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青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,24,130,175,95,25,26,76,176,77,30,34,177,178,179,32,7],"长卷","竹子","书法","行书","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":184,"slug":185,"title":186,"dynasty":72,"author":187,"museum":20,"description":188,"tags":189,"thumbUrl":196,"material":82,"size":197,"collection":165,"collections":198,"showCount":199,"zanCount":125,"manualWeight":11,"mainColor":67},216220,"fu-rong-bai-lu-tu-zheng-shi-216220","芙蓉白鹭图","郑石","郑石的《芙蓉白鹭图》是一幅著名的绢本花鸟画。这幅画描绘了一只芙蓉花和二只白鹭鸟，画面非常精致优美。这幅画是郑石最著名的作品之一，被认为是明朝花鸟画的代表作之一。郑石是明朝时期著名的画家，他的画风清新自然，画面精致细腻，对后世艺术家产生了很大的影响。",[23,190,24,130,28,52,25,191,192,193,7,194,195],"明代","花鸟","芙蓉","白鹭","花卉","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b6278a19e0cd0b6464e8d5101b347b.jpg","144.4x74.3cm",[165],217,{"id":201,"slug":202,"title":203,"dynasty":204,"author":205,"museum":206,"description":207,"tags":208,"thumbUrl":213,"material":214,"size":215,"collection":216,"collections":217,"showCount":218,"zanCount":11,"manualWeight":11,"mainColor":67},221334,"liu-ya-lu-yan-tu-zhao-ji-221334","柳鸦芦雁图","宋","赵佶","上海博物馆","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。\n画卷的右半部分，高大的柳树枝上停着三只鸟鸦，其中两只背靠偎依，静观自得，另有一只向下俯视而鸣，似在呼唤躲藏于树根部的一只乌鸦。\n画卷的左半部分，一道清澈的水滩上，芦竹高耸，蓼花低垂，两雁傍水而饮，一雁趋前，作欲饮之状，另有一雁，好像已经饮完水，正啮咬湖中的摹花茎，姿态各不一致，形象生动有趣。\n图上钤有“宣和中秘”和“紫宸殿御书宝”两印。图后的赵佶落款，系后人勾填，右上角“紫宸殿御书宝”及“御书”葫芦印亦是后人描画的。卷后有南宋荣传辰、邓谏从题跋。另有邓易从、范逾跋，系后人伪作。卷首有清高宗弘历题“神韵天然”引首，并有弘历题诗。清梁清标题签。",[23,144,24,130,175,52,25,7,209,210,211,176,212,34],"乌鸦","芦苇","大雁","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc8c5e72610db5404dd3907fbf5fc8a.jpg","纸本","纵34厘米，横223.2厘米","宋画精选",[216,165,40],204,{"id":220,"slug":221,"title":222,"dynasty":157,"author":223,"museum":224,"description":225,"tags":226,"thumbUrl":229,"material":214,"size":122,"collection":64,"collections":230,"showCount":218,"zanCount":136,"manualWeight":11,"mainColor":231},216870,"xi-xiang-ji-tu-ce-yi-ming-216870","西厢记图册","佚名","法国国家图书馆","清辉漫洒的月夜，太湖石皱透玲珑，似藏幽怀几许。垂丝柳如缕拂墙，枝丫间漏下细碎银光。石畔佳人绿衫红襟，凭石凝眸，眉梢轻锁着朦胧心事；墙侧书生探身倚柳，目光灼灼，暗将情愫托与风。阶前细草缀淡紫小花，与石上苔痕相映成趣，更衬天地幽寂温柔。画面以淡彩晕染，线条婉转，凝住西厢记里墙头遥望的经典场景——不须言语，只眼波流转、柳丝轻拂，便把欲说还休的情愫，揉进月色朦胧的园囿中。",[24,25,52,112,53,113,55,227,7,118,228],"明月","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd228540a2e55badb58a67f3b014301b9.jpg",[64,40],"37474F",{"id":233,"slug":234,"title":235,"dynasty":72,"author":236,"museum":237,"description":238,"tags":239,"thumbUrl":243,"material":82,"size":244,"collection":165,"collections":245,"showCount":246,"zanCount":125,"manualWeight":11,"mainColor":67},216730,"hua-niao-tu-lv-ji-216730","花鸟图","吕纪","大英博物馆","吕纪明朝画家，也被称为吕笃简。他是著名的花鸟画家，并且在当时期间担任过朝廷画家。吕纪的花鸟画精细细腻，注重画面的组合构图，对后世的花鸟画产生了很大的影响。他的著名作品有《花鸟图》和《四季花卉图》。",[23,24,52,25,191,7,240,212,241,242,77],"鸭子","水面","花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc9c824b65ade19907e1c12b75fb4b1.jpg","200x102.8cm",[165],185,{"id":248,"slug":249,"title":250,"dynasty":157,"author":251,"museum":159,"description":252,"tags":253,"thumbUrl":260,"material":261,"size":262,"collection":165,"collections":263,"showCount":264,"zanCount":11,"manualWeight":11,"mainColor":67},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","沈铨","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,144,24,130,175,52,25,212,191,33,32,145,254,195,194,7,255,56,79,256,257,258,259],"仙鹤","松树","岩石","孔雀","水禽","花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","绢本设色","45cm*1600cm",[165,40],166,{"id":266,"slug":267,"title":268,"dynasty":157,"author":269,"museum":20,"description":270,"tags":271,"thumbUrl":277,"material":36,"size":278,"collection":64,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":43},214808,"wu-ri-zhong-kui-tu-hua-yan-214808","午日钟馗图","华嵒","这幅画表现的是一朵石榴花靠着一块石头，在一个清澈的池塘里有一支箭。钟馗坐在椅子上，头戴绿帽，身穿大衣，欣赏着锦葵花。在他身后，桌子上放着水果、酒和香喷喷的饺子。五个鬼魂陪伴着他，一个拿着一把破伞遮挡阳光，一个手里拿着一个酒瓶，一个头上戴着花。其中一个人偷了一盘橙子，试图把它藏在腋下，但另一个鬼注意到了，用左手摘下他的围巾，用右手打他的上衣。另一个鬼注意到了，用他的左手摘下他的围巾，而他的右手打在他的上面。整幅画是故事性和趣味性的结合，观者不禁为之倾倒。",[23,24,130,25,95,272,53,7,55,273,274,228,34,275,32,276],"写意","桌子","伞","饮酒场景","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc9a31aafc0ced5a148f4c4af90990a.jpg","131.5x63.7",[64],160,{"id":282,"slug":283,"title":284,"dynasty":157,"author":223,"museum":92,"description":285,"tags":286,"thumbUrl":290,"material":291,"size":292,"collection":122,"collections":293,"showCount":294,"zanCount":11,"manualWeight":11,"mainColor":43},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167","雍正十二月行乐图","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,130,287,25,52,26,80,29,30,76,53,33,145,32,7,288,118,289,114],"青绿","池塘","回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg","绢本，设色","纵188.2厘米，横102.2厘米",[],156,{"id":296,"slug":297,"title":298,"dynasty":299,"author":300,"museum":301,"description":302,"tags":303,"thumbUrl":304,"material":122,"size":122,"collection":122,"collections":305,"showCount":306,"zanCount":125,"manualWeight":11,"mainColor":43},220492,"zhang-da-qian-liu-yin-shi-nv-tu-zhang-da-qian-220492","张大千柳荫仕女图","民国","张大千","四川博物院","仕女眉如远黛，眼含幽绪，樱唇轻抿，鬓发匀整服帖。素色襦裙配云纹领饰，雅致端方，手倚苍润湖石，身姿柔婉，似在春荫下凝伫遐思。旁侧垂柳柔丝纷披，如烟似雾，晕开融融春意，墨竹清劲萧疏，与柳条柔媚相映成趣。\n\n笔墨清圆秀润，设色淡雅明净，细劲线条勾勒出人物妍丽温婉的体态，淡墨晕染出柳色空濛，将闺中女子的闲愁静穆烘托恰到好处，诗画相融，尽现雅致恬和的古典意韵。",[23,24,130,28,25,52,53,113,7,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe418926e4c8fcd1998df4816716ffb22.jpg",[],150,{"id":308,"slug":309,"title":310,"dynasty":157,"author":311,"museum":92,"description":312,"tags":313,"thumbUrl":316,"material":291,"size":317,"collection":165,"collections":318,"showCount":319,"zanCount":125,"manualWeight":11,"mainColor":67},238125,"jiao-yuan-mu-ma-tu-juan-lang-shi-ning-238125","郊原牧马图卷","郎世宁","此画又称《八骏图》，画面上八匹骏马散放于郊外旷野之中，或卧，或立，或吃草，或嬉戏，自在悠闲，放牧者在树下休憩观望。放牧题材的画作不是对单匹马的写生，而是综合、融汇了各种马匹的形象，所以在创作过程中画家更能充分地发挥想象力，使马匹显得活泼自然、生动有趣。\n画家借助了西方追求如实表现物象体积感和立体感的绘画技巧，将马的各种姿态刻画得活灵活现，甚至连毛发的光泽也清晰地呈现在观者眼前，令人有呼之欲出之感，这是中国艺术史中以郎世宁为首的“海西画派”所独有的艺术风格。图中背景的树木、山石、花草全用明暗变化来表现形态，由此判断该画应是郎氏在雍正年间所创作，因为到了乾隆时期，在郎世宁的绘画中往往自己仅画出人物、鞍马，背景则由中国画家补绘。\n骏马是郎世宁作品中常见的绘制对象，他笔下的马匹真实生动，更重要的是他领会了马在中国传统文化中的象征意义。自古以来，马是社会贤良的象征，封建帝王命宫廷画家以马为题材进行创作寓意着尊重社会栋梁、求贤若渴的殷切希望。郎氏以“八骏”入画并非偶然，渊源有自。据传古代周穆王有八匹良骥，一说是绿耳、盗骊、白义、逾轮、山子、渠黄、华骝和赤骥（见《穆天子传》），另一说为绝地、翻羽、奔宵、超影、逾辉、超光、腾雾、挟翼（见《拾遗记》），周穆王曾经驾驭这八匹骏马遨游西方。于是，图写八骏亦有为君主歌功颂德、彰显威仪的含义。",[175,52,25,54,7,56,53,32,314,315],"兽","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beb62906769fc51d887721bda8835ce.jpg","纵51.2厘米，横166厘米",[165],138,{"id":321,"slug":322,"title":323,"dynasty":157,"author":324,"museum":325,"description":326,"tags":327,"thumbUrl":336,"material":337,"size":338,"collection":38,"collections":339,"showCount":340,"zanCount":136,"manualWeight":11,"mainColor":43},221002,"hua-dao-xi-yang-tu-yun-shou-ping-221002","花岛夕阳图","恽寿平","日本京都国立博物馆","恽寿平山水画初学元黄公望、王蒙，深得冷澹幽隽之致。又以没骨法画花卉、禽兽、草虫，自谓承徐崇嗣没骨花法。创作态度严谨，认为“惟能极似，才能传神。”“每画一花，必折是花插之瓶中，极力描摹，必得其生香活色而后已”。他画法不同一般，是“点染粉笔带脂，点后复以染笔足之”，创造了一种笔法透逸，设色明净，格调清雅的“恽体”花卉画风，而成为一代宗匠。对明末清初的花卉画有“起衰之功”，被尊为“写生正派”，影响波及大江南北，史载：“近日无论江南江北，莫不家家南田，户户正叔，遂有‘常州派'之目”。",[23,24,25,95,175,26,328,131,329,33,330,31,30,212,27,210,331,332,333,7,255,334,335],"夕阳","云雾","小船","沙洲","远山","近景","平坡","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2703852885af6a04ae01bf1fbdb64d9d.jpg","纸本 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究的重要参考资料。",[23,52,25,175,178,177,111,53,80,114,33,32,118,146,442,76,443,444,7,255],"衣冠","车马","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06547500b479d14c237b5c8c3448d3ed.jpg","26.1x446.5",[64],117,{"id":450,"slug":451,"title":452,"dynasty":157,"author":324,"museum":172,"description":453,"tags":454,"thumbUrl":459,"material":122,"size":122,"collection":122,"collections":460,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":43},233906,"hua-hui-shan-shui-ce-yun-shou-ping-233906","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,455,112,456,25,34,7,255,457,227,458],"清代","没骨","鱼","落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45310b0b5b6eed41b29e10791b123347.jpg",[],110,{"id":463,"slug":464,"title":465,"dynasty":72,"author":223,"museum":20,"description":466,"tags":467,"thumbUrl":471,"material":82,"size":472,"collection":40,"collections":473,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":67},219353,"hua-niao-tu-xing-hua-shuang-ya-yi-ming-219353","花鸟图-杏花双鸭","此幅绘柳岸池塘，杏花繁茂，双燕翻飞，翠鸟窥机、二鸭嬉戏。",[24,25,52,191,468,469,7,212,241,470,372],"杏花","双鸭","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08be92aa3800553c043da2d21b1ba09.jpg","161.5x80.1",[40],103,{"id":476,"slug":477,"title":478,"dynasty":204,"author":479,"museum":20,"description":480,"tags":481,"thumbUrl":484,"material":82,"size":485,"collection":216,"collections":486,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":67},218974,"shui-dian-zhao-liang-tu-li-song-218974","水殿招凉图","李嵩","画中有一道门，将湖水引入运河，流向宫廷花园。有顶的廊桥建在池塘和沼泽上，下面是底，上面是一排叉柱，柱子上有锅炉，锅炉之间有梁，这对研究宋代的桥梁和水闸是很有价值的资料。碑文上写着 李部长 几个字，从画风上看，应该是李松的作品。",[23,144,24,482,111,25,53,80,483,30,7,114],"扇面","廊桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666a148dad7f30d97877d2b6a766c63a.jpg","24.5x25.4",[216],100,{"id":489,"slug":490,"title":491,"dynasty":72,"author":492,"museum":20,"description":493,"tags":494,"thumbUrl":496,"material":82,"size":497,"collection":64,"collections":498,"showCount":499,"zanCount":11,"manualWeight":11,"mainColor":67},216954,"mu-niu-tu-dai-jin-216954","牧牛图","戴进","戴进对人物的描绘通常是蚕头鼠尾式的，笔触笨拙而有力。柳树沾满了墨水，密密麻麻地洒满了叶子，加上风中摇曳的小草，纸面上一片清凉，沁人心脾。",[144,24,130,28,25,95,27,53,495,7,56],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c8c78bf69b7ec732d14fa5209f10d6.jpg","38.6x30.6",[64],93,{"id":501,"slug":502,"title":503,"dynasty":157,"author":311,"museum":20,"description":504,"tags":505,"thumbUrl":506,"material":291,"size":507,"collection":165,"collections":508,"showCount":509,"zanCount":11,"manualWeight":11,"mainColor":43},222755,"ba-jun-tu-lang-shi-ning-222755","八骏图","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[23,144,24,130,52,25,54,7,53,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e92b33c9ffa5dd5113ef3c90fe3aac.jpg","139.3公分，横：80.2公分",[165,40],92,{"id":511,"slug":512,"title":513,"dynasty":157,"author":514,"museum":346,"description":515,"tags":516,"thumbUrl":518,"material":36,"size":519,"collection":38,"collections":520,"showCount":509,"zanCount":125,"manualWeight":11,"mainColor":43},214692,"shan-shui-tu-cha-shi-biao-214692","山水图","查士标","这是查士标罕见的无骨山水之一，远处的云和山融合在一起，近处的几个泥滩，阴影中的柳树和丝带垂下；两个人和一头驴为这一场景增色不少。查士标，字尔瞻，清初画家，与孙逸、汪无端、僧弘仁等书画家一起被称为“新安四家”。",[23,24,26,95,27,178,7,350,330,53,495,33,402,332,517],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc953330b3b38786d8ac4d32756933080.jpg","90.1x36.7",[38],{"id":522,"slug":523,"title":524,"dynasty":72,"author":525,"museum":20,"description":526,"tags":527,"thumbUrl":533,"material":82,"size":534,"collection":38,"collections":535,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":67},214735,"ren-wu-zhou-guo-chun-214735","人物轴","郭纯","在水边的柳树下摆上一张桌子，客人和主人坐在一起交谈，手持羽毛扇，身穿纱笼。三个孩子，一个炖着茶和水，另一个拿着苍蝇刷，站在客人身后，与拿着饭盒的人交谈。山石皴法是元代盛懋风格，其工艺也不弱。建筑物的笔触偶尔会有失误",[24,130,28,95,25,26,53,52,528,7,29,114,131,33,529,530,531,532],"屋宇","人物活动","水墨设色","传统技法","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e11bebc6abc80b06f3d874186097f6b.jpg","110.8x62.1",[38],91,{"id":538,"slug":539,"title":540,"dynasty":157,"author":324,"museum":172,"description":541,"tags":542,"thumbUrl":543,"material":122,"size":122,"collection":38,"collections":544,"showCount":545,"zanCount":11,"manualWeight":11,"mainColor":43},237098,"yun-shou-ping-hu-shan-tu-zhou-yun-shou-ping-237098","恽寿平湖山图轴","恽寿平(初名格；1633—1690)，字寿平，以字行，又字正叔，别号南田，一号白云外史、云溪史、东园客、巢枫客、草衣生、横山樵者。江苏武进人，清代著名画家。\n创常州派，为清朝“一代之冠”。特点是以潇洒秀逸的用笔直接点蘸颜色敷染成画，讲究形似，但又不以形似为满足，有文人画的情调、韵味。其山水画亦有很高成就，以神韵、情趣取胜，与“四王”、吴历并称“清初六大家”。他又善诗文和书法，诗被誉为“毗陵六逸之冠”。书法主要学褚遂良，被称为“恽体”。",[24,130,28,95,27,26,402,7,32,329,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edf4c0fe6fe2640f88f0e56ef758d77.jpg",[38],90,{"id":547,"slug":548,"title":549,"dynasty":72,"author":236,"museum":20,"description":550,"tags":551,"thumbUrl":556,"material":82,"size":557,"collection":165,"collections":558,"showCount":559,"zanCount":125,"manualWeight":11,"mainColor":67},218790,"hua-hui-ling-mao-tu-lv-ji-218790","花卉翎毛图","吕纪（约 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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。",[23,24,144,52,25,191,552,194,553,554,555,241,470,212,7],"翎毛","鸳鸯","树枝","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1048483f5027abb6034036a7b9aeaaa.jpg","193.2x116cm",[165],89,{"id":561,"slug":562,"title":563,"dynasty":157,"author":564,"museum":92,"description":565,"tags":566,"thumbUrl":567,"material":36,"size":568,"collection":64,"collections":569,"showCount":570,"zanCount":136,"manualWeight":11,"mainColor":43},219223,"er-tong-dou-cao-tu-jin-ting-biao-219223","儿童斗草图","金廷标","此图表现的是端午节儿童们斗草的游戏。