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味。",[23,7,24,51,25,26,27,102,198,199,200,201],"花卉","草虫","蝴蝶","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8031ffdafeef83437ebb80105be86b.jpg","32.5x333.5",[106],2504,32,{"id":208,"slug":209,"title":210,"dynasty":114,"author":211,"museum":212,"description":213,"tags":214,"thumbUrl":216,"material":217,"size":218,"collection":175,"collections":219,"showCount":220,"zanCount":221,"manualWeight":40,"mainColor":62},221371,"mo-zhang-xuan-guo-guo-fu-ren-you-chun-tu-juan-zhao-ji-221371","摹张萱虢国夫人游春图卷","赵佶","辽宁省博物馆","赵佶摹张萱《虢国夫人游春图》，中国北宋徽宗赵佶摹唐代仕女画画家张萱《虢国夫人游春图》。《虢国夫人游春图》是唐代中期仕女画的代表作品。此卷前隔水有金章宗(完颜璟)瘦金书“天水摹张萱虢国夫人游春图”题签。天水为赵姓的郡望，此处系指赵佶。卷后有明末清初书画家王铎题跋。此卷曾入金内府，“明昌”诸印玺俱全，又有宋时的官、私印记“台州市房务抵当库记”、“绍勋”及“封”字印等，还有明末王长垣、清初梁清标鉴藏印。",[23,7,24,51,25,154,27,26,28,215,74],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a50b9e37f23291bf8e102561059d66.jpg","绢本设色","纵51.8、横148厘米",[175,36,90],2369,28,{"id":223,"slug":224,"title":225,"dynasty":46,"author":97,"museum":151,"description":226,"tags":227,"thumbUrl":229,"material":230,"size":231,"collection":106,"collections":232,"showCount":233,"zanCount":206,"manualWeight":40,"mainColor":41},220970,"jiu-lan-tu-yun-shou-ping-220970","九兰图","此图又名《建兰图》。建兰，亦称秋兰。图绘兰花数枝，苍秀挺拔，布满画面，构图简洁，画法新颖别致，作者不用一点水墨，纯用赭石、白粉和略加花青点画，只见色痕，为没骨画中具有新意之作。从画末自题可知，该图表现了作者对澹贻堂主人“闽海”离后的怀念之情。",[23,24,7,51,27,102,228,118,74],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2849227d424582c35a1dde4e843e4fcc.jpg","绢本 设色","23.4cmx60.8cm",[106,90],2213,{"id":235,"slug":236,"title":237,"dynasty":114,"author":181,"museum":20,"description":238,"tags":239,"thumbUrl":249,"material":250,"size":251,"collection":175,"collections":252,"showCount":253,"zanCount":221,"manualWeight":40,"mainColor":254},221235,"hua-niao-chang-juan-yi-ming-221235","花鸟长卷","此作用笔精细柔婉，设色妍丽清润，将四季佳卉次第铺展：艳红牵牛绰约生姿，白牡丹雍容皎洁，紫藤垂缨如云似瀑，兰草疏朗清逸。草虫蛱蝶穿插其间，振翅的蝶、栖于花枝的蚱蜢，皆栩栩如生，满卷灵动生机。\n诗画合璧，题咏与花木相映成趣，尽显雅致意趣，细腻勾勒出草木的娇柔、虫羽的轻薄，藏着对天地生机的入微体察，尽显精工雅致的院体花鸟意韵，是隽永动人的佳作。",[23,7,24,51,25,27,26,102,240,103,241,242,243,244,245,246,200,247,248,74],"紫藤","月季","菊花","兰花","牵牛花","玉兰花","芙蓉","蜻蜓","虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b146e686f41f360c24bf527a36e3be4.jpg","纸本","26x163",[175,106,90],1899,"FF9800",{"id":256,"slug":257,"title":258,"dynasty":114,"author":259,"museum":260,"description":261,"tags":262,"thumbUrl":266,"material":267,"size":122,"collection":106,"collections":268,"showCount":269,"zanCount":189,"manualWeight":40,"mainColor":62},216206,"feng-hua-tu-zhao-chang-216206","蜂花图","赵昌","美国大都会艺术博物馆","蜂花图是赵昌的一幅画作，它来自宋朝（960年-1279年）。蜂花图是一幅绘画，它展示了一朵开放的花，周围有蜜蜂在采蜜。画中蜂花色彩明快，笔触流畅，富有装饰性。蜂花图被认为是赵昌的代表作之一。赵昌是一位著名的宋朝画家，他的作品通常以其精细的绘画技巧和生动的色彩著称。\n\n赵昌是宋朝时期的著名画家，他的蜂花图是他最著名的作品之一。赵昌以其精细的绘画技巧和生动的色彩著称，他的画作常常被认为是宋朝时期最优秀的画作之一。赵昌的蜂花图展示了一朵开放的花，周围有蜜蜂在采蜜，整幅画作充满了生机和活力。赵昌的蜂花图被认为是他的代表作之一，同时也是宋朝时期著名画作之一。",[7,24,51,25,26,27,102,263,264,265,241,74,118],"花","蜂","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421d5c743749140ca64622b04a9065c3.jpg","纸本,设色",[106],1789,{"id":271,"slug":272,"title":273,"dynasty":114,"author":274,"museum":20,"description":275,"tags":276,"thumbUrl":282,"material":283,"size":284,"collection":175,"collections":285,"showCount":287,"zanCount":288,"manualWeight":40,"mainColor":41},221509,"xi-shan-qing-yuan-tu-xia-gui-221509","溪山清远图","夏圭","《溪山清远图》描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地",[23,7,24,51,25,277,73,75,278,82,78,79,80,84,81,279,280,281],"水墨","山石","云雾","溪流","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[175,88,286],"水墨画精选",1772,19,{"id":290,"slug":291,"title":292,"dynasty":293,"author":294,"museum":151,"description":295,"tags":296,"thumbUrl":302,"material":156,"size":303,"collection":88,"collections":304,"showCount":305,"zanCount":160,"manualWeight":40,"mainColor":62},221795,"chun-shan-tu-juan-shang-qi-221795","春山图卷","元","商琦","署款“曹南商琦德符”。鉴藏印钤清乾隆、嘉庆、宣统诸帝玺，共计8方。\n此图是商琦唯一存世的署款之作。远景峰峦叠翠，烟笼雾罩；近景丛林杂树，着春染绿；远景、近景之间衬以沙碛古桥，更添空阔苍茫之势。图中所绘物象众多，展现了作者较为全面的技法和营势造型的能力。近景山石刻画细致，先以浓墨勾轮廓，然后以汁绿晕染石面，既显示出岩石的纹理结构，更洋溢出山川间的一派春意。远景群峰则以浓淡墨或花青晕染为主，浑莽一片的山峦为全画烘托出雄伟壮阔的气势。点景树木皆苍郁深秀，但表现笔法富于变化，其近树以干、湿笔双勾树干和树叶，画法工整，近似于南宋院体绘画风格；远树或以侧锋横点，或以中锋竖点，只具树貌不具树形。近树、远树虽形态各异，但却共同装点出万物勃发、遍山染翠的春之景象。这是一幅形式美与意韵美高度统一的山水佳作。\n著录于清内府《石渠宝笈初编》。\n此卷原藏清宫内府，宣统年流入民间，解放后归国家文物局所有，后由文物局拨交故宫博物院。1958年，经由故宫博物院修复专家重新揭裱，令它恢复了旧貌。",[23,24,7,51,25,27,73,75,297,298,82,279,281,299,300,301],"山","水","远峰","近坡","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548dc4fc12cf23b6dda3d1f9b39b1d44.jpg","纵39.6厘米，横214.5厘米",[88,90],1751,{"id":307,"slug":308,"title":309,"dynasty":114,"author":310,"museum":20,"description":311,"tags":312,"thumbUrl":316,"material":317,"size":318,"collection":122,"collections":319,"showCount":320,"zanCount":321,"manualWeight":40,"mainColor":62},287579,"xi-shan-xing-lv-tu-fan-kuan-287579","溪山行旅图","范宽","该图主体部分为巍峨高耸的山体，高山仰止，壮气夺人。山顶丛林茂盛，山谷深处一瀑如线，飞流百丈。山峰下巨岩突兀，林木挺直。画面前景溪水奔流，山径上一队运载货物的商旅缘溪行进，为幽静的山林增添了生气。",[7,24,51,52,277,73,75,278,79,313,314,315,215],"瀑布","古树","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414e846606ac903e66fdd1eda93147a0.jpg","未知","纵长206.3公分，横宽103.3公分",[],1669,13,{"id":323,"slug":324,"title":325,"dynasty":114,"author":165,"museum":166,"description":326,"tags":327,"thumbUrl":329,"material":34,"size":173,"collection":106,"collections":330,"showCount":331,"zanCount":332,"manualWeight":40,"mainColor":62},219012,"bai-he-tu-yi-mi-fei-219012","白鹤图(一)","画中仙鹤身姿卓然，长颈引向云端，喙尖轻启似欲鸣。白羽如霜，纹理细若鳞次；黑尾如墨，羽梢微扬带风致。修长鹤腿立于浅草间，与几丛翠竹叶相映成趣。右上角圆月朦胧，棕褐绢底衬得画面清寂雅致。笔墨间藏着文人的疏淡意趣，每一处细节都透着对自然生灵的细腻体察，仿佛能闻见竹林间的清风，看见月光下仙鹤独立的悠然之态，尽显古典绘画的空灵韵致。",[23,7,24,51,52,26,27,102,138,53,328],"月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75d2711fede74296897913b73c08612b.jpg",[106,90],1575,17,{"id":334,"slug":335,"title":336,"dynasty":46,"author":97,"museum":151,"description":337,"tags":338,"thumbUrl":341,"material":342,"size":343,"collection":106,"collections":344,"showCount":345,"zanCount":346,"manualWeight":40,"mainColor":41},220975,"shan-shui-hua-hui-tu-ce-mu-dan-yun-shou-ping-220975","山水花卉图册-牡丹","《山水花鸟图》是清代 创作的纸本设色画。\n\n每图各有 题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。\n\n每图各有乾隆皇帝题诗一首。\n\n鉴藏印有：“ 御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。\n\n“乙卯”为清康熙十四年（1675年），此作应为恽寿平4岁时作品。\n\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。\n\n全册为作者临仿宋、元、明诸家。\n\n山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。",[23,24,7,51,100,27,26,101,102,103,339,340,74],"叶子","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330e3e872b432c5d096fddbd7eafe407.jpg","纸本，设色","纵27.5厘米，横35.2厘米。",[106,90],1541,7,{"id":348,"slug":349,"title":350,"dynasty":114,"author":351,"museum":20,"description":352,"tags":353,"thumbUrl":356,"material":34,"size":357,"collection":175,"collections":358,"showCount":345,"zanCount":359,"manualWeight":40,"mainColor":41},216083,"qiu-kui-tu-li-shi-zhong-216083","秋葵图","李士忠","写秋葵一枝，工笔勾勒填彩，花瓣用粉细勾，叶用重绿，姿韵生动，重彩渲染，布局严谨。两朵开着的花与疏疏的叶子，充分表现出秋葵的神态，是南宋写生佳作。",[23,7,24,51,26,27,102,354,263,355,340],"秋葵","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e4f46a0ef378e801baa321bbe7168c.jpg","25x28cm",[175,106],10,{"id":361,"slug":362,"title":363,"dynasty":114,"author":364,"museum":365,"description":366,"tags":367,"thumbUrl":371,"material":250,"size":372,"collection":175,"collections":373,"showCount":374,"zanCount":375,"manualWeight":40,"mainColor":62},221457,"jiu-long-tu-juan-quan-juan-chen-rong-221457","九龙图卷全卷","陈容","波士顿美术馆","这样一个伴随着中国国运兴衰的图腾，艺术家们自然不会错过，从商周青铜器上的龙纹，到马王堆汉墓帛画，龙的形象始终跟随着中国历史的发展，而未有太大变化。画龙本身也成为了一个著名的典故既是“画龙点睛”。根据唐朝张彦远《历代名画记 张僧繇》记载：“张僧繇于金陵安乐寺画四龙于壁，不点睛。每曰：“点之即飞去。”人以为妄诞，固请点之。须臾，雷电破壁，二龙乘云腾去上天，二龙未点眼者皆在。\n可惜张僧繇并无任何作品流传下来，但在南宋，却有另一位画龙的天才与他的神品之作《九龙图》，惜世人知之甚少。\n陈容，这是位被历史埋没了的天才。\n关于他的生平只有寥寥数语，陈容（约1200年–1266年），字公储，号所翁，籍贯有福建长乐、福唐、临川（江西）三种记载。\n在他53岁知天命的年纪，方才考中进士，而后上任福建莆田担任太守，曾为国子监主薄、官至朝散大夫，即五品文官。目前流传下来的作品寥寥，现藏于广东省博物馆的《云龙图》，《五龙图卷》成为东京国立博物馆的镇馆之宝之一，而最为著名的《九龙图》，在民国时流失海外，藏于美国波士顿美术馆，可惜可叹。\n据传陈容的龙，大多是在酒醉的情况下创作而成，画至忘我时，泼墨做云，喷水做雾。然后摘下头上的头巾，沾上墨水信手涂抹，最后以渴笔描绘龙的身体。但这并不代表陈容仅仅是一个整天酒醉，两耳不闻窗外事的文人，在他的龙画中，寄托着他的家国情怀。",[23,7,24,51,25,277,118,74,368,369,370,279,298],"写意","渲染","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纵46.3厘米，横1096.4厘米",[175,106,286],1532,20,{"id":377,"slug":378,"title":379,"dynasty":18,"author":380,"museum":132,"description":381,"tags":382,"thumbUrl":385,"material":386,"size":387,"collection":175,"collections":388,"showCount":374,"zanCount":389,"manualWeight":40,"mainColor":62},221429,"mei-hua-cui-niao-tu-juan-xu-xi-221429","梅花翠鸟图卷","徐熙","圖繪梅花翠鳥，滿樹梅花開放，粉色的茶花間插其中，鳥兒立於枝頭嬉戲，原來冬天可以這麼美！徐熙，五代南唐畫家，金陵（今南京）人，一說鍾陵（今江西進賢）人。出身於「江南名族」。生於唐僖宗光啓年間，後在開寶末年（公元975）隨李後主歸宋，不久病故。一生未官，郭若虛稱他爲「江南處士」。沈括說他是「江南布衣」。其性情豪爽曠達，志節高邁，善畫花竹林木，蟬蝶草蟲，其妙與自然無異。後人將其與後蜀黃筌並稱爲「黃徐」，有「黃家富貴，徐熙野逸」之評，爲五代、宋初花鳥畫的兩大流派之代表。」\n宋代沈括形容徐熙畫「以墨筆爲之，殊草草，略施丹粉而已，神氣迥出，別有生動之意」(《夢溪筆談》)。宋代《德隅齋畫品》中著錄徐熙《鶴竹圖》，謂其畫竹「根幹節葉皆用濃墨粗筆，其間櫛比，略以青綠點拂，而其梢蕭然有拂雲之氣」。米芾又謂他畫花果有時用澄心堂紙，用絹則「其紋稍粗如布」。這種題材和畫法都表現他作爲江南處士的情懷和審美趣味，與妙在賦彩、細筆輕色的「黃家富貴」不同，﹝指黃筌與黃居寀父子﹞而形成另一種獨特風格，被宋人稱爲「徐熙野逸」。然而《圖畫見聞志》中記徐熙爲南唐宮廷所繪的「鋪殿花」、「裝堂花」，於「雙縑幅素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙」，「意在位置端莊，駢羅整肅，多不存生意自然之態」。