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作为南唐画家顾闳中的绘画作品。此卷据各方面考证，当属南宋孝宗至宁宗朝（1163—1224年）摹本，其风格基本反映出原作面貌，且达到相当高水平，堪称流传有绪的古代绘画珍品。\n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。",[108,24,65,25,7,26,27,29,70,109,110,91,67,92],"名画","乐器","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f01749acfaf6449c0e92a8477239224.jpg","绢本，设色","纵28.7厘米，横335.5厘米。",[],2675,16,{"id":118,"slug":119,"title":120,"dynasty":85,"author":86,"museum":121,"description":122,"tags":123,"thumbUrl":125,"material":126,"size":127,"collection":96,"collections":128,"showCount":129,"zanCount":130,"manualWeight":54,"mainColor":55},221371,"mo-zhang-xuan-guo-guo-fu-ren-you-chun-tu-juan-zhao-ji-221371","摹张萱虢国夫人游春图卷","辽宁省博物馆","赵佶摹张萱《虢国夫人游春图》，中国北宋徽宗赵佶摹唐代仕女画画家张萱《虢国夫人游春图》。《虢国夫人游春图》是唐代中期仕女画的代表作品。此卷前隔水有金章宗(完颜璟)瘦金书“天水摹张萱虢国夫人游春图”题签。天水为赵姓的郡望，此处系指赵佶。卷后有明末清初书画家王铎题跋。此卷曾入金内府，“明昌”诸印玺俱全，又有宋时的官、私印记“台州市房务抵当库记”、“绍勋”及“封”字印等，还有明末王长垣、清初梁清标鉴藏印。",[23,108,24,65,25,7,27,26,29,124,67],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a50b9e37f23291bf8e102561059d66.jpg","绢本设色","纵51.8、横148厘米",[96,49,51],2369,28,{"id":132,"slug":133,"title":134,"dynasty":18,"author":135,"museum":105,"description":136,"tags":137,"thumbUrl":143,"material":144,"size":145,"collection":146,"collections":147,"showCount":148,"zanCount":149,"manualWeight":54,"mainColor":150},219219,"fang-huang-gong-wang-fu-chun-shan-ju-tu-juan-shen-zhou-219219","仿黄公望富春山居图卷","沈周","此图为沈周背临黄公望《富春山居图》之作。图中坡岗起伏，景物幽美，布局开合有度，用笔方圆兼备，刚柔并济，结合了披麻皴法与矾头皴法，对原作的临摹达到了形神兼似的境界，而笔力间又体现出沈周自己个人的特色。黄公望《富春山居图》后被焚毁作两段，分别辗转流传，今前一段藏于浙江省博物馆，后一段藏于台北故宫博物院。沈周此幅临作基本上保留了原作被毁以前的面貌，故这幅作品除具备本身的艺术价值之外，还带有重现黄氏原作的重要意义。尾纸有姚绶、董其昌、吴宽、文彭、周天球、谢凇洲诸家题跋。",[23,24,65,25,138,139,7,68,69,67,72,140,33,32,141,142,71],"水墨","皴法","孤石","山峦","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1efe58b722df64f77e022a8a8fc2de6.jpg","纸本,设色","纵36.8厘米，横855厘米","山水画精选",[146],1987,11,"BDBDBD",{"id":152,"slug":153,"title":154,"dynasty":85,"author":155,"museum":156,"description":157,"tags":158,"thumbUrl":162,"material":163,"size":164,"collection":146,"collections":165,"showCount":166,"zanCount":167,"manualWeight":54,"mainColor":150},214316,"mo-tang-dai-lu-hong-cao-tang-shi-zhi-tu-li-gong-lin-214316","摹唐代卢鸿草堂十志图","李公麟","日本大阪市立美术馆","这两幅画在构图、风格和笔触上都有密切的联系，但人物的比例缩小了，放在更合理的自然空间里，而山水、树木和岩石的表现则更符合宋（或金）代的风格，在一定程度上反映了李公麟对卢鸿原作的临摹所产生的不同面貌。虽然这三幅画的具体临摹时间和具体制作时间还有待学者们进一步研究，但《草堂西施图》无疑在中国绘画史上占有很高的重要地位，因为它是中国文人隐居生活的经典形象，历来被人观赏、模仿和解读。大阪藏品的制作时间可能早于上述紫禁城画卷，晚于台北画卷，因为它与辽宁省博物馆收藏的北宋张继的《白莲社》画作比较接近。",[23,24,25,138,7,139,68,67,72,33,159,160,161,29,38],"山石","瀑布","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbccf5a7742967237a6a52cd2eb0fe914.jpg","纸本,水墨","30.3x867.2",[146],1944,14,{"id":169,"slug":170,"title":171,"dynasty":85,"author":104,"museum":62,"description":106,"tags":172,"thumbUrl":179,"material":77,"size":77,"collection":77,"collections":180,"showCount":181,"zanCount":167,"manualWeight":54,"mainColor":55},226698,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-226698","韩熙载夜宴图(宋摹本)",[23,7,26,27,25,68,67,29,70,173,109,110,174,175,176,91,177,178],"文人","床榻","屏风","桌案","墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2423c850e2ffa06c685670994844.jpg",[],1302,{"id":183,"slug":184,"title":185,"dynasty":85,"author":186,"museum":105,"description":187,"tags":188,"thumbUrl":190,"material":47,"size":191,"collection":96,"collections":192,"showCount":193,"zanCount":194,"manualWeight":54,"mainColor":150},216772,"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","佚名","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,24,65,25,7,66,27,26,68,69,189,67,29,70,72,71,30,32,33],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8",[96],1270,10,{"id":196,"slug":197,"title":198,"dynasty":199,"author":200,"museum":105,"description":201,"tags":202,"thumbUrl":210,"material":211,"size":77,"collection":77,"collections":212,"showCount":213,"zanCount":214,"manualWeight":54,"mainColor":150},234149,"lin-shen-zhou-shan-shui-juan-cheng-zheng-kui-234149","临沈周山水卷","清","程正揆","此幅画秋景山水，是程正揆的精谨之作，图中层峦叠谳，怪石嶙岣，山路崎岖，烟水微茫，层舍俨然，再缀以溪水树木，其境地则很深邃幽奥。此图笔墨枯劲，画风静秀。",[23,24,65,25,7,138,27,72,139,68,69,159,33,32,31,74,203,2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14887","昭陵六骏图","赵霖","这幅画以唐太宗昭陵的六匹骏马为蓝本，分为六个部分，每个部分都有一匹马，并在侧面写有铭文。马匹的形状忠实于原作，但也注意到了画作的优势，通过有力的笔触和微妙的色彩，使马匹的皮毛更加逼真自然，战马驰骋疆场的雄姿也被生动地描绘出来。无论他们是奔跑、跳跃、行进还是站立，他们都被充分展现出来。",[23,24,65,25,26,27,7,124,240,29,68,69,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d6aa1f7279d174f484a829d34cfa3.jpg","27.4x444.2",[96],441,{"id":322,"slug":323,"title":324,"dynasty":18,"author":19,"museum":62,"description":325,"tags":326,"thumbUrl":332,"material":333,"size":334,"collection":77,"collections":335,"showCount":336,"zanCount":11,"manualWeight":54,"mainColor":55},287636,"mo-li-zhao-dao-ming-huang-xing-shu-tu-quan-juan-chou-ying-287636","摹李昭道明皇幸蜀图全卷","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”。",[23,24,25,7,26,327,27,72,29,124,328,31,141,329,330,331],"青绿","古道","历史画","侍从","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962a3f309aa3a5c7f24e8b0909e8b7c2.jpg","未知","Xcm*Xcm",[],380,{"id":338,"slug":339,"title":340,"dynasty":199,"author":341,"museum":236,"description":342,"tags":343,"thumbUrl":349,"material":47,"size":350,"collection":146,"collections":351,"showCount":352,"zanCount":11,"manualWeight":54,"mainColor":150},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。",[108,24,65,253,27,72,139,7,67,344,142,33,345,346,347,141,348],"山峰","松树","岩石","亭子","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","287.2x155.2",[146],371,{"id":354,"slug":355,"title":356,"dynasty":85,"author":86,"museum":62,"description":357,"tags":358,"thumbUrl":359,"material":333,"size":334,"collection":77,"collections":360,"showCount":361,"zanCount":362,"manualWeight":54,"mainColor":55},289007,"mo-zhang-xuan-guo-guo-fu-ren-you-chun-tu-zhao-ji-289007","摹张萱虢国夫人游春图","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。",[23,108,24,25,27,29,124,70,26,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb526d78da24aa77a7005eb850f4b55.jpg",[],352,2,{"id":364,"slug":365,"title":366,"dynasty":199,"author":186,"museum":236,"description":367,"tags":368,"thumbUrl":374,"material":47,"size":375,"collection":146,"collections":376,"showCount":377,"zanCount":54,"manualWeight":54,"mainColor":55},218493,"fang-zhao-meng-fu-que-hua-qiu-se-tu-yi-ming-218493","仿赵孟頫鹊华秋色图","平野旷远，秋气澹然。疏林错落于汀渚间，枯藤缀红，苍松凝翠，枝桠横斜藏萧瑟之韵；浅滩细草萋萋，水鸟翩跹，添野趣几分。左畔圆丘如覆，右峰尖峭似锥，淡墨晕染出层峦之态，远岫含烟，空蒙悠远。笔墨承古意，设色雅淡，将秋郊的旷疏与静谧凝于绢素。画面空灵澄澈，无喧嚣之扰，尽显宋元山水的悠然之境，似可闻风过林梢、水鸟轻啼，令人心驰神往。",[23,24,65,108,25,7,27,139,72,33,369,370,371,372,373],"平野","芦苇","孤山","红叶树","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76414e091a2fe78c9e55723e023ebb19.jpg","28.7x146cm",[146],346,{"id":379,"slug":380,"title":381,"dynasty":199,"author":382,"museum":236,"description":383,"tags":384,"thumbUrl":385,"material":163,"size":386,"collection":307,"collections":387,"showCount":388,"zanCount":362,"manualWeight":54,"mainColor":150},214198,"lin-huang-shan-gu-ti-zhou-fang-hua-qin-ruan-tu-liu-yong-214198","临黄山谷题周昉画琴阮图","刘墉","临黄山谷题周昉画琴阮图是清代诗人刘墉的一首诗作。\n\n刘墉（1679年-1733年），字清哲，汉族，浙江桐乡人，清代诗人、文学家。他是清代文学史上著名的诗人之一，在当时被尊为“诗圣”。他的诗作风格婉转、清新，有浓厚的写实感，被认为是清代文学中的经典之作。\n\n临黄山谷题周昉画琴阮图是刘墉的一首著名诗作，其中描写了黄山的风景。这首诗的气势磅礴，描写了黄山的雄伟景色，表达了作者对黄山的崇敬之情。诗中还描写了周昉画琴阮图的情景，表现了作者对艺术的热爱。\n\n整首诗的意境深远，描写细腻，是刘墉的代表作之一，也是清代文学中的经典之作。",[23,68,69,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e3642eba9721dbe21f759d69be88206.jpg","104x33.6",[307],345,{"id":390,"slug":391,"title":392,"dynasty":199,"author":393,"museum":236,"description":394,"tags":395,"thumbUrl":397,"material":47,"size":77,"collection":51,"collections":398,"showCount":399,"zanCount":400,"manualWeight":54,"mainColor":150},218501,"fang-song-yuan-ben-jin-ling-tu-xie-sui-218501","仿宋院本金陵图","谢遂","本卷描绘了金陵城的城市和村庄的商店和街景，以及市场上的人们，细节丰富，气氛热烈。笔触非常准确，人物形象也很生动。根据作者在画板上的标记，这幅画完成于乾隆五十二年（公元1787年）。 在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[23,108,24,65,25,26,27,7,29,30,31,32,33,396,124],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[51],329,7,{"id":402,"slug":403,"title":404,"dynasty":60,"author":405,"museum":62,"description":406,"tags":407,"thumbUrl":409,"material":333,"size":334,"collection":77,"collections":410,"showCount":411,"zanCount":258,"manualWeight":54,"mainColor":150},283697,"feng-cheng-su-mo-lan-ting-xu-quan-juan-shen-long-ben-wang-xi-zhi-283697","冯承素摹兰亭序全卷（神龙本）","王羲之","王羲之（303年—361年），字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称钟王，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”",[23,108,65,68,25,69,7,408,67],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26cdba5ef638e960a7c1fa4d917fa25.jpg",[],320,{"id":413,"slug":414,"title":415,"dynasty":199,"author":416,"museum":105,"description":417,"tags":418,"thumbUrl":421,"material":47,"size":422,"collection":146,"collections":423,"showCount":424,"zanCount":11,"manualWeight":54,"mainColor":55},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。",[23,24,253,7,139,27,72,419,420,160,33,74,207],"山","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8dfd4e6285792e5a5e9c104ff6bf42.jpg","220.8x109",[146],319,{"id":426,"slug":427,"title":428,"dynasty":18,"author":429,"museum":236,"description":430,"tags":431,"thumbUrl":433,"material":434,"size":435,"collection":146,"collections":436,"showCount":437,"zanCount":362,"manualWeight":54,"mainColor":150},220923,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-220923","临倪瓒东冈草堂图轴","董其昌","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。",[23,24,138,7,253,72,432,159,32,29,67,139,373,74],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a0364821d55f9583be7c7bb15bf0fc.jpg","白纸本","87.4x65",[146,293],311,{"id":439,"slug":440,"title":441,"dynasty":18,"author":135,"museum":442,"description":443,"tags":444,"thumbUrl":445,"material":144,"size":446,"collection":146,"collections":447,"showCount":448,"zanCount":11,"manualWeight":54,"mainColor":55},219997,"fang-wang-meng-shan-shui-tu-shen-zhou-219997","仿王蒙山水图","美国弗利尔美术馆","沈周（1427～1509）明代杰出书画家。字启南，号石田、白石翁、玉田生、有居竹居主人等。汉族，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。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。",[23,24,65,72,27,138,139,7,31,32,159,33,160,29,30,207,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee133c9090a1b144a80565865755e15.jpg","121.2 × 60.2 cm",[146,51],309,{"id":450,"slug":451,"title":452,"dynasty":199,"author":453,"museum":236,"description":454,"tags":455,"thumbUrl":464,"material":144,"size":465,"collection":49,"collections":466,"showCount":448,"zanCount":467,"manualWeight":54,"mainColor":150},218296,"mo-song-ren-wen-hui-tu-yao-wen-han-218296","摹宋人文会图","姚文瀚","唐太宗为秦王时，府中蓄有十八谋士，登基后，特命阎立本画十八学士图，宋以后常以文人雅集的方式呈现。姚文瀚此卷绘于乾隆十七年，上有嵇璜楷书〈十八学士赞〉，与院藏〈刘松年唐十八学士图〉构图相同，设色明净秀丽，用笔精细挺劲，人物开面略施阴影，具立体感，对各类家具器物的细节描绘考究。姚文瀚（生于西元一七一三－卒年不详），北京人。号濯亭。乾隆时供奉内廷，工佛道人物。",[24,25,7,26,27,29,456,457,458,459,460,461,462,463],"文人雅集","孩童","松","鹤","书房","文房四宝","家具","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57554a37f077ed634f35ee35c88231b9.jpg","46.8x196.1cm",[49],12,{"id":469,"slug":470,"title":471,"dynasty":199,"author":472,"museum":473,"description":474,"tags":475,"thumbUrl":476,"material":144,"size":477,"collection":51,"collections":478,"showCount":479,"zanCount":11,"manualWeight":54,"mainColor":150},219998,"shan-shui-hua-fang-wang-meng-wang-shi-min-219998","山水画-仿王蒙","王时敏","天津博物馆","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,65,72,138,139,7,419,432,159,73,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141e072f99f2e84347ac1605ee180625.jpg","22.5x27.5",[51],305,{"id":481,"slug":482,"title":483,"dynasty":219,"author":220,"museum":221,"description":484,"tags":485,"thumbUrl":487,"material":77,"size":77,"collection":77,"collections":488,"showCount":489,"zanCount":54,"manualWeight":54,"mainColor":150},220497,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-ji-le-pu-sa-si-shen-xiang-zhang-da-qian-220497","张大千临摹敦煌壁画初唐伎乐菩萨四身像","四身伎乐菩萨环立莲台，眉目温婉静穆，气韵安然祥和。诸人各执乐器，或按排箫、或拨琵琶、或持拍板、或摇铃鼓，神态各殊却皆浸在丝竹雅韵之中。\n\n画作敷色浓烈妍丽，朱砂石青交相辉映，承袭初唐敦煌壁画的富丽厚重。铁线描勾勒衣袂婉转流动，晕染沉实细腻，精准复刻出古壁画的庙堂质感，将盛唐伎乐的雍容之美凝于绢上，让千年敦煌的梵音雅乐跃然眼前。",[23,24,65,7,225,26,27,227,29,486,109],"菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203948a899df0e2d4917b8f5c73e4421.jpg",[],304,{"id":491,"slug":492,"title":493,"dynasty":199,"author":494,"museum":495,"description":496,"tags":497,"thumbUrl":498,"material":163,"size":77,"collection":146,"collections":499,"showCount":500,"zanCount":11,"manualWeight":54,"mainColor":150},214492,"fang-gu-shan-shui-tu-cheng-ting-lu-214492","仿古山水图","程庭鹭","旅顺博物馆","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[24,138,139,7,65,67,69,72,140,32,141,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fa5973203512efafa690cc0c52a465.jpg",[146],285,{"id":502,"slug":503,"title":504,"dynasty":60,"author":405,"museum":505,"description":506,"tags":507,"thumbUrl":511,"material":508,"size":512,"collection":307,"collections":513,"showCount":514,"zanCount":231,"manualWeight":54,"mainColor":150},220404,"xin-tai-ping-ben-huang-ting-jing-wang-xi-zhi-220404","心太平本黄庭经","日本五岛美术馆","右军刻本的经典(此本传为赵孟頫藏宋拓本)，不知何时流入日本并归宇野雪村藏，开篇是“上有黄庭下关元，后有幽阙前命门”，此帖刻工亦极精，末署“永和十二年五月廿四日五山阴县写”，让自己感兴趣的还在于此帖后的题跋，有元代方方壶以隶书所题的“元至正二年春仲上清道士方方壶识”，又有“道门硕儒之称”的无为道人(张宇初)所题：“右黄庭经一帖。尝闻之前辈在元盛时吾山所藏。迨八十余本。于中此本最为精善。或传为松雪斋本也。而兵后并皆散逸。惟此本方壶翁独能宝之。未常示人。先父冲虚公用力求之数载方得。将以为家宝。今观其笔势神化。诚非他帖可比。恐后来者不知所自暇因识之。岁洪武已末仲夏嗣四十三代天师无为书于方廉斋。”后则继有明代陈继儒、董其昌再题，董其昌的记有“黄庭俱七字成文，右军首书四言，惟此贴独异……又昔人论右军黄庭，尚存锺法，今他本不似元常结构，似钟惟此本，余在长安闻此帖有年，曾游新安访之，乃南羽从留都购得，信希世之珍，墨池为放光。”——董其昌的惊喜是有道理的，同样是小楷，此帖与《乐毅论》相比，法严气逸，雍容和雅，有隶意，古韵足，这也正是思翁所云“尚存锺法”的原因吧。",[23,68,463,408,25,508,67,509,510,7],"纸本","写经","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bed687f6100a9b9df30c7becc6428d8.jpg","25.4x100厘米",[307],274,{"id":516,"slug":517,"title":518,"dynasty":299,"author":519,"museum":105,"description":520,"tags":521,"thumbUrl":522,"material":508,"size":523,"collection":307,"collections":524,"showCount":525,"zanCount":245,"manualWeight":54,"mainColor":150},221102,"mo-lan-ting-xu-feng-cheng-su-221102","摹兰亭序","冯承素","此本用楮纸两幅拼接，纸质光洁精细。因卷首有唐中宗李显神龙年号小印,故称“神龙本”。后纸明项元汴题记：“唐中宗朝馮承素奉勒摹晉右軍將軍王羲之蘭亭禊帖”，后世鉴藏家依此定为冯承素摹本。\n此卷前纸13行，行距较松；后纸15行，行距趋紧，然前后左右映带，攲斜疏密，错落有致，通篇打成一片，优于其它摹本。用笔俯仰反复，笔锋尖端锐利，时出贼毫、叉笔，既保留了照原迹勾摹的痕迹，又显露出自由临写的特点，摹临结合，显得自然生动，并具一定的“存真”的优点，在传世摹本中最称精美，体现了王羲之书法遒媚多姿、神情骨秀的艺术风神，为接近原迹的唐摹本。\n据考，卷首“神龙”半印小玺并非唐中宗内府钤印，而是后人所添，定冯承素摹也不可信，但仍是唐以来流传有绪的古摹本。\n本卷前隔水有“唐摹兰亭”四字标题。引首乾隆御题“晋唐心印”四字。后纸有宋至明20家题跋、观款。钤鉴藏印180余方。其流传经过，根据各题跋、印记和各家著录，大致如下：南宋高宗、理宗内府、驸马都尉杨镇，元郭天锡，明内府、王济、项元汴，清陈定、季寓庸、乾隆内府。历代著录有：明汪砢玉《珊瑚网·书录》、吴其贞《书画记》，清卞永誉《式古堂书画汇考·书考》、顾复《平生壮观》、吴升《大观录》、阮元《石渠随笔》、《石渠宝笈·续编》等。刻入“兰亭八柱”，列第三。",[23,68,69,7,25,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49007199f121076b6c9a9fcfb4a3913.jpg","纵24.5厘米，横69.9厘米",[307],267,{"id":527,"slug":528,"title":529,"dynasty":60,"author":405,"museum":530,"description":531,"tags":532,"thumbUrl":533,"material":47,"size":534,"collection":307,"collections":535,"showCount":536,"zanCount":362,"manualWeight":54,"mainColor":150},218649,"xing-rang-tie-wang-xi-zhi-218649","行穰帖","美国普林斯顿大学美术馆","此帖为唐代王羲之草书作品的双钩，2行，15字。笔画厚实，没有尖锐的边缘，有如印章的含义。角色是开放和多样的",[23,65,25,69,68,67,408,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeefa6965b37716730ae0572603f9cce.jpg","24.4x8.9",[307],266,{"id":538,"slug":539,"title":540,"dynasty":199,"author":541,"museum":62,"description":542,"tags":543,"thumbUrl":544,"material":545,"size":546,"collection":146,"collections":547,"showCount":548,"zanCount":54,"manualWeight":54,"mainColor":150},236335,"lin-shen-zhou-lu-shan-gao-tu-huang-ding-236335","临沈周庐山高图","黄鼎","黄鼎（1650—1730），字尊古，号旷亭，又号闲圃、独往客，晚号净垢老人，江苏常熟 人。善画山水，初学画于邱屿雪，既而师王原祁，尤以王蒙法见长。\n此图根据明代画家沈周《庐山高图》临摹。此摹本比例与原幅不同，但是画幅的基本造型形象，笔法特点和许多细节，又都是忠实于原作，沈周原作今藏“台北故宫博物院”。",[108,24,65,7,27,139,72,160,345,159,161,142,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","纸本设色","226×83.4厘米",[146,293],255,{"id":550,"slug":551,"title":552,"dynasty":18,"author":429,"museum":236,"description":553,"tags":554,"thumbUrl":559,"material":560,"size":561,"collection":146,"collections":562,"showCount":563,"zanCount":245,"manualWeight":54,"mainColor":150},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。",[23,108,24,65,253,138,139,7,555,72,33,159,203,556,204,557,373,345,558],"文人画","河流","近树","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","纸本墨笔","96.3 x 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画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,65,25,7,27,138,139,72,33,159,31,32,71,74,29,206,204,637,205,348,35],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg",[],230,{"id":642,"slug":643,"title":644,"dynasty":299,"author":645,"museum":105,"description":646,"tags":647,"thumbUrl":648,"material":77,"size":649,"collection":307,"collections":650,"showCount":640,"zanCount":11,"manualWeight":54,"mainColor":150},221089,"mo-lan-ting-xu-juan-yu-shi-nan-221089","《摹兰亭序卷》","虞世南","《兰亭序》是东晋右军将军王羲之51岁时的得意之笔，记述了他与当朝众多达官显贵、文人墨客雅集兰亭、修稧事也的壮观景象，抒发了他对人之生死、修短随化的感叹。崇山峻岭之下，茂林修竹之边，乘带酒意，挥毫泼墨，为众人诗赋草成序文，文章清新优美，书法遒健飘逸。被历代书界奉为极品。宋代书法大家 米芾称其为“中国行书第一帖”。王羲之因此也被后世尊为“书圣”。后人在研究其书法艺术时赞誉颇多：“点画秀美，行气流畅”，“清风出袖，明月入怀”，“飘若浮云，矫若惊龙”，“遒媚劲健，绝代所无”，“贵越群品，古今莫二”。确实如此，传说王羲之以后也曾再书《兰亭序》，但均逊色于原作，所以《兰亭序》原稿一直为王羲之视为传家之宝，为王氏后代收藏，传至王羲之第七代时被唐太宗李世民“骗”入朝廷，唐太宗得《兰亭序》后，曾诏名手赵模、冯承素、虞世南、褚遂良等人钩摹数个乱真副本，分赐亲贵近臣，之后民间也广为临摹，但无一胜过王羲之的原作，所以《兰亭序》真迹被唐太宗视为稀世珍品而最终殉葬，这更让后世对《兰亭序》原作崇敬不已，冠以中国书法第一帖的美名实在无可争议。\n\n千百年来，《兰亭序》有多个版本在世间流传，最受推崇的是藏于北京故宫博物院的冯承素摹本《兰亭序》。《冯本》为唐代内府栩书官冯承素摹写，因其卷引首处钤有“神龙”二字的左半小印，后世又称其为“神龙本”，因使用“双钩”摹法，为唐人摹本中最接近兰亭真迹者。此本摹写精细，笔法、墨气、行款、神韵，都得以体现，公认为是最好的摹本。",[23,68,69,7,25,67,65,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9000c4d4ad5ddc233e1f2a03ab38558.jpg","纵24.8cm，横57.7cm",[307,651],"碑帖精选",{"id":653,"slug":654,"title":655,"dynasty":18,"author":429,"museum":236,"description":656,"tags":657,"thumbUrl":659,"material":508,"size":660,"collection":146,"collections":661,"showCount":662,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[23,108,24,65,253,138,72,7,139,69,67,140,33,658,556,206],"远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bd10a4aa8afb51c75dc35585ca53cb.jpg","纵138.8cm，横47cm",[146,293],213,{"id":664,"slug":665,"title":666,"dynasty":219,"author":220,"museum":221,"description":667,"tags":668,"thumbUrl":671,"material":77,"size":77,"collection":77,"collections":672,"showCount":673,"zanCount":245,"manualWeight":54,"mainColor":150},220499,"zhang-da-qian-lin-mo-dun-huang-bi-hua-shi-jia-shuo-fa-tu-zhang-da-qian-220499","张大千临摹敦煌壁画释迦说法图","主尊释迦端立莲台，朱红袈裟线条劲挺饱满，晕染柔和自然，尽显慈悲庄严。胁侍眷属仪容秀雅，衣饰华丽繁复，璎珞飘带灵动舒展，各持礼器法物，神态虔敬肃穆。背景宝树垂饰精巧，华盖仪仗规整庄严，整体色彩浓丽明妍，还原敦煌盛唐遗韵。\n\n此作以精妙笔墨复刻石窟古画，既保留原作雄浑厚重的西域风貌，又融入细腻笔情墨趣，让千年壁画神采跃然绢上，尽显传统工笔重彩的典雅华滋，是临摹敦煌壁画中的精品。",[23,24,7,225,226,227,27,29,669,670],"莲花","华盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e6e538e6e12a841cd7a62f448f4e64.jpg",[],207,{"id":675,"slug":676,"title":677,"dynasty":18,"author":429,"museum":678,"description":679,"tags":680,"thumbUrl":681,"material":598,"size":682,"collection":146,"collections":683,"showCount":684,"zanCount":54,"manualWeight":54,"mainColor":77},220755,"fang-ge-jia-shan-shui-tu-ce-dong-qi-chang-220755","仿各家山水图册","香港中文大学文物馆","此作用笔松秀虚灵，以淡墨勾勒山峦，披麻皴浅敷石面，远岫连绵错落，间以茂林点缀，烟气空濛间漾出幽远静谧。\n\n近岸古木虬曲，枝干舒展如篆籀笔法，木叶疏密得宜，衬出院舍茅庐隐于林间，板桥卧波轻接水岸，野趣悠然。全画以简驭繁，笔墨间带着萧散简远的韵致，淡墨轻岚间尽显平淡天真的文人意趣，简淡中藏雄浑气韵，尽显文人山水的清逸格调。",[23,24,65,598,138,139,7,72,73,31,32,159,203,33,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ce2531c6f731b92b3d70dff3ad849.jpg","30.5 × 23.8厘米",[146],198,{"id":686,"slug":687,"title":688,"dynasty":199,"author":689,"museum":690,"description":691,"tags":692,"thumbUrl":693,"material":144,"size":694,"collection":146,"collections":695,"showCount":696,"zanCount":362,"manualWeight":54,"mainColor":150},217882,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217882","仿黄公望山水图","王原祁","大英博物馆","王原祁是清朝时期的一位著名画家。他的著名作品之一是《仿黄公望山水图》。这幅画描绘了一片山水风光，栩栩如生，富有情感。\n\n画中还有许多树木，树冠翠绿，繁茂葱茏。这些树木为画面增添了一份自然之美。在远处，还有一座小山村，山村虽小，却热闹非凡。山村中的人们忙碌于农活，虽繁忙，但却感到无比的幸福。\n\n总的来说，《仿黄公望山水图》是一幅优美的山水画，王原祁用笔墨勾勒出了一片美丽的山水风光，让人感受到大自然的魅力。",[23,24,65,72,138,139,7,159,33,161,74,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e2c03c42a5d5143baef473d62673f.jpg","132.6x51.2cm",[146],196,{"id":698,"slug":699,"title":700,"dynasty":199,"author":701,"museum":236,"description":702,"tags":703,"thumbUrl":707,"material":126,"size":708,"collection":77,"collections":709,"showCount":710,"zanCount":11,"manualWeight":54,"mainColor":150},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。",[24,65,253,7,27,26,29,74,432,704,705,176,173,706,67,68,69,39,613],"石","栏杆","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1229909206e7c4c7bdb804c648b9f594.jpg","95.1×43.9cm",[],195,{"id":712,"slug":713,"title":714,"dynasty":60,"author":405,"museum":121,"description":715,"tags":716,"thumbUrl":718,"material":77,"size":77,"collection":307,"collections":719,"showCount":720,"zanCount":54,"manualWeight":54,"mainColor":55},221029,"wan-sui-tong-tian-tie-wang-xi-zhi-221029","《万岁通天帖》","《萬歲通天帖》又稱唐摹《王羲之一門書翰》、《王氏寶章集》。硬黃紙本，行草書，是東晉王羲之等七人十帖的唐摹書法精品，現藏於遼寧省博物館。\n宋代《秘閣續帖》、明代華夏《真賞齋帖》、文徵明《停雲館帖》、王肯堂《鬱岡齋帖》、清代《三希堂法帖》曾刻錄。 其中以真賞齋為精刻而有名。",[23,68,25,69,717,7,67,408],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266db6eca32a01e618503ecb5383e358.jpg",[307,651],189,{"id":722,"slug":723,"title":724,"dynasty":18,"author":429,"museum":236,"description":725,"tags":726,"thumbUrl":727,"material":728,"size":77,"collection":146,"collections":729,"showCount":730,"zanCount":54,"manualWeight":54,"mainColor":150},220936,"fang-dong-yuan-shan-shui-dong-qi-chang-220936","仿董源山水","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[24,65,72,7,139,138,598,159,33,161,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b378d6bc49a8e287d430b3213f127b.jpg","绢本与纸本",[146,293],187,{"id":732,"slug":733,"title":84,"dynasty":85,"author":86,"museum":62,"description":357,"tags":734,"thumbUrl":739,"material":333,"size":334,"collection":77,"collections":740,"showCount":741,"zanCount":362,"manualWeight":54,"mainColor":55},288538,"mo-zhang-xuan-dao-lian-tu-zhao-ji-288538",[24,25,26,27,735,70,736,90,737,738,7,67],"人物画","仕女","捣练","劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfcfdff97a90609c29cad09ccf054425.jpg",[],183,{"id":743,"slug":744,"title":745,"dynasty":85,"author":746,"museum":236,"description":747,"tags":748,"thumbUrl":749,"material":434,"size":750,"collection":96,"collections":751,"showCount":752,"zanCount":54,"manualWeight":54,"mainColor":55},221295,"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕","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。",[23,108,24,65,25,7,28,26,27,72,30,31,32,71,74,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[96,146,293],179,{"id":754,"slug":755,"title":756,"dynasty":60,"author":61,"museum":62,"description":757,"tags":758,"thumbUrl":760,"material":77,"size":77,"collection":77,"collections":761,"showCount":762,"zanCount":258,"manualWeight":54,"mainColor":55},227037,"song-mo-ben-chuan-lie-nv-ren-zhi-tu-juan-gu-kai-zhi-227037","宋摹本 传 列女仁智图卷","《列女仁智图》卷，绢本，墨笔淡着色，纵25.8厘米，横417.8厘米。\n《列女仁智图》卷旧传东晋顾恺之作，此为南宋人摹本。\n汉成帝沉湎于酒色，宠信赵飞燕姐妹，朝政大权旁落于外戚手中，危及刘氏政权。楚元王四世孙光禄大夫刘向（前77－前6年）针对这一情况，采摘自古以来诗书上所记载的贤妃、贞妇、宠姬等资料，编辑成《列女传》一书呈送汉成帝，希望他从中吸取经验教训，以维护刘氏政权。全书按妇女的封建行为道德准则和给国家带来的治、乱后果，分为母仪、贤明、仁智、贞顺、节义、辩通、孽嬖七卷，此即其中“仁智卷”部分。\n仁智卷共收集15个列女故事。此卷为残本，其中“楚武邓曼”、“许穆夫人”、“曹僖氏妻”、“孙叔敖母”、“晋伯宗妻”、“灵公夫人”、“晋羊叔姬”7个故事保存完整。“齐灵仲子”、“晋范氏母”、“鲁漆室女”3个故事只存一半，其余5个故事则全丢失，又错将“鲁漆室女”之右半与“晋范氏母”之左半拼接在一起，使人误以为是一个故事。\n此卷多处保存了汉代的衣冠制度，如男子头戴进贤冠，身着曲线大袖袍，腰结绶带并配挂长剑；女子梳着垂髾髻，身着深衣，特别是眉毛涂以朱色，是模仿赵昭仪的新妆，这些都表现了特定时期的风俗和时尚。又蘧伯玉所乘坐的马车称“轺车”，亦为汉代形制，描绘得非常细致而无错误，这些都可以从大量出土的汉代画像石、砖和壁画中找到与之相应的图象。\n在北魏司马金龙墓出土的漆屏风画《列女古贤图》中，表现卫灵公与夫人夜坐闻马车声的一段，与此卷所表现的同一内容相比较，无论是构图布局还是人物的姿态手势都非常近似，可以证实其与《列女仁智图》同出自一个古本。而在传摩过程中，后者更为忠实于古本原作。\n据《汉书》记载，刘向在向汉成帝呈送《列女传》的同时，还呈送了《列女颂图》，并画为屏风。汉成帝的班婕妤失宠后，在她的诗中曾谈到在宫内看到《列女图》，并以此来鉴戒自己。这些都载在班固所著的《汉书》中。东汉时代的画像石、砖中，有不少表现列女故事的题材。画史并载蔡邕曾创作有《小列女图》。这一时期《列女图》的大量出现，既是出于宫廷政治斗争的需要，同时也是为了在社会上广泛推行妇女的道德教育，借以维护封建秩序。\n根据《列女仁智图》中保存有较多的汉代风俗，以及其构图形式的古朴，推测此卷的原本应当出自于东汉时代，而祖本则为刘向所创。剔除后世在反复传摹中所附加的痕迹，仍然能透视二千年前汉代宫廷绘画的艺术光辉。其人物线条粗犷流畅，造型准确。特别是对妇女的描绘，体态轻盈，婀娜多姿，尤为绝妙。构图布局则与汉画像石一脉相承。《列女传》及《列女仁智图》在宋代有多本，此是被保留下来的惟一的一本，尤为珍贵。",[23,108,24,65,25,66,7,29,124,759,67,68,91],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60eb1ec8833db63938ad3a1ecbc21f2e.jpg",[],175,{"id":764,"slug":765,"title":766,"dynasty":18,"author":186,"museum":767,"description":768,"tags":769,"thumbUrl":773,"material":144,"size":774,"collection":146,"collections":775,"showCount":762,"zanCount":11,"manualWeight":54,"mainColor":55},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","费城艺术博物馆","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[108,24,65,25,72,138,139,7,345,71,204,770,205,33,771,772,142],"近水","小船","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","27.8x96cm",[146],{"id":777,"slug":778,"title":779,"dynasty":85,"author":186,"museum":442,"description":187,"tags":780,"thumbUrl":783,"material":47,"size":784,"collection":49,"collections":785,"showCount":762,"zanCount":54,"manualWeight":54,"mainColor":150},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图",[23,24,65,25,7,27,66,26,29,70,72,71,30,33,781,159,782,75],"云气","异兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[49],{"id":787,"slug":788,"title":789,"dynasty":18,"author":186,"museum":62,"description":790,"tags":791,"thumbUrl":793,"material":77,"size":77,"collection":651,"collections":794,"showCount":795,"zanCount":54,"manualWeight":54,"mainColor":796},242190,"dong-han-cao-quan-bei-yi-ming-242190","东汉曹全碑","此作为汉隶经典范本，笔致秀逸灵动，波磔舒展柔婉却筋骨暗藏。通篇章法匀整疏朗，字距宽绰，行气舒缓从容，将东汉隶书成熟妍雅的风神尽显。\n\n拓本墨色沉凝古雅，刀痕与笔意交融，朴厚静穆的庙堂之气与娟秀飘逸的文人意趣相融共生。每字各尽姿态，或如垂柳拂风，或似流云卷舒，刚柔相济间法度暗藏。历经岁月淘洗，金石质感依旧清晰可感，静静诉说千年前的笔墨温度，尽显汉隶秀美一路的绝佳风貌。",[68,792,303,408,7],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb45a6f33821c36606c8cb0fb6a8f021.jpg",[651],170,"37474F",{"id":798,"slug":799,"title":800,"dynasty":801,"author":802,"museum":250,"description":803,"tags":804,"thumbUrl":805,"material":47,"size":77,"collection":146,"collections":806,"showCount":807,"zanCount":362,"manualWeight":54,"mainColor":55},220127,"mo-zhao-qian-li-qing-lv-shan-shui-hu-ting-hui-220127","摹赵千里青绿山水","元","胡廷晖","以大青绿设色晕染山峦，石青石绿的厚重色调铺陈出苍古秀润的山川气象。主峰巍峨盘踞，山石勾勒填色间施皴擦，棱角分明又兼具温润质感，层叠峰峦拉开深远空间。\n山间隐现殿宇屋舍，林麓古木森郁，水岸板桥横陈，汀渚渔舟、江亭雅集错落点缀，将隐逸悠然的山居意趣融于山水烟岚之中。\n追摹北宋青绿山水的精工雅致，又裹挟元代山水画的萧散意韵，用色浓丽却不俗艳，勾勒细劲沉稳，章法严整兼具宏阔格局与细腻文心，尽显青绿山水的古典意涵与雅致格调。",[23,24,327,27,7,72,159,33,556,31,71,206,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a4204ffb83c828eabda3ee5617bad2.jpg",[146],162,{"id":809,"slug":810,"title":811,"dynasty":219,"author":220,"museum":221,"description":812,"tags":813,"thumbUrl":815,"material":77,"size":77,"collection":77,"collections":816,"showCount":817,"zanCount":11,"manualWeight":54,"mainColor":150},220493,"zhang-da-qian-fang-zhang-seng-yao-wu-xia-qing-qiu-tu-zhang-da-qian-220493","张大千仿张僧繇巫峡清秋图","此作用没骨青绿之法绘就，奇崛山峰以石青、赭石重色晕染，峰顶留白拟晴雪，丹红古木点缀其间，明丽堂皇。留白作云气横断山峦，虚实相生，尽显巫峡高华幽深之态。下方江帆孤悬，山居隐于翠岭，飞泉叠落，于雄奇间晕开雅致秋意。\n\n笔墨追摹古法，又暗合新意，将巫峡清秋的萧瑟绮丽相融，既有六朝青绿的厚重堂皇，又带着秀逸灵韵，让古雅的没骨山水焕发清新生机，尽显秋山的雄浑与秀雅。",[23,24,65,327,27,72,344,205,160,142,33,814,7,139,67],"山间小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde65b4dfacc5eae3a51cc3afe86bfb23.jpg",[],152,{"id":819,"slug":820,"title":821,"dynasty":199,"author":472,"museum":690,"description":822,"tags":823,"thumbUrl":824,"material":163,"size":825,"collection":146,"collections":826,"showCount":817,"zanCount":11,"manualWeight":54,"mainColor":150},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。",[23,24,138,253,7,139,72,31,32,33,159,160,203,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[146],{"id":828,"slug":829,"title":830,"dynasty":199,"author":472,"museum":473,"description":474,"tags":831,"thumbUrl":832,"material":144,"size":477,"collection":146,"collections":833,"showCount":834,"zanCount":11,"manualWeight":54,"mainColor":55},220004,"shan-shui-hua-fang-huang-zi-jiu-wang-shi-min-220004","山水画-仿黄子久",[23,24,27,327,72,7,139,31,32,33,141,203,159,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68a290c2795698c616b7dc02b7d5c03.jpg",[146],151,{"id":836,"slug":837,"title":838,"dynasty":199,"author":839,"museum":62,"description":840,"tags":841,"thumbUrl":842,"material":333,"size":334,"collection":77,"collections":843,"showCount":844,"zanCount":11,"manualWeight":54,"mainColor":150},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”。",[108,24,253,138,72,373,74,32,159,204,7,67,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a89c37611eded2ace9e54e3a4ca8817.jpg",[],150,{"id":846,"slug":847,"title":848,"dynasty":85,"author":849,"museum":236,"description":850,"tags":851,"thumbUrl":852,"material":853,"size":854,"collection":307,"collections":855,"showCount":856,"zanCount":11,"manualWeight":54,"mainColor":55},221264,"lin-su-shi-hai-tang-shi-juan-huang-ting-jian-221264","临苏轼海棠诗卷","黄庭坚","黄庭坚的行书雄强刚劲，沉着痛快，展现出独特的个人魅力。董其昌有这样的评语：“山谷老人得笔于《瘗鹤铭》，又参杨凝式骨力，其欹侧之势，正欲破俗书姿媚。昔人云：右军如凤翥鸾翔，迹似奇而反正，黄书宗旨近之，盖见事苏而弟蓄米，自负不小。”\n此帖为黄庭坚书《七言绝句册》，创作于宋神宗熙宁七年（1074年），中国台北故宫博物院藏。据款识黄庭坚是年仅二十九岁，作书内含清刚之气，端庄雅正，初露峥嵘。",[68,65,25,7,717,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbd196ba66c2f911d296063da35fda1.jpg","卷","34.5x263",[307],149,{"id":858,"slug":859,"title":860,"dynasty":199,"author":472,"museum":473,"description":474,"tags":861,"thumbUrl":863,"material":144,"size":477,"collection":51,"collections":864,"showCount":856,"zanCount":258,"manualWeight":54,"mainColor":150},219999,"shan-shui-hua-fang-ju-ran-wang-shi-min-219999","山水画-仿巨然",[24,65,253,138,139,7,72,73,74,31,140,862,67],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc743492f61b4c5c3ac9b8e7474dea8ce.jpg",[51],{"id":866,"slug":867,"title":868,"dynasty":199,"author":869,"museum":690,"description":870,"tags":871,"thumbUrl":872,"material":47,"size":873,"collection":49,"collections":874,"showCount":856,"zanCount":11,"manualWeight":54,"mainColor":55},218420,"fang-wu-dao-zi-wu-liang-shou-zun-zhe-xiang-li-gen-218420","仿吴道子无量寿尊者像","李根","面容饱满圆润，眉眼含笑间藏着悲悯与智慧，耳垂丰腴垂坠，尽显尊者气度。袈裟层叠厚重，墨黑与棕褐交织的纹理间，露出青绿裙摆，绣纹繁复精致，足见匠心。手中竹杖纹理清晰，似能触到岁月的质感，步履间衣袂轻扬，暗合吴带当风之韵。笔墨流转传神，设色古雅沉静，将尊者的慈悲与自在跃然绢上，尽显传统人物画的传神妙趣，观之令人心生敬意与平和。",[23,24,65,253,227,27,29,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3ebcf7aef87cf32d2b60941bb44dc0.jpg","168x83",[49],{"id":876,"slug":877,"title":878,"dynasty":18,"author":186,"museum":236,"description":879,"tags":880,"thumbUrl":882,"material":290,"size":77,"collection":77,"collections":883,"showCount":884,"zanCount":11,"manualWeight":54,"mainColor":150},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","富春山居图子明卷","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[23,24,65,25,138,72,139,68,67,7,419,420,33,71,31,32,74,75,881],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],147,{"id":886,"slug":887,"title":888,"dynasty":199,"author":889,"museum":62,"description":890,"tags":891,"thumbUrl":897,"material":77,"size":77,"collection":77,"collections":898,"showCount":899,"zanCount":54,"manualWeight":54,"mainColor":900},230268,"lin-lan-ting-ji-xu-zhu-da-230268","临兰亭集序","朱耷","这幅临作跳脱原作的飘逸妍美，以极简淡的行笔，将永和雅集的放达意趣揉入枯寂清冷的笔意间。线条清瘦内敛，牵丝映带简省却意韵悠长，墨色枯润交叠，淡晕似寒山孤月，藏着沉郁孤傲的心境。\n\n章法排布疏朗错落，字距宽绰留白如空山积雪，不见羲之流媚，只剩孤绝文人风骨。将曲水流觞的群贤盛景，幻化为一人独对的清冷，以己意重塑经典，让旧文生出新的寂寥魂魄，是借古抒怀的绝妙手笔。",[23,24,65,68,7,69,138,67,419,892,893,32,894,895,896],"林","竹","天","风","鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe962dda24755f0275826a71c100f9871.jpg",[],145,"F48FB1",{"id":902,"slug":903,"title":904,"dynasty":18,"author":429,"museum":236,"description":905,"tags":906,"thumbUrl":908,"material":163,"size":77,"collection":146,"collections":909,"showCount":899,"zanCount":11,"manualWeight":54,"mainColor":150},214616,"fang-huang-gong-wang-dou-he-mi-lin-dong-qi-chang-214616","仿黄公望陡壑密林","董其昌是一位著名的明代画家，他的作品《仿黄公望陡壑密林》是一幅杂乱的山林画，充分展现了董其昌对自然的描绘能力。\n\n在这幅画中，董其昌通过细致的笔触和细腻的色彩，精确地描绘出了山林中的每一个细节。他使用浓密的线条和暗色调描绘出了树木，使得整幅画呈现出一种茂密的森林氛围。同时，董其昌还使用了浅色调和柔和的线条描绘出了山谷的景色，使得画面显得更加生动。\n\n总的来说，《仿黄公望陡壑密林》是一幅令人印象深刻的山林画，展示了董其昌的画风独特，也诠释了他对自然的热爱和描绘能力。",[24,65,138,139,7,598,72,419,33,161,907],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c809d6e5fc35ec243b8d09d730397b.jpg",[146],{"id":911,"slug":912,"title":913,"dynasty":18,"author":135,"museum":595,"description":914,"tags":915,"thumbUrl":916,"material":47,"size":917,"collection":146,"collections":918,"showCount":919,"zanCount":231,"manualWeight":54,"mainColor":55},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。",[23,24,65,108,253,27,72,29,30,345,159,160,33,141,7,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4136bf4cc51a9c489487d6a27dbe7d3a.jpg","纵170.0厘米，横89.0厘米",[146],139,{"id":921,"slug":922,"title":923,"dynasty":85,"author":924,"museum":236,"description":925,"tags":926,"thumbUrl":927,"material":928,"size":929,"collection":96,"collections":930,"showCount":931,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[23,24,65,253,7,139,138,72,419,346,33,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F826530b8c83c87209bddce538d219a64.jpg","绢本","347.4x131.8",[96,146,293],138,{"id":933,"slug":934,"title":935,"dynasty":199,"author":936,"museum":236,"description":937,"tags":938,"thumbUrl":942,"material":144,"size":943,"collection":51,"collections":944,"showCount":931,"zanCount":11,"manualWeight":54,"mainColor":150},219310,"fu-song-yuan-hua-liu-xia-xiong-ji-tu-zou-yi-gui-219310","抚宋苑画榴下雄鸡图","邹一桂","雄鸡立于嶙峋石矶之上，红冠高挺，金羽熠熠，尾羽如墨线挥洒般舒展，昂首之态尽显英武。旁侧石榴枝虬劲，花簇艳红似火；洁白百合点缀其间，皎洁如玉。山石以淡墨皴擦，纹理古朴自然，衬出草木禽鸟的鲜活。整幅画作设色明丽雅致，线条工细流畅，既承宋院体画的写实严谨，又融文人画的清逸韵致。每一处细节皆精心勾勒，禽鸟花木栩栩如生，于静谧中透出盎然生机，尽显笔下精妙匠心，将自然意趣与艺术巧思完美融合。",[24,65,610,26,27,7,939,940,140,941,67],"雄鸡","石榴","百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d1897939883fcd871399f3180170670.jpg","165.9x89.6",[51],{"id":946,"slug":947,"title":948,"dynasty":199,"author":949,"museum":62,"description":950,"tags":951,"thumbUrl":953,"material":954,"size":955,"collection":146,"collections":956,"showCount":957,"zanCount":54,"manualWeight":54,"mainColor":150},220135,"mo-gu-shan-shui-hua-ce-wang-hui-220135","摹古山水画册","王翚","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,24,65,598,138,27,72,373,71,31,32,952,159,206,67,7],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e685d005e44893fa629e2b66443b9d.jpg","设色,纸本","30.5×21.5",[146],136,{"id":959,"slug":960,"title":961,"dynasty":199,"author":689,"museum":105,"description":962,"tags":963,"thumbUrl":964,"material":163,"size":965,"collection":146,"collections":966,"showCount":957,"zanCount":54,"manualWeight":54,"mainColor":150},218472,"fang-wu-zhen-shan-shui-tu-wang-yuan-qi-218472","仿吴镇山水图","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。",[23,24,138,139,7,253,72,159,33,556,203,772,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2da35a1678545e4fb7f9d72c52f6e7.jpg","纵141.7厘米，横51厘米",[146],{"id":968,"slug":969,"title":970,"dynasty":199,"author":186,"museum":62,"description":971,"tags":972,"thumbUrl":975,"material":77,"size":77,"collection":77,"collections":976,"showCount":977,"zanCount":362,"manualWeight":54,"mainColor":55},230304,"fang-lin-chun-cui-zhu-hua-niao-tu-shen-se-yi-ming-230304","仿林椿翠竹花鸟图（深色）","此作用色明丽雅致，以赭色绢底托举春日景致。艳红山茶缀于虬曲枝桠，青嫩新篁挺拔舒展，柔媚花枝与劲竹相映成趣。十余只禽鸟灵动错落，或栖于枝头理羽，或两两依偎低语，羽色晕染细腻柔和，将禽鸟绒羽的鲜活质感尽数呈现。\n\n画师以工细笔触勾勒花叶禽鸟，既承袭院体花鸟的精工写实，又暗合文人画的清幽意趣，将林泉春日里花木禽鸟的自在天趣铺展在尺幅间，生机盎然中尽显闲雅静谧的林下意韵。",[23,108,24,65,25,26,27,7,610,893,973,974],"鸟","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae43cbb6fe15b0c90b72712f15b33f1.jpg",[],134,{"id":979,"slug":980,"title":981,"dynasty":299,"author":982,"museum":983,"description":984,"tags":985,"thumbUrl":993,"material":508,"size":77,"collection":77,"collections":994,"showCount":977,"zanCount":54,"manualWeight":54,"mainColor":55},221146,"wang-chuan-tu-juan-wang-wei-221146","辋川图卷","王维","美国西雅图美术馆","《辋川图》是唐代王维所作的单幅壁画，原作已无存，现只有历代临摹本存世。