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":140,"size":141,"collection":142,"collections":143,"showCount":144,"zanCount":145,"manualWeight":11,"mainColor":127},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","佚名","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[23,24,25,72,28,89,70,7,135,76,77,73,136,137,138],"池塘","蓑笠","渔乐","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","绢本,设色","23.6x24","宋画精选",[142,81],125,1,{"id":147,"slug":148,"title":149,"dynasty":18,"author":150,"museum":66,"description":151,"tags":152,"thumbUrl":154,"material":55,"size":155,"collection":37,"collections":156,"showCount":157,"zanCount":158,"manualWeight":11,"mainColor":42},219285,"tao-liu-shuang-yan-tu-ren-xiong-219285","桃柳双燕图","任熊","杨柳青青随风摇曳，桃花几株隐现其中，枝头上两只燕子正欢快地嬉戏。画家巧妙地通过弯曲的柳条和燕子的上下飞舞增加了画面的动感，暗示出轻拂花柳的春风。画面风貌写实，设色明丽，色彩对比柔和，桃花在柳条间若隐若现，成为画面中最明丽的亮点，可见画家在色彩运用上的娴熟技艺。",[23,24,28,29,26,30,7,153],"燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f133d7080974e75316cc983e4b2b15.jpg","纵140.7厘米，横32.7厘米",[37],116,3,{"id":160,"slug":161,"title":162,"dynasty":18,"author":163,"museum":164,"description":165,"tags":166,"thumbUrl":172,"material":173,"size":174,"collection":37,"collections":175,"showCount":176,"zanCount":145,"manualWeight":11,"mainColor":127},222774,"liu-yin-shuang-jun-tu-lang-shi-ning-222774","柳荫双骏图","郎世宁","镇江市博物馆","《柳荫双骏图》卷绘两匹马一立一卧，一棵老柳树，斜在背景中，马匹及树木均画出了明暗和凹凸，强调物象的质感和立体感。郎世宁书款中不署“臣”字，显然该作品不是为皇帝画的，受画者应当是某位有着亲王或郡王身份的满洲贵族。",[23,50,24,25,27,28,167,7,168,169,170,171],"马","老树","岩石","草地","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b142639faf49024649f5fe7e4a3f35c.jpg","绢本设色","横62厘米，纵115.1厘米",[37,39],106,{"id":178,"slug":179,"title":180,"dynasty":114,"author":181,"museum":20,"description":182,"tags":183,"thumbUrl":190,"material":140,"size":191,"collection":142,"collections":192,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":127},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","赵令穰","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[23,24,25,119,89,72,27,184,7,138,185,186,187,188,189,74],"淡设色","小船","水","远山","岸","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[142,81],100,{"id":195,"slug":196,"title":197,"dynasty":18,"author":198,"museum":66,"description":199,"tags":200,"thumbUrl":203,"material":107,"size":204,"collection":81,"collections":205,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":42},220115,"liu-cun-qiu-si-tu-wu-li-220115","柳村秋思图","吴历","此图是吴历晚年的代表作之一，为其好友民誉（姓金，名造士）所藏。图中重点描绘了近景的柳树。其柳叶以中锋落笔点染，表现出秋风中柳叶含烟带露的柔美，又通过水墨的浓淡层次变化显现出柳叶交叠错落的自然风貌，体现了吴历工细写实的画风特点。",[23,24,89,72,26,70,7,189,33,74,167,201,202,186],"道路","山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12ddaee3bf0639e8563322f28ebc8fb.jpg","纵67.7厘米，横26.5厘米",[81,124],63,{"id":208,"slug":209,"title":210,"dynasty":114,"author":211,"museum":116,"description":212,"tags":213,"thumbUrl":215,"material":216,"size":217,"collection":56,"collections":218,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":127},288931,"liu-yan-tu-mu-xi-288931","柳燕图","牧溪","牧溪，俗姓李，佛名法常，号牧溪，四川人，大概时间为宋末元初，具体生卒年月不祥，但有资料记载牧溪于公元1281年逝世。代表作品有《老子图》《松猿图》《远浦归帆图》《潇湘八景图》。",[50,24,89,29,26,7,214],"飞燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a4bbe2fedd263205569199a0c9d5b4.jpg","未知","Xcm*Xcm",[],62,{"id":221,"slug":222,"title":223,"dynasty":18,"author":224,"museum":116,"description":225,"tags":226,"thumbUrl":232,"material":56,"size":56,"collection":56,"collections":233,"showCount":219,"zanCount":145,"manualWeight":11,"mainColor":127},228982,"liu-xi-xing-zhou-tu-shi-tao-228982","柳溪行舟图","石涛","此作诗书画印浑然相融，尽展林泉野致。山峦以皴擦互用，写就岩崖苍厚嶙峋，林麓间山居藏隐，藏露之间暗合幽栖雅意。\n溪湾扁舟轻漾，独棹的渔翁将画面意趣引向空濛烟水，板桥连缀溪谷，荒草苍松点染其间，朴茂苍劲。笔墨干湿浓淡交叠，带着萧散旷达的文人心性，把丘壑烟岚的清寂诗意落于笔底，将文人山水的诗境与画韵揉合为一，尽显幽远空疏的林下风致。",[23,24,89,70,26,25,227,72,7,228,76,77,229,230,231,74],"行书","舟","松","石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ee2c58c5ce1b367e94b44021285a3.jpg",[],{"id":235,"slug":236,"title":210,"dynasty":237,"author":238,"museum":20,"description":239,"tags":240,"thumbUrl":242,"material":173,"size":243,"collection":124,"collections":244,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":127},221857,"liu-yan-tu-sheng-chang-nian-221857","元","盛昌年","本幅无作者款识，右侧有“廷晖”残印半方及康有为、王季迁藏印。\n整幅画面构图繁密，洋溢着一派春和景明的气象。\n图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。\n山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非 家。\n画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。\n吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。\n此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。\n在色彩上两者都具有相似的绚丽色泽。\n此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。",[23,24,89,26,29,7,31,33,241],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718470a984f0d650aff4498a17cee84d.jpg","75.9x25.5",[124,245],"竹石精选",61,{"id":248,"slug":249,"title":250,"dynasty":251,"author":252,"museum":253,"description":254,"tags":255,"thumbUrl":257,"material":56,"size":56,"collection":56,"collections":258,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":42},220494,"chan-yu-liu-zhang-da-qian-220494","蝉与柳","民国","张大千","Indianapolis Museum of Art at Newfields","以淡墨挥写柳干，枯笔焦墨提点节疤，苍劲老辣。柳条以中锋曳动，兼施花青淡赭晕染，虚实交错如流烟漫卷，将秋风里柳丝的柔曼含露尽皆写出。\n\n隐于柳荫的秋蝉只以数笔点就，形简神完，似将振翅。