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车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,63,25,28,26,27,30,7,31,32,64,65,66,33,36,67,68,69,70,71,72,73,40,74,75,43,76],"书画","船","马","牛","店铺","桥梁","城墙","车","河流","码头","货船","商贩","房屋","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米","宋画精选",[80,82],"水墨画精选",8462,106,{"id":86,"slug":87,"title":88,"dynasty":89,"author":90,"museum":91,"description":92,"tags":93,"thumbUrl":100,"material":101,"size":102,"collection":49,"collections":103,"showCount":104,"zanCount":105,"manualWeight":11,"mainColor":106},223367,"ba-shi-qi-shen-xian-juan-wu-dao-zi-223367","八十七神仙卷","唐","吴道子","徐悲鸿纪念馆","古时以农业为主，稻生双穗，或稻产丰收，是一种祥瑞，也称之为嘉禾。 画中这一丛稻长得比一般的稻子高大，茎叶茂盛，稻穗饱满沉重，显现出丰收的预兆。在用笔上，除稻穗外，都用花青和赭石以没骨法染画而成。嘉禾顶立在画幅中央，构图非常单纯，主题强烈，有著简朴而新顷之感。 《八十七神仙卷》是我国美术史上极其罕见的经典传世之作，代表了中国古代白描绘画的最高水平，其艺术魅力堪与宋代张择端的《清明上河图》比肩，我国著名画家徐悲鸿认为此卷 “足可颉颃欧洲最高贵名作” 。它栉千年之风，沐五朝之雨，送给今人一份厚重的文化遗产，实在是艺术史上的一个伟大奇迹!\n该卷属于绢本白描人物画卷，长292厘米，画面主体有87位道教人物白描画像，其中有3位带有头光的主神、10名武将、7位男仙、67名金童玉女由画面右端向左端行进。画面没有任何文字。卷尾附有1948年重新装裱时的七段题跋，由前至后为：徐悲鸿跋之一、徐悲鸿跋之二、张大千跋、徐悲鸿跋之三、谢稚柳跋、朱光潜跋、艾克跋及冯至译义、徐悲鸿跋之四，加上题跋装裱全画总长超过10米。年湮世远的绢画，其绢丝已朽败至毫无韧性和筋骨了，往往一个轻巧的动作，甚至是众人的呼吸都有可能对它造成无法挽回的伤害。\n《八十七神仙卷》为一代画圣吴道子的冠世巨作，也是吴道子现世仅存的一部白描绢本。是至今存世屈指可数的中国古代重要艺术瑰宝，代表了中国唐代白描绘画的最高水平。\n因场面之宏大，人物比例结构之精确，神情之华妙，构图之宏伟壮丽，线条之圆润劲健，而被历代画家艺术家奉为圭臬。现保存在徐悲鸿纪念馆，并为镇馆之宝。",[23,24,63,25,94,95,30,7,96,97,98,99],"宗教","白描","祥云","飘带","仪仗","队列","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de302348f3ee25a5f65f77fe3cfccd0.jpg","绢本白描","30x290cm",[49],5500,51,"F48FB1",{"id":108,"slug":109,"title":110,"dynasty":18,"author":19,"museum":111,"description":112,"tags":113,"thumbUrl":124,"material":125,"size":126,"collection":127,"collections":128,"showCount":129,"zanCount":130,"manualWeight":11,"mainColor":54},222209,"tao-hua-yuan-tu-quan-juan-chou-ying-222209","桃花源图全卷","美国波士顿博物馆","此大青绿山水《桃花源图》卷是明代画家仇英的作品。画作题材取自东晋诗人陶渊明所作《桃花源记》，描绘了文人理想中的隐居之乐，画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。此卷现藏于美国波士顿美术馆。\n桃源文化悠久绵长，不仅唐宋元时期都有相关诗文创作，而且李昭道、荆浩、关仝、郭熙、李唐、马和之、赵伯驹、伯骕、刘松年、赵孟頫、钱选、王蒙等人也都有桃源图流传，内容形式不尽相同，而且大部分已经遗失。至明代，桃源图再次流行兴盛，究其原因除了政治动荡引起的避世心理，主要是源于明人对自我觉醒和精神超越的思考与追问。\n存世的约三十六幅桃源图中有十余幅出自仇英之手，文征明之子文嘉的《钤山堂书画记》也证实了明代桃源题材绘画风潮确实肇始于仇英。这幅画卷以武陵渔夫的行踪为主线，贯穿全篇，画中绘有四十多个人物，他们形态各异、表情丰富，惟妙惟肖。其中有划船的渔夫、打柴的樵夫、扛锄的农夫、聊天的村民，每个人都快乐地做着自己的事情，怡然自得，展现出田园生活的无限乐趣。画中山水和人物完美结合，浑然一体，营造出景致优美、悠闲自得的人间仙境。\n第一段：由卷首至山洞口。起首处双松乔立，河流两岸，桃花落英缤纷，崇山连绵起伏，白云冉冉升起，河流尽头处，为岸边的一处洞穴，洞前停一舟，洞中见一人，即为武陵渔夫。\n第二段：山洞口之后到山顶凉亭。过此洞仍见一水流，水上有一艘捕鱼的小舟，画面到这里突然变得开阔敞亮了，这里土地平坦开阔，河岸上，稻田、人物往来其间，远山白云横锁缭绕。\n第三段：山顶凉亭之后到双层大宅院之前。在山林密荫处，可以看到这位外来的武陵渔夫与村中人会面、村人闻讯前来的情景。\n第四段：一双层大宅院到宴客所。其间可见乡人愉悦地往来于路途，男女的穿戴完全像桃花源以外的世人。老人和小孩都悠闲愉快，自得其乐的样子。\n第五段：宴客所之后到卷尾。画山石密林，崇山溪涧，武陵渔夫独自眺望。\n己未岁题赵伯驹桃源图，有云山春霭钞锣溪之句。越四十年，己亥题仇英桃源图，复用钞锣溪字，因失记数典以询内廷翰臣，自于敏中以下竟无知此事者。检之十余年，迄莫能得。每往来胸次，顷几暇偶阅旧刻元人所编陶靖节集《桃花源记》汤汉注中，始知本于桃源经，恍如重入仙源，顿逢旧迹，亦一快事。且知学问之道无穷尽也。仇英此卷即蓝本伯驹，笔意超秀，颇能神似，洵为合作，即书卷短，以识赏遇。（戊申小春御笔）\n锣溪接武陵源，峡口通人宛见村。望去陌阡鸡犬富，迎来老幼笑言温，传神别致超凡品。避世高情足静论，粉本问从谁所得，伯驹真迹石渠存。（已亥暮春御題）",[23,114,24,63,25,115,27,26,116,117,118,119,30,7,31,32,120,121,33,122,123],"名画","青绿","皴法","印章","山水","桃花","孤舟","亭","田园","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda1313fc94acb487839607902fcd9974.jpg","纸本重彩","33.0cm 472cm","山水画精选",[127,51],5479,37,{"id":132,"slug":133,"title":134,"dynasty":18,"author":19,"museum":135,"description":136,"tags":137,"thumbUrl":145,"material":146,"size":147,"collection":148,"collections":149,"showCount":150,"zanCount":151,"manualWeight":11,"mainColor":152},228451,"han-gong-chun-xiao-tu-quan-juan-chou-ying-228451","汉宫春晓图全卷","台北故宫博物院","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,24,63,25,26,27,28,30,138,7,39,33,139,140,141,142,143,144],"美人","山石","花鸟","孔雀","栏杆","屏风","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd722d077e75673c4e2d4185ed0fe78d.jpg","绢","纵30.6cm，横574.1cm","",[],4769,63,"BDBDBD",{"id":154,"slug":155,"title":156,"dynasty":157,"author":158,"museum":159,"description":160,"tags":161,"thumbUrl":165,"material":166,"size":167,"collection":127,"collections":168,"showCount":169,"zanCount":170,"manualWeight":11,"mainColor":152},222671,"tao-hua-yuan-tu-huang-shen-222671","桃花源图","清","黄慎","安徽省博物馆","内容乃据晋代陶渊明（365年～427年）文记《桃花源》之意绘制：开卷水天浩渺，烟笼沙洲。空中云积层岩，绝壁苍藤盘结。山麓碎石堆积成岗，延至奔溪冲折的山坳。洞口篷船空陈，艄公弃舟入洞。继而豁然开朗，进入桃花仙界：只见断岩亘空，桃林夹立。山谷幽深，水帘披挂。越过绵延起伏的山峦，于山角屏壁之后隐现桃源村落。村口札栅栏木门，有黄狗护院看守。村内环境幽雅，屋宇整洁，亭阁耸立，大道平坦。鸡犬呜跳嬉戏，幼童倚门张望。行人驻足寒暄，村民各司其事。妇女洒扫庭厨，牧童村外放牛。林后村舍相属，村外阡陌纵横。远处石桥如虹，通向无垠野地。村口场基之上，部分村民纷涌而至，前来迎接不速之客～捕渔翁。作者通过赞颂的笔调对传说中世外桃源美景进行理想化的描绘，从而寄托了自己不耐人间烟火、向往逃俗离垢的厌世情结。\n图后另纸附作者草书节录《桃花源记》及作者自撰五言诗一段：“……赢氏乱天纪，贤者避其世。黄绮之南山，伊人亦云逝。往迹浸复湮，来径遂芜废。相命肆农耕，日人从所憩，桑竹垂余阴，菽稷随时艺春蚕取长丝，秩熟靡王税，荒路暖交通，鸡犬亘鸣犬。俎豆犹古法，衣裳无以制，音孺纵行歌，班白观游诣，草荣识节和，木衰知风励。虽无纪历志，四时自成岁。怡然有馀乐，于何劳智慧，奇踪隐五百，一朝敝神界，凉薄既异源，旋复还幽蔽。借问游方士，焉测尘嚣外。愿言蹑轻风，高举寻吾契。乾隆甲申冬月镓，黄慎。”\n此图打破了传统人物画代代相承的铁线、兰叶、行云流水等“十人描法”限制而汲取南宁梁楷阔笔写意和明初渐派水墨人物草廊疾写的技法，结合坚实的运笔根度和写真基础，完全从塑造客观对象、具体特征的需要上出发，灵活地运用各种描法及草书的笔意趣味，下笔或渺如鸿毛飘落，或重似泰山坠石，时而中锋勾写、精刻细划，时而侧笔拖扫、意到笔略。描绘人物则造型轩昂，体态准确详写神略写貌、垂与意略写形，达到神情兼备、谈谐含蓄的境界。如此在技法上既超越了前辈梁楷过于简逸的现实之感，也克服了浙派人物空疏草率的缺点，在气音上则避免了“有其形音不生，得其气位不稳”的画工之弊；一扫文人雅士冲和溱远、颓唐纤比的陋习，使中国人物画的现实主义传统得到了很好的发展。图中岩石的画法则有元代倪瓒横折带皴法而层次更显丰富豪迈。寓清代袁江之骷髅皱而愈加凝炼劲爽。树法四面有枝，出于李成而极尽变化展姿，造型奇崛郁勃，精神发越外拓。作为衬景的山水，虚实远近安排有序、屋舍舟桥精工细写，比例视赏合理，令观者有身临其境之感。全图气息纯朴鲜活，风格洒俊逸，线条粗简活脱，时现枯笔飞白。色彩明丽润泽，气息纯朴鲜活。仿佛一帖墨酣笔畅的抒情草书。体现了黄慎作为职业画家，在造型的真实感上所具有超越其他同代画家的成就，具有士气而兼作家之气。",[23,24,25,162,27,163,164,118,119,30,7,120,33],"水墨","写意","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6764b259026e1ccc2432d776735ad2.jpg","纸本设色","纵38厘米，横349厘米",[127,51],2497,26,{"id":172,"slug":173,"title":174,"dynasty":157,"author":175,"museum":60,"description":176,"tags":177,"thumbUrl":179,"material":180,"size":181,"collection":182,"collections":183,"showCount":184,"zanCount":185,"manualWeight":11,"mainColor":54},222795,"yong-zheng-shi-er-yue-ling-yuan-ming-yuan-xing-le-tu-zhi-san-yue-shang-tao-lang-shi-ning-222795","雍正十二月令圆明园行乐图之三月赏桃","郎世宁","雍正十二月行乐图轴是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季12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”。从描绘的景物判断，表现的对象应为圆明园。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12幅行乐图展现了其在圆明园生活的各个场景，也表现了12个月的不同节令风俗。\n该幅为其中的三月赏桃",[23,24,27,26,28,30,7,118,119,33,178],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feca8fa167788554a7fc5800090ce37.jpg","绢本，设色","纵188.2厘米，横102.2厘米","花鸟画精选",[182,51],1764,14,{"id":187,"slug":188,"title":189,"dynasty":18,"author":19,"museum":190,"description":191,"tags":192,"thumbUrl":199,"material":200,"size":201,"collection":127,"collections":202,"showCount":203,"zanCount":204,"manualWeight":11,"mainColor":54},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","天津博物馆","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[23,24,63,193,115,27,26,118,30,7,31,33,139,194,38,195,196,197,198],"立轴","云雾","植被","山峦","溪流","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","绢本 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期的杰作，其作品在当时也受到了广泛的赏识。如今，《仙山楼阁图》也是收藏家们青睐的经典之作。\n\n王时敏的《仙山楼阁图》是一幅描绘仙山楼阁的画作，它体现了中国传统文化中“仙山”的理念。在中国传统文化中，仙山象征着仙人悠闲的生活方式和高尚的品德，楼阁则是仙人的居所。王时敏的《仙山楼阁图》不仅是一幅精美的画作，更是一首关于仙人悠闲生活的诗篇。",[23,114,24,162,308,193,309,7,310,33,197,163],"山水画","仙山","山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c70b5945091899c430b0a87afa1fa91.jpg","纸本",[127],1186,{"id":316,"slug":317,"title":318,"dynasty":18,"author":319,"museum":210,"description":320,"tags":321,"thumbUrl":324,"material":47,"size":148,"collection":127,"collections":325,"showCount":326,"zanCount":327,"manualWeight":11,"mainColor":54},219733,"qing-jiang-you-ju-tu-shen-zhou-219733","清江幽居图","沈周","此作用笔苍润秀雅，取景疏密得宜。近岸老松盘曲，浓荫覆着茅堂，幽人居于其中，静听山籁。江岸迂回，板桥跨溪，远山以淡墨晕染，烟岚轻笼，殿宇藏于翠微间。\n\n通幅干湿笔墨相生，墨色层次分明，将夜雨初歇的空濛山色晕染得淋漓尽致，江天寥廓间尽见清寂雅致的山居意趣，尽显寄情林泉、幽栖忘俗的隐逸情怀。",[23,24,162,27,116,193,118,31,32,121,230,139,7,322,323],"幽居","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbf8df9dd29c2dd40331e20cfa7ac27.jpg",[127],1176,12,{"id":329,"slug":330,"title":331,"dynasty":18,"author":319,"museum":332,"description":333,"tags":334,"thumbUrl":336,"material":312,"size":337,"collection":127,"collections":338,"showCount":339,"zanCount":300,"manualWeight":11,"mainColor":152},220067,"hu-qiu-shi-er-jing-tu-ce-shen-zhou-220067","虎丘十二景图册","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,24,162,27,28,213,118,7,335,31,32,120,30,33,121],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c6ccf4bdda3ae45520cc37a3415a38.jpg","31.1×40.2cmx12",[127],1160,{"id":341,"slug":342,"title":343,"dynasty":157,"author":344,"museum":345,"description":346,"tags":347,"thumbUrl":348,"material":47,"size":349,"collection":127,"collections":350,"showCount":351,"zanCount":221,"manualWeight":11,"mainColor":54},214434,"xiu-yuan-tu-wang-yun-214434","休园图","王云","旅顺博物馆","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,24,63,25,27,26,28,118,30,7,31,33,139,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c816996f71e8cca2630cc96ce0c65.jpg","纵54厘米，横129.5厘米",[127],1111,{"id":353,"slug":354,"title":355,"dynasty":58,"author":356,"museum":357,"description":358,"tags":359,"thumbUrl":360,"material":361,"size":362,"collection":49,"collections":363,"showCount":364,"zanCount":300,"manualWeight":11,"mainColor":54},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","李唐","美国克利夫兰艺术博物馆","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[23,114,24,63,25,162,27,116,118,30,7,31,32,33,121,122,75,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","绢本,水墨","34.6x566.4",[49],1013,{"id":366,"slug":367,"title":368,"dynasty":58,"author":369,"museum":60,"description":370,"tags":371,"thumbUrl":374,"material":180,"size":375,"collection":80,"collections":376,"showCount":377,"zanCount":378,"manualWeight":11,"mainColor":54},221538,"ta-ge-tu-zhou-ma-yuan-221538","踏歌图轴","马远","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[23,24,193,162,27,116,118,30,7,139,272,121,197,372,373,33],"枯藤","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","纵192.5厘米，横111厘米",[80,127,82],995,8,{"id":380,"slug":381,"title":382,"dynasty":18,"author":19,"museum":135,"description":383,"tags":384,"thumbUrl":388,"material":47,"size":147,"collection":49,"collections":389,"showCount":390,"zanCount":391,"manualWeight":11,"mainColor":152},219968,"han-gong-chun-xiao-tu-chou-ying-219968","汉宫春晓图","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。\n《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,24,63,25,26,27,28,30,138,7,385,123,33,386,142,387,143],"孤石","花卉","台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ef02bc84e372303950e1dc284071d3.jpg",[49],977,17,{"id":393,"slug":394,"title":17,"dynasty":58,"author":59,"museum":60,"description":61,"tags":395,"thumbUrl":397,"material":247,"size":398,"collection":80,"collections":399,"showCount":400,"zanCount":221,"manualWeight":11,"mainColor":54},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[23,24,25,28,27,396,26,30,7,31,32,35,36,34,33,37,66,65,38,44,43,39,74,40],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","宽24.8厘米、长528.7厘米",[80,49,51],858,{"id":402,"slug":403,"title":404,"dynasty":18,"author":19,"museum":60,"description":405,"tags":406,"thumbUrl":409,"material":180,"size":410,"collection":49,"collections":411,"showCount":412,"zanCount":221,"manualWeight":11,"mainColor":152},222194,"ren-wu-gu-shi-tu-gui-fei-xiao-zhuang-chou-ying-222194","人物故事图-贵妃晓妆","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,114,63,26,27,30,138,7,33,142,387,123,386,407,408],"器具","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6305566e747339ff404852138f61f051.jpg","每开纵41.4厘米，横33.8厘米",[49,51],808,{"id":414,"slug":415,"title":416,"dynasty":58,"author":417,"museum":418,"description":419,"tags":420,"thumbUrl":423,"material":424,"size":425,"collection":80,"collections":426,"showCount":427,"zanCount":300,"manualWeight":11,"mainColor":54},221412,"qing-luan-xiao-si-tu-li-cheng-221412","晴峦萧寺图","李成","美国纳尔逊阿特金斯艺术博物馆","《晴峦萧寺图》是北宋画家 创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。\n画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[23,24,114,118,162,116,193,7,31,32,421,422,139],"瀑布","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","绢本","纵111.4厘米，横56厘米",[80,127,82],792,{"id":429,"slug":430,"title":431,"dynasty":18,"author":432,"museum":433,"description":434,"tags":435,"thumbUrl":440,"material":47,"size":441,"collection":49,"collections":442,"showCount":443,"zanCount":444,"manualWeight":11,"mainColor":54},216367,"ri-ben-chang-hen-ge-tu-juan-xia-juan-shou-ye-shan-xue-216367","日本· 长恨歌图卷(下卷)","狩野山雪","藏地不详","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,63,25,27,26,28,30,7,118,33,31,32,436,437,139,258,39,438,230,439,71,196,38],"舟船","亭台","人群","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070",[49,51],775,13,{"id":446,"slug":447,"title":448,"dynasty":18,"author":226,"museum":135,"description":449,"tags":450,"thumbUrl":453,"material":424,"size":454,"collection":127,"collections":455,"showCount":456,"zanCount":221,"manualWeight":11,"mainColor":54},222031,"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","这幅画的笔墨多取法自南宋时代的马远、夏圭一派，构图上虽然仍然旧沿袭著南宋院画体系风格，保留了大部分空虚的地方，但是画面比较平板，近景和远山几乎是在同一平面上，比较缺乏景致空间的深度。这也是浙派绘画的共同特色之一。画上并没有作者的落款和印章，但是从画风，再比照其它画作来看，似可推断是戴进在北京时期的作品。\n综合其它传世作品来看，戴进除了兼法宋、元诸家以外，受到南宋马远、夏珪「院体」一派画风的影响比较深。但是他继承古人传统，而不为成法所拘，能够发展变化，自出新意。这件作品为戴进基於马远、夏圭风格，而更近一步，大胆强调丰富笔墨效果的杰作。绘画技法功力深厚，笔墨灵活而变化多端，奔放中不失法度，严谨中又富有潇洒俊逸的格调，是代表戴进风格的典型作品之一。",[23,24,63,193,27,118,30,7,31,32,230,139,451,452,121],"树","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","167.9x83.1公分",[127,82],752,{"id":458,"slug":459,"title":460,"dynasty":18,"author":19,"museum":135,"description":461,"tags":462,"thumbUrl":464,"material":47,"size":465,"collection":127,"collections":466,"showCount":467,"zanCount":327,"manualWeight":11,"mainColor":54},218389,"chun-shan-yin-shang-zhou-chou-ying-218389","春山吟赏轴","此图绘溪山胜景，高士游春。虽是青绿之作，不见富贵，唯有逸气绕耳目，学赵伯驹，仇英得其韵矣。",[24,193,27,26,116,118,30,121,451,421,197,139,7,463],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7562c788ce2b4470b544a9e0121bd8b5.jpg","157.5x63.2公分",[127],732,{"id":469,"slug":470,"title":471,"dynasty":157,"author":472,"museum":242,"description":473,"tags":474,"thumbUrl":480,"material":481,"size":482,"collection":49,"collections":483,"showCount":484,"zanCount":236,"manualWeight":11,"mainColor":54},222820,"gu-su-fan-hua-tu-xu-yang-222820","姑苏繁华图","徐扬","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[23,114,24,63,25,27,26,28,30,7,31,32,35,36,34,475,33,44,38,72,40,73,476,477,478,479],"河道","民居","车船","茶馆","酒肆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61ae38c127eaa89b842ad3f8d842d7a.jpg","设色 纸本","全长1225厘米，宽35.8厘米",[49,51],696,{"id":486,"slug":487,"title":488,"dynasty":489,"author":490,"museum":433,"description":491,"tags":492,"thumbUrl":494,"material":495,"size":496,"collection":148,"collections":497,"showCount":498,"zanCount":221,"manualWeight":11,"mainColor":499},287715,"guan-shan-xing-lv-tu-guan-tong-287715","关山行旅图","五代十国","关仝","《关山行旅图》是一幅描绘北方深秋景色的山水画，不仅绘制了人物的行旅活动，又带有了一定的叙事性。既表现出了山川的雄奇，又反映了人们生活的艰辛",[114,24,63,193,162,116,118,139,31,32,7,422,272,493],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32d97bddf63ebed468f0b1cdb92e70b.jpg","未知","Xcm*Xcm",[],641,"37474F",{"id":501,"slug":502,"title":503,"dynasty":157,"author":504,"museum":345,"description":505,"tags":506,"thumbUrl":515,"material":424,"size":516,"collection":49,"collections":517,"showCount":518,"zanCount":221,"manualWeight":11,"mainColor":152},222876,"hong-lou-meng-tu-ce-sun-wen-222876","红楼梦图册","孙温","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",[23,26,27,30,7,39,142,507,138,385,33,508,38,509,510,511,512,513,514],"廊庑","古典园林","仕女","庭院景观","传统服饰","园林建筑","彩色绘制","精细勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f1fb4911504a20d8c776ac2c7c4877.jpg","纵43.3厘米、横76.5厘米",[49],620,{"id":520,"slug":521,"title":522,"dynasty":58,"author":523,"museum":135,"description":524,"tags":525,"thumbUrl":526,"material":232,"size":527,"collection":49,"collections":528,"showCount":529,"zanCount":530,"manualWeight":11,"mainColor":152},214644,"long-mian-shan-zhuang-tu-li-gong-lin-214644","龙眠山庄图","李公麟","这幅画作于1077年，描绘了作者和他的朋友在他的家乡舒州龙眠山庄欣赏风景和喝茶的情景。风景迷人，画中的方形茶壶、篮子、茶烛和茶盘都是宋代的，可以作为宋代茶器的参考。",[23,24,63,25,95,118,7,31,32,121,33,30,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc405cec5883bd1b1559990728979.jpg","28.9x364.6",[49],600,3,{"id":532,"slug":533,"title":534,"dynasty":157,"author":281,"museum":60,"description":535,"tags":536,"thumbUrl":541,"material":180,"size":181,"collection":49,"collections":542,"showCount":543,"zanCount":530,"manualWeight":11,"mainColor":54},236166,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236166","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。",[24,27,26,28,537,118,7,538,123,539,139,30,540],"行乐图","松树","池塘","中式园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa170ee7ea987eca05f818f0474a20d1.jpg",[49,51],568,{"id":545,"slug":546,"title":547,"dynasty":89,"author":548,"museum":549,"description":550,"tags":551,"thumbUrl":552,"material":495,"size":496,"collection":148,"collections":553,"showCount":554,"zanCount":221,"manualWeight":11,"mainColor":54},289801,"jiang-fan-lou-ge-tu-li-si-xun-289801","江帆楼阁图","李思训","台北故宫博物馆","该画描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。",[23,114,24,193,115,27,26,118,7,120,30,32,538,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7533e67426c0003e89910674d0b6ce8c.jpg",[],556,{"id":556,"slug":557,"title":558,"dynasty":58,"author":559,"museum":60,"description":560,"tags":561,"thumbUrl":562,"material":247,"size":563,"collection":80,"collections":564,"showCount":565,"zanCount":300,"manualWeight":11,"mainColor":54},221671,"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[23,24,63,25,115,27,118,139,33,71,7,437,26,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","纵55.6厘米，横323.2厘米",[80,182,51],551,{"id":567,"slug":568,"title":569,"dynasty":489,"author":570,"museum":433,"description":571,"tags":572,"thumbUrl":574,"material":495,"size":496,"collection":148,"collections":575,"showCount":576,"zanCount":221,"manualWeight":11,"mainColor":54},289890,"wan-he-song-feng-tu-ju-ran-289890","万壑松风图","巨然","图中烟岚松涛，山中层岩丛树，山顶矾头重叠，深谷里瀑泉奔涌，溪畔浓荫森森，并架一木桥。沿着曲折的山脊，是一片片浓密的松 林，“丰”字形的松树随风摇曳，百姿千态，栩栩如生。沟壑里聚起团团云雾，缓缓地向上升腾。山脚下的林木中坐落着数间茅屋，其中一榭依石临水，有白衣人坐其中。此乃世外桃源里之人间烟火。从白衣人的房后望去，蜿蜒山路沿谷涧上去。在两山之间、谷涧之上，有一巨大的楼阁，且又有山楼水榭、远寺长桥，掩映在万松山壑间。",[23,114,24,162,118,193,116,538,421,32,31,7,196,573],"溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab2e4354bdfebe101d6dc37437481b2.jpg",[],523,{"id":578,"slug":579,"title":580,"dynasty":58,"author":281,"museum":433,"description":581,"tags":582,"thumbUrl":583,"material":47,"size":584,"collection":80,"collections":585,"showCount":586,"zanCount":587,"manualWeight":11,"mainColor":54},214257,"yu-yuan-shi-chao-tu-yi-ming-214257","御苑市朝图","御苑市朝图是一幅作者不详的宋代画作。这幅画作描绘了宋朝的市场生活。\n\n在这幅画作中，画家巧妙地捕捉了宋朝的市场生活的繁华景象。他用浓墨重彩的画法，勾勒出了市场的熙熙攘攘的场面。他还用细腻的线条勾勒出了市场中出售各种商品的商贩，让人感受到了宋朝市场的繁荣景象。\n\n此外，画家在这幅画作中还描绘了市场周围的景色。他用色彩丰富的画法，描绘了市场周围的山川和河流。这些景色与市场的繁华场面形成了鲜明的对比，让人感受到了自然与人类活动的和谐\n共存。\n\n总之，御苑市朝图是一幅精美的画作，描绘了宋朝的市场生活。它让我们感受到了宋朝市场的繁荣景象，也让我们感受到了宋朝文化的魅力。",[23,114,24,63,193,28,27,118,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672f72d901c08686f814955355d9dcad.jpg","107x52",[80],518,1,{"id":589,"slug":590,"title":591,"dynasty":18,"author":19,"museum":135,"description":592,"tags":593,"thumbUrl":594,"material":217,"size":595,"collection":127,"collections":596,"showCount":597,"zanCount":598,"manualWeight":11,"mainColor":152},218534,"zhang-xin-gong-ci-tu-chou-ying-218534","长信宫词图","以著名的隋唐宫殿连昌宫为主题的诗画轴，诗塘上都附有所谓文征明书写的宫词二十五首。此幅与院藏《画长信宫词图》的书法与画风相当近似，当属同一组四幅对。当时的作坊，喜欢绘制以仇英画、文征明题诗的合璧之作来吸引买者。重青绿描金的山水，配上楼阁人物，四幅齐挂妆点厅堂时，肯定是相当富丽华贵。此幅诗画轴可能是以仇英绘图、陆师道题诗的〈仙山楼阁〉为模仿对象，连左前方松林与其间宫殿都有相似处，只是少了原作的典雅含蓄，更强调色彩缤纷与繁复细节。活动其间的宫人，或舞蹈，或凭栏，或抚琴，或对坐闲谈，观之令人兴味盎然。",[24,26,27,115,28,118,7,139,33,38,452,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018a7dba5ec368fecd8fd467a61193fc.jpg","纵 66.8 公分 横37.6 公分",[127],501,5,{"id":600,"slug":601,"title":602,"dynasty":18,"author":19,"museum":357,"description":603,"tags":604,"thumbUrl":606,"material":47,"size":607,"collection":49,"collections":608,"showCount":609,"zanCount":587,"manualWeight":11,"mainColor":152},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,24,25,63,26,27,28,118,30,7,121,31,32,605,33,139,39,140],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[49],497,{"id":611,"slug":612,"title":613,"dynasty":58,"author":268,"museum":135,"description":614,"tags":615,"thumbUrl":625,"material":626,"size":627,"collection":80,"collections":628,"showCount":629,"zanCount":630,"manualWeight":11,"mainColor":54},219426,"xue-jing-tu-guo-xi-219426","雪景图","画中主景偏右半边，雪锋层叠，陡壑悬瀑，作高远景致，其间布列茅舍、溪桥、楼阁、瀑泉、林木等。左半边则绘溪涧蜿蜒，沙渚渔舟，遥山旷渺，作平远景色。本幅无作者款印，旧以画中状似卷云皴蟹爪枝法而传为郭熙所作",[24,308,616,617,618,7,619,620,621,622,623,624,116],"雪景","茅舍","溪桥","瀑泉","林木","溪涧","渔舟","远山","沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64544cce922b7a6232231fd541b948a5.jpg","设色,绢本","194.3x111.1",[80],484,2,{"id":632,"slug":633,"title":634,"dynasty":58,"author":268,"museum":135,"description":635,"tags":636,"thumbUrl":640,"material":146,"size":641,"collection":80,"collections":642,"showCount":643,"zanCount":530,"manualWeight":11,"mainColor":54},221293,"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,114,24,63,193,162,118,7,31,637,638,639,117,29,116],"村居","行旅","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","纵141.6厘米，横97厘米",[80,127,82],472,{"id":645,"slug":646,"title":647,"dynasty":18,"author":281,"museum":135,"description":648,"tags":649,"thumbUrl":652,"material":47,"size":653,"collection":49,"collections":654,"showCount":655,"zanCount":300,"manualWeight":11,"mainColor":54},214833,"ru-bi-tu-yi-ming-214833","入跸图","这是一幅皇帝扫墓的画，队伍从左到右，沿着水路往回走，战车和卫兵，以及大部分不能坐船的羽林军，沿着岸边行驶。从这幅画的特点和个别地理位置来看，这幅画中的皇帝不是别人，正是明朝的皇帝朱翊钧。明神宗是一位在历史上有很大争议的皇帝，但这幅画还是清楚地表明了明朝当时处于权力的巅峰。",[23,114,24,25,26,27,30,7,33,37,98,650,651],"皇家出行","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f5863d9951f963431189cd4b5e922e.jpg","92.10x3003.6",[49],448,{"id":657,"slug":658,"title":659,"dynasty":157,"author":281,"museum":433,"description":660,"tags":661,"thumbUrl":662,"material":47,"size":148,"collection":49,"collections":663,"showCount":664,"zanCount":598,"manualWeight":11,"mainColor":54},216695,"hong-lou-meng-fu-tu-ce-yi-ming-216695","红楼梦赋图册","疏朗庭院间，虬枝松叶覆半面轩窗，雕花棂格透出彩绸轻曳。廊下女子或凭栏低语，或执扇凝眸；阶前二人衣袂相叠，似在话叙家常。坡上苔石生绿，丛花点染胭脂色，远处水榭隐于烟柳后，添几分悠远。淡彩晕染的笔触细腻勾勒园林景致，将红楼女儿的闲雅日常融于其间。温婉氛围如轻烟绕梁，既见深宅里的温柔情致，又藏着一丝难以言说的怅惘，似在静静诉说着那些藏于书页间的细腻心事。",[23,24,63,213,26,27,30,138,7,121,451,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf370b172b95445b5b66d2705d0e226e.jpg",[49],446,{"id":666,"slug":667,"title":668,"dynasty":58,"author":669,"museum":60,"description":670,"tags":671,"thumbUrl":672,"material":180,"size":673,"collection":80,"collections":674,"showCount":675,"zanCount":378,"manualWeight":11,"mainColor":54},221541,"si-jing-shan-shui-tu-quan-juan-liu-song-nian-221541","四景山水图全卷","刘松年","此卷图画分为四段，分别绘春、夏、秋、冬四时景象。\n第一幅，踏青，春花烂漫，杨柳葱翠；\n第二幅，纳凉，夏木浓荫，碧荷点点；\n第三幅，观山，秋高气爽，霜叶尽染；\n第四幅，赏雪，山裹银装，万籁俱寂。\n画面以人物活动为中心，结合界画技法，精心构建庭院台榭等建筑，工整精巧，或富丽，或古朴。山石以小斧劈皴法出之，苍逸劲健，行笔设色严谨而注重法度，画中人物虽小而形神完备。整幅作品面貌古朴，笔法精严，极富南宋画院作品的特色。临安（今浙江杭州）作为南宋都城所在，高官显贵们的庭园别墅建造甚多，刘松年身为画院画家，长年生活其间，描绘起来自然得心应手。此图立意于表现士绅官僚优裕闲适的生活，画家的注意力从山川自然的野韵转移到人工营造修饰的景物，这种题材风格的转变，从侧面反映出南宋时期，一大批无心复国的官僚们，专注于享乐的生活态度。正如诗云：“暖风薰得游人醉，只把杭州作汴州”。",[23,24,25,26,27,118,121,7,31,32,30,139,33,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa115d24c28f3208afa166893f49c7a.jpg","纵40厘米，横69厘米",[80,127,82],409,{"id":677,"slug":678,"title":679,"dynasty":58,"author":369,"museum":269,"description":680,"tags":681,"thumbUrl":682,"material":47,"size":683,"collection":80,"collections":684,"showCount":685,"zanCount":630,"manualWeight":11,"mainColor":152},218077,"song-di-ming-ti-ce-ma-yuan-218077","宋帝命题册","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,114,24,63,213,28,27,116,118,7,538,623,139,33,194,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f18219cdd8de698e8ca906fbb1bca8.jpg","纵28厘米、横27厘米",[80,127],397,{"id":687,"slug":688,"title":689,"dynasty":58,"author":690,"museum":135,"description":691,"tags":692,"thumbUrl":694,"material":361,"size":695,"collection":127,"collections":696,"showCount":697,"zanCount":630,"manualWeight":11,"mainColor":54},214723,"shan-ju-liu-ke-tu-xia-gui-214723","山居留客图","夏圭","该图像描绘了一块有云的岩石和一座延伸到水面的长桥。在一棵老松树下面，两个老人在森林里的房子里休息和喝酒，一个孩子和一个老妇人在治疗设备，一个仆人在担架上睡觉，一个人拿着一把古筝。这幅画的风格与明代画院的风格接近，怀疑这幅画不是真迹。山石都是用斧头凿出来的，笔法轻柔，通常用侧锋，以获得力道，但细腻和克制的程度有点欠缺，可能是出自明人模仿夏圭的风格。",[24,63,114,193,693,162,116,118,373,7,31,30,32],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687bcb8647a4f89cd2f269b229f4d848.jpg","164.7x102.8",[127,49],396,{"id":699,"slug":700,"title":701,"dynasty":58,"author":702,"museum":433,"description":703,"tags":704,"thumbUrl":705,"material":424,"size":706,"collection":49,"collections":707,"showCount":708,"zanCount":709,"manualWeight":11,"mainColor":54},221325,"chao-yuan-xian-zhang-tu-wu-zong-yuan-221325","朝元仙仗图","武宗元","《朝元仙仗图》为北宋宗教画家 所绘制的一幅绢本白描长卷， 曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。\n画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。\n《朝元仙仗图》描绘的是五方帝君中的东华帝君、南极大帝、扶桑大帝，前往朝谒“主持天界之祖”——元始天尊的队仗行列。\n《朝元仙仗图》中的行列应该是由八十八位神仙组成，但是图中缺了最后一位神仙。\n八十七位神仙共分为四种类型：三位帝君，八名武装神，十名男神仙，六十七名女仙，这些女仙中有玉女，也有金童，但都着女装。\n众仙神态从容衣带随风飘舞，徐徐行进于蜿蜒的廊桥之上。\n队列左端最前由仗剑披甲的天神开路，最右端以甲卒、金刚、神王、力士等殿后，气象雄威；后面是仙官、侍从和乐队，高举旗幡伞盖，手捧美食佳肴，吹奏丝竹管弦；三位帝君，华服盛装，头衬圆光，神态庄重，前后左右是金童玉女，画中各神仙身旁还有长方格，内写该神仙的尊号。\n个个神情娴淑恬淡，沉稳慈祥，俊美动人，衣履装束和发髻头饰，各尽其态；队伍最后又是文武仙官，衣饰容貌也都各有特色，画幅上面云雾飘渺，下方丛生莲花、香蒲，所有神仙列成长队，过桥穿路，浩浩荡荡而来，热闹又庄重，仿佛能听到众神仙衣衫窸窣、环佩相碰之声。\n武宗元的活动时期正值宋真宗赵桓在位（公元997年5月8日－122年月2日）。\n宋真宗崇奉道教，大兴土木建筑道院，在汴京（开封）所建“玉清昭应宫”，凡二千六百一十楹，制度十分宏丽，屋宇稍有不合程式的，就拆掉重盖，夜以继日，七年才完工。\n又作“会灵观”，规模略如玉清昭应宫，以首相王但为“昭应宫使”，次相王曾为“会灵观使”。\n全国各地纷纷盖道观、立官职，把年老退职侍从大臣都授予道教的官衔，给以俸禄。\n在统治者这样如醉如狂地提倡道教的运动中，产生了许多以画道释人物著名的壁画家，专为装饰宫观，《朝元仙仗图》便是武宗元在此时期为玉清昭应宫创作寺观壁画所绘制的小样。\n《朝元仙仗图》中的线条勾勒看起来奔放有力，实则从构图、人物安排、物象聚合到线条组织都显示出“平”和“匀”的特点。\n以主像东华天帝君为例，图中的颈部线条为三根大致平行的圆弧线，距离匀称、平均、平稳，与衣领的关系模糊不清。\n通天冠顶部的一组珠饰的七颗宝珠形象相同，似乎为同一形象之复制，平均分布且排成一条僵硬的直线，图中插入头发中以固定头冠的玉簪导没有传达出物体互为垂直面的意义，而是画成一个含糊的多边形。\n整体画面强调照应，又适当注意变化，先是对于复杂重叠的衣褶采用了“铁线描”的手法勾勒，画中线条严谨、简练、流畅，有的线长达几米。\n线条长垂流畅，飘飘欲举，如有风吹拂，生动地表达队列进行中的动感；而人物的面部和头发的线条又变得柔和，纤柔曼妙，如同游丝，与衣纹的铁线形成对比，既表现了不同质感，又使画面具有丰富的线条美。\n面部表情能用各种不同的线来表现，眉眼特别有神，皱眉肌的变化，以及眼与其他各部的关系处理得准确巧妙，从而使同样严肃的面孔上显示出各种不同的个性。\n该画作整体画面色彩单纯明朗，以石青石绿为主，衣冠宝盖大量运用沥粉贴金，总体色调既灿烂又沉厚。\n该画作中共绘制了身份、等级各不同的八十七位神仙，其中东华帝君、南极大帝头带冕冠，脑后衬以圆光，轮廓丰腴，气质雍容，在队伍中尤其显眼。\n而同为五方帝君之一的扶桑大帝整体则显得较为朴素，但神情庄严、不怒自威。\n护卫的武装神或披甲仗剑，或长袍执戟，有的表情淡漠直视前方，有的怒目圆睁环视四周，形象鲜明。\n而对于人物动态一致、倾向一致，服饰大致相似的仙官，则通过微小的转侧和顾盼加以区分，得到相互之间的呼应。\n整幅作品人物安排参差有致，神采飞动，人物神情各异，构图整齐而不呆板，组织繁复而不杂乱。\n该画作中所塑造的诸神，是现实世界各种英勇、强健、崇高、恢宏、安详、美丽、静淑等人类最美的外形和性格的体现。\n从中可以发现作者在人物塑造上的卓越才能，他通过每一个人物的衣饰动作和表情，表现出各人不同的内在品质。\n再加以仪仗、供品、烟云、花草等的气氛渲染，就构成一个庄严华丽的神仙境界——当时人类想象中的美好境界。\n在构图上作者善于从统一中求其变化，在处理繁复的画面时又能做到协调而不杂乱。\n准确而生动的用笔，富于节奏感的线条，随心所欲地把作者想要表达的美感表达了出来。\n这都是这幅作品的成功所在。\n《朝元仙仗图》称得上是线条运用达到登峰造极的代表作之一 ，这样的白描作品一直是历代人物画家学习的范本，无论是线条勾勒的技法，人物的造型特征，衣纹穿插的规律还是人物组织构图的方法，无处不值得人们在自己的创作中借鉴应用。\n远至宋代白描大家李公麟、元代的赵孟頫、明代的陈洪绶、清代的任伯年等，在他们的作品中都能找到《朝元仙仗图》的痕迹，流传至今的元代永乐宫壁画更是对《朝元仙仗图》的直接传承。\n当代人物画家更是把该图作为学习传统人物画的必修课，诸多优秀的工笔画家如李少文、何家英、高云、戴敦邦等的作品以及画家李伯安的作品巨幅长卷《 》在创作时也深受《朝元仙仗图》的启发，特别是众多人物排列行进的场面与《朝元仙仗图》更是如出一辙。\n两宋之际，《朝元仙仗图》归翟妆文收藏。\n翟汝文之后《朝元仙仗图》归张氏收藏，张氏名字的最后一字很难释读，故其事迹不可知。\n元代时期，《朝元仙仗图》归张君锡收藏。\n张君锡之后，《朝元仙仗图》转归杭人崔氏。\n明清时代《朝元仙仗图》数百年流藏于广东境内，曾藏于广东顺德卢氏。\n民国时期，《朝元仙仗图》流入市肆，为“颍川飞凫人”所得。\n不久之后，《朝元仙仗图》归广东收藏家罗原觉收藏，之后罗原觉将此画卖给李尚铭。\n李氏又将其抵押他人，后来于七七事件之前流往日本。\n建国之后，2世纪5年代《朝元仙仗图》被美国人候时泰买去，之后归王季迁收藏。\n25年，《朝元仙仗图》被王季迁后人托管于上海一家银行的保险箱，29年发现其真迹已被人掉包，至今下落不明。\n武宗元（公元994年—15年），初名宗道，字总之，河南白坡（今河南孟津）人，北宋时期画家。\n他家世业儒，以荫得太庙斋郎，官至虞曹外郎，宋真宗景德年间，建玉清昭应宫，征全国画师三千多人，选中者百余人，武宗元名列第一。\n中选百人分二部，宗元为左部之长。\n擅画道释人物，17岁时画洛阳北邙山上清宫壁画，被世人评为“惊绝”，也曾为开封、洛阳各寺观作大量壁画，史称他的作品“神彩活动如草书”。\n其作品中仅有《朝元仙仗图》流传后世。",[23,114,24,63,25,95,94,30,7,117,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7f35285bd62db636c782a85c5fb9d.jpg","纵44.3cm，横580cm",[49,82],395,4,{"id":711,"slug":712,"title":304,"dynasty":58,"author":559,"museum":135,"description":713,"tags":714,"thumbUrl":715,"material":47,"size":716,"collection":127,"collections":717,"showCount":718,"zanCount":630,"manualWeight":11,"mainColor":152},218894,"xian-shan-lou-ge-tu-zhao-bo-ju-218894","这幅仙山仙阁的画作，色彩鲜艳，白云在山腰盘旋，显得格外高雅。这幅画是由黄君璧捐赠的。",[23,24,63,193,115,27,26,28,118,7,33,194,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e587eae532bf826f5b62f202f510946.jpg","159.9x84.2",[127],388,{"id":720,"slug":721,"title":722,"dynasty":18,"author":19,"museum":210,"description":723,"tags":724,"thumbUrl":725,"material":47,"size":148,"collection":49,"collections":726,"showCount":727,"zanCount":221,"manualWeight":11,"mainColor":54},219568,"yan-le-tu-chou-ying-219568","宴乐图","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[23,24,63,25,26,27,28,30,7,33,139,65,121,39,123,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[49,51],384,{"id":729,"slug":730,"title":731,"dynasty":18,"author":319,"museum":418,"description":732,"tags":733,"thumbUrl":737,"material":312,"size":738,"collection":127,"collections":739,"showCount":740,"zanCount":587,"manualWeight":11,"mainColor":152},222114,"zhang-li-yuan-tiao-tu-shen-zhou-222114","杖藜远眺图","为一幅充满诗意的小景之作。左下方的白云草草勾出，稍加淡墨渲染，便有徐缓飘荡之态。山石皱纹和林木屋宇，点画随意，干湿浓淡，浑然一体。远山则用整块淡墨。这样，近景见笔而实，远山见墨而虚。虚实结合，有空灵深远之感。画中人物登高杖藜眺望，意境引入青山尽头，白云深处。题识：“白云如带束山腰 ，石磴飞空细路遥。独倚杖藜舒眺望，欲因鸣涧答吹箫。",[23,24,162,118,7,139,620,734,30,735,117,116,736],"白云","杖藜","登高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4649d1d0c9eba3d025f8a50b75209cec.jpg","纵38厘米，横59厘米",[127,82],383,{"id":742,"slug":743,"title":744,"dynasty":157,"author":745,"museum":135,"description":746,"tags":747,"thumbUrl":751,"material":47,"size":752,"collection":49,"collections":753,"showCount":754,"zanCount":598,"manualWeight":11,"mainColor":152},216951,"zhong-qiu-jia-qing-tu-zhang-ting-yan-216951","中秋佳庆图","张廷彦","这幅画描绘了一个亭子，仆人们忙着送盒子里的食物，皇帝和皇后在露台上与大臣和音乐家们一起欣赏秋月。这幅画的风格似乎受到了明代宫廷绘画的启发，但笔触有些稀疏。",[114,24,28,27,30,7,121,748,117,749,750],"露台","中秋赏月","宫廷佳庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a0e35fc35d7564a8cd3792e88ea71f.jpg","134.5x65.4",[49],377,{"id":756,"slug":757,"title":758,"dynasty":18,"author":19,"museum":269,"description":759,"tags":760,"thumbUrl":763,"material":47,"size":764,"collection":49,"collections":765,"showCount":766,"zanCount":221,"manualWeight":11,"mainColor":54},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[23,24,63,213,26,27,28,115,118,30,7,121,32,120,31,123,373,761,762,272,138,385],"夕阳","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[49],376,{"id":768,"slug":769,"title":770,"dynasty":18,"author":771,"museum":433,"description":772,"tags":773,"thumbUrl":777,"material":148,"size":148,"collection":127,"collections":778,"showCount":779,"zanCount":11,"manualWeight":11,"mainColor":152},221983,"shan-shui-tu-li-zhou-wen-zheng-ming-221983","山水图立轴","文徴明","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,27,7,272,118,774,775,451,776,68,162,163,193,312],"山","水","房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6bd88c485b1bbe4124fde6a8ae986b8.jpg",[127,82],375,{"id":781,"slug":782,"title":783,"dynasty":58,"author":59,"museum":433,"description":784,"tags":785,"thumbUrl":787,"material":148,"size":148,"collection":148,"collections":788,"showCount":789,"zanCount":530,"manualWeight":11,"mainColor":54},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,63,25,28,26,95,30,7,31,32,64,65,66,33,36,34,70,786,71,75,72,40],"轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg",[],368,{"id":791,"slug":792,"title":240,"dynasty":58,"author":241,"museum":433,"description":793,"tags":794,"thumbUrl":798,"material":495,"size":496,"collection":148,"collections":799,"showCount":800,"zanCount":598,"manualWeight":11,"mainColor":54},288330,"rui-he-tu-zhao-ji-288330","描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。",[23,114,24,63,25,27,26,123,795,7,96,258,245,796,284,797],"仙鹤","瘦金体","祥瑞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a2bced096b89031018940195e15452.jpg",[],362,{"id":802,"slug":803,"title":804,"dynasty":18,"author":805,"museum":806,"description":807,"tags":808,"thumbUrl":810,"material":47,"size":148,"collection":49,"collections":811,"showCount":812,"zanCount":327,"manualWeight":11,"mainColor":54},218253,"shi-nv-juan-du-jin-218253","仕女卷","杜堇","上海博物馆","长卷铺展间，亭台花木错落，数十位仕女于其间各展风姿。她们衣袂翩跹，眉目温婉，或倚栏低语，或临案抚琴，或捧卷凝思，或嬉戏于阶前竹下。笔墨细腻处，衣纹流转如行云，发饰精巧似蝶落；设色淡雅间，朱红轻点裙裾，墨绿晕染枝叶，层次隐现。庭院深深，竹影婆娑，山石静立，将闺阁的闲适与雅致悄然收纳。人物互动自然生动，仿佛能听见轻声笑语，嗅到草木清芬。整幅作品以流畅线条勾勒温婉神韵，用舒缓节奏铺陈宁静时光，尽显古代仕女生活的诗意与从容。",[23,24,63,25,26,27,30,138,7,39,142,387,33,139,144,809],"服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa7f600640a884b3f3a55ef2144af81.jpg",[49],360,{"id":814,"slug":815,"title":816,"dynasty":18,"author":19,"museum":135,"description":817,"tags":818,"thumbUrl":819,"material":820,"size":821,"collection":127,"collections":822,"showCount":823,"zanCount":598,"manualWeight":11,"mainColor":152},222196,"xian-shan-lou-ge-tu-zhou-chou-ying-222196","仙山楼阁图轴","仇英此图即脱胎于南宋“院体”，又兼容文人画之长，具雅逸之致。\n画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。特写的景致，劲遒的松枝，坚峭的山石，劲利的用笔，以及小斧劈皴等，都存“院体”遗规。\n而构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和，色调明快。\n如杨翰在《扫石轩画谈》中所评：“笔笔皆如铁丝，有起有止，有韵有情，亦多疏散之气，如唐人小楷、令人探索无尽。”\n画面上方楷书为陆师道所提，乃明代官员，师承文徵明，严整恭谨的概述与仇英的画面配合的相得益彰。",[23,24,63,193,28,26,27,118,7,139,33,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc6047fc5802e4c930601cc55e6e5e9.jpg","白纸本","110.5x42.1",[127,51],351,{"id":825,"slug":826,"title":827,"dynasty":828,"author":829,"museum":60,"description":830,"tags":831,"thumbUrl":832,"material":424,"size":833,"collection":834,"collections":835,"showCount":836,"zanCount":709,"manualWeight":11,"mainColor":152},221049,"you-chun-tu-zhan-zi-qian-221049","游春图","隋","展子虔","图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。\n该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。\n山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。\n下端一角，便是坡陀花树，围绕山庄。\n描绘出明媚春光和游人在山水中纵情游乐的神态。\n各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。\n在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。\n《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。\n有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。\n早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。\n在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。\n他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。\n另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。\n历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。\n所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。",[23,24,63,25,115,27,118,30,7,31,32,123,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a9f8ced13bacd0b0f77ddd3245cb51.jpg","纵43厘米，横80.5厘米。","书法精选",[834],350,{"id":838,"slug":839,"title":840,"dynasty":157,"author":841,"museum":60,"description":842,"tags":843,"thumbUrl":846,"material":47,"size":847,"collection":49,"collections":848,"showCount":849,"zanCount":530,"manualWeight":11,"mainColor":54},214366,"bing-xi-tu-jin-kun-214366","冰嬉图","金昆","金昆（1734-1798）是清代著名的画家，他的作品《冰嬉图》是其代表作之一。\n\n《冰嬉图》描绘了一群人在冰上嬉戏的画面。金昆在画中运用了精细的笔墨和细腻的造型，勾勒出人物的动态感和气氛的欢乐。作品中的人物衣着艳丽，手持冰鞋、冰鞭，在冰上滑行、打闹，形成了一幅生动的冬日画面。\n\n《冰嬉图》被认为是金昆写意人物画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《冰嬉图》也是收藏家们青睐的经典之作。\n\n金昆的《冰嬉图》是一幅描绘冬日活动的画作，它体现了中国传统文化中“冰上嬉戏”的理念。在中国传统文化中，冰上嬉戏是冬日的休闲活动之一，人们可以在冰上滑行、打闹，享受冬日的清新气息。金昆的《冰嬉图》不仅是一幅精美的画作，更是一首关于冬日活动的诗篇。",[23,26,27,30,7,33,844,99,845,258],"旗帜","冰面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff197d6b8677f087f4ec01dfab7441fea.jpg","35.2x581",[49],337,{"id":851,"slug":852,"title":853,"dynasty":157,"author":854,"museum":210,"description":855,"tags":856,"thumbUrl":862,"material":47,"size":148,"collection":49,"collections":863,"showCount":864,"zanCount":276,"manualWeight":11,"mainColor":152},218432,"wan-guo-lai-chao-ban-hua-wang-jun-fu-218432","万国来朝版画","王君甫","祥云缭绕的宫殿之下，万国使者簇拥而至，构成喧腾热闹的朝贺图景。不同服饰的人物或携奇珍、或奏乐舞，神态各异却皆含恭谨；瑞兽与祥云交织，添几分祥瑞之气。线条工细流畅，设色明艳雅致，凝清代外交盛况于一纸。画面层次丰富而错落有致，人物繁而不乱，每处细节——使者的异域衣冠、手中珍玩器物，皆藏对盛世的期许与民间巧思。这幅图景不仅描摹外邦来朝盛景，更折射当时大国气象与文化自信，尽显传统版画的精湛技艺与深厚底蕴，让往昔荣光在纸间流转生辉。",[23,114,24,857,858,27,26,28,30,7,96,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在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[23,114,24,63,25,26,27,29,30,7,31,32,33,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[51],329,{"id":913,"slug":914,"title":915,"dynasty":18,"author":916,"museum":135,"description":917,"tags":918,"thumbUrl":921,"material":312,"size":922,"collection":127,"collections":923,"showCount":924,"zanCount":11,"manualWeight":11,"mainColor":54},221921,"tai-ping-chun-se-zhou-qian-gong-221921","太平春色轴","钱贡","本幅画农家丰年度岁之情景:厅堂盆火高烧,儿童围炉展纸,一人搦管欲书;屋外寒梅怒放,群儿欢聚嬉戏,一老叟策杖行于桥上。画面上一派生机盎然的景象。",[23,193,26,27,30,7,31,373,39,139,919,920,33,75],"孩童","炉火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3fd06b089f3ed8156b696b2d89afe7.jpg","122cm 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cm",[127,51],309,{"id":952,"slug":953,"title":954,"dynasty":18,"author":955,"museum":210,"description":956,"tags":957,"thumbUrl":960,"material":47,"size":148,"collection":49,"collections":961,"showCount":962,"zanCount":221,"manualWeight":11,"mainColor":54},219556,"shi-nv-tu-jiang-gan-219556","仕女图","蒋干","春日深苑里，梅枝斜曳绽蕊，古殿檐角隐在花影后。两名仕女缓步游园，前者抬臂探花，似贪嗅浅淡春芳，后者抬手理鬓，眼波追随着花枝流转。\n\n衣纹以淡墨轻勾，敷色清妍柔润，朱红飘带轻垂摇曳，衬出仕女柔婉窈窕的身姿。山石花木晕染雅致，淡赭底色晕开暮春慵柔氛围，笔意秀逸灵动，将深闺仕女娇柔娴静的游园意趣藏在每一处笔触间，尽显清丽隽秀的古典风韵，把春日闲淡雅致的闺中情态铺陈得动人缱绻。",[23,24,63,193,26,27,30,138,509,958,7,959],"梅花","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a387652910225c3f68016cca938aa4e.jpg",[49,51],290,{"id":964,"slug":965,"title":966,"dynasty":489,"author":967,"museum":135,"description":968,"tags":969,"thumbUrl":971,"material":47,"size":972,"collection":49,"collections":973,"showCount":974,"zanCount":709,"manualWeight":11,"mainColor":54},219691,"he-ting-yi-diao-shi-nv-tu-zhou-wen-ju-219691","荷亭弈钓仕女图","周文矩","画亭榭临池，前後碧柳四垂，二女亭中对奕。亭外池荷盛开，翠叶田田。仕女或倚栏垂钓或持扇观荷，一派夏日悠闲景象。通幅屋界、衣饰刻画精细，粉花绿叶著色清丽，本幅旧传为南唐周文矩之作，唯笔墨、器用皆显露出明清习气。",[23,24,114,63,193,26,27,30,138,121,931,7,463,387,142,970],"弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe978a3e1bcbd02719a386cfad2d3d42b.jpg","195.1x98厘米",[49],287,{"id":976,"slug":977,"title":978,"dynasty":89,"author":281,"museum":60,"description":979,"tags":980,"thumbUrl":983,"material":47,"size":984,"collection":127,"collections":985,"showCount":986,"zanCount":11,"manualWeight":11,"mainColor":54},214258,"gong-yuan-tu-yi-ming-214258","宫苑图","宫苑图是一幅作者不详的唐代画作。这幅画作描绘了唐朝皇宫的生活。\n\n在这幅画作中，画家巧妙地捕捉了唐朝皇宫的繁华景象。他用浓墨重彩的画法，勾勒出了皇宫的宏伟建筑。他还用细腻的线条勾勒出了皇宫中各种活动的场面，让人感受到了唐朝皇宫的繁荣景象。\n\n此外，画家在这幅画作中还描绘了皇宫周围的景色。他用色彩丰富的画法，描绘了皇宫周围的山川和河流。这些景色与皇宫的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n总之，宫苑图是一幅精美的画作，描绘了唐朝皇宫的生活。它让我们感受到了唐朝皇宫的繁荣景象，也让我们感受到了唐朝文化的魅力。",[23,114,24,63,27,28,7,118,981,30,982],"宫苑","繁华","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f47a53857a3fc4ab82d75a1dd20f08.jpg","162.5×83.7",[127],286,{"id":988,"slug":989,"title":990,"dynasty":157,"author":209,"museum":433,"description":991,"tags":992,"thumbUrl":993,"material":148,"size":148,"collection":148,"collections":994,"showCount":995,"zanCount":11,"manualWeight":11,"mainColor":152},229001,"jin-ling-sheng-ji-tu-ce-zhang-da-qian-ti-zhen-shi-tao-229001","金陵胜迹图册(张大千题)帧","此帧以淡赭晕染危崖，笔意简括古拙，衬出峭壁高峙之态。崖巅楼宇寥寥数笔，凭栏人影幽然，衬出山巅阒寂清旷。枯淡墨色点苔绘木，苍劲松灵，淡墨扫出空蒙天色，与赭色崖身相映，冷逸出尘。\n\n配行书题诗，诗书与画境相融，笔墨间浸透着清冷禅意，将冬初山阁清寂之景，与幽人寄怀合而为一，于尺幅间尽绘高旷出尘之致，尽显纵逸灵动的笔底才情，把山巅初消寒意的雅趣，晕染得淡远空灵，韵致悠长。",[23,114,24,63,213,27,116,117,284,118,7,451,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddb8b7cfbb4648cbf6458bf7f8aaa0.jpg",[],284,{"id":997,"slug":998,"title":999,"dynasty":18,"author":19,"museum":242,"description":1000,"tags":1001,"thumbUrl":1002,"material":247,"size":1003,"collection":127,"collections":1004,"showCount":1005,"zanCount":276,"manualWeight":11,"mainColor":54},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,24,63,114,25,115,27,26,118,31,32,7,121,605,33,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 横987厘米",[127,51],279,{"id":1007,"slug":1008,"title":1009,"dynasty":58,"author":1010,"museum":135,"description":1011,"tags":1012,"thumbUrl":1014,"material":424,"size":1015,"collection":80,"collections":1016,"showCount":1017,"zanCount":11,"manualWeight":11,"mainColor":54},221394,"xue-shan-xiao-si-tu-zhou-fan-kuan-221394","雪山萧寺图轴","范宽","画中描绘的是北方山岳雪景。山形陡峭，折落有势，峰峦岭岫一片银白。画中集中笔意书写了“萧寺”形象。山中一片苍茫荒凉之气，山下水路相伴，似与古寺相通，有游人、旅人、商者荷担瑟瑟而行。动静比照，静中见动，寂中显闹。 该图笔法雄劲嗣瘦，无款印。\n《雪山萧寺图》着意描写“雪意”。雪后的群山，到处是一片银白的世界，正面是雪岭高耸，崔嵬之山高旷雄原，山形陡峭，山脉盘折，峰峦岭岫一片银白。山坳深处深藏古寺楼台，隐现可见山下水边有路，可通向深山古寺。山下有古木、寒林、溪流。沟壑中有深深的积雪，近山远山树木叶落已尽，树杈上被积雪掩盖，山峦、楼顶、道路、坡石由大雪覆盖，周围阴沉沉的，只有一股潺潺流动的山泉，打破了这迷人的平静。近前可见两个旅人荷担踏雪而行，有的曳杖行进，他们顶着竹笠，缩头袖手。",[23,114,24,63,193,116,162,118,774,1013,422,7,139],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[80,127,82],259,{"id":1019,"slug":1020,"title":1021,"dynasty":18,"author":19,"museum":135,"description":1022,"tags":1023,"thumbUrl":1024,"material":217,"size":1025,"collection":127,"collections":1026,"showCount":1027,"zanCount":587,"manualWeight":11,"mainColor":152},218535,"zhu-lou-tu-qing-gao-zong-yu-ti-chou-ying-218535","竹楼图清高宗御题","画中湖光山色，长松亭榭，文人观水赏竹，画风接近文征明，也可能是文、丘在山水画上互相借鉴。",[114,24,63,193,26,27,28,118,7,538,31,32,30,139,33,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d460703bfb3096969313beb6e056693.jpg","115.3x33.3cm",[127],257,{"id":1029,"slug":1030,"title":1031,"dynasty":885,"author":1032,"museum":433,"description":1033,"tags":1034,"thumbUrl":1036,"material":495,"size":496,"collection":148,"collections":1037,"showCount":1038,"zanCount":11,"manualWeight":11,"mainColor":54},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","王蒙","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,114,24,162,118,193,116,139,33,7,31,32,121,117,284,1035],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":1040,"slug":1041,"title":1042,"dynasty":89,"author":1043,"museum":433,"description":1044,"tags":1045,"thumbUrl":1049,"material":495,"size":496,"collection":148,"collections":1050,"showCount":1051,"zanCount":530,"manualWeight":11,"mainColor":54},289005,"wang-chuan-tu-wang-wei-289005","辋川图","王维","《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[23,114,24,25,308,27,116,118,7,33,71,120,1046,1047,1048,196],"山居","园林","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a16151940e7ec69c8d6735f55d11672.jpg",[],250,{"id":1053,"slug":1054,"title":382,"dynasty":157,"author":1055,"museum":60,"description":1056,"tags":1057,"thumbUrl":1058,"material":47,"size":1059,"collection":51,"collections":1060,"showCount":1061,"zanCount":630,"manualWeight":11,"mainColor":54},219090,"han-gong-chun-xiao-tu-yuan-yao-219090","袁耀","此图名为汉代宫殿之景，实际上表现的是作者想象中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其活泼的蕴藉不仅展现出石质的厚实，同时加强了场景的动势，与工整精巧的殿宇楼阁形成粗放与华美、活泼与整洁的鲜明对比。",[24,114,28,27,26,118,7,31,32,121,33,139,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa2766d2513288b462cece660309b69.jpg","纵250厘米，横162厘米",[51],247,{"id":1063,"slug":1064,"title":1065,"dynasty":18,"author":1066,"museum":135,"description":1067,"tags":1068,"thumbUrl":1069,"material":217,"size":1070,"collection":127,"collections":1071,"showCount":1072,"zanCount":587,"manualWeight":11,"mainColor":152},214588,"xi-shan-xie-sheng-ce-yun-shan-xian-ge-bian-wen-yu-214588","溪山写胜册-云山仙阁","卞文瑜","卞文瑜是一位著名的明代画家，他的作品《溪山写胜册-云山仙阁》是一幅非常珍贵的古代中国山水画。\n\n这幅画的构图十分精巧，将整幅画分成上下两部分，上部为云山仙阁，下部为溪流和山峦。画中的云山仙阁高耸入云，状如玉龙，气势磅礴。下方的溪流清澈可见底，水流蜿蜒曲折，流动自然。山峦远近错落有致，山川相连，给人以深远的视觉冲击。\n\n卞文瑜在这幅画中运用了自然之美的理念，将自然与人文相结合，创造出了一幅充满生机和美感的画作。他运用了细腻的笔法和柔和的色彩，使得整幅画面看起来非常自然和舒适。\n总的来说，《溪山写胜册-云山仙阁》是一幅优秀的古代中国山水画，值得珍藏。",[24,63,213,27,118,28,7,31,422,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c88df2db3b86f6fbad65788ffbd4776.jpg","24.8x41.3cm",[127],246,{"id":1074,"slug":1075,"title":255,"dynasty":58,"author":559,"museum":135,"description":1076,"tags":1077,"thumbUrl":1078,"material":47,"size":1079,"collection":127,"collections":1080,"showCount":1081,"zanCount":598,"manualWeight":11,"mainColor":54},218230,"shang-lin-tu-juan-zhao-bo-ju-218230","赵伯驹（生年不详，约卒于西元一一六二年），字千里，宋太祖七世孙，赵大年之子。仕至浙东兵马钤辖。善画山水、花果、翎毛及人物，楼阁界画尤妙。上林苑乃秦朝旧苑，汉武帝扩建。周围三百里，离宫七十所，规模宏伟。苑中饲养禽兽多种,，春秋二季皇帝时常至此围猎。本卷青绿设色，画上林苑帝王围猎情景。人物众多，车辇仪仗无一不备。",[23,24,63,25,115,27,118,30,7,33,123,139,196,195,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4585d7f14f3b12fabf2d53658317cb.jpg","44x1169.4",[127],244,{"id":1083,"slug":1084,"title":1085,"dynasty":157,"author":209,"museum":943,"description":1086,"tags":1087,"thumbUrl":1088,"material":217,"size":1089,"collection":148,"collections":1090,"showCount":1091,"zanCount":587,"manualWeight":11,"mainColor":152},214533,"yi-jin-ling-ce-shi-tao-214533","忆金陵册","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,63,162,27,118,7,31,32,120,139,33,116,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9786c88deb9d34c1413b59771dba7d8.jpg","纵23.8厘米，横19.2厘米",[],241,{"id":1093,"slug":1094,"title":1095,"dynasty":18,"author":19,"museum":433,"description":1096,"tags":1097,"thumbUrl":1105,"material":148,"size":148,"collection":148,"collections":1106,"showCount":1107,"zanCount":709,"manualWeight":11,"mainColor":54},228453,"qing-ming-shang-he-tu-shou-juan-han-yin-shou-ti-ba-chou-ying-228453","清明上河图手卷含引首题跋","此作以精工院笔重绘旧题，将晚明江南的升平烟火铺陈于长卷之内。青绿设色妍雅清丽，线条秀劲灵动，亭台楼阁层叠错落，商铺酒肆鳞次栉比，行人车马往来穿梭，贩夫走卒、文人仕女神态各异，鲜活复刻出南都的富庶风华。它既承袭古本骨架，又暗合明代世情，把市肆喧闹、舟桥津渡的俗世温情藏进每一处细节，工致的笔触晕染出江南独有的雅致与鲜活，让观者如穿行旧巷，尽览晚明的人间盛景。",[23,114,24,25,1098,26,1099,28,7,437,34,479,1100,1101,40,37,30,1102,1103,1104],"手卷","青绿设色","舟桥","津渡","市井生活","富庶风华","俗世温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc788a28a455ea93496704656398401.jpg",[],240,{"id":1109,"slug":1110,"title":1111,"dynasty":157,"author":1112,"museum":135,"description":1113,"tags":1114,"thumbUrl":1117,"material":47,"size":1118,"collection":49,"collections":1119,"showCount":1107,"zanCount":300,"manualWeight":11,"mainColor":152},215148,"fang-yang-da-zhang-song-yuan-ben-jin-ling-tu-juan-feng-ning-215148","仿杨大章宋院本金陵图卷","冯宁","长卷是一幅色彩斑斓的画，画中有山有城，有街有路，有车有马，有亭有村，有农业，有数百人。这个场景有一丝张择端《清明上河图》的宏大和活泼的风格。卷尾的签名是：乾隆五十年十一月，我冯宁受命仿制宋院体金陵画。",[23,114,24,25,27,26,29,118,7,30,493,873,1115,33,44,1116],"马匹","农业","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa95f5753c7200f69180a52966afeeee4.jpg","35x1050",[49],{"id":1121,"slug":1122,"title":1123,"dynasty":157,"author":1124,"museum":806,"description":1125,"tags":1126,"thumbUrl":1127,"material":217,"size":1128,"collection":127,"collections":1129,"showCount":1130,"zanCount":587,"manualWeight":11,"mainColor":152},216993,"fang-song-yuan-shan-shui-ce-wang-jian-216993","仿宋元山水册","王鉴","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,24,115,27,118,116,29,213,31,32,121,451,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a18fc942c1098dabc52e73dc3535442.jpg","纵55.4厘米，横36.0厘米",[127],237,{"id":1132,"slug":1133,"title":1134,"dynasty":157,"author":1055,"museum":60,"description":1135,"tags":1136,"thumbUrl":1137,"material":47,"size":1138,"collection":127,"collections":1139,"showCount":1140,"zanCount":530,"manualWeight":11,"mainColor":54},220075,"peng-lai-xian-jing-tu-yuan-yao-220075","蓬莱仙境图","袁氏父子画蓬莱仙境的作品很多，以本幅袁耀所作最为壮观。图中山形脉络皆有动势，突兀怪异；以鬼面皴法画出的山石奇形怪状，层次丰富。华丽严整的宫殿与雄伟而富有动感的山水巧妙地融合，浑然一体，形成画面中动与静、整齐与活泼的鲜明对比，气势博大。\n由于职业画家的局限，袁江、袁耀的作品在表现题材上不可避免地有所雷同，表现手法也呈现一种程式化。有古建专家认为他们画的建筑“并非清代的建筑形象，而是杂采历代画中种种不同的建筑形象，加以组合…… 从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[23,24,26,27,28,118,7,139,194,33,31,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999a1e953e91f93828c36f2429f91187.jpg","纵266.2厘米，横163厘米",[127,51],226,{"id":1142,"slug":1143,"title":1144,"dynasty":489,"author":1145,"museum":433,"description":1146,"tags":1147,"thumbUrl":1148,"material":495,"size":496,"collection":148,"collections":1149,"showCount":1150,"zanCount":11,"manualWeight":11,"mainColor":54},287365,"qing-lv-shan-shui-tu-ye-li-sheng-287365","青绿山水图页","李昇","擅墨竹，喜作窠石平远山水，颇有清趣。至正六年(1346)作有《淀湖送别图》卷(藏上海博物馆)，画面清波荡漾，湖上有小桥、扁舟，远望峰峦高耸，树林参差，山间古寺隐约可见，景色清幽，一派送别离人的气氛。清代词人朱彝尊很推重此画，题跋云：“松林清疏，峰岚渲以焦墨，淡林赢青作遥山，信称逸品。”",[23,24,63,118,115,27,7,31,32,139,33,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfdcad8870526ab254f3adb825fe8b72.jpg",[],225,{"id":1152,"slug":1153,"title":1154,"dynasty":18,"author":19,"museum":135,"description":1155,"tags":1156,"thumbUrl":1160,"material":47,"size":148,"collection":49,"collections":1161,"showCount":1162,"zanCount":630,"manualWeight":11,"mainColor":54},219367,"yi-zhu-tu-chou-ying-219367","移竹图","竹影婆娑间，数人合力抬竹、培土，动作连贯如活；池畔亭榭半掩，莲叶浮波，士人或俯身打理，或凭栏远眺，笔墨细腻处见生活真趣。设色温润古雅，青绿点缀山石，赭黄晕染土地，墨色浓淡层叠出林木深幽。移竹之雅事，既显文人爱竹之癖，亦藏生活劳作之态，以工笔之精融自然与人文于一卷，动静相宜。画面层次分明，上段林泉移竹见生机，下段亭池闲居显雅致，细节中藏匠心，尽显明代文人生活的诗意与烟火气。",[24,26,27,115,28,30,1157,33,1158,931,139,7,1159,39,32],"竹子","荷塘","廊榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7039905c000f406bb6ce231d79361d8a.jpg",[49,51,127],222,{"id":1164,"slug":1165,"title":1166,"dynasty":89,"author":1167,"museum":135,"description":1168,"tags":1169,"thumbUrl":1173,"material":47,"size":1174,"collection":127,"collections":1175,"showCount":1176,"zanCount":630,"manualWeight":11,"mainColor":54},218963,"chun-shan-xing-lv-tu-li-zhao-dao-218963","春山行旅图","李昭道","这幅画描绘了唐明皇在前往四川寻求庇护以躲避安史之乱的途中放弃长安的场景。\n画面以绿色为主色调，有山有水，枝繁叶茂，春意盎然，二十多个人和十几匹马结伴而行，在蜿蜒而荒芜的道路上可以看到人影。虽然场景是春天，马儿在滚动，人们靠着树休息，看起来很轻松，但通往圣地的道路和沿途的崎岖转弯的气氛也会让人觉得很困难。\n该场景用细密的笔触勾勒出线条，然后用绿色和蓝色作画，使其优雅而美丽。",[23,24,63,115,27,118,30,7,139,33,272,638,1170,1171,1172],"山路","云气","勾勒填色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f5bf3ce17fdd366423076e69f86db4.jpg","95.5x55.3厘米",[127],220,{"id":1178,"slug":1179,"title":1180,"dynasty":18,"author":19,"museum":943,"description":1181,"tags":1182,"thumbUrl":1185,"material":47,"size":1186,"collection":148,"collections":1187,"showCount":1188,"zanCount":11,"manualWeight":11,"mainColor":54},216361,"xi-xiang-ji-tu-ye-3-chou-ying-216361","西厢记图页-3","清人绘，款仇英",[24,26,27,28,1183,30,138,1184,7,33,931,539,142,39],"册页","男子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8160bed9793b09c0f8860270b639bc52.jpg","18.5*38",[],218,{"id":1190,"slug":1191,"title":1192,"dynasty":89,"author":1043,"museum":269,"description":1193,"tags":1194,"thumbUrl":1195,"material":424,"size":1196,"collection":148,"collections":1197,"showCount":1198,"zanCount":11,"manualWeight":11,"mainColor":54},232621,"e-pang-gong-tu-juan-wang-wei-232621","阿房宫图卷","提到王维，人们都会想到他的朗朗上口的诗文，比如空山新雨后，天气晚来秋；比如独在异乡为异客，每逢佳节倍思亲；再比如红豆生南国，春来发几枝等等。他也是我很喜欢的一位诗人。其实他是唐朝书，画，诗三方面都很有成就的一个人。\n王维，字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。\n王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,24,63,25,27,115,28,26,118,7,31,30,139,33,38,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fac5623a6e549db33830a4f701ceb37.jpg","纵194.5cm，横60.5cm",[],214,{"id":1200,"slug":1201,"title":1202,"dynasty":18,"author":19,"museum":943,"description":1181,"tags":1203,"thumbUrl":1205,"material":47,"size":1186,"collection":148,"collections":1206,"showCount":1207,"zanCount":11,"manualWeight":11,"mainColor":54},216357,"xi-xiang-ji-tu-ye-7-chou-ying-216357","西厢记图页-7",[114,24,63,27,26,30,7,32,138,605,39,33,1204],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2092ecff88dc4c51551d1cdeaf7c87.jpg",[],212,{"id":1209,"slug":1210,"title":1211,"dynasty":18,"author":19,"museum":135,"description":1212,"tags":1213,"thumbUrl":1214,"material":47,"size":1215,"collection":51,"collections":1216,"showCount":1217,"zanCount":587,"manualWeight":11,"mainColor":54},219318,"zhou-jin-tang-zhou-chou-ying-219318","昼锦堂轴","〈相州昼锦堂记〉是北宋欧阳修（1007-1072）为宰相韩琦（1008-1075） 所做的一篇记文，指出衣锦还乡本人之常情，且古今所同，而韩琦却建昼锦堂以为鉴诫，并未因富贵而夸耀，高节值得推崇。本幅又是所谓文征明书写题记，仇英绘图的合璧之作。苏州作坊多有这种形式的制作，优雅又具文化意涵，用来馈赠为官或显贵者，颇为恰当。画幅左方先图绘韩琦轻骑简装于返乡途中，接着越过山岭，则见到回到家中创建有昼锦堂的韩琦，正素衣凭几而坐。形成中国叙事画中所谓异时同图的表现方式。画家同时也采取了象征的手法，堂前的松树与堂",[24,114,63,193,26,115,27,118,7,30,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb655f51653565200dcbc0cddbe1a8ccf.jpg","192.7x 96.3",[51],211,{"id":1219,"slug":1220,"title":1221,"dynasty":18,"author":19,"museum":943,"description":1181,"tags":1222,"thumbUrl":1223,"material":47,"size":1186,"collection":148,"collections":1224,"showCount":1217,"zanCount":11,"manualWeight":11,"mainColor":54},216359,"xi-xiang-ji-tu-ye-6-chou-ying-216359","西厢记图页-6",[26,27,213,30,138,7,32,931,605,121,142,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F770eb7aaf55cdeaa8253a4ef63c814ab.jpg",[],{"id":1226,"slug":1227,"title":1228,"dynasty":157,"author":344,"museum":345,"description":346,"tags":1229,"thumbUrl":1230,"material":47,"size":349,"collection":148,"collections":1231,"showCount":1232,"zanCount":587,"manualWeight":11,"mainColor":54},214431,"xiu-yuan-tu-4-wang-yun-214431","休园图-4",[23,24,27,28,26,7,33,139,762,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a073b1ae9a5267aafce1e667ff03c94.jpg",[],210,{"id":1234,"slug":1235,"title":1236,"dynasty":89,"author":1167,"museum":135,"description":1237,"tags":1238,"thumbUrl":1239,"material":47,"size":1240,"collection":127,"collections":1241,"showCount":1242,"zanCount":587,"manualWeight":11,"mainColor":54},214748,"qu-jiang-tu-li-zhao-dao-214748","曲江图","李昭道（675年－758年），字希俊，陇西成纪 （今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[114,24,63,25,115,27,26,28,118,7,30,32,35,33,437,68,959],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","171.2x111.3",[127],208,{"id":1244,"slug":1245,"title":1246,"dynasty":18,"author":1247,"museum":943,"description":1248,"tags":1249,"thumbUrl":1250,"material":27,"size":148,"collection":51,"collections":1251,"showCount":1252,"zanCount":530,"manualWeight":11,"mainColor":54},219250,"chun-shan-you-qi-tu-tang-yin-219250","春山游骑图","唐寅","层岩叠嶂间，松涛与溪流相和。板桥之上，游骑缓行，衣袂带风；山间茅舍旁，雅士或谈或立，意趣悠然。山石勾勒劲挺，皴染兼具刚柔，尽显嶙峋之态；林木疏密有致，春枝带露，点点新红缀于枝桠，春意盎然。整幅画融自然之秀与人文之雅，藏着明代文人寄情山水的闲逸心怀——山行的清欢，友聚的惬意，都在笔墨间流转，每一处细节都似在诉说春日里与山水相逢的诗意。",[23,24,63,27,116,118,30,65,31,32,139,33,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9d535bdc2346ee40e7ff15b0a6f825.jpg",[51],199,{"id":1254,"slug":1255,"title":1256,"dynasty":58,"author":1257,"museum":135,"description":1258,"tags":1259,"thumbUrl":1260,"material":47,"size":1261,"collection":80,"collections":1262,"showCount":1263,"zanCount":630,"manualWeight":11,"mainColor":54},220440,"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","李嵩","这幅画描绘了神山海屋之中列仙相对而坐，童子搬筒筹开算，白鹤翔舞于祥云之上的情景。\n李嵩（1166-1243），宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190―1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。",[23,24,63,193,27,28,26,30,7,31,123,118,33,139,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[80,49,51],197,{"id":1265,"slug":1266,"title":1267,"dynasty":885,"author":886,"museum":135,"description":1268,"tags":1269,"thumbUrl":1270,"material":47,"size":1271,"collection":49,"collections":1272,"showCount":1263,"zanCount":630,"manualWeight":11,"mainColor":54},216989,"peng-lai-xian-hui-tu-hu-ting-hui-216989","蓬莱仙会图","本幅画描绘仙山之中，泉瀑奔泻其间。亭台楼阁沿着山势流泉而筑，有仙人道服持麈，端坐于榻上。石径上、殿阁中，另有仙人游荡徘徊。山石均先用粗笔钩绘轮廓，再以细笔作皴。晕染石青、石绿以外，更佐以泥金，赋彩金碧辉煌，益增仙境之佳妙。旧题订为元代胡廷晖（西元十三世纪后期），画幅右方虽有「胡廷晖制」款，但不真。整体风格，较近于明代中晚期，应系后世能手托名之作。",[114,24,27,28,26,116,118,7,31,30,538,194,121,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bf4df273b86d68444f76fb893c8d7d.jpg","201.5x121.8",[49,127],{"id":1274,"slug":1275,"title":1276,"dynasty":18,"author":19,"museum":418,"description":1277,"tags":1278,"thumbUrl":1279,"material":424,"size":1280,"collection":127,"collections":1281,"showCount":1282,"zanCount":630,"manualWeight":11,"mainColor":152},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,24,63,25,115,27,26,164,284,118,120,30,121,32,31,7,33,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[127,51],193,{"id":1284,"slug":1285,"title":1286,"dynasty":18,"author":19,"museum":135,"description":1287,"tags":1288,"thumbUrl":1289,"material":47,"size":1290,"collection":51,"collections":1291,"showCount":1282,"zanCount":11,"manualWeight":11,"mainColor":54},219315,"yuan-lin-qing-ke-tu-zhou-chou-ying-219315","园林清课图轴","林竹繁茂的乡野，有一座院落人家，院中布置著厅堂、房舍、书斋、作坊；穿过花篱是为园池区，馆舍、亭榭围绕池畔而构筑。有读书、涤砚、纺纱、游园等活动。使富有园林之胜的画面，充满雅逸的生活情趣。",[114,24,26,27,28,1047,7,118,33,30,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5236c98ca348fc2e3b6d92db44b00431.jpg","82.8x106.5",[51],{"id":1293,"slug":1294,"title":1295,"dynasty":58,"author":281,"museum":60,"description":1296,"tags":1297,"thumbUrl":1299,"material":1300,"size":1301,"collection":80,"collections":1302,"showCount":1303,"zanCount":587,"manualWeight":11,"mainColor":54},223549,"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,25,26,27,95,30,138,118,436,1298,123,33,139,7,65,194],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[80,49,51],192,{"id":1305,"slug":1306,"title":1307,"dynasty":18,"author":1308,"museum":210,"description":1309,"tags":1310,"thumbUrl":1316,"material":47,"size":1317,"collection":49,"collections":1318,"showCount":1303,"zanCount":598,"manualWeight":11,"mainColor":54},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[23,114,24,63,193,28,27,26,1311,7,258,30,65,1312,38,1313,98,1314,1315,33,68,69],"宫城","驴","城池","官员","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[49,51],{"id":1320,"slug":1321,"title":616,"dynasty":58,"author":369,"museum":135,"description":1322,"tags":1323,"thumbUrl":1325,"material":47,"size":1326,"collection":127,"collections":1327,"showCount":1303,"zanCount":587,"manualWeight":11,"mainColor":54},218867,"xue-jing-ma-yuan-218867","枝条扭曲而低垂，叶子被剥落，枝条像弯曲的铁一样结实，有马远的 拖枝法 和角落构图的传承。山丘和石头是用淡墨画的，没有用粉笔，表面用白粉染色，使整幅画雪亮。建筑物的门窗用破碎的、颤动的线条代替尺子来画，从外面可以看到内部的情况。高石和仆人男孩弯着脖子坐在火上取暖，使室内外充满了寒冷。",[23,24,63,27,26,118,7,30,422,1013,116,1324,373],"边角构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f0c0719bf8c7117400a007cafca3c6.jpg","26.7x27",[127],{"id":1329,"slug":1330,"title":1331,"dynasty":885,"author":1332,"museum":20,"description":1333,"tags":1334,"thumbUrl":1335,"material":47,"size":148,"collection":80,"collections":1336,"showCount":1337,"zanCount":598,"manualWeight":11,"mainColor":152},216755,"jin-ming-chi-zheng-biao-tu-wang-zhen-peng-216755","金明池争标图","王振鹏","金明池是一个传说中的美景，被描绘成一个异常和平的美景。王振鹏的作品中的人物都非常生动，表情丰富，使得整幅画面显得格外生动。金明池争标图是一幅非常珍贵的元朝时期的绘画作品，在当时非常受欢迎，被广泛流传。",[23,24,63,114,25,28,95,7,31,30,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F596dd6f3fd7a15f379a6919bf3078fae.jpg",[80],190,{"id":1339,"slug":1340,"title":1341,"dynasty":58,"author":268,"museum":135,"description":1342,"tags":1343,"thumbUrl":1345,"material":47,"size":1346,"collection":80,"collections":1347,"showCount":1348,"zanCount":630,"manualWeight":11,"mainColor":54},219430,"shan-zhuang-gao-yi-zhou-guo-xi-219430","山庄高逸轴","此图绘重峦峻岭，林木枯树，交错布列，楼阁村肆，环山抱水，景致宜人。构图以中央主峰为中心，画山石以宗北宋郭熙之云头皴为主，辅以董巨之短披麻，林木则呈蟹爪树法，画法可谓纯熟老练。貌虽似郭熙，然景物过于繁复琐碎，缺乏宋人撷取自然景物之写实精神与画法。",[24,114,193,118,162,116,139,422,7,31,32,120,421,1344,335],"村舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bde623440bfbc5ce33c5d2934788c7b.jpg","188.8x109.1",[80],187,{"id":1350,"slug":1351,"title":1352,"dynasty":157,"author":1353,"museum":806,"description":1354,"tags":1355,"thumbUrl":1364,"material":217,"size":148,"collection":49,"collections":1365,"showCount":1366,"zanCount":300,"manualWeight":11,"mainColor":152},218255,"shi-nv-ce-wu-jia-you-218255","仕女册","吴嘉猷","细腻笔触晕染出闺阁的温婉时光。仕女们或临窗研墨，或凭栏观鸟，或围坐品茗，或抚琴寄怀。庭院花木扶疏，轩窗屏风雅致，每一处细节都藏着东方生活的诗意。衣袂褶皱、器物纹理、人物神态皆被精心勾勒，尽显古代女性的娴静灵秀。一幅幅日常场景串联成流动画卷，将清人闺阁的雅致情趣与审美意趣悄然铺展，引人沉醉于那份古典的温柔与从容。笔墨间流淌的不仅是生活片段，更是东方美学里独有的温婉与雅致，让观者仿佛踏入时光回廊，触摸到古代仕女的细腻心境。",[23,24,213,26,27,509,138,39,7,1356,143,1357,123,1358,1359,1360,1361,1362,1363,144,1047],"轩窗","花木","抚琴","品茗","研墨","温婉","娴静","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fbf079b3eb908aacb932a649ab3bd75.jpg",[49],186,{"id":1368,"slug":1369,"title":1370,"dynasty":157,"author":344,"museum":345,"description":346,"tags":1371,"thumbUrl":1372,"material":47,"size":349,"collection":148,"collections":1373,"showCount":1374,"zanCount":11,"manualWeight":11,"mainColor":54},214433,"xiu-yuan-tu-2-wang-yun-214433","休园图-2",[23,24,63,118,27,26,116,139,422,121,7,616,33,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca2ad8d2e65071575f178ce231704c2.jpg",[],183,{"id":1376,"slug":1377,"title":1378,"dynasty":18,"author":19,"museum":943,"description":1181,"tags":1379,"thumbUrl":1382,"material":47,"size":1186,"collection":148,"collections":1383,"showCount":1384,"zanCount":11,"manualWeight":11,"mainColor":54},216360,"xi-xiang-ji-tu-ye-5-chou-ying-216360","西厢记图页-5",[24,27,26,28,213,30,39,7,538,1380,386,387,142,509,1381],"鹤","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43a5e3f5202e2bf3cce13b4a1c90134a.jpg",[],182,{"id":1386,"slug":1387,"title":1388,"dynasty":58,"author":59,"museum":60,"description":61,"tags":1389,"thumbUrl":1390,"material":78,"size":79,"collection":148,"collections":1391,"showCount":1392,"zanCount":11,"manualWeight":11,"mainColor":54},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[23,114,24,63,25,26,28,27,30,7,31,32,64,65,66,451,36,34,75,71,68,42,40,37,38,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg",[],181,{"id":1394,"slug":1395,"title":1396,"dynasty":18,"author":19,"museum":135,"description":1397,"tags":1398,"thumbUrl":1400,"material":820,"size":260,"collection":148,"collections":1401,"showCount":1402,"zanCount":11,"manualWeight":11,"mainColor":54},228437,"shang-lin-fu-tu-juan-chou-ying-228437","上林赋图卷","此幅图写司马相如上林赋意，卷末并附有署文徵明款之隶书全文。相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托",[23,24,114,63,25,115,27,26,118,30,7,538,123,139,33,623,1399,39,32],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9816e974a23c3473ddacef5f4392ab.jpg",[],180,{"id":1404,"slug":1405,"title":1406,"dynasty":885,"author":1032,"museum":135,"description":1407,"tags":1408,"thumbUrl":1411,"material":217,"size":1412,"collection":127,"collections":1413,"showCount":1402,"zanCount":587,"manualWeight":11,"mainColor":152},220808,"ju-qu-lin-wu-zhou-wang-meng-220808","具区林屋轴","此幅林画面的此署署名是王蒙以隶书题的「具具」四字，底下明为章画，具区的古时太湖的旧称，故图所表现的是太湖一代的景色。\n全图除了溪石之外，几乎被山石、树木、林间茅舍补充的没有轮廓，这种风格的构图方式在中国流淌的绘画作品中极为重要，开拓出国画构图之奇境。\n王大湖山中截面积，提炼加工，组织这幅极富生活情趣的画面：右富一坡角，数株大并列蒙其间，林下有高士临水而坐，犹如正摄着着橱窗的广告。\n水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人坐其间看书；山间小路迂回，曲径通幽，数栋屋宇内参差落于山谷，有妇女活动其间。\n内山石用「牛毛皴」与解索皴」干笔皴擦，多曲折旋转之笔，以突显出太湖中央山石的颜色；染则用墨与色直接染，丹崖碧树，一派秋日山水景象。",[23,24,63,193,27,118,116,139,32,33,7,1409,197,1410],"红叶","木屋","https:\u002F\u002Foss.chuangqi.sto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。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,114,24,63,25,29,28,26,27,118,7,31,32,120,121,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[80,127,82],{"id":1445,"slug":1446,"title":1447,"dynasty":58,"author":59,"museum":135,"description":1448,"tags":1449,"thumbUrl":1452,"material":27,"size":1453,"collection":80,"collections":1454,"showCount":1455,"zanCount":630,"manualWeight":11,"mainColor":54},221319,"qing-ming-yi-jian-tu-juan-zhang-ze-duan-221319","清明易简图卷","在画卷尾端的山石上有“翰林画史臣张择端进呈”签名，台湾中研院刘渊临认为其代表“金人入主汴京时的短时间风格”。北宋风俗画作品，北宋画家张择端所作。它生动地记录了中国十二世纪城市生活的面貌，是一幅举世闻名的现实主义风俗画卷。",[23,114,24,63,25,26,28,95,27,30,68,35,7,67,36,37,71,33,38,44,1450,1451],"民俗","宋代风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2dad2c8025aad97b6171fce959ff9.jpg","该幅 38x673.4公分；隔水一 38x14.5公分；引首一 38x98.5公分；隔水二 38x14.3公分；引首二 38x50.9公分；隔水三 38x14.2 公分；隔水四 38x14.2公分；拖尾一 36x50.8公分；隔水五 14.2公分；拖尾二 28.2x55.2公分；隔水六 14.2公分。",[80,51],177,{"id":1457,"slug":1458,"title":1459,"dynasty":157,"author":1460,"museum":20,"description":1461,"tags":1462,"thumbUrl":1465,"material":47,"size":1466,"collection":49,"collections":1467,"showCount":1468,"zanCount":709,"manualWeight":11,"mainColor":54},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,25,26,27,116,118,30,7,31,32,121,33,1463,1464,43,65,71,196,194],"山脉","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[49,127],175,{"id":1470,"slug":1471,"title":1472,"dynasty":58,"author":281,"museum":943,"description":282,"tags":1473,"thumbUrl":1474,"material":47,"size":1475,"collection":49,"collections":1476,"showCount":1468,"zanCount":11,"manualWeight":11,"mainColor":152},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图",[23,24,63,25,29,27,95,26,30,138,118,120,7,33,1171,139,860,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[49],{"id":1478,"slug":1479,"title":1480,"dynasty":89,"author":548,"museum":210,"description":1481,"tags":1482,"thumbUrl":1483,"material":47,"size":1484,"collection":127,"collections":1485,"showCount":1486,"zanCount":587,"manualWeight":11,"mainColor":499},219766,"qing-lv-shan-shui-tu-li-si-xun-219766","青绿山水图","李思训（651-716，一作653-718）唐代书画家。字建睍，一作建景。出身唐宗室。唐高祖从弟长平王李叔良孙，李孝斌子。陇西成纪(今甘肃天水市)人。唐高宗(650-683)时为江都令，武则天朝(684-704)弃官潜匿，唐中宗朝出为宗正卿，唐玄宗开元初，官至左武卫大将军，因玄宗时官至右武卫大将军，所以被称为“大李将军”。擅画青绿山水，受展子虔的影响，笔力遒劲。题材上多表现幽居之所。传为他的作品有台北故宫博物院藏的《江帆楼阁图》轴，画游人在江边活动，以细笔勾勒山石轮廓，赋重青绿色，富于装饰性。此画虽今被认定为宋人手笔，但可以反映他的画风。他的儿子李昭道，官至太子中舍人，也是著名的画家，人称“小李将军”，秉承家学，亦擅青绿山水，风格工巧繁缛。藏于台北故宫博物院的《明皇幸蜀图》画唐玄宗及随从逃难四川的情形，宋以来相传为他的作品，现被断为宋人摹本。此派的山水风格，在初唐的章怀太子墓和懿德太子墓壁画中亦可看到。",[23,114,24,63,193,115,27,26,28,118,7,33,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d907e9ba09310c5bbacf3e00fd591b.jpg","纵 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Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,193,27,26,28,30,7,39,1514,538,1515,616,1516,1517,1518],"雪山","梅","岁朝行乐","宫廷","欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7cec0bd92f397ff05871378734d78.jpg",[],171,{"id":1523,"slug":1524,"title":1525,"dynasty":18,"author":319,"museum":332,"description":333,"tags":1526,"thumbUrl":1527,"material":312,"size":337,"collection":148,"collections":1528,"showCount":1521,"zanCount":11,"manualWeight":11,"mainColor":152},220065,"hu-qiu-shi-er-jing-tu-ce-2-shen-zhou-220065","虎丘十二景图册-2",[23,24,162,116,213,28,118,7,121,30,33,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb0d3e152596b1384655b09d2103c65.jpg",[],{"id":1530,"slug":1531,"title":1532,"dynasty":58,"author":369,"museum":135,"description":1533,"tags":1534,"thumbUrl":1536,"material":626,"size":1537,"collection":80,"collections":1538,"showCount":1521,"zanCount":11,"manualWeight":11,"mainColor":152},218868,"he-gan-xu-ge-tu-ma-yuan-218868","河干虚阁图","这幅画描绘了一个站在河岸桂花树下的亭子，远处的柳树岸上有一个雕花的栅栏和一个月亮。这幅画在笔法和形式上都是马远的典型风格。",[23,24,1535,118,28,7,33,139,116,162,27,32],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78455ff7832d3c26e3468c39f388dd57.jpg","22.1x24.3",[80],{"id":1540,"slug":1541,"title":1542,"dynasty":885,"author":1543,"museum":1544,"description":1545,"tags":1546,"thumbUrl":1550,"material":217,"size":1551,"collection":127,"collections":1552,"showCount":1521,"zanCount":587,"manualWeight":11,"mainColor":54},218258,"shan-xi-fang-dai-tu-huang-gong-wang-218258","剡溪访戴图","黄公望","云南省博物馆","《剡溪仿戴图轴》为黄公望晚年所作，描绘的是晋代著名书法家王羲之访问友人戴逵的故事。王羲之行船至剡溪，被途中雪景所吸引，一路慢行欣赏，在他将要到达目的地时，觉已尽兴，于是返回而未见友人。图中，蜿蜒溪水中有一叶小舟正使出村庄，小舟中坐有一人，拢袖御寒，船夫正用力划桨。\n整幅画面萧瑟寂冷，寒气逼人。画中山石、枯枝以“留白”的形式来表现被大雪覆盖，岩石上以浓墨点写枯树枝桠，更显萧瑟。山石堆叠，结构繁复，但用笔简洁，以淡墨为主，只在山石间的深凹处略加枯墨皴擦，空灵之感油然而生。山脚下庭院积雪，空无一人，更显寂寥。",[24,114,63,162,116,118,139,120,33,7,422,616,1547,1048,197,1548,623,1549],"崖壁","寒林","层岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087820b95e4e9ded3f3d19b0cdb20388.jpg","76.6x55.3cm",[127],{"id":1554,"slug":1555,"title":1556,"dynasty":157,"author":1557,"museum":135,"description":1558,"tags":1559,"thumbUrl":1560,"material":217,"size":1561,"collection":127,"collections":1562,"showCount":1563,"zanCount":587,"manualWeight":11,"mainColor":152},219533,"hui-yu-bi-zhong-qiu-tie-zi-shi-dong-bang-da-219533","绘御笔中秋帖子诗","董邦达","《中秋帖子词卷》是清代宫廷艺术的集大成之作，主要分为三部分：乾隆御笔题序、董邦达据乾隆词意绘画的山水画，以及内廷翰林据帖子词韵附和创作的诗文，并由大臣汪由敦抄写。卷中书画合壁，内容丰富，从这君臣和唱的山水诗画巨制中，可见乾隆皇在位初期锐意开创崭新气象的雄心壮志。",[24,27,118,30,121,7,33,139,284,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3831ec7dcdcdc2b2a1575be43d6b2da6.jpg","95.4x66.2厘米",[127],167,{"id":1565,"slug":1566,"title":1567,"dynasty":157,"author":504,"museum":345,"description":505,"tags":1568,"thumbUrl":1572,"material":424,"size":516,"collection":148,"collections":1573,"showCount":1574,"zanCount":11,"manualWeight":11,"mainColor":152},288381,"jing-huan-xian-qu-yan-hong-lou-meng-sun-wen-288381","警幻仙曲演红楼梦",[23,24,26,27,30,7,96,138,1569,1570,1571],"红楼题材","神话场景","仙乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa4413a9b7eda96a32622f5f6b8c0eb8.jpg",[],166,{"id":1576,"slug":1577,"title":1578,"dynasty":885,"author":886,"museum":269,"description":1579,"tags":1580,"thumbUrl":1582,"material":47,"size":148,"collection":127,"collections":1583,"showCount":1584,"zanCount":630,"manualWeight":11,"mainColor":54},220127,"mo-zhao-qian-li-qing-lv-shan-shui-hu-ting-hui-220127","摹赵千里青绿山水","以大青绿设色晕染山峦，石青石绿的厚重色调铺陈出苍古秀润的山川气象。主峰巍峨盘踞，山石勾勒填色间施皴擦，棱角分明又兼具温润质感，层叠峰峦拉开深远空间。\n山间隐现殿宇屋舍，林麓古木森郁，水岸板桥横陈，汀渚渔舟、江亭雅集错落点缀，将隐逸悠然的山居意趣融于山水烟岚之中。\n追摹北宋青绿山水的精工雅致，又裹挟元代山水画的萧散意韵，用色浓丽却不俗艳，勾勒细劲沉稳，章法严整兼具宏阔格局与细腻文心，尽显青绿山水的古典意涵与雅致格调。",[23,24,115,27,29,118,139,33,71,31,120,1581,7],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a4204ffb83c828eabda3ee5617bad2.jpg",[127],162,{"id":1586,"slug":1587,"title":1588,"dynasty":58,"author":1589,"museum":135,"description":1590,"tags":1591,"thumbUrl":1600,"material":820,"size":1601,"collection":834,"collections":1602,"showCount":1603,"zanCount":530,"manualWeight":11,"mainColor":106},221272,"song-feng-ge-shi-huang-ting-jian-221272","松风阁诗","黄庭坚","松风阁在湖北省鄂州市之西的西山灵泉寺附近，海拔160多米，古称樊山，是当年孙权讲武修文、宴饮祭天的地方。宋徽宗崇宁元年（1102）九月，黄庭坚与朋友游鄂城樊山，途经松林间一座亭阁，在此过夜，听松涛而成韵。",[23,284,164,117,230,1592,774,1593,1594,1595,1596,1597,1598,1599,7],"泉","川","野僧","寒溪","坡道","夜","雨","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42961cbb5e0e34b9ca3df7fc4aa599c5.jpg","纵32．8厘米 横219．2厘米",[834],161,{"id":1605,"slug":1606,"title":1607,"dynasty":18,"author":19,"museum":433,"description":1608,"tags":1609,"thumbUrl":1610,"material":495,"size":496,"collection":148,"collections":1611,"showCount":1612,"zanCount":587,"manualWeight":11,"mainColor":54},287927,"qing-ming-shang-he-tu-ju-bu-chou-ying-287927","清明上河图(局部)","《清明上河图》是明代画家仇英创作的一幅重彩风俗画作品，现收藏于辽宁省博物馆。 现存世作品《清明上河图》有多本传为仇英所作，除此卷外，另有青州市博物馆藏本 ，台北故宫博物院藏本 ，以及多本流落私人之手。而辽宁省博物馆藏的此卷《清明上河图》，流传有绪，现学术界一般认为其为仇英真迹。\n此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。\n此卷《清明上河图》代表了后世《清明上河图》题材创作的典型风格和最高水平。既是中国古代绘画史上承前启后的风俗巨作，也是研究明代中后期社会生活和文化史的有力图证。",[114,24,25,27,26,30,7,31,32,436,65,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286e97dc6c0f4fdbe8f31d7811db1c6.jpg",[],159,{"id":1614,"slug":1615,"title":1616,"dynasty":89,"author":1617,"museum":943,"description":1618,"tags":1619,"thumbUrl":1620,"material":47,"size":1621,"collection":49,"collections":1622,"showCount":1623,"zanCount":587,"manualWeight":11,"mainColor":499},218270,"wei-mo-yan-jiao-tu-zhou-fang-218270","维摩演教图","周昉","文殊菩萨和维摩诘一直是绘画的常见主题。这幅画在一个宏大而丰富的场景中展示了大量的人物。在这幅画中，弟子们和文殊菩萨的马聚集在寺庙前，一位天女乘云而起，在寺庙中央，维摩诘和文殊菩萨在沙发上正在进行辩论。虽然画家也试图再现维摩诘的 清秀、脆弱和病态的外表，但花园和亭子的画法非常细致和细腻，是对当时文人和学者的家庭生活的歪曲表现。",[23,24,26,27,94,193,30,7,33,139,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44bcbc35fc6a4d4d7c2ebfa883cf4d08.jpg","113.5x41.8",[49],157,{"id":1625,"slug":1626,"title":534,"dynasty":157,"author":281,"museum":60,"description":535,"tags":1627,"thumbUrl":1629,"material":180,"size":181,"collection":148,"collections":1630,"showCount":1631,"zanCount":11,"manualWeight":11,"mainColor":152},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167",[24,63,115,27,26,118,7,31,32,121,30,33,931,139,463,539,142,1628,39],"回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg",[],156,{"id":1633,"slug":1634,"title":1635,"dynasty":157,"author":1460,"museum":269,"description":1636,"tags":1637,"thumbUrl":1640,"material":217,"size":148,"collection":127,"collections":1641,"showCount":1642,"zanCount":11,"manualWeight":11,"mainColor":54},214603,"fang-gu-shan-shui-ce-wang-hui-214603","仿古山水册","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,162,116,1638,118,774,775,451,422,197,421,1639,7,213],"仿古","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97c1595d846d11221e221903e359a62.jpg",[127],155,{"id":1644,"slug":1645,"title":1646,"dynasty":58,"author":1257,"museum":135,"description":1647,"tags":1648,"thumbUrl":1649,"material":47,"size":1650,"collection":80,"collections":1651,"showCount":1652,"zanCount":530,"manualWeight":11,"mainColor":152},218926,"tian-zhong-shui-xi-tu-li-song-218926","天中水戏图","这幅画表现的是一艘用金色画成的巨大龙舟，上面有雕梁画栋和花窗装饰，宏伟而精致。龙头高耸，眉毛突出，张牙舞爪，舌头张开，船身密布鳞片，船尾高度弯曲上翘，给人一种威严的形象。",[23,24,114,63,213,28,27,26,7,1298,436,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cc9b39f9dfd96d1ccdd35955b36a94.jpg","24.5x25.1",[80],154,{"id":1654,"slug":1655,"title":1656,"dynasty":58,"author":523,"museum":433,"description":1657,"tags":1658,"thumbUrl":1659,"material":247,"size":1660,"collection":80,"collections":1661,"showCount":1662,"zanCount":11,"manualWeight":11,"mainColor":54},221404,"bai-miao-shi-nv-tu-li-gong-lin-221404","白描仕女图","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,63,114,95,30,138,7,1515,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f89ca0cf650498658e9f6d3c15a75dd.jpg","30x30厘米",[80,49,82],153,{"id":1664,"slug":1665,"title":1666,"dynasty":18,"author":1247,"museum":20,"description":1667,"tags":1668,"thumbUrl":1670,"material":47,"size":1671,"collection":127,"collections":1672,"showCount":1662,"zanCount":630,"manualWeight":11,"mainColor":54},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,24,63,25,162,27,118,26,116,164,117,31,32,121,7,120,123,30,373,1669,272,385],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[127,51],{"id":1674,"slug":1675,"title":368,"dynasty":58,"author":369,"museum":60,"description":370,"tags":1676,"thumbUrl":1679,"material":180,"size":375,"collection":148,"collections":1680,"showCount":1681,"zanCount":11,"manualWeight":11,"mainColor":54},233880,"ta-ge-tu-zhou-ma-yuan-233880",[24,114,193,162,27,118,139,33,422,1677,30,7,194,32,116,1678],"小路","斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef222b397a3288ca11990ad05068a142.jpg",[],151,{"id":1683,"slug":1684,"title":1685,"dynasty":157,"author":1686,"museum":433,"description":1687,"tags":1688,"thumbUrl":1689,"material":495,"size":496,"collection":148,"collections":1690,"showCount":1691,"zanCount":587,"manualWeight":11,"mainColor":152},290531,"wan-heng-xiang-xue-zhou-yun-shou-ping-290531","万横香雪轴","恽寿平","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,193,114,118,1515,7,31,32,120,373,284,117,27,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908e37e2018eaa4c032769f68c2bc093.jpg",[],150,{"id":1693,"slug":1694,"title":1695,"dynasty":58,"author":369,"museum":433,"description":1696,"tags":1697,"thumbUrl":1701,"material":495,"size":496,"collection":148,"collections":1702,"showCount":1691,"zanCount":587,"manualWeight":11,"mainColor":54},288321,"xi-yuan-ya-ji-tu-ma-yuan-288321","西园雅集图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,114,24,25,162,30,118,538,422,421,139,7,31,32,1698,436,1115,1699,1700],"竹丛","文人雅集","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6165e95977efed01ca7108e9daefd.jpg",[],{"id":1704,"slug":1705,"title":1134,"dynasty":157,"author":1706,"museum":345,"description":1707,"tags":1708,"thumbUrl":1710,"material":47,"size":1711,"collection":127,"collections":1712,"showCount":1691,"zanCount":530,"manualWeight":11,"mainColor":54},218715,"peng-lai-xian-jing-tu-xu-wen-218715","徐玟","这幅青绿山水边框画属于赵伯驹、赵孟頫、仇英一脉，山石皴擦少，傅色细雅，边框画精美。",[23,24,27,28,26,118,7,33,194,1709],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5656eb494ec10d4f4e9a3529db76a4.jpg","172x100cm",[127],{"id":1714,"slug":1715,"title":1716,"dynasty":885,"author":281,"museum":60,"description":1717,"tags":1718,"thumbUrl":1719,"material":47,"size":1720,"collection":127,"collections":1721,"showCount":1722,"zanCount":630,"manualWeight":11,"mainColor":54},214314,"dong-shan-si-zhu-tu-yi-ming-214314","东山丝竹图","此图画东晋谢安东山丝竹故事。\n图绘崇山峻岭，连绵不绝，云雾缭绕，溪流蜿蜒山间。下部绘庭院一座，华屋数楹，院中仕女多抱管弦乐器，院外主人正携仆恭迎远来的贵宾们。全图表现了谢安迎客于东山、丝竹管弦高奏的情节，动态鲜明，仿佛有丝丝乐声流溢而出。而山水佳景清逸幽雅，衬托出主人高逸的情怀。图中人物刻画细腻，画法近于元末盛懋一路，具体作者不得而知。",[23,24,63,27,118,116,30,7,33,32,121,1204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b23ad1f9ddfe456c8d38d90674e4715.jpg","纵188.5厘米，横103.3厘米",[127],149,{"id":1724,"slug":1725,"title":1726,"dynasty":58,"author":702,"museum":433,"description":1727,"tags":1728,"thumbUrl":1729,"material":148,"size":148,"collection":148,"collections":1730,"showCount":1731,"zanCount":530,"manualWeight":11,"mainColor":54},227537,"chao-yuan-xian-zhang-tu-quan-tu-wu-zong-yuan-227537","朝元仙仗图全图","《朝元仙仗图》为北宋宗教画家武宗元所绘制的一幅绢本白描长卷，曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。",[23,24,94,95,25,30,7,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff20def5f9abc833a0d5a4c488f47d5ad.jpg",[],147,{"id":1733,"slug":1734,"title":1735,"dynasty":58,"author":281,"museum":1736,"description":1737,"tags":1738,"thumbUrl":1739,"material":47,"size":1740,"collection":127,"collections":1741,"showCount":1731,"zanCount":630,"manualWeight":11,"mainColor":54},218232,"jiang-tian-lou-ge-tu-yi-ming-218232","江天楼阁图","南京博物馆","此图无款印，写江天坡石，远山楼阁，舟船人物，松枝虬劲。精致生动。可看出典型的“马夏”式构图，取一角之景，加以远山的绵延起伏，浩渺深远，意境深幽，为画面的水天一色注入了新的活力。",[24,63,193,28,162,27,118,7,120,373,1639,64,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5919d4dd7f42021aba4be1549a9e9aa1.jpg","纵97.4厘米，横54.6厘米",[127],{"id":1743,"slug":1744,"title":1745,"dynasty":58,"author":1257,"museum":135,"description":1746,"tags":1747,"thumbUrl":1749,"material":47,"size":1750,"collection":80,"collections":1751,"showCount":1752,"zanCount":587,"manualWeight":11,"mainColor":54},220253,"fen-xiang-zhu-sheng-tu-li-song-220253","焚香祝圣图","描绘了依山临水的华美殿阁之中，一白衣男子携女眷焚香礼拜之景。画作巧妙运用远观视角，将画栋飞甍、风帘翠幕置于月色流转与烛影摇曳之间，望之宛如琼楼仙馆，绮丽艳逸。此图据称是依据南宋皇家园林绘制而成，画面细致地再现了南宋宫苑建筑的风格与细节，史学价值极高。",[23,24,114,63,28,27,26,94,30,7,451,1748,117],"台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9f3c35ee5b3ba72fc5b5432c4379a8.jpg","纵24.8厘米，横25.8厘米",[80],146,{"id":1754,"slug":1755,"title":1756,"dynasty":157,"author":1460,"museum":135,"description":1757,"tags":1758,"thumbUrl":1760,"material":217,"size":1761,"collection":127,"collections":1762,"showCount":1763,"zanCount":587,"manualWeight":11,"mainColor":54},220374,"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔， 既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[23,24,63,193,27,118,1759,139,421,32,7,33,117,284,164,116],"红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[127,51],144,{"id":1765,"slug":1766,"title":1480,"dynasty":157,"author":1767,"museum":60,"description":1768,"tags":1769,"thumbUrl":1770,"material":47,"size":1771,"collection":127,"collections":1772,"showCount":1763,"zanCount":630,"manualWeight":11,"mainColor":499},219222,"qing-lv-shan-shui-tu-xie-sun-219222","谢荪","图绘近景溪水岸边房舍错落；远处高山耸立，林木繁茂。构图深远、高远兼备，富有空间层次变化。用笔工整细密，山石树木以石青石绿点染，画风清丽淡雅。此图与传统的青绿山水相比较，更多一分清新明快，是谢荪山水画的代表作",[23,24,63,115,27,118,33,139,32,7,75,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fcff4bf8950f827d1dc39bf1bc74fe.jpg","纵157.2厘米，横52.6厘米",[127],{"id":1774,"slug":1775,"title":1776,"dynasty":58,"author":1777,"museum":433,"description":1778,"tags":1779,"thumbUrl":1780,"material":148,"size":148,"collection":148,"collections":1781,"showCount":1782,"zanCount":587,"manualWeight":11,"mainColor":54},227516,"wang-wei-shi-yi-tu-li-zhou-mi-fei-227516","王维诗意图立轴","米芾","米芾，字元章，号鹿门居士、襄阳漫士、海岳外史，北宋著名大书画家，鉴藏家。祖籍太原，后迁居襄阳，人称“米襄阳”。宣和年间为徽宗赵佶召为书画学博士。\n\n米芾能诗擅文，书画尤具功力。篆、隶、行、草、楷各体皆能，行草造诣尤高。芾自云学过各家各派，但从其作品观之，得王献之、释智永二家最多。其书淋漓痛快，隽雅奇变，晚年书艺更达至炉火纯青之境。与苏轼、黄庭坚、蔡襄合称“宋四家”。",[23,24,193,162,118,116,33,32,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ca00f8b933044d132ee6e26db3b619.jpg",[],143,{"id":1784,"slug":1785,"title":1786,"dynasty":58,"author":369,"museum":433,"description":1787,"tags":1788,"thumbUrl":1789,"material":232,"size":1790,"collection":82,"collections":1791,"showCount":1782,"zanCount":587,"manualWeight":11,"mainColor":152},218564,"song-gao-zong-yu-zhi-xi-gong-yan-tu-ma-yuan-218564","宋高宗御制西宫宴图","马远绘侍宴图传世三件中的其中一幅",[24,114,63,193,28,162,118,7,538,139,33,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b00e67510889e575c54629198f5565.jpg","122.5x52.2",[82],{"id":1793,"slug":1794,"title":1795,"dynasty":157,"author":1796,"museum":433,"description":1797,"tags":1798,"thumbUrl":1802,"material":148,"size":148,"collection":148,"collections":1803,"showCount":1804,"zanCount":709,"manualWeight":11,"mainColor":54},229035,"yue-man-qing-you-tu-ce-chen-mei-229035","月曼清游图册","陈枚","此作工致细腻，庭院春梅如云盛放，元宵宫灯悬于枝梢檐下，晕开融融暖意。楼下女眷三两围聚，私语笑谈，情态温婉柔媚；楼上闺人凭窗远眺，共赏灯景。设色明妍柔丽，线条精细雅致，将深闺女子元宵嬉游的闲雅意趣尽数铺展，仕女的温婉仪容、娇柔神态刻画入微，带着院体画的精致考究，晕染出古典深闺的春日雅兴，尽显清代仕女画的典雅意韵。",[23,114,24,213,26,27,30,509,138,1515,1799,39,7,1800,1801],"宫灯","闲雅","仕女画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029ff8b8e58621845ff72b54766a782f.jpg",[],141,{"id":1806,"slug":1807,"title":1808,"dynasty":18,"author":319,"museum":806,"description":1809,"tags":1810,"thumbUrl":1811,"material":47,"size":1812,"collection":127,"collections":1813,"showCount":1814,"zanCount":598,"manualWeight":11,"mainColor":54},218247,"lin-dai-wen-jin-xie-an-dong-shan-tu-shen-zhou-218247","临戴文进谢安东山图","沈周（1427-1509年），字启南，号石田、白石翁，苏州人，不应科举，以诗文书画为事，山水师黄公望、吴镇，书法法黄庭坚，名重一时，吴中名家如文徵明、唐寅等都出其门下。与文徵明、唐寅、仇英合称“明四家”。\n本图是沈周五十四岁时所作，临摹的是比他略早的浙派著名画家戴进的《谢安东山图》，描绘东晋著名宰相谢安隐居东山时，携妓出游，纵情山水的情景。\n沈周的山水画，师法元代黄公望与吴镇，远溯五代董源、巨然，而戴进宗法的是南宋马远、夏圭，以风格而论，一为南方山水与水墨画的传统，一为北方山水与宫廷著色画的传统。沈周画多仿元人，此画风格在他的作品中既是一件孤品，也是一件奇品，堪称绝无仅有。\n此图高头大轴，青绿设色，山石轮廓明朗，皴笔似马牙、卷云而不若其蜷曲，似斧劈而不若其方硬，似披麻而不若其疏放绵长，这种皴法与戴进常用的源自马、夏的长斧劈皴不同，融合了南、北方山水的皴法特点。图画设色明朗鲜润，一部分山石近乎空勾，是宋代以来大青绿的设色方法。沈周一生所作山水，多为水墨，亦有浅绛，如此大轴青绿，实属平生仅见。其中人物亦造型端庄，服饰俨然，线条健爽，是明人追绍宋代院体画的风格。\n沈周此图或属偶一为之，却显示出画家不拘于一格的绘画能力以及兼收并蓄，广采博纳的眼界与胸襟。