[{"data":1,"prerenderedAt":597},["ShallowReactive",2],{"subject-lv":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},327,"lv","驴","驴画高清赏析","精选中国历代驴题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a052eac30219cbb04063aedf4be1827.jpg",0,44,[14,40,72,94,114,127,145,158,176,192,208,220,230,242,255,264,277,288,299,309,319,334,344,354,365,374,383,395,404,416,432,442,451,462,483,491,500,516,526,541,553,564,574,586],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},222238,"lv-bei-yin-shi-tu-zhou-xu-wei-222238","驴背吟诗图轴","明","徐渭","北京故宫博物院","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”（《琅嬛文集·跋徐青藤小品画》）",[23,24,25,26,27,28,7,29,30],"高清","国画","水墨","写意","立轴","人物","书法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad70cb02cc5b283ac73c9e55c2df32ea.jpg","纸本","纵112.2厘米，横30厘米","人物画精选",[34,36],"水墨画精选",203,1,"795548",{"id":41,"slug":42,"title":43,"dynasty":18,"author":44,"museum":45,"description":46,"tags":47,"thumbUrl":65,"material":66,"size":67,"collection":34,"collections":68,"showCount":70,"zanCount":71,"manualWeight":11,"mainColor":39},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","大英博物馆","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。",[23,48,24,49,27,50,51,52,53,54,55,28,56,7,57,58,59,60,61,62,63,64],"名画","书画","界画","设色","工笔","宫城","楼阁","宫殿","马","建筑","城池","仪仗","官员","侍从","树木","桥梁","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","绢本,设色","高170厘米，宽110.8厘米",[34,69],"设色画精选",192,5,{"id":73,"slug":74,"title":75,"dynasty":18,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":87,"material":88,"size":89,"collection":90,"collections":91,"showCount":92,"zanCount":93,"manualWeight":11,"mainColor":39},222367,"qi-lv-gui-si-tu-zhou-tang-yin-222367","骑驴归思图轴","唐寅","上海博物馆","此图以高远取势，主峰矫然而起，左侧栈道隐现，泉流悠远；右侧则曲径盘旋，一人笠帽策蹇前行，山坳丛树掩映之处，村舍俨然。前景山石崚嶒，树木蔚然，溪流潺潺，一樵夫正负薪踏桥而过。构图有北宋全景式山水的影子，而皴笔则长披短拂、水墨酣畅，出自南宋家法。笔墨劲爽、风格雄健。\n画幅自题：“乞求无得束书归，依旧骑驴向翠微。满面风霜尘土气，山妻相对有牛衣。吴郡唐寅诗意图。”钤：“唐伯虎”朱文印。另有朱曜和韵题诗一首，诗堂有王同愈、裱边有吴湖帆题跋。\n鉴藏印：“吴氏梅景书屋图书印”朱文印、“梅景书屋秘笈”朱文印等。",[23,24,27,51,80,81,82,83,84,62,7,85,86],"皴法","山水","山石","流水","小桥","古道","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e39436a4fe36429f039e86045ee10c7.jpg","绢本 设色","纵77.7厘米 横37.5厘米","山水画精选",[90,36],134,3,{"id":95,"slug":96,"title":97,"dynasty":98,"author":99,"museum":100,"description":101,"tags":102,"thumbUrl":107,"material":108,"size":109,"collection":110,"collections":111,"showCount":112,"zanCount":113,"manualWeight":11,"mainColor":39},221522,"xiao-xue-shan-xing-tu-ma-yuan-221522","晓雪山行图","宋","马远","台北故宫博物院","此图描写大雪封山的清晨，一山民赶着两只身驮木炭的小毛驴在白雪皑皑的山间行走。山民衣着单薄，弓腰缩颈，使人感到雪天寒气逼人。毛驴、竹筐、木炭及人物衣纹均用干笔钩勒，并施以水墨渲染。\n作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[23,24,48,49,25,51,80,28,7,103,104,82,105,106],"雪山","枯树","山路","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068fd109904211180892e4da691f20e.jpg","卷，绢本，水墨","纵：27.6厘米，横：42.9厘米","宋画精选",[110,90,36],118,2,{"id":115,"slug":116,"title":117,"dynasty":18,"author":19,"museum":20,"description":118,"tags":119,"thumbUrl":121,"material":122,"size":33,"collection":123,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":126},233886,"lv-bei-yin-shi-tu-xu-wei-233886","驴背吟诗图","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”",[24,25,26,27,28,7,120,30],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d461acc6ac4f5a17dde4039154ab4c.jpg","纸本，水墨","",[],92,"BDBDBD",{"id":128,"slug":129,"title":130,"dynasty":131,"author":132,"museum":133,"description":134,"tags":135,"thumbUrl":141,"material":66,"size":142,"collection":34,"collections":143,"showCount":144,"zanCount":113,"manualWeight":11,"mainColor":39},219580,"nong-qian-tu-han-huang-219580","农迁图","唐","韩滉","藏地不详","此图是少有的描绘唐代农民生活的写实画作。