配题诗句暗合清秋意境，笔墨诗思交融，尽现疏淡幽寂的秋日况味，以极简的写意笔墨，勾勒出物我皆忘的闲淡禅意。",[23,24,89,241,256,7,26],"蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac69fc3a617ba8d5e5c90182a798a91.jpg",[],{"id":260,"slug":261,"title":262,"dynasty":18,"author":263,"museum":20,"description":264,"tags":265,"thumbUrl":268,"material":107,"size":269,"collection":270,"collections":271,"showCount":272,"zanCount":145,"manualWeight":11,"mainColor":42},216960,"gan-lu-da-shi-tu-yang-da-zhang-216960","甘露大士图","杨大章","这是杨大章的一幅虔诚之作，以白描的方式画出了观音，用的是细笔和淡墨。",[24,25,26,266,74,120,267,7],"宗教","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1759f3a863f1747347f926856bc74106.jpg","131.7x64.5","人物画精选",[270],58,{"id":274,"slug":275,"title":276,"dynasty":114,"author":277,"museum":116,"description":278,"tags":279,"thumbUrl":285,"material":56,"size":56,"collection":56,"collections":286,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":42},227491,"liu-ya-lu-yan-tu-juan-zhao-ji-227491","柳鸦芦雁图卷","赵佶","《柳鸦芦雁图》是北宋宋徽宗赵佶创作的一幅纸本淡设色中国画，现藏于上海博物馆。\n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。",[23,50,24,25,71,27,89,28,267,7,280,281,282,283,33,189,284],"鸦","芦","雁","竹子","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d888a8bed9a38a24bfea78fe527b0a.jpg",[],57,{"id":289,"slug":290,"title":291,"dynasty":114,"author":292,"museum":293,"description":294,"tags":295,"thumbUrl":300,"material":301,"size":302,"collection":142,"collections":303,"showCount":304,"zanCount":11,"manualWeight":11,"mainColor":127},221501,"chun-jiao-mu-yang-tu-li-di-221501","春郊牧羊图","李迪","美国大都会艺术博物馆","《春郊牧羊图》为扇面小品，大不盈尺，绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼",[23,24,50,119,27,28,7,296,297,74,170,298,299],"羊","兽","山坡","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a238f37fd4e936610467a8de5665e84.jpg","绢本","24.1×24.8cm",[142,37,124],54,{"id":306,"slug":307,"title":308,"dynasty":18,"author":224,"museum":309,"description":310,"tags":311,"thumbUrl":314,"material":55,"size":315,"collection":81,"collections":316,"showCount":317,"zanCount":11,"manualWeight":11,"mainColor":127},219930,"liu-xi-diao-ting-tu-shi-tao-219930","柳溪钓艇图","香港艺术馆","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，僧名元济，一作原济，别号很多，大滌子、钝根、石道人、苦瓜和尚、瞎尊者、清湘陈人、清湘老人、清湘遗人、零丁老人。 明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。",[23,24,89,70,26,72,7,73,77,312,75,74,313,137],"石头","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff3288481cb043a71d1eaf11cecb7e0.jpg","127.4x54",[81],49,{"id":319,"slug":320,"title":321,"dynasty":18,"author":322,"museum":116,"description":323,"tags":324,"thumbUrl":325,"material":56,"size":56,"collection":56,"collections":326,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":42},224294,"tao-hua-liu-yan-tu-li-shan-224294","桃花柳燕图","李鱓","《历代名画宣纸高清大图:李鱓桃花柳燕图》绘桃红、柳绿、燕嬉之景，生动地表现了春天和生命的气息，画面充满暖意。\n画幅右边近下部，柳树枝干往上方挺升，其上旁生枝条，以浅绿设色表现初发的柳叶，墨笔筒细而劲健。\n整个枝干形态奠定了画面格局。\n柳树後可见一株桃树枝干自右至左斜出，分上中下三个方向。\n桃树枝干以褐色设色，与墨色的柳树枝干相映成趣，其上并以粉红、银白、淡绿设色表现桃花花办与花叶，同样笔墨不繁却栩栩如生。\n在此美景中，作者添了四只暖春早燕：其一于高枝上向下俯视，情状蠢蠢欲动；其一站立在横枝上，神态安详；其一停于中部枝头顶端；其一低飞于桃红柳绿问。\n此幅花鸟画明朗活泼，笔墨工致。\n《历代名画宣纸高清大图:李鱓桃花柳燕图》由 出版。",[23,24,25,26,241,28,30,7,153,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0cd75efcd4565e82cc7ec65b74f13a.jpg",[],48,{"id":329,"slug":330,"title":331,"dynasty":64,"author":332,"museum":116,"description":333,"tags":334,"thumbUrl":338,"material":216,"size":217,"collection":56,"collections":339,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":127},290150,"qiu-lu-fu-rong-tu-lv-ji-290150","秋鹭芙蓉图","吕纪","画中芙蓉花开正盛，摇曳的残荷与挺拔的莲蓬示意着秋天的到来。柳树从画面右侧突兀而入，枝叶茂盛挺拔，枝上柳叶繁而不乱，疏密得当，层次分明。画中三只白鹭，或栖止，或飞翔，上下呼应，造型准确，形态生动。其中一只栖息在岸边，正回过头向着空中飞翔着的同伴鸣叫，而空中的一只似乎也听到了呼唤，正盘旋而下，与伙伴会合，另一只仿佛也正寻见叫声紧跟而下。三只白鹭所连接起来的弧形曲线与柳枝弯曲的线条相对应，在画面上形成了强烈的动感。",[24,50,29,27,28,335,336,337,33,7],"鹭","芙蓉","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9262e1e5ebf6b0387a9924cedf7acc.jpg",[],47,{"id":342,"slug":343,"title":227,"dynasty":251,"author":344,"museum":345,"description":346,"tags":347,"thumbUrl":358,"material":359,"size":56,"collection":56,"collections":360,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":42},220518,"xing-shu-xu-bei-hong-220518","徐悲鸿","中央美术学院美术馆","笔力苍劲朴拙，兼具碑帖沉厚质感与行书灵动意趣，起收转合藏露随心，线条粗细跌宕间带着刚爽筋骨。\n\n诗作意境沉郁苍茫，书文相生，笔势循着诗意铺展，残阳秋风的怅惘随笔墨起伏流转，顿挫的笔触里暗寓家国愁绪。\n\n布局疏密得宜，字态欹正相生，法度之中藏着情难自已的舒展，将文人意趣与忧怀揉为一体。落笔见风骨，留白有余韵，笔墨成为心绪的载体，尽显书写时的心境起伏，是书情相融的动人之作。",[227,348,349,350,351,352,353,7,354,355,356,357],"书法","笔墨淋漓","行笔遒劲","墨色变化","气韵生动","夕阳","秋风","江上","孤帆","青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3239976293f1b257df23a9430f4ea0d1.jpg","水墨纸本",[],{"id":362,"slug":363,"title":364,"dynasty":114,"author":365,"museum":366,"description":367,"tags":368,"thumbUrl":371,"material":140,"size":372,"collection":142,"collections":373,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":127},220095,"liu-long-gu-che-guo-zhong-shu-220095","柳龙骨车","郭忠恕","日本东京国立博物馆","描绘我国传统的农具＂牛转翻车＂，写实地再现了龙骨车（翻车）的构造，为研究我国农业史、技术史提供了宝贵资料。此图收录于东京国立博物馆收藏的唐绘手鉴《笔耕园》中。\n翻车是一种古代中国劳动人民发明的用于排水灌溉的机械，也是世界上出现最早、使用最久的水车，因为其形状犹如“龙骨”，故又名“龙骨车”或“龙骨水车”。有时候也泛称为“水车”。\n用牛拽转的水车，称为“牛转翻车”，有的是借流水的力量推动，称为“水转翻车”。“牛转翻车”俗称“牛车”，是以牛为动力来拽动转盘，通过轮齿带动龙骨链刮水板，将水刮起的灌溉农具。",[23,114,24,25,369,28,7,189,77,370],"界画","龙骨车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051b462fa439b75c775dabdb35d1a7d7.jpg","24.5×26.8",[142],{"id":375,"slug":376,"title":377,"dynasty":114,"author":378,"museum":66,"description":379,"tags":380,"thumbUrl":382,"material":383,"size":384,"collection":56,"collections":385,"showCount":386,"zanCount":11,"manualWeight":11,"mainColor":127},221610,"shu-liu-han-ya-liang-kai-221610","疏柳寒鸦","梁楷","本幅款识：“梁楷”。\n图绘枯柳疏枝，两只乌鸦栖息于树干上，一只低头啄食，一只仰望高空，与远处的飞鸦呼应成趣，另有一只飞临树干。几枝败柳将冬季萧瑟的气氛巧妙地烘托出来，四只寒鸦形神各异。乌鸦头尾以浓墨点染，羽翼用焦墨勾写，腹部略敷白粉，更突出鸦头之黑，笔简神丰。\n梁楷的“减笔”画既带有文人的笔墨情趣，又能对物象高度概括，具有传神的效果，这在两宋花鸟画中是绝无仅有的。这种画法对元代的颜辉、明代的徐渭、清代的黄慎、近代的任伯年等著名画家都有较大的影响。",[23,24,50,119,89,381,29,7,280,33],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12681876ad222db36245da81d5c54f6.jpg","绢本，设色","纵26.4厘米，横24.2厘米",[],46,{"id":388,"slug":389,"title":390,"dynasty":237,"author":132,"museum":20,"description":391,"tags":392,"thumbUrl":399,"material":140,"size":400,"collection":270,"collections":401,"showCount":402,"zanCount":11,"manualWeight":11,"mainColor":127},290786,"chun-jing-huo-lang-tu-zhou-yi-ming-290786","春景货郎图轴","货郎图自宋代以降，常被画家引为表现主题。