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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），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，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[25,27,269,28,79,67,70,135,71,7,243,39,270,31,271,272],"山水画","瀑布","田园生活","农桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba7ae20c02be229020dc6a8b099325b6.jpg",[83,53],28,{"id":277,"slug":278,"title":279,"dynasty":176,"author":280,"museum":94,"description":281,"tags":282,"thumbUrl":283,"material":258,"size":259,"collection":107,"collections":284,"showCount":285,"zanCount":11,"manualWeight":11,"mainColor":56},288322,"xi-hu-liu-ting-tu-xia-gui-288322","西湖柳艇图","夏圭","画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润。",[23,25,269,132,28,79,133,33,34,135,7,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b30dee232d89172c19ffdd806aaa95.jpg",[],24,{"id":287,"slug":288,"title":289,"dynasty":176,"author":290,"museum":63,"description":291,"tags":292,"thumbUrl":295,"material":296,"size":297,"collection":107,"collections":298,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":56},290503,"chun-shan-tu-zhou-zhao-bo-ju-290503","春山图轴","赵伯驹","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[24,25,26,66,293,28,67,33,34,135,32,294,39,7,136,137,79],"青绿","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60cd9de5152330c716e91a6b2be9c36.jpg","纸本,水墨","89.5x32.3",[],23,{"id":301,"slug":302,"title":303,"dynasty":162,"author":304,"museum":147,"description":305,"tags":306,"thumbUrl":307,"material":153,"size":107,"collection":107,"collections":308,"showCount":299,"zanCount":189,"manualWeight":11,"mainColor":111},234244,"shan-shui-juan-zhang-fu-234244","山水卷","张復","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。",[23,25,27,26,132,28,79,67,135,33,34,32,39,69,7,137,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d3a363c537e6fd65da59b61258ccaf.jpg",[],{"id":310,"slug":311,"title":279,"dynasty":176,"author":280,"museum":94,"description":312,"tags":313,"thumbUrl":315,"material":258,"size":259,"collection":107,"collections":316,"showCount":317,"zanCount":11,"manualWeight":11,"mainColor":56},287718,"xi-hu-liu-ting-tu-xia-gui-287718","画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润",[24,25,269,132,28,79,133,33,34,135,294,32,7,314,136,137],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88e6785745c02b8900bab6ee66c74eb.jpg",[],21,{"id":319,"slug":320,"title":321,"dynasty":18,"author":322,"museum":323,"description":324,"tags":325,"thumbUrl":334,"material":106,"size":335,"collection":107,"collections":336,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":111},217206,"fang-gu-shan-shui-shi-er-kai-shi-er-wang-hui-217206","仿古山水十二开(十二)","王翚","大英博物馆","此册王翚仿古十二开",[25,132,79,131,67,211,39,326,327,31,328,294,329,72,7,330,331,332,333],"山路","马","枯树","小径","古树","远山","路径","骑乘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a21745ec4cca633de1562020ea6baee.jpg","25x35.4cm",[],18,{"id":339,"slug":340,"title":341,"dynasty":18,"author":342,"museum":343,"description":344,"tags":345,"thumbUrl":349,"material":350,"size":351,"collection":107,"collections":352,"showCount":353,"zanCount":11,"manualWeight":11,"mainColor":111},222898,"hong-lou-meng-23-sun-wen-222898","红楼梦23","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,25,29,28,31,32,7,346,39,347,348],"宅院","救火场景","红楼梦题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1deb8328844eb7095bcab7f4f0e0be29.jpg","绢本","纵43.3厘米、横76.5厘米",[],17,{"id":355,"slug":356,"title":357,"dynasty":92,"author":358,"museum":94,"description":359,"tags":360,"thumbUrl":369,"material":258,"size":259,"collection":370,"collections":371,"showCount":372,"zanCount":11,"manualWeight":11,"mainColor":111},225780,"montmartre-behind-the-moulin-de-la-galette-july-fan-gao-225780","Montmartre 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Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[361,362,363,364,365,366,7,367,368],"油画","后印象派","风景画","郊外","山坡","围栏","城市景观","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8424aabc659af15ecff51851a873f79f.jpg","油画精选",[370],15,{"id":374,"slug":375,"title":376,"dynasty":162,"author":93,"museum":94,"description":377,"tags":378,"thumbUrl":380,"material":107,"size":107,"collection":107,"collections":381,"showCount":382,"zanCount":11,"manualWeight":11,"mainColor":111},235557,"lu-zhi-hao-shang-song-bie-zhou-yi-ming-235557","陆治濠上送别轴","此作用淡墨轻染铺展早春濠上水色，以远近三层景致铺陈离情。远山空灵浅秀，淡赭晕染出清寂春山轮廓，衬出天地辽远。中景城郭屋舍临水错落，水榭间暗藏饯别之意，烟火气揉入依依别情。近岸柳林疏瘦、嘉木立渚，枝条轻曳间满含缱绻。\n\n整体笔墨秀雅简淡，以吴门画派典型的写意淡设色出之，浅青淡赭晕染出江南早春的柔润清和。题诗与画作相映，将送别时的含蓄心绪寄寓在空蒙湖山烟霭中，文辞清隽晕开画中离思，诗画相融之间，把文人饯别时的幽微深情藏在澹澹濠波里，雅静淡远，尽显抒情山水的悠然意韵。",[25,26,66,132,28,79,67,32,39,135,34,136,41,70,328,331,379,35,7],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb37015866d001a2c187f682336b00.jpg",[],14,{"id":384,"slug":385,"title":386,"dynasty":18,"author":387,"museum":147,"description":388,"tags":389,"thumbUrl":396,"material":397,"size":107,"collection":107,"collections":398,"showCount":382,"zanCount":11,"manualWeight":11,"mainColor":111},234162,"yan-zi-ji-mo-chou-hu-er-jing-tu-juan-wu-hong-234162","燕子矶莫愁湖二景图卷","吴宏","吴宏（1615 —1680），一作弘，字远度，号竹史、西江外史。江西金溪人，移居江宁（今南京）。\n吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。\n传世作品有康熙五年（1666）作《山水》册页、《江山行旅图》卷，均藏北京故宫博物院；十一年（1672）作《松溪草堂图》轴、《竹石图》轴，藏南京博物院；《山村樵牧图》轴，藏天津市艺术博物馆。《国(清)朝画征录、读画录、桐阴论画、安雅堂集、江宁志、清画家诗史》",[23,24,25,27,132,269,72,390,71,391,7,392,393,394,395],"江景","帆船","亭台","渔舟","苍郁","生活气息","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2193f9b4953e0d1929de82ac13992b.jpg","纸本",[],{"id":400,"slug":401,"title":402,"dynasty":92,"author":403,"museum":94,"description":404,"tags":405,"thumbUrl":411,"material":258,"size":259,"collection":107,"collections":412,"showCount":382,"zanCount":11,"manualWeight":11,"mainColor":111},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","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」。",[23,406,28,27,31,407,408,7,409,410],"古画","竹子","草地","猫","粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b5900c3a3fda86d8ad4b7a8c7ca938.jpg",[],{"id":414,"slug":415,"title":416,"dynasty":162,"author":417,"museum":94,"description":418,"tags":419,"thumbUrl":421,"material":258,"size":259,"collection":107,"collections":422,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":111},290930,"zhang-fu-he-hua-shui-cheng-tu-san-ce-qian-gu-290930","张复合画水程图（三）册","钱毂","