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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。",[222,135,223,224,225,226,227,228,229,230,231,30,7],"印象派","光影","色彩","苹果树","花","草地","山坡","阳光","阴影","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7dc2ba4e0472dde8bd5d3e98edc5a16.jpg",[145],75,{"id":236,"slug":237,"title":238,"dynasty":18,"author":239,"museum":118,"description":240,"tags":241,"thumbUrl":245,"material":53,"size":53,"collection":53,"collections":246,"showCount":247,"zanCount":111,"manualWeight":11,"mainColor":74},230112,"hua-niao-tu-ce-wu-zhang-230112","花鸟图册","吴璋","此作为绢本工笔小景，设色温婉雅致。石榴枝桠斜斜舒展，丹红榴花灼灼盛放，饱满的石榴绽裂果皮，紫实累累，尽显秋日生机。\n\n两只麻雀栖于细枝，一只侧目远眺，一只垂首理羽，羽色晕染细腻，绒毛细毫毕现，将禽鸟娇憨灵动之态尽数描摹。叶片的阴阳向背晕染得体，线条秀逸柔和，写实之中暗含清逸雅致的意趣，将果熟禽闲的静谧小景刻画鲜活，于方寸间尽显工笔花鸟的精巧匠心，带着悠然恬淡的闲趣韵味。",[47,24,25,26,27,242,49,243,177,68,7,30,244],"册页","石榴","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9458be09e16cb478d2d52da2905a209b.jpg",[],66,{"id":249,"slug":250,"title":251,"dynasty":131,"author":132,"museum":118,"description":133,"tags":252,"thumbUrl":256,"material":143,"size":144,"collection":145,"collections":257,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":74},225724,"bouquet-of-flowers-in-a-vase1890-fan-gao-225724","Bouquet of Flowers in a Vase1890",[47,135,205,136,253,141,207,254,103,7,255],"色彩浓烈","花束","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe937252e69f127edefe37afbeb52498e.jpg",[145],63,{"id":260,"slug":261,"title":262,"dynasty":131,"author":132,"museum":118,"description":133,"tags":263,"thumbUrl":267,"material":143,"size":144,"collection":145,"collections":268,"showCount":269,"zanCount":11,"manualWeight":11,"mainColor":74},225716,"basket-of-pansies-may-1887-fan-gao-225716","Basket of pansies May 1887",[135,205,264,27,265,266,103,7,141],"静物","篮子","三色堇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc2736beb48dd5fefb91ea4af11c18c.jpg",[145],59,{"id":271,"slug":272,"title":273,"dynasty":18,"author":274,"museum":118,"description":275,"tags":276,"thumbUrl":277,"material":143,"size":144,"collection":53,"collections":278,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":38},239456,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239456","邹一桂花鸟草虫图册","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,27,26,48,49,28,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0dc1465b54cc839274db9dee53945e.jpg",[],51,{"id":281,"slug":282,"title":283,"dynasty":131,"author":132,"museum":118,"description":133,"tags":284,"thumbUrl":287,"material":143,"size":144,"collection":145,"collections":288,"showCount":289,"zanCount":111,"manualWeight":11,"mainColor":74},225803,"roses-1889-fan-gao-225803","Roses 1889",[135,205,136,27,285,7,286,227,103],"玫瑰","花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46d3a60614fba5855055438203fb970b.jpg",[145],49,{"id":291,"slug":292,"title":293,"dynasty":131,"author":294,"museum":118,"description":295,"tags":296,"thumbUrl":302,"material":143,"size":144,"collection":53,"collections":303,"showCount":304,"zanCount":11,"manualWeight":11,"mainColor":38},231746,"jiang-hu-shi-dai-xia-qiu-cao-tu-ping-feng-qiu-fen-jiu-jing-bao-yi-231746","江户时代 夏秋草图屏风-秋分","酒井抱一","日本画家的的琳派。