此幅无名款，画春日郊园中，桃花初绽，新柳泛绿，杂草野卉丛生於小溪石畔。柳荫下停放一货担，架上满置鸟笼，笼中鸟色品种殊异，四周并缀有各式童玩。货郎二人，一人手执鹦鹉兜售，另一妇人携二童立于担前，举手雀跃作欲索取状。人物设色妍雅，神情活泼生动，表现出古代农业社会纯朴闲适的生活情态。",[50,24,26,28,74,27,393,394,7,395,396,397,398],"美人","孩童","梅","货郎","市井","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac3d16ea3f794f22ec38440af84d107.jpg","196.8x104.3",[270],45,{"id":404,"slug":405,"title":406,"dynasty":237,"author":407,"museum":66,"description":408,"tags":409,"thumbUrl":423,"material":424,"size":425,"collection":426,"collections":427,"showCount":428,"zanCount":11,"manualWeight":11,"mainColor":42},220799,"jing-ji-xuan-shi-wen-zhou-ni-zan-220799","静寄轩诗文轴","倪瓒","《静寄轩诗文》是倪瓒自作并书写的。此轴所书共三部分，内容包括《邾伯盛氏小像赞》、《刻古印文诗四韵》五律1首、《静寄轩诗》七绝3首。\n此帖上方篆书“静寄轩”和帖首篆书“静寄轩诗文”为张绅所书。“静寄轩”是邾伯盛的斋名，其人名珪，字伯盛，苏州人。师濮阳吴睿，习大小篆书，喜为人治印。\n此诗文是倪瓒71岁时所作，虽已至古稀之年，但笔力精致，毫无滞涩之处，结字略扁，内紧外舒，收笔时顿笔稳重，圭角突出，于质朴遒劲中带有很重的隶书笔意。",[23,26,348,227,410,267,411,412,413,414,336,30,91,415,416,417,418,7,202,419,420,421,121,422],"篆刻","孤鹤","瘦骨","苍林","荷","轩","僧","茶烟","云","雪","门","馆","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd648c8e27c6ab1979999ef58ef0056a.jpg","纸本","纵62.9cm，横23.3cm","书法精选",[426],43,{"id":430,"slug":431,"title":432,"dynasty":18,"author":132,"museum":66,"description":433,"tags":434,"thumbUrl":436,"material":424,"size":437,"collection":56,"collections":438,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":127},231363,"liu-yin-pin-cha-tu-ye-yi-ming-231363","柳荫品茶图页","品茶，就是品评茶味；饮茶。一般来说，这是一种较为优雅和闲适的艺术享受。 明 杨慎 《和章水部沙坪茶歌》：“君作茶歌如作史，不独品茶兼品士。” 柳亚子 《寄毛主席延安》诗：“云天倘许同忧国， 粤海难忘共品茶。”",[24,28,27,51,74,7,189,230,398,435],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F212e19a5991a4ce291daf341239a17f2.jpg","纵29cm,横29.2cm",[],{"id":440,"slug":441,"title":442,"dynasty":18,"author":443,"museum":444,"description":445,"tags":446,"thumbUrl":448,"material":56,"size":56,"collection":81,"collections":449,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":42},223244,"hua-hui-shan-shui-12-hua-yan-223244","花卉山水-12","华嵒","辽宁省博物馆","该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开",[24,25,28,89,72,447,29,7,414,33,77,189],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc18d2a868a7fff05f5a7f52f85957ea0.jpg",[81,39],39,{"id":452,"slug":453,"title":454,"dynasty":114,"author":132,"museum":455,"description":456,"tags":457,"thumbUrl":462,"material":301,"size":463,"collection":142,"collections":464,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":127},219731,"he-tang-an-le-tu-yi-ming-219731","荷塘按乐图","上海博物馆","此图用近景鸟瞰的手法描绘皇亲贵戚在临湖台榭中饮宴奏乐的情景。殿阁仅画高柳环拥中的背面，殿前临水的月台上有两队吹笛的乐工，前面是开阔的湖面和点点钱荷。此图不作正面写景，而以描绘两队乐工的演奏使人联想在湖面上飘动的清越笛声和殿中人豪侈的饮宴，把南宋朝廷歌舞河山、穷奢极欲的生活含蓄地表达出来。图中楼阁台榭以界画笔法绘出，准确精细，颇合法度。湖边几株垂柳，更增添了几分幽静气氛。画面虽只绘一角景色，却能给人一种遐想无限的意境。",[24,50,369,28,74,313,337,7,458,459,460,461],"湖面","乐器","饮酒","台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10479730a19e6b1aa7242930025e39b2.jpg","25.8x22.3cm",[142,81],{"id":466,"slug":467,"title":468,"dynasty":114,"author":469,"museum":20,"description":470,"tags":471,"thumbUrl":473,"material":140,"size":474,"collection":37,"collections":475,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":42},219231,"liu-tang-yuan-xi-tu-ma-he-zhi-219231","柳塘鸳戏图","马和之","风拂柳丝软，池漾碧波轻。柳条以淡墨勾勒，柔韧如丝，似随微风拂动水面，余韵悠悠。塘岸简笔皴擦，草色依稀，野趣天成。鸳鸯两两相戏，红羽点缀素净底色，情态亲昵自然，于静谧中添一抹生动。笔墨疏朗却意韵丰满，不刻意渲染却得自然之趣，恰是宋人崇尚的“平淡天真”之境。观之如临清塘畔，柳风轻拂，鸳鸯悠游，心亦随之沉静，仿佛能闻水波轻响，感受那份独属于宋人的清雅闲逸。",[23,24,50,28,27,29,7,135,472],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a58fd64843b5aa46fa30a846f821cb.jpg","23x24.4cm",[37],{"id":477,"slug":478,"title":479,"dynasty":18,"author":443,"museum":66,"description":480,"tags":481,"thumbUrl":483,"material":79,"size":484,"collection":37,"collections":485,"showCount":486,"zanCount":11,"manualWeight":11,"mainColor":42},236339,"liu-yin-shi-nv-zhou-hua-yan-236339","柳荫仕女轴","此图绘一端庄文弱的女子,此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。\n华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。",[24,26,89,28,120,74,393,7,91,189,482],"栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5db8902cc7bd108ea1d0ba1c4f56d5.jpg","纵82厘米，横32.2厘米",[37,124,426],37,{"id":488,"slug":489,"title":490,"dynasty":18,"author":491,"museum":47,"description":492,"tags":493,"thumbUrl":497,"material":140,"size":498,"collection":37,"collections":499,"showCount":486,"zanCount":145,"manualWeight":11,"mainColor":127},218736,"liu-tang-ji-qin-tu-hu-mei-218736","柳塘集禽图","胡湄","此画描绘了一群禽鸟在柳塘嬉戏的情景。画中几只芦雁或在岸上长鸣，或在水中畅游，或在低空中盘旋，石缝中生长出几棵小树，两只小鸟在枝丫上彼此顾盼。",[23,24,25,50,26,27,89,29,7,494,495,135,186,230,75,33,496],"鸟","禽","芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a65963fe55590b859fe37010d4dfd9.jpg","纵211厘米，横100厘米",[37],{"id":501,"slug":502,"title":503,"dynasty":114,"author":504,"museum":366,"description":505,"tags":506,"thumbUrl":507,"material":140,"size":508,"collection":270,"collections":509,"showCount":486,"zanCount":145,"manualWeight":11,"mainColor":127},218455,"zhou-ren-xing-tu-wang-hui-218455","舟人形图","王辉","淡墨晕染的水面微澜轻漾，一叶扁舟浮行其间。舟中之人凭舷而坐，衣袂垂落，神态悠然，似静听风吟，又或凝视水中云影。岸畔垂柳枝条披拂，几枝缀蕊梅枝斜出，添了清逸之趣。远处山峦轮廓柔和，与天际轻烟相融，浑然一体。简淡笔墨勾勒物象，却于留白处藏尽幽远之境，尽显宋人山水的诗意哲思——天地间人如芥子，却能与自然相契，寻得内心的安宁。整幅画以含蓄笔触铺陈意境，每一处细节都透着东方美学的雅致，将观者引入那片静谧辽远的烟波世界里。",[23,24,25,50,27,28,74,73,72,7,395,77,33,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb655b285914c169055a1a989003a11c.jpg","19.3x19.0",[270],{"id":511,"slug":512,"title":513,"dynasty":64,"author":65,"museum":66,"description":514,"tags":515,"thumbUrl":516,"material":79,"size":517,"collection":56,"collections":518,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":42},233837,"wo-you-tu-ce-liu-chan-shen-zhou-233837","卧游图册－柳蝉","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,25,51,89,7,256,29,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c5a7074fd91a202d775350e6aeb99d1.jpg","纵27.8厘米，横37.3厘米",[],36,{"id":521,"slug":522,"title":523,"dynasty":114,"author":524,"museum":20,"description":525,"tags":526,"thumbUrl":528,"material":55,"size":529,"collection":37,"collections":530,"showCount":531,"zanCount":11,"manualWeight":11,"mainColor":42},219644,"liu-yin-xi-e-tu-cui-bai-219644","柳阴戏鹅图","崔白","此作为边角小景，以极简笔意铺陈幽淡意境。