這種富有裝飾性的繪畫，也構成了徐熙繪畫的另一風貌。",[23,7,24,51,25,26,27,102,383,84,384,263],"梅","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7029d7b97054b08ec5392ac417022c.jpg","絹本設色","33.8cm×236.2cm",[175,106,90],29,{"id":391,"slug":392,"title":393,"dynasty":114,"author":394,"museum":395,"description":396,"tags":397,"thumbUrl":400,"material":34,"size":401,"collection":175,"collections":402,"showCount":403,"zanCount":404,"manualWeight":40,"mainColor":62},218573,"lu-chi-zhuo-su-tu-wu-bing-218573","渌池擢素图","吴炳","私人收藏","吴炳，生卒年不详，南宋画家。毗陵武阳（今江苏常州）人。工画花鸟，写生折枝，妙夺造化，彩绘精致富丽。绍熙初（公元1131-1162年），宋光宗赵悼皇后李氏，赏识其画，授画院待诏，赐金带。。画风谨守院体，作品较多。画迹有《春池睡鸭》、《山茶鹁鸽》、《鸳鸯瑞莲》、《宝珠玉蝶》、《折枝绛桃》等二十六件，著录于《绘事备考》。传世作品有《出水芙蓉图》、《竹雀图》、《嘉禾草虫图》、《枇杷绣羽图》等。",[7,24,51,26,27,102,398,399,54],"荷花","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6610c8fae2457627a5a08640bf940f45.jpg","25.4×26cm",[175,106],1495,23,{"id":406,"slug":407,"title":408,"dynasty":46,"author":97,"museum":395,"description":409,"tags":410,"thumbUrl":413,"material":267,"size":122,"collection":122,"collections":414,"showCount":415,"zanCount":416,"manualWeight":40,"mainColor":41},214742,"hua-hui-ce-2-yun-shou-ping-214742","花卉册-2","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,7,24,51,102,100,101,27,411,412,198,265],"萱草","桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be5a0e030dc2534dcd967c594f0154e.jpg",[],1468,6,{"id":418,"slug":419,"title":420,"dynasty":114,"author":421,"museum":151,"description":422,"tags":423,"thumbUrl":439,"material":156,"size":440,"collection":122,"collections":441,"showCount":442,"zanCount":443,"manualWeight":40,"mainColor":62},232934,"qian-li-jiang-shan-tu-juan-wang-xi-meng-232934","千里江山图卷","王希孟","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,7,24,25,424,27,26,425,426,427,428,429,430,431,432,433,28,434,435,436,437,438],"青绿山水","山峦","江河","飞瀑","房舍","林木","渔村","水榭","长桥","渔舟","亭台","烟波","曲径","茅屋","游船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","纵51.5厘米，横1191.5厘米",[],1322,12,{"id":445,"slug":446,"title":447,"dynasty":114,"author":448,"museum":151,"description":449,"tags":450,"thumbUrl":452,"material":453,"size":454,"collection":175,"collections":455,"showCount":456,"zanCount":109,"manualWeight":40,"mainColor":62},221559,"pi-pa-shan-niao-tu-lin-chun-221559","枇杷山鸟图","林椿","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。\n《石渠宝笈三编》著录。",[23,7,24,51,26,27,100,102,451,84,74],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195499e5cd6dd07045004c96458c8a96.jpg","绢本 ，设色","纵26.9cm，横27.2cm",[175,106,90],1282,{"id":458,"slug":459,"title":309,"dynasty":114,"author":460,"museum":395,"description":461,"tags":462,"thumbUrl":463,"material":34,"size":122,"collection":88,"collections":464,"showCount":465,"zanCount":346,"manualWeight":40,"mainColor":62},218625,"xi-shan-xing-lv-tu-guo-xi-218625","郭熙","画面层峦叠嶂，主峰巍峨耸立，次峰拱卫环绕，尽显山川雄浑气势。山石以卷云皴法勾勒，纹理如波似浪，赋予山体灵动质感，仿佛云气在岩间流转。山间路径蜿蜒，行旅队伍缓缓前行，或挑担或驱马，于溪畔林间留下鲜活身影。溪流潺潺，树木葱茏，屋舍点缀其间，既有自然野趣，又含人文暖意。笔墨刚劲中见细腻，墨色层次丰富，高远、深远、平远三远之法交织，使画面空间错落有致。观者仿佛可登山远眺层林尽染，可沿溪漫步听水声潺潺，于山水间体悟静谧与生机的交融，感受那份穿越时光的艺术魅力。",[7,24,51,25,27,73,277,75,278,82,79,80,28,315,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9968fd31d72f248e2d7e1d780f9d2aa4.jpg",[88],1280,{"id":467,"slug":468,"title":469,"dynasty":114,"author":364,"museum":132,"description":470,"tags":471,"thumbUrl":475,"material":121,"size":476,"collection":175,"collections":477,"showCount":478,"zanCount":346,"manualWeight":40,"mainColor":479},218607,"long-tu-chen-rong-218607","龙图","画面中龙的身形矫健盘绕，怒目圆睁，龙须飞扬，利爪遒劲，似欲破壁而出。水墨晕染间，云雾翻腾如墨浪奔涌，海浪卷动若白练横江，虚实相生中尽显龙的雄奇与威严。陈容以豪放笔法勾勒龙身鳞片，兼用泼墨与细描，浓淡干湿变化丰富，将龙的灵动与力量凝于绢素。整幅画作气韵生动，既存宋画的精工，又具文人画的写意豪情，把龙的神髓刻画得入木三分，为后世画龙范式立下标杆，尽显南宋绘画的艺术张力。",[24,7,51,52,277,73,370,472,473,474,298],"兽","云","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9c956b8342baede8049fcb2307ef8f.jpg","103x64",[175],1255,"37474F",{"id":481,"slug":482,"title":483,"dynasty":46,"author":97,"museum":395,"description":409,"tags":484,"thumbUrl":486,"material":267,"size":122,"collection":122,"collections":487,"showCount":488,"zanCount":489,"manualWeight":40,"mainColor":41},214734,"hua-hui-ce-6-yun-shou-ping-214734","花卉册-6",[23,24,51,7,100,101,27,102,198,201,26,485,277],"草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6add9c0b73e67c0dfd0de7e7d098a1.jpg",[],1228,5,{"id":491,"slug":492,"title":493,"dynasty":46,"author":494,"museum":151,"description":495,"tags":496,"thumbUrl":500,"material":250,"size":122,"collection":88,"collections":501,"showCount":502,"zanCount":416,"manualWeight":40,"mainColor":41},214363,"xian-shan-lou-ge-tu-wang-shi-min-214363","仙山楼阁图","王时敏","王时敏（1722-1798）是清代著名的画家，他的作品《仙山楼阁图》是其代表作之一。\n\n《仙山楼阁图》描绘了一座仙山上的楼阁，周围是美丽的山林。王时敏在画中运用了精细的笔墨和细腻的造型，勾勒出楼阁的立体感和山林的秀美。\n\n《仙山楼阁图》被认为是王时敏写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仙山楼阁图》也是收藏家们青睐的经典之作。\n\n王时敏的《仙山楼阁图》是一幅描绘仙山楼阁的画作，它体现了中国传统文化中“仙山”的理念。在中国传统文化中，仙山象征着仙人悠闲的生活方式和高尚的品德，楼阁则是仙人的居所。王时敏的《仙山楼阁图》不仅是一幅精美的画作，更是一首关于仙人悠闲生活的诗篇。",[23,7,24,277,497,52,498,77,499,82,280,368],"山水画","仙山","山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c70b5945091899c430b0a87afa1fa91.jpg",[88],1186,{"id":504,"slug":505,"title":506,"dynasty":46,"author":97,"museum":507,"description":508,"tags":509,"thumbUrl":516,"material":34,"size":517,"collection":106,"collections":518,"showCount":519,"zanCount":416,"manualWeight":40,"mainColor":62},216110,"yun-shou-ping-hua-guo-shu-cai-ce-ye-yun-shou-ping-216110","恽寿平花果蔬菜册页","天津博物馆","恽寿平花果蔬菜册页一共六开，绢本设色，以没骨写意画法依次描写了丝瓜、竹笋、竹子、葡萄、茄子、扁豆、白菜、芋头等日常蔬果，笔致灵动、色调雅致清新，描写入微，蔬果的叶尖、芽尖也刻画细致生动，尽显淡然天真之气，是恽寿平晚年描绘蔬果的没骨精品。 此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[7,24,51,100,510,277,27,102,511,512,513,514,339,515],"白描","蔬菜","花果","丝瓜","藤蔓","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ff8d0ecdcd63604674ff7f8ad8ac1b.jpg","26.1x19.9cm",[106],1136,{"id":521,"slug":522,"title":523,"dynasty":46,"author":97,"museum":395,"description":409,"tags":524,"thumbUrl":527,"material":267,"size":122,"collection":122,"collections":528,"showCount":529,"zanCount":530,"manualWeight":40,"mainColor":41},214736,"hua-hui-ce-5-yun-shou-ping-214736","花卉册-5",[23,24,51,100,101,27,198,103,76,525,526,7],"丁香","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8c1fc721132cfdc39d78db2f67e138.jpg",[],1106,4,{"id":532,"slug":533,"title":534,"dynasty":293,"author":181,"museum":151,"description":535,"tags":536,"thumbUrl":537,"material":121,"size":538,"collection":106,"collections":539,"showCount":540,"zanCount":541,"manualWeight":40,"mainColor":62},214260,"zhu-shi-tu-yi-ming-214260","竹石图","竹石图是一幅作者不详的元代画作。这幅画作描绘了竹林和石山的景象。\n\n在这幅画作中，画家巧妙地捕捉了竹林和石山的自然韵味。他用浓墨重彩的画法，勾勒出了竹林和石山的景象。他还用细腻的线条勾勒出了竹林和石山的细节，让人感受到了竹林和石山的自然韵味。\n\n此外，画家在这幅画作中还描绘了竹林和石山周围的景色。他用色彩丰富的画法，描绘了竹林和石山周围的山川和河流。这些景色与竹林和石山的自然韵味形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。",[23,24,7,51,52,277,53,56,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08730665024372a850d7031f0ea9663b.jpg","138x79",[106],1055,2,{"id":543,"slug":544,"title":545,"dynasty":46,"author":97,"museum":195,"description":546,"tags":547,"thumbUrl":548,"material":267,"size":549,"collection":122,"collections":550,"showCount":551,"zanCount":416,"manualWeight":40,"mainColor":41},214706,"chun-hua-tu-ba-kai-6-yun-shou-ping-214706","春花图八开-6","恽寿平画了八种春天的花，包括桃花、牵牛花、牡丹、绣球、萱草、月季、樱花和鸢尾花。这幅画是在他晚年的时候画的，当时他五十三岁，虽是没骨而近乎写意，用笔已是纯青。",[23,24,51,7,100,101,27,102,263,355,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a989ce46045ab5e8868995eea818ba.jpg","26.3x35.7",[],1054,{"id":553,"slug":554,"title":555,"dynasty":114,"author":556,"museum":48,"description":557,"tags":558,"thumbUrl":561,"material":121,"size":562,"collection":36,"collections":563,"showCount":564,"zanCount":565,"manualWeight":40,"mainColor":62},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","李唐","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[23,7,24,51,25,277,27,73,75,28,77,78,79,82,81,83,559,560],"房屋","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","34.6x566.4",[36],1013,9,{"id":567,"slug":568,"title":569,"dynasty":46,"author":97,"museum":570,"description":571,"tags":572,"thumbUrl":574,"material":575,"size":576,"collection":106,"collections":577,"showCount":578,"zanCount":332,"manualWeight":40,"mainColor":41},220996,"hua-hui-tu-ce-li-hua-yun-shou-ping-220996","花卉图册·梨花","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[23,24,51,7,100,101,27,102,573,265,74],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ced6b3440393ea70433c90398c4a22.jpg","纸本 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lections":701,"showCount":702,"zanCount":703,"manualWeight":40,"mainColor":62},222322,"song-he-yan-nian-tu-tong-kai-222322","松鹤延年图","童垲","安徽省博物馆","此幅《松鹤延年图》寓意大吉，特别符合中国人对于吉祥、长寿的美好祈盼。画面中古树苍翠，松树蜿蜒摇曳；两只丹顶鹤身形高挑飘逸，如仙境来客一般；松树下开满吉祥的花朵，一派吉祥和谐的画意盎然纸上。",[23,24,51,7,52,26,27,102,697,138,278,198],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b8b639eb9444922ba6b202fd5837fa.jpg","绢本，设色画","97.2CM*201.8",[88,90],884,8,{"id":705,"slug":706,"title":707,"dynasty":114,"author":181,"museum":20,"description":708,"tags":709,"thumbUrl":712,"material":34,"size":713,"collection":175,"collections":714,"showCount":715,"zanCount":716,"manualWeight":40,"mainColor":62},218717,"xin-shao-hua-niao-tu-yi-ming-218717","新韶花鸟图","画中山茶花、梅花、菊花和水仙花围绕着海石盛开，各种植物和叶子交相辉映，一对麻雀在一旁观望，画面十分丰富。除了画底没有鸟之外，这幅作品的构图和表达方式与宋代李迪的《花鸟图》和南唐徐熙的《玉堂富贵图》相似。