\n根据翁同龢1902年的日记，此画是翁氏因戊戌之变被黜归里后，其旧仆李元为其在北京购得的。",[23,24,63,114,193,27,118,30,7,538,139,421,33,196,29,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4136bf4cc51a9c489487d6a27dbe7d3a.jpg","纵170.0厘米，横89.0厘米",[127],139,{"id":1816,"slug":1817,"title":1818,"dynasty":18,"author":319,"museum":332,"description":333,"tags":1819,"thumbUrl":1820,"material":312,"size":337,"collection":148,"collections":1821,"showCount":1822,"zanCount":587,"manualWeight":11,"mainColor":152},220064,"hu-qiu-shi-er-jing-tu-ce-3-shen-zhou-220064","虎丘十二景图册-3",[23,114,24,63,213,162,116,118,7,605,538,31,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111612596e2e7ea00726bc18bd6e599c.jpg",[],138,{"id":1824,"slug":1825,"title":1826,"dynasty":18,"author":319,"museum":332,"description":333,"tags":1827,"thumbUrl":1830,"material":312,"size":337,"collection":148,"collections":1831,"showCount":1832,"zanCount":11,"manualWeight":11,"mainColor":54},220063,"hu-qiu-shi-er-jing-tu-ce-4-shen-zhou-220063","虎丘十二景图册-4",[23,24,114,213,162,118,121,7,30,33,1828,1829,116],"围墙","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bce900b7fa22a36598aac7aa31efa9d.jpg",[],137,{"id":1834,"slug":1835,"title":1836,"dynasty":89,"author":548,"museum":60,"description":1837,"tags":1838,"thumbUrl":1841,"material":424,"size":1842,"collection":49,"collections":1843,"showCount":1844,"zanCount":630,"manualWeight":11,"mainColor":54},221136,"yu-yuan-cai-lian-tu-li-si-xun-221136","御苑采莲图","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网格水纹，辉煌明丽，富有装饰性。此卷为吴景洲先生于1947年倾囊得之，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,24,115,27,26,28,118,7,30,31,32,931,33,139,258,1839,1840],"莲","采莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0bbca3f486b9ed26103a6d871d1d0e.jpg","23.90x77.20cm",[49,51],136,{"id":1846,"slug":1847,"title":1848,"dynasty":18,"author":19,"museum":135,"description":1849,"tags":1850,"thumbUrl":1852,"material":232,"size":1853,"collection":49,"collections":1854,"showCount":1844,"zanCount":530,"manualWeight":11,"mainColor":152},219534,"qi-qiao-tu-chou-ying-219534","乞巧图","七夕又称为「乞巧节」、「女儿节」，最重要的习俗是妇女的乞巧活动。到七夕晚上，妇女们用彩线穿七孔针，在庭院中摆设香案，上有瓜果、鲜花、酒、针线等，向织女乞巧，在宋代还会摆上一种手捏的小泥人儿「磨喝乐」作为供奉神灵。这幅画的便是妇女乞巧的活动，星星高挂于天空，妇女群聚在庭院中，对着星空祭拜，衷心祈望自已能像织女般工巧，其中还有妇女对着星空穿针，\n全幅以白描为主，人物清雅，但用笔较为软弱无力，与仇英精致细腻的笔法大不相同，应非其所作。\n仇英（约一四九四－一五五二），江苏太仓人。字实父，号十洲。年轻时为漆工，后遇周臣赏识其才华，给予指导，而后成名。精工山水人物画，又善于临摹古画，几可乱真，作品具有院画之精丽而有士气。是明代四大画家之一。",[23,24,63,25,26,27,164,284,30,138,7,39,408,1851],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd953712315a9e475c8de8c4fb11fdb.jpg","27.9x388.3厘米",[49],{"id":1856,"slug":1857,"title":1858,"dynasty":157,"author":281,"museum":433,"description":1859,"tags":1860,"thumbUrl":1863,"material":495,"size":496,"collection":148,"collections":1864,"showCount":1865,"zanCount":11,"manualWeight":11,"mainColor":152},263687,"ke-si-chou-ying-hou-chi-bi-fu-tu-juan-yi-ming-263687","缂丝仇英后赤壁赋图卷","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,25,1861,24,63,115,27,118,30,7,120,123,32,1862,422,139,39,1699,117,284],"缂丝","亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":1867,"slug":1868,"title":1428,"dynasty":157,"author":281,"museum":60,"description":535,"tags":1869,"thumbUrl":1874,"material":180,"size":181,"collection":148,"collections":1875,"showCount":1865,"zanCount":11,"manualWeight":11,"mainColor":54},236169,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236169",[24,27,26,28,118,7,1047,30,437,139,33,537,1870,1871,1872,1873,1700],"宫廷生活","节令风俗","中式建筑","西式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff841a07266c24ab45bc115c2dd2f7821.jpg",[],{"id":1877,"slug":1878,"title":1879,"dynasty":18,"author":1880,"museum":190,"description":1881,"tags":1882,"thumbUrl":1883,"material":166,"size":1884,"collection":127,"collections":1885,"showCount":1865,"zanCount":530,"manualWeight":11,"mainColor":54},222073,"ming-huang-xing-shu-tu-wu-bin-222073","明皇幸蜀图","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[23,24,63,118,27,26,116,30,65,7,31,32,139,421,33,272,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f879903396d07b9e64c58c5d2acea.jpg","65x112 厘米",[127,51],{"id":1887,"slug":1888,"title":1889,"dynasty":157,"author":209,"museum":433,"description":1890,"tags":1891,"thumbUrl":1892,"material":495,"size":496,"collection":127,"collections":1893,"showCount":1894,"zanCount":587,"manualWeight":11,"mainColor":54},235515,"yuan-ji-shan-shui-tu-ce-shi-tao-235515","原济山水图册","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,162,116,213,118,31,33,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff14a3da145e6ba299fd3a7795c0f342c.jpg",[127,82],134,{"id":1896,"slug":1897,"title":1898,"dynasty":157,"author":1899,"museum":60,"description":1900,"tags":1901,"thumbUrl":1902,"material":180,"size":1903,"collection":49,"collections":1904,"showCount":1894,"zanCount":709,"manualWeight":11,"mainColor":54},234307,"li-chao-xian-hou-gu-shi-tu-ce-jiao-bing-zhen-234307","历朝贤后故事图册","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。",[114,24,63,213,26,27,28,30,138,7,121,33,387,118,39,1851,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c34017010e0ed0cafb36850368bb3c4.jpg","纵30.8厘米，横37.4厘米",[49,51],{"id":1906,"slug":1907,"title":1428,"dynasty":157,"author":281,"museum":60,"description":535,"tags":1908,"thumbUrl":1909,"material":180,"size":181,"collection":148,"collections":1910,"showCount":1911,"zanCount":11,"manualWeight":11,"mainColor":54},236171,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236171",[24,27,26,28,118,30,7,39,119,139,121,32,33,1628,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa7b59ca91897a30691a9a29a57869a.jpg",[],133,{"id":1913,"slug":1914,"title":1915,"dynasty":157,"author":1124,"museum":190,"description":1916,"tags":1917,"thumbUrl":1921,"material":312,"size":1922,"collection":127,"collections":1923,"showCount":1911,"zanCount":11,"manualWeight":11,"mainColor":106},224481,"fu-chun-shan-ju-tu-wang-jian-224481","富春山居图","《富春山居图》轴仿作即深得黄公望用笔之妙，虚实、粗细、轻重、缓急富有变化，恰当地表现了前后景致的空间距离和起承转合；细润中锋含蓄流畅，山川景象清旷深秀。作品以笔墨形式为主体，创造出了优美动人的境界。该轴作于1658年，王鉴时年61岁，正是其绘画技法鼎盛时期。\n此幅富春山居图，而作立轴，并染以浅绛色。笔墨交融，敷色清雅，表达了王鉴对前辈大师经典的敬佩之情。",[23,114,24,63,193,162,27,1918,118,32,7,139,33,116,29,1919,1920],"浅绛","清旷深秀","敷色清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc6fe68c1be28db40b2fd2f41520f3d.jpg","117.5x50.5厘米",[127],{"id":1925,"slug":1926,"title":1927,"dynasty":157,"author":209,"museum":210,"description":211,"tags":1928,"thumbUrl":1929,"material":217,"size":218,"collection":148,"collections":1930,"showCount":1911,"zanCount":630,"manualWeight":11,"mainColor":152},214886,"shan-shui-tu-ce-6-shi-tao-214886","山水图册-6",[23,24,162,116,213,118,7,451,139,75,623,194,38,422,39,1918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f36b552940e2b7131526b7cd389c0cb.jpg",[],{"id":1932,"slug":1933,"title":1934,"dynasty":489,"author":1935,"museum":433,"description":1936,"tags":1937,"thumbUrl":1939,"material":495,"size":496,"collection":148,"collections":1940,"showCount":1941,"zanCount":11,"manualWeight":11,"mainColor":54},288521,"gao-shi-tu-wei-xian-288521","高士图","卫贤","该画作是五代画家卫贤的代表作品，此图原著收录于《宣和画谱》中，名为“梁伯鸾图一”，为卫贤所作《高士图》组画之一, 原图共六幅，画有黔娄先生、楚狂接舆、老莱子、王仲孺、于陵子和梁伯鸾，但前五幅已佚失，仅剩下描绘梁鸿与孟光的这幅。该画作集山水、人物、建筑画为一体，手法准确精细。",[23,114,24,63,193,28,162,30,118,7,1639,33,1938],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f627c639ff7d85295cabc0114452119.jpg",[],130,{"id":1943,"slug":1944,"title":1945,"dynasty":157,"author":175,"museum":135,"description":1946,"tags":1947,"thumbUrl":1951,"material":247,"size":1952,"collection":127,"collections":1953,"showCount":1941,"zanCount":11,"manualWeight":11,"mainColor":54},222758,"shi-er-yue-ling-tu-10-yue-lang-shi-ning-222758","十二月令图（10月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,26,27,118,7,32,139,33,1948,30,39,1949,1950],"竹林","行乐","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ed4b72d321f7343f422af6480b67f2.jpg","188.2*102.2cm",[127,51],{"id":1955,"slug":1956,"title":382,"dynasty":58,"author":559,"museum":135,"description":1957,"tags":1958,"thumbUrl":1959,"material":47,"size":148,"collection":80,"collections":1960,"showCount":1941,"zanCount":11,"manualWeight":11,"mainColor":499},219942,"han-gong-chun-xiao-tu-zhao-bo-ju-219942","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,24,28,27,115,26,118,7,121,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ccd5ae19644bbac9117abbd0f0ff532.jpg",[80],{"id":1962,"slug":1963,"title":1964,"dynasty":58,"author":281,"museum":135,"description":1965,"tags":1966,"thumbUrl":1969,"material":47,"size":1970,"collection":80,"collections":1971,"showCount":1972,"zanCount":587,"manualWeight":11,"mainColor":54},218801,"tao-li-yuan-tu-yi-ming-218801","桃李园图","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭亭台，有渔人在溪边垂钓，无所谓岁月。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它看起来更像是吴镇或其流派的画家的作品。",[23,24,114,27,28,26,116,118,7,121,30,538,1967,1968,139,33],"桃","李","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a3b07bae6cc5546e3f59ca75ecae6e.jpg","19.7x24.3",[80],128,{"id":1974,"slug":1975,"title":1976,"dynasty":18,"author":19,"museum":135,"description":1977,"tags":1978,"thumbUrl":1979,"material":47,"size":1980,"collection":49,"collections":1981,"showCount":1972,"zanCount":530,"manualWeight":11,"mainColor":54},218532,"guan-bang-tu-chou-ying-218532","观榜图","明清时代之考试主要分三级，初级为院试，及格者通称生员，亦称秀才。二级为乡试，中者为举人，榜首称解元。最高一级为会试，举人均可参加，中者称贡士，榜首称会元。贡士得入殿廷由皇帝面试，殿试成绩最高者为状元，次名称榜眼，三名称探花。画中观榜人潮汹涌，高中者兴奋地登马而去，落榜首，则满脸沮丧，由人搀扶，颓然而返。",[23,24,63,25,26,27,28,30,7,31,33,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee18be5368280214a5e995327e5a302.jpg","34.4x638",[49],{"id":1983,"slug":1984,"title":1985,"dynasty":18,"author":319,"museum":332,"description":333,"tags":1986,"thumbUrl":1987,"material":312,"size":337,"collection":148,"collections":1988,"showCount":1989,"zanCount":11,"manualWeight":11,"mainColor":152},220059,"hu-qiu-shi-er-jing-tu-ce-8-shen-zhou-220059","虎丘十二景图册-8",[23,24,162,118,213,116,7,335,451,32,64,30,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0478c2e27a123b03cd04587242f18298.jpg",[],127,{"id":1991,"slug":1992,"title":1993,"dynasty":18,"author":19,"museum":135,"description":1994,"tags":1995,"thumbUrl":1997,"material":47,"size":1998,"collection":49,"collections":1999,"showCount":2000,"zanCount":530,"manualWeight":11,"mainColor":54},220438,"qun-xian-hui-zhu-tu-chou-ying-220438","群仙会祝图","本幅左下方有「实父仇英堇制」款，虽为托名之作，然精雕细造，为罕见的「苏州片」佳作。此作描绘主题应是群仙共赴蟠桃大会，为王母娘娘祝寿。陆、海、空诸景穿插层叠，构图工丽复杂；诸路神仙、瑞兽以此为舞台，现示各样神通。画面右下角小坡上骑着张果老驴子乱奔的李铁拐，元神已由葫芦中化成一道光束，回环飞至天际谒见太上老君。相对仙人简单的装束，画中楼阁器用装饰华美、结构繁缛。以金线细腻描绘的云龙纹样，在每根红色立柱上皆费心经营不同图案。人物与动物虽略有小疵，但不减其整体精彩，应为当时祝寿用的高档献礼。",[23,24,114,63,26,27,28,30,7,118,33,123,1996,32],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1fc9c8db033a209857210a716124ba.jpg","99x 148.4",[49,51],126,{"id":2002,"slug":2003,"title":2004,"dynasty":885,"author":1332,"museum":2005,"description":2006,"tags":2007,"thumbUrl":2008,"material":47,"size":148,"collection":127,"collections":2009,"showCount":2010,"zanCount":11,"manualWeight":11,"mainColor":54},218720,"teng-wang-ge-tu-wang-zhen-peng-218720","滕王阁图","美国普林斯顿大学美术馆","笔尖游走绢素，界尺起落间，滕王阁飞檐翘角如振翅鹏鸟，跃然眼前。斗拱层叠似琴键排开，梁柱线条刚劲含韵，每处榫卯藏着匠人之谨与画师之巧。楼阁依山傍水，石阶蜿蜒入林，与葱郁草木相映成趣。远山如黛，烟波浩渺，一叶孤舟在水天之际轻漾，为宏伟建筑添了空灵悠远。整幅画将建筑理性之美与山水诗意之韵交织，既见界画精准工致，又含文人画雅致情怀，让千年名楼的巍峨气象与天地灵秀之气，在古卷中静静流淌，尽显元代画坛独特风貌。",[23,24,63,28,95,162,118,7,120,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e4ffe86b2585108496c06f20abcf64.jpg",[127],125,{"id":2012,"slug":2013,"title":2014,"dynasty":157,"author":745,"museum":60,"description":2015,"tags":2016,"thumbUrl":2017,"material":47,"size":2018,"collection":49,"collections":2019,"showCount":2020,"zanCount":709,"manualWeight":11,"mainColor":54},215859,"chong-qing-huang-tai-hou-wan-shou-qing-dian-tu-zhang-ting-yan-215859","崇庆皇太后万寿庆典图","弘历皇帝的生母崇庆皇后的60岁生日，举行了盛大的庆祝活动。文武百官齐聚北京，从西华门到西直门的高梁桥下，十几里路的灯光，戏曲、杂技、舞蹈等各类文艺节目，让人目不暇接。这幅四卷画真实地再现了当时的生日庆典和戏剧表演的场景，是清代戏曲的重要图像资料。",[23,114,24,63,25,26,27,30,7,873,98,844,1313,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb231085edcd0f7668e9adde95214bce.jpg","64.5x2994",[49],124,{"id":2022,"slug":2023,"title":2024,"dynasty":157,"author":2025,"museum":433,"description":2026,"tags":2027,"thumbUrl":2036,"material":495,"size":496,"collection":148,"collections":2037,"showCount":2038,"zanCount":11,"manualWeight":11,"mainColor":54},224114,"yuan-xiao-xing-le-tu-zhou-qian-long-224114","元宵行乐图轴","乾隆","此图描绘的是清代乾隆皇帝与皇族子弟们在宫苑内庆贺元宵节的情景。元宵节，又称为“上元节”、“小正月”、“元夕”或“灯节”，是岁朝之后的第一个重要节日。按照中国民间的传统，在这天皓月高悬的夜晚，人们除吃意寓团圆美满的元宵外，还要点起彩灯万盏，燃放焰火和猜灯谜。图中乾隆皇帝坐在楼阁上，正安详地目视着皇族子弟们庆贺元宵节。\n此图没有落作者的名款，从技法上分析，图中人物的画像应是由擅长写实画的郎世宁绘制。他在西洋肖像画的基础上，巧妙地吸取了传统中国“写真”画技法，生动地表现出不同人物的体态和神情。图中的屋宇、树石背景是由中国画家补绘，画家们以传统的中国山水画、界画技法，精心勾描、点染，不仅渲染出元宵节喜庆祥和的热烈气氛，同时展示出乾隆皇帝与家人间浓浓的亲情。",[24,193,27,2028,28,26,2029,7,981,139,33,2030,2031,2032,2033,2034,2035],"人物画","写实","元宵节","彩灯","焰火","喜庆","祥和","亲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e37e5be34ab9d1fa4c454a4cece0f98.jpg",[],122,{"id":2040,"slug":2041,"title":2042,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":2045,"thumbUrl":2048,"material":495,"size":496,"collection":148,"collections":2049,"showCount":2050,"zanCount":587,"manualWeight":11,"mainColor":54},226164,"ku-zhu-shi-bei-bi-yi-ming-226164","窟主室北壁","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[2046,94,27,28,30,7,2047],"壁画","殿堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748644ad0fd67b6179cedd9df594a9ea.jpg",[],121,{"id":2052,"slug":2053,"title":2054,"dynasty":157,"author":2055,"museum":433,"description":2056,"tags":2057,"thumbUrl":2059,"material":2060,"size":2061,"collection":182,"collections":2062,"showCount":2050,"zanCount":598,"manualWeight":11,"mainColor":152},223158,"qun-xian-zhu-shou-tu-fu-dao-ren-xiong-223158","群仙祝寿图佛道","任熊","此幅图画场面宏大，共绘神仙达22位之多，八仙中的七仙，寒山、拾得等包括佛教、道教及民间信仰的各路神仙。",[23,24,114,63,25,94,26,27,30,7,118,33,2058],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea49554b72b9cdd2c017d8d51d64b0c0.jpg","纸本，设色","86X170cm",[182],{"id":2064,"slug":2065,"title":2066,"dynasty":58,"author":2067,"museum":2068,"description":2069,"tags":2070,"thumbUrl":2072,"material":47,"size":2073,"collection":127,"collections":2074,"showCount":2075,"zanCount":630,"manualWeight":11,"mainColor":54},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","江参","圣路易斯艺术博物馆","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,2071,114,24,63,25,118,162,116,27,7,31,32,139,33,30,284,164],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[127],120,{"id":2077,"slug":2078,"title":2079,"dynasty":18,"author":19,"museum":135,"description":2080,"tags":2081,"thumbUrl":2084,"material":47,"size":2085,"collection":49,"collections":2086,"showCount":2075,"zanCount":630,"manualWeight":11,"mainColor":152},218181,"chun-xiao-tu-chou-ying-218181","纯孝图","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[114,24,63,213,26,27,30,7,2082,2083],"孝道","母爱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb17260b42142b1b7cf5eaa6624bcc18.jpg","32.8x21.9",[49],{"id":2088,"slug":2089,"title":1428,"dynasty":157,"author":281,"museum":60,"description":535,"tags":2090,"thumbUrl":2094,"material":180,"size":181,"collection":148,"collections":2095,"showCount":2096,"zanCount":11,"manualWeight":11,"mainColor":54},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170",[114,24,63,193,26,27,28,118,7,121,2091,32,2092,119,33,30,39,623,2093],"廊","湖石","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg",[],119,{"id":2098,"slug":2099,"title":2100,"dynasty":157,"author":2101,"museum":433,"description":2102,"tags":2103,"thumbUrl":2104,"material":148,"size":148,"collection":49,"collections":2105,"showCount":2096,"zanCount":630,"manualWeight":11,"mainColor":152},234263,"ren-wu-gu-shi-ce-fan-xue-yi-234263","人物故事册","范雪仪","范雪仪〔清〕女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。\n康熙(1662-1722)间吴郡(今苏州)妇女善书画者甚多，范雪仪与傅德容两人才能最为突出，两人均擅人物画，范尤在傅上，为吴门女画家之翘首，所画内容多历史故事、神话传奇。所作用笔工细，线条流畅，神态生动，设色艳丽。传世作品有《张敞画眉图》《寿阳梅花妆图》《班昭续汉书图》《苏蕙织锦回文图》《木兰从军图》《公孙大娘舞剑器图》《白傅姬人试舞图》《秦女吹箫图》《裴航兰桥遇仙图》《交甫解佩图》及《月宫折桂图》扇、《采药图》扇，藏故宫博物院。",[23,26,27,28,30,138,7,451,1851,39,142,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3ccc5f64642ebe7afbee730b09f5c1.jpg",[49,51],{"id":2107,"slug":2108,"title":2109,"dynasty":58,"author":1010,"museum":269,"description":2110,"tags":2111,"thumbUrl":2113,"material":47,"size":2114,"collection":127,"collections":2115,"showCount":2096,"zanCount":630,"manualWeight":11,"mainColor":54},218518,"shu-zhan-xing-lv-tu-fan-kuan-218518","蜀栈行旅图","这幅画被认为是范宽的作品，但事实上，这幅画的风格应该是李寅、颜峄的风格一派作品",[23,24,308,193,116,27,118,139,33,638,2112,7],"栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29c07d65148db3c2cafe7e03228c14d.jpg","192.9x74.4cm",[127],{"id":2117,"slug":2118,"title":2119,"dynasty":58,"author":2120,"museum":806,"description":2121,"tags":2122,"thumbUrl":2124,"material":148,"size":148,"collection":80,"collections":2125,"showCount":2096,"zanCount":587,"manualWeight":11,"mainColor":2126},203436,"bai-miao-dao-jun-xiang-tu-juan-song-ren-203436","白描道君像图卷","宋人","以白描技法绘就的画面，道君居于核心，神光笼罩下仪态端凝。侍从仙官列队环侍，衣纹线条细劲流畅，尽显飘逸之姿；虎、龙等神兽悄然伏立，为场景注入神圣威严。背景楼阁依界画之法构建，飞檐翘角细节毕现；林木扶疏，亭桥掩映，景致层层铺展却井然有序。整卷线条刚柔相济，或如铁线勾勒轮廓，或似游丝描绘衣袂，将宗教的肃穆与自然的清幽完美融合，尽显南宋书画的典雅韵致与精湛技艺。",[23,24,63,25,95,28,94,30,7,33,2123,118,96,1298],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c346d69351d49d24311e155794dd04a.jpg",[80],"988264",{"id":2128,"slug":2129,"title":2130,"dynasty":58,"author":1010,"museum":433,"description":2131,"tags":2132,"thumbUrl":2136,"material":424,"size":496,"collection":148,"collections":2137,"showCount":2138,"zanCount":11,"manualWeight":11,"mainColor":499},287541,"xue-jing-han-lin-tu-fan-kuan-287541","雪景寒林图","描写北方冬日山川雪后壮美景象。图中通过群峰屏立，山势高耸，深谷寒柯间，萧寺掩映；古木结林，板桥寒泉，流水从远方迂回而下，峰峦沟壑间云气万千，真实生动地表现了秦陇山川雪后的磅礴气象。全画布置严整有序，笔墨质朴厚重。画家用“抢笔”笔法，密点攒簇，并参以短条子的笔道，来刻画北方山石的质感，使画面浑厚滋润，沉着典雅。",[114,24,308,162,116,616,1514,1548,7,71,2133,2134,2135],"积雪","萧寒","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a0f8e8b9289ba14fc9ba90349f1b9a.jpg",[],118,{"id":2140,"slug":2141,"title":2142,"dynasty":18,"author":19,"museum":433,"description":2143,"tags":2144,"thumbUrl":2146,"material":495,"size":496,"collection":148,"collections":2147,"showCount":2148,"zanCount":530,"manualWeight":11,"mainColor":54},287560,"gong-nv-you-yuan-tu-juan-chou-ying-287560","宫女游园图卷","此图中的女子涵盖量是真的不少了，有围坐对弈的，有团团坐斗草的，更有乐器演奏的，梳妆熏香烫衣一样不少，慢慢均是仪式感的古代慢生活",[23,24,25,26,27,509,7,39,2092,2145],"游园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed9f08f4878403d82d79b31123c8e1d.jpg",[],117,{"id":2150,"slug":2151,"title":2152,"dynasty":157,"author":2153,"museum":2154,"description":2155,"tags":2156,"thumbUrl":2159,"material":217,"size":2160,"collection":127,"collections":2161,"showCount":2148,"zanCount":11,"manualWeight":11,"mainColor":54},220430,"you-gu-tu-kun-can-220430","幽谷图","髡残","耶鲁大学艺术博物馆","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[23,24,63,193,118,27,116,7,32,139,33,194,30,2157,538,2158],"山谷","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 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戊午为乾隆三年（178年）。\n钤清高宗弘历“乾隆御览之宝”、“古希天子”、“乐善堂图书记”等印共6方。\n《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。\n通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。\n嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。\n画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。\n她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。\n富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。\n在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。\n图中的楼台房室建筑则采用西洋 绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。\n此图册于乾隆三年（178年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。\n匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。\n这件雕有1人的牙雕精品被称作“百美图”。\n乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[26,27,28,138,30,1515,1851,117,809,7,2214],"室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6e1bafcf4e74f158449349167ce92e.jpg",[],115,{"id":2219,"slug":2220,"title":2221,"dynasty":58,"author":2222,"museum":433,"description":2223,"tags":2224,"thumbUrl":2225,"material":148,"size":148,"collection":148,"collections":2226,"showCount":2217,"zanCount":587,"manualWeight":11,"mainColor":152},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[23,114,24,63,25,95,162,116,118,30,120,121,123,33,1639,7,32,117,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],{"id":2228,"slug":2229,"title":2230,"dynasty":157,"author":2231,"museum":433,"description":2232,"tags":2233,"thumbUrl":2235,"material":424,"size":1196,"collection":127,"collections":2236,"showCount":2217,"zanCount":630,"manualWeight":11,"mainColor":54},224596,"e-pang-gong-tu-ping-yuan-jiang-224596","阿房宫图屏","袁江","本幅无款，钤“袁江之印”、“文涛”印2方。有宋伯鲁录《阿房宫赋》全文并识。\n古代历史上著名的宫阙殿宇和民间传说中的阆苑琼楼都是袁江笔下反复描绘的题材内容，此幅即以秦始皇三十五年（公元前212年）兴建的阿房宫为题。画家凭借自己精深的古建知识和丰富的想象力使一组组已经逝去的带有神秘色彩的建筑得以再现。此图使用12条通景屏的表现手法，充分利用画面的宽度与广度，再现了阿房宫当年的恢弘气势，将华贵绮丽的画风发展到极致。",[23,114,24,63,28,26,27,118,7,139,33,194,258,2234],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7ea797c054eb61e8fe9d424db56755.jpg",[127],{"id":2238,"slug":2239,"title":2240,"dynasty":58,"author":669,"museum":135,"description":2241,"tags":2242,"thumbUrl":2243,"material":47,"size":2244,"collection":127,"collections":2245,"showCount":2217,"zanCount":530,"manualWeight":11,"mainColor":54},218530,"tian-bao-jiu-ru-tu-liu-song-nian-218530","天保九如图","此卷是刘松年所作，画风精细，似乎是在文征明之后，卷首有宋高宗的题词，但不是真迹。",[23,24,63,25,115,27,26,116,118,7,121,373,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4c2a25e8fe1441ec33f5a675e61a18.jpg","53.8x302.2cm",[127],{"id":2247,"slug":2248,"title":2249,"dynasty":157,"author":209,"museum":433,"description":1890,"tags":2250,"thumbUrl":2252,"material":495,"size":496,"collection":148,"collections":2253,"showCount":2254,"zanCount":587,"manualWeight":11,"mainColor":152},288091,"shan-shui-tu-juan-shi-tao-288091","山水图卷",[23,24,25,63,162,116,118,7,139,620,32,1048,121,285,164,284,117,2251],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6af245446b0e5843dd2cd8f5b76edc.jpg",[],112,{"id":2256,"slug":2257,"title":2258,"dynasty":58,"author":2259,"museum":60,"description":2260,"tags":2261,"thumbUrl":2262,"material":2263,"size":2264,"collection":148,"collections":2265,"showCount":2254,"zanCount":11,"manualWeight":11,"mainColor":54},221675,"wan-song-jin-que-tu-juan-quan-juan-zhao-bo-su-221675","万松金阙图卷全卷","赵伯骕","该图画江南的湖畔松岭和楼阁，松树茂密，山巅蜿蜒，上有琼楼金阙。\n该图属青绿山水，笔法清细繁复，格调柔丽雅洁，显示出南宋皇家贵胄的审美情趣。\n该图的出现，标志着宋代山水画的表现对象从北方雄浑的山川转移到江南的青山绿水。\n图绘南宋都城临安郊外风凰山一带景色碧波万顷，红日初升，茂林长松，惊起翔鹤飞鸿，川间琼楼金阙隐约可见。\n该图尾纸有元代赵孟頫、倪瓒、张绅题跋。\n赵伯骕唯一存世的画迹是《万松金阙图》卷，幅上虽无作者款印，但后纸有宋宗室后裔元代赵孟頫的鉴定题记，将此作定为赵伯骕的奉敕之作。\n图中所画是临安皇城之北的万松岭，“金阙”是特指皇帝的宫殿。\n绍兴八年（118年），赵构定都临安，以行宫为基础，东起凤山门，西至凤凰山麓，南抵笤帚湾，北达万松岭，在这方圆18里的范围内营造了南宋皇朝宫殿。\n万松岭相当于宫城的后花园，在那里，有供皇室四季游玩的亭台楼阁，如夏季可在翠寒宫避暑。\n冬季可在明远楼避寒，中秋可在依桂阁赏月，还有专供醉卧用的钟美堂……。\n赵伯骕所绘的“万松”和“金阙”正是此处，画中的金阙周围有许多仙鹤和瑞禽，皇家宫阚掩映在万松之中，在万松的尽头，是钱塘江畔，在潮起潮落之后，是一片宁静，一轮初升的太阳映照山川，其画意在于祷祝宋室江山如松林常青、似日月永年。\n赵伯骕是一位富有艺术情感的画家，他认为： “画家类能具其相貌，但吾辈胸次。\n自应有一种风规，俾神气悠然，韵味清远，不为物态所拘，便有佳处。 况吾所存，无媚于世而能合于众情者，要在悟此。\n”所以，这是一位皇族画家在受到皇帝恩典后发自内心的无限感激和祈祝之后创作的绘画。\n不过，也有学者认为，《万松金阙图》主要描绘了平江府天庆观及其周围的景致，图中金阙（楼阁）是天庆观内三清殿等为皇家祈福的道教圣殿，是一幅粉饰太平、歌颂孝宗赵昚的绘画作品。\n全图的笔法清细随意，并参用了一些意笔，格调柔丽雅洁，毫无匠气，意味着南宋青绿山水画的崛起。\n这件山水长卷的超越前人之处在于摆脱了自六朝以来青绿山水以钩廓填色的艺匠手法，有机地融进了一些文人意笔。\n使两者巧妙地糅合为一体，画家大量地运用了墨点，横点联树成片，竖点作青苔，手法较为自由随意，这在当时是极富有创意的笔墨技巧。\n山间布置几处“金阙”建筑，用没骨法涂金敷色而成，突出于万松之表。\n几处建筑虽只露顶部，仍可见其造型的准确。\n近景的山石用皴笔为之，浑厚凝重，透视感强。\n此图同时还吸收了马和之等文人画家的笔墨新形式、新趣味，形成了笔法清细繁复、格调清新秀雅的新风格。\n此图开卷作海天杳渺，月明霞青，高松数株挺拔而立，群鹤翔集。\n海岸延伸至海中的礁石嶙峋黝黑，海浪平静起伏。\n坡岸上绿草成茵，围绕松树有一片桃林，红花点点相映其间，仅此开卷一段便有无穷景致。\n起伏层叠的峰岗构成了画面主体，或远或近，或平或伏，皆郁郁葱葱。\n《万松金阙图》显示了赵伯骕在继承传统和改革创新的成功尝试：构图和设色继承唐代李思训《江帆楼阁图》的绘画传统，但又有所突破。\n因此，《万松金阙图》可以视为宋代青绿山水从追求北方的雄浑之美向江南水乡清雅之美转变的一件典型作品，为其后元代文人山水画的发展开创了新局面。\n从该图钤印可知，该图历经清梁清标、安岐、乾隆帝、宣统帝收藏，民国初年被溥仪盗出宫外，新中国成立后被国家收购，195年由文化部文物局（今国家文物局）拨交北京故宫博物院。\n该图曾经《墨缘汇观》、《大观录》著录。\n217年9月15日至12月14日，《万松金阙图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯骕（1124～1182） ，南宋宗室，寄居平江府（治今江苏苏州），字希远。\n燕懿王赵德昭后裔。\n绍兴初，荫补入仕，为承节郎、监绍兴府馀姚县酒税。\n历任侍卫马军司干办公事、浙西安抚司干办官。\n隆兴二年（1164），擢浙西兵马副部监兼职德寿宫。\n进浙西兵马钤辖。\n乾道七年（1171），副中书舍人赵雄出使金朝，贺金主生日。\n还朝，自武翼郎超转武翼大夫，俄升浙西副总管。\n淳熙中，累迁浙西提点刑狱，官终武功大夫、和州防御使。\n善画山水花木，傅染轻盈，颇有生意。\n作品有《万松金阙图》、《仙峤白雪图》等。",[23,24,114,25,115,27,26,116,118,538,7,139,194,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1377606a06e9e5e04495fcfb385c4f1.jpg","绢本青绿设色","纵27.7厘米，横136厘米",[],{"id":2267,"slug":2268,"title":2269,"dynasty":58,"author":281,"museum":135,"description":2270,"tags":2271,"thumbUrl":2275,"material":47,"size":2276,"collection":49,"collections":2277,"showCount":2278,"zanCount":630,"manualWeight":11,"mainColor":54},219215,"qi-xi-qi-qiao-tu-yi-ming-219215","七夕乞巧图","该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷",[24,63,25,26,27,28,30,121,7,33,139,39,142,2272,2273,1829,2274,1157],"桌案","坐具","古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58d9388e985a9f6a1f3b8c8fc737cb.jpg","29.6x149.2厘米",[49],110,{"id":2280,"slug":2281,"title":2282,"dynasty":157,"author":281,"museum":210,"description":2283,"tags":2284,"thumbUrl":2285,"material":47,"size":148,"collection":49,"collections":2286,"showCount":2287,"zanCount":630,"manualWeight":11,"mainColor":152},218429,"yang-gui-fei-you-yuan-ban-hua-yi-ming-218429","杨贵妃游园版画","红衣仕女身姿婉约，凝眸间似含游园的惬意；跪姿侍从持物躬身，恭谨神态跃然纸上。竹栏掩映的庭院里，花木扶疏，石径蜿蜒，衬出几分雅致清幽。右侧人物立于栏侧，目光轻落，似与仕女共享园景之美。画面以流畅线条勾勒衣纹，色彩古朴却明艳，将古典游园的闲适氛围与人物互动巧妙融合。飘动的衣袂、点缀的花木、竹栏的纹理，每一处细节都传递着千年雅致韵味，让人仿佛窥见那段悠然的园居时光，沉浸在古典生活的清幽与闲适中。",[23,24,857,858,27,30,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0caa96964a9db4f424c1e94abf61435.jpg",[49],109,{"id":2289,"slug":2290,"title":2291,"dynasty":58,"author":268,"museum":135,"description":2292,"tags":2293,"thumbUrl":2294,"material":361,"size":2295,"collection":80,"collections":2296,"showCount":2297,"zanCount":11,"manualWeight":11,"mainColor":54},288542,"xue-jing-shan-shui-tu-guo-xi-288542","雪景山水图","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[23,114,24,118,162,616,31,32,120,7,422,139,1046,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f20379281940bfa667cffd341b05cc.jpg","87.7x150.9",[80],108,{"id":2299,"slug":2300,"title":2301,"dynasty":885,"author":281,"museum":433,"description":2302,"tags":2303,"thumbUrl":2308,"material":495,"size":496,"collection":148,"collections":2309,"showCount":2297,"zanCount":630,"manualWeight":11,"mainColor":54},228242,"long-zhou-duo-biao-tu-juan-yi-ming-228242","龙舟夺标图卷","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[23,24,63,25,28,95,26,1298,7,2304,64,30,844,775,2305,42,2306,2307],"桥","宫殿式建筑","龙舟","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba612b814b21c0a85e81089eda6238d.jpg",[],{"id":2311,"slug":2312,"title":2313,"dynasty":157,"author":2314,"museum":135,"description":2315,"tags":2316,"thumbUrl":2317,"material":217,"size":2318,"collection":127,"collections":2319,"showCount":2297,"zanCount":11,"manualWeight":11,"mainColor":152},214537,"wu-she-jie-han-tu-yu-sheng-214537","无射戒寒图","余省","这幅画描绘的是九月初九在福海北岸的高阁上游乐的场景，其实高阁只有三四米高，远没有画面上的那么陡峭，所谓的 升天 只是象征性的。",[24,27,26,116,118,7,121,31,32,30,33,139,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b971ceb4fd2fd33ceb99ce9b77277c4.jpg","180x106.3",[127],{"id":2321,"slug":2322,"title":2323,"dynasty":18,"author":281,"museum":433,"description":2324,"tags":2325,"thumbUrl":2327,"material":495,"size":496,"collection":148,"collections":2328,"showCount":2329,"zanCount":11,"manualWeight":11,"mainColor":499},228412,"wen-shu-pu-sa-zuo-xiang-yi-ming-228412","文殊菩萨坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[24,63,94,26,27,30,118,194,7,33,139,96,2326,115,28],"古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83145718fc035e6637afa89f6ad83dea.jpg",[],107,{"id":2331,"slug":2332,"title":2333,"dynasty":58,"author":417,"museum":433,"description":2334,"tags":2335,"thumbUrl":2336,"material":27,"size":148,"collection":80,"collections":2337,"showCount":2329,"zanCount":11,"manualWeight":11,"mainColor":54},221441,"shan-shui-tu-li-cheng-221441","山水图","李成（公元 919年 -967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[23,24,63,114,162,116,27,118,1709,31,32,120,33,1639,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[80,127,82],{"id":2339,"slug":2340,"title":2341,"dynasty":18,"author":319,"museum":332,"description":333,"tags":2342,"thumbUrl":2343,"material":312,"size":337,"collection":148,"collections":2344,"showCount":2329,"zanCount":587,"manualWeight":11,"mainColor":106},220056,"hu-qiu-shi-er-jing-tu-ce-11-shen-zhou-220056","虎丘十二景图册-11",[23,24,162,28,213,116,118,7,31,30,33,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6682f58f7558d280563737b5c65e9a.jpg",[],{"id":2346,"slug":2347,"title":2348,"dynasty":885,"author":1032,"museum":20,"description":2349,"tags":2350,"thumbUrl":2351,"material":217,"size":2352,"collection":127,"collections":2353,"showCount":84,"zanCount":587,"manualWeight":11,"mainColor":54},220427,"su-an-tu-wang-meng-220427","素庵图","作品布局层峦耸峙，岭头山体突兀而拙实，不为奇巧。近坡老松相映，林间草堂呈“四合院”状。全图气象峥嵘，突现山脚下的草堂。此图为精致优雅的浅绛山水画，明净苍秀，在王蒙轴幅作品中较少见。其妙处在两崖逼而为瀑，瀑泉由上而下，长短相间，气贯全幅。\n此图石法用云头皴，不同于《春山读书图》用单纯的解索皴法，也不同于《青卞隐居图》之融数家皴法于一体。黄宾虹评其“笔力劲利而无怒张之态，墨气酣厚而无痴肥之病”，幽深高淡之趣流露于画面之外。观此秋景，又使人联想到吴渔山所说的王蒙浅绛山水“霜红林密，笔笔生动”的特色。王蒙秋景画法较大痴浅绛用色偏重，其近景树干用朱砂点苔，为其他着色山水所未见，另有一番典雅清新别致的审美效果。图中人物及小鹿、仙鹤，造型虽小，皆笔简形具，耐人寻味。图上以小篆题“素庵图”三字，后两行署“黄鹤山樵王蒙为素庵高士画”，笔致雅拙，趣味高古，与画面形成相得益彰的艺术效果。",[23,24,63,114,193,162,27,118,7,32,33,139,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2c770848d5adacc5affe77c66ce6a4.jpg","纵136cm，横45cm",[127,51],{"id":2355,"slug":2356,"title":2357,"dynasty":18,"author":2358,"museum":2359,"description":2360,"tags":2361,"thumbUrl":2368,"material":217,"size":2369,"collection":127,"collections":2370,"showCount":84,"zanCount":587,"manualWeight":11,"mainColor":152},220376,"han-lin-fei-xue-tu-wen-zheng-ming-220376","寒林飞雪图","文徵明","印第安纳波利斯艺术博物馆","此图是画唐代诗人许浑”舟横野渡寒风急，门掩深山夜雪深“的诗意，而用李营丘笔意，深得寒江寂寂，雪峰无言之境。",[23,24,162,308,1548,2362,2363,2364,2365,120,2366,7,422,121,2367],"飞雪","雪峰","深山","野渡","寒江","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7247001349454a60fdcd1b8936e7b822.jpg","101.1x46.5厘米",[127,82],{"id":2372,"slug":2373,"title":1166,"dynasty":58,"author":281,"museum":269,"description":2374,"tags":2375,"thumbUrl":2376,"material":47,"size":2377,"collection":127,"collections":2378,"showCount":84,"zanCount":530,"manualWeight":11,"mainColor":54},217066,"chun-shan-xing-lv-tu-yi-ming-217066","春山行旅图是宋朝（960-1279年）佚名的一幅山水画作品。这幅画描绘了一位旅人在春天游览山水的景象。画面中的景色十分优美，充满了生机和活力。画中的山峰高耸，水流清澈，树木茂密，空气清新。整幅画浓烈的山水意境，清新自然的画风，使得这幅画在当时颇受欢迎，被认为是一幅杰出的艺术作品。",[24,63,308,116,27,774,33,31,7,139,30,32,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ab87eb107c3ff0a2caa7861e5582bd.jpg","104x51cm",[127],{"id":2380,"slug":2381,"title":2382,"dynasty":489,"author":1935,"museum":60,"description":2383,"tags":2384,"thumbUrl":2385,"material":78,"size":2386,"collection":127,"collections":2387,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":152},221160,"gao-shi-tu-juan-wei-xian-221160","高士图卷","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。\n此图曾经宋周密《云烟过眼录》，明张丑《清河书画舫》、清孙承泽《庚子销夏记》、安岐《墨缘汇观》、《石渠宝笈·续编》、阮元《石渠随笔》等书著录，是一件递藏有绪、鉴定界公认的五代卫贤真迹。",[23,24,26,28,27,116,118,30,7,33,1639,39,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd234cb19159b5ecad6fb82a14b63fd9.jpg","纵134.5厘米，横52.5厘米。",[127,82],105,{"id":2390,"slug":2391,"title":2392,"dynasty":89,"author":548,"museum":269,"description":2393,"tags":2394,"thumbUrl":2395,"material":424,"size":2396,"collection":127,"collections":2397,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":54},221101,"jing-ji-rui-xue-tu-li-si-xun-221101","京畿瑞雪图","本幅无款识，右裱边项子京题：“唐云麾将军李思训画京畿瑞雪图，宋宣和御府藏物也，定为神品第一。\n古胥山樵项圣谟获于梅花和尚塔前，得秘玩焉，百金亦勿与易。\n” 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slug":2481,"title":2482,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":2483,"thumbUrl":2484,"material":495,"size":496,"collection":148,"collections":2485,"showCount":2486,"zanCount":587,"manualWeight":11,"mainColor":152},226309,"ku-yong-dao-bei-bi-yi-ming-226309","窟甬道北壁",[2046,94,27,30,28,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bae229258186b213039a695974608.jpg",[],101,{"id":2488,"slug":2489,"title":2490,"dynasty":157,"author":1124,"museum":135,"description":2491,"tags":2492,"thumbUrl":2493,"material":47,"size":2494,"collection":127,"collections":2495,"showCount":2486,"zanCount":630,"manualWeight":11,"mainColor":152},224486,"xi-shan-shen-xiu-zhou-wang-jian-224486","溪山深秀轴","汇集画家王鉴先生山水画数幅，淋漓尽致地表现出其雄奇、或秀美、或舒缓、或险峻。是伟岸的山，壮丽的山。主要有秋山图轴、溪山深秀图轴、山水册七开、九峰读书图轴、四家灵气图轴等",[23,24,114,63,193,27,115,118,7,31,32,421,196,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89fec13b5a42f7febcb1462f7f1ba47.jpg","161.7x62.5",[127],{"id":2497,"slug":2498,"title":2499,"dynasty":157,"author":175,"museum":135,"description":1946,"tags":2500,"thumbUrl":2502,"material":247,"size":1952,"collection":127,"collections":2503,"showCount":2486,"zanCount":587,"manualWeight":11,"mainColor":106},222764,"shi-er-yue-ling-tu-5-yue-lang-shi-ning-222764","十二月令图（5月）",[23,24,63,193,26,27,28,30,7,118,64,33,32,31,437,139,959,2501],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a452b4eda86eac0e610effee7ff9a62.jpg",[127,51],{"id":2505,"slug":2506,"title":2507,"dynasty":58,"author":281,"museum":2508,"description":2509,"tags":2510,"thumbUrl":2515,"material":47,"size":2516,"collection":80,"collections":2517,"showCount":2486,"zanCount":630,"manualWeight":11,"mainColor":54},218506,"gui-qu-lai-ci-shu-hua-tu-yi-ming-218506","归去来辞书画图","波士顿美术馆","在画卷中，最后两部分的文字和图画已经消失了，每幅画的顶部和底部都被切掉了几厘米。在1920年从日本收购之前，这幅画一直被认为是后来的复制品，启功、傅斯年等专家也证实，这幅画的书法是南宋孝宗所写，画风也与孝宗的风格一致。这两个缺失的部分可以从弗里尔收藏的陶渊明的早期画作中重现，归功于李公麟，但两者在手法上有很大不同，前者更古朴，没有作者气质，而后者则更精致，更漂亮。",[23,24,63,25,27,26,284,30,118,121,31,32,120,33,7,2511,2512,2513,2514],"笔","墨","纸","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04eb7a69d7e3b717e4e2e268521f93a7.jpg","30x438.6",[80],{"id":2519,"slug":2520,"title":2521,"dynasty":58,"author":1257,"museum":135,"description":2522,"tags":2523,"thumbUrl":2525,"material":47,"size":2526,"collection":80,"collections":2527,"showCount":2528,"zanCount":11,"manualWeight":11,"mainColor":54},218974,"shui-dian-zhao-liang-tu-li-song-218974","水殿招凉图","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。",[23,114,24,1535,28,27,30,7,2524,32,463,39],"廊桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666a148dad7f30d97877d2b6a766c63a.jpg","24.5x25.4",[80],100,{"id":2530,"slug":2531,"title":2532,"dynasty":885,"author":281,"museum":190,"description":2533,"tags":2534,"thumbUrl":2535,"material":232,"size":2536,"collection":127,"collections":2537,"showCount":2528,"zanCount":630,"manualWeight":11,"mainColor":54},218185,"qian-yan-wan-he-tu-yi-ming-218185","千岩万壑图","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。",[24,308,162,116,193,139,196,194,421,33,7,31,32,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3efb5c974ab0404cb1856cfe625eb62.jpg","129.3x67.6cm",[127],{"id":2539,"slug":2540,"title":634,"dynasty":58,"author":268,"museum":433,"description":2541,"tags":2542,"thumbUrl":2543,"material":495,"size":496,"collection":148,"collections":2544,"showCount":2545,"zanCount":11,"manualWeight":11,"mainColor":54},289008,"qiu-shan-xing-lv-tu-guo-xi-289008","峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,114,24,193,308,162,116,118,7,31,32,120,123,372,373,139,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5d5cac4d9e5299c3b085ebe490c758.jpg",[],99,{"id":2547,"slug":2548,"title":2549,"dynasty":18,"author":19,"museum":60,"description":2550,"tags":2551,"thumbUrl":2553,"material":180,"size":2554,"collection":148,"collections":2555,"showCount":2556,"zanCount":530,"manualWeight":11,"mainColor":54},233748,"yu-dong-xian-yuan-tu-zhou-chou-ying-233748","玉洞仙源图轴","画面奇峰峻岭，苍松翠柏，琼楼水阁，溶洞流溪，云烟缥缈其间，山壑或隐或现。溪水潺湲的溶洞前，一隐士临流盘膝，停琴静坐，侍童们忙着煮茶、端盘、陈设古玩，俨然人间仙境。这类隐逸题材作品十分多见，而仇英在幽美宁静的意境中表现了一种明快的情调，健康的意趣，在同类作品中颇具特色。\n作品取景宏阔，结构严整，层次清晰，布局有序，景物繁杂而不拥塞，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，同时融以细密的皴法，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，代表了仇英青绿山水的典型画风。",[24,63,193,27,26,115,118,30,7,31,32,538,2552,194,139,121,38,1996,33,1599,451],"山洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705c7a9ce596ceca751a614dbc006b66.jpg","纵169厘米，横65.5厘米",[],98,{"id":2558,"slug":2559,"title":2560,"dynasty":18,"author":2561,"museum":135,"description":2562,"tags":2563,"thumbUrl":2564,"material":217,"size":2565,"collection":127,"collections":2566,"showCount":2556,"zanCount":11,"manualWeight":11,"mainColor":152},218371,"wu-yue-jiang-shen-tu-wen-bo-ren-218371","五月江深图","文伯仁","画面以对角线构图，一边布置葱郁的山林，一边则为浩瀚的江天；山林中隐蔽数间屋舍，有一人独倚栏杆远眺江景，传达出僻地幽居的情景。",[24,193,27,116,117,118,774,775,451,1639,421,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0b946e829e4768e353c4fcb8e2f88a.jpg","110.3x45.3cm",[127],{"id":2568,"slug":2569,"title":2570,"dynasty":58,"author":2067,"museum":269,"description":2571,"tags":2572,"thumbUrl":2577,"material":47,"size":2578,"collection":127,"collections":2579,"showCount":2556,"zanCount":630,"manualWeight":11,"mainColor":54},217869,"qiu-lin-die-zhang-tu-jiang-can-217869","秋林叠嶂图","秋林叠嶂图描绘的是一片秋天的山林，这片山林位于海拔较高的地方，因此能看到远处的秋天的山林。这幅画的画面非常宁静，令人感到非常舒适。画中有许多树木，其中有许多松树，还有一些枫树。这些树木都长得非常茂盛，充满了生机。画中还有许多山峰，山峰之间相互倚靠，形成了一道道叠嶂。画中还有几只鸟儿，它们在枫树的枝头上唱着歌。\n\n总的来说，这幅秋林叠嶂图是一幅非常优秀的山水画作品，江参的画风独特，山水画作品非常出名。这幅画的描绘的秋天的山林非常真实，令人感觉非常自然，是一幅非常美丽的画作。",[24,308,2573,2574,538,2575,123,32,7,2576],"秋林","叠嶂","枫树","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1988e2d8ba1187067f488aa5793dcca.jpg","168.7x96.3cm",[127],{"id":2581,"slug":2582,"title":2583,"dynasty":58,"author":1777,"museum":2584,"description":2585,"tags":2586,"thumbUrl":2587,"material":2588,"size":2589,"collection":148,"collections":2590,"showCount":2591,"zanCount":587,"manualWeight":11,"mainColor":54},223341,"yun-qi-lou-tu-mi-fei-223341","云起楼图","赛克勒美术馆","画中“云起楼图”题字，确为明董其昌真迹，非常珍贵。\n米芾最擅长的是以笔墨点染的方式描绘江南山水，本件《云起楼图》是典型的“米氏云山”的传统，在技法上，采用江南画家董源、巨然的传统，以苔墨点与晕染来画圆弧形的山峦，让山水形象融合在一片雾气中，特别具有抒情的韵味。\n画面约中景处，丘陵顶端有一两座院落，下可眺望江景，远观则为烟云变幻的山峦。这让人联想起米芾位于润州（江苏镇江）北固山的故居“海岳庵”，附近有名胜“甘露寺”与“多景楼”，米芾时常登览赋诗（例如《秋暑憩多景楼诗》），浏览江南云雾变化的景致。米芾之子米友仁的《潇湘奇观卷》亦是描绘“海岳庵”一带的山川景色。米芾润州家居的景观，成为创作云山图最重要的题材之一。\n近景亦以类似的墨点图写前后两排的松木，墨色稍浓，其间及其与远山间，仍以烟云留白的技法分隔空间，与整幅图表达空间层次感的幽缈之意相映成趣。其山木树石的风格似乎可从董源处寻其渊源。除此之外，米芾“以山水古今相师”，即融合古人技法与对自然山水的体悟成一家，风格独特，故世称“大米”。\n这幅又作《天降时雨图》，画家巧妙地运用“烟云掩映”的技法，分隔远山与松木之间的空间感，尤其是墨点晕染的圆转山头，可见其山顶积墨浓重、表现阴影，山腰以下则没人淡墨晕染的烟云中，仿佛连绵的山峦出入云霭间，幽缈、空远。",[23,24,162,118,1996,33,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104b03b59e1d79cc0c5f6fda4b889ce9.jpg","绢本水墨","150cm×78.8cm",[],97,{"id":2593,"slug":2594,"title":2595,"dynasty":18,"author":319,"museum":332,"description":333,"tags":2596,"thumbUrl":2597,"material":312,"size":337,"collection":148,"collections":2598,"showCount":2591,"zanCount":11,"manualWeight":11,"mainColor":54},220061,"hu-qiu-shi-er-jing-tu-ce-6-shen-zhou-220061","虎丘十二景图册-6",[23,24,162,116,213,118,7,32,64,451,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72248fc90bb40e68bc86e816e76412c9.jpg",[],{"id":2600,"slug":2601,"title":2602,"dynasty":18,"aut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随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[23,24,63,25,27,26,28,118,30,7,32,35,33,121,31,2679,2680],"田野","城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","58.5×544cm",[49,51],{"id":2685,"slug":2686,"title":2687,"dynasty":885,"author":1032,"museum":60,"description":2688,"tags":2689,"thumbUrl":2690,"material":247,"size":2691,"collection":127,"collections":2692,"showCount":2672,"zanCount":11,"manualWeight":11,"mainColor":54},220818,"guan-shan-xiao-si-tu-zhou-wang-meng-220818","关山箫寺图轴","王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。\n他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。\n《画史绘要》中说：“王蒙山水师巨然，甚得用墨法”。",[23,24,63,193,118,27,116,28,196,7,32,33,1409,123,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1601b0cd43037b968c1bf32d6a8e7830.jpg","纵161.7cm，横56cm",[127,51],{"id":2694,"slug":2695,"title":905,"dynasty":157,"author":2696,"museum":135,"description":2697,"tags":2698,"thumbUrl":2699,"material":47,"size":2700,"collection":49,"collections":2701,"showCount":2672,"zanCount":587,"manualWeight":11,"mainColor":499},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","杨大章","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,63,25,27,26,29,28,30,7,31,32,33,65,66,75,873,41,35,437,69,40,67,71,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[49,51],{"id":2703,"slug":2704,"title":2705,"dynasty":157,"author":1796,"museum":433,"description":2706,"tags":2707,"thumbUrl":2708,"material":495,"size":496,"collection":148,"collections":2709,"showCount":2710,"zanCount":11,"manualWeight":11,"mainColor":152},288092,"yuan-ben-qing-ming-shang-he-tu-chen-mei-288092","院本清明上河图","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[24,28,25,26,27,7,121,538,30,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3f7497bacbc0ee63d999b8bc543f10.jpg",[],91,{"id":2712,"slug":2713,"title":2714,"dynasty":157,"author":209,"museum":433,"description":2715,"tags":2716,"thumbUrl":2718,"material":148,"size":148,"collection":148,"collections":2719,"showCount":2710,"zanCount":587,"manualWeight":11,"mainColor":152},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[24,63,25,27,118,116,164,117,284,119,120,123,7,31,32,121,33,139,194,2717,452],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],{"id":2721,"slug":2722,"title":2723,"dynasty":18,"author":19,"museum":433,"description":2724,"tags":2725,"thumbUrl":2726,"material":148,"size":148,"collection":148,"collections":2727,"showCount":2710,"zanCount":11,"manualWeight":11,"mainColor":54},228385,"shang-lin-tu-juan-si-ren-shou-cang-chou-ying-228385","上林图卷（私人收藏）","《明仇英上林图卷》由明朝画家仇英绘画。\n仇英《上林图卷》画意取自西汉司马相如的名篇《上林赋》，描写了汉武帝时的皇家园囿“上林苑”的美景，以及汉武帝与群臣狩猎时的壮观景象。\n【名称】明仇英上林图卷 【类别】中国 【年代】明代 【作者】 【规格】该幅44.8128厘米，隔水一14.1厘米，隔水二14厘米，拖尾44.826.厘米 【收藏】 主题与关键字： 房舍、宫殿、马、后妃、渔夫、船夫、军士、瀑布、藤萝、江河、湖海、侍从（侍女、童仆）、兽力车、石磴、栈道、官员（臣）、栏杆、鹤、兵器、高士（士人、隐士）、桃花、溪涧、湍泉、帝王、狐狸、亭、乐器、台阁、杉、篷舟、鹿、仪仗（佛教宝盖）、桥、百姓、云、牛、篱笆、围墙、羊、帐篷、鸾凤、虎、鸡、茅草屋、田畴、松、狗。\n故宫书画录（卷八），第四册，页42 故宫书画图录，第十八册，页5-6 此幅图写 上林赋意，卷末并附有署文徵明款之隶书全文。\n相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。\n画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。\n人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。\n此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托。\n仇英，明朝，太仓（今江苏太仓）人。\n移家吴县（今江苏苏州）。\n画师 ，工山水、人物、士女，而格力不逮。\n特工临摹，粉图黄纸，落笔乱真。\n至于发翠豪金，丝丹缕素，精丽艳逸，无愧古人。\n尝作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆臆写古贤名笔，斟酌而成，可谓绘事之绝境，艺林之胜事也。\n题其仙弈图谓：“仇实父是 后身，即文、沈亦未尽其法。\n”洵非过誉。\n尤工士女，神采生动，为明代工笔之杰。\n152年（正德十五年）与 合仿 莲社图，藏故宫博物院。",[23,26,115,27,25,118,7,30,33,139,32,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d654d1e6148064ec1640922c1921901.jpg",[],{"id":2729,"slug":2730,"title":2731,"dynasty":157,"author":175,"museum":135,"description":1946,"tags":2732,"thumbUrl":2737,"material":247,"size":1952,"collection":127,"collections":2738,"showCount":2710,"zanCount":587,"manualWeight":11,"mainColor":152},222768,"shi-er-yue-ling-tu-9-yue-lang-shi-ning-222768","十二月令图（9月）",[23,24,26,27,2733,2734,30,7,39,118,33,2735,2736],"青绿山水","时令图","赏菊","消闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4765ff320188bb74abd93a15b392fe.jpg",[127,51],{"id":2740,"slug":2741,"title":2742,"dynasty":18,"author":19,"museum":2743,"description":2744,"tags":2745,"thumbUrl":2746,"material":180,"size":2747,"collection":127,"collections":2748,"showCount":2710,"zanCount":11,"manualWeight":11,"mainColor":54},222207,"liu-yuan-ren-xing-shan-shui-tu-chou-ying-222207","柳园人形山水图","日本京都国立博物馆","柳园里建筑整齐划一，假山和房屋非常考究，屋内三三两两侃侃而谈。运用点缀法，在灌木上点上白色，以示花开。仇英，明代画家，与唐寅、文征明、沈周并称“明四家”。",[23,24,26,27,28,118,7,30,373,451,38,1047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b13a4847e9f398ceeef59dd35da828.jpg","21.5*21cm",[127,51],{"id":2750,"slug":2751,"title":2752,"dynasty":58,"author":369,"museum":135,"description":2753,"tags":2754,"thumbUrl":2755,"material":247,"size":2756,"collection":80,"collections":2757,"showCount":2710,"zanCount":11,"manualWeight":11,"mainColor":54},221514,"hua-deng-shi-yan-tu-juan-ben-ma-yuan-221514","华灯侍宴图绢本","描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n构图:一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引\n技法:此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。",[23,24,63,193,27,28,26,118,7,30,538,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea1753402e13e92e3ed1f1221ce3c99.jpg","纵125.6厘米，横46.7厘米",[80,127,82],{"id":2759,"slug":2760,"title":2761,"dynasty":89,"author":2762,"museum":60,"description":2763,"tags":2764,"thumbUrl":2765,"material":424,"size":2766,"collection":127,"collections":2767,"showCount":2710,"zanCount":11,"manualWeight":11,"mainColor":54},221092,"peng-lai-fei-xue-tu-ye-yang-sheng-221092","蓬莱飞雪图页","杨升","《杨升蓬莱飞雪图》是元代诗人柯九思创作的一首七言绝句。\n仙山一夕遍琼瑶，万木森森长玉苗。\n处处楼台相掩映，素娥白鹤正逍遥。\n柯九思： 元台州临海人，字敬仲，号丹丘生。\n依附怀王图帖睦尔(文宗)。\n文宗即位，授典瑞院都事，迁奎章阁鉴书博士。\n文宗死，流寓江南。\n博学能文，善楷书，工画墨竹，能以书法为之。\n又善鉴识鼎彝古器。",[23,24,63,213,27,26,118,7,31,451,1013,30,775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82511192a16c3e0b49ca5d24aa8f0676.jpg","75x68cm",[127,51],{"id":2769,"slug":2770,"title":2771,"dynasty":18,"author":2772,"museum":357,"description":2773,"tags":2774,"thumbUrl":2778,"material":47,"size":2779,"collection":49,"collections":2780,"showCount":2710,"zanCount":709,"manualWeight":11,"mainColor":54},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,24,63,25,118,27,116,30,31,32,120,2775,7,33,139,2776,1581,194,2777,493],"蓑笠","渔船","风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[49,51],{"id":2782,"slug":2783,"title":2784,"dynasty":58,"author":2785,"museum":135,"description":2786,"tags":2787,"thumbUrl":2788,"material":47,"size":2789,"collection":127,"collections":2790,"showCount":2710,"zanCount":530,"manualWeight":11,"mainColor":54},218533,"yan-shan-xu-bie-tu-zhao-zong-han-218533","雁山叙别图","赵宗汉","画楼台亭榭，二人设几拥书对坐，一人携杖，童子抱琴随行。此图嘉祐二年五月廿九日，宗汉奉使出镇广南，过浙中，其乡人旧友汪子卿少游浙中，登庆历进士，归从雁山，作此图为别。",[24,63,193,27,116,164,284,118,7,33,139,32,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ceca5bf5d4e52df96f93e938393a90e.jpg","纵156公分，横160公分",[127,80],{"id":2792,"slug":2793,"title":2794,"dynasty":18,"author":19,"museum":210,"description":2795,"tags":2796,"thumbUrl":2797,"material":47,"size":2798,"collection":49,"collections":2799,"showCount":2710,"zanCount":11,"manualWeight":11,"mainColor":54},218359,"luo-han-tu-chou-ying-218359","罗汉图","这是一幅十八罗汉过海拜见龙王的画，笔触轻快，造型优美，但与仇英的风格不同。",[23,25,26,27,28,94,30,1996,775,7,2058,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252c007a7e4f43338f663e8242a9940.jpg","24.3x321",[49],{"id":2801,"slug":2802,"title":2803,"dynasty":885,"author":2804,"museum":806,"description":2805,"tags":2806,"thumbUrl":2807,"material":361,"size":2808,"collection":127,"collections":2809,"showCount":2710,"zanCount":587,"manualWeight":11,"mainColor":54},215037,"teng-wang-ge-tu-san-ye-xia-yong-215037","滕王阁图散页","夏永","此图描绘了唐代洪州（今江西南昌）名胜滕王阁，此楼依山傍水，是登高远眺之佳处，与黄鹤楼、岳阳楼并称“江南三大名楼”，唐代诗人王勃曾作滕王阁序，留下“落霞与孤鹜齐飞，秋水共长天一色”的名句，使此楼垂名后世。",[114,24,63,28,162,7,118,120,139,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3937fc23fb0df816f2e1017fd0ca690c.jpg","纵25.5厘米 横26厘米",[127],{"id":2811,"slug":2812,"title":2813,"dynasty":157,"author":472,"museum":242,"description":473,"tags":2814,"thumbUrl":2817,"material":481,"size":482,"collection":148,"collections":2818,"showCount":2819,"zanCount":587,"manualWeight":11,"mainColor":54},222817,"gu-su-fan-hua-tu-di-yi-duan-xu-yang-222817","姑苏繁华图第一段",[23,114,24,25,27,26,118,122,2815,1313,2326,7,31,32,2816,34,30,44,33,139,41],"村镇","船舶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a01f4224a44f2fb29505d1c3e5f9e1a.jpg",[],90,{"id":2821,"slug":2822,"title":2823,"dynasty":157,"author":1686,"museum":60,"description":2824,"tags":2825,"thumbUrl":2826,"material":2060,"size":2827,"collection":127,"collections":2828,"showCount":2819,"zanCount":11,"manualWeight":11,"mainColor":152},220976,"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,63,213,162,27,118,7,31,120,123,33,139,194,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4caaee7acd02f00b671f99fe717cb6e3.jpg","纵27.5cm，横35.2cm",[127,82],{"id":2830,"slug":2831,"title":2832,"dynasty":885,"author":1032,"museum":135,"description":2833,"tags":2834,"thumbUrl":2836,"material":217,"size":2837,"collection":127,"collections":2838,"showCount":2819,"zanCount":587,"manualWeight":11,"mainColor":54},220819,"ju-qu-lin-wu-tu-wang-meng-220819","具区林屋图","此幅画面的右上角有王蒙以隶书题的“具曲林屋”四个字，底下署“叔明为日章画”，具区是古时太湖的旧称。\n王蒙截取太湖山中极小的一块区域，提炼加工，组织而成这幅极富生活情趣的画面：右下方一坡角，数株大树并列生於其间，林下有高士临水而坐，好像正欣赏著眼前的美景。水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人独坐其间看书；山间小路迂回，曲径通幽，数栋屋宇参差错落於山谷之中，有妇女活动其间。\n图中山石用“牛毛皴”与“解索皴”干笔皴擦而成，多曲折旋转之笔，以突显出太湖一带山石特有的质感；树叶则用墨与色直接点染而成，丹崖碧树，一派秋日山水景象。\n该画作描写江苏太湖林屋洞之景色。玲珑的洞壑、层叠的山石、繁密的树林、错落的村舍和粼粼水波填满了整幅画面，大胆地摆脱了自然景象的拘囿。全作的构图几乎密不透风，但因画家有虚实相济的观念，故在画幅的左上角营造出「透」的部分，使得全作毫无迫塞的感觉。王蒙用牛毛皴皴擦山石，长披麻皴画树干，又杂以繁密的苔点，笔法变化多端，细腻丰富。墨色层层点染，浓淡分明，同时又用了赭石、藤黄、朱砂和朱标点染，使得全作秋意满幅。\n全图除了溪流之外，几乎被山石、树木、林间茅舍填充的没有空隙，这种饱满的构图方式在中国古代绘画作品中极为罕见，开辟出国画构图之奇境。",[23,114,24,308,2835,27,116,118,1639,33,1409,75,7,197],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecaeed00379af6afdfac3af833b2d69.jpg","68.7 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42.5cm",[127,51],{"id":2840,"slug":2841,"title":2842,"dynasty":58,"author":2843,"museum":135,"description":2844,"tags":2845,"thumbUrl":2846,"material":47,"size":148,"collection":127,"collections":2847,"showCount":2819,"zanCount":630,"manualWeight":11,"mainColor":152},218677,"xi-hu-shi-jing-tu-lei-feng-xi-zhao-ye-xiao-yan-218677","西湖十景图-雷峰夕照","叶肖岩","山峦晕染着暮色的暖调，古塔静立在层岩之上，夕照的金辉轻覆于林梢与塔檐，晕开朦胧的暖意。近处松枝虬劲，山石皴擦细腻；远处峰峦隐入淡墨，虚实间藏着江南的温婉。左侧墨笔题跋的线条与山水肌理相映，文辞与画意交织，将西湖黄昏的悠然意趣凝于尺幅。苍劲与柔婉并存，写实与写意相融，尽显雷峰夕照的静谧深远——仿佛晚风掠过塔铃轻响，时光沉淀的诗意在笔墨间缓缓流淌，让观者窥见千年西湖黄昏的温婉与悠长。",[23,24,63,213,27,118,761,7,284,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e6bfc3fb9153780220775dfbeb9338f.jpg",[127],{"id":2849,"slug":2850,"title":2851,"dynasty":58,"author":1257,"museum":433,"description":2852,"tags":2853,"thumbUrl":2854,"material":47,"size":2855,"collection":51,"collections":2856,"showCount":2819,"zanCount":587,"manualWeight":11,"mainColor":54},218594,"lan-you-shang-tu-li-song-218594","阑游赏图","三个女人坐在一座偏远的山边的亭子里，在高大的树荫下，从栅栏上欣赏风景，而亭子外面的两个女仆则身材修长，姿态优美。该技术的特点是岩石上的小笔触，树木和远处的山丘都是农场画的特点。",[24,63,26,27,28,118,30,121,33,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd89ca87b97de7d9898441c2291b095a.jpg","22x20.6",[51],{"id":2858,"slug":2859,"title":2860,"dynasty":58,"author":1418,"museum":135,"description":2861,"tags":2862,"thumbUrl":2863,"material":495,"size":2864,"collection":148,"collections":2865,"showCount":2866,"zanCount":11,"manualWeight":11,"mainColor":54},288949,"xi-shan-lou-guan-tu-yan-wen-gui-288949","溪山楼观图","《溪山楼观图》是一件立轴作品，代表北宋初全景式山水的典型。此图绘高远、深远景色，溪山重叠，自下而上，自近及远，繁复细密。在险峻的峰峦之中，显现出雄伟壮观的楼观殿宇，山崖下水榭回廊与水波浩渺的江面互相映衬，加上陡峭的山势与艰险的山径，使此画的境界雄浑沉秀，繁中见清。笔法尖劲峭丽，山石皴中有染，精细工整，是“燕家景致”的典型范例。",[23,114,24,63,162,118,7,139,33,32,116,193,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e79de6733f981b2ebaba4b9f3bceaa7.jpg","103.9x47.4",[],89,{"id":2868,"slug":2869,"title":2870,"dynasty":157,"author":472,"museum":242,"description":473,"tags":2871,"thumbUrl":2873,"material":481,"size":482,"collection":148,"collections":2874,"showCount":2875,"zanCount":630,"manualWeight":11,"mainColor":54},222819,"gu-su-fan-hua-tu-di-san-duan-xu-yang-222819","姑苏繁华图第三段",[23,114,24,25,26,27,30,7,31,32,35,34,1313,122,118,44,476,2872,72,41],"古街","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17ce7b45c379e1c3d731de80836559d.jpg",[],88,{"id":2877,"slug":2878,"title":2879,"dynasty":157,"author":175,"museum":135,"description":1946,"tags":2880,"thumbUrl":2882,"material":247,"size":1952,"collection":127,"collections":2883,"showCount":2875,"zanCount":587,"manualWeight":11,"mainColor":54},222769,"shi-er-yue-ling-tu-zheng-yue-lang-shi-ning-222769","十二月令图（正月）",[23,24,27,26,28,30,7,39,139,33,38,2881],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7578701c0511c7e8d219ace0c798cee0.jpg",[127,51],{"id":2885,"slug":2886,"title":2887,"dynasty":58,"author":669,"museum":135,"description":2888,"tags":2889,"thumbUrl":2890,"material":2891,"size":2892,"collection":80,"collections":2893,"showCount":2875,"zanCount":587,"manualWeight":11,"mainColor":54},221545,"yao-chi-xian-shou-tu-liu-song-nian-221545","瑶池献寿图","《瑶池献寿图》是南宋画家刘松年所创作，此图描绘了仙山楼阁的神仙世界，是当时上层社会的做寿喜庆场面。\n人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,24,26,27,116,28,118,30,7,538,139,33,194,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20358360b91c23dd09f3758afe3d4ad8.jpg","立轴 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设色","纵198.7厘米，横109.1厘米",[80,49,51],{"id":2895,"slug":2896,"title":2897,"dynasty":89,"author":1167,"museum":135,"description":2898,"tags":2899,"thumbUrl":2900,"material":424,"size":2901,"collection":127,"collections":2902,"showCount":2875,"zanCount":11,"manualWeight":11,"mainColor":54},221095,"long-chi-jing-du-tu-li-zhao-dao-221095","龙池竞渡图","大致在宋、元时期，涌现出了一批以反映园林建筑为主要题材的绘画作品，这种充满人文景观的建筑绘画作品，除了表现技巧上的成熟外，也营造出一种全新的绘画艺术形式，形成以楼图为主体、以山水为背景、以人物舟车为点缀的界画艺术",[23,24,63,1535,115,27,28,118,7,31,120,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dff8d35255766cbed16cb1427c7429.jpg","28.5x29.7cm",[127,51],{"id":2904,"slug":2905,"title":2906,"dynasty":828,"author":829,"museum":60,"description":2907,"tags":2908,"thumbUrl":2909,"material":2910,"size":2911,"collection":148,"collections":2912,"showCount":2913,"zanCount":11,"manualWeight":11,"mainColor":152},232939,"you-chun-tu-juan-zhan-zi-qian-232939","游春图卷","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。下端一角，便是坡陀花树，围绕山庄。描绘出明媚春光和游人在山水中纵情游乐的神态。各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。\n早期的山水画通常会呈现出“人大于山和水不容泛、树木若伸臂布指”的状态，这说明了早期山水画的不成熟，在构图方面体现了较为幼稚的特点。《游春图》的章法布置则突破了以往的画风束缚，形成了十分有特色的构图方式，结构层次颇有特点。它的画面的右上部主要是山峦的表现，绘有大量的崇山峻岭，展现了一副山峦起伏、峰回百转的形态。若在之前，这个画面可能就算是完成了整个景观背景的塑造。但是展子虔并没有到此为止，在画面的右下方，他在画面中画上了山间小径，小径则是由低矮的树木、草丛组成，曲径通幽，旖旎风光、透逛山路，成为了右上方巍峨高山的延伸部分。这样，高山便成为了山路的背景，山路又成为了高山的细节铺垫和展现。这就使得整个画面比前期山水画更显全面、沉稳、丰富。而在画面的左侧，观者可以看到展子虔在此绘有一处低矮的小山丘。这一小山丘能够与右侧上方的崇山峻岭遥遥相对，形成鲜明的对比。在画面的中问，则有大片江河，形成一道波光粼粼的天堑，并与湖水、天空融会在一起，使得整个画面形成湖天一色、山河并举的形象。值得一提的是，画面并未只以山川与河流为主，而是在细节之处加以点缀：江河之中有小船点缀其中，船中有三四位神态各异、姿态不同的人物，将人声、山河画面融合在一起，并通过山川、河流、船舶、人物等形象构造出整个画面的图片比例。\n深究整个《游春图》，可以发现该画以山川、水系为主体，将人物、古刹、船舶、阁楼等融于山水，成为画面中的重要景观。这些景观相互配合，运用其形象的客观物象来表达画面事物之间的大小、高低、远近等的关系。合理地处理画面关系，使得展子虔对画面的比例、深度等都能有十分准确的把握，并根据其特点，进行处理和变化。也正是由于这种十分合理的处理和变化，才能够使得山水画的构造变得更加符合现实，使得该画变化成了“超然物外”的穿插构图，形成隋代山水画的新格局，使得中国山水人物画的表现形式和审美取向变得更加成熟。\n运笔成熟，表现独特。展子虔在绘画创作上十分敢于并善于创新，尤其善于在细节处用笔。在观者欣赏《游春图》的时候，不难发现它无处不是点缀着代表盎然生气的绿色。例如，画面就有很多还没有完全长满枝芽的树木，这些枝芽就是展子虔运用独特的勾画技巧形成的，即青绿勾填技法。这种技法不仅仅使得他的创作变得“细密精致而臻丽”，更让他的这种创作方法成为了中国山水画的重要技法之一。\n在绘画山川石木的时候，展子虔善于运用细节，运用细笔勾勒它们的轮廓。以青绿色以及其他明丽的色彩来展现画面。例如，他在刻画《游春图》的山石树木之时，善于将山石树木的线条不用刻意有粗细、明暗的变化，它们不用刻意地添加皱祈，也照样能体现出古朴苍劲、俊朗豪迈的形象。而在描绘人物的时候，展子虔也习惯运用细节来展现人物的形态、神态等，虽然画面中的人物形象没有过大改变，但是人物神情却可以是各有特色，每个人的衣着外观都十分飘逸流畅，也使得观者有“观人于微，，的感受。另外，他还善于运用“点花”的方法，勾勒细节，例如对枝芽的处理，他也会运用粉点点上，形成芽苞初放的形象。而在绘画人物上，作者也是用了这种点染的方法，让细小如豆的人马等都形态毕现。\n青绿重彩，工细巧整。在隋代之前，魏晋时期的山水画不仅仅在构图、形状、用笔等方面都比较单一，而且在整个画面的用色方面也都十分单一。而在隋代展子虔的《游春图》中，其形状不仅仅充满变化，而且在用色上也更加丰富和大胆。展子虔为了改变以往单调而简单的填色方式，将自己大胆的想象和细致的技法运用到画面中。《游春图》以青绿色为主色调，并在此基础上，形成细工精琢的用色方法。例如，在画面右上部分，作者开始运用青绿着色，展现了初春山林间盎然的生机。而在右下部分，表现山间小路时，作者却用泥金来表现，展现了山林中春寒未退的山色。这样两类用色，使整个画面的表现力更加丰富。同时，在绘画树木之时，展子虔更加注重细节的刻画。在对树叶设色时，它不仅仅运用色填或者色染，而且还运用点彩的形式，来展现含苞初放的春日娇态。\n《游春图》除了对画面中的不同物象进行了十分具有特点的用色之外，在敷色上增加各种晕染等方法，使不同对象在色彩表达上显得更加统一而完善。在描绘松树时，画家并没有以松针来展现，而是用深绿色运笔，在表现其他花木时，画家则运用桃红色、白粉色等来展现，形成单纯而丰富、古朴而艳丽的形象特点。因而，纵观整个《游春图》，其画面展现的是新绿成荫、繁花盛开、水天一色、深浅莫辨的特点。而在对人物的描绘过程中，展子虔运用山后白云来展现人物所处的背景，并能够以此来衬托人物游春时的心境。而对于人物本身的形象来说，展子虔则也善于用粉色和白色进行点染，使得整个画面更显风格细腻、轻松生动。\n唐代僧彦悰《后画录》：“触物为情，备皆妙绝”，“远近山川，咫尺千里。”\n唐代张彦远：“动笔形似，画外有情。”\n宋代《宣和画谱》：“写江山远近之势尤工，故咫尺有千里之势。”\n明代董其昌：（《游春图》）是“世所罕见”的墨宝。\n当代作家沈从文：“这画卷的重要,实在是对于中国山水画史的桥梁意义……没有它，历史即少了一个重要环节。”\n现存于故宫博物院的《游春图》是展子虔唯一传世的代表作，也是世界上存在最早的画卷，它的存在，对中国乃至世界的绘画史、艺术史都具有极为重要的作用。\n在《游春图》出现之前，中国早期的山水画通常是“人大于山、水不容泛”。也就是说，绘画中人物形象的塑造比山还要大，而对于水的绘画，却永远不会有波光粼粼的形态，而是犹如一潭死水般地停留在画布上。可见，在展子虔之前的，尤其是南北朝时期的山水画仍然存在很多不足，这些画家们通常无法把握好山水、人物的比例关系，也不能完美、生动地展现山水的飘逸之感。而《游春图》出现之后则打破了这种限制，全图无处不展现着一种空间之美，人物、山水疏密安排十分得宜，展现着自然界的交替、交换与重叠。\n游春图之所以能够成为中国山水画承上启下的代表作品，不仅仅在于画面呈现的内容，更在于它异于前人的创作手法和审美取向，展现出了于方寸之地尽显千里之姿的艺术特点。\n《游春图》构图壮阔沉静，设色古艳，富有典丽的装饰意味，体现出承上启下的风格，也标志着山水画即将进入成熟期，他在山水画上所达到的成就及其绘画方法，直接开启了唐代画家李思训、李昭道父子金碧山水的先河。\n1980年5月27日华国锋到日本进行正式访问时，赠给日本天皇的礼品中，就有一幅中国现代女画家临摹的隋朝画家展子虔的《游春图》。",[114,24,63,25,115,27,118,30,7,31,32,119,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd3613327ff7d09b2f5cbe51fadde61.jpg","绢本绘画","高43厘米，宽80.5厘米",[],87,{"id":2915,"slug":2916,"title":2917,"dynasty":58,"author":369,"museum":433,"description":2918,"tags":2919,"thumbUrl":2920,"material":148,"size":148,"collection":148,"collections":2921,"showCount":2913,"zanCount":587,"manualWeight":11,"mainColor":54},227819,"yue-ye-tu-ma-yuan-227819","月夜图","虬松盘崖而上，枝干屈铁盘旋，松针劲挺如攒，垂挂的松萝更添古寂幽邃。右侧高台层楼凭山而建，飞檐半隐于松荫，似浸在溶溶月色里。远景山峦晕作淡黛，隐没在昏褐夜色中，空濛虚灵，将天地拉得辽远空阔。\n\n全画以边角取景，淡墨轻皴营造月夜朦胧氛围，不见月华，却处处浸着凉润夜色，似可闻松涛伴着凉风掠过廊檐。尺幅之间以少胜多，留白造境，将秋夜清寂雅致藏在一隅，尽显空灵简远的意境，把江南月夜的幽柔静谧铺陈在绢素之上，余韵悠长。",[23,114,24,63,118,162,27,1678,538,7,623,762,139,33,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],{"id":2923,"slug":2924,"title":2925,"dynasty":58,"author":2926,"museum":190,"description":2927,"tags":2928,"thumbUrl":2929,"material":47,"size":2930,"collection":49,"collections":2931,"showCount":2913,"zanCount":630,"manualWeight":11,"mainColor":54},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","中兴瑞应图","萧照","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,114,24,63,25,26,27,28,116,30,7,118,33,65,121,39,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[49],{"id":2933,"slug":2934,"title":2935,"dynasty":18,"author":19,"museum":943,"description":2936,"tags":2937,"thumbUrl":2938,"material":47,"size":148,"collection":127,"collections":2939,"showCount":2913,"zanCount":587,"manualWeight":11,"mainColor":54},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[24,63,193,26,27,118,28,30,7,65,121,33,139,32,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[127],{"id":2941,"slug":2942,"title":2943,"dynasty":58,"author":1257,"museum":135,"description":2944,"tags":2945,"thumbUrl":2946,"material":47,"size":2947,"collection":80,"collections":2948,"showCount":2913,"zanCount":11,"manualWeight":11,"mainColor":54},218896,"song-wu-yan-bin-tu-li-song-218896","松坞延宾图","这幅画描绘了山中溪边的一个村庄，一个贵族把自己隐居起来，在家里建起了一些区域，当客人到来时，他们会用菜肴招待。这幅画是艺术家笔下的杰作，虽然它很饱满，但有一股清晰的水流在其中流淌。",[23,24,63,1535,28,27,26,30,7,230,451,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af25e2e2d0263c374707240ac706ee.jpg","24.5x24.4",[80],{"id":2950,"slug":2951,"title":2952,"dynasty":489,"author":1438,"museum":269,"description":2953,"tags":2954,"thumbUrl":2955,"material":47,"size":2956,"collection":127,"collections":2957,"showCount":2913,"zanCount":11,"manualWeight":11,"mainColor":54},217996,"bi-shu-gong-tu-guo-zhong-shu-217996","避暑宫图","这是现存的宋代绘画中少有的杰作，也是有史以来最高标准的界画之一。",[23,24,28,27,118,7,139,33,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F835da03f2af95dcf5be3dd4c03b0786a.jpg","174x102cm",[127],{"id":2959,"slug":2960,"title":2705,"dynasty":157,"author":868,"museum":135,"description":2961,"tags":2962,"thumbUrl":2970,"material":148,"size":2971,"collection":49,"collections":2972,"showCount":2973,"zanCount":11,"manualWeight":11,"mainColor":54},222834,"yuan-ben-qing-ming-shang-he-tu-sun-hu-222834","此画由清宫画院的五位画家协作画成，是参照了各朝仿本、集各家所长的作品。同时增加了明清时代的特殊风俗，如踏青、表演等等娱乐活动，亦增添了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，使画中人物增加到超过4,000人，而且受到西洋画风的影响，街道房舍均以透视原理作画，并有西式建筑行置其中。此卷用色鲜丽明亮，用笔达圆熟细致，所画之桥梁、屋宇、人物皆细腻严谨，是院画中的精品之作。",[23,24,25,27,26,30,7,68,2963,873,2964,2965,2966,2967,1873,2968,396,2969],"屋宇","猴","戏剧","特技","擂台","踏青","院画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98aa9c3aaaf37a0138ff09866aaaffc7.jpg","长1152.8公分及宽35.6公分",[49,51],86,{"id":2975,"slug":2976,"title":1246,"dynasty":885,"author":2977,"museum":269,"description":2978,"tags":2979,"thumbUrl":2983,"material":47,"size":2984,"collection":127,"collections":2985,"showCount":2973,"zanCount":11,"manualWeight":11,"mainColor":54},217866,"chun-shan-you-qi-tu-sheng-mao-217866","盛懋","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[24,118,27,116,30,65,31,7,121,33,139,452,623,2980,38,2981,2982,197],"近树","游骑","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[127],{"id":2987,"slug":2988,"title":2989,"dynasty":157,"author":2440,"museum":60,"description":2990,"tags":2991,"thumbUrl":2992,"material":180,"size":2993,"collection":49,"collections":2994,"showCount":2995,"zanCount":587,"manualWeight":11,"mainColor":54},222862,"shi-gong-ci-tu-ce-leng-mei-222862","十宫词图册","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。",[23,24,26,27,28,164,117,30,7,1298,2443,775,463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e2972b1c52918200e2cb77c491e77.jpg","纵33.1厘米，横29.3厘米",[49],85,{"id":2997,"slug":2998,"title":942,"dynasty":18,"author":2772,"museum":2999,"description":3000,"tags":3001,"thumbUrl":3002,"material":166,"size":3003,"collection":127,"collections":3004,"showCount":2995,"zanCount":11,"manualWeight":11,"mainColor":152},222076,"fang-wang-meng-shan-shui-tu-xie-shi-chen-222076","南京博物院","此图为谢时臣的细笔山水佳作。写溪山胜境，山岚层叠，丘壑玲珑，栈道盘旋延伸，楼阁亭轩错落，士人童仆其中，还有雾气升腾，飞瀑直泻，湖光粼粼。画山石用解索皴，点苔用渴墨，皆为黄叔明笔法。此图布局稠密，笔势纵横，墨色淡雅，清丽潇洒。",[23,24,308,29,116,162,139,33,7,31,32,2112,121,30,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bcb0d43ecbe7f8e987e7ae1d117aaa.jpg","58.5X31.2cm",[127,82],{"id":3006,"slug":3007,"title":3008,"dynasty":157,"author":175,"museum":433,"description":3009,"tags":3010,"thumbUrl":3017,"material":148,"size":148,"collection":148,"collections":3018,"showCount":3019,"zanCount":530,"manualWeight":11,"mainColor":152},230206,"yuan-ming-yuan-tong-ban-hua-lang-shi-ning-230206","圆明园铜版画","《圆明园铜版画》是清代郎世宁于1724年创作的纸本画，共2开。\n本幅无款印。\n清雍正二年（1724年）， 皇帝决定扩建康熙年间即已开始兴建的 。\n在雍正、乾隆两朝持续不断的大规模扩建中，通晓西洋建筑学的 曾与法国传教士 、 等一起参与园内著名的“西洋楼”的设计和工程督造，并有机会在较长的时间里住在这座东方名园内，为装饰殿堂画了多幅作品，其中既有欧洲风格的油画，也有以欧洲 在平面上表现深远效果的“线法画”。\n虽然郎世宁在圆明园的这些创作由于兵燹的劫难早已湮没无存，但从此册铜版组画中，我们仍然可以看到郎世宁等西洋宫廷画家在宫廷建筑绘画上的高超造诣与成就。\n这组完全西式的铜版组画也成为清代宫廷建筑绘画全新技法的代表作。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[3011,26,28,3012,7,3013,1047,33,139,3014,38,39,3015,142,3016],"铜版画","中西合璧","喷泉","水池","雕塑","对称布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f65b9eb8fabb63e8ae379edc225897.jpg",[],84,{"id":3021,"slug":3022,"title":3023,"dynasty":58,"author":281,"museum":806,"description":3024,"tags":3025,"thumbUrl":3027,"material":247,"size":3028,"collection":80,"collections":3029,"showCount":3019,"zanCount":587,"manualWeight":11,"mainColor":54},223660,"zha-kou-pan-che-tu-yi-ming-223660","闸口盘车图","是宋代界画精品之一，为典型的“宣和装”，留有“宣和七玺”中的四枚。该卷屋宇楼榭，向背分明，斗拱铺作，不失绳墨。虽然台门有制、界画有度，但画家却用高超的技法突破题材的限制，生动呈现了一幅官营水磨作坊的日常情景。清代成亲王跋云：“雏凤楼中宝绘，须以此为第一，与汉瓦唐琴辉映千古。”",[23,114,24,63,25,28,26,27,30,7,32,70,64,33,68,3026],"劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550c385948591bb6e2aac1ff29f0ea9f.jpg","纵55.4厘米横124.1厘米",[80,51],{"id":3031,"slug":3032,"title":3033,"dynasty":58,"author":3034,"museum":135,"description":3035,"tags":3036,"thumbUrl":3038,"material":47,"size":3039,"collection":80,"collections":3040,"showCount":3019,"zanCount":11,"manualWeight":11,"mainColor":499},220218,"jiang-shan-xue-ji-tu-lou-guan-220218","江山雪霁图","楼观","楼观（公元13世纪）南宋钱塘（今浙江杭州）人，生卒年不详。\n南宋理宗赵昀朝（1225—1264）为画院祗候，《画史会要》谓其为度宗赵樭朝咸淳（1265—1274）时画院祗候，与马远齐名。\n工画花鸟、人物、山水，师马远，又得夏圭笔法，遂为马夏派。\n善画小品，咫尺千里意趣盎然，尝画《霁雪行旅图》，用小斧劈皴法画崖石，树枝草上俱用粉作雪。\n所作《映月梅花图》，方绢本，设色，梅花如雪，明月悬枝，清光一轮，恍如特照，该画款书臣楼观三字于右角梅枝隙处，上朋理宗赵昀对题：芳意饶呈瑞，寒光助照人。著录于《珊瑚网》。\n传世作品有《江头泊舟图》纨扇，录于《浙江古代画家作品集》《石勒问道图》轴今流入美国。",[23,114,24,308,693,27,116,774,1013,3037,75,33,1548,139,7,42,616],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa81f7cf0473656e7949a9c3ffe65af.jpg","纵153.4公分，横91公分",[80,127],{"id":3042,"slug":3043,"title":3044,"dynasty":885,"author":1032,"museum":943,"description":3045,"tags":3046,"thumbUrl":3047,"material":312,"size":3048,"collection":127,"collections":3049,"showCount":3019,"zanCount":11,"manualWeight":11,"mainColor":152},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[23,24,63,25,162,27,118,121,7,31,32,33,373,116,164,285,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[127],{"id":3051,"slug":3052,"title":3053,"dynasty":489,"author":3054,"museum":433,"description":3055,"tags":3056,"thumbUrl":3059,"material":495,"size":496,"collection":148,"collections":3060,"showCount":3061,"zanCount":11,"manualWeight":11,"mainColor":54},288460,"yu-le-tu-jing-hao-288460","渔乐图","荆浩","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[114,24,63,25,162,308,31,32,3057,139,7,30,1669,3058],"古木","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe6d632a1b6babf419082b8f11a8e7b.jpg",[],83,{"id":3063,"slug":3064,"title":3065,"dynasty":157,"author":1055,"museum":60,"description":1135,"tags":3066,"thumbUrl":3068,"material":180,"size":1138,"collection":148,"collections":3069,"showCount":3061,"zanCount":11,"manualWeight":11,"mainColor":54},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴",[24,63,193,28,27,26,118,7,437,194,33,139,31,452,3067],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg",[],{"id":3071,"slug":3072,"title":1331,"dynasty":58,"author":59,"museum":433,"description":3073,"tags":3074,"thumbUrl":3076,"material":148,"size":148,"collection":148,"collections":3077,"showCount":3061,"zanCount":11,"manualWeight":11,"mainColor":54},227396,"jin-ming-chi-zheng-biao-tu-zhang-ze-duan-227396","金明池坐落在北宋东京汴梁顺天门外（今河南开封城西），是当时著名的御苑之一。每年三月由皇帝赐令开放，并与士庶于此共观龙舟争标，郊游赏玩，成为京城一大盛事。靖康之变后，赵宋王朝南渡，“争标赐宴”则成为历史的陈迹，不复存在。因此传世近千年的北宋著名画家张择端所作《金明池争标图》成为我们领略当日繁华胜境的最直观方法。\n张择端，字正道，东武（今山东诸城）人，宋徽宗时画院待诏。工于界画，尤其擅长作舟船、市桥、城郭，所绘《清明上河图》可谓中国最著名的绘画作品，家喻户晓。此幅《金明池争标图》是其另一传世佳作。北宋张择端《金明池争标图》页，收藏于天津博物馆，纵28.5厘米、横28.6厘米，工笔设色绘于绢本之上。\n本图作者在不足一尺见方的绢本上将周围约九里三十步的金明池及岸边的景物、人物悉数生动摹画下来，且画面呈现出开阔、疏朗的布局。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。表现主题的龙舟竞标场景以一艘大型龙舟为中心，其两侧各有五艘小龙舟，每船头各立军校一名，舞旗招引，舟中桨手则奋力划棹，向前方标杆冲去。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。“临水殿”中皇帝赐宴群臣，共赏争标；池岸上百姓或观龙舟，或春游赏玩，或买卖交易……众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。",[23,114,24,63,28,26,27,7,68,35,30,1430,33,38,258,3075],"岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b0e98ebb1fc83d5e69e50a542eff25.jpg",[],{"id":3079,"slug":3080,"title":3081,"dynasty":157,"author":3082,"museum":433,"description":3083,"tags":3084,"thumbUrl":3088,"material":180,"size":3089,"collection":49,"collections":3090,"showCount":3061,"zanCount":587,"manualWeight":11,"mainColor":152},223328,"qun-xian-zhu-shou-shou-juan-ren-yi-223328","群仙祝寿手卷","任颐","《群仙祝寿图》作于金笺之上，由十二条通景画构成。表现46个神仙人物共赴王母的寿筵祝寿的仙灵境界，场面宏大，内容祥瑞。对于这幅巨制，唐云先生曾写文章谈到，“‘群仙祝寿图’，尽管是在描写民间传说中的神仙故事，但一举一动都反映出人的性格和情感。把行动诡异的仙人和举止窈窕的仙女种种神态，对照起来看，分外有趣。仙女和仙人，有从空中来，有从海上来，来的地方不同，画面似将各地不同的习惯和性情都表达出来了。一只白鹤，忙着跨上白玉阑干，展翅起舞，回头迎生，竟似一个仙女在拍手热烈欢迎仙宾的情感一样。一对孔雀，也有不同性情:一只爱凑热闹，凝神看着一个举袖轻舞的仙女，另一只似乎嫌太烦乱了，飞到荷香深处，安踞石上，静听着仙女们演奏的美妙音乐，景态十分生动。十二幅通景屏，幅幅风光旖旎，融洽愉快，充分表达了祝寿场面的气氛。”",[23,24,63,25,27,26,2028,118,795,96,7,931,33,139,1431,3085,809,3086,3087],"仙人","祝寿元素","兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7fbafaea1f350faf3fa62a1bc3481.jpg","全图尺幅高206.8厘米，横宽720厘米（每幅条屏宽59.5厘米）",[49,51],{"id":3092,"slug":3093,"title":634,"dynasty":157,"author":1460,"museum":2154,"description":3094,"tags":3095,"thumbUrl":3096,"material":47,"size":3097,"collection":127,"collections":3098,"showCount":3061,"zanCount":587,"manualWeight":11,"mainColor":54},219911,"qiu-shan-xing-lv-tu-wang-hui-219911","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,63,193,115,27,118,30,65,7,451,139,116,272,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd3324ba8d0e045e5d6ab0a5260113f.jpg","152.4x78.7",[127],{"id":3100,"slug":3101,"title":3102,"dynasty":58,"author":356,"museum":135,"description":3103,"tags":3104,"thumbUrl":3105,"material":47,"size":3106,"collection":51,"collections":3107,"showCount":3061,"zanCount":11,"manualWeight":11,"mainColor":54},219046,"wen-ji-gui-han-tu-li-tang-219046","文姬归汉图","内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[23,114,24,63,193,116,162,27,118,30,7,33,139,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98081f5e1c3a4f47f750a16639f8f66.jpg","50.7公分*39.7公分",[51],{"id":3109,"slug":3110,"title":978,"dynasty":58,"author":281,"museum":433,"description":3111,"tags":3112,"thumbUrl":3113,"material":47,"size":148,"collection":80,"collections":3114,"showCount":3061,"zanCount":11,"manualWeight":11,"mainColor":54},218582,"gong-yuan-tu-yi-ming-218582","飞檐翘角隐于松柳荫翳间，回廊曲折勾连亭榭深院。素衣宫人缓步庭阶，衣袂轻扬似携春风漫行。古绢底色晕染时光温润，笔墨细腻勾勒宋式雅致：柳枝垂丝如梳，松针攒簇似绣，格子窗棂映出廊下幽影，石畔苔痕晕开清寂氛围。构图疏密得宜，动静相谐——建筑的规整与草木的生机相映，人物的闲步与庭院的静谧相融，将宫苑深处的雍容闲寂悄然铺展，如一卷慢启的宋时清梦，每一处细节都藏着时光沉淀的温婉与考究。",[114,24,63,28,27,30,7,121,33,139,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb239ee50763d90f5622390b38b842e66.jpg",[80],{"id":3116,"slug":3117,"title":3118,"dynasty":885,"author":3119,"museum":20,"description":3120,"tags":3121,"thumbUrl":3126,"material":47,"size":3127,"collection":49,"collections":3128,"showCount":3061,"zanCount":11,"manualWeight":11,"mainColor":54},218312,"ying-xi-tu-han-cheng-218312","婴戏图","韩晟","这幅画描绘了一个农场，许多孩子在玩耍，四个孩子在玩滑梯，一个亭子在下棋和读书，院子里有一个骑士和一只蚂蚱。嬉戏打闹，无可否认地表达了孩子们的活泼、快乐、童真和美丽的外表。",[24,63,27,26,28,30,919,7,121,39,33,3122,3123,3124,3125],"盆栽","桌椅","玩具","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189fe2b51b76e3feedecd63c68921ed.jpg","139.4x76.2",[49],{"id":3130,"slug":3131,"title":3132,"dynasty":18,"author":3133,"museum":269,"description":3134,"tags":3135,"thumbUrl":3136,"material":232,"size":3137,"collection":127,"collections":3138,"showCount":3061,"zanCount":587,"manualWeight":11,"mainColor":54},217064,"wang-wei-shi-yi-tu-hu-yu-kun-217064","王维诗意图","胡玉昆","胡玉昆是明朝时期的一位著名画家，他以其独特的诗意图风格而闻名于世。王维是一位著名的唐代诗人，他的诗作风格浪漫清新，富有诗意。胡玉昆在创作中结合了王维的诗作精髓，创造出了一种具有浓厚诗意的画风。\n\n胡玉昆的王维诗意图以山水画为主，但其中蕴含着诗意的元素十分丰富。他在画作中结合了唐代诗人王维的诗作风格，营造出一种浪漫清新的氛围。他经常使用抽象的手法来表现山水的美，并使用富有节奏感的线条来描绘山峰、水流、树木等元素。他的画作常常充满了诗意的气息，让人感受到一种自然界的静谧与美好。\n\n胡玉昆的王维诗意图在当时颇受欢迎，并且至今仍然被广泛欣赏。他的画作不仅仅是单纯的山水画，更是一种充满诗意的艺术表现。他的画作能够带给人们一种沉浸在自然界中的感觉，让人感受到大自然的美丽与和谐。",[24,63,162,118,116,194,7,121,120,75,33,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacd99ab5da0f731ac9ab42818e4bb69.jpg","95x71cm",[127],{"id":3140,"slug":3141,"title":3142,"dynasty":18,"author":432,"museum":433,"description":434,"tags":3143,"thumbUrl":3146,"material":47,"size":3147,"collection":49,"collections":3148,"showCount":3061,"zanCount":530,"manualWeight":11,"mainColor":54},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 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，现藏于大阪市立美术馆。\n《明皇避暑宫图》描绘唐明皇的避暑宫，背山面水，宏伟壮观。从图下的宫门向内，亭台楼阁、水榭宫室、长廊庭院，层层深入。单是屋脊斗拱，就不下十几座，无不刻画工细精确，结构严谨华丽。虽然楼阁密集，但有巨石、古树点缀其间，故而前后的层次清晰，加上左边的水色，与后山的空朦相映衬，却也疏密有致，雍容大度。\n《明皇避暑宫图》，勾线劲挺，虽说有界尺相助，但是众多的曲线，依然得徒手勾勒。",[23,24,63,193,28,26,27,118,7,38,33,139,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc3db0ed91249e6e8c0490e405536b5.jpg",[],82,{"id":3159,"slug":3160,"title":3161,"dynasty":58,"author":369,"museum":111,"description":3162,"tags":3163,"thumbUrl":3164,"material":247,"size":3165,"collection":80,"collections":3166,"showCount":3157,"zanCount":11,"manualWeight":11,"mainColor":152},221668,"diao-tai-wang-yun-tu-ma-yuan-221668","雕台望云图","画面描绘一处山中宫殿建筑。近处山脚下树林茂密，树木郁郁葱葱，将建筑掩映其中，左侧一座高台拔地而起，同远处山峰遥遥相望。石台台基宽厚，周围和右侧台阶边缘有护栏环绕，护栏下方的台身上有精美石雕。石台整体分为上下两层，第一层宽阔，台面呈回字形，中间是第二层的台基，周围摆放着花盆，中间台阶通往第二层。第二层上有一凉亭，周围置有几案、屏风、圆凳等家具。一人站在高台上，凭栏眺望。此时似乎是在准备宴席，侍者端着各式物品忙碌着。\n石台前方，其它建筑拱卫，远处山峰笔直入云，天空中风吹云动，一轮弯月高挂，同石台上眺望之人相呼应。",[23,24,63,114,27,28,118,7,121,1996,33,196,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73943a72afefd8298acebb643c82055c.jpg","纵25.4厘米，横24厘米",[80,127],{"id":3168,"slug":3169,"title":3170,"dynasty":89,"author":1043,"museum":433,"description":3171,"tags":3172,"thumbUrl":3174,"material":166,"size":3175,"collection":127,"collections":3176,"showCount":3157,"zanCount":11,"manualWeight":11,"mainColor":54},221145,"jiang-gao-hui-yu-tu-wang-wei-221145","江皋会遇图","王维（701年－761年，一说699年—761年），河东蒲州（今山西运城）人，祖籍山西祁县。唐朝著名诗人、画家，字摩诘，号摩诘居士。\n王维出身河东王氏，于开元十九年（731年）状元及第。历官右拾遗、监察御史、河西节度使判官。唐玄宗天宝年间，王维拜吏部郎中、给事中。安禄山攻陷长安时，王维被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，故世称“王右丞”。\n王维参禅悟理，学庄信道，精通诗、书、画、音乐等，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。苏轼评价其：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”存诗400余首，代表诗作有《相思》、《山居秋暝》等。著作有《王右丞集》、《画学秘诀》。\n此《著色山水》（江皋会遇图）据传为唐代著名诗人王维的山水作品。由于年代久远，已破损严重，泛黄变暗，依稀可见山水、树木与村落，卷首部分有北宋刘唐老的题跋。",[23,24,63,25,162,118,33,7,164,117,116,3173],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45181fa423d8069ce2d2a5500fa3692.jpg","29x128厘米",[127,51],{"id":3178,"slug":3179,"title":3180,"dynasty":157,"author":1055,"museum":210,"description":3181,"tags":3182,"thumbUrl":3183,"material":47,"size":3184,"collection":127,"collections":3185,"showCount":3157,"zanCount":11,"manualWeight":11,"mainColor":54},219757,"ni-guo-xi-pan-che-tu-yuan-yao-219757","拟郭熙盘车图","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。\n工画山水、楼阁、界画。画风工整、华丽，与袁江相似。其精品有胜于袁江者。偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。约活动于乾隆中期。不仅青绿工整山水，楼阁作品有名，其所画花鸟，也甚佳。流传作品比袁江多。而且往往是大幅。所画《观瀑图》、《秋江楼观图》等，无论布局，渲染，以至点景人物，都很精致。留有《阿房宫图》及《骊山避暑十二景图》大幅精美作品。《骊山避暑十二景图》现藏于日本。",[24,63,118,28,116,29,27,30,7,272,121,65,70,139,33,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2dbf03592ab1c501d619c8407e8f510.jpg","纵29横47.80厘米",[127],{"id":3187,"slug":3188,"title":416,"dynasty":58,"author":417,"museum":433,"description":3189,"tags":3190,"thumbUrl":3192,"material":495,"size":496,"collection":148,"collections":3193,"showCount":3194,"zanCount":11,"manualWeight":11,"mainColor":54},288508,"qing-luan-xiao-si-tu-li-cheng-288508","此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。",[23,114,24,63,118,193,162,116,196,7,3191,31,32,421,422],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a09d1fd685c91acbb434f10c0b0b2b.jpg",[],81,{"id":3196,"slug":3197,"title":3198,"dynasty":157,"author":281,"museum":60,"description":3199,"tags":3200,"thumbUrl":3204,"material":148,"size":148,"collection":49,"collections":3205,"showCount":3194,"zanCount":630,"manualWeight":11,"mainColor":54},238431,"fu-gui-sui-chao-tu-zhou-yi-ming-238431","福贵岁朝图轴","孩童们有的手举鱼、龙等各种形象的彩灯；有的胆大的孩子点燃炮竹，周围孩子掩耳观望；有的孩子登高折梅枝，树下的孩子将花枝插入瓶中，寓意岁岁平安；湖面已结冰，孩子们在冰面滑动冰车，打打闹闹，不小心滑倒还哈哈大笑；还有孩子吹拉弹唱，奏响乐器，妙趣横生。欢度佳节的喜气跃然纸上，仿佛能听到孩子们嬉闹的笑声。",[24,27,26,30,7,121,1515,919,2031,3201,1204,1298,3202,3203,2413],"炮竹","鱼","喜乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d8b1d3424982278598217ea629c0f2.jpg",[49,51],{"id":3207,"slug":3208,"title":3209,"dynasty":157,"author":209,"museum":433,"description":3210,"tags":3211,"thumbUrl":3213,"material":148,"size":148,"collection":148,"collections":3214,"showCount":3194,"zanCount":587,"manualWeight":11,"mainColor":54},228987,"you-zhang-gong-dong-tu-shi-tao-228987","游张公洞图","此作以全景铺展丘壑，溪谷盘绕于层叠峰峦间，村居错落掩映林泉。清润的皖南山水底色间，揉进雄健恣肆的皴擦点染，丹红林木轻点秋意，实景生趣与写意空灵相融。\n书画合璧，长题以文释意，将探幽快意寄于尺幅，林泉高致与文人雅兴浑然一体。笔底带着恣肆性灵，以山水写心，将搜尽奇峰的丘丘磊磊，化作澄怀观道的林泉佳处，尽显文人画借景抒怀的精髓。",[23,24,63,25,27,118,116,284,164,117,774,775,31,7,33,1639,452,3212,30],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef0f36d2f6bb2fa1e6e2e83d6241bf.jpg",[],{"id":3216,"slug":3217,"title":3218,"dynasty":157,"author":281,"museum":433,"description":3219,"tags":3220,"thumbUrl":3222,"material":148,"size":148,"collection":148,"collections":3223,"showCount":3194,"zanCount":630,"manualWeight":11,"mainColor":54},224248,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-si-yue-zhou-yi-ming-224248","清画院画十二月月令图四月轴","水乡四月晴柔漫溢，临水屋舍凭木桥勾连，酒肆里宾客围坐闲话，檐下有人往来劳作，仕女撑伞缓行廊桥，鲜活市井烟火扑面而来。岸畔花树缀满嫩白繁花，阶下牡丹灼灼盛放，晕开融融暖意。水湾烟波澹澹，远景沙洲逶迤，田埂上农人俯身忙碌，动静交织间，将江南初夏的清丽生机尽数铺展。\n\n整幅工笔设色雅致柔和，以细腻笔触定格日常闲趣，将时节风物与俗世温情相融，晕开一卷温婉的江南闲居图景，藏着旧时水乡的太平意趣。",[23,114,24,63,193,26,27,28,30,7,31,32,118,33,386,121,1829,142,3221,38,39,2881],"春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],{"id":3225,"slug":3226,"title":3227,"dynasty":157,"author":2231,"museum":210,"description":3228,"tags":3229,"thumbUrl":3230,"material":47,"size":3231,"collection":127,"collections":3232,"showCount":3194,"zanCount":11,"manualWeight":11,"mainColor":54},220076,"peng-lai-xian-jing-tu-yuan-jiang-220076","篷莱仙境图","图中所作楼阁大都建于高山之上，隐于丛林之中，古木、苍松、梅、杏等，或生于岩石之间、或生于夹缝之中，蓬勃繁茂，掩映成趣、生机盎然，洋溢着顽强的生命力。屈曲的枝干应当是受宋人影响，点叶之法比起其前期更为轻松自然、繁而不乱。图中人物，三五成群，神态自若，气质高雅，或论道、或茗茶、或泛舟湖上，本为点景之用，却起到了点睛之妙。衣冠、须发用笔劲细流畅。“雪压青松松更青，霜打红梅梅更红。”松柏、梅花在古代有寓意高洁之意，象征了文人士大夫的傲岸情操。",[23,24,63,114,28,27,26,7,118,31,33,139,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3523312862b3ddc21d4b421d43aaa.jpg","186.8x102.6",[127],{"id":3234,"slug":3235,"title":3236,"dynasty":157,"author":504,"museum":345,"description":505,"tags":3237,"thumbUrl":3240,"material":424,"size":516,"collection":148,"collections":3241,"showCount":3242,"zanCount":11,"manualWeight":11,"mainColor":106},230110,"hong-lou-meng-280-sun-wen-230110","红楼梦280",[24,26,27,3238,3239,509,7,39,33,386,30,25],"红楼梦","大观园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b546e3871ae691d9c459756f0333ad1.jpg",[],80,{"id":3244,"slug":3245,"title":3246,"dynasty":58,"author":3247,"museum":135,"description":3248,"tags":3249,"thumbUrl":3252,"material":495,"size":3253,"collection":80,"collections":3254,"showCount":3255,"zanCount":587,"manualWeight":11,"mainColor":54},287652,"wei-lu-bo-gu-tu-zhang-xun-li-287652","围炉博古图","张训礼","庭中松树挺立，梅花盛开。屏风前三文士围束腰长桌而坐，其中二文士坐於榻上，榻下壶门开光，一观画，一盥手回首；靠背扶手椅上文士手作研磨状，似为点茶备茶。一文士园中踱步吟诗。",[114,24,193,27,30,26,3250,7,1851,3251],"古松","博古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc850534567ac90cd07b70a89c97c8ca.jpg","138x72.7",[80],79,{"id":3257,"slug":3258,"title":3259,"dynasty":18,"author":3260,"museum":433,"description":3261,"tags":3262,"thumbUrl":3263,"material":148,"size":148,"collection":148,"collections":3264,"showCount":3255,"zanCount":630,"manualWeight":11,"mainColor":152},228362,"chun-shan-you-qi-tu-zhou-zhou-chen-228362","春山游骑图轴","周臣","此作用笔苍劲老辣，斧劈皴利落勾勒出峭拔山石，层叠崖壁铺展高远之境，山脚溪泉蜿蜒，板桥跨水。虬曲古松扎根危岩，新木抽芽晕染春和之意。\n桥上骑驴缓行，山坞村舍中人物往来鲜活，山野清旷间晕开烟火暖意。干湿墨色交织出林麓的阴晴层次，将雄阔山水与悠游雅兴相融，兼具北派山水刚健气势，暗藏春日踏青的松弛闲情，把寻幽访春意趣藏于丘壑，是兼具全景章法与细腻意趣的山水佳制。",[23,24,63,193,162,116,118,31,32,7,65,30,230,139,451,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91b60b69348321c76a367aa9f8848fc.jpg",[],{"id":3266,"slug":3267,"title":3268,"dynasty":58,"author":369,"museum":943,"description":3269,"tags":3270,"thumbUrl":3271,"material":47,"size":148,"collection":127,"collections":3272,"showCount":3255,"zanCount":587,"manualWeight":11,"mainColor":54},219916,"jiang-shan-lan-sheng-ma-yuan-219916","江山览胜","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,63,25,162,27,116,118,774,775,33,7,121,120,123,623,1399,1639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e464bf60c3447b88916e6b3e00a918.jpg",[127],{"id":3274,"slug":3275,"title":3276,"dynasty":157,"author":3277,"museum":135,"description":3278,"tags":3279,"thumbUrl":3286,"material":217,"size":3287,"collection":127,"collections":3288,"showCount":3255,"zanCount":11,"manualWeight":11,"mainColor":152},218165,"huang-he-lou-tu-guan-huai-218165","黄鹤楼图","关槐","关槐（十八世纪）字晋卿，号云岩，晚号青城山人，仁和（今杭州）人。乾隆间供奉内廷，宠眷特懋。画山水入宋、元之室，品诣在奚冈、屠倬之间。虽得董诰指授，其画境之苍润恬静，实有过之。\n黄鹤楼位于湖北武昌县西，汉阳门内黄鹤山上，楼高踞山巅，东瞩蛇山，西瞰大江，极富江山之胜。此楼始建于孙吴，然代见整修增益。 「寰宇记」有云：「昔费文祎登仙，每乘黄鹤于此楼驾，故名。」关槐此幅绘城郭临岸，江帆交织，波光粼粼，诚武汉之写生景也。",[23,24,114,308,27,3280,872,3281,3282,7,118,3283,3284,3285],"黄鹤楼","江帆","大江","波光","恬静","写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff013021d891bfaafb4122f34dac1c641.jpg","162.5x70.1cm",[127],{"id":3290,"slug":3291,"title":3292,"dynasty":58,"author":3293,"museum":433,"description":3294,"tags":3295,"thumbUrl":3297,"material":47,"size":148,"collection":127,"collections":3298,"showCount":3255,"zanCount":587,"manualWeight":11,"mainColor":152},215042,"ri-ben-xin-gui-shan-yuan-qi-hui-juan-niao-yu-seng-zheng-jue-you-215042","日本· 信贵山缘起绘卷","鸟羽僧正觉猷","画面如流水般铺展，墨色与淡彩交织出古雅韵致。图文交织的叙事里，每一折都藏着鲜活的情节——山间云雾轻笼，亭台楼阁隐现于林麓间，人物衣袂流转，或行或坐，神态生动如在眼前。山水晕染细腻温润，山石纹理、草木姿态皆透着自然灵趣；建筑结构精巧，红柱朱门点缀其间，添了几分庄重。绘卷以细腻笔触勾勒信仰与日常的交融，从山林到殿宇，从人物互动到景物铺陈，处处流露平安时代的审美意趣。它似一部流动的史书，让观者窥见千年前的生活与精神世界，韵味悠长，耐人寻味。",[23,3296,63,25,94,28,27,30,118,7,31,32,65,2058,123,33,194,39],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa988a8055981fce0c5bed6ccb375ce89.jpg",[127],{"id":3300,"slug":3301,"title":3302,"dynasty":157,"author":1055,"museum":60,"description":3303,"tags":3304,"thumbUrl":3305,"material":180,"size":3306,"collection":127,"collections":3307,"showCount":3308,"zanCount":11,"manualWeight":11,"mainColor":54},223285,"shan-shui-si-tiao-ping-yang-zhou-si-jing-wan-song-die-cui-yuan-yao-223285","山水四条屏-扬州四景-万松叠翠","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” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,27,28,26,118,538,7,121,35,139,194,1430,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[127,51],78,{"id":3310,"slug":3311,"title":3312,"dynasty":18,"author":319,"museum":806,"description":3313,"tags":3314,"thumbUrl":3316,"material":247,"size":3317,"collection":127,"collections":3318,"showCount":3308,"zanCount":11,"manualWeight":11,"mainColor":152},222092,"liang-jiang-ming-sheng-tu-ce-shen-zhou-222092","两江名胜图册","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,114,24,63,213,308,27,162,116,28,26,163,7,33,30,3315],"诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae55cb9acf046e83c10499f6b45c6d.jpg","42.2×23.8厘米",[127],{"id":3320,"slug":3321,"title":3322,"dynasty":58,"author":1257,"museum":418,"description":3323,"tags":3324,"thumbUrl":3325,"material":180,"size":3326,"collection":80,"collections":3327,"showCount":3308,"zanCount":11,"manualWeight":11,"mainColor":152},221488,"ming-huang-dou-ji-tu-li-song-221488","明皇斗鸡图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,63,114,26,27,30,65,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89089138511bc1aca4f7a0f4bc671a45.jpg","纵25.6厘米，横26.4厘米",[80,49,51],{"id":3329,"slug":3330,"title":3331,"dynasty":18,"author":3260,"museum":418,"description":3332,"tags":3333,"thumbUrl":3335,"material":47,"size":3336,"collection":127,"collections":3337,"showCount":3308,"zanCount":11,"manualWeight":11,"mainColor":54},219935,"bei-ming-tu-zhou-chen-219935","北溟图","此图描绘了古代北海的波澜壮阔。《庄子》开篇《逍遥游》载：“北冥有鱼，其名为鲲，鲲之大，不知几千里也”。