有的以比赛采得的花草作对，这是文斗；有的把叶柄相勾拉拽，也称“拔根儿”，就是武斗。",[23,144,24,130,28,52,25,53,7,470,228,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94f548edff091b9ba461b027bf11c428.jpg","纵105.3厘米，横79.5厘米",[64],88,{"id":572,"slug":573,"title":574,"dynasty":157,"author":575,"museum":108,"description":576,"tags":577,"thumbUrl":583,"material":36,"size":584,"collection":40,"collections":585,"showCount":586,"zanCount":11,"manualWeight":11,"mainColor":43},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。",[23,24,25,52,578,53,30,7,579,194,470,370,580,581,582],"临摹","花瓶","老者","饮酒","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3f08da92920c2ef320d48087d820c1a.jpg","124.7x56.5厘米",[40],86,{"id":588,"slug":589,"title":590,"dynasty":204,"author":223,"museum":159,"description":591,"tags":592,"thumbUrl":595,"material":82,"size":596,"collection":165,"collections":597,"showCount":586,"zanCount":11,"manualWeight":11,"mainColor":67},219116,"wu-mao-tu-yi-ming-219116","五猫图","这幅画是一棵古老的柳树，从土壤的右下坡笔直向上延伸。 柳树周围画有五只猫。 母猫的皮毛颜色很好。 它看起来天真无邪，喜欢在草坡上玩耍。",[24,144,25,52,314,593,594,7,55],"猫","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd568342453b18257f81c6e57ff45b4c5.jpg","纵121横73厘米",[165],{"id":599,"slug":600,"title":601,"dynasty":157,"author":602,"museum":92,"description":603,"tags":604,"thumbUrl":607,"material":291,"size":608,"collection":64,"collections":609,"showCount":610,"zanCount":125,"manualWeight":11,"mainColor":67},222862,"shi-gong-ci-tu-ce-leng-mei-222862","十宫词图册","冷枚","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,52,25,111,178,34,53,80,605,606,315,7],"龙","舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e2972b1c52918200e2cb77c491e77.jpg","纵33.1厘米，横29.3厘米",[64],85,{"id":612,"slug":613,"title":614,"dynasty":72,"author":615,"museum":616,"description":617,"tags":618,"thumbUrl":619,"material":82,"size":122,"collection":64,"collections":620,"showCount":621,"zanCount":136,"manualWeight":11,"mainColor":67},219588,"wang-xian-zhi-xiu-xi-dao-mao-xu-qu-xin-an-gong-zhu-tu-tang-yin-219588","王献之休郗道茂续娶新安公主图","唐寅","沃尔特斯艺术博物馆","画面以枯荣交织的柳树起笔，萧寂山水铺陈出沉郁底色。右侧男子抬臂欲语，眉宇间漫着化不开的怅然，满腔无奈终究凝在抬手之间。左侧郗道茂依偎侍女，垂首敛肩将悲戚藏在背影里，被弃的凄楚默然漫溢。\n\n淡墨晕染山石空远幽寂，衬得这场诀别更添孤凉。工细衣纹勾勒出人物仪态，将情爱里身不由己的遗憾揉进绢本，把旧年憾事定格成含蓄深沉的无声诗篇，失意与伤情铺展在山水之间，余韵悠长。",[24,52,25,27,53,113,26,7,32,594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c441d0be13c6b563da78fdded2b86c.jpg",[64],84,{"id":623,"slug":624,"title":625,"dynasty":204,"author":626,"museum":20,"description":627,"tags":628,"thumbUrl":630,"material":631,"size":632,"collection":216,"collections":633,"showCount":634,"zanCount":125,"manualWeight":11,"mainColor":67},221591,"jiu-ci-tu-juan-li-di-221591","九鹚图卷","李迪","李迪“画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，超亦能作山水小景。构思精妙，功力深湛，雄伟处动人心魄。”所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动，刻画细致，各具神态。山水师法李唐，也多又佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”",[23,144,24,130,175,25,52,191,7,228,55,629],"鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba83bf3091278e25daedea126febf6f5.jpg","设色,浅设色","本幅34.7x226.6 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一份静谧温情，尽显冬日山水的清旷之美。",[24,366,28,95,25,27,719,26,76,7,32,53,720,33],"雪景","积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b3736813819c79171866fb270f653e.jpg",[38],64,{"id":725,"slug":726,"title":727,"dynasty":157,"author":223,"museum":20,"description":728,"tags":729,"thumbUrl":731,"material":732,"size":733,"collection":64,"collections":734,"showCount":735,"zanCount":11,"manualWeight":11,"mainColor":43},238870,"mei-gui-fei-chun-gui-ren-xing-le-tu-zhou-yi-ming-238870","玫贵妃春贵人行乐图轴","此图描绘玫贵妃与春贵人、鑫常在花园中钓鱼的情景。人物形神毕肖，个性鲜明，明显带有肖像画特征，对研究晚清嫔妃的宫廷娱乐生活具有较为珍贵的影像价值。\n此图所绘主人公玫贵妃，姓徐佳氏，是清代咸丰皇帝的嫔妃，初为贵人，后进玫嫔。同治皇帝在位时，尊封其为玫贵妃。",[24,28,52,25,53,113,7,145,730,32,118,194,288,455],"荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0271796fde7f4f01e55be68f0f4a86c.jpg","纸本设色","纵169cm，横90cm",[64,40],62,{"id":737,"slug":738,"title":739,"dynasty":157,"author":740,"museum":172,"description":741,"tags":742,"thumbUrl":744,"material":122,"size":122,"collection":122,"collections":745,"showCount":746,"zanCount":11,"manualWeight":11,"mainColor":43},230133,"yu-yu-liu-se-tu-hong-ren-230133","雨余柳色图","弘仁","《雨余柳色图》是 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之幔亭，皈依报亲寺古航师为圆顶焉。",[24,144,130,28,95,27,26,7,29,80,55,743],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8413b0a13127d754377e4b83368527.jpg",[],60,{"id":748,"slug":749,"title":750,"dynasty":204,"author":751,"museum":752,"description":753,"tags":754,"thumbUrl":759,"material":82,"size":760,"collection":122,"collections":761,"showCount":762,"zanCount":358,"manualWeight":11,"mainColor":67},218642,"si-ji-mu-niu-tu-yan-ci-ping-218642","四季牧牛图","阎次平","南京博物院","长卷铺展，四季牧歌徐徐启幕。春柳垂丝，牛群缓步林间，蹄印轻踏新草；夏木荫浓，一牛卧地纳凉，牧童侧坐闲憩，蝉鸣似隐叶间；秋阳正好，老牛伏身，牧童倚背小憩，树影斑驳洒落；冬风未寒，两牛相依，牧童骑牛信步，柳梢轻摇伴归途。树干苍劲虬曲，笔墨勾勒出牛的憨态肌理，牧童神态悠然，或坐或行皆显天真。画面静谧却藏鲜活气息，四季流转间，恬淡之趣溢于绢素，尽显宋人笔下自然意韵与生活情味。",[23,144,24,130,175,95,52,27,495,53,755,77,7,56,756,757,758],"牧童","河岸","土地","树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1489cb236d6a2e63c61b98228bdc5e34.jpg","35x99.7x4",[],59,{"id":764,"slug":765,"title":766,"dynasty":157,"author":767,"museum":172,"description":768,"tags":769,"thumbUrl":771,"material":122,"size":122,"collection":38,"collections":772,"showCount":773,"zanCount":11,"manualWeight":11,"mainColor":43},239411,"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[24,130,175,95,578,27,26,29,30,402,76,594,32,53,255,7,179,330,332,770],"近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[38],58,{"id":775,"slug":776,"title":777,"dynasty":157,"author":311,"museum":92,"description":312,"tags":778,"thumbUrl":781,"material":291,"size":317,"collection":165,"collections":782,"showCount":783,"zanCount":11,"manualWeight":11,"mainColor":67},222792,"jiao-yuan-mu-ma-tu-lang-shi-ning-222792","郊原牧马图",[23,52,25,54,7,53,56,256,33,779,780],"红叶","原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1bf9e7ff804c6db6e3bc52b86461389.jpg",[165,40],56,{"id":785,"slug":786,"title":787,"dynasty":157,"author":158,"museum":92,"description":788,"tags":789,"thumbUrl":791,"material":792,"size":122,"collection":122,"collections":793,"showCount":794,"zanCount":125,"manualWeight":11,"mainColor":43},234145,"yuan-ji-shan-shui-ren-wu-tu-juan-shi-tao-234145","原济山水人物图卷","石涛（1630-1724），清初画家。法名原济，一作元济、道济。石涛本姓朱，名若极，字石涛，又号苦瓜和尚、大涤子、清湘陈人等，汉族，广西全州人，晚年定居扬州。明靖江王之后，出家为僧。半世云游，饱览名山大川，工诗文，善书画。所画山水，笔法恣肆，离奇苍古而又能细秀妥帖，画花卉也别有生趣。与弘仁、髡残、石涛、八大并称画坛“四僧”。\n出生于帝王胄裔，国破家亡之痛，感触尤深。但其出家更多只是一种政治姿态，这与渐江的“受性偏孤”不同，石涛性格中充满“动”而身处佛门心向红尘。康熙南巡时，石涛曾两次接驾，主动进京交结达官显贵，企图出人头地，但权贵们仅将其当作一名会画画的和尚，并未与之计较，故而功败垂成。因此其在清高自许与不甘岑寂之间矛盾地渡过了一生，但他巧妙地把这种矛盾发泄到画作之中，使作品纵横排闼、闪转腾挪，充满了动感与张力，这也正是其异于常人的高明之处。\n石涛具有创新才能且创作题材广泛，为一多产画家。他的表现手法富于变化，又能将独特、和谐统一为自己的风格特色。一生游历过广西、江西、湖北、安徽、浙江、江苏和北京等地，在自然的真实感受和探索中加以对前人技法长处的融会。对绘画创作强调“师法自然”，把绘画创作和审美体系构成为“借笔墨以写天地而陶泳乎我也”。石涛的画似有一种超凡脱俗的意境，无论是山水、人物、还是花卉、走兽都有很高的艺术成就，“搜尽奇峰打草稿”是其绘画艺术取得成功的重要关键。\n擅山水，兼工兰竹。山水不局限于师承某家某派，而广泛师法历代画家之长，将传统的笔墨技法加以变化，又注重师法造化，从大自然吸取创作源泉，并完善表现技法。作品笔法流畅凝重，松柔秀拙，尤长于点苔，密密麻麻，劈头盖面，丰富多彩；用墨浓淡干湿，或笔简墨淡，或浓重滋润，酣畅淋漓，极尽变化；构图新奇，或全景式场面宏阔，或局部特写，景物突出，变幻无穷。尤其善用“截取法”以特写之景传达深邃之境，无论是黄山云烟，江南水墨，还是悬崖峭壁，枯树寒鸦，或平远、深远、高远之景，均力求布局新奇、意境翻新。画风新颖奇异、苍劲恣肆、纵横排奡、生意盎然。\n其作花鸟、兰竹亦不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。花鸟继承徐渭等人的大写意花鸟传统，并自探“灵苗”，以天骨开张的艺术魅力表现其对生命与自然的热爱。作花卉墨竹，纵横肆意，于无法中有法，直抒性灵，并讲求诗意与绘画的结合生发，开拓了作品的意蕴。\n代表作品有《泼墨山水卷》、《山水清音图》、《苦瓜和尚妙谛册》等。著有《苦瓜和尚画语录》，以“一画”的命题把山水画理论提高到哲理的高度。",[23,24,175,95,27,178,790,26,53,402,32,33,7,255,79],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b8c89ebfd89cb31b396bff027a9532.jpg","纸本，水墨",[],52,{"id":796,"slug":797,"title":491,"dynasty":204,"author":223,"museum":798,"description":799,"tags":800,"thumbUrl":802,"material":82,"size":803,"collection":216,"collections":804,"showCount":794,"zanCount":11,"manualWeight":11,"mainColor":67},219013,"mu-niu-tu-yi-ming-219013","日本大阪市立美术馆","在池塘边的一棵柳树下，一头奶牛在舔她的小牛；不远处，一个牧童背靠着柳树睡觉，狭长的柳叶在风中飘动，温暖的阳光让春天的日子充满生机。这幅画是李唐和晏子平的遗作，他们都是著名的畜牧业画家，应该是大师级画家的作品。",[24,482,95,495,314,755,7,288,801],"春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa669771ee97905e8613b0c50bdb92e5a.jpg","24.7x25.6",[216],{"id":806,"slug":807,"title":808,"dynasty":157,"author":809,"museum":20,"description":810,"tags":811,"thumbUrl":814,"material":36,"size":815,"collection":38,"collections":816,"showCount":817,"zanCount":11,"manualWeight":11,"mainColor":43},220112,"yan-bo-diao-ting-tu-qian-long-220112","烟波钓艇图","乾隆","清高宗爱新觉罗·弘历（1711年9月25日—1799年2月7日），清朝第六位皇帝，定都北京之后的第四位皇帝。年号“乾隆”，寓意“天道昌隆”。在位六十年，禅位后又继续训政，实际行使最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是最长寿的皇帝。",[23,24,130,95,28,26,402,812,7,210,813,34],"蓑笠","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0610d85cb942d3d36056cbf98c91f3.jpg","58.8x30.7",[38],48,{"id":819,"slug":820,"title":821,"dynasty":204,"author":822,"museum":92,"description":823,"tags":824,"thumbUrl":825,"material":826,"size":827,"collection":122,"collections":828,"showCount":829,"zanCount":11,"manualWeight":11,"mainColor":67},223513,"liu-yin-gao-shi-tu-wang-shen-223513","柳荫高士图","王诜","北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[23,24,130,25,52,53,7,594,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe087bce9ee900ca12a83d8169b36bf3.jpg","轴绢本设色","76×46.4厘米",[],45,{"id":831,"slug":832,"title":833,"dynasty":204,"author":834,"museum":20,"description":835,"tags":836,"thumbUrl":841,"material":842,"size":843,"collection":122,"collections":844,"showCount":845,"zanCount":125,"manualWeight":11,"mainColor":67},289923,"le-zhi-lun-tu-li-cong-xun-289923","乐志论图","李从训","杭州人。宣和（一一一九―一一二五）待诏，绍兴（一一三一―一一六二）间复宫补承直郎，赐金带。工画道释、人物、花鸟，位置不凡，传彩精妙，高出流辈。",[23,24,175,52,25,53,26,837,32,33,838,7,677,839,840],"园林","竹林","文人雅集","日常场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1968fcee276617eabf933115635e8bbf.jpg","白纸本","画幅31.4x259公分",[],44,{"id":847,"slug":848,"title":821,"dynasty":204,"author":223,"museum":20,"description":849,"tags":850,"thumbUrl":853,"material":82,"size":854,"collection":216,"collections":855,"showCount":845,"zanCount":11,"manualWeight":11,"mainColor":67},219693,"liu-yin-gao-shi-tu-yi-ming-219693","这幅画论布局，论笔法、设色，均臻上乘。画中人物之猜测为谁﹖其理由是以前景中的柳树，以应陶渊明是「五柳先生」，再加以头上的巾子足以漉酒，渊明正是好酒之人。本幅从服饰及坐具、酒具，显然是画晋人，而无唐以后风俗。陶渊明出现的形象，基本上是一位「高士」，然而这个高士大致有两种面貌，一种是悠游山林的隐者，一种是醺醺醉矣的酒客。柳阴高士可能是现存画陶渊明醉醺醺的最早一幅画了。画中树下一翁，席以豹皮，前置一手卷、一盏酒，老翁袒胸赤足，头戴葛巾，双目凝神下视，实已醺醺然微醉矣。渊明坐前双脚处，席上置有盛酒之碗，酒盛九分满，沿上犹挂著一把勺子，碗与勺皆是外壁黑，内面朱，且其质薄，看来是漆器一类而非陶器。，从器皿及服饰的发展，画中人物是非唐而为晋。\n柳荫下，一位士人袒胸露背，跣足而坐于豹皮之上，潇洒超脱，充满雅逸逍遥之趣。士人两眼有醺醺然之貌，故幅上乾隆题诗称这位高士不是唐的李白，就是晋的陶潜。由于陶潜曾作＜五柳先生传＞以自况，故而推断此人为陶潜的可能性较高。 本幅人物线条刚劲如铁丝，转折犀利。树干苍老，柳叶繁复，笔力稳健挺拔，多层皴染，使得画面蕴藉厚润。全作绘制精谨，是一幅宋代佳作。",[23,24,130,28,25,52,27,53,7,594,851,852],"饮酒器","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8dde6b37837daa0488ca428fd6cae5e.jpg","65.4x40.2cm",[216,64],{"id":857,"slug":858,"title":859,"dynasty":72,"author":73,"museum":172,"description":860,"tags":861,"thumbUrl":862,"material":693,"size":694,"collection":122,"collections":863,"showCount":864,"zanCount":11,"manualWeight":11,"mainColor":67},230958,"zhou-mao-shu-ai-lian-tu-li-zhou-chou-ying-230958","周茂叔爱莲图立轴","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,144,24,130,28,52,25,287,53,26,145,330,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4d5dc2dd8cfd1a2c256dea70deac6c.jpg",[],42,{"id":866,"slug":867,"title":868,"dynasty":18,"author":869,"museum":237,"description":870,"tags":871,"thumbUrl":873,"material":82,"size":874,"collection":38,"collections":875,"showCount":864,"zanCount":11,"manualWeight":11,"mainColor":67},219783,"shan-zhong-guan-shu-tu-yi-sheng-mao-219783","山中观书图(一)","盛懋","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[23,24,384,25,52,27,26,53,255,176,7,32,30,33,872],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bca7bc079a6d5dcc5b4be19f4c16a7a.jpg","纵97.3横29.2",[38],{"id":877,"slug":878,"title":235,"dynasty":157,"author":879,"museum":20,"description":880,"tags":881,"thumbUrl":884,"material":82,"size":885,"collection":165,"collections":886,"showCount":887,"zanCount":11,"manualWeight":11,"mainColor":43},218876,"hua-niao-tu-yu-sheng-218876","俞笙","绘制八哥相搏，情态甚为生动。