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转变为重个体修养的 “内圣”之中；人们的审美情趣，也从盛唐的“大漠孤烟直，长河落日圆”了，转而变为“庭院深深深几许，杨柳堆烟”，“衣带渐宽终不悔，为伊消得人憔悴”这样的深庭小院式的浅吟低唱，细琐平易，浅斟低唱，走进更为细腻的官能感受和情感色彩捕捉追求中，更加重视对日常狭小生活的兴致。",[24,73,27,26,105,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40deffda1a591cba6dd3190f0d63c8c.jpg",[],187,2,{"id":185,"slug":186,"title":7,"dynasty":18,"author":19,"museum":187,"description":188,"tags":189,"thumbUrl":192,"material":193,"size":194,"collection":94,"collections":195,"showCount":182,"zanCount":173,"manualWeight":11,"mainColor":40},223234,"mao-ren-yi-223234","天津博物馆","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,26,88,90,30,7,28,190,191],"植物","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a86222d0db22e107ac26316d3450be.jpg","纸本设色","150cmx40cm",[],{"id":197,"slug":198,"title":199,"dynasty":18,"author":200,"museum":201,"description":202,"tags":203,"thumbUrl":204,"material":59,"size":94,"collection":35,"collections":205,"showCount":206,"zanCount":183,"manualWeight":11,"mainColor":65},219033,"mao-tu-ying-zhao-219033","猫图","应召","大英博物馆","蜷坐的花猫毛色斑斓，黑褐与橘白交织晕染，绒毛质感蓬松柔软。它回眸的瞬间，瞳仁如墨点般清亮，双耳微竖，似正留意周遭动静。淡赭色的背景上，散落着几枚浅墨点染的细石，简淡中见意趣。画家以细腻笔触捕捉猫的慵懒与机警，线条温婉却不失骨力，色彩雅致而富有层次。画面留白处更显空灵，虽无繁复布景，却于极简中藏生机，仿佛能感受到猫的呼吸与轻缓的尾摆，尽显写生之妙与文人画的雅致意韵。",[23,24,74,25,26,27,7,30,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d01ae3c172c6d7532860b25005a89da.jpg",[35],176,{"id":208,"slug":209,"title":210,"dynasty":118,"author":101,"museum":47,"description":211,"tags":212,"thumbUrl":216,"material":59,"size":124,"collection":61,"collections":217,"showCount":218,"zanCount":183,"manualWeight":11,"mainColor":65},288360,"gong-le-tu-yi-ming-288360","宫乐图","本图描写后宫嫔妃十人,围坐于一张巨型的方桌四周,有的品茗,有的在行酒令。中央四人,则负责吹乐助兴。所持用的乐器,自右而左,分别为筚篥、琵琶、古筝与笙。",[23,24,74,26,27,50,51,213,121,7,214,215],"仕女","宫廷宴乐","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39857b914581e42221c8c2d3a920666e.jpg",[61],159,{"id":220,"slug":221,"title":222,"dynasty":18,"author":223,"museum":102,"description":224,"tags":225,"thumbUrl":228,"material":109,"size":110,"collection":94,"collections":229,"showCount":230,"zanCount":11,"manualWeight":11,"mainColor":40},237155,"xu-gu-mao-die-tu-zhou-xu-gu-237155","虚谷猫蝶图轴","虚谷","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[24,74,25,88,26,90,7,226,227,29,31,30],"蝶","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac0781a23a4a9e539a1cd4f736c5b1f.jpg",[],145,{"id":232,"slug":233,"title":234,"dynasty":18,"author":235,"museum":20,"description":236,"tags":237,"thumbUrl":243,"material":33,"size":244,"collection":37,"collections":245,"showCount":246,"zanCount":183,"manualWeight":11,"mainColor":40},219175,"shuang-mao-kui-yu-tu-cheng-zhang-219175","双猫窥鱼图","程璋","此图绘制的是一幅秋天的美好图景。一弯池水迂回荡漾，岸边苇草萌发，树枝随风而动，显得古朴与优雅。池塘边两只花猫，葡匐在岸上，双眼紧盯着沟渠中的游鱼。仿佛在欣赏他们惬意的身姿，溪水对岸，淡色轻染，烟霭迷濛。全画以水彩设色技法来体现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是因为画家懂得生物百态，所以画的木头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能符合自然景物的真实性。并利用干、湿、浓、淡的笔力墨法所产生的差异，整体变得稳重、秀润。",[23,73,24,74,25,26,27,88,7,238,239,240,241,242],"鱼","枯树","石头","草","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee5c1ca6bba6d53a16282a54c29ac96.jpg","纵148cm 横80.8cm",[37],137,{"id":248,"slug":249,"title":250,"dynasty":18,"author":101,"museum":20,"description":251,"tags":252,"thumbUrl":254,"material":255,"size":256,"collection":61,"collections":257,"showCount":258,"zanCount":143,"manualWeight":11,"mainColor":65},236174,"yin-zhen-mei-ren-tu-yi-ming-236174","胤禛美人图","仕女于圆窗前端坐，轻倚桌案，一手闲雅地捻着念珠，正观赏两只嬉戏顽皮的猫咪。