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馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[23,26,27,68,25,7,30,69,70],"立轴","棕榈","枝蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd890e2f692a2d99201f17f205a6278b8.jpg","绢本，设色","149 x 61 cm",[34,75],"设色画精选",113,"BDBDBD",{"id":79,"slug":80,"title":81,"dynasty":18,"author":82,"museum":83,"description":84,"tags":85,"thumbUrl":92,"material":32,"size":93,"collection":34,"collections":94,"showCount":95,"zanCount":96,"manualWeight":11,"mainColor":38},218790,"hua-hui-ling-mao-tu-lv-ji-218790","花卉翎毛图","吕纪","台北故宫博物院","吕纪（约 1429-1505），字廷振，浙江鄞县人。花鸟初学边文进（15 世纪），后又广摹唐宋名家，艺事益能精进。明孝宗弘治（1488-1505）间与林良（约1424-1500 后）同值仁智殿， 任锦衣卫指挥使。\n本幅画春暖花开时节，杏花临水绽放，柳树迎风摇曳， 八哥、山鸟停憩、飞翔于其间。溪中游鱼成群，隔岸两对鸳鸯，景致富丽而怡人。画中并无作者款印，布局与笔意，饶有吕纪之精神面貌，研判应出自传承吕氏风格的宫廷画家之手。",[48,23,49,25,26,27,7,30,86,87,88,89,90,51,91],"鸳鸯","树枝","花朵","水面","石头","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1048483f5027abb6034036a7b9aeaaa.jpg","193.2x116cm",[34],89,1,{"id":98,"slug":99,"title":100,"dynasty":64,"author":101,"museum":83,"description":102,"tags":103,"thumbUrl":108,"material":26,"size":109,"collection":33,"collections":110,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":77},222742,"xian-e-chang-chun-tu-02b-lang-shi-ning-222742","仙萼长春图-02b","郎世宁","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[48,49,23,24,104,25,26,27,105,106,30,107,7],"册","鸟","玉兰","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44752a8e4622ebb38b8e513c4f4c435f.jpg","宽28.4公分，高33.7公分",[],73,{"id":113,"slug":114,"title":115,"dynasty":64,"author":101,"museum":83,"description":102,"tags":116,"thumbUrl":121,"material":26,"size":109,"collection":33,"collections":122,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":77},222745,"xian-e-chang-chun-tu-04a-lang-shi-ning-222745","仙萼长春图-04a",[48,64,25,26,117,118,27,52,30,119,120,7],"中西合璧","写实","石竹","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83adf550c4dfb61e69df42d9f19a27ee.jpg",[],68,{"id":125,"slug":126,"title":127,"dynasty":64,"author":101,"museum":83,"description":128,"tags":129,"thumbUrl":141,"material":72,"size":142,"collection":34,"collections":143,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":77},222793,"jin-chun-tu-lang-shi-ning-222793","锦春图","《锦春图》设色浓艳鲜丽，充分体现郎世宁的绘画特色。锦鸡花卉得写实之真，而湖石坡草又表现中国画的笔墨趣味。画春华锦鸡。锦鸡全用西法。点景树石笔墨是旧院体。构景一仍是陈法。当出另一画家补绘。设色画山涧旁湖石杂卉，二锦鸡栖石上。",[48,49,23,24,68,25,26,117,130,118,131,132,133,30,134,135,136,137,107,138,139,140,7],"光影透视","锦鸡","禽鸟","山石","草木","岩壑","野花","奇石","苔草","坡地","花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2017289c044d5d1fb6ebf7be3f2e2187.jpg","横68.6厘米，纵121.6厘米",[34,75],57,{"id":146,"slug":147,"title":148,"dynasty":18,"author":149,"museum":45,"description":150,"tags":151,"thumbUrl":159,"material":160,"size":161,"collection":33,"collections":162,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":77},223582,"rui-lian-ling-mao-tu-yi-ming-223582","瑞莲翎毛图","佚名","荷塘里，荷叶绿如盘，粉红的荷花，或腐烂，或萌芽，含彩花，已结莲子； 天空中的白雁鸭成对啄食嬉戏，翠鸟、家禽或站在水草的杆上，或在柳枝上，或盘旋在空中，一派生机勃勃的景象。",[48,23,24,26,25,27,152,153,154,51,155,156,7,30,132,134,157,158],"荷花","荷叶","天鹅","水禽","树木","设色花鸟","工笔花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66437a893b263b8850ee0421ee4d9d3.jpg","绢本","80x60cm",[],50,{"id":165,"slug":166,"title":167,"dynasty":18,"author":168,"museum":169,"description":170,"tags":171,"thumbUrl":183,"material":160,"size":184,"collection":33,"collections":185,"showCount":186,"zanCount":96,"manualWeight":11,"mainColor":38},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","卢朝阳","印第安纳波利斯艺术博物馆","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[48,23,26,25,27,172,29,173,51,133,30,174,160,7,175,176,177,132,178,107,88,179,180,181,182],"孔雀","梅花","明代","花卉禽鸟","传统绘画","工笔重彩","花木","羽毛","苔点","晕染","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],48,{"id":188,"slug":189,"title":190,"dynasty":64,"author":65,"museum":45,"description":66,"tags":191,"thumbUrl":194,"material":72,"size":73,"collection":33,"collections":195,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