宋代郭若虚的《图说》中提到，南唐时有一种用于悬挂在宫殿中的 亭花，这可能是后来明代的仿制品。",[23,7,24,51,52,26,27,102,198,710,278,711,515,384],"禽鸟","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9",[175],864,21,{"id":718,"slug":719,"title":720,"dynasty":114,"author":721,"museum":132,"description":722,"tags":723,"thumbUrl":724,"material":611,"size":725,"collection":175,"collections":726,"showCount":727,"zanCount":565,"manualWeight":40,"mainColor":62},221182,"mei-zhu-tu-ye-ma-lin-221182","梅竹图页","马麟","绿竹丛中逶迤伸出白梅两枝，清丽冷艳",[23,7,24,51,100,26,27,102,383,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d26a148f7c6e0c7598c67b7543456d8.jpg","纵26厘米，横26.5厘米",[175,106,90],851,{"id":729,"slug":730,"title":731,"dynasty":114,"author":259,"museum":20,"description":732,"tags":733,"thumbUrl":735,"material":736,"size":737,"collection":175,"collections":738,"showCount":739,"zanCount":321,"manualWeight":40,"mainColor":62},221299,"sui-chao-tu-zhao-chang-221299","岁朝图","与过年有关的节令画在古代多称之为“岁朝图”，大致兴起于宋代，徽宗时期宫廷绘画艺术得到了空前的发展。《岁朝图》的本质就是高级年画。所谓“岁朝”是一年之初的文艺叫法。历来的文人皇帝很喜欢用这样的画往来友人赏赐臣下，恭贺新禧。",[23,7,24,51,52,27,26,102,198,734,731],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda10c5d8b72f237927104c275194e0a4.jpg","绢","103.8×51.2cm",[175,106,90],830,{"id":741,"slug":742,"title":743,"dynasty":114,"author":421,"museum":151,"description":422,"tags":744,"thumbUrl":439,"material":156,"size":440,"collection":175,"collections":747,"showCount":748,"zanCount":359,"manualWeight":40,"mainColor":62},221382,"qian-li-jiang-shan-tu-wang-xi-meng-221382","千里江山图",[23,24,7,51,25,72,27,26,73,75,425,663,78,82,434,745,279,746],"舟船","植被",[175,36,90],809,{"id":750,"slug":751,"title":752,"dynasty":67,"author":68,"museum":151,"description":753,"tags":754,"thumbUrl":758,"material":156,"size":759,"collection":36,"collections":760,"showCount":761,"zanCount":416,"manualWeight":40,"mainColor":41},222194,"ren-wu-gu-shi-tu-gui-fei-xiao-zhuang-chou-ying-222194","人物故事图-贵妃晓妆","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。",[23,24,7,51,26,27,28,29,77,82,755,756,84,198,757,30],"栏杆","台阶","器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6305566e747339ff404852138f61f051.jpg","每开纵41.4厘米，横33.8厘米",[36,90],808,{"id":763,"slug":764,"title":765,"dynasty":114,"author":181,"museum":195,"description":766,"tags":767,"thumbUrl":769,"material":34,"size":770,"collection":175,"collections":771,"showCount":772,"zanCount":703,"manualWeight":40,"mainColor":62},218560,"ye-he-hua-tu-yi-ming-218560","夜合花图","画的是一枝两朵夜来香花，右枝花含苞待放，左枝花半开半合，洁白如玉，气质高雅。花朵被轻轻地勾勒和上色，用白色粉末点缀花蕊，用少量浅色墨水给拖曳的花朵上色。绿叶前后间隔，白花绿叶，色彩淡雅，让人赏心悦目。",[7,24,51,768,27,26,102,263,339,74],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6405700bb70527a1c1a9640d967df709.jpg","23.9x25.4",[175,106],804,{"id":774,"slug":775,"title":776,"dynasty":114,"author":777,"museum":20,"description":778,"tags":779,"thumbUrl":780,"material":666,"size":781,"collection":123,"collections":782,"showCount":783,"zanCount":359,"manualWeight":40,"mainColor":41},214696,"huang-zhou-han-shi-tie-su-shi-214696","黄州寒食帖","苏轼","关于黄州寒食的诗写于1082年，这本书肯定是在这个日期之后写的。在这首诗中，东坡自己的悲伤和感慨之情溢于言表，行与行之间的节奏变化也随着文本的各种情绪波动而变化。在这卷书法中，字的大小是结合在一起的，如 年、中、苇、纸 等字，最后一笔直下，形成长竖，在线条的设计和线条的气韵上，以及整个篇章上，形成了特殊的行间白。苏东坡是宋代商彝书风的代表人物之一。黄庭坚在1100年农历九月前为此卷写了一篇后记，字的大小比东坡的寒食诗要大。",[7,51,118,119,25,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7723c13ef48428ea30b7065ed74c254.jpg","34.2x199.5",[123],803,{"id":785,"slug":786,"title":787,"dynasty":114,"author":788,"museum":570,"description":789,"tags":790,"thumbUrl":791,"material":611,"size":792,"collection":175,"collections":793,"showCount":794,"zanCount":565,"manualWeight":40,"mainColor":62},221412,"qing-luan-xiao-si-tu-li-cheng-221412","晴峦萧寺图","李成","《晴峦萧寺图》是北宋画家 创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。\n画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[23,24,7,75,277,73,52,77,78,79,313,647,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","纵111.4厘米，横56厘米",[175,88,286],792,{"id":796,"slug":797,"title":798,"dynasty":114,"author":259,"museum":20,"description":799,"tags":800,"thumbUrl":801,"material":267,"size":802,"collection":106,"collections":803,"showCount":804,"zanCount":703,"manualWeight":40,"mainColor":62},214815,"hua-niao-tu-zhao-chang-214815","花鸟图","这幅以元明风格绘制的水墨花卉画",[7,24,26,27,384,263,265,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111da4cdbebe9fd7bbaf5fcd9d2e5a34.jpg","45.8x29.5",[106],789,{"id":806,"slug":807,"title":808,"dynasty":46,"author":809,"museum":195,"description":810,"tags":811,"thumbUrl":813,"material":34,"size":810,"collection":106,"collections":814,"showCount":815,"zanCount":346,"manualWeight":40,"mainColor":41},218893,"fu-rong-bai-mao-tu-zhou-ren-yi-218893","芙蓉白猫图轴","任颐","纵134.2厘米，横47.8厘米",[23,24,7,51,52,26,27,102,246,812,56],"猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ad6bc3e192fef53d9ce6256744d731.jpg",[106],755,{"id":817,"slug":818,"title":819,"dynasty":46,"author":97,"museum":20,"description":820,"tags":821,"thumbUrl":822,"material":283,"size":823,"collection":106,"collections":824,"showCount":825,"zanCount":346,"manualWeight":40,"mainColor":41},220978,"hua-hui-shan-shui-he-ce-yun-shou-ping-220978","花卉山水合册","恽寿平传世作品极多，主要有《红梅山茶图》《桃花图》《 三友图》《林居高士图》等，笔墨润秀，神完气足。其没骨花卉画柔美秀雅，开创了一代新风，时人争相仿效。\n王翚有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》、《芳洲图》（常熟博物馆藏）等传世。着有《清晖画跋》。",[23,24,51,7,27,101,102,198,100,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d394a60f3fe31f74cc2a4529d753ab.jpg","43x29厘米",[106,90],750,{"id":827,"slug":828,"title":829,"dynasty":67,"author":830,"museum":151,"description":831,"tags":832,"thumbUrl":833,"material":834,"size":835,"collection":122,"collections":836,"showCount":837,"zanCount":489,"manualWeight":40,"mainColor":41},222235,"shui-mo-mu-dan-tu-zhou-xu-wei-222235","水墨牡丹图轴","徐渭","本幅自识：“四月九日，萧伯子觞吾辈于新复之兰亭，时费先生显父至自铅山，李兄子遂父至自建阳，并有作。余勉构一首，书小染似伯子。命驾皆千里，流觞复九回。马嘶不出谷，鸟影屡横杯。分水邻封会，双珠明月胎。今朝修褉地，益见永和才。天池中漱者渭。铅建两道，首尾相接，共分水一关，故颈联云。”钤：“文长氏”（白文）、“天池漱仙”（白文）、“青藤道士”（白文）印。鉴藏印：“苏士伯安珍藏”（朱文）、“正气斋鉴赏印”（白文）。\n牡丹是徐渭最喜欢画的花卉之一。徐渭的大笔写意牡丹前无古人。他不用色彩，仅以泼墨为之，无论花头及叶皆大笔点染而成，仅枝茎及叶脉用线条画出。此作牡丹花头用蘸墨法点花瓣，花瓣内端深外端浅，花头中部浅周边深。花头点成后，趁湿用重墨点花蕊。整幅作品无论布局、笔墨，均泼辣豪放，气势逼人，立意鲜明，水墨润泽，极有生意。虽是水墨画成，却有富贵庄严之相，属徐渭代表作之一。",[23,24,7,51,52,277,102,103,339,118,74,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1c40badc99d0d04f50672ffd7e4ff6.jpg","纸本，墨笔","纵109.2厘米，横33厘米",[],704,{"id":839,"slug":840,"title":841,"dynasty":46,"author":97,"museum":195,"description":842,"tags":843,"thumbUrl":844,"material":845,"size":846,"collection":106,"collections":847,"showCount":837,"zanCount":489,"manualWeight":40,"mainColor":41},219822,"hua-hui-shi-kai-yun-shou-ping-219822","花卉十开","此作以没骨法写就牡丹，不用墨线勾勒轮廓，纯以色彩晕染塑形。两朵粉牡丹或侧或正，花瓣由淡粉渐次过渡至胭红，层层叠叠，柔润舒展，仿佛凝着朝露尽显娇妍。叶片以深浅绿意晕染，脉络隐现，俯仰生姿，枝叶错落相依，衬得花头愈发雍容秀雅。\n\n整体设色清和柔润，褪去牡丹常有的艳俗，只留清雅端方的韵致，将春日盛放的花姿凝于绢上，带着恬淡平和的意趣，把草木的生机与温婉雅致尽数藏于笔墨晕染之间，淡而不薄，丽而不妖，尽显一花一叶的灵动情致。",[7,24,51,100,27,102,103,101,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee6f10f9ed98e171597fc55f333a01f8.jpg","设色,绢本","20.4×29.2厘米",[106],{"id":849,"slug":850,"title":851,"dynasty":46,"author":852,"museum":212,"description":853,"tags":854,"thumbUrl":869,"material":870,"size":871,"collection":36,"collections":872,"showCount":873,"zanCount":359,"manualWeight":40,"mainColor":62},222820,"gu-su-fan-hua-tu-xu-yang-222820","姑苏繁华图","徐扬","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[23,7,24,51,25,27,26,855,28,77,78,79,856,857,858,859,82,860,861,862,863,864,865,866,867,868],"界画","船只","街市","商铺","河道","市井","建筑","码头","行人","货船","民居","车船","茶馆","酒肆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61ae38c127eaa89b842ad3f8d842d7a.jpg","设色 纸本","全长1225厘米，宽35.8厘米",[36,90],696,{"id":875,"slug":876,"title":877,"dynasty":114,"author":878,"museum":395,"description":879,"tags":880,"thumbUrl":881,"material":34,"size":122,"collection":106,"collections":882,"showCount":873,"zanCount":11,"manualWeight":40,"mainColor":62},218621,"han-jiang-du-diao-tu-ma-yuan-218621","寒江独钓图","马远","寒江浩渺，孤舟一叶浮于烟波间。渔翁披蓑戴笠，垂纶独钓，孑然身影似与天地融为一体。近景枯树虬枝如铁，劲挺笔触勾勒出冬日萧瑟；山石以斧劈皴皴擦，棱角分明，冷峻刚硬，与江面空濛形成鲜明对照。画面大片留白，若皑皑白雪覆江天，又似寒雾弥漫四野，将“空”与“寂”推至极致。寥寥数笔，于极简中藏丰盈，孤寂里见超脱。水墨留白之妙尽显，观者于冷寂意境中，可感那份遗世独立的悠然旷达，仿佛听见寒江之上的风，拂过枯枝，掠过孤舟，漾开一圈圈清寂的涟漪。",[23,24,7,52,277,73,75,80,661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2e94c6e14b8cb3f8a3e897c8b3b89c.jpg",[106],{"id":884,"slug":885,"title":886,"dynasty":293,"author":887,"museum":395,"description":888,"tags":889,"thumbUrl":891,"material":34,"size":892,"collection":106,"collections":893,"showCount":894,"zanCount":639,"manualWeight":40,"mainColor":62},218979,"xi-yuan-chun-se-tu-liu-guan-dao-218979","西园春色图","刘贯道","蛱蝶蹁跹于花草丛中，翅羽斑斓如霞，或振翅欲飞，或停驻吮香，姿态灵动鲜活。草叶舒展，花蕊微绽，淡彩晕染出春日的柔媚生机。旁侧书法笔墨流转，行草相间，墨色浓淡相宜，与工致的花鸟相映成趣。书画交织处，既有自然野趣的鲜活，又有文人笔墨的雅致，仿佛能闻春风里的花香，听纸间墨韵的轻响。整体气息清逸，将西园春日的盎然生机与文人雅兴融于一卷，尽显古典艺术的和谐之美。",[7,24,51,25,26,27,102,200,398,890,198,248,119,118,74],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec39f61ffab9b2bf23461034a8902f3b.jpg","23x137cm",[106],694,{"id":896,"slug":897,"title":898,"dynasty":67,"author":899,"museum":20,"description":900,"tags":901,"thumbUrl":906,"material":317,"size":907,"collection":36,"collections":908,"showCount":909,"zanCount":489,"manualWeight":40,"mainColor":62},290847,"han-xi-zai-ye-yan-tu-zhou-tang-yin-290847","韩熙载夜宴图轴","唐寅","作品如实地再现了南唐大臣韩熙载夜宴宾客的历史情景，细致地描绘了宴会上弹丝吹竹、清歌艳舞、主客揉杂、调笑欢乐的热闹场面，又深入地刻划了主人公超脱不羁、沉郁寡欢的复杂性格。全图共分为五个段落，首段“听乐”，韩熙载与状元郎粲坐床榻上，正倾听教坊副使李家明之妹弹琵琶，旁坐其兄，在场听乐宾客还有紫微朱铣、太常博士陈致雍、门生舒雅、家伎王屋山诸人；二段“观舞”，众人正在观看王屋山跳“六幺舞”，韩熙载亲擂“羯鼓”助兴，好友德明和尚不期而遇此景，尴尬地拱手背立；三段“暂歇”，韩熙载与家伎们坐床上休息，韩正在净手；四段“清吹”，韩熙载解衣盘坐椅上，欣赏着五个歌女合奏；五段“散宴”，韩氏手持鼓槌送别，尚有客人在与女伎调笑。