此图的取景面很小，仅透过二分之一的圆窗来刻画繁复的景致，但由于画家参用了西洋画的焦点透视法，将远、中、近三景安排得有条不紊，从而扩展了画面空间的纵深感，显得意韵悠长。窗下钟声滴答，近处猫咪玩闹，时光便在这似有似无中悄悄流逝。",[24,74,27,26,50,51,7,136,253],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd53a373485a1fc514f0f01339644f52.jpg","绢本","纵184厘米，横98厘米",[61,37],132,{"id":260,"slug":261,"title":262,"dynasty":132,"author":263,"museum":47,"description":264,"tags":265,"thumbUrl":267,"material":59,"size":268,"collection":37,"collections":269,"showCount":270,"zanCount":11,"manualWeight":11,"mainColor":40},219947,"li-nu-xiao-ying-tu-li-di-219947","狸奴小影图","李迪","猫在古代文人的笔下，也名狸奴，“猫”谐音“耄”，有长寿的吉祥寓意，成为入画的好题材。中国画史上曾出现过不少善画猫的名家，这幅画的作者李迪，就是其中之一。",[23,24,74,73,266,27,26,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e16cdf4bf4cb0f1950637379b428d38.jpg","23.6x24.1cm",[37],123,{"id":272,"slug":273,"title":274,"dynasty":18,"author":101,"museum":102,"description":275,"tags":276,"thumbUrl":281,"material":109,"size":110,"collection":94,"collections":282,"showCount":283,"zanCount":11,"manualWeight":11,"mainColor":40},236741,"huang-ju-mao-die-wan-shan-yi-ming-236741","黄鞠猫蝶纨扇","这帧纨扇小品取右虚左实之构图，苔石隐于浅草花丛间，乌背白腹的狸奴踞坐其上，圆瞳灼灼，紧盯翩跹粉蝶，蓬松绒毛以晕染细笔勾绘，憨态灵动，将花猫窥蝶的凝神一瞬定格。\n\n左上花枝柔曼，粉花轻缀，没骨笔法晕染出淡冶花色，明丽雅致。侧旁题笔规整清雅，与画面相映成趣。\n\n整幅小品以清隽设色勾勒日常闲趣，将庭间小景的恬淡野趣尽数铺陈，温婉雅致的意趣浸透绢面，尽显小品画的悠然雅韵。",[24,74,73,277,26,27,278,7,53,279,240,280],"扇面","清代","花","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6235c2fe94225bf65dcfca3543ed3c.jpg",[],119,{"id":285,"slug":286,"title":287,"dynasty":132,"author":288,"museum":102,"description":289,"tags":290,"thumbUrl":292,"material":255,"size":293,"collection":94,"collections":294,"showCount":295,"zanCount":173,"manualWeight":11,"mainColor":65},232879,"li-nu-xian-qu-tu-juan-liang-kai-232879","狸奴闲趣图卷","梁楷","宋代画坛，因为有皇家画院的支持和倡导，各类题材的国画大多崇尚描摹精微、细致逼真的画风。这种风格将我国古代工笔画推向了顶峰，也长久以来占据主流地位。但物极必反，严整的工笔画到达极致，必定会走向散乱的写意。这一方面，梁楷可谓是我国古代写意画的开山祖师。\n梁楷是南宋著名画家，师从贾师古。贾师古以师法吴道子的写实工笔著称，而梁楷能在其基础上更胜一筹，青出于蓝。梁楷曾在宁宗朝的画院供职，他继承吴道子写实技法的画风，无疑是非常受皇帝青睐的。他常常奉皇帝诏令，画了许多细腻严整的工笔画。\n这一时期的梁楷已经享有盛名，人们见到他精妙的画作，“无不敬服”。比如《狸奴闲趣图卷》里面的猫，形态各异细腻活泼，通体的毛都纤毫毕现。更不必说周围逼真的山石、花草、蝴蝶，刻画之精细，给人如在目前之感。",[23,24,73,87,26,27,7,291,279,226,56,241,30],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F980cc771075692f3c9ed45d7b13dcd33.jpg","33.2x185.4厘米",[],118,{"id":297,"slug":298,"title":7,"dynasty":18,"author":19,"museum":187,"description":188,"tags":299,"thumbUrl":301,"material":193,"size":194,"collection":94,"collections":302,"showCount":303,"zanCount":11,"manualWeight":11,"mainColor":40},223235,"mao-ren-yi-223235",[23,24,26,88,300,7,28,168,241,29],"兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3992e488d1b2dab6e076bb2a4b4a642e.jpg",[],115,{"id":305,"slug":306,"title":307,"dynasty":308,"author":309,"museum":47,"description":310,"tags":311,"thumbUrl":313,"material":59,"size":314,"collection":35,"collections":315,"showCount":316,"zanCount":11,"manualWeight":11,"mainColor":65},216213,"xie-sheng-tu-shang-xi-216213","写生图","明","商喜","商喜是明朝时期的一位著名画家。他的写生图是指他在观察实物的基础上进行的写生画。这些画作经常描绘自然风景、动物、人物等，体现出商喜对于自然现象的敏锐观察力和细腻的描绘能力。商喜的写生图具有浓郁的生活气息和生动的感染力，为后世留下了宝贵的艺术瑰宝。\n\n商喜的写生图作品较多，涵盖了多种题材。其中，他的花鸟画尤其出色，作品中常常出现各种花卉和鸟类，每一幅画作都能够流露出自然的美丽与生机。此外，商喜还绘制了许多人物画，其中有写实的肖像画，也有富有想象力的设计人物。他的人物画作品体现了商喜对人物形态和神态的细致捕捉，能够生动地展现人物的个性和心理。