晕染晕出山峦明暗，尽显皖山清奇之姿。\n下层平坡疏林环伺茅舍，幽人策杖徐行，野意悠然。全图线条爽利挺劲，删繁就简，脱尽尘俗烟火气，题画诗与笔墨融为一体，文气氤氲。整体意境清寂淡远，以简驭繁，将林泉幽栖的文人意趣凝于尺幅，淡而弥远，简中藏雅韵。",[23,25,77,129,130,170,351,733,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6f2553bde5ec73b58e4b08cf41f51f.jpg",[],{"id":30773,"slug":30774,"title":30775,"dynasty":72,"author":752,"museum":331,"description":2862,"tags":30776,"thumbUrl":30777,"material":198,"size":780,"collection":100,"collections":30778,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},228303,"niang-tao-tu-chen-hong-shou-228303","酿桃图",[23,25,26,7,28,27,29,392,33,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e93ba703003e6686ca8b3a91ec3f81d.jpg",[],{"id":30780,"slug":30781,"title":1154,"dynasty":207,"author":50,"museum":331,"description":30782,"tags":30783,"thumbUrl":30784,"material":100,"size":100,"collection":100,"collections":30785,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},227987,"yu-yuan-shi-chao-tu-yi-ming-227987","此作糅合山水、界画与风俗意趣。上部山峦以淡墨皴擦勾勒，烟岚氤氲间尽显雄浑苍莽，将北国山水的沉郁与朦胧空寂的意境相融。临水楼阁界画工致，飞檐层叠、台基规整，尽显苑囿的宏阔雅致，梁柱结构分毫毕现，见得精湛界画功力。\n\n下部闾巷屋舍错落排布，人物往来穿梭，市井烟火气扑面而来。整幅画作以全景构图，将林泉幽致、宫苑恢弘与市井鲜活交织，打破山水与界画的割裂，把清冷意境和暖融融的俗世情态相融，尽显兼容写实与写意的审美意趣。",[23,25,7,1157,28,129,269,3489,170,29,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7beaab8edbce5863fbd8ed6ded6b752f.jpg",[],{"id":30787,"slug":30788,"title":30789,"dynasty":93,"author":23761,"museum":331,"description":23762,"tags":30790,"thumbUrl":30791,"material":100,"size":100,"collection":100,"collections":30792,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},227437,"han-lin-ju-qin-tu-zhou-gao-dao-227437","寒林聚禽图轴",[23,25,26,24,7,27,130,129,614,151,484,131,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37bba1188351b629f22203bd50fb89f.jpg",[],{"id":30794,"slug":30795,"title":30796,"dynasty":109,"author":50,"museum":331,"description":30797,"tags":30798,"thumbUrl":30799,"material":100,"size":100,"collection":100,"collections":30800,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,26,7,77,5713,241,5683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd03bfdd9f3579aa0c7a5c1ea73e975.jpg",[],{"id":30802,"slug":30803,"title":1027,"dynasty":18,"author":2779,"museum":331,"description":30804,"tags":30805,"thumbUrl":30806,"material":100,"size":100,"collection":100,"collections":30807,"showCount":187,"zanCount":11,"manualWeight":43,"mainColor":88},224532,"fang-gu-wei-gen-lao-ren-224532","此作为写意墨竹，数竿修竹错落斜出，构图疏密得宜，虚实相生。以浓淡墨色区分层次，浓墨挥写竹叶，笔势迅疾如劲风穿林，聚散合度，尽显劲挺错落之态；淡墨勾勒皴染竹干，笔力圆劲沉稳，竹节顿挫有力，将竹的清拔苍劲展露无遗。\n\n画面留白疏朗，以素净底色衬出修竹逸韵，尽显文人画尚简重意的意趣。落笔简练却神完气足，把竹之清高隽秀的品性描摹尽致，藏着画者寄情于竹的文心风骨。",[23,25,26,7,77,945,31,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2fdbaeba4523a2230d84515b05d154.jpg",[],{"id":30809,"slug":30810,"title":30811,"dynasty":18,"author":4669,"museum":331,"description":30812,"tags":30813,"thumbUrl":30814,"material":100,"size":100,"collection":100,"collections":30815,"showCount":187,"zanCount":11,"manualWeight":43,"mainColor":88},224467,"hua-meng-hao-ran-shi-yi-zhou-wang-hui-224467","画孟浩然诗意轴","此作以诗入画，全景铺展幽寂山居。层峦叠嶂以披麻皴写就，笔力苍秀，皴擦间尽显山石肌理的苍厚质感。云气在山谷间流荡开合，晕染出空濛湿润的烟雨氛围，将山峦切割成错落层次，虚实相生。\n\n水岸汀洲、古木虬枝错落排布，板桥行旅、崖畔山居点缀其间，为清冷山水添上灵动烟火气。高远与平远兼具的构图，上见巉崖陡立，下观浅溪通幽，将诗句里的隐逸恬淡具象化，笔墨兼具宋元山水的浑朴与清丽秀雅，尽显山居烟岚的悠然意趣。",[23,25,364,7,77,130,129,134,193,377,269,170,132,173,29,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c7a0db74deff24cd7a29e728cdc7a4.jpg",[],{"id":30817,"slug":30818,"title":30819,"dynasty":18,"author":4998,"museum":331,"description":30820,"tags":30821,"thumbUrl":30822,"material":100,"size":100,"collection":100,"collections":30823,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},224383,"fang-ni-zan-she-se-shan-shui-tu-wang-yuan-qi-224383","仿倪瓚設色山水圖","此作用倪瓒平远章法却自出机杼，远景山峦以干笔皴擦，披麻皴混以苔皴写尽山石嶙峋，浑厚苍劲间不失幽淡意趣。近渚林木清劲错落，屋舍隐于洲渚林泉，脱尽尘俗烟火气。\n设色浅淡温婉，赭石花青轻晕纸面，中和倪氏水墨冷寂，添几分温润柔和。师法云林萧疏意境，落笔却沉雄老辣，将南宗秀雅与北派苍厚相融。题诗与画境呼应，诗画合璧，师古不泥，尽显文人山水的雅逸风骨。",[23,24,25,7,28,129,945,130,79,252,56,253,733,351,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4338b8ae58b1ccd0bd17f1149f8ace0c.jpg",[],{"id":30825,"slug":30826,"title":30827,"dynasty":18,"author":30828,"museum":331,"description":30829,"tags":30830,"thumbUrl":30833,"material":198,"size":780,"collection":100,"collections":30834,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":44},224333,"yan-ti-ku-shu-fu-li-zhou-tan-yan-kai-224333","颜体枯树赋立轴","谭延闿","谭延闿（1880年1月25日—1930年9月22日），字组庵，号无畏、切斋，湖南茶陵人。与陈三立、谭嗣同并称“湖湘三公子”；生于浙江杭州，民国时期著名政治家、书法家、组庵湘菜创始人。\n谭延闿曾经任两广督军，三次出任湖南督军、省长兼湘军总司令，授上将军衔，陆军大元帅。曾任南京国民政府主席、行政院院长。1930年9月22日，病逝于南京。去世后，民国政府为其举行国葬。谭延闿有“近代颜书大家”之称，著述有《组庵诗集》等，其精于美食，为组庵湘菜创始人 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余恨不能踵其后尘也。”乾隆十七年（1752），回到杭州旧居“解弢馆”。乾隆二十一年卒，有《离垢集》5卷。",[23,25,28,77,130,7,129,377,378,31,733,132,29,170,522,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8812e9c83f76f654f907938a5ca82940.jpg",[],{"id":30880,"slug":30881,"title":20594,"dynasty":18,"author":235,"museum":236,"description":30882,"tags":30883,"thumbUrl":30884,"material":745,"size":20599,"collection":100,"collections":30885,"showCount":187,"zanCount":43,"manualWeight":43,"mainColor":88},223225,"gong-sun-da-niang-wu-jian-tu-zhou-ren-yi-223225","本幅无作者款印。幅上有徐邦达先生题云：“公孙大娘舞剑器图，伯年先生粉本真迹。己卯心远生徐邦达识。” 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生卒年不详，字仲贤，中山（今定州）人。元代画家。曾因画《裕宗像》得到赏识，得补御衣局使。善画道释、人物、山水、花竹、鸟兽。道释人物师法晋唐，山水师法北宋郭熙，花竹、鸟兽亦能集古人之长。",[25,7,54,29,10824,28,170,2507,79,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdc29cb28110a35f79e223ad2e816aec.jpg",[],{"id":31068,"slug":31069,"title":31070,"dynasty":207,"author":50,"museum":331,"description":31071,"tags":31072,"thumbUrl":31073,"material":198,"size":780,"collection":100,"collections":31074,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},290899,"hu-zhou-yi-ming-290899","虎轴","此画通幅描绘如真，渍染极得润厚的韵致。画无名款，旧签定为元人。惟据画风判断，与明代宫廷画风，颇多相近处，是以推断，该幅或出自明代良工之手。松林石涧间，一巨虎黄皮黑纹，毛色鲜丽，体态威武雄壮。虎之双眼，俱以金粉涂饰，并略染汁绿，显得格外神气逼人。其背隆起，宛如张弓欲发，隐然有即将出击之势。虎口微启，低吟而未啸。树梢，二山鹧见状，相与惊跃鸣叫，更为此猛虎出山的场景，平添紧张、不安的气息。",[25,26,7,77,28,5713,241,129,132,911,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfa32d80abd84bff6536c89b106cb3b.jpg",[],{"id":31076,"slug":31077,"title":19154,"dynasty":207,"author":50,"museum":331,"description":31078,"tags":31079,"thumbUrl":31081,"material":198,"size":780,"collection":100,"collections":31082,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},290895,"ming-fei-chu-sai-tu-zhou-yi-ming-290895","《汉书》记公元前三三年，匈奴呼韩邪单于臣服汉威并愿为汉婿，于是元帝将後宫王嫱（字昭君）赐单于。这段史实得到後世的关注同情，故事亦陆续增添情节及意象。如“马上琵琶”原指昭君出塞途中，马上乐师鼓奏琵琶以慰藉；然唐诗描写昭君出塞，已加入昭君马上弹抱琵琶倾诉哀怨的形象。",[25,7,28,29,30,196,129,170,28928,31080],"明妃出塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3b054994f0a1d28ee1d07f7d7248c8.jpg",[],{"id":31084,"slug":31085,"title":31086,"dynasty":72,"author":389,"museum":331,"description":1060,"tags":31087,"thumbUrl":31088,"material":198,"size":780,"collection":100,"collections":31089,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},290848,"ji-zhen-ji-zhou-tang-yin-290848","鸡真迹轴",[24,25,26,7,1592,28,1228,1625,31,600,132,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb864d815658b9038e4cbbc6da8f12b.jpg",[],{"id":31091,"slug":31092,"title":31093,"dynasty":207,"author":50,"museum":74,"description":31094,"tags":31095,"thumbUrl":31097,"material":136,"size":31098,"collection":84,"collections":31099,"showCount":916,"zanCount":11,"manualWeight":43,"mainColor":44},290741,"jiu-que-xian-chun-tu-zhou-yi-ming-290741","鸠雀先春图轴","水傍石上，水鸟两只，一微露背，一见全体，足趾间有蹼相系，当系野鸭之属。其上重叠作茶花、竹、石、梅、雀、花卉俱用双钩，虽粗细不同，而笔力一皆挺秀，用色傅粉，亦极沉着。",[24,25,26,7,27,28,113,392,574,31,2507,151,31096,7145,26077],"鸠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea2b2e763b0ca5b7e1db8a44f60e5d.jpg","150.9x31.3",[84],{"id":31101,"slug":31102,"title":31103,"dynasty":93,"author":50,"museum":331,"description":31104,"tags":31105,"thumbUrl":31106,"material":198,"size":780,"collection":100,"collections":31107,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},290685,"ke-si-chen-ju-zhong-tian-xian-gong-shou-tu-zhou-yi-ming-290685","缂丝陈居中天仙拱寿图轴","将南天竹果和水仙、蜡梅花共衬,配一对绶带鸟,隐含吉祥寿瑞之意",[24,25,26,7,113,28,473,392,924,151,79,1797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d66807053d65d71c73e71a6d2fb4d15.jpg",[],{"id":31109,"slug":31110,"title":31111,"dynasty":93,"author":50,"museum":74,"description":31112,"tags":31113,"thumbUrl":31114,"material":198,"size":26736,"collection":100,"collections":31115,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},290622,"gong-zhao-na-liang-tu-zhou-yi-ming-290622","宫沼纳凉图轴","南宋时期《宫沼纳凉图》描绘了南宋宫掖妃子在池边纳凉赏花的场景，画面正中妃子闲坐于榻上，面容圆润，神情闲适，双手盘于膝上。其身后有一名官宦及一名侍女，官宦执白色蒲扇，扇面之上绘有凤纹，喻示后妃身份。侍女立于桌前，手中所捧之物似为香料。三人身后绘有莲花池，占据了整幅画卷的上半部分。时值盛夏之日，池中群花盛开，岸边垂柳成荫，主仆三人纳凉于池塘边，惬意从容。\u2028 画面最左边一名侍女，身穿交领窄袖上襦，领襟及袖端处缘边。下身着黄褐色长裙。上襦之外为白色披帛，内着白色中单。侍女腰间佩戴组绶。古人佩玉，组绶是用以系玉的丝带，穿衣时通常系在衣服的最外面，由彩色的丝线编织而成。《礼记·玉藻》记载：“天子佩白玉而玄组绶，公侯佩山玄玉而朱组绶，大夫佩水苍玉而纯组绶，世子佩瑜玉而綦组绶，士佩瓀玟而緼组绶。” 该侍女发式为双平髻，髻上插梳。双平髻是双挂式的一种，起源于秦朝。其特点是将发顶平分两大股，梳结成对称的环，相对垂挂于两侧。这种发式多用于宫廷。",[25,7,28,29,27,30,306,5734,26734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bedfc707d44a7540422c8ce063b6905.jpg",[],{"id":31117,"slug":31118,"title":31119,"dynasty":72,"author":25228,"museum":331,"description":25229,"tags":31120,"thumbUrl":31122,"material":198,"size":780,"collection":100,"collections":31123,"showCount":916,"zanCount":11,"manualWeight":43,"mainColor":44},290602,"peng-shan-yu-nian-zhou-zhang-chong-290602","蓬山遇辇轴",[24,25,7,268,28,27,29,129,498,196,30,365,31121,1063],"辇车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74639a5bcfa89c2ad174b07008010f8.jpg",[],{"id":31125,"slug":31126,"title":31127,"dynasty":18,"author":31128,"museum":331,"description":31129,"tags":31130,"thumbUrl":31131,"material":198,"size":780,"collection":100,"collections":31132,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},290595,"xue-lang-shi-tu-zhou-zhang-ruo-cheng-290595","雪浪石图轴","张若澄","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。",[25,7,985,77,35,33,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1a6bc4dfd2f0415814e54a348ae864.jpg",[],{"id":31134,"slug":31135,"title":31136,"dynasty":18,"author":24030,"museum":331,"description":24031,"tags":31137,"thumbUrl":31138,"material":198,"size":780,"collection":100,"collections":31139,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},290589,"gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-290589","高宗御笔秋花诗轴",[25,7,1157,28,27,269,193,778,113,114,80,79,13265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbcc5d7aafbdc6bc856a662c88c5e026.jpg",[],{"id":31141,"slug":31142,"title":31143,"dynasty":207,"author":10618,"museum":331,"description":31144,"tags":31145,"thumbUrl":31147,"material":198,"size":780,"collection":100,"collections":31148,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},290584,"fang-zheng-qian-lin-ting-qiu-shuang-tu-zhou-zhang-yu-290584","仿郑虔林亭秋爽图轴","张雨（1277年-1348年），又名天雨，字伯雨，法名嗣真，别号贞居，又号句曲外史，钱塘（今浙江杭州）人，元朝茅山宗道士。年二十遍游天台、括苍诸山。",[25,7,77,130,129,377,131,484,193,349,132,29,4987,80,79,22921,31146],"清爽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe127da8e79914605105f333311b13207.jpg",[],{"id":31150,"slug":31151,"title":31152,"dynasty":18,"author":9301,"museum":331,"description":23466,"tags":31153,"thumbUrl":31154,"material":198,"size":780,"collection":100,"collections":31155,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},290566,"fang-tian-wang-xiang-yi-zhou-xu-yang-290566","仿天王像（一）轴",[25,7,54,28,5733,27,22512,9612,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf01e15251ff69fa4b4315c8ba1b7a2.jpg",[],{"id":31157,"slug":31158,"title":818,"dynasty":207,"author":2953,"museum":331,"description":31159,"tags":31160,"thumbUrl":31161,"material":198,"size":780,"collection":100,"collections":31162,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},290497,"shan-shui-tu-gao-ke-gong-290497","高克恭（1248—1310）字彦敬，号房山，色畏吾儿（今维吾尔族），高克恭的先人来自西域，先定居于大同，后移居燕京（今北京），祖籍西域（今新疆）。 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山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[25,26,7,77,130,131,151,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98462ef39975b740790320e8961aa39.jpg",[185],{"id":31399,"slug":31400,"title":31401,"dynasty":18,"author":26236,"museum":236,"description":31402,"tags":31403,"thumbUrl":31404,"material":100,"size":31405,"collection":101,"collections":31406,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},237772,"yang-jin-shi-gu-qi-niu-tu-zhou-yang-jin-237772","杨晋石谷骑牛图轴","此图款题为“画白石翁诗意”，所提“白石翁”是明代吴门画派的创始人沈周，晚号白石翁，人称白石先生。所画者为王翠，字石谷，号耕烟散人，为清初“虞山派”创立者，而作者即是早期虞山派的佼佼者，经常与师同绘画作。此图中王翠头戴斗笠，身垫蓑衣，骑于牛背之上，缓缓而行，像是雨过天晴之后，徜徉于乡野小径。墨色轻润，渲染有致，勾画简洁，却神韵俱足，充满诗情画意。",[25,26,7,28,27,29,1571,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84915670167119b90b18a3de51665151.jpg","81.6×33.5",[101],{"id":31408,"slug":31409,"title":1381,"dynasty":18,"author":31410,"museum":331,"description":31411,"tags":31412,"thumbUrl":31413,"material":100,"size":100,"collection":138,"collections":31414,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},237145,"shan-shui-zhou-wu-ding-237145","吴定","吴定[清]，字立人，一字维时，号稜翁，云南晋宁人，出生于1744年。\n康熙五十二年（一七一三）举人，雍正五年（一七二七）大挑一等，出宰广东博罗、清远二县。工书，行、草最妙。著稜翁诗钞。《云南通志稿》、《晋宁州志》、《李氏诗存》但犹专力经学，深求义理。定论文严于法，姚鼐有所作，必以示商。著有《黑石泉山房文集》十二卷，《诗集》六卷，及《周易集注》十卷，均《清史列传》并行于世。",[25,26,7,77,130,129,252,56,253,169,377,134,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fa5b431c0a88e245a20daa5e84af6d.jpg",[138],{"id":31416,"slug":31417,"title":31418,"dynasty":18,"author":1971,"museum":331,"description":31419,"tags":31420,"thumbUrl":31421,"material":100,"size":100,"collection":100,"collections":31422,"showCount":916,"zanCount":11,"manualWeight":43,"mainColor":44},236071,"fang-ju-ran-shan-shui-zhou-wang-jian-236071","仿巨然山水轴","以长披麻皴绘就层叠山峦，浑厚苍润，山头矾头间遍落点苔，尽显葱郁生机。飞泉垂落林壑，山居隐于松荫溪畔，通幅水墨晕染出空濛烟岚，既追摹原作平淡天真的江南山水意趣，又以温润雅致的笔墨，将董巨一脉的秀润山水情致藏于尺幅，铺展出林泉幽居的悠然静谧，尽显山水林麓间的澹泊林下之美。",[25,26,7,945,130,77,129,169,170,132,377,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d6bfefd43878d6d4c88623a238dd58.jpg",[],{"id":31424,"slug":31425,"title":31426,"dynasty":72,"author":5553,"museum":331,"description":31427,"tags":31428,"thumbUrl":31429,"material":100,"size":100,"collection":100,"collections":31430,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},236015,"yi-lao-zhai-tu-zhou-wen-jia-236015","遗老斋图轴","此作为诗画合璧的文人雅构，以淡设色绘就林泉幽居之景。远景山峦以浅墨晕染，朦胧淡远，水畔茅舍萧然隐现，汀洲浅滩漾出清寂野趣。近景古木虬曲苍劲，新叶扶苏点染生机，林间策杖缓行的人物，衬出林下雅游的闲淡意致。\n\n整幅画笔致松秀温润，设色浅淡清和，将隐逸澹泊的心境寄寓山水之中。搭配的长款题书笔意秀逸，与画面相映成趣，尽显吴门画派以画载情的特质，把园居清隐的文人气韵勾勒得恰到好处，尽显晚明文人追慕林泉高致的幽远意趣。",[25,26,7,77,28,129,29,170,377,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87ff7e3a3695748142f6a3bd25083afe.jpg",[],{"id":31432,"slug":31433,"title":26338,"dynasty":18,"author":4669,"museum":331,"description":16528,"tags":31434,"thumbUrl":31435,"material":198,"size":780,"collection":100,"collections":31436,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},236013,"sui-han-san-you-tu-zhou-wang-hui-236013",[25,26,472,7,77,304,130,378,31,392,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffac38c6f80e4e9a7a350830e3894455.jpg",[],{"id":31438,"slug":31439,"title":31440,"dynasty":72,"author":31441,"museum":331,"description":31442,"tags":31443,"thumbUrl":31444,"material":100,"size":100,"collection":100,"collections":31445,"showCount":916,"zanCount":11,"manualWeight":43,"mainColor":44},235996,"qiao-yue-dan-xia-zhou-xiang-de-xin-235996","乔岳丹霞轴","项德新","此作以奇崛岳峰起势，方硬岩壁勾勒间兼施水墨晕染，云雾萦回山腰，将厚重山石衬得空灵缥缈，隐于云间的瀑流暗生机趣。下方江岸虬松盘曲苍劲，水岸汀渚之上，孤舟渔翁独钓，林麓茅舍幽藏，糅合雄奇与清逸。\n\n笔墨取元人简淡意趣又自出机杼，干笔皴擦写山石肌理，湿墨晕染烟岚云水，虚实相生。把高旷山岳的雄浑与林下幽居的闲淡相融，绘就文人心底丘壑，尽显静穆淡远的隐逸意趣，引观者沉潜林泉高致之间。",[2749,25,364,7,130,132,170,169,173,134,16076,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff13466302312933c3bd5dea309f2a8.jpg",[],{"id":31447,"slug":31448,"title":31449,"dynasty":72,"author":13140,"museum":331,"description":31450,"tags":31451,"thumbUrl":31453,"material":198,"size":780,"collection":100,"collections":31454,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},235955,"wen-li-tu-zhou-you-qiu-235955","问礼图轴","明]字子求，号凤丘（一作凤山），长洲（今江苏苏州）人，移居太仓。",[25,26,7,985,29,1405,31452],"室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F673798774d06c9a3bbef4aec0a5cf911.jpg",[],{"id":31456,"slug":31457,"title":31458,"dynasty":18,"author":4669,"museum":331,"description":16528,"tags":31459,"thumbUrl":31461,"material":198,"size":780,"collection":100,"collections":31462,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},235750,"shi-di-ba-ren-he-zuo-jiu-qiu-tu-zhou-wang-hui-235750","师弟八人合作九秋图轴",[25,26,7,28,27,113,13265,440,675,1216,664,576,79,77,472,536,31460],"合作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1454da1fc321a9cf26daccf2083cf8.jpg",[],{"id":31464,"slug":31465,"title":31466,"dynasty":72,"author":752,"museum":33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——1849年12月22日 ），山西平定人，近代的爱国思想家、地理学家、诗人和书法家。生于嘉庆十年（1805）。鸦片战争中，他曾抱着爱国热情，上书言事，奔走呼号，联络在京友人，通过纪念顾炎武的活动，振奋人心。此后，他本着张扬国威，抵御沙俄侵略的目的，致力于西北边疆地理和蒙古史的研究。1849年12月22日（道光二十九年十一月九日，己酉年丙子月壬寅日）卒于京师，享年四十五岁 。1850年归葬故乡 。",[25,26,7,28,29,196,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bc760660ccaab1de00c8df1d1e4ccc.jpg",[],{"id":31481,"slug":31482,"title":31483,"dynasty":72,"author":50,"museum":331,"description":31484,"tags":31485,"thumbUrl":31486,"material":100,"size":100,"collection":100,"collections":31487,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},235557,"lu-zhi-hao-shang-song-bie-zhou-yi-ming-235557","陆治濠上送别轴","此作用淡墨轻染铺展早春濠上水色，以远近三层景致铺陈离情。远山空灵浅秀，淡赭晕染出清寂春山轮廓，衬出天地辽远。中景城郭屋舍临水错落，水榭间暗藏饯别之意，烟火气揉入依依别情。近岸柳林疏瘦、嘉木立渚，枝条轻曳间满含缱绻。\n\n整体笔墨秀雅简淡，以吴门画派典型的写意淡设色出之，浅青淡赭晕染出江南早春的柔润清和。题诗与画作相映，将送别时的含蓄心绪寄寓在空蒙湖山烟霭中，文辞清隽晕开画中离思，诗画相融之间，把文人饯别时的幽微深情藏在澹澹濠波里，雅静淡远，尽显抒情山水的悠然意韵。",[25,26,7,77,28,130,129,269,170,349,193,79,270,1419,521,522,11549,8355,1420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb37015866d001a2c187f682336b00.jpg",[],{"id":31489,"slug":31490,"title":31491,"dynasty":18,"author":921,"museum":331,"description":31492,"tags":31493,"thumbUrl":31494,"material":100,"size":100,"collection":100,"collections":31495,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},235407,"shou-xing-bai-shi-zhou-wu-chang-shuo-235407","寿星拜诗轴","此作用笔极简，左侧淡墨写意勾勒出持杖寿星，宽袍博袖下老者矍铄淡然的神态毕现，留白写意间尽是禅意空寂之美。右侧狂草题书笔力苍劲老辣，金石气扑面而来，以篆籀笔法贯穿书画，线质雄健朴拙，笔墨风貌浑然一体。\n\n书画相映成趣，诗意与画意呼应共生，传递出冲和超逸的世外意趣，尽显诗书画印相融的文人画精髓，将写意美学的冲淡之韵抒发到极致。",[25,26,7,97,77,29,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c552ee82435f1654619ac4dbb914e6.jpg",[],{"id":31497,"slug":31498,"title":31499,"dynasty":18,"author":7556,"museum":331,"description":7827,"tags":31500,"thumbUrl":31501,"material":198,"size":780,"collection":100,"collections":31502,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},235294,"huang-li-ming-liu-zhou-yuan-jiang-235294","黄鹂鸣柳轴",[24,25,26,7,28,113,151,1126,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfee4bca22c5f86a39d248aa74512a2e.jpg",[],{"id":31504,"slug":31505,"title":31506,"dynasty":18,"author":31507,"museum":331,"description":31508,"tags":31509,"thumbUrl":31511,"material":198,"size":780,"collection":100,"collections":31512,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},234948,"xie-zhao-jiang-ting-xi-bu-jing-yun-li-xiang-zhou-mang-gu-li-234948","写照蒋廷锡补景允礼像轴","莽鹄立","莽鹄立（1672~1736），字树本，伊尔根觉罗氏，初隶蒙古正蓝旗，后改满洲镶黄旗，清朝大臣、画家。",[25,7,28,27,29,253,132,536,31510,1275],"卧榻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b2d681c384f9443e813b4ad60db51c.jpg",[],{"id":31514,"slug":31515,"title":31516,"dynasty":72,"author":14346,"museum":236,"description":31517,"tags":31518,"thumbUrl":31519,"material":3245,"size":31520,"collection":100,"collections":31521,"showCount":916,"zanCount":11,"manualWeight":43,"mainColor":44},234875,"yin-bao-jie-shan-tu-zhou-wang-wen-234875","隐宝界山图轴","画中所绘当为宝界山实景。筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。王问之作传世不多，得此盛年鼎绝作品实为不易。\n此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生（1908-1990年）于1949年购于广州。1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。",[25,7,129,77,130,170,269,132,733,522,2581,270,178,17092,17094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9de3f53df33e51fc5b44308bff63eca.jpg","纵116厘米，横62.5厘米",[],{"id":31523,"slug":31524,"title":31525,"dynasty":18,"author":8994,"museum":331,"description":31526,"tags":31527,"thumbUrl":31528,"material":100,"size":100,"collection":100,"collections":31529,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},234547,"fang-ni-yuan-zhen-shi-yi-tu-zhou-cha-shi-biao-234547","仿倪元镇诗意图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。\n有《云山图》、《空山结屋图》、《秋林远岫图》、《云山烟树图》等传世。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。 著有《种书堂遗稿》等。",[25,26,7,77,130,129,253,78,132,2558,522,2721,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9a3da242b3c3d9e8b2c2e4295b165.jpg",[],{"id":31531,"slug":31532,"title":31533,"dynasty":18,"author":50,"museum":331,"description":31534,"tags":31535,"thumbUrl":31536,"material":198,"size":780,"collection":100,"collections":31537,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},234407,"yi-zhu-chao-fu-zuo-hua-xiang-zhou-yi-ming-234407","奕詝朝服作画像轴","此作工笔细腻沉稳，设色华贵雅致，将帝王伏案挥毫的片刻凝于绢本之上。主角身着满饰龙纹的朝服，明黄、石青与金彩层层晕染，云锦肌理纤毫毕现，矫健龙纹暗合九五威仪。\n\n画师以精微笔触勾勒面容，眉眼清隽沉静，执笔落墨间神态端肃安然，揉合了帝王威仪与文雅气度。案头文房清供、博古摆件错落有致，既藏文人情趣，亦显宫廷器物的精致考究。\n\n整幅构图均衡规整，素净背景衬出人物庄重气场，将纪实性与审美性相融，是清代宫廷肖像画的精妙之作。",[25,28,27,7,29,34,6667,4906,4905,6668,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971c26820df64b0aa633e4422e60e6c7.jpg",[],{"id":31539,"slug":31540,"title":31541,"dynasty":18,"author":50,"museum":331,"description":31542,"tags":31543,"thumbUrl":31546,"material":198,"size":780,"collection":100,"collections":31547,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},234379,"fu-lin-chao-fu-xiang-zhou-yi-ming-234379","福临朝服像轴","此作以细腻写实之笔，定格帝王威仪。帝王安坐鎏金宝座，面容沉敛端方，眉眼自带九五之尊的肃穆气场。明黄朝服遍饰五爪金龙，宝蓝织金镶边勾勒华贵轮廓，朱红暖帽顶戴东珠，纹样精细规整，尽显礼制森严与皇家尊荣。画师晕染入微，还原帝皇神采气韵，衣袍褶皱层次分明，金线绣纹在素绢上熠熠有光，台毯繁纹疏密得当，构图庄重严整，将皇权的庄重尊贵凝于绢素，是兼具纪实性与艺术性的肖像佳构。",[25,7,472,27,28,29,7548,20938,24326,24327,31544,31545,24329,22633],"织物纹样","金色装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11740411748d6f819c4f679c5dd2844.jpg",[],{"id":31549,"slug":31550,"title":31551,"dynasty":72,"author":13420,"museum":236,"description":31552,"tags":31553,"thumbUrl":31554,"material":3245,"size":31555,"collection":100,"collections":31556,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},233458,"shan-cun-tu-zhou-li-zai-233458","山村图轴","图绘山间村落，巨峰如障，溪流坡岸，人物舟船，房屋俨然。作品取全景式山水，构图饱满，气势宏阔，皴笔细密扎实，墨韵浑厚。山石的卷云皴法和树木的“蟹爪枝”画法来自北宋郭熙，而用笔较为粗放率意，兼具南宋马远、夏圭之意，这种融南北宋于一体的画法是李在的本色面貌。画面以雄壮的山川衬托村居生活之平和气息，颇具怡然闲适之意趣。",[25,7,129,130,77,132,521,131,269,733,522,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5bbda67d2037904f15230fec65c4a8.jpg","纵135厘米，横76厘米",[],{"id":31558,"slug":31559,"title":2083,"dynasty":93,"author":50,"museum":331,"description":31560,"tags":31561,"thumbUrl":31562,"material":100,"size":100,"collection":100,"collections":31563,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},232914,"han-lin-tu-yi-ming-232914","以瘦硬劲挺的笔触勾勒虬曲枯枝，蟹爪般的枝桠交错伸展，将冬林脱尽繁叶的苍古姿态尽显。古木错落倚着坡石生长，笔墨老辣洗练，褪去春华艳色，只留沉郁骨相。\n\n画面氤氲着清寂荒寒的氛围，将冬日郊野的冷冽萧索铺陈开来，于极简意象里藏着对枯淡幽远的美学追寻。不见翠色繁花，唯有枯木寒石，却在萧索间生出沉古雅逸的风骨，仿佛朔风穿林的空寂声响已在耳畔，将荒寒郊林的幽远意境揉进每一道笔痕中。",[24,25,26,7,77,130,484,131,35,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c644df4ab44972659ce2cb160a6c132.jpg",[],{"id":31565,"slug":31566,"title":31567,"dynasty":49,"author":19015,"museum":331,"description":27007,"tags":31568,"thumbUrl":31569,"material":198,"size":780,"collection":100,"collections":31570,"showCount":916,"zanCount":11,"manualWeight":43,"mainColor":88},231619,"bai-miao-shi-er-tian-tu-xiang-yue-tian-zhen-hai-231619","白描十二天图像 月天",[23,25,26,7,54,985,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b652dad80f69379800acd9b03119a31.jpg",[],{"id":31572,"slug":31573,"title":31574,"dynasty":72,"author":10733,"museum":331,"description":31575,"tags":31576,"thumbUrl":31577,"material":214,"size":31578,"collection":100,"collections":31579,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},231599,"da-mo-mian-bi-tu-song-xu-231599","达摩面壁图","此图所绘达摩形象古朴而虔诚，四周是野草蒙茸的岩洞，达摩身着红衣， 端坐于蒲团之上，正在修行。画心题“问法金銮不顺情，折盖潜向少林行。 若无断臂来承受，辜负如来十万程。”署款“庚子新春写于云间超果精舍。”押 “宋旭之印”、“石门山人”二印。",[23,25,26,7,28,130,54,29,35,193,58,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1fe66a812dbe56cfccf70204e699ab7.jpg","纵121.3横32.2厘米",[],{"id":31581,"slug":31582,"title":31583,"dynasty":72,"author":21727,"museum":74,"description":31584,"tags":31585,"thumbUrl":31586,"material":214,"size":31587,"collection":138,"collections":31588,"showCount":916,"zanCount":11,"manualWeight":43,"mainColor":88},231414,"bai-yue-tu-leng-qian-231414","白岳图","此图近处是溪流、坡石、茅亭、古松；中间有丛树、竹林、板桥、人家；上部峰峦起伏，云霞映带。此图笔墨秀润，清丽萧疏，山石作披麻皴，皴擦并用，刚柔相济，不见奇峭之笔。画中景物的高低晕淡深浅，都很自然，树枝树叶，勾点结合，石上苔点恰到好处.\n此画可分为远景、中景、近景三段式。远景画面上层峦叠嶂，悬岩峭壁，古木衰草，幽深险绝；中景为崇山脚下，一片阔广平坦之地，左侧为林木丛生，密密麻麻的一片；右侧为翠竹林立，竹竿瘦劲挺拔，竹叶茂密，相互交错，互相映辉，在林木和翠竹荫下，坐落着几间屋宇茅舍，翠竹旁溪水潺潺流动，有一座高架的板桥接岸，近景为坡石堤岸，乱石横卧，山石奇特，山石间有几棵杂树，有的树干挺拔，有的盘根露土，有的枝干虬曲向左右弯斜。\n从此画题识看，该图是强余模写之作，作者对所熟悉的环境加以提炼、概括。 由自题可知，该图作元至正三年（1343年）。\n该图中，山头、山脊与怪石交织互抱，盘亘而上，变为一大平原，而从山腰到山顶，却有折搭、转换、穿插种种奇趣。凡此均非庸手所能。纯用于笔，浓墨淡墨兼施，轮廓与皴擦融为一体，尤其是善用空白，把山顶、山背、岩际、石尖，甚至山径，都表现出来。不加渲淡，不作苔点，更见笔墨凝重和骨力之美。在线条的组织与结构上，似乎十分紧密，然而石罅飞泉，山间停云，质实中还见虚灵。另一方面，作为全图的主峰却不嫌孤单，它的背后远岫罗列，它的腰际和云层里露出几个小山头，彼此之间如相揖让。这样的艺术想象、艺术构思与艺术手法，反映了大自然的节奏与生命，以及画家活泼泼的审美感情，而且和道家修养分不开。至于行笔坚硬朴实，则从传统中来。山石不以苔点修饰，乃唐人画法。明王铎题关仝《秋山晚翠》：“结撰深峭，骨苍力厚，婉转生发，又细又老，磅礴之气行于笔墨外，大家体度固如此。”冷谦此图庶几近之。而荆浩自许笔墨俱胜，米芾指出其山水特征在于“云中山顶，四面峻厚”，此图似乎兼而有之。",[25,26,7,77,129,130,132,170,134,193,270,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99888b1ef6398d1704122c6248807861.jpg","纵84.4厘米，横41.4厘米",[138],{"id":31590,"slug":31591,"title":31592,"dynasty":72,"author":24536,"museum":74,"description":31593,"tags":31594,"thumbUrl":31595,"material":31596,"size":31597,"collection":100,"collections":31598,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},231380,"xue-ye-fang-dai-tu-zhou-wen-jing-231380","雪夜访戴图","此图画东晋王徽之雪夜乘舟访问朋友戴达的故事。王徽之，东晋琅玡临沂(今属山东)人，字子猷，王羲之之子。曾任桓温的参军，性格浪漫，联拘小节。居山阴（今浙江绍兴）时，夜大雪，眠觉开室命酌酒。四望皎然，因乐彷徨，咏左思《招隐诗》，忽忆戴安道（戴达）。时戴在剡（今浙江嵊州），便夜乘小船就之。经宿方至，造门不前而返。人问其故，王曰：[吾本乘兴而行，兴尽而返，何必见戴？]该幅即画此故事分情节。用笔老辣，烘染精到，设色雅淡。\n该画表现的是晋朝王徽之的故事。故事为某夜徽之于梦中醒来，见雪后初霁，月色皎洁，突然萌发拜访好友戴逵的念头。于是，不顾路遥夜深，雇船前往。但到了目的地，徽之又放弃了与戴逵见面的打算，沿江返回。别人不解地问他为何这么做，他说：“乘兴而来，兴尽而返，岂必见安道耶?”正因为他与戴逵都是性情中人，卓荦不羁，故两人的友谊好像也升华为形而上的境界。在徽之看来，友谊重在心中而非形式，见面与否了无差别。这种带有禅意的观点被传为佳话，并且成为后世画家笔下喜欢表现的题材。\n《雪夜访戴》图中，一只小船行驶在江面，站在船头、船尾的梢公奋力地划着；船上蓬中透着微弱的灯光，显见夜色已深；蓬外有一童仆，蓬内的人大概就是王徽之了。全画构图简约旷远，用笔虚多实少，着力于对“夜访”主题的渲染，营造了画面的气氛：近处墨色较深，远处墨色朦胧，坡岸上及被夜色遮掩的茅屋顶上覆盖着白雪，虚灵空潆的笔调，显示出雪夜的寂静和寒冷，真是一幅令人心旷神怡的雪夜行舟图。画中山、石、树木的处理，有马远的笔法，而积雪则有元人韵味。",[25,129,7,77,130,349,29,521,614,3880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a3c7b82a51466d66d727a37a78efe2.jpg","绢本，淡设色","纵：161.5，横：93.9厘米",[],{"id":31600,"slug":31601,"title":31602,"dynasty":72,"author":1614,"museum":74,"description":31603,"tags":31604,"thumbUrl":31605,"material":214,"size":31606,"collection":100,"collections":31607,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},231374,"song-xia-guan-quan-tu-wen-zheng-ming-231374","松下观泉图","本幅画高士二人，隔溪闲话，一童携琴，自松间来。近景松林，笔墨细淡，结顶一山，却粗重如奔云，命意堪称奇绝。文征明个性谨饬，工画精细小幅，此帧属高头巨制，于文画中极为罕见。\n白云盤滞山腰，飞泉来自重巖深处。溪谷一人临流，坐听松风，眼观飞泉。款题「文壁」，旧传文氏四十岁前名「壁」，四十岁后改「徵明」。据此名款与其画风，约为四十岁左右之作。",[25,77,130,27,7,378,193,29,129,132,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c15d5fad3064f8f1718c21a27d80b1a.jpg","纵348.2cm，横104.6cm",[],{"id":31609,"slug":31610,"title":31611,"dynasty":72,"author":50,"museum":74,"description":31612,"tags":31613,"thumbUrl":31614,"material":19373,"size":31615,"collection":100,"collections":31616,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},231358,"yuan-ren-hua-lie-qi-tu-zhou-yi-ming-231358","元人画猎骑图轴","一队人马行进於秋林之中，人物之衣冠，马匹之鞍具，与李唐、陈居中文姬归汉图之胡骑甚相似。但此幅用笔较为纤秀，旧传为元人之作。",[25,26,7,28,27,29,196,252,253,79,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad70a4cebe3d61e2604c96263c616d7.jpg","39.4x60.1公分",[],{"id":31618,"slug":31619,"title":31620,"dynasty":18,"author":31621,"museum":331,"description":31622,"tags":31623,"thumbUrl":31624,"material":100,"size":100,"collection":100,"collections":31625,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},230920,"yin-tang-xiao-yue-tu-lan-tao-230920","银塘晓月图","蓝涛","此作用笔清隽工细，设色雅致柔和。暮春晓月晕开朦胧柔光，池畔梨花如云叠缀，柔枝轻曳舒展，将春夜清寂揉入花枝。绣眼静栖枝头，羽色苍褐温润，身形灵动传神，似在聆听春夜余声。画面留白疏朗空灵，师法宋元院体意趣，将幽淡宁和的春夜诗意凝于尺幅，尽显古典花鸟的雅致韵致，把塘边春宵的温柔静谧永远定格于绢素之中。",[23,25,26,24,7,27,28,113,59,115,287,1373,1126,1275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcafc6fa2c004fa104f0237b2fc2238e0.jpg",[],{"id":31627,"slug":31628,"title":31629,"dynasty":72,"author":389,"museum":331,"description":31630,"tags":31631,"thumbUrl":31632,"material":198,"size":780,"collection":100,"collections":31633,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},228479,"cao-wu-pu-tuan-tang-yin-228479","草屋蒲团","《草屋蒲团图》又名《虚亭听竹图》，是唐伯虎  中晚期创作最为丰富和成熟时期的作品，图绘江南初秋士人蒲团之上晨读之情景。画面环境幽雅清静，给人以深厚、凝重之感，呈现出大自然的生动景象。属于唐氏作品中少见的浑厚、凝重的作品。",[23,25,26,7,77,130,97,80,29,129,31,10195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3366fd1cdf4d4aac38338b2afddae630.jpg",[],{"id":31635,"slug":31636,"title":4357,"dynasty":72,"author":22339,"museum":331,"description":31637,"tags":31638,"thumbUrl":31639,"material":100,"size":100,"collection":100,"collections":31640,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},228461,"fang-huang-zi-jiu-shan-shui-tu-sheng-mao-ye-228461","此作用笔追摹黄公望苍厚朴茂的披麻皴，山峦层叠盘桓，以高远之势铺陈丘壑，兼具深远之致。林麓间山居屋舍错落，溪泉萦回，苍松挺立点缀幽壑，暗含元人山水萧散淡远的意趣。\n\n画家师法前贤却不囿于摹写，以温润秀雅的笔调，将富春山居的平淡天真复刻传神，把晚明文人寄情林泉的雅趣融在笔墨间，既恪守元画的空灵气韵，又自含清隽的个人意韵，尽显林泉高致的悠远意境。",[23,25,26,7,129,77,130,132,170,172,733,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6db1427bc5215e0f3e4bb071162d0a8.jpg",[],{"id":31642,"slug":31643,"title":31644,"dynasty":72,"author":31645,"museum":331,"description":31646,"tags":31647,"thumbUrl":31648,"material":100,"size":100,"collection":100,"collections":31649,"showCount":916,"zanCount":11,"manualWeight":43,"mainColor":342},228436,"chun-shan-ben-quan-tu-wei-zhi-huang-228436","春山奔泉图","魏之璜","此作以高远取景，主峰奇崛通透，洞天别具一格。山石勾勒皴擦，尽显雄浑苍厚质感，奔泉辗转穿流于丘壑之间，暗涌的水势让纸面生机暗藏。\n\n松翠掩映间楼阁隐现，晕染出林泉幽居的雅意。左下角临流高士凭栏观涛，以人衬景，将山林隐逸之趣铺展开来。笔墨苍润朴拙，淡墨晕染出春日山岚的氤氲氛围，把自然丘壑的野趣与文人寄情山水的襟怀相融，尽显雅致沉静的山水意境。",[23,25,26,7,77,129,130,132,170,193,878,29,427,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c21c776318bf0149469bc3d6a7a4db2.jpg",[],{"id":31651,"slug":31652,"title":31653,"dynasty":207,"author":11859,"museum":331,"description":31654,"tags":31655,"thumbUrl":31656,"material":100,"size":100,"collection":100,"collections":31657,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":342},228076,"li-xian-xiang-zhou-yan-hui-228076","李仙像轴","以宣传道教教义与神仙 为主要内容的造型艺术。\n包括日常供奉和用于斋醮等祈禳祭祀活动的神仙画像或雕塑的神像、故事画、水陆画以及宫观的藻饰与法器上的花纹图案、浮雕等。\n制作神像，形式多样。\n《太上洞玄灵宝国王行道经》称造像“随其所有,金银珠玉，绣画织成,刻本范泥,凿龛琢石,雕牙镂骨,印纸图画”等均可,只要“一念发心，大小随力,庄严朴素,各尽当时”。\n但具体制作，皆有定式。\n据道书《洞玄灵宝三洞奉道科戒营私》规定,造像必须“依经具其仪相”，“衣冠华座，并须如法”。\n天尊“帔以九色离罗或五色云霞、山水杂锦”等，“不得用纯紫、丹青、碧绿等”。\n真人“不得散发、长耳、独角，并须戴芙蓉、飞云、元始等冠”。\n左右二真“或持经执简，把诸香华，悉须恭肃，不得放诞手足，衣服偏斜”等。\n早期道教的塑像或画像曾经受到佛教艺术一定的影响。\n唐释法琳《辨正论》引王淳《三教论》云：“近世道士，取活无方，欲人归信，乃学佛家制作形像。\n假号天尊，及左右二真人。\n”唐太宗为王远知建太平观以及王轨重建茅山华阳观，其内殿塑造元始天尊像一躯，都取左右二真人夹侍的形式。\n其后，号然又取法佛教在诸天神头部加添圆光，但是，其形象是中国化的人物面貌，其创作思想深受道家哲学和道教教义的影响，其技法又是中国古铜器、汉画像砖以及古代人物画技法的直接继承，具有明显的道教美术自身的风格。\n有 北郊清源山老君像巨型石刻，晋祠彩塑以及元代的龙山石窟等。\n其中泉州石刻老君像，背松倚望，意态谦恭，两眼平视，慈祥和蔼，美须大耳，左手依膝，右手靠几，全身线条遒劲有力，洗炼概括。\n石像高5.1米,以整块天然巨石雕成，宏伟壮观，是道教造像艺术中的珍品。\n太原晋祠圣母殿创建于北宋天圣(12～12)年间，有圣母、宦官、女官及侍女像共4尊彩塑,以皇后、群臣、宫女的生活形象为范本,脸型、体态和感情流露都近于世俗生活的原型（见彩图）。\n龙山石窟，在太原西南约2公里处。\n始建于元元贞六年(1295)以前，窟内雕有三清、虚皇、张天师、三皇、玄真子、披云子和北七真的石像。\n主要修建者为随邱处机西游的十八行者之一的宋披云。\n他还增修龙山石窟五个洞，使其“殿阁峥嵘，金碧丹艧，如鳌头突出”。\n既运用中国传统的绘画手法，又力图体现道教的教义思想。\n以“画以立意”为宗旨，采用“以形写神”和“以神写形”的方法。\n在创作中不仅调动“出水”、“当风”等多种艺术手段，而且体现了道教对绘制神像的种种要求。\n唐开元二十九年 (741)，画玄元皇帝(太上老君)像，并以高祖、太宗、高宗、中宗、睿宗等五像陪祀。\n画家吴道子有五帝、五官、星宿像等，其中画于河南鹿邑太清宫的太上玄元皇帝像，史载系绢本，即绘于单幅绢上，不施裱褙，供奉时悬挂于壁间架上，后刻石于苏州玄妙观，才得以传世。\n秦汉间神仙思想盛行，在藻饰宫殿、陵墓的美术作品以及帛画中，常有关于神仙、祥异等内容。\n辽宁金县营城子汉墓壁画，其左上端云气缭绕，中有一人，身披羽毛；右上端有一龙，昂头相向。\n画中央有戴三山冠的佩剑人和白发之老翁，作神仙与墓主言谈状。\n壁画黑仙人佩剑、羽衣、须发、云气等形象朴茂高古，线条古朴随意，为道教壁画的先声。\n现存的泰山岱庙天贶殿的巨幅壁画《 》，以皇家宫廷生活为模式，描绘泰山神东岳大帝出巡和回銮的情景，场面浩大，人物众多，生动逼真，山水人物相互衬托，艺术的世俗化倾向浓厚，虽经明、清画工重加彩绘，工匠制作痕迹较重，但尚能体现宋代道画的特色。\n元代宫廷设有“诸色人匠总管府”，专门管理修建宫廷庙宇的各种工匠,彩塑家刘元统领“梵像提举司”,各地著名画工还加“待诏”衔。\n元代初期道教全真道曾盛极一时，山西永乐宫道教壁画就是集唐宋道画传统的中国美术史上的杰作。\n永乐宫壁画画面长9.68米，高4.26米,实绘大小神像共 286尊。\n三清殿壁画沿用《朝元仙仗图》的样式，以“三清”为中心，组成层次井然的仪仗，表达出“三清譬如北辰，居其所而群神拱之”的意思。\n全画分成多组，有雷公雨师、南斗六阙、北斗七星、八卦神君、十二生肖神君、 、三十二天帝君等群像。\n每位帝君和圣母左右均有十余名玉女侍奉。\n云气缭绕，壮丽浩荡，金碧辉煌，显示出元代道画画工们巨大的构图能力。\n线条圆润流畅，色彩浓淡相谐，宁静清逸，庄严肃穆。\n纯阳殿另有《纯阳帝君神游显化之图》壁画共52幅，七真殿有叙述全真教创始人王重阳诞生、得道、成仙和历次度化马丹阳、孙不二、邱处机等北七真事迹的故事画共42幅。\n这些壁画把山水、花鸟、鞍马、界画和人物糅合在一起，以表现人物情节为主。\n永乐宫壁画是由元代民间画工集体绘制而成的，他们堪称14世纪中国绘画史上最具有创造性的民间艺术家。\n元代以降，各地道观虽亦有以壁画传世，但大都陈陈相因,因袭模仿,无甚佳作。\n以道教故事、神仙思想为题材的道画，历久不衰，画家辈出。\n晋代画家顾恺之崇尚老庄，多以龙为题材作道画，附会老子犹龙之说法，其后云龙遂成为道画的特色之一。\n据《贞观公私画录》，顾恺之还画过《刘仙像》、《三天女像》等，并且著有《画云台山记》，叙述他的道祖故事画的内容和构思。\n画面上有丹崖险峻高大，颜色红紫，显示其为神仙之境。\n张天师脸形瘦削，飘然若仙，于丹崖七试弟子。\n其弟子王长穆然坐答，赵升神爽气怡。\n另二弟子则魄散神飞、汗流失色。\n唐代吴道子道释画兼擅。\n画家张素卿本人就是道士，乾符（874～879）中居四川青城山常道观，史载曾画有《老子过流沙图》、《五岳朝真图》、《九皇图》、《五星图》、《老人星图》、《二十四化真人像》、《太无先生像》等。\n前蜀主王建修青城山丈人观，请其于真君殿上画五岳、四渎、十二溪女、山林、溪沼、树木诸神及岳渎曹吏。\n蜀主诞辰时，张素卿画十二仙真，备受赞赏。\n凡有醮斋，开悬供奉。\n据《图画见闻志》称，五代时有名画家25余人，其中以道释画为主者达11人。\n丰富了道画的表现力。\n画家武宗元曾在宋真宗营造玉清昭应宫时,居名应召画殿画匠之首，史载，他17岁就画北邙山老子庙壁，颇称精绝。\n其传世道画《朝元仙仗图》原是壁画粉本，长 6米，高.48米。\n描绘南极天帝和东华天帝君率领仙官、侍从和仪仗朝谒玄元皇帝的场面，共有神仙人物87名，其中男仙11名，神将8名,余皆为手捧供品、仙果、乐器的仙女。\n画幅以手持宝剑的护法神开道，以甲卒、神将殿后，其中二天帝君都略高大于其他神仙，其处理手法与唐阎立本《历代帝王图》相类。\n各神仙的头上或身旁都有一个长形墨线描画的题名牌框，并标上该神仙的尊号，如“东华天帝君”、“扶桑大帝”等。\n全图主次分明，层次井然，线描人物各具神态，不相雷同，线条流畅，具有线描艺术的韵律感。\n宋元文人作画崇尚卷轴、册页、扇面，或有以道教题材结合山水、花鸟的内容，追求“清静无为”的境界，形成了超逸、淡泊、高雅的艺术风格。\n元代有些画家,如黄公望、张彦辅、马臻、方从义等本人就是道士。\n张渥所作《九歌图》和《太乙真人像》等，以白描手法描绘太乙真人手执如意,乘舟荷叶,舒展飘逸的“仙风”。\n元代画家颜辉有传世之作《李仙像》轴，画八仙之一的铁拐李，侧坐石上，神情肃穆，笔法精劲，人物与山水融和，表现了画家洒脱、超逸的情趣。\n明代画家吴伟所作《北海真人》，写骑龟仙者悠然泛海，昂首天外，无拘无碍。\n清代扬州画派金农所作的张天师像，更以古拙的笔墨趣味，表现画家超凡逸群的情思。\n当代画家张大千早年曾久居四川青城山，所绘王母、麻姑、陈抟、纯阳和张陵等道画，刻石于山，至今犹存。\n宋元以后，道教失去朝廷的支持，文人道画也逐渐衰微而同民间美术相结合。\n此后各地民间画工广泛从事于壁画、版画、年画以及用于道教斋醮活动中的水陆画。\n道教斋醮仪式中则广泛使用民间木雕、刺绣以及纸扎工艺美术品作为法器或陈设。\n各道观建筑中也普遍采用民间广泛流传的八仙、麒麟、万年青等吉祥辟邪的装饰图案。\n木版印制的门神、灶君、关帝、财神等神像，在民间流传尤盛。",[23,25,26,7,54,29,129,77,28,169,35,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff919d05c6f3b085bd2715d0b212f39ef.jpg",[],{"id":31659,"slug":31660,"title":31661,"dynasty":18,"author":4998,"museum":331,"description":31662,"tags":31663,"thumbUrl":31664,"material":100,"size":100,"collection":100,"collections":31665,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},224392,"tao-yuan-chun-zhou-tu-wang-yuan-qi-224392","桃源春昼图","此作用元人笔法绘就世外幽境，干笔积墨皴擦山峦，层层叠叠尽显苍浑厚重。近岸林木疏朗，粉桃绽枝，村居隐于水畔林间，溪桥连通幽处，晕染出春日清和柔缓的氛围。\n\n诗画相映，鉴藏朱印错落点缀，将武陵桃源的隐逸意趣融于尺幅之中。整体章法疏密有致，笔意内敛沉静，以苍润笔墨铺展出出世忘尘的澹然意境，尽显文人山水的清雅格调，藏着山居春日的闲逸悠然。",[23,25,26,129,28,130,498,252,56,170,212,134,193,79,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4861bc4696e9917281ec8d93b88f9dcf.jpg",[],{"id":31667,"slug":31668,"title":129,"dynasty":18,"author":31669,"museum":331,"description":31670,"tags":31671,"thumbUrl":31672,"material":100,"size":100,"collection":100,"collections":31673,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},224290,"shan-shui-fan-song-224290","范松","此作以全景铺展丘壑，层峦叠嶂间烟岚轻笼，将高远、平远之景相融。崖岫间红墙古寺半隐，晕染出点睛亮色，打破黛山翠林的沉静。\n\n林麓间村居错落，板桥跨溪通幽，浅滩漱石、流泉回环，把山居烟火与林泉野趣织为一体。笔墨苍秀老辣，以短皴写山石嶙峋肌理，林木枝桠攒簇尽显苍劲葱茏，淡赭轻敷衬出秋意清寂，整体气息静穆澹远，将文人心中栖隐林泉的意趣藏入层叠丘壑之中，观之如身临幽寂山境，揽尽林泉雅致。",[23,25,28,130,7,129,134,193,377,170,132,269,733,1717,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393c5de365c8e65858e3c9cf20b1c1d5.jpg",[],{"id":31675,"slug":31676,"title":31677,"dynasty":18,"author":3408,"museum":74,"description":31678,"tags":31679,"thumbUrl":31680,"material":1320,"size":31681,"collection":39,"collections":31682,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},223327,"di-shi-liu-a-bi-da-zun-zhe-zhou-ding-guan-peng-223327","第十六阿必达尊者轴","乾隆皇帝第二次南巡时诣访杭州圣因寺，曾将寺中所藏唐贯休（823-912）十六罗汉像的序位及名号详加考订后送还，并命丁观鹏摹绘一组。此次展出其中两轴。该组罗汉除屡屡被重绘外，亦依其形象制作玉雕，是南巡衍生出的图像新好尚。",[23,25,26,7,54,27,28,29,35,1405,79,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92204ef8ac0f1ceed31060bb9280cade.jpg","127.5x57.5厘米",[39,158],{"id":31684,"slug":31685,"title":31686,"dynasty":18,"author":235,"museum":236,"description":31687,"tags":31688,"thumbUrl":31689,"material":1573,"size":31690,"collection":100,"collections":31691,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},223228,"yue-ye-shan-ji-tu-ren-yi-223228","月夜山鸡图","本幅款识：“墨君仁兄有道之属伯年写于鸿城庽斋。”钤“颐印”白方印。收藏印钤“虞山张青莲博士鉴藏”。\n任颐的花鸟画多有兼工带写、明丽活泼的特点。画中巨石用淡墨勾写，以赭色随意勾描石上的丛草，竹子采用工写结合的方法，山鸡则以短粗的线条细细地绘出其皮毛的质感，又以浓淡设彩的变化呈现其体积感，使山鸡神情毕肖。全图用笔奔放灵活，设色淡雅清新，构图平中求奇，静中寓动。\n1998年，由北京大学张青莲教授转让，故宫博物院购藏。",[23,25,26,7,28,113,17834,78,35,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f8caca1ede984a66f9290ea96cb503.jpg","纵111.2cm，横55.4cm",[],{"id":31693,"slug":31694,"title":1381,"dynasty":18,"author":31695,"museum":331,"description":31696,"tags":31697,"thumbUrl":31698,"material":214,"size":31699,"collection":100,"collections":31700,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},223129,"shan-shui-zhou-qian-wei-qiao-223129","钱维乔","钱维乔（1739-1806）清文学家、戏曲家。字树参，季木，小字阿逾，号曙川，又号竹初，半园、半竺道人、半园逸叟、林栖居士等。江苏武进人。乾隆十年状元钱维城之弟。乾隆二十七年（一七六二）举人。曾讲学于如皋露香草堂，门前种竹，自号竹初居士。\n钱维乔早岁即工翰墨，得其兄钱维城之传，为兄代作，已咄咄逼真，而文秀之气过之。后笔尤苍厚，山水茂密不繁，峭秀不塞，作家士气兼备。晚岁笔墨尤精，随意所作，疏老苍浑。因作品风格酷似其兄，当时有“常州二钱”之誉。",[23,25,77,130,7,129,252,56,253,427,169,733,172,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5830d888db626572c39148425b0144.jpg","68x35",[],{"id":31702,"slug":31703,"title":31704,"dynasty":72,"author":7501,"museum":11648,"description":13327,"tags":31705,"thumbUrl":31706,"material":2583,"size":13333,"collection":100,"collections":31707,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},222224,"si-wan-shan-shui-tu-wan-qing-qing-bo-wen-bo-ren-222224","四万山水图-万顷晴波",[23,25,26,7,77,130,129,349,151,170,351,153,1742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4c610a6dfca13ab7aee91938ded7bf.jpg",[],{"id":31709,"slug":31710,"title":3549,"dynasty":72,"author":13420,"museum":74,"description":31711,"tags":31712,"thumbUrl":31713,"material":182,"size":31714,"collection":100,"collections":31715,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},222159,"shan-zhuang-gao-yi-zhou-li-zai-222159","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[23,25,364,7,77,130,252,56,134,193,349,377,269,484,131,29,169,3552,133,3880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9606b6f97673ebd0ca6b1996030ab49.jpg","纵188.8cm、横109.1cm",[],{"id":31717,"slug":31718,"title":31719,"dynasty":207,"author":50,"museum":74,"description":31720,"tags":31721,"thumbUrl":31723,"material":28,"size":31724,"collection":39,"collections":31725,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},221777,"ying-zhen-xiang-liu-zhou-yi-ming-221777","应真像（六）轴","全幅线条运笔相当流畅，有简洁净雅的韵味，人物五官手足以细瘦而轻淡的描线，衣服褶纹则笔致较为粗重而浓厚，全身并施以薄薄的晕染，袈裟水田纹有华丽的图案。\n尊者的容颜是肖像画的手法完成的，或浓眉大眼，或胡须横腮，或皱纹满面，眼窝四周并涂上厚厚蛤粉。此种造形给人以一股沉郁之感。",[23,25,26,7,54,28,27,29,131,35,129,351,34,31722,3673,79],"念珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e946c6fb32967bbf5ea25f7204f80cc.jpg","该幅104.1x50.3公分；全幅 74.2公分",[39,158],{"id":31727,"slug":31728,"title":23342,"dynasty":283,"author":20301,"museum":23343,"description":31729,"tags":31730,"thumbUrl":23346,"material":6921,"size":100,"collection":100,"collections":31731,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},220512,"jing-guan-pu-xin-she-220512","这幅山水以高远之法布景，峭拔崖壁斜出画面，留白铺就空濛意境。淡青绿轻染山石，细笔皴擦出嶙峋肌理，兼以枯笔点苔，苍润兼具。坡岸虬松古木，枝桠舒展，细笔写叶，尽显葱茏生机，林下藏幽壑，隐见深林意趣。\n题诗与画境呼应，将空山泉响的松风禅意融于笔墨间。以书入画，笔致隽秀萧散，淡墨轻岚里铺陈出林泉高致的隐逸心境，简淡中见苍厚，清和中藏浑朴，尽显传统文人山水的文心雅韵，将中式山水的静穆诗意藏于尺素之间。",[23,25,26,7,77,28,130,129,351,170,6208],[],{"id":31733,"slug":31734,"title":31735,"dynasty":93,"author":6402,"museum":6403,"description":6404,"tags":31736,"thumbUrl":31737,"material":37,"size":6407,"collection":100,"collections":31738,"showCount":916,"zanCount":11,"manualWeight":43,"mainColor":44},220114,"shi-liu-luo-han-tu-di-jiu-zun-zhe-jin-da-shou-220114","十六罗汉图-第九尊者",[23,25,26,7,54,28,27,29,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c3d1ef950c8e95f90779471aca94c0b.jpg",[],{"id":31740,"slug":31741,"title":31742,"dynasty":72,"author":31743,"museum":5554,"description":31744,"tags":31745,"thumbUrl":31746,"material":82,"size":31747,"collection":138,"collections":31748,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},219937,"xia-shan-qing-liu-tu-gao-yan-219937","夏山清流图","高俨","高俨（1616年-1687年），清代画家，字望公，广东新会人，博学多艺，工诗书画，被称为三绝，有名于岭南。 与当时岭南文坛画苑的陈子壮、王邦畿、陈恭尹、张穆等交朋友。明朝亡，不愿“ 颜事贼”，是一个具有民族气节的文人。",[24,25,26,7,77,129,169,193,170,521,377,29,132,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc764d0b30f2bda069eac4e527320714b.jpg","175x38",[138],{"id":31750,"slug":31751,"title":31752,"dynasty":207,"author":19483,"museum":6403,"description":31753,"tags":31754,"thumbUrl":19486,"material":82,"size":100,"collection":39,"collections":31755,"showCount":916,"zanCount":11,"manualWeight":43,"mainColor":88},219690,"xian-zi-he-shang-ke-weng-219690","蚬子和尚","这幅画以极简水墨写就，淡墨铺陈出空寂浅滩，右上角老干垂藤以枯笔皴擦，大片留白衬出清寂禅意。作者以写意笔法勾勒人物，寥寥数笔便将和尚的自在情态尽显无遗：赤脚立在滩涂，手抬拭目似正临水观照，肩挎渔捞，身形简括却神完气足。\n\n笔墨枯湿浓淡相生，舍去繁缛细节，以空灵淡远的意境传递出禅者物我相融的自在心境，简淡之中藏着超脱世俗的禅机雅趣，尽显禅画以形写神、简而意丰的美学意趣。",[25,26,77,7,29,253,57,54,304],[39],{"id":31757,"slug":31758,"title":31759,"dynasty":18,"author":31760,"museum":236,"description":31761,"tags":31762,"thumbUrl":31763,"material":136,"size":31764,"collection":39,"collections":31765,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":88},219689,"bao-shi-chen-xiao-xiang-wan-lan-219689","包世臣小像","万岚","清代学者、书法家、书学理论家，嘉庆十三年举人，官江西新喻知县，因劾去官，工书法，详论古人书法得失，雅重北碑，自成一家之言，著有《小倦游阁文稿》、《安吴四种》。包世臣像取自《清代学者像传》第二集，叶公绰辑，杨鹏秋摹绘。包世臣画像取自安徽省立图书馆民国间编印《安徽先贤像》。",[23,25,26,7,29,28,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf75a381a6b39b8d464187552fea7f2.jpg","157.8x61.5厘米",[39],{"id":31767,"slug":31768,"title":31769,"dynasty":72,"author":50,"museum":1714,"description":31770,"tags":31771,"thumbUrl":31772,"material":37,"size":100,"collection":84,"collections":31773,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":342},219535,"zhu-lin-ba-ge-tu-yi-ming-219535","竹林八哥图","暗沉古雅的绢面晕染出幽寂林境，数只八哥各呈姿态，或振翅抬爪欲冲入林梢，或引颈长鸣呼应同伴，又有三两纠缠、翅爪相搏，将林间野趣尽数铺展。\n\n画师笔致精微，禽鸟绒羽纤毫毕现，枯竹萧疏苍劲，写意中带着朴拙生趣，动静之间把郊泽林泉间的鲜活生机凝于绢素。幽淡沉郁的底色托衬出灵动生灵，让沉寂古画晕开自然生息，尽显传统花鸟的雅致意趣。",[25,26,7,27,28,113,31,151,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1830ee54c82e5d7fc63950769ab6164a.jpg",[84],{"id":31775,"slug":31776,"title":31777,"dynasty":93,"author":23915,"museum":74,"description":31778,"tags":31779,"thumbUrl":31780,"material":2391,"size":31781,"collection":100,"collections":31782,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":44},219487,"san-yuan-de-lu-tu-yi-yuan-ji-219487","三猿得鹭图","画在深山悬崖上的一棵老桂花树上，黑、灰、白三只猿正在捉小白鹭。 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意思是。",[25,2844,27,28,113,241,8959,1891,170,536,151,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa52192bd8849e9471b8b5eddc6dd495.jpg","72.7x32.1",[],{"id":31784,"slug":31785,"title":31786,"dynasty":17693,"author":31787,"museum":209,"description":31788,"tags":31789,"thumbUrl":31790,"material":100,"size":100,"collection":84,"collections":31791,"showCount":916,"zanCount":11,"manualWeight":43,"mainColor":31792},203398,"yi-ben-wan-li-tu-zhou-ding-bao-shu-203398","一本万利图轴","丁宝书","这幅画作以荔枝树为主体，虬干旁逸，枝桠间红荔簇生，色泽鲜妍饱满，叶片墨色浓淡相衬，尽显生机。两只喜鹊动静相宜，一栖枝头引吭，一振翅欲飞，姿态鲜活灵动。山石以写意皴擦，笔墨苍劲朴拙，与花果的明丽形成对比。整体构图错落有致，笔墨工写结合，于自然生趣中寄寓“一本万利”的吉祥意涵，传递出质朴而热烈的美好祝愿。",[25,113,28,27,130,7,151,5239,7427,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3dacf2b1cfcd82a1526e59119ec7e59.jpg",[84],"beb4aa",{"id":31794,"slug":31795,"title":31796,"dynasty":17693,"author":5710,"museum":209,"description":31797,"tags":31798,"thumbUrl":31800,"material":100,"size":100,"collection":39,"collections":31801,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":31802},203168,"xun-hu-shi-nv-tu-zhou-zhang-shan-ma-203168","驯虎仕女图轴","画中仕女温婉伫立，衣纹流转如行云，眉目含情带浅笑，尽显柔婉风姿；卧虎伏于其侧，斑纹劲利，毛发蓬松，虽静卧却虎目炯炯，隐透威猛。笔墨技法上，仕女以细腻线条勾勒，设色淡雅清润；老虎则工写结合，皮毛质感毕现，虎姿生动传神。构图疏密有致，留白处与右侧题跋相映，添空灵之韵，驯虎主题奇趣横生，柔与刚的碰撞在画面中和谐交融，尽显两位画坛名家的联袂妙思。",[25,7,28,29,30,5713,241,27,31799,23],"笔墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e29d7f12d098347df74e7977aadcc52.jpg",[39],"e0d3c2",{"id":31804,"slug":31805,"title":31806,"dynasty":17693,"author":25912,"museum":209,"description":31807,"tags":31808,"thumbUrl":31810,"material":100,"size":100,"collection":138,"collections":31811,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":31812},203167,"fang-hong-ren-shan-shui-tu-zhou-feng-chao-ran-203167","仿弘仁山水图轴","此图承弘仁山水之清冷孤峭，以劲挺线条勾勒奇峰怪石，折带皴法皴擦山石肌理，尽显岩壑峻拔之势。山间枯松虬曲，枝干如铁，与嶙峋山体相映成趣；溪流蜿蜒穿谷，茅舍隐于林麓，添几分烟火气却未破清寂。淡墨层层晕染，留白疏密有致，营造出空灵悠远的禅意。笔法简洁而意韵深厚，既得弘仁“瘦处见腴、密处见空”之妙，又融自身笔墨情致，为仿古山水之佳构。",[25,7,129,77,130,945,9787,31809,172,12276,23],"枯松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9379624ab34494693db323230b352b99.jpg",[138],"cec4b5",{"id":31814,"slug":31815,"title":31816,"dynasty":17693,"author":28684,"museum":209,"description":31817,"tags":31818,"thumbUrl":31819,"material":100,"size":100,"collection":138,"collections":31820,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":31821},203124,"zhou-po-ya-shan-tu-zhou-he-xiang-ning-203124","舟泊崖山图轴","近岸嶙峋石矶上，老树虬枝与垂柳相映，苍劲中含柔态。崖畔孤舟静泊，似承天地之寂。远山巍峨，云雾轻笼如纱，水墨晕染出空濛悠远之境。写意笔法简练传神，山石皴擦见肌理，树木线条灵动，融山水静谧与文人意趣于一纸，尽显自然清韵与心境之宁。",[25,77,129,349,131,130,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e386975d81e8f789975e7eecaf1f87a.jpg",[138],"cfc6b7",{"id":31823,"slug":31824,"title":8535,"dynasty":17693,"author":28684,"museum":209,"description":31825,"tags":31826,"thumbUrl":31827,"material":100,"size":100,"collection":138,"collections":31828,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":31829},203008,"shan-shui-tu-zhou-he-xiang-ning-203008","画面山峦层叠，皴笔皴染山石肌理，墨色浓淡相间，显丘壑之幽深。近景林木葱郁，竹影摇曳，流水绕石潺潺，小桥卧波连岸；中景山居隐于青霭间，似藏林泉逸趣；远景峰峦渐隐，云雾氤氲，添悠远之韵。笔墨苍劲秀润，融自然清幽与文人意趣，尽显山水静谧雅致之态。",[25,7,77,130,129,134,193,31,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417419313b5ce415991668ffe076c511.jpg",[138],"cac6b8",{"id":31831,"slug":31832,"title":31833,"dynasty":17693,"author":1683,"museum":209,"description":31834,"tags":31835,"thumbUrl":31836,"material":100,"size":100,"collection":84,"collections":31837,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":31838},202920,"pen-jing-shan-cha-tu-zhou-xu-bei-hong-202920","盆景山茶图轴","这幅盆景山茶图中，陶盆以简练笔触绘就，质感朴拙。山茶枝干虬曲，墨色浓淡相间，尽显苍劲古拙；叶片设色清新润泽，粉白花朵点缀枝头，姿态娇憨生动，与老干形成刚柔对比。画作融写意笔墨与写实意趣，于方寸间传递文人雅趣，尽显自然生机与艺术巧思。",[25,7,113,77,28,574,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371412f7a46e605a299cb02f4864499e.jpg",[84],"dad2b8",{"id":31840,"slug":31841,"title":26760,"dynasty":72,"author":1024,"museum":209,"description":31842,"tags":31843,"thumbUrl":31844,"material":100,"size":100,"collection":138,"collections":31845,"showCount":916,"zanCount":11,"manualWeight":43,"mainColor":31846},202191,"bei-shan-he-chu-tu-zhou-dong-qi-chang-202191","淡墨皴擦的山峦间，清逸线条勾勒出文人画的空灵。近景虬枝枯树倚着嶙峋山石，小亭隐于树后；远景主峰挺秀，烟云轻笼，夕阳余晖漫洒，意境清寂悠远。笔墨疏朗却含厚重，以书入画的笔意融于山水神韵，师法自然又寄寓主观情致，简淡中见天真，尽显文人山水的雅致气韵。",[25,129,130,5996,521,132,377,3266,967,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607cbdadd7c4984a5c2f9c3d479735ad.jpg",[138],"b1a080",{"id":31848,"slug":31849,"title":31850,"dynasty":18,"author":15996,"museum":209,"description":31851,"tags":31852,"thumbUrl":31853,"material":100,"size":100,"collection":84,"collections":31854,"showCount":916,"zanCount":43,"manualWeight":43,"mainColor":31855},202154,"ying-wu-tu-zhou-hua-nie-202154","鹦鹉图轴","画面中，鹦鹉翠羽红喙，栖息于虬枝之上，姿态悠然。枝干以淡墨勾勒，辅以浓淡晕染，尽显苍劲之态；旁侧竹影疏斜，石色淡蓝与墨痕交融，添得几分清逸。花鸟相映，笔墨灵动间，既见工笔之细腻，又含写意之洒脱，生机盎然中透着雅致。整体画风清新自然，形神兼备，将禽鸟之态与草木之韵巧妙融合，尽显文人画之韵味。",[25,113,28,27,304,78,3869,35,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb329055352f47748cacf86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释文：柔兆涒滩八月望。余侍原实孙先生过杨翁。留饮竟日。焚香啜茗。雅论清事。酒余。翁出扶风马文壁氏所画树石一幅。上有臧祥卿沤鸟。求孙先生题咏。翌日诗成。命予作篆。乃书于上。姑此以识岁月云。