\n《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[108,24,226,7,303,25,986,555,72,987,32,42,29,988,989,990,991,992],"山水画","亭台楼榭","饮酒","弈棋","投壶","田园","意态萧然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87ac5cea2dc5878a9ef466c907a570d5.jpg",[],{"id":996,"slug":997,"title":998,"dynasty":199,"author":999,"museum":20,"description":1000,"tags":1001,"thumbUrl":1003,"material":163,"size":1004,"collection":146,"collections":1005,"showCount":977,"zanCount":54,"manualWeight":54,"mainColor":150},218297,"fang-wang-meng-xi-shan-xing-lv-tu-wu-li-218297","仿王蒙溪山行旅图","吴历","这幅画是对王蒙溪山行旅的临摹。",[24,138,72,253,7,139,31,32,1002,33,159,71],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33014df16be3309cc002f849849cc715.jpg","59.1x27cm",[146],{"id":1007,"slug":1008,"title":1009,"dynasty":801,"author":1010,"museum":62,"description":1011,"tags":1012,"thumbUrl":1013,"material":77,"size":77,"collection":77,"collections":1014,"showCount":1015,"zanCount":231,"manualWeight":54,"mainColor":150},228177,"fang-dong-po-feng-zhu-tu-wu-zhen-228177","仿东坡风竹图","吴镇","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。",[23,24,65,138,69,253,893,7,67,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23576077b3964e67aff08149c65dfeae.jpg",[],133,{"id":1017,"slug":1018,"title":1019,"dynasty":199,"author":416,"museum":473,"description":1020,"tags":1021,"thumbUrl":1025,"material":508,"size":1026,"collection":146,"collections":1027,"showCount":1015,"zanCount":54,"manualWeight":54,"mainColor":900},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。",[23,108,24,65,253,138,27,1022,72,32,30,159,33,139,7,1023,1024],"浅绛","清旷深秀","敷色清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc6fe68c1be28db40b2fd2f41520f3d.jpg","117.5x50.5厘米",[146],{"id":1029,"slug":1030,"title":1031,"dynasty":18,"author":429,"museum":20,"description":1032,"tags":1033,"thumbUrl":1034,"material":508,"size":1035,"collection":146,"collections":1036,"showCount":53,"zanCount":11,"manualWeight":54,"mainColor":150},220347,"fang-mi-fei-shan-shui-tu-tu-juan-dong-qi-chang-220347","仿米芾山水图-图卷","此帧《仿米家云山图》是难得一见的较大尺幅的山水作品，堪称是启功山水画的代表作之一。",[24,65,25,138,139,7,72,31,32,74,33,204,770,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b251912199235f04fa6b092ccdf07c0.jpg","25.9 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敷色厚艳而不俗，线条匀净柔韧，把观音的圣洁与雍容揉合一处，观之令人心宁神定，尽显东方造像的静美禅意。",[108,24,65,29,227,27,26,7,225,1193,1194,1195,1196,1197],"观音","莲台","禅意","圣洁","雍容","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316b140450a1e3ec56ec1be1b10e6be1.jpg",[],107,{"id":1202,"slug":1203,"title":1204,"dynasty":199,"author":1205,"museum":62,"description":1206,"tags":1207,"thumbUrl":1209,"material":77,"size":77,"collection":1210,"collections":1211,"showCount":1212,"zanCount":258,"manualWeight":54,"mainColor":150},234366,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234366","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[24,65,598,27,7,610,1208,67],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e08f4453ea59c906d1aecbc008de815.jpg","花鸟画精选",[1210],106,{"id":1214,"slug":1215,"title":1216,"dynasty":18,"author":19,"museum":105,"description":1217,"tags":1218,"thumbUrl":1220,"material":112,"size":1221,"collection":146,"collections":1222,"showCount":1212,"zanCount":245,"manualWeight":54,"mainColor":55},222185,"lin-xi-shui-ge-tu-chou-ying-222185","临溪水阁图","仇英“初为漆工，兼为人彩绘栋宇，后徙而业画，工人物楼阁。”或许是出身的关系，其笔下的楼阁多用界笔，刻画精工，但与纯界画不同的是，仇英的绘画技艺同时受到职业画师和文人画家的双重影响。此幅亦是将文人山水与界笔水阁巧妙结合的作品，追求含蓄蕴藉的格调，着意塑造文人高士所欣赏的艺术形象。",[23,24,27,26,72,7,1219,32,345,159,160,29,141],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d90792ff94d1f0e49ced0c4da982ca0.jpg","纵41.1厘米，横33.8厘米",[146,51],{"id":1224,"slug":1225,"title":1226,"dynasty":199,"author":1227,"museum":20,"description":1228,"tags":1229,"thumbUrl":1232,"material":1233,"size":1234,"collection":146,"collections":1235,"showCount":1236,"zanCount":54,"manualWeight":54,"mainColor":150},220969,"lin-wen-zheng-ming-ce-yun-shou-ping-220969","临文徵明册","恽寿平","文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。",[23,24,108,65,1230,27,69,68,7,432,1181,1231,67],"册页","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg","纸本 册","20.6 x 30.5 cm",[146,51],105,{"id":1238,"slug":1239,"title":1240,"dynasty":18,"author":429,"museum":236,"description":1241,"tags":1242,"thumbUrl":1243,"material":508,"size":1244,"collection":77,"collections":1245,"showCount":1246,"zanCount":54,"manualWeight":54,"mainColor":150},231955,"lin-ni-zan-dong-gang-cao-tang-tu-dong-qi-chang-231955","临倪瓒东岗草堂图","可知题识，董其昌于崇祯二年（1629）夏天临写倪瓒〈东冈草堂〉图，同时抄录画上倪瓒与张雨的原题。研究倪瓒早期画迹时，亦有引用此辅作为 证者不过此作用笔用墨与董其昌一般有异，疑因下因作品写角作品。画幅右图存文从简574-168）之印。",[24,65,138,7,139,72,73,862,74,32,140,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112f046e4c5e977c915d92b5b64d49d5.jpg","87.4×65厘米",[],97,{"id":1248,"slug":1249,"title":1250,"dynasty":60,"author":405,"museum":62,"description":1251,"tags":1252,"thumbUrl":1253,"material":77,"size":77,"collection":307,"collections":1254,"showCount":1246,"zanCount":362,"manualWeight":54,"mainColor":150},221036,"cao-jue-bai-yun-ge-quan-juan-wang-xi-zhi-221036","草诀百韵歌全卷","《草诀百歌韵》是中国古代一本重要的草书歌诀，学草书的重要门径，作者署名王羲之，但据相关资料显示，此书未见于北宋，伪托王羲之之名，如明代杨慎的《升》 庵外集》卷88云：「《草秘韵百歌》乃宋人编成，以示初级，托名王羲之。",[23,68,717,25,7,67,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc393e8005cbb450b2bb396c178509c.jpg",[307,651],{"id":1256,"slug":1257,"title":1258,"dynasty":18,"author":186,"museum":1259,"description":1260,"tags":1261,"thumbUrl":1265,"material":77,"size":77,"collection":77,"collections":1266,"showCount":1267,"zanCount":362,"manualWeight":54,"mainColor":55},232911,"fang-qian-xuan-hua-niao-tu-yi-ming-232911","仿钱选花鸟图","美国克利夫兰艺术博物馆","钱选以花鸟画成就最高。他的成熟花鸟画，在院画基础上吸取 扬无咎 一派水墨花卉的技法，创造了新的体格。\n后人很多仿画。",[23,24,65,25,26,27,7,610,893,1262,974,973,1263,1264],"芙蓉","蝴蝶","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],96,{"id":1269,"slug":1270,"title":1271,"dynasty":18,"author":19,"museum":236,"description":1272,"tags":1273,"thumbUrl":1276,"material":47,"size":1277,"collection":146,"collections":1278,"showCount":1267,"zanCount":54,"manualWeight":54,"mainColor":150},214585,"lin-song-yuan-liu-jing-ce-gao-feng-yuan-hu-chou-ying-214585","临宋元六景册-高峰远湖","明代画家仇英的临宋元六景册是一件著名的绘画作品，其中的高峰远湖图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了仇英对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，仇英运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的高峰远湖是一幅清新而美丽的山水画，它体现了仇英对自然的热爱和对传统文化的尊重。\n\n总的来说，仇英的临宋元六景册是一件精美的绘画作品，其中的高峰远湖图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了仇英对自然的热爱和对传统文化的尊重。",[24,65,598,7,27,26,72,1274,1275,71,75,74],"高峰","远湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c93acfe478b7285b0a2f003b964b0.jpg","29.2x47.1cm",[146],{"id":1280,"slug":1281,"title":1282,"dynasty":18,"author":135,"museum":236,"description":1283,"tags":1284,"thumbUrl":1285,"material":77,"size":1286,"collection":77,"collections":1287,"showCount":1288,"zanCount":54,"manualWeight":54,"mainColor":55},222109,"fang-fan-kuan-shan-shui-shen-zhou-222109","仿范宽山水","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,24,138,27,72,432,159,29,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a75f134440ced5f01d925c27d12f935.jpg","54.2x99.5厘米",[],94,{"id":1290,"slug":1291,"title":1292,"dynasty":18,"author":429,"museum":105,"description":1293,"tags":1294,"thumbUrl":1296,"material":616,"size":1297,"collection":146,"collections":1298,"showCount":1288,"zanCount":54,"manualWeight":54,"mainColor":150},220903,"fang-gu-shan-shui-ce-ye-dong-qi-chang-220903","仿古山水册页","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[23,24,65,598,138,27,72,159,33,74,556,204,1295,142,69,67,139,7],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6dca8d58acbb22b6bed289e5f80247.jpg","纵26.3厘米，横25.5厘米",[146,51],{"id":1300,"slug":1301,"title":1302,"dynasty":199,"author":416,"museum":20,"description":1303,"tags":1304,"thumbUrl":1305,"material":163,"size":77,"collection":146,"collections":1306,"showCount":1288,"zanCount":11,"manualWeight":54,"mainColor":150},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。",[23,24,138,139,7,253,72,30,140,32,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885430959c37cabba225c27dbb27cb24.jpg",[146],{"id":1308,"slug":1309,"title":392,"dynasty":199,"author":1310,"museum":236,"description":1311,"tags":1312,"thumbUrl":1316,"material":47,"size":1317,"collection":49,"collections":1318,"showCount":1319,"zanCount":11,"manualWeight":54,"mainColor":796},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","杨大章","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,65,25,27,26,7,28,29,30,31,32,33,124,396,203,583,41,35,772,1313,40,1314,556,1315],"城墙","店铺","桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[49,51],93,{"id":1321,"slug":1322,"title":1323,"dynasty":199,"author":701,"museum":236,"description":1324,"tags":1325,"thumbUrl":1326,"material":508,"size":1327,"collection":49,"collections":1328,"showCount":1319,"zanCount":258,"manualWeight":54,"mainColor":150},218363,"fang-li-gong-lin-ming-huang-ji-qiu-tu-ding-guan-peng-218363","仿李公麟明皇击球图","场景中画有16个人物，10个人聚集在场景中间，争夺一个小球。场景中央的人是唐朝的明朝皇帝李隆基。皇帝用臀部骑着一匹骏马，看起来专注而敏捷。他周围的人，有的戴着官帽，有的头上戴着发卡，也都骑在马背上，手持球棒，与皇帝争夺地上的球。他们是皇帝身边的官员、同伴和嫔妃，有两个人在头顶，两个人在卷尾看守目标。画中的人物姿态各异，静中有动，动中有变。这幅画画得很稀疏，线条流畅。",[23,24,65,25,66,7,29,124,67,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b3926ed3aac8697de219bc21a49828.jpg","32.1x523.2",[49],{"id":1330,"slug":1331,"title":1332,"dynasty":85,"author":155,"museum":105,"description":1333,"tags":1334,"thumbUrl":1335,"material":928,"size":1336,"collection":96,"collections":1337,"showCount":1338,"zanCount":11,"manualWeight":54,"mainColor":55},221397,"lin-wei-yan-mu-fang-tu-juan-quan-juan-li-gong-lin-221397","临韦偃牧放图卷全卷","这是一幅宋朝画家李公麟临摹唐朝画家韦偃的作品。画幅为长卷形式，从右自左展开。在高低不平的土坡和广阔的平原间，牧者驱赶着大群马匹蜂拥而来，马嘶人叫，热闹异常。画面中段以后，马群逐渐散开成组各自活动，有的低头觅食，有的追赶嬉闹，有的奔跑，有的就地翻滚，还有几匹马走向远处的小河去饮水。众多的马匹姿态各异，生动自然。放马的牧人，有的骑在马上，有的穿戴较为整齐，有的则敞胸露怀赤足，在树荫里休息的牧人为契丹族，其中似乎还有等级的差别。整个画面的构图，前半部拥塞、紧张，后半部疏散、松弛，富于节奏感。\n全图共画了人一百四十余口、马一千二百多匹，可谓洋洋大观。\n画中的马匹和人物均用墨线勾勒，线条挺拔有力，色泽较浓重，坡石墨色稍淡，略有皴擦，再用赭石色渲染，加强了画面的气氛。构图和笔墨的变化。使整个作品主次分明、生动活泼，避免了呆板、重复和混乱。如此庞大的构图，若没有长时间的经营和缜密的运思，即使是临摹，也是难以设想的。\n李公麟的大部分绘画作品是画在纸上的，并不施色彩，“惟临摹古画，用绢素着色”（元·汤垕《画鉴》）。这件作品为临摹本，用绢素作画并施淡彩，与画史的记载完全吻合。唐朝画家韦偃已无可靠的作品存世，通过李公麟的这个摹本，也可以领略其绘画的风采。",[23,108,24,65,25,7,66,124,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc407cbff0db594e50f3614e4d2025047.jpg","纵46.2厘米，横429.8厘米。",[96,49,293],92,{"id":1340,"slug":1341,"title":1342,"dynasty":199,"author":472,"museum":473,"description":474,"tags":1343,"thumbUrl":1344,"material":144,"size":477,"collection":146,"collections":1345,"showCount":1338,"zanCount":54,"manualWeight":54,"mainColor":150},219992,"shan-shui-hua-fang-ni-gao-shi-wang-shi-min-219992","山水画-仿倪高士",[24,65,138,72,373,159,32,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1db0745ab15a7923cd8f438c16122b9.jpg",[146],{"id":1347,"slug":1348,"title":1349,"dynasty":199,"author":949,"museum":62,"description":1350,"tags":1351,"thumbUrl":1352,"material":77,"size":77,"collection":146,"collections":1353,"showCount":1354,"zanCount":54,"manualWeight":54,"mainColor":150},235778,"ming-xian-ji-jin-ce-fang-guan-tong-shan-shui-ye-wang-hui-235778","名贤集锦册-仿关仝山水页","此作用笔追摹北派山水意趣，危峰崚嶒拔地而起，以硬朗繁复的皴法刻画岩壁肌理，将山石的苍劲厚重尽数铺展。山间古木虬曲错落，枝叶攒簇尽显苍郁生机。山坳处山居隐现，为雄奇冷峭的山水晕开一缕悠然烟火气，留白的溪山道途让画面疏密有致，暗合虚实相生之理。\n\n画作师法关仝却自存灵秀，把北宗山水的雄浑刚劲与南宗笔墨的秀润雅致相融，笔力苍劲不失隽秀，整幅画面静穆悠远，尽显林泉高致的文人雅趣，是师古而化的精妙之作。",[24,138,139,7,598,72,419,432,203,346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4175456b66ebb696d2bb21cd59305c.jpg",[146],91,{"id":1356,"slug":1357,"title":1358,"dynasty":199,"author":1227,"museum":236,"description":1359,"tags":1360,"thumbUrl":1361,"material":508,"size":1362,"collection":146,"collections":1363,"showCount":1364,"zanCount":11,"manualWeight":54,"mainColor":150},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。",[23,24,65,253,138,139,7,73,893,140,862],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c40f667736f6fd2b6ac59e572161654.jpg","纵81cm，横32.7cm",[146,293],90,{"id":1366,"slug":1367,"title":1368,"dynasty":299,"author":186,"museum":62,"description":1369,"tags":1370,"thumbUrl":1371,"material":77,"size":77,"collection":49,"collections":1372,"showCount":1373,"zanCount":362,"manualWeight":54,"mainColor":150},221132,"duan-jian-bi-mu-bi-hua-lin-ben-yi-ming-221132","“段简壁”墓壁画临本","此作人物排布错落有致，仕女丰腴端雅，挽高髻、着交领襦裙，披帛垂曳间尽显柔婉雍容。两位侍从装束干练，神态恭谨肃穆。全作用铁线描勾勒，劲挺流畅，精准刻画出人物体态与衣物褶皱起伏。设色古雅清隽，红褐、石紫配色沉稳厚重，岁月浸蚀留下斑驳痕迹，却更衬出盛唐的独特审美意韵。画作写实细腻，还原了彼时的妆束仪制，将墓主人出行仪卫的从容气度凝于壁间，尽显大唐的雍容风华。",[23,24,65,108,226,7,66,27,26,29,70,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bdf5ea3b57dfd093ec32a74891c16.jpg",[49,51],89,{"id":1375,"slug":1376,"title":1377,"dynasty":18,"author":186,"museum":236,"description":1378,"tags":1379,"thumbUrl":1381,"material":47,"size":1382,"collection":51,"collections":1383,"showCount":1384,"zanCount":54,"manualWeight":54,"mainColor":55},219347,"mo-xi-yuan-ya-ji-tu-yi-ming-219347","摹西园雅集图","本幅描绘历史上有名的“西园雅集”情形，在附马都尉王诜家的这次雅集，聚集了北宋当时顶尖的文人雅士，由米芾的一篇记流传后世，历代多有画作。此幅传明人所作，细观或是周臣老画师临摹刘松年原画所作，在历代临摹本中属上品。",[108,24,65,253,27,29,72,345,159,67,7,1380],"西园雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593962859ed60f1a0711ce80559eaffd.jpg","191.2 x 98.3cm",[51],88,{"id":1386,"slug":1387,"title":1388,"dynasty":199,"author":416,"museum":105,"description":1389,"tags":1390,"thumbUrl":1391,"material":1392,"size":77,"collection":146,"collections":1393,"showCount":1394,"zanCount":54,"manualWeight":54,"mainColor":150},236909,"fang-dong-qi-chang-shan-shui-zhou-wang-jian-236909","仿董其昌山水轴","王鉴（1598年－1677年），明末清初画家，“四王”之一。字元照，一字圆照，号湘碧，又号香庵主，江南太仓人。王世贞曾孙，王士骐之孙。 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。",[108,24,65,253,138,139,7,72,141,33,345,346,203,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg","纸本水墨",[146,293],86,{"id":1396,"slug":1397,"title":1398,"dynasty":199,"author":1399,"museum":442,"description":1400,"tags":1401,"thumbUrl":1406,"material":144,"size":1407,"collection":51,"collections":1408,"showCount":1394,"zanCount":54,"manualWeight":54,"mainColor":150},219272,"fang-gong-kai-zhong-nan-gui-qu-tu-fei-dan-xu-219272","仿龚开终南鬼趣图","费丹旭","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。",[23,24,27,26,7,29,32,1402,1403,614,907,1404,1405,988,1264],"柳树","花瓶","童子","老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3f08da92920c2ef320d48087d820c1a.jpg","124.7x56.5厘米",[51],{"id":1410,"slug":1411,"title":1123,"dynasty":199,"author":186,"museum":62,"description":1412,"tags":1413,"thumbUrl":1414,"material":333,"size":334,"collection":77,"collections":1415,"showCount":1416,"zanCount":11,"manualWeight":54,"mainColor":55},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[23,24,65,25,327,27,72,7,26,139,141,33,142,556,203,772,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],85,{"id":1418,"slug":1419,"title":441,"dynasty":18,"author":1420,"museum":1421,"description":1422,"tags":1423,"thumbUrl":1425,"material":545,"size":1426,"collection":146,"collections":1427,"showCount":1416,"zanCount":54,"manualWeight":54,"mainColor":150},222076,"fang-wang-meng-shan-shui-tu-xie-shi-chen-222076","谢时臣","南京博物院","此图为谢时臣的细笔山水佳作。写溪山胜境，山岚层叠，丘壑玲珑，栈道盘旋延伸，楼阁亭轩错落，士人童仆其中，还有雾气升腾，飞瀑直泻，湖光粼粼。画山石用解索皴，点苔用渴墨，皆为黄叔明笔法。此图布局稠密，笔势纵横，墨色淡雅，清丽潇洒。",[23,24,986,7,139,138,159,33,30,31,32,1424,74,29,67],"栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bcb0d43ecbe7f8e987e7ae1d117aaa.jpg","58.5X31.2cm",[146,293],{"id":1429,"slug":1430,"title":1431,"dynasty":18,"author":1432,"museum":236,"description":1433,"tags":1434,"thumbUrl":1435,"material":163,"size":1436,"collection":146,"collections":1437,"showCount":1416,"zanCount":54,"manualWeight":54,"mainColor":150},214587,"mo-gu-shan-shui-ce-fang-mei-hua-an-zhu-bi-yi-bian-wen-yu-214587","摹古山水册-仿梅花庵主笔意","卞文瑜","明代画家卞文瑜的摹古山水册是一件著名的绘画作品，其中的仿梅花庵主笔意图是一件精美的山水画作品。\n\n卞文瑜是明代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在摹古山水册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n仿梅花庵主笔意图是卞文瑜摹古山水册中的一幅精美的山水画作品。画中的山水风景清新自然，体现了卞文瑜对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n总的来说，卞文瑜的摹古山水册是一件精美的绘画作品，其中的仿梅花庵主笔意图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了卞文瑜对自然的热爱和对传统文化的尊重。",[108,24,65,598,138,7,139,72,31,32,33,159,203,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdefabc9be72fadfaa55a3b8a6b54b6.jpg","30.7x21.8cm",[146],{"id":1439,"slug":1440,"title":1441,"dynasty":18,"author":1442,"museum":236,"description":1443,"tags":1444,"thumbUrl":1445,"material":928,"size":1446,"collection":146,"collections":1447,"showCount":1448,"zanCount":54,"manualWeight":54,"mainColor":150},221969,"fang-wang-meng-shan-shui-zhou-wen-zheng-ming-221969","仿王蒙山水轴","文徴明","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。",[23,24,253,138,139,7,72,159,33,160,74,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd029fea8a32761fc2fa01e64733e96fa.jpg","全幅 57.2公分",[146,293],84,{"id":1450,"slug":1451,"title":1452,"dynasty":18,"author":1453,"museum":62,"description":1454,"tags":1455,"thumbUrl":1456,"material":77,"size":77,"collection":293,"collections":1457,"showCount":1458,"zanCount":11,"manualWeight":54,"mainColor":150},228852,"fang-zhao-meng-fu-shui-cun-tu-wen-bo-ren-228852","仿赵孟頫水村图","文伯仁","此作用淡墨晕染平畴远汀，枯木疏林错落浅渚坡岸，村舍板桥隐现其间。远山以没骨轻绘，烟岚柔笼峰峦，将江南水村的清寂淡远缓缓铺展。全卷追摹元人简逸意趣，笔墨松秀温和，不作繁复皴擦，留白烘托出空濛水汽，尽显萧散闲雅。整幅画作幽淡闲远，将文人寄情丘山的隐逸意韵融于尺幅之间，把水乡静穆悠然之境尽数呈现，是师法前人的山水佳构。",[23,108,24,65,25,138,139,7,72,373,31,32,71,67,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d27638c4d92badd2d746d97e78c8638.jpg",[293],83,{"id":1460,"slug":1461,"title":1462,"dynasty":199,"author":1463,"museum":690,"description":1464,"tags":1465,"thumbUrl":1466,"material":47,"size":1467,"collection":146,"collections":1468,"showCount":1469,"zanCount":54,"manualWeight":54,"mainColor":55},219757,"ni-guo-xi-pan-che-tu-yuan-yao-219757","拟郭熙盘车图","袁耀","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。\n工画山水、楼阁、界画。画风工整、华丽，与袁江相似。其精品有胜于袁江者。偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。约活动于乾隆中期。不仅青绿工整山水，楼阁作品有名，其所画花鸟，也甚佳。流传作品比袁江多。而且往往是大幅。所画《观瀑图》、《秋江楼观图》等，无论布局，渲染，以至点景人物，都很精致。留有《阿房宫图》及《骊山避暑十二景图》大幅精美作品。《骊山避暑十二景图》现藏于日本。",[24,65,72,28,139,7,27,29,30,328,74,124,759,159,33,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2dbf03592ab1c501d619c8407e8f510.jpg","纵29横47.80厘米",[146],82,{"id":1471,"slug":1472,"title":1473,"dynasty":18,"author":19,"museum":62,"description":1474,"tags":1475,"thumbUrl":1476,"material":333,"size":334,"collection":77,"collections":1477,"showCount":1478,"zanCount":11,"manualWeight":54,"mainColor":55},287561,"fang-li-tang-shan-shui-tu-chou-ying-287561","仿李唐山水图","此图卷画法山石分面后用大斧劈皴法，是李唐家数，极明暗变化之能事。浙派学南宋，都和墨皴染，石面无‘钉头’，乏老硬笔意，仇实父实得李唐画石之三味。",[23,108,24,65,25,72,27,139,7,141,33,203,275,31,32,69,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bece0ca5a5d1ae85f5b79d72f19d2f.jpg",[],81,{"id":1480,"slug":1481,"title":1482,"dynasty":199,"author":949,"museum":62,"description":1483,"tags":1484,"thumbUrl":1486,"material":77,"size":77,"collection":146,"collections":1487,"showCount":1478,"zanCount":54,"manualWeight":54,"mainColor":150},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》。",[24,1485,253,139,7,72,1231,71,75,346,33,556,29,142],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc312ca88e21a4c731326d3c55ba6c1f.jpg",[146],{"id":1489,"slug":1490,"title":1491,"dynasty":18,"author":1492,"museum":236,"description":1493,"tags":1494,"thumbUrl":1496,"material":434,"size":1497,"collection":77,"collections":1498,"showCount":1499,"zanCount":11,"manualWeight":54,"mainColor":150},287291,"lin-li-bo-shi-yin-zhong-ba-xian-quan-tu-tang-yin-287291","临李伯时饮中八仙全图","唐寅","以白描法绘人物35位，线条柔和隽秀，人物神态形象逼真；山石树木粗笔勾勒，再以浓墨烘染而成。此幅长卷达八米之长，场景开阔，绘出八仙喝茶听曲，悠闲自得的情景。",[23,24,108,25,65,66,138,7,29,1495,988,173,33,159,69,68],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef12bafcbc98b00a1a699522f02abb9b.jpg","23.8厘米*838厘米",[],80,{"id":1501,"slug":1502,"title":1503,"dynasty":299,"author":645,"museum":105,"description":646,"tags":1504,"thumbUrl":1505,"material":508,"size":1506,"collection":307,"collections":1507,"showCount":1508,"zanCount":54,"manualWeight":54,"mainColor":150},221090,"mo-lan-ting-xu-juan-yu-shi-nan-221090","摹兰亭序卷",[23,108,24,65,25,7,69,67,68,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8266ea63061d7e4a5ed03a1107c08fd.jpg","纵24.8cm，横57.7cm。",[307,651],79,{"id":1510,"slug":1511,"title":1512,"dynasty":199,"author":186,"museum":236,"description":1513,"tags":1514,"thumbUrl":1517,"material":47,"size":1518,"collection":1210,"collections":1519,"showCount":1508,"zanCount":11,"manualWeight":54,"mainColor":55},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。",[24,65,253,26,27,7,893,610,75,614,32,907,1515,1516],"草地","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c785004791e5277ea86d862f6b70ee1.jpg","160.2x83.7厘米",[1210],{"id":1521,"slug":1522,"title":1523,"dynasty":199,"author":1524,"museum":495,"description":1525,"tags":1526,"thumbUrl":1528,"material":126,"size":1529,"collection":146,"collections":1530,"showCount":1531,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[23,24,65,253,138,7,139,72,373,345,159,1527,32,140],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","96cmx56cm",[146],78,{"id":1533,"slug":1534,"title":1535,"dynasty":18,"author":1536,"museum":105,"description":1537,"tags":1538,"thumbUrl":1539,"material":1540,"size":1541,"collection":146,"collections":1542,"showCount":1543,"zanCount":54,"manualWeight":54,"mainColor":55},221886,"za-hua-tu-ce-fang-li-tang-bi-yi-chen-hong-shou-221886","杂画图册-仿李唐笔意","陈洪绶","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,108,24,65,598,27,139,7,72,159,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9093bddfe13cc837d377af14452eaabd.jpg","绢本、设色","纵30.2＊横25.1CM",[146,49,51],76,{"id":1545,"slug":1546,"title":1547,"dynasty":199,"author":1548,"museum":236,"description":1549,"tags":1550,"thumbUrl":1551,"material":163,"size":1552,"collection":307,"collections":1553,"showCount":1543,"zanCount":54,"manualWeight":54,"mainColor":150},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",[68,7,69,138,253,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd0aab16eda6b62bd40f21fb84ca540.jpg","79.3x36.7",[307],{"id":1555,"slug":1556,"title":1557,"dynasty":199,"author":1558,"museum":62,"description":1559,"tags":1560,"thumbUrl":1562,"material":333,"size":334,"collection":77,"collections":1563,"showCount":1564,"zanCount":11,"manualWeight":54,"mainColor":150},230858,"lin-tian-wang-song-zi-tu-yu-zhi-ding-230858","临天王送子图","禹之鼎","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[23,24,65,25,227,66,29,1561,239,240,7],"神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2a2ab40be6165dd013479e508c193e.jpg",[],75,{"id":1566,"slug":1567,"title":1568,"dynasty":18,"author":429,"museum":236,"description":725,"tags":1569,"thumbUrl":1570,"material":728,"size":77,"collection":146,"collections":1571,"showCount":1564,"zanCount":54,"manualWeight":54,"mainColor":55},220935,"fang-fan-kuan-xi-shan-xing-lv-tu-dong-qi-chang-220935","仿范宽谿山行旅图",[24,65,72,7,139,138,27,159,141,33,328,346,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6af289c5e3cc8977a1679c323cf75a.jpg",[146,293],{"id":1573,"slug":1574,"title":1575,"dynasty":60,"author":405,"museum":62,"description":406,"tags":1576,"thumbUrl":1578,"material":333,"size":334,"collection":77,"collections":1579,"showCount":1580,"zanCount":54,"manualWeight":54,"mainColor":150},283640,"sang-luan-tie-tang-mo-ben-wang-xi-zhi-283640","丧乱帖（唐摹本)",[23,68,69,408,7,1577],"悲痛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a558189603d3fc9915d19c19c7d1a6.jpg",[],74,{"id":1582,"slug":1583,"title":1584,"dynasty":199,"author":1585,"museum":62,"description":1586,"tags":1587,"thumbUrl":1588,"material":77,"size":77,"collection":146,"collections":1589,"showCount":1580,"zanCount":54,"manualWeight":54,"mainColor":150},237876,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237876","杨晋仿古山水册","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。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,65,598,27,72,139,7,31,32,73,419,75,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e76ccbd855cb58e9845ece47e79c5f.jpg",[146,51],{"id":1591,"slug":1592,"title":1593,"dynasty":18,"author":186,"museum":62,"description":1594,"tags":1595,"thumbUrl":1601,"material":77,"size":77,"collection":77,"collections":1602,"showCount":1603,"zanCount":11,"manualWeight":54,"mainColor":55},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,24,65,25,27,26,7,68,610,75,1596,459,33,159,1597,1598,1599,1600],"孔雀","花草","日","荷花","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],73,{"id":1605,"slug":1606,"title":1607,"dynasty":199,"author":949,"museum":62,"description":1608,"tags":1609,"thumbUrl":1610,"material":333,"size":334,"collection":146,"collections":1611,"showCount":1612,"zanCount":54,"manualWeight":54,"mainColor":150},234956,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234956","王翚仿古山水册","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。”",[24,65,598,27,139,7,72,73,159,142,204,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9365e63d8219fdbc7a9693bddcec7a.jpg",[146,51],71,{"id":1614,"slug":1615,"title":1616,"dynasty":18,"author":1442,"museum":236,"description":1617,"tags":1618,"thumbUrl":1619,"material":434,"size":77,"collection":146,"collections":1620,"showCount":1621,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[23,24,65,253,138,139,7,72,952,159,33,160,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12e302f69f4a2f9424953933b64b61c.jpg",[146,51],70,{"id":1623,"slug":1624,"title":1625,"dynasty":85,"author":849,"museum":236,"description":1626,"tags":1627,"thumbUrl":1628,"material":434,"size":1629,"collection":307,"collections":1630,"showCount":1631,"zanCount":11,"manualWeight":54,"mainColor":55},221268,"shu-wang-xi-zhi-lun-shu-ce-huang-ting-jian-221268","书王羲之论书册","本幅大字行书，落笔奇伟，丰筋多力，笔笔似自空中荡漾而来，充满着飞动之势，却又沉着稳健，呈现出一份闲适自得的意境。",[68,69,598,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002c75cd36c4f5fdd968f25e1b4967d8.jpg","32×17.2",[307],68,{"id":1633,"slug":1634,"title":1635,"dynasty":801,"author":186,"museum":236,"description":1636,"tags":1637,"thumbUrl":1639,"material":1640,"size":77,"collection":146,"collections":1641,"showCount":1631,"zanCount":54,"manualWeight":54,"mainColor":796},219179,"fang-song-ren-xue-jing-tu-yi-ming-219179","仿宋人雪景图","雪覆层岩，天地浸于清寂。山峦巍峨，积雪厚积处晕染得韵，山石轮廓以墨线勾勒，皴擦见骨，显峻峭之势。寒林枝桠虬曲如铁，向空伸展，似欲刺破冬云。涧水凝碧，蜿蜒穿石而过，清冽之态可感。山隅茅舍隐现，添几分人间气息，却未破山林幽寂。笔墨兼融宋工与元逸，于寒寂中藏生机，尽展冬日山林的幽远之趣，观之如临其境，心亦随之沉静。",[23,24,986,7,139,27,952,159,373,32,203,204,557,345,161,1638],"寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292fcbd3b7c8dbf3f1351f9a5a7dc06.jpg","设色,绢本",[146],{"id":1643,"slug":1644,"title":1645,"dynasty":199,"author":1646,"museum":62,"description":1647,"tags":1648,"thumbUrl":1650,"material":333,"size":334,"collection":77,"collections":1651,"showCount":1652,"zanCount":11,"manualWeight":54,"mainColor":150},289744,"lin-zhang-wei-hua-guo-yu-niao-ce-yue-xia-li-hua-li-bing-de-289744","临张伟花果鱼鸟册-月下梨花","李秉德","李秉德，字蕙纫，号涪江，龙池山人，祖籍四川遂宁，系明末清初语言学家李实后裔、榜眼李仙根族人，与大诗人书画家张船山有交往。居吴县，乾隆皇帝南巡时，以诸生进献图册，随后进入宫廷供职，工花卉、翎毛，供奉内廷。",[24,598,610,26,27,1649,1231,7,67],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068da5716562c206c17a9566b67a208.jpg",[],67,{"id":1654,"slug":1655,"title":1656,"dynasty":801,"author":1657,"museum":62,"description":1658,"tags":1659,"thumbUrl":1660,"material":333,"size":334,"collection":77,"collections":1661,"showCount":1652,"zanCount":54,"manualWeight":54,"mainColor":55},288352,"fang-wen-tong-zhu-zhi-tu-ke-jiu-si-288352","仿文同竹枝图","柯九思","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。",[108,24,65,253,138,893,7,68,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0f6c5bac4dcc40cb604a4b194d3a85.jpg",[],{"id":1663,"slug":1664,"title":1665,"dynasty":199,"author":186,"museum":62,"description":1666,"tags":1667,"thumbUrl":1671,"material":333,"size":334,"collection":77,"collections":1672,"showCount":1652,"zanCount":54,"manualWeight":54,"mainColor":55},288197,"fang-chou-ying-jie-bo-tu-yi-ming-288197","仿仇英揭钵图","佛尊安坐莲台，神态静定超然，护法眷属恭立环伺，一派庄穆。另一侧群魔攒动，夜叉鬼卒或拽绳撼钵，或挥戈咆啸，狞恶跳脱，奔走腾挪间满是躁动戾气，将救母揭钵的冲突推向极致。飞天振袂穿插云间，衣袂飘举柔化了杀伐之氛。\n\n整卷设色沉厚古雅，铁线描勾勒劲利灵动，人物神态各异，夜叉的凶蛮、天众的肃穆、佛尊的慈悲皆跃然绢上，把神魔相争的戏剧张力尽数铺展，尽显宗教故事画的叙事感染力。",[23,24,25,27,26,7,29,227,1668,1669,1670],"佛教","神话人物","佛教故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faafca72c1f7d102945d31b9ddf001121.jpg",[],{"id":1674,"slug":1675,"title":1676,"dynasty":199,"author":1677,"museum":62,"description":1678,"tags":1679,"thumbUrl":1680,"material":47,"size":1681,"collection":49,"collections":1682,"showCount":1652,"zanCount":54,"manualWeight":54,"mainColor":150},214835,"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-214835","仿李晞古采薇图全卷","萧晨","在右边，伯益坐在山坡上，双膝弯曲，认真听着舒淇的讲话，舒淇俯身向前致意，面前放着一把锄头和一筐野菜。萧琛，字灵溪，号仲素，清代画家，善诗，精画，山水人物，师承唐宋。",[23,24,65,25,7,27,26,139,29,345,159,33,67,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341cd77a009ea4082f79b83c8e83756d.jpg","\u001659.2x27.1",[49],{"id":1684,"slug":1685,"title":1686,"dynasty":18,"author":186,"museum":62,"description":1687,"tags":1688,"thumbUrl":1690,"material":333,"size":334,"collection":77,"collections":1691,"showCount":1692,"zanCount":362,"manualWeight":54,"mainColor":55},287341,"fang-chen-rong-shen-long-jiu-xian-tu-yi-ming-287341","仿陈容神龙九现图","整卷以九龙为芯，龙躯腾挪翻涌于青绿云水间，或隐没于云涛，或怒破水浪，鳞爪遒劲灵动，尽显神威雄奇。古绢带着岁月晕染的斑驳，青绿与墨色交融晕开，将神龙谲变幻化的身姿描摹得栩栩如生。\n\n后附题跋行书笔意跌宕，笔墨苍劲老辣，诗文咏叹龙姿神韵，与画作相得益彰，书画合璧，复刻出沉雄气势。装裱古朴雅致，卷间流转着古雅厚重的气韵，尽显传统龙题材绘画的精妙造诣，兼具视觉张力与文人意趣。",[23,25,24,65,239,7,27,68,717,1689],"神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05d908008b19b2e6f55501a6f863f5f4.jpg",[],66,{"id":1694,"slug":1695,"title":779,"dynasty":85,"author":186,"museum":62,"description":1696,"tags":1697,"thumbUrl":1700,"material":333,"size":334,"collection":77,"collections":1701,"showCount":1702,"zanCount":54,"manualWeight":54,"mainColor":55},288302,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-288302","以长卷铺展这段缥缈情缘，起于河畔惊鸿初见，洛神凌波凭风，衣袂翩跹若流云回风。仙姝侍立，神兽随行，云车仪仗迤逦于川泽林莽间。\n画师以高古游丝描勾勒人物，线条匀细灵动，淡彩敷染晕出古朴雅致的气韵，将辞赋里的缱绻爱慕、依依怅别缓缓铺陈。山川林木错落点缀，水波微漾间，把人神相恋的怅惘诗意凝于绢素，让千年的浪漫情思在卷中流转不散。",[23,108,24,25,65,27,26,7,29,70,1561,275,30,1698,72,584,1689,1699],"林木","洛神赋","https:\u002F\u002Foss.chuangqi.store\u002Fth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“虽戏写亦如欲刻金石”，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[68,69,7,67,25,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e32b4427919d25ac2c78252539055fa.jpg","纵7.1厘米，横26.2厘米",[307],61,{"id":1782,"slug":1783,"title":1784,"dynasty":199,"author":472,"museum":473,"description":474,"tags":1785,"thumbUrl":1786,"material":144,"size":477,"collection":146,"collections":1787,"showCount":1780,"zanCount":54,"manualWeight":54,"mainColor":150},220001,"shan-shui-hua-fang-mi-you-ren-wang-shi-min-220001","山水画-仿米友仁",[24,65,138,7,72,419,420,33,142,38,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6726d39f7aa7017108d87a88825bc186.jpg",[146],{"id":1789,"slug":1790,"title":1791,"dynasty":18,"author":634,"museum":62,"description":1792,"tags":1793,"thumbUrl":1797,"material":333,"size":334,"collection":77,"collections":1798,"showCount":1799,"zanCount":54,"manualWeight":54,"mainColor":150},237824,"fang-zhang-seng-yao-mei-gu-shan-shui-shan-zhang-hong-237824","仿张僧繇没骨山水扇","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,1794,1795,27,7,72,71,33,206,204,556,1796,67],"扇面","没骨山水","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e8df82dfc9d045a62c3ee52c28183e.jpg",[],60,{"id":1801,"slug":1802,"title":1803,"dynasty":199,"author":689,"museum":62,"description":1804,"tags":1805,"thumbUrl":1806,"material":508,"size":1807,"collection":146,"collections":1808,"showCount":1799,"zanCount":54,"manualWeight":54,"mainColor":150},234876,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234876","王原祁仿古山水册","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。",[24,65,598,27,72,139,7,67,159,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3906ab5fe733b92e1b4dac6a6a17ae.jpg","纵21厘米，横27厘米",[146,51],{"id":1810,"slug":1811,"title":1812,"dynasty":18,"author":429,"museum":236,"description":1813,"tags":1814,"thumbUrl":1815,"material":434,"size":1816,"collection":146,"collections":1817,"showCount":1799,"zanCount":54,"manualWeight":54,"mainColor":150},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 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，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[23,24,65,138,72,139,7,68,69,67,31,32,33,159,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 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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。",[23,24,986,7,139,138,27,1988,159,373,1989,253,952],"雪山","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f304fcaa92d84ebd0825d65cc92b1c.jpg","本幅 187.7x115.5公分、全幅 118.3公分",[146,293],{"id":1994,"slug":1995,"title":1996,"dynasty":801,"author":1997,"museum":595,"description":1998,"tags":1999,"thumbUrl":2000,"material":163,"size":2001,"collection":49,"collections":2002,"showCount":1952,"zanCount":11,"manualWeight":54,"mainColor":55},219621,"song-tai-zu-cu-ju-tu-qian-xuan-219621","宋太祖蹴鞠图","钱选","原图为宋代名画家苏汉臣所绘，钱选在临摹之后题字：“蹴鞠图旧藏秘府，今摹图之。若非天人革命，应莫观之，言何画哉。”表现出了对此画仰慕已久的心情。明人唐文凤在《梧冈集》中有《题蹴鞠图》诗，诗中说明前两人踢球的是宋太祖赵匡胤与其弟宋太宗，后四人观看的是大臣赵普、楚昭辅、党进、石守信，都是宋朝开国的功勋，他们都喜欢踢球；“明良相逢同一时，乘闲且复相娱嬉，军中之乐谅亦宜。”此图说明了蹴鞠是宋代初年军中之乐，是宋朝开国皇帝和贵族都喜爱的活动，因此，开启了中国古代足球发展的第二个高潮时期。在《宋史·礼志》《乐志》中记载，凡是朝廷的盛大宴会都有足球表演。在《武林旧事》中记载，宋代除了官家有蹴鞠专业艺人之外，民间的瓦子中也有蹴鞠艺人表演，而在宋代开展最为广泛的则是“寒食蹴鞠”民俗活动；“寒食梁州十万家，蹴鞠秋千尚豪华。”（陆游《春晚感事》）在这样从上到下全国的足球热潮氛围中，便有了高俅、张明、柳三复等因踢球而发迹的人物。《宋太祖蹴鞠图》为后人提供了研究宋代足球发展最宝贵的资料。",[24,65,26,27,29,7,67,68,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a53204849892062b0904a61f11a9dd7.jpg","宽28.6厘米，长56.3厘米",[49],{"id":2004,"slug":2005,"title":428,"dynasty":18,"author":429,"museum":62,"description":2006,"tags":2007,"thumbUrl":2009,"material":333,"size":334,"collection":77,"collections":2010,"showCount":2011,"zanCount":11,"manualWeight":54,"mainColor":150},290886,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-290886","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。",[24,138,986,7,73,2008,159,68,67,29],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6845308d6e74e26371b15c8a563743f4.jpg",[],54,{"id":2013,"slug":2014,"title":2015,"dynasty":85,"author":186,"museum":62,"description":2016,"tags":2017,"thumbUrl":2019,"material":77,"size":77,"collection":77,"collections":2020,"showCount":2011,"zanCount":54,"manualWeight":54,"mainColor":55},227847,"song-mo-gu-kai-zhi-luo-shen-fu-tu-juan-yi-ming-227847","宋摹顾恺之洛神赋图卷","此作以辞赋为骨，铺展缥缈爱恋。山峦云霭间，洛神凌波微步，衣带蹁跹，与曹植遥遥相望，情思暗涌。线条细劲连绵如春蚕吐丝，古雅设色晕开绢本旧韵，将洛神仙姿、侍众恭谨、仪仗威仪一一铺展。山海林泉错落，云雾萦回如幻，把初见的惊艳、相恋的缱绻、别离的怅惘揉进山水里，诗画相融，将文字中的深情化作可视丹青，晕染出千年前那场哀怨缥缈的人神之恋，尽显晋唐风骨的温婉雅致。",[23,24,25,7,27,26,66,72,29,275,239,124,30,33,142,2018,330,1561,556,159,759],"旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0846a7d82dcbae011c1e4eb6f39c2e7e.jpg",[],{"id":2022,"slug":2023,"title":2024,"dynasty":801,"author":186,"museum":2025,"description":2026,"tags":2027,"thumbUrl":2028,"material":508,"size":77,"collection":77,"collections":2029,"showCount":2030,"zanCount":54,"manualWeight":54,"mainColor":55},231496,"fang-liu-song-nian-song-xia-lun-dao-tu-yi-ming-231496","仿刘松年松下论道图","美国弗瑞尔美术馆","苍松虬曲如卧龙，扎根危岩之间，飞泉叠落撞碎成雪，循着层岩汇入深涧。右下角平坡上，二人相对晤谈，一人敛衽凝神静听，一人凭石畅意抒怀，山林幽寂将这场论辩衬得愈发悠然。\n\n画作以水墨晕染层叠山势，皴擦勾勒出岩壁嶙峋肌理，松枝笔触老辣苍劲，将山野清旷出尘之态尽数铺展。以景托人，把林下寄情、坐而论道的隐逸雅趣融于山水烟岚，尽显文人寄心林泉的林下风流，笔墨间萧散简远，于沉静古雅色调晕染出出世闲情。",[23,24,138,27,139,7,72,345,160,32,29,346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ece85a22e089d31138e99f0a6f7bf48.jpg",[],53,{"id":2032,"slug":2033,"title":2034,"dynasty":18,"author":19,"museum":62,"description":2035,"tags":2036,"thumbUrl":2040,"material":333,"size":334,"collection":77,"collections":2041,"showCount":2030,"zanCount":54,"manualWeight":54,"mainColor":150},228438,"lin-guan-xiu-bai-miao-luo-han-tu-juan-chou-ying-228438","临贯休白描罗汉图卷","所绘罗汉,有的庞眉大目,有的高颧隆鼻,面貌都是“胡貌梵相”,这种奇异之相,立意免俗。",[23,24,65,25,66,7,227,29,2037,2038,2039,240,159,1969,67],"罗汉","虎","猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f322aff8127d791c2c05a48d900a610.jpg",[],{"id":2043,"slug":2044,"title":2045,"dynasty":18,"author":429,"museum":236,"description":725,"tags":2046,"thumbUrl":2047,"material":728,"size":77,"collection":146,"collections":2048,"showCount":2030,"zanCount":54,"manualWeight":54,"mainColor":150},220934,"fang-wang-meng-fang-dong-yuan-qiu-shan-xing-lv-tu-dong-qi-chang-220934","仿王蒙仿董源秋山行旅图",[24,65,72,138,139,7,27,159,33,30,31,32,328,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c15c82af0fc77e48f2b48d1c1ee14c.jpg",[146,293],{"id":2050,"slug":2051,"title":2052,"dynasty":18,"author":429,"museum":1259,"description":2053,"tags":2054,"thumbUrl":2055,"material":211,"size":2056,"collection":146,"collections":2057,"showCount":2030,"zanCount":11,"manualWeight":54,"mainColor":150},220904,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220904","仿黄子久江山秋霁图卷","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、赵估、米芾诸名家法书，于万历三十一年刊刻《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。",[23,108,24,65,25,138,139,72,419,420,33,67,68,69,7],"https:\u002F\u002Foss.chuangqi.store\u002Ft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。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。",[23,68,189,138,253,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936d07072312c8818810bc720fd43608.jpg","108X57cm",[307],{"id":2104,"slug":2105,"title":2106,"dynasty":199,"author":2107,"museum":595,"description":2108,"tags":2109,"thumbUrl":2110,"material":77,"size":77,"collection":146,"collections":2111,"showCount":2067,"zanCount":54,"manualWeight":54,"mainColor":2112},202124,"fang-da-chi-shan-shui-tu-zhou-yuan-pei-202124","仿大痴山水图轴","袁沛","水墨晕染间，山峦以皴法勾勒出苍劲肌理，云雾似轻纱漫过峰谷，将远近景致晕成淡远之调。近岸枯树疏枝交错，几间屋舍倚岩而筑，小桥横卧溪上，流水绕石潺潺。中远景峰峦叠嶂，林木错落，留白处云雾氤氲，虚实相生间尽显山水悠远之趣。