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于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 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从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 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秋草图屏风","俵屋宗雪","铺陈金箔素地，晕开柔和的秋日元晖。画面自左向右漫开野趣，左侧点点白花攒着翠叶，随屏风向右逐渐繁茂，莹白碎花团簇如云，间生苍绿荻草，穗芒轻曳似凝住了浅淡秋风。\n设色清润雅致，花叶勾勒细腻柔婉，留白衬着金地暖光，将秋野疏朗静美揉进屏间，带着侘寂悠然的和风禅意。仿佛能嗅到秋草混着细花的清芬，将转瞬秋意凝作永恒画中光景，尽显幽玄雅致的日式美学意趣。",[55,375,26,56,298,7,481,65,482],"秋草","金碧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64fe109ba5703d79c1476831630b074.jpg",[],68,{"id":487,"slug":488,"title":489,"dynasty":115,"author":490,"museum":52,"description":491,"tags":492,"thumbUrl":494,"material":68,"size":41,"collection":69,"collections":495,"showCount":496,"zanCount":110,"manualWeight":11,"mainColor":497},218764,"shuang-yuan-tu-zhang-mao-218764","双鸳图","张茂","水面漾着浅淡的光，双鸳相偎游弋，羽毛层叠细腻，似裹着一层暖光。岸畔芦苇以墨笔勾勒，线条纤细却带韧劲，穗子轻垂如思。空中几只小虫轻点，无意的点缀让静谧画面多了几分生机。淡墨晕染的水面留白见空灵，设色清雅，笔墨细腻却不繁缛。宋代小品的雅致与野趣在此交融，方寸间藏着天地的幽寂与温柔，观之如临清池畔，草木清香似漫入鼻息，心境也随之沉静下来。",[55,23,56,26,58,493,7,219],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88ff28d4596fe6aaf49cf909a424ef3d.jpg",[69],66,"F48FB1",{"id":499,"slug":500,"title":501,"dynasty":151,"author":438,"museum":79,"description":502,"tags":503,"thumbUrl":508,"material":68,"size":509,"collection":69,"collections":510,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":73},216845,"qiu-zhu-shui-qin-tu-lv-ji-216845","秋渚水禽图","这幅画的布局集中在右下角，占据了图片的绝大部分。从画的右侧中间伸展出几根稀疏的芦苇，有的直上，有的向左，芦苇叶大多下垂;在图片下方，有几根芦苇栖息在堤岸上，其中一根在月亮的脖子上叽叽喳喳，另外两根芦苇回头看。屏幕左侧是平静清澈的海水，是芦苇漂浮的天堂。在图片上方是满月，空旷时，明亮的月光投射在地球上。\n画中的芦苇写得很好，外表生动。芦苇是用厚厚的光和光不同颜色的层叠叠而成的，非常细腻，不仅形状像神萧，而且羽毛的光泽也显现出来。芦苇和木槿的叶茎，淡墨，刷掉。视觉要以浅色演色性，看不到笔痕，使领域广阔而深远;用马原画湖石，夏贵墨钩法，加换，坚固简单;这幅画异常真实，自然而壮观。这幅画，和路易姬的其他花鸟画一样，极大地丰富了花鸟画和笔墨的表达。",[55,82,23,56,26,58,504,7,64,505,506,507],"水禽","明月","水域","岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa017ac0164b088a5d177f88bd5bd52d1.jpg","纵177.2厘米，横107.3厘米",[69],64,{"id":513,"slug":514,"title":515,"dynasty":78,"author":98,"museum":20,"description":358,"tags":516,"thumbUrl":517,"material":362,"size":363,"collection":41,"collections":518,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":45},239430,"shan-shui-hua-hui-ce-yun-shou-ping-239430","山水花卉册",[23,27,28,32,173,120,400,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131190f5d73525615989a121640b7a89.jpg",[],63,{"id":521,"slug":522,"title":523,"dynasty":168,"author":524,"museum":20,"description":525,"tags":526,"thumbUrl":529,"material":362,"size":363,"collection":41,"collections":530,"showCount":531,"zanCount":163,"manualWeight":11,"mainColor":73},289960,"jiang-xing-chu-xue-tu-zhao-gan-289960","江行初雪图","赵幹","全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[55,82,23,25,26,527,469,173,174,88,7,456,180,176,528],"山水画","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6231144b6f47232f68a05a22d27743f8.jpg",[],62,{"id":533,"slug":534,"title":535,"dynasty":115,"author":536,"museum":228,"description":537,"tags":538,"thumbUrl":541,"material":542,"size":543,"collection":143,"collections":544,"showCount":545,"zanCount":11,"manualWeight":11,"mainColor":73},221251,"yan-tu-hui-chong-221251","雁图","惠崇","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[55,82,23,24,27,26,59,120,61,7,194,539,540,63],"宋画","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[143,69,145],61,{"id":547,"slug":548,"title":549,"dynasty":151,"author":550,"museum":153,"description":551,"tags":552,"thumbUrl":555,"material":556,"size":557,"collection":406,"collections":558,"showCount":559,"zanCount":163,"manualWeight":11,"mainColor":45},219059,"yu-le-tu-zhou-chen-219059","渔乐图","周臣","周臣（生卒年不详），字舜卿，号东村，吴县（今江苏苏州）人。画山水师陈暹（1405－1496年），摹古于宋人李成、郭熙、马远、夏圭，用笔纯熟，所谓“行家”意胜耳。何良俊以为，与戴进（1388－1462年）并驱，则互有所长，亦是院体中一高手。兼工人物，古貌奇姿，绵细萧散，各极意能。 　　图绘江南水乡渔人作业生活的场景。作者细腻地捕捉渔人们各种动作，扣鱼、撒网、垂钓、捞虾、织网等，以及他们天真自然的神态，表现他们淳朴的性情和一种于生计中寻找乐趣的生活态度，刻画入微，生动明快。同时，传达出文人心目中渔隐的回归思想。绘画技法上，人物以勾写塑其形廓，薄色淡染，衣纹施镢头描，水画波线显其动态，坡石以湿墨皴染，笔法纯熟率逸，出自宋人写实的绘画风格。",[55,23,25,27,56,176,173,34,36,7,180,28,553,554],"船","渔具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F091dcc3a0f131e4c9e7d128fe9d0850c.jpg","纸本,设色","纵32厘米，横239厘米",[406],56,{"id":561,"slug":562,"title":563,"dynasty":115,"author":564,"museum":153,"description":565,"tags":566,"thumbUrl":570,"material":571,"size":572,"collection":143,"collections":573,"showCount":574,"zanCount":11,"manualWeight":11,"mainColor":73},221419,"lu-ting-mi-xue-tu-quan-juan-liang-shi-min-221419","芦汀密雪图全卷","梁师闵","此卷为梁师闵的传世孤品，描绘严冬时节的沙渚平川，坡石竹枝已尽为白雪覆盖，丛丛干枯的芦草在阴沉晦暗的背景下瑟瑟隐现。清寂之中，一池湖水尚未封冻，两只鸂鶒（音xī chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[55,23,24,25,56,26,7,567,173,120,568,569,32,29,30,31],"雪","寒沙","江天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","绢本，设色","纵26.5厘米，横145.6厘米",[143,91,108],55,{"id":576,"slug":577,"title":578,"dynasty":78,"author":579,"museum":313,"description":580,"tags":581,"thumbUrl":582,"material":68,"size":583,"collection":69,"collections":584,"showCount":574,"zanCount":163,"manualWeight":11,"mainColor":73},219060,"lu-ya-tu-sun-yi-219060","芦鸭图","孙益","疏苇亭亭，叶带风意，枝干交错间藏着野趣。岸石上双鸭相依，一者昂首理羽，绿颈蓝斑映着天光；一者低首小憩，绒羽纹理细腻如触。淡赭底色晕开清寂，笔墨工致却不板滞——芦苇的线条柔韧含苍，禽鸟的姿态灵动传神，似能闻得水畔风鸣，见得细浪轻拍岸石。整幅画将江南水泽的闲淡之景凝于尺幅，草木的苍劲与生灵的鲜活相映成趣，尽显自然生机里的静谧况味。",[55,23,24,57,56,26,58,7,341,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89361e3af2e269c9833f44d7c0be584d.jpg","159.3x96.5cm",[69],{"id":586,"slug":587,"title":248,"dynasty":151,"author":312,"museum":588,"description":589,"tags":590,"thumbUrl":591,"material":68,"size":592,"collection":69,"collections":593,"showCount":574,"zanCount":11,"manualWeight":11,"mainColor":73},218631,"lu-yan-tu-lin-liang-218631","费城艺术博物馆","画面以淡墨晕染出秋郊水畔的清寂氛围，芦苇疏斜摇曳，残荷半卷低垂，尽显萧瑟之致。一只雁振翅俯冲而下，羽翼的劲健与气流的动感跃然绢上；地面三只雁姿态各异——或低头啄食，喙尖轻触水面，似有涟漪隐现；或昂首远眺，颈间线条舒展，似与飞雁相和；或蜷身小憩，绒毛以淡墨点染，憨态可掬。\n\n笔墨兼工带写，雁的羽毛以浓淡墨色层叠晕染，质感蓬松而富有层次；芦苇则用劲挺的线条勾勒，末梢的飞白似有风掠过。整幅画于简淡中见生机，动静相宜，将禽鸟的野逸之趣与自然的清幽之境融为一体，尽显水墨写意的灵动韵味。",[82,23,27,103,58,59,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce0607b35d95314ba2cb9879ec01f41.jpg","179x99",[69],{"id":595,"slug":596,"title":597,"dynasty":151,"author":598,"museum":20,"description":599,"tags":600,"thumbUrl":602,"material":362,"size":363,"collection":41,"collections":603,"showCount":604,"zanCount":163,"manualWeight":11,"mainColor":45},287732,"wei-zhu-zui-yu-tu-tang-yin-287732","苇渚醉渔图","唐寅","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”。",[23,82,27,57,32,173,505,7,180,31,29,601],"饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ed30e7e4f9029d9633816e33680693.jpg",[],54,{"id":606,"slug":607,"title":608,"dynasty":78,"author":609,"museum":20,"description":610,"tags":611,"thumbUrl":619,"material":620,"size":621,"collection":41,"collections":622,"showCount":604,"zanCount":163,"manualWeight":11,"mainColor":45},222700,"qiu-feng-mo-zao-tu-juan-shou-juan-qian-yu-ling-222700","秋风墨藻图卷手卷","钱与龄","画中的蓝藻、紫绿红蓼、游鱼蟹、泥鳅蛙、蜻蜓翠鸟、白鹭飞虫，游或游或荷花或偷窥，首当其冲的就是充满活力的秋天。 