柔垂柳丝以淡墨写就，细枝袅袅垂落晕开浅绿，晕染出水岸阴凉。白鹅卧于坡岸，白羽刻画工细写实，绒软质感呼之欲出，它垂首驻足浅滩，似正流连水畔，憨态悠然尽显生机。坡岸杂草以浓墨点染，枯润相生，将白鹅衬得愈发莹洁剔透。\n\n整幅小品不事雕琢，清雅柔和，将郊野水岸的闲静氛围凝于尺幅之间，以小见大，尽显精微写实与诗意意境相融的雅致美感，让人仿佛置身初夏水岸，独享这片刻宁谧悠然。",[24,25,50,51,28,27,29,7,527,231],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6175d0a863e4aed9c5ea44bb06d9fe.jpg","22.4x17.9",[37],33,{"id":533,"slug":534,"title":535,"dynasty":18,"author":536,"museum":66,"description":537,"tags":538,"thumbUrl":541,"material":383,"size":542,"collection":37,"collections":543,"showCount":544,"zanCount":11,"manualWeight":11,"mainColor":42},236466,"liu-tang-lu-que-tu-zhou-ren-yi-236466","柳塘鹭雀图轴","任颐","此图是幅表现春风中群燕嬉戏的小品画，也是任颐运用以实托虚的手法成功地表现“风”的代表作。虚缈、抽象的风通过小燕振翅翻飞的动态和柳叶飘舞张扬的形状被表现得既具象又生动，不仅令“风”有了可视的形象，而且突出了作者“轻柳爱风斜”的创作主题。从构思到笔墨都反映了作者在绘画创作成熟期的精湛艺术水准。",[24,28,89,241,29,7,335,539,496,540],"雀","塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4784f688b1766e12ccf68e7508976a4c.jpg","纵152.5厘米，横40厘米",[37,124],30,{"id":546,"slug":547,"title":548,"dynasty":237,"author":132,"museum":20,"description":549,"tags":550,"thumbUrl":553,"material":35,"size":554,"collection":56,"collections":555,"showCount":544,"zanCount":11,"manualWeight":11,"mainColor":127},223365,"liu-tang-bai-yan-tu-zhou-yi-ming-223365","柳塘白燕图轴","元代工笔画很少的，多的是水墨写意的文人画，其实元代画坛另一路已经走向极致的绘画语言就是写实艺术。 ​​​",[23,50,24,25,27,28,7,540,551,337,552,284,267],"白燕","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d166284910d93d3270e5a93502379d8.jpg","31.1×60.6",[],{"id":557,"slug":558,"title":559,"dynasty":114,"author":560,"museum":116,"description":561,"tags":562,"thumbUrl":566,"material":216,"size":217,"collection":56,"collections":567,"showCount":568,"zanCount":11,"manualWeight":11,"mainColor":127},289874,"liu-xi-fang-you-tu-xia-gui-289874","柳溪访友图","夏圭","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,563,26,89,70,90,7,76,77,187,74,564,565],"山水画","访友","雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777befa1eac54675a38881e0f1287846.jpg",[],29,{"id":570,"slug":571,"title":572,"dynasty":114,"author":560,"museum":116,"description":561,"tags":573,"thumbUrl":575,"material":56,"size":56,"collection":56,"collections":576,"showCount":568,"zanCount":11,"manualWeight":11,"mainColor":127},227728,"liu-yin-mu-niu-tu-xia-gui-227728","柳荫牧牛图",[23,24,50,25,119,28,74,7,574,189,72],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179c42d2f8f6243fd9a831f72ed6fb5e.jpg",[],{"id":578,"slug":579,"title":580,"dynasty":114,"author":181,"museum":116,"description":581,"tags":582,"thumbUrl":583,"material":56,"size":56,"collection":56,"collections":584,"showCount":585,"zanCount":145,"manualWeight":11,"mainColor":127},227614,"chun-xiao-tu-ye-zhao-ling-rang-227614","春晓图页","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[23,50,24,25,51,28,70,7,76,91,33,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1006510c385afef8e45f522379aaf3d.jpg",[],28,{"id":587,"slug":588,"title":589,"dynasty":114,"author":378,"museum":66,"description":590,"tags":591,"thumbUrl":596,"material":597,"size":598,"collection":56,"collections":599,"showCount":600,"zanCount":11,"manualWeight":11,"mainColor":127},234068,"liu-xi-wo-di-tu-ye-liang-kai-234068","柳溪卧笛图页","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。",[592,24,89,593,594,7,595,74,77,459],"宋画","简笔","册页","溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067b2dd93936c97f26067414b882c22.jpg","绢本水墨","26.1×26.1cm",[],27,{"id":602,"slug":603,"title":604,"dynasty":114,"author":132,"museum":20,"description":605,"tags":606,"thumbUrl":607,"material":140,"size":608,"collection":81,"collections":609,"showCount":600,"zanCount":11,"manualWeight":11,"mainColor":42},218815,"liu-an-he-tang-tu-yi-ming-218815","柳岸荷塘图","这幅画描绘了一个芦苇茂盛的荷塘，荷叶田田，五支老箭极为茂盛，说明这里是陶渊明的隐居之地，过了小桥就能看到南山。",[23,50,24,28,72,119,70,7,414,337,189,202,186,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[81],{"id":611,"slug":612,"title":613,"dynasty":18,"author":101,"museum":116,"description":614,"tags":615,"thumbUrl":616,"material":56,"size":56,"collection":56,"collections":617,"showCount":618,"zanCount":11,"manualWeight":11,"mainColor":42},230237,"za-hua-shi-er-kai-2-jin-nong-230237","杂画十二开2","此作以水墨写就早春桃柳，柔柳垂条以淡墨轻扫，如烟似雾，尽得扶风曼舞之姿，尽显春日柔媚。下方桃枝斜出，苍劲朴拙的枝桠间，以浓淡墨色点染花苞与初绽小花，古拙清雅。\n画面左上题诗与绘景呼应，诗画相融，晕开清寂雅致的春日氛围。全幅以水墨代彩，摒弃艳俗，笔墨生拙古雅，简淡疏朗间带着浓郁文人意趣，寥寥数笔便将早春二月的清隽诗意凝于尺幅，尽显写意水墨的精妙功力。",[24,89,51,25,7,30,348,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ddce53ad3ab07ab23b7059e4162171.jpg",[],25,{"id":620,"slug":621,"title":622,"dynasty":64,"author":623,"museum":66,"description":624,"tags":625,"thumbUrl":626,"material":383,"size":627,"collection":81,"collections":628,"showCount":629,"zanCount":11,"manualWeight":11,"mainColor":127},237650,"liu-yin-shuang-jun-zhou-hu-cong-237650","柳荫双骏轴","胡聪","描绘柳荫下两匹骏马之态，形象生动，神态逼肖；二柳树旁还斜探出一枝桃花，使湖石花竹相互掩映，一派湖光春色。整幅画面刻画细腻，用笔工整，功力深厚，继承南宋院体画风格。