笔墨追摹古法，却藏着对自然的细腻体悟，清寂雅致的意境在尺幅间缓缓铺展。",[138,139,7,72,31,32,73,140,1989,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06764f51623175d13cae3e16bffd6a7b.jpg",[146],"b3a088",{"id":2114,"slug":2115,"title":2116,"dynasty":299,"author":2117,"museum":62,"description":2118,"tags":2119,"thumbUrl":2120,"material":77,"size":77,"collection":307,"collections":2121,"showCount":2122,"zanCount":54,"manualWeight":54,"mainColor":55},239650,"wu-kuan-lin-yin-zhong-ba-xian-ge-juan-huai-su-239650","无款临饮中八仙歌卷","怀素","怀素（737~799），史称“草圣”，唐代杰出书法家。字藏真，僧名怀素，俗姓钱，汉族，永州零陵（湖南零陵）人，是大历十才子之一考功郎中钱起的外甥。\n自幼出家为僧，经禅之暇，锐意草书，与张旭齐名，合称“颠张狂素”，形成唐代书法双峰并峙的局面，也是中国草书史上两座高峰。怀素草书，笔法瘦劲，飞动自然，如骤雨旋风，随手万变。书法率意颠逸，千变万化，法度具备。北京大学教授、引碑入草开创者的李志敏评价：“怀素的草书奔逸中有清秀之神，狂放中有淳穆之气”。\n传世书法作品有《自叙帖》《小草千字文》纸本、《苦笋帖》《圣母帖》《论书帖》诸帖。",[23,108,24,65,25,7,68,717,138,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e2b9f758d87ba9232cc8518581c6ab.jpg",[307],50,{"id":2124,"slug":2125,"title":2126,"dynasty":18,"author":2127,"museum":236,"description":2128,"tags":2129,"thumbUrl":2130,"material":163,"size":2131,"collection":293,"collections":2132,"showCount":2122,"zanCount":54,"manualWeight":54,"mainColor":150},219322,"fang-yuan-ren-bi-yi-zhou-hou-mao-gong-219322","仿元人笔意轴","侯懋功","侯懋功（生卒年不详），号夷门，苏州人，活跃于明代万历(1573-1620）年间。画中冈峦秀伟，崖径、栈道蜿蜒其间，若可游赏，并通向山顶隐蔽村舍。构图与山石树木之造型、用笔可见明代文征明之影响。「Y」字分界的前景石块及山间平顶，追仿着元代黄公望（1269-1354）的母题；繁密又多细节的景致，颇具元代王蒙遗意。此画不落蹊径地展现元人意趣，实为侯氏佳作。",[24,65,253,138,139,7,72,159,33,32,31,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7ea70bfb859b086a831915d3eb4616.jpg","112.3x34.9",[293],{"id":2134,"slug":2135,"title":2136,"dynasty":18,"author":429,"museum":105,"description":2137,"tags":2138,"thumbUrl":2139,"material":163,"size":2140,"collection":146,"collections":2141,"showCount":2122,"zanCount":54,"manualWeight":54,"mainColor":150},218345,"fang-ni-shan-shui-tu-dong-qi-chang-218345","仿倪山水图","此作从构图到用笔均仿自倪瓒。构图取倪氏标准的“一河两岸三段”模式，平波无浪的辽阔水域将近景的树木与远景的山峦分列两岸，令画面空间层次鲜明，又得平远之势。山石行笔仿倪氏折带皴法，线条勾勒以侧锋为主，笔墨整体苍逸，表现出疏朗清雅而又超逸萧疏的意境。这种“简淡中自有一种风致”的意境正是董其昌对倪氏画作最为欣赏之处，认为它“非若画史纵横习气也”。此图当是董其昌仿倪的代表作之一。",[23,1794,138,72,140,73,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd588df824569eeead48bf69a9e5ed670.jpg","纵17厘米，横50.5厘米",[146],{"id":2143,"slug":2144,"title":2145,"dynasty":199,"author":186,"museum":62,"description":2146,"tags":2147,"thumbUrl":2148,"material":333,"size":334,"collection":77,"collections":2149,"showCount":2150,"zanCount":54,"manualWeight":54,"mainColor":150},290186,"fang-gong-xian-shan-shui-ce-5-kai-yi-ming-290186","仿龚贤山水册5开","此作用积墨之法写山林幽境，层层晕染铺就氤氲烟岚。右侧崖壁以焦墨勒定轮廓，淡墨反复皴擦堆就厚重质感，石间点植杂木，苍拙古茂，崖巅古亭半隐，暗合林泉幽居之趣。左侧以留白糅合淡墨晕染云烟，虚实相生，将山壑深渺朦胧之态铺陈开来，与沉凝崖壁形成虚实对照，尽显开合之妙。边角题字与山水相映成趣，诗画相融，暗合原作静穆苍润之韵，将江南山水的空寂淡远藏于尺幅间，笔墨间尽是林泉高致的悠然意趣。",[24,598,138,72,30,159,142,67,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904f9bc9a41f1ddb33e9bbe19d78320f.jpg",[],49,{"id":2152,"slug":2153,"title":2154,"dynasty":199,"author":1083,"museum":62,"description":2155,"tags":2156,"thumbUrl":2158,"material":77,"size":77,"collection":1210,"collections":2159,"showCount":2150,"zanCount":54,"manualWeight":54,"mainColor":150},236198,"hua-gui-hua-yu-min-zhong-lin-huang-ting-jian-tie-cheng-shan-qian-wei-cheng-236198","画桂花于敏中临黄庭坚帖成扇","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》。",[24,65,1794,610,2157,7,69,27],"桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf40f10679bf2abd7c354888e76c59f3.jpg",[1210],{"id":2161,"slug":2162,"title":2163,"dynasty":199,"author":949,"museum":62,"description":1608,"tags":2164,"thumbUrl":2165,"material":333,"size":334,"collection":77,"collections":2166,"showCount":2150,"zanCount":54,"manualWeight":54,"mainColor":150},235564,"lin-ni-zan-xi-ting-shan-se-tu-shan-mian-wang-hui-235564","临倪瓒溪亭山色图扇面",[24,65,1794,138,7,139,68,67,72,74,432,159,160,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9946beb712e3f30922fe588e598acbf8.jpg",[],{"id":2168,"slug":2169,"title":2170,"dynasty":18,"author":135,"museum":105,"description":2171,"tags":2172,"thumbUrl":2174,"material":2175,"size":2176,"collection":77,"collections":2177,"showCount":2150,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[24,65,253,138,139,7,72,419,420,432,458,2173,74,161,346,207,203],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e5c45557f6c8377677e6b12b06ec41.jpg","纸本，墨笔","纵163.4厘米，横37厘米",[],{"id":2179,"slug":2180,"title":2181,"dynasty":2182,"author":2183,"museum":62,"description":2184,"tags":2185,"thumbUrl":2191,"material":333,"size":334,"collection":2192,"collections":2193,"showCount":2194,"zanCount":54,"manualWeight":54,"mainColor":55},225748,"flowering-plum-orchard-after-hiroshige-october-november-fan-gao-225748","Flowering plum orchard after Hiroshige (October - November )","不详","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[108,7,2186,27,2187,2188,1180,2189,2190,33,614],"油画","浮世绘风格","梅","花朵","绿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ec6e59d5fc227dc0435a3c28cad1ec.jpg","油画精选",[2192],48,{"id":2196,"slug":2197,"title":2198,"dynasty":18,"author":2199,"museum":62,"description":2200,"tags":2201,"thumbUrl":2203,"material":77,"size":77,"collection":1210,"collections":2204,"showCount":2194,"zanCount":54,"manualWeight":54,"mainColor":150},222405,"fang-chen-dao-fu-hua-hui-juan-quan-juan-du-da-zhong-222405","仿陈道复花卉卷全卷","杜大中","陈道复也是明代极富名气的绘画大家之一。他在传统写意绘画的基础上，将草书笔意融入写意花卉画中，开创了大写意花卉画的新风貌，其作品价值亦不俗！该作同时融入了两大绘画艺术家的风格特色，可谓魅力非凡\n继承了陈道復清新隽雅的画法，作品具有典型的晚明时期花卉画风格。卷尾署款“万历戊戌夏日汝南周之冕写。” 钤白文方印“服卿氏”、“周之冕印”。画面中有吴幼培、杜大中题诗数首，图后有朱鹭题跋。\n吴门画派是明中期重要的绘画流派，尤以山水画成就最高，标志着文人画走向极盛！而周之冕画得最多也最有成就的是山水画。",[23,24,65,25,7,138,66,610,2188,612,265,2202,68,67],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff15bf087597467f842c177242ffd37.jpg",[1210,293],{"id":2206,"slug":2207,"title":2208,"dynasty":18,"author":186,"museum":62,"description":2209,"tags":2210,"thumbUrl":2212,"material":333,"size":334,"collection":77,"collections":2213,"showCount":2214,"zanCount":54,"manualWeight":54,"mainColor":55},290419,"fang-fan-kuan-xi-shan-xing-lv-tu-yi-ming-290419","仿范宽溪山行旅图","此作用笔沉郁苍厚，主峰拔地而起，以密集皴法刻画山石肌理，尽显山峦雄浑磅礴的质感。山间烟岚轻笼，虚实相生，将高旷幽深的山野意境铺陈开来。下方林麓环合，流泉自幽谷间蜿蜒而出，板桥山居隐于林木之中，静穆里藏着灵动生机。整体追摹北派山水的雄浑气象，既复刻出山野荒寒之态，又暗合沉静意韵，把大山大水的壮阔与林泉幽居的闲逸融为一体，是颇具古韵功力的山水佳作。",[24,986,253,138,139,2211,160,161,33,7,67],"高山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096a6ea931c37ee34c32a9f99876af1c.jpg",[],47,{"id":2216,"slug":2217,"title":2218,"dynasty":199,"author":2219,"museum":62,"description":2220,"tags":2221,"thumbUrl":2222,"material":77,"size":77,"collection":77,"collections":2223,"showCount":2214,"zanCount":54,"manualWeight":54,"mainColor":150},239211,"fang-fu-chun-shan-ju-tu-juan-gao-shu-cheng-239211","仿富春山居图卷","高树程","此作用干笔淡墨追摹原作意趣，以披麻皴晕染山峦，丘壑连绵起伏，层层铺展。汀渚萦回于烟波之间，林木错落苍秀，将富春山水的空濛温润缓缓铺陈。\n\n笔墨松灵温润，萧散简远，既复刻了原作的淡远疏旷，又融入自身静穆雅致的笔意，不刻意摹形，更重追摹那份江南山水的悠然意趣，咫尺长卷见千里江山之态，尽显文人山水平和疏朗的意境。",[23,24,65,25,138,7,139,72,33,71,75,141,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfcbdf55fbaf80a9674d7aee012cfa74.jpg",[],{"id":2225,"slug":2226,"title":2227,"dynasty":199,"author":2228,"museum":62,"description":2229,"tags":2230,"thumbUrl":2231,"material":77,"size":77,"collection":77,"collections":2232,"showCount":2214,"zanCount":54,"manualWeight":54,"mainColor":150},230298,"fang-ni-zan-shan-shui-ce-cha-shi-biao-230298","仿倪瓒山水册","查士标","此作用淡墨轻写，意境萧疏清寂。双松挺峙画面中心，枝干枯笔皴擦，清瘦古劲，松针簇簇写意点染，简而有神。旁侧湖石奇崛，勾勒皴擦极简，尽显玲珑古拙之态。远山以淡墨晕染留白，虚实相生，漾着空濛淡远之致。边角茅舍板桥静立，不见人影却暗合幽居雅意，暗承逸笔草草的旨趣。全幅笔墨松灵简净，淡墨轻岚间尽显林下幽冷出尘的意趣，于极简淡的尺幅里，藏着澹然出尘的文人情思。",[24,138,139,7,67,68,598,72,73,140,207,203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ea8fd0934d7a09654b2d44ef119846.jpg",[],{"id":2234,"slug":2235,"title":2236,"dynasty":199,"author":2237,"museum":62,"description":2238,"tags":2239,"thumbUrl":2240,"material":77,"size":77,"collection":77,"collections":2241,"showCount":2214,"zanCount":54,"manualWeight":54,"mainColor":150},230257,"fang-lao-lian-pin-jiu-tu-gai-qi-230257","仿老莲品酒图","改琦","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。",[23,24,65,253,26,27,7,29,110,140,91,92,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c995a313ec5966c17d37672db050351.jpg",[],{"id":2243,"slug":2244,"title":2245,"dynasty":85,"author":2246,"museum":62,"description":2247,"tags":2248,"thumbUrl":2249,"material":928,"size":2250,"collection":96,"collections":2251,"showCount":2214,"zanCount":54,"manualWeight":54,"mainColor":55},221423,"mo-tang-wang-you-cheng-jiang-gan-xue-ji-tu-juan-yan-wen-gui-221423","摹唐王右丞江干雪霁图卷","燕文贵","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,108,24,65,25,7,72,139,32,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F502e8ef62b5bf7a6eef655aaac89f06e.jpg","25.7x144cm",[96,146,293],{"id":2253,"slug":2254,"title":2255,"dynasty":18,"author":429,"museum":236,"description":725,"tags":2256,"thumbUrl":2257,"material":728,"size":77,"collection":146,"collections":2258,"showCount":2214,"zanCount":54,"manualWeight":54,"mainColor":150},220933,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-dong-qi-chang-220933","仿宋元人缩本画及跋册",[108,24,65,598,7,72,952,140,138,139,67,69,928,508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795fd891f5b93b5371f8d9eee15c8941.jpg",[146,293],{"id":2260,"slug":2261,"title":688,"dynasty":18,"author":2262,"museum":250,"description":2263,"tags":2264,"thumbUrl":2265,"material":47,"size":2266,"collection":146,"collections":2267,"showCount":2214,"zanCount":11,"manualWeight":54,"mainColor":55},218309,"fang-huang-gong-wang-shan-shui-tu-ying-huang-218309","应黄","笔墨苍润清逸，承黄公望山水遗风。山峦以淡墨皴染，叠嶂起伏间见空灵之致；林木萧疏有致，或挺拔或欹侧，与山石相映成趣。屋舍隐于林泉深处，隐约可见，似藏幽居之境。画面气脉连贯，远近层次分明，淡赭底色更添古雅质感。虽为仿作，却于笔墨间流露自身心性，尽显文人画中寄情山水、追求清雅的雅致情怀，观之令人心生悠然之意。",[108,24,65,72,7,27,139,138,419,33,203,32,346,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe654dfe126da316ec152c9d55c386cf.jpg","35.5x24.9cm",[146],{"id":2269,"slug":2270,"title":2271,"dynasty":199,"author":416,"museum":62,"description":2272,"tags":2273,"thumbUrl":2274,"material":77,"size":77,"collection":77,"collections":2275,"showCount":2276,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[23,24,65,253,138,139,7,72,160,33,30,159,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e948ce6ac35fc4fa235ff25f0ffea0.jpg",[],46,{"id":2278,"slug":2279,"title":2280,"dynasty":18,"author":186,"museum":690,"description":2281,"tags":2282,"thumbUrl":2283,"material":144,"size":77,"collection":77,"collections":2284,"showCount":2276,"zanCount":11,"manualWeight":54,"mainColor":150},217953,"ming-ren-shan-shui-hua-ce-er-yi-ming-217953","明人山水画册(二)","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,24,138,598,7,72,73,373,74,32,31,159,33,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a3aa4634d316f237a6ce6618e6632b.jpg",[],{"id":2286,"slug":2287,"title":2288,"dynasty":18,"author":2289,"museum":236,"description":2290,"tags":2291,"thumbUrl":2292,"material":2293,"size":2294,"collection":77,"collections":2295,"showCount":2296,"zanCount":54,"manualWeight":54,"mainColor":55},231831,"qing-ming-yi-jian-tu-zhang-ze-duan-231831","清明易简图","张择端","传宋张择端清明易简图〈清明易简图〉的画题，乾隆皇帝（1711-1799）认为出自《易经．系辞》的「易则易知，简则易从。」也就是平易、简单 的英文。作者希望透过画面，来现如今北宋都城的繁华景象。北宋画家张择端（活动于12世纪）以首都汴京的城市景街为题，创作了〈藏北京故宫博物院〉。 由于深受喜爱和喜爱，家庭画家遂纷纷效仿，许多同名的〈清明上河图〉。本卷也模仿张择端的作品，乾隆皇帝画推崇。 虹桥市集、城墙、天津之桥等段落，人物栩栩如生的描绘非常形象，各种活动及商店买卖，也相当精彩，是明代苏州女孩的优秀模仿作品。",[23,108,24,25,27,26,29,30,31,34,41,1313,124,68,67,7,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52111166a0d9cb90d99f022c1eb4318b.jpg","絹本","纵38x横673.4公分",[],45,{"id":2298,"slug":2299,"title":2300,"dynasty":18,"author":1966,"museum":2301,"description":2302,"tags":2303,"thumbUrl":2304,"material":27,"size":77,"collection":146,"collections":2305,"showCount":2296,"zanCount":54,"manualWeight":54,"mainColor":150},219985,"shan-shui-tu-fang-huang-gong-wang-lan-ying-219985","山水图-仿黄公望","芝加哥大学艺术博物馆","画法是作钩勒浅绛法。",[23,24,65,25,7,139,72,419,704,432,68,67,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937195e9a071267f38f8616689e68d3a.jpg",[146],{"id":2307,"slug":2308,"title":2052,"dynasty":18,"author":429,"museum":1259,"description":2053,"tags":2309,"thumbUrl":2310,"material":211,"size":2056,"collection":146,"collections":2311,"showCount":2312,"zanCount":54,"manualWeight":54,"mainColor":150},220905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905",[23,24,65,25,138,7,139,68,67,72,344,33,32,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg",[146,51],44,{"id":2314,"slug":2315,"title":2316,"dynasty":18,"author":186,"museum":2317,"description":2318,"tags":2319,"thumbUrl":2320,"material":47,"size":2321,"collection":146,"collections":2322,"showCount":2312,"zanCount":54,"manualWeight":54,"mainColor":150},217883,"fang-li-di-shan-shui-tu-yi-ming-217883","仿李迪山水图","耶鲁大学艺术博物馆","李迪是明朝时期著名的画家，他的作品以精细的写实和优美的构图著称。作者的仿李迪山水图也是以精细的写实和优美的构图为特点，但是与李迪不同的是，作者在作品中运用了更加丰富的色彩，使得作品更加生动。\n\n作者的仿李迪山水图展现了中国传统山水画的高超技巧，他的作品中经常出现山峦、溪流、森林、村庄等元素。他擅长运用描绘山水的技法，使作品看起来栩栩如生。此外，作者还注重作品的构图，他善于运用构图中的线条、弧线、曲线等元素，使作品看起来更加流畅。\n\n如果你是艺术爱好者，不妨去看看佚名的仿李迪山水图，感受一下中国传统山水画的魅力。",[24,65,72,7,139,27,159,33,74,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d43d203f636dbbfcb84fda42745f1c.jpg","36.8x33cm",[146],{"id":2324,"slug":2325,"title":2326,"dynasty":18,"author":2327,"museum":121,"description":2328,"tags":2329,"thumbUrl":2331,"material":138,"size":2332,"collection":77,"collections":2333,"showCount":2334,"zanCount":11,"manualWeight":54,"mainColor":150},222174,"fang-zhao-meng-jian-shui-xian-tu-lu-zhi-222174","仿赵孟坚水仙图","陆治","本幅墨色更淡，已近白描，长卷中水仙花开，风姿绰约，细叶舒展，清新自然。技法上，以细线勾勒出每一个花叶，笔致细劲挺秀。陆治，字叔平，明代画家，工山水、花鸟，好诗词，善书法。",[23,24,65,25,66,138,7,2330],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155fe574b2ec859a2c1b8442ae497d02.jpg","36×1067.3cm",[],43,{"id":2336,"slug":2337,"title":2338,"dynasty":199,"author":472,"museum":473,"description":474,"tags":2339,"thumbUrl":2340,"material":144,"size":477,"collection":307,"collections":2341,"showCount":2334,"zanCount":54,"manualWeight":54,"mainColor":150},220003,"shan-shui-ce-wen-wang-shi-min-220003","山水册-文",[24,65,598,69,67,7,72,27,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f19818f6e779018292122be7bfb88.jpg",[307],{"id":2343,"slug":2344,"title":2345,"dynasty":199,"author":472,"museum":236,"description":2346,"tags":2347,"thumbUrl":2348,"material":144,"size":1834,"collection":77,"collections":2349,"showCount":2350,"zanCount":54,"manualWeight":54,"mainColor":150},288285,"fang-wang-wei-jiang-shan-xue-ji-tu-wang-shi-min-288285","仿王维江山雪霁图","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，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”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[108,24,986,253,27,139,7,1832,159,33,30,32,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a350d41c4997b3ce106edd3a6b3b931.jpg",[],42,{"id":2352,"slug":2353,"title":2354,"dynasty":199,"author":2355,"museum":62,"description":2356,"tags":2357,"thumbUrl":2359,"material":333,"size":334,"collection":77,"collections":2360,"showCount":2350,"zanCount":54,"manualWeight":54,"mainColor":55},239084,"hua-niao-ping-liao-yun-jin-239084","花鸟屏","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。",[24,65,253,26,27,7,610,2358,2202,973,1263],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f5bffa7312da453bc23ab23d99493e.jpg",[],{"id":2362,"slug":2363,"title":2364,"dynasty":199,"author":949,"museum":62,"description":1608,"tags":2365,"thumbUrl":2366,"material":333,"size":334,"collection":77,"collections":2367,"showCount":2350,"zanCount":54,"manualWeight":54,"mainColor":150},235229,"fang-dong-ju-song-yue-tu-zhou-wang-hui-235229","仿董巨嵩岳图轴",[24,986,253,138,139,7,419,346,345,33,160,161,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7312c6d75e4c03872d13ce1a4136a20.jpg",[],{"id":2369,"slug":2370,"title":2371,"dynasty":18,"author":2372,"museum":62,"description":2373,"tags":2374,"thumbUrl":2375,"material":77,"size":77,"collection":77,"collections":2376,"showCount":2350,"zanCount":54,"man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董其昌（一五五五——一六三六）卒年八十二。少早学李邕，又学米芾，二家盘旋最深，得李十之二三，米之五六。生平无所不临。七十岁时初师颜真卿，又学虞永兴。进而****晋唐诸家，继往开来。行楷之妙，跨绝一代。自云：“与赵文敏较，各有短长……当吾作意，赵书迹输一筹。”但对米芾，则云：“米元章书沉着痛快，直夺晋人之社。”又云：“米老行草书传于世间，与晋人几争道驰矣”！屡云“学书运笔得米元章髓”。 辩才法师方圆之道，亦正米、董书法方贺之悟，所以“过予爱之”。此书是董其昌临本，所以流转与自运无别，一经着其作意书得秀色，于是淋漓翰墨，随意所如，更自起自倒，自收自束，自成体势，笔不能自休，以之书“先”为“圣”，少“观”多“庵”，一气呵成，书之雅逸扑人，熠熠夺目，堪称董书中神品，与米氏宋拓孤本正相映媲美，令人陶然入胜。董书喜用淡墨，但类此着意书往往为浓墨。又历来书家恨不见真迹，现在影印与真迹极度近，是一大快事。此帖因是真迹，或更宝于宋拓孤本。 李宗翰云：“米芾书《方圆庵记》年才三十三岁，正专学晋人之时，运笔能控引王羊，其他诸帖每以奇气掩其古法。因些，世人称此帖为米书第一。”此帖结体用“圣教序”，且兼用大令，褚河南两家之法。董其昌的临写过程不仅再现了米芾风神骏爽的神韵，而且在此基础上发挥国自己个性的他造。",[23,68,25,7,69,138,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1602f2b3800c830ac35c9871d04782.jpg",[307],{"id":2386,"slug":2387,"title":2388,"dynasty":18,"author":186,"museum":62,"description":2389,"tags":2390,"thumbUrl":2391,"material":333,"size":334,"collection":77,"collections":2392,"showCount":2393,"zanCount":54,"manualWeight":54,"mainColor":150},287957,"fang-zhao-meng-fu-shi-liu-luo-han-tu-yi-ming-287957","仿赵孟頫十六罗汉图","此作用笔清逸秀雅，罗汉形象线条匀净灵动，将世外高人沉静安然的神态刻画入微，衣褶流转间兼具温润质感与古朴意趣。搭配的书法题识笔意萧散，与图像相映成趣，墨色浓淡相宜。古雅的暗纹衬底更添沉静书卷气，整体气韵呼应元人笔墨的温婉雅致，尽现禅意悠远的意境，复刻出原作的文人画风骨。将释道题材的静穆和书法的文雅融为一体，尽显古拙澹泊的古典美学韵味，是一件兼具临摹意趣与审美价值的长卷。",[23,24,25,227,29,1668,2037,138,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778036322ea0f4d59bd5410859e7de73.jpg",[],41,{"id":2395,"slug":2396,"title":2397,"dynasty":199,"author":2398,"museum":62,"description":2399,"tags":2400,"thumbUrl":2401,"material":77,"size":77,"collection":77,"collections":2402,"showCount":2393,"zanCount":54,"manualWeight":54,"mainColor":150},238135,"fang-ni-zan-shi-zi-lin-tu-juan-fang-cong-238135","仿倪瓒狮子林图卷","方琮","此作用淡墨铺展园居全景，开篇修竹扶苏，清韵悠悠，茅舍草堂错落其间，屋中有人凭案闲坐，庭前老木虬枝疏朗，衬出院落萧散简远。\n\n整卷笔墨极简，以干笔淡皴写就山石林木，线条清劲秀逸，全无繁冗之笔，承袭古淡空灵的笔意。留白疏阔，氤氲出静穆冷寂的古雅意境，将观者带入无人尘扰的幽居，坐看竹影摇窗、苔痕覆阶，尽显文人画的隐逸高致，笔底藏着天真古淡的林下之风，写尽园居清趣与幽人逸怀。",[23,24,65,25,138,66,7,30,74,893,432,159,39,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37103644d51d567e8b77eae43a2e67bb.jpg",[],{"id":2404,"slug":2405,"title":2406,"dynasty":199,"author":416,"museum":62,"description":2407,"tags":2408,"thumbUrl":2409,"material":77,"size":77,"collection":146,"collections":2410,"showCount":2393,"zanCount":54,"manualWeight":54,"mainColor":150},235336,"fang-gu-shu-hua-ce-wang-jian-235336","仿古书画册","此作绘冬日山居雪景，峰峦素雪覆顶，苍松虬劲错落，枝桠缀雪愈见清寒古雅。山坳村居隐于林间，溪涧凝冰，冷寂空蒙。以淡墨晕染山峦肌理，留白铺陈出漫林雪意，萧疏静谧间尽显古山水的苍浑意趣。\n\n对开行书笔意疏朗清逸，诗句呼应画中深巷积素、残晖映雪之境，书画相映，将冬日山居的幽寂淡远凝于尺幅，于简淡笔墨间尽显隽永雅致，藏着沉厚的仿古功力。",[24,65,598,138,27,72,7,69,67,419,432,31,32,203,345,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1df774cba5454f3e332ba7b07901837.jpg",[146,51],{"id":2412,"slug":2413,"title":2414,"dynasty":801,"author":2415,"museum":62,"description":2416,"tags":2417,"thumbUrl":2418,"material":77,"size":77,"collection":77,"collections":2419,"showCount":2393,"zanCount":54,"manualWeight":54,"mainColor":150},228027,"lin-li-gong-lin-ren-ma-tu-zhao-yong-228027","临李公麟人马图","赵雍","说明：元 赵雍 纸本设色 （美国）弗利尔美术馆藏 纵1.7厘米 横7.5厘米 此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。\n牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。\n画人马用线细劲连绵，人物胡须及马尾线描极为精彩。\n与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。\n字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。\n官至集贤待制，同知湖州路总管府事，晚年隐居在家，往来于湖、杭间。\n承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。\n幼即勤奋，得母指教，稍懈母即严责之。\n稍长，“所画浓淡浅深皆至理”。\n山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。\n兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。\n书善正、行、草，亦长篆书，体势清劲。\n赵雍传世作品有至正二年（142）作《采菱图》轴、至正七年（147）作《挟弹游骑图》轴、（16）作《松溪钓艇图》卷及《沙苑图》卷，现藏故宫博物院；《着色兰竹图》轴、《青影红心图》《长松系马图》《清溪垂钓图》藏上海博物馆；溪山渔隐图》哦张衍旧藏，图录于《中国名画宝鉴》。\n至正十二年（152）作《骏马图》轴，藏台北故宫博物院；至正十九年（159）作《人马图》卷，藏美国纽约大都会艺术博物馆；《澄江寒月图》纨扇藏 ，另有《墨竹图》等。\n著有《赵待制遗稿》一卷。",[23,108,24,65,25,27,66,29,124,68,69,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606825de98a93d91568a7d11e00af43.jpg",[],{"id":2421,"slug":2422,"title":1113,"dynasty":199,"author":949,"museum":62,"description":2423,"tags":2424,"thumbUrl":2425,"material":77,"size":77,"collection":77,"collections":2426,"showCount":2393,"zanCount":54,"manualWeight":54,"mainColor":55},224441,"fang-ju-ran-shan-shui-tu-wang-hui-224441","此作取法董巨一脉，以披麻皴晕染山峦，圆浑苍润的山体层层铺展，云雾在谷壑间悄然漫溢，晕开空濛幽深的山水意境。\n\n谷间林木蓊郁苍茂，古木虬曲蟠扎，山居楼宇掩映在深林翠色中，溪涧蜿蜒穿流，板桥横陈浅滩，野趣悠然自生。墨色层次丰富，淡墨烘染云气，浓墨点苔写树，既绘就山峦厚重雄浑的体量，又晕出江南山水的温润氤氲，将北宋山水的沉郁与元人笔墨的秀逸相融，尽展林泉高致的文人心境。",[23,24,65,253,7,139,72,159,33,30,31,32,142,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c07a9b57cf6ed3bdd9355306fb68fe.jpg",[],{"id":2428,"slug":2429,"title":2430,"dynasty":299,"author":568,"museum":105,"description":2431,"tags":2432,"thumbUrl":2433,"material":2434,"size":2435,"collection":307,"collections":2436,"showCount":2393,"zanCount":54,"manualWeight":54,"mainColor":150},221150,"lan-ting-ba-zhu-tie-chu-sui-liang-221150","《兰亭八柱帖》","兰亭八柱帖属于历代丛帖。\n位于中山公园西南角。\n共8卷。\n清乾隆四十四年（1779）内府辑刻。\n此帖是集唐人王羲之《兰亭序》的摹本、明人董其昌和清乾隆的临本刻于一起的作品，计有：《虞世南摹兰亭序》、《褚遂良摹兰亭序》、《冯承素摹兰亭序》、《柳公权书兰亭诗》、《重摹董其昌所收》、《于敏中补缺文》、《董其昌临》和《清高宗弘历临》，各为一卷。\n每一卷刻于一方形石柱之上，再以此8柱建亭于圆明园。\n相关信息 咸丰十年（186）圆明园被焚后此亭石柱未毁，1917年被移至中山公园。\n2世纪7年代初中山公园修整开放前，重建此亭。\n石刻已多有漫漶。",[23,68,69,7,67,303,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fc06ca0857dbfef5b2d9e373eb55dd.jpg","乌金精拓","纵29．8厘米，横17.3厘米。",[307],{"id":2438,"slug":2439,"title":2440,"dynasty":199,"author":2441,"museum":236,"description":2442,"tags":2443,"thumbUrl":2445,"material":27,"size":2446,"collection":49,"collections":2447,"showCount":2393,"zanCount":54,"manualWeight":54,"mainColor":150},219894,"fang-guan-xiu-hua-luo-han-tu-xu-yang-219894","仿贯休画罗汉图","徐扬","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。",[24,65,108,253,27,7,227,29,345,907,2444],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20de6f165137428706a16cb3088a0ff5.jpg","128.5x54.3",[49],{"id":2449,"slug":2450,"title":1282,"dynasty":18,"author":135,"museum":62,"description":2451,"tags":2452,"thumbUrl":2453,"material":333,"size":334,"collection":77,"collections":2454,"showCount":2455,"zanCount":54,"manualWeight":54,"mainColor":150},290883,"fang-fan-kuan-shan-shui-shen-zhou-290883","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。",[24,65,598,72,138,139,7,159,160,30,31,32,328,74,68,69,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a350eb2b74dd16ad3ce93a6b3410da.jpg",[],40,{"id":2457,"slug":2458,"title":2459,"dynasty":199,"author":689,"museum":62,"description":2460,"tags":2461,"thumbUrl":2464,"material":508,"size":77,"collection":146,"collections":2465,"showCount":2455,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[24,65,253,138,139,7,72,33,346,161,204,1295,2462,2463],"中景","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdce8d36036ddec2616f8760eb8e4ec.jpg",[146,293],{"id":2467,"slug":2468,"title":2469,"dynasty":18,"author":1442,"museum":105,"description":2470,"tags":2471,"thumbUrl":2472,"material":2473,"size":2474,"collection":77,"collections":2475,"showCount":2455,"zanCount":54,"manualWeight":54,"mainColor":55},234133,"wen-zheng-ming-lin-song-xue-lan-shi-juan-wen-zheng-ming-234133","文徵明临松雪兰石卷","画幽兰一丛,小竹一枝,生于坡石之间,点缀以荆棘杂草",[23,24,65,25,138,69,7,67,1208,893,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56557e2a2e1aa0a998c2c9f99a8dcc16.jpg","纸本,墨笔","纵28厘米,横62.5厘米",[],{"id":2477,"slug":2478,"title":2479,"dynasty":199,"author":889,"museum":62,"description":2480,"tags":2481,"thumbUrl":2483,"material":333,"size":334,"collection":77,"collections":2484,"showCount":2485,"zanCount":11,"manualWeight":54,"mainColor":150},288093,"fang-guo-zhong-shu-shan-shui-gua-zhou-zhu-da-288093","仿郭忠恕山水挂轴","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。",[23,24,108,65,253,138,139,7,72,159,33,2482,29,67],"亭屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba1eb735d31099514794c6d03e0419.jpg",[],39,{"id":2487,"slug":2488,"title":2489,"dynasty":18,"author":2490,"museum":121,"description":2491,"tags":2492,"thumbUrl":2493,"material":508,"size":2494,"collection":307,"collections":2495,"showCount":2485,"zanCount":54,"manualWeight":54,"mainColor":150},222529,"lin-tang-tai-zong-tie-wang-duo-222529","临唐太宗帖","王铎","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。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。",[23,68,717,7,253,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f26ea79c07df6d303f5d07394524c59.jpg","纵252厘米横50厘米",[307],{"id":2497,"slug":2498,"title":2499,"dynasty":801,"author":186,"museum":442,"description":2500,"tags":2501,"thumbUrl":2502,"material":47,"size":2503,"collection":49,"collections":2504,"showCount":2485,"zanCount":54,"manualWeight":54,"mainColor":796},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。",[24,65,253,227,29,27,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3914d1faba14d9e9ecfee34b18cf4e6e.jpg","124.9x61.6",[49],{"id":2506,"slug":2507,"title":2508,"dynasty":299,"author":568,"museum":62,"description":2509,"tags":2510,"thumbUrl":2511,"material":333,"size":334,"collection":77,"collections":2512,"showCount":2513,"zanCount":54,"manualWeight":54,"mainColor":150},290514,"mo-wang-xi-zhi-zheng-shu-yue-yi-lun-mo-ji-ben-chu-sui-liang-290514","摹王羲之正书乐毅论墨迹本","褚遂良（596年～658年\u002F659年），字登善，杭州钱唐（今浙江省杭州市）人。唐朝宰相、政治家、书法家，弘文馆学士褚亮之子。\n出身河南褚氏，博学多才，精通文史。隋末时期，追随西秦霸王薛举，担任通事舍人。归顺唐朝后，得到唐太宗重用，历任谏议大夫、黄门侍郎，累迁中书令，执掌朝政大权。贞观二十三年（649年），与司空长孙无忌同受遗诏辅政。唐高宗继位后，升任右仆射，册封河南郡公，历任同州刺史、吏部尚书，累迁右仆射，参知政事。反对册立武则天为后，贬为潭州（今长沙）都督。武后掌权后，迁桂州（今桂林）都督，再贬爱州（今越南清化）刺史，卒于任上。神龙革命后追赠右仆射，谥号“文忠”。天宝六载（747年），配享唐高宗庙庭，累赠太尉。\n褚遂良工于书法，初学虞世南，后取法王羲之，与欧阳询、虞世南、薛稷并称“初唐四大家”，传世墨迹有《孟法师碑》《雁塔圣教序》等。",[68,463,408,7,67,510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66da32e46c0a41ae7b94ebf5c615da4c.jpg",[],38,{"id":2515,"slug":2516,"title":2517,"dynasty":199,"author":2518,"museum":2519,"description":2520,"tags":2521,"thumbUrl":2522,"material":508,"size":77,"collection":307,"collections":2523,"showCount":2513,"zanCount":54,"manualWeight":54,"mainColor":55},240476,"lan-ting-xu-zhou-li-xiao-dong-240476","兰亭叙轴","李晓东","北京市天佑兰亭书法文化博物馆","此作用笔灵动秀雅，提按转合间尽显温润圆融，既留存原作萧散疏朗的风神，又自蕴朴拙安和的意趣。结体错落随性，章法匀净舒朗，墨色浓淡过渡自然，将原文俯仰叹惋的幽情藏于笔墨间。字里行间既有放浪形骸的疏逸，也饱含对死生之感的沉郁喟叹，以笔底意绪呼应文辞情志，尽显帖学一脉的雅致风神，是兼具笔墨意趣与文心共情的临摹佳构。",[199,253,69,68,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5197642058bb296752108d07d2d8a24f.jpg",[307],{"id":2525,"slug":2526,"title":2527,"dynasty":18,"author":2528,"museum":105,"description":2529,"tags":2530,"thumbUrl":2531,"material":2175,"size":2532,"collection":146,"collections":2533,"showCount":2513,"zanCount":54,"manualWeight":54,"mainColor":150},237697,"fang-huang-gong-wang-shan-shui-zhou-xiang-sheng-mo-237697","仿黄公望山水轴","项圣谟","此画为仿古山水画，有黄公望遗风。本幅上自题：“曾见痴翁半张纸，不多数笔山与水。自然苍润有云烟，聊复从翁画如此。此为会嘉兄临黄子久半张纸，是画即藏李氏秘笈中。崇祯壬申二月晦日题于鹤梦轩，项圣谟。”钤印“项圣谟诗画”、“拙胜”等。",[24,65,253,7,139,138,69,72,419,432,140,203,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f7793cd0d1b4e78c00e3fefb6342305.jpg","43.7厘米，横：31厘米",[146,307],{"id":2535,"slug":2536,"title":2537,"dynasty":199,"author":949,"museum":105,"description":2538,"tags":2539,"thumbUrl":2541,"material":77,"size":77,"collection":146,"collections":2542,"showCount":2513,"zanCount":54,"manualWeight":54,"mainColor":150},236459,"fang-ke-jiu-si-xiao-jing-zhou-wang-hui-236459","仿柯九思小景轴","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。",[24,253,138,139,7,72,345,2540,159,32,75,31,140,73],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91841eaba7f22bffc8d14d98e83c8bd9.jpg",[146,293,307],{"id":2544,"slug":2545,"title":1473,"dynasty":18,"author":2546,"museum":1259,"description":2547,"tags":2548,"thumbUrl":2549,"material":144,"size":2550,"collection":146,"collections":2551,"showCount":2513,"zanCount":11,"manualWeight":54,"mainColor":55},220046,"fang-li-tang-shan-shui-tu-xue-zhou-220046","雪舟","雪舟（1420～1506） Sesshū 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。",[23,24,65,72,7,253,139,71,159,33,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82609ea78fd36a8daf7f3337485640e.jpg","143.7x72.5",[146],{"id":2553,"slug":2554,"title":2555,"dynasty":18,"author":429,"museum":62,"description":2006,"tags":2556,"thumbUrl":2558,"material":333,"size":334,"collection":77,"collections":2559,"showCount":2560,"zanCount":54,"manualWeight":54,"mainColor":150},283755,"fang-zhao-meng-fu-qiu-shan-tu-zhou-dong-qi-chang-283755","仿赵孟頫秋山图轴",[24,253,7,327,27,72,2557,30,33,32,159,67,68,139],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8614638114781952fe09e68c6cd84e.jpg",[],37,{"id":2562,"slug":2563,"title":2564,"dynasty":199,"author":2565,"museum":62,"description":2566,"tags":2567,"thumbUrl":2568,"material":77,"size":77,"collection":146,"collections":2569,"showCount":2560,"zanCount":54,"manualWeight":54,"mainColor":150},239418,"fang-li-cheng-shan-shui-zhou-xu-fang-239418","仿李成山水轴","徐枋","徐枋（1622年5月3日——1694年11月7日） ，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”。",[24,65,253,138,139,7,72,31,32,71,74,373,203,159,33,35,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[146],{"id":2571,"slug":2572,"title":2573,"dynasty":199,"author":2398,"museum":62,"description":2574,"tags":2575,"thumbUrl":2586,"material":77,"size":77,"collection":77,"collections":2587,"showCount":2560,"zanCount":54,"manualWeight":54,"mainColor":150},239360,"fang-huang-gong-wang-fu-chun-shan-tu-juan-fang-cong-239360","仿黄公望富春山图卷","此作用干笔淡墨铺展千里江山，开篇平林远渚，烟波澹荡，村舍隐于茂林，渐而山峦层叠皴染，苍秀兼具，暗合原作平淡天真的气韵。丘壑排布舒展自然，峰峦以披麻皴写就，松枝挺劲苍古，林麓间田亩交错，渔舟泛于空蒙水面，尽显江南山水的温润清远。全卷气脉贯通，将富春林峦深秀、水乡闲雅尽皆揽入，笔墨追摹古意又自含静穆简远之致，留白处烟岚浮动，复刻出原作的萧散野逸，尽显文人山水的淡远襟怀。",[23,108,24,65,25,138,72,7,139,2576,2577,2578,141,2579,2580,2581,2582,2583,2584,2585],"平林","远渚","村舍","松林","田亩","渔舟","烟岚","文人山水","萧散野逸","淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1572a10ef65de14456fc4e85525a18.jpg",[],{"id":2589,"slug":2590,"title":2591,"dynasty":199,"author":416,"museum":105,"description":2592,"tags":2593,"thumbUrl":2594,"material":2175,"size":965,"collection":146,"collections":2595,"showCount":2560,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[24,138,253,139,7,67,72,160,33,203,159,161,207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde793e600e15d4b6130ffe9d41788be4.jpg",[146,293],{"id":2597,"slug":2598,"title":2599,"dynasty":18,"author":634,"museum":62,"description":2600,"tags":2601,"thumbUrl":2602,"material":77,"size":77,"collection":77,"collections":2603,"showCount":2560,"zanCount":54,"manualWeight":54,"mainColor":150},228916,"mo-xi-shan-xing-lv-tu-zhang-hong-228916","摹溪山行旅图","此作为雪景山水，以淡墨晕染山石，留白铺就厚雪，尽显冬日山峦清寂素净。层叠岩崖间枯木萧疏，偶有青松点翠，破开雪色单调。山涧水色灰蒙，栈道、板桥连贯幽谷，旅人驱驴缓行，山居茅舍错落山坳，细节生动，将羁旅行路意趣，糅进空阔冷逸冬山之中。\n\n用笔精细秀雅，勾勒皴擦兼具宋画雄浑骨架，又带明人笔墨温润雅致，将冬日深山的荒寒宁静与人间烟火暖意相融，复刻古意又自出机杼，尽显溪山行旅的幽远况味。",[23,24,25,138,139,7,72,1988,31,32,33,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83c124ad11c5e878f782bec67b93f0a.jpg",[],{"id":2605,"slug":2606,"title":688,"dynasty":199,"author":689,"museum":105,"description":2607,"tags":2608,"thumbUrl":2609,"material":2175,"size":2610,"collection":146,"collections":2611,"showCount":2560,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[23,108,24,986,7,139,138,27,253,419,420,33,31,203,161,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg","纵91厘米，横46厘米",[146],{"id":2613,"slug":2614,"title":2615,"dynasty":18,"author":2616,"museum":62,"description":2617,"tags":2618,"thumbUrl":2620,"material":508,"size":2621,"collection":77,"collections":2622,"showCount":2560,"zanCount":11,"manualWeight":54,"mainColor":150},222243,"yue-yi-lun-wang-chong-222243","乐毅论","王宠","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。\n王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。\n青年时代苦读书20年，建越溪庄，设有“采芝堂”、“御风亭”、“小隐阁”、“大雅堂“、“辛夷馆”、“铁观斋”等收藏书画之所，读书练字、作画于湖上，后以诸生入国子监。藏书颇多，于书无所不窥，手写经书皆一再过。滂喜斋藏宋刻《云斋广录》有“王履吉印”、“铁观斋”朱记。又宋刻《东观余论》、元本《扬子法言》印有“雅宜山人珍藏图籍”、“古吴王氏”“王履吉印”“王宠履吉”“太原王宠”“玄微子”“辛夷馆印”“王宠”“雅宜山人”“履吉父”等。",[23,68,463,138,67,2619,65,7,408],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c8ad259d9b2083b71961ca8508794a.jpg","29.63*90.31",[],{"id":2624,"slug":2625,"title":2626,"dynasty":199,"author":2627,"museum":62,"description":2628,"tags":2629,"thumbUrl":2630,"material":508,"size":77,"collection":49,"collections":2631,"showCount":2560,"zanCount":54,"manualWeight":54,"mainColor":55},215744,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-wu-gao-zeng-215744","摹吴道子圣贤像赞图册","吴高增","画面分左右两栏，右幅圣贤立像以灵动线描勾勒，衣袂飘举似吴带当风，褶皱转折间藏笔力劲道，人物神态肃穆沉稳，双手拢袖而立，眉宇间尽显渊雅气度。左幅题赞文字莹白映乌底，笔意端严工整，与画像相映成趣，拓印质感古朴厚重。整体构图均衡和谐，图文并茂间满溢对圣贤的敬仰，线描的韵律与文字的端庄交织，尽显传统艺术的典雅韵致，仿佛能透过纸页触到千年文脉的温润流转。",[23,24,65,598,66,29,7,463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c06a78830de2d466eb6257298fcac.jpg",[49],{"id":2633,"slug":2634,"title":2635,"dynasty":199,"author":2636,"museum":105,"description":2637,"tags":2638,"thumbUrl":2639,"material":2640,"size":2641,"collection":307,"collections":2642,"showCount":2643,"zanCount":54,"manualWeight":54,"mainColor":150},241152,"fu-shan-lin-tie-zhou-fu-shan-241152","傅山临帖轴","傅山","此轴为傅山临王羲之《阔转久帖》，略有删节。\n释文：阔转久，劳想豈舍。知足下常同之。卒未近缘。如何，数令知问。羲之。真山临。\n款署“真山临”，下钤“傅山印”。左下角钤“任伯显鉴赏章”。\n此帖书法率意潇洒，虽系临摹古帖，但不拘泥于原帖之形，笔法上亦不受其拘束而挥洒自如，结字用笔皆出己意。于古帖师其意，法其态，得其大略，通幅观之，法度自蕴其中，显示出恢宏逸宕的气度。",[68,717,7,253,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb93e15566937083bd854701f9428ea7.jpg","绫本","纵162.2厘米，横44厘米",[307],36,{"id":2645,"slug":2646,"title":2647,"dynasty":801,"author":2648,"museum":62,"description":2649,"tags":2650,"thumbUrl":2652,"material":508,"size":2653,"collection":77,"collections":2654,"showCount":2643,"zanCount":11,"manualWeight":54,"mainColor":150},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","赵原","大雪已过，而西安的雪却迟迟没有落下，这让人不仅怀念起昔日纷纷扬扬的大雪来，只能将这份念想寄托于中国山水画中。\n据中国美术史记载，在中国山水画史上，最早描绘雪景题材的是唐代画家、诗人王维。据《宣和画谱》记载，在宋代御府收藏王维画作的126件中，其中山水画目以雪景为多，共计20件，隐逸题材10余件，所以王维被尊为中国雪景山水画的“开山老祖”。而长久以来，一幅名为王维的《江山雪霁图》却一直饱受争议，这又是缘何呢？\n雪后初霁的世界一尘不染，而中国画又善于抒情达意，常将主观感情融于创作，又以象征手法描绘物象，而雪景入画正是随物赋形，将人心的细微转折处以蕴藉不露的方式表达出来，意境高远。王维（701年－761年），字摩诘，号摩诘居士，今山西运城人。王维性喜山水，诗画双绝，且精通音律和佛经，是唐朝著名的诗人和画家。苏轼评价其“诗中有画，画中有诗。”据说，安史之乱时王维被叛贼所俘，安史之乱平定后，唐肃宗不但没加罪还授官于他。王维便作雪景山水画，以表明自己身心如雪色洁白，如《雪中芭蕉》《雪溪图》等，都是其传世之作。\n王维画雪开创了中国山水画之先河，被明末著名书画家董其昌推崇为南宗山水画之祖。提出《江山雪霁图》的便是董其昌。董其昌自述从著名的鉴藏家、文学家冯梦祯（字开之，1548—1605）处，探得王维的《江山雪霁图》，并先后两次为其写跋文，引起一时轰动。近代，传出日本京都小川家收藏了《江山霁雪图》。图为一幅高28.4厘米、宽171.5厘米的水墨绢画，画法纯用勾勒，不加点苔，也无皴染。画中自右至左，在岩石、远峰、小山、浅屿之间，江流缭绕、水远天平，白头山上雪意茫茫。右下角岩石上有枯树六、七株，稍上双峰并峙，林木森森。中偏右矗立一巨大岩石，顶露平台，前护低栏、后倚竹树，茅舍三五散落其间；其左下方平出浅屿，有枯树八、九株，极见疏落之致。左半部一抹小山，略见起伏，山腰水际有小树隐匿其中；紧接浅屿，横扼中流，向左延伸，略近边缘，画面即止于此。",[23,108,24,65,25,7,138,139,72,419,142,32,33,556,2651],"岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","41x278.3厘米",[],{"id":2656,"slug":2657,"title":779,"dynasty":85,"author":186,"museum":105,"description":2658,"tags":2659,"thumbUrl":2661,"material":126,"size":2662,"collection":77,"collections":2663,"showCount":2643,"zanCount":54,"manualWeight":54,"mainColor":55},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[108,24,65,25,7,66,27,26,29,239,72,30,75,2660,1561,781,33,346,32,67,68],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],{"id":2665,"slug":2666,"title":2667,"dynasty":18,"author":2668,"museum":236,"description":2669,"tags":2670,"thumbUrl":2672,"material":508,"size":2673,"collection":77,"collections":2674,"showCount":2675,"zanCount":11,"manualWeight":54,"mainColor":150},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",[24,65,253,138,66,139,7,67,613,140,1264,2671],"蕨类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9519a20dcb4c79c70479b45708fd193.jpg","145.8x49.8 厘米",[],35,{"id":2677,"slug":2678,"title":2679,"dynasty":85,"author":186,"museum":1259,"description":2680,"tags":2681,"thumbUrl":2683,"material":126,"size":2684,"collection":77,"collections":2685,"showCount":2675,"zanCount":54,"manualWeight":54,"mainColor":150},223435,"song-mo-zhou-wen-ju-gong-zhong-tu-di-yi-duan-yi-ming-223435","宋摹周文矩宫中图（第一段）","此图是描绘宫中妇女生活的长卷，存残卷四段，画八十余人。\n《宫中图》原作已经不存在,目前所见为南宋摹本,共有三段。1947年左右散佚海外,分存在美国三个不同的博物馆。第一段藏美国克里夫兰美术馆,曾名《仕女图》第二段名《宫中图》,藏美国哈佛大学福格博物馆;第三段名《唐宫春晓图》,原为英国私人藏,现入藏美国大都会美术馆。 [1] 《宫中图》，宫女童子多达八十令人，分十余组，人物穿插得体，彼此照庇，统一和谐；除人物面部行极少淡彩外，均用白描，笔法活泼，线条流畅，造型准确生动。 [2]\n此图是描绘宫中妇女生活的长卷，现残存四段，画中宫女童子多达81人，分成十余组。人物的活动有着诸多的场面，有的对镜梳妆，有的在奏乐，有的在无聊闲坐，有的在盥洗，有的在逗着小儿，童子正在逗玩小狗，有的在观鱼等等；画中的人物，除儿童显得天真活泼外，其余人物显得有些懒散、忧郁，尤其是年长者，地位较显者为甚，画中诸多人物的安排和组合，穿插得体，疏密相间，构图富有变化，错落有致。\n画卷附有宋绍兴庚申十年（1140）张激跋文，郁逢庆的（书画题跋记）把这段题跋保存下来，录在下面:\n周文矩“”宫中图”，妇人小儿，其数八十，一男子写神，而装具乐器盆孟扇椅席鷃鹉犬蝶不与。文矩句容人，为江南翰林待诏，作仕女体近周，而加纤丽，尝为后主画“南庄图”，号一时绝笔，他日上之朝廷，诏籍之秘阁。“官中图”云是真迹，藏前太府卿朱载家，或摹以见馈，妇人高自唐以来如此，此卷丰肌长裙，周法也。余在峤南于端溪陈高祖之裔，见其世藏诸帝像，左右官人梳与此略同，而丫乃作两大垂肩项间，虽丑而有真态。李氏自谓南唐故衣冠多用唐制，然风流寔是六朝之余，画家者官辩古今当先问衣冠车服，盖谓此也。绍兴庚申五月乙西岩居士张激题。”\n卷后有岳居土张激绍兴十年（1140）跋：“周文矩宫中图，妇人小儿，其数八十。男子写神。”",[23,108,24,65,25,7,66,29,70,457,109,2682],"服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856d5daed2a1792353467f6670b4d6b6.jpg","纵28.3cm，横168.5cm",[],{"id":2687,"slug":2688,"title":2689,"dynasty":18,"author":2616,"museum":62,"description":2617,"tags":2690,"thumbUrl":2691,"material":508,"size":2692,"collection":77,"collections":2693,"showCount":2675,"zanCount":54,"manualWeight":54,"mainColor":150},222244,"lin-wang-xi-zhi-huang-ting-jing-wang-chong-222244","临王羲之黄庭经",[23,68,65,7,463,408,509,67,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f49c46116a4b6aecf820e4482f4c79b.jpg","纵29cm，横155cm",[],{"id":2695,"slug":2696,"title":2697,"dynasty":199,"author":689,"museum":236,"description":2698,"tags":2699,"thumbUrl":2700,"material":163,"size":2701,"collection":146,"collections":2702,"showCount":2675,"zanCount":54,"manualWeight":54,"mainColor":150},219892,"fang-ni-huang-he-bi-tu-wang-yuan-qi-219892","仿倪黄合笔图","图绘湖山阔远,水榭静美.