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[25,131,132,28,67,34,420,7,39,331,32,136],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d26269f7d5d1d5b773a5ebb8b10543.jpg",[],12,{"id":425,"slug":426,"title":427,"dynasty":162,"author":428,"museum":94,"description":429,"tags":430,"thumbUrl":432,"material":258,"size":259,"collection":107,"collections":433,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":56},288020,"hu-qiu-shan-tu-jing-xin-sun-zhi-288020","虎丘山图镜心","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[23,25,26,269,30,132,28,32,33,34,244,7,39,431,31],"山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f35e696980bb7bf3cd169dfe3be2dd.jpg",[],{"id":435,"slug":436,"title":207,"dynasty":18,"author":437,"museum":94,"description":438,"tags":439,"thumbUrl":443,"material":107,"size":107,"collection":107,"collections":444,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":111},235173,"shan-shui-ce-zhu-da-235173","朱耷","此作用笔极简枯淡，近景虬松孑立、枝干苍劲，旁侧矮松偃仰自适，坡石茅舍隐于淡墨浅痕之中，不着浓艳皴擦，尽得萧散之致。远景山峦以淡墨轻扫晕染，大片留白铺陈出水天渺茫，将天地空寂之意全然铺开。\n\n画作以虚代实，删繁就简，将满腔孤高幽寂寄寓在荒寒山景之中，淡远冷逸的意境里藏着遗世独立的沉郁心绪，寥寥数笔勾勒出天地间的清寥空阔，尽显空灵冷峭的独特意趣。",[25,132,440,79,131,67,328,441,331,442,7,136],"写意","孤石","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8494e46932a474e8df6edfda1c28c4b4.jpg",[],{"id":446,"slug":447,"title":448,"dynasty":18,"author":449,"museum":94,"description":450,"tags":451,"thumbUrl":455,"material":258,"size":259,"collection":107,"collections":456,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":111},236075,"hai-tian-chu-ri-tu-zhou-shen-quan-236075","海天初日图轴","沈全","沈全，江苏人。清末宫廷画家。以写仕女、花鸟著称。主要作品《韬养斋笔记、湖社月刊》。",[24,25,26,66,28,293,67,452,391,72,453,32,454,7,39],"初日","云雾","佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394c68e5371d1d18bade07de8bda33fd.jpg",[],{"id":458,"slug":459,"title":460,"dynasty":461,"author":93,"museum":63,"description":462,"tags":463,"thumbUrl":466,"material":296,"size":467,"collection":107,"collections":468,"showCount":469,"zanCount":11,"manualWeight":11,"mainColor":111},287581,"qing-shan-zhu-ge-zhou-yi-ming-287581","青山竹阁轴","元","元初书法总的情况是崇尚复古。文宗天历初建奎章阁，专掌秘玩古物。元文宗常幸奎章阁欣赏法书名画，书法一度出现兴盛局面。赵孟頫，鲜于枢等名家，是这时期书法的代表。他们主张书画同法，注重结字的体态。但元代书坛纯是继承晋唐，没有自己风格，稍后于赵孟頫的康里巎巎还有些变化，奇崛独出于元代书坛。纵观元代书法，其成就大者还在真行草书方面。至于篆隶，虽有几位名家，但并不怎么出色。这种以真、行、草书为主流的书法，发展到了清代才得到改变。有元一代书风，仍沿宋习盛于帖学，宗唐宗晋，虽各有其妙，亦不能以一家之法立于书坛。",[25,24,26,66,132,269,464,181,465,33,7,137,79],"青山","竹阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c3adc48962b9a348f961633ca44b36.jpg","71.9x28.4",[],9,{"id":471,"slug":472,"title":473,"dynasty":18,"author":474,"museum":475,"description":476,"tags":477,"thumbUrl":486,"material":107,"size":107,"collection":83,"collections":487,"showCount":488,"zanCount":11,"manualWeight":11,"mainColor":489},203458,"fang-gu-shan-shui-ce-lan-meng-203458","仿古山水册","蓝孟","上海博物馆","画面以淡墨皴染铺陈冬日山水，山峦覆雪如银，枯树虬枝缀霜，屋舍隐于林麓间，静谧悠然。近景小桥横溪，红衣行人策杖而行，点染出寒冬生机。笔墨苍劲秀润，山石用皴法显肌理，树木枝干中锋勾勒见骨力，留白衬雪意空灵。