右上款署：“直武英殿东皋胡聪写。”",[50,24,25,26,27,28,7,167,395,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8671533baa0d9af224242aa2575cf21.jpg","纵101.2cm，横50.5cm",[81,39],24,{"id":631,"slug":632,"title":633,"dynasty":18,"author":634,"museum":635,"description":636,"tags":637,"thumbUrl":638,"material":56,"size":56,"collection":56,"collections":639,"showCount":640,"zanCount":11,"manualWeight":11,"mainColor":42},234540,"liu-chan-tu-shan-ye-que-lan-234540","柳蝉图扇页","阙岚","湖南省博物馆","阙岚 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藏进这绢素方寸之中。",[23,50,24,25,119,28,27,369,74,313,7,414,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd078e473f04ccec6ad7f49b6b5cb6b48.jpg",[],{"id":723,"slug":724,"title":725,"dynasty":114,"author":132,"museum":455,"description":726,"tags":727,"thumbUrl":728,"material":140,"size":56,"collection":39,"collections":729,"showCount":705,"zanCount":11,"manualWeight":11,"mainColor":127},219744,"liu-xia-shuang-niu-tu-yi-ming-219744","柳下双牛图","画中柳树下悠闲的南方水牛，一母一子，尽管母牛背向而站，但眼神紧盯着小牛，而小牛似乎正围着母牛撒欢。另一侧，农夫辛勤的在水田里劳作。",[24,119,89,28,574,297,168,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd182958fae8609b7da0dda8ab0764823.jpg",[39],{"id":731,"slug":732,"title":733,"dynasty":114,"author":734,"museum":66,"description":735,"tags":736,"thumbUrl":737,"material":301,"size":738,"collection":56,"collections":739,"showCount":740,"zanCount":11,"manualWeight":11,"mainColor":127},233214,"liu-yin-mu-niu-tu-ye-li-tang-233214","柳荫牧牛图页","李唐","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的。\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。\n《东图玄览》记：“李唐《春牧图》，牛欲前行，童子力挽之，势甚奇。”吴其贞《书画记》载：“李唐《风归牛图》……有一牛乘风而奔，气韵如真，为神晶。”又记：“李唐《牧牛图》绢画一幅，树下有水，牛欲右行，而牧童欲牵左转，两下努力相持，使观者亦自费力。”以上记载，亦可略见李唐画牛成就之一斑了。李唐画的牛今日已不多见了。《乳牛图》一直传为李唐之作，在传世的宋人画牛图中，似此图者不少，然如此图之精彩者却不多。现存画迹中，南宋的画牛图还不算太少，大抵皆受李唐的影响。\n李唐(约1066一约1150)字晞古，河南人，乃南宋画院“四大家”之一，宋徽宗时就已是画院待诏。后因战乱被俘，遂又潜逃南渡，历尽颠沛流离之苦，一度落泊于南宋都城临安，靠卖画度日。后被高宗赵构重用，仍任朝廷画院旧职。李唐的山水、人物、走兽皆精，而山水最佳，创大斧劈皴法，所作长图大幛，气势宏伟，独步南宋画坛。晚年代表作有《清溪渔隐图》等留世。其人物画富李公麟遗韵，却性格刻画突显，且多绘文人高士形象，如《七贤过关图》、《采薇图》等。史传他极擅画牛，但存世作品真伪难辨。",[24,25,51,89,28,70,7,574,74,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9caed9a29913ebe1ad5d983892d9d17.jpg","61X63cm",[],19,{"id":742,"slug":743,"title":744,"dynasty":64,"author":745,"museum":116,"description":746,"tags":747,"thumbUrl":748,"material":56,"size":56,"collection":56,"collections":749,"showCount":740,"zanCount":11,"manualWeight":11,"mainColor":42},228464,"liu-pu-yu-le-tu-qian-gu-228464","柳浦渔乐图","钱毂","此作用长卷铺展江南水居意趣，烟波江上渔舟星散，渔人或垂纶闲坐，或收网归棹，鲜活尽显水乡生计日常。两岸柔柳拂波，杂树错落，茅舍隐于林薮，鸥鸟翔集天水之际，淡墨轻晕出空濛烟岚，将野逸清寂的乡野意趣与寻常烟火相融。笔墨秀雅松灵，设色浅澹柔和，把文人心向往之的渔樵隐逸之乐，藏在一水一木、一渔一舟间，实景鲜活与雅逸诗意兼具，尽显温润雅致的笔墨情致。",[23,24,25,71,89,28,72,7,77,73,33,496,74,137,75,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4627df9684f8bd39579529eacfef4b9a.jpg",[],{"id":751,"slug":752,"title":753,"dynasty":64,"author":754,"museum":66,"description":755,"tags":756,"thumbUrl":764,"material":79,"size":765,"collection":56,"collections":766,"showCount":767,"zanCount":11,"manualWeight":11,"mainColor":127},222088,"qiu-zhi-yuan-tu-juan-qian-gu-222088","求志园图卷","钱谷","在明代吴门画家的作品中，有许多以他人的室名别号为题，这类作品被张丑称之为“别号图”，如推而广之，还应包括以庄园、庭院为题材的作品。它们在描绘人造园林真实性的基础上，力图表现园林主人的生活理想，反映他们身居闹市，却追求“与深山野水为友”的操守与志向，这类作品成为吴门画派所表现的一种突出的艺术现象，而钱穀的《求志园图》正是其中颇具代表性的一件。\n此卷是钱穀应友人张凤翼之请，描绘其家园春夏之间的景色，卷首有文徵明题“文鱼馆”三字，卷后有王世贞行书《求志园记》。画家从右侧园门画起，以怡旷轩、风木堂、尚友斋为中心，前有庭，后有园，渐次展开，王世贞所撰《求志园记》中采芳径、文鱼馆、香雪廊皆按图可索，抚记展图，这座“旦而旭、夕而月、风于春、雪于冬”的甲第名园中当年文人云集、清谈雅会的盛景似乎随着手卷展开历历在目。虽写实景，却不是简单的再现，更注意了人造景观与湖渚山色的自然风光的谐调与结合，突出了中国古代“虽由人造，宛自天成”的造园理念，用修篁古木、冬梅花篱、白鹅紫鸳表现画主人对归隐生活的向往，是托物言志的再创造。事实上，由于画家与画主人在情感、思想、旨趣上的相通，图中寄寓的对天地灵秀、淡泊胸襟的意趣追求，同样是画家本人的内心写照。",[23,24,71,28,27,25,227,757,267,313,75,758,76,77,759,760,283,229,7,761,762,763],"楷书","亭子","房屋","庭院","园林","建筑","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66742fa1af93fb6e7fea758c370c8f5a.jpg","纵29.8厘米，横190.2厘米",[],18,{"id":769,"slug":770,"title":771,"dynasty":18,"author":772,"museum":116,"description":773,"tags":774,"thumbUrl":782,"material":216,"size":217,"collection":56,"collections":783,"showCount":784,"zanCount":11,"manualWeight":11,"mainColor":127},239758,"shu-hong-li-song-xia-jing-shan-shui-shi-er-yong-shi-ce-he-shen-239758","书弘历颂夏景山水十二咏诗册","和珅","和珅（1750年7月1日—1799年2月22日），钮祜禄氏，本名善保，字致斋，自号嘉乐堂、十笏园、绿野亭主人，奉天府开原县（今辽宁省清原县）人，满洲正红旗。清朝中期权臣、商人。\n和珅门荫入仕，精明强干。通过李侍尧案，巩固身份地位，深得乾隆帝宠信，并将十公主嫁给和珅长子丰绅殷德，促使和珅大权在握，成为皇亲国戚。先后担任和兼任众多关键职务，主要包括内阁首席大学士、领班军机大臣、吏部尚书、户部尚书、刑部尚书、理藩院尚书，兼任内务府总管、翰林院掌院学士、《四库全书》正总裁官、领侍卫内大臣、步军统领等数十个重要职务，拜文华殿大学士，封一等忠襄公。随着权力地位的成长，私欲日益膨胀。利用职务之便，结党营私，聚敛钱财，打击政敌。亲自经营工商业，开设当铺七十五间，设大小银号三百多间，建立同英国东印度公司、广东十三行的商业往来。\n嘉庆四年（1799年），清仁宗下旨将和珅革职下狱。乾隆帝死后十五天，清仁宗赐和珅自尽，时年四十九岁。",[757,348,25,594,72,189,775,776,777,595,778,779,7,335,780,781],"涧","水田","村","林","野塘","波","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c706ca362dd92ad9aff46683c23a07.jpg",[],17,{"id":786,"slug":787,"title":788,"dynasty":114,"author":132,"museum":66,"description":789,"tags":790,"thumbUrl":792,"material":793,"size":794,"collection":56,"collections":795,"showCount":796,"zanCount":11,"manualWeight":11,"mainColor":127},233207,"liu-xi-chun-se-tu-ye-yi-ming-233207","柳溪春色图页","此画又名《柳溪春色图》，无名款，从其风格判断应属南宋时期作品。图绘一处屋宇依山傍水，四周柳树环绕，此时正值春天，微风吹拂柳叶飞动，整幅画面洋溢着春日气息。庭院中一群仕女似乎在排演着歌舞，屋前有一大片空地可能类似如今的广场。此画构图十分特别，不似传统「三远法」中任何一种，画面的组织皆围绕着建筑展开平铺直叙。其画法属工细一路，用笔精致，设色淡雅。画中前景用斧劈皴画一巨石，茂林密柳以「胡椒点」为之，有别于常见的人、个、介字的排列画法；屋宇平直处用界画成，曲折处稍用笔有放逸；远山勾画简略，几乎是平涂而成，意在衬托出前面繁密的景物。作者在马夏风格一统画坛的南宋时期，仍可另辟蹊径创出一种新面貌，故此画当属难得的宋人佳作。",[24,119,594,27,28,89,70,72,7,595,418,189,77,791],"春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa316a638cfd655a3d2997055ce7f48.jpg","绢本淡设色","纵23.4厘米，横24厘米",[],16,{"id":798,"slug":799,"title":800,"dynasty":64,"author":132,"museum":116,"description":801,"tags":802,"thumbUrl":804,"material":216,"size":217,"collection":56,"collections":805,"showCount":806,"zanCount":11,"manualWeight":11,"mainColor":42},237828,"zhang-chong-liu-ge-du-shu-shan-ye-yi-ming-237828","张翀柳阁读书扇页","柔丝垂绦的古柳虬劲苍然，将水面草阁半掩其中，似有幽人于阁中静读。淡墨晕染远水空蒙，虚实相映间，漾开江南水岸的温润清寂。\n\n画师以细笔摹写柳条柔媚舒展，老干皴擦苍劲古拙，刚柔相生尽显林木意态。