取倪云林之图式,运黄子久之笔墨,王麓台笔力能扛鼎,诚非虚誉.",[24,138,72,7,139,419,420,432,893,74,346,373,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79ceab6892c3b9c5f6fc7105fc63ef6.jpg","111.5x48.1",[146],{"id":2704,"slug":2705,"title":2706,"dynasty":199,"author":1227,"museum":62,"description":2707,"tags":2708,"thumbUrl":2709,"material":333,"size":334,"collection":77,"collections":2710,"showCount":2711,"zanCount":54,"manualWeight":54,"mainColor":150},290539,"fang-hui-chong-jiang-nan-chun-yi-yun-shou-ping-290539","倣惠崇江南春意","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。",[24,65,598,138,72,71,373,32,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F994290e0bb3645a7472b9eda594eed35.jpg",[],34,{"id":2713,"slug":2714,"title":2715,"dynasty":801,"author":186,"museum":62,"description":2716,"tags":2717,"thumbUrl":2721,"material":333,"size":334,"collection":77,"collections":2722,"showCount":2711,"zanCount":54,"manualWeight":54,"mainColor":55},289376,"fang-cui-bai-dan-feng-niao-que-tu-yi-ming-289376","仿崔白丹枫鸟鹊图","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。",[23,24,108,65,253,610,27,26,7,75,2718,2719,373,2720,893,67],"鹊","丹枫","细枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716dfbb7dd8876c3b5ccb799a264a779.jpg",[],{"id":2724,"slug":2725,"title":688,"dynasty":199,"author":416,"museum":236,"description":2726,"tags":2727,"thumbUrl":2728,"material":144,"size":2729,"collection":77,"collections":2730,"showCount":2711,"zanCount":54,"manualWeight":54,"mainColor":150},287767,"fang-huang-gong-wang-shan-shui-tu-wang-jian-287767","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。",[24,108,65,253,138,27,7,139,72,31,32,159,33,68,67,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c65d60415a5a08a23fe71311ba2551.jpg","78.8x38.8",[],{"id":2732,"slug":2733,"title":2734,"dynasty":199,"author":2097,"museum":62,"description":2735,"tags":2736,"thumbUrl":2738,"material":333,"size":334,"collection":77,"collections":2739,"showCount":2711,"zanCount":54,"manualWeight":54,"mainColor":150},240259,"wu-chang-shuo-lin-shi-gu-wen-si-tiao-ping-wu-chang-shuo-240259","吴昌硕临石鼓文四条屏","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》。",[68,189,7,2737,67],"四条屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0d90d58107bbd9505651a5be0bcb89.jpg",[],{"id":2741,"slug":2742,"title":2743,"dynasty":85,"author":186,"museum":62,"description":2744,"tags":2745,"thumbUrl":2746,"material":77,"size":77,"collection":49,"collections":2747,"showCount":2711,"zanCount":54,"manualWeight":54,"mainColor":55},238123,"luo-shen-fu-tu-juan-yi-ming-238123","洛神赋图卷","山峦烟波连绵铺陈，林木蓊郁掩映着红彩勾描的殿宇与行游伫立的人物，将缥缈仙乡揉入苍古山水间。笔意朴拙苍润，沉雅的设色在旧绢上晕开朦胧古韵，把人神邂逅的缱绻怅惘融在丘林烟水之中。循着长卷舒展，仿佛能触碰那段仙凡相望的怅惋情缘，古典浪漫的幽柔余韵顺着山峦水波漫溢开来，让悠远诗意随着卷幅缓缓流淌，将文字中的缥缈幻境化为可观可感的具象图景，晕染出绵长的东方浪漫意趣。",[108,24,65,25,26,66,27,29,72,275,30,33,142,239,124,74,70,7,67,32,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475d23ff1062208a9ad78b661dc95388.jpg",[49],{"id":2749,"slug":2750,"title":1607,"dynasty":199,"author":949,"museum":62,"description":1483,"tags":2751,"thumbUrl":2753,"material":77,"size":77,"collection":77,"collections":2754,"showCount":2711,"zanCount":54,"manualWeight":54,"mainColor":150},237583,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237583",[24,138,65,1230,2752,7,139,67,419,704,432,458,209,161,772],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d20d5d72ffbd6c3dd89af475576be0.jpg",[],{"id":2756,"slug":2757,"title":2758,"dynasty":199,"author":949,"museum":62,"description":2759,"tags":2760,"thumbUrl":2762,"material":77,"size":77,"collection":77,"collections":2763,"showCount":2711,"zanCount":362,"manualWeight":54,"mainColor":150},224442,"fang-ju-ran-xi-shan-yu-ji-tu-wang-hui-224442","仿巨然溪山雨霁图","此作用淡墨晕染山峦，烟岚轻笼峰巅，将雨霁后空濛湿润的山景铺展开来。以披麻皴勾勒山石肌理，层层叠叠的丘壑尽显浑朴苍润，暗承江南山水的悠远意韵。\n\n近岸林木错落，点叶苍秀灵动，坡渚间杂草丰茂，野意十足。山谷村居隐于林泉之间，更衬出溪山幽谧清寂。\n笔墨秀雅兼具浑厚，把雨后天朗气清、山光涤荡一新的悠然宁静尽数烘托，于皴擦点染间尽显山水清润灵秀的意境，复刻古法同时自出新意，晕染出江南烟岚山水的温润诗意。",[23,24,65,253,138,139,7,72,419,2761,33,142,346,348],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d160e13391e67af2c1ba02073ffad9e.jpg",[],{"id":2765,"slug":2766,"title":1441,"dynasty":199,"author":341,"museum":236,"description":2767,"tags":2768,"thumbUrl":2769,"material":27,"size":2770,"collection":77,"collections":2771,"showCount":2711,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[23,24,72,253,7,139,27,419,420,345,38,31,346,33,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fcde53a099914404cada415fc2c26f.jpg","310x123厘米",[],{"id":2773,"slug":2774,"title":2775,"dynasty":199,"author":2776,"museum":595,"description":2777,"tags":2778,"thumbUrl":2779,"material":77,"size":77,"collection":146,"collections":2780,"showCount":2711,"zanCount":54,"manualWeight":54,"mainColor":2781},201836,"fang-ju-ran-fu-luan-nuan-cui-tu-zhou-zhang-pei-dun-201836","仿巨然浮峦暖翠图轴","张培敦","这幅画山峦层叠，峰势峻秀却不失温润，林木葱茏间溪流蜿蜒而下，亭台隐于岩壑之中，尽显江南山水的清幽雅致。笔墨运用细腻灵动，山石以皴法勾勒肌理，树木枝干虬劲，叶丛疏密有致，干湿浓淡的变化赋予画面丰富层次。整体意境静谧深远，仿佛可闻流水潺潺、松风阵阵，尽显文人山水画的意趣与神韵。",[72,138,139,74,32,7,253,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cbf1297b88d300aebc66e60d9904c0.jpg",[146],"93877a",{"id":2783,"slug":2784,"title":2785,"dynasty":801,"author":2786,"museum":62,"description":2787,"tags":2788,"thumbUrl":2790,"material":77,"size":77,"collection":77,"collections":2791,"showCount":2792,"zanCount":245,"manualWeight":54,"mainColor":150},228038,"mo-lou-shu-can-zhi-tu-chang-juan-cheng-qi-228038","摹楼璹蚕织图（长卷）","程棨","此作以长卷铺陈江南蚕织全序，从浴蚕收种、稚蚕养护，直到煮茧缫丝、上机成绸，将蚕户从春到夏的辛劳日常一一绘就，每段配书题诗，图文呼应。笔触温润写实，农妇饲桑、调丝的动作鲜活自然，院舍桑田、织机筐篓细节考究，忠实还原宋本原貌，又晕染出元人清雅的笔墨质感，将耕织烟火揉进细腻笔锋里，是后世窥见古时丝织工艺与乡野民俗的珍贵图像长卷。",[23,24,65,25,7,26,27,68,67,29,30,33,39,92,738,2789],"蚕桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e1a06d4ccdb8d1b366fe00d978d814.jpg",[],33,{"id":2794,"slug":2795,"title":2796,"dynasty":2182,"author":2183,"museum":62,"description":2184,"tags":2797,"thumbUrl":2801,"material":333,"size":334,"collection":2192,"collections":2802,"showCount":2792,"zanCount":54,"manualWeight":54,"mainColor":796},225725,"bridge-in-the-rain-after-hiroshige-october-november-fan-gao-225725","Bridge in the rain after Hiroshige (October - November 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，福建侯官縣人，清代中期政治家、文學家、思想家，民族英雄。\n林則徐是嘉慶十六年（1811年）進士，歷官翰林編修、江蘇按察使、東河總督、江蘇巡撫、湖廣總督等職。道光十九年（1839年），以欽差大臣赴廣東禁煙時，派人明察暗訪，強迫外國鴉片商人交出鴉片，並將沒收鴉片於虎門銷燬。該事件被認為是第一次鴉片戰爭的導火線。戰爭爆發不久，林則徐被構陷革職，發往新疆戍邊。道光二十五年（1845年）重獲起用，歷任陝甘總督、陝西巡撫、雲貴總督等職，加太子太保。道光三十年（1850年），林則徐在奉命鎮壓拜上帝會起事途中，病逝於潮州普寧。獲贈太子太傅，諡號“文忠”。有《林文忠公政書》等作品傳世。\n林則徐一生遍歷地方，治績卓著。雖在兩廣抗擊西方入侵，但對於西方的文化、科技和貿易則持開放態度，主張學其優而用之。他至少略通英、葡兩種外語，且着力翻譯西方報刊和書籍。他主持編譯的《四洲志》及魏源編撰的《海國圖志》，對晚清的洋務運動乃至日本的明治維新都具有啓發作用。",[199,68,69,7,138,508,2836,67,65,24],"屏条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455903956a89eeb7a0d8aeb82bc5f83.jpg",[307],{"id":2840,"slug":2841,"title":1388,"dynasty":199,"author":689,"museum":62,"description":2842,"tags":2843,"thumbUrl":2844,"material":77,"size":77,"collection":146,"collections":2845,"showCount":2820,"zanCount":54,"manualWeight":54,"mainColor":150},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》。",[24,65,253,138,139,7,67,72,159,33,203,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132a1aa86a2afd0d9dbcc643e59524.jpg",[146,293],{"id":2847,"slug":2848,"title":2849,"dynasty":801,"author":186,"museum":105,"description":2850,"tags":2851,"thumbUrl":2852,"material":2853,"size":2854,"collection":77,"collections":2855,"showCount":2820,"zanCount":11,"manualWeight":54,"mainColor":55},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。",[24,65,253,72,7,139,138,27,141,33,862,73,346,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919679436fe80731b835e0f45b649784.jpg","绢本墨笔","纵164厘米横105.3厘米",[],{"id":2857,"slug":2858,"title":2859,"dynasty":2182,"author":2546,"museum":62,"description":2547,"tags":2860,"thumbUrl":2861,"material":333,"size":334,"collection":77,"collections":2862,"showCount":2820,"zanCount":54,"manualWeight":54,"mainColor":900},231666,"shi-ting-shi-dai-fang-liang-kai-huang-chu-ping-tu-xue-zhou-231666","室町时代 仿梁楷黄初平图",[24,65,138,66,7,29,396,458,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cbaeb5a70ff2eeb09b8af16b85dbbcc.jpg",[],{"id":2864,"slug":2865,"title":2866,"dynasty":801,"author":2786,"museum":62,"description":2867,"tags":2868,"thumbUrl":2873,"material":77,"size":77,"collection":77,"collections":2874,"showCount":2820,"zanCount":11,"manualWeight":54,"mainColor":150},228037,"mo-lou-shu-geng-zuo-tu-chang-juan-cheng-qi-228037","摹楼璹耕作图（长卷）","此作以长卷铺陈田家岁时劳作全程，从垦壤播种到刈获登场，每段农事场景鲜活写实，农人的动作、形制各异的农具、田陇桑野的细节皆一一细致摹绘，还原出耕织劳作的质朴烟火。笔墨兼具宋画的精工写实，又暗含元人淡和的写意韵致。卷上题跋鉴印层层累叠，带着历代递藏的厚重脉络，将田家稼穑的日常，与文人题咏的雅致融于一卷，既是记录古代农桑的图像实录，也是承载着鉴藏史迹的书画珍存。",[23,24,65,25,7,27,26,68,67,29,396,2869,2870,2871,33,32,2872,31],"农具","农舍","田地","稻禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c64d15f526a4ae7c823223adca9895.jpg",[],{"id":2876,"slug":2877,"title":2878,"dynasty":199,"author":341,"museum":236,"description":2879,"tags":2880,"thumbUrl":2881,"material":2882,"size":2883,"collection":77,"collections":2884,"showCount":2820,"zanCount":54,"manualWeight":54,"mainColor":150},223101,"fang-fan-kuan-qiu-shan-pu-bu-zhou-tang-dai-223101","仿范宽秋山瀑布轴","图绘峰峦高耸，幽谷溪流，缥缈的岚气中，有瀑布奔泻而下。\n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。",[23,108,24,65,253,27,139,7,72,2557,160,345,159,161,31,33,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5329ade25972de17d15cf4d5af47324.jpg","纸本 设色","325.8x89.5",[],{"id":2886,"slug":2887,"title":1060,"dynasty":18,"author":19,"museum":595,"description":2888,"tags":2889,"thumbUrl":2890,"material":77,"size":77,"collection":49,"collections":2891,"showCount":2820,"zanCount":54,"manualWeight":54,"mainColor":2892},203347,"lin-song-ren-hua-ce-chou-ying-203347","画面分两段，左绘文人对弈，老者凝神落子，旁侍静观，衣袂线条流畅；右展庭院雅集与童戏场景，士人围坐清谈，孩童追闹、牧牛悠然，人物神态鲜活。设色淡雅温润，线条工细精准，既承宋画古雅意趣，又显独特细腻笔触，将文人闲逸与市井生动融于一卷，尽显古典绘画含蓄之美。",[26,27,7,29,396,598,67,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da32616a345d5f4cccdbfd95b0268cc.jpg",[49],"aa9271",{"id":2894,"slug":2895,"title":2896,"dynasty":199,"author":1227,"museum":62,"description":2707,"tags":2897,"thumbUrl":2898,"material":333,"size":334,"collection":77,"collections":2899,"showCount":2900,"zanCount":54,"manualWeight":54,"mainColor":150},290541,"fang-cao-zhi-bai-shui-cun-yu-le-yun-shou-ping-290541","倣曹知白水村渔乐",[24,598,138,72,881,71,32,558,33,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6edccc8494839cb82742043f1a9a07.jpg",[],31,{"id":2902,"slug":2903,"title":2904,"dynasty":85,"author":924,"museum":62,"description":2905,"tags":2906,"thumbUrl":2907,"material":333,"size":334,"collection":77,"collections":2908,"showCount":2900,"zanCount":54,"manualWeight":54,"mainColor":796},289756,"mo-fan-kuan-lu-shan-tu-jiang-can-289756","摹范宽庐山图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，",[23,108,24,65,253,138,72,30,32,328,124,159,33,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6238a367ca5faaa932225d420ea9a296.jpg",[],{"id":2910,"slug":2911,"title":1607,"dynasty":199,"author":949,"museum":62,"description":1483,"tags":2912,"thumbUrl":2913,"material":77,"size":77,"collection":146,"collections":2914,"showCount":2900,"zanCount":54,"manualWeight":54,"mainColor":150},237602,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237602",[24,65,598,138,139,7,69,67,72,159,160,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901d55e3abf423efff694b4d83b35d25.jpg",[146,307],{"id":2916,"slug":2917,"title":2918,"dynasty":18,"author":2919,"museum":105,"description":2920,"tags":2921,"thumbUrl":2922,"material":1392,"size":2923,"collection":77,"collections":2924,"showCount":2900,"zanCount":54,"manualWeight":54,"mainColor":150},233468,"ren-wu-hua-hui-ce-xu-wei-233468","人物花卉册","徐渭","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[24,65,598,138,1208,140,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab684c1f0d51b50b3c8334384a777334.jpg","纵26.9厘米 横38.3厘米",[],{"id":2926,"slug":2927,"title":2928,"dynasty":18,"author":2929,"museum":20,"description":2930,"tags":2931,"thumbUrl":2932,"material":545,"size":2933,"collection":77,"collections":2934,"showCount":2900,"zanCount":54,"manualWeight":54,"mainColor":900},231569,"fang-ma-yuan-yan-yun-die-zhang-tu-li-zai-231569","仿马远烟云叠嶂图","李在","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[23,24,65,25,138,72,139,141,142,33,159,68,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013a2fc6a37091ae937949aa02030f9c.jpg","纵27.9厘米，横320厘米",[],{"id":2936,"slug":2937,"title":2938,"dynasty":18,"author":429,"museum":236,"description":2939,"tags":2940,"thumbUrl":2941,"material":508,"size":77,"collection":77,"collections":2942,"showCount":2900,"zanCount":11,"manualWeight":54,"mainColor":150},231420,"fang-gu-shan-shui-ce-di-er-kai-fang-yan-wen-gui-bi-yi-dong-qi-chang-231420","《仿古山水册》第二开：仿燕文贵笔意","天启二年（1622），董其昌看了北宋燕文贵（967-1044）画卷而倣作此图，但改采立轴表现。画中几株秀树聚于带有倾侧之势的山石上；中景处大胆移置一段远山；画幅上部的远景却出现了视觉比例上更接近观者的中景山石坡林。全作笔墨秀润，构思状似平淡却大胆奇特，为其传世佳作。",[24,65,598,7,139,27,72,373,345,159,32,67,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af16821e2b753ddcf5d5ee76ac26bc.jpg",[],{"id":2944,"slug":2945,"title":2946,"dynasty":60,"author":2947,"museum":236,"description":2948,"tags":2949,"thumbUrl":2950,"material":434,"size":77,"collection":77,"collections":2951,"showCount":2900,"zanCount":54,"manualWeight":54,"mainColor":55},227046,"jiu-ta-e-qun-tie-san-wang-xian-zhi-227046","旧搨鹅群帖 （三）","王献之","《鹅群帖》是王献之写给家人亲戚的一封书信，刻入《淳化阁帖》。传世有墨迹本，相传为米芾所临，临本今所见为民国影印件，原迹现存佚未详。此帖文中询问住在海盐的各房亲戚生活近况，又谈到刘道士以鹅群相赠之事。相传王羲之爱鹅，曾写《道德经》（一说《黄庭经》）一卷，与山阴道士换鹅。因此黄庭坚等前代学者曾认为此帖本为伪作，系附会传说而成，此说可备参考。",[68,303,408,69,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f732167e35b4d7a97f2aac43d50e6d5.jpg",[],{"id":2953,"slug":2954,"title":2955,"dynasty":199,"author":949,"museum":62,"description":2956,"tags":2957,"thumbUrl":2958,"material":77,"size":77,"collection":77,"collections":2959,"showCount":2900,"zanCount":54,"manualWeight":54,"mainColor":150},224443,"fang-li-song-gu-mu-he-qun-wang-hui-224443","仿李嵩古木鹤群","此作画境清寂古雅，半边绘苍虬古木，枝干蟠曲交错，松针层叠如织，丹鹤或栖于枝梢理羽，或振翼掠林，姿态闲逸舒展。另一半以浅绛晕染出山峦坡陀，淡绿点染草木苔痕，空灵淡远。\n\n工写兼施法追摹古意，将院体精工与文人画淡逸相融，设色柔润清和。苍木古拙硬挺，衬出丹鹤秀雅灵动，山林幽寂与天际空阔相生，将林下闲逸的幽情藏于尺幅之间，引人坠入清远出尘的林泉之境。",[24,65,26,27,139,7,67,73,75,159,345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd25c7958a10ee40cc2e1e5c90df00a4.jpg",[],{"id":2961,"slug":2962,"title":2963,"dynasty":199,"author":949,"museum":62,"description":2964,"tags":2965,"thumbUrl":2966,"material":77,"size":77,"collection":77,"collections":2967,"showCount":2900,"zanCount":54,"manualWeight":54,"mainColor":55},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[23,108,24,65,25,27,72,7,139,32,71,33,75,74,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0817a3be691b2edd3029ce0cbafbb222.jpg",[],{"id":2969,"slug":2970,"title":2971,"dynasty":199,"author":1548,"museum":62,"description":2972,"tags":2973,"thumbUrl":2974,"material":333,"size":334,"collection":77,"collections":2975,"showCount":2900,"zanCount":54,"manualWeight":54,"mainColor":150},224166,"lin-yan-zhen-qing-gao-shen-juan-wang-you-dun-224166","临颜真卿告身卷","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》。",[23,65,25,68,7,463,138,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf59529c1ee02a3b772ccd63884c015.jpg",[],{"id":2977,"slug":2978,"title":2979,"dynasty":18,"author":1966,"museum":236,"description":2980,"tags":2981,"thumbUrl":2982,"material":77,"size":2983,"collection":146,"collections":2984,"showCount":2900,"zanCount":54,"manualWeight":54,"mainColor":55},222585,"fang-zhao-ling-rang-he-xiang-qing-xia-lan-ying-222585","仿赵令穰荷乡清夏","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。",[23,24,65,598,27,72,7,139,419,432,420,265,1599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c941eb7e0ba93f6e83eaf6dcf7cf0a3.jpg","72.6x60.8厘米",[146,293],{"id":2986,"slug":2987,"title":2988,"dynasty":18,"author":2327,"museum":690,"description":2989,"tags":2990,"thumbUrl":2991,"material":163,"size":2992,"collection":146,"collections":2993,"showCount":2900,"zanCount":54,"manualWeight":54,"mainColor":150},219741,"fang-ni-yun-lin-shan-shu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，墨笔","纵155cm，横71.3cm",[],{"id":3102,"slug":3103,"title":3104,"dynasty":18,"author":186,"museum":62,"description":3105,"tags":3106,"thumbUrl":3107,"material":77,"size":77,"collection":77,"collections":3108,"showCount":130,"zanCount":54,"manualWeight":54,"mainColor":150},228917,"mo-zhou-wen-ju-zhong-ping-hui-qi-tu-yi-ming-228917","摹周文矩重屏会棋图","此作追摹古意，以精妙笔触还原文人雅集场景：四人围坐博弈，神色各有不同，或蹙眉凝思，或悠然观局，侍童静立旁侧，案上鼎彝、书卷陈列有致，尽显中古文人的闲雅意趣。\n\n画作巧用画中画的重屏构景，层层延展空间，线条细劲工致，设色古雅沉静，尽显原作的院体写实风神。拖尾题跋琳琅，鉴藏朱印错落排布，细数历代递藏脉络，让这幅摹本不止是复刻经典，更成为串联起后世文人追慕古贤的载体，让千年前的文会清韵流转至今。",[23,24,65,25,7,27,26,29,175,462,68,69,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb1113a03fad3557a7452ed4931a72b.jpg",[],{"id":3110,"slug":3111,"title":3112,"dynasty":199,"author":3113,"museum":62,"description":3114,"tags":3115,"thumbUrl":3117,"material":77,"size":77,"collection":77,"collections":3118,"showCount":130,"zanCount":54,"manualWeight":54,"mainColor":150},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","渐江","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,65,25,138,27,139,7,67,68,72,30,33,345,373,32,71,74,558,3116,204,770,38,31,29],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":3120,"slug":3121,"title":3122,"dynasty":18,"author":3123,"museum":495,"description":3124,"tags":3125,"thumbUrl":3126,"material":163,"size":3127,"collection":146,"collections":3128,"showCount":130,"zanCount":54,"manualWeight":54,"mainColor":900},220030,"fang-huang-zi-jiu-tian-chi-shi-bi-tu-shen-shi-chong-220030","仿黄子久天池石壁图","沈士充","图中以淡设色绘江南山水。卷首题签『沈陈诗画合璧，项氏崇洁庐藏』。引首有清人王澍题『沈陈合璧』四个楷书大字，沉雄有力。拖尾分别有陈继儒、翁长芬各题诗数行，另有徐谦跋语两行。\n沈士充近师赵左、宋懋晋，上承宋旭、沈周，远溯『元四家』，并逐渐形成自己的绘画风格。清初以来，民间有『云间正派』之目。由于明末董其昌的巨大影响力，沈画常常模拟董氏画风。董其昌为了应酬社会上的书画需求，亦常用沈代笔。由于董其昌署名作品中多为闺阁手笔，沈氏代笔在当时已被视为董氏代笔中的上乘之作。辽宁旅顺博物馆藏沈氏《石壁图》，作于明崇祯六年(一六三三)，其时董氏尚健在。此作水墨淋漓、烟岚生动、直署己名，并配有陈继儒题诗，堪为沈氏的精心之作。一九八八年九月五日，沈氏《石壁图》被国家文物鉴定委员会谢稚柳、刘九庵、杨仁凯等鉴定为国家二级文物(收入《中国古代书画目录》，文物出版社，一九九三年版)，对研究沈氏画风具有重要的参考价值。",[23,24,986,7,138,139,159,33,772,203,142,71,32,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a47775b2a1c5f7ca34eef13fdbb71.jpg","253cm×27.7cm",[146],{"id":3130,"slug":3131,"title":415,"dynasty":199,"author":949,"museum":62,"description":1608,"tags":3132,"thumbUrl":3133,"material":333,"size":334,"collection":77,"collections":3134,"showCount":3135,"zanCount":11,"manualWeight":54,"mainColor":55},287930,"fang-ju-ran-shan-shui-wang-hui-287930",[23,24,108,72,253,7,30,32,71,373,139,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b2aae287d4fd8b90080a1dfb35dd9ea.jpg",[],27,{"id":3137,"slug":3138,"title":3139,"dynasty":18,"author":429,"museum":62,"description":2006,"tags":3140,"thumbUrl":3143,"material":333,"size":334,"collection":77,"collections":3144,"showCount":3135,"zanCount":54,"manualWeight":54,"mainColor":55},287610,"fang-wen-zheng-ming-xi-shan-qiu-ji-tu-dong-qi-chang-287610","仿文徵明溪山秋霁图",[23,24,25,986,7,27,3141,141,3142,1698,1989,139],"秋景","湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70f2bf98b6ce2773a2ec1467d076c57e.jpg",[],{"id":3146,"slug":3147,"title":3148,"dynasty":199,"author":3149,"museum":62,"description":3150,"tags":3151,"thumbUrl":3153,"material":77,"size":77,"collection":307,"collections":3154,"showCount":3135,"zanCount":54,"manualWeight":54,"mainColor":150},239808,"lin-su-shi-tie-heng-fu-chong-en-239808","临苏轼帖横幅","崇恩","崇恩（1803—1878），觉罗氏，字仰之，禹舲、语舲、 雨舲，别号香南居士、敔翁、语铃道人，室名壶青阁、香南精舍、吾亦爱吾等。满洲正红旗人（一作正蓝旗），系满清皇室。出生于嘉庆八年（1803），官仕道光、咸丰、同治三朝，先后任山东巡抚、内阁学士等。工书，法苏轼。画山水，出入宋、元诸名家，撷其精华，故能超轶凡近。喜收藏、精鉴赏，收藏历代书画、古籍碑帖极富，是清代中晚期著名的书法家、收藏家、鉴赏家、金石学家、诗人。著有《香南居士集》《香南精舍金石契》《金石玉铭》《枕琴轩诗草》《崇雨舲中丞诗稿守岱集》等。",[23,68,69,7,3152,67,408],"横幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba04e72a16ceb09d2fd0f65dcc44e99a.jpg",[307],{"id":3156,"slug":3157,"title":3158,"dynasty":18,"author":3159,"museum":62,"description":3160,"tags":3161,"thumbUrl":3163,"material":333,"size":334,"collection":77,"collections":3164,"showCount":3135,"zanCount":54,"manualWeight":54,"mainColor":150},234835,"fang-gu-kai-zhi-qing-shan-bai-yun-shan-gu-ning-yuan-234835","仿顾恺之青山白云扇","顾凝远","顾凝远（1580? —1645后），号青霞。吴郡（今江苏苏州）人。为人好学，于古今坟典艺志无所不窥，喜蓄商周秦汉文物。画山水师董、巨、又出入荆、关，兼精画理。",[24,65,1794,327,27,7,72,71,29,3162,432,140,32],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11fd43f6398ebbe444dac28d65fc0fd.jpg",[],{"id":3166,"slug":3167,"title":3168,"dynasty":199,"author":889,"museum":62,"description":3169,"tags":3170,"thumbUrl":3171,"material":77,"size":77,"collection":77,"collections":3172,"showCount":3135,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[23,68,7,69,65,67,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719ef5e05a8d705368f4e2ad924f5ebb.jpg",[],{"id":3174,"slug":3175,"title":3176,"dynasty":18,"author":3177,"museum":530,"description":3178,"tags":3179,"thumbUrl":3181,"material":3182,"size":3183,"collection":77,"collections":3184,"showCount":3135,"zanCount":54,"manualWeight":54,"mainColor":55},222090,"zhang-cao-sun-guo-ting-shu-pu-ce-song-ke-222090","章草《孙过庭书谱册》","宋克","宋克章草《孙过庭书谱册》，是赠送给他的好友俞孟京的，后未署书写年月，但纵观此册作品，熔楷、行、章草于一炉，笔力清劲健古，结字疏宕萧散，通篇千余字一气呵成，无一懈笔，真可谓于精到处见豪放，于细微中见功力，笔笔如入嫌素一般，令人叹为观止。\n元代末年,朱元璋在群雄中崛起,驱逐蒙元,建都南京,自洪武元年(1368)开创了明王朝。明代初期在书法上基本延袭了赵孟畹奈冉》绺,以三宋（宋璲、宋克、宋广）和二沈（沈度、沈粲）为代表的书家,除宋克的章草尚有一定特色之外,其他书家在创意上显得比较靡弱,尽管有几位书家在当时名声很大,特别是永乐宣德年间,沈度、沈粲兄弟二人因受到成祖皇帝宠遇,一时声名显赫,朝廷的重要文件都由此二人书写,于是竞相仿习,个性丧失殆尽,至明代中叶,吴中书家的崛起,书风遂为之一转。",[23,3180,717,68,408,598,3001,7],"章草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a53cb59f459ccd452d8a8f378905fe.jpg","残本","纵32厘米，横20.5厘米",[],{"id":3186,"slug":3187,"title":3188,"dynasty":18,"author":3189,"museum":250,"description":3190,"tags":3191,"thumbUrl":3192,"material":144,"size":77,"collection":1210,"collections":3193,"showCount":3135,"zanCount":54,"manualWeight":54,"mainColor":150},216325,"han-xi-meng-song-yuan-ming-ji-ce-xi-ma-tu-han-xi-meng-216325","韩希孟宋元名迹册·洗马图","韩希孟","柳丝垂拂如缕，随风轻摆，与潺潺流水应和。花斑骏马缓步水中，鬃毛轻扬，蹄下涟漪圈圈漾开，悠然自得。牵马者衣袂轻飘，俯身似与马低语，神情闲适。\n\n以针代笔，线代墨：丝线深浅晕染出水面波光，柳丝细劲借长短针脚勾勒，兼具笔墨的灵动与绣线的肌理质感。左侧书法笔墨清雅，与绣面相映成趣，将宋元文人画的闲逸气韵凝于丝缕之间。\n\n仿佛能闻柳下清风，听水声潺潺，藏着一份从容自在的诗意，是艺术与工艺交融的雅致佳作。",[24,65,598,27,29,124,1402,32,68,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841e03fd2c6d3244da7016352e90be97.jpg",[1210],{"id":3195,"slug":3196,"title":3197,"dynasty":18,"author":19,"museum":62,"description":325,"tags":3198,"thumbUrl":3200,"material":333,"size":334,"collection":77,"collections":3201,"showCount":3202,"zanCount":11,"manualWeight":54,"mainColor":150},287637,"lin-guan-xiu-bai-miao-luo-han-tu-juan-nian-ban-chou-ying-287637","临贯休白描罗汉图卷(年版)",[23,24,25,66,138,227,2037,3199,7,2038,159,68,67],"佛教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f0756cfbb86969cca76cc0ca73962d.jpg",[],26,{"id":3204,"slug":3205,"title":3206,"dynasty":18,"author":429,"museum":62,"description":2006,"tags":3207,"thumbUrl":3210,"material":333,"size":334,"collection":77,"collections":3211,"showCount":3202,"zanCount":54,"manualWeight":54,"mainColor":150},283733,"lin-chu-sui-liang-ku-shu-fu-juan-dong-qi-chang-283733","临褚遂良枯树赋卷",[23,68,25,69,7,408,67,373,75,3208,3209,73],"孤木","霜露","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cbe2efc33ab5122230daa6a160596c8.jpg",[],{"id":3213,"slug":3214,"title":3215,"dynasty":199,"author":999,"museum":62,"description":3216,"tags":3217,"thumbUrl":3219,"material":333,"size":334,"collection":77,"collections":3220,"showCount":3202,"zanCount":11,"manualWeight":54,"mainColor":150},237648,"fang-zhao-da-nian-shan-shui-zhou-wu-li-237648","仿赵大年山水轴","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 。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》。",[24,65,253,27,72,7,71,73,203,33,3218,159,771],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dec9a200d263bb4b383e2b08b8dd157.jpg",[],{"id":3222,"slug":3223,"title":3224,"dynasty":199,"author":949,"museum":121,"description":3225,"tags":3226,"thumbUrl":3227,"material":1392,"size":3228,"collection":146,"collections":3229,"showCount":3202,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[24,138,139,7,253,67,72,1864,159,33,31,32,71,74,142,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[146],{"id":3231,"slug":3232,"title":3233,"dynasty":18,"author":3234,"museum":62,"description":3235,"tags":3236,"thumbUrl":3237,"material":77,"size":77,"collection":77,"collections":3238,"showCount":3202,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[24,253,138,139,7,72,1988,33,160,1075,29,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeabec41ab82bfb0de0af94b8bf5c215.jpg",[],{"id":3240,"slug":3241,"title":3242,"dynasty":199,"author":889,"museum":62,"description":3243,"tags":3244,"thumbUrl":3245,"material":77,"size":77,"collection":77,"collections":3246,"showCount":3202,"zanCount":54,"manualWeight":54,"mainColor":150},230269,"lin-gu-shan-shui-ye-zhu-da-230269","临古山水页","此作笔意简淡老辣，枯笔淡墨皴擦奇崛山石，嶙峋崖壁孤傲出尘，虬曲枯木萧疏错落，满纸萧寒荒寂之气。留白肆意铺陈，以少胜多勾勒出幽僻空蒙的山水秘境。\n\n错落题字与山水相映，书画浑然相融。极简笔墨间藏着沉郁清冷的心境，将身世沧桑寄寓荒寒山林，冷逸空灵的意境直抵观者心底，于简淡中尽显极强笔墨张力，尽显疏淡孤傲的独特意趣。",[23,24,138,7,139,67,68,69,598,72,373,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a04e65a06c5e5dd23ad39258130058b.jpg",[],{"id":3248,"slug":3249,"title":3250,"dynasty":199,"author":416,"museum":236,"description":3251,"tags":3252,"thumbUrl":3256,"material":434,"size":3257,"collection":77,"collections":3258,"showCount":3202,"zanCount":11,"manualWeight":54,"mainColor":150},224484,"ni-fan-hua-yuan-qiu-lin-xiao-si-tu-wang-jian-224484","拟范华原秋林萧寺图","此作用高远、平远之法铺展景致，主峰奇崛陡立，古寺隐于层峦间，飞瀑穿石而下。前景林木蓊郁，板桥通幽，山居人家藏于松荫，江畔苍松虬劲，渔翁垂竿秋水之上，远景江天寥廓，浅墨晕染远山，清寂萧疏之意漫溢画面。\n\n以浅绛糅合青绿晕染山石，皴法朴厚，兼得雄健风骨与秀雅笔致，将秋山野林的空阔萧远与幽居闲趣相融，把秋林萧寺的冷寂清旷之境铺陈开来，尽显林泉幽致。",[23,108,24,986,27,139,3253,7,3254,3255,31,32,159,33,30,74,161,204],"传统山水","秋林","寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa02d6c0b4b3f68794b7c75b2799f2.jpg","本幅 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59.2x82公分",[],{"id":3260,"slug":3261,"title":3262,"dynasty":199,"author":416,"museum":62,"description":3263,"tags":3264,"thumbUrl":3265,"material":77,"size":77,"collection":77,"collections":3266,"showCount":3202,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[23,24,138,139,7,253,72,159,203,33,32,31,67,73,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007451ec2d4ea6bc6dbcfc06f0197dab.jpg",[],{"id":3268,"slug":3269,"title":3270,"dynasty":18,"author":429,"museum":62,"description":2006,"tags":3271,"thumbUrl":3272,"material":333,"size":334,"collection":77,"collections":3273,"showCount":3274,"zanCount":54,"manualWeight":54,"mainColor":150},283714,"fang-mi-wu-zhou-shan-tu-juan-dong-qi-chang-283714","仿米五洲山图卷",[108,24,25,138,72,33,203,7,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65509d7542b4a31ac4d2c12723acfc9d.jpg",[],25,{"id":3276,"slug":3277,"title":3278,"dynasty":18,"author":186,"museum":62,"description":3279,"tags":3280,"thumbUrl":3281,"material":77,"size":77,"collection":651,"collections":3282,"showCount":3274,"zanCount":54,"manualWeight":54,"mainColor":796},242215,"dong-han-li-qi-bei-yi-ming-242215","东汉礼器碑","此作为汉隶经典拓本，笔画瘦硬挺拔，波磔如燕尾舒展，刚柔相济。结体严谨匀整，间架开合有度，疏密排布精妙，尽显端庄雅正的庙堂之气。墨色沉郁浓厚，碑石残损处晕开斑驳古意，为字迹添上岁月的苍茫质感，线条间藏着朴茂高华的金石气韵，将汉隶方整秀逸的风神展露无遗，是隶书成熟时期的极致范本。",[68,303,792,7,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2ec9b1bb2dc1b386602b3b05636351.jpg",[651],{"id":3284,"slug":3285,"title":3286,"dynasty":199,"author":3287,"museum":105,"description":3288,"tags":3289,"thumbUrl":3290,"material":211,"size":77,"collection":146,"collections":3291,"showCount":3274,"zanCount":54,"manualWeight":54,"mainColor":55},236140,"fang-yuan-ren-shan-shui-ce-he-yi-236140","仿元人山水册","赫奕","赫奕 [清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\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。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[24,65,598,7,72,139,138,432,32,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fc6046312eb9e183e0137504ff4f40.jpg",[146,293],{"id":3293,"slug":3294,"title":3295,"dynasty":18,"author":186,"museum":62,"description":3296,"tags":3297,"thumbUrl":3300,"material":77,"size":3301,"collection":77,"collections":3302,"showCount":3274,"zanCount":54,"manualWeight":54,"mainColor":55},232908,"fang-hui-zong-cha-hua-ge-niao-tu-yi-ming-232908","仿徽宗茶花鸽鸟图","中国茶花画历千年而不衰，名家辈出，流派风格纷纭，成为中华民族传统艺术瑰宝之一，屹立于世界美术之林。古往今来的画家以茶花为题作画，表现它的千姿百态，笔情墨韵。众多茶花画向我们展示了风云迭起的美的历程，给人以酣畅淋漓的美的享受和奋发向上的民族精神的感召。\n唐代茶花画的形成和发展具有深刻的社会历史背景。\n其一，从茶花栽培史看，三国时代至隋代，茶花已经从野生状态发展到人工栽培，成为观赏花卉；及至唐代，中国主要茶花产区的人工栽培已经普及，并出现了茶花品种的名称和重瓣茶花。这些茶花的物质财富必然要反映到文学艺术中来。\n其二，从社会文化看，唐代是中国长期封建社会的辉煌时代，经济繁荣，物力殷阜，宫苑私园遍于各地。茶花被视作最珍贵的花木，它与牡丹花一样，成为宫廷显贵的荣耀。在寺院里，这种具有深刻宗教色彩的曼陀罗花，受到成千上万信徒的顶礼膜拜。茶花成为盛唐文化的一个亮点。\n其三，从中国花鸟画的生存衍化来看，花鸟画历经南北朝的萌芽状态，到唐代逐渐发展成为一门独立的画科，出现一批专门的花鸟画家，其技艺亦达到精湛的水平。在这三大因素的作用和催化下，茶花题材的绘画作品应运而生。特别值得提出的是唐南诏名画《南诏画传》。在这幅唐光化二年（公元899年）由南诏画师绘就的画卷里，有两株高大的植于南诏奇王庭院圆形花坛中的山茶，画面生动精美，系典型的唐人笔法，为中国古代绘画珍品（该画卷原藏北京故宫，现在日本）。《南诏画传》中这两株高过屋檐开着大朵红色鲜花的古茶花树，是中国绘画中最早出现的山茶形象。\n此外，在唐代的花鸟画家中，晚唐的滕昌是一位具有代表性的画家。滕昌擅作花鸟草虫、蔬果，亦工书法，号称“滕书”。滕昌在居室旁栽植竹石花木，以供写生。《宣和画谱》记有滕昌茶花作品《山茶家鹩图》一幅。可以想见，画家在居室旁栽植的花木中，定然有茶花。《山茶家鹩图》当为写生之作。此传世作品后被宋徽宗藏于宫廷。滕昌的画，“笔迹轻利，傅彩鲜泽，宛有生意”。他的《山茶家鹩图》当为早期花鸟画中的茶花画代表作品。\n五代茶花画在唐人基础上迅速发展并走向成熟，至两宋，茶花画达到了兴盛时期。其主要标志有三：\n一是画院的成立和发展。这是茶花画兴盛的物质基础之一。五代西蜀、南唐正式成立画院，称“翰林图画院”，一时名画家皆归附，绘事盛极一时。至两宋，画院繁荣，尤其是在宋徽宗的倡导下，扩充画院、兴画学，画院及绘画得到空前的发展。\n二是宋代造园植树之风大盛，茶花的引种栽培发展到一个鼎盛时期。其茶花新品种之多，园艺技术水平之高，盆栽与插花艺术拓展之快，都是前所未有的。这是宋代茶花画兴盛的物质条件。\n三是茶花画领域出现以黄筌为代表的在绘画史上具有重要地位和成就的画家。五代和宋前期的花鸟画家，首推黄筌。黄筌（约903～965年）为五代西蜀画家，是五代院体画家主要代表人物。曾入西蜀画院为翰林待诏。黄筌承前启后，创黄筌画派。黄筌的“富丽画风”，适合统治者和宫庭的需要及审美趣味。所谓“黄氏富贵”，即以严谨的用笔，惟妙惟肖的形象刻画，富丽堂皇的色彩为基本特点。黄筌的茶花作品有四幅。《宣和画谱》记有三幅：《山茶鹑雀图》一幅和《山茶雪雀图》二幅，均无画迹可考。只有近代画家于非闇临黄筌《彩鸠山茶图》一幅尚存。摹本上有临宋徽宗题款：“彩鸠山茶，黄筌妙笔。”\n两宋时期的茶花画家，院体画家（即宫廷画家）主要有北宋画家崔悫、吴元瑜，南宋画家林椿、李嵩（1166～1243年）、苏汉臣、董祥（1068～？）等，其身份均为画院待诏。林椿工画花鸟翎，重布局经营，是一位卓有成就的花鸟画家，代表作有《山茶霁雪图》和《茶花鸽子图》。崔悫有《山茶图》。吴元瑜有《山茶鹩子图》。李嵩茶花代表作为《花篮图》（藏台北故宫博物院）。苏汉臣为人物画家，作品《冬日婴戏图》（现藏台北故宫博物院）是一幅以山茶为背景的人物画作。董祥茶花作品有《岁朝图》（现藏台北故宫博物院）。\n院外画家（非宫廷画家）主要有北宋画家赵昌（？～1016年）、易元吉、丘庆余等。赵昌的茶花作品有折枝茶花、二色茶花，其画作“不特取其形似，直与花传神者也”，称“写生赵昌”，名重一时。《宣和画谱》录有其茶花作品《山茶图》、《山茶竹兔图》等十幅之多，另有《四季花卉卷· 山茶》。宋代大文豪苏轼也曾为赵昌山茶图作题跋二首。易元吉的茶花作品，《宣和画谱》录有《山茶孔雀图》、《山茶戏猿图》等八幅。丘庆余的茶花作品也见诸于《宣和画谱》，有《山茶花兔图》、《湖石山茶图》等五幅。\n勾勒填彩的细密画风成为两宋茶花画的主要艺术倾向。两宋的茶花作品以精工的描绘，鲜妍的敷色著称。画家十分注意物象、物理的研究，对物写生成为一时风尚，章法严谨，笔墨精丽，技法成熟，达到炉火纯青的地步，形成这一时期茶花画的主要艺术特色。北宋的茶花画已佚，流传至今的只有南宋画家李嵩的《花篮图》（设色绢本）、宋代佚名的《山茶蝴蝶图》、《白茶花图》，从中足以窥见当时盛行画风的特色。剖析这一时期的绘画作品，可以清晰地看到，以院体画为主的细密画风始终占主导地位。此外，赵昌、易元吉的作品以写生为重。崔悫、吴元瑜的作品在继承黄筌的基础上别创一清淡疏秀之格。林椿虽为宋后期院体画家，却在继承北宋院体画细密的传统中，显示出敷色轻淡，灵活生动的特色。宋无款的《百花图卷· 茶花》画风接近于“文人画”。宋后期的董祥、赵彦敷的茶花作品已具早期文人水墨画的特征。这些作品在主体画风之外各有特色，但是茶花作品的整体艺术倾向始终是鲜明而统一的。\n五代两宋为茶花画数量最多的一个时期。五代两宋时期画茶花的有院体画家、院外画家、士大夫阶层为官者，绘茶花者甚众，呈现欣欣向荣之气势。迄今发现两宋茶花画达41幅，居各个时期茶花作品数量之首。",[23,24,108,65,25,26,27,7,610,3298,3299,75,1180,159,1597],"茶花","鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031db809757be93633780fb6452f3df0.jpg","30.1 x 206.5厘米",[],{"id":3304,"slug":3305,"title":3306,"dynasty":18,"author":429,"museum":62,"description":3307,"tags":3308,"thumbUrl":3309,"material":77,"size":77,"collection":77,"collections":3310,"showCount":3274,"zanCount":54,"manualWeight":54,"mainColor":150},230905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-dong-qi-chang-230905","仿黄子久 江山秋霁图","此作用淡墨干笔铺写秋江暮色，峰峦以披麻皴轻擦晕染，温润秀拙间带着松弛的苍厚，坡岸林木萧疏错落，留白托出澹澹江水，空寂淡远的秋意漫溢卷间。\n师法前贤却不囿于形，将元人山水的天真简淡，融于自身秀逸松灵的笔致，以禅意入画，寄寓林泉幽隐的文人心境。卷后诸家题跋绵延，以笔墨赓续宋元文脉，尽显晚明文人画的风雅韵致，是师古自化的上乘之作。",[23,108,24,65,25,138,7,139,69,67,72,141,33,32,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae42bf74014b353f5b93fb8e51f870d3.jpg",[],{"id":3312,"slug":3313,"title":3314,"dynasty":199,"author":3315,"museum":62,"description":3316,"tags":3317,"thumbUrl":3318,"material":77,"size":77,"collection":77,"collections":3319,"showCount":3274,"zanCount":54,"manualWeight":54,"mainColor":150},229003,"ni-gu-shan-shui-ce-huang-shan-shou-229003","拟古山水册","黄山寿","此作以留白晕染冬雪覆山，浅绛设色清润柔和，笔墨简淡秀逸。近处崖畔文士凭窗观览，沙岸渔舟静泊，梢公待客将发；中景木桥跨溪，连接两岸林峦，枯木疏枝衬出萧寒之气。远山素净空蒙，整体意境清寂淡远，将文人幽居林泉、寄情山水的闲雅意趣融于雪景之中，萧疏恬静的冬日山居图景跃然纸上，尽显温婉雅致的仿古意韵，澹泊出尘。",[24,27,72,31,32,71,159,33,7,139,29,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fb4f6b62265c8b3a4b2dff321a9b14.jpg",[],{"id":3321,"slug":3322,"title":3323,"dynasty":299,"author":3324,"museum":62,"description":3325,"tags":3326,"thumbUrl":3327,"material":77,"size":77,"collection":77,"collections":3328,"showCount":3274,"zanCount":54,"manualWeight":54,"mainColor":150},227079,"yu-ren-cheng-ma-tu-ming-mo-ben-han-gan-227079","圉人呈马图（明摹本）","韩干","韩斡《 圉人呈马图》，生动地表现了骏马的体态神情，准确、简炼，真实。牧马人的形象也威武生动。从画风来看，牧马人两腮胡须，体格高大肥壮，是为胡人相貌;马匹神骏雄健，属来自西域之品种。在造形上，黑白二马健硕丰满，生动逼真，但在线条的描绘上却是细致流畅。",[23,24,108,65,25,7,27,29,124,68,69,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b526faf361dadc7a0848f07e8fe74aa.jpg",[],{"id":3330,"slug":3331,"title":3332,"dynasty":2182,"author":2183,"museum":62,"description":2184,"tags":3333,"thumbUrl":3345,"material":333,"size":334,"collection":2192,"collections":3346,"showCount":3274,"zanCount":54,"manualWeight":54,"mainColor":55},225746,"first-steps-after-millet1890-fan-gao-225746","First Steps, after Millet1890",[3334,2186,7,3335,3336,29,3337,3338,39,3339,3340,3341,3342,3343,2869,3344,1515],"后印象派","笔触奔放","色彩明快","儿童","成人","开花树木","晾衣绳","白布","木栅栏","手推车","小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e831cbbc2dbd8b2062721b5f7278c73.jpg",[2192],{"id":3348,"slug":3349,"title":3350,"dynasty":199,"author":936,"museum":62,"description":3351,"tags":3352,"thumbUrl":3354,"material":77,"size":77,"collection":77,"collections":3355,"showCount":3274,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[23,24,65,253,26,27,610,939,3353,941,907,7],"石榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c4db89d3a16251c308996ad3f0f3d35.jpg",[],{"id":3357,"slug":3358,"title":3359,"dynasty":18,"author":186,"museum":2025,"description":3360,"tags":3361,"thumbUrl":3362,"material":112,"size":3363,"collection":77,"collections":3364,"showCount":3274,"zanCount":54,"manualWeight":54,"mainColor":55},223356,"fang-fan-kuan-jin-bi-feng-tu-juan-yi-ming-223356","仿范宽金碧峰图卷","长卷绘山峦连绵，山头绿色点缀，山间云雾缭绕，山脚河水绕山而行，河面或宽阔或窄细，岸上绿树成荫，房舍、良田隐于山中。此画设色厚重，笔力鼎健，山河皆雄伟气魄，房舍、小桥、人物等细节上又精细柔和。",[23,24,25,27,139,7,72,33,159,31,32,74,1075],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0279aacb6bccc03741b537e171d940bc.jpg","32.9×520.5CM",[],{"id":3366,"slug":3367,"title":3368,"dynasty":18,"author":3369,"museum":595,"description":3370,"tags":3371,"thumbUrl":3374,"material":508,"size":3375,"collection":49,"collections":3376,"showCount":3274,"zanCount":11,"manualWeight":54,"mainColor":150},219796,"mo-sui-yang-wu-lao-tu-ce-you-qiu-219796","摹睢阳五老图册","尤求","睢阳五老图，为北宋时期画作。所谓“五老”，是指杜衍、王涣、毕世长、冯平、朱贯，皆大宋朝中重臣，辞官后寓居南京睢阳（今河南省商丘市睢阳区）颐养天年，经常晏集赋诗，时称“睢阳五老会”。这5位长寿老人均是“退休高官”且年至耄耋：丞相祁国公杜衍80岁，驾部郎中冯平87岁、兵部郎中朱贯88岁、礼部侍郎王涣90岁，年纪最长的司农卿毕世长，时年已经94岁。出于对他们的敬重，睢阳当地一位丹青高手为五人各绘制了一幅全身像，题名《睢阳五老图》，并让五人在图上赋诗。钱明逸于北宋至和三年（1056年）为之作序。此画绘制精美，尤其是人物脸部描绘细腻生动，栩栩如生。欧阳修、晏殊、范仲淹、文彦博、司马光、程颢、程颐、苏轼、苏辙、黄庭坚等18位北宋重量级人物纷纷在画上题诗题跋。南宋至清末，上百位名人为之题赞，可谓流传有绪，堪称一部国宝级画作。《睢阳五老图》的珍贵不仅在于画作本身，历代名家的题跋在书法史上也具有极为重要的地位。",[24,65,598,26,27,29,1709,7,69,3372,3373],"肖像","古装人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe872dccbef77b2cd7113f9c529c6d8e9.jpg","35.2x25.5厘米",[49],{"id":3378,"slug":3379,"title":3380,"dynasty":199,"author":416,"museum":595,"description":596,"tags":3381,"thumbUrl":3382,"material":144,"size":600,"collection":77,"collections":3383,"showCount":3274,"zanCount":11,"manualWeight":54,"mainColor":150},216977,"fang-song-yuan-shan-shui-ce-8-wang-jian-216977","仿宋元山水册-8",[23,24,65,72,7,27,139,598,159,32,33,142,31,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31137973a74e5dcf920e4c89fd5788c.jpg",[],{"id":3385,"slug":3386,"title":3387,"dynasty":18,"author":186,"museum":62,"description":3388,"tags":3389,"thumbUrl":3391,"material":333,"size":334,"collection":77,"collections":3392,"showCount":80,"zanCount":54,"manualWeight":54,"mainColor":150},287977,"fang-xia-gui-qiu-jiang-yu-le-tu-yi-ming-287977","仿夏圭秋江渔乐图","此作用水墨绘秋江胜境，取平远章法。远山以淡墨晕染，虚实相映，尽见烟波浩渺。汀渚之上枯槎老木错落，寒林带雾，群雁振翅掠空，愈发衬出江天寥廓清寂。江心扁舟一叶，渔翁独钓，静中藏动，暗合秋江闲逸之趣。