年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[55,82,23,24,25,26,56,441,157,360,158,612,7,613,193,427,614,615,616,617,64,61,618,120],"蜻蜓","水藻","红鱼","水生植物","莲叶","草丛","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","纸本，设色","32.2×339.2cm",[],{"id":624,"slug":625,"title":626,"dynasty":115,"author":51,"museum":79,"description":627,"tags":628,"thumbUrl":630,"material":68,"size":631,"collection":143,"collections":632,"showCount":604,"zanCount":11,"manualWeight":11,"mainColor":73},220148,"lu-ting-shuang-ya-tu-yi-ming-220148","芦汀双鸭图","淡墨晕开秋水，似笼着薄雾寒烟，汀渚静卧，清寂悠然。右侧芦苇以双钩提笔绘就，细劲笔触勾出舒展茎叶，墨色分染衬出枯软肌理，仿有风过簌簌摇曳，野意横生。\n\n水面野鸭悠然徐行，浓墨点染头颈，浅墨晕开羽上斑纹，明暗相宜，灵动鲜活。寥寥数笔勾出鸭掌拨出的细微波痕，暗合水动之姿。\n\n整幅画作以简驭繁，舍去浓艳敷色，独以水墨铺陈郊野水滨之景，将秋日汀洲的幽寂闲趣藏于绢素，把自然生灵的安闲之态凝于笔端，尽显含蓄雅致的古典意韵。",[55,23,24,58,57,56,26,7,341,278,629],"汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31af9eabc519e95fbd973739de4ea50c.jpg","86.5x90.4",[143],{"id":634,"slug":635,"title":636,"dynasty":115,"author":637,"museum":52,"description":638,"tags":639,"thumbUrl":641,"material":68,"size":41,"collection":69,"collections":642,"showCount":643,"zanCount":11,"manualWeight":11,"mainColor":73},218905,"yan-e-tu-cui-bai-218905","雁鹅图","崔白","画面中雁鹅姿态鲜活，羽翼层叠间细笔勾出绒羽的蓬松质感，白绒与墨羽晕染过渡自然，红掌轻点地面似欲移步，尽显禽鸟灵动之态。旁侧水草以疏朗线条勾勒，叶片随风摇曳如含生机，与雁鹅的写实刻画相映成趣。古绢底色沉雅温润，衬得物象愈发鲜活，打破了宋初院体画的刻板拘谨，透出自然野趣。整作以写生为基，笔墨兼具工致与意趣，将禽鸟的鲜活与草木的清逸融于方寸纨扇，于细微处见生机盎然，尽显宋代画坛新风韵。",[55,23,24,219,26,56,58,640,7,194,278],"雁鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f48905bd757fa0bd76d4450fe81f6d.jpg",[69],53,{"id":645,"slug":646,"title":647,"dynasty":648,"author":649,"museum":650,"description":651,"tags":652,"thumbUrl":654,"material":41,"size":41,"collection":41,"collections":655,"showCount":656,"zanCount":11,"manualWeight":11,"mainColor":45},220544,"ri-zhang-ru-xiao-nian-xu-bei-hong-220544","日长如小年","民国","徐悲鸿","中央美术学院美术馆","枯笔挥写的荻芦苍劲纵逸，斜斜探入画面，与滩头白鹅相映成趣。淡赭晕染沙汀，留白铺就鹅身绒羽，墨线勾出柔长颈颅，朱红点染喙部，将白鹅蜷卧憩息的慵懒憨态刻画得淋漓尽致。\n\n三只白鹅姿态各殊，或垂颈假寐、或侧目闲望，尽显温驯自在。萧疏野趣与悠然禽鸟融为一境，将夏日松弛悠长的闲淡氛围晕染开来。寥寥笔墨间形神兼备，把寻常小景化作充满文人意趣的诗意画面，尽显写意花鸟的通透灵动。",[55,23,27,26,103,653,7],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5195ccc9de88a9ac26e85bceca60e03e.jpg",[],52,{"id":658,"slug":659,"title":660,"dynasty":151,"author":312,"museum":588,"description":661,"tags":662,"thumbUrl":665,"material":68,"size":666,"collection":69,"collections":667,"showCount":656,"zanCount":11,"manualWeight":11,"mainColor":73},219081,"lu-cong-shuang-e-tu-lin-liang-219081","芦丛双鹅图","芦苇叶渐枯，零零散散的芦花开放，芦丛中两只鹅正啄着芦苇叶，黑色的羽毛，翅膀下露出白色的绒毛，几条黑色的勾线体现出了绒毛的柔软。 林良，字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。",[23,24,342,58,27,103,7,653,63,663,664],"禽鸟画","水墨花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b092c0a58f8959a48a02ec93af2364.jpg","纵146厘米，横88厘米",[69],{"id":669,"slug":670,"title":671,"dynasty":78,"author":672,"museum":20,"description":673,"tags":674,"thumbUrl":676,"material":141,"size":677,"collection":41,"collections":678,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":45},232892,"hua-niao-tu-li-zhou-li-shan-232892","花鸟图立轴","李鱓","字宗扬，号复堂，又号懊道人，墨磨人、木头老子、苦李、滕薜大夫等。江苏兴化人。\n一生在仕宦途中，历遭坎坷。康熙五十年即２５岁时中举，三年后以画技至清宫当内廷供奉。他本是学画山水的，进宫后，康熙皇帝指令他跟“正宗”派花鸟画家蒋廷锡学习花卉。李鱓不以学习蒋廷锡为满足，又向高其佩学习，后受石涛笔意启发，以破笔泼墨作画，风格大变。突破了“正宗”派所规定的框框，是一位颇得宫廷器重的画师，名声也日益扩大。但他却遭到一批摹古画师的极力排斥，并以所谓抗拒规定题材和体裁的罪名而被解职。郑板桥说他是“才雄颇为世所忌，口虽赞叹心不然”。后来，李鱓以检选出任山东滕县知县，为政清简，体谅民情，被士民所尊敬。又因负才使气，玩世不恭，触犯了权贵，遂于乾隆五年，罢官归里，流落扬州，过着卖画为生的凄凉的生活。两次的仕宦打击，使李鱓在生活上放纵自己，寄情花鸟，以书画发泄其苦闷之情，但又不甘心宦途上的失败，常欲东山再起。但事与愿违。晚年定居扬州，以卖画为生。李鱓与郑板桥是同乡，又最为知已，结为知交，所以郑板桥有《郑板桥集…. 李鱓》的诗句，并有“卖画扬州、与李同老”的话。\n所作花卉，不拘法度，泼墨淋漓，但犹不失天趣。但晚年部分作品过于霸悍。传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。\n李 鱓诗才书法成就是卓然的。李 鱓书法古朴，具颜、柳筋骨。作画时喜欢在画幅上长题满跋，有时甚至于把参差错落的题字，写满画面，于质实中见空灵，使整幅画面气韵更加淋漓酣畅。为此秦祖咏说他“书法古朴，款题随意布置，另有别致，殆亦摆脱俗格，自立门庭者也”。",[55,23,24,57,27,103,192,304,675,58,7,158,360,29],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","56.4x104cm",[],51,{"id":681,"slug":682,"title":248,"dynasty":78,"author":683,"museum":52,"description":684,"tags":685,"thumbUrl":688,"material":68,"size":689,"collection":69,"collections":690,"showCount":691,"zanCount":184,"manualWeight":11,"mainColor":73},218934,"lu-yan-tu-tong-heng-218934","童衡","翔雁振翅俯冲，羽色斑斓层次分明；轻禽蜷卧石畔，茸毛细腻如触可感。疏苇劲挺，穗芒随风轻扬；蓝花数点，点缀坡岸野趣。画面动静相宜，工致笔触间藏逸气，温润绢底衬得草木禽鸟鲜活灵动。飞者姿态矫健，似携风声掠空；栖者神情悠然，若享片刻安宁。芦苇的苍劲与花草的柔媚相映，禽鸟的生动与背景的静谧相和，尽显清代花鸟写生之清雅生机，于简约构图中蕴自然意趣，观之如临郊野，满溢鲜活灵动的生命气息。",[23,24,26,56,120,59,7,686,194,58,687],"菊","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74094fc2a952daf18c529cd8039ea047.jpg","81x33cm",[69],50,{"id":693,"slug":694,"title":58,"dynasty":78,"author":672,"museum":20,"description":695,"tags":696,"thumbUrl":697,"material":41,"size":41,"collection":41,"collections":698,"showCount":699,"zanCount":11,"manualWeight":11,"mainColor":45},224309,"hua-niao-li-shan-224309","这幅画以水墨写就水畔一隅，布局错落有致。右上角芙蓉枝叶交叠，浓墨点染阔叶，淡墨勾出柔花，枯笔写枝，苍劲中带着秀润。左侧荷花亭亭舒展，墨色晕染出荷叶的清润质感，花瓣用线空灵雅洁。白鹭静立在汀草间，淡墨勾形留白衬出羽毛蓬松，目光低垂神态悠然，将水鸟的闲适之态尽藏其中。\n笔墨干湿浓淡相映，以写意笔法写尽夏日水郊的清寂野趣，禽鸟花木浑然相融，尽显纵逸洒脱又不失雅致的文人写意风骨，将幽淡恬然的郊野生机凝练在尺幅之间。",[55,23,82,57,27,26,103,58,441,60,443,300,7,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c32e970d3d12ecf0c1bdd93057eb7f.jpg",[],48,{"id":701,"slug":702,"title":549,"dynasty":151,"author":703,"museum":79,"description":704,"tags":705,"thumbUrl":719,"material":720,"size":721,"collection":91,"collections":722,"showCount":699,"zanCount":163,"manualWeight":11,"mainColor":73},222241,"yu-le-tu-ding-yu-chuan-222241","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[55,23,26,32,56,173,180,299,706,235,233,175,415,34,300,7,37,507,88,428,707,708,239,709,710,711,712,713,506,714,715,716,717,718],"渔夫","渔人","舟楫","浅滩","丛竹","近岸","远岫","霭气","坡岸","草木","舟船","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","绢","纵270厘米、横174.4厘米",[91,108],{"id":724,"slug":725,"title":726,"dynasty":78,"author":727,"museum":79,"description":728,"tags":729,"thumbUrl":731,"material":556,"size":732,"collection":91,"collections":733,"showCount":699,"zanCount":11,"manualWeight":11,"mainColor":45},220112,"yan-bo-diao-ting-tu-qian-long-220112","烟波钓艇图","乾隆","清高宗爱新觉罗·弘历（1711年9月25日—1799年2月7日），清朝第六位皇帝，定都北京之后的第四位皇帝。年号“乾隆”，寓意“天道昌隆”。在位六十年，禅位后又继续训政，实际行使最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是最长寿的皇帝。",[55,23,24,27,57,32,173,174,136,7,730,29],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0610d85cb942d3d36056cbf98c91f3.jpg","58.8x30.7",[91],{"id":735,"slug":736,"title":737,"dynasty":151,"author":738,"museum":79,"description":739,"tags":740,"thumbUrl":759,"material":760,"size":761,"collection":41,"collections":762,"showCount":763,"zanCount":11,"manualWeight":11,"mainColor":73},222039,"feng-yu-gui-zhou-tu-dai-jin-222039","风雨归舟图","戴进","在布局上，作者采用中轴线构图，高山置于画面右边。近景处，树木、山崖、归舟相互依照；中景处，芦苇、枯树、溪桥、村舍、竹林、远山错综而不杂乱；远景处，高山重叠，远山迷蒙，在雾气中若隐\n若现。画中虽然表现的是雨景，但景物自近而远，层次清楚明晰，将雨中急归之心表现得淋漓尽致。画面近处的岩石和归舟，一静一动，对比鲜明，使构图统一中有了变化，更加突出风雨归舟的主题。横跨两岸的溪桥使得左轻右重的景物连成一个整体。溪桥上冒雨赶路的农夫，被作者刻画得惟妙惟肖，一个个显示出匆忙急切的神态。中景处的芦苇更是突出了风势的狂猛劲厉。\n该图章法新奇独特而巧妙，笔墨兼工带写，显出豪放洒脱而湿润空的意境，成功表现了风雨交加的自然景色和特定环境中的人物情态。图中树石用笔刚劲犀利，气势雄壮，以大斧劈带水墨破刷出的山石，生动地表现出瘦硬多棱角的特征，强烈地显示了山石的质感和立体感，并运用虚实相生的手法，刻画出雨中山川的神奇境界和耸拔气象。近岸树木作者用了夹叶法和点叶法，芦苇和竹林用了撇笔介字点，一笔一画，笔笔到位，刻画出狂风中摇曳的形象。