商喜的写生图作品为后世留下了深刻的印象，为中国画的发展做出了重要贡献。",[24,74,27,26,31,30,7,312,52,291,279,136],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae66413060d9efa0846a06cffbc58a1.jpg","84.6x61.8cm",[35],107,{"id":318,"slug":319,"title":320,"dynasty":308,"author":321,"museum":102,"description":322,"tags":323,"thumbUrl":326,"material":109,"size":110,"collection":94,"collections":327,"showCount":328,"zanCount":113,"manualWeight":11,"mainColor":65},288002,"tang-yuan-xi-chun-tu-juan-zhu-zhan-ji-288002","唐苑嬉春图卷","朱瞻基","画面上画了五只猫，其动作神情都不一样。颜色趋于白花的猫。这种动物类的绘画里，无非就是两种要注意的。\n其一是造型。照猫画虎也行，照虎画猫也行，一定要把它的型抓住，神另说。这五只猫，每一只猫的形态还是很生动的。这只叼着鸟的猫，其回身的动作和眼神，都是一致的。",[23,24,73,87,27,26,7,291,55,324,325],"走兽","嬉春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0eac807c246b76d65c027745f5ba9a.jpg",[],96,{"id":330,"slug":331,"title":332,"dynasty":132,"author":333,"museum":102,"description":334,"tags":335,"thumbUrl":341,"material":109,"size":110,"collection":94,"collections":342,"showCount":328,"zanCount":11,"manualWeight":11,"mainColor":65},287575,"dong-ri-xi-ying-tu-su-han-chen-287575","冬日戏婴图","苏汉臣","图中画二童婴在庭园嬉戏。男孩左手拿着一根美丽的孔雀毛，女孩右手持一面绣花的小锦旗来回摇摆，逗着跟随着他们来回跑的小猫。画中描绘的虽然是冬景，但是花园中翠竹青青，茶花、梅花竞相开放。儿童形象富而不骄，华而不贵，充满宋代城市中的世俗生活情趣。整幅画面作者用笔工整细致，设色艳丽。技法纯熟，形神兼备。",[73,24,25,26,27,50,336,337,291,338,7,339,340],"孩童","梅","山茶","冬日","戏婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f4da80266afbaa0934659384b709df.jpg",[],{"id":344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柳树周围画有五只猫。 母猫的皮毛颜色很好。 它看起来天真无邪，喜欢在草坡上玩耍。",[24,73,26,27,30,7,418,419,29],"老树","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd568342453b18257f81c6e57ff45b4c5.jpg","纵121横73厘米",[35],86,{"id":425,"slug":426,"title":427,"dynasty":308,"author":428,"museum":20,"description":429,"tags":430,"thumbUrl":434,"material":435,"size":436,"collection":94,"collections":437,"showCount":438,"zanCount":11,"manualWeight":11,"mainColor":40},222190,"ren-wu-gu-shi-tu-ming-fei-chu-sai-chou-ying-222190","人物故事图-明妃出塞","仇英","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,73,74,266,27,26,50,431,432,433,51,7],"马","车","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ba20774bb9e29add1a777c3c73b95e.jpg","绢本，设色","每开纵41.4厘米，横33.8厘米",[],84,{"id":440,"slug":441,"title":442,"dynasty":18,"author":443,"museum":70,"description":444,"tags":445,"thumbUrl":447,"material":406,"size":448,"collection":35,"collections":449,"showCount":450,"zanCount":113,"manualWeight":11,"mainColor":40},218902,"mao-tu-zhou-wang-shi-shen-218902","猫图轴","汪士慎","此轴画一黑白相间的猫蹲踞石上，双目斜睨画外，神态生动。画上题诗“每餐先备买鱼钱，曾记携归小似拳，一自爪牙动黠鼠，傍人安稳卧青氊”。并题为雍正六年戊申（1728）九月所画，时年32岁。",[24,88,90,25,7,240,241,446,404,89],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e98d0a6a379b6c7d84e39c07b0d0aec.jpg","纵125.7厘米，横60.8 厘米",[35],83,{"id":452,"slug":453,"title":454,"dynasty":132,"author":101,"museum":47,"description":455,"tags":456,"thumbUrl":458,"material":94,"size":94,"collection":459,"collections":460,"showCount":461,"zanCount":113,"manualWeight":11,"mainColor":65},231056,"dong-ri-ying-xi-tu-yi-ming-231056","冬日婴戏图","深冬庭院里，梅枝缀满玉蕊，竹影清疏横斜，山茶燃着点点艳红，揉化了凛冬寒意。\n\n梳着双丫髻的女娃牵着小同伴，两人的目光齐齐追着脚边扑跃的花狸猫，小男娃手里的兔形花灯险些坠地，稚拙娇憨的神态被刻画得活灵活现。\n\n整幅设色柔润雅致，工笔写实细腻，孩童软绵的衣料褶皱，狸猫蓬松的皮毛，花木的鲜活情态都一一晕染真切，将冬日里稚童嬉游的融融温情铺陈开来，把萧索寒冬晕成了满纸天真暖意，恰似一帧鲜活的冬日闲趣剪影。",[23,24,73,27,26,50,337,291,7,253,136,457],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F758a8c0d4776f0fd17509254b24ed5ae.jpg","宋画精选",[459],67,{"id":463,"slug":464,"title":465,"dynasty":132,"author":347,"museum":47,"description":348,"tags":466,"thumbUrl":468,"material":255,"size":469,"collection":470,"collections":471,"showCount":472,"zanCount":11,"manualWeight":11,"mainColor":40},221323,"hou-mao-tu-juan-yi-yuan-ji-221323","猴猫图卷",[23,73,24,74,87,27,26,350,7,30,