左侧男子一手持竹杖，一手拿干粮而食，头戴斗笠，腰挂麻鞋，小腿上还系有绑带，可见行路之辛苦。其后一妇人手抱婴儿，骑驴而行，脸上似有疲倦之色。",[24,49,136,52,51,28,137,7,138,139,140],"长卷","牛","狗","羊","农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f0ca4e6c67a7e352a230c6af67845a.jpg","25.1x91.1厘米",[34],87,{"id":146,"slug":147,"title":148,"dynasty":149,"author":150,"museum":20,"description":151,"tags":152,"thumbUrl":153,"material":154,"size":155,"collection":34,"collections":156,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":126},237136,"ren-yi-feng-chen-san-xia-tu-zhou-ren-yi-237136","任颐风尘三侠图轴","清","任颐","该图的大致内容是：隋末司徒杨素的侍妾红拂女与才子李靖相爱后私定终生，后在剑侠虬髯客的帮助下为唐王李世民建立了功勋。所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。\n风尘三侠指隋末唐初三位豪杰：虬髯客、李靖和红拂女。出自唐传奇《虬髯客传》。李靖于隋末在长安谒见司空杨素，为杨素家妓红拂所倾慕，随之出奔，途中结识豪侠张虬髯，后同至太原，通过刘文静会见李世民。虬髯客本有争夺天下之志，见李世民神气不凡，知不能匹敌，遂倾其家财资助李靖，使辅佐李世民成就功业。后虬髯客入扶馀国自立为王。李靖、红拂、虬髯三人，后人亦称“风尘三侠”。\n任颐《风尘三侠图》所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。画家用钉头鼠尾描组成火焰般的衣纹，表现出自己内心按捺不住的激情。任颐曾多次以风尘三侠为题作画，反映了画家对描绘反封建题材的人物画怀有炽热的创作热情。\n马匹作白描法，颇有装饰趣味，黑驴用没骨法，但肌肤的表现效果欠佳。",[48,24,49,27,51,52,28,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11f741247a6bb0597dc560a48dfb84f.jpg","纸本，设色","纵148.5cm、横66cm",[34],85,{"id":159,"slug":160,"title":161,"dynasty":149,"author":162,"museum":100,"description":163,"tags":164,"thumbUrl":171,"material":172,"size":173,"collection":123,"collections":174,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":39},287872,"qing-yuan-ben-qing-ming-shang-he-tu-juan-chen-mei-287872","清院本清明上河图卷","陈枚","《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。",[23,48,24,136,52,51,28,54,165,63,166,62,167,168,169,170,56,7,50],"街市","车马","风俗画","市井生活","商铺","行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49ed9bc2260582398ec60fe7c2077bb.jpg","未知","Xcm*Xcm",[],73,{"id":177,"slug":178,"title":179,"dynasty":98,"author":180,"museum":181,"description":182,"tags":183,"thumbUrl":187,"material":188,"size":189,"collection":123,"collections":190,"showCount":191,"zanCount":38,"manualWeight":11,"mainColor":39},221615,"xue-jing-shan-shui-tu-liang-kai-221615","雪景山水图","梁楷","日本京都国立博物馆","图中描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。水边两棵老树，其虬曲的枝干和稀疏的树叶，是以细致的笔法刻画出来的。画山石，仿北宋范宽的笔法，以簇点画密林；而山体皴笔甚少，在以淡墨渲染的天空的映衬下，给人以白雪皑皑之感。整个画面呈现出荒凉萧瑟的氛围。在画幅左下角寒溪边缘有“梁楷”的落款。此图不失为南宋院体山水画的经典之作。",[23,24,48,81,106,28,7,184,185,82,25,80,52,186],"老树","寒溪","荒凉萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb6676a5452362239059e95da23644d.jpg","绢本","111.3cmx49.7cm",[],69,{"id":193,"slug":194,"title":195,"dynasty":196,"author":197,"museum":20,"description":198,"tags":199,"thumbUrl":204,"material":66,"size":205,"collection":90,"collections":206,"showCount":207,"zanCount":38,"manualWeight":11,"mainColor":39},218190,"han-jiang-xing-lv-tu-yi-ming-218190","寒江行旅图","元","佚名","寒江行旅图是元朝时期的一幅佚名画作，其中描绘了一位旅人在寒冷的江边漫步的场景。这幅画作的背景是一片茫茫的冰雪世界，其中的旅人身着厚重的衣服，手持一根长枪，似乎在寻找前进的方向。\n\n整幅画作浓郁的寒冷气氛使人仿佛能感受到严寒的冬风吹过，而旅人身上所持的长枪也让人想起这个时代中漫长而艰苦的旅途。在这幅画作中，旅人的身影是如此的孤独，仿佛在寂寞的冰雪世界中寻找着希望。\n\n尽管这幅画作的作者并不为人所知，但它仍然是元朝时期艺术史上重要的作品之一。它不仅展示了当时艺术家对冬季景观的精细描绘，还揭示了当时旅行者在艰苦和寂寞中寻找希望的主题。