全卷以连环画的形式表现各个情节，每段以屏风隔扇加以分隔，又巧妙地相互联结，场景显得统一完整。布局有起有伏，情节有张有弛，尤其人物神态刻画栩栩如生，如“听乐”段状元郎粲的倾身细听动姿、李家明关注其妹的亲切目光、他人不由自主的合手和拍；“观舞”段王屋山娇小玲珑的身姿、德明和尚背身合掌低首而立的尴尬状等等，传尽心曲，入木三分。最出色的还是主人公韩熙载的刻画，长髯、高帽的外形与文献记载均相吻合，举止、表情更显露出他复杂的内心。一方面，他在宴会上与宾客觥筹交错，不拘小节，如亲自击鼓为王屋山伴奏，敞胸露怀听女乐合奏，送别时任客人与家伎厮混，充分反映了他狂放不羁、纵情声色的处世态度和生活追求；另一方面又心不在焉、满怀忧郁，如擂鼓时双目凝视、面不露笑，听清吹时漫不经心，与对面侍女闲谈，这些情绪都揭示了他晚年失意、以酒色自汙的心态。画家塑造的韩熙载，不仅形象逼肖，具肖像画性质，而且对其内心挖掘深刻，性格立体化，可以说真实再现了这位历史人物的原貌。\n作品的艺术水平也相当高超。造型准确精微，线条工细流畅，色彩绚丽清雅。不同物象的笔墨运用又富有变化，尤其敷色更见丰富、和谐，仕女的素妆艳服与男宾的青黑色衣衫形成鲜明对照。几案坐榻等深黑色家具沉厚古雅，仕女裙衫、帘幕、帐幔、枕席上的图案又绚烂多采。不同色彩对比参差，交相辉映，使整体色调艳而不俗，绚中出素，呈现出高雅、素馨的格调。",[24,7,52,27,26,28,902,903,904,905,31,560,84,82,74,118],"宴饮","夜宴","仕女","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5764fa2f3d6a90547aede86322e61e.jpg","Xcm*Xcm",[36],691,{"id":911,"slug":912,"title":913,"dynasty":914,"author":915,"museum":151,"description":916,"tags":917,"thumbUrl":918,"material":317,"size":919,"collection":122,"collections":920,"showCount":909,"zanCount":688,"manualWeight":40,"mainColor":62},288294,"you-chun-tu-zhan-zi-qian-288294","游春图","隋","展子虔","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[7,24,51,72,27,75,28,76,79,315,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7523abe5a9b1378dd5dd5ceda1a3ea.jpg","43×80.5cm",[],{"id":922,"slug":923,"title":924,"dynasty":18,"author":380,"museum":20,"description":925,"tags":926,"thumbUrl":927,"material":611,"size":928,"collection":175,"collections":929,"showCount":930,"zanCount":489,"manualWeight":40,"mainColor":62},221430,"mu-dan-hua-hui-tu-ye-xu-xi-221430","牡丹花卉图页","五代當時名家輩出：花鳥畫之黃筌、徐熙，前後輝映，造就了五代. 的光芒。，他想買下，無奈錢不夠，因此而與丈夫趙明誠雙雙",[23,7,24,51,100,27,102,103,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4545b75f5270a81a2bbe98ab5c0643.jpg","41×33",[175,106,90],683,{"id":932,"slug":933,"title":934,"dynasty":18,"author":380,"museum":132,"description":935,"tags":936,"thumbUrl":937,"material":34,"size":122,"collection":106,"collections":938,"showCount":939,"zanCount":443,"manualWeight":40,"mainColor":41},219178,"hong-mu-dan-tu-xu-xi-219178","红牡丹图","徐熙，五代南唐杰出画家，金陵（今南京）人，一说钟陵（今江西进贤）人。出身于“江南名族”。生于唐僖宗光启年间，后在开宝末年（公元975）随李后主归宋，不久病故。一生未官，郭若虚称他为“江南处士”。沈括说他是“江南布衣”。其性情豪爽旷达，志节高迈，善画花竹林木，蝉蝶草虫，其妙与自然无异。",[23,7,24,51,102,103,27,26,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffaf2140f2c68889a42d1ec443c4e02.jpg",[106],680,{"id":941,"slug":942,"title":943,"dynasty":114,"author":944,"museum":132,"description":945,"tags":946,"thumbUrl":947,"material":611,"size":948,"collection":175,"collections":949,"showCount":950,"zanCount":11,"manualWeight":40,"mainColor":62},221435,"qing-lv-shan-shui-ye-jing-hao-221435","青绿山水页","荆浩","荊浩（約850-911年），字浩然，號洪穀子，河內沁水(一説河南濟源人 ，一説山西沁水縣人， ）唐末五代時期著名畫家，北方山水畫派之祖。\n博通經史，博雅好古。乾符元年（874）前後，得到宰相裴休的關照，擔任小官。大中十年（856），罷官回鄉。躲避戰亂，常年隱居太行山 。善於山水畫，師從於張璪，吸取北方山水雄峻氣格，作畫“有筆有墨，水暈墨章”，勾皴之筆堅凝挺峭，表現出一種高深迴環、大山堂堂的氣勢，為北方山水畫派之祖 。\n\n著有《筆法記》山水畫理論的經典之作，提出氣、韻、景、思、筆、墨的繪景“六要”。作品《匡廬圖》《雪景山水圖》等",[23,7,24,51,100,72,27,73,75,78,82,278,79,861,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5196ec6dccfebf217ece15bc124669.jpg","45x30厘米",[175,88,90],664,{"id":952,"slug":953,"title":954,"dynasty":114,"author":631,"museum":20,"description":955,"tags":956,"thumbUrl":958,"material":34,"size":959,"collection":106,"collections":960,"showCount":961,"zanCount":359,"manualWeight":40,"mainColor":62},218937,"hua-lan-tu-dong-li-song-218937","花篮图-冬","篮子上装饰着水仙花、韵草、绿萼梅、单花茶花和蜡梅，中央的朱砂茶花以其艳丽的红色取胜，周围是芬芳的花朵。",[23,7,24,51,26,27,102,55,198,246,74,957],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ed24f58dd4748fe5e7c6a5283a48e2.jpg","26.1x26.3",[106],662,{"id":963,"slug":964,"title":965,"dynasty":67,"author":966,"museum":151,"description":967,"tags":968,"thumbUrl":970,"material":34,"size":971,"collection":106,"collections":972,"showCount":973,"zanCount":489,"manualWeight":40,"mainColor":62},221913,"he-hua-yuan-yang-tu-chen-hong-shou-221913","荷花鸳鸯图","陈洪绶","此图以“出污泥而不染，濯清涟而不妖”的荷花为题，花朵清丽，或含苞，初绽、或怒放，多姿多态；枝叶带露，娉婷舒展，俯仰欹侧；湖石雄奇，锐利坚崚，厚重沉凝。两只彩蝶在空中翩翩起舞，一对鸳鸯在水面戏水悠然，打破了一池碧水的宁静。一只青蛙正隐伏于石后的荷叶上觊觎甲虫，弓身欲动，给画面平添了几许生机与意趣，从中可见画家善于观察的细心与状物精微的匠心。\n作品用笔工致而不显刻板，着色醇厚而不流于俗腻，画风素洁明快，既有应物象形的写生功底，又不乏变幻合宜的适度夸张，画面呈现出一种在繁与简，疏与密、刚与柔的对比变化中的合谐与统一。\n从署款和绘画风格上推断，当是陈洪绶中年的作品。",[23,7,24,51,52,26,27,102,54,969,56],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f77fc76433fcfb9a62c0f14dd26a0c.jpg","纵183厘米，横98.3厘米",[106,90],661,{"id":975,"slug":976,"title":977,"dynasty":46,"author":97,"museum":570,"description":571,"tags":978,"thumbUrl":980,"material":575,"size":576,"collection":106,"collections":981,"showCount":982,"zanCount":565,"manualWeight":40,"mainColor":41},220998,"hua-hui-tu-ce-gui-hua-yun-shou-ping-220998","花卉图册·桂花",[23,7,24,51,100,27,101,102,198,412,340,979],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3d4803a177ac67268b07a8c66a1114.jpg",[106,90],657,{"id":984,"slug":985,"title":986,"dynasty":114,"author":211,"museum":151,"description":987,"tags":988,"thumbUrl":989,"material":156,"size":990,"collection":175,"collections":991,"showCount":992,"zanCount":541,"manualWeight":40,"mainColor":993},221329,"ting-qin-tu-zhou-zhao-ji-221329","听琴图轴","此幅作品描绘官僚贵族雅集听琴的场景。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的熏炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。由于作品本幅有徽宗题名与画押，一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者， 正是赵佶本人。",[23,24,7,51,52,26,27,28,697,53,31,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e608fe314a1f03d1034a41f0882fbf.jpg","纵147.2 厘米，横51.3 厘米",[175,106,90],656,"F48FB1",{"id":995,"slug":996,"title":997,"dynasty":114,"author":364,"museum":998,"description":999,"tags":1000,"thumbUrl":1001,"material":121,"size":1002,"collection":106,"collections":1003,"showCount":1004,"zanCount":489,"manualWeight":40,"mainColor":479},219263,"yun-long-tu-chen-rong-219263","云龙图","广东省博物馆","陈容是南宋画家,生卒年不详,其绘画很有特点。《云龙图》是一幅足以代表陈容艺术风格的佳作。画中绘有一气势非凡、腾空飞跃的巨龙,其凌厉的龙爪,飞扬的龙须, 突兀的眼睛,锋利的牙齿,粗壮强劲的躯体,无不揭示了这是一条充满力量和超凡脱俗功力的神化了的龙。画上有画家自题: “扶河汉,触华嵩。普厥施,收成功。骑元气,游太空。所翁作。”画上钤有几方收藏印章。",[24,7,51,52,277,370,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35519b25bbea9229aa8a1232b23672c8.jpg","纵201.5厘米 横130.5厘米",[106],642,{"id":1006,"slug":1007,"title":1008,"dynasty":18,"author":1009,"museum":132,"description":1010,"tags":1011,"thumbUrl":1013,"material":317,"size":907,"collection":122,"collections":1014,"showCount":1015,"zanCount":416,"manualWeight":40,"mainColor":479},287715,"guan-shan-xing-lv-tu-guan-tong-287715","关山行旅图","关仝","《关山行旅图》是一幅描绘北方深秋景色的山水画，不仅绘制了人物的行旅活动，又带有了一定的叙事性。既表现出了山川的雄奇，又反映了人们生活的艰辛",[7,24,51,52,277,73,75,278,78,79,77,647,315,1012],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32d97bddf63ebed468f0b1cdb92e70b.jpg",[],641,{"id":1017,"slug":1018,"title":1019,"dynasty":114,"author":1020,"museum":20,"description":1021,"tags":1022,"thumbUrl":1024,"material":34,"size":1025,"collection":106,"collections":1026,"showCount":1015,"zanCount":416,"manualWeight":40,"mainColor":62},216777,"xue-zhu-wen-qin-tu-huang-quan-216777","雪竹文禽图","黄筌","在这幅「雪竹文禽」图中，画家将树石等主要实景置于幅左，而将江河与水鸭置于幅右。这种虚实对映的布局，不仅显示出南宋独特的审美趣味，也展现了自然生态活泼灵动的特质。画家绘以梅、竹，以及成对成双的游禽与飞鸟，不但点出了早春时序，更具有吉祥的祝幅之意。\n黄筌是五代后蜀的宫廷名画家，北宋时随着蜀主归宋后，便与其子黄居寀同入画院供职，对北宋初期花鸟画影响深远。黄筌喜用勾勒填彩，设色上也较为浓艳。本幅「雪竹文禽」的画风野逸简淡，以画风来看，可能不是黄筌真迹，而是南宋画院画家的作品。",[23,7,24,51,26,277,27,53,710,201,647,1023,56,340],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f9706b1a724681c40f304326ac14e5.jpg","26.3 x 45.7厘米",[106,175],{"id":1028,"slug":1029,"title":1030,"dynasty":114,"author":181,"museum":1031,"description":1032,"tags":1033,"thumbUrl":1035,"material":34,"size":122,"collection":106,"collections":1036,"showCount":1037,"zanCount":11,"manualWeight":40,"mainColor":62},214834,"ke-si-mu-dan-hu-die-tu-yi-ming-214834","缂丝牡丹蝴蝶图","美国弗利尔美术馆","缂丝牡丹蝴蝶图是宋代佚名画家的一幅著名图画。这幅图画描绘了一朵牡丹花和蝴蝶在相互追逐的场景。牡丹花象征着美丽和优雅，而蝴蝶则代表着自由和转化。这幅图画结合了自然与人文的元素，展现出一种优美的意境。画中蝴蝶的细腻写实和牡丹花的浓艳色彩相得益彰，使得这幅图画在宋代颇受欢迎。",[23,24,7,51,768,102,1034,27,103,200,74],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F263c73234939963e2722e8b4fcab0d10.jpg",[106],637,{"id":1039,"slug":1040,"title":1041,"dynasty":674,"author":1042,"museum":132,"description":1043,"tags":1044,"thumbUrl":1050,"material":317,"size":907,"collection":122,"collections":1051,"showCount":1052,"zanCount":703,"manualWeight":40,"mainColor":41},289941,"song-zi-tian-wang-tu-wu-dao-zi-289941","送子天王图","吴道子","《送子天王图》（又名《天王送子图》、《释迦降生图》）是唐代吴道子根据佛典《瑞应本起经》创作纸本墨笔画，一说宋人摹本。该作现藏于日本大阪市立美术馆。\n全图分为三个部分：第一段描绘一位王者气度的天神端坐中间，两旁是手执笏板的文臣、捧着砚台的仙女，以及仗剑围蛇的武将力士面对一条由二神降伏的巨龙。第二段画的是一个踞坐在石头之上的四臂披发尊神，身后烈焰腾腾。神像形貌诡异，颇具气势，左右两边是手捧瓶炉法器的天女神人。第三段即《释迦牟尼降生图》，内容是印度净饭王的儿子出生的故事。从画面上，可以看到释迦牟尼降生时，他的父亲抱着他到寺庙朝谒见自在天神的情景。\n此图写异域故事，而画中的人、鬼神、兽等却完全加以中国化，当是佛教与中国本土变化至唐日趋融合之势所致。此图意象繁富，以释迦降生为中心，天地诸界情状历历在目，技艺高超，想象奇特，令人神驰目眩。该图着色较淡，近乎白描。",[23,7,24,25,510,1045,1046,678,1047,1048,370,1049],"人物画","神话","天王","鬼怪","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbca5673da27ce7e942f4cd3b8991436.jpg",[],629,{"id":1054,"slug":1055,"title":1056,"dynasty":67,"author":619,"museum":20,"description":1057,"tags":1058,"thumbUrl":1060,"material":1061,"size":1062,"collection":88,"collections":1063,"showCount":1064,"zanCount":1065,"manualWeight":40,"mainColor":62},222101,"shan-shui-ce-shen-zhou-222101","山水册","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,24,7,51,100,277,73,75,1059,79,661,662,56],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea739b96b4accbcb710a3fa945b91db.jpg","纸本设色","37.4x58.8",[88,286],623,1,{"id":1067,"slug":1068,"title":1069,"dynasty":67,"author":1070,"museum":20,"description":1071,"tags":1072,"thumbUrl":1073,"material":34,"size":1074,"collection":106,"collections":1075,"showCount":1076,"zanCount":639,"manualWeight":40,"mainColor":62},214726,"hua-hui-tu-chen-chun-214726","花卉图","陈淳","这幅画描绘了在海石后面盛开的各种花朵，包括五种栀子花、玫瑰花、百合花、天竺葵和红丹参。