狂风大雨用大笔挥扫，增添了画面的气势，从豪纵的笔势之中，可以看出画家愤笔疾挥的饱满激情。\n画中戴进成功运用浅设色而水墨苍劲淋漓的技法，以横刮阔笔扫出狂风大雨， 所画斜风骤雨、树枝弯曲、逆舟雨伞，最充分地表现出狂风暴雨的运动感。作者对墨的浓淡干湿变化应用自如，雨暴风狂的气象于指腕间飒然而起，充分显示了画家的深湛功力和注重观察自然的可贵精神。",[55,23,527,741,27,742,28,743,744,745,746,747,84,748,7,88,749,750,751,235,402,752,753,754,755,756,757,758],"兼工带写","浅设色","大斧劈皴","夹叶法","点叶法","高山","归舟","山崖","溪桥","村舍","竹林","狂风","骤雨","农夫","豪放洒脱","湿润空濛","急切","匆忙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33f9516f633907b22ad111e8d5e3ee4.jpg","绢本,水墨","纵143 厘米，横81.8 厘米",[],46,{"id":765,"slug":766,"title":767,"dynasty":115,"author":51,"museum":79,"description":768,"tags":769,"thumbUrl":770,"material":68,"size":771,"collection":143,"collections":772,"showCount":763,"zanCount":11,"manualWeight":11,"mainColor":73},218692,"an-he-tu-yi-ming-218692","安和图","在秋天的风景中，草和叶子变黄，野高粱的茎上长满了穗子。在茎叶下，五只鹌鹑在其中休息，而另外四只鸟则在上面栖息，为自己的羽毛做准备或啄食谷物。虽然这幅画没有作者的签名，但构图合理，所有物体都栩栩如生，所以它一定是出自艺术家之手。鹌鹑的造型与北宋崔訢的《七夕鹌鹑图》相似，而高粱则与明代陆机的《草花野禽图》相似，但《草花野禽图》的笔法显然更富变化，而这幅画则具有南宋的流畅细腻风格。它也被称为 安和，因为 鹑 和 安、和 和 和 是同音字，使它成为一部吉祥之作。",[55,23,24,82,56,26,58,7,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8456b5937e15cbbc97e3c44852831d14.jpg","105.4x51.6",[143],{"id":774,"slug":775,"title":776,"dynasty":115,"author":777,"museum":79,"description":778,"tags":779,"thumbUrl":781,"material":68,"size":782,"collection":69,"collections":783,"showCount":784,"zanCount":11,"manualWeight":11,"mainColor":73},219208,"fu-rong-shui-niao-tu-liang-kai-219208","芙蓉水鸟图","梁楷","萧瑟水岸，枯树疏斜如铁线横陈，枝桠间栖一水鸟，羽翼敛着清寂，目光落向粼粼水面。几瓣芙蓉柔艳，绽在枯梢旁，刚柔相映成趣。水面如镜，水禽悠游，涟漪轻漾；远空淡雾里，飞鸟掠过，影迹渐消。墨色层次分明：淡墨晕染天际与水面，似笼薄纱；枯笔勾枝，见苍劲之态；细笔点花叶，藏雅致之韵。简笔不简意，疏放中含细腻，将宋人的闲远心境融于尺幅。万物自在，清寂里透着生机，仿佛能闻水禽划水轻响，风过枝叶微声，意境悠远，耐人寻味。",[55,23,82,219,26,56,60,780,120,88,278,7],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9624696a3ecaca950aa26973ca863c4.jpg","纵25.1厘米，横25.1厘米",[69],43,{"id":786,"slug":787,"title":788,"dynasty":151,"author":312,"museum":99,"description":789,"tags":790,"thumbUrl":792,"material":41,"size":41,"collection":41,"collections":793,"showCount":794,"zanCount":11,"manualWeight":11,"mainColor":73},228488,"he-tang-ju-qin-tu-li-zhou-lin-liang-228488","荷塘聚禽图立轴","画面将荷塘初秋意趣尽显，枯荷擎举、新花绽露，苇叶横斜交错，枯荣相生晕染出塘间清寂底色。\n水禽错落其间，水面鸳鸯两两相偎，翎毛细笔晕染，绒羽质感宛然；野禽振翅穿掠苇丛，飞燕斜划破空，动静交织间满溢鲜活生机。\n笔墨兼工带写，粗毫挥写苇茎残叶，苍劲朴拙；细笔勾勒禽鸟肌理，灵动传神。墨色浓淡铺陈层次，以极简水墨变化定格郊野塘间自在野趣，尽显纵逸清隽的花鸟意致。",[55,23,82,57,27,26,58,441,120,63,7,791,103],"荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7d15347b6a2c9436b4b8172d7a7048.jpg",[],41,{"id":796,"slug":797,"title":464,"dynasty":18,"author":465,"museum":79,"description":466,"tags":798,"thumbUrl":801,"material":196,"size":471,"collection":91,"collections":802,"showCount":794,"zanCount":11,"manualWeight":11,"mainColor":73},221836,"han-jiang-lu-yan-zhou-wang-yuan-221836",[55,23,24,57,56,26,27,799,7,800,62,63,120],"芦雁","江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea1feefdf4bd8b3e2a362c9f20c1525.jpg",[91,108],{"id":804,"slug":805,"title":806,"dynasty":151,"author":807,"museum":133,"description":808,"tags":809,"thumbUrl":810,"material":556,"size":811,"collection":41,"collections":812,"showCount":794,"zanCount":163,"manualWeight":11,"mainColor":45},214672,"san-jue-tu-3-yao-shou-214672","三绝图-3","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[23,24,26,27,28,32,173,176,400,237,7,235,120,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67ad5f71e8a0537085abdb8c153b4b0f.jpg","纵31.2 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》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[23,25,27,32,38,120,175,84,277,7,877,878],"秋晓","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4bf7eee613995343f6bb7227076da9.jpg",[],34,{"id":883,"slug":884,"title":885,"dynasty":648,"author":886,"museum":887,"description":888,"tags":889,"thumbUrl":890,"material":891,"size":41,"collection":41,"collections":892,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":45},220487,"qiu-lu-tu-lin-feng-mian-220487","秋鹭图","林风眠","中国现当代美术文献研究中心","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[55,23,27,120,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b252b0f31d2532d468749936e84cdea.jpg","纸本水墨",[],{"id":894,"slug":895,"title":131,"dynasty":115,"author":132,"museum":20,"description":896,"tags":897,"thumbUrl":900,"material":362,"size":363,"collection":41,"collections":901,"showCount":902,"zanCount":11,"manualWeight":11,"mainColor":45},289725,"liu-ya-lu-yan-tu-zhao-ji-289725","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[55,82,23,25,854,27,26,56,136,7,139,138,898,899,29,31,469],"鸦","怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa7fe1a9da342eabc769e9f1cdda3f4.jpg",[],33,{"id":904,"slug":905,"title":906,"dynasty":115,"author":536,"museum":20,"description":907,"tags":908,"thumbUrl":910,"material":362,"size":363,"collection":41,"collections":911,"showCount":912,"zanCount":11,"manualWeight":11,"mainColor":45},289348,"qiu-pu-shuang-yuan-tu-hui-chong-289348","秋浦双鸳图","图中右下角池塘边画芦苇数株、败荷及野花丛草：中景处，有一对鸳鸯栖息于河沿边，雄者披着一身美羽昂首站立远望，又似在护卫伴侣；雌者扭头栖息在侧旁，两只鸳鸯含情传神，有声有色。远处是岸际及开阔的天空，全画给人——种秋天虚旷潇洒的气氛，具有涛一般的意境。",[82,23,24,58,56,26,493,7,343,909,31,29],"水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4561824c51db046604dc357bd9c9a1f.jpg",[],32,{"id":914,"slug":915,"title":916,"dynasty":78,"author":249,"museum":20,"description":917,"tags":918,"thumbUrl":920,"material":362,"size":363,"collection":41,"collections":921,"showCount":922,"zanCount":11,"manualWeight":11,"mainColor":45},288451,"shui-tun-tu-zhu-da-288451","水屯图","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[55,23,27,527,235,278,400,7,173,29,28,31,919],"孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b9cc6b0b8316ab2fb517885000a51ce.jpg",[],31,{"id":924,"slug":925,"title":926,"dynasty":115,"author":927,"museum":20,"description":928,"tags":929,"thumbUrl":931,"material":362,"size":363,"collection":41,"collections":932,"showCount":922,"zanCount":11,"manualWeight":11,"mainColor":73},288348,"dong-yan-tu-song-ren-288348","冬雁图","宋人","画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念",[23,56,58,59,7,930,528,856,29],"水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa761cc5e3009b435f9f18dc03c7e3b9a.jpg",[],{"id":934,"slug":935,"title":936,"dynasty":78,"author":937,"museum":153,"description":938,"tags":939,"thumbUrl":942,"material":571,"size":943,"collection":69,"collections":944,"showCount":945,"zanCount":11,"manualWeight":11,"mainColor":45},236466,"liu-tang-lu-que-tu-zhou-ren-yi-236466","柳塘鹭雀图轴","任颐","此图是幅表现春风中群燕嬉戏的小品画，也是任颐运用以实托虚的手法成功地表现“风”的代表作。虚缈、抽象的风通过小燕振翅翻飞的动态和柳叶飘舞张扬的形状被表现得既具象又生动，不仅令“风”有了可视的形象，而且突出了作者“轻柳爱风斜”的创作主题。从构思到笔墨都反映了作者在绘画创作成熟期的精湛艺术水准。",[23,26,27,103,58,829,443,940,7,941],"雀","塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4784f688b1766e12ccf68e7508976a4c.jpg","纵152.5厘米，横40厘米",[69,108],30,{"id":947,"slug":948,"title":949,"dynasty":151,"author":950,"museum":20,"description":951,"tags":952,"thumbUrl":960,"material":41,"size":41,"collection":41,"collections":961,"showCount":945,"zanCount":11,"manualWeight":11,"mainColor":45},235275,"shan-shui-tu-zhou-wang-shan-chui-diao-zhao-zuo-235275","山水图轴（望山垂钓）","赵左","《山水图》轴（望山垂钓），明，赵左绘，纸本，设色，纵12.cm，横8cm。