渤海古代称北海，亦即北冥，北冥亦作北溟。",[23,24,25,118,26,116,7,33,194,3334,421],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177597f502a07f40362a79fb62f4475a.jpg","135.9x28.3厘米",[127],{"id":3339,"slug":3340,"title":3341,"dynasty":18,"author":3342,"museum":135,"description":3343,"tags":3344,"thumbUrl":3345,"material":217,"size":3346,"collection":51,"collections":3347,"showCount":3308,"zanCount":630,"manualWeight":11,"mainColor":152},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘","孙克弘（1532—1611） 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全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[23,114,24,63,25,162,118,7,120,32,121,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6099983a79040c7157e7afea0e72b08.jpg",[],74,{"id":3497,"slug":3498,"title":3499,"dynasty":58,"author":2259,"museum":433,"description":3500,"tags":3501,"thumbUrl":3502,"material":148,"size":148,"collection":148,"collections":3503,"showCount":3495,"zanCount":587,"manualWeight":11,"mainColor":54},227748,"wu-yun-lou-ge-tu-juan-zhao-bo-su-227748","五云楼阁图卷","卷 绢本设色 纵：31.8厘米 横：297.2厘米 美国克利夫兰博物馆藏 赵伯骕的作品精工细密，色彩虽然金碧辉煌但不失清润活泼，山石皴染，树叶枝干适当运用水墨山水画法，并掺以文人画的“气韵”，其风格既有青绿山水的明丽，又有文人水墨画的雅逸。",[23,114,24,25,115,27,26,116,118,7,31,32,120,33,30,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e6fc2b4dea5f5640fcca98811420e0.jpg",[],{"id":3505,"slug":3506,"title":3507,"dynasty":58,"author":702,"museum":433,"description":3508,"tags":3509,"thumbUrl":3510,"material":424,"size":706,"collection":148,"collections":3511,"showCount":3495,"zanCount":587,"manualWeight":11,"mainColor":54},221326,"chao-yuan-xian-zhang-tu-di-yi-duan-wu-zong-yuan-221326","朝元仙仗图-第一段","《朝元仙仗圖》為北宋宗教畫家武宗元所繪製的一幅絹本白描長卷， 曾收藏於美國華人收藏家王季遷手中，在其去世後失竊下落不明。\n\n該畫作描繪了五方帝君中的三個帝君，去往朝謁天上的最高統治者時的隊仗行列。畫家以流利的長線條描繪此圖，畫中人物栩栩如生，表情生動，描畫出了不同的人物的不同的身份與形態特徵，成功地表現出帝君的莊嚴、神將的威武和仙女的丰姿，是白描人物畫的代表作。",[23,24,114,25,95,94,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e6bd28a60a6c338f34ccc4c8b090642.jpg",[],{"id":3513,"slug":3514,"title":3515,"dynasty":58,"author":281,"museum":135,"description":3516,"tags":3517,"thumbUrl":3518,"material":47,"size":3519,"collection":80,"collections":3520,"showCount":3495,"zanCount":11,"manualWeight":11,"mainColor":152},218809,"jie-hua-lou-ge-1-yi-ming-218809","界画楼阁1","这幅画描绘了一个山间别墅的庭院，有雕花栏杆和奇花异木，这应该是一个富裕家庭的家。这座建筑的风格与署名为马麟的亭子相似，这幅画可以追溯到南宋时期。",[23,24,63,213,28,27,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f6e3d094caae67171695fac9a80a22.jpg","23.7x26.4",[80],{"id":3522,"slug":3523,"title":3524,"dynasty":885,"author":2804,"museum":20,"description":3525,"tags":3526,"thumbUrl":3527,"material":361,"size":3528,"collection":127,"collections":3529,"showCount":3495,"zanCount":11,"manualWeight":11,"mainColor":54},218718,"huang-lou-fu-tu-xia-yong-218718","黄楼赋图","这幅画宽度仅有二十多厘米，却无比精细的描画了整个黄楼，窗边饮酒赋诗的文人。用蝇头小楷写了苏辙的千字文“黄楼赋”。还有驾鹤西游的神仙。",[23,24,63,28,95,162,7,118,123,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6345fb2b38d0c73179bba1049f675384.jpg","20.6x26.7cm",[127,82],{"id":3531,"slug":3532,"title":3533,"dynasty":58,"author":1777,"museum":433,"description":3534,"tags":3535,"thumbUrl":3538,"material":495,"size":496,"collection":148,"collections":3539,"showCount":3540,"zanCount":587,"manualWeight":11,"mainColor":152},289759,"zhong-qiu-deng-hai-dai-lou-zuo-shi-tie-mi-fei-289759","中秋登海岱楼作诗帖","海岱楼位于涟水（江苏涟水），是著名的风景名胜，米芾时常登楼，眺望淮河入海处辽阔壮丽的景色。在本诗帖中，米芾形容海口一片水光粼粼，好似银泻大地，而天际出现万道虹光，孕育出宝贵的珍珠。在诗的后半，米芾则引“吴刚伐桂”的典故，谈到若非吴刚日复一日，不停地砍伐桂树，快速生长的桂枝，必定撑破月轮。米芾以此暗喻自己的仕途常为人所阻，无法充份施展。\n在帖中米芾前后共抄录诗文两次，中间加入一行批注：“三四次写间有一两字好，信书亦一难事”，可见对书法求好的态度。涟水时期，米芾勤于练习晋人草书，此帖与《焚香帖》、《草书论书帖》都是其中的例子。另外，米芾也经常与薛绍彭书信往返，讨论购帖事宜、交换习书心得，或是品评论书，两人堪称最佳书画友。\n米芾担任涟水军使（江苏涟水）期间，最喜欢登临游览的景点就是海岱楼。海岱楼在江苏涟水地区，是唐、宋时代十分著名的望海楼，自古以来，便是许多文人登览赋诗的最佳旅游景点，唐代诗人杜甫曾以“浮云连海岱，平野入青徐”来形容它视野辽阔、宏伟壮丽的景观。它在米芾的诗文中也经常出现，例如〈焚香帖〉（大阪市立美术馆藏）：“雨三日未解，海岱咫尺不能到”，便提到在淫雨霏霏之日，他登海岱楼所见迷蒙的景致。在另一阙词〈蝶恋花?海岱楼玩月作〉中，米芾也提到：“千古涟漪清绝地，海岱楼高。下瞰秦淮尾，水浸碧天天似水，广寒宫阙人间世。”并将海岱楼比喻为月亮上的“广寒宫”，诗人登楼眺望，颇有遗世独立的感觉。",[284,3536,164,117,3537,7],"字帖","中秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc16fb0d52fc68c2ab722bf075ed45de4.jpg",[],73,{"id":3542,"slug":3543,"title":3544,"dynasty":157,"author":1796,"museum":135,"description":2706,"tags":3545,"thumbUrl":3546,"material":495,"size":496,"collection":148,"collections":3547,"showCount":3540,"zanCount":11,"manualWeight":11,"mainColor":54},287872,"qing-yuan-ben-qing-ming-shang-he-tu-juan-chen-mei-287872","清院本清明上河图卷",[23,114,24,25,26,27,30,7,36,68,37,33,396,1102,34,40,65,1312,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49ed9bc2260582398ec60fe7c2077bb.jpg",[],{"id":3549,"slug":3550,"title":3551,"dynasty":89,"author":1167,"museum":433,"description":3552,"tags":3553,"thumbUrl":3554,"material":148,"size":148,"collection":148,"collections":3555,"showCount":3540,"zanCount":11,"manualWeight":11,"mainColor":54},227243,"gong-dian-tu-ye-li-zhao-dao-227243","宫殿图页","大小李将军：李思训、李昭道\n\n李思训 (653一718)唐代书画家。成纪(今甘肃天水)人。唐宗室,高宗时为江都令。武则天当政，弃官潜匿。神龙元年(705)出为宗正卿。玄宗开元初官左武卫大将军。李邕碑称「云麾将军」。工书法，尤擅画山水树石，笔力犹劲。格调细密。好写湍獭潺湲，云霞缥缈之景，鸟兽草木，皆穷其态。朱景玄说他「国朝山水第一，列神品」。这种青绿为质、金碧为纹的山水画，富有装饰性，源出于隋代展子虔，继承并发展了六朝以来以色彩为主的表现形式。明代董其昌推之为「北宗上之祖。唐代张彦远说「山水之变，始于吴(道子)，成于二李(思训、昭道)」。世称「二李」为「大、小李将军」。画迹有《山居四皓图》、《江山渔乐图》、《群峰茂林图》等十七件，著录于《宣和书谱》。存世作品有《江帆楼阁图》轴，绢本，设色，长松秀岭，翠竹掩映，山径层迭，碧殿朱廊，江天阔渺，风帆溯流，具唐衣冠者四人，山右青绿，有简单斫笔，安岐评谓「傅色古豔，笔墨超轶。」现藏台北故宫博物院。",[23,24,63,115,27,28,118,7,139,33,436,30,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0c482941c845fe70d4fbfffeaffeec.jpg",[],{"id":3557,"slug":3558,"title":3559,"dynasty":157,"author":281,"museum":433,"description":3560,"tags":3561,"thumbUrl":3563,"material":148,"size":148,"collection":148,"collections":3564,"showCount":3540,"zanCount":11,"manualWeight":11,"mainColor":54},224247,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-shi-er-yue-zhou-yi-ming-224247","清画院画十二月月令图十二月轴","画卷取景分野墅与深宅两重天地。上半幅里远山素裹，寒林枝桠凝霜，冰封湖面化作天然冰场，乡野村人驰骋滑行，雪色间漫着冬日野趣。\n下半处宅邸雅致规整，廊下仆从往来奔走，庭院里孩童们攒雪团、掷雪球，闹作一团，将深宅岁末的暖意烘起。\n全画工笔精细，设色清柔，将冬日的清寂与岁末烟火揉为一处，既有山野萧寒的静谧，也有家宅团圆的温煦，尽绘冬闲时分的太平意趣。",[23,24,114,193,26,27,28,118,7,30,616,39,33,66,75,3562],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f59e4bc38c1e3653cd281477159710.jpg",[],{"id":3566,"slug":3567,"title":613,"dynasty":18,"author":3568,"museum":433,"description":3569,"tags":3570,"thumbUrl":3571,"material":2060,"size":3572,"collection":127,"collections":3573,"showCount":3540,"zanCount":530,"manualWeight":11,"mainColor":152},222050,"xue-jing-tu-zhang-peng-222050","张鹏","图上山顶白雪霭霭，近处树木枝叉覆盖着薄雪，一老翁身着蓑衣，头戴小帽，坐于船头，悠闲的垂钓；此时水面的平静，树木、群山笼罩在白雪中，似乎一切都是静止的。技法上，雪山以粗细条勾勒，淡色晕染山体。张鹏，字应秋，号云程，明代画家，",[23,24,162,116,118,193,616,139,422,120,2775,7,2234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc970e3e8eb98d514e0fe6f4f1bfacc34.jpg","97X53cm",[127,82],{"id":3575,"slug":3576,"title":3577,"dynasty":58,"author":369,"museum":135,"description":2753,"tags":3578,"thumbUrl":3579,"material":3580,"size":3581,"collection":80,"collections":3582,"showCount":3540,"zanCount":11,"manualWeight":11,"mainColor":54},221515,"hua-deng-shi-yan-tu-zhuang-biao-ma-yuan-221515","华灯侍宴图（装裱）",[23,24,63,26,27,118,7,33,30,28,38,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345c3f34a1ad94ec43a66b9c6788247.jpg","设色 墨本","111.9公分 横：53.5公分",[80,49,51],{"id":3584,"slug":3585,"title":3586,"dynasty":18,"author":3587,"museum":135,"description":3588,"tags":3589,"thumbUrl":3592,"material":27,"size":3593,"collection":127,"collections":3594,"showCount":3540,"zanCount":630,"manualWeight":11,"mainColor":54},219458,"chun-shan-xi-ge-tu-lu-zhi-219458","春山溪阁图","陆治","弘治九年（1496年）生。世代耕读，其父与文徵明有交谊，遂从学于文徵明门下。早年为诸生，屡试不中，转为书画，善画山水、花鸟。隐居支硎山。",[24,27,118,116,3590,3591,31,32,33,139,7],"春山","溪阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd616fa2129ced1c381c18d595332f452.jpg","118.5x66.1",[127],{"id":3596,"slug":3597,"title":3598,"dynasty":58,"author":690,"museum":135,"description":3599,"tags":3600,"thumbUrl":3601,"material":424,"size":3602,"collection":148,"collections":3603,"showCount":3604,"zanCount":11,"manualWeight":11,"mainColor":54},231834,"chang-jiang-wan-li-tu-qian-ban-juan-xia-gui-231834","长江万里图（前半卷）","画卷的前半段，以近平视的角度近景特写江岩块、林木，以及行的舟船，表现三长江峡险峻和波涛汹涌的痛痛\n后半段则是俯视和远观的角度以及江景的活动，沿途所见美景。\n从近逼观者的景物转换到辽阔空旷的范围，这种构图的方式具有戏剧性的效果。\n夏圭，字禹玉，钱塘人，生卒年不详，稍晚于马远，宁宗朝画院待诏。他的山水画在构图和笔墨技法方面与马远非常相似，因此画史上一向以马、夏并称 。夏圭作品的风格和马远接触共同点，又各有独特的境界。马、夏山水大量剪裁，全景拍摄而画边角之景，因被称为「马一角」、「夏半边」 。他们在艺术上的高度提炼，是对传统山水画的发展和深度。",[23,24,63,25,162,116,118,7,33,120,32,139,121,123,64,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","该幅26.8x1115.3公分",[],72,{"id":3606,"slug":3607,"title":3608,"dynasty":157,"author":3352,"museum":3609,"description":3610,"tags":3611,"thumbUrl":3612,"material":2060,"size":3613,"collection":127,"collections":3614,"showCount":3604,"zanCount":587,"manualWeight":11,"mainColor":54},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[23,24,63,25,27,118,116,26,284,164,117,139,7,31,32,121,33,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[127,51],{"id":3616,"slug":3617,"title":3618,"dynasty":157,"author":158,"museum":159,"description":160,"tags":3619,"thumbUrl":3620,"material":166,"size":167,"collection":127,"collections":3621,"showCount":3604,"zanCount":630,"manualWeight":11,"mainColor":54},222672,"tao-hua-yuan-tu-juan-huang-shen-222672","桃花源图卷",[23,24,25,27,116,119,7,32,120,30,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af1485e8add576fe39965e2d112d3a5.jpg",[127,51],{"id":3623,"slug":3624,"title":3625,"dynasty":58,"author":3626,"museum":806,"description":3627,"tags":3628,"thumbUrl":3629,"material":47,"size":3630,"collection":51,"collections":3631,"showCount":3604,"zanCount":11,"manualWeight":11,"mainColor":54},219745,"lou-tai-ye-yue-tu-wan-shan-ye-ma-lin-219745","楼台夜月图纨扇页","马麟","《楼台夜月图》为一小景图纨扇页，裁取亭廊台谢的一角之景，图上高柳擢秀、明月当空、山岩稍露、长廊俯见其顶、台榭俨然。在用笔上，岩石以斧劈皴法、亭榭以工稳的界笔画法，树叶全以点缀法，远山烘青，渲染设色，高空浩月，杨柳林中隐约可见楼台复道亭园之景，为马麟的精丽之作。",[24,114,63,1535,27,28,118,7,762,33,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575197ec72f706dcbff331880e1f0f61.jpg","纵24.5厘米，横25.2厘米",[51],{"id":3633,"slug":3634,"title":840,"dynasty":157,"author":3635,"museum":60,"description":3636,"tags":3637,"thumbUrl":3638,"material":217,"size":3639,"collection":49,"collections":3640,"showCount":3604,"zanCount":630,"manualWeight":11,"mainColor":152},216933,"bing-xi-tu-zhang-wei-bang-216933","张为邦","这幅图像描绘了 龙射天球。在画的右侧，在人群的包围下，是皇帝的华丽冰床。在冰面上，旗手和弓箭手间隔排列，在冰面上绕圈滑行，游行队伍蜿蜒成龙的形状。冰面上有一道门，上面挂着一个球，叫做天球。当队伍走到这一步时，他们转过身来，向球射箭，射中者会得到奖励。游行过程中还包括杂技表演，如倒立、舞剑、腾空、中国旗帜和鹰心。",[23,26,27,25,30,845,7,33,844,38,69,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b093624e4bb931e68fd779aaf95d99.jpg","36.5x563",[49],{"id":3642,"slug":3643,"title":3644,"dynasty":18,"author":19,"museum":433,"description":3645,"tags":3646,"thumbUrl":3648,"material":148,"size":148,"collection":148,"collections":3649,"showCount":3650,"zanCount":11,"manualWeight":11,"mainColor":152},234272,"chou-ying-han-gong-chun-xiao-tu-cheng-shan-chou-ying-234272","仇英汉宫春晓图成扇","仇英是明代最有代表性的画家之一，与沈周，文徵明和唐寅被后世并称为“明四家”、“吴门四家” ，亦称“天门四杰”。沈、文、唐三家，不仅以画取胜，且佐以诗句题跋，就画格而言，唐，仇相接近。仇英在他的画上，一般只题名款，尽量少写文字，为的是不破坏画面美感，因此画史评价他为追求艺术境界的仙人。",[24,63,1535,3647,26,27,30,509,138,7,39,140],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f8f3181d7241595427cab87333c805.jpg",[],71,{"id":3652,"slug":3653,"title":3654,"dynasty":885,"author":3655,"museum":3656,"description":3657,"tags":3658,"thumbUrl":3662,"material":47,"size":3663,"collection":127,"collections":3664,"showCount":3650,"zanCount":630,"manualWeight":11,"mainColor":54},218249,"xi-ge-liu-quan-tu-yao-ting-mei-218249","溪阁流泉图","姚廷美","湖北省博物馆","画面氤氲着清寂悠远的气息。远山如黛，云雾若带，将层峦叠嶂晕染得朦胧辽远。飞泉如练自崖壁倾泻，溅起细碎水花，似有泠泠声入耳。溪畔楼阁隐于苍松翠柏间，窗棂半启，仿佛正待幽人凭栏，静听泉石之语。笔墨苍劲中见秀润，干笔皴擦勾勒山石肌理，树木萧疏却含生机，枝桠交错间透出空灵感。水面波光粼粼，几只水鸟悠然游弋，更添野趣。整幅画以山水为载体，寄寓文人淡泊尘俗、寄情林泉的心境，素净色调里藏着深远意境，干笔皴擦与秀润笔墨交织，引人步入那片远离喧嚣的桃源之境，于无声处感受自然与心灵的共鸣。",[114,24,308,162,116,7,31,32,139,194,3659,3472,3660,3661],"水鸟","野趣","林泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b966a8551327c4586de5c5c557bf3d2.jpg","26.7x25.2cm",[127],{"id":3666,"slug":3667,"title":3668,"dynasty":18,"author":1247,"museum":433,"description":3669,"tags":3670,"thumbUrl":3671,"material":495,"size":496,"collection":148,"collections":3672,"showCount":5,"zanCount":630,"manualWeight":11,"mainColor":54},287972,"qiu-shan-gao-shi-tu-juan-quan-juan-tang-yin-287972","秋山高士图卷(全卷)","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[23,114,24,63,25,27,116,118,120,7,139,33,32,1938,121,164,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],{"id":3674,"slug":3675,"title":3676,"dynasty":18,"author":281,"museum":3677,"description":3678,"tags":3679,"thumbUrl":3681,"material":148,"size":148,"collection":49,"collections":3682,"showCount":5,"zanCount":587,"manualWeight":11,"mainColor":152},238562,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238562","明人升平翊赞图并书赞册","德国国立柏林民俗博物馆","此作工笔重彩，设色妍丽沉稳。朱漆楼宇界画工致，飞檐翼然，堂内宾主雅集宴乐，丝竹相和、把盏酬唱，一派闲雅升平。另一侧甲胄武士整队而来，鞍饰鲜亮、仪仗严整，赳赳威仪和宴饮雅趣相映成趣。\n山石松瀑勾勒细致，草木布景层次分明，人物衣纹走线考究，武士的英挺、宴客的雍容皆被细致摹写。以工致笔触铺陈出承平之世的礼乐典仪，将朝堂酬酢的盛大描摹尽致，处处流露着对盛世安稳的由衷赞颂。",[24,27,26,28,213,30,7,31,65,373,121,32,3680,1204],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6599ab556ad7494df2f3406cc7785279.jpg",[49,51],{"id":3684,"slug":3685,"title":3686,"dynasty":89,"author":548,"museum":135,"description":550,"tags":3687,"thumbUrl":3688,"material":3689,"size":3690,"collection":49,"collections":3691,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":54},221135,"jiang-fan-lou-ge-zhou-li-si-xun-221135","江帆楼阁轴",[24,114,63,193,115,27,26,118,7,120,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e663d48c7ef6294ae9f191dc300630.jpg","画布","纵101.9厘米，横54.7厘米",[49,51],{"id":3693,"slug":3694,"title":3695,"dynasty":18,"author":281,"museum":433,"description":3696,"tags":3697,"thumbUrl":3699,"material":495,"size":496,"collection":148,"collections":3700,"showCount":3701,"zanCount":587,"manualWeight":11,"mainColor":54},287979,"bei-song-zhang-ze-duan-quan-jing-qing-ming-shang-he-tu-juan-ming-qing-mo-ben-yi-ming-287979","北宋张择端全景清明上河图卷(明清摹本)","这卷追摹之作，将北宋汴京的市井烟火铺展于绢素之上。朱墙之下屋舍错落，官署比邻商肆，黛瓦飞檐勾连着宋韵城坊肌理。街衢间人流如织，挑担货郎穿街过巷，沽酒食客围坐檐下，驻足交谈的路人、接引宾朋的店家，鲜活复刻着彼时的日常百态。\n\n画者以细腻笔触捕捉俗世鲜活，酒幌招摇、门板半敞，处处藏着汴京的喧嚣暖意，把千年前都城的熙攘意趣传神留存，让观者仿佛踏入彼时的春日长街。",[23,114,24,25,3698,27,26,28,30,7,873,67,37,44,396],"摹本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dd02dd6db3b5b7381b799a8a64e635f.jpg",[],69,{"id":3703,"slug":3704,"title":3705,"dynasty":157,"author":1055,"museum":433,"description":3706,"tags":3707,"thumbUrl":3709,"material":495,"size":496,"collection":148,"collections":3710,"showCount":3701,"zanCount":11,"manualWeight":11,"mainColor":54},230158,"peng-lai-xian-jing-tu-ping-12-tiao-ping-yuan-yao-230158","蓬莱仙境图屏-12条屏","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。",[23,24,27,28,26,116,118,7,538,139,194,3708],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd480a9dcef63f008711c8e7e61623.jpg",[],{"id":3712,"slug":3713,"title":3714,"dynasty":885,"author":1032,"museum":242,"description":3715,"tags":3716,"thumbUrl":3717,"material":217,"size":3718,"collection":127,"collections":3719,"showCount":3701,"zanCount":11,"manualWeight":11,"mainColor":152},219971,"tai-bai-shan-tu-wang-meng-219971","太白山图","图绘浙江鄞县太白山天童寺及其周围景物，尤其着重描绘天童寺前二十里夹径松林。画面中远岫层峦，溪流潺潺，人物往还其间，用笔松润，赋色淡雅。画心右上角有小字篆书“太白山图”四字，画尾钤“王蒙印”，近人研究认为此卷为王蒙晚年代表作。",[23,114,24,63,25,118,27,116,7,33,139,194,284,117,31,32,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223493b23f8c837f2f01362ffb2077f.jpg","28x238.2cm",[127,51],{"id":3721,"slug":3722,"title":3723,"dynasty":58,"author":281,"museum":20,"description":3724,"tags":3725,"thumbUrl":3726,"material":27,"size":3727,"collection":51,"collections":3728,"showCount":3701,"zanCount":11,"manualWeight":11,"mainColor":152},219226,"lv-dong-bin-guo-yue-yang-lou-tu-yi-ming-219226","吕洞宾过岳阳楼图","飞檐翘角似欲凌云，层叠瓦当如鳞排列，宋代楼阁的雅致在圆幅中徐徐铺陈。楼上回廊人影错落，或执盏品茗，或凭栏望水；楼下石阶人潮攘攘，市井声息仿佛可闻。衣袂轻扬的身影悄然驻足，仙韵与凡俗在此温柔碰撞。远山淡墨晕染，近树浓笔点染，古旧绢色裹着岁月温度，将“过楼”瞬间定格成既有人间烟火、又藏仙意缥缈的画卷。没有惊世邂逅，只有含蓄相逢——尘俗热闹里藏着跨越凡界的余味，引人遐想那仙客过楼时，风掠过檐角的轻响，与楼中茶烟的缠绵。",[23,24,114,1535,28,27,30,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fcaf3edfa5fb282679ccfb73b4778f.jpg","23.8x25.1厘米",[51],{"id":3730,"slug":3731,"title":3732,"dynasty":58,"author":281,"museum":135,"description":3733,"tags":3734,"thumbUrl":3736,"material":27,"size":148,"collection":127,"collections":3737,"showCount":3701,"zanCount":587,"manualWeight":11,"mainColor":54},218713,"ke-si-xian-shan-tu-yi-ming-218713","缂丝仙山图","经纬交织间，丝缕凝萃时光质感。层楼叠榭嵌于青嶂翠崖，朱窗半启处，仙人或对弈品茗，或凭栏观云，姿态悠然。云气以断纬技法晕出虚实，如白练缠绕峰峦；仙鹤振翅穿云，羽纹细密如琢玉。山麓牡丹吐蕊，枝叶婉转，与起伏山石相映成趣。淡雅蓝绿为主调，冷韵中藏温润，一丝一缕织就仙乡清寂与灵动，尽显缂丝“寸缂寸金”之精妙，亦托出古人对缥缈仙境的无限向往与浪漫想象。",[23,1861,28,27,118,7,123,386,3735,30,309],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead55b41155cf7a7ff71947c24c623b6.jpg",[127],{"id":3739,"slug":3740,"title":3741,"dynasty":157,"author":281,"museum":433,"description":3742,"tags":3743,"thumbUrl":3745,"material":47,"size":148,"collection":148,"collections":3746,"showCount":3701,"zanCount":11,"manualWeight":11,"mainColor":54},216721,"hong-lou-meng-fu-tu-ce-4-yi-ming-216721","红楼梦赋图册-4","雕栏玉砌间，仕女倩影错落。粉墙黛瓦映着疏林碧水，镂空花窗透进软风，携阶前牡丹暗香漫入廊下。有人凭栏凝思，有人低语浅笑，衣袂翩跹似流云拂过青石。笔墨细腻处，衣纹褶皱如流水轻漾，花木枝叶含露带烟。庭院深深里，旧梦依稀，钗环叮当仿佛在耳，裙裾扫过的痕迹仍留着温婉。每一处勾勒皆藏雅致，将红楼的清愁与温柔凝于方寸，让观者沉醉在这古典诗意中，不忍移目。",[23,24,27,26,30,138,7,3744,33,142],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff381526f1252d41cd5878fb4b31a31b5.jpg",[],{"id":3748,"slug":3749,"title":3750,"dynasty":58,"author":241,"museum":433,"description":3751,"tags":3752,"thumbUrl":3754,"material":495,"size":496,"collection":148,"collections":3755,"showCount":3756,"zanCount":11,"manualWeight":11,"mainColor":54},289655,"xue-jiang-gui-zhao-tu-zhao-ji-289655","雪江归棹图","《雪江归棹图》描绘的是冬日雪景山水画。全图不着色，仅以细碎之笔勾勒、点皴山石，淡墨渲染江天，衬映出皑皑雪峰。",[23,114,24,25,308,616,196,71,120,422,7,123,162,27,284,117,3753],"清寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ccf8a6b79d6e33362afa23ac8564cb.jpg",[],68,{"id":3758,"slug":3759,"title":3760,"dynasty":157,"author":175,"museum":135,"description":1946,"tags":3761,"thumbUrl":3763,"material":247,"size":1952,"collection":127,"collections":3764,"showCount":3756,"zanCount":587,"manualWeight":11,"mainColor":3765},222766,"shi-er-yue-ling-tu-7-yue-lang-shi-ning-222766","十二月令图（7月）",[23,26,27,28,30,7,118,33,121,39,3762,142,623,194],"平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425083d660510da46b778f7c49814e14.jpg",[127,51],"FF9800",{"id":3767,"slug":3768,"title":3769,"dynasty":58,"author":281,"museum":135,"description":3770,"tags":3771,"thumbUrl":3772,"material":232,"size":3773,"collection":127,"collections":3774,"showCount":3756,"zanCount":587,"manualWeight":11,"mainColor":152},218802,"xi-shan-xian-guan-tu-yi-ming-218802","溪山仙馆图","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭和亭子，渔民在溪水中垂钓，对世界的年龄漠不关心。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它更像是吴镇的作品，或者是他的画派的画家。",[23,24,114,162,116,118,7,32,120,33,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b516d907046bcbf6ec55b7114bf4e5.jpg","32.4x24.8",[127],{"id":3776,"slug":3777,"title":1735,"dynasty":885,"author":281,"museum":135,"description":3778,"tags":3779,"thumbUrl":3780,"material":232,"size":3781,"collection":127,"collections":3782,"showCount":3756,"zanCount":11,"manualWeight":11,"mainColor":152},218283,"jiang-tian-lou-ge-tu-yi-ming-218283","层楼倚崖耸峙，飞檐翘角若振翅欲飞，木构窗棂皆细致勾勒，尽显楼阁之巍峨精巧。江面浩渺无垠，数叶轻舟泛于云水之间，似有渔歌隐约。远山如黛，在云雾氤氲中层层晕染，渐次隐入天际，天地间尽是清旷之气。笔墨简淡却意韵悠长，将建筑的工致与江天的空阔相融，清风仿佛穿堂而过，涛声似在耳畔轻吟。画面静谧空灵，尽显元人山水之悠远意境，观之令人心随舟行，神驰于江天之间，顿生旷达之感。",[24,28,95,118,7,120,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32b9cd06ac1c83e4a168b35b2a899c84.jpg","83.7x40cm",[127],{"id":3784,"slug":3785,"title":3786,"dynasty":157,"author":3787,"museum":60,"description":3788,"tags":3789,"thumbUrl":3791,"material":3792,"size":3793,"collection":127,"collections":3794,"showCount":3795,"zanCount":587,"manualWeight":11,"mainColor":54},236108,"qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-236108","秋岚飞瀑图轴","张宗苍","张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。师承清代娄东画派的传人黄鼎，擅画山水。初以主簿理河工事。清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[114,24,63,193,308,162,27,116,139,3790,194,7,33,32,121],"飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28583d2a38165b70ad546df9ff0faae.jpg","绢本 ，设色","纵184cm，横117.7cm",[127,82],67,{"id":3797,"slug":3798,"title":3799,"dynasty":157,"author":2153,"museum":60,"description":3800,"tags":3801,"thumbUrl":3803,"material":2060,"size":3804,"collection":148,"collections":3805,"showCount":3806,"zanCount":11,"manualWeight":11,"mainColor":152},233808,"ceng-yan-die-he-tu-zhou-kun-can-233808","层岩叠壑图轴","此图山峦重叠，结构饱满，一条山路顺山势自下而上蜿蜒曲折，使景物繁复而不迫塞，布局巧妙，具有“奥境奇辟，缅邈幽深，引人入胜”的意境。以干笔皴擦山石，浓墨点苔，气韵浑厚。用笔苍浑、老辣，用墨层次丰富，展现了石谿极具个性的绘画风格，是代表石谿成熟画风的杰作。",[24,63,193,118,162,116,27,1549,3802,421,31,32,623,436,33,139,7,452,121],"叠壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741b209c7c58099e2e9ad6724a3f19a9.jpg","纵169厘米，横41.5厘米",[],66,{"id":3808,"slug":3809,"title":3810,"dynasty":18,"author":19,"museum":433,"description":3811,"tags":3812,"thumbUrl":3813,"material":148,"size":148,"collection":148,"collections":3814,"showCount":3806,"zanCount":587,"manualWeight":11,"mainColor":54},228430,"jiang-shan-zao-chun-tu-juan-chou-ying-228430","江山早春图卷","此卷以青绿敷色晕染山峦，石青浅绛晕出早春烟岚空濛之态，平远构图铺展百里江南。层峦如螺黛迤逦，汀渚蜿蜒如带，茂林村居散缀江畔，渔舟横波独行，将早春清灵秀雅尽数铺陈。\n\n笔墨工致细腻，青绿设色古雅妍丽却无俗艳之感，远山轻描淡写含黛色，近树苍劲已带新翠，茅庐隐于林泉，尽显逸世幽居之趣。画作融院体精工与文人山水淡远意境于一体，暗藏清寂悠然，将山水静穆与早春生机相融，引人身临其境，静赏江南早春的温柔诗意。",[23,24,63,25,26,115,27,116,118,1709,33,7,31,32,1464,2717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08aa96f29fa17783d88d6937cda876e.jpg",[],{"id":3816,"slug":3817,"title":3818,"dynasty":885,"author":3819,"museum":135,"description":3820,"tags":3821,"thumbUrl":3822,"material":820,"size":3823,"collection":127,"collections":3824,"showCount":3806,"zanCount":11,"manualWeight":11,"mainColor":152},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","吴镇","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[23,24,63,25,162,118,116,164,285,117,7,31,32,121,335,33,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 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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。",[114,24,25,308,162,116,32,120,7,33,139,3856,117],"送别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea161e0d4c00caea203450d2b1512ba6.jpg",[],65,{"id":3861,"slug":3862,"title":1472,"dynasty":58,"author":281,"museum":433,"description":3863,"tags":3864,"thumbUrl":3868,"material":495,"size":496,"collection":148,"collections":3869,"showCount":3859,"zanCount":11,"manualWeight":11,"mainColor":54},288302,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-288302","以长卷铺展这段缥缈情缘，起于河畔惊鸿初见，洛神凌波凭风，衣袂翩跹若流云回风。仙姝侍立，神兽随行，云车仪仗迤逦于川泽林莽间。\n画师以高古游丝描勾勒人物，线条匀细灵动，淡彩敷染晕出古朴雅致的气韵，将辞赋里的缱绻爱慕、依依怅别缓缓铺陈。山川林木错落点缀，水波微漾间，把人神相恋的怅惘诗意凝于绢素，让千年的浪漫情思在卷中流转不散。",[23,114,24,25,63,27,26,29,30,138,3865,436,7,620,118,1115,3866,3867],"神仙","神话","洛神赋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c57e460baa6a03b77a4fd2f15d23fbb.jpg",[],{"id":3871,"slug":3872,"title":3873,"dynasty":489,"author":967,"museum":135,"description":3874,"tags":3875,"thumbUrl":3876,"material":148,"size":148,"collection":148,"collections":3877,"showCount":3859,"zanCount":587,"manualWeight":11,"mainColor":54},226706,"he-ting-yi-diao-shi-nv-tu-zhou-zhou-wen-ju-226706","荷亭奕钓仕女图轴","五代南唐周文矩荷亭奕钓仕女图轴，中国古画之一，作者是五代南唐周文矩，幅195.1x98公分；全幅100公分，收藏于台北故宫博物院。",[24,63,193,27,26,30,138,121,931,7,142,959],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6da1de419707f3ac4b12376b237d53c6.jpg",[],{"id":3879,"slug":3880,"title":3881,"dynasty":18,"author":771,"museum":242,"description":3882,"tags":3883,"thumbUrl":3884,"material":166,"size":3885,"collection":127,"collections":3886,"showCount":3859,"zanCount":587,"manualWeight":11,"mainColor":54},221981,"shan-zhuang-ke-zhi-tu-wen-zheng-ming-221981","山庄客至图","描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。整幅作品以S型构图，山石皴然兼施，多有抬点，笔致气魄洋溢。是典型的文人画作，淡于仕进，优游林下，以诗文书画自娱，表现自己的品格情怀。此画描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。",[23,24,7,118,774,775,451,776,27,193,163,312,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677782faafd32968920256e48cddfb04.jpg","纵87.5厘米，横27.3厘米",[127,51],{"id":3888,"slug":3889,"title":3890,"dynasty":885,"author":2804,"museum":60,"description":3891,"tags":3892,"thumbUrl":3893,"material":3894,"size":3895,"collection":127,"collections":3896,"showCount":3859,"zanCount":587,"manualWeight":11,"mainColor":54},221820,"yue-yang-lou-tu-xia-yong-221820","岳阳楼图","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何著笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。 其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[23,24,28,1535,95,27,7,118,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a4943b845226bb520d7033519a172d.jpg","绢本，墨笔","纵24.4厘米，横26.2厘米",[127,82],{"id":3898,"slug":3899,"title":3900,"dynasty":58,"author":3901,"museum":3902,"description":3903,"tags":3904,"thumbUrl":3907,"material":47,"size":3908,"collection":49,"collections":3909,"showCount":3859,"zanCount":530,"manualWeight":11,"mainColor":54},219027,"shi-wang-tu-ce-lu-xin-zhong-219027","十王图册","陆信忠","奈良国立博物馆","此十王图即十殿阎罗各一幅的每一个都被描绘成魔王带领着一群来自阴间的官员，他们坐在椅子上审查罪行，狱卒、待审的死者和被判处死刑的人在他们面前接受各种惩罚。精确的具象形式和生动的色彩使其具有强烈而敏感的表现力，是卢新中画派的杰作。",[23,94,26,27,30,7,3905,408,1851,3906],"鬼神","文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d532ab5c900a8a678b7aae912853ec.jpg","85.9x50.8",[49],{"id":3911,"slug":3912,"title":3913,"dynasty":885,"author":1032,"museum":60,"description":3914,"tags":3915,"thumbUrl":3916,"material":47,"size":2691,"collection":127,"collections":3917,"showCount":3859,"zanCount":11,"manualWeight":11,"mainColor":54},218423,"guan-shan-xiao-si-tu-wang-meng-218423","关山箫寺图","本幅设色，钤乾隆玉玺“大源藻”、“颛蓭”、“南韵斋印”、“荣王之印”，不见著录。",[23,24,63,193,27,118,7,33,421,123,139,197,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F153baf897e72c84a87e44ac2e43245d8.jpg",[127],{"id":3919,"slug":3920,"title":3921,"dynasty":157,"author":1055,"museum":60,"description":3922,"tags":3923,"thumbUrl":3924,"material":47,"size":3925,"collection":127,"collections":3926,"showCount":3859,"zanCount":11,"manualWeight":11,"mainColor":54},218383,"han-jiang-sheng-lan-tu-yuan-yao-218383","邗江胜览图","这是一幅纪实性的作品，属袁耀早期作品。在清代中期，扬州作为江南地区的交通枢纽和商业重镇，其繁华发达称冠一时，同时也是当时的文化艺术中心之一。画家采用俯视的角度，将古扬州城北郊的景物尽收眼底。画面中扬州城为群山河流环绕，近景、中景、远景层层展现，气势宏大。袁耀素以描绘富丽堂皇的宫室楼阁著称，在这幅纪实作品中，却表现出了一种朴素的风貌。但用笔技巧绝无松懈，每一处细节都刻画入微，房屋、树木、舟船、桥梁、人物、车马等具体逼真，情趣生动。",[23,24,63,28,27,26,118,7,33,71,38,35,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a1efb12e3fe0448aa90a94d80be4ee.jpg","纵165.2厘米，横262.8厘米",[127],{"id":3928,"slug":3929,"title":3930,"dynasty":18,"author":3931,"museum":135,"description":3932,"tags":3933,"thumbUrl":3935,"material":27,"size":3936,"collection":127,"collections":3937,"showCount":3938,"zanCount":11,"manualWeight":11,"mainColor":152},222452,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222452","画陆深愿丰堂会仙山图卷","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,63,25,27,116,118,31,7,33,139,623,3934,38,195,196,197],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe762343913fad16b0e0bdb556a9e5.jpg","27.1x161.2",[127,82],64,{"id":3940,"slug":3941,"title":3942,"dynasty":58,"author":369,"museum":269,"description":680,"tags":3943,"thumbUrl":3944,"material":47,"size":683,"collection":148,"collections":3945,"showCount":3938,"zanCount":11,"manualWeight":11,"mainColor":152},218064,"song-di-ming-ti-ce-si-ma-yuan-218064","宋帝命题册(四)",[23,24,63,213,27,308,774,7,33,194,623,38,117,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ea61e29236947548d533291b9864bb.jpg",[],{"id":3947,"slug":3948,"title":3949,"dynasty":157,"author":175,"museum":135,"description":1946,"tags":3950,"thumbUrl":3951,"material":247,"size":1952,"collection":127,"collections":3952,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":106},222761,"shi-er-yue-ling-tu-2-yue-lang-shi-ning-222761","十二月令图（2月）",[23,114,24,26,27,28,118,7,30,39,139,33,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bcf35cca2199d5fa9312b5a8a3e68.jpg",[127,51],{"id":3954,"slug":3955,"title":3956,"dynasty":18,"author":3957,"museum":135,"description":3958,"tags":3959,"thumbUrl":3960,"material":3961,"size":3962,"collection":127,"collections":3963,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":54},222605,"xue-xi-tu-lan-ying-222605","雪溪图","蓝瑛","蓝瑛擅长山水、花卉、兰石，师法宋元名家，早年主要得力于黄公望，作品清 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设色",[127,82],62,{"id":4005,"slug":4006,"title":304,"dynasty":885,"author":4007,"museum":433,"description":4008,"tags":4009,"thumbUrl":4010,"material":148,"size":148,"collection":148,"collections":4011,"showCount":4003,"zanCount":587,"manualWeight":11,"mainColor":54},228244,"xian-shan-lou-ge-tu-chen-ru-yan-228244","陈汝言","此作为典型的元人青绿山水，承续唐宋青绿遗韵。层叠峰峦以石青、石绿晕染勾勒，色泽古雅厚重，虽经岁月稍褪，仍可见旧时明丽。苍松虬劲错落，扎根于岩岫之间，楼阁屋舍隐现幽谷林泉，几处文人逸士或策杖徐行、或凭栏晤谈，衬出山居空寂幽深。\n\n整幅疏密得宜，将仙山秘境的超脱清灵铺展于绢素，既带着青绿山水的富丽端严，又融入元人山水独有的萧散意趣，把世外山居的恬然仙气尽数勾勒，尽显缥缈出尘的隐逸雅意。",[23,114,24,63,2835,115,27,308,26,116,193,309,7,538,31,32,30,139,33,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e76427d011700fd2ac0d5e310c74ac.jpg",[],{"id":4013,"slug":4014,"title":4015,"dynasty":4016,"author":281,"museum":433,"description":4017,"tags":4018,"thumbUrl":4020,"material":495,"size":496,"collection":148,"collections":4021,"showCount":4003,"zanCount":11,"manualWeight":11,"mainColor":54},223909,"song-shan-hua-shan-shui-tu-yi-shou-jing-mu-tuo-fu-jian-yi-ming-223909","嵩山画山水图，益寿镜木托附件","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[24,63,27,26,118,7,31,32,33,139,38,4019],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e9abe895df9c138c4dc01d0bc15902.jpg",[],{"id":4023,"slug":4024,"title":4025,"dynasty":885,"author":1332,"museum":135,"description":4026,"tags":4027,"thumbUrl":4029,"material":424,"size":4030,"collection":127,"collections":4031,"showCount":4003,"zanCount":11,"manualWeight":11,"mainColor":54},221853,"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,114,24,63,25,28,95,27,30,7,1298,64,775,33,4028,117],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[127,82],{"id":4033,"slug":4034,"title":4035,"dynasty":885,"author":1332,"museum":20,"description":4036,"tags":4037,"thumbUrl":4038,"material":47,"size":4039,"collection":49,"collections":4040,"showCount":4003,"zanCount":587,"manualWeight":11,"mainColor":54},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,24,63,25,28,26,27,30,7,33,139,32,121,31,284,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[49,51],{"id":4042,"slug":4043,"title":4044,"dynasty":18,"author":4045,"museum":135,"description":4046,"tags":4047,"thumbUrl":4049,"material":47,"size":4050,"collection":51,"collections":4051,"showCount":4003,"zanCount":11,"manualWeight":11,"mainColor":54},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[114,24,63,193,27,26,116,118,7,121,31,32,139,33,4048,39,197,2158],"台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[51],{"id":4053,"slug":4054,"title":4055,"dynasty":58,"author":281,"museum":135,"description":4056,"tags":4057,"thumbUrl":4059,"material":47,"size":4060,"collection":80,"collections":4061,"showCount":4003,"zanCount":587,"manualWeight":11,"mainColor":152},218855,"he-ting-ting-yu-tu-yi-ming-218855","荷亭听雨图","这幅画描绘了一个荷花亭，主人躺在沙发上看荷花、听雨声，而一个童仆拿着小提琴在桥头的花下姗姗来迟，抱头鼠窜，而一只受惊的鸟儿则飞上了天空。这幅画与刘松年的风格相似，笔触厚实而坚定，画感引人入胜。",[23,114,24,27,28,26,121,4058,33,7,1598],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4871b40e4780da845cf4f472108e38a.jpg","23.2x24.4",[80,49],{"id":4063,"slug":4064,"title":4065,"dynasty":18,"author":3260,"museum":60,"description":4066,"tags":4067,"thumbUrl":4068,"material":217,"size":4069,"collection":49,"collections":4070,"showCount":4003,"zanCount":11,"manualWeight":11,"mainColor":152},216085,"ming-huang-you-yue-gong-tu-zhou-chen-216085","明皇游月宫图","这是一幅带有作者美好想象的画作。表现的是唐人小说中明皇李隆基曾偕方士梦游月中宫殿的情景。全图笔法工细，继承了南宋笔墨精妙的传统，注重人物个性的展示、人物与环境的配合，以及不同社会阶层人物神态、服饰的刻画，从中可见唐明皇高贵典雅的神态，侍从恭敬谦卑的表情和侍女们端庄优雅的气质等。此图是周臣优秀的人物画之一。",[23,24,114,1535,27,30,762,33,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb23230d53038694868c25d0ae2a93d4.jpg","纵18.6厘米，横50厘米",[49],{"id":4072,"slug":4073,"title":4074,"dynasty":885,"author":1332,"museum":433,"description":4026,"tags":4075,"thumbUrl":4077,"material":495,"size":496,"collection":148,"collections":4078,"showCount":4079,"zanCount":587,"manualWeight":11,"mainColor":54},287337,"long-zhou-jing-du-tu-juan-wang-zhen-peng-287337","龙舟竞渡图卷",[23,114,24,25,28,115,27,118,7,2306,30,71,4076],"龙舟竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d38c779987285d7530e29b1984cd1b.jpg",[],61,{"id":4081,"slug":4082,"title":1428,"dynasty":157,"author":281,"museum":60,"description":535,"tags":4083,"thumbUrl":4086,"material":180,"size":181,"collection":148,"collections":4087,"showCount":4079,"zanCount":11,"manualWeight":11,"mainColor":54},236168,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236168",[24,26,27,28,116,118,7,30,605,139,32,123,39,38,33,1628,4084,4085,142,75,1698],"石桥","人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c3e8128a600870ae2951e88c5416b8.jpg",[],{"id":4089,"slug":4090,"title":2100,"dynasty":18,"author":19,"museum":60,"description":405,"tags":4091,"thumbUrl":4098,"material":180,"size":4099,"collection":127,"collections":4100,"showCount":4079,"zanCount":587,"manualWeight":11,"mainColor":152},233754,"ren-wu-gu-shi-ce-chou-ying-233754",[24,63,213,26,27,4092,30,118,7,509,1381,4093,1204,140,4094,437,4095,32,4096,4097],"重彩","知音","历史故事","松林","寓言传说","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63efd47f6120fe57c20a6fdbb2673a14.jpg","纵41.4厘米，横33.8厘米",[127,49,51],{"id":4102,"slug":4103,"title":4104,"dynasty":4105,"author":4106,"museum":433,"description":4107,"tags":4108,"thumbUrl":4112,"material":495,"size":496,"collection":148,"collections":4113,"showCount":4079,"zanCount":11,"manualWeight":11,"mainColor":499},230654,"wu-liang-shou-fu-jing-tu-xiang-xi-zang-tang-ka-230654","无量寿佛净土像","不详","西藏唐卡","西藏唐卡是用彩缎装饰成的一种卷轴画，多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡，历来被人们视为珍宝。\n西藏唐卡是用彩缎装饰成的一种卷轴画，具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，历来被人们视为珍宝。唐卡的质地是多种多样的。多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡。西藏唐卡的主要内容是反映宗教这一主题，作为宗教文化，唐卡是前人留下来的历史遗产，是研究古代绘画艺术的宝贵资料。",[23,4109,94,27,26,4092,30,7,96,118,386,32,4110,4111],"唐卡","宗教造像","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10df8168c8017de1f6c15027c9a30589.jpg",[],{"id":4115,"slug":4116,"title":4117,"dynasty":157,"author":504,"museum":345,"description":505,"tags":4118,"thumbUrl":4119,"material":424,"size":516,"collection":148,"collections":4120,"showCount":4079,"zanCount":587,"manualWeight":11,"mainColor":54},230108,"hong-lou-meng-189-sun-wen-230108","红楼梦189",[24,26,27,28,30,138,7,33,39,1492,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756da37c1938489cc2f2aab0645c8766.jpg",[],{"id":4122,"slug":4123,"title":4124,"dynasty":885,"author":281,"museum":433,"description":4125,"tags":4126,"thumbUrl":4127,"material":148,"size":148,"collection":148,"collections":4128,"showCount":4079,"zanCount":587,"manualWeight":11,"mainColor":54},228206,"gong-nv-you-yuan-tu-li-zhou-yi-ming-228206","宫女游园图立轴","以青绿晕染出苍润苑囿，层叠亭台随山势铺展，界画工致严整，朱红飞檐掩映在古松奇石间。\n高台上仕女凭栏远眺，廊庑间宫人行止悠然，或低语相伴，或缓步行游，素衣翩跹打破殿宇的厚重沉静。\n设色古雅柔和，山石松枝的沉郁底色，衬得仕女身姿愈发轻盈灵秀，将深宫之中片刻偷闲的游园意趣晕染在绢素之上，藏着深闺里难得的松弛意态，古韵内敛悠长。",[23,24,193,27,26,28,30,138,7,118,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2765d101e95a8b69919d662341f6dace.jpg",[],{"id":4130,"slug":4131,"title":4132,"dynasty":157,"author":2231,"museum":433,"description":4133,"tags":4134,"thumbUrl":4136,"material":148,"size":148,"collection":148,"collections":4137,"showCount":4079,"zanCount":11,"manualWeight":11,"mainColor":152},224593,"liang-yuan-fei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创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,114,24,63,28,26,27,118,7,616,2304,33,38,39,139,4135,2326,2133,1548,437,1047],"长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":4139,"slug":4140,"title":4141,"dynasty":157,"author":175,"museum":135,"description":1946,"tags":4142,"thumbUrl":4144,"material":247,"size":1952,"collection":127,"collections":4145,"showCount":4079,"zanCount":11,"manualWeight":11,"mainColor":54},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）",[23,114,24,26,27,28,3012,30,7,118,4143,33,39,75,387,142,139,3562,38,4085],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg",[127,51],{"id":4147,"slug":4148,"title":4149,"dynasty":18,"author":4150,"museum":135,"description":4151,"tags":4152,"thumbUrl":4157,"material":2588,"size":4158,"collection":127,"collections":4159,"showCount":4079,"zanCount":587,"manualWeight":11,"mainColor":54},222158,"shan-zhuang-gao-yi-tu-li-zai-222158","山庄高逸图","李在","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[23,24,114,308,162,4153,4154,196,421,31,120,4155,637,638,7,33,4156],"云头皴","蟹爪枝","客舍","苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","109.1×188.8cm",[127,82],{"id":4161,"slug":4162,"title":4163,"dynasty":885,"author":4164,"museum":433,"description":4165,"tags":4166,"thumbUrl":4167,"material":312,"size":4168,"collection":127,"collections":4169,"showCount":4079,"zanCount":11,"manualWeight":11,"mainColor":54},220850,"lou-ge-ting-tai-tu-zhao-meng-fu-220850","楼阁亭台图","赵孟頫","赵孟頫绘画，山水取法董源、李成；人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法画石，以书法用笔写竹。力主变革南宋院体格调，自谓“作画贵有古意，若无古意，虽工无益”，遥追五代、北宋法度，论者谓：“有唐人之致去其纤；有北宋人之雄去其犷。”开创了元代新画风。 交友甚广，与高克恭、钱选、王芝、李衎、郭祐之等相互切磋；直接受其指点的有陈琳、唐棣、朱德润、柯九思、黄公望、王蒙等。能诗文，风格和婉。兼工篆刻，以“圆朱文”著称。",[23,24,63,28,26,162,7,437,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96226abc23ad0fb3649a6ae892730ae5.jpg","纵40.5cm、横37.3cm",[127,82],{"id":4171,"slug":4172,"title":4173,"dynasty":58,"author":2926,"museum":433,"description":4174,"tags":4175,"thumbUrl":4176,"material":47,"size":4177,"collection":49,"collections":4178,"showCount":4079,"zanCount":587,"manualWeight":11,"mainColor":54},219755,"zhong-xing-zhen-ying-tu-liu-duan-ben-xiao-zhao-219755","中兴祯应图六段本","萧照（公元1131年-公元1162年），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,24,114,25,26,27,116,118,30,7,65,121,33,844],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba4eb15be72fe5d39ab5fa3b3fd957.jpg","31x1148厘米",[49],{"id":4180,"slug":4181,"title":4182,"dynasty":58,"author":281,"museum":806,"description":4183,"tags":4184,"thumbUrl":4185,"material":47,"size":4186,"collection":127,"collections":4187,"showCount":4079,"zanCount":630,"manualWeight":11,"mainColor":54},218662,"song-feng-lou-guan-tu-yi-ming-218662","松风楼观图","山顶上的松树被涂上了颜色，天空中出现了奇特的山峰，山坡上的森林中矗立着建筑和房屋。悬崖边上有围栏和行人。艺术家用长线和水流来画山和石头，用各种点和线来画森林。近处的山是沉重的，远处的山是缥缈的，近处的树是苍白的，远处的树是缥缈的，显示出由于空气的阻隔，近处和远处的景物在视觉上的差异。",[23,24,63,114,1535,116,27,118,230,7,32,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05aa16083afb2ee32eae9a2801aa5c94.jpg","25.6x27.1",[127],{"id":4189,"slug":4190,"title":4191,"dynasty":58,"author":4192,"museum":60,"description":4193,"tags":4194,"thumbUrl":4195,"material":361,"size":4196,"collection":49,"collections":4197,"showCount":4079,"zanCount":630,"manualWeight":11,"mainColor":54},218626,"tang-feng-tu-ce-ma-he-zhi-218626","唐风图册","马和之","马和之，生卒年月不详，钱塘人（杭州），南宋著名人物画家，主要社会活动在高宗时期。据记载马和之的官方身份为画院待诏，又有文献说他曾考中进士，官至工部或兵部侍郎。这么看，在南宋画院中，马和之身份特殊，不是一般的伎术官员。南宋末期的著名文人周密说他为画师之首，语意是模糊的，具体情况有待学术界去研讨清晰。\n在绘画上，马和之以人物画著称。他的绘画技术主要学习唐代吴道子、宋代李公麟两家。技术成熟期的马和之，在吴、李基础上，独创了人物形象的独特描摹技术：柳叶描（又称蚂蟥描）。这种描法的线条粗细变化丰富，用笔起伏明显，清俊不羁，活泼潇洒，韵味十足。因他创作上的成就斐然，人们以“小吴生”称之，将其置于吴道\n子这类大师的行列。南宋以后的绘画大家黄公望、吴镇、唐寅、任伯年、徐悲鸿等人皆对其推崇备至。\n马和之的传世作品尚有很多，其中《后赤壁赋图》、《 古木流泉图 》及取材《 诗经》的组图等。《诗经组图》是马和之的代表性作品，它的产生起因于宋高宗亲自书写的三百篇书法，配图是马和之完成的。这套组图，常见的有故宫博物院现藏的《小雅·鹿鸣之什图》卷、《节南山之什图》卷、《豳风图》卷。辽宁省博物馆现藏的《唐风图》卷、《鲁颂三篇图》卷、《周颂·清庙之什图》卷等。此外国内外的其他机构还有《豳风》等。",[23,24,63,213,95,30,118,33,121,123,65,32,272,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4354616319dfc9cc139b7b4d768562fa.jpg","27x44.7cm",[49],{"id":4199,"slug":4200,"title":4201,"dynasty":18,"author":2358,"museum":60,"description":4202,"tags":4203,"thumbUrl":4204,"material":217,"size":4205,"collection":834,"collections":4206,"showCount":4079,"zanCount":11,"manualWeight":11,"mainColor":152},218499,"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[23,24,63,25,3173,162,27,26,118,7,31,32,121,33,139,284,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[834,127],{"id":4208,"slug":4209,"title":4210,"dynasty":157,"author":4211,"museum":433,"description":4212,"tags":4213,"thumbUrl":4215,"material":148,"size":148,"collection":148,"collections":4216,"showCount":4217,"zanCount":11,"manualWeight":11,"mainColor":152},230133,"yu-yu-liu-se-tu-hong-ren-230133","雨余柳色图","弘仁","《雨余柳色图》是 僧侣画家 的国画作品。\n该画为立轴，纸本墨笔，纵84.4厘米，横45.厘米，现藏于 。\n《雨余柳色图》奥境奇辟，缅邈幽深，峰峦俊逸，水渚错落，林木萧疏，江水辽阔，远山浮动。\n全幅以山、坡为主，图右缀有几株垂柳，一座小小木桥；图左设有几栋屋宇，远处画一道流水。\n此画笔墨苍劲整洁，以细笔为主，兼用侧锋，并用乾笔皴擦，有秀逸清幽之气。\n弘仁（161--1664）[清]僧。\n明诸生，甲申后为僧，号渐江，一号无智，人称梅花古衲，俗姓江，名韬，字六奇，后改名舫，字鸥盟， 人。\n少孤贫，性癖，以铅椠养母。\n一日负米行三十里，不逮期，欲赴练江死。\n母殡后不婚不宦。\n明亡后清兵进逼 时，曾参加反清复明斗争，后于 落发为僧，法名弘仁，字无智，号 ，又号梅花古衲，数年后重返故里，一心研习画学。\n游 之幔亭，皈依报亲寺古航师为圆顶焉。",[24,114,63,193,162,116,118,463,31,7,385,4214],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8413b0a13127d754377e4b83368527.jpg",[],60,{"id":4219,"slug":4220,"title":4221,"dynasty":18,"author":771,"museum":190,"description":772,"tags":4222,"thumbUrl":4223,"material":247,"size":4224,"collection":127,"collections":4225,"showCount":4217,"zanCount":630,"manualWeight":11,"mainColor":54},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷",[23,24,63,25,27,118,164,284,116,26,196,71,7,31,32,120,121,123,33,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[127,51],{"id":4227,"slug":4228,"title":4229,"dynasty":58,"author":4192,"museum":60,"description":4230,"tags":4231,"thumbUrl":4232,"material":180,"size":4233,"collection":80,"collections":4234,"showCount":4217,"zanCount":587,"manualWeight":11,"mainColor":54},221628,"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[23,24,63,25,95,27,164,284,30,7,33,37,118,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[80,127,51],{"id":4236,"slug":4237,"title":267,"dynasty":157,"author":4238,"museum":20,"description":4239,"tags":4240,"thumbUrl":4241,"material":232,"size":4242,"collection":127,"collections":4243,"showCount":4217,"zanCount":11,"manualWeight":11,"mainColor":152},220009,"xi-shan-xing-lv-tu-liu-yu-220009","柳堉","柳堉（1620—1689年以后），字公韩、公含，号愚谷，江宁（南京）诸生。工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。柳堉身在清代经济和文化发达的南京，受到广泛的艺术影响，众家风格的融合都体现在了这幅画上。作品中体积庞大的群山体反映受到了董其昌的影响。由黑色小叶子点缀的苍松、干燥的笔触表明了对安徽画派的熟悉，而奇妙的景观形态和深邃的远距离景观与惊人的特写镜头的大胆并置，显示了他对早期南京画家如吴彬的崇尚。",[23,24,63,25,162,116,118,31,32,120,121,123,373,7,421,139,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f721d9feb3a8cf66ea0346ad6bd077.jpg","26.4x508.6厘米",[127],{"id":4245,"slug":4246,"title":4247,"dynasty":489,"author":570,"museum":433,"description":4248,"tags":4249,"thumbUrl":4251,"material":495,"size":496,"collection":148,"collections":4252,"showCount":4253,"zanCount":11,"manualWeight":11,"mainColor":54},289926,"xue-tu-ju-ran-289926","雪图","其画面分为三个层次，组成一个硕头小脚“之”字。上层双峰并立，左低右高，危岩耸立，白雪皑皑，令人生畏；眼恋意留，不敢攀附。雪峰之上，古木郁郁，生机勃勃。特别是锯齿状的岩裂，触目惊心，将北方的雪映衬得更加雄浑、霸气。中层雪景呈斜倚之势漫漶开来，楼阁深入，分布有别；古树对峙，雪路茫然；骑者行于山径之上，左顾右盼，两岸风光引人入胜。它恰好将近景生动地连接起来，苍松如帘，层次分明却又浑然一体。仿佛听见覆雪之下，冬泉泠泠；雪压松枝，不时跌落，飒飒有声。",[23,114,24,63,118,193,162,116,1514,4250,7,616,117],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0d1b6444505baf420412d317f53a4fb.jpg",[],59,{"id":4255,"slug":4256,"title":4257,"dynasty":157,"author":745,"museum":60,"description":4258,"tags":4259,"thumbUrl":4260,"material":180,"size":4261,"collection":51,"collections":4262,"showCount":4253,"zanCount":11,"manualWeight":11,"mainColor":152},238228,"hong-li-xing-le-tu-zhou-zhang-ting-yan-238228","弘历行乐图轴","此画描绘了乾隆皇帝在园囿中休闲自娱的场面。深秋的庭院，林木依旧繁茂，色彩十分丰富。中年的皇帝闲坐于廊下观赏庭中景致，若有所思，桌案上已经铺设了纸砚，一童子侍立，手执拂尘，一童子正捧书册而至。画中楼阁桥梁以直尺界笔描绘，融明代仇英的传统建筑画技法与海西透视法于一体，工致而不呆板。",[24,63,193,27,26,28,2180,30,7,33,39,959,38,4085],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238dc91c650fc7be74daa9b715d2f6b8.jpg","纵119.1厘米，横213厘米",[51],{"id":4264,"slug":4265,"title":4266,"dynasty":157,"author":4211,"museum":433,"description":4267,"tags":4268,"thumbUrl":4269,"material":495,"size":496,"collection":127,"collections":4270,"showCount":4253,"zanCount":587,"manualWeight":11,"mainColor":152},235611,"hong-ren-shan-shui-ce-hong-ren-235611","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”。",[24,63,162,118,7,538,3067,139,2158,1183,116,164,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9adc4adea84818538ce7cff5131eed.jpg",[127],{"id":4272,"slug":4273,"title":4274,"dynasty":157,"author":504,"museum":345,"description":505,"tags":4275,"thumbUrl":4278,"material":424,"size":516,"collection":148,"collections":4279,"showCount":4253,"zanCount":11,"manualWeight":11,"mainColor":152},230107,"hong-lou-meng-188-sun-wen-230107","红楼梦188",[24,63,27,26,28,30,7,31,32,121,119,139,142,39,33,1628,4276,4277,197],"假山","圆窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179797fe31faa009c06c9f9a7e085fc1.jpg",[],{"id":4281,"slug":4282,"title":4283,"dynasty":157,"author":1557,"museum":135,"description":4284,"tags":4285,"thumbUrl":4286,"material":820,"size":4287,"collection":127,"collections":4288,"showCount":4253,"zanCount":11,"manualWeight":11,"mainColor":152},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","《西湖十景图卷》由清代书画家董邦达绘。虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,24,63,25,27,118,116,28,117,7,31,32,33,139,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[127],{"id":4290,"slug":4291,"title":4292,"dynasty":18,"author":19,"museum":60,"description":4293,"tags":4294,"thumbUrl":4295,"material":180,"size":4296,"collection":127,"collectio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x 25.2公分",[127,82],{"id":4409,"slug":4410,"title":4411,"dynasty":18,"author":1247,"museum":60,"description":4412,"tags":4413,"thumbUrl":4414,"material":232,"size":4415,"collection":82,"collections":4416,"showCount":4366,"zanCount":530,"manualWeight":11,"mainColor":152},220132,"zhen-shou-tang-tu-juan-tang-yin-220132","贞寿堂图卷","图绘以平远、阔远之法，画青山秀水之畔，有堂屋两间筑于山坳回抱之处、松竹掩映，篱落曲折。堂内家人聚首，共叙天伦；堂侧隔桥一人正袖手而立，作静观之状。图中山石皴笔劲利，晕染轻淡；树法丰富，枝干俯仰有态，点叶、夹叶兼备，点景人物衣纹细劲，神态闲适。风格秀润，意境幽淡，为唐寅早期画作的佳制。",[23,24,63,25,162,27,116,164,284,118,7,373,385,31,32,121,30,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29da086db6e0222144fd39f45bbfb2d9.jpg","纵28.3厘米 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（今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[23,114,24,63,25,95,27,164,117,284,30,7,32,31,121,373,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[80,127,51],{"id":4475,"slug":4476,"title":4477,"dynasty":157,"author":1557,"museum":135,"description":4478,"tags":4479,"thumbUrl":4481,"material":217,"size":4482,"collection":148,"collections":4483,"showCount":4433,"zanCount":11,"manualWeight":11,"mainColor":152},218726,"yu-hua-yuan-gu-bai-tu-dong-bang-da-218726","御花园古柏图","乾隆吟成古柏行，命董邦达作图。工笔界画摛藻堂，殿宇结构严谨，色彩华丽，似是内廷供奉所作。古柏则以写意笔趣画成，这才是董氏之笔。",[24,63,28,27,118,7,4480,116],"古柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9fbe8158fef5a7328b02c3d23c2004.jpg","194.2x111.5cm",[],{"id":4485,"slug":4486,"title":4487,"dynasty":58,"author":690,"museum":433,"description":4488,"tags":4489,"thumbUrl":4491,"material":495,"size":496,"collection":148,"collections":4492,"showCount":4493,"zanCount":11,"manualWeight":11,"mainColor":152},289444,"gao-shi-guan-hua-tu-xia-gui-289444","高士观花图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[1535,24,162,308,28,116,538,7,118,30,4490,2234,623],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff727011fb484f5d3322b69ceb8e8e28c.jpg",[],55,{"id":4495,"slug":4496,"title":4497,"dynasty":58,"author":356,"museum":433,"description":4498,"tags":4499,"thumbUrl":4500,"material":495,"size":496,"collection":148,"collections":4501,"showCount":4493,"zanCount":11,"manualWeight":11,"mainColor":54},288259,"jiang-shan-xiao-jing-tu-li-tang-288259","江山小景图","《江山小景图》描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。",[23,114,24,63,25,162,27,116,118,120,121,620,421,1421,1639,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7674380b1a209bd4836ce4ffa81e0.jpg",[],{"id":4503,"slug":4504,"title":4505,"dynasty":489,"author":967,"museum":433,"description":4506,"tags":4507,"thumbUrl":4509,"material":495,"size":496,"collection":148,"collections":4510,"showCount":4493,"zanCount":587,"manualWeight":11,"mainColor":152},287396,"shi-nv-yu-tu-tu-ye-zhou-wen-ju-287396","仕女玉兔图页","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[23,24,114,1535,26,27,1801,138,4508,7,33,28],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a2c3d32ca970cdb9e4de407e67b73b.jpg",[],{"id":4512,"slug":4513,"title":4514,"dynasty":157,"author":2409,"museum":60,"description":4515,"tags":4516,"thumbUrl":4517,"material":180,"size":4518,"collection":148,"collections":4519,"showCount":4493,"zanCount":11,"manualWeight":11,"mainColor":54},234262,"si-xu-tu-juan-yao-wen-han-234262","四序图卷","此图卷描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同的享乐生活。布局巧妙，境界幽曲，将人物、山水、楼台亭阁、春夏秋冬的不同树木花卉及其景色容于一卷。精心刻划，形象生动，笔墨工细，赋彩随类，颇为自然。人物虽小，然曲尽各种姿态，形神俱备，景物虽繁，然疏密有度，为烘托人物的各种游乐活动而恰到好处。确是精心经营的佳作。\n姚文瀚，号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画，《石渠宝笈》著录其曾作《仿清明上河图》卷，文瀚于群工角艺之时，胸具别裁，画成缩本，乾隆喜而题诗并注：“此卷较择端原本尺幅纵横倍减，而临摹毕肖，人物益小，尤见精能。”尝画《梧阴清暇图》轴、《春朝婴戏图》轴、《岁朝欢喜图》轴、《观音像》轴、《文殊像》轴等。乾隆十七年（1752）尝作《仿宋人文会图》卷，二十六年（1761）作《紫光阁锡宴图》卷。\n传世作品有《四序图》卷，绢本，设色，描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同之悠闲生活、构思巧妙，意境幽曲，刻画细腻，形象生动，笔墨工整，设色典雅。此作人物虽小，然曲尽姿态，形神兼备，现藏故宫博物院。",[23,24,25,27,26,28,30,7,118,33,931,42,39,139,437,539,452,38,1047,4439,2501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932487c9f43ccf74b8dc4bf3654f4db3.jpg","纵31．5厘米，横318厘米",[],{"id":4521,"slug":4522,"title":4523,"dynasty":157,"author":281,"museum":433,"description":4524,"tags":4525,"thumbUrl":4526,"material":148,"size":148,"collection":148,"collections":4527,"showCount":4493,"zanCount":587,"manualWeight":11,"mainColor":54},230305,"fang-han-gong-chun-xiao-tu-yi-ming-230305","仿汉宫春晓图","此作铺展深宫春日盛景，亭台楼阁勾描工致，柳石花木晕染雅致，将宫苑春意揉进朱廊翠荫里。仕女们或临窗研墨、凭栏观戏，或蹴鞠扑蝶、闲庭信步，娇柔百态鲜活灵动，把深院中的松弛雅兴尽数铺陈。设色明丽柔婉，线条秀润细腻，复刻出原作的绮靡雅致，将宫廷日常的闲逸温婉晕染绢上，让旧日宫苑的春日烟火气扑面而来，尽显古典仕女画的柔美韵致与院体工笔的精妙意趣。",[24,63,25,114,26,27,28,29,30,138,7,39,33,139,142,387,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6489682bcd338587262df0a3fe163436.jpg",[],{"id":4529,"slug":4530,"title":4531,"dynasty":157,"author":209,"museum":433,"description":4532,"tags":4533,"thumbUrl":4534,"material":148,"size":148,"collection":148,"collections":4535,"showCount":4493,"zanCount":11,"manualWeight":11,"mainColor":152},228996,"hua-hui-shan-shui-ce-ye-12-kai-shi-tao-228996","花卉山水册页12开","《陈师曾画集》是以画家个案研究为切入点，以介绍画家作品为主线，将过去未被出版的近现代有影响画家作品编辑出版，为近现代绘画学习、研究提供第一手资料。\n进入二十世纪来，中国近代画家成为美术界、收藏界研究、关注的热点。\n《陈师曾画集》由 出版。\n菊花书画卷(局部) 花卉山水人物册页四开 花卉册页二开 仿李觯册页四开 花卉(合作) 花卉山水册页五开 山水册页二开 山水 墨兰 水仙 梅花 碧霞元君祠图 拟沈周夏日山居图 北京风俗图册页三十四开 秋花奇石 墨荷 鬼趣图 钟馗读书图 达摩图 读画图 深山古寺 山林人家 仙鹤 岁寒清供图 深山秋烟 姚华小像 花卉四条 清供图 菊石图 山水册页四开 花卉四条 松树 听秋图 蔬笋 拟吴仲圭山水 群仙上寿图 山水 花鸟四屏 山水 仿沈周山水 山水 山水册页四开 忽见千帆 半山流泉 荷 芍药 些 芭蕉 花卉四屏 菊石 兰竹 仿石涛山水 鸡冠花 金壶细叶 携酒与鱼 梅花 兰石 梅竹双雀(合作) 佛手 赤壁图 山水 桃花 梅石 芭蕉菊花 腊梅秀石 山水长卷(合作) 花卉 山水册页 溪流浣衣 江乡秋获 山原行旅 村醪泥醉 雨洗铅华 空谷幽香 烟寒雨昏 老圃秋容 梅竹 月季花 花卉四条 秋园晚艳 桃花 绣球花 山林楼影 姜白石词意图册十二开 山水册页四开 山水诗画册页十六开 竹 写摩诘诗意 园林小景册页六开 山水册页二开 花卉山水册页十开 山水花果册页四开 枇杷 竹笋 杨诚斋诗意图册页六开 花卉册页八开 枇杷 秋柳图 达摩图 猴戏图(合作) 菊石 玉兰 墨笔山水 溪山松居图 山林静处 霜林红万山 山林深处 竹石 花红叶翠 附：常用印章 陈师曾年表",[24,63,213,27,162,118,7,123,762,33,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f22ccc2a5c9017120af6648fb95f4bf.jpg",[],{"id":4537,"slug":4538,"title":4539,"dynasty":58,"author":1418,"museum":135,"description":4540,"tags":4541,"thumbUrl":4542,"material":148,"size":148,"collection":80,"collections":4543,"showCount":4493,"zanCount":587,"manualWeight":11,"mainColor":54},221421,"da-jiang-tu-yan-wen-gui-221421","大江图","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,24,63,25,162,116,118,1421,35,7,31,33,139,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c21e1641668e9acb1a358f7b09ffe9f.jpg",[80,127,82],{"id":4545,"slug":4546,"title":4547,"dynasty":89,"author":548,"museum":60,"description":2393,"tags":4548,"thumbUrl":4549,"material":424,"size":4550,"collection":127,"collections":4551,"showCount":4493,"zanCount":11,"manualWeight":11,"mainColor":152},221100,"jiu-cheng-bi-shu-tu-ye-li-si-xun-221100","九成避暑图页",[23,24,115,27,118,28,7,196,33,38,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2acc632af78cc169721bcff835e47cd6.jpg","纵28.5厘米，横31.6厘米",[127,51],{"id":4553,"slug":4554,"title":1042,"dynasty":18,"author":281,"museum":269,"description":4555,"tags":4556,"thumbUrl":4557,"material":47,"size":148,"collection":127,"collections":4558,"showCount":4493,"zanCount":11,"manualWeight":11,"mainColor":54},217977,"wang-chuan-tu-yi-ming-217977","辋川图采用了中国传统的山水画风格，画面中展示了辽河流域的山峦、河流、村庄和城市。画中还有许多人物，展示了当时这一地区的生活方式和文化。\n\n辋川图因其精美的绘画技巧和对历史文化的精准再现而闻名，是中国山水画史上的珍贵艺术品。目前，辋川图被认为是中国古代山水画的杰作，具有极高的艺术价值和文化意义。",[23,114,24,25,308,28,27,196,32,7,33,30,120,493,1862],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d11196376a0cf5547e83905727dc07.jpg",[127],{"id":4560,"slug":4561,"title":4562,"dynasty":58,"author":559,"museum":60,"description":4563,"tags":4564,"thumbUrl":4565,"material":180,"size":563,"collection":148,"collections":4566,"showCount":4567,"zanCount":11,"manualWeight":11,"mainColor":54},233698,"jiang-shan-qiu-se-tu-juan-zhao-bo-ju-233698","江山秋色图卷","此图为青绿设色。画中有青山碧水、殿宇村舍，栈道、桥梁穿插其间，又有苍松翠柏，茂林修竹，移步换景，令人玩味不尽。山石用小斧劈皴法，再施以青绿重色；树木、建筑刻画细腻精谨，点景人物描绘细致入微。整幅作品布局宏大，细节丰富，色彩浓丽而不失清雅，刻画精细而不琐碎，带有宋代画院气派。",[114,24,63,25,115,27,26,116,118,1709,71,33,437,7,31,32,139,195,493,4085],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7938477d39bcc25b27dcddc14b743fa4.jpg",[],54,{"id":4569,"slug":4570,"title":4571,"dynasty":58,"author":281,"museum":433,"description":4572,"tags":4573,"thumbUrl":4574,"material":148,"size":148,"collection":148,"collections":4575,"showCount":4567,"zanCount":11,"manualWeight":11,"mainColor":54},227847,"song-mo-gu-kai-zhi-luo-shen-fu-tu-juan-yi-ming-227847","宋摹顾恺之洛神赋图卷","此作以辞赋为骨，铺展缥缈爱恋。山峦云霭间，洛神凌波微步，衣带蹁跹，与曹植遥遥相望，情思暗涌。线条细劲连绵如春蚕吐丝，古雅设色晕开绢本旧韵，将洛神仙姿、侍众恭谨、仪仗威仪一一铺展。山海林泉错落，云雾萦回如幻，把初见的惊艳、相恋的缱绻、别离的怅惘揉进山水里，诗画相融，将文字中的深情化作可视丹青，晕染出千年前那场哀怨缥缈的人神之恋，尽显晋唐风骨的温婉雅致。",[23,24,25,29,27,26,95,118,30,436,1298,65,7,33,194,844,1315,3865,71,139,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0846a7d82dcbae011c1e4eb6f39c2e7e.jpg",[],{"id":4577,"slug":4578,"title":4579,"dynasty":58,"author":369,"museum":433,"description":4580,"tags":4581,"thumbUrl":4582,"material":148,"size":148,"collection":148,"collections":4583,"showCount":4567,"zanCount":11,"manualWeight":11,"mainColor":54},227640,"song-ge-guan-chao-tu-ma-yuan-227640","松阁观潮图","绢本，设色，190.9×94.5ＣＭ，美国弗利尔美术馆藏。绘山峰奇险，一轮明月与绝壁相对，山脚下古松苍劲笔直，树下凉中一人凭栏眺望，不远处应有潮水奔腾，水面上避风处二船停泊，一小童在船上正伏桌打盹，看来夜已深了。此图原题：马远松阁观潮图。然则细观之下，与王谔的风格很相似，当是明代宫廷画家之作品。",[23,24,63,114,193,162,27,116,118,373,7,30,120,139,623,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42a106aaf591df8e3bae9f9e22cb844.jpg",[],{"id":4585,"slug":4586,"title":4587,"dynasty":58,"author":4588,"museum":433,"description":4589,"tags":4590,"thumbUrl":4591,"material":424,"size":4592,"collection":80,"collections":4593,"showCount":4567,"zanCount":11,"manualWeight":11,"mainColor":152},221322,"shi-yong-tu-quan-juan-zhang-xian-221322","十咏图全卷","张先","此图是一幅山水人物画，画卷的开首部分便是吴兴南园一角，主体建筑为一座重檐歇山顶的楼阁，相配小亭栏杆回环曲折，花草树木掩映，庭中有鹤，亭角有花一株，环境幽雅而气象恢宏。楼阁内，马太守正陪二老对坐奕棋；小亭内，二老手扶栏杆，一面赏景一面闲话；另二老或携琴或曳杖，款款而来。此外有童仆衙役陪伴侍候。这是一次风流儒雅的集会，轻松愉快，表现出一派太平盛世的气氛。这一段表现了三首诗的内容，除前述一首之外，另有《庭鹤》、《玉蝴蝶花》二首。\n南园临水而建，湖对岸远渚汀洲，村庄茅舍，树木葱浓，群山耸翠，依次表现出《孤帆》、《宿清江小舍》、《归燕》、《闻砧》、《宿后陈庄偶书》、《送丁秀才赴举》、《贫女》七首诗的内容。\n张先的绘画作品，无论历史流传还是文献记载，仅此一幅。至于它的时代，从山石皴法及布置方法看，大体是北派山水的继承，属于荆浩、关同体系，而无李成、郭熙痕迹，更不入南宋格调，显然是北宋前期的风格。\n这件作品的文献价值一直受到前人的重视，它所记载的当时的文化活动及有关人物，都是唯一的现存第一手资料。陈振孙根据南园立石，对各种人物作了详细的笔录和考证。刻石在元代便毁灭了，颜尧焕的跋记录颇详。到今天，其画和所有的题跋，更弥足珍贵。\n此画原为清宫收藏，溥仪以赏溥杰的名义将画盗出宫廷，后携至长春。伪满政权覆灭时，此画被窃，此后50年中不知下落。\n1995年，在北京瀚海拍卖公司的拍卖会中此画才再度面世。故宫博物院根据徐邦达、启功、刘九庵等专家的建议，并得到国家文物局的批准，以1800万元竞价将此画购回，使这件国宝找到了它应有的归宿。国家文物局和故宫博物院用这么多的钱保护一件国宝，用启功先生的话说：“两个字，值得。”",[23,24,63,25,27,118,7,121,32,120,33,139,30,117,284,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43225b3fa18322ee72418abdc181ec0.jpg","画心纵52厘米，横125.4厘米",[80,127,82],{"id":4595,"slug":4596,"title":4597,"dynasty":58,"author":4192,"museum":210,"description":4598,"tags":4599,"thumbUrl":4600,"material":47,"size":4601,"collection":80,"collections":4602,"showCount":4567,"zanCount":630,"manualWeight":11,"mainColor":54},219730,"chen-feng-tu-ma-he-zhi-219730","陈风图","陈国始封于西周初年，建都于今淮阳县，前后延续了500多年。该国以鸟为崇拜对象，简礼仪而重巫祠，其俗善歌舞，民风浪漫开放，这些都在《诗经·陈风》中得以体现。马和之创作的这组《陈风图》以浅显易懂的绘画语言解读了当时的文化与礼仪。《诗经》爱好者一定不能错过。马和之是南宋画家，为南宋宫廷画院中官品最高的画师，居御前画院十人之首。擅长人物、佛像、山水，其绘画风格与唐代吴道子相仿，人称“小吴生”。",[23,24,63,25,95,27,118,30,7,121,33,31,32,164,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F459c29b66cb238c23aa756f3463369ea.jpg","纵26.8、横731.5厘米",[80],{"id":4604,"slug":4605,"title":4606,"dynasty":58,"author":4192,"museum":135,"description":4607,"tags":4608,"thumbUrl":4610,"material":47,"size":4611,"collection":80,"collections":4612,"showCount":4567,"zanCount":11,"manualWeight":11,"mainColor":54},218866,"jiang-sheng-cao-ge-tu-ma-he-zhi-218866","江声草阁图","画中有一座建在悬壁上的亭子，瀑布流入河中，一棵松树拔地而起，一个学者靠在栅栏上看一颗飞星。",[23,24,114,27,26,118,7,33,123,4609,1639,1430],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2c1ff15b6b9c4fa6376a24609f2ff0.jpg","23.3x24.6",[80],{"id":4614,"slug":4615,"title":4616,"dynasty":157,"author":4617,"museum":433,"description":4618,"tags":4619,"thumbUrl":4620,"material":148,"size":148,"collection":127,"collections":4621,"showCount":4622,"zanCount":11,"manualWeight":11,"mainColor":152},238212,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238212","仿王翬山水册","曹夔音","曹夔音，清代乾隆年间的山水画家，字莪塍，号红椒道人，江苏江宁（南京）人，其生卒年月不详。据资料，知其曾在乾隆初年以御用画师身份供奉朝廷。期间，曹氏遵御旨摹仿了一批传统经典作品，最具水准也最受称道的，是仿赵黻《长江万里图》长卷。因其笔墨逼真，又弥补了原作残旧之憾，故甚为乾隆皇帝喜爱，成为“御览之宝”。此外，曹夔音还奉旨与金昆、张镐复制了王维《辋川图》，又与周鲲、姚文瀚等人临摹了丁云鹏罗汉手卷数卷。而曹氏所作《寒谷鸣泉》扇面画与背面乾隆御临王羲之法帖的成扇。",[114,24,63,213,162,116,118,7,31,32,33,139,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae9b3150b1bdefaa340be12a343409a0.jpg",[127,51],53,{"id":4624,"slug":4625,"title":4626,"dynasty":157,"author":281,"museum":60,"description":4627,"tags":4628,"thumbUrl":4629,"material":3792,"size":4630,"collection":49,"collections":4631,"showCount":4622,"zanCount":11,"manualWeight":11,"mainColor":152},236179,"hong-li-sui-chao-xing-le-tu-xiang-yi-ming-236179","弘历岁朝行乐图像","暖阁里主仆围聚，主人逗弄怀中幼童，满堂融融暖意弥散。阶下有人持笛奏乐、孩童嬉闹，檐下案头陈设瓶花清供，雅趣横生。近旁苍松虬劲古朴，崖石覆雪添了冬日清寒，远景烟霭轻笼，亭台隐没云间，冷暖景致相映成趣。\n\n整幅工笔妍丽细腻，将皇家岁朝的闲温情致，与园林雅致意趣揉合一处，把佳节天伦之乐绘得鲜活动人，尽显华贵静谧的宫廷年味图景。",[24,114,26,27,28,30,7,538,139,39,919,144,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cf7690222da77f1a730090ee748426.jpg","纵384cm，横160.3cm",[49,51],{"id":4633,"slug":4634,"title":4635,"dynasty":157,"author":4636,"museum":433,"description":4637,"tags":4638,"thumbUrl":4639,"material":148,"size":148,"collection":148,"collections":4640,"showCount":4622,"zanCount":587,"manualWeight":11,"mainColor":54},230191,"chun-shan-ting-ruan-tu-lv-huan-cheng-230191","春山听阮图","吕焕成","《春山听阮图》是清代画家吕焕成创作的一幅绢本设色画。\n关于清代画家 ，《 》中记载：“擅人物、花卉，兼长山水，好作斧劈皴，风格颇似戴文进。\n”他创作的道士、佛神像，皆笔法工整，设色古雅。\n在这幅《春山听阮图》轴中，作者一改以往的艺术特色，不见斧劈痕迹，风格却似 作品的格调。\n不过这倒使我们从另一个角度领略到画家对不同艺术境界的探求。\n山间的瀑布、亭宇、林木相互掩映，在烟岚缭绕的气氛中若隐若现。\n近景溪边的亭台上有一人正在弹阮，他神情怡然，气质脱俗，想必正沉浸在乐曲独特的旋律之中；他的身边有一人正聚精会神地聆听着，想必是其朋友，那坐卧斜倾的姿态，看上去像是完全被阮音优美的旋律所醉倒。\n右边的低崖上有二人正在观景，或许是回荡在山谷里美妙的阮音打断了他们的话题，使他们不由得回转过头，听着佳音赏着眼前的美景。\n我们虽然听不到这美妙的乐音，但早已被这些生动的描绘带入“春山听阮”的意境，从听阮者那专注的神情里，可以想像到这位高士弹奏的高妙之处，从那溪水与闲云的流动中，那绿石、苍松融融的气息间，更感受到春的惬意。\n因为有这委婉动听的阮音回绕，这春山，这草木，这流水，这自然之机，便清雅宜人，恍若梦中的仙境。\n该作为竖构图，满布局，结构严谨，层次分明，经营有序，不见壅塞。\n笔法工细挺秀，轻皴淡染，设色艳丽。\n溪边人物虽小，但刻画细致入微，形神毕俱。\n山石是勾勒后，稍加皴制，不露笔痕，然后再以石青、石绿轻轻晕染。\n松树以淡墨层层染之，桃花用少许胭脂染成，使得整幅画面不仅构图饱满而且颜色丰富，典雅超逸。\n此画左上角自题“舜江吕焕成写”。\n轴纵观此图气势超逸，高雅脱俗。\n画中一座座雄伟的山峰拔地而起，前呼后拥，左右相迎；山势陡绝、奇丽，从近到远层层推移，既高大又深远，既峭峻又缥缈，给人一种于壮美中见超然的 。\n吕焕成（16-175），清初画家。\n字吉文，号祉园山人，浙江余姚人。\n擅长嘶人物、山水，兼画花卉。\n笔法工整，设色古雅。\n吕焕成是明代书画家文征明的外孙女婿，正因这特殊身份，使其始终执迷于“吴派”绘画。\n清代初期，他坚持“吴派”山水作风。\n作品既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n时时透露出一股清新和洒脱的气息。\n传世作品较少，主要有《春山听阮图》轴。",[23,24,63,193,115,27,26,28,118,30,7,538,139,32,946,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],{"id":4642,"slug":4643,"title":4388,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":4644,"thumbUrl":4645,"material":495,"size":496,"collection":148,"collections":4646,"showCount":4622,"zanCount":11,"manualWeight":11,"mainColor":54},226166,"ku-zhu-shi-nan-bi-yi-ming-226166",[2046,94,28,27,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273402eec4cc4462b478a2ee087690bf.jpg",[],{"id":4648,"slug":4649,"title":2249,"dynasty":18,"author":4650,"museum":345,"description":4651,"tags":4652,"thumbUrl":4653,"material":424,"size":4654,"collection":127,"collections":4655,"showCount":4622,"zanCount":587,"manualWeight":11,"mainColor":54},222172,"shan-shui-tu-juan-ling-bi-zheng-222172","凌必正","凌必正，明朝时期人物，字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。",[23,24,25,27,116,26,118,121,31,32,7,33,139,75,42,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d833055d321b7858277278949b9816d.jpg","32X159厘米",[127,82],{"id":4657,"slug":4658,"title":4659,"dynasty":58,"author":1438,"museum":135,"description":1439,"tags":4660,"thumbUrl":4661,"material":247,"size":4662,"collection":80,"collections":4663,"showCount":4622,"zanCount":11,"manualWeight":11,"mainColor":54},221296,"jin-men-ying-zhao-zhou-guo-zhong-shu-221296","金门应诏轴",[23,24,63,28,193,27,26,30,7,605,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85929dfecd1409924803dab3ee25f0.jpg","30x28",[80,49,51],{"id":4665,"slug":4666,"title":4667,"dynasty":18,"author":4668,"museum":135,"description":4669,"tags":4670,"thumbUrl":4671,"material":4672,"size":148,"collection":127,"collections":4673,"showCount":4622,"zanCount":11,"manualWeight":11,"mainColor":152},220934,"fang-wang-meng-fang-dong-yuan-qiu-shan-xing-lv-tu-dong-qi-chang-220934","仿王蒙仿董源秋山行旅图","董其昌","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[24,63,118,162,116,29,27,139,33,7,31,32,272,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c15c82af0fc77e48f2b48d1c1ee14c.jpg","绢本与纸本",[127,82],{"id":4675,"slug":4676,"title":2333,"dynasty":58,"author":369,"museum":4677,"description":4678,"tags":4679,"thumbUrl":4680,"material":47,"size":4681,"collection":127,"collections":4682,"showCount":4622,"zanCount":11,"manualWeight":11,"mainColor":54},218665,"shan-shui-tu-ma-yuan-218665","日本东京国立博物馆","画面截取山水一角，以简练刚劲的斧劈皴勾勒山石轮廓，墨色层次分明，尽显山川肌理。远处亭台掩映于林木间，几人对坐似在品茗论道；中景水面开阔，波光隐现；近岸桥梁横跨，行人缓步，岸边石上二人闲坐，姿态悠然。人物虽小却形神兼备，与山水景致相融，传递出闲适雅致的文人意趣。马远以“边角”之景营造深远空间，笔墨简括却意境悠长，将自然静谧与人文悠然巧妙结合，尽显南宋山水画的抒情特质与艺术匠心。",[23,24,63,193,27,116,118,7,31,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82aa8fa0505c1342ef40c1af44517.jpg","36.4x19.2厘米",[127],{"id":4684,"slug":4685,"title":4686,"dynasty":885,"author":1032,"museum":269,"description":4687,"tags":4688,"thumbUrl":4689,"material":47,"size":4690,"collection":127,"collections":4691,"showCount":4622,"zanCount":11,"manualWeight":11,"mainColor":54},217743,"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[23,24,63,25,162,27,116,164,117,284,118,7,31,32,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[127],{"id":4693,"slug":4694,"title":4695,"dynasty":885,"author":281,"museum":4696,"description":4697,"tags":4698,"thumbUrl":4699,"material":47,"size":4700,"collection":127,"collections":4701,"showCount":4622,"zanCount":11,"manualWeight":11,"mainColor":54},215145,"xi-shan-lou-ge-tu-yi-ming-215145","溪山楼阁图","重庆市博物馆","溪山楼阁图是一幅中国古代山水画，作者佚名，来自元朝（1271-1368年）。这幅画以其精美的画风和丰富的山水景观而闻名，是一件珍贵的艺术瑰宝。\n\n在这幅画中，作者以逼真的笔触和精细的构图技巧，勾勒出了一座位于山谷中的楼阁。楼阁的四周环绕着秀美的山水景观，山峦起伏，溪流潺潺，树木葱茏，给人以清新的视觉享受。\n\n在这幅画中，作者还融入了许多寓意深刻的元素，如山间的松柏、荷花池塘、仙人掌等都被视为吉祥物，象征着幸福、长寿、繁荣等。\n\n总的来说，溪山楼阁图是一幅精美的山水画作品，充分展现了中国古代画家对自然美景的热爱和描绘技巧。",[114,24,27,28,115,118,7,33,32,139,194,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fc87bbefb1be97892e5282dfcc31c1.jpg","27.5x26.4cm",[127],{"id":4703,"slug":4704,"title":4705,"dynasty":157,"author":209,"museum":433,"description":4706,"tags":4707,"thumbUrl":4708,"material":148,"size":148,"collection":148,"collections":4709,"showCount":4710,"zanCount":11,"manualWeight":11,"mainColor":152},228998,"she-se-shan-shui-ce-shi-tao-228998","设色山水册","此作以虚实相生之趣写山林幽境，主峰半隐于翻涌云海间，一道飞瀑垂落，破开山石沉凝。留白衬出云气的空濛氤氲，干湿浓淡的水墨晕染出山峦苍润肌理。右下亭台隐于深林，坡岸幽草间似有幽人卧看云起，野趣横生。两枚朱红点染左上，为水墨素朴添了古雅意趣。\n\n笔墨简淡却丘壑暗藏，以意造境，将江南山林的静穆萧散尽显，仿佛能聆听到瀑声潺潺，嗅见草木清芬，于尺幅之间尽显林泉高致，藏着文人山水独有的幽寂禅意与雅逸情怀。",[24,27,162,118,7,421,194,139,1431,30,117,116,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumb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由北京城得胜门出发，画家沿途舖设，盛大的卫仪阵容，直至皇帝谒陵的目的地。",[23,24,63,25,27,26,30,65,118,33,844,859,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba7555859181efb34e956d465f1006b.jpg","92.1×2601.3cm",[],{"id":4782,"slug":4783,"title":4784,"dynasty":58,"author":1257,"museum":135,"description":4785,"tags":4786,"thumbUrl":4788,"material":820,"size":4789,"collection":80,"collections":4790,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":54},221489,"yue-ye-kan-chao-tu-li-song-221489","月夜看潮图","这幅「月夜看潮」图，所画即南宋时临安(今浙江杭州)中秋夜观海潮的情形。高悬的明月下，浪潮卷涌成一直线地奔驰而来;江畔华美的平台阁楼上，隐约可见有人穿梭、呼指着。整个画面没有拥塞的车水马龙、也没有激情喧闹的人海，取而代之的是远山江帆、月影银涛，一幕祥和而又没有纷扰的景致。",[23,24,27,28,118,7,120,762,33,4787,117],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe131ee4ef3a1bf68a965799b0b4a1826.jpg","纵22.3厘米，横22厘米",[80,127,51],{"id":4792,"slug":4793,"title":4794,"dynasty":157,"author":4795,"museum":345,"description":4796,"tags":4797,"thumbUrl":4798,"material":361,"size":4799,"collection":127,"collections":4800,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":54},220032,"jiang-lou-fang-you-tu-wu-hong-220032","江楼访友图","吴宏","此幅吴远度云是仿北宋初李成画法，实则借名而已，皴法已带唐伯虎乱柴皴法度，构图渲染全是金陵画派作风，然江天开阔，渔隐互答，远度此幅尤允佳品。",[23,24,63,308,193,27,116,7,31,32,120,33,139,75,35,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaaf4122119ceb7d3d07d79758a578d.jpg","78.63*160.6cm",[127],{"id":4802,"slug":4803,"title":4804,"dynasty":4105,"author":4805,"museum":357,"description":4806,"tags":4807,"thumbUrl":4808,"material":424,"size":148,"collection":127,"collections":4809,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":54},219238,"shan-shi-qing-lan-tu-chao-xian-yi-ming-219238","山市晴岚图","朝鲜·佚名","晴岚如纱轻覆烟水，远山黛影隐入云间。近岸巉岩错落，古木虬枝斜出，屋宇依林泉而建，似有清寂烟火漫出枝叶。水面波光微漾，几叶扁舟缓行，桨声随雾霭飘散。笔墨细腻处，山石肌理分明；淡染之间，云雾流动如活。山水的旷远与人间的宁和交织，空灵中透着温润，读之如临幽境，心随画中烟水沉静下来。",[23,24,308,116,27,118,7,31,32,120,139,33,121,623,194,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9e5d65eb51248a44011e70f9c087ce.jpg",[127],{"id":4811,"slug":4812,"title":4813,"dynasty":885,"author":4814,"museum":433,"description":4815,"tags":4816,"thumbUrl":4818,"material":495,"size":496,"collection":148,"collections":4819,"showCount":4820,"zanCount":630,"manualWeight":11,"mainColor":152},290959,"lan-ting-guan-e-tu-qian-xuan-290959","兰亭观鹅图","钱选","宋钱选兰亭观鹅图卷：传说东晋大书法家王羲之生性喜鹅，曾见一道士有白鹅甚可爱，因书《黄庭经》以换之。此图即钱选据传说附会而成。近景树木蓊郁，竹林茂密，亭台掩映，白鹅戏水，王羲之凭栏观望。远山苍翠，村庄隐现于雾霭山林间。境界秀雅明润，风格古拙高逸。青绿设色，画法直追唐人。钱选（公元1239─1301年），浙江吴兴人。字舜举，宋景定间乡贡进士。为“吴兴八俊”之一。入元不仕，流连诗画以终其身。山水、人物、花鸟无不擅长。",[114,24,63,25,115,27,118,121,7,30,605,33,4817,32,117],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e36723340126cf3064bb0ea8d3c7df5.jpg",[],50,{"id":4822,"slug":4823,"title":2333,"dynasty":58,"author":1010,"museum":433,"description":4824,"tags":4825,"thumbUrl":4826,"material":495,"size":496,"collection":148,"collections":4827,"showCount":4820,"zanCount":11,"manualWeight":11,"mainColor":499},290235,"shan-shui-tu-fan-kuan-290235","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[24,308,162,116,196,194,620,7,193,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F960de341b13a3055246c0d71ff699365.jpg",[],{"id":4829,"slug":4830,"title":4831,"dynasty":58,"author":417,"museum":433,"description":3189,"tags":4832,"thumbUrl":4833,"material":495,"size":496,"collection":148,"collections":4834,"showCount":4820,"zanCount":587,"manualWeight":11,"mainColor":54},287580,"qing-luan-xiao-si-tu-tiao-se-ban-li-cheng-287580","晴峦萧寺图（调色版）",[114,24,193,162,116,118,28,7,31,32,422,139,421,3191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe32453f235b0bbb4ac2f9aaa3730c96.jpg",[],{"id":4836,"slug":4837,"title":4838,"dynasty":157,"author":2231,"museum":433,"description":4839,"tags":4840,"thumbUrl":4844,"material":148,"size":148,"collection":148,"collections":4845,"showCount":4820,"zanCount":11,"manualWeight":11,"mainColor":54},235977,"peng-lai-xian-dao-tu-zhou-yuan-jiang-235977","蓬莱仙岛图轴","《蓬莱仙岛图》是清代袁江创作的绢本设色画。\n本幅题：“蓬莱仙岛，戊子凃月邗上袁江画”，钤“袁江之印”、“文涛”印2方。\n“蓬莱仙岛”是中国古代神话传说中的“海上神山”，岛上的宫殿建筑全用黄金白银盖成，奇花异草、珍禽怪兽不计其数，更是藏有“不死之药”。\n此图就是袁江以这些古代神话传说为题材，加上自己的艺术想象而构思创作的仙山仙境。\n作者在描绘这座海上仙山时，着重突出了云烟缭绕的仙境氛围，精美细致的楼阁、雄奇伟岸的山石与烟涛微茫的大海烘托出画家理想的生活境界，令人悠然神往。\n袁江（约 1671—1746年以后），字文涛，江都（今江苏扬州）人。\n擅画山水楼阁。\n早年师法仇英，中年时曾得无名氏画谱，技艺大进。\n其界画在清代被推为第一。",[24,28,26,27,424,4841,198,7,139,4842,4843,118,3866],"蓬莱仙岛","云海","大海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7046a2be5c72aa6e5af46b7e932afdb.jpg",[],{"id":4847,"slug":4848,"title":4849,"dynasty":157,"author":281,"museum":433,"description":4850,"tags":4851,"thumbUrl":4853,"material":148,"size":148,"collection":148,"collections":4854,"showCount":4820,"zanCount":11,"manualWeight":11,"mainColor":54},235450,"yuan-jiang-guan-chao-tu-zhou-yi-ming-235450","袁江观潮图轴","危崖高阁凌然峙立，丹彩飞檐映着崖畔缤纷花树，丹紫错落晕开秋意。浩渺江面潮波翻涌如堆雪，樯帆随浪远近浮沉。远山隐在烟霭暮色里，晕出空蒙柔曼的天际。\n\n画作笔法工致精丽，山石皴擦硬朗苍劲，楼阁界画严整工细，设色温雅柔和，赭色晕染铺就江天色调，将钱江大潮的浩荡雄阔与秋江暮色的朦胧诗意相融，尽显山海楼阁的壮美景致与观潮的旷远意趣。",[24,28,27,26,118,7,120,1639,33,4787,194,623,4852,35],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5c6d3fc428d12a5c9a98e0c3595ceb.jpg",[],{"id":4856,"slug":4857,"title":4858,"dynasty":89,"author":548,"museum":60,"description":4859,"tags":4860,"thumbUrl":4861,"material":180,"size":4862,"collection":148,"collections":4863,"showCount":4820,"zanCount":11,"manualWeight":11,"mainColor":54},233221,"gong-yuan-tu-juan-li-si-xun-233221","宫苑图卷","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网巾水纹，辉煌明丽，富有装饰性。此卷为吴瀛先生于1947年“倾囊得之”，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,115,27,28,26,25,118,7,30,31,32,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f27739550c87b246fdfc42c398a96ff.jpg","纵23.9厘米，横77.2厘米",[],{"id":4865,"slug":4866,"title":4867,"dynasty":885,"author":1332,"museum":433,"description":4868,"tags":4869,"thumbUrl":4870,"material":424,"size":4871,"collection":148,"collections":4872,"showCount":4820,"zanCount":11,"manualWeight":11,"mainColor":54},232904,"peng-lai-bi-shu-tu-juan-wang-zhen-peng-232904","蓬莱避暑图卷","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。\n温州历史上曾出过不少著名画家，而有作品流传至今的，当首推元代的王振鹏。王振鹏，字朋梅，号孤云处士，被誉为“元代界画第一人”。有关王振鹏史实最原始的资料，是与他同时代的著名学者虞集所撰的《王知州墓志铭》。这篇写于元奉定四年（1327）的文章是虞集应王振鹏之请为其父所作。其父名由，字在之。所谓知州衔乃是王振鹏艺贵显之后由元仁宗追赠。因其父35岁离世，无事迹可陈述，故全文主要在称述王振鹏艺事。所以虽为王由墓志，实为王振鹏立传。从中得知仁宗尚为太子时，王振鹏就因画艺超群而受赏识，并赐号孤云处士。于延祐元年三月迁为秘书监典籍。累官数处，至治时为廪给令，佩金符，拜千户，总海运于江阴、常熟间。这大致勾勒出他一生的轮廓。",[23,24,63,25,28,27,26,115,30,7,31,32,120,121,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91bcae19f54291adfcc4eb057b517fa.jpg","39.8×327.3厘米",[],{"id":4874,"slug":4875,"title":4876,"dynasty":58,"author":1257,"museum":433,"description":4877,"tags":4878,"thumbUrl":4879,"material":148,"size":148,"collection":148,"collections":4880,"showCount":4820,"zanCount":11,"manualWeight":11,"mainColor":54},227742,"lou-ge-tu-li-song-227742","楼阁图","李嵩(1166—1243)，宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190—1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。如《明皇斗鸡图》《花篮图》；有白描淡色之风俗画，如《货郎图》；也有水墨渲染之山水画，如《西湖图》等。\n\n传世作品有嘉定四年（1211）作《货郎图》卷、《花篮图》页、《骷髅幻戏图》轴藏故宫博物院；《西湖图》卷藏上海博物馆；《听阮图》、《夜月看湖图》及传为李嵩的山水小品画《水殿招凉图》等藏台北故宫博物院。传世作品还有《椿溪渡牛图》、《服田图》、《采莲图》和《观潮图》等，题材后世论画者题其画说：“李师最识农家趣”。\n\n李嵩的风俗画更为知名，他画过许多表现下层社会生活的农村生活风俗画，把劳动人民的生活作为审美对象来描绘，这在中国古代美术发展史上有着重要的意义。 其《货郎图》有多种本子存世，以故宫博物院收藏的一卷为最佳。此画描写一挑担货郎在乡村被孩童围住的情景，充满浓厚的乡土气息。藏于故宫博物院的《骷髅幻戏图》轴，人物表情甚佳，衣纹丁头鼠尾，多用直线，细而有力。",[24,63,28,26,27,118,7,451,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee79b8cdce1dc5eed5659beb992a37f.jpg",[],{"id":4882,"slug":4883,"title":4884,"dynasty":157,"author":4885,"museum":135,"description":4886,"tags":4887,"thumbUrl":4888,"material":47,"size":4889,"collection":127,"collections":4890,"showCount":4820,"zanCount":11,"manualWeight":11,"mainColor":54},218290,"jiang-shan-chun-ai-tu-gao-qi-pei-218290","江山春霭图","高其佩","高其佩（西元一六七二－一七三四年），字 韦之，号且园，又号南村。辽宁人。凡花木、鸟 兽、鱼龙、人物，无不精妙，尤以山水人物为胜 。其山水沉着，人物生动，深得明吴伟之神趣。另以指头作画著称，奇情异趣，信手而成。本幅画层峦叠翠，山城寺阁错落，溪上泊棹 连樯，岸畔田畴村居。稻田?农人耕作，山径有 行旅载途。溪水溶溶，远山春霭，春意什浓。全 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明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。",[23,24,162,116,193,118,4986,120,32,178,33,30,7,1669],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff3288481cb043a71d1eaf11cecb7e0.jpg","127.4x54",[127],{"id":4991,"slug":4992,"title":4993,"dynasty":18,"author":4994,"museum":210,"description":4995,"tags":4996,"thumbUrl":4998,"material":361,"size":148,"collection":127,"collections":4999,"showCount":4908,"zanCount":11,"manualWeight":11,"mainColor":152},219893,"zhou-jin-tang-ji-chen-chun-219893","昼锦堂记","陈淳","陈淳(1483-1544)，字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲(今江苏苏州)人，明代绘画大师。",[23,24,63,25,164,4997,285,162,27,30,7,31,32,120,121,451,139,117],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[127,834],{"id":5001,"slug":5002,"title":3828,"dynasty":58,"author":369,"museum":135,"description":3829,"tags":5003,"thumbUrl":5004,"material":47,"size":3832,"collection":148,"collections":5005,"showCount":4908,"zanCount":11,"manualWeight":11,"mainColor":152},218572,"hua-niao-shan-shui-xiao-pin-ce-song-ge-yuan-tiao-ma-yuan-218572",[23,114,24,63,213,27,116,118,7,538,33,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a243811f9d11bd8f802140177b34ff7.jpg",[],{"id":5007,"slug":5008,"title":267,"dynasty":58,"author":3626,"museum":135,"description":5009,"tags":5010,"thumbUrl":5011,"material":361,"size":5012,"collection":148,"collections":5013,"showCount":5014,"zanCount":11,"manualWeight":11,"mainColor":152},289563,"xi-shan-xing-lv-tu-ma-lin-289563","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[23,114,24,63,193,162,118,116,7,272,139,65,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb3bd480aa2c88a3b827d39dcc5bc3.jpg","147.9x60.5",[],48,{"id":5016,"slug":5017,"title":5018,"dynasty":489,"author":5019,"museum":433,"description":5020,"tags":5021,"thumbUrl":5022,"material":495,"size":496,"collection":148,"collections":5023,"showCount":5014,"zanCount":11,"manualWeight":11,"mainColor":54},288836,"hu-shan-chun-xiao-tu-liu-dao-shi-288836","湖山春晓图","刘道士","工佛道鬼神，落笔遒怪，尤善山水，师董源，与巨然同时，画亦同。但刘道士在左，巨然则以僧在左。以此为别",[23,114,24,63,193,162,118,116,196,7,32,194,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45d33542a55bbea40943f6b7f253a0dd.jpg",[],{"id":5025,"slug":5026,"title":5027,"dynasty":18,"author":19,"museum":433,"description":5028,"tags":5029,"thumbUrl":5030,"material":495,"size":496,"collection":148,"collections":5031,"showCount":5014,"zanCount":11,"manualWeight":11,"mainColor":54},287608,"yu-dong-xian-yuan-tu-chou-ying-287608","玉洞仙源图","该画作描绘长松参天，洞壑奔雷，云塞幽谷，松涛掩映楼阁，一人临流静坐停琴，童子四人，趋走前后。该画作勾勒精工，秀雅纤细，布局严谨，极有气势，设色沉静。",[23,114,24,63,193,26,115,27,118,7,31,32,30,538,194,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd125a8b06ed17f67b28f7bb73d33cafd.jpg",[],{"id":5033,"slug":5034,"title":2897,"dynasty":885,"author":1332,"museum":433,"description":4026,"tags":5035,"thumbUrl":5037,"material":495,"size":496,"collection":148,"collections":5038,"showCount":5014,"zanCount":11,"manualWeight":11,"mainColor":54},287305,"long-chi-jing-du-tu-wang-zhen-peng-287305",[23,114,24,25,28,162,7,31,32,2306,30,117,284,4028,5036],"宫廷园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d18a1215d8f0edb9c0cf295fdfa17c.jpg",[],{"id":5040,"slug":5041,"title":5042,"dynasty":58,"author":1418,"museum":433,"description":1419,"tags":5043,"thumbUrl":5044,"material":495,"size":496,"collection":148,"collections":5045,"showCount":5014,"zanCount":11,"manualWeight":11,"mainColor":54},283692,"jiang-shan-lou-guan-tu-yan-wen-gui-283692","江山楼观图",[23,114,24,25,162,118,116,196,1421,194,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e41c21ecbc8836ec3be077cef4fdb8e.jpg",[],{"id":5047,"slug":5048,"title":3276,"dynasty":885,"author":2804,"museum":433,"description":5049,"tags":5050,"thumbUrl":5051,"material":495,"size":496,"collection":148,"collections":5052,"showCount":5014,"zanCount":11,"manualWeight":11,"mainColor":54},283627,"huang-he-lou-tu-xia-yong-283627","夏永，精界画，特别擅长宫殿楼阁界画，师法王振鹏。所作《滕王阁图》《黄鹤楼图》《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。《花间笑语》云：“细若蚊睫，侔于鬼工。”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。元至正七年（1347）作岳阳楼图。以发绣滕王阁、黄鹤楼图，细若蚊睫，侔於鬼工。按明远作品存世有滕王阁图、岳阳楼图两斗方见唐五代宋元名迹，界画精细，上细书滕王阁赋、岳阳楼记，正若花间笑语所云：“细若蚊陡，侔於鬼工。”或亦以此而误为发绣，待考。摘自《花间笑语、君台观左右帐记》。",[24,114,28,7,118,123,117,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14867724a60ccf59905f53199d147be.jpg",[],{"id":5054,"slug":5055,"title":5056,"dynasty":157,"author":5057,"museum":60,"description":5058,"tags":5059,"thumbUrl":5060,"material":148,"size":148,"collection":127,"collections":5061,"showCount":5014,"zanCount":587,"manualWeight":11,"mainColor":152},238539,"nan-tian-men-guan-yin-si-tu-zhou-li-zong-wan-238539","南天门观音寺图轴","励宗万","励宗万（1705年—1759年），字滋大，号衣园，又号竹溪，直隶静海（今天津市静海县）人，励廷仪子，清代藏书家、书画家。\n康熙六十年（1721年）进士，入翰林，年才十七。历官刑部侍郎。以画供奉内廷，兼工山水、花鸟，笔意恬雅，设色古淡。书法褚、颜、苏、米，圆劲秀拔，与张照齐名，称“南张北励”。卒年五十五。《清画家诗史》、《归石轩画谈》、《熙朝名画录》、《桐阴论画》、《香树斋文集》、《读画辑略》。乾隆二十四年（1759年）卒，葬于北五里庄。",[24,63,193,162,116,118,7,94,117,272,33,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c63efd8e91a869a77380de50cf1ac31.jpg",[127,82,834],{"id":5063,"slug":5064,"title":5065,"dynasty":157,"author":281,"museum":433,"description":5066,"tags":5067,"thumbUrl":5068,"material":148,"size":148,"collection":148,"collections":5069,"showCount":5014,"zanCount":587,"manualWeight":11,"mainColor":54},230300,"wan-guo-lai-chao-tu-yi-ming-230300","万国来朝图","《万国来朝图》是清代宫廷佚名画家创作的绢本设色画，现藏于 。\n《万国来朝图》，将万国来朝使团朝贡的场景绘于画面，场面宏大十分热闹。\n画面显示，每到元旦朝贺庆典，各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见；充分展示出宫廷建筑群的宏伟壮观和天朝大国、万国来朝的盛世气派。\n《万国来朝图》包含了远西诸国（荷兰、英吉利、法兰西）、周边诸国（日本、朝鲜、安南），而荷兰、英吉利、法兰西又都是带口子边的，在贬低他国的同时直接反映了清朝以天朝上国自居的自大心态。\n该画作在大雪银装素裹下更加庄严雄伟；太和殿前皇家侍卫身着华服、排列整齐，文武百官肃立静候待命；乾隆帝安闲地坐在后宫屋檐下靠椅上喝茶休憩，准备前往太和殿接见各国使臣；后宫人物众多，女眷们身着吉服三五成群或闲聊、或看热闹，孩子们兴高采烈的或嬉戏、或放鞭炮，太监宫女们各司其位或忙碌于元旦准备工作、或穿梭于庭院回廊；各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见。\n队伍前面有一只经过精心装扮的高大威猛的大象显得神气十足，大象上坐着一人正与同伴交谈着什么。\n画面将万国来朝的宾客们巧妙地安排在画幅四分之一处的右下角，延展出画外仍有众多宾客，场面宏大十分热闹。\n在我国历史上，历朝历代的元旦同样是宫廷最为重要的节日之一。\n具体到大清王朝紫禁城里的元旦，从本质上讲与民间并无二致，只是多了份典礼式的庄严和肃穆，活动多以规模宏大盛典形式表现。\n收藏的几幅由清代宫廷画家绘制的《万国来朝图》，就是对紫禁城内元旦朝贺活动的形象记录。\n赏析这些画作，可以使我们对当年位居九五之尊的皇帝如何过元旦，获得一些感性认识。\n据专家考证，为了宏扬清朝政府的威德，展现“四夷宾服、万国来朝”的繁荣景象，在乾隆帝授意下，宫廷画家们先后创作了多幅向清国朝贺、歌功颂德的绘画，作品之间只是在细节上略微有所不同。\n从画面中可以看出，元旦朝贺庆典是在紫禁城内举行，作者以鸟瞰的角度全景式构图，运用传统工笔界画的表现技法，大胆地通过对个别宫殿适当挪位、变换角度、压缩，通过宏观和微观将主要建筑和场景尽量容纳其中，展示出宫廷建筑群的宏伟壮观和皇家气派、将不同时间段来朝使团朝贡的场景绘于画面，集中表达兴盛之意。\n纵观整体画面，层次丰富、主次分明，准确传神地将各种元素巧妙地组合，将数以百计的人物安排得恰到好处、刻画得细腻入；整幅画作呈现出祥和的景象，淋漓尽致地营造出乾隆年间紫禁城元旦朝贺庆典的热闹场景，给观者强烈的艺术感染力、留下深刻印象。",[23,24,26,27,28,30,7,258,39,33,616,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aff9949ab70c37e5214da467c0091b5.jpg",[],{"id":5071,"slug":5072,"title":2042,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":5073,"thumbUrl":5074,"material":495,"size":496,"collection":148,"collections":5075,"showCount":5014,"zanCount":587,"manualWeight":11,"mainColor":54},226283,"ku-zhu-shi-bei-bi-yi-ming-226283",[24,63,114,2046,94,28,27,30,7,118,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20a829b1e7a26c782be3b06a09edbd8.jpg",[],{"id":5077,"slug":5078,"title":4445,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":5079,"thumbUrl":5082,"material":495,"size":496,"collection":148,"collections":5083,"showCount":5014,"zanCount":587,"manualWeight":11,"mainColor":54},226186,"ku-zhu-shi-xi-pi-yi-ming-226186",[5080,2046,27,94,30,118,7,33,5081],"唐代风格","线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2cf7e3d349a2d63c2f7b9a261c0abf.jpg",[],{"id":5085,"slug":5086,"title":5087,"dynasty":157,"author":504,"museum":345,"description":505,"tags":5088,"thumbUrl":5093,"material":424,"size":516,"collection":148,"collections":5094,"showCount":5014,"zanCount":11,"manualWeight":11,"mainColor":54},223075,"hong-lou-meng-61-sun-wen-223075","红楼梦61",[23,24,26,27,28,30,118,616,7,39,33,1828,75,138,144,3123,5089,5090,5091,5092],"红楼梦题材","室内场景","陈设","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce8b0c32c96d9c86a13f94caf067894.jpg",[],{"id":5096,"slug":5097,"title":5098,"dynasty":18,"author":5099,"museum":2743,"description":5100,"tags":5101,"thumbUrl":5102,"material":148,"size":148,"collection":127,"collections":5103,"showCount":5014,"zanCount":587,"manualWeight":11,"mainColor":152},222837,"qiu-shan-xing-lv-tu-juan-xiao-yun-cong-222837","秋山行旅图卷","萧云从","为了超脱世俗，为了与现实人生拉开距离，画家才在表现语言中摒弃浓艳、烦琐、世故与逢迎，而刻意与平淡、自然、疏冷和简散，表现出一种自吟自叹、清高不群的品质；也正是表现与世人的不同，他们将自然景物在画面中概括为流动的线，意味的点，以率性之笔将画中山水凝练为澹泊、简古、平和之境，远远不同于人们心目中的客观自然；萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。",[23,24,25,27,118,116,3997,638,196,33,31,32,120,7,121,2717,230,1639,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dff54a4034023fe32d33dccfab6a4d.jpg",[127,51],{"id":5105,"slug":5106,"title":5107,"dynasty":157,"author":175,"museum":135,"description":1946,"tags":5108,"thumbUrl":5110,"material":247,"size":1952,"collection":127,"collections":5111,"showCount":5014,"zanCount":11,"manualWeight":11,"mainColor":152},222765,"shi-er-yue-ling-tu-6-yue-lang-shi-ning-222765","十二月令图（6月）",[23,24,26,27,7,1430,931,120,33,30,5109,933,1949],"纳凉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6718ccffcb0e01f60920e1c7a8481499.jpg",[127,51],{"id":5113,"slug":5114,"title":5115,"dynasty":885,"author":1032,"museum":135,"description":5116,"tags":5117,"thumbUrl":5118,"material":820,"size":5119,"collection":148,"collections":5120,"showCount":5014,"zanCount":587,"manualWeight":11,"mainColor":152},220813,"qin-shu-zi-yu-tu-zhou-wang-meng-220813","琴书自娱图轴","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,63,193,162,116,118,33,7,139,452,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8731d7e633af79f8819632ef335518d0.jpg","144.6x41.9",[],{"id":5122,"slug":5123,"title":5124,"dynasty":885,"author":5125,"museum":5126,"description":5127,"tags":5128,"thumbUrl":5129,"material":47,"size":5130,"collection":127,"collections":5131,"showCount":5014,"zanCount":11,"manualWeight":11,"mainColor":54},220084,"lou-ge-shan-shui-tu-sun-jun-ze-220084","楼阁山水图","孙君泽","日本静嘉堂文库","孙君泽（生卒年不详），元代画家，生活在14世纪，杭州人。