南村陶九成",[24,25,26,7,77,129,2557,349,193,12276,14586,4987,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034c21b2cf2060d651f01a28ac02e451.jpg","92x38",[],{"id":31932,"slug":31933,"title":25094,"dynasty":72,"author":1024,"museum":331,"description":5228,"tags":31934,"thumbUrl":31935,"material":198,"size":780,"collection":100,"collections":31936,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},290885,"lin-yan-zhen-qing-gao-shen-tie-zhou-dong-qi-chang-290885",[7,80,945,5902,12712,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a702c680dd706df23fddda3735574fb.jpg",[],{"id":31938,"slug":31939,"title":31940,"dynasty":207,"author":518,"museum":74,"description":6111,"tags":31941,"thumbUrl":31942,"material":82,"size":31943,"collection":100,"collections":31944,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},290832,"xiu-zhu-tu-zhou-ni-zan-290832","修竹图轴",[25,26,7,77,31,80,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F822aa93986d1b9a95aca39bfa639557a.jpg","51x34.5",[],{"id":31946,"slug":31947,"title":31948,"dynasty":207,"author":50,"museum":331,"description":31949,"tags":31950,"thumbUrl":31951,"material":198,"size":780,"collection":100,"collections":31952,"showCount":202,"zanCount":11,"manualWeight":43,"mainColor":44},290798,"liu-hai-chan-xiang-zhou-yi-ming-290798","刘海蟾像轴","刘海蟾是五代宋初的道士，道教全真道将之奉为〝北五祖〞之一。宋元以来，民间流传〝刘海戏金蟾〞故事。今街头店家橱柜犹见置有三脚蟾蜍口衔金钱者，寓意辟财、富贵，皆渊源于此。本幅画刘海蟾像，人物衣纹多以干笔挥就，线条粗放，近似折芦描法。衣带下摆，飘飘欲举，为原本沉寂的画幅，凭添律动之感。题签虽属元代，然其布局与技法，实已开启明季浙派苍劲粗放之先河。",[25,7,77,985,29,15545,1063,14292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c4f79a6cfd1830937f2a3763614cb8.jpg",[],{"id":31954,"slug":31955,"title":31956,"dynasty":207,"author":50,"museum":74,"description":31957,"tags":31958,"thumbUrl":31959,"material":99,"size":31960,"collection":39,"collections":31961,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},290796,"qiu-ting-shu-bi-zhou-yi-ming-290796","秋庭书壁轴","此图绘秋景。庭中一角，高大的枫树与桐树下，文人正在雅玩遣性。一人倚栏赏景，书僮捧册随後。一人挽袖题壁，书僮在后研墨，旁一人立观。两人坐于桐荫，正展卷品赏，旁另有小童数人，或捧卷侍立，或洗茗碗。\n此幅原属一组四张图画，以春、夏、秋、冬四景，分绘文人从事琴、棋、书、画活动。",[25,7,29,28,778,170,7444,23175,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ad887c680e7f8317a1c0bd7c65446a.jpg","133.8x79.9",[39],{"id":31963,"slug":31964,"title":31965,"dynasty":207,"author":50,"museum":331,"description":31966,"tags":31967,"thumbUrl":31968,"material":198,"size":780,"collection":100,"collections":31969,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},290740,"xia-jing-xi-ying-zhou-yi-ming-290740","夏景戏婴轴","元人夏景戏婴图无名款。绘垂杨文石，环以曲槛。一童擎荷盖，一执榴花，一持五毒宫扇，官服髻发。两童持几，几供钟馗，旁设瓶花、水果、粽子等物。一儿以绳系蟾蜍，一儿后随作戏蟾状。 细审人物之开脸，及庭石之苔点画法，颇近于明代中期之后的风格。台北故宫博物院藏另有《元人秋景戏婴》、《元人画冬景戏婴图》二轴，尺寸、画法与此作相似，或许当初系属同一组“春夏秋冬“之四季挂屏，惜今《春景戏婴图》已佚，故难以复原全豹矣。",[25,7,28,29,27,7732,1932,778,5928,1675,404,1674,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a1f2e121a757abedcbc787b6b66408.jpg",[],{"id":31971,"slug":31972,"title":31973,"dynasty":207,"author":3722,"museum":74,"description":10859,"tags":31974,"thumbUrl":31975,"material":82,"size":31976,"collection":100,"collections":31977,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},290733,"xi-ting-shan-se-tu-zhou-ke-jiu-si-290733","溪亭山色图轴",[24,25,77,7,129,377,131,193,79,80,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5599533abc3f93415e3489adb2d0e751.jpg","63x34",[],{"id":31979,"slug":31980,"title":31981,"dynasty":18,"author":9301,"museum":331,"description":23466,"tags":31982,"thumbUrl":31983,"material":198,"size":780,"collection":100,"collections":31984,"showCount":202,"zanCount":11,"manualWeight":43,"mainColor":88},290559,"yu-jing-zhou-xu-yang-290559","雨景轴",[25,26,24,7,77,28,129,29,134,193,269,170,132,18760,79,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5a2b57a8a61a33a6e3b8f169374c0f.jpg",[],{"id":31986,"slug":31987,"title":1381,"dynasty":72,"author":18289,"museum":331,"description":31988,"tags":31989,"thumbUrl":31990,"material":198,"size":780,"collection":100,"collections":31991,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},290356,"shan-shui-zhou-gu-zheng-yi-290356","顾正谊 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笪重光的同乡著名书法家王文治在其所著《快雨堂题跋》中评笪重光的书法“上至章草，下至苏、米，靡所不习。书格超妙，飘然有凌云之气。”可谓推崇备至。笪重光生活的时代正是董其昌书风最为盛行之时，朝野上下以崇董为时尚，而笪重光的书法更强调师法古人，尤其注重用笔。笪重光书法比较注重用笔，在其所著《书筏》中即云：“横画之发（起笔）笔仰，竖画之发笔俯，撇之发笔重，捺之发笔轻……”此幅作品，点划圆润，运笔灵动自然，师法米芾，信笔任墨，字里行间充满沉着悠游风雅的意韵。",[80,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16b47355590f53f076f3bf3c41e3b09.jpg","绫本，行草","纵242.8厘米，横52.5厘米",[101],{"id":32190,"slug":32191,"title":30389,"dynasty":18,"author":3916,"museum":331,"description":11681,"tags":32192,"thumbUrl":32193,"material":198,"size":780,"collection":100,"collections":32194,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},241039,"lu-yu-zhou-jin-nong-241039",[7,80,5199,9557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcda2797e759145c4309370f78080f8e2.jpg",[],{"id":32196,"slug":32197,"title":32198,"dynasty":18,"author":32199,"museum":331,"description":32200,"tags":32201,"thumbUrl":32203,"material":214,"size":100,"collection":101,"collections":32204,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},240889,"wu-lv-zhou-gao-shi-qi-240889","五律轴","高士奇","高士奇（1645～1704年），字澹人，號瓶廬，又號江村。浙江紹興府餘姚縣樟樹鄉高家村（今慈溪匡堰鎮高家村）人，後入籍錢塘（今浙江杭州）。 清代官員、史學家。\n早年家貧。康熙十年（1671年）入國子監，試後留翰林院辦事，供奉內廷。康熙十四年（1675年），授職詹事府錄事，不久升內閣中書，領六品俸薪，住在賞賜給他的西安門內。 高士奇每日為康熙帝講書釋疑，評析書畫，極得信任。康熙十八年（1679年）後，歷任翰林院侍講、侍讀、侍讀學士、《大清一統志》副總裁官、詹事府少詹事。康熙二十八年（1689年）隨帝南巡。冬解職歸裏，居平湖。康熙三十三年（1694年）奉召入京，充《明史》纂修官。康熙三十五年（1696年），三次隨康熙帝西征，深得信賴。翌年，以養母求歸，特授詹事府詹事。康熙四十一年（1702年），升禮部侍郎兼翰林院學士，加正一品，以母老未赴。康熙四十二年（1703年），卒於家，追諡文恪，葬於縣城南郊。\u2028 高士奇是清朝康熙皇帝的近臣，一生效忠於康熙帝，同時也是一位在文史哲諸方面都有貢獻的學者。他平生學識淵博，能詩文，擅書法，精考證，善鑑賞，所藏書畫甚富。著有《左傳紀事本末》《春秋地名考略》《清吟堂全集》《江村銷夏錄》《扈從西巡日錄》《經進文稿》《天祿識餘》《隨輦集》《北墅抱甕錄》《左傳國語輯注》等。",[25,26,7,97,80,79,601,32202],"桐叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a15ff9d4f33fe442ad70f5eda243c9.jpg",[101],{"id":32206,"slug":32207,"title":32208,"dynasty":18,"author":1296,"museum":236,"description":32209,"tags":32210,"thumbUrl":32211,"material":32212,"size":32213,"collection":101,"collections":32214,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},240405,"zeng-gao-xiang-ke-yin-qi-gu-shi-zhou-shi-tao-240405","赠高翔刻印七古诗轴","释文：\n书画图章本一体，精雄老丑贵传神。秦汉相形新出古，今人作意古从新。灵幻只教逼造化 ，急就草创留天真。非云事迹代不精，收藏鉴赏谁其人。只有黄金不变色，磊盘珠玉生埃尘。凤冈凤冈向来铁笔许何程，安得闽石千百换与君 ，凿开混沌仍人嗔。\n署款：“凤冈高世兄以印章见赠，书谢博笑。清湘遗人大涤子草。”款下钤：“伴个溪”、“大涤子”、“大本堂若极”、“清湘遗人”印。引首印为“痴绝”。\n此书是石涛写给凤冈的一首七言古诗，以感谢赠印一事。凤冈即高翔，工书画，兼擅治印，为扬州八怪之一。\n此书以隶书为框架，并参以行楷的笔法，变化丰富。结字并非刻意安排，却能不求工而自工。行笔的笔画虽非完全顺畅，但笔画之粗细，字之大小，形态各异，因此避免了平板单调之感。整幅书法奇宕劲逸，姿态横生，显示出石涛书法艺术的个性和新意。",[26,7,97,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc726ac025a860cc95815b28d7aa6044.jpg","绫本，隶书","纵443厘米，横27.6厘米",[101],{"id":32216,"slug":32217,"title":32218,"dynasty":72,"author":1614,"museum":74,"description":32219,"tags":32220,"thumbUrl":32221,"material":214,"size":32222,"collection":101,"collections":32223,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},240283,"wen-zheng-ming-wu-lv-shi-zhou-wen-zheng-ming-240283","文徵明五律诗轴","按此诗作于甲戌（一五一四）年冬，见甫田集卷五。题为‘张明远索画，久而未成，岁暮阴寒，雪霰将集，斋居无聊，为写溪山欲雪图，并赋短句’。征明诗课甚勤，不当远录旧作，故书成与诗成之日当甚接近，然亦不必同时。书效黄庭坚，全依山谷法度。是年乙未，征明四十六。\n文征明的书法以功力卓绝见长，成就主要体现在精绝的小楷与潇洒的行书上。其小楷宗二王、欧阳询、智永，法度森严，如《归去来兮辞》（北京故宫）。行、唐、宋名家于一体，端庄而不失风流，逍劲而舒徐有余，刚柔相兼，自成一家。陶宗仪赞其：“如风舞琼花，泉鸣竹润。”如北京故宫藏《西苑诗》。晚年大字习黄庭坚，放纵摆右，骨韵兼得，如苏州博物馆藏《三绝书画》手卷。一生不喜作草书，非不能作，《四体千字文》就写的很精彩，但更偏爱工整一路的书体，这与他自身的性情有关。",[26,7,97,80,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadecb45b67a906fc24291dab7a678dd9.jpg","纵191cm，横72.2cm",[101],{"id":32225,"slug":32226,"title":32227,"dynasty":18,"author":32228,"museum":331,"description":32229,"tags":32230,"thumbUrl":32231,"material":198,"size":780,"collection":100,"collections":32232,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":3208},239880,"lin-shi-men-song-zhou-ba-wei-zu-239880","临石门颂轴","巴慰祖","巴慰祖，清（一七四四―一七九三）字予藉，一字子安，号晋堂，一作隽堂，又号莲舫，徽州歙（今黄山市歙县）人。清代篆刻家，他有《四香堂摹印》《百寿图印谱》留传，能得汉印精髓。过去因他作品极少而被列为皖派，但在战后发现的原印看来，与程邃的风格是不同的。",[80,7,945,5199,28,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa052d35779b8a4d077f31b98e7cae51a.jpg",[],{"id":32234,"slug":32235,"title":32236,"dynasty":18,"author":20534,"museum":331,"description":32237,"tags":32238,"thumbUrl":32239,"material":100,"size":100,"collection":100,"collections":32240,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},239417,"feng-a-shan-fang-tu-zhou-qin-zu-yong-239417","凤阿山房图轴","此作用干笔淡墨铺陈丘壑，危崖巨嶂以皴擦点苔写就，苍莽厚重的山石占据画幅上半，尽显沉浑气象。山坳间林木错落，墨色浓淡层叠，掩映出三两村居草堂，堂内二人对坐晤谈，似在叙旧清谈，溪石隐于浅流，萦回环绕，衬出山居幽寂。\n画面上方题跋洋洋洒洒，诗书画融为一体，尽显文人雅致。画作以元人枯淡笔法写胸中丘壑，温婉秀雅，将江南山居的闲逸沉静诉诸笔端，淡墨轻岚间勾勒出世外林泉的栖居之境，尽显传统文人画的林下风流。",[25,26,7,77,130,129,132,170,733,193,427,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1474facd73ef704a532461aa1352ab92.jpg",[],{"id":32242,"slug":32243,"title":32244,"dynasty":72,"author":10129,"museum":331,"description":32245,"tags":32246,"thumbUrl":32247,"material":198,"size":780,"collection":100,"collections":32248,"showCount":202,"zanCount":11,"manualWeight":43,"mainColor":88},239412,"qiu-lin-li-zhang-tu-zhou-sun-zhi-239412","秋林藜杖图轴","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。",[25,26,7,77,129,130,2557,132,29,134,522,170,5683,1717,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f73c7d36a9cd4d75b5cc1f1c0fb19b9.jpg",[],{"id":32250,"slug":32251,"title":32252,"dynasty":18,"author":4669,"museum":331,"description":9038,"tags":32253,"thumbUrl":32254,"material":100,"size":100,"collection":138,"collections":32255,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},237883,"hua-yang-meng-zai-shi-yi-zhou-wang-hui-237883","画杨孟载诗意轴",[24,25,26,7,77,130,129,35,521,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd198bc536ace8ae72b28621379a6632.jpg",[138],{"id":32257,"slug":32258,"title":32259,"dynasty":18,"author":4669,"museum":331,"description":9038,"tags":32260,"thumbUrl":32261,"material":100,"size":100,"collection":84,"collections":32262,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},237578,"shu-lin-yuan-xiu-tu-zhou-wang-hui-237578","疏林远岫图轴",[25,26,7,77,130,129,2559,522,132,170,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf382cd81be335613edb73fdca9e2f4.jpg",[84],{"id":32264,"slug":32265,"title":32266,"dynasty":18,"author":32267,"museum":331,"description":32268,"tags":32269,"thumbUrl":32270,"material":100,"size":100,"collection":138,"collections":32271,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},237563,"jun-zi-ting-tu-zhou-wang-jiu-237563","君子亭图轴","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。",[25,26,7,77,130,129,31,377,132,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f805e8367c8aed07d52484440dace8a.jpg",[138,101],{"id":32273,"slug":32274,"title":32275,"dynasty":72,"author":24812,"museum":331,"description":32276,"tags":32277,"thumbUrl":32278,"material":198,"size":780,"collection":100,"collections":32279,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},237147,"jiao-shi-luo-han-xiang-zhou-fang-wei-yi-2371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又辑历代妇女作品为《宫闺诗史》。其绘画师法宋代李公麟，尤擅长绘释道人物。特别是白描《观音大士图》形神兼备，许多人争相收藏。",[25,26,7,985,77,54,29,239,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd44d435139ab21d8ba948030582f85a3.jpg",[],{"id":32281,"slug":32282,"title":32283,"dynasty":72,"author":16769,"museum":331,"description":32284,"tags":32285,"thumbUrl":32286,"material":100,"size":100,"collection":100,"collections":32287,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},235995,"shui-xian-zhu-shi-tu-zhou-wang-gu-xiang-235995","水仙竹石图轴","此作用笔清隽秀雅，淡墨晕染湖石，嶙峋苍古自带枯寂沉静之态。白描勾勒水仙，叶片舒展清劲，花姿娟秀恍若月下凌波，自带出尘之姿。萧疏细竹点缀石畔，更添幽清淡雅之意。\n\n右上角题诗托物寄兴，将水仙拟作不染俗尘的江上月中佳人，书画合璧尽显文人画的抒情写意之趣。全幅墨色柔润层次分明，无浓丽之色，以极简笔墨营造出幽绝尘寰的林下清境，尽显文人士大夫追慕清雅的精神风骨。",[25,26,7,77,28,924,31,601,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad6b9f1288957748a2246dcc63d1667.jpg",[],{"id":32289,"slug":32290,"title":1703,"dynasty":18,"author":32291,"museum":331,"description":32292,"tags":32293,"thumbUrl":32294,"material":100,"size":100,"collection":100,"collections":32295,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},235852,"hua-niao-zhou-fang-heng-xian-235852","方亨咸","整作将花木禽鸟与山水意韵相融，古松盘曲苍劲，皴写的老干尽显风霜古意，松针攒簇细密，满溢岁寒清刚之姿。嶙峋怪石以枯淡墨笔勾绘棱线，苍浑朴拙，托出幽寂之境。丹红的枫枝斜出，艳色提亮画面，山雀独立枝头，墨色晕染出亮泽羽色，静立侧目，悠然自得。岩畔秋菊敷色清雅，与丹枫冷暖相映，更添秋意清和。题款小字隽雅，与画境浑然一体，工写兼济，既有花鸟之灵秀，又具山水之苍润，暗喻幽居自适的君子襟怀，尽展秋日林涧的古雅清寂。",[25,28,27,7,113,378,601,115,440,3631,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98ab0e385509a59991739e25adbfedc4.jpg",[],{"id":32297,"slug":32298,"title":32299,"dynasty":72,"author":32300,"museum":331,"description":32301,"tags":32302,"thumbUrl":32303,"material":100,"size":100,"collection":100,"collections":32304,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},235695,"qiu-shu-shuang-ying-tu-zhou-yang-da-lin-235695","秋树双鹰图轴","杨大临","画面中虬曲苍劲的枯梅老干盘绕，枝头缀着细碎寒花，双鹰静卧崖木之上，翎毛刻画精微细腻，神态冷峻孤傲，尽显猛禽沉凝雄姿。下方崖壁间幽竹舒展、细草依附，飞瀑隐于山石间，一只小雀振翅穿掠，于静谧中添灵动生机。\n\n整体以水墨为骨，淡色轻染晕出萧索秋意，树石皴擦老辣苍劲，禽鸟写实兼具写意，将雄鹰的孤傲威猛与荒寒秋景相融，烘托出沉穆清旷的幽远意境，尽显花鸟画工写结合的别致意趣。",[25,26,7,77,28,27,1488,131,31,132,151,113,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89756251ff5da4b2dd8e9ec09061b2f2.jpg",[],{"id":32306,"slug":32307,"title":32308,"dynasty":18,"author":22386,"museum":331,"description":32309,"tags":32310,"thumbUrl":32311,"material":100,"size":100,"collection":100,"collections":32312,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},235682,"fang-yuan-ren-xiao-jing-zhou-da-chong-guang-235682","仿元人小景轴","此展品为清代的书画，描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n现收藏于 。\n此图为167年王翚为笪重光所作。\n描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n题跋：“石谷为予作此图，自云深得元人笔意，未可与不知者道。\n时心契其旨而藏之七载于兹矣。\n彦标爱画同余，慕王生有年。\n以□持赠，一如在□子阁中，非明珠之漫投也。\n庚申夏四月毘陵舟中题。\n种菽翁笪在辛” 钤印：朱文“重光”、“江上外史”印。\n王翚（162-1717年）字石谷，号耕烟散人、剑门樵客、乌目山人等。\n江苏常熟人。\n工山水，为清初四王之一。\n有清初画圣之称。\n其宗学者形成“虞山派”。",[25,26,7,77,97,79,129,253,134,733,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b500ccd1e7724fc2219bd60bdb65f9.jpg",[],{"id":32314,"slug":32315,"title":7826,"dynasty":18,"author":7556,"museum":331,"description":7827,"tags":32316,"thumbUrl":32318,"material":198,"size":780,"collection":100,"collections":32319,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},235664,"shan-shui-ping-yuan-jiang-235664",[25,28,27,1157,129,349,1241,272,523,32317,7,3266,170,4987,130],"舟人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b4a4034a49030300ed4a23692b7679.jpg",[],{"id":32321,"slug":32322,"title":32323,"dynasty":18,"author":7755,"museum":331,"description":32324,"tags":32325,"thumbUrl":32327,"material":100,"size":100,"collection":100,"collections":32328,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},235650,"dao-sui-tang-lang-zhou-gao-qi-pei-235650","稻穗螳螂轴","《稻穗螳螂图》是清代画家 创作的纸本水墨指画，现藏于 。\n此图是描绘仲秋稻谷成熟时期的一角情景。\n画绘左侧下端有一棵截取的稻秆，向画面右上方伸展，稻叶疏密有致，相互交错，在秋风吹拂下摆动，而沉甸的稻穗将稻朴压弯，呈低沉状态。\n唯独有一只螳螂于稻叶之上，举目侧望，昂首挺胸，似欲作捕捉状，悠然自得，为整个画面增添了生气。\n此画布局方面，所画的景物都集中在画面中下端，上端却空旷一片，仅在左上角有款题。\n此画构图十分简洁，浓淡干湿墨色随意点染，飞动不露笔痕的粗细线条，将一螳螂的神形，表现得十分出色。\n故此幅画为他小品指画中的代表作之一。\n高其佩（166或1672—174年），字韦之，号且园，辽宁铁岭人，隶汉军镶黄旗，官至刑部侍郎。\n他擅长指画，即用手掌、手指和指甲勾划线条，并佐以毛笔。\n所绘人物、山水、花卉栩栩如生，丰富了中国画的表现技法，在清代画坛以指画独树一帜。\n清雍正年间曾宫中作画。",[25,26,7,28,113,32326,289,79],"稻穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372b120f258fb1d4c1366bb580f66867.jpg",[],{"id":32330,"slug":32331,"title":2467,"dynasty":72,"author":13688,"museum":331,"description":32332,"tags":32333,"thumbUrl":32334,"material":100,"size":100,"collection":100,"collections":32335,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},235604,"mei-hua-zhou-wang-qi-235604","此作以枯淡笔墨绘老梅，主干嶙峋斑驳，皴擦出饱经风霜的古拙质感，枝桠虬曲伸展，错落点缀素梅，清疏淡雅，将寒梅孤高凌冽的风骨尽显。\n\n画面留白肆意，配多幅题诗，书画合璧，以文心衬花魂，把文人寄寓梅中的淡泊狷介缓缓铺陈开来。淡墨写意间不见艳色，却尽是岁寒君子的清雅意韵，简笔藏深情，清冷雅致的梅之精神跃然纸上。",[25,26,7,77,392,131,287,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9267d35915a6580275edec3babb3d516.jpg",[],{"id":32337,"slug":32338,"title":21421,"dynasty":72,"author":17973,"museum":331,"description":32339,"tags":32340,"thumbUrl":32341,"material":100,"size":100,"collection":100,"collections":32342,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},235563,"shou-xing-zhou-guo-xu-235563","这幅作品以淡墨晕染出悠然古雅的氛围。寿星宽袍博带，慈眉善目，笑意隐在松缓的面纹里，尽显长者温厚。仙鹿俯首亲昵依偎，憨态可掬，肩头捧桃童子悄然探身，暗合添寿吉意。\n\n衣纹以铁线描勾勒，笔力劲挺却不失柔婉，简练洒脱地勾勒出织物垂坠质感，虚实留白疏密相宜，淡墨铺陈衬出素雅古拙。题跋行书疏朗，笔意清逸，书画相映相融，不见祝寿俗套，将长生寄寓在日常悠然图景里，兼具笔墨意趣与吉祥寓意，是明代人物画中冲淡平和的文人意趣佳作。",[72,25,26,7,985,77,29,241,1073,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe21837e52af718d4a19316650be5928.jpg",[],{"id":32344,"slug":32345,"title":32346,"dynasty":72,"author":50,"museum":331,"description":32347,"tags":32348,"thumbUrl":32352,"material":100,"size":100,"collection":100,"collections":32353,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},235298,"sun-ai-can-sang-tu-zhou-yi-ming-235298","孙艾蚕桑图轴","以没骨法晕染桑枝，叶片水色清浅柔润，晕透出自然通透的质感，枝桠苍朴舒展，带着山野原生的意趣。桑蚕伏于叶间，身形稚拙灵动，纤毫毕现，将春蚕食叶的日常情态刻画入微。\n画面留白疏朗，搭配清雅题诗，诗画相融，把江南蚕桑的寻常乡景，晕染出文人小品的澹然意趣。笔致简淡无华，却于浅墨轻色之间，将乡野恬然生机尽数铺陈，尽显写生佳作的冲淡幽远之美。",[25,26,7,28,27,32349,29111,32350,32351,80,79],"桑枝","桑葚","蚕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F983d4718bb25737f461472c2e21417fd.jpg",[],{"id":32355,"slug":32356,"title":32357,"dynasty":18,"author":50,"museum":331,"description":32358,"tags":32359,"thumbUrl":32360,"material":100,"size":100,"collection":100,"collections":32361,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},234378,"nu-er-ha-chi-chao-fu-xiang-zhou-yi-ming-234378","努尔哈赤朝服像轴","爱新觉罗·努尔哈赤（1559年—1626年9月30日），女真族，建州女真首领、后金第一位大汗、清朝实际奠基者。生于建州左卫（今辽宁新宾县西南），父塔克世，母喜塔喇氏，努尔哈赤为长子。\n明万历十一年（1583年），被明廷任命为建州左卫都指挥使。同年，以祖、父遗甲十三副起兵，对建州女真各部展开了兼并战争，统一了建州各部。明万历十七年（1589年），受封为都督佥事、龙虎将军。其后，经过二十余年征伐，统一了松花江流域和长白山以北的诸部女真。为适应当时政治、经济需要，建立八旗制度。设议政王大臣，与八旗旗主共议朝政。创制满文。随着军事力量的日益强大，万历四十四年（1616年），于赫图阿拉建立“大金”（后金），自立为汗，建元天命。天命三年（1618年）起兵反明。在萨尔浒之战中，采取集中兵力、各个击破的作战原则，大败明军，势力进入辽河流域。在相继攻克沈阳、辽阳和辽河以东七十余城后，于天命六年（1621年）迁都辽阳。天命十年（1625年）迁都沈阳，占领了辽东大部地区。\n天命十一年（1626年），挥军进攻宁远（今辽宁兴城）。袁崇焕誓守孤城。努尔哈赤劝降不果，命奋力攻城。激战中，努尔哈赤被明军炮火击伤。在撤围败退沈阳途中，患痛疽病死于叆鸡堡，年68岁。卒后初谥承天广运圣德神功肇纪立极仁孝武皇帝，后累次加谥为承天广运圣德神功肇纪立极仁孝睿武端毅钦安弘文定业高皇帝。庙号太祖。葬沈阳福陵。",[25,26,7,27,28,29,34,18414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfc6dbe0298db1e9b8154acab15cb88.jpg",[],{"id":32363,"slug":32364,"title":12497,"dynasty":207,"author":6750,"museum":236,"description":32365,"tags":32366,"thumbUrl":32367,"material":3245,"size":32368,"collection":100,"collections":32369,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},233415,"you-huang-xiu-shi-tu-zhou-gu-an-233415","此图绘数竿青竹在清风晨露中绰约多姿的体态。顾安在创作上力求表现竹子“清且真”的物态风神。“清”是指竹子不卑不亢、清高脱俗的内在品性，它是元代文人画家所追求向往的君子品德；“真”是指竹子清瘦隽逸、披霜戴雪的外在形貌，强调竹画艺术的写实精神。图中所绘之竹以淡墨写竿，浓墨画叶，深浅墨色虚实互衬，加强了画面层次感，扩展了空间。竹叶的画法遵循赵孟頫所倡导的“写竹还须八法通”的原则，熟练地以书法的“捺”法起笔收笔，叶根及叶尖皆见笔锋，写出其错落参差、披离偃仰之态。图中的湖石以墨、色点染，具有玲珑剔透之美，也映衬出竹之秀润娴静。全图以简洁的笔墨营造出“无穷出清新”的清逸意境。\n此卷原藏清宫内府，宣统年流入民间，为徐石雪所收藏，解放后捐献给国家文物局。文物局于1957年4月27日将它拨交故宫博物院。",[25,26,7,77,31,35,967,1174,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd945535c0c5cd391b4e454b8d95a6c6.jpg","纵184厘米，横102厘米",[],{"id":32371,"slug":32372,"title":32373,"dynasty":18,"author":4998,"museum":20,"description":32374,"tags":32375,"thumbUrl":32376,"material":214,"size":32377,"collection":100,"collections":32378,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},232675,"shan-shui-tu-qing-shan-gu-dao-wang-yuan-qi-232675","山水图(青山古道)","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。\n王原祁为王派山水的小字辈，后来居上。他得益于乃祖王时敏的亲授从而间接吸收营养于董其昌的艺术和思想，无疑具有功力派和灵性派两类画人的资质。在此图册的第4开上，王原祁钤盖“西庐后人”白文印，以表明自己的身份。\n王原祁在吸收南宗诸大师的画艺，特别是黄公望的长处上更见功力。其画以笔墨论，处处见笔、处处有形、处处得意、处处显情，而又浑然一片，气脉贯连。他在淡墨积笔上有独到的把握，淡墨入画虽易见活气但极难苍厚，层层覆笔又易失之于浊，王原祁以淡墨作山石，或勾线以立形，或横笔以辅面，干笔皴擦，湿笔堆点，层层见笔，层层浑合，苍古厚润兼之以“毛”、“涩”，相交生发而神采愈显。此图册的第10开王原祁钤盖“苍润”朱文葫芦印，显示了自己的审美趣味。实际上，王原祁的这枚“苍润”闲章，刻了多方，不同的型制，于30余岁就已使用，沿用一生，充分体现出王原祁的绘画美学趣味，而其绘画本色也与“苍润”之实质十分符合。",[25,26,7,28,129,132,170,195,97,79,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec42a1201b6359b7b747022555c207d.jpg","80.4x43.5cm",[],{"id":32380,"slug":32381,"title":32382,"dynasty":49,"author":32383,"museum":331,"description":32384,"tags":32385,"thumbUrl":32386,"material":198,"size":780,"collection":100,"collections":32387,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},231742,"an-tu-tao-shan-shi-dai-hua-xia-you-le-tu-ping-feng-di-er-ping-shou-ye-zhang-xin-231742","安土桃山时代 花下游乐图屏风-第二屏","狩野长信","狩野長信（KanōNaganobu）是狩野派的日本畫家。狩野長信是狩野派狩野狩野的最小的兄弟。長信為京都的朝廷（包括御所）完成了許多委託，並創辦了自己的狩野派。在德川幕府統一控制該國並在那裡建立政府時，他是首位從京都移居江戶的主要畫師。",[23,24,25,26,7,28,27,130,113,132,31,287,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31dcbd30fdf392e7be2c5ed69db9ae9a.jpg",[],{"id":32389,"slug":32390,"title":32391,"dynasty":49,"author":32392,"museum":331,"description":32393,"tags":32394,"thumbUrl":32395,"material":198,"size":780,"collection":100,"collections":32396,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},231740,"an-tu-tao-shan-shi-dai-qin-qi-shu-hua-tu-ping-feng-di-er-ping-hai-bei-you-song-231740","安土桃山时代 琴棋书画图屏风第二屏","海北友松","海北 友松（かいほう ゆうしょう、天文2年（1533年） - 慶長20年6月2日（1615年6月27日））は、安土桃山時代から江戸時代初期にかけての絵師。海北派の始祖。",[23,25,7,77,28,129,35,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86678861db0d7126fe8de6b1c0631142.jpg",[],{"id":32398,"slug":32399,"title":32400,"dynasty":49,"author":32401,"museum":331,"description":32402,"tags":32403,"thumbUrl":32404,"material":100,"size":100,"collection":100,"collections":32405,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},231668,"jiang-hu-shi-dai-pu-tao-tu-li-zhou-li-yuan-xing-suo-231668","江户时代 葡萄图立轴","立原杏所","以枯涩劲健的笔墨挥写藤枝，顿挫苍劲间尽显老藤的野逸生机。叶片以泼墨晕染，浓淡干湿铺陈出层次肌理，墨色淋漓间尽现舒展之态。葡萄以没骨点染，颗颗饱满莹润，藤蔓蜿蜒缠绕，灵动写意。\n角落题字笔意随性洒脱，与画面融为一体，以极简笔墨攫取秋日藤架鲜活意趣，水墨虚实相生，将物象神韵与文人写意的朴拙雅致合为一处，尽显随性自在的花鸟意韵。",[23,25,7,77,304,1098,664,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd871be950dd160e3443e533436c470.jpg",[],{"id":32407,"slug":32408,"title":32409,"dynasty":49,"author":50,"museum":331,"description":32410,"tags":32411,"thumbUrl":32412,"material":100,"size":100,"collection":100,"collections":32413,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},231650,"mu-gui-tu-li-zhou-yi-ming-231650","牧归图立轴","这幅《归牧图》刻画细致生动，人、牛形神毕具",[23,25,26,24,7,28,27,130,1571,29,404,129,35,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63ecd8f1f45323c17e46719497b70e4.jpg",[],{"id":32415,"slug":32416,"title":32417,"dynasty":93,"author":2992,"museum":74,"description":32418,"tags":32419,"thumbUrl":32422,"material":32423,"size":32424,"collection":100,"collections":32425,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},231410,"luo-han-tu-er-liu-song-nian-231410","罗汉图（二）","台北故宫藏画中，有三幅刘松年画罗汉，每幅都款署开禧丁卯（1207）刘松年画，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了赏玩，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。刘松年的这幅《罗汉图》(见图)又名《猿猴献果图》，绢本设色，纵117.2厘米，横56厘米，现存台北“故宫博物院”。他创作此幅《罗汉图》正是受禅宗思想的影响，把佛教壁画中守护在菩萨身边的罗汉，变成游山玩水的世俗僧人。图中前面是一棵历尽沧桑的枯树，树干由下而上呈“s”型，枯树叶已脱尽，只剩下遍体的嶙峋与凌乱的树权。后面是一株枝叶茂盛的阔叶大树，两树中间夹着结满果实的小树。画中的罗汉双手相交，趴伏在一横斜树枝上，深情地注视着面前两只温顺的小鹿，表情亲切、温和，流露出世俗的欢乐。罗汉的头部造型准确，虽与全身相比略显大些，但五官刻画细致，具有神韵。树上的两只猿猴居高临下，形态生动、活泼，正在摘熟透的果子。树下一清秀文雅的小和尚双袖合抱去接其中一只猿猴扔下的果子，一只小鹿仰头观望。这种极富生活情趣的描写，不仅表现了人与自然相依相存的亲密关系，也淡化了作品的宗教气氛。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈。",[25,26,7,1520,27,28,54,29,32420,58,3673,32421,602,1405],"屏风","扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bad5af550efbba55abfcfb88b17f3e.jpg","绢本设色画","纵117公分，横55.8公分",[],{"id":32427,"slug":32428,"title":32429,"dynasty":93,"author":23915,"museum":331,"description":32430,"tags":32431,"thumbUrl":32433,"material":198,"size":780,"collection":100,"collections":32434,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},231042,"pi-pa-yuan-xi-tu-yi-yuan-ji-231042","枇杷猿戏图","该画描述了一株枇杷树，干身扭曲，从石後横斜出了画面，又一枝干自上方角落窜进画中，这样的干身，笔墨虽不相连，意却相牵，但觉画外有画，这是作者在构思这幅画作时，别出心裁之处。",[25,24,26,2844,27,28,7,32432,8959,170,132,957],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b53e0257dfb4e9133f98235b397650b.jpg",[],{"id":32436,"slug":32437,"title":32438,"dynasty":18,"author":9439,"museum":331,"description":32439,"tags":32440,"thumbUrl":32441,"material":100,"size":100,"collection":100,"collections":32442,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},230921,"wei-ying-nian-zuo-shan-shui-tu-gao-jian-230921","为迎年作山水图","层岩峻壑以枯笔皴擦勾勒，尽显山石嶙峋古拙之态，苍劲老辣的笔墨晕染出北派山水的雄浑厚重。近岸枯木虬曲疏朗，枝桠间透着清寂萧寒，侧畔草堂幽居隐于林麓，涧水蜿蜒浅流，野意悠然。远景峰峦以淡墨晕染，虚实相生晕化开朦胧秀逸的南派意趣。右上角题字墨韵雅致，与山水相得益彰。整幅画作苍润笔墨相生相融，将林泉高致的文人雅趣藏于清寂出尘的山居意境里，尽显冲淡幽远的林下之风。",[23,25,26,7,77,130,129,132,521,193,733,522,1717,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f7b769732c9efdb2ed772605377ecb.jpg",[],{"id":32444,"slug":32445,"title":32446,"dynasty":18,"author":32447,"museum":331,"description":32448,"tags":32449,"thumbUrl":32450,"material":100,"size":100,"collection":100,"collections":32451,"showCount":202,"zanCount":11,"manualWeight":43,"mainColor":44},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[23,25,26,7,77,28,27,130,129,2557,733,170,132,134,193,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":32453,"slug":32454,"title":32455,"dynasty":18,"author":26799,"museum":331,"description":26800,"tags":32456,"thumbUrl":32457,"material":198,"size":780,"collection":100,"collections":32458,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},230201,"shu-fa-zhong-tang-he-shao-ji-230201","书法中堂",[23,472,80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e21ba33617a6406960aaa5eadbd0f0.jpg",[],{"id":32460,"slug":32461,"title":32462,"dynasty":72,"author":50,"museum":331,"description":32463,"tags":32464,"thumbUrl":32467,"material":100,"size":100,"collection":100,"collections":32468,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},228778,"xian-ren-guo-hai-tu-yi-ming-228778","仙人过海图","画面绘两位仙人踏浪而行，左侧仙人虬髯光头，身披蓑草，双手捧持仙盏神态恭谨，身形桀骜野逸。右侧老者鹤发童颜，宽袍广袖，抬手作指点状，道骨仙风悠然自若。\n作者以刚柔相济的铁线勾勒衣纹，笔墨苍劲古拙，绢本底色晕染出沉雅古旧的质感。云水以曲线层叠铺陈，晕染出朦胧烟波，烘托出踏波而行的缥缈仙意。二人一动一静，神态相映，将仙家渡海的悠然清旷尽显笔端，尽显古雅飘逸的仙道逸趣。",[23,25,26,7,27,28,29,336,6776,54,13329,2749,4723,5733,32465,32466],"道教题材","海浪纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435e9e93246d4faa17ab0f80984af411.jpg",[],{"id":32470,"slug":32471,"title":32472,"dynasty":207,"author":50,"museum":331,"description":32473,"tags":32474,"thumbUrl":32475,"material":100,"size":100,"collection":100,"collections":32476,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},228200,"si-ji-feng-zhu-tu-zhou-yi-ming-228200","四季风竹图轴","此作用水墨写就丛竹，老干挺拔苍劲，新篁清润秀雅，高低错落排布，枝叶俯仰有姿，似裹挟穿林风韵。运笔遒劲爽利，竹叶下笔如削，虚实相生间，以浓淡墨色铺陈出前后层次，将竹之清刚气节尽显。画面洗练空灵，无多余皴染，以极简笔墨写尽竹之潇洒风神，藏动于静，仿若可聆风穿叶隙之声，暗合君子凌霜傲雪的品格风骨，尽显文人以物咏志的意涵，是墨竹写意中颇具意趣的上乘之作。",[23,24,25,26,7,77,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3960b7cca53261a5c677339f49302fe7.jpg",[],{"id":32478,"slug":32479,"title":32480,"dynasty":49,"author":19015,"museum":331,"description":19016,"tags":32481,"thumbUrl":32482,"material":198,"size":780,"collection":100,"collections":32483,"showCount":202,"zanCount":11,"manualWeight":43,"mainColor":44},225296,"mo-tian-ben-dong-jing-zhen-hai-225296","魔天(本-东京)",[23,25,26,7,54,29,985],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ecd6bec9b4d5c029e5994c3a74d582.jpg",[],{"id":32485,"slug":32486,"title":32487,"dynasty":18,"author":1971,"museum":331,"description":32488,"tags":32489,"thumbUrl":32490,"material":198,"size":780,"collection":100,"collections":32491,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},224475,"jiu-feng-du-shu-tu-zhou-wang-jian-224475","九峰读书图轴","图绘崇山峻岭，苍松平溪，一高士在茅舍内读书。其展卷吟诵的细微举止点明了惬意“读书”的创作主题，寄托着画家的隐逸思想。本幅构图为高远法取势，山脚松木以工整的线条精心刻画，显现出作者以线造型的能力。山顶处以浓墨戳点，有浑点、破竹点、胡椒点、破墨点等，灵活多变的各种点法增强了江南山峦湿润华滋、沉郁深秀的气象。山石的脉络是以元人王叔明（即王蒙）典型的解索皴表现，其拖墨而下，屈曲密集的线条与山石的陡峭走向相一致，增强了山体的雄伟之势。此图堪称王鉴仿王叔明的佳作，全面地展示了其对王蒙画法得心应手的娴熟的运用程度。",[23,24,25,26,7,77,129,130,427,1651,132,3996,193,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4c33a56f8a8f213d47350c092aa3c8.jpg",[],{"id":32493,"slug":32494,"title":32495,"dynasty":18,"author":361,"museum":331,"description":32496,"tags":32497,"thumbUrl":32498,"material":100,"size":100,"collection":100,"collections":32499,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},224426,"fang-huang-zi-jiu-bi-yi-wang-shi-min-224426","仿黄子久笔意","此作用笔苍润松秀，以干笔皴擦勾勒山峦肌理，墨色层染清和淡雅，复刻出元人山水的萧散意趣。画面取高远平远结合之景，主峰巍峨矗立，山间留白以烟岚晕染，将重山包裹得灵动悠然。溪渚蜿蜒穿林而过，村居错落藏于茂林幽谷，坡岸林木扶疏，点染出江南山水温润清和之态。整体气息淡逸空灵，既追摹原作的简远苍浑，又融入自身温厚娴静的笔致，将文人寄情林泉、追慕古意的襟怀，尽藏在这尺幅江山之中。",[23,25,26,7,129,945,130,1418,170,193,733,252,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1003f8fca3fdf7c2b59be1131c6e8ea9.jpg",[],{"id":32501,"slug":32502,"title":32503,"dynasty":18,"author":709,"museum":331,"description":32504,"tags":32505,"thumbUrl":32506,"material":100,"size":100,"collection":100,"collections":32507,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},224295,"bai-shi-da-ji-tu-li-shan-224295","百事大吉图","此作用笔纵恣老辣，古松盘曲虬劲，皴擦勾勒间尽显苍古拙朴之意，团簇的松针以浓墨点染，蓬勃生机扑面而来。独立松枝的雄鸡兼工带写，浓墨点染头颈尾羽，淡墨晕染躯干，寥寥数笔便将雄鸡引吭长鸣的英武之态勾勒传神。\n画面借松、鸡谐音承载吉祥意趣，将文人写意的疏放与世俗吉庆寓意相融，笔墨挥洒间脱略陈规，尽显疏狂意气，是寄情于物、雅俗共赏的写意佳作。",[23,25,26,7,77,304,113,427,1228,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1114f2ba3c8a3d2ff5cb13dc84067253.jpg",[],{"id":32509,"slug":32510,"title":32511,"dynasty":18,"author":30152,"museum":331,"description":32512,"tags":32513,"thumbUrl":32514,"material":100,"size":100,"collection":100,"collections":32515,"showCount":202,"zanCount":11,"manualWeight":43,"mainColor":88},224245,"shang-sai-jin-lin-tu-guan-huai-224245","上塞锦林图","《上塞锦林图》是中国清代画家 的国画作品。\n该画为立轴，纸本设色，纵142.6厘米，横64.6厘米，现藏于 。\n关槐，生卒年不详，清代画家。\n字晋卿，一宇晋轩，号云岩，一号曙笙，仁和(今杭州)人，官至礼部侍郎。\n善画山水，供奉内廷。\n画风学习宋元诸家，笔法苍润恬静。\n活动于乾隆时期。\n《上塞锦林图》描绘我国长城以北塞外的锦绣风光。\n绿色的灌木丛，红彤彤的柞枫树，错落于曲流之间，真实生动，俨然另逞独特面貌。\n用笔工细，设色鲜丽而又和谐。\n上方有高宗弘历御笔题七绝四首，借此图简述其先祖及弘历本人在北塞骑猎、武功的思念，以“祖德勤承告后人”。",[23,25,26,7,28,129,130,252,253,1419,5110,3631,271,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":32517,"slug":32518,"title":32519,"dynasty":18,"author":14103,"museum":331,"description":32520,"tags":32521,"thumbUrl":32522,"material":100,"size":100,"collection":100,"collections":32523,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},224195,"zhe-xi-cao-tang-tu-wu-hong-224195","柘溪草堂图","《柘溪草堂图》是清代画家 创作的绢本设色画，现藏于南京博物馆。\n该画绘村前一座小桥，湖水绕村，树木绕斋，树林里楼台面水，宾主登楼安坐对谈，超然世外。\n笔墨挺健，景致平远，具有浓厚的写实风格。\n此画远处为较为平缓的山峦，山头仅露出水面。\n隐隐约约，烟雾蒙蒙，茫茫一片，山坡间新篁密密麻麻，白马湖东岸，在丛树掩映下的临水小村，一条清溪绕庄而行，竹树绕斋，楼台面小，并不华丽的庄园建筑，在苍松翠竹红枫的簇拥下显得古朴典雅；宾主登楼端坐其间，正在语笑风生，突然间一人回首远眺，似在观赏周围一片金秋美色，村边座落着一小板桥。\n一扁舟自远方来，泊于桥头，舟中一人捧物躬身而出，作献物状，岸上溪边另一人缓步走来作迎接状，神态自若。\n此图款署“壬子秋九月，拟李咸熙笔意，呈石翁先生教之，金溪吴宏、”钤印“吴宏私印”“远度”。\n画的裱边及玉池中有查士标，梁清标两人题诗，朱彝尊、程邃等七人题词。\n查士标题诗： 我爱白田好，来向白田去。\n白田城南有拓溪，闻是白田最佳处。\n溪边草堂称清幽，古木千章竹万头。\n奇石名花看不足，湖光更上东南楼。\n向年获识石林子，为言别业正在此。\n太公九十瑞人间，早岁弃官遂知止。\n闲来倚石手一编，倦即抛书石上眠。\n华发萧萧眸炯炯，无人知是地行仙。\n石林先生行最少，能读父书得其要。\n芥拾荣名自等闲，翰墨声诗兼众妙。\n命余为作草堂图，佳句传来幻有无。\n伸纸踌躇笔不下，俨如咫尺貌蓬壶。\n名园胜地世多有，辋川吟咏视平泉，主者何人斯不朽。\n千载流传复谁久。\n柘溪之水清且涟，湖波万顷绕平田。\n太平乐事长如此，还为高人结大年。\n梁清标题诗： 侍御结庐溪水浔，万株桑柘昼阴阴。\n迤逦晴沙眠野鹭，高低灌木鸣春禽。\n编篱插槿蔽风雨，琴书北窗何萧森。\n门无车马惊铃索，中有幽人事苦吟。\n幽人为谁侍御是，直节当年山岳峙。\n正笏曾陈痛哭书，拂衣早办登山履。\n经纶袖手赋归来，白头高卧草堂里。\n海水扬尘岁月移，草堂无恙日舒迟。\n蒹葭秋色霜飞后，鸡犬村扉昼闭时。\n巾车野服临湖岸，载酒轻船泛射陂。\n屏居白眼向寥廓，闻说先生犹健在。\n令子忻看傍凤池，闲身不羡图麟阁。\n倚杖频耕万亩云，延年岂假千金药。\n遥望伊人水一方，客来独拜德公床。\n疑是李愿住盘谷，不然种柳如柴桑。\n我欲从之问丹诀，放歌散发濯沧浪。\n《柘溪草堂图》作于康熙十一年（1672），此图为应宝应乔莱之请，画其父可聘居处柘溪草堂秋景。\n此画采用以实写虚的方法，借湖水、古木、草堂，以写云烟变幻，求得“有限中出无限，无画处成妙境”的艺术境地。\n此图中的物象并无高山峻岭，而只是湖天淼茫，属于通常所说的“平远”之景。\n但在吴氏的笔下却显示出“高远”的意境。\n画法不拘泥于前人，落笔大胆而收拾严整。\n笔墨苍秀，厚重劲健。\n板桥和山石等的勾勒，也皆是顿挫雄壮的阳刚之风。\n山石以乱柴皴间杂斧劈皴画之，水墨晕染，树木画法工细，繁而不乱，人物、房舍、扁舟表现自然，敷色清雅明亮。\n此画面有较大的空白，不仅体现了艺术家想象的本领，而且可以引起读者丰富的审美想象。\n教授张长虹：尽管带有应酬性质，吴宏此画仍属成功之作，这可能与其豪迈性格有关。\n吴宏，生卒年未详、清代画家。\n宏，一作弘，字远度，号竹史，江西金溪人，寓江苏汀宁（今南京）。\n诗书均精。\n幼好绘事，自辟蹊径。\n顺治十年（165）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸，得诸家之长而能出己意。\n偶作竹石，亦有水墨淋漓之致。\n与樊圻、邹喆、叶欣、胡慥、谢荪、高岑、龚贤为“金陵八家”。",[23,24,25,26,7,28,130,129,733,170,134,193,349,131,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":32525,"slug":32526,"title":32527,"dynasty":18,"author":436,"museum":331,"description":32528,"tags":32529,"thumbUrl":32530,"material":100,"size":100,"collection":100,"collections":32531,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,25,26,7,28,27,129,170,733,134,193,349,173,1651,427,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":32533,"slug":32534,"title":32535,"dynasty":18,"author":436,"museum":331,"description":32536,"tags":32537,"thumbUrl":32538,"material":100,"size":100,"collection":100,"collections":32539,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[23,25,26,7,28,27,130,129,29,134,193,377,733,427,132,12517,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":32541,"slug":32542,"title":32543,"dynasty":93,"author":50,"museum":331,"description":32544,"tags":32545,"thumbUrl":32546,"material":214,"size":32547,"collection":100,"collections":32548,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},223568,"xi-shan-xing-tu-zhou-yi-ming-223568","溪山行图轴","深深地描绘了秋天的景色。 绿图已枯，枫红团，山脚下长长的行人匆匆而过； 飞瀑流泻而下，水底已雾蒙蒙； 几间房屋隐藏在山谷中，或者寺庙是高大的殿堂，它们是住宅。 依山傍水，是一处修身养性的美丽之地； 山峰可能隐高，峰顶怪异，山脊稳定。",[23,25,24,7,28,130,129,252,613,169,170,134,193,269,29,196,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":32550,"slug":32551,"title":32552,"dynasty":207,"author":50,"museum":3928,"description":32553,"tags":32554,"thumbUrl":32556,"material":1394,"size":32557,"collection":100,"collections":32558,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":44},223445,"han-lin-gui-qiao-tu-zhou-yi-ming-223445","寒林归樵图轴","远处孤山耸立，近处寒林对峙，画面空旷深远，尽显寒意料峭。图画上端有刘长卿所作诗《寻盛禅师兰若》，净慈寺平山处林禅师所书诗：“秋草黄花覆古阡，隔林何处起人烟，山僧独在山中老，唯有寒松见少年”",[23,25,77,7,129,614,521,132,130,32555],"樵夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab559074d70afec98a2c35cecf05614.jpg","92.6＊48.9cm",[],{"id":32560,"slug":32561,"title":20915,"dynasty":18,"author":13437,"museum":74,"description":32562,"tags":32563,"thumbUrl":32564,"material":14819,"size":32565,"collection":138,"collections":32566,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},223113,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-223113","本幅为西湖十景之一「柳浪桥」景。该桥在清波门、涌金门外，宋时即沿堤植柳，以此得名。画中柳丝踠地，轻风摇扬，亭榭深深，如闻黄莺啼于绿荫中。笔调清秀苍润，表现出春湖景的谧静感。本轴画幅之上有乾隆皇帝题诗，下为多位文臣和诗。",[23,25,7,77,130,129,404,878,349,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04366245e18f5be234cafe05afce9032.jpg","290x58厘米",[138,185],{"id":32568,"slug":32569,"title":3420,"dynasty":18,"author":3421,"museum":331,"description":3422,"tags":32570,"thumbUrl":32571,"material":100,"size":100,"collection":100,"collections":32572,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},223089,"shui-hu-ren-wu-ren-xun-223089",[23,25,26,7,28,27,29,1039,34,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8bcbc88ceb89b051d93d71a7863e2b.jpg",[],{"id":32574,"slug":32575,"title":18822,"dynasty":18,"author":28559,"museum":331,"description":32576,"tags":32577,"thumbUrl":32579,"material":1573,"size":100,"collection":100,"collections":32580,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":704},222802,"lu-yan-tu-zhou-bian-shou-min-222802","芦雁 边氏芦雁图形象生动，造型极为准确，摆脱了前人繁细的表现手法，删繁就简，形神兼备。其在雁的喙间、足部略施赭黄，使墨彩达到了和谐的统一。他认为画不可拾前人，而要得前人意。并根据纸墨的特点，大胆落墨，显示了其绘画上的深厚功力。边寿民用写竹法绘芦苇，浓淡、枯润、疏密兼面有之，多以赭墨绘滩头、芦苇，雅淡有致，深得遗貌取神的妙趣。后来擅长芦雁的画家，如薜怀、程璋等人，皆仿苇间居士大意，可见其对后世影响之深。\n边寿民善画，花卉翎毛，均有别趣，尤以泼墨芦雁驰名于江淮；画意粗豪苍浑。飞鸣、潜动、食宿，曲尽其态；并以墨竹法写芦，疏而道劲，间作山水，鳞介之屑，亦有意趣。善画芦雁，倾注了其一生的心血。与芦雁有关的画作，堪称思想性与艺术性的代表。传世芦雁作品形式众多，有《芦雁图》册、《芦雁图》轴及《芦雁图》手卷等。\n边寿民具有典型的“在野”文人画审美观念，又与下层平民有较多接触，作品中自然混合着“高雅”和“通俗”双重因素，形成一种特殊的审美品格，这就是：以“典雅”为魂魄，以“清高”为气血，以“明白晓畅”为躯体。此外，还画过大量 画风有两种类型，一类是泼墨写意，多用于画芦雁；另一类是干笔淡墨勾皴，多用于画杂物。",[23,25,77,304,32578,1741,56,7,79],"芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269e93d8e4723c6b4ddb0e7d66b5c983.jpg",[],{"id":32582,"slug":32583,"title":32584,"dynasty":72,"author":264,"museum":74,"description":32585,"tags":32586,"thumbUrl":32587,"material":255,"size":32588,"collection":100,"collections":32589,"showCount":202,"zanCount":11,"manualWeight":43,"mainColor":88},222203,"fan-ma-tu-zhou-chou-ying-222203","番马图轴","绘一人一马，人物以番帮打扮，尖帽畜须，骏马强壮，眼神清亮。画上题：“天下房星原不动，人间画马亦难逢。当时笔下千金，此是窗前八尺龙。”嘉靖戊午春日书，徵明",[23,25,26,7,27,28,29,196,80,79,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c04117dd0d485325b0f4634fce12365.jpg","64x35厘米",[],{"id":32591,"slug":32592,"title":32593,"dynasty":72,"author":1751,"museum":265,"description":21800,"tags":32594,"thumbUrl":32595,"material":214,"size":32596,"collection":100,"collections":32597,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},222181,"xue-hou-fang-mei-tu-zhou-lu-zhi-222181","雪后访梅图轴",[23,25,26,24,7,77,130,129,613,392,269,349,132,193,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaf80233eb812f5038cd4b1c54a09f2.jpg","76x40cm",[],{"id":32599,"slug":32600,"title":32601,"dynasty":207,"author":50,"museum":236,"description":32602,"tags":32603,"thumbUrl":32605,"material":214,"size":32606,"collection":138,"collections":32607,"showCount":202,"zanCount":43,"manualWeight":43,"mainColor":88},221778,"di-ba-ga-na-ga-ba-ha-la-zhui-za-zun-zhe-zhou-yi-ming-221778","第八嘎纳嘎拔哈剌錣杂尊者轴","《元人画第八嘎纳嘎拔哈剌錣杂尊者轴》是创作于元代的一幅画。",[23,25,24832,7,77,27,985,29,129,169,10824,27107,6474,32604,351,193,79],"光晕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad290dab85e6c127be5e1cb6be2a8059.jpg","114.4x66.8",[138,185],{"id":32609,"slug":32610,"title":8553,"dynasty":72,"author":1024,"museum":710,"description":32611,"tags":32612,"thumbUrl":32613,"material":97,"size":32614,"collection":100,"collections":32615,"showCount":202,"zanCount":11,"manualWeight":43,"mainColor":88},220947,"xing-shu-zhou-dong-qi-chang-220947","画心纵长175.9厘米，横46厘米\n\n立轴、绫本。这轴行书取法晋唐，用笔十分精到，内涵丰富，在笔的运动中完成点画的各种形态，\n\n气贯韵满，虚实结合，由此生动变化而曲尽其妙。书法结体上讲究精微、紧密而有势；在章法上则讲究\n\n疏密相间，以字距大、行距大形成疏朗的调子，将结体的美与行间的空白产生有与无的对比，因而造成",[26,7,97,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65dd1225c7182139c2bf49e99a424309.jpg","179.5×46cm",[],{"id":32617,"slug":32618,"title":32619,"dynasty":207,"author":10278,"museum":10279,"description":32620,"tags":32621,"thumbUrl":32622,"material":23875,"size":32623,"collection":100,"collections":32624,"showCount":202,"zanCount":11,"manualWeight":43,"mainColor":100},220658,"you-ting-yuan-xiu-tu-tao-xuan-220658","幽亭远岫图","《幽亭远岫图》为陶铉现存仅知的作品，画幅左上方有陶氏款识，说明是至正五年（1345）为友人王迪简所绘。陶铉生平仅元代夏文彦《图绘宝鉴》中有简短记载，谓陶氏号菊村 ，金陵人，山水画法学自五代北宋间的李成。\n\n此幅为元代流行的平远构图，乃来自李成作品中常见的低平荒野样式。近景有树竹数株，挺然直立；河岸低平曲折，将观者视线引向层层后退的中远景。陶铉以精简的枯笔干墨，擦出山石的结体轮廓，兼以苔点、墨染增加山头与石脚层次感的画法，让人联想到元四家之一的倪瓒。上海博物馆所藏倪瓒《六君子图》与此幅同样绘于至正五年，亦是以秀润的隔江山色替换李成的萧瑟荒原，但倪瓒的作品仍保留运用前人笔法（如董源披麻皴）的痕迹，而陶铉的作品则未见借用特定前人的笔法。\n\n此画上方另有清人高士奇对陶铉与受画者王迪简的简评。王迪简，字庭吉，号蕺隐，为元初的南宋遗民。元代戴表元曾于《蕺隐记》中记述王迪简隐居于蕺山南侧，其居所人迹罕至，半里之内为空阔的郊原，故视野辽阔，周边景致可一览无遗。虽然在现存文献中未见有陶铉与王迪简交往的具体资料，但《幽亭远岫图》的画面，却与《蕺隐记》中描绘的王迪简隐居环境相吻合。\n\n元朝以异族入主中国，士人纷纷因不愿仕进或不得荐举，而选择避世隐居，从而出现许多以隐居为题的文学与绘画作品。 《幽亭远岫图》无疑亦可视为此类与隐逸题材相关的作品。",[23,25,24,7,77,130,129,377,253,31,57,56,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa811f1b0d64254a434b2a8336e41e4.jpg","画心：58×31.7厘米 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—1559年8月8日），字用修，初号月溪、升庵，又号逸史氏、博南山人、洞天真逸、滇南戍史 、金马碧鸡老兵等。四川新都（今成都市新都区）人，祖籍庐陵。明代文学家、学者、官员，明代三才子之首，东阁大学士杨廷和之子。\n杨慎于明武宗正德六年（1511年）状元及第，授官翰林院修撰，参与编修《武宗实录》。武宗出居庸关时上疏抗谏。明世宗继位，复任翰林修撰兼经筵讲官。嘉靖三年（1524年）卷入“大礼议”事件，触怒世宗，被杖责罢官，谪戍云南永昌卫。在滇南时，曾率家奴助平寻甸安铨、武定凤朝文叛乱，此后虽往返于四川、云南等地，仍终老于永昌卫。嘉靖三十八年（1559年），在戍所逝世，享年七十二岁。明穆宗时追赠光禄寺少卿，明熹宗时追谥“文宪”。\n杨慎在滇南三十年，博览群书。后人论及明代记诵之博、著述之富，推杨慎为第一。其诗词曲各体皆备，自有一定的风格。其诗沉酣六朝，揽采晚唐，创为渊博靡丽之词，造诣深厚，独立于风气之外。而乐府首倡《花间》，影响隆、万以下风尚，同趋绮丽。著作达四百余种，涉及经史方志、天文地理、金石书画、音乐戏剧、宗教语言、民俗民族等，被后人辑为《升庵集》。",[80,945,305,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4964b08a105f4717314b26f01017e47a.jpg",[],{"id":33084,"slug":33085,"title":26099,"dynasty":72,"author":27433,"museum":331,"description":33086,"tags":33087,"thumbUrl":33088,"material":198,"size":780,"collection":100,"collections":33089,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},240891,"shi-zhou-ni-yuan-lu-240891","倪元璐（1594年1月7日－1644年4月25日），字汝玉，一作玉汝，号鸿宝，浙江绍兴府上虞（今绍兴市上虞区）人。明末官员、书法家。\n天启二年（1622年），倪元璐中进士，以庶吉士授编修，后出主江西乡试。崇祯八年（1635年）任国子祭酒，因被控“妾冒妻封”而落职。南归后居绍兴城中。崇祯十五年（1642年）起用为兵部右侍郎兼侍讲学士，次年拜户部尚书兼翰林院学士，不久又兼摄吏部。崇祯十七年（1644年）初，大顺军逼近北京，倪元璐请修南京宫殿，以备不测，但未被采纳。三月，北京失陷，倪元璐自缢以殉节。南明弘光元年（1645年），追赠少保、吏部尚书，谥号“文正”。后清廷赐谥“文贞”。\n倪元璐书法灵秀神妙，行草尤极超逸，最得王右军、颜鲁公和苏东坡三人翰墨之助， 用笔锋棱四露中见苍浑，并时杂有渴笔与浓墨相映成趣，结字奇侧多变，书风奇伟，后人对他有“笔奇、字奇、格奇”之“三奇”，“势足、意足、韵足”之“三足”的称誉。他突破了明末柔媚的书风，创造了具有强烈个性的书法，与黄道周、王铎鼎足而立，并称“明末书坛三株树”，又与王铎、傅山、黄道周、张瑞图并称“晚明五大家”，成为明末书风的代表。代表作有《行草诗翰》轴。亦能诗文，著有《倪文贞集》。",[25,26,80,7,77,79,97,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4ed2616910e10b8c60f65114e90721.jpg",[],{"id":33091,"slug":33092,"title":24651,"dynasty":72,"author":8554,"museum":331,"description":33093,"tags":33094,"thumbUrl":33095,"material":198,"size":780,"collection":100,"collections":33096,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},240672,"xi-yuan-ya-ji-zhou-zhang-rui-tu-240672","张瑞图（1570年-1644年），字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人、平等居士等；汉族，明代画家，晋江二十七都下行乡（福建省晋江市青阳下行乡）人。\n万历三十五年进士第三名，探花，授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。\n以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生。钟繇、王羲之之外另辟蹊径，明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号。北京大学教授、引碑入草开创者的李志敏评价：“张瑞图之草书，用笔爽利，造型别致，但不耐寻味。”\n擅山水画，效法元代黄公望，苍劲有力，作品传世极希。",[25,26,7,80,97,79,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917b2b3a2e09b1355131e2b1b0fd327.jpg",[],{"id":33098,"slug":33099,"title":33100,"dynasty":18,"author":361,"museum":331,"description":16429,"tags":33101,"thumbUrl":33102,"material":198,"size":780,"collection":100,"collections":33103,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},240595,"wang-shi-min-shi-zhou-wang-shi-min-240595","王时敏诗轴",[80,7,5902,79,378,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2c6e902887755fab74406139c89cbe.jpg",[],{"id":33105,"slug":33106,"title":33107,"dynasty":18,"author":5196,"museum":331,"description":24758,"tags":33108,"thumbUrl":33114,"material":198,"size":780,"collection":100,"collections":33115,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},240410,"deng-shi-ru-xin-zhou-shi-zhou-deng-shi-ru-240410","邓石如新洲诗轴",[80,7,5199,16892,33109,33110,33111,33112,33113,335,56,31367,79],"月","帆","沙","城","木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5fd049f5e081db1b2468fc63d1e1b9.jpg",[],{"id":33117,"slug":33118,"title":33119,"dynasty":72,"author":22255,"museum":236,"description":33120,"tags":33121,"thumbUrl":33122,"material":9109,"size":33123,"collection":101,"collections":33124,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},240391,"qi-lv-shi-zhou-liu-jue-240391","七律诗轴","释文：\n孝行廉名是处闻，公门无迹口无文。\n陈情两度能终制，泣血三年不茹荤。\n天上星辰丹凤阙，江南烟雨白鸥群。\n楼船一路行休缓，史馆诸儒待子云。\n方庵翰林，终制起复。珏赋诗为别，情见乎词，观者幸恕其不工，而取其不浮也。时成化二年岁次丙戌孟夏上澣，山西按察佥事奉勅提督屯种、致仕、邑人刘珏廷美书于居第之撚髭亭。\n款署：“时成化二年岁次丙戌孟夏上澣，山西按察佥事奉勅提督屯种、致仕、邑人刘珏廷美书于居第之撚髭亭。”钤“廷美”朱文印、“镏氏廷美”朱文印。引首钤“彭城生”朱文印。\n鉴藏印钤“朱之赤鉴赏”朱文印、“庐子枢”白文印、“留耕堂“白文印等5方。\n本幅为自书七律诗一首，是给临行的友人（方庵翰林）的赠别诗。此书奔放酣畅，结体正欹大小不拘，行笔疾驰徐缓随意，布局疏密曲直不同，顾盼有序，天真自然，是刘珏晚年之作。\n成化二年为1466年，作者时年57岁。",[25,26,7,77,305,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5522da798fcd987e49e6b5afd171117c.jpg","纵121.2厘米，横42.2厘米",[101],{"id":33126,"slug":33127,"title":33128,"dynasty":18,"author":33129,"museum":331,"description":33130,"tags":33131,"thumbUrl":33132,"material":100,"size":100,"collection":101,"collections":33133,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},239949,"lin-wang-xi-zhi-tie-zhou-liang-yan-239949","临王羲之帖轴","梁巘","梁巘（1710年——1788年后），字闻山、文山，号松斋，又号断砚斋主人；祖居亳州十九里镇，后居住在亳州城里夏候巷街（现夏候小学西跨院），殁后埋葬在十九里集南一里半杜庄村后。{曾祖父粱继宗；祖父梁尔禄，字天赐，国学生；父亲粱接孟，字介贤，候选经历，敕赠文林郎（文职、正七品）；兄粱峰，字屏山、号六松，性孝友，善文章、工书法。梁巘长子俊业，早卒；次子伟业，嘉庆六年（1801年）辛酉拔贡，官浙江於潜县知县。业师陈师古，字圣绪，乾隆九年（1744年）甲子科举人。门生有姚莲府、萧景云、王鲁庵、许春林等。}清乾隆二十七年（1762年）敕授文林郎壬午科举人，由咸安宫教习转任湖北巴东县知县；寿州（今安徽省寿县）循理书院院长（山长）。其在书法上的成就远大于政治，他与乾隆年间五位（张照、王澍、刘墉、王文治、梁同书）重要书家齐名，为清代著名书法家之一。",[80,945,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b11df7d3495d800ed5a9b1a91c25dd.jpg",[101],{"id":33135,"slug":33136,"title":33137,"dynasty":18,"author":26837,"museum":331,"description":33138,"tags":33139,"thumbUrl":33140,"material":100,"size":100,"collection":100,"collections":33141,"showCount":384,"zanCount":419,"manualWeight":43,"mainColor":88},239550,"fang-bei-yuan-shan-shui-tu-zhou-zhang-xue-ceng-239550","仿北苑山水图轴","张学曾仿北苑山水图轴是清顺治十二年的图轴。\n《仿北苑山水图》轴，张学曾绘，纸本，墨笔。\n此画远景为巨大的山石，以披麻皴绘出，山体及近处丛树、苔草施以墨点，一小桥延伸而去。\n构图简远，韵味无穷。\n“北苑”指五代时南唐著名山水画家董源，由于他曾任北苑使之职，故名。\n画幅中笔势苍茫，吐纳北苑；笔墨干湿浓淡、画风平淡天真处又受董其昌影响。\n款署：“乙未仲冬画仿北苑似子木词坛张学曾。\n”钤“张学曾印”白文印、“张尔唯氏”朱文印。\n“乙未”为清顺治十二年（1655年）。\n鉴藏印有孙煜烽、庞莱臣诸印：“孙煜烽珍藏印”朱文印、“希逸”白文印、“虚斋审定”白文印、“庞莱臣珍藏印”朱文印。",[25,26,7,77,129,134,132,170,29,79,945,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3154627689548e75d9c6124eddbd477e.jpg",[],{"id":33143,"slug":33144,"title":33145,"dynasty":18,"author":33146,"museum":331,"description":33147,"tags":33148,"thumbUrl":33149,"material":198,"size":780,"collection":100,"collections":33150,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},239422,"fang-nan-tian-shan-shui-zhou-bi-han-239422","仿南田山水轴","毕涵","毕涵，[清]（1732—1807）字有涵，号焦麓，又号止庵道人，晚称篆竹居士，阳湖（今江苏常州）人。",[25,26,7,77,130,945,129,132,170,733,1419,522,2581,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b1631bfd1fe0fb06f0c5ed8d3eddc.jpg",[],{"id":33152,"slug":33153,"title":18197,"dynasty":18,"author":1648,"museum":331,"description":33154,"tags":33155,"thumbUrl":33156,"material":100,"size":100,"collection":100,"collections":33157,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},239337,"xue-jing-shan-shui-zhou-tang-dai-239337","整幅画作以淡墨晕染铺就天地寒寂，细劲线条勾勒出山石苍硬肌理。积雪覆裹峰峦，以留白晕染出雪色蓬松清冽，将隆冬山野的素净空濛尽显。枯木虬曲错落，萧瑟枝桠衬出山境荒寒，山坳隐见山居，为冷寂添了一缕烟火暖意。\n\n作画兼具苍劲与秀润，勾勒皴擦间刻画出山石的嶙峋质感，以空白代雪，虚实相生间烘托出冬日山林的静谧萧寒，借景抒怀，尽显文人山水的澹远雅逸意境。",[25,26,7,77,28,130,129,252,56,613,521,733,351,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57adb7a240be0b5f75cfe5857e8c0fde.jpg",[],{"id":33159,"slug":33160,"title":33161,"dynasty":18,"author":30996,"museum":331,"description":33162,"tags":33163,"thumbUrl":33164,"material":100,"size":100,"collection":84,"collections":33165,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},238995,"jiao-yang-shu-wu-zhou-xiang-kui-238995","蕉阳书屋轴","项奎（1623-1702）明末清初画家，〔清〕字天武、子聚，号东井、墙东子、墙东居士、水墨处士，秀水(今浙江嘉兴)人，元汴曾孙，德达孙，徽谟子，生卒年不详。幼承家学，善山水，兼长兰竹。山水喜用秃笔，秀雅枯淡，颇得元人枯淡之趣；所画兰竹亦逸秀可爱，年七十属友人撰生圹志，寿至八十",[25,26,7,77,985,130,97,129,212,239,170,132,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286bfda2e0e761bb51ae22ce879f272.jpg",[84,185],{"id":33167,"slug":33168,"title":33169,"dynasty":18,"author":50,"museum":331,"description":33170,"tags":33171,"thumbUrl":33174,"material":198,"size":780,"collection":100,"collections":33175,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},238884,"qing-ren-yang-ti-bi-mi-fo-xiang-zhou-yi-ming-238884","清人阳体袐密佛像轴","此作为密宗造像佳作，主体六臂蓝身本尊拥明妃安坐莲台，宝冠璎珞遍身，法相庄严肃穆。构图对称饱满，上方胁侍化相缭绕云间，下方护法神众神态威猛，青绿底色晕染出祥瑞云海，石青、朱红、赤金交织，色调浓烈明快。线条勾勒细腻流畅，衣袂纹饰晕染层次分明，诸佛神韵具足，护法气势凛然。将藏地密教的神秘仪轨融于重彩工笔之中，尽显清代藏传佛画的极致工巧，兼具宗教精神内核与极高审美价值。",[25,7,24832,27,28,8739,33172,9613,33173,29,268],"密宗","护法神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa57ea55486a3cc7ae74c42e5ab83c9.jpg",[],{"id":33177,"slug":33178,"title":33179,"dynasty":18,"author":22561,"museum":331,"description":33180,"tags":33181,"thumbUrl":33182,"material":100,"size":100,"collection":100,"collections":33183,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},238273,"song-he-ming-quan-tu-zhou-lu-zun-shu-238273","松鹤鸣泉图轴","此作用全景式布局铺展山林胜境，山峦层叠延绵，以细密温婉的皴笔写尽岩壑肌理，苍松林立挺拔，松针刻画劲挺细致，尽显古松郁然深秀之姿。\n山居茅舍错落隐于林麓溪畔，飞泉流于山谷之间，似能闻声。淡墨晕染出清润空蒙的山林气韵，将幽寂清旷的林下雅境铺陈眼前。整画笔法秀雅工致，以静穆的笔调写就林泉幽居之趣，尽显文人山水萧散淡远的隐逸意致，藏着画者寄情林泉的山居雅怀。",[25,7,77,130,129,378,252,193,270,170,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21312d10a315f6756d858f716f06e8a2.jpg",[],{"id":33185,"slug":33186,"title":1381,"dynasty":18,"author":14508,"museum":331,"description":33187,"tags":33188,"thumbUrl":33189,"material":3582,"size":100,"collection":138,"collections":33190,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},237970,"shan-shui-zhou-li-jian-237970","黎简（1747年6月30日～1799年12月3日），字简民，一字未裁。号二樵，又号石鼎道人、百花村夫子，广东顺德县弼教村人，清代乾嘉年间岭南著名诗人、书画家。乾隆五十四年拔贡。诗画书称三绝，诗学李贺、黄庭坚，刻求新颖，书得晋人意。性喜山水，与张如芝、谢兰生、罗天池并称为粤东四大家。有《五百四峰草堂诗文钞》《药烟阁词钞》等\n黎简号称诗、书、画、印四绝，对岭南诗歌的发展起过积极的作用，且影响至中原。他一生虽然足迹未出岭南，但中年时诗画名气已远播中原。其诗以境新、句奇、意深、情真而独树一帜。但是，这位出色的诗人在中国文学史上长期没有位置，直到改革开放后才引起权威文学研究者的注意，收入《中国文学史》中。 著有《五百四峰堂诗钞》《五百四峰堂续集》《药烟阁词钞》，戏曲《芙蓉亭》等。\n诗从学李贺、黄庭坚入手，刻意求新，极“峻拔清峭”（王昶《湖海诗传》）之致，能自树一格。张维屏《国朝诗人征略》称：“其诗由山谷（黄庭坚）入杜，而取炼于大谢（灵运），取劲于昌黎（韩愈），取幽于长吉（李贺），取艳于玉溪（李商隐），取瘦于东野（孟郊），取僻于阆仙（贾岛）。锤焉凿焉，雕焉琢焉，于是成为其二樵之诗”。他的记游、题赠之作较多。不少诗描绘了两广山水风光、名胜古迹，如《藤县》《白马角》《龙门滩》《邕州》《白鹤观登五龙潭上玉女峰》《冲虚观至朱明洞》《浴日亭》《江南岸蕉园歌》等。也有少数篇章，反映民间疾苦，如《田中歌》，反映少数民族的风习，如《歌节》《大排三十八韵》等。\n其书法，意志追晋人，中年兼学李北海，晚年写苏黄两家为多，隶书真追《礼器》《熹平石经》，传世书法作品甚丰，显示了他在书法上的不断追求。肇庆七星岩石室岩洞内有他的《南服陨石》刻石，隶书体，秀劲舒放，纵横跌宕，属黎书上品。\n黎简工山水，早年粗犷、率意的用笔，侧重写生的表现，则多属效法明末清初的广东先哲。中年临摹倪云林、石涛作品，几可达到与真迹无异的境地。由近及远地求索，融古汇今地创新，师自前人，不囿于前人，始终是黎简所遵循的山水画创作主线。在这种意识指导下，创作出来的作品，自然会有一种清新、活泼的感觉。而且，由于他是以绝无“甜赖”气的元人、“搜尽奇峰打草稿”的石涛的技法，作为其创法的基调，又兼具乾隆盛世艺术所惯有的平稳、温润，对曾被扬州八怪个性化花鸟画震撼过的人们来说，黎简这种挑战主流派的山水画，又是一次新的震撼。\n黎简的篆刻，虽然属他诗书画的“余事”，但他有深厚的传统文化基础，才思敏捷。他的篆刻，得汉人神髓，参以己意，作品淳厚苍雄，意格甚高，自成面目。自刻图章曰“小子狂简”，刀法峻傥。又能治铜印。