无论是从艺术角度还是历史角度，这幅画作都是值得珍藏的杰作。",[24,25,81,28,7,104,82,200,201,80,202,85,184,203],"江水","蓑笠","行旅","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818bd7647803bb273020f96437bd8ac8.jpg","24.4x24.7cm",[90],68,{"id":209,"slug":210,"title":211,"dynasty":196,"author":197,"museum":133,"description":212,"tags":213,"thumbUrl":217,"material":25,"size":123,"collection":36,"collections":218,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":39},218496,"dong-po-qi-lv-tu-yi-ming-218496","东坡骑驴图","驴背人影衣袂掀动，似携一身野风穿行于淡墨峰峦间。松枝斜出如笔，与天边流云共织清寂，驴蹄轻踏处，草叶簌簌声仿佛随墨色漫开。笔墨简劲却藏深情，没有繁复设色，仅以水墨勾勒人物的孤远与从容——那是坡公贬谪途中的淡然，也是画者对先贤心境的隔空呼应。峰峦的淡皴如旧梦晕染，松风与驴鸣似在耳畔低回，简淡画面里，沉潜着文人遭际中的旷达文心。每一道笔触都像在诉说：纵使前路风雨，仍以悠然姿态，踏遍山河。画面虽简，意蕴却厚，如陈酒浅酌，余味漫过时光。",[23,24,49,27,25,26,214,28,7,215,82,216],"白描","树","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f93ebd14f269b38bf81415ee2b5a2d.jpg",[36],56,{"id":221,"slug":222,"title":223,"dynasty":18,"author":197,"museum":45,"description":224,"tags":225,"thumbUrl":226,"material":66,"size":227,"collection":34,"collections":228,"showCount":229,"zanCount":38,"manualWeight":11,"mainColor":39},219545,"qi-lv-ren-wu-shan-shui-tu-yi-ming-219545","骑驴人物山水图","此作以水墨写意秋寒山行之景，高崖斜出，枯木虬枝缀着残叶，淡墨晕染远山烟岚，虚实相生间漾出清远萧疏之境。前景行旅意趣盎然，骑驴策缓者衣衫宽博，似在缓赏山光，仆役负囊随行，将羁旅况味藏于画面细节。笔墨简括苍劲，以留白衬出山野空寂，尽显文人山水重意境、简笔墨的写意风神，铺陈出寒秋远行的清寂悠然。",[23,24,25,80,28,81,7,104,82,85,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19352433e6cbac8b95bb8f0f5f3d2250.jpg","92x46.5厘米",[34,90],55,{"id":231,"slug":232,"title":233,"dynasty":131,"author":132,"museum":133,"description":234,"tags":235,"thumbUrl":239,"material":123,"size":123,"collection":123,"collections":240,"showCount":241,"zanCount":38,"manualWeight":11,"mainColor":39},231009,"ta-xue-xun-mei-tu-li-zhou-han-huang-231009","踏雪寻梅图立轴","淡墨晕开萧寒天地，残雪覆住荒寂山径，老梅枯桠横斜枝头，暗吐细蕊晕开浅淡生机。\n策驴人身裹绯色锦袍，在灰冷雪景中撞出融融暖意，宽斗笠掩去眉眼，只余垂敛悠然的姿态，似正循着暗香缓行。以枯淡墨色皴出山岩残雪，驴蹄轻踏积雪，寥寥数笔便勾勒出冬日清寂意趣，简淡笔触藏着雅逸文思。\n水墨铺就荒寒底色，一点艳红点亮画面，冷暖对冲间，将踏雪探春的幽居雅兴融在萧寒景致中，淡远空灵，尽显文人冬日寻幽的诗意闲情。",[23,236,24,49,27,51,28,7,237,238,201,81],"古画","梅","雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38b2ea6613a1a34c5f1e5c9936e5a58.jpg",[],52,{"id":243,"slug":244,"title":245,"dynasty":149,"author":197,"museum":133,"description":246,"tags":247,"thumbUrl":252,"material":123,"size":123,"collection":123,"collections":253,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":126},234590,"xu-liang-biao-zhong-kui-jia-mei-wan-shan-yi-ming-234590","许良标钟馗嫁妹纨扇","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,49,248,249,51,52,28,7,250,251],"扇面","清代","轮车","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec5c85bb02e13742198d4579ee0569f.jpg",[],46,{"id":256,"slug":257,"title":97,"dynasty":98,"author":99,"museum":133,"description":258,"tags":259,"thumbUrl":261,"material":172,"size":173,"collection":123,"collections":262,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":39},288430,"xiao-xue-shan-xing-tu-ma-yuan-288430","作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[24,25,260,106,85,104,28,7,202,80],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed436c0d3f62c1b92ca57ca18b61d988.jpg",[],33,{"id":265,"slug":266,"title":267,"dynasty":149,"author":268,"museum":100,"description":269,"tags":270,"thumbUrl":273,"material":274,"size":275,"collection":34,"collections":276,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":126},219527,"fang-han-huang