工山水人物，宗法马远、夏圭，画风工致谨细，对明代以后浙派绘画的发展有直接的影响。他的作品广见于日本旧藏中。孙君泽的山水是在继承和吸收了马、夏的画法的基础上加以发展和创造，进而形成自己风格的。",[23,24,63,118,28,27,116,30,7,538,139],"https:\u002F\u002Foss.c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“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，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[24,27,28,26,118,774,538,7,1430,5147,194,33,121],"小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a93c9e40d1b6c3cd9ff1febf520eea.jpg","纵57厘米，横66.1厘米",[127],{"id":5152,"slug":5153,"title":5154,"dynasty":58,"author":281,"museum":433,"description":5155,"tags":5156,"thumbUrl":5157,"material":232,"size":148,"collection":127,"collections":5158,"showCount":5014,"zanCount":630,"manualWeight":11,"mainColor":54},218598,"guan-he-tu-yi-ming-218598","观河图","岸畔古木扶疏，浓荫覆石，二人伫立凝眸，似为河上烟光所引。左侧层岩叠翠间，楼阁隐现，塔影凌霄，与远岫的淡墨烟岚相映成趣。河面平波如镜，映带天光，留白处尽蓄悠远之思。笔墨简淡却意韵丰饶，山石用皴笔勾勒出肌理，树木以点染晕出葱茏，人物虽小却神形毕肖。咫尺画幅间含纳天地浩渺，观之如临烟水之湄，心随景远，恍若闻得松风与流水和鸣。宋人的山水意趣，尽在这淡墨轻岚里，于无声处诉说着自然与人文的交融，让观者沉湎于烟霞流转的静谧之境。",[23,24,63,114,118,162,27,116,33,30,7,31,32,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76711a84df84311c78bb431889086739.jpg",[127],{"id":5160,"slug":5161,"title":5162,"dynasty":157,"author":281,"museum":5163,"description":5164,"tags":5165,"thumbUrl":5166,"material":47,"size":148,"collection":127,"collections":5167,"showCount":5014,"zanCount":587,"manualWeight":11,"mainColor":54},216004,"di-jian-tu-shuo-cai-hui-ben-yi-ming-216004","帝鉴图说彩绘本","法国国家图书馆","轩敞的亭榭下，石阶层层延伸。上层人物或踞坐或侍立，衣饰色彩浓淡相宜；下层侍从手捧托盘拾级而上，步履从容。阶前执械的卫士身姿挺拔，添了几分庄重。画面左角树木葱郁，那株被红栏围绕的乔木尤为醒目；右侧松枝虬劲，石畔草木葳蕤。整幅画色调明润，线条细腻：飞檐的弧度、栏杆的纹理、人物的衣袂褶皱，皆刻画入微。既见建筑的精巧布局，又显人物的鲜活情态，仿佛将一段旧时的仪典场景凝于尺幅之间，静述着时光里的从容与雅致。",[24,27,26,28,30,7,121,451,142,387,1315,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe85a418ab9a1753597cb0514a6e23.jpg",[127],{"id":5169,"slug":5170,"title":3023,"dynasty":489,"author":281,"museum":433,"description":5171,"tags":5172,"thumbUrl":5173,"material":495,"size":496,"collection":148,"collections":5174,"showCount":5175,"zanCount":587,"manualWeight":11,"mainColor":54},288513,"zha-kou-pan-che-tu-yi-ming-288513","整幅画作定格了一处临水官营作坊的日常盛景。临水高阁水磨飞转，匠人或持具分拣粮料，或俯身装卸漕粮，各司其职、鲜活生动。水面上舟楫往来渡运，岸边车马络绎穿梭，高耸的木构支架与严整的亭台楼阁相互映衬，满溢着烟火蒸腾的劳作气息。\n画作以工细写实的笔触写尽百态，界画严整精准，衣纹简劲利落，设色古雅苍润，将漕粮加工转运的民生图景娓娓铺展，兼具极高审美价值与纪实史料价值。",[23,114,24,63,28,27,30,7,31,32,2443,70,1851],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf861c5bac94907fe27a1b5a71d408b.jpg",[],47,{"id":5177,"slug":5178,"title":5179,"dynasty":58,"author":669,"museum":433,"description":5180,"tags":5181,"thumbUrl":5183,"material":495,"size":496,"collection":148,"collections":5184,"showCount":5175,"zanCount":530,"manualWeight":11,"mainColor":152},288356,"qiu-chuang-du-yi-tu-liu-song-nian-288356","秋窗读易图","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[23,24,1535,63,27,26,28,118,538,7,284,164,117,2251,5182],"读易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6dadc0e51fb4a03d05372ce1324e11.jpg",[],{"id":5186,"slug":5187,"title":5188,"dynasty":157,"author":281,"museum":433,"description":5189,"tags":5190,"thumbUrl":5192,"material":495,"size":496,"collection":148,"collections":5193,"showCount":5175,"zanCount":587,"manualWeight":11,"mainColor":54},288060,"nao-long-zhou-yi-ming-288060","闹龙舟","这幅长卷以工细笔触铺展春日盛景，澄澈水面上龙舟竞渡，旌旗猎猎，健儿挥桨劈波，舟身彩饰繁丽，竞渡喧嚷似能破纸而出。\n\n沿岸屋舍层叠，酒肆楼宇间人影攒动，仕民凭栏观赛，谈笑晏晏。远山含烟、花树初绽，将江南漕岸的烟火气晕开。创作者以院体画的精细，把官民同游的节庆嬉乐定格，静雅的楼台春景搭配喧腾的水上赛事，一动一静里尽显升平风华，将水乡春日的繁庶鲜活凝固为永恒。",[23,24,25,27,26,28,30,7,2306,32,119,437,44,5191,1450,118],"节庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4dd7b62edc4a1b662b9720f4671ce87.jpg",[],{"id":5195,"slug":5196,"title":5197,"dynasty":157,"author":5198,"museum":60,"description":5199,"tags":5200,"thumbUrl":5201,"material":180,"size":5202,"collection":127,"collections":5203,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":54},238666,"shan-shui-lou-ge-tu-zhou-shen-yuan-238666","山水楼阁图轴","沈源","受“海西法”影响的新型建筑画在清代宫廷内曾经十分盛行，当时称为“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“于阴阳远近，不差锱黍。…… 布影由阔而狭，以三角量之。画宫室与墙壁，令人几欲走进”的立体效果。从此幅沈源的作品中可以看到“线法画”的痕迹，虽然由于受到中国审美传统的限制，画面中西洋绘画的一些效果在一定程度上有所淡化，但是与传统的建筑画相比，此时的画家表现三维景物的能力确实有了相当大的提高。",[24,63,193,28,27,118,7,121,33,30,26,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d809bb2714a20a923bebe202091254.jpg","纵135厘米，横74.8厘米",[127],{"id":5205,"slug":5206,"title":5207,"dynasty":157,"author":504,"museum":345,"description":505,"tags":5208,"thumbUrl":5209,"material":424,"size":516,"collection":148,"collections":5210,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":152},230105,"hong-lou-meng-186-sun-wen-230105","红楼梦186",[24,63,26,27,28,30,138,7,39,33,422,538,139,142,1628,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4501237256ff4155c35bcd53221f87ba.jpg",[],{"id":5212,"slug":5213,"title":17,"dynasty":157,"author":5198,"museum":135,"description":5214,"tags":5215,"thumbUrl":5217,"material":820,"size":5218,"collection":82,"collections":5219,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":152},224351,"qing-ming-shang-he-tu-shen-yuan-224351","此画以水墨为主，在用色上，只用赭色稍加勾染，充满清新淡雅之味。在画法上，明显借鉴了当时传入宫廷的西洋“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“布影由阔而狭，以三角量之”的立体效果。虽然受中国审美传统的限制，这种画法在图中有所淡化，但与传统的建筑画相比，三维景物的表现能力确实有了相当大的提高。",[23,114,24,25,162,27,28,7,5216,30,33,44],"街巷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856157ebafdded9d3904ea94b7eb62d2.jpg","34.8×1185.9厘米",[82],{"id":5221,"slug":5222,"title":5223,"dynasty":18,"author":4150,"museum":60,"description":5224,"tags":5225,"thumbUrl":5226,"material":2588,"size":5227,"collection":127,"collections":5228,"showCount":5175,"zanCount":587,"manualWeight":11,"mainColor":152},222160,"kuo-zhu-yao-feng-tu-zhou-li-zai-222160","阔渚遥峰图轴","此作曾经被误定为北宋郭熙所绘，后在画面上发现李在的印记，于是正名。\n作品取全景式山水，气势宏阔，皴笔细密扎实，墨韵浑厚，画树木呈“蟹爪枝”状，从意境和笔法来看，确实与郭熙极为相似，是典型的北派山水面貌。",[23,24,114,193,118,116,7,31,32,120,373,139,33,75,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb459656d4d1747466ba4346c2db73e.jpg","纵165.2厘米，横90.4厘米",[127,82],{"id":5230,"slug":5231,"title":5232,"dynasty":18,"author":3587,"museum":806,"description":5233,"tags":5234,"thumbUrl":5235,"material":217,"size":5236,"collection":49,"collections":5237,"showCount":5175,"zanCount":587,"manualWeight":11,"mainColor":152},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[23,18,24,63,25,27,26,164,284,117,30,7,121,33,139,39,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[49,834],{"id":5239,"slug":5240,"title":2333,"dynasty":885,"author":5241,"museum":135,"description":5242,"tags":5243,"thumbUrl":5244,"material":47,"size":5245,"collection":127,"collections":5246,"showCount":5175,"zanCount":587,"manualWeight":11,"mainColor":54},218462,"shan-shui-tu-tang-di-218462","唐棣","岩石被涂成了小绿，而特写中通往房子的楼梯被涂上了边框，这是一种干净整洁的技术。桌椅的轮子上涂有红色的朱砂，与石头的绿色相映成趣，给人一种古老而优雅的感觉。",[23,24,114,118,115,27,30,7,373,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb9e8dcf01ecc2b0641455fe02e2a43.jpg","114x57.5",[127],{"id":5248,"slug":5249,"title":5250,"dynasty":58,"author":3626,"museum":433,"description":5251,"tags":5252,"thumbUrl":5256,"material":495,"size":496,"collection":148,"collections":5257,"showCount":5258,"zanCount":11,"manualWeight":11,"mainColor":152},289788,"shen-tang-qin-qu-tu-ma-lin-289788","深堂琴趣图","此图描写山斋数楹，葱树掩映，一人于堂中抚琴，二鹤在琴声中闲步。远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。",[23,1535,24,114,27,26,118,7,31,33,5253,5254,5255,117],"厅堂","琴","雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f01482f6dbe10ed17a90037b2e3219.jpg",[],46,{"id":5260,"slug":5261,"title":5262,"dynasty":157,"author":2231,"museum":806,"description":5263,"tags":5264,"thumbUrl":5265,"material":424,"size":5266,"collection":148,"collections":5267,"showCount":5258,"zanCount":11,"manualWeight":11,"mainColor":54},231939,"zhan-yuan-tu-yuan-jiang-231939","瞻园图","在中国的传统山水画科中，有一种需要借助界笔、直尺来刻画线条以表现各种建筑物的画，称为“界画”。这种用界笔、直尺作画的方法适于表现帝王宫苑、庙宇寺观、亭台楼榭、舟车桥梁等等，体现古代建筑之美。界画尽精入微，耗时费力。画家不仅需要通晓建筑知识，还需要有高超的专业技术。所以，画界画就不能像文人戏墨那样酣畅淋漓、乘兴挥写，常被文人画家视为“其术近苦”，长期以来受到人们的贬抑和轻视。然而，钟情于界画、甘于寂寞之道、终有所成者代不乏人。清代画家袁江就是其中翘楚。\n《瞻园图》卷绢本设色，纵 51.5 厘米，横 254.5 厘米。瞻园原系明朝开国元勋徐达府邸的西圃，乾隆帝曾御题“瞻园”匾额。整幅画卷采用平展式的构图方式描绘物象。画面以一池湖水为中心，环湖有低山、树木、回廊、水榭、楼阁等。庭院内草木葱郁，柳树垂荫，奇花异卉争奇斗艳。楼屋、廊轩回环错落，分布有致。在一处挂有“一览楼”牌匾的高楼上，主人正在会见宾客。庭院中仆人洒扫、童子嬉戏，一派生气勃勃、安静祥和的生活气息。高高的院墙成为苑囿和外界的明显界限。墙垣外密集的民房，或冲出画面之外，或隐没于烟霭之中。远景的楼观、寺塔隐现于云雾之中，虚淡缥缈、扑朔迷离，给人以无限的遐想空间。卷尾画家楷书题写“袁江图”，下钤朱文印“文涛”和白文印“袁江之印”。在《瞻园图》卷中，画家注重对山石、树木外轮廓的描画以及用线的起伏变化。山石的皴法或雨点皴、或骷髅皴，皆卷曲玲珑。袁江精于晕染设色。据高其佩《指头画说》记载，高其佩的指画就曾得到袁江的秀笔妙染。\n袁江生活在一个文人画盛行的时代，因而他的画并不被当时的士人所重。有清一代，没有人专门为其写过传记，画史上记载其事迹也寥寥数语。袁江曾在山西太原姓尉的富商家里作画，“凡尉姓各家，无论堂、屏、卷、册、灯笼、槅扇之类，无不应有尽有，且每种多至若干幅”（李智超《界画的发展和界画构图的研究》）。袁江初学仇英，中年得无名氏所临画稿，遂画艺大进。对于“无名氏所临画稿”的解释，目前有两种：一种是陈传席先生根据袁江、袁耀的画风所推测的，是宋、元人的工笔山水楼阁画稿；另一种是王伯敏先生认为的，乃民间画工的画稿，因为民间画工的临摹稿一般都不落款，即所谓“无名氏”。袁江的画风工整严谨，继承了传统青绿山水的画法，同时又吸收了民间绘画的精妙，使其山水画呈现出峻异幽奇的境界，形成了自己独特的艺术风格。\n中国传统的界画，建筑物的表现手法不同于西洋绘画的焦点透视，而是采用了等角透视——向视平线延伸的各种直线呈平行状态而不交汇于灭点，这样物象就没有了近大远小的变化。而平行的四边形相对两角为等角，故而称之为等角透视。东晋顾恺之在其《魏晋胜流画赞》中说：“台榭一定器耳，难成而易好，不待迁想妙得也。”建筑物需要按照一定的规则结构来画，丝毫不能疏忽。由于这类画用笔、构图精致细密，所以容易见好。然而，要想真正画出建筑物严谨工巧、玲珑剔透的美感，却非易事。《瞻园图》卷中，画家采用“以大观小”的鸟瞰式描绘（这是传统界画所惯用的方法）。这种居高临下的观察方法和表现方式，易于把握景物全貌，能够同时体现建筑物的正、侧、顶三面，使物象更加完整、更加立体。在对秩序规整的建筑物的刻画上，袁江十分注重用线和用色的变化。如屋顶的外廓、台榭的立柱等所画的线条要粗一些，颜色也稍微重一些；而画瓦片、窗格等用线则相对细一些，颜色也淡一些。近处的建筑物整体用线较粗，远处的建筑物整体用线较细。画面中，物象精微准确，但又没有被绳墨所拘；粗细、浓淡、主次，对比协调统一，笔画匀壮，深远通透，增强了秩序感和空间感。\n袁江的《瞻园图》卷以真实的园林景色为依据，并融入自己丰富的想象。楼阁长廊、云雾缭绕，仿若仙境。名山大川、奇园异境经过画家画笔的夸张、变化，而出现异样的画境。袁江将雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，有力地提高了界画的表现力，开一代界画之新风。",[23,28,26,27,118,7,121,33,139,2234,31,39,38,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1713b2c697e2ee16c0e4744b7f3fa.jpg","纵 51.5 厘米，横 254.5 厘米",[],{"id":5269,"slug":5270,"title":5271,"dynasty":885,"author":2977,"museum":135,"description":5272,"tags":5273,"thumbUrl":5274,"material":424,"size":5275,"collection":148,"collections":5276,"showCount":5258,"zanCount":587,"manualWeight":11,"mainColor":54},228044,"xi-shan-qing-xia-tu-zhou-sheng-mao-228044","溪山清夏图轴","《溪山清夏图》绘崇山复岭，白云缭绕，楼阁掩映于丛树之中。近景溪水环绕，岸边筑有水阁亭榭，为可游可居之景。图中人物或于水榭纳凉，或悠游林下。构图繁复深曲，用长披麻皴表现山石，繁皴密点。界画楼阁严整，人物工能精谨，云霭以线勾勒，复染色彩。全图画法精巧，体现出盛懋在受文人画家影响的同时所具备的职业画家的一些特点。",[24,63,193,27,116,118,7,33,139,197,1581,623,2093,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f46afb98159ce1ffbc7ee3adb4a1a9.jpg","纵204．5厘米，横108.2厘米",[],{"id":5278,"slug":5279,"title":3428,"dynasty":58,"author":1010,"museum":433,"description":5280,"tags":5281,"thumbUrl":5282,"material":148,"size":148,"collection":148,"collections":5283,"showCount":5258,"zanCount":11,"manualWeight":11,"mainColor":54},227578,"xue-shan-lou-ge-tu-fan-kuan-227578","北宋，范宽作, 绢本设色，传范宽，纵182.4 厘米，横103厘米。\n\n此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。\n\n现藏美国波士顿美术博物馆。\n\n范宽（生卒不详）：本名中正，字中立（又作仲立，因性情宽和，不拘成礼，时人呼之为“宽”，遂以范宽自名。华原（今陕西耀县）人。据《宣和画谱》记载，他“风仪峭古，进止疏野，性嗜酒，落魄不拘世故”。山水初学李成，继法荆浩，后感“与其师人，不若师诸造化”，因移居终南山、太华山，对景造意，不取繁饰，自成一家。宋人将其与关仝、李成并列，誉为“三家鼎峙，百代标程”。后人将之与李成、董源二人合称“宋三家”，之后的“元四家”、明朝的唐寅，以至清朝的“金陵画派”和现代的黄宾虹等大师，都受到范宽画风的影响。",[23,114,24,63,193,116,162,118,774,1013,7,33,139,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa375bbe146b99d0065149a804c5dc346.jpg",[],{"id":5285,"slug":5286,"title":4388,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":5287,"thumbUrl":5289,"material":495,"size":496,"collection":148,"collections":5290,"showCount":5258,"zanCount":11,"manualWeight":11,"mainColor":54},226212,"ku-zhu-shi-nan-bi-yi-ming-226212",[2046,5288,94,27,30,7,118,28],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d5a658edcc8872178e851212a95fb1b.jpg",[],{"id":5292,"slug":5293,"title":5294,"dynasty":157,"author":5295,"museum":433,"description":5296,"tags":5297,"thumbUrl":5298,"material":148,"size":148,"collection":148,"collections":5299,"showCount":5258,"zanCount":11,"manualWeight":11,"mainColor":152},224589,"hua-shan-shui-zhou-zou-yi-gui-224589","画山水轴","邹一桂","此作以浅绛绘就山居胜景，层峦叠嶂以干笔皴擦出嶙峋肌理，淡赭晕染衬出山骨清奇。古松虬曲苍劲，斜斜探向溪谷，枝叶攒簇尽显老郁生机。板桥横溪，行人策杖徐行，林麓间山居掩映，茅亭凭山而设，溪泉潺潺隐于岩岫，将幽寂山居之趣铺陈开来。\n\n笔墨简淡秀雅，设色清和柔润，题诗钤印与山水景致相融，尽显文人画诗画合一的意趣，把林泉高致的萧散闲逸藏在每一处笔触中，观之如临幽林深谷，静享世外恬然。",[23,24,193,27,116,118,31,32,121,538,139,7,30,421,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b45691176ef9d6ddb5230768b87ab9.jpg",[],{"id":5301,"slug":5302,"title":5303,"dynasty":157,"author":5304,"museum":806,"description":5305,"tags":5306,"thumbUrl":5307,"material":312,"size":5308,"collection":127,"collections":5309,"showCount":5258,"zanCount":587,"manualWeight":11,"mainColor":54},224493,"huai-rong-tang-tu-wu-li-224493","槐荣堂图","吴历","此画设色清丽，右侧题“夫山高阳氏槐荣堂图”， 左下角书“虞山吴历画”，没有年代落款，卷首处有王时敏所题“公槐瑞应”，卷后有尤侗《槐荣堂记》与李楷《槐荣堂赋》，以及宋实颖、陆贻典、王奕鸿、吴伟业题跋。\n画面近景处 树石围绕，是为槐荣堂，槐荣堂背后峰峦数重，烟云缥缈，两峰之间一条小径隐于林间。\n槐荣堂右下方的近景处，有田野树林，左侧隐约可见远处的村舍。槐荣堂正中有一棵高大挺拔的槐 树，拾阶而上，屋内共有三人，红袍青冠者为许之渐之父，毕恭毕敬，端坐者为许之渐的祖母，其身后有一侍从。",[23,24,63,27,118,116,774,775,451,7,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7ef221145f30db6d05c465cc6f85fd.jpg","40×70厘米",[127,51],{"id":5311,"slug":5312,"title":5313,"dynasty":157,"author":1124,"museum":433,"description":5314,"tags":5315,"thumbUrl":5316,"material":148,"size":148,"collection":148,"collections":5317,"showCount":5258,"zanCount":11,"manualWeight":11,"mainColor":152},224478,"fang-fan-kuan-shan-shui-li-zhou-wang-jian-224478","仿范宽山水立轴","此作用笔取法北派山水意趣，主峰巍峨崔嵬，以密集的雨点皴摹写山石肌理，将岩体质感的浑厚苍莽尽显无遗。褶皱间晕染留白，云气蒸腾游走，为峻峭山体晕开空濛灵秀。\n飞瀑层叠穿流于深谷，灵动水意打破山峦沉郁。山坳坡脚隐现村舍古寺，林下幽人策驴徐行，将山野烟火意趣融于雄阔山水间，刚柔相济。\n整作墨色浓淡相宜，主次分明，师法先贤又自出情致，在厚重苍莽中暗藏细腻温婉，是师古化新的精妙手笔。",[23,24,63,193,162,116,29,118,421,33,7,139,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e948ce6ac35fc4fa235ff25f0ffea0.jpg",[],{"id":5319,"slug":5320,"title":5321,"dynasty":157,"author":1460,"museum":357,"description":5322,"tags":5323,"thumbUrl":5324,"material":5325,"size":5326,"collection":127,"collections":5327,"showCount":5258,"zanCount":11,"manualWeight":11,"mainColor":152},224461,"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[23,24,63,25,162,27,118,116,284,164,117,774,775,538,7,33,385,946],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg","纸本，淡设色","纵25cm，横236cm",[127,82],{"id":5329,"slug":5330,"title":5331,"dynasty":18,"author":5099,"museum":190,"description":5332,"tags":5333,"thumbUrl":5340,"material":4001,"size":5341,"collection":127,"collections":5342,"showCount":5258,"zanCount":11,"manualWeight":11,"mainColor":152},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[23,24,25,27,116,118,139,33,7,121,31,32,194,623,5334,620,5335,452,1048,197,5336,4156,5337,5338,5339],"近景","丘壑","峰峦","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","30cmx590cm",[127,51],{"id":5344,"slug":5345,"title":5346,"dynasty":18,"author":3957,"museum":5347,"description":5348,"tags":5349,"thumbUrl":5351,"material":180,"size":5352,"collection":148,"collections":5353,"showCount":5258,"zanCount":587,"manualWeight":11,"mainColor":54},222602,"qiu-shan-xing-lv-tu-zhou-lan-ying-222602","秋山行旅图轴","河北省博物馆","此画远山耸峙，树木苍劲，红叶明丽，野桥曲径，桥上一老者骑驴款款而过，其后有荷物及策仗者相随。构图气势雄伟，笔势雅健清逸，为蓝氏刻意之作。图作于清顺治十三年（1656年），时年七十二岁。",[23,24,193,118,116,27,774,775,120,33,7,139,71,5350,638],"秋树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e6bf379581e527114f0c1753e94efe.jpg","纵186.5、横69厘米",[],{"id":5355,"slug":5356,"title":5357,"dynasty":18,"author":5358,"museum":242,"description":5359,"tags":5360,"thumbUrl":5361,"material":424,"size":5362,"collection":127,"collections":5363,"showCount":5258,"zanCount":11,"manualWeight":11,"mainColor":106},222549,"ma-shi-yan-yu-tu-sheng-ying-222549","马嗜烟雨图","盛颖","此图绘寺庙景色。寺院墙外树木、楼阁处于云烟细雨中，有一种缥缈梦幻之意境；院内庙宇数座，可见正前方大雄宝殿中立一大鼎，房前树木粗壮苍翠。全图以俯视视角绘出，房屋建造遵循南北趋势，院中有院，整个建筑宏大考究。",[23,24,63,27,28,117,7,33,194,31,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6424afaa9502d7f9fa2aca839f973ae5.jpg","28.3×56.84cm",[127,51],{"id":5365,"slug":5366,"title":488,"dynasty":58,"author":356,"museum":135,"description":5367,"tags":5368,"thumbUrl":5369,"material":47,"size":5370,"collection":127,"collections":5371,"showCount":5258,"zanCount":11,"manualWeight":11,"mainColor":152},218822,"guan-shan-xing-lv-tu-li-tang-218822","这幅画展示了河流景观的美丽景色，一座古寺隐藏在山中，一群旅行者在河边的水池边跌跌撞撞。这幅画的旧题是《李唐游山图》，仔细观察这幅画的岩石景观和松树的拖曳枝条，可以看出这幅画是由明代艺术家按照马远的风格所画。",[23,114,24,63,213,118,32,120,7,1639,538,164,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9c9b894cd1cf749503a5a856729ab8.jpg","32x33",[127],{"id":5373,"slug":5374,"title":5375,"dynasty":18,"author":281,"museum":269,"description":5376,"tags":5377,"thumbUrl":5378,"material":47,"size":5379,"collection":127,"collections":5380,"showCount":5258,"zanCount":11,"manualWeight":11,"mainColor":54},217194,"han-shan-tu-yi-ming-217194","寒山图","寒山图是一幅来自明朝的中国山水画，作者不详。这幅画描绘了寒山寺的景象。寒山寺是位于浙江省杭州市的一座古刹，据说是由印度佛教徒达摩在公元7世纪传入中国时建立的。\n\n寒山图呈现了寒山寺庙宇及其周围的山林风光。画中可以看到寺庙的精巧建筑，以及周围的峰峦叠嶂、清澈的溪流和葱郁的树木。寒山图还描绘了几个小人物，可以想象出当时僧人在寺庙里修行的情景。\n\n寒山图的画风典雅，线条流畅，色彩和谐。整幅画充满了宁静、平和的氛围，令人心旷神怡。这幅画反映了明朝时期对佛教文化和自然风光的热爱，是一件具有深刻文化意义的艺术珍品。",[24,63,162,118,116,774,422,7,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d10bba28441129d6c7c5a8126dd416.jpg","33.5x23cm",[127],{"id":5382,"slug":5383,"title":5384,"dynasty":157,"author":281,"museum":433,"description":5385,"tags":5386,"thumbUrl":5387,"material":47,"size":148,"collection":148,"collections":5388,"showCount":5258,"zanCount":11,"manualWeight":11,"mainColor":54},216716,"hong-lou-meng-fu-tu-ce-2-yi-ming-216716","红楼梦赋图册-2","亭榭隐于蕉荫间，几缕倩影或凭栏凝思，或低语浅笑。衣袂如流云轻覆青石板，罗裙纹样似浸了江南的柔润。案头器物精巧，窗边陈设雅致，恰是红楼闺阁的寻常光景——无需喧哗，只那眼波流转的默契，便将女子们的温婉灵秀凝在笔墨间。园林清幽裹着人情暖意，软语里的细碎心事，随风散入芭蕉叶隙。笔墨清润，色彩雅致，将书中含蓄韵致化作眼前可触的静谧温柔，仿佛能闻见空气中浮动的淡香，窥见那段红楼旧梦的一角，让观者沉湎于这纸间流转的古典情长。",[23,26,27,213,30,138,121,7,33,39,1493,142,5091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a767b05f29544d7c431926bc0754ea6.jpg",[],{"id":5390,"slug":5391,"title":5124,"dynasty":885,"author":2977,"museum":269,"description":5392,"tags":5393,"thumbUrl":5394,"material":424,"size":5395,"collection":127,"collections":5396,"showCount":5258,"zanCount":11,"manualWeight":11,"mainColor":54},214913,"lou-ge-shan-shui-tu-sheng-mao-214913","楼阁山水图是一幅由盛懋绘制的山水画作，出现在元朝时期。这幅画作以楼阁为主要构图元素，描绘了山水景观。楼阁山水图被认为是盛懋最著名的作品之一，在当时非常受欢迎。由于盛懋是一位著名的山水画家，他的作品经常描绘自然风光，并使用了细腻的笔触和鲜明的色彩来表现景色的美丽。楼阁山水图也是如此，它展示了盛懋对山水景观的精确捕捉和传达。\n\n盛懋是元朝时期著名的山水画家，他的作品风格独特，很受欢迎。楼阁山水图是他的代表作之一。在这幅画作中，盛懋使用了自然的色彩来描绘山水景观，并使用精细的笔触来表现每个细节。画面中的楼阁是一个重要的构图元素，它位于画面的中央，呈现出一种高耸入云的感觉。周围的山水景观也十分优美，有群山环绕，河流缠绕，树木茂盛。整幅画作散发出一种平静而舒适的氛围，使人们感觉得到了身心的放松。",[24,63,1535,28,162,27,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7ab334398f7bdeec85c5eabe7afbc9.jpg","25x27cm",[127],{"id":5398,"slug":5399,"title":5400,"dynasty":58,"author":369,"museum":433,"description":1696,"tags":5401,"thumbUrl":5403,"material":495,"size":496,"collection":148,"collections":5404,"showCount":5405,"zanCount":11,"manualWeight":11,"mainColor":499},290154,"fang-you-tu-ma-yuan-290154","访友图",[114,24,63,193,162,28,118,30,7,31,32,538,139,65,5402],"访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f58872533feea15d4e46dc492f9ff5f.jpg",[],45,{"id":5407,"slug":5408,"title":1607,"dynasty":157,"author":281,"museum":433,"description":5409,"tags":5410,"thumbUrl":5411,"material":495,"size":496,"collection":148,"collections":5412,"showCount":5405,"zanCount":11,"manualWeight":11,"mainColor":54},287929,"qing-ming-shang-he-tu-ju-bu-yi-ming-287929","这幅局部以虹桥为核心，铺陈出鲜活的旧时市井盛景。木质飞虹横跨汴河，桥上人流如织，挑担货郎、乘轿仕人、驻足闲人摩肩接踵，神态各异地沉浸在春日市集的喧嚷里。桥下漕船正穿桥而过，船夫们躬身撑篙、呼喊呼应，将漕运的繁忙具象尽显。\n\n画面线条细腻工整，设色古雅沉稳，复刻出宋本原作风韵的同时，带着清代绘事的规整质感，将汴梁城漕运商贸的繁盛、闾巷百姓的日常烟火凝于卷上，让千年前的春日繁喧仿佛跃然眼前，尽显旧时都会的鲜活生机。",[114,24,25,27,26,30,31,7,32,65,64,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e33ae4f04a3a44f84910b66851ed29.jpg",[],{"id":5414,"slug":5415,"title":5416,"dynasty":157,"author":5417,"museum":60,"description":5418,"tags":5419,"thumbUrl":5420,"material":148,"size":148,"collection":49,"collections":5421,"showCount":5405,"zanCount":11,"manualWeight":11,"mainColor":54},237550,"shang-rui-xiu-gu-song-chun-tu-juan-shang-rui-237550","上睿绣谷送春图卷","上睿","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文",[24,63,25,27,26,116,118,7,30,33,139,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d5b813ae5e5ea9f4cfb1e7bcd2096a.jpg",[49],{"id":5423,"slug":5424,"title":2382,"dynasty":489,"author":1935,"museum":60,"description":5425,"tags":5426,"thumbUrl":5427,"material":180,"size":5428,"collection":148,"collections":5429,"showCount":5405,"zanCount":11,"manualWeight":11,"mainColor":54},233964,"gao-shi-tu-juan-wei-xian-233964","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。",[24,63,25,26,28,27,116,118,30,7,33,139,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F808ff35be6fd1a88daf86e0d0ff1dac1.jpg","纵134.5厘米，横52.5厘米",[],{"id":5431,"slug":5432,"title":5433,"dynasty":18,"author":59,"museum":135,"description":5434,"tags":5435,"thumbUrl":5436,"material":5437,"size":5438,"collection":148,"collections":5439,"showCount":5405,"zanCount":11,"manualWeight":11,"mainColor":54},231831,"qing-ming-yi-jian-tu-zhang-ze-duan-231831","清明易简图","传宋张择端清明易简图〈清明易简图〉的画题，乾隆皇帝（1711-1799）认为出自《易经．系辞》的「易则易知，简则易从。」也就是平易、简单 的英文。作者希望透过画面，来现如今北宋都城的繁华景象。北宋画家张择端（活动于12世纪）以首都汴京的城市景街为题，创作了〈藏北京故宫博物院〉。 由于深受喜爱和喜爱，家庭画家遂纷纷效仿，许多同名的〈清明上河图〉。本卷也模仿张择端的作品，乾隆皇帝画推崇。 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210厘米",[],{"id":5492,"slug":5493,"title":5494,"dynasty":5495,"author":5496,"museum":135,"description":5497,"tags":5498,"thumbUrl":5499,"material":27,"size":5500,"collection":127,"collections":5501,"showCount":5405,"zanCount":11,"manualWeight":11,"mainColor":152},221013,"yun-tai-shan-tu-xun-xu-221013","云台山图","晋","旬勗","荀勖（xù）（？～289年），字公曾。颍川颍阴（今河南省许昌市）人。三国至西晋时音律学家、文学家、藏书家，西晋开国功臣。为东汉司空荀爽曾孙。\n荀勖少年时聪慧好学。初仕于魏，为大将军曹爽掾属，后迁中书通事郎。曹爽被诛后，历任安阳令、骠骑从事中郎、廷尉正等职。又任大将军司马昭记室，屡进策谋，深见信任，与裴秀、羊祜共掌机密。西晋建立后，封济北郡侯。后拜中书监兼侍中，领著作。累官至光禄大夫、仪同三司、守尚书令。在尚书台时，核罢省中不称职之人。\n太康十年（289年），荀勖去世。获赠司徒，谥号为成。\n荀勖善于逢迎，被时人比作倾覆国家、搅乱时局的贰臣。但他为人谨慎，每有参预的国家大政，都闭口不言，不愿让别人知道他参与其中。荀勖博学多才，曾与贾充一起修订法令；掌管乐事时，又修正律吕；领秘书监时，曾与张华一同按刘向《别录》整理典籍。有文集三卷，今已佚。",[23,24,63,118,27,116,32,7,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda584db27dc18d7eff1e357a5a49a9e.jpg","73.4x98.6厘米",[127,51],{"id":5503,"slug":5504,"title":5505,"dynasty":18,"author":319,"museum":2999,"description":5506,"tags":5507,"thumbUrl":5508,"material":217,"size":5509,"collection":148,"collections":5510,"showCount":5405,"zanCount":11,"manualWeight":11,"mainColor":152},220011,"dong-zhuang-tu-ce-zhi-dong-cheng-shen-zhou-220011","东庄图册之东城","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,114,24,63,213,162,116,118,7,31,33,69,476,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e337d9ab671c3c1794f7a4f8e3e804.jpg","纵28.6厘米，横33厘米",[],{"id":5512,"slug":5513,"title":5514,"dynasty":58,"author":690,"museum":135,"description":5515,"tags":5516,"thumbUrl":5517,"material":146,"size":496,"collection":148,"collections":5518,"showCount":5519,"zanCount":11,"manualWeight":11,"mainColor":54},288370,"chang-jiang-wan-li-tu-qian-juan-xia-gui-288370","长江万里图前卷","《长江万里图》是一幅长超过11公尺的手卷，画卷的前半段，以接近平视的角度近景特写岩块、林木，以及江行的舟船，表现长江三峡险峻和波涛汹涌的景观；后半段则是以俯视和远观的角度描绘江面上的活动，以及沿途所见秀丽的景色。从逼近观者的景物，转换到辽阔空旷的视野，这种构图的方式具有戏剧性的效果。在画卷最后，有元代鉴藏家柯九思的题字，鉴定这幅画作者是南宋夏珪。但是柯九思题字是后人伪造，所以这样的意见值得强烈怀疑。从时代风格来看，这种山水长卷的构图方式流行于明初，而在笔墨技巧方\n宋夏圭长江万里图卷\n宋夏圭长江万里图卷\n面，本幅的“斧劈皴”用同一方向的侧锋表现，而水纹的描绘也刻意强调浪花的造型和装饰效果，这些特征显示〈长江万里图〉的创作时代为十四世纪末至十五世纪初，可能是一张与明代宫廷画院风格密切相关的作品。",[23,114,24,25,162,118,116,196,3037,538,7,121,120,194,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e9a3edd0ece6ad4727600c15137ec4.jpg",[],44,{"id":5521,"slug":5522,"title":2100,"dynasty":157,"author":2101,"museum":433,"description":5523,"tags":5524,"thumbUrl":5525,"material":495,"size":496,"collection":148,"collections":5526,"showCount":5519,"zanCount":11,"manualWeight":11,"mainColor":152},235284,"ren-wu-gu-shi-ce-fan-xue-yi-235284","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,63,213,27,26,30,7,39,386,142,138,38,451,1851],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4969cf7e7182473f0293efe286f13572.jpg",[],{"id":5528,"slug":5529,"title":3390,"dynasty":18,"author":319,"museum":60,"description":3391,"tags":5530,"thumbUrl":5531,"material":312,"size":3394,"collection":148,"collections":5532,"showCount":5519,"zanCount":11,"manualWeight":11,"mainColor":152},234090,"wu-zhong-shan-shui-ce-shen-zhou-234090",[24,63,213,162,118,164,117,116,7,538,120,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cc85b8ca75b41a1903f016a2209202.jpg",[],{"id":5534,"slug":5535,"title":5536,"dynasty":58,"author":559,"museum":433,"description":5537,"tags":5538,"thumbUrl":5539,"material":148,"size":148,"collection":148,"collections":5540,"showCount":5519,"zanCount":587,"manualWeight":11,"mainColor":54},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。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，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,63,24,114,25,115,27,26,116,284,117,118,30,7,31,32,120,121,385,1851,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":5542,"slug":5543,"title":5544,"dynasty":89,"author":1167,"museum":433,"description":5545,"tags":5546,"thumbUrl":5547,"material":148,"size":148,"collection":148,"collections":5548,"showCount":5519,"zanCount":11,"manualWeight":11,"mainColor":54},227255,"xian-shan-lou-guan-tu-li-zhao-dao-227255","仙山楼观图","李昭道，生卒年未详。字希俊，唐代画家。唐朝宗室，彭国公李思训之子，长平王李叔良曾孙。甘肃天水人。曾为太原府仓曹、直集贤院，官至太子中舍人。擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。曾作《秦王独猎图》。画作有《海岸图》、《摘瓜图》等六件，著录于《宣和画谱》。传世作品有《春山行旅图》轴，图录于《故宫名画三百种》；《明皇幸蜀图》卷，现藏台北故宫博物院。",[23,24,25,115,27,28,26,118,7,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81db047a39ded106ecbb49adcb1c8b56.jpg",[],{"id":5550,"slug":5551,"title":5552,"dynasty":157,"author":1055,"museum":60,"description":5553,"tags":5554,"thumbUrl":5555,"material":180,"size":5556,"collection":127,"collections":5557,"showCount":5519,"zanCount":11,"manualWeight":11,"mainColor":54},223284,"jiu-cheng-gong-tu-zhou-yuan-yao-223284","九成宫图轴","此幅以对角构图为主，建筑在画面中所占比重不大，但作者有意将建筑物安排在观者的视觉中心，使其在山重水复的背景中颇为醒目。著名诗人杜甫曾有咏《九成宫》诗，袁耀即根据诗意想象而画成此图。袁氏父子所画的历代宫阙虽然各有典故，但样式大多雷同，富有装饰趣味而无明显的时代特征，画中人物的服饰也是如此，虽为古装却非唐非宋。",[23,24,63,193,28,27,26,116,118,7,31,139,33,194,30,452,38,195,196,437],"https:\u002F\u002Foss.chuangqi.store\u00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述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n马远是南宋宫廷画家，杨皇后是其主要的艺术赞助人。杨皇后多次为马远之作题诗题句，其创作也势必迎合杨皇后的要求，“臣马远”的款识当为此意。从《华灯侍宴图》的笔法与风格来看，当为马远晚年之作，而杨皇后的题记，也属晚年风格。换而言之，画作的年代应在宋宁宗时代。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引。\n此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。\n该画山而不作全景式图，取一角或一峰给予突出的描写。这是马远在继承前人山水画传统的基础上的突破，是他对山水画形式美感探索的成就。",[24,63,308,26,116,27,7,33,1709,1639,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9b868683d8127a8dd2bb9ff753b532.jpg",[],{"id":5630,"slug":5631,"title":5632,"dynasty":18,"author":5633,"museum":433,"description":5634,"tags":5635,"thumbUrl":5636,"material":495,"size":496,"collection":148,"collections":5637,"showCount":5593,"zanCount":11,"manualWeight":11,"mainColor":152},228497,"shi-hu-yuan-xiao-tu-li-shi-da-228497","石湖元宵图","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[23,114,24,162,27,26,28,30,7,31,121,373,32,39,33,38,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d224efb8b4d7931ad464765d30dc4d.jpg",[],{"id":5639,"slug":5640,"title":5641,"dynasty":885,"author":281,"museum":433,"description":5642,"tags":5643,"thumbUrl":5644,"material":148,"size":148,"collection":148,"collections":5645,"showCount":5593,"zanCount":587,"manualWeight":11,"mainColor":54},228212,"hang-zhou-xi-hu-tu-yi-ming-228212","杭州西湖图","以团扇形制铺陈湖山胜概，石青石绿晕染峰峦，古绢底色沉厚，衬得青绿明妍雅致，勾勒出峭拔崖嶂与层叠林木。亭台楼阁依山面水排布，飞檐斗拱精工细绘，尽显江南苑囿的雅致规整。湖面开阔淡远，长桥卧波隐现其间，远山含黛晕出空濛烟岚。\n\n构图虚实相生，繁复界画楼宇与清旷湖山相映，既见对实景的精细摹写，又以淡墨轻岚烘托出西湖柔婉清远的诗意氛围，带着元代青绿山水的复古意趣，将城湖揽胜的雅致图景凝缩尺幅，尽展江南名湖的从容雅致，藏着古人对湖山胜景的倾心描摹。",[23,24,63,115,27,118,28,7,31,32,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a00903c88ee41eed7d372b81389a0b5.jpg",[],{"id":5647,"slug":5648,"title":5649,"dynasty":157,"author":4109,"museum":433,"description":5650,"tags":5651,"thumbUrl":5653,"material":495,"size":496,"collection":148,"collections":5654,"showCount":5593,"zanCount":11,"manualWeight":11,"mainColor":499},224145,"shi-jia-mu-ni-fu-fo-jiao-pi-yu-tang-ka-224145","释迦牟尼佛佛教譬喻","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[4109,94,27,26,30,7,5652,96,386,118],"佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d88855497b8bb010ad57b3cd31cb9bc.jpg",[],{"id":5656,"slug":5657,"title":5658,"dynasty":157,"author":504,"museum":345,"description":505,"tags":5659,"thumbUrl":5660,"material":424,"size":516,"collection":148,"collections":5661,"showCount":5593,"zanCount":11,"manualWeight":11,"mainColor":152},223073,"hong-lou-meng-59-sun-wen-223073","红楼梦59",[23,24,63,25,26,27,115,3238,3239,30,509,7,118,32,795,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce03b42f75b32d3656103e5544ed7796.jpg",[],{"id":5663,"slug":5664,"title":5665,"dynasty":18,"author":19,"museum":242,"description":5666,"tags":5667,"thumbUrl":5668,"material":180,"size":5669,"collection":148,"collections":5670,"showCount":5593,"zanCount":630,"manualWeight":11,"mainColor":152},222216,"chi-bi-tu-juan-quan-juan-chou-ying-222216","赤壁图卷全卷","传世仇英所作《赤壁图》，我们所见有三幅：一藏辽宁省博物馆，一藏上海博物馆，再者便是《石渠宝笈初编》著录的这一卷了。前二幅皆绢本短卷，画的都是白露横江、断岸千尺，东坡与客泛舟中流这一情景。本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓等山间夜景。读者可以借画家营造的美景，去想象苏轼舍舟登岸，“摄衣而上，履腵岩，披蒙茸，攀栖鹘之危巢，俯冯夷之幽宫”这一夜游情境。其构思立意较前二图更为丰富美备\n三幅《赤壁图》画家都未记年。上海博物馆一图，用笔峻健方硬，应是他得到周臣指授，力学李唐等南宋院画的盛年时作品。辽宁省博物馆一图，与仇英在项元汴家《临宋人六景》画风相近，应是他较晚之作。《石渠宝笈初编》著录的这幅《赤壁图》卷，画法细缜，淡冶蕴藉，与几幅可以断为仇氏早年真迹的作品风格相似，创作年代比上海博物馆《赤壁图》要略为早些。\n关于仇英早年画风，学者们都认定他受到文徵明的影响。援引的史料一是彭年所说“十洲少即见赏于衡翁”；一是文徵明《湘君图》上王登转述文氏自己的话，说他“曾使仇实父设色，两易纸皆不满意”，不得不自己重作之。上述二处记载，一般可以看作是文氏对青年仇英的赏识器重。不过，如对题跋做进一步思索，则可以发现文、仇二人非同寻常的关系。中国绘画史上多有老师画成墨稿后请学生敷彩的情况，如吴道子的画作每使弟子翟琰、张藏布色，文徵明是一个谦和温厚之人，他这么做并如此直言不讳，至少可见他们师徒般真率坦诚的情谊。\n此幅《赤壁图》 画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[23,24,63,25,27,26,115,164,117,118,30,120,3037,33,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],{"id":5672,"slug":5673,"title":5674,"dynasty":18,"author":281,"museum":2154,"description":5675,"tags":5676,"thumbUrl":5677,"material":47,"size":5678,"collection":49,"collections":5679,"showCount":5593,"zanCount":11,"manualWeight":11,"mainColor":54},219620,"ming-ren-lao-zi-chu-guan-tu-yi-ming-219620","明人老子出关图","古松虬劲盘绕城关，苍枝舒展如盖。老子安卧牛车之中，仆从前后相随，道童负囊循山径而来，行旅意态松弛悠然。远景山峦以斧劈皴挥写，雄奇险峻间晕染流岚云雾，晕化开山林的幽深空寂。画作以山水衬行旅，将道家归隐出关的澹然意趣，融于苍阔山景之间，人物刻画细腻生动，山水笔力刚劲爽利，把出世的超脱与山川的雄浑相融，尽显古典山水人物画的雅致意韵，藏着悠远沉静的道家风骨。",[24,63,114,193,27,30,118,7,272,66,70,451,139,116,1996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b3b3a50865b6183c2ae52a94aaca214.jpg","纵140.3横67.5厘米",[49],{"id":5681,"slug":5682,"title":5683,"dynasty":157,"author":504,"museum":433,"description":4750,"tags":5684,"thumbUrl":5685,"material":495,"size":496,"collection":148,"collections":5686,"showCount":5687,"zanCount":11,"manualWeight":11,"mainColor":54},288412,"jia-zheng-you-da-guan-yuan-tu-jing-yi-sun-wen-288412","贾政游大观园图景一",[24,26,27,115,118,7,32,30,1047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d707ca4b6406c830da9380cdd935eb.jpg",[],42,{"id":5689,"slug":5690,"title":5691,"dynasty":157,"author":305,"museum":135,"description":5692,"tags":5693,"thumbUrl":5694,"material":217,"size":5695,"collection":148,"collections":5696,"showCount":5687,"zanCount":11,"manualWeight":11,"mainColor":152},288285,"fang-wang-wei-jiang-shan-xue-ji-tu-wang-shi-min-288285","仿王维江山雪霁图","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[114,24,308,193,27,116,29,1013,139,33,7,32,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a350d41c4997b3ce106edd3a6b3b931.jpg","133.7x60",[],{"id":5698,"slug":5699,"title":5700,"dynasty":157,"author":281,"museum":433,"description":5701,"tags":5702,"thumbUrl":5703,"material":148,"size":148,"collection":51,"collections":5704,"showCount":5687,"zanCount":11,"manualWeight":11,"mainColor":54},239527,"qian-long-guan-kong-que-kai-ping-tie-luo-yi-ming-239527","乾隆观孔雀开屏贴落","《乾隆观孔雀开屏贴落》是清代佚名创作的绢本设色画。\n这是一幅表现乾隆皇帝宫廷生活的巨幅作品，曾张贴于圆明园某殿内。\n图中乾隆端坐在亭台之上，闲适地观赏庭院中一对美丽的孔雀。\n此画虽无作者款识，但从技法和水平分析，人物肖像、两只孔雀和建筑的主要部分应出自郎世宁之手。\n其中楼阁的描绘无论前后、远近，大小的比例关系均适当，将西洋绘画的透视原则把握得恰到好处，具有强烈的空间感和纵深层次。\n由于篇幅宏大，描绘真实，使人有身临其境之感。\n正是由于郎世宁等西洋传教士画师的到来，使中国传统的楼阁画发生了变化，最终促使清代宫廷建筑绘画“中西合璧”的画风形成。",[114,24,63,26,27,28,7,30,141,139,33,39,32,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b7e348cc7f93d2fc0fa76bd64ebef5.jpg",[51],{"id":5706,"slug":5707,"title":5708,"dynasty":18,"author":281,"museum":433,"description":5709,"tags":5710,"thumbUrl":5711,"material":495,"size":496,"collection":148,"collections":5712,"showCount":5687,"zanCount":11,"manualWeight":11,"mainColor":54},235656,"tang-yin-qian-tang-jing-wu-tu-zhou-yi-ming-235656","唐寅钱塘景物图轴","此作用斧劈皴写山石嶙峋风骨，层崖迭起取高远之境，硬朗苍劲尽显北派山水雄健气势。山坳林麓间村居错落隐现，青树蓊郁晕染江南温润意趣，刚柔相济，将浙派纵肆与吴门隽秀相融。\n左侧题诗与画景相映，把秋郊钱塘的清寂萧疏铺陈开来，山野幽居的闲逸之态藏于奇峰之间，笔意追摹前人，绘就秋日江乡澹远沉静的逸致，尽显明人山水抒情写意的雅致格调。",[24,63,193,162,116,118,7,31,32,385,121,123,373,139,33,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11a22516543afdb44def938b072f17f.jpg",[],{"id":5714,"slug":5715,"title":5716,"dynasty":157,"author":1796,"museum":60,"description":5717,"tags":5718,"thumbUrl":5719,"material":180,"size":5720,"collection":127,"collections":5721,"showCount":5687,"zanCount":587,"manualWeight":11,"mainColor":152},234289,"shan-shui-lou-ge-ce-chen-mei-234289","山水楼阁册","陈枚在绘画上受到郎世宁的影响，运用了一些西洋的透视画法，表现出物象的立体感。他曾“以海西法于寸纸尺缣图群山万壑，峰峦林木，屋宇桥梁。”此册以中西合璧的绘画技法展现出圆明园中西融会的建筑与宫殿园林的完美结合，使人对这座“万园之园”产生无尽的遐想。咸丰十年（1860年），英法联军焚毁圆明园，因而该册的艺术价值弥足珍贵。",[24,114,213,28,27,118,7,164,117,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d31cd400a8dc8e30ee5eedf5bda6150.jpg","纵31厘米，横25.3厘米",[127,51],{"id":5723,"slug":5724,"title":3390,"dynasty":18,"author":319,"museum":60,"description":3391,"tags":5725,"thumbUrl":5726,"material":312,"size":3394,"collection":148,"collections":5727,"showCount":5687,"zanCount":587,"manualWeight":11,"mainColor":152},234084,"wu-zhong-shan-shui-ce-shen-zhou-234084",[24,63,213,162,116,164,117,118,7,121,538,139,33,62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萧散简远。\n\n整卷笔墨极简，以干笔淡皴写就山石林木，线条清劲秀逸，全无繁冗之笔，承袭古淡空灵的笔意。留白疏阔，氤氲出静穆冷寂的古雅意境，将观者带入无人尘扰的幽居，坐看竹影摇窗、苔痕覆阶，尽显文人画的隐逸高致，笔底藏着天真古淡的林下之风，写尽园居清趣与幽人逸怀。",[23,24,63,25,162,95,29,7,121,605,451,139,39,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37103644d51d567e8b77eae43a2e67bb.jpg",[],{"id":5807,"slug":5808,"title":5809,"dynasty":58,"author":669,"museum":433,"description":5810,"tags":5811,"thumbUrl":5812,"material":424,"size":5813,"collection":148,"collections":5814,"showCount":5790,"zanCount":11,"manualWeight":11,"mainColor":54},232875,"guan-shan-xing-lv-tu-juan-liu-song-nian-232875","关山行旅图卷","刘松年（约1155-1218）〔南宋〕钱塘人，淳熙间画院学生，绍熙间升画院待诏。宁宗时进《耕织图》被朝廷看重，赐金带，为“南宋四大家”之一。",[23,114,24,63,25,118,116,27,196,7,33,121,272,40,422,139,538,197,3067,3191,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac782a163ae7808c98a9f752060c3b4.jpg","34.3x307厘米",[],{"id":5816,"slug":5817,"title":5818,"dynasty":58,"author":5819,"museum":433,"description":5820,"tags":5821,"thumbUrl":5822,"material":148,"size":148,"collection":148,"collections":5823,"showCount":5790,"zanCount":11,"manualWeight":11,"mainColor":152},227798,"yao-tai-bu-yue-tu-liu-zong-gu-227798","瑶台步月图","刘宗古","《宋刘宗古瑶台步月图》是宋代画家刘宗古所创作的一幅设色画。\n此图原载《四朝选澡册》（见《石渠宝笈续编》）。\n题 作。\n《 》云：“刘宗古，京师人。\n间（公元1119一1125），以待诏官至成叫郎。\n乱离后，归江左，朝廷方寻访车辂式，而宗古进本称旨，除提举车辂院。\n其画人物，长于成染，不背粉，水墨轻成，但笔墨织弱耳。\n”此画布局疏朗，设色清丽，不失为一件精构。\n本幅无款印。\n对开清 题七言绝句一首。\n钤乾隆内府诸收藏印。\n《石渠宝笈续编·养心殿》著录。\n图页写中秋 赏月情景，人物纤秀，风格婉约，景色空蒙。\n宋人册页中的楼阁画除了描写完整的单体建筑或建筑群的全景，还有描绘建筑局部的作品。\n此页即界画平台的局部，虽只是作为人物活动的背景，但深棕色嵌玉栏杆、莲花柱头装饰和台子的斗拱样式交代得准确清楚，与描绘建筑全图的作品恰是一种互补，展现了 楼阁小品画活泼的表现形式及丰富的表现手法。",[23,114,24,63,1535,27,26,30,7,138,762,284,164,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505e3900af9740a371e317730b4d7558.jpg",[],{"id":5825,"slug":5826,"title":5827,"dynasty":4105,"author":281,"museum":2043,"description":5828,"tags":5829,"thumbUrl":5831,"material":495,"size":496,"collection":148,"collections":5832,"showCount":5790,"zanCount":587,"manualWeight":11,"mainColor":54},226508,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-yi-ming-226508","佛说阎罗王授记四众预修生七往生净土经","简称《佛说十王经》。为卷轴式手抄彩绘卷。本经卷属晚唐五代时期敦煌所绘，画风古朴，十分珍罕。本卷为法国伯希和从敦煌带走藏于法国国图的《阎罗王授记经》三种绘卷之一，",[25,63,24,94,27,30,7,26,5830,1298,117,284,408],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00260a4feaf64cbf8c2e55965c1febc7.jpg",[],{"id":5834,"slug":5835,"title":5836,"dynasty":4105,"author":5837,"museum":433,"description":5838,"tags":5839,"thumbUrl":5849,"material":495,"size":496,"collection":5850,"collections":5851,"showCount":5790,"zanCount":11,"manualWeight":11,"mainColor":106},225947,"houses-of-parliament-effect-of-sunlight-in-the-fog-1900-1901-mo-nai-225947","Houses of Parliament, Effect of Sunlight in the Fog, 1900-1901","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[5840,5841,5842,5843,1430,7,5844,5845,38,5846,5847,5848],"印象派","光影效果","色彩晕染","雾景","阳光","天空","雾气","光影捕捉","色彩融合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfadf56f96ba11ffa23db97cd2991f0.jpg","油画精选",[5850],{"id":5853,"slug":5854,"title":5855,"dynasty":157,"author":1124,"museum":5856,"description":5857,"tags":5858,"thumbUrl":5859,"material":424,"size":5860,"collection":127,"collections":5861,"showCount":5790,"zanCount":11,"manualWeight":11,"mainColor":54},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","广州艺术博物院","此是王鉴摹吴镇的一幅名画，相同的画董其昌在其《小中见大》册中也临摹有一幅，构图相同，说明两人都是忠实于原作的临摹。此幅水墨淋漓，与吴镇用笔用墨十分相似，可见王圆照摹古功力之深。",[23,24,63,193,27,116,118,1463,33,7,31,32,121,139,2251,197,1048,620,5336,2112,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[127,82],{"id":5863,"slug":5864,"title":5865,"dynasty":157,"author":1460,"museum":433,"description":5866,"tags":5867,"thumbUrl":5868,"material":148,"size":148,"collection":148,"collections":5869,"showCount":5790,"zanCount":11,"manualWeight":11,"mainColor":54},224441,"fang-ju-ran-shan-shui-tu-wang-hui-224441","仿巨然山水图","此作取法董巨一脉，以披麻皴晕染山峦，圆浑苍润的山体层层铺展，云雾在谷壑间悄然漫溢，晕开空濛幽深的山水意境。\n\n谷间林木蓊郁苍茂，古木虬曲蟠扎，山居楼宇掩映在深林翠色中，溪涧蜿蜒穿流，板桥横陈浅滩，野趣悠然自生。墨色层次丰富，淡墨烘染云气，浓墨点苔写树，既绘就山峦厚重雄浑的体量，又晕出江南山水的温润氤氲，将北宋山水的沉郁与元人笔墨的秀逸相融，尽展林泉高致的文人心境。",[23,24,63,193,29,116,118,139,33,7,31,32,194,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c07a9b57cf6ed3bdd9355306fb68fe.jpg",[],{"id":5871,"slug":5872,"title":5873,"dynasty":157,"author":281,"museum":433,"description":5874,"tags":5875,"thumbUrl":5877,"material":148,"size":148,"collection":148,"collections":5878,"showCount":5790,"zanCount":11,"manualWeight":11,"mainColor":152},223658,"jin-ping-mei-cha-tu-yi-ming-223658","金瓶梅插图","此作为工笔重彩长卷，以分段式构图铺展桥段，院宅厅堂错落排布，人物疏密有致。匠者细绘雕栏花窗、瓶炉陈设，精准还原世家起居样貌，衣袂纹饰鲜妍工丽，各有章法。画面将宴饮雅聚、弈棋闲叙、私会密谈的不同氛围烘托得当，人物神态灵动鲜活，或揖礼叙话，或缱绻依偎，皆细腻传神。青绿、朱红配色明快雅致，兼具界画的工整写实与人物画的气韵生动，把世情日常与深宅韵致相融，尽显清代工笔世俗画的精湛功力，让文字故事具象为可触摸的古典图景。",[23,24,25,27,26,28,30,7,39,33,931,5876,143,142,3122,139,138,144],"家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a55519b64b307f10e86240af72bfc4.jpg",[],{"id":5880,"slug":5881,"title":5882,"dynasty":58,"author":281,"museum":135,"description":5883,"tags":5884,"thumbUrl":5885,"material":47,"size":5886,"collection":80,"collections":5887,"showCount":5790,"zanCount":630,"manualWeight":11,"mainColor":54},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,24,63,25,27,26,28,245,30,7,258,118,33,39,387,844,139,1314,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[80],{"id":5889,"slug":5890,"title":5891,"dynasty":157,"author":5892,"museum":159,"description":5893,"tags":5894,"thumbUrl":5896,"material":312,"size":5897,"collection":127,"collections":5898,"showCount":5790,"zanCount":11,"manualWeight":11,"mainColor":152},219991,"shan-jing-po-zhou-tu-dai-ben-xiao-219991","山径泊舟图","戴本孝","戴本孝（1621年－1691年），和州（今安徽省和县）人。字务旃，号前休子，终生不仕，以布衣隐居鹰阿山，故号鹰阿山樵，别号黄水湖渔父、太华石屋叟等，清代新安派画家之一。",[23,24,162,116,193,118,385,538,7,120,5895],"山径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e7c0febcd0f56ffa4fd38b837a6abc.jpg","132cm×60cm",[127],{"id":5900,"slug":5901,"title":5902,"dynasty":58,"author":281,"museum":2068,"description":5903,"tags":5904,"thumbUrl":5905,"material":47,"size":5906,"collection":49,"collections":5907,"showCount":5790,"zanCount":587,"manualWeight":11,"mainColor":54},218461,"gao-shi-guan-shui-tu-yi-ming-218461","高士观水图","凭栏者凝眸向水，衣袂轻垂似与波痕共息。亭榭半掩于疏枝间，木构纹理隐现岁月静穆。秃枝如笔，蘸着空濛天色，在绢上勾勒清寂骨线；水面无波，却载千般思绪，与观者目光遥遥相契。通篇不着艳色，墨线浓淡交错，留白虚实相生，铺展文人心中丘壑——非喧嚣山水，是心与自然对语的片刻安宁。笔意简淡却藏深致，枯枝的疏朗、亭台的稳静、高士的凝思，织就一幅含蓄的精神图景，让千载后的目光，仍能触到那份清寂中的悠远。",[23,24,162,95,28,1183,30,7,32,422,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea1f9bda4c7207655fc3e8783405b61.jpg","21.6x24.6cm",[49],{"id":5909,"slug":5910,"title":5911,"dynasty":885,"author":281,"museum":806,"description":5912,"tags":5913,"thumbUrl":5914,"material":47,"size":5915,"collection":127,"collections":5916,"showCount":5790,"zanCount":587,"manualWeight":11,"mainColor":54},218205,"guang-han-gong-tu-yi-ming-218205","广寒宫图","广寒宫图是一幅来自中国元朝时期的著名绘画作品，作者佚名。它描绘了广寒宫的景象，广寒宫是中国古代皇宫的一部分，位于北京的城内，是皇帝和皇后居住的地方。\n\n这幅画的风格具有浓厚的中国传统特色，使用了鲜艳的色彩和精细的线条来描绘出广寒宫的建筑物和景观。画中的建筑物包括皇宫的宫殿、庙宇和院落，景观包括花园、池塘和树木。\n\n广寒宫图还描绘了当时皇帝和皇后的生活，展示了他们的日常活动，如游览、观赏歌舞表演等。这幅画作出现在中国元朝时期，当时的皇帝是元世祖，他在位期间推行了著名的文化复兴运动，使得艺术、文学和学术得到了极大的发展。广寒宫图也反映了这一时期的艺术特点，是中国元朝时期艺术发展的重要见证。",[24,114,63,193,28,27,7,762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f95b3c5c0f8d9489dcbed3fb582630.jpg","75.6x62.1cm",[127],{"id":5918,"slug":5919,"title":5920,"dynasty":157,"author":281,"museum":433,"description":5921,"tags":5922,"thumbUrl":5923,"material":47,"size":148,"collection":148,"collections":5924,"showCount":5790,"zanCount":11,"manualWeight":11,"mainColor":54},216714,"hong-lou-meng-fu-tu-ce-8-yi-ming-216714","红楼梦赋图册-8","山石错落间，粉艳花簇点缀，绿意轻缠石畔。一女子彩衣立石侧，凝睇花影；另一人红衣闲坐石前，姿态悠然。远处屋宇半隐，草木葱茏，水光依稀，晕开清宁之境。画面设色柔婉，线条细腻，将红楼场景的雅致闲情藏于笔底。人物神情含蓄，景物相映成趣，尽显古典园林的清幽意韵与闺阁间的温婉情致，似截取书中一段静谧时光，让观者在柔美的画面里，触到那份属于红楼的细腻与诗意。",[23,24,27,26,30,138,385,3744,605,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c11c867ee2dca3bab7da81bc83a524a.jpg",[],{"id":5926,"slug":5927,"title":5928,"dynasty":18,"author":319,"museum":433,"description":3854,"tags":5929,"thumbUrl":5930,"material":495,"size":496,"collection":148,"collections":5931,"showCount":5932,"zanCount":11,"manualWeight":11,"mainColor":152},290883,"fang-fan-kuan-shan-shui-shen-zhou-290883","仿范宽山水",[24,63,213,118,162,116,29,139,421,7,31,32,272,121,284,164,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a350eb2b74dd16ad3ce93a6b3410da.jpg",[],40,{"id":5934,"slug":5935,"title":5936,"dynasty":58,"author":4588,"museum":433,"description":5937,"tags":5938,"thumbUrl":5939,"material":495,"size":496,"collection":148,"collections":5940,"showCount":5932,"zanCount":11,"manualWeight":11,"mainColor":152},289869,"shi-yong-tu-zhang-xian-289869","十咏图","张先（990—1078），字子野，乌程（今浙江湖州）人。北宋词人。婉约派代表人物。天圣八年（公元1030）进士。历任宿州掾、吴江知县、嘉禾（今浙江嘉兴）判官。皇祐二年（1050），晏殊知永兴军（今陕西西安），辟为通判。后以屯田员外郎知渝州，又知虢州。以尝知安陆，故人称“张安陆”。治平元年（1064）以尚书都官郎中致仕，元丰元年病逝，年八十八岁。",[23,114,24,63,25,28,27,118,7,1862,32,196,284,164,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6ee46a4d67fb75fc131910fa6d3ee0.jpg",[],{"id":5942,"slug":5943,"title":5944,"dynasty":58,"author":369,"museum":433,"description":1696,"tags":5945,"thumbUrl":5947,"material":495,"size":496,"collection":148,"collections":5948,"showCount":5932,"zanCount":11,"manualWeight":11,"mainColor":54},289344,"gu-song-lou-ge-tu-ma-yuan-289344","古松楼阁图",[1535,24,63,28,162,116,3250,7,118,5946],"萧疏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feecdcd1b7f2e5df3f39c8f2645afbde3.jpg",[],{"id":5950,"slug":5951,"title":5952,"dynasty":157,"author":281,"museum":60,"description":5953,"tags":5954,"thumbUrl":5957,"material":312,"size":5958,"collection":49,"collections":5959,"showCount":5932,"zanCount":11,"manualWeight":11,"mainColor":152},233063,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233063","平定回疆剿擒逆裔战图册","本幅设色共十页，引首道光书“纉武绥边”，每开题记，又书平定回疆记事。尾纸曹振镰，文字王鼎等跋。",[26,27,28,213,30,7,39,98,99,144,408,5955,5956,38,438,5091],"军事场景","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3c1bd6080b18f3b23595b0a6c873bc.jpg","纵55.3cm，横90.3cm",[49,51],{"id":5961,"slug":5962,"title":5963,"dynasty":58,"author":2259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宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,24,308,162,116,196,6046,31,7,6047,33,284,117],"萧寺","烟岚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ab447323c9edca7a862052bde53b86.jpg","51x49.5",[],{"id":6052,"slug":6053,"title":6054,"dynasty":489,"author":967,"museum":135,"description":4506,"tags":6055,"thumbUrl":6057,"material":495,"size":496,"collection":148,"collections":6058,"showCount":6031,"zanCount":11,"manualWeight":11,"mainColor":54},287702,"he-ting-yi-diao-shi-nv-tu-zhou-wen-ju-287702","荷亭奕钓仕女图",[23,24,27,26,28,30,138,509,7,121,931,6056,193],"弈棋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e62cdcbf6ac380cde864e575745bd4.jpg",[],{"id":6060,"slug":6061,"title":304,"dynasty":58,"author":559,"museum":433,"description":6062,"tags":6063,"thumbUrl":6065,"material":495,"size":496,"collection":148,"collections":6066,"showCount":6031,"zanCount":11,"manualWeight":11,"mainColor":152},287567,"xian-shan-lou-ge-tu-zhao-bo-ju-287567","此页以青绿重色描绘山水、建筑，左半部山石层层叠起，楼台殿阁自山脚下湖水边随着山势逶迤推高，直至半山。右半部水面荷叶点点，远山屏立，朵朵祥云飘渺其间。山石空勾填色，线条工细，不用皴法，摹拟赵伯驹、赵伯骕兄弟风格，承续了唐人传统。画面明丽润泽，给人清新之感。",[23,114,24,1535,115,27,26,118,7,123,309,284,164,117,3866,6064],"王母","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ead504db0a03072610e13005477678e.jpg",[],{"id":6068,"slug":6069,"title":6070,"dynasty":58,"author":559,"museum":433,"description":1957,"tags":6071,"thumbUrl":6073,"material":495,"size":496,"collection":148,"collections":6074,"showCount":6031,"zanCount":11,"manualWeight":11,"mainColor":54},287314,"han-gong-guan-chao-tu-juan-zhao-bo-ju-287314","汉宫观潮图卷",[23,114,24,25,28,115,27,118,7,31,2274,623,437,5652,6072],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b19f8ced72c7f99b773244aa679fcfb.jpg",[],{"id":6076,"slug":6077,"title":6078,"dynasty":157,"author":2153,"museum":433,"description":6079,"tags":6080,"thumbUrl":6081,"material":148,"size":148,"collection":127,"collections":6082,"showCount":6031,"zanCount":11,"manualWeight":11,"mainColor":152},236915,"shan-shui-zhou-kun-can-236915","山水轴","髡 残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[24,162,116,193,284,117,118,7,139,33,946,1581,623,194,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[127,82,834],{"id":6084,"slug":6085,"title":6086,"dynasty":157,"author":281,"museum":60,"description":6087,"tags":6088,"thumbUrl":6090,"material":180,"size":148,"collection":182,"collections":6091,"showCount":6031,"zanCount":11,"manualWeight":11,"mainColor":54},236178,"hong-li-gu-zhuang-tong-jing-ping-yi-ming-236178","弘历古装通景屏","此作以高远法铺展冬日盛景，层叠群山覆着素雪，枯木寒林错落山间，淡墨晕染留白尽显积雪清寒之气，绘出北地冬日的萧寒辽远。\n\n下方宅邸界画工整流利，屋舍俨然。庭院之内人物往来鲜活灵动，或伫立寒暄，或穿梭备事，衣饰鲜亮，为清冷天地晕开融融暖意。画面以萧寒雪景衬宅邸温煦日常，一动一静相映成趣。笔触兼具北宗山水的苍劲雄浑与院体精工之致，将幽居雅集的闲逸意趣，融在素裹天地之中，清冷意境与人间暖意交织，尽显古典园居的雅致韵味。",[24,63,6089,27,26,28,118,7,30,33,616,39],"屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded276fb2933bdf92b40267c15571dff.jpg",[182,127,49,51],{"id":6093,"slug":6094,"title":304,"dynasty":157,"author":1460,"museum":60,"description":6095,"tags":6096,"thumbUrl":6105,"material":6106,"size":6107,"collection":148,"collections":6108,"showCount":6031,"zanCount":11,"manualWeight":11,"mainColor":152},231511,"xian-shan-lou-ge-tu-wang-hui-231511","此画描绘的是长松高岭，溪水村舍。由画中题识可知此画是一幅贺寿之作。画中以两株粗朴茂盛的参天巨松压轴，寓意常青不老。画面的远景是连绵的山岭，水溪从山中流出，至低处汇成大河，在山水林木的环抱中隐约可见幽静的楼阁。此画在笔墨表现上宗法黄公望，峰峦层叠，树从浓郁，勾线空灵，苔点细密，皴笔干湿浓淡相映衬，皴擦点染兼用。此画的用墨明洁苍润，得自于董其昌的影响，这幅画气厚力陈，显示王时敏深厚的笔墨功力。\n王时敏的绘画，受到董其昌文人画和“南北宗”理论的极大影响，其作大多致力于摹古，强调以笔墨图式来营造山水结构。他早年师从于董其昌，以古代名家的真还作为临摹粉本，并不局限于一家而习。王时敏的绘画追求平淡天真、苍秀隽逸，重视笔墨中所表达的逸气，即“文人气”。他强调在描绘客观事物的同时，仍要注重心灵抒发和精神表现，这与董其昌及其所提倡的“南北宗”论不谋而合。纵观南宗的文人画脉络，从五代董源、巨然到宋代李成、范宽，苒到元代的黄公望、吴镇、倪瓒、王蒙等，无一不注重文人的内在学识与修养。\n王时敏最大的艺术特点就是“摹古”，注重“笔墨”的运用，以临摹古代名家作品作为绘画的基础。尤其在研习宋元山水作品中的运笔、用墨、造型、结构等各方面时，主张摹古而不拘泥于古人之法，经过摹古举习，结合自身的文化修养，再重新进行艺术创造。王时敏的山水作品早年严格遵照董其吕及南宗各家的艺术风格，形态上比较细腻清秀，如《仿倪瓒山水图轴》等。到了中期，他开始脱离董其昌的笔意，醉心于对黄公望的学习，在这一时期，王时敏个人风格开始逐步形成，如《秋山白云图》《丛林曲涧图轴》等作品皆为代表。晚期则以康熙元年（1662)王时敏71岁为分界点，这一时期其绘画融众家之长于一炉，以黄公望为宗，上溯董源、巨然等南宗诸家，笔墨苍劲浑厚，风格沉稳雄坚，如《仙山楼阅图》《仿杜甫诗意图册》等。",[23,24,308,28,6097,6098,6099,1344,7,6100,6101,6102,116,162,3173,6103,6104],"长松","高岭","溪水","山岭","大河","巨松","贺寿","常青","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c9e00824c0726216aa5aa68aa095974.jpg","纸本墨笔","133.2cmx63.3cm",[],{"id":6110,"slug":6111,"title":6112,"dynasty":18,"author":19,"museum":433,"description":6113,"tags":6114,"thumbUrl":6115,"material":148,"size":148,"collection":148,"collections":6116,"showCount":6031,"zanCount":11,"manualWeight":11,"mainColor":152},228452,"xun-yang-song-bie-tu-quan-juan-chou-ying-228452","浔阳送别图全卷","《唐寅集》是21年 出版的图书，作者是唐寅。\n本书主要收录了明代著名文人、书画家唐寅的精选优秀作品。\n本书收入我社“中国古典文学丛书”。\n唐寅（147-152），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人，为明代著名文人、书画家。\n在诗文方面与祝允明、文徵明、徐祯卿并称“吴中四才子”，在绘画方面与沈周、文徵明、仇英并称“吴门四大家”。\n本书汇辑传世《唐伯虎集》七种刻本全部作品为前六卷，以六如居士制义及画谱为附集四卷，还从抄本、墨迹、书画文献中补辑得诗文词曲六卷，并附录原集序跋、史传铭赞、轶事、诗文评论、诗文赠答、年表等六卷资料。\n辑校者周道振先生（1916-27）是著名的碑帖鉴藏家，本书由他和夫人张月尊女士共同署名，是目前所能见到的最详尽的唐伯虎集。\n前言 卷第一赋乐府五言古诗七言古诗 娇女赋 金粉福地赋 惜梅赋 短歌行 相逢行 出塞二首 紫骝马 聪马驱 侠客 陇头 陇头水 咏春江花月夜 春江花月夜二首 白发 伏承履吉王君以长句见赠作此以答 闻蛩 夜中思亲 伤内 赠文学朱君别号筒庵诗 咏怀诗二首 失题 戏题 咏梅次杨廉夫韵 江南春次倪元镇韵 姑苏八咏 登法华寺山顶 三高祠歌 桃花庵歌 花下酌酒歌 把酒对月歌 一年歌 一世歌 默坐自省歌 醉时歌 解惑歌 世情歌 怅怅词 百忍歌 嘅歌行 进酒歌 闲中歌 妒花歌 七十词 江南四季歌 七夕歌 渔樵问答歌 焖波钓叟歌 咏渔家乐 怡古歌 席上答王履吉 世寿堂诗 题五王夜燕图 题浔阳送别图 七夕赋赠织女 招仙曲二首 卷第二五言律诗五言排律七言律诗 游焦山 听弹琴瑟 送王履约会试 送行 赠寿 桃花庵与祝允明黄云沈周同赋五首 偶成 题张梦晋画 题溪山迭翠卷 题画 马 贺松郡伯寿诞 登昊王郊台 仲夏三十日陪弘农杨礼部丹阳都隐 君虎丘泛舟 沈征德饮予于报恩寺之霞骛亭酒 酣赋赠 正德己卯承沈征德顾翰学置酌禅寺见招猥鄙栖酒狼藉作此奉谢 春日城西 阊门即事 雨中小集即事 桃花庵与希哲诸子同赋三首 桃花坞祓楔 社中诸友携酒园中送春 姑苏杂咏四首 齐云岩纵目 与朱彦明诸子同游保叔寺 松陵晚泊 焦山 游金山 同诸公登金山 庐山 严滩 观鳘山四首 谒故福建愈宪永锡陈公祠 赠南野 领解后谢主司 送李尹 长洲高明府过访山庄失于迎迓作此奉谢 别刘伯耕 顾君满考张西溪索诗饯之故为赋此 赠徐昌国 寄郭云帆 检斋 上宁王 寿王少傅 奉寿海航俞先生从德卿解元之请也 寿严民望母八十 五十诗 花酒 寄妓 戏题机山 题碧藻轩 题沈石田先生后集 和沈石田落花诗三十首 岁朝 元宵 花月诗十首 江南送春 霜中望月怅然兴怀 和雪中书怀 四十自寿 四十自寿 五十自寿 漫兴十首 又漫兴十首 感怀 睡起 散步 独宿 寻花 夜读 叹世 避事 自笑 梦 附钱仁夫次唐子畏韵自道鄙怀 新春作 早起偶成 蒲剑 山家见菊 闽江声 除夜坐峡蝶斋中 正旦大明殿早朝 嘉靖改元元旦作 叹世六首 警世八首 哭妓徐素 白燕 西畴图为王侍御作 题友鹤图为天兴 题辋川 题画 …… 卷第三五言绝句六言绝句七言绝句 卷第四词曲 卷第五书尺牍序记 卷第六碑铭墓志铭墓碣墓表祭文招辞疏文启论表赞联句墨铭 附集一制义 附集二画谱卷之 附集三画谱卷之二 附集四画谱卷之三 补辑卷第一赋四言古诗五言古诗七言古诗五言排律七言排律 补辑卷第二五言律诗 补辑卷第三五言绝句 七言绝句 补辑卷一第四七言绝句联句题画联句 补辑卷第五词曲 补辑卷第六序说记手柬祭文跋自跋赞墓志铭",[23,115,27,26,25,63,164,118,30,120,32,121,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a159f53daa2ea54b03086c051be521.jpg",[],{"id":6118,"slug":6119,"title":6120,"dynasty":885,"author":2977,"museum":433,"description":6121,"tags":6122,"thumbUrl":6123,"material":148,"size":148,"collection":148,"collections":6124,"showCount":6031,"zanCount":587,"manualWeight":11,"mainColor":54},228041,"chun-shan-fang-you-tu-sheng-mao-228041","春山访友图","此作用浅绛轻敷春山，晨雾如纱晕开层叠远峰，虚实错落间晕染出江南春日的空濛柔婉。湖面烟波浩渺，扁舟横波，舟上三人闲坐，将江湖散逸之趣藏于涟漪间。近岸山居隐于茂林之下，屋中似有知己晤谈，野意悠然。\n笔墨清润秀雅，皴染相融，既带着院体的精工细致，又藏着元人萧散的隐逸襟怀。水汽漫过浅滩淡渚，拉伸了山水的空间层次，以淡墨轻岚铺展出咫尺千里的悠远，将文人寄情林泉的雅怀，尽数藏进眼前的丘壑烟波之中。",[24,162,27,118,116,120,30,196,33,121,7,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc6bbce454ff2f4c5167e98576e758d.jpg",[],{"id":6126,"slug":6127,"title":6128,"dynasty":157,"author":1055,"museum":60,"description":6129,"tags":6130,"thumbUrl":6131,"material":180,"size":6132,"collection":127,"collections":6133,"showCount":6031,"zanCount":11,"manualWeight":11,"mainColor":54},223289,"shan-yu-yu-lai-tu-zhou-yuan-yao-223289","山雨欲来图轴","本幅自题：“山雨欲来风满楼，袁耀拟意。”钤“袁耀之印”、“昭道氏”印2方。\n此幅取唐代诗人许浑《咸阳城东楼》诗意，原诗为“一上高城万里愁，蒹葭杨柳似汀洲。溪云初起日沉阁，山雨欲来风满楼。鸟下绿芜秦苑夕，蝉鸣黄叶汉宫秋。行人莫问当年事，故国东来渭水流。”画面描绘暴雨来临前乌云狂风之下的建筑。黑沉沉的浓云正滚滚而来，弓曲的树木、低伏的庄稼、飘摇的小舟、逆风而行的农夫以及状貌扭曲、高耸危人的山岩都为画面增添了戏剧性的紧张情节和内在张力。风本无形，但画家创造性地用富于动感的笔调将闲雅剔透的静态楼阁穿插在充满动感的山水中，构成画面的诸多元素对比呼应而又谐调冲和，在动静之间达到平衡。",[23,24,193,28,118,7,139,33,194,120,27,116,30,2775,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7ab7029b365df7bfd3780da6b16bf.jpg","纵195.1厘米，横116.8厘米",[127,51],{"id":6135,"slug":6136,"title":6137,"dynasty":157,"author":504,"museum":345,"description":505,"tags":6138,"thumbUrl":6139,"material":424,"size":516,"collection":148,"collections":6140,"showCount":6031,"zanCount":11,"manualWeight":11,"mainColor":54},223035,"hong-lou-meng-160-sun-wen-223035","红楼梦160",[23,24,26,27,121,7,32,30,31,33,2444,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a3b36d5f100795b59ea7df0714f34a.jpg",[],{"id":6142,"slug":6143,"title":6144,"dynasty":18,"author":6145,"museum":135,"description":6146,"tags":6147,"thumbUrl":6148,"material":247,"size":6149,"collection":49,"collections":6150,"showCount":6031,"zanCount":11,"manualWeight":11,"mainColor":54},222550,"xuan-yuan-wen-dao-tu-juan-shi-rui-222550","轩辕问道图卷","石芮","这张画是石锐（石芮）替一位「延右观」的杨姓道长所绘的画作。描述上古时代有位仙人「广成子」隐居在崆峒山，轩辕氏（黄帝）听说他的道行高深，前往拜访的故事。因为这个事件带有许多神仙的色彩，所以在道教界十分盛行。",[23,24,25,26,27,30,118,7,538,139,194,623,28,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90506c85bbeab4041895ff4e32c7a3b0.jpg","32cmx152cm",[49,51],{"id":6152,"slug":6153,"title":6154,"dynasty":18,"author":6155,"museum":6156,"description":6157,"tags":6158,"thumbUrl":6159,"material":312,"size":6160,"collection":834,"collections":6161,"showCount":6031,"zanCount":587,"manualWeight":11,"mainColor":152},222476,"teng-wang-ge-xu-zhu-yun-ming-222476","滕王阁序","祝允明","苏州博物馆","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[23,164,284,25,117,162,3536,63,120,7,118,123,761,762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 横842.6cm",[834],{"id":6163,"slug":6164,"title":6165,"dynasty":18,"author":1247,"museum":60,"description":6166,"tags":6167,"thumbUrl":6168,"material":180,"size":6169,"collection":127,"collections":6170,"showCount":6031,"zanCount":11,"manualWeight":11,"mainColor":54},222362,"qian-tang-jing-wu-tu-zhou-tang-yin-222362","钱塘景物图轴","自题七绝并署款：“钱塘景物似围屏，路寄山崖屋寄汀。杨柳坡平人马歇，鸬鹚船过水风腥。唐寅。”钤“□郡”（白文，残，应为“吴郡”二字）、“唐白虎”（朱文）、“学圃堂”（朱文）印。\n此作在流传过程中曾经遭受损坏，唐寅题诗的顶端部分“钱”、“寄”、“船”字均为后世所补全。本幅下方二藏印模糊不可辨。\n图画崇山栈道，游骑翩翩，草阁游人独坐，江中渔舟游弋。山石、树木取法南宋李唐、夏圭，用笔方硬细峭，刻画精到，点景人物形态自然，风格细秀，显示了作者早年规步南宋“院体”风格的绘画功底。",[23,24,193,118,116,27,774,1639,33,75,7,775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0060a0b4d927625dc12f0a07bf48c8c6.jpg","纵71.4厘米，横37.2厘米",[127,82],{"id":6172,"slug":6173,"title":6174,"dynasty":18,"author":1247,"museum":269,"description":6175,"tags":6176,"thumbUrl":6177,"material":361,"size":6178,"collection":127,"collections":6179,"showCount":6031,"zanCount":11,"manualWeight":11,"mainColor":54},219982,"jiang-shen-cao-ge-tu-tang-yin-219982","江深草阁图","此幅作品以焦墨作江千石壁,二松虬结其间,松下一座茅亭,亭中幽人清坐,山拗间流泉飞落,山间小路曲折隐现,左中部有画家自题:'五月江深草阁寒苏门唐寅写增次明吴君．'下铃朱文印'唐子畏图书'、'某景书屋'．画心及诗堂有沈周、吕秉之、叶恭绰、吴湖帆等人题跋,整幅作品皴笔清劲、缜密,于风骨奇峭中透出明洁秀爽的雅逸之气。\n此幅作品虽无年月可考,但从风格上看,确为少年真迹．按吴湖帆的考证,沈周题诗书迹为60 余岁时作,沈又长子畏43 岁．沈周与吕秉之的题均为前辈勉励后生之语．按唐寅中弘治戊午解元时年29 岁,以吕秉之所题'子且不试艺'句,此幅作于29 岁之前无疑。",[23,114,24,63,193,162,116,118,7,139,32,33,30,421,1829],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece99a18e25e8053cb0da8812a3492fb.jpg","纵84 厘米,横36.7 厘米",[127],{"id":6181,"slug":6182,"title":6183,"dynasty":58,"author":281,"museum":806,"description":6184,"tags":6185,"thumbUrl":6187,"material":424,"size":6188,"collection":80,"collections":6189,"showCount":6031,"zanCount":11,"manualWeight":11,"mainColor":54},219731,"he-tang-an-le-tu-yi-ming-219731","荷塘按乐图","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。",[24,114,28,27,30,7,931,4986,6186,1204,3473,4048],"湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10479730a19e6b1aa7242930025e39b2.jpg","25.8x22.3cm",[80,127],{"id":6191,"slug":6192,"title":6193,"dynasty":885,"author":6194,"museum":135,"description":2302,"tags":6195,"thumbUrl":6197,"material":47,"size":6198,"collection":148,"collections":6199,"showCount":6200,"zanCount":530,"manualWeight":11,"mainColor":54},290955,"long-zhou-duo-biao-zhou-wu-ting-hui-290955","龙舟夺标轴","吴廷晖",[24,193,28,27,2306,7,118,33,35,121,6196],"龙舟夺标","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfaac7c9f64d3cb8ff91cd3ca0120e38.jpg","124.1x65.6",[],38,{"id":6202,"slug":6203,"title":6204,"dynasty":489,"author":570,"museum":433,"description":6205,"tags":6206,"thumbUrl":6207,"material":495,"size":496,"collection":148,"collections":6208,"showCount":6200,"zanCount":11,"manualWeight":11,"mainColor":54},290234,"qing-feng-tu-ju-ran-290234","晴峰图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。\n名下画作有《秋山问道图》《山居图》《萧翼赚兰亭图》《万壑松风图》《层岩丛树图》《秋山图》等传世。",[23,114,24,63,193,162,118,116,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f767646b504d76c3e289173b139511.jpg",[],{"id":6210,"slug":6211,"title":954,"dynasty":58,"author":523,"museum":433,"description":6212,"tags":6213,"thumbUrl":6214,"material":495,"size":496,"collection":148,"collections":6215,"showCount":6200,"zanCount":11,"manualWeight":11,"mainColor":54},289118,"shi-nv-tu-li-gong-lin-289118","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[24,114,95,30,138,7,1515,39,143,509,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33af21ee25f2aae5b718472616b4b91.jpg",[],{"id":6217,"slug":6218,"title":6219,"dynasty":157,"author":1055,"museum":433,"description":6220,"tags":6221,"thumbUrl":6224,"material":495,"size":496,"collection":148,"collections":6225,"showCount":6200,"zanCount":11,"manualWeight":11,"mainColor":54},287692,"han-gong-xia-jing-tu-zhou-yuan-yao-287692","汉宫夏景图轴","袁耀（生卒年不详，约活动于18世纪中期），字昭道，江都（今江苏扬州）人，袁江之子。生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。工于山水楼阁界画，继承了唐宋及明代仇英青绿山水的画法。笔墨严整工细，设色艳丽浓郁，与父袁江同为清代界画代表人物。",[114,24,63,193,28,27,7,118,6222,6223],"汉宫","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb42ed8a408f0df30581f8f5a9dfa90d7.jpg",[],{"id":6227,"slug":6228,"title":6229,"dynasty":157,"author":2177,"museum":60,"description":6230,"tags":6231,"thumbUrl":6233,"material":2060,"size":148,"collection":148,"collections":6234,"showCount":6200,"zanCount":11,"manualWeight":11,"mainColor":152},234153,"jiu-ge-tu-juan-ding-guan-peng-234153","九歌图卷","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响，学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。",[23,24,63,25,26,27,30,118,1298,121,2443,1996,6232,139,33,7,32,117],"雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a6bd8c93261ba462ca762cf3d0505c.jpg",[],{"id":6236,"slug":6237,"title":6238,"dynasty":157,"author":2153,"museum":60,"description":6239,"tags":6240,"thumbUrl":6243,"material":2060,"size":6244,"collection":148,"collections":6245,"showCount":6200,"zanCount":587,"manualWeight":11,"mainColor":152},233917,"yun-dong-liu-quan-tu-zhou-kun-can-233917","云洞流泉图轴","此图作于髡残53岁时。表现的是他晚年居地南京城郊牛首祖堂山幽栖寺一带的景致。本幅自题诗：“端居兴未索，觅径恣幽讨。沿流戛琴瑟，穿云进窈窕。源深即平旷，巘杂入霞表。泉响弥清乱，白石净如扫。兴到足忘疲，岭高溪更绕。前瞻峰如削，参差岩岫巧。吾虽忽凌虚，玩松步缥缈。憩危物如遗，宅幽僧占少。吾欲饵灵砂，巢居此中老。”此图尺幅不大，但具有宏伟壮阔的气势，构图严谨，虚实互衬，繁密的山石、林木与空疏的云、水、天构成疏密明暗的变化。运笔施墨张驰有度，粗犷娴熟，浓淡墨相宜，干湿笔相生，全图一气呵成，意境幽邃高远。此幅堪称髡残的精品佳作。",[24,63,193,118,116,162,27,1996,6241,6242,538,7,139,33,5846,421,5336,38,195],"洞","流泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62778fcf1da11e7c4313da023f47a86a.jpg","纵110.3厘米，横30.8厘米",[],{"id":6247,"slug":6248,"title":6249,"dynasty":58,"author":268,"museum":433,"description":6250,"tags":6251,"thumbUrl":6254,"material":148,"size":148,"collection":148,"collections":6255,"showCount":6200,"zanCount":11,"manualWeight":11,"mainColor":54},227413,"xue-shan-lan-re-tu-guo-xi-227413","雪山兰若图","郭熙（约1000-约1080），字淳夫，今河南孟县人，北宋画家、绘画理论家。郭熙出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。树枝如蟹爪下垂，笔势雄健，水墨明洁。早年风格较工巧，晚年转为雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n\n郭熙在学画之初并无老师，后在临摹李成山水画中受到启发，笔法大进，亦能自放胸臆，笔势雄健，水墨明洁。画山石多用卷云或鬼脸皴，画树如蟹爪下垂。1068-1077年间为图画院艺学，后任翰林待诏直长，成为宫廷画院重要成员。于画论方面亦有建树，总结出对四季山水的审美感受及山水构图三远法等。创作活动旺盛的时代正是宋神宗在位的1068-1085年，深受神宗的恩宠，有“神宗好熙笔”，“评为天下第一”之说。",[24,308,114,162,116,6252,1514,616,139,4250,7,197,6253],"卷云皴","雄阔意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64c6c4a6dae4f904ca25689a573a408.jpg",[],{"id":6257,"slug":6258,"title":4388,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":6259,"thumbUrl":6260,"material":495,"size":496,"collection":148,"collections":6261,"showCount":6200,"zanCount":11,"manualWeight":11,"mainColor":54},226272,"ku-zhu-shi-nan-bi-yi-ming-226272",[2046,94,27,30,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49cf5b7ee87247ac588d9fce0749009.jpg",[],{"id":6263,"slug":6264,"title":2042,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":6265,"thumbUrl":6266,"material":495,"size":496,"collection":148,"collections":6267,"showCount":6200,"zanCount":11,"manualWeight":11,"mainColor":5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翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,193,29,115,27,118,3997,7,33,32,139,117,284,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8614638114781952fe09e68c6cd84e.jpg",[],{"id":6339,"slug":6340,"title":6341,"dynasty":885,"author":6342,"museum":433,"description":6343,"tags":6344,"thumbUrl":6346,"material":495,"size":496,"collection":148,"collections":6347,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":54},283621,"wei-mo-shuo-fa-tu-he-bi-juan-li-sheng-283621","维摩说法图合璧卷","李升","画面清波荡漾,湖上有小桥、扁舟,远望峰峦高耸,树林参差,山间古寺隐约可见,景色清幽,一派送别离人的气氛。",[23,114,24,63,25,162,116,118,7,139,33,194,5978,6345,284,164,117,5830],"维摩说法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6614b55fa7f765c035cfb69c0288099.jpg",[],{"id":6349,"slug":6350,"title":6351,"dynasty":157,"author":1796,"museum":433,"description":6352,"tags":6353,"thumbUrl":6354,"material":495,"size":496,"collection":49,"collections":6355,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":152},234937,"yue-man-qing-you-ce-chen-mei-234937","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,63,213,27,26,30,7,32,142,33,139,39,511,38,1047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b64d9f8816d7446b826324b78143f92.jpg",[49,51],{"id":6357,"slug":6358,"title":6359,"dynasty":157,"author":2440,"museum":60,"description":6360,"tags":6361,"thumbUrl":6362,"material":180,"size":6363,"collection":148,"collections":6364,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":152},233114,"bi-shu-shan-zhuang-tu-zhou-leng-mei-233114","避暑山庄图轴","作者以写实的手法描绘了避暑山庄后苑部分及其四周的崇山峻岭。构图为鸟瞰式，自景区上方向下纵向取景，景致具体而微。设色以青绿着色和浅绛渲染相结合，冷暖色调和谐呼应，成功地营造出山庄静寂清幽的氛围。笔法灵活多变，山石树木或以干笔皴擦，或青绿烘染。建筑物的描绘，作者在传统的工笔界画基础上，又巧妙地吸收了欧洲的透视法，并将二者融合在一起，从而更科学、客观地表现出建筑物的物理结构，同时也加强了画面的纵深感。此图同时是一幅反映康熙时期避暑山庄建筑的图样，对于我们了解避暑山庄的建筑沿革有着重要的图像价值。",[114,24,63,193,27,26,118,7,32,33,68,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d890f29b07ff6e1df7488c12dacbcf7.jpg","纵254.8厘米，横172.5厘米",[],{"id":6366,"slug":6367,"title":6368,"dynasty":157,"author":281,"museum":60,"description":6369,"tags":6370,"thumbUrl":6373,"material":312,"size":6374,"collection":127,"collections":6375,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":152},233082,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233082","平定苗疆战图册","清朝宫廷内绘制的大量画幅，在清王朝覆灭之前，大部分均藏储于宫中及皇家园林行宫内。其中一部分于咸丰十年（1860）和光绪二十六年（1900），英法联军及八国联军侵华时遭到劫掠，或被毁坏，或流失海外，清亡后亦有少量散佚，而主要部分后来都成为在明、清皇宫基础上建立起来的北京故宫博物院的藏品。现在，清代的宫廷绘画，除了少量分藏于境内外其他一些博物馆外，比较集中地收藏于北京故宫博物院和台北故宫博物院。",[24,63,213,27,26,28,30,118,65,31,7,139,33,844,6371,6372,809],"军队","战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb44c58ab354d81ed622cd3e2e54cb07.jpg","纵55.4cm，横90.8cm",[127,49,51],{"id":6377,"slug":6378,"title":6379,"dynasty":885,"author":6380,"museum":135,"description":6381,"tags":6382,"thumbUrl":6383,"material":6106,"size":6384,"collection":148,"collections":6385,"showCount":130,"zanCount":630,"manualWeight":11,"mainColor":152},231336,"chun-shan-qing-ji-tu-yuan-dai-ji-jin-zhi-wu-ma-wan-231336","春山清霁图－元代集锦之五","马琬","画中高山层层迭迭突起，林木长长矗立，清溪蜿蜒，渔舟摇摇，山村亭阁，曲径相通，滋润的笔墨，体会出大地草木华兹。款题：“春山清霁（楷书）。至正丙午岁（1366年）春正月望日，马文璧画于书声斋。”丙午（1366年）去黄公望《富春山居》之“庚寅”（1350年）题记，只有满15年之距离。全幅结构皴法，大抵出于元黄公《望富山居图》，如以近景主山峰的造形，远山一列丘陵起伏，近者淡远者浓，与皴法运用，勾线涂抹，几与《富春山居》相同；此“春山”也不尽让人想起同样的画《富春山居》。\n黄公望《富春山居》（无用师卷）山峰树石草木，表现出来的是重视笔趣与墨意，从元人的画迹来了解，黄公望《富春山居》成为一种文人画山水的“典范”。也就是以五代北宋董源、巨然为主的风格传承。从赵孟頫为起点，尔后，另一位吴镇也有充满着“披麻皴”风格的人物。那踵步者足为代表，应是这件马琬《春山清霁》。款题所指：“画于书声斋（行书），”为夏士文之斋居，也是云间夏氏知止堂裔孙。夏士文为夏士良文彦兄弟行。杨维祯至正二十年庚子秋曾为作《书声斋记》。元黄公望《富山居图》款题即书于夏氏“知止堂”。夏氏云间“知止堂”。主人为谁？杨维桢又有《知止堂记》，主人是云间老人夏谦齐氏，取《老子》之经有警人者，曰“知止不殆”的典故，堂有匾是赵孟俯所书。其四叶孙颐贞，在兵火之后，重建。马琬为杨维祯学生，张雨、黄公望均与杨维祯友好。马琬生平也是一位亲炙过黄公望的人物。",[24,63,25,162,116,118,139,33,32,120,7,117,284,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9a84ff4dd4e7bbd78e820d09fd9b8d.jpg","纵27厘米，横102．5厘米",[],{"id":6387,"slug":6388,"title":6389,"dynasty":18,"author":226,"museum":433,"description":6390,"tags":6391,"thumbUrl":6398,"material":148,"size":148,"collection":148,"collections":6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on":148,"collections":6687,"showCount":6671,"zanCount":11,"manualWeight":11,"mainColor":54},287719,"hua-zhang-lin-xiao-yi-dong-yuan-287719","画长林萧逸","水墨画山峦层叠，林木丛聚。画中山石土坡，均用披麻皴法，只是笔法造型稍嫌刻板，乏于变化；树木平整罗列，少于掩映参差的深趣，当是出于后期画家仿作。",[23,114,24,63,193,162,116,27,118,373,7,31,32,6685],"萧逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc088b2a7379e1f7d028fe386eee872fb.jpg",[],{"id":6689,"slug":6690,"title":6691,"dynasty":157,"author":2153,"museum":60,"description":6692,"tags":6693,"thumbUrl":6694,"material":2060,"size":6695,"collection":148,"collections":6696,"showCount":6671,"zanCount":11,"manualWeight":11,"mainColor":152},234954,"xian-yuan-tu-kun-can-234954","仙源图","《仙源图》名即来源于诗之起首二字。根据诗的内容“天都保障石关巈，面对天都峰矗矗。”画的应是黄山天都峰。此图画法以“元四家”为宗，尤其受王蒙影响，构图较满，用线清晰豪壮，墨与色浑然一体，画风苍劲浑厚，意境幽野旷疏。所画景物与自题诗互相生发，相得益彰，把现实中的山水变成了人与自然为一体的生机世界。这里对烟云的描绘使人仿佛置身奇异的梦幻之境。画中题画诗是画面结构的一部分，烟云的留白画法以及全景式的构图都呈现了与西画不同的特点。",[24,63,193,162,27,116,118,7,32,120,373,121,194,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7214b8afcf42954dc5bdd808a86bf5ea.jpg","纵84厘米，横42.8厘米",[],{"id":6698,"slug":6699,"title":6700,"dynasty":18,"author":6701,"museum":60,"description":6702,"tags":6703,"thumbUrl":6704,"material":2060,"size":6705,"collection":148,"collections":6706,"showCount":6671,"zanCount":587,"manualWeight":11,"mainColor":152},233751,"qian-gu-hu-qiu-qian-shan-tu-zhou-qian-gu-233751","钱穀虎丘前山图轴","钱谷","钱穀主张绘画师法造化。他曾说：“丹青者，熔以法，模以天。”此幅作于隆庆元年丁卯（1567年）钱穀59岁时，写虎丘山前山实景，描绘了从二山门到山顶佛阁的景象。千人石、剑池、双吊桶、虎丘寺塔皆收入幅中。从题诗上看，画家是着意表现秋天空林落木、清寂高旷的景致，借景抒情，传达出寻胜访幽的文人雅趣。与《求志园图》一样，此幅山水不只是虎丘山云岩寺的简单再现，而是画家根据画面需要将有特征性的景物进行了重新安排，是意笔楼阁与文人山水紧密结合之作。如果去掉画面中虎丘寺塔等特殊性建筑物，则完全变成了一幅纯文人山水画。",[24,27,116,193,118,7,121,335,33,139,30,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a26491f6fd766a14bd39dce498d642a.jpg","纵111.5厘米，横31.8厘米",[],{"id":6708,"slug":6709,"title":5809,"dynasty":58,"author":2259,"museum":433,"description":6710,"tags":6711,"thumbUrl":6712,"material":424,"size":6713,"collection":148,"collections":6714,"showCount":6671,"zanCount":11,"manualWeight":11,"mainColor":54},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,2071,24,63,25,115,27,26,116,118,196,33,422,538,7,121,31,32,30,65,75,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":6716,"slug":6717,"title":6718,"dynasty":157,"author":472,"museum":433,"description":6719,"tags":6720,"thumbUrl":6722,"material":148,"size":148,"collection":148,"collections":6723,"showCount":6671,"zanCount":587,"manualWeight":11,"mainColor":152},230246,"jing-shi-sheng-chun-shi-yi-tu-xu-yang-230246","京师生春诗意图","《京师生春诗意图》是清代画家 于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[23,24,63,25,28,27,26,30,7,118,33,44,6721,872,5216,258,335,40,39,623],"春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],{"id":6725,"slug":6726,"title":304,"dynasty":18,"author":6727,"museum":433,"description":6728,"tags":6729,"thumbUrl":6730,"material":148,"size":148,"collection":148,"collections":6731,"showCount":6671,"zanCount":11,"manualWeight":11,"mainColor":54},228739,"xian-shan-lou-ge-tu-li-shi-da-228739","李世达","这幅画作以古雅青绿晕染山峦，层叠峰岫苍劲灵动，云雾漫过山坳林麓，将整座仙山晕染出空濛虚灵的缥缈意境。林麓间隐着幽致楼阁，烂漫桃林遍植溪谷，白衣雅士或驻足晤谈，或循溪漫游，将山居雅逸尽显。画面以细腻皴法写就山石肌理，青绿设色厚重沉静，糅合出世外仙源的悠然意趣，将文人心中的桃源之境具象铺展，尽显仙逸雅致的古典山水审美意韵。",[23,24,63,115,27,26,116,118,7,30,33,139,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580ee793cdf2d67b3c1bf37812f2920f.jpg",[],{"id":6733,"slug":6734,"title":6735,"dynasty":885,"author":1332,"museum":433,"description":6736,"tags":6737,"thumbUrl":6738,"material":148,"size":148,"collection":148,"collections":6739,"showCount":6671,"zanCount":11,"manualWeight":11,"mainColor":54},228051,"da-ming-gong-tu-juan-wang-zhen-peng-228051","大明宫图卷","图绘楼台魏巍，湖水环绕，拱桥横跨，一巨大的龙舟领衔，众多小龙舟奋力竞渡夺标的生动情景。\n场面宏大壮观，人、船众多，旌旗招展，鼓乐齐奏，一片观乐紧张气氛。\n全画用笔工整严谨，楼台、龙舟俯仰曲折，细入毫端，人物虽小，然各尽其态，引人入胜。\n【名称】元王振鹏金明夺锦图卷 【规格】该幅 2.124.1公分；隔水一 1.公分；隔水二 1.7公分 【收藏】 主题与关键字：春景、名胜、龙舟、宫殿、桥、池水、奇石、官员（臣）、侍从（侍女、童仆）、百姓、表演者、杂耍艺人、松、竹、杨柳、柏、庭院、栏杆、鸟笼、旗、秋千 录入：石渠宝笈初编（养心殿），下册，15页；故宫书画录（卷八），第四册，8页；故宫书画图录，第十七册，211-214页。\n王振鹏：元永嘉（今浙江温州）人。\n官至漕运千户。\n界画极工致，仁宗眷爱之，赐号孤云处士。\n运笔和墨，豪分缕析，左右高下，俯仰曲折，方员平直，曲尽其体，而神气飞动，不为法拘。\n虽入纤细，而格力超腾，非院中人所能。\n元季界画可为第一，不在郭恕先之下， 、 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。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[24,63,118,27,116,1638,7,139,33,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df074ba8c51f80c12f8c57d5b60b59c.jpg",[],{"id":6825,"slug":6826,"title":6827,"dynasty":157,"author":281,"museum":433,"description":5650,"tags":6828,"thumbUrl":6832,"material":495,"size":496,"collection":148,"collections":6833,"showCount":6807,"zanCount":11,"manualWeight":11,"mainColor":152},234432,"wen-shu-pu-sa-yuan-liu-tang-ka-zhi-yi-yi-ming-234432","文殊菩萨源流唐卡（之一）",[4109,94,6829,27,2028,6830,6831,7,96],"藏传佛教","佛教人物","文殊菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b45f7044590ccff39d70666044e9ab.jpg",[],{"id":6835,"slug":6836,"title":6837,"dynasty":885,"author":281,"museum":6838,"description":6839,"tags":6840,"thumbUrl":6847,"material":312,"size":6848,"collection":148,"collections":6849,"showCount":6807,"zanCount":11,"manualWeight":11,"mainColor":152},232835,"fang-li-song-xi-hu-qing-qu-tu-yi-ming-232835","仿李嵩西湖清趣图","美国弗瑞尔美术馆","画中心突出明净湖水，四围群山环绕，雷峰塔、孤山、双峰插云、断桥诸名胜皆隐现于烟锁雾迷之中，画风上于马远、夏圭之外，自出机杼。 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，熙寧元年選尚英宗女祁國長公主，授左衞將軍、駙馬都尉，遷密州觀察使。元祐初，疏言：“變法易令，始於王安石，成於蔡確。近者退確進司馬光，以臣觀之，所得多矣。”進武勝軍留後。",[23,24,114,213,27,116,28,284,117,118,230,7,33,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38201b375c0d8926df9611e75942c0b.jpg","25X29厘米",[127,51],{"id":6936,"slug":6937,"title":6938,"dynasty":157,"author":3469,"museum":20,"description":3470,"tags":6939,"thumbUrl":3475,"material":217,"size":148,"collection":127,"collections":6941,"showCount":6807,"zanCount":11,"manualWeight":11,"mainColor":152},219712,"xiao-yuan-yin-jiu-tu-luo-pin-219712","筱园饮酒图",[24,27,28,162,7,422,139,39,30,33,38,6940,1047],"淡彩",[127],{"id":6943,"slug":6944,"title":6945,"dynasty":885,"author":1332,"museum":135,"description":6946,"tags":6947,"thumbUrl":6948,"material":361,"size":6949,"collection":127,"collections":6950,"showCount":6807,"zanCount":11,"manualWeight":11,"mainColor":54},218725,"bao-jin-jing-du-tu-wang-zhen-peng-218725","宝津竞渡图","界笔如丝，勾勒出楼阁层叠错落，飞檐翘角似振翅欲飞，梁柱间精巧纹饰尽显匠心底蕴。水面上龙舟竞渡，旌旗猎猎，舟中人群攒动——或击鼓助威，或挥桨逐浪，浪花翻涌间满是喧腾热闹。整幅画以细腻线条铺陈，将宋代汴京宝津楼前的端午盛景凝于绢素，既有界画的严谨工整，又不失动态的鲜活灵动，仿佛鼓点与欢呼交织耳畔，昔日都城的繁华气象跃然眼前。",[24,63,25,28,95,30,7,31,32,2306,33,38,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda29ce46bd5c86dc803d1bc684f736b8.jpg","36.6x183.4cm",[127],{"id":6952,"slug":6953,"title":4876,"dynasty":885,"author":281,"museum":242,"description":6954,"tags":6955,"thumbUrl":6956,"material":47,"size":6957,"collection":127,"collections":6958,"showCount":6807,"zanCount":11,"manualWeight":11,"mainColor":54},218210,"lou-ge-tu-yi-ming-218210","楼阁图是元朝时期的一种著名绘画风格。它以其栩栩如生的再现自然风光和精细的内部装饰而闻名。\n\n元朝，又被称作“大元”，是中国历史上继北宋之后的第一个多民族、多语言的王朝。它的建立标志着中国进入了封建制的最后一个阶段。元朝的建立者是蒙古族公主忽必烈，忽必烈是在其父亲蒙哥汗的帮助下统一了全国，并于1271年建立了元朝。\n\n楼阁图是元朝时期的一种流行的绘画风格。这种绘画风格的特点是对山水风光的再现以及对宫殿、院落、楼阁等建筑物的精细描绘。楼阁图通常是以山水为背景，描绘出宏伟的宫殿、庄严的寺庙、雄伟的城池等景象。它的画风细腻、精巧，注重细节，给人以视觉上的享受。",[24,114,27,28,7,118,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029c4d5225d5f29d73cf189d792af37d.jpg","25.3x21.7cm",[127],{"id":6960,"slug":6961,"title":6962,"dynasty":157,"author":2440,"museum":433,"description":6963,"tags":6964,"thumbUrl":6965,"material":312,"size":148,"collection":148,"collections":6966,"showCount":6807,"zanCount":11,"manualWeight":11,"mainColor":499},217116,"bai-miao-luo-han-4-leng-mei-217116","白描罗汉-4","冷枚（约1669年—1742年），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。清代宫廷画家。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。",[24,63,213,95,94,30,7,123,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F975c7429dbb03605379aebabc588151b.jpg",[],{"id":6968,"slug":6969,"title":6970,"dynasty":885,"author":281,"museum":806,"description":6971,"tags":6972,"thumbUrl":6973,"material":47,"size":6974,"collection":127,"collections":6975,"showCount":6807,"zanCount":11,"manualWeight":11,"mainColor":54},215144,"xuan-pu-chun-shen-tu-yi-ming-215144","悬圃春深图","悬圃春深图是一幅元朝（1271-1368）时期的图画，作者佚名。这幅图展示了一个人站在悬圃之上，俯视着春天的景色。悬圃是一种古老的中国园林建筑，通常是一个圆形的小建筑，用来观赏周围的景色。在这幅图中，悬圃上的人可以看到树木芽生，花儿开放，鸟儿欢快地唱歌。这幅图捕捉了春天带来的生机勃勃的气息，是一幅生动而优美的作品。",[24,28,27,115,1535,7,118,33,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d3510d20cfcdbf5cc710910d3669f7d.jpg","26x27.8cm",[127],{"id":6977,"slug":6978,"title":6979,"dynasty":58,"author":6980,"museum":135,"description":6981,"tags":6982,"thumbUrl":6983,"material":361,"size":6984,"collection":148,"collections":6985,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":54},290866,"peng-lai-xian-hui-zhou-zhao-da-heng-290866","蓬莱仙会轴","赵大亨","与卫松曾同为赵伯驹、赵伯骕家仆，侍候赵氏兄弟作画，生卒年不详。",[24,114,28,308,27,7,538,196,30,3866,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a7a3f49e465910b9499299b136f5e0.jpg","54.2x86.4",[],33,{"id":6988,"slug":6989,"title":6990,"dynasty":58,"author":417,"museum":433,"description":6991,"tags":6992,"thumbUrl":6993,"material":495,"size":496,"collection":148,"collections":6994,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":499},290861,"qiu-shan-yu-ting-zhou-li-cheng-290861","秋山渔艇轴","李成（919～967）五代及北宋画家。字咸熙，唐宗室后裔。原籍长安（今陕西西安），先世系唐宗室，祖父李鼎曾任苏州刺史，于五代时避乱迁家营丘（今山东昌乐），故又称李成为李营丘。他博学多才，胸有大志，但不得施展，遂放意诗酒书画，后醉死陈州（今河南淮阳）客舍。擅山水，师承荆浩、关仝，并加以发展，多画郊野平远旷阔之景。多作平远寒林，画法简练，笔势锋利，好用淡墨，有“惜墨如金”之称；画山石好像卷动的云，后人称这种表现技法为“卷云皴”。",[24,193,118,31,32,120,1669,121,7,116,2251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a95e63285ff12ebf6a02129e321d325.jpg",[],{"id":6996,"slug":6997,"title":6078,"dynasty":885,"author":3819,"museum":433,"description":6998,"tags":6999,"thumbUrl":7000,"material":495,"size":496,"collection":148,"collections":7001,"showCount":6986,"zanCount":587,"manualWeight":11,"mainColor":54},290830,"shan-shui-zhou-wu-zhen-290830","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[24,114,63,193,162,116,118,33,7,31,32,139,1046,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd82f292a0555682f810ce48433f32c.jpg",[],{"id":7003,"slug":7004,"title":7005,"dynasty":58,"author":281,"museum":433,"description":7006,"tags":7007,"thumbUrl":7010,"material":495,"size":496,"collection":148,"collections":7011,"showCount":6986,"zanCount":630,"manualWeight":11,"mainColor":54},290758,"ke-si-shang-yuan-ying-xi-tu-zhou-yi-ming-290758","缂丝上元婴戏图轴","亭台枕着山水铺展底色，凭栏文人悠然观览，稚童四散嬉游，或展纸挥毫、或拨弦弄乐，逗引瑞兽、结伴追闹，憨态各异，灵动鲜活。\n\n通经断纬的技法让石青、朱红色块利落分明，晕开古雅沉静的底色。将庭院稚趣与幽淡景致相融，复刻出闲逸日常图景，又以婴戏暗喻多子多福的吉庆愿景，把精妙织绣技艺与雅致民俗意趣揉合一处，尽显旧时雅致的生活意趣与精湛造物匠心。",[24,193,1861,27,30,7008,121,795,7009,386,7,919],"婴戏","麒麟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0353f7509ad134b32cb56e4816b0140e.jpg",[],{"id":7013,"slug":7014,"title":3994,"dynasty":157,"author":2153,"museum":433,"description":7015,"tags":7016,"thumbUrl":7018,"material":495,"size":496,"collection":148,"collections":7019,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":152},289978,"qiu-shan-you-jing-tu-zhou-kun-can-289978","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[114,24,193,162,118,31,32,120,7,121,372,373,7017,116,117,284,2251,1046],"幽静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2ddd0155bf080eb2a2b6efcf533b5c.jpg",[],{"id":7021,"slug":7022,"title":7023,"dynasty":58,"author":5562,"museum":433,"description":5606,"tags":7024,"thumbUrl":7025,"material":495,"size":496,"collection":148,"collections":7026,"showCount":6986,"zanCount":587,"manualWeight":11,"mainColor":106},289929,"qiu-lin-he-yi-tu-wang-shen-289929","秋林鹤逸图",[1535,24,308,27,538,2573,1380,623,123,7,6841,2429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623db88646b4856450cfc34a8a105256.jpg",[],{"id":7028,"slug":7029,"title":7030,"dynasty":18,"author":7031,"museum":433,"description":7032,"tags":7033,"thumbUrl":7034,"material":495,"size":496,"collection":148,"collections":7035,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":54},289757,"wu-yue-tu-juan-que-yi-jing-song-xu-289757","五岳图卷(缺一景)","宋旭","五岳，是中国五大名山的总称，指东岳泰山、西岳华山、中岳嵩山、北岳恒山、南岳衡山。五岳起源于古代中国人的山川崇拜，是和国君对山神的祭祀联系在一起的。此图分别绘制了五岳之中的日观晴曦、太华清秋、融峰两色、恒塞积雪、二室争奇等自然美景，作品采用浓淡相间、虚实对比的手法使画面层次分明。在构图上，画家运用了传统的平远构图法，景物近大远小，近实远虚，具较强的深远感。画面用笔粗犷，潇洒秀逸，笔力雄劲，既充实了画面，也体现出明代文人画诗、书、画相结合的时代特色，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[23,114,24,63,25,118,162,116,196,194,3057,7,437,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18ca5187f1b1f5f6c2dcd2fba8a8f05.jpg",[],{"id":7037,"slug":7038,"title":4182,"dynasty":58,"author":3626,"museum":433,"description":5009,"tags":7039,"thumbUrl":7041,"material":495,"size":496,"collection":148,"collections":7042,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":54},288970,"song-feng-lou-guan-tu-ma-lin-288970",[114,24,308,28,27,26,7,538,7040,118],"雨天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb4382d26e8d220766465beb138783c.jpg",[],{"id":7044,"slug":7045,"title":7046,"dynasty":58,"author":669,"museum":135,"description":7047,"tags":7048,"thumbUrl":7049,"material":312,"size":7050,"collection":148,"collections":7051,"showCount":6986,"zanCount":587,"manualWeight":11,"mainColor":54},232782,"yang-zheng-tu-juan-er-liu-song-nian-232782","养正图卷二","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,63,25,26,27,28,284,30,7,118,65,121,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d948e2a41c077a21b8977f8e4dfb8a.jpg","30*386.55厘米",[],{"id":7053,"slug":7054,"title":7055,"dynasty":885,"author":7056,"museum":433,"description":7057,"tags":7058,"thumbUrl":7060,"material":148,"size":148,"collection":148,"collections":7061,"showCount":6986,"zanCount":530,"manualWeight":11,"mainColor":152},228038,"mo-lou-shu-can-zhi-tu-chang-juan-cheng-qi-228038","摹楼璹蚕织图（长卷）","程棨","此作以长卷铺陈江南蚕织全序，从浴蚕收种、稚蚕养护，直到煮茧缫丝、上机成绸，将蚕户从春到夏的辛劳日常一一绘就，每段配书题诗，图文呼应。笔触温润写实，农妇饲桑、调丝的动作鲜活自然，院舍桑田、织机筐篓细节考究，忠实还原宋本原貌，又晕染出元人清雅的笔墨质感，将耕织烟火揉进细腻笔锋里，是后世窥见古时丝织工艺与乡野民俗的珍贵图像长卷。",[23,24,63,25,29,26,27,284,117,30,7,33,39,1851,3026,7059],"蚕桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e1a06d4ccdb8d1b366fe00d978d814.jpg",[],{"id":7063,"slug":7064,"title":2042,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":7065,"thumbUrl":7066,"material":495,"size":496,"collection":148,"collections":7067,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":54},226180,"ku-zhu-shi-bei-bi-yi-ming-226180",[2046,94,27,26,28,30,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70beb22e29e23cd0b13946f36b81143.jpg",[],{"id":7069,"slug":7070,"title":7071,"dynasty":58,"author":281,"museum":433,"description":7072,"tags":7073,"thumbUrl":7074,"material":148,"size":148,"collection":148,"collections":7075,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":54},223627,"he-ting-xiao-xia-tu-yi-ming-223627","荷亭消夏图","近岸古松盘曲如铁，老木横卧如长虹枕在浅草汀洲，野意自生。林间荷亭翼然明敞，朱棂黛瓦隐在浓荫里，将溽暑拦在林外，似有荷风穿窗而过，裹着清润凉意。杨柳柔条垂烟，轻蘸水面，把夏意晕成一片慵懒。\n\n远景山峦化在濛濛水汽里，只剩淡墨晕开的黛色轮廓，和烟水织就空濛底色。工写相融的笔触里，亭台勾勒精工，林木皴染苍润，淡墨烘出水汽蒸腾的溽暑空茫，把幽居消夏的闲静揉进画面。蝉声隐在叶底，时光漫过松荫，只余一室清凉，将盛夏的燥热尽数消解，藏起宋人藏在小景里的雅致闲情。",[23,24,114,27,26,116,117,118,121,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd39d36753c7bf7f5e869b068f452a9c8.jpg",[],{"id":7077,"slug":7078,"title":7079,"dynasty":157,"author":504,"museum":345,"description":505,"tags":7080,"thumbUrl":7081,"material":424,"size":516,"collection":148,"collections":7082,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":152},223076,"hong-lou-meng-62-sun-wen-223076","红楼梦62",[23,24,26,27,30,138,7,39,451,4276,1828,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa024d565d65c37ad592a2469e81be2d3.jpg",[],{"id":7084,"slug":7085,"title":7086,"dynasty":157,"author":504,"museum":345,"description":505,"tags":7087,"thumbUrl":7089,"material":424,"size":516,"collection":148,"collections":7090,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":152},223072,"hong-lou-meng-58-sun-wen-223072","红楼梦58",[23,24,26,27,30,7,39,1157,33,118,119,38,7088],"场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb184dc5ce3cbcae551dd90810e0a89.jpg",[],{"id":7092,"slug":7093,"title":7094,"dynasty":18,"author":1247,"museum":2359,"description":7095,"tags":7096,"thumbUrl":7097,"material":312,"size":7098,"collection":148,"collections":7099,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":54},222337,"qi-feng-gao-yin-tu-zhou-tang-yin-222337","奇峰高隐图轴","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,24,63,193,27,116,118,4924,421,31,32,33,139,7,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83dc2042fc9030013065e4ae628ede20.jpg","75x56",[],{"id":7101,"slug":7102,"title":7103,"dynasty":58,"author":669,"museum":60,"description":7104,"tags":7105,"thumbUrl":7106,"material":247,"size":7107,"collection":148,"collections":7108,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":152},221547,"shan-guan-du-shu-tu-liu-song-nian-221547","山馆读书图","《山馆读书图》描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,24,63,26,27,28,118,7,538,30,39,33,605,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234be9e86cbf67a38bc347e7b4419eed.jpg","24.3×24cm",[],{"id":7110,"slug":7111,"title":7112,"dynasty":58,"author":5562,"museum":60,"description":7113,"tags":7114,"thumbUrl":7115,"material":247,"size":7116,"collection":127,"collections":7117,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":152},221215,"fei-ge-yan-feng-tu-ye-wang-shen-221215","飞阁延风图页","此图原载《四朝选藻册》。图绘二位仕女，佇立楼台远眺，一位站立桌旁泛览古玩，其态悠闲自在。楼前古松葱茏，亭楼隐隐可见。作者用严谨、缜密的界画作楼台，细笔勾松针，笔法娴熟劲健，设色鲜艳和谐。裱边旧题签「王詵飞阁延风」。但从画风对比分析，与王詵风格不同，故改为无名氏作。画中无款，钤二印(一半印)不可辨。对开有清高宗弘历题诗，钤「八征耄念之宝」、「太上皇帝之宝」、「自强不息」等印。曾经清内府收藏，不见著录。",[23,24,63,213,28,27,7,33,30,164,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddda2be2d8bd08b99a15bda9153a6936.jpg","纵26、横23.5厘米",[127,51],{"id":7119,"slug":7120,"title":7121,"dynasty":18,"author":5765,"museum":135,"description":7122,"tags":7123,"thumbUrl":7124,"material":47,"size":7125,"collection":127,"collections":7126,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":54},219255,"rui-xue-ning-dong-tu-wang-e-219255","瑞雪凝冬图","高山巨石以及山下的庭院和山上的寺庙都由硬笔画出，冷峭逼人。