":77},234994,"hua-hui-ling-mao-ping-12-ren-yi-234994","花卉翎毛屏12",[23,26,68,27,192,193,30,7],"老树","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5870bd8f431964529394a7aa9ab6cb0f.jpg",[],26,{"id":198,"slug":199,"title":200,"dynasty":64,"author":65,"museum":45,"description":66,"tags":201,"thumbUrl":203,"material":72,"size":73,"collection":33,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":77},234992,"hua-hui-ling-mao-ping-10-ren-yi-234992","花卉翎毛屏10",[23,24,68,26,25,27,202,152,153,105,7,30],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf9f397c8059cf090d6b2cb507af50a.jpg",[],25,{"id":207,"slug":208,"title":209,"dynasty":64,"author":210,"museum":211,"description":212,"tags":213,"thumbUrl":218,"material":33,"size":33,"collection":34,"collections":219,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":221},201825,"song-pi-ling-mao-tu-zhou-chen-lv-zu-201825","松枇翎毛图轴","陈率祖","上海博物馆","松枝虬曲，松针纤劲如缕；枇杷叶墨色浓淡相叠，果实圆润饱满。翎毛独立枝间，羽翅以简笔勾勒，黑羽如漆、白羽若雪，喙眼点睛便活灵活现，似欲振翅或引颈而鸣。笔墨疏朗有致，写意传神，松的苍劲与果的鲜活相映成趣，禽鸟的灵动为画面注入生机，尽显文人画的清雅意趣，于简淡中藏深致，于疏放中见情韵。",[214,215,27,216,217,7,48],"水墨","写意","松","枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8328f4bb5841999177a64decb8b03f79.jpg",[34],24,"b1a08c",{"id":223,"slug":224,"title":225,"dynasty":43,"author":149,"museum":83,"description":226,"tags":227,"thumbUrl":230,"material":32,"size":231,"collection":232,"collections":233,"showCount":234,"zanCount":11,"manualWeight":11,"mainColor":38},231054,"cui-zhu-ling-mao-tu-yi-ming-231054","翠竹翎毛图","《宋人翠竹翎毛图轴》是宋代画作，作者佚名，采用南唐后主李煜金错刀的手法，是一幅花鸟图轴，表达了宋代绘画所谓“写生”的精义。此画幅对生态有着深刻的观察和了解，是一幅形神皆兼的写实作品；在构图上以近景为主，各景物均匀地分布在画面中，具有前后的空间感。这幅画的笔墨质朴，除了部分细枝外，都以先钩轮廓线再填染颜色的“双钩填彩法”画成，行笔有很多起伏提顿的地方，其中以坡石和竹叶的轮廓线最为明显。而竹叶部份，采用特别的颤动式的线条，整体用笔方面，起伏变化较明显，偏向于南宋的风格。",[48,49,23,24,25,26,27,7,228,51,229],"竹","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551ae374ee32752aeb4c0996f85ae3d1.jpg","185×109.9厘米","宋画精选",[232],22,{"id":236,"slug":237,"title":238,"dynasty":43,"author":239,"museum":45,"description":240,"tags":241,"thumbUrl":242,"material":56,"size":57,"collection":33,"collections":243,"showCount":244,"zanCount":11,"manualWeight":11,"mainColor":38},283631,"ling-mao-tu-zhu-ke-rou-283631","翎毛图","朱克柔","朱克柔 ，生卒年不详。幼习绘画与缂丝(也称刻丝)，积累配色和运线经验。她与定州的沈子藩等同为宋代缂丝名家。宋徽宗至高宗时期以织造缂丝著称于世，亦善画。",[49,23,24,68,26,27,7,228,51,229,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750f0f6937d978894ba7511138e12445.jpg",[],19,{"id":246,"slug":247,"title":248,"dynasty":64,"author":65,"museum":45,"description":66,"tags":249,"thumbUrl":251,"material":72,"size":73,"collection":33,"collections":252,"showCount":244,"zanCount":11,"manualWeight":11,"mainColor":77},234988,"hua-hui-ling-mao-ping-6-ren-yi-234988","花卉翎毛屏6",[23,26,27,7,250,90,107,30,215],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732c0e22aa12b2b03e6b6fb61ec195a1.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":64,"author":101,"museum":257,"description":258,"tags":259,"thumbUrl":261,"material":72,"size":262,"collection":33,"collections":263,"showCount":264,"zanCount":37,"manualWeight":11,"mainColor":77},222783,"hua-niao-ce-ye-03-lang-shi-ning-222783","花鸟册页03","北京故宫博物院","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[48,49,23,24,260,27,25,26,117,152,52,153,30,7],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a19f1bd022351d63f2aba574d80b75b.jpg","纵32.6厘米，横28.6厘米",[],10,{"id":266,"slug":267,"title":268,"dynasty":43,"author":149,"museum":45,"description":269,"tags":270,"thumbUrl":275,"material":56,"size":57,"collection":33,"collections":276,"showCount":277,"zanCount":11,"manualWeight":11,"mainColor":77},290752,"ke-si-hua-hui-ling-mao-zhou-yi-ming-290752","缂丝花卉翎毛轴","此作用色温婉清和，米黄地子衬出深浅蓝调与素白、浅褐晕染的物象。山茶花、牡丹、莲荷次第铺陈，枝桠虬曲舒展，禽鸟各得佳趣，白鹭卓立于汀洲，雀鸟栖停枝头，灵动鲜活。云水、浅岸晕染出幽寂的湖山景致，缂丝走线平齐细密，将花叶的柔润舒展、翎羽的蓬松绒感一一还原，写实入微又带着独有的清雅意韵，把江南水畔初夏的清宁生机，定格在尺幅之间，尽显雅致隽永的造物匠心。",[49,23,24,68,271,26,27,30,7,152,29,51,272,273,274],"缂丝","仙鹤","流水","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc807624a52470c46d64f6f596c381cd4.jpg",[],9,1777535722700]