他以复兴绪方光琳的风格和流行而闻名，并创作了光琳作品的许多复制品。",[23,27,26,49,297,7,103,298,299,300,301],"藤蔓","蝴蝶","草","浮世绘","日本传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F115d92d5e47f2f2a6c2be087928f418c.jpg",[],48,{"id":306,"slug":307,"title":308,"dynasty":131,"author":219,"museum":118,"description":220,"tags":309,"thumbUrl":315,"material":143,"size":144,"collection":145,"collections":316,"showCount":317,"zanCount":11,"manualWeight":11,"mainColor":318},225957,"iris-1914-1917-mo-nai-225957","Iris, 1914-1917",[222,135,310,140,311,312,313,103,104,7,314],"笔触松散","光影表现","色彩交融","鸢尾花","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca07925f586f72b9cf51d00327278db0.jpg",[145],46,"37474F",{"id":320,"slug":321,"title":322,"dynasty":131,"author":323,"museum":118,"description":324,"tags":325,"thumbUrl":332,"material":143,"size":144,"collection":53,"collections":333,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":318},230648,"bao-nan-gua-de-shao-nv-fu-shi-tuo-zuo-na-luo-230648","抱南瓜的少女","浮士托·佐那罗","浮士托·佐那罗fausto zonaro(1854年9月18日- 1929年7月19日)，他是一名意大利画家，以他的现实主义风格的生活和奥斯曼帝国的历史绘画而闻名。",[135,326,27,327,328,329,104,330,7,331],"写实","人物","少女","南瓜","草丛","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1afabc5e032ac22c4fa0cb818add4b.jpg",[],43,{"id":336,"slug":337,"title":338,"dynasty":131,"author":219,"museum":118,"description":220,"tags":339,"thumbUrl":343,"material":143,"size":144,"collection":145,"collections":344,"showCount":345,"zanCount":111,"manualWeight":11,"mainColor":318},226012,"rhododendrons-1928-mo-nai-226012","Rhododendrons, 1928",[135,222,340,341,342,104,103,7,286],"色彩丰富","笔触生动","杜鹃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F103f970a479270df0f2a9c2061962693.jpg",[145],35,{"id":347,"slug":348,"title":349,"dynasty":131,"author":219,"museum":118,"description":220,"tags":350,"thumbUrl":356,"material":143,"size":144,"collection":145,"collections":357,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":318},226145,"wistarias-at-giverny-mo-nai-226145","Wistarias at Giverny",[222,135,351,352,353,354,297,7,104,103,355],"光影捕捉","色彩晕染","笔触轻快","紫藤花","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b0e9a23d613eabce3b15b3e7e09b8b.jpg",[145],26,{"id":360,"slug":361,"title":362,"dynasty":18,"author":363,"museum":118,"description":364,"tags":365,"thumbUrl":369,"material":143,"size":144,"collection":53,"collections":370,"showCount":371,"zanCount":111,"manualWeight":11,"mainColor":38},238353,"hua-hui-ce-dong-gao-238353","花卉册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[24,27,26,48,49,103,28,366,30,367,7,368],"叶子","粉花","草茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d9c4200a4698643a8ae724a399a702.jpg",[],25,{"id":373,"slug":374,"title":375,"dynasty":131,"author":132,"museum":118,"description":133,"tags":376,"thumbUrl":384,"material":143,"size":144,"collection":145,"collections":385,"showCount":386,"zanCount":11,"manualWeight":11,"mainColor":74},225861,"trees-and-undergrowth-july-fan-gao-225861","Trees and undergrowth (July - )",[135,205,136,377,378,231,379,7,380,381,382,383],"色彩浓郁","笔触鲜明","灌木丛","白色小花","森林","自然植被","地面植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea228c0beead6233b82cb775ef891b6b.jpg",[145],18,{"id":388,"slug":389,"title":390,"dynasty":61,"author":391,"museum":63,"description":392,"tags":393,"thumbUrl":396,"material":51,"size":397,"collection":53,"collections":398,"showCount":386,"zanCount":11,"manualWeight":11,"mainColor":38},220228,"hua-niao-cao-chong-xie-sheng-ce-qiu-fang-yi-shi-chen-hong-shou-220228","花鸟草虫写生册-秋芳倚石","陈洪绶","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,24,25,47,48,26,27,226,394,395,7,155],"蜗牛","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5070cbb8535d068831c1c644da9378.jpg","21.5×16cm",[],{"id":400,"slug":401,"title":402,"dynasty":18,"author":185,"museum":118,"description":403,"tags":404,"thumbUrl":409,"material":143,"size":144,"collection":53,"collections":410,"showCount":411,"zanCount":111,"manualWeight":11,"mainColor":38},230210,"hua-niao-ce-ye-lang-shi-ning-230210","花鸟册页","郎世宁（Giuseppe 