山下远水高阔，船帆点点，落墨不多衬托了整幅绘画的冷寒的意境。",[23,24,308,27,26,28,774,1013,33,7,71,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dea2d2d24f34262242f7d5fcc48b26e.jpg","139.6厘米* 91.5厘米",[127],{"id":7128,"slug":7129,"title":7130,"dynasty":58,"author":281,"museum":135,"description":7131,"tags":7132,"thumbUrl":7133,"material":47,"size":2526,"collection":127,"collections":7134,"showCount":6986,"zanCount":11,"manualWeight":11,"mainColor":54},218990,"he-ting-xiao-xia-tu-yi-ming-218990","荷亭销夏图","画面描绘了岩石岬角上的一组树木，两棵松树站在树根上，其技术叶子在树荫下。在阴凉处，靠悬崖建了一个亭子，并通过走廊与水亭相连。亭子外面，波光粼粼，水面被荷叶包围。在湖中央的长堤上，孩子们的仆人带着他们的扇子和乐器走动。在岩石坡上摇曳的箭与湖光山色形成鲜明对比，使这幅画充满了迷人的夏日气氛 这是《名画珍品》画册的第五幅，没有作者的标记。笔法是李唐派的，近景的石坡、山石、树木，中景的山峰，都有李郭派的影子。这位艺术家可能是歌曲中间的一位画家。",[23,24,63,118,27,28,116,121,33,7,139,1430,946],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d1d0e4dbebe940bae02aa72bb50e4c.jpg",[127],{"id":7136,"slug":7137,"title":3161,"dynasty":58,"author":369,"museum":433,"description":1696,"tags":7138,"thumbUrl":7140,"material":495,"size":496,"collection":148,"collections":7141,"showCount":7142,"zanCount":587,"manualWeight":11,"mainColor":54},289379,"diao-tai-wang-yun-tu-ma-yuan-289379",[24,308,28,162,116,7,7139,623,194,33,117],"高台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c98950ab3cd210300a80beee13ca05.jpg",[],32,{"id":7144,"slug":7145,"title":7146,"dynasty":157,"author":504,"museum":433,"description":4750,"tags":7147,"thumbUrl":7148,"material":495,"size":496,"collection":148,"collections":7149,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":152},288410,"jia-zheng-you-da-guan-yuan-tu-jing-shi-sun-wen-288410","贾政游大观园图景十",[24,26,27,30,31,32,7,463,538,1047,3238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F253141a09ec95bc00071139df195e1f0.jpg",[],{"id":7151,"slug":7152,"title":1388,"dynasty":157,"author":5198,"museum":433,"description":7153,"tags":7154,"thumbUrl":7155,"material":495,"size":496,"collection":148,"collections":7156,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":152},287873,"qing-ming-shang-he-tu-juan-shen-yuan-287873","沈源[清]字恰亭，上海人。精科医，工铁笔，善画兰。代表作有《海上墨林》。",[114,24,63,25,26,27,28,30,7,476,873,33,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c46e55aac8d937ca2cfc4e29bcce68.jpg",[],{"id":7158,"slug":7159,"title":7160,"dynasty":18,"author":281,"museum":433,"description":7161,"tags":7162,"thumbUrl":7163,"material":148,"size":148,"collection":148,"collections":7164,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":152},235874,"tang-yin-guan-shan-xing-lv-zhou-yi-ming-235874","唐寅关山行旅轴","此作画境荒寒清寂，以淡墨晕染远山，烟岚朦胧间隐出路踪。虬曲古木撑起重峦一隅，枯枝苍劲老辣，皴擦间尽显风霜雕琢之态。石拱桥下寒水浅流，策杖旅人独行桥边，衣袂似随山风微动，静穆中暗含羁旅孤愁。\n整幅以水墨写意，淡远空疏的笔墨烘托出关山行旅的苍茫意境，将天涯行客的寂寥心绪融于冷寂山水间，尽显借景抒怀的雅致意趣，笔墨简淡却意蕴悠长。",[24,193,162,118,116,373,139,30,7,638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c7f861c1e723f95dfa0c68d42794f8.jpg",[],{"id":7166,"slug":7167,"title":2100,"dynasty":157,"author":2101,"museum":433,"description":5523,"tags":7168,"thumbUrl":7169,"material":495,"size":496,"collection":148,"collections":7170,"showCount":7142,"zanCount":587,"manualWeight":11,"mainColor":152},235282,"ren-wu-gu-shi-ce-fan-xue-yi-235282",[24,27,26,28,30,7,123,33,194,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F652a5897903630ea1f074609fb94805f.jpg",[],{"id":7172,"slug":7173,"title":3490,"dynasty":157,"author":7174,"museum":60,"description":7175,"tags":7176,"thumbUrl":7178,"material":7179,"size":148,"collection":148,"collections":7180,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":152},234235,"xi-hu-tu-juan-wang-yuan-qi-234235","王原祁","王原祁（1642—1715）作为名列“四王”之一的“娄东派”领袖，他的山水画在有清一代赢得了无比崇高的声誉，不仅左右了宫廷的山水画风，也成为有清一代文人山水画坛的主流势力。王原祁一生绘制过的西湖图似乎并不多，除了《石渠宝笈》中著录有3幅他的西湖图，其它的记载中并不能找到相关的材料，而实物的流传则更属罕觏。西湖图在王原祁自身的绘画实践中或许并不占有重要的地位。然而在他的西湖图中却显现了某些令人惊异的转变，或许正是这些转变导致了以后西湖图创作的困境。\n《石渠宝笈》著录的三幅王原祁西湖图分别为《西湖图轴》、《西湖十景图卷》以及另一种《西湖十景图卷》，这三幅奉敕应制的作品均只有王原祁本人简单的署衔，而没有标明确切的创作年代。\n据温肇桐《王原祁年表》，可知王原祁升翰林院侍讲学士的时间为康熙四十四年（1705）七月，其年六十四；而充日讲官的时间则是康熙四十七年（1708）四月，其年已六十七矣。至于其由翰林院侍讲学士升转为侍读学士的时间，当在康熙四十七年（1708）二月《佩文斋书画谱》成书之前，因为书中纂辑官员的署衔已标明为“翰林院侍讲学士今转翰林院侍读学士臣王原祁”，可知成书时他已经是侍读学士了。如此，则《西湖图轴》应属其六十四至六十七岁之间所绘，而另两卷十景图则更是六十七岁之后的作品了，无疑都属王原祁在世最后10年间的晚期作品。\n《石渠宝笈》著录的着色《西湖十景图卷》，现今收藏于辽宁省博物馆。这是一件高头大卷，画面从钱塘门开始，将绕西湖一周的景物以长卷的形式向左作平面的伸展，最后结束于涌金门外的问水亭。除了康熙帝钦定的西湖十景在图中有明确的文字标识之外，其它的西湖著名景物也包括其中并标以景点名称。对比清代雍正年间刊刻的《浙江通志》中所附的《西湖图》插图，除了呈现方式有所不同，在描绘的具体景物方面，二图并无大的差异。因此《西湖十景图卷》显然并非出自王原祁的想象臆造而是和《西湖图》插图一样具有实景地图的性质。\n王原祁的家乡是江苏太仓，距离杭州并不算远，他也曾经游历过西湖。清代厉鹗所纂《增修云林寺志》卷六收有王原祁《游韬光，赠山止上人》一诗，然而却并未提到他留有画作，至于具体的游杭时间及其行程更是不得而知了。康熙帝五次巡杭，也没有任何有关王原祁曾经扈驾侍行的记载。所以如果不是旧游时曾经绘制过西湖图的详细画稿，那么王原祁必定是在绘制时参考了《西湖图》之类的实景地图或是他人的画稿，显然以后者的可能性为大。\n作为王原祁这样的文人画宗师，他显然不能容忍自己的画作完全沦为一幅实景地图，所以为了与通常所见的实景地图拉开距离，《西湖十景图卷》在构图上颇费了一番经营，将西湖一周的山水景物特意作平面的延伸，而不是带有实景地图意味的环绕铺陈，画面的下方呈现出大块象征西湖湖水的留白，因此使之更具传统山水画的意蕴。然而细观这卷以黄公望画风为旨归的画作，它与王原祁通常所作的那类文人山水画作的差异无疑还是十分明显的：为了要精确呈现包括西湖十景在内的众多具体的山水景物，无法遗漏或削弱对其中一些景物的描绘，使得王原祁在描绘时，不得不给这些景物以一律的关注，其结果使得全卷呈现出毫无变化的平铺直叙，山峦与树木描绘的节奏也大体相似，完全失去了传统文人山水画在主观营造上的丰富变化。\n事实上，王原祁在山水画的结构方面有极深的研究，这本是他的特长。他在《雨窗漫笔》“论画十则”中对于山水画的结构经营有过一段极为经典的论述：“画中龙脉开合起伏，古法虽备，未经标出，石谷阐明，后学知所矜式。然愚意以为不参‘体用’二字，学者终无入手处。龙脉为画中气势源头，有斜有正，有浑有碎，有断有续，有隐有现，谓之体也……若知有龙脉，而不辨开合起伏，必至拘索失势，知有开合起伏而不本龙脉，是谓顾子失母。故强扭龙脉则生病；开合偪寒浅露则生病；起伏呆重缺漏则生病。且通幅有开合，分股中亦有开合；通幅有起伏，分股中亦有起伏，尤妙在过接映带间，制其有余补其不足，使龙之斜正、浑碎、隐现、断续，活泼泼地于其中，方为真画！如能从此参透，小块积成大块焉，有不臻妙境者乎？”这是借用堪舆学的名词来阐述的文人山水画结构法则，是王原祁通过从长期的绘画实践，从文人山水画体系中总结、提炼出来的规律性因素，它源于自然山水，但又高于自然山水，一旦违背，就会产生各种山水画之“病”。\n如果我们对比王原祁晚年自由状况下描绘的画作，与《西湖十景图》的差异将会十分明显：如辽宁省博物馆收藏的《西岭云霞》作于康熙庚寅（1710），绘制时间与《西湖十景图》（1708年后）大致相近，而且也是王原祁仿黄公望一路的画作。\n只要稍加浏览，就可以发现后图与《西湖十景图》在结构上的巨大差别：后图的山势开合、大小起伏变化多端，丘壑形象丰富生动；而《西湖十景图》山体的开合起伏极不明晰，山峦的大小起伏大体相近，完全没有体现出“宾主历然”的形态，可见为了屈从于对画面实景因素的呈现，王原祁不得不违背了他所总结并且强调要遵行的那一套结构法则。而同样的原因，最终也导致了王原祁在《西湖十景图》表现上的个性风格的削弱与丧失：后图中王原祁极具个性化的层层叠加的山石形象十分明显，这正是他建立的与“龙脉”理论相适应的个人图式。同时在表现这些个性化的图式时，其笔墨的运用随意生动，气势贯通，因而显得变化多端而混沦苍茫，显然描绘时处于较为自由的状态。而在《西湖十景图》中，为了使这幅画图具备可供康熙帝参考的实景特色，王原祁只能牺牲他一贯遵循的传统文人山水画的结构理念，不得不削弱了他个人丰富的笔墨表现，他所强调的“山水画用笔须毛”和自许的“笔端有金刚杵”的精醇笔墨在图中并没有得到充分的展现，大都显得小心翼翼而刻画平板，只是在开头与结尾几笔不涉及具体景物的云水勾勒中，才偶尔显示了他高超的笔墨造诣。\n严格地说，此卷应制的《西湖十景图》并不能符合王原祁自己所说的“活泼泼地”“真画”的要求，它虽然保留了文人画的表面因素，却被抽离了独立的价值。然而它与王原祁自由描绘的文人山水画之间的巨大差异，倒恰恰说明了他的高超之处，他在主体的文人山水画上达到的高度，足以使后人仰止。只是类似《西湖十景图》这样走入误区的文人画式的应制画作，由于具备更多的实用性与可操作性，却更多被王原祁的弟子或再传弟子们加以继承与奉行，而这恐怕并非是王原祁的本意。",[23,24,25,162,116,118,196,7177,71,33,35,437,7,31,335],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e6647336c88be860bc28ce6086696.jpg","纸本，水墨",[],{"id":7182,"slug":7183,"title":6505,"dynasty":157,"author":1055,"museum":433,"description":7184,"tags":7185,"thumbUrl":7186,"material":148,"size":148,"collection":148,"collections":7187,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":54},230157,"jiu-cheng-gong-tu-yuan-yao-230157","画作取高远、平远兼融的构图，上部巨岩拔地凌天，淡墨晕染出缭绕云气，晕开虚渺空濛的高远之境。山腰层楼叠宇依岩临渊，界画笔法工细匀整，飞檐翘角尽显宫阙的雄丽精巧。\n\n近景苍松虬曲蓊郁，临水方亭伴岸而立，板桥卧波轻连汀渚，淡墨铺陈出水岸的悠远空寂。山石兼工带写，斧劈皴间晕染烟岚，墨色干湿浓淡铺陈出山水层次虚实，将人工匠造融于天地山水间，尽显楼阁山水的明秀壮逸，把宫苑恢宏与山水灵秀相融，意境清逸悠长。",[23,24,193,28,27,118,7,121,139,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29d96974242735cfd79368fbee845cd.jpg",[],{"id":7189,"slug":7190,"title":7191,"dynasty":885,"author":4007,"museum":433,"description":7192,"tags":7193,"thumbUrl":7194,"material":148,"size":148,"collection":148,"collections":7195,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":54},228245,"xian-shan-lou-ge-tu-quan-juan-chang-juan-chen-ru-yan-228245","仙山楼阁图全卷（长卷）","此作用色古雅沉静，以青绿晕染层叠山峦，石质坚凝、林壑深秀，苍松错落植于岩岫之间，古意盎然。楼阁屋舍隐于林泉幽处，烟霞缈缈间，勾勒出超脱尘俗的世外仙乡意境。\n\n笔致精细秀润，既承唐宋青绿山水的明艳厚重，又融入元人写意的简逸格调，将洞天福地的灵逸之气晕染于绢素之上。拖尾题跋与画作相映成趣，文墨合璧，更添古雅意蕴，尽显画中幽居绝尘的雅逸之美。",[23,24,63,25,115,27,118,7,31,32,538,139,194,28,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5759faa7d805c7b52e01d396e95034f3.jpg",[],{"id":7197,"slug":7198,"title":3890,"dynasty":885,"author":2804,"museum":135,"description":7199,"tags":7200,"thumbUrl":7201,"material":146,"size":3895,"collection":148,"collections":7202,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":54},228071,"yue-yang-lou-tu-xia-yong-228071","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何着笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[24,114,63,28,95,7,118,30,139,33,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a48c01606623521039e6e1df769255.jpg",[],{"id":7204,"slug":7205,"title":5018,"dynasty":58,"author":7206,"museum":433,"description":7207,"tags":7208,"thumbUrl":7209,"material":148,"size":148,"collection":148,"collections":7210,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":54},227684,"hu-shan-chun-xiao-tu-chen-qing-bo-227684","陈清波","《湖山春晓图》页，南宋，陈清波绘，绢本，设色，纵25厘米，横26.7厘米。\n\n本幅款署：“乙未陈清波。”钤收藏印“庞莱臣珍藏宋元真迹”一方。庞元济《虚斋名画录》著录。\n\n此页以平远之法绘春山平湖。湖堤一边是掩映在绿树丛中的深院崇楼，湖对岸小路上一人骑马远行，执鞭回望崇楼，二仆负伞荷担相随，湖阔天高，远山一带。画中人物是踏青，是出行，是省亲，是远宦，耐人寻味。楼阁虽以粗笔画出，但飞檐户牖洗练而不失准确。简括明了的线条、大片空白的院体格式与清新淡雅的色调使画面在含蓄蕴藉之中充满了春天的明媚。",[23,24,1535,27,118,7,33,30,65,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8ca390799c21fee010089df993fbc2.jpg",[],{"id":7212,"slug":7213,"title":7214,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":7215,"thumbUrl":7222,"material":495,"size":496,"collection":148,"collections":7223,"showCount":7142,"zanCount":587,"manualWeight":11,"mainColor":152},226183,"ku-zhu-shi-nan-pi-yi-ming-226183","窟主室南披",[5288,2046,94,27,26,5081,30,118,7,33,437,3735,7216,38,7217,7218,5445,115,7219,7220,7221],"波浪纹","供养人","佛像","彩绘","勾勒","填色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aa03b4a0dba7372ea34789086e63b7d.jpg",[],{"id":7225,"slug":7226,"title":7227,"dynasty":18,"author":281,"museum":433,"description":7228,"tags":7229,"thumbUrl":7230,"material":148,"size":148,"collection":148,"collections":7231,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":54},223622,"hu-jia-shi-ba-pai-tu-juan-yi-ming-223622","胡笳十八拍图卷","这是诗书画合一的叙事长卷，以古雅绢本为底，绘图配书，徐徐铺展蔡文姬的半生流离。画面里车马辚辚、城郭乡野、人物衣冠皆贴合古制，细节里藏着乱世羁旅的沉郁。每段题笔与场景呼应，将去国的怆然、归汉别子的两难尽数渲染，笔致朴拙温婉，把《胡笳十八拍》里的哀恸与深情具象为可视的场景，让文辞的悲戚落在人物的眉眼、步履之间，带着旧绢的温润底色，诉尽乱世女子的飘零宿命，让千年前的家国离愁跨越岁月，静静铺陈在卷上。",[23,114,24,63,25,27,26,95,30,65,7,844,5463,118,33,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a822cce9a1c19b42a164c7a30f03db9.jpg",[],{"id":7233,"slug":7234,"title":7235,"dynasty":885,"author":281,"museum":60,"description":7236,"tags":7237,"thumbUrl":7238,"material":3894,"size":7239,"collection":80,"collections":7240,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":499},223534,"jiang-shan-lou-ge-tu-zhou-yi-ming-223534","江山楼阁图轴","元代建筑画在继承两宋院体已臻成熟的工整精细的造型手段之基础上，借助元代所盛行的水墨画技法及北宋李公麟一路的白描技法，把建筑画逐步推向纯界画的境界。此幅虽仍将殿宇楼阁融入山重水复的自然景致中，但作者着力刻画的是建筑本体，山水配景已不复重要，楼宇的描绘细入微芒，建筑画状物精微的写实性达到了极致。",[23,24,63,114,193,28,116,27,118,7,139,33,1430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdadd7deefa1971227219d82aff1e53a.jpg","纵162厘米，横92.5厘米",[80,127,82],{"id":7242,"slug":7243,"title":7244,"dynasty":157,"author":504,"museum":345,"description":505,"tags":7245,"thumbUrl":7246,"material":424,"size":516,"collection":148,"collections":7247,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":54},223065,"hong-lou-meng-51-sun-wen-223065","红楼梦51",[23,26,27,115,118,30,7,33,844,139,195,43,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38cd2b5c16cda13879fb7099dda2449d.jpg",[],{"id":7249,"slug":7250,"title":7251,"dynasty":157,"author":504,"museum":345,"description":505,"tags":7252,"thumbUrl":7254,"material":424,"size":516,"collection":148,"collections":7255,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":152},223062,"hong-lou-meng-48-sun-wen-223062","红楼梦48",[23,24,26,27,509,7,437,39,508,4276,33,7253,5089],"古装人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2342b8d24c402247d8df67d162ba5ffd.jpg",[],{"id":7257,"slug":7258,"title":7259,"dynasty":18,"author":319,"museum":806,"description":7260,"tags":7261,"thumbUrl":7262,"material":247,"size":7263,"collection":148,"collections":7264,"showCount":7142,"zanCount":587,"manualWeight":11,"mainColor":152},222131,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222131","雨江名胜图册","此图是描绘长江淮河两岸名胜风景的册页，共十幅，每幅对页有沈周自题七绝一首，并有友人文嘉、王穉登等人题和诗。画面皆剪裁简明，情景融合，却构成诗意盎然的境界。用笔质朴、凝重，山峦的 繁笔勾皴和屋宇的简笔勾勒，形成疏密的对比，墨色也富有虚实轻重的变化，使画面产生强烈的装饰美感。",[23,24,63,213,27,118,7,33,121,284,117,116,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674619dee4ce4fad476bb3400d91654b.jpg","纵42.2厘米，横23.8厘米",[],{"id":7266,"slug":7267,"title":7268,"dynasty":885,"author":1502,"museum":7269,"description":7270,"tags":7271,"thumbUrl":7274,"material":312,"size":7275,"collection":148,"collections":7276,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":152},221826,"jie-bo-tu-juan-zhu-yu-221826","揭钵图卷","浙江省博物馆","《揭钵图》在佛教题材绘画中青史留名，在中国古代美术史上占有重要地位。清初《佩文斋书画谱》等史籍中明确记载，朱玉《揭钵图》真迹存世仅有两本。对比浙博本和美国本，后者人物线条更加飘逸，几无断笔，面部结构精准，服饰线条洒脱，而浙博本有近半人物线条出现断笔。",[23,24,63,25,95,94,30,2058,7272,7273,7],"老虎","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8239e9d61ec1d53ae4c554166623e90.jpg","27.7x111厘米",[],{"id":7278,"slug":7279,"title":7280,"dynasty":18,"author":226,"museum":135,"description":7281,"tags":7282,"thumbUrl":7284,"material":424,"size":7285,"collection":127,"collections":7286,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":54},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。",[23,24,27,118,26,463,31,32,7,121,30,623,194,7283],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff502ed56fd18bef75ebe0e94650d7d5a.jpg","110.5*54.8",[127],{"id":7288,"slug":7289,"title":7290,"dynasty":157,"author":7291,"museum":135,"description":7292,"tags":7293,"thumbUrl":7295,"material":47,"size":7296,"collection":127,"collections":7297,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":54},219538,"feng-nian-rui-xue-tu-xiao-chen-219538","丰年瑞雪图","萧晨","画面冰天雪地，天寒地冻，一片雪花映照好年景。 河岸有竹屋，雪重柳。 木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[24,63,193,27,26,118,616,7,31,32,30,7294,538,139,75,33],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[127],{"id":7299,"slug":7300,"title":7301,"dynasty":58,"author":281,"museum":806,"description":7302,"tags":7303,"thumbUrl":7304,"material":47,"size":7305,"collection":127,"collections":7306,"showCount":7142,"zanCount":587,"manualWeight":11,"mainColor":54},218545,"shui-ge-na-liang-tu-yi-ming-218545","水阁纳凉图","这幅画描绘了一个池塘的一角，池塘表面有荷叶，池塘上方坐着一个亭子，一侧有柳树遮挡，亭子里的人在风中吹气，以保持凉爽。在通往亭子的栏杆上，可以看到两个孩子，一个站在凳子上采摘水果，另一个站在一边观看。",[23,24,63,28,162,118,7,32,33,65,30,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e0fb0842b2e8361dde396b28c2a8f.jpg","24.4x24.9cm",[127],{"id":7308,"slug":7309,"title":7310,"dynasty":885,"author":281,"museum":20,"description":7311,"tags":7312,"thumbUrl":7313,"material":47,"size":148,"collection":127,"collections":7314,"showCount":7142,"zanCount":11,"manualWeight":11,"mainColor":54},214607,"shui-ge-tu-ye-yi-ming-214607","水阁图页","水阁图是一幅中国古代的山水画，作者不详，来自元代（1271-1368年）。这幅画以水为主题，描绘了一个江南风光的景象，展现了山水之间的和谐关系。\n\n画面中的水流清澈，河岸上有树木葱茏，草木茂盛。在画面的左侧，可以看到一座小山丘，山上有一座小楼，楼上挂着红绸帘，风景优美。在楼下的河中，有几艘游船在水上悠悠游动，人们在船上欢声笑语。在画面的右侧，有一片清幽的山林，山间有一条小溪流过，水声清脆。\n\n整幅画面气氛轻松惬意，色彩明快，构图巧妙，画风浑然天成，是一幅典型的山水画作品。",[23,24,27,26,28,118,7,33,1599,775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d33733160c5b165a06b7d1234eae23f.jpg",[127],{"id":7316,"slug":7317,"title":7318,"dynasty":58,"author":7319,"museum":433,"description":7320,"tags":7321,"thumbUrl":7324,"material":495,"size":496,"collection":148,"collections":7325,"showCount":7326,"zanCount":587,"manualWeight":11,"mainColor":152},290897,"bai-miao-dao-jun-xiang-liang-kai-290897","白描道君像","梁楷","《白描道君像图》共分为三部分，中段画主神于莲花之上，左右两段各画人间及地狱的活动；右段是道观的日常起居和法事：祈祷、习经、绘塑神像等；左段则绘世俗生活，多为积善行德的场面。左下角为地狱形象，有风刀之苦及鬼官治事，且有火中盛开金莲的场面，疑与咏习《黄庭经》的禁忌科戒有关。该图是梁楷画笔中流传下来的唯一孤本，画中人物形象端庄，周密繁复，笔势劲细，骨体苍劲，确是李公麟画派以后的面貌，与南宋其他人物画叛然殊途。图中的山林泉石，既不是北宋李成、范宽的画派，也不是董源江南画派的体系，工整的形式，出于北宋。",[23,25,24,63,95,7322,3865,30,7,284,245,5830,7323],"道教","黄庭经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c1d7f06e06834834cdb17f9b89afb4a.jpg",[],31,{"id":7328,"slug":7329,"title":460,"dynasty":18,"author":19,"museum":433,"description":7330,"tags":7331,"thumbUrl":7332,"material":495,"size":496,"collection":148,"collections":7333,"showCount":7326,"zanCount":587,"manualWeight":11,"mainColor":54},290873,"chun-shan-yin-shang-zhou-chou-ying-290873","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”。",[114,24,193,115,27,26,118,30,7,32,121,117,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1675e33be13137aeb68f7c392e602fd.jpg",[],{"id":7335,"slug":7336,"title":7337,"dynasty":58,"author":7338,"museum":135,"description":7339,"tags":7340,"thumbUrl":7343,"material":47,"size":7344,"collection":148,"collections":7345,"showCount":7326,"zanCount":630,"manualWeight":11,"mainColor":499},290326,"zhong-wu-xi-ying-tu-zhou-su-han-chen-290326","重午戏婴图轴","苏汉臣","端午日，树阴敞榭，曲桥池沼中荷花绽放。\n群婴欢戏。扮戏、舞旗、摘荷、击钹、捉蜻蜓等等，其乐融融。人物描绘生动，地面上罗列各色玩具刻划入微。\n主要内容俱以金线勾描，显富丽装饰性。春日庭院，胡床屏风，三位婴儿据床观赏瓶中游鱼，两位于草地上玩弄陀螺，旁有一婴孩着红衣，脸戴面具，高扬朱笔，另一婴孩，背负幼儿，循阶而下，前来相会。\n该幅色彩颇为古雅，线条细致中亦不失灵活特色。",[114,24,2028,26,27,919,7341,7,39,7342],"嬉戏","端午","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8888bfa167a5ffee1cb2b8d0d9a1cd48.jpg","165.1x116.2",[],{"id":7347,"slug":7348,"title":7349,"dynasty":58,"author":2067,"museum":433,"description":7350,"tags":7351,"thumbUrl":7352,"material":495,"size":496,"collection":148,"collections":7353,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":499},289756,"mo-fan-kuan-lu-shan-tu-jiang-can-289756","摹范宽庐山图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，",[23,114,24,63,193,162,118,7,32,272,65,139,33,116,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6238a367ca5faaa932225d420ea9a296.jpg",[],{"id":7355,"slug":7356,"title":3428,"dynasty":58,"author":1010,"museum":433,"description":3429,"tags":7357,"thumbUrl":7358,"material":495,"size":496,"collection":148,"collections":7359,"showCount":7326,"zanCount":587,"manualWeight":11,"mainColor":499},289335,"xue-shan-lou-ge-tu-fan-kuan-289335",[23,114,24,118,193,162,116,1514,7,32,139,620,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704b93ef24a7e30310fee13f95f51e5b.jpg",[],{"id":7361,"slug":7362,"title":7363,"dynasty":885,"author":3819,"museum":433,"description":7364,"tags":7365,"thumbUrl":7367,"material":495,"size":496,"collection":148,"collections":7368,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":54},287596,"xi-shan-yu-yi-tu-wu-zhen-287596","溪山雨意图","该画卷描绘的是黄公望笔下常见的江南景象，图中景象烟雨空濛，笔法多样，代表了文人画高度成熟时期的审美需要，是宋元之后文人绘画的主流风格。 整个画卷空无一人，山水则似真非真有恬淡、简远、空灵寂静之意境，表达了画家寄情山水，抒胸中逸趣之理想审美境界。",[114,24,63,193,162,118,116,31,32,121,7,33,139,7366,284,117],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bba6c7101630ccfecf55d8000d2bed.jpg",[],{"id":7370,"slug":7371,"title":7372,"dynasty":157,"author":1899,"museum":60,"description":1900,"tags":7373,"thumbUrl":7376,"material":180,"size":1903,"collection":148,"collections":7377,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":152},236139,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236139","历朝贤后故事图",[24,63,26,27,28,30,509,7,605,4430,39,7374,142,7253,38,1357,7375,387],"台地","廊柱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb3c692d9bd63ff00c7b99a6b8f1f1c.jpg",[],{"id":7379,"slug":7380,"title":7381,"dynasty":157,"author":1055,"museum":433,"description":7382,"tags":7383,"thumbUrl":7385,"material":148,"size":148,"collection":148,"collections":7386,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":54},235991,"li-shan-bi-shu-tu-zhou-yuan-yao-235991","骊山避暑图轴","《袁江袁耀画集》是25年 出版的图书，作者是袁江，袁耀。\n袁江（约1671—1746年以后），字文涛，江都（今江苏扬州）人，擅长画山水楼阁，初学明中期【吴门四家】之一仇英的画法，中年时得一无名氏画稿，之后画艺大进。\n其界画在清代被推为第一。\n袁江存世作品较多，多在国内收藏，也有一些流到海外。\n袁江是我国绘画史上有影响画家，宫廷画家，转工山水楼阁界画。\n在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。\n当时还有他的侄子袁耀同齐名。\n他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。\n他擅画山水、楼台、师法宋人。\n山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。\n他的绘画素材多为古代宫苑，尤长于界画。\n天津市文管处收有一幅《瞻园图卷》，表现南京的园林建筑；上海博物馆藏有一幅《东园图卷》；北京文物局收有《骊山避暑图轴》，表现想象中的仙境；南京博物院藏有《海山三山图轴》，也描绘了想象中的仙境和古代建筑，瑰丽壮观，富有意境。\n其侄（一说为子）袁耀，字昭道，山水楼阁传其家法。\n袁耀（生卒年未详），清朝画家，字昭道，江都（今江苏扬州）人，袁江之子，生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。\n擅界画，风格与其父极为近似。\n工画山水、楼阁、界画。\n画风工整、华丽，与袁江相似。\n其精品有胜于袁江者。\n偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。\n约活动于乾隆中期。\n上卷 画舫冲烟图 松亭纳凉图 春雷起蛰图 峨嵋雪霁图 桐阴消夏图 独坐看山图 骊山避暑图 江天暮雪图 寒食归宁图 猫雀图 水殿柳风图 汉宫秋月图 松柏齐年图 东山别墅图 溪山行旅图 梁园飞雪图 天香书屋图 山水人物图 绿野堂图 春雷起蛰龙图 郭汾阳富贵寿考图 仙山楼阁图 白云红树图 湖庄春晓图 渔浦晚归图 松风流水图 风雪归人图 秋林暮霭图 重阳风雨图 槛外长江图 海屋沾筹图 秋郊来骑图 下卷",[24,114,28,193,118,7,198,7384,26,27],"避暑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151db4c056ec8268fc389d385cc75777.jpg",[],{"id":7388,"slug":7389,"title":7390,"dynasty":18,"author":7391,"museum":433,"description":7392,"tags":7393,"thumbUrl":7396,"material":495,"size":496,"collection":127,"collections":7397,"showCount":7326,"zanCount":630,"manualWeight":11,"mainColor":152},235285,"shan-shui-ce-shen-hao-235285","山水册","沈颢","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[24,63,213,27,118,373,7,623,117,7394,2326,452,33,196,7395],"淡彩山水","水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9bb44391cc599f7dca8959c352ba7c.jpg",[127,182],{"id":7399,"slug":7400,"title":7401,"dynasty":157,"author":2231,"museum":433,"description":7402,"tags":7403,"thumbUrl":7404,"material":148,"size":148,"collection":148,"collections":7405,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":54},230294,"gui-lin-qiu-yue-tu-yuan-jiang-230294","桂林秋月图","界画亦名宫室，主要以建筑物、舟车之类为表现题材，所画对象要求准确、工整，一丝不苟，过去画诀有“山水打头，界画打底”之说，宋郭思说：“画屋木者，折算无亏，笔画勾壮，深远透空，一去百斜”。\n画界画历代不乏高手，唐末有尹继昭及他的学生卫贤等，元夏永、明仇英皆是界画高手。\n到了清代，袁江、袁耀父子擅画界画，虽技艺超群，但不为时人所重。\n至近代在山西太原尉氏家中，发现大量“二袁”作品，声名始震。\n袁耀“露台秋月图”纵18、横142.5厘米，胡佩衡旧藏，此画绘中秋宫苑赏月情景，一轮明月当空，万籁俱寂，宫殿在树木中或露或隐，山石玲珑剔透，诗情画意跃然纸上，此意趣决非一般画匠所能为。\n袁耀字昭道，江都（今扬州）人。\n生卒年不详，创作年代约在1747年至1778年之间。",[23,24,63,28,27,26,118,7,762,33,196,30,39,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc906c6d22f541f535a6f7ab6dde3b6da.jpg",[],{"id":7407,"slug":7408,"title":7409,"dynasty":58,"author":369,"museum":433,"description":7410,"tags":7411,"thumbUrl":7412,"material":148,"size":148,"collection":148,"collections":7413,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":54},227826,"she-se-shan-shui-tu-ma-yuan-227826","设色山水图","《黄宾虹浑厚华滋的山水画》内容简介：黄宾虹是一位学者型的画家，也是我国杰出的山水画大师。\n他既师古人，更师造化。\n其山水画色调浓黑，浑厚华滋。\n他的山水画黑、密、厚、重，淋漓尽致、大气磅礴，而具有浑厚华滋、意境深邃的特色。\n黄宾虹山水画特别强调线条质量，他以金石篆书的线条来强化画的风骨，使之苍劲老辣、浑厚古拙。\n《黄宾虹浑厚华滋的山水画》由 出版。\n黄宾虹作为中国近现代绘画史上高标独立的画家，其一生经历丰富，学养深厚。\n在文史研究及中国画实践中造诣非凡。\n本图书以图文并茂的形式，充分诠释黄宾虹将古典山水绘画向近现代山水绘画转变的伟大界标作用。\n在古典与现代关捩处 黄宾虹早期山水作品 拟龚贤山水图册 拟古人山水图册之一 拟古人山水图册之二 拟古人山水图册之三 拟古人山水图册之四 拟古人山水图册之五 拟古人山水图册之六 仿宋人画意图轴 临倪瓒山水图轴 林亭孤坐图轴 溪山亭树图轴 丹崖翠壁图轴 江上雨霁图轴 古木幽岸图轴 曲径云峰图轴 轻舟夜色图轴 歙县渔梁图册 设色山水屏之一 设色山水屏之二 设色山水屏之三 设色山水屏之四 山疏水浅图轴 拟宋人画意图轴 松阴听泉图轴 登高望远图轴 黄宾虹中期山水作品 临王维画稿 临赵令穰、关仝画稿 临赵孟烦画稿 临巨然、高克恭画稿 临董源画稿 临范宽画稿 临王维、荆浩画稿 临黄公望画稿 临黄公望、马远画稿 临李唐画稿 临郭熙画稿 临米芾画稿之一 临米芾画稿之二 临范宽画稿 临李成画稿 临倪瓒画稿 临马远画稿之一 临马远画稿之二 黄山写生画稿之一 黄山写生画稿之二 黄山写生画稿之三 黄山写生画稿之四 黄山写生画稿之一 黄山松写生画稿之一 黄山松写生画稿之二 黄山松写生画稿之三 黄山松写生画稿之四 鼋峰写生画稿 江郎山写生画稿 武夷写生画稿之一 武夷写生画稿之二 武夷写生画稿之三 武夷写生画稿之四 武夷写生画稿之五 武夷写生画稿之六 武夷写生画稿之七 武夷写生画稿之八 武夷写生画稿之九 武夷写生画稿之十 武夷写生画稿之十一 武夷写生画稿之十二 武夷写生画稿之十三 武夷写生画稿之十四 桂林写生画稿 香港九龙写生画稿之一 香港九龙写生画稿之二 香港九龙写生画稿之三 香港九龙写生画稿之四 临安写生画稿之一 临安写生画稿之二 临安写生画稿之三 南海写生画稿之一 南海写生画稿之二 四川写生画稿之一 四川写生画稿之二 设色山水图册 奔泉图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 丛林折瀑图轴 深山烟岚图轴 松山静坐图轴 古寺松云图轴 设色山水图轴 湘水秋山图轴 浙东纪游图轴 设色山水图轴 金华万罗山居图轴 设色山水图册 山居车水图轴 设色山水图轴 峨山风景图轴 雁荡三折瀑图轴 拟宋人江山无尽图轴 设色山水图册 设色山水图册之一 设色山水册图之二 设色山水图册之三 设色山水图册之四 设色山水图轴 黄宾虹晚期山水作品 栖霞晓望图轴 深山古寺图轴 设色山水图轴 水墨山水图轴 烟霭空漾图轴 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图轴（背面画） 设色山水图横幅 设色山水图册 设色山水图册 设色山水图册之一 设色山水图册之二 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图横幅 设色山水图轴 玉泉纪游图轴 用范宽法山水图轴 设色山水图轴 水墨山水图轴 水墨山水图轴 设色山水图轴 焦墨山水图轴 设色山水图轴 水墨山水图横幅 蜀中山水图轴 雨景山水图轴 拟巨然山水图轴 湖山初霁图轴 溪桥烟雨图轴 溪桥烟霭图轴 水墨山水图横幅 水墨山水图横幅 设色山水图轴 水墨山水图轴 雁荡诸峰图轴 桃花溪图轴 拟元人简笔山水图轴 拟程邃山水图轴 夜山图轴 设色山水图轴 设色山水图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 设色山水图册之七 设色山水图册之八 设色山水图册之九 设色山水图册之十 设色山水图册之十一 设色山水图册之十二 设色山水图册之十三 设色山水图册之十四 设色山水图册之十五 设色山水图册之十六 行松盘岭图轴",[23,24,63,1535,27,118,7,538,120,139,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31156cf1201e56c7733b85aa29d871a.jpg",[],{"id":7415,"slug":7416,"title":2042,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":7417,"thumbUrl":7418,"material":495,"size":496,"collection":148,"collections":7419,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":152},226210,"ku-zhu-shi-bei-bi-yi-ming-226210",[2046,94,28,26,27,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8e84853f753592b0dd1a9c531e463a.jpg",[],{"id":7421,"slug":7422,"title":7423,"dynasty":157,"author":7424,"museum":433,"description":7425,"tags":7426,"thumbUrl":7429,"material":148,"size":148,"collection":148,"collections":7430,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":152},224157,"hua-gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-224157","画高宗御笔秋花诗轴","张若霭","将对自然的喜爱带入生活，呈现在庭园中，成为小中现大的世界，正是本幅主体。\n作于乾隆十一年（1746）秋七月，画内廷台阁花园景致。\n台阁以界画绘制，具透视感。\n但与花卉相较却偏小，并不合真实比例，应是为强调群芳争妍的盛况而做此安排。\n园中鸡冠、秋葵、雁来红、菊、红蓼、凤仙等怒放，一片缤纷灿烂，展现明媚秋色。\n【名称】清 张若霭 画高宗御笔秋花诗 【年代】清代 【简介】台北故宫博物院。\n张若霭（171-1746），字晴岚，号景采，又号炼雪道人、晴岚居士，蕴真阁，梅花纳，炼雪道人，藕得书屋，佳梦轩等。\n安徽桐城人。\n张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。\n雍正十一 年（172年）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。\n官至礼部尚书。\n曾参与《石渠宝笈》的编辑工作，乾隆十一年（1746年）随帝西巡，因病回京，不久卒。\n谥文僖。\n有《岁寒三友图》、《仿王元章疏影寒香图》传世。\n张若霭善书，工画花竹、禽虫，深得王糓祥、周之冕笔意。",[23,24,27,26,28,7,32,7427,1157,178,7428,33],"秋花","瓦顶建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63628092ed57c5738e2fb917c30694a2.jpg",[],{"id":7432,"slug":7433,"title":7434,"dynasty":157,"author":7435,"museum":433,"description":7436,"tags":7437,"thumbUrl":7439,"material":495,"size":496,"collection":148,"collections":7440,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":152},224150,"wan-nian-zhi-shang-ri-chu-chang-shi-yi-zhou-yu-shi-224150","万年枝上日初长诗意轴","于氏","孔宪培之妻,孔宪培(1756-1793)：原名允宪，字养元，号笃斋，清朝曲阜(今属山东省)人。乾隆年间，袭封衍圣公；夫人于氏，被册封为一品夫人。",[23,24,63,193,27,26,115,28,118,7,121,33,139,32,1157,3735,7438,39,4084],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f460da26208a42a6f0f8d44c32e407a.jpg",[],{"id":7442,"slug":7443,"title":7444,"dynasty":157,"author":1055,"museum":60,"description":3303,"tags":7445,"thumbUrl":7446,"material":180,"size":3306,"collection":148,"collections":7447,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":54},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",[23,114,24,63,118,28,27,26,7,762,33,436,71,194,463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg",[],{"id":7449,"slug":7450,"title":7451,"dynasty":157,"author":504,"museum":345,"description":505,"tags":7452,"thumbUrl":7455,"material":424,"size":516,"collection":148,"collections":7456,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":54},223068,"hong-lou-meng-54-sun-wen-223068","红楼梦54",[23,26,27,28,30,7,31,605,1515,121,1013,142,7453,7454],"伞","窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173a90b3a55ee52d258dbd1f30861e2f.jpg",[],{"id":7458,"slug":7459,"title":7460,"dynasty":157,"author":504,"museum":345,"description":505,"tags":7461,"thumbUrl":7462,"material":424,"size":516,"collection":148,"collections":7463,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":152},223038,"hong-lou-meng-163-sun-wen-223038","红楼梦163",[23,24,26,27,28,30,7,39,142,143,118,33,959,3123,6580,408,1950,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77715bf17c0334e164e3416334c83b.jpg",[],{"id":7465,"slug":7466,"title":7467,"dynasty":157,"author":504,"museum":345,"description":505,"tags":7468,"thumbUrl":7469,"material":424,"size":516,"collection":148,"collections":7470,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":54},223013,"hong-lou-meng-138-sun-wen-223013","红楼梦138",[23,24,26,27,28,30,138,7,39,2274,3122,1700,1047,5089],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa94fa31ab783364ada8a4dabfa58909e.jpg",[],{"id":7472,"slug":7473,"title":7474,"dynasty":157,"author":504,"museum":345,"description":505,"tags":7475,"thumbUrl":7476,"material":424,"size":516,"collection":148,"collections":7477,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":54},222880,"hong-lou-meng-5-sun-wen-222880","红楼梦5",[23,24,63,26,27,30,7,1851,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99114590de0237996992964d1a568ac0.jpg",[],{"id":7479,"slug":7480,"title":7481,"dynasty":18,"author":771,"museum":20,"description":772,"tags":7482,"thumbUrl":7483,"material":7395,"size":7484,"collection":127,"collections":7485,"showCount":7326,"zanCount":587,"manualWeight":11,"mainColor":152},222007,"ju-gui-zhai-tu-shou-juan-wen-zheng-ming-222007","聚桂斋图手卷",[23,24,7,284,118,1599,451,776,27,163,25,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bcbef7bb3e97e60135879e28a13a3a.jpg","31.6x56.2厘米",[127,51],{"id":7487,"slug":7488,"title":7489,"dynasty":157,"author":5099,"museum":210,"description":7490,"tags":7491,"thumbUrl":7492,"material":217,"size":7493,"collection":127,"collections":7494,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":152},219855,"qiu-shan-tu-xiao-yun-cong-219855","秋山图","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,24,63,25,27,118,116,284,164,117,30,7,33,139,32,121,538,422,1409,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[127],{"id":7496,"slug":7497,"title":7498,"dynasty":18,"author":281,"museum":135,"description":7499,"tags":7500,"thumbUrl":7501,"material":47,"size":7502,"collection":51,"collections":7503,"showCount":7326,"zanCount":587,"manualWeight":11,"mainColor":54},219350,"wang-hai-lou-tu-zhou-yi-ming-219350","望海楼图轴","画中楼阁矗立于城墙之上，下瞰大江，群客登临宴饮。屋内文人三五成群，有些持卷观赏，有些凭窗眺远。本幅用界工整，青绿设色已略剥落，然屋宇脊顶之蛤白勾勒线条仍鲜明如故，使楼台轮廓分外醒目。此图签题虽定为「望海楼图」，然根据绘画内容看来，整个建筑群组面城临江， 居高临下，江边还有大型的雀舫龙舟，非常接近唐代文人王勃于〈藤王阁序〉中所描写的场景，或可定为藤王阁图。",[24,114,193,28,26,27,7,30,118,65,64,33,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedfd8e3692883f0a750fcbb48cfd87f.jpg","159.8x93.2",[51],{"id":7505,"slug":7506,"title":7507,"dynasty":58,"author":5562,"museum":135,"description":7508,"tags":7509,"thumbUrl":7510,"material":47,"size":7511,"collection":127,"collections":7512,"showCount":7326,"zanCount":587,"manualWeight":11,"mainColor":152},218688,"ying-shan-tu-wang-shen-218688","瀛山图","本幅画峻岭回溪，山村茅茨，远水平沙，数艇隐隐。图后一远峰山壁题识云：「保宁赐第王晋卿瀛山既觉，因图梦中所见。甲辰春四月，梦游者。」细审图中绝壑层峦，俱以青绿著色，用笔工细，气韵古雅，良为一梦中山水矣。全画山石以一简单的轮廓线勾勒，再敷以颜色，有古拙之感，近似元代画家钱选的青绿山水，与王诜（约1048—1122）现存的其他作品不类。",[23,24,63,25,115,27,118,7,31,32,121,123,33,116,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78aaab8984587d91e9f82641be9870c.jpg","24.5x145.1cm",[127],{"id":7514,"slug":7515,"title":7516,"dynasty":157,"author":281,"museum":433,"description":7517,"tags":7518,"thumbUrl":7519,"material":47,"size":148,"collection":148,"collections":7520,"showCount":7326,"zanCount":11,"manualWeight":11,"mainColor":54},216717,"hong-lou-meng-fu-tu-ce-10-yi-ming-216717","红楼梦赋图册-10","庭院深深，雕花窗棂映着回廊青瓦，藤蔓牵衣。近处方巾女子红绫轻扬，裙摆旋作蝶影，似将笑语掷向风里；窗畔二人凭栏，目光如丝，缠在院中嬉戏的身影上。石边草色漫阶，闲鹤驮云而过，池畔红荷倚石，晕开一抹温柔。淡彩晕染出雅致，细笔勾就灵动，将红楼闺阁的闲趣与园林的幽婉揉成画卷。每一处线条藏着旧时光的温婉，每一抹色彩漾着古典的诗意，仿佛能听见画里女子的轻语，漫过岁月的窗棂。",[23,24,27,26,213,30,138,7,123,385,4058,1431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b613db4e103bdc77c619a70a23f3249.jpg",[],{"id":7522,"slug":7523,"title":4876,"dynasty":58,"author":7524,"museum":433,"description":7525,"tags":7526,"thumbUrl":7527,"material":495,"size":496,"collection":148,"collections":7528,"showCount":7529,"zanCount":11,"manualWeight":11,"mainColor":54},288458,"lou-ge-tu-xia-ming-yuan-288458","夏明远","此作为典型宋代界画，以精工笔触勾勒层叠楼阁，依山就势排布，飞檐斗拱细节毕现，尽显营造规制之美。青绿设色沉稳雅致，山石皴染兼施，既衬出山峦雄浑底色，又将楼宇精巧凸显。\n\n画中人物往来台阁间，步履鲜活，为冷硬的建筑图景注入灵动烟火气，将苑囿盛景与林泉雅趣相融，让工整界画跳出匠气，兼具人文温度与山水意境，尽显宋代院体界画的极致造诣。",[23,24,114,1535,28,27,115,7,118,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6ebf14b882f038a3aeada2bcbbf735.jpg",[],30,{"id":7531,"slug":7532,"title":7533,"dynasty":157,"author":1557,"museum":433,"description":7534,"tags":7535,"thumbUrl":7537,"material":495,"size":496,"collection":148,"collections":7538,"showCount":7529,"zanCount":587,"manualWeight":11,"mainColor":152},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,114,24,63,25,308,27,118,7177,196,194,33,31,437,7,7536,493,123,120,284,117],"古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],{"id":7540,"slug":7541,"title":7542,"dynasty":157,"author":7543,"museum":60,"description":7544,"tags":7545,"thumbUrl":7546,"material":148,"size":148,"collection":127,"collections":7547,"showCount":7529,"zanCount":11,"manualWeight":11,"mainColor":152},236883,"shan-shui-ce-zhuang-zhou-zou-zhe-236883","山水册装轴","邹喆","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一",[24,63,213,162,116,118,538,139,194,7,946],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9508b3d511d77b3b1bf9fcd09d4a6ac.jpg",[127,82],{"id":7549,"slug":7550,"title":7551,"dynasty":58,"author":281,"museum":135,"description":7552,"tags":7553,"thumbUrl":7554,"material":424,"size":7555,"collection":148,"collections":7556,"showCount":7529,"zanCount":587,"manualWeight":11,"mainColor":54},233015,"chun-you-wan-gui-tu-ye-yi-ming-233015","春游晚归图页","图绘一老臣骑马踏青回府，前后簇拥着10位侍从，或搬椅，或扛兀，或挑担，或牵马，忙忙碌碌。\n老臣持鞭回首，仿佛意犹未尽，表现了南宋官僚偏安江南时的悠闲生活，令人想起南宋林升《题临安邸》一诗：\n\n“山外青山楼外楼，西湖歌舞几时休？\n暖风熏得游人醉，直把杭州作汴州！”\n\n所绘景物十分优雅，柳林成浪，宫城巍峨，人马虽不盈寸，但须眉毕现，姿态生动，线条流畅，色彩简洁明朗。",[24,114,27,26,30,65,33,7,272,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bc4b22ebdbfe5a601c55afb8e03b4d.jpg","24.2cm*25.3cm",[],{"id":7558,"slug":7559,"title":7560,"dynasty":4105,"author":7561,"museum":433,"description":7562,"tags":7563,"thumbUrl":7564,"material":495,"size":496,"collection":148,"collections":7565,"showCount":7529,"zanCount":11,"manualWeight":11,"mainColor":54},230589,"jiang-hu-shi-dai-lou-ge-shan-shui-tu-ping-feng-12-kai-chi-da-ya-230589","江户时代楼阁山水图屏风12开","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[24,63,143,27,28,118,7,30,31,33,139,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20545c3e86b58644149fb020c8ccf4e8.jpg",[],{"id":7567,"slug":7568,"title":7569,"dynasty":157,"author":504,"museum":345,"description":505,"tags":7570,"thumbUrl":7571,"material":424,"size":516,"collection":148,"collections":7572,"showCount":7529,"zanCount":11,"manualWeight":11,"mainColor":152},230104,"hong-lou-meng-185-sun-wen-230104","红楼梦185",[24,26,27,30,7,4430,139,386,33,39,96,7454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b4ef23ad965b1028c930df54eac1c.jpg",[],{"id":7574,"slug":7575,"title":7576,"dynasty":18,"author":771,"museum":433,"description":7577,"tags":7578,"thumbUrl":7579,"material":148,"size":148,"collection":148,"collections":7580,"showCount":7529,"zanCount":587,"manualWeight":11,"mainColor":152},228868,"dong-yuan-tu-juan-wen-zheng-ming-228868","东园图卷","《东园图卷》是文徵明的作品，绢本，纵：.2cm，横：126.4cm。\n现收藏于 ，画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细。\n名称：明文徵明东园图卷 类别：中国古画 年代：明代 文物原属：故宫旧藏 文物现状：现藏台北故宫博物院 图卷，绢本，设色画，纵：.2cm，横：126.4cm。\n东园位于南京钟山东凤凰台下，原是明代开国重臣中山王徐达的赐园，名为“太府园”，后来其五世孙徐泰时加以修葺扩建，辟作别墅，更名“东园”。\n园内叠有峰嶂，川泽相通，灵岩怪石环列前后，奇花异草郁郁葱葱，亭台楼阁错落有致。\n与徐氏友善的时贤名士常雅集于东园之中，或谈诗论文，或品茗抚琴，或宴乐弈棋，或赏玩书画，其乐融融，快意畅然。\n《东园图》是明四家之一的文征明于61岁（明嘉靖九年，15年）时绘制的，表现了东园雅集时的情景。\n情景图中板桥横于潺潺细流之上，青松翠竹遥相呼应，湖石疏置，碧树成荫，池水为清风吹皱，泛起层层涟漪。\n甬路上二文士边走边谈，携琴童子相随其后；堂内四人凝神赏画，另有手捧数轴书画的小童立侍桌旁，水榭之中对弈的两人神态悠闲安逸。\n文徵明的绘画有两种风格：一是宗法沈周、吴镇，呈水墨粗笔面貌，世称粗文；一是师从赵孟頫、王蒙，多青绿重染，工细缜密，世称细文。\n文氏早年以工细为主，中年之后粗细兼能，愈晚愈工。\n《东园图》便是他晚年细笔的精品。\n画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细，正如王原祁所言：“色不碍墨，墨不碍色，又须色中有墨，墨中有色。\n”全图虽以青绿设色法为之，却丝毫不见工匠之气，充盈于画面的是闲适雅致的文人气息，画中人物颇有魏晋之际名士的风神格调，这是文氏此类雅集题材绘画超乎常人之处。\n图之引首有徐霖隶书“东园雅集”四字。\n画面右上端有篆书“东园图”三字，画尾有款“嘉靖庚寅秋徵明制”，下钤“ 停云”、“玉兰堂印”、“徵仲”等印四方。\n卷后尾纸上有湛若水楷书《东园记》和陈沂行书《太府园讌游记》二则。",[23,114,24,63,25,26,27,30,7,121,31,32,385,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cb802217ebcd0c9524ab578c39dc66.jpg",[],{"id":7582,"slug":7583,"title":4388,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":7584,"thumbUrl":7585,"material":495,"size":496,"collection":148,"collections":7586,"showCount":7529,"zanCount":11,"manualWeight":11,"mainColor":54},226301,"ku-zhu-shi-nan-bi-yi-ming-226301",[2046,94,27,30,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3944c48e054a5917054f6a7ff42361af.jpg",[],{"id":7588,"slug":7589,"title":6271,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":7590,"thumbUrl":7592,"material":495,"size":496,"collection":148,"collections":7593,"showCount":7529,"zanCount":587,"manualWeight":11,"mainColor":499},226281,"ku-zhu-shi-dong-bi-yi-ming-226281",[2046,94,27,26,28,30,7,7591,7218],"飞天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb79a40eade0d428c56208f99ef58bd.jpg",[],{"id":7595,"slug":7596,"title":7597,"dynasty":157,"author":7598,"museum":433,"description":7599,"tags":7600,"thumbUrl":7601,"material":148,"size":148,"collection":148,"collections":7602,"showCount":7529,"zanCount":11,"manualWeight":11,"mainColor":152},224540,"re-he-xing-gong-quan-tu-guan-nian-ci-224540","热河行宫全图","管念慈","采用全景鸟瞰视角，将行宫城池与环伺群山铺陈于卷间，界画工致严整，山林皴染苍劲古拙。规整的朱红宫墙楼宇，错落嵌入层峦叠翠之间，山道逶迤串联起星罗棋布的山野梵宇行宫。\n\n整体疏密相宜，既细致还原了行宫的恢弘规制与山水格局，又晕染出塞北离宫融于山野林泉的清旷意趣，色彩沉雅厚重，细节入微，是兼具纪实地理价值与传统工笔审美意韵的佳作。",[23,24,25,27,28,26,118,7,258,69,3191,196,33,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbd962cf16f4ca63b56ed8d350b757a.jpg",[],{"id":7604,"slug":7605,"title":7251,"dynasty":157,"author":504,"museum":345,"description":505,"tags":7606,"thumbUrl":7608,"material":424,"size":516,"collection":148,"collections":7609,"showCount":7529,"zanCount":11,"manualWeight":11,"mainColor":54},222923,"hong-lou-meng-48-sun-wen-222923",[23,24,26,27,28,7,118,33,121,39,38,7607,75,946],"绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bf32fa601630c2c88d88ceaaa1c981.jpg",[],{"id":7611,"slug":7612,"title":7613,"dynasty":58,"author":281,"museum":3419,"description":7614,"tags":7615,"thumbUrl":7616,"material":47,"size":7617,"collection":127,"collections":7618,"showCount":7529,"zanCount":11,"manualWeight":11,"mainColor":152},218634,"zhang-song-lou-tai-tu-yi-ming-218634","长松楼台图","长松倚崖而立，虬干如铁，松针密簇，苍劲中藏秀逸之态。山间楼阁隐于林麓，飞檐翘角，廊柱分明，尽显匠作之精。远山层叠，云雾轻萦，墨色由近及远渐淡，留白处意蕴悠长。近景山石皴法细腻，纹理毕现；远景写意晕染，天地清旷。笔墨刚柔相济：树石之劲健与云雾之轻柔相映，楼台之工整与山水之雄浑相衬。画面静谧悠远，似有松涛穿林，山风拂檐，将宋时文人对自然的眷恋凝于尺幅。虽为小品却含大气象，尽显“天人合一”的审美意趣，笔墨间藏着宋画独有的清旷与雅致，观之如临幽境，忘尘俗之扰。",[23,24,63,1535,27,28,118,538,7,139,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d5aa0817149a9d7ed920480d9f97cf.jpg","24.8x23.5",[127],{"id":7620,"slug":7621,"title":7622,"dynasty":885,"author":281,"museum":60,"description":7623,"tags":7624,"thumbUrl":7625,"material":47,"size":7626,"collection":127,"collections":7627,"showCount":7529,"zanCount":11,"manualWeight":11,"mainColor":54},218213,"shui-ge-dui-hua-tu-yi-ming-218213","水阁对话图","水阁对话图是一种流行于元朝时期的文学体裁，通常用来记录人们在水上建筑物（如水上别墅、水上庭院或水上茶室）中的对话。这种体裁的名字来源于“水阁”这个词，指的是在水上建造的别墅或其他建筑物。\n\n元朝时期，由于水上建筑物在当时是很流行的，因此水阁对话图也非常受欢迎。这种体裁通常记录了人们在水上建筑物中的日常对话，以及他们对当时社会、政治、文化等诸多话题的看法。",[24,1535,162,118,30,7,373,372,623,385,32,116,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c5b832746b1a1e3f0abb4065f54693.jpg","25.8x23.7cm",[127],{"id":7629,"slug":7630,"title":2333,"dynasty":157,"author":7631,"museum":210,"description":7632,"tags":7633,"thumbUrl":7634,"material":47,"size":7635,"collection":127,"collections":7636,"showCount":7529,"zanCount":11,"manualWeight":11,"mainColor":54},217263,"shan-shui-tu-dai-zi-lai-217263","戴子来","戴子来是中国清朝时期著名的画家、诗人，他的山水图在中国绘画史上具有重要地位。\n\n戴子来的山水图与其他画家的作品有很大的不同，他的作品常常给人以深刻的感受和富有韵味的艺术氛围。他的山水图常常描绘出细腻的山水景观，并结合自然与人文景观。他运用了浓重的色彩和抽象的线条，使作品充满了动感和生机。\n\n戴子来的山水图代表了他对自然界的深刻理解和敬畏之心。他的作品常常描绘出大自然的壮丽景观，如山峰、河流、湖泊等，表现出自然界的种种美好。此外，他还善于运用抽象的笔触勾勒出自然界的神秘感，使作品充满了趣味性。\n\n总的来说，戴子来的山水图在中国绘画史上具有重要地位，他的作品常常给人以深刻的感受和富有韵味的艺术氛围，值得我们去欣赏和品味。",[23,24,27,116,193,118,7,31,33,139,421,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae51318f27e987f219edd71114d8c63.jpg","121.9x53.5cm",[127],{"id":7638,"slug":7639,"title":7640,"dynasty":157,"author":281,"museum":135,"description":2203,"tags":7641,"thumbUrl":7643,"material":47,"size":2206,"collection":148,"collections":7644,"showCount":7529,"zanCount":11,"manualWeight":11,"mainColor":152},214663,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-2-yi-ming-214663","乾隆缂丝山水挂屏四轴-2",[1861,27,24,118,538,1709,123,1996,7,6567,139,7642],"水浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9418f3bf0b0fc968da053932573886c.jpg",[],{"id":7646,"slug":7647,"title":1211,"dynasty":18,"author":19,"museum":433,"description":7330,"tags":7648,"thumbUrl":7649,"material":495,"size":496,"collection":148,"collections":7650,"showCount":7651,"zanCount":11,"manualWeight":11,"mainColor":54},290868,"zhou-jin-tang-zhou-chou-ying-290868",[114,24,193,115,27,26,28,118,30,7,538,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e9aebcd712fe1da73003fe9d86eb96.jpg",[],29,{"id":7653,"slug":7654,"title":7655,"dynasty":157,"author":504,"museum":433,"description":4750,"tags":7656,"thumbUrl":7658,"material":495,"size":496,"collection":148,"collections":7659,"showCount":7651,"zanCount":11,"manualWeight":11,"mainColor":152},288413,"ku-jiang-zhu-hun-gui-li-hen-tian-sun-wen-288413","苦绛珠魂归离恨天",[24,26,27,30,138,605,7,3866,7657,3238],"悲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2a994a7271acf4c863f79f520cba24a.jpg",[],{"id":7661,"slug":7662,"title":3723,"dynasty":885,"author":2804,"museum":433,"description":5049,"tags":7663,"thumbUrl":7667,"material":495,"size":496,"collection":148,"collections":7668,"showCount":7651,"zanCount":11,"manualWeight":11,"mainColor":54},288341,"lv-dong-bin-guo-yue-yang-lou-tu-xia-yong-288341",[24,114,28,162,7,196,7664,7665,7666],"岳阳楼","吕洞宾","道教神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9430d5d84e56f6bcf030407da1ce84.jpg",[],{"id":7670,"slug":7671,"title":7672,"dynasty":18,"author":281,"museum":135,"description":7673,"tags":7674,"thumbUrl":7677,"material":146,"size":7678,"collection":148,"collections":7679,"showCount":7651,"zanCount":11,"manualWeight":11,"mainColor":54},287976,"chu-jing-tu-juan-yi-ming-287976","出警图卷","《出警入跸图》乃是中华民族的珍贵国宝。《出警图》绘皇帝骑马，由陆路出京，《入跸图》画皇帝坐船，走水路还宫。这两幅图是台北故宫博物院所收藏手卷画作中最长的两幅（《出警图》的宽26米，《入跸图》超过30米），人物众多，场面宏伟，是历代绘画作品中少见的超级巨作。\n这两幅作品，均未署名作者姓名。但可以确定是许多宫廷画师的合力创作，才能完成这两幅布局精采生动的巨作。《出警图》与《入跸图》虽是各自分开的两幅长卷，但是所绘的却同是扫墓、巡视的过程，因而通常被合称为《出警入跸图》。 画家将皇室谒陵的整个时空历程出发→抵达→返回，浓缩于两幅长卷之中。传统观赏《出警图》是由右往左；《入跸图》则由左往右。\n这幅画描绘出明朝皇帝出京谒陵盛况的宫廷画卷。描绘的是皇帝在宫廷侍卫的护送下，骑马出京，声势浩大的来到京郊的十三陵拜先祖，然后再坐船返回北京的情景。皇帝一出一入，相互呼应，气势壮观，栩栩如生。",[23,114,24,25,27,26,651,30,1115,538,7,118,258,98,7675,7676],"帝王出行","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f612a4c13fe43c6ae1dd2d169566a19.jpg","本幅 92.1x2601.3公分",[],{"id":7681,"slug":7682,"title":6792,"dynasty":18,"author":2772,"museum":433,"description":7683,"tags":7684,"thumbUrl":7685,"material":495,"size":496,"collection":148,"collections":7686,"showCount":7651,"zanCount":11,"manualWeight":11,"mainColor":152},287609,"shan-shui-tu-zhou-xie-shi-chen-287609","谢时臣，明代画家，字思忠，号樗仙，吴（今江苏省苏州市）人。谢时臣工山水，师法吴镇， 得沈周笔意而稍变。多作长卷巨幛，峰峦雄伟。尤善画水，江河湖海，种种皆妙。笔墨纵横自如，富有气势，介乎戴进和沈周之间。唯刻画不 够精微，殊少秀韵。",[23,114,24,63,193,162,116,118,7,31,32,121,139,33,30,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527df7914879b235439099ab530acc9.jpg",[],{"id":7688,"slug":7689,"title":7690,"dynasty":157,"author":281,"museum":433,"description":7691,"tags":7692,"thumbUrl":7694,"material":495,"size":496,"collection":148,"collections":7695,"showCount":7651,"zanCount":11,"manualWeight":11,"mainColor":152},230346,"jin-ping-mei-cha-tu-ce-ye-6-kai-yi-ming-230346","金瓶梅插图册页6开","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。",[23,24,63,213,27,26,30,138,7,142,7693,1515,605,1851,408],"鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a5e05634aa376be46434f42b70072b.jpg",[],{"id":7697,"slug":7698,"title":7699,"dynasty":58,"author":356,"museum":433,"description":6412,"tags":7700,"thumbUrl":7702,"material":148,"size":148,"collection":148,"collections":7703,"showCount":7651,"zanCount":587,"manualWeight":11,"mainColor":54},227768,"shan-shui-ye-li-tang-227768","山水页",[23,24,63,114,162,116,1183,118,7,120,33,139,2234,35,38,623,5334,7701,422,2158],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],{"id":7705,"slug":7706,"title":7707,"dynasty":58,"author":281,"museum":433,"description":7708,"tags":7709,"thumbUrl":7710,"material":148,"size":148,"collection":148,"collections":7711,"showCount":7651,"zanCount":11,"manualWeight":11,"mainColor":54},227371,"luo-shen-fu-tu-di-yi-juan-yi-ming-227371","洛神赋图第一卷","曹植的作品中，除了“七步诗”，最有名的就是《洛神赋》了，后来，著名的画家顾恺之依据《洛神赋》，画了流传千古的名画《洛神赋图》，其中最感人的一段描绘是曹植与洛神相逢，但是洛神却无奈离去的情景。\n\n全卷分为三个部分，曲折细致而又层次分明地描绘着曹植与洛神真挚纯洁的爱情故事。人物安排疏密得宜，在不同的时空中自然地交替、重叠、交换，而在山川景物描绘上，无不展现一种空间美。\n\n此图卷无论从内容、艺术结构、人物造形、环境描绘和笔墨表现的形式来看，都不愧为中国古典绘画中的瑰宝之一。",[23,24,25,27,26,95,284,117,30,138,3865,436,118,33,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda06f1d6798502716c251cdbc934d11d.jpg",[],{"id":7713,"slug":7714,"title":2042,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":7715,"thumbUrl":7717,"material":495,"size":496,"collection":148,"collections":7718,"showCount":7651,"zanCount":11,"manualWeight":11,"mainColor":54},226255,"ku-zhu-shi-bei-bi-yi-ming-226255",[2046,94,28,115,26,27,7,30,38,5080,39,7716,4092],"线条细致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e4df82c3c5730ef11493dbfa891d8e.jpg",[],{"id":7720,"slug":7721,"title":7722,"dynasty":157,"author":2231,"museum":433,"description":7723,"tags":7724,"thumbUrl":7725,"material":148,"size":148,"collection":148,"collections":7726,"showCount":7651,"zanCount":11,"manualWeight":11,"mainColor":54},224595,"zhu-bao-song-mao-tu-ping-yuan-jiang-224595","竹苞松茂图屏","《袁江竹苞松茂图屏》是清代袁江创作的一幅画。\n本幅题：“竹苞松茂，癸卯二月邗上袁江画”，钤“袁江之印”、“字文涛”印2方。\n袁江的界画楼阁无论大幅小幅，无不制作精工，尤其是精心绘制的通景屏，景物连贯一体，气势宏伟。\n此幅12条通景屏描绘作者理想中的仙山、楼阁、屋宇为长松茂竹所环抱，将雄伟壮阔的青绿山水与富丽堂皇的楼阁建筑恰到好处地融为一体，既精细入微，又大气磅礴，极大地提高了传统界画的表现能力和艺术感染力。",[23,24,28,27,26,118,7,33,139,194,39,2304,35,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59156e4ca8c6cc344953a9422e597f54.jpg",[],{"id":7728,"slug":7729,"title":7730,"dynasty":157,"author":2025,"museum":433,"description":7731,"tags":7732,"thumbUrl":7733,"material":148,"size":148,"collection":148,"collections":7734,"showCount":7651,"zanCount":630,"manualWeight":11,"mainColor":54},224116,"ping-ding-tai-wan-zhan-tu-qian-long-224116","平定台湾战图","《平定台湾战图册之清音阁凯宴将士》是清代佚名创作的纸本设色画。\n画幅上部乾隆皇帝御题诗，款识：“赐凯旋将军福康安、参赞海兰察等宴，即席成什。\n乾隆戊申孟秋御笔。\n”钤“古希天子”朱文方印、“犹日孜孜”白文方印、“太上皇帝”朱文方印。\n清内府鉴藏印“三希堂精鉴玺”朱文印、“宜子孙”白文印。\n引首钤“乾隆鉴赏”白文圆印。\n“戊申”为乾隆五十三年（1788年），乾隆皇帝时年78岁。\n图绘乾隆皇帝在河北承德避暑山庄的清音阁款待平台有功的福康安、海兰察等将领，君臣一道观吉祥戏的庆贺场景。\n清音阁与紫禁城内畅音阁大戏台的建造形制一样，共分福、禄、寿三层。\n这三层可以同时出现人物、鬼怪、神仙，从而给人更为全面、强烈的视觉感受。\n此图具有极强的真实感，画家以工整细腻的笔法一丝不苟地刻画人物与建筑。\n虽然人物众多，各个小仅寸许，但是造型比例准确，衣冠穿戴合乎典制，乾隆皇帝等重要人物不失肖像画的特征，具有重要的历史价值。\n乾隆五十一年（1786年），居台湾的福建籍天地会首领林爽文率众起义，反抗清政府驻台腐败的吏治。\n乾隆皇帝面对如火如荼的起义，从乾隆五十二年（1787年）始，多次遣兵派将赴台镇压，同时命钦差大臣福康安督办军务。\n清军在有勇有谋的福康安指挥下，仰仗与天地会党敌对的台湾各地“义民乡勇”的密切配合，终于扭转了处处被动挨打的局面，先后拘捕了起义军领袖林爽文、庄大田等人。\n乾隆皇帝于镇压起义后，有针对性地采取了一些措施，如在乾隆五十三年（1788年）批准了经大学士、九卿议覆，福康安上奏的《清查台湾积弊酌筹善后事宜》章程十六条，以严明台湾吏治、加强管理，从此，清政府对台湾的统治进入了一个新的阶段。\n为了纪念平定台湾的胜利，乾隆皇帝命宫廷画家按照每打一次大的战役，画一本战图册的惯例，创作一套纪实性的《平定台湾战图册》。\n此图册从乾隆五十二年十月二十八日，将军福康安统兵进发台湾开始，至乾隆五十三年乾隆皇帝在避暑山庄款待得胜而归的将士止，表现了解嘉义之围、大埔林战役、斗六门战役、大里栰战役、集集埔等大大小小的战役十余起，形象地记录了镇压林爽文起义的经过。",[23,24,63,27,26,28,25,30,7,39,33,387,844,438,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c22e95113d4b8059a9049e6a536f14.jpg",[],{"id":7736,"slug":7737,"title":7738,"dynasty":157,"author":504,"museum":345,"description":505,"tags":7739,"thumbUrl":7740,"material":424,"size":516,"collection":148,"collections":7741,"showCount":7651,"zanCount":11,"manualWeight":11,"mainColor":152},223070,"hong-lou-meng-56-sun-wen-223070","红楼梦56",[23,24,63,26,27,115,30,3455,65,31,32,118,33,7,43,195,38,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa186e96779f40e9867ffeb1c4651429c.jpg",[],{"id":7743,"slug":7744,"title":7745,"dynasty":157,"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，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[23,24,114,118,193,29,7,32,120,422,116,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b2aae287d4fd8b90080a1dfb35dd9ea.jpg",[],{"id":7999,"slug":8000,"title":4784,"dynasty":58,"author":1257,"museum":433,"description":8001,"tags":8002,"thumbUrl":8004,"material":495,"size":496,"collection":148,"collections":8005,"showCount":7945,"zanCount":11,"manualWeight":11,"mainColor":152},285065,"yue-ye-kan-chao-tu-li-song-285065","该画作描绘了宋时临安（今浙江杭州）中秋夜观海潮的情形，是一幅情景精致的杰作。",[23,1535,24,114,28,27,7,120,4787,118,8003,422,117],"月夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12505dfe1c558e14579ad3df9e7fede5.jpg",[],{"id":8007,"slug":8008,"title":8009,"dynasty":885,"author":1543,"museum":433,"description":8010,"tags":8011,"thumbUrl":8012,"material":495,"size":496,"collection":148,"collections":8013,"showCount":7945,"zanCount":11,"manualWeight":11,"mainColor":152},284289,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-284289","丹崖玉树图轴","图中山峦重叠，高松杂树遍布窠石坡岸之上，梵寺仙观掩映于山石林木之中，溪流迴转，云烟缭绕，一派深远优美的意境。黄公望曾谓：“作山水者，必以董为师法，如吟诗之学杜也。”此图便是以董源、巨然创造的披麻皴手法写成，并以水墨浅绛设色。\n由于是在纸本上作画，作者较其《天池石壁图》、《九峰雪霁图》等绢本作品更充分地发挥了笔墨融合的韵味，用笔松秀，点染随意，潇洒自如，在不着笔处衬出迷蒙浮动的云烟雾气，虚实开合，愈增添了山水的灵秀，故虽崇山满纸而无迫塞之感。王原祁评黄氏画作曾云：“每见其布景用笔，于浑厚中仍饶逋峭，苍莽中转见娟妍，纤细而气益闳，填塞而境愈廓，意味无穷。”此作堪为代表。",[24,63,118,162,116,196,33,139,7,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c34216928f15c33184db431beebcfad.jpg",[],{"id":8015,"slug":8016,"title":8017,"dynasty":157,"author":3352,"museum":433,"description":8018,"tags":8019,"thumbUrl":8020,"material":148,"size":148,"collection":127,"collections":8021,"showCount":7945,"zanCount":11,"manualWeight":11,"mainColor":106},238935,"qi-xia-shan-quan-tu-juan-qian-wei-cheng-238935","棲霞山全图卷","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[24,25,162,118,116,120,117,33,139,194,71,7,1464,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e39f32ceb97c4b748313f235bf3e3ee.jpg",[127,82],{"id":8023,"slug":8024,"title":8025,"dynasty":157,"author":8026,"museum":433,"description":8027,"tags":8028,"thumbUrl":8029,"material":148,"size":148,"collection":127,"collections":8030,"showCount":7945,"zanCount":11,"manualWeight":11,"mainColor":152},238246,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238246","燕山八景图册","张若澄","《燕山八景图》册（8开），清，张若澄绘，绢本，设色，纵4.7cm，横4.cm。\n燕山八景图册 自题：“臣张若澄敬写。\n”下钤“臣若澄”、“笔露思雨”二方印。\n对幅均有清乾隆帝题诗。\n钤清乾隆内府诸收藏印。\n此册以北京城著名的“燕京八景”为题而画。\n燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。\n“燕京八景”历金、元、明、清四代，又有称 “燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八 景的名称在不同时期则有所变化。\n乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。\n该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[24,63,213,27,28,118,7,33,120,68,117,164,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0adf7b2fcbdf57fa597e8cf40b281f.jpg",[127,51],{"id":8032,"slug":8033,"title":8034,"dynasty":18,"author":281,"museum":433,"description":8035,"tags":8036,"thumbUrl":8037,"material":148,"size":148,"collection":148,"collections":8038,"showCount":7945,"zanCount":587,"manualWeight":11,"mainColor":152},235633,"song-xu-wan-shan-qiu-se-tu-zhou-yi-ming-235633","宋旭万山秋色图轴","此作用高远章法铺展秋山全景，层峦叠嶂间沟壑纵深，飞泉漱石、山溪蜿蜒贯穿始终。以淡赭晕染山骨铺就秋意底色，朱砂醒点丹枫，勾勒皴擦兼用，将嶙峋山石、虬曲古木的苍劲之态尽皆写就。幽谷深处隐现山居屋舍，林泉间尽显隐逸清寂之趣。整幅画面笔墨清灵雅致，把深秋万山层林尽染的高旷冷寂意境铺陈开来，尽显文人山水崇尚的幽淡空灵林下之风，是极具韵致的秋山绘作。",[24,63,193,114,27,116,118,1709,32,33,538,139,7,946,1409,421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc1c6bbcb02615aab2d7bb1eb1a7e.jpg",[],{"id":8040,"slug":8041,"title":8042,"dynasty":157,"author":281,"museum":433,"description":5650,"tags":8043,"thumbUrl":8049,"material":495,"size":496,"collection":148,"collections":8050,"showCount":7945,"zanCount":11,"manualWeight":11,"mainColor":152},234447,"e-mi-tuo-fo-ji-le-shi-jie-tang-ka-yi-ming-234447","阿弥陀佛极乐世界唐卡",[4109,94,26,27,4092,30,7,96,8044,7591,118,38,8045,8046,1315,8047,8048],"莲花","菩萨","罗汉","神兽","莲花池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1547b88b586a795e0d8869e0cdf7e3a.jpg",[],{"id":8052,"slug":8053,"title":8054,"dynasty":157,"author":8055,"museum":433,"description":8056,"tags":8057,"thumbUrl":8058,"material":180,"size":148,"collection":49,"collections":8059,"showCount":7945,"zanCount":587,"manualWeight":11,"mainColor":54},234319,"jiu-ru-zhi-ji-ce-wang-gai-234319","九如治迹册","王概","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。\n王概（生卒年未详），最初名“匄”（发音：gai），可以写为“改”，也可以写为“丐”，字东郭，又字安节，浙江秀水（今嘉兴）人。一直以来居住于江宁（今江苏南京）。王概从龚贤(1618—1689)学山水画，用墨浓重，善作大幅及松石等。\n王概曾应李渔之婿沈因伯之请，与其兄王耆，其弟王臬在沈因伯保存的明末画家李流芳原有四十三幅画稿的基础上，补绘完成《芥子园画传》，后经李渔的帮助，刻印出版。\n王概兄弟皆笃行嗜古，旁及诗、画，擅名于时。一生专心艺事，不入仕途，以卖画为生。山水学龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”与当时名流汤燕生、李渔、程邃、孔尚任、周亮工等交往。",[24,213,27,26,28,118,30,7,31,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06918a767082105822cbcaec82eed402.jpg",[49],{"id":8061,"slug":8062,"title":8063,"dynasty":89,"author":548,"museum":60,"description":8064,"tags":8065,"thumbUrl":8066,"material":180,"size":8067,"collection":148,"collections":8068,"showCount":7945,"zanCount":11,"manualWeight":11,"mainColor":152},233807,"jing-ji-rui-xue-tu-wan-shan-li-si-xun-233807","京畿瑞雪图纨扇","扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且目前尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[1535,24,63,114,115,28,27,118,7,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ee61859bd068c3c6b8fd3ba0b72f1f.jpg","纵42.7厘米，横45.2厘米",[],{"id":8070,"slug":8071,"title":3769,"dynasty":18,"author":2561,"museum":433,"description":8072,"tags":8073,"thumbUrl":8074,"material":148,"size":148,"collection":148,"collections":8075,"showCount":7945,"zanCount":11,"manualWeight":11,"mainColor":152},231013,"xi-shan-xian-guan-tu-wen-bo-ren-231013","此作用笔秀雅苍润，以淡墨皴擦山峦，晕染出烟岚轻笼的朦胧质感，峰峦层叠错落，将高远、深远之境相融。山坳间的仙馆屋舍隐在丹黄点染的林木之中，流泉叠瀑穿谷而下，为静谧山林添注灵动生机。\n整体兼具元人山水的淡逸简远，又带着吴门画派的清丽雅致，把文人心中的林泉幽隐之思铺陈在尺幅之间，恍若将清虚灵秀的桃源仙境收卷其中，观之如踏入世外仙居，静穆里藏着鲜活意趣，尽显江南山水温婉灵秀的气韵，诠释出寻仙问道的缥缈意境。",[24,63,193,162,116,118,7,33,421,139,117,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f29fa640b26633fd9da557e8a86eaf6.jpg",[],{"id":8077,"slug":8078,"title":8079,"dynasty":157,"author":5304,"museum":433,"description":6820,"tags":8080,"thumbUrl":8081,"material":495,"size":496,"collection":148,"collections":8082,"showCount":7945,"zanCount":11,"manualWeight":11,"mainColor":54},230137,"qiu-song-qiao-bi-tu-wu-li-230137","虬松峭壁图",[23,24,193,162,116,117,118,538,2158,139,7,32,33,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2360df74dde1940bb17a7183928f6ea7.jpg",[],{"id":8084,"slug":8085,"title":8086,"dynasty":157,"author":7174,"museum":433,"description":8087,"tags":8088,"thumbUrl":8089,"material":148,"size":148,"collection":148,"collections":8090,"showCount":7945,"zanCount":11,"manualWeight":11,"mainColor":152},224402,"wang-chuan-tu-juan-wang-yuan-qi-224402","辋川图卷","此作用全景式铺展林壑烟波，干笔焦墨反复皴擦，层层晕染出苍润浑厚的山峦丘石。水泽横陈，将错落山居、葱郁林木串联，渔舟泛于空蒙水面，村落藏于深林岩岫之间，尽显幽寂萧散的山居雅意。\n\n画作恪守元人山水的淡远意趣，又以娄东画派绵密繁复的笔法铺陈，虚实相生间复刻出辋川栖居的林泉之胜，把文人理想中的幽隐之境凝于尺幅，笔墨苍秀兼具，静穆雅致中尽显传统山水的隽永意趣。",[23,24,25,27,162,118,116,31,32,120,121,7,139,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a55542ac04f40c6195375482a7fc7f2.jpg",[],{"id":8092,"slug":8093,"title":8094,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山谷中松林茂密，清溪流淌，隐露楼观，境界清幽，鲜明地表现了世外仙境。画幅右上楷书“洞天山堂” 四宇， 点明了全画主题。诗堂有王铎跋语：“神理气韵，古秀灵通，入于口微，董源此图，当属玄化，丙戌端阳后二日题于琅华馆。”故此遂被定为董源手笔。然此图笔墨苍劲，景色茂密，云朵以白粉染绘，与董源之淡墨轻岚颇不相类，更近于1 2世纪后之山水画风貌，按金代很多山水画承袭董、巨而有所变化，故拟此画为金代之作似更为恰当。",[114,24,63,193,162,116,118,7,31,538,194,139,121,32,117,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7328b7152d7bab59353adc48e47affbb.jpg","183.2x121.2",[],{"id":8197,"slug":8198,"title":1848,"dynasty":58,"author":281,"museum":433,"description":8199,"tags":8200,"thumbUrl":8202,"material":495,"size":496,"collection":148,"collections":8203,"showCount":170,"zanCount":587,"manualWeight":11,"mainColor":54},288960,"qi-qiao-tu-yi-ming-288960","此作用精谨界画描摹层叠深宅，飞檐翘角、回廊层楼尽显清雅规制。画中人物错落排布，仕女凭栏低语、仆从往来，将七夕乞巧的闺阁雅景铺陈开来。苍木点缀院落间，淡墨轻彩晕染出沉静古雅的氛围，工笔细绘的衣袂、檐下饰纹处处见巧思，把古时女子祈愿巧手灵心的温婉情态，与深宅里的悠然日常相融，让千年前的岁时闲情历历在目，尽显旧时世情风物的雅致意趣。",[24,28,27,26,30,7,1450,8201],"乞巧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ef82e46bd4daaf32a94598833aa93f3.jpg",[],{"id":8205,"slug":8206,"title":8207,"dynasty":58,"author":559,"museum":433,"description":1957,"tags":8208,"thumbUrl":8209,"material":495,"size":496,"collection":148,"collections":8210,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":152},288958,"han-gong-tu-zhao-bo-ju-288958","汉宫图",[114,24,63,193,28,27,30,7,117,1517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cf0fae01e703ae129727e4b2f5d56d4.jpg",[],{"id":8212,"slug":8213,"title":8214,"dynasty":157,"author":504,"museum":433,"description":4750,"tags":8215,"thumbUrl":8217,"material":495,"size":496,"collection":148,"collections":8218,"showCount":170,"zanCount":587,"manualWeight":11,"mainColor":54},288397,"shi-tou-ji-da-guan-yuan-quan-jing-sun-wen-288397","石头记大观园全景",[23,24,63,27,26,28,7,121,1047,33,3239,8216],"石头记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205e83c05eb554dbccd238bc6a5449c6.jpg",[],{"id":8220,"slug":8221,"title":8222,"dynasty":58,"author":559,"museum":433,"description":1957,"tags":8223,"thumbUrl":8224,"material":495,"size":496,"collection":148,"collections":8225,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":54},283636,"hai-tian-xu-ri-tu-juan-zhao-bo-ju-283636","海天旭日图卷",[23,24,114,25,115,27,118,3440,1171,1046,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ff9b82a5d0dcd32cd304f2da2955de.jpg",[],{"id":8227,"slug":8228,"title":8229,"dynasty":18,"author":8230,"museum":60,"description":8231,"tags":8232,"thumbUrl":8233,"material":78,"size":8234,"collection":148,"collections":8235,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":54},233743,"xue-ye-fang-pu-tu-zhou-liu-jun-233743","雪夜访普图轴","刘俊","此图描写宋太祖赵匡胤雪夜访赵普的历史故事。据《宋史·赵普本传》记载：“太祖数微行过功臣家，普每退朝，不敢便衣冠。一日，大雪问夜，普意帝不出。久之，闻叩门声，普亟出，帝立风雪中，普惶惧迎拜，帝曰：‘已约晋王矣。'已而太宗至，设重裀地坐堂中，炽炭烧肉，普妻行酒，帝以嫂呼之。因与普计下太原。”画面描绘的正是这一历史情景。在门庭宽敞、屋宇数重的枢密副史府内，前厅正中二人围炉而坐。上首坐的是宋太祖赵匡胤，他头扎巾帽，身穿盘领窄袖袍服，腰束锦带，身材魁伟，气度不凡，其庄严的表情，侧首聆听的姿态，恰当地表现了深夜访贤、商议国家大事的仪态和心境。身着便服的枢密副史赵普在下首侧坐，恭谦地侃侃而谈，细致地刻画出了他诚恳献策的谋臣风度。画家在着意刻画主体人物的同时，对景象做了细致的描写。近岩远山，老树昏鸦，均被夜色笼罩着，竹叶、树枝、屋脊上覆盖着皑皑白雪，天气显然很寒冷。为突出赵匡胤的天子身份，在大门外象征性地画有四个侍卫，他们似乎守候已久。这些细微的描绘，深化了雪夜访贤的主题。\n此画构图主次分明，主题突出，人物刻画精细生动，屋宇、什物结构精确，线条工整。山石树木的勾斫皴擦，既保持了宋人画的劲健之笔，又呈疏简之势，反映了明代院体画所呈现的变化。",[18,26,27,28,30,7,422,1013,39,139,118,3562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f47baeede3a2d6d5c1ecf52f831c21.jpg","纵143.2厘米，横75厘米",[],{"id":8237,"slug":8238,"title":343,"dynasty":157,"author":344,"museum":433,"description":8239,"tags":8240,"thumbUrl":8241,"material":148,"size":148,"collection":148,"collections":8242,"showCount":170,"zanCount":587,"manualWeight":11,"mainColor":54},230995,"xiu-yuan-tu-wang-yun-230995","此作以工秀笔触绘就江南私园雅景，亭台临波而起，游廊蜿蜒衔连。水面凫鸭悠游，玲珑湖石与扶苏花木错落排布，晕染出雅致悠然的园居氛围。\n\n堂上主人凭案安坐，侍童侧立随侍，月台、游廊之上仕女游赏低语，将文人日常的闲雅意趣铺陈开来。设色清隽淡雅，界画工整流利，树石皴染兼具质感与文趣，把私园的幽致与园居的松弛心境相融，尽显古典园林绘卷的诗意闲情。",[24,63,27,26,28,30,7,4276,33,931,31,539,1628,39,139,38,1047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c4696b9a08d524f77b20f5a6383d28.jpg",[],{"id":8244,"slug":8245,"title":8246,"dynasty":18,"author":5099,"museum":433,"description":8247,"tags":8248,"thumbUrl":8249,"material":148,"size":148,"collection":148,"collections":8250,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":152},228966,"si-ji-feng-jing-ce-ye-xiao-yun-cong-228966","四季风景册页","此作用浅绛青绿晕染山峦，层叠崖岫以苔点晕出苍润生机，山坳隐见红墙古寺，飞瀑穿林汇作浅溪，板桥引渡，丹鹤独立溪畔，晕开清寂仙气。\n\n右侧老梅虬枝缀花，树下三文士凭坐观览，或低语或凝思，将雅集幽闲融于林泉丘壑。右上角题诗与画境呼应，以书法点出寻梅高士的林下襟怀。\n\n笔墨简淡秀雅，设色明润柔和，整体意境清旷出尘，将山水灵秀与文人雅趣相融，尽显淡远闲逸之美，把春日寻幽的雅兴定格在尺幅之间，淡而弥远，韵致悠长。",[24,27,116,213,118,30,31,32,1515,1380,7,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6394ee68fb4f16fd1443886e59691153.jpg",[],{"id":8252,"slug":8253,"title":8254,"dynasty":18,"author":5633,"museum":433,"description":8255,"tags":8256,"thumbUrl":8258,"material":148,"size":148,"collection":148,"collections":8259,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":54},228495,"wu-lu-an-tu-ye-li-shi-da-228495","五鹿庵图页","以鸟瞰全景铺展画面，将江渚山水与庵居雅境相融。江面帆影穿梭、石桥卧波，沿坡蜿蜒的石墙围合出错落屋舍，林木葱茏掩映庭台，有人闲坐堂内叙谈，有人缓步庭中，处处漾着松弛鲜活的烟火气。\n笔墨淡润秀雅，浅赭轻施，以简约笔触勾勒屋舍坡岸，省去繁复皴擦，将禅居的清幽静寂，与江南水乡的鲜活日常糅合无间，把晚明文人梦寐的烟火雅居，晕染在纸幅之上。",[24,27,28,3647,118,7,31,32,120,121,33,30,75,35,8257],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2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52.5x27.4公分、全幅 59.2x82公分",[],{"id":8278,"slug":8279,"title":8280,"dynasty":157,"author":305,"museum":433,"description":8281,"tags":8282,"thumbUrl":8283,"material":148,"size":148,"collection":148,"collections":8284,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":152},224428,"shan-lou-ke-hua-tu-wang-shi-min-224428","山楼客话图","《山楼客话图》是王时敏八十岁之后作品，创作于清代，现藏于天津市艺术博物。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n山峦层叠，深壑溪流，茂林密布，水阁立于其间，名士在此高谈阔论。\n此画以赭墨为主，单纯而深厚，滋润而清脱。\n从笔墨技法来看，复古意味十分明显，皴笔细密，用多层次的皴染表现山体，墨色厚重，流露出作者“熟不甜，生不涩，淡而厚，实而清”的成熟面貌。\n王时敏 ， (1592-168)，明末清初画家。\n字逊之，号烟客、西庐老人等。\n江苏太仓人。\n王锡爵孙。\n出身明代官宦之家，崇桢初年曾任太常寺卿，所以也被称为“王奉常”。\n寄情诗文书画，家藏历代法书名画甚多，反复观摩，并曾得到董其昌等人的指点。\n擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。\n其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。\n与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n开创了山水画的“娄东派”，居清初画家“四王”之首。",[23,24,63,193,162,116,118,7,33,139,421,75,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2852667eb07d849f77f2b9ab7916caaf.jpg",[],{"id":8286,"slug":8287,"title":8288,"dynasty":58,"author":281,"museum":135,"description":8289,"tags":8290,"thumbUrl":8291,"material":146,"size":8292,"collection":127,"collections":8293,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":54},223446,"han-lin-lou-guan-yi-ming-223446","寒林楼观","表现冬日雪后树木萧瑟的景致，整幅作品设色淡雅，意境深幽，颇传宋人神韵。",[23,24,28,27,26,118,7,373,372,139,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce11376d9ed52e44ecd59d7ed80b572b.jpg","纵145cm，横88cm",[127,82],{"id":8295,"slug":8296,"title":8297,"dynasty":89,"author":281,"museum":60,"description":8298,"tags":8299,"thumbUrl":8300,"material":180,"size":8301,"collection":148,"collections":8302,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":54},223443,"gong-yuan-tu-zhou-yi-ming-223443","宫苑图轴","此画一说为李思训所绘。远处崇山峻岭，山峰陡峭，山中殿阁亭榭林立，圆形，飞檐，造型不一，隐约可见人们穿梭其中。此图将山野之间的逸趣与宫殿的富丽完美地结合，是一幅极富装饰趣味的山水楼阁画佳作。",[23,114,24,193,28,27,118,7,1862,30,981],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80f5c5554e066d90eb3a659fa472502.jpg","162.5cm＊83.7cm",[],{"id":8304,"slug":8305,"title":8306,"dynasty":157,"author":281,"museum":433,"description":8307,"tags":8308,"thumbUrl":8309,"material":148,"size":8310,"collection":148,"collections":8311,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":54},223331,"san-shan-wu-yuan-tu-yi-ming-223331","三山五园图","在北京西郊的西山脚下，有一片泉泽遍野，群峰叠翠的地方，从公元11世纪起，这里就开始营建皇家园林，到800年后清朝结束时，园林总面积达到了1000多公顷。在这些皇家园林中，最著名的就要数“三山五园”了。\n“三山五园”中的三山是指香山、玉泉山和万寿山。这三座山上分别有静宜园、静明园、清漪园，再加上东边的畅春园和圆明园，就是所谓的五园。如此集中的皇家园林为世所罕见。这主要还是得力于这里优美的自然环境，以及北京作为京城的人文优势。\n在北京的西北郊，素有神京右臂之称的西山，峰峦连绵，自南趋北，余脉在香山的部位兜转而东，远远拱列于北京的西北面。在它的腹心地带，两座小山岗双双平地突起，这就是玉泉山和万寿山。它们附近泉水丰沛，湖泊密布，形成有如江南的优美自然景观，这在华北地区是不多见的。\n早在辽、金时期，香山、玉泉山就有了皇家行宫别苑的建置。但金、元、明三代的主要精力都放在在修建北京的城池和城内的皇宫。这里真正成为皇家独占的宫廷园囿，还是清王朝兴起以后的事。\n清朝的皇帝们十分热衷于园林的建设，尤其是康熙、雍正、乾隆三朝，基本奠定了京城皇家园林的建设格局和规模，“三山五园”就是其中的核心部分。\n三山五园中建造最早的是畅春园，它于康熙二十九年（即公元1691年）建成，位于今天的北京大学一带，是在明代私家园林的旧址上修建的。今天我们在北京大学的校园里，还依稀可以找到一些旧日园林的痕迹。",[23,27,28,26,118,7,32,1047,38,7177,1463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf339820c8e9c1373d7b74bcee1b035e.jpg","51x88",[],{"id":8313,"slug":8314,"title":8315,"dynasty":157,"author":504,"museum":345,"description":505,"tags":8316,"thumbUrl":8319,"material":424,"size":516,"collection":148,"collections":8320,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":54},223047,"hong-lou-meng-172-sun-wen-223047","红楼梦172",[23,24,26,27,30,138,7,605,4430,139,39,8317,33,8318,4085],"栅栏","黄叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaeed6a2f207bfa4c0ff0e2a88140b8b.jpg",[],{"id":8322,"slug":8323,"title":8324,"dynasty":157,"author":504,"museum":345,"description":505,"tags":8325,"thumbUrl":8326,"material":424,"size":516,"collection":148,"collections":8327,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":54},223023,"hong-lou-meng-148-sun-wen-223023","红楼梦148",[23,24,26,27,118,30,7,31,121,32,1599,1013,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f0cacb77d3ba2f18dc3c0c17699474e.jpg",[],{"id":8329,"slug":8330,"title":8331,"dynasty":157,"author":504,"museum":345,"description":505,"tags":8332,"thumbUrl":8333,"material":424,"size":516,"collection":148,"collections":8334,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":152},222970,"hong-lou-meng-95-sun-wen-222970","红楼梦95",[23,24,26,27,30,7,118,33,39,623,1996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c0f8a526064311858b402e15a02cdd.jpg",[],{"id":8336,"slug":8337,"title":8338,"dynasty":157,"author":504,"museum":345,"description":505,"tags":8339,"thumbUrl":8341,"material":424,"size":516,"collection":148,"collections":8342,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":152},222956,"hong-lou-meng-81-sun-wen-222956","红楼梦81",[23,114,24,63,26,27,437,7,30,775,931,2444,6186,33,142,623,38,39,5608,463,139,3125,3762,8340],"工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac0e81cb3119ae54f2e3390d79b514f.jpg",[],{"id":8344,"slug":8345,"title":8346,"dynasty":18,"author":281,"museum":943,"description":8347,"tags":8348,"thumbUrl":8349,"material":47,"size":8350,"collection":51,"collections":8351,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":54},220352,"shan-lin-hui-you-tu-yi-ming-220352","山林会友图","这幅小品以虚实相生铺陈意境，左侧重峦叠石以石青、石绿晕染，苍松虬劲古雅，山居掩映于林麓间，笔墨苍秀雅致。右侧烟波浩渺，远山如黛隐于霭色中，汀洲屋舍朦胧悠远，以留白衬出山水空阔辽远。近景松下雅士围坐清谈，悠然会友，将山林雅集的闲适意趣娓娓道来。\n\n整体设色沉稳古雅，咫尺尺幅间兼具山水之旷远与文人雅聚的悠然，尽显雅致含蓄的山水意趣，把林下清谈的雅逸氛围融于青绿山水间，淡墨轻岚里藏着中式文人的精神栖居之所。",[24,63,1535,27,115,118,30,7,33,139,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd57379418541d43f527b09165c063b4.jpg","20.2x21.2",[51],{"id":8353,"slug":835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《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[23,24,63,118,27,116,139,33,7,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f291341f23bb7e28180547e5a748143.jpg","30.6x20.7cm",[127],{"id":8570,"slug":8571,"title":8572,"dynasty":157,"author":281,"museum":433,"description":8573,"tags":8574,"thumbUrl":8575,"material":47,"size":148,"collection":148,"collections":8576,"showCount":8360,"zanCount":11,"manualWeight":11,"mainColor":54},216708,"hong-lou-meng-fu-tu-ce-15-yi-ming-216708","红楼梦赋图册-15","木桥横卧溪上，涟漪轻漾着细碎的光。两位女子立于桥间，红衣者凭栏远眺，眉目间似凝着云边的愁绪；白衣者执扇低眉，身姿柔婉如风中垂柳。岸边树影婆娑，枝叶错落间漏下天光，远处屋宇隐在绿意里，飞鸟掠过天际，带起的风拂动了树的影、水的纹。整幅画晕染着江南园林的雅致，将红楼闺阁的闲静时光，凝成一抹诗意的温柔。每处细节都藏着细腻情思：树的繁荫、屋的隐现、鸟的翩跹，仿佛能让人嗅到那时的草木香，听见风穿过叶隙的轻响，触到闺中女儿未说出口的幽思。这抹水墨里的静，恰是红楼故事里最动人的闲愁与清欢。",[23,24,213,27,26,30,138,31,32,33,123,7,762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd36dfa8e558b65b38a8956433ff60ad.jpg",[],{"id":8578,"slug":8579,"title":8580,"dynasty":157,"author":281,"museum":433,"description":8581,"tags":8582,"thumbUrl":8583,"material":47,"size":148,"collection":148,"collections":8584,"showCount":8360,"zanCount":11,"manualWeight":11,"mainColor":54},216707,"hong-lou-meng-fu-tu-ce-17-yi-ming-216707","红楼梦赋图册-17","亭榭临池，绿柳垂荫，棕榈倚石，江南园林的清婉漫溢纸面。池面莲叶田田，粉荷点缀如星，水珠滚在叶上似碎玉流转。亭中女子衣袂轻扬，或凭栏低语，或执扇凝眸，温婉神情藏着闺阁的静美。左侧圆窗内，青衫男子伫立遥望，眉眼间漾着几分幽微情愫，似与亭中光景暗通款曲。画面设色淡雅，线条细腻如丝，将红楼情境里的雅致日常与隐约怅惘悄然铺展，如同一阙浸了墨香的旧词，在笔墨晕染间，把古典诗意与含蓄心事揉成了眼前的生动图景。",[23,24,27,26,213,30,138,7,4058,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5146995cdeeb400585041e4c1cc9e43e.jpg",[],{"id":8586,"slug":8587,"title":8588,"dynasty":157,"author":281,"museum":433,"description":8589,"tags":8590,"thumbUrl":8591,"material":232,"size":148,"collection":127,"collections":8592,"showCount":8360,"zanCount":11,"manualWeight":11,"mainColor":152},215618,"tian-xia-ming-shan-tu-ce-yi-ming-215618","天下名山图册","层峦叠嶂间，墨线勾勒出山脊嶙峋之势，皴擦点染晕开草木苍劲生机。几株古松挺立于峰巅，枝干虬曲如铁，似与流云低语。山间小径蜿蜒，行人三两成簇，或行或驻，为静谧山林添几分烟火气。右侧山谷隐现亭台楼阁，飞檐翘角藏于茂林修竹间，与山石流水相映成趣。画面布局疏密有致，留白处似有云雾流转，虚实相生尽显山川悠远意境。笔墨虽简，却将自然雄浑与人文雅致融于一纸，仿佛能闻松涛阵阵、涧水潺潺，叫人沉醉于这方清幽天地。",[24,63,213,95,162,116,118,774,33,121,7,31,32,64,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd70bb88931916c051d525147647bc23.jpg",[127],{"id":8594,"slug":8595,"title":8596,"dynasty":58,"author":669,"museum":135,"description":7047,"tags":8597,"thumbUrl":8598,"material":217,"size":8599,"collection":148,"collections":8600,"showCount":8601,"zanCount":11,"manualWeight":11,"mainColor":152},290865,"si-lun-tu-zhou-liu-song-nian-290865","丝纶图轴",[114,24,63,193,27,30,138,7,538,385,284,117,26,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff443d84c94d6f9882bd0d0f95d4233.jpg","98.9x33.2",[],24,{"id":8603,"slug":8604,"title":8605,"dynasty":885,"author":281,"museum":135,"description":8606,"tags":8607,"thumbUrl":8609,"material":361,"size":8610,"collection":127,"collections":8611,"showCount":8601,"zanCount":11,"manualWeight":11,"mainColor":54},290793,"mai-yu-gu-jiu-tu-zhou-yi-ming-290793","买鱼沽酒图轴","此图描绘了群山为白雪覆盖，老松古杉点缀一些青翠之意。水榭中，主人等待著小童买鱼沽酒归来。溪涧木桥上，行旅冒雪赶路前来聚会，为寂静之山林增添了生意。依画法作者名款，旧传为元人之作。",[24,114,193,118,116,162,7,31,32,120,422,75,139,8608],"沽酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e785ff33fa89f38077ee412c9e6c097.jpg","57x36.7",[127],{"id":8613,"slug":8614,"title":8615,"dynasty":157,"author":7424,"museum":433,"description":8616,"tags":8617,"thumbUrl":8618,"material":495,"size":496,"collection":148,"collections":8619,"showCount":8601,"zanCount":11,"manualWeight":11,"mainColor":152},290591,"zhen-hai-si-xue-jing-zhou-zhang-ruo-ai-290591","镇海寺雪景轴","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、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。",[24,63,193,118,616,7,31,32,538,3191,27,116,117,94,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaaf25a4a84a0d50516cc3589bc39e7.jpg",[],{"id":8621,"slug":8622,"title":8623,"dynasty":89,"author":1167,"museum":433,"description":8624,"tags":8625,"thumbUrl":8626,"material":495,"size":496,"collection":148,"collections":8627,"showCount":8601,"zanCount":11,"manualWeight":11,"mainColor":152},289994,"luo-yang-lou-tu-li-zhao-dao-289994","洛阳楼图","李昭道，生卒年未详。字希俊，唐代画家。唐朝宗室，彭国公李思训之子，长平王李叔良曾孙。甘肃天水人。曾为太原府仓曹、直集贤院，官至太子中舍人。擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。曾作《秦王独猎图》。画作有《海岸图》、《摘瓜图》等六件，著录于《宣和画谱》。传世作品有《春山行旅图》轴，图录于《故宫名画三百种》；《明皇幸蜀图》卷，现藏台北故宫博物院。\n李昭道生活于唐玄宗时代，有可能画安史之乱时明皇避难入蜀的题材，《明皇幸蜀图》体现了二李画派的典型风格，时代特徵明显，是反映唐代山水画面貌的重要传世作品。他能“变父之势，妙又过之”，为历代所称颂，《唐朝名画绿》则称他画的山水鸟兽“甚多繁巧，智慧笔力不及思训”。",[24,114,63,193,28,27,7,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8093413387740ab0dbf8a2b6d5315259.jpg",[],{"id":8629,"slug":8630,"title":8631,"dynasty":157,"author":8632,"museum":433,"description":8633,"tags":8634,"thumbUrl":8635,"material":495,"size":496,"collection":148,"collections":8636,"showCount":8601,"zanCount":11,"manualWeight":11,"mainColor":54},287969,"song-ge-fu-qin-tu-li-zhou-li-yin-287969","松阁抚琴图立轴","李寅","李寅，清代扬州画家，字白也，号东柯，江都（今江苏扬州）人，擅画山水，楼阁及花鸟，画风工细，设色娟妍。",[24,63,193,114,118,538,7,32,30,5254,116,27,4490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb15e2546efd6385412ac7e4bd64a9be.jpg",[],{"id":8638,"slug":8639,"title":8640,"dynasty":885,"author":8641,"museum":135,"description":8642,"tags":8643,"thumbUrl":8644,"material":232,"size":8645,"collection":148,"collections":8646,"showCount":8601,"zanCount":587,"manualWeight":11,"mainColor":152},287664,"kuang-lu-tu-dai-chun-287664","匡庐图","戴淳","《匡庐图》是元代戴淳创作的一幅立轴纸本水墨山水画，纵117.1厘米，横50.9厘米，此画老树挺拔，山石险峻，高崖一层一层相叠著。峰顶筑有古寺楼阁，建筑物的描绘，方劲稳重，山石的形状，也近乎方形。石纹多用枯笔皴擦，颇有苍老而稳健的感觉。明末清初的龚贤，在画风上与这幅画有极相近之处",[24,63,162,118,193,116,7,121,3250,139,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e308b4e2b73206906d8d274eb15436e.jpg","117.1x50.9",[],{"id":8648,"slug":8649,"title":8650,"dynasty":157,"author":8651,"museum":433,"description":8652,"tags":8653,"thumbUrl":8655,"material":148,"size":148,"collection":82,"collections":8656,"showCount":8601,"zanCount":11,"manualWeight":11,"mainColor":152},238319,"yan-yu-lou-tu-zhou-dong-gao-238319","烟雨楼图轴","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 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画中有案面两头翘起，两足为竖条组成的板式足，足下安托子，保留隋唐以来直栅足跗的遗意。坐榻体大厚重，足下有托泥，形成箱形榻体亦以壶门装饰。榻之三面以画屏装饰，屏风上绘墨竹。屋旁置有三层圆腿书籍架格。",[24,63,193,26,27,118,30,7,33,139,8877,284,117],"书房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286af7d0b0d9bd266ca815cb5e318ec.jpg",[],{"id":8881,"slug":8882,"title":8883,"dynasty":885,"author":1332,"museum":433,"description":8884,"tags":8885,"thumbUrl":8886,"material":495,"size":496,"collection":148,"collections":8887,"showCount":251,"zanCount":587,"manualWeight":11,"mainColor":152},287784,"yang-zheng-tu-juan-wang-zhen-peng-287784","养正图卷","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[23,24,25,63,28,26,27,30,7,39,651,284,164,4997,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac150d266bb48de0451eab13aac2dc0.jpg",[],{"id":8889,"slug":8890,"title":8891,"dynasty":157,"author":8892,"museum":433,"description":8893,"tags":8894,"thumbUrl":8895,"material":148,"size":148,"collection":127,"collections":8896,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":152},237564,"hua-fen-yong-xiao-shi-shi-ce-wang-fu-237564","画分咏小石诗册","王凫","此作以开合之景铺展山居雅趣，高岭卧石隐于浅草疏林，溪谷蜿蜒穿林而过，将画面裁为丘山与雅居两处景致。坡岸林间，士人围坐清谈，草亭之内宾主对坐酬唱，右侧层叠楼阁依岩而建，有人凭栏远眺。设色淡雅清和，赭石晕染山峦，花青点染林木，笔致秀润细腻，将文人士子幽居雅集的闲逸尽数铺陈。整体氛围安恬静穆，林下风流与山居幽趣相融，将江南山居的清旷雅致凝于尺幅之间，藏着文人栖居林泉的浮生雅事，尽显丘林雅韵。",[24,63,213,27,28,26,118,121,7,31,32,30,33,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3599c8cb93fc6d7c7fb6bd6e4a8dcf3c.jpg",[127,51,834],{"id":8898,"slug":8899,"title":8900,"dynasty":157,"author":281,"museum":433,"description":8901,"tags":8902,"thumbUrl":8903,"material":148,"size":148,"collection":148,"collections":8904,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":152},235335,"wang-jian-fang-gu-shan-shui-ce-yi-ming-235335","王鉴仿古山水册","此作绘冬日山林雪景，层峰叠峙，积雪覆于嶙峋山石与枯木之上，以留白晕染出清寒空濛之意。山坳飞瀑垂落，崖畔古寺幽藏，萧寒之中暗蕴灵动生机。\n笔墨苍秀沉厚，以干笔皴擦勾勒山石肌理，淡墨晕铺雪色，布景繁密却通透空灵。将宋元山水古雅意韵融于尺幅，简淡清旷间尽显林泉萧疏淡远之致，可观可游，静中生趣，尽显仿古山水的雅致格调。",[24,63,213,27,118,196,33,7,164,117,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11341c2949a21315b30cb3cbf08de4c6.jpg",[],{"id":8906,"slug":8907,"title":8908,"dynasty":18,"author":8909,"museum":433,"description":8910,"tags":8911,"thumbUrl":8912,"material":148,"size":148,"collection":148,"collections":8913,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":152},234670,"cong-shan-shui-shan-mian-gong-yun-234670","从山水扇面","龚云","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。",[1535,24,63,162,27,118,31,32,120,123,121,196,7,30,117,116,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0deb888dcc6e61f9401f6daf73a09633.jpg",[],{"id":8915,"slug":8916,"title":8917,"dynasty":18,"author":281,"museum":433,"description":8918,"tags":8919,"thumbUrl":8920,"material":148,"size":148,"collection":148,"collections":8921,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":54},234495,"song-yuan-ming-hua-ce-ming-ren-shan-shui-lou-ge-ye-yi-ming-234495","宋元明画册-明人山水楼阁页","画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和、色调明快。",[24,27,28,118,7,33,139,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c7c138c7ec5fbae641dc96dc938520.jpg",[],{"id":8923,"slug":8924,"title":8925,"dynasty":157,"author":281,"museum":433,"description":5650,"tags":8926,"thumbUrl":8928,"material":495,"size":496,"collection":148,"collections":8929,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":54},234414,"wu-liang-shou-fu-ji-le-shi-jie-tang-ka-yi-ming-234414","无量寿佛极乐世界唐卡",[4109,94,27,26,28,30,7,96,8044,8927],"宗教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e82dc391ca596d69f2caf4f0bcf2a5.jpg",[],{"id":8931,"slug":8932,"title":8933,"dynasty":18,"author":8934,"museum":60,"description":8935,"tags":8936,"thumbUrl":8937,"material":2060,"size":148,"collection":148,"collections":8938,"showCount":251,"zanCount":587,"manualWeight":11,"mainColor":152},234244,"shan-shui-juan-zhang-fu-234244","山水卷","张復","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。",[23,24,25,63,162,27,116,118,120,31,32,7,33,139,476,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d3a363c537e6fd65da59b61258ccaf.jpg",[],{"id":8940,"slug":8941,"title":8942,"dynasty":18,"author":8943,"museum":433,"description":8944,"tags":8945,"thumbUrl":8946,"material":146,"size":148,"collection":148,"collections":8947,"showCount":251,"zanCount":587,"manualWeight":11,"mainColor":54},234164,"nan-ping-yan-yu-tu-juan-zhou-han-234164","南屏烟雨图卷","周翰","[明]工山水。北京故宫绘画馆有嘉靖三十四年（一五五五）所画南屏烟雨图卷，绢本，似王巩而秀润，云烟烘染尤妙。《榆园画志》",[23,114,24,63,25,27,116,118,7,31,32,120,121,123,33,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6585ae0baa2edac4fe97f120f7e3f49d.jpg",[],{"id":8949,"slug":8950,"title":8951,"dynast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夏永创作的绢本墨笔画，现藏于美国波士顿美术馆。\n该图描绘中国名胜滕王阁的形势景色，画上并以细微楷写唐代王勃《滕王阁序》，用笔极为精细而不失矩度，堪称界画绝品。\n滕王阁位于江西 城外，唐高祖为其子 洪州刺史所建，元婴后封滕王故得名。\n此图用俯瞰法，视点高，同时显示多景的场面，已从纯粹描绘建筑物变成与自然环境结合的风景画面。\n高台之下，江坡浩渺，鱼舟往来，高低错落的楼阁亭台,殿内文士雅集，颇有园林趣味。\n如此规模的绘画景点，作者竟然在楼阁台基旁还描绘了陈设的精美古盆和盆景，一只高足束腰敞口渣斗式古盆，栽培着一棵 ，陈设在高阁空荡平台的中间。\n由此也可证实，当时社会时尚和作者艺术生活与美学观念的倾向。\n此图采用册页形式，取景重心偏置于画幅边角，以墨笔白描法表现著名楼阁。\n夏永擅画界画，喜绘滕王阁、岳阳楼、黄鹤楼，颇合营造规模，能迎合士夫趣味，画风对后世影响很大。\n此图用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n夏永（公元14世纪中）， 画家，字明远，钱塘（今浙江杭州）人，生卒年不详。\n擅长宫殿楼阁界画，师法王振鹏。\n所作《滕王阁图》、《 图》、《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n《花间笑语》云：“细若蚊睫，侔于鬼工。\n”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。\n传世作品有至正七年（147）作《岳阳楼图》册页，绢本，墨笔，纵25厘米，横26厘米，图右上书范仲淹《岳阳楼记》全文，款署“至正七年四月二十日，钱塘夏永明远画并题”；《丰乐楼图》册页，绢本，墨笔，纵25.8厘米，横25.8厘米，图中有夏永微楷书“十里挲平丰乐楼”长题，未署款，钤有“夏明远印”一方，现均藏故宫博物院；《岳阳楼图》页和《黄鹤楼图》页，尺寸相同，绢本，设色，纵27.厘米，横27.6厘米，藏 ；《滕王阁图》册页藏上海博物馆；《楼阁山水图》册页，绢本，设色，纵21.5厘米，横26.1厘米，藏美国高居翰教授景元斋。",[23,24,63,28,95,7,120,118,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e076c91b09ebf8640c247633824730.jpg",[],{"id":8991,"slug":8992,"title":8993,"dynasty":4105,"author":8994,"museum":433,"description":8995,"tags":8996,"thumbUrl":8998,"material":148,"size":148,"collection":148,"collections":8999,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":54},226651,"qiu-dong-shan-shui-tu-yi-dong-jing-xue-zhou-226651","秋冬山水图一（冬景）","雪舟","这两幅雪舟所作的《秋景山水图》与《冬景山水图》，原来被视为「夏冬山水」而收藏于京都曼殊院。\n也有学者认为，这原是四幅一组的四季山水图其中之两件。\n《秋景山水图》中，画家自画面左下角画出沿着水流向画面中心弯曲延伸的小径，在路中并安置了正在交谈的两名人物作为点睛之用，接着画了楼阁与远山，表现出着实而明确的空间深度。\n将所有景物集中于画面下方，而上方则是一片广阔的空间。\n这种构图手法，恰与《冬景山水图》形成对称。\n《冬景山水图》中，被白雪覆盖的断崖矗立于画面中央，画中人物在下了小舟后朝楼阁方向走去。\n彷佛倒挂悬垂的断崖强而有力的轮廓线，以及冬天枯干的树木等描写，使人生起一种严寒之感。\n自画面左下角，将岩石、山块等以反时钟之方向配置成螺旋状的构图，让人强烈感觉到一种人为性安排。\n画家有意地利用这种空间架构手法与强烈的笔墨表现相互搭配，营造出画面空间深度。",[23,114,24,8997,193,118,616,7,422,139,946,623,116,162],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61584f354c65070a66b76131d9a88d55.jpg",[],{"id":9001,"slug":9002,"title":9003,"dynasty":157,"author":5304,"museum":135,"description":9004,"tags":9005,"thumbUrl":9006,"material":47,"size":9007,"collection":148,"collections":9008,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":54},224494,"mei-hua-shan-guan-zhou-wu-li-224494","梅花山馆轴","青绿山峦雄踞左幅，古松虬曲苍劲，枝桠舒展撑出一片清寂天地。山涧春水初涨，暖雾轻笼远峰，将黛色晕作朦胧烟影，柔化了山棱的冷硬。\n右侧水榭山馆凌波而起，几株梅树临水横斜，素花缀枝，暗香仿佛随春水悠悠漫开。白衣策杖的隐者驻足松下，凝睇烟景，将尘俗心绪尽皆抛却。\n整作设色古雅沉静，构图疏密相济，把早春山乡的清润生机，和幽居雅逸的林下襟怀相融，笔底漫溢着悠然淡远的隐逸诗意，藏着文人寄情林泉的悠悠雅兴。",[24,63,193,27,116,118,1515,7,31,373,139,121,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b205a90514253e5b2536e69943f40e.jpg","104.3x52.1",[],{"id":9010,"slug":9011,"title":9012,"dynasty":58,"author":281,"museum":433,"description":9013,"tags":9014,"thumbUrl":9015,"material":495,"size":496,"collection":148,"collections":9016,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":54},223553,"shen-shan-hui-qi-tu-yi-ming-223553","深山会棋图","该画青绿设色，主要表现一士人策杖而行，身后跟随二童仆，一仆携琴，另一仆则肩扛巨大的葫芦，暗示道教的“壶中天”；主仆三人正走向山洞洞门，门后高山耸立，山后却别有天地，象征道教中的“洞天”；“洞天”内则琼楼玉宇，二仙人正在弈棋。\n此类画作，无款无印，是专于墓葬的使用而创作，喻示死者能够仙化，从而进入人所仰慕的神仙世界。此画是中国古代“洞天”和“仙弈”等思想观念的体现。",[23,24,63,118,162,116,27,139,538,7,30,32,2364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30288ef13f2034087c552c24805539d6.jpg",[],{"id":9018,"slug":9019,"title":9020,"dynasty":157,"author":504,"museum":345,"description":505,"tags":9021,"thumbUrl":9022,"material":424,"size":516,"collection":148,"collections":9023,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":152},223034,"hong-lou-meng-159-sun-wen-223034","红楼梦159",[23,24,26,27,28,30,7,4430,39,1431,809,8128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbe80f58a5cddf6da26b9a07b002371.jpg",[],{"id":9025,"slug":9026,"title":9027,"dynasty":157,"author":504,"museum":345,"description":505,"tags":9028,"thumbUrl":9031,"material":424,"size":516,"collection":148,"collections":9032,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":152},223031,"hong-lou-meng-156-sun-wen-223031","红楼梦156",[23,114,24,63,25,26,27,28,30,7,8495,3123,142,386,8487,9029,2214,9030],"传统建筑","聚会场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa653142b82fe372c69258835ddd281d8.jpg",[],{"id":9034,"slug":9035,"title":9036,"dynasty":157,"author":504,"museum":345,"description":505,"tags":9037,"thumbUrl":9038,"material":424,"size":516,"collection":148,"collections":9039,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":54},223030,"hong-lou-meng-155-sun-wen-223030","红楼梦155",[23,26,27,28,30,7,118,605,33,39,142,7454,387,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff333b78bc458b864fa110eb261e62863.jpg",[],{"id":9041,"slug":9042,"title":9043,"dynasty":58,"author":4192,"museum":242,"description":9044,"tags":9045,"thumbUrl":9046,"material":424,"size":9047,"collection":148,"collections":9048,"showCount":251,"zanCount":587,"manualWeight":11,"mainColor":54},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","唐风图卷全卷","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[23,24,114,25,95,162,63,117,118,30,121,33,139,7,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":9050,"slug":9051,"title":9052,"dynasty":489,"author":9053,"museum":60,"description":9054,"tags":9055,"thumbUrl":9057,"material":9058,"size":9059,"collection":148,"collections":9060,"showCount":251,"zanCount":587,"manualWeight":11,"mainColor":54},221174,"a-shi-duo-zun-zhe-tang-ka-bu-ben-guan-xiu-221174","阿氏多尊者（唐卡布本）","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[23,24,63,9056,27,26,94,30,7,2058],"布本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f51f8facfe834d20be27d8506a1c48d.