1962年，麦华三等辑成《二樵山人篆刻佚存》1册。",[25,26,7,77,28,130,129,170,427,132,173,212,29,1717,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg",[138,158],{"id":33192,"slug":33193,"title":14465,"dynasty":72,"author":14466,"museum":331,"description":14467,"tags":33194,"thumbUrl":33195,"material":100,"size":100,"collection":100,"collections":33196,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},237891,"ba-xian-tu-zhou-zheng-wen-lin-237891",[25,26,7,29,54,28,27,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992b234331038a7f652c8fbf536d1a1d.jpg",[],{"id":33198,"slug":33199,"title":33200,"dynasty":72,"author":13316,"museum":331,"description":33201,"tags":33202,"thumbUrl":33203,"material":100,"size":100,"collection":100,"collections":33204,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},235594,"ce-jian-tu-zhou-fang-yi-zhi-235594","策蹇图轴","枯淡水墨晕开萧散秋郊，近畔苍松虬劲卓立，浓墨点簇苔叶成荫，留白衬出躯干清癯古雅。平远山水层层铺展，浅笔勾勒出汀洲丘峦，淡墨晕染空濛悠远，将郊野疏旷之境晕染极致。\n\n策蹇老者宽袍斗笠，缓行于溪山之间，寥寥数笔便绘就悠然意态。画面上方题笔纵逸跌宕，诗画交融，以禅意笔墨写就林泉高致，尽显晚明文人尚简尚意的风骨淡韵，淡墨轻岚之间，藏着旧朝士子寄情丘壑、避世寻幽的林下襟怀。",[25,26,7,77,129,29,196,427,132,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9e95a0a27c294450f03b11df67a85b7.jpg",[],{"id":33206,"slug":33207,"title":33208,"dynasty":18,"author":50,"museum":331,"description":33209,"tags":33210,"thumbUrl":33211,"material":198,"size":780,"collection":100,"collections":33212,"showCount":384,"zanCount":11,"manualWeight":43,"mainColor":88},234854,"he-su-fu-ren-ying-xiang-zhou-yi-ming-234854","和素夫人影像轴","此作工笔精绝，将诰命夫人的雍容气度尽付笔端。画师于面容描摹细致入微，眉眼含静，神态端方沉稳，尽显世家尊眷的矜贵仪态。宝蓝吉服华美绝伦，金龙辗转腾挪于袍身，祥云、江崖海水次第铺陈，笔墨还原出针绣肌理的精妙，纹样层次分明，将森严的品级礼制融于雅致工巧之中。画面留白简约，边角题跋衬映，文气与画意相融。整作形神兼备，写实功力深厚，将官眷威仪与富贵风华定格于绢素之上，尽显清代肖像画精细传神的创作特色。",[25,26,7,27,28,29,334,10825,24327,602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d2a120e8a09f29ad429c901df1d611.jpg",[],{"id":33214,"slug":33215,"title":33216,"dynasty":18,"author":50,"museum":331,"description":33217,"tags":33218,"thumbUrl":33219,"material":198,"size":780,"collection":100,"collections":33220,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},234385,"xiao-sheng-xian-huang-hou-chao-fu-xiang-zhou-yi-ming-234385","孝圣宪皇后朝服像轴","此作写实精微，将女主人慈和端凝的神态刻画入微，鬓发丝缕、面部肌理皆细腻逼真，尽显沉静雍容的气度。\n朝服纹饰严整考究，盘龙绣纹张弛有度，缂丝刺绣的华美感跃然绢上，朝珠串珠层次分明，宝石的温润光泽与华贵质感尽显无遗。髹金雕龙座椅繁复富丽，地毯纹样规整华美，衬出皇家仪范的肃穆厚重。\n整体设色明丽沉稳，兼顾纪实性与艺术性，将帝后威仪与端庄气度相融，是清代宫廷肖像画的上乘之作。",[25,26,7,28,27,29,7548,20938,24326,24327,20940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa222c1e4c1c25705b7fed860532e5504.jpg",[],{"id":33222,"slug":33223,"title":33224,"dynasty":18,"author":50,"museum":331,"description":33225,"tags":33226,"thumbUrl":33227,"material":198,"size":780,"collection":100,"collections":33228,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},234380,"xuan-ye-chao-fu-xiang-zhou-yi-ming-234380","玄烨朝服像轴","这是工笔重彩帝王肖像，画中帝王面容沉稳威严，沟壑纹路镌刻着半生理政的厚重阅历，神色持重内敛，尽显久居九五的肃穆气度。\n明黄朝服尽显至尊礼制，龙纹腾跃于衣身，辅以祥云、江崖海水，纹饰勾染精细妍丽，石青、朱红点缀其间，撞色沉稳华贵，织绣细节纤毫毕现，将清代冠服的森严等级尽数铺陈。髹金浮雕龙座与纹样规整的铺地织锦层层烘托，写实笔触精准恪守宫廷肖像的制式法度，定格下盛世帝王的仪范风骨，是清代肖像画工致典雅的典范。",[25,26,7,28,29,334,34,27,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d104575a2e03427d0d767f27dedb9b7.jpg",[],{"id":33230,"slug":33231,"title":33232,"dynasty":18,"author":3792,"museum":236,"description":33233,"tags":33234,"thumbUrl":33235,"material":1320,"size":33236,"collection":100,"collections":33237,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},233148,"hua-qian-dong-xiang-zhou-gai-qi-233148","画钱东像轴","钱东是乾隆嘉庆年间的画家，字东皋，号袖海，又号玉鱼生，在当时享有盛名，这是改琦为其所作的遗像。此图将钱东画成禅定遗照，从格式到构思，含意都很独特。这幅作品一反一般先人遗像的陈局旧格，写钱东穿一身白色僧服，作佛弟子居士打扮，端坐蒲团之上。蒲团安置在枯藤虬蟠的古树枝杈间，绿叶垂萝成荫。树旁石案上置放着贝叶、经卷和灵芝、石磬等物。主人公俨然是位潜心参禅、面壁成佛的修行者，而不同于通常的遗像。画家如此描绘，并非钱东生前就是一位居士或虔笃的信徒，而是为了强调他超尘脱俗的品行和清净无为的志向，并以此来称颂他一生，寄托后人的思念。画面背景以工笔重彩细加描绘，人物面部的刻画是全画精华所在，细加晕染，有栩栩如生之感。图上有诸家题诗。改琦所作肖像，重视环境、背景的衬托和渲染。这幅《钱东像》在选择环境方面更具典型性，有力烘托了人物的精神世界。精细秀逸的用笔，清雅色彩，也使作品呈现出鲜明的个人特色，产生优美悦目的艺术效果，从而成为一幅传世杰作。\n改琦是清后期仕女画中成绩突出的画家，也是一位天姿英敏、诗词书画并臻的艺术家。\n改琦字伯蕴，号香白，又号七芗，别号玉壶外史。生于1774年，卒于1829年，他的祖先是新疆人，后世居北京，因祖父以武职官住松江，所以他生于松江（今上海市）。改琦幼时特别聪明，自小就喜绘画、诗文,成人后善画山水、花草、兰竹，其仕女画成绩尤为出色。秦祖永在《桐阴论化画》中，把改琦的仕女画评为“妙品”，并说他“落墨洁净，设色妍雅 ”，是一位能脱去脂粉习气的高手。",[25,26,7,28,29,131,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b43ba26f5832a75b9acdab6de29e7b.jpg","纵35．9厘米横50厘米",[],{"id":33239,"slug":33240,"title":25706,"dynasty":93,"author":50,"museum":236,"description":25707,"tags":33241,"thumbUrl":33243,"material":486,"size":33244,"collection":100,"collections":33245,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},233022,"da-nuo-tu-zhou-yi-ming-233022",[25,26,7,28,27,29,777,34,33242],"仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811f5eb801a8357cdf3c7a7af199fa5a.jpg","纵67.4厘米，横59.2厘米",[],{"id":33247,"slug":33248,"title":33249,"dynasty":18,"author":8803,"museum":710,"description":25560,"tags":33250,"thumbUrl":33251,"material":745,"size":25564,"collection":100,"collections":33252,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":1966},232901,"feng-zhu-tu-li-zhou-li-fang-ying-232901","风竹图立轴",[23,25,26,77,7,304,31,601,1275,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9395c78f0d21c4a0ec265201cad2b525.jpg",[],{"id":33254,"slug":33255,"title":33256,"dynasty":72,"author":1024,"museum":533,"description":33257,"tags":33258,"thumbUrl":33259,"material":182,"size":33260,"collection":100,"collections":33261,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},232690,"shi-tian-shi-yi-shan-shui-tu-dong-qi-chang-232690","石田诗意山水图","董其昌（1555-1636），字玄宰，号思白，别号香光居士，松江华亭（今上海市）人。明朝后期大臣，书画家。\n万历十七年，中进士，授翰林院编修，官至南京礼部尚书。崇祯九年，卒，赐谥“文敏”。\n董其昌擅画山水，师法董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。其画及画论对明末清初画坛影响甚大。书法出入晋唐，自成一格，能诗文。",[23,25,26,7,77,130,129,132,170,29,427,522,2721,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1971e72db7bbc51672311ae5b77b0b6.jpg","56.7x131cm",[],{"id":33263,"slug":33264,"title":33265,"dynasty":93,"author":50,"museum":331,"description":33266,"tags":33267,"thumbUrl":33268,"material":1218,"size":33269,"collection":100,"collections":33270,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},232614,"guang-ming-si-tu-zhou-yi-ming-232614","光明寺图轴","此作用工细界笔勾勒层叠殿宇，朱红立柱搭配青灰飞檐，古雅色调晕染出绢本的岁月质感。楼阁随势错落排布，飞檐舒展翘拔，回廊辗转勾连，砖石地砖的格纹工整清晰，凭栏处点缀微小像影，衬以淡描林木，兼具古建考据价值与清雅画意。\n\n画师以界尺精准摹写斗拱榫卯的精妙结构，细致还原寺院庄严宏阔的形制，将中古佛寺的恢宏气度凝于绢素，带着严谨考据与雅致笔意，静静诉说着古寺往昔的肃穆风华，是古建界画中的难得佳作。",[23,25,24,7,1157,28,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe066fd770eac49d2b7d51ac8e2a4f9ca.jpg","156.5×65.3厘米",[],{"id":33272,"slug":33273,"title":33274,"dynasty":93,"author":50,"museum":319,"description":33275,"tags":33276,"thumbUrl":33277,"material":182,"size":33278,"collection":100,"collections":33279,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},232601,"shi-jia-san-zun-xiang-li-zhou-yi-ming-232601","释迦三尊像立轴","画面中心释迦牟尼佛跏趺端坐于仰覆莲座上，头饰螺发，身着袈裟和僧裙，神态庄严慈祥；右手于胸前结说法印，左手结禅定印，为芸芸众生开示宇宙人生的真谛。身后有头光、身光，寓示佛陀智慧无边、法力无边。佛陀上方有两菩萨，下方有两罗汉，从其身色和肩帜来看，上方为普贤和文殊，下方为阿难和迦叶。释迦牟尼的莲座下承高大华美的金刚座。束腰处绘双子戏球，前方有诸珍宝供养，背景顶上饰宝伞华盖，空中飘浮五彩祥云。画面构图精当，布局传统，疏密有度，人物和景物勾勒精细，线条洗练简洁，造型质朴生动，设色古朴，和谐雅致，以暖色调为主，将画面烘托的圣洁与庄重，表现了极高的绘画水平。难能可贵的是品相完好，原装原裱，为不可多得的收藏与供奉佳品。",[23,25,26,1520,7,54,27,28,29,5394,4209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663a9a713f6fc8d5fa5c6021a681e6d3.jpg","198×111.5cm",[],{"id":33281,"slug":33282,"title":33283,"dynasty":207,"author":50,"museum":74,"description":33284,"tags":33285,"thumbUrl":33286,"material":37,"size":33287,"collection":84,"collections":33288,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},232262,"xing-e-tu-yi-ming-232262","杏鹅图","描绘水滨双鹅，旁有两棵柳、杏，飞燕穿梭柳叶之间，柳阴下斜出几枝杏花。从绘画内容及布局看来，它像是明院体大幅花鸟画的构图，画柳干之皴纹，有仿吕纪之笔意，画鹅则似林良写禽之趣，应是结合林良、吕纪影响之作。",[25,26,24,7,28,77,27,130,3643,22841,170,57,6462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c57300cc263debb9b3f1259bef7939.jpg","142.8x81.4厘米",[84],{"id":33290,"slug":33291,"title":33292,"dynasty":207,"author":50,"museum":331,"description":33293,"tags":33294,"thumbUrl":33295,"material":100,"size":100,"collection":100,"collections":33296,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},231911,"luo-han-tu-di-shi-zun-zhe-ming-ban-tuo-jia-yi-ming-231911","罗汉图（第十尊者名半托迦）","注荼半托迦尊者者生性愚钝，常因背不下经而遭嘲笑， 但他却坚定不移地修持佛法，终成阿罗汉果。释迦牟尼将他说成是改变他人观念的比丘中最杰出的一位。注荼半托迦尊者双手作禅定印，结跏趺坐于山石卜，神情专注。座前是怀抱小狮戏耍雄狮的侍者。树间化现金刚手菩萨和阿底峡大师。",[25,26,7,54,28,29,335,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d69a3c64c7094b1bbe1a0ccbe1a8826.jpg",[],{"id":33298,"slug":33299,"title":33300,"dynasty":49,"author":50,"museum":331,"description":33301,"tags":33302,"thumbUrl":33308,"material":100,"size":100,"collection":100,"collections":33309,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},231695,"jiang-hu-shi-qi-di-shi-wu-luo-han-tu-li-zhou-yi-ming-231695","江户时期 第十五罗汉图立轴","褐肤罗汉宝光护体，踞坐松石之下，虬髯深目自带威严沉静之气，团龙织金僧衣华贵雅致，手托丹丸，尽显尊者超凡气度。身前侍者躬身颔首，神态恭谨至极，主仆情态形成鲜明反差，生动勾勒禅门仪轨。\n\n背景古松盘虬苍劲，悬垂鎏金佛灯晕染出清幽肃穆的禅意氛围。整作线条顿挫凝练，设色雅致沉稳，衣纹晕染层次丰厚，将人物的神性与俗世情态刻画入微，尽显佛画写实功力，禅林静谧之韵扑面而来。",[23,7,25,54,28,29,27,170,10824,33303,27108,16178,6474,132,33304,33305,33306,33307,1405],"小僧","花纹","服饰图案","坐姿","跪姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc639c5a1ca97303fcca2c116d190498.jpg",[],{"id":33311,"slug":33312,"title":33313,"dynasty":49,"author":50,"museum":331,"description":33314,"tags":33315,"thumbUrl":33318,"material":198,"size":780,"collection":100,"collections":33319,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},231677,"qing-feng-pu-bu-tu-yi-ming-231677","青楓瀑布図","整幅作品以飞瀑为骨，素白留白晕出水幕如银河垂落，撞向滩间黑石，激出层叠浪涛，笔绘水纹精细入微，将奔涌之势跃然纸上。\n\n斜出的青枫缀着翠色，柔化了瀑流的雄劲深峻，暗墨晕染的山壁衬得银练似的水瀑愈发通透。刚柔相衬间，将幽林飞泉的清寂禅意铺展开来，题字落款清雅融于画面，把山野间奔雷般的水势与枝桠垂立的安然相融，尽显东方山水写意的灵韵，藏着对山野幽居之趣的描摹。",[23,25,77,28,7,129,169,33316,33317,35],"青枫","水流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd353240fc86d9ff3f2e1d951b0fe099c.jpg",[],{"id":33321,"slug":33322,"title":33323,"dynasty":49,"author":33324,"museum":331,"description":33325,"tags":33326,"thumbUrl":33327,"material":198,"size":780,"collection":100,"collections":33328,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":704},231664,"shi-ting-shi-dai-qin-gao-qun-xian-tu-xue-cun-zhou-ji-231664","室町时代 琴高群仙图","雪村周继","雪村周继（日语：雪村 周継，1504年－1589年），日本室町时代后期的禅僧画家与艺术家，出生于今日本本州岛中部的茨城县。他充分学习中国绘画技巧，为16世纪前后日本著名的水墨画画家之一。",[23,25,26,7,985,77,28,29,31,35,3837,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841033e7db0128542364452f7261ea9f.jpg",[],{"id":33330,"slug":33331,"title":33332,"dynasty":207,"author":50,"museum":331,"description":33333,"tags":33334,"thumbUrl":33335,"material":100,"size":100,"collection":100,"collections":33336,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":342},231497,"han-gao-zu-liu-bang-yi-ming-231497","汉高祖刘邦","汉高祖刘邦，字季，号沛公，谥号高皇帝，庙号高祖。沛郡丰邑中阳里（现属江苏省徐州市丰县）人氏，妣吕雉。邦公国号西汉高祖，生于周赧王五十九年即公元前二五六年二月初八日。他在兄弟四人中排行第三。性情豁达大度，知人善任。公元前二一六年，时年三十一岁，为泗水亭长。公元前209年壬辰岁九月，参加由陈胜，吴广带领的起义，后加入楚国的阵营，趁另一位将军项羽，和秦的大军打拉锯战，没有秦国主力和他的军队对阵之余，第一个攻进秦国的首都咸阳，灭了秦朝，被楚霸王项羽封为汉王。并以蜀地为基地，和项羽展开了长达四年的楚汉之争。刘邦在文有张良，武有韩信，后方有萧何的辅助下，终于把项羽的军队包围在垓下设下十面埋伏，项羽突围不果，自杀于乌江边。刘邦消灭了项羽后，统一了中国。公元前206年乙未岁称帝于洛阳，建立汉王朝，自此中华帝国在地理上再次统一，为以后的强大建立了基础.后迁都于长安（今西安市）在位十二年，卒于公元前一九五年丙午岁四月二十五日（甲辰日）。享年六十一岁，葬于葬于陕西省西安咸阳县东，称长陵。妣吕雉，卒于公元前一七九年壬戌岁，葬于长安咸阳县东陵。生八子：长庶齐悼惠王肥，曹氏生。次子恵帝盈，吕雉生。三子和意，戚后生，封赵王，后被吕雉所杀。四子恢，梁王，后自杀。五子文帝恒，先封代王，后为文帝，薄姬生，薄姬卒于公元前一五五年丙戌岁，葬于霸陵。六子友，先为淮阳王，后为赵幽王，后自杀，生二子：遂（赵王）、卬（胶西王）。七子建，燕王，后被吕雉所杀。八子长，淮南王，后被文帝废王。为了和后来刘秀建都洛阳的“汉”区别，历史上称为“西汉”",[25,26,24,4108,7,29,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f26eab8a5aa6207dddae9b2d01cb95c.jpg",[],{"id":33338,"slug":33339,"title":33340,"dynasty":18,"author":1971,"museum":319,"description":33341,"tags":33342,"thumbUrl":33343,"material":214,"size":33344,"collection":100,"collections":33345,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},231489,"fang-huang-zi-jiu-qiu-shan-tu-wang-jian-231489","仿黄子久秋山图","王时敏和王鉴都直接受教于董其昌，属于“南宗”。董其昌是华亭（上海松江县）人。万历间进士，官至礼部尚书，是江南有名的大豪绅。史书上说他“性和易，通禅理，萧闲吐纳，终日无俗语，人拟之米芾、赵孟俯云”。在绘画方面，他主张以古人为师、以下天为师，以求达到“形、手相凑而相忘”的目的。他苦临苦摹，废寝忘食，以“血战宋元”的精神，教育子弟，启发后人。王时敏与王鉴在普遍学习董其昌“南宗”的基础上，各有侧重，王时敏主要着力于黄公望，他自己曾说：“元季四家，当推子久，得其神者，惟董宗伯，得其形者，余不敢让。”而王鉴主要是学习董源与巨然，风格面貌较王时敏多，笔墨变化也比王时敏丰富。所以当时的人们评论说他：“能运笔中锋，其合作处，堪与董华亭对垒”，甚至有的说：“吾谓画中龙，国朝（指清朝）四大家中惟廉州实能当之”。\n王鉴是明朝时刑部尚书、文坛复古运动倡导者王世贞的孙子。生于明万历二十六年戊戌（公元一五九八年），卒于清康熙十六年丁巳（公元一六七七年），享年七十九岁。明崇祯六年（公元一六三三年）中举，两年后，官廉州太守。明朝亡覆前夕罢官归里。因为家富收藏，又自小受名书家熏陶，养成了对书画的特殊爱好，更因为在明清易代、战乱频繁的时期，他虽然未能投身反抗清军的行列，但也不愿甘当清廷的贰臣，于是便“布衣懒自入侯门”，“向人欲仿赵王孙”，去做一名在野的文画家了。",[23,25,26,7,129,28,130,945,252,253,1419,351,686,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3743a1569f5a7068db31e49355667a3.jpg","98×52cm",[],{"id":33347,"slug":33348,"title":33349,"dynasty":207,"author":33350,"museum":74,"description":33351,"tags":33352,"thumbUrl":33354,"material":182,"size":33355,"collection":100,"collections":33356,"showCount":384,"zanCount":11,"manualWeight":43,"mainColor":44},231402,"han-yuan-tu-li-rong-jin-231402","汉苑图","李容瑾","此图分为殿阁区和水面区两部分，景色各异，作者采用鸟瞰式的构图，将殿阁和水面貌一一展现。刻画得非常具体细致，画面的右侧为殿阁区，以直线、横线、斜线绘成了一组优美的宏伟的建筑群：用笔严谨，刻画精到细密，一丝不苟。\n画面上，宫苑殿阁依山傍水而建，描绘了三重天井。由左下角十字歇山顶的桥亭，沿山径进入画面第一重天井，左侧围以曲折的长廊，廊外水面上构筑一重檐歇山顶的凉亭。再向上进入画面第二重天井，左右两侧均以悬崖削壁为天然屏幛。第三重天井中建一高峻的台基，台面上矗立着一座巍峨的双层楼阁，上层为重檐十字歇山顶，下层檐的左、右、前方各出一歇山抱厦。\n汉代宫苑早于汉高祖、萧相国时，即有营建。当时之未央宫，因龙首山制前殿，建东阙、北阙、武库、太仓等，周围二十八里，台殿池苑无数，宫成后常为朝见之所。王莽末年毁于兵火。如班固的《西都赋》、张衡的《西京赋》中，有关于汉代宫苑盛况的详尽描述，此轴则以绘画的形式展现了汉苑的宏丽气象。\n全画取近乎长方形的构图，殿阁占去画面的三分之二，整个汉苑图，宫阙巍峨，连甍矗栋，雕栏回廊，殿阁缛丽重深，周围树木耸峙，掩映成趣。在这一建筑群的高处，遥望远处，为烟波浩渺的水面，碧波万顷，气象万千；直到很远的地方与起伏的小山相接。凉亭临水，江水泊岸，楼台掩映，楼台亭阁生辉；近处植有松柏，林木翁翳，花竹摇艳，移步换影，处处秀丽迷人的景色；遥望远处，山山水水，美不胜收。其殿阁楼台等建筑物，其严谨笔直的线条与苍松崖石的穿插姿态相映，更显出楼阁的气势非凡。精湛的笔墨则再现了汉苑特有的风釆。\n图中的建筑从群体的布局组合到单体的结构装饰，都不是道地的汉时规范，而是宋以后的形制，例如鸱尾和脊兽的处理就是明证。但画家将历史和现实、景和情、势和意，通过惨淡的经营、创造的意匠，实现了统一。\n此图界画工整，折算精确，游规矩准绳之内而不为所窘。此图景物恢弘，气魄博大。树石画法承北宋郭熙，多作双勾夹叶，用笔粗壮放达，与郭熙《窠石平远图》相一致。但与郭熙不同，《汉苑图》纯用夹叶树，满山遍冈，葳蕤郁茂，增添了画面豪华郁丽的氛围。近境坡石从卷云皴化出，圆润流畅，清空跌宕；遥山旷荡，杂树暝漾，神韵独绝。\n中国美术学院艺术人文学院教授毛建波：汉代国家统一，国力殷实，都城、宫殿、苑囿、礼制建筑和陵墓等，十分兴盛。汉代苑囿规模惊人，作为游乐之所，苑囿里的宫殿常于中轴对称之外有更多自由灵活的处理，这种情形在《汉苑图》中有很好的体现。\n北宋内府《宣和画谱·宫室叙论》：“画者取此（指宫室）而备之形容，岂徒为是台榭、户牖之壮观者哉？虽一点一笔，必求诸绳矩，比他画为难工。”",[25,26,7,1157,27,28,269,3489,129,170,270,132,778,33353],"古建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6d6d9c9afdd18b07e1bff7f30e833.jpg","纵156.6厘米，横108.7厘米",[],{"id":33358,"slug":33359,"title":33360,"dynasty":93,"author":50,"museum":74,"description":33361,"tags":33362,"thumbUrl":33363,"material":214,"size":33364,"collection":100,"collections":33365,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},231342,"qian-shou-qian-yan-guan-shi-wu-pu-sa-yi-ming-231342","千手千眼观世吾菩萨","千手千眼观世音菩萨，又称千手观音，汉传佛教中常被供奉的观世音菩萨之一，是观世音菩萨的其中一个化现。为六观音之一，六观音即：慈航观音（救拔饿鬼道）、千手观音（救拔地狱道）、马头观音（救拔畜生道）、十一面观音（救拔修罗道）、准提观音（救拔人道）、如意轮观音（救拔天道）。有一千只手，每手心上各有一眼，故称。一般塑像或者绘画上，大都以四十手、三十六手、二十四手、十八手为代表。\n有说法称千手观音与青颈观音、不空羂索观音、消众毒观音等观音化身，同为正观音一时化现，有极密切的关系，相当于同体异名\n菩萨千手千眼形象之来源，于《大悲心陀罗尼经》中记载：“世尊！我念过去无量亿劫，有佛出世，名曰‘千光王静住如来’。彼佛世尊怜念我故，及为一切诸众生故，说此‘广大圆满无碍大悲心陀罗尼’。以金色手摩我顶上作如是言：‘善男子！汝当持此心咒，普为未来恶世一切众生，作大利乐。’我于是时，始住初地，一闻此咒故，超第八地。我时心欢喜故，即发誓言：‘若我当来，堪能利益、安乐一切众生者，令我即时，身生千手、千眼具足。’发是愿已，应时身上，千手千眼，悉皆具足。”[1]此经文可知，菩萨千手千眼之形象，系因菩萨发愿利乐有情之后而具足千手千眼。\n千手千眼观世音菩萨头上有二十八法相，代表二十八天护法，流通于禅宗与净土宗。\n除了《大悲心陀罗尼经》以外，亦有《千手千眼观世音菩萨姥陀罗尼身经》有千手千眼观世音菩萨的记载。",[25,26,7,54,27,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a3ef79ac213a6d1e3fd09057b0064f2.jpg","3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歙县（今属安徽）人，生于松江华亭（今上海松江）。",[25,77,130,26,7,129,134,193,349,733,170,272,31,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ac9ac3c05eaead2a85ddd28c5c67b9.jpg",[],{"id":33375,"slug":33376,"title":33377,"dynasty":49,"author":17910,"museum":331,"description":17911,"tags":33378,"thumbUrl":33379,"material":198,"size":780,"collection":100,"collections":33380,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},230501,"shi-ting-shi-dai-si-ji-shan-shui-tu-xia-xue-zhou-230501","室町时代 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，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[23,25,26,7,77,130,129,132,169,170,172,522,2721,271,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":33415,"slug":33416,"title":33417,"dynasty":207,"author":50,"museum":331,"description":33418,"tags":33419,"thumbUrl":33420,"material":100,"size":100,"collection":100,"collections":33421,"showCount":384,"zanCount":11,"manualWeight":43,"mainColor":342},228207,"han-lin-mu-yang-tu-yi-ming-228207","寒林牧羊图","此作用枯淡笔墨铺就冬日荒林野趣，老木虬枝盘曲苍劲，枯槎交错伸展，枝桠间漫着清寂萧寒之气。寒林以浓淡墨色层叠排布，晕染出悠远静谧的林野纵深，将冬日郊野的空旷萧索尽数铺开。下方缓坡错落起伏，羊群或垂首啮草，或缓步闲游，为冷寂林野晕开细碎生机。整体笔墨简劲苍润，以留白衬出郊野清阔空寂的氛围，于萧寒之中暗蕴悠然意趣，尽显简远萧散的林下幽情。",[25,129,77,130,7,521,3057,132,8495,170,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef393f39116b943b3c6158679749db8.jpg",[],{"id":33423,"slug":33424,"title":24989,"dynasty":93,"author":4882,"museum":331,"description":33425,"tags":33426,"thumbUrl":33427,"material":100,"size":100,"collection":100,"collections":33428,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},227985,"yin-yan-fei-pu-tu-jiang-can-227985","此作用笔苍劲老辣，以峭壁飞瀑为骨，劲健短皴刻画出岩崖嶙峋肌理，枯松斜生崖侧，野意横生。飞瀑层叠奔泻，似能耳闻激浪轰雷之声，下方乱石承接流泉，晕开湿润山野意趣。\n\n墨色沉郁古雅，以浓淡晕染远近虚实，留白极简却将山涧清幽之气铺溢满幅，尽显荒寒空寂的林下意境，把山野深僻的冷冽幽寂凝于绢素，观之便如临崖畔，水雾山风似拂面而来，尽显宋人山水中尚意尚理的清雅品格。",[23,25,26,24,7,129,130,5120,7082,170,132,77,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1dacd0160a8842c4476672188c8c9bf.jpg",[],{"id":33430,"slug":33431,"title":33432,"dynasty":93,"author":50,"museum":331,"description":33433,"tags":33434,"thumbUrl":33435,"material":100,"size":100,"collection":100,"collections":33436,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},227351,"bin-du-luo-ba-luo-duo-du-zun-zhe-yi-ming-227351","宾度罗跋啰堕闍尊者","《宾度罗跋啰堕闍尊者》 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此图绘第一宾度罗跋啰堕闍尊者，是十六罗汉中的第一位，,与自眷属一千阿罗汉多分住在西瞿陀尼洲。左侧题名还可看清：第一宾度罗跋啰堕闍尊，右侧常住寺名已漫漶不清，只留“...东山三...寺常住“几字，当是在中国的宋代时就已流传至日本。此图用笔尤是宋人法度，设色高妙而极其虔诚，一丝不苟。眼作碧色，很是少见。允为传世宋人罗汉精品，惜宋画全集未录。",[23,25,26,28,27,54,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8cb9355b5d38e4adf614ee79fabc37.jpg",[],{"id":33438,"slug":33439,"title":33440,"dynasty":18,"author":361,"museum":331,"description":33441,"tags":33442,"thumbUrl":33443,"material":198,"size":780,"collection":100,"collections":33444,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},224425,"yun-feng-shu-se-tu-zhou-zhuang-biao-wang-shi-min-224425","云峰树色图轴（装裱）","王时敏（1592年－1680年），初名赞虞，字逊之，号烟客，晚号西庐老人，直隶太仓州（今江苏太仓市）人，明末清初重要画家。万历首辅王锡爵孙，翰林王衡独子。崇祯初年荫官为太常寺少卿，入清后不仕。\n王时敏擅画山水，少时学董其昌，并临摹家藏宋元名作，以黄公望为宗，笔墨含蓄，浑厚清逸，唯构图略少变化。王时敏开创了山水画的“娄东派”，对清代画坛影响很大。他与王鉴、王翚、王原祁并称“四王”，加上恽寿平和吴历，合称“清六家”。王翚、吴历皆出其门下，孙王原祁亦得其指授。",[23,25,26,7,28,268,130,129,945,252,335,253,378,601,193,270,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013ea1a092bbe1e7b0683866b99698e.jpg",[],{"id":33446,"slug":33447,"title":33448,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":33449,"thumbUrl":33450,"material":198,"size":780,"collection":100,"collections":33451,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":88},224209,"shu-fa-23-wu-chang-shuo-224209","书法23",[80,2664,97,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73568a81bc566946d76b688804a851e8.jpg",[],{"id":33453,"slug":33454,"title":33455,"dynasty":93,"author":50,"museum":331,"description":33456,"tags":33457,"thumbUrl":33458,"material":100,"size":100,"collection":100,"collections":33459,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},223597,"sui-yang-wu-lao-tu-feng-ping-xiang-yi-ming-223597","睢阳五老图 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绍兴三十二年（1162年），禅位于皇太子赵昚，尊号“光尧寿圣宪天体道性仁诚德经武纬文绍业兴统明谟盛烈太上皇帝”。淳熙十四年（1187年），崩于德寿宫，时年八十一岁，成为中国历史上少有的长寿帝王之一，谥号“圣神武文宪孝皇帝”，庙号高宗。宋光宗绍熙二年（1191年），累谥“受命中兴全功至德圣神武文昭仁宪孝皇帝”。\n赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《洛神赋》（草书）等。",[25,26,27,28,29,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a3e88564eb6d2348c93fede2bcb453.jpg","74x116.4厘米",[],{"id":33470,"slug":33471,"title":33472,"dynasty":18,"author":50,"museum":319,"description":33473,"tags":33474,"thumbUrl":33475,"material":37,"size":100,"collection":100,"collections":33476,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":44},219271,"qun-hou-xi-shui-shuang-ping-er-yi-ming-219271","群猴戏水双屏(二)","松枝虬曲如铁，斜逸于空濛山影间，瀑布自崖巅倾泻而下，溅起碎玉似的水花。山石之上，群猴情态鲜活：或相偎亲昵，或探臂戏波，或追逐跃动，灵动身姿与潺潺流水相映成趣。墨色浓淡交错，细致勾勒出猴毛的蓬松纹理与山石的苍劲质感，流水则以婉转线条摹写奔腾之势。古雅绢本的暖棕底色，衬得画面静谧而富有生机，仿佛能闻猴啼与水声相和，尽显自然野趣与生命的鲜活意趣，将山林间的灵动瞬间凝于笔端。",[25,26,7,77,27,130,129,8959,193,169,351,427,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01f16953ecc4f7107f745ae261e1887.jpg",[],{"id":33478,"slug":33479,"title":33480,"dynasty":17693,"author":27860,"museum":209,"description":33481,"tags":33482,"thumbUrl":33483,"material":100,"size":100,"collection":84,"collections":33484,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":33485},203358,"bai-he-li-yu-tu-zhou-gao-qi-feng-203358","白荷鲤鱼图轴","画面中，鲤鱼身形饱满灵动，鳞片细密如织，墨色由深及浅勾勒出鲜活姿态；白荷皎洁素雅，花瓣层叠舒展，荷叶以水墨晕染，浓淡交织间显自然野趣。笔墨兼具工细写实与写意晕染，鱼的精致刻画与荷池的水墨意境相映成趣，色调温润雅致，营造出静谧清幽又饱含生机的氛围。生灵的鲜活与文人的雅致在此交融，尽显独特艺术韵味。",[25,7,77,28,113,32,935,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8be572bbe646a30a47088bef81a81e9.jpg",[84],"b79b82",{"id":33487,"slug":33488,"title":33489,"dynasty":17693,"author":284,"museum":209,"description":33490,"tags":33491,"thumbUrl":33492,"material":100,"size":100,"collection":84,"collections":33493,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":33494},203195,"hai-tang-chu-ji-tu-zhou-qi-bai-shi-203195","海棠雏鸡图轴","画面里，海棠红花以浓艳胭脂点染，花瓣饱满间藏娇俏；墨叶泼洒淋漓，浓淡干湿交错，枝干挺括有力度。几只雏鸡憨态可掬，淡墨晕染出毛茸茸的质感，或低头似欲啄食，或侧首张望，神态各异。旁侧蟋蟀细笔勾勒，灵动身姿跃然纸上，为画面添几分生趣。笔墨简练却形神兼备，红花墨叶对比鲜明，稚拙中见精妙，尽显生活意趣与写意之美。",[25,304,77,28,113,899,6025,3373,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34e6a12583a92ba45b6b99b11adcd98.jpg",[84],"d5c6b5",{"id":33496,"slug":33497,"title":33498,"dynasty":17693,"author":4304,"museum":209,"description":33499,"tags":33500,"thumbUrl":33501,"material":100,"size":100,"collection":138,"collections":33502,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":33503},203151,"yan-yu-liang-bu-tu-zhou-pan-tian-shou-203151","烟雨两部图轴","烟雨濛濛里，山石以劲挺线条勾勒，墨块与留白交错，显雄浑之势。竹枝疏朗，笔触老辣，与石之厚重形成对比。题字“茶罢禅趣”点染文心，画面虽简却意境悠远，似闻雨声淅沥，禅意自生。笔力雄健却不失空灵，将自然之趣与文人意绪融于尺幅，读之如临烟雨天光，心境自宁。",[25,77,129,31,35,130,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfde7625e1e12c8c47f0659aee16bb9a.jpg",[138],"d2c6ae",{"id":33505,"slug":33506,"title":33507,"dynasty":17693,"author":5710,"museum":209,"description":33508,"tags":33509,"thumbUrl":33510,"material":100,"size":100,"collection":84,"collections":33511,"showCount":384,"zanCount":11,"manualWeight":43,"mainColor":33512},203048,"he-hua-bai-lu-tu-zhou-zhang-shan-ma-203048","荷花白鹭图轴","泼墨荷叶层叠错落，浓墨处如积云沉郁，淡墨间似轻烟缥缈，笔触挥洒自如；几枝荷花点缀其间，粉瓣浅晕，清雅含蓄。白鹭悄然栖于荷丛，羽色素净温润，身姿悠然，与水墨荷影交织出静谧幽远的意境。画作笔墨兼具写意之奔放与细节之传神，将荷塘的生机与闲逸融于一纸，尽显传统花鸟的雅致韵致。",[25,77,28,113,32,3005,304,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbc9d92841bde9cdefb02f4c99c26507.jpg",[84],"c1b5a8",{"id":33514,"slug":33515,"title":33516,"dynasty":17693,"author":4304,"museum":209,"description":33517,"tags":33518,"thumbUrl":33519,"material":100,"size":100,"collection":138,"collections":33520,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":33521},202913,"shan-shui-qiu-yan-tu-zhou-pan-tian-shou-202913","山水秋雁图轴","画面以极简构图营造深远秋意，淡墨晕染的远山与浓墨点染的近树形成鲜明对比，枝干挺拔如铁，叶丛苍劲似戟。一行秋雁排云而过，划破天际的空寂，添得几分灵动。笔墨干湿互用，浓淡相宜，线条刚健有力，尽显苍浑老辣之韵。山石以简括皴法勾勒，留白处似有无尽秋空，意境清旷悠远。",[25,129,151,77,28,35,130,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956729aaaa1e8f3bad8986c6d427a93e.jpg",[138],"d0c6b8",{"id":33523,"slug":33524,"title":33525,"dynasty":72,"author":1024,"museum":209,"description":33526,"tags":33527,"thumbUrl":33528,"material":100,"size":100,"collection":100,"collections":33529,"showCount":384,"zanCount":11,"manualWeight":43,"mainColor":33530},202421,"jian-song-tu-zhou-dong-qi-chang-202421","涧松图轴","水墨晕染间，山水意境渐生。近坡松枝苍劲，笔墨藏锋，尽显文人写意之趣；山石以皴法勾勒，线条清逸，似有书法流转之韵。山间涧水隐现，林木疏密有致，远处峰峦叠嶂，云雾留白处更添空濛。整幅作品简淡而气韵生动，融书画于一炉，将自然之景与胸臆相契，是文人山水的经典范式。",[129,77,130,7,80,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b4c17bd59459233093bc14b5ac05d1.jpg",[],"a79980",{"id":33532,"slug":33533,"title":33534,"dynasty":18,"author":4669,"museum":209,"description":33535,"tags":33536,"thumbUrl":33537,"material":100,"size":100,"collection":138,"collections":33538,"showCount":384,"zanCount":43,"manualWeight":43,"mainColor":33539},202220,"tang-ren-shi-yi-tu-zhou-wang-hui-202220","唐人诗意图轴","画面以淡墨设色铺展山水景致，远山用皴法勾勒纹理，尽显雄浑苍劲；近景枯树虬枝交错，茅舍隐于林间，溪流潺潺绕屋而过，小桥横架其上，一派清幽雅致的冬日山居意趣。笔墨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梦楼抚琴图轴 年代：清 作者：王肇基 特征：绢本，设色 尺寸：纵54cm，横26.4cm。\n本幅王肇基题：“爱镜者美人，爱剑者侠客，名士则爱砚，嗜好各成癖。\n先生放达人，耽此琴三尺，世俗竞淫哇，太古音谁识？庚辰孟夏月，梦楼宗台抚琴图。\n王肇基绘并题。\n”下钤“王肇基印”白文印、“镜香”朱文印。\n“庚辰”为清乾隆二十五年（176年），这一年，王肇基6岁，王文治（号梦楼）1岁。\n“孟夏月”则正值会考结束，殿试、御赐之前。\n王文治在这年的五月初十日得中进士第三人。\n图绘王文治在室内的画像。\n他手持折扇神情淡定地端坐在木椅上，身旁条案上摆有古琴和香炉，身后的花架上则置有盛开的兰花一盆。\n虽然点景物象不多，但是它们高低错落的陈设，丰富了画面的纵深空间，同时，也映衬出像主王文治幽兰般的君子心志和以琴瑟为伴的文化素养。",[25,26,7,28,29,777,2389,1674,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2463e961b794a748f0e3b21f09314859.jpg",[],{"id":34108,"slug":34109,"title":34110,"dynasty":72,"author":50,"museum":331,"description":34111,"tags":34112,"thumbUrl":34113,"material":198,"size":780,"collection":100,"collections":34114,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":3208},234935,"zhao-shu-ban-shen-xiang-zhou-yi-ming-234935","赵曙半身像轴","此作以工整写实的笔触描摹帝王容仪，展脚幞头挺括规整，朱红朝服沉穆厚重，尽显九五之尊的威仪。画师精细晕染面部肌理，方正眉眼自带端凝神色，须髯丝丝分明，将帝王内敛持重的气度刻画入微。设色调和古雅，素净背景更衬出人物主体，笔笔恪守院体肖像的严谨法度，于细微处见功底，把帝王肃穆沉静的神态铺陈绢上，是古代帝王肖像中兼具写实性与传神度的工整佳构。",[24,25,26,7,28,29,27,2749,34,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b5e2459d74a974d5c7ae7b0dfee9a4.jpg",[],{"id":34116,"slug":34117,"title":34118,"dynasty":72,"author":50,"museum":331,"description":34119,"tags":34120,"thumbUrl":34121,"material":198,"size":780,"collection":100,"collections":34122,"showCount":5,"zanCount":11,"manualWeight":43,"mainColor":44},234933,"yao-guang-xiao-xiang-zhou-yi-ming-234933","姚广孝像轴","此作写实工致，将人物沉静肃穆的高僧气度尽显无遗。画中之人面相圆和，神态内敛淡然，端坐于雕花宝座之上，手持拂尘，仪容端方。衣色以沉稳朱褐搭配雅致石青，衣身织锦纹样精细繁复，暗衬出尊崇身份。画师笔下细节入微，宝座纹饰、足下登履皆描摹细致，既恪守肖像画纪实本真，又以精谨笔触烘托出人物不凡的气场，尽显明代肖像画写实传神的精妙功底。",[25,7,29,54,28,27,34,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b2d3e458a455e6a62e34502ba1510c.jpg",[],{"id":34124,"slug":34125,"title":34126,"dynasty":18,"author":34127,"museum":331,"description":34128,"tags":34129,"thumbUrl":34130,"material":100,"size":100,"collection":100,"collections":34131,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":88},234783,"mo-xie-bin-hua-fu-shan-xiang-zhou-wang-yin-zhai-234783","摹谢彬画傅山像轴","王荫斋","傅山（1607—1684年），字青竹，后改青主，一字仁仲，别署公之它（一作他），号朱衣道人等，阳曲（今山西太原）人。明亡后隐居不仕，以行医为生。清康熙十七年（1678年）举博学鸿词科，强征至京，以死拒，放归。能绘画，精医学。书法篆、隶、真、行、草无所不精，以草书最富特色，笔力雄奇恣肆，追求生拙真率的艺术境界，是清初书坛大家。有《霜红龛集》行世。《清史稿》列传二百八十八有传。",[25,26,7,28,29,253,132,212,4219,14919,945,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7897ca39a968a036ec4605782e1aa5.jpg",[],{"id":34133,"slug":34134,"title":14758,"dynasty":18,"author":50,"museum":331,"description":14759,"tags":34135,"thumbUrl":34136,"material":198,"size":780,"collection":100,"collections":34137,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":88},234430,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234430",[25,26,7,54,27,28,29,241,269,129,4209,536,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e4a966fa146ebf05ff32cf4051f1de.jpg",[],{"id":34139,"slug":34140,"title":34141,"dynasty":18,"author":50,"museum":331,"description":34142,"tags":34143,"thumbUrl":34144,"material":198,"size":780,"collection":100,"collections":34145,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":88},234419,"xiao-zhen-xian-huang-hou-xiang-zhou-yi-ming-234419","孝贞显皇后像轴","此作工笔细腻雅致，设色明丽沉静。画面题字呼应氛围，女主端坐于玲珑湖石之上，宝蓝色旗装织就规整团花，镶边纹饰精巧细致，尽显华贵体面，头饰簪花清雅温婉，将端庄柔静的仪态尽显无遗。衬景青竹挺秀清逸，暗喻品性高洁，牡丹姹紫嫣红烘托出雍容气度，朱栏细草点缀出雅致庭院氛围。整作将写实肖像与雅致园景相融，既如实还原宫廷贵妇人的容仪风貌，又借景传情，尽显清代宫廷工笔肖像画的精妙气韵。",[25,28,27,7,29,31,114,57,536,1675,602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc231832387681e17f5dec348824df6bf.jpg",[],{"id":34147,"slug":34148,"title":34149,"dynasty":18,"author":50,"museum":331,"description":34150,"tags":34151,"thumbUrl":34152,"material":198,"size":780,"collection":100,"collections":34153,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":88},234389,"hong-li-kui-jia-cheng-ma-tu-zhou-yi-ming-234389","弘历盔甲乘马图轴","此作为绢本设色鞍马肖像画，帝王身披宝相花缠纹鎏金札甲，甲叶錾刻细密精巧，华贵威仪扑面而来。胯下白马神骏挺拔，朱缨辔饰醒目亮眼，尽显不凡气度。帝王按缰徐行，面容沉稳坚毅，背负箭囊劲矢，将其兼具文治武功的气魄尽显无遗。\n画作融合中西技法，以西洋写实精准勾勒出人物面容肌理与甲胄金属质感，又以传统工笔晕染烘托氛围，赭色绢底衬得主体愈发鲜明肃穆，将帝王出猎时的雍容气场渲染得淋漓尽致，是清代鞍马肖像画中的精品。",[472,7,27,28,29,196,19726,4174,1039,20937],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93dfce54e5a3e66ca723e48efc818ce.jpg",[],{"id":34155,"slug":34156,"title":20750,"dynasty":93,"author":50,"museum":74,"description":34157,"tags":34158,"thumbUrl":34159,"material":16199,"size":34160,"collection":100,"collections":34161,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},234065,"xue-shan-xing-lv-tu-zhou-yi-ming-234065","寒山雪积，村肆沿溪而设，长桥跨岸，旅人、牛、马络绎於途，木筏顺流结集，一派赶集景致。远景幽壑，楼台掩映，寒鸦成阵，匝绕盤旋，通幅於热闹中不失雪天阴寒之气息。屋宇、舟车、拱桥，俱以界笔出之，线条略呈钉头鼠尾，有别於传统界画。近景人物，五官、表情历历可辨，愈远则愈简，屋宇、林木亦然，深合近大远小之理。",[25,364,7,77,130,1240,171,351,521,686,193,29,174,170,272,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d1451346fc5558d13e36afaebb3e3b.jpg","纵106厘米，横51.5厘米",[],{"id":34163,"slug":34164,"title":34165,"dynasty":18,"author":21388,"museum":236,"description":34166,"tags":34167,"thumbUrl":34168,"material":1573,"size":34169,"collection":100,"collections":34170,"showCount":5,"zanCount":43,"manualWeight":4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四季山水图（秋）",[23,24,25,7,28,129,269,170,4987,5506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc400973487eafe8b6a86e5eafe93c0.jpg",[],{"id":34257,"slug":34258,"title":34259,"dynasty":49,"author":10100,"museum":331,"description":34260,"tags":34261,"thumbUrl":34262,"material":100,"size":100,"collection":100,"collections":34263,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},230487,"tai-gong-wang-wen-wang-tu-shou-ye-yuan-xin-230487","太公望文王图","此作用大片留白铺展空茫水色，寥寥柳丝牵起河畔清寂早春意趣。枯木旁细竹点景，极简笔触勾勒老叟踞石垂纶，身形松弛淡然，将静候的怅惘化入澹泊闲情。\n\n水墨晕染浅淡写意，舍去繁丽描摹，只以劲简线条刻绘人物风神，把隐逸襟怀与入世期许藏在空茫留白间，以东方水墨独有的留白哲思，将悠长等待的时光，铺陈在这无言空阔的画幅之中，尽显淡远幽寂的禅味。",[23,25,26,7,28,130,29,35,31,131,2367,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2576cf375d2475dcb407cb2fc50632af.jpg",[],{"id":34265,"slug":34266,"title":34267,"dynasty":18,"author":3916,"museum":331,"description":11681,"tags":34268,"thumbUrl":34269,"material":198,"size":780,"collection":100,"collections":34270,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},230240,"qi-shu-tao-xiu-shi-qing-yi-lu-mo-ben-jin-nong-230240","漆书陶秀寔清异录（摹本）",[23,80,9557,7,5199,77,945,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0fb7392e84c663d10f1cf126c872e8.jpg",[],{"id":34272,"slug":34273,"title":34274,"dynasty":18,"author":34275,"museum":331,"description":34276,"tags":34277,"thumbUrl":34279,"material":198,"size":780,"collection":100,"collections":34280,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},230225,"yi-sheng-han-zhang-zhong-jing-xian-sheng-zhi-bei-guan-si-liang-230225","医圣汉张仲景先生之碑","关思亮","碑文刻有中国明末清初进士桑芸撰述的祠墓记，文体采用唐代名书法家颜真卿之字体，约一千二百字。该碑由日本医家泷清于日本文政十年(1827年)募集百余名汉方医家出资而建立。",[23,7,3763,5902,80,472,34278,22230],"碑文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aec81d35d8c85d06a4aa57661fbcf20.jpg",[],{"id":34282,"slug":34283,"title":34284,"dynasty":72,"author":10012,"museum":331,"description":34285,"tags":34286,"thumbUrl":34287,"material":100,"size":100,"collection":100,"collections":34288,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":88},228910,"tian-dou-xiao-ri-tu-ding-yun-peng-228910","天都晓日图","此作全景铺展山岳胜境，远景群峰刺破晓雾，朝日晕染出暖红云色，嶙峋峰峦间银瀑垂落，汇入翻涌云海。中下部以苍劲笔法绘虬松怪石，古松盘曲交错，松针层叠蓊郁，谷中流云如浪，晕出缥缈仙气。溪涧蜿蜒穿林，文士临流闲坐，幽意悠然。\n\n画作工写兼备，设色清雅沉稳，山石勾勒皴擦尽显苍朴质感，云霞以卷云法绘就柔润灵动，既撷取黄山奇崛之态，又融入文人隐逸山居的雅趣，是明代山水画里实景写生与抒情写意相融的精妙之作。",[23,25,7,129,28,27,130,252,169,335,427,172,29,170,173,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a01ea600daad7995372d79e13f6114.jpg",[],{"id":34290,"slug":34291,"title":34292,"dynasty":72,"author":50,"museum":331,"description":34293,"tags":34294,"thumbUrl":34295,"material":100,"size":100,"collection":100,"collections":34296,"showCount":5,"zanCount":11,"manualWeight":43,"mainColor":342},228819,"yin-shi-han-shan-yi-ming-228819","隐士寒山","古柳垂荫覆着幽寂山野，佝身疾行的高士衣袂被山风掀动翻飞。铁线描劲挺勾绘衣纹，将布帛褶皱随身形舒展的柔软晕化自然，素袍以青蓝镶边提色，暗合隐者疏淡心性。\n\n高士怀中文卷紧拥，神情专注唯恐山风惊扰卷中丘壑，将隐者嗜书如命的意趣藏在细微情态中。淡墨晕染的林麓荒苔沉暗朦胧，烘托出空山幽寂，把避世高贤耽于诗书、寄情林泉的林下风流，定格在这一瞬山野行旅之间。",[23,25,27,28,7,29,131,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb68fa2bff19d21da694b1aa4c489e9.jpg",[],{"id":34298,"slug":34299,"title":34300,"dynasty":72,"author":4620,"museum":331,"description":34301,"tags":34302,"thumbUrl":34312,"material":100,"size":100,"collection":100,"collections":34313,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},228389,"xu-jing-yang-yi-ju-cui-zi-zhong-228389","许旌阳移居","此作用高远章法铺陈，上层危崖嵯峨，飞瀑垂落，秋木虬曲点缀其间，清寂高古。中层为画面核心，仙众环侍主角，衣纹细劲如游丝，设色雅静沉凝，人物神态安然超脱，尽显道骨仙风。下层童仆往来搬运，身形灵动，为幽寂山水添上几分鲜活意趣。\n\n全图工写相济，山石勾勒皴染兼具，林木敷色雅致淡和，将仙隐迁居的出尘意境晕染透彻，笔意内敛醇厚，把叙事感与山水清逸融为一体，尽显晚明人物画的高雅典致。",[23,25,24,7,5733,364,34300,34303,34304,27,34305,34306,34307,28,6975,7082,34308,132,3150,34309,34310,34311],"仙隐迁居","道释题材","工写相济","皴染","游丝描","秋木","道骨仙风","清寂高古","出尘意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a52147b095678beb4349cffd858869e.jpg",[],{"id":34315,"slug":34316,"title":34317,"dynasty":72,"author":50,"museum":331,"description":34318,"tags":34319,"thumbUrl":34322,"material":100,"size":100,"collection":100,"collections":34323,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},228381,"ming-xuan-zong-ma-shang-xiang-zhou-yi-ming-228381","明宣宗马上像轴","画面中帝王骑乘骏马缓行，明黄官袍衣袂微曳，神态从容悠然，尽显松弛闲适的帝王气度。骏马昂首扬蹄，身姿矫健灵动，将驰行动感完美呈现。\n\n背景浅沙平滩之上，芦荻随风轻摆，水鸟掠沙振翅，烘托出郊野清旷疏朗的意趣。整作设色柔和古朴，工细雅致，人物鞍马刻画写实精准，兼具肖像纪实性与山水画的淡远意境，将宫廷驰游的闲逸图景晕染恰到好处，是明代鞍马人物画的精妙之作。",[24,25,26,7,28,27,29,196,151,34320,13217,13924,5109,34321],"芦荻","鞍马人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F845b19d053221e30bd84e4eca72a4d5f.jpg",[],{"id":34325,"slug":34326,"title":25166,"dynasty":72,"author":2407,"museum":331,"description":34327,"tags":34328,"thumbUrl":34329,"material":100,"size":100,"collection":100,"collections":34330,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},228361,"da-mo-du-jiang-tu-sun-ke-hong-228361","少林七十二绝技之一，又名一线穿、一苇渡江、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为 内壮 。\n为 的一种,能凭借柔软之物在水上等场所前进。\n相传达摩在南方传道已毕，返回时路遇一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n少林七十二绝技之一,又名一线穿,一苇渡江、又名水上 ，俗名踩软绳，即说部中 所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n之一，又名 、 、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、 之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n相传 在南方 已毕，返回时 一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n凭借此功可借竹苇等在水面横行自如，属上乘轻功，非十年苦功不可得。\n其练法殊 非易易，然苟能坚心意志练习，不难成功。\n其法分数步， 入手之初，与飞行功、轻身术相同。\n即先带铅砂，在平地上练习飞驰 ，然后在山路上练习跳跃，更放石块于簸箩中，在其边上行走，逐渐 取去石块，至能在空簸箩边上行走后，即走沙道。\n以上各法，已详见 飞行功、轻身术练法中。\n惟两腿所束之铅砂，亦须按前法以猪血浸炼 ，使成死铅，始可应用。\n带铅以每腿四两起，至五斤为度，平时宜以 药水洗腿，以防损害。\n沙道走过之后，则走棉纸，用厚约三四寸之棉 纸，铺于沙道之中，人行其上，至足印不下陷时，此第一步功夫成。\n然后更以细长之木，系其两端，悬空际，约高二三尺，人即于木上往 来飞行。\n初时木心因承重之故，宕动不已，直要练得人行其上，丝毫 不动为上，至此更易木为巨绳，其法竖竹架，以巨绳横扣于架之两端 ，人于绳上行走，即如现在江湖卖解场中，即俗所谓跑马戏者，所常 见之走绳索是也。\n绳质较软，一着足必向下陷，尤易左右摇摆，不如 木之来往荡动，故练此步功夫亦较为难，直练至人行绳上，绳能不荡 不摇，则第二步功夫成。\n从此将逐渐减细，至粗不盈指之绳，亦能任 意往来于绳上，亦不荡不摇，则第三步功夫成。\n然后以最细之连绳行 之，亦能行走自如者；再将其绳两端系于河之两岸，将绳横拦于河之 水面上，仍按前法行之，能行走自如，则全功成矣。\n功成之后，可在 水面飞行，所谓水面飞行者，亦须略有假借，须用一质地轻浮之物， 如竹片木杆芦苇等物，掷于水面，人即可身立其上，推之前进也。\n余 如浮萍薄草密集之处，菱角荷叶丛生之所，亦可在上行走。\n昔日达摩老祖，传道已毕，只身西去，即以一苇渡江，即系此种功夫。\n然习此种功夫，非十余年苦功，则无以成，且须静心虚气以习之。\n洗腿药水，即以地骨皮、食盐各等量入，煎水乘汤热洗之，则血气融和，皮肤舒畅，上下交感体气究实矣。\n达摩－中国禅宗初祖。\n南天竺婆罗门人，原名菩提多罗，是南天竺香玉王的第三子，禅宗二十七至祖般若多罗到该国传法，菩提多罗从他学法，很得般若多罗的赏识，就给他改名为达摩，意译为道法，是达摩已通达到法的意思。\n梁武帝普通年到达广州，梁武帝闻其名，迎入金陵，但观念不相契合，达摩悄然北上。\n途经北江，没有渡江的工具，遂将一束苇草置于江面，踏蹑而渡。\n「达摩一苇渡江，栾巴噀酒灭火。\n」后至北魏，所到之处，以禅法教人。\n达摩的事迹，随着禅宗的发展，渐趋神异，并成为中国画家、瓷艺家所爱的题材。\n“一苇渡江”明清德化窑达摩瓷塑上常常以此为题材。\n此图为明 的“达摩渡江图”，现藏宁波“天一阁”。\n这件“达摩渡江图”正是道释人物，画的很细腻，宗梁楷“细笔”一类画风。\n人物回首顾盼，两目突出，神采毕现。\n衣纹线条虽简，但非常概括，转折有力。\n此画虽是细写，却有意笔效果。\n孙克弘（15－1611）一作克宏，字允执，号雪居， 人。\n父为进士承恩。\n孙克弘以父荫入仕，官至汉阳太守。\n孙克弘生性巧慧，声音洪亮，状貌疏野，在居处四壁上画苍松老柏。\n善书法，画上常题隶书。\n绘画擅花鸟、人物，有资料说写道释人物则学梁楷。",[23,25,26,7,54,27,28,29,79,34,2221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49e44cbbf6c2d7b966e9e401cadc7c7.jpg",[],{"id":34332,"slug":34333,"title":34334,"dynasty":93,"author":50,"museum":331,"description":34335,"tags":34336,"thumbUrl":34337,"material":198,"size":780,"collection":100,"collections":34338,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},227340,"fo-jing-yi-ming-227340","佛经","佛教经典：统称；藏经，俗称；佛经，也叫《大藏经》，一般由经、律、论三部分组成。“ 经”是指释迦牟尼佛亲口所说，由其弟子所集成的法本，“律”是指佛陀为其弟子所制定的戒条，“论”是佛陀的弟子们在学习佛经后所得的心得。",[25,26,7,54,29,985,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e1c215fe28243622481e4fd5587d6c.jpg",[],{"id":34340,"slug":34341,"title":30502,"dynasty":18,"author":20575,"museum":331,"description":34342,"tags":34343,"thumbUrl":34344,"material":100,"size":100,"collection":100,"collections":34345,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":88},224358,"tong-qin-tu-zhou-yu-zhi-ding-224358","《桐禽图》是清代画家禹之鼎于康熙年间创作纸本墨笔画，现藏于故宫博物院。\n画家用劲健的粗笔描绘树干，笔断意不断；树叶先用深浅不同的墨点出，然后以浓墨勒出叶筋；小鸟用淡墨勾轮廓，然后染出躯干，最后再用焦墨画两翅和头部。\n用笔雄健豪迈，奇宕多变，用墨层次丰富，厚而不滞，轻而不淡。\n本幅左上自题：“余摹蓝田叔先生《得子图》非一本也。\n乙亥后两日，偶于京邸，因秋实老翁谈及故园风景，又属（嘱）写此幅，感其嗜痴，不知丑耳。\n广陵禹之鼎识。\n”钤“慎斋禹之鼎印”、“广陵涛上渔人”印二方。\n乙亥为清 三十四年（ ），禹之鼎时年49岁。\n从自题中得知画家此年寓居京师。\n此图用大写意法画 几枝，引来两只飞鸟栖息。\n树枝错落穿插有致，一鸟啄叼桐籽，回首张望，一鸟展翅凌空，疾飞而来。\n画面左虚右实，而左边高飞的小鸟和左上的题记不仅平衡了画面，还使画面平添了几许盈然的生机。\n自题中的“蓝田叔”指明末清初著名的山水画家 ，虽然尚无直接证据可证明禹之鼎曾直接师从蓝瑛，但禹之鼎时常临摹蓝瑛的绘画，所以从此画的笔墨来看还是深得蓝瑛之意的。\n（1647—1716年），字尚吉，号慎斋，江都(今江苏 )人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入 。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对 、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,25,7,77,113,151,253,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935bf7d16f8ac9256d4a6e3fe14339.jpg",[],{"id":34347,"slug":34348,"title":34349,"dynasty":18,"author":10867,"museum":331,"description":34350,"tags":34351,"thumbUrl":34352,"material":100,"size":100,"collection":100,"collections":34353,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":88},224264,"hua-wan-hu-chao-tian-zhou-zhang-zong-cang-224264","画万笏朝天轴","群峰如笏攒立，拔地参天，以干笔皴擦勾勒山石肌理，苍浑厚重，尽显雄奇壮阔之势。山坳溪畔，林舍错落，浅滩回溪萦绕村居，杂木疏密有致，枯荣相映，晕染出江南山野的温润清宁。\n\n整幅笔墨兼具精整法度与文人雅致，皴擦点染层次分明，将峰岳的沉雄高旷与乡居的悠然意趣相融，左上题诗呼应画境，把自然山川的形神与林泉雅怀合为一体，勾勒点染间尽显山水清旷高华之态。",[25,26,7,77,130,129,132,170,878,193,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66bff8c39fbab376a96a62831c8d9ff4.jpg",[],{"id":34355,"slug":34356,"title":34357,"dynasty":18,"author":5730,"museum":74,"description":34358,"tags":34359,"thumbUrl":34360,"material":9109,"size":34361,"collection":34362,"collections":34363,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":88},224121,"qing-gao-zong-yu-lin-su-shi-tie-zhou-qian-long-224121","清高宗御临苏轼帖轴","本件清高宗虽以行书写苏轼〈砚铭〉，然而却不见苏轼特有的结字与丰腴的笔法，显然是出于己意之作，仍可看出乾隆传承自王羲之的书法风格。",[23,80,945,97,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff556acfc1627f56b921f8f01a944aefa.jpg","纵99.7cm，横32.2cm","碑帖精选",[34362],{"id":34365,"slug":34366,"title":34367,"dynasty":93,"author":50,"museum":331,"description":34368,"tags":34369,"thumbUrl":34370,"material":100,"size":100,"collection":100,"collections":34371,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},223595,"pan-che-tu-yi-ming-223595","盘车图","“盘车图”题材常见于传统绘画作品，通常描写人力、畜力车辆行进出盘曲的山路间，或运粮、运货，或载人涉渡。\n此图描绘盘曲艰险的山间栈道上，脚夫们赶着黄牛驾车奋力上坡。\n向屋后眺望，林木尽头是无数的山峦烟岫。\n图中以苍浑粗括的笔墨勾勒山峰树石，风格沉郁，山石的画法受郭熙的影响，是宋人无款画中的杰作。\n【名称】盘车图 【作者】佚名 盘车图—— 轴，绢本设色，纵19厘米，横49.5厘米",[23,24,25,26,7,27,130,77,28,129,269,132,170,29,26918,195,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd204e4e2690ab8ea1c2e1bad1290acde.jpg",[],{"id":34373,"slug":34374,"title":34375,"dynasty":207,"author":50,"museum":74,"description":34376,"tags":34377,"thumbUrl":34378,"material":99,"size":34379,"collection":100,"collections":34380,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},223407,"tai-xing-xue-ji-tu-zhou-yi-ming-223407","太行雪霁图轴","一群行旅或骑驴或牵骡、骆驼，在险峻的太行山径赶路，饶有北国风情。路旁枯树，山石上的白雪都令人想起冬日的严寒。缩颈弯腰及以袖口掩鼻的人物，更以生动的表情形容出隆冬的凄苦。\n该幅的山石构景雄奇，用笔劲利。前者承继北宋范宽一派的遗绪；后者则有南宋马夏的影响。",[23,25,7,28,130,129,3880,132,521,169,29,614,193,351,16823],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe095a1bc944a9d299c160ca73f1ffd9a.jpg","156x103",[],{"id":34382,"slug":34383,"title":34384,"dynasty":207,"author":50,"museum":74,"description":34385,"tags":34386,"thumbUrl":34388,"material":136,"size":34389,"collection":100,"collections":34390,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":88},223363,"jia-he-tu-zhou-yi-ming-223363","嘉禾图轴","古时以农业为主，稻生双穗，或稻产丰收，是一种祥瑞，也称之为嘉禾。 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崇祯初，累官礼部尚书，与枚十者九，寻乞归。逢元善于书法，博采众长自出已意，尤擅于行、草，世人多宝重。着有《禹贡详节》和《宗伯公集选》。",[25,26,80,7,97,305,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5901359265b98980c30a07749e322840.jpg",[101],{"id":34878,"slug":34879,"title":34880,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":34881,"thumbUrl":34882,"material":198,"size":780,"collection":100,"collections":34883,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},240496,"wu-chang-shuo-lin-shi-gu-wen-zhou-wu-chang-shuo-240496","吴昌硕临石鼓文轴",[80,2664,945,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971c026c7c3ff4c8af0992a74475ed80.jpg",[],{"id":34885,"slug":34886,"title":34887,"dynasty":18,"author":34888,"museum":331,"description":34889,"tags":34890,"thumbUrl":34891,"material":198,"size":780,"collection":100,"collections":34892,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},240482,"zhuan-shu-lu-wen-zhou-wan-cheng-ji-240482","篆书录文轴","万承纪","万承纪（1766～1826）清篆刻家、书法家、藏书家。字廉山，一作廉三，号畴五。江西南昌人。早年由宛平到淮上谋生，乾隆五十七年（1792）举人，嘉庆初以军功任知",[26,80,7,2664,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5eec069ada0a4fc03581152966b6e9.jpg",[],{"id":34894,"slug":34895,"title":34896,"dynasty":18,"author":4505,"museum":331,"description":31386,"tags":34897,"thumbUrl":34898,"material":198,"size":780,"collection":100,"collections":34899,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},240465,"lin-mi-tie-zhou-zhao-zhi-qian-240465","临米帖轴",[80,7,97,945,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda18544c74d9e060860a196c66f8ef0e.jpg",[],{"id":34901,"slug":34902,"title":26099,"dynasty":72,"author":27433,"museum":331,"description":33086,"tags":34903,"thumbUrl":34904,"material":198,"size":780,"collection":100,"collections":34905,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},240447,"shi-zhou-ni-yuan-lu-240447",[26,80,7,97,305,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb93a2a796b137abd324ce4bc50a9afb.jpg",[],{"id":34907,"slug":34908,"title":34909,"dynasty":18,"author":4505,"museum":331,"description":31386,"tags":34910,"thumbUrl":34911,"material":198,"size":780,"collection":100,"collections":34912,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},240428,"si-ti-shu-lin-bei-ping-zhao-zhi-qian-240428","四体书临碑屏",[80,945,2664,5199,5902,97,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40210c999f1f822e95b642f197823213.jpg",[],{"id":34914,"slug":34915,"title":26099,"dynasty":18,"author":34916,"museum":331,"description":34917,"tags":34918,"thumbUrl":34919,"material":214,"size":100,"collection":101,"collections":34920,"showCount":296,"zanCount":11,"manualWeight":43,"mainColor":88},240193,"shi-zhou-bi-yuan-240193","毕沅","毕沅（1730年—1797年），字纕蘅，亦字秋帆，因从沈德潜学于灵岩山，自号灵岩山人。江苏镇洋（今江苏太仓）人。清代著名学者。\n乾隆二十五年（1760）进士，廷试第一，状元及第，授翰林院编修。乾隆五十年（1785）累官至河南巡抚，第二年擢湖广总督。嘉庆元年（1796）赏轻车都尉世袭。病逝后，赠太子太保，赐祭葬。\n嘉來庆二冄年頭（17樤97）年病逝，获赠太子太保。",[80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bd0c7f5d59860c6fb46c27b0d3589d3.jpg",[101],{"id":34922,"slug":34923,"title":34924,"dynasty":72,"author":33401,"museum":331,"description":34925,"tags":34926,"thumbUrl":34927,"material":100,"size":100,"collection":101,"collections":34928,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},239946,"qi-jue-shi-zhou-chen-ji-ru-239946","七绝诗轴","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。\n陈继儒书法学苏轼、米芾，对苏、米墨迹，最为喜爱，虽残碑断简，也必搜采，手自摹刻，成《晚香堂帖》及《来仪堂帖》。\n所画山水，空远清逸，松江博物馆藏有《潇湘烟雨图》1幅。所画梅竹，点染精妙，名重当时。用水墨画梅，乃其第一次，曾编《陈眉公梅花诗画册》，为后世所法。传世作品有《梅花》《梅竹双清图》等，（现藏故宫博物院）。\n另有《梅花图》8页（藏于日本东京国立博物馆）。书法传世作品有《行书半研斋诗》《行书李白诗》等（现藏故宫博物院）。曾评批《西厢记》《琵琶记》《绣襦记》等。并善鼓琴，订正琴谱，名重一时。\n其书画印有：“陈继儒印”（阴文印2方）、“陈眉公书画记”（阳文印2方）、“眉公”（阳文印）、“雪堂”（阴文印） ；“眉公”（阴文印）、“麋公”（阴文、阳文印）、“晚香堂”（阴文印）",[25,26,7,97,305,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd16067cc84ccd926b198314f3717c73.jpg",[101],{"id":34930,"slug":34931,"title":34932,"dynasty":72,"author":34933,"museum":236,"description":34934,"tags":34935,"thumbUrl":34936,"material":214,"size":34937,"collection":101,"collections":34938,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},239907,"liu-yong-ci-zhou-sui-ming-yong-239907","柳永词轴","眭明永","释文：\n杨柳外，晓风残月。明永。\n本幅钤“眭明永印”、“嵩年”。收藏印钤“谭观成”、“宣君长印”。\n《柳永词》句为宋柳永《雨霖铃》词下半阕中的一句“杨柳岸，晓风残月”，眭明永写成“杨柳外，晓风残月”。\n此轴书法气势奔放豪爽，神完气足。结体欹斜，笔势开张，巨锋迅疾，线条顿挫转折，纵逸跌宕，书风狂纵而富奇趣。",[80,7,305,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd142a395bcfd4ebb2dccc5c72d75f478.jpg","纵113.5厘米，横28.3厘米",[101],{"id":34940,"slug":34941,"title":34942,"dynasty":18,"author":24634,"museum":331,"description":29780,"tags":34943,"thumbUrl":34944,"material":100,"size":100,"collection":138,"collections":34945,"showCount":296,"zanCount":11,"manualWeight":43,"mainColor":88},239274,"qing-luan-nuan-cui-tu-zhou-qin-bing-wen-239274","晴峦暖翠图轴",[25,7,28,130,129,272,173,170,134,193,377,733,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7590cf853fd8a92277c9d92aa1e34b94.jpg",[138,158],{"id":34947,"slug":34948,"title":33735,"dynasty":18,"author":34949,"museum":331,"description":34950,"tags":34951,"thumbUrl":34952,"material":100,"size":100,"collection":100,"collections":34953,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},239222,"xi-ma-tu-zhou-zhu-chang-zhou-239222","朱昌周","此作用笔兼工带写，设色浅淡清润。苍松虬枝垂拂，晕染出幽寂林泉之境。石上老者白衣安坐，眉目舒然静观溪间景致，尽显林下幽居的散淡意趣。下方溪水中斑驳骏马扬蹄踏浪，鬃毛飞扬，活力迸现。旁侧奚官扶槽侍立，动作质朴利落。动静相映间，将山野洗马的日常琐事，晕化为超脱尘俗的世外逸致，笔墨兼具院体的雅致精细与文人画的萧散意韵，把闲淡雅致的林下之趣铺陈于卷上。",[25,28,27,7,29,196,253,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18960e06f867483729ca6a6621d745f9.jpg",[],{"id":34955,"slug":34956,"title":34957,"dynasty":18,"author":18153,"museum":331,"description":34958,"tags":34959,"thumbUrl":34961,"material":100,"size":100,"collection":100,"collections":34962,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},239216,"cheng-bo-wan-qing-tu-zhou-xu-fang-239216","澄波万顷图轴","以淡墨晕染江天浩渺，远山轻笼烟霭，如黛痕隐在云水之间，江帆凌波点点，衬得万顷澄波愈见空阔辽远。近景危崖层叠皴擦，枯木疏朗错落，崖畔茅亭山居幽藏林间，山巅楼宇凭崖俯瞰大江，尽得林泉高致。\n\n笔墨简淡清和，以留白衬出水天无际，带着遗世幽居的冷寂萧疏。题诗与笔墨相映，将寄怀林泉、耽恋丘壑的隐逸襟怀融在山光水色之中，淡远里藏着沉郁静气，尽显文人画诗画合一的雅逸格调。",[25,26,7,77,130,129,6208,170,733,34960,522,8355],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a04716dd53d779f11804342d6a38b4a.jpg",[],{"id":34964,"slug":34965,"title":34966,"dynasty":18,"author":31475,"museum":236,"description":34967,"tags":34968,"thumbUrl":34969,"material":100,"size":100,"collection":100,"collections":34970,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},239151,"ku-mu-shuang-ma-zhou-zhang-mu-239151","枯木双马轴","此作用笔苍劲老辣，古木虬曲皲裂，枯桠斜出，尽现岁月摧折的荒寒之态。下方双马相映成趣，卧马抬首亲昵蹭触，立马垂首呼应，神态温驯灵动。以水墨晕染出骏马皮毛蓬松的质感，将其膘肥体健描摹入微，写实功力尽显。\n\n画面搭配残墙疏竹与坡石点缀，烘托出萧寂清冷的幽澹意境，将鞍马写生的传神意趣与枯木山水的荒疏雅致相融，尽显静谧空寂的氛围感，是兼具笔墨意趣与写生功力的精妙之作。",[24,25,26,7,77,130,152,196,241,78,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49598c324ef7b67fd933a8197f8fbf65.jpg",[],{"id":34972,"slug":34973,"title":34974,"dynasty":18,"author":50,"museum":331,"description":34975,"tags":34976,"thumbUrl":34979,"material":198,"size":780,"collection":100,"collections":34980,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},238873,"tong-zhi-da-hun-cai-peng-tu-zhou-yi-ming-238873","同治大婚彩棚图轴","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。",[472,7,28,1157,27,269,377,170,34977,16270,778,34978],"宫墙","大婚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66851a2485dbbdb1b0c9c8c270fcd8e9.jpg",[],{"id":34982,"slug":34983,"title":34984,"dynasty":49,"author":34985,"museum":331,"description":34986,"tags":34987,"thumbUrl":34988,"material":100,"size":100,"collection":138,"collections":34989,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},236333,"ma-shi-ying-shan-shui-chi-du-he-zhuang-zhou-ruan-da-cheng-236333","马士英山水尺牍合装轴","阮大铖","马士英（约1591～1646），字瑶草，贵州贵阳人，明末大臣，官至内阁首辅，相传本姓李，过继马氏，祖籍广西梧州。明万历己未（1619年）成进士，授南京户部主事，后历官严州、河南、大同知府、庐凤总督等职。甲申变后，马士英与南京兵部尚书史可法、南京户部尚书高弘图等拥立福王朱由崧为帝，是为弘光帝。因“拥兵迎福王于江上”有功，升任东阁大学士兼兵部尚书，都察院右副都御史，成为南明明弘光政权首辅，人称“马阁老”。后国事不济，拥立福王朱由崧登基，抵抗清兵入侵，最终殉国而死，但世人对其死因存疑，在清代，被后人所责骂。\n夏允彝、夏完淳父子《幸存录》对其持论公允。有《永城纪略》（含《永牍》）及部分诗文、书画作品传世。",[25,26,7,77,130,129,131,35,80,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cfd45a1fae363e79f9e55bf504aa31.jpg",[138,185,101],{"id":34991,"slug":34992,"title":34993,"dynasty":18,"author":50,"museum":236,"description":34994,"tags":34995,"thumbUrl":34997,"material":486,"size":23623,"collection":39,"collections":34998,"showCount":296,"zanCount":11,"manualWeight":43,"mainColor":88},236163,"xuan-ye-rong-zhuang-xiang-zhou-yi-ming-236163","玄烨戎装像轴","画面中帝王戎装卓立，铠甲纹饰工细鲜明，金饰点缀尽显庄重威仪，背负箭矢，尽显弓马本色。