花朵是用无骨笔描绘的，栀子花和百合花的白色花朵是用钩花和点叶描绘的。景观安排得很细致，着色柔和优雅，不显庸俗，有别于晚年放笔写意的习惯，应该是五十岁以前的作品。",[23,24,51,7,52,27,368,102,198,56,301,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c023ce4b74affaefcba3f3678377db.jpg","188x96.9",[106],619,{"id":1078,"slug":1079,"title":1080,"dynasty":114,"author":394,"museum":132,"description":1081,"tags":1082,"thumbUrl":1083,"material":122,"size":122,"collection":122,"collections":1084,"showCount":1085,"zanCount":346,"manualWeight":40,"mainColor":993},227811,"chu-shui-fu-rong-tu-ye-wu-bing-227811","出水芙蓉图页","《出水芙蓉图》页，宋， ，设色，纵2.8cm，横25cm。\n本幅无款。\n有残印一角。\n裱边贴签：“吴炳 ”。\n一朵盛开的粉红色荷花占据整个 ，在碧绿的荷叶映衬下抢眼而夺目，布局、设色端庄大气，将荷花“出淤泥而不染，濯清涟而不妖”的君子气质表现得十分完美。\n莲瓣的描绘技法类似后世的“没骨”法，不见勾勒之迹，渲染出花瓣既轻盈又腴润的质感。\n画家的写实功力极为扎实，每片莲瓣的形状、角度、色泽和光感都安排得无懈可击。\n至于瓣上红丝、蕊端腻粉，也一一仔细料理，微妙之处，使人叹为神工！ 旧题吴炳绘，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[23,24,7,51,100,26,27,102,398,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465d8a0e1d27a9d9e1ea0a726ac79344.jpg",[],616,{"id":1087,"slug":1088,"title":1089,"dynasty":114,"author":1090,"museum":365,"description":1091,"tags":1092,"thumbUrl":1096,"material":27,"size":1097,"collection":175,"collections":1098,"showCount":1099,"zanCount":565,"manualWeight":40,"mainColor":62},221468,"ji-xiang-duo-zi-tu-lu-zong-gui-221468","吉祥多子图","鲁宗贵","画面的确描绘了三种水果，彼此簇拥在一起，粗看起来有些凌乱，但仔细分辨后会发现画家布置得井井有条。\n按照前、中、后的顺序，斜向纵深排列开。前排是两只石榴，一只全部展现出来，并且成熟得果皮迸裂，露出饱满鲜红的石榴子，另一只隐藏在后面，露出尖尖的蒂。画面的后排也是一个圆球形的果实，这是橘。在石榴与橘中间，夹着一串颗粒饱满的水果。这是葡萄吗？画中的这串果实，大小虽然与葡萄类似，但颜色为棕黄色，表面有些粗糙。从形状上来看，大部分果实和葡萄一样是圆球形，但还有一些未完全成熟而泛出青色的果实，有尖尖的头。更为有代表性的是叶子。这串水果乃是从枝上新鲜折下，长条形的叶子连在枝上。这绝不是有裂片、像一个宽大鹅掌的葡萄叶。那么这究竟是串什么水果？答案是龙眼。龙眼，我们更习惯的名字是桂圆，在古代是珍稀水果，在现代也价格不菲。\n中国人对它并不陌生，但在欧美国家吃得却很少。可以想见，当初为这幅画确定英文名的人对龙眼十分陌生，所以才会将画中这串圆圆的果实误认作葡萄了。",[23,24,7,51,26,27,102,1093,1094,1095,339,74],"石榴","荔枝","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c09eceb96eb51faf45b369858023ed.jpg","高24厘米，宽25.8厘米",[175,106,90],615,{"id":1101,"slug":1102,"title":1103,"dynasty":1104,"author":1105,"museum":212,"description":1106,"tags":1107,"thumbUrl":1110,"material":611,"size":1111,"collection":88,"collections":1112,"showCount":1113,"zanCount":565,"manualWeight":40,"mainColor":62},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","晋","顾恺之","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[23,24,51,25,26,27,28,29,1108,75,82,473,84,81,74,118,119,1109,7],"舟","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[88,90],613,{"id":1115,"slug":1116,"title":1117,"dynasty":67,"author":619,"museum":395,"description":1118,"tags":1119,"thumbUrl":1120,"material":34,"size":1121,"collection":88,"collections":1122,"showCount":1123,"zanCount":530,"manualWeight":40,"mainColor":62},217060,"lin-wu-zhen-xia-shan-yu-yu-tu-shen-zhou-217060","临吴镇夏山欲雨图","这是沈周的一幅山水画，用的是淡淡的紫红色的笔。笔法大胆简练，气势如虹。构图简单自然，气氛轻松悠远。屋前有几棵稀疏的树，中间的笔触很强。后峰叠云，如蟠龙出没，后延一峰，略加皴擦，水墨淋漓，远处的山峰也略加勾勒，水墨轻盈。本卷中的笔墨运用随心所欲，无拘无束，墨色清晰明快。",[7,24,51,52,277,73,154,75,278,82,559,78,79,313,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d620b34209a6fc4cb19849a546e3d9.jpg","182x69.5cm",[88],606,{"id":1125,"slug":1126,"title":1127,"dynasty":293,"author":1128,"museum":20,"description":1129,"tags":1130,"thumbUrl":1131,"material":666,"size":1132,"collection":88,"collections":1133,"showCount":1134,"zanCount":489,"manualWeight":40,"mainColor":62},214249,"shan-shui-tu-cao-zhi-bai-214249","山水图","曹知白","两棵松树相向而立，树枝向下延伸呈蟹爪状，是北宋时期李成和郭熙的典型画风。这幅画浓淡相间，尤其是在远处的山峰之间，淡墨层层渲染，云层模糊不清，似有似无。",[23,7,24,277,73,75,1059,278,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff57a8f96ed896461c7ff36507601cb6a.jpg","68.1x34.3",[88],602,{"id":1136,"slug":1137,"title":1138,"dynasty":67,"author":1139,"museum":20,"description":1140,"tags":1141,"thumbUrl":1142,"material":267,"size":1143,"collection":106,"collections":1144,"showCount":1145,"zanCount":716,"manualWeight":40,"mainColor":41},218793,"pi-pa-zhen-qin-tu-zhou-zhi-mian-218793","枇杷珍禽图","周之冕","画面中，枇杷枝叶舒卷，翠叶如盖，嫩黄果实攒聚枝间，饱满莹润。一只禽鸟栖于枝桠，羽色柔和，神态闲静，似在细赏花叶，又若欲振翅，姿态鲜活传神。画家运笔细腻，勾勒花叶轮廓精准，设色淡雅清逸；叶片脉络、果实肌理刻画入微，禽鸟羽毛层次分明，质感逼真。枝叶穿插自然，虚实相生，画面疏密有致，气韵流动。整体风格宁静雅致，融工笔之精丽与写意之灵动，尽显自然生机与闲适意趣，如同一帧鲜活的春日小景，引人驻足细品。",[7,24,51,52,26,27,102,451,265,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b876424f375b541ae9f0153ebc04f8d.jpg","71.4x30.4cm",[106],594,{"id":1147,"slug":1148,"title":1127,"dynasty":293,"author":644,"museum":20,"description":1149,"tags":1150,"thumbUrl":1152,"material":666,"size":1153,"collection":88,"collections":1154,"showCount":1155,"zanCount":489,"manualWeight":40,"mainColor":41},218740,"shan-shui-tu-ni-zan-218740","据王蒙在画上的题记，王蒙曾画过一幅倪瓒的《松石望山图》，倪瓒临摹了原作，交给了他的朋友文博，就是现在的这幅。后来，王蒙在他的朋友温家看到了这幅作品，并对其进行了补充，形成了这幅联合景观。",[23,7,24,51,52,277,73,1151,75,278,313,79,82,80,661],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6ce25e904b4cba0d3febbec489966b.jpg","119.9x56.1",[88],579,{"id":1157,"slug":1158,"title":1159,"dynasty":114,"author":1160,"museum":20,"description":1161,"tags":1162,"thumbUrl":1168,"material":34,"size":1169,"collection":175,"collections":1170,"showCount":1171,"zanCount":416,"manualWeight":40,"mainColor":62},219699,"nian-cha-tu-liu-song-nian-219699","撵茶图","刘松年","《撵茶图》为工笔白描，描绘了宋代从磨茶到烹点的具体过程、用具和点茶场面。画中左前方一仆设坐在矮几上，正在转动碾磨磨茶，桌上有筛茶的茶罗、贮茶的茶盒等。另一人伫立桌边，提着汤瓶点茶(泡茶)，他左手边是煮水的炉、壶和茶巾，右手边是贮水瓮，桌上是茶筅、茶盏和盏托。一切显得十分安静整洁，专注有序。画面右侧有三人，一僧伏案执笔作书，传说此高僧就是中国历史上的“书圣”怀素。一人相对而坐，似在观赏，另一人坐其旁，正展卷欣赏。\n刘松年传世作品很多，仅涉及到茶事内容的就有《斗茶图》、《卢仝烹茶图卷》、《茗园赌市图》、《博古图》、《撵茶图》等多幅，对了解宋代茶事有很高的学术参考价值。《撵茶图》从一个侧面充分展示了贵族官宦之家讲究品茶的生动场面，是宋代茶叶品饮的真实写照。",[24,7,51,26,27,510,28,1163,1164,1165,905,1166,1167],"茶具","桌案","棕榈","生活场景","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e804e0a8eabdd2d17d440cc528efba.jpg","纵44.2厘米，横66.9厘米",[175,36],574,{"id":1173,"slug":1174,"title":1175,"dynasty":46,"author":181,"museum":132,"description":1176,"tags":1177,"thumbUrl":1181,"material":122,"size":122,"collection":122,"collections":1182,"showCount":1183,"zanCount":541,"manualWeight":40,"mainColor":41},223629,"he-hua-tu-yi-ming-223629","荷花图","此作用笔秀润，设色清妍雅致。粉瓣荷花亭亭舒展，晕染出柔媚鲜活的层次，荷叶或苍绿如盖、或半卷含露，墨色浓淡尽显舒展生机。枯瘦莲蓬擎立，自带幽寂禅意。池中游鱼轻摆尾鳍，黑蜂振翅悬于淡赭素色的虚空，静中藏动，将夏日荷塘的鲜活气意晕开。整幅构图疏朗空灵，以浅淡底色晕出水汽氤氲的朦胧，不见满幅堆砌的繁复，将江南莲塘的清润宁和尽数铺陈，尽显文人画的悠然意趣，把溽暑里的荷塘清韵定格在绢素之上。",[23,7,24,51,52,27,26,102,54,399,1178,1179,1180],"莲蓬","鱼","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d474cb4c4b95102723b2afdeb3c667a.jpg",[],572,{"id":1185,"slug":1186,"title":1187,"dynasty":114,"author":259,"museum":20,"description":1188,"tags":1189,"thumbUrl":1193,"material":34,"size":1194,"collection":106,"collections":1195,"showCount":1183,"zanCount":359,"manualWeight":40,"mainColor":41},218393,"xie-sheng-xing-hua-tu-zhao-chang-218393","写生杏花图","这是一幅单枝杏花的画作，盛开的杏花，显得春意盎然。笔触精致优雅，花瓣主要用白粉上色，只有花蕾用胭脂上色，给人一种半透明的感觉；花头用胭脂涂抹，颜色丰富，给人一种女性的感觉。",[23,7,24,51,768,26,27,1190,102,1191,340,515,1192],"写生","杏花","花蕊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa90c7d76318230f696dd0a532f0faf.jpg","25.2x27.3",[106],{"id":1197,"slug":1198,"title":1199,"dynasty":114,"author":1200,"museum":1201,"description":1202,"tags":1203,"thumbUrl":1208,"material":666,"size":1209,"collection":106,"collections":1210,"showCount":1211,"zanCount":443,"manualWeight":40,"mainColor":41},218639,"mo-lan-tu-zheng-si-xiao-218639","墨兰图","郑思肖","日本大阪市立美术馆","这是一幅描绘两朵兰花的画，闲适而优雅，有一种侵入性的清晰。叶子是对称的，但花只在左边，重心稍微向左倾斜。叶子不多，但不是孤零零的散落，笔法轻重不一，大小不一，通篇使用淡墨，使画作更加优雅柔美。这幅画延续了南宋的写实风格，开创了元代文人画的先河。叶子分两组画，每组有三片叶子，笔法与图中对称，略带左右强调。笔触有轻有重，笔触准确。剑身略宽，给人以丰富和艳丽的美感。位于长叶子之间的短叶子，仍然用同样明亮的墨水和笔触绘制。画的是两朵花，一朵是盛开的四片花瓣，一朵是含苞待放的两片花瓣。两片长而弯曲的叶子被放在画框的底部中心，环绕着它们，这就是画的眼睛。花瓣也很饱满，笔触与画叶子的笔触相同。花蕊是用浓墨勾勒出来的，花的描绘方式是其他画作中所没有的。",[23,7,277,368,1151,228,1204,198,1205,1206,1207],"简笔","墨笔","文人花卉","水墨花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f9c1a31515452db9f01aafbc38687bb.jpg","34.3x59.6",[106],570,{"id":1213,"slug":1214,"title":1215,"dynasty":114,"author":1216,"museum":1031,"description":1217,"tags":1218,"thumbUrl":1219,"material":666,"size":1220,"collection":175,"collections":1221,"showCount":1222,"zanCount":1065,"manualWeight":40,"mainColor":41},214884,"lian-she-tu-li-gong-lin-214884","莲社图","李公麟","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[23,7,24,51,25,510,27,678,28,75,82,81,56,118,1109,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","30.1x595.8",[175],566,{"id":1224,"slug":1225,"title":1226,"dynasty":67,"author":68,"museum":132,"description":1227,"tags":1228,"thumbUrl":1232,"material":34,"size":122,"collection":36,"collections":1233,"showCount":1234,"zanCount":489,"manualWeight":40,"mainColor":62},216291,"er-shi-si-xiao-tu-ce-chou-ying-216291","二十四孝图册","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[7,24,51,100,26,27,28,1229,1230,1231,711],"孩童","土墙","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9bda63260d3643cffa6017775670d8.jpg",[36],563,{"id":1236,"slug":1237,"title":534,"dynasty":293,"author":644,"museum":20,"description":1238,"tags":1239,"thumbUrl":1240,"material":121,"size":122,"collection":286,"collections":1241,"showCount":1242,"zanCount":489,"manualWeight":40,"mainColor":41},218759,"zhu-shi-tu-ni-zan-218759","简淡笔墨勾勒出一方清寂天地。