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[],{"id":9062,"slug":9063,"title":9064,"dynasty":885,"author":1332,"museum":269,"description":9065,"tags":9066,"thumbUrl":9067,"material":361,"size":148,"collection":127,"collections":9068,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":54},220094,"jin-biao-tu-wang-zhen-peng-220094","锦标图","该画作描绘了北宋宫廷金明池的龙舟竞渡活动，一方面显示夺标争锦之意，另一方面又有君民同乐的太平盛世意涵。",[23,114,24,63,25,28,27,30,7,31,32,2443,1298,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6c7809bff9a5428579d2095a8cda8f.jpg",[127],{"id":9070,"slug":9071,"title":9072,"dynasty":157,"author":281,"museum":943,"description":9073,"tags":9074,"thumbUrl":9075,"material":232,"size":9076,"collection":127,"collections":9077,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":152},219980,"luan-shan-za-wu-tu-yi-ming-219980","乱山杂雾图","以水墨晕染层叠峰峦，远山隐在淡墨烟岚间，朦胧空灵似被晨雾轻裹。近崖怪石虬松错落，山坳殿宇半藏，清溪蜿蜒漱石有声，水畔幽人凭石观流。\n\n笔墨干湿互用，勾勒皴擦兼具，写意间不失精微，将朝雾初散的林泉清寂铺陈开来。呼应题画诗意，空山晓境里，仿佛能听见啄木轻响混着梵音溪声，禅意漫溢，尽揽山林静穆之美。",[23,24,162,118,193,116,164,117,1709,194,7,33,1639,6099,30,3191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560f7ee714f936fe6b5bf9c7c3125307.jpg","107.9 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淡赭晕染兼短笔皴擦，写出夏山的温润松软；柳树以湿笔点叶，带着雨后的鲜灵润泽。留白处恍若十里平湖，虚渺间让观画人恍可涉水凭栏，偷取半日幽凉。整幅画未刻意描摹夏景喧嚣，只以亭台松柳、烟水云山，把夏日慵闲散淡揉进笔墨里，藏着宋人雅致从容，一帧小景盛满江南盛夏清寂诗意。",[114,24,308,28,162,27,121,7,2274,118,9145,4490,116,117],"夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc18535677b22b77b6786af0a3a74489.jpg",[],{"id":9149,"slug":9150,"title":9151,"dynasty":58,"author":6929,"museum":433,"description":9152,"tags":9153,"thumbUrl":9154,"material":495,"size":496,"collection":148,"collections":9155,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},289842,"song-he-ceng-lou-tu-zhang-dun-li-289842","松壑层楼图","熙宁元年选尚英宗女祁国长公主，授左卫将军、驸马都尉，迁密州观察使。元祐初，疏言：“变法易令，始于王安石，成于蔡确。近者退确进司马光，以臣观之，所得多矣。”进武胜军留后。",[23,24,63,28,118,7,538,27,284,164,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ca23e05a4be037ccdf9ee69a4cddc8.jpg",[],{"id":9157,"slug":9158,"title":9159,"dynasty":18,"author":4150,"museum":433,"description":9160,"tags":9161,"thumbUrl":9162,"material":495,"size":496,"collection":148,"collections":9163,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":54},289789,"shan-cun-tu-li-zai-289789","山村图","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[114,24,118,7,75,120,123,372,373,32,121,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501868e78597399ce0c3278de9863e44.jpg",[],{"id":9165,"slug":9166,"title":9167,"dynasty":58,"author":4192,"museum":433,"description":9168,"tags":9169,"thumbUrl":9171,"material":495,"size":496,"collection":148,"collections":9172,"showCount":9123,"zanCount":587,"manualWeight":11,"mainColor":54},289561,"xiao-jing-tu-qing-da-fu-zhang-di-si-ma-he-zhi-289561","孝经图-卿大夫章第四","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[114,24,63,213,27,30,7,28,284,245,9170],"儒家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59de6ccc4183cd5bffa173b2eea10d0b.jpg",[],{"id":9174,"slug":9175,"title":4149,"dynasty":18,"author":4150,"museum":433,"description":9176,"tags":9177,"thumbUrl":9179,"material":495,"size":496,"collection":148,"collections":9180,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":54},288827,"shan-zhuang-gao-yi-tu-li-zai-288827","此画曾传为郭熙作，实为李在手笔。这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。",[23,24,193,162,116,118,7,31,32,120,372,373,421,335,1046,30,9178],"高逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7de78491754e0443afe228850bafd56.jpg",[],{"id":9182,"slug":9183,"title":9184,"dynasty":157,"author":3352,"museum":433,"description":8018,"tags":9185,"thumbUrl":9186,"material":495,"size":496,"collection":148,"collections":9187,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},288281,"yu-sheng-bai-yun-si-tu-qian-wei-cheng-288281","豫省白云寺图",[24,114,63,193,94,308,116,27,139,33,7,3191,117,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe106705075e5729ca78f6e63548247e6.jpg",[],{"id":9189,"slug":9190,"title":9191,"dynasty":18,"author":9192,"museum":433,"description":9193,"tags":9194,"thumbUrl":9195,"material":495,"size":496,"collection":82,"collections":9196,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},287794,"min-zhong-shan-shui-tu-juan-xiang-sheng-mo-287794","闽中山水图卷","项圣谟","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[23,24,25,308,27,116,139,71,120,1048,7,31,620,2776,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07fc17451bf883c857c7b540878e84e.jpg",[82],{"id":9198,"slug":9199,"title":9200,"dynasty":58,"author":2926,"museum":433,"description":9201,"tags":9202,"thumbUrl":9203,"material":495,"size":496,"collection":148,"collections":9204,"showCount":9123,"zanCount":587,"manualWeight":11,"mainColor":499},287738,"hong-shu-qiu-shan-tu-xiao-zhao-287738","红树秋山图","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,114,24,118,193,27,116,31,32,7,139,33,421,1759,2251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad91b75dccb4b91ad72e5c123b39c43f.jpg",[],{"id":9206,"slug":9207,"title":9208,"dynasty":58,"author":281,"museum":433,"description":9209,"tags":9210,"thumbUrl":9212,"material":495,"size":9213,"collection":148,"collections":9214,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},287554,"qiu-shan-wen-hui-tu-yi-ming-287554","秋山文会图","此作以全景山水铺陈，高远与深远兼具，层峦叠嶂以青绿晕染，古雅苍朴。山峦以披麻皴细致勾勒，苔点攒簇，尽显秋山蓊郁厚重的质感。林麓间隐见亭台雅集，文士幽会于泉石山林间，将山居幽趣与文人情致相融。\n\n虽岁久色褪，仍可见精工雅致的风骨，以秋山沉厚底色衬出文会清逸，将林泉高致寄于层叠山岚之中，尽显天人合一的文人画意趣。",[24,114,63,193,115,27,116,118,30,7,121,33,139,2251,9211],"文会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60265df5aad0964cb0673dcbec174592.jpg","95x24.8",[],{"id":9216,"slug":9217,"title":9218,"dynasty":18,"author":4668,"museum":433,"description":6334,"tags":9219,"thumbUrl":9220,"material":495,"size":496,"collection":148,"collections":9221,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},283739,"bao-hua-shan-zhuang-tu-ce-ba-kai-dong-qi-chang-283739","宝华山庄图册（八开）",[24,213,162,116,118,2251,121,31,32,33,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751091c3049470a475a93a684e5e6fa8.jpg",[],{"id":9223,"slug":9224,"title":9225,"dynasty":18,"author":5099,"museum":433,"description":9226,"tags":9227,"thumbUrl":9228,"material":495,"size":496,"collection":148,"collections":9229,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":54},235740,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-235740","雪岳读书图轴","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[24,63,193,162,116,118,1013,33,7,139,1381,6667,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aadc14ab00840c1f1800f468d3cccf0.jpg",[],{"id":9231,"slug":9232,"title":2100,"dynasty":157,"author":2101,"museum":433,"description":9233,"tags":9234,"thumbUrl":9235,"material":148,"size":148,"collection":148,"collections":9236,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},235276,"ren-wu-gu-shi-ce-fan-xue-yi-235276","此作以工笔重彩绘就庭院闲景，朱红廊柱配青绿松柳，设色明丽古雅。界画工细精准，楼阁栏楯分毫毕现，衬出院邸的规整雅致。画面中凭榻而坐的主人与环侍仕女情态各别，仕女衣袂轻扬，眉目柔婉温婉，将深闺雅宴的慵闲日常铺陈开来。笔致秀润细腻，人物神态灵动传神，把世家宅邸的松弛闲逸氛围烘托恰到好处，藏着古典闺阁的雅致意趣，是工笔人物叙事中的精巧佳构。",[213,26,27,28,30,138,7,121,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F838d87f548eb8bee324572f09d18b51d.jpg",[],{"id":9238,"slug":9239,"title":9240,"dynasty":157,"author":2440,"museum":433,"description":9241,"tags":9242,"thumbUrl":9243,"material":148,"size":148,"collection":148,"collections":9244,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":54},230872,"tan-mei-tu-leng-mei-230872","探梅图","此作以冬日寻梅铺陈景致，主仕女身着宝蓝团花长袄，容色温婉端凝，侍童撑伞随侍身侧，另有侍女捧炉趋前，暗递融融暖意。寒梅虬枝缀满繁花，淡赭远山衬着素朴亭台，苍劲皴石古拙静立，设色雅致沉稳，勾勒细腻写实。将深闺仕女探春寻幽的闲情逸趣，融于萧寒冬景，冷暖色调交织，既绘就隆冬清寂况味，又晕染出闺中雅游的温婉意韵，写实工细间尽显雅致情致，把仕女矜贵闲适的情态，与冬日园林的清寒雅致完美糅合，静穆中暗藏鲜活的闺中闲趣。",[23,24,27,26,30,138,919,1515,118,139,7,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaafd8ade9438d3959f176e539370fad.jpg",[],{"id":9246,"slug":9247,"title":9248,"dynasty":157,"author":281,"museum":433,"description":9249,"tags":9250,"thumbUrl":9251,"material":148,"size":148,"collection":148,"collections":9252,"showCount":9123,"zanCount":630,"manualWeight":11,"mainColor":54},230326,"tai-ping-fan-hua-ba-tu-ping-yi-ming-230326","太平繁华八图屏","此作截取升平盛景的两段切面，上部郊山林木蓊郁，台阁错落，游人雅聚嬉游，尽显郊野行乐闲趣；下部市井商铺鳞次栉比，彩楼牌坊高耸，行人摩肩接踵，百业攒动喧嚷。全景构图铺陈开烟火日常，工细设色复刻俗世百态，将山野清趣与闾巷喧嚣相融，把盛世之下的黎民安乐描摹得鲜活生动，让太平年间的人间烟火跃然绢上，藏着最鲜活的世俗温情与蓬勃生机。",[23,24,27,26,28,30,7,33,139,36,34,39,65,438,38,5742,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb583024cbd59bd0b85fd149695ea82d1.jpg",[],{"id":9254,"slug":9255,"title":9256,"dynasty":157,"author":305,"museum":433,"description":9257,"tags":9258,"thumbUrl":9259,"material":148,"size":148,"collection":148,"collections":9260,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},230181,"xi-shan-gao-yin-shan-shui-tu-wang-shi-min-230181","溪山高隐山水图","此作用笔圆厚松润，以干笔淡墨层层皴染，糅合黄公望披麻皴意趣，山峦层叠间，高远、深远之境兼具。主峰雄踞上端，峦头苍郁厚重，山腹林麓间村落错落，溪谷萦回穿绕，板桥渔隐点缀其间，将山川雄浑与山居恬和相融。\n笔墨苍秀灵逸，皴擦点染井然有序，于淡墨晕染间铺陈出山林的温润郁茂，把隐逸山居的清逸之思寄寓在层叠丘壑之中，平淡天真里藏着静穆悠远的林下之风，是师古而自出机杼的佳构。",[23,24,63,114,193,162,116,118,774,775,451,7,31,1581,139,194,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],{"id":9262,"slug":9263,"title":2989,"dynasty":157,"author":2440,"museum":433,"description":9264,"tags":9265,"thumbUrl":9266,"material":148,"size":148,"collection":148,"collections":9267,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":54},230146,"shi-gong-ci-tu-ce-leng-mei-230146","《避暑山庄图》是清代画家 创作的一幅绢本设色画，该画现收藏于北京故宫博物馆 。\n此画景物右至武烈河及东部山区，左至西岭山区为止，并从山庄东部崖殿“万壑松风”殿座开始，一层层向北展开，包罗四围秀岭，十里湖湘的整个湖区、平原区主要建筑和自然风貌，体现了冷枚高度的概括能力和精湛的艺术技巧，历史与艺术价值很高 。\n画中青山环抱，绿树成荫，后山一股清泉，流入山庄，湖水荡漾，荷花盛开，岸柳垂荫，亭台、水榭、宫室、高楼，因地制宜，聚散错落 。\n图中湖泊东侧低岩上耸立的那座仿造宝塔，似乎是从镇江金山寺移植过来的。\n苑中树木郁郁葱葱，清幽宁静，左右两侧绵延起伏的群山，于巍峨壮观中又透出几分灵秀。\n丘壑相连，迤逦苍茫，呈现出一派江山无限的景象 。\n画幅右下角自题：“小臣冷枚恭画”楷书款，下钤“臣冷枚”朱白文印和“夙夜匪懈”白文方印。\n另有乾隆、嘉庆、宣统藏印五方 。\n避暑山庄，又称“承德离宫”、“热河行官”，在今河北承德市区东北。\n它始建于清康熙四十二年（17年），乾隆时又进行了大规模的扩建，是清朝皇帝夏、秋季避暑的行宫 。\n《避暑山庄图》绘于康熙五十二年（公元171年），这时避暑山庄刚建成“万壑松风、芝径云堤、无暑清凉、镜水云岭、曲水荷香、四面云山、暖流渲波”等三十六景，冷枚以鸟瞰的形式俯视整座园林，把三十六景中的三十景都囊括其中 。\n此图采用鸟瞰式构图，描绘了实景的山水画。\n图中表现的是清代一处皇家园林——避暑山庄。\n画面的前部是工整细巧的宫殿，稍后是一组具有江南园林格调的建筑物，从画面上还可以看到一座仿照镇江金山寺而建的木结构高塔，画面的后部是高耸起伏的山峦，整座山庄由逶迤曲折的石墙围绕，最右方是承德的一处奇特景观——棒锤峰。\n冷枚具有传统工笔界画的基础，描绘建筑物时又适当参用了欧洲的透视画法，从而加强画面的纵深感 。\n此画描绘了十里澄湖、后苑建筑及周围山岭。\n由于冷枚既擅长运用传统的界画技法，又了解西方绘画的透视法，因而将避暑山庄中的建筑物表现得错落有致，造型准确、细腻 。\n此画以全景式的表现手法，充分展现了避暑山庄的整体风貌，根据画面的描绘再结合文献记载考察，大致可以断定此图画的是乾隆时扩建山庄之前的面貌，这对于人们了解避暑山庄的原始格局具有重要价值 。\n217年6月至1月中旬，《避暑山庄图》在香港文化博物馆举办的“八代帝居——故宫养心殿文物展”中展出 。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 。",[24,63,213,26,27,28,164,117,284,30,7,138,1298,2443,775,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535a93f1cb226249d9c611dcdae64e41.jpg",[],{"id":9269,"slug":9270,"title":9271,"dynasty":157,"author":2231,"museum":433,"description":9272,"tags":9273,"thumbUrl":9274,"material":148,"size":148,"collection":148,"collections":9275,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":54},228954,"zui-gui-tu-yuan-jiang-228954","醉归图","夜色笼着深宅朱廊，虬枝古木斜倚庭中。厅堂内宴饮方酣，宾客笑谈尽欢，堂下宫灯垂悬晕开暖光。庭间仆从垂首候立，另有三两醉客相互搀扶缓行，将宴散的松弛慵懒尽数流露。\n\n界画工细严整，将宅邸回廊台榭的规制尽显无余，人物情态鲜活灵动，把宴后醉归的闲散意趣描摹入微。晕染的暮色铺陈开静谧悠然的氛围，将古雅宅邸的雅致意境与宴饮余韵相融，尽显古典雅集的闲淡意趣。",[23,24,63,28,27,26,30,7,39,33,387,142,8495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1c994711a1a7b286672b0fe82a60326.jpg",[],{"id":9277,"slug":9278,"title":9279,"dynasty":18,"author":226,"museum":433,"description":9280,"tags":9281,"thumbUrl":9283,"material":148,"size":148,"collection":148,"collections":9284,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":54},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","以留白晕染苍山积雪，笔锋勾勒出山棱的硬挺苍劲，虬松如铁错落崖间，尽显冬山萧寒清旷之意。\n层叠山势铺展出高远纵深，山坳间山居错落，谷口行旅络绎，将冷寂雪景揉进人间烟火。水墨浓淡铺陈出雪色的虚实层次，枯涩笔触绘出松针遒劲，凛冽荒寒中晕开暖意，把羁旅匆匆、山居安闲藏在冰封山峦里，苍硬画风裹着细腻温情，落笔见苍劲风骨，于萧寒山水间晕染出鲜活的冬日山居意趣。",[23,24,63,114,162,118,116,774,538,7,31,65,75,616,32,9282,1170,3790],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],{"id":9286,"slug":9287,"title":9288,"dynasty":885,"author":281,"museum":135,"description":9289,"tags":9290,"thumbUrl":9291,"material":820,"size":9292,"collection":148,"collections":9293,"showCount":9123,"zanCount":587,"manualWeight":11,"mainColor":54},228181,"shang-lin-yu-lie-tu-juan-yi-ming-228181","上林羽猎图卷","汉司马相如作上林赋，叙述天子狩猎於上林苑中。画者依赋文内容臆写情境，描绘层峦叠嶂、人物鸟兽、楼阁台观、旗辇军容等等，行笔设色皆细腻精妙,堪称佳作。 按此卷原签题元人，与院藏另两幅传为明代仇英所绘的上林图，构图、设色、用笔都近似，或出自同一稿本，疑皆为後人所摹。\n全画 分为七段，依次是：虚构人物子虚、乌有 、亡是公三人在屋中对话；在广阔的江水 游翔的水族与飞禽；天子的离宫别馆；天 子校阅游猎的队伍；天子骑马展开狩猎的 活动；在楼台举行歌舞宴乐；狩猎结束， 返回朝廷。全画青绿设色，运笔细腻精巧 ，与本院藏另两幅明代仇英的上林图同稿 ，作画的时代也相近。",[23,24,63,25,115,27,26,118,30,65,7,33,139,71,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187484737692286adb84a07e7ea03fa4.jpg","该幅 47.5x1298.2公分、隔水一 14.2公分、隔水二 11.1公分、隔水三 12.1公分、隔水四 13.5公分",[],{"id":9295,"slug":9296,"title":9297,"dynasty":58,"author":9298,"museum":433,"description":9299,"tags":9300,"thumbUrl":9301,"material":148,"size":148,"collection":148,"collections":9302,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},227944,"shan-yin-fang-dai-tu-ye-zhu-rui-227944","山阴访戴图页","朱锐","危崖拔地而起，石质方硬皴法老辣，崖侧古松簇拥山居。下方寒波澹澹，汀渚间林木错落，临水高轩明敞，似有幽人凭栏远眺江天。一叶扁舟随波缓行，雪意覆于岸渚林梢，遍染清萧寒寂。\n\n整幅以简驭繁，淡墨轻敷晕出雪后空蒙。将兴尽而归的雅事藏于留白，笔致苍秀劲挺，设色沉凝淡雅。尺幅之间铺展萧疏冷寂的山水意境，把魏晋名士散淡旷达的林下风流融于萧寒景致中，尽显宋人山水留白藏意的高妙。",[23,114,24,63,213,27,28,116,118,120,7,372,373,32,272,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a1f47538b5198102dc40e3d860e237.jpg",[],{"id":9304,"slug":9305,"title":9306,"dynasty":58,"author":669,"museum":433,"description":9307,"tags":9308,"thumbUrl":9309,"material":148,"size":148,"collection":148,"collections":9310,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":54},227804,"yao-tai-xian-shou-tu-liu-song-nian-227804","瑶台献寿图","此作用笔精工雅致，以界画技法勾勒亭台楼阁，回廊层台错落排布，将庭院深幽的意趣铺展尽致。山石林木以淡墨晕染，苍润秀雅，与规整楼宇相映成趣。\n\n画中人物神态宛然，峨冠士人凭栏雅谈，侍女垂手侍立，情态恭谨恬然，将安闲雍容的祝寿雅集氛围烘托恰到好处。设色古淡沉静，墨色相融，既有界画的严整工细，又不失山水画的灵动苍润，尽显精妙工致的院体画风韵，把富贵闲适的雅致意趣藏于笔间，堪称工笔楼阁人物的佳构。",[23,24,63,114,27,28,26,30,7,1748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a1bfb0f093b400631a62b7bf5b38e4.jpg",[],{"id":9312,"slug":9313,"title":9314,"dynasty":58,"author":523,"museum":433,"description":9315,"tags":9316,"thumbUrl":9317,"material":148,"size":148,"collection":148,"collections":9318,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":54},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明隐归图全卷","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[23,24,63,25,95,27,30,118,121,31,32,120,33,7,284,117,39,42,4439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":9320,"slug":9321,"title":9322,"dynasty":18,"author":281,"museum":9323,"description":9324,"tags":9325,"thumbUrl":9326,"material":9327,"size":9328,"collection":127,"collections":9329,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":54},223400,"si-ji-tu-juan-yi-ming-223400","四季图卷","日本京都高桐院","该作品，以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。托名李唐之作，当是明人仿古之作。",[23,25,24,114,63,118,4334,116,27,7,31,32,121,1048,436,196,33,1638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cf2282e5eee3e7a82bdfb99910e204.jpg","绢本墨笔","35.1X661.9",[127,82],{"id":9331,"slug":9332,"title":9333,"dynasty":157,"author":504,"museum":345,"description":505,"tags":9334,"thumbUrl":9335,"material":424,"size":516,"collection":148,"collections":9336,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},222964,"hong-lou-meng-89-sun-wen-222964","红楼梦89",[23,24,26,27,115,118,7,31,32,30,121,33,139,39,452,142,3145,623,2093,195,1047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47977a652d2d5f9e1117cd7b5f61cae4.jpg",[],{"id":9338,"slug":9339,"title":6287,"dynasty":157,"author":504,"museum":345,"description":505,"tags":9340,"thumbUrl":9341,"material":424,"size":516,"collection":148,"collections":9342,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},222935,"hong-lou-meng-60-sun-wen-222935",[23,24,26,27,605,451,7,30,138,1996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5db42a90d6fe4e64e16bda3b725d04a4.jpg",[],{"id":9344,"slug":9345,"title":7244,"dynasty":157,"author":504,"museum":345,"description":505,"tags":9346,"thumbUrl":9347,"material":424,"size":516,"collection":148,"collections":9348,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},222926,"hong-lou-meng-51-sun-wen-222926",[23,26,27,28,30,7,1298,65,33,39,70,5742,2046,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7467e4bee40568e154c15ea74b0e48.jpg",[],{"id":9350,"slug":9351,"title":9352,"dynasty":157,"author":2440,"museum":60,"description":2990,"tags":9353,"thumbUrl":9355,"material":180,"size":2993,"collection":148,"collections":9356,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":54},222869,"shi-gong-ci-tu-ce-08-leng-mei-222869","十宫词图册08",[23,24,63,213,27,26,28,164,284,30,7,39,33,9354,408,117],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7348f8fa73a5adb30a79c2bd01d24a6d.jpg",[],{"id":9358,"slug":9359,"title":9360,"dynasty":18,"author":3957,"museum":135,"description":9361,"tags":9362,"thumbUrl":9363,"material":47,"size":9364,"collection":127,"collections":9365,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":54},222597,"xi-ge-qing-yan-tu-lan-ying-222597","溪阁清言图","此图的灵感来源是元代画家赵雍。画山石的时候，先用“披麻皴”来描绘质理，然后上面再轻轻罩染一层石青、石绿的颜料。山峰上的苔点和攀附松身的女萝，也是用冷色调的石青敷填，显得十分醒目。蓝瑛灵活地运用元代绘画的模式，将它转化成新的绘画语汇，再融入自己的创作之中。",[23,24,63,193,27,116,118,538,7,139,197,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5032344b2a24faa1cebce70996974eca.jpg","纵167.5cm，横48.3cm",[127,51],{"id":9367,"slug":9368,"title":9369,"dynasty":18,"author":3957,"museum":7269,"description":9370,"tags":9371,"thumbUrl":9372,"material":27,"size":9373,"collection":148,"collections":9374,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},222587,"shan-shui-tu-shan-mian-lan-ying-222587","山水图扇面","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,63,1535,118,116,139,33,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cde9f4eb2290a631bd378b1cfb6db4d.jpg","长15.8，宽47.5",[],{"id":9376,"slug":9377,"title":9378,"dynasty":58,"author":1257,"museum":60,"description":9379,"tags":9380,"thumbUrl":9382,"material":180,"size":9383,"collection":148,"collections":9384,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":54},221492,"qian-tang-guan-chao-tu-quan-juan-li-song-221492","钱塘观潮图全卷","本幅无款印。引首及前后隔水有清乾隆题诗，后幅有张仁近、杨基题跋。收藏印有项子京、清内府、梁清标诸印。\n少年时曾作过木工的画院画家李嵩是善画建筑的高手。台北故宫博物院收藏的李嵩所绘《月夜看潮图》页是对南宋官式建筑的风格和细部特点的忠实写真，而此卷则带有缘物抒情的感情色彩，展现了李嵩的其另一种建筑画风。\n每年农历八月十六至十八日为浙江钱塘江的大潮汐期。自南宋迁都临安（今浙江杭州）后，观潮成为临安一年一度的盛大活动。其时海水沿喇叭形的钱塘江口逆江而上，如“玉域雪岭，际天而来，大声如雷霆，震撼激射，吞天沃日，势极雄豪”。\n此幅画面除表现滔滔的江水，即写“大内临江起飞阁”的都城临安。耐人寻味的是作者并没有以其擅长的细腻精微的表现手法再现皇家殿宇的巍峨辉煌、临安城池的雄伟整饬、“岁岁观潮乐”的繁华热烈，而只以简括的笔法写出成片的半露瓦顶于薄雾树影之中朦胧隐现，茂林中三面围墙的宽大空场或许即南宋的宫室所在，意境颇显空寂。作者活动的年代，正值南宋时局动荡，国家面临内忧外患，而小朝廷又沉湎于“钱塘江上开皇畿”，“贪看秋潮忘黍离”的耽乐奢靡。身为画院待诏得以侍于君侧的李嵩忠君忧国而又无力回天的孤寂心境在画面中似有曲折流露。",[23,114,24,63,25,26,27,164,117,284,4787,9381,30,7,120],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fd3ce03bbccea8289caf4b7a3e6d4f.jpg","纵17.4厘米，横83厘米",[],{"id":9386,"slug":9387,"title":9388,"dynasty":885,"author":281,"museum":806,"description":9389,"tags":9390,"thumbUrl":9391,"material":47,"size":9392,"collection":127,"collections":9393,"showCount":9123,"zanCount":587,"manualWeight":11,"mainColor":54},218192,"shan-dian-shang-chun-tu-yi-ming-218192","山殿赏春图","《山殿赏春图》是一幅典型的元朝时期山水画作品，作者是佚名。这幅画描绘了一座位于山间的小山殿，山殿周围群山环绕，远处是一片茂密的森林。山殿前有一道小溪流过，溪边有许多花草树木。画中还有许多小鸟在欢快地飞翔，整幅画充满了春天的气息。\n\n《山殿赏春图》的画风浓郁，笔画细腻，色彩丰富，整幅画给人以舒适、宁静、平和的感觉。这幅画是元朝时期山水画中的杰作，具有很高的艺术价值。\n\n元朝时期的山水画在中国画史上占有重要的地位，它不仅体现了元朝时期艺术家的高超技艺，还反映了元朝时期社会的文化氛围。《山殿赏春图》是元朝山水画中的经典之作，值得我们珍视和欣赏。",[24,1535,27,28,118,7,31,30,33,39,452,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311780d392276a45c48f87622c8ca437.jpg","27.5x28.6cm",[127],{"id":9395,"slug":9396,"title":9397,"dynasty":18,"author":9398,"museum":345,"description":9399,"tags":9400,"thumbUrl":9401,"material":217,"size":148,"collection":49,"collections":9402,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},217912,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-217912","史记君臣故事图","张宏","垂杨拂地，苍干虬枝间柔条轻飏，荫蔽一方亭台。廊柱朱痕淡染，阶砌分明，建筑形制古雅端严。树下二人对语，衣纹简练却见动态，神情专注似述往昔君臣故事。笔墨兼具工致与写意：树木以干笔皴擦显苍劲，柳条以细墨勾勒见轻盈；人物虽小，形神宛然。右侧题跋墨色沉厚，与画面景致相契，文气郁郁。整幅画于清雅氛围中含叙事深意，笔墨精炼却意境悠远，尽显古典绘画的雅致与历史感，方寸间藏君臣故事的幽微余韵。",[24,63,27,28,26,30,7,65,33,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f26efa0724fedac6dd9fc6dbf1e63c.jpg",[49],{"id":9404,"slug":9405,"title":9406,"dynasty":157,"author":281,"museum":135,"description":2203,"tags":9407,"thumbUrl":9409,"material":47,"size":2206,"collection":148,"collections":9410,"showCount":9123,"zanCount":11,"manualWeight":11,"mainColor":152},214661,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-4-yi-ming-214661","乾隆缂丝山水挂屏四轴-4",[1861,24,63,9408,27,118,774,451,7,1639,775,117],"挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5072727135356eb515299eb140d3d0fa.jpg",[],{"id":9412,"slug":9413,"title":9414,"dynasty":18,"author":3587,"museum":433,"description":9415,"tags":9416,"thumbUrl":9418,"material":495,"size":496,"collection":148,"collections":9419,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":54},290915,"tian-chi-shi-bi-zhou-lu-zhi-290915","天池石壁轴","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[114,24,193,308,27,116,9417,538,7,120,117,284],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F156a8f9e74871624d3b962e84bd74d5c.jpg",[],21,{"id":9422,"slug":9423,"title":7390,"dynasty":885,"author":2619,"museum":433,"description":9424,"tags":9425,"thumbUrl":9426,"material":495,"size":496,"collection":148,"collections":9427,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":54},290789,"shan-shui-ce-cao-zhi-bai-290789","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[24,63,213,118,162,116,196,33,7,5652,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c6d9323959376a70ce09d6eefe44290.jpg",[],{"id":9429,"slug":9430,"title":9431,"dynasty":885,"author":9432,"museum":433,"description":9433,"tags":9434,"thumbUrl":9437,"material":495,"size":496,"collection":148,"collections":9438,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":54},290398,"cong-lin-gao-ta-tu-fang-cong-yi-290398","丛林高塔图","方从义","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。",[114,24,162,118,9435,9436,7,139,194,117,116],"丛林","高塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c37e8375a12f9fbb738dd2e5fc004e.jpg",[],{"id":9440,"slug":9441,"title":9442,"dynasty":885,"author":6380,"museum":135,"description":9443,"tags":9444,"thumbUrl":9445,"material":232,"size":9446,"collection":127,"collections":9447,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":152},290342,"qiu-shan-xing-lv-zhou-ma-wan-290342","秋山行旅轴","崇山叠峦，行旅骑驴荷物而行。全图构景系密，用笔多属中锋，用墨简澹，设色淡雅。压顶一峰皴笔疏简，以平点层层作小树，特觉清逸秀出。该幅无作者款印，幅上有董其昌题，云：“马文璧秋山行旅图”。",[24,114,193,308,162,27,3997,638,31,32,139,33,7,272,1046,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9701795d9df53db4d67bf8d7090ab986.jpg","124.5x33.3",[127],{"id":9449,"slug":9450,"title":9451,"dynasty":18,"author":9452,"museum":135,"description":9453,"tags":9454,"thumbUrl":9455,"material":217,"size":9456,"collection":148,"collections":9457,"showCount":9420,"zanCount":587,"manualWeight":11,"mainColor":152},290316,"sui-chao-tu-zhou-yuan-shang-tong-290316","岁朝图轴","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。",[24,193,114,162,116,118,7,31,32,139,373,538,39,30,121,117,284,164,2413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0196a7d4a11e4bd118161ffb68611fa1.jpg","115.3x58.2",[],{"id":9459,"slug":9460,"title":9461,"dynasty":885,"author":1332,"museum":433,"description":8884,"tags":9462,"thumbUrl":9463,"material":495,"size":496,"collection":148,"collections":9464,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":152},290252,"da-ming-gong-tu-wang-zhen-peng-290252","大明宫图",[23,114,24,25,28,95,162,7,258,196,2274,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9058769fd75a509a044ee8450afee9.jpg",[],{"id":9466,"slug":9467,"title":9468,"dynasty":157,"author":2177,"museum":433,"description":9469,"tags":9470,"thumbUrl":9471,"material":495,"size":496,"collection":148,"collections":9472,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":152},290213,"xing-le-tu-jing-xin-ding-guan-peng-290213","行乐图镜心","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,1535,24,114,63,27,26,30,7,121,1949,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451ce0b24dce09204b5c80da6d033aaa.jpg",[],{"id":9474,"slug":9475,"title":9476,"dynasty":18,"author":5633,"museum":433,"description":5634,"tags":9477,"thumbUrl":9478,"material":495,"size":496,"collection":148,"collections":9479,"showCount":9420,"zanCount":587,"manualWeight":11,"mainColor":152},289920,"sui-chao-cun-qing-tu-li-shi-da-289920","岁朝村庆图",[23,24,193,27,30,7,31,32,373,493,5191,1450,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56d27c8d01085a12f2d89f30e70b61a8.jpg",[],{"id":9481,"slug":9482,"title":9483,"dynasty":489,"author":8874,"museum":135,"description":9484,"tags":9485,"thumbUrl":9486,"material":495,"size":496,"collection":148,"collections":9487,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":54},289773,"kan-shu-tu-huang-quan-289773","勘书图","此图绘一文士勘书之暇挑耳自娱的情景。文人白衣长髯，袒胸赤足，坐于书几前，左手扶椅，右手作挑耳状，神态怡然自得。书几上有摊开的书卷，一书童于几旁侍立。文人身后为三叠屏风，上画青绿设色山水。屏风前横一长案，上陈卷帙。画家十分巧妙地选取画中人“校读间隙挑耳”这一看似平常的动作，着意刻画了其惬意的神情。加之环境的铺陈、烘托，生动地表现了南唐贵族文人闲适的情状，展示出他们日常生活的一个侧面。\n该图描写手法高超，形神兼备，反映了昔日勘书者的荡然性格与狂放的气质。画中环境，为室内陈设着的屏风、几案、卷册之类。全图构思十分精密，合适有度。",[23,114,24,63,193,27,30,7,118,121,117,284,28,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35154778504952e4d2bcf608d1e747fc.jpg",[],{"id":9489,"slug":9490,"title":9491,"dynasty":58,"author":9492,"museum":433,"description":9493,"tags":9494,"thumbUrl":9496,"material":495,"size":496,"collection":148,"collections":9497,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":152},289330,"qiu-shan-ce-zhang-tu-yan-su-289330","秋山策杖图","燕肃","这件作品是一幅山村之景，近处苍松并立，枝干挺拔舒展，松下有一茅草屋，屋内，一老叟凭窗闲眺，溪桥上，另一长者正策杖而行。",[24,1535,308,162,27,116,30,3997,7,385,7959,9495,4490],"山野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8897b84494cbf20379ca1400ec641d.jpg",[],{"id":9499,"slug":9500,"title":9501,"dynasty":58,"author":281,"museum":433,"description":9502,"tags":9503,"thumbUrl":9505,"material":495,"size":496,"collection":148,"collections":9506,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":54},289123,"qiu-xi-dai-du-tu-yi-ming-289123","秋溪待渡图","此作用淡墨晕染出溪山空濛之境，秋意萧索尽显。坡岸怪石错落，寒林枯木笔法劲挺，苍松皴擦老辣，枝桠虬劲苍古。板桥之上行旅缓步，溪面孤舟横斜，渔人收缆待渡，山居隐于山坳雾色之间，寥寥数笔便将幽寂秋山的动静意趣铺陈开来。\n\n整幅画作以简驭繁，笔意清润秀雅，把秋日水滨的淡寂清远尽数勾勒，暗含寄情林泉的隐逸意趣，尽显山水小品的雅致格调。",[23,24,114,308,162,116,31,32,120,2775,373,139,9504,30,7],"秋溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b4f46cd6f4dab3412b29b0d5d7b246a.jpg",[],{"id":9508,"slug":9509,"title":5042,"dynasty":58,"author":1418,"museum":433,"description":1419,"tags":9510,"thumbUrl":9511,"material":495,"size":496,"collection":148,"collections":9512,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":54},288505,"jiang-shan-lou-guan-tu-yan-wen-gui-288505",[23,114,24,25,162,118,116,7,139,620,71,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55247d7d229304874dd28046e365247f.jpg",[],{"id":9514,"slug":9515,"title":9516,"dynasty":157,"author":7174,"museum":433,"description":9517,"tags":9518,"thumbUrl":9519,"material":495,"size":496,"collection":148,"collections":9520,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":152},288284,"fang-wang-meng-xia-ri-shan-ju-tu-wang-yuan-qi-288284","仿王蒙夏日山居图","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,114,63,193,118,162,116,29,196,33,7,32,31,1046,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa815f93b91dc942a5a6d9712d40cbc0d.jpg",[],{"id":9522,"slug":9523,"title":9524,"dynasty":885,"author":1332,"museum":433,"description":9525,"tags":9526,"thumbUrl":9528,"material":495,"size":496,"collection":148,"collections":9529,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":54},287922,"tang-seng-qu-jing-tu-ce-wang-zhen-peng-287922","唐僧取经图册","传为元代画家王振鹏所作，分为上、下册，蝴蝶装，由三十二幅取经图构成，卷末有清代福州文人梁章钜六跋。",[24,114,213,28,27,26,30,65,2964,7,94,9527,3866],"唐僧取经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615564a4ee571d7930ea1b3411ee45b8.jpg",[],{"id":9531,"slug":9532,"title":9533,"dynasty":58,"author":690,"museum":433,"description":9534,"tags":9535,"thumbUrl":9536,"material":495,"size":496,"collection":148,"collections":9537,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":54},287718,"xi-hu-liu-ting-tu-xia-gui-287718","西湖柳艇图","画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润",[114,24,308,162,27,116,463,31,32,120,121,7,476,1669,117,284],"https:\u002F\u002Foss.chuangqi.store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卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[24,63,25,27,26,28,30,7,31,32,121,65,33,258,438,873,35,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 厘米",[],{"id":9591,"slug":9592,"title":4547,"dynasty":89,"author":548,"museum":60,"description":7801,"tags":9593,"thumbUrl":9594,"material":312,"size":9595,"collection":148,"collections":9596,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":152},232987,"jiu-cheng-bi-shu-tu-ye-li-si-xun-232987",[115,27,28,118,7,121,26,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febf97e3a54593299e198f3eff15e7d0e.jpg","纵28.5cm，横31.6cm",[],{"id":9598,"slug":9599,"title":9600,"dynasty":4105,"author":9601,"museum":433,"description":9602,"tags":9603,"thumbUrl":9604,"material":495,"size":496,"collection":148,"collections":9605,"showCount":9420,"zanCount":587,"manualWeight":11,"mainColor":106},231749,"si-ji-shan-shui-tu-ping-feng-di-4-ping-zhou-wen-231749","四季山水图屏风第4屏","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[23,24,162,118,7,33,139,116,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5a32141c2718bb6b808c418df78505.jpg",[],{"id":9607,"slug":9608,"title":9609,"dynasty":4105,"author":9610,"museum":433,"description":9611,"tags":9612,"thumbUrl":9615,"material":495,"size":496,"collection":148,"collections":9616,"showCount":9420,"zanCount":587,"manualWeight":11,"mainColor":54},231724,"jiang-hu-shi-dai-ge-wu-ji-ping-feng-tu-di-er-ping-ling-chuan-shi-xuan-231724","江户时代 歌舞伎屏风图 第二屏","菱川师宣","菱川师宣是江户时代的浮世绘画家。有「浮世绘之祖」之称。菱川师宣最为知名的作品是见返り美人図。此外，他也画过很多春画。在他的故乡千叶县锯南町有菱川师宣记念馆。",[23,9613,27,26,143,30,7,538,9614,39,809,1950],"浮世绘","樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc25d93284b4cce552e9c3926b8f372.jpg",[],{"id":9618,"slug":9619,"title":3769,"dynasty":157,"author":1124,"museum":269,"description":9620,"tags":9621,"thumbUrl":9622,"material":312,"size":9623,"collection":148,"collections":9624,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":152},231488,"xi-shan-xian-guan-tu-wang-jian-231488","《溪山仙馆图》作于“甲寅春暮”即康熙十三年（1674），时年王鉴76岁。因为王鉴77岁那一年春天，王翚曾携弟子杨晋一起来到太仓王鉴的染香庵拜访他，杨晋还为王鉴画了肖像，王翚为肖像作补景，王鉴本人也在画上题了跋语。这幅“写照入神，运笔飞动”的肖像画令王鉴欢喜，因为此时的王鉴已患中风，“备诸丑态，子鹤（杨晋，字子鹤）隐陋，曲貌形外之神”（王鉴画上跋语，见《吴越所见书画录》），将王鉴的精神面貌画出来了。王鉴寿高80，76、77岁之后作品较为少见，大约与其晚年曾患中风有关。此幅《溪山仙馆图》是王鉴中风之前所作，非常难得。\n王鉴万历二十六年（1598）出生在江苏太仓一个功名世宦之家，曾祖父王忬是嘉靖二十年进士，官至兵部左侍郎，蓟辽总督。祖父王世贞少年时即被视神童，嘉靖二十六年19岁时就考取进士，虽然仕途不畅，却是明代中后期的文坛盟主。父亲王士骐也是一位才子，万历十年南京乡试解元，万历十七年进士，幷曾官礼部、吏部。出身在如此显赫家庭，王鉴亦才华横溢，但是功名平平，36岁时才在乡试中考取举人，之后再无进展，而是受到祖荫照拂任左府事，继而出任广东廉州（今为广西合浦）太守。然而其天生一副文人性格，不合污流，上任不久即遭遇宦官们以开矿为名横征暴敛、鱼肉百姓的“粤中开采”之事，他挺身而出，以太守之力“力请上台得罢”，企图阻止“开矿恶政”，却险些引来牢狱之灾。两年后王鉴退隐原籍，再不出仕，一生都在诗文书法中度日。\n王鉴绘画受到董其昌影响，对于北宋董源、巨然深有研究，幷专注于元四家、尤其倾心黄公望。《溪山仙馆图》纸本设色，纵78厘米，横39厘米。所绘布局严谨，近景松树成林，但茂而有致，绝无繁芜之感，中景、远景绘山，丘壑深邃却层次井然，毫不琐碎，加以色墨交融，皴染幷施，绘出了华润气象。\n此画清代民国以来历经三位著名收藏家收藏：第一位是同治光绪年间的南京人李溥泉，此人眼力好，但是特别会做生意，故曾遭赵之谦等人的白眼，左下角“白门李氏珍藏”印即为其所钤。第二位是晚清时以盐业起家、并官至内阁学士的慈溪人严信厚，严信厚字小舫、筱舫，斋名小书画舫等，“小书画舫”收藏书画很有名，我们今天仍经常可见到一些古代书画上留有“小书画舫”所钤收藏印，此画在“白门李氏珍藏”印之上那方“小书画舫秘玩”印即为其所钤。第三位是现代大收藏家钱镜塘，此画“钱家样”的装裱，就是当年钱镜塘的专用裱画师严桂荣所为。此画钱镜塘曾请吴湖帆过目，包首签条即为吴湖帆所题。《溪山仙馆图》“文革”时被抄，“文革”结束后未归还，后流入市场。",[23,24,63,193,27,116,118,31,32,373,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d42a5940438066fc2ad4b01874fd21.jpg","78×39cm",[],{"id":9626,"slug":9627,"title":9628,"dynasty":18,"author":9629,"museum":135,"description":9630,"tags":9631,"thumbUrl":9632,"material":312,"size":9633,"collection":148,"collections":9634,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":152},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","郑重","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[23,24,63,193,27,116,29,117,118,30,7,31,32,65,538,421,1170,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":9636,"slug":9637,"title":5963,"dynasty":18,"author":281,"museum":433,"description":9638,"tags":9639,"thumbUrl":9640,"material":148,"size":148,"collection":148,"collections":9641,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":54},228792,"zao-chun-tu-yi-ming-228792","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[23,114,24,63,25,27,115,26,116,117,284,118,7,31,32,121,33,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e585065867ec31afa0.jpg",[],{"id":9643,"slug":9644,"title":5250,"dynasty":58,"author":281,"museum":433,"description":9645,"tags":9646,"thumbUrl":9647,"material":148,"size":148,"collection":148,"collections":9648,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":152},227891,"shen-tang-qin-qu-tu-yi-ming-227891","《宋扇面画深堂琴趣图》是宋代画家佚名创作的一幅绢本设色画。\n此画现藏于北京故宫博物馆。\n【文物原属】故宫旧藏 【简介】 绢本，设色，纵：2.6cm，横：24.9cm。\n本幅无款印。\n钤收藏印 “仪周珍藏”一方。\n远山一带，巨壑空茫。\n建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。\n整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。\n从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。\n从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。\n这在宋诗、宋词和宋画中留有许多经典的范例。\n如从 的《 》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。\n音乐，求其意境，要有共鸣、幽远方妙。\n《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。\n深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。\n门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。\n庭石上又有青松一株，遥承琴声，而成风如松。\n环境与音乐布局协和生发，绝无滞碍。\n主人弹琴，恰好面东，而门对南，空间方位甚为有序。\n如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。\n设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。\n所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。\n这些看似细微之处，正可见宋人对画中空间风水的深刻认知。\n画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。\n可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。\n—— 著《 》",[23,24,63,114,1535,27,118,7,33,139,31,30,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1ea677f5f541183dafad361e3563ed.jpg",[],{"id":9650,"slug":9651,"title":9652,"dynasty":58,"author":2259,"museum":433,"description":9653,"tags":9654,"thumbUrl":9655,"material":148,"size":148,"collection":148,"collections":9656,"showCount":9420,"zanCount":11,"manualWeight":11,"mainColor":152},227749,"bi-shan-gan-yu-tu-zhao-bo-su-227749","碧山绀宇图","南宋 赵伯骕 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苏州风俗，孩子怕自己痴呆，所以想卖“痴呆”。 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，雅俗共赏，尽显江南风物的清润雅致。",[24,27,26,116,25,118,7,31,32,272,121,33,75,43,7177,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],{"id":9919,"slug":9920,"title":9921,"dynasty":157,"author":9922,"museum":433,"description":9923,"tags":9924,"thumbUrl":9925,"material":148,"size":148,"collection":148,"collections":9926,"showCount":9829,"zanCount":587,"manualWeight":11,"mainColor":152},228971,"shan-shui-ce-ye-4-kai-ji-yun-228971","山水册页4开","纪昀","层岩如篆，方折奇崛，烟岚柔漫缠绕崖谷，虚实相生间划分出山林层次。半山幽轩凭岩而起，飞桥悬于流泉之上，山麓水榭凌波，扁舟静系矶头，屋舍藏于林泉深幽处，尽显幽居雅趣。\n\n笔墨刚柔相济，干笔硬挺勾勒方整岩块，皴写出山石苍劲质感，轻敷淡晕出空蒙烟岚。整幅取景清寂，将林下栖居的悠然意趣藏于山重水复之间，淡墨轻岚里晕染出简澹清远的文人意境，把林泉高致的隐逸情怀融于尺幅之中。",[23,24,63,213,162,116,118,7,121,120,139,33,194,421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfb35ed9c8dbdfc3887c3b0034f1efa.jpg",[],{"id":9928,"slug":9929,"title":9930,"dynasty":58,"author":281,"museum":433,"description":9931,"tags":9932,"thumbUrl":9933,"material":148,"size":148,"collection":148,"collections":9934,"showCount":9829,"zanCount":11,"manualWeight":11,"mainColor":54},227879,"liu-yuan-xiao-shu-tu-ye-yi-ming-227879","柳院消暑图页","此作以雅致设色铺就消暑闲景。水岸庭院柳丝垂曳，将溽暑揉作柔婉绿意，半掩着临水楼阁。凭栏高士宽袍松带，懒倚轩窗，似在静听蝉鸣、细观涟漪，将暑热倦怠化为幽居闲情。\n屋下侍童躬身奉物，院角仆从悄然添茶，细碎日常衬出庭院松弛意趣。远景浅黛山峦晕染淡远，水色空濛晕着暑日微光，近院花卉娇柔点染，明暗虚实间，将江南夏日常住的清宁消暑意趣尽数铺展，淡而不寡，雅而不奢，尽显宋人的幽居美学，把溽暑里的闲静安然，尽数藏进这绢素方寸之中。",[23,114,24,63,1535,27,26,28,30,7,4986,4058,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd078e473f04ccec6ad7f49b6b5cb6b48.jpg",[],{"id":9936,"slug":9937,"title":9938,"dynasty":58,"author":9939,"museum":433,"description":9940,"tags":9941,"thumbUrl":9942,"material":148,"size":148,"collection":148,"collections":9943,"showCount":9829,"zanCount":11,"manualWeight":11,"mainColor":152},227754,"song-deng-jing-lu-tu-yan-ci-ping-227754","松磴精庐图","阎次平","《宋阎次平松磴精庐图》是宋代阎次平所创的扇面图。\n\n石矶满布的江畔山岩，长松横斜，密竹丛生。一座典雅的精舍（或书院），紧密地镶嵌在这青山绿水之间。小径由岸边蜿蜒而上，岬角处两张圆石小凳闲置于松下，风景优美而宁静。",[23,24,63,1535,27,118,116,117,538,7,120,139,33,1430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb29b476fe0467fa83caa5ca6d6b7ba.jpg",[],{"id":9945,"slug":9946,"title":9947,"dynasty":58,"author":281,"museum":433,"description":9948,"tags":9949,"thumbUrl":9951,"material":148,"size":148,"collection":148,"collections":9952,"showCount":9829,"zanCount":11,"manualWeight":11,"mainColor":152},227549,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-227549","仿郭忠恕雪霁江行图","长于界画的河南籍画家郭忠恕，以纯以墨线描绘两艘冒雪前行、满载货物的船只。画中不但表现了对船体正确结构的兴趣，也呈现出船夫们多样的活动情态，可藉此图想见五代宋初北方界画达到的艺术水平。",[23,24,63,25,28,26,27,118,7,64,5768,9950,284,164,117],"帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc497068d2ecd6fc3d6b39bdd1d0a3fbf.jpg",[],{"id":9954,"slug":9955,"title":9956,"dynasty":58,"author":281,"museum":433,"description":9957,"tags":9958,"thumbUrl":9959,"material":148,"size":148,"collection":148,"collections":9960,"showCount":9829,"zanCount":11,"manualWeight":11,"mainColor":152},227417,"jiang-shan-xing-lv-tu-juan-yi-ming-227417","江山行旅图卷","金代，太古遗民《江山行旅图》素笺本墨笔，手卷，纵40厘米，横449厘米，现藏美国纳尔逊美术馆。\n\n江山行旅图画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。 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，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,213,162,118,31,32,33,7,196,616,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2c0f7225f99710e188a3268bdc2775.jpg",[],{"id":10186,"slug":10187,"title":10188,"dynasty":58,"author":369,"museum":135,"description":10189,"tags":10190,"thumbUrl":10191,"material":495,"size":496,"collection":148,"collections":10192,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":54},288424,"hua-deng-shi-yan-tu-er-ma-yuan-288424","华灯侍宴图二","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。",[114,24,63,193,27,28,118,7,373,39,30,1700,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9842376e216c0f5d1e4424d7474811f.jpg",[],{"id":10194,"slug":10195,"title":7103,"dynasty":58,"author":669,"museum":433,"description":10196,"tags":10197,"thumbUrl":10199,"material":495,"size":496,"collection":148,"collections":10200,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":152},288385,"shan-guan-du-shu-tu-liu-song-nian-288385","描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,114,24,63,27,28,30,7,538,8877,10198,164,284,117,6667,4490],"童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ed6fe2292944c59304920fb2612397.jpg",[],{"id":10202,"slug":10203,"title":10204,"dynasty":18,"author":1247,"museum":433,"description":3669,"tags":10205,"thumbUrl":10207,"material":495,"size":496,"collection":148,"collections":10208,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":152},287518,"hua-shan-tu-zhou-tang-yin-287518","华山图轴",[23,24,63,193,118,162,27,116,10206,32,421,7,139,33,117],"高山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319ea38f2626b03e03ba78a2222a254b.jpg",[],{"id":10210,"slug":10211,"title":10212,"dynasty":58,"author":559,"museum":433,"description":1957,"tags":10213,"thumbUrl":10214,"material":495,"size":496,"collection":148,"collections":10215,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":54},287318,"xian-shan-tai-xie-tu-juan-zhao-bo-ju-287318","仙山台榭图卷",[23,24,63,25,28,115,27,26,118,7,31,32,309,4048,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01f4b5acfb3873ec5468ae4addbdf22c.jpg",[],{"id":10217,"slug":10218,"title":10219,"dynasty":18,"author":4668,"museum":433,"description":10220,"tags":10221,"thumbUrl":10222,"material":148,"size":148,"collection":834,"collections":10223,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":152},237492,"zhang-gan-she-li-ge-tu-zhou-dong-qi-chang-237492","长干舍利阁图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖） 。 颇能诗文，著有《画禅室随笔》《容台文集》等。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸。\n他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。\n如《遥峰泼翠图》，整个画面不过是干远景而已，笔墨也很简单，但神韵、骨力俱足。画面的前部作一隅坡脚，缀以数块荒石。坡脚上有三株老树，交错而立。中间一株是夹叶树，稍事勾勒，却枝叶备见；旁边两株的树叶，则充分发挥泼墨的作用，左以直抹示盘曲，右以横点示傲岸，浓淡相间，一派生机。画面上部以淡墨一抹而就，远山横贯，仅见轮廓隐人天际，山体却茫茫然，仿佛烟岚萦绕，雄浑无比。作者再用浓墨在一片淡远的景色中，染出几处高低错落的树叶，远近有致，层次丰富，烟云流动，充塞渚岸。左侧绘有小坡，坡上以横墨抹出数株直树。中间汪洋大水，不施笔墨，而万顷湖面浩瀚无涯之气势跃然纸上。此图长225厘米，宽75厘米，如此大幅立轴，只寥寥地布置些近树远山，就把握住整个画面峰遥、水阔、树翠的神情。这正是董其昌巧妙地运用“王洽泼墨，李成惜墨，两家合之，乃成画诀”的结果。\n全幅似疏似漏，但没有照应不到的地方，用笔爽利遒劲，又含蓄灵秀，纯以墨色气势的润泽、醒目而动人遐思。如不是熟练地掌握“空处有画”的本领，就不会有这样高明的布局。有人认为这是董其昌从“宽能走马、密不通风”的书体结构中触悟而得，这并不是没有道理的。整幅立轴不设色，但面貌清丽，有咫尺千里之势，给人以远深宁静的感觉。\n再如他暮年所作《关山雪霁图》，山峦林壑，绵延无际。右方重峦叠嶂，气势沉雄。中间幽壑重重，峭壁矗立，村落、丛林、流泉、山径，错落有致，杂而不乱；大江曲折跌宕其间，虽有干岩万壑，亦无窒碍不通的感觉。左方云烟弥漫，浸淫树石，路遥山重，隐人微茫，深远莫测，意味不尽。图中以渴笔钩勒峰峦山石，皴擦的运用极其准确、灵活，而线条流走轻快，疏密得宜。山冈陵石的凹凸明暗，则以横点巨苔，配上淡墨直皴的层层渲染来加以完成，技巧纯熟，无懈可击。意境朴厚深邃，很有“千山鸟飞绝，万径人踪灭”的诗意。\n全图用笔老辣生拙，骨力练达，墨气鲜润，绝去甜俗，以疏旷之笔，画出凝寒淡远的景致。卷尾数行行楷跋文，书体娟秀刚劲，更使此图富有书卷气，爽朗潇洒，自具风格。正如中国当代书画家南山乐山评论董其昌的艺术特点说：董香光（董其昌）满腹经纶，故能笔清墨润，山色如洗，宁静深邃，绝无尘垢。",[24,63,193,162,116,164,118,7,33,139,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e1cb89fb263ea27a05dc148575c163.jpg",[834],{"id":10225,"slug":10226,"title":7390,"dynasty":157,"author":10227,"museum":60,"description":10228,"tags":10229,"thumbUrl":10230,"material":2060,"size":148,"collection":148,"collections":10231,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":152},237198,"shan-shui-ce-sun-yi-237198","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[24,63,213,27,118,31,32,139,33,7,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F954605f0ec578727ceb27cb1524adb3d.jpg",[],{"id":10233,"slug":10234,"title":10235,"dynasty":18,"author":281,"museum":433,"description":10236,"tags":10237,"thumbUrl":10238,"material":495,"size":496,"collection":148,"collections":10239,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":152},236812,"wu-ling-hu-qiu-ye-yue-shan-mian-yi-ming-236812","吴令虎丘夜月扇面","此作用笔秀雅柔婉，金笺为底，以淡墨轻晕出月夜空蒙氛围。近岸坡石苍润，杂木扶疏，浅施淡赭点染秋意，林畔台榭中文士雅聚，凭栏观景，意态悠然。湖面空阔澄澈，扁舟浮于烟波间，对岸林峦隐约，山寺佛塔挺立于丘巅，古意盎然。\n构图虚实相映，以简淡笔墨铺陈出清寂悠远之境，将江南山水的秀润空灵与文人夜游的隽雅意趣相融，尽显温润静穆的文人幽怀。",[24,63,1535,27,116,118,7,33,139,32,762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3b1728139ee896dc3d11865e1eae57.jpg",[],{"id":10241,"slug":10242,"title":2667,"dynasty":157,"author":2231,"museum":433,"description":2668,"tags":10243,"thumbUrl":10244,"material":495,"size":496,"collection":148,"collections":10245,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":152},235666,"shan-shui-ping-yuan-jiang-235666",[24,63,114,193,28,27,118,7,31,32,33,139,194,38,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f04d355bfef7f860f03bc022aa5b472.jpg",[],{"id":10247,"slug":10248,"title":6792,"dynasty":58,"author":559,"museum":135,"description":10249,"tags":10250,"thumbUrl":10251,"material":166,"size":10252,"collection":148,"collections":10253,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":499},232600,"shan-shui-tu-zhou-zhao-bo-ju-232600","此作无名款，以细笔描绘沿溪风光，空间绵延，物象丰富，甚得乾隆皇帝喜爱。根据乾隆二十二年的题跋，乾隆皇帝 “观其风神笔力”，故称为赵伯驹之作。本幅画山水晴云，游骑寻春，村家桃柳，水亭茶话。通幅以青绿为主调，生动地表现出春日触目皆绿的景致",[23,114,24,63,193,27,118,7,31,32,120,26,116,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7c6c4658758839cef52e467585382b.jpg","纵89.5cm，横32.3cm",[],{"id":10255,"slug":10256,"title":10257,"dynasty":4105,"author":281,"museum":433,"description":10258,"tags":10259,"thumbUrl":10260,"material":495,"size":496,"collection":148,"collections":10261,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":54},231709,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-dong-si-ti-hu-si-juan-yi-ming-231709","镰仓时代 天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,24,63,25,27,28,26,94,7,31,32,121,118,33,139,3125,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":10263,"slug":10264,"title":10265,"dynasty":157,"author":3352,"museum":433,"description":10266,"tags":10267,"thumbUrl":10268,"material":148,"size":148,"collection":148,"collections":10269,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":152},228938,"qian-long-nan-xun-zhu-bi-tu-qian-wei-cheng-228938","乾隆南巡驻跸图","此作用鸟瞰全景式构图，将山林梵宫驻跸地铺展于绢面。界画工细严整，殿宇层叠排布对称规整，朱红标识清晰点明殿内陈设，精准勾勒出建筑形制，尽显驻跸行馆的严整规制。\n\n周遭林木苍秀错落，淡墨轻赭晕染丘壑，将人工营造融于山野清境之中。整体设色古雅沉静，笔触精细柔和，既详实记录了驻跸之所的全貌，又以山水画意晕染出江南林泉的幽谧雅韵，是纪实性与文人画意趣相融的精品，尽显山林行宫的清雅格局。",[23,24,63,28,27,26,7,118,33,38,39,139,4439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd542b499186cbae634efac97536fa24b.jpg",[],{"id":10271,"slug":10272,"title":10273,"dynasty":58,"author":2926,"museum":433,"description":10274,"tags":10275,"thumbUrl":10276,"material":148,"size":148,"collection":148,"collections":10277,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":152},227976,"zhong-xing-rui-ying-tu-juan-xiao-zhao-227976","中兴瑞应图卷","《临萧照中兴瑞应图卷》是明代画家 创作的一幅绢本设色画。\n此幅为仇英的摹古之作。\n仇英中年以后，曾先后在大收藏家周凤来和项元汴家客居近2年，得以广泛观摩宋、元名迹，摹古技艺精深。\n《中兴瑞应图》卷为南宋萧照所作，取宋高宗赵构即位前的种种瑞应传说为内容，根据曹勋辑“瑞应诸事”所写赞文描绘而成，是一幅歌颂赵构重建王朝的作品。\n此卷现存四段：一、占卜。\n徽、钦二帝被俘后，显仁皇后在行殿用棋占卜，兆告康王继位，众皆庆贺。\n二、渡河。\n一骑陷落冰际，惟赵构得免。\n三、授衣。\n萝黄袍加身。\n四、射兔。\n高宗戎装骑驰，箭中白兔。\n原作共12段，曾藏于项元汴家，仇英因此得到观摩机会。\n卷末署有“吴郡仇英实父谨摹”款，钤“实父”、“十洲”二印。\n引首有董其昌书“仇英临宋萧照《高宗瑞应图》其昌”。\n后幅有董其昌、秦松龄、尹绳孙、许之渐、黄家舒、吴伟业六家题记。\n经项元汴、梁清标、耿信公等鉴藏。\n全画用笔粗重，设色妍丽，构图平远，既有宋画古拙雄劲的特色，又有文人画的韵致，不愧为仇英摹古精作。\n此卷临本共4段，用笔粗健，设色精细，图中建筑的比例、形象、风格以及细部都极其忠实于原作，再现了萧照绘画的神髓，可谓“下真迹一等”。\n也有古建筑研究专家认为仇英的楼阁画只是在临摹宋画时才有出色的表现，而其自己的创作则逊色一筹。\n仇英（1494-1561），江苏太仓人，居苏州，出身低微，初为漆丁，后改学画，初从师周臣，结交文征明、祝允明、唐寅等文人画家，对其提高文艺修养和画艺起了很大的作用。\n他还曾在收藏家项元汴家作画，遍观项氏所藏历代法书名画，并加以临摹，潜心钻研，终成一代名家。\n仇英擅人物、山水、走兽、界画，亦精于临摹，均技艺精湛。\n其山水师法赵伯驹、赵伯辅，作青绿山水，山石勾勒，皴染细密，色彩浓丽明雅，境界宏大繁复。",[23,24,63,25,27,26,28,30,7,33,39,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a11517bb5e9b3c0c974e033db1daa83.jpg",[],{"id":10279,"slug":10280,"title":10281,"dynasty":58,"author":2926,"museum":433,"description":10282,"tags":10283,"thumbUrl":10285,"material":148,"size":148,"collection":148,"collections":10286,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":54},227703,"shan-yao-lou-guan-tu-xiao-zhao-227703","山腰楼观图","《山腰楼观图》是宋代画家萧照创作的一幅绢本水墨画，现收藏于台北故宫博物院。\n\n此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,114,24,63,308,28,116,27,139,33,1421,120,421,2158,7,623,10284],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbb108bac6d25aa9774d3238cd413a6.jpg",[],{"id":10288,"slug":10289,"title":10290,"dynasty":58,"author":281,"museum":433,"description":2044,"tags":10291,"thumbUrl":10292,"material":495,"size":496,"collection":148,"collections":10293,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":499},227367,"yu-lin-ku-003-ku-zhu-shi-xi-bi-yi-ming-227367","榆林窟003窟主室西壁",[23,2046,94,118,7,139,33,162,27,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9750ce4f94c586b51d9307a835d50ecb.jpg",[],{"id":10295,"slug":10296,"title":10297,"dynasty":4105,"author":5837,"museum":433,"description":5838,"tags":10298,"thumbUrl":10308,"material":495,"size":496,"collection":5850,"collections":10309,"showCount":10158,"zanCount":11,"manualWeight":11,"mainColor":152},225944,"hotel-des-roches-noires-trouville-1870-mo-nai-225944","Hotel 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他是继董其昌之后较早创作“没骨山水”的画家并具有新意。",[1535,24,115,27,118,3411,1759,31,32,139,33,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbfe4f7e30d09a06ff49125af3fe8c4.jpg","金笺，设色","纵17.3厘米，横49.5厘米",[],{"id":10506,"slug":10507,"title":10508,"dynasty":4105,"author":281,"museum":433,"description":10509,"tags":10510,"thumbUrl":10513,"material":495,"size":496,"collection":148,"collections":10514,"showCount":10447,"zanCount":11,"manualWeight":11,"mainColor":54},231680,"fu-shi-hui-ping-feng-yi-ming-231680","浮世绘屏风","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。",[23,9613,143,27,26,30,7,844,118,3735,10511,10512,38,7273],"战场","士兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b8fbc85ceb5ed9e8c405e27e3e9b00.jpg",[],{"id":10516,"slug":10517,"title":10518,"dynasty":58,"author":281,"museum":135,"description":10519,"tags":10520,"thumbUrl":10521,"material":47,"size":148,"collection":148,"collections":10522,"showCount":10447,"zanCount":11,"manualWeight":11,"mainColor":54},231053,"zhe-kan-tu-yi-ming-231053","折槛图","《却坐图》是宋代佚名画家创作的绢本设色画，现藏于 。\n该图描绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。\n”文帝不悦但理在袁盎，只得纳谏，慎夫人也只好悻悻而起。\n该画侧重表现矛盾化解过程中人物微妙的心理变化。\n此幅描绘的是西汉文帝时袁盎谏止宠妃慎夫人与帝、后并坐的故事。\n图中人物处于画面的中心，汉文帝等七人在画面的右侧，金瓜卫十在左侧，袁盎在文帝与金瓜卫士之间，离观者最近。\n在右侧七人中，文帝居中坐在宝座上，表情严肃，右手按膝，左手扶椅，胸前佩方心曲领，着通天冠服，长须垂胸；在皇帝左首圆墩上坐着慎夫人低头沉默，微露不悦，显得很不自在；四位宫女立于文帝身后，一位矮小的侍女，靠近慎夫人，她们都静立聆听，目睹现场；皇宫卫士，满腮长须，横眉怒目，两脚分叉，手执金瓜兵器，威风显赫，等待下旨，执行公务，袁盎弓背弯腰，两手举笏，作面奏君王状，神情坚定执着，但面向外，躬身上奏，坚毅庄重，神色坦然，看来已陈述完毕，任凭皇上处置。\n此事发生在上林苑中，院墙高筑，墙外茫茫一片田野和水面，院墙内一株大树靠右边拔地挺直而上，和中间的两棵参天大树，枝叶互相穿插，叶茂枝繁，形成了天然凉棚。\n太阳隔着云层雾气光线忽明忽暗，树叶在雾色中时隐时现、人群背后一排直立的假山石、棕榈树、仙鹤点缀着，画面的右下角还有丛竹、野草及深色太湖石。\n《却坐图》是历史故事画。\n说的是汉文帝时慎夫人僭坐故事：宠妃慎夫人坐在皇帝身边。\n她的举动违反了封建社会的礼仪，坐到了应属皇后的位置上。\n袁盎站出来当面进谏，谓帝既有后，不当容许其妃僭坐后位。\n文帝和慎夫人对他的直言进谏当时颇为恼怒，但还是接受了，并且给了袁盎一些赏赐以鼓励忠直。\n选择该故事作为题材，用意在于宣传封建纲常，赞扬敢于直言上谏、冒死维护君王统治利益的忠臣义士，是典型的院画题材。\n图中文帝坐于有奇花茂树、秀石珍禽的皇家苑囿中，袁盎上前俯身面谏，神情坚毅，文帝微露愠色，皇后坐于其侧低头不语，慎夫人站起身来面带不悦，一武士持的威严，同时也衬托出袁盎置生死于不顾，犯颜直谏的忠臣形象。\n从图中可以看到作者对现场中各类人物的外形，表情，到内心世界的刻画是非常成功的，而且对主要人物文帝、袁盎、金瓜卫士的内在联系及相互呼应交代得很清楚，如文帝的宽容大度，卫土的暴戾心理和袁盎忠直不惧的义胆，其以卫士的凶猛形貌象征皇帝手中的至高权力，相比之下，虽然袁盎处于软弱无力的地位，却显示了在这种特定场合中最有力量，而且作者将盎放在显要的位置，对他的形象刻画更富魅力，对袁盎敢于冒犯“圣上”的勇气极尽赞喻，图中要遣责的对象是慎夫人，安排在很不重要的位置上，侧面描绘成敢怒而不敢言的愧羞样子，连同她的诗人也是比其他宫女要矮小。\n该图不仅在人物位置经营上成功，而且布景也有其用意，文帝身后有高树一排，自立的假山石，仙鹤等景，而袁盎身旁的是就地长出的丛竹、小草与深色玲珑的太湖石等等。\n表示了作者章法布局有韵致，遵循院画的审美标准，而造诣颇高。\n中国美术研究院研究员王鲁豫：《却坐图》整个画风都接近于《 》，表现了南宋院体人物故事画的高度水平。\n218年1月4日，“国宝再现—书画菁华特展”在台北故宫博物院北部院区第一展览区21室开幕，《却坐图》在其中展出。",[23,114,24,63,193,26,27,28,30,7,538,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b0cdfb2193e1f81f95c31e32cf2c7d.jpg",[],{"id":10524,"slug":10525,"title":10526,"dynasty":58,"author":281,"museum":433,"description":10527,"tags":10528,"thumbUrl":10532,"material":148,"size":148,"collection":148,"collections":10533,"showCount":10447,"zanCount":11,"manualWeight":11,"mainColor":54},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。",[23,114,24,10529,1535,27,162,118,30,7,32,120,463,623,6047,1046,385,10530,10118,2135,10531],"山水小品","闲寂悠然","江南暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15adff5cce028e04ac85a7f12eb420ea.jpg",[],{"id":10535,"slug":10536,"title":2042,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":10537,"thumbUrl":10538,"material":495,"size":496,"collection":148,"collections":10539,"showCount":10447,"zanCount":11,"manualWeight":11,"mainColor":54},226456,"ku-zhu-shi-bei-bi-yi-ming-226456",[2046,94,28,27,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeea4432cc34b7e8ddc27922505e3a14.jpg",[],{"id":10541,"slug":10542,"title":2042,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":10543,"thumbUrl":10544,"material":495,"size":496,"collection":148,"collections":10545,"showCount":10447,"zanCount":11,"manualWeight":11,"mainColor":499},226244,"ku-zhu-shi-bei-bi-yi-ming-226244",[2046,94,27,30,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c559cc80ef2fdd111a6701fe4728226.jpg",[],{"id":10547,"slug":10548,"title":10549,"dynasty":4105,"author":281,"museum":433,"description":10550,"tags":10551,"thumbUrl":10552,"material":148,"size":148,"collection":148,"collections":10553,"showCount":10447,"zanCount":11,"manualWeight":11,"mainColor":152},225302,"fu-shi-hui-26-yi-ming-225302","浮世绘26","清月垂悬远山之巅，将夜色晕成柔润水色。暖黄沙洲缓缓铺展，与幽蓝河湾错落相拥。石拱桥静卧水面，行人缓行其上，把清寂夜色揉进浅淡烟火气。\n\n右侧山坞间的屋舍藏在深翠林木中，檐角轻挑月色，几艘渔船系在浅滩，随波轻晃。画面冷暖色调交织碰撞，晕开静谧诗意，将水乡月夜的闲趣铺陈开来，带着日式风物独有的侘寂清宁，把寻常烟火揉进朦胧月色里，绘就一方松弛悠然的夜泊小景。",[9613,27,118,31,32,762,7,33,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a1b573bd1eedc319d19e2075a3be6b.jpg",[],{"id":10555,"slug":10556,"title":10557,"dynasty":157,"author":1460,"museum":135,"description":10558,"tags":10559,"thumbUrl":10560,"material":820,"size":148,"collection":148,"collections":10561,"showCount":10447,"zanCount":11,"manualWeight":11,"mainColor":106},224469,"xi-shan-hong-shu-wang-hui-224469","溪山红树","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔，既显浓密厚重，又鲜艳夺目，光彩熠熠。",[23,24,63,308,27,116,117,284,164,118,33,1409,7,421,197,1639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cf57d2a1886ceabf81e3e254b741a.jpg",[],{"id":10563,"slug":10564,"title":5544,"dynasty":157,"author":1460,"museum":433,"description":10565,"tags":10566,"thumbUrl":10567,"material":148,"size":148,"collection":148,"collections":10568,"showCount":10447,"zanCount":11,"manualWeight":11,"mainColor":152},224440,"xian-shan-lou-guan-tu-wang-hui-224440","此作画境苍浑雅致，重岩峻岫拔地而起，皴笔磊落厚重，将山石嶙峋肌理尽皆铺展。古松虬劲横斜，间错排布，掩映起层叠楼阁，朱檐黛瓦隐于林壑间，似藏洞天秘境。\n\n山脚溪湾萦回，村居错落临水而建，渔舟泊于浅滩，烟火意趣晕开仙家清寂，将尘寰烟火与云山灵境相融。整幅画笔致兼具工细与苍茫，干湿墨色交织，既见峰峦雄奇之态，亦得林泉幽居之恬，恍若踏入可居可游的世外清境。",[23,24,63,193,118,7,372,373,32,139,116,27,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb079ccf42f95315b2b3056257b58765c.jpg",[],{"id":10570,"slug":10571,"title":10572,"dynasty":157,"author":281,"museum":10573,"description":10574,"tags":10575,"thumbUrl":10585,"material":312,"size":10586,"collection":148,"collections":10587,"showCount":10447,"zanCount":11,"manualWeight":11,"mainColor":152},223502,"hang-cheng-xi-hu-jiang-gan-hu-shu-tu-yi-ming-223502","杭城西湖江干湖墅图","英国大英图书馆","全图以传统绘画揉合地图绘制的技巧表现，将杭州城与西湖及城北附郭仁和县、城南附郭钱塘县一带山形水势尽收于图中。全图不附图例、比例及方位，但明显采西上、东下的分布。图中各处标示地名，杭州城内官署、坊巷、水道桥梁均详细注记；杭城外西湖及周围山岭、寺庙及景点也都非常细腻描绘，钱塘江水面在图右，以图面空白的方式表现，仅注记「闸口至北新关三十里」、「闸口至六和塔五里」等两处文字。",[23,24,114,63,27,118,10576,10577,10578,10579,10580,6100,3191,10581,10582,68,10583,10584,31,7],"城市图","古地图","杭州城","西湖","钱塘江","官署","坊巷","水道","景点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffc448fcbdc2f72bda091d949ae7205.jpg","125×67.5cm",[],{"id":10589,"slug":10590,"title":10591,"dynasty":157,"author":8026,"museum":433,"description":10592,"tags":10593,"thumbUrl":10594,"material":247,"size":10595,"collection":127,"collections":10596,"showCount":10447,"zanCount":587,"manualWeight":11,"mainColor":152},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。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由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[23,24,118,162,27,116,7,31,30,33,196,1430,117,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f03ee7c4a454a27bbbe56bc7379317f.jpg",[],{"id":10775,"slug":10776,"title":10777,"dynasty":885,"author":10778,"museum":135,"description":10779,"tags":10780,"thumbUrl":10782,"material":217,"size":10783,"collection":148,"collections":10784,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":54},287768,"lin-luan-fu-di-zhou-zhao-xi-yuan-287768","林峦福地轴","赵希远","原题。福地真传霹雳开。仰空虚窦瞰崔嵬。千盘磴道穿深黑。万古仇池接往来。颇怪洞中常见日。翻从地底一登台。耸身且自崖间出。回首仙踨怅□来。茂苑文嘉。钤印二。休。承。\n鉴藏宝玺 乾隆御览之宝。乾隆鉴赏。五玺全。宝笈三编。宣统御览之宝。\n收传印记 文谦光印。君珂鉴赏。潘志省印。又三印漫漶。\n谨按赵希远。与王蒙同时。蒙有香光居士图。希远爱而临之。见画史会要。",[114,24,193,308,116,27,196,421,7,538,32,272,10781,123,117],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb027e2c1284cdaf85c752a1e80f0f639.jpg","127.5x31.1",[],{"id":10786,"slug":10787,"title":10788,"dynasty":157,"author":281,"museum":433,"description":10789,"tags":10790,"thumbUrl":10793,"material":495,"size":496,"collection":148,"collections":10794,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":10795},272997,"zi-tan-bian-fa-lang-gua-ping-yi-ming-272997","紫檀边珐琅挂屏","此作以金地为底，珐琅填色绘就青绿山水。上部远山衔云，月色垂悬，清辉遍洒山巅，意境幽寂旷远；下部山居临溪而立，飞瀑穿谷而下，林木蓊郁苍劲，流云柔化金地的厚重华贵，将山林隐逸的清趣晕染开来。\n\n石青、石绿层层晕染出山石肌理，色彩明丽细腻，勾勒皴擦皆见匠心。左侧题诗呼应画中逸境，诗画相映，将文人山水的清雅意趣，与珐琅工艺的宫廷华贵质感相融，把林泉高致的隐逸之美凝于方寸，是清代装饰工艺与文人审美合璧的精巧之作。",[9408,10791,4019,115,27,118,762,121,7,32,10792,284],"琺瑯器","云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c8d59e8f26f75adfce4ef08e06c672.jpg",[],"0D904F",{"id":10797,"slug":10798,"title":10799,"dynasty":157,"author":281,"museum":433,"description":10800,"tags":10801,"thumbUrl":10808,"material":495,"size":496,"collection":148,"collections":10809,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":54},238869,"tong-zhi-da-hun-cai-peng-tu-zhou-yi-ming-238869","同治大婚彩棚图轴","此作为工细界画，平展排布彩棚全貌。朱墙明黄廊宇对映，沉稳鲜亮交织出华贵仪典基调。攒尖方亭敞朗雅致，正殿彩饰繁丽精细，梁枋纹饰、雀替细节一一勾勒，将彩棚复刻得工整逼真。\n\n青灰场地上的行道树排布齐整，如列阵仪仗衬出仪式感。上下红墙框定出专属婚典的仪典空间，静穆画面里暗涌昔日吉庆氛围，以细腻笔触铺陈出旧朝婚仪的庄重考究，藏着曾经的盛大热烈。",[24,28,26,27,7,121,10802,10803,10804,10805,10806,10807],"行道树","朱墙","廊宇","婚典","吉庆","庄重","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f80890e3f9f28dbf3e1d492adf8750.jpg",[],{"id":10811,"slug":10812,"title":7372,"dynasty":157,"author":1899,"museum":60,"description":1900,"tags":10813,"thumbUrl":10814,"material":180,"size":1903,"collection":148,"collections":10815,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":152},236133,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236133",[24,114,213,26,27,30,509,7,31,32,538,139,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25890be726ce156471d5de93f00b20dd.jpg",[],{"id":10817,"slug":10818,"title":2667,"dynasty":157,"author":2231,"museum":433,"description":2668,"tags":10819,"thumbUrl":10820,"material":495,"size":496,"collection":148,"collections":10821,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":152},235661,"shan-shui-ping-yuan-jiang-235661",[24,28,26,27,118,7,33,71,5147,30,121,463,623,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47a984a5ebee0ef4d208db621d44f4f0.jpg",[],{"id":10823,"slug":10824,"title":2667,"dynasty":157,"author":2231,"museum":433,"description":2668,"tags":10825,"thumbUrl":10826,"material":495,"size":496,"collection":148,"collections":10827,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":152},235659,"shan-shui-ping-yuan-jiang-235659",[24,28,27,26,118,7,121,31,33,139,30,931],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba0ef29879681b083ef4cf3223e4053.jpg",[],{"id":10829,"slug":10830,"title":7390,"dynasty":157,"author":7174,"museum":433,"description":10831,"tags":10832,"thumbUrl":10833,"material":148,"size":148,"collection":127,"collections":10834,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":152},235104,"shan-shui-ce-wang-yuan-qi-235104","此作用笔苍厚老辣，以干笔积墨反复皴擦，将山石的嶙峋质感晕染得浑厚苍润。远景峰峦以浅赭淡墨轻勾，烟岚留白晕出空濛山意，虚实间铺展悠远天际。近景茂林环拥山居，飞瀑穿林漱石，汇入平湖，鲜活灵动的水色消解了山林的沉郁。\n设色清淡雅致，浅施赭石敷色，一派江南山居的闲静气象。画中藏着文人胸中丘壑，将林泉高致凝于尺幅间，观之如临幽林，可听泉声、揽山云，沉浸式体味出世闲逸的林下雅趣。",[24,63,213,162,27,116,118,33,139,32,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1db070a5ca5283865350fec66c9915b.jpg",[127],{"id":10836,"slug":10837,"title":10838,"dynasty":18,"author":10839,"museum":60,"description":10840,"tags":10841,"thumbUrl":10842,"material":2060,"size":10843,"collection":148,"collections":10844,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":54},234811,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wan-hu-lin-tu-ye-wen-jia-234811","吴门诸家寿袁方斋三绝册-万笏林图页","文嘉","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。",[24,63,213,27,118,116,196,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f961a755627e59938040e5573b54fd9.jpg","22.2*26.7cm",[],{"id":10846,"slug":10847,"title":10848,"dynasty":18,"author":10849,"museum":60,"description":10850,"tags":10851,"thumbUrl":10852,"material":312,"size":148,"collection":148,"collections":10853,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":106},234114,"huan-ji-tu-juan-zhang-han-234114","宦迹图卷","张瀚","描绘了明中后期官至吏部尚书的张瀚的官宦生活。本文通过对此作图像内容的考证,在比对图文关系的基础上,对此图的原貌、作者及有关问题进行了初步研究。",[24,63,25,95,26,30,65,7,121,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47acd463b3a10bf258b2c33970af22e2.jpg",[],{"id":10855,"slug":10856,"title":10857,"dynasty":58,"author":281,"museum":135,"description":10858,"tags":10859,"thumbUrl":10861,"material":312,"size":10862,"collection":148,"collections":10863,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":152},231400,"jiang-fan-shan-shi-tu-yi-ming-231400","江帆山市图","宋人《江帆山市图》画两峰回抱，山寺、野店隐现其间，山坳间有一座庙宇，依山建筑，山谷间则有云雾袅绕，飞鸟阵阵，一派黄昏景象。全幅在画船、人物、建筑、树木、水纹或其它景物的用笔都非常细腻精致，线条细挺，如对于船只结构及船上设备的描绘都非常精细确实，山寺、野店之建筑，比例正确，形式精美，人物虽小，却将人物的神态和形貌画得栩栩如生。用色简澹清雅，画幅虽小，却将山城点染得极为活泼而有生意。\n此幅无名款，从画风及造型来看，是北宋范宽（十世纪）、燕文贵（活动于十世纪末）一系风格。画两峰回抱。也以近似雨点的皴法，层层描写山石的质感与量感，笔法细密，运笔着墨皆具清劲苍秀之感。在构景方面，景物集中于右半边，笔墨虽简，但严谨写实，从画风看来，是一幅接近燕文贵时代的作品。",[24,162,116,25,118,10860,7,75,139,33,71,623,194,35],"帆船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf127e4d55b0438efbe3fb66c7bb2a33.jpg","28.6x44.1公分",[],{"id":10865,"slug":10866,"title":10867,"dynasty":157,"author":10868,"museum":433,"description":10869,"tags":10870,"thumbUrl":10871,"material":148,"size":10872,"collection":148,"collections":10873,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":54},231377,"yi-yuan-tu-ce-shen-cang-231377","怡园图册","沈苍","顾沄，字若波，号云壶、壶隐等。吴县（江苏苏州）人。工画山水，清丽疏古，得“清初六家”之长。怡园位于苏州，同治十三年（1874年）时任浙江宁绍道台的顾文彬购得此地，兴建怡园。由于顾文彬当时在外地任官，营造事宜由其子顾承主持，顾文彬特地嘱咐他多与画家商议。三年后园林建成，顾沄为绘怡园十六景，后又补绘四景。在苏州园林中，怡园是建造较晚的一座，顾文彬希望能荟萃诸园之长，从顾沄图中可以看到，《松籁阁》的画舫效法拙政园的香洲，《南雪亭》的石幢有似留园的经幢，《绛霞洞》的假山则模仿狮子林，其他如网师园的水池、沧浪亭的复廊等等都能在怡园找到痕迹。顾沄的《怡园图册》将观者带入园中，近距离地游赏各景。\n对研究怡园而言，最重要的是顾沄的十六景图和顾文彬的“词并序”。顾文彬的《怡园十六景词并序》共有十六段，前面有小序介绍园景，后面一阕小词阐发意蕴，与《十六景图》一一对应。这组景致按游览顺序展开，各景为先后关系，而非主次关系。怡园有幸留存至今，提供了将园图与实景对照的机会，从中可发现这套册页的写实程度之高。值得注意的是，传统山水画往往在明山秀水间点缀人物，提示观者应如何欣赏风景，但《怡园十六景图》则未画任何人物。这从侧面证明，顾沄和顾承的主要目的是再现景致。在《怡园图》中，园景成为重点，少了人物的干扰，观者反而可以更专注地投入其中，享受这一片天然的“无我之境”。",[23,24,28,27,26,118,7,121,33,139,32,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58131b67127eeb79a8a1cfa85c6f53b7.jpg","33.3×42.4×26",[],{"id":10875,"slug":10876,"title":10877,"dynasty":157,"author":7174,"museum":433,"description":10878,"tags":10879,"thumbUrl":10880,"material":148,"size":148,"collection":148,"collections":10881,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":152},229028,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-229028","仿黄子久晴峦霁翠卷","此卷以浅绛绘江南丘壑，山峦延绵层叠，林木蓊郁苍秀，村居错落点缀水畔崖间，平远、深远兼具，铺展出清旷温润的山水胜境。\n笔墨承娄东家法，以干笔积墨反复皴擦，笔力苍劲老辣，墨色由淡及浓层层晕染，浑朴厚重中不失秀逸灵透，既谨守黄子久平淡天真的元人神韵，又融入自身沉雄苍密的风格特质。\n全作用笔绵密松灵，元气淋漓，咫尺长卷藏千里丘壑，融文人山水的笔墨意趣与林泉襟怀于一体，是摹古出新的精心佳构，尽显晚年炉火纯青的画艺造诣。",[23,24,63,25,27,118,116,29,117,164,284,774,775,33,75,7,31,121,197,493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":10883,"slug":10884,"title":10885,"dynasty":157,"author":2231,"museum":433,"description":10886,"tags":10887,"thumbUrl":10888,"material":148,"size":148,"collection":148,"collections":10889,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":54},228951,"bie-yuan-guan-lan-tu-juan-yuan-jiang-228951","别苑观览图卷","此作以全景铺展别苑胜境，水天浩渺晕开朦胧烟霭，远山如黛卧于淡墨氤氲间。园林依山水错落排布，亭台廊榭形制工细严整，山石皴擦苍劲古拙，林木扶疏间点缀三两行人，衬出苑中雅静又暗藏生趣。界画技法精绝，屋舍梁柱、城垣路径分毫毕现，又以写意笔墨晕染烟波，将规整气派的苑囿与清逸空濛的江南山水相融，精工之中不失雅致韵致，尽现院宇山水合璧的精妙意境。",[23,24,63,25,28,27,26,118,7,121,33,139,38,30,65,775,623,39,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776ca4204dca827b152a3572e3d2c2a.jpg",[],{"id":10891,"slug":10892,"title":10893,"dynasty":58,"author":669,"museum":433,"description":10894,"tags":10895,"thumbUrl":10896,"material":148,"size":148,"collection":148,"collections":10897,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":54},228851,"wan-xian-chao-zhen-tu-juan-liu-song-nian-228851","万仙朝真图卷","绢面虽蒙岁月褐晕，仍铺展浩荡仙仪长卷。群仙或乘云驭鹤，或执笏徐行，仪仗森然奔赴灵阙。山峦松枝勾勒清劲，宫观台宇隐现林岫，晕染出缥缈仙气。神祇形貌各殊，衣带翩跹舒展，尽显白描秀逸工致。后幅题跋笔意清隽，与前幅绘事呼应，文墨丹青共叙玄门盛会的庄雅恢弘，将天界朝贺的雍容气象凝于尺幅间，尽显中古仙佛绘事的极致匠心。",[23,24,63,25,2071,94,30,118,7,27,95,117,1298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4550bd33f196963e0c2517d9a36fde44.jpg",[],{"id":10899,"slug":10900,"title":10901,"dynasty":18,"author":7031,"museum":433,"description":10902,"tags":10903,"thumbUrl":10904,"material":148,"size":148,"collection":148,"collections":10905,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":54},228352,"hu-zhou-shi-ba-jing-xian-ding-song-xu-228352","湖州十八景－仙顶","此作用高远、深远法铺展丘壑，以干笔皴擦勾勒山峦筋骨，石体质朴苍拙，遍山松针攒簇，蓊郁深秀。蜿蜒山道盘绕幽谷，引视线拾级而上，崖顶朱红楼阁隐于翠色间，恍若世外梵宫。山坳茅舍幽藏，溪涧穿谷而过，山脚田亩横陈，将林泉野趣与山居烟火相融。笔墨苍劲老辣，设色淡雅清和，兼融浙派刚健与吴门文秀，既绘尽峰峦奇崛之态，又暗合仙境幽绝尘寰的逸韵，把出世高怀与俗世雅趣揉为一体，尽显明代文人心中的林泉雅志。",[23,24,63,213,27,116,118,7,33,139,32,272,117,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a8a320b1a8a8144d6247b75f4a65f5.jpg",[],{"id":10907,"slug":10908,"title":10909,"dynasty":58,"author":356,"museum":433,"description":10910,"tags":10911,"thumbUrl":10912,"material":148,"size":148,"collection":148,"collections":10913,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":54},227967,"jin-wen-gong-fu-guo-tu-li-tang-227967","晋文公复国图","本作以连环分段构图铺陈史诗往事，图文互映，每段配书跋补全情节脉络。以铁线描勾勒人物衣纹，劲挺古雅，国君、文武、夷狄、仆从神态各异，将流亡隐忍、终成霸业的跌宕过往细腻呈现。\n\n布景兼工带写，亭台界画工致严整，松石林木兼具山水意趣，古朴厚重的色调烘托出春秋乱世的沉郁风云，尽显传统叙事绘画的章法意韵与历史叙事的感染力。",[23,114,24,63,25,95,26,116,30,65,7,33,139,117,284,38,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7d26cfaac9b3b65381345283d0c2bc.jpg",[],{"id":10915,"slug":10916,"title":10917,"dynasty":58,"author":281,"museum":433,"description":10918,"tags":10919,"thumbUrl":10921,"material":148,"size":148,"collection":148,"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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑熟画派创始人。幼而好学，笃志绘画、寒暑不废。明崇祯十一年(1638)与弟云倩加入复社，次年为副贡生。入清不仕，闭门读书赋诗作画，或遨游名山大川。善画山水格疏秀，兼工人物，与孙逸齐名。",[24,63,213,27,118,7,120,33,139,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ddfa414b9c09b1f8ec44e4094725db.jpg",[127,51,834],{"id":11218,"slug":11219,"title":7372,"dynasty":157,"author":1899,"museum":60,"description":1900,"tags":11220,"thumbUrl":11221,"material":180,"size":1903,"collection":148,"collections":11222,"showCount":11164,"zanCount":11,"manualWeight":11,"mainColor":54},236136,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236136",[24,2180,26,27,28,30,509,7,33,142,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe03543ef725c91fd88a376a93ca159bd.jpg",[],{"id":11224,"slug":11225,"title":11226,"dynasty":157,"author":281,"museum":433,"description":11227,"tags":11228,"thumbUrl":11230,"material":148,"size":148,"collection":148,"collections":11231,"showCount":11164,"zanCount":11,"manualWeight":11,"mainColor":152},235914,"yang-jin-qiu-shan-lou-ge-ye-yi-ming-235914","杨晋秋山楼阁页","此作以秋郊水乡为境，左侧危崖陡立，层叠山寺凌踞山巅，古木虬枝掩映山道，商旅车马缓行其间，野趣揉着人间烟火暖意。右侧平湖横陈，渔舟轻泛波心，远岸汀渚朦胧如烟，水榭村居错落相依。\n\n笔墨兼用工写，浅淡设色晕开清秋疏朗之气，咫尺画幅铺展出千里悠远，将山野清寂与水乡恬柔相融，既绘出秋山空濛的淡远意境，又捕捉了俗世闲居的鲜活日常，是兼具写景意趣与抒情韵致的小品佳构。",[24,63,213,27,118,7,11229],"秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3c1e551391334dadbbd7069f546dc0.jpg",[],{"id":11233,"slug":11234,"title":2667,"dynasty":157,"author":2231,"museum":433,"description":2668,"tags":11235,"thumbUrl":11236,"material":495,"size":496,"collection":148,"collections":11237,"showCount":11164,"zanCount":11,"manualWeight":11,"mainColor":54},235662,"shan-shui-ping-yuan-jiang-235662",[24,28,27,26,118,7,31,32,33,30,120,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238122f674eb97d8704f7c20926c2a83.jpg",[],{"id":11239,"slug":11240,"title":2667,"dynasty":157,"author":2231,"museum":433,"description":2668,"tags":11241,"thumbUrl":11242,"material":495,"size":496,"collection":148,"collections":11243,"showCount":11164,"zanCount":11,"manualWeight":11,"mainColor":152},235660,"shan-shui-ping-yuan-jiang-235660",[24,114,63,28,26,27,116,118,7,31,123,373,385,4135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905a085c5f592f1e8d1d52a233bbe9f6.jpg",[],{"id":11245,"slug":11246,"title":11247,"dynasty":18,"author":11248,"museum":60,"description":8397,"tags":11249,"thumbUrl":11250,"material":2060,"size":148,"collection":148,"collections":11251,"showCount":11164,"zanCount":11,"manualWeight":11,"mainColor":54},234182,"song-mao-jin-xi-shan-chun-xin-tu-juan-song-mao-234182","宋懋晋溪山春信图卷","宋懋",[23,114,24,63,25,27,118,116,139,538,7,31,32,75,40,1115,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba1a74833b25ec1416d17e54393026e.jpg",[],{"id":11253,"slug":11254,"title":11255,"dynasty":18,"author":11256,"museum":433,"description":11257,"tags":11258,"thumbUrl":11259,"material":148,"size":148,"collection":148,"collections":11260,"showCount":11164,"zanCount":11,"manualWeight":11,"mainColor":152},234131,"xue-ye-mu-gui-juan-huang-chang-yan-234131","雪夜暮归卷","黄昌言","黄景明，字可文，福建晋江县人，明末清初政治人物。同进士出身。\n崇祯七年，登甲戌进士，选长乐县知县，擢礼部仪制司郎，督学粤西。迁浙江三衢副使",[23,24,63,25,162,26,118,31,32,7,121,373,272,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1eff41757c4a05ff903d7cf006d215.jpg",[],{"id":11262,"slug":11263,"title":11264,"dynasty":157,"author":3787,"museum":60,"description":11265,"tags":11266,"thumbUrl":11267,"material":424,"size":148,"collection":148,"collections":11268,"showCount":11164,"zanCount":11,"manualWeight":11,"mainColor":54},234110,"hua-hong-li-ping-shan-tang-shi-yi-juan-zhang-zong-cang-234110","画弘历平山堂诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[24,63,25,27,118,7,121,33,117,284,164,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7c98fe5c42d9369522f0ec973ba1a1.jpg",[],{"id":11270,"slug":11271,"title":11272,"dynasty":157,"author":3787,"museum":60,"description":11265,"tags":11273,"thumbUrl":11274,"material":424,"size":148,"collection":148,"collections":11275,"showCount":11164,"zanCount":11,"manualWeight":11,"mainColor":54},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷",[114,24,63,25,162,27,118,538,7,31,32,120,121,117,33,75,35,623,2093,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":11277,"slug":11278,"title":11279,"dynasty":18,"author":1247,"museum":60,"description":11280,"tags":11281,"thumbUrl":11282,"material":4727,"size":4728,"collection":148,"collections":11283,"showCount":11164,"zanCount":11,"manualWeight":11,"mainColor":152},232999,"pei-tai-shi-jing-tu-ye-tang-yin-232999","沛台实景图页","唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。",[24,63,213,162,27,118,33,7,1639,39,31,284,164,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1acb6d5b3fad39148cdbb7680a8d2d8.jpg",[],{"id":11285,"slug":11286,"title":2165,"dynasty":58,"author":669,"museum":433,"description":5810,"tags":11287,"thumbUrl":11288,"material":424,"size":11289,"collection":148,"collections":11290,"showCount":11164,"zanCount":11,"manualWeight":11,"mainColor":54},232876,"ren-wu-gu-shi-tu-juan-liu-song-nian-232876",[23,114,24,63,25,26,27,28,284,164,117,30,7,39,33,139,1115,142,387,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83c436c11f7cca4cd37dca18f9de04f.jpg","26.1x446.5厘米",[],{"id":11292,"slug":11293,"title":11294,"dynasty":4105,"author":11295,"museum":433,"description":11296,"tags":11297,"thumbUrl":11298,"material":495,"size":496,"collection":148,"collections":11299,"showCount":11164,"zanCount":587,"manualWeight":11,"mainColor":54},231738,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-er-ping-yang-yue-231738","室町时代 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字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[24,114,63,193,162,118,31,32,7,373,139,117,284,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab36ff244ad3ea89c6dfff1f443d59e.jpg",[],{"id":11628,"slug":11629,"title":11630,"dynasty":58,"author":281,"museum":433,"description":11631,"tags":11632,"thumbUrl":11634,"material":495,"size":496,"collection":148,"collections":11635,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":54},287316,"shang-shan-si-hao-hui-chang-jiu-lao-tu-juan-se-qian-yi-ming-287316","商山四皓会昌九老图卷（色浅）","此作用淡墨白描写就园林雅集之景，亭台水榭错落于茂林修竹间，层岩清波衬出幽旷意境。卷中文人或围坐清谈、展卷观画，或凭栏听琴、临水闲步，笔致细劲秀雅，将士林林下风流尽数铺陈。\n\n画面简澹空灵，以极简笔墨晕染出古雅沉静的氛围，尽显以琴棋书画为伴的雅致日常。拖尾题跋虽有墨损，却更添岁月摩挲的沧桑古意，整卷文气四溢，将宋人的清逸意趣凝于尺幅，自带沉静拙朴的书卷余韵。",[23,114,24,63,25,162,95,30,7,230,605,1047,437,284,117,935,11633],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3d3921be16f9a6d9a093994019d1f5.jpg",[],{"id":11637,"slug":11638,"title":3676,"dynasty":18,"author":281,"museum":433,"description":11639,"tags":11640,"thumbUrl":11641,"material":495,"size":496,"collection":148,"collections":11642,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":152},238578,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238578","此作以工笔重彩绘就，设色浓妍饱满。青绿浪涛间晕染粉黄祥云，层次绵密铺展出神幻水境。右侧水府门庭威严矗立，赤甲神人持械守立；左侧仙官乘骑率众列队，仪仗整肃齐整，衣甲纹饰刻画入微，旌旗猎猎尽显仪典庄重。\n画作以叙事构图铺陈海神受贺的吉庆盛景，神人形象刚劲饱满，将神异世界的肃穆祥瑞融于一体，尽显道释绘画的精工富丽，勾勒出天界水府的恢弘气象。",[24,213,26,27,30,65,1298,118,194,7,844],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3fa2435db481017698d178d3cf926d.jpg",[],{"id":11644,"slug":11645,"title":11646,"dynasty":18,"author":281,"museum":433,"description":11647,"tags":11648,"thumbUrl":11649,"material":495,"size":496,"collection":148,"collections":11650,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":152},237926,"yuan-shang-tong-sui-chao-tu-zhou-yi-ming-237926","袁尚统岁朝图轴","烟霭笼着远山如浅黛晕开，古松虬劲拔起，撑开一片冬日清寂。枯木错落在庭院之间，屋舍内宾主围坐叙谈暖意融融，院外孩童嬉闹穿梭，将年节的鲜活烟火揉进冬景里。石桥横卧水畔，把远岫寒水和热闹院舍牵作一处。\n\n笔墨轻淡晕染山水空濛，枯枝干皴细致苍劲，人物衣色清雅鲜亮，将冬日萧寒与岁朝团圆的温情相融。静穆淡远的山水意趣，揉进俗世年关的鲜活意态，冷色调的冬景晕开融融年味，雅致文气与人间烟火相映成趣。",[24,63,193,27,26,116,118,30,7,33,39,623,194,75,42,1829,422,538,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a32233198d70983e2cb245da3bb5ba.jpg",[],{"id":11652,"slug":11653,"title":11654,"dynasty":18,"author":281,"museum":433,"description":11655,"tags":11656,"thumbUrl":11657,"material":495,"size":496,"collection":148,"collections":11658,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":152},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。",[1535,24,162,27,118,4986,7,30,6667,451,116,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9111a4ba59046cdd4b28ebbdc0ef377.jpg",[],{"id":11660,"slug":11661,"title":11662,"dynasty":18,"author":9398,"museum":433,"description":11178,"tags":11663,"thumbUrl":11664,"material":495,"size":496,"collection":148,"collections":11665,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":152},237819,"hu-shan-wan-yue-shan-zhang-hong-237819","虎山玩月扇",[24,63,1535,162,118,31,7,451,762,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa46bf4220d1645be60da2305a7e7aca.jpg",[],{"id":11667,"slug":11668,"title":7390,"dynasty":157,"author":11669,"museum":433,"description":11670,"tags":11671,"thumbUrl":11672,"material":312,"size":148,"collection":127,"collections":11673,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":152},237428,"shan-shui-ce-chen-jia-le-237428","陈嘉乐","「画中十哲」即董邦达、高翔、高凤翰、李世倬、允禧、张鹏翀、李师中、王延格、陈嘉乐、张士英。\n十哲为娄东派，他们崇古保守的画风，与「虞山画派」相依托，即这10位娄东派的画家，亦兼写虞山画派，如李世倬。他们又受「四王」的影响甚大，其主要以临摹复古为主，但其中也有自出机杼、别故致新的画家，如高凤翰、高翔等。\n陈嘉乐，字子显，号东原，历城（今山东济南）人。善山水，学王原祁，奕譓招之京邸，从学画。为朱文震画中十哲歌「十哲」之一。性孤介，殁后家贫如洗。《历代画史汇传补编》、《墨林今话》、《画传编韵》、《八旗画录》、《画家知希录》、《山东通志》、《家言随记》、《清画家诗史》。",[24,213,27,116,118,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc94b76754f2313b0c9f956f9fed64fb.jpg",[127],{"id":11675,"slug":11676,"title":11677,"dynasty":157,"author":11678,"museum":433,"description":11679,"tags":11680,"thumbUrl":11681,"material":148,"size":148,"collection":127,"collections":11682,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":152},237140,"tao-li-yuan-tu-zhou-wu-chao-237140","桃李园图轴","吴焯","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。\n仿晁公武、陈振孙书目体例，所辑《薰习录》（一作《绣谷亭薰习录》），是其专记所藏秘册、叙述原委、购书、读书记，与《读书敏求记》颇为相似，但篇幅较小，仅经部1卷，集部2卷。又有《瓶花斋书目》今已不传。精校勘，手自丹黄，每购一书，必兼数本，相互参比，如有考证心得，辄书诸卷首。小山堂赵昱回忆与吴焯的交往时曾说“绣谷藏书颇矜惜，不轻借人，独许予抄，予所藏多绣谷亭本。予偶得善册，先生见之亦必取以勘定。”乾隆三十八年（1773），诏开四库馆，采访天下遗书，次子吴玉墀以古书百余种进呈朝廷，与鲍廷博“知不足斋”、汪宪“振绮堂”、孙宗濂“寿松斋”、汪启淑“飞鸿堂”，各整比所藏，踊跃呈献，获赐《佩文韵府》1部及书数种。藏书印有“绣谷手典”、“疏雨薰习”、“流传勿污损”、“性命以之”等多枚。刻书甚富，达50余种，数千卷。与厉鹗、赵昱等往来极密，每得一秘本，彼此互相抄录，抄书用纸印墨格或绿格，版心刻有“绣谷亭”三字，有的左栏外刻有“西泠吴氏绣谷亭抄书”或“绣谷亭抄书”等字样。所藏书身后大多归于汪宪“振绮堂”、许宗彦“鉴止水斋”及马氏兄弟等家。藏书印有“绣谷所藏”、“绣谷薰习”、“尺凫”、“愿流传勿损污”等。著有《绣谷杂抄》、《药园诗稿》、《陆渚飞鸿集》、《玲珑帘词》、《经山游草》等。与厉鹗、赵昱合撰《南宋杂事诗》。",[24,63,193,27,26,116,118,30,7,31,121,1967,1968,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632fa63692d7afa3a89ed69ddf696e28.jpg",[127,834],{"id":11684,"slug":11685,"title":11686,"dynasty":157,"author":281,"museum":433,"description":11687,"tags":11688,"thumbUrl":11689,"material":148,"size":148,"collection":148,"collections":11690,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":54},235670,"yuan-yao-shan-shui-ping-chun-tai-ming-yue-yi-ming-235670","袁耀山水屏-春台明月","此画以淡晕烟霭织就春夜底色，圆月悬于浅青长空，将清辉温柔泼洒在湖山间。重檐朱阁倚山而建，飞檐翘角揽着月色，檐下窗棂隐约透出暖意，与周遭盛放的花树、垂岸的柔柳相映，将人工雅意揉入湖山清景。\n\n水面扁舟轻泛，渔人慢摇船桨漾开细微波光，和静雅的楼台形成动静对照。整幅设色柔润秀雅，以淡墨晕染烟岚，把春夜湖山的空濛温婉尽数铺展。无需浓墨重彩，便将春台望月的清和诗意藏在每处细节里，观之如临其境，似能嗅到春夜湿润花香，耳闻水波轻拍船舷的浅响，尽显东方山水悠然禅意。",[24,27,28,26,118,762,7,33,5147,1430,1748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe874e6605c1df06f174e906972637056.jpg",[],{"id":11692,"slug":11693,"title":2667,"dynasty":157,"author":2231,"museum":433,"description":2668,"tags":11694,"thumbUrl":11695,"material":495,"size":496,"collection":148,"collections":11696,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":54},235663,"shan-shui-ping-yuan-jiang-235663",[24,63,28,26,27,115,118,7,538,119,421,194,139,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa367e713deec5c0cba384b8928f36c57.jpg",[],{"id":11698,"slug":11699,"title":11700,"dynasty":18,"author":10839,"museum":433,"description":11701,"tags":11702,"thumbUrl":11703,"material":148,"size":148,"collection":148,"collections":11704,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":152},235593,"hua-wang-bai-gu-ban-ji-an-tu-zhou-wen-jia-235593","画王百穀半偈庵图轴","《王百谷半偈庵图》是明代画家 创作的纸本设色画，现藏于 。\n该图绘明代王百谷所居地半偈庵景色，院落中有湖石、青竹、松木等，石旁立有小石碑，晥门外有2人相立而谈。\n此图笔秀润简淡，构图巧妙别致。\n此画的构图和景物比较简洁，画有工日谷寓所——半偈庵，庭院中立有一湖，造型奇特，玲珑剔透。\n又有数棵树木，枝叶疏散，后有屋舍二间，陈设简陋，前后排列，前房供佛，后房中一榻一几，有一位上人独坐于床榻上，双日凝视，若有所思，屋子左侧有一束修竹，枝叶茂盛，近景有一道围墙，山间有一门楼，围墙两侧的右侧一树，左侧为一棕树。\n墙外有二人对话，一位作拱手状，一位持有策杖，姿态悠闲自在。\n此情此景，足以反映当时文人墨客优雅的生活环境及他们的志趣，王百谷半偈庵就是文人士大夫们所追求的优雅生活的写照。\n全图其画景物和作者自题识及王穉登等诗几乎各占一半，上诗、下图，相配十分得体。\n此画是文嘉7岁的作品，描绘当时文人王穉登所居半偈庵景色。\n王穉登（155—1612），字伯谷，也作百谷，长洲人，少时即以善作诗文著称，长而骏发，名满吴会，善书法，诸体兼备，文徵明没后，风雅归之穉登。\n全图用笔相当简练，湖石和竹树基本上继承了家学的传统，画法近学文徵明，远受元朝画家的影响，疏淡中蕴含秀润，树木用干笔勾皴后，用细墨点叶。\n用笔颇为老峭，加上构图过分简洁，使画面的意境稍嫌疏落之感。\n但由于画幅上面有文嘉的长段题识，起到了弥补此画构图的疏落之嫌…上诗塘又有王穉登录顾孟先、沈少卿宿半偈庵诗、这些自题识和王穉登题诗，为此画增色颇多，成为此画重要的组成部分。\n文嘉（151—158），明代画家，字休承，号义水，长洲（今江苏苏州）人，文徵明次子。\n官和州学正，继承家学，工小楷，擅画山水，笔法清脱，颇近倪瓒，着色山水，具幽澹之致，间仿卫蒙皴染，亦颇秀润，兼作花卉。\n精于鉴别古书画。\n传世作品有《赤壁夜游图》、《秋塘红藕图》、《沧山渔笛图》、《临董源溪山行旅图》轴，并著有《钤山堂书画记》。",[24,63,193,162,164,284,7,605,451,385,39,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b4680056f3221272054815ba8098c4.jpg",[],{"id":11706,"slug":11707,"title":11708,"dynasty":18,"author":3587,"museum":433,"description":9415,"tags":11709,"thumbUrl":11710,"material":495,"size":496,"collection":148,"collections":11711,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":152},235530,"luo-ri-ning-lu-tu-shan-ye-lu-zhi-235530","落日凝露图扇页",[24,1535,27,118,33,139,7,761,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffbdc761a4d6caac14521800be06d66.jpg",[],{"id":11713,"slug":11714,"title":11715,"dynasty":157,"author":11716,"museum":433,"description":11717,"tags":11718,"thumbUrl":11720,"material":495,"size":496,"collection":148,"collections":11721,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":152},235365,"qun-feng-ji-cui-tu-zhou-liu-yan-chong-235365","群峰积翠图轴","刘彦冲","刘彦冲（1807～1847）清代画家、诗人。初名荣，字咏之，四川铜梁（今重庆铜梁）人，侨寓吴门（今江苏苏州），朱昂之弟子。家贫事母孝，不妄干人。工诗文，善绘事，山水、人物、花卉，一意师古，深造自得。山水初从朱昂之游，心得其秘。复肆力于古，临摹各家，无不得其精髓。泼墨作小米云山，亦翁郁可观。惜中年殁。",[24,114,193,308,27,116,11719,33,7,1046,120,32],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09b0faca13edb8b101856f7129f43a9.jpg",[],{"id":11723,"slug":11724,"title":9890,"dynasty":157,"author":209,"museum":60,"description":11725,"tags":11726,"thumbUrl":11727,"material":11728,"size":11729,"collection":148,"collections":11730,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":152},233419,"yuan-ji-shan-shui-ce-shi-tao-233419","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,213,162,116,118,385,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da9e78838b6d56b888f9f6637ee1aae.jpg","纸本 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。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[1535,162,116,118,7,33,120,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2468ed648fd299f606049d48ceee37.jpg",[],{"id":12157,"slug":12158,"title":12159,"dynasty":157,"author":1460,"museum":60,"description":12160,"tags":12161,"thumbUrl":12162,"material":180,"size":12163,"collection":148,"collections":12164,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":152},234193,"bai-di-ye-yue-tu-juan-wang-hui-234193","白堤夜月图卷","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,63,114,25,27,118,116,762,31,32,436,33,7,121,538,463,75,3075],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],{"id":12166,"slug":12167,"title":12168,"dynasty":157,"author":12169,"museum":433,"description":12170,"tags":12171,"thumbUrl":12174,"material":2060,"size":148,"collection":148,"collections":12175,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":54},234184,"lin-yong-tu-xiang-di-er-juan-yin-zhen-234184","临雍图像第二卷","胤禛","清世宗爱新觉罗·胤禛（1678年12月13日 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、“朝乾夕惕”。\n雍正帝的一系列社会改革对于康乾盛世的连续具有关键性作用。雍正十三年（1735年）农历八月二十三日驾崩，终年58岁。庙号世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之泰陵，传位于第四子弘历。",[23,24,63,25,27,26,30,7,33,39,12172,438,12173,2180],"古代建筑","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76703745414aaf3c5171983bea62096c.jpg",[],{"id":12177,"slug":12178,"title":12179,"dynasty":157,"author":12180,"museum":433,"description":12181,"tags":12182,"thumbUrl":12183,"material":148,"size":148,"collection":148,"collections":12184,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":152},234150,"shan-shui-he-juan-liu-ru-shi-234150","山水合卷","柳如是","此卷以淡墨轻皴写江岸丘壑，林木萧疏、汀洲隐现，水墨晕染出江南烟水空蒙之态，简淡天真，尽得文人画简远逸趣。\n\n通篇题跋行书秀逸灵动，笔致清劲温婉，墨色浓淡参差，与画作的淡远意境相融，诗、书、画三者浑融无间。笔墨里交织江南山水的静雅与文人情致，长卷铺展出悠悠林下之风，将澹澹愁思与清雅襟怀藏入点染挥毫间，尽显灵秀才思与林下襟期。",[23,24,63,25,162,95,116,164,117,118,31,32,121,33,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca11af530f678f1b3f4c15b1e5ac59a6.jpg",[],{"id":12186,"slug":12187,"title":12188,"dynasty":58,"author":12189,"museum":60,"description":12190,"tags":12191,"thumbUrl":12192,"material":424,"size":12193,"collection":148,"collections":12194,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":152},233851,"he-quan-cao-tang-ke-hua-tu-ye-he-quan-233851","何荃草堂客话图页","何筌","《草堂客话图》为南宋画家何荃所作。画左方松树干上署“辛卯何筌制”五字款。裱边题签“何荃草堂客话图”。对幅李佐贤跋云：“此幅旧题‘何筌《草堂客话》’，系梁蕉林相国笔迹。按筌名画谱无徵，不知此题何所据，然画笔细入毫芒，无微不到而一丝不乱，工雅兼长，洵属宋人真实本领，元以后无此画境矣。”\n图绘乡间草堂两间，绿柳、青松、翠竹环绕其间。左侧屋内两人对坐，一童子侍立院中。右侧亭内一人侧躺，神态悠闲。乡间小路上孩童三三两两，嬉戏游玩。