-qi-cai-zi-guo-guan-tu-ding-guan-peng-219527","仿韩滉七才子过关图","丁观鹏","历史故事画题，描写唐开元年间七才子冒风雪出蓝田关，游龙门寺的故事。",[24,49,52,51,214,271,28,56,7,81,215,86,85,272,30],"临摹","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eea564194f470461c7e20c843cace7b.jpg","设色,纸本","94.5X54.7cm",[34],{"id":278,"slug":279,"title":280,"dynasty":196,"author":197,"museum":281,"description":282,"tags":283,"thumbUrl":284,"material":66,"size":285,"collection":90,"collections":286,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":39},220049,"xue-shan-yun-lv-tu-yi-ming-220049","雪山运驴图","美国弗利尔美术馆","此作用淡墨晕染出冰封寒江与覆雪山峦，满目萧寒清寂。虬曲枯木扎根石隙，枝桠尽是冬日的荒疏萧索。空阔雪野间，一行驴队徐行缓进，为沉寂山野添上些许烟火暖意，动静相映，更衬出冬日林峦的清旷孤寒。\n\n画作以细劲线条勾勒山石林木轮廓，淡墨皴擦铺陈积雪，留白晕染巧构雪色，将北国冬雪的荒寒空灵尽数铺展，于极简取景间尽显淡远意趣，把冬日行旅的孤清况味藏入尺幅之间，引人身临其境，浸沉在这片凛凛寒意与静谧萧疏之中。",[23,48,24,49,260,51,80,103,7,104,82,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3496e60237064d400653f83c3b0f63.jpg","25.1 x 25.9 cm",[90],26,{"id":289,"slug":290,"title":291,"dynasty":18,"author":292,"museum":133,"description":293,"tags":294,"thumbUrl":296,"material":123,"size":123,"collection":123,"collections":297,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":126},237921,"qi-lv-lao-zhe-zhou-zhang-lu-237921","骑驴老者轴","张路","以极简写意之笔绘就策驴老者，笔墨酣畅率意，脱尽繁缛。淡墨勾勒衣袍褶皱，寥寥数笔便将老者宽袍缓行、神态悠然的模样尽显，驴儿抬蹄疾走的野趣亦跃然纸上，形神兼备。画面留白雅致，搭配题诗相映成趣，将文人林下游赏归来，不沾尘俗的疏旷随性勾勒尽致，尽显山野逸趣，把超脱不羁的林下襟怀藏进简练笔墨之中。",[24,49,27,25,28,7,295,30],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1de4e9ca22fe124f140d49132608d5.jpg",[],24,{"id":300,"slug":301,"title":302,"dynasty":149,"author":150,"museum":20,"description":303,"tags":304,"thumbUrl":305,"material":306,"size":307,"collection":123,"collections":308,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":126},233725,"feng-chen-san-xia-tu-ping-ren-yi-233725","风尘三侠图屏","风尘三侠指隋末唐初三位豪杰：虬髯客、李靖和红拂女。出自唐传奇《虬髯客传》。李靖于隋末在长安谒见司空杨素，为杨素家妓红拂所倾慕，随之出奔，途中结识豪侠张虬髯，后同至太原，通过刘文静会见李世民。虬髯客本有争夺天下之志，见李世民神气不凡，知不能匹敌，遂倾其家财资助李靖，使辅佐李世民成就功业。后虬髯客入扶馀国自立为王。李靖、红拂、虬髯三人，后人亦称“风尘三侠”。",[24,49,27,51,52,28,7,184,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b2b0fa9463cf94c5bf3e654b948eb5.jpg","纸本设色","纵148.5厘米，横66厘米",[],{"id":310,"slug":311,"title":312,"dynasty":196,"author":313,"museum":100,"description":314,"tags":315,"thumbUrl":317,"material":25,"size":123,"collection":90,"collections":318,"showCount":298,"zanCount":38,"manualWeight":11,"mainColor":126},219958,"ye-qiao-ce-jian-tu-sheng-mao-219958","野桥策蹇图","盛懋","此作以水墨晕染出山林幽寂之境，圆形取景似截取一段秋日山隅暮色。远山以淡墨轻勾浅染，峰峦在烟霭中隐现，漾着空濛悠远的氛围感。近岸林木攒簇，细劲笔意勾勒枝干，介字、个字点叶错杂层叠，尽显苍茂生机，坡岸以干笔短皴写出，朴拙苍厚间带着山野的荒疏意趣。\n\n野桥匿于林麓，策蹇之人悄然隐于林下，身形虽简却暗合幽行雅吟之题。全作用墨浓淡铺陈远近层次，简淡中见苍茫萧散，将寄情林泉的野逸之思，融于尺幅小景之中，清寂雅致，尽显文人山水的闲淡意趣。",[23,24,25,51,80,316,81,28,84,62,82,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4ed64b4c78e7fd07febf0ed221608f.jpg",[90],{"id":320,"slug":321,"title":322,"dynasty":196,"author":323,"museum":324,"description":325,"tags":326,"thumbUrl":329,"material":330,"size":331,"collection":123,"collections":332,"showCount":333,"zanCount":38,"manualWeight":11,"mainColor":126},222607,"xi-cheng-gui-le-tu-tu-juan-zhao-meng-fu-222607","西成归乐图图卷","赵孟頫","美国大都会艺术博物馆","这幅画以人和家畜为材料，描绘了人们的欢乐。 图中的家畜包括牛、驴和狗。 人物包括老、中、轻、女人和婴儿。 他们手里拿着东西，脸上挂着微笑。 