嶙峋顽石以折带皴写就，骨力暗藏；几竿瘦竹用中锋挥毫，风神毕现。坡岸以淡墨扫出，不着繁饰却有山野之旷；竹叶疏密交织，寥寥数笔便见雅趣之浓。留白处似含虚寂之气，引观者神思悠远；笔墨间尽是淡远之怀，映画家澄净本心。无喧嚣之扰，无艳色之惑，简而不薄，疏而有致，于极简中藏深致，于清寂中见真趣。尽显文人画的空灵韵致，亦为超脱尘俗的精神气象凝于纸上。",[23,24,7,51,52,277,510,56,53,647,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a185b2b68c761e19a18f984e0eb2ee.jpg",[286],561,{"id":1244,"slug":1245,"title":1246,"dynasty":674,"author":1247,"museum":1248,"description":1249,"tags":1250,"thumbUrl":1251,"material":317,"size":907,"collection":122,"collections":1252,"showCount":1253,"zanCount":416,"manualWeight":40,"mainColor":62},289801,"jiang-fan-lou-ge-tu-li-si-xun-289801","江帆楼阁图","李思训","台北故宫博物馆","该画描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。",[23,7,24,52,72,27,26,75,77,80,28,79,609,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7533e67426c0003e89910674d0b6ce8c.jpg",[],556,{"id":1255,"slug":1256,"title":1257,"dynasty":114,"author":460,"museum":151,"description":1258,"tags":1259,"thumbUrl":1260,"material":1261,"size":1262,"collection":175,"collections":1263,"showCount":1264,"zanCount":489,"manualWeight":40,"mainColor":62},221294,"ke-shi-ping-yuan-tu-juan-guo-xi-221294","窠石平远图卷","郭熙(11世纪)，字淳夫，温县(今属河南)人，其艺术活动约在北宋熙宁、元丰(168～185)间。\n擅长画山水。\n画巨石平坡，大小石块间杂生古树灌木，或枝叶繁茂，或枯枝败叶，平坡上有弯曲泉水流过。\n画右边一抹平沙，远处隐约有高山屏立。\n所作石块及平坡以卷云皴为之，树木多作蟹爪状，均为郭熙用笔造型的特点。\n全图以水墨为主，略施淡赭色烘染，描绘了秋日平远空旷的景色。\n画幅左侧作者自署“窠石平远”4字图名及“元丰戊午年郭熙画”款识，可知此图作于北宋神宗元丰元年(178)，为郭熙晚年作品。",[23,24,7,51,25,277,73,75,56,647,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[175,88,286],555,{"id":1266,"slug":1267,"title":1268,"dynasty":67,"author":1269,"museum":151,"description":1270,"tags":1271,"thumbUrl":1273,"material":834,"size":1274,"collection":88,"collections":1275,"showCount":1276,"zanCount":1065,"manualWeight":40,"mainColor":41},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[23,24,51,7,52,27,75,73,1272,297,298,609,78,280,281,82,648,279],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纵101.7厘米，横46.7厘米。",[88,90],549,{"id":1278,"slug":1279,"title":1127,"dynasty":67,"author":68,"museum":166,"description":1280,"tags":1281,"thumbUrl":1283,"material":34,"size":1284,"collection":88,"collections":1285,"showCount":1286,"zanCount":1065,"manualWeight":40,"mainColor":62},218370,"shan-shui-tu-chou-ying-218370","这幅画描绘了一座山和一个深谷，一个有学问的人看着泉水，正在乘凉，一个有学问的人抱着琵琶走在山路上，而羊群和牛郎在溪流对岸嬉戏。这是大英博物馆收藏的唯一一幅仇英的真迹，因为它在对树木、岩石和人物的描绘方面接近仇英的实际笔触。",[23,24,7,26,27,73,75,82,281,28,79,1282],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc24e2d4b1b7e561820f510b15f9bc13.jpg","138.8x72.5",[88,36,90],548,{"id":1288,"slug":1289,"title":1290,"dynasty":114,"author":181,"museum":20,"description":1291,"tags":1292,"thumbUrl":1294,"material":34,"size":1295,"collection":36,"collections":1296,"showCount":1297,"zanCount":530,"manualWeight":40,"mainColor":62},216215,"xian-yan-shou-lu-tu-yi-ming-216215","仙岩寿鹿图",""仙岩寿鹿图" 是宋朝时期的一幅绘画作品，其作者不详。这幅作品描绘了一处神奇的山洞，里面生活着许多寿鹿。寿鹿是一种传说中的动物，身体像鹿，有着长长的寿命。在这幅画中，寿鹿被描绘成了幸福、健康、长寿的象征。整幅画浓郁的山水意境，深深地吸引着观众的眼球。",[7,24,51,52,27,26,28,29,1293,472,56,281],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44803965d1305ff70dab68b3132a40c5.jpg","117.2x61.3cm",[36],533,{"id":1299,"slug":1300,"title":1301,"dynasty":114,"author":1302,"museum":365,"description":1303,"tags":1304,"thumbUrl":1305,"material":34,"size":1306,"collection":175,"collections":1307,"showCount":1308,"zanCount":703,"manualWeight":40,"mainColor":479},218605,"wu-bai-luo-han-zhi-shi-cai-pin-zhe-tu-zhou-ji-chang-218605","五百罗汉之施财贫者图","周季常","衣袂飘举间，罗汉群像神态各异：或持法器凝立，衣纹如流水般细腻；或低语相谈，眉眼间藏着慈悲的柔光。下方沟壑纵横处，贫者衣衫褴褛，匍匐劳作的身形佝偻着，困顿与艰辛在笔触里尽显。云雾缭绕的背景中，苍劲的树木与嶙峋的山石，悄然分隔却又勾连起上下两重世界。\n\n画家以写实之笔勾勒众生相，罗汉的从容与贫者的窘迫形成鲜明对照，似在无声传递施财济困的佛理。古绢底色晕染出岁月的厚重，每一处细节都浸着宋代佛画的庄重与温度，让慈悲之念在画面里缓缓流淌，直抵人心。",[23,7,24,51,52,678,26,27,28,278,82,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d79111b47df23f905bb3c17be404416.jpg","111.5x53.1",[175,36],530,{"id":1310,"slug":1311,"title":1312,"dynasty":114,"author":1313,"museum":20,"description":1314,"tags":1315,"thumbUrl":1317,"material":267,"size":122,"collection":36,"collections":1318,"showCount":1319,"zanCount":489,"manualWeight":40,"mainColor":62},216963,"guan-fu-xi-ying-tu-su-han-chen-216963","灌佛戏婴图","苏汉臣","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。中国很早已有绘画婴孩的传统，到了唐宋时期技巧渐趋成熟，宋代更是婴戏图的黄金时期，使之成为中国绘画中极受欢迎的画类。\n\n宋代是婴戏图发展的全盛时期，不但取材多样化，而且描绘技巧高超。有的采用鲜艳颜色以衬托婴孩游玩时的愉快心情，营造热闹快乐的气氛；有的利用简洁的线描，刻划平民的市井风情。市井之民虽生于低下阶层，物质生活不甚丰富，但小孩的天真、贪吃贪玩的性情仍溢于纸上。在婴孩的形体构图方面，孩子面貌及身形比例准确，不再是“身小而貌壮”或“妇人之貌”。而且画家每每绘画小孩穿上轻纱薄衣，使观者能通过薄衣透视小孩丰满圆润的身段。婴孩面部表情亦十分丰富，喜怒哀乐活灵活现。宋代婴戏图的兴盛和成功，奠定了婴戏图的基础，亦创新了不少题材，使后世仿效之作甚多。",[24,7,51,26,27,28,103,53,135,1316,755],"假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc85835c28e628810548dd2c93dbfbd.jpg",[36],525,{"id":1321,"slug":1322,"title":606,"dynasty":18,"author":1323,"museum":132,"description":1324,"tags":1325,"thumbUrl":1327,"material":317,"size":907,"collection":122,"collections":1328,"showCount":1329,"zanCount":416,"manualWeight":40,"mainColor":62},289890,"wan-he-song-feng-tu-ju-ran-289890","巨然","图中烟岚松涛，山中层岩丛树，山顶矾头重叠，深谷里瀑泉奔涌，溪畔浓荫森森，并架一木桥。沿着曲折的山脊，是一片片浓密的松 林，“丰”字形的松树随风摇曳，百姿千态，栩栩如生。沟壑里聚起团团云雾，缓缓地向上升腾。山脚下的林木中坐落着数间茅屋，其中一榭依石临水，有白衣人坐其中。此乃世外桃源里之人间烟火。从白衣人的房后望去，蜿蜒山路沿谷涧上去。在两山之间、谷涧之上，有一巨大的楼阁，且又有山楼水榭、远寺长桥，掩映在万松山壑间。",[23,7,24,277,75,52,73,609,313,79,78,77,425,1326],"溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab2e4354bdfebe101d6dc37437481b2.jpg",[],523,{"id":1331,"slug":1332,"title":798,"dynasty":293,"author":181,"museum":20,"description":1333,"tags":1334,"thumbUrl":1336,"material":34,"size":1337,"collection":106,"collections":1338,"showCount":1339,"zanCount":530,"manualWeight":40,"mainColor":62},216222,"hua-niao-tu-yi-ming-216222","一对锦鸡被描绘成在花朵和岩石间游动，而一对燕子和喜鹊则各自点缀着这一场景。雉鸡的羽毛鲜艳夺目，与盛开的鲜花交相辉映。这幅画的色彩斑斓和绚丽通过笔法的运用得到了加强。花和鸟的笔触相当细致，有一种优雅的品质。叶子的着色似乎是杂乱无章的，有几处已经模糊或剥落。这幅画没有标记，但仍有元代的题记。",[24,51,7,26,27,102,384,263,56,242,1335,340,84],"百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ce90ed3be06a8274a00daaccbc1bec.jpg","167.6x101.9cm",[106],520,{"id":1341,"slug":1342,"title":1343,"dynasty":46,"author":1344,"museum":132,"description":1345,"tags":1346,"thumbUrl":1347,"material":317,"size":907,"collection":122,"collections":1348,"showCount":1349,"zanCount":541,"manualWeight":40,"mainColor":41},288298,"he-hua-xiao-niao-tu-zhou-zhu-da-288298","荷花小鸟图轴","朱耷","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。",[23,7,24,277,52,102,54,56,84,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc703fe503e21b896057d755c0c416262.jpg",[],519,{"id":1351,"slug":1352,"title":1353,"dynasty":674,"author":1354,"museum":132,"description":1355,"tags":1356,"thumbUrl":1359,"material":34,"size":122,"collection":88,"collections":1360,"showCount":1349,"zanCount":703,"manualWeight":40,"mainColor":62},218399,"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","王维","素裹银妆的天地间，江波浩渺如镜，山峦起伏若眠。雪覆层岩似披素纱轻幔，枯藤老树凝霜，枝桠横斜间，几簇松针翠色凌寒而立，添了几分生机。江面上薄雾轻笼，一叶扁舟隐于烟波，恍若载着天地孤静。远处村落藏于雪麓，屋舍点点似有暖意暗涌。淡墨晕染雪意，线条疏朗含韵，静谧中透着禅韵，雪色洗尽尘嚣，尽显山水幽远。恰如诗中清寂，又藏着悠然，将冬日江雪的空灵深邃，凝于尺幅之间。",[23,7,24,25,27,75,1023,647,84,80,278,663,82,1357,1358],"雪景","小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg",[88],{"id":1362,"slug":1363,"title":1364,"dynasty":114,"author":181,"museum":132,"description":1365,"tags":1366,"thumbUrl":1367,"material":34,"size":1368,"collection":175,"collections":1369,"showCount":1370,"zanCount":1065,"manualWeight":40,"mainColor":62},214257,"yu-yuan-shi-chao-tu-yi-ming-214257","御苑市朝图","御苑市朝图是一幅作者不详的宋代画作。这幅画作描绘了宋朝的市场生活。\n\n在这幅画作中，画家巧妙地捕捉了宋朝的市场生活的繁华景象。他用浓墨重彩的画法，勾勒出了市场的熙熙攘攘的场面。他还用细腻的线条勾勒出了市场中出售各种商品的商贩，让人感受到了宋朝市场的繁荣景象。\n\n此外，画家在这幅画作中还描绘了市场周围的景色。他用色彩丰富的画法，描绘了市场周围的山川和河流。这些景色与市场的繁华场面形成了鲜明的对比，让人感受到了自然与人类活动的和谐\n共存。\n\n总之，御苑市朝图是一幅精美的画作，描绘了宋朝的市场生活。它让我们感受到了宋朝市场的繁荣景象，也让我们感受到了宋朝文化的魅力。",[23,7,24,51,52,855,27,75,77,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672f72d901c08686f814955355d9dcad.jpg","107x52",[175],518,{"id":1372,"slug":1373,"title":1374,"dynasty":46,"author":97,"museum":20,"description":98,"tags":1375,"thumbUrl":1376,"material":34,"size":105,"collection":122,"collections":1377,"showCount":1378,"zanCount":11,"manualWeight":40,"mainColor":41},214305,"mu-dan-ce-5-yun-shou-ping-214305","牡丹册-5",[24,51,7,100,27,26,102,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3772de09b7a0a9f5b1dbfb42e2091f.jpg",[],516,{"id":1380,"slug":1381,"title":1382,"dynasty":1383,"author":1384,"museum":132,"description":1385,"tags":1386,"thumbUrl":1389,"material":317,"size":907,"collection":122,"collections":1390,"showCount":1391,"zanCount":541,"manualWeight":40,"mainColor":62},231825,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231825","花园仕女图轴","不详","上村松园","上村松园（1875——1949）生于京都，她是明治、大正、昭和时期十分活跃的女画家，她以日本画的传统手法为基础描绘出格调高的美女画，她画的美人惟妙惟肖、出神入化，受到人们的好评。12岁小学毕业后进入日本刚刚成立不久的绘画学校。后相继师事铃木松年、幸野梅岭、竹内栖凤等大师。