画柳、芙蓉、草虫，笔意潇洒简当。",[24,25,52,95,191,212,416,7,882,883],"枝干","花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027ca06eef5220d7c34a3b53d8eedd35.jpg","132.5x49cm",[165],41,{"id":889,"slug":890,"title":891,"dynasty":72,"author":236,"museum":20,"description":892,"tags":893,"thumbUrl":896,"material":82,"size":897,"collection":165,"collections":898,"showCount":887,"zanCount":11,"manualWeight":11,"mainColor":67},218841,"xue-jing-ling-mao-tu-lv-ji-218841","雪景翎毛图","图绘雪后萧条，江天如墨。群凫畏寒相聚，半入睡乡。冻雀寒鸠，栖依衰柳，皆体贴入微，直同真景，而笔墨浑朴，不求繁缛，较之他作，似又更多一层古趣。",[24,52,25,191,7,894,195,895,241],"雪","雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38d71dfec08e8c1a64f428f5c218ce0.jpg","169.6x90.5cm",[165],{"id":900,"slug":901,"title":902,"dynasty":72,"author":91,"museum":92,"description":903,"tags":904,"thumbUrl":905,"material":214,"size":906,"collection":122,"collections":907,"showCount":908,"zanCount":11,"manualWeight":11,"mainColor":43},234095,"wu-zhong-shan-shui-ce-shen-zhou-234095","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 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意通过人物动态神情的刻划，环境道具的烘托，成功地揭示出陶渊明超旷虚灵、静穆澹远的性格。",[144,24,130,28,25,52,53,7,32,228,988,989,371],"茶具","漉酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0609eaca6db96cf92ecdee6505dba58.jpg",[],35,{"id":994,"slug":995,"title":996,"dynasty":72,"author":997,"museum":172,"description":998,"tags":999,"thumbUrl":1000,"material":122,"size":1001,"collection":122,"collections":1002,"showCount":992,"zanCount":125,"manualWeight":11,"mainColor":43},233915,"hua-hui-cao-chong-ce-xiang-sheng-mo-233915","花卉草虫册","项圣谟","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,130,112,25,178,34,7,654,55,30,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924abbb355c3eba59bb164c267fd9492.jpg","23x31cm",[],{"id":1004,"slug":1005,"title":1006,"dynasty":157,"author":1007,"museum":1008,"description":1009,"tags":1010,"thumbUrl":1013,"material":61,"size":1014,"collection":122,"collections":1015,"showCount":992,"zanCount":11,"manualWeight":11,"mainColor":43},223054,"hong-lou-meng-179-sun-wen-223054","红楼梦179","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,24,130,52,25,53,76,29,30,80,1011,7,32,118,119,114,33,1012,228],"桃花","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e5eba9e39159cf3c0ab3897bedecf0.jpg","纵43.3厘米、横76.5厘米",[],{"id":1017,"slug":1018,"title":1019,"dynasty":18,"author":1020,"museum":1021,"description":1022,"tags":1023,"thumbUrl":1024,"material":82,"size":1025,"collection":165,"collections":1026,"showCount":992,"zanCount":11,"manualWeight":11,"mainColor":67},219086,"liu-xia-cang-lu-tu-zhao-yong-219086","柳下苍鹭图","赵雍","耶鲁大学艺术博物馆","古梅树浓密，枝头红梅，花开锦绣。 三只白鹭站在粗杆上，昂首挺胸； 发芽的柳条垂下几根，沐浴着春风，像一堵绿墙一样在两边摆动； 小鸟躲在里面，拿着柳条在秋千上荡秋千，或者栖息在春天里，互相欣赏。",[24,144,130,28,52,25,191,7,385,415,212,743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e32fdc6ff622340002106f04ee40b3a.jpg","231.1x101.9cm",[165],{"id":1028,"slug":1029,"title":1030,"dynasty":204,"author":223,"museum":20,"description":1031,"tags":1032,"thumbUrl":1035,"material":404,"size":1036,"collection":122,"collections":1037,"showCount":1038,"zanCount":11,"manualWeight":11,"mainColor":67},223408,"nv-xiao-jing-tu-juan-yi-ming-223408","女孝经图卷","中国人物画的创作目的之一是强调绘画的政治教化功能。唐代张彦远在《历代名画记》中曾明确指出“画者，成教化，助人伦，穷神变，测幽微，与六籍同功，四时并运者也”。现存最早的以画卷形式宣传女德、女诫教义的作品当属东晋顾恺之（传）创作的《女史箴图》、《列女仁智图》。《女孝经》作为绘画的表现题材，早在五代后蜀后主孟昶执政时期，就被画家石恪精心创作。据宋代内院奉敕编撰的《宣和画谱》记载，当时，石恪依据《女孝经》内容仅绘制了8幅图，可惜其作品未能流存于世。此幅由南宋佚名画家创作的《女孝经图》，便成为目前保存最好、时代最早的反映《女孝经》内容的代表作。\n此图卷以其较高的艺术造诣向世人展示了宋代仕女画成熟的风貌。\n每幅图依据表现内容的不同形成各自独立的画面，同时作者利用人物的造型、服饰及统一的笔墨形式又使各图之间既相对独立又彼此联系呼应，从而达到了形散而神聚的艺术效果。此图卷中重点表现的对象是三五成群的仕女，她们挽高髻，饰簪花，面形长圆而丰满，尚存唐代仕女画的面形特征，但形体上已没有了唐代仕女臃肿艳肥的体态，而显露出向明清仕女画修长秀美体形过渡的趋向。她们身材的曲线美被作者加以充分表现，细腰纤手，婀娜轻盈。人物的神态皆雍容大方，端庄娴静，动作举止亦守规守矩，从而生动地图解了母仪、贤明、仁智等封建妇女必须遵守的言行准则。作者在处理人物与环境的关系上十分成功，穿插于人物中的树木枝繁叶茂，数量虽然不多，但作为人物活动的衬景构筑出了淡泊宁静的自然环境，从而丰富了人物活动的空间，并令用于说教的画面增添了生趣。而具良好德行的贤妇烈女们在树下谈经论道或勤于女红，又为这清幽的境地增添了几分崇高的意趣。",[23,24,175,52,25,790,53,114,33,80,1033,7,1034,113,55,76,177],"芭蕉","桌椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd14950ec691dae510436a9d31262f4.jpg","纵43.8厘米，横823.7厘米",[],34,{"id":1040,"slug":1041,"title":1042,"dynasty":157,"author":1007,"museum":1008,"description":1009,"tags":1043,"thumbUrl":1044,"material":61,"size":1014,"collection":122,"collections":1045,"showCount":1038,"zanCount":11,"manualWeight":11,"mainColor":43},223060,"hong-lou-meng-46-sun-wen-223060","红楼梦46",[23,24,130,112,52,25,111,53,54,80,26,33,29,179,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1253286b5330bfb421905cfde8ccfc2.jpg",[],{"id":1047,"slug":1048,"title":1049,"dynasty":72,"author":223,"museum":172,"description":1050,"tags":1051,"thumbUrl":1055,"material":82,"size":1056,"collection":165,"collections":1057,"showCount":1038,"zanCount":11,"manualWeight":11,"mainColor":67},219906,"xuan-kui-shuang-li-tu-yi-ming-219906","萱葵双鹂图","垂柳叶丝轻曳水畔，两只黄鹂栖停枝梢，翅羽晕染细腻绵密，灵动身姿似正私语嬉游。左侧蜀葵攒簇粉艳花团，浓绿叶片饱满鲜活，下方萱花舒展素白瓣朵，依偎嶙峋湖石而生。\n\n整作设色古雅沉稳，沉褐绢底衬得花叶明丽、禽鸟娇俏。工笔晕染精妙入微，将蜀葵秾艳、萱花清柔，黄鹂的娇憨灵动画韵尽显，留白水岸清寂悠远，把初夏水畔的闲静生机凝于绢上，笔致工秀柔和，揉合雅致野趣，尽显悠然清逸的隐逸意趣。",[23,24,25,52,191,1052,1053,7,32,1054,212,194,582],"萱草","蜀葵","百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d1ccf1c70a12fed695098a1073e3dd5.jpg","纵118厘米 横59厘米",[165],{"id":1059,"slug":1060,"title":1061,"dynasty":72,"author":91,"museum":172,"description":1062,"tags":1063,"thumbUrl":1065,"material":693,"size":694,"collection":122,"collections":1066,"showCount":1067,"zanCount":11,"manualWeight":11,"mainColor":43},290889,"liu-tang-qi-an-shen-zhou-290889","柳塘埼岸","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。",[24,130,112,95,178,34,26,7,32,30,1064,76,27],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104cc443d8b8dfc69213b920a74481d9.jpg",[],33,{"id":1069,"slug":1070,"title":1071,"dynasty":157,"author":1072,"museum":172,"description":1073,"tags":1074,"thumbUrl":1076,"material":693,"size":694,"collection":122,"collections":1077,"showCount":1067,"zanCount":11,"manualWeight":11,"mainColor":43},290593,"yu-yuan-mu-chun-shi-zhou-zhang-ruo-ai-290593","御园暮春诗轴","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,130,366,25,27,26,179,255,7,29,32,1011,178,34,1075],"暮春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba828b43d4a0f1aabbf6021ad4427947.jpg",[],{"id":1079,"slug":1080,"title":203,"dynasty":204,"author":205,"museum":172,"description":1081,"tags":1082,"thumbUrl":1086,"material":693,"size":694,"collection":122,"collections":1087,"showCount":1067,"zanCount":11,"manualWeight":11,"mainColor":43},289725,"liu-ya-lu-yan-tu-zhao-ji-289725","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[23,144,24,175,1083,95,25,52,7,210,176,211,1084,917,34,177,1085],"花鸟画","鸦","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa7fe1a9da342eabc769e9f1cdda3f4.jpg",[],{"id":1089,"slug":1090,"title":1091,"dynasty":204,"author":1092,"museum":92,"description":1093,"tags":1094,"thumbUrl":1097,"material":1098,"size":1099,"collection":122,"collections":1100,"showCount":1067,"zanCount":11,"manualWeight":11,"mainColor":67},221607,"liu-xi-wo-di-tu-liang-kai-221607","柳溪卧笛图","梁楷","图片放至最大时，可见一人卧岸吹笛，所绘人物微小，但几笔勾勒出一个人物形状和行为；而作背景的树木、岛屿以水墨状散开，如雾气般升腾。画面极简，但达到了无形即有形的精髓。\n梁楷（活动于十三世纪初期），南宋画家。祖上为东平(今属山东省)人，居钱塘(今浙江杭州)。工画人物、佛道、鬼神，兼善山水、花鸟。曾为画院待诏，并赐佩金带。但其性格豪放不羁，不耐画院规矩，将金带悬壁而去，人称“梁疯子”。画法有“细笔”、“减笔”两种，而概括飘逸的减笔画对后世影响极大。",[23,24,144,130,95,1095,26,53,7,79,1096],"减笔","笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a56bcc78c55ff8ae9cf7480874e52a.jpg","绢本水墨","26.1×26.1cm",[],{"id":1102,"slug":1103,"title":1104,"dynasty":157,"author":1007,"museum":172,"description":1105,"tags":1106,"thumbUrl":1108,"material":693,"size":694,"collection":122,"collections":1109,"showCount":1110,"zanCount":11,"manualWeight":11,"mainColor":43},288410,"jia-zheng-you-da-guan-yuan-tu-jing-shi-sun-wen-288410","贾政游大观园图景十","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸。",[24,52,25,53,29,30,80,7,255,837,1107],"红楼梦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F253141a09ec95bc00071139df195e1f0.jpg",[],32,{"id":1112,"slug":1113,"title":1114,"dynasty":204,"author":1115,"museum":20,"description":1116,"tags":1117,"thumbUrl":1119,"material":214,"size":1120,"collection":216,"collections":1121,"showCount":1110,"zanCount":11,"manualWeight":11,"mainColor":43},221284,"bao-shan-shi-jing-ce-gao-ke-ming-221284","包山十景册","高克明","高克明，生卒年不洋，宋化絳州（今山西新絳） 人，主要活動時期在太宗，仁宗二朝，為當時著名的山水畫家。 高克明的山水畫創作，大多是從實地觀察獲得素材，復經自己深思熟慮、苦心經營中得來，並不專師於一家，卻能注意採擷諸家之美，參成一藝之精，自為體格，頗有創新的味道。",[144,24,130,112,25,27,178,26,7,1118,351,33],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e07ca6685ec8381313e4987a95af081.jpg","30.2x31.8厘米",[216,38,101],{"id":1123,"slug":1124,"title":1125,"dynasty":72,"author":492,"museum":20,"description":1126,"tags":1127,"thumbUrl":1129,"material":61,"size":1130,"collection":38,"collections":1131,"showCount":1110,"zanCount":11,"manualWeight":11,"mainColor":67},219976,"liu-tang-tu-dai-jin-219976","柳塘图","此作用淡晕轻染铺就烟雨空蒙的暮色，垂杨柔条披拂，烟霭萦于枝叶间，将江南水畔的朦胧诗意揉入画面。凭栏白衣士人静默远眺，与水榭板桥、浅黛远山遥遥相映。\n\n画家以清润笔触勾勒亭台轮廓，以淡墨晕出山形水色，大片留白衬出空寂悠远的氛围，褪去刻画的繁复，尽显萧散闲雅的幽居意趣。暮色四合里，晚风拂柳、静水无波，将春日水居的松弛隐逸之美，晕染得含蓄悠长。",[23,24,25,26,52,7,29,30,80,76,53,332,329,1128],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff502ed56fd18bef75ebe0e94650d7d5a.jpg","110.5*54.8",[38],{"id":1133,"slug":1134,"title":1135,"dynasty":72,"author":1136,"museum":237,"description":1137,"tags":1138,"thumbUrl":1140,"material":1141,"size":1142,"collection":165,"collections":1143,"showCount":1110,"zanCount":11,"manualWeight":11,"mainColor":67},219329,"liu-que-tu-lin-liang-219329","柳鹊图","林良","画中的柳叶随风起舞，四只喜鹊在中间嬉戏。 这幅画飞扬而不失形，或画的下部被切掉，造成画不完整。",[23,24,144,95,272,191,28,7,1139,212],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e1a6f8f3388ac631614527f9aa6831.jpg","绢本,水墨","139.4x76cm",[165],{"id":1145,"slug":1146,"title":1147,"dynasty":157,"author":1148,"museum":92,"description":1149,"tags":1150,"thumbUrl":1152,"material":291,"size":1153,"collection":122,"collections":1154,"showCount":1155,"zanCount":11,"manualWeight":11,"mainColor":67},223288,"shan-shui-si-tiao-ping-yang-zhou-si-jing-chun-tai-ming-yue-yuan-yao-223288","山水四条屏-扬州四景-春台明月","袁耀","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 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近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 远和钱舜举之间，知夏叔文可能为宋末元初人。\n夏叔文作品至今尚无另件发现，本幅作品为夏氏传氏孤品，甚为可贵。\n曾经清刘恕，陆树声递藏。",[23,24,130,144,28,95,25,195,7,212,1424,55,554,872,26,272],"水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf910dc1c933ad3c68f07c6ebf4ecd3d.jpg","画心纵128，横66.5厘米",[],{"id":1429,"slug":1430,"title":1431,"dynasty":72,"author":223,"museum":92,"description":1432,"tags":1433,"thumbUrl":1435,"material":82,"size":122,"collection":64,"collections":1436,"showCount":1399,"zanCount":11,"manualWeight":11,"mainColor":67},219294,"mu-niu-du-shu-tu-yi-ming-219294","牧牛读书图","柳丝如缕，垂落于苍劲的老干间，墨色线条似有若无，牵起几分空濛诗意。牧人身着宽袍，缓步随牛而行，衣袂在微风中轻摆，简淡笔触勾勒出闲适姿态。牛儿低首，肌理以淡墨晕染，温顺得似与主人心意相通。田埂草色稀疏，却衬得天地愈发宁静。画面无喧嚣，只有自然与人物的和谐相融——是牧歌里的悠然，还是文人笔下的田园逸趣？