作者用丰富自然的表情精心绘制了每一张笑脸，表达了人们幸福的心情！",[23,24,49,136,51,28,137,7,138,52,295,29,140,327,328],"民俗","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3dd48200465c183774dfee6b68d610.jpg","绢本，设色","22.9×89.5",[],23,{"id":335,"slug":336,"title":337,"dynasty":98,"author":180,"museum":181,"description":182,"tags":338,"thumbUrl":340,"material":341,"size":342,"collection":123,"collections":343,"showCount":333,"zanCount":11,"manualWeight":11,"mainColor":39},221616,"xue-jing-shan-shui-ye-liang-kai-221616","雪景山水页",[24,260,106,104,339,185,25,80,28,7,186],"孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85860d84d0ad711c939e5c6fb99e44de.jpg","绢本，水墨","纵111.3厘米、横49.7厘米",[],{"id":345,"slug":346,"title":347,"dynasty":98,"author":348,"museum":133,"description":349,"tags":350,"thumbUrl":351,"material":123,"size":123,"collection":123,"collections":352,"showCount":353,"zanCount":11,"manualWeight":11,"mainColor":39},227694,"qi-lv-jiao-you-tu-ma-gong-xian-227694","骑驴郊游图","马公显","马公显为南宋四家马远的伯父，马远家族世代以画佛家传，至马远马麟始以山水闻名。本图为马公显传世孤本，主要是描写唐代的药山禅师与朗州刺史李翱“云在青天水在瓶”的禅宗对话故事；李翱，字习之，唐河北赵郡人，韩愈门人，亦为愈之姪婿。不为师之思想所拘，以客观採取佛学之精华。为朗州刺史时，访药山禅师，禅师于松下阅经，不理睬。李曰：“见面不如闻名。”禅师曰：“何得贵耳贱目？”李问：“如何是道？”禅师向上一指，向下一指，曰：“云在青天水在瓶。”李闻之，茅塞顿开，呈偈曰：“练得身体似鹤形，千株松下两函经；吾来问道无馀说，云在青天水在瓶。”图上看到药山禅师石桌上放置经函与瓶梅，梅枝倒挂，颇有禅意。图右下角有“马公显”三字款。",[48,24,49,27,25,28,7,81,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f96df2cd6c3756724ede8d7c227a03.jpg",[],19,{"id":355,"slug":356,"title":357,"dynasty":18,"author":358,"museum":133,"description":359,"tags":360,"thumbUrl":361,"material":32,"size":362,"collection":123,"collections":363,"showCount":364,"zanCount":11,"manualWeight":11,"mainColor":39},232635,"xi-shan-xing-lv-tu-leng-qian-232635","溪山行旅图","冷谦","冷谦，元末明初武陵人，字启敬，道号龙阳子，初为僧人，后习儒，入道隐杭州吴山，博学，精通易经。著有琴书《琴声十六法》、养生学著作《修龄要指》。明朝协律郎。据说与刘秉忠相交，担任协律郎时已经年过百岁。世传其化鹤入瓶，事甚诡异。",[23,24,49,25,28,7,81,62,201,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fcf4a51cb2d9205e685b3b317e840a0.jpg","45x33厘米",[],17,{"id":366,"slug":367,"title":368,"dynasty":98,"author":197,"museum":133,"description":369,"tags":370,"thumbUrl":371,"material":172,"size":173,"collection":123,"collections":372,"showCount":373,"zanCount":38,"manualWeight":11,"mainColor":39},288343,"qi-lv-tu-yi-ming-288343","骑驴图","枯淡水墨写意勾勒，老者宽袍长髯，策驴徐行。笔意苍劲空灵，寥寥数笔便绘出驴儿缓步憨态，人物佝偻身形自带萧散古意，仿佛正穿行在暮色烟岚之中。\n\n题画诗与笔墨相映，将山野幽居的闲适隐逸尽数铺陈，无繁复皴染，却将世外之人的澹泊襟怀藏在简笔留白里，隐着山间晚岚的清寂。简而不空、淡而有味，把隐者归山的萧散淡远烘托得恰到好处，尽显宋韵水墨的空灵禅意。",[24,48,25,28,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca135ce1b833562bfb9c28b36a77cd7.jpg",[],14,{"id":375,"slug":376,"title":377,"dynasty":98,"author":197,"museum":100,"description":378,"tags":379,"thumbUrl":381,"material":66,"size":123,"collection":90,"collections":382,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":126},218711,"wu-kuan-ce-jian-tu-yi-ming-218711","无款策蹇图","纨扇小景里，寒林疏枝以墨线轻勒，淡赭暮色晕染古绢，似浸着时光的沉香。驴背文人衣袂微拂，随林间风意缓行，身后僮仆持杖相随，步履从容。笔触细腻处，枝桠虬曲、草叶疏斜皆见匠心，却无雕琢之痕。小径蜿蜒向林深处，隐现的屋舍若有若无，藏着宋时文人的隐逸意趣。不追喧嚣，只向林泉寻一份悠然——驴蹄轻踏的是岁月缓调，目光所及是心之所向的清宁。古绢斑驳如记忆纹理，将千年前的从容心境凝在这方圆镜里，引观者沉湎于淡远诗意，仿佛听见林间风过枝叶的轻响，触到宋代特有的雅寂与温厚。",[23,24,49,25,51,80,81,215,28,7,85,380,104],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac997e7b74e20f2dc71b1bc5a8a80c3a.jpg",[90],{"id":384,"slug":385,"title":386,"dynasty":18,"author":387,"museum":133,"description":388,"tags":389,"thumbUrl":392,"material":172,"size":173,"collection":123,"collections":393,"showCount":394,"zanCount":11,"manualWeight":11,"mainColor":39},287798,"ren-wu-er-wu-wei-287798","人物二","吴伟","吴伟（1459年－1508年），字次翁，又字士英、鲁夫、号小仙，江夏（今湖北省武汉）人，明朝画家。",[23,24,390,25,7,104,391,85,30],"人物画","仆从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa66c6706c8fa8d6e6956c78481387148.jpg",[],13,{"id":396,"slug":397,"title":398,"dynasty":149,"author":399,"museum":133,"description":400,"tags":401,"thumbUrl":402,"material":172,"size":173,"collection":123,"collections":403,"showCount":394,"zanCount":11,"manualWeight":11,"mainColor":39},230360,"zhang-guo-lao-huan-lv-tu-ce-ye-yin-qi-230360","张果老幻驴图册页","殷奇","字云生，江西石城人。