89,467],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F823207814807056484a74f5f2d92e6bb.jpg","纵31.9公分、横57.2公分","书法精选",[470],66,{"id":474,"slug":475,"title":476,"dynasty":132,"author":101,"museum":47,"description":133,"tags":477,"thumbUrl":484,"material":255,"size":140,"collection":94,"collections":485,"showCount":486,"zanCount":11,"manualWeight":11,"mainColor":144},223471,"xi-mao-tu-yi-ming-223471","戏猫图",[23,24,73,26,27,7,30,31,136,105,55,467,478,479,480,137,481,482,483],"宠物","庭院","桌案","草木","设色工笔","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944be0ae10bb40132b87c6508e80870b.jpg",[],63,{"id":488,"slug":489,"title":490,"dynasty":308,"author":321,"museum":47,"description":491,"tags":492,"thumbUrl":494,"material":495,"size":496,"collection":35,"collections":497,"showCount":498,"zanCount":11,"manualWeight":11,"mainColor":65},222020,"hua-xia-li-nu-tu-zhou-zhu-zhan-ji-222020","花下貍奴图轴","此画构图呈对角线，所画的猫、湖石、秋花均在对角线上，可谓全幅构图别致，虚实结合。狸奴造型准确，画法先淡色涂染全身，背上的毛用干笔涂擦点簇而成，表现了狸奴细毛的质感。以焦墨点睛，炯炯有神。湖石则用长麻皮皴。",[23,24,74,25,26,27,7,493,29,89,404,30,55],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511c301cd9d9a27486446cb728c20d37.jpg","白纸本","纵41．5厘米，横39．3厘米",[35,37],57,{"id":500,"slug":501,"title":502,"dynasty":132,"author":101,"museum":503,"description":504,"tags":505,"thumbUrl":508,"material":509,"size":510,"collection":459,"collections":511,"showCount":512,"zanCount":11,"manualWeight":11,"mainColor":65},223354,"fang-zhou-fang-xi-ying-tu-yi-ming-223354","仿周昉戏婴图","美国大都会艺术博物馆","周昉《戏婴图》已失传，本卷为宋人摹本，技法设色均有周昉风骨。图绘五个女子与七个幼孩嬉戏、为幼孩洗浴、穿衣的生活场景。中国古代人物画，有“婴戏图”这一种类。“婴”字，作“孩童”解。以小孩的生活、游戏为描绘对象，表现孩童的天真、稚拙、活泼、可爱，画面生动、有趣，寄托了人们对于美好生活--“多子多福”的向往，所以历来很受大众的欢迎，在唐、宋时期无论题材还是技法都已相当成熟。如宋苏汉臣的《秋庭戏婴图》可谓杰作。",[23,24,73,27,26,50,51,506,7,336,57,507,255],"婴儿","孩童嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b11b8ef4628a62aa0c11093093e5b0.jpg","绢本设色","纵30.5厘米，横111.8厘米",[459],56,{"id":514,"slug":515,"title":516,"dynasty":18,"author":84,"museum":102,"description":517,"tags":518,"thumbUrl":519,"material":109,"size":110,"collection":94,"collections":520,"showCount":521,"zanCount":11,"manualWeight":11,"mainColor":40},237934,"za-hua-ce-zhu-da-237934","杂画册","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。",[73,278,88,90,7,266,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3541396bcba653734846251d31deed0f.jpg",[],51,{"id":523,"slug":524,"title":525,"dynasty":132,"author":101,"museum":47,"description":526,"tags":527,"thumbUrl":528,"material":59,"size":529,"collection":459,"collections":530,"showCount":521,"zanCount":113,"manualWeight":11,"mainColor":65},231057,"fu-gui-hua-li-tu-yi-ming-231057","富贵花狸图","枝桠遒劲舒展，牡丹素瓣柔润晕染，似凝露轻绽。花叶疏密错落，暗衬盛放雍容。花狸伏身软草间，墨白毛色过渡自然无痕，双目凝注身前游虫，警觉中带着憨柔慵懒，将灵动感藏于静息姿态。\n\n整幅设色古雅沉静，绢底旧调晕开澹澹古韵，工细写实中带着雅致意趣，将繁花雍容与狸奴野趣相映成趣，闲静画面里暗涌鲜活生机，于清淡古拙间晕开平和悠然的氛围感，尽显小景中的雅致禅意。",[23,24,73,25,27,26,31,105,7,241,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8509dd73930dd4201e8b570bf5528f6.jpg","141x107.5",[459],{"id":532,"slug":533,"title":534,"dynasty":18,"author":535,"museum":70,"description":536,"tags":537,"thumbUrl":539,"material":33,"size":540,"collection":61,"collections":541,"showCount":542,"zanCount":113,"manualWeight":11,"mainColor":40},218262,"ren-wu-ping-ren-yu-218262","人物屏","任预","任预（1853年—1901年），一名豫，字立凡，浙江萧山人，晚清著名海派画家，为早期海派大师任熊之子，山水、人物、花鸟，无所不精。