行书题款墨色清雅，与画面浑然相融，将幽居林泉、静享闲读的林下幽思藏于尺幅之中，简淡萧疏，意韵悠长，尽显小品雅致之趣。",[119,24,89,28,72,7,313,74,803,189,70,267],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9111a4ba59046cdd4b28ebbdc0ef377.jpg",[],15,{"id":808,"slug":809,"title":810,"dynasty":18,"author":811,"museum":116,"description":812,"tags":813,"thumbUrl":814,"material":56,"size":56,"collection":56,"collections":815,"showCount":806,"zanCount":11,"manualWeight":11,"mainColor":42},234663,"liu-he-guan-yan-shan-mian-xie-dan-234663","柳荷观雁扇面","谢丹","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,25,119,28,89,7,414,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b4adaea0cdaeb6bf2b8ad4ce1f96cc.jpg",[],{"id":817,"slug":818,"title":819,"dynasty":18,"author":101,"museum":116,"description":820,"tags":821,"thumbUrl":822,"material":56,"size":56,"collection":56,"collections":823,"showCount":806,"zanCount":11,"manualWeight":11,"mainColor":42},230233,"ce-ye-ba-kai-jin-nong-230233","册页八开","本幅以极简构图层叠春景意境，垂柳叶丝以淡墨晕染，袅袅拂动，柔媚尽现春日缱绻；下方桃枝枯淡勾勒，浅墨晕开花瓣，初绽芳华娇柔含露。\n\n书画相映成趣，题诗借春景抒怀，将暮春春愁融于淡墨景致。笔意简淡疏朗，脱却繁饰，留白空灵雅致，于浅淡笔墨晕染出江南春深的幽寂怅惘，尽显文人画诗韵墨香的隽永格调，以极简构图传递悠长闲愁，尽得雅致冲淡之美。",[24,25,51,89,29,7,105,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76b0d11efcdac5bfcb9c16040224db3.jpg",[],{"id":825,"slug":826,"title":827,"dynasty":18,"author":828,"museum":116,"description":829,"tags":830,"thumbUrl":838,"material":839,"size":840,"collection":426,"collections":841,"showCount":806,"zanCount":11,"manualWeight":11,"mainColor":842},224438,"yong-luo-hua-qi-lv-shi-wu-zhang-he-shao-ji-224438","咏落花七律十五章","何绍基","同治四年（乙丑，1865年）春书于苏州。\n何绍基的行草书融篆、隶于一炉，骏发雄强，独具面貌。\n他的篆书，中锋用笔，并能掺入隶笔，而带行草笔势，自成一格。",[23,348,227,71,831,832,833,834,835,836,837,202,418,186,138,228,7,105],"落花","春","江","酒","雨","月","风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99b11b1e1294d79f91b13adc0f6273.jpg","行草","横30厘米，纵181厘米",[426],"F48FB1",{"id":844,"slug":845,"title":846,"dynasty":18,"author":847,"museum":455,"description":848,"tags":849,"thumbUrl":850,"material":56,"size":56,"collection":81,"collections":851,"showCount":806,"zanCount":11,"manualWeight":11,"mainColor":852},202195,"duan-qiao-wo-liu-tu-zhou-wang-chen-202195","断桥卧柳图轴","王宸","水墨晕染间，疏柳垂丝如缕，枝干苍劲，卧倚断岸，姿态萧散有致。近景山石以皴法简括勾勒，墨色层次分明；远处峰峦淡远朦胧，云雾轻笼，尽显山水之幽。笔墨简劲中见情致，意境荒寒清逸，流露文人画特有的淡泊心境，似将自然丘壑化作胸中丘山，引人入幽寂之境。",[24,89,72,70,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b73e7641c354afea9da15a847df084a.jpg",[81],"d5cab6",{"id":854,"slug":855,"title":856,"dynasty":114,"author":857,"museum":116,"description":858,"tags":859,"thumbUrl":861,"material":216,"size":217,"collection":56,"collections":862,"showCount":863,"zanCount":145,"manualWeight":11,"mainColor":42},288494,"chui-yang-fei-xu-tu-yang-huang-hou-288494","垂杨飞絮图","杨皇后","图绘新绿垂柳四枝，袅袅生姿，柳絮似雪飞舞，透露无限春意。画中柳枝用中锋一笔画出；柳叶用细笔勾勒，并填以汁绿；柳絮用白粉信笔点之。全图用笔工整，赋色淡雅。构图疏密得体。上方垂下的柳枝与右侧伸出的柳枝将画面分割成形状不等的四部分，小中见大，引人遐思。图的左上方有宋宁宗皇后杨氏的题诗：“线捻依依绿，金垂袅袅黄”，并钤八卦中的“坤卦”形印。",[23,51,24,25,27,28,860,7,348,227,267],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0403430a8d43e9748ddfd58d5f9c5770.jpg",[],14,{"id":865,"slug":866,"title":867,"dynasty":18,"author":868,"museum":116,"description":869,"tags":870,"thumbUrl":871,"material":216,"size":217,"collection":56,"collections":872,"showCount":863,"zanCount":11,"manualWeight":11,"mainColor":42},235294,"huang-li-ming-liu-zhou-yuan-jiang-235294","黄鹂鸣柳轴","袁江","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[50,24,25,26,28,29,33,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfee4bca22c5f86a39d248aa74512a2e.jpg",[],{"id":874,"slug":875,"title":876,"dynasty":18,"author":224,"museum":66,"description":877,"tags":878,"thumbUrl":880,"material":79,"size":881,"collection":56,"collections":882,"showCount":863,"zanCount":11,"manualWeight":11,"mainColor":42},233780,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233780","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。",[24,25,51,227,348,89,28,241,70,74,189,229,7,681,879],"小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b5ac46bfdfbb00f6719c0a94a89517.jpg","纵27厘米，横21.3厘米",[],{"id":884,"slug":885,"title":886,"dynasty":18,"author":887,"museum":116,"description":888,"tags":889,"thumbUrl":893,"material":56,"size":56,"collection":56,"collections":894,"showCount":863,"zanCount":11,"manualWeight":11,"mainColor":127},230920,"yin-tang-xiao-yue-tu-lan-tao-230920","银塘晓月图","蓝涛","此作用笔清隽工细，设色雅致柔和。暮春晓月晕开朦胧柔光，池畔梨花如云叠缀，柔枝轻曳舒展，将春夜清寂揉入花枝。绣眼静栖枝头，羽色苍褐温润，身形灵动传神，似在聆听春夜余声。画面留白疏朗空灵，师法宋元院体意趣，将幽淡宁和的春夜诗意凝于尺幅，尽显古典花鸟的雅致韵致，把塘边春宵的温柔静谧永远定格于绢素之中。",[23,24,25,50,26,27,28,29,890,494,891,892,7,231],"明月","花","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcafc6fa2c004fa104f0237b2fc2238e0.jpg",[],{"id":896,"slug":897,"title":898,"dynasty":114,"author":899,"museum":20,"description":900,"tags":901,"thumbUrl":902,"material":140,"size":56,"collection":56,"collections":903,"showCount":863,"zanCount":11,"manualWeight":11,"mainColor":42},218676,"xi-hu-shi-jing-tu-liu-lang-wen-ying-ye-xiao-yan-218676","西湖十景图-柳浪闻莺","叶肖岩","烟峦淡远，柳丝拂岸，亭台楼阁隐于葱茏间。墨色温润如宋时烟雨，将柳浪的柔曼与闻莺的清越融于一纸。远山含黛，近树扶疏，建筑错落有致，似有流莺啼鸣穿林而过，惹得柳丝轻摇。题字笔意洒脱，与画作相映成趣，尽显文人雅趣。整幅画以淡墨晕染出西湖春日的清幽，不著艳色却意境悠远。观者仿佛立于湖畔，听柳浪翻涌，闻莺声婉转，沉醉在那抹宋时湖光的温柔里。",[23,24,25,51,28,89,72,7,33,138,313,75,890,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2de438d4c2cddd2b29b345f3825a0337.jpg",[],{"id":905,"slug":906,"title":907,"dynasty":114,"author":132,"museum":20,"description":908,"tags":909,"thumbUrl":910,"material":140,"size":911,"collection":270,"collections":912,"showCount":913,"zanCount":145,"manualWeight":11,"mainColor":42},219601,"liu-tang-hu-du-tu-yi-ming-219601","柳塘呼犊图","画上是清澈的小溪旁，杨柳垂荫、青草茂密。一阵风来，将柳絮吹得犹如满天纷飞的绿雪。树下一名驼了背脊、衣衫褴履的老牧人，正眯着眼、掩面伫着木杖打盹。牛喝足了水，迎着风，使尽全力，「哞－哞－」地叫着：像是要提醒老牧人，也像在呼唤顽皮、跑远的小牛：该回家罗！\n如诗般的江南风光、如歌般的田园生活，不只令现今的都会人心生向往，也是许多的在朝为官 的宋代士大夫们，对于「故乡」最美好的记忆。