\n作者： 赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[23,57,527,26,27,953,56,103,173,717,954,84,7,277,955,235,956,957,958,959],"披麻皴","草堂","湖水","文人","读书","恬淡","古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],{"id":963,"slug":964,"title":965,"dynasty":78,"author":966,"museum":20,"description":967,"tags":968,"thumbUrl":970,"material":41,"size":41,"collection":41,"collections":971,"showCount":972,"zanCount":163,"manualWeight":11,"mainColor":45},224511,"shan-shui-tu-ce-8-kai-2-shi-tao-224511","山水图册8开-2","石涛","此作用淡墨轻岚晕染远山，虚实相生间漾开空濛雾气，将山峦融在朦胧烟霭里，褪去峻拔锋芒只剩柔润余韵。近景村居错落，茅舍柴篱隐在林木苇草间，朴拙野趣扑面而来。枯笔焦墨点染丛树苔痕，淡赭轻敷屋舍坡岸，设色浅淡柔和，笔致松秀灵动。留白恰到好处，水汽氤氲的溪面与烟岚呼应，营造出静谧清寂的乡野氛围，似能将观者带入幽远山居闲境。笔墨藏着随性自在的画中真意，淡而有味，简中生趣，尽显文人山水的雅逸禅意。",[55,23,24,102,27,26,28,32,35,84,277,617,235,969,7],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f2a9746cd204e4d9f37a292700b3b8.jpg",[],29,{"id":974,"slug":975,"title":248,"dynasty":115,"author":976,"museum":20,"description":977,"tags":978,"thumbUrl":979,"material":362,"size":363,"collection":41,"collections":980,"showCount":981,"zanCount":11,"manualWeight":11,"mainColor":73},289884,"lu-yan-tu-lin-xue-289884","林雪","林雪 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沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[23,24,102,27,32,173,7,278,31,30,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bd1d74f643d26df0c5226efe37fd95.jpg","28.5*25.5cm",[],{"id":1048,"slug":1049,"title":1050,"dynasty":78,"author":1051,"museum":52,"description":1052,"tags":1053,"thumbUrl":1055,"material":556,"size":41,"collection":41,"collections":1056,"showCount":1036,"zanCount":11,"manualWeight":11,"mainColor":45},214596,"fang-gu-shan-shui-ce-8-wang-hui-214596","仿古山水册-8","王翚","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。",[23,24,102,26,32,84,7,235,120,1054],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcc549ed03786bc248594ee37ecbe4da.jpg",[],{"id":1058,"slug":1059,"title":1060,"dynasty":78,"author":1061,"museum":153,"description":1062,"tags":1063,"thumbUrl":1064,"material":141,"size":41,"collection":69,"collections":1065,"showCount":1066,"zanCount":11,"manualWeight":11,"mainColor":45},237345,"liu-e-zhou-lu-hui-237345","柳鹅轴","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[23,24,57,687,26,27,741,58,136,653,278,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfeaabf9316dbd974dad4d28dbb93e0.jpg",[69],25,{"id":1068,"slug":1069,"title":1070,"dynasty":151,"author":1071,"museum":20,"description":1072,"tags":1073,"thumbUrl":1074,"material":41,"size":41,"collection":41,"collections":1075,"showCount":1066,"zanCount":11,"manualWeight":11,"mainColor":45},228342,"qian-yan-tu-wang-shou-qian-228342","千雁图","王守谦","整卷群雁聚散自如，或振翅翱翔、或敛羽栖汀，姿态各不相同，灵动尽显。以淡墨晕染汀渚苇丛，留白铺就水天色空濛之境，虚实相生间，将秋日寒渚的清旷萧瑟铺展开来。\n\n水墨写意笔触简练苍润，大雁造型简括神完，芦苇繁花轻描淡写，野逸之趣扑面而来。画面两侧行书题跋与画作相得益彰，书画合璧，尽显明代文人画的雅致意趣，将江渚雁群的自然野态描摹得淋漓尽致，是写意花鸟中的精妙之作。",[55,23,24,25,27,26,56,120,7,158,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5f90b188d80a1c0e4720b5f1db3863.jpg",[],{"id":1077,"slug":1078,"title":1079,"dynasty":151,"author":807,"museum":133,"description":808,"tags":1080,"thumbUrl":1081,"material":556,"size":811,"collection":41,"collections":1082,"showCount":1066,"zanCount":163,"manualWeight":11,"mainColor":45},214671,"san-jue-tu-4-yao-shou-214671","三绝图-4",[23,27,32,28,173,174,88,237,7,235,1054,955,328,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41a69055627a18111545189016a9a46.jpg",[],{"id":1084,"slug":1085,"title":1086,"dynasty":115,"author":51,"museum":20,"description":1087,"tags":1088,"thumbUrl":1089,"material":362,"size":363,"collection":41,"collections":1090,"showCount":1091,"zanCount":11,"manualWeight":11,"mainColor":73},289935,"he-tang-shuang-e-tu-yi-ming-289935","荷塘双鹅图","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。",[55,219,23,82,56,26,58,441,653,7,791],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0bc03df74eb2c161e86d8b4cda793a.jpg",[],24,{"id":1093,"slug":1094,"title":1095,"dynasty":151,"author":1096,"museum":20,"description":1097,"tags":1098,"thumbUrl":1100,"material":362,"size":363,"collection":41,"collections":1101,"showCount":1102,"zanCount":11,"manualWeight":11,"mainColor":45},289749,"yue-ming-xing-xi-wu-que-nan-fei-cheng-jia-sui-289749","月明星稀乌鹊南飞","程嘉燧","程嘉燧（1565～1643）明代书画家、诗人。字孟阳，号松圆、偈庵，又号松圆老人、松圆道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，释名海能。",[23,24,27,32,173,120,175,180,29,1099,7],"崖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f836bf2e69fec4b97726af8a6dc5d83.jpg",[],23,{"id":1104,"slug":1105,"title":248,"dynasty":115,"author":637,"museum":79,"description":852,"tags":1106,"thumbUrl":1108,"material":362,"size":363,"collection":41,"collections":1109,"showCount":1110,"zanCount":11,"manualWeight":11,"mainColor":73},289983,"lu-yan-tu-cui-bai-289983",[55,82,23,219,26,56,58,7,59,930,1107],"静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2977e53530733292bf2afc1fd715202.jpg",[],22,{"id":1112,"slug":1113,"title":1114,"dynasty":7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出版。",[23,82,24,57,56,26,138,7,120,194,1210,58],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e4009402f3bfb576c6fa71004de73d.jpg",[],{"id":1214,"slug":1215,"title":1216,"dynasty":78,"author":1217,"museum":826,"description":1218,"tags":1219,"thumbUrl":1220,"material":556,"size":41,"collection":41,"collections":1221,"showCount":1203,"zanCount":11,"manualWeight":11,"mainColor":45},216391,"za-hua-ce-3-bian-shou-min-216391","杂画册-3","边寿民","他的作品常常被收录在《边寿民杂画册》中。这本画册收录了边寿民的许多作品，包括花鸟画、人物画、山水画等。边寿民的画风浓郁，线条简洁，色彩明快，深受当时社会的喜爱。他的作品也被视为中国画的经典之作。",[55,23,24,102,27,103,58,138,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42bcd9bfc2d499dd748088c848c8464d.jpg",[],{"id":1223,"slug":1224,"title":1225,"dynasty":151,"author":1226,"museum":20,"description":1227,"tags":1228,"thumbUrl":1229,"material":41,"size":41,"collection":41,"collections":1230,"showCount":1231,"zanCount":11,"manualWeight":11,"mainColor":45},228464,"liu-pu-yu-le-tu-qian-gu-228464","柳浦渔乐图","钱毂","此作用长卷铺展江南水居意趣，烟波江上渔舟星散，渔人或垂纶闲坐，或收网归棹，鲜活尽显水乡生计日常。两岸柔柳拂波，杂树错落，茅舍隐于林薮，鸥鸟翔集天水之际，淡墨轻晕出空濛烟岚，将野逸清寂的乡野意趣与寻常烟火相融。笔墨秀雅松灵，设色浅澹柔和，把文人心向往之的渔樵隐逸之乐，藏在一水一木、一渔一舟间，实景鲜活与雅逸诗意兼具，尽显温润雅致的笔墨情致。",[55,23,24,25,27,26,32,829,175,173,120,7,176,180,84,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4627df9684f8bd39579529eacfef4b9a.jpg",[],19,{"id":1233,"slug":1234,"title":1235,"dynasty":115,"author":51,"museum":79,"description":1236,"tags":1237,"thumbUrl":1238,"material":1239,"size":41,"collection":41,"collections":1240,"showCount":1231,"zanCount":11,"manualWeight":11,"mainColor":73},223485,"wu-kuan-he-yan-yi-ming-223485","无款荷雁","深秋，荷塘，枯败的荷叶和芦苇，可能是南飞的大雁，落在荷塘旁休憩，四只雁仰头等待着同伴落下来，六只雁动静结合，形态各异，画面清淡灵动，极具舒适感。",[23,56,26,441,59,120,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414dcef4b802a97e23d08ce398337d45.jpg","絹本、設色",[],{"id":1242,"slug":1243,"title":1244,"dynasty":78,"author":1051,"museum":313,"description":1245,"tags":1246,"thumbUrl":1247,"material":556,"size":1248,"collection":41,"collections":1249,"showCount":1231,"zanCount":11,"manualWeight":11,"mainColor":45},217213,"fang-gu-shan-shui-shi-er-kai-wu-wang-hui-217213","仿古山水十二开(五)","此册王翚仿古十二开",[23,24,102,28,26,32,173,120,84,35,7,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9aebe68762b55eb17a1ff7c3a0c1ed8.jpg","25x35.4cm",[],{"id":1251,"slug":1252,"title":1253,"dynasty":115,"author":1254,"museum":20,"description":1255,"tags":1256,"thumbUrl":1260,"material":362,"size":363,"collection":41,"collections":1261,"showCount":1262,"zanCount":11,"manualWeight":11,"mainColor":73},289119,"han-pu-yu-zeng-tu-yan-wen-gui-289119","寒浦渔罾图","燕文贵","燕肃(961年—1040年)，字穆之，字仲穆，一署上谷，祖籍青州益都，定居曹州（今山东曹县）。