四名侍从神态恭谨，错落随侍，衬出帝王尊崇地位。苍松虬劲古朴，枝桠舒展，皴染细腻，留白晕染出郊野空阔悠远的氛围。\n\n整幅设色明丽沉稳，线条流畅工致，写实兼具意境。既精准复刻人物服制仪态细节，又借古松烘托帝王沉雄气魄，将帝王的武略风采与肃穆仪范定格绢素，是清代纪实肖像画的精妙之作。",[24,25,7,24329,5733,28,27,5109,2882,7547,3493,34996,13217],"戎装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3c2d5aba305219ef7e7053ae7f0bc1.jpg",[39,158],{"id":35000,"slug":35001,"title":35002,"dynasty":18,"author":27467,"museum":331,"description":27468,"tags":35003,"thumbUrl":35005,"material":198,"size":780,"collection":100,"collections":35006,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},236075,"hai-tian-chu-ri-tu-zhou-shen-quan-236075","海天初日图轴",[24,25,26,7,28,268,129,21044,35004,272,173,269,23459,1420,170],"帆船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394c68e5371d1d18bade07de8bda33fd.jpg",[],{"id":35008,"slug":35009,"title":35010,"dynasty":72,"author":50,"museum":331,"description":35011,"tags":35012,"thumbUrl":35013,"material":100,"size":100,"collection":100,"collections":35014,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},236025,"dong-qi-chang-lin-he-jing-shi-yi-tu-zhou-yi-ming-236025","董其昌林和靖诗意图轴","此作以两段平远式铺展山水，清寂淡远。以干笔淡墨绘就，笔法松秀温润，山峦以披麻皴轻施皴擦，林木萧疏错落，茅舍板桥散缀烟林之间，将幽居孤高的隐逸意趣融在淡远丘壑之中。\n画面留白得当，虚实相生，淡墨轻岚晕染出空濛的林下清光，呼应题中诗意。诗书画印合为一体，尽显文人画的雅逸风神，以简淡之形写清旷之境，寄寓着慕恋林泉的林下襟怀。",[25,26,7,77,130,129,253,134,733,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeafd6d200536b0595a755c13a51b14c.jpg",[],{"id":35016,"slug":35017,"title":1381,"dynasty":18,"author":4998,"museum":331,"description":35018,"tags":35019,"thumbUrl":35020,"material":100,"size":100,"collection":100,"collections":35021,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},235877,"shan-shui-zhou-wang-yuan-qi-235877","此作用笔苍劲老辣，以干笔反复皴擦堆叠，追踵元人笔意，山峦层叠错落，龙脉绵连，兼具高远、深远之致。丘壑间林木苍郁，溪湾萦回，山居亭台掩映其间，氤氲出萧散淡远的幽居意趣。\n\n墨色干湿浓淡相间，于浑厚华滋中见松秀清润，尽显沉雄苍莽的山水气象。右上角题诗与绘境呼应，诗画相融，更添文人雅韵，将山林静穆之美与笔墨意趣合而为一，尽显静雅高逸的文人画格。",[25,26,7,77,130,129,170,132,733,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadc04a3c59c5ca62697b560597d2092e.jpg",[],{"id":35023,"slug":35024,"title":12102,"dynasty":72,"author":3690,"museum":331,"description":35025,"tags":35026,"thumbUrl":35027,"material":100,"size":100,"collection":100,"collections":35028,"showCount":296,"zanCount":11,"manualWeight":43,"mainColor":44},235851,"ting-song-tu-zhou-xiang-sheng-mo-235851","此作用笔苍秀老辣，古松虬枝盘曲如游龙，松针攒簇苍劲，尽显古木历经风霜的拙朴雄健。松下隐士席地闲坐，仰聆松涛，神情悠然澹泊，将文人醉心林泉、静听天籁的幽怀尽数彰显。\n\n远景山峦以淡墨晕染，烟岚轻笼，江流宛转折绕，铺展出山野空濛悠远的意境。全作水墨层次丰富，干湿浓淡交织，远近景过渡自然，将林泉高致的隐逸之美娓娓道来，以松为骨，以意为魂，把笔墨意趣与林下幽怀相融，尽显文人画寄情丘壑的清雅意趣。",[25,7,77,129,427,29,132,130,4661,26,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8801d1568fbe822abd26326bd71fa216.jpg",[],{"id":35030,"slug":35031,"title":35032,"dynasty":72,"author":35033,"museum":331,"description":35034,"tags":35035,"thumbUrl":35036,"material":100,"size":100,"collection":100,"collections":35037,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},235696,"gu-mu-xiu-huang-tu-zhou-yang-ming-shi-235696","古木修篁图轴","杨明时","此作用笔清逸简淡，枯笔写出古木躯干，皴擦结合尽显虬曲苍劲，浓墨点苔更添岁月沧桑，缠绕藤蔓令幽寂野趣顿生。旁侧修篁挺秀，中锋挥写竹叶错落有致，与古木刚柔相济。湖石以淡墨勾勒皴擦，线条简括却见嶙峋质感，和木竹相映成趣。\n\n右上角题字清雅隽秀，书画相融无间，整体萧散空灵，尽显文人画悠然出尘的意境，寄寓着文人幽栖林泉、静悟禅机的襟怀。",[25,77,304,130,2294,31,57,1275,7,967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6985e6ff713d0856313e172b7d0d7a.jpg",[],{"id":35039,"slug":35040,"title":35041,"dynasty":18,"author":50,"museum":331,"description":35042,"tags":35043,"thumbUrl":35044,"material":100,"size":100,"collection":100,"collections":35045,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},235675,"mei-qing-bai-long-tan-tu-zhou-yi-ming-235675","梅清白龙潭图轴","此作以危崖飞瀑为骨，苍松虬枝为魂。高远构图铺展层叠山势，老松古干敷色褐金，松针攒簇如墨团，奇崛苍劲，扎根崖壁间尽显傲岸生机。白龙潭飞瀑破壁而出，从层岩间奔涌倾泻，水雾蒸腾漫上山谷，晕染出氤氲空濛的清幽意境。\n\n右下角崖顶立红衣高士，凭栏观瀑，渺小身影衬出山峦空阔辽远，暗合观照山水、澄怀味道的文人心境。笔墨苍润兼具，以水墨晕染流云雾气，勾勒皴擦写尽山石肌理，题诗佐景，将出世之思融于丘壑之间，尽显山水间的超尘禅趣。",[25,26,7,77,28,129,169,427,29,173,132,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f8912653273167c09890b0c1d1fcc.jpg",[],{"id":35047,"slug":35048,"title":35049,"dynasty":72,"author":19417,"museum":331,"description":35050,"tags":35051,"thumbUrl":35052,"material":100,"size":100,"collection":100,"collections":35053,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},235556,"xian-ren-cun-wu-tu-zhou-yang-wen-cong-235556","仙人村坞图轴","《杨文骢仙人村坞图轴》是明代的图轴。\n图绘深山幽居之景，危峰断崖，坡岸嘉木，江边亭轩，水泊空旷，远渚几处，高士面江而坐，若有所思。\n此作主要用干笔淡墨，山石轮廓以清劲之笔勾轮廓，树石主体以干笔多次皴擦，奠定了全幅清逸幽远的基调。\n右上的题诗与本幅的“L”形构图呼应，秀逸的书法与画作巧妙地融为一体。\n此作意境超尘绝俗，笔墨隽秀高雅，无怪乎董其昌评其山水曰：“有宋人之骨力去其结，有元人之风雅去其佻。\n” 作者自识：“仙人村坞锦为屏，鸡犬云中户自扃。\n烟火红尘俱不恙，长斋绣佛礼黄庭。\n壬午春仲画于瓯江之轻顺阁中。\n杨文骢。\n”钤“杨文骢印”朱文印、“龙友”朱文印。\n另有“希逸”白文等鉴藏印4方。",[25,26,7,77,130,129,170,351,6245,3996,522,5929,78,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cdf7dbe1e608a56e3d63f8d477849a.jpg",[],{"id":35055,"slug":35056,"title":18822,"dynasty":18,"author":28559,"museum":331,"description":35057,"tags":35058,"thumbUrl":35059,"material":198,"size":780,"collection":100,"collections":35060,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},235066,"lu-yan-tu-zhou-bian-shou-min-235066","边寿民（1684年—1752年），初名维祺，字颐公，又字渐僧、墨仙，号苇间居士，江苏山阳人（今淮安区），晚号苇间老民、绰翁、绰绰老人，清代著名画家。曾考中秀才，善画花鸟、蔬果和山水，尤以画芦雁驰名江淮，有“边芦雁”之称。其泼墨芦雁，苍浑生动，朴古奇逸，极尽飞鸣、食宿、游泳之态。泼墨中微带淡赭，大笔挥洒，浑厚中饶有风骨。又善以淡墨干皴擦小品，更为佳妙。因他画芦雁，称其所居名“苇间书屋”。他又工诗词、精中国书法。和郑板桥、金农等人齐名。",[25,26,7,77,113,32578,1741,151,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c49d9ad59e4ece1a8ad3eaeb3acecc7.jpg",[],{"id":35062,"slug":35063,"title":35064,"dynasty":72,"author":752,"museum":331,"description":2862,"tags":35065,"thumbUrl":35066,"material":198,"size":780,"collection":100,"collections":35067,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},235009,"tong-zi-li-fo-tu-zhou-chen-hong-shou-235009","童子礼佛图轴",[25,7,27,28,29,54,35,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff971afe5c6c7ed0ca4302dfe3bea8b.jpg",[],{"id":35069,"slug":35070,"title":35071,"dynasty":18,"author":50,"museum":331,"description":35072,"tags":35073,"thumbUrl":35074,"material":198,"size":780,"collection":100,"collections":35075,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},234384,"xiao-jing-xian-huang-hou-chao-fu-xiang-zhou-yi-ming-234384","孝敬宪皇后朝服像轴","此作为工笔重彩肖像，人物温婉端凝，沉静雍容尽显后妃仪范。明蓝朝服上，金线缂织的五爪矫龙腾跃于祥云之间，江崖海水纹样晕染细腻、层次绵密，朱金配色华贵却不艳俗。头冠珠翠错落规整，朝珠组佩垂坠合度，衣纹褶皱与织绣肌理都描摹入微，严循礼制的同时尽显织造工艺与绘画工法的精妙。素净背景衬得人物愈发端庄肃穆，以写实笔触定格宫廷后妃的威仪气度，将典制规范与工笔审美融为一体，尽显宫廷肖像画的精湛造诣。",[25,7,27,28,29,334,34,60,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d7a0d0b82c8094e5e71b3e7cf698bb7.jpg",[],{"id":35077,"slug":35078,"title":18951,"dynasty":18,"author":2534,"museum":236,"description":35079,"tags":35080,"thumbUrl":35081,"material":486,"size":22361,"collection":100,"collections":35082,"showCount":296,"zanCount":11,"manualWeight":43,"mainColor":44},233876,"zi-hua-xiang-zhou-gao-feng-han-233876","《自画像》作于清雍正五年（1727年），时年作者45岁。画面上，高凤翰身着白衫，头戴斗笠，侧身倚石坐于断壁悬崖之上，崖上松柏怪生，崖下波涛澎湃，陡峭的巨石冲出水面，长空中，一只孤鹤飞翔而来，画家俯览水面，似引起无限思绪。当时正值高凤翰仕途转折时期，是年，他赴济南省试，应选，次年赴京应试，考列一等，分发安徽试用。他并不热衷仕途，对当时的社会状况也很不满，应试做官可能是生活所迫，作品即是他当时心境的写照。图中，画家将自己置于陡峭的绝壁之间，险峻的山石，汹涌的江水，奇生的古木，使人感受到的不是士大夫寄托林泉之志的山水，而是预示着人生的艰险，仕途的艰辛。\n此图构图新颖，以仰视的角度截取山崖一角，江水自远而近布满画面，气势强大，使景物具有高远和深远之势，以烘托主题。高凤翰的自画像非常写实，据载，高凤翰长眉广额，身体伟岸，又有美髯，曾自署“髯高”。他曾画过一幅《披褐图》，其人物面貌与此幅相似。",[25,7,28,29,129,35,130,79,80,170,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd09da7066bb42a50428c8157ac8ed8fd.jpg",[],{"id":35084,"slug":35085,"title":35086,"dynasty":72,"author":35087,"museum":236,"description":35088,"tags":35089,"thumbUrl":35090,"material":745,"size":35091,"collection":100,"collections":35092,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},233821,"shuang-gou-zhu-zhou-wang-chen-233821","双钩竹轴","王臣","款署：“欲把交盟订岁寒，晓窗貌出玉琅玕。依稀记得湘江上，粉节霜筠月下看。直仁智殿文思院副使五云王臣写题。”钤印不辨。\n此图用白描双钩法画竹一枝，姿态潇洒。用笔圆劲精细，竹干的挺拔、节的梗脆、叶的阴阳向背都表现得十分真切，结构层次和空间处理的十分恰当，繁而不乱，疏密有致，笔笔清晰，无一笔虚设。",[25,26,7,6432,985,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b9c7833424f3dde0d4b2523756d67a6.jpg","纵106.7厘米，横46厘米",[],{"id":35094,"slug":35095,"title":35096,"dynasty":72,"author":10012,"museum":236,"description":35097,"tags":35098,"thumbUrl":35099,"material":1573,"size":35100,"collection":100,"collections":35101,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},233744,"san-jiao-tu-zhou-ding-yun-peng-233744","三教图轴","此图画孔子、老子、红衣罗汉坐于树下共同探究玄理的情景。画中三位智慧长者面目严肃，神情专注，孔子儒雅敦厚，循循善诱，正发表言论；老子道貌岸然，谨慎而善辩，他注视着对方，似乎准备随时发问；红衣罗汉双目低垂，安详而平静，从他紧锁的眉头可以看出他已沉于思索之中。明代，随着儒、道、释三教的融合，宗教题材的绘画也随之有了世俗化的倾向，此画中的宗教人物与作为供养的神仙不同，脱离了程式化的因素，有着鲜明的个性特征和情绪化色彩，同时融入了文人的审美情趣。其人物造型古拙、气质端庄文雅，体现了明后期文人画注重表现个性的风尚。画法上，运用“高古游丝描”，细劲而“笔力伟然”，既有古朴之感，又具有时代气息。设色古妍冷隽，尤其是人物服饰的红色、兰色与赭色，赋色沉稳和谐。山石树木勾勒添色，取法文徵明，小青绿设色，文静典雅，营造了一种静谧清淡的意境，引人入胜。",[25,7,28,29,54,27,170,132,10015,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a31bf07bdede9ea0b3bd2d2ca86d3e2.jpg","纵115.6厘米，横55.7厘米",[],{"id":35103,"slug":35104,"title":35105,"dynasty":18,"author":12450,"museum":331,"description":35106,"tags":35107,"thumbUrl":35108,"material":214,"size":100,"collection":100,"collections":35109,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},232680,"jiang-bei-shi-wen-hong-yi-fa-shi-232680","江北诗文","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。",[23,472,80,97,77,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4c8bc96f10cb2d81435b18e075d9314.jpg",[],{"id":35111,"slug":35112,"title":35113,"dynasty":49,"author":50,"museum":331,"description":35114,"tags":35115,"thumbUrl":35116,"material":100,"size":100,"collection":100,"collections":35117,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},231823,"ming-qing-ri-ben-gu-hua-fen-ben-ren-wu-li-zhou-wo-lu-zang-yi-ming-231823","明清日本古画粉本人物立轴 蜗卢蔵","此作以淡墨晕染水月观音，观音安坐岩巅，衣袂舒展空灵，面容娴静慈悲，璎珞细节柔和细腻，尽显神性清寂温婉。下方云水翻涌，神龙隐现于烟波之间，墨色层次丰富，将水之灵动与云之空濛相融，烘托出幽渺出尘的禅境。\n左上题字清雅隽秀，与画面禅意呼应，笔墨简淡却神采具足，尽显汲取汉地佛画养分后的独特意趣，以极简笔触勾勒出观音的沉静与海天的悠远，将禅家空寂之味蕴藏在淡墨清晕之中，是佛画与文人意趣相融的雅致佳作。",[23,4661,25,26,7,14786,77,28,29,54,132,173,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09fe3fc01c2b8210207ee58fd3db282.jpg",[],{"id":35119,"slug":35120,"title":35121,"dynasty":72,"author":50,"museum":74,"description":35122,"tags":35123,"thumbUrl":35124,"material":275,"size":35125,"collection":100,"collections":35126,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},231534,"gong-xiang-tu-yi-ming-231534","贡象图","据媒体报道，6月2日21时55分，来自西双版纳的野象群继续向北迁移，已进入昆明市晋宁区。大象要是进入城市怎么办？这成为一个让人无比担心的问题。毕竟历史上，曾发生过大象进城的事。\n南朝梁天监六年（507年）三月，有3头大象进入了建邺（今南京）。当时，梁朝与北魏之间正在钟离（今安徽凤阳）这个地方厮杀得热闹。当此紧要关头，为何会有大象入城？这3头大象又是从何而来？\n南北朝时期，那时的气候比现在还要温暖，加之长江下游地区江河湖泊较多，水草肥美，江南之地非常适合野象的栖息。进城的野象，自然是来自于城池和聚落之外，广袤的原野。\n而再往前数300年，江南还发生过一件被写入史书并流传至今的故事：202年左右，官渡之战刚刚发生不久，曹操打败了人生大敌袁绍，曹操的儿子曹冲方五六岁，这时，孙权向曹操赠送了一头巨象。\n孙权是在211年建石头城的，而202年左右，他已接替孙策的位置，此时正驻守吴郡。赠送曹操大象，恰是就地取材之举，这则历史记录也说明位于江南的太湖流域是野象栖息之地。\n而至于曹操，当时应在许都。东汉建安元年（公元196年），曹操挟天子以令诸侯，以“洛阳残破”为由迁都于许昌（位于河南省中部），即称许都。曹操得到孙权赠送的大象后，兴致高昂，“欲知其斤重”，还要称大象的重量。于是就有了曹冲称象的故事。\n学者们从这件事推断，此时河南已很少甚至没有大象了。要知道，在更古早的时候，这里曾是野象的聚集地。甚至河南的简称“豫”这个字中便保留了大象的踪迹。河南自古为“豫州”，古文字学家徐中舒认为，“豫”，为“象邑”二字的合文，“豫当时以产象得名，与秦时之象郡以产象得名者相同”。\n而在上世纪30年代，河南安阳殷墟，曾发现大象遗骨。当时学者都认为那是从东南亚输入进来的，但随着更多文献资料和考古遗址的发掘，中原有野象的论调成为主流。在商代，有“商人服象，为虐于东夷”的记载；周武王灭商，入主中原后，“驱虎豹犀象而远之”。这也说明当时的中原之地，是不缺乏大象的。\n而据历史地理学家考证，在远古时代，大象的活动范围甚至到达北京附近。只是后来随着人类活动的频繁，以及气候的变化，畏寒的大象活动边界逐渐从北向南退却，到了晋代，在长江下游地区，野象的主要栖息地最北已退至江淮流域了。南朝梁承圣元年（552年），也就是侯景之乱结束的这一年，有数百野象流窜于淮南之地，规模巨大。在这一时期，南京城有野象进入，也就不奇怪了。除了507年3头大象进入南京城之外，在稍早的492年、493年，还有“象至广陵”的记载。广陵，即现在的扬州。学者们认为，这都说明当时野象数量较多。\n但是，长江下游毕竟是一个以平原为主的地区，北面与黄淮平原相连，没有大山阻挡北来的寒流，加之由于长江下游开发较早，人类活动较多，大概从17世纪30年代起，长江下游地区便没有野象的踪迹了，野象所达到的最北之地，已退到了浙江钱塘江以南。\n在长江下游之外，因为地形或人口稀少等原因，野象的退却要稍慢一些。四川盆地更为特殊，它在群山环绕之中，气候温暖，河流丰沛，历史上那里的野象就非常之多。位于成都东北广汉市的三星堆遗址，每一次发掘都能发现大量象牙，即为明证。\n1986年，三星堆两大祭祀器物坑相继出土。其中，一号祭祀坑出土了13件象牙，二号祭祀坑出土了67件象牙。随着发掘工作的继续，在其他坑陆续也有象牙出土。2021年3月，三号祭祀坑又出土了127件象牙，在四号祭祀坑也发现了疑似被烧过、呈现出炭灰色的象牙。加之5月28日出土的10件象牙，三星堆共出土了200余件象牙。\n2001年的春天，在与三星堆文化一脉相承的金沙遗址中，考古人员发现了数量惊人的象牙。它们朝向一个方向，层层叠叠累在一起，沉默无声地震惊了世界。从断面可以看到，这些堆积的象牙多达8层。经过估计，其重量可达两三吨。保存完好、数量如此众多的象牙有规律地堆积，这不仅在中国，在世界上也是首次。\n按照我们今天的认知，亚洲象生活在热带地区，常见于南亚和东南亚。而在我国，亚洲象仅分布于云南省南部。但古籍上的记载却与我们现在的认知不同。\n《山海经·海内南经》中有“巴蛇食象”一说，文字记载：“巴蛇食象，三岁而出其骨，君子服之，无心腹之疾。”此处的“巴蛇”就是指《山海经·海内经》中“西南巴国之蛇”。《山海经·海内经》中记载：“西南有巴国，又有朱卷之国，有黑蛇，青首，食象。”郭璞在此注：“即巴蛇也。”\n由此可见，巴蛇即是生活在西南的青首黑身的蛇。传说巴蛇能够吞食大象，三年才吐出大象的骨头来。而人服食了巴蛇的肉，能够治疗心腹部的疾病。按照《山海经》的记载，古蜀不仅有巨蛇，还有大象。\n若说《山海经》带有神话传说的色彩，不那么让人信服，那么在《国语·楚语》中也有大象相关的记载：“巴浦之犀、牦、兕、象，其可尽乎。”可见在当时，古蜀地区不仅有大量的象，还有犀牛、牦牛、兕（形状似水牛，通身青黑色，长着一只角的动物）。",[25,27,28,7,29,241,1405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a8bfad94371db1175d4efedbedba86.jpg","123x51厘米",[],{"id":35128,"slug":35129,"title":35130,"dynasty":18,"author":50,"museum":331,"description":35131,"tags":35132,"thumbUrl":35135,"material":198,"size":780,"collection":100,"collections":35136,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},231076,"kong-zi-ji-qi-di-zi-shen-wei-xiang-yi-ming-231076","孔子及其弟子神位像","这幅木刻版画构图严整对称，上方匾额点明主题，两侧楹联烘托出尊崇之意。画面以孔子为中心，众弟子依次拱卫排布，层次分明秩序井然。刻线刚劲细腻，衣褶纹路、冠冕纹饰皆刻画一丝不苟，供桌礼器细节毕现，尽显肃穆的祭祀礼制氛围。整体以黑底衬出线条，古朴厚重的视觉效果尽显庙堂庄重感，具象呈现了尊孔崇儒的文化风貌，承载着传统儒学的精神内核，是民俗与礼教艺术结合的典型之作。",[472,35133,3763,7,54,29,35134],"木刻","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc86bd56a650ae3bc22c656b2538cd08.jpg",[],{"id":35138,"slug":35139,"title":5888,"dynasty":18,"author":27739,"museum":331,"description":35140,"tags":35141,"thumbUrl":35142,"material":100,"size":100,"collection":100,"collections":35143,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},231044,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-231044","此作用笔疏朗秀逸，以高耸奇崛的主峰撑起画面骨架，淡墨勾勒皴擦山石，浓墨苔点醒置其间，尽显苍古浑厚。近岸虬松杂木盘曲苍劲，枝叶俯仰生姿。水畔茅庐之内，二人对坐清谈，衬出幽居林下的雅逸闲情。\n\n画作取法董源平淡天真之韵，又自出机杼，淡墨晕染出空濛烟岚，将江南山水温润静穆之致与文人萧散襟怀相融，简淡之中见苍茫气象，尽显晚明文人画简远疏旷的审美意趣。",[23,25,26,24,7,77,130,945,129,427,132,733,170,29,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35687a3671f968ebd0831c6a02b9d7bd.jpg",[],{"id":35145,"slug":35146,"title":35147,"dynasty":93,"author":50,"museum":331,"description":35148,"tags":35149,"thumbUrl":35150,"material":100,"size":100,"collection":100,"collections":35151,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},230989,"bian-zhuang-ci-hu-yi-ming-230989","卞庄刺虎","绢色沉雅古旧，笔意柔婉细腻。两只幼虎滚作一团，扭打嬉闹，憨态尽显。虎身斑纹晕染匀净，鬃毛细笔轻勾，蓬松柔润感呼之欲出，全然不见山君凶猛戾气，唯有稚拙亲昵的鲜活意态。浅草以淡墨轻勾，疏密错落间衬出幼虎娇憨身形，将林间顽童般的嬉闹瞬间凝于绢素之上，以温柔笔触消解了虎的威肃，把宋人的雅致意趣揉入这方小景，平淡里漫溢出鲜活生机，旧时光的温润意蕴随绢色缓缓晕开。",[25,28,27,5713,241,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b3dea2b70d90c1b3344cbb5f13a467.jpg",[],{"id":35153,"slug":35154,"title":35155,"dynasty":49,"author":34244,"museum":331,"description":34245,"tags":35156,"thumbUrl":35160,"material":182,"size":780,"collection":100,"collections":35161,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},230562,"shi-liu-luo-han-xiang-02-jia-nuo-jia-fa-cuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230562","十六罗汉像02迦诺迦伐磋尊者",[23,25,26,7,54,28,27,29,32,1892,35157,132,35158,24958,10824,35159,10263],"围栏","供桌","信徒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739efe7b9fa05345c1d6d721ac69f85.jpg",[],{"id":35163,"slug":35164,"title":35165,"dynasty":49,"author":35166,"museum":331,"description":35167,"tags":35168,"thumbUrl":35169,"material":198,"size":780,"collection":100,"collections":35170,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},230492,"jiang-hu-shi-dai-shan-ye-xing-le-tu-ping-feng-er-ping-yu-xie-wu-cun-230492","江户时代 山野行乐图屏风-二屏","与谢芜村","与谢芜村(1716～1783),本姓谷口，别号夜半亭（二世），画名谢长庚、春星等。生于摄津国毛马村。少年时代即爱好艺术。20岁前后丧失家产，漂泊至江户，拜师学习俳谐，寄寓于芭蕉传人早野巴人的夜半亭，为江户俳坛所瞩目。以后10年间游历各地，致力学画。后名声大震。1757年成家，恢复俳谐创作。1766年与其他俳句作者成立“三果社”，提倡俳句的新风格。1767年继承夜半亭俳号，发展成为一代宗匠。",[23,25,26,77,304,7,59,1275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fdacae6a1fe94bcd049f5d60a59a990.jpg",[],{"id":35172,"slug":35173,"title":35174,"dynasty":18,"author":35175,"museum":331,"description":35176,"tags":35177,"thumbUrl":35178,"material":198,"size":780,"collection":100,"collections":35179,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},230182,"qi-yan-lian-li-zhou-chen-hong-shou-230182","七言联立轴","陈鸿寿","陈鸿寿（1768～1822年），钱塘（今浙江杭州）人，书画家、篆刻家。字子恭，号曼生、曼龚、曼公、恭寿、翼盦、种榆仙吏、种榆仙客、夹谷亭长、老曼等。曾任赣榆代知县、溧阳知县、江南海防同知。\n其工诗文、书画，善制宜兴紫砂壶，人称其壶为“曼生壶”。书法长于行、草、篆、隶诸体。行书峭拔隽雅、分书开张纵横，独步有清一代。篆刻师法秦汉玺印，旁涉丁敬、黄易等人，印文笔画方折，用刀大胆，自然随意，锋棱显露，古拙恣肆，苍茫浑厚。为“西泠八家”之一。\n有《种榆仙馆摹印》、《种榆仙馆印谱》行世，并著有《种榆仙馆诗集》、《桑连理馆集》。嘉庆二十一年为周春著的《佛尔雅》撰写序跋。",[23,80,7,3362,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd7c21e471c4d64a1b1fba8d59d069a.jpg",[],{"id":35181,"slug":35182,"title":35183,"dynasty":18,"author":28019,"museum":331,"description":35184,"tags":35185,"thumbUrl":35186,"material":100,"size":100,"collection":100,"collections":35187,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},230153,"mei-hua-shi-liu-yong-230153","梅花诗","此作用笔敦实内敛，绝无锋芒外露，墨色浓郁匀净，尽显标志性的沉厚风格。字体筋骨内蕴，拙朴温润，布局整饬却暗藏灵动，字距行距匀停妥帖，通篇气息温雅端庄。\n\n以笔为梅枝，以墨凝梅香，将咏梅诗句的清癯高格，融于端稳笔墨之中，褪去妍媚浮华，尽显醇和静穆的文人意趣。诗书意境与沉浑书气相融共生，尽显老成持重的笔底风华，藏着文人骨子里的清雅底色，是清代帖学极具代表性的佳作。",[23,26,80,97,7,77,392,79,4905],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7e6f8883f1504e88ef38becdaf8ee.jpg",[],{"id":35189,"slug":35190,"title":35191,"dynasty":18,"author":4998,"museum":331,"description":35192,"tags":35193,"thumbUrl":35194,"material":100,"size":100,"collection":100,"collections":35195,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},229027,"fang-yun-lin-she-se-shan-shui-tu-wang-yuan-qi-229027","仿云林设色山水图","此作用两段平远取景，铺陈出清寂萧疏的幽淡之境。近岸枯木清劲错落，疏朗有致，茅庐隐于林麓之间，野意悠然。远山以干笔淡墨反复皴擦，将倪云林的冷逸淡远，糅合进苍厚绵密的自家笔意，浅赭轻敷，晕染出古雅柔和的色调。画面留白开阔，引观者目光悠然游弋，尽显空寂淡远的文人意趣。题跋与画面相得益彰，文气雅致，师法元人又自出机杼，是兼具摹古与新意的山水佳构。",[23,24,25,26,7,28,130,129,170,132,733,2558,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb43d7ec43e94f35dfae7914f109d2a6.jpg",[],{"id":35197,"slug":35198,"title":35199,"dynasty":72,"author":50,"museum":331,"description":35200,"tags":35201,"thumbUrl":35202,"material":198,"size":780,"collection":100,"collections":35203,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},228808,"lu-ya-tu-zhou-yi-ming-228808","芦鸭图轴","淡赭晕开汀洲暮色，细劲墨线勾勒芦苇，叶梢随晚风欹斜错落，疏密间漫开清寂秋意。\n\n两只芦鸭静栖岩矶，抬首者绒羽蓬松，翎羽层次分明，墨色浓淡过渡柔和，似在聆听水泽秋声；蜷卧者敛息安闲，将野禽的恬然之态晕染入微。画面设色清雅柔和，无繁复铺陈，以极简笔意勾勒出郊野水畔的悠然生机，将荒寒秋意与栖禽的闲澹相融，尽显江南泽国的静谧闲雅，把秋日水泽的幽寂和生灵的野逸平衡得恰到好处，淡远空濛之余，余韵悠长。",[23,24,25,26,7,28,27,113,1742,866,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8344bd58fa2be0ddc84d2f4c79e5c0ff.jpg",[],{"id":35205,"slug":35206,"title":31574,"dynasty":93,"author":50,"museum":331,"description":35207,"tags":35208,"thumbUrl":35209,"material":100,"size":100,"collection":100,"collections":35210,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},227928,"da-mo-mian-bi-tu-yi-ming-227928","此作用笔极简空灵，以淡墨晕染出空濛悠远的禅意天地。枯笔勾勒的崖边瘦松枝桠疏朗，伴着淡墨晕开的空寂山水，烘托出幽阒沉静的氛围。达摩身披宽袍静坐石上，身形简括却尽显静定肃穆，侍立的沙弥神态恭谨，愈发衬得画面寂廖安宁。整幅画以少胜多，舍去繁缛细节，用萧散澹远的笔墨传递出禅家清寂玄远的意趣，将面壁的枯坐修行化为极具氛围感的视觉图景，尽显水墨禅画以形写神的精妙。",[23,24,25,26,7,77,985,54,29,35,521,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e177f7ca701ef04d64427f39085162b.jpg",[],{"id":35212,"slug":35213,"title":35214,"dynasty":49,"author":19015,"museum":331,"description":19016,"tags":35215,"thumbUrl":35216,"material":198,"size":780,"collection":100,"collections":35217,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},225297,"feng-tian-ben-dong-jing-zhen-hai-225297","风天(本-东京)",[23,25,26,7,54,985,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f6d9b2e3fc423f8375b1380dcac095.jpg",[],{"id":35219,"slug":35220,"title":35221,"dynasty":18,"author":12914,"museum":331,"description":35222,"tags":35223,"thumbUrl":35224,"material":100,"size":100,"collection":100,"collections":35225,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},224535,"fang-ni-qu-lin-shan-shui-zhu-chang-224535","仿倪去林山水","此作用笔简净松灵，取法倪氏平远意趣，绘就萧疏清旷的深秋丘壑。近岸枯木疏槎清瘦劲挺，枝桠寥寥，带着深秋荒寒之气。远山以淡墨轻扫勾勒，轮廓柔和简淡，留白水面悠悠延展，将空寂意境铺陈开来，林麓石畔的隐舍萧然出尘，不见烟火气。全幅笔墨淡逸清润，不作繁复皴染，以极简形制传递静穆萧散的文人雅韵，将倪画天真幽淡的冷寂气质得韵传神，尽写郊野秋意的疏朗空荒，藏着对枯淡美学的精准追摹与悠远体悟。",[23,25,77,130,945,7,129,484,131,35,193,170,272,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b10416c0f2ccf154ddc3b890e53df8.jpg",[],{"id":35227,"slug":35228,"title":35229,"dynasty":18,"author":27739,"museum":331,"description":35230,"tags":35231,"thumbUrl":35232,"material":100,"size":100,"collection":185,"collections":35233,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},224534,"fang-dong-yuan-bi-yi-tu-zhou-qi-zhi-jia-224534","仿董源笔意图轴","此作用笔苍简老辣，以淡墨皴擦写高远山峦，浓墨苔点提点山形，尽显山石苍古厚重。近坡古松虬曲、杂木错落，笔致写意随性。水畔茅舍中二人对坐，将山居雅晤的幽寂之趣藏于林泉间。\n\n画作师法前人却自出机杼，以简淡笔墨晕染出空濛悠远的意境，将文人寄情山水、追慕林泉高致的隐逸襟怀融在尺幅间，萧散清逸的格调尽显文人画的意趣风神，于简淡之中见出深秀雅致。",[23,25,26,7,77,945,130,129,132,170,733,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4cb4ed98632dc4ebd5a427f409fd.jpg",[185],{"id":35235,"slug":35236,"title":35237,"dynasty":18,"author":4669,"museum":331,"description":35238,"tags":35239,"thumbUrl":35240,"material":100,"size":100,"collection":100,"collections":35241,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":88},224473,"qing-wang-yun-wang-hui-he-bi-zhou-wang-hui-224473","清王云王翚合璧轴","此作用笔兼工带写，老桃枯干苍劲古拙，枝头桃花轻红柔丽，灼灼盛放，与叶芽新绿相映，晕染出春日融融生机。下方水畔鸳鸯伫立，翎毛晕染细腻，羽色明丽温润，情态安闲静雅。\n书画合璧，题字清隽秀雅，诗画呼应，将春日的恬和野趣晕透纸面，设色妍而不艳，既有院体花鸟的精工雅致，又饱含文人画的澹泊意趣，静穆中藏着蓬勃春机，尽显清和雅致的林下春光。",[23,25,26,7,28,27,113,498,78,799,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4efb57d002aeb7ed5287d3e5fa93fa.jpg",[],{"id":35243,"slug":35244,"title":35245,"dynasty":18,"author":4669,"museum":331,"description":35246,"tags":35247,"thumbUrl":35248,"material":100,"size":100,"collection":100,"collections":35249,"showCount":296,"zanCount":43,"manualWeight":43,"mainColor":44},224451,"xia-shan-yan-yu-tu-wang-hui-224451","夏山烟雨图","清王翚款夏山烟雨图轴是重庆中国三峡博物馆收藏的绘画。\n质地:纸 藏品编号;:724 文物类型:书法、绘画 实际数量:1 质量范围:.1-1 kg 文物级别:一般 文物来源:接受捐赠 完残程度:基本完整 入藏时间:1977-2 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... 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文震孟出身书香门第，吴门画派创始人、“明四家”之一文徵明，是其曾祖父。震孟幼承家学，读书认真，21岁即获乡荐，但会试屡屡下第。后得“醉颖堂”废址，缮修加筑，更名“药圃”。园建成后约二年，他第十一次赴京赶考，得一甲一元，状元及第，也是苏州史称的四大“状元宰相”之一。授翰林院修撰。因疏陈勤政讲学，忤魏忠贤，被廷杖八十，贬职调外，愤而告归故里。崇祯元年（1628）以侍读召，改左中允，充日讲官。三年（1630）进左谕德，掌司经局，直讲如故。又因连劾魏党王永光，被斥为“任情牵诋”，乘机避归五年。五年（1632），在家被擢为右庶子，重新赴任，未久进少詹事。崇祯八年（1635）正月，闯王李自成占安徽凤阳，捣毁皇陵。借此历陈致乱之源，七月擢为礼部左侍郎兼东阁大学士，入阁预政。因与权奸温体仁不洽，被劾落职。九年（1636）卒，十二年（1639）诏复原职，十五年（1643）赠礼部尚书衔，赐祭葬。南明福王追谥“文肃”。\n崇祯初拜礼部左侍郎，兼东阁大学士。书画有家风，“书迹遍天下，一时碑牒署额，与待诏（文徵明）埒”。《明史》有其传。著述丰，主要有《念阳徐公定蜀记》、《剃茶说》、《策书圆记》、《姑苏名贤小记》、《文肃公日记》、《文文起诗》等。",[80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4c2e0c4d7a08d98f5eb8c27acd128f0.jpg","196.3×66.8cm",[101],{"id":35833,"slug":35834,"title":35835,"dynasty":18,"author":5196,"museum":331,"description":24758,"tags":35836,"thumbUrl":35837,"material":198,"size":780,"collection":100,"collections":35838,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},241140,"le-zhi-lun-zhou-deng-shi-ru-241140","乐志论轴",[80,5902,7,79,13331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46224395ce7f24068d65d9ca8886b089.jpg",[],{"id":35840,"slug":35841,"title":20028,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":35842,"thumbUrl":35843,"material":198,"size":780,"collection":100,"collections":35844,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},241092,"qi-lv-zhou-wu-chang-shuo-241092",[80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f6dbd630f4046ef7d059d6639d4cb0.jpg",[],{"id":35846,"slug":35847,"title":35848,"dynasty":72,"author":35849,"museum":331,"description":35850,"tags":35851,"thumbUrl":35852,"material":214,"size":100,"collection":101,"collections":35853,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},241025,"wu-jue-zhou-zhong-xing-241025","五绝轴","钟惺","钟惺(1574—1625)，明代文学家。字伯敬，号退谷，湖广竟陵（今湖北天门市）人。万历三十八年（1610）进士。曾任工部主事，万历四十四年（1616）与林古度登泰山。后官至福建提学佥事。不久辞官归乡，闭户读书，晚年入寺院。其为人严冷，不喜接俗客，由此得谢人事，研读史书。他与同里谭元春婡共选冄《頭條唐诗归》和《古诗归》(见《诗归》)，名扬一时，形成“竟陵派”，世称“钟谭”。钟惺通过撰著《楞严经如说》参与佛学论争,表达了他复兴义学、重整戒律、推尊净土、宣扬华严的四大佛学主张。钟惺凭借文官身份和文坛巨擘的影响力兴办佛教事业,助力晚明佛教复兴运动。\n其一：反对拟古文风。他对明中叶以后盛行文坛的拟古主张加以批驳，指出“作诗者之意兴，虑无不代求其高。高者，取异于途径耳。夫途径者，不能不异者也”（钟惺《诗归序》）。他认为“七子”模拟古人词句，只不过是“取古人之极肤、极狭、极熟便于口手者，以为古人在是”(同前)。因而力求改变这种文风，提出“势有穷而必变”的变革主张（《问山亭诗序》）。\n婡冄頭其條二：主张诗人应抒写“性灵”(或“灵心”)。这种“性灵”或“灵心”是“引古人之精神，以接后人之心目，使其心目有所止焉”，是“求古人真诗所在。真诗者，精神所为也”（《诗归序》）。即要在古人诗词的精神中去寻求性灵。但是，他认为这种古人的真诗精神是“察其幽情单绪，孤行静寄于喧杂之中”，于是他自己的作品极力追求孤僻情怀“别趣理奇”即所谓孤怀、孤诣，且夸耀说：“我辈文字到极无烟火处。”（《答同年尹孔昭书》）\n其三：倡导幽深孤峭的风格。《明史·文苑传》载：“自宏道矫王、李诗之弊，倡以清真，惺复矫其弊，变而为幽深孤峭。”钟惺认为公安派末端文风俚俗、浅率，企图以幽深孤峭的风格加以匡救。但他却走入了另一形式主义极端，往往只顾及字句，忘却篇章，追求奇字险韵，造成一种艰涩隐晦的风格，以致有些诗句语意不畅，令人费解，如“树无黄一叶，云有白孤村”（《昼泊》）等。钟、谭以这种主张为标准评选《诗归》。他们所选唐诗，专取清瘦淡远一格，众所推重的李白《古风》、杜甫《秋兴》等名篇都不选入，试图以幽冷来洗“七子”的绚烂，足可见其主张的长、短，利、弊。钟惺的诗，由于追求幽情孤行，所以大多情思狭窄，题材局促，缺乏深厚广阔的社会内容。不过他苦心吟事，雕字酌句，不遗余力，有些五古游览诗作写得还相当好。如《经观音岩》、《舟晚》等，虽有雕镂之嫌，然寄情绘景，时有名理。其《上巳雨中登雨花台》、《巴东道中示弟栓》，手眼别出，可见清思。另外，有些诗作对社会现实也有所反映，如《江行俳体》12首，写及了“官钱曾未漏渔蛮”的赋税严重情况。\n钟惺记叙、议论、散文亦有一些新奇隽永之作。写景寄情小品《浣花溪记》，以生动细腻笔触描绘了唐代大诗人杜甫成都寓地浣花溪一带逶迤、清幽的景色，抒写对杜甫的敬仰之情，并寄寓自己的情怀。清溪碧潭，移步换景，体现了竟陵派“孤行静寄”的情怀和个性，以及求新求奇的幽深孤峭的风格。此外《游五夷山记》也是此类作品。他的叙议小品《夏梅说》，巧妙地从时令变化，引出赏梅、咏梅人的冷热，进而揭示人情世态的寒暖；对“趋梅于冬春冰雪者”的趋炎附势风气给予嘲讽和批判，构思立意较为新奇。文艺短论《题鲁文恪诗选后》（之二）主张诗文创作宜少而精，提出“不能尽善，而止存一篇数篇、一句数句之长，此外皆能勿作”，反对“多多益善”粗制滥造。并将文章分为三等：“选而作者，上也；作而自选者，次也；作而待人选者，又次也。”\n总之，钟惺诗文主张反拟古，主性灵，有积极一面，他的求新求奇文风，对传统散文有所突破，与公安派一样，对晚明小品文的大量产生有一定的促进作用。而其狭窄的题材及情怀，艰涩幽冷的语言及文风，无疑也束缚了他在创作上取得更大的成就。清代曾将“公安”、“竟陵”之作列为禁书，诋毁排击甚烈。",[25,26,7,305,77,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9097df1292d5fa86aefd0908953d41ef.jpg",[101],{"id":35855,"slug":35856,"title":35857,"dynasty":72,"author":35858,"museum":331,"description":35859,"tags":35860,"thumbUrl":35861,"material":198,"size":780,"collection":100,"collections":35862,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},240871,"lin-wang-xian-zhi-tie-zhou-song-cao-240871","临王献之帖轴","宋曹","宋曹（1620-1701），字彬臣， 号射陵，又号耕海潜夫。明泰昌元年生于盐城县新兴场人（现盐城市亭湖区新兴镇）。宋家祠堂大门两侧曾有两朝辅弼，十世簪缨的对联。从宋曹曾祖、祖父起，皆以举人入官。\n明崇祯时，25岁官至中书舍人，其位级从七品官。南明复亡，1642年，宋曹的好友司石盘、厉豫等人因不满清朝黑暗统治，举兵起义。未及一年，兵败淮安。清政府派人四处抓拿，宋曹受其牵连，身陷囹圄。营释后，先到北宋庄，后又携家小隐居到30公里以外的汤庄，筑蔬枰园侍奉老母。每年仍到北宋庄祭祖。大纵湖有一龙兴寺，建于明开启年间，苦于无名。宋曹隐居北宋庄，让寺庙主持喜出望外，请他题名龙兴禅院，他欣然挥毫。抗战爆发，禅院毁于战火，宋曹真迹随之荡然无存了。三十寒暑，宋曹闭门养息，会友谈艺，聚首唱和，遂使诗书融合，造诣日深。康熙元年到八年间，两度诏举，不肯出林，仍隐逸汤村。康熙十七年，清以纂修明史，开博学鸿词科，征召海内名儒，侍郎严沅和江苏巡抚慕无颜共举宋曹为博学鸿词，他均以母老固辞未赴。康熙22年（1683）年，两江总督于成龙请他去 南京编撰《江南通志》，盛情难却，他带上长子恭贻一起赴任。志书编成，宋曹坚不留名，最终《江南通志》仅署了恭贻的名字。于成龙敬重他的人品，称他为射陵先生。于成龙邀其出山，终于使宋曹结束了隐居生涯。为了实现书法方面的抱负，他毅然离家出游，浪迹江淮，客维扬、润州、昆山、苏州、杭州等地，拜师会友，吊古觅胜。康熙六年，会顾炎武，互赠诗赋，结为友好。历数载，他纵觅南北名碑，吮吸精髓，悟入微际，并加以融会贯通，取舍扬弃，为自己寻得一条正宗的书法道路。",[80,305,7,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a389b7bd264016e98b3679d321c074.jpg",[],{"id":35864,"slug":35865,"title":35866,"dynasty":72,"author":7817,"museum":331,"description":35867,"tags":35868,"thumbUrl":35870,"material":198,"size":780,"collection":100,"collections":35871,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},240869,"pan-gu-xu-zhou-shen-du-240869","盘谷序轴","沈度（1357-1434），字民则，号自乐，明松江府华亭（上海金山）人，明代书法家，与弟沈粲皆擅长书法。\n永乐时以善书入翰林，由典籍历迁侍讲学士。擅篆、隶、楷、行等书体，藏于秘府，称为“馆阁体”，台阁体书法的代表人物。",[2749,80,5902,7,35869,79,77],"台阁体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a494b742feca54eb2edd0b5261880d.jpg",[],{"id":35873,"slug":35874,"title":35875,"dynasty":72,"author":35876,"museum":331,"description":35877,"tags":35878,"thumbUrl":35879,"material":198,"size":780,"collection":100,"collections":35880,"showCount":631,"zanCount":11,"manualWeight":43,"mainColor":88},240678,"chi-bi-fu-zhou-fan-jing-wen-240678","赤壁赋轴","范景文","范景文（1587年11月29日-1644年4月25日），明朝末期政治家、文学家、东阁大学士。字梦章，号思仁，别号质公，河间府吴桥（今属河北）人。万历四十一年（1613年）进士，官至工部尚书兼东阁大学士。\n崇祯十七年（1644年）李自成破宣府，烽火逼京师，众臣请帝南幸，范景文劝帝“固结人心，坚守待援”，不久崇祯自缢。范景文留下遗书曰：“身为大臣，不能灭贼雪耻，死有余恨。”后赴双塔寺旁的古井自杀。赠太傅，谥文忠。著有《大臣谱》、《战守全书》。",[80,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1df3f43d713dd9c8a25fb414a08e76.jpg",[],{"id":35882,"slug":35883,"title":35884,"dynasty":72,"author":35885,"museum":331,"description":35886,"tags":35887,"thumbUrl":35891,"material":198,"size":780,"collection":100,"collections":35892,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},240667,"zhuan-shu-chun-jiang-qu-shi-zhou-wang-qi-shu-240667","篆书春江曲诗轴","汪启淑","汪启淑（1728-1799）字秀峰，号讱庵，一字慎仪。自称“印癖先生”。清著名藏书家、金石学家、篆刻家安徽歙县人，居于杭州。家以经商致富，遂捐官为工部都水司郎中，迁至兵部郎中。喜交友，与厉鹗、杭世骏、朱樟结“南屏诗社”。嗜古代印章，曾搜罗周代、秦代迄宋、元、明各朝印章数万钮。又精纂刻，在巨珠上刻篆文，以补诸品中所未备。",[2664,80,7,79,16892,31367,35888,35889,35890,13923,12549,24169,24171,26830,335],"浪","星","杨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2886693bfc35e9ee748bceda1b07557.jpg",[],{"id":35894,"slug":35895,"title":35896,"dynasty":72,"author":26100,"museum":331,"description":35897,"tags":35898,"thumbUrl":35899,"material":198,"size":780,"collection":100,"collections":35900,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},240665,"xi-yu-shi-zhou-huang-dao-zhou-240665","喜雨诗轴","黄道周（1585年3月9日—1646年4月20日），汉族，字幼玄，一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。福建漳州府漳浦县（今福建省东山县铜陵镇）人，祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[80,7,97,305,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46f1eaae06e354913d23f45008cacc60.jpg",[],{"id":35902,"slug":35903,"title":35904,"dynasty":18,"author":35905,"museum":331,"description":35906,"tags":35907,"thumbUrl":35908,"material":214,"size":100,"collection":101,"collections":35909,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},240607,"lin-xian-zun-ming-zhou-zhang-shi-bao-240607","临贤尊铭轴","张士保","张士保 (1805—1878) 字鞠如， 号菊如。山东掖县（今莱州市） 掖城人。清代画家、学者。1832年（道光十二年）选为副贡生。同治初年，山东巡抚丁宝桢在济南历下李清照故居设尚志堂，遍请“齐鲁穷经之士”来济讲学，他“巍然居首”。1878年（光绪四年），被选任临淄教谕，卒于任上，终年73岁。\n张士保是清末著名的书画家，嗜好金石文字，其行、楷、篆、隶，无所不精，尤以钟鼎文见长，他创作的诗文别有一种趣味，而最负盛名的则是画。山水、花鸟，不落恒蹊，尤工人物，悉宗古法。他画的山水花鸟，匠心独具；人物画笔意古雅，形态静穆，深得陈洪绶、崔子忠一派承宗古法的真传，笔法结构纯从汉造像得来。1860年(咸丰十年)，客居京都，与秦谊亭（秦炳文）、汪叔明（王叔明)等在松筠庵结画社，闻名京都，成为当时全国最著名的画家之一。",[2664,945,7,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08471c9e2ebbf0c7e75b3138a6e6d572.jpg",[101],{"id":35911,"slug":35912,"title":26099,"dynasty":18,"author":35913,"museum":21086,"description":35914,"tags":35915,"thumbUrl":35916,"material":214,"size":35917,"collection":101,"collections":35918,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":44},240605,"shi-zhou-wang-xian-zuo-240605","王显祚","崇祯举人。顺治三年（1646年），由山东运使擢为山西布政使司参政、分守河东道。五年，任陕西按察使、管右布政使事。又转福建按察使。十年六月，擢为山西右布政使，一直到顺治十一年十一月改任。傅山十年秋才由汾州移居土堂。次年春，宋谦被捕，供词连及傅山。六月，傅山入狱。王显祚在此期间是否参与开脱傅山，史无记载。不过，王显祚任此职时间应并不长，作用有限。傅山与王显祚之交往，应是顺治十七年后的事。《清实录》载，顺治十七年（1660年），王显祚由福建左布政使转为山西左布政使。又《新编傅青主年谱》康熙二年条：“六月，申涵光游太原，访青主。访中表、山西布政使王显祚，请其为青主买宅。”是王显祚与傅山结识由申涵光所介绍。王显祚在山西做了八年布政使，时间可谓不短，与傅山交往应会不少。康熙六年（1667年），王显祚因福建道御史 而吴怀清《天生先生年谱》康熙三年条有注云：“康熙六年，总督某索赂不应，为所劾，落职归。”总督，实指当时山陕总督 依此说，王显祚之落职，非贪婪之故，而实受栽赃陷害。",[80,7,97,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a363e2dd3389051b69e740c43975a7d.jpg","纵180厘米，横62厘米",[101],{"id":35920,"slug":35921,"title":35922,"dynasty":18,"author":50,"museum":74,"description":35923,"tags":35924,"thumbUrl":35925,"material":214,"size":24554,"collection":101,"collections":35926,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},240494,"zhang-zhao-lang-guan-bi-ji-zhou-yi-ming-240494","张照郎官壁记轴","張照（1691～1745），字得天，號涇南，亦號天瓶居士，江南婁縣人。康熙四十八年進士。清藏書家、書法家、戲曲家、書畫目錄整理者。\n張照，初名默，字得天、長卿，號涇南、梧窗、天瓶居士。清松江府婁縣人，家住秀野橋西。天資聰敏，通釋氏之教，其作詩豪放好驅使禪語。能詩，善畫，通音律，精鑑賞，尤工書法。19歲成進士，官至刑部尚書，參與修纂《大清會典》及《一統志》。雍正十三年（1735年），為總理苗疆事務經略大臣，赴雲南，以“無功”被劾，革職擬斬後得寬免，命在武英殿修書處行走。乾隆七年（1742年）又升為刑部尚書，精曉法律，曾修訂過一些比較合理的刑事條例。乾隆六年（1741年），奉命與莊親王查明《律呂正義》源委，續修《律呂正義》後編。嗣後主持為平署編纂宮廷大戲，作有雜劇《月令應承》《九九大慶》等；並作傳奇《勸善金科》《昇平寶筏》，規模宏大，各有240出，供宮廷搬演，開“連台本戲”之先河。戲曲研究家星煜評價張照的戲劇創作説：“他是中國連續劇的創始者，無可爭議”。“事實上《勸善金科》和《昇平寶筏》對崑劇、京劇以及各種地方戲的影響遠比人們所想象的大得多”，“如果當年張照沒有編寫這兩部240出的連續劇，我們所看到的楊小樓、鄭長泰、蓋叫天、張翼鵬的悟空戲（猴戲）就不會有那麼豐富多彩”。乾隆九年（1744年），奉命與梁詩正等鑑別宮廷所藏曆代書畫，分類編成《石渠寶笈》（44卷），並主持編纂《秘殿珠林》（24卷）。",[80,25,26,7,97,945,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb221427162600041caae8c71e692323b.jpg",[101],{"id":35928,"slug":35929,"title":35930,"dynasty":72,"author":28164,"museum":236,"description":35931,"tags":35932,"thumbUrl":35933,"material":214,"size":35934,"collection":101,"collections":35935,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},240390,"lin-da-ling-tie-zhou-xing-dong-240390","临大令帖轴","邢侗（1551-1612），字子願，號知吾，自號啖面生、方山道民，晚號來禽濟源山主、世尊稱來禽夫子。\n臨邑（山東德州）人，明代書法家、畫家。\n明萬曆二年進士，官至陝西太僕寺少卿。善畫，能詩文，工書，書法為海內外所珍視。與董其昌、米萬鍾、張瑞圖並稱“晚明四大家”並位列其首，與董其昌並稱“北邢南董”。\n邢侗詩則出入李、杜、王、岑，“高古典雅，每每工而拙用之”。五七言律宗唐，古風追漢魏，如《平倭歌》等，頗有“建安風骨”。於鱗之後，子願代興，堪為一代詞宗。晉江友人黃克纘説：“餘時與（子願）唱和，每詩筒至，輙私念：‘此中有佳句’，如尹媫妤望見邢夫人，自痛其不如也”。子願有詩五百餘首，亦收入全集。\n其於繪事，“偶作意寫卷石、莎草、長松、修竹，遊戲點綴，羅羅見其清淑，大抵仿叔明、元章筆意。”不以丹青為長，不過略以自適，卻也落落大方。不過他對繪事的欣賞和理解，還是表明了他的修養品位的，在他對一些名畫的題跋中不難看出。如《題趙子昂墨竹》、《題沈石田畫》等。而其《題沈周花果》説：“畫以三筆五筆得其神者佳。雖筆筆工整、敷彩濃麗，即得其妙，神亦難至。”寫意花鳥畫到了明代，即為水墨寫意大發展時期，崇尚秀雅，強調“士氣”、“書卷氣”，屬文人畫體系。“三筆五筆得其神”，是否可以説在理論上開了“八大山人”的先河呢？邢侗一生之於詩文書畫，畫是着力少了些，但可以説少而不低。\n邢侗博採眾長，遍臨魏、唐、宋諸大家，其臨池之美，以鍾、索、二王為主，尤好右軍書，而得右軍神髓。他自己説：“與右軍書坐卧幾三十年，始克入化。”明周之士《遊鶴堂墨藪》説：“近代邢子願書，精研二王，筆法恆彷彿《十七貼》筆意；即其卷素所書，跡多述王帖，可謂極意臨摹者矣。宋、齊而下，書法衰颯，魏晉風軌掃地者，已非旦夕之故，乃公（侗）獨裒然闢除陋習，追跡逸少，無論其精旨謂何，即其矢志，則已超人一等矣。”\n邢侗行草、篆隸，各臻其妙，而以行草見長；晚年尤精章草。當時與董其昌並稱“南董北邢”，又與米萬鍾，張瑞圖並稱“邢張米董”。但藝術創造力遠不足與董其昌、張瑞圖、黃道周相比。邢侗的長處，即在於他臨古極肖，他的名作多是臨作。他工於諸體，尤其工草書，由於泥古未化古，缺少個性的顯彰。他對晚明末流書法的狂怪無法度十分反感，他的法古是對這些末流書法的警示，其書法史價值也在於此。傳世書跡有《臨王羲之帖》、《論書冊》、《古詩卷》、《臨晉人帖》等。除故宮博物院外，今倫敦博物館，日本、東南亞諸國皆存其書跡。",[25,26,7,77,945,79,305,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233a266b423f33da1daefa6f4209a229.jpg","175.5×25.4厘米",[101],{"id":35937,"slug":35938,"title":35939,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":35940,"thumbUrl":35941,"material":198,"size":780,"collection":100,"collections":35942,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},240332,"zhuan-shu-shi-gu-wen-zhou-wu-chang-shuo-240332","篆书石鼓文轴",[472,2664,7,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026bb2bb430c296ca4e814eaa2dd17a9.jpg",[],{"id":35944,"slug":35945,"title":35946,"dynasty":18,"author":3916,"museum":331,"description":11681,"tags":35947,"thumbUrl":35948,"material":198,"size":780,"collection":100,"collections":35949,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},240314,"jie-lu-xi-yue-hua-shan-miao-bei-zhou-jin-nong-240314","节录西岳华山庙碑轴",[80,7,5199,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99bbc7bc9ec0b2fba8c45cbc435d35f.jpg",[],{"id":35951,"slug":35952,"title":35953,"dynasty":18,"author":709,"museum":331,"description":32940,"tags":35954,"thumbUrl":35955,"material":198,"size":780,"collection":100,"collections":35956,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},240289,"li-shan-shi-zhou-li-shan-240289","李鱓诗轴",[25,26,7,97,80,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308b3c2debc85a55603b171bd6907627.jpg",[],{"id":35958,"slug":35959,"title":35960,"dynasty":18,"author":35961,"museum":331,"description":35962,"tags":35963,"thumbUrl":35964,"material":100,"size":100,"collection":101,"collections":35965,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},240022,"lin-tang-tai-zong-shi-zhi-tie-ping-zhou-dai-wang-lun-240022","临唐太宗使至帖屏轴","戴王纶","戴王纶，字经碧，号一斋，直隶沧州（今河北沧县）人。其父戴明说为明崇祯四年进士，官至户部尚书。戴王纶为顺治五年（1648年）戊子科顺天乡试第五名举人，顺治十二年（1655年）中一甲第二名进士（榜眼），授翰林院编修。官至江西粮道。康熙十八年（1679年）举博学鸿词科。工诗、书，善于画兰。",[80,97,945,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b7e2ca2c826c74211a9ec0588bd13c.jpg",[101],{"id":35967,"slug":35968,"title":35969,"dynasty":18,"author":35970,"museum":331,"description":35971,"tags":35972,"thumbUrl":35973,"material":100,"size":100,"collection":101,"collections":35974,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},239996,"gan-guo-ji-shi-zhou-gan-guo-bi-239996","甘国基诗轴","甘国璧","甘国璧（？—1747），字东屏，汉军正蓝旗人，云贵总督甘文焜之子，清朝官吏。",[26,80,7,97,79],"https:\u002F\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晖”四字作为褒奖。时人目为画之正宗，尊称“画圣”。他与王时敏、王鉴、王原祁合称“四王”，又与吴历、恽寿平并称“清初六家”或“四王吴恽”。王翚追随者甚众，因常熟有虞山，故后人将他及其弟子一派称为“虞山画派”。\n王翚自幼嗜画，继承家学，很早便表现出非凡的绘画才能，师从王时敏、王鉴后，境界大进。一生画腊极长，精力旺盛，创作巨富。他笔墨功底深厚，长于摹古，几可乱真，又能不囿成法、师法自然。王翚虽然是职业画家，但与文人政要广泛交往，深受“文人画”精神影响，其山水力作往往构图多变、皴擦得法、格调明快，富有写生意趣及抒情性。王翚创作广采博览，集唐宋以来诸家之大成，于临仿中不断取舍，终能熔“南宗”“北宗”画法于一炉。在全面整理山水画传统技法的基础上，形成了具有个人风格的笔墨特点和概括性的构图法则，并提出“以元人笔墨，运宋人丘壑，而泽以唐人气韵”的论画主张，影响深远。但其晚年的程式化风格也颇为后人诟病，并为“虞山画派”后来的发展埋下了隐患。",[25,26,24,7,77,130,129,31,377,349,132,193,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc40584b392379435fae2f0f0f1741e.jpg","纵129.5cm，横43.3cm",[],{"id":36070,"slug":36071,"title":36072,"dynasty":18,"author":50,"museum":331,"description":36073,"tags":36074,"thumbUrl":36075,"material":198,"size":780,"collection":100,"collections":36076,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":44},234449,"qing-ren-wei-luo-wa-jin-gang-xiang-zhou-yi-ming-234449","清人威罗瓦金刚像轴","主尊通体钴蓝，正中牛首忿怒威严，九头层叠舒展，十六臂分持诸般法器，环抱明妃，足踏莲台，身缠烈烈背光火焰，将降伏邪魔的怖畏气势拉满。上方诸天护法身姿各异、神态端严，下方铺陈护法眷属与祥瑞地景。\n\n整幅设色浓丽饱满，石青、朱赤与赤金交晕，线条细密流畅，衣饰纹样繁而不乱，尽显精湛工笔造诣。构图层次井然，以炽热色彩烘托出密宗护法的慑人气场，将宗教神性与审美价值融于一体，是藏传佛教造像唐卡的上乘之作。",[24,25,26,7,54,28,27,29,14761,4209,8739],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ce941e1e260cdb1a2a914e885c88de.jpg",[],{"id":36078,"slug":36079,"title":36080,"dynasty":72,"author":683,"museum":236,"description":36081,"tags":36082,"thumbUrl":36083,"material":1573,"size":10699,"collection":100,"collections":36084,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},233966,"kui-shi-jia-die-tu-zhou-dai-jin-233966","葵石蛱蝶图轴","此幅画盛开的蜀葵一株，两只蝴蝶翩翩飞舞。\n在戴进的作品中，工笔设色花鸟并不多见，此图用笔细润，色彩清丽，既保留了宋代院体花鸟的工致，又吸收了元代钱选没骨设色的文雅之气。画面下端的湖石纹理粗糙，凹凸有致，与花卉草虫形成鲜明的对比。",[25,28,27,7,113,2808,601,600,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ca7ef7607ce9a5b1a9f7e80b36fe52.jpg",[],{"id":36086,"slug":36087,"title":36088,"dynasty":18,"author":4610,"museum":236,"description":36089,"tags":36090,"thumbUrl":36091,"material":1573,"size":36092,"collection":100,"collections":36093,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},233377,"hua-shen-lin-yuan-feng-shan-diao-tu-zhou-xu-gu-233377","画沈麟元篈山钓徒轴","图绘梅鹤双清之景。茁壮的梅树，其交错穿插的细枝和星星点点的花朵打破了画面的整体空间。作者着意在梅树干上绘两只仙鹤，它们淡然闲适的神态为画面增添了祥和的生趣，其平整的造型则统一了原本过于细碎的画面，由此可见作者巧于构思和化零为整的能力。",[25,26,7,77,28,29,129,35,193,350,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec751d2727b05081fc4bed5c706e39f4.jpg","纵248.7厘米，横121.1厘米",[],{"id":36095,"slug":36096,"title":36097,"dynasty":49,"author":36098,"museum":331,"description":36099,"tags":36100,"thumbUrl":36102,"material":100,"size":100,"collection":100,"collections":36103,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},231759,"huang-jing-tu-shou-gao-li-zhou-yi-teng-gui-jie-231759","黄精图手稿立轴","伊藤圭介","此作用色清浅柔润，淡绿晕染黄精修长茎干与舒展叶片，将草木舒展的天然意态细腻铺陈，叶片虽未细勾脉络却生机自显。右侧以淡墨轻描黄精素花，雅致恬淡。\n\n画面配搭题跋书法，笔意清隽，书画相映，兼具本草写生的严谨与文人雅趣，笔墨克制简净，带着温婉静穆的格调，将寻常本草绘出雅致意韵，文画相衬间尽显冲淡平和的写生之美。",[23,25,26,7,28,27,985,36101,79,80],"黄精","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd54c43f2fd846dd0981ff954e5ce586.jpg",[],{"id":36105,"slug":36106,"title":36107,"dynasty":72,"author":50,"museum":20,"description":36108,"tags":36109,"thumbUrl":36110,"material":182,"size":36111,"collection":100,"collections":36112,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":44},231543,"han-yi-ke-xiang-yi-ming-231543","韩宜可像","洪武元年（1368），荐授山阴教谕，旋升为监察御史。耿直敢言，弹劾不避权贵。时丞相胡惟庸、御史大夫陈宁、中丞涂节得宠于太祖朱元璋。一日，三人正与太祖从容燕语，宜可直入出示劾稿，弹劾三人险恶奸佞，恃功怙宠，专权树党，擅作威福等罪状，奏请斩此三人。太祖大怒说：“快口御史，竟敢排陷大臣！”命锦衣卫逮捕下狱。旋即释放。洪武九年（1376年），出为陕西按察司佥事。当时官吏有罪，凡处笞刑以上者皆谪屯凤阳，韩宜可上疏抗争，认为官吏有罪，当按情节轻重分别治罪，不宜一概谪屯凤阳。太祖从之。后入朝京都，太祖将罪人没官男女赐予诸司，韩宜可独不受，极言“有罪不应牵连家属，为古来定制。家属连坐，乃滥施刑罚。罪人家属无罪，不当以罪人家口分给各官”。\n曾奉命撰写祭祀钟山、大江文，谕日本、征乌蛮诏，皆合旨意，特授山西右布政使。后因事被谪云南。建文帝即位，起用为云南参政，入拜左副都御史，卒于官。",[23,25,28,27,29,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48cd3ccfa03c0eb32543d33b262f1351.jpg","142.9x82.1厘米",[],{"id":36114,"slug":36115,"title":33369,"dynasty":18,"author":24255,"museum":331,"description":36116,"tags":36117,"thumbUrl":36119,"material":100,"size":100,"collection":100,"collections":36120,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":44},231045,"shen-zhu-you-ju-tu-cheng-sui-231045","以渴笔焦墨写就全篇，山峦以短皴密点层叠铺展，带着金石篆刻般的苍茫朴拙质感，苍郁厚重间尽显山野沉浑气象。\n\n溪湾错落，板桥连通山居，幽篁掩映着矮屋茅舍，暗涌村居烟火暖意。水面扁舟随波轻漾，滩头幽人独立凭眺，将林泉高致与乡野闲趣揉为一体。\n\n全作未施丹青，仅以枯涩墨色分出远近层次，简淡萧疏间烘托出荒寒静谧的幽居氛围，把文人遁世丘园的雅逸襟怀，藏在每一处皴擦点染之中。",[23,25,77,130,7,129,78,733,134,193,349,132,170,1717,36118],"渴墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04295a7113b02787af3ec000e8944c9e.jpg",[],{"id":36122,"slug":36123,"title":36124,"dynasty":18,"author":34023,"museum":331,"description":36125,"tags":36126,"thumbUrl":36127,"material":100,"size":100,"collection":100,"collections":36128,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},230861,"lin-yan-zhen-qing-zheng-zuo-wei-tie-zhang-zhao-230861","临颜真卿争座位帖","此作用笔沉实厚重，尽得原作宽博开张的风神，墨色浓枯相映，章法错落自然。将原作的凛然正气，融以自身妍丽灵动的笔意，既有原作风骨里的雄浑豪迈，又带着端稳雅致的意趣。字里行间刚劲洒脱，把原作沉郁的气度化入笔底，临古却不泥古，循守古法之外自出机杼，尽显帖学临古的精妙意趣，笔墨间满是刚劲洒脱的风神。",[26,80,945,97,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ef0f3ca30d0cf598235f4bd246e0c6.jpg",[],{"id":36130,"slug":36131,"title":36132,"dynasty":49,"author":50,"museum":331,"description":36133,"tags":36134,"thumbUrl":36135,"material":198,"size":780,"collection":100,"collections":36136,"showCount":631,"zanCount":11,"manualWeight":43,"mainColor":44},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。",[23,54,1157,28,16176,269,270,22230,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae48eafbef300dc3e20709d2afdb6183.jpg",[],{"id":36138,"slug":36139,"title":36140,"dynasty":49,"author":17910,"museum":331,"description":17911,"tags":36141,"thumbUrl":36143,"material":198,"size":780,"collection":100,"collections":36144,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":44},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 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清代没有画院的设置，只在内务府造办处中有画画处和如意馆，负责组织画家为宫廷服务。画家地位低下，或称“南匠”，因画家多系南方人之故，或称“画画人”。画家来源或为原在宫中服务的画家子弟，或大臣推荐，或画家毛遂自荐，均经考核再录用。其中也有大臣如王原祁、蒋廷锡等，虽也创作绘画为宫廷所用，则不在此中。 顺治初见于记载的宫廷画家只有黄应谌一人。康熙时有唐岱、焦秉贞、冷枚等。唐岱山水得王原祁指授，画风亦相近。焦秉贞善山水人物，用透视法，受西方的影响，冷枚为焦秉贞的学生，以人物仕女见长。其后至乾隆时期，画家有丁观鹏、姚文瀚、金廷标、余省、张宗苍、徐扬、陈枚等。他们的作品艺术成就远不及宋代和明代。最具有清代宫廷绘画特色并创造出了艺术成就的是宫廷中的一批来自西方的传教士画家，他们中有意大利人郎世宁、安德义、潘廷章，法国人贺清泰、王致诚，波希米亚人艾启蒙等。他们根据官廷的需要与爱好，用中国的作画工具，综中、西不同的观察和表现方法，如人物用西法，背景则为中法，或背景用中国画家来画；面部塑造采用正面光，减轻明暗对比度，以适合中国传统欣赏习惯等等，因而创造出一种新的风格。",[23,25,26,7,27,28,113,1488,114,32420,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81de27f18ee00b00b65c920a57e2c0fb.jpg","110x60cm",[],{"id":36208,"slug":36209,"title":36210,"dynasty":18,"author":4669,"museum":331,"description":36211,"tags":36212,"thumbUrl":36213,"material":100,"size":100,"collection":100,"collections":36214,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":44},224456,"shan-chuang-feng-xue-tu-wang-hui-224456","山窗封雪图","此作用高远、平远之法铺展冬山雪景，上部危崖积雪，枯笔勾勒石骨，以皴擦带出嶙峋肌理，留白晕染厚雪，尽现山巅清寒孤峭。中层林木萧疏，焦墨写出虬曲枝桠，寒意里更见笔力苍劲。下部溪岸错落村居，雪覆茅檐，静卧于素色天地间，冷寂之中暗涌脉脉烟火暖意。\n\n全幅水墨晕染层次雅致，将北派山水的雄浑苍劲与南宗笔墨的秀润柔和相融，把冬雪封山的空寂辽远与村居安谧完美揉合，于尺幅间铺展冬日山野的清寂诗意。",[23,25,77,129,130,7,1240,351,521,733,3880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde7e2bf5fe9351a53cbd0f3cab14c970.jpg",[],{"id":36216,"slug":36217,"title":129,"dynasty":18,"author":19880,"museum":331,"description":36218,"tags":36219,"thumbUrl":36220,"material":100,"size":100,"collection":100,"collections":36221,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},224435,"shan-shui-wang-yu-224435","此作用高远、平远章法铺展秋山胜景，左畔危崖陡立，以苍劲皴法写山石肌理，丹枫村居隐于崖麓，添几分暖意生机。近岸古松盘虬，坡石隐现于浅草间，流泉脉脉。江波浩渺，远山含黛晕染出空濛暮色。\n\n画面笔墨承袭娄东一脉，干笔淡墨皴擦，浅设色晕染清雅柔和。题诗与画境相映，糅合元人萧散意趣，铺就出幽寂闲淡的江秋林下之境，将文人山水的隐逸悠然藏于尺幅之间。",[23,25,26,129,7,28,77,130,132,170,733,522,5929,427,855,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":36223,"slug":36224,"title":36225,"dynasty":18,"author":17471,"museum":331,"description":20107,"tags":36226,"thumbUrl":36227,"material":198,"size":780,"collection":100,"collections":36228,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},224287,"lin-ge-tie-fu-shan-224287","临阁帖",[23,80,305,945,7,79,4906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b00119cc30f6fed906fc16545f664b9.jpg",[],{"id":36230,"slug":36231,"title":818,"dynasty":18,"author":10867,"museum":331,"description":36232,"tags":36233,"thumbUrl":36234,"material":100,"size":100,"collection":100,"collections":36235,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":88},224263,"shan-shui-tu-zhang-zong-cang-224263","此作用笔苍劲老辣，山石以干笔皴擦，缀以浓墨点苔，尽显崖壁厚重雄浑。右侧危峰拔地而起，隐见飞瀑垂落，左侧林麓苍郁，杂木间晕染赭红花青，暗合秋意。\n\n溪泉蜿蜒穿谷，山居藏于幽林，水面扁舟轻泛，远景水天一色，构图兼取高远、平远，层次悠长。搭配题诗与朱印，诗书画印浑然一体，将秋山的清疏旷远与林下幽居的雅趣相融，兼具雄奇气象与秀润诗意，意境澹宕空灵。",[23,25,26,7,28,77,129,193,349,170,132,79,97,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab82f87f0726486e943e9a0edd8c887.jpg",[],{"id":36237,"slug":36238,"title":6798,"dynasty":93,"author":50,"museum":36239,"description":36240,"tags":36241,"thumbUrl":36242,"material":37,"size":6754,"collection":100,"collections":36243,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":44},223665,"xue-shan-xing-lv-tu-yi-ming-223665","\u0010台北故宫博物院","以高远笔法铺陈层叠雪山，硬峭苍劲的线条勾勒山石骨骼，留白晕染尽显积雪厚重萧寒。谷间云气翻涌，将山体切割出虚实层次，令画面深邃辽远。山脚寒林枯槎萧索，冰河之上板桥隐现，山坳茅舍藏于雪峦间，行旅之人踏雪赶路，为荒寂冬景晕开一缕人间烟火气。\n\n画家以浓淡墨色区分雪色与岩体，皴笔硬朗尽显山石嶙峋质感，将隆冬山野的空寂清寒尽数铺展，于冷寂萧寒的天地间，藏着羁旅暖意，尽显山水写实造境的精妙风骨。",[23,25,26,129,7,130,1240,132,521,134,171,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e4f11b5e11ba642e4054f5428918dd.jpg",[],{"id":36245,"slug":36246,"title":36247,"dynasty":93,"author":50,"museum":331,"description":36248,"tags":36249,"thumbUrl":36250,"material":100,"size":100,"collection":100,"collections":36251,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":44},223598,"sui-yang-wu-lao-tu-wang-huan-xiang-yi-ming-223598","睢阳五老图 王涣像","老者头戴乌纱，一袭宽袖深青素袍以朱红束腰提点，色调清雅克制。他双手敛于袖中，身形微佝，面上沟壑纵横，尽显九十高龄的苍迈迟暮。\n此作线条凝练精准，淡墨晕染出松弛的皮肤纹理，写实勾勒出耄耋老人的神态气韵，将致仕老臣内敛端肃的沉静气度尽显无遗。古旧绢底衬出肖像的静穆质感，带着宋画特有的平和雅致，以极简笔墨写尽老者为官半生后的安然沉稳，尽显宋代肖像画的写实功力。",[23,24,25,26,7,28,27,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2a20c3a9cd593416177c1bd5c5372b.jpg",[],{"id":36253,"slug":36254,"title":36255,"dynasty":207,"author":50,"museum":74,"description":36256,"tags":36257,"thumbUrl":36258,"material":37,"size":36259,"collection":39,"collections":36260,"showCount":631,"zanCount":43,"manualWeight":43,"mainColor":44},223440,"xuan-fan-yu-hua-tu-zhou-yi-ming-223440","宣梵雨花图轴","此幅画一位蓄须僧人端坐在石上，正在诵读梵文经卷。他的皮肤黝黑，高鼻深目，耳有穿环，从轮廓特征看来应该不是汉人。佛教本是由外地传入的宗教，传世因而也有诸多近于中亚人种造型的胡僧形象，他所阅读的也正是未经中文化的梵文。\n僧人的衣饰精致华美，但表情却虔敬素穆。看他专注的眼神与微张的双唇，似乎对经义心领神会，已有所悟。这时天空中飘下满天花雨，陪侍的白猴也忍不住伸手接取。这样的神迹配合僧人头后的圆光，使得画中更添神异的色彩。\n画中并无绘者的题款。画家描绘人物衣纹的线条圆转，但劲健有力，对僧服上的装饰、飘扬的花朵、以及白猴身上的密毛，不同质感的刻划却十分细腻。山水烟云的背景纯以水墨画成，和衣饰与花雨的鲜艳色彩形成对比。线条粗细兼具、配色明暗协调，在画家的妙笔下，呈现出端凝又神秘的宗教气氛。",[23,25,26,7,54,28,27,29,287,4907,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0f95eadeb3e05a9a8b4a1c9c7942a8.jpg","该幅 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，为其后“台阁体”作家的文学创作提供范本。其作品大部分被合刻为《宋学士全集》七十五卷。",[23,25,26,7,28,29,27,36783,3492,34],"包公","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7631d7703efa22caf61d7406ed79573c.jpg",[],{"id":36787,"slug":36788,"title":36789,"dynasty":93,"author":3927,"museum":331,"description":28090,"tags":36790,"thumbUrl":36791,"material":198,"size":780,"collection":100,"collections":36792,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":342},287753,"bai-miao-fo-xiang-di-shi-san-zun-zhe-li-gong-lin-287753","白描佛像第十三尊者",[23,25,985,54,29,10824,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d9f8f5cfe42eb5356d47e1f5fae5c27.jpg",[],{"id":36794,"slug":36795,"title":36796,"dynasty":207,"author":8758,"museum":331,"description":27247,"tags":36797,"thumbUrl":36798,"material":198,"size":780,"collection":100,"collections":36799,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},287551,"qing-chuan-song-ke-tu-zhuang-biao-ban-zhao-yuan-287551","晴川送客图（装裱版）",[25,24,77,7,129,29,349,193,35,170,272,9049,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faafaaded2cacd68c421ae104c8d7dbe1.jpg",[],{"id":36801,"slug":36802,"title":36803,"dynasty":18,"author":50,"museum":331,"description":36804,"tags":36805,"thumbUrl":36806,"material":198,"size":780,"collection":100,"collections":36807,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":44},267348,"hong-se-duan-zhi-jin-bian-xiu-guan-yin-xiang-zhou-yi-ming-267348","红色缎织金边绣观音像轴","构图饱满繁复，以织绣工艺精心打造。主尊安坐莲台，宝相端严慈悲，周身环绕诸天护法与胁侍眷属，层次分明，排布有序。红缎地以金线勾勒万字纹边框，华丽规整，衬得画面愈发华贵威仪。\n配色浓郁鲜明，金线缠绣的细节精妙入微，诸佛衣袂纹饰细腻流畅，祥云宝幢错落点缀，氤氲出静谧祥和的宗教氛围。它将藏地造像审美与汉地织绣工艺相融，线条婉转灵动，晕染过渡自然，把佛门慈悲庄严的意境尽显无遗，尽显华贵肃穆的宗教气韵，是清代织绣唐卡的上乘佳作。",[7,62,15720,28,54,9612,4533,24503,25612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea71ec75421c86fd6c587bb79ebc5d8c.jpg",[],{"id":36809,"slug":36810,"title":36811,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":36812,"thumbUrl":36813,"material":198,"size":780,"collection":100,"collections":36814,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},241418,"zhuan-shu-shi-gu-wen-qi-yan-lian-wu-chang-shuo-241418","篆书石鼓文七言联",[2664,80,3362,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfade009b170f32ef82f14ba2c30c3b2.jpg",[],{"id":36816,"slug":36817,"title":30389,"dynasty":18,"author":36818,"museum":331,"description":36819,"tags":36820,"thumbUrl":36821,"material":214,"size":100,"collection":101,"collections":36822,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},241403,"lu-yu-zhou-qian-chen-qun-241403","钱陈群","钱陈群（1686─1774年），字主敬，浙江嘉兴人，清朝大臣。