淡墨浅染间，时光仿佛慢了下来，每处线条都藏着对尘世之外的向往，让观者沉下心，品味这片刻清宁。",[23,24,130,28,95,25,53,495,7,594,55,56,1434],"牧牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6eb5b132178a7cac92aa8154cb10fdd.jpg",[64],{"id":1438,"slug":1439,"title":1440,"dynasty":72,"author":1441,"museum":172,"description":1442,"tags":1443,"thumbUrl":1444,"material":693,"size":694,"collection":122,"collections":1445,"showCount":1446,"zanCount":11,"manualWeight":11,"mainColor":43},234826,"jiang-nan-chun-se-tu-shan-wen-cong-jian-234826","江南春色图扇","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。",[482,24,130,26,25,30,402,7,76,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9775cd52498585ad3bd8ab52b20e0ceb.jpg",[],20,{"id":1448,"slug":1449,"title":1450,"dynasty":157,"author":1007,"museum":1008,"description":1009,"tags":1451,"thumbUrl":1452,"material":61,"size":1014,"collection":122,"collections":1453,"showCount":1446,"zanCount":11,"manualWeight":11,"mainColor":43},222958,"hong-lou-meng-83-sun-wen-222958","红楼梦83",[23,24,130,52,25,53,80,29,30,76,26,7,118,114,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7403ace2ce41dd5ba217ead338cf78bf.jpg",[],{"id":1455,"slug":1456,"title":1457,"dynasty":157,"author":1458,"museum":172,"description":1459,"tags":1460,"thumbUrl":1464,"material":693,"size":694,"collection":38,"collections":1465,"showCount":1466,"zanCount":11,"manualWeight":11,"mainColor":43},237389,"shan-shui-tu-ce-xue-xuan-237389","山水图册","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[24,25,112,26,1461,315,77,330,7,131,1462,1463],"山","坡岸","树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6087b7a29c377aafef71cea9d8bd43f7.jpg",[38],19,{"id":1468,"slug":1469,"title":1470,"dynasty":157,"author":1471,"museum":172,"description":1472,"tags":1473,"thumbUrl":1474,"material":122,"size":122,"collection":38,"collections":1475,"showCount":1466,"zanCount":11,"manualWeight":11,"mainColor":43},234684,"ba-jia-shan-shui-ce-duan-qiao-wo-liu-tu-ce-ye-jin-shu-ming-234684","八家山水册-断桥卧柳图册页","金庶明","图绘远山,小舟,一游人在江上垂钓",[24,130,112,25,287,27,26,29,30,402,7,32,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e7d8e39abe98d0e19856b22fc56f18.jpg",[38,40],{"id":1477,"slug":1478,"title":1479,"dynasty":157,"author":1480,"museum":172,"description":1481,"tags":1482,"thumbUrl":1485,"material":122,"size":122,"collection":122,"collections":1486,"showCount":1466,"zanCount":125,"manualWeight":11,"mainColor":67},230857,"jiang-xiang-qing-xiao-tu-yu-zhi-ding-230857","江乡清晓图","禹之鼎","《江乡清晓图》是清代画家禹之鼎创作的一幅绢本设色画，现藏于旅顺博物馆。\n两棵老柳垂条，掩映溪桥田野，远处山麓桃花盛 开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,24,130,25,52,27,26,53,29,30,7,1011,31,1483,690,1484,1128],"垂钓","妇人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],{"id":1488,"slug":1489,"title":1490,"dynasty":18,"author":223,"museum":172,"description":1491,"tags":1492,"thumbUrl":1495,"material":122,"size":122,"collection":122,"collections":1496,"showCount":1466,"zanCount":125,"manualWeight":11,"mainColor":67},228231,"huo-lang-tu-ye-yi-ming-228231","货郎图页","垂柳拂岸，水石叠映，郊野间四人围坐雅聚。三两货郎架上，瓷瓶茶器、文玩雅陈罗列琳琅。\n\n画中雅士姿态松弛自在，或俯身辨赏器物，或围坐笑谈，货郎静立一旁，氛围悠然闲逸。笔触工细秀润，设色清雅柔和，将文人耽于雅玩、寄情林泉的日常情态细细铺展。市井雅货与郊野清景相融，尽显古淡天真的隐逸意趣，将元代文人的赏玩雅好，定格成一方悠然古雅的片刻景致。",[23,24,25,52,1493,53,1494,7,55,56,756],"册页","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3654df41463c4282c2769d25d0ba8ecb.jpg",[],{"id":1498,"slug":1499,"title":1500,"dynasty":204,"author":1501,"museum":172,"description":1502,"tags":1503,"thumbUrl":1505,"material":122,"size":122,"collection":122,"collections":1506,"showCount":1466,"zanCount":11,"manualWeight":11,"mainColor":67},227809,"liu-yan-tu-mao-yi-227809","柳燕图","毛益","这幅小品以虚实相生铺陈春景。右畔老柳虬曲苍劲，墨色浓深尽显枝干肌理，柔细柳绦随风漫卷，笔触轻丽流逸，如见春风穿拂。枝头宿鸟两两相依，勾勒简练却灵动传神，各有情态。左侧留白空灵幽远，一只春燕振翅斜穿，破虚而来，让静景生出灵动生气。\n\n全作以水墨晕染，淡赭绢底晕化出暮春烟霭，仅以墨色轻重分出物象层次，无繁复设色。将宋人对春日的细微体察藏于简淡笔墨间，留白处似有春意在流动，仿佛能耳闻燕语呢喃、柳丝簌簌，把郊野寻常春景，晕染出悠远清和的诗意，尽显宋代小品画的雅致意趣。",[24,130,482,25,191,7,1504,212,55,34],"燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd706605ac2a870d038a49e2b48362bc8.jpg",[],{"id":1508,"slug":1509,"title":1510,"dynasty":204,"author":1511,"museum":20,"description":1512,"tags":1513,"thumbUrl":1516,"material":82,"size":1517,"collection":38,"collections":1518,"showCount":1466,"zanCount":11,"manualWeight":11,"mainColor":43},218877,"liu-ting-fang-zhao-tu-ma-kui-218877","柳汀放棹图","马逵","这幅画描绘了秋季平湖上的月亮，一个高士在芦苇丛中划船，箭头占了半个画面，月亮挂在天上。马奎是马远的兄弟，这幅画显示出两兄弟的笔触相似。",[23,24,95,482,26,402,7,1514,241,1515],"汀","渔舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e1e7610a85bed931663d46e28e8be2.jpg","23.1x25.4",[38],{"id":1520,"slug":1521,"title":1522,"dynasty":1523,"author":1524,"museum":206,"description":1525,"tags":1526,"thumbUrl":10,"material":122,"size":122,"collection":40,"collections":1527,"showCount":1466,"zanCount":11,"manualWeight":11,"mainColor":1528},202989,"ba-jun-tu-zhou-ge-quan-202989","八骏图轴","近代","戈荃","柳丝垂拂，草坡茵茵，八匹骏马散落其间，或昂首嘶鸣，或俯身食草，或打滚嬉戏，或静卧休憩，姿态各异，神情灵动。设色温润淡雅，马匹勾勒细致入微，毛发纹理清晰可见，尽显骏骥的矫健与活力；背景山石用墨灵动，树木枝叶疏密有致，飞鸟点缀天际，更添自然野趣。整幅画作兼具工笔的精谨与写意的洒脱，于宁静氛围中蕴含蓬勃生机，勾勒出一派人与自然和谐共处的悠然景致。",[24,25,52,54,7,32,212,228,23],[40],"bcaf90",{"id":1530,"slug":1531,"title":1532,"dynasty":157,"author":158,"museum":92,"description":1533,"tags":1534,"thumbUrl":1535,"material":1536,"size":1537,"collection":122,"collections":1538,"showCount":1539,"zanCount":11,"manualWeight":11,"mainColor":43},235003,"yuan-ji-shan-shui-tu-ce-shi-tao-235003","原济山水图册","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,130,112,95,25,26,402,7,332,241,53,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098b21ce73fa0300f031aec7f760b977.jpg","纸本 ，设色","纵33.2cm，横22.8cm",[],18,{"id":1541,"slug":1542,"title":1543,"dynasty":157,"author":1544,"museum":92,"description":1545,"tags":1546,"thumbUrl":1548,"material":656,"size":1549,"collection":122,"collections":1550,"showCount":1539,"zanCount":11,"manualWeight":11,"mainColor":43},234243,"yu-jia-le-shi-tu-juan-zhang-ruo-cheng-234243","渔家乐事图卷","张若澄","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。\n人物 简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,24,175,95,52,790,34,53,1183,30,33,210,212,1163,26,352,1483,1547,351,7,812,402],"渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":1552,"slug":1553,"title":1554,"dynasty":204,"author":223,"museum":172,"description":1555,"tags":1556,"thumbUrl":1557,"material":122,"size":122,"collection":122,"collections":1558,"showCount":1539,"zanCount":11,"manualWeight":11,"mainColor":43},227876,"liu-xi-chun-se-tu-yi-ming-227876","柳溪春色图","画面取景清隽雅致，以一角之景铺展春日闲情。苍松虬曲斜伸，松石旁廊下侍者俯身煎茶，对岸柳色氤氲，春水漾漾，远山含翠晕染如黛。衣袂轻扬的文人静坐在松下，凭览溪山春色，将幽居赏景的澹然意趣融于尺幅间。\n\n设色清润雅致，勾勒皴染细腻温婉，山水林人相映成趣，把林下雅兴、寄情林泉的幽怀铺陈开来，虽咫尺小帧，却晕染出舒展悠远的春日静境，尽显含蓄诗意与雅致情致。",[23,482,24,130,25,27,26,53,7,30,55,33,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb44f2205239bed4a2bbdc94d9cd7c.jpg",[],{"id":1560,"slug":1561,"title":1562,"dynasty":204,"author":223,"museum":172,"description":1563,"tags":1564,"thumbUrl":1572,"material":122,"size":122,"collection":122,"collections":1573,"showCount":1539,"zanCount":11,"manualWeight":11,"mainColor":67},227858,"dai-du-tu-yi-ming-227858","待渡图","这幅小品以淡墨晕染远山，将烟岚与水色晕成一片朦胧，远山如卧，隐在暮色薄雾之间，铺展出空濛悠远的天地格局。\n\n水岸柳丝垂柔，依依拂过浅滩，石畔扁舟系泊，艄公立于船头静立等候。右侧山居檐角轻挑，轩下有人凭栏眺望，有人缓步阶前，皆引颈望向江面，将待渡的期盼藏在松弛的神态里。\n\n整幅设色清润淡雅，以虚衬实，将江南暮色里的闲寂悠然揉进烟水间。咫尺圆帧之中，把等候的怅惘与静谧尽数铺陈，留白处尽是诗意余韵，尽显山水小品的雅致意境。",[23,144,24,1565,482,25,95,26,53,80,30,402,7,332,1566,1567,55,1568,1569,1570,1571],"山水小品","烟岚","山居","闲寂悠然","怅惘","静谧","江南暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15adff5cce028e04ac85a7f12eb420ea.jpg",[],{"id":1575,"slug":1576,"title":1577,"dynasty":204,"author":1578,"museum":172,"description":1579,"tags":1580,"thumbUrl":1582,"material":122,"size":122,"collection":122,"collections":1583,"showCount":1539,"zanCount":11,"manualWeight":11,"mainColor":67},227615,"liu-yin-xiu-qi-tu-ye-yang-ri-yan-227615","柳荫休憩图页","杨日严","杨日严，字垂训，宋朝河南人。进士及第，曾任安丘知县，通判亳、陈二州。杨日严任益州转运使时，颇为蜀人所信爱，却在任内因贪污被欧阳修弹劾，从此与欧阳修结怨，并且设法攻击。后为开封府代理知府，有囚犯自杀因被罢官。后判太常、司农寺，同知审官院，卒于官。",[23,144,24,130,112,25,52,53,7,212,26,55,1581],"休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24620bc6c89ce952d0373ed3f8835188.jpg",[],{"id":1585,"slug":1586,"title":1587,"dynasty":1299,"author":1300,"museum":172,"description":1301,"tags":1588,"thumbUrl":1590,"material":693,"size":694,"collection":1312,"collections":1591,"showCount":1539,"zanCount":125,"manualWeight":11,"mainColor":67},226136,"the-willows-1885-mo-nai-226136","The Willows, 1885",[1304,1303,7,1463,1424,1589],"光影色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb71dfd54e7a3c5c760dc2a63173ef565.jpg",[1312],{"id":1593,"slug":1594,"title":1595,"dynasty":157,"author":1596,"museum":172,"description":1597,"tags":1598,"thumbUrl":1600,"material":122,"size":122,"collection":122,"collections":1601,"showCount":1539,"zanCount":11,"manualWeight":11,"mainColor":43},224485,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-zhou-wang-jian-224485","倣黄公望烟浮远岫图轴","王鉴","此展品为清代的书画，绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n现收藏于 。\n绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n画面中间有—溪流蜿蜒流过，山石上杂树丛生，山石多以长披麻皴写之，上有焦墨点苔。\n用墨浓润，骨重气轻，匠心独具，沉雄古逸。\n此图作于1674年，作者时年七十六岁，为其逝世前三年。\n款识：“甲寅九秋仿巨然烟浮远岫呈艾翁老祖台大词宗教正，王鉴” 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的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,130,144,175,25,26,27,227,29,30,1151,33,80,76,255,7,179,1834],"岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],{"id":1839,"slug":1840,"title":1841,"dynasty":1299,"author":223,"museum":172,"description":1842,"tags":1843,"thumbUrl":1846,"material":693,"size":694,"collection":122,"collections":1847,"showCount":1791,"zanCount":11,"manualWeight":11,"mainColor":43},230544,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-yi-ping-yi-ming-230544","室町时代 浜松图屏风-第一屏","这幅以金箔为底，晕染出柔婉的烟云水色，垂柳枝条袅袅垂落，拂过细劲勾勒的粼粼水波。群鸟灵动错落，或栖于柳梢私语，或掠波振翅，或静立汀渚理羽，将幽寂水岸的春日生机尽数铺陈。墨色苍润的汀渚点缀浅滩，华贵金底晕开朦胧柔美的氛围感，工细的笔致揉合写意的松弛，将雅致闲静的水岸意趣，揉进富丽又清寂的和风意境里，静中藏动，尽显幽闲雅致的东方意韵。",[23,144,25,52,1844,191,212,7,1845,315,470,56],"金箔","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de117802efd0cb25b10b9881d05f169.jpg",[],{"id":1849,"slug":1850,"title":1851,"dynasty":18,"author":223,"museum":172,"description":1852,"tags":1853,"thumbUrl":1856,"material":693,"size":694,"collection":122,"collections":1857,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":67},290740,"xia-jing-xi-ying-zhou-yi-ming-290740","夏景戏婴轴","元人夏景戏婴图无名款。绘垂杨文石，环以曲槛。一童擎荷盖，一执榴花，一持五毒宫扇，官服髻发。两童持几，几供钟馗，旁设瓶花、水果、粽子等物。一儿以绳系蟾蜍，一儿后随作戏蟾状。 细审人物之开脸，及庭石之苔点画法，颇近于明代中期之后的风格。台北故宫博物院藏另有《元人秋景戏婴》、《元人画冬景戏婴图》二轴，尺寸、画法与此作相似，或许当初系属同一组“春夏秋冬“之四季挂屏，惜今《春景戏婴图》已佚，故难以复原全豹矣。",[24,28,25,53,52,691,690,114,1854,118,7,1855,29],"湖石","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a1f2e121a757abedcbc787b6b66408.jpg",[],13,{"id":1860,"slug":1861,"title":1862,"dynasty":157,"author":1596,"museum":20,"description":1863,"tags":1864,"thumbUrl":1865,"material":36,"size":1866,"collection":122,"collections":1867,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":43},287447,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-wang-jian-287447","仿黄公望烟浮远岫图","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\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。",[144,24,130,26,25,27,578,131,30,78,179,255,7,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bce4de3236da388c40dfce3e6cfb914.jpg","134.9x78.9",[],{"id":1869,"slug":1870,"title":1871,"dynasty":157,"author":1872,"museum":92,"description":1873,"tags":1874,"thumbUrl":1875,"material":291,"size":1876,"collection":122,"collections":1877,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":43},236131,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236131","历朝贤后故事图","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[144,24,130,52,25,111,53,80,55,7,146,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2478e28c3fee0f24f940a85decdfb756.jpg","纵30.8厘米，横37.4厘米",[],{"id":1879,"slug":1880,"title":1881,"dynasty":157,"author":740,"museum":172,"description":1882,"tags":1883,"thumbUrl":1887,"material":693,"size":694,"collection":122,"collections":1888,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":43},235615,"hong-ren-shan-shui-ce-hong-ren-235615","弘仁山水册","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”。",[144,24,130,1493,1884,1184,27,26,402,7,76,1259,53,813,332,1885,1886,276],"干笔","近岸","小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3182d660d161fc9f0b2b958a356bc8.jpg",[],{"id":1890,"slug":1891,"title":1892,"dynasty":157,"author":514,"museum":172,"description":1893,"tags":1894,"thumbUrl":1897,"material":122,"size":122,"collection":122,"collections":1898,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":43},234175,"xi-xi-cao-tang-tu-juan-cha-shi-biao-234175","西溪草堂图卷","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。",[23,24,175,95,26,27,1461,315,76,77,179,402,256,1259,1895,31,7,1896,331,212],"远岫","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1795bf78bf2ed221b26be8f6242dad.jpg",[],{"id":1900,"slug":1901,"title":1902,"dynasty":157,"author":514,"museum":92,"description":1903,"tags":1904,"thumbUrl":1907,"material":1908,"size":1909,"collection":122,"collections":1910,"showCount":1858,"zanCount":125,"manualWeight":11,"mainColor":43},233874,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233874","西陂诗意图册","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[24,95,366,790,455,33,402,179,241,330,210,7,1905,1906],"水面景物","淡墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e43c4efc42a9b7fb86aea3f999be41c.jpg","纸本，墨笔","纵32.8cm，横52.8cm",[],{"id":1912,"slug":1913,"title":1914,"dynasty":157,"author":158,"museum":92,"description":1915,"tags":1916,"thumbUrl":1917,"material":656,"size":1918,"collection":122,"collections":1919,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":43},233779,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233779","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[24,26,25,27,178,34,32,30,33,31,1462,29,7,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08499dfe7a18b26f6177db834ea5c8ca.jpg","纵27厘米，横21.3厘米",[],{"id":1921,"slug":1922,"title":1923,"dynasty":1299,"author":223,"museum":172,"description":1924,"tags":1925,"thumbUrl":1926,"material":122,"size":122,"collection":122,"collections":1927,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":67},231650,"mu-gui-tu-li-zhou-yi-ming-231650","牧归图立轴","这幅《归牧图》刻画细致生动，人、牛形神毕具",[23,24,130,144,28,25,52,27,495,53,7,26,55,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63ecd8f1f45323c17e46719497b70e4.jpg",[],{"id":1929,"slug":1930,"title":1931,"dynasty":157,"author":1831,"museum":172,"description":1932,"tags":1933,"thumbUrl":1935,"material":122,"size":122,"collection":122,"collections":1936,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":43},224462,"liu-an-jiang-zhou-tu-wang-hui-224462","柳岸江洲图","《柳岸江洲图》 是清代王翚作品，尺寸为95.5cm×41cm。