当他们告老还乡时，最大的心愿之一，莫过于徜佯在这片青草地上，伴随着自在悠闲的牛儿，作一名安闲平凡的牧人。正如一位北宋诗人所说的：「人生愿望无数，能达成的又有多少呢？我想，若能拥有百亩良田以及一只牛的陪伴，也就心满意足了吧！」",[23,24,50,25,51,28,27,7,574,74,189,540,186,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f94cf9b5d56f49c5f99cdb42a8ad360.jpg","纵24.9厘米 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余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[24,89,28,29,33,7,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4b42e8ee5a36679f09cc1bd3da89ec.jpg","31.2×44.7厘米",[],{"id":925,"slug":926,"title":927,"dynasty":114,"author":132,"museum":116,"description":928,"tags":929,"thumbUrl":931,"material":56,"size":56,"collection":56,"collections":932,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":127},227878,"liu-ge-feng-fan-tu-yi-ming-227878","柳阁风帆图","水岸垂柳如烟似雾，柔条轻拂水面，将满幅晕开融融绿意。右侧高阁临水而立，凭栏之人悠然远眺，将闲逸心绪融浸在湖光里。湖面轻舟扬帆趁风缓行，波光漾开静穆氛围，把远水近岸织作一卷清和夏景。\n\n画家以没骨晕染柳色，晕出江南水泽的湿润氤氲，人物虽形微却神态宛然，留白处暗写烟波浩渺。将寻常水乡日常定格在团扇之上，尽显宋人观照日常、寄情山水的审美意趣，淡墨轻岚里，尽是江南水乡的温柔况味，简淡悠长，余韵悠悠。",[23,24,119,28,72,7,313,76,77,930,74],"帆船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F392a3f08216ede90bf6be33b7dbee93e.jpg",[],{"id":934,"slug":935,"title":936,"dynasty":937,"author":938,"museum":455,"description":939,"tags":940,"thumbUrl":941,"material":56,"size":56,"collection":81,"collections":942,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":943},202965,"liu-xi-yu-ying-tu-zhou-chen-shu-ren-202965","柳溪渔影图轴","近代","陈树人","柳丝轻拂溪岸，淡绿晕染出春日柔媚。澄澈溪水间，孤舟一叶，渔人持竿静坐，影落清波，尽显悠然之趣。远处矮墙隐现，飞鸟点染天际，添几分空濛。笔墨灵动洒脱，设色清新雅致，融传统水墨意趣与明快格调，于简淡中藏生机，传递渔隐生活的恬淡自在。",[24,28,72,73,137,33,7,77,89,241,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0015fab4bfa42fe85edf840c28623120.jpg",[81],"c5ad8f",{"id":945,"slug":946,"title":947,"dynasty":114,"author":132,"museum":116,"description":948,"tags":949,"thumbUrl":950,"material":56,"size":56,"collection":56,"collections":951,"showCount":952,"zanCount":11,"manualWeight":11,"mainColor":127},227359,"liu-xi-yuan-yang-tu-ye-yi-ming-227359","柳溪鸳鸯图页","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,50,24,119,28,27,7,595,472,33,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa830ca8abe60aea47e38b08368f2e9c6.jpg",[],11,{"id":954,"slug":955,"title":956,"dynasty":18,"author":132,"museum":116,"description":957,"tags":958,"thumbUrl":961,"material":216,"size":217,"collection":56,"collections":962,"showCount":963,"zanCount":11,"manualWeight":11,"mainColor":127},269094,"xiang-ya-bian-zhi-qian-xiang-ya-ran-diao-liu-yan-tu-tuan-shan-yi-ming-269094","象牙编织嵌象牙染雕柳燕图团扇","此件以牙丝织就扇面，细如秋毫，通透似纱，将象牙的温润质感晕开成朦胧底色。染雕嵌饰的柳芽鲜翠柔婉，粉花轻吐芳蕊，双燕振翅掠柳，羽色晕染自然灵动，把暮春烟柳飞燕的闲趣景致凝于盈尺之间。\n\n柄身瓷绘雅致，翠饰与鎏金构件点缀其间，明黄流苏垂坠生姿，把雅致工巧融于一处。它集编织、雕染、镶嵌数艺于一体，疏密布局恰到好处，既有文人意趣的清雅，又尽显制器的华贵考究，将春日生机藏于盈握间，是传统工艺美学的精巧缩影。",[119,959,960,29,7,31,30,28,27],"象牙","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F283fa7df91235b173c48fc89c1f5c075.jpg",[],10,{"id":965,"slug":966,"title":967,"dynasty":237,"author":132,"museum":968,"description":969,"tags":970,"thumbUrl":971,"material":79,"size":972,"collection":56,"collections":973,"showCount":963,"zanCount":11,"manualWeight":11,"mainColor":42},223511,"liu-yin-gui-mu-tu-yi-ming-223511","柳荫归牧图","波士顿美术馆","绘牧童放牛晚归的情景。临溪草坡上，一牧童牵牛前行，一牧童伏于牛背上小憩，天真自在，一小牛紧跟中间牛一侧。四周杨柳依依，境界静谧雅逸。此画旧传为南宋张符所绘。",[23,24,25,89,28,74,574,7,189,267,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1db759fec0e5d7199a96bca38222f29.jpg","42.5x37.3cm",[],{"id":975,"slug":976,"title":977,"dynasty":64,"author":978,"museum":116,"description":979,"tags":980,"thumbUrl":982,"material":216,"size":217,"collection":56,"collections":983,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":42},237966,"he-tang-fan-zhou-tu-shan-liu-yuan-qi-237966","荷塘泛舟图扇","刘原起","初名祚，以字行，更字子正。工诗，画山水，师钱谷，颇肖其神",[24,25,119,89,28,70,72,414,337,73,313,77,75,7,137,981],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ea0ffcf3763bc718d1234df8dbfb2e.jpg",[],9,{"id":986,"slug":987,"title":988,"dynasty":18,"author":443,"museum":116,"description":989,"tags":990,"thumbUrl":991,"material":216,"size":217,"collection":56,"collections":992,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":42},235382,"hua-niao-tu-ce-hua-yan-235382","花鸟图册","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[24,51,28,89,241,29,33,168,91,7,30,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138386aec3ffab6af465b55635726762.jpg",[],{"id":994,"slug":995,"title":996,"dynasty":18,"author":101,"museum":116,"description":997,"tags":998,"thumbUrl":999,"material":56,"size":56,"collection":56,"collections":1000,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":42},230244,"ba-kai-jin-nong-230244","八开","《兰石八开（之一）》是罗聘创作的一幅纸本水墨设色画。\n兰石八开，构思布局、笔墨意趣各有特色。\n一幅“春兰如美人，不采羞自献”，画根植于崖壁上三丛兰花，用墨浓淡相宜，长叶以撇法出之，轻盈摇曳，偃仰有姿。\n一幅“寄君青兰花，惠好庶不绝”，画带根兰花两枝，淡墨点花，薄而润，所谓授人兰花，手有余香。\n一幅“山无一春草，谷有千年兰”，画幽谷兰花，长叶循势纷披，格调清雅秀逸。\n另一幅白描兰花与墨石，“用瞿睿夫勾勒法”所画，别有韵味。\n本册为邓拓捐赠给中国美术馆作品，各图均钤有邓拓收藏印。\n罗聘（17—1799），字遯夫，号两峰，又号花之寺僧、衣云道人等，祖籍安徽歙县，寓居扬州，为金农入室弟子，曾游历越、楚、齐、豫、燕、赵，并三次到北京。\n受金农赞赏，多为其代笔。\n好学无倦，才艺出众，所画题材广泛，兼擅人物、鬼神、佛像、山水、花叶、梅竹，既继承师法，又不拘泥师法，笔调奇特，构思新颖。\n曾因能画鬼而轰动当时，吸引了袁枚、姚鼐、钱大昕、翁方纲等人为之题咏。\n秦祖永推崇其作品为“神品”，评价说：“笔情古逸，思致渊雅，深得冬心神髓。\n墨梅兰竹，均极高妙，古趣盎然；人物佛像，尤奇而不诡于正，真高流逸墨，非寻常画史所能窥其涯者也。\n”他和妻子方婉贞、儿子允绍、允瓒都善画梅，时人称为“罗家梅派”，画法影响了近代的吴昌硕、齐白石。\n著有《香叶草堂集》。",[24,25,51,89,7,105,891,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F636c7e7ebbabcadea44ca8496db485fe.jpg",[],{"id":1002,"slug":1003,"title":1004,"dynasty":114,"author":132,"museum":116,"description":1005,"tags":1006,"thumbUrl":1008,"material":56,"size":56,"collection":56,"collections":1009,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":127},227877,"liu-yin-zui-gui-tu-ye-yi-ming-227877","柳荫醉归图页","淡墨晕染出朦胧暮色，岸旁垂柳虬曲柔条拂垂，晕染出郊野空寂慵懒的氛围。