父纶光，早卒。母陈书，字南楼，号上元弟子，晚号南楼老人，清代女画家，钱陈群及兄弟幼年由母陈书教读。18岁游京师，交游文士名人。康熙四十四年，圣祖南巡，陈群迎驾吴江，献诗。上命俟回跸召试，以母病不赴。六十年，成进士，引见，上谕及前事。改庶吉士，授编修。雍正七年，世宗命从史贻直、杭奕禄赴陕西宣谕化导，陈群周历诸府县，集诸生就公廨讲经，反覆深切，有闻而流涕者。使还，上谕奖为“安分读书人”。五迁右通政，督顺天学政。\n乾隆元年，以母丧去官。服除，高宗命仍督顺天学政，除原官。陈群以母陈夜纺授经图奏上，上为题词。疏请增顺天乡试中额，上以官制有定，取者多，用者益远，国家不能收科目取人之效，寝其议。三迁内阁学士。陈群屡有建白：尝疏请严治匿名揭帖，无论事钜细，非据实首告而编造歌谣诗词，匿名粘贴闾巷街衢，当下刑部依律治罪。疏请广劝种植树木，官地令官种，州郡吏种至千本以上，予纪录；受代时具册，备地方公用。民地令民种，至五六百本者，予扁额奖赏，成材后听取用。疏请偏灾蠲免分数，分别贫富，富者按例定分数蠲免，贫者被灾几分即蠲免几分，使之相等。及敕询州县耗羡，疏言：“康熙间，州县官额徵钱粮，收耗羡一二钱不等。陆陇其知嘉定县止收四分，清如陇其，亦未闻全去耗羡也。议者以康熙间无耗羡，非无耗羡也，特无耗羡之名耳。世宗出自独断，通计外吏大小员数，酌定养廉，而以所入耗羡按季支领。吏治肃清，民亦安业。特以有徵报支收之令，不知者或以为加赋。皇上询及盈廷，臣请稍为变通，凡耗羡所入，仍归藩库，各官养廉及各州县公项，如旧支给。其续增公用，名色不能画一，多寡亦有不同，应令直省督抚明察，某件应动正项，某件应入公用，分别报销。各省州县自酌定养廉，荣悴不一，其有支绌者，应令督抚确察量增，俾稍宽裕。仍饬勿得耗外加耗，以致累民。则既无加赋之名，并无全用耗羡办公之事，州县各有赢馀，益知鼓励。至於施从其厚，敛从其薄，古之制也。及此仓庾充裕、民安物阜之时，大臣悉心调剂，使养廉之入，不为素餐，元气培扶，帑藏盈溢，然后以三十年之通制国用。宋太祖能罢羡馀，臣固知皇上之圣，不必廷臣建白如张全操其人者，而德音自下也。”",[80,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f8ebe17cc2b112ad229229750b4a15c.jpg",[101],{"id":36824,"slug":36825,"title":36826,"dynasty":18,"author":36827,"museum":331,"description":36828,"tags":36829,"thumbUrl":36834,"material":198,"size":780,"collection":100,"collections":36835,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},241364,"gu-shi-she-jiang-ping-wang-yun-241364","古诗涉江屏","王云","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。",[80,5902,7,675,30,349,36830,13265,16892,36831,36832,36833],"白露","箫管","怀人","愁郁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e08cda56e32701bf708d9dc98d2c16d.jpg",[],{"id":36837,"slug":36838,"title":36839,"dynasty":18,"author":36840,"museum":331,"description":36841,"tags":36842,"thumbUrl":36843,"material":214,"size":100,"collection":101,"collections":36844,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},241317,"shan-gu-shi-zhou-dong-ne-241317","山谷诗轴","董讷","董訥（1639—1701）字茲重，號默庵，山東平原人，清朝官吏。\n康熙六年一甲三名進士，授編修。累擢至江南總督。為政持大體，有惠於民。左遷去，江南民為立生祠。二十八年，上南巡，民執香跪訥生祠前，求復官訥江南。上還蹕，笑謂訥曰：“汝官江南惠及民，民為汝建小廟。”旋以侍讀學士復出為漕運總督。累擢至兩江總督。為政持大體，有惠於民。因故降官。後以侍讀學士再出位漕運總督。死後賜祭葬，追加為正一品。康熙御賜“眷念舊勞”四字。",[26,80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F099fdb19f5434ce77bec77585f310570.jpg",[101],{"id":36846,"slug":36847,"title":25429,"dynasty":72,"author":36848,"museum":331,"description":36849,"tags":36850,"thumbUrl":36851,"material":214,"size":100,"collection":101,"collections":36852,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":44},241226,"qi-yan-shi-zhou-yang-ke-241226","杨珂","杨珂（？－？），字士佩，福建泉州府晋江县人，民籍，明朝政治人物。\n福建乡试第八名举人。嘉靖四十四年（1565年）中式乙丑科二甲第五十三名进士",[80,7,305,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae98d327c042b6301f8d7819abc15ae.jpg",[101],{"id":36854,"slug":36855,"title":26791,"dynasty":72,"author":36856,"museum":331,"description":36857,"tags":36858,"thumbUrl":36859,"material":214,"size":100,"collection":101,"collections":36860,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":44},241224,"qi-jue-zhou-chen-lie-241224","陈烈","陈烈，字季慈，号季甫，侯官（今闽侯县南通镇陈厝村）人，宋朝官员。\n陈烈讲究道德修养，亦重视读书静养工夫，朱熹很赞赏他的做法，《朱子语类》卷十一记载：“昔陈烈先生苦无记性，一日读《孟子》‘学问之道无他，求其放心而已’，忽悟曰：‘我心不曾收，如何记得书？’遂闭门静坐百余日，以收放心，却去读书，遂览无遗。”",[2749,80,7,305,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81119615b7f2121a5edafd8a8c595e6d.jpg",[101],{"id":36862,"slug":36863,"title":36864,"dynasty":72,"author":36865,"museum":331,"description":36866,"tags":36867,"thumbUrl":36868,"material":214,"size":100,"collection":101,"collections":36869,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},241217,"wu-lv-shou-shi-zhou-zhang-tai-241217","五律寿诗轴","张泰","张泰(1435—1508年)，字叔亨，广东广州府顺德县陈村人。张泰1458年(景泰四年)中举，1466年(成仁二年)成进士，历任知县、御史、巡按、少卿、副都御史、右侍郎、南京户部尚书，是顺德建县后第一位尚书。\n最初担任福建沙县知县时，“铲平王”邓茂七起义刚遭镇压，全县田园凋零，商贸颓残，人们逃命他方，举目一片萧索。张泰事不避难，明察暗访，制定一系列安民措施，捐税免租，宽政养民，吸引着外出谋生的民众闻风返家，搭棚建社，朝耕夕息，鸡犬渐闻，春苗泛青，秋实在望，深得百姓赞颂。\n担任监察御史后，张泰面对积弊日深的朝政与盘根错节的官场，并不刻意回避矛盾，而是直面奸佞，令人敬佩。他巡察通州时，发现官仓弊端众多，所涉广众，且大多背景神秘，深不可测，但他秉公办理，按图索骥，终于干净利落，清除宿弊，令人鼓掌称快。太监钱能、覃勤勾结万贵妃逆行倒施，指鹿为马，惹祸引兵，搜刮民脂，人们敢怒缄口，道路以目。张泰寻知，暗里侦查，后与御史一起联合弹劾，力请贬斥万贵妃，严惩钱能、覃勤，但因万贵妃为皇帝宠爱，张泰龙颜捋须，惹得皇帝勃然大怒，被廷杖重创，后外放为京畿学政。不久，母亲去世，张泰趁此机会远离京城，守孝乡村，居家十年。\n1492年，57岁的张泰重起乡间，担任云南巡按。耿直如昔的他刚一上任，就惩贪斥污，弹劾失职，调解纷争，修堤筑坝，促进了民族融合，保障了居民安宁，受到民众欢迎。\n后来，甘肃骚乱，地方官员互相推诿，张泰奉命西去调查，他力排阻力，深入调查，发现祸起镇守太监傅德。他勾结总兵，侵占屯田，克扣军饷，兵亡瞒实，马失不报。张泰秉公办理，严惩不法。张泰还促成收回被宦官和边将霸占的牧场。但他因“惹是生非”，触怒权贵，被弹劾中伤，引得皇帝也对他侧目相看，还罚他半年俸禄。\n此后，张泰改任大理寺少卿，奉命调查苏州官占民田为牧场的实情。张泰深知此中暗流奔涌，稍不小心，后果不堪设想。于是，他暗中查证，将当年的田亩簿册一一勘对，证实应还民间田亩为九百三十多顷，后又对失地数字一一查清。但复命后，数遭驳难，众说纷纭，致使这一调查结果悬而不决。直到新皇帝即位，在尚书韩文促成下，朝廷才根据张泰查勘结果作出正确处理。\n1507年(正德三年)，张泰改官南京右都御史。时值宦官刘瑾弄权，大小官员都争相贿结。张泰不屑逢迎，仅在入京奏事时，带上两匹葛布作礼节性探望。刘瑾怀恨在心，扣张泰数百石俸禄以作泄恨。但张泰因多年勤勉尽忠，经吏部考绩，得获优良，升南京户部尚书，但刘瑾大进谗言，令张泰最终失官。张泰有见及此，心中无奈，于是辞呈归乡，次年逝世。",[25,26,7,305,80,79,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95904724a1d81f4728fe14462abd0332.jpg",[101],{"id":36871,"slug":36872,"title":36873,"dynasty":72,"author":36874,"museum":331,"description":36875,"tags":36876,"thumbUrl":36877,"material":214,"size":100,"collection":101,"collections":36878,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},240881,"du-huang-he-wu-lv-zhou-wu-xing-zuo-240881","渡黄河五律轴","吴兴祚","吳興祚（1632年—1697年），字伯成，號留邨，紹興府山陰（今浙江紹興）州山人，後入漢軍正紅旗。清初名臣。\n其父為吳執忠，早年作為禮親王代善的幕僚，被授為頭等護衞。 [1] 吳興祚自幼聰穎，奮攻科藝，順治七年（1650年）以貢生的身份授為江西萍鄉知縣。當時金聲桓叛變，江西的郡縣多被佔領，唯有萍鄉沒有被佔領。很快他被授為山西大寧知縣。順治十八年（1661年），遷移為山東沂州知州 [2] 。不久以驛務遲誤、對白蓮教起義鎮壓不力之罪被罷，康熙帝二年（1663）降補無錫知縣。在任內，清丈全縣田畝，編號繪圖，因田徵賦，切行“攤丁入畝”。康熙十四年（1675年）四月，進為福建按察使。招撫耿精忠部將陳龍等人，生擒朱統錩。康熙十七年（1678年），被提升為福建巡撫，率部屢敗鄭經的軍隊。因功進秩正一品，後又進為兩廣總督，他上任後上疏言前督尚之信在廣東橫徵苛斂，奏請罷除鹽埠、渡税、漁科等苛捐雜税，又奏請允開海禁。\n康熙三十五年（1696年），康熙帝親征噶爾丹，吳興祚隨康熙帝效力，康熙三十六年（1697年）逝世。",[80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ba2a34285731bb57f0b5a85bc0ccf4.jpg",[101],{"id":36880,"slug":36881,"title":27442,"dynasty":18,"author":36882,"museum":331,"description":36883,"tags":36884,"thumbUrl":36885,"material":198,"size":780,"collection":100,"collections":36886,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},240854,"qi-yan-lian-huang-yi-240854","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[80,3362,7,5199,77,79,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92a7cf036efe5b33a61bb32bdce36b3.jpg",[],{"id":36888,"slug":36889,"title":30405,"dynasty":18,"author":14625,"museum":331,"description":24167,"tags":36890,"thumbUrl":36891,"material":198,"size":780,"collection":100,"collections":36892,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":44},240828,"wang-duo-lin-tie-zhou-wang-duo-240828",[26,80,7,945,97,305,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c4d7e776a8e86d9dd6eb0a7a09d694.jpg",[],{"id":36894,"slug":36895,"title":36896,"dynasty":18,"author":7755,"museum":331,"description":16536,"tags":36897,"thumbUrl":36898,"material":214,"size":100,"collection":101,"collections":36899,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":44},240797,"jie-tan-shi-zhou-gao-qi-pei-240797","戒坛诗轴",[25,26,7,97,80,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518958c7d3997b76c3270ea88a7501b3.jpg",[101],{"id":36901,"slug":36902,"title":34924,"dynasty":18,"author":36903,"museum":331,"description":36904,"tags":36905,"thumbUrl":36906,"material":214,"size":100,"collection":101,"collections":36907,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},240641,"qi-jue-shi-zhou-wang-xu-ling-240641","王顼龄","王頊齡（1642-1725）：字顓士，一字容士，號瑁湖，晚號松喬老人，清·江南華亭縣（今上海市金山區）張堰鎮人，御史王廣心長子。",[80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70788b27dea80da7b227e3446aab3249.jpg",[101],{"id":36909,"slug":36910,"title":36911,"dynasty":72,"author":752,"museum":331,"description":2862,"tags":36912,"thumbUrl":36913,"material":198,"size":780,"collection":100,"collections":36914,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},240551,"ci-zhou-chen-hong-shou-240551","词轴",[80,97,7,72,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe46e67a845fb0f2d7a8c444858f830a.jpg",[],{"id":36916,"slug":36917,"title":36918,"dynasty":18,"author":921,"museum":331,"description":3938,"tags":36919,"thumbUrl":36920,"material":214,"size":100,"collection":101,"collections":36921,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},240493,"wu-chang-shuo-shi-zhou-wu-chang-shuo-240493","吴昌硕诗轴",[80,7,97,2664,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce394c6dee22fe283439c8f89aaf021.jpg",[101],{"id":36923,"slug":36924,"title":36925,"dynasty":18,"author":36926,"museum":331,"description":36927,"tags":36928,"thumbUrl":36930,"material":198,"size":780,"collection":100,"collections":36931,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},240429,"kang-you-wei-shi-zhou-kang-you-wei-240429","康有为诗轴","康有为","康有为（1858年3月19日—1927年3月31日），原名祖诒，字广厦，号长素，又号明夷、更甡、西樵山人、游存叟、天游化人，广东省广州府南海县丹灶苏村人，人称康南海，中国晚清时期重要的政治家、思想家、教育家，资产阶级改良主义的代表人物。康有为出生于封建官僚家庭，光绪五年（1879年）开始接触西方文化。光绪十四年（1888年），康有为再一次到北京参加顺天乡试，借机第一次上书光绪帝请求变法，受阻未上达。光绪十七年（1891年）后在广州设立万木草堂，收徒讲学。光绪二十一年（1895年）得知《马关条约》签订，联合1300多名举人上万言书，即“公车上书”。",[80,97,7,79,36929,16892,12549,33109,335],"青松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07ed06526316ea47f5ea9522c0a6edd.jpg",[],{"id":36933,"slug":36934,"title":36935,"dynasty":18,"author":28181,"museum":331,"description":33385,"tags":36936,"thumbUrl":36937,"material":198,"size":780,"collection":100,"collections":36938,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},240384,"yi-bing-shou-lin-tie-zhou-yi-bing-shou-240384","伊秉绶临帖轴",[25,26,80,7,945,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fa081fb0d265df654fa8153743b97c.jpg",[],{"id":36940,"slug":36941,"title":36942,"dynasty":18,"author":10397,"museum":331,"description":5294,"tags":36943,"thumbUrl":36944,"material":198,"size":780,"collection":100,"collections":36945,"showCount":490,"zanCount":11,"manualWeight":43,"mainColor":88},240299,"zheng-xie-lun-shu-zhou-zheng-xie-240299","郑燮论书轴",[26,80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d27791b75036095e4161526a1f4dad.jpg",[],{"id":36947,"slug":36948,"title":30389,"dynasty":18,"author":3916,"museum":331,"description":11681,"tags":36949,"thumbUrl":36950,"material":198,"size":780,"collection":100,"collections":36951,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":1966},240253,"lu-yu-zhou-jin-nong-240253",[80,7,5199,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c373037f97ff6594a08baedbaae9d6c.jpg",[],{"id":36953,"slug":36954,"title":36955,"dynasty":72,"author":752,"museum":331,"description":36956,"tags":36957,"thumbUrl":36959,"material":214,"size":36960,"collection":138,"collections":36961,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},240245,"wu-lv-shi-zhou-chen-hong-shou-240245","五律诗轴","释文：\n“剪落入城市，拙岁隐者伦。亲朋虽传舌，景物最伤神。老病锦官府，还山愧野人。往来轻似叶，幸不厌清员。洪绶似玄濬道盟兄正之，二十余年不见，重为作书乐甚。”\n款钤“陈洪绶印”、“章侯氏”印2方。\n本轴书五言律诗一首，从落款处称僧人玄濬为“道盟兄”，可知此诗是陈洪绶晚年为僧时所作。\n陈洪绶的书法与绘画均显现共同而鲜明的特色，即奇异、怪诞。此轴书法结构修长，字形呈欹峭之势，用笔紧密而细腻，简洁而质朴，姿态夸张，富于变化，线条潇洒俊健，颇有风姿，表现了作者独特的书风。",[26,7,80,97,77,79,252,36958],"市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被誉为“青莲再世”、“少陵复出”、清代“蜀中诗人之冠”。",[26,80,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484968d3445b0ccbbfc46e2523cafa2f.jpg",[101],{"id":36981,"slug":36982,"title":26099,"dynasty":72,"author":36983,"museum":331,"description":36984,"tags":36985,"thumbUrl":36986,"material":100,"size":100,"collection":101,"collections":36987,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},239912,"shi-zhou-gu-qi-yuan-239912","顾起元","顾起元（1565年～1628年），应天府江宁（今南京）人，明代官员、金石家、书法家。字太初，一作璘初、瞒初，号遁园居士。万历二十六年进士，官至吏部左侍郎，兼翰林院侍读学。乞退后，筑遁园，闭门潜心著述。朝廷曾七次诏命为相，均婉辞之，卒谥文庄。著有《金陵古金石考》《客座赘语》《说略》等。",[26,80,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9477840cc14d7a0d0a1a3f1f4e4791e.jpg",[101],{"id":36989,"slug":36990,"title":36991,"dynasty":18,"author":31320,"museum":331,"description":31321,"tags":36992,"thumbUrl":36993,"material":198,"size":780,"collection":100,"collections":36994,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},239882,"shu-li-er-tong-zhou-weng-fang-gang-239882","书礼二通轴",[472,26,7,97,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefeb4e5e4c4f2cbf4f43009833c5f1a5.jpg",[],{"id":36996,"slug":36997,"title":26099,"dynasty":72,"author":36998,"museum":331,"description":36999,"tags":37000,"thumbUrl":37001,"material":100,"size":100,"collection":101,"collections":37002,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},239796,"shi-zhou-yi-wang-239796","益王","此作用笔纵逸灵动，牵丝映带圆融自然，尽显草书畅达疏朗的意趣。起收提按间顿挫分明，字势欹正相生，干湿浓淡的墨色交织，既有疾风骤雨般的爽利落拓，又暗蕴沉静雅致的书卷气。\n通篇布局疏密得宜，行气如长河奔涌贯通始终，将酬唱诗句的豪迈襟怀寄于笔墨流转之间，落笔处皆是心绪与笔意的交融，把文人酬赠的情志挥洒得淋漓尽致，笔墨间裹挟着诗意豪情，雅致洒脱的气韵扑面而来。",[25,26,7,80,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a16d9eb30d0d7b7e04757c99739adf.jpg",[101],{"id":37004,"slug":37005,"title":37006,"dynasty":18,"author":7755,"museum":331,"description":15584,"tags":37007,"thumbUrl":37008,"material":198,"size":780,"collection":100,"collections":37009,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},239485,"zhi-hua-shi-yan-tu-zhou-gao-qi-pei-239485","指画石雁图轴",[25,26,7,14837,77,35,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48489029acb5ca54042a87c4c967fb21.jpg",[],{"id":37011,"slug":37012,"title":37013,"dynasty":18,"author":24634,"museum":331,"description":29780,"tags":37014,"thumbUrl":37015,"material":198,"size":780,"collection":100,"collections":37016,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},239032,"fang-cha-shi-biao-shan-shui-zhou-qin-bing-wen-239032","仿查士标山水轴",[25,26,7,945,77,130,129,35,170,351,272,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc349e0153148851c98716702002c3df.jpg",[],{"id":37018,"slug":37019,"title":37020,"dynasty":18,"author":50,"museum":331,"description":37021,"tags":37022,"thumbUrl":37024,"material":198,"size":780,"collection":100,"collections":37025,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":44},239030,"qing-ren-she-lu-tu-zhou-yi-ming-239030","清人射鹿图轴","此作以上下两段铺陈郊原射猎之景。上半幅中，猎手匿于花树间引弓待发，惊鹿仓皇奔逃，刹那间的张力跃然绢上。枯木与花树交错，晕染出春日郊野的清寂生机，松石点缀更衬出林野旷远。\n\n下半幅则绘扈从人马徐行，旌旗随风舒展，将射猎的紧绷感化为从容随行的闲缓，一动一静对比精妙。设色调古雅沉静，鞍马人物刻画灵动写实，衣袂、马鬃的细节皆见用心，将古时游猎的悍勇风雅揉入笔底，尽显郊猎野趣与出行的从容气度。",[25,28,27,7,29,196,1073,253,132,16579,37023],"骑射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc7dd3f519478a9abc863e24f8e3b3b.jpg",[],{"id":37027,"slug":37028,"title":1381,"dynasty":72,"author":10012,"museum":331,"description":37029,"tags":37030,"thumbUrl":37031,"material":100,"size":100,"collection":138,"collections":37032,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},236390,"shan-shui-zhou-ding-yun-peng-236390","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[25,26,7,77,28,129,170,132,134,193,29,79,130,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[138,185],{"id":37034,"slug":37035,"title":37036,"dynasty":72,"author":50,"museum":331,"description":37037,"tags":37038,"thumbUrl":37039,"material":100,"size":100,"collection":100,"collections":37040,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":704},236073,"zhu-jian-shen-yi-tuan-he-qi-tu-zhou-yi-ming-236073","朱见深一团和气图轴","乍看是笑颜可掬的布袋僧人安坐，细观才觉藏着精妙机趣——儒释道三人环抱成圆融一团。左侧文人儒巾飘逸，右侧僧侣袈裟清雅，后方道者冠带隐现，三人面容相互勾连，难分你我。\n\n衣纹圆转柔和，似随呼吸舒展流动，以极简笔墨勾勒出三家神韵，暗合三教合一的文化思潮。把同气相求、共生共荣的东方哲思，藏进这诙谐的视觉巧思里，将世间融洽无间的美好祈愿，凝在这一方圆相之中，浅淡笔墨下满是悠长意蕴。",[25,26,7,28,29,985,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe84e87759243c2e7a6cef849167a26e0.jpg",[],{"id":37042,"slug":37043,"title":37044,"dynasty":72,"author":4145,"museum":331,"description":37045,"tags":37046,"thumbUrl":37047,"material":100,"size":100,"collection":100,"collections":37048,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},235855,"qiu-se-wu-tong-zhou-lan-ying-235855","秋色梧桐轴","枯槎携丹色桐叶横斜，桐子垂挂枝梢，清冷秋意扑面而来。以写意笔法绘就梧桐，浓淡墨色晕染出叶片的阴阳向背，丹粉轻染叶边，将秋深叶渐霜红的景致晕染恰到好处。\n\n独立枝头的山禽刻画工细，翎毛晕染层次分明，神完气足，将林间幽居野禽的娴静之态尽显。画面搭配题跋，诗书画相映，融工致与写意于一体，萧疏清隽的秋林意趣跃然纸上，把秋日林间的静穆生机凝于尺幅，尽显雅致的文人意趣。",[25,26,7,28,77,113,6505,115,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e3e520f01b79f754877fe32b75f2c3.jpg",[],{"id":37050,"slug":37051,"title":37052,"dynasty":18,"author":4669,"museum":331,"description":37053,"tags":37054,"thumbUrl":37055,"material":100,"size":100,"collection":100,"collections":37056,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},235607,"yu-feng-kan-yue-tu-zhou-wang-hui-235607","玉峰看月图轴","干淡墨色晕染出萧疏冬景，修竹劲挺伴寒林，浅溪潺湲漫过板桥，林间隐着茅舍，远山轻笼在朦胧烟霭里，似与天相接。\n笔墨松秀简淡，以留白衬出月夜空寂清旷，将文人看月雅集的诗意融在山水间。画中人物凭桥而立，似在静候月色浸漫林野，处处尽显闲淡幽远的林下意趣，把江南冬日的清寂和文人心底的旷达雅致揉作一处，尽显水墨山水的含蓄余韵。",[25,26,7,77,130,129,31,131,134,193,377,59,79,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe8fb01f05805753af11d11ec086684.jpg",[],{"id":37058,"slug":37059,"title":14659,"dynasty":72,"author":20036,"museum":236,"description":37060,"tags":37061,"thumbUrl":37062,"material":214,"size":37063,"collection":100,"collections":37064,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},234951,"zhu-shi-zhou-chen-qin-234951","竹子所做器物深受大众喜爱，即可落地入百姓家，亦能登高庙堂，被他人仰望。“竹子茂而不骄，瘁而不辱，投荒濒危亦自适其适，其情其性，风概如此。”故知名学者范景中在著作《中华竹韵》中如此评竹，此语虽简，却道破国人爱竹之端倪。\n竹，其性不同众木，群居不倚，独立不惧，劲不输青松，曲可比细柳，独然物外，暗合文人志趣，而竹林，携裹宗教、伦理寓意和美学代言，亦成为人们摆脱日常俗物、沉思哲理之地。\n提及竹，必关联文同，此人堪称我国竹林家园的早期建立者，其表弟苏东坡与他性情相契，开文人写意墨竹之先河。后世画家，凡写墨竹者都无不受其影响：王庭筠、李衎、高克恭、赵孟頫、吴镇、顾安、柯九思、倪瓒、王蒙、王绂、夏昶、陈芹、姚绶、文征明、陈淳、徐渭、朱耷、石涛、金农、郑燮等无不希望“高呼与可”，在注入新鲜血液的同时更将传承与创新同步。传承是艺术得以延续的根本，但是它更感人的一面乃是其绝世而独立的精神，是其郁郁勃发、生生不息的生命状态。",[25,26,7,77,31,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe241b8b142d4b7eb38e487e861e0ecc0.jpg","55.92*134.81厘米",[],{"id":37066,"slug":37067,"title":37068,"dynasty":18,"author":50,"museum":331,"description":37069,"tags":37070,"thumbUrl":37071,"material":198,"size":780,"collection":100,"collections":37072,"showCount":490,"zanCount":11,"manualWeight":43,"mainColor":88},234853,"he-su-ying-xiang-zhou-yi-ming-234853","和素影像轴","画中官员端座椅上，神态沉敛威严，面容细节写实入微，眼角纹路与颔下长髯尽显宦海历练的沉稳气度。画师将服制描摹得精工极致：石青常服之上，文禽补纹细密生动，翎羽分毫毕现；盘金绣就的云纹海浪层叠繁复，宝光暗藏，朝珠颗颗莹润垂于胸前，将高门品级的尊荣尽显无遗。画面上方题跋墨色苍劲工整，与肖像相得益彰，既以写实手法定格官员仪态，亦是清代官服礼制的鲜活注脚，兼具艺术观赏性与历史考据价值，将清代朝堂官僚的威仪风骨凝于绢素之上。",[25,7,27,28,29,34,334,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74b2005a1441e02a634a1f1682daec46.jpg",[],{"id":37074,"slug":37075,"title":14758,"dynasty":18,"author":50,"museum":331,"description":14759,"tags":37076,"thumbUrl":37078,"material":198,"size":780,"collection":100,"collections":37079,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":3208},234428,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234428",[24,25,26,7,54,28,27,29,269,170,536,4209,270,132,37077],"彩墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F212e4bb9df045f93e18c15cd56566f61.jpg",[],{"id":37081,"slug":37082,"title":14758,"dynasty":18,"author":50,"museum":331,"description":14759,"tags":37083,"thumbUrl":37084,"material":198,"size":780,"collection":100,"collections":37085,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},234426,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234426",[25,26,7,54,28,27,29,269,4209,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561c6f0ed1cd0564dd42c42d53fe8461.jpg",[],{"id":37087,"slug":37088,"title":37089,"dynasty":18,"author":50,"museum":331,"description":14759,"tags":37090,"thumbUrl":37091,"material":198,"size":780,"collection":100,"collections":370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草花粉本","宗达","此作用笔清灵温婉，竖轴舒展间将秋卉之态尽揽素纸。淡描白菊隐于晕染的浅淡底色间，似笼着轻烟，与醒目的朱红菊花形成冷暖对照，繁简相宜。叶片以没骨晕染，层次清透柔润，衬得花株愈发舒展生动，边角点缀的细碎蓝花，更添灵秀雅致。整幅以白描与淡彩相融，不着浓艳，将草木的清雅娇妍晕散开来，自带娴静悠然的东方意趣，把秋日花草舒展自在的情态藏于笔底，尽显雅致的绘物意韵。",[24,25,7,28,27,113,440,13386,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4cc0d7d82c13fb3a19601d3c3cc179.jpg",[],{"id":37144,"slug":37145,"title":37146,"dynasty":49,"author":10100,"museum":331,"description":37147,"tags":37148,"thumbUrl":37149,"material":198,"size":780,"collection":100,"collections":37150,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},231621,"shi-ting-shi-dai-zu-shi-xiang-yan-ji-zhu-tu-zhou-shou-ye-yuan-xin-231621","室町时代 祖师香严击竹图轴","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[23,25,26,7,77,129,132,335,170,377,130,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c3265a6890f36d3cdda0376c234bd0.jpg",[],{"id":37152,"slug":37153,"title":37154,"dynasty":49,"author":17910,"museum":331,"description":17911,"tags":37155,"thumbUrl":37157,"material":198,"size":780,"collection":100,"collections":37158,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},231584,"shi-ting-shi-dai-po-mo-shan-shui-tu-xue-zhou-231584","室町时代 破墨山水图",[23,25,24,7,37156,77,130,26,97,80,79,129,349,253,252,56,377],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b31d7c168a2b0926e1abccc4c3c9b.jpg",[],{"id":37160,"slug":37161,"title":37162,"dynasty":18,"author":34023,"museum":331,"description":37163,"tags":37164,"thumbUrl":37165,"material":100,"size":100,"collection":100,"collections":37166,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":44},230860,"lin-wang-xi-zhi-shu-dou-tie-zhang-zhao-230860","临王羲之蜀都帖","此作用笔雄健酣畅，提按转合间尽显流转灵动，既恪守原帖使转精熟的草法要义，又融入自身劲爽刚健的笔性特质。牵丝映带之间行气贯通，通篇字势欹正相生，错落有致。\n\n墨色枯润互见，浓墨处厚重沉稳，枯笔处筋骨毕现，将原尺牍的萧散雅韵，化作更具张力的笔墨节奏。临帖却不拘泥于形，师古又能自出机杼，将尺牍的随性自然，以饱满笔力演绎出舒展磅礴的庙堂气象，让古帖意蕴焕然新生，尽显草书奔放而不失法度的意趣。",[25,26,7,945,97,80,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec530e4987f559489814dbbe4501b02.jpg",[],{"id":37168,"slug":37169,"title":28124,"dynasty":93,"author":3927,"museum":331,"description":37170,"tags":37171,"thumbUrl":37172,"material":198,"size":780,"collection":100,"collections":37173,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":342},228896,"bai-miao-fo-xiang-di-liu-zun-zhe-li-gong-lin-228896","“十八罗汉”的说法最早出现于北宋，图中器物造型风格接近宋代，每页有“卢椤枷进”款，从墨色辨认为后添款。因此本册非出自唐人之手，应是宋人所为。",[23,24,25,26,1520,7,985,54,29,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb788f00296ac5d48da8978cb51801823.jpg",[],{"id":37175,"slug":37176,"title":37177,"dynasty":72,"author":50,"museum":331,"description":37178,"tags":37179,"thumbUrl":37180,"material":100,"size":100,"collection":100,"collections":37181,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":44},228803,"luo-han-sao-bei-bu-yi-tu-yi-ming-228803","罗汉搔背补衣图","苍松虬枝舒展，疏竹点缀幽庭，红日轻悬天际晕开暖意。画中人物神态各俱意趣，安坐罗汉垂目敛神，沉静安然；侍立身侧的童子合十颔首，恭谨温顺。下方罗汉袒露上身，持杖搔背，眉眼舒展间满是松弛惬意。\n\n衣纹线条顿挫苍劲，贴合身形尽显布料肌理，设色古雅柔和，绢本晕染过渡自然，将禅林清修的日常琐事，晕染出悠然禅意。以烟火日常描摹世外清宁，让观者仿若踏入古刹深庭，窥见佛子起居的松弛意趣，尽显佛画写实与写意相融的精妙笔法，藏着内敛悠长的禅境余韵。",[23,25,26,7,54,28,29,31,4089,601,12549,33,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea36d71b8fdf61a2db9f17a080d4d829.jpg",[],{"id":37183,"slug":37184,"title":37185,"dynasty":72,"author":37186,"museum":331,"description":37187,"tags":37188,"thumbUrl":37189,"material":100,"size":100,"collection":100,"collections":37190,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":44},228345,"jiao-lin-yi-qu-tu-chen-guan-228345","蕉林易趣图","陈祼","此作以蕉林铺就幽凉底色，阔叶舒展扶苏，浓荫笼住一隅清境。近处方石上，高士坦卧枕臂静观书卷，旁侧茶盏轻置，将卧读忘忧的闲逸缓缓铺陈。右侧柴扉半掩，篱墙隐现，衬出幽居的静穆私密。远景山峦以淡墨晕染，朦胧悠远，与近景繁密蕉叶形成虚实对照，拉开疏密错落的空间层次。笔墨苍秀温润，线条清劲兼具柔润，点染间尽显园林小景的雅逸，将寄情林泉、耽于闲逸的心境融于尺幅之间，隐逸意趣悠长内敛。",[23,25,7,77,130,129,5404,170,212,193,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad90adfea8e7ab7fd9c6c9596f3a350.jpg",[],{"id":37192,"slug":37193,"title":37194,"dynasty":72,"author":23071,"museum":331,"description":37195,"tags":37196,"thumbUrl":37197,"material":100,"size":100,"collection":100,"collections":37198,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},228327,"wei-yang-gu-du-tu-yuan-shang-tong-228327","维扬古渡图","《水墨城韵·中国历史文化名城画典:扬州卷》主要收录了穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》、至情至简——东山魁夷画《 》、扬州旧梦何处觅——陆俨少的《 》、记忆的符号展现——陆俨少画《扬州个园》等。\n《水墨城韵·中国历史文化名城画典:扬州卷》由 出版。\n贺万里，美术理论家、批评家、山水画家。\n1962年出生，安徽淮北人，祖籍河北。\n美术学博士。\n曾任教于 (现 )，现为 副院长、教授、研究生导师。\n会员， 会员，江苏省壁画学会常务理事，扬州市清代扬州画派研究会会长，石河子大学新疆大山水画研究所副所长。\n梦里他乡是瓜洲——明人袁尚统的《维扬古渡图》 置境平和《广陵茱萸湾图》 诗境与画境——从李白的《送孟浩然之广陵》到石涛、陆俨少的《李白诗意图》 明净疏朗维扬秋——石涛的《维扬洁秋图》 附录：石涛画扬州 附录：石涛《维扬洁秋图》的长款题跋 雅集盛会戾行合一——叶芳林、方士庶的《九目行庵文燕图》 樊川水榭苇上舟——高翔的《扬州即景册》 记忆深处的禅意——高翔的《弹指阁图》 附录：高翔的《弹指阁图》赏析 将军画本金碧色——李昭道、袁江 文人其乐融一园——袁江《东园胜概图》卷 亭台楼阁亦关情——解读袁耀之《扬州四景图》 深意画图余情休园——赏读王云《休园图》 念繁华前度，何时歌吹重闻？——解读汪望的《平山堂图》 邗江夜雨芦荻瑟——任堇与《邗沟夜泊图》 张大干画《瘦西湖》 附录：收藏扬州 附录：由张大千《瘦西湖》所见 穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》 至情至简——东山魁夷画《冶春园》 扬州旧梦何处觅——陆俨少的《扬州即景图》 记忆的符号展现——陆俨少画《扬州个园》 写运河，写扬州，写国之佳画——读宋文治《今日的运河》 钱松苗与《鉴真大和尚纪念堂》 秀媚大雅瘦美人——钱松曲两画“瘦西湖” 秀雅空灵性情自我——魏紫熙的《瘦西湖》 静谧空寂张力内蕴——亚明的《二十四桥明月夜》 水墨写实传真情——张安治的《扬州春郊》 散发着浓郁时代气息——《瘦西湖上》 周京新画扬州园林 附录：今月曾经照古人——扬州画苑《千年回眸》 石涛之后有石庄 东方的“巴洛克”——金农书画 江都别派 沉雄浑厚陈若木 虞蟾：天国画家第一人 写真丁门甘泉流韵 溥派真传姚兆明",[23,25,26,7,77,130,129,29,196,269,349,521,4574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347df80291e7dcba76749b7ed4b13a83.jpg",[],{"id":37200,"slug":37201,"title":37202,"dynasty":207,"author":50,"museum":331,"description":37203,"tags":37204,"thumbUrl":37205,"material":100,"size":100,"collection":100,"collections":37206,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":44},228226,"mao-wu-yun-shan-tu-yi-ming-228226","茅屋云山图","此作用水墨晕染出空濛云山之境，远景山峦以淡墨轻皴间杂晕染，云雾如缕缠绕峰腰，将雄奇山势揉入烟霭，虚实相生间，拓开幽渺深远的天地。\n\n中景以留白代雾，让山与林隐没在烟岚之中，消融了实景的边界，恍如天地融于一片淡墨氤氲。近岸枯木虬劲，枝桠疏朗，坡脚茅舍三两，笔简意足，暗合山居清寂之趣。\n\n整幅画作尽显元画尚意之风，以简淡笔墨写尽萧散静穆的林下幽居之境，将文人隐逸的闲雅藏入烟峦疏木，观之便觉尘嚣尽褪，沉醉在这淡墨晕开的云山深寂里。",[23,25,77,130,7,26,24,129,212,253,134,193,335,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77b80704d6df259ffd4d9ffeefb4eae.jpg",[],{"id":37208,"slug":37209,"title":37210,"dynasty":93,"author":37211,"museum":331,"description":37212,"tags":37213,"thumbUrl":37214,"material":100,"size":100,"collection":100,"collections":37215,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":44},227745,"zi-zan-xiang-li-zhou-da-hui-zong-gao-227745","自赞像立轴","大慧宗杲","大慧宗杲为北宋末年、南宋初期杨岐派禅师，杨岐派在他的手上被推至最高峰，宋孝宗御赐他为“大慧禅师”。他的禅法，对后世禅宗形成深远的影响，南宋理学也深受影响。此幅《大慧宗杲自赞像》作为现存最早的有像主自赞的画禅僧肖像画，非常珍贵，有其不可替代的历史价值、文物价值，再加上其简洁的描写手法，充分地体现了北宋末、南宋初期中国肖像画的高度的绘画水准，更增加了它的艺术价值。",[23,25,26,7,27,28,29,54,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36822032e4aee0c344f543503e164d0.jpg",[],{"id":37217,"slug":37218,"title":129,"dynasty":18,"author":18877,"museum":331,"description":37219,"tags":37220,"thumbUrl":37221,"material":100,"size":100,"collection":100,"collections":37222,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},224406,"shan-shui-wang-xue-hao-224406","此作用笔萧散松秀，以淡墨晕染山峦，留白衬出春日山林的氤氲空濛。近景苍木挺拔，焦墨点簇枝叶，朴拙苍润。水岸茅舍错落隐于林麓，溪岸逶迤，浅滩汀渚以简笔勾勒，野趣盎然。\n\n师法董思翁平淡天真之趣，以干淡之笔写山川形胜，墨色清润层次分明，将江南春日的温润静穆尽显笔下。画面空灵疏朗，无繁复刻画，却尽显山水间幽寂闲适，文人画的清雅逸趣跃然纸上，简淡中藏深醇意蕴。",[23,25,26,77,130,97,7,129,132,170,78,151,733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7358dbdc29f9f727bbef4ce953c11b1.jpg",[],{"id":37224,"slug":37225,"title":37226,"dynasty":207,"author":50,"museum":236,"description":37227,"tags":37228,"thumbUrl":37229,"material":1320,"size":37230,"collection":100,"collections":37231,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":44},223583,"yao-cen-yu-shu-tu-yi-ming-223583","瑶岑玉树图","图为山势险峻，峰高崖壁，飞瀑如画，洁白如画； 附近树木高大翠绿，溪水汇成池，凸显奇石怪状，顺着扶手爬上楼梯，几座临水亭映入眼帘。亭中一人坐在窗前， 写了一部漫画。 此画山石似卷轴，画似鹿角、蟹爪，李成郭熙宗法。",[23,25,77,130,7,129,3880,169,878,170,132,193,29,172,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009fe5fe9cca646998616ea81e1f75c7.jpg","97.4x41.2厘米",[],{"id":37233,"slug":37234,"title":24029,"dynasty":18,"author":31128,"museum":74,"description":37235,"tags":37236,"thumbUrl":37237,"material":1320,"size":37238,"collection":100,"collections":37239,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},223262,"zhen-hai-si-xue-jing-zhou-zhang-ruo-cheng-223262","《命张若澄图镇海寺雪景因而有作》是清代诗人弘历创作的一首五言排律。\n寺景宜遥看，到寺无多奇。\n却见遥看处，纷然画景披。\n予因是絜矩，万事皆如兹。\n动而世为道，言行法则垂。\n此言往者然，至若生同时。\n远则有望耳，不厌更近之。\n偶此道中庸，释典何即离。\n阇黎粥饭罐，奚足语以斯。\n可惜占福地，尽属黄与缁。\n忆我前度来，回銮驻道陲。\n彼时亦逢雪，瑞叶纷葳蕤。\n翠柏红墙间，寒剽（钟中者谓之剽）送响迟。\n谓是宜图取，若霭属车随。\n粉本为指授，帧端题以诗。\n逮今成旧迹，宝笈藏石渠（叶）。\n六霙仍践盟，旋融春光熙。\n数间精舍中，月户亲凭窥。\n千林复万巘，色相难为辞。\n传语示其弟，坚頫踪可师。\n弘历（1711-1799），即清高宗。\n清代皇帝。\n年号乾隆。\n175-1796年在位。\n爱新觉罗氏。\n满族。\n雍正第四子，名弘历。",[23,25,7,129,28,3880,4821,170,132,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb944f39c020a732f5168b569e8c74372.jpg","103.4×56.9厘米",[],{"id":37241,"slug":37242,"title":37243,"dynasty":18,"author":6942,"museum":74,"description":6943,"tags":37244,"thumbUrl":37246,"material":14819,"size":14820,"collection":100,"collections":37247,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},223094,"hua-di-qi-ga-na-ga-ba-sa-zun-zhe-zhou-yao-wen-han-223094","画第七嘎纳嘎巴萨尊者轴",[23,25,28,27,54,7,29,170,536,132,193,2221,37245,79],"果盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba3e29af9ff3dfe7f92ff487a79712a8.jpg",[],{"id":37249,"slug":37250,"title":37251,"dynasty":18,"author":20371,"museum":74,"description":37252,"tags":37253,"thumbUrl":37254,"material":100,"size":37255,"collection":100,"collections":37256,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},222690,"xie-yu-tian-ci-yi-zhou-qian-zai-222690","写玉田词意轴","钱载（1708—1793），字坤一，号萚石，又号匏尊，晚号万松居士、百幅老人，秀水（今浙江嘉兴）人，清朝官吏、诗人、书画家。乾隆十七年进士，改庶吉士，散馆授编修，后授内阁学士兼礼部侍郎，上书房行走，《四库全书》总纂，山东学政。官至二品，而家道清贫，晚年卖画为生。\n工诗文精画，善水墨，尤工兰竹，著有《石斋诗文集》。诗宗北宋大文豪黄庭坚，为乾嘉年间“秀水派”的代表诗人。\n雍正十年，副榜贡生，举博学鸿词、举经学，就试皆未入选。乾隆十七年，成进士，改庶吉士，授编修。七迁内阁学士，直上书房。四十一年，督山东学政。四十五年，命祭告陕西、四川岳渎及帝王陵寝。寻擢礼部侍郎，充江南乡试考官，举顾问为第一，四书文纯用排偶，上以乖文体，命议处。吕氏春秋尧葬谷林，史记不书其地。乾隆元年，以山东巡抚岳濬奏，自东平改祀濮州。\n四十一年，大理寺卿尹嘉铨疏言当在平阳，下部议驳。载督学山东，谒濮州尧陵，自四川还道平阳，得尧陵州东北；及江南典试归，又至东平求旧时所祭尧陵，参互考订，以为在平阳者是。史记汤、武皆未著葬地，盖都於是葬於是则不书，尧亦其例。因疏请釐定。下大学士、九卿议驳，载奏辨；复议，仍寝不行。上谕曰：“经生论古，反覆辨证，原所不禁。但既陈之奏牍，并经廷臣集议，即不当再执成见。载斥吕不韦门下客浮说，不韦即不足取，亦尚不可以人废言。况其门下客所著书，所谓‘悬之国门，不易一字’，岂能谓不足为据？其时去古未远，或尚有所承述。乃欲在数千年后虚揣翻驳，有是理乎？载本晚达，且其事只是考古，是以不加深问。若遇朝廷政治，亦似此哓哓不已，朕必重治其罪。”命传旨申饬。载疏累数千言，语有未明，复为自注，时谓非章奏体，上亦未深诘也。四十八年，休致。五十八年，卒，年八十有五。\n金德瑛论诗宗黄庭坚，谓当辞必己出，不主故常。载初与订交，晚登第，乃为门下门生；诗亦宗庭坚，险入横出，崭然成一家。同县王又曾、万光泰辈相与唱酬，号秀水派。载又为陈群族孙，从陈群母陈受画法，苍秀高劲，亦如其诗。",[23,25,26,7,77,35,1051,1275,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f89cdd4b6dd65bf8c960069e65899b.jpg","137.7x68.4",[],{"id":37258,"slug":37259,"title":4533,"dynasty":72,"author":10012,"museum":331,"description":29377,"tags":37260,"thumbUrl":37261,"material":1320,"size":29380,"collection":100,"collections":37262,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":88},222383,"guan-yin-ding-yun-peng-222383",[23,24,25,7,54,28,29,35,27,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb88cf4d1b0a76ac7117cd039ba56472.jpg",[],{"id":37264,"slug":37265,"title":15496,"dynasty":207,"author":50,"museum":74,"description":37266,"tags":37267,"thumbUrl":37268,"material":589,"size":37269,"collection":100,"collections":37270,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":44},221775,"ying-zhen-xiang-zhou-yi-ming-221775","画中的十八尊罗汉手中分持经卷、麈扇、念珠、莲花、香炉等，形貌各异，或老或少；又或作天竺罗汉，深目大鼻，肤色深褐，或为汉族比丘，修眉细目，肤色白皙。除此之外，画家更传神地描写了这些人物的精神状态，例如，右幅上方的降龙罗汉，抬头蹙眉，瞪望空中的腾龙，眼露凶忿。左幅下方手持贝叶经的罗汉，眉开眼笑，满脸欢愉。全作的衣纹线条以凝炼的中锋完成，时而均匀萦回，流利畅达；又时而顿挫转折，挺劲有力，不但变化多端，而且准确地掌握人物衣下的身躯结构。人物的五官和髭须都以细笔钩画，而衣上的图案也描绘得一丝不苟。全作绘制精谨，设色妍丽而不明艳，清雅出尘，诚为元代（1279－1368）宗教画的代表作。",[23,25,26,7,54,28,27,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd6fed6d728c57d9af83dbbbc69ff72.jpg","全幅82.1公分",[],{"id":37272,"slug":37273,"title":37274,"dynasty":18,"author":3992,"museum":209,"description":37275,"tags":37276,"thumbUrl":37277,"material":100,"size":100,"collection":39,"collections":37278,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":37279},203467,"shu-hua-ji-ce-gong-xian-203467","书画集册","画面以水墨晕染出几株古木，枝干虬曲交错，或葱郁带叶，或疏朗枯枝，笔墨苍劲中见细腻。树下二人对坐，衣袂轻扬，似在品茗论道，为静谧林景添一丝生气。背景淡墨铺陈，层次隐约，尽显清幽古雅之韵。笔墨运用富于变化，枯湿浓淡交织，树木纹理以皴法勾勒，尽显苍劲质感。整体意境悠远，将自然之趣与人文情怀相融，耐人寻味。",[23,25,77,7,129,131,29,130,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffd50363fd9014ce6fcde77604aca47.jpg",[39],"a59d96",{"id":37281,"slug":37282,"title":1381,"dynasty":17693,"author":34802,"museum":209,"description":37283,"tags":37284,"thumbUrl":37285,"material":100,"size":100,"collection":138,"collections":37286,"showCount":490,"zanCount":43,"manualWeight":43,"mainColor":37287},203407,"shan-shui-zhou-xiao-jun-xian-203407","此作水墨淋漓，皴染相济。层岩叠嶂间，飞瀑穿林而下，苍松虬枝旁逸，屋宇隐于溪畔山坳，得山林幽寂之致。笔墨兼具沉雄与清逸，山石以皴法写其肌理，树木枝干古拙有生趣，留白处衬出空濛意境，尽显文人山水的雅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高奇峰的代表作品有《海鹰》《白马》《雄狮》《怒狮》《虎啸》《孤猿啼雪》《山高水长》等。出版有《高奇峰先生遗画集》。",[23,25,7,28,77,37649,6504,35,113],"神鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7e20c9e5f8aa0ebe10551bebacd861.jpg",[],{"id":37653,"slug":37654,"title":37655,"dynasty":93,"author":50,"museum":331,"description":25258,"tags":37656,"thumbUrl":37657,"material":198,"size":780,"collection":100,"collections":37658,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},290268,"yan-lan-feng-luan-tu-yi-ming-290268","烟岚峰峦图",[25,24,129,77,130,272,173,170,193,351,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b2e099f265be7284bfcce10b3bc520.jpg",[],{"id":37660,"slug":37661,"title":37662,"dynasty":18,"author":50,"museum":331,"description":37663,"tags":37664,"thumbUrl":37666,"material":198,"size":780,"collection":100,"collections":37667,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},290198,"san-sheng-da-shi-zhu-li-zhou-yi-ming-290198","三圣大势主立轴","大势至菩萨,又称大精进菩萨,与观音并列阿弥陀佛的左右胁侍,合称“西方三圣”。我们知道,阿弥陀佛是极乐净土的佛主,观音菩萨则是他的“法王子”,也就是继承人,成佛只是时间问题。",[23,25,7,54,28,27,29,37665,5394,4209],"大势至菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2690eb1bc7f7860afd5247dd2030e15c.jpg",[],{"id":37669,"slug":37670,"title":37671,"dynasty":18,"author":4998,"museum":331,"description":21057,"tags":37672,"thumbUrl":37673,"material":198,"size":780,"collection":100,"collections":37674,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},290005,"fang-gu-shan-shui-li-zhou-wang-yuan-qi-290005","仿古山水立轴",[23,25,7,129,28,130,134,193,269,170,132,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ab5828a222f6a297f0a57b0816d1a1.jpg",[],{"id":37676,"slug":37677,"title":1613,"dynasty":18,"author":37678,"museum":331,"description":37679,"tags":37680,"thumbUrl":37681,"material":198,"size":780,"collection":100,"collections":37682,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},288473,"shan-shui-tu-li-zhou-lin-san-zhi-288473","林散之","近岸林木枝桠苍劲，以浓淡墨色点染枝叶，野趣横生。渔舟缓行江面，水波澹澹漾开清寂意趣。中景峰峦列峙，皴擦间见山石嶙峋质感，溪桥卧波，村居错落枕水，将烟火意趣揉入山水丘壑。\n\n远景岫顶以淡青晕染，烟岚轻笼云山，虚实相生晕开朦胧空濛。画作以书入画，线条老辣朴拙，干湿浓墨层次分明，题诗与画面浑然相融，将江南水村的清灵闲逸晕染开来，笔底藏着温润生机，尽现水墨山水的雅致禅意。",[23,25,7,77,28,129,134,193,349,272,170,733,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4090f06345b2d4fb4d4645a25caede3.jpg",[],{"id":37684,"slug":37685,"title":37686,"dynasty":93,"author":50,"museum":331,"description":37687,"tags":37688,"thumbUrl":37689,"material":198,"size":780,"collection":100,"collections":37690,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},288470,"qiu-lin-fang-du-tu-yi-ming-288470","秋林放犊图","此作以层叠秋林铺陈画面主体，老干虬曲苍劲，以浓淡墨色区分秋叶：或晕染出苍红秋意，或积墨写就沉黛茂叶，枝叶俯仰生姿，尽显深秋萧疏却不失浑朴的山野气象。林麓水畔，水牛闲静垂首，将郊野放犊的日常野趣悄然晕开。林间轻落点染，似有飞叶浮尘，更衬出秋郊的阒寂安闲。全作用笔简淡古雅，水墨为骨略施淡彩，留白悠远空寂，将秋日林野的清疏意韵与田园闲情相融，尽显平淡天真的宋人意趣，把寻常放牧小景，绘就成一卷诗意悠然的秋郊闲兴之境。",[23,25,77,7,131,1571,2557,129,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ed33187789e6a4447b0a5939ddfc07.jpg",[],{"id":37692,"slug":37693,"title":37694,"dynasty":18,"author":50,"museum":331,"description":37695,"tags":37696,"thumbUrl":37697,"material":198,"size":780,"collection":100,"collections":37698,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},288445,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ming-chen-li-yin-zu-yi-ming-288445","历代帝王贵妃大臣朝服像(名臣李荫祖)","此作工笔精细写实，尽显重臣威仪。画师细摹人物面容，虬髯浓眉，神色沉凝端肃，目光沉稳有神，精准勾勒出勋贵官员的庄重气度。\n\n朝服纹饰繁复精巧，团龙纹细腻工整，晕染层次分明，石青底色配朱红朝珠，色调沉稳华贵，佩饰形制严谨规整，恪守清代官服礼制规范。画作以细腻笔触还原服饰规制细节，将人物的沉稳气场尽显，是清代纪实肖像的典范之作，留存下清代高阶官员的典型仪容风貌。",[23,25,7,27,28,5733,35673,7548,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917ac0061d733eae74f3d31604564977.jpg",[],{"id":37700,"slug":37701,"title":37702,"dynasty":18,"author":50,"museum":331,"description":37703,"tags":37704,"thumbUrl":37706,"material":198,"size":780,"collection":100,"collections":37707,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},288437,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ting-chen-yi-ming-288437","历代帝王贵妃大臣朝服像(廷臣)-","此作为工笔重彩肖像，写实传神，将清代高阶朝臣的威仪尽显无余。\n画家以细腻笔触晕染官员面容，皮肉质感饱满柔和，神态端凝肃穆，自带不怒自威的沉静气场。石青色朝服沉穆厚重，补子、织金暗纹细节一丝不苟，朝珠珠串光泽莹润，腰间绶带绣饰精巧，处处彰显服饰规制的华贵精巧。\n兽足座椅与祥云座褥勾勒细致，烘托出人物尊崇地位。整作色调古雅沉稳，既有纪实画像的严谨规制，又暗含写意传神的精妙，将清代官僚的肃穆仪容刻画入微，是清代肖像画中极具代表性的写实佳品。",[23,25,26,7,28,27,29,37705,7548,20939,34],"廷臣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ed5d6eb26cac6684824e01e1a06a5f.jpg",[],{"id":37709,"slug":37710,"title":37711,"dynasty":18,"author":709,"museum":331,"description":32940,"tags":37712,"thumbUrl":37713,"material":198,"size":780,"collection":100,"collections":37714,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":704},288297,"wan-shi-da-ji-tu-li-shan-288297","万事大吉图",[23,25,24,77,7,113,1228,427,80,79,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c1bd7362bc8835977e705ed4d89112.jpg",[],{"id":37716,"slug":37717,"title":37718,"dynasty":207,"author":50,"museum":331,"description":12626,"tags":37719,"thumbUrl":37720,"material":198,"size":780,"collection":100,"collections":37721,"showCount":341,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祥云满幅。云纹饱满团簇，舒展婉转，层层叠叠环布整幅织物，线条柔润流畅，自带清和祥瑞的气韵。织金工艺精湛细腻，金线在底色映衬下熠熠生辉，将华贵庄重融于灵动的云卷之中，明暗相生间尽显雅致考究。祥云自古便寓意福泽绵延，整幅织物将传统吉祥意趣与精巧工技相融，是兼具审美价值与美好寓意的上乘织绣之作。",[37793,10262,37794,62,7,15720],"蓝色","织金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d770295fa19f91d2eb7dbf0c471e82.jpg",[],{"id":37798,"slug":37799,"title":30389,"dynasty":18,"author":37800,"museum":331,"description":37801,"tags":37802,"thumbUrl":37803,"material":198,"size":780,"collection":100,"collections":37804,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},241577,"lu-yu-zhou-mei-liu-241577","梅镠","此作用笔厚重凝练，取法汉隶又糅合北碑意趣，蚕头燕尾含蓄克制，不见张扬波磔，字形方整敦实，尽显浑穆古雅之气。\n\n通篇字距宽绰、行距紧凑，排布疏密自然，字形大小参差随形就势，左侧小字与正文形成虚实相映的层次反差。笔墨褪去妍巧雕琢，以拙朴肃穆的金石质感，呼应录文的儒家义理。书文相融，将沉静内敛的文人意趣注入笔墨，于复古风尚中彰显个性，整体沉浑静穆，尽显古拙端方之美。",[472,80,2664,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff556e28442ca2c5d99122e3ab1cc0791.jpg",[],{"id":37806,"slug":37807,"title":37808,"dynasty":18,"author":37809,"museum":331,"description":37810,"tags":37811,"thumbUrl":37812,"material":198,"size":780,"collection":100,"collections":37813,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},241572,"lu-yu-ping-zhou-li-zhao-luo-241572","录语屏轴","李兆洛","李兆洛（1769年10月23日——1841年8月24日）， 清代学者、文学家、藏书家。字申耆，晚号养一老人，阳湖（今属江苏常州市）人。他精舆地、考据、训诂之学，是阳湖派代表作家之一。",[80,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52eb01c1b85e668cafbaae75473331b9.jpg",[],{"id":37815,"slug":37816,"title":37817,"dynasty":18,"author":37818,"museum":331,"description":37819,"tags":37820,"thumbUrl":37821,"material":198,"size":780,"collection":100,"collections":37822,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},241461,"shao-xi-yu-yin-cong-hua-zhou-liang-tong-shu-241461","苕溪渔隐丛话轴","梁同书","梁同书（1723年～1815年），清代书法家。字元颖，号山舟，晚年自署不翁、新吾长翁，钱塘（今浙江杭州）人。大学士梁诗正之子。\n梁同书于乾隆十二年（1747）中举人，十七年特赐进士，官侍讲。著有《频罗庵遗集》。 梁同书家学渊源。他自幼接触书法，12岁时即能书写擘窠大字。初学颜真卿、柳公权，中年以后又取法米芾，70岁以后融汇贯通，纯任自然。他习书60余年，久负盛名，所书碑刻极多。\n梁同书工于楷、行书，到晚年犹能写蝇头小楷，其书大字结体紧严，小楷秀逸，尤为精到。与刘墉、翁方纲、王文治并称“清四大家”。年九十余，尚为人书碑文墓志，终日无倦容，并无苍老之气。传世书迹甚富，小楷书作尤多。著有《频罗庵遗集》《频罗庵论书》等。",[472,80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530a90b60fcb9904bef6492bb19c72e1.jpg",[],{"id":37824,"slug":37825,"title":37826,"dynasty":18,"author":14131,"museum":331,"description":37827,"tags":37828,"thumbUrl":37829,"material":198,"size":780,"collection":100,"collections":37830,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":37831},241399,"bai-hua-zhou-chun-qing-qi-jue-zhou-ruan-yuan-241399","白花洲春晴七绝轴","字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[80,97,7,79,28,16892,33112,31367,56,24169,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc7ecaab75e3b90d8efb1dc2be883d5.jpg",[],"FF9800",{"id":37833,"slug":37834,"title":37835,"dynasty":18,"author":37836,"museum":331,"description":37837,"tags":37838,"thumbUrl":37839,"material":198,"size":780,"collection":100,"collections":37840,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},241371,"jie-lu-tian-ma-fu-zhou-shen-quan-241371","节录天马赋轴","沈荃","沈荃（1624～1684），字贞蕤，号绎堂，别号充斋，华亭（今上海松江）人。顺治九年探花，授编修，累官至翰林院侍读学士、礼部侍郎，卒谥文恪。学行醇洁，书法尤有名。他工书法，宗法米芾、董其昌，是康熙年间最重要的书法家之一。",[7,97,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f50f0aa2948f6984146293e0a4601c8.jpg",[],{"id":37842,"slug":37843,"title":33119,"dynasty":72,"author":36728,"museum":331,"description":36729,"tags":37844,"thumbUrl":37845,"material":198,"size":780,"collection":100,"collections":37846,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},241368,"qi-lv-shi-zhou-wang-chong-241368",[26,80,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a466a34a0ee5f31974a68a6e6832c42.jpg",[],{"id":37848,"slug":37849,"title":37850,"dynasty":18,"author":37851,"museum":331,"description":37852,"tags":37853,"thumbUrl":37854,"material":198,"size":780,"collection":100,"collections":37855,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},241322,"zhuan-shu-ci-zhou-hong-liang-ji-241322","篆书词轴","洪亮吉","洪亮吉（1746年－1809年），字君直，一字稚存，號北江，晚號更生，江蘇陽湖（今常州市）人，祖籍安徽歙县。乾隆五十五年（1790年）庚戌恩科榜眼。",[25,26,7,2664,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eca9696063f628604db6db2fcdc2479.jpg",[],{"id":37857,"slug":37858,"title":20028,"dynasty":18,"author":30451,"museum":331,"description":37859,"tags":37860,"thumbUrl":37861,"material":214,"size":100,"collection":101,"collections":37862,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},241321,"qi-lv-zhou-liang-guo-zhi-241321","梁国治（1723—1786），清代书法家，字阶平，号瑶峰，一号丰山，又号梅塘，浙江会稽（今绍兴）人。\n乾隆十三年（1748）进士，殿试头名状元。由修撰累官东阁大学士兼户部尚书。以经术勤吏治，清俭自守，好学爱才，治事敬慎缜密。有《敬思堂文集》。曾充任《四库全书》副总裁。卒谥文定。\n梁国治，清朝大臣。清代上虞中塘梁巷（又说为浙江会稽，今绍兴）人。天资聪颖，博通经史，工制艺。乾隆十三年中状元，先授编修，后充日讲起居官、国子监司业。二十一年接任广东道员二十五年，移署粮驿道。因政绩卓著，擢督察院左副都御史、吏部左侍郎。广东总督杨廷璋追论其在署粮驿道时失察家人舞弊，被夺职。后起授山西冀宁道，迁江苏学政、湖南布政使、湖北巡抚。乾隆三十四年（1769），署湖广总督，兼荆州将军。赈济灾民。三十六年，移湖南巡抚。从征金川，治军械，造弹药，筹军费，业绩卓著。三十八年召还，命在军机处行走。次年授户部侍郎，迁户部尚书，四十八年，协办大学士，五十年，累迁至东阁大学士兼军机大臣、户部尚书，并先后任广东、江西、顺天乡试正考官，又充任过《四库全书》副总裁。平生治事缜密，不徇私情，廉政清俭，俸入随手即尽。乾隆下谕赞称其“品学端醇，小心谨慎，扬历中外”。工书法，著有《敬思堂文集》。卒于乾隆五十一年，赠太子太保，谥文定。",[7,97,80,79,77,349,6218,151,129,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F982a86984c6fb1ab11ebf061f12708d3.jpg",[101],{"id":37864,"slug":37865,"title":37866,"dynasty":72,"author":37867,"museum":236,"description":37868,"tags":37869,"thumbUrl":37870,"material":214,"size":37871,"collection":101,"collections":37872,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},241222,"xiang-shu-wu-lv-shi-zhou-huang-yan-241222","相书五律诗轴","黄衍","此轴书法宕逸奇谲，笔力雄健，结字奇古险绝，注重点的用法，字形欹正相生，如“惊蛇走虺，骤雨狂风”，飘逸驰骋，独具特色。在清代中期扬州画家、书法家中，黄慎的书法颇富个性。此轴代表了黄慎草书的艺术水平，表现出书家以险绝求胜的书艺特点。",[80,7,305,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8e20d3e65801db6d273221a14fd710.jpg","纵166.9cm，横84.6cm",[101],{"id":37874,"slug":37875,"title":37876,"dynasty":72,"author":37877,"museum":331,"description":37878,"tags":37879,"thumbUrl":37881,"material":214,"size":100,"collection":101,"collections":37882,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},241221,"wu-lv-shui-ge-shi-zhou-fan-feng-yi-241221","五律水阁诗轴","范凤翼","范凤翼（16世纪－17世纪），字异羽，扬州府通州人，明朝、南明政治人物。\n范凤翼是万历二十六年（1598年）的进士，获授顺天教授，转为国子监助教，户部云南司主事，监督南新仓及济阳仓，清查积存谷米六十万石；之后历任验封、考功、文选主事与稽勋员外郎、郎中。他提出用贤远奸，重用高攀龙、顾宪成，罢黜杨槚、杜縻，招惹嫉妒，降为长芦运判。天启初年，范凤翼得起用为营缮主事，升任尚宝丞、少卿，因为归属东林罢职。崇祯帝继位，恢复他原官，弘光帝时和周宗文、徐二采、陆彬一同授予光禄少卿。南京沦亡，他主持北山诗社山茨社，士人奉他为品目。",[7,305,80,77,1435,37880,335,31367],"池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28b60acdc7ac0db7cb48839373b8c9b.jpg",[101],{"id":37884,"slug":37885,"title":37886,"dynasty":18,"author":37887,"museum":331,"description":37888,"tags":37889,"thumbUrl":37895,"material":198,"size":780,"collection":100,"collections":37896,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},241166,"liang-qi-chao-qi-jue-shi-zhou-liang-qi-chao-241166","梁启超七绝诗轴","梁启超","梁启超（1873年2月23日—1929年1月19日），字卓如，一字任甫，号任公，又号饮冰室主人、饮冰子、哀时客、中国之新民、自由斋主人。广东省广州府新会县熊子乡茶坑村（今广东省江门市新会区茶坑村）人 。清朝光绪年间举人，中国近代思想家、政治家、教育家、史学家、文学家，戊戌变法（百日维新）领袖之一、中国近代维新派、新法家代表人物。 幼年时从师学习，八岁学为文，九岁能缀千言，17岁中举。后从师于康有为，成为资产阶级改良派的宣传家。维新变法前，与康有为一起联合各省举人发动“公车上书”运动，此后先后领导北京和上海的强学会，又与黄遵宪一起办《时务报》，任长沙时务学堂的主讲，并著《变法通议》为变法做宣传。\n戊戌变法失败后，与康有为一起流亡日本，政治思想上逐渐走向保守，但是他是近代文学革命运动的理论倡导者。逃亡日本后，梁启超在《饮冰室合集》《夏威夷游记》中继续推广“诗界革命”，批判了以往那种诗中运用新名词以表新意的做法。在海外推动君主立宪。辛亥革命之后一度入袁世凯政府，担任司法总长；之后对袁世凯称帝、张勋复辟等严词抨击，并加入段祺瑞政府。他倡导新文化运动，支持五四运动。其著作合编为《饮冰室合集》。\n1929年1月19日，梁启超在北京协和医院溘然长逝，终年56岁。",[80,7,97,79,37890,37891,12549,37892,37893,37894],"东海","红桑","夜","潮","酒城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26abdd14f264b99622848f1af842c8d4.jpg",[],{"id":37898,"slug":37899,"title":36955,"dynasty":72,"author":13316,"museum":331,"description":30531,"tags":37900,"thumbUrl":37901,"material":198,"size":780,"collection":100,"collections":37902,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},241148,"wu-lv-shi-zhou-fang-yi-zhi-241148",[2749,80,25,26,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e0384aede683fc36a175b3449a11cb.jpg",[],{"id":37904,"slug":37905,"title":37906,"dynasty":18,"author":37907,"museum":236,"description":37908,"tags":37909,"thumbUrl":37912,"material":214,"size":37913,"collection":101,"collections":37914,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},241088,"meng-hao-ran-shi-zhou-yang-shou-jing-241088","孟浩然诗轴","杨守敬","释文：\n山寺鸣钟昼已昏，鱼梁度头争度喧。人随沙岸向江村，予亦乘舟归鹿门。鹿门月照开烟树，忽到庞公栖隐处。岩扉松径长寂寥，唯有幽人自来去。录孟襄阳诗。宣统庚戌九月邻苏老人书于鄂城菊湾，时年七十有二。\n本幅行书录唐代诗人孟浩然“夜归鹿门山歌”诗一首，末自识云：“录孟襄阳诗，宣统庚戌九月邻苏老人书于鄂城菊湾，时年七十有二。”下钤“杨守敬”、“惺吾七十以后书”印二方。本幅无藏印。“宣统庚戌”为宣统二年（1910年）。\n此轴书法淳雅朴厚，能陶铸碑帖，寓汉隶之韵，法魏碑风规，行笔略带滞涩之势，峭拔古劲，复具信本书韵。结字秀丽，行笔洒脱，又具姿肆跳宕之势，代表了杨守敬晚年书法的艺术水平。",[80,97,7,79,252,15117,37910,22342,33109,378,37911,26725],"钟","禅房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6907331ebc6468c451435f0aac5bb0e8.jpg","纵165.1厘米，横35.7厘米",[101],{"id":37916,"slug":37917,"title":20028,"dynasty":18,"author":37918,"museum":331,"description":37919,"tags":37920,"thumbUrl":37921,"material":198,"size":780,"collection":100,"collections":37922,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},241077,"qi-lv-zhou-xu-jian-241077","徐坚","徐坚，清代篆刻家，吴县光福人。凡诗文、书画、摹印，皆能追踪古人。尝临摹诸卷，有《友竹诗钞》、《西京职官印录》等行于世。",[25,26,7,5902,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc756402257cc7590a0f23fcc2f3a5d8c.jpg",[],{"id":37924,"slug":37925,"title":32198,"dynasty":18,"author":17471,"museum":331,"description":20107,"tags":37926,"thumbUrl":37927,"material":198,"size":780,"collection":100,"collections":37928,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},241030,"wu-lv-zhou-fu-shan-241030",[80,7,305,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F078c09b2953aa4e1353d4db475913836.jpg",[],{"id":37930,"slug":37931,"title":37932,"dynasty":72,"author":37933,"museum":331,"description":37934,"tags":37935,"thumbUrl":37936,"material":214,"size":97,"collection":101,"collections":37937,"showCount":341,"zanCount":11,"manualWeight":43,"mainColor":88},241020,"shu-ti-hua-shi-zhou-wang-ting-241020","书题画诗轴","王庭","释文：\n蕉荫欲拂云千尺，蕙芷能含露一苞。\n晓起许多清润意，半归叶底半花梢。\n题画近作。梦楼王文治。\n款署 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苏州府长洲（今江苏省苏州市）人。明末清初诗人、戏曲家，曾被顺治誉为“真才子”，康熙誉为“老名士”。\n尤侗为顺治三年（1646年）副榜贡生，之后参加会试屡试不第。顺治九年授永平（今河北卢龙）推官。顺治十三年（1656年）春，杖责骄横旗丁后，反遭弹劾，被降二级调用。因此愤然辞官，返回故里。此后，居家先后创作《读离骚》《钧天乐》《吊琵琶》《桃花源》《黑白卫》《清平调》。康熙十八年（1679年），举博学鸿儒，授翰林院检讨，参与修《明史》。康熙二十二年（1683年），告老归家。康熙四十二年（1703年），康熙帝南巡，晋官号为侍讲。次年逝世，享年八十七岁\n尤侗在诗、文、词、曲等多个领域均有建树。他论诗、论文尚性情、尚真。 尤侗影响最大的是曲。主张能为曲者方能为诗词，见解独到。他的戏曲创作融史识、议论、曲唱于一炉，为顺治帝所赏识。 尤侗著作浩繁，大都收入《西堂全集》61卷和《余集》共135卷中。",[80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2426ddc1ba01972399dc433b6dff91.jpg",[101],{"id":38081,"slug":38082,"title":36955,"dynasty":18,"author":38083,"museum":331,"description":38084,"tags":38085,"thumbUrl":38086,"material":214,"size":100,"collection":101,"collections":38087,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},240026,"wu-lv-shi-zhou-pan-tang-240026","潘棠","潘棠（？－？），字希召，直隶宁国府太平县人，湖广辰州卫军籍，明朝政治人物。\n湖广乡试第五十一名举人。弘治十八年（1505年）中式乙丑科三甲第一百四十名进士\n曾祖潘九成；祖父潘镛；父潘汰，正七品散官。母傅氏",[24,25,26,7,80,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aecde9661120d4d4020dd7a9340f1aa.jpg",[101],{"id":38089,"slug":38090,"title":38091,"dynasty":72,"author":38092,"museum":331,"description":38093,"tags":38094,"thumbUrl":38095,"material":100,"size":100,"collection":101,"collections":38096,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},239994,"lin-tie-zhou-zhang-ruo-qi-239994","临帖轴","张若琪","此作用笔雄健纵逸，尽显明代狂草风貌。线条枯润互见，粗笔重墨浑朴沉厚，细笔牵丝灵动飘逸，章法大开大合，字势欹侧错落，气脉连贯悠长。