15岁时以作品《四季美人图》参展第三次内国劝业博览会，获得一等褒奖，被传为京都天才少女。",[23,7,24,52,26,27,28,29,1387,1388,684],"枫叶","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5291d70d90c2e3367d896a803781d8cf.jpg",[],507,{"id":1393,"slug":1394,"title":1395,"dynasty":18,"author":944,"museum":132,"description":1396,"tags":1397,"thumbUrl":1398,"material":317,"size":907,"collection":122,"collections":1399,"showCount":1400,"zanCount":416,"manualWeight":40,"mainColor":479},287714,"kuang-lu-tu-tiao-se-ban-jing-hao-287714","匡庐图（调色版）","《匡芦图》是荆浩现存作品中比较可信的真作之一，图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。",[7,24,51,52,277,75,73,425,313,82,81,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8ad00d8855331e31469eec858e44e4.jpg",[],505,{"id":1402,"slug":1403,"title":1404,"dynasty":18,"author":1405,"museum":69,"description":1406,"tags":1407,"thumbUrl":1410,"material":666,"size":1411,"collection":88,"collections":1412,"showCount":1413,"zanCount":489,"manualWeight":40,"mainColor":62},220441,"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","董源","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[23,7,24,51,25,277,73,75,1408,82,425,279,80,79,1409,81],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","37.5×150.8cm",[88,286],498,{"id":1415,"slug":1416,"title":877,"dynasty":114,"author":878,"museum":1417,"description":1418,"tags":1419,"thumbUrl":1424,"material":1425,"size":1426,"collection":175,"collections":1427,"showCount":1428,"zanCount":416,"manualWeight":40,"mainColor":62},221665,"han-jiang-du-diao-tu-ma-yuan-221665","日本京都国立博物馆","此画是宋代马远创作的一幅山水画。这幅画作者以严谨的铁线描，画一叶扁舟，上有一位老翁俯身垂钓，船旁以淡墨寥寥数笔勾出水纹，四周都是空白。画家画得很少，但画面并不空。反而令人觉得江水浩渺，寒气逼人。而且还觉得空白之处有一种语言难以表述的意趣，是空疏寂静，还是萧条淡泊，真令人思之不尽。这种诗—般耐人寻味的境界，是画家的心灵与自然结合的产物，在艺术上则是利用虚实结合而产生的结果。",[23,7,24,277,1420,1421,28,80,661,1422,1423],"留白","一角构图","寒江","独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4397a99a1aaf5d5a5c49c8a75c016bec.jpg","绢本，水墨淡彩","纵26.7厘米，横50.6厘米",[175,88,90],495,{"id":1430,"slug":1431,"title":1432,"dynasty":114,"author":211,"museum":20,"description":1433,"tags":1434,"thumbUrl":1436,"material":34,"size":1437,"collection":175,"collections":1438,"showCount":1428,"zanCount":346,"manualWeight":40,"mainColor":62},219194,"ci-xiong-bai-ji-tu-zhao-ji-219194","雌雄白鸡图","红冠如焰，燃亮白羽霜华。雄鸡昂首振翅，尾羽若流云舒展；雌鸡依偎身侧，软羽轻覆，尽显亲昵。枝叶舒展间，墨色淡染，衬得禽鸟生动如活。笔锋细腻处，羽丝根根分明，冠色层层晕染，既见写实功力，更含脉脉温情。素朴背景中，生灵之趣与雅致之美交融，似闻晨啼轻响，恍见晨光微熹，尽显对生命意趣的细腻捕捉与诗意表达。",[23,7,24,51,52,26,27,102,1435,711],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d30065e7ab2d7ef0ea568cb41dfe6c1.jpg","纵152横37.4cm",[175,106,90],{"id":1440,"slug":1441,"title":1442,"dynasty":293,"author":658,"museum":20,"description":1443,"tags":1444,"thumbUrl":1445,"material":666,"size":122,"collection":106,"collections":1446,"showCount":1447,"zanCount":530,"manualWeight":40,"mainColor":41},216597,"mo-zhu-pu-ce-ye-wu-zhen-216597","墨竹谱册页","吴镇墨竹谱册简称《墨竹谱》，共二十二页，每页纵40.3厘米，横52厘米，纸本，墨笔，现藏台北故宫博物院。前两页书苏轼撰文同偃竹记，后二十幅画各种姿态的墨竹，每幅都有图有文。作于1350年（元至正十年），时吴镇71岁，是画给儿子佛奴的。全册画竹诸态悉备，可谓得竹之真性情。册首隶书“万玉藂”三字，王一鹏所书，王为明弘治间贡生。\n\n二十幅图，分别画新篁、嫩枝、老干、垂叶、雨竹、风竹、雪竹、坡地竹林、崖壁垂竹，或粗竿挺拔，竹叶清劲，或细枝临风，摇曳生姿。每幅画的构图都有很大的区别，以画谱而言，称得上变化多端，诸法悉备，成为后之学者极好的借鉴。\n\n这套竹谱的图文组合最值得称道，画面上书与画的“经营位置”的创意：承前而启后。在宋以前，图上都不落文字，连作者的名款都没有。北宋开始，画上渐有作者姓名和时间的落款，开始时写得极小，或隐在画中，生怕影响了画面。至元代赵孟頫出，强调以书入画，不但注重用书法的笔法作画，而且其画上所题的诗、文也渐多，有时为记事甚至出现长题。吴镇此《墨竹谱》册，在其丰富多变的构图中可以清晰地感觉到作者在画之前已为题文预留位置。书与画开始在画面上平分秋色，相得益彰，形成了中国画不同于其他艺术的最具文化意义的特色之一。\n\n吴镇墨竹谱册从附图观之，图绘笋、粗竿、新篁、折枝共七八竿，错落有致。虽说吴镇墨竹宗文同，但他的画法与文同相比较，已经有了很大的改变：文同画竹，竹竿纡曲，竹叶密集，而以墨之浓、淡示叶面之正、反。吴镇画竹，却以墨色的浓、淡示竹竿之前、后，新篁以淡墨画枝，而以浓墨画叶。叶之长、短，似随意生发，但疏落简率，苍劲挺拔。短枝疏叶，笔不连而意贯，一似其题款草书，纵横跌宕，一气呵成。笔锋略秃，中锋撇去，凝厉而厚重。竹根植于土中，根畔短草丛生，前浓而远淡，增强了画面透视的纵深感。",[23,24,51,7,100,277,74,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4166808e7bc40a42f776572d6d7608.jpg",[106],489,{"id":1449,"slug":1450,"title":1451,"dynasty":46,"author":1452,"museum":20,"description":1453,"tags":1454,"thumbUrl":1456,"material":267,"size":1457,"collection":106,"collections":1458,"showCount":1447,"zanCount":703,"manualWeight":40,"mainColor":41},216219,"bi-tao-chun-niao-tu-zou-yi-gui-216219","碧桃春鸟图","邹一桂","碧桃春鸟图是清朝时期画家邹一桂的一幅名作。这幅画描绘了一只翠绿色的春天鸟儿，它正在一棵桃树上欢快地唱歌。画中的色彩鲜艳，线条流畅，构图精美，反映了邹一桂独特的画风。\n\n邹一桂（1630年～1708年）是清朝时期著名的画家，也是邹氏画派的创始人之一。他的作品擅长描绘自然景观，尤其擅长画鸟。邹一桂的碧桃春鸟图被认为是他的代表作之一，并被广泛收藏和喜爱。",[24,7,1455,27,26,76,84,74],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf75f4e0b3c61e6c01028b990b23d999.jpg","29.2x21.6公分",[106],{"id":1460,"slug":1461,"title":1462,"dynasty":114,"author":394,"museum":1463,"description":1464,"tags":1465,"thumbUrl":1467,"material":34,"size":1468,"collection":175,"collections":1469,"showCount":1470,"zanCount":346,"manualWeight":40,"mainColor":62},218635,"shan-cha-tu-wu-bing-218635","山茶图","费城艺术博物馆","画面上画的是一枝山茶花，狭长的枝条上的叶子是深绿色的，边缘是黄色的，枝条上火红的花瓣，淡黄色的花药，伪装的色彩很鲜艳，很自然。",[24,51,7,102,26,27,1466,340,339,118,74],"山茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef7aab5fc08907b55afa575d2a696c4a.jpg","25.7x25.7",[175,106],487,{"id":1472,"slug":1473,"title":1474,"dynasty":46,"author":97,"museum":1475,"description":1476,"tags":1477,"thumbUrl":1479,"material":267,"size":122,"collection":122,"collections":1480,"showCount":1481,"zanCount":530,"manualWeight":40,"mainColor":41},216592,"ou-xiang-guan-xie-sheng-ce-2-yun-shou-ping-216592","瓯香馆写生册-2","旅顺博物馆","《瓯香馆写生册》描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[24,51,7,100,27,101,1190,102,76,1478],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018de872e84372dbf68adb58dee36ac1.jpg",[],485,{"id":1483,"slug":1484,"title":1485,"dynasty":46,"author":1486,"museum":132,"description":1487,"tags":1488,"thumbUrl":1490,"material":317,"size":907,"collection":122,"collections":1491,"showCount":1492,"zanCount":359,"manualWeight":40,"mainColor":41},235526,"he-hua-liao-shi-tu-zhou-wang-wu-235526","荷花蓼石图轴","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[7,24,51,52,27,26,398,399,1489,298,890,102],"蓼石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4adc90c09b933312107f54c136768ed.jpg",[],477,{"id":1494,"slug":1495,"title":1496,"dynasty":1497,"author":181,"museum":1498,"description":1499,"tags":1500,"thumbUrl":1502,"material":1503,"size":1504,"collection":122,"collections":1505,"showCount":1506,"zanCount":359,"manualWeight":40,"mainColor":41},223346,"ren-wu-yu-long-bo-hua-yi-ming-223346","人物御龙帛画","周","湖南省博物馆","描绘墓主人乘龙升天的情景。此幅非衣帛画上端有竹轴，轴上有丝绳，为一幅可以垂直悬挂的幡，应是战国时期楚国墓葬中用于引魂升天的铭旌，属于非衣性质的战国晚期帛画。",[7,24,51,1501,510,28,370,1179],"帛画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05743bae5cc6226f24ed9e35e6b3c675.jpg","绢本水墨淡设色","长37.5厘米、宽28厘米",[],473,{"id":1508,"slug":1509,"title":1510,"dynasty":674,"author":181,"museum":1511,"description":1512,"tags":1513,"thumbUrl":1515,"material":1516,"size":122,"collection":36,"collections":1517,"showCount":1506,"zanCount":11,"manualWeight":40,"mainColor":62},217282,"jiang-mo-bian-dun-huang-tu-juan-yi-ming-217282","降魔变·敦煌图卷","法国国家图书馆","纤细灵动的墨线勾勒出神态各异的人物，衣袂飘举间藏着唐代绘画的潇洒韵致。残存的朱红、赭石色调虽经岁月晕染，仍可窥见当初设色的浓淡相宜。画面分段铺陈降魔故事：左侧人物群像或肃穆或专注，似在静待一场斗法开启；中间帐幔低垂，端坐者的静谧与周遭张力暗合；右侧则将神魔相搏的激烈瞬间定格，动态构图尽显情节跌宕。整幅作品以叙事性画面传递佛教义理，线条流转与情节起伏相映成趣，既是唐代佛教艺术的生动遗存，也为后世窥见当时审美与信仰世界的窗口。",[7,24,51,25,27,26,678,28,1514],"敦煌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a40ea02cdf882170b7ef7d5d3e495f.jpg","设色,拓本",[36],{"id":1519,"slug":1520,"title":1521,"dynasty":114,"author":460,"museum":20,"description":1522,"tags":1523,"thumbUrl":1527,"material":736,"size":1528,"collection":175,"collections":1529,"showCount":1530,"zanCount":11,"manualWeight":40,"mainColor":62},221293,"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,7,24,51,52,277,75,77,78,1524,1525,1526,74,154,73],"村居","行旅","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","纵141.6厘米，横97厘米",[175,88,286],472,{"id":1532,"slug":1533,"title":534,"dynasty":293,"author":1534,"museum":151,"description":1535,"tags":1536,"thumbUrl":1537,"material":267,"size":1538,"collection":106,"collections":1539,"showCount":1540,"zanCount":541,"manualWeight":40,"mainColor":62},214307,"zhu-shi-tu-li-kan-214307","李衎","这幅画中的竹子被整齐而优雅地画上了双色的轮廓，显示了大自然在春天的重生，老竹子旁边有两棵新竹子，让人想起雨后发芽的春笋。山坡上的悬崖被涂成漂亮的厚重的黑色，以突出形成的角落，岩石后面的小竹子和野树增加了多样性。",[23,7,24,51,52,277,73,53,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05faafdaaa730a5ac24d211025a2689.jpg","185.5x153.7",[106],456,{"id":1542,"slug":1543,"title":1544,"dynasty":114,"author":631,"museum":20,"description":1545,"tags":1546,"thumbUrl":1548,"material":611,"size":1549,"collection":175,"collections":1550,"showCount":1551,"zanCount":703,"manualWeight":40,"mainColor":62},221490,"hua-lan-tu-li-song-221490","花篮图","图绘藤编花篮一只，竹篮编织精巧别致，里面盛满了各色鲜艳欲滴的花朵，白的、红的、粉的、淡黄的，有蜀葵、栀子、百合、广玉兰、石榴等，布置得错落有致，画家笔下一个小小的花篮，折射出的是繁花似锦的大自然，美丽而富有朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注由此跃然于绢上。",[23,7,24,51,100,26,27,102,55,1547,103,1335,198,339],"花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8587f02c9ca8d9b82abaf7122913f6ac.jpg","26.1 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26.3公分",[175,106,90],454,{"id":1553,"slug":1554,"title":1555,"dynasty":114,"author":1556,"museum":20,"description":1557,"tags":1558,"thumbUrl":1559,"material":27,"size":1560,"collection":90,"collections":1561,"showCount":1562,"zanCount":703,"manualWeight":40,"mainColor":62},219050,"zhen-guo-tu-qian-xuan-219050","珍果图","钱选","果篮静卧素绢间，缠枝纹饰与环扣精巧，线条婉转如流泉绕石。篮中珍果错落，桃实丰腴带粉晕，叶瓣脉络分明，翠色欲滴处间杂赭红，似凝着晨露的润意。叶片边缘微卷，若有风过轻颤。色彩晕染细腻却不艳俗，绢本的古雅底色衬得果物愈发温润。笔触工致中藏文人清逸，无匠气之拘，寻常果实成诗中意象，藏宋人的生活雅趣与自然观照。细节处见沉静美感，如摩挲旧物，触得到时光沉淀的温润。每一笔都似含着慢时光里的用心，将日常小景绘成耐品的雅致画卷。",[23,7,24,26,27,1095,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae85b115ae664ba777870700c2dcc5d.jpg","25.6x26.3",[90],451,{"id":1564,"slug":1565,"title":1566,"dynasty":46,"author":1567,"museum":1031,"description":1568,"tags":1569,"thumbUrl":1571,"material":267,"size":122,"collection":106,"collections":1572,"showCount":1562,"zanCount":1065,"manualWeight":40,"mainColor":41},218128,"qiu-shui-he-ye-tu-shi-tao-218128","秋水荷叶图","石涛","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品。