善人物、山水，笔气文秀，烘染设色，俱法北宗笔法。",[24,49,316,214,25,51,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618fd5d61f2989656f94e86fc34ea545.jpg",[],{"id":405,"slug":406,"title":407,"dynasty":18,"author":408,"museum":133,"description":409,"tags":410,"thumbUrl":413,"material":172,"size":173,"collection":123,"collections":414,"showCount":415,"zanCount":11,"manualWeight":11,"mainColor":39},238059,"qiu-lin-ce-jian-shan-zhang-hong-238059","秋林策蹇扇","张宏","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,49,248,25,51,80,81,104,28,7,84,411,82,412],"茅屋","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ec8f396387ded7a43d80ffc1c810961.jpg",[],7,{"id":417,"slug":418,"title":280,"dynasty":196,"author":197,"museum":133,"description":419,"tags":420,"thumbUrl":429,"material":123,"size":123,"collection":123,"collections":430,"showCount":431,"zanCount":38,"manualWeight":11,"mainColor":39},228236,"xue-shan-yun-lv-tu-yi-ming-228236","整幅画作以萧寒冬日为底色，虬劲枯木扎根嶙峋坡石，枝干尽脱，带着凌冽的荒寒之气。淡墨晕染出山峦积雪，将冬日山野的厚重冷寂铺展开来，边角山石奇崛错落，勾勒出空阔辽远的天地。\n\n中景处的运驴队伍缓步而行，为清寂的雪野晕开一丝烟火暖意，动静相映，让冷肃山水多了几分行路意趣。笔墨苍简老辣，干笔勾勒山石肌理，淡墨铺陈积雪留白的空灵，将苍逸简淡的意趣融于其中，把冬日山野的空寂萧寒与行路的市井意趣相融，清冷中带着鲜活生气，尽显小品山水的精妙意韵，将冬日荒岭的清寒意境烘托得淋漓尽致。",[23,24,260,421,25,103,422,423,7,424,425,426,427,428],"小品画","枯木","坡石","冬日","荒寒","清寂","干笔","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F114c3794a49fbc91897e8c3e82f12c09.jpg",[],6,{"id":433,"slug":434,"title":435,"dynasty":149,"author":436,"museum":77,"description":437,"tags":438,"thumbUrl":439,"material":123,"size":123,"collection":34,"collections":440,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":441},202149,"lv-bei-xian-yin-tu-zhou-chen-jiu-long-202149","驴背闲吟图轴","陈九龙","画面以水墨写意笔法绘就，骑驴老者须发皆白，衣袍宽舒，神态悠然似在沉吟；随行童子弓身前行，步履轻快，与老者的闲适形成呼应。右侧枯树枝干虬曲，墨色浓淡相间，山石以泼墨晕染，留白处衬出空远之境。笔墨简练却形神兼备，人物动态鲜活，尽显文人画的清雅意趣与笔墨神韵。",[24,25,28,7,104,82,26,214,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76e29c5ce40269b55675ba19a69d740b.jpg",[34],"cdbba5",{"id":443,"slug":444,"title":445,"dynasty":149,"author":446,"museum":133,"description":447,"tags":448,"thumbUrl":449,"material":172,"size":173,"collection":123,"collections":450,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":126},235357,"shan-shui-ren-wu-tu-ce-huang-shen-235357","山水人物图册","黄慎","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[24,316,25,51,26,28,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1fa053c7ee4da3a395e26118b958fe.jpg",[],{"id":452,"slug":453,"title":454,"dynasty":149,"author":455,"museum":77,"description":456,"tags":457,"thumbUrl":458,"material":123,"size":123,"collection":123,"collections":459,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":461},202625,"qi-lv-xun-mei-tu-zhou-wu-gu-xiang-202625","骑驴寻梅图轴","吴穀祥","老者披蓑戴笠骑驴徐行，宽袍裹挟冬日清寒，眉眼间尽是寻梅的悠然；童子紧随驴侧，仰头与老者对语，稚气藏于恭谨之中。驴儿憨态可掬，鬃毛疏朗，步履轻缓；旁侧梅枝斜出，疏花缀枝，冷香似溢。笔墨兼具工写，人物衣纹用线流畅，设色淡雅；驴与梅枝以水墨晕染，浓淡相济。