\n\n字间映带自然，将诗文意趣随笔墨铺陈，萧散豪迈的意气藏于点画之间，以迅疾行笔抒发疏放不羁的文人襟怀，尽显草书抒情写意的风神，带着晚明浪漫书风的典型特质，笔墨老辣凝练，尽显狂草肆意烂漫的艺术感染力。",[2749,80,945,305,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e4aff4fa1a1b7ef92d6d784c84d322.jpg",[101],{"id":38098,"slug":38099,"title":38100,"dynasty":18,"author":436,"museum":331,"description":38101,"tags":38102,"thumbUrl":38103,"material":100,"size":100,"collection":101,"collections":38104,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},239992,"zi-shu-shi-zhou-hua-yan-239992","自书诗轴","华喦（1682—1756年），字秋岳，号新罗山人、东园生、布衣生等，福建上杭人，清代画家。擅画人物、山水，尤精花鸟、草虫走兽，重视写生，构图新颖，所绘的形象生动多姿。时用枯笔干墨淡彩，敷色鲜嫩不腻，别树一帜，对清中叶以后的花鸟画影响甚大。",[80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccee985cfca50f9f69b8d1c6af755e6a.jpg",[101],{"id":38106,"slug":38107,"title":38100,"dynasty":18,"author":38108,"museum":331,"description":38109,"tags":38110,"thumbUrl":38111,"material":100,"size":100,"collection":101,"collections":38112,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},239991,"zi-shu-shi-zhou-fang-da-you-239991","方大猷","[清]（一五九七―？）字欧余，号允升，浙江乌程（今湖州）人，贰臣。明崇祯十年（一六三七）进士。降清，官山东巡抚。山水学董，间为倪、黄，多溼笔，善书、工诗。卒年八十余。",[80,97,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddf4c98e63a4e6d692b9a27eccba83f.jpg",[101],{"id":38114,"slug":38115,"title":38116,"dynasty":18,"author":38117,"museum":331,"description":38118,"tags":38119,"thumbUrl":38120,"material":100,"size":100,"collection":101,"collections":38121,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},239952,"de-lin-lin-yin-miao-bei-zhou-de-lin-239952","德林临尹庙碑轴","德林","此作用笔苍劲朴拙，线条厚重凝练，将周金铭文的浑穆古雅演绎得淋漓尽致。结体奇崛错落，随字赋形，既有古籀的高古浑朴，又融入书写意趣，字形开合大小富于变化，章法疏朗空灵，行气贯通流畅。左侧小字落款与主体大篆形成疏密对比，层次分明。\n整体气息高古雄浑，兼具金石苍茫质感与笔墨抒情性，尽显临摹者对先秦金文神髓的精准把握，将古文字的厚重意蕴与清代重金石考据的风尚相融，是一件颇具功力的临古佳制。",[80,2664,945,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a294fe872d68a45b2df6c9e0f6aed9.jpg",[101],{"id":38123,"slug":38124,"title":38125,"dynasty":18,"author":38126,"museum":331,"description":38127,"tags":38128,"thumbUrl":38129,"material":100,"size":100,"collection":101,"collections":38130,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},239942,"ying-he-qi-yan-lian-ying-he-239942","英和七言联","英和","英和（1777～1840），初名石桐，字定甫、树琴，号煦斋、梦禅居士，满州正白旗人。德保子。乾隆五十八年进士，授编修，道光二年由户部尚书授协办大学士、步军统领、军机大臣。道光七年革职，赏二品，授热河都统。藏书甚富。工书法，与成亲王、刘墉齐名当时。",[26,80,3362,7,97,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2f74d0b89543bddfc753305f2ad9ff.jpg",[101],{"id":38132,"slug":38133,"title":33967,"dynasty":18,"author":1048,"museum":331,"description":5294,"tags":38134,"thumbUrl":38135,"material":198,"size":780,"collection":100,"collections":38136,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},239879,"shi-ju-zhou-zheng-ban-qiao-239879",[80,7,97,5199,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3825c8688393765f47b4fa86c9f6a51.jpg",[],{"id":38138,"slug":38139,"title":20533,"dynasty":18,"author":20534,"museum":331,"description":38140,"tags":38141,"thumbUrl":38142,"material":100,"size":100,"collection":100,"collections":38143,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},239416,"fang-gu-shan-shui-ping-qin-zu-yong-239416","此作用淡墨晕染山峦，似覆薄雪，浅赭留白铺就清寒山野底色。枯木虬劲萧疏，错落村居隐于山石林麓间，行旅身影点缀溪桥山道，让空寂冬景暗蕴烟火生机。\n\n笔墨简淡秀润，以干笔皴擦勾勒山石肌理，脱却繁缛雕琢，尽显文人画雅逸格调。题诗与雪景画意呼应，以仿古笔法写冬日山居，既有古雅意趣，又自出机杼，将清寒冷寂的山野氛围与悠然乡居意趣相融，意境清寂出尘。",[25,28,130,1027,7,129,252,56,377,253,733,1717,196,29,521,57,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9243e182898ce097ba5078d7a41d8150.jpg",[],{"id":38145,"slug":38146,"title":38147,"dynasty":72,"author":38148,"museum":331,"description":38149,"tags":38150,"thumbUrl":38151,"material":198,"size":780,"collection":100,"collections":38152,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},239177,"xue-jiang-chui-diao-zhou-jiang-ai-239177","雪江垂钓轴","蒋霭","蒋蔼，1621-1644，明。字志和，华亭（今上海市松江）人，一作虞山（今江苏常熟）人。天启、崇祯（1621-1644）时人。善画山水学沈士充，苍劲多用渴笔。规摹唐、宋皆能神合。陈继儒题其画卷云：“自唐、宋、元名家，皆撮其精微，染于毫端，岂惟气吞时流，即董宗伯，（其昌）见之，几下卫夫人之叹。”",[25,7,77,130,129,613,16892,2368,349,350,521,132,269,733,1618],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9314a07a8eab17dffa04b2d87984a968.jpg",[],{"id":38154,"slug":38155,"title":38156,"dynasty":18,"author":50,"museum":331,"description":38157,"tags":38158,"thumbUrl":38160,"material":100,"size":100,"collection":100,"collections":38161,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},238996,"meng-guan-yi-qiu-hua-cao-chong-tu-zhou-yi-ming-238996","孟观乙秋花草虫图轴","此作用没骨淡彩写秋郊野趣，逸笔点染间，蜀葵与杂花错落生于坡石旁。淡青晕染枝叶，清妍柔和，以没骨晕染出花瓣柔润的肌理，枯淡墨色扫出坡石荒率之态，带着疏朗的野逸之气。\n草虫隐于花叶浅草之间，形神宛然，于静穆秋意里暗涌灵动生机。整体笔意松灵空疏，淡彩敷色雅致温软，将文人写意的闲淡意趣融在一花一虫之中，尽显秋日郊野的幽寂清旷，藏着江南清秋的澹远诗意，尽显文人画简淡疏朗之美。",[25,26,7,28,113,38159,287,6384],"秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05845c588912827278ec4da42f39ac4.jpg",[],{"id":38163,"slug":38164,"title":38165,"dynasty":18,"author":32291,"museum":331,"description":38166,"tags":38167,"thumbUrl":38168,"material":100,"size":100,"collection":138,"collections":38169,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},237562,"bian-gong-guai-shi-tu-zhou-fang-heng-xian-237562","汴宫怪石图轴","[清]小字姐哥，字吉偶，号邵村，号龙瞑、心童道士，安徽桐城人。拱乾子。顺治四年（一六四七）进士，官御史。能文，善书，精于小楷。山水仿黄公望，博大沈雄，力追古雅，与程正揆、顾大申时称鼎足。花鸟意态如生，曾绘百尺梧桐卷，雀雏入神品。\n平生足迹几遍天下，故其所见无非粉本，不规规于古人，所以更胜于古人。顺治十五年（一六五八）为刘年伯作山水轴。其康熙十七年（一六七八）作深林垂绘图，现在日本。《国[清]朝画识、图绘宝鉴续纂、古夫于亭录、百尺梧桐阁集、昭代尺牍小传、清朝书画家笔录、瓯钵罗室书画过目考、古代书画过目汇考附目》。传世作品有顺治十五年(1658)为刘年伯作山水轴。康熙十七年(1678)作《深林垂纶图》，现收藏于日本；康熙五年(1666)作《山水花鸟》册页、《江右纪游图册》共10帧，现藏故宫博物院；八年作《梅花双雀图》轴图录于《神州大观》；十三年作《松石图》图录于《中国名画集》；康熙十五年(1676)作《五苗图》轴藏上海博物馆。著有《邵村诗集》《塞外乐府》《楚粤使稿》等。方亨咸《似兰斯馨，如松之盛》书画象牙牌子现藏于西河自然博物馆。",[24,25,26,7,77,985,35,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa001a2d9beefdd270ce2fe8ca67ac2ad.jpg",[138,101],{"id":38171,"slug":38172,"title":20082,"dynasty":18,"author":11908,"museum":236,"description":38173,"tags":38174,"thumbUrl":38175,"material":833,"size":38176,"collection":100,"collections":38177,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},236387,"huang-shan-tu-zhou-mei-qing-236387","图绘黄山的西海门。此图构思巧妙，自下而上的万千石峰，如戟似剑穿云而出，它们即成为巨大的崖石下垂的支点，稳定了画面，又以其弯曲细长的石壁烘托出西海门崖石的危耸之势。图中山石轮廓以细线勾勒，石面略作晕染，并以灵动的墨点加以点缀，其精简的色、墨在表现出山石雄奇的壮美之外，更使山石的纯洁柔秀之美跃然纸上。",[25,77,7,130,129,1651,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb409a8ff9adb11343df5071b68e3f9d6.jpg","纵186.6厘米，横56.8厘米",[],{"id":38179,"slug":38180,"title":38181,"dynasty":18,"author":50,"museum":331,"description":38182,"tags":38183,"thumbUrl":38184,"material":100,"size":100,"collection":100,"collections":38185,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},236074,"zhu-lun-han-cun-shu-xi-qiao-zhou-yi-ming-236074","朱伦瀚村树溪桥轴","此作用青绿浅设色晕染山川，以平远章法铺展水乡盛景。烟波水泽横贯画幅，将层叠山峦切割成错落洲渚，清润的石青石绿晕染出山峦温润肌理，勾勒细劲柔和，全无浓艳浮躁之感。\n\n坡岸之上杂树虬曲苍秀，枝叶点染灵动自然，几处村舍藏于林麓之间，隐现溪桥野径，尽显幽寂闲逸的村居意趣。整幅画作浸透着淡远清旷的文人情致，将江南水乡的烟波灵秀与林下幽居的隐逸之美融为一体，观之如身临林泉，涤去尘俗喧嚣。",[25,28,130,7,129,170,134,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ea763cc22e014589c1bd3584484257.jpg",[],{"id":38187,"slug":38188,"title":38189,"dynasty":18,"author":4669,"museum":331,"description":38190,"tags":38191,"thumbUrl":38192,"material":100,"size":100,"collection":100,"collections":38193,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},236055,"teng-bi-qiao-song-zhou-wang-hui-236055","藤薜乔松轴","此作用笔苍劲秀润，近景巉岩峻岭间，古松虬曲、藤薜缠绕，山隅茅舍隐现，野意悠然。远景平湖如镜，远山含黛以淡墨轻晕，虚实相生，将尺幅天地拓开悠远意境。\n\n山石以短披麻皴勾勒皴擦，兼具雄浑质感与灵秀意趣，水墨浓淡晕染区分阴阳向背，融北派山水厚重与南宗温润于一体，设色简淡雅致，以实景山水的朴拙承载文人画的清寂淡远，尽显林下幽居的静穆意韵，是极具文人意趣的山水佳构。",[25,26,7,129,77,130,427,132,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76a93270ec01d0fdde63f688e699537.jpg",[],{"id":38195,"slug":38196,"title":38197,"dynasty":18,"author":50,"museum":331,"description":38198,"tags":38199,"thumbUrl":38200,"material":100,"size":100,"collection":100,"collections":38201,"showCount":341,"zanCount":11,"manualWeight":43,"mainColor":44},235709,"zou-zhe-shan-shui-tu-zhou-yi-ming-235709","邹喆山水图轴","此作取高远开合之景，左上危崖巉岩，笔墨挺劲勾勒出山峦硬朗骨相，古松虬曲扎根崖壁，枝叶舒展有凌云之姿。中景山居藏于林麓间，窗内人影对坐，为清冷山林晕开一缕烟火暖意。烟岚留白柔化层叠丘壑，将近溪、村居、远山林亭晕连成浑然整体，虚实相生。近滩乱石错落，清溪缓流，扁舟系于浅濑，野趣悠然。\n\n皴法融披麻与斧劈意趣，山石简练，林木点染疏密合宜，淡墨晕出山雾空濛，兼收北派雄健与南宗温润，将林泉幽居的隐逸清趣，藏于烟霞丘壑之中。",[25,7,28,130,129,132,170,733,193,269,521,427,522,2721,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ca0839c65b0165554e6b938fbdc82b.jpg",[],{"id":38203,"slug":38204,"title":38205,"dynasty":18,"author":7755,"museum":331,"description":15584,"tags":38206,"thumbUrl":38208,"material":198,"size":780,"collection":100,"collections":38209,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},235654,"xi-yi-tu-zhou-gao-qi-pei-235654","蜥蜴图轴",[25,26,7,14837,77,28,38207,35,58,472],"蜥蜴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F085c06c4b3005f9957fed7c11a6221a0.jpg",[],{"id":38211,"slug":38212,"title":38213,"dynasty":18,"author":38214,"museum":331,"description":38215,"tags":38216,"thumbUrl":38218,"material":100,"size":100,"collection":100,"collections":38219,"showCount":341,"zanCount":11,"manualWeight":43,"mainColor":44},235319,"duan-ji-jiao-zi-tu-zhou-kang-tao-235319","断机教子图轴","康涛","工笔设色绘就贤母训子场景，左侧织机悬着未竟素帛，孟母持剪而立，神色沉凝肃穆，将断杼明志的训诫藏于举手投足间。幼孟轲垂首立在身侧，孺慕间带着愧悔之色。\n衣纹以铁线描勾勒，温婉秀雅，蓝饰头鬓晕染细腻，赭褐衣装衬出沉静古雅的色调。右上角题字笔意端秀，呼应画中劝学成才的典故。\n画作未刻意渲染情绪，却将言传身教的意蕴藏在人物姿态中，绢本底色晕开东方家教的沉厚底色，把千年贤母训子的佳话定格为可感的画面，工致笔触尽显雅致风骨。",[25,26,7,28,27,29,38217,18484,472],"织布机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b81833b420652ba2ce9221df03ea46.jpg",[],{"id":38221,"slug":38222,"title":38223,"dynasty":18,"author":50,"museum":331,"description":38224,"tags":38225,"thumbUrl":38226,"material":100,"size":100,"collection":100,"collections":38227,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},235297,"chen-fu-mo-zhu-zhou-yi-ming-235297","陈馥墨竹轴","以狂放迅疾的笔墨绘就风竹，竹叶如被飓风席卷，倾侧飞舞，灵动不羁。墨色浓淡枯湿富于层次，浓墨点簇老叶厚重苍劲，淡晕新篁清润秀雅，虚实相生间尽显疾风穿林之势。\n右侧题诗与画境呼应，将竹枝乱而不散、逆势挺立的姿态刻画尽致，笔力雄健老辣，尽显狂放疏朗的文人意气。借竹言志，把疾风里劲竹的萧索傲骨，化作君子不屈的襟怀，将水墨写意的淋漓意趣与文人情志完美相融。",[25,26,7,77,31,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bff2365e40a277b86ec8b1973cef30a.jpg",[],{"id":38229,"slug":38230,"title":38231,"dynasty":18,"author":50,"museum":331,"description":38232,"tags":38233,"thumbUrl":38234,"material":1218,"size":38235,"collection":100,"collections":38236,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},234852,"he-su-xiang-zhou-yi-ming-234852","和素像轴","本幅无作者款识。上诗堂有张英、励杜讷、孙宝宪及和素本人题记。和素题曰：“四十有五，年尚未老。缅想从前，遏多功少。尔形方健，尽可自好。无忝所生，敬奉斯道。康熙三十四年仲冬吉日。和素自题。”\n图绘和素45岁时的坐像，身穿朝服，项挂朝珠。其面容具有典型的满族特征，面色微赤，高颧，留须，神态蔼然，目光沉静，举止端庄。画面生动地再现了这位满洲大臣儒雅谨严的性格和精神风貌。\n和素，字存斋，清康熙年间满洲人。累官至内阁侍读学士。博览群书，通晓满、汉两种文字，精于翻译。有琴谱合璧十八卷。将明人杨抡《太古遗音》译成满文。",[25,26,7,28,27,29,34,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d43e6fae1a4ca3580a7bc54b4a924a6.jpg","纵159 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江都（今江苏扬州）人，居常熟。善画，亲炙王翚，颇得趋向。山水著笔落墨不多，其浑沦劲挺之致，亦是专家。花卉翎毛钩染妍雅，赋色荷花得古人逸法。",[23,25,26,7,27,28,196,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4260e08880a972bb39bc262f6513a95a.jpg","172.6x 68.6",[],{"id":38322,"slug":38323,"title":38324,"dynasty":49,"author":38325,"museum":331,"description":38326,"tags":38327,"thumbUrl":38328,"material":198,"size":780,"collection":100,"collections":38329,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},231737,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-yi-ping-yang-yue-231737","室町时代 四季山水图屏风-一屏","杨月","此作以淡墨晕染留白绘出覆雪山峦，寒雾将远山晕成虚渺剪影，虬曲枯松倚立危崖，苍劲的松枝带着残绿，破开满山素白的萧寒。山坳间屋舍错落雅致，篱扉前侍者静立，为清寂的山野添上人间暖意。笔意简淡空灵，以无胜有写尽冬雪空蒙，将隆冬山居的安闲清旷揉入尺幅，动静相映，清冷中藏着烟火意韵，尽显东方山水留白写意的悠远意境。",[23,25,26,7,77,28,129,269,427,132,29,3880,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e459481ce37d89e8c4717c187229972.jpg",[],{"id":38331,"slug":38332,"title":38333,"dynasty":49,"author":38334,"museum":331,"description":38335,"tags":38336,"thumbUrl":38337,"material":100,"size":100,"collection":100,"collections":38338,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},231667,"ming-he-chang-nian-xiang-zhang-gu-chuan-231667","名和长年像","长谷川","画面以沉敛色调铺陈，主位武士光头蓄须，暗绿狩衣裹身，按刀执扇端坐，神色沉静不怒自威，尽显武家首领的厚重威仪。右侧侍童着彩纹小袖恭跪身侧，斜挎和弓悄然烘托主从礼法。下方马夫正竭力控住前蹄抬起的烈马，躁动的骏马与紧绷的牵马人，为肃穆的场景揉进鲜活生气。\n笔触凝练细致，衣袍暗纹、马具铜饰都被悉心勾勒，将武人出行前的片刻日常定格，在侘寂古雅的氛围里，藏着武家独有的刚硬气场，平淡叙事中晕开沉雄张力。",[23,25,7,28,27,29,196,1039,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1090e99f26ee671509871b36d3f2435.jpg",[],{"id":38340,"slug":38341,"title":38342,"dynasty":49,"author":50,"museum":331,"description":38343,"tags":38344,"thumbUrl":38345,"material":100,"size":100,"collection":100,"collections":38346,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},231652,"yi-cai-xiao-xiang-hua-yi-ming-231652","易彩肖像画","肖像画因其侧重人物面貌的描写，古人又称之为“写真画”，或者是“传神”“写照”“传写”，它是中国画门类中最为古老的一个科目。中国肖像画的历史悠久，相比山水和花鸟而言，它的起源是最早的。在历经唐宋元的延续和嬗变之后，明清时期的肖像画更是达到了一个新的高度，形成了鲜明的特色和完整的体系，在中国绘画史上占据着非常重要的位置，生命力极其强大。\n明清肖像画在其时代的人物画发展的基础上，不仅对西方传于中国的写实性绘画技法予以了吸收借鉴，同时也充分融合了本民族绘画语言，包括正统的文人绘画和民间的写真术等，取得的巨大艺术成就，虽然不是绘画主流方向，但对其后人物画转向现实提供了尝试和可能，也为现代艺术家的创新提供了有益的基础,而其艺术特点和美学价值均是值得我们目前仍需深入展开和探究的内容。",[23,25,26,7,27,28,24329,80,5733,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4ff80e723721427982e6421699c69c.jpg",[],{"id":38348,"slug":38349,"title":7367,"dynasty":93,"author":50,"museum":74,"description":38350,"tags":38351,"thumbUrl":38352,"material":1688,"size":25701,"collection":100,"collections":38353,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},231346,"qian-yan-wan-he-tu-yi-ming-231346","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。",[1520,25,26,24,7,77,130,129,351,170,172,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a367f486734e2739a21f3d46375c6e.jpg",[],{"id":38355,"slug":38356,"title":8213,"dynasty":72,"author":38357,"museum":331,"description":38358,"tags":38359,"thumbUrl":38360,"material":198,"size":780,"collection":100,"collections":38361,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},230896,"cao-shu-zhou-shao-mi-230896","邵弥","邵弥，明末清初书画家。字僧弥，后以字为名，号瓜畴、芬陀居士。长洲（今江苏苏州）人。",[23,80,305,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31ce6b2bde06fef217729894f1e56de.jpg",[],{"id":38363,"slug":38364,"title":38365,"dynasty":18,"author":38366,"museum":331,"description":38367,"tags":38368,"thumbUrl":38369,"material":100,"size":100,"collection":100,"collections":38370,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},230871,"zhi-hua-chun-shan-dai-du-tu-zhu-lun-han-230871","指画春山待读图","朱伦瀚","《指头生活三百年:高其佩与指头画派(套装共2册)》内容简介：指头画，即以手代笔，蘸墨作画。\n中国传统绘画中的一种特殊的画法。\n即以画家的手指代替传统工具中的毛笔蘸墨作画，别有一种特殊趣味和技巧。\n历史上清代高其佩、近代潘天寿、洪世清所作指画作品其影响较大。\n辽宁与指头画有着深厚的渊源，指头画开派人物清代的高其佩祖籍是辽宁的铁岭。\n其弟子传派众多，至清末已达百余人，遂有“指头画派”之称，在清代绘画史中占有一席之地。\n国内著名的指墨家杨一墨就是辽宁开原人，现为铁岭中国手指画研究院院长。\n目前辽宁地区活跃着一批热爱和研究指画艺术、颇具影响力的画家。\n《指头生活三百年:高其佩与指头画派(套装共2册)》由辽宁美术出版社出版。\n《指头生活三百年·上卷》目录： 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《指头生活三百年·下卷》",[23,25,26,7,28,14837,29,129,131,132,130,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F707cad4fc65c61dfbf21de15bf26ca76.jpg",[],{"id":38372,"slug":38373,"title":38374,"dynasty":18,"author":436,"museum":331,"description":38375,"tags":38376,"thumbUrl":38377,"material":100,"size":100,"collection":100,"collections":38378,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},230869,"san-shi-tu-hua-yan-230869","三狮图","以水墨绘就幽谷林泉，飞泉直落，古藤垂挂缠绕，泼墨晕染出山岩苍润空濛的野逸氛围。画幅下方三狮错落，两白狮以淡墨勾皴毛发，蓬松柔润，神态威沉内敛；黑狮浓墨重染，身形劲健，昂首侧目，似在静听流泉之声。\n\n动静相映间，将猛兽的悍勇与山林的幽寂相融。笔墨干湿浓淡变化自如，以写意山水衬走兽之态，工写结合，既具文人水墨的清雅韵致，又精准捕捉雄狮的沉雄威仪，尽显山林间的生息意趣与笔墨灵韵。",[23,24,25,7,77,304,241,132,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67fb63370229788ee8f454348ec5929e.jpg",[],{"id":38380,"slug":38381,"title":38382,"dynasty":18,"author":26799,"museum":331,"description":26800,"tags":38383,"thumbUrl":38384,"material":198,"size":780,"collection":100,"collections":38385,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},230200,"lin-kong-zhou-bei-yin-he-shao-ji-230200","临孔宙碑阴",[23,80,5199,945,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5453a79a86999fab5e32be660c7b24b2.jpg",[],{"id":38387,"slug":38388,"title":38389,"dynasty":18,"author":4669,"museum":331,"description":38390,"tags":38391,"thumbUrl":38392,"material":100,"size":100,"collection":100,"collections":38393,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},229023,"hong-ye-bai-yun-tu-wang-hui-229023","红叶白云图","此作用浅绛设色铺就秋山胜景，远景山峦隐在烟岚之中，虚渺朦胧似笼轻纱，尽显山林悠远空寂。中景层峰叠翠，茂林深秀，山居幽藏其间，流泉隐隐透出山野生机。近岸丹枫点染，古木盘曲苍劲，白石映着清溪，村舍错落排布，漾出闲适悠然的田园意趣。\n笔墨兼工带写，干笔皴擦勾勒山体肌理，淡墨晕染铺就流云轻烟，设色清润雅致，将秋日山林明静温煦的氛围晕开，既有古法山水的沉静古意，又饱含鲜活的自然意趣，把秋山清远秀逸之韵娓娓绘就。",[23,25,7,129,28,130,3631,4148,132,170,134,193,733,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbb2a25874ce00d981fc9fd7c73488f.jpg",[],{"id":38395,"slug":38396,"title":38397,"dynasty":72,"author":15915,"museum":331,"description":38398,"tags":38399,"thumbUrl":38400,"material":198,"size":780,"collection":100,"collections":38401,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},228332,"bei-guo-fang-you-shi-zhu-yun-ming-228332","北郭访友诗","祝允明（1460—1526年），字希哲，号枝山，因手生六指，故自号枝指生，长洲（今江苏苏州）人。公元1492年（明弘治五年）举人，1514年（正德九年）授广东惠州府兴宁县知县，后转任南京应天府通判，故后世又称之为“祝京兆”。《明史》有传。工诗文书法，才华横溢，与唐寅、文徵明、徐祯卿并称“吴中四才子”。",[26,80,305,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd3baa5efbf07025f768025a035a16ae.jpg",[],{"id":38403,"slug":38404,"title":38405,"dynasty":207,"author":50,"museum":331,"description":38406,"tags":38407,"thumbUrl":38408,"material":198,"size":780,"collection":100,"collections":38409,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},228187,"ren-ma-tu-zhuang-biao-hou-yi-ming-228187","人马图（装裱后）","此作以简练笔墨铺陈胡人马饲意态，虬髯奚官身披宽袍，神色沉静内敛，尽显异域牧者的沉凝气质。画面主体白马筋骨丰腴矫健，抬首长嘶，鬃尾勾勒细致，将良驹桀骜灵动之态尽显。\n淡墨晕染的朦胧背景将视觉全然聚焦于人马之上，设色清雅柔和，白棕对比鲜明，既承袭唐宋鞍马画写实精微的余韵，又带有元画简淡空灵的审美意趣。画师以精湛写生功底，将人驯于马、马依于人的悠然情态娓娓道来，尽显游牧文化与中原笔墨融合的独特意韵。",[25,26,7,28,27,29,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c34399071ce5db339513f8461cfbbf7.jpg",[],{"id":38411,"slug":38412,"title":16295,"dynasty":93,"author":50,"museum":331,"description":38413,"tags":38414,"thumbUrl":38415,"material":100,"size":100,"collection":100,"collections":38416,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},227929,"shi-jia-chu-shan-tu-yi-ming-227929","此作用淡墨枯笔写就，人物清癯削瘦，眉宇沉静淡然，带着苦修出山后的疏朗出尘气质。衣纹以淡墨晕染结合简括线条，轻写布料垂坠质感，不着浓艳，尽得简淡高古之趣。\n画面搭配题诗，将雪山苦修的清寒禅味融于笔墨间，笔意萧散简远，以极简笔墨勾勒出超脱物外的禅宗意境，淡墨氤氲里禅意流淌，尽显空灵静谧的出世之美。",[23,25,26,7,54,985,29,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6b6f10f22e8ca496408d6bf4bff597.jpg",[],{"id":38418,"slug":38419,"title":38420,"dynasty":38421,"author":50,"museum":331,"description":38422,"tags":38423,"thumbUrl":38426,"material":198,"size":780,"collection":100,"collections":38427,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},227014,"han-wu-feng-er-nian-ke-shi-zhou-yi-ming-227014","汉五凤二年刻石轴","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[38424,80,5199,3763,7,38425,22230],"汉代","刻石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdacca5f1d288a16f1bdfb9646df2ec.jpg",[],{"id":38429,"slug":38430,"title":38431,"dynasty":18,"author":4669,"museum":331,"description":38432,"tags":38433,"thumbUrl":38434,"material":100,"size":100,"collection":100,"collections":38435,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},224460,"wan-wu-qiu-ying-tu-zhou-wang-hui-224460","晚梧秋影图轴","218年9月11日，“故宫博物院藏清初‘四王’绘画特展”在故宫文华殿书画馆开幕。\n该展览展出文物多达11件套，分为“‘师古’为宗”、“融古出新”以及“沾溉后学”三个单元。\n在展品的遴选上，不仅优选了艺术造诣高的绘画精品，同时又选择了能够体现“四王”画学思想的作品，如王鉴的《四家灵气图》、王原祁的《神完气足图》等。\n又如王时敏《秋山白云图》轴和王翚《晚梧秋影图》轴等，也是他们经典的代表作。\n该展览为绘画实践者提供了优秀的临摹范例，给广大观众带来深刻、丰富的艺术享受。",[23,25,26,7,77,130,378,1126,377,134,193,35,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1cefd7828df8cbbeb1a228c219193e.jpg",[],{"id":38437,"slug":38438,"title":38439,"dynasty":18,"author":4998,"museum":331,"description":38440,"tags":38441,"thumbUrl":38442,"material":100,"size":100,"collection":100,"collections":38443,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},224399,"hua-zhong-you-shi-tu-zhou-wang-yuan-qi-224399","画中有诗图轴","此作用干笔积墨绘层叠丘壑，皴擦厚重苍浑，山峦取高远之势层层铺展，尽显雄浑朴拙的肌理质感。林间错落参差，村居隐于溪畔，淡赭轻敷晕染出古雅色调，朴茂华滋里藏着悠然意趣。\n\n笔墨带着元人山水的悠远散淡，干笔反复皴叠，浓墨醒苔提点生气，将诗意晕染在山岚林泉之间。丘壑深秀，静穆安然，仿佛能听见山风穿林、溪声隐隐，把文人心中的林下幽思，尽数融在咫尺画卷里，尽显沉郁苍润的山水情致。",[25,26,7,77,130,79,80,97,129,252,170,733,1419,351,427,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33d1963aa786cfaa42d38e735c34aed.jpg",[],{"id":38445,"slug":38446,"title":38447,"dynasty":18,"author":4998,"museum":331,"description":38448,"tags":38449,"thumbUrl":38450,"material":100,"size":100,"collection":100,"collections":38451,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},224391,"chun-yan-cui-ai-wang-yuan-qi-224391","春崦翠蔼","此作以全景铺展山林胜境，山峦层叠逶迤取高远之势，干笔积墨反复皴擦，笔力苍厚沉雄，墨色层次氤氲，尽显山峦的浑莽质感。谷间村居错落隐于松竹之下，清溪蜿蜒环带，浮漾着春日的温润清光。浅绛淡赭轻敷山石，晕染出春山翠霭融融的氛围，草木点染灵动，暗合春日生机。整体气脉贯通，将江南春山的幽谧雅致与文人笔墨的书卷意趣相融，于苍秀兼济的笔法中，铺陈出春日山林静穆又盎然的隽永意境。",[23,25,26,129,7,28,130,252,56,170,427,351,134,172,173,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcac120cc799130ed9f4172658a7c4a3.jpg",[],{"id":38453,"slug":38454,"title":38455,"dynasty":18,"author":4998,"museum":331,"description":38456,"tags":38457,"thumbUrl":38458,"material":100,"size":100,"collection":100,"collections":38459,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},224384,"fang-da-chi-shan-shui-wang-yuan-qi-224384","仿大痴山水","《设色仿大痴山水图》是清代王原祁创作的设色山水画，现收藏于沈阳故宫。\n重要展览 219年9月2日，该作品在“锦绣江山——沈阳故宫藏山水画特展”中展出。",[23,24,25,26,7,28,129,132,170,878,193,173,130,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc489ecfc1c06d7bcf6b15139b503e79.jpg",[],{"id":38461,"slug":38462,"title":38463,"dynasty":18,"author":30415,"museum":331,"description":38464,"tags":38465,"thumbUrl":38466,"material":100,"size":100,"collection":100,"collections":38467,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},224362,"cheng-qin-wang-qing-yong-xing-shu-gao-zong-yu-zhi-si-shi-yan-qing-shi-zhou-ai-xin-jue-luo-yong-xing-224362","成亲王 清永瑆书高宗御制四时衍庆诗轴","此作用笔秀挺雅致，起收顿挫皆具法度，点画间顾盼有情，将馆阁体的端谨妍美诠释尽致。瘦硬清逸的笔调融合赵书娟秀与馆阁规整，字字排布齐整，章法严整又不失灵动。书写之时笔墨自带恭谨庄重，尽显深厚帖学功底，规整之中暗藏内敛文人意趣，是清代馆阁体书法中的上乘佳构，尽显盛世书法的端雅风貌。",[23,25,26,7,97,4906,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d302552966b86feec697ace2f3a52b5.jpg",[],{"id":38469,"slug":38470,"title":38471,"dynasty":18,"author":37836,"museum":74,"description":38472,"tags":38473,"thumbUrl":38480,"material":255,"size":38481,"collection":100,"collections":38482,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},224336,"shu-tang-zao-chao-shi-zhou-shen-quan-224336","书唐早朝诗轴","长安雪后似春归。积素凝华连曙暉。色借玉珂迷晓骑。光添银烛晃朝衣。西山落月临天仗。北闕晴雲捧禁闈。闻道仙郎謌白雪。由来此曲和人稀。",[23,80,97,7,613,38474,33109,31365,335,38475,38476,38477,38478,38479],"春","玉珂","晓骑","落月","晴天","素凝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc24a6329eb390923142ba879d23e688.jpg","322.5×48.5cm",[],{"id":38484,"slug":38485,"title":38486,"dynasty":18,"author":26236,"museum":331,"description":38487,"tags":38488,"thumbUrl":38489,"material":100,"size":100,"collection":100,"collections":38490,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},224335,"shi-gu-qi-niu-tu-zhou-yang-jin-224335","石谷骑牛图轴","浅设色绘就水滨春野，水牛信步徐行，背脊上的宽袍老者斜倚安坐，斗笠覆顶，垂目敛神，一派萧散恬然。\n\n水牛造型朴拙写实，晕染细腻还原皮毛质感，人物衣纹简练秀雅，淡赭敷色清润柔和。通幅布景极简，只以柔线勾勒浅草坡岸，留白尽显空濛野趣。搭配多段题诗，书画合璧，将文人逸隐林泉、不慕荣利的襟怀融于笔墨间，简淡天真，尽显出世幽怀，是以画寄意的文人画佳构。",[23,25,26,7,77,29,1571,80,97,1275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86733bb6975257e03883c9a818dc1e29.jpg",[],{"id":38492,"slug":38493,"title":38494,"dynasty":18,"author":50,"museum":331,"description":38495,"tags":38496,"thumbUrl":38497,"material":100,"size":100,"collection":100,"collections":38498,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},224241,"fu-gui-shuang-quan-tu-yi-ming-224241","富贵双全图","此作以工笔重彩绘就，石上瑞禽翎羽妍丽华贵，尾屏铺陈如曳地织锦，眼斑历历分明，身姿舒展振翅，雄健灵动恍似将引吭长啼。石下名花雍容绽放，紫艳朱红缀于翠叶间，与苍奇湖石相映成趣。花叶勾勒细腻入微，敷色明润雅致，晕染过渡自然柔和。\n\n整幅疏密相宜，重工轻写兼具，既有院体画的精工富丽，又暗含文人雅韵，以瑞禽名花寄寓吉庆意涵，笔致间尽显雍和雅致的太平气象。",[23,25,26,7,27,28,113,5187,114,132,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357232fb0e7e36d29e9bf562a2612aa2.jpg",[],{"id":38500,"slug":38501,"title":38502,"dynasty":18,"author":9717,"museum":331,"description":38503,"tags":38504,"thumbUrl":38505,"material":198,"size":780,"collection":100,"collections":38506,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},224165,"lin-su-shi-du-zi-mei-shi-zhou-wang-you-dun-224165","临苏轼杜子美诗轴","汪由敦（1692-1758年3月1日），初名汪良金，字师苕，号谨堂、松泉居士。安徽休宁人。雍正二年（1724）进士，改庶吉士。乾隆间，先后担任了工部尚书与刑部尚书又兼署了左都御史一职。乾隆十一年（1746年）任军机大臣，吏部尚书，老诚敏慎，在职勤劳。金川用兵，廷谕皆出其手。\n乾隆二十三年（1758年），汪由敦逝世。乾隆皇帝亲自前往吊唁，加赠其为太子太师，谥号为文端，入祀贤良祠。汪由敦学问渊深，文辞雅正，兼工书法。著有《松泉集》。",[23,25,26,7,945,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fb18ffc17420be425cadef9d8ced6a.jpg",[],{"id":38508,"slug":38509,"title":38510,"dynasty":93,"author":50,"museum":236,"description":38511,"tags":38512,"thumbUrl":38513,"material":1218,"size":38514,"collection":100,"collections":38515,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},223334,"si-lun-tu-yi-ming-223334","丝纶图","此图描绘了在苍苍茫茫的山林中,几位女子正在纶丝,两个天真的幼童则在嬉戏游玩,生活气息十分浓厚。掩映在山林中的茅屋围以栅栏,近处的山石陡峭高耸,附岩壁而长的苍松枝干虬劲蟠曲,显示了劲松雄强的本色。画上有一首题诗: “素丝头绪长,羡居好安排。青鞋不动尘,缓步交去来。脉脉意欲乱,春春首重回。王言正如丝,只付经纶才。”对此画的画意作了很好的诠释。",[23,25,26,7,77,28,130,129,131,3996,29,170,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b414ad5d3ac5d537b5cf0676affa9d4.jpg","纵83.2厘米横37.5厘米",[],{"id":38517,"slug":38518,"title":38519,"dynasty":18,"author":13437,"museum":74,"description":15115,"tags":38520,"thumbUrl":38521,"material":255,"size":38522,"collection":100,"collections":38523,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},223120,"hui-yu-bi-fan-cheng-da-fen-sui-ci-zhou-dong-bang-da-223120","绘御笔范成大分岁词轴",[23,25,26,7,27,130,28,80,79,97,129,29,733,170,132,521,1837],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d91960ab7f8a64757d76c1aac586d.jpg","112.9cmX28.7cm",[],{"id":38525,"slug":38526,"title":38527,"dynasty":18,"author":1648,"museum":236,"description":38528,"tags":38529,"thumbUrl":38530,"material":182,"size":38531,"collection":100,"collections":38532,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},223099,"fang-fan-kuan-shan-shui-zhou-tang-dai-223099","仿范宽山水轴","此画作者采用全景似的构图，使近、中，远景层次分明，中心突出。\n远景山峦重叠，主峰矗立，气势雄伟，山巅间烟云缭绕，云气弥漫，似浮起润泽的雾气；中景峰峦对峙，林木丛生，烟锁山腰，山坳中树木茂密，层次分明，满而不塞，两座秀丽的楼阁屋宇隐显于烟光浮动之中，寂静的山林更增添了幽邃之感。近处为坡石丛林，两坡石间高架有一座木桥，两山峡谷间溪水直流而下，汇聚于溪水之中，左侧溪水边，座落着几间房舍，掩映在浓密的丛树荫底",[23,25,26,7,129,945,130,77,132,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe688d58fa90bd041577c62dc09e8dbba.jpg","155.3x74.4",[],{"id":38534,"slug":38535,"title":38536,"dynasty":72,"author":9377,"museum":74,"description":38537,"tags":38538,"thumbUrl":38539,"material":1320,"size":22277,"collection":100,"collections":38540,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},222072,"di-yi-a-ying-a-ji-da-zun-zhe-hua-zhou-wu-bin-222072","第一阿迎阿机达尊者画轴","十六罗汉，主要依据唐玄奘翻译的《大阿罗汉难提密多罗所说法住记》，他们是：一宾度啰跋罗惰阇、二迦诺迦伐蹉、三迦诺迦跋厘堕阇、四苏频陀、五诺距罗、六跋陀罗、七迦理迦、八伐阇罗弗多罗、九戍博迦、十半托迦、十一啰怙罗、十二那伽犀那、十三因揭陀、十四伐那婆斯、十五阿氏多、十六注荼半托迦。十六罗汉是释迦牟尼佛的弟子。据经典说，他们受了佛的嘱咐，不入涅盘，常住世间，受世人的供养而为众生作福田。此外，另有十八罗汉之说。此系于十六罗汉加上二位尊者。关于所加的二尊有多种说法。",[23,25,26,7,54,985,29,79,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6009dadca1f140131092eb0e9b93483.jpg",[],{"id":38542,"slug":38543,"title":38544,"dynasty":72,"author":1614,"museum":209,"description":15171,"tags":38545,"thumbUrl":38548,"material":214,"size":30047,"collection":100,"collections":38549,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":88},221945,"qi-lv-shi-jiang-cheng-qiu-se-wen-zheng-ming-221945","七律诗江城秋色",[23,80,97,7,17999,4987,38546,38547],"汉字","诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a91d53d4f49e7a339785a9df6b505d7.jpg",[],{"id":38551,"slug":38552,"title":38553,"dynasty":207,"author":50,"museum":74,"description":38554,"tags":38555,"thumbUrl":38556,"material":1218,"size":38557,"collection":100,"collections":38558,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},221780,"shuo-jing-tu-zhou-yi-ming-221780","说经图轴","元人少做道释画，但这幅“说经图”却画得十分精彩。此图共有三个部分，左右两幅各画四尊菩萨立像，中央一幅画佛祖释迦牟尼跌坐莲台，罗汉侍立左右。本幅是右边的一幅，构图位置与左边的一幅完全对称。菩萨衣饰华贵，容貌祥和，足下各踏莲花，凌空而立。其姿态各自不同，眼神都注视左前方，像是用心聆听佛法。画中用笔圆劲流畅，设色富丽古艳，颇有上追六朝人笔法之意。\n菩萨顶上放射光芒成一圆轮状，称之为“圆光”。颈上挂着的成串珠玉装饰，称之为“璎珞”。佩戴“璎珞”本是印度贵族男女，皆缀珠玉以为颈饰，梵文称为“枳由罗”，传到中国后则译为“璎珞”。看这四尊菩萨的面貌已经变为中土人士的容貌，而非胡貌梵像，便知这幅是宋以后的作品。",[23,24,25,26,7,54,29,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b0f34610241466257060249ffc3d82.jpg","95.4×52.9cm",[],{"id":38560,"slug":38561,"title":38562,"dynasty":207,"author":11859,"museum":74,"description":38563,"tags":38564,"thumbUrl":38565,"material":99,"size":38566,"collection":100,"collections":38567,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},221717,"hua-yuan-zhou-yan-hui-221717","画猿轴","此幅画挂岩老树，上着两猿，一猿抱干，一猿挂枝，树下画细腰蜂十四尾。两猿弄蜂，作好事而又畏缩之状；树枝挂猿，着重直垂而下，有低昂不定之势。画笔老辣，揣拟传神。另猿猴二字常连用，蜂与猴又和“封侯”谐音，故旧画中往往取此吉祥意义为题作画。\n悬崖树上，二猿攀爬。一只抱着树干，一只挂在枝梢，树枝因负重而下垂，犹有低昂摇摆之态。右下方有一蜂群，两猿目视，既惊又喜的表情，仿佛若现，意态甚是生动。中国画中常绘有猿猴（hou）和蜂（feng）的作品，目的在取“封侯”（feng hou）谐音，用为祝贺升官晋爵的表征，深富吉祥喜庆的寓意",[23,25,7,77,29134,1373,11947,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151198714c161d81cfe5e9c962e09bb.jpg","131.8x67公分",[],{"id":38569,"slug":38570,"title":38571,"dynasty":93,"author":14122,"museum":6403,"description":38572,"tags":38573,"thumbUrl":38574,"material":37,"size":100,"collection":100,"collections":38575,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":342},218236,"qiu-dong-shan-shui-tu-er-yan-ci-ping-218236","秋冬山水图(二)","沉郁墨色晕染出山河的秋冬意韵，远山如淡烟笼着的黛眉，隐现于薄霭间，似秋霜未消的清寒漫开。近景山石以刚劲皴法勾勒，纹理如老树皮般皴裂，枯木枝桠疏疏斜展，带着冬日的萧索。涧水在石隙间隐现，虽无声却透着凛冽。笔触虚实相生，将季节交替的静谧与疏朗凝于绢上，既有宋画的章法严谨，又藏自然灵动之趣——风过枝桠的轻颤，雾锁山峦的朦胧，皆在笔墨间流转，尽显山水意境的幽远深沉。",[25,26,24,77,130,129,7,521,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda73fe229a022e24354abfcb2df17932.jpg",[],{"id":38577,"slug":38578,"title":38579,"dynasty":72,"author":10100,"museum":6403,"description":10101,"tags":38580,"thumbUrl":38581,"material":214,"size":10105,"collection":100,"collections":38582,"showCount":341,"zanCount":43,"manualWeight":43,"mainColor":44},216744,"ri-ben-zu-shi-tu-3-shou-ye-yuan-xin-216744","日本· 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高架起。远处的山脚下，还有佛寺和宝塔，在薄雾的烘托下，散发出无比庄严肃穆的气氛。\n虽然山峰和屋顶上，都被皑皑的白雪所覆盖，但是住在楼阁里的人们，似乎并不畏惧寒冷，反而将门窗大开，让即将到访的客人，能够清楚瞧见屋内准备筵席的场面。\n近景几株林木，枝干挺拔，叶已稀疏或凋零，竹子数杆横出寒林，竹叶上有著点点积雪。透过寒林，呈现一片宏伟的建筑，群楼重重，依湖畔而筑，景观绮丽。远处山腰露出佛寺与宝塔，山峰及屋顶都覆盖著白雪，由淡墨衬托出萧瑟凛冽的寒意。\n宏伟华丽的建筑，位于画面中轴线之处，是一个大厅，内有仕女备办筵席，邻次的楼阁，主人正接待先至的宾客。近景寒林下的小径，有两位骑马人士，在仆役护从下，走往楼中相会。生动的人物点景，为寒冷的景境中，增添生趣与暖意。近景寒林有著复杂的枝干与树叶，寒林之後又有工谨细绘的界画建筑，两重景物相叠，笔墨迥异，构成萧散与工整的复杂组合，精妙不乱。",[24,25,7,1157,129,269,521,614,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35154e059bf34b65f9eaeeb95fc4dc5d.jpg",[],{"id":38959,"slug":38960,"title":38961,"dynasty":72,"author":17973,"museum":74,"description":38962,"tags":38963,"thumbUrl":38964,"material":198,"size":780,"collection":100,"collections":38965,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},290969,"dong-shan-xie-ji-tu-zhou-guo-xu-290969","东山携妓图轴","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。",[24,25,7,77,985,29,30,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd29a6636a34bf364a33faca445077a.jpg",[],{"id":38967,"slug":38968,"title":38969,"dynasty":207,"author":2386,"museum":331,"description":7442,"tags":38970,"thumbUrl":38971,"material":198,"size":780,"collection":100,"collections":38972,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},290903,"zeng-cang-ying-wen-zhou-zhao-meng-fu-290903","憎苍蝇文轴",[80,7,97,79,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F862c4b5dcaef9448c16bad656ff68a92.jpg",[],{"id":38974,"slug":38975,"title":38976,"dynasty":72,"author":50,"museum":331,"description":33704,"tags":38977,"thumbUrl":38978,"material":198,"size":780,"collection":100,"collections":38979,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},290813,"xuan-zong-zuo-xiang-yi-zhou-yi-ming-290813","宣宗坐像（一）轴",[25,7,28,27,29,7547,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46484236b3c8d620f3d95f4ea9a5331a.jpg",[],{"id":38981,"slug":38982,"title":38983,"dynasty":207,"author":50,"museum":331,"description":38984,"tags":38985,"thumbUrl":38986,"material":198,"size":780,"collection":100,"collections":38987,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},290784,"ying-zhen-xiang-zhou-liu-fu-yi-ming-290784","应真像轴六幅","全幅线条运笔相当流畅，有简洁净雅的韵味，人物五官手足以细瘦而轻淡的描线，衣服褶纹则笔致较为粗重而浓厚，全身并施以薄薄的晕染，袈裟水田纹有华丽的图案。",[25,7,28,29,54,10824,194,351,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2217d3ff4e9bdb2263ca54eadd0a73f.jpg",[],{"id":38989,"slug":38990,"title":38991,"dynasty":93,"author":50,"museum":331,"description":7286,"tags":38992,"thumbUrl":38993,"material":198,"size":780,"collection":100,"collections":38994,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},290781,"li-zong-zuo-xiang-zhou-yi-ming-290781","理宗坐像轴",[25,7,29,28,27,7547,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01bd6fe38f5593c29f4d9e3e55f865e.jpg",[],{"id":38996,"slug":38997,"title":38998,"dynasty":93,"author":50,"museum":331,"description":7286,"tags":38999,"thumbUrl":39000,"material":198,"size":780,"collection":100,"collections":39001,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},290769,"ren-zong-zuo-xiang-zhou-yi-ming-290769","仁宗坐像轴",[25,7,28,29,27,7547,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab92489bdfad66c809f90246d9c5f855.jpg",[],{"id":39003,"slug":39004,"title":39005,"dynasty":93,"author":50,"museum":331,"description":7286,"tags":39006,"thumbUrl":39007,"material":198,"size":780,"collection":100,"collections":39008,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},290767,"gao-zong-zuo-xiang-zhou-yi-ming-290767","高宗坐像轴",[24,25,7,28,27,29,27107,36681,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ef6de68b0ce059808eb6a7a288b375.jpg",[],{"id":39010,"slug":39011,"title":39012,"dynasty":93,"author":50,"museum":331,"description":39013,"tags":39014,"thumbUrl":39015,"material":198,"size":780,"collection":100,"collections":39016,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},290763,"zhi-shan-shui-zhou-yi-ming-290763","织山水轴","此作以织纹晕染湖山，远景高峰崔嵬，浅绛轻敷石色，留白作云气萦回于峰峦洲渚间，澹宕空蒙，咫尺见千里之遥。\n\n近景崖岸盘曲，古木虬枝探向湖面，崖畔草亭幽寂，隐者凭栏观水，滩头扁舟系泊，板桥横卧浅波。\n织造肌理让山石林木自带温润质感，设色清雅柔丽，将林泉高致的隐逸意趣融在静穆烟景里，尽显幽淡从容的林下风流。",[24,25,26,7,28,129,377,349,134,193,131,132,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf284ed8a5638a85cbbd824d7272bc5.jpg",[],{"id":39018,"slug":39019,"title":39020,"dynasty":93,"author":50,"museum":74,"description":39021,"tags":39022,"thumbUrl":39024,"material":37,"size":39025,"collection":100,"collections":39026,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},290755,"chang-sheng-fa-hui-tu-zhou-yi-ming-290755","长生法会图轴","此图画佛教西方极乐世界，云掩宝塔、宝树，菩萨、诸天群集。主尊为无量寿佛，结跏趺坐于须弥台上。台前绘有往生者合十跪拜，引路菩萨则弯腰礼拜。全图人物各尽姿态之变化，脸部晕染，具立体感。陪衬的景物显得绮丽繁缛，构成华美庄严的神圣世界。这种极乐世界图又名长生法会。 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[1] 万历时期首辅王锡爵之子，明末清初画家王时敏之父。\n万历十六年（1588年）顺天乡试，王衡因是大学士王锡爵之子，且当时首辅申时行的女婿也同时中举。有言官弹劾主试官，认为有作弊嫌疑。虽然王衡在随后的复试中取得第一获准参与会试，但言官们仍不依不饶，为避免父亲王锡爵陷入更大的党争之中。王衡在他父亲执政期间没再参加考试。万历二十九年（1601年），王锡爵致仕后，王衡再次走进科场，以一甲第二名（榜眼）及第，授任翰林院编修。后辞官归隐，中年早卒。\n王衡著有《缑山集》等，同时他又是明代南剧的名家，编写有《郁轮袍》、《真傀儡》、《没奈何》等杂剧名篇。\n明嘉靖四十年（1561年），王衡出生于官宦家庭。其父王锡爵为万历年间的大学士、内阁首辅，其母为朱氏。王衡从小聪颖过人，又好学博记，尤好古文诗歌，且得名师教导，并从同乡同姓的大文豪王世贞处学习诗文，故《列朝诗集小传》就称他“学殖益富，能诗善书，散华落藻，名动海内”。\n万历五年（1577年），发生的张居正夺情事件，更是让少年王衡在当时名满天下。陈继儒在《太史辰玉集叙》中道：“初江陵夺情，文肃公争丧次，救吴、赵两太史，祸叵测。辰玉和《归去来辞》以招之。文肃公持以谓人曰：吾不归，将无为孺子所笑。辰玉方十四，名动京师已。”钱谦益《列朝诗集小传》丁集下《王编修衡》也说王衡“年十四，作《和归去来辞》，以讽江陵，馆阁中争相传写”",[25,26,80,7,305,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f12e510091fd33196201b5b77b9ff86.jpg",[101],{"id":39376,"slug":39377,"title":26099,"dynasty":18,"author":8803,"museum":331,"description":17043,"tags":39378,"thumbUrl":39382,"material":198,"size":780,"collection":100,"collections":39383,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},240845,"shi-zhou-li-fang-ying-240845",[26,7,97,80,79,26830,2014,39379,39380,39381,196,16346],"湖","田","渠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5141a41c616b5c4177e13d57a8186737.jpg",[],{"id":39385,"slug":39386,"title":39387,"dynasty":18,"author":39388,"museum":331,"description":39389,"tags":39390,"thumbUrl":39391,"material":198,"size":780,"collection":100,"collections":39392,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},240705,"mo-you-zhi-lu-yu-zhou-mo-you-zhi-240705","莫友芝录语轴","莫友芝","莫友芝（1811～1871）字子偲，自号郘亭，又号紫泉、眲叟，贵州独山人。晚清金石学家、目录版本学家、书法家，宋诗派重要成员。家世传业，通文字训诂之学，与遵义郑珍并称“西南巨儒”。",[472,7,80,5199,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde16eaa7277327ea2adfe5e8b8cbe743.jpg",[],{"id":39394,"slug":39395,"title":26099,"dynasty":18,"author":37637,"museum":331,"description":37638,"tags":39396,"thumbUrl":39397,"material":198,"size":780,"collection":100,"collections":39398,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":704},240613,"shi-zhou-yu-yue-240613",[25,26,7,5199,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58d71249932d1697de043778aa5723f4.jpg",[],{"id":39400,"slug":39401,"title":39402,"dynasty":18,"author":34023,"museum":236,"description":39403,"tags":39404,"thumbUrl":39405,"material":9109,"size":39406,"collection":101,"collections":39407,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},240611,"zhang-zhao-qi-lv-shi-zhou-zhang-zhao-240611","张照七律诗轴","释文：\n安石榴花开最迟，绛裘深树出幽菲。吾庐想见无限好，客子倦游何不归。坐上一尊虽得满，古来四事巧相违。今人却忆湖边寺，垂柳阴阴昼揜扉。张照。\n下钤“张照之印”、“瀛海仙琴”印2方。引首钤“既醉轩”印。无鉴藏印。\n此书行笔圆转流畅，墨色浓润，偶出枯笔于牵丝回绕处，愈觉神采飞扬。张照的书法融董其昌疏朗闲逸的布白和颜真卿淳厚敦朴的笔致于一体，从而呈现出别具特色的自家风貌。",[80,97,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a4c692de130a0182986bfaed5d19fc.jpg","纵143.7厘米，横54.8厘米",[101],{"id":39409,"slug":39410,"title":26099,"dynasty":18,"author":16063,"museum":331,"description":39411,"tags":39412,"thumbUrl":39413,"material":198,"size":780,"collection":100,"collections":39414,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":704},240609,"shi-zhou-lin-ze-xu-240609","林则徐（1785年8月30日－1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[18,7,97,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d94c60dc320bc4d6c9b6d11300c03f.jpg",[],{"id":39416,"slug":39417,"title":39418,"dynasty":18,"author":39419,"museum":331,"description":39420,"tags":39421,"thumbUrl":39422,"material":214,"size":100,"collection":101,"collections":39423,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},240604,"han-tan-shu-shi-zhou-han-tan-240604","韩菼书诗轴","韩菼","韩菼tǎn（1637年-1704年），字元少，别号慕庐，长洲（今苏州）人。性嗜酒。顺天乡试时，尚书徐乾学取之遗卷中。康熙十一年（1672年）入国子监做监生。康熙十二年（1673年）中状元，授翰林院修撰，修《孝经衍义》百卷。历官日讲起居注官、右赞善、侍讲、侍读，礼部侍郎、吏部右侍郎，官至礼部尚书兼翰林院掌院学士。",[80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bb7744e0306dd5e4103e6d78594d88f.jpg",[101],{"id":39425,"slug":39426,"title":27442,"dynasty":18,"author":36882,"museum":331,"description":36883,"tags":39427,"thumbUrl":39428,"material":198,"size":780,"collection":100,"collections":39429,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},240507,"qi-yan-lian-huang-yi-240507",[80,3362,5199,7,28,79,600,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb61eb2deb1fe816dc385f1fcfafea2.jpg",[],{"id":39431,"slug":39432,"title":39433,"dynasty":18,"author":39434,"museum":236,"description":39435,"tags":39436,"thumbUrl":39437,"material":214,"size":100,"collection":101,"collections":39438,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},240486,"zheng-yi-zi-li-wen-zhou-liu-bing-tian-240486","正诣自励文轴","刘秉恬","邱正诣，字三进，号南漪散人，苏州府昆山县人，一代诗僧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此图画巨大的湖石一堵屹立画面正中旁边梧桐和柏树冲天而立。笔墨清劲构图平中寓险为陆行直传世名作。画右自题词一首：「侯虫凄段人语西风岸月落沙平流水漫 驚见芦花来雁。可憐瘦损兰趁多情因为卿卿只有一枝梧页不知多少秋声。」后识「友人张叔夏赠余之作也余不能记忆于至治元年仲夏二十四日戏作碧梧苍石与冶仙西 窗夜坐因语及此转瞬二十一载今卿卿叔夏皆成故人恍然如隔世事遂书于卷首以记一时之感慨云。季道陆行直题。」钤「致和斋」、「陆季道氏」二印右下又题词一首 款「陆行直重题」。本幅有元刘则□、页衡、冶仙、曹仲达、卫达辰等十四家题记诗塘有明刘稽、周鼎题识裱边有谢希曾跋语。钤明项子京等收藏印多方。《汪氏珊 瑚網》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。",[25,26,7,77,130,97,80,35,131,6505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a0d56a3607216b38f91cd9c8d213f8.jpg","纵107cm，横53.2cm",[],{"id":39718,"slug":39719,"title":39720,"dynasty":93,"author":50,"museum":236,"description":39721,"tags":39722,"thumbUrl":39723,"material":486,"size":39724,"collection":100,"collections":39725,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},233023,"pan-che-tu-zhou-yi-ming-233023","盘车图轴","图中装满货物的牛车正在艰难地向山上行进，货物已将车架压得有些变形。一只小狗出现在车轮旁，一边高声呼叫着通知客人的到来，一边左右奔跑，似欲助牛车一臂之力，画家将小狗热情急切的心态表露无遗，亲切动人。",[25,24,7,77,130,129,132,170,26918,733,174,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2182ca4fbc80c097427b56f3f9351c89.jpg","纵109厘米，横49.5厘米",[],{"id":39727,"slug":39728,"title":39729,"dynasty":18,"author":27789,"museum":74,"description":39730,"tags":39731,"thumbUrl":39732,"material":182,"size":39733,"collection":100,"collections":39734,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},232678,"qiu-shan-ping-yuan-tu-he-yi-232678","秋山平远图","此作用平远之法铺展秋景，近岸苍松虬劲，杂木以丹黄点染，将秋意揉进枝叶肌理，茅庐依水而居，野趣横生。平湖如镜，一舟独泛，载着闲逸随波漫行，汀渚蒹葭苍苍，晕开渺渺秋光。远景山峦轻笼烟霭，墨色澹宕清润，将秋山空寂辽远铺陈开来。\n\n画作以元人笔意写就，浅设色晕染出疏淡秋韵，配上行书题诗，书画相融，尽抒林泉幽栖的隐逸襟怀，把秋日郊野的萧散闲雅，晕成一卷可赏可居的诗意天地。",[25,26,7,28,129,130,97,79,349,377,170,132,522,2581,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb042d680982c51c068e54818b5dddb47.jpg","99.4×48.3",[],{"id":39736,"slug":39737,"title":39738,"dynasty":18,"author":4998,"museum":20,"description":32374,"tags":39739,"thumbUrl":39741,"material":214,"size":32377,"collection":100,"collections":39742,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},232676,"shan-shui-tu-lan-yan-shu-se-wang-yuan-qi-232676","山水图(岚烟树色)",[24,25,26,7,77,130,97,80,79,129,1651,170,427,78,132,173,39740],"岚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3ca722659548bd5b92cc3b10a0df4c.jpg",[],{"id":39744,"slug":39745,"title":39746,"dynasty":207,"author":50,"museum":20,"description":39747,"tags":39748,"thumbUrl":39749,"material":214,"size":39750,"collection":100,"collections":39751,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},231888,"lu-ye-da-mo-tu-yi-ming-231888","芦叶达摩图","亲近佛道的人，除了兴趣，往往都有自救的动机和解脱的渴望——他们对心中迷乱挣扎有着更真切的体会和更迫切的出离愿望。但常听人问起如何才能心不乱、到底应该如何去修等问题，先圣经典对此讲说甚多而明明白白，为什么还有这么普遍的困惑呢？除了法门太多而无从抉择的原因，更多的恐怕还是很多法门都太高妙，自己找不到实在的下手处。\n法门的选择上，先圣早已明言：“佛说一切法，为治一切心；若无一切心，何须一切法”、“一门深入，即可成就”。一切法门都是为适应众生不同根机的方便，实相和本源皆在言外法下，纠结于名相或盯在高低优劣，都是不解乃至大违圣意。正确的路子，是依自己适合的而抉择，然后笃定地做下去便是。\n无从下手则是实实在在的难处，强求不了。到底有没有既深契高妙又可真正下手的法门？我能想到的最好的答案是菩提达摩的32字心法，记载于《景德传灯录》中。\n达摩是禅宗西天第二十八祖，东土初祖。他的名号在中国可谓无人不知无人不晓，他的教法了解的却恐怕不多。禅宗的发展是向着越来越玄妙、越来越难以把握去的，因为祖师们觉得一切把握都等同于妄，非得透一切名相而直契本源不可，只是其中超妙非利根而不得入。禅宗是否一向如此呢？不是的，至少不完全是——在达摩祖师的时代，教法上不仅有着禅宗一贯的宗旨，下手上也是朴实直接的。这点其实一直到六祖慧能也还保留着，我们看《坛经》中的接引，也都是实实在在的。\n32字心法的内容是：“外息诸缘，内心无喘。心如墙壁，可以入道。明佛心宗，等无差误。行解相应，名之曰祖。”它有两个重大处，一是不是孤立提出，而是在达摩祖师总结的入道二门——理入和行入的基础上提出来的。行入又包括四行，是入道的四个可以真正下手处，称之为“四行观”，“其余诸行，悉入此中”。二是理入与行入之间，还暗含一大玄机，乃一切法门的总纲所在，可称根本心法，却少为人注意。\n只是这理入的玄机，非详知四行而不得解。所以达摩虽将理入安立在行入之前，并大有如此安排的深意，却需要先从四个可以真正下手处说起。",[23,25,7,54,29,985,77,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa936cbcd0ef7ed62fe770ec635c672.jpg","175×38.5厘米",[],{"id":39753,"slug":39754,"title":39755,"dynasty":49,"author":39756,"museum":331,"description":39757,"tags":39758,"thumbUrl":39760,"material":198,"size":780,"collection":100,"collections":39761,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},231648,"yan-nan-qu-tu-zhou-chun-zhang-231648","雁南去图轴","春章","淡赭晕开江天暮色，冷月悬于低空，阵雁振翅南去，把秋意揉进流云里。草舍阶前，女子以袖拭泪，将别情藏在颦蹙之间；青衫男子席地静坐，执箸无言，满室怅惘随着晚风漫过竹帘。岸侧丹枫缀着残红，把萧索融进依依别绪。\n\n整作设色柔雅清润，线条秀逸温婉，将羁旅离别的缱绻愁思，融在江村秋夜的冷寂图景中。雁影渐远，愁味悠长，淡而不散的别意随着暮色漫开，余韵悠悠。",[25,26,7,28,27,29,151,212,170,59,39759,778,1405],"草席","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87597ec94c9796e19b45ef00072964db.jpg",[],{"id":39763,"slug":39764,"title":39765,"dynasty":49,"author":39766,"museum":331,"description":39767,"tags":39768,"thumbUrl":39770,"material":198,"size":780,"collection":100,"collections":39771,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},231646,"ren-wu-yi-ji-tu-zhou-ge-chuan-guang-zhong-231646","人物艺妓图轴","歌川广重","这幅仕女图笔调温婉沉静，绘就女子缓提衣裾、赤足轻落的柔缓身姿，侧身回眸间尽显娴静柔媚。\n深褐和服底色雅致沉静，衣身与下摆晕染勾勒蓝花白草纹样，腰封织金云纹华贵雍容，袖口、衣摆的朱红点缀，于沉稳中提亮画面层次，将江户风月里的柔美与华贵相融。满头金饰簪钗衬得乌髻莹亮，敷白粉面靥带着典型的浮世绘美人妆造特质。大片留白背景将目光尽数汇聚于女子身上，尽显画师刻画仕女情态的深厚功力，将绮靡柔美的江户风月，定格于绢本之上，雅致静美，余韵悠长。",[39769,28,29,7,30,34,60,27],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360e83bc681e4ccf1fc136ba8cc4d6b2.jpg",[],{"id":39773,"slug":39774,"title":39775,"dynasty":49,"author":10100,"museum":331,"description":37147,"tags":39776,"thumbUrl":39777,"material":198,"size":780,"collection":100,"collections":39778,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},231622,"shi-ting-shi-dai-zu-shi-da-man-song-da-zhi-tu-zhou-shou-ye-yuan-xin-231622","室町时代 祖师大满送大智图轴",[23,25,26,7,77,28,129,29,349,134,193,170,132,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2410f5a3214a93e64d7edcf5771d2a8b.jpg",[],{"id":39780,"slug":39781,"title":39782,"dynasty":49,"author":50,"museum":331,"description":39783,"tags":39784,"thumbUrl":39785,"material":198,"size":780,"collection":100,"collections":39786,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},231620,"shan-shui-shi-er-tu-ping-li-zhou-yi-ming-231620","山水十二图屏立轴","此作用淡彩浅绛写就江隅小景，近岸老松虬曲苍劲，松叶敷染清润，自有葱茏生机。坡岸浅草萋萋，留白摹写江水空阔，淡墨晕染远岸烟岚，晕化出空濛悠远的淡远意境。\n题句融于画面，“清风松翠，斜日照江”，诗画相映，将闲淡悠然的野趣铺陈开来。笔致秀润温婉，摒弃浓墨重彩，尽显江南水岸的清寂安闲，带着文人画的雅致意趣，将观画人带入幽宁静谧的江渚闲居之境。",[23,25,26,7,28,130,129,427,132,5110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da01ef5a5e4c80f11e0cb13cb46b25d.jpg",[],{"id":39788,"slug":39789,"title":39790,"dynasty":49,"author":50,"museum":331,"description":39791,"tags":39792,"thumbUrl":39793,"material":182,"size":39794,"collection":100,"collections":39795,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},231575,"guan-pu-na-liang-tu-yi-ming-231575","观瀑纳凉图","此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[23,25,26,7,77,28,129,169,427,132,130,3996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e3988e8251adabd7d2b3ba7cab365a.jpg","纵24cm，横24.9cm",[],{"id":39797,"slug":39798,"title":39799,"dynasty":72,"author":50,"museum":331,"description":39800,"tags":39801,"thumbUrl":39804,"material":182,"size":28462,"collection":100,"collections":39805,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},231547,"dong-xue-shan-jing-tu-yi-ming-231547","冬雪山景图","它的白雪皑皑不是冰冷峻峭，却是高雅与逍遥。",[23,25,77,129,3880,1240,427,132,29,39802,39803,7],"高雅","逍遥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dfb2c05c90dc6fbecb022d86227e2b9.jpg",[],{"id":39807,"slug":39808,"title":39809,"dynasty":207,"author":50,"museum":331,"description":39810,"tags":39811,"thumbUrl":39812,"material":100,"size":100,"collection":100,"collections":39813,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":704},231038,"su-shu-yi-ming-231038","粟鼠","此作用水墨写意写就，枯槎苍劲朴拙，栗枝舒展间，墨色浓淡晕染出叶片柔润舒展之态，栗果饱满写实，尽显秋实野趣。\n\n两只粟鼠是画中灵动焦点，淡墨晕出绒毛发肤，一笔扫就蓬松长尾，细笔勾勒爪牙眉眼，一只捧食凝神，憨态可掬，一只俯身探看，灵动俏皮。画面留白疏朗萧散，以极简笔墨铺陈出秋日林间的闲散意趣，将山野小景的生机与简淡清逸的意韵相融，尽显水墨花鸟的雅致野逸之美。",[23,24,25,26,7,77,27,130,241,4380,131,291,25896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca36ef3cadb6f575e61c0b0a7414e33.jpg",[],{"id":39815,"slug":39816,"title":39817,"dynasty":49,"author":50,"museum":331,"description":39818,"tags":39819,"thumbUrl":39820,"material":198,"size":780,"collection":100,"collections":39821,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":342},230554,"song-xia-da-mo-tu-yi-ming-230554","松下达摩图","此作以淡墨白描写达摩禅定之姿，衣纹圆转简练，宽袍裹挟身形，神情沉凝肃穆，尽显面壁九年的静定禅心。背景松枝以焦墨点染，古拙苍劲，淡墨晕染流云氤氲缥缈，烘出幽寂空灵的禅境，下方山石以干笔皴擦，朴拙厚重，与达摩沉静之气融为一体。\n\n右上角题字笔意纵逸萧散，与画面简淡禅意相得益彰。全作以极简水墨语言，摒弃繁复修饰，在虚实相生间将达摩苦修定力与山林清寂相融，把禅宗空灵内敛的意趣诠释得淋漓尽致，尽显禅画写意的悠远妙味。",[23,25,26,7,54,985,29,378,601,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f2a0c1e592ea964d7d13e6df54c70.jpg",[],{"id":39823,"slug":39824,"title":39825,"dynasty":18,"author":50,"museum":331,"description":39826,"tags":39827,"thumbUrl":39828,"material":100,"size":100,"collection":100,"collections":39829,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},230317,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-nu-er-ha-chi-yi-ming-230317","历代帝王贵妃大臣朝服像(努尔哈赤)","此作工致写实，将帝王威仪凝于绢素之上。明黄朝服工整华贵，团龙纹样饱满威严，晕染细腻，层次分明地还原出织绣的肌理华彩，衣纹舒展沉稳，贴合身形尽显礼制规制。帝王面容刻画写实传神，神态沉静肃穆，自带开国君主的厚重气场，眉眼间尽显沉稳威严。背景纹样工整雅致，与人物朝服的华丽相得益彰，烘托出庄重典仪氛围。整作兼顾纪实性与礼制性，细腻还原清初帝王仪范，笔墨之间尽显肃穆庄重的皇家气度，是清代肖像画中颇具代表性的典制肖像作品。",[23,25,26,7,28,27,29,34,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302754de7146badad37e3ce97031c595.jpg",[],{"id":39831,"slug":39832,"title":39833,"dynasty":18,"author":39834,"museum":331,"description":39835,"tags":39836,"thumbUrl":39837,"material":100,"size":100,"collection":100,"collections":39838,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},228974,"si-ji-shan-shui-ping-ming-jian-228974","四季山水屏","明俭","此作用浅绛写就冬山雪景，以大面积留白与淡墨晕染表现峰峦积雪，浓墨勾勒崖壁轮廓，将冰雪覆山的清寒孤高尽显无余。\n\n枯松劲柏层叠错落，枝桠利落苍郁，暗写雪压枝头的沉凝质感。山坳间古寺浮屠隐于林木中，朱红屋舍素白雪景相映，冷寂里晕开一抹烟火暖意。溪谷浅滩以白代雪，水坝板桥藏于雪色间，于静谧中暗涌生机。