\n\n笔墨追摹南宋院体遗风，简劲苍润，以留白代水，淡墨笼山，将秋空萧寒、野水澹澹的意境铺展，尽显江湖散人寄兴烟水、物我两忘的隐逸襟怀，古意盎然，萧散淡远。",[23,24,25,138,72,71,75,881,139,68,3390,7],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da93d2a02928de51d304beba1ee72e2.jpg",[],{"id":3394,"slug":3395,"title":3396,"dynasty":199,"author":701,"museum":62,"description":3397,"tags":3398,"thumbUrl":3403,"material":333,"size":334,"collection":77,"collections":3404,"showCount":80,"zanCount":54,"manualWeight":54,"mainColor":150},287443,"mo-yan-li-ben-xiao-yi-zhuan-lan-ting-tu-ding-guan-peng-287443","摹阎立本萧翼赚兰亭图","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》。",[23,24,25,65,66,27,735,7,3399,3400,173,330,3401,3402,67,68],"萧翼赚兰亭","历史故事","茶具","坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5e4507f97cac7a1fafa57455dce2a.jpg",[],{"id":3406,"slug":3407,"title":3168,"dynasty":85,"author":3408,"museum":62,"description":3409,"tags":3410,"thumbUrl":3411,"material":333,"size":334,"collection":77,"collections":3412,"showCount":80,"zanCount":11,"manualWeight":54,"mainColor":796},283635,"lin-lan-ting-xu-zhao-gou-283635","赵构","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，东京汴梁（今河南省开封市）人。宋朝第十位皇帝（1127年6月12日-1162年7月24日在位），南宋开国皇帝，宋徽宗赵佶第九子、宋钦宗赵桓之弟。\n大观元年五月（1107年6月），生于宫中，天性聪明，博闻强记，拜检校太尉、定武军节度使。靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。康王赵构即位于南京应天府（今河南省商丘市），建立南宋。在位期间，迫于形势民心，任用岳飞、韩世忠等主战派将领抗击金军，重用主和派的黄潜善、汪伯彦、王伦、秦桧等人，一味求和，处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣。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。",[23,108,65,68,303,408,7,463,67,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c677d621917a0640394530eaa3a9f85.jpg",[],{"id":3414,"slug":3415,"title":3416,"dynasty":199,"author":2097,"museum":62,"description":2735,"tags":3417,"thumbUrl":3419,"material":333,"size":334,"collection":77,"collections":3420,"showCount":80,"zanCount":54,"manualWeight":54,"mainColor":150},240495,"wu-chang-shuo-zhuan-shu-lin-shi-gu-wen-zhou-wu-chang-shuo-240495","吴昌硕篆书临石鼓文轴",[3418,189,7,253,68],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c7f30ab645fdc8680805621df326eb.jpg",[],{"id":3422,"slug":3423,"title":1607,"dynasty":199,"author":949,"museum":62,"description":1483,"tags":3424,"thumbUrl":3425,"material":77,"size":77,"collection":1210,"collections":3426,"showCount":80,"zanCount":54,"manualWeight":54,"mainColor":150},237594,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237594",[24,65,598,138,139,7,72,345,160,159,33,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae0c88738c7130fc52a28d7ea721399c.jpg",[1210,51],{"id":3428,"slug":3429,"title":1607,"dynasty":199,"author":949,"museum":62,"description":1483,"tags":3430,"thumbUrl":3432,"material":77,"size":77,"collection":77,"collections":3433,"showCount":80,"zanCount":54,"manualWeight":54,"mainColor":150},237582,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237582",[24,65,598,138,139,7,72,373,73,140,346,3431,33,1911,67],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57baa8839dc6361ac243cc972732649b.jpg",[],{"id":3435,"slug":3436,"title":3437,"dynasty":199,"author":689,"museum":105,"description":3438,"tags":3439,"thumbUrl":3440,"material":616,"size":3441,"collection":146,"collections":3442,"showCount":80,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[24,65,253,138,139,7,72,159,33,203,32,142,952],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[146,51,307],{"id":3444,"slug":3445,"title":3446,"dynasty":199,"author":3447,"museum":62,"description":3448,"tags":3449,"thumbUrl":3450,"material":333,"size":334,"collection":77,"collections":3451,"showCount":80,"zanCount":54,"manualWeight":54,"mainColor":150},230136,"lin-mi-fei-pai-pin-yi-wei-ai-xin-jue-luo-xuan-ye-230136","临米芾（拍品疑伪）","爱新觉罗.玄烨","清圣祖爱新觉罗·玄烨（1654年5月4日—1722年12月20日），清朝第四位皇帝，清定都北京后第二位皇帝（1661年-1722年在位），年号“康熙”。蒙古人称为恩赫阿木古朗汗；西藏方面尊称为“文殊皇帝”。顺治帝第三子，生母为孝康章皇后佟佳氏。",[23,68,69,7,67,253,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08abe9b0d1b45a0e2b049510cb17c466.jpg",[],{"id":3453,"slug":3454,"title":3455,"dynasty":18,"author":429,"museum":236,"description":3456,"tags":3457,"thumbUrl":3464,"material":508,"size":3465,"collection":307,"collections":3466,"showCount":80,"zanCount":54,"manualWeight":54,"mainColor":150},220924,"lin-zhang-xu-lang-guan-bi-ji-dong-qi-chang-220924","临张旭郎官壁记","董其昌《临张旭郎官壁记》轴，本轴钤“大宗伯印”，当作于崇祯五年（一六三二）应宫詹大宗伯之召后。董其昌好杂临诸家，独造奥妙，求其神似于不似间。本幅节临唐张旭郎官壁记，略得张书笔法精严之意，结体沉稳，运笔生动，表现出晚年本色书风。",[23,108,24,65,253,69,7,3001,1709,3458,3459,68,3460,3461,3462,3463],"文人书法","行草","文人书画","墨笔","书体","临帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb85363d9050f5e44bad0a64256d7eb05.jpg","161.2x54.9",[307],{"id":3468,"slug":3469,"title":3470,"dynasty":18,"author":429,"museum":678,"description":3471,"tags":3472,"thumbUrl":3473,"material":598,"size":682,"collection":77,"collections":3474,"showCount":80,"zanCount":54,"manualWeight":54,"mainColor":77},220749,"fang-ge-jia-shan-shui-7-dong-qi-chang-220749","仿各家山水-7","近景苍松虬曲古拙，针叶层叠如盖，旁侧杂木疏朗灵动。中景水面渔舟错落，渔人隐于舟间，似在休憩闲坐。层岩以干笔淡墨皴擦，山峦起伏间林木簇生，墨色浓淡晕染出山峦向背。远景峰峦以淡墨轻描，融于空蒙烟波，留白尽显湖山悠远空寂。\n\n全作用笔松秀空灵，简淡中饱含苍润意趣，脱略具象形态而独取山水神韵，将平淡天真的文人意境藏于虚实笔墨之间，尽显萧散简远的山水格调，寥寥笔墨铺展出清雅绝尘的林下幽居之境。",[23,108,24,65,72,138,139,7,67,33,159,75,32,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa816efc8ede313cf979ab484ec12fee.jpg",[],{"id":3476,"slug":3477,"title":3478,"dynasty":199,"author":472,"museum":595,"description":3479,"tags":3480,"thumbUrl":3481,"material":77,"size":77,"collection":146,"collections":3482,"showCount":80,"zanCount":54,"manualWeight":54,"mainColor":3483},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。",[24,72,138,139,31,32,253,7,159,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F054851f5ae4bf0540991a722140e28a7.jpg",[146],"bbb6a1",{"id":3485,"slug":3486,"title":3487,"dynasty":199,"author":416,"museum":62,"description":2726,"tags":3488,"thumbUrl":3489,"material":77,"size":77,"collection":146,"collections":3490,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":55},238120,"zi-jiu-shan-shui-zhou-wang-jian-238120","子久山水轴",[24,253,138,72,139,141,33,203,31,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec101e743627000ca6e774bee120ef.jpg",[146,293],{"id":3492,"slug":3493,"title":3494,"dynasty":199,"author":949,"museum":62,"description":1608,"tags":3495,"thumbUrl":3496,"material":333,"size":334,"collection":77,"collections":3497,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":150},235369,"fang-ni-zan-shan-shui-zhou-wang-hui-235369","仿倪瓒山水轴",[24,65,253,138,72,7,139,373,159,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1642df578d1930c54ea3752bace297.jpg",[],{"id":3499,"slug":3500,"title":3501,"dynasty":199,"author":186,"museum":62,"description":3502,"tags":3503,"thumbUrl":3504,"material":77,"size":77,"collection":77,"collections":3505,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":150},235335,"wang-jian-fang-gu-shan-shui-ce-yi-ming-235335","王鉴仿古山水册","此作绘冬日山林雪景，层峰叠峙，积雪覆于嶙峋山石与枯木之上，以留白晕染出清寒空濛之意。山坳飞瀑垂落，崖畔古寺幽藏，萧寒之中暗蕴灵动生机。\n笔墨苍秀沉厚，以干笔皴擦勾勒山石肌理，淡墨晕铺雪色，布景繁密却通透空灵。将宋元山水古雅意韵融于尺幅，简淡清旷间尽显林泉萧疏淡远之致，可观可游，静中生趣，尽显仿古山水的雅致格调。",[24,65,598,27,72,141,33,30,69,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11341c2949a21315b30cb3cbf08de4c6.jpg",[],{"id":3507,"slug":3508,"title":3509,"dynasty":801,"author":1041,"museum":105,"description":3510,"tags":3511,"thumbUrl":3512,"material":112,"size":3513,"collection":77,"collections":3514,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":55},232774,"xiao-yi-zhuan-lan-ting-xu-tu-juan-zhao-meng-fu-232774","萧翼赚兰亭序图卷","唐何延之《兰亭记》详细地记载了监察御史萧翼从辩才处智取《兰亭序》真迹的故事，明代李日华、近人余绍宋皆认为不可信，但是据此画成的《萧翼赚兰亭图》在宋及以后多被反复临仿。\n现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。\n该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。",[23,24,65,25,26,27,29,7,68,69,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c51deba39226d24cedc232f1a54eba.jpg","纵26.6厘米，横44.3厘米",[],{"id":3516,"slug":3517,"title":3518,"dynasty":85,"author":186,"museum":62,"description":3519,"tags":3520,"thumbUrl":3522,"material":77,"size":77,"collection":77,"collections":3523,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":55},227859,"mo-zhou-fang-xi-ying-quan-juan-yi-ming-227859","摹周昉戏婴全卷","此作画风承续唐人遗韵，绢本设色雅致柔丽。画面之中，闺中仕女温婉安坐，垂眉含笑逗弄稚童，孩童们或蹒跚学步或偎依撒娇，娇憨天真尽显；家犬蹭玩一旁，满卷皆是融融天伦暖意。\n线条细劲柔丽，将仕女纱衣的通透莹润、幼童肌肤的软嫩质感晕染恰到好处，复刻出周昉一派柔婉绮丽的仕女画格调。整卷将深宅里寻常嬉游的日常，绘就为传世温情，尽显雅致世俗意趣，是宋摹唐画里颇具情致的佳作。",[23,24,65,25,7,26,27,29,70,3521,2682,67],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe007d3c6b842efb4988a0404266ac130.jpg",[],{"id":3525,"slug":3526,"title":3527,"dynasty":85,"author":186,"museum":105,"description":3528,"tags":3529,"thumbUrl":3530,"material":508,"size":3531,"collection":146,"collections":3532,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":55},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,24,65,25,7,138,139,72,432,160,346,74,32,29,140,31,373,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[146,293],{"id":3534,"slug":3535,"title":1282,"dynasty":18,"author":3536,"museum":236,"description":3537,"tags":3538,"thumbUrl":3539,"material":545,"size":3540,"collection":77,"collections":3541,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":150},222183,"fang-fan-kuan-shan-shui-zhao-zuo-222183","赵左","本幅收在赵左《山水册》第八开。近景画寒林、古刹，远处一峰高起，瀑悬其间。\n全画布置简洁，着墨无多，以淡柔雅逸取胜。左方题：「仿范宽。」刘道醇《宋朝名画评》（1057）称范宽（约950-1031间）画冬景好作「冒雪出云之势」，此作或系追摹此意。",[23,24,65,7,139,27,598,72,419,432,203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53718b9f1aaaa21bae715bc637496395.jpg","23x21.5.",[],{"id":3543,"slug":3544,"title":3545,"dynasty":18,"author":429,"museum":236,"description":3546,"tags":3547,"thumbUrl":3548,"material":508,"size":3549,"collection":307,"collections":3550,"showCount":99,"zanCount":11,"manualWeight":54,"mainColor":796},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。",[23,68,65,24,253,7,463,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f188d206988ef79c11db922216deb84.jpg","313.8x75.3",[307],{"id":3552,"slug":3553,"title":3554,"dynasty":18,"author":429,"museum":678,"description":3555,"tags":3556,"thumbUrl":3557,"material":598,"size":682,"collection":77,"collections":3558,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":77},220748,"fang-ge-jia-shan-shui-8-dong-qi-chang-220748","仿各家山水-8","此作用淡墨绘就秋山暮色，以高远、平远之境错落排布。右侧层峦以干笔慢皴，山石清癯松秀，苍润雅逸间尽显文人笔意。山坳古木交错，点叶萧疏，晕开浓浓秋意。左侧平湖留白见水，浅渚林树迤逦，漾开空濛水汽。近景茅亭孤峙林间，朴拙淡然，暗合林泉寄兴的文人雅趣。\n以书法笔意入画，运笔松灵虚和，墨色枯润相生，淡而不薄。悠悠铺展出秋日山林空寂暮色，尽显平淡天真的画中逸韵，藏着晚明文人独有的简淡玄远意境。",[23,24,65,138,139,7,72,419,432,74,346,67,68,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470a985f6179e58049d2632275feb9fc.jpg",[],{"id":3560,"slug":3561,"title":3562,"dynasty":18,"author":429,"museum":678,"description":3563,"tags":3564,"thumbUrl":3565,"material":598,"size":682,"collection":77,"collections":3566,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":77},220747,"fang-ge-jia-shan-shui-9-dong-qi-chang-220747","仿各家山水-9","此作用笔松秀空灵，以枯木发端，老干虬曲苍劲，寒枝错落疏朗，自带冬日萧疏清寂之意。远景山峦以淡墨轻勾慢皴，棱角清奇又不失浑融，层层迤逦铺展，淡远空濛。水泽汀渚间错落点染渔隐闲趣，右侧村居隐于林麓之下，简淡出尘。\n\n整幅以干笔淡墨写就，脱尽繁冗，以极简笔墨铺展出萧散淡远的林下幽居之境，尽显文人画疏淡空灵的意趣，藏着闲远出尘的林下襟怀。",[23,24,138,72,7,139,67,73,140,141,33,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46161f34da1a23ec4d68b7c20dfc253b.jpg",[],{"id":3568,"slug":3569,"title":3570,"dynasty":199,"author":186,"museum":62,"description":3571,"tags":3572,"thumbUrl":3573,"material":333,"size":334,"collection":77,"collections":3574,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":796},290203,"fang-tang-shi-nv-chu-xing-tu-zhou-yi-ming-290203","仿唐 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此卷卷首绘王羲之像，面部刻画简略，人物衣纹勾写乏力，后以楷书临写王羲之书《黄庭经》，点画柔弱，结体松散。",[23,65,7,463,68,408,25,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedff847bde7562ab12e2687af4d71457.jpg","纵28.5厘米，横116厘米",[307],{"id":3612,"slug":3613,"title":3614,"dynasty":199,"author":3615,"museum":62,"description":3616,"tags":3617,"thumbUrl":3619,"material":333,"size":334,"collection":77,"collections":3620,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":150},237809,"lin-fu-chun-shan-tu-shan-gao-cen-237809","临富春山图扇","高岑","高岑（1621-1691），字善长，又字蔚生，杭州人，居金陵（今南京）。高阜弟，为“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[24,65,1794,138,139,7,72,373,159,204,3618,67],"近草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264978b278a35530837adab05b20abab.jpg",[],{"id":3622,"slug":3623,"title":3624,"dynasty":199,"author":3625,"museum":62,"description":3626,"tags":3627,"thumbUrl":3629,"material":333,"size":334,"collection":77,"collections":3630,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":150},234849,"fang-wu-zhen-mei-hua-shan-mian-gu-he-qing-234849","仿吴镇梅花扇面","顾鹤庆","顾鹤庆（1766－？），字子馀，号弢庵，江苏镇江府丹徒县（今江苏镇江）人。乾隆三十一年生，卒年不详。诸生。性潇洒，工诗文，善行草，好饮。入都，馆庄亲王府。",[24,65,1794,138,3628,7,67],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022fc414f11997188176d3f95cb6b2a6.jpg",[],{"id":3632,"slug":3633,"title":3634,"dynasty":18,"author":1966,"museum":62,"description":3635,"tags":3636,"thumbUrl":3637,"material":77,"size":77,"collection":77,"collections":3638,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":150},234631,"fang-zhao-gan-jiang-gao-xue-qian-shan-ye-lan-ying-234631","仿赵幹江皋雪骞扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。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。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 ，与文征明、沈周并重。",[1794,24,65,108,138,27,72,952,458,2188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449a709d6b85b662301b9381df08858c.jpg",[],{"id":3640,"slug":3641,"title":1204,"dynasty":199,"author":1205,"museum":62,"description":1206,"tags":3642,"thumbUrl":3643,"material":77,"size":77,"collection":77,"collections":3644,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":150},234377,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234377",[24,65,598,27,26,610,940,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24bb5a703f7e135908423688e41b146b.jpg",[],{"id":3646,"slug":3647,"title":3648,"dynasty":199,"author":689,"museum":62,"description":2842,"tags":3649,"thumbUrl":3650,"material":77,"size":3651,"collection":77,"collections":3652,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":150},231514,"fang-ni-zan-she-se-qiu-shan-tu-wang-yuan-qi-231514","仿倪瓒设色秋山图",[23,24,27,72,7,139,67,2557,33,159,31,38,626,1796,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcdb306f6f1c438ff6380f1ec5787a6.jpg","95.9×50.6 厘米",[],{"id":3654,"slug":3655,"title":3656,"dynasty":199,"author":472,"museum":62,"description":3657,"tags":3658,"thumbUrl":3659,"material":77,"size":77,"collection":77,"collections":3660,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":150},230177,"fang-gu-tu-ce-wang-shi-min-230177","仿古图册","《清王翚仿古山水册》是清代 作者创作的画册。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n此册由苏州过云楼后人捐赠。\n现收藏于常熟博物馆。\n王翚作。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n其中，仿董源、范宽各二开，仿王维，关仝、高克明、李成、郭熙、王诜、宋徽宗、阎次平、李唐、刘松年、赵伯驹、赵大年、夏圭、黄公望、赵孟頫、王蒙各一开。\n此册由苏州过云楼后人捐 赠。\n21年， 与 强强联手，共同打造了数字化、立体化的权威知识普及平台： 之 。\n该数字馆通过陶瓷器馆、铜器馆、金银器等分馆，全方位展示了 的众多珍贵展品。\n【简介】 纸本，水墨，纵：25.6厘米，横：2.5厘米。\n《 》共计十二页，其中设色二页，水墨十页。\n仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。\n每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。\n前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。\n笔墨疏秀，意境苍莽迷蒙。\n得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，4岁时即名闻海内。\n王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。\n顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。\n后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。\n尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。\n其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。\n”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。\n王翚（162—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。\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。\n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。\n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”。\n在王翚5岁到6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。\n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”。",[24,138,598,7,139,72,432,32,203,140,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c633d3f56a943ca1180e458ba8904cf.jpg",[],{"id":3662,"slug":3663,"title":3664,"dynasty":18,"author":1881,"museum":62,"description":3665,"tags":3666,"thumbUrl":3667,"material":77,"size":77,"collection":77,"collections":3668,"showCount":3575,"zanCount":11,"manualWeight":54,"mainColor":150},228741,"fang-mi-you-ren-yun-shan-tu-juan-chen-chun-228741","仿米友仁云山图卷","此作用米家云山之法，以淡墨晕染山峦，间以浓墨点醒林麓，水汽弥漫，烟岚浮动，将江南丘壑的空濛秀雅尽藏尺素。简率的笔墨勾勒汀洲林木，苍润松秀，不求刻绘精细，只以水墨氤氲传递出云气漫过山峦的朦胧诗意，尽显“墨戏”的萧散意趣。\n\n画面留白与晕染相映，在虚实之间铺展出悠远淡宕的山水意境，契合文人画尚意重韵的追求。后幅题识亦为画卷添就文雅格调，整卷以水墨写意尽显平淡天真的米家山水风神，是明代文人水墨山水的逸品。",[23,24,65,25,138,139,7,69,68,67,72,1969,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec63ab7769bad38fa9c94164b033efd6.jpg",[],{"id":3670,"slug":3671,"title":3672,"dynasty":85,"author":3673,"museum":62,"description":3674,"tags":3675,"thumbUrl":3676,"material":77,"size":77,"collection":77,"collections":3677,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":150},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[23,108,24,65,25,7,139,138,27,68,67,72,71,2800,32,159,33,140,881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":3679,"slug":3680,"title":3681,"dynasty":199,"author":3682,"museum":62,"description":3683,"tags":3684,"thumbUrl":3685,"material":333,"size":334,"collection":77,"collections":3686,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":150},224158,"fang-zhao-da-nian-zhou-li-224158","仿赵大年","周笠","周笠，字牧山，清嘉定人，周颢之侄。善刻竹，与周颢齐名。擅长绘画，山水师法元四家，水墨花卉生意盎然。周笠少时与周颢同学画，同刻竹，但各得其意，各不相袭。清人评其作品“生意远出，神气内涵，万点当虚，千层叠起，浑厚中自露秀色”。周笠晚年客居扬州，六十岁而病卒，今传世作品较少。",[23,24,27,72,74,29,432,7,67,68,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe513da2bebf872dfea6fb96b6d62e632.jpg",[],{"id":3688,"slug":3689,"title":3690,"dynasty":85,"author":186,"museum":62,"description":3691,"tags":3692,"thumbUrl":3694,"material":77,"size":3695,"collection":651,"collections":3696,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":55},223433,"song-ke-wang-xian-zhi-shu-luo-shen-fu-shi-san-xing-yi-ming-223433","宋刻王献之书洛神赋十三行","王献之(344年~386年)，字子敬，小名官奴，王羲之第七子，与王羲之并称“二王”。官至中书令(相当于宰相)，世称“王大令”或“大王令”。南朝宋、齐、梁、陈间，其书风靡一时。他各体皆精，为世所重。\n王献之学书主要继承家法，但他并不墨守成规，而是“兼众家之长，集诸体之美”，形成了自己独特的风格。《洛神赋十三行》，简称《洛神赋帖》或《十三行》，是王献之传世的小楷名作。原墨迹写于麻笺，内容为三国时期魏国著名文学家曹植的名篇《洛神赋》，但流传至唐宋已残损亡佚。流传至今的刻本为宋代根据真迹上石的拓本，分“碧玉版本”和“白玉版本”两种，其中“碧玉版本”较好，因石色如碧玉，世称“碧玉十三行”，明万历年间在杭州西湖葛岭半闲堂旧址出土，现藏首都博物馆(如右图，局部)。\n从此作可以看出，其用笔外拓，康有为说：“提笔中含，顿笔外拓，中含者浑劲，外拓者雄强。”《洛神赋十三行》真正做到了这一点。结体匀称和谐，宽绰舒展；姿态妩媚雍容，如大家闺秀；笔致洒脱，轻松优雅，神采飞扬，清爽健利，奕奕动人。字的大小差异，字距、行距变化自然，给人以“大珠小珠落玉盘”的玲珑美。从线条角度分析，其均匀纤细的点画中蕴涵着极强的质感，雅逸秀丽、不臃不滑，可谓精丽绝伦。这些特点与文章内涵极为和谐，被后人誉为“小楷之极则”。\n前人对此作给予了很高的评价。清杨宾《铁函斋书号》认为“字之秀劲圆润，行世小楷无出其右”。宋董迨《广川书跋》说：“子敬《洛神赋》，字法端劲，是书家所难。偏旁自见，不相映带；分有主客，趣向严整。与王羲之《黄庭经》、《乐毅论》相比，一反遒紧缜之态，神化为劲直疏秀。”清人蒋和评价：“《玉版十行》章法之妙，其行间空白处，俱觉有味。”",[68,463,303,408,3693,7],"刻本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee872e0b522040ad47406eab77992345.jpg","石高29厘米，宽26厘米",[651],{"id":3698,"slug":3699,"title":3700,"dynasty":18,"author":1966,"museum":3701,"description":2980,"tags":3702,"thumbUrl":3703,"material":545,"size":3704,"collection":146,"collections":3705,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":900},222581,"lin-da-chi-shan-shui-tu-juan-lan-ying-222581","临大痴山水图卷","美国芝加哥艺术学院",[23,24,65,25,7,139,27,68,69,67,72,33,159,31,32,74,75,862,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf31e04d0d80d510a4c1e05e83812c0.jpg","纵58 58厘米，横962 98厘米",[146,51],{"id":3707,"slug":3708,"title":3709,"dynasty":18,"author":3710,"museum":236,"description":3711,"tags":3712,"thumbUrl":3714,"material":434,"size":3715,"collection":77,"collections":3716,"showCount":3575,"zanCount":11,"manualWeight":54,"mainColor":150},222579,"fang-wang-meng-shan-shui-jiang-qian-222579","仿王蒙山水","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。",[23,24,65,253,138,139,7,72,345,159,160,161,3588,33,141,3713,207,348,142],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccffe975f2ab77aa3a44ef972534e795.jpg","98.1厘米，横：34厘米",[],{"id":3718,"slug":3719,"title":3720,"dynasty":18,"author":429,"museum":236,"description":3721,"tags":3722,"thumbUrl":3723,"material":508,"size":3724,"collection":307,"collections":3725,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":150},220950,"du-fu-ye-yuan-huang-di-shi-dong-qi-chang-220950","杜甫谒元皇帝诗","这幅墨迹实为临摹唐代大书法家徐浩所书写的杜少陵诗《冬日洛城北谒玄元皇帝庙》。董其昌晚年楷书承颜鲁公圆劲朴厚之风。而我们要知道，在唐代，事实上徐浩的书名要远远超过颜真卿。据说，徐浩曾传授颜真卿以笔法，可谓颜鲁公的老师。那么，董其昌临徐浩的文本，则是其追索笔法的用意了。你看，董其昌写清楚了，他所临的版本“相传为徐季海所书，虽方实圆，脱去虞褚姿媚态，余每临之，此其一也。”",[23,68,69,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07ba04c1cc98e019c868058e4aaa874e.jpg","纵181厘米，横46厘米",[307],{"id":3727,"slug":3728,"title":3729,"dynasty":199,"author":186,"museum":767,"description":3730,"tags":3731,"thumbUrl":3732,"material":47,"size":77,"collection":49,"collections":3733,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":55},219586,"fang-dong-dan-wang-chu-xing-tu-yi-ming-219586","仿东丹王出行图","画中主人头戴华冠，长髯垂胸，端坐奔马之上，神态雍容沉稳，自带华贵从容的世家气度。黑马雄健剽悍，四蹄奔腾却行姿稳健，鬃尾随风飘逸，鞍鞯纹饰精细繁复，朱红配鎏金纹样，极尽富丽雅致。\n整作工笔精细，设色古雅厚重，线条劲挺流畅。将人物的贵胄威仪与骏马的矫健灵动融为一体，虽为仿作却神完意足，精准复刻旧制鞍马人物画的典雅大气，尽显传统鞍马人物画的精妙笔法与古典审美意趣，仿佛可窥见昔日出巡仪仗的恢宏一角。",[24,65,27,29,124,67,91,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77e3d06cf05b85aabf7a4566622f56.jpg",[49],{"id":3735,"slug":3736,"title":3737,"dynasty":85,"author":3738,"museum":442,"description":3739,"tags":3740,"thumbUrl":3742,"material":47,"size":3743,"collection":77,"collections":3744,"showCount":3575,"zanCount":11,"manualWeight":54,"mainColor":150},216920,"xiang-shan-jiu-lao-tu-5-ma-xing-zu-216920","香山九老图-5","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,24,108,25,27,29,31,159,33,893,3741,7,65],"对弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ade895c11993e636517b3ef76078d9.jpg","27.1x217.2",[],{"id":3746,"slug":3747,"title":3748,"dynasty":199,"author":949,"museum":250,"description":3749,"tags":3750,"thumbUrl":3751,"material":144,"size":77,"collection":77,"collections":3752,"showCount":3575,"zanCount":54,"manualWeight":54,"mainColor":55},214602,"fang-gu-shan-shui-ce-3-wang-hui-214602","仿古山水册-3","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,138,72,7,598,32,140,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f7329a05f8ec1eb3346c4be0481de89.jpg",[],{"id":3754,"slug":3755,"title":3756,"dynasty":199,"author":1227,"museum":62,"description":2707,"tags":3757,"thumbUrl":3758,"material":333,"size":334,"collection":77,"collections":3759,"showCount":3760,"zanCount":54,"manualWeight":54,"mainColor":150},290527,"lin-wu-qing-tu-zhou-yun-shou-ping-290527","临五清图轴",[108,24,65,253,138,7,67,1231,458,893,140,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d55fd6aa28be344302951bbb9414093.jpg",[],21,{"id":3762,"slug":3763,"title":3233,"dynasty":801,"author":186,"museum":62,"description":3764,"tags":3765,"thumbUrl":3766,"material":333,"size":334,"collection":77,"collections":3767,"showCount":3760,"zanCount":54,"manualWeight":54,"mainColor":55},290018,"fang-guo-xi-shan-shui-zhou-yi-ming-290018","图画秋江边,千岩竞秀,白云萦绕,树林垂荫,楼台掩映.平静的江面上,闲暇的船夫正在聊天,一群水鸟轻快地掠过水面,境界静谧恬适.画石用圆笔,作卷云皴",[23,24,253,72,138,139,373,159,141,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b21e4be19108178ce55749975e9d2f.jpg",[],{"id":3769,"slug":3770,"title":3771,"dynasty":199,"author":689,"museum":62,"description":3772,"tags":3773,"thumbUrl":3775,"material":333,"size":334,"collection":77,"collections":3776,"showCount":3760,"zanCount":54,"manualWeight":54,"mainColor":150},288284,"fang-wang-meng-xia-ri-shan-ju-tu-wang-yuan-qi-288284","仿王蒙夏日山居图","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」",[24,108,65,253,72,138,139,7,141,33,30,32,31,3774,67],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa815f93b91dc942a5a6d9712d40cbc0d.jpg",[],{"id":3778,"slug":3779,"title":3780,"dynasty":85,"author":155,"museum":62,"description":3781,"tags":3782,"thumbUrl":3784,"material":333,"size":334,"collection":77,"collections":3785,"showCount":3760,"zanCount":54,"manualWeight":54,"mainColor":150},287965,"mo-yan-li-ben-zhi-gong-tu-juan-li-gong-lin-287965","摹阎立本职贡图卷","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\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。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。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。人物、道释深得吴道子旨趣，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。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。",[108,24,25,138,27,29,782,7,68,329,3783],"职贡场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b7a151b47854a48b5d73202a4e4082.jpg",[],{"id":3787,"slug":3788,"title":3789,"dynasty":199,"author":3790,"museum":62,"description":3791,"tags":3792,"thumbUrl":3793,"material":508,"size":77,"collection":307,"collections":3794,"showCount":3760,"zanCount":54,"manualWeight":54,"mainColor":150},241323,"ge-ti-shu-lin-tie-si-zhong-ping-weng-fang-gang-241323","各体书临帖四种屏","翁方纲","翁方綱（1733～1818年），字正三，一字忠敍，號覃溪，晚號蘇齋，順天大興（今北京大興區）人。清代書法家、文學家、金石學家。\n乾隆十七年進士，授編修。歷督廣東、江西、山東三省學政，官至內閣學士。嘉慶二十三年，卒。\n精通金石、譜錄、書畫、詞章之學，書法與同時的劉墉、梁同書、王文治齊名。論詩創“肌理説”，著有《粵東金石略》《蘇米齋蘭亭考》《復初齋詩文集》《小石帆亭著錄》等。",[65,68,7,69,463,189,792,717,138,508,67,2836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2f5361f3aeafb6e3eaaacb213bbc36.jpg",[307],{"id":3796,"slug":3797,"title":3798,"dynasty":18,"author":429,"museum":62,"description":2006,"tags":3799,"thumbUrl":3800,"material":333,"size":334,"collection":77,"collections":3801,"showCount":3760,"zanCount":54,"manualWeight":54,"mainColor":150},237850,"fang-ni-zan-shan-shui-shan-dong-qi-chang-237850","仿倪瓒山水扇",[1794,24,138,7,72,432,704,139,626,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fe56f94b85cc2111160b5c9a7022474.jpg",[],{"id":3803,"slug":3804,"title":3805,"dynasty":18,"author":3806,"museum":236,"description":3807,"tags":3808,"thumbUrl":3810,"material":508,"size":3811,"collection":77,"collections":3812,"showCount":3760,"zanCount":54,"manualWeight":54,"mainColor":150},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","郑重","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。",[23,24,65,253,27,139,7,67,72,29,30,31,32,124,345,160,3809,74],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":3814,"slug":3815,"title":3816,"dynasty":18,"author":3817,"museum":236,"description":3818,"tags":3819,"thumbUrl":3820,"material":47,"size":77,"collection":49,"collections":3821,"showCount":3760,"zanCount":54,"manualWeight":54,"mainColor":150},219364,"mo-li-gong-lin-lian-she-tu-wen-zheng-ming-219364","摹李公麟莲社图","文徵明","本幅画莲社十八贤士图，按晋时慧远高僧，于庐山建立白莲社，聚众百二十三人，修念佛学，时陶潜辞官居栗里，慧远致书陶潜，邀请参加，陶潜答曰：“许我酒就来。”慧远答应。陶潜每来社中，或时才至，不久即攒眉而去。幅中乘篮舆者即是陶潜。幅中设色，用笔均去文仇水准颇远，为后世托名。",[24,65,7,27,29,72,33,124,68,67,30,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e13b06d2397288d1823e0ca8f2b717b.jpg",[49],{"id":3823,"slug":3824,"title":3825,"dynasty":18,"author":1071,"museum":62,"description":3826,"tags":3827,"thumbUrl":3828,"material":333,"size":334,"collection":77,"collections":3829,"showCount":3830,"zanCount":54,"manualWeight":54,"mainColor":150},290890,"fang-lu-shan-shi-hua-zhou-wen-jia-290890","仿庐山诗画轴","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。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。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”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。”",[108,24,253,138,27,72,29,31,32,74,159,160,345,1424,68,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899bf88344a7d97e4c15d38f0af5a263.jpg",[],20,{"id":3832,"slug":3833,"title":3834,"dynasty":199,"author":186,"museum":62,"description":3835,"tags":3836,"thumbUrl":3837,"material":333,"size":334,"collection":77,"collections":3838,"showCount":3830,"zanCount":54,"manualWeight":54,"mainColor":55},288296,"fang-xia-gui-jiang-shan-qing-yuan-tu-juan-yi-ming-288296","仿夏圭江山清远图卷","此作用夏圭一角半边取景意趣，长卷铺展江天胜景。崖岸之上虬松古拙苍劲，盘根错节间尽显老辣笔力，斧劈皴利落勾出山岩棱线，墨色干湿层叠，晕染出山石的厚重质感。江上古桥连亭，汀洲幽寂，远山澹濛隐现，天际江帆点点，将江南水岸的寥廓清寂徐徐铺陈。\n\n全画简淡空灵，复刻出南宋院体山水的清远意韵。卷后题跋笔墨苍秀，字画合璧，摹古之中自有沉静雅致，把江天浩渺、林泉幽寂的诗意缓缓晕开，尽显水墨山水的简远之美。",[23,24,25,138,986,139,345,159,31,74,71,204,32,68,69,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6e74ac76f0fa05870332bd8feadb13.jpg",[],{"id":3840,"slug":3841,"title":3842,"dynasty":18,"author":3843,"museum":62,"description":3844,"tags":3845,"thumbUrl":3846,"material":333,"size":334,"collection":77,"collections":3847,"showCount":3830,"zanCount":54,"manualWeight":54,"mainColor":150},287388,"lin-tang-zi-wei-nv-er-jiao-tu-li-zhou-wen-cong-jian-287388","临唐子畏女儿娇图立轴","文从简","文从简（1574年—1648年）字彦可，号枕烟老人，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明曾孙，明末清初画家。\n崇祯十三年（1640年）拔贡，入清后退居林下，以书画自娱。",[23,253,24,65,108,27,610,2202,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143721e8add651b65809483042b7b792.jpg",[],{"id":3849,"slug":3850,"title":3851,"dynasty":199,"author":3852,"museum":62,"description":3853,"tags":3854,"thumbUrl":3855,"material":77,"size":77,"collection":77,"collections":3856,"showCount":3830,"zanCount":54,"manualWeight":54,"mainColor":150},234617,"gu-yun-fang-tang-yin-shan-shui-wan-shan-gu-yun-234617","顾沄仿唐寅山水纨扇","顾沄","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。\n顾沄少有丹青之志。片纸尺缣，遇画辄研写不已，时常州、娄东、虞山画风鼎盛，沄深谙山水经营布置之法，画名渐起，遂往上海鬻画。上海乃商贾云集之东南都会，乾嘉时已与维扬、姑苏、宁波等城市同为鬻画之胜地。五口通商，中外资本汇聚，富庶繁华更胜苏、扬。商人风雅，各有所好，便有了各路画家一展伸手之空间。时称“三熊四任”的任渭长、任阜长、任伯年、任立凡、张子祥、朱梦泉以及朱梦庐、胡公寿、虚谷、赵之谦、王秋言、蒲作英、钱慧安、吴昌硕、吴石仙、陆廉夫、倪墨耕、吴观岱等周边画家，先后前往上海发展，遂有海上画派之兴起。沄一生恪守有清以来之正统画风，功力深厚，倒也在新风阵阵之沪上知音多多，以“泽古功深，集四王吴恽诸家之长”独树一帜。光绪十四年（1888）尝北赴京畿，与诸士大夫游，又于同年东游扶桑。画名远播（光绪十四年(1888)游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。\n工山水，由“四王吴恽”入手，上探元、明诸家。墨法明润秀雅，笔意疏古清丽，吴侬软语，浅斟低唱，得柔美之致，乏遒劲之气。间有水墨直师王蒙、小青绿逼似文徵明者，功力之深厚，时罕其俦。",[108,24,65,1794,138,139,7,72,345,29,159,142,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ec48b9c827ff6ad82c1e990c175f2d.jpg",[],{"id":3858,"slug":3859,"title":3664,"dynasty":199,"author":2228,"museum":62,"description":3860,"tags":3861,"thumbUrl":3862,"material":77,"size":77,"collection":77,"collections":3863,"showCount":3830,"zanCount":54,"manualWeight":54,"mainColor":150},234203,"fang-mi-you-ren-yun-shan-tu-juan-cha-shi-biao-234203","查士标在《秋林暮霭图》的款识中曾说自己的山水画初学米芾，后学倪瓒，并且寻根求源，以自己的绘画实践追溯董、巨，从中探索绘画源流的发展变化。而创造米点山水的米芾和米友仁，他们在绘画上开创了水墨山水的新风尚，为了抒写胸臆而不求工细，即在董源水墨山水的基础上，挥洒出了江南烟雨空濛的景象。米芾长子米友仁，继承家学，作画尤其在于尽兴，自称“墨戏”。总体来看，“二米”山水多作江南平远景色，突破了前人运用线条表现峰峦、云水、树木的画格，另辟蹊径。山石不作轮廓，而用清水笔墨润泽出大概，再以淡墨渍染，然后用稍浓的墨笔破出并皴擦大体层次，趁笔墨尚湿之时再以大小错落的浓墨、焦墨横点叠垛。山体上部用墨稍浓，用笔较密，下部用墨稍淡，用笔较疏。云气以淡墨空勾并加以渲染。树木枝干多用浓墨一笔画出，以大浑点作叶。山脚坡岸用浓淡适中的水墨横扫，多数不加皴斫。整个过程显得随意而自然，表现出江南山水烟雨蒙眬、丘陵晦明、丛林隐现的意境，大大丰富了中国山水画的表现技法。这种新的山水风格，对元以后的水墨山水产生了较大影响。从目前所见画迹来看，查士标最早一幅仿米家山水的作品，是顺治十七年（1660）夏四月所作《山谷闲云图》。其题诗有云：“闲云无四时，散漫此山谷。\n幸乏霖雨姿，何妨媚幽独。”该幅作品完全仿学米氏云山，横点山、树之形，间及渲染，烟雨空濛之景跃然纸上。题诗也不乏自得之意，可以见出查士标在米家山水方面下过较大的功夫。除此之外，查士标临仿米家山水的作品尚有很多，如北京荣宝斋藏查士标康熙二年（1663）嘉平月六日夜作《云树江村图》、扬州市博物馆藏查士标康熙五年（1666）六月作《云山图》、故宫博物院藏查士标康熙十一年（1672）作《鹤林烟雨图》、山西省博物馆藏查士标康熙十三年（1674）秋天作《米家云山图》和故宫博物院藏查士标康熙十九年（1680）六月作《南山云树图》等，这些作品都是他学习米家山水的优秀代表。其中，扬州市博物馆所藏《云山图》，是查士标52岁时仿学米友仁《楚山清晚图》而作。该画主峰突起，衬以远山，近处桥屋树木，均寥寥数笔，然墨气淋漓，大有烟雨空濛之感。在作品中，查士标抓住了米友仁自称“墨戏”的特点—写意大于写形，因此在构图形式与笔墨变化上，较米友仁更为肆意潇洒。米友仁在画中以横点水墨的浓淡积染，分出山体的层次，试图摆脱轮廓线的束缚，但画中的墨点还是显得比较严谨、缜密，细察之下还有无形的轮廓线在羁绊着笔墨的灵动。而到了查士标这里，画面近乎泼墨，充分体现了他在用墨上的灵动变化。特别是上述故宫博物院藏其康熙十九年（1680）六月作《南山云树图》长卷，作品以“迷远法”构图，图中云雾占有大半。卷首云海弥漫，山峦隐约可见，远山坡脚随着云气的浮动变幻，逐渐显露，并重叠起伏地展开，远处峰峦终于出现在团团白云之中。中段主峰耸立，林木扶疏，表现出远近层次。全卷云树掩映，峰峦明灭，处处体现出生意郁勃的造化生机和苍莽雨雾的特殊韵致。画面水墨淋漓，少见笔触，形象不作具体细致的刻画，含蓄自然，浑然一体，给人留下了远景云山空濛的印象。查士标在款识中有云：\n康熙庚申六月，余客润州。再登金山，留宿慈云阁。雨中为德润禅兄画南山云树，仿米家笔意，累日乃竣事。\n根据他的款识记载，我们知道这件作品是他在润州（今镇江）登金山，看到烟江缥缈的景致后，联想起米家山水的粉本，触景生情而作。这件作品也得到了后人的称赞，如清人张熊在题跋中评说：\n此卷仿米家泼墨云山，简淡清新，直欲上追宋元。洵是罕见逸品，岂浅学者所能梦见耶。",[23,24,138,25,7,72,419,1969,432,31,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c02eb2b2d562b653515952d5eb03d8.jpg",[],{"id":3865,"slug":3866,"title":3867,"dynasty":18,"author":429,"museum":105,"description":3868,"tags":3869,"thumbUrl":3879,"material":3880,"size":1297,"collection":77,"collections":3881,"showCount":3830,"zanCount":54,"manualWeight":54,"mainColor":150},234056,"shan-shui-ce-dong-qi-chang-234056","山水册","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[24,65,598,72,27,138,327,7,139,3870,208,3871,160,203,3872,3873,3874,3875,68,67,3876,1219,3877,3878],"峰峦","青山","疏林","坡石","烟雨","松涧","云树","平远秋景","没骨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd349114a80d63e993d3286109e0fd10e.jpg","纸本，水墨和设色",[],{"id":3883,"slug":3884,"title":3885,"dynasty":299,"author":186,"museum":62,"description":3886,"tags":3887,"thumbUrl":3888,"material":3889,"size":3890,"collection":307,"collections":3891,"showCount":3830,"zanCount":54,"manualWeight":54,"mainColor":150},223397,"tang-mo-huang-ting-jing-quan-juan-yi-ming-223397","唐摹黄庭经全卷","《黄庭经》是道教经典，叙述的养身方面的，分为《外景经》和《内景经》二种，而此卷为《外景经》，卷后依次有宋代滕仲嚞、明代董其昌和元代陈绎曾题跋。本摹本书法峭快，结构稳固，字字传神，为后人学习临摹好字帖。",[23,108,65,25,463,7,68,408,67,509,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3b9a8c80c061dcb0801cde82733274.jpg","纸本，楷书","40X190cm",[307],{"id":3893,"slug":3894,"title":3895,"dynasty":199,"author":701,"museum":236,"description":3896,"tags":3897,"thumbUrl":3900,"material":163,"size":77,"collection":77,"collections":3901,"showCount":3830,"zanCount":11,"manualWeight":54,"mainColor":150},217919,"tang-ming-huang-ji-ju-tu-4-ding-guan-peng-217919","唐明皇击鞠图-4","丁观鹏是清朝时期的画家，他最著名的作品之一是《唐明皇击鞠图》。这幅画描绘了唐朝第一位皇帝唐太宗（又称唐明皇）打鞠的场景。\n\n唐太宗是唐朝的建立者，他在位时实行了许多改革措施，使唐朝成为中国历史上最繁荣的朝代之一。他非常喜欢鞠球运动，常常在宫中练习打鞠。丁观鹏的这幅画中，唐明皇正在向前跑步，身体做出打鞠的姿势，表现出他对这项运动的热爱。\n\n丁观鹏的《唐明皇击鞠图》是一幅工笔画，他细致地描绘了唐明皇的衣服和鞠球的细节，并使用了深浅不一的色彩来表现光线的变化。这幅画被认为是丁观鹏作品中最出色的一幅，也是清朝时期最著名的画作之一。它现在被收藏在北京故宫博物院的藏品之中。",[24,26,66,7,29,124,3898,3899,67],"古代服饰","击鞠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2dd8e8bd09d280d7d745516810905e.jpg",[],{"id":3903,"slug":3904,"title":3905,"dynasty":199,"author":416,"museum":595,"description":596,"tags":3906,"thumbUrl":3907,"material":163,"size":600,"collection":77,"collections":3908,"showCount":3830,"zanCount":54,"manualWeight":54,"mainColor":150},216987,"fang-song-yuan-shan-shui-ce-4-wang-jian-216987","仿宋元山水册-4",[108,24,65,72,7,139,138,952,419,432,345,346,207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8a6e4e3c8f721685a6e5d0aeeef07a.jpg",[],{"id":3910,"slug":3911,"title":3912,"dynasty":18,"author":135,"museum":595,"description":3913,"tags":3914,"thumbUrl":3915,"material":77,"size":77,"collection":146,"collections":3916,"showCount":3830,"zanCount":54,"manualWeight":54,"mainColor":3917},203437,"lin-dai-wen-jin-xie-an-dong-shan-tu-zhou-shen-zhou-203437","临戴文进谢安东山图轴","这幅临作兼取戴文进的劲健笔意与沈周的苍润格调，淡赭设色的山峦层叠起伏，皴法勾勒出岩石肌理，山间楼阁隐于松荫，老树虬枝舒展。山麓处人物仪态悠然，衣袂翩然间与清旷山水相融，笔墨间既有原作风神，又含自身逸韵，尽显文人山水的雅致意境。",[23,24,65,253,7,27,72,29,30,345,159,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F679ae857da7ab90b960c9d62ba01bc4e.jpg",[146],"574526",{"id":3919,"slug":3920,"title":3921,"dynasty":199,"author":3922,"museum":595,"description":3923,"tags":3924,"t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。\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。",[108,24,65,253,986,27,139,7,419,204,4127,345,1402,160,32,203,346],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":4131,"slug":4132,"title":4133,"dynasty":85,"author":186,"museum":105,"description":4134,"tags":4135,"thumbUrl":4140,"material":126,"size":4141,"collection":77,"collections":4142,"showCount":4060,"zanCount":54,"manualWeight":54,"mainColor":55},223480,"mo-liang-ling-zan-xing-xiu-tu-juan-yi-ming-223480","摹梁令瓒星宿图卷","全卷画五星和二十八宿神形（现存五星十二宿）。五星即五大行星：金、木、水、火、土，二十八宿是古人用作观测日月五星运行坐标的二十八组星座，环列在日月五星的四方，犹如诸星的栖宿场，故称二十八宿。",[24,65,25,7,26,27,227,29,4136,4137,396,124,4138,4139,2682],"神怪","星宿","龟","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82126ff917ff070f22cf00c6e8f9a55c.jpg","27.5x489.7厘米",[],{"id":4144,"slug":4145,"title":4146,"dynasty":199,"author":701,"museum":236,"description":4147,"tags":4148,"thumbUrl":4152,"material":27,"size":4153,"collection":77,"collections":4154,"showCount":4060,"zanCount":54,"manualWeight":54,"mainColor":150},223323,"wu-xing-er-shi-ba-xiu-shen-xing-tu-ding-guan-peng-223323","五星二十八宿神形图","此《五星二十八宿神形图》卷据传为唐代梁令瓒绘。此图原分为上下两卷，描绘五星（岁星、荧惑、镇星、太白、辰星），以 及二十八星宿对应的人物神怪图像。每星宿一图，或人或兽，或人身兽首，每图前有篆书说明。今仅存上卷的五星和 “角” 至 “危” 十二宿。此内含三种卷本。\n“五星二十八宿” 中的 “五星” ， 亦可称五纬， 即中国古代天文学中的金、 木、 水、 火、 土五大行星。 其中， 金星古称明星， 又名太白金星；木星， 古称岁星； 水星， 古称辰星； 火星， 因其时明时暗， 行踪不定， 古称荧惑星； 土星， 古称镇星、 填星、 信星等。 “二十八宿” ， 源于道教文化。二十八宿， 其中东方青龙七宿是角、 亢、 氐、 房、心、 尾、 箕； 北方玄武七宿是斗、 牛、 女、 虚、 危、室、 壁； 西方白虎七宿是奎、 娄、 胃、 昴、 毕、 觜、参； 南方朱雀七宿是井、 鬼、 柳、 星、 张、 翼、 轸。",[23,3418,26,27,66,69,67,7,29,124,240,227,1689,68,4149,4150,4151],"线条","神形","鞍马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cf4849e8cdfb46d12f18ed03910394.jpg","26.5x70.9",[],{"id":4156,"slug":4157,"title":4158,"dynasty":18,"author":429,"museum":678,"description":4159,"tags":4160,"thumbUrl":4162,"material":598,"size":682,"collection":77,"collections":4163,"showCount":4060,"zanCount":54,"manualWeight":54,"mainColor":77},220750,"fang-ge-jia-shan-shui-6-dong-qi-chang-220750","仿各家山水-6","此作用笔松秀虚和，以干笔淡墨勾勒皴擦。近岸老木虬曲偃蹇，枝叶苍郁间伴以修松清挺，林侧茅舍隐现，浅草萦回于水畔。中远景平坡澹荡，遥岫浮空，寥寥数笔便晕染出空濛淡远的平野之境。