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。",[23,47,24,25,242,26,27,405,326,49,406,407,68,69,7,30,408,101,102],"中西合璧","树","花枝","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg",[],17,{"id":413,"slug":414,"title":415,"dynasty":131,"author":219,"museum":118,"description":220,"tags":416,"thumbUrl":421,"material":143,"size":144,"collection":145,"collections":422,"showCount":411,"zanCount":111,"manualWeight":11,"mainColor":318},225931,"flowers-in-the-garden-1930-mo-nai-225931","Flowers in the Garden, 1930",[222,135,417,418,231,103,7,419,223,420],"花园","小径","自然","笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ff26f9307a3528861098900f6cb6f8.jpg",[145],{"id":424,"slug":425,"title":362,"dynasty":18,"author":426,"museum":118,"description":427,"tags":428,"thumbUrl":430,"material":53,"size":53,"collection":53,"collections":431,"showCount":432,"zanCount":111,"manualWeight":11,"mainColor":38},234785,"hua-hui-ce-jin-li-ying-234785","金礼嬴","金礼嬴（1772—1807）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，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。嘉兴王昙（仲瞿）继室。幼娴翰墨，志趣高远。夫妇以诗文、书、画像商榷，志趣高远。王昙曾自撰门联云：家中有碧水丹山，妻太聪明夫太怪，门外省青磷白骨，人何寥落鬼何多。\n礼嬴性喜佳山水，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。",[24,27,26,48,103,429,68,84,367,7],"花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa92084238e54d8ec9f8ad51d9dc981e8.jpg",[],16,{"id":434,"slug":435,"title":436,"dynasty":61,"author":391,"museum":63,"description":392,"tags":437,"thumbUrl":440,"material":51,"size":397,"collection":53,"collections":441,"showCount":442,"zanCount":11,"manualWeight":11,"mainColor":38},220225,"hua-niao-cao-chong-xie-sheng-ce-xiao-die-cai-xiang-chen-hong-shou-220225","花鸟草虫写生册-小蝶采香",[23,24,26,27,48,438,49,439,255,7,102],"写生","小蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78cad6b44f9cc10aecc0cfa2eca540c.jpg",[],15,{"id":444,"slug":445,"title":446,"dynasty":131,"author":294,"museum":118,"description":295,"tags":447,"thumbUrl":450,"material":143,"size":144,"collection":53,"collections":451,"showCount":452,"zanCount":11,"manualWeight":11,"mainColor":38},231745,"jiang-hu-shi-dai-xia-qiu-cao-tu-ping-feng-xia-fen-jiu-jing-bao-yi-231745","江户时代 夏秋草图屏风-夏分",[23,300,27,26,448,49,299,449,226,104,7],"屏风","百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb548c61cf45af09f8adccf27384be288.jpg",[],14,{"id":454,"slug":455,"title":456,"dynasty":18,"author":457,"museum":118,"description":458,"tags":459,"thumbUrl":460,"material":143,"size":144,"collection":53,"collections":461,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":38},230214,"hua-hai-xi-ji-hui-ce-yu-sheng-230214","画海西集卉册","余省","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,25,48,27,26,49,395,68,7,408,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bd37e09a286a4c51cbf60bdd3607ac.jpg",[],13,{"id":464,"slug":465,"title":466,"dynasty":18,"author":185,"museum":97,"description":467,"tags":468,"thumbUrl":470,"material":471,"size":472,"collection":53,"collections":473,"showCount":474,"zanCount":111,"manualWeight":11,"mainColor":38},222782,"hua-niao-ce-ye-02-lang-shi-ning-222782","花鸟册页02","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[23,47,24,25,242,26,27,405,326,311,49,469,255,188,7],"罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccfecb63f6077c37a83305fe3001965.jpg","绢本，设色","纵32.6厘米，横28.6厘米",[],10,{"id":476,"slug":477,"title":478,"dynasty":18,"author":479,"museum":118,"description":480,"tags":481,"thumbUrl":486,"material":53,"size":53,"collection":53,"collections":487,"showCount":488,"zanCount":11,"manualWeight":11,"mainColor":38},238284,"hua-qia-xuan-yuan-tu-ce-huang-yue-238284","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[24,25,48,27,26,49,482,299,483,484,485,7],"蜻蜓","菊花","蓝色花朵