\n何荃，南宋画家，生卒年不详。",[24,63,213,162,27,118,7,31,32,30,33,121,116,284,164,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4373cb59dd54263cc79e2110d7f29cec.jpg","24x23cm",[],{"id":12196,"slug":12197,"title":12198,"dynasty":18,"author":4150,"museum":60,"description":12199,"tags":12200,"thumbUrl":12201,"material":3894,"size":12202,"collection":148,"collections":12203,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":54},233458,"shan-cun-tu-zhou-li-zai-233458","山村图轴","图绘山间村落，巨峰如障，溪流坡岸，人物舟船，房屋俨然。作品取全景式山水，构图饱满，气势宏阔，皴笔细密扎实，墨韵浑厚。山石的卷云皴法和树木的“蟹爪枝”画法来自北宋郭熙，而用笔较为粗放率意，兼具南宋马远、夏圭之意，这种融南北宋于一体的画法是李在的本色面貌。画面以雄壮的山川衬托村居生活之平和气息，颇具怡然闲适之意趣。",[24,193,118,116,162,139,422,373,7,75,623,946],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5bbda67d2037904f15230fec65c4a8.jpg","纵135厘米，横76厘米",[],{"id":12205,"slug":12206,"title":8418,"dynasty":18,"author":771,"museum":60,"description":8419,"tags":12207,"thumbUrl":12208,"material":312,"size":8422,"collection":148,"collections":12209,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":152},232962,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232962",[24,63,213,162,27,116,164,284,117,118,451,139,7,31,32,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb74cf6574391d8f609ec56377466c02c.jpg",[],{"id":12211,"slug":12212,"title":12213,"dynasty":157,"author":5295,"museum":190,"description":12214,"tags":12215,"thumbUrl":12216,"material":166,"size":12217,"collection":148,"collections":12218,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":54},231391,"liu-ye-shan-shui-shi-hua-tu-ce-zou-yi-gui-231391","六页山水诗画图册","此册页花卉或重粉点瓣、敷色浓丽；或没骨轻染、淡雅隽逸。此花卉用功颇深，为深入了解绘画对象，邹一桂亲自培植百余种花卉，仔细观察形态特征，获得真切感性认识，使其花卉在他笔下形神兼备、超凡脱俗。",[24,63,213,162,116,118,7,121,117,284,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e4b6ea57f63d4747420caa89bdae6.jpg","29×23cm×8",[],{"id":12220,"slug":12221,"title":4388,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":12222,"thumbUrl":12223,"material":495,"size":496,"collection":148,"collections":12224,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":54},226246,"ku-zhu-shi-nan-bi-yi-ming-226246",[2046,94,28,27,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F307a51c5f6b530f7272b87bebe6e8a47.jpg",[],{"id":12226,"slug":12227,"title":118,"dynasty":157,"author":12228,"museum":433,"description":12229,"tags":12230,"thumbUrl":12231,"material":148,"size":148,"collection":148,"collections":12232,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":152},224290,"shan-shui-fan-song-224290","范松","此作以全景铺展丘壑，层峦叠嶂间烟岚轻笼，将高远、平远之景相融。崖岫间红墙古寺半隐，晕染出点睛亮色，打破黛山翠林的沉静。\n\n林麓间村居错落，板桥跨溪通幽，浅滩漱石、流泉回环，把山居烟火与林泉野趣织为一体。笔墨苍秀老辣，以短皴写山石嶙峋肌理，林木枝桠攒簇尽显苍劲葱茏，淡赭轻敷衬出秋意清寂，整体气息静穆澹远，将文人心中栖隐林泉的意趣藏入层叠丘壑之中，观之如身临幽寂山境，揽尽林泉雅致。",[23,24,27,116,193,118,31,32,121,33,139,7,75,946,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393c5de365c8e65858e3c9cf20b1c1d5.jpg",[],{"id":12234,"slug":12235,"title":12236,"dynasty":157,"author":504,"museum":345,"description":505,"tags":12237,"thumbUrl":12238,"material":424,"size":516,"collection":148,"collections":12239,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":54},222977,"hong-lou-meng-102-sun-wen-222977","红楼梦102",[23,26,27,28,30,7,39,4430,1157,33,138,508,509,5090,38,7607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f29d4f96bae2ac203a1e271aaabb89e.jpg",[],{"id":12241,"slug":12242,"title":12243,"dynasty":157,"author":504,"museum":345,"description":505,"tags":12244,"thumbUrl":12247,"material":424,"size":516,"collection"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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。",[114,24,193,27,26,30,7,118,373,123,44,5191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576a2e63e63124f7c0eced854dfc1b0c.jpg",[],{"id":12395,"slug":12396,"title":12397,"dynasty":58,"author":1438,"museum":433,"description":1439,"tags":12398,"thumbUrl":12399,"material":495,"size":496,"collection":148,"collections":12400,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},290009,"gong-zhong-hang-le-tu-guo-zhong-shu-290009","宫中行乐图",[114,24,63,28,1535,27,7,258,284,117,1949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe45931e226c5cd5dd7d12c12b91275f1.jpg",[],{"id":12402,"slug":12403,"title":12404,"dynasty":58,"author":281,"museum":433,"description":12405,"tags":12406,"thumbUrl":12408,"material":495,"size":496,"collection":148,"collections":12409,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":54},289961,"xue-shan-xing-lv-tu-yi-ming-289961","雪山行旅图","此作用高远之法铺展冬日丘壑，主峰雄峙苍莽，积雪覆裹山峦，淡墨晕染出萧寒空濛的雪意。山石勾勒皴擦兼具骨力与浑润，枯木虬枝劲挺，尽显冬山荒寒之态。河谷间板桥茅舍错落，行旅驮队徐行于冰岸，为寂廖雪景晕开一缕人间烟火气。以水墨铺陈，借留白晕染烘托雪后山川的清寂辽远，将北国冬山的沉雄冷寂，与行旅浮生的意趣相融，于绢素间铺展出冬日山水的苍莽生机，尽显山水笔墨的意韵与造境匠心。",[23,24,114,308,162,193,116,1514,616,638,139,422,31,7,272,12407],"人马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007534380f02353665a1374e0d8404f1.jpg",[],{"id":12411,"slug":12412,"title":12413,"dynasty":58,"author":4192,"museum":135,"description":12414,"tags":12415,"thumbUrl":12416,"material":47,"size":12417,"collection":148,"collections":12418,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":54},289378,"liu-xi-chun-fang-tu-ma-he-zhi-289378","柳溪春舫图","图绘崖壁柳荫，溪水垂柳，船坞码头，湖水盈盈，舂舫一艘，高士独游，妙诗新间，赞喻河山。这是马和之的一幅传世山水画代表作。款署“和之”。钤印一，模糊不可识。收传印记，有“朱之赤鉴赏”、“晴窗宝玩”、“子京”、“墨林山人”、“蕉林”及清乾隆诸玺等。\n这幅《柳溪春舫图》的特点是“简逸”而神旷，图中的山只画悬崖峭壁一面，只见山势高大，而毫无挺拔之感；画柳，不管是峭壁上的柳荫，还是溪边的垂柳，同样感到有随风飘逸之感；画水，水波纹轻轻波动，也有飘逸之感；画舫，在水上也显得轻快飘逸；画人，高士独自游览，轻松愉快；船工轻轻摇橹，船只就能随水推进。总之，这是作者在此画中体现了他的运笔使转灵活无一直经的板重之笔，这是作者来自于仿吴道子法，谓“蚂蝗描”的笔法，这种画法上的“简逸”，其实不仅仅可以理解为技巧的外形描述，还可以理解为一种新的技法意识观念的开始。图为当时南宋初，画家都以繁密写实为多见，所以不足为奇。要是像马和之那样简逸倒是一奇，如果简逸而又意趣，那就更是奇怪之至了。这幅可算是他的“简逸”画风的一作吧。",[24,114,308,27,7294,32,120,30,7,139,117,3221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9657dea8e4aeb1713baaff8a6dca12c9.jpg","36.7x51.4",[],{"id":12420,"slug":12421,"title":12422,"dynasty":18,"author":281,"museum":433,"description":12423,"tags":12424,"thumbUrl":12425,"material":495,"size":496,"collection":148,"collections":12426,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":54},289364,"gong-yuan-ying-xi-tu-yi-ming-289364","宫苑婴戏图","此画以宫苑为舞台，将稚子烂漫悉数铺展。画面上下两处各成童趣天地：上层孩童攀爬上拆解的屋架，蹦跳嬉闹，尽显跳脱顽态。一旁亭榭里安坐的长者静看稚童，动静相映，将深苑的闲逸与童真相融。\n\n下层孩童围逗雏鸡，两两结伴蹲坐嬉玩，憨稚之态呼之欲出。亭台盆栽勾勒出宫苑雅致底色，古绢晕染带着岁月沉韵，工细线条将孩童的娇憨灵动、园囿的静雅规制妥帖绘就，消解了宫苑的刻板肃穆，只余下稚子嬉闹的鲜活日常，把无忧无虑的童年意趣定格在古雅色泽中。",[24,114,193,27,30,28,981,7008,919,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f339529b27e046af7897ba156a02ed6.jpg",[],{"id":12428,"slug":12429,"title":12430,"dynasty":157,"author":7174,"museum":433,"description":9517,"tags":12431,"thumbUrl":12432,"material":495,"size":496,"collection":148,"collections":12433,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},288392,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-288392","仿黄公望山水图",[23,114,24,63,193,118,29,27,115,116,31,32,7,33,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6347cfccc589f6a028cefbc8cc2ea79f.jpg",[],{"id":12435,"slug":12436,"title":12437,"dynasty":157,"author":12438,"museum":433,"description":12439,"tags":12440,"thumbUrl":12441,"material":495,"size":496,"collection":148,"collections":12442,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},288143,"cao-shu-li-zhou-deng-shi-ru-288143","草书立轴","邓石如","邓石如（1743—1805年），初名琰，因避清仁宗讳，遂以字行，更字顽伯，号完白山人、笈游道人等，怀宁（今安徽安庆）人。清代乾、嘉时期著名碑学大师。少好刻石，弱冠谒江宁梅镠，梅家多藏金石善本，尽出与石如，使专摹习。客梅氏八年，学既成，又客于两江总督毕沅幕府。三年后辞归。工书法、篆刻。书工各体，以篆、隶为最精，颇得古法，兼融各家之长，形成独特风格。清李兆洛谓其书“真气弥满，楷则俱备，其手之所运，心之所追，绝去时俗，同符古初，津梁后生，一代宗仰。”对清代中、后期书坛有巨大影响。著有《完白山人篆刻偶存》等书行世，《清史稿》有传。",[162,284,4997,193,117,958,762,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef818dceb705e9d54ca012acd3179626.jpg",[],{"id":12444,"slug":12445,"title":12446,"dynasty":18,"author":12447,"museum":433,"description":12448,"tags":12449,"thumbUrl":12450,"material":495,"size":496,"collection":148,"collections":12451,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":54},288072,"xia-shan-yu-yu-liu-yu-288072","夏山欲雨","刘钰","刘珏(1410—1472)字廷美,号完庵,南直隶苏州府长洲(今江苏苏州)人。宣德中,苏州知府况钟举为吏,不就,得补生员,正统三年(1438)中举人,授刑部主事,迁山西按察司佥事,年五十弃官归。",[23,114,24,193,118,27,116,196,31,32,421,7,33,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd380e4f1b122124cca601af28dc7c21.jpg",[],{"id":12453,"slug":12454,"title":12455,"dynasty":18,"author":12456,"mu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因幡堂药师缘起画卷","此卷以长卷铺陈起承转合，开篇池畔官邸廊桥萦回，士人往来水榭，尽显中古贵族日常的闲雅意趣。中段笔锋一转，山石林莽间骑队驰驱，人马错落间带出杀伐行旅的肃杀张力。末段复归静谧山门与深宅，还原仪礼日常。\n\n淡墨勾勒间晕染红褐屋瓦，线描柔劲兼具，古雅底色斑驳厚重。随行文书与画面相映成趣，将信仰缘起与世俗叙事揉为一体，尽展中古绘卷叙事与审美融合的独特韵味。",[23,24,63,25,27,26,28,30,7,65,118,33,75,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8500d26c5220b3230efe9d4238175c7f.jpg",[],{"id":12504,"slug":12505,"title":12506,"dynasty":18,"author":7031,"museum":433,"description":12507,"tags":12508,"thumbUrl":12509,"material":148,"size":148,"collection":148,"collections":12510,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},228354,"hu-zhou-shi-ba-jing-bi-lang-hu-song-xu-228354","湖州十八景－碧浪湖","近景湖心石渚之上，七层浮屠卓然挺立，飞檐层叠错落，宝顶凌云。烟波里扁舟轻摇，水鸟掠波而过，漾开细碎涟漪。左侧崖壁巉岩嶙峋，林木层叠点染，山道间行人如蚁，衬出丘壑的阔远深邃。\n\n远景沙汀逶迤，楼阁隐现于浅赭山峦间，淡墨晕染的远山融于烟岚之中，晕开空濛天色。画作以浅绛设色，笔墨苍秀简逸，写意中兼具工致，既带着文人画的清雅意趣，又细致摹写出水岸林峦的错落层次，将湖山的旷远空濛与烟火生机相融，观之如临其境，尽览湖畔悠然澹远的朝暮意韵。",[23,24,162,27,118,7,120,123,1639,33,116,28,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdc45eb224b944a1ca856e776bdaec7.jpg",[],{"id":12512,"slug":12513,"title":12514,"dynasty":18,"author":12515,"museum":433,"description":12516,"tags":12517,"thumbUrl":12518,"material":148,"size":148,"collection":148,"collections":12519,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","钱毂","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[23,24,63,213,27,162,118,116,196,194,32,31,7,33,123,121,139,946,30,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":12521,"slug":12522,"title":12523,"dynasty":58,"author":281,"museum":433,"description":12524,"tags":12525,"thumbUrl":12526,"material":148,"size":148,"collection":148,"collections":12527,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":54},227848,"gong-yuan-tu-ye-yi-ming-227848","宫苑图页","此作以青绿晕染山林，界画精工勾勒宫阙楼宇，将苑囿隐于蓊郁林泉之间。山石皴染苍润古朴，旧色晕开厚重雅致的古韵，林木错落掩映殿台飞檐，层层递进的构图铺展出幽深秘境。楼宇斗拱分毫毕现，尽显匠造规整，却融于空山翠色，消解了楼宇冷硬，凭添林泉雅意。它兼具山水画的悠远意境与界画的精工细致，静静铺展着千年前林泉宫阙的静谧古雅，将人工意趣悄然融于天然山水，尽显清和雅致的林苑意韵。",[23,114,24,63,28,26,27,118,7,33,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd24c709139ea37f1960e2d62944f11.jpg",[],{"id":12529,"slug":12530,"title":7551,"dynasty":58,"author":281,"museum":433,"description":12531,"tags":12532,"thumbUrl":12533,"material":148,"size":148,"collection":148,"collections":12534,"showCount":444,"zanCount":587,"manualWeight":11,"mainColor":54},227358,"chun-you-wan-gui-tu-ye-yi-ming-227358","中国水墨发展伊始, 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为绘画开启了类似寄情寓性的功能。",[23,114,24,63,1535,27,26,28,30,65,33,7,272,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1af322108bf37992fc92f50569bfe5.jpg",[],{"id":12536,"slug":12537,"title":7214,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":12538,"thumbUrl":12539,"material":495,"size":496,"collection":148,"collections":12540,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":54},226495,"ku-zhu-shi-nan-pi-yi-ming-226495",[2046,94,28,27,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ecd09e5896a3e0f1abe6ae7a73eff9b.jpg",[],{"id":12542,"slug":12543,"title":2042,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":12544,"thumbUrl":12545,"material":495,"size":496,"collection":148,"collections":12546,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":54},226225,"ku-zhu-shi-bei-bi-yi-ming-226225",[2046,94,27,30,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd94ad151ca285a2d772e96990c5656.jpg",[],{"id":12548,"slug":12549,"title":12550,"dynasty":4105,"author":281,"museum":433,"description":12551,"tags":12552,"thumbUrl":12554,"material":148,"size":148,"collection":148,"collections":12555,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},225306,"fu-shi-hui-34-yi-ming-225306","浮世绘34","澄澈海面轻漾柔波，两艘渔舟缓行其上，晕开悠悠渔隐意趣。苍崖叠翠而起，深浅绿意晕染出繁茂植被的层次，暖黄石径蜿蜒穿梭林间，崖顶山居凭险而建，将山居与山海融为一体。\n\n右下角朱红岸滩衬着古朴鸟居与屋舍，冷暖色调交织柔化了山海边界，把南国的静谧悠然铺陈开来。整体兼具装饰意趣与东方山水意境，以雅致抒情的笔调定格幽远山海之美，带着和风特有的恬淡诗意，引人身临其境踏入这处避世的南国栖居地。",[9613,27,118,120,5147,33,139,2234,12553,75,7],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0bb9f4ca064dd87b79f48836bf455a.jpg",[],{"id":12557,"slug":12558,"title":12559,"dynasty":885,"author":281,"museum":433,"description":12560,"tags":12561,"thumbUrl":12562,"material":148,"size":148,"collection":148,"collections":12563,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":54},223626,"he-ting-dui-yi-tu-ye-yi-ming-223626","荷亭对弈图页","《荷亭对弈图页》是元代画家佚名创作的一幅绢本设色画，现收藏在故宫博物院。\n本幅无作者款识。\n收藏印钤“庞莱臣珍藏宋元真迹”、“项墨林父秘笈之印”二方。\n图中描绘 边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐，不知是弈后的疲惫小憩还是战前的养精蓄神；又有三 ，一执扇，一伏案，一取水，整幅意境悠闲雅淡 此画将青绿山水与界笔楼阁有机结合，是南宋院画楼阁小品的沿展，只是风格更加清新活泼。\n此页旧题签“赵伯骕荷亭对弈”，实为元人所作。",[23,114,24,63,213,27,28,26,30,7,121,4058,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea73aea37bb0f5cf60b79d0bc39c0e2.jpg",[],{"id":12565,"slug":12566,"title":12567,"dynasty":58,"author":281,"museum":433,"description":12568,"tags":12569,"thumbUrl":12570,"material":312,"size":12571,"collection":148,"collections":12572,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":54},223568,"xi-shan-xing-tu-zhou-yi-ming-223568","溪山行图轴","深深地描绘了秋天的景色。 绿图已枯，枫红团，山脚下长长的行人匆匆而过； 飞瀑流泻而下，水底已雾蒙蒙； 几间房屋隐藏在山谷中，或者寺庙是高大的殿堂，它们是住宅。 依山傍水，是一处修身养性的美丽之地； 山峰可能隐高，峰顶怪异，山脊稳定。",[23,24,114,193,27,116,118,774,1013,421,33,31,32,7,30,65,1639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":12574,"slug":12575,"title":12576,"dynasty":157,"author":2177,"museum":12577,"description":12578,"tags":12579,"thumbUrl":12584,"material":2060,"size":12585,"collection":148,"collections":12586,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},223309,"fa-jie-yuan-liu-tu-juan-3-ding-guan-peng-223309","法界源流图卷-3","吉林省博物院","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,26,27,25,94,30,8045,12580,8046,7591,96,2123,12581,2058,12582,8044,118,7,12583],"天王","象","法器","神佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39be0fc022f890817bbffb782f3979ec.jpg","纵33厘米、横1635厘米",[],{"id":12588,"slug":12589,"title":12077,"dynasty":157,"author":2177,"museum":135,"description":12590,"tags":12591,"thumbUrl":12593,"material":148,"size":12594,"collection":148,"collections":12595,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},223247,"ji-le-shi-jie-ding-guan-peng-223247","丁观鹏(？-1771后)， 清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物，尤擅仙佛、神像，以宋人为法，不尚奇诡，学明代丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。\n丁观鹏曾与弟弟观鹤同供奉于南熏殿。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有《摹宋人雪渔图》和《仿韩七子过关图》，均辑入《中国历代名画集》。",[23,24,26,27,2181,12592,28,5978,12077,7218,30,7,931],"宗教画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1315eb66f2c58f05c6831040a5c918.jpg","横60x纵119cm",[],{"id":12597,"slug":12598,"title":12599,"dynasty":157,"author":2055,"museum":60,"description":12600,"tags":12601,"thumbUrl":12602,"material":12603,"size":12604,"collection":148,"collections":12605,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":3765},223143,"shi-wan-tu-ce-7-ren-xiong-223143","十万图册7","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,24,114,63,213,26,27,118,7,451,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a1b10828519dc13f4704bee941031.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],{"id":12607,"slug":12608,"title":12609,"dynasty":157,"author":12610,"museum":433,"description":12611,"tags":12612,"thumbUrl":12613,"material":27,"size":148,"collection":148,"collections":12614,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},223131,"qun-xian-tu-ren-xun-223131","群仙图","任薰","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽（马、羊等）无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。\n他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。\n任薰作品在香港拍卖较多，1986年即有作品参加拍卖，1986年5月一件《双钩花鸟册》（共十二张）卖到45000港元。1989年5月又拍卖过两幅作品，一幅扇面《钟馗》以24200港元成交，另一幅《秋景山水》轴也是24000港元。1990年11月拍卖的一件《花卉草虫画集》册页价格偏低，只有17600港元，第二年9月是一件册页则达到12万港元，这是一件八开山水人物册页，山水人物比他的花卉草虫要珍贵得多。\n任薰作品也在纽约拍卖，1989年拍卖的《人物》四屏立轴卖到18700美元，1990年11月拍卖的一幅《仕女》扇面是1540美元。1992年6月纽约苏富比公司又推出两幅任薰作品，一为山水轴（128.6*60.3），作于1876年，估价不高，为1200－1500美元，以1700美元成交。另一幅人物轴（92.7*41.3公分）由于起价太高而未拍出。",[23,24,63,27,26,30,118,7,33,2058,1996,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6b02a2a93b694310e08a39e6c70fa4.jpg",[],{"id":12616,"slug":12617,"title":12618,"dynasty":157,"author":504,"museum":345,"description":505,"tags":12619,"thumbUrl":12620,"material":424,"size":516,"collection":148,"collections":12621,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":54},222999,"hong-lou-meng-124-sun-wen-222999","红楼梦124",[23,24,26,27,3238,11910,509,7,39,2028,437,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe634b8a2479a7facb164cebb0f2fb17c.jpg",[],{"id":12623,"slug":12624,"title":12625,"dynasty":157,"author":504,"museum":345,"description":505,"tags":12626,"thumbUrl":12627,"material":424,"size":516,"collection":148,"collections":12628,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},222967,"hong-lou-meng-92-sun-wen-222967","红楼梦92",[23,24,63,25,26,27,121,7,30,463,4430,139,119,1047,142,1628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe37ac43c8394a731fbdbcf24bc56c51.jpg",[],{"id":12630,"slug":12631,"title":12632,"dynasty":157,"author":504,"museum":345,"description":505,"tags":12633,"thumbUrl":12634,"material":424,"size":516,"collection":148,"collections":12635,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":54},222960,"hong-lou-meng-85-sun-wen-222960","红楼梦85",[23,24,26,27,63,30,509,7,4276,33,386,39,1047,3238,8478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5931b04bf779205467c8bc8bd7f07551.jpg",[],{"id":12637,"slug":12638,"title":6558,"dynasty":157,"author":504,"museum":345,"description":505,"tags":12639,"thumbUrl":12640,"material":424,"size":516,"collection":148,"collections":12641,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":106},222938,"hong-lou-meng-63-sun-wen-222938",[23,24,26,27,30,7,39,33,139,144,1357,5091,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f82b48ad4bbd75929ec78aef15756fa.jpg",[],{"id":12643,"slug":12644,"title":6911,"dynasty":157,"author":504,"museum":345,"description":505,"tags":12645,"thumbUrl":12646,"material":424,"size":516,"collection":148,"collections":12647,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},222921,"hong-lou-meng-46-sun-wen-222921",[23,26,27,28,30,138,7,31,33,4430,39,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f68ca4c6fa9ab7880091059a4ab8cc1.jpg",[],{"id":12649,"slug":12650,"title":12651,"dynasty":157,"author":504,"museum":345,"description":505,"tags":12652,"thumbUrl":12653,"material":424,"size":516,"collection":148,"collections":12654,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":106},222916,"hong-lou-meng-41-sun-wen-222916","红楼梦41",[23,114,24,63,25,26,27,30,7,39,33,139,142,1492,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71143b0e3881c22a1570161c623f281c.jpg",[],{"id":12656,"slug":12657,"title":12658,"dynasty":157,"author":504,"museum":345,"description":505,"tags":12659,"thumbUrl":12660,"material":424,"size":516,"collection":148,"collections":12661,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},222907,"hong-lou-meng-32-sun-wen-222907","红楼梦32",[23,24,63,26,27,28,30,7,39,605,451,139,5091,138,75,1357,5090,12246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365e9f1d82d6ef78a2bca3d92337f7fb.jpg",[],{"id":12663,"slug":12664,"title":12665,"dynasty":157,"author":504,"museum":345,"description":505,"tags":12666,"thumbUrl":12667,"material":424,"size":516,"collection":148,"collections":12668,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},222887,"hong-lou-meng-12-sun-wen-222887","红楼梦12",[23,2180,26,27,28,30,7,39,33,45,1492,12282,4111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93316b2f943f9790c60e28115b7951e.jpg",[],{"id":12670,"slug":12671,"title":12672,"dynasty":18,"author":3587,"museum":190,"description":12673,"tags":12674,"thumbUrl":12675,"material":312,"size":12676,"collection":148,"collections":12677,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":152},222181,"xue-hou-fang-mei-tu-zhou-lu-zhi-222181","雪后访梅图轴","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,63,114,193,162,116,118,1013,1515,7,120,139,32,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaf80233eb812f5038cd4b1c54a09f2.jpg","76x40cm",[],{"id":12679,"slug":12680,"title":12681,"dynasty":18,"author":319,"museum":806,"description":3313,"tags":12682,"thumbUrl":12683,"material":247,"size":3317,"collect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朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[24,63,213,162,116,118,33,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec48f3525fd186a4d11bebd26ce56d54.jpg","23.2厘米，横28厘米",[],{"id":12911,"slug":12912,"title":12913,"dynasty":157,"author":12914,"museum":60,"description":12915,"tags":12916,"thumbUrl":12917,"material":148,"size":148,"collection":148,"collections":12918,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":152},234615,"shan-shui-wan-shan-lin-shu-234615","山水纨扇","林纾","林纾（1852年11月8日—1924年10月9日），中国近代文学家，字琴南，号畏庐，别署冷红生，福建闽县（今福州市）人。晚称蠡叟、践卓翁、六桥补柳翁、春觉斋主人。室名春觉斋、烟云楼等。\n早年曾从同县薛锡极读欧阳修文及杜甫诗。后读同县李宗言家所藏书，不下三四万卷，博学强记，能诗，能文，能画，有狂生的称号。光绪八年（1882年）举人，官教论，考进士不中。二十六年（1900年），在北京任五城中学国文教员。所作古文，为桐城派大师吴汝纶所推重，名益著，于是任北京大学讲席。\n辛亥革命后，入北洋军人徐树铮所办正志学校教学，推重桐城派古文。\n后在北京，专以译书售稿与卖文卖画为生。曾创办“苍霞精舍”——今福建工程学院前身。工诗古文辞，以意译外国名家小说见称于时。复肆力于画。山水初灵秀似文徵明，继而浓厚近戴熙。偶涉石涛，故其浑厚之中颇有淋漓之趣。其题画诗云：“平生不入三王派，家法微微出苦瓜，我意独饶山水味，何须攻苦学名家？”。花鸟得其师陈文台之传，淡墨薄色，神致生动。\n晚年居北京，求者多以山水，而花鸟则不复作矣。著畏庐文集、诗集、春觉斋题画跋及小说笔记等。",[24,63,1535,27,118,7,385,33,116,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3cc5f175b7f04bff2dba309b92c9616.jpg",[],{"id":12920,"slug":12921,"title":12922,"dynasty":18,"author":19,"museum":60,"description":12923,"tags":12924,"thumbUrl":12925,"material":180,"size":12926,"collection":148,"collections":12927,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":152},233234,"gui-fen-tu-juan-chou-ying-233234","归汾图卷","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[24,63,25,27,26,116,164,284,117,118,30,7,31,32,121,123,33,1581,623,2093,493,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg","纵26.9厘米，横124厘米",[],{"id":12929,"slug":12930,"title":12931,"dynasty":58,"author":281,"museum":433,"description":12932,"tags":12933,"thumbUrl":12934,"material":247,"size":12935,"collection":148,"collections":12936,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":54},232614,"guang-ming-si-tu-zhou-yi-ming-232614","光明寺图轴","此作用工细界笔勾勒层叠殿宇，朱红立柱搭配青灰飞檐，古雅色调晕染出绢本的岁月质感。楼阁随势错落排布，飞檐舒展翘拔，回廊辗转勾连，砖石地砖的格纹工整清晰，凭栏处点缀微小像影，衬以淡描林木，兼具古建考据价值与清雅画意。\n\n画师以界尺精准摹写斗拱榫卯的精妙结构，细致还原寺院庄严宏阔的形制，将中古佛寺的恢宏气度凝于绢素，带着严谨考据与雅致笔意，静静诉说着古寺往昔的肃穆风华，是古建界画中的难得佳作。",[23,24,114,193,28,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe066fd770eac49d2b7d51ac8e2a4f9ca.jpg","156.5×65.3厘米",[],{"id":12938,"slug":12939,"title":12940,"dynasty":4105,"author":281,"museum":2743,"description":12941,"tags":12942,"thumbUrl":12945,"material":312,"size":12946,"collection":148,"collections":12947,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":152},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[23,24,25,27,26,30,33,118,32,7,31,139,959,509,12943,12944,123],"僧侣","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","31.7×196.6cm",[],{"id":12949,"slug":12950,"title":12951,"dynasty":18,"author":12952,"museum":135,"description":12953,"tags":12954,"thumbUrl":12955,"material":2588,"size":12956,"collection":148,"collections":12957,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":152},231407,"xiao-xiang-ba-jing-ba-kai-zhang-fu-231407","潇湘八景八开","张复","张復（1546—约1631），字元春，号苓石，江苏太仓人。少年时从钱榖学画，山水摹荆浩、关仝、马远、夏珪、黄公望、沈周，博采众长，晚年自成一家，为吴门画派名家。",[23,24,63,213,162,116,28,118,7,33,139,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d47fbd7178128b198163f92967b60e.jpg","40x36cm",[],{"id":12959,"slug":12960,"title":12961,"dynasty":885,"author":12962,"museum":135,"description":12963,"tags":12964,"thumbUrl":12965,"material":424,"size":12966,"collection":148,"collections":12967,"showCount":327,"zanCount":587,"manualWeight":11,"mainColor":54},231402,"han-yuan-tu-li-rong-jin-231402","汉苑图","李容瑾","此图分为殿阁区和水面区两部分，景色各异，作者采用鸟瞰式的构图，将殿阁和水面貌一一展现。刻画得非常具体细致，画面的右侧为殿阁区，以直线、横线、斜线绘成了一组优美的宏伟的建筑群：用笔严谨，刻画精到细密，一丝不苟。\n画面上，宫苑殿阁依山傍水而建，描绘了三重天井。由左下角十字歇山顶的桥亭，沿山径进入画面第一重天井，左侧围以曲折的长廊，廊外水面上构筑一重檐歇山顶的凉亭。再向上进入画面第二重天井，左右两侧均以悬崖削壁为天然屏幛。第三重天井中建一高峻的台基，台面上矗立着一座巍峨的双层楼阁，上层为重檐十字歇山顶，下层檐的左、右、前方各出一歇山抱厦。\n汉代宫苑早于汉高祖、萧相国时，即有营建。当时之未央宫，因龙首山制前殿，建东阙、北阙、武库、太仓等，周围二十八里，台殿池苑无数，宫成后常为朝见之所。王莽末年毁于兵火。如班固的《西都赋》、张衡的《西京赋》中，有关于汉代宫苑盛况的详尽描述，此轴则以绘画的形式展现了汉苑的宏丽气象。\n全画取近乎长方形的构图，殿阁占去画面的三分之二，整个汉苑图，宫阙巍峨，连甍矗栋，雕栏回廊，殿阁缛丽重深，周围树木耸峙，掩映成趣。在这一建筑群的高处，遥望远处，为烟波浩渺的水面，碧波万顷，气象万千；直到很远的地方与起伏的小山相接。凉亭临水，江水泊岸，楼台掩映，楼台亭阁生辉；近处植有松柏，林木翁翳，花竹摇艳，移步换影，处处秀丽迷人的景色；遥望远处，山山水水，美不胜收。其殿阁楼台等建筑物，其严谨笔直的线条与苍松崖石的穿插姿态相映，更显出楼阁的气势非凡。精湛的笔墨则再现了汉苑特有的风釆。\n图中的建筑从群体的布局组合到单体的结构装饰，都不是道地的汉时规范，而是宋以后的形制，例如鸱尾和脊兽的处理就是明证。但画家将历史和现实、景和情、势和意，通过惨淡的经营、创造的意匠，实现了统一。\n此图界画工整，折算精确，游规矩准绳之内而不为所窘。此图景物恢弘，气魄博大。树石画法承北宋郭熙，多作双勾夹叶，用笔粗壮放达，与郭熙《窠石平远图》相一致。但与郭熙不同，《汉苑图》纯用夹叶树，满山遍冈，葳蕤郁茂，增添了画面豪华郁丽的氛围。近境坡石从卷云皴化出，圆润流畅，清空跌宕；遥山旷荡，杂树暝漾，神韵独绝。\n中国美术学院艺术人文学院教授毛建波：汉代国家统一，国力殷实，都城、宫殿、苑囿、礼制建筑和陵墓等，十分兴盛。汉代苑囿规模惊人，作为游乐之所，苑囿里的宫殿常于中轴对称之外有更多自由灵活的处理，这种情形在《汉苑图》中有很好的体现。\n北宋内府《宣和画谱·宫室叙论》：“画者取此（指宫室）而备之形容，岂徒为是台榭、户牖之壮观者哉？虽一点一笔，必求诸绳矩，比他画为难工。”",[24,63,193,28,26,27,7,258,118,33,38,139,39,4324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6d6d9c9afdd18b07e1bff7f30e833.jpg","纵156.6厘米，横108.7厘米",[],{"id":12969,"slug":12970,"title":647,"dynasty":18,"author":281,"museum":433,"description":12971,"tags":12972,"thumbUrl":12973,"material":148,"size":148,"collection":148,"collections":12974,"showCount":327,"zanCount":587,"manualWeight":11,"mainColor":54},228783,"ru-bi-tu-yi-ming-228783","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,24,63,114,25,26,27,30,7,31,32,121,65,118,33,139,64,844],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":12976,"slug":12977,"title":12978,"dynasty":18,"author":3957,"museum":433,"description":12979,"tags":12980,"thumbUrl":12981,"material":148,"size":148,"collection":148,"collections":12982,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":54},228428,"chu-shan-qiu-ji-tu-zhou-lan-ying-228428","楚山秋霁图轴","危峰穿破流云，干湿浓淡的墨色皴擦出岩体质感，云雾轻笼半山，将丘壑裁作数重，虚实相生间铺展出山林深邃意境。山腰隐现山居屋舍，斜松探入烟霭，丹黄枝叶点染浓浓秋意。\n\n山麓飞瀑漱石汇成浅溪，策杖行人于危桥上徐行，野趣悠然自生。整画兼得元人写意简淡与宋人丘壑之实，晕染清润，烘托出秋霁初晴的空濛澄澈。简淡笔墨里藏着朴茂苍劲，将楚山秋日的高旷明洁尽藏尺幅间，尽显浙派晚期山水苍劲秀润的独特风貌。",[23,24,63,193,27,162,116,118,451,538,31,30,7,178,194,2251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7d130be7372a1498bcb77806080ed.jpg",[],{"id":12984,"slug":12985,"title":12986,"dynasty":58,"author":281,"museum":433,"description":12987,"tags":12988,"thumbUrl":12990,"material":148,"size":148,"collection":148,"collections":12991,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":54},227885,"shui-cun-lou-ge-tu-ye-yi-ming-227885","水村楼阁图页","此作以平远之法铺陈水村之景，水墨晕染间漫开烟霭濛濛的空寂氛围。近岸浅滩林木错落，村阁隐于繁荫之中，扁舟系于汀渚，渔人偶见，野趣自生。远景山峦在淡墨晕染里渐隐于烟岚，虚实相生，尽显江南水乡湿润清润的暮色闲情。笔墨简淡松灵，不刻意雕琢细节，以氤氲水墨烘托出悠远超脱的隐逸意趣，将水村的静谧安闲融在烟水空濛之中，尽显山水小品尚简尚意的审美意趣，观之如身临水乡，忘却尘俗喧嚣。",[23,24,63,162,27,118,28,213,116,7,33,32,493,623,194,12989],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4a8c6f80550372908613f813f541d8.jpg",[],{"id":12993,"slug":12994,"title":12995,"dynasty":58,"author":281,"museum":433,"description":12996,"tags":12997,"thumbUrl":12998,"material":148,"size":148,"collection":148,"collections":12999,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":54},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。",[23,24,1535,27,118,4986,7,31,32,10860,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F392a3f08216ede90bf6be33b7dbee93e.jpg",[],{"id":13001,"slug":13002,"title":2630,"dynasty":58,"author":523,"museum":433,"description":13003,"tags":13004,"thumbUrl":13005,"material":148,"size":148,"collection":148,"collections":13006,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":54},227582,"xiao-jing-tu-juan-li-gong-lin-227582","李公麟，北宋著名画家，字伯时，号龙眠居士，北宋舒州(今桐城)人。其白描绘画为当时第一，《宣和画谱》第七卷评价他的作品曰：“(龙眠)尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。”\n\n《孝经》大约成书于公元前350-公元前200年，在北宋时被列入“十三经”，成为儒家经典之一。李公麟的话中加入了他对孝道的理解，作品将道德承载功用与书法功底结合，以及宋人以书法来翻译古人模拟自然的画法。",[23,114,24,63,25,95,162,30,7,121,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750ead0dcaa7216f7a4c885b5bc5545.jpg",[],{"id":13008,"slug":13009,"title":13010,"dynasty":157,"author":13011,"museum":433,"description":13012,"tags":13013,"thumbUrl":13014,"material":148,"size":148,"collection":148,"collections":13015,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":54},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","禹之鼎","《移居图》是清代画家 创作的一幅绢本设色画。\n此画现藏于 。\n本幅自题：“甲申初冬广陵禹之鼎写。\n”钤“禹之鼎”白文印，“慎斋”朱文印，右下角钤“逢佳”朱文印。\n甲申为清康熙四十三年（174年），禹之鼎时年58岁。\n禹氏5岁以后寓居京城，此时正是他画史上的盛年，其技法博采众家之长，融会贯通，予以己用。\n此幅像主待考。\n图中送行人临岸伫立，面目温和，含笑颔首；出行人当船而立，面容消瘦坚毅，神情惆怅。\n人物面部刻画精准细腻，用墨骨法勾勒出五官，使面部有凹凸感，再以赭色晕染，使之气血精神跃然纸上。\n僮仆们的面部均采用较传统的勾勒晕染的画法，立体感不强，水润有余，表现出朴实无华和稚嫩活泼的神情。\n人物衣纹线条的画法也因人而定，其中，船首仆人的衣纹完全为北宋马和之的“蚂蝗描”技法，流露出马氏“衣带松散，柔婉隽逸”的画风。\n树的画法宗北宋郭熙的“蟹爪”枝。\n牛马的画法有唐韵，牛之骨骼清晰，马圆臀，斑花用淡墨晕染，颇具光泽，活灵活现。\n冷瑟静谧的氛围烘托了离别送行的亲切和感伤。\n行船、马车上的美酒、书籍、酒葫芦、弓剑等被画家巧妙地安排在移居送行的场景里，赋予了画面鲜活的生活气息，同时表现出文人儒士们高逸洒脱的气质 。\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 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ainColor":54},222428,"pan-che-tu-ce-li-xi-yan-222428","盘车图册","李希颜","李希颜，字愚庵，河南郏县人，生平不详，明代儒学家，他性格严峻，品行修养高，博览群书。朱元璋当了皇帝以后，因人推荐，亲自书写了诏书，把李希颜召进宫殿，选定他做王子们的教师。这些王子就是后来被皇帝分封的十位藩王。\n李希颜向十位小王子讲授尧舜禹商汤，行大仁、仗大义的道理与事迹，这些小王子，难免有不听教导、顽皮的时候。李希颜执教严厉，虽然是王子，有不服教育或不认真学习的，他照样用笔管打他们的脑门。打得多了，脑门上便留下了痕迹。有一天，朱元璋抚摸着小王子被打的伤痕，十分生气。马皇后知道原因后，大声的反问说：“哪里有用尧、舜的标准，来教训你儿子，反使你发脾气的?” 朱元璋听了这话，立刻止了气语，平静了下来。以后一直很尊敬他、善待他。",[23,24,118,27,116,7,139,33,70,272,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9345d506d0d1b7e6d586a3fc76f70f47.jpg","12.7×17.1cm",[],{"id":13093,"slug":13094,"title":13095,"dynasty":18,"author":319,"museum":806,"description":3313,"tags":13096,"thumbUrl":13097,"material":247,"size":3317,"collection":148,"collections":13098,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":152},222095,"liang-jiang-ming-sheng-tu-ce-7-shen-zhou-222095","两江名胜图册7",[23,24,63,213,27,116,284,118,7,121,33,139,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92c5733a504a3bb180575dd9ea581efd.jpg",[],{"id":13100,"slug":13101,"title":13102,"dynasty":885,"author":2804,"museum":60,"description":13103,"tags":13104,"thumbUrl":13105,"material":3894,"size":13106,"collection":148,"collections":13107,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":54},221821,"ying-shui-lou-tai-tu-ye-xia-yong-221821","映水楼台图页","因元代另一位界画大师王振鹏曾绘过大明宫，在乾隆的题诗中又有“下临无地上凌空，磅礴精神想象中。此日未详平乐馆，早年曾写大明宫”的语句，所以此幅曾被误定为王振鹏所绘。事实上，夏永的画法虽出自王振鹏，但以小幅见长。此图在艺术性上稍逊于王振鹏，但线描的精整工细似尤过之。正如熊之缙《花间笑语》评价他的画作“细若蚊睫，侔于鬼工”。\n《石渠宝笈续编·乾清宫》著录。",[23,24,63,114,213,28,95,162,7,32,31,118,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9ebc71fe2e34aada53e92454ae807c.jpg","纵23.9厘米，横25.3厘米",[],{"id":13109,"slug":13110,"title":13111,"dynasty":157,"author":1055,"museum":60,"description":5145,"tags":13112,"thumbUrl":13113,"material":47,"size":5149,"collection":148,"collections":13114,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":54},219141,"yang-zhou-si-jing-tu-ping-gang-yan-xue-yuan-yao-219141","扬州四景图-平岗艳雪",[114,24,118,28,27,7,121,31,30,139,33,616,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39289767d24a1f12e61192f187a0e686.jpg",[],{"id":13116,"slug":13117,"title":13118,"dynasty":18,"author":5633,"museum":806,"description":13119,"tags":13120,"thumbUrl":13123,"material":148,"size":148,"collection":127,"collections":13124,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":13125},201958,"xue-jing-shan-shui-zhou-li-shi-da-201958","雪景山水轴","山峦覆雪如堆玉，皴擦间显肌理之沉；枯木枝桠披银，笔意清劲藏苍古。水墨晕染处，积雪与山石相映，留白见雪之蓬松，淡墨衬山之嶙峋。林间楼阁隐于雪色，屋宇错落，静谧中含隐逸之趣。整幅画以简洁笔触勾勒冬日山林，清寂中透出雅致，尽显水墨山水之韵致。",[162,118,616,116,7,13121,139,13122,23],"枯木","留白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf90aedc763c549c82619d3702a1e5c.jpg",[127],"b29f89",{"id":13127,"slug":13128,"title":13129,"dynasty":18,"author":916,"museum":806,"description":13130,"tags":13131,"thumbUrl":13132,"material":148,"size":148,"collection":49,"collections":13133,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":13134},201669,"sui-han-tu-zhou-qian-gong-201669","岁寒图轴","画面铺展冬日庭院图景，屋舍错落有致，敞轩内文人围坐，或品茗论道，暖意氤氲。院外枯树虬枝交错，松针如簇凝翠，梅枝缀蕊含香，寒意中透着盎然生机。小桥横架溪畔，行人缓步其上，流水清浅，更添几分清幽。笔墨细腻雅致，建筑界画工稳精准，人物勾勒灵动传神，树木皴擦得法，设色淡逸温润，尽显明代文人画的闲逸之趣，于岁寒时节传递出文人雅聚的静谧与旷达心境。",[24,26,28,30,7,31,32,230,1515,27,116,193,1699,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe63a8b11eb2e6decdbe5927000eddb50.jpg",[49],"b1a89c",{"id":13136,"slug":13137,"title":13138,"dynasty":18,"author":1880,"museum":806,"description":13139,"tags":13140,"thumbUrl":13141,"material":148,"size":148,"collection":127,"collections":13142,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":13143},201613,"han-yu-niang-yun-tu-zhou-wu-bin-201613","含雨酿云图轴","画面峰峦奇崛，云雾如缕缠绕山间，似含雨酿云之态。山石以多变皴法勾勒，纹理苍劲，尽显险峻之势；瀑布飞流直下，与林木相映成趣。山间楼阁以界画技法精细描绘，结构严谨，于烟霞中隐现，添古雅之韵。近景孤舟泛于水面，林木葱郁，亭舍错落，传递出文人雅士寄情山水的超脱心境。整幅画设色淡雅，意境清幽，将自然之奇与人文之趣融于一体，尽显画家独特的山水意趣。",[24,118,193,27,7,421,120,116,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f0111b6fa02fa9ea1fcb52eecb4084.jpg",[127],"c4baa7",{"id":13145,"slug":13146,"title":13147,"dynasty":157,"author":2231,"museum":806,"description":13148,"tags":13149,"thumbUrl":13150,"material":148,"size":148,"collection":127,"collections":13151,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":13152},201528,"wu-xia-qiu-tao-tu-zhou-yuan-jiang-201528","巫峡秋涛图轴","巫峡险峻之势凝于画卷，山峦叠嶂间，界画勾勒的楼阁倚崖而立，线条精巧工致。山石以皴法表现肌理，墨色浓淡交织出林木葱茏之态。江中秋涛奔涌，波涛起伏间，一叶扁舟破浪前行，船身细节入微。远山云雾缥缈，近麓茅屋隐现，添了几分幽居意趣。整幅画融山水雄奇与建筑精巧，动静相济，尽显巫峡秋日壮景与文人山水情怀。",[28,116,118,7,120,3037,196,620,1581,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7cfe5b5cdcd135532c2bcae734a5f67.jpg",[127],"896f60",{"id":13154,"slug":13155,"title":13156,"dynasty":885,"author":13157,"museum":433,"description":13158,"tags":13159,"thumbUrl":13160,"material":495,"size":496,"collection":148,"collections":13161,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},290961,"chun-shan-tu-yang-wei-zhen-290961","春山图","杨维桢","杨维桢（1296年－1370年），字廉夫，号铁崖、铁笛道人，又号铁心道人、铁冠道人、铁龙道人、梅花道人等，晚年自号老铁、抱遗老人、东维子。绍兴路诸暨州枫桥全堂（今浙江省诸暨市枫桥镇全堂村）人。元末明初诗人、文学家、书画家。\n杨维桢自幼聪颖，其父杨宏对他寄予厚望。泰定四年（1327年）中进士，放天台县尹，因惩治作恶县吏，遭奸吏报复免官。后任职钱清盐场，因请求减轻盐税被斥为忤上，以至十年不调。后官至建德路总管府推官，继升江西儒学提举。元末避乱居富春山，后迁居钱塘（今杭州）。张士诚居浙西时屡召不赴，后徙松江，从此遨游山水，以声色自娱，东南才俊之士登门求教不绝。\n杨维桢的诗，最富特色的是他的古乐府诗，既婉丽动人，又雄迈自然，史称“铁崖体”，极为历代文人所推崇。有称其为“一代诗宗”、“标新领异”的，也有誉其“以横绝一世之才，乘其弊而力矫之”的，当代学者杨镰更称其为“元末江南诗坛泰斗”。他著述等身，行于世的著作有《春秋合题着说》《史义拾遗》《东维子文集》《铁崖古乐府》《丽则遗音》《复古诗集》等近二十种。\n书法以行草最工，笔势岩开，有“大将班师，三军奏凯，破斧缺牖，例载而归”之势，传世作品有楷书《周上卿墓志铭》，行书《张氏通波阡表》《真镜庵募缘疏卷》《鬻字窝铭》《城南唱和诗卷》《元夕与妇饮诗》、草书《梦游海棠城诗卷》《竹西草堂记卷》《致理斋尺牍》《晚节堂诗》《沈生乐府序》等，其余墨迹则多见于书札及书画题跋之中。",[114,24,63,193,162,116,118,373,372,31,7,139,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd696a9a640e58d489c6025ffdf5ab093.jpg",[],{"id":13163,"slug":13164,"title":13165,"dynasty":18,"author":1880,"museum":433,"description":1881,"tags":13166,"thumbUrl":13167,"material":495,"size":496,"collection":148,"collections":13168,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},290923,"yuan-ye-wu-bin-290923","元夜",[24,25,27,26,30,436,2307,7,33,5191,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafdccf43a1a80c361ca71e3b7e0bb31b.jpg",[],{"id":13170,"slug":13171,"title":13172,"dynasty":885,"author":281,"museum":433,"description":8356,"tags":13173,"thumbUrl":13175,"material":495,"size":496,"collection":148,"collections":13176,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},290408,"hua-yan-fa-hui-tu-yi-ming-290408","华严法会图",[24,63,193,94,5978,27,30,118,7,32,13174],"华严法会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34b370ac44fa5282f8f52d0cecfc3029.jpg",[],{"id":13178,"slug":13179,"title":13180,"dynasty":885,"author":4007,"museum":433,"description":13181,"tags":13182,"thumbUrl":13183,"material":495,"size":496,"collection":148,"collections":13184,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},290091,"bi-shui-qing-feng-tu-ke-luo-ban-chen-ru-yan-290091","碧水青峰图（珂罗版）","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,24,162,118,116,33,139,7,31,32,123,637,284,117,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b976009316fccb78256bb4148d32cb9.jpg",[],{"id":13186,"slug":13187,"title":13188,"dynasty":157,"author":13189,"museum":433,"description":13190,"tags":13191,"thumbUrl":13194,"material":495,"size":496,"collection":148,"collections":13195,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},289904,"hai-wo-tian-chou-tu-qu-zhao-lin-289904","海渥添筹图","屈兆麟","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[23,114,24,63,193,27,308,116,118,538,13192,795,7,194,123,13193],"海浪","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e819a6563ee6cde90a0621a4593fb59.jpg",[],{"id":13197,"slug":13198,"title":4876,"dynasty":885,"author":2804,"museum":433,"description":5049,"tags":13199,"thumbUrl":13200,"material":495,"size":496,"collection":148,"collections":13201,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},288972,"lou-ge-tu-xia-yong-288972",[24,114,28,7,118,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c51e158cfa2235056ffb84045eabb36.jpg",[],{"id":13203,"slug":13204,"title":13205,"dynasty":885,"author":2619,"museum":135,"description":13206,"tags":13207,"thumbUrl":13208,"material":232,"size":13209,"collection":148,"collections":13210,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},287667,"qun-feng-xue-ji-zhou-cao-zhi-bai-287667","群峰雪霁轴","在技法上已经达到了融会贯通的境界。画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。",[24,114,63,193,162,118,616,422,7,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdb36f8d09020fa4bdeace6158c6cc98.jpg","129.7x56.4",[],{"id":13212,"slug":13213,"title":13214,"dynasty":157,"author":281,"museum":433,"description":13215,"tags":13216,"thumbUrl":13218,"material":495,"size":496,"collection":148,"collections":13219,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},270041,"xiang-ya-diao-ren-wu-shi-nv-tu-xiao-cha-ping-yi-ming-270041","象牙雕人物仕女图小插屏","外框透雕缠枝卷草，空灵雅致，将画面晕出古雅边框。四屏连贯铺展仕女游园雅集图景，亭台楼阁错落掩映在松石山水间，匠师以细腻刀工刻画出楼宇飞檐、苍松虬枝的细节，再施淡彩晕染，让温润象牙底色晕开柔婉色泽。仕女身姿窈窕、衣袂轻扬，或凭栏低语，或游园谈笑，神态温婉悠然，将闺中闲适情态描摹入微。整器刀工流畅细腻，色彩古雅柔和，把清代雅逸的审美意趣凝缩在方寸牙板之上，是兼具陈设性与艺术性的牙雕精品。",[13217,12066,30,509,7,27,1851,1047],"象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F301201788851da54baf65811fe541f6b.jpg",[],{"id":13221,"slug":13222,"title":208,"dynasty":157,"author":13223,"museum":433,"description":13224,"tags":13225,"thumbUrl":13226,"material":495,"size":496,"collection":127,"collections":13227,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},237745,"shan-shui-tu-ce-cheng-zheng-kui-237745","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。",[24,63,213,162,27,164,116,118,774,775,120,7,33,1599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a67fa5c35f2204db75537c9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横四二·三厘米",[],{"id":13238,"slug":13239,"title":13240,"dynasty":18,"author":10839,"museum":433,"description":13241,"tags":13242,"thumbUrl":13243,"material":148,"size":148,"collection":148,"collections":13244,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},235847,"san-mao-tu-ye-wen-jia-235847","三泖图页","此作用浅青淡赭晕染远景山峦，烟岚空濛间漾出江南春日的柔润秀雅。湖心洲渚之上，佛塔层檐叠峙，垂柳轻拂屋舍，静立水波中央。水面舟楫错落，张帆者趁风徐行，摇橹者信步闲渡，将水乡的恬然生机铺陈开来。\n\n左侧题文详述此地胜状，书画合璧尽显文人雅趣。全画笔致秀婉松灵，设色清浅柔润，以简淡之笔勾勒出水泽空阔的诗意，将实景清丽与隐逸之思相融，尽展温雅悠然的文人意韵。",[24,63,27,118,7,64,164,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b6a59c4dc57b3f7828ee9560939649b.jpg",[],{"id":13246,"slug":13247,"title":13248,"dynasty":18,"author":13249,"museum":433,"description":13250,"tags":13251,"thumbUrl":13252,"material":148,"size":148,"collection":148,"collections":13253,"showCount":263,"zanCount":587,"manualWeight":11,"mainColor":152},235843,"bei-gu-shan-tu-ye-zhu-lang-235843","北固山图页","朱朗","此作以秀雅笔触晕染山川形胜，危崖拔地而起，古寺层叠依岩错落，逶迤山道缠绕崖壁，山脚林木蓊然繁茂。远景江天淡远清旷，将京口名山大江之状收揽尺幅。\n\n淡色清润柔和，勾勒皴擦兼具苍浑与秀逸，题诗与山水相映，把“天下第一江山”的壮怀诗意融于画中，既写实摹画出雄踞江岸的山川气势，又带着文人画的淡逸格调，尽展名关古刹的沉郁古意，将山水形胜与家国壮怀悄然合璧。",[24,63,118,27,213,116,7,139,33,117,284,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4f3307e6d2d133782d3d2478c169b1.jpg",[],{"id":13255,"slug":13256,"title":13257,"dynasty":157,"author":8952,"museum":433,"description":13258,"tags":13259,"thumbUrl":13260,"material":148,"size":148,"collection":148,"collections":13261,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},235815,"bian-di-chun-se-zhou-fu-shan-235815","汴堤春色轴","此作用笔简率纵逸，枯淡萧疏间晕染早春意趣。近岸奇石嶙峋，寒枝虬曲错落，淡彩轻点枝梢，暗透初萌春色；中景水榭孤舟静泊，山寺隐于林间，愈显清寂安闲。远景峰峦以枯笔皴擦，简淡空灵，不着浓墨便将山石苍莽质感晕开。\n\n整幅画作脱略形似，以意驭笔，将早春料峭荒寒里的疏朗生机藏于淡墨轻岚间，借林泉丘壑寄寓幽远襟怀，简而不寡淡而有味，尽显文人画重意趣的特质，藏着画者寄情山水的雅致心性。",[24,193,162,116,118,1709,1639,373,4214,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba132a5e459634108c4ac7de4013e2e.jpg",[],{"id":13263,"slug":13264,"title":13265,"dynasty":157,"author":281,"museum":433,"description":13266,"tags":13267,"thumbUrl":13268,"material":148,"size":148,"collection":148,"collections":13269,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},235667,"yuan-yao-shan-shui-ping-ping-liu-yong-pu-yi-ming-235667","袁耀山水屏-平流湧瀑","此作撷取江南水居之景，远景山峦轻笼烟霭，晕染出空濛悠远之致。山巅双松挺秀如盖，与朱栏山亭相映，山畔飞瀑叠落如碎玉，汇入清溪沿着山涧蜿蜒淌向平湖。\n\n左岸幽轩藏于繁荫翠幄间，与山亭遥遥对坐，凭栏便可尽览天光水色。平湖波平如镜，数艘渔舟静泊水面，将水畔栖居的闲静意趣晕染开来。\n\n画作工写相兼，山石皴擦苍润生姿，林木晕染清润秀雅，设色轻淡柔和，将园林雅致与山水野趣相融，铺展出江南水畔悠然世外的栖居图景，尽显清雅闲逸的诗意氛围。",[114,24,27,116,28,118,7,32,120,121,31,421,33,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a11aea2d5863fd9ee7ef32eededec.jpg",[],{"id":13271,"slug":13272,"title":208,"dynasty":157,"author":5304,"museum":433,"description":13273,"tags":13274,"thumbUrl":13275,"material":148,"size":148,"collection":148,"collections":13276,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},235644,"shan-shui-tu-ce-wu-li-235644","此作用平远章法铺展水岸秋光，近渚枯木蟠曲，苍松卓立，水色空明间一叶扁舟随波缓行。中洲林木蓊郁，隐见村居茅舍，远山以淡墨轻扫，黛色含烟，山顶浮屠轻点，添就古雅幽寂之意。\n笔墨以干笔皴擦出山石肌理，墨色清润淡和，自带萧散简远的文人意趣。左上题诗呼应画境，将林泉幽居的澹泊襟怀融于山水间，实景与诗意浑然相融，写尽江南水滨的清秋日色，漫着静穆淡远的悠然况味。",[24,162,116,118,120,538,623,7,117,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11cd69920f84e0acb259430d4620faaf.jpg",[],{"id":13278,"slug":13279,"title":13280,"dynasty":157,"author":13281,"museum":433,"description":13282,"tags":13283,"thumbUrl":13284,"material":148,"size":148,"collection":148,"collections":13285,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},235309,"shan-shui-ping-chun-shan-xiao-xiu-tu-wang-yu-235309","山水屏-春山晓秀图","王昱","此作用笔恪守正统山水法度，以干笔皴擦结合湿墨晕染，山峦以披麻皴反复积叠，赭石花青轻敷，色调沉静雅致。远景危崖拔地而起，云气萦回山坳，晕出空濛虚灵之意；中景山坞村居错落，茂林环合，溪泉穿谷潺潺有声，尽显山居安谧；近岸老松虬曲苍劲，苔点繁缀尽显古拙生机。\n\n整卷虚实相生，既铺陈出山川雄浑厚重的体量感，又揉入春日烟岚的清润秀雅，将林泉雅趣与江南春山的明秀融于一处，尽显静穆淡远的文人山水意境。",[24,118,193,27,116,774,775,538,7,1639,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff592334970ffc38183d50b48aab8d876.jpg",[],{"id":13287,"slug":13288,"title":12470,"dynasty":18,"author":13289,"museum":433,"description":13290,"tags":13291,"thumbUrl":13292,"material":495,"size":496,"collection":148,"collections":13293,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},234832,"shan-shui-shan-wei-zhi-ke-234832","魏之克","魏之克（明），后名克，字和叔，上元（今南京）人。之璜弟，与兄卖画为生。工诗，善山水追宗宋元，得其兄法。兼作工装。笔法秀美，姿颜软媚，有不胜罗绮之态。",[1535,24,162,118,7,120,139,33,284,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57589074d4997912e0900d20e4b199ca.jpg",[],{"id":13295,"slug":13296,"title":13297,"dynasty":157,"author":281,"museum":433,"description":13298,"tags":13299,"thumbUrl":13300,"material":495,"size":496,"collection":148,"collections":13301,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},234430,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234430","清人文殊菩萨像轴","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[24,63,193,94,26,27,30,2058,7,118,96,386,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e4a966fa146ebf05ff32cf4051f1de.jpg",[],{"id":13303,"slug":13304,"title":13305,"dynasty":18,"author":771,"museum":60,"description":13306,"tags":13307,"thumbUrl":13308,"material":13309,"size":13310,"collection":148,"collections":13311,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},234098,"lan-ting-xiu-xie-tu-wen-zheng-ming-234098","兰亭修褉图","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。",[24,63,25,27,26,164,118,121,30,32,31,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046d4095b1dc977863b6313fbbd424f8.jpg","金笺地，设色","纵24.2厘米，横60.1厘米",[],{"id":13313,"slug":13314,"title":13315,"dynasty":885,"author":1502,"museum":60,"description":13316,"tags":13317,"thumbUrl":13318,"material":180,"size":1506,"collection":148,"collections":13319,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},234034,"long-gong-shui-fu-tu-ye-zhu-yu-234034","龙宫水府图页","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。",[27,26,30,1298,65,32,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63a0f25b8472cb41c8abd15d643a6135.jpg",[],{"id":13321,"slug":13322,"title":6368,"dynasty":157,"author":281,"museum":60,"description":13323,"tags":13324,"thumbUrl":13325,"material":312,"size":6374,"collection":148,"collections":13326,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},233096,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233096","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[114,24,63,213,27,26,116,30,65,118,7,33,844,7273,139,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b021a92da1c0a0009270e048b28a75.jpg",[],{"id":13328,"slug":13329,"title":13330,"dynasty":58,"author":281,"museum":60,"description":13331,"tags":13332,"thumbUrl":13333,"material":13334,"size":13335,"collection":148,"collections":13336,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},233014,"shen-tang-qin-qu-tu-ye-yi-ming-233014","深堂琴趣图页","远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。这在宋诗、宋词和宋画中留有许多经典的范例。如从刘松年的《四景山水图》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。音乐，求其意境，要有共鸣、幽远方妙。《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。庭石上又有青松一株，遥承琴声，而成风如松。环境与音乐布局协和生发，绝无滞碍。主人弹琴，恰好面东，而门对南，空间方位甚为有序。如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。这些看似细微之处，正可见宋人对画中空间风水的深刻认知。画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。",[2071,24,213,27,28,26,118,7,33,39,11070,142,385,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be54f010dc1e0bed94db829cee44280.jpg","绢本、设色","纵23.6厘米，横24.9厘米",[],{"id":13338,"slug":13339,"title":13340,"dynasty":58,"author":523,"museum":20,"description":13341,"tags":13342,"thumbUrl":13343,"material":13344,"size":13345,"collection":148,"collections":13346,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},232631,"xiao-jing-tu-juan-bai-miao-tu-li-gong-lin-232631","孝经图卷(白描图)","《孝经图》水墨绢画，被一致公认为是李公麟1085年绘真迹。此卷后有南宋汗漫翁题跋，明董其昌四次题跋，清代毕沅六次题跋。其他明清人题跋十五人，还有晚清重臣李鸿章一跋。作者是依据《孝经》经义，所绘十五段的图说式画卷，以行楷书方式书写《孝经》内容，在以线描笔法绘写配图，书画合璧。\n李公麟（公元1049~1106年）北宋画家。字伯时，号龙眠居士，舒州（今安徽潜山）人。好古博学，喜藏钟鼎古器及书画。宋神宗熙宁年间中进士，官至朝奉郎。居京师十年，不游权贵之门，以访名园荫林为乐。其天赋极高，又博学勤业，书法飘逸具晋人风韵，擅画人物、山水，尤精画鞍马，更以白描画法独步当世，被评者推为宋画第一。《孝经图》是北宋著名画家李公麟在约1085年创作的绢本水墨画。该画以《孝经》为内容配以插图，充分展现了李公麟绘画和书法的雄厚功底。",[23,114,24,63,25,95,30,118,38,7,121,117,284,245,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1137c51b1df595b6c25246f4b4866b.jpg","水墨绢画","21.9 x 475.6 cm",[],{"id":13348,"slug":13349,"title":13350,"dynasty":4105,"author":13351,"museum":433,"description":13352,"tags":13353,"thumbUrl":13354,"material":148,"size":148,"collection":148,"collections":13355,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},231595,"xiang-jiang-ba-jing-tu-ce-gu-wen-chao-231595","湘江八景图册","谷文晁","潇湘八景，相传为满湘一带的湘江流域八处住胜。为宋沈括《梦溪笔谈·书画》中所描述。历代皆有才子追和。\n潇湘夜雨——永州城东\n湘水在永州境内与潇水汇合以后，称为潇湘。雨落潇湘的夜景，是旧时文人藉以寄情的著名景观。“涔涔湘江树，荒荒楚天路。稳系渡头船，莫教流下去。”（元揭奚斯）凄凉而无助的心境，就像夜雨本自一样哀婉缠绵，千百年来，人们所钟情的不知是山河的夜雨还是心灵的夜雨？\n平沙落雁——衡阳市回雁峰\n潇湘自永州下泻数百公里，到达南岳七十二峰之首的回雁峰。 　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[23,24,63,213,162,27,116,118,30,7,120,32,139,33,623,10284,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],{"id":13357,"slug":13358,"title":13359,"dynasty":4105,"author":13360,"museum":433,"description":13361,"tags":13362,"thumbUrl":13363,"material":495,"size":496,"collection":148,"collections":13364,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},230986,"wen-quan-tu-hua-ge-chuan-guo-zhen-230986","温泉の図.画","歌川国貞","这幅浮世绘以雅致对称构图定格汤屋门头，暖黄木构搭配朱红瓦顶，晕开江户市井的融融暖意。靛蓝暖帘舒展留白，大笔题字苍劲醒目，缠枝白花柔化了文字的刚硬，素净间漾开治愈的烟火气。云纹雕饰的木栏雅致柔婉，垂挂的灯笼静立檐下，没有缭乱的笔墨，只用克制配色勾勒出汤屋松弛治愈的氛围，将旧时代里泡汤休憩的闲适日常凝于纸面，把日式旅宿的温柔雅致定格为永恒的风物剪影。",[9613,858,27,7,958,8495,38,10987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5115d9d942024d18752df21625dc31e6.jpg",[],{"id":13366,"slug":13367,"title":13368,"dynasty":18,"author":916,"museum":433,"description":13369,"tags":13370,"thumbUrl":13371,"material":148,"size":148,"collection":148,"collections":13372,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},230937,"tai-ping-chun-se-tu-qian-gong-230937","太平春色图","整作以全景铺展春日闲趣，内室围炉宴坐，亲友言笑晏晏，暖炉烘出一室融融温情。墙外稚童嬉闹，野趣横生，下方溪桥之上，白衣文士凭栏观水，童子侍立，尽得林泉悠然。\n\n画家以淡墨写出寒枝虬曲，暗透春芽将萌的生机，设色浅雅柔润，将家宅的俗世温情与郊野的清逸春景相融，笔意秀润温婉，把太平年岁里的日常烟火晕染成诗意图景，将春日里松弛安宁的人间盛景娓娓铺陈，尽显安宁祥和的春日意趣。",[24,63,193,26,27,30,7,31,373,139,919,39,11854,1851,118,1157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728d5ea1461c81e8a8a5e563662d2e9a.jpg",[],{"id":13374,"slug":13375,"title":13376,"dynasty":157,"author":13377,"museum":433,"description":13378,"tags":13379,"thumbUrl":13380,"material":148,"size":148,"collection":148,"collections":13381,"showCount":263,"zanCount":587,"manualWeight":11,"mainColor":54},230918,"bi-hu-zhu-shu-tu-shang-guan-zhou-230918","闭户著书图","上官周","此作用高远之法铺展画面，主峰奇崛危耸，皴笔苍劲老辣，勾勒出山岩瘦硬嶙峋的风骨，烟云轻笼山间，衬出幽谷空寂。下方山居隐于松竹之间，堂内文人凭窗凝思，沉心著述，周遭流泉、奇石环合，将幽居雅静之境铺陈开来。\n\n右上角题诗呼应幽隐主题，笔意苍秀兼具，把山林雄浑气象与闭门潜修的文人意趣相融，尽显出世忘俗的林下风流，是文人寄情林泉、醉心笔墨的心境写照。",[23,24,63,193,27,116,118,538,139,421,32,7,1048,30,33,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687ba4930841677cb3b5816f725bdc2f.jpg",[],{"id":13383,"slug":13384,"title":13385,"dynasty":4105,"author":13386,"museum":433,"description":13387,"tags":13388,"thumbUrl":13389,"material":424,"size":496,"collection":148,"collections":13390,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},230563,"jia-nuo-jia-ba-li-duo-du-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230563","迦诺迦跋厘堕阇尊者","平安时代 十六罗汉像","罗汉乃阿罗汉一词之略称，是指断除一切烦恼、证得修行最高果位，堪受世间大众供养的佛弟子或证见正理之圣者。释迦的十六位高徒，亦即罗汉，据说在释迦决意入涅盘之际，承佛命永住世间、普渡众生，并于各地护持弘扬佛法",[23,24,63,193,94,27,30,7,1851,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce254a0478f0c929033488e812f8ba0a.jpg",[],{"id":13392,"slug":13393,"title":13394,"dynasty":4105,"author":8994,"museum":433,"description":13395,"tags":13396,"thumbUrl":13397,"material":495,"size":496,"collection":148,"collections":13398,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},230503,"shi-ting-shi-dai-si-ji-shan-shui-tu-qiu-xue-zhou-230503","室町时代 四季山水图（秋）","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,114,24,193,27,118,7,33,2251,1046],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc400973487eafe8b6a86e5eafe93c0.jpg",[],{"id":13400,"slug":13401,"title":13402,"dynasty":58,"author":281,"museum":433,"description":13403,"tags":13404,"thumbUrl":13405,"material":148,"size":148,"collection":148,"collections":13406,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},227894,"hu-ting-you-lan-tu-yi-ming-227894","湖亭游览图","这幅小品以圆框取景，铺展出一片幽寂湖山。澄澈湖面托着水畔亭台，飞檐翘角掩映在葱郁林木间，隐约可见亭边悠游的人影，将游园的闲散意趣藏在细节里。\n\n远山以淡墨晕染，轻笼在如烟暮色中，与近景亭台的精工刻画形成虚实对照，层层晕开江南湖山的清旷含蓄。整体色调古雅沉静，笔意简淡秀润，没有繁复皴擦，却将水色空濛、林影幽深的氛围感烘托尽致，仿佛能窥见千年前的临水凭栏，偷得浮生半日闲的悠然意境，尽显以小见大的雅致情致。",[23,114,24,63,1535,28,26,27,118,121,33,30,7,1430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dde8b70cacf16880e6a0c9d4be81a8c.jpg",[],{"id":13408,"slug":13409,"title":13410,"dynasty":58,"author":281,"museum":433,"description":13411,"tags":13412,"thumbUrl":13414,"material":148,"size":148,"collection":148,"collections":13415,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},227862,"zao-qiu-ye-po-tu-yi-ming-227862","早秋夜泊图","此作用细腻铁线描勾勒两艘泊船，舱室回廊、高耸桅杆皆刻画入微，淡赭轻敷点缀舱间细节，古拙雅致。远景水榭楼台隐在朦胧夜色间，烟水空濛晕染开早秋清寒。\n画面以小景写幽情，将旅人行舟暂歇的安然揉进静谧江色里，写实中带着诗意澹远，尽显宋人体察日常的雅致笔力，把初秋江上夜泊的清寂况味铺陈开来，淡而不寡，静中藏着羁旅安然的意趣。",[23,24,63,28,27,26,64,7,775,118,13413],"早秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9709ec5d8d3f68db6c128de0f7e73a9.jpg",[],{"id":13417,"slug":13418,"title":11195,"dynasty":58,"author":1257,"museum":433,"description":13419,"tags":13420,"thumbUrl":13421,"material":148,"size":148,"collection":148,"collections":13422,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},227738,"shen-pin-tu-li-song-227738","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,114,63,1535,28,27,26,118,7,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4d68682181dca7241b159da51e2ccc.jpg",[],{"id":13424,"slug":13425,"title":13426,"dynasty":58,"author":523,"museum":433,"description":13427,"tags":13428,"thumbUrl":13429,"material":148,"size":148,"collection":148,"collections":13430,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},227583,"qun-xian-gao-hui-tu-juan-li-gong-lin-227583","群仙高会图卷","李公麟（1049年－1106年），北宋画家。字伯时，号龙眠居士，舒州（今安徽桐城）人。\n\n进士出身，历南康、长垣尉、泗州录事参军，官至朝奉郎。擅画人物、佛道像，吸取历代流派之长，自创一格，多用线描，笔法如行云流水，而不设色，生动地表现了人物的神情意态，人称“白描”；尤精擅画鞍马，常观察群马生活，求其变化，下笔形神兼备。注重写生，画技博取前人之长，承继顾恺之、吴道子等人笔法，在新画中表达新义。 《十八罗汉渡江图》画中人物按未渡者、方渡者、已渡者三组依序进场，人物神态，栩栩如生。李公麟画作时人评价甚高，宋徽宗曾赞他为当朝最重要画家。元符三年（1100年）病痹告老，隐居龙眠山，号龙眠居士。\n\n存世作品有《五马图》、《临韦偃牧放图》等。",[23,24,63,25,95,118,30,7,123,385,121,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173ecc080401c62a94a56f59342ed64d.jpg",[],{"id":13432,"slug":13433,"title":7390,"dynasty":157,"author":13434,"museum":433,"description":13435,"tags":13436,"thumbUrl":13437,"material":148,"size":148,"collection":148,"collections":13438,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},224597,"shan-shui-ce-yuan-ying-224597","袁瑛","此作铺陈出一卷悠然水乡山居图。远景山峦以淡墨晕染，轻烟笼岫，漾着空濛悠远的澹宕诗意。中景青绿重峦上，丹枫翠柏蓊郁成荫，山居院落沿溪错落排布，黛瓦飞檐掩映在枝叶间，将雅致烟火揉进山野清趣里。\n浅滩碎石漱着清流，近水扁舟随波徐行，渔翁垂竿独钓，把闲逸静穆揉进涟漪里。设色妍雅柔和，皴笔细腻勾勒山石肌理，淡墨晕染出烟岚轻笼的朦胧质感，将江南水乡温润灵秀的意趣尽数铺展，把幽居闲隐的雅韵凝在尺幅之中，观之如踏入这静美悠然的世外山居。",[23,24,27,116,213,118,31,32,120,7,33,139,4058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcde5044ef41523288de68520c6e9bca9.jpg",[],{"id":13440,"slug":13441,"title":13442,"dynasty":157,"author":13443,"museum":433,"description":13444,"tags":13445,"thumbUrl":13447,"material":148,"size":148,"collection":148,"collections":13448,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},224268,"fang-fan-zhong-li-fei-quan-zhan-dao-tu-zhao-cheng-224268","仿范中立飞泉栈道图","赵澄","画作以雄奇主峰撑起画面骨架，山石皴刻硬朗厚重，遍覆蓊郁林木，尽显苍浑朴拙之气。山谷间云气氤氲，将上下景致晕出空濛层次，飞泉隐于林间，栈道盘绕崖壁，楼阁依险而建，既衬出山势的崔嵬险峻，也勾勒出山居的幽邃雅趣。笔墨追摹北派山水的雄浑风骨，沉雅的设色晕染开古厚氛围，把山野间的浩荡大气与林泉间的静谧隐逸相融，让观者仿佛踏入烟岚深处，尽览崖间飞泉与盘道山居的世外之景。",[23,24,63,27,116,28,118,13446,2112,139,33,194,7],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52a3ff265b1f216bdf8767877e88f38.jpg",[],{"id":13450,"slug":13451,"title":8443,"dynasty":58,"author":281,"museum":433,"description":13452,"tags":13453,"thumbUrl":13454,"material":148,"size":148,"collection":148,"collections":13455,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},223595,"pan-che-tu-yi-ming-223595","“盘车图”题材常见于传统绘画作品，通常描写人力、畜力车辆行进出盘曲的山路间，或运粮、运货，或载人涉渡。\n此图描绘盘曲艰险的山间栈道上，脚夫们赶着黄牛驾车奋力上坡。\n向屋后眺望，林木尽头是无数的山峦烟岫。\n图中以苍浑粗括的笔墨勾勒山峰树石，风格沉郁，山石的画法受郭熙的影响，是宋人无款画中的杰作。\n【名称】盘车图 【作者】佚名 盘车图—— 轴，绢本设色，纵19厘米，横49.5厘米",[23,114,24,63,193,26,116,162,27,118,7,139,33,30,10996,272,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd204e4e2690ab8ea1c2e1bad1290acde.jpg",[],{"id":13457,"slug":13458,"title":13459,"dynasty":885,"author":281,"museum":433,"description":13460,"tags":13461,"thumbUrl":13462,"material":495,"size":496,"collection":148,"collections":13463,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},223554,"shen-shan-ta-yuan-tu-ye-yi-ming-223554","深山塔院图页","原为团扇,试变其章法,略师其笔意。未知能得董巨幽淡天真之境否。",[23,24,114,63,213,27,116,118,7,335,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89109ce6e6723a87ee1887eb4a597da7.jpg",[],{"id":13465,"slug":13466,"title":13467,"dynasty":58,"author":281,"museum":2508,"description":13468,"tags":13469,"thumbUrl":13470,"material":180,"size":13471,"collection":148,"collections":13472,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},223469,"gui-qu-lai-ci-shu-hua-juan-yi-ming-223469","归去来辞书画卷","此图出自东晋末陶渊明不愿为五斗米折腰，离开宦场而作的抒情小赋《归去来兮辞》。卷首是陶渊明像，后一图一文依次描绘了他辞官后，其归隐的生活情趣和内心轻松愉悦的感受。",[23,24,63,25,27,26,118,30,7,31,32,120,33,121,164,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4c6140c5f57b11d67f190f51d137d6.jpg","30x438.6cm",[],{"id":13474,"slug":13475,"title":13476,"dynasty":157,"author":1899,"museum":60,"description":13477,"tags":13478,"thumbUrl":13479,"material":148,"size":13480,"collection":148,"collections":13481,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},223218,"geng-zhi-tu-ce-jiao-bing-zhen-223218","耕织图册","《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。",[114,24,63,213,26,27,28,30,7,39,33,142,75,2214,4085],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a7d23a4022a2082587574e5d05a51e.jpg","34.7cm×27.7cm",[],{"id":13483,"slug":13484,"title":13485,"dynasty":157,"author":504,"museum":345,"description":505,"tags":13486,"thumbUrl":13487,"material":424,"size":516,"collection":148,"collections":13488,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},222991,"hong-lou-meng-116-sun-wen-222991","红楼梦116",[23,24,63,26,27,30,7,39,33,408,2180,5092,45,7747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8217e8f18e9ef826f5001f879ba044.jpg",[],{"id":13490,"slug":13491,"title":13492,"dynasty":157,"author":504,"museum":345,"description":505,"tags":13493,"thumbUrl":13494,"material":424,"size":516,"collection":148,"collections":13495,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},222972,"hong-lou-meng-97-sun-wen-222972","红楼梦97",[23,26,27,30,7,39,4430,33,9029,142,9736,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35fbf1e3eb0e0063a0004920dfada06.jpg",[],{"id":13497,"slug":13498,"title":13499,"dynasty":18,"author":319,"museum":806,"description":3313,"tags":13500,"thumbUrl":13501,"material":247,"size":3317,"collection":148,"collections":13502,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},222097,"liang-jiang-ming-sheng-tu-ce-9-shen-zhou-222097","两江名胜图册9",[23,24,63,213,162,27,28,118,7,31,32,121,35,75,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5c117a53f6aab2a924fb2e8282cc44.jpg",[],{"id":13504,"slug":13505,"title":13506,"dynasty":18,"author":319,"museum":806,"description":3313,"tags":13507,"thumbUrl":13508,"material":247,"size":3317,"collection":148,"collections":13509,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":152},222094,"liang-jiang-ming-sheng-tu-ce-6-shen-zhou-222094","两江名胜图册6",[23,24,63,213,27,118,7,2304,64,623,33,762,164,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419cd7d3e9a099cd6e89767a3becac30.jpg",[],{"id":13511,"slug":13512,"title":13513,"dynasty":18,"author":19,"museum":806,"description":13514,"tags":13515,"thum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。",[24,63,193,162,118,29,196,3790,32,7,33,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62a7fe3e02728d888882ee1773d23ff.jpg",[],{"id":13639,"slug":13640,"title":13641,"dynasty":157,"author":281,"museum":433,"description":13642,"tags":13643,"thumbUrl":13647,"material":495,"size":496,"collection":148,"collections":13648,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},272737,"mu-zuo-qian-ran-gu-qun-xian-zhu-shou-tu-cha-ping-yi-ming-272737","木座嵌染骨群仙祝寿图插屏","此插屏以染骨拼接出群仙祝寿盛景，层叠山峦间亭台错落，祥云缭绕处仙袂翩跹。乘槎泛水、登山赴宴的仙人各有意趣，将瑶池贺寿的祥瑞氛围铺陈开来。硬木座架精雕缠枝瑞纹，利落刀工衬出雅致髹漆质感，将仙逸幻境与规整工艺糅合一体，把祈福纳祥的美好寓意藏在方寸图景中，是陈设美学与工艺巧思相融的精巧之作。",[13644,4019,12066,13645,27,30,118,7,13646,13193,3866],"插屏","嵌染骨","群仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2c0ec33bbbd069f44cdefc23d5444d.jpg",[],{"id":13650,"slug":13651,"title":13652,"dynasty":18,"author":7031,"museum":433,"description":9842,"tags":13653,"thumbUrl":13654,"material":148,"size":148,"collection":148,"collections":13655,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},239192,"shan-chuan-ming-sheng-ce-song-xu-239192","山川名胜册",[24,63,114,213,118,27,116,7,121,538,139,33,31,1170,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eff76f8e5ebb34a1b556907cd01691b.jpg",[],{"id":13657,"slug":13658,"title":10799,"dynasty":157,"author":281,"museum":433,"description":13659,"tags":13660,"thumbUrl":13663,"material":495,"size":496,"collection":148,"collections":13664,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},238873,"tong-zhi-da-hun-cai-peng-tu-zhou-yi-ming-238873","这幅界画以俯瞰视角铺陈画面，朱红配明黄，色调华丽庄重，尽显皇家仪典的华贵气场。工整细致地还原大婚彩棚的层层规制，从宫门到亭台殿宇，空间递进严整有序，亭台斗拱、殿内陈设都刻画入微，连行道草木也排布齐整划一。它将临时搭建的庆典彩棚描摹得如同真实宫殿，精准复刻出清代大婚的礼制空间风貌，尽显绘制者精湛的界画功底，也为后世留存下宫廷婚典的鲜活形制。",[2180,193,27,28,26,7,121,33,13661,10987,39,13662],"宫墙","大婚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66851a2485dbbdb1b0c9c8c270fcd8e9.jpg",[],{"id":13666,"slug":13667,"title":13668,"dynasty":157,"author":8651,"museum":433,"description":13669,"tags":13670,"thumbUrl":13671,"material":148,"size":148,"collection":148,"collections":13672,"showCount":236,"zanCount":587,"manualWeight":11,"mainColor":152},238782,"shan-shui-ren-wu-xiao-ce-dong-gao-238782","山水人物小册","此作用笔秀润雅致，以淡墨皴写山石，薄施青赭晕染，将山林古寺藏于崖畔林间，曲阶蜿蜒通幽，林木蓊郁错落，左侧丘壑繁密深邃。右侧留白写远江平波，浅渚迤逦疏淡，疏密相映，以简衬繁，衬出山居的静谧清寂。笔墨不逞奇斗艳，暗合文人画萧散意趣，淡冶中带着沉凝，尺幅间铺展出江南丘壑的温润幽淡，于细微处见丘壑林泉之美，尽显秀逸醇厚的林下之风。",[24,27,116,213,118,30,7,33,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20712bab566c3450296141b0b9d9f6e.jpg",[],{"id":13674,"slug":13675,"title":13676,"dynasty":157,"author":13677,"museum":433,"description":13678,"tags":13679,"thumbUrl":13680,"material":148,"size":148,"collection":148,"collections":13681,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":106},238233,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238233","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》。",[114,24,63,213,27,118,116,7,31,32,33,139,421,121,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dee0f1c9c19b2e448314352461182f0.jpg",[],{"id":13683,"slug":13684,"title":208,"dynasty":157,"author":13685,"museum":433,"description":13686,"tags":13687,"thumbUrl":13688,"material":148,"size":148,"collection":148,"collections":13689,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},237868,"shan-shui-tu-ce-jin-xue-jian-237868","金学坚","字成峰，秀水（今浙江嘉兴）人。王翚弟子，山水初宗元人，从参宋法，笔意古健，布局极为绵密。贫而能守，不为豪势所屈。《国[清]朝画征录》",[114,24,63,213,27,115,116,118,32,421,121,7,33,139,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64517cd7ee2952962838567eedf10546.jpg",[],{"id":13691,"slug":13692,"title":13693,"dynasty":18,"author":13694,"museum":433,"description":13695,"tags":13696,"thumbUrl":13697,"material":495,"size":496,"collection":148,"collections":13698,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},236299,"shan-shui-shan-ye-shen-zhao-236299","山水扇页","沈昭","沈昭，[明]字秋萼，长洲（今江苏苏州）人，鼎弟。善山水，所作大劈斧著青绿者尤佳。《画史会要、无声诗史、明画录》。",[1535,162,118,538,139,7,116,27,33,1430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe20f475312efbe08d55fc6ffa4bae3.jpg",[],{"id":13700,"slug":13701,"title":13702,"dynasty":157,"author":13703,"museum":433,"description":13704,"tags":13705,"thumbUrl":13707,"material":495,"size":496,"collection":148,"collections":13708,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},236075,"hai-tian-chu-ri-tu-zhou-shen-quan-236075","海天初日图轴","沈全","沈全，江苏人。清末宫廷画家。以写仕女、花鸟著称。主要作品《韬养斋笔记、湖社月刊》。",[114,24,63,193,27,115,118,13706,10860,196,194,7,5652,476,33],"初日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394c68e5371d1d18bade07de8bda33fd.jpg",[],{"id":13710,"slug":13711,"title":13712,"dynasty":157,"author":281,"museum":433,"description":13713,"tags":13714,"thumbUrl":13715,"material":148,"size":148,"collection":148,"collections":13716,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},235988,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235988","半山山水人物册","此作用取景偏于一隅，以留白衬出山居空寂清远之境。淡墨晕染崖坡，线条简括勾勒出山棱起伏，浓墨点染林木，苍枝虬曲苍劲，古意盎然。屋舍依山就势隐于林麓之间，藏露相宜，暗合山林幽居的隐逸意趣。\n\n水墨层次清浅柔润，以简驭繁，寥寥数笔便将山野间静穆淡远的栖居之美铺展开来，笔简而意足，尽显文人画简淡悠远的禅意，将林泉高致的雅趣藏于尺幅之间。",[24,63,162,213,118,7,33,139,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074292d24ab8ac03e1959ef1a4e3328a.jpg",[],{"id":13718,"slug":13719,"title":13720,"dynasty":157,"author":868,"museum":60,"description":13721,"tags":13722,"thumbUrl":13723,"material":200,"size":13724,"collection":148,"collections":13725,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},234921,"xue-jing-gu-shi-ce-sun-hu-234921","雪景故事册","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[24,63,213,27,26,616,118,7,75,139,33,164,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2ba6b5b5d446cd11a4073a42a45b840.jpg","纵31．5厘米 横25．6厘米",[],{"id":13727,"slug":13728,"title":9567,"dynasty":157,"author":281,"museum":60,"description":9568,"tags":13729,"thumbUrl":13730,"material":247,"size":9571,"collection":148,"collections":13731,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":54},234902,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234902",[24,63,213,27,115,26,164,117,118,7,31,32,139,33,30,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad5383086c2addf23d56ecae8eba42a.jpg",[],{"id":13733,"slug":13734,"title":13735,"dynasty":157,"author":7174,"museum":433,"description":13736,"tags":13737,"thumbUrl":13738,"material":312,"size":13739,"collection":148,"collections":13740,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},234895,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234895","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,63,213,27,116,29,164,117,118,31,32,33,7,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd041938481266e5261f5879a6dd0ddf8.jpg","纵21厘米，横27厘米",[],{"id":13742,"slug":13743,"title":13744,"dynasty":18,"author":281,"museum":433,"description":8910,"tags":13745,"thumbUrl":13746,"material":148,"size":148,"collection":148,"collections":13747,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":54},234658,"ming-ren-lou-ge-yan-le-ce-yi-ming-234658","明人楼阁演乐册",[24,63,213,28,27,26,118,7,30,33,139,1204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c26e59a95d5e383cde75a767dfd9c6f.jpg",[],{"id":13749,"slug":13750,"title":13751,"dynasty":157,"author":209,"museum":433,"description":1890,"tags":13752,"thumbUrl":13753,"material":148,"size":148,"collection":148,"collections":13754,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},234649,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234649","原济金陵十景图册",[24,63,213,162,284,117,118,7,33,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d314cb0315176e04a49841016a5e44e.jpg",[],{"id":13756,"slug":13757,"title":13758,"dynasty":157,"author":281,"museum":433,"description":5650,"tags":13759,"thumbUrl":13761,"material":495,"size":496,"collection":148,"collections":13762,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":54},234446,"da-lai-la-ma-yuan-liu-sang-jie-gong-ba-tang-ka-yi-ming-234446","达赖喇嘛源流——桑结贡巴唐卡",[4109,94,2180,27,26,118,7,30,386,96,3144,32,123,13760,38,1431],"护法像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8e2f08a901fdb378793604111aff49.jpg",[],{"id":13764,"slug":13765,"title":13766,"dynasty":157,"author":281,"museum":433,"description":5650,"tags":13767,"thumbUrl":13769,"material":495,"size":496,"collection":148,"collections":13770,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},234437,"ban-tuo-jia-zun-zhe-tang-ka-yi-ming-234437","半托迦尊者唐卡",[4109,94,5978,13768,30,7,118,27,96,386,12943],"半托迦尊者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F297b9e9e7c9ef767cfb4c49abee1b76a.jpg",[],{"id":13772,"slug":13773,"title":13774,"dynasty":157,"author":841,"museum":60,"description":13775,"tags":13776,"thumbUrl":13777,"material":180,"size":13778,"collection":148,"collections":13779,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},234112,"bing-xi-tu-juan-jin-kun-234112","冰嬉图卷","冰嬉是一种带有节令特色的体育活动。清代宫内有冬季冰嬉的习俗，并将其视为“国俗”，乾隆皇帝说“冰嬉为国制所重”。每年从八旗官兵中挑选“善走冰”的能手入宫训练，冬至到“三九”时在西苑冰上举行冰嬉。皇帝率王公大臣等前往观看，赛后皇帝分等次，恩赏银两。\n此图中描绘的冰嬉地点应该是金鳌玉蝀桥（即今北海桥）之南的水面，表演的是转龙射球项目。画面上右侧众人簇拥的就是皇帝华丽的冰床。冰场上，旗手和射手们间隔排列，盘旋曲折滑行于冰上，远望之，蜿蜒如龙形。在将近御座处，设一旌门，上悬一球，称天球。转龙队伍滑至此处时，分别射矢，中者有赏。另外在滑行队伍中还有各项杂技表演，如舞刀、叠罗汉及花样滑等。表演者的各种姿态让凛冽的寒冬充满生机。\n乾隆皇帝多次命画家将冰嬉场面绘成画卷收藏起来。这种画卷应该是一种写实作品，再现当时的场景。\n图中尽收西苑内的远近亭台楼阁，雾霭掩隐的房屋和挂霜的树枝表明北方正当严冬。\n画面上有嵇璜书写的乾隆皇帝《御制冰嬉赋有序》。",[157,24,63,25,26,27,30,7,33,422,844,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd27be23d302daec6c9572471dd8685.jpg","纵35厘米，横578.8厘米",[],{"id":13781,"slug":13782,"title":9675,"dynasty":58,"author":281,"museum":60,"description":13783,"tags":13784,"thumbUrl":13785,"material":247,"size":13786,"collection":148,"collections":13787,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},232995,"bai-zi-xi-chun-tu-ye-yi-ming-232995","此图以极细腻的笔法刻画百子嬉戏游乐的场面。亭台之下的儿童动态十足，他们或舞狮追逐，或斗草争鞠，或玩木偶，或上树，或泛舟；而亭台之上的儿童则较收敛成熟，或品评诗画，或对弈下棋，或抚弄琴弦，或围坐议享，画面人物杂而不乱，繁而不冗。设色和谐明丽。“狮子舞”是人们熟识喜爱的传统民间舞蹈，有关狮子舞的最早记载见于三国魏人孟康的《汉书·礼乐志》注，注中有“象人，若今戏鱼虾狮子者也”。迄今所见最早的狮子舞形象是新疆吐鲁番阿斯塔那墓出土的两人扮成的狮子。此图原载《四朝选藻册》（见《石渠宝笈续编》）。签题苏汉臣作。按《图绘宝鉴》：“苏汉臣，开封人。宣和画院待诏。师刘宗古，工画道释，人物臻妙，尤善婴儿。绍兴间（1131-1162）复官。孝宗隆兴初（1163），画佛像称旨，补承信郎。”世人凡见婴戏图，便题苏汉臣作。此图亦题汉臣作，不知何据。是陈宗训以来的作风，有动作而无表情。名手之笔，不当如是。故改题无名氏作。",[24,26,27,213,30,7,39,919,7341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7127b27e089c572a605b01e9b762712a.jpg","纵26.6cm，横27.7cm",[],{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清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,63,25,27,26,28,94,284,245,164,30,7,31,32,65,2058,118,121,123,33,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":13798,"slug":13799,"title":13800,"dynasty":157,"author":13801,"museum":345,"description":13802,"tags":13803,"thumbUrl":13804,"material":166,"size":13805,"collection":148,"collections":13806,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":152},231351,"han-shan-zhao-yin-tu-jin-li-ying-231351","寒山招隐图","金礼嬴","金礼嬴（1772年—1807年）清朝女画家。一作礼瀛，字云门，号五云，东桥、云门女史、会稽内史、自号昭明阁女史，一称昭明阁内史，她幼时小字唤作纤纤，解以“蹴罢秋千，起来慵整纤纤手”固得其娇憨，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。吴门自明尔来便是画家云集之所，金礼嬴定居以后遂始与当地画人往来，礼嬴性喜佳山水，金礼嬴的诗作和她的画作、女红、文论、箫艺类同，均出入天然，不见机心欲望，得林下风。吴越幽胜之区，探索殆尽。故其画得游览之助为多。佣笔自给，求者踵至而画益工。凡人物、仕女、界画楼室、山水、花卉，悉能匠心独运，妙夺古人，尤精画佛，庄严妙丽。得者宝之。画梅亦妙。书法晋、唐，兼工汉隶，诗多清灵凄婉之致，著有《秋红丈室遗诗》。卒年三十六。清 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，设色","纵22.8cm，横33.2cm",[],{"id":14119,"slug":14120,"title":14121,"dynasty":4105,"author":281,"museum":433,"description":14122,"tags":14123,"thumbUrl":14124,"material":495,"size":496,"collection":148,"collections":14125,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":152},231771,"wang-gu-feng-su-hua-hui-juan-er-yi-ming-231771","往古风俗画绘卷二","这幅界画工致清雅，以全景铺陈开古旧坊巷。屋舍排布错落严整，飞甍黛瓦、朱栏庭阶皆勾勒细致，尽显传统营造之美。街巷间人物往来熙攘，或市井贸迁，或闲庭信步，百态日常跃然绢素，将往昔烟火气揉进细腻笔触中。\n\n庭园里点缀枯荣花木，四时意趣藏于巷陌深处，设色柔淡雅致，晕开平和温润的古意，引观者踏入旧时光景，触摸千年前鲜活的人间烟火，静赏古早世风的悠然质感。",[23,24,25,27,26,28,396,30,7,39,75,33,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1967de1077b0f92bda1d523e3423430.jpg",[],{"id":14127,"slug":14128,"title":14129,"dynasty":4105,"author":281,"museum":433,"description":14130,"tags":14131,"thumbUrl":14133,"material":495,"size":496,"collection":148,"collections":14134,"showCount":300,"zanCount":587,"manualWeight":11,"mainColor":54},230837,"cai-hui-san-jie-jiu-di-zhi-tu-yi-ming-230837","彩绘三界九地之图","以层叠佛塔为骨，将抽象的佛教宇宙观具象铺展。朱墨敷色标注界域，图文互证解读诸天与地界奥义。上部天界楼宇错落，标注诸天境域，演绎空寂梵天；中层佛塔层层递进，楼宇渐次铺陈，诠释世间修行的阶位；下部以虬龙缠绕阎浮提，水波晕染出幽冥地宫，勾勒出地下冥府的幽渺。\n\n古拙线条晕开岁月痕迹，质朴设色带着民间绘卷的厚重质感，将虚无的宗教寰宇，转化为可观可感的视觉长卷，藏着千年前对天地、修行与幽冥的终极遐想。",[23,94,28,27,7219,7,38,14132,193],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae48eafbef300dc3e20709d2afdb6183.jpg",[],{"id":14136,"slug":14137,"title":14138,"dynasty":157,"author":209,"museum":433,"description":14139,"tags":14140,"thumbUrl":14141,"material":148,"size":148,"collection":148,"collections":14142,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":152},228990,"bai-kai-luo-han-tu-21-shi-tao-228990","百开罗汉图21","《石涛大士百页罗汉画册》是 于21年出版的图书。\n石涛（164—177），原名朱若极，又名原济，一作元济。\n别号大涤子、清湘老人、苦瓜和尚、瞎尊者、石道人、痴纯、若极等，朱元璋侄子朱文正子靖江王朱守谦十世孙。\n生于明崇祯十三年（164）。\n①顺治二年（1645）夏，清军攻入南京，福王朱由菘等为清军所擒。\n黄道周、郑芝龙等拥立唐王朱聿键在福州称帝，石涛的父亲朱亨嘉也在桂林自称监国。\n广西巡抚瞿式耜因为朱亨嘉非皇室嫡系，没有资格称帝，暗中遣人报唐王朱聿键，朱聿键遣军攻之，朱亨嘉为其所俘，执至福州，囚禁而死。\n石涛当时年仅5岁，由内宫太监携带逃亡，遁入佛门，太监法号喝涛，朱若极法号石涛，二人以师兄弟相称。\n朱若极遂以石涛知名于世。\n石涛幼年聪颖，喜读书。\n既通晓佛典，复好诗文，并喜爱书画，十余岁时即描摹兰草花卉，小有所成。\n未成人，随师兄喝涛北上，游历荆楚岳阳、武昌一带。\n丁酉年春，复由荆楚云游江浙。\n这一时期，是石涛初学书画的时期。\n于前人书法独喜颜真卿，而没有随着当时风气学习董其昌。\n康熙丁未（1667），石涛至宣城。\n在之后的十多年中，石涛以宣城为中心，往返于宣城、太平和黄山之间，并多次游历黄山。\n得黄山烟云变幻之助，画境日进。\n当时所与游者，有著名画家梅清，曹冠五、半山和尚、黄燕思、梅庚、施闰章、江注、吴震伯等。\n诸人既以诗文相酬唱，复以画艺相切磋。\n而梅清对石涛的影响尤其巨大。\n三游黄山，更对石涛的山水绘画产生了巨大影响。\n石涛这一时期留下的绘画作品如藏于日本泉屋博古馆的《黄山八胜图》、北京故宫博物院所藏的《黄山图》21帧等，就带有明显的新安画派风格，清秀淡雅，多用淡墨枯笔，许多画面可以与黄山风景相对应。\n因此石涛曾题画云：“黄山是我师，我是黄山友。\n心期万类中，黄峰无不有。\n” 除了山水画成就外，石涛同样精于人物绘画，其传世作品经常穿插人物形象。\n石涛勤于摹古，主要师法对象有宋代画家李公麟和米芾等，并留下一些带有浓厚古风的作品。\n《石涛大士百页罗汉图册》就是这一时期的代表作。",[24,63,213,162,95,94,30,373,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d6691bef27d77f387063553b249a7f.jpg",[],{"id":14144,"slug":14145,"title":14146,"dynasty":18,"author":281,"museum":433,"description":14147,"tags":14148,"thumbUrl":14149,"material":148,"size":148,"collection":148,"collections":14150,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":54},228796,"li-cong-xun-kuan-hua-zhao-zi-ang-shu-le-zhi-lun-juan-yi-ming-228796","李从训（款）画赵子昂书乐志论卷","此作用笔细劲工致，青绿设色调古雅沉静，以长卷铺展山居雅境。左幅松石苍古、塘生芙蕖，二雅士林泉晤谈，幽寂清远；中段院宇轩窗洞开，宾主围坐宴饮清谈，仆从侧立侍奉，人物情态鲜活灵动，尽显园居雅集意趣；右幅竹柳垂丝、回廊逶迤，衬出深宅清寂安闲。画面疏密得宜，移步换景，将文人寄兴丘园、乐志林泉的隐逸襟怀，融在花木亭台与日常闲趣之中，恬淡安和，尽显古典园居的雅致韵致。",[23,24,25,27,26,28,30,7,33,463,139,39,123,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729837735001f587a250ddbc621c9924.jpg",[],{"id":14152,"slug":14153,"title":14154,"dynasty":18,"author":281,"museum":433,"description":14155,"tags":14156,"thumbUrl":14158,"material":148,"size":148,"collection":148,"collections":14159,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":54},228777,"yun-shan-lou-ge-tu-yi-ming-228777","云山楼阁图","淡墨晕开烟霭，留白晕出覆雪层峦，远山如冰棱浮于昏褐天际，将冬日萧寒缓缓铺展。近岸楼台层叠飞檐，斗拱栏楯勾勒精工，丹红暖调破开冷寂，与素裹林木相映成趣。水面空蒙如镜，将天地昏茫融于一色，远近虚实相生，把江楼清旷藏进朦胧烟岚。笔触简淡却意韵悠长，工写兼济，将冷峭冬意与楼阁的沉稳雅致相融，尽显萧寒之中的静谧古雅，恍若让人踏入了一阕清寂悠远的冬日江楼旧梦。",[23,24,63,1535,27,28,118,7,14157,139,33,194],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb59895a5da6a6f6e2388d9f2e68579a.jpg",[],{"id":14161,"slug":14162,"title":14163,"dynasty":58,"author":281,"museum":135,"description":14164,"tags":14165,"thumbUrl":14166,"material":820,"size":148,"collection":148,"collections":14167,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":54},227915,"jing-bian-tu-yi-ming-227915","经变图","经变画是用画像来解释某部佛经的思想内容。经变画，即经变，亦称变或变相，佛画种类之一，广言之，凡依据佛经绘制之画，皆可称为“变”。敦煌经变画则通常指将某一部甚至某几部有关佛经之主要内容组织成首尾完整、主次分明的大画。敦煌经变内容丰富，形式多样，除了佛经内容外，大量的社会生活内容在经变画中得到生动的体现。许多经变画技巧高超，堪称艺术珍品。\n经变在南朝时即已出现，据唐张彦远《历代名画记》，南朝宋袁倩画有“维摩诘变”，梁时儒童画有“宝积经变”。莫高窟有经变三十三种，持续时间长的有西方净土变、东方药师变、弥勒经变、法华经变、维摩诘经变，数量最多的是东方药师变",[23,24,63,25,94,28,27,30,7,31,123,1298,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eabb8213f047d2339b24ab44d915d50.jpg",[],{"id":14169,"slug":14170,"title":14171,"dynasty":58,"author":281,"museum":433,"description":14172,"tags":14173,"thumbUrl":14174,"material":148,"size":148,"collection":148,"collections":14175,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":152},227914,"na-liang-guan-pu-tu-yi-ming-227914","纳凉观瀑图","《宋扇面画纳凉观瀑图》是宋代佚名画家创作的扇面画。\n作品描绘的是清溪一湾，水阁内一人身着白衣袒胸斜坐，乘凉观瀑的场景。\n《宋扇面画纳凉观瀑图》的画面无款印，对幅清朝乾隆皇帝题 一首。\n钤乾隆内府诸收藏印。\n画面钤有石渠宝笈、宝笈重编等印四方，对开钤有 等印玺。\n全画用笔粗豪，画风近李唐一派而有创新。\n曾经清内府收藏。\n此图原载《宋人名流集藻册》，两边石山挟泉水奔腾，重击大石，水花飞溅。\n阁后老树、丛竹葱郁。\n瀑布高悬直下，平中寓险。\n意境恬静清幽。\n对开有清高宗弘历题诗。\n裱边旧题签为燕文贵纳凉观瀑七字，观其画风，与燕氏无涉，显系后人误题。\n此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。\n水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。\n整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[23,114,24,63,26,27,116,118,139,7,421,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64712f5a7f4711445c135f242ae95dd1.jpg",[],{"id":14177,"slug":14178,"title":14179,"dynasty":58,"author":281,"museum":433,"description":14180,"tags":14181,"thumbUrl":14182,"material":148,"size":148,"collection":148,"collections":14183,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":54},227888,"jiang-shan-dian-ge-tu-ye-yi-ming-227888","江山殿阁图页","此作为典型的宋代界画小品，以界尺精工勾绘殿阁重楼，层台叠宇错落排布，朱栏墨瓦细节毕现，梁柱斗拱的规制严整入微，尽显苑囿楼宇的雍容富丽。一侧江天浩渺，淡墨晕染的远山轻描淡写，与工整严谨的殿阁形成虚实对照。\n\n几株垂柳轻曳，点景人物凭栏伫立，为森严的楼阁增添几分灵动生气。咫尺扇面之内，将人工匠造的规整与山水的清远空灵相融，于方寸间铺展出阔大悠远的意境，尽显院体绘画的精湛造诣。",[23,24,1535,28,27,118,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6bf586b9279ce366a700cdf11fca25.jpg",[],{"id":14185,"slug":14186,"title":4388,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":14187,"thumbUrl":14188,"material":495,"size":496,"collection":148,"collections":14189,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":54},226227,"ku-zhu-shi-nan-bi-yi-ming-226227",[2046,94,27,30,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc3b343d9b0b14cf4002687263b3196c.jpg",[],{"id":14191,"slug":14192,"title":14193,"dynasty":157,"author":8952,"museum":433,"description":14194,"tags":14195,"thumbUrl":14196,"material":148,"size":148,"collection":148,"collections":14197,"showCount":300,"zanCount":587,"manualWeight":11,"mainColor":152},224271,"shan-shui-hua-hui-ce-qi-fu-shan-224271","山水花卉冊(七)","此作用浅赭素绢为底，淡墨晕染山峦，留白如晴雪覆峰，清寂淡远。近景虬松盘曲遒劲，丹红点染秋林，暖意破开空山萧寒。山坳飞檐小楼隐于林岫之间，尽显幽居雅意。\n笔墨简淡松灵，不事雕饰，以简驭繁，将山林秋意里的静穆萧散融于尺幅中，把出世幽居的雅怀寄寓在淡墨轻彩内，平淡天真余韵悠长，尽显文人画简远清逸的意趣。",[23,24,63,213,27,118,7,373,139,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ac89da8453aafa9c7af4b69dd3c241b.jpg",[],{"id":14199,"slug":14200,"title":14201,"dynasty":157,"author":281,"museum":135,"description":14202,"tags":14203,"thumbUrl":14204,"material":2060,"size":14205,"collection":148,"collections":14206,"showCount":300,"zanCount":587,"manualWeight":11,"mainColor":54},223450,"shou-yan-tu-ping-12-yi-ming-223450","寿宴图屏12","太监们都身着官帽，衣冠楚楚。 所以，英皇是寿宴。 官在12屏，候车总人数，百亭，小亭，流水，台桥。 画面上特画松鹤鹤，寓意松鹤延年。",[23,26,27,28,30,7,121,31,32,139,33,65,408,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef188fc0c7bc94e225ee1b53cbedfdc.jpg","42x108厘米",[],{"id":14208,"slug":14209,"title":13476,"dynasty":157,"author":1899,"museum":60,"description":13477,"tags":14210,"thumbUrl":14211,"material":148,"size":13480,"collection":148,"collections":14212,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":152},223211,"geng-zhi-tu-ce-jiao-bing-zhen-223211",[114,24,63,213,2180,26,27,28,2029,30,7,33,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684498733431a8860e2686600a0025ac.jpg",[],{"id":14214,"slug":14215,"title":14216,"dynasty":157,"author":504,"museum":345,"description":505,"tags":14217,"thumbUrl":14218,"material":424,"size":516,"collection":148,"collections":14219,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":152},222917,"hong-lou-meng-42-sun-wen-222917","红楼梦42",[23,2180,24,26,27,30,7,4430,139,386,7454,33,1996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1046085ff2b6d5f0b337935821daf21c.jpg",[],{"id":14221,"slug":14222,"title":14223,"dynasty":58,"author":4192,"museum":242,"description":14224,"tags":14225,"thumbUrl":14226,"material":180,"size":14227,"collection":148,"collections":14228,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":54},221454,"lu-song-san-pian-ma-he-zhi-221454","鲁颂三篇","《鲁颂三篇》分别为《閟宫》、《駉》和《有駜》，缺少《鲁颂》中的第四篇《泮水》，《駉》中呈现出在青山绿水中众多马匹；《有駜》描绘的是鲁公和群臣宴会饮酒的场景；《閟宫》描绘鲁公建成宏伟庙宇的壮观景像。旧传赵构书，马和之画。",[23,114,24,63,25,95,28,30,7,65,2058,118,33,121,117,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c93d532e107749e9c2ec1d277d48845.jpg","25.5X297.3cm",[],{"id":14230,"slug":14231,"title":14232,"dynasty":18,"author":19,"museum":806,"description":13514,"tags":14233,"thumbUrl":14234,"material":47,"size":13517,"collection":148,"collections":14235,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":54},219764,"lin-song-ren-hua-ce-14-chou-ying-219764","临宋人画册-14",[24,63,213,28,26,27,29,7,120,118,33,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022ce06c0e081f771f4d673e5d15bed6.jpg",[],{"id":14237,"slug":14238,"title":4182,"dynasty":58,"author":281,"museum":135,"description":14239,"tags":14240,"thumbUrl":14241,"material":162,"size":148,"collection":127,"collections":14242,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":152},219029,"song-feng-lou-guan-tu-yi-ming-219029","苍松盘崖而立，虬枝如铁，松针层叠间似有山风穿林，涛声隐隐。山麓楼阁隐于青霭，飞檐轻挑云影，凭栏处烟水横陈，远山如黛，天地间尽是清旷之息。题跋笔墨苍劲，与画面的松风意境相融，仿佛引观者步入林泉深处：听松涛漱石，看云气萦楼，暂别尘事烦扰。构图疏密得宜，近景松石沉厚与远景烟波淡远形成虚实相生，墨色层次细腻，尽显山水楼阁的雅致幽远，让人于尺幅间领略自然与人文交织的静谧之美。",[23,24,63,213,27,28,118,538,7,121,33,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e60bfe4a7cf9653d7fcbd81b140377d.jpg",[127],{"id":14244,"slug":14245,"title":14246,"dynasty":58,"author":3901,"museum":3902,"description":3903,"tags":14247,"thumbUrl":14249,"material":47,"size":3908,"collection":148,"collections":14250,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":54},219023,"shi-wang-tu-4-lu-xin-zhong-219023","十王图-4",[23,24,94,26,27,30,14248,809,7],"鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d2f2ed25adb1b578f2a06354ac31147.jpg",[],{"id":14252,"slug":14253,"title":14254,"dynasty":18,"author":19,"museum":135,"description":14255,"tags":14256,"thumbUrl":14257,"material":47,"size":14258,"collection":148,"collections":14259,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":152},218226,"di-wang-dao-tong-wan-nian-tu-ce-zhou-wang-chou-ying-218226","帝王道统万年图册-周王","此《帝王道统万年图》册由明代仇英绘制。本册共二十幅，分别描绘伏羲至宋仁宗等名贤、帝王的事迹，对幅并有顾可学题记。应是仇英应顾氏请托而绘，用以进献朝廷，求得仕进。全册均落笔纯熟流利，色调以青绿重彩为主，间或掺用泥金钩边。此册现藏于台北故宫博物院。",[24,63,213,26,27,28,30,7,387,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f0294270bdcb70a58b2c5d391822f9.jpg","32.5x32.6",[],{"id":14261,"slug":14262,"title":14263,"dynasty":89,"author":281,"museum":5163,"description":14264,"tags":14265,"thumbUrl":14266,"material":27,"size":148,"collection":148,"collections":14267,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":54},217894,"guan-yin-jing-bian-tu-juan-12-yi-ming-217894","观音经变图卷-12","画面以观音法相为中心铺展，环伺的人物或躬身祈愿，或凝神静听，将经文里的救度场景娓娓道来。色彩虽经岁月沉淀，仍可见浓淡晕染的层次，衣袂线条婉转如流云，勾勒出盛唐的雍容气韵。右侧的亭台小筑与左侧的世俗身影相映，仿佛架起神圣与凡俗的桥梁。