\n整体取平远章法，墨色清润淡雅，萧散简淡，将江南水畔清寂幽远的诗意尽数铺陈，尽显文人画空灵悠远的雅逸格调，寄寓着林泉高致的幽怀。",[23,24,65,138,72,7,139,598,33,159,203,370,204,4161],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d42de66c74884278b37e641dfc193bc.jpg",[],{"id":4165,"slug":4166,"title":4167,"dynasty":18,"author":19,"museum":595,"description":1061,"tags":4168,"thumbUrl":4171,"material":47,"size":1064,"collection":77,"collections":4172,"showCount":4060,"zanCount":54,"manualWeight":54,"mainColor":55},219778,"lin-song-ren-hua-ce-2-chou-ying-219778","临宋人画册-2",[108,24,65,1794,26,27,7,29,70,4169,240,432,4170,705,2444],"小孩","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b3411bd2288e57ce8b2f954e1d79e30.jpg",[],{"id":4174,"slug":4175,"title":4176,"dynasty":199,"author":416,"museum":595,"description":596,"tags":4177,"thumbUrl":4178,"material":144,"size":600,"collection":77,"collections":4179,"showCount":4060,"zanCount":54,"manualWeight":54,"mainColor":150},216988,"fang-song-yuan-shan-shui-ce-3-wang-jian-216988","仿宋元山水册-3",[108,24,138,139,7,598,72,30,31,32,33,159,160,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23956ed8e550fcc498cd3b320bbfcfd.jpg",[],{"id":4181,"slug":4182,"title":4183,"dynasty":199,"author":416,"museum":595,"description":596,"tags":4184,"thumbUrl":4185,"material":144,"size":600,"collection":77,"collections":4186,"showCount":4060,"zanCount":54,"manualWeight":54,"mainColor":150},216970,"fang-song-yuan-shan-shui-ce-10-wang-jian-216970","仿宋元山水册-10",[23,108,24,65,598,7,139,138,27,72,33,159,160,29,207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138231a7ee6fa33fd5483a4fe320cb8e.jpg",[],{"id":4188,"slug":4189,"title":2106,"dynasty":199,"author":4190,"museum":595,"description":4191,"tags":4192,"thumbUrl":4193,"material":77,"size":77,"collection":146,"collections":4194,"showCount":4060,"zanCount":54,"manualWeight":54,"mainColor":4195},201978,"fang-da-chi-shan-shui-tu-zhou-zhang-shao-zu-201978","张绍祖","山石层叠间，淡墨干笔皴擦出松秀线条，丘壑幽远之态毕现。近景林木疏朗，枝干挺劲，墨色浓淡交织，叶片点染有致，与山石清润质感相映成趣。山间云气隐现，溪流绕林麓蜿蜒，意境空灵静谧。笔墨承黄公望遗韵，简淡中含苍劲，朴拙里藏秀逸，融山水生机与文人清雅于一体，尽显传统山水画的笔墨意趣与精神内蕴。",[24,72,138,139,7,253,33,159,161,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10ceed0aed385f6e4b5bfb5db14e7ef2.jpg",[146],"c1a582",{"id":4197,"slug":4198,"title":4199,"dynasty":18,"author":4200,"museum":62,"description":4201,"tags":4202,"thumbUrl":4203,"material":333,"size":334,"collection":77,"collections":4204,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":150},290926,"ni-gu-cheng-jia-sui-290926","拟古","程嘉燧","程嘉燧（1565～1643）明代书画家、诗人。字孟阳，号松圆、偈庵，又号松圆老人、松圆道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，释名海能。",[24,138,598,72,2188,893,29,328,139,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2488fcb3ac81c9496e8feaa3301bfe5.jpg",[],17,{"id":4207,"slug":4208,"title":4209,"dynasty":801,"author":186,"museum":236,"description":4210,"tags":4211,"thumbUrl":4212,"material":163,"size":4213,"collection":146,"collections":4214,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":55},290737,"fang-mi-shi-yun-shan-zhou-yi-ming-290737","仿米氏云山轴","此幅画夏雨初过，山野溪畔水气弥漫，山脚林间云霭飘移，村屋、古寺掩映其间。山石以浓淡变化的“米点”层叠渲渍，再加色烘染，水份饱满。唯用笔构图板滞，应为明清之作。",[24,253,138,139,72,141,142,33,31,1989,67,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd455344f176e2280f3d2ea4362701fd1.jpg","57x35.3",[146],{"id":4216,"slug":4217,"title":4218,"dynasty":199,"author":2441,"museum":62,"description":4219,"tags":4220,"thumbUrl":4224,"material":333,"size":334,"collection":77,"collections":4225,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":150},290564,"fang-tian-wang-xiang-si-zhou-xu-yang-290564","仿天王像（四）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。",[24,253,27,29,227,26,1669,4221,4222,67,7,4223,4139],"天王","力士","铠甲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b45427a866bb9f749bab3c76de8c0e.jpg",[],{"id":4227,"slug":4228,"title":4229,"dynasty":18,"author":186,"museum":62,"description":4230,"tags":4231,"thumbUrl":4232,"material":333,"size":334,"collection":77,"collections":4233,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":55},289943,"fang-dong-yuan-xia-shan-tu-yi-ming-289943","仿董源夏山图","此作用笔追摹董源风骨，以披麻皴绘平缓山峦，苍润朴拙，晕染出江南夏山的氤氲空蒙。浩渺平湖横亘画面，洲渚间林木蓊郁，渔村山居错落隐现，三两渔舟泛于烟波间，野趣悠然满溢。\n\n全图以平远章法铺展丘壑，苔点繁密缀于山体，尽显草木华滋之态，复刻出南宗山水平淡天真的意趣，将夏日山林的温润葱郁与水滨幽寂融为一体，把江南夏景的淡远生机尽显于绢素之上，是得董源神韵的仿古佳制。",[23,108,24,25,986,27,139,141,4161,1698,1989,275,7],"https:\u002F\u002Foss.chuangqi.store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。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[23,65,25,7,68,69,67,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4f5b943233bb337a9fa87703d3b5d1.jpg",[],{"id":4277,"slug":4278,"title":4279,"dynasty":199,"author":701,"museum":62,"description":3397,"tags":4280,"thumbUrl":4286,"material":333,"size":334,"collection":77,"collections":4287,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":55},238131,"fang-wu-dao-xuan-bao-ji-bin-jia-luo-fo-xiang-zhou-ding-guan-peng-238131","仿吴道玄宝积宾迦罗佛像轴",[24,65,253,27,26,7,227,29,4281,4282,4283,109,4284,2682,4285],"祥云","宝盖","飞天","神佛","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b0b38317ebe9934d56c39c5fb0c067.jpg",[],{"id":4289,"slug":4290,"title":1584,"dynasty":199,"author":1585,"museum":62,"description":1586,"tags":4291,"thumbUrl":4292,"material":77,"size":77,"collection":77,"collections":4293,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":150},237881,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237881",[24,65,598,7,27,72,74,373,31,29,67,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a42c893bae003e77b5a840a78e92b5c.jpg",[],{"id":4295,"slug":4296,"title":1607,"dynasty":199,"author":949,"museum":62,"description":1483,"tags":4297,"thumbUrl":4298,"material":77,"size":77,"collection":77,"collections":4299,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":150},237586,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237586",[24,138,139,7,598,72,419,420,432,893,204,557,369,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45599eac91929665304e792add47aaa3.jpg",[],{"id":4301,"slug":4302,"title":4303,"dynasty":199,"author":949,"museum":62,"description":1483,"tags":4304,"thumbUrl":4306,"material":77,"size":77,"collection":1210,"collections":4307,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":150},237579,"gu-jian-shu-lin-tu-zhou-wang-hui-237579","古涧疏林图轴",[24,65,253,138,139,7,862,73,3872,4305,72,140,32],"古涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8333f98813ce41aa4afc681f09ce7f2.jpg",[1210],{"id":4309,"slug":4310,"title":4311,"dynasty":199,"author":949,"museum":236,"description":4312,"tags":4313,"thumbUrl":4314,"material":508,"size":77,"collection":146,"collections":4315,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":150},237342,"fang-dong-shan-shui-ce-zhuang-zhou-wang-hui-237342","仿董山水册装轴","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。”\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,65,598,138,7,139,67,72,74,432,373,204,770,207,203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[146],{"id":4317,"slug":4318,"title":4319,"dynasty":199,"author":186,"museum":62,"description":4320,"tags":4321,"thumbUrl":4322,"material":77,"size":77,"collection":77,"collections":4323,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":55},234418,"qing-ren-fang-su-han-chen-ying-xi-dan-ye-yi-ming-234418","清人仿苏汉臣婴戏单页","“婴戏”是中国画的一个重要的题材，从唐宋到元明清时期，孩童们的可爱淘气、天真烂漫无不是画家笔端的灵感。“婴戏图”既体现了人们自古至今对孩童的无限关爱与期望，又表达了人们对美好幸福生活的无限憧憬和祝愿。婴戏花、婴戏球、婴戏水、荡船、钓鱼、放爆竹、蹴鞠、放风筝、捉迷藏、对弈、习武、攀枝娃娃、莲生贵子、喜报多子、庭院婴戏、郊外婴戏、傀儡戏、婴孩读书、十六子、百子、五子登科等情境，被一代又一代的画家所描绘。",[24,65,598,7,26,27,29,3521,432,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b209cc1ff1f79f754a1dc846afdeb5.jpg",[],{"id":4325,"slug":4326,"title":4327,"dynasty":18,"author":4328,"museum":62,"description":4329,"tags":4330,"thumbUrl":4331,"material":616,"size":77,"collection":77,"collections":4332,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":150},234194,"fang-xia-gui-xian-shan-tu-juan-song-xu-234194","仿夏圭仙山图卷","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[23,24,25,138,139,7,67,72,33,203,71,31,75,204,142,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e63cf3c48e1f03acef519e28f9af90a.jpg",[],{"id":4334,"slug":4335,"title":4336,"dynasty":18,"author":1071,"museum":105,"description":4337,"tags":4338,"thumbUrl":4339,"material":508,"size":77,"collection":77,"collections":4340,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":150},234179,"wen-jia-fang-mi-yun-shan-tu-juan-wen-jia-234179","文嘉仿米云山图卷","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。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。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”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。”",[23,24,65,25,7,138,139,72,419,1969,420,68,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc34426a88d7b44a9134580564d722f8.jpg",[],{"id":4342,"slug":4343,"title":4344,"dynasty":199,"author":689,"museum":62,"description":4345,"tags":4346,"thumbUrl":4347,"material":77,"size":77,"collection":77,"collections":4348,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":150},229028,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-229028","仿黄子久晴峦霁翠卷","此卷以浅绛绘江南丘壑，山峦延绵层叠，林木蓊郁苍秀，村居错落点缀水畔崖间，平远、深远兼具，铺展出清旷温润的山水胜境。\n笔墨承娄东家法，以干笔积墨反复皴擦，笔力苍劲老辣，墨色由淡及浓层层晕染，浑朴厚重中不失秀逸灵透，既谨守黄子久平淡天真的元人神韵，又融入自身沉雄苍密的风格特质。\n全作用笔绵密松灵，元气淋漓，咫尺长卷藏千里丘壑，融文人山水的笔墨意趣与林泉襟怀于一体，是摹古出新的精心佳构，尽显晚年炉火纯青的画艺造诣。",[23,24,65,25,27,72,139,7,67,69,68,419,420,33,203,30,31,74,161,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":4350,"slug":4351,"title":4352,"dynasty":18,"author":186,"museum":62,"description":4353,"tags":4354,"thumbUrl":4355,"material":77,"size":77,"collection":77,"collections":4356,"showCount":4205,"zanCount":54,"manualWeight":54,"mainColor":55},228779,"fang-li-tang-hao-pu-tu-juan-yi-ming-228779","仿李唐濠濮图卷","此作用斧劈皴写山石，棱角方硬苍劲，两岸危崖叠峙、古木盘根虬曲，浓墨点染的林木蓊郁深秀，暗带秋意。溪谷水面留白晕出浅波，汀渚碎石错落，衬出涧谷幽寂空远。右侧平石之上，雅士简笔勾勒，凭坐观流，恬淡静穆，尽显林泉遁世的悠然意趣。画作兼取北派山水的雄劲与文人画的萧散，将山水之胜与林下雅兴相融，把秋日溪畔的幽寂雅情绘得淋漓尽致，尽显古意山水里的文人心境。",[23,24,25,7,139,27,72,432,346,32,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd1d7c4fadcfa69c00bdc8807b573b.jpg",[],{"id":4358,"slug":4359,"title":4360,"dynasty":199,"author":701,"museum":236,"description":3896,"tags":4361,"thumbUrl":4362,"material":163,"size":77,"collection":77,"collections":4363,"showCount":4205,"zanCount":11,"manualWeight":54,"mainColor":150},217920,"tang-ming-huang-ji-ju-tu-3-ding-guan-peng-217920","唐明皇击鞠图-3",[3418,26,66,27,29,124,7,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F707210edeaf9e3501cf069c6e169843e.jpg",[],{"id":4365,"slug":4366,"title":4367,"dynasty":199,"author":4368,"museum":62,"description":4369,"tags":4370,"thumbUrl":4372,"material":333,"size":334,"collection":77,"collections":4373,"showCount":116,"zanCount":54,"manualWeight":54,"mainColor":150},290512,"fang-mei-dao-ren-bi-yi-shan-shui-tu-jing-xin-ren-yi-290512","仿梅道人笔意山水图镜心","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　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。",[23,108,24,65,138,72,139,159,32,33,29,7,68,67,4371],"镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b242dc98ba13ddac83e86adb8a5c7d6.jpg",[],{"id":4375,"slug":4376,"title":4377,"dynasty":18,"author":186,"museum":62,"description":4378,"tags":4379,"thumbUrl":4381,"material":333,"size":334,"collection":77,"collections":4382,"showCount":116,"zanCount":54,"manualWeight":54,"mainColor":55},287835,"fang-xia-gui-qian-yan-jing-xiu-yi-ming-287835","仿夏圭千岩竞秀","此作以长卷铺展江天丘壑，取夏氏边角山水意趣。斧劈皴斫出崖嶂硬峭骨相，苍松杂树偃仰生姿，江岸逶迤，浅渚渔舟隐于烟岚淡墨之间，平远景致虚实相生，将江南山水的清旷空濛揉入简劲笔意。\n\n引首行书笔势跌宕，与山水萧散野逸相映成趣，书画合璧复刻宋韵雅逸，将千里烟景收揽尺幅，观之如乘舟泛江，岩岫秀色次第展开，幽寂旷远的林下风致扑面而来，尽得复古追宋的山水意趣。",[23,24,25,986,27,139,141,4380,71,33,772,558,7,68,717],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49d08c69238c36956940a1b8dc4a08d.jpg",[],{"id":4384,"slug":4385,"title":4386,"dynasty":199,"author":186,"museum":62,"description":4387,"tags":4388,"thumbUrl":4390,"material":333,"size":334,"collection":77,"collections":4391,"showCount":116,"zanCount":54,"manualWeight":54,"mainColor":150},275861,"bai-yu-qian-long-yu-lin-zhao-meng-fu-shu-hong-fan-ce-yi-ming-275861","白玉乾隆御临赵孟頫书洪范册","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[598,4389,68,7,463,510],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5807e495d6f1e030e0426fb0234f1858.jpg",[],{"id":4393,"slug":4394,"title":4395,"dynasty":85,"author":186,"museum":62,"description":4396,"tags":4397,"thumbUrl":4398,"material":77,"size":77,"collection":651,"collections":4399,"showCount":116,"zanCount":54,"manualWeight":54,"mainColor":55},242214,"chun-hua-ge-tie-yi-ming-242214","淳化阁帖","此作为行书刻帖，点画灵动秀逸，提按转折间尽显二王一脉的隽永风神。结体欹正相生，字势错落又彼此顾盼，行气连贯悠长。虽为刻拓本，却精准还原原作笔墨细节，刀痕隐于笔意之下，墨色沉凝古雅，将尺牍随性自然的意趣与端雅气度相融。\n\n所录书札既有日常手翰的松弛灵动，亦不失雍容之韵，刻工精妙，完整留存了原作使转的细腻层次，尽显宋刻法帖的典型风貌，是兼具临习价值与鉴藏意义的行书佳范。",[68,303,408,69,463,510,7,598],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef9d1498fc9ce60eb68e3e32cebc5f1.jpg",[651],{"id":4401,"slug":4402,"title":4403,"dynasty":199,"author":4271,"museum":62,"description":4272,"tags":4404,"thumbUrl":4405,"material":333,"size":334,"collection":77,"collections":4406,"showCount":116,"zanCount":54,"manualWeight":54,"mainColor":55},241673,"lin-wang-xi-zhi-za-tie-ce-qian-long-241673","临王羲之杂帖册",[65,68,69,7,598],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd700a6f347cdc2f2f989d84f0bdabf41.jpg",[],{"id":4408,"slug":4409,"title":4410,"dynasty":199,"author":4411,"museum":62,"description":4412,"tags":4413,"thumbUrl":4414,"material":333,"size":334,"collection":77,"collections":4415,"showCount":116,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[68,792,7,253,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334a2da5c1f82f98d315761667bbcce1.jpg",[],{"id":4417,"slug":4418,"title":594,"dynasty":199,"author":4419,"museum":62,"description":4420,"tags":4421,"thumbUrl":4422,"material":77,"size":77,"collection":146,"collections":4423,"showCount":116,"zanCount":54,"manualWeight":54,"mainColor":150},238901,"fang-song-yuan-shan-shui-ce-dong-gao-238901","董诰","近处水畔矶石错落，枯木疏柳掩映板桥茅舍，坡岸浅草覆绿，漫着幽居野逸的松弛意趣。山峦层叠延展，以淡墨晕染远山，空濛悠远。山石皴法兼具古意，苍秀温润，设色轻浅雅致，不施浓艳。\n全作以平远视角铺展，虚实相生，将山野间安闲静穆的山居图景缓缓铺陈。笔墨清隽秀雅，带着江南山水的温润灵秀，将文人理想中的林泉高致融于尺幅，观之如临其境，可感幽居独处的淡然意趣，尽显山水小景的意境之美。",[24,65,598,138,27,7,139,72,74,33,32,159,204,73,4170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c1e1e7fe54974f8093e8919216aa07.jpg",[146,51],{"id":4425,"slug":4426,"title":4427,"dynasty":18,"author":429,"museum":62,"description":2006,"tags":4428,"thumbUrl":4431,"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览之忘世外之情。设色雅静，用笔精诣，是仇英传世摹古浅绛山水精品。",[23,24,65,25,26,27,7,72,4240,344,33,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5a57fdde2240683083bccd12c1185c9.jpg",[],{"id":4499,"slug":4500,"title":4501,"dynasty":18,"author":1966,"museum":62,"description":4502,"tags":4503,"thumbUrl":4504,"material":77,"size":77,"collection":77,"collections":4505,"showCount":116,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[23,24,65,253,138,27,72,862,73,71,32,74,7,139,881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca318bcb9c27742b74afc59762c66ca.jpg",[],{"id":4507,"slug":4508,"title":4509,"dynasty":199,"author":949,"museum":62,"description":4510,"tags":4511,"thumbUrl":4512,"material":77,"size":77,"collection":77,"collections":4513,"showCount":116,"zanCount":54,"manualWeight":54,"mainColor":150},224465,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-zhou-wang-hui-224465","倣李营丘江干七树图轴","此作用笔苍秀兼具，以枯淡之墨绘就寒林古木，虬枝如蟹爪舒张，苍松挺拔卓立，近景瀑流涓涓，旅人策蹇徐行，野意悠然。远景江水浩渺，远山以淡墨晕染，轻岚笼山，平远之境清旷空灵。\n画作师法前贤，糅合北派山水的雄浑与南宗温润雅致，将冬日江干的荒寒萧疏铺陈开来，萧寒之气与空阔江天相融，摹古却自出机杼，尽显平远山水的幽渺意境。",[23,24,65,72,253,7,139,138,159,73,345,32,71,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2b6e269a01d7966da987a19da3ed77.jpg",[],{"id":4515,"slug":4516,"title":4517,"dynasty":18,"author":2490,"museum":62,"description":2491,"tags":4518,"thumbUrl":4519,"material":77,"size":4520,"collection":307,"collections":4521,"showCount":116,"zanCount":54,"manualWeight":54,"mainColor":55},222530,"lin-zhe-mo-lan-ting-wang-duo-222530","临禇摹兰亭",[23,65,68,7,69,67,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b795d3b808e6c26621b5a3f414c8d4.jpg","44X144",[307],{"id":4523,"slug":4524,"title":4525,"dynasty":18,"author":429,"museum":236,"description":4526,"tags":4527,"thumbUrl":4528,"material":434,"size":4529,"collection":307,"collections":4530,"showCount":116,"zanCount":11,"manualWeight":54,"mainColor":150},220951,"du-fu-ye-xuan-yuan-huang-di-miao-shi-dong-qi-chang-220951","杜甫谒玄元皇帝庙诗","董宗伯先生书法之妙。世皆知之。然皮相者。先生之行草耳。而?笔十居其七。至于楷法。世人未许梦见。此书乃先生用意临摹。楮墨精好。此予久在先生门下。见其运笔之妙。否则不知其精神所（脱一字）也。此不特得徐浩之法。兼得欧颜之神。非磨墨万锭。未可与窥其奥也。雪蓑声识。",[23,68,69,7,67,138,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ccdd89d8a380d7541d59de2edeef33a.jpg","181.5×46.1",[307],{"id":4532,"slug":4533,"title":4534,"dynasty":18,"author":3189,"museum":250,"description":4535,"tags":4536,"thumbUrl":4539,"material":144,"size":77,"collection":77,"collections":4540,"showCount":116,"zanCount":54,"manualWeight":54,"mainColor":150},216267,"han-xi-meng-xiu-song-yuan-ming-ji-ce-chun-niao-tu-han-xi-meng-216267","韩希孟绣宋元名迹册·鹑鸟图","韩希孟（1740年 - 1813年）是一位中国画家，他的艺术风格主要受汉画的影响，他的作品风格独特，充满了生活气息。他的作品《韩希孟绣宋元名迹册·鹑鸟图》是他的经典作品之一，这幅画描绘了一只鹑鸟在花丛中的样子。在这幅画中，鹑鸟的羽毛明亮而有光泽，给人一种活力和自然的感觉。同时，这幅画还很注重细节，每个花朵和草叶都很精确地画出来，使得整幅画看起来更加生动。",[4027,27,7,1230,610,4537,68,4538],"鹑鸟","红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07034368db54b811db721de4064c826.jpg",[],{"id":4542,"slug":4543,"title":4544,"dynasty":199,"author":949,"museum":250,"description":3749,"tags":4545,"thumbUrl":4546,"material":144,"size":77,"collection":77,"collections":4547,"showCount":116,"zanCount":54,"manualWeight":54,"mainColor":55},214601,"fang-gu-shan-shui-ce-4-wang-hui-214601","仿古山水册-4",[24,598,72,138,27,7,139,31,32,159,160,33,203,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb92338e3965f50d1b87453e6a88b9d0.jpg",[],{"id":4549,"slug":4550,"title":4551,"dynasty":4552,"author":4553,"museum":595,"description":4554,"tags":4555,"thumbUrl":4557,"material":77,"size":77,"collection":146,"collections":4558,"showCount":116,"zanCount":54,"manualWeight":54,"mainColor":4559},202816,"fang-mi-fei-yan-yu-tu-zhou-qi-bai-shi-202816","仿米芾烟雨图轴","近代","齐白石","水墨晕染间，山峦如黛，烟霭轻笼，尽显米家山水的朦胧意趣。白石老人以大写意笔法破墨点染，浓墨积叠出苍劲树影与屋舍轮廓，淡墨晕化出山巅云雾，虚实相生间，烟雨空濛之态跃然纸上。近景林木葱郁，屋舍隐现；远景峰峦耸峙，层次分明却浑然一体，似将江南烟雨的湿润清旷凝于尺幅，既有古法韵致，又藏独有的朴拙生机。",[24,138,72,7,4556,141,33,1989,3874,23],"大写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcece95bf31897daf8e001444db8f9b6d.jpg",[146],"aaa791",{"id":4561,"slug":4562,"title":4563,"dynasty":85,"author":186,"museum":62,"description":4564,"tags":4565,"thumbUrl":4567,"material":333,"size":334,"collection":77,"collections":4568,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[24,108,65,253,27,26,29,736,173,109,4566,345,39,7],"演乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e12c04897d94532b31ecc2db6af350.jpg",[],15,{"id":4571,"slug":4572,"title":4573,"dynasty":18,"author":186,"museum":62,"description":4574,"tags":4575,"thumbUrl":4576,"material":333,"size":334,"collection":77,"collections":4577,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":55},288157,"fang-song-ren-xue-shan-xing-lv-tu-li-zhou-yi-ming-288157","仿宋人雪山行旅图立轴","此作用笔苍劲老辣，以层层积墨晕染出冰封雪裹的寒山，嶙峋怪石棱角分明，积雪似凝脂覆于崖巅，留白与墨色相生，晕出山坳间的濛濛寒雾。古松虬曲苍劲，枝干擎着薄雪，于冷寂中透出倔强生机。\n\n山径间踽踽独行的旅人，为这片阒寂雪境添上一缕烟火气，反衬出天地空阔荒寒。整幅画将冬山的凛冽清旷铺陈开来，静穆中藏着深幽的山水意趣，尽显萧寒孤远的冬日山野之美。",[23,24,108,253,72,7,138,952,345,159,328,287,29,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2231d82e879c9de295b72e33f2816647.jpg",[],{"id":4579,"slug":4580,"title":4581,"dynasty":199,"author":2228,"museum":62,"description":4582,"tags":4583,"thumbUrl":4584,"material":333,"size":334,"collection":77,"collections":4585,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[24,138,72,253,7,68,67,373,74,3872],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad3e85835ca1b452c5ebd01bb0bc60c.jpg",[],{"id":4587,"slug":4588,"title":4589,"dynasty":801,"author":1041,"museum":62,"description":4590,"tags":4591,"thumbUrl":4592,"material":333,"size":334,"collection":77,"collections":4593,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":796},287377,"lin-lan-ting-xu-ji-shi-san-ba-kuai-xue-tang-fa-shu-zhao-meng-fu-287377","临兰亭序及十三跋 (快雪堂法书)","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[25,303,68,408,69,7,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b3a3f458d61ebb08fddd4724ed99ea.jpg",[],{"id":4595,"slug":4596,"title":4597,"dynasty":18,"author":429,"museum":62,"description":2006,"tags":4598,"thumbUrl":4599,"material":333,"size":334,"collection":77,"collections":4600,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":796},287360,"lin-xiao-nv-cao-e-bei-dong-qi-chang-287360","临孝女曹娥碑",[463,68,303,408,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae624a86e320a49b6db650da995cad8.jpg",[],{"id":4602,"slug":4603,"title":4604,"dynasty":299,"author":568,"museum":236,"description":4605,"tags":4606,"thumbUrl":4609,"material":928,"size":4610,"collection":77,"collections":4611,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":900},287313,"chu-he-nan-lin-lan-ting-chu-sui-liang-287313","褚河南临兰亭","在历代难以数计的临摹和刻拓《兰亭》谱系中，有所谓的“领字从山本”一系，即《兰亭序》中“此地有崇山峻领，茂林修竹”的“领”字写作“岭”。在传世的冯承素、虞世南、褚遂良三大摹本（均藏北京故宫博物院），以及著名刻拓本《定武兰亭真拓本》（今藏台北故宫博物院）、《吴炳本兰亭》、《独孤本兰亭》（均藏日本东京国立博物院）等中，均为“崇山峻领”，即“领字不从山”。",[23,108,65,25,69,68,408,7,67,4607,988,4608],"雅集","抒怀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f45885b45a5fa8924e85338a844a167.jpg","纵24.3cm，横70.2cm",[],{"id":4613,"slug":4614,"title":4615,"dynasty":18,"author":2490,"museum":105,"description":4616,"tags":4617,"thumbUrl":4618,"material":4619,"size":4620,"collection":307,"collections":4621,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":150},241029,"wang-duo-lin-tie-zhou-wang-duo-241029","王铎临帖轴","释文：\n廙言五日穷思永远甘雪应时严寒奉被手诏伏\u002F承圣体御膳胜常以慰下情匆匆慈恩垂愍\u002F每见慰问感戴不胜衔遇谨表陈闻。庚寅正月廿日午时。王铎。\n这是王铎59岁时创作的行书精品。作品节录东晋王廙书《祥除帖》（见《淳化阁帖》卷二）。\n王铎学书立足于临摹古人，尤其推崇二王，认为“书不宗晋，终入野道。”他勤于临摹，精熟之功可至“不爽毫发”的境地，但步趋古人绝非其终极目标，而是他艺术创造的基础。王铎曾云：“书法之始难以入帖，继则难以出帖。”“入帖”仅仅是追摹古人，“出帖”方为脱古创新。对于古法帖，他往往不专意于内容，而是以古帖文本为依托，意在对古人传统精神的把握和追求，因此常将古帖摘而书之，或数帖杂糅并书。帖文之外，书体笔法亦不刻意模仿，而是运自家笔法，创个性书风。如王廙此帖原为楷书，王铎却行书带草，挥洒而就，展示出他晚年所取得的艺术成就，也为自己“入帖”与“出帖”作了最好的诠释。",[65,68,717,7,253,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11035686ab901cae1a59409b3f1e394.jpg","绫本，行书","纵235厘米，横52.7厘米",[307],{"id":4623,"slug":4624,"title":4625,"dynasty":18,"author":429,"museum":62,"description":2006,"tags":4626,"thumbUrl":4627,"material":333,"size":334,"collection":77,"collections":4628,"showCount":4569,"zanCount":11,"manualWeight":54,"mainColor":150},240258,"li-sao-lan-ting-juan-dong-qi-chang-240258","离骚兰亭卷",[23,18,65,68,25,69,138,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd9a0e30a0a7135aed7c58e6d367beb1.jpg",[],{"id":4630,"slug":4631,"title":4632,"dynasty":199,"author":1142,"museum":105,"description":4633,"tags":4634,"thumbUrl":4635,"material":1045,"size":4633,"collection":307,"collections":4636,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":900},239703,"lin-ping-shu-tie-zhou-liang-guo-zhi-239703","临评书帖轴","纵73.2厘米，横67.4厘米",[65,68,253,69,7,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894ef876c8e0eb306d6a3d95aa3c625c.jpg",[307],{"id":4638,"slug":4639,"title":4640,"dynasty":199,"author":4641,"museum":62,"description":4642,"tags":4643,"thumbUrl":4644,"material":333,"size":334,"collection":77,"collections":4645,"showCount":4569,"zanCount":11,"manualWeight":54,"mainColor":150},237491,"fang-cha-shi-biao-shan-shui-shan-wu-da-cheng-237491","仿查士标山水扇","吴大澂","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n在第二次鸦片战争之后的1886年，吴大澂与沙俄谈判。他据理力争，迫使沙俄重立土字碑、并对中国的出海权进行妥协：图们江口的出海权虽不能共享，但中国船只可以借道出海，俄国不得阻止。吴大澂又设法延长谈判，迫使沙俄归还了黑顶子山地区（今吉林珲春敬信镇）。其战略眼光与爱国精神令后人称颂。",[24,1794,138,72,7,432,159,203,204,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53e33f5203017dc01a2a7c4c8e095cef.jpg",[],{"id":4647,"slug":4648,"title":4649,"dynasty":199,"author":4650,"museum":105,"description":4651,"tags":4652,"thumbUrl":4653,"material":77,"size":4654,"collection":146,"collections":4655,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":150},236195,"hui-mei-zhu-tu-kang-xi-di-lin-mi-fei-shu-zhe-shan-jiang-ting-xi-236195","绘梅竹图康熙帝临米芾书折扇","蒋廷锡","此扇一面为蒋廷锡绘梅竹图，蒋氏的作品大多呈两种面貌，一为墨笔、淡设色的小写意花鸟，一为工笔浓彩的细谨风格。此图即为后者，笔致精细，敷色冶艳，极富皇家华贵典雅的气韵。另一面为康熙帝临米芾书，所书内容出自李衢《都堂试贡士日庆春雪》，释文为：“锡瑞来丰岁，旌贤入贡辰。摇轻梅共笑，飞弱柳和春。绕砌封琼屑，依阶喷玉尘。蜉蝣吟更切，科斗映还新。鹤毳迷难辨，冰壶鉴易真。因歌大君德，率舞咏陶钧。临米芾元章。”",[24,65,1794,138,7,69,2188,893],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db7d8989ef35548b0c37927bc3b15ab.jpg","纵34厘米，横56厘米",[146,51],{"id"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墨笔","78.1cmx42.6cm",[],{"id":4679,"slug":4680,"title":4681,"dynasty":18,"author":1966,"museum":62,"description":3635,"tags":4682,"thumbUrl":4683,"material":77,"size":77,"collection":77,"collections":4684,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":150},234628,"fang-fan-kuan-shan-shui-shan-ye-lan-ying-234628","仿范宽山水扇页",[1794,138,139,7,72,71,74,373,159,204,29,68,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cc72bbb506c453f91f6e75f20782db.jpg",[],{"id":4686,"slug":4687,"title":1204,"dynasty":199,"author":1205,"museum":62,"description":1206,"tags":4688,"thumbUrl":4690,"material":77,"size":77,"collection":77,"collections":4691,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":150},234367,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234367",[24,65,598,27,26,7,610,614,4689,1181],"果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0728567f0f0573e343468c07c62a75.jpg",[],{"id":4693,"slug":4694,"title":4695,"dynasty":18,"author":4696,"museum":1259,"description":4697,"tags":4698,"thumbUrl":4702,"material":508,"size":4703,"collection":77,"collections":4704,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[23,24,65,108,253,138,72,1864,4699,4700,32,31,29,7,139,4701],"峻岭","山林","智者乐水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbbee98cf491d6f7fe862b5d64e4bf5.jpg","53x89cm",[],{"id":4706,"slug":4707,"title":4708,"dynasty":85,"author":186,"museum":236,"description":4709,"tags":4710,"thumbUrl":4711,"material":434,"size":4712,"collection":77,"collections":4713,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":55},231378,"song-yan-xian-guan-tu-yi-ming-231378","松岩仙馆图","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。",[108,24,986,30,29,345,26,139,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f657fecd8b6c42929cbcb3ea659e46.jpg","171x115.7",[],{"id":4715,"slug":4716,"title":4717,"dynasty":199,"author":4718,"museum":495,"description":4719,"tags":4720,"thumbUrl":4721,"material":4722,"size":4723,"collection":77,"collections":4724,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[23,24,138,253,72,139,7,31,32,74,73,344,160,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b83397f21c92d94a99103bc798b15a1.jpg","设色纸本","110cmx55cm",[],{"id":4726,"slug":4727,"title":4728,"dynasty":199,"author":416,"museum":62,"description":4729,"tags":4730,"thumbUrl":4731,"material":77,"size":77,"collection":77,"collections":4732,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":150},230195,"fang-gu-shan-shui-ce-yi-wang-jian-230195","仿古山水册一","此作用色清雅柔润，以披麻皴绘出山峦起伏肌理，敷色温润秀雅，淡染出层叠山势的虚实层次。\n\n近岸屋舍隐于苍林之下，古木森秀，枝叶苍润；中景板桥横跨水渚，渔人泛于清波，谷壑间雾气轻漫，晕开远近景深，远景峰岫含翠，淡远空灵。\n\n整体恬静安谧，将文人幽居理想融于尺幅，笔致沉稳工细，明丽设色却无艳俗之感，尽显仿古山水的雅致格调，观之如临幽林静渚，尘虑尽消。",[24,65,598,27,72,139,7,67,31,32,33,141,203,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371b62bc0f3bc1935cd4ac5a11e90071.jpg",[],{"id":4734,"slug":4735,"title":4736,"dynasty":2182,"author":2183,"museum":62,"description":2184,"tags":4737,"thumbUrl":4745,"material":333,"size":334,"collection":2192,"collections":4746,"showCount":4569,"zanCount":54,"manualWeight":54,"mainColor":55},225851,"the-siesta-after-millet-fan-gao-225851","The siesta (after 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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。",[24,65,1794,72,7,139,138,159,33,203,31,1075,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a581639319e81fff2d3745b315c142.jpg",[],{"id":5040,"slug":5041,"title":5042,"dynasty":199,"author":949,"museum":62,"description":5043,"tags":5044,"thumbUrl":5047,"material":211,"size":5048,"collection":77,"collections":5049,"showCount":4974,"zanCount":54,"manualWeight":54,"mainColor":150},234717,"fang-gu-shan-shui-ce-wang-hui-234717","仿古山水册","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[24,65,598,138,139,7,72,73,74,893,204,5045,159,626,5046,67],"枯枝","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ed578ee3d10a4c1ccad6c5f78d6b63.jpg","25.6厘米，横：20.5厘米",[],{"id":5051,"slug":5052,"title":5053,"dynasty":2182,"author":186,"museum":62,"description":5054,"tags":5055,"thumbUrl":5056,"material":333,"size":334,"collection":77,"collections":5057,"showCount":4974,"zanCount":11,"manualWeight":54,"mainColor":150},230529,"gu-hua-mo-ben-ma-yuan-deng-tu-juan-yi-ming-230529","古画模本(马远等图卷)","此作绘折枝白牡丹，以浅设色工笔写就。花瓣以淡墨轻勾轮廓，留白晕染出莹润肌理，层叠舒展如堆雪凝霜，将白花清贵柔雅的姿态尽显。叶片以青绿晕染，深浅过渡自然鲜活，枝叶偃仰有态，衬得牡丹愈发冰洁脱俗。\n\n画面取折枝一角取景，简淡清雅，无繁复铺陈，以极简笔墨烘托出牡丹自带的端方贵气，尽显院体花鸟的雅致意趣。勾勒晕染可见细腻功力，于素净底色里藏着幽隽诗意，淡远之中尽显传统花鸟写生的精妙意韵。",[23,24,25,610,26,27,2202,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bcf111fbb76a851ceea6d4d8ac6220c.jpg",[],{"id":5059,"slug":5060,"title":5061,"dynasty":801,"author":186,"museum":62,"description":5062,"tags":5063,"thumbUrl":5065,"material":77,"size":77,"collection":77,"collections":5066,"showCount":4974,"zanCount":54,"manualWeight":54,"mainColor":150},228188,"fang-li-gong-lin-huo-lang-tu-yi-ming-228188","仿李公麟货郎图","以清隽白描勾勒市肆一隅，货郎担上层层叠叠，诸般玩物吃食错落排布，将巷陌烟火气静静铺展。线条凝练温婉暗合法度，把货郎的劳碌、路人的注目藏在毫锋起落间，将旧时街头鲜活日常凝于绢素之上。清淡笔墨晕开市肆的生动模样，细碎货品暗藏民生的鲜活图景，古雅韵致里满溢着人间烟火的温热，把市井巷陌的鲜活日常定格在绢素中。",[24,65,7,66,27,29,5064,67],"日常用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37f63d9c2b19bc616137c0b88c450cc8.jpg",[],{"id":5068,"slug":5069,"title":5070,"dynasty":199,"author":472,"museum":62,"description":5071,"tags":5072,"thumbUrl":5074,"material":77,"size":77,"collection":77,"collections":5075,"showCount":4974,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[23,24,65,253,72,7,139,5073,33,32,203,419,31],"披麻皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1003f8fca3fdf7c2b59be1131c6e8ea9.jpg",[],{"id":5077,"slug":5078,"title":5079,"dynasty":18,"author":19,"museum":595,"description":1061,"tags":5080,"thumbUrl":5081,"material":47,"size":1064,"collection":77,"collections":5082,"showCount":4974,"zanCount":54,"manualWeight":54,"mainColor":55},219777,"lin-song-ren-hua-ce-3-chou-ying-219777","临宋人画册-3",[24,65,598,7,26,27,29,1989,33,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282710dc33ec5660385edb66147e8f3e.jpg",[],{"id":5084,"slug":5085,"title":5086,"dynasty":18,"author":19,"museum":595,"description":1061,"tags":5087,"thumbUrl":5090,"material":47,"size":1064,"collection":77,"collections":5091,"showCount":4974,"zanCount":54,"manualWeight":54,"mainColor":55},219776,"lin-song-ren-hua-ce-4-chou-ying-219776","临宋人画册-4",[24,65,598,7,26,27,29,396,432,39,38,457,5088,1911,5089],"廊下","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd8183940ebe2dfca2cacdae3b16abf.jpg",[],{"id":5093,"slug":5094,"title":5095,"dynasty":199,"author":453,"museum":62,"description":5096,"tags":5097,"thumbUrl":5098,"material":47,"size":77,"collection":77,"collections":5099,"showCount":4974,"zanCount":54,"manualWeight":54,"mainColor":5100},217248,"li-dai-di-wang-zhen-xiang-18-yao-wen-han-217248","历代帝王真像-18","姚文瀚的《历代帝王真像图》是一部巨著，包含了从秦始皇到清朝乾隆帝的220位帝王的真像。这幅画卷以宫廷内务府的资料为基础，经过姚文瀚的精心研究和描绘，每一位帝王的真像都非常逼真，与当时的实际相差无几。\n\n姚文瀚在制作《历代帝王真像图》时，花了超过20年的时间，并且聘请了许多著名的艺术家协助他的工作。最终，他完成了这部传世的巨著，使得我们能够通过这幅画卷了解到中国历史上许多伟大的帝王的长相。",[24,65,27,29,26,91,598,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6689114c373ed3324585480cb627df9b.jpg",[],"FF9800",{"id":5102,"slug":5103,"title":5104,"dynasty":199,"author":5105,"museum":495,"description":5106,"tags":5107,"thumbUrl":5108,"material":163,"size":77,"collection":77,"collections":5109,"showCount":4974,"zanCount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《缩本兰亭玉：枕兰亭序》，还有一种将字体放大五、六倍的临本，明初书家宋克曾经见之，称之为笔法位置全然相似，亦当世之名迹也。可见，这种或放大、或缩小的临摹，可能是赵氏练习手眼的一种方式，也可能是勤学苦练过程中放松精神的一种游戏。但赵孟頫是落笔便作千古想的，所以 虽戏写亦如欲刻金石，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[69,68,7,5254,5255,5256,5257,5258,5259,5260,5261,5262,5263,5264,5265,5266,5267,5268,5269,5270,209,32,5271,5272],"笔墨","笔法流畅","结构严谨","章法自然","山阴","茂林","修竹","清流激湍","曲水","流觞","惠风","和风","朗气","清风","暮春","初会","崇山峻岭","天朗气清","惠风和畅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F103a8a40a8658fb27cde43d28fa23fc0.jpg","13.8X32厘米",[],{"id":5277,"slug":5278,"title":5279,"dynasty":199,"author":416,"museum":250,"description":5280,"tags":5281,"thumbUrl":5282,"material":508,"size":5283,"collection":77,"collections":5284,"showCount":467,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[23,24,65,253,72,27,139,7,419,432,556,346,1075,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3743a1569f5a7068db31e49355667a3.jpg","98×52cm",[],{"id":5286,"slug":5287,"title":5288,"dynasty":199,"author":5289,"museum":62,"description":5290,"tags":5291,"thumbUrl":5292,"material":333,"size":334,"collection":77,"collections":5293,"showCount":467,"zanCount":54,"manualWeight":54,"mainColor":150},230295,"lin-sheng-jiao-xu-li-hong-zhang-230295","临圣教序","李鸿章","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选庶吉士，授编修，督河南学政。同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁内阁学士，署户部左侍郎。同治四年（1865年），再升都察院左都御史，加太子少保。光绪二年（1876年），命兼总理各国事务衙门，反对完颜崇厚擅订《里瓦几亚条约》。历任礼部尚书、协办大学士，调吏部尚书。光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥文正，赠太子太傅，入祀贤良祠。",[23,68,25,69,7,67,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689d84932e9309fab27ff7e5a4389dad.jpg",[],{"id":5295,"slug":5296,"title":5297,"dynasty":199,"author":472,"museum":62,"description":5298,"tags":5299,"thumbUrl":5300,"material":333,"size":334,"collection":77,"collections":5301,"showCount":467,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[23,24,65,253,27,327,139,72,7,419,1969,432,458,704,32,38,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013ea1a092bbe1e7b0683866b99698e.jpg",[],{"id":5303,"slug":5304,"title":5305,"dynasty":18,"author":2490,"museum":62,"description":2491,"tags":5306,"thumbUrl":5307,"material":2640,"size":5308,"collection":307,"collections":5309,"showCount":467,"zanCount":54,"manualWeight":54,"mainColor":150},222537,"lin-gu-tie-juan-wang-duo-222537","临古帖卷",[23,108,24,65,25,7,67,69,68,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8943bd847e7a3569198f6d6315b04432.jpg","271*91.5cm",[307],{"id":5311,"slug":5312,"title":5313,"dynasty":199,"author":949,"museum":595,"description":5314,"tags":5315,"thumbUrl":5316,"material":77,"size":77,"collection":146,"collections":5317,"showCount":467,"zanCount":11,"manualWeight":54,"mainColor":5318},201650,"fang-zhao-meng-fu-chun-shan-fei-pu-tu-zhou-wang-hui-201650","仿赵孟頫春山飞瀑图轴","山峦层叠间，青绿设色晕染出春山的温润，飞瀑隐于岩岫，似携潺潺清音流淌。苍松倚石盘曲，虬枝着墨苍劲，与秀逸的山石皴法相映成趣——既有赵孟頫的雅致风骨，又融自身笔墨意韵。淡墨烘染的云雾虚虚实实，衬得峰峦错落有致，溪水蜿蜒勾连生机。整体意境清幽，仿古中见新意，笔墨细腻处显文人山水的诗意从容，尽显“以古为师”的精妙造诣。",[24,65,327,27,139,7,72,159,1729,3936,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fad6897e8f921a68139502da5f6630.jpg",[146],"bdaf9f",{"id":5320,"slug":5321,"title":5322,"dynasty":85,"author":186,"museum":62,"description":5323,"tags":5324,"thumbUrl":5325,"material":333,"size":334,"collection":77,"collections":5326,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":55},290623,"fang-zhang-seng-yao-shan-shui-zhou-yi-ming-290623","倣张僧繇山水轴","张僧繇，吴(今江苏苏州)人。梁天监中(502-518)为武陵王国侍郎。善道释人物，所绘没骨山水，于画坛为绝诣，后人仿之者甚多。楼观曾云：「梁天监中，张僧繇每于缣素上，不用墨笔，独以青绿重色，图成峰岚泉石，谓之没骨法。」此幅画山石用颜色填染，不用墨笔皴擦，以丹朱青绿为主色，并用白粉烘云点树，故觉奇彩艳发，神气飞扬，全幅散发著一种古厚沉鬱的气氛。然其风格笔触则似出于明末蓝瑛一门之手。",[24,108,253,327,27,72,74,33,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40a1b3228d7785e68ab8b572f8e3238d.jpg",[],{"id":5328,"slug":5329,"title":5330,"dynasty":199,"author":186,"museum":62,"description":5331,"tags":5332,"thumbUrl":5334,"material":333,"size":334,"collection":77,"collections":5335,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":150},288835,"fang-li-gong-lin-can-fu-tu-yi-ming-288835","仿李公麟参佛图","此作为白描长卷，左侧题跋与右侧绘卷相得益彰。绘卷以缥缈水云为底色，铺陈佛国盛会：居中佛陀安坐说法，周遭罗汉、菩萨侍立聆听，一众神众或乘云凌波，或盘坐山巅，人物情态迥异，动静相生。线条清劲秀雅，尽得李公麟白描笔意，淡墨晕染出山峦云涛，氤氲出空灵悠远的禅境。题跋笔墨端稳雅致，诗文禅意隽永，呼应画面里大道浑融的佛国气象，诗画合璧，尽显出世清寂的超然意趣。",[23,24,25,65,66,7,227,1668,735,5333,2037,239,4281,72,68,67],"佛陀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ed90e5c73553d41fb4ada5610d0261.jpg",[],{"id":5337,"slug":5338,"title":1070,"dynasty":18,"author":186,"museum":62,"description":5339,"tags":5340,"thumbUrl":5341,"material":333,"size":334,"collection":77,"collections":5342,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":55},288164,"fang-dong-yuan-shan-shui-tu-yi-ming-288164","此作用平远铺展全景江南山水，烟波澹澹的江面与连绵柔缓的浅丘相映，苍郁林木间散落村舍人家，尽显水乡温润氤氲的灵秀气质。\n画师以披麻皴写山石，淡墨晕染出苍润层次，笔触简淡柔婉，追摹出平淡天真的山水意趣，带着宋初山水的浑厚静穆。