\n现藏于天津市艺术博物馆藏。\n近景以浓重墨色画稀疏柳林。\n枝干参差，富于变化，远处群山，波状起伏，湖上轻舟，张帆而行。\n笔墨简练，干脆利落。",[23,144,24,95,26,402,7,1934,963],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc47787a2a429be37b4a2e87319051f3.jpg",[],{"id":1938,"slug":1939,"title":1940,"dynasty":157,"author":1941,"museum":20,"description":1942,"tags":1943,"thumbUrl":1944,"material":1945,"size":1946,"collection":38,"collections":1947,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":43},223113,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-223113","柳浪闻莺御题轴","董邦达","本幅为西湖十景之一「柳浪桥」景。该桥在清波门、涌金门外，宋时即沿堤植柳，以此得名。画中柳丝踠地，轻风摇扬，亭榭深深，如闻黄莺啼于绿荫中。笔调清秀苍润，表现出春湖景的谧静感。本轴画幅之上有乾隆皇帝题诗，下为多位文臣和诗。",[23,24,28,95,27,26,7,1277,402,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04366245e18f5be234cafe05afce9032.jpg","轴 纸本 设色","290x58厘米",[38,101],{"id":1949,"slug":1950,"title":1951,"dynasty":157,"author":1007,"museum":1008,"description":1009,"tags":1952,"thumbUrl":1953,"material":61,"size":1014,"collection":122,"collections":1954,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":43},222967,"hong-lou-meng-92-sun-wen-222967","红楼梦92",[23,24,130,175,52,25,76,80,53,7,1033,32,1011,837,118,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe37ac43c8394a731fbdbcf24bc56c51.jpg",[],{"id":1956,"slug":1957,"title":524,"dynasty":72,"author":525,"museum":172,"description":1958,"tags":1959,"thumbUrl":1960,"material":693,"size":694,"collection":122,"collections":1961,"showCount":86,"zanCount":125,"manualWeight":11,"mainColor":67},290964,"ren-wu-zhou-guo-chun-290964","郭纯（1370年－1444年），原名文通，明成祖赐名纯，遂以文通为字，号朴庵，浙江永嘉人，明初宫廷画家。历事永乐、洪熙、宣德、正统四朝，备受恩宠。",[24,28,95,53,26,76,7,227,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ef8dfee46506306e5b4ab101c26285.jpg",[],{"id":1963,"slug":1964,"title":1965,"dynasty":157,"author":1966,"museum":172,"description":1967,"tags":1968,"thumbUrl":1969,"material":122,"size":122,"collection":122,"collections":1970,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":43},238240,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238240","山静日长图册","张雨森","张雨霖，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[24,25,95,26,27,112,1461,315,7,31,53,402,329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6c5a108e9c64dea7e1e7ec17100c74.jpg",[],{"id":1972,"slug":1973,"title":1914,"dynasty":157,"author":158,"museum":92,"description":1915,"tags":1974,"thumbUrl":1977,"material":656,"size":1918,"collection":122,"collections":1978,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":43},233774,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233774",[24,130,112,95,25,26,7,1975,1976,53,328,1845,228,178,272,27],"亭子","菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca4420878f973ed6cbf1457c2815973.jpg",[],{"id":1980,"slug":1981,"title":491,"dynasty":18,"author":223,"museum":172,"description":1982,"tags":1983,"thumbUrl":1984,"material":122,"size":122,"collection":122,"collections":1985,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":67},227897,"mu-niu-tu-yi-ming-227897","此作用色古雅沉静，青绿晕染山峦坡岸，暖黄绢底晕开春日郊野的温润柔意。垂柳为画面主角，柔婉笔意写出枝条，柳丝如烟似雾，随风轻曳，将江南春野的柔媚尽数晕开。\n坡岸浅滩间，牛群闲散啃食，寥寥数笔便勾勒出憨态，野趣横生。整体简淡疏朗，无繁复皴染，以写意笔调铺展田园意韵，将郊原恬适安宁的春日氛围缓缓晕开，带着萧散淡远的悠然意趣，观之如临春日郊野，身心皆浸在松弛静谧之中。",[23,24,25,26,53,495,7,131,594,56,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9473190e7c32d42ef3f7cf7f0e2429ac.jpg",[],{"id":1987,"slug":1988,"title":1989,"dynasty":1299,"author":1300,"museum":172,"description":1301,"tags":1990,"thumbUrl":1994,"material":693,"size":694,"collection":1312,"collections":1995,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":43},226135,"the-willows-1880-mo-nai-226135","The Willows, 1880",[1303,1304,1991,1305,7,56,1992,179,241,1993],"色彩","野花","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedb0a03d3fd84140051faf71cf682a5.jpg",[1312],{"id":1997,"slug":1998,"title":1999,"dynasty":1299,"author":223,"museum":172,"description":2000,"tags":2001,"thumbUrl":2006,"material":693,"size":694,"collection":122,"collections":2007,"showCount":86,"zanCount":125,"manualWeight":11,"mainColor":231},225314,"fu-shi-hui-50-yi-ming-225314","浮世绘50","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[2002,2003,2004,25,29,7,813,227,2005],"浮世绘","漆器","螺钿镶嵌","星星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6292ea9ec34ce7d2a4bc88eda894b420.jpg",[],{"id":2009,"slug":2010,"title":2011,"dynasty":157,"author":1007,"museum":1008,"description":1009,"tags":2012,"thumbUrl":2015,"material":61,"size":1014,"collection":122,"collections":2016,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":43},222924,"hong-lou-meng-49-sun-wen-222924","红楼梦49",[23,52,25,53,80,33,30,145,730,32,114,2013,7,2014],"石阶","对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa157efabf61a32a02f8a26e2a8bc10fc.jpg",[],{"id":2018,"slug":2019,"title":1554,"dynasty":204,"author":223,"museum":172,"description":2020,"tags":2021,"thumbUrl":2023,"material":693,"size":694,"collection":122,"collections":2024,"showCount":2025,"zanCount":11,"manualWeight":11,"mainColor":67},290236,"liu-xi-chun-se-tu-yi-ming-290236","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[23,482,24,144,366,25,7,79,332,2022],"春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb40b39ccd657ea05d0275059be3c109.jpg",[],11,{"id":2027,"slug":2028,"title":2029,"dynasty":18,"author":223,"museum":172,"description":2030,"tags":2031,"thumbUrl":2033,"material":693,"size":694,"collection":122,"collections":2034,"showCount":2025,"zanCount":11,"manualWeight":11,"mainColor":67},290063,"liu-yin-yuan-tiao-tu-yi-ming-290063","柳荫远眺图","此作以淡墨晕染烟水江南之境。右畔垂柳疏简，枯淡墨色绘出柔丝轻垂之态，萧散空灵。湖面空蒙辽阔，汀渚错落隐现，远山含黛藏在烟霭之中，似有若无，晕开悠远的朦胧意趣。近滩扁舟上，一人独立凝睇，身影清寂，将幽独的文人心境融在湖山之中。全作用笔简淡写意，以留白拓开天地，褪去繁饰，尽显尚意之风，把萧淡清旷的襟怀藏在烟柳远山之间，淡而弥远，空而愈深，余韵悠长。",[24,482,95,26,7,402,332,241,2032],"幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab858fbaa3fcde147275e8f4bdc0983.jpg",[],{"id":2036,"slug":2037,"title":2038,"dynasty":72,"author":2039,"museum":172,"description":2040,"tags":2041,"thumbUrl":2042,"material":693,"size":694,"collection":122,"collections":2043,"showCount":2025,"zanCount":11,"manualWeight":11,"mainColor":43},288018,"chun-an-gui-qi-tu-shan-mian-wen-jia-288018","春岸归骑图扇面","文嘉","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。”",[24,144,482,130,25,287,26,7,29,30,76,53,54,177,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55092f3886da9994ea7f78ac826ade03.jpg",[],{"id":2045,"slug":2046,"title":1805,"dynasty":157,"author":1806,"museum":172,"description":2047,"tags":2048,"thumbUrl":2050,"material":122,"size":122,"collection":122,"collections":2051,"showCount":2025,"zanCount":11,"manualWeight":11,"mainColor":67},238213,"duan-yang-gu-shi-ce-xu-yang-238213","垂柳依依拂岸，数位仕民驻足河沿，引颈望向水面竞渡的龙舟。衣袂飘然的人物各有情态，或抬指点评，或牵孩眺望，将观赛时的热切尽兴尽数藏于眉目间。水面晕开浅淡波纹，龙舟破浪而行的勃发气势呼之欲出。\n\n整作设色清润雅致，笔触工细温婉，将端阳观渡的民俗盛景晕染得鲜活生动，把清代市井端午的融融节庆意趣，收纳于绢本方寸之间，恬淡里满溢着烟火暖意，尽显民俗写生的细腻情致。",[24,130,112,25,52,53,7,241,2049,34],"龙舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b9d5e5b7a0c75f0bd9ae99801bcd317.jpg",[],{"id":2053,"slug":2054,"title":2055,"dynasty":157,"author":1831,"museum":172,"description":2056,"tags":2057,"thumbUrl":2060,"material":122,"size":122,"collection":122,"collections":2061,"showCount":2025,"zanCount":11,"manualWeight":11,"mainColor":43},235779,"ming-xian-ji-jin-ce-liu-xi-yan-yu-ye-wang-hui-235779","名贤集锦册-柳溪烟雨页","此作以水墨晕染出江南烟柳水村之境。远山在空濛烟雨间晕化成淡墨虚影，与云天相融，尽显虚灵空寂之态。近岸垂柳成林，浓墨点染枝叶，摇曳生姿，浅墨绘就长堤水渚，疏密有致。水面之上，渔翁独撑小舟悠然泛行，柳荫下木桥横卧，衬出乡野幽寂之趣。画面虚实相生，淡墨写远、浓墨绘近，将烟雨笼罩下的朦胧诗意尽显无遗，笔墨简淡却意韵悠长，藏着寄情林泉、归向野逸的文人雅趣，尽显山水小品的空灵雅致。",[24,130,112,95,26,7,79,2058,329,402,2059,332,33],"烟雨","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a06f5961504c5c8bb6c4c16bd19efaa.jpg",[],{"id":2063,"slug":2064,"title":2065,"dynasty":157,"author":2066,"museum":346,"description":2067,"tags":2068,"thumbUrl":2069,"material":2070,"size":2071,"collection":122,"collections":2072,"showCount":2025,"zanCount":11,"manualWeight":11,"mainColor":43},222841,"ji-en-tu-zhang-bo-long-222841","纪恩图","张伯龙","图绘清初大将杨捷之孙杨铸接受康熙帝赏赐，在热河避暑山庄御苑中乘舟观荷的情景。图绘山峦锦绣，景色宜人，池中荷花盛开，杨铸将军端坐御船中，眼神专注，神态安祥。",[23,24,25,52,27,26,402,53,145,7,255,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7238607ddf7a479257963b0034284e.jpg","绢本 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本幅人物线条刚劲如铁丝，转折犀利。树干苍老，柳叶繁复，笔力稳健挺拔，多层皴染，使得画面蕴藉厚润。全作绘制精谨，是一幅宋代佳作。",[24,53,7,581,25,28,1739,1741,177,34,851],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cb5029386e1abd755f84882e4f3a3f5.jpg","纵29.4厘米,横29厘米",[],10,{"id":2092,"slug":2093,"title":2094,"dynasty":157,"author":1806,"museum":172,"description":2095,"tags":2096,"thumbUrl":2098,"material":693,"size":694,"collection":122,"collections":2099,"showCount":2090,"zanCount":11,"manualWeight":11,"mainColor":43},290558,"ye-lao-xi-qing-tu-zhou-xu-yang-290558","野老喜晴图轴","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。",[24,28,95,25,53,7,30,26,2097],"喜晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36b7c12d9ec5f5bbae8a53a3ef2a12cf.jpg",[],{"id":2101,"slug":2102,"title":2103,"dynasty":157,"author":809,"museum":172,"description":2104,"tags":2105,"thumbUrl":2107,"material":693,"size":694,"collection":122,"collections":2108,"showCount":2090,"zanCount":11,"manualWeight":11,"mainColor":672},290469,"ben-se-na-sha-jia-xiu-chun-niu-tu-juan-qian-long-290469","本色纳纱加绣春牛图卷","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 。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。",[23,175,130,24,2106,25,53,495,29,30,212,80,26,935,7,76],"纳纱加绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4afda088d9622deba18199db8ba3c8.jpg",[],{"id":2110,"slug":2111,"title":2112,"dynasty":72,"author":2113,"museum":172,"description":2114,"tags":2115,"thumbUrl":2116,"material":693,"size":694,"collection":122,"collections":2117,"showCount":2090,"zanCount":11,"manualWeight":11,"mainColor":43},239355,"liu-xi-chui-diao-shan-ye-liu-mai-239355","柳溪垂钓扇页","刘迈","字种德，金陵（今南京）人。工花草。