整体意境清寂悠远，承袭古意又含个人笔墨情致，将冬日山水的幽趣融于册页之中。",[23,131,132,28,478,79,67,33,479,441,480,211,481,69,332,7,482,483,484,485],"临摹","老树","雪景","枯枝","冬景","笔墨","点染","仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77df8ec4b2e964f0158c25d8a7390d34.jpg",[83],8,"9a9887",{"id":491,"slug":492,"title":493,"dynasty":176,"author":93,"museum":94,"description":494,"tags":495,"thumbUrl":499,"material":258,"size":259,"collection":107,"collections":500,"showCount":501,"zanCount":11,"manualWeight":11,"mainColor":56},290993,"xue-shan-xing-lv-zhou-yi-ming-290993","雪山行旅轴","寒山雪积，村肆沿溪而设，长桥跨岸，旅人、牛、马络绎於途，木筏顺流结集，一派赶集景致。远景幽壑，楼台掩映，寒鸦成阵，匝绕盤旋，通幅於热闹中不失雪天阴寒之气息。屋宇、舟车、拱桥，俱以界笔出之，线条略呈钉头鼠尾，有别於传统界画。近景人物，五官、表情历历可辨，愈远则愈简，屋宇、林木亦然，深合近大远小之理。",[24,25,26,66,67,132,79,496,33,34,31,32,7,39,497,137,498,136],"雪山","古道","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a1a1c8ecfaace4914cb159de8cc047a.jpg",[],7,{"id":503,"slug":504,"title":505,"dynasty":92,"author":358,"museum":94,"description":359,"tags":506,"thumbUrl":509,"material":258,"size":259,"collection":370,"collections":510,"showCount":501,"zanCount":11,"manualWeight":11,"mainColor":56},225856,"the-yellow-house-the-street-september-fan-gao-225856","The yellow house (The street) (September - )",[361,362,99,7,43,39,245,507,508],"城镇街景","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7f2c3a0db6cae4782be25f4bcbfcbf.jpg",[370],{"id":512,"slug":513,"title":514,"dynasty":162,"author":515,"museum":63,"description":516,"tags":517,"thumbUrl":520,"material":107,"size":521,"collection":107,"collections":522,"showCount":501,"zanCount":11,"manualWeight":11,"mainColor":111},222240,"shui-cheng-tu-qian-gu-zhang-fu-222240","水程图","钱谷 张复","钱谷，[明]（一五○八至？）一作（一五○八至一五七二）字叔宝，自号悬罄室，吴县（今江苏苏州）人。少孤贫，失学，迨壮始知读书。\n家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便学心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔於艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物字藏有万历六年（一五七八）客金陵王氏修行馆作兰竹卷，时年七十一。《冯元成集、肯史·文徵明传、列朝诗集小传、苏州府志、明画录、无声诗史、明史·艺文志》\n朱彝尊《列朝诗传》：钱谷字叔宝，少孤贫，游文侍诏门下，日取架上书读之。以其余力点染水墨，得沈氏之法。晚葺故庐，读书其中。闻有异书，虽病必强起，匍匐请观。手自抄写，几於充栋，穷日夜校勘，至老不衰。钱谷手抄之书，一丝不苟，为后来藏家所重。陆心源皕宋楼曾藏有钱氏抄本《会稽掇英集》，后有文震孟跋说：《会稽掇英集》皆集唐宋名贤时文，宇内流传绝少，是其早岁所抄，无一惰笔，乃从宋刻本而录者，为世珍重可知矣。钱谷家贫，故文徵明为题室名悬罄就是空无所有的意思。文震孟《姑苏名贤小记》：叔宝先生不为家，家逾贫。先太史过而题其室曰'悬罄'。先生笑曰：'吾志哉！'而其嗜读日益甚。收录古文金石书几数千卷。\n看到文徵明收藏的典籍罗列，顿生羡慕之心，遂有志于藏书。先后购求及手录古籍至几万卷，闻有异书，虽病必强起借观，手自抄写，校雠至子夜不辍。所录古文、金石书近万卷，皆为当时佳本秘籍。建藏书室有“悬罄室”，由文徵明为其命名并题写匾额。老屋三间，藏书充栋。所藏多人间罕见版本。刘凤作有《悬罄室集》。又命名多处藏书、藏画室名如“十友斋”、“意远轩”、“红木轩”、“梦雉斋”等。藏书印有“句吴逸民”、“三吴漫士”、“吴越王子孙”、“中吴钱氏收藏印”、“钱谷手抄”、“百计寻书志亦迂，爱护不异隋侯珠。有假不还遭神诛，子孙不宝真其愚”、“钱氏叔宝”、“悬罄室”等。喜刻书，刻印有唐、宋秘籍众多，数千卷近百种。编有《续吴都文粹》、《静观室三苏文选》等，著有《三国类抄》、《隐逸集》、《南北史摭言》、《长洲志》、《吴中人物志》、《悬罄室杂录》、《悬罄室诗》、《苏州三刺史诗》等。子钱允治，亦酷喜藏书。 [1]\n钱允治（1541~？），字功甫，好书一如其父。钱曾《读书敏求记》说：功甫老屋三间，藏书充栋。白曰检书，必秉烛，缘梯上下。所藏多人间罕见之本。《列朝诗传》则称：年八十余，隆冬病疡，映日钞书，薄暮不止。功甫殁，无子，其遗书皆散去。自是吴中文献无可访问，先辈读书种子绝矣。\n二、[清]字子璧，号内史，晚号东海逸民，华亭（今上海市松江）诸生。诗、画俱工绝。清朝以来，松江以书名者，则有钱谷、曹思邈、沈楫。钱、曹皆名宿，而结构精劲当钱第一。晚年名益重，求书者巵尝满。《三冈识略、江苏诗徽、画家知希录》\n三、[清]号龙泓，浙江萧山人。善山水，不拘於绳墨而气格自高，其疏纵处近学罗牧，深郁处远师黄吾野。《越画见闻》。\n四、清各州县官署名主办钱粮、赋税、会计的幕僚。俗称钱谷师爷，亦称钱粮师爷。\n张复[明]（一四0三至一四九0）道士。