画面传递出文人踏雪寻梅的闲逸雅趣，意境清旷悠远，尽显传统书画的笔墨情韵。",[24,25,51,28,237,7,49,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e2ac428fcc84278ebb8112574597ce8.jpg",[],4,"bdb2a3",{"id":463,"slug":464,"title":465,"dynasty":466,"author":197,"museum":133,"description":467,"tags":468,"thumbUrl":481,"material":172,"size":173,"collection":123,"collections":482,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":126},288708,"william-blake-the-rest-on-the-flight-into-egypt-yi-ming-288708","William Blake--The Rest on the Flight into Egypt","不详","柔和水彩晕开晨昏朦胧暖意，逃亡的圣家依偎椰影暂作休憩。伫立的父亲垂首祈祷，虔诚轮廓在浅衣下静静舒展，坐石的母亲怀拥圣婴，眉目舒展卸下奔波惶然。一旁的驴垂首饮着清浅河水，衬得此刻宁和愈发温柔。\n\n远景红日沉在墨色丘峦旁，粼粼水光晕开暖调余晖，椰叶轻曳，石边小花悄然绽露生机。画作以淡彩铺就松弛柔缓的氛围，将逃亡中的片刻安宁揉进细腻笔触，把宗教题材的肃穆，晕染为带着烟火暖意的浮生一隅，让神性叙事藏在俗世的温柔日常之中。",[469,470,390,471,472,473,474,475,476,477,7,478,479,480],"宗教画","水彩画","基督教题材","圣家族","逃亡埃及","休憩","夕阳","河流","棕榈树","婴孩","宁静","野外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F952001a5d0ed0838f5446435396f139c.jpg",[],{"id":484,"slug":485,"title":486,"dynasty":466,"author":197,"museum":133,"description":487,"tags":488,"thumbUrl":489,"material":172,"size":173,"collection":123,"collections":490,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":126},231675,"qi-lv-tu-li-zhou-yi-ming-231675","骑驴图立轴","此作用笔极简写意，以淡墨勾勒骑驴老僧与毛驴。寥寥数笔便捕捉住驴蹄轻抬的灵动姿态，老僧佝偻安坐，宽袍以大片墨色晕染，神态悠然澹定，尽显世外高士物我两忘的自在。\n画面留白疏朗，搭配题字朱印，禅意悠悠，以极简笔墨传递出萧散超脱的山野意趣，笔简却形神兼备，将任情自适的林下风流尽显无余，尽显东方水墨空灵淡远的独特韵味。",[23,24,49,27,25,214,28,7,30,29,295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa866662591a5e19fb80238175ea9a1ed.jpg",[],{"id":492,"slug":493,"title":494,"dynasty":196,"author":197,"museum":133,"description":495,"tags":496,"thumbUrl":498,"material":123,"size":123,"collection":123,"collections":499,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":39},228237,"xue-shan-lv-yun-tu-yi-ming-228237","雪山驴运图","此作用淡墨晕染铺就寒林雪色，留白摹写寒江远汀，营造出清寂辽远的冬日荒寒。枯木虬曲苍劲，枝桠间尽是萧寒之气，山石以干笔皴擦，棱角硬朗，带着冬日的冷峭坚硬。\n画面一隅的驴队缓行于雪原，为空寂的天地添上一抹人间烟火气，动静之间，将冬日行旅的艰辛苦寒烘托尽致。\n整幅笔墨简淡苍疏，以极简的布局勾勒出萧索荒寒的意境，尽显散淡清寂的气质，把冬日山乡的萧寒况味藏进每一处笔墨细节之中。",[23,24,49,81,25,51,80,103,7,104,82,497,62,28],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F325fdb2e4e5adf4d6327348c425ab759.jpg",[],{"id":501,"slug":502,"title":503,"dynasty":149,"author":197,"museum":133,"description":504,"tags":505,"thumbUrl":513,"material":172,"size":173,"collection":123,"collections":514,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":515},268770,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268770","缂丝群仙庆寿图轴","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”。",[506,27,51,28,507,508,509,7,510,82,511,512],"缂丝","群仙","庆寿","宴饮","松树","祥云","蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ced747c0cefe72cb6ebf660abc8e6ee.jpg",[],"37474F",{"id":517,"slug":518,"title":519,"dynasty":149,"author":520,"museum":133,"description":521,"tags":522,"thumbUrl":523,"material":524,"size":123,"collection":123,"collections":525,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":126},217998,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-18-ceng-yan-dong-217998","七道子山水人物画册18帧-18","曾衍东","曾衍东的作品大多描绘了山水风光，他喜欢运用细腻的笔法来捕捉山间的峰峦、河流的曲折和云雾的起伏。他的作品中常常出现清新的山水景观，充满了诗意和富有感染力的气氛。\n\n此外，曾衍东还经常画人物，他的人物画作品中常常出现的是闲适的书生或山民。