整卷气息悠长静谧，将江南丘林的秀雅与村居的悠然融为一体，仿若带人走入了古意绵长的隐逸山居，尽显古典山水的悠远韵致。",[23,24,25,65,72,27,139,141,33,1989,75,4161,7,68,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74ea0075c3b07b6830bfb8c1b90d62a.jpg",[],{"id":5344,"slug":5345,"title":5346,"dynasty":18,"author":186,"museum":62,"description":5347,"tags":5348,"thumbUrl":5349,"material":333,"size":334,"collection":77,"collections":5350,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":150},288146,"fang-li-gong-lin-lian-she-tu-yi-ming-288146","仿李公麟莲社图","此作用笔追慕前贤，以清隽白描绘就莲社雅集：山林泉石间，高僧名士或围坐谈玄，或凭栏观览，衣袂线条舒展灵动，人物神态宛然如生，苍松流泉衬出林下清旷之境，尽得原作行云流水的韵致。后接长篇题跋，行笔秀逸雅致，与画境相得益彰。书画合璧，既复刻出东晋白莲结社的清逸雅趣，也暗合追慕古贤的文人襟怀，摹古却不泥古，笔墨自存沉静悠然的古雅格调。",[23,24,25,227,29,66,27,7,68,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe45f2c578acb7715b41cd5584299e5ad.jpg",[],{"id":5352,"slug":5353,"title":5354,"dynasty":199,"author":186,"museum":62,"description":5355,"tags":5356,"thumbUrl":5357,"material":77,"size":77,"collection":651,"collections":5358,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":796},242171,"lan-ting-ba-zhu-tie-chu-sui-liang-mo-lan-ting-xu-yi-ming-242171","《兰亭八柱帖》褚遂良摹兰亭序","此作为黑底白字刻帖，笔意灵动秀雅，尽得原帖风神。起笔收笔温润舒展，点画粗细间暗含筋骨，牵丝映带晕染出晋人萧散气韵。字势错落欹正相生，通篇章法匀净通透，将原作俯仰慨叹的文辞意绪融在笔墨节奏里。\n\n刀工藏露得宜，无斫削之痕，将临本宽和雅正的意趣尽数留存。虽为刻拓，却能传递笔墨流动的鲜活感，观之如见纸上游丝婉转，把兰亭雅集里俯仰天地的清隽风流，凝在方寸碑面之中。",[68,69,7,303,408,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6142a58441181ad0c9894b9c327b8d9b.jpg",[651],{"id":5360,"slug":5361,"title":5362,"dynasty":199,"author":2490,"museum":62,"description":5363,"tags":5364,"thumbUrl":5365,"material":333,"size":334,"collection":77,"collections":5366,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":150},240278,"wang-duo-lin-ou-tie-zhou-wang-duo-240278","王铎临欧帖轴","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。",[68,69,7,253,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7f8f8bcba128cc578b9c3f071dc860.jpg",[],{"id":5368,"slug":5369,"title":5370,"dynasty":199,"author":5371,"museum":62,"description":5372,"tags":5373,"thumbUrl":5374,"material":77,"size":77,"collection":77,"collections":5375,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":150},239710,"lin-dong-qi-chang-shu-tang-ren-shi-tie-zhou-zhang-zhao-239710","临董其昌书唐人诗帖轴","张照","此作用笔温润秀雅，将董其昌疏淡萧散的笔意揣摩尽致，又自带着雍容端严的气度。行笔舒展灵动，遒劲不失飘逸，结体开合随心，行气连贯通脱。墨色浓淡自然过渡，落笔收锋尽显法度。\n\n以笔墨铺陈唐人诗作，将宫苑早朝开阔雄浑的诗意融于点画之间，通篇布局匀整和谐，临古却不泥古，在师法前人的同时晕染出自身的文人雅韵，尽显从容闲适的书写意趣，是将诗书意蕴与笔墨美感融为一体的临摹佳制。",[7,69,68,138,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c94fbdef56f98cdd1049f489a184221.jpg",[],{"id":5377,"slug":5378,"title":1607,"dynasty":199,"author":186,"museum":62,"description":5379,"tags":5380,"thumbUrl":5381,"material":77,"size":77,"collection":77,"collections":5382,"showCount":149,"zanCount":11,"manualWeight":54,"mainColor":150},236067,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236067","此作用浅淡水墨绘就萧疏秋林之景，枯木虬曲错落，枝桠尽露嶙峋之态，策杖幽人行于林麓间，更衬林泉清寂。林畔茅舍隐于林木间，淡墨扫就陂陀山石，温润松秀。远景汀渚远山以轻墨晕染，虚实相生，将荒寒淡远的秋冬平野铺展而出。\n\n用笔松灵雅致，干笔皴擦带出山野质感，留白空灵写意，尽显南宗山水萧散简远的意趣。寥寥笔墨勾勒出林下幽居的清寂况味，以简驭繁、以淡胜浓，将文人寄情林泉的闲远心境融于尺幅之中，是深得仿古山水意韵的雅致小品。",[24,65,598,138,7,139,72,373,204,159,74,32,71,33,626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba88997e1c5b5c27221bff52124674f.jpg",[],{"id":5384,"slug":5385,"title":5386,"dynasty":199,"author":5387,"museum":62,"description":5388,"tags":5389,"thumbUrl":5391,"material":77,"size":77,"collection":77,"collections":5392,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[24,65,253,27,29,432,159,206,4740,5390,7,67],"伞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7897ca39a968a036ec4605782e1aa5.jpg",[],{"id":5394,"slug":5395,"title":5396,"dynasty":199,"author":4718,"museum":62,"description":5397,"tags":5398,"thumbUrl":5399,"material":77,"size":77,"collection":77,"collections":5400,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":150},234622,"wang-fang-fang-gua-chou-shan-shui-wan-shan-wang-fang-234622","汪昉仿瓜畴山水纨扇","汪昉（一七九九－一八七七），字叔明，号菽民，又号啜菽老人，江苏阳湖（今江苏常州）人。清书画家。\n他的仕途经历是道光二十四年（一八四四）举人，官至山东莱州府同知。豪饮善诙谐。初游汤贻汾幕中，与赵兰舟、费丹旭朝夕论画，因善山水。笔意松秀，墨法淹润，不失元人规矩。中年所作，邱壑浑成，树石苍润，颇臻妙境。惜晚年颓废，顿失奏致。书临赵孟頫，姿态秀逸，间作分、隶、尤精鉴赏。有《梦衲贪集》。卒年七十九。《武阳县志、墨林今话续编、桐阴论画、读画辑略、畊砚田斋笔记、清画家诗史》。\n汪昉的山水画在清代来说，属于“四王”正统画派的山水画；他的书法出自赵孟頫书风。读画史，能知道他是从元代文人画入手的，继攻“四王”，当时与以后的评论者评他的早年的山水是“笔意松秀，墨法淹润，不失元人矩矱。中年所作，邱壑浑成，树石苍润，颇臻妙境。”说他的书法，“姿态秀逸”。他的山水画受当时正统山水画派的一代领袖汤贻汾的影响很大。",[24,1794,72,27,139,7,74,432,159,204,626,71,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F903eaaac4280761f254d8a113782ecc4.jpg",[],{"id":5402,"slug":5403,"title":5404,"dynasty":199,"author":341,"museum":105,"description":5405,"tags":5406,"thumbUrl":5407,"material":77,"size":77,"collection":77,"collections":5408,"showCount":149,"zanCount":11,"manualWeight":54,"mainColor":150},234574,"fang-li-ying-qiu-shan-shui-shan-tang-dai-234574","仿李营丘山水扇","清代画家唐岱, 字毓东，号静岩，又号知生、爱庐、默庄。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。唐岱山水画初从焦秉贞",[108,24,65,1794,138,27,72,159,33,203,204,7,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca811aeb6574f8f643210f11bbff932.jpg",[],{"id":5410,"slug":5411,"title":5412,"dynasty":199,"author":5413,"museum":62,"description":5414,"tags":5415,"thumbUrl":5417,"material":333,"size":334,"collection":77,"collections":5418,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":55},230240,"qi-shu-tao-xiu-shi-qing-yi-lu-mo-ben-jin-nong-230240","漆书陶秀寔清异录（摹本）","金农","金农（1687年—1763年），男，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。",[23,68,5416,253,792,138,7,67],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0fb7392e84c663d10f1cf126c872e8.jpg",[],{"id":5420,"slug":5421,"title":5422,"dynasty":199,"author":949,"museum":62,"description":5423,"tags":5424,"thumbUrl":5425,"material":77,"size":77,"collection":77,"collections":5426,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":55},229013,"lin-dong-bei-yuan-xia-jing-shan-kou-dai-du-tu-wang-hui-229013","临董北苑夏景山口待渡图","此作用平远之法铺陈江南水泽盛景，平缓山峦层层延展，以淡墨披麻皴晕染，满缀苔点，尽显苍润温厚之态。河港萦回，洲渚错落，汀岸间茂林修竹扶苏成林，茅舍隐于林麓，野趣自生。渔舟泛于空蒙烟波，水鸟掠波而过，处处皆是夏日江南的安闲日常。\n\n整幅画作追摹南宗山水的平淡天真，以柔婉的笔调晕开湿润氤氲的夏山氛围，没有奇崛造势，只将江南水乡的沉静清和与田园诗意，融在烟水林峦之间，尽显秀雅浑融的古淡意境。",[23,24,65,25,7,72,33,71,75,881,139,27,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b35e298b8584b4bb63527842380557.jpg",[],{"id":5428,"slug":5429,"title":4229,"dynasty":18,"author":186,"museum":62,"description":5430,"tags":5431,"thumbUrl":5433,"material":77,"size":77,"collection":77,"collections":5434,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":55},228782,"fang-dong-yuan-xia-shan-tu-yi-ming-228782","此作以长卷铺展全景江南夏山，烟波平湖与层叠丘壑相映，尽显董源山水平淡天真之致。山峦以披麻皴缓笔写就，层层晕染，尽显丘壑深秀。洲渚间林木扶苏，村舍错落于山麓水滨，渔舟静泊浅滩，处处流露江南水乡的悠然野趣。\n\n用墨温润苍厚，设色古雅沉静，复刻出原作浑厚华滋的质感，将盛夏山林的蓊郁葱茏、水色天光的澹澹交融尽皆铺陈，整体意境清和悠远，带着宋初山水的平和生机，虽为摹古之作，却得江南山水的闲逸真味，尽显文人山水的雅淡风神。",[23,24,65,25,72,7,27,139,141,33,556,5432,31,32,772,75,71],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17443e12643edb2c4b0c7baa318363d.jpg",[],{"id":5436,"slug":5437,"title":5438,"dynasty":199,"author":4271,"museum":236,"description":5439,"tags":5440,"thumbUrl":5441,"material":572,"size":5442,"collection":651,"collections":5443,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[23,68,7,69,253,138,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff556acfc1627f56b921f8f01a944aefa.jpg","纵99.7cm，横32.2cm",[651],{"id":5445,"slug":5446,"title":5447,"dynasty":199,"author":341,"museum":236,"description":5448,"tags":5449,"thumbUrl":5450,"material":27,"size":5451,"collection":77,"collections":5452,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":150},223100,"fang-fan-kuan-hua-fu-zhou-tang-dai-223100","仿范宽画幅轴","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[23,24,65,253,986,27,139,7,419,704,432,142,3588],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0f7f8016183e9f28c29a883a1292e5.jpg","123.5x69.3",[],{"id":5454,"slug":5455,"title":5456,"dynasty":18,"author":5457,"museum":236,"description":5458,"tags":5459,"thumbUrl":5460,"material":508,"size":5461,"collection":77,"collections":5462,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":150},222450,"lin-wang-xi-zhi-shi-qi-tie-zhu-da-you-222450","临王羲之十七帖","朱大有","朱大友，字伯亨，号二峰，号摩诃山农。云梯朱氏十一世孙，朱凤长子。生于正德十年，幼时聪惠过人。九岁时，有客人过访，以雪梅命题，大有曰：“舞六出之，奇占百花之魁。”客人击节叹赏。稍长入泮，闻理学名家邹守益在宁国讲学，徒步从之。任职南都时，有人欲行贿拉拢关系，大有正色曰：“士正谊明道，未及事君而挟欺以往，可孚？”固却之。时择选士子入贡（即可获得做官的资格），学使欲以大有为选，大有请曰：“葛某老且贫，生不愿先之，”竟让给葛先生。嘉靖甲午年（1534）复应贡选，遇疾，五月二十五日卒，年仅30岁。妻段氏，子四，长一桂，太学生，任玉山县丞。次一松，次一柏，次一梧，廪生。万历六年（1578）五月，大有以子一松贵，诰封朱大有《赠朱一松之父进奉政大夫》，曰：\n“通今学古，弗显其身，式谷贻谋，克昌厥后，尔子服官，郡贰行矩，茂宣歆佩，廷纶益弘家祚。”朱大有，列入清代《宁国县志·儒林传》",[23,68,7,717,598,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287850a66f6702476ad07f74508848d7.jpg","29.2×35.9cm",[],{"id":5464,"slug":5465,"title":5466,"dynasty":18,"author":1536,"museum":105,"description":1537,"tags":5467,"thumbUrl":5470,"material":1540,"size":5471,"collection":77,"collections":5472,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":55},221892,"za-hua-tu-ce-yuan-pu-gui-fan-fang-zhao-da-nian-bi-yi-chen-hong-shou-221892","杂画图册-远浦归帆仿赵大年笔意",[23,24,65,598,27,7,72,5468,32,33,204,370,35,5469,4161],"帆船","归帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89652c7df9e003b24a0b39605e1aac93.jpg","纵30.2＊横25.1ＣＭ",[],{"id":5474,"slug":5475,"title":5476,"dynasty":18,"author":19,"museum":595,"description":1061,"tags":5477,"thumbUrl":5478,"material":47,"size":1064,"collection":77,"collections":5479,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":55},219771,"lin-song-ren-hua-ce-8-chou-ying-219771","临宋人画册-8",[24,65,598,27,26,7,72,29,124,30,33,2018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c01e223047281d3ec075c0fd6e28c4.jpg",[],{"id":5481,"slug":5482,"title":5483,"dynasty":199,"author":689,"museum":595,"description":5484,"tags":5485,"thumbUrl":5487,"material":77,"size":77,"collection":146,"collections":5488,"showCount":149,"zanCount":54,"manualWeight":54,"mainColor":5489},202166,"fang-ni-huang-shan-shui-tu-zhou-wang-yuan-qi-202166","仿倪黄山水图轴","这幅山水融倪瓒简远之致与黄公望苍劲之姿，笔墨以干笔淡墨层层皴染，尽显浑厚华滋。远处峰峦峭立，石质纹理借细腻皴法勾勒，松杉错落点染其间，山林苍劲之态毕现；近处松石交映，几间茅亭隐于林下，水面空濛如镜，衬出天地清旷意境。布局疏密得宜，意境静谧悠远，既承袭古贤笔意，又注入自身笔墨韵致，摹古中见新意。山石皴擦与点苔交织，林木萧疏与山峦厚重相映，传递出文人画沉潜淡远之味，似可闻松风轻拂，可观云气流转，尽展传统山水笔墨精髓与意境之美。",[72,139,138,5486,159,1698,74,7,555,23],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f08f1abe6aefea1a572ba56db200ce1.jpg",[146],"bcb8ae",{"id":5491,"slug":5492,"title":5493,"dynasty":801,"author":5494,"museum":62,"description":5495,"tags":5496,"thumbUrl":5498,"material":333,"size":334,"collection":77,"collections":5499,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":55},290397,"fang-mi-jia-shan-shui-tu-ke-luo-ban-fang-cong-yi-290397","仿米家山水图（珂罗版）","方从义","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。",[23,108,24,65,72,138,7,68,67,141,33,5497],"细雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc0ea8f998ae61227e0cbabed49e7d28.jpg",[],{"id":5501,"slug":5502,"title":5503,"dynasty":199,"author":949,"museum":62,"description":1608,"tags":5504,"thumbUrl":5505,"material":333,"size":334,"collection":77,"collections":5506,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":150},288501,"fang-fan-kuan-bu-meng-hao-ran-shi-yi-wang-hui-288501","仿范宽补孟浩然诗意",[24,138,986,7,139,253,72,30,31,32,74,2079,142,40,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c90cd07debb1bad00510702ae5c1bd.jpg",[],{"id":5508,"slug":5509,"title":5510,"dynasty":199,"author":5511,"museum":62,"description":5512,"tags":5513,"thumbUrl":5514,"material":333,"size":334,"collection":77,"collections":5515,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":150},287745,"fang-shi-xi-shan-shui-xiao-jun-xian-287745","仿石溪山水","萧俊贤","萧俊贤( 1865 -1949)字厔泉，号铁夫，别署天和逸人，斋名净念楼。湖南衡阳人。 早年从苍崖法师、沈咏荪学画 。应李瑞清聘，曾任教于两江优级师范学堂图画手工科 。民国初年居北京，曾任教于国立北平艺术专科学校 。晚年寓沪卖画为生 。长于山水，兼作花卉 。与萧逊并称为北京二萧 。作品有《碧海青天图》《溪山无尽图》《山居图》等 。",[24,65,253,138,72,7,141,1729,32,30,33,67,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62a7fe3e02728d888882ee1773d23ff.jpg",[],{"id":5517,"slug":5518,"title":5519,"dynasty":18,"author":186,"museum":62,"description":5520,"tags":5521,"thumbUrl":5522,"material":333,"size":334,"collection":77,"collections":5523,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":150},287340,"fang-li-gong-lin-shi-liu-luo-han-tu-yi-ming-287340","仿李公麟十六罗汉图","此作为白描长卷，以淡墨勾勒晕染，将山水丘壑与罗汉群像相融铺展。\n\n开篇题识后，烟波水岸渐入山林，罗汉与众侍者错落排布。人物神态各殊，或趺坐禅思，或执杖徐行，衣袂线条清劲圆润，尽得行云流水的古雅笔意，复刻出李公麟白描的隽秀韵致。山水以淡墨皴擦写就，层峦叠嶂间古木扶苏，云雾漫漤于崖谷之间，烘托出幽寂出尘的禅林之境。\n\n整卷气脉贯通，人物与山水呼应合宜，将罗汉清修的超脱意趣，与林泉雅境浑然相融，尽显明代仿古白描的精妙功底，沉静禅韵漫溢卷间。",[23,108,24,25,66,138,29,227,2037,7,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593803aadfe9432e1d644fbab419c044.jpg",[],{"id":5525,"slug":5526,"title":5527,"dynasty":18,"author":186,"museum":62,"description":5528,"tags":5529,"thumbUrl":5531,"material":333,"size":334,"collection":77,"collections":5532,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":55},287339,"fang-dai-song-mu-niu-tu-yi-ming-287339","仿戴嵩牧牛图","此作为平远长卷，水岸逶迤铺展，枯木寒林错落点缀其间。群牛或卧憩坡岸、或垂首饮水、或结伴闲行，姿态灵动各异，尽得山野牧群的悠然天真，复刻出戴嵩画牛的朴拙野趣。\n设色温润古雅，以淡赭晕染汀洲秋岸，墨色点簇林木、皴擦牛身，浅淡青绿缀出残叶新枝，晕开秋日郊野的清寂萧散。拖尾题跋与画意呼应，书画合璧，尽显追摹唐风画牧的古雅意趣，将田家放牧的日常景致，晕作一卷闲散清和的秋日郊居牧歌。",[23,24,25,27,65,396,72,1698,7,5530],"牧牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b948a588da2c82dd8401abd9e571ff6.jpg",[],{"id":5534,"slug":5535,"title":5536,"dynasty":18,"author":5172,"museum":62,"description":5537,"tags":5538,"thumbUrl":5539,"material":508,"size":77,"collection":307,"collections":5540,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":150},240927,"wu-kuan-deng-liu-jia-kai-shu-xie-jing-ji-li-dai-fa-shu-can-pian-ji-juan-yang-shen-240927","无款、等六家楷书写经及历代法书残片集卷","此卷合集残片，诸家笔墨风神各异。小楷写经端雅匀整，笔致清隽静穆，带着抄经时的沉虔；行草题跋则笔势跌宕纵横，铺陈出文人抒怀的疏放不羁。纸面虽有残损漫漶，墨色依旧沉厚温润，朱印斑驳晕开，晕染出岁月的古旧质感。残片拼接之间，牵系起散佚的文脉，将数代书家的伏案心境揉入长卷，既有敬谨的抄经笔意，亦有洒脱的论书闲情，古意盎然，墨迹里沉淀着悠悠时光的余温。",[23,463,69,792,189,717,68,509,25,408,303,67,2619,7,510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48729af0e433bd2120beb4512ee4c60d.jpg",[307],{"id":5542,"slug":5543,"title":5544,"dynasty":199,"author":2097,"museum":62,"description":2735,"tags":5545,"thumbUrl":5546,"material":333,"size":334,"collection":77,"collections":5547,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":150},240496,"wu-chang-shuo-lin-shi-gu-wen-zhou-wu-chang-shuo-240496","吴昌硕临石鼓文轴",[68,189,7,253,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971c026c7c3ff4c8af0992a74475ed80.jpg",[],{"id":5549,"slug":5550,"title":5551,"dynasty":199,"author":5552,"museum":62,"description":5553,"tags":5554,"thumbUrl":5555,"material":333,"size":334,"collection":77,"collections":5556,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":150},240465,"lin-mi-tie-zhou-zhao-zhi-qian-240465","临米帖轴","赵之谦","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。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》。",[68,253,69,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda18544c74d9e060860a196c66f8ef0e.jpg",[],{"id":5558,"slug":5559,"title":5560,"dynasty":199,"author":5552,"museum":62,"description":5553,"tags":5561,"thumbUrl":5562,"material":333,"size":334,"collection":77,"collections":5563,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":150},240428,"si-ti-shu-lin-bei-ping-zhao-zhi-qian-240428","四体书临碑屏",[68,7,189,792,463,69,253,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40210c999f1f822e95b642f197823213.jpg",[],{"id":5565,"slug":5566,"title":1803,"dynasty":199,"author":689,"museum":62,"description":1804,"tags":5567,"thumbUrl":5568,"material":508,"size":1807,"collection":77,"collections":5569,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":150},234895,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234895",[24,65,598,27,139,7,69,67,72,31,32,33,30,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd041938481266e5261f5879a6dd0ddf8.jpg",[],{"id":5571,"slug":5572,"title":5034,"dynasty":18,"author":1966,"museum":62,"description":3635,"tags":5573,"thumbUrl":5574,"material":77,"size":77,"collection":77,"collections":5575,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":150},234630,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234630",[24,65,1794,72,138,139,7,419,432,203,204,4429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581d8b3fe9cac690ab9750926dfbb899.jpg",[],{"id":5577,"slug":5578,"title":5579,"dynasty":2182,"author":5580,"museum":62,"description":5581,"tags":5582,"thumbUr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人物卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,25,66,138,27,29,7,5390,4139,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977772ee9845f5249c7c8fc7091771f5.jpg",[],{"id":5586,"slug":5587,"title":5588,"dynasty":801,"author":5589,"museum":105,"description":5590,"tags":5591,"thumbUrl":5592,"material":508,"size":5593,"collection":77,"collections":5594,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":150},231562,"lin-shi-qi-tie-ye-kang-li-nao-nao-231562","临十七帖页","康里巎巎","释文：\n严君平、司马相如、杨子云皆有后不？胡母氏从妹平安，故在永兴居去此七十也。吾在官诸理极差，顷比复勿来示云与其婢问来信不得也。\n吾有七儿一女，皆同生，婚娶以毕，唯一少者尚未婚耳。过此一婚，便得至彼，今内外孙有十六人，足慰目前，足下情至委屈，故具示。\n云谯周有孙，高尚不出。今为所在，其人有以副此志不？令人依依，足下具示。\n此有汉时讲堂在，是汉何帝时立此？知画三皇五帝以来备有，画又精妙，甚可观也。彼有能画者不，欲因摹取，当可得不？信具告。\n诸从并数有问，粗平安。唯修载在远，音问不数，悬情。司州疾笃，不果西公，私可恨。足下所云，皆尽事势，吾无间然，诸问想足下别具，不复一一。（后楷书小字）去岁在上都时所临，殊未能得其万一耳。康里巎记。\n下钤“子山”朱文印。帖前楷书题签“康里承旨巎”。无题跋。鉴藏印钤清宋犖“宋犖审定”一方。\n《临十七帖》是康里巎巎节临晋代王羲之草书《十七帖》中的五帖。此帖为淡蓝色纸本，纸质坚凝，字体修长，笔画遒媚，转折流便，技艺娴熟，于迅疾的书写中既体现出王羲之草书的秀媚洒脱，又不失临者本人的稳健风格。",[23,68,7,717,598,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fbd4da4eff6d76ce89c6113a9b0dec8.jpg","纵28.5厘米，横42.6厘米、48.8厘米",[],{"id":5596,"slug":5597,"title":5598,"dynasty":199,"author":5599,"museum":495,"description":5600,"tags":5601,"thumbUrl":5602,"material":2882,"size":5603,"collection":77,"collections":5604,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":150},231348,"fang-wu-zhong-gui-shan-shui-tu-pu-hua-231348","仿吴仲圭山水图","蒲华","峡江峻岭，山林葱茂，渔人垂钓，一派水国风光。用笔粗犷，气势豪放。自识“霜落蒹葭水国寒，浪花云影上渔竿。画成未拟将人去，茶熟香温且自看。写仲圭诗意，蒲华”。",[23,24,65,138,27,139,7,72,71,893,432,159,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b812ad538091df8d2f313f8cd5e494.jpg","167cmx92cm",[],{"id":5606,"slug":5607,"title":1070,"dynasty":199,"author":5608,"museum":62,"description":5609,"tags":5610,"thumbUrl":5611,"material":77,"size":77,"collection":77,"collections":5612,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":55},231044,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-231044","祁豸佳","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。",[23,24,65,108,253,138,139,7,72,345,159,203,33,29,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35687a3671f968ebd0831c6a02b9d7bd.jpg",[],{"id":5614,"slug":5615,"title":5616,"dynasty":199,"author":949,"museum":62,"description":5617,"tags":5618,"thumbUrl":5619,"material":77,"size":77,"collection":77,"collections":5620,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":900},231000,"fang-dong-bei-yuan-shan-shui-tu-wang-hui-231000","仿董北苑山水图","此作以披麻皴写山峦层叠，淡墨晕染出烟雨空濛的江南氤氲之态，高远与平远景致相融，铺陈出山水的幽深阔远。苍松杂木错落点缀于岩岫间，山脚村居田舍隐现，将烟火气融于林泉丘壑，让幽寂山水多了几分温润生机。\n笔墨苍秀温润，皴擦尽显山石浑厚质感，淡墨轻染晕化出云气浮动的朦胧意境，既保有师法对象的平淡天真，又糅合自身清丽工致的笔意，将江南山水的静穆悠远诠释尽致，氤氲出文人山水独有的雅致闲澹之韵。",[23,24,65,72,138,139,7,344,33,159,142,348,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42c82dcbca07f113bc6bb5f1e5aee9.jpg",[],{"id":5622,"slug":5623,"title":5624,"dynasty":199,"author":472,"museum":62,"description":5625,"tags":5626,"thumbUrl":5629,"material":77,"size":77,"collection":77,"collections":5630,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":55},230175,"shu-hua-shi-liu-kai-wang-shi-min-230175","书画十六开","此作用笔追法黄公望，山峦以披麻皴层层写就，浑厚苍润，尽显元人山水的沉古意趣。画面铺陈开阔，层峦叠嶂间飞泉直下，板桥连缀幽境，水畔村舍错落排布，山居人家隐于林木蓊郁的山坳里。\n\n淡施青绿晕染山石，糅合秀润与苍劲，整体意境静谧悠然。笔墨松秀温润，于摹古之中自出风神，将林泉雅逸的林下之趣藏于错落景致间，铺展出一派安闲淡远的世外山居图景。",[24,108,598,986,327,27,5073,141,5627,31,32,2578,1698,3774,5628,7],"飞泉","静谧悠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4b15bc29a9bde98e7a633ac4b782f6.jpg",[],{"id":5632,"slug":5633,"title":5634,"dynasty":801,"author":5635,"museum":62,"description":5636,"tags":5637,"thumbUrl":5638,"material":77,"size":77,"collection":77,"collections":5639,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":150},228074,"lin-ji-jiu-zhang-deng-wen-yuan-228074","临急就章","邓文原","《章草急就章等》，是 28年出版的图书，作者是 。\n本书是历代法书真迹萃编系列之一。\n《章草急就章等(元·邓文原法书选)》是历代法书真迹萃编系列之一。\n出版社: 黄山书社; 第1版 (28年12月1日) 丛书名: 历代法书真迹萃编 平装: 2页 正文语种: 简体中文 开本: 8 ISBN: 978754611781, 754611786 条形码: 978754611781 尺寸: .2 2.4 .8 cm 重量: 181 g 邓文原（1258-128年），元代书法家。\n字善之，一字匪石，人称素履先生。\n绵州（今四川绵阳）人。\n年十五，通《春秋》。\n至元二十七年（129），辟为杭州路儒学正。\n至治二年（122），召为集贤直学士，兼 。\n泰定二年（125），召拜翰林侍讲学士。\n谱文肃。\n翰墨擅名一代，尤工于笔札，与赵孟俯齐名。\n其正、行、草书早期法二王，后法李北海（邕），章草亦颇具特色，与皇象、索靖的质朴相比，他更流利矫健，神采飞动。\n传世书迹有：《杖锡见过帖》、《与本斋札》、章草代表作《临急就章》等。\n着有《巴西文集》、《内制集》、《素履斋藁》等。\n邓文原《章草急就章》为纸本，纵2.厘米，横98.7厘米；《行书伯夷颂帖》为纸本，纵2.7厘米，横4.9厘米；《行书家书帖》为纸本，纵24.2厘米，横29.1厘米；《行书家书帖》为纸本，纵1.2厘米，横4.5厘米。\n以上作品均藏于北京故宫博物馆。\n书法，指有较高艺术水平的书法作品。\n古代将书写于缣楮纸帛而有法度的书法作品均称“法书”，或称“书”。\n《书法三味》：“作字之要，下笔须沉着，虽一点一画之间，皆须三过其笔，方为法书。\n”北宋王安石有“好事所传玩，空残法书帖”诗句。\n今通称所作之书法作品为法书，还含有尊重作者之意。",[23,68,7,25,717,67,2619,408,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa768e24b1772d5da23b0f42ad8116b23.jpg",[],{"id":5641,"slug":5642,"title":5643,"dynasty":2182,"author":2183,"museum":62,"description":2184,"tags":5644,"thumbUrl":5654,"material":333,"size":334,"collection":2192,"collections":5655,"showCount":194,"zanCount":54,"manualWeight":54,"mainColor":55},225782,"night-after-millet-october-fan-gao-225782","Night (after Millet) (October - 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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。",[68,717,253,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a389b7bd264016e98b3679d321c074.jpg",[],{"id":5766,"slug":5767,"title":5768,"dynasty":199,"author":5769,"museum":62,"description":5770,"tags":5771,"thumbUrl":5772,"material":508,"size":77,"collection":307,"collections":5773,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[189,7,253,68,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08471c9e2ebbf0c7e75b3138a6e6d572.jpg",[307],{"id":5775,"slug":5776,"title":5777,"dynasty":199,"author":186,"museum":236,"description":5778,"tags":5779,"thumbUrl":5780,"material":508,"size":3465,"collection":307,"collections":5781,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},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）。",[68,24,65,253,69,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb221427162600041caae8c71e692323b.jpg",[307],{"id":5783,"slug":5784,"title":5785,"dynasty":199,"author":5552,"museum":62,"description":5553,"tags":5786,"thumbUrl":5787,"material":333,"size":334,"collection":77,"collections":5788,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},240407,"lin-liu-meng-yang-bei-wen-wan-shan-zhao-zhi-qian-240407","临刘孟阳碑文纨扇",[199,65,1794,68,7,792],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c500433b2d0849583d367f56483574.jpg",[],{"id":5790,"slug":5791,"title":5792,"dynasty":18,"author":4093,"museum":105,"description":5793,"tags":5794,"thumbUrl":5795,"material":508,"size":5796,"collection":307,"collections":5797,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[24,65,253,138,7,67,717,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233a266b423f33da1daefa6f4209a229.jpg","175.5×25.4厘米",[307],{"id":5799,"slug":5800,"title":5801,"dynasty":199,"author":5802,"museum":62,"description":5803,"tags":5804,"thumbUrl":5805,"material":77,"size":77,"collection":307,"collections":5806,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},240312,"jie-lin-dong-qi-chang-lan-ting-xu-ye-li-shang-lin-240312","节临董其昌兰亭序页","李上林","李上林，江南如皋（今江蘇省如皋市）人。監生，明萬曆年間（1573年～1620年）以德州同知委署新泰。\n愛民如子，當時正值歲歉，請求賑濟，先向鄰縣借來粟米，新泰縣民賴以保全性命。不久對本縣進行改革：“除無名之費，定徵輸之條，嚴治左右，寬恤裏甲，修築石城，杜絕開採。”又置公學田地三頃八十二畝。李在任五年間，“桑麻遍野，邑無逃亡。”本縣士民為之立生祠祀之。祀《名宦》。李工詩，其步高如山韻所作《秋日登新甫山有感》詩刻於蓮花山雲孤寺正殿西溪摩崖之上，至今清晰可見",[68,69,7,67,419,892,893,420,704,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069cf3c2e28e5b843e3ea77d2e4b3a7.jpg",[307],{"id":5808,"slug":5809,"title":5810,"dynasty":199,"author":5811,"museum":62,"description":5812,"tags":5813,"thumbUrl":5814,"material":77,"size":77,"collection":307,"collections":5815,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[68,69,7,253,138,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b7e2ca2c826c74211a9ec0588bd13c.jpg",[307],{"id":5817,"slug":5818,"title":5819,"dynasty":199,"author":5820,"museum":62,"description":5821,"tags":5822,"thumbUrl":5823,"material":77,"size":77,"collection":307,"collections":5824,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},239978,"zhuan-shu-mo-zhou-zi-zhong-zhou-wu-ting-kang-239978","篆书摹周子钟轴","吴廷康","此作用笔沉实厚重，顿挫之间筋骨尽显，结体方正宽博，将汉隶的舒展开张与北碑的雄健浑融一体，尽显古拙朴茂的金石意趣。红格界栏使得行列齐整肃穆，左侧题款灵动跳脱，与正文形成虚实相映的视觉层次。墨色匀净饱满，气息沉静醇雅，既恪守原碑的法度神韵，又融入自身笔底意趣，尽显对汉代金石气象的追慕与再创造，整体浑穆静雅，兼具庙堂端方与文人意韵。",[189,7,253,68,65,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ab9c912e706c8feb729839d9431403.jpg",[307],{"id":5826,"slug":5827,"title":5828,"dynasty":18,"author":5829,"museum":62,"description":5830,"tags":5831,"thumbUrl":5832,"material":77,"size":77,"collection":307,"collections":5833,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},239802,"lin-lan-ting-xu-ye-yuan-yu-ling-239802","临兰亭序页","袁于令","袁于令（1592-1672年），本名原晋，字昭令，小字韫玉，号吉衣主人，苏州吴县（今江苏省苏州市）人。明末清初戏曲家、小说家。\n明末，进入国子监读书。清兵入关后，任工部虞衡司主事、营缮司员外郎等职。顺治五年，升任荆州知府。顺治十年（1653），罢官，侨寓江宁、会稽。\n康熙十一年，去世，时年八十一岁。著作有《剑啸阁传奇》《双莺传》《隋史遗文》等。",[1709,68,65,69,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19491f91c785a89387d5a989a58924e.jpg",[307],{"id":5835,"slug":5836,"title":5837,"dynasty":299,"author":186,"museum":62,"description":5838,"tags":5839,"thumbUrl":5840,"material":77,"size":77,"collection":307,"collections":5841,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},239678,"wu-kuan-lin-huang-ting-jing-juan-yi-ming-239678","无款临黄庭经卷","《黄庭经》又名《老子黄庭经》，是道教养生修仙专著；内容包括《黄庭外景玉经》和《黄庭内景玉经》；两晋年间，新增《中景经》。作者为天师道魏华存。",[23,108,24,65,25,7,68,509,463,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022c0ac9cc33476cc3f99a6ea7b37644.jpg",[307],{"id":5843,"slug":5844,"title":5845,"dynasty":18,"author":186,"museum":62,"description":5846,"tags":5847,"thumbUrl":5848,"material":333,"size":334,"collection":77,"collections":5849,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},239357,"ming-ren-fang-huang-gong-wang-jiu-feng-xue-ji-tu-juan-yi-ming-239357","明人仿黄公望九峰雪霁图卷","此作以水墨晕开雪后丘壑，留白铺陈皑皑雪意，山峦素裹、枯木错落，村居隐于岩畔，萧寒清寂尽现冬日山林的荒寒淡远。长卷书画合璧，题跋行笔苍劲雅致，文辞与山水意趣相融，托寄文人静穆观照的审美本心。\n\n仿作追摹原作的极简萧寒，以淡墨晕染山石肌理，以空为雪，尽显元人山水萧散简远之致，借古抒怀，以笔墨写胸中丘壑，将群峰雪后岑寂空灵的意境复刻淋漓，尽显文人山水的雅逸风神，是一件颇具意韵的仿古佳制。",[23,24,65,25,138,139,7,68,69,67,72,344,1832,33,346,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1ba8894fb65bed006c1b198de90cf2.jpg",[],{"id":5851,"slug":5852,"title":1584,"dynasty":199,"author":1585,"museum":62,"description":1586,"tags":5853,"thumbUrl":5854,"material":77,"size":77,"collection":77,"collections":5855,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},237880,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237880",[24,65,598,138,27,72,893,432,140,69,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61175dbfe080a1ad3dc87a345d7c1ae4.jpg",[],{"id":5857,"slug":5858,"title":1584,"dynasty":199,"author":1585,"museum":62,"description":1586,"tags":5859,"thumbUrl":5860,"material":77,"size":77,"collection":77,"collections":5861,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},237878,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237878",[24,65,598,138,139,7,72,31,32,73,140,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9624ef0bbef52c8f0aaf71b18b601c96.jpg",[],{"id":5863,"slug":5864,"title":5865,"dynasty":18,"author":5866,"museum":62,"description":5867,"tags":5868,"thumbUrl":5869,"material":333,"size":334,"collection":77,"collections":5870,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},237844,"fang-huang-gong-wang-shan-shui-shan-sheng-dan-237844","仿黄公望山水扇","盛丹","盛丹，明代画家。字伯含，金陵（今南京）人。工画山水、花卉、兰竹等。山水得黄公望笔墨之法，萧疏风致。传世作品有《拟唐棣山水册页》等。",[24,65,1794,138,139,7,72,74,432,704,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be4664a340f3b42f11f52ed49c37e5.jpg",[],{"id":5872,"slug":5873,"title":5874,"dynasty":199,"author":5875,"museum":62,"description":5876,"tags":5877,"thumbUrl":5878,"material":333,"size":334,"collection":146,"collections":5879,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},237640,"li-yin-fang-gu-shan-shui-ce-li-yin-237640","李寅仿古山水册","李寅","李寅，清代扬州画家，字白也，号东柯，江都（今江苏扬州）人，擅画山水，楼阁及花鸟，画风工细，设色娟妍。",[24,65,598,138,69,7,72,71,30,67,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d15916e4360359e76199e98391e0ee.jpg",[146,1210],{"id":5881,"slug":5882,"title":3867,"dynasty":199,"author":689,"museum":62,"description":5883,"tags":5884,"thumbUrl":5885,"material":77,"size":77,"collection":77,"collections":5886,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},236866,"shan-shui-ce-wang-yuan-qi-236866","此帧以淡墨起笔，层层积染皴擦。近渚佳木疏朗挺秀，坡石间细流萦回；中峦云气轻笼，林麓错落藏幽；远峰浑厚朴拙，隐现烟岚之中。以干笔积墨追摹巨然笔意，苔点错落缀于峰峦林梢，墨色由浅及深，反复皴擦间尽显苍润沉雄。既复刻出江南山水的平淡天真，又以自家沉郁的笔墨个性，晕染出静穆悠深的文人逸韵，将古雅的南宗山水意趣，藏进层叠丘壑之间，尽显师法古人而自出机杼的笔墨功力。",[24,65,598,138,72,159,33,893,139,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed35309f91b562ef90167795d98467a8.jpg",[],{"id":5888,"slug":5889,"title":1607,"dynasty":199,"author":186,"museum":62,"description":5890,"tags":5891,"thumbUrl":5892,"material":77,"size":77,"collection":77,"collections":5893,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},236068,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236068","以淡墨晕开烟岚，将山峦笼在轻霭之中，主峰巍峨苍润，苔点皴擦勾勒出山石古拙肌理，尽显厚重质感。山腰松林攒簇，枝桠灵动似携山风簌簌有声。幽谷间村舍隐于林木，流泉绕石潺湲，将山居野逸之趣藏于尺幅之间。\n\n此作用笔兼取干湿，干笔皴擦见山石苍劲，湿墨晕染铺就空濛底色，浅淡设色含蓄温润，暗合宋元山水的林下余韵，将江南山水的温润空濛凝缩于册页。不见雕琢匠气，只留幽寂淡远的文人意趣，观之便如身临空山，听松涛泉响，涤尽俗尘。",[24,65,598,138,139,7,72,159,33,142,32,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdcf654195c2227b0a54329bda003c3.jpg",[],{"id":5895,"slug":5896,"title":5897,"dynasty":18,"author":5898,"museum":62,"description":5899,"tags":5900,"thumbUrl":5901,"material":77,"size":77,"collection":77,"collections":5902,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},236024,"ren-wu-tu-ce-mo-shi-he-zhou-fa-wen-nan-shou-mao-weng-236024","人物图册－摹失和州法","文柟寿茂翁","此作以淡墨轻色铺陈园林幽境，陂岸蜿蜒，修竹掩映水榭，塘间清寂空阔。持杖老者缓行于岸侧，衣袂飘然，似乘闲寻幽，将林泉漫步的安闲意趣晕染开来。\n\n画面留白疏朗，笔致松秀简淡，以极简笔墨勾勒出清旷雅致的隐逸氛围。搭配左侧行书题诗，诗书合璧，尽显文雅。整体淡远冲和，将文人寄情山水、耽于丘园的雅怀融于尺幅间，意韵悠长，尽显文人画抒情寄兴的悠然风貌。",[24,65,598,27,138,7,69,29,893,38,207,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74c819dd7ff3bc5f315bc7c0fcf5cac.jpg",[],{"id":5904,"slug":5905,"title":5906,"dynasty":18,"author":1881,"museum":62,"description":5907,"tags":5908,"thumbUrl":5909,"material":333,"size":334,"collection":77,"collections":5910,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},235953,"fang-wu-zhen-shan-shui-shan-chen-chun-235953","仿吴镇山水扇","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。",[1794,24,138,72,432,74,67,7,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649442b846db5f45bd2a309255d302df.jpg",[],{"id":5912,"slug":5913,"title":2406,"dynasty":199,"author":416,"museum":62,"description":2726,"tags":5914,"thumbUrl":5915,"material":333,"size":334,"collection":77,"collections":5916,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},235344,"fang-gu-shu-hua-ce-wang-jian-235344",[24,65,598,27,138,72,31,32,74,33,159,203,68,67,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802836747d6adab8d34e77331c97266c.jpg",[],{"id":5918,"slug":5919,"title":1607,"dynasty":199,"author":949,"museum":62,"description":1608,"tags":5920,"thumbUrl":5921,"material":333,"size":334,"collection":77,"collections":5922,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},234963,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234963",[24,65,598,138,139,7,72,432,31,32,203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c2256c7c79abd27570bee507128938.jpg",[],{"id":5924,"slug":5925,"title":1204,"dynasty":199,"author":1205,"museum":62,"description":1206,"tags":5926,"thumbUrl":5927,"material":77,"size":77,"collection":77,"collections":5928,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},234375,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234375",[108,24,65,598,27,610,612,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed3d14cfc337364087a6973bd38032ad.jpg",[],{"id":5930,"slug":5931,"title":5932,"dynasty":199,"author":5933,"museum":62,"description":5934,"tags":5935,"thumbUrl":5936,"material":77,"size":77,"collection":77,"collections":5937,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},232857,"lin-ma-gu-xuan-zi-tan-yan-kai-232857","临麻姑选字","谭延闿","谭延闿（1876年-1930年），字组庵，湖南茶陵县人，1876年生，是中国现代史上的风云人物，1904年中进士、他二十八岁点翰林，授翰林院编修，后与时偕行，支持立宪；辛亥鼎革，又赞成革命，追随孙中山，后与汪精卫合作，又与蒋介石结盟，直至逝世。且广交游，有“药中甘草”之誉；能治军，曾多次领军征讨，有“翰林将军”之称；善书法，为民国颜体第一人，时人以得其只字片纸为荣；喜吟咏，著有《祖盦诗集》、《慈卫室诗草》、《祖盦诗稿》等。故颇值得一书。\n谭延闿的书法师鲁公，其楷书点如坠石，画如夏云，钩如屈金，戈如发弩，竖画多用悬针法，起笔沉着稳重，顿挫有力，使人感到貌丰骨劲，味厚神藏。一洗清初书坛姿媚之态，所不足者，少自家面目。其行书功深厚，变化灵巧，笔笔中锋，笔锋于纸能藏锋力透，有大气磅礴之势。于右任先生每论时人书法时必曰：“谭祖安是有真本领的。”马宗霍评其书云：“祖安早岁仿刘石庵，中年专意钱南园、翁松禅两家，晚参米南宫，骨力雄厚，可谓健笔。”他的行书是将刘石庵与钱南园相互熔于一炉。其点画之丰满圆润、挥洒从容乃似石庵，而浑健苍劲，体势阔疏朗，气势夺人处又似南园。谭延闿是进士出身，入翰林院，有很高的学养。能巧妙地从前人书中吸收营养，从而形成了自己宽博温厚、含蕴性灵、雄健开阔的韵致。此谓百学不能至也。",[3418,463,7,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6295e6928d0f2d5cae5d1d07b857066.jpg",[],{"id":5939,"slug":5940,"title":5941,"dynasty":199,"author":186,"museum":62,"description":5942,"tags":5943,"thumbUrl":5944,"material":77,"size":77,"collection":77,"collections":5945,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":55},232795,"zhuan-shu-shi-gu-wen-yi-ming-232795","篆书石鼓文","吴昌硕（1844 —1927）原名俊，字昌硕，别号缶庐、苦铁等，浙江安吉人。我国近、现代书画艺术发展过渡时期的关键人物，诗、书、画、印四绝的一代宗师，晚清民国时期著名国画家、书法家、篆刻家，与任伯年、赵之谦、虚谷齐名为清末海派四大家。吴昌硕的艺术别辟蹊径、贵于创造，最擅长写意花卉，他以书法入画，把书法、篆刻的行笔、运刀、章法融入绘画，形成富有金石味的独特画风。他以篆笔写梅兰，狂草作葡萄，所作花卉木石，笔力敦厚老辣、纵横恣肆、气势雄强，构图也近书印的章法布白，虚实相生、主体突出，画面用色对比强烈。",[189,303,68,7,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2125d5506b811196a7328912ad9d59f.jpg",[],{"id":5947,"slug":5948,"title":5949,"dynasty":199,"author":949,"museum":236,"description":5950,"tags":5951,"thumbUrl":5952,"material":434,"size":5953,"collection":77,"collections":5954,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":55},231371,"lin-fan-kuan-xue-shan-tu-wang-hui-231371","临范宽雪山图","从构图上看，中景占大部分画面，主峰和侧峰是由许多山体组成，且几乎没有平远。是清初「四王」的风格。\n山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。是王翚的笔墨特点。\n王翚的笔墨特点：构图学习宋人， 运笔学习元人。由于师承古人学习各类画家笔墨技巧多样化，用笔极灵活。\n早年时期工整俊秀，尖笔，细笔较多。因为学习黄公望，构图上较沉闷。中年以后，在王时敏处遍临古画，技艺集各家技法突飞猛进。将李成，吴镇等的树法，王蒙，黄公望等的皴法交替使用，变化多且运用恰当。繁密精致，峭拔挺秀，渲染皴笔配合恰当。也可以说他是集大成。\n同为「四王」中的王原祁曾评论王翚技巧过熟。因为笔法变化太多，画面缺少统一感。构图繁复，墨色也会缺少变化。",[108,24,65,7,139,138,27,72,1988,159,33,38,952,373,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","187.7x115.5厘米",[],{"id":5956,"slug":5957,"title":5958,"dynasty":801,"author":5959,"museum":62,"description":5960,"tags":5961,"thumbUrl":5962,"material":77,"size":77,"collection":77,"collections":5963,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},230876,"mo-lan-ting-xu-tie-lu-ji-shan-230876","摹兰亭叙帖","陆继善","此作用笔温润秀劲，结体端雅和融，将兰亭萧散简远的魏晋风神复刻传神。字字牵丝映带，气息悠然连贯，既恪守原作笔法骨架，又自蕴元人尚韵的温润气质。\n\n后附题跋笔意苍秀沉稳，评此摹本足胜世传唐摹，足见作者临池功力精湛。整卷以行书成篇，虽为临摹之作，却自具清雅隽永的书卷意蕴，尽显追慕晋唐、崇尚古法的风尚，笔底藏晋人疏朗散淡的林下之风，墨间晕染元人温润雅致的书卷气息，雅致动人。",[68,69,7,67,408,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28cad6443a91a4dd24e603cf0928363.jpg",[],{"id":5965,"slug":5966,"title":5967,"dynasty":199,"author":5371,"museum":62,"description":5968,"tags":5969,"thumbUrl":5970,"material":77,"size":77,"collection":77,"collections":5971,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[65,68,7,69,67,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ef0f3ca30d0cf598235f4bd246e0c6.jpg",[],{"id":5973,"slug":5974,"title":5042,"dynasty":18,"author":3975,"museum":62,"description":5975,"tags":5976,"thumbUrl":5977,"material":77,"size":77,"collection":77,"collections":5978,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},228489,"fang-gu-shan-shui-ce-yun-xiang-228489","此作用笔松秀简净，以浅淡青绿晕染远山，烟岚轻笼山峦，将春山晕化为朦胧柔美的黛色剪影，悠远空寂。近岸老树虬枝舒展，枯荣相衬，坡岸错落间水面静敛，渔舟横陈，村舍掩映在淡雾中，江南平畴的清寂春景宛在眼前。\n\n画作师法宋元古意，以淡墨浅彩营造出空灵简淡的意境，不着意雕琢刻画，将山水的静穆生机融于氤氲烟霭里，尽显文人画冲和淡远的审美意趣，悠悠古意随淡彩墨韵漫开，藏着文人寄情林泉的悠然意绪。",[24,65,598,27,327,72,7,139,71,73,159,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d9cd7eb052e45097c71bd2f625593c.jpg",[],{"id":5980,"slug":5981,"title":5982,"dynasty":199,"author":2636,"museum":62,"description":5983,"tags":5984,"thumbUrl":5985,"material":333,"size":334,"collection":77,"collections":5986,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},224287,"lin-ge-tie-fu-shan-224287","临阁帖","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。",[23,68,717,7,253,67,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b00119cc30f6fed906fc16545f664b9.jpg",[],{"id":5988,"slug":5989,"title":5990,"dynasty":85,"author":186,"museum":62,"description":5991,"tags":5992,"thumbUrl":5993,"material":508,"size":77,"collection":307,"collections":5994,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},223371,"lan-ting-ba-zhu-di-er-mi-ti-shi-ben-yi-ming-223371","兰亭八柱第二米题诗本","《米芾诗题本》旧传为唐代褚遂良所摹，因卷前项元汴标题“褚摹王羲之兰亭帖”而被简称为“褚摹兰亭”，但这种说法未必正确。有人认为该卷是北宋摹本。