","黄色花蕊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f3ea6255fc4b15055ab1031953ae3b6.jpg",[],9,{"id":490,"slug":491,"title":478,"dynasty":18,"author":479,"museum":118,"description":480,"tags":492,"thumbUrl":495,"material":53,"size":53,"collection":53,"collections":496,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},238279,"hua-qia-xuan-yuan-tu-ce-huang-yue-238279",[24,26,27,49,48,298,68,7,493,494],"狗尾草","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc93547c86ffe829bc05e52993bfd33b.jpg",[],{"id":498,"slug":499,"title":500,"dynasty":131,"author":501,"museum":118,"description":502,"tags":503,"thumbUrl":508,"material":143,"size":144,"collection":53,"collections":509,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":74},232582,"wei-lian-a-dao-fu-bu-ge-luo-196-wei-lian-a-dao-fu-bu-ge-luo-232582","威廉·阿道夫·布格罗196","威廉·阿道夫·布格罗","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[504,135,27,327,505,506,227,231,7,507],"新古典主义","婴儿","鹿","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06e96a69807e963527c89f3e916aa864.jpg",[],{"id":511,"slug":512,"title":513,"dynasty":18,"author":165,"museum":118,"description":514,"tags":515,"thumbUrl":517,"material":51,"size":53,"collection":53,"collections":518,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":74},216704,"hong-lou-meng-fu-tu-ce-18-yi-ming-216704","红楼梦赋图册-18","笺纸铺展，墨痕流转成赋文，字字浸着红楼旧梦。四周花木扶疏，蔷薇含露，藤蔓牵衣，粉紫花朵轻缀枝间，如诗行旁的注脚。线条柔细，设色淡雅，墨香与花意缠绵，将大观园的风月情浓凝在方寸画幅里。诗画相和，似能听见书页翻动的轻响，看见黛影钗光的残影，在笔墨与花叶的交织中，藏着无尽缱绻与怅惘。文字与丹青相融，把红楼深处的幽微心事，化作可触的雅致，让观者在墨色与花影间，重温那一段繁华旧梦的余温。",[23,24,25,48,27,26,103,297,7,408,516],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c1b9b7f8fda43e57095417e3605491c.jpg",[],5,{"id":521,"slug":522,"title":523,"dynasty":18,"author":165,"museum":118,"description":524,"tags":525,"thumbUrl":526,"material":51,"size":53,"collection":53,"collections":527,"showCount":528,"zanCount":11,"manualWeight":11,"mainColor":74},216697,"hong-lou-meng-fu-tu-ce-27-yi-ming-216697","红楼梦赋图册-27","墨笔赋文如织，密密匝匝铺陈画面中央，似将红楼旧梦的缱绻与唏嘘，凝进每一处笔画里。左侧红蔓垂垂，缀着点点朱实，如泣血的相思缠绕；右侧绿柯横斜，衬着殷红小果，若含露的情丝牵萦。顶部青芦舒展，间杂绯色花穗，风致嫣然，恰与文中婉转韵致相映。图文相契，笔墨间既有闺阁清雅，又藏繁华落尽的怅惘，仿佛金陵十二钗的影影绰绰，正于纸页间流转不灭余韵。",[23,24,25,48,27,26,408,101,104,297,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eaccf15f20d6155b4e6ec6303ef06ff.jpg",[],4,{"id":530,"slug":531,"title":532,"dynasty":18,"author":165,"museum":118,"description":533,"tags":534,"thumbUrl":538,"material":143,"size":144,"collection":53,"collections":539,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":38},268306,"huang-se-duan-xiu-hua-hui-wen-mao-piao-dai-yi-ming-268306","黄色缎绣花卉纹帽飘带","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[331,535,536,103,537,7],"布料","刺绣","紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5387df1d42d2aca9265fffc85157029a.jpg",[],{"id":541,"slug":542,"title":543,"dynasty":131,"author":544,"museum":118,"description":545,"tags":546,"thumbUrl":551,"material":143,"size":144,"collection":53,"collections":552,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":38},231148,"su-miao-402-xi-fang-231148","素描402","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[547,27,103,548,7,297,549,264,550],"水彩","花篮","木门","西方风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d25f577af61c9515d6810ee3a10236.jpg",[],{"id":554,"slug":555,"title":556,"dynasty":18,"author":557,"museum":97,"description":558,"tags":559,"thumbUrl":561,"material":471,"size":562,"collection":53,"collections":563,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":38},223148,"yao-xie-shi-yi-tu-ce-di-san-kai-xin-zhong-li-hua-man-shan-hu-ren-xiong-223148","姚燮诗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