图文交织处，每一笔都凝注着对慈悲的诠释，每一处细节都藏着时代的匠心——既保留了宗教艺术的庄严，又融入了生活的温度，恰似一卷盛唐宗教情感与艺术审美交融的鲜活切片，让千年前的慈悲意涵在绢素上依旧流转生辉。",[24,63,25,94,27,28,30,7,7591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128ee9a63697e5ab0fb2cfb5cf640fde.jpg",[],{"id":14269,"slug":14270,"title":14271,"dynasty":157,"author":3352,"museum":4895,"description":4896,"tags":14272,"thumbUrl":14273,"material":47,"size":148,"collection":148,"collections":14274,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":152},216882,"qian-long-nan-xun-zhu-bi-tu-ye-23-qian-wei-cheng-216882","乾隆南巡驻跸图页-23",[23,24,27,28,26,7,118,33,121,39,38,139,195,1047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e17e24d7a01156a64477cff6db0527d.jpg",[],{"id":14276,"slug":14277,"title":14278,"dynasty":157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[2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[14729,11761,14730,27,118,7,31,32,1851,14731],"铜胎","铜制","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6789b67c5b48f626b73c2e9020820d3b.jpg",[],{"id":14735,"slug":14736,"title":14737,"dynasty":18,"author":9452,"museum":433,"description":14738,"tags":14739,"thumbUrl":14740,"material":148,"size":148,"collection":148,"collections":14741,"showCount":378,"zanCount":11,"manualWeight":11,"mainColor":152},228327,"wei-yang-gu-du-tu-yuan-shang-tong-228327","维扬古渡图","《水墨城韵·中国历史文化名城画典:扬州卷》主要收录了穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》、至情至简——东山魁夷画《 》、扬州旧梦何处觅——陆俨少的《 》、记忆的符号展现——陆俨少画《扬州个园》等。\n《水墨城韵·中国历史文化名城画典:扬州卷》由 出版。\n贺万里，美术理论家、批评家、山水画家。\n1962年出生，安徽淮北人，祖籍河北。\n美术学博士。\n曾任教于 (现 )，现为 副院长、教授、研究生导师。\n会员， 会员，江苏省壁画学会常务理事，扬州市清代扬州画派研究会会长，石河子大学新疆大山水画研究所副所长。\n梦里他乡是瓜洲——明人袁尚统的《维扬古渡图》 置境平和《广陵茱萸湾图》 诗境与画境——从李白的《送孟浩然之广陵》到石涛、陆俨少的《李白诗意图》 明净疏朗维扬秋——石涛的《维扬洁秋图》 附录：石涛画扬州 附录：石涛《维扬洁秋图》的长款题跋 雅集盛会戾行合一——叶芳林、方士庶的《九目行庵文燕图》 樊川水榭苇上舟——高翔的《扬州即景册》 记忆深处的禅意——高翔的《弹指阁图》 附录：高翔的《弹指阁图》赏析 将军画本金碧色——李昭道、袁江 文人其乐融一园——袁江《东园胜概图》卷 亭台楼阁亦关情——解读袁耀之《扬州四景图》 深意画图余情休园——赏读王云《休园图》 念繁华前度，何时歌吹重闻？——解读汪望的《平山堂图》 邗江夜雨芦荻瑟——任堇与《邗沟夜泊图》 张大干画《瘦西湖》 附录：收藏扬州 附录：由张大千《瘦西湖》所见 穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》 至情至简——东山魁夷画《冶春园》 扬州旧梦何处觅——陆俨少的《扬州即景图》 记忆的符号展现——陆俨少画《扬州个园》 写运河，写扬州，写国之佳画——读宋文治《今日的运河》 钱松苗与《鉴真大和尚纪念堂》 秀媚大雅瘦美人——钱松曲两画“瘦西湖” 秀雅空灵性情自我——魏紫熙的《瘦西湖》 静谧空寂张力内蕴——亚明的《二十四桥明月夜》 水墨写实传真情——张安治的《扬州春郊》 散发着浓郁时代气息——《瘦西湖上》 周京新画扬州园林 附录：今月曾经照古人——扬州画苑《千年回眸》 石涛之后有石庄 东方的“巴洛克”——金农书画 江都别派 沉雄浑厚陈若木 虞蟾：天国画家第一人 写真丁门甘泉流韵 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，设色明丽雅致，将仪典的庄重规制与苑囿的秀雅景致相融。工谨笔触勾勒典仪细节，写意晕染铺就烟水空濛意境，疏密张弛间，尽显独到的纪实性与艺术性。",[23,114,24,25,27,26,30,7,33,258,98,14955,14956,651],"皇家礼仪","亲蚕仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83381556417fbd543f9a2bbb4676b12.jpg",[],{"id":14960,"slug":14961,"title":14962,"dynasty":157,"author":281,"museum":433,"description":14963,"tags":14964,"thumbUrl":14966,"material":495,"size":496,"collection":148,"collections":14967,"showCount":276,"zanCount":587,"manualWeight":11,"mainColor":54},269052,"shi-qing-di-ji-le-shi-jie-zhi-cheng-jin-tu-zhou-yi-ming-269052","石青地极乐世界织成锦图轴","中央佛陀安坐莲台，法相端严慈悲，十方圣众环侍聆听，衣袂翩跜神态虔敬。层叠殿宇朱金错彩，雕梁画栋尽显精巧工致，下方莲池碧波轻漾，瑞莲绽放、灵禽悠游，漾开清宁禅意。顶部宝光迸发，无量佛影周匝环布，遍洒慈辉笼覆寰宇。\n\n整作绒线纹理细腻入微，石青底色衬得设色浓妍古雅，将织造匠心与佛国美学相融，铺展出西方净土圆满祥和的超然胜境，观之涤荡尘心，尽览天国雍容圣洁之美。",[193,14965,94,5978,30,2182,8045,7,12077,27],"织锦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e40181caa4de884d1b6740b911ac0.jpg",[],{"id":14969,"slug":14970,"title":14971,"dynasty":157,"author":281,"museum":433,"description":1859,"tags":14972,"thumbUrl":14973,"material":495,"size":496,"collection":148,"collections":14974,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":152},267333,"ke-si-ji-le-shi-jie-tu-zhou-yi-ming-267333","缂丝极乐世界图轴",[114,24,63,193,94,28,27,30,7,5978,14480,1861,12077],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df9552f254b8e1836c543e971bcd9e3.jpg",[],{"id":14976,"slug":14977,"title":14978,"dynasty":157,"author":281,"museum":433,"description":14979,"tags":14980,"thumbUrl":14982,"material":495,"size":496,"collection":11764,"collections":14983,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":106},258988,"yi-xing-yao-zi-sha-hei-qi-miao-jin-cai-hui-fang-hu-yi-ming-258988","宜兴窑紫砂黑漆描金彩绘方壶","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[2180,14981,8134,2181,7219,28,118,7,1515,1851],"紫砂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff334f3c4318308da149811d77034a7.jpg",[11764],{"id":14985,"slug":14986,"title":14987,"dynasty":18,"author":8934,"museum":433,"description":14988,"tags":14989,"thumbUrl":14990,"material":495,"size":496,"collection":148,"collections":14991,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":152},239476,"qu-jiang-xian-fang-shan-zhang-fu-239476","曲江仙舫扇","张复（1546年－？年），字元春，号苓石，江苏太仓人（一说中条山人）。明末著名山水画家。善于兼收并蓄，兼得五代北方山水画派荆浩、关仝，南宋画派马远、夏珪，元代黄公望以及明代沈周趣味，成为吴门画派的健将之一。",[1535,24,63,162,116,118,7,121,120,33,32,139,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ab7bb7e7633b3bb346844f892a0546.jpg",[],{"id":14993,"slug":14994,"title":13652,"dynasty":18,"author":7031,"museum":433,"description":9842,"tags":14995,"thumbUrl":14996,"material":148,"size":148,"collection":148,"collections":14997,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":54},239187,"shan-chuan-ming-sheng-ce-song-xu-239187",[24,63,118,213,162,27,774,1996,33,538,7,116,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F686af50486fe6bd899e83bbac8282dea.jpg",[],{"id":14999,"slug":15000,"title":13652,"dynasty":18,"author":7031,"museum":433,"description":9842,"tags":15001,"thumbUrl":15002,"material":495,"size":496,"collection":148,"collections":15003,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":152},239186,"shan-chuan-ming-sheng-ce-song-xu-239186",[24,63,114,213,27,162,118,451,7,1430,120,761,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d58d3fc454b87ee29b083f3fbe22d6c.jpg",[],{"id":15005,"slug":15006,"title":15007,"dynasty":18,"author":15008,"museum":433,"description":15009,"tags":15010,"thumbUrl":15011,"material":495,"size":496,"collection":148,"collections":15012,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":152},239177,"xue-jiang-chui-diao-zhou-jiang-ai-239177","雪江垂钓轴","蒋霭","蒋蔼，1621-1644，明。字志和，华亭（今上海市松江）人，一作虞山（今江苏常熟）人。天启、崇祯（1621-1644）时人。善画山水学沈士充，苍劲多用渴笔。规摹唐、宋皆能神合。陈继儒题其画卷云：“自唐、宋、元名家，皆撮其精微，染于毫端，岂惟气吞时流，即董宗伯，（其昌）见之，几下卫夫人之叹。”",[24,193,162,116,118,1013,5768,3058,120,2775,422,139,7,75,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9314a07a8eab17dffa04b2d87984a968.jpg",[],{"id":15014,"slug":15015,"title":13668,"dynasty":157,"author":8651,"museum":433,"description":15016,"tags":15017,"thumbUrl":15018,"material":148,"size":148,"collection":148,"collections":15019,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":152},238781,"shan-shui-ren-wu-xiao-ce-dong-gao-238781","此作以淡逸之笔铺展春日村居景致。近陂垂柳依依，山居屋舍隐于林麓间，水面轻描波痕，汀渚错落见生趣。中景湖石玲珑，杂木苍润，衬出园林意致。远景山峦以花青浅赭晕染，留白作烟岚，愈显悠远空濛。\n全幅设色清和温润，笔法秀雅松脱，构图疏密相宜，将江南村居的恬澹闲适融于尺幅间，文人情致尽显，于细微处铺陈出悠然空寂的春日山居诗意。",[24,63,213,27,118,30,7,422,139,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04640ad9ed45dabc5642934d2e4d1111.jpg",[],{"id":15021,"slug":15022,"title":15023,"dynasty":157,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洛中洛外图屏风-一屏","以泥金为底晕染华贵底色，亭台楼阁错落隐于苍松翠色间，朱黛屋宇精致工丽，尽显雅致格调。整卷铺陈城邑百态：贩夫牵车穿梭街巷，雅客围坐厅堂宴饮，车马往来络绎，将市井烟火与士族闲趣交织一处。界画严整写实，屋宇建制分毫毕现，小人物亦形神兼具，把彼时城邑的鲜活世态揉入疏密错落的构图中，是复刻往昔日常、窥见旧时人情的绝佳风物长卷。",[23,27,28,26,143,30,7,33,65,39,5742,538,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c69ce062142cb26af04ff392936794.jpg",[],{"id":15250,"slug":15251,"title":15252,"dynasty":4105,"author":281,"museum":433,"description":15253,"tags":15254,"thumbUrl":15255,"material":495,"size":496,"collection":148,"collections":15256,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":152},231732,"shi-ting-shi-dai-yue-ci-feng-su-tu-ping-feng-yi-ming-231732","室町时代 月次风俗图屏风","以分段全景铺陈世相，上段朱红鸟居攒动着祭典人潮，神舆穿行、阁上观礼，将神社祭典的喧嚷烟火揉进淡彩绢面。中段寒松下踏雪徐行，郊野雅趣悄然中和了祭典的喧闹。下段驰马挥械，甲胄扬尘间，武事竞技的张力扑面而来。\n\n朴拙的笔意晕开古旧质感，没有繁复勾描，却将祭仪、游冶、武事的时代风俗鲜活定格，让古昔年间的日常盛景跨越岁月，带着温热的市井气息浮现眼前。",[23,27,26,143,30,7,230,118,871,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f37c42d1f22af23e54171be250b144.jpg",[],{"id":15258,"slug":15259,"title":15260,"dynasty":18,"author":15261,"museum":433,"description":15262,"tags":15263,"thumbUrl":15264,"material":148,"size":148,"collection":148,"collections":15265,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":152},228919,"peng-lai-xian-yi-tu-leng-qian-228919","蓬莱仙弈图","冷谦","《蓬莱仙弈图》一图由明代 所绘 手卷，著录于《石渠宝笈三编》，有文征明题跋与文彭题引首，为仇英青绿山水的典型画风。\n1. 题跋。\n2. 题引首。\n. 梁清标、梁清寯、清内府递藏。\n图1中描绘池塘边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐；又有三仕女，一执扇，一伏案，一取水，整幅意境悠闲雅淡。\n作品结构严整，层次清晰，布局有序，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。\n此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，是仇英青绿山水的典型画风。\n此件《蓬莱仙弈图》著录于《石渠宝笈三编》，有文徵明题跋与文彭题引首。\n将这幅画与北京故宫藏的一幅南宋团扇《荷亭对弈图》相比较可以发现，此图在图式、母题上与团扇有着惊人的相似之处，最大的区别只是把团扇改成了长卷，另外增加了其他画面中的母题和构图。\n而它与美国华盛顿弗利尔美术馆所藏的冷谦的《蓬莱仙弈》在构图、母题上也毫无二致。\n明代王鏊（145—1524）在《震泽长语》中首次收录了《蓬莱仙弈图》及 的仙化故事。\n“蓬莱”与“仙弈”是道教意象明显的神仙题材，在明代皇帝崇尚道教最鼎盛的嘉靖年间，凡人可成仙的观念已经凭借《蓬莱仙弈图》与多个摹本的传播而深入人心。\n作为民间职业画家的仇英绘制此一题材长卷，也深受当时社会思想风潮的影响。\n“高柳迎风，小亭临水，二人对弈，一人卧观，仕女三，一捧桃，一持扇，一盥于池，童子二，一捧瓶花，一扫地，款十洲仇英模，钤印一十洲。\n后幅题跋十洲仇子于诸画家无所不学，亦无所不似。\n此仙弈图效赵千里笔法，尤为逼真，乃未及三十时为吴文定公所作，正其卧王蒙于纸上，坐徐偃于笔端时也。\n观者可想见其临池之勤矣。\n长洲文徵明，题时丙辰七月五日。\n钤印二徵明。\n……”",[23,24,63,25,27,26,285,164,118,7,30,33,121,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8255e9747b858ce33ea55f9a372f599.jpg",[],{"id":15267,"slug":15268,"title":15269,"dynasty":58,"author":281,"museum":433,"description":15270,"tags":15271,"thumbUrl":15272,"material":148,"size":148,"collection":148,"collections":15273,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":106},227855,"shan-yao-lou-guan-tu-ye-yi-ming-227855","山腰楼观图页","此作以水墨绘危峰陡立，云雾如纱空蒙，将山体半隐，仅留山腰楼宇静踞林麓。以斧劈皴利落勾勒山石筋骨，墨色由浓转淡晕染烟岚，虚实相生衬出幽谷空寂幽深。\n\n咫尺扇面以少胜多，尽显简淡空灵意趣，将林泉高致藏在淡墨轻岚间。题诗与画境呼应，把寻仙慕隐的出世之思融于山水，淡远清逸，观之如临其境，似可凭栏观山、静听穿林风声，幽远超脱的山居雅境跃然绢上。",[23,24,63,1535,118,7,139,33,28,116,27,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F274facbfdb6c3c7e5bdce52d2bca3976.jpg",[],{"id":15275,"slug":15276,"title":15277,"dynasty":58,"author":281,"museum":433,"description":15278,"tags":15279,"thumbUrl":15280,"material":148,"size":148,"collection":148,"collections":15281,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":54},227836,"wu-yun-lou-ge-tu-ye-yi-ming-227836","五云楼阁图页","此作以淡墨晕染铺就空濛底色，危峰如削，拔地耸峙，尽显山石嶙峋硬朗。山脚苍松错落，林麓间野路蜿蜒隐现，以边角取景营造出幽远无际的山野氛围，水墨皴擦勾勒出峭拔山势，将烟霞缥缈的世外秘境晕染得清冷出尘。\n对页题诗与画境相融，笔墨间浸透文人幽居林泉的雅趣，简淡构图里藏着辽远的天地气象，尽显宋人对山水意境的极致追寻，静穆间带着出世的空灵韵味。",[23,114,24,63,1183,1535,27,164,116,28,118,7,1709,33,194,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea704ebcc05fe27f9924065ef24fb0e.jpg",[],{"id":15283,"slug":15284,"title":15285,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":15286,"thumbUrl":15287,"material":495,"size":496,"collection":148,"collections":15288,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":54},226447,"ku-qian-shi-bei-bi-yi-ming-226447","窟前室北壁",[2046,94,27,30,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77e441d068ce3528ad46517e2c2ee5.jpg",[],{"id":15290,"slug":15291,"title":2482,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":15292,"thumbUrl":15293,"material":495,"size":496,"collection":148,"collections":15294,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":54},226393,"ku-yong-dao-bei-bi-yi-ming-226393",[2046,94,27,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ffe7a4a62a26bbaee8fa2266dfe02d.jpg",[],{"id":15296,"slug":15297,"title":6271,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":15298,"thumbUrl":15299,"material":495,"size":496,"collection":148,"collections":15300,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":54},226178,"ku-zhu-shi-dong-bi-yi-ming-226178",[2046,27,94,7,30,118,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c1e17ab88c9a7d59788d3372d0335c.jpg",[],{"id":15302,"slug":15303,"title":15304,"dynasty":4105,"author":281,"museum":433,"description":15305,"tags":15306,"thumbUrl":15307,"material":148,"size":148,"collection":148,"collections":15308,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":152},225332,"fu-shi-hui-85-yi-ming-225332","浮世绘85","这幅风景版画以高远视角铺展云海深谷之景，朱红飞桥凌空横跨山涧，将孤亭与崖畔古寺相连。青绿山石鲜亮明快，暖调屋宇错落嵌入崖壁，翻涌的云海如棉絮般托举山峦，将山寺衬得恍若缥缈仙境。\n作者以利落线条勾勒建筑与山石肌理，冷暖色彩雅致对比，兼具装饰性与意境感，将深山古刹的凌空奇险和山林空寂的禅意相融，尽显幽玄出尘的意蕴，令人仿若踏入这灵秀秘境，静赏山云间的静谧禅味。",[9613,858,27,118,7,31,194,3067,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f8f059fd473dcde6fb951462b02bea8.jpg",[],{"id":15310,"slug":15311,"title":15312,"dynasty":4105,"author":281,"museum":433,"description":15313,"tags":15314,"thumbUrl":15315,"material":148,"size":148,"collection":148,"collections":15316,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":54},225301,"fu-shi-hui-24-yi-ming-225301","浮世绘24","此作以月夜河谷铺展清宁画卷，靛蓝河面晕开幽柔夜色，暖棕沙崖晕着烟火暖意，冷暖交织晕融出松弛氛围。拱桥飞架两岸，串联山居水榭，三两渔舟缓行漾开碎金波光，悬月垂洒清辉，树影错落晕染出闲淡的水乡日常。\n\n上方书法与图景呼应，诗画合璧，尽显江户风物的雅致闲情。将寻常夜色揉成隽永诗意，带着浮世绘特有的市井雅韵，把水乡月夜的宁和诗意藏进笔端，晕染出东方美学的幽玄余韵，尽显浮世日常中的栖居之美。",[9613,27,118,762,31,32,120,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4360a626effed2c38c92dc097ca0cc.jpg",[],{"id":15318,"slug":15319,"title":15320,"dynasty":18,"author":4715,"museum":433,"description":15321,"tags":15322,"thumbUrl":15323,"material":148,"size":148,"collection":148,"collections":15324,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":152},224562,"shu-hua-ce-ye-27-xiao-yun-cong-wang-shi-zhen-224562","《书画册页》-27","近景苍松虬曲古拙，苔痕覆于顽石，执杖行人徐行溪桥，柴扉轻掩，僮仆静候于竹篱茅舍侧，修篁环绕更添幽寂。飞瀑穿谷蜿蜒而下，层叠山峦以朴拙皴法写就，山石棱角间点染丹色，暗合秋意。\n整幅画作以元人笔意写林泉幽居，笔墨简淡松秀，淡赭轻施衬出山野清秋之致。题字清雅隽秀，与山水笔墨相映成趣，将文人寄情丘壑的雅逸襟怀融于尺幅之中，把山野幽居的静穆恬然尽数铺陈，尽显淡远清寂的林下之风。",[24,63,213,27,162,116,118,30,7,32,139,230,4986,421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe17b3a9e13051ba3c52fdb0d84755f1c.jpg",[],{"id":15326,"slug":15327,"title":15328,"dynasty":157,"author":4211,"museum":60,"description":5776,"tags":153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。林木葱郁，枝干虬劲，叶色深浅交错，显自然生机。楼阁隐于岩麓林间，小径蜿蜒穿涧而过，意境静谧深远。画作兼取工致与写意，秀逸中见苍劲，尽显文人山水的清雅韵致，仿佛可闻山涧风声，可观山居幽趣。",[24,118,27,116,7,33,193,63,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038e99c37af8cc49d349185489c26f5f.jpg",[127],"908674",{"id":15406,"slug":15407,"title":15408,"dynasty":18,"author":15409,"museum":806,"description":15410,"tags":15411,"thumbUrl":15412,"material":148,"size":148,"collection":49,"collections":15413,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":15414},201509,"han-gong-chun-xiao-tu-juan-you-qiu-201509","汉宫春晓图卷","尤求","画卷铺展，汉宫春日的雍容景致徐徐浮现。亭台楼阁间，仕女们或临窗对弈，或凭栏观花，或泛舟湖上，情态生动自然。线条细劲流畅，白描技法勾勒出人物衣袂的轻盈与建筑的精巧，界画工整精准，尽显宫苑的规制与雅致。花木扶疏，山石点缀，春日的生机与宫廷的闲逸交融，每一处细节皆见匠心。画面空间转换巧妙，从庭院到室内，从舟楫到轩榭，层次分明，宛如一部流动的宫苑生活长卷，将汉宫春晓的温婉与繁华尽纳其中。",[95,28,26,30,7,121,436,1357,139,25,509,981,6721,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c2c91d643b9d3f8440d1a033708222.jpg",[49],"000000",{"id":15416,"slug":15417,"title":15418,"dynasty":58,"author":281,"museum":433,"description":15419,"tags":15420,"thumbUrl":15421,"material":495,"size":496,"collection":148,"collections":15422,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},290997,"han-lin-lou-guan-tu-yi-ming-290997","寒林楼观图","在严冬冷冽的寒风中，树木纷纷蜕下了绿色的外衣。曲折槎枒的枝干，却因此显得姿态分外动人。穿过眼前这片寒林，可以看到一重重宏伟的建筑，沿著湖边高高架起。远处的山脚下，还有佛寺和宝塔，在薄雾的烘托下，散发出无比庄严肃穆的气氛。\n虽然山峰和屋顶上，都被皑皑的白雪所覆盖，但是住在楼阁里的人们，似乎并不畏惧寒冷，反而将门窗大开，让即将到访的客人，能够清楚瞧见屋内准备筵席的场面。\n近景几株林木，枝干挺拔，叶已稀疏或凋零，竹子数杆横出寒林，竹叶上有著点点积雪。透过寒林，呈现一片宏伟的建筑，群楼重重，依湖畔而筑，景观绮丽。远处山腰露出佛寺与宝塔，山峰及屋顶都覆盖著白雪，由淡墨衬托出萧瑟凛冽的寒意。\n宏伟华丽的建筑，位于画面中轴线之处，是一个大厅，内有仕女备办筵席，邻次的楼阁，主人正接待先至的宾客。近景寒林下的小径，有两位骑马人士，在仆役护从下，走往楼中相会。生动的人物点景，为寒冷的景境中，增添生趣与暖意。近景寒林有著复杂的枝干与树叶，寒林之後又有工谨细绘的界画建筑，两重景物相叠，笔墨迥异，构成萧散与工整的复杂组合，精妙不乱。",[114,24,193,28,118,7,422,1548,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35154e059bf34b65f9eaeeb95fc4dc5d.jpg",[],{"id":15424,"slug":15425,"title":15426,"dynasty":58,"author":281,"museum":135,"description":15427,"tags":15428,"thumbUrl":15430,"material":47,"size":15431,"collection":148,"collections":15432,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":54},290755,"chang-sheng-fa-hui-tu-zhou-yi-ming-290755","长生法会图轴","此图画佛教西方极乐世界，云掩宝塔、宝树，菩萨、诸天群集。主尊为无量寿佛，结跏趺坐于须弥台上。台前绘有往生者合十跪拜，引路菩萨则弯腰礼拜。全图人物各尽姿态之变化，脸部晕染，具立体感。陪衬的景物显得绮丽繁缛，构成华美庄严的神圣世界。这种极乐世界图又名长生法会。 本幅无作者名款，依画风看来，完成时间约在元至早明之间",[24,193,114,63,94,5978,27,26,30,7,15429,7218],"法会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41eb3871855e059b35a3fbf7db1a34ba.jpg","190.4x90.4",[],{"id":15434,"slug":15435,"title":15436,"dynasty":58,"author":2785,"museum":433,"description":15437,"tags":15438,"thumbUrl":15439,"material":495,"size":496,"collection":148,"collections":15440,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},290334,"yan-shan-xu-bie-zhou-zhao-zong-han-290334","雁山叙别轴","赵宗汉，中国汉族人，北宋宗室，字献甫。初嗣濮王，谥孝简，追封景王。他是宋太宗赵炅的曾孙、商恭靖王赵元份之孙、濮安懿王赵允让之子、宋英宗赵曙之弟。为人博雅该洽，无他嗜好，唯诗、书足是习，法度自守，兼工画芦、雁，有思致。尝作八雁图，有江湖荒远之趣。",[114,24,63,193,27,116,118,196,33,7,121,272,284,164,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31744f031a3116a1471c13b2041424cc.jpg",[],{"id":15442,"slug":15443,"title":15444,"dynasty":58,"author":281,"museum":433,"description":15445,"tags":15446,"thumbUrl":15447,"material":495,"size":496,"collection":148,"collections":15448,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":54},289598,"shui-xie-hua-xuan-tu-yi-ming-289598","水榭花轩图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[114,24,1535,28,27,118,538,121,7,5608,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0544a4c9562a309cdb32d04dd35347a0.jpg",[],{"id":15450,"slug":15451,"title":15452,"dynasty":157,"author":504,"museum":433,"description":4750,"tags":15453,"thumbUrl":15455,"material":495,"size":496,"collection":148,"collections":15456,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":54},288400,"lin-xiao-xiang-kui-duo-ju-hua-shi-sun-wen-288400","林潇湘魁夺菊花诗",[23,24,27,26,30,7,121,1047,123,1380,15454,1700,138],"游船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8680ac2375a247993af1aa51a1c52151.jpg",[],{"id":15458,"slug":15459,"title":15460,"dynasty":157,"author":1557,"museum":433,"description":15461,"tags":15462,"thumbUrl":15463,"material":495,"size":496,"collection":148,"collections":15464,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},288282,"fang-zhao-ling-rang-chun-shan-cui-ai-tu-dong-bang-da-288282","仿赵令穰春山翠霭图","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”。",[24,114,63,193,27,118,29,31,32,120,7,119,33,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f0b89e65691ba05617b730761be09fa.jpg",[],{"id":15466,"slug":15467,"title":15468,"dynasty":157,"author":15469,"museum":433,"description":15470,"tags":15471,"thumbUrl":15472,"material":495,"size":496,"collection":148,"collections":15473,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},288031,"shan-shui-tu-qiu-shan-xuan-pu-yong-rong-288031","山水图(秋山悬瀑)","永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[114,24,63,193,27,162,118,421,31,32,7,33,139,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81d9205c807acc12b3681924f7f2bcf.jpg",[],{"id":15475,"slug":15476,"title":15477,"dynasty":157,"author":281,"museum":433,"description":15478,"tags":15479,"thumbUrl":15480,"material":495,"size":496,"collection":148,"collections":15481,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":54},288001,"xi-yang-lou-tou-shi-tu-tong-ban-hua-yi-ming-288001","西洋楼透视图铜版画","这帧装帧以满幅连续纹样铺陈，深褐底色衬出暗绿缠枝造型，将洛可可的柔婉卷草与中式吉祥纹案相融，排布规整却不失灵动韵律。细密刻纹尽显铜版工艺的精湛，暗哑色调晕开旧时光的厚重质感，在方寸之间织就复古华丽的视觉层次，静述着东西美学碰撞下的独特雅致，让装帧也成为一件兼具装饰性与工艺价值的精巧造物。",[3011,857,7,28,4111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318b289314360ab07e1313b5aa6903d1.jpg",[],{"id":15483,"slug":15484,"title":10572,"dynasty":157,"author":281,"museum":433,"description":15485,"tags":15486,"thumbUrl":15488,"material":495,"size":496,"collection":148,"collections":15489,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},287998,"hang-cheng-xi-hu-jiang-gan-hu-shu-tu-yi-ming-287998","此作是全景式古舆图，兼融纪实功用与文人笔意。\n上方绘就湖山胜景：层峦叠翠间林木蓊郁，烟水萦回处亭榭错落，将湖光山色的灵秀雅致晕染开来；下方铺陈城郭全貌：街巷里坊鳞次栉比，水陆驿道经纬交织，把市井烟火的繁阜日常细致铺展。\n它以山水画的写意笔法绘就地理格局，没有冰冷的测绘标尺，却以疏密线条与晕染皴擦，精准还原湖城相依的地缘肌理，既可考稽往昔城坊风貌，亦带着江南水墨的温婉意趣，是实用与审美合二为一的佳作。",[23,24,63,114,27,118,28,1313,7,33,7177,71,15487],"城市风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f1510598a460c8c71b4f8489d21fef0.jpg",[],{"id":15491,"slug":15492,"title":15493,"dynasty":18,"author":15494,"museum":433,"description":15495,"tags":15496,"thumbUrl":15498,"material":495,"size":496,"collection":148,"collections":15499,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},287780,"gu-bai-wen-dao-tu-li-zhou-chen-huan-287780","古柏问道图立轴","陈焕","陈焕（公元16-17世纪初），字子文，号尧峰，尧峰山人，吴县（今江苏苏州）人，陈镒后裔。\n陈焕寄情翰墨，工画山水，取法沈周并得宋元气脉，私淑侯懋功，候早卒，焕能继其业。所画山水用笔苍秀茂密，动合法度，展对间清思扑人眉睫，以画著称于万历间。\n陈焕事迹见《吴县志》、《画史会要》、《画引》、《图绘宝鉴续纂》。",[24,193,308,162,27,116,139,421,7,31,30,4480,422,310,15497],"问道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3a5668619c7cfc3dff684859ec488e3.jpg",[],{"id":15501,"slug":15502,"title":15503,"dynasty":157,"author":281,"museum":433,"description":15504,"tags":15505,"thumbUrl":15507,"material":495,"size":496,"collection":148,"collections":15508,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},272835,"zi-tan-dian-cui-qian-ya-yu-jia-le-cha-ping-yi-ming-272835","紫檀点翠嵌牙渔家乐插屏","此件以紫檀为骨，边框缠枝纹精雕细镂，古意盎然。屏心以墨底铺陈，借点翠晕染山林村居，深浅翠色仿若烟岚覆坡，柔润雅致。象牙巧作人物舟楫，细细勾勒出江南水乡烟火日常：江面扁舟错落，渔翁撒网收获、停舟闲话；堤岸浣洗劳作，田垄俯身耕耘，处处皆是鲜活生机。百宝相嵌之下，莹润翠色与温润牙色在沉深墨底上相映成趣，将水乡渔家乐的太平盛景凝于屏间，尽显嵌作工艺的精妙灵秀，把江南日常的恬暖意趣永恒定格。",[13644,1851,4019,13217,15506,12066,1669,30,2776,32,7,118,27],"点翠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83b50f90b76d242ecf4f2fa0eabd1767.jpg",[],{"id":15510,"slug":15511,"title":15512,"dynasty":157,"author":281,"museum":433,"description":7691,"tags":15513,"thumbUrl":15515,"material":495,"size":496,"collection":148,"collections":15516,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":54},261221,"zi-di-fen-cai-kai-guang-bai-zi-tu-pie-kou-ping-yi-ming-261221","紫地粉彩开光百子图撇口瓶",[8134,14497,27,2439,30,7,15514,14498],"瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea785e19b744871d5868276c6133095a.jpg",[],{"id":15518,"slug":15519,"title":15520,"dynasty":157,"author":281,"museum":433,"description":15521,"tags":15522,"thumbUrl":15525,"material":495,"size":496,"collection":148,"collections":15526,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},251325,"qian-long-yu-ti-yi-he-ming-qing-yu-shan-zi-yi-ming-251325","乾隆御题《瘗鹤铭》青玉山子","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[15523,12066,118,7,284,2180,15524],"玉石","山子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b35bb78db83f9f3d0d3eff3765c733.jpg",[],{"id":15528,"slug":15529,"title":15530,"dynasty":157,"author":15531,"museum":433,"description":15532,"tags":15533,"thumbUrl":15536,"material":312,"size":148,"collection":834,"collections":15537,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":54},240196,"qi-lv-shi-zhou-yan-hang-240196","七律诗轴","严沆","严澂(1547—1625),字道彻,号天池,常熟人,著名古琴家。据史料记载,严澂工书法,精百家言,深得老庄精髓;以父荫补中书舍人、工部郎,明万历三十二年(1604)出任邵武(今属福建省)知府,有政绩,甚得民心。严澂晚年辞官归里,徜徉于山水间,以琴、书自娱,于骑射、击剑、投壶、蹴鞠亦无不精。可见,他不仅是一个善于雅玩、才气纵横的贵族公子哥,而且也是一个品性高洁、治学有道的专家。",[193,164,284,117,762,11762,2474,15534,15535,7],"星","霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F150d532a5ecbfffa19ab0ad250de67b7.jpg",[834],{"id":15539,"slug":15540,"title":15073,"dynasty":157,"author":15074,"museum":433,"description":15075,"tags":15541,"thumbUrl":15542,"material":495,"size":496,"collection":148,"collections":15543,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},238552,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238552",[24,63,213,28,27,30,7,164,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8397de98dba9f2371bdc1885e7794ba.jpg",[],{"id":15545,"slug":15546,"title":4616,"dynasty":157,"author":4617,"museum":433,"description":15547,"tags":15548,"thumbUrl":15549,"material":148,"size":148,"collection":148,"collections":15550,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},238226,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238226","此作取山林晓景，近岸怪石错落，古寺藏于深林，溪桥引渡山径，远峰隐在烟岚轻雾间。笔墨清润苍秀，皴擦兼具苍劲秀雅意韵，布景疏密相宜，将空山晓钟的幽寂禅意晕染开来。\n\n淡墨设色晕出空濛澄澈的湖光山色，静穆恬和的意境藏在湖山深处。左侧题诗与画境相契，诗书画合为一体，尽显文人雅趣，将山寺清晨的清寂出尘融在山水间，尽显仿古山水的清丽韵致。",[24,63,162,116,29,118,7,31,32,120,121,33,139,194,214,10284,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F457231bba39a2a53c514ce0d5484f458.jpg",[],{"id":15552,"slug":15553,"title":15554,"dynasty":18,"author":281,"museum":433,"description":15555,"tags":15556,"thumbUrl":15557,"material":495,"size":496,"collection":148,"collections":15558,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},237831,"chen-dan-zhong-shan-shui-shan-yi-ming-237831","陈丹衷山水扇","此作取金笺为底，以清疏淡墨绘就秋山幽居。坡岸错落层叠，幽篁杂木疏密交织，草堂隐于林麓之间，不见主人身影，却暗透出幽居寄怀的文人心绪。\n\n笔墨干湿互用，以淡笔轻皴晕出山石苍润质感，写尽木叶萧疏的秋凉意趣。两侧题字清隽雅致，与画面相映成趣，将诗句里的秋日登高怀思融在尺幅间，整体简淡空灵，尽显林下幽寂的文人雅趣，把耽于林泉、寄情丘壑的隐逸心境藏在了这一方扇面中。",[1535,24,162,116,118,7,33,139,605,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1250e1d3b2571b3f667d77cd5f4d16d2.jpg",[],{"id":15560,"slug":15561,"title":15562,"dynasty":18,"author":7391,"museum":806,"description":15563,"tags":15564,"thumbUrl":15565,"material":166,"size":15566,"collection":148,"collections":15567,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},237263,"shen-hao-shan-shui-tu-ce-shen-hao-237263","沈灏山水图册","沈颢（1586—1680后），一作沈灏，字朗倩，号石天、朗道人，吴（今江苏苏州）人。沈颢风仪轩举，博雅多闻。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著《画尘》，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[24,63,213,162,116,118,7,33,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0931745eb9581949f6e9e4591ded41f6.jpg","15.2x23.6厘米",[],{"id":15569,"slug":15570,"title":1635,"dynasty":157,"author":13443,"museum":60,"description":15571,"tags":15572,"thumbUrl":15574,"material":2060,"size":148,"collection":148,"collections":15575,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":54},236828,"fang-gu-shan-shui-ce-zhao-cheng-236828","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[24,1638,118,27,116,774,1599,33,194,7,38,195,196,2158,946,3762,15573,1171,2326],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0183adf33d938618193370ec0d4adcb1.jpg",[],{"id":15577,"slug":15578,"title":8395,"dynasty":18,"author":8396,"museum":433,"description":8397,"tags":15579,"thumbUrl":15580,"material":148,"size":148,"collection":148,"collections":15581,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},236633,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236633",[24,63,213,162,27,118,7,33,194,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856d1533f3a52270bf4caf572f9c8c9e.jpg",[],{"id":15583,"slug":15584,"title":12488,"dynasty":18,"author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清水寺缘起画卷(中)",[27,26,25,28,284,94,30,7,31,32,33,39,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a580c0d510cd600e0c22b55140b7c.jpg",[],{"id":15787,"slug":15788,"title":7390,"dynasty":157,"author":15789,"museum":433,"description":15790,"tags":15791,"thumbUrl":15792,"material":148,"size":148,"collection":148,"collections":15793,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},230151,"shan-shui-ce-liu-yu-230151","刘宇","此幅以深山古刹为景，淡墨勾皴山石，盘桓石阶如练，在陡崖间蜿蜒穿梭，串起山脚村居与山巅梵宇。苍松错落布于崖畔坡头，古拙苍劲，晕染出山林清寂高远的氛围。\n\n画家以墨色浓淡区分阴阳向背，笔意萧散秀雅，舍去繁复皴法，却将山峦险峻幽深铺陈尽致。画面以留白晕出山峦空灵之气，淡绘山居古刹的幽寂禅意，带着文人画的简淡余韵，寄寓静穆出尘的山林雅趣，将出世栖隐的悠然意趣藏于简淡笔墨之中。",[24,63,162,213,116,118,774,7,538,1829,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e204ecbc005648e2a467048d918209.jpg",[],{"id":15795,"slug":15796,"title":15797,"dynasty":157,"author":15798,"museum":433,"description":15799,"tags":15800,"thumbUrl":15801,"material":148,"size":148,"collection":148,"collections":15802,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},228974,"si-ji-shan-shui-ping-ming-jian-228974","四季山水屏","明俭","此作用浅绛写就冬山雪景，以大面积留白与淡墨晕染表现峰峦积雪，浓墨勾勒崖壁轮廓，将冰雪覆山的清寒孤高尽显无余。\n\n枯松劲柏层叠错落，枝桠利落苍郁，暗写雪压枝头的沉凝质感。山坳间古寺浮屠隐于林木中，朱红屋舍素白雪景相映，冷寂里晕开一抹烟火暖意。溪谷浅滩以白代雪，水坝板桥藏于雪色间，于静谧中暗涌生机。\n\n整画仿戴进雪岭笔意，兼得浙派山水刚劲构图，又融入禅意冲淡萧散的气韵，将冬日空山的冷寂与古刹温煦相融，尽显雪后山林清旷安闲之境，笔墨清雅意趣悠长。",[23,24,63,193,162,27,118,7,33,139,335,1013,31,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec019cf1cea1eb3808798ea50b60410.jpg",[],{"id":15804,"slug":15805,"title":12132,"dynasty":18,"author":12133,"museum":433,"description":15806,"tags":15807,"thumbUrl":15808,"material":148,"size":148,"collection":148,"collections":15809,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":54},228337,"yin-bao-jie-shan-tu-zhou-wang-wen-228337","《隐宝界山图》是明朝王问所作名画，此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生于1949年购于广州。\n1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。\n画心左上自题：“宝界山，余读易庐在焉。\n嘉靖戊申始得辞岭南之命，寄傲其间，静志远交，可以寡过矣。\n诗曰：荒山雨雪暮寒时，碧树临湖橘柚垂。\n归棹复寻渔径入，幽居更向谷云移。\n鲈如张翰思偏早，酒为渊明酿已迟。\n木石久谙麇鹿性，野人相见莫相疑。\n仲山王问写并书。\n”钤“王问之印”、“进士”等印。\n据此图题跋，可知所画是王问在嘉靖戊申年（二十七年，1548年）隐居无锡宝界山读书时的情景，为画家5岁时所作。\n鉴赏印钤“石渠宝笈”、“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等印。\n画幅右下钤“无事对青山”白方印，左下钤“闲溪陈氏玉阶珍藏”朱长方印。\n画中所绘当为宝界山实景。\n筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。\n画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。\n用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。\n王问之作传世不多，得此盛年鼎绝作品实为不易。",[23,24,193,118,162,116,7,120,32,33,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8002608845fa1f1fb6a6f63a76f2c409.jpg",[],{"id":15811,"slug":15812,"title":15813,"dynasty":885,"author":281,"museum":433,"description":15814,"tags":15815,"thumbUrl":15816,"material":148,"size":148,"collection":148,"collections":15817,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":54},228221,"qiu-lin-shan-zhuang-tu-ye-yi-ming-228221","秋林山庄图页","此作用笔简淡松秀，以干笔皴擦辅以淡墨晕染，绘就秋日山林逸致。远山空灵虚蒙，主峰浑厚苍劲，带着沉静古拙之气。近岸林木错落，墨色浓淡相宜，枯荣交织间晕开清寂秋意。山居隐于林麓深处，石阶蜿蜒探入其间，藏着避世闲雅的意趣。浅滩碎石错落，缓流无声，野趣横生。\n\n整幅画以萧散之韵勾勒山水，摒弃繁饰，将秋日山野的幽寂与山居恬逸融为一体，尽显文人画尚意境、重简淡的风骨，观之便如踏入清秋林泉，山风裹木叶轻响漫过周身，浸满心间出世的安宁。",[23,24,162,27,116,213,118,373,139,7,2573],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d509898140a5a6b0d07109bfe329e7f.jpg",[],{"id":15819,"slug":15820,"title":4388,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":15821,"thumbUrl":15822,"material":495,"size":496,"collection":148,"collections":15823,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":54},226458,"ku-zhu-shi-nan-bi-yi-ming-226458",[2046,94,28,27,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d438b475961bf9112f9fade4ee95d87.jpg",[],{"id":15825,"slug":15826,"title":15827,"dynasty":89,"author":281,"museum":2043,"description":2044,"tags":15828,"thumbUrl":15829,"material":495,"size":496,"collection":148,"collections":15830,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":499},226265,"ku-qian-shi-ding-bu-yi-ming-226265","窟前室顶部",[2046,94,27,5081,7591,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc59a014ce2545566cd10e70a9a06ab9.jpg",[],{"id":15832,"slug":15833,"title":15834,"dynasty":4105,"author":281,"museum":433,"description":15835,"tags":15836,"thumbUrl":15837,"material":148,"size":148,"collection":148,"collections":15838,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},225364,"fu-shi-hui-120-yi-ming-225364","浮世绘120","这幅作品以游廓夜景为底色，左侧隅角男女偎依私语，晕开私密亲昵的缱绻；凭栏处一众游女探身笑语，指尖轻指夜色，将嬉闹松弛弥散在廊间。夜色里花树漫开，被晚风卷落的油纸伞散在花下，蓝调夜空缀着细碎星子，衬出风月场的柔靡日常。\n\n温润雅致的线条勾勒出屋宇回廊的错落层次，柔淡设色晕开松弛暧昧的氛围，将烟花巷陌的夜色温柔与儿女情态揉合一处，把俗世里的风月闲情描摹得细腻动人，晕开独属于旧时代的慵懒暖意。",[9613,858,27,30,7,39,1515,7453,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dcfb18caeaa08594cabe82847c807a5.jpg",[],{"id":15840,"slug":15841,"title":15842,"dynasty":4105,"author":281,"museum":433,"description":15843,"tags":15844,"thumbUrl":15846,"material":148,"size":148,"collection":148,"collections":15847,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":54},225312,"fu-shi-hui-46-yi-ming-225312","浮世绘46","靛蓝湖面晕开柔润水色，淡墨远山融在水天尽头晕出空濛侘寂。临水而立的红顶吊脚屋，枕着清波尽显水乡意趣。左侧石板山道上，两名町人作揖寒暄，衣褶舒展鲜活，将市井日常揉入雅致景致间。\n\n暖红檐角、苍绿林木撞色和谐，带着日式版画独有的平涂鲜亮质感，将闲淡乡居烟火与清寂湖光融为一体，藏起隐于山水间的温柔日常，引观者沉入这份松弛的和风诗意里。",[9613,858,27,30,7,32,762,1677,75,33,623,1430,15845],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d492b767333ad0eb94cc27d1af0c137.jpg",[],{"id":15849,"slug":15850,"title":15851,"dynasty":18,"author":4715,"museum":433,"description":15852,"tags":15853,"thumbUrl":15854,"material":148,"size":148,"collection":148,"collections":15855,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},224558,"shu-hua-ce-ye-23-xiao-yun-cong-wang-shi-zhen-224558","《书画册页》-23","此作用笔清隽秀逸，以刀削般奇崛林立的峰林为骨，以留白晕染出漫谷云气，将山居轻揽其中。屋舍雅致，有人闲坐凭栏，尽显幽居林下的悠然意趣，左下角浮屠松石点缀，更添古雅沉静。\n设色糅合浅绛与青绿，淡雅柔和，勾勒简练却苍劲奇峭，将山水灵秀与文人遁世之思相融。尺幅间淡远空灵，悠悠古韵漫溢，尽显超然出尘的林下之风，将山水之美与文人心底的丘壑悄然铺展。",[24,213,27,162,28,116,30,7,139,33,10303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac4216ea4ffef16e9d20f2e0892fc054.jpg",[],{"id":15857,"slug":15858,"title":15859,"dynasty":157,"author":7174,"museum":433,"description":15860,"tags":15861,"thumbUrl":15863,"material":148,"size":148,"collection":148,"collections":15864,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":54},224403,"gao-ling-ping-chuan-tu-wang-yuan-qi-224403","高岭平川图","《王原祁画论译注》由俞丰译注，荣宝斋出版社出版。\n雨窗漫笔 论画十则 麓台题画稿 沈楙德跋 题丹思画册仿叔明 仿黄子久笔 题仿大痴巨幅 烟峦秋爽仿荆关 仿梅道人笔 仿小米笔 仿黄子久 题仿大痴笔（一） 仿大痴秋山 仿大痴（一） 仿黄大痴长卷 仿大痴（二） 仿梅道人 仿大痴（三） 仿大痴《九峰雪霁》 仿大痴（四） 仿设色大痴 仿设色倪黄 题仿大痴笔（二） 送励南湖画册十幅仿宋元诸大家 题仿万壑松风丹思三十幅之一 题仿范华原三十幅之一 画设色高房山三十幅之一 仿松雪、大年笔意 题画仿王叔明长卷 题仿大痴手卷 题仿淡墨云林 题仿梅道人长卷 题学思翁仿子久法 题仿赵大年推篷四页之一 题仿董巨笔 题仿小米笔 仿大痴设色秋山 题仿梅道人 仿设色小米 仿大痴秋山 仿梅道人 仿大痴水墨长卷 画家总论题画呈八叔 仿设色大痴长卷 仿王叔明 题仿大痴没色秋山 为凯功掌宪写元季四家 仿黄子久设色 仿设色大痴秋山 仿大痴笔为轮美作 又仿大痴设色 仿设色倪黄 大横披仿设色大痴 拟设色云林小幅 仿倪黄设色小卷 仿黄鹤山樵巨幅山水 题仿董北苑 外三则 题跋广录 仿大痴笔 溪山高隐图卷 西窗消永图 为在陆策懒 仿大痴富春图 仿古山水卷 仿古山水册（一） 仿黄公望山水 仿大痴山水（一） 华山秋色图 会心大痴 仿倪瓒山水 山水（一） 为明吉作山水 仿黄鹤山樵《秋山读书图》 仿倪黄笔意 仿大痴山水（二） 意止斋图卷 沧浪亭诗意 仿黄大痴《秋山图》 仿王蒙《溪山仙馆图》 仿梅道人山水 富春山图 写大痴得力荆关 仿赵孟頫山水 仿古脱古图 夏山图 补云林《遂幽轩图》 仿王蒙山水 湖湘山水 仿倪瓒笔意 仿高尚《书云山图》 杜老诗意 四绝山水 溪山林屋图 万壑千崖卷 仿宋元六家卷 清泉白石图 仿倪黄山水 舟次所作 仿曹云西山水 倪黄笔意图 用高尚书法写少陵诗意 仿黄公望山水 仿元季六大家推篷册 仿大痴富春山笔意卷 山水为石谷 仿倪黄山水 胜弈图 仿大痴山水卷 竹溪渔浦松岭云岩卷 山水（二） 没色山水 仿山樵山水 山水（三） 仿古山水 仿倪瓒山水 仿董巨山水 仿古臣册 仿王蒙山水 为杨晋画山水 仿方方壶 仿梅道人《秋山图》 设色山水 仿大痴画法 仿王蒙山水 仿黄公望山水 仿大痴（五） 仿董巨山水 仿高克恭山水 仿山樵林泉清集丹台春晓二图意 仿黄公望笔意 仿黄公望《秋山图》 仿赵大年江南春参松雪笔意 西岭烟云卷 仿王蒙笔意 为拱辰作山水 仿米家云山 仿倪画笔意 仿惠崇江南春 仿倪黄山水 秋山图 仿大痴山水（三） 春山图 江山无尽图 山村雨景 仿黄公望《富春山色图》 仿黄公望山水 学董巨神完气足 仿诸家山水 赠王忍庵横幅二 仿云林山水 仿王蒙笔意 苍岩翠壁图 仿大痴《秋山图》 秋林叠巘图 红香夹岸图 仿黄公望《富春山居图》 仿大痴兼赵大年江南春意 远山叠嶂图 仿倪黄山水 九日适成卷 仿古 山水（四） 山水（五） 仿倪瓒山水 粤东山水 仿云林山水 夏山水阁图 高岭平川图 仿大痴山水（四） 为位凝作山水 云山罨画图卷 水墨山水 山水（六） 仿大痴山水（五） 仿黄公望笔意 山水（七） 仿大痴山水（六） 设色山水 危峰独秀图 大痴小幅 陡壁磐石图 远岫归云图 仿倪高士《滩声嘈嘈杂雨声图》 跋文徵明《石湖清胜图卷》 仿古山水册（二） 仿云林山水 附录",[23,24,63,193,27,116,118,774,15862,451,7,32,31],"平川","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5175b8b65826f681dca70b8cad442470.jpg",[],{"id":15866,"slug":15867,"title":15868,"dynasty":157,"author":15869,"museum":135,"description":15870,"tags":15871,"thumbUrl":15872,"material":495,"size":496,"collection":148,"collections":15873,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},224350,"qing-shan-shui-lou-tai-jin-de-ying-224350","清山水楼台","金德瑛","金德瑛（1701年－1762年），中国清朝状元、政治人物，字汝白，号桧门。浙江仁和（今浙江杭州）人。\n生于康熙四十年（1701年），乾隆元年（1736年）状元。授翰林院修撰，历任右庶子、太常寺卿，任江西、山东及顺天学政。乾隆二十一年（1756年），路过徐州，发现黄河决口，运河溢涨，及时上奏。官至左都御史。金德瑛工书法，喜欢戏曲，常至梨园听歌。",[23,24,63,27,26,118,7,121,30,33,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911cc53f39a6642f5e1301b28b6ba7b0.jpg",[],{"id":15875,"slug":15876,"title":15877,"dynasty":157,"author":8952,"museum":433,"description":15878,"tags":15879,"thumbUrl":15880,"material":148,"size":148,"collection":148,"collections":15881,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":152},224280,"shan-shui-hua-hui-ce-shi-er-fu-shan-224280","山水花卉冊(十二)","此作用笔简淡稚拙，以浅赭轻晕山峦，敷色清和柔润。近滩板桥轻横，浅渚疏林错落；中景红墙环绕，古寺隐现于茂林之间，城郭拱门洞开，晕开几分烟火清寂；远景峰峦平缓朦胧，晕染出空濛山意。全画无繁复皴擦，以简淡线条勾勒出幽寂山居，将林泉隐逸的萧散意趣融于尺幅之中。笔墨空灵简净，褪去雕琢之态，尽显超然出尘的林下之风，藏着寄情丘壑的文人雅怀，整体氛围静谧冲淡，意蕴悠远绵长。",[23,24,63,213,27,118,116,774,451,7,31,32,117,75,33,1430,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ed8a4cf428d9d61c7bc6b9cfbed48.jpg",[],{"id":15883,"slug":15884,"title":15885,"dynasty":157,"author":8952,"museum":433,"description":15886,"tags":15887,"thumbUrl":15888,"material":148,"size":148,"collection":148,"collections":15889,"showCount":221,"zanCount":587,"manualWeight":11,"mainColor":54},224274,"shan-shui-hua-hui-ce-wu-fu-shan-224274","山水花卉冊(五)","此作笔墨简率古雅，以朴拙皴染写就群山苍莽浑厚的质感，数道飞泉破壁而出，灵动生机撞破山林沉静。坡上古松虬曲苍劲，松针攒簇如盖，掩映着朱栏青瓦的山居，暖艳设色在水墨晕染间跳脱而出，为山野添了几分雅致温馨。\n\n画面无过多雕琢，将山野荒疏之境与幽居安和之意相融，浅淡设色晕出柔和静谧的氛围，藏着遁世丘壑、寄情林泉的文人襟怀，尽显静穆散淡的世外意趣。",[23,24,63,213,27,116,118,774,421,538,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9054b9316da205782a3ee8906cbcf0e5.jpg",[],{"id":15891,"slug":15892,"title":10768,"dynasty":58,"author":281,"museum":190,"description":15893,"tags":15894,"thumbUrl":15895,"material":247,"size":15896,"collection":148,"collections":15897,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":54},223458,"shan-shui-tu-ye-yi-ming-223458","伴随着王朝更迭，赵宋南渡，山水画的风格面貌也发生了非常大的转变，其最为显著的特征就是南宋一改北宋山水画全景式的宏大构图，代之以空灵雅致的边角式构图。这是南北山河地貌的差异造成的：描绘的对象发生了改变，画家们的画法自然也会随之改变。这种画风上的变革却常常被后世附会为画家们用画作中的“残山剩水”寄托对故土的哀思，更以此去劝诫君王莫要偏安一隅。然而，正是南宋时期对山水画独特的审美追求造就了山水小品画空前繁荣，现存的宋代山水小品画也大多创作于这一时期。",[23,24,63,213,27,26,116,118,373,7,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaaf7d12794a522b894f58b7f4ce2bcb.jpg","纵23厘米 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[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。",[18,11815,16903,12066,27,2306,2444,121,7,1298],"剔彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1512a6620f5c7d1dabf386ba38bf931c.jpg",[],{"id":16907,"slug":16908,"title":16909,"dynasty":18,"author":281,"museum":433,"description":16910,"tags":16911,"thumbUrl":16914,"material":312,"size":148,"collection":834,"collections":16915,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},240115,"shi-gao-ye-yi-ming-240115","诗稿页","此作用笔苍劲灵动，行书间带着草意的疏放，字势错落随性，毫无雕琢匠气。墨色枯湿浓淡相映，枯笔见骨力，润笔显腴润，牵丝映带自然连贯，将书写时的思绪流转藏在笔锋起落之间。\n\n通篇行气疏朗舒展，带着信笔挥毫的松弛意趣，诗书意气尽数融在笔墨中，尽显文人手札特有的鲜活温度，仿佛能窥见挥毫当下的悠然肆意，触摸到那份不拘格律、直抒胸臆的文人风神。",[3647,284,164,162,3411,761,7,16912,16913],"佳人","雨歇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17184b5c5e86b0892b1609d3f5a67ce3.jpg",[834],{"id":16917,"slug":16918,"title":16919,"dynasty":157,"author":16920,"museum":433,"description":16921,"tags":16922,"thumbUrl":16924,"material":312,"size":148,"collection":834,"collections":16925,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},240112,"shi-ye-wang-shi-zhen-240112","诗页","王士祯","王士禎（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字貽上，號阮亭，又號漁洋山人，世稱王漁洋。山東新城（今山東桓台縣）人。清初詩人、文學家、詩詞理論家。 [1]\n王士禎為清順治十五年（1658年）進士，康熙四十三年（1704年）官至刑部尚書，頗有政聲。諡文簡。\n王士禎在實踐“神韻説”，取得卓著詩文成果的同時，還能突破正統文壇和文人偏見，重視和高度評價小説、戲曲、民歌等通俗文學、文體。他的主要成就在詩文創作與理論方面，但在小説、戲曲、民歌、書畫、藏書、史論等方面所取得的成就亦不容忽視。",[164,284,117,162,118,7,1996,1598,1013,11011,373,5768,16923,775],"城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf03ac5238f595e37015f53d2889acba.jpg",[834],{"id":16927,"slug":16928,"title":16929,"dynasty":157,"author":16930,"museum":433,"description":16931,"tags":16932,"thumbUrl":16933,"material":495,"size":496,"collection":148,"collections":16934,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},239536,"fang-gu-ji-you-tu-ce-huang-yi-239536","访古纪游图册","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,162,116,213,118,7,120,139,33,335,452,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7be1e9184db79acce97a081fba3e95.jpg",[],{"id":16936,"slug":16937,"title":16938,"dynasty":157,"author":15469,"museum":433,"description":16939,"tags":16940,"thumbUrl":16941,"material":148,"size":148,"collection":148,"collections":16942,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},239376,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239376","画载月十咏诗意册","淡墨晕开空濛天色，细碎飞白点染出暮霭流萤般的朦胧清寂。院舍楼阁错落铺开，翘角飞檐雅致温婉，院墙随坡迤逦，竹树扶疏间藏着幽居沉静。远山以淡赭轻勾，简淡空阔，衬出近景宅院悠然安适。\n\n题诗与落款笔墨瘦劲清雅，诗画交融，将载月闲居的清隽逸趣藏在轻岚淡墨中，把文人寄情林泉的雅怀诉诸笔端，尽显清逸静穆的文人画审美意趣，淡远恬然的幽居意境呼之欲出。",[24,213,28,27,118,7,605,33,139,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2581eaab605fb9766793fb10f76ed717.jpg",[],{"id":16944,"slug":16945,"title":7390,"dynasty":157,"author":7814,"museum":433,"description":16946,"tags":16947,"thumbUrl":16948,"material":495,"size":496,"collection":148,"collections":16949,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},239366,"shan-shui-ce-wang-san-xi-239366","王三锡(1716—？) 太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[114,24,63,213,162,116,118,7,451,3067,1157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210a43366824ee0218286cb020d6ec8a.jpg",[],{"id":16951,"slug":16952,"title":16953,"dynasty":157,"author":16954,"museum":433,"description":16955,"tags":16956,"thumbUrl":16957,"material":148,"size":148,"collection":148,"collections":16958,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},239203,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239203","三大名山十二图册","徐枋","此作书画合璧，以干笔淡墨绘就山林古寺。层峦叠嶂间松荫翳然，板桥通幽，行人缓步徐行，意境清寂淡远，尽显静穆出尘之致。\n行书题诗笔致清劲萧散，与画面的野逸气息彼此呼应。笔墨洗练不事雕琢，以留白烘托出空寂禅意，将山水的幽邃与沉郁清介的襟怀相融，淡墨皴擦间漫溢出荒寒雅静的林下之风，是寄寓了文人孤高心性的山水佳作。",[24,162,118,116,213,284,117,31,32,538,139,7,121,33,1170,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e51aa9b0ddb8cc46ad09ca88e82366.jpg",[],{"id":16960,"slug":16961,"title":16962,"dynasty":157,"author":16963,"museum":433,"description":16964,"tags":16965,"thumbUrl":16966,"material":148,"size":148,"collection":148,"collections":16967,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},239159,"shan-shui-hua-hui-ce-chen-heng-ke-239159","山水花卉册","陈衡恪","陈衡恪(1876-1923) ，中国民国初年天才横溢的画家，美术教育家。字师曾，号槐堂、朽道人，祖籍江西义宁(今修水)，1876年3月12日出生于湖南凤凰县。著名诗人陈三立长子，陈寅恪之兄。曾留学日本，攻读博物学。归国后从事美术教育与研究。擅山水花鸟人物，其花鸟画浑厚绮丽，山水画钩多皴少，人物画带速写情趣。又工篆刻、书法，能诗，出奇造意，矫柔为刚。由于陈师曾的人品、学问及诗、书、画、印“四全”，因此被公认为民国初年北京画坛最有名望的画家。梁启超称他为“现代美术界具有艺术天才、高人恪、不朽价值的第一人”。著有《中国绘画史》、《中国文人画之研究》。",[24,63,213,162,27,116,164,118,139,538,623,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177bbaeff17ad321a599c995d572aad2.jpg",[],{"id":16969,"slug":16970,"title":7390,"dynasty":157,"author":12832,"museum":433,"description":12833,"tags":16971,"thumbUrl":16972,"material":148,"size":148,"collection":148,"collections":16973,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":54},239008,"shan-shui-ce-li-dong-239008",[24,63,213,27,118,7,31,139,33,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F510aef1940f26a918f28f3be24c6cb7a.jpg",[],{"id":16975,"slug":16976,"title":7390,"dynasty":157,"author":14891,"museum":433,"description":16977,"tags":16978,"thumbUrl":16979,"material":148,"size":148,"collection":148,"collections":16980,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},238993,"shan-shui-ce-yang-jin-238993","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,63,213,162,116,118,33,7,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed25720ee5308511efd0e1f2aef0ca3a.jpg",[],{"id":16982,"slug":16983,"title":16984,"dynasty":157,"author":281,"museum":433,"description":16985,"tags":16986,"thumbUrl":16988,"material":495,"size":496,"collection":148,"collections":16989,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":54},238878,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238878","清人善巴拉王菩萨像轴","中央善巴拉王高踞战车之上，宝冠华服，怒目圆睁，一手高举法器、一手张弓，威赫慑人。麾下神兵纵马驰突，戈矛映日，旌旗翻卷，修罗战场的肃杀之气扑面而来。\n\n设色浓丽饱和，石青、金朱撞色鲜明，尽显独特视觉张力。云气山石柔润过渡，对冲兵戈刚硬。左上角莲台圣者静立粉云间，以静定平衡杀伐喧嚣，暗合以力镇魔、护持正法的宗教意涵。\n\n全作线条细密流畅，衣甲纹饰分毫毕现，将护法神威与战场动感完美融合，是藏地宗教绘画极具表现力的典范。",[94,193,26,27,115,28,30,96,8047,7,2184,16987],"坐骑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F571d369381a27030ff20af77cbd2ca6d.jpg",[],{"id":16991,"slug":16992,"title":13668,"dynasty":157,"author":8651,"museum":433,"description":16993,"tags":16994,"thumbUrl":16995,"material":148,"size":148,"collection":148,"collections":16996,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},238780,"shan-shui-ren-wu-xiao-ce-dong-gao-238780","此作以细劲笔墨织就幽深山居图景，繁密林木层叠勾勒，皴擦间尽显蓊郁苍润，将山谷裹挟成一方静秘境域。左侧溪涧蜿蜒，策杖行人缓步徐行，野趣自生。山坳屋舍错落隐于翠色间，烟火气融于山野幽寂。淡设色轻染花叶、衣袂，柔和雅致，边角题字清隽，与画面浑然一体。整幅画将文人心中林泉闲逸尽数铺展，可游可居，意境清寂淡远，把世外山居的静雅闲情，凝练成一方诗意天地，尽显传统山水寄情丘壑的雅致意趣。",[24,63,213,27,118,30,7,139,33,116,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b3aeb391f5fb3463fc3a671190b9a8.jpg",[],{"id":16998,"slug":16999,"title":15023,"dynasty":157,"author":1557,"museum":433,"description":17000,"tags":17001,"thumbUrl":17002,"material":148,"size":148,"collection":148,"collections":17003,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},238756,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238756","此作用淡墨绘就行旅小景，左侧城堞隐于烟柳山峦间，石径沿陂岸迤逦延展。策马路过的士人衬出荒村的清寂。远景山峦以干笔皴擦，苍朴雅致，近岸林木简淡清润，虚实相映晕染出空濛悠远的氛围。配页书法端雅工稳，诗画呼应，将拟古羁旅诗意融于尺幅山水间。笔致松秀灵和，简净萧疏，把行旅幽寂的况味藏在淡墨山水里，诗画合璧，尽显清和淡远的绵长意韵。",[24,63,213,162,27,116,28,118,30,65,7,272,385,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f6b582e70bcee5d7540efab516672d.jpg",[],{"id":17005,"slug":17006,"title":15038,"dynasty":157,"author":1557,"museum":433,"description":17007,"tags":17008,"thumbUrl":17009,"material":148,"size":148,"collection":148,"collections":17010,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},238720,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238720","此作用笔清隽萧散，以水墨晕染出月夜空蒙之境。左上角谯楼隐在烟霭中，留白铺就出辽远夜色，右下角茅舍旁，老翁凭栏望月，树石苍秀简澹。\n画面将怀远幽思融在淡墨山色间，诗画合璧呼应诗意，天地俱寂里，幽人寄情明月，虚实相生间晕开悠悠愁绪。无浓丽敷色，全以极简笔墨铺陈出清远孤寂的意境，将文人情思和山水夜色融为一体，尽显清雅淡远的文人画意趣。",[24,63,162,28,213,116,284,117,30,7,762,121,118,33,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870e2824ee524e800c8f5fd3fce2de7c.jpg",[],{"id":17012,"slug":17013,"title":15038,"dynasty":157,"author":1557,"museum":433,"description":17014,"tags":17015,"thumbUrl":17016,"material":148,"size":148,"collection":148,"collections":17017,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},238716,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238716","此作用白描绘就雅集盛景，左畔古木怪石环抱幽亭，右方水榭远山含藏烟波。汀洲之上文人两两揖晤，衣袂舒展、仪态温恭，尽显林下酬唱的清逸闲趣。\n\n画师以铁线勾勒写形，山石皴擦简淡却见丘壑层次，古木虬枝挺拔苍劲，笔致秀挺洗练。题诗与画境呼应，诗画交融，将文人雅聚的风流意韵尽藏卷中，笔墨间浸透着古典山水人文的悠然意趣。",[24,63,213,162,116,30,118,451,1599,121,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc51b9748c6e4f11f137e26f6f94113.jpg",[],{"id":17019,"slug":17020,"title":15038,"dynasty":157,"author":1557,"museum":433,"description":17021,"tags":17022,"thumbUrl":17023,"material":148,"size":148,"collection":148,"collections":17024,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},238711,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238711","此作用左文右图的形制，将诗画相融。画面以水墨绘就板桥送别之景，着笠佩剑的行者停驻桥头，与揖手相送的故友遥遥相对，侧旁侍从牵马静候，依依别情尽在无言。远景山峦以淡墨轻皴，烟岚晕染出平远空濛之态，近岸枯木虬枝挺拔，衬出萧疏清远的氛围。\n\n笔墨秀雅清劲，皴擦简淡含蓄，将离别的缱绻怅惘融于山水间。题字与朱印错落排布，诗书画印相映成趣，尽显文人雅韵，把诗文里的惜别深情化作可感的山水意境，含蓄隽永。",[24,63,162,27,26,116,118,30,7,31,373,121,272,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9563c77083b5aa0bd8dc5dec7ab912ba.jpg",[],{"id":17026,"slug":17027,"title":17028,"dynasty":157,"author":281,"museum":433,"description":17029,"tags":17030,"thumbUrl":17039,"material":148,"size":148,"collection":148,"collections":17040,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":54},238595,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238595","平定两金川得胜图册","刀笔复刻得胜荣归的庄严时刻，细密线条铺陈出规制森严的军容与万众归心的场面。画面中央高阁巍峨，阶前将官肃立校场，阵列将士甲胄齐整、旌旗肃然，两侧军民躬身静立，尽显礼制尊崇。\n\n作品以写实笔触，还原了庆功大典的仪制细节，将平乱后的肃穆荣光藏于每一处勾勒之中。屋宇廊檐、甲胄衣纹皆刻画入微，既承载着军功盛典的厚重历史，也尽显纪实铜版画的细腻表现力，定格下王朝扬威安邦的恢弘瞬间，兼具史料价值与古典纪实美学质感。",[114,3011,213,30,7,17031,17032,17033,17034,2029,17035,17036,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星光寺缘起画卷上下卷(下)",[23,27,26,28,25,63,30,7,118,33,38,39,71,196,7218,94,4019,1157,6640,5090,12246,14132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e8c658f98ed5e6da2b6f79695a224.jpg",[],{"id":17260,"slug":17261,"title":17262,"dynasty":4105,"author":281,"museum":433,"description":17263,"tags":17264,"thumbUrl":17266,"material":495,"size":496,"collection":148,"collections":17267,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},231635,"lian-cang-shi-dai-zhu-ji-wu-yu-hua-juan-yi-ming-231635","镰仓时代 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工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[24,162,116,213,63,117,164,118,120,7,33,139,1430,214,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb46bf774b4ee06c53bb0d0f4bef3403.jpg",[],{"id":17276,"slug":17277,"title":17278,"dynasty":157,"author":17279,"museum":433,"description":17280,"tags":17281,"thumbUrl":17282,"material":148,"size":148,"collection":148,"collections":17283,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":54},230252,"hu-shan-sheng-jing-tu-wan-shang-lin-230252","湖山胜境图","万上遴","以大青绿设色晕染湖山，远景层峦迤逦，青碧山峦如翡翠层叠舒展，林树错落点染岸渚，晕开清寂悠远的山野意趣。\n中幅湖面空蒙开阔，数帆缓行、舟楫往来，为静穆烟波晕开灵动生气。近岸山居枕水而建，花树环拥亭台，青绿皴染的坡岸雅致温润；下方城楼依水伫立，牵起市井烟火与丘林幽秀的相融之境。\n古雅厚重的赭石底色晕开沉朴古韵，青绿石色提亮山水层次，将庙堂规整与林泉幽秀揉合，尽展江南湖山的安和清宁，是兼具写实意趣与文人雅韵的青绿佳构。",[23,24,63,115,27,118,7,121,120,5147,33,623,7177,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7d75c51828938af5b421c7b261fab1.jpg",[],{"id":17285,"slug":17286,"title":17287,"dynasty":58,"author":281,"museum":433,"description":17288,"tags":17289,"thumbUrl":17290,"material":148,"size":148,"collection":148,"collections":17291,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":54},227342,"shi-wang-jing-yi-ming-227342","十王经","五代 佚名《佛说十王经》，此卷全称《佛说阎罗王授记四众预修生七往生净土经》，简称《佛说十王经》。为卷轴式手抄彩绘卷，本经卷属晚唐五代时期，画风古朴，十分珍罕。\n\n卷首绘释迦牟尼呈说法状安住于莲座上，两边是佛弟子舍利弗和目连。十王对称坐于佛之下二侧，十王身后各有二判官。中间位置圣坛两边为道明和尚和梳双髻的善恶二童子。经文后紧随地藏、龙树、观音、长悲、陀罗尼和金刚藏六大菩萨，显示了地藏菩萨在十王信仰中的重要地位。随后是黑衣使者乘黑马、把黑幡，为阎罗王派去检亡人家功德。",[23,24,63,26,27,94,30,1298,123,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ab906e76a7baadf1b2c9e85442d8be.jpg",[],{"id":17293,"slug":17294,"title":17295,"dynasty":4105,"author":281,"museum":433,"description":17296,"tags":17297,"thumbUrl":17298,"material":148,"size":148,"collection":148,"collections":17299,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},225318,"fu-shi-hui-58-yi-ming-225318","浮世绘58","画面以层叠铺展的构图铺陈水乡风物。前景屋舍错落引出底色，中景拱桥凌波横卧，柔婉桥身搭配六边形纹理石墩，雅致精巧。桥上行人三两，步履闲散，让清寂风景晕染出烟火暖意。\n\n左侧山林间隐现楼阁，远景翠色孤山静立，淡云轻绕山脚晕开朦胧清旷。清浅水色与草木青绿、屋瓦黛蓝交织，色调明快柔润。整体线条舒展圆润，将自然山水的悠然与俗世日常鲜活相融，尽显和风风景绘的雅致意趣，勾勒出江户水乡的恬淡诗意。",[9613,858,27,118,2304,7,33,123,75,774,775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01271d3b09a0b6f3b79339f39344ad6f.jpg",[],{"id":17301,"slug":17302,"title":17303,"dynasty":18,"author":4715,"museum":433,"description":17304,"tags":17305,"thumbUrl":17306,"material":148,"size":148,"collection":148,"collections":17307,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},224560,"shu-hua-ce-ye-25-xiao-yun-cong-wang-shi-zhen-224560","《书画册页》-25","此作以黄山实景入画，峰林如万笏朝天，奇崛冷峻间尽显山岳雄姿。盘崖山道萦回曲折，将错落楼宇、策杖旅人串联，静穆山景因行人添上几分灵动生机。\n\n笔墨枯淡简劲，以勾勒皴擦写就山石肌理，苍松虬枝斜出，笔意萧疏散淡，带着清冷荒疏的古雅意趣。题跋小字清隽，与淡墨轻岚融为一体，将黄山的幽绝与文人雅怀相融，把皖南山水的清旷冷逸铺陈于尺幅间，是兼具写实与抒情的山水佳构。",[24,63,162,116,118,7,31,33,139,121,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fb2b4eb2f4e2c05041ae041e2f8b94.jpg",[],{"id":17309,"slug":17310,"title":17311,"dynasty":18,"author":4715,"museum":433,"description":17312,"tags":17313,"thumbUrl":17314,"material":148,"size":148,"collection":148,"collections":17315,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},224552,"shu-hua-ce-ye-17-xiao-yun-cong-wang-shi-zhen-224552","《书画册页》-17","此作以危崖为骨，层叠楼阁依山而起，飞檐翘角隐于苍松虬枝之间，将人工巧思揉入天工奇险。设色调清雅柔和，山石勾勒方折硬朗，皴擦极简便勾勒出崖壁肌理，古松姿态苍劲古拙，尽显高浑气象。\n\n崖间回廊蜿蜒，行人缓步登游，为冷峭山景添上悠然雅趣，右上角题跋小字灵动，与画意相映成趣，晕开文雅余韵。工致界画衬以写意山水，将世外仙山出尘之境，描摹得淋漓尽致。",[24,63,213,28,27,118,7,30,33,139,1996,538,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9d18ef08fba367f18c210f9c9efab9.jpg",[],{"id":17317,"slug":17318,"title":17319,"dynasty":18,"author":4715,"museum":433,"description":17320,"tags":17321,"thumbUrl":17322,"material":148,"size":148,"collection":148,"collections":17323,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},224551,"shu-hua-ce-ye-15-xiao-yun-cong-wang-shi-zhen-224551","《书画册页》-15","此作用干笔淡墨写尽层崖奇崛，取皖南山水清瘦之态。层叠崖壁错落排布，苍松倚壁探枝，山居楼宇嵌于山石褶皱之间，烟火意趣融于林泉丘壑。\n\n笔墨简淡清逸，以线勾勒山石筋骨，皴擦简括，不事浓艳敷色，尽现山川空灵苍劲。构图疏密得宜，纵向铺陈崖壁拉开空间层次，将山林冷峭与村居暖意相融，题跋补缀边角，文人意趣悠长，尽显晚明山水寄情林泉的清逸淡远之韵。",[24,63,213,162,116,118,7,538,139,121,946,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7e4ee8c969f7dab6109b89f3552ec2.jpg",[],{"id":17325,"slug":17326,"title":17327,"dynasty":157,"author":8952,"museum":433,"description":17328,"tags":17329,"thumbUrl":17330,"material":148,"size":148,"collection":148,"collections":17331,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},224281,"shan-shui-hua-hui-ce-shi-wu-fu-shan-224281","山水花卉冊(十五)","此作用留白摹绘空濛水面，虚实相映间晕染出澹远氛围。淡赭铺就底色，晕开温润古雅的基调。层叠飞檐的楼阁笔致沉稳工细，朴拙雅致，被繁茂林木掩映其中，苍润点叶勾勒出郁葱林木，将古建藏于幽林深处，尽显园居林下的幽谧雅致。整体笔墨简淡萧散，以极简的构图铺陈出悠然林泉意趣，将山居清逸诗意藏于毫端，尽显文人画静雅疏朗的气韵。",[23,24,27,213,28,118,7,33,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcefbf253f5d81cb951145273ef1c17b.jpg",[],{"id":17333,"slug":17334,"title":17335,"dynasty":157,"author":12143,"museum":433,"description":17336,"tags":17337,"thumbUrl":17338,"material":148,"size":148,"collection":148,"collections":17339,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":152},224266,"dou-bi-dan-tai-tu-jiang-zhu-224266","陡壁丹台图","《新安画派书画精品集》以渐江为代表的新安画派及与之同时的一些杰出画家的创作成就，同时介绍作为“源”的在他们之间的一些著名画家与作为“流”的在他们之后一些画家的创作成就，叙述对新安画派、新安画坛的创作有深刻影响的绘画美学思想，特别是新安人的绘画美学思想。\n《新安画派书画精品集》由 出版。\n敛辞朱良剑 敛辞石金呜 前言 “新安画派”概述张飞莺 风骨冷然气韵清逸——安徽博物院藏渐江《晓江风便图》赏析李艳红 先声 江必名 雪景山水图 吴龙草亭听泉图 郑元勋古木秀石图 郑为虹山斋读书图 程嘉燧柳桥山寺图扇面 程嘉燧秋浦泛舟图扇面 李永昌策杖行吟图 高峰 汪之瑞空亭幽树图页 渐江浊阜图册 渐江晓江风便图卷 渐江秋江风帆图扇面 孙逸溪桥觅句图 查士标宿雨初收图 查士标深山古寺图 查士标仿董北苑山水图 查士标仿梅华道人山水图 查士标仿元人山水图 查士标坐对江天图 查士标 云山梦树图页 查筠仿梅壑山水图 胡皋和风烟雨图 程邃山静太古图 程邃独往秋山图 程邃秋山图册 戴本孝巢民老人观菊图卷 戴本孝 山谷回廊图 戴本孝草阁幽情图 戴本孝苍松劲节图 戴本孝摹北苑山水图 戴本孝湖山逸兴图 吴定剡溪积雪图 吴定秋高叶醉图 吴定瑶峰玉树图 郑畋仿吴仲圭山水图 郑欧黄山四景图四条屏 郑畋仿倪山水图 程萝乱山草木图 姚宋仿黄鹤山樵山水图 江注黄山一角图 江注陡壁丹台图 祝昌仿倪山水图 吴元澄 临赵鸥波《夏山高隐图》 余韵 谢绍烈江石萝月图扇面 释雪庄木莲花图 释一智黄山云舫道中图 方士庶栖霞楼归图 何文煌溪山话别图卷 程义仿赵子固山水图 鲍楷寒庵香雪图 程堂仿梅华山水图 汪朴南窗寄傲图 江士相富春归棹图卷 吴麈仿梅道人山水图 汪滋仿古山水图册 程鸣沧江泛舟图 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杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[8134,9354,12067,14497,7,118,284,17759],"赤壁赋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750a21721c8606a86bcc14dc0d707aac.jpg",[],{"id":17763,"slug":17764,"title":17765,"dynasty":157,"author":281,"museum":433,"description":7691,"tags":17766,"thumbUrl":17769,"material":495,"size":496,"collection":148,"collections":17770,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":499},250241,"hua-fa-lang-hai-tang-hua-shi-ping-yi-ming-250241","画珐琅海棠花式瓶",[2180,16893,11760,17767,14498,14729,17768,118,33,123,7,6567,11761],"鎏金","海棠花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a60dc0263f70a0771d5dcf5352c76f.jpg",[],{"id":17772,"slug":17773,"title":17774,"dynasty":157,"author":281,"museum":433,"description":17708,"tags":17775,"thumbUrl":17777,"material":495,"size":496,"collection":148,"collections":17778,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":54},248752,"hei-qi-miao-jin-shan-shui-ren-wu-tu-he-yi-ming-248752","黑漆描金山水人物图盒",[2180,11815,17776,27,118,30,7,31,32],"黑漆描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d010bd5ce9c6ec185b65edea0143ea.jpg",[],{"id":17780,"slug":17781,"title":17782,"dynasty":157,"author":281,"museum":433,"description":17783,"tags":17784,"thumbUrl":17787,"material":495,"size":496,"collection":148,"collections":17788,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":152},248579,"kuan-cai-long-feng-shan-shui-ren-wu-tu-chang-fang-xiang-yi-ming-248579","款彩龙凤山水人物图长方箱","此件以款彩技法施艺，黑漆为底，刀笔勾勒间晕染出斑斓图景。顶面龙凤穿游于缠枝纹中，龙姿遒劲威严，凤形灵动雍容，瑞气盎然。箱体周身铺展山水人物长卷，亭台隐于林木，溪桥架过浅滩，野鹿闲游、禽鸟振翼，村人往来阡陌，宛若桃源胜境。\n漆色沉雅浓丽，走线细腻入微，将宫廷华贵与田园清趣融于一器，把祥瑞吉意和文人雅趣揉为一体，静穆底色托衬出鲜活图景，尽显匠作精工巧思，古雅耐看意蕴悠长。",[11815,17785,27,1298,17786,118,30,7,31,32,1851],"款彩","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb4b26ea71c20b5a15eabe3367d22980.jpg",[],{"id":17790,"slug":17791,"title":17792,"dynasty":157,"author":281,"museum":433,"description":17708,"tags":17793,"thumbUrl":17795,"material":495,"size":496,"collection":148,"collections":17796,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":106},248535,"jin-qi-shan-shui-lou-ge-tu-si-ceng-chang-fang-dai-ji-tao-he-yi-ming-248535","金漆山水楼阁图四层长方带几套盒",[17794,11815,118,7,1851],"金漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2e5b392a2e1cce4be29e6a5e16bba3.jpg",[],{"id":17798,"slug":17799,"title":17800,"dynasty":157,"author":281,"museum":433,"description":17801,"tags":17802,"thumbUrl":17805,"material":495,"size":496,"collection":148,"collections":17806,"showCount":530,"zanCount":587,"manualWeight":11,"mainColor":499},245375,"jin-dian-cui-tan-cheng-yi-ming-245375","金点翠坛城","它是藏传佛教工艺的绝佳范本，通体鎏金明丽华贵，点翠晕开幽蓝柔光，赤金与青碧交相辉映，尽显雍容气度。主体楼阁层叠攀升，飞檐翘角灵动精巧，殿宇间錾刻的诸佛、瑞兽鲜活如生，仿若将一方佛国净土凝缩于此。\n\n底座錾饰缠枝与法相纹饰，将宗教的庄严静穆，和宫廷造办的极致匠心融为一体。每一处细节都凝练着虔敬工巧，把藏地信仰与中原细作工艺完美糅合，静静铺展着工艺交融的绝美篇章。",[2180,16797,15506,12066,94,7,17803,4019,17804],"龙纹","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e3aaee16fda1368e6166974684613b.jpg",[],{"id":17808,"slug":17809,"title":17810,"dynasty":157,"author":281,"museum":433,"description":17811,"tags":17812,"thumbUrl":17814,"material":495,"size":496,"collection":148,"collections":17815,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":54},243252,"ta-shi-dai-mu-bing-jing-yi-ming-243252","塔式带木柄镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[2180,11815,2181,7,118,762,4019,144,17813],"带柄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ff6827646d33b6d2200a10003e2096.jpg",[],{"id":17817,"slug":17818,"title":17819,"dynasty":157,"author":17820,"museum":433,"description":17821,"tags":17822,"thumbUrl":17824,"material":495,"size":496,"collection":148,"collections":17825,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":152},241603,"zhu-zhi-ci-san-s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。即取以市大布制棉衣以施寒者，乡里称善人，卒年六十七 。著有《响泉集》、《梁溪诗钞》。",[63,164,117,27,10936,7,121,17823],"秋水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3bbc5aec8ed12d63dc3e4f6a9f4af7.jpg",[],{"id":17827,"slug":17828,"title":7390,"dynasty":157,"author":12832,"museum":433,"description":12833,"tags":17829,"thumbUrl":17830,"material":148,"size":148,"collection":148,"collections":17831,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":54},239009,"shan-shui-ce-li-dong-239009",[24,63,118,213,27,116,385,373,372,7,762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd8593f537fd8054f69e75921f515f98.jpg",[],{"id":17833,"slug":17834,"title":7390,"dynasty":157,"author":12832,"museum":433,"description":12833,"tags":17835,"thumbUrl":17836,"material":148,"size":148,"collection":148,"collections":17837,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":54},239007,"shan-shui-ce-li-dong-239007",[24,63,213,162,27,118,7,139,33,623,2093,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6e1692f6facef6392c9eae649ea97f.jpg",[],{"id":17839,"slug":17840,"title":16984,"dynasty":157,"author":281,"museum":433,"description":17841,"tags":17842,"thumbUrl":17845,"material":495,"size":496,"collection":148,"collections":17846,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":54},238885,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238885","主尊面含慈悲，宝冠锦服加身，灵蛇盘绕周身，安坐须弥宝座之上，左手握持吐宝鼠，右手托举摩尼宝珠，尽显福德充盈的圆满气象。\n\n画面设色浓烈厚重，石青、石朱等矿物颜料晕染出鲜明厚重的质感，衣饰纹样细密华丽，线条婉转流畅，尽显藏地唐卡工艺特色。\n\n四周眷属、空行与上方祖师护法错落排布，青绿山水与流云屋宇铺陈出清净富足的财神净土，既有造像仪轨的规整肃穆，又兼具清代工致细腻的审美意趣，神性庄严与世俗意趣融为一体，是极具代表性的藏地绘画佳作。",[24,193,27,26,94,30,1298,96,118,386,17843,7,32,17844],"宝物","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d00e84286ff03fe6ed9b9d3a716e8b0.jpg",[],{"id":17848,"slug":17849,"title":16984,"dynasty":157,"author":281,"museum":433,"description":17850,"tags":17851,"thumbUrl":17853,"material":495,"size":496,"collection":148,"collections":17854,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":54},238882,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238882","整幅画作构图饱满紧凑，主尊丰腴圆融，威容间带着慈悲，身饰琳琅珠宝璎珞，托摩尼宝、伴吐宝鼠，尽显富贵尊荣。\n上方六臂护法怒目镇邪，祖师安坐云间说法，诸佛护法错落排布。青绿晕染的山水间花果繁茂，下方亭台瑞泉相衬，用色浓烈饱满又层次分明，藏式唐卡的细腻工笔尽显匠心。将神圣法相与世俗盛景相融，既彰显出藏传佛教的庄严神性，也寄寓了圆满富足的祈愿，是兼具美学价值与宗教意涵的精品。",[193,26,27,94,30,2058,7272,4508,33,17852,3744,32,7,139,96,17843],"花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdaba69953c4292becd551158c09afb5.jpg",[],{"id":17856,"slug":17857,"title":13668,"dynasty":157,"author":8651,"museum":433,"description":17858,"tags":17859,"thumbUrl":17860,"material":148,"size":148,"collection":148,"collections":17861,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":152},238774,"shan-shui-ren-wu-xiao-ce-dong-gao-238774","此作以淡设色绘就冬日乡景，枯木虬枝疏朗劲挺，淡墨晕开薄雾清寒。村道间行人往来，挑担赶路、呼伴闲行，更有群鸭嬉游，鲜活的市井烟火铺满乡路，左侧村居错落朴拙，右侧重楼临水静立，将野趣日常与雅致楼宇相映成趣。\n浅赭铺陈水岸村路，留白晕出空濛寒意，笔致细劲写实，人物衣袂鲜活灵动，老树苍古拙朴。把冬日元寂的郊野氛围，揉进温热的人间烟火，清雅题字与画面相融，尽显江南冬日里的闲淡温煦，藏着文人画里的诗意日常。",[24,63,213,27,118,30,7,422,75,33,946,38,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd376ac119c42d6991c1fcc9112b6c515.jpg",[],{"id":17863,"slug":17864,"title":13668,"dynasty":157,"author":8651,"museum":433,"description":17865,"tags":17866,"thumbUrl":17867,"material":148,"size":148,"collection":148,"collections":17868,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":152},238773,"shan-shui-ren-wu-xiao-ce-dong-gao-238773","此作以淡墨写就冬山清景，枯木虬枝交错横斜，枝头轻缀花萼似凝残雪，将冬末将醒的清寒尽数铺展。林畔茅舍隐于枝桠之后，一角檐宇晕着浅淡暖调，于冷寂山景中揉进细碎烟火暖意。\n\n留白作平湖寒波，愈发衬出山峦林木的空疏淡远。笔意清简秀润，淡墨晕染山石肌理，以极简笔墨勾勒出荒寒又暗含生息的幽寂意境，尽显文人画简淡天真的意趣，将冬日山野的疏旷闲静晕染得如诗如幻。",[24,63,213,162,27,116,118,30,372,373,385,7,139,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbce2040900dbd46b6b00f543fc9ef3b.jpg",[],{"id":17870,"slug":17871,"title":15023,"dynasty":157,"author":1557,"museum":433,"description":17872,"tags":17873,"thumbUrl":17874,"material":148,"size":148,"collection":148,"collections":17875,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":152},238767,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238767","此作用淡墨晕染出空濛水色天色，近处亭台错落虬枝苍劲，凭栏雅士静赏烟波，远景孤阁浮于浅渚，虚实相生，将咫尺画幅拉出悠远景深。\n\n笔墨清润秀雅，全以淡墨皴擦勾勒物象，不着浓艳却氤氲出江南水畔的静谧诗意。右侧题诗与画作呼应，诗画交融，把闲居寄情山水的雅趣娓娓道来，尽显文人画诗画合一的意境，淡而不寡，简中见雅，将林下幽居的恬然心境铺陈在尺幅之间。",[24,63,213,162,118,121,7,451,1599,762,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6829138d75650b4323d6f7e0b2fe54.jpg",[],{"id":17877,"slug":17878,"title":15023,"dynasty":157,"author":1557,"museum":433,"description":17879,"tags":17880,"thumbUrl":17881,"material":148,"size":148,"collection":148,"collections":17882,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":152},238763,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238763","此作诗画合璧，淡墨轻晕间尽显雅逸之致。近景庭院里，古木虬枝旁立着玲珑湖石，屋舍隐于翠色间，白衣文士徐行其间，似正沉醉林泉幽意。远景烟波澹澹，汀渚之上楼阁隐现于薄雾中，咫尺画幅铺展出悠远空寂的意境。\n笔致清润温婉，以极简的水墨皴擦勾勒物象，褪去浓艳，以淡素色调烘托出疏旷闲雅的氛围。书法与绘境相互呼应，将诗文里林下悠游的诗意凝注于画面，把文人闲居赏景的澹然心境具象展现，诗画相映，尽显中式水墨含蓄隽永的独特意趣。",[24,63,213,162,27,118,121,7,30,33,139,284,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc16c16111bf4f1c7e459eab1e241f936.jp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山水”有所扬弃，并结合了其他不同风格以获 得新的形式。比如古意盎然的低云、明快的色 彩以及淡青绿和黄褐相间的色调，都令人想起 赵孟頫和早期中国山水画的样式。同时画面中 山石倾斜的姿态，密集的皴法勾勒的植被和地 形的轮廓，则又可以上溯到董源的传统。",[24,23,193,29,118,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99c57b458a035bd2ef7b2a95a6c3e25f.jpg","136.1x63.2厘米",[127,51],{"id":19554,"slug":19555,"title":19556,"dynasty":4105,"author":281,"museum":433,"description":19557,"tags":19558,"thumbUrl":19564,"material":495,"size":496,"collection":148,"collections":19565,"showCount":587,"zanCount":11,"manualWeight":11,"mainColor":152},289520,"baldassare-tommaso-peruzzi-design-for-the-right-hand-section-yi-ming-289520","Baldassare Tommaso Peruzzi--Design for the Right-hand 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的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。\n唐代的水墨山水画尚处在发展阶段，并不能做到笔墨兼济。吴道子、项容、王维、张璪、王墨等人都使用了水墨来表现山水风光，他们在画法上各具特色，开启了后世水墨画的先声。直到五代十国时期，荆浩的出现才打破了笔墨之间的藩篱，他创造性地在山水画中使用了“皴法”，真正地做到了笔墨兼济的理想状态，并将自己的绘画心得记录下来，写成了《笔法记》一书。荆浩的弟子关仝继承其衣钵，后有出蓝之誉，与其师并称“荆关”。与此同时，南唐的董源在表现南方烟雨空濛的景色上独具面貌。其弟子巨然在“短披麻皴”的基础上发展出“长披麻皴”，画史将师徒二人称为“董巨”。至此，山水画中影响后世最为深远的两大流派已然形成，这也标志着中国山水画由此走向了成熟。\n北宋时期山水画迎来了历史性的高峰，其空前的成就堪称“百代标程”。北宋初年，山水流派出现了所谓“三家鼎峙”的局面，关仝、李成、范宽被画史誉为“北宋三大家”。其中关仝、李成乃至北宋中后期的郭熙、王诜都继承了荆浩“卷云皴”的画法流派，如山水小品中的《山店风帘图》《青山白云图》《风雨归舟图》《春江帆饱图》即属此种风格。范宽则在荆浩“斧劈皴”的基础上稍变其趣，独创“豆瓣皴”，如《云关雪栈图》《雪山萧寺图》都属范宽画派风格。北宋时期，并非所有的画家都钟情于描绘雄伟壮丽的宏阔之景，如惠崇、赵令穰便是以描绘湖山小景而著称，由此也开创了南宋山水小景之先河。山水小品中的《橙黄橘绿图》《秋塘图》《柳溪春色图》都是这类风格的典型作品。\n伴随着王朝更迭，赵宋南渡，山水画的风格面貌也发生了非常大的转变，其最为显著的特征就是南宋一改北宋山水画全景式的宏大构图，代之以空灵雅致的边角式构图。这是南北山河地貌的差异造成的：描绘的对象发生了改变，画家们的画法自然也会随之改变。这种画风上的变革却常常被后世附会为画家们用画作中的“残山剩水”寄托对故土的哀思，更以此去劝诫君王莫要偏安一隅。然而，正是南宋时期对山水画独特的审美追求造就了山水小品画空前繁荣，现存的宋代山水小品画也大多创作于这一时期。\n南宋时期山水画的主流是李唐画派。李唐的山水画早年师法荆浩、范宽，多以“小斧劈皴法”为主，晚年一变古法而创“大斧劈皴法”。小品画中署款李嵩所作的《赤壁赋图》、旧题为刘松年所作的《秋窗读书图》、旧题为燕文贵所作的《层楼春眺图》都属于受李唐早期“小斧劈皴”画法风格影响的典型作品。或许是江南的烟雨朦胧，加之其年逾古稀后的放达，李唐一改早年严谨且略带刻画的刚劲笔致，变为粗犷简阔的“大斧劈皴法”；用墨上也十分大胆，变“惜墨如金”为“水墨淋漓”。这种风格影响了其后众多名家，与李唐并称“南宋四大家”的马远、夏圭的山水画正是在李唐晚年画风影响下发展出来的。李唐画派正是在马远、夏圭的推动下极大地影响了其后绘画的发展，这也使得马、夏的画风堪称是南宋山水画的代名词。",[24,1535,162,116,28,284,117,118,7,1709,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e2993d2fd93e9d4f6b8f0edca7e429.jpg","22.6×23.7cm",[],{"id":20306,"slug":20307,"title":20308,"dynasty":18,"author":20309,"museum":433,"description":20310,"tags":20311,"thumbUrl":20312,"material":148,"size":148,"collection":148,"collections":20313,"showCount":587,"zanCount":11,"manualWeight":11,"mainColor":152},233596,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233596","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,63,213,858,27,373,372,385,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2a819e83abdad2eb571c86968d1fac.jpg",[],{"id":20315,"slug":20316,"title":20317,"dynasty":4105,"author":20318,"museum":433,"description":20319,"tags":20320,"thumbUrl":20322,"material":495,"size":496,"collection":148,"collections":20323,"showCount":587,"zanCount":11,"manualWeight":11,"mainColor":152},232427,"he-er-bai-yin-86-he-er-bai-yin-232427","荷尔拜因86","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[94,30,7,28,95,19559,20321],"装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa165a11a10bbf4488cccd2013e23fcc.jpg",[],{"id":20325,"slug":20326,"title":20327,"dynasty":4105,"author":20318,"museum":433,"description":20319,"tags":20328,"thumbUrl":20332,"material":495,"size":496,"collection":148,"collections":20333,"showCount":587,"zanCount":11,"manualWeight":11,"mainColor":152},232425,"he-er-bai-yin-84-he-er-bai-yin-232425","荷尔拜因84",[94,28,95,2029,30,7,20329,20330,387,873,18264,39,18256,142,20331,8497],"城堡","拱门","墙壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf593b43034d1ee032c98776d862784.jpg",[],{"id":20335,"slug":20336,"title":20337,"dynasty":4105,"author":20338,"museum":433,"description":20339,"tags":20340,"thumbUrl":20342,"material":495,"size":496,"collection":148,"collections":20343,"showCount":587,"zanCount":11,"manualWeight":11,"mainColor":54},231999,"semiramis-building-babylon-musee-d-orsay-france-de-jia-231999","Semiramis Building Babylon - - Musee d'Orsay (France)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[10299,27,30,65,38,7,71,8487,20341],"历史场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fed00243ab5415131179a278a37dacb.jpg",[],{"id":20345,"slug":20346,"title":20347,"dynasty":4105,"author":281,"museum":433,"description":20348,"tags":20349,"thumbUrl":20352,"material":495,"size":496,"collection":148,"collections":20353,"showCount":587,"zanCount":11,"manualWeight":11,"mainColor":152},231713,"lian-cang-shi-dai-man-you-shang-ren-chuan-hua-juan-jia-juan-yi-ming-231713","镰仓时代 漫游上人传画卷-甲卷","这卷长卷以三段铺陈世相：左侧雅堂内宾主列坐，甲士侍从肃立阶下，仪制俨然；中段抬舆缓行，朱顶水榭静立岸旁，晕出行旅闲寂；右侧郊野间众人云集，或围坐歇憩、或汲水备餐，满是市井烟火气。\n以淡彩白描绘就，线条舒展清劲，场景排布张弛有度，将庄重仪礼与质朴日常串联，细腻复刻出当时社会的参差风貌，笔底带着平和的叙事感，让往昔人间的鲜活图景跃然纸上。",[23,25,27,26,28,30,7,39,38,20350,511,20351,14132,2273,144],"群体活动","饮食器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dfca485789b0332e45e5e28be4af44e.jpg",[],{"id":20355,"slug":20356,"title":20357,"dynasty":4105,"author":281,"museum":433,"description":20358,"tags":20359,"thumbUrl":20365,"material":495,"size":496,"collection":148,"collections":20366,"showCount":587,"zanCount":11,"manualWeight":11,"mainColor":152},231712,"lian-cang-shi-dai-man-you-shang-ren-chuan-hua-juan-yi-juan-yi-ming-231712","镰仓时代 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，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 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利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[14730,16797,12066,11761,4373,2058,17624,1851,7,30,123,14012],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4828bd75e5c6f01aeb7c96eb4fe0623f.jpg",[],{"id":21353,"slug":21354,"title":21355,"dynasty":157,"author":281,"museum":433,"description":17621,"tags":21356,"thumbUrl":21359,"material":495,"size":496,"collection":148,"collections":21360,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},274421,"tong-du-jin-qian-liao-shi-sheng-jiang-ta-zhong-yi-ming-274421","铜镀金嵌料石升降塔钟",[14730,16797,21357,21358,12066,7,14012],"嵌料石","塔钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7642a705c62f1036243c37ed77374e.jpg",[],{"id":21362,"slug":21363,"title":21364,"dynasty":157,"author":281,"museum":433,"description":17621,"tags":21365,"thumbUrl":21367,"material":495,"size":496,"collection":148,"collections":21368,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},274415,"tong-du-jin-si-xiang-tuo-ba-fang-zhuan-hua-zhong-yi-ming-274415","铜镀金四象驮八方转花钟",[16797,14730,12581,2058,17624,12066,30,7,21366],"装饰工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3deb8fa6164874fd96edbb2f198944f.jpg",[],{"id":21370,"slug":21371,"title":21372,"dynasty":157,"author":281,"museum":433,"description":17621,"tags":21373,"thumbUrl":21376,"material":495,"size":496,"collection":148,"collections":21377,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},274404,"tong-du-jin-fa-lang-hu-lu-ding-yu-qiao-geng-du-zhong-yi-ming-274404","铜镀金珐琅葫芦顶渔樵耕读钟",[14730,19606,11761,17624,21374,18474,21375,7,12066,1851],"葫芦","渔樵耕读","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d46328e3f83ab5c11f03e2255d9a64.jpg",[],{"id":21379,"slug":21380,"title":21381,"dynasty":157,"author":281,"museum":433,"description":17621,"tags":21382,"thumbUrl":21383,"material":495,"size":496,"collection":148,"collections":21384,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},274400,"tong-du-jin-guang-fa-lang-dao-qiu-shui-fa-zhong-yi-ming-274400","铜镀金广珐琅倒球水法钟",[10791,14730,19606,17624,30,7,1047,1851],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff13cae5a25cd47b37b3fd3590747a7dc.jpg",[],{"id":21386,"slug":21387,"title":21388,"dynasty":157,"author":281,"museum":433,"description":21348,"tags":21389,"thumbUrl":21391,"material":495,"size":496,"collection":148,"collections":21392,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},274127,"tong-du-jin-fa-lang-tao-shui-fa-biao-yi-ming-274127","铜镀金珐琅套水法表",[14730,16797,10791,12067,16141,21390,7,31,32],"怀表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08c53fef2361aee6cf9446aaa1fb2951.jpg",[],{"id":21394,"slug":21395,"title":21396,"dynasty":157,"author":281,"museum":433,"description":17621,"tags":21397,"thumbUrl":21398,"material":495,"size":496,"collection":148,"collections":21399,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},274108,"zi-tan-qian-fa-lang-zhong-yan-lou-ge-geng-zhong-yi-ming-274108","紫檀嵌珐琅重檐楼阁更钟",[1851,4019,10791,7,12066,17624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda73565333733cef101e95893a2a711.jpg",[],{"id":21401,"slug":21402,"title":21403,"dynasty":157,"author":281,"museum":433,"description":17621,"tags":21404,"thumbUrl":21406,"material":495,"size":496,"collection":148,"collections":21407,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":106},274107,"tong-du-jin-kong-zhong-xian-ge-zhu-shou-zhong-yi-ming-274107","铜镀金空中仙阁祝寿钟",[16797,14730,11761,17624,7,12066,13193,21405,1851],"狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05879515157dae807ac7f22c52ee1ed.jpg",[],{"id":21409,"slug":21410,"title":21411,"dynasty":157,"author":281,"museum":433,"description":17621,"tags":21412,"thumbUrl":21414,"material":495,"size":496,"collection":148,"collections":21415,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},274097,"tong-du-jin-zi-kai-men-ren-da-zhong-yi-ming-274097","铜镀金自开门人打钟",[14730,19606,21413,12067,12066,16797,1851,7],"时钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614d3cf035172acfa3009d4484a44fb3.jpg",[],{"id":21417,"slug":21418,"title":21419,"dynasty":157,"author":281,"museum":433,"description":21420,"tags":21421,"thumbUrl":21423,"material":495,"size":496,"collection":148,"collections":21424,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},274087,"zhang-rong-gua-ping-yi-ming-274087","漳绒挂屏","以绒为笔，织就林泉古刹。深绒晕染出层叠苍松，将幽寂山境铺陈眼前。飞檐翘角以深浅绒色勾勒繁复斗拱，朱红廊柱与黛瓦冷暖相映，把古建榫卯纹路、檐下雕饰一一织就。\n\n漳绒起花工艺让画面层次分明，绒面肌理带着织造的温润质感，既有工笔描摹的精细写实，又带着绒绣独有的柔润氛围感，将古刹隐于林泉的清幽禅意静静晕开，静穆雅致间，尽显东方山林古建相融的澹远之美。",[9408,28,7,310,33,2326,6569,21422],"织绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba057149a0dc1a9494035d213054dfbb.jpg",[],{"id":21426,"slug":21427,"title":21428,"dynasty":157,"author":281,"museum":433,"description":21429,"tags":2143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盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 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年）卒，江苏梁溪(今无锡)人。字逸芬，又字撷芬，号桐阴、桐阴生、逸道人、楞烟、邻烟、邻烟外史等。",[24,63,213,162,118,164,774,775,121,335,120,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa501a215f1a03109db62ef8cc17f7640.jpg",[],{"id":22664,"slug":22665,"title":7390,"dynasty":157,"author":22658,"museum":433,"description":22659,"tags":22666,"thumbUrl":22667,"material":495,"size":496,"collection":148,"collections":22668,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},238002,"shan-shui-ce-qin-zu-yong-238002",[24,63,213,162,27,118,7,31,32,33,139,121,284,164,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bc8b0915da28b34be636867785c995.jpg",[],{"id":22670,"slug":22671,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22672,"tags":22673,"thumbUrl":22674,"material":495,"size":496,"collection":148,"collections":22675,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236266,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236266","此扇以泥金笺为底，设色雅致明净。远景山峦层叠，赭石晕染坡岩肌理，淡墨轻勾峰脊，兼具沉浑与秀润。近中林木错落，点叶疏密得宜，屋舍隐于林畔水滨，咫尺铺展平远山水的开阔意境，将林泉幽居的静穆闲适徐徐铺陈。整幅山水简而不空，繁而不乱，带着消暑林泉的清逸意趣，与配书笔墨舒展沉稳相映成趣，尽显文人雅赏的韵致，是兼具赏玩与收藏价值的雅致佳构。",[1535,24,27,118,774,451,7,284,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc70d2c57d9ab656b4606530e56b6d5fe.jpg",[],{"id":22677,"slug":22678,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22679,"tags":22680,"thumbUrl":22681,"material":495,"size":496,"collection":148,"collections":22682,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236265,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236265","此作为金笺设色山水，以赭石晕染山峦岩壑，墨点苔痕缀饰林麓，层叠丘壑间隐出宫苑屋宇，将北地山川的沉浑厚重与苑囿雅致融于咫尺扇面。草木以青绿淡施，清润鲜活，衬出殿台幽致，晕开夏日行宫的清寂消暑之景。搭配古雅棕竹扇骨，包浆温润匀和，另一面书诗作呼应，书画合璧，尽显清时精工雅致的扇制意趣，将皇家林苑的悠然景致凝于掌中，笔墨工丽温婉，尽显雅致格调。",[24,63,1535,27,118,164,196,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ccb34d1ce2deafb3fc51d1f66fdea55.jpg",[],{"id":22684,"slug":22685,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22686,"tags":22687,"thumbUrl":22688,"material":495,"size":496,"collection":148,"collections":22689,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236263,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236263","此作为金笺地山水成扇，金箔底衬得墨色愈发清润古雅，山峦层叠逶迤，以淡墨晕染出丘壑起伏，林木攒簇苍劲，点染间见山林幽寂之态，平远构图铺展出清旷辽远的景致，暗合避暑闲游的悠然意境。\n另一面诗文书笔端整秀雅，与山水意韵相得益彰。竹骨莹润匀净，形制精巧，整体融绘事与翰墨于一器，沉静中透着清隽逸趣，尽显清代小品书画的雅致格调。",[1535,24,63,118,27,116,284,164,7,33,139,2180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1ba3f22a1c0e1b692652004843767b.jpg",[],{"id":22691,"slug":22692,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22693,"tags":22694,"thumbUrl":22695,"material":495,"size":496,"collection":148,"collections":22696,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236262,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236262","此作用泥金笺本设色，全景铺展林泉丘壑。山峦层叠错落，林木蓊郁葱茏，溪谷间板桥横陈，山居隐于深翠之间，晕染出清寂幽深的林下凉境，暗契避暑意韵。笔触细秀雅致，敷色古淡柔和，泥金底纸衬得青绿浅赭愈发温润静和，将林泉清旷夏凉凝于咫尺扇面。\n\n画配诗书，相映成趣，尽展文人清赏林泉、寄怀丘山的雅韵，开合之间纳藏林泉高致，将纳凉赏景与笔墨雅玩合而为一，是颇具意致的小品佳构。",[1535,27,118,284,139,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6e7dd37dacc4deb32037faed999bc9.jpg",[],{"id":22698,"slug":22699,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22700,"tags":22701,"thumbUrl":22702,"material":495,"size":496,"collection":148,"collections":22703,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236260,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236260","此扇以泥金为底，浅施色彩绘就山居幽境。屋舍错落隐于葱郁林木间，山石皴法秀雅，远山以淡墨晕染，铺展出清寂安闲的避夏佳处，笔墨温婉内敛，将林泉高致藏于盈尺扇面之中。泥金底色衬得画面更显古雅华贵，搭配匀净打磨的素竹扇骨，棕黑扇骨沉稳雅致，书画相映，尽显旧时文人幽居避暑的闲适意趣，是兼具赏玩与陈设价值的文房雅物。",[1535,24,63,118,7,27,116,28,33,139,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d585ad04f1218e6a79592ffbbd5ad6.jpg",[],{"id":22705,"slug":22706,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22707,"tags":22708,"thumbUrl":22709,"material":495,"size":496,"collection":148,"collections":22710,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236259,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236259","泥金扇底沉稳华贵，山峦以披麻皴铺展层叠肌理，坡岸林木错落，屋舍隐于葱茏间，平远开阔的山居景致铺陈开来，将林苑的雄浑与幽居闲适揉合一处，笔墨苍润兼具雅致。细密攒聚的扇骨包浆莹润，与扇面的山水笔墨相映成趣，书画合璧，尽显清隽文心，将山水意趣与文房雅玩的精巧相融，尽显传统制艺与文人审美的绝佳契合。",[24,1535,27,118,7,33,139,284,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d068b8aa448b0515ffb666b635f59e.jpg",[],{"id":22712,"slug":22713,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22714,"tags":22715,"thumbUrl":22716,"material":495,"size":496,"collection":148,"collections":22717,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":499},236258,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236258","泥金笺本莹润华贵，青绿设色明雅妍丽，将林泉胜景收于纨扇之上。亭台环水错落，古塔峙于山巅，林木敷色层次丰盈，丹朱、石青、赭石交织晕染，既保有院体精工，又暗合文人山水的清逸韵致。\n\n咫尺扇面铺陈丘壑纵深，将皇家园林的雍容与江南山水的温婉相融，开合间尽览林泉清幽旷远。棕褐扇骨包浆温厚，与画面相得益彰，足见绘者深谙山水经营之妙，以小见大，尽显山水精致意趣。",[1535,24,63,27,118,7,121,123,33],"https:\u002F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名款，亦能窥见彼时山水小品的典型风貌，是兼具赏玩与收藏价值的文房清玩。",[1535,24,63,118,27,116,7,33,284,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e78faae2ebc8efa888f479aad353905.jpg",[],{"id":22775,"slug":22776,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22777,"tags":22778,"thumbUrl":22779,"material":495,"size":496,"collection":148,"collections":22780,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236241,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236241","泥金扇底晕开暖雅底色，远山以淡墨轻勾晕染，烟岚浮于层峦间，晕出空濛悠远之意。丘壑间林木葱郁，山居屋舍隐现其中，似藏夏日幽凉意趣。布局疏密得宜，左侧铺陈山水实景，右侧留白落款虚实相映，尽显中式山水的空灵雅致。乌润扇骨与暖金扇面相映成趣，将林泉高致凝于盈尺扇面之间，开合间尽纳山水丘壑，融文人赏玩意趣与工艺精巧为一体，静赏便觉山居凉意扑面而来。",[1535,118,116,27,284,164,196,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680122ea17ca0664a593a65a39a33a7.jpg",[],{"id":22782,"slug":22783,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22784,"tags":22785,"thumbUrl":22786,"material":495,"size":496,"collection":148,"collections":22787,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236240,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236240","金笺为底，墨色晕染间衬以浅淡青绿，层次婉转分明。远山轻烟弥散，黛色含晕，林泉之间屋舍亭台错落排布，嘉木繁荫葱翠，将盛夏清和消暑的意韵尽显。雅致山水间藏着闲居清赏的意趣，笔墨秀润灵和，写尽林泉雅墅的静穆安恬。配竹骨莹润光洁，工艺精巧，书画合璧，将文人悠然消暑的心境融于咫尺扇面，尽显隽永雅致的旧时雅韵。",[1535,27,118,284,164,7,33,139,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4970e68989959a6db21f5c17cfb9f9e5.jpg",[],{"id":22789,"slug":22790,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22791,"tags":22792,"thumbUrl":22793,"material":495,"size":496,"collection":148,"collections":22794,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236239,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236239","此作用泥金扇面绘就，满幅晕着沉敛华贵的光泽。层林如盖，蓊郁苍润，山居屋舍错落排布于浓荫之间，隐现雅致格局。远处山峦平缓铺展，与平林烟霭相融，将山庄幽寂清宁的夏日常态铺陈眼前，笔墨工致细腻，晕染柔和清润，把山居避暑的闲雅意趣尽数藏入尺幅间。搭配古朴匀整的扇骨，与扇面书画呼应相成，整体意蕴悠然沉静，尽显传统山水小品的雅致情致，藏着旧时林下幽居的恬淡意涵。",[24,63,1535,27,118,7,33,75,284,26,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ad75937842031be1e76c63dfd0a475a.jpg",[],{"id":22796,"slug":22797,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22798,"tags":22799,"thumbUrl":22800,"material":495,"size":496,"collection":148,"collections":22801,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236236,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236236","金笺为底，以墨彩晕染出苑囿胜景。山峦逶迤叠嶂，林木苍郁错落，殿宇台榭隐现于林泉之间，平远构图铺展出开阔辽寂的林下气象。笔墨工稳秀润，设色浅淡清雅，既带着文人山水的萧散意趣，又暗合皇家园林的端严静穆，将林泉之胜与规制气度融为一体。配搭的扇骨雕琢暗纹，细腻雅致，与画面相得益彰，尽显清代造扇工艺与山水画小品的精妙融合，是一件兼具观赏与工艺价值的佳构。",[1535,24,63,27,116,118,7,33,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc244ed513cd4a2aa10f29b3ebe305571.jpg",[],{"id":22803,"slug":22804,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22805,"tags":22806,"thumbUrl":22807,"material":495,"size":496,"collection":148,"collections":22808,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236235,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236235","此作为金笺成扇，水墨设色绘就山居胜景。远山以淡墨晕染层叠，隐没天际，近麓林木苍蔚繁茂，亭台藏于林樾之间，通幅笔墨秀润清逸，将林泉幽致铺陈扇面之上，似可揽得山风凉意，尽显山居静穆旷远的意境。\n\n画面层次分明，近景苍郁、远景虚和，咫尺之间纳得丘壑万千。搭配题诗文气雅致，将林泉高致藏于轻纨之上，案头展观便可神游林麓，是文人雅赏的精妙佳制。",[24,1535,27,118,196,33,7,116,2180,284,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b2b8a06b63d674be7c2c66fa228a636.jpg",[],{"id":22810,"slug":22811,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22812,"tags":22813,"thumbUrl":22814,"material":495,"size":496,"collection":148,"collections":22815,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236234,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236234","此作为泥金笺设色山水，以工细笔触绘就林泉行宫之景。楼阁排布错落雅致，界画严整工丽，屋舍隐于葱郁林木间，青绿淡染山峦，流云轻笼远岫，将林泉消暑的清幽闲雅晕染开来。泥金底色衬得设色愈发古雅华贵，笔墨温婉细腻，将园林的静谧雅致尽数铺陈。整幅扇面与配书诗章相映成趣，融山水之秀、匠艺之精于盈尺之间，尽显清隽沉静的雅致意趣，是兼具观赏与收藏价值的成扇佳制。",[24,63,1535,27,28,118,7,33,38,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb635dcf4eccd529ebb97bb063765782f.jpg",[],{"id":22817,"slug":22818,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22819,"tags":22820,"thumbUrl":22821,"material":495,"size":496,"collection":148,"collections":22822,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236233,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236233","此作为泥金笺成扇，以浅绛糅合青绿设色。远景山峦层叠，干笔皴擦勾勒岩体质感，赭石晕染出苍润秋意。近林木色鲜妍，青绿点染生机盎然，临水亭台回廊婉转，屋舍俨然排布，将林居雅意与山水野趣相融无间。\n\n线条秀雅精细，设色雅致沉稳，泥金底衬得画面愈显富丽隽秀，兼具院体工致与文人山水的清逸，尽显苑囿题材山水画的温婉意趣，将幽居避暑的闲适雅致晕染于金笺之上，藏着悠游林泉的澹澹诗意。",[24,63,1535,27,118,7,33,284,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41d19b3c62b6df4883609e067ab0a7f0.jpg",[],{"id":22824,"slug":22825,"title":20276,"dynasty":157,"author":281,"museum":433,"description":22826,"tags":22827,"thumbUrl":22828,"material":495,"size":496,"collection":148,"collections":22829,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236232,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236232","此扇以泥金笺为底，设色绘就山居胜景，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