字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[25,132,131,67,70,518,7,519,244,39,442,30],"城镇","城楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fabe384c3582a29de017a39cc4327e.jpg","25.1x38.4公分厘米",[],{"id":524,"slug":525,"title":526,"dynasty":92,"author":358,"museum":94,"description":359,"tags":527,"thumbUrl":529,"material":258,"size":259,"collection":370,"collections":530,"showCount":531,"zanCount":11,"manualWeight":11,"mainColor":56},225835,"the-road-menders-1889-fan-gao-225835","The Road Menders 1889",[361,362,363,31,330,99,7,528,28],"户外劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14af2e3da34dd243d54bc2296d18211.jpg",[370],6,{"id":533,"slug":534,"title":223,"dynasty":18,"author":535,"museum":147,"description":536,"tags":537,"thumbUrl":542,"material":107,"size":543,"collection":107,"collections":544,"showCount":531,"zanCount":11,"manualWeight":11,"mainColor":111},223204,"geng-zhi-tu-ce-jiao-bing-zhen-223204","焦秉贞","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[25,24,538,28,29,31,539,7,442,540,137,541],"册页","乡村","农桑劳作","耕织题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dea0eb58f60875dc4553e87238315ca.jpg","34.7cm×27.7cm",[],{"id":546,"slug":547,"title":548,"dynasty":18,"author":93,"museum":94,"description":549,"tags":550,"thumbUrl":556,"material":258,"size":259,"collection":107,"collections":557,"showCount":558,"zanCount":189,"manualWeight":11,"mainColor":559},272897,"zi-tan-mu-bian-qian-ya-geng-zhi-tu-gua-ping-yi-ming-272897","紫檀木边嵌牙耕织图挂屏","此作以沉郁底色晕染出江南水村居停景致，以嵌牙工艺勾勒细节。近岸垂柳扶风，板桥轻衔水榭人家，屋舍窗棂分毫毕现；中层林木交映，霜色点染枝头，廊屋依水延展，尽显闲雅日常；远景峰巅留白如积雪，晕染出悠远静谧的山水意境。\n嵌牙工艺细腻入微，将枝叶脉络、屋宇架构雕琢精巧雅致，紫檀边框衬得画面愈发古隽沉静，将文人心中的田园闲趣凝于屏间，尽显工艺美学与山居诗意的融合之妙。",[551,552,553,554,28,30,32,33,39,7,555],"挂屏","木质","象牙","雕刻","耕织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c2d60cbb7a460b6e496af6bea1a873.jpg",[],5,"37474F",{"id":561,"slug":562,"title":563,"dynasty":18,"author":266,"museum":94,"description":564,"tags":565,"thumbUrl":568,"material":107,"size":107,"collection":107,"collections":569,"showCount":558,"zanCount":11,"manualWeight":11,"mainColor":111},238840,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238840","画归余纪典图册","这帧小卷以淡墨轻彩晕染出归闲雅境，浅赭晕开晓月清光，柔粉点染花枝，将春园暮色晕成温柔的底色。湖石瘦皱通透，与参差屋舍、疏林相映，檐角轻挑着晚空的静穆。\n\n三五雅人信步闲谈，衣袂轻扬，把仕退归来的松弛散逸揉入园中。留白处题字舒展，笔墨与景致相融无间，无重彩浓抹，只以清简笔触铺陈日常幽趣，将林下闲居的从容安恬藏在一草一檐里，满卷皆是江南园居的温婉意韵，尽写归余岁月的澹然闲情。",[25,28,29,30,31,32,441,566,567,479,7],"桃花","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0e03bc057a4ceaa3bdb7ac94fb69f4d.jpg",[],{"id":571,"slug":572,"title":573,"dynasty":574,"author":575,"museum":475,"description":576,"tags":577,"thumbUrl":10,"material":107,"size":107,"collection":83,"collections":578,"showCount":558,"zanCount":11,"manualWeight":11,"mainColor":579},203278,"jiu-lin-tu-zhou-qi-bai-shi-203278","旧邻图轴","近代","齐白石","墨韵流转间，山石以雄健笔触勾勒，皴擦兼施显朴拙风骨；近隅民居错落，黛瓦隐于浓荫，枝叶焦墨点染，鲜活如见。云雾轻萦山腰，与题跋行书的率意笔致相融，漫出乡居旧邻的温煦烟火气。齐白石以写意之法凝萃故园情味，笔墨简括却藏深韵，将对邻里故景的眷恋注于尺幅，平淡中见真淳，寻常景致亦成动人篇章。",[25,132,67,7,137,136,440,79,23],[83],"897f74",{"id":581,"slug":582,"title":583,"dynasty":92,"author":93,"museum":94,"description":584,"tags":585,"thumbUrl":592,"material":258,"size":259,"collection":107,"collections":593,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":111},288754,"samuel-wale-drawing-for-a-book-illustration-yi-ming-288754","Samuel Wale--Drawing for a book 