在“四任”（任熊、任薰、任颐、任预）中，最为年轻。",[24,74,26,27,50,538,31,7,291],"山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38c449c612a80a7b8bd1ad1f8c975450.jpg","131.6x32",[61],50,{"id":544,"slug":545,"title":546,"dynasty":132,"author":547,"museum":102,"description":548,"tags":549,"thumbUrl":550,"material":94,"size":94,"collection":94,"collections":551,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":65},227831,"she-xiang-tu-mao-song-227831","麝香图","毛松","洞石旁蜀葵柔枝舒展，粉白淡紫的花晕漾开雅致生机，藏在花枝间的禽鸟敛羽小憩，暗生幽趣。狸奴踞坐于地，蓬松白毛似覆软雪，琥珀眼眸凝向幼崽，神态温静慵懒。三只乳猫两两嬉闹，稚拙灵动的憨态被描摹入微。\n\n设色秀妍清雅，笔致工细却不失灵韵，以圆形构图收拢庭院景致，将母猫育幼的日常温情定格成一方温柔剪影，把宋人的细腻闲情晕开在绢素之上，平和松弛的烟火暖意漫溢其间，尽显雅致柔和的审美意趣，将寻常里的治愈温情留存至今。",[23,73,24,74,277,27,26,7,30,279,29,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e654708b44e5b560820fa536d6656d.jpg",[],45,{"id":554,"slug":555,"title":556,"dynasty":132,"author":557,"museum":20,"description":558,"tags":559,"thumbUrl":565,"material":435,"size":566,"collection":61,"collections":567,"showCount":568,"zanCount":183,"manualWeight":11,"mainColor":40},221416,"fang-che-tu-juan-wang-ju-zheng-221416","纺车图卷","王居正","《纺车图》是北宋画家 所创作的一幅设色画，现收藏于北京故宫博物院。\n该图画面上纺车忙碌着，一位面貌年轻村妇怀抱着哺乳的婴儿，坐在纺车前操作，稍远处一位老年村妇站立为之牵线。\n画面右侧绘有一个嬉戏的儿童，两位村妇之间则点缀一只小犬正在撒欢地玩着。\n背景描绘着随风披拂的柳树丝及其几段又粗又硬的树枝干。\n图中人物头发荆钗蓬鬓，鹑衣百结，曲尽情状，面目如生。\n纺车图是绢布手卷，纵21.6 厘米， 横69.2厘米，设色画，内容是农村中妇女纺线的情景。\n该画面的中心放着一架纺车，其傍置一竹筐，位中年妇女坐小椅上，左手抱着婴儿哺乳，右手轮转车机，前面站着一位老年妇女两手牵机。\n村妇身后有一儿童，席地而坐，手中拿着杆，牵着一只蟾蜍，活泼可爱。\n中间闻一小犬，画右有两棵老柳树，布景简洁，但却显出农村前条气象。\n元代书法家赵孟頫为此图题跋：“图虽尺许，而气韵雄壮，命意高古，精采飞动，真可谓神品者矣。\n” 明代画家吴宽亦于其上题诗并跋语：“可爱河东王氏子，丹青施誉动祥符。\n不传罗绮游春态，只画茅檐纺车图。\n” 大中祥符年间（18年—116年），北宋为了修筑宫殿、寺庙，招来一些从事建筑彩绘和壁画的民间画匠。\n由于王居正出身劳动人民，深谙民间疾苦，对下层贫苦农民有深厚的感情，所以画面反映的题材意义和人物形象，与宫廷画家及士大夫笔底的“农家乐”形象大异其趣。\n《纺车图》正是王居正看到妇女纺线情景所创作的一幅农家图。\n该图表现农村妇女的户外劳动。\n全幅主题突出，构图巧妙。\n近景描绘的人物被两条飘浮不定的线条分为两组，线的一端是边摇纺车边哺乳的中年妇女、围其左右戏青蛙的童子和狂吠的黑犬；另一端是弯腰伛背、双手拉着线团的老媪。\n人物彼此间聚散自然，神韵相通。\n图中纺车、竹筐、杌凳用界画形式表现，刻画精工写实。\n人物的衣纹用转折劲利的“战笔描”表现，中锋行笔，线条细劲圆润，随着人物形体的变化而顿折曲转，从而准确地塑造出人物的形态和衣料的柔软质地。\n图中的女性形象与晋代顾恺之、唐代周昉笔下的仕女相比，没有娇美的相貌、诱人的身材、华丽的服饰及尊贵的地位，她们仅是生活中最为普通的农村妇女。\n衣裤迭经补缀的老妇面容憔悴，动作迟缓，艰辛的生活令其相貌充满沧桑感。\n作者以写实的艺术手法不加美化地表现她们，意在赞扬她们安贫乐道的生活态度及朴实无华的个性美，同时也表达了对她们贫苦生活的同情。\n从绘画史的角度来看，《纺车图》并非在技法或风格创新上有重大突破或建树，其难得可贵价值在于它表现了下层劳动人民真实的劳动场面，为人们了解研究当时的社会和历史提供了珍贵的形象资料。\n该图流传有绪，在南宋时为 收藏。\n元代延祐四年（117年）， 在燕京以五十金购得。\n明代初为袁廷玉（柳庄）获取，明代中期杨维新从袁氏家购得。\n万历年间（157－1619年）它被周敏所收藏。\n清代初为仁和龚翔麟（蘅圃）收藏，乾隆朝时归江西陈玉方（希祖），嘉庆朝素村用旧拓唐楷碑向陈玉方换取此画，光绪年间（1875－198年）归陆心源所得，清末归武进盛所有。\n2世纪5年代，国家从香港将其购回，旋即入藏北京故宫博物院。\n在214年4月日至6月29日期间，北京故宫院开展“故宫藏历代书画展”，其中《纺车图》在北京故宫武英殿书画馆开展。\n王居正（生卒年不详），乳名憨哥，河东（今山西永济）人，北宋画家王拙之子。\n北宋大中祥符年间（18－116年），被招募至汴京（今河南开封）参与皇家宫殿的营造工程。\n其作画注重写实，落笔前反复观察，认真思考，力求于创作中真实地再现客观对象 。",[23,24,87,27,26,50,560,561,562,136,280,7,563,564],"妇女","儿童","纺车","劳作","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc3f7fb767d3a2e83a5bc151e376253.jpg","纵26.1厘米，横69.2厘米",[61,37],40,{"id":570,"slug":571,"title":572,"dynasty":18,"author":101,"museum":102,"description":573,"tags":574,"thumbUrl":579,"material":109,"size":110,"collection":94,"collections":580,"showCount":581,"zanCount":113,"manualWeight":11,"mainColor":65},270157,"luo-xiu-mao-die-shi-liu-tu-mian-hong-mu-diao-hua-bing-tuan-shan-yi-ming-270157","罗绣猫蝶石榴图面红木雕花柄团扇","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。",[277,575,7,226,576,55,564,577,578],"刺绣","石榴","木质","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19dbf0f31a4b58149f78e50e1ba54345.jpg",[],32,{"id":583,"slug":584,"title":585,"dynasty":45,"author":586,"museum":102,"description":587,"tags":588,"thumbUrl":590,"material":109,"size":110,"collection":94,"collections":591,"showCount":592,"zanCount":11,"manualWeight":11,"mainColor":40},288463,"er-zu-diao-xin-tu-shi-ke-288463","二祖调心图","石恪","画面展现了两个禅定状态的高僧。