\n\n整画仿戴进雪岭笔意，兼得浙派山水刚劲构图，又融入禅意冲淡萧散的气韵，将冬日空山的冷寂与古刹温煦相融，尽显雪后山林清旷安闲之境，笔墨清雅意趣悠长。",[23,25,26,7,77,28,129,269,170,132,3552,613,134,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec019cf1cea1eb3808798ea50b60410.jpg",[],{"id":39840,"slug":39841,"title":39842,"dynasty":18,"author":2330,"museum":331,"description":39843,"tags":39844,"thumbUrl":39845,"material":100,"size":100,"collection":100,"collections":39846,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},228956,"yu-zhi-wan-fang-an-he-jing-shu-shi-jiang-ting-xi-228956","御制万方安和敬述诗","此作用云蝠纹粉笺书写，底色瑞纹雅致，与笔墨相映成趣。行书兼具馆阁端稳与文人意趣，用笔圆劲秀逸，起收间顿挫有度，结体匀整端庄又暗含灵动姿态，字行气脉贯通，章法疏朗合宜。\n笔墨间带着恭谨雅致的庙堂气韵，既有台阁体的规整雍容，又融个人隽秀书风，将庄重感与温润笔墨相融，在严整法度中透出温婉情致，尽显清中期翰苑书法典型风貌，纹饰与笔墨相得益彰，更添祥和雅正之韵。",[23,25,26,7,97,80,28,10262,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5e125151224206e9ae776a4d8ee0ab.jpg",[],{"id":39848,"slug":39849,"title":31516,"dynasty":72,"author":14346,"museum":331,"description":39850,"tags":39851,"thumbUrl":39852,"material":100,"size":100,"collection":100,"collections":39853,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},228337,"yin-bao-jie-shan-tu-zhou-wang-wen-228337","《隐宝界山图》是明朝王问所作名画，此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生于1949年购于广州。\n1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。\n画心左上自题：“宝界山，余读易庐在焉。\n嘉靖戊申始得辞岭南之命，寄傲其间，静志远交，可以寡过矣。\n诗曰：荒山雨雪暮寒时，碧树临湖橘柚垂。\n归棹复寻渔径入，幽居更向谷云移。\n鲈如张翰思偏早，酒为渊明酿已迟。\n木石久谙麇鹿性，野人相见莫相疑。\n仲山王问写并书。\n”钤“王问之印”、“进士”等印。\n据此图题跋，可知所画是王问在嘉靖戊申年（二十七年，1548年）隐居无锡宝界山读书时的情景，为画家5岁时所作。\n鉴赏印钤“石渠宝笈”、“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等印。\n画幅右下钤“无事对青山”白方印，左下钤“闲溪陈氏玉阶珍藏”朱长方印。\n画中所绘当为宝界山实景。\n筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。\n画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。\n用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。\n王问之作传世不多，得此盛年鼎绝作品实为不易。",[23,25,7,129,77,130,269,349,193,170,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8002608845fa1f1fb6a6f63a76f2c409.jpg",[],{"id":39855,"slug":39856,"title":21565,"dynasty":207,"author":50,"museum":331,"description":39857,"tags":39858,"thumbUrl":39859,"material":198,"size":780,"collection":100,"collections":39860,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},228233,"da-mo-xiang-yi-ming-228233","达摩，是中国禅宗的初祖。他生于南印度，婆罗门族，出家后倾心大乘佛法。梁·普通年中（520～526，一说南朝宋末），他自印度航海来到广州，从这里北行至魏，到处以禅法教人。据说他在洛阳看见永宁寺宝塔建筑的精美，自言年已一五0岁，历游各国都不曾见过，于是‘口唱南无，合掌连日’（《洛阳伽蓝记》卷一）。",[23,24,25,26,7,54,985,77,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F896744299faea52caf62dceaf7edaa23.jpg",[],{"id":39862,"slug":39863,"title":39864,"dynasty":207,"author":50,"museum":331,"description":39865,"tags":39866,"thumbUrl":39867,"material":100,"size":100,"collection":100,"collections":39868,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},228232,"xin-pi-yin-ju-tu-yi-ming-228232","辛毗引裾图","苍松虬曲、茂叶层叠，将深庭掩映出私密肃穆的议事氛围。画面人物排布错落有致，主宾对坐之间，扯衣强谏的身姿凛然生动，把忠直不屈的诤臣情态凝于笔端。侍从仕女垂立恭谨，更衬出君臣对谈的张力。\n\n设色沉厚朴拙，线条凝练劲挺，以淡赭墨晕染衣褶神情，将汉末朝堂犯颜直谏的场景复刻于绢素之上，定格古人犯言敢谏的风骨，兼具叙事性与感染力，尽显古雅厚重的历史画意趣，让千年前的忠直诤言仿佛仍回荡在庭间。",[23,25,26,7,28,27,29,170,778,602,1405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4418be9d801ecd024106fbbe1a8721.jpg",[],{"id":39870,"slug":39871,"title":10824,"dynasty":207,"author":50,"museum":331,"description":39872,"tags":39873,"thumbUrl":39874,"material":100,"size":100,"collection":100,"collections":39875,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},228224,"luo-han-yi-ming-228224","此作绘禅林尊者，蹙眉沉凝，神色威严沉静，似正于枯岩禅椅间论禅说法。衣纹以铁线描勾勒，转折刚劲爽利，敷色苍古沉稳，石色晕染出衣袍厚重质感，暗纹隐现愈显庄重。靴履绒毛、衣缘纹饰刻画入微，细节见功底。淡墨晕染的枯木怪石烘托出幽寂禅意，整幅画作承袭唐宋造像法度，兼具元代洗练气质，将高僧超尘出世的沉静风骨尽显无遗，古韵悠悠，尽显宗教人物画的肃穆雅致。",[25,26,7,54,28,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff22c2af75802b1709a4750a9ddb96e95.jpg",[],{"id":39877,"slug":39878,"title":39879,"dynasty":207,"author":39880,"museum":331,"description":39881,"tags":39882,"thumbUrl":39883,"material":100,"size":100,"collection":100,"collections":39884,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},228073,"wu-zu-zai-lai-tu-yin-tuo-luo-228073","五祖再来图","因陀罗","此作以简淡笔墨铺陈意境，古木虬枝斜伸，树下老僧垂敛眉目，静待客来。儒士执礼恭谨，童子侍立旁侧，三人情态各异却气韵相合。线条洗练灵动，寥寥数笔便将老僧的淡然、访客的虔敬尽皆勾勒，墨色干湿浓淡间晕染出清幽禅寂之境。留白处题诗补意，以文配画，暗合真性不灭的禅家旨趣，诗画相融，文心禅意交织。整幅画作萧散简远，以形写神，尽显以简驭繁的元人画意，是禅意绘事中诗画合璧的精妙之作。",[23,25,26,7,985,77,54,29,170,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b16e7b6b0402e3f9a7533a77b77282.jpg",[],{"id":39886,"slug":39887,"title":412,"dynasty":93,"author":50,"museum":331,"description":39888,"tags":39889,"thumbUrl":39891,"material":100,"size":100,"collection":100,"collections":39892,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":342},227912,"zhu-shi-tu-yi-ming-227912","以淡墨晕染出空茫幽寂的天地，将幽竹顽石隐于画幅下半隅，尽显萧散简远的林下意趣。\n浓墨挥写竹竿，劲挺有节，竹叶以介、个笔法点染，错落交叠，似带山中风声，既有婆娑摇曳之姿，又暗合君子坚韧不折的品格。怪石以枯淡墨笔勾勒皴擦，苍朴古拙，与修竹相映，衬出山野荒寒的幽僻之境。\n整幅画面留白通透，以极简笔墨营造出空寂禅意，把文人寄情林泉的澹泊襟怀，融于水墨虚实之间，尽显含蓄雅致的写意风神。",[23,25,26,24,1520,7,77,31,601,151,1174,130,39890],"竹石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a6beb5f7a689648a17c4240b5acc88.jpg",[],{"id":39894,"slug":39895,"title":27713,"dynasty":93,"author":50,"museum":331,"description":39896,"tags":39897,"thumbUrl":39898,"material":100,"size":100,"collection":100,"collections":39899,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},227860,"dou-niu-tu-yi-ming-227860","枯木斜欱，淡墨晕出朦胧坡岸，寥寥数笔便铺就荒寂郊野底色。两头犍牛犄角相抵，四蹄攒动拧转，躯体的肌肉轮廓以浓墨晕染，将角力间迸发的蛮力与野性尽数展露。\n\n全作笔致简淡却精准传神，舍去多余修饰，独取斗牛最酣烈的一瞬定格。以写意笔墨捕捉牲畜好斗的天生野性，乡野间蓬勃朴拙的生趣跃然绢素，于疏淡之中蕴藏着饱满蓬勃的生命力，尽显以简驭繁的写意妙趣。",[23,25,24,26,7,28,27,1571,35,253,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd528a92ff060f51045a85b2c95ebad86.jpg",[],{"id":39901,"slug":39902,"title":39903,"dynasty":93,"author":39904,"museum":331,"description":39905,"tags":39906,"thumbUrl":39907,"material":100,"size":100,"collection":100,"collections":39908,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},227692,"song-li-zong-mo-ji-zhao-li-zong-zhao-yun-227692","宋理宗墨迹","赵理宗赵昀","宋理宗赵昀（1205年1月26日－1264年11月16日），原名赵与莒，后赐名赵贵诚，宋太祖次子燕懿王赵德昭九世孙，宋宁宗太子赵竑与宰相史弥远不睦，1224年宁宗驾崩后，弥远矫诏立贵诚为帝，是为宋理宗，改名赵昀，是南宋的第五位皇帝（1224年9月17日－1264年11月16日在位），在位40年，享年59岁。",[80,97,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632e8f5ca900610cfd30ca48bcd40c4d.jpg",[],{"id":39910,"slug":39911,"title":39912,"dynasty":18,"author":4669,"museum":331,"description":39913,"tags":39914,"thumbUrl":39919,"material":100,"size":100,"collection":100,"collections":39920,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":88},224472,"liang-chang-shan-guan-tu-zhou-wang-hui-224472","良常山馆图轴","此作用笔精谨秀润，以巍峨主峰撑起画面骨架，山石以披麻皴层层皴染，尽显苍劲浑厚，崖壁高耸险峻，尽显自然雄奇之态。山谷间林木蓊郁，屋舍幽藏于林麓之间，溪涧蜿蜒穿流于乱石浅滩，烘托出世外幽居的静谧闲雅。\n\n画作兼得北宋山水的雄浑格局与元人笔墨的秀逸温润，将山野林泉的朴茂生机与文人幽居的雅趣相融，于规整中见灵动，笔墨间尽抒山水清旷之美，尽显正统山水画的雅致意韵。",[23,25,24,7,364,77,1418,132,39915,6170,3150,133,21494,39916,19075,13901,28211,2885,39917,39918,2886],"崖壁","乱石","秀逸","清旷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcfa06a3c8190e72183fd3cb7d83.jpg",[],{"id":39922,"slug":39923,"title":39924,"dynasty":18,"author":4998,"museum":331,"description":39925,"tags":39926,"thumbUrl":39928,"material":100,"size":100,"collection":100,"collections":39929,"showCount":370,"zanCount":43,"manualWeight":43,"mainColor":44},224403,"gao-ling-ping-chuan-tu-wang-yuan-qi-224403","高岭平川图","《王原祁画论译注》由俞丰译注，荣宝斋出版社出版。\n雨窗漫笔 论画十则 麓台题画稿 沈楙德跋 题丹思画册仿叔明 仿黄子久笔 题仿大痴巨幅 烟峦秋爽仿荆关 仿梅道人笔 仿小米笔 仿黄子久 题仿大痴笔（一） 仿大痴秋山 仿大痴（一） 仿黄大痴长卷 仿大痴（二） 仿梅道人 仿大痴（三） 仿大痴《九峰雪霁》 仿大痴（四） 仿设色大痴 仿设色倪黄 题仿大痴笔（二） 送励南湖画册十幅仿宋元诸大家 题仿万壑松风丹思三十幅之一 题仿范华原三十幅之一 画设色高房山三十幅之一 仿松雪、大年笔意 题画仿王叔明长卷 题仿大痴手卷 题仿淡墨云林 题仿梅道人长卷 题学思翁仿子久法 题仿赵大年推篷四页之一 题仿董巨笔 题仿小米笔 仿大痴设色秋山 题仿梅道人 仿设色小米 仿大痴秋山 仿梅道人 仿大痴水墨长卷 画家总论题画呈八叔 仿设色大痴长卷 仿王叔明 题仿大痴没色秋山 为凯功掌宪写元季四家 仿黄子久设色 仿设色大痴秋山 仿大痴笔为轮美作 又仿大痴设色 仿设色倪黄 大横披仿设色大痴 拟设色云林小幅 仿倪黄设色小卷 仿黄鹤山樵巨幅山水 题仿董北苑 外三则 题跋广录 仿大痴笔 溪山高隐图卷 西窗消永图 为在陆策懒 仿大痴富春图 仿古山水卷 仿古山水册（一） 仿黄公望山水 仿大痴山水（一） 华山秋色图 会心大痴 仿倪瓒山水 山水（一） 为明吉作山水 仿黄鹤山樵《秋山读书图》 仿倪黄笔意 仿大痴山水（二） 意止斋图卷 沧浪亭诗意 仿黄大痴《秋山图》 仿王蒙《溪山仙馆图》 仿梅道人山水 富春山图 写大痴得力荆关 仿赵孟頫山水 仿古脱古图 夏山图 补云林《遂幽轩图》 仿王蒙山水 湖湘山水 仿倪瓒笔意 仿高尚《书云山图》 杜老诗意 四绝山水 溪山林屋图 万壑千崖卷 仿宋元六家卷 清泉白石图 仿倪黄山水 舟次所作 仿曹云西山水 倪黄笔意图 用高尚书法写少陵诗意 仿黄公望山水 仿元季六大家推篷册 仿大痴富春山笔意卷 山水为石谷 仿倪黄山水 胜弈图 仿大痴山水卷 竹溪渔浦松岭云岩卷 山水（二） 没色山水 仿山樵山水 山水（三） 仿古山水 仿倪瓒山水 仿董巨山水 仿古臣册 仿王蒙山水 为杨晋画山水 仿方方壶 仿梅道人《秋山图》 设色山水 仿大痴画法 仿王蒙山水 仿黄公望山水 仿大痴（五） 仿董巨山水 仿高克恭山水 仿山樵林泉清集丹台春晓二图意 仿黄公望笔意 仿黄公望《秋山图》 仿赵大年江南春参松雪笔意 西岭烟云卷 仿王蒙笔意 为拱辰作山水 仿米家云山 仿倪画笔意 仿惠崇江南春 仿倪黄山水 秋山图 仿大痴山水（三） 春山图 江山无尽图 山村雨景 仿黄公望《富春山色图》 仿黄公望山水 学董巨神完气足 仿诸家山水 赠王忍庵横幅二 仿云林山水 仿王蒙笔意 苍岩翠壁图 仿大痴《秋山图》 秋林叠巘图 红香夹岸图 仿黄公望《富春山居图》 仿大痴兼赵大年江南春意 远山叠嶂图 仿倪黄山水 九日适成卷 仿古 山水（四） 山水（五） 仿倪瓒山水 粤东山水 仿云林山水 夏山水阁图 高岭平川图 仿大痴山水（四） 为位凝作山水 云山罨画图卷 水墨山水 山水（六） 仿大痴山水（五） 仿黄公望笔意 山水（七） 仿大痴山水（六） 设色山水 危峰独秀图 大痴小幅 陡壁磐石图 远岫归云图 仿倪高士《滩声嘈嘈杂雨声图》 跋文徵明《石湖清胜图卷》 仿古山水册（二） 仿云林山水 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诗文师大苏，音格高雅，赋骈体皆师唐、宋，居词馆三十余年，文名动天下。卒年六十八。所著有《南雅诗文钞》，《清史列传》行于世。",[97,7,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537079440bf1da33f780cf7b1a014b4e.jpg",[101],{"id":40854,"slug":40855,"title":40856,"dynasty":72,"author":40857,"museum":331,"description":40858,"tags":40859,"thumbUrl":40860,"material":198,"size":780,"collection":100,"collections":40861,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},241468,"qi-yan-shi-ju-zhou-yang-ji-sheng-241468","七言诗句轴","杨继盛","杨继盛（1516年6月16日－1555年），字仲芳，号椒山。直隶容城（今河北容城县北河照村）人。明朝中期著名谏臣。\n嘉靖二十六年（1547年），杨继盛登进士第，初任南京吏部主事，师从南京吏部尚书韩邦奇学习律吕。后官兵部员外郎。因上疏弹劾仇鸾开马市之议，被贬为狄道典史。其后被起用为诸城知县，迁南京户部主事、刑部员外郎，调兵部武选司员外郎。\n嘉靖三十二年（1553年），上疏力劾严嵩“五奸十大罪”，遭诬陷下狱。在狱中备经拷打，终于嘉靖三十四年（1555年）遇害，年四十。明穆宗即位后，以杨继盛为直谏诸臣之首，追赠太常少卿，谥号“忠愍”，世称“杨忠愍”。后人以其故宅改庙以奉，尊为城隍。有《杨忠愍文集》。",[80,97,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3fcfb9904df575dee9b05b5a313429.jpg",[],{"id":40863,"slug":40864,"title":20028,"dynasty":18,"author":3083,"museum":331,"description":29642,"tags":40865,"thumbUrl":40866,"material":198,"size":780,"collection":100,"collections":40867,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},241414,"qi-lv-zhou-huang-shen-241414",[80,7,305,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9828e5aac72ecb8c1dd3dbb0eee4e13b.jpg",[],{"id":40869,"slug":40870,"title":38091,"dynasty":18,"author":40871,"museum":236,"description":30406,"tags":40872,"thumbUrl":40873,"material":26818,"size":30409,"collection":101,"collections":40874,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},241400,"lin-tie-zhou-wang-ze-241400","王泽",[80,945,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fc72eb87ba879f31dbddc86e5843ef.jpg",[101],{"id":40876,"slug":40877,"title":40878,"dynasty":18,"author":40879,"museum":331,"description":40880,"tags":40881,"thumbUrl":40882,"material":214,"size":100,"collection":101,"collections":40883,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},241380,"xing-jie-lin-zhao-wen-min-bao-yun-si-bei-zhou-shen-zong-jing-241380","行节临赵文敏宝云寺碑轴","沈宗敬","沈宗敬（1669—1735）《清朝畫徵錄》作雍正三年（1725）卒，清朝書畫家筆錄從之。字恪庭、南季，號獅峯、獅峯道人、雙鶴老人、雙杏草堂主人、卧虛山人等，華亭（今松江屬上海市）人，沈荃之子。今依歷代畫史匯傳。",[80,97,945,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F570db20bb1c34f1503be051ab51a2872.jpg",[101],{"id":40885,"slug":40886,"title":32198,"dynasty":18,"author":40887,"museum":331,"description":40888,"tags":40889,"thumbUrl":40890,"material":214,"size":100,"collection":101,"collections":40891,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},241379,"wu-lv-zhou-shen-sheng-qi-241379","沈圣岐","万历时人。善书。诗余画谱有其所书。",[80,97,7,79,38474,3266,10158,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfa9905c2c722d08994fd79fd112cb9.jpg",[101],{"id":40893,"slug":40894,"title":20028,"dynasty":18,"author":361,"museum":331,"description":16429,"tags":40895,"thumbUrl":40896,"material":198,"size":780,"collection":100,"collections":40897,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":44},241366,"qi-lv-zhou-wang-shi-min-241366",[80,5902,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41be8daf2feebf732d8302fb7a50b16.jpg",[],{"id":40899,"slug":40900,"title":40901,"dynasty":18,"author":40902,"museum":331,"description":40903,"tags":40904,"thumbUrl":40905,"material":198,"size":780,"collection":100,"collections":40906,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},241357,"lu-wen-ping-zhou-bai-shan-241357","录文屏","周白山","此作为小楷立轴，笔致秀雅温润，点画精整工稳，结构端妍匀停，是清代馆阁小楷的典型风貌。所书为裴谌修仙轶事，笔墨清和，衬以回纹蓝格笺纸，更添雅致意蕴。整体气息静穆安和，将文士慕道的雅趣融于笔墨之间，虽恪守馆阁体的规整法度，却毫无板滞之感，自透着冲淡平和的书卷气质，尽显清人小楷精谨秀润的不俗功力。",[80,5902,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F970e1774608f7f76b656d1b82a678993.jpg",[],{"id":40908,"slug":40909,"title":38091,"dynasty":72,"author":40910,"museum":331,"description":40911,"tags":40912,"thumbUrl":40913,"material":198,"size":780,"collection":100,"collections":40914,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":704},241342,"lin-tie-zhou-xing-ci-jing-241342","邢慈静","邢慈静(1572或1573~？)，明代万历年间人，号蒲团主人、兰雪斋主，山东临邑人，明代著名书法家邢侗胞妹。她自幼聪慧，悟性超群，工书法，善绘画，尤精白描观音，博学多才，深受世人的喜爱。邢慈静幼年受九嫂杨氏（杨梦山之妹）影响学习律诗，青年时代受长兄邢侗影响学习书法绘画，晚年临摹《澄清堂帖》，深得右军神韵。",[80,945,305,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bdaf6bca0798ee3a0160e670b749dfb.jpg",[],{"id":40916,"slug":40917,"title":40918,"dynasty":72,"author":40919,"museum":331,"description":40920,"tags":40921,"thumbUrl":40922,"material":198,"size":780,"collection":100,"collections":40923,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":44},241340,"zhuan-shu-shang-fang-yu-jing-zhou-wang-shu-241340","篆书尚方御镜轴","王澍","王澍，字蒻林，号虚舟，江南金坛人。1668年生，1743年逝世，官至吏部员外郎。康熙时以善书，特命充五经篆文馆总裁官。",[2749,2664,7,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5634d6df8706d0e7dde0aa375e60ff.jpg",[],{"id":40925,"slug":40926,"title":40927,"dynasty":18,"author":38126,"museum":331,"description":40928,"tags":40929,"thumbUrl":40930,"material":198,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）清代钱塘（今杭州）人。崇祯十二年（一六三九）举人。清初官甘肃同谷知县，有政声。以建少陵七歌堂被诬。",[80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99180d176684ae7acc0568e6f3312b33.jpg",[101],{"id":41073,"slug":41074,"title":32198,"dynasty":18,"author":3992,"museum":331,"description":41075,"tags":41076,"thumbUrl":41077,"material":198,"size":780,"collection":100,"collections":41078,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},240513,"wu-lv-zhou-gong-xian-240513","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。",[80,7,97,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F834f8056c9eb50583de24746e8b62f9c.jpg",[],{"id":41080,"slug":41081,"title":26099,"dynasty":72,"author":41082,"museum":209,"description":41083,"tags":41084,"thumbUrl":41085,"material":214,"size":41086,"collection":101,"collections":41087,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},240441,"shi-zhou-shen-shi-xing-240441","申时行","申时行 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，刻画细腻。\n衣纹以线条为骨，古拙而流畅。\n图中坚硬的山石以湿墨皴擦出形，秀挺的青竹以浓淡墨相衬晕染，朦胧有致。\n石与竹烘托出像主的中心位置，同时，以物托志，标示出像主高致朗逸的内在情怀。\n款署 ：“癸巳冬十一月，云柯先生属写。\n晓楼费丹旭。\n”钤“子苕”朱文印。\n鉴藏印有 “ 印”、“石雪斋秘笈印”等共4方。\n“癸巳”是道光十三年(18年)，作者时年岁。",[24,25,26,7,985,77,28,29,31,132,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae970ae071e04f94b8ee705744f033d.jpg",[],{"id":41299,"slug":41300,"title":41301,"dynasty":18,"author":50,"museum":331,"description":41302,"tags":41303,"thumbUrl":41304,"material":198,"size":780,"collection":100,"collections":41305,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},234433,"qing-ren-bai-yong-bao-hu-fa-xiang-zhou-yi-ming-234433","清人白勇保护法像轴","主尊六面六臂皎然如玉，安坐于炽盛烈焰光鬘之中，宝相威严慑人，握持法器尽显护法神威。整幅构图层次分明，上方云端诸佛安坐，似聆梵音；四方环绕忿怒本尊，共护坛城。\n\n云水苍峦以石青石晕染，朱砂赤金勾描衣纹宝饰，矿物颜料晕染出沉静又浓烈的色调，尽显藏地唐卡的华美厚重。画面细节饱满，净水瑞草、翔游灵禽点缀其间，将护法的狞厉肃穆与天界清宁相融，是藏传宗教绘画里兼具神性意蕴与工艺美感的精品。",[25,26,7,54,28,27,29,14761,4209,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ff6e566cb14adb8e1471fe067fe0a2.jpg",[],{"id":41307,"slug":41308,"title":24003,"dynasty":93,"author":50,"museum":236,"description":38511,"tags":41309,"thumbUrl":41310,"material":1218,"size":41311,"collection":100,"collections":41312,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":44},234038,"si-lun-tu-zhou-yi-ming-234038",[25,26,7,77,28,130,80,97,129,170,427,733,29,1717,778],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc447fe7cf03f1038a72f049cc5ebbc4f.jpg","纵83.2厘米 横37.5厘米",[],{"id":41314,"slug":41315,"title":41316,"dynasty":18,"author":41317,"museum":236,"description":41318,"tags":41319,"thumbUrl":41320,"material":214,"size":100,"collection":100,"collections":41321,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":44},233150,"cheng-zhao-xiong-xiang-zhou-ding-gao-233150","程兆熊像轴","丁皋","寓居扬州的丁皋，主要以给官贾写真为生，其中不乏佳作。最典型的是现藏于故宫博物院的《桐华庵主三十六岁小 像》。此图画于乾隆十八年(1753)，为程兆熊写真图。程兆熊(1717—1764)是扬州当时的文化名流，其字孟飞，号香南，工诗词，书画俱佳。乾隆 时寓居扬州仪征桐华庵，故号桐华庵主。李斗《扬州画舫录》中对其评道：“扬州名园甲第、榜署屏障，金石碑版之文，皆赖之。”丁皋画的程兆熊像所占幅面很 小，但眉目神情，生动细腻。此图以生宣入画，更觉“运思落墨，均臻神妙”。画中背景则由当时扬州名画家黄溱、华嵒合作完成。",[25,26,7,28,27,1157,77,29,170,351,778,270,5110,8262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d8cd75563d88afb2a56c5d1d038a93.jpg",[],{"id":41323,"slug":41324,"title":41325,"dynasty":18,"author":41326,"museum":236,"description":41327,"tags":41328,"thumbUrl":41329,"material":214,"size":100,"collection":100,"collections":41330,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},233149,"hua-yun-feng-qiu-ji-tu-xiang-zhou-hu-xi-gui-233149","画云峰求己图像轴","胡锡珪","就求己图而言，现藏于故宫博物院的清代画家胡锡珪的《云峰求己图》这幅作品，画面是典型的求己图的构图模式，画作是为一位名叫云峰的朋友所创作的很可能是祝寿性质的肖像画。整个画作淡墨写就并略敷淡色，线条灵动，设色淡雅，整体上气韵悠然。画中右侧一位身着长衫的文士模样的人手中拿着一本书站立着，其面前一位人物伏地长叩，脑袋后的辫子悬至腰际，整个构图带有一股文人雅士的超然气息。这幅作品上有题跋达十处之多，从题跋上看诸多题款是云峰邀请其好友为其题词，其中胡锡珪题道：“求己图，云峰仁兄大人，玉照清玩。”此外还有许多题词更是不乏溢美之词，由此可见这幅作品当时画中主角云峰仁兄的心头之好，对此图和此图之意也颇有自许之意，这点可从他本人在这幅作品中的题诗可以看出：\n\n事业千秋醉亦休，人生原是一沙鸥。\n痴心欲开丹青里，为底殷勤把自求。\n凡事须先求自己，临场何必仰他人。\n男人福命生来定，只要心头把得真。\n天涯何处觅良俦，回首已经四十秋。\n一样求人求己好，衣粮便得自家谋。",[25,26,7,27,77,28,29,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f92bf88c40346946e03286fb556143a.jpg",[],{"id":41332,"slug":41333,"title":41334,"dynasty":18,"author":8289,"museum":236,"description":41335,"tags":41336,"thumbUrl":41340,"material":1573,"size":41341,"collection":100,"collections":41342,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},232891,"yan-ju-luo-han-xiang-zhou-jin-ting-biao-232891","岩居罗汉像轴","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。",[23,25,28,27,54,29,129,35,170,351,79,41337,12748,172,7468,5683,12682,41338,4545,41339,33306,7],"侍童","腕钏","小和尚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc582b7bb574e8613ec65f5335044ec6a.jpg","纵99.5厘米，横53.2厘米",[],{"id":41344,"slug":41345,"title":41346,"dynasty":49,"author":41347,"museum":331,"description":41348,"tags":41349,"thumbUrl":41361,"material":198,"size":780,"collection":100,"collections":41362,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},232515,"he-er-bai-yin-174-he-er-bai-yin-232515","荷尔拜因174","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 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。",[54,29,985,41350,7,41351,41352,20597,41353,41354,41355,21710,10015,18984,41356,41357,41358,41359,41360],"素描","天使","恶魔","天平","怪兽","翅膀","底座","神话生物","武器","称量工具","竖幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397e2eb2133791e351d36266ae48288e.jpg",[],{"id":41364,"slug":41365,"title":41366,"dynasty":93,"author":2992,"museum":74,"description":41367,"tags":41368,"thumbUrl":41374,"material":214,"size":41375,"collection":100,"collections":41376,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":44},231398,"bu-na-tu-liu-song-nian-231398","补纳图","本幅画两名僧人坐于禅榻上，老者正潜心补衣，另一人则抱膝旁观。屏后，复有侍者二人，伫立捻茶。画中人物，表情鲜活而自然，衣纹用笔亦流畅有力。惟左下方款署之“画院待诏赐金带刘松年敬赠”及钤印疑伪。 宋元罗汉画常见僧侣日常活动，此轴描绘僧人补衣，亦可归入罗汉画类型。刘松年是活动在十二世纪的南宋宫廷画家，以本院所藏〈画罗汉〉三轴最具代表性。若与〈补纳图〉相较，风格互异，本幅应系南宋晚期至元的画家托名所作。\n“南宋四家”之一刘松年在南宋画院崭露头角，介于李唐和马远、夏圭之间。他曾师从张敦礼学画，而敦礼画法学李唐，工于山水、人物画，刘松年学到了老师恬洁滋润的长处，也继承了李唐的绘画优点。\n刘松年的作品传世者并不多，据记载他的作品多表现江南一带风景，特别是西湖园林的优美景色，并穿插以文人贵族的闲适生活，少数还图绘了仙山楼阁的神仙世界，反映了那一时代上层社会的审美情趣。\n刘松年的工笔人物画尤其是罗汉图主要是对贯休的继承。当然这种继承不是拷贝，而是在古人的基础之上融入了自己的理解和心得，并形成自己的风格特色。",[25,24,26,7,27,28,29,241,41369,3411,6601,536,41370,22244,41371,31452,41372,41373],"室内陈设","衣饰","宋代画风","衣纹细致","色彩典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad9390faee56e00d3126eeee9d660f4.jpg","纵141.9cm，横59.8cm",[],{"id":41378,"slug":41379,"title":41380,"dynasty":72,"author":14093,"museum":74,"description":41381,"tags":41382,"thumbUrl":41383,"material":214,"size":41384,"collection":100,"collections":41385,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},231372,"qi-xia-shan-tu-zhang-hong-231372","栖霞山图","栖霞山以禅寺和石刻千佛岩闻名于世，位于南京城东北22公里，又名摄山，南朝时山中建有“栖霞精舍”，因此得名。栖霞山有三峰，主峰三茅峰海拔286米，又名凤翔峰；东北一山，形若卧龙，名为龙山；西北一山，状如伏虎，名称虎山。栖霞山没有钟山高峻，但清幽怡静，风景迷人，名胜古迹，遍布诸峰，被誉为“金陵第一名秀山”。尤其是深秋的栖霞，枫林如火，漫山红遍，宛如一幅美丽的画卷，素有“春牛首，秋栖霞”之说。1634年，明代画家张宏以南京近郊的胜地栖霞山为画题，创作了一幅栖霞山图。真实地描绘出了明朝时期栖霞山的风貌。整幅画面气势恢宏，以千佛岩为主体，纵深地铺洒出一片葱郁的森林，使人看后心旷神怡，仿佛置身于那片清凉世界之中。\n此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[25,26,7,28,129,170,377,269,132,173,130,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3fad6af81b9c3d5091b3f39f4570be3.jpg","纵341.9cm，横101.8cm",[],{"id":41387,"slug":41388,"title":8535,"dynasty":72,"author":50,"museum":331,"description":41389,"tags":41390,"thumbUrl":41391,"material":100,"size":100,"collection":100,"collections":41392,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":704},231361,"shan-shui-tu-zhou-yi-ming-231361","山水画，简称“山水”。中国画的一种。描写山川自然景色为主体的绘画。传统分法有水墨、青绿、金碧、没骨、浅绛、淡彩等形式。\n在魏晋、南北朝已逐渐发展，但仍附属于人物画，作为背景的居多；隋唐始独立，如展子虔的设色山水，李思训的金碧山水，王维的水墨山水，王洽的泼墨山水等；成为中国画中的一大画科；后蜀后主孟昶创设翰林图画院；元代山水画趋向写意，以虚带实，侧重笔墨神韵，开创新风；明清及近代，续有发展，亦出新貌。表现上讲究经营位置和表达意境。",[23,25,77,129,7,130,427,349,377,193,132,522,2367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32218520c64ca979c215b59b175d93c9.jpg",[],{"id":41394,"slug":41395,"title":41396,"dynasty":93,"author":50,"museum":74,"description":41397,"tags":41398,"thumbUrl":41399,"material":37,"size":17279,"collection":100,"collections":41400,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":44},231080,"tong-shi-xiu-ling-tu-yi-ming-231080","桐实修翎图","这幅小品以极简取景尽显雅致意趣。枯涩桐枝斜出，叶片晕染苍润，桐实垂悬，带着秋意的沉敛。枝上禽鸟侧身理羽，绒羽蓬松柔润、覆羽棱纹毕现，笔致精细入微，将禽鸟的慵懒闲适刻画得鲜活传神。\n\n画面虚实相生，淡远空境衬出小景静谧，古绢的沉暗底色晕开旧时光晕，钤印朱红点缀，添上岁月沉淀的厚重，尽显写生的精妙工致，将秋日林间的幽寂生机定格在尺幅之间。",[24,25,26,7,27,28,113,115,1373,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40cb72af34f436ca4a5ea71e741b3c48.jpg",[],{"id":41402,"slug":41403,"title":41404,"dynasty":49,"author":50,"museum":331,"description":41405,"tags":41406,"thumbUrl":41407,"material":198,"size":780,"collection":100,"collections":41408,"showCount":643,"zanCount":11,"manualWeight":43,"mainColor":44},230558,"dao-xuan-lv-shi-xiang-yi-ming-230558","道宣律师像","此作写高僧风骨，写实沉静。画中人物清癯端严，目光静定沉凝，将戒行自持的宗师气度尽显无遗。衣纹勾勒凝练古拙，素色僧衣沉静克制，与身侧华美的缠枝宝相纹坐帐形成鲜明对冲，繁简之间衬出修行之人的枯淡本心。\n手中拂尘细节写实雅致，朱红缨络晕染细腻，器物描摹见微知著。整幅设色调和古雅，构图中正端凝，以克制的笔意刻画出高僧静定庄严的气韵，静穆之中自有弘深出尘的风骨。",[25,26,7,54,28,29,27,34,6669,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11907c9051a25457b2bba838958b732.jpg",[],{"id":41410,"slug":41411,"title":41412,"dynasty":18,"author":5720,"museum":331,"description":41413,"tags":41414,"thumbUrl":41415,"material":198,"size":780,"collection":100,"collections":41416,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},229051,"qing-ke-si-yu-zhi-san-xing-tu-song-bing-gong-hui-tu-zhou-qing-ren-229051","清缂丝御制三星图颂并恭绘图轴","此作以缂丝技法织就，福禄寿三星齐聚庭间，福星朱袍持如意，雍容端方，禄星抱婴含笑，满含温情，寿星银须捧桃，矍铄古朴。数位稚童环绕身侧，嬉戏随侍，融融暖意扑面而来。\n\n衬以玉树虬松、玲珑湖石与缤纷花草，云烟轻笼庭间，铺就悠然吉庆的雅致氛围。通幅走线匀整细腻，配色明丽沉稳，袍服织金纹饰、松石肌理皆还原精妙，上部御题诗文隽秀规整，与下方图景呼应成趣，将世俗祈愿与宫廷缂丝工艺完美融合，尽显华贵祥和的祥瑞气韵。",[24,25,26,7,473,28,27,1798,29,55,253,132,4209,536,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baaeba49be9b03774cc9e5217bff1a3.jpg",[],{"id":41418,"slug":41419,"title":41420,"dynasty":72,"author":50,"museum":331,"description":41421,"tags":41422,"thumbUrl":41423,"material":100,"size":100,"collection":100,"collections":41424,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,364,7,130,28,170,5683,132,3997,29],"https:\u002F\u002Foss.chuangqi.store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此画作于1685年，从题款得知为仿北宋李营丘笔法。\n整幅画构图采用北宋人的主山高耸的格局，细笔绘成，敷以淡色，具有清旷、温秀的格调。\n薛宣，康熙年间人，字辰令，号水田居士，浙江嘉善人；一作娄东（今江苏太仓）人，侨居浙江武唐（今嘉兴）。\n善仿宋、元诸家山水，宗法王鉴，用笔厚重有气，一时之能品也。\n尝自夸其画“不参二王”，意即可与王原祁、王翚两名家并列。",[23,25,26,7,945,77,130,129,132,170,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577963b0648ab73e5506961bfbe382a1.jpg",[],{"id":41480,"slug":41481,"title":41482,"dynasty":18,"author":4998,"museum":331,"description":41483,"tags":41484,"thumbUrl":41485,"material":100,"size":100,"collection":100,"collections":41486,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":88},224382,"fang-yi-feng-shan-shui-wang-yuan-qi-224382","仿一峰山水","此帧全景山水层峦叠嶂，逶迤连绵，尽显浑穆苍茫的山水元气。以干笔积墨之法，以披麻皴反复皴擦山峦，笔墨苍厚华滋，细密间见疏朗之致。河谷间村舍错落隐于林木，松荫下茅舍临水枕溪，板桥横陈浅滩，将山居隐逸的澹然意趣藏于丘壑之中。画作追摹前贤笔意却自出机杼，以熟后生的笔法调和苍润，在繁密构图里经营疏密节奏，将端稳气质与林下幽居的清雅意韵相融，尽显文人山水的静穆悠长。",[23,25,26,7,129,28,130,252,56,134,170,377,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ef16d54ccbedb446bb64249d083de.jpg",[],{"id":41488,"slug":41489,"title":41490,"dynasty":18,"author":20973,"museum":331,"description":41491,"tags":41492,"thumbUrl":41494,"material":100,"size":100,"collection":100,"collections":41495,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":44},224291,"xue-ling-pan-che-tu-li-yin-224291","雪岭盘车图","《清李寅雪岭盘车图》是由清代画家 所作的一副画作，现收藏于 。\n该画山水立意新颖，构图巧妙，笔墨工整，结构严谨，千丘万壑层出不穷，气势磅礴，闻名于时。\n兼工花卉，所作桃花、杨柳娟妍工丽，颇具神韵。\n与萧晨(灵曦)齐名。\n李寅（生卒年不详），字白也，号东柯，江苏扬州人。\n是清代顺治、康熙年间活跃于扬州地区、以卖画为生的职业画家。\n他善画花卉，所作桃花、杨柳堪称神品。\n亦工山水，千丘万壑，层出不穷。\n他的楼阁画更能在继承前人传统的基础上独辟蹊径，造诣精深，对清初界画的发展产生了相当大的影响。",[23,24,25,26,7,129,28,130,252,613,16346,253,733,351,172,29,13114,521,41493],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":41497,"slug":41498,"title":34773,"dynasty":18,"author":17471,"museum":331,"description":20107,"tags":41499,"thumbUrl":41500,"material":198,"size":780,"collection":100,"collections":41501,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":44},224286,"qi-yan-shi-fu-shan-224286",[23,26,80,305,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e514d824c31e5eeded135cd1dd6fed.jpg",[],{"id":41503,"slug":41504,"title":41505,"dynasty":18,"author":34023,"museum":331,"description":41506,"tags":41507,"thumbUrl":41508,"material":198,"size":780,"collection":100,"collections":41509,"showCount":643,"zanCount":43,"manualWeight":43,"mainColor":44},224152,"lin-wang-xi-zhi-shan-chuan-zhu-qi-tie-zhou-zhang-zhao-224152","临王羲之山川诸奇帖轴","张照（1691-1745），娄县（今上海松江市）人，字得天，号天瓶、泾南，谥文敏。博学多才，乾隆皇帝称赞其书法：‘有米（芾）之雄，而无米之略。复有董（其昌）之整，而无董之弱。’ 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— 1843），字伯荣，一字殿垣，号荷屋、可庵，晚号石云山人，别署拜经老人，广东广州府南海县佛山镇（今佛山禅城区祖庙街道）人。清代官员、诗人、书法家、藏书家、岭南著名的书画金石鉴藏家。 [4]\n嘉庆四年（1799）进士，由编修官擢御史。道光中任湖南巡抚兼湖广总督。后坐事降为福建布政使。其不仅官至封疆大吏，还工诗文、擅书画，尤酷嗜金石，精鉴赏，名极一时，书法更为世所推重。康有为云：吾粤吴荷屋中丞帖学名家，其书为吾粤冠……”他遗留下来的书画作品已被列入国家文物局文物出境限制，精品不准出境 [4] 。著有《历代名人年谱》、《筠清馆金石录》、《筠清馆帖》、《辛丑销夏记》、《帖镜》、《石云山人文集》、《绿枷楠馆录》、《吾学录》等。 吴荣光是清中期著名汉学家，清道光十一年（1831），吴荣光在长沙创办了湘水校经堂。左宗棠在长沙湘水校经堂就读期间，吴荣光是他的授课教师。",[80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc418e078515da0ae2195ad06a2c3aec.jpg",[],{"id":42492,"slug":42493,"title":42494,"dynasty":18,"author":36975,"museum":331,"description":42495,"tags":42496,"thumbUrl":42497,"material":198,"size":780,"collection":100,"collections":42498,"showCount":356,"zanCount":43,"manualWeight":43,"mainColor":88},241266,"jiu-piao-shi-zhou-zhang-wen-tao-241266","酒瓢诗轴","张问陶（1764年—1814年） 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商山采芝图轴","以淡墨晕染危崖空山，苍松虬曲倒挂，笔墨简淡空灵，晕出幽谷清寂的世外氛围。下方二老衣袂以写意线条勾勒，一人拄杖回首，一人负芝持锄，神情悠然萧散，将避世隐者的林下风流尽显无余。\n\n右上角题诗与画面呼应，诗画相融，笔意清隽，尽显南宗水墨的淡远意趣。整作舍去繁复皴擦，以留白衬出山岚空濛，人物情态简率传神，萧疏笔墨间寄寓着对高蹈出世襟怀的追慕，淡远空灵里晕开古雅隐逸之思。",[25,26,7,77,985,29,129,378,18358,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c16becd096381dc5b12bec7f4ad1bb6.jpg",[],{"id":42941,"slug":42942,"title":42943,"dynasty":18,"author":19321,"museum":331,"description":19322,"tags":42944,"thumbUrl":42945,"material":198,"size":780,"collection":100,"collections":42946,"showCount":356,"zanCount":43,"manualWeight":43,"mainColor":88},230847,"tang-ren-shi-ju-ai-xin-jue-luo-xuan-ye-230847","唐人诗句",[80,97,79,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe52ff99807bfbd7ed4a11ce829f938f3.jpg",[],{"id":42948,"slug":42949,"title":42950,"dynasty":18,"author":50,"museum":331,"description":42951,"tags":42952,"thumbUrl":42954,"material":100,"size":100,"collection":100,"collections":42955,"showCount":356,"zanCount":43,"manualWeight":43,"mainColor":704},230311,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-jiu-a-ge-yin-tang-yi-ming-230311","历代帝王贵妃大臣朝服像(九阿哥胤禟)","此作工笔写实，将宗室贵胄的矜重威仪尽显无余。画中人物坐姿端方，双手按于扶手，面容沉毅肃穆，神态不怒自威。吉服纹饰极为考究，前胸正龙团纹精细繁复，龙形矫健灵动，祥云环绕其间，缂丝质感描摹逼真，衣身寿字暗纹隐现，贴合清代宗室服饰规制。设色调和古雅，素净背景烘托出人物主体，笔触精细入微，从冠帽形制到衣褶晕染皆严谨细致，精准还原出这位皇子的气度风貌，尽显清代肖像画礼制与写实兼备的精妙特质。",[23,25,26,7,27,28,29,334,34,10825,42953],"寿字纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc307bd4c17905f1d02a41ce7d771c1f4.jpg",[],{"id":42957,"slug":42958,"title":27442,"dynasty":18,"author":42959,"museum":331,"description":42960,"tags":42961,"thumbUrl":42962,"material":198,"size":780,"collection":100,"collections":42963,"showCount":356,"zanCount":43,"manualWeight":43,"mainColor":88},230170,"qi-yan-lian-qian-da-xin-230170","钱大昕","钱大昕（1728年2月16日—1804年11月2日），字晓征，又字及之，号辛楣，晚年自署竹汀居士，江苏太仓州嘉定县望仙桥河东宅（今属上海市嘉定区望新乡）人。清代史学家、文学家、教育家，乾嘉学派代表人物。\n钱大昕早年以诗赋闻名江南。乾隆十六年（1751年），因向乾隆帝献赋被提督学政庄有恭选为一等。后在召试中被评为一等，特赐举人，授内阁中书学习行走。乾隆十九年（1754年）三月，中进士，经御试后改翰林院庶吉士。其后历任翰林院编修、右春坊右赞善、武英殿纂修官、功臣馆纂修官、詹事府少詹事，提督广东学政。期间还出任过会试同考官及山东、湖南、浙江、河南等地乡试考官。乾隆四十年（1775年），因父丧归里，从此引疾不仕。归田三十年，潜心著述课徒，历主钟山、娄东、紫阳书院讲席，出其门下之士多至二千余人。嘉庆九年（1804年），于苏州紫阳书院逝世，享年七十七岁。\n钱大昕是18世纪中国渊博和专精的学术大师，其学以“实事求是”为宗旨，其治学范围广博精深，在史学、经学、小学、算学、校勘学及金石学等学术领域，均有建树和创见。有《十驾斋养新录》，后世以之与顾炎武《日知录》并称。一生著述甚富，后世辑为《潜研堂丛书》刊行。",[23,80,3362,5199,7,472,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5c457324796599d08ababe49b4afe0.jpg",[],{"id":42965,"slug":42966,"title":42967,"dynasty":18,"author":28019,"museum":331,"description":42968,"tags":42969,"thumbUrl":42970,"material":100,"size":100,"collection":100,"collections":42971,"showCount":356,"zanCount":43,"manualWeight":43,"mainColor":88},230154,"shu-song-ren-wen-ju-liu-yong-230154","书宋人文句","此作用笔圆融内敛，无锋棱外露，墨色浓妍厚重，点画敦厚朴茂，藏巧于拙，尽显柔缓中内含筋骨的气度。通篇行气连贯疏朗，字距错落有致，于萧散悠然的章法里，透着静雅高古的气息。\n\n文辞清旷出尘，笔墨与意境相融，将秋夜山高月空、幽人自适的林下意趣，和书法的沉浑静穆合为一体。不见烟火躁动，唯见文人闲适淡远的心境，于温润之中见风神，古拙之间藏灵秀。",[23,80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3cdf89413dad6f12e15642ad9603725.jpg",[],{"id":42973,"slug":42974,"title":42975,"dynasty":18,"author":37887,"museum":331,"description":37888,"tags":42976,"thumbUrl":42977,"material":198,"size":780,"collection":100,"collections":42978,"showCount":356,"zanCount":43,"manualWeight":43,"mainColor":88},230134,"shi-san-yan-lian-li-zhou-liang-qi-chao-230134","十三言联立轴",[23,7,3362,5902,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e92f93c345b48bf61faaa5832e75db.jpg",[],{"id":42980,"slug":42981,"title":42982,"dynasty":207,"author":50,"museum":331,"description":42983,"tags":42984,"thumbUrl":42985,"material":198,"size":780,"collection":100,"collections":42986,"showCount":356,"zanCount":43,"manualWeight":43,"mainColor":44},228210,"ti-po-wang-tu-yi-ming-228210","提婆王图","此作为白描道释人物，以劲挺匀细的铁线描勾勒，尽显精妙骨法。下方神王方面怒目，周身圆光朗照，甲胄层叠细密，纹饰繁丽精巧，将护法者的雄武威严展露无遗，飘拂的衣带柔婉灵动，中和了甲铠的沉厚刚硬，刚柔相济。\n\n上方祥云卷舒，簇拥着天众侍从，身姿错落悠然，晕染出天界清灵缥缈之境。全作用墨浓淡互生，虽彩迹消褪，却以线条撑起画面神采，静穆典雅中裹挟着宗教绘画特有的沉静威仪，尽显元代人物白描的精湛笔力。",[23,25,26,24,7,985,54,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd13dc95e83802bd195fa740bcc413f.jpg",[],{"id":42988,"slug":42989,"title":42990,"dynasty":17693,"author":42991,"museum":331,"description":42992,"tags":42993,"thumbUrl":42994,"material":100,"size":100,"collection":100,"collections":42995,"showCount":356,"zanCount":43,"manualWeight":43,"mainColor":88},227734,"yan-jiang-fan-ying-tu-ti-ba-kuan-cheng-qi-227734","烟江帆影图（题跋款）","程琦","程琦(1911-1988)，字伯奋，号二石老人，又号可庵，斋号双宋楼，安徽合肥人。著有《萱晖堂书画录》。",[23,25,26,7,77,28,129,349,20314,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18cb33f42d3f3dc1683ffc942df99f2.jpg",[],{"id":42997,"slug":42998,"title":42999,"dynasty":993,"author":50,"museum":331,"description":43000,"tags":43001,"thumbUrl":43003,"material":100,"size":100,"collection":100,"collections":43004,"showCount":356,"zanCount":43,"manualWeight":43,"mainColor":44},227120,"tang-qu-fu-wen-xuan-wang-miao-ji-zhou-yi-ming-227120","唐曲阜文宣王庙记轴","《唐新修曲阜县文宣王庙记碑》：唐咸通十一年（870年）三月十日建。碑高145厘米，宽74厘米，厚22厘米。方形，两上角斜抹，其间刻碑额新修庙记”横一行。碑文共27行，行44字。原石现存于山东曲阜孔庙。\n\n经典碑帖：唐曲阜文宣王庙记轴，笔画瘦劲，可略窥晚唐楷书风貌\n文宣王庙即指孔庙，因唐开元廿七年，追谥孔子为文宣王，以示尊崇。咸通年间，由于农作欠收经年，曲阜文宣王庙老旧失修，孔子卅九世孙孔温裕有心复其旧观，奏准出个人薪资加以修缮整理。事竣后贾防撰文记其经过附及孔温裕蒙获嘉奖始末，刻石流传，碑文及碑额均作楷书，笔画瘦劲，有柳公权书法清朗的风貌，可以略窥晚唐楷书的趋向。",[8958,3763,80,7,43002,5902],"碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca769cce498be0b5a2c0534b3ca80439.jpg",[],{"id":43006,"slug":43007,"title":43008,"dynasty":18,"author":43009,"museum":331,"description":43010,"tags":43011,"thumbUrl":43012,"material":100,"size":100,"collection":100,"collections":43013,"showCount":356,"zanCount":43,"manualWeight":43,"mainColor":88},224266,"dou-bi-dan-tai-tu-jiang-zhu-224266","陡壁丹台图","江注","《新安画派书画精品集》以渐江为代表的新安画派及与之同时的一些杰出画家的创作成就，同时介绍作为“源”的在他们之间的一些著名画家与作为“流”的在他们之后一些画家的创作成就，叙述对新安画派、新安画坛的创作有深刻影响的绘画美学思想，特别是新安人的绘画美学思想。\n《新安画派书画精品集》由 出版。\n敛辞朱良剑 敛辞石金呜 前言 “新安画派”概述张飞莺 风骨冷然气韵清逸——安徽博物院藏渐江《晓江风便图》赏析李艳红 先声 江必名 雪景山水图 吴龙草亭听泉图 郑元勋古木秀石图 郑为虹山斋读书图 程嘉燧柳桥山寺图扇面 程嘉燧秋浦泛舟图扇面 李永昌策杖行吟图 高峰 汪之瑞空亭幽树图页 渐江浊阜图册 渐江晓江风便图卷 渐江秋江风帆图扇面 孙逸溪桥觅句图 查士标宿雨初收图 查士标深山古寺图 查士标仿董北苑山水图 查士标仿梅华道人山水图 查士标仿元人山水图 查士标坐对江天图 查士标 云山梦树图页 查筠仿梅壑山水图 胡皋和风烟雨图 程邃山静太古图 程邃独往秋山图 程邃秋山图册 戴本孝巢民老人观菊图卷 戴本孝 山谷回廊图 戴本孝草阁幽情图 戴本孝苍松劲节图 戴本孝摹北苑山水图 戴本孝湖山逸兴图 吴定剡溪积雪图 吴定秋高叶醉图 吴定瑶峰玉树图 郑畋仿吴仲圭山水图 郑欧黄山四景图四条屏 郑畋仿倪山水图 程萝乱山草木图 姚宋仿黄鹤山樵山水图 江注黄山一角图 江注陡壁丹台图 祝昌仿倪山水图 吴元澄 临赵鸥波《夏山高隐图》 余韵 谢绍烈江石萝月图扇面 释雪庄木莲花图 释一智黄山云舫道中图 方士庶栖霞楼归图 何文煌溪山话别图卷 程义仿赵子固山水图 鲍楷寒庵香雪图 程堂仿梅华山水图 汪朴南窗寄傲图 江士相富春归棹图卷 吴麈仿梅道人山水图 汪滋仿古山水图册 程鸣沧江泛舟图 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又号痴庵、痴仙道人，别署烟潭渔叟。孟津（今河南孟津）人。幼时家境十分贫寒，过着“不能一日两粥”的生活。天启二年（1622）中进士，受到考官袁可立的赏识推荐，入翰林院庶吉士，累擢礼部尚书。王铎身逢乱世，仕途坎坷多艰。崇祯十六年（1643），51岁的王铎曾一度避难于苏州浒墅关袁枢寓所，二人交情笃厚，往来间以诗文书画相唱和。袁枢之父兵部尚书袁可立的神道碑文和墓志铭就是王铎亲笔撰文书写的。1644年李自成攻克北京，崇祯帝殉国于景山。马士英等在南京拥立福王，王铎为东阁大学士。清朝入关后被授予礼部尚书、官弘文院学士，加太子少保，于永历六年（1652）病逝故里。享年六十一岁，葬于河南巩义洛河边，谥文安。\n王铎的书法，既把“二王”的一些用笔特点放大，同时也把自己的个性张扬。从流传下来很多的王铎临“二王”书作中，我们不难看到那个张扬的王铎，表面上学习“二王”，却又在不规矩地显摆自我，在安分与不安分之间游荡。王铎又善用墨法，浓淡干湿，满纸糊涂，在晚明到清初的书法语言里，这种大胆的探索，给了时人明灯般的启发。\n此作王铎书于崇正八年乙亥（1635），王铎时年43岁，正值创作盛年。狂草书咏金山寺七绝诗两首：“大江鳌背擁金堤，解缆攀藤路欲建；赤日常流孤寺外，白云只在暮山西”。“层崖剥落残碑卧，古洞阴森怪鸟唬；卜筑中洽堪自老，何须更棹古陵溪。金山寺之二首，王铎为皓庵先生词宗正之，乙亥秋草具。”钤白文“王铎之印”、朱文“庵”方印。\n这幅作品一如既往地延续了王铎大刀阔斧一面的风格。用笔开张，气度轩昂，刀枪剑戟，一应俱全。每见这种大尺幅作品，总让人联想起沙尘浩荡的将军挥刀，使人动容。通篇气息连贯，一挥而就，有大浪扬帆之气概。\n开篇，王铎大笔一挥，用他独有的、极具个性的涨墨开头，恰如贝多芬的《命运交响曲》，高调的开头，把整个主旋律定了下来。开头“大江”二字的涨墨，既是自然的开张，也是有意的起首，这种夸张的手法，以至于“江”字都很难辨认了。随着开头两个字的重笔重墨，到了“鳌”字，便把笔一抬，将沉重的调子抬高。湿笔在“鳌”的“土”部成功转换，“江”与“鳌”之间的牵丝，若连若断，既是承接又是转换。从重到轻的旋律，在“鳌”演绎一次后继续在“背”“擁”中重复。但如果只是单纯地从重到轻的重复，那就太小看王铎的招数了。重复了两次后，“擁金堤”三字之间发生变化。“金堤”从轻到更轻，从湿到干，节奏上开始发生了变化，再来细看这三个字的处理，就发现这种节奏的把握与控制，自然舒畅，在不知不觉之间已被倾倒。再看看三个字的节奏变化，重笔从重到轻，三字之间的牵丝引带，巧妙地将三个字的关系联系了起来。在王铎的书法中，这种连断的运用相当巧妙与动人，技巧上继承了怀素、董其昌一路的断连用笔，并且某些技巧有所夸张和延伸。\n王铎的用笔高妙，在于他能把笔全方位用上，从涨墨到牵丝，干湿交错，粗细变化。错综复杂的掺杂，制造矛盾与化解矛盾的对立统一， 在各种组合中不断地上演。“攀”重笔起，一气呵成地连贯下来，“攀藤路欲建”四个字，从湿到干，笔各个面在转换翻动，随着动作与情感的变化，笔头生花，节奏也跟着变化，源于心，发于手。心中的情感依靠手上的技巧变现于纸上。上一次的尽情演绎，感情未得以宣泄完，随着“常”的一竖，第一行的情感随之一泻千里。王铎的用笔，若与《书谱》比较，肯定是谈不上精巧的，而其胜人之处在于能通过大刀阔斧用笔与章法组合，一览无余地宣泄内心的情感。艺术之谓为艺术，在于其能通过技去表现人本而臻于道，而并非单纯的表现技术的层面。\n第一行的精彩演绎引发出第二行、第三行的交替组合。其实仅仅只是几个元素的重复，再从中发挥各种组合，便出现各种奇妙的效果。这也就是“自然生发关系”，其实通篇文字从开头两个字生发出来，情感随着变化，一直延伸，线条变化延绵的同时，感情也在高低起伏中扩散，到最后，小字收尾，既是一个结尾，也是情感宣泄到最后，一种“收”的表现。",[23,7,305,80,14313,43062,26893,77,43063,15117,31370],"浓墨","金山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74221d9bb38a574d4a0e4a4929ed5f08.jpg",[],{"id":43067,"slug":43068,"title":43069,"dynasty":72,"author":43070,"museum":74,"description":43071,"tags":43072,"thumbUrl":43073,"material":43074,"size":43075,"collection":100,"collections":43076,"showCount":356,"zanCount":43,"manualWeight":43,"mainColor":88},222460,"shu-gu-shi-zhou-shen-can-222460","书古诗轴","沈粲","沈粲（1379－1453），字民望，号简庵，华亭（今上海）人，与沈度合称“二沈”。兄弟二人均因书法佳善，荐授中书舍人。沈粲行草书从二王得法，同时参取宋克和沈度的经验，行笔偶或出锋扬起波磔，别具飞动的态势。这件立轴书录元末明初诗人高启‘拟古诗’一首，点画瘦劲，融会大草书的体势，略与怀素狂草风格相近，由是可知，沈粲行草书原不止于一家之学。\n明朝一代书风，承续宋元以来帖学的传统。前期书法，明直接师承元人，以草书、楷书成就较大。为适应当时盛行的科举制度，由于沈度、沈粲擅长楷书和行草，光润妩媚，因得到永乐皇帝的溢美恩宠而声名显赫，朝野竞学，尤为中书舍人们所效法，形成被称为“纱帽字”的“台阁体”。",[23,72,80,7,305,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f636614e2fcc767af22b02427225a0.jpg","纸本行草","纵83.4cm，横33.8cm",[],{"id":43078,"slug":43079,"title":43080,"dynasty":72,"author":7817,"museum":74,"description":20256,"tags":43081,"thumbUrl":43082,"material":214,"size":20259,"collection":100,"collections":43083,"showCount":356,"zanCount":43,"manualWeight":43,"mainColor":88},222459,"gui-qu-lai-ci-zhou-shen-du-222459","归去来辞轴",[23,24,25,26,7,80,5902,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc996e5f2741d5d0d39ae6800ba3224f7.jpg",[],{"id":43085,"slug":43086,"title":43087,"dynasty":207,"author":10618,"museum":74,"description":43088,"tags":43089,"thumbUrl":43093,"material":4905,"size":43094,"collection":100,"collections":43095,"showCount":356,"zanCount":43,"manualWeight":43,"mainColor":44},221732,"tang-ren-jue-ju-zhou-zhang-yu-221732","唐人绝句轴","张雨（西元一二八三－一三五０年），字伯雨，号句曲外史，浙江钱塘人。元代着名的道教人物。文才清丽，书画清逸，倪瓒称其诗文字画为「道品第一」。 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乾隆初年，历任湖广、直隶总督。乾隆九年（1744年），授文渊阁大学士兼吏部尚书。乾隆二十五年（1755年），他为次子史奕昂担任甘肃布政司写信给巡抚鄂昌，被告发而削职。乾隆二十七年（1757年），入朝拜相。乾隆二十八年（1758年），去世，追赠太保，谥号“文靖”，入祀贤良祠。",[26,7,97,80,32,31,1405,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d2bc0f7f5852f8e8fb0b22c26bbddd.jpg",[101],{"id":44043,"slug":44044,"title":25429,"dynasty":72,"author":44045,"museum":236,"description":44046,"tags":44047,"thumbUrl":44048,"material":214,"size":100,"collection":101,"collections":44049,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":44},241487,"qi-yan-shi-zhou-song-guang-241487","宋广","释文：\n心期仙使意无穷，彩画云车起寿宫。闻有三山未知处，茂陵松柏满西风。昌裔为仲纪书。\n钤“宋广印”、“宋昌裔”印。左侧裱边有前清遗老宝熙题跋一则。\n宋广此作运笔流畅自然，刚柔相济，虽是草书疾行，结字亦端正严谨，开合有度，诚如宝熙跋中所言有晋唐风骨。",[80,305,7,79,13331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c76a2664de5319766ebaf1ec2ebcc6.jpg",[101],{"id":44051,"slug":44052,"title":26791,"dynasty":18,"author":44053,"museum":331,"description":44054,"tags":44055,"thumbUrl":44058,"material":214,"size":100,"collection":101,"collections":44059,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241395,"qi-jue-zhou-tu-zhuo-241395","屠倬","屠倬（1781—1828），清代官吏、诗人、篆刻家。字孟昭，号琴邬，晚号潜园老人，浙江诸暨紫岩乡六十都（今诸暨市店口镇琴隖村）人，寄居钱塘。 一作钱塘（今浙江杭州）人。嘉庆十三年进士。知江苏仪征县，在任五年，除盐枭，清疑案，劝民纺织。道光初擢九江知府，以疾辞。工诗古文，诗与郭麔齐名。有《是程堂诗文集》。",[80,97,7,3351,3552,44056,5177,25434,44057,16892,79],"江岸","钟鼓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028578950f49074aacd012260e132db8.jpg",[101],{"id":44061,"slug":44062,"title":44063,"dynasty":18,"author":44064,"museum":331,"description":44065,"tags":44066,"thumbUrl":44068,"material":198,"size":780,"collection":100,"collections":44069,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":44},241382,"yong-li-zhi-deng-shi-zhou-cao-xue-quan-241382","咏荔枝灯诗轴","曹学佺","曹学佺（1574－1646），字能始，一字尊生，号雁泽，又号石仓居士、西峰居士，福建福州府侯官县洪塘乡人，明代官员、学者、诗人、藏书家，万历二十三年（1595）进士。清兵入闽，自缢殉节。\n曹学佺藏书万卷，著书千卷。毕生好学，对文学、诗词、地理、天文、禅理、音律、诸子百家等都有研究，尤其工于诗词。精通音律，擅长度曲，曾谱写闽剧的主要腔调逗腔，被认为是闽剧始祖之一。名联：“仗义每多屠狗辈，负心多是读书人”就出自曹学佺之手。",[80,7,97,79,44067],"荔枝灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7907b0bf4df3cdeea3bba75a887b49da.jpg",[],{"id":44071,"slug":44072,"title":26791,"dynasty":18,"author":44073,"museum":6799,"description":44074,"tags":44075,"thumbUrl":44076,"material":214,"size":44077,"collection":101,"collections":44078,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":44},241377,"qi-jue-zhou-xu-ri-xi-241377","徐日曦","此作用笔雄健开张，取法黄山谷笔意，结体欹侧舒展，尽显潇洒意趣。书写咏梨诗句，笔墨苍劲老辣，线条跌宕起伏，提按顿挫间带着疏朗的文人气韵。三列排布错落有致，虚实相生，落款小字灵动呼应正文，朱红印信点缀其间，古雅沉静。整体将梨花诗意的清雅和行书的舒展相融，笔势舒展大气，墨色浓淡自然，既有黄山谷的奇崛舒展，又自出机杼，把咏梨的清雅意涵通过笔墨铺陈开来，尽显文人风雅之态。",[25,26,7,97,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58d7abdfe1922b66d5ebcfd63e039bfe.jpg","纵133.6厘米横33.7厘米",[101],{"id":44080,"slug":44081,"title":44082,"dynasty":72,"author":1024,"museum":331,"description":5228,"tags":44083,"thumbUrl":44084,"material":198,"size":780,"collection":100,"collections":44085,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241361,"xi-hu-fan-zhou-shi-zhou-dong-qi-chang-241361","西湖泛舟诗轴",[72,80,97,7,79,349,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e6194a0c314d17c8a4f2473299d8bb.jpg",[],{"id":44087,"slug":44088,"title":44089,"dynasty":18,"author":8994,"museum":331,"description":30331,"tags":44090,"thumbUrl":44091,"material":198,"size":780,"collection":100,"collections":44092,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241354,"cha-shi-biao-qi-jue-shi-zhou-cha-shi-biao-241354","查士标七绝诗轴",[80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e08f16123919b0f558d6e750ef3a652.jpg",[],{"id":44094,"slug":44095,"title":33119,"dynasty":72,"author":44096,"museum":331,"description":44097,"tags":44098,"thumbUrl":44099,"material":198,"size":780,"collection":100,"collections":44100,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":44},241349,"qi-lv-shi-zhou-wang-zhi-deng-241349","王穉登","王穉登（1535年－1614年），字百谷、百榖、伯榖，号半偈长者、青羊君、廣長庵主等，直隸长洲（今江蘇蘇州）人，晚明文人。",[80,7,97,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe02e7d82f4fd9bc075dd4a549dece02c.jpg",[],{"id":44102,"slug":44103,"title":44104,"dynasty":18,"author":44105,"museum":331,"description":44106,"tags":44107,"thumbUrl":44108,"material":198,"size":780,"collection":100,"collections":44109,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241344,"lin-you-jun-cu-shu-tie-zhou-cheng-en-ze-241344","临右军徂署帖轴","程恩泽","程恩泽（1785年－1837年），字云芬，号春海，安徽歙县人，清朝政治人物、学者、诗人，进士出身。",[80,7,97,945,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0694b703a510cf03ccafb2e439af68.jpg",[],{"id":44111,"slug":44112,"title":44113,"dynasty":18,"author":44114,"museum":331,"description":44115,"tags":44116,"thumbUrl":44117,"material":198,"size":780,"collection":100,"collections":44118,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241256,"lin-shu-pu-zhou-yan-fu-241256","临书谱轴","严复","严复（1854年1月8日—1921年10月27日），男，原名宗光，字又陵，后改名复，字几道，汉族，福建侯官县人，近代极具影响力的资产阶级启蒙思想家，著名的翻译家、教育家 ，新法家代表人物。\n先后毕业于福建船政学堂和英国皇家海军学院，曾担任过京师大学堂译局总办、上海复旦公学校长、安庆高等师范学堂校长，清朝学部名辞馆总编辑。在李鸿章创办的北洋水师学堂任教期间，培养了中国近代第一批海军人才，并翻译了《天演论》、创办了《国闻报》，系统地介绍西方民主和科学，宣传维新变法思想，将西方的社会学、政治学、政治经济学、哲学和自然科学介绍到中国。出版有《严复全集》。",[7,97,945,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca719fc6b14033f02b89939b57da484.jpg",[],{"id":44120,"slug":44121,"title":33038,"dynasty":18,"author":44122,"museum":331,"description":44123,"tags":44124,"thumbUrl":44125,"material":198,"size":780,"collection":100,"collections":44126,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241235,"lu-wen-zhou-huang-shu-lin-241235","黄叔琳","黄叔琳（1672—1756），幼名伟元，字昆圃，又字宏献，号金墩、北砚斋，晚号守魁。清朝大臣，学者。康熙辛未科（康熙三十年，1691年）探花，历经康熙、雍正、乾隆三朝。",[25,26,7,5902,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223305a8fd91181614a047ac8b5dc934.jpg",[],{"id":44128,"slug":44129,"title":44130,"dynasty":72,"author":44131,"museum":331,"description":44132,"tags":44133,"thumbUrl":44134,"material":214,"size":100,"collection":101,"collections":44135,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241216,"xing-qi-jue-shi-zhou-wei-xue-cheng-241216","行七绝诗轴","魏学诚","此作笔墨圆融温润，点画暗含法度却不露圭角，带着明人行书独有的舒散意趣。行笔舒展灵动，将妍雅与朴拙揉合一处，笔势随诗意流转起伏。\n\n诗句疏放悠然，布局也随文气自然铺陈，字距错落松弛，章法疏朗透气。笔墨浓淡枯湿富于变化，后半段枯笔运用恰到好处，把诗里不问世事、呼酒尽欢的林下心境，尽数诉诸笔端。\n\n落款小字与正文协调呼应，朱红钤印沉稳内敛，和墨色相映成趣。整幅诗书相生，尽显文人风雅萧散的襟怀，是典型的明代文人行书佳构。",[80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4aa45982d7f214fd11b3c8ebdf58e60.jpg",[101],{"id":44137,"slug":44138,"title":43080,"dynasty":18,"author":44139,"museum":331,"description":44140,"tags":44141,"thumbUrl":44142,"material":198,"size":780,"collection":100,"collections":44143,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241167,"gui-qu-lai-ci-zhou-bao-gui-xing-241167","鲍桂星","鲍桂星（1764—1824）字双五，一字觉生。安徽歙县人，清朝官吏。嘉庆四年进士。历官工部侍郎、翰林学士，因事革职，官终詹事。鲍桂星师从姚鼐，诗古文并有法。",[18,80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3532719e0f0683834b7df71aca48ae20.jpg",[],{"id":44145,"slug":44146,"title":26099,"dynasty":18,"author":19321,"museum":331,"description":19322,"tags":44147,"thumbUrl":44148,"material":198,"size":780,"collection":100,"collections":44149,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241165,"shi-zhou-ai-xin-jue-luo-xuan-ye-241165",[80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0adcf43c7c18e2cc7ae141d575e0c22f.jpg",[],{"id":44151,"slug":44152,"title":26099,"dynasty":18,"author":44153,"museum":331,"description":44154,"tags":44155,"thumbUrl":44156,"material":198,"size":780,"collection":100,"collections":44157,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241161,"shi-zhou-wang-yuan-241161","王原","王原，上海青浦人，初名深，字仲深，一字令诒。清朝康熙27年进士出身。",[26,80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273df7a47df5a3f3df6bb6a58450fbf6.jpg",[],{"id":44159,"slug":44160,"title":44161,"dynasty":18,"author":14131,"museum":331,"description":37827,"tags":44162,"thumbUrl":44163,"material":198,"size":780,"collection":100,"collections":44164,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241158,"zai-hua-shi-zhou-ruan-yuan-241158","栽花诗轴",[26,80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0834243743ac3f46afc8ed4cb817c96.jpg",[],{"id":44166,"slug":44167,"title":44168,"dynasty":18,"author":44169,"museum":331,"description":44170,"tags":44171,"thumbUrl":44172,"material":198,"size":780,"collection":100,"collections":44173,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241093,"zeng-wang-shi-zhen-ren-yang-zhou-shi-zhou-wang-wan-241093","赠王士禛任扬州诗轴","汪琬","汪琬（1624年～1691年），字苕文，号钝庵，初号玉遮山樵，晚号尧峰，小字液仙。长洲（今江苏省苏州市）人，清初官吏、学者、散文家，与侯方域、魏禧，合称明末清初散文“三大家”。顺治十二年（1655年）进士，康熙十八年（1679年）举鸿博，历官编修、户部主事、刑部郎中，有《尧峰诗文钞》《钝翁前后类稿、续稿》。",[80,97,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1f47b0a528e23c2a88c23e6daba79ff.jpg",[],{"id":44175,"slug":44176,"title":26099,"dynasty":18,"author":44177,"museum":209,"description":44178,"tags":44179,"thumbUrl":44180,"material":44181,"size":44182,"collection":101,"collections":44183,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241084,"shi-zhou-shi-run-zhang-241084","施闰章","施闰章（1619年—1683年），字尚白，一字屺云，号愚山，媲萝居士、蠖斋，晚号矩斋，后人称施侍读、施佛子。江南宣城（今安徽省宣城市宣州区）人。 清初政治家、文学家。\n施闰章于清顺治六年（1649年）进士及第，授刑部主事。顺治十三年（1656年）出任山东学政。顺治十八年（1661年），出任江西布政司参议，后裁缺归田。康熙十八年（1679年），应召博学鸿词科，御试授翰林侍讲，修《明史》。康熙二十二年（1683年），升转翰林院侍读，充太宗圣训纂修官。同年病逝于京斋，享年六十六岁。\n施闰章博览经史，工诗词古文学。 其文意朴而气静。 其诗以辞清句丽见长， 号“宣城体”，与高咏主持东南诗坛数十年。并与宋琬齐名，有“南施北宋”之誉。 [5] 著有《双溪诗文集》《愚山诗文集》等十余种。",[80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e3059086a576c9927d6b7a21f5ab5f.jpg","纸本草书","180.1×43cm",[101],{"id":44185,"slug":44186,"title":44187,"dynasty":72,"author":25228,"museum":331,"description":25229,"tags":44188,"thumbUrl":44189,"material":198,"size":780,"collection":100,"collections":44190,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241062,"qi-lv-shou-shi-zhou-zhang-chong-241062","七律寿诗轴",[80,7,305,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266dd694309cdde52594a35b0ab24cf8.jpg",[],{"id":44192,"slug":44193,"title":34924,"dynasty":72,"author":44194,"museum":331,"description":44195,"tags":44196,"thumbUrl":44197,"material":214,"size":44198,"collection":101,"collections":44199,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241055,"qi-jue-shi-zhou-kuang-lu-241055","邝露","邝露（1604-1650）字湛若，号海雪，南海大沥人。明末广东著名诗人；出生于书香世家，少年好学，五岁能诗，以才能卓异闻名于乡里。青年时曾在罗浮山明福洞苦读，邝露工于诗词，精于骈文；又是篆、隶、行、草、楷各体兼擅的有成就的书法家，其草书字迹劲秀，师法王羲之而自成一格。还通晓兵法、骑马、击剑、射箭，又是古文物鉴赏家和收藏家，还擅长古琴，是一位品格极高的琴人。其收藏的唐琴“绿绮台”为岭南“四大名琴”之一，在琴界有极高声誉。他负才不羁，行歌市上，旁若无人，对传统礼法傲然不屑，多次应试也因“违制”而落第。南明唐王时任中书舍人，永历帝时出使广州，顺治七年清兵攻广州，邝露与诸将戮力死守，凡十余月，城陷，不食，抱琴而死，从容殉国，年仅47岁。\n邝露气质浪漫，最能表现其个性的当为草书。其草法奔放，酣畅自然，略近祝枝山，而上追黄庭坚，既任情恣肆而又矩度精严，能放能收，深得书法之要。邝露书法能有很高的成就，源于他多方面的文艺修养。",[80,305,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ea342f7ae92c8d83957ed6529d8e3b.jpg","93×36cm",[101],{"id":44201,"slug":44202,"title":44203,"dynasty":18,"author":34012,"museum":331,"description":34014,"tags":44204,"thumbUrl":44205,"material":198,"size":780,"collection":100,"collections":44206,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241041,"cao-xiu-xian-lu-wen-zhou-cao-xiu-xian-241041","曹秀先录文轴",[80,97,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34ce96f9e558bf9951b359336f6ef4a.jpg",[],{"id":44208,"slug":44209,"title":20028,"dynasty":18,"author":42161,"museum":331,"description":44210,"tags":44211,"thumbUrl":44213,"material":198,"size":780,"collection":100,"collections":44214,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},241038,"qi-lv-zhou-fa-ruo-zhen-241038","法若真（1613－1691）字汉儒，号黄山、黄石，祖籍济南，先祖于明朝景泰年间任职胶州，法氏后人遂定居胶州城里，以为故里。 