画面里二人踉跄前行，袒胸老者脚步虚浮、眉眼惺忪，同伴侧身相挽，将酒后酣醉的神态描摹得鲜活传神。衣纹以简练折线勾勒，灵动写意，袒露的胸腹更添随性不羁之感。细笔点染的苔石杂草，衬出初夏郊野的闲散意趣。\n\n整幅小品以小见大，将市井酒徒的闲散意趣刻画入微，于淡墨轻岚间尽显宋人雅致的日常烟火，把酒后踉跄相依的鲜活模样定格，是极具生活意趣的风俗佳作。",[23,50,24,25,119,89,28,120,74,7,189,77,1007],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07731deb8fe6e8511dbfea680bcab0c.jpg",[],{"id":1011,"slug":1012,"title":1013,"dynasty":18,"author":1014,"museum":116,"description":1015,"tags":1016,"thumbUrl":1017,"material":216,"size":217,"collection":56,"collections":1018,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":42},224346,"yan-liu-fu-qing-yun-xi-224346","烟柳浮青","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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明末大臣。字允修。今东昌府区人。万历二十三年（1595）进士，即授为翰林院检讨，后升任礼部右侍郎。",[348,227,26,267,1383,837,1384,414,1385,7,1386,1086,418,202,1387,836,1388],"紫阁","日华","汀","落日","泉","秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17dd10a0b07fa576f6dfa81dd6656fb.jpg",[],{"id":1392,"slug":1393,"title":1394,"dynasty":64,"author":1395,"museum":116,"description":1396,"tags":1397,"thumbUrl":1399,"material":216,"size":217,"collection":56,"collections":1400,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":42},240123,"shi-ye-liu-su-240123","诗页","刘塐","此幅行书诗页笔意取法晋唐，萧散简远，尽显文人随性之姿。字形欹正相生，牵丝映带间流转自如，笔墨枯湿浓淡错落，隽秀清雅。\n诗书合璧，以自作春日寄怀之诗入书，将探春闲情融于笔墨寸尺间，下笔松灵圆活，不见刻意雕琢。通篇气息淡远疏朗，尽显尚韵尚意的书法特质，寥寥数行便将文人春日感怀的逸趣尽数铺陈，是小品书法里诗书相融的佳制。",[25,348,227,267,30,7,835,837,891,836,33,1398,186,202],"孤灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29a8f44ea41c0aa32ae63c9c10aad4c.jpg",[],{"id":1402,"slug":1403,"title":1404,"dynasty":18,"author":1405,"museum":102,"description":1406,"tags":1407,"thumbUrl":1409,"material":55,"size":1410,"collection":56,"collections":1411,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":42},217006,"ruan-yuan-yi-shi-shi-jing-tu-ce-8-wang-yun-217006","阮元遗事十景图册-8","汪鋆","阮元遗事十景图册是清朝时期汪鋆的一部作品。汪鋆（1735-1815年）是一位著名的清代画家，他的作品主要描绘人物、山水、花鸟等题材。阮元遗事十景图册是一部十幅图册，每幅图画都是汪鋆根据阮元的遗事描绘的人物和景象。阮元是一位著名的文学家，他的作品富有感染力，深受读者喜爱。汪鋆的这部作品通过艺术手法，将阮元的遗事生动地呈现在读者面前。",[24,25,51,28,27,72,73,77,7,1408],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275027168197b5de88c0a6a1697b5884.jpg","27.9x33cm",[],{"id":1413,"slug":1414,"title":1415,"dynasty":64,"author":332,"museum":455,"description":1416,"tags":1417,"thumbUrl":1419,"material":56,"size":56,"collection":37,"collections":1420,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":1421},201275,"xue-liu-shuang-fu-tu-zhou-lv-ji-201275","雪柳双凫图轴","画面中苍柳虬枝如铁，柳条披垂似缕，薄雪覆梢间，几点白梅悄然绽放，清寒里漾着浅浅生机。树下双凫相偎，羽色淡雅温润，纹理细勾慢染，姿态亲昵传神；枝头三禽或栖或顾，与地面水鸟遥相呼应，构图虚实相生，动静相宜。笔墨兼工带写，柳干以写意出苍劲，花鸟用工笔显精致，设色雅致层次分明，尽显明代花鸟的工致与意趣，静谧雪景中藏着生命的温软，引人沉醉。",[27,28,29,395,7,1418,23],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27d86cb3523885af64209697fb781264.jpg",[37],"827359",{"id":1423,"slug":1424,"title":1425,"dynasty":64,"author":1426,"museum":116,"description":1427,"tags":1428,"thumbUrl":1432,"material":216,"size":217,"collection":56,"collections":1433,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},241104,"shi-gao-zha-ye-shi-jian-241104","诗稿札页","史鉴","史鉴（1434—1496），字明古，号西村，别署西村逸史。南直隶苏州府吴县（今属江苏）人。生于明宣宗宣德九年，卒于明孝宗弘治九年，年六十三岁。书无不读，尤熟于史。",[348,227,89,267,51,1429,7,1430,1431],"孤城","江干","晓色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165def873074c5764578be1b0a6ae71e.jpg",[],{"id":1435,"slug":1436,"title":1437,"dynasty":18,"author":1438,"museum":116,"description":1439,"tags":1440,"thumbUrl":1441,"material":216,"size":217,"collection":56,"collections":1442,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},240318,"xu-guan-guang-shi-zhou-xu-guan-guang-240318","徐观光诗轴","徐观光","此作用笔灵动潇洒，以行书书就诗句。字形大小错落、欹正相生，行笔间牵丝映带，尽显流转韵律。墨色枯湿浓淡富于变化，章法疏朗透气，将寻访桃源的悠然意趣融于笔墨之中。\n\n笔势带着闲适萧散的意境，既有帖学的灵动秀雅，又暗含随性自在的文人风骨，整体书卷气盎然，诗意与书法韵味浑然相合，尽显雅致萧散的文人笔墨意趣。",[348,227,26,267,30,7,833],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df7f84aa8541278525b72a6b8ea6ac1.jpg",[],{"id":1444,"slug":1445,"title":1446,"dynasty":18,"author":1074,"museum":455,"description":1447,"tags":1448,"thumbUrl":1450,"material":56,"size":56,"collection":81,"collections":1451,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1452},201344,"fang-hui-chong-shui-cun-tu-deng-shan-ye-wang-hui-201344","仿惠崇水村图等扇页","扇面之上，柳丝依依垂岸，小桥横卧溪间，水村景致隐现于淡墨轻烟中。笔墨细腻雅致，柳枝以流畅线条写就，间杂淡绿晕染，柔婉动人；山石用皴法表现肌理，层次丰富；水面留白与淡墨勾勒相映，尽显水乡清寂之韵。构图疏密得当，近景柳岸错落，远景水天相连，一派江南悠然之态。仿惠崇笔意却自出机杼，融古雅与生机于一体，尽显对自然的入微体察与深厚笔墨功底，传递出恬淡闲适的文人意趣。",[119,89,28,72,76,77,70,7,1153,1449,23],"水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ec55c917c55a5d96f6fb7429a8b4b1b.jpg",[81],"cdc4b3",{"id":1454,"slug":1455,"title":1456,"dynasty":18,"author":1074,"museum":455,"description":1457,"tags":1458,"thumbUrl":1460,"material":56,"size":56,"collection":56,"collections":1461,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1462},201254,"chun-jiang-bu-yu-tu-zhou-wang-hui-201254","春江捕鱼图轴","画面以淡墨铺陈春江景致，柳丝垂曳如缕，枝条用细劲线条勾勒，尽显柔姿；近岸水波轻泛，碎石错落，墨色干湿相间。中景江面开阔，远山以浅绛皴染，轮廓朦胧，与天际相融。几只飞鸟斜掠而过，为静谧春景添灵动生机。整体笔墨清润雅致，构图层次分明，近、中、远景过渡自然，于恬淡中隐现渔乐之趣，尽显传统山水的诗意韵致。",[89,70,72,7,77,33,137,1459],"立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e0e0a017d00e6ad2646529dbf7ba5b.jpg",[],"bbb5a1",{"id":1464,"slug":1465,"title":1466,"dynasty":18,"author":443,"museum":455,"description":1467,"tags":1468,"thumbUrl":1469,"material":56,"size":56,"collection":270,"collections":1470,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1471},201220,"gu-ren-shuo-shu-tu-zhou-hua-yan-201220","瞽人说书图轴","画面于苍松垂柳间铺展，白棚搭在浓荫下，瞽者持弦坐案后，正倾情说书；听众围坐桌旁，或凝神静听，或侧首思索，孩童嬉戏于侧，满溢生活鲜活。笔触兼工带写，人物衣纹简练传神，树木山石以水墨皴染，设色淡雅清逸。雅俗相融，笔墨间见文人意趣，场景里显市井烟火，是清代人物画中兼具生动性与艺术性的精品。",[24,50,26,74,89,28,27,70,229,7,23],"https:\u002F\u002Foss.c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