北宋著名科学家、画家、诗人。\n燕肃少孤贫，巧思过人，宋真宗大中祥符年间进士，官至龙图阁直学士，人称“燕龙图”。学识渊博，精通天文物理，有指南车、记里鼓、莲花漏等仪器的创造发明，著有《海潮论》，绘制《海潮图》以说明潮汐原理。工诗善画，以诗入画，意境高超，为文人画的先驱者。",[23,82,57,27,32,120,930,7,1257,1258,1259],"渔网","寒景","渔事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2864b177f9fc2b991dd18fe3a5830f.jpg",[],18,{"id":1264,"slug":1265,"title":1266,"dynasty":78,"author":1267,"museum":153,"description":1268,"tags":1269,"thumbUrl":1271,"material":620,"size":1272,"collection":41,"collections":1273,"showCount":1262,"zanCount":11,"manualWeight":11,"mainColor":45},234243,"yu-jia-le-shi-tu-juan-zhang-ruo-cheng-234243","渔家乐事图卷","张若澄","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。\n人物 简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[55,23,25,27,56,191,29,176,1270,175,84,7,120,180,32,708,717,1257,279,136,174,173],"渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":1275,"slug":1276,"title":1277,"dynasty":78,"author":1278,"museum":153,"description":1279,"tags":1280,"thumbUrl":1284,"material":620,"size":1285,"collection":41,"collections":1286,"showCount":1262,"zanCount":11,"manualWeight":11,"mainColor":45},234064,"qiu-shu-ba-ge-tu-hua-yan-234064","秋树八哥图","华嵒","八哥是华嵒擅画的题材之一。此图绘溪野中的八哥或栖于红枫枝头、或盘旋而下、或于水中鸣浴的欢快景象。笔法上勾染兼施，简约传神地塑造了八哥的各种体态，反映了画家娴熟的笔墨技巧和善于想象、巧于构思的艺术才能。",[23,103,26,27,57,58,400,120,278,7,1281,343,1282,1283],"落叶","鸟禽","水边植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd744f410ea61ce30a13c0ce4ef3ca7c0.jpg","纵161厘米，横87.9厘米",[],{"id":1288,"slug":1289,"title":1290,"dynasty":151,"author":738,"museum":20,"description":1291,"tags":1292,"thumbUrl":1297,"material":41,"size":41,"collection":41,"collections":1298,"showCount":1262,"zanCount":11,"manualWeight":11,"mainColor":73},228844,"yan-shui-sheng-ya-tu-juan-dai-jin-228844","烟水生涯图卷","此作以长卷铺展江南烟水之致，淡赭晕开汀洲烟波，墨色劲爽勾勒江岸山石，斧劈皴意苍劲利落。芦荻萧萧覆岸，林麓间茅舍错落，水面渔舟星列，渔人或垂纶放流，或泊舟炊煮，将渔家烟火日常尽纳卷中。\n\n画作兼融笔墨刚健与文人清雅意趣，以淡墨轻岚晕染空濛水汽，把江湖野逸的隐逸之思，和渔家乐的世俗生机相融。远山近渚虚实相生，苍郁林木与澹澹烟水相映，将江南水乡的静谧闲适，绘成世外烟霞，淡远空灵间满是鲜活的烟火意趣。",[55,23,25,27,28,56,32,175,173,174,176,120,84,1293,180,7,1294,1295,1270,1296,38],"亭","岸芷","汀草","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2883f5aa258e7dba7014124bd5e0a60.jpg",[],{"id":1300,"slug":1301,"title":1086,"dynasty":151,"author":51,"museum":20,"description":1302,"tags":1303,"thumbUrl":1304,"material":41,"size":41,"collection":41,"collections":1305,"showCount":1262,"zanCount":11,"manualWeight":11,"mainColor":73},228812,"he-tang-shuang-e-tu-yi-ming-228812","此作以淡墨轻色绘秋水一隅，枯荷欹斜舒展，芦叶随风摇曳，将深秋荷塘的清寂晕染开来。两只雏鹅姿态生动，一只引颈抬首似在窥望残荷，绒毛蓬松的质感以细笔丝出，朴拙灵动。水岸以浅赭晕染，衬出水天朦胧的空寂氛围。\n\n整体设色淡雅柔和，工写兼具，既以精微笔触刻画禽鸟花叶的形神，又以简淡晕染烘托萧疏冷隽的秋日意趣，将秋日荷塘的幽寂与生机相融，淡而有味，韵致悠长。",[55,23,219,26,56,58,441,653,7,831],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb949ddd4193d20cfb32610246faade24.jpg",[],{"id":1307,"slug":1308,"title":1309,"dynasty":370,"author":1310,"museum":20,"description":1311,"tags":1312,"thumbUrl":1321,"material":362,"size":363,"collection":1322,"collections":1323,"showCount":1262,"zanCount":11,"manualWeight":11,"mainColor":73},226107,"the-reeds-study-mo-nai-226107","The Reeds (study)","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。",[1313,1314,1315,1316,1317,7,65,1318,1319,1320],"印象派","油画","笔触松散","色彩交融","光影表现","自然景观","朦胧氛围","水域边景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa73e7413da72fb11e6bd4f97a244fe7c.jpg","油画精选",[1322],{"id":1325,"slug":1326,"title":1327,"dynasty":78,"author":727,"museum":20,"description":1328,"tags":1329,"thumbUrl":1331,"material":41,"size":41,"collection":41,"collections":1332,"showCount":1262,"zanCount":11,"manualWeight":11,"mainColor":73},224125,"shi-lu-li-lu-ting-tu-zhou-qian-long-224125","诗鹭立芦汀图轴","清乾隆缂丝乾隆御制诗鹭立芦汀图轴是清乾隆时期的图轴。\n米色地上缂织芦花白鹭，右上方以黑线缂织高宗隶书御制诗一首： 采采亚汀洲，为花岂自由。\n群摇令夕雨，不异去年秋。\n藏鹭恋青叶，凌波颤白头。\n吟看惊隙影，荣落宜淹留。\n诗末织圆、方朱印“乾”、“隆”各一方。\n此图轴的特点在于先缂织出物象形状，其上再着笔渲染，如 即先以白丝线织其形态，而后用墨笔画羽毛，地上的小草则全以笔描画，这种织与画的结合，可以画笔来描绘细小而不易缂织之处，弥补了织的不足。\n此作品织与画搭配得当，缂工上乘，以平缂、构缂、环缂、子母经为主。\n画面上还钤有阳文朱印“乾隆御览之宝”、“宣统御览之宝”、“石渠宝笈”、“石渠定鉴”、“三希堂精鉴玺”、“无逸斋精鉴玺”、“乾清宫鉴藏宝”、“宣统鉴赏”和“乾隆鉴赏”、“宜子孙”、“宝笈重编”阴文印章。\n《石渠宝笈续编》著录。",[55,82,23,24,57,56,26,443,7,1330,194,29],"汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffc101a696745672e7f2512cd182300.jpg",[],{"id":1334,"slug":1335,"title":851,"dynasty":78,"author":1217,"museum":153,"description":1336,"tags":1337,"thumbUrl":1339,"material":620,"size":1340,"collection":69,"collections":1341,"showCount":1262,"zanCount":11,"manualWeight":11,"mainColor":45},222801,"lu-yan-tu-zhou-bian-shou-min-222801","此画写两雁在寒沙折芦之间，一雁已息落，一雁盘旋将下，相望相依，宛如一对旅外的伴侣。一支芦花，秃笔蓬松；隐约渚沙，墨色枯淡。作者所画的鸿雁，墨中带赭色，头颈弯曲，一笔而成，由浓而淡；羽翮柔软润泽，无不情趣横溢。这种大写意的泼墨芦雁，是边寿民独特的创造。自题：“壬子立冬后二日，边寿民写于白沙旅馆。”作者时年四十七岁，正是画艺达到炉火纯青之际，这是其重要的传世代表作。",[55,23,27,57,103,59,7,1338,120],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472873d5cf2f6c5f97c9b24377863181.jpg","纵128.5厘米，横48.5厘米",[69],{"id":1343,"slug":1344,"title":1345,"dynasty":151,"author":1346,"museum":1347,"description":1348,"tags":1349,"thumbUrl":1350,"material":102,"size":1351,"collection":41,"collections":1352,"showCount":1262,"zanCount":11,"manualWeight":11,"mainColor":41},220750,"fang-ge-jia-shan-shui-6-dong-qi-chang-220750","仿各家山水-6","董其昌","香港中文大学文物馆","此作用笔松秀虚和，以干笔淡墨勾勒皴擦。近岸老木虬曲偃蹇，枝叶苍郁间伴以修松清挺，林侧茅舍隐现，浅草萦回于水畔。中远景平坡澹荡，遥岫浮空，寥寥数笔便晕染出空濛淡远的平野之境。\n整体取平远章法，墨色清润淡雅，萧散简淡，将江南水畔清寂幽远的诗意尽数铺陈，尽显文人画空灵悠远的雅逸格调，寄寓着林泉高致的幽怀。",[55,23,24,27,32,83,28,102,84,277,35,7,235,506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d42de66c74884278b37e641dfc193bc.jpg","30.5 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。\n康熙五十年（1711）尝作《草虫图轴》。“没骨”，是中国传统绘画中的一种技法，它不用墨线勾勒，直接以彩色涂画物象。\n金陵天渡楼藏有其康熙己亥（1719）作《花卉草虫册》十二开。",[55,23,27,1381,854,57,441,675,7],"没骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda87507bf5208022f8d038afe868d9f7.jpg",[],{"id":1385,"slug":1386,"title":1387,"dynasty":151,"author":51,"museum":588,"description":1388,"tags":1389,"thumbUrl":1391,"material":68,"size":1392,"collection":69,"collections":1393,"showCount":1373,"zanCount":11,"manualWeight":11,"mainColor":45},219134,"mu-du-tu-yi-ming-219134","牧渡图","图为池塘一角，河岸上芦苇盛开，重重的花穗压弯芦苇。 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《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[55,23,24,57,27,28,32,173,120,84,402,730,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4c610a6dfca13ab7aee91938ded7bf.jpg","纸本墨笔","48X123cm",[],{"id":1472,"slug":1473,"title":1474,"dynasty":151,"author":1475,"museum":79,"description":1476,"tags":1477,"thumbUrl":1478,"material":123,"size":1479,"collection":69,"collections":1480,"showCount":1448,"zanCount":11,"manualWeight":11,"mainColor":73},218782,"lu-zhou-ju-yan-tu-zhu-fei-218782","芦洲聚雁图","朱芾","朱芾（活动于西元十四世纪后期），江苏华亭人，字孟辨，号沧洲生，洪武初，以翰林编修改中书舍人。