法若真父亲法寰学识渊博，尤爱好研究经史，对《四书》、《春秋》颇有见解，著作很多，声名一时，他辞官职返乡，在城南怡云岭设学馆，以授徒讲学为业，在胶州造就了大批有用之才。",[80,7,97,77,79,16892,1275,287,21730,40975,44212],"馬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf3b01a8998f7e9c0096c9510231ca6.jpg",[],{"id":44216,"slug":44217,"title":44218,"dynasty":18,"author":44219,"museum":331,"description":44220,"tags":44221,"thumbUrl":44222,"material":198,"size":780,"collection":100,"collections":44223,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},240921,"xie-jiu-xi-tou-xing-gu-yu-zhi-wu-gu-zhou-zhao-zhi-xin-240921","携酒溪头兴谷雨至五古轴","赵执信","赵执信[shēn]（1662年～1744年）清代诗人、诗论家、书法家。字伸符，号秋谷，晚号饴山老人、知如老人。山东省淄博市博山人。十四岁中秀才，十七岁中举人，十八岁中进士，后任右春坊右赞善兼翰林院检讨。\n二十八岁因佟皇后丧葬期间观看洪升所作《长生殿》戏剧，被劾革职。此后五十年间，终身不仕，徜徉林壑。赵执信为王士祯甥婿，然论诗与其异趣，强调“文意为主，言语为役”。所作诗文深沉峭拔，亦不乏反映民生疾苦的篇目。",[80,7,97,77,79,8815,31367,252,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20df3daf90b7f5e4100f06c947778008.jpg",[],{"id":44225,"slug":44226,"title":44227,"dynasty":72,"author":1024,"museum":331,"description":5228,"tags":44228,"thumbUrl":44229,"material":198,"size":780,"collection":100,"collections":44230,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},240918,"du-shi-zhou-dong-qi-chang-240918","杜诗轴",[80,97,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc9c37455ac8257e4bc43849ebc92d5.jpg",[],{"id":44232,"slug":44233,"title":32198,"dynasty":72,"author":26100,"museum":331,"description":35897,"tags":44234,"thumbUrl":44235,"material":198,"size":780,"collection":100,"collections":44236,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},240914,"wu-lv-zhou-huang-dao-zhou-240914",[25,26,7,97,305,77,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c0e1a4bda0e37ee348d1b52fb23504.jpg",[],{"id":44238,"slug":44239,"title":34924,"dynasty":18,"author":36975,"museum":331,"description":42495,"tags":44240,"thumbUrl":44241,"material":198,"size":780,"collection":100,"collections":44242,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},240901,"qi-jue-shi-zhou-zhang-wen-tao-240901",[80,7,97,79,472,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3153d8d09ad078c188cf77d571400b.jpg",[],{"id":44244,"slug":44245,"title":44246,"dynasty":18,"author":29756,"museum":331,"description":33949,"tags":44247,"thumbUrl":44248,"material":198,"size":780,"collection":100,"collections":44249,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},240896,"zhuan-shu-lin-shi-song-ding-ming-zhou-zhang-ting-ji-240896","篆书临史颂鼎铭轴",[2664,945,7,80,8682,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa6a90d8d2c3b32a73f81d92e679a5f.jpg",[],{"id":44251,"slug":44252,"title":44253,"dynasty":18,"author":14131,"museum":331,"description":37827,"tags":44254,"thumbUrl":44256,"material":198,"size":780,"collection":100,"collections":44257,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":704},240879,"xia-chu-nan-qing-lang-tan-qi-gu-zhou-ruan-yuan-240879","下椘南清浪滩七古轴",[80,97,7,77,9593,56,252,601,2014,33109,44255,33111],"钟窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f57af5cb4f62c4eedadb4bc61a8116.jpg",[],{"id":44259,"slug":44260,"title":37970,"dynasty":72,"author":44261,"museum":236,"description":44262,"tags":44263,"thumbUrl":44267,"material":26818,"size":44268,"collection":101,"collections":44269,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},240850,"shu-wu-lv-shi-zhou-liu-zheng-zong-240850","刘正宗","此轴书五言诗一首。点划方圆兼济，书风峻峭挺拔，与倪元璐、黄道周、王铎诸家书风一脉相传。\u2028 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Sichelbart），（1708年－1780年），汉名艾启蒙，字醒庵，波西米亚（今属捷克）人，天主教耶稣会传教士。\n他乾隆十年（1745年）来到中国，师从郎世宁学画，很快受到清廷重视，奉召入内廷供奉。\n他擅长人物、走兽、翎毛类绘画，与郎世宁、王致诚、安德义被人称为四洋画家，形成新体画风。\n他已知的作品有紫光阁武功图中《准噶尔战功图》（乾隆二十年，1755年）；孝圣皇后八旬万寿（乾隆三十六年，1771年），《香山九老图》，著录于《国朝院画录》；《十骏图》（乾隆三十七年）。《宝吉骝图》轴（乾隆三十八年，1773年），绢本，设色，现均藏于台北故宫博物院。",[24,25,26,7,27,28,196,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59e5cf547e30459d378872c39b4f8eb.jpg","纵228.5厘米、横275厘米",[],{"id":44611,"slug":44612,"title":44613,"dynasty":18,"author":14131,"museum":331,"description":37827,"tags":44614,"thumbUrl":44615,"material":198,"size":780,"collection":100,"collections":44616,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},232862,"jing-di-xiao-yuan-za-shi-ruan-yuan-232862","京邸小园杂诗",[80,97,7,214,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2f8c97b3fcb7d115d71ce883667013.jpg",[],{"id":44618,"slug":44619,"title":44620,"dynasty":72,"author":44621,"museum":331,"description":44622,"tags":44623,"thumbUrl":44624,"material":100,"size":100,"collection":100,"collections":44625,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},232825,"xing-shu-li-zhou-wen-zhen-heng-232825","行书立轴","文震亨","文震亨（1585年－1645年），字启美，直隶苏州（今江苏苏州市）人，祖籍湖南衡阳，明末画家。",[23,80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad8949b0a00384ffffdca51843456bce.jpg",[],{"id":44627,"slug":44628,"title":44629,"dynasty":207,"author":50,"museum":74,"description":44630,"tags":44631,"thumbUrl":44633,"material":214,"size":100,"collection":100,"collections":44634,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},232258,"di-ba-ga-na-ga-ba-ha-la-huan-za-zun-zhe-yi-ming-232258","第八嘎纳嘎拔哈剌锾杂尊者","画面以沉静禅意为骨，罗汉趺坐崖间，圆光映出澄澈法相，抬首凝神似在观瀑冥思。衣纹以铁线描游刃穿行，挺劲舒展，浅淡晕染衬出僧袍清逸质感，足下僧履轻置石上，添了几分烟火余温。侧旁沙弥垂目侍立，神态恭谨。\n\n远景山石皴擦写意，飞瀑留白见势，山光水色间幽寂自生。整作笔墨简淡高古，动静相映，将世外清修的静谧禅韵融于尺素之间，尽得山林禅隐之趣。",[25,54,27,985,77,7,132,169,193,29,44632,79],"头光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa937a7b596865541d26d853fcad58313.jpg",[],{"id":44636,"slug":44637,"title":44638,"dynasty":49,"author":44639,"museum":331,"description":44640,"tags":44641,"thumbUrl":44642,"material":198,"size":780,"collection":100,"collections":44643,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},231839,"fei-niao-chuan-gu-ge-tu-zhou-gang-ben-xuan-jiu-231839","飞鸟川古歌图轴","冈本宣就","1575-1657 江户时代初期的武术家。...学习了小泉式的军事艺术，后来被近江彦根藩主井井直孝利用后成为了一名战士。除了佐贺风格的书籍，他还写了和歌诗、茶道和绘画。于明历3年3月11日逝世。",[23,25,26,7,28,129,169,1187,193,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ea1ea4307821a4ef93338d1ff20bf7.jpg",[],{"id":44645,"slug":44646,"title":44647,"dynasty":49,"author":50,"museum":331,"description":44648,"tags":44649,"thumbUrl":44650,"material":198,"size":780,"collection":100,"collections":44651,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},231675,"qi-lv-tu-li-zhou-yi-ming-231675","骑驴图立轴","此作用笔极简写意，以淡墨勾勒骑驴老僧与毛驴。寥寥数笔便捕捉住驴蹄轻抬的灵动姿态，老僧佝偻安坐，宽袍以大片墨色晕染，神态悠然澹定，尽显世外高士物我两忘的自在。\n画面留白疏朗，搭配题字朱印，禅意悠悠，以极简笔墨传递出萧散超脱的山野意趣，笔简却形神兼备，将任情自适的林下风流尽显无余，尽显东方水墨空灵淡远的独特韵味。",[23,25,26,7,77,985,29,3287,79,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa866662591a5e19fb80238175ea9a1ed.jpg",[],{"id":44653,"slug":44654,"title":44655,"dynasty":49,"author":44656,"museum":331,"description":44657,"tags":44658,"thumbUrl":44659,"material":198,"size":780,"collection":100,"collections":44660,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},231673,"shou-ye-tan-you-xiang-tao-tian-liu-rong-zhi-231673","狩野探幽像","桃田柳荣之","这幅肖像以极简笔触，刻画出老者执笔沉吟的瞬间。枯瘦却棱角分明的面庞上，沉静锐利的眼神带着思索的幽光，松弛的轮廓里藏着饱经岁月沉淀的从容气度。淡赭晕染出松弛的肤色，衣物以留白衬墨色领部，冷暖对比间尽显素雅克制。凝练的线条勾勒出垂垂老矣却依旧矍铄的身形，将执笔者凝神构思的神态描摹入微，不见繁复布景，仅以肖像特写，把文人老僧的沉静文心定格在纸间，侘寂的静穆氛围里，尽显写实肖像的传神功底，让观者仿佛能窥见画中人此刻流转的思绪。",[23,25,26,7,28,77,27,29,6667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f3ca1a2a676b3bf641e3a284894c69.jpg",[],{"id":44662,"slug":44663,"title":44664,"dynasty":49,"author":44665,"museum":331,"description":44666,"tags":44667,"thumbUrl":44668,"material":198,"size":780,"collection":100,"collections":44669,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},231670,"shi-he-mi-an-xiang-du-bian-hua-shan-231670","市河米庵像","渡边华山","渡边华山（日语：渡辺崋山；1793年—1841年）原名渡边定静，字子安，一字伯登，通称渡边登，号华山，斋号有寓绘堂、全乐堂、金暾居、昨非居士、随安居士。",[23,25,26,29,77,28,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad6bd411c30051a5f97850fcda5c0d4.jpg",[],{"id":44671,"slug":44672,"title":44673,"dynasty":49,"author":10100,"museum":331,"description":37147,"tags":44674,"thumbUrl":44675,"material":198,"size":780,"collection":100,"collections":44676,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":44},231624,"shi-ting-shi-dai-shan-shui-tu-zhou-shou-ye-yuan-xin-231624","室町时代 山水图轴",[23,25,26,7,77,129,132,170,272,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd95d2140079f970ee5dd318cc6ff750.jpg",[],{"id":44678,"slug":44679,"title":44680,"dynasty":993,"author":50,"museum":331,"description":44681,"tags":44682,"thumbUrl":44683,"material":198,"size":780,"collection":100,"collections":44684,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":44},230977,"zuo-jian-men-da-jiang-jun-fan-jun-bei-zhou-yi-ming-230977","左監門大將軍樊君碑軸","此拓本楷法端稳沉浑，结体匀整方正，尽显初唐尚法的肃穆气度。笔画起收恪守矩度，捺笔隐带隶意遗韵，骨力内蕴风神内敛，是唐人庙堂楷书之典范。\n\n岁月流转，纸面斑驳泐损，却晕开金石沧桑质感，每一处残损皆是时光镌刻的印记。碑文排布茂密紧凑，字间行距严整有序，将官碑的庄重凝练尽显无余，朴厚笔力间藏大唐开阔气象，残损拓痕里沉淀下百年岁月余温。",[80,3763,7,5902,8958,43002],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659f9c4386244cefe682053e889a036a.jpg",[],{"id":44686,"slug":44687,"title":44688,"dynasty":72,"author":1024,"museum":331,"description":5228,"tags":44689,"thumbUrl":44690,"material":198,"size":780,"collection":100,"collections":44691,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},230859,"zhou-zi-tong-shu-zhou-dong-qi-chang-230859","周子通书轴",[24,25,26,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5734b7f45f2b92f666608644adcb5ae2.jpg",[],{"id":44693,"slug":44694,"title":44695,"dynasty":49,"author":34244,"museum":331,"description":34245,"tags":44696,"thumbUrl":44697,"material":182,"size":780,"collection":100,"collections":44698,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":44},230573,"yin-jie-tuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230573","因揭陀尊者",[23,25,7,54,28,27,29,241,33,34,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bfaded64b949b9a3bb109acc10a9e93.jpg",[],{"id":44700,"slug":44701,"title":44702,"dynasty":18,"author":50,"museum":331,"description":44703,"tags":44704,"thumbUrl":44705,"material":100,"size":100,"collection":100,"collections":44706,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},230319,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-shi-san-a-ge-yin-xiang-yi-ming-230319","历代帝王贵妃大臣朝服像(十三阿哥胤祥)","此作以月牙取景框圈定人物，雅致别致，将视觉焦点全然落于主人公身上。画师笔底写实传神，精准勾勒出人物端正沉静的面庞，眉宇间自带宗室贵胄的肃穆内敛。\n\n朝服绘制极尽工细，宝蓝底料之上，明黄龙纹矫健灵动，金线晕染出龙身肌理，配色沉稳华贵，云纹补缀其间层次分明。项下朝珠颗颗饱满剔透，垂配严整，细节处见匠心。整体色调古雅庄重，既恪守宫廷肖像的纪实规制，又以细腻笔触尽显人物仪态风骨，是兼具史料价值与艺术美感的肖像佳制。",[23,25,26,7,28,29,7548,20938,472,27,24329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb732ac61aa34b131692326af1983eb34.jpg",[],{"id":44708,"slug":44709,"title":44710,"dynasty":18,"author":50,"museum":331,"description":44711,"tags":44712,"thumbUrl":44713,"material":100,"size":100,"collection":100,"collections":44714,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},230316,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-guan-lao-fu-ren-yi-ming-230316","历代帝王贵妃大臣朝服像(关老夫人)","此作为工笔设色肖像，夫人安坐宝椅，面容温婉端凝，神态沉静从容。身着织绣满饰团龙纹样的石青朝服，江崖海水纹环缀下摆，金线勾边晕染细腻，配色沉敛华贵，朝冠珠翠、朝珠佩饰皆描摹入微，尽显诰命夫人的尊崇仪范。脚下地砖纹饰繁丽规整，与宝椅绣纹呼应，烘托出肃穆雅致的厅堂氛围。\n画作恪守容像纪实传统，线条匀细流畅，设色厚重雅致，精准还原清代命妇朝服礼制，将清代上层女性雍容端方的仪态，与服饰典制的庄重威仪融合无间，是兼具纪实价值与工笔意趣的清代肖像佳作。",[23,25,7,27,28,29,34,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3027160ba026cf408c2e25b7d52313e1.jpg",[],{"id":44716,"slug":44717,"title":44718,"dynasty":18,"author":50,"museum":331,"description":44719,"tags":44720,"thumbUrl":44721,"material":100,"size":100,"collection":100,"collections":44722,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},230313,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yu-cheng-long-yi-ming-230313","历代帝王贵妃大臣朝服像(于成龙)","此作工笔精妙写实，将主人公刻画得形神兼备。画中老者银髯垂胸，神色沉稳威严，目光平和却藏干练气度，尽显廉吏风骨。朝服细节一丝不苟，石青底色之上，一品文官的飞鹤补子针脚细密灵动，东珠朝珠颗颗匀净，礼制严谨考究。虎纹座椅霸气厚重，衬出其身后功绩煊赫。上方题字详述生平功业，与画像呼应，尽显其显赫地位。设色调和古雅，以沉稳蓝棕铺陈基调，尽显清代肖像画的工整端庄，将主人公刚正清廉的为官气度凝于绢素之中，堪称清代纪实肖像画的精良之作。",[23,24,25,28,27,29,34,5713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd738bf41d5d149988729b3238eb483.jpg",[],{"id":44724,"slug":44725,"title":44726,"dynasty":18,"author":24598,"museum":331,"description":44727,"tags":44728,"thumbUrl":44729,"material":100,"size":100,"collection":100,"collections":44730,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},230289,"hua-lian-li-shan-zhou-li-shi-zhuo-230289","画连理杉轴","此作以淡墨绘就连理古杉，双木苍劲拔起，枝桠舒展如虬龙探空，笔致细劲凝练，将古木霜皮溜雨、黛色参天的苍古之态尽显。山石以极简皴擦晕染，留白铺陈出空山的清寂辽远，衬得杉树愈见孤傲遗世。\n\n题字藏于树侧，文气与画意相融。整幅舍去浓丽设色，以水墨的清寒意趣，铺展出山林古杉的静穆意境，宛若空山听松，带着冲淡平和的文人雅韵，尽显林泉高致，把山野古木的幽澹之美晕染在素纸之上。",[25,26,24,7,77,985,130,170,132,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e68068c11a907d4c8240b17f0658ea5.jpg",[],{"id":44732,"slug":44733,"title":44734,"dynasty":72,"author":1614,"museum":331,"description":44735,"tags":44736,"thumbUrl":44737,"material":100,"size":100,"collection":100,"collections":44738,"showCount":656,"zanCount":43,"manualWeight":43,"mainColor":88},228883,"qi-lv-zi-chen-chao-xia-shi-ling-ben-wen-zheng-ming-228883","七律紫宸朝下诗（另本）","此作用笔苍秀温润，牵丝映带自然圆融，整幅立轴纵势舒展，字间错落顾盼生姿，行气贯通如一。笔画提按顿挫富于变化，粗细和谐有度，既有赵氏行书的婉和韵致，又自出机杼，尽显晚年笔法愈见醇熟的风貌。将应制诗文的端方庄重，与行书的飘逸灵动感巧妙融合，笔墨间饱含沉稳雅致的庙堂气象，尽显吴门书派儒雅隽秀的风华底蕴，是极具代表性的行书佳构。",[23,26,80,97,7,77,79,2749],"https:\u002F\u002Foss.chuangqi.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编撰有《蕉林书目》，今已不存。",[26,80,7,97,79,29183,1127,46137,46138,46139,46140,46141],"霜","春云","禁闱","青旛","旧陇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef72602a708642060277865fed032c01.jpg",[101],{"id":46145,"slug":46146,"title":33038,"dynasty":18,"author":46147,"museum":331,"description":46148,"tags":46149,"thumbUrl":46150,"material":198,"size":780,"collection":100,"collections":46151,"showCount":419,"zanCount":43,"manualWeight":43,"mainColor":342},241503,"lu-wen-zhou-yan-xin-hou-241503","严信厚","原名严经邦，字筱舫，又字小舫，号石泉居士。清末著名实业家、书法家、画家，浙江慈溪县人。他是中国近代早期民族资本家的代表之一，也对中国教育的近代化做出了贡献。",[472,80,97,7,79,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2010d5d8ead3086a9c95736d3e47d0de.jpg",[],{"id":46153,"slug":46154,"title":38091,"dynasty":18,"author":46155,"museum":331,"description":46156,"tags":46157,"thumbUrl":46158,"material":198,"size":780,"collection":100,"collections":46159,"showCount":419,"zanCount":43,"manualWeight":43,"mainColor":88},241486,"lin-tie-zhou-he-guang-xi-241486","何广熹","福州西门外著名藏书家",[80,7,945,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ae8612edaa800b9c3c368967bfd89b.jpg",[],{"id":46161,"slug":46162,"title":46163,"dynasty":18,"author":37984,"museum":331,"description":37985,"tags":46164,"thumbUrl":46165,"material":198,"size":780,"collection":100,"collections":46166,"showCount":419,"zanCount":43,"manualWeight":43,"mainColor":88},241407,"gua-jia-wu-jue-zhou-wang-wen-zhi-241407","瓜架五绝轴",[25,26,7,97,80,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccb01a84ff78e33b5f813364c4e02ff.jpg",[],{"id":46168,"slug":46169,"title":35794,"dynasty":18,"author":46170,"museum":331,"description":46171,"tags":46172,"thumbUrl":46173,"material":198,"size":780,"collection":100,"collections":46174,"showCount":419,"zanCount":43,"manualWeight":43,"mainColor":88},241404,"lun-shu-zhou-pan-shi-en-241404","潘世恩","潘世恩（1770年1月27日——1854年），字槐堂，号芝轩，江苏省苏州府吴县（今江苏省苏州市）人，清朝大臣。",[18,97,7,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df4203652743c8458bfe6eae53c2b8a.jpg",[],{"id":46176,"slug":46177,"title":46178,"dynasty":18,"author":46179,"museum":331,"description":46180,"tags":46181,"thumbUrl":46182,"material":198,"size":780,"collection":100,"collections":46183,"showCount":419,"zanCount":43,"manualWeight":43,"mainColor":44},241387,"bu-yu-xing-zhou-song-wan-241387","捕鱼行轴","宋琬","宋琬（1614-1673），清初著名诗人，清八大诗家之一，字玉叔，号荔裳，汉族，山东莱阳人。 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生于明万历四十二年（1614），清顺治四年（1647）进士，曾任户部河南司主事、吏部稽勋司主事、陇西右道佥事、左参政，康熙十一年（1672），授通议大夫四川按察使司按察使；翌年，进京述职，适逢吴三桂兵变，家属遇难，忧愤成疾，病死京都，时年59岁。\n宋琬的诗入杜、韩之室，与施闰章齐名，有“南施北宋”之说，又与严沆、施闰章、丁澎等合称为“燕台七子”。著有《安雅堂集》《二乡亭词》。",[7,97,80,935,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69da3cf6381f94b037e8b4bf10efc36c.jpg",[],{"id":46185,"slug":46186,"title":26791,"dynasty":18,"author":46187,"museum":331,"description":46188,"tags":46189,"thumbUrl":46190,"material":214,"size":100,"collection":101,"collections":46191,"showCount":419,"zanCount":43,"manualWeight":43,"mainColor":44},241376,"qi-jue-zhou-dong-xiao-chu-241376","董孝初","华亭（今上海市松江）人。诸生。久不得志，遂弃去，放浪山水间。中年作画具元人法。",[80,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3967071b314b1ed992b4bb7c5318a6.jpg",[101],{"id":46193,"slug":46194,"title":46195,"dynasty":72,"author":46196,"museum":331,"description":46197,"tags":46198,"thumbUrl":46199,"material":198,"size":780,"collection":100,"collections":46200,"showCount":419,"zanCount":43,"manualWeight":43,"mainColor":704},241363,"ci-yan-shi-zhou-hu-shi-an-241363","赐晏诗轴","胡世安","胡世安(1593~1663) 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-1815 ]字映雪，一作映琴，号畹云，一号擀云，又号蓼塘。安徽休宁人。乾隆五十八年（一七九三）进士，官御史。为人恬澹真率，好饮酒，善鼓琴，诗、书、画无一不工。书法兼苏、米。以时人画山水多规抚娄东，乃独开生面，高简得宋、元人神髓；亦工兰石及花卉，尝为林远峯写双树图。老干交缠，离奇天娇，笔意纵逸。",[472,25,26,80,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f82ca8c485273121d4b5572f094bba9.jpg",[],{"id":48768,"slug":48769,"title":32198,"dynasty":18,"author":38064,"museum":331,"description":48770,"tags":48771,"thumbUrl":48772,"material":198,"size":780,"collection":100,"collections":48773,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},241389,"wu-lv-zhou-chen-bang-yan-241389","陈邦彦（1678～1752），清代海宁盐官人。字世南，亦作思南，号匏庐，一号春晖，又作春晖老人，又号匏庐。清代著名学者、书法家。",[25,26,7,97,80,77,28,114,440,536,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b1ee1e597eee050c519a8923a08741.jpg",[],{"id":48775,"slug":48776,"title":20028,"dynasty":18,"author":48777,"museum":331,"description":48778,"tags":48779,"thumbUrl":48780,"material":198,"size":780,"collection":100,"collections":48781,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},241388,"qi-lv-zhou-yu-cheng-long-241388","于成龙","于成龙（1617年9月26日—1684年5月31日） ，字北溟，号于山，山西永宁州（今山西省吕梁市方山县）人。清初名臣、循吏。清顺治十八年（1661年），于成龙被任命为罗城县知县，在任上明确保甲制度，百姓安居乐业，全力耕作土地。康熙六年（1667年），于成龙升任四川合州知州。后迁任湖广黄州府的同知和知府，历任代理武昌知府，福建按察使，布政使、巡抚和总督等职。康熙二十年（1681年）入京觐见，升任江南江西总督。康熙二十三年（1684年），朝廷命令于成龙兼管江苏、安徽两地巡抚的政事，不久便在任上去世。被康熙帝追赠为太子太保，赐谥“清端”。有《于清端政书》八卷等著作传世。\n于成龙在二十余年的宦海生涯中，三次被举“卓异”，以卓著的政绩和廉洁刻苦的一生，深得百姓爱戴，被康熙帝赞誉为“清官第一”。",[80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b40f013a696e43c9525f8701a41fe8.jpg",[],{"id":48783,"slug":48784,"title":20028,"dynasty":18,"author":48785,"museum":331,"description":48786,"tags":48787,"thumbUrl":48788,"material":198,"size":780,"collection":100,"collections":48789,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},241381,"qi-lv-zhou-wang-ze-hong-241381","王泽弘","王泽宏（1626年－1708年），又作王泽弘，字涓来，湖广黄冈人，出生于湖广黄州府黄陂王家河王家大湾，因其官至清朝礼部尚书，康熙年间王家河因此改此名，清朝政治人物、进士出身。\n王用予之子。天启六年（1626年）出生。顺治十二年（1655年）登进士，授翰林院侍读，拜礼部左侍郎，助修栖霞寺。[1]康熙三十八年（1699年）担任左都御史。康熙三十九年（1700年）官至礼部尚书。[2]有御史犯罪被建议谪徙乌喇（今吉林市），泽宏以为乌喇死地，“流不可乌喇”，力谏不可。圣祖出巡乌喇时，深叹曰：“此非人所居，王泽宏其引朕于仁乎！”\n泽宏喜与诸名士游，王士正、姜宸英、洪异等“皆尝点定其诗”。康熙四十二年（1703年），以年老辞归，回南京养老，晚年居大功坊，“角巾散服，徜徉山水，若忘其为国老者”。康熙四十七年（1708年）卒，享年八十三岁。[4]有《昊庐集》。有子王材升、王材任、王材成、王材献、王材信、王材振。其孙王廷泰曾邀袁枚为其撰写墓碑。",[80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc744d4d7a066020c0e57c9e48ee1bbe4.jpg",[],{"id":48791,"slug":48792,"title":26099,"dynasty":72,"author":48793,"museum":331,"description":48794,"tags":48795,"thumbUrl":48796,"material":198,"size":780,"collection":100,"collections":48797,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},241362,"shi-zhou-chen-kuang-241362","陈爌","陈爌（？－？），字去炫，号公朗，又号碧云。清初政治人物。",[26,7,80,305,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451f5073b7a9fe5d82ed626988ad39c5.jpg",[],{"id":48799,"slug":48800,"title":48801,"dynasty":72,"author":48802,"museum":331,"description":48803,"tags":48804,"thumbUrl":48805,"material":198,"size":780,"collection":100,"collections":48806,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},241353,"qing-lin-gao-hui-tu-ge-zhou-sun-guo-guang-241353","青林髙会图歌轴","孙国光","此作用笔灵动苍劲，以行书挥就长歌。通篇章法错落疏朗，点画粗细枯湿富于变化，牵丝映带间笔势连贯畅达，既有晋人萧散出尘的韵致，又暗含晚明尚态的书风意趣。\n笔墨随着诗文铺展，将青林雅集的林下风流诉诸笔端，把文友阔别思念、雅聚清欢融于开合收放之中。字字顾盼呼应，通篇一气呵成，尽显书写时的快意随心，将晚明文人潇洒疏放的襟怀，藏在每一处笔墨细节之内，兼具文学意趣与书法审美价值。",[2749,7,97,80,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb97544fe08bba11f94c8d7d808fec79.jpg",[],{"id":48808,"slug":48809,"title":33119,"dynasty":72,"author":48810,"museum":331,"description":48811,"tags":48812,"thumbUrl":48813,"material":198,"size":780,"collection":100,"collections":48814,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},241352,"qi-lv-shi-zhou-li-yuan-kuan-241352","黎元宽","黎元宽（1608—1687），字博庵，南昌府南昌人。崇祯戊辰科进士。官至浙江提学副使。明末清初学者。",[80,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82e2886cd6234e4b6aa85d1dae2ddef.jpg",[],{"id":48816,"slug":48817,"title":48818,"dynasty":18,"author":50,"museum":331,"description":48819,"tags":48820,"thumbUrl":48821,"material":198,"size":780,"collection":100,"collections":48822,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},241341,"jin-shi-shui-you-yin-ci-zhou-yi-ming-241341","今释水尤吟词轴","此作用笔雄健酣畅，牵丝映带尽显流转灵动，行气贯通整幅。开篇起笔沉稳，字势舒张，随行文推进，笔意渐趋跌宕，字形大小错落、欹正相生。墨色浓淡枯湿层次丰富，重墨如坠石，淡锋似流云，将词作沉郁豪情铺陈开来。\n\n章法疏密有致，纵有行横无列，通篇一气呵成，把文辞里的家国忠怀化作笔底风雷，笔墨间兼具文人隽雅意趣与武将雄迈气势，尽显抒情特质，是一件以笔墨载情志的行书佳作。",[26,80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef6fa95d0d69bbff738584226cc44a50.jpg",[],{"id":48824,"slug":48825,"title":35794,"dynasty":18,"author":48826,"museum":331,"description":48827,"tags":48828,"thumbUrl":48829,"material":198,"size":780,"collection":100,"collections":48830,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},241325,"lun-shu-zhou-mao-shu-tang-241325","毛树棠","[清]字芾村，河南武陟人。嘉庆十年（一八o五）翰林，官盐场侍郎。工书，有临醴泉铭。",[80,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eb51c69de62fdf150211298edd3b29.jpg",[],{"id":48832,"slug":48833,"title":35794,"dynasty":18,"author":48834,"museum":331,"description":48835,"tags":48836,"thumbUrl":48837,"material":198,"size":780,"collection":100,"collections":48838,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":44},241324,"lun-shu-zhou-he-shao-jing-241324","何绍京","字子愚，号一溪，湖南道州（今道县）人。道光十九年（一八三九）举人，湖北候选道员。以诗词、书法及鉴赏名於时。",[80,97,7,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d556798f59004ba3417f2045d818681.jpg",[],{"id":48840,"slug":48841,"title":33038,"dynasty":18,"author":48842,"museum":331,"description":48843,"tags":48844,"thumbUrl":48845,"material":198,"size":780,"collection":100,"collections":48846,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":44},241274,"lu-wen-zhou-sun-zhi-wei-241274","孙枝蔚","孙枝蔚（1620年一1687年），清初著名诗人，字豹人，号溉堂，陕西三原人。因其家乡关中有焦获泽，时人因以焦获称之。 生于明光宗泰昌元年，卒于清圣祖康熙二十六年，年六十八岁。\n孙家世代为大商人。李自成入关，孙家即散家财组织团勇抵抗李自成，却为之所败。只身走江都，折节读书，肆力于诗古文。僦居董相祠，高不见之节。王士祯官扬州，先赠以诗，称为奇人；又特访之，与订莫逆交。康熙十八年，（公元一六七九年）举“博学鸿儒”科，因年老不能应试，特旨偕邱钟仁等七人授内阁中书。但不忘故乡，因颜所居曰溉堂，以寓西归之思。枝蔚工诗词，多激壮之音。",[80,305,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7240b399af809bd0871e5c04333887ec.jpg",[],{"id":48848,"slug":48849,"title":32198,"dynasty":18,"author":48850,"museum":331,"description":48851,"tags":48852,"thumbUrl":48853,"material":198,"size":780,"collection":100,"collections":48854,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},241267,"wu-lv-zhou-zhang-jie-241267","张介","此作用笔纵逸酣畅，牵丝映带圆融自然，将草书的流动意趣尽数铺展。通篇行气贯通，字势欹正相生，时而大开大合舒张放达，时而紧凑内敛顾盼有情。笔墨干湿浓淡富于层次变化，枯笔苍劲老辣，润笔饱满浑厚，尽显萧散旷达的文人意韵。\n\n诗句的清远意境与书风完美相融，将山居秋夜的幽寂空阔依托笔锋挥洒而出，笔墨间浸透了创作者寄情林泉、物我两忘的襟怀。",[80,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e507140c2e69efb39eb63798d3c5d58.jpg",[],{"id":48856,"slug":48857,"title":48858,"dynasty":18,"author":48859,"museum":331,"description":48860,"tags":48861,"thumbUrl":48862,"material":198,"size":780,"collection":100,"collections":48863,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":44},241250,"lun-hua-zhou-chen-xi-zu-241250","论画轴","陈希祖","陈希祖（1767-1820，一作1765-1820）字敦一，又字稚孙，号玉香，更号玉方，一作玉芳。江西新城钟贤（今江西省黎川县中田乡）人。官御史。清代学者、著名书法家。",[26,7,97,28,287,31,58,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e56cafabe5bdfb77cacee33fe1bffdf.jpg",[],{"id":48865,"slug":48866,"title":32198,"dynasty":18,"author":48867,"museum":331,"description":48868,"tags":48869,"thumbUrl":48870,"material":198,"size":780,"collection":100,"collections":48871,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},241247,"wu-lv-zhou-xu-you-241247","许友","福建侯官人，初名宰，又名友眉，字有介，一字瓯香。许豸子。诸生。诗孤旷高迥，钱谦益尝录其诗入《吾炙集》，王士禛、朱彝尊并称之。善画工书，少师倪元璐，晚慕米芾，筑米友堂以祀之。康熙间卒。有《米友堂诗集》。",[25,26,80,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21cef9104ea9b968069665931d971c17.jpg",[],{"id":48873,"slug":48874,"title":21085,"dynasty":18,"author":48875,"museum":331,"description":48876,"tags":48877,"thumbUrl":48881,"material":198,"size":780,"collection":100,"collections":48882,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},241246,"wu-gu-zhou-wu-wen-241246","吴雯","吴雯（1644－1704）字天章，号莲洋，又号玉溪生。山西蒲州人，康熙十八年（1379）试博学鸿词，不第，游食南北，足迹几遍古天下，其诗清新自然，王士禛誉为仙人。.",[25,26,7,80,305,77,575,378,252,24173,48878,48879,48880],"窗","斋","阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f97cc5f9c54829837dfb12b6ffcb6.jpg",[],{"id":48884,"slug":48885,"title":34924,"dynasty":18,"author":48886,"museum":331,"description":48887,"tags":48888,"thumbUrl":48889,"material":198,"size":780,"collection":100,"collections":48890,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},241245,"qi-jue-shi-zhou-yao-nai-241245","姚鼐","姚鼐（nài）（1732年—1815年），字姬传，一字梦谷，室名惜抱轩（在今桐城中学内），世称惜抱先生，安庆府桐城（今安徽桐城市）人。清代散文家，与方苞、刘大櫆并称为“桐城派三祖”。\n姚鼐于乾隆十五年（1750年）中江南乡试，乾隆二十八年（1763年）中进士，授庶吉士，三年后散馆改主事，曾任山东、湖南副主考，会试同考官。乾隆三十八年（1773年）入四库全书馆充纂修官，乾隆三十九年（1774年）秋，借病辞官。归里后，以授徒为生，先后主讲扬州梅花书院、安庆敬敷书院、歙县紫阳书院、南京钟山书院，培养了一大批学人弟子。嘉庆二十年（1815年），逝世于钟山书院，享年八十五岁。\n姚鼐治学以经学为主，兼及子史、诗文。他文宗方苞，师承刘大櫆，主张“有所法而后能，有所变而后大”，在方苞重义理、刘大櫆长于辞章的基础上，提出“义理、考据、辞章”三者不可偏废，发展和完善了桐城派文论。为桐城派散文之集大成者。 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明末大臣。字允修。今东昌府区人。万历二十三年（1595）进士，即授为翰林院检讨，后升任礼部右侍郎。",[80,97,7,79,48992,31367,48993,32,28537,1126,35779,37880,335,252,2570,33109,31366],"紫阁","日华","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17dd10a0b07fa576f6dfa81dd6656fb.jpg",[],{"id":48997,"slug":48998,"title":35848,"dynasty":18,"author":48999,"museum":331,"description":49000,"tags":49001,"thumbUrl":49002,"material":198,"size":780,"collection":100,"collections":49003,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240977,"wu-jue-zhou-xue-kai-240977","薛开","薛开，字展也，号木庵，清顺治、康熙年间如皋人，通州泰州如皋一带书法家。书法工妙，擅长诗文，曾见其书法字字映带，行行呼应无造作之处。",[472,25,26,80,7,97,305,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e6b338adcb67ef5b87d9d8e6eaa217.jpg",[],{"id":49005,"slug":49006,"title":32198,"dynasty":18,"author":27620,"museum":331,"description":49007,"tags":49008,"thumbUrl":49009,"material":198,"size":780,"collection":100,"collections":49010,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240913,"wu-lv-zhou-cheng-zheng-kui-240913","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[80,7,97,305,77,79,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5f3184806d8dc7411f81b683c97183.jpg",[],{"id":49012,"slug":49013,"title":49014,"dynasty":18,"author":49015,"museum":331,"description":49016,"tags":49017,"thumbUrl":49018,"material":198,"size":780,"collection":100,"collections":49019,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240906,"liu-lin-qi-jue-er-shou-zhou-tang-bin-240906","柳林七绝二首轴","汤斌","汤斌（1627年—1687年），字孔伯，号荆岘，晚号潜庵。河南睢州（今河南睢县）人，清朝政治家、理学家暨书法家，官至工部尚书，卒谥文正。汤斌一生清正廉明，是实践朱学理论的倡导者，所到之处体恤民艰，弊绝风清，政绩斐然，被尊为“理学名臣”。",[25,26,7,80,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5de1cf7ddefe1ee893a03a06ae3e17fe.jpg",[],{"id":49021,"slug":49022,"title":33119,"dynasty":72,"author":49023,"museum":331,"description":49024,"tags":49025,"thumbUrl":49026,"material":198,"size":780,"collection":100,"collections":49027,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240823,"qi-lv-shi-zhou-lu-lv-qian-240823","陆履谦","明苏州府常熟人，字道卿。工画山水。",[26,80,7,305,77,79,484,131,38474,12549,46434,6557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84921f15e29bcd0a70ec0d5e3cb96af2.jpg",[],{"id":49029,"slug":49030,"title":49031,"dynasty":18,"author":50,"museum":331,"description":49032,"tags":49033,"thumbUrl":49034,"material":198,"size":780,"collection":100,"collections":49035,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":44},240800,"yun-chi-ju-shi-shu-lu-wen-zhou-yi-ming-240800","云池居士书录文轴","此作用笔老辣苍劲，以中锋使转往来，提按顿挫间筋骨尽显。字形大小错落排布，行气连贯如长河奔涌，章法疏密相生，将草书抒情恣肆的特质挥洒尽致。墨色枯湿浓淡富于层次，枯笔见嶙峋筋骨，湿墨显腴润质感，虚实相生间，尽显挥毫时的酣畅快意。\n通篇气息雄放洒脱，将撰文的通透哲思与笔墨的跌宕意气相融，既有古法草书的意趣，又自出机杼，尽显狂草重抒怀的书风余韵，是一件兼具笔墨功力与文人意趣的佳作。",[472,80,7,305,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2609c7936ab4e2da915bc72b14f66549.jpg",[],{"id":49037,"slug":49038,"title":39304,"dynasty":18,"author":49039,"museum":331,"description":49040,"tags":49041,"thumbUrl":49042,"material":198,"size":780,"collection":100,"collections":49043,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240681,"shou-shi-zhou-wei-yi-jie-240681","魏裔介","魏裔介(1616-1686年) 字石生，号贞庵，又号昆林，直隶柏乡（今邢台市柏乡县）人，清初大臣。顺治三年进士，选庶吉士。四年，授工科给事中、左都御史、太子太保、吏部尚书、保和殿大学士、太子太傅等职。著述有《兼济堂文集》传世。雍正间，祀贤良祠。乾隆元年，追谥文毅。\n魏裔介入阁办理国家大事时年仅40余岁，须发皆黑，历史上称之为“乌头宰相”。“清初相业，无出其右者” 。时人曾说，自宋朝欧阳修以后，他是唯一的先为谏臣、后升宰相、历职长久并“展其嘉漠”之人。后人评价他条陈时事、“敢言第一”，清初“诸大典”多依其“奏议所定”。嘉庆、道光年间，还有人将他同并称“二魏”的另一名臣魏象枢（山西蔚州人）作了比较，认为“其相业胜蔚州多矣”。\n康熙三年（1664年），任内秘书院大学士，进入内阁，参与国家大事的决策，因时年 48 岁而被人称“乌头宰相”。康熙二十五年（1686 年） 因牙疾病逝。",[80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1c8e77a1a5ad1725c64ad86e749bb5.jpg",[],{"id":49045,"slug":49046,"title":49047,"dynasty":18,"author":49048,"museum":331,"description":49049,"tags":49050,"thumbUrl":49051,"material":198,"size":780,"collection":100,"collections":49052,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240659,"song-xiang-qi-jue-shi-zhou-song-xiang-240659","宋湘七绝诗轴","宋湘","宋湘（1756年－1826年），字焕襄，号芷湾，广东嘉应州（今梅州市）客家人，清代政治人物、诗人 。 生平[编辑]. 宋湘出身贫寒，受家庭影响勤奋读书，十七岁即中秀才。",[80,26,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3ef1ec7c29bbdc21c26466a82bd20bd.jpg",[],{"id":49054,"slug":49055,"title":34924,"dynasty":18,"author":32291,"museum":331,"description":49056,"tags":49057,"thumbUrl":49058,"material":198,"size":780,"collection":100,"collections":49059,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240652,"qi-jue-shi-zhou-fang-heng-xian-240652","方亨咸（？－？），字吉偶、吉儒，號邵邨、邵村，南京安慶府桐城縣人，清朝政治人物、進士出身。方拱乾之子、方玄成之弟、方章鉞之兄。",[7,97,80,79,378,31,24430,5168,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe469cdb18f78aa3901ab2155bee61b17.jpg",[],{"id":49061,"slug":49062,"title":26099,"dynasty":18,"author":49063,"museum":331,"description":49064,"tags":49065,"thumbUrl":49066,"material":214,"size":100,"collection":101,"collections":49067,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240645,"shi-zhou-feng-gui-fen-240645","冯桂芬","冯桂芬（1809～1874）晚清思想家、散文家。字林一，号景亭，吴县（今江苏苏州）人，曾师从林则徐。道光二十年进士，授编修，咸丰初在籍办团练，同治初，入李鸿章幕府。少工骈文，中年后肆力古文，尤重经世致用之学。在上海设广方言馆，培养西学人才。先后主讲金陵、上海、苏州诸书院。冯桂芬为改良主义之先驱人物，最早表达了洋务运动“中体西用”的指导思想。著有《校邠庐抗议》《说文解字段注考证》《显志堂诗文集》。\n冯桂芬之思想，上接林、魏，下启康、梁，其意义不单单只是“求西学、思变法”的一脉相承，而在于其率先提出了消解现代化过程中的中西、古今矛盾的方法，即“惟善是从”。冯桂芬“惟善是从”的思想根基于中国文化中的见贤思齐、刚健有为的传统，是从中国文化本土生长出来的、可以导致中国文化与时俱进的极其宝贵的思想，也是中国文化具有强大生命力的生动体现。\n冯桂芬在第二次鸦片战争时期，更加全面地论述了向西方学习问题。他继承了林则徐、魏源的传统，肯定了“师夷长技以制夷”的口号，主张学习西方的军事工业。不过，军事工业只是他学习的一个方面了。冯桂芬指出“此外，如算学、重学、视学、光学、化学，皆得格物致理。舆地书备山川厄塞风土物产，多中人所不及。”看到了“农具、织具百工所需，多用机轮，用力少而成功多，是可资以治生。”明确提出在农、工业生产中采用机器的主张。究竟夷之长技有哪些？冯桂芬的认识较魏源有较大的进步。他总结出中国五不如夷。除了认识到船坚炮利不如夷外，还认识到“人无弃才不如夷，地无遗利不如夷，君民不隔不如夷，名实必符不如夷”这里冯桂芬除了在技术方面外，还提出了“君民不隔”问题，这是很可贵的。冯桂芬提出了“自强攘夷”的主张，他把其主张概括为“以中国之名教伦常为原本，辅之以诸国富强之术。”\n冯桂芬非常强调中国自己掌握新式技术。他用了一段很精彩的话：“或曰，购船雇人何如？曰，不可。能造，能修，能用，则我之利器。不能造，不能修，不能用，则仍人之利器也。利器在人手，以之转漕，而一日可令我饥饿；以之运盐，而一日可令我食淡；以之涉江海，而一日可令我复溺┅┅借兵雇船皆暂也，非常也。目前固无隙，固可暂也。日后岂能必无隙，固不可常也。终以自造、自修、自用之为无弊也。”这里包含着发展中国家在向发达国家学习中必须自己掌握经济命脉，才能确保独立的思想。这个思想，对于今天第三世界诸国在同发达国家打交道有借鉴意义。\n冯桂芬对清朝的腐败统治有所不满，建议改革时政。他重视西方经世致用之学问，主张采用西学、制造洋器，他以中国的伦常名教为本，辅以外洋诸国富强新术。他的思想理论对洋务派有很大影响，同时也被资产阶级改良派奉为先导。\n冯桂芬去世以后，他的治国理论，如：裁减冗员、精制规则、停捐输、变科举、广取士、废武科、采用西学、制造洋器等等评议，全都被朝廷甄别、采纳，大部分得以施行。即使到光绪年间大搞变法，也是要变法而没能背离他的统治之道。",[26,80,97,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a13835864f8df2e408b9095f7d26b52.jpg",[101],{"id":49069,"slug":49070,"title":42689,"dynasty":18,"author":49071,"museum":331,"description":49072,"tags":49073,"thumbUrl":49074,"material":198,"size":780,"collection":100,"collections":49075,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240628,"xing-kai-shi-zhou-guo-shang-guang-240628","郭尚光","郭尚光(1785-1832),字元闻,又字兰石,福建莆田人。嘉庆十四年(1809)进士,官大理寺卿。 他是福建莆田人。",[80,97,5902,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3448e10891b6addb616bf418345335a3.jpg",[],{"id":49077,"slug":49078,"title":26099,"dynasty":18,"author":49079,"museum":331,"description":49080,"tags":49081,"thumbUrl":49082,"material":214,"size":100,"collection":101,"collections":49083,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":44},240620,"shi-zhou-lu-ken-tang-240620","陆肯堂","陆肯堂（1650～1696）字邃深，（一作邃升）一字澹成，生于清世祖 康熙二十四年，（累官至 朝廷大著作，多出其手。圣祖尝赞其学问人品，屡加恩赐。肯堂颖悟嗜学，工诗古文辞，滂沛闳阔，如 着有三礼辨真、怀鸥舫诗存、陆氏人物考《清史列传》等，并行于世。\n陆肯堂是清代第十八位状元，字邃升，一字澹成，江苏 其先人世居浙江 陆延楫在乡里声名昭著，品行学识受人称道。他仁慈谨厚，好行善赈济贫困，乡人颂其为有德之人。又嗜书笃学，学识博洽，对天文地理靡不精通。陆肯堂的父亲陆兖，个性豪放，为人敏捷有智略，曾被 陆肯堂是家中独子，倍受爱抚，自幼受到良好教育，颖悟的天赋得到了开发，加之苦读嗜学，每日诵读典籍数千言，培养形成了耳目所接，一过不复忘的超人记忆能力。这一切为他顺利通过 在弱冠之年，陆肯堂补为博士弟子员，即有了秀才的身份。康熙十六年（1677）被授以 康熙二十年（1681）参加 三年后被授以颍上县学学官，未及到任，又参加了康熙二十四年（1685）乙丑科会试。是科会试，始创榜前皇帝令先以前10本试卷进呈候钦走，进呈卷由试官贴黄笺，上书拟议的第一到第十的名次。康熙皇帝 榜眼浙江海宁人状元及第，朝廷授官陆肯堂 此后，陆肯堂留京为官。康熙二十六年（1687）即充任丁卯科乡试江西正考官。他秉公办事，以才选人，所得尽知名人士，时人皆赞其公正严明。故返京城后，由于尽心尽职，康熙三十年（1691）起连续升迁，先是擢为 居京为官期间，陆肯堂在馆阁整理典籍，所撰著文字，颇受同僚推服。他撰著文章，专心尽力，倚马而就，滂沛闳阔，凌厉顿挫，文如泉涌，不可遏止。张伯行 以张伯行处理康熙五十年（1711）辛卯科江南乡试案看，他决非曲笔虚美之徒。丁卯江南乡试，正主考左必蕃，副主考赵晋，榜发解元刘捷，苏郡中试，者13人，外多中扬州盐商子弟，舆论喧哗，试子多认为是科考官受贿通关节。诸考生集于 又争作联语以讥嘲，左丘明两目无珠，赵子龙一身是胆。影射主考官和副考官。有人甚至以纸糊盖 地方官噶礼亦有受贿通关节之嫌。但他竟将考生首领下尔戬等拘押，欲以诬控谋反而治罪。朝廷命尚书逢江 苏巡抚 张伯行弹劾噶礼欺君抗旨，年 皇帝诏令解除二人职务，仍由张鹏翮审案。张鹏翮竟上奏说张伯行所弹劾之事全是子虚乌有，应革职治罪，皇帝 康熙帝认为张伯行天下清官第一，此案是非颠倒有疑，诏令 张伯行回江苏巡抚任上，噶礼革职，作弊之人分别治罪。张伯行正直高洁的品行表明，他对陆肯堂的颂言是可信的。\n陆肯堂不仅才学为人称颂，而且德行令人钦佩。孝顺父母，爱抚兄弟，赈济穷困，是封建社会的道德要求，也是中华民族的传统美德，至今为人称道。陆肯堂的品行堪称封建道德的典范。史载他天性孝友，笃于仁义。父早身亡，能尽心赡养祖父，抚养异母弟，爱护之情诚恳。对幼孤辅之成人，而对待姊妹尤为循礼关照，凡出嫁必准备一份丰厚的嫁妆。如婿贫穷，不能娶者，则扫馆迎之。宗室乡邻之人，生活匮乏，则时与馈遗赒贷。对他的仁慈爱人行为，他自以为理所当然。时人认为他的德望才学均不愧于状元之称。康熙皇帝褒嘉云：陆肯堂学问甚优，人品亦好。当陆肯堂因疾欲乞归乡里时，康熙皇帝关心地遣 倍受皇恩礼遇，陆肯堂遂又留京供职。康熙三十五年（1696）卒于宫。",[18,80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef855ddf6b8e05b343525e4beb3b9c5.jpg",[101],{"id":49085,"slug":49086,"title":26099,"dynasty":72,"author":49087,"museum":331,"description":49088,"tags":49089,"thumbUrl":49090,"material":198,"size":780,"collection":100,"collections":49091,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240615,"shi-zhou-zhang-xin-240615","张忻","張忻，书法邢侗，画仿董其昌。著游夏草。著作有《清画家诗史、山左诗抄》。雍正《山东通志》卷二八之四《艺文志》收有他的《三芸馆诗草》及《归围日记》。",[2749,80,26,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b24691fe76f9969fbb7100eaf2d9587.jpg",[],{"id":49093,"slug":49094,"title":26099,"dynasty":72,"author":49095,"museum":331,"description":49096,"tags":49097,"thumbUrl":49098,"material":198,"size":780,"collection":100,"collections":49099,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240614,"shi-zhou-ke-xia-qing-240614","柯夏卿","柯夏卿（1610-1681），字仲倩，號玉硯，浙江台州府黃岩縣（今浙江省台州市黃巖區）人，明代官員。",[80,7,305,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd58352b60d61e4152c585572366924ba.jpg",[],{"id":49101,"slug":49102,"title":30389,"dynasty":72,"author":49103,"museum":331,"description":49104,"tags":49105,"thumbUrl":49106,"material":198,"size":780,"collection":100,"collections":49107,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":704},240600,"lu-yu-zhou-pang-zai-240600","庞载","此作用笔纵逸酣畅，以开张之势铺陈全篇，字势欹侧跌宕，笔力雄健沉厚。牵丝映带之间气脉贯通，文句意趣与草书法度相融。章法疏密错落有致，墨色随运笔节奏枯湿浓淡富于层次，尽显明人草书尚势的典型特质，将文人疏放襟怀寄寓挥毫之间，灵动不失谨严，是一件颇具个性的草书佳构。",[80,7,305,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5d47f3b162460c5545065f68463b804.jpg",[],{"id":49109,"slug":49110,"title":49111,"dynasty":18,"author":30397,"museum":331,"description":49112,"tags":49113,"thumbUrl":49114,"material":198,"size":780,"collection":100,"collections":49115,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240562,"lu-shu-pu-zhou-bao-shi-chen-240562","录书谱轴","包世臣（1775一1855），安吴（今安徽泾县）人。清代学者、书法家。包世臣是北宋名臣——包拯二十九世孙。字慎伯，晚号倦翁、小倦游阁外史。嘉庆二十年举人，曾官江西新喻知县，被劾去官。包世臣学识渊博，喜兵家言，治经济学。对农政、货币以及文学等均有研究。28岁时遇邓石如，师从学篆隶，后又倡导北魏。晚年习二王。自称：“慎伯中年书从颜、欧入手，转及苏、董，后肆力北魏，晚习二王，遂成绝业。”自拟为“右军第一人”，自负之极。包世臣的主要历史功绩在于通过书论《艺舟双楫》等倡导碑学，对清代中、后期书风的变革影响很大，为书界称颂。",[80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac166f05fc2afe4b0c04ffa29664a5b6.jpg",[],{"id":49117,"slug":49118,"title":26791,"dynasty":18,"author":19287,"museum":331,"description":49119,"tags":49120,"thumbUrl":49121,"material":198,"size":780,"collection":100,"collections":49122,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240559,"qi-jue-zhou-zhang-ci-ning-240559","张赐宁（1743—1818）字坤一，号桂岩，清代画家，直隶沧州（今河北沧县）人。初游京师与罗聘齐名，为南通州判官。",[26,7,80,97,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c317bfd69fdd37c2a9bfa63ffa8138c.jpg",[],{"id":49124,"slug":49125,"title":34896,"dynasty":18,"author":49126,"museum":331,"description":49127,"tags":49128,"thumbUrl":49129,"material":198,"size":780,"collection":100,"collections":49130,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":704},240558,"lin-mi-tie-zhou-he-cai-240558","何采","何采是清代出生在安徽桐城的文人。他字敬舆，号醒斋，又号南磵，著有《让村集》、《南磵集》、《南磵词选》。",[80,97,945,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8aed991871f647712674eaefb8801e.jpg",[],{"id":49132,"slug":49133,"title":30389,"dynasty":18,"author":49134,"museum":331,"description":49135,"tags":49136,"thumbUrl":49137,"material":198,"size":780,"collection":100,"collections":49138,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240557,"lu-yu-zhou-cai-zhi-ding-240557","蔡之定","蔡之定（1745年－1830年），字麟昭，号生甫，晚号积谷山人，浙江德清人。\n乾隆十年十二月十二日生。乾隆五十八年（1793年）中进士，选庶吉士，嘉庆元年（1796年）散馆授编修，历任高宗实录馆总篡，升国子监司业、侍讲学士。嘉庆十九年（1814年），因建议以纸币代银，以“妄言乱政”降鸿胪寺少卿。晚年，主讲钟山、蕺山两书院。\n蔡之定擅书法，时与翁方纲、刘墉、铁保号称“四大书家”。道光十四年（1834年）九月初八卒。",[472,80,7,97,17999,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb18ad7cff5cc3189618e102c36c63e.jpg",[],{"id":49140,"slug":49141,"title":33119,"dynasty":72,"author":33401,"museum":331,"description":42698,"tags":49142,"thumbUrl":49143,"material":198,"size":780,"collection":100,"collections":49144,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240506,"qi-lv-shi-zhou-chen-ji-ru-240506",[26,80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b3f8e6a4113eafcafddb7314b6fef0.jpg",[],{"id":49146,"slug":49147,"title":33119,"dynasty":72,"author":49148,"museum":331,"description":49149,"tags":49150,"thumbUrl":49151,"material":198,"size":780,"collection":100,"collections":49152,"showCount":11,"zanCount":43,"manualWeight":43,"mainColor":88},240497,"qi-lv-shi-zhou-song-jue-240497","宋珏","宋珏（1576—1632）明代诗人、书画家。字比玉，号荔支子，浪道人、国子仙，福建莆田人。国子监生。漫游吴越，客死吴地，工书画篆刻。山水学米氏、黄公望、吴镇，用笔苍老秀逸，不拘于法，兼善画松。",[80,5199,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484469d02d1862f8ee683cc15c3291b5.jpg",[],{"id":49154,"slug":49155,"title":49156,"dynasty":72,"author":49157,"museum":331,"description":49158,"tags":49159,"thumbUrl":49160,"material":198,"size":780,"collec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），字孝达，号香涛，时为总督，称“帅”，故时人皆呼之为“张香帅”。 晚清名臣、清代洋务派代表人物，祖籍直隶南皮，出生于贵州兴义府（今安龙县 ）。咸丰二年（1852年）十六岁中顺天府解元，同治二年（1863年）二十七岁中进士第三名探花，授翰林院编修，历任教习、侍读、侍讲、内阁学士、山西巡抚、两广总督、湖广总督、两江总督（多次署理，从未实授）、军机大臣等职，官至体仁阁大学士。\n张之洞早年是清流派首领，后成为洋务派的主要代表人物。教育方面，他创办了自强学堂（今武汉大学前身）、三江师范学堂（今南京大学前身）、湖北农务学堂（今华中农业大学前身） 、湖北武昌蒙养院、湖北工艺学堂、慈恩学堂（南皮县第一中学）、广雅书院等。 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。清朝词人、学者、藏书家。",[80,97,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f49fa27cd658afdfd67a9ff482914d.jpg",[],{"id":51116,"slug":51117,"title":33119,"dynasty":18,"author":51118,"museum":331,"description":51119,"tags":51120,"thumbUrl":51121,"material":198,"size":780,"collection":100,"collections":51122,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241525,"qi-lv-shi-zhou-wang-guo-dong-241525","王国栋","王国栋（？—1735）字左吾，汉军镶红旗人，清朝大臣。",[25,26,7,97,80,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d884dd3793e60125d6929b4bb76327.jpg",[],{"id":51124,"slug":51125,"title":51126,"dynasty":18,"author":51127,"museum":331,"description":51128,"tags":51129,"thumbUrl":51130,"material":198,"size":780,"collection":100,"collections":51131,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241494,"lu-yu-dan-zhang-li-xiu-cheng-241494","录语单张","李秀成","李秀成（1823年—1864年8月7日 ），初名李以文、李寿成，汉族，生于广西梧州市藤县大黎里新旺村 ，太平天国后期著名将领，近代中国军事家、政治家。\n李秀成出身贫苦，幼时种地耕山，帮工就食，曾随舅父读书。道光二十九年（1849年）加入拜上帝会。辛开元年（1851年）参加太平军后，随太平军转战至天京，历任右四军帅、后殿右二十指挥、二十二检点等职。天京事变后，晋升为地官正丞相、合天侯。翼王石达开出走后，封副掌率、合天义，与又正掌率陈玉成等同主军政。 [14] 因战功卓著而被天王洪秀全赐名“秀成”。\n在太平天国统治的中后期，李秀成与陈玉成、李世贤等力撑危局，取得了一破江北江南大营、二破江北大营、三河大捷、二破江南大营等军事上的胜利，建立了苏福省、天浙省。同时抗击英法侵略者，击毙常胜军指挥者华尔、法国海军提督卜罗德，中兴太平天国。因其功勋卓著，于庚申十年（1860年）被天王洪秀全封为忠王，称“万古忠义”。\n甲子十四年（1864年），湘军攻陷天京，李秀成扶幼天王出逃，不久被俘。在狱中写下数万字的自述后，于天京从容就义，年仅四十二岁。",[80,97,79,472,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1021afa955678c16b02996e4e80e067b.jpg",[],{"id":51133,"slug":51134,"title":26099,"dynasty":18,"author":51135,"museum":331,"description":51136,"tags":51137,"thumbUrl":51138,"material":198,"size":780,"collection":100,"collections":51139,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241464,"shi-zhou-wang-yi-qing-241464","王奕清","字幼芬，号拙园，江苏太仓人。清朝学者，政治人物，名门望族之裔，王时敏之孙，颛菴王掞相国之子，其曾上祖是明末万里内阁首辅王锡爵，家族不乏科考得意者，成为名副其实的簪缨之家，在江南一带被盛传“一门两宰相，父子三进士”，康熙三十年（一六九一）进士，选庶吉士，散馆翰林院编修，累官詹事府詹事兼翰林院侍读学士，曾代父赴军，历驻忒斯，雍正四年，命赴阿尔泰坐台，又十年，乾隆元年，召还，乞假葬父，翌年卒，时年七十三岁，曾奉清圣祖之命篡修康熙《钦定词谱》，善书法，工绘事篆刻。",[25,26,7,97,80,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd625145e44320f48adbcb8a5bc1669dd.jpg",[],{"id":51141,"slug":51142,"title":51143,"dynasty":72,"author":50,"museum":331,"description":51144,"tags":51145,"thumbUrl":51146,"material":198,"size":780,"collection":100,"collections":51147,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241454,"xia-shi-shu-shi-zhou-yi-ming-241454","夏时书诗轴","这幅草书诗轴纵肆雄健，以狂放笔意铺陈全篇。开篇“春风”二字开张大气，起笔如长风卷浪，迅疾洒脱。字形欹侧跌宕，线条枯湿浓淡自然变幻，牵丝映带间气脉贯通，虚实相生。\n\n笔墨节奏贴合诗意，将“春风得意马蹄疾，一日看尽长安花”的登科快意寄寓毫端。重捺如坠石，轻丝若游丝，书写时的情绪起伏跃然纸上，尽显疏放任侠的文人风骨，是明代浪漫书风的典型佳作。",[2749,80,7,305,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28984d379b2f3e9594c5c254901df6c4.jpg",[],{"id":51149,"slug":51150,"title":26791,"dynasty":72,"author":51151,"museum":331,"description":51152,"tags":51153,"thumbUrl":51154,"material":198,"size":780,"collection":100,"collections":51155,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241452,"qi-jue-zhou-huang-yun-241452","黄云","黄云，明代诗人、书法家，江苏昆山人。字应龙，号丹岩。有《丹岩集》。",[26,25,80,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50489be84c12227ab4ba18b96ae126e0.jpg",[],{"id":51157,"slug":51158,"title":20028,"dynasty":18,"author":51159,"museum":331,"description":51160,"tags":51161,"thumbUrl":51162,"material":198,"size":780,"collection":100,"collections":51163,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":704},241392,"qi-lv-zhou-huang-ren-241392","黄任","黄任（1683一1768）字于莘，又字莘田，因喜藏砚，自号十砚老人、十砚翁，清代著名诗人，藏砚家，永福（今福建永泰县）人。康熙四十一年举人，官广东四会知县，罢官归，船中所载惟砚石。归里后生活清苦。工诗，以轻清流丽为时人所称，七绝尤负盛名。著有《秋江集》《香草笺》。",[26,25,80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2b3cf40d1d5a17c44330e3686c88f9.jpg",[],{"id":51165,"slug":51166,"title":30389,"dynasty":18,"author":48597,"museum":331,"description":48598,"tags":51167,"thumbUrl":51168,"material":198,"size":780,"collection":100,"collections":51169,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241386,"lu-yu-zhou-zhang-ying-241386",[472,80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f540564f46056f6d278aa38f1c981dd.jpg",[],{"id":51171,"slug":51172,"title":51173,"dynasty":18,"author":50,"museum":331,"description":51174,"tags":51175,"thumbUrl":51176,"material":198,"size":780,"collection":100,"collections":51177,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241385,"wan-dai-shang-qi-lv-zhou-yi-ming-241385","万代尚七律轴","此作用笔纵逸洒脱，以行书立骨间杂草意，线条粗细枯湿变幻自然，提按转合尽显畅达意气。章法上字间牵丝映带，行气连贯如行云流水，上下顾盼呼应，通篇气机完足。墨色层次丰富，浓墨醒神，淡墨含韵，枯笔添就苍茫古拙之致。\n\n诗句书写一气呵成，将文人雅逸心境融于笔墨，笔势随诗意跌宕，既有肆意挥洒的疏狂，又不失法度谨严，尽显清代行书尚意重韵的典型特质，是一件颇具文人气息的书法佳构，尽显传统书法抒情达意的美学魅力。",[80,97,7,79,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fab334c906d57c114131966182e6706.jpg",[],{"id":51179,"slug":51180,"title":32198,"dynasty":18,"author":35786,"museum":331,"description":35787,"tags":51181,"thumbUrl":51182,"material":198,"size":780,"collection":100,"collections":51183,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241384,"wu-lv-zhou-li-du-na-241384",[26,80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bcac4b9bc78f5703e295b4c1bea12c2.jpg",[],{"id":51185,"slug":51186,"title":20028,"dynasty":18,"author":51187,"museum":331,"description":51188,"tags":51189,"thumbUrl":51190,"material":198,"size":780,"collection":100,"collections":51191,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},241373,"qi-lv-zhou-zhu-ji-zuo-241373","朱继祚","朱继祚（1593－1649），字立望，号胤岗。福建莆田县横塘（今莆田市荔城区黄石镇横塘村）人。明末政治人物。",[80,7,97,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc46103b0daf24a5d8d9d9f36a67f83f.jpg",[],{"id":51193,"slug":51194,"title":20028,"dynasty":18,"author":51195,"museum":331,"description":51196,"tags":51197,"thumbUrl":51201,"material":198,"size":780,"collection":100,"collections":51202,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241372,"qi-lv-zhou-deng-zhong-yue-241372","邓钟岳","邓钟岳（1674～1748） 康熙六十年状元， 清代官员。字东长，号悔庐。东昌府人（今聊城市东昌府区人）。邓基哲子。",[25,26,7,97,80,79,31,51198,51199,49189,56,51200],"白鸥","东山","帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0477809e4096a5437fbedbf114e5b8df.jpg",[],{"id":51204,"slug":51205,"title":26099,"dynasty":18,"author":51102,"museum":331,"description":51103,"tags":51206,"thumbUrl":51207,"material":198,"size":780,"collection":100,"collections":51208,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241370,"shi-zhou-mao-qi-ling-241370",[80,7,97,305,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b856c27df2af7e9d881cfdf650f6b8.jpg",[],{"id":51210,"slug":51211,"title":33119,"dynasty":18,"author":51212,"museum":331,"description":51213,"tags":51214,"thumbUrl":51215,"material":198,"size":780,"collection":100,"collections":51216,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241369,"qi-lv-shi-zhou-wu-xiang-241369","吴襄","吴襄（1592年－1644年），字两环，祖籍江南高邮（今江苏高邮）。明末辽东总兵，吴三桂之父，崇祯四年的大凌河之战里，吴襄在赴援时逃亡，导致全军覆灭，因而被判下狱。崇祯十七年三月初，李自成破大同、真定，崇祯起用吴襄提督京营。不久，北京城破，吴襄被大顺军活捉。后来由于其子吴三桂引清兵入关，李自成大怒，在永平城西范家庄斩杀吴襄。",[80,97,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b395ce009e34f2830446c30e4535891.jpg",[],{"id":51218,"slug":51219,"title":35794,"dynasty":18,"author":51220,"museum":331,"description":51221,"tags":51222,"thumbUrl":51223,"material":198,"size":780,"collection":100,"collections":51224,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241365,"lun-shu-zhou-huang-hong-you-241365","黄鸿猷","黄鸿猷（1875～1923），字琼生，1875年出生，广东阳山黎埠镇均安村人。清痒生，广西候补知县。赋有胆略，谋而能断，精明强干，所至有声。淇潭 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12年（1923），自任广东省省长仅三天，于广州被乱枪击毙。年49岁。",[97,80,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95745bdb2da9269eb917e0cb83e55f24.jpg",[],{"id":51226,"slug":51227,"title":33119,"dynasty":18,"author":51228,"museum":331,"description":51229,"tags":51230,"thumbUrl":51231,"material":198,"size":780,"collection":100,"collections":51232,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241355,"qi-lv-shi-zhou-wang-hong-xu-241355","王鸿绪","王鴻緒（1645年－1723年），初名度心，中进士后改名鴻緒，字季友，号俨斋，又号橫云山人，江南华亭县（今上海松江区）人，清朝史學家，康熙帝親信。",[26,80,7,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e5f5c1eafc1dbed4e6e85c0e886ede6.jpg",[],{"id":51234,"slug":51235,"title":33119,"dynasty":72,"author":51236,"museum":331,"description":51237,"tags":51238,"thumbUrl":51239,"material":198,"size":780,"collection":100,"collections":51240,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241350,"qi-lv-shi-zhou-mao-xiang-241350","冒襄","冒襄（1611年－1693年），字辟疆，號巢民。如皋（今屬江蘇）人。明末四公子之一。",[80,97,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d43e5b94e0b0d979a25ebd6e66b220.jpg",[],{"id":51242,"slug":51243,"title":33038,"dynasty":18,"author":51244,"museum":331,"description":51245,"tags":51246,"thumbUrl":51247,"material":198,"size":780,"collection":100,"collections":51248,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241329,"lu-wen-zhou-sun-yi-jing-241329","孙诒经","清钱塘（今杭州）人。清咸丰十年(1860年)进士，选翰林院庶吉士，以太平军攻占杭州，乞假归奉其母。",[26,7,97,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebcd894b1e4b882be24e6c1a4704000.jpg",[],{"id":51250,"slug":51251,"title":33038,"dynasty":18,"author":51252,"museum":331,"description":51253,"tags":51254,"thumbUrl":51255,"material":198,"size":780,"collection":100,"collections":51256,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":88},241328,"lu-wen-zhou-wu-xi-qi-241328","吴锡麒","吴锡麒（1746～1818），清代文学家。字圣征，号縠人。钱塘（今浙江杭州）人。 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