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-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。",[25,132,67,131,33,34,7,31,137,654],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7297a0aee7987d8b37b4b29da02d73e3.jpg",[],{"id":658,"slug":659,"title":660,"dynasty":92,"author":661,"museum":94,"description":662,"tags":663,"thumbUrl":665,"material":258,"size":259,"collection":107,"collections":666,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":56},232117,"de-jia-59-de-jia-232117","德加59","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[361,363,365,664,7,39,364],"长椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad91b5ac91d5ac600474d04f674765b.jpg",[],{"id":668,"slug":669,"title":670,"dynasty":92,"author":93,"museum":94,"description":671,"tags":672,"thumbUrl":674,"material":258,"size":259,"collection":107,"collections":675,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":111},289547,"attributed-to-matthijs-cock-landscape-with-a-town-by-the-seashore-yi-ming-289547","Attributed to Matthijs Cock--Landscape with a Town by the Seashore","以棕褐线条晕开山海乡居图景，近坡荒草萋萋，几株古木虬曲苍劲，疏朗枝桠晕染山野意趣。坡下石桥横跨浅溪，矮屋簇拥钟楼漫出烟火暖意。\n视线铺展至中远景，滨海屋舍错落着融入山岚，海面扁舟轻泊，朦胧远山柔化了天地边界。笔触克制细腻，以极简线条铺陈层次，不着浓丽色彩，却将郊野渔村的松弛日常揉进阔远天地间，藏着古朴写实的质感，把山海乡野的静穆悠远晕在纸面，尽显古典风景绘作里含蓄温柔的自然意趣。",[363,586,67,518,673,39,33,7,69],"海岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadbf5e3a353af94ff6a0b1e0715beafd.jpg",[],{"id":677,"slug":678,"title":679,"dynasty":92,"author":93,"museum":94,"description":680,"tags":681,"thumbUrl":685,"material":258,"size":259,"collection":107,"collections":686,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":111},289514,"bartholomeus-breenbergh-view-of-an-italian-town-yi-ming-289514","Bartholomeus Breenbergh--View of an Italian Town","这幅画以棕褐墨色晕染出明暗层次，暖光铺洒在崖壁与石屋之上，将粗糙的岩石肌理与砖石棱角晕出柔和暖意，背光的峡谷与林木沉在浓郁的棕调阴影里，明暗拉扯出深邃纵深感。\n\n依山错落的屋舍顺着崖坡排布，峡谷间隐现细瀑流泉，野树虬曲扎根岩壁，荒蛮野趣与烟火聚落融为一体。随性的笔触精准抓住南欧山城的慵懒质感，仿佛能听见山风裹着溪水声漫过石墙，将松弛沉静的乡野氛围娓娓道来，藏着旧时光里山城独有的安然意韵。",[363,586,682,683,7,39,270,684],"山城","崖壁","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe3a2ef1108fe29ec6bd2a85a4334ea1.jpg",[],{"id":688,"slug":689,"title":690,"dynasty":92,"author":93,"museum":94,"description":691,"tags":692,"thumbUrl":696,"material":258,"size":259,"collection":107,"collections":697,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":111},289491,"bernardo-bellotto-padua-from-the-east-with-san-francesco-and-the-salone-yi-ming-289491","Bernardo Bellotto--Padua from the East, with San Francesco and the Salone","以松弛简练的钢笔线条铺展城郊全景，近坡的小人物与野趣植被开篇，晕开日常烟火气。错落的屋舍顺着地势铺陈，教堂尖顶利落刺破天际，撑起画面骨架。空阔的天际间，云絮以疏淡线条漫卷，留白处烘托出老城舒展松弛的氛围。\n\n没有繁复晕染，仅以线条疏密区分建筑体量与草木层次，将漫步途中偶遇的片刻风景随性定格，质朴留存下老城平缓慵懒的日常质感，带着随手速写的鲜活意趣，把宁静松弛的老城烟火藏进每一笔线条中。",[98,586,693,694,7,368,695,31,364],"城镇风景","宗教建筑","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9dd0608b18d1940cced02dd4d44b00.jpg",[],{"id":699,"slug":700,"title":701,"dynasty":92,"author":93,"museum":94,"description":702,"tags":703,"thumbUrl":710,"material":258,"size":259,"collection":107,"collections":711,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":111},289490,"bernardo-bellotto-san-simeone-piccolo-venice-seen-from-the-grand-canal-yi-ming-289490","Bernardo Bellotto--San Simeone Piccolo, Venice, Seen from the Grand Canal","以柔波运河铺展前景，细密线条勾勒出水纹漾动的质感，贡多拉穿梭其上，船夫与临河人物的动态鲜活细腻，晕开威尼斯日常松弛的烟火气。穹顶主建筑占据画面核心，古典柱廊与三角楣庄重规整，排线交织出石材的厚重肌理。两侧民居层叠错落，窗牖墙面的细节被细致捕捉，线条疏密张弛间，自然区分出光影层次。