其人才思飘逸，善画芦雁，集潇湘水云之致，兼善山水及白描人物。工词章翰墨之学，真、草、隶、篆清润遒劲，风度不凡。尝以所书篆瘗之细林山中，题曰篆冢。朱芾为当时名士杨维祯之门生，甚受杨氏器重，曾赞芾能以仁义为修，为其门之幸。本幅画芦洲聚雁，楷书画题，隶书识其作画经过，并赋七绝一首写其心境，笔法多变，结字错落，甚有奇趣。",[23,27,32,28,120,7,84,194,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84fd87c7fb0b2f499c2bd78515980998.jpg","117.4x30.7cm",[69,91],{"id":1482,"slug":1483,"title":1484,"dynasty":78,"author":1485,"museum":153,"description":1486,"tags":1487,"thumbUrl":1490,"material":1491,"size":1492,"collection":41,"collections":1493,"showCount":1494,"zanCount":163,"manualWeight":11,"mainColor":45},233874,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233874","西陂诗意图册","查士标","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[23,27,527,191,687,84,173,35,278,37,7,136,1488,1489],"水面景物","淡墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e43c4efc42a9b7fb86aea3f999be41c.jpg","纸本，墨笔","纵32.8cm，横52.8cm",[],13,{"id":1496,"slug":1497,"title":1498,"dynasty":151,"author":1499,"museum":153,"description":1500,"tags":1501,"thumbUrl":1505,"material":1191,"size":1506,"collection":41,"collections":1507,"showCount":1508,"zanCount":11,"manualWeight":11,"mainColor":73},221892,"za-hua-tu-ce-yuan-pu-gui-fan-fang-zhao-da-nian-bi-yi-chen-hong-shou-221892","杂画图册-远浦归帆仿赵大年笔意","陈洪绶","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[55,23,24,102,26,83,32,1502,175,84,235,7,1503,1504,506],"帆船","船只","归帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89652c7df9e003b24a0b39605e1aac93.jpg","纵30.2＊横25.1ＣＭ",[],11,{"id":1510,"slug":1511,"title":1512,"dynasty":78,"author":1513,"museum":133,"description":1514,"tags":1515,"thumbUrl":1518,"material":41,"size":41,"collection":69,"collections":1519,"showCount":1508,"zanCount":184,"manualWeight":11,"mainColor":1520},201856,"fu-rong-bai-tou-tu-zhou-ren-yu-201856","芙蓉白头图轴","任预","淡墨挥写的芦苇疏枝摇曳，衬得粉润芙蓉愈显烂漫——叶片敷染淡蓝，花瓣晕开浅粉，笔墨细腻处见生趣。白头鸟静栖苇秆，羽色勾勒层次分明，神态悠然间藏灵动。整作兼工带写，花鸟相映成趣，清逸雅致的意境中，满溢自然生机与温婉意韵。",[58,26,741,60,1516,7,78,1517,55],"白头鸟","海派","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f6aa49c4bee8055c36ef760fd76506.jpg",[69],"d3bea4",{"id":1522,"slug":1523,"title":1524,"dynasty":151,"author":51,"museum":20,"description":1525,"tags":1526,"thumbUrl":1528,"material":362,"size":363,"collection":41,"collections":1529,"showCount":1530,"zanCount":11,"manualWeight":11,"mainColor":73},228808,"lu-ya-tu-zhou-yi-ming-228808","芦鸭图轴","淡赭晕开汀洲暮色，细劲墨线勾勒芦苇，叶梢随晚风欹斜错落，疏密间漫开清寂秋意。\n\n两只芦鸭静栖岩矶，抬首者绒羽蓬松，翎羽层次分明，墨色浓淡过渡柔和，似在聆听水泽秋声；蜷卧者敛息安闲，将野禽的恬然之态晕染入微。画面设色清雅柔和，无繁复铺陈，以极简笔意勾勒出郊野水畔的悠然生机，将荒寒秋意与栖禽的闲澹相融，尽显江南泽国的静谧闲雅，把秋日水泽的幽寂和生灵的野逸平衡得恰到好处，淡远空濛之余，余韵悠长。",[55,82,23,24,57,26,56,58,7,1527,194],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8344bd58fa2be0ddc84d2f4c79e5c0ff.jpg",[],10,{"id":1532,"slug":1533,"title":1534,"dynasty":115,"author":51,"museum":153,"description":1535,"tags":1536,"thumbUrl":1538,"material":1539,"size":1540,"collection":41,"collections":1541,"showCount":1530,"zanCount":11,"manualWeight":11,"mainColor":45},223572,"xi-lu-ye-ya-tu-yi-ming-223572","溪芦野鸭图","图绘溪边芦苇、茨菰丛生，枝繁叶茂，生机勃勃。雄鸭在岸边单足站立小憩；雌鸭于水中回首梳羽，姿态闲适，气度雍容。此图意在表现一种祥和安定的气氛，应是南宋画院点缀升平之作。构图成熟简练，画面左中部为芦苇所荫蔽，给人安全之感；右上方则留出一片水面，启人遐思，以免闭塞。敷色精细写实，雄鸭毛羽的表现尤见功力。今色彩虽已暗旧，尚可想见当年斑斓生辉之状。",[55,23,56,26,58,1537,7,158,61],"野鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a845e7b9c4e3e32739c5b931a4db59.jpg","绢本设色","26.4x27",[],{"id":1543,"slug":1544,"title":1545,"dynasty":18,"author":51,"museum":20,"description":1546,"tags":1547,"thumbUrl":1548,"material":362,"size":363,"collection":41,"collections":1549,"showCount":1550,"zanCount":11,"manualWeight":11,"mainColor":73},283616,"bai-yan-tu-juan-yi-ming-283616","百雁图卷","逢风时迥度,逐侣乍争飞。犹忆方塘水,今秋已复归",[23,24,82,25,58,27,26,59,120,7,429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bbe5921241b9f0faef21bcab18368d.jpg",[],9,{"id":1552,"slug":1553,"title":1554,"dynasty":78,"author":1555,"museum":2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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。",[1634,1635,1636,56,456,799,7,528,1107,58],"琺瑯器","器","圆盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93b04e5fe37f528bd868e4c1211cd70.jpg",[],{"id":1640,"slug":1641,"title":1642,"dynasty":78,"author":1643,"museum":1644,"description":1645,"tags":1646,"thumbUrl":1647,"material":141,"size":1648,"collection":41,"collections":1649,"showCount":1627,"zanCount":11,"manualWeight":11,"mainColor":45},231589,"yang-niao-you-ju-tu-chen-zhen-yue-231589","阳鸟攸居图","陈震岳","美国弗瑞尔美术馆","此卷用水墨画各姿态鸿雁近百只，笔墨娴熟，造型生动，媲美边颐公。阳鸟即“随阳之鸟,即鸿雁之属”。\n陈震岳，字峻生，又字静斋，福建晋江人。善诗文、书画，所画芦雁尤佳。常于江天暮景，观雁之飞鸣起伏，而得其神妙。",[55,23,24,25,27,56,120,299,7,376,121,84,278,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1686057e9b26e44ff14f72b02d489fbf.jpg","26x498厘米",[],{"id":1651,"slug":1652,"title":1653,"dynasty":78,"author":1051,"museum":20,"description":1654,"tags":1655,"thumbUrl":1658,"material":41,"size":41,"collection":41,"collections":1659,"showCount":1627,"zanCount":11,"manualWeight":11,"mainColor":73},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[55,23,25,26,32,28,56,1656,84,37,234,1657,139,7,1270,120],"湖泊","岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],{"id":1661,"slug":1662,"title":1663,"dynasty":115,"author":51,"museum":20,"description":1664,"tags":1665,"thumbUrl":1668,"material":41,"size":41,"collection":41,"collections":1669,"showCount":1627,"zanCount":11,"manualWeight":11,"mainColor":73},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","远水扬帆图","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[55,82,23,24,527,1456,26,741,28,84,136,234,277,278,1502,176,235,7,1666,708,1667,715],"江河","岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":1671,"slug":1672,"title":1673,"dynasty":151,"author":1499,"museum":20,"description":1674,"tags":1675,"thumbUrl":1676,"material":123,"size":41,"collection":41,"collections":1677,"showCount":1627,"zanCount":11,"manualWeight":11,"mainColor":73},216308,"xi-xiang-ji-zhen-ben-tu-ce-17-chen-hong-shou-216308","西厢记真本图册-17","左幅水天浩渺，芦荻扶风，归鸿掠影划破岑寂；右幅古木盘虬，仕女独立，衣袂轻扬似带流云。笔墨如铁线银钩，刚劲中藏柔婉，人物发髻的螺钿纹理、衣袍的褶皱层次，皆以精细线条勾勒，尽显古典韵致。远景淡墨晕染的山水与近景工笔描摹的人物相映成趣，虚实之间，西厢故事里的幽情暗绪似在纸间流转。每一笔都凝着旧时光的风雅，让观者于方寸之间，窥见那个年代的诗意与缠绵。",[23,24,102,191,176,1362,84,120,175,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a7d7c36701d886dacfc3d679562989.jpg",[],{"id":1679,"slug":1680,"title":1524,"dynasty":78,"author":1681,"museum":133,"description":1682,"tags":1683,"thumbUrl":1685,"material":41,"size":41,"collection":69,"collections":1686,"showCount":1627,"zanCount":11,"manualWeight":11,"mainColor":1687},201934,"lu-ya-tu-zhou-zhou-ming-qian-201934","周鸣谦","水畔芦荻随风轻曳，数只水鸭各得其乐。碧波中，游鸭红喙拨水，羽色斑驳间漾开细纹；岸草里，或低头梳理绒羽，或闲步于青芜之上，姿态憨态可掬。芦苇以细墨勾勒，茎秆修长，芦花疏淡，与水鸭的工致刻画相得益彰。