其一，头枕屈臂，趴在一只睡虎身上，脸部的五官挤压在一起，呈现了睡眠的神态。其二，弯臂以手托腮，依在自己的右腿上，同样表现了睡眠的神态。但两者有所不同。前者全身依托于睡虎，可谓“沉睡入泥”，生动地表现了高僧达到了酣睡入梦、超脱一切的禅定境地。而后者的头躯则是依托于自身的支撑，入微地表现了高僧若有所思、静心似睡的禅定状态。简而言之，前者突出了一个“静”字，而后者则突出了一个“酣”字。",[23,73,24,74,88,50,7,589,89],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31d49283eb016d01aeb8c2b5ff4f4e38.jpg",[],26,{"id":594,"slug":595,"title":596,"dynasty":18,"author":597,"museum":70,"description":598,"tags":599,"thumbUrl":601,"material":94,"size":94,"collection":35,"collections":602,"showCount":592,"zanCount":11,"manualWeight":11,"mainColor":603},201860,"zhi-hua-mao-die-tu-zhou-gao-qi-pei-201860","指画猫蝶图轴","高其佩","指墨写意间，三只猫态趣横生——两白似雪绒团簇，一黑如墨云坠地，皆昂首凝眸，追向空中翩跹的蝶影。山石以简括墨块勾皴，背景淡远空灵，衬出猫的专注神情。指画技法率意传神，猫毛以指尖扫墨，蓬松质感毕现；蝴蝶轻点，引动画面生机。整体笔墨疏朗，意境清逸，于简淡中藏妙趣，尽显写意之灵动。",[88,90,7,31,191,30,600,23],"皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4a260f6aba6da56d384dde77349b29d.jpg",[35],"ae9b87",{"id":605,"slug":606,"title":585,"dynasty":45,"author":586,"museum":102,"description":587,"tags":607,"thumbUrl":608,"material":109,"size":110,"collection":94,"collections":609,"showCount":610,"zanCount":11,"manualWeight":11,"mainColor":40},288844,"er-zu-diao-xin-tu-shi-ke-288844",[23,73,24,74,88,50,7,589,89,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b80afc653f640388e0b96eb3f142bf.jpg",[],24,{"id":612,"slug":613,"title":614,"dynasty":18,"author":383,"museum":102,"description":615,"tags":616,"thumbUrl":618,"material":109,"size":110,"collection":94,"collections":619,"showCount":610,"zanCount":11,"manualWeight":11,"mainColor":65},287352,"hua-niao-cao-chong-tu-ba-hua-yan-287352","花鸟草虫图八","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[24,26,266,7,617,291,29,481,31,30,404,89],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07d23dd712768dd98861d24740bc2b9.jpg",[],{"id":621,"slug":622,"title":623,"dynasty":18,"author":235,"museum":102,"description":624,"tags":625,"thumbUrl":629,"material":109,"size":110,"collection":94,"collections":630,"showCount":631,"zanCount":11,"manualWeight":11,"mainColor":40},288391,"shuang-mao-kui-yu-cheng-zhang-288391","双猫窥鱼","此图描绘的是一幅秋天的美丽图景。一弯池水迂回流淌，岸边苇草萌发，树枝随风而动，显得遒劲与洒脱。池塘边两只花猫，葡匐在岸上，双眼紧盯着池塘中的游鱼。仿佛在欣赏它们欢快的舞姿，溪水远处，淡色轻染，烟霭迷濛。全画以水墨设色技法来表现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是由于画家懂得生物百态，所以画的石头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能合乎自然景物的真实性。并运用干、湿、浓、淡的笔法墨法所造成的变化，整体显得儒雅、秀润。",[23,24,25,26,7,238,626,418,29,627,628],"枯藤","衰草","落叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0a9a7444833f2d873b38ff11d8ab76.jpg",[],22,{"id":633,"slug":634,"title":635,"dynasty":636,"author":101,"museum":102,"description":637,"tags":638,"thumbUrl":640,"material":109,"size":110,"collection":94,"collections":641,"showCount":631,"zanCount":11,"manualWeight":11,"mainColor":40},225371,"fu-shi-hui-128-yi-ming-225371","浮世绘128","不详","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[639,26,50,51,7,564,136],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b7517433ab3562478bd0b136834829b.jpg",[],{"id":643,"slug":644,"title":645,"dynasty":308,"author":646,"museum":102,"description":647,"tags":648,"thumbUrl":653,"material":94,"size":94,"collection":94,"collections":654,"showCount":655,"zanCount":11,"manualWeight":11,"mainColor":65},228862,"tian-jia-chun-dou-tu-juan-zhang-chong-228862","田家春斗图卷","张翀","此作以兼工带写之笔铺展乡野春景，古木虬枝环抱着错落村舍，水畔田埂间，村民们角力摔跤，呼喝喝彩之声似随画卷扑面而来。妇孺围立笑观，稚童穿梭嬉闹，田家烟火意趣尽显。