《金陵琐事》",[24,482,95,790,7,30,402,1163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45ddeb59e72a81aec32133a05fe8b72.jpg",[],{"id":2119,"slug":2120,"title":2121,"dynasty":157,"author":2122,"museum":172,"description":2123,"tags":2124,"thumbUrl":2125,"material":122,"size":122,"collection":122,"collections":2126,"showCount":2090,"zanCount":11,"manualWeight":11,"mainColor":43},238824,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238824","董诰墨庄览胜图册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[144,24,130,112,25,27,26,76,30,7,32,33,332,329,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4d66f1f31efc1cdd5c2818f8047037.jpg",[],{"id":2128,"slug":2129,"title":2130,"dynasty":204,"author":223,"museum":92,"description":2131,"tags":2132,"thumbUrl":2133,"material":291,"size":2134,"collection":122,"collections":2135,"showCount":2090,"zanCount":11,"manualWeight":11,"mainColor":43},223509,"liu-xi-diao-ting-tu-yi-ming-223509","柳溪钓艇图","绘江南小景，坡岸垂柳杂树，茅舍隐然，河中渔舟横陈，船头一翁垂钓",[23,24,482,95,26,34,7,402,30,332,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40fa66204fb50d3e262d289a18d3643.jpg","23*24.8cm",[],{"id":2137,"slug":2138,"title":2139,"dynasty":157,"author":1007,"museum":1008,"description":1009,"tags":2140,"thumbUrl":2142,"material":61,"size":1014,"collection":122,"collections":2143,"showCount":2090,"zanCount":11,"manualWeight":11,"mainColor":43},222906,"hong-lou-meng-31-sun-wen-222906","红楼梦31",[23,52,25,287,53,80,114,33,32,1033,7,113,2141,26,582],"人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7ad46eaf03b41f28f3bb2717498a2ac.jpg",[],{"id":2145,"slug":2146,"title":2147,"dynasty":72,"author":2148,"museum":172,"description":2149,"tags":2150,"thumbUrl":2151,"material":214,"size":122,"collection":122,"collections":2152,"showCount":2090,"zanCount":125,"manualWeight":11,"mainColor":231},217185,"shui-hu-quan-tu-14-du-jin-217185","水浒全图-14","杜堇","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[24,790,53,7,32,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31a2926549731d7f428f668f23fa08b.jpg",[],{"id":2154,"slug":2155,"title":2156,"dynasty":72,"author":2157,"museum":172,"description":2158,"tags":2159,"thumbUrl":2160,"material":693,"size":694,"collection":122,"collections":2161,"showCount":2162,"zanCount":11,"manualWeight":11,"mainColor":43},237401,"ren-wu-shan-mian-yuan-shang-tong-237401","人物扇面","袁尚统","岁朝，是指一岁之始，此时一元复始，万象更新，历代画家作岁朝图含有元旦开笔、预祝一年万事吉利之意。图绘山村一隅，诸多孩童在院中敲锣、打鼓、放鞭炮，尽情嬉戏玩乐，屋内三位长者同桌对饮，观看儿童嬉耍。树石勾勒填色后皴擦，远山以花青淡淡涂染，笔法稳健苍老，画风质朴古拙。丙申为清顺治十三年（1656年），袁尚统时年87岁。",[482,95,53,26,7,470,241,272,27,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c842323a65a9c09b0ef7f45ca83926.jpg",[],9,{"id":2164,"slug":2165,"title":2166,"dynasty":157,"author":2167,"museum":172,"description":2168,"tags":2169,"thumbUrl":2170,"material":693,"size":694,"collection":122,"collections":2171,"showCount":2162,"zanCount":11,"manualWeight":11,"mainColor":43},237071,"duan-qiao-shu-liu-shan-zhang-wei-237071","断桥疏柳扇","张维","字叔维，号西泠寓客，常熟(今属江苏)人，常居杭州西湖，系张季【1570（隆庆四年）-1610（万历三十八年）】弟。",[24,482,95,26,29,7,76,53,33,332,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d8a6da14d451afa1a391db975c4c33.jpg",[],{"id":2173,"slug":2174,"title":2175,"dynasty":157,"author":2176,"museum":172,"description":2177,"tags":2178,"thumbUrl":2179,"material":122,"size":122,"collection":165,"collections":2180,"showCount":2162,"zanCount":11,"manualWeight":11,"mainColor":67},236199,"hua-shan-shui-wang-ji-hua-shu-xiao-qing-fan-zhou-xi-hu-zuo-shi-cheng-shan-qian-wei-cheng-236199","画山水王际华书晓晴泛舟西湖作诗成扇","钱维城","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》。",[24,130,482,95,25,26,33,7,255,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a3980daf0eaba67e8fbfe59aae5fbb.jpg",[165,101],{"id":2182,"slug":2183,"title":2184,"dynasty":157,"author":223,"museum":172,"description":2185,"tags":2186,"thumbUrl":2188,"material":122,"size":122,"collection":122,"collections":2189,"showCount":2162,"zanCount":11,"manualWeight":11,"mainColor":67},235301,"gao-feng-han-xue-jing-shan-shui-tu-zhou-yi-ming-235301","高凤翰雪景山水图轴","此作用浅绛设色铺就雪冬胜景，以平远视角层层铺陈。近岸枯松虬劲、茅舍隐于坡坳，寒溪曲折穿绕山涧，将视线引向遥岑。山峦皆以淡墨晕染，留白托出覆雪，赭石轻敷坡麓，晕开雪后初霁的温润暖意。枯笔勾勒寒木，萧疏间尽显冬意萧寒。\n\n画面题诗与绘境相融，文气浸润山水，把冬日山野的辽远空寂，幽居的静穆淡远尽数铺展。简淡笔法写尽冷逸雅致，将文人幽栖林下的安然意趣，藏进这片素裹山河之中，尽显清旷出尘的冬日诗意。",[24,130,28,25,26,719,1461,315,255,7,179,53,350,895,1064,256,2187,27],"冰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc86f7786a0e780b5ff66b2cd24fe16.jpg",[],{"id":2191,"slug":2192,"title":2193,"dynasty":72,"author":2039,"museum":92,"description":2194,"tags":2195,"thumbUrl":2196,"material":656,"size":2197,"collection":122,"collections":2198,"showCount":2162,"zanCount":11,"manualWeight":11,"mainColor":43},234815,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-xi-yan-chi-tu-ye-wen-jia-234815","吴门诸家寿袁方斋三绝册-文嘉洗砚池图页","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[24,130,112,25,177,26,53,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F100d88eefd23d232afb913d921b8e093.jpg","22.2*26.7cm",[],{"id":2200,"slug":2201,"title":2202,"dynasty":157,"author":2203,"museum":172,"description"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，谥恭懿。明朝仁和（今浙江杭州）人。嘉靖十四年（1535）进士，授南京工部主事，历任庐州、大名知府、陕西左布政使、右副都御史、大理寺卿、刑部右侍郎、兵部侍郎、南京右都御史、工部尚书、吏部尚书。\n因与张居正朝议多不合，辞归故里，把平生所见所闻著录成《松窗梦语》，记载了明代经济、社会、文化、民情风俗等方面资料，对研究明代社会经济、商业贸易有重要参考价值。",[24,130,482,25,95,27,29,30,179,33,7,2270,76],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84246136b7c834be2cf97455cb8398f.jpg",[],{"id":2274,"slug":2275,"title":2276,"dynasty":204,"author":223,"museum":92,"description":2277,"tags":2278,"thumbUrl":2280,"material":61,"size":2281,"collection":122,"collections":2282,"showCount":2235,"zanCount":11,"manualWeight":11,"mainColor":67},234007,"liu-tang-fan-yue-ye-yi-ming-234007","柳塘泛月页","图为岸边垂柳，荷叶浮于水面，月牙儿高，小船缓缓行，主人坐几条前，对面坐侍者，小伙子在 船头，船尾的一个男孩双臂抱膝。 , 前面有餐具和用具。 荷塘月色，柳下泛舟，景色宜人。 笔墨柔滑，轮廓细腻，色彩淡雅，但柳枝荷叶的分布缺乏密度变化，不尽如人意。",[24,482,25,52,53,113,7,2279,227,606,315],"荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cecd49483a77fc4fd6f91a0589d93a3.jpg","23.2x25cm",[],{"id":2284,"slug":2285,"title":2286,"dynasty":204,"author":223,"museum":92,"description":2287,"tags":2288,"thumbUrl":2290,"material":261,"size":2291,"collection":122,"collections":2292,"showCount":2235,"zanCount":11,"manualWeight":11,"mainColor":67},233016,"liu-ge-feng-fan-tu-ye-yi-ming-233016","柳阁风帆图页","此图原载《纨扇画册》。图绘万柳丛中楼阁一栋，数人依楼远眺。林中小径连桥，树人信步其中。画中湖光天色，浩渺无尽，两船扬帆而行。远空大雁成行，结队而飞。全图笔法工细，设色清丽，构图大疏大密、虚实相生。",[24,25,52,111,26,7,80,29,30,2289,349,53,33],"风帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2eefe3a4fbd316b228360acb3c2932e.jpg","纵25.2、横26.7厘米",[],{"id":2294,"slug":2295,"title":2296,"dynasty":1299,"author":223,"museum":172,"description":2000,"tags":2297,"thumbUrl":2299,"material":693,"size":694,"collection":122,"collections":2300,"showCount":2235,"zanCount":125,"manualWeight":11,"mainColor":43},225406,"fu-shi-hui-163-yi-ming-225406","浮世绘163",[2002,25,113,53,7,131,350,2298],"竹篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9124eb0ab3ed7fa2595d3394eb70809.jpg",[],{"id":2302,"slug":2303,"title":2304,"dynasty":157,"author":2305,"museum":20,"description":2306,"tags":2307,"thumbUrl":2308,"material":693,"size":694,"collection":122,"collections":2309,"showCount":2310,"zanCount":11,"manualWeight":11,"mainColor":43},290979,"hua-liu-tang-chun-mu-zhou-yang-jin-290979","画柳塘春牧轴","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[24,95,28,26,7,495,212,30,53,934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acebc6ffee6d7ef5f80419544d1989c.jpg",[],7,{"id":2312,"slug":2313,"title":2314,"dynasty":157,"author":223,"museum":92,"description":2315,"tags":2316,"thumbUrl":2317,"material":261,"size":2318,"collection":122,"collections":2319,"showCount":2310,"zanCount":11,"manualWeight":11,"mainColor":67},234908,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234908","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,130,112,25,26,29,30,402,212,7,32,178,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e84d54867c8902d4ddec54cc53650e0.jpg","25.7×33厘米",[],{"id":2321,"slug":2322,"title":2323,"dynasty":204,"author":223,"museum":92,"description":2324,"tags":2325,"thumbUrl":2327,"material":261,"size":2328,"collection":122,"collections":2329,"showCount":2310,"zanCount":11,"manualWeight":11,"mainColor":43},234017,"liu-xi-diao-ting-tu-ye-yi-ming-234017","柳溪钓艇图页","此图原载《历代名笔集胜册》第一册。图画溪江岸柳，土坡茅舍，溪中一渔翁戴草笠穿蓑衣垂钓。远处山影一抹，景物疏朗，意趣无穷。作者用花青、石绿画丛树和柳页，白粉点柳花，赭脱减笔画茅舍。设色清丽丰富，层次分明。构图采用局部取景法。用笔简练秀逸，几脱画院习气。此图旧题签马远画，但究其画风与马远无相似之处，故改为无名氏作。画中钤有“真赏”、“宜尔子孙”、“信公珍赏”、“会侯珍藏”、“都尉耿信公书画之章”等藏印多方。曾经清人耿昭忠收藏，《虚斋名画录》著录。",[24,130,1493,95,25,26,7,79,402,332,770,1663,52,1163,756,2326,27],"淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b0db537c474e6e93fd4294004a01a7.jpg","纵23、横24.5厘米",[],{"id":2331,"slug":2332,"title":2333,"dynasty":204,"author":223,"museum":92,"description":2334,"tags":2335,"thumbUrl":2337,"material":2070,"size":2338,"collection":122,"collections":2339,"showCount":2310,"zanCount":11,"manualWeight":11,"mainColor":43},234015,"liu-tang-mu-ma-tu-ye-yi-ming-234015","柳塘牧马图页","此图原为《历代名笔集胜册》之一幅，画我国北方游牧民族牧马情景。画中青山绿水，岸柳成荫，五十余匹骏马，在二十余人监视下放牧。马的姿态各异，有在岸上飞奔着，有在水中游泳者，也有嘶鸣嬉戏者，给人一种怡然自得之感。为南宋扇画之杰作。 画中无款印，清耿昭忠题为陈居中作，实误。曾经耿昭忠、庞莱臣等收藏。 经启功、徐邦达、刘九庵等鉴定，为南宋绘画精品。",[24,130,482,52,95,2336,7,288,54,53,26,33,56,79,755,27],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F889481f88712cc838b8760e3fbc15223.jpg","23.5×25.6cm",[],{"id":2341,"slug":2342,"title":650,"dynasty":157,"author":651,"museum":92,"description":652,"tags":2343,"thumbUrl":2344,"material":656,"size":657,"collection":122,"collections":2345,"showCount":2310,"zanCount":125,"manualWeight":11,"mainColor":43},233448,"ren-wu-shan-shui-ce-luo-pin-233448",[24,130,112,25,95,790,53,29,30,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde166fa11eaf6af6dfc6a2b2a353f75.jpg",[],{"id":2347,"slug":2348,"title":1707,"dynasty":157,"author":1831,"museum":172,"description":2349,"tags":2350,"thumbUrl":2351,"material":122,"size":122,"collection":122,"collections":2352,"showCount":2310,"zanCount":11,"manualWeight":11,"mainColor":43},229016,"fang-gu-shan-shui-ce-wang-hui-229016","此作取冬初水村之景，淡墨晕染出濛濛寒雾，远山以留白素裹，将冬日清寂铺陈开来。堤岸老柳残条轻垂，陂塘枯敛的莲叶错落，村舍隐于深林之间，曲径蜿蜒通幽，寥寥数笔便将村居安闲静谧勾勒尽致。\n\n用笔秀润雅致，以淡赭轻敷衬出秃木苍劲，墨色与留白相映，氤氲出空濛冷冽的水乡冬韵，将江南冬日清寒又安宁的诗意藏于尺幅间，尽显文人山水温婉雅致的意趣。",[24,1711,27,25,26,1064,7,241,1700,329,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b388f3716f969182de3b18816e228a.jpg",[],{"id":2354,"slug":2355,"title":2356,"dynasty":204,"author":223,"museum":172,"description":2357,"tags":2358,"thumbUrl":2360,"material":122,"size":122,"collection":122,"collections":2361,"showCount":2310,"zanCount":11,"manualWeight":11,"mainColor":67},227874,"liu-tang-xun-ju-tu-yi-ming-227874","柳塘寻句图","画面以淡墨晕开江南水滨的烟霭，近处柳林浓荫偃伏，柔条垂覆浅汀，水面浮着点点菱荇，漾着清寂的闲意。远山以轻毫扫出轮廓，融在空蒙水雾之中，恍若化入淡远烟岚。汀渚一隅隐着渔舟，似有幽人独伫，将寻句的幽谧心境沉在湖光柳色里。\n\n全幅以留白造境，笔墨简淡却意蕴悠长，将林泉雅意收在尺幅之间，尽显小品以小见大的雅致，把文人耽于山水、寄情烟霞的襟怀藏在水墨晕染中，淡而愈真，简而弥远。",[23,24,130,144,25,95,52,26,7,288,2359,332],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744cd083c4a70642706010bdf7ba17b3.jpg",[],{"id":2363,"slug":2364,"title":2365,"dynasty":204,"author":223,"museum":172,"description":2366,"tags":2367,"thumbUrl":2371,"material":122,"size":122,"collection":122,"collections":2372,"showCount":2310,"zanCount":11,"manualWeight":11,"mainColor":67},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","远水扬帆图","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[23,144,24,130,366,61,25,368,27,33,7,31,32,241,2368,53,332,210,2369,352,2370,1740],"帆船","江河","岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":2374,"slug":2375,"title":2376,"dynasty":72,"author":2377,"museum":2378,"description":2379,"tags":2380,"thumbUrl":2381,"material":433,"size":122,"collection":122,"collections":2382,"showCount":2310,"zanCount":11,"manualWeight":11,"mainColor":43},218487,"ri-ben-mu-tong-tu-zhuo-zong-deng-yang-218487","日本· 牧童图","拙宗等杨","九州国立博物馆","垂柳疏丝轻拂，牧童踞牛背而坐，老牛缓步踏过坡岸。墨色淡远晕染空濛，线条简括勾出牛的憨态与童子的自在。嶙峋山石点染野趣，背景虚渺似含远山流云，将田园清寂与天真童趣相融。画面简淡却藏闲逸，仿佛能嗅到草木清芬，听见风过柳梢、牛蹄踏草的轻响，引人向往那悠然自在的山野岁月。笔意虽简，却以留白与写意，织就一方充满生机与诗意的天地，让观者心随牛步，漫入这份恬淡的田园清境。",[24,130,482,95,53,495,7,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9242d90ab1da388e3d2960d9ef3cf7d.jpg",[],{"id":2384,"slug":2385,"title":2386,"dynasty":157,"author":2387,"museum":159,"description":2388,"tags":2389,"thumbUrl":2391,"material":214,"size":122,"collection":122,"collections":2392,"showCount":2310,"zanCount":11,"manualWeight":11,"mainColor":43},214514,"shui-mo-tu-ce-4-zheng-min-214514","水墨图册-4","郑旼","郑旼是清代著名的画家，他的水墨图册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，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，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总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[24,130,112,95,26,27,177,178,34,7,332,2390,241],"田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6440c794f8ff0b8d74315432cc5900.jpg",[],{"id":2394,"slug":2395,"title":2396,"dynasty":1523,"author":1524,"museum":206,"description":2397,"tags":2398,"thumbUrl":2400,"material":122,"size":122,"collection":40,"collections":2401,"showCount":2310,"zanCount":11,"manualWeight":11,"mainColor":2402},203000,"ba-jun-tu-heng-pi-ge-quan-203000","八骏图横披","画面中八匹骏马神态各异，或昂首伫立，或交颈亲昵，或低头啮草，姿态生动自然。