清代卞永誉在题跋中肯定此卷是临本而非摹本，但仍认为出自褚遂良手笔。",[23,65,25,69,67,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd40294b9307954a81a1c3c7c6091cf.jpg",[307],{"id":5996,"slug":5997,"title":5998,"dynasty":18,"author":19,"museum":595,"description":1061,"tags":5999,"thumbUrl":6001,"material":47,"size":1064,"collection":77,"collections":6002,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":55},219775,"lin-song-ren-hua-ce-5-chou-ying-219775","临宋人画册-5",[108,24,65,598,7,26,27,29,432,6000,67,91],"笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f32ec388d89fd1d93e5c56ca3a2303a.jpg",[],{"id":6004,"slug":6005,"title":6006,"dynasty":18,"author":19,"museum":595,"description":1061,"tags":6007,"thumbUrl":6008,"material":47,"size":1064,"collection":77,"collections":6009,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":55},219768,"lin-song-ren-hua-ce-11-chou-ying-219768","临宋人画册-11",[24,65,1794,7,27,26,29,74,33,2540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc468dfb839584e25cdb34a8e1326213a.jpg",[],{"id":6011,"slug":6012,"title":6013,"dynasty":18,"author":19,"museum":595,"description":1061,"tags":6014,"thumbUrl":6016,"material":47,"size":1064,"collection":77,"collections":6017,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":55},219767,"lin-song-ren-hua-ce-12-chou-ying-219767","临宋人画册-12",[24,26,27,7,29,124,159,6015],"帐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b5d1447034db6a543ee9cff676a1b2.jpg",[],{"id":6019,"slug":6020,"title":6021,"dynasty":18,"author":19,"museum":595,"description":1061,"tags":6022,"thumbUrl":6023,"material":47,"size":1064,"collection":77,"collections":6024,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":55},219764,"lin-song-ren-hua-ce-14-chou-ying-219764","临宋人画册-14",[24,65,598,28,26,27,7,30,71,72,33,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022ce06c0e081f771f4d673e5d15bed6.jpg",[],{"id":6026,"slug":6027,"title":6028,"dynasty":199,"author":416,"museum":250,"description":6029,"tags":6030,"thumbUrl":6031,"material":144,"size":77,"collection":77,"collections":6032,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},215023,"fang-gu-shan-shui-ce-7-wang-jian-215023","仿古山水册-7","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[24,138,139,598,7,72,345,74,32,159,203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb65c5f001cf69f851fc2a2bceec7948c.jpg",[],{"id":6034,"slug":6035,"title":6036,"dynasty":18,"author":1536,"museum":250,"description":6037,"tags":6038,"thumbUrl":6039,"material":163,"size":6040,"collection":77,"collections":6041,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},214536,"mo-gu-ce-ye-13-chen-hong-shou-214536","摹古册页-13","枯笔疏枝，墨痕淡染，古意自泛黄纸页间漫溢。线条如铁线般刚劲，却藏秀逸之姿，枝桠转折处似含篆隶笔意，笔笔见骨。空寂背景里，枯树立于浅坡，旁侧小景以淡墨点染，简约却含生机。虽为摹古却不泥古：疏朗构图中留白写意，枯树孤高无萧瑟，反透沉静文人风骨。寥寥数笔尽得简远之趣，墨色浓淡相宜，将古雅气韵与个人情致融于方寸册页，观之如对古贤，心生悠然。",[24,65,598,138,66,72,373,140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3781e162f368d0027eca7a9341d03d1.jpg","17.8x17.8cm",[],{"id":6043,"slug":6044,"title":6045,"dynasty":18,"author":1536,"museum":250,"description":6046,"tags":6047,"thumbUrl":6048,"material":163,"size":6040,"collection":77,"collections":6049,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":150},214535,"mo-gu-ce-ye-14-chen-hong-shou-214535","摹古册页-14","细劲墨线勾勒花叶轮廓，如铁线银钩般挺括却不失婉转，每一笔都沉淀着沉静力道。花叶造型略带古拙变形，非写实摹写，却于简约间藏天真意趣——花瓣舒展似有微风轻拂，叶片脉络清晰可辨，小虫匍匐其上，灵动得仿佛能听见细微窸窣。垂落的丝带弧度柔和，与硬朗线条形成对比，添了几分雅致。整幅画墨色淡雅，构图疏朗，虽为摹古却融入独特审美，古意与个人情韵交织，静静铺展成一方清雅文人小景，观之令人心宁神静，沉醉于那份穿越时光的静谧与雅致。",[24,65,598,66,7,67,974,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0accc7ee1c8e580687fbcff8e47c6cc2.jpg",[],{"id":6051,"slug":6052,"title":5042,"dynasty":199,"author":416,"museum":595,"description":6053,"tags":6054,"thumbUrl":6057,"material":77,"size":77,"collection":146,"collections":6058,"showCount":590,"zanCount":54,"manualWeight":54,"mainColor":6059},203461,"fang-gu-shan-shui-ce-wang-jian-203461","画面以淡逸笔墨铺展山水清景，左侧峭壁嶙峋，苔点错落间缀以丛树，显古雅苍劲；中景水域空明，坡石旁水草疏疏，漾出悠然之韵；远景山峦层叠，淡墨晕染中云气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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[4389,6409,69,7,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5986e51daff800244e3ceb8bd4a3be33.jpg",[],{"id":6431,"slug":6432,"title":6433,"dynasty":18,"author":186,"museum":62,"description":6434,"tags":6435,"thumbUrl":6436,"material":77,"size":77,"collection":651,"collections":6437,"showCount":400,"zanCount":54,"manualWeight":54,"mainColor":150},242199,"suo-ben-lan-ting-xu-yi-ming-242199","缩本兰亭序","此作用笔温润秀雅，结体舒展端稳，是明代小楷的典型风貌。点画精劲含蓄，起收一丝不苟，既恪守馆阁体的规整法度，又暗蕴文人手札的灵动意趣。行列齐整却毫无板滞之感，字里行间晕开沉静平和的书卷清气。以小楷谈论兰亭传世拓本，笔墨与文思相融，尽显书者扎实的帖学功底与雅致心性，将书法的实用功能与审美意趣自然合一，尽显雅致隽秀的明代书风神韵。",[68,69,7,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ec6435f90862e85f6809c80ac85eef.jpg",[651],{"id":6439,"slug":6440,"title":6441,"dynasty":199,"author":186,"museum":62,"description":6442,"tags":6443,"thumbUrl":6444,"material":77,"size":77,"collection":651,"collections":6445,"showCount":400,"zanCount":54,"manualWeight":54,"mainColor":796},242170,"lan-ting-ba-zhu-tie-yu-shi-nan-lin-lan-ting-xu-yi-ming-242170","《兰亭八柱帖》虞世南临兰亭序","此作黑底白字，墨色匀净莹润，刀下毫芒毕现，恍若墨迹初成。笔下温润秀雅，将原作萧散冲和的意韵尽数留存，行笔舒展圆融，点画间带着平和雍容的气度，牵丝映带自然灵动，把修禊雅集里俯仰骋怀的悠然藏在锋棱之中。\n\n章法错落有致，通篇气息连贯畅达，仿佛将曲水流觞的清和风雅凝于尺幅之内，摹刻之际不失原作神韵，让晋人风流与唐楷端雅法度相融，尽显兰亭雅集里天朗气清的悠然意趣。",[68,408,303,7,69,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fde375b363527dc97068be7d55f52c.jpg",[651],{"id":6447,"slug":6448,"title":6449,"dynasty":18,"author":2490,"museum":62,"description":5363,"tags":6450,"thumbUrl":6451,"material":333,"size":334,"collection":77,"collections":6452,"showCount":400,"zanCount":54,"manualWeight":54,"mainColor":900},241037,"shu-lin-di-wang-fa-tie-qi-ze-juan-wang-duo-241037","书临帝王法帖七则卷",[68,25,69,717,7,67,3001],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53dc66749c747a5e3a92629fdbd8abf.jpg",[],{"id":6454,"slug":6455,"title":6456,"dynasty":199,"author":6457,"museum":62,"description":6458,"tags":6459,"thumbUrl":6460,"material":333,"size":334,"collection":77,"collections":6461,"showCount":400,"zanCount":54,"manualWeight":54,"mainColor":150},240907,"lin-sheng-jiao-xu-zhou-wen-yi-240907","临圣教序轴","温仪","温仪，清，陕西三原人。官至霸昌道。少嗜画，每恨西陲无宗法。康熙五十二年（1713）进士，乃谒王原祁以画学请。原祁进几席俾观用笔起止，浓淡先后，又授以古图缩本，於是遂大进",[24,65,253,7,69,68,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F218f11157827f585aad24333a1fcfad4.jpg",[],{"id":6463,"slug":6464,"title":6465,"dynasty":199,"author":6466,"museum":62,"description":6467,"tags":6468,"thumbUrl":6469,"material":333,"size":334,"collection":77,"collections":6470,"showCount":400,"zanCount":54,"manualWeight":54,"mainColor":900},240826,"yuan-ji-shu-lin-jin-tang-shu-tie-juan-shi-tao-240826","原济书临晋唐书帖卷","石涛","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。",[23,108,24,65,25,69,7,408,138,67,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694240edd7e464f72a2832d04f43f0cc.jpg",[],{"id":6472,"slug":6473,"title":6474,"dynasty":199,"author":6475,"museum":62,"description":6476,"tags":6477,"thumbUrl":6478,"material":508,"size":77,"collection":307,"collections":6479,"showCount":400,"zanCount":54,"manualWeight":54,"mainColor":55},240388,"ming-zhu-lin-dong-shi-zhou-ming-zhu-240388","明珠临董诗轴","明珠","纳兰明珠（1635年11月19日~1708年6月3日），叶赫那拉氏，字端范，建州叶赫（今吉林省四平市铁东区叶赫镇），隶属满洲正黄旗人。清代康熙朝重臣，词人纳兰性德父亲。\n迎娶英亲王阿济格之女，起家蓝翎侍卫、治仪正，迁为内务府郎中，历任内务府总管、六部尚书、都察院左都御史、武英殿大学士、太子太傅等要职，支持康熙帝议撤三藩、统一台湾、治理黄河、平定噶尔丹、抗御外敌等重大事件中起到积极作用。康熙二十七年（1688年），因朋党之罪被罢黜，恢复议政内大臣、光禄大夫，不再受到重用。\n康熙四十七年（1708年），病故，葬于北京市海淀区上庄镇皂甲屯西。",[65,68,253,69,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4c084eb25b9246a404a4c851c6ea3a.jpg",[307],{"id":6481,"slug":6482,"title":6483,"dynasty":18,"author":6484,"museum":62,"description":6485,"tags":6486,"thumbUrl":6487,"material":77,"size":77,"collection":307,"collections":6488,"showCount":400,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[1709,68,7,717,253,138,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e4aff4fa1a1b7ef92d6d784c84d322.jpg",[307],{"id":6490,"slug":6491,"title"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1878—1931），原名世峄，初字桐生、息斋、芙缘，号迈钝，别号黄人、松游庵主、还仓室主，黄县宋家疃人。近代著名书法家、古文字学家、社会活动家，毕业于东京政法学堂第四期。",[189,7,253,67,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff009f1a887c94b4be44fa3220b5ca6d0.jpg",[],{"id":6726,"slug":6727,"title":6728,"dynasty":199,"author":2097,"museum":62,"description":2735,"tags":6729,"thumbUrl":6730,"material":333,"size":334,"collection":77,"collections":6731,"showCount":214,"zanCount":54,"manualWeight":54,"mainColor":150},240433,"wu-chang-shuo-lin-lie-jie-si-tiao-ping-wu-chang-shuo-240433","吴昌硕临猎碣四条屏",[189,68,65,253,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faef486d368cc44295475fc849b529225.jpg",[],{"id":6733,"slug":6734,"title":6735,"dynasty":199,"author":6736,"museum":62,"description":6737,"tags":6738,"thumbUrl":6739,"material":333,"size":334,"collection":77,"collections":6740,"showCount":214,"zanCount":54,"manualWeight":54,"mainColor":150},240179,"lin-cuan-fu-jun-bei-shen-ceng-zhi-240179","临爨府君碑","沈曾植","沈曾植（1850年－1922年11月20日），字子培，号巽斋，别号乙盫，晚号寐叟，浙江省嘉兴府嘉兴县人，沈维鐈孙，蒙元史地学者、书法家、史学家、同光体诗人，“于学无所不窥”，朴学宗师。",[68,7,792,463,253,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb41247b10243af1d71eda6ae991a72.jpg",[],{"id":6742,"slug":6743,"title":6744,"dynasty":199,"author":2636,"museum":105,"description":6745,"tags":6746,"thumbUrl":6747,"material":6748,"size":6749,"collection":307,"collections":6750,"showCount":214,"zanCount":54,"manualWeight":54,"mainColor":150},240063,"lin-da-ling-tie-juan-fu-shan-240063","临大令帖卷","释文：\n献之白。奉别告。承安和，庆慰。极冷。不审尊体复何如。献之比日如复小胜，因夜行忽复下。如欲作廗。今服药，尽温燥理。冀当可耳。然异极都不得，复小失和。卿恶亦不复得妄近生冷。体气顿至此，令人绝叹。行有佳酒便服。\n献之。承姑比日复小进退，其尔不得一极和，忧悚犹深。不审以服散，未必得力耳。比驎相闻。故云恶。悬怀。使君数得书也。\n愿余上下安和。知婢日夕疏慰意。育故羸。悬心。倪比健也。\n适奉永嘉去月十一日动静。故常患不宁。诸女无复消息。献之。\n八月十九日具疏。操之献之再拜。昨日诸愿悉达。奉奉告慰驰心。极冷。不审尊体复何如。操之创故不差。常恶。公故尔怏怏。献之昨来复下，如欲作廗。殊乏极。服石的丸，冀得力。谨白。不具。操之等再拜。\n嫂等承更恶，不审顷痊复不。必须散时。终得力耶。此药甚佳。想姊举体不能行履。服遂差。安西且无恙。府君属有和稀。久滞。行路同人，绝得此心。故当携其长幼诣。汝上下知彼骆驿。有书示。不足以慰吾意耶。冬间必欲至足下所居。承使君明练。不谓渐有胜也。君数集聚。然其大都可耳。吾止于月半间耶。\n献之等再拜。不审海盐诸舍，上下动静。比复常忧之。姊告无他事。崇虚刘道士鹅群并复归也。献之等当须向彼谢之。献之等再拜。\n甲辰初寒临为存翁词宗。真山。\n款署：“甲辰初寒临为存翁词宗。真山。”钤“傅山之印”白文印。\n此卷临王献之《安和帖》、《姑比日帖》、《愿余帖》、《适奉帖》、《昨日诸愿帖》、《嫂等帖》、《鹅群帖》诸帖，均见于《淳化阁帖》。卷后有邵松年跋，称此帖“随意挥洒，纯任自然，的是大令笔法”。书于康熙三年甲辰（1664年），傅山时年58岁。",[23,25,68,7,717,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3b5c19c9435926783098a1722640b2.jpg","绫本，草书","纵24.5厘米，横313 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[1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\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 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老松烧尽结轻花，妙法来从北李家。翠色冷光何所似，墙东鬒发堕寒鸦。刘墉。\n刘墉学古不追求外表的形似而注重用笔之法。起笔喜用藏锋，转折处用偃笔作折锋，字形丰满圆润，内中骨力强劲，犹如棉里裹铁；用墨于润中见枯，拙中见巧；结体疏密有致，点划轻灵多变，气韵苍遒。清人张维屏在《松轩随笔》中指出刘墉的书法特征：“貌丰骨劲，味厚神藏，不受古人牢笼，超然独出”，可谓中的。康有为也高度评价刘墉的书法成就：“力厚思沈，筋摇脉聚。近世行草书作浑厚一路，未有能出石庵之范围者，吾故谓石庵集帖学之成也。”\n作为刘墉书法的代表作，这件作品体现了上述多种特征。所书内容取自苏轼二首诗“书李世南所画秋景二首”其一，见《全宋诗》卷十八；“谢宋汉杰惠李承晏墨”，见《全宋诗》卷二十三。",[508,69,7,7379,7380,5256,7381,67],"墨色厚重","中锋行笔","笔力浑厚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91307d4b9f0465eca618d45d6e29ab35.jpg","纵102厘米，横58.5厘米",[307],{"id":7386,"slug":7387,"title":7388,"dynasty":199,"author":7389,"museum":62,"description":7390,"tags":7391,"thumbUrl":7392,"material":333,"size":334,"collection":77,"collections":7393,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":150},241334,"lin-zhe-tie-juan-huang-cun-shu-241334","临禇帖卷","黄存恕","此作以楷书临习褚遂良笔意，通篇气息匀雅端凝，兼具褚书空灵秀逸与清馆阁体的整饬端庄。笔致清劲挺秀，点画起收有度、筋骨暗藏，结体宽绰舒展，字字排布错落合宜，墨色匀停温润。\n\n所书《汉书》赞文，以雅正的笔意承载史辞意蕴，既恪守褚法的细劲姿媚，又融入自身的端凝工稳，尽显清人临古的谨严态度与文儒意趣，精准把握初唐褚书风神，将帖学临古的雅致与台阁的端稳融于一处，尽显笔墨涵养，是清代临古书法中颇具水准的馆阁佳制。",[68,463,7,25,408,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87698f38f46e36f17ca713983714e348.jpg",[],{"id":7395,"slug":7396,"title":7397,"dynasty":18,"author":7059,"museum":105,"description":7060,"tags":7398,"thumbUrl":7399,"material":508,"size":7400,"collection":307,"collections":7401,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":150},240987,"lin-jie-jin-shi-juan-cai-yu-240987","临解缙诗卷",[108,24,65,25,7,69,717,68,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5159effe01a06bec1341cac211334d52.jpg","纵29厘米，横822.2厘米",[307],{"id":7403,"slug":7404,"title":7405,"dynasty":199,"author":7406,"museum":7407,"description":7408,"tags":7409,"thumbUrl":7410,"material":928,"size":7411,"collection":307,"collections":7412,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":150},240986,"jiang-shu-zhai-lin-tie-zhou-jiang-shu-zhai-240986","姜淑斋临帖轴","姜淑斋","青岛市博物馆","姜淑斋生卒不详，活动于公元十七世纪。女，山东青岛胶州人。号广平内史。精于行草，师法二王，得力于《十七帖》。上图草书临王羲之《司州帖》,凡四行。用笔稳劲秀润，精微入神，连绵大草跌宕起伏，纵肆牵连中别具遒迈之姿。笔力矫健，不类女子。",[68,7,253,717,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ee28c59e0340327e76871eb5e4f959.jpg","纵224.5， 横52厘米",[307],{"id":7414,"slug":7415,"title":7416,"dynasty":18,"author":7417,"museum":62,"description":7418,"tags":7419,"thumbUrl":7420,"material":333,"size":334,"collection":77,"collections":7421,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":150},240971,"lin-huai-su-zi-xu-juan-huang-cong-240971","临怀素自叙卷","黄琮","黄琮为宋朝官吏，字子方，莆田人（生卒不详）,唐校书郎黄璞的后裔，宋哲宗元符三年（1100年）中进士，授长溪县县尉，县尉主管社会治安。每次派员下乡巡查，他总是预先约束手下官吏，不得任意骚扰百姓。遇有重大巡查急务，他从不向地方百姓派款派夫，因此深得百姓敬重。",[23,68,717,7,25,67,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21816f438bb9fedc54d6eb2696ac1166.jpg",[],{"id":7423,"slug":7424,"title":5837,"dynasty":801,"author":186,"museum":62,"description":7425,"tags":7426,"thumbUrl":7427,"material":333,"size":334,"collection":77,"collections":7428,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":55},240932,"wu-kuan-lin-huang-ting-jing-juan-yi-ming-240932","元初书法总的情况是崇尚复古。文宗天历初建奎章阁，专掌秘玩古物。元文宗常幸奎章阁欣赏法书名画，书法一度出现兴盛局面。赵孟頫，鲜于枢等名家，是这时期书法的代表。他们主张书画同法，注重结字的体态。但元代书坛纯是继承晋唐，没有自己风格，稍后于赵孟頫的康里巎巎还有些变化，奇崛独出于元代书坛。纵观元代书法，其成就大者还在真行草书方面。至于篆隶，虽有几位名家，但并不怎么出色。这种以真、行、草书为主流的书法，发展到了清代才得到改变。有元一代书风，仍沿宋习盛于帖学，宗唐宗晋，虽各有其妙，亦不能以一家之法立于书坛。",[68,7,463,25,65,509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ea598e181e5f33c88722efa21b3f7c.jpg",[],{"id":7430,"slug":7431,"title":7432,"dynasty":199,"author":6170,"museum":62,"description":7433,"tags":7434,"thumbUrl":7435,"material":333,"size":334,"collection":77,"collections":7436,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":150},240882,"wu-xi-zai-zhuan-shu-lin-wan-bai-shan-ren-shu-zhou-wu-xi-zai-240882","吴熙载篆书临完白山人书轴","吴熙载（1799-1870），原名廷扬，字熙载，后以字行，改字让之，亦作攘之，号让翁、晚学居士、方竹丈人等。江苏仪征人。清代篆刻家、书法家。包世臣的入室弟子。善书画，尤精篆刻。少时即追摹秦汉印作，后直接取法邓石如，得其神髓，又综合自己的学识，发展完善了“邓派”篆刻艺术，在明清流派篆刻史上具有举足轻重的地位。\n吴昌硕评曰：“让翁平生固服膺完白，而于秦汉印玺探讨极深，故刀法圆转，无纤曼之气，气象骏迈，质而不滞。余尝语人：学完白不若取径于让翁。”",[3418,189,7,68,253,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0406e331edf340ba893b07fbb4b8ae54.jpg",[],{"id":7438,"slug":7439,"title":6483,"dynasty":199,"author":7440,"museum":62,"description":7441,"tags":7442,"thumbUrl":7443,"material":333,"size":334,"collection":77,"collections":7444,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":150},240649,"lin-tie-zhou-liang-tong-shu-240649","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。",[68,69,7,253,138,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f52bab74abe53c9f4142d2a78f49f70.jpg",[],{"id":7446,"slug":7447,"title":7448,"dynasty":199,"author":7449,"museum":62,"description":7450,"tags":7451,"thumbUrl":7452,"material":77,"size":77,"collection":77,"collections":7453,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":150},239209,"cai-ju-zhou-zhang-wen-tao-239209","采菊轴","张问陶","此作用笔师法赵孟頫行书，尽得其圆融秀逸之韵。起收暗含法度，线条温润凝练又不失灵动，骨力内蕴其中。章法舒朗匀称，三列书行气脉贯通，将原诗的快意奔放寄寓笔墨之间。笔势随诗意流转，把轻舟疾驰、江山掠过的洒脱情境，借笔墨缓缓铺陈开来。\n\n落款小字清雅妥帖，朱红印章错落点缀，与墨色相映成趣。整幅形神兼备，既承松雪道人雅正之风，又自带舒展从容的文人心境，诗意与书韵相融无间，尽显行云流水的悠然意趣。",[68,253,69,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547ea889b3b5ad8dda00d89651a5f139.jpg",[],{"id":7455,"slug":7456,"title":594,"dynasty":199,"author":4419,"museum":62,"description":7457,"tags":7458,"thumbUrl":7459,"material":77,"size":77,"collection":77,"collections":7460,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":150},238904,"fang-song-yuan-shan-shui-ce-dong-gao-238904","此作笔墨松灵简淡，以坡岸枯木起景，杂树错落，枝叶疏密有致，皴石淡润清透，自带萧疏秋意。水面扁舟轻漾，渔人偃卧篷中，随性悠然，将江乡闲居的幽恬况味藏在方寸之间。远景山峦以淡墨晕染，层层推远，虚实相生，把天地空寂澄澈的意境铺展开来。整幅不作刻意雕琢，尽显静穆萧散的文人意趣，淡逸的笔墨里晕开秋日江天的闲淡空寂，将山水间的隐逸之思缓缓铺陈。",[24,65,138,598,139,7,72,71,32,159,33,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69efedf296d2271dd3b03ba477703f86.jpg",[],{"id":7462,"slug":7463,"title":1607,"dynasty":199,"author":949,"museum":62,"description":1483,"tags":7464,"thumbUrl":7465,"material":77,"size":77,"collection":77,"collections":7466,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":150},237607,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237607",[24,65,598,138,72,32,159,33,139,7,68,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bf50061c1a73001d5d47292a2ae50e.jpg",[],{"id":7468,"slug":7469,"title":7470,"dynasty":199,"author":949,"museum":236,"description":7471,"tags":7472,"thumbUrl":7473,"material":508,"size":77,"collection":77,"collections":7474,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":150},237383,"shan-shui-ce-song-jun-ye-fang-da-chi-shan-shui-ye-wang-hui-237383","山水册-宋骏业仿大痴山水页","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王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,65,598,138,72,139,7,33,203,159,161,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb1c965398a2ee9f3b80e7e2f75d7c3.jpg",[],{"id":7476,"slug":7477,"title":7478,"dynasty":199,"author":186,"museum":62,"description":7479,"tags":7480,"thumbUrl":7481,"material":77,"size":77,"collection":77,"collections":7482,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":55},236744,"huang-can-mo-ti-xian-guo-tu-wan-shan-yi-ming-236744","黄粲摹梯仙国图纨扇","此作用异形纨扇为底，以青绿设色铺陈仙山胜景。画面分上下层叠布境，高远见峰峦崔嵬，深远现云壑藏幽。山石兼用斧劈皴晕染青蓝，苍润相间，古意淳厚。林舍山居错落溪谷，山亭隐于岩岫之间，行旅人物点缀林麓，将世外仙气与山居野趣相融。边角题跋错落排布，书画相映成趣，复刻唐人梯仙意境，以尺幅小景铺展出完整仙山天地，摹古之中自含明清雅致意韵，方寸间尽显缥缈出尘的世外气象。",[24,65,108,1794,27,26,7,72,30,31,32,33,159,160,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb27ad1e62d63a829b95a257d0f7b036.jpg",[],{"id":7484,"slug":7485,"title":3286,"dynasty":199,"author":3287,"museum":105,"description":3288,"tags":7486,"thumbUrl":7487,"material":211,"size":77,"collection":77,"collections":7488,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":150},236146,"fang-yuan-ren-shan-shui-ce-he-yi-236146",[24,65,598,138,7,72,33,159,626,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9086e85a250e4259f1e3d821ac962d.jpg",[],{"id":7490,"slug":7491,"title":3286,"dynasty":199,"author":3287,"museum":105,"description":3288,"tags":7492,"thumbUrl":7493,"material":211,"size":77,"collection":77,"collections":7494,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":150},236143,"fang-yuan-ren-shan-shui-ce-he-yi-236143",[24,65,598,138,139,7,72,432,159,203,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464be8651cd0ec1acb0b55a1fd207282.jpg",[],{"id":7496,"slug":7497,"title":1607,"dynasty":199,"author":186,"museum":62,"description":7498,"tags":7499,"thumbUrl":7500,"material":77,"size":77,"collection":77,"collections":7501,"showCount":258,"zanCount":54,"manualWeight":54,"mainColor":150},236062,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236062","此作画境开合有致，近景危崖嶙峋对峙，古松虬曲斜倚崖间，苍劲老辣。坡岸间杂草矮木错落，野意横生。幽谷里溪流隐现，右侧枯木疏枝横斜，萧散清寂。远景平湖如镜，彼岸山峦逶迤，林麓朦胧晕染在空濛烟岚之中。\n\n笔墨兼擅苍秀，山石以短皴点苔，勾勒出坚硬质感，晕染柔和自然。设色简淡明净，以水墨晕出水色天光的空濛，将深秋萧疏之气揉进山水静穆之中，幽寂淡远的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X ”一行。卷末沟刻高宗行书题跋一段。各卷尾题:“乾隆三十四年岁在乙丑春二月奉敕校正宋淳化阁帖初拓摹勒上石”篆书四行。此帖考订详僖，校对精审，对原帖编次上的错误逐一厘订后，重新改编次第按时代先后为序。对草书不识之字。博参诸家释文依字旁列注，对其中互异之字附记考证于卷后。\n此帖由御书处刻工佳手钩刻摹刊至精。就其规模和质量来说均在明代诸家刻本之上。\n乾隆三十七年（1772年）帖石镌成后高宗皇帝犹恐失散即将毕士安赐本（淳化阁帖》与重刻原石一起贮于圆明园淳化轩内，至今二者都无下落、可能毁于1860年英法联军侵占北京圆明园之际，实为千古憾事。幸故宫藏有该帖拓本才得以观其原貌。此拓本为淸刻初拓，京折装，计十册，每册纵30.6厘米横35厘米，每册铃：“乾隆御览之宝”朱文椭圆印、”避暑山庄”朱文方印，装潢颇为考究，且拓工精良。虽已保存二百余年但字口锋神俱在，纸墨宛如新拓，堪称珍品。\n乾隆《钦定重刻淳化阁帖》石版，原贮于长春园淳化轩。英法联军火烧圆明园后,该摹帖版已湮没百余年。所幸的是,1993年夏季，圆明园管理处在清挖长春园水系时，从该遗址西侧河道掘得摹帖版7页（4整3残），今均陈列于园史展览馆。\n淳化法帖，原是北宋淳化三年（992年），奉宋太宗赵光义旨意，摹刻于秘阁之中的丛帖，世称《淳化阁帖》。它是我国历史上的第一部大型丛帖，被誉为诸帖之祖。《阁帖》共摹刻唐代以前99人书法名迹，包括夏禹、孔子、晋武帝、唐太宗、虞世南、 欧阳询、褚遂良、柳公权等，尤以王義之、王献之量迹最丰，独占全帖10册之半。\n清代乾隆帝弘历喜好书法，曾先后命在北海阅古楼和万寿山星妙轩，分别摹刻《三希堂法帖》及其续帖。但因二帖仅收魏晋以来墨迹，弘历颇嫌不足。后喜得《淳化阁帖》之“初拓赐本”，弘历如获至宝。命内廷翰林精审更定，选工钩摹上石，并在长春园含经堂之后新建两层轩阁，以帖名之曰“淳化轩”。帖版是在故宫懋勤殿直庐镌刻的,历时三年零两个月，至乾隆三十七年（1772年）四月，共摹竣144页贴版，遂镶嵌于堂后轩前之24间回廊壁间。原《阁帖》北宋初拓本，收藏于淳化轩内，I860年（咸丰十年）同毁于英法联军劫火。\n今出土的摹帖版,面幅为90厘米*33厘米，石厚11厘米。7页帖版的序号是三册一号、六号、 七号（残），四册八号（残），五册一号、十四号和九册三号（残）。其中除五册十四号为“释文订异”，九册三号为隋释智果书“王右军”帖、“蔡邕”帖之外， 余均为王義之墨迹，包括其“适得”、“比奉”、“七儿”、“省足”、“云谯”、“知足”、“期已”、“信云”、“不审”、“伏想”等近20幅名帖。出土帖版中，有2页残版的字迹略有侵蚀，余尚清晰。\n乾隆三十四年的《钦定重刻淳化阁帖》是一部很重要的本子,其所据的底本为明末清初孙承泽原藏的所谓毕士安本。以乾隆刻本和司空公本的第四、七、八卷相校,其底本肯定不是初拓本，因此，所谓毕士安本是不可能的。但这个底本应该是一个北宋拓本，和司空公本的年份相似，然而它是十卷本。问题是这个祖本已经消失，然而它在当时确实存在过，过去有的学者认为这个底本是虚构的，不存在的。可能是由于它不可能是所谓淳化四年的毕士安赐本的关系。\n这个所谓的毕士安赐本，在康熙时已入内府，康熙曾亲跋此本: “……此本乃赐翰林学士毕士安者……汉晋以来，翰墨风规，宛然犹在者，尚赖此帖之存也，朕幾政余闲，启帙披卷,如晤往昔，心意融洽,洵可宝而藏之也。\n到了乾隆三十四年，以此本作为底本重刻的《淳化阁帖》，乾隆在卷首题词中说:“内府旧藏淳化阁帖极多,而此毕士安所得赐本，拓最精好, 爰特敕选工钩摹上石，冀复旧观。\n这个本子到了嘉庆年间,成亲王永瑆题在现藏美国弗利尔美术馆的绍兴国子监本第十册末有:“余昔在上书房得见内府所藏宋太宗赐毕士安本, 此本楮墨正与相似，嘉庆庚午四月七日商丘陈伯恭先生携此本与贾似道重摹初拓本相见……”这说明，这个乾隆刻本的底本在1810年前不久仍然存在,其消失的原因很简单,乾隆在其重刻本的第十卷末有:“重摹淳化阁帖成,因并弃毕士安原本于淳化轩。这就是说，这个底本和重刻帖石一并存放在圆明园的淳化轩。I860年英法联军焚毁圆明园，所谓毕士安底本也必遭毁灭。\n乾隆重刻本，除了改变原刻整体程序外，也有对个别字体修正原刻的失误，如第八卷《此郡帖》的“非常”之“非”字,原刻失刻一笔，乾隆重摹即据《大观帖》补刻完整。此外，有的字体也有摹失,但其不可忽视之处在于它是从整套北宋拓本翻刻，在我们对比各《阁帖》本时有着比较重要的参考价值。\n弘历继位九年（1744 ）命臣将内府所藏书画著录《石渠宝笈》。乾隆十五年（1750）又敕命编刻《三希堂石渠宝笈法帖》三十二卷。谕曰：\n书为游艺之一，前代名迹流传，令人兴怀珍慕。是以好古者恒钩撫镌刻.以垂诸奕祀。宋《淳化阁帖》，其最著矣。厥后《大观》《淳熙》皆有续刻。其他名家摹本，至不可数。我朝秘府，初不以广购博收为尚，而法书真迹，积久颇富。朕曾命儒臣详慎审定，编为《石渠宝笈》一书。因思文人学士得佳迹数种，即钩摹入石，矜为珍玩。今取群玉之秘，寿之贞琨。足为墨宝大观，以公天下。\n《三希堂法帖》刻后十九年即乾隆三十四年（1769）,弘历又重新刻了一部《淳化阁帖》。这部帖是据赐毕士安本墓刻的，故书家与书帖和《阁帖》相同。然而不同的是：（一）除帝王帖置首卷外，其他帖完全按时代先后排列：第一，历代帝王；第二，上古至晋人；第三，第四、第五，晋王羲之；第六，晋人及王献之；第七，晋王献之；第八，晋至梁人；第九，陈至唐人；第十，唐及无名氏。（二）随文添刻楷书釋文。（三）卷末附释文考异和御制题跋。\n当时为什么要这样做呢？弘历在帖首自有说法：\n朕几余不自暇逸，典学之优，时及临池。曩曾辑内府所藏前人墨迹，刻为《三希堂》《墨妙轩》二帖，广示艺林。复念古帖流传可补墨迹所未备者，惟宋《淳化阁帖》，镌集尤为美富，远出《大观》《太清楼》诸本之上。但惜初拓与赐者绝勘，或云版寻残损，当时已为难得。后来翻刻愈繁，真意寝失。有志追摹者，末由津逮。内府旧藏《淳化阁帖》极多，而此毕士安所得赐本拓最精好。爰特敕选工钩摹上石，冀复旧观。\n第王著昧于辨别，其所排类标题，舛陋滋甚，不当听其沿讹，以误后学。因命于敏中等详加考正，以次呈阅，候朕参定，分识各卷。并命搜采诸家释文，依字旁注。其互异者折衷附记于后，以资省览。是于考文稽古之中，兼寓举坠订讹之益，用嘉惠海内操觎之士焉。\n特谕。\n乾隆三十四年（1769）二月六日，御笔。",[68,189,67,7,408,303,2619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e822f629e7ca7af62ff21c56fc00849.jpg",[],{"id":7645,"slug":7646,"title":4254,"dynasty":199,"author":186,"museum":62,"description":7640,"tags":7647,"thumbUrl":7648,"material":333,"size":334,"collection":77,"collections":7649,"showCount":245,"zanCount":54,"manualWeight":54,"mainColor":796},242498,"zhong-ke-chun-hua-ge-tie-yi-ming-242498",[68,303,67,69,717,7,598],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8935d780af15271e21dd5bf0a5c3f7e5.jpg",[],{"id":7651,"slug":7652,"title":7653,"dynasty":199,"author":7654,"museum":62,"description":7655,"tags":7656,"thumbUrl":7657,"material":333,"size":334,"collection":77,"collections":7658,"showCount":245,"zanCount":54,"manualWeight":54,"mainColor":150},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。",[68,253,69,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0694b703a510cf03ccafb2e439af68.jpg",[],{"id":7660,"slug":7661,"title":7662,"dynasty":199,"author":7663,"museum":62,"description":7664,"tags":7665,"thumbUrl":7666,"material":333,"size":334,"collection":77,"collections":7667,"showCount":245,"zanCount":54,"manualWeight":54,"mainColor":150},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》。",[253,69,7,67,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca719fc6b14033f02b89939b57da484.jpg",[],{"id":7669,"slug":7670,"title":7671,"dynasty":199,"author":7672,"museum":62,"description":7673,"tags":7674,"thumbUrl":7676,"material":333,"size":334,"collection":77,"collections":7677,"showCount":245,"zanCount":54,"manualWeight":54,"mainColor":150},240896,"zhuan-shu-lin-shi-song-ding-ming-zhou-zhang-ting-ji-240896","篆书临史颂鼎铭轴","张廷济","张廷济(1768—1848)，清代金石学家、书法家。原名汝林，字顺安，号叔未，一字说舟，又字作田，又号海岳庵门下弟子，晚号眉寿老人，浙江嘉兴新篁人。嘉庆三年（一七九八）解元，以后几次会试未中，遂家居从事学术研究和艺术创作。工诗词，风格朴质，善用典故，精金石考据之学，尤擅长文物鉴赏，一碑一器都能辨其真伪，别其源流。喜收藏各类古器文物，收藏鼎彝、碑版及书、画甚多。",[189,7,253,68,7675,67],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa6a90d8d2c3b32a73f81d92e679a5f.jpg",[],{"id":7679,"slug":7680,"title":7681,"dynasty":199,"author":7682,"museum":62,"description":7683,"tags":7684,"thumbUrl":7685,"material":333,"size":334,"collection":77,"collections":7686,"showCount":245,"zanCount":54,"manualWeight":54,"mainColor":150},240688,"lin-su-zhang-gong-yi-ye-xu-qian-xue-240688","临苏长公意页","徐乾学","康熙九年（1670）进士。同年任《明史》编辑部主任，同年任内阁学士，后任武士礼部、佐藤御史、尚书尚书。但因党争被反对党弹劾，同年回国。除了参与《明史》、《大成改天》、《大成一成》的编纂外，他还着有《圣园书》（第36卷）和《读命通书》（第120卷）等书籍。",[65,598,69,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9be9531191ad2692fa7b38fa6d2a7b63.jpg",[],{"id":7688,"slug":7689,"title":6483,"dynasty":199,"author":5012,"museum":62,"description":5013,"tags":7690,"thumbUrl":7691,"material":333,"size":334,"collection":77,"collections":7692,"showCount":245,"zanCount":54,"manualWeight":54,"mainColor":150},240653,"lin-tie-zhou-ba-wei-zu-240653",[68,7,253,792,67,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498d6f0690eaf6b6a2c1f8a57e28189a.jpg",[],{"id":7694,"slug":7695,"title":7696,"dynasty":199,"author":7697,"museum":62,"description":7698,"tags":7699,"thumbUrl":7700,"material":333,"size":334,"collection":77,"collections":7701,"showCount":245,"zanCount":54,"manualWeight":54,"mainColor":150},240608,"jie-lin-ping-feng-tie-zhou-jiang-chen-ying-240608","节临屏风帖轴","姜宸英","姜宸英（1628－1699年），明末清初书法家、史学家，与朱彝尊、严绳孙并称“江南三布衣”。字西溟，号湛园，又号苇间，浙江慈溪人。明末诸生，康熙十九年以布衣荐入明史馆任纂修官，分撰刑法志，记述明三百年间诏狱、廷杖、立枷、东西厂卫之害。又从徐乾学在洞庭山修《大清一统志》。在京因得罪大学士明珠受冷遇。康熙三十六年70岁始成进士，以殿试第三名授翰林院编修。越两年为顺天乡试副考官，因主考官舞弊，被连累下狱死。著有《湛园集》《苇间集》《海防总论》。",[68,253,69,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F065ed8350e57064a4a57835197ba39ad.jpg",[],{"id":7703,"slug":7704,"title":5551,"dynasty":199,"author":382,"museum":62,"description":7705,"tags":7706,"thumbUrl":7707,"material":333,"size":334,"collection":77,"collections":7708,"showCount":245,"zanCount":54,"manualWeight":54,"mainColor":150},240468,"lin-mi-tie-zhou-liu-yong-240468","刘墉（1720~1804年 ），字崇如，号石庵，山东诸城 人，清代政治家、书法家，首席军机大臣刘统勋长子。\n乾隆十六年（1751年），考中进士，先后历任安徽学政、江苏学政、太原知府、冀宁道台、江宁知府、江西盐驿道、陕西按察使、内阁学士、湖南巡抚。乾隆四十七年（1782年）初调入京师后，历任都察院左都御史、工部尚书兼吏部尚书、吏部尚书兼兵部尚书、协办大学士兼吏部尚书。尚书房总师傅、管理国子监事务大臣等职。官至吏部尚书、体仁阁大学士、太子太保。刘墉以为官清廉著称，深得百姓信赖，早在任江宁知府时就获赞誉 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ang-yuan-ren-shan-shui-ce-he-yi-236141",[24,65,598,7,138,139,72,31,32,33,159,204,74,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60b45a9ecd58a4bf0a2f3ac5cea04180.jpg",[],{"id":8246,"slug":8247,"title":8248,"dynasty":18,"author":8249,"museum":62,"description":8250,"tags":8251,"thumbUrl":8252,"material":77,"size":77,"collection":77,"collections":8253,"showCount":362,"zanCount":54,"manualWeight":54,"mainColor":150},233252,"shi-zhu-zhai-pu-ce-hu-ri-cong-233252","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,65,598,66,7,1208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e381b781d93fa472ac3f8dbb2892b9a.jpg",[],{"id":8255,"slug":8256,"title":8248,"dynasty":18,"author":8249,"museum":62,"description":8250,"tags":8257,"thumbUrl":8258,"material":77,"size":77,"collection":77,"collections":8259,"showCount":362,"zanCount":54,"manualWeight":54,"mainColor":150},233242,"shi-zhu-zhai-pu-ce-hu-ri-cong-233242",[24,65,598,66,138,7,140,1208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27de24df89b5b47187e7909f27c2fecb.jpg",[],{"id":8261,"slug":8262,"title":8263,"dynasty":2182,"author":8264,"museum":62,"description":8265,"tags":8266,"thumbUrl":8268,"material":333,"size":334,"collection":77,"collections":8269,"showCount":362,"zanCount":54,"manualWeight":54,"mainColor":150},231970,"the-crucifixion-after-mantegna-musee-des-beaux-arts-de-tours-france-de-jia-231970","The 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Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[227,2186,27,29,8267,159,4741,7],"十字架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8db47a867f7c121253a715503a31a22e.jpg",[],{"id":8271,"slug":8272,"title":8273,"dynasty":2182,"author":186,"museum":62,"description":8274,"tags":8275,"thumbUrl":8277,"material":333,"size":334,"collection":77,"collections":8278,"showCount":362,"zanCount":54,"manualWeight":54,"mainColor":150},230519,"fang-gu-ren-wu-fen-ben-shou-ye-jia-tu-juan-yi-ming-230519","仿古人物粉本(狩野家图卷)","此卷以淡墨晕染铺陈意境，分段构绘诸般景致。仙翁伴瑞鹿白羊，执杖徐行，古意悠然；枯木红枫间隐士独坐，萧散出尘。江渚行旅衬以空濛山水，意境清旷；怒浪之中神游渡海，奇诡奇幻。末段稚童嬉闹鲜活灵动，尽显世俗意趣。\n\n笔墨写意简劲，设色淡雅清隽，将仙逸、幽隐、百态日常融于一卷。笔致松脱随性，留白营造出悠远空寂的东方意境，兼具文人画的萧散情致与叙事意趣，是笔墨与意韵俱佳的佳构。",[23,24,65,25,66,138,27,7,29,4840,2188,432,1969,8276,67,72],"扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155773197d4e4fc6f85f53673b323d53.jpg",[],{"id":8280,"slug":8281,"title":8282,"dynasty":2182,"author":186,"museum":62,"description":8283,"tags":8284,"thumbUrl":8285,"material":333,"size":334,"collection":77,"collections":8286,"showCount":362,"zanCount":54,"manualWeight":54,"mainColor":150},230518,"fang-gu-ren-wu-shan-shui-fen-ben-shou-ye-jia-tu-juan-2-yi-ming-230518","仿古人物山水粉本（狩野家图卷）-2","此作以淡彩白描写就，上方二力士嬉闹互动，铁线勾勒出虬结筋肉，将壮汉憨顽神态刻画入微，把蛮勇与谐趣融为一体。下方松岩笔致清简古淡，与人物形成动静对照，雅野相映。作为粉本随性率真，既有东国传统人物画的朴拙意韵，又暗合中式底稿的传神简练，市井意趣跃然纸面，让旧稿鲜活起来，满是松弛诙谐的烟火质感。",[23,24,65,253,66,138,27,29,345,159,2752,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506734a1b3d9a11ee714d65cdf836743.jpg",[],{"id":8288,"slug":8289,"title":8290,"dynasty":199,"author":8291,"museum":62,"description":8292,"tags":8293,"thumbUrl":8294,"material":77,"size":77,"collection":77,"collections":8295,"showCount":362,"zanCount":54,"manualWeight":54,"mainColor":150},230288,"lin-chu-tie-juan-jin-shi-song-230288","临褚帖卷","金士松","此作用笔温润秀逸，点画之间兼具唐楷的规整谨严与灵动意趣，将褚书妍雅舒展的风神复刻得形神兼备。起收笔处可见精细提按，结构开阔舒展，通篇行气贯通从容，墨色匀净饱满，尽显临写者扎实的临摹功底，既恪守古帖形质，又带着自身内敛的书卷气，是一件颇具水准的临古佳构，尽显临古创作中的审美意趣与笔墨功力。",[65,68,25,7,463,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a723e361f3592b4d6317b62c58964fe.jpg",[],{"id":8297,"slug":8298,"title":8299,"dynasty":18,"author":8300,"museum":62,"description":8301,"tags":8302,"thumbUrl":8303,"material":77,"size":77,"collection":77,"collections":8304,"showCount":362,"zanCount":54,"manualWeight":54,"mainColor":150},228841,"lin-jia-zhi-tie-dai-ming-shuo-228841","临家侄帖","戴明说","此作行书间杂草意，用笔苍劲纵老，提按顿挫尽显节奏张力，线条粗细跌宕，篆籀气蕴于笔墨之间。章法疏朗宽和，字距舒张、行距开阔，通篇气息贯通浑穆。墨色枯湿浓淡富于变化，随兴所至，将临帖古意与自我性情相融，既有帖学的灵动雅致，又融入北碑的雄强厚重，沉郁朴拙中带着随性快意。笔墨间可见书家心境起伏，把对古帖的理解化入笔下，古意盎然又不失自家风骨，尽显晚明书法抒情写意的典型特质。",[23,68,69,7,253,67,508,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5454a6f422310ff158191687731417ce.jpg",[],{"id":8306,"slug":8307,"title":8308,"dynasty":199,"author":5371,"museum":62,"description":8309,"tags":8310,"thumbUrl":8311,"material":77,"size":77,"collection":77,"collections":8312,"showCount":362,"zanCount":54,"manualWeight":54,"mainColor":150},224156,"jie-lin-huang-ting-jing-li-quan-ming-er-tie-ce-zhang-zhao-224156","节临黄庭经醴泉铭二帖册","落笔温润秀雅，点画间带着晋唐散淡意趣，虽为临作，却融入自运风神。行笔舒展利落，牵丝映带自然妥帖，不见滞碍。\n\n题字与朱红印信错落排布，墨色浓淡相宜，朱墨交织古雅沉静。文辞评说书道，笔墨呼应文心，将论书意趣与书写韵致融为一体。\n\n整体形制小巧隽秀，既有临摹的谨严，又不失随性的文人雅韵，方寸之间尽显清和端雅的书卷之气，尽显小品手卷的雅致情致。",[23,68,7,598,463,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b216d502eb8262aaced0852b02d17b.jpg",[],{"id":8314,"slug":8315,"title":8316,"dynasty":4552,"author":8317,"museum":595,"description":8318,"tags":8319,"thumbUrl":8320,"material":77,"size":77,"collection":146,"collections":8321,"showCount":362,"zanCount":54,"manualWeight":54,"mainColor":8322},203202,"fang-mei-qing-shan-shui-tu-zhou-xiao-xun-203202","仿梅清山水图轴","萧愻","画面以水墨晕染出云雾缭绕的山峦，松石错落间隐现一椽小屋，意境清寂悠远。山石以简练皴法勾勒，线条劲健中见洒脱；松枝虬曲苍劲，笔墨浓淡相宜，尽显古木风姿。整体风格承梅清遗韵，却又融入自身写意笔意，于虚实相生间传递出文人山水的淡泊之趣，笔墨疏朗而气韵生动，引人入胜。",[24,138,72,458,139,7,253,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46bc03e7ac0cb4a504657081d9738337.jpg",[146],"c0b7a9",{"id":8324,"slug":8325,"title":4857,"dynasty":199,"author":689,"museum":595,"description":8326,"tags":8327,"thumbUrl":8328,"material":77,"size":77,"collection":146,"collections":8329,"showCount":362,"zanCount":54,"manualWeight":54,"mainColor":8330},203065,"fang-gu-shan-shui-tu-ce-wang-yuan-qi-203065","画面中山峦起伏，林木葱郁，构图严谨且层次分明。山石以干笔皴擦，墨色浑厚华滋，纹理苍劲清晰；树木错落分布，姿态古拙自然，尽显生机之趣。浅淡设色温润雅致，与笔墨相得益彰，印章点缀其间，更添文人气息。整体师法宋元山水，笔墨老辣沉稳，于仿古中融个人风貌，营造出静谧深远的意境，尽显传统山水画的笔墨神韵与审美意趣。",[72,139,27,598,67,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05ab6e2f5931f3bdda48dddced35ede.jpg",[146],"c7c0b5",{"id":8332,"slug":8333,"title":8334,"dynasty":199,"author":8335,"museum":595,"description":8336,"tags":8337,"thumbUrl":8338,"material":77,"size":77,"collection":77,"collections":8339,"showCount":362,"zanCount":54,"manualWeight":54,"mainColor":8340},202692,"fang-xiao-mi-yun-shan-tu-zhou-zhang-zhi-wan-202692","仿小米云山图轴","张之万","这幅水墨山水以灵动笔触摹写米家云山意趣，山峦在云雾间虚实相生，墨色层次丰富，晕染自然。近处树木枝干遒劲，茅舍掩映林麓，添几分烟火气。整体意境悠远空灵，笔墨间透着文人画的淡泊雅致，尽显山水清幽之韵。",[24,138,72,7,139,33,23],"https:\u002F\u002Foss.chuangqi.store\u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54,"manualWeight":54,"mainColor":8493},201413,"fang-mei-dao-ren-shan-shui-tu-zhou-wang-yuan-qi-201413","笔下山峦层叠，皴擦细密，干笔积墨间晕染出古雅苍劲的气韵。林木扶疏，掩映着山隅屋舍，溪流缓淌，石矶错落，一派清幽淡远之境。师法梅道人笔意，融自家苍浑格调，笔墨醇厚，意趣悠远，尽显文人山水的笔墨情致与古典韵味。",[72,139,138,253,7,32,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F463b8a9a8864800e9dcade9cd8a96c96.jpg",[146],"d9cfb7",{"id":8495,"slug":8496,"title":8497,"dynasty":199,"author":8498,"museum":595,"description":8499,"tags":8500,"thumbUrl":8501,"material":77,"size":77,"collection":49,"collections":8502,"showCount":362,"zanCount":54,"manualWeight":54,"mainColor":8503},201392,"su-miao-ren-wu-hua-gao-ye-chuan-an-ge-er-fa-guo-201392","素描人物画稿页","（传）安格尔（法国）","裸身男子背向观者倚坐台座，双腿垂落的姿态松弛却藏着内敛力量。线条精准流畅，勾勒出背部肌肉起伏与骨骼轮廓，明暗过渡细腻，肩胛弧度、脊柱节感清晰可辨，尽显人体动态的韵律与结构之美。虽为习作稿页，却凝聚对人体解剖的深刻理解，每一笔简洁有力，既保留素描质朴质感，又传递古典主义的严谨优雅，仿佛能透过纸面感知肌肤温度与肌肉张力。",[7335,29,66,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e8a52a6a029635fee66c7f131e081bc.jpg",[49],"bc9b75",{"id":8505,"slug":8506,"title":8507,"dynasty":199,"author":416,"museum":442,"description":8508,"tags":8509,"thumbUrl":8510,"material":144,"size":8511,"collection":146,"collections":8512,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":150},301586,"fang-zhao-wen-min-xiao-xiang-bai-yun-tu-wang-jian-301586","仿赵文敏潇湘白云图","王鉴在构思这幅画作时对赵孟頫的“青绿 山水”有所扬弃，并结合了其他不同风格以获 得新的形式。比如古意盎然的低云、明快的色 彩以及淡青绿和黄褐相间的色调，都令人想起 赵孟頫和早期中国山水画的样式。同时画面中 山石倾斜的姿态，密集的皴法勾勒的植被和地 形的轮廓，则又可以上溯到董源的传统。",[24,23,253,7,72,30,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99c57b458a035bd2ef7b2a95a6c3e25f.jpg","136.1x63.2厘米",[146,51],{"id":8514,"slug":8515,"title":8516,"dynasty":18,"author":8517,"museum":62,"description":8518,"tags":8519,"thumbUrl":8520,"material":333,"size":334,"collection":77,"collections":8521,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":150},289735,"lin-xian-zhi-di-huang-tang-tie-wen-peng-289735","临献之地黄汤帖","文彭","文彭（1498年—1573年），字寿承，号三桥，别号渔阳子、三桥居士、国子先生，南直隶苏州府长洲（今江苏苏州）人。文徵明长子。\n以明经廷试第一，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。",[1794,68,69,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb40ed598150798919c96488f63dc49be.jpg",[],{"id":8523,"slug":8524,"title":8525,"dynasty":2182,"author":186,"museum":62,"description":8526,"tags":8527,"thumbUrl":8530,"material":333,"size":334,"collection":77,"collections":8531,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":150},289483,"biagio-pupini-the-transfiguration-after-raphael-yi-ming-289483","Biagio Pupini--The Transfiguration, after Raphael","画面以上下分层铺陈神迹时刻，上方圣人身姿舒展，衣褶线条沉厚肃穆，神性的威严感呼之欲出。下方凡人信众动态各异，或跪拜惶惑，或交头接耳，满是直面神迹的震撼无措。\n\n创作者以细腻排线晕染明暗，勾勒出凡俗与神圣的鲜明界限，把显圣瞬间的张力藏在笔锋之中，复刻出原作的庄严悲悯。明暗对比拉扯出超脱的氛围感，将信仰降临的悸动定格，让观者仿佛能窥见那一刻的敬畏与震颤。",[2075,735,7335,66,7,8528,8529],"宗教人物","基督变容","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb5715511ef148606aa826d25de2732.jpg",[],{"id":8533,"slug":8534,"title":8535,"dynasty":2182,"author":186,"museum":62,"description":8536,"tags":8537,"thumbUrl":8539,"material":333,"size":334,"collection":77,"collections":8540,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":150},289097,"jean-honore-fragonard-hercules-and-cacus-after-annibale-carracc-yi-ming-289097","Jean Honoré Fragonard--Hercules and Cacus, after Annibale Carracc","粗粝利落的炭笔线条，勾勒出虬结饱满的肌肉轮廓，将角斗的野性张力拉扯到极致。\n\n左侧二人扭打缠斗，高举武器者青筋暴起，将身下对手死死钳制，濒死的挣扎在扭曲的背脊上淋漓毕现。右侧男子攀附岩壁，紧绷的肢体满是奔逃的仓皇狼狈。\n\n明暗皴擦毫无冗余，每一道落笔都在诉说力量的对抗与生存的拉扯，原始的暴力与生命的悍勇呼之欲出，将肉搏的粗粝野性永远定格在纸面，仿佛嘶吼与喘息即将冲破画框而来。",[7335,735,1669,8538,7,66],"搏斗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb54f96b66ca2e9c4896733061d6f685.jpg",[],{"id":8542,"slug":8543,"title":8544,"dynasty":2182,"author":186,"museum":62,"description":8545,"tags":8546,"thumbUrl":8553,"material":333,"size":334,"collection":77,"collections":8554,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":150},288753,"sante-pacini-prophets-and-saints-in-glory-after-bernardino-poccetti-yi-ming-288753","Sante Pacini--Prophets and Saints in Glory, after Bernardino 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