画家精于人物情态捕捉，衣褶灵动简约，村野景致皴染朴拙细腻，将江南春日乡野的鲜活生机与质朴活力，尽数凝于绢素，画风古雅淳厚，把民间春日嬉游的松弛野趣刻画得淋漓尽致，尽显风俗画描摹世俗民生的动人特质。",[23,24,74,73,87,27,26,649,50,650,651,54,191,652,7,312,600],"行书","田","屋舍","春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592ca4cfbdcded52aaada6264e96bf35.jpg",[],21,{"id":657,"slug":658,"title":659,"dynasty":18,"author":19,"museum":102,"description":660,"tags":661,"thumbUrl":664,"material":435,"size":665,"collection":94,"collections":666,"showCount":667,"zanCount":11,"manualWeight":11,"mainColor":40},234984,"hua-hui-ling-mao-ping-2-ren-yi-234984","花卉翎毛屏2","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[24,26,90,25,7,55,662,169,663],"藤蔓","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3023be322395ca9d31ef8d9f9e9920f.jpg","149 x 61 cm",[],20,{"id":669,"slug":670,"title":671,"dynasty":132,"author":101,"museum":70,"description":672,"tags":673,"thumbUrl":677,"material":59,"size":94,"collection":35,"collections":678,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":65},219262,"xie-sheng-si-duan-tu-yi-ming-219262","写生四段图","四段景致各蕴生机。首段猫卧石边，茸毛细腻如绒，石肌理古拙苍然，静中藏韵；中段数兽嬉游郊野，或低啮青草，或昂首顾盼，姿态鲜活，野趣盎然；末段枯槎疏竹旁，禽鸟栖止，枝干虬曲见骨，笔墨简淡却传物之神；最末猫踞笼畔，犬趋前欲动，笼栅细劲入微，猫狗情态宛然，尽得生活意趣。全卷以写生之笔摹万物，线条精准，墨色层次有致，于细节处显匠心，足见写实功力之深。",[23,24,73,74,27,26,674,675,431,7,30,29,54,291,676],"写生","牛","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901bd7646e4d18c3736a30353ef0db54.jpg",[35],19,{"id":681,"slug":682,"title":683,"dynasty":162,"author":684,"museum":102,"description":685,"tags":686,"thumbUrl":687,"material":406,"size":94,"collection":94,"collections":688,"showCount":689,"zanCount":11,"manualWeight":11,"mainColor":40},218174,"da-qian-kuang-tu-ce-4-zhang-da-qian-218174","大千狂涂册-4","张大千","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,88,7,404,89,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfe4a42fd31d25056306db5ec8b3e71.jpg",[],18,{"id":691,"slug":692,"title":516,"dynasty":18,"author":84,"museum":102,"description":517,"tags":693,"thumbUrl":694,"material":109,"size":110,"collection":94,"collections":695,"showCount":696,"zanCount":11,"manualWeight":11,"mainColor":40},237627,"za-hua-ce-zhu-da-237627",[24,88,90,7,30,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc002e57067588dbb34eab8750c58c3.jpg",[],17,{"id":698,"slug":699,"title":700,"dynasty":701,"author":163,"museum":70,"description":702,"tags":703,"thumbUrl":705,"material":94,"size":94,"collection":35,"collections":706,"showCount":707,"zanCount":11,"manualWeight":11,"mainColor":708},203077,"mao-shi-pi-pa-tu-zhou-xu-bei-hong-203077","猫石枇杷图轴","近代","憨态可掬的猫蜷卧于嶙峋石上，黑白毛色以墨色浓淡晕染，层次分明，双目灵动有神；旁侧枇杷枝桠舒展，墨叶苍劲，橙黄果实鲜亮饱满，设色明快。石头以大写意笔触挥写，线条粗犷洒脱，与猫的细腻刻画形成对比，兼具中西画之所长——猫的造型写实生动，石与枇杷则尽显写意神韵。笔墨简练却形神兼备，画面生机盎然，意趣横生，尽显对生活细节的捕捉与艺术表现力。",[24,74,25,7,704,56,88,26,90,363,30,31,23],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d6695b3eee8f7d17e4dfd3db012c9c4.jpg",[35],16,"c5b5a1",{"id":710,"slug":711,"title":712,"dynasty":18,"author":713,"museum":70,"description":714,"tags":715,"thumbUrl":717,"material":94,"size":94,"collection":35,"collections":718,"showCount":707,"zanCount":11,"manualWeight":11,"mainColor":719},201728,"qiu-hua-mao-die-tu-zhou-yun-shou-ping-201728","秋花猫蝶图轴","恽寿平","秋草纤柔间，白猫茸毛蓬松，墨蝶轻舞引其注目，憨态可掬。花叶以淡彩晕染，无需勾勒而形神兼备；顽石以枯笔皴擦，墨色层次分明。整幅画笔墨细腻，设色清雅，将猫的慵懒、蝶的轻盈与花草的生机相融，尽显闲庭秋趣。