画面设色温润，棕褐底色晕染出静谧氛围，野趣盎然，尽显自然生机与雅致情韵。",[23,58,56,26,7,1684,57,55],"水鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4542eac8968f42c69f7179c43025ace.jpg",[69],"825e36",{"id":1689,"slug":1690,"title":1524,"dynasty":78,"author":1691,"museum":133,"description":1692,"tags":1693,"thumbUrl":1694,"material":41,"size":41,"collection":69,"collections":1695,"showCount":1627,"zanCount":11,"manualWeight":11,"mainColor":1696},201912,"lu-ya-tu-zhou-dai-li-201912","戴礼","芦苇丛生，墨笔勾染出苇秆的劲挺与芦花的轻柔，疏密交错间野趣盎然。几只鸭子憨态可掬，或低头啄食，或侧首理羽，羽毛以淡彩晕染，质感细腻。笔墨简练却形神兼备，疏朗的芦苇与灵动的鸭群构成静谧小景，恬淡闲适的意韵漫溢画面，似能闻见郊野湿地的清润气息，尽显文人画的雅致情致。",[23,27,26,58,7,341,103,345,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0138fb027dbde3abbc49b08de6e00aa9.jpg",[69],"c9a373",{"id":1698,"slug":1699,"title":1700,"dynasty":78,"author":1701,"museum":20,"description":1702,"tags":1703,"thumbUrl":1704,"material":362,"size":363,"collection":41,"collections":1705,"showCount":1706,"zanCount":11,"manualWeight":11,"mainColor":45},239464,"ming-qing-zhu-jia-ji-jin-ce-shan-shui-ye-cheng-shi-tong-239464","明清诸家集锦册-山水页","程士桐","此作为水墨山水小品，以大片留白铺就浩渺江面，尽显水天寥廓之意。近岸苇草轻曳，线条简劲疏朗，墨色枯淡间带着秋意萧疏。扁舟静浮江上，舟头老翁垂竿闲坐，神态悠然，将寄迹江湖的散淡隐逸之心藏于画中。\n\n远景山峦以淡墨轻染，略作勾勒便晕出山峦汀洲的朦胧之态，与江面相融，晕染出空濛淡远的烟水气象。全作笔墨清简淡远，不着浓彩，以简淡枯涩的笔意写就荒寒闲逸的秋江之景，把文人寄情山水、超然物外的雅趣藏于方寸之间，淡而有味，简中见韵。",[23,24,82,27,102,32,173,120,7,176,37,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d76d97f70943be63ba7b864ceb2294.jpg",[],6,{"id":1708,"slug":1709,"title":1710,"dynasty":78,"author":1711,"museum":20,"description":1712,"tags":1713,"thumbUrl":1714,"material":41,"size":41,"collection":41,"collections":1715,"showCount":1706,"zanCount":11,"manualWeight":11,"mainColor":45},237168,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237168","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[23,26,102,32,173,175,7,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7f811e70bc49b42ec43c824b2107348.jpg",[],{"id":1717,"slug":1718,"title":1719,"dynasty":151,"author":1720,"museum":20,"description":1721,"tags":1722,"thumbUrl":1725,"material":362,"size":363,"collection":41,"collections":1726,"showCount":1706,"zanCount":11,"manualWeight":11,"mainColor":45},236373,"lu-ting-yuan-tiao-shan-ye-guan-hong-236373","芦汀远眺扇页","管鸿","此作用金笺为底，以细笔绘就江天秋意。浩渺水面铺陈开清寂底色，汀洲芦苇苍苍，似携晚风轻摇。左岸枯木疏枝缀着残叶，晕染出萧索秋韵。石矶之上幽人独立，凭眺远空，将羁怀寄于水色烟波。\n\n设色浅淡秀润，线条简净秀逸，细勾芦叶层次，晕染波纹微动，衬出水天寥廓清旷。题款小字与画面浑然相融，将文人幽远襟怀藏在空阔汀洲间，观之如坠入秋日江天的闲寂清冷，意韵悠长。",[23,219,27,1723,28,32,176,7,84,194,629,1724,278],"淡设色","远眺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31af07f4f088c8fa7e05738a2787dc8f.jpg",[],{"id":1728,"slug":1729,"title":1730,"dynasty":78,"author":672,"museum":20,"description":1731,"tags":1732,"thumbUrl":1733,"material":1456,"size":41,"collection":41,"collections":1734,"showCount":1706,"zanCount":11,"manualWeight":11,"mainColor":45},231573,"hua-hui-shi-er-kai-li-shan-231573","花卉十二开","李鱓（shàn），清康熙二十五年（1686）生，乾隆二十一年（1756）卒。字宗扬，号复堂，别号懊道人、墨磨人，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，扬州八怪之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。",[23,27,26,58,102,427,7,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ffad346df645f21757cf8ef14b4cb7.jpg",[],{"id":1736,"slug":1737,"title":1738,"dynasty":78,"author":1739,"museum":20,"description":1740,"tags":1741,"thumbUrl":1742,"material":41,"size":41,"collection":41,"collections":1743,"showCount":1706,"zanCount":11,"manualWeight":11,"mainColor":45},230255,"shan-shui-ce-wang-su-230255","山水册","王愫","此作以淡赭轻染、花青敷缀，写就水滨冬景。江天色调清濛，岸旁柳芦枝叶疏柔，似含朔风之意，带着萧寒疏朗之态。近岸小舟系于枯木之下，篷顶暖意暗生；远江扁舟孤行，淡波载着舟影缓缓漾开，留白铺就空阔水天，晕开朦胧烟霭。\n题诗笔意清隽，和画面柔澹氛围相融。整幅无繁复皴擦，以简淡笔墨托出萧散空寂的意境，将冬日水畔的闲逸清和藏于浅淡设色之中，尽显文人画天真简淡的意趣，观之便如临幽寂江天，俗尘尽涤。",[23,24,102,27,26,173,136,7,387,175,120,316,715,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9591750a149d747d9b88fc296549bdcf.jpg",[],{"id":1745,"slug":1746,"title":1747,"dynasty":115,"author":51,"museum":20,"description":1748,"tags":1749,"thumbUrl":1750,"material":41,"size":41,"collection":41,"collections":1751,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":73},238129,"liang-shi-min-lu-ting-mi-xue-tu-juan-yi-ming-238129","梁师闵芦汀密雪图卷","以淡墨晕染铺就江天雪景，汀渚芦荻披雪偃卧，寒禽静栖其间，留白拓出江天寥廓空茫。笔意简淡清润，没有繁复皴擦，仅凭水墨晕染便勾勒出雪色裹覆下的冷寂江洲。\n清冷萧寒的氛围漫溢纸面，尽显潇湘冬雪的空濛澄澈，带着宋画独有的雅致静穆。观者仿若踏雪临江，看江天雪意萧索，望外寒沙半落潮，在这份冷逸幽澹的意境里，沉醉于冬日江渚的荒寂之美。",[82,23,24,25,56,27,26,32,7,629,567,173,120,29,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F016ed5eb355835f8e2c13be7da3c1a67.jpg",[],{"id":1753,"slug":1754,"title":1738,"dynasty":78,"author":1755,"museum":20,"description":1756,"tags":1757,"thumbUrl":1759,"material":362,"size":363,"collection":41,"collections":1760,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":45},235179,"shan-shui-ce-ye-xin-235179","叶欣","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。",[23,82,24,102,27,26,32,173,176,7,1758],"土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F219f8a7f491de78910b0671fffe5ed6e.jpg",[],{"id":1762,"slug":1763,"title":1764,"dynasty":78,"author":1765,"museum":153,"description":1766,"tags":1767,"thumbUrl":1768,"material":350,"size":1769,"collection":41,"collections":1770,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":45},234473,"he-ting-fan-ting-shan-wu-da-cheng-234473","荷汀泛艇扇","吴大澂","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n题跋：旧藏宋人集册，有此一帧，不署画款，爱其疏散有致，约略拟此。黼卿大兄大人雅鉴。吴大澂。\u2028 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清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[1879,1880,1881,527,173,176,7,278,1107],"缎画","壁衣","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2bea7abf597a77f675e930b1cbf701.jpg",[],{"id":1885,"slug":1886,"title":1887,"dynasty":78,"author":51,"museum":20,"description":1888,"tags":1889,"thumbUrl":1891,"material":362,"size":363,"collection":41,"collections":1892,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":73},270207,"zhu-gu-diao-hua-bian-hei-mian-yong-rong-shu-hua-zhe-shan-yi-ming-270207","竹股雕花边黑面永瑢书画折扇","以乌色纸面为底，以银墨勾勒寒江芦汀之景。密匝苇秆错落挺拔，蓬松芦花似凝霜堆雪，在暗沉底色中愈显莹洁柔润。远景晕染云水朦胧虚渺，水鸟或掠波低翔，或栖于汀渚，野逸秋意扑面而来。竹股雕饰的细腻刀工，与纸面幽寂清冷的意境相映成趣，将萧疏江渚暮色收纳于扇面开合之间，把秋日荒寒的文人意趣晕染得淋漓尽致，是小品书画中别具韵致的清隽之作。",[219,24,27,120,7,32,1890],"雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6498314f69300b9a1317afced0f2e98.jpg",[],{"id":1894,"slug":1895,"title":1738,"dynasty":78,"author":1896,"museum":153,"description":1897,"tags":1898,"thumbUrl":1899,"material":41,"size":41,"collection":41,"collections":1900,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":45},237553,"shan-shui-ce-wen-dian-237553","文点","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[23,27,28,102,32,173,84,7,714,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ea67bfce8a78ef673c1d60ea477161c.jpg",[],{"id":1902,"slug":1903,"title":1738,"dynasty":151,"author":1904,"museum":20,"description":1905,"tags":1906,"thumbUrl":1907,"material":362,"size":363,"collection":41,"collections":1908,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":45},237039,"shan-shui-ce-li-hang-zhi-237039","李杭之","李杭之[明]（？