\n\n暖棕底色带着岁月沉淀的痕迹，将建筑的肃穆与水城的柔婉相融，以写实笔触定格下运河边的午后瞬间，既留存下城市场景的真实样貌，又带着手绘的灵动温度，尽显旧时光里水城独有的雅致与鲜活。",[586,704,705,706,707,708,709,7,35,31,694],"线描","西洋画","城市风景","水城","运河","教堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796c5611ffc14bf309c30eab25950a80.jpg",[],{"id":713,"slug":714,"title":715,"dynasty":92,"author":93,"museum":94,"description":716,"tags":717,"thumbUrl":723,"material":258,"size":259,"collection":107,"collections":724,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":111},289477,"canaletto-lagoon-capriccio-recto-architectural-scene-yi-ming-289477","Canaletto--Lagoon Capriccio (recto); Architectural Scene","这幅水彩以淡彩晕染铺就水泽氛围，右侧临水旧居爬满苍藤，斑驳钟楼孑然矗立，断壁残垣刻着岁月剥蚀的痕迹。左侧石桥横跨水面，坍塌古堡静立河畔，水面停泊木舟，船工、纤夫的身影点缀其间，将烟火气揉入荒颓景致。\n画家以精细线条勾勒建筑筋骨，淡墨晕开厚重云层，干湿水彩交织出水汽氤氲的朦胧质感。虚构的水泽秘境糅合水乡风貌，鲜活的日常剪影相伴废墟萧索，将逝去年华的寂寥藏进波光与残墙之间，在写实与幻梦里，铺陈开带着怅惘诗意的废墟美学。",[363,213,704,718,719,720,721,244,7,31,722],"石桥","塔楼","残垣","水岸","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73caa945399a303dbb04349290a8b6f4.jpg",[],{"id":726,"slug":727,"title":728,"dynasty":92,"author":93,"museum":94,"description":729,"tags":730,"thumbUrl":733,"material":258,"size":259,"collection":107,"collections":734,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":111},289280,"philips-koninck-river-landscape-with-a-man-standing-yi-ming-289280","Philips Koninck--River Landscape with a Man Standing","这幅风景画作以松弛晕染的笔触，铺陈出河畔乡野的日常图景。前景里临水搭建的糙顶棚屋静立浅岸，渔人垂身站在泊船边，身影凝定，将河畔的闲散氛围晕开。棕褐的泥岸蔓延向远方，水面映着天色漾开灰柔波纹，朦胧的林木错落分布，远处的村舍隐在轻雾般的色调里，消融在淡灰的天际下。\n\n整体色调沉柔质朴，泥土的暖棕与水色的冷灰相映，带着湿润的乡野气息，把郊野清晨或薄暮的慵懒静谧尽数封存，将平淡日常晕染出悠远的诗意，仿佛能听见河畔的风掠过林梢，漫着松弛治愈的乡野烟火气。",[361,731,70,732,7,39,31,539,722],"风景","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c42e73892391f4d69050503328aa94.jpg",[],{"id":736,"slug":737,"title":738,"dynasty":92,"author":93,"museum":94,"description":739,"tags":740,"thumbUrl":742,"material":258,"size":259,"collection":107,"collections":743,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":111},289234,"rembrandt-houses-by-the-water-yi-ming-289234","Rembrandt--Houses by the Water","这幅速写以松弛灵动的线条，晕染出临水村居的日常。没有繁复修饰，仅用简练顿挫的排线，勾勒出木屋的坡面肌理与错落轮廓，粗粝笔触暗合乡野建筑的质朴质感。水面只用寥寥线条轻扫倒影，与岸上屋舍形成虚实呼应。两个矮小结实的行人，为静谧画面添上烟火暖意，仿佛能听见水畔的闲谈与水波轻响。\n\n画作以最克制的笔触，将乡野水畔的松弛安宁定格，带着速写独有的鲜活随性，把水乡日常的恬淡氛围悄然留存，粗朴间藏着对平凡景致的细腻捕捉。",[586,741,363,7,70,732,31],"速写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d22f8908c9f19014f1cf5f08e84a5db.jpg",[],{"id":745,"slug":746,"title":747,"dynasty":92,"author":93,"museum":94,"description":748,"tags":749,"thumbUrl":753,"material":258,"size":259,"collection":107,"collections":754,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":111},288777,"remigio-cantagallina-a-view-of-a-village-with-figures-yi-ming-288777","Remigio Cantagallina--A View of a Village with Figures","以棕调蚀刻线条铺展乡野日常，苍劲古木虬枝舒展，撑开一方荫凉天地。石砌村舍带着粗糙的岁月肌理，错落依偎在林木旁。画中人物闲散鲜活，井台旁乡邻闲话小憩，田埂上有人照看牲畜，远处村人缓步穿行。排线疏密交织晕开温柔光影，将郊野午后的慵懒烟火气缓缓铺陈。没有浓墨重彩，只以细腻松弛的线条，把乡野日常的恬淡安然永远定格，藏着旧时光里悠然松弛的村居意趣。",[750,539,7,479,31,751,118,752],"版画","家犬","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3cb64f782b15d6234355ee87996fbe.jpg",[],{"id":756,"slug":757,"title":758,"dynasty":92,"author":93,"museum":94,"description":759,"tags":760,"thumbUrl":763,"material":258,"size":259,"collection":107,"collections":764,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":111},288775,"richard-wilson-house-of-pompey-at-albano-yi-ming-288775","Richard Wilson--House of Pompey at Albano","这幅速写以浅淡素描糅合晕染淡彩，以沉静灰调铺底，晕染出山城聚落的沧桑柔缓。