画面气韵生动，兼具工笔之精致与写意之传神，传递出悠然恬淡的秋日氛围。",[24,31,26,7,226,29,716,27,600,75,23],"秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6f6676bdf8b1ee5183a8c105dcf9ef.jpg",[35],"beb097",{"id":721,"slug":722,"title":723,"dynasty":636,"author":724,"museum":102,"description":725,"tags":726,"thumbUrl":732,"material":109,"size":110,"collection":94,"collections":733,"showCount":734,"zanCount":11,"manualWeight":11,"mainColor":40},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,74,87,727,88,27,350,728,729,730,7,731,54,191,241,190,30,50,31],"白描","兔","蛙","狮","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg",[],15,{"id":736,"slug":737,"title":738,"dynasty":701,"author":739,"museum":70,"description":740,"tags":741,"thumbUrl":742,"material":94,"size":94,"collection":35,"collections":743,"showCount":734,"zanCount":11,"manualWeight":11,"mainColor":744},203125,"mao-shi-tu-zhou-pan-tian-shou-203125","猫石图轴","潘天寿","画面以大块淡赭色泼写孤石，笔触苍劲朴拙，石面肌理随墨色浓淡自然晕染。石上卧猫以黑白二色勾勒，墨块凝练，双目点染朱红，憨态中透着机警。上方留白处题款与印章错落，笔墨相生，尽显文人画意趣。整作构图奇崛，虚实相生，于简约中见雄健气象，是潘天寿花鸟走兽题材的典型之作。",[24,25,26,7,29,88,89,31,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c8d01e737f45658063d967ccb26be7d.jpg",[35],"dacbbe",{"id":746,"slug":747,"title":748,"dynasty":701,"author":235,"museum":70,"description":749,"tags":750,"thumbUrl":754,"material":94,"size":94,"collection":35,"collections":755,"showCount":734,"zanCount":11,"manualWeight":11,"mainColor":756},202844,"zi-teng-cui-niao-tu-zhou-cheng-zhang-202844","紫藤翠鸟图轴","紫藤花串垂悬，紫白相间，枝蔓以墨笔挥洒，苍劲中见柔媚。石边花猫蜷卧，毛发晕染细腻，黑白斑纹层次分明，黄瞳炯炯，似凝注下方动静。两只翠鸟，一栖枝上羽色蓝翠鲜亮，一俯冲水面姿态灵动，羽翼细节毕现。画作融传统笔墨与西画写实于一体，花鸟走兽形神兼备，动静相生间，满溢自然生趣与生活情味，尽显独特艺术表现力。",[24,31,7,751,752,26,27,90,363,753,23],"翠鸟","紫藤","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c822c383adb3fbec6205e542994dd30.jpg",[35],"bbafa0",{"id":758,"slug":759,"title":760,"dynasty":636,"author":724,"museum":102,"description":725,"tags":761,"thumbUrl":767,"material":109,"size":110,"collection":94,"collections":768,"showCount":769,"zanCount":11,"manualWeight":11,"mainColor":40},231807,"ming-qing-ri-ben-gu-hua-fen-ben-zhuo-yao-juan-he-guo-xiao-zhai-231807","明清日本古画粉本-捉妖卷",[23,762,26,87,50,763,764,765,7,766],"古画","竹子","草地","民居","粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b5900c3a3fda86d8ad4b7a8c7ca938.jpg",[],14,{"id":771,"slug":772,"title":773,"dynasty":308,"author":774,"museum":102,"description":775,"tags":776,"thumbUrl":780,"material":109,"size":110,"collection":94,"collections":781,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},228301,"hua-niao-jing-pin-ce-chen-hong-shou-228301","花鸟精品册","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,74,266,26,27,31,105,777,75,778,153,52,779,7,728,238],"荷","桃花","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab22e59eca769a09ba77829421839ef.jpg",[],{"id":783,"slug":784,"title":785,"dynasty":701,"author":163,"museum":70,"description":786,"tags":787,"thumbUrl":788,"material":94,"size":94,"collection":35,"collections":789,"showCount":790,"zanCount":11,"manualWeight":11,"mainColor":791},202923,"mao-die-tu-zhou-xu-bei-hong-202923","猫蝶图轴","画面中黑白花猫蜷卧石上，墨色浓淡晕染出蓬松毛发，双目圆睁凝注翩跹黄蝶，神态灵动鲜活。旁侧淡笔绘疏草，线条清逸衬出野趣。整体笔墨兼工带写，形神兼备，于简约中见生趣，尽显对生灵情态的细腻捕捉与写意功底。",[24,88,26,7,31,29,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519c6d5d8712b83b2c2ef868028d73b5.jpg",[35],12,"e3d2b9",{"id":793,"slug":794,"title":795,"dynasty":636,"author":796,"museum":102,"description":797,"tags":798,"thumbUrl":810,"material":109,"size":110,"collection":811,"collections":812,"showCount":813,"zanCount":11,"manualWeight":11,"mainColor":65},225782,"night-after-millet-october-fan-gao-225782","Night (after Millet) (October - )","梵高","文森特·威廉·梵高（Vincent Willem van 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