―一六四四）字僧筏，流芳（一五七五―一六二九）子。",[23,27,102,32,120,7,235,969,35,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27021b5bb28ed99dfaae711dabe7872e.jpg",[],{"id":1910,"slug":1911,"title":1738,"dynasty":78,"author":1912,"museum":20,"description":1913,"tags":1914,"thumbUrl":1915,"material":141,"size":41,"collection":41,"collections":1916,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":45},236963,"shan-shui-ce-chen-jia-le-236963","陈嘉乐","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》。",[23,27,32,102,1293,400,7,506,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fdbf439c50a3fda866e91b77a71e80e.jpg",[],{"id":1918,"slug":1919,"title":851,"dynasty":78,"author":1217,"museum":133,"description":1920,"tags":1921,"thumbUrl":1925,"material":41,"size":41,"collection":41,"collections":1926,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":1927},202580,"lu-yan-tu-zhou-bian-shou-min-202580","泼墨挥毫间，芦苇随风摇曳，干笔皴擦出层次叠嶂的野趣。两只大雁姿态各异，一昂首引吭，似与秋风和鸣；一低首理羽，如沉湎于水泽闲情。墨色浓淡相宜，勾勒出雁羽的纹理与质感，红喙红掌轻点，在素净的绢本上晕开鲜活气息。笔意简练却形神兼备，将萧瑟秋意与生灵的灵动融于尺幅，尽显自然之趣与文人笔墨的雅致。",[23,27,58,799,103,1846,7,138,1922,1923,1924,55],"红掌","泼墨","干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae565b96898f73a4f0a057e975e040b4.jpg",[],"987a52",{"id":1929,"slug":1930,"title":1931,"dynasty":151,"author":1932,"museum":133,"description":1933,"tags":1934,"thumbUrl":1935,"material":41,"size":41,"collection":91,"collections":1936,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":1937},201717,"lin-hu-wan-tiao-tu-zhou-wu-shi-en-201717","麟湖晚眺图轴","吴世恩","暮色中的麟湖被淡墨晕染得烟波浩渺，远山隐现于薄雾间，近岸芦苇以疏朗笔触勾勒，随风摇曳。一叶孤舟静浮水面，舟中二人姿态闲逸，或凭舷凝眸，或持竿远眺，似在沉醉湖光。空中飞鸟数点，划破静谧，添了几分生机。整幅画作以水墨为基，笔触细腻却不失灵动，意境清寂悠远，将文人眼中的黄昏湖景凝于纸上，让观者恍若置身其中，感受那份恬淡与悠然。",[27,32,173,120,7,180,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4520fa03f31cd136899cb421a10c4c91.jpg",[91],"a18e74",{"id":1939,"slug":1940,"title":1941,"dynasty":78,"author":1942,"museum":20,"description":1943,"tags":1944,"thumbUrl":1945,"material":362,"size":363,"collection":41,"collections":1946,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":45},237988,"za-hua-ce-xue-huai-237988","杂画册","薛怀","薛怀（1717—1804），清代著名书画家。字小凤，号竹君，晚号竹居老人。桃源（今江苏泗阳县）监生，居山阳（今淮安市淮安区）。 边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[23,24,102,27,26,58,7,504,30,29,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4defada3724d2fab19f1ad58d8391680.jpg",[],{"id":1948,"slug":1949,"title":1738,"dynasty":78,"author":1950,"museum":20,"description":1951,"tags":1952,"thumbUrl":1956,"material":41,"size":41,"collection":41,"collections":1957,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":45},234335,"shan-shui-ce-jin-ting-biao-234335","金廷标","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[23,26,27,28,102,32,1953,175,1293,173,84,277,1954,1955,7],"瀑布","野草","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34846dcf9ef1f18d02f22e70333a216b.jpg",[],{"id":1959,"slug":1960,"title":1876,"dynasty":78,"author":51,"museum":20,"description":1877,"tags":1961,"thumbUrl":1962,"material":362,"size":363,"collection":41,"collections":1963,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},281509,"dong-yang-duan-hua-shan-shui-bi-yi-yi-ming-281509",[23,24,32,27,400,175,120,7,1881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb5867c7bf080bf1aaf306792ae8ba5a.jpg",[],{"id":1965,"slug":1966,"title":1967,"dynasty":78,"author":51,"museum":20,"description":1968,"tags":1969,"thumbUrl":1975,"material":362,"size":363,"collection":41,"collections":1976,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},272719,"hei-qi-miao-jin-qian-yu-zhen-zhi-yi-ming-272719","黑漆描金嵌玉镇纸","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。",[1970,1971,1972,1973,120,7,1974],"漆器","镇纸","描金","嵌玉","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3ccdbc9c5b88863c441d05d82d3ed5.jpg",[],{"id":1978,"slug":1979,"title":1980,"dynasty":78,"author":51,"museum":20,"description":1981,"tags":1982,"thumbUrl":1984,"material":362,"size":363,"collection":41,"collections":1985,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},272673,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-huan-ru-da-shui-wei-ha-huang-mo-yi-ming-272673","御制月令七十二候诗色墨-萑入大水为蛤黄墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[1983,1890,32,120,175,7,84,1974],"墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a4ac09f837e129fe05ee523b353514e.jpg",[],{"id":1987,"slug":1988,"title":1989,"dynasty":78,"author":51,"museum":20,"description":1990,"tags":1991,"thumbUrl":1995,"material":362,"size":363,"collection":41,"collections":1996,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},269899,"zhu-diao-lu-yan-tu-shan-zi-yi-ming-269899","竹雕芦雁图山子","这件竹作以透雕技法铺展芦塘秋意，芦苇枝茎交错翻卷，叶脉纹路纤细灵动，将郊野的清寂秋韵凝于刀下。三只芦雁各有意态，一雁垂首啄食，似正衔取浅泽间的草叶，身姿憨态可掬；一雁敛羽静立，颈羽层叠细腻，尽显安闲之态；还有一雁振翅将落，羽翼舒张，纹路分毫毕现。整器布局疏密相宜，依托竹材天然肌理施刀，圆转利落，于竹间方寸勾勒出野趣盎然的水泽图景，把文人向往的林泉闲情藏入刀痕，尽显工艺隽秀雅致。",[1992,1890,799,7,1993,1994],"竹雕","器物","山子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f2f47dac8eb5ac6f82676241e633c7.jpg",[],{"id":1998,"slug":1999,"title":2000,"dynasty":78,"author":51,"museum":20,"description":1968,"tags":2001,"thumbUrl":2005,"material":362,"size":363,"collection":41,"collections":2006,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},251989,"qing-yu-tou-diao-lu-yan-wen-qian-jian-yi-ming-251989","青玉透雕芦雁纹嵌件",[687,2002,2003,1890,799,7,2004],"玉石","透雕","嵌件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa67868e83140ac5ccf0439c78d8206a5.jpg",[],{"id":2008,"slug":2009,"title":1738,"dynasty":78,"author":2010,"museum":20,"description":2011,"tags":2012,"thumbUrl":2013,"material":41,"size":41,"collection":41,"collections":2014,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},239048,"shan-shui-ce-wu-lin-239048","吴麐","（一六九一―一七七二）字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[82,23,24,27,28,102,32,173,84,235,969,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba687403caeef65d8c3d3f2631c6f8a9.jpg",[],{"id":2016,"slug":2017,"title":2018,"dynasty":78,"author":2019,"museum":20,"description":2020,"tags":2021,"thumbUrl":2022,"material":41,"size":41,"collection":41,"collections":2023,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},238841,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238841","画归余纪典图册","董诰","此作以淡墨轻彩铺陈江南水色，岸堤垂柳疏朗垂绦，水面帆影错落，归商船橹缓缓行于烟波间。右侧苇叶随风偃仰，岸墩静立，留白处题字相衬，为画面添了书卷雅意。\n\n笔触简淡写意，不施浓艳，只以浅淡晕染勾勒物象情态，将羁旅归程的悠然散逸融于空阔水天之间。整体构图疏朗空灵，借留白烘托出水乡暮色的清寂悠远，尽显文人画的秀雅内敛，把纪行诗意与水乡图景相融，淡远空灵间晕开水墨小品的隽隽意趣。",[23,26,102,27,56,136,553,7,278,235,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf13a828a74a205fa449e789eff806df.jpg",[],{"id":2025,"slug":2026,"title":2027,"dynasty":78,"author":51,"museum":20,"description":2028,"tags":2029,"thumbUrl":2031,"material":362,"size":363,"collection":41,"collections":2032,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},238587,"qing-ren-lie-quan-tu-ce-yi-ming-238587","清人猎犬图册","水面之上苇叶轻曳，游犬破水前行，翎鸟振翅相随。画师以细腻笔触写实景致，水波晕染清柔，将水色漾动的朦胧质感晕染得当。苍劲芦苇、矫捷猎犬与灵动水鸟皆鲜活传神，寥寥数笔便将郊野水岸的闲逸生机勾勒尽致。\n\n左侧题诗笔力隽秀舒展，诗画相映，把幽清淡雅的野趣融于尺幅之间，写实里裹挟着写意的悠然，尽显小品画的雅致意趣，将朴拙鲜活的国风美学静静铺陈，让闲淡的自然小景跃然绢上。",[23,24,102,27,56,2030,7,278,120],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58531c5908383d867b06b93de70bdf75.jpg",[],1777535701851]