背景以淡墨晕染的柳树、嶙峋山石与疏草相映，营造出清雅旷远的郊野氛围。画家以细腻工笔勾勒马匹轮廓，设色淡雅温润，既表现出马体的肌理质感，又通过飘逸的鬃毛、灵动的四肢传递出骏马的矫健身姿与闲适意态。整体画风工写结合，笔墨简练却形神兼备，将自然之趣与骏马之美融为一体，尽显生机盎然之韵。",[24,25,52,54,7,32,2399,130,23],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd731bc9fd04aad6e5b1de37a2720bd1.jpg",[40],"c2b79d",{"id":2404,"slug":2405,"title":2406,"dynasty":157,"author":2407,"museum":172,"description":2408,"tags":2409,"thumbUrl":2410,"material":693,"size":694,"collection":122,"collections":2411,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},290521,"liu-pu-wei-zhou-yun-xi-290521","柳浦维舟","允禧","爱新觉罗·胤禧（1711年2月27日—1758年6月26日），避雍正帝讳改名为允禧，字谦斋，号紫噊，别号紫琼崖道人、春浮居士。清朝宗室大臣，康熙帝第二十一子，书画家、诗人，母为熙嫔陈氏。\n九岁从幸塞外，雍正八年（1730年）二月，封固山贝子，晋封贝勒。雍正十一年（1733年），授镶黄旗满洲都统。雍正十三年（1735年），授宗人府左宗正、正黄旗汉军都统。乾隆帝即位后，封慎郡王。乾隆三年（1738年），擢为议政大臣。乾隆五年（1740年），授正白旗满洲都统。乾隆七年（1742年），充玉牒馆总裁。乾隆二十三年（1758年）五月，去世，享年四十八岁，谥号为靖。\n能诗善赋，书画兼长，著有《花间堂诗抄》8卷、《紫琼岩诗抄》3卷，诗词气韵高古，王室罕可匹俦。恭亲王府“天香庭院”匾额，为其手笔。",[24,112,26,25,7,402,212,34,1163,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffd0144d2e4adb315b068d1b9aa23986.jpg",[],{"id":2413,"slug":2414,"title":2415,"dynasty":72,"author":2416,"museum":172,"description":2417,"tags":2418,"thumbUrl":2419,"material":122,"size":122,"collection":122,"collections":2420,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":67},239190,"shan-chuan-ming-sheng-ce-song-xu-239190","山川名胜册","宋旭","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[24,130,112,25,27,26,30,33,53,1163,212,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c45464bd15022721219a30ce27711b4.jpg",[],{"id":2422,"slug":2423,"title":2424,"dynasty":157,"author":2425,"museum":172,"description":2426,"tags":2427,"thumbUrl":2428,"material":693,"size":694,"collection":122,"collections":2429,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},239064,"chun-feng-de-yi-wan-shan-zhang-pan-239064","春风得意纨扇","张槃","张槃 （1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[24,130,482,52,25,191,212,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98e7b6ed35548b6109f2f31d3f1bcf2.jpg",[],{"id":2431,"slug":2432,"title":2433,"dynasty":157,"author":223,"museum":172,"description":2434,"tags":2435,"thumbUrl":2436,"material":122,"size":122,"collection":122,"collections":2437,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},238815,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238815","董诰律宣韶景册","这幅截取了早春烟江一角，近岸垂柳依依，柔丝拂过水面，桃苞轻绽开粉白春意。澄澈春水之上，扁舟漾开细波，舟中旅人凭舷远眺。远山以淡墨晕染，层峦如卧，晕出空濛天色。\n\n全作用笔清润秀雅，淡赭花青轻敷远山近岸，留白铺陈湖天，将“梅柳渡江春”的诗意融于尺幅间。以简淡之笔写尽春江闲寂清和，把早春江南的柔婉晕染开来，一派悠然淡远的林下风致，尽显文人画诗意留白之美，将春日江天的空濛闲适尽数铺展。",[24,95,112,27,26,7,402,415,350,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec056fb517c8ac82133d478d6c8191d5.jpg",[],{"id":2439,"slug":2440,"title":2441,"dynasty":72,"author":2442,"museum":172,"description":2443,"tags":2444,"thumbUrl":2446,"material":693,"size":694,"collection":122,"collections":2447,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":67},237968,"tao-liu-shan-zhuang-shan-yao-yun-zai-237968","桃柳山庄扇","姚允在","姚允在，字简叔，会稽（今浙江绍兴）人。善山水，学荆、关，﹝荆浩、关仝﹞笔墨道劲，﹝应系笔墨遒劲之讹﹞思致不凡。",[24,130,482,95,25,27,26,1011,7,2445,32,33,212,29,30],"山庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4088d43113d6ceb201e20e9c80750ed.jpg",[],{"id":2449,"slug":2450,"title":2451,"dynasty":72,"author":2452,"museum":172,"description":2453,"tags":2454,"thumbUrl":2455,"material":693,"size":694,"collection":122,"collections":2456,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":67},236300,"liu-xi-gao-shi-shan-zhang-qi-236300","柳溪高士扇","张奇","张奇，[清]字正甫，江都（今江苏扬州）人。\n山水得巨然法，云峰石迹，混漾多姿。亦擅人物、花草。兼工篆、籀印章。",[24,482,95,25,26,53,7,79,32,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3a999a2c2c27bfa2e28e8a5b6afe41.jpg",[],{"id":2458,"slug":2459,"title":2460,"dynasty":204,"author":223,"museum":92,"description":2461,"tags":2462,"thumbUrl":2463,"material":2070,"size":2464,"collection":122,"collections":2465,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":67},233018,"liu-yuan-xiao-shu-tu-ye-yi-ming-233018","柳院消暑图页","避暑是宋人夏季活动的一件大事。农历四月谓之初夏，五月初五是端午，端午过后，天气便炎热起来。宋代周密所著《武林旧事》是一部十卷本南宋杂史，详述了朝廷典礼﹑山川风俗﹑市肆经纪﹑四时节物﹑教坊乐部等情况﹐是了解南宋城市文化和市民生活的史料。其中就有对临安百姓入夏活动的记载：“盖入夏则游船不复入里湖，多占蒲深柳密宽凉之地，披襟钓水，月上始还。”描述了南宋夏季，人们不再着襦、袄，开始穿着单衫，服装质料上也以轻薄透气为主。\n此画描绘了士人在庭院中避暑纳凉的场景。院中柳树垂阴，古树掩映。画中一士人坐于室内赏景纳凉，其身后站有一双手持扇的仆僮。门前湖面宽阔，荷叶点缀其间，远山云雾变幻莫测。院侧十数株庭花盛开，绿草如茵，有一仆僮正捧盒而来。\n画中坐于室内的士人头戴小冠。“小冠”也称“束髻冠”，是一种束在髻上的发罩，多为皮制，形如手状。《宋书·五行志》曾记载：“晋末皆冠小冠，而衣裳博大，风流相仿，舆台成俗。”士人身穿大袖襕衫，腰间系带。襕衫是一种特别的长衫，其在衫的下裳处施有横襕，代表上衣下裳的含义。宋代时，襕衫常用白色细布，圆领大袖，下摆施以横襕，腰间有褶，为士人、进士、秀才服饰。《宋史·與服志》记载：“襕衫。以白细布为之，圆领大袖，下施横襕为裳，腰间有辟积。进士及国子生、州县生服之。”\n画中共有仆僮两人。士人身后持扇仆僮身穿小袖短衫，下身着长裤，腰间系带。院侧正捧盒归来的仆僮梳双丫髻，身穿小袖长衫，两侧开衩，内着中单，腰间系带，下着长裤，脚穿布鞋。长裤以透明的薄纱为面料，肌肤在薄纱下隐约可见。纱是最古老的丝织物之一，其是一种密度稀疏、轻薄、方孔的平纹织物。由于其轻盈、有孔的特点，通常用来制作夏季服饰。宋时，纺纱技术有了很大的发展，《宋史·地理志二》就有记载：“相州，……贡暗花牡丹花纱。”",[24,144,130,482,25,52,53,7,80,26,114,33,56,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d30c2c6ab3d95c7805d55f6b76dc45.jpg","纵29厘米*横29.2厘米",[],{"id":2467,"slug":2468,"title":2469,"dynasty":157,"author":223,"museum":172,"description":2470,"tags":2471,"thumbUrl":2473,"material":693,"size":694,"collection":122,"collections":2474,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},230338,"bai-miao-tu-miao-man-tu-shuo-wu-yi-ming-230338","百苗图苗蛮图说（五)","柳丝轻曳、桃枝泛红，将春日柔色晕染在茅舍小院旁。画里的苗家日常鲜活又温热：挎篮的妇人正将汤水递予怀抱着幼童的丈夫，小女儿拽着父亲衣袍娇憨讨要关注，老翁倚在门扉含笑，看稚童攥着短笛信口吹奏。\n\n淡彩细笔勾勒出屋舍篱栅的朴拙，线条柔和地晕开烟火暖意，没有浓艳着色与繁复技法，只将边陲村寨的天伦之趣静静铺展。山野乡居松弛的日常瞬间被定格，把苗家质朴鲜活的烟火温情永远留存，满是平实动人的乡野诗意。",[24,130,25,52,112,53,179,7,1011,29,690,580,2472,33],"栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf044c3bfaf9ae0247bb3d2c75c34de2.jpg",[],{"id":2476,"slug":2477,"title":2478,"dynasty":157,"author":2479,"museum":172,"description":2480,"tags":2481,"thumbUrl":2484,"material":122,"size":122,"collection":122,"collections":2485,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},230255,"shan-shui-ce-wang-su-230255","山水册","王愫","此作以淡赭轻染、花青敷缀，写就水滨冬景。江天色调清濛，岸旁柳芦枝叶疏柔，似含朔风之意，带着萧寒疏朗之态。近岸小舟系于枯木之下，篷顶暖意暗生；远江扁舟孤行，淡波载着舟影缓缓漾开，留白铺就空阔水天，晕开朦胧烟霭。\n题诗笔意清隽，和画面柔澹氛围相融。整幅无繁复皴擦，以简淡笔墨托出萧散空寂的意境，将冬日水畔的闲逸清和藏于浅淡设色之中，尽显文人画天真简淡的意趣，观之便如临幽寂江天，俗尘尽涤。",[24,130,112,95,25,402,7,210,2482,30,212,2483,1740,27],"小屋","岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9591750a149d747d9b88fc296549bdcf.jpg",[],{"id":2487,"slug":2488,"title":2489,"dynasty":157,"author":2490,"museum":206,"description":2491,"tags":2492,"thumbUrl":2493,"material":122,"size":122,"collection":38,"collections":2494,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":2495},201948,"liu-yin-dang-zhou-tu-zhou-qin-yi-201948","柳荫荡舟图轴","秦仪","画面铺展悠然田园景致：柳丝垂曳，枝叶扶苏，细笔勾勒柔曼之姿；几椽茅舍与小亭隐于绿荫，质朴雅致；碧波之上扁舟轻泛，渔人悠然，小桥横跨溪涧，流水潺潺。山石以淡墨皴擦，层次浅淡却见质感；整体设色清雅，水墨交融，尽显江南水乡静谧闲适。笔墨间传递文人隐逸意趣，恬淡中藏生机，简约中见深远，是兼具写实与抒情的山水佳作。",[24,26,95,25,7,402,76,29,30,52,27,1163,934,23],"http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and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[2765,2766,2767,7,54,314,1494],"陶瓷","青花","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7acd1fd50bdad074aeaae2d1267b6e0d.jpg",[],{"id":2771,"slug":2772,"title":2773,"dynasty":157,"author":2774,"museum":172,"description":2775,"tags":2776,"thumbUrl":2777,"material":693,"size":694,"collection":122,"collections":2778,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":43},239031,"xiao-xiang-zhou-na-yan-cheng-239031","肖像轴","那彦成","那彦成（1763年-1833年），章佳氏，字绎堂，号韶九、东甫，满洲正白旗人，大学士阿桂之孙，工部侍郎阿必达次子，清朝大臣。\n那彦成在乾隆五十四年（1789年）中进士，被选为翰林院庶吉士，随后不久担任翰林院编修。此后历任内阁学士、工部侍郎、户部侍郎、翰林院掌院学士、工部尚书、镶白旗汉军都统、礼部尚书、陕甘总督、直隶总督、理藩院尚书、吏部尚书、刑部尚书等职。\n道光十三年（1833年），那彦成去世，享年七十岁，谥号文毅。",[24,130,28,25,52,53,7,32,255,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3afb65518e83749aa19346142d8eec22.jpg",[],{"id":2780,"slug":2781,"title":2248,"dynasty":157,"author":1941,"museum":172,"description":2782,"tags":2783,"thumbUrl":2784,"material":122,"size":122,"collection":122,"collections":2785,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":43},238729,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238729","此作为诗画合璧，左书右绘。书法笔致清隽，寄怀别绪。画面以淡墨铺陈，春柳垂丝轻拂岸渚，江波澹澹远景空濛，晕染出缱绻怅惘的送别氛围。\n\n驿卒牵马侍立，友人执手揖别，人物衣纹以铁线描勾勒，简练挺括，将离情藏于无言的仪态间。通幅不施重彩，留白衬出别意悠长，笔墨秀润简淡，将古典送别诗的含蓄况味融于方寸，于简净之中见深情，平淡笔墨里尽显雅致文心，把黯然销魂的离别意绪，化作具象悠远的画中意境。",[24,130,112,790,95,53,54,7,594,80,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6190c8367222c6b72051a5edd0966b90.jpg",[],{"id":2787,"slug":2788,"title":2248,"dynasty":157,"author":1941,"museum":172,"description":2789,"tags":2790,"thumbUrl":2791,"material":122,"size":122,"collection":122,"collections":2792,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":43},238725,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238725","此作以水墨晕开春日水居雅景，柳丝垂绦依依拂岸，二人临石闲坐，抬目遥览远汀。柔波萦回水畔，凫雁群游浅沙，远空禽鸟振翅列队掠过长天，将春日清和生机铺展卷上。淡墨晕出空濛水色，细笔勾出柳丝轻飏之态，人物意态萧散恬然，尽显闲居悠游之趣。题诗与绘景相生相融，笔墨简淡却意韵悠长，将春日水滨的澹澹清宁晕染尽致，把闲淡诗意铺展为眼前画卷。",[24,95,790,112,178,34,53,212,7,30,55,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf25d862aa5bf02732ec2c8fdc99f40.jpg",[],{"id":2794,"slug":2795,"title":2478,"dynasty":157,"author":2796,"museum":172,"description":2797,"tags":2798,"thumbUrl":2799,"material":122,"size":122,"collection":122,"collections":2800,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":43},238203,"shan-shui-ce-tang-dai-238203","唐岱","此作绘江南早春胜景，烟波漾漾间，岸柳垂丝、桃花灼艳，村居错落隐在烟林之中，远山含黛如螺，汀上渔舟轻泛，处处漫着融融春意。设色柔丽清雅，浅绛晕染山峦，青绿点饰草木，笔致秀润苍雅，构图疏朗舒逸。\n左侧题诗与画境呼应，笔墨端秀，诗画合璧，将春日湖山的温柔生机铺陈开来，尽显文人画闲适淡远的意趣，把东风暖遍青芜的诗意具象成缱绻春景，淡冶雅致中藏着沉静的笔墨韵致，写尽江南春朝的温润明媚。",[24,130,112,25,27,26,7,1011,29,179,349,33,756,332,517,79,1278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13998ad4effe87246a6b48492d2dc99.jpg",[],{"id":2802,"slug":2803,"title":2478,"dynasty":157,"author":2804,"museum":172,"description":2805,"tags":2806,"thumbUrl":2807,"material":122,"size":122,"collection":122,"collections":2808,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":43},237979,"shan-shui-ce-zhang-geng-237979","张庚","张庚（1685—1760）原名焘，字溥三，后改名庚，字浦山、公之干，号瓜田逸史，又号弥伽居士、白苎村桑者，秀水（今浙江嘉兴）人。幼孤家贫，赖母以针线活抚养。雍正十三年（1735）应鸿博诏。长古文词，精鉴别，绘事则攻学山水，出入董源、巨然、黄公望。所作笔意清洁雅秀，干湿互用，饶有韵致。《桐阴论画》评其：“秀润有余，苍浑不足。”但也有秀润中见劲健之作。亦善白描，工细人物，写花卉宗师陈淳。",[24,95,112,27,26,7,212,33,332,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfd4568d701597c613d223a8a19361b.jpg",[],{"id":2810,"slug":2811,"title":2478,"dynasty":157,"author":2804,"museum":172,"description":2805,"tags":2812,"thumbUrl":2813,"material":122,"size":122,"collection":122,"collections":2814,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":43},237975,"shan-shui-ce-zhang-geng-237975",[24,130,112,95,27,26,7,332,1118,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be03c1bc44701e2043319435e4ebd4c.jpg",[],{"id":2816,"slug":2817,"title":1457,"dynasty":157,"author":2818,"museum":172,"description":2819,"tags":2820,"thumbUrl":2821,"material":693,"size":694,"collection":122,"collections":2822,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":43},237485,"shan-shui-tu-ce-yao-song-237485","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,112,95,178,26,7,402,30,332,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83eafaf7ce521ba8c5bb0fc93abb491c.jpg",[],{"id":2824,"slug":2825,"title":1707,"dynasty":157,"author":1458,"museum":172,"description":1459,"tags":2826,"thumbUrl":2827,"material":693,"size":694,"collection":122,"collections":2828,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":43},235746,"fang-gu-shan-shui-ce-xue-xuan-235746",[24,130,112,25,26,27,1461,315,77,29,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9127db220887743e618c9aa6952259f.jpg",[],{"id":2830,"slug":2831,"t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品以小见大的雅致，把村居闲逸的幽然意境藏进尺幅之间。",[23,144,24,130,112,25,26,934,935,7,30,2901,495,178,177,34],"茅棚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcd190388052b2dae9dee58b86ef655d.jpg",[],{"id":2905,"slug":2906,"title":2907,"dynasty":157,"author":223,"museum":172,"description":2908,"tags":2909,"thumbUrl":2912,"material":693,"size":694,"collection":122,"collections":2913,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":43},262119,"fen-cai-xi-xiang-ren-wu-tu-da-pan-yi-ming-262119","粉彩西厢人物图大盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[2765,2910,53,54,2251,7,444,2911],"粉彩","西厢记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b0c6602a9a2377453c59433fff94448.jpg",[],{"id":2915,"slug":2916,"title":2917,"dynasty":157,"author":223,"museum":172,"description":2763,"tags":2918,"thumbUrl":2920,"material":693,"size":694,"collection":122,"collections":2921,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":67},261957,"de-xin-tang-zhi-kuan-qing-hua-ba-jun-tu-wan-yi-ming-261957","德馨堂制款青花八骏图碗",[2765,2766,54,1494,2919,32,7],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa51c8d557ac312f6e8bf324c96fab2f3.jpg",[],{"id":2923,"slug":2924,"title":2925,"dynasty":157,"author":2926,"museum":172,"description":2927,"tags":2928,"thumbUrl":2933,"material":214,"size":122,"collection":102,"collections":2934,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":67},241318,"qi-lv-zhou-chen-qian-he-241318","七律轴","陈迁鹤","清福建龙岩人，字声士，一字介石，康熙二十四年进士。