他的人物画充满了生动的感情，能够真实地反映出人物的内心世界。",[23,24,49,316,25,295,30,28,201,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbd6efcfe27c7b3ee6f0a22e2b7c97d.jpg","纸本,设色",[],{"id":527,"slug":528,"title":529,"dynasty":466,"author":197,"museum":133,"description":530,"tags":531,"thumbUrl":539,"material":172,"size":173,"collection":123,"collections":540,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":126},288614,"johann-jakob-frey-the-elder-leaf-from-aedes-walpolianae-mounted-yi-ming-288614","Johann Jakob Frey the Elder--Leaf from Aedes Walpolianae mounted","左幅铜版画定格休憩瞬间，圣母垂眸温柔，孩童依偎身侧，老者递上果盘，林野间光影交织，衣褶纹路细腻写实，晕开旅途暂歇的脉脉温情，为宗教题材晕染出质朴暖意。\n\n右幅红印版画则以舒展线条勾勒神话群像，众神身姿灵动舒展，暖调晕染烘托出绮丽浪漫的梦幻氛围，尽显神话题材的飘逸恣肆。\n\n两幅并置，一静一柔、一逸一绮，以两种版画语言，诠释古典叙事的双重魅力，让沉静肃穆与浪漫瑰奇在此交融共生。",[532,533,390,534,535,536,7,62,537,538],"版画","宗教题材","圣母","圣婴","老者","神话人物","群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99d0006fabe9b0bb2e939d11d926a0b.jpg",[],{"id":542,"slug":543,"title":544,"dynasty":149,"author":197,"museum":133,"description":545,"tags":546,"thumbUrl":551,"material":172,"size":173,"collection":123,"collections":552,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":126},260776,"qing-hua-ti-shi-ren-wu-gu-shi-tu-bi-tong-yi-ming-260776","青花题诗人物故事图笔筒","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[547,548,28,84,7,62,82,549,550],"陶瓷","青花","笔筒","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac28e6bdfaedc81a31d8cd353e7fd89.jpg",[],{"id":554,"slug":555,"title":556,"dynasty":557,"author":197,"museum":133,"description":558,"tags":559,"thumbUrl":562,"material":172,"size":173,"collection":123,"collections":563,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":515},254908,"tao-lv-yi-ming-254908","陶驴","南北朝","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[557,547,560,561,7],"俑","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fbe81c5ec021843afda9cac1a30fbb.jpg",[],{"id":565,"slug":566,"title":567,"dynasty":568,"author":569,"museum":77,"description":570,"tags":571,"thumbUrl":10,"material":123,"size":123,"collection":90,"collections":572,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":573},203247,"feng-xue-jian-lv-tu-zhou-wang-zhen-203247","风雪蹇驴图轴","近代","王震","画面以水墨为主调，兼施淡彩。寒林枯树虬枝遒劲，积雪覆枝，墨色浓淡交错间显层次感。小桥之上，红衣旅人披蓑戴笠骑驴前行，仆从紧随，衣袂飘动似迎风，动态鲜活。背景山峦积雪，留白与墨块相映，营造萧瑟清寒的冬日氛围。笔触简练却形神兼备，人物神态生动，驴的憨态与风雪冷寂形成对比，传递旅途况味，兼具文人画意趣与生活气息。",[24,25,51,28,84,104,81,7,26,23],[90],"bdb29c",{"id":575,"slug":576,"title":577,"dynasty":18,"author":197,"museum":133,"description":578,"tags":579,"thumbUrl":584,"material":172,"size":173,"collection":123,"collections":585,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":515},270015,"zhu-xiao-song-kuan-zhu-gen-diao-zhang-guo-lao-yi-ming-270015","朱小松款竹根雕张果老","这件竹根雕以天然竹料随形构思，刻绘张果老安坐驴背的逍遥情态。老者慈眉善目，长髯垂胸，宽袍轻垂，双手执渔鼓筒板，笑意悠然，尽显世外散仙的自在慵懒。坐骑小驴身形敦朴，蹄足稳健，寥寥数刀便勾勒出驴儿的憨态神韵。\n\n雕工圆浑老辣，衣褶线条舒展写意，将仙家逸致凝于方寸竹根，岁月浸养出莹润包浆，更添古雅质感。整体造型简约传神，将材质天然肌理与雕刻意趣相融，尽显明代竹雕的审美意趣，是仙道题材竹雕中的精巧之作。",[580,581,582,7,537,583],"雕刻","竹根雕","张果老","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d36f409903040141d2916517330e8e.jpg",[],{"id":587,"slug":588,"title":589,"dynasty":149,"author":197,"museum":133,"description":590,"tags":591,"thumbUrl":595,"material":172,"size":173,"collection":123,"collections":596,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},269442,"tian-ran-hua-mu-diao-xian-ren-qi-lv-yi-ming-269442","天然桦木雕仙人骑驴","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[592,580,593,594,7,561],"木质","木刻","仙人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F481bc03b96ec72234ae5e6579fd088a7.jpg",[],1777535710595]