房屋顺着缓坡错落铺陈，细腻排线勾勒出石墙的残破肌理，朦胧柔光漫过檐角与断壁，似是薄暮时分的朦胧天色晕开了边界。\n\n作者以克制笔触将荒颓古迹与寻常民居织为一处，没有浓烈着色，仅靠明暗层次沉淀岁月厚重，松弛的纪实感揉进每一处笔痕里，将地中海山城的慵懒沉静凝为永恒，引着观者沉进这方流淌缓慢的旧时光中。",[586,731,7,720,365,761,762],"废墟","写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61cf1a4f7e3fde3fce74f1dd0a034f5a.jpg",[],{"id":766,"slug":767,"title":768,"dynasty":92,"author":93,"museum":94,"description":769,"tags":770,"thumbUrl":775,"material":258,"size":259,"collection":107,"collections":776,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":56},288719,"vincent-van-gogh-nursery-on-schenkweg-yi-ming-288719","Vincent van Gogh--Nursery on Schenkweg","枯瘦秃树错落而立，细密笔触晕染出水泽边荒草的萧索蓬松。凝滞的水面晕开景物轮廓，将沉郁静谧揉进每一处线条里。远处屋舍隐在灰调暮色中，寒鸦斜掠长空，把空旷孤寂铺满城郊角落。克制的笔调裹藏着饱满情绪，将无人问津的城郊荒境，晕成带着清冷诗意的日常一隅，静诉着独处时的沉郁安然，让萧瑟荒芜也染上细腻温柔的氛围感。",[586,213,328,442,771,7,772,364,773,774,33],"池塘","荒草","萧瑟","秋冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5366e8d7509e05852b010c1108615378.jpg",[],{"id":778,"slug":779,"title":780,"dynasty":92,"author":93,"museum":94,"description":781,"tags":782,"thumbUrl":788,"material":258,"size":259,"collection":107,"collections":789,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":111},288608,"jonas-umbach-april-one-of-a-series-representing-yi-ming-288608","Jonas Umbach--April (one of a series representing","以红棕素描晕开春日暖意，前景里贵族男女悠然闲坐，侍从为女眷打理发丝，农妇静分拣作物，幼童在侧嬉闹，远景农夫驱牛耕作，田舍错落林梢抽芽。\n线条松弛灵动，将闲情雅致与乡野生机相融，一边是慵懒松弛的享乐日常，一边是勤恳质朴的田间劳作，动静交织铺陈出春日乡野的鲜活图景。笔触轻简却精准勾勒出人物神态，把春日郊野松弛的烟火气晕染开来，将乡野四月的恬淡意趣藏进每一处细节里，让春日乡居的鲜活日常跃然纸上。",[586,783,588,539,784,39,242,785,786,787,7],"风俗画","初春","农作","孩童","户外休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb901d16793ed62bfbfa1784835eaa3.jpg",[],{"id":791,"slug":792,"title":793,"dynasty":18,"author":794,"museum":795,"description":796,"tags":797,"thumbUrl":804,"material":132,"size":107,"collection":107,"collections":805,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":56},215640,"yu-zhi-geng-zhi-tu-10-kang-xi-215640","御制耕织图-10","康熙","哈佛艺术博物馆","左边织室里，女子们或理丝或专注劳作，窗棂间光影轻摇，器物的纹路、衣袂的褶皱皆以细腻线条勾勒，透着生活的温润；右侧场景中，农具倚墙而立，庭院草木扶疏，质朴墨线晕染出农事的平实。整幅画以工笔之精绘就耕织日常，将农桑并重的传统深植于每处细节——织机旁的凝神、田畔的静谧，都藏着对民生根本的体察。笔触间既有绘事的严谨，更有对人间烟火的温柔观照，让平凡劳作生出静穆生机，尽显农耕文明里的生活智慧与人文关怀。",[23,98,29,25,26,131,31,211,39,69,74,228,137,231,642,798,704,213,799,271,7,800,230,76,801,802,803,41],"题字","清代风格","自然景物","笔墨线条","生活场景","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d3e1b9c4436f1397b49dbfad26d2de.jpg",[],{"id":807,"slug":808,"title":809,"dynasty":18,"author":93,"museum":94,"description":810,"tags":811,"thumbUrl":814,"material":258,"size":259,"collection":107,"collections":815,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},260579,"wu-cai-shan-shui-ren-wu-tu-gang-yi-ming-260579","五彩山水人物图缸","通景铺展山水雅集之境，石青与草绿晕染丘林苍润，矾红点染花树晕开春日暖意。石桥之上二雅士凭栏闲观，衣袂悠然似在共赏春山。桥下碧波轻漾，水禽浮掠，远山含黛，村舍隐于林麓之间。\n\n釉色古厚匀净，设色明丽不失沉静，朴拙笔意勾勒出山野生机，将文人寄情山水的雅趣凝于瓷面，融山水画意境与瓷绘工艺于一体，尽显恬淡悠远的林下幽情。",[812,813,28,67,31,33,34,39,7],"陶瓷","五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0d416ee3876143360ab485d9f0035d4.jpg",[],1777535707822]