由庶吉士授编修。历官至左春坊左庶子，入值南书房。通经学，不墨守成说。认为太极为生成之理，在阴阳动静之中。治《易》采诸说而折衷于程朱，以卦意推爻辞。著有《易说》、《尚书私记》、《毛诗国风绎》、《春秋纪疑》等",[28,177,178,2929,2930,80,212,2931,7,1599,2932],"七律","春风","宫廷","舞乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd536cb9582510f74c3f4e4e26746a269.jpg",[102],{"id":2936,"slug":2937,"title":2478,"dynasty":157,"author":1941,"museum":172,"description":2938,"tags":2939,"thumbUrl":2941,"material":693,"size":694,"collection":122,"collections":2942,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":43},238677,"shan-shui-ce-dong-bang-da-238677","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,112,95,25,26,76,7,2940,55,332,119,33,2890],"湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9bd99b29422934b5584d890f8425e1.jpg",[],{"id":2944,"slug":2945,"title":2946,"dynasty":157,"author":2176,"museum":172,"description":2947,"tags":2948,"thumbUrl":2949,"material":122,"size":122,"collection":122,"collections":2950,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":43},238516,"shan-shui-xiao-ce-qian-wei-cheng-238516","山水小册","此作用笔秀润温和，以浅淡设色晕染出江南暮春晚景。近岸垂柳疏朗，柔丝轻拂水面，孤舍静立水滨，愈显清寂闲淡。对岸烟树错落，人家隐现于淡赭烟岚之间，远山以淡墨轻勾，和空濛水色相融一体，晕开黄昏暖意。\n\n行书题诗与画境相映，将水乡暮色里的慵懒诗意娓娓道来，没有繁复皴擦，以极简笔墨营造出悠远空静的文人意趣，将平淡天真的水乡烟景与清雅襟怀相融，尽显雅致恬淡的山水意韵。",[24,130,112,25,26,7,1975,332,241,32,33,329,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ee62f6b8cf88564b2a2077dd093ace.jpg",[],{"id":2952,"slug":2953,"title":926,"dynasty":157,"author":927,"museum":172,"description":2657,"tags":2954,"thumbUrl":2955,"material":693,"size":694,"collection":122,"collections":2956,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":43},238449,"geng-zhi-tu-ce-mian-yi-238449",[24,112,25,53,29,30,7,935,934,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9036b7146ae4ae581be7f42900a1c7e.jpg",[],{"id":2958,"slug":2959,"title":2478,"dynasty":72,"author":2558,"museum":172,"description":2559,"tags":2960,"thumbUrl":2961,"material":214,"size":122,"collection":122,"collections":2962,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":43},237037,"shan-shui-ce-li-hang-zhi-237037",[24,95,27,112,26,402,7,32,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa561992018414d525031c67696532d7.jpg",[],{"id":2964,"slug":2965,"title":2966,"dynasty":1299,"author":223,"museum":172,"description":2000,"tags":2967,"thumbUrl":2968,"material":693,"size":694,"collection":122,"collections":2969,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":67},225519,"fu-shi-hui-277-yi-ming-225519","浮世绘277",[2002,2580,25,350,330,33,255,7,53,756],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551995d5f931ddf21b2f4d280d74c5c2.jpg",[],{"id":2971,"slug":2972,"title":926,"dynasty":157,"author":1872,"museum":92,"description":2973,"tags":2974,"thumbUrl":2976,"material":122,"size":2977,"collection":122,"collections":2978,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":43},223197,"geng-zhi-tu-ce-jiao-bing-zhen-223197","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,52,25,112,111,53,7,119,30,33,2975],"纺织场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff641527ac9a6557d80218dfc1f820790.jpg","34.7cm×27.7cm",[],{"id":2980,"slug":2981,"title":926,"dynasty":157,"author":1872,"museum":92,"description":2973,"tags":2982,"thumbUrl":2991,"material":122,"size":2977,"collection":122,"collections":2992,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":43},223188,"geng-zhi-tu-ce-jiao-bing-zhen-223188",[24,52,25,455,1493,1385,2983,7,931,2984,2985,2986,2987,531,2988,2989,2990],"人物劳作","石墙","木桶","题字","农耕场景","田园场景","细笔勾勒","色彩淡雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899d9ca459d18fdf0476cb72c3dfe307.jpg",[],{"id":2994,"slug":2995,"title":926,"dynasty":157,"author":1872,"museum":92,"description":2973,"tags":2996,"thumbUrl":2999,"material":122,"size":2977,"collection":122,"collections":3000,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":43},223185,"geng-zhi-tu-ce-jiao-bing-zhen-223185",[144,24,130,52,25,111,177,178,53,2997,33,7,931,934,935,2998,30],"农舍","稻垛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb06fbf0d04d79780f5ae8f6162575ed6.jpg",[],{"id":3002,"slug":3003,"title":926,"dynasty":157,"author":1872,"museum":92,"description":2973,"tags":3004,"thumbUrl":3011,"material":122,"size":2977,"collection":122,"collections":3012,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":43},223184,"geng-zhi-tu-ce-jiao-bing-zhen-223184",[24,1493,25,52,3005,935,2659,3006,931,3007,7,3008,3009,3010],"焦点透视","农夫","乡村","农桑生产","诗文","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b48bf441a609fcf2ab521ec5f405e84.jpg",[],{"id":3014,"slug":3015,"title":3016,"dynasty":157,"author":223,"museum":172,"description":3017,"tags":3018,"thumbUrl":3019,"material":693,"size":694,"collection":122,"collections":3020,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":43},270241,"zhu-gu-diao-zhu-jie-wen-bian-en-di-hua-ren-wu-tu-mian-zhe-shan-yi-ming-270241","竹股雕竹节纹边恩棣画人物图面折扇","此扇面以柳岸闲居入题，柔柳垂丝轻掠水面，墨色晕染烟水空濛，晕开春日清和氛围。画中高者策杖徐立，稚童捧物随侍，衣袂舒展，神态悠然恬适。坡石茅舍错落林间，茂树浓荫晕出幽深绿意，将林下幽居的闲散意趣缓缓铺陈。\n\n设色淡雅温润，线条清逸秀灵，人物情态刻画细腻生动，景致层次分明。咫尺扇面间，铺展出古典文人心向往之的隐逸之境，笔墨间浸透着平和简远的古韵，藏着悠然自洽的东方雅致意趣。",[482,24,53,95,25,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2555ee90cee5cf6d7b59c453ddb3deeb.jpg",[],{"id":3022,"slug":3023,"title":3024,"dynasty":157,"author":223,"museum":172,"description":3025,"tags":3026,"thumbUrl":3030,"material":693,"size":694,"collection":122,"collections":3031,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":43},269100,"xiang-ya-diao-yue-man-qing-you-san-yue-jing-ce-yi-ming-269100","象牙雕月曼清游三月景册","此作以莹润牙雕定格三月春闺雅趣。仕女或攀梯折柳，或池畔私语，衣袂翩跹神态温婉，发丝衣纹纤毫毕现，将闺中女子娇柔灵动尽显。布景层次分明，柳芽初绽、池波轻漾，把清明融融春景晕染在深庭院落里。\n\n右侧御题诗文笔力隽秀，诗画合璧，将踏青嬉游的悠然意境娓娓道来，尽显清宫雅致审美意趣，工艺与文趣相得益彰，把春日闺中闲情定格在莹润牙色之中。",[112,3027,3028,53,113,80,7,132,177,3029],"雕刻","象牙","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3de7e3f76e9466699ee0d2a25e328286.jpg",[],{"id":3033,"slug":3034,"title":3035,"dynasty":157,"author":223,"museum":172,"description":3036,"tags":3037,"thumbUrl":3039,"material":693,"size":694,"collection":122,"collections":3040,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":67},261726,"wu-cai-yu-jia-le-tu-bang-chui-ping-yi-ming-261726","五彩渔家乐图棒槌瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[2765,3038,25,53,1183,7,212,1163],"五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0873f75c82c78c8f848dc2ce05ed9e14.jpg",[],{"id":3042,"slug":3043,"title":3044,"dynasty":157,"author":927,"museum":172,"description":2657,"tags":3045,"thumbUrl":3048,"material":693,"size":694,"collection":122,"collections":3049,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":43},238461,"mian-yi-mian-hua-tu-ce-mian-yi-238461","绵亿棉花图册",[24,130,112,25,52,53,30,33,179,3046,7,350,2997,3047],"农耕劳作","田间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff057bad01e43e5b3294d07a38b8ddb16.jpg",[],{"id":3051,"slug":3052,"title":1457,"dynasty":157,"author":3053,"museum":172,"description":3054,"tags":3055,"thumbUrl":3056,"material":693,"size":694,"collection":122,"collections":3057,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":43},237758,"shan-shui-tu-ce-cheng-zheng-kui-237758","程正揆","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[24,130,112,178,95,25,26,7,402,332,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db9715c1fdd354917be084718cb15d.jpg",[],{"id":3059,"slug":3060,"title":2478,"dynasty":157,"author":564,"museum":172,"description":3061,"tags":3062,"thumbUrl":3066,"material":122,"size":122,"collection":122,"collections":3067,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":43},234340,"shan-shui-ce-jin-ting-biao-234340","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,130,112,25,27,178,34,26,29,30,33,3063,54,53,3064,179,7,3065],"村庄","石桥","山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35dde4c19bf31999408a992d8a81474.jpg",[],{"id":3069,"slug":3070,"title":3071,"dynasty":157,"author":1941,"museum":20,"description":3072,"tags":3073,"thumbUrl":3075,"material":1945,"size":3076,"collection":122,"collections":3077,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":43},223109,"fang-zhao-ling-rang-chun-shan-cui-ai-zhou-dong-bang-da-223109","倣赵令穰春山翠霭轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,144,24,130,28,25,26,27,578,34,3074,329,350,402,179,32,255,7,33],"春山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a4b13e24fcb7ef928d5dd05b077a07e.jpg","133.2x63.5",[],{"id":3079,"slug":3080,"title":3081,"dynasty":157,"author":223,"museum":159,"description":3082,"tags":3083,"thumbUrl":3085,"material":36,"size":122,"collection":122,"collections":3086,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":43},216235,"shi-quan-tu-ce-9-yi-ming-216235","十犬图册-9","此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。画法工整，具有一定的程式。对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[23,24,130,112,52,25,178,3084,314,76,7,470,872],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e05a7702e65d372f2bc7fcbc0204bd.jpg",[],{"id":3088,"slug":3089,"title":3090,"dynasty":157,"author":269,"museum":206,"description":3091,"tags":3092,"thumbUrl":3094,"material":122,"size":122,"collection":122,"collections":3095,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":3096},202668,"dong-shan-xie-ji-tu-zhou-hua-yan-202668","东山携妓图轴","画面以清雅水墨设色铺陈，垂丝柳树与疏朗竹枝相映，孤石点缀其间，营造出悠然山林氛围。四位人物姿态鲜活：身着宽袍者神情闲适，似是谢安；三位女子衣袂轻扬，或回首低语或抬手指点，动态毕现。画家以流畅线条勾勒人物形神，兼用工写之法——树石以写意笔触挥洒，墨色浓淡相生；人物细节则细腻传神，尽显雅致意趣。整幅作品将谢安东山隐居的风流韵致与文人闲适情怀融于笔端，意境悠远绵长。",[95,25,53,7,55,176,368,1204,3093,23],"山水人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56a78ec92adec4be766f2e8e39a8aa0.jpg",[],"f7f8f4",{"id":3098,"slug":3099,"title":3100,"dynasty":157,"author":3101,"museum":206,"description":3102,"tags":3103,"thumbUrl":3105,"material":122,"size":122,"collection":122,"collections":3106,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":3107},201566,"tao-liu-di-yu-tu-zhou-wang-wu-201566","桃柳鸐鹆图轴","王武","画面柳枝依依，嫩绿含烟，桃花灼灼，粉韵初绽。鸐鹆栖于枝间，羽墨浓淡相衬，喙爪勾勒精细，神态灵动如生。笔墨兼工带写，柳枝以淡绿晕染，线条轻柔；桃花设色清雅，花瓣层次分明；八哥用墨浑厚，质感十足。春日气息扑面而来，雅致中见生机，尽显花鸟写生之妙。",[24,28,191,52,95,25,1011,7,212,3104],"孤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c56f0c6be0f312c6972c18a4728cb2.jpg",[],"d3c6aa",{"id":3109,"slug":3110,"title":3111,"dynasty":157,"author":223,"museum":172,"description":3112,"tags":3113,"thumbUrl":3116,"material":693,"size":694,"collection":122,"collections":3117,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},277278,"fu-tan-jiu-yu-zhong-yin-yi-ming-277278","“福覃九寓中”印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[34,3114,3115,3027,7,32],"篆刻","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9155b9669802682eff5c9dcc351968e9.jpg",[],{"id":3119,"slug":3120,"title":3121,"dynasty":157,"author":223,"museum":172,"description":3122,"tags":3123,"thumbUrl":3126,"material":693,"size":694,"collection":122,"collections":3127,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},270002,"xiang-ya-diao-ju-shi-liu-e-tu-bi-ge-yi-ming-270002","象牙雕菊石柳鹅图臂搁","随形取料，将江南春景凝于牙片之上。垂柳叶绦柔曼披拂，苍劲枝桠间留白疏朗，尽显空灵雅致。石畔群鹅意态悠然，或引颈理羽，或交颈私语，幼鹅蜷卧依偎，生机灵动满溢。\n\n雕刻兼用浅浮雕与镂刻，柳丝纤毫毕现，鹅身绒羽质感逼真，刀工藏锋内敛，将写实工巧与文人闲趣相融，把水岸春日的恬淡安闲定格方寸之间，既是文房清供雅物，亦尽显牙雕工艺的精妙写实功底。",[3027,3028,3124,7,1291,3125],"臂搁","菊石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42c8544e3943c6a84fd0f4ea709d3f5.jpg",[],{"id":3129,"slug":3130,"title":3131,"dynasty":72,"author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