花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。",[23,24,51,7,100,277,27,368,54,399,681,1570,74],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfdd37fcf60f013839a1cf9ac9c4700.jpg",[106],{"id":1574,"slug":1575,"title":1576,"dynasty":293,"author":1577,"museum":151,"description":1578,"tags":1579,"thumbUrl":1581,"material":1582,"size":1583,"collection":123,"collections":1584,"showCount":1585,"zanCount":688,"manualWeight":40,"mainColor":41},220855,"luo-shen-fu-zhao-meng-fu-220855","洛神赋","赵孟頫","赵孟頫是元代著名书画家，不仅绘画创一代新风，书法更是元代第一人，如元代书法名家鲜于枢所评：“子昂篆、隶、真、行、颠草为当今第一。”赵氏所创书风，后人称之为“赵体”。赵孟頫师承也极广泛，初宗宋人，学赵构、黄庭坚，继而由智永上溯锺繇、二王，晚年又取法李邕。他模拟古法力求微肖，书写十分熟练，尤倾心于二王，元虞集在《道园学古录》中指出：“楷法深得《洛神赋》而揽其标；行书诣《圣教序》而入其室；至于草书，饱《十七帖》而变其形。”赵孟頫的书法成就突出表现在楷、行书方面，创遒劲姿媚新风，对元人和后世均产生极大影响。\n此卷《洛神赋》即为赵氏行书代表作。行中兼楷的结体、点画，深得二王遗意，尤其是王献之《洛神赋》的神韵，即妍美洒脱之风致。如端正匀称的结构、优美潇洒的字姿、圆润灵秀的运笔、密中有疏的布局等；同时，又呈现自身的追求，象比较丰腴的点画，轻捷的连笔，飘逸中见内敛的运锋，端美中具俯仰起伏的气势，都显示出他博取众长而自成一体的艺术特色。故后纸诸家题跋如是评述此卷，李倜曰：“大令好写洛神赋，人间合有数本，惜乎未见其全。此松雪书无一笔不合法，盖以兰亭肥本运腕而出之者，可云买王得羊矣。”高启云：“赵魏公行草写洛神赋，其法虽出入王氏父子间，然肆笔自得，则别有天趣，故其体势逸发，真如见矫若游龙之入于烟雾中也。”",[23,7,24,51,25,119,118,1580,74],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7597768b3ca40f9e0dc49b46194d249f.jpg","纸本，行书","纵29厘米，横220.9厘米。",[123],449,{"id":1587,"slug":1588,"title":1589,"dynasty":114,"author":878,"museum":195,"description":1590,"tags":1591,"thumbUrl":1594,"material":34,"size":122,"collection":175,"collections":1595,"showCount":1585,"zanCount":530,"manualWeight":40,"mainColor":62},218567,"song-xia-xian-yin-tu-ma-yuan-218567","松下闲吟图","老松盘枝如铁铸，松针以浓墨攒簇，垂藤轻曳间，苍劲里藏着几分柔韵。松下石畔，素衣人斜倚，似在沉吟——案上无纸笔，却有松风满袖为侣。右侧疏林瘦石，一抹飞影掠过天际，是归鸟还是流云？留白处，天地俱寂。线条简劲见筋骨，墨色浓淡相衬，将文人的清寂与旷达，凝入这方圆幅。不必喧嚣，不必繁复，只这松、这人、这飞影，便足以让时光放缓，与山水对吟。",[7,24,768,277,28,697,56,84,81,1592,1593],"清寂","旷达","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d58c27d08d4106d2ba29dc444462bf0.jpg",[175],{"id":1597,"slug":1598,"title":1599,"dynasty":67,"author":181,"museum":20,"description":1600,"tags":1601,"thumbUrl":1606,"material":34,"size":1607,"collection":36,"collections":1608,"showCount":1609,"zanCount":565,"manualWeight":40,"mainColor":62},214833,"ru-bi-tu-yi-ming-214833","入跸图","这是一幅皇帝扫墓的画，队伍从左到右，沿着水路往回走，战车和卫兵，以及大部分不能坐船的羽林军，沿着岸边行驶。从这幅画的特点和个别地理位置来看，这幅画中的皇帝不是别人，正是明朝的皇帝朱翊钧。明神宗是一位在历史上有很大争议的皇帝，但这幅画还是清楚地表明了明朝当时处于权力的巅峰。",[23,7,24,25,26,27,28,77,82,1602,1603,1604,1605],"车马","仪仗","皇家出行","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f5863d9951f963431189cd4b5e922e.jpg","92.10x3003.6",[36],448,{"id":1611,"slug":1612,"title":1613,"dynasty":46,"author":1567,"museum":195,"description":1614,"tags":1615,"thumbUrl":1617,"material":267,"size":1618,"collection":36,"collections":1619,"showCount":1620,"zanCount":489,"manualWeight":40,"mainColor":41},220358,"xi-yuan-ya-ji-tu-juan-shi-tao-220358","西园雅集图卷","此长图景物繁复。庭园中芳草如茵，劲松盘根虬曲，柳树成荫，石桥流水，曲径通幽，清溪深处翠荫茂密，处处雅静怡人。此图布局严密，繁而不乱，密而不塞。通过作者苦心经营，将诸多不同人物、树木、山石、草木、花木及一些陈设，巧妙地统一在这幅长卷中。全卷结构井然有序，运思精妙，布局停匀。通卷虽不留空白，而疏密有致。\n全图共写人物24人，神态不一，衣着各异，人物组合有疏有密，却与空间的景物浑然一体。人物形象均以墨线勾写，几乎全为白描，设色淡雅，衣纹等看似信笔率意而成，实则深具功力，笔笔送到。人物形象逼真生动，有的造形略有夸张。总体来说，此画用笔淋漓纵率之中显得工致缜密，沉着痛快，墨色浓淡得宜。人物俱用细笔，所谓一种“细笔石涛”，精气逼人。山石、松木、芭蕉等，均在工写之间，形象精到，而又意趣动人。故此画不但是石涛的代表作，更是清代人物画发展中的精品。",[23,7,24,51,25,27,73,28,75,78,79,135,136,1616],"桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f5d3c589f09a558783d6079a9170b7.jpg","纵36.5厘米，横328厘米",[36,90],443,{"id":1622,"slug":1623,"title":1624,"dynasty":114,"author":211,"museum":151,"description":1625,"tags":1626,"thumbUrl":1628,"material":611,"size":1629,"collection":175,"collections":1630,"showCount":1631,"zanCount":416,"manualWeight":40,"mainColor":62},221345,"fu-rong-jin-ji-tu-zhao-ji-221345","芙蓉锦鸡图","作为独立的画科，宋代的花鸟画无论在绘制技巧还是表现形式方面都已经达到高度的艺术水准，《芙蓉锦鸡图》便是其中的一幅精品。此图是描绘金秋景色的花鸟画作。图中芙蓉盛开，随风轻轻颤动，蝴蝶翩跹，相互追逐嬉戏，引得落在枝上的锦鸡回首凝视，目不转睛。本幅右上宋徽宗赵佶以瘦金体题“秋劲拒霜盛，峨冠锦羽鸡。已知全五德，安逸胜凫鹥”，右下书款“宣和殿御制并书”，草押书“天下一人”。鸡在中国向有“德禽”之称，《韩诗外传》载：“鸡有五德：头戴冠者，文也；足搏距者，武也；敌在前，敢斗者，勇也；见食相呼者，仁也；守夜不失者，信也”，可见其文武兼备、仁勇俱存、信守专一的性格为世人所激赏，难怪才艺绝代的一代帝王也会留下“已知全五德，安逸胜凫鹥”的诗句，流露出对安逸高贵之品格的赞许，由此体现了中国花鸟画的人文寓意。\n目前流传于世题为赵佶的作品中，艺术风格呈现出工致细丽与简朴生拙两种迥然有别的面目，工致细丽者如《芙蓉锦鸡图》、《腊梅山禽图》（台北故宫博物院藏）等，简朴生拙者如《柳鸦图》（上海博物馆藏）、《枇杷山鸟图》等。通过笔墨风格的比较分析，徐邦达先生指出前者不是赵佶所作，而是画院画家的作品，后者则为他的亲笔画迹，这一观点为多数艺术史研究者所认同。此外，现存记载南宋宫廷藏画的《南宋馆阁续录》卷三将此画列入与“御画”并列的“御题画”一类，表明《芙蓉锦鸡图》仅仅是由赵佶亲笔题诗的一幅花鸟画，并非其本人绘制。所以说，尽管图上有赵佶的题字，但此图作者却是一位没有留下姓名的画院高手。\n作为中国历史上最为关注艺事、醉心书画的帝王，宋徽宗赵佶在位期间广收名画巨迹，编纂皇家绘画收藏的书画著录——《宣和书谱》与《宣和画谱》，建立翰林图画院并完善其制度，还依据自己的审美观念亲自指导画院画家的学习与创作。关于绘画创作，赵佶在注重对被描绘对象细致入微的再现的同时，还要求画面蕴含诗歌的意境，令人观之有回味无穷的艺术体验，《芙蓉锦鸡图》无疑完美地体现出这位极具艺术修养的皇帝的美学思想。全图所用双钩法线条细劲，不仅花卉枝叶和锦鸡造型准确，芙蓉为锦鸡所压的低垂摇曳之态也能如实体现，加之色彩晕染得层次清晰，浓淡相宜，富丽堂皇中蕴涵端庄典雅的气质，堪称“形神兼备，曲尽其妙”。就构图而言，画幅左侧集中着芙蓉、锦鸡，与右上轻盈飞舞的蝴蝶遥相呼应，使得错综的布局显得密中见疏，揖让有度。以清瘦劲健的笔体写就的诗文和精致艳丽的图画更是互为辉映，相得益彰。",[23,24,7,51,26,27,102,246,1627,200,74],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05bfe5492760fd3a258b75e61f1a62fd.jpg","纵81.5厘米，横53.6厘米",[175,106,90],442,{"id":1633,"slug":1634,"title":1635,"dynasty":293,"author":1636,"museum":395,"description":1637,"tags":1638,"thumbUrl":1639,"material":666,"size":122,"collection":122,"collections":1640,"showCount":1631,"zanCount":40,"manualWeight":40,"mainColor":41},214577,"shan-shui-ce-2-wang-meng-214577","山水册-2","王蒙","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[7,24,51,100,277,73,75,1059,278,648,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff325b98c3fa5098a784a9932e0c4b3b3.jpg",[],{"id":1642,"slug":1643,"title":1644,"dynasty":293,"author":1636,"museum":395,"description":1645,"tags":1646,"thumbUrl":1649,"material":666,"size":1650,"collection":88,"collections":1651,"showCount":1652,"zanCount":530,"manualWeight":40,"mainColor":41},217744,"qiu-lin-mu-ai-tu-wang-meng-217744","秋林暮霭图","远处的山峰高高耸立，山泉从远处汇聚到山脚下，山间的小路崎岖起伏，河滩上人影绰绰。这幅画仍然是王蒙一贯的风格，山水繁复，皴擦繁复，不乱，体现了山林的氤氲，苍茫的景观。",[24,7,51,497,277,73,75,82,1647,81,78,79,278,279,1648,746],"秋林","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06704bae6c4c29291d15f3321cbbf1eb.jpg","85x35cm",[88],438,{"id":1654,"slug":1655,"title":731,"dynasty":46,"author":1656,"museum":20,"description":1657,"tags":1658,"thumbUrl":1659,"material":267,"size":1660,"collection":36,"collections":1661,"showCount":1662,"zanCount":443,"manualWeight":40,"mainColor":41},214713,"sui-chao-tu-jin-ting-biao-214713","金廷标","它描绘了孩子们在梅花盛开的院子里玩耍的情景。根据乾隆对这首诗的题词，这似乎是一个训诫。",[7,24,51,27,26,28,1229,78,755,82,201,198,560,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7359c4847fbcbefede1de57ca93a09.jpg","96x65.9",[36],437,{"id":1664,"slug":1665,"title":1666,"dynasty":18,"author":380,"museum":195,"description":1667,"tags":1668,"thumbUrl":1670,"material":121,"size":1671,"collection":106,"collections":1672,"showCount":1673,"zanCount":11,"manualWeight":40,"mainColor":479},220365,"xue-zhu-tu-xu-xi-220365","雪竹图","描绘江南雪后严寒中的枯木竹石。石后三竿粗竹挺拔苍劲，其旁有弯曲和折断了的竹竿，又有一些细嫩丛杂的小竹参差其间，更觉情趣盎然、生机勃勃。此图无款识。画中大石右侧的竹竿上，有篆书体倒写“此竹价重黄金百两”八字。此画以线条墨色为主，工整精微而写实，构图新颖，层次丰富，为五代的佳作。",[23,18,24,7,51,1669,26,277,53,136,135,1023],"落墨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff22b918bbfe1d12ce62c14f33a7c8f3a.jpg","纵151.1厘米，横99.2厘米",[106],436,{"id":1675,"slug":1676,"title":1677,"dynasty":114,"author":788,"museum":132,"description":1678,"tags":1679,"thumbUrl":1683,"material":317,"size":907,"collection":122,"collections":1684,"showCount":1685,"zanCount":530,"manualWeight":40,"mainColor":62},283686,"du-bei-ke-shi-tu-li-cheng-283686","读碑窠石图","图中残碑上应有小字二行，一书“李成画树石”，一书“王晓补人物”，但现存此图中已无此二行小字，所以一说为摹本。《读碑窠石图》为双拼绢绘制的大幅山水画，表现冬日田野上，一位骑骡的老人正停驻在一座古碑前观看碑文，近处陂陀上 生长着木叶尽脱的寒树。此画取景集中，以枯树、石碑和人物构成画面的主体，颇有荒寒冷寂的气氛。树枝以细线勾勒，再用墨染，枝干皆作“蟹爪”状，纵横交错，有苍劲之感。坡石为侧笔所绘的圆润而少有皴擦的线条构成，此为后世称之的“卷云皴”。枯树与石碑的组合，强化了幽凄惨澹的环境气氛，暗示出对遥远历史中那辉煌繁华往事的追忆。",[7,24,277,75,647,56,28,73,1680,1681,1682],"荒寒","孤寂","读碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1d93dc2ab3cb636e2aed48546013ef.jpg",[],435,{"id":1687,"slug":1688,"title":1689,"dynasty":114,"author":1216,"museum":132,"description":1690,"tags":1691,"thumbUrl":1692,"material":122,"size":122,"collection":122,"collections":1693,"showCount":1694,"zanCount":346,"manualWeight":40,"mainColor":41},227579,"wu-ma-tu-dong-jing-cai-ben-li-gong-lin-227579","五马图（东京彩本）","年初，日本东京国立博物馆举办的“颜真卿：超越王羲之的名笔”特展中，一度被认为毁于二战战火的北宋名画——李公麟所作《五马图》赫然在列，轰动艺术界。\n\n《五马图卷》是李公麟最重要的传世名迹，简约而生动，是宋画高再现性与高表现性的完美结合；上有黄庭坚题跋，曾收藏于南宋内府与乾隆手中，对宋画欣赏与研究极具价值，近一个世纪以来，流传过程也甚为坎坷。",[23,7,24,51,25,510,27,28,215,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc311a3828303adc5d60f6643579ac2af.jpg",[],427,{"id":1696,"slug":1697,"title":1698,"dynasty":114,"author":181,"museum":151,"description":1699,"tags":1700,"thumbUrl":1703,"material":156,"size":1704,"collection":122,"collections":1705,"showCount":1706,"zanCount":530,"manualWeight":40,"mainColor":62},223552,"hai-tang-jia-die-tu-yi-ming-223552","海棠蛱蝶图","画面主题是阳春三月，蛱蝶翩翩起舞于海棠花枝间。画家着重表现海棠在乍起的春风中花枝招展的动感瞬间，花朵偃仰向背，叶片翻卷辗转，枝干呈“S”形的曲张之态；通过描绘有形的花叶，成功地渲染出无形的醉人春风和隽永的春意。\n图中花瓣先以墨笔双勾轮廓线，中锋行笔，线条圆润流畅。然后在花瓣外侧上部略点胭脂红，旋即以清水将色彩晕染开，最后罩上一层白粉，为海棠花亮丽的色调增添了几多妩媚意韵。叶片用工整的双勾填色笔法表现，作者根据叶片受光照程度的不同而填染以石绿、墨赭等颜色，从而充分表露出叶片“清如水碧，洁如霜露”的美感，显示出画家细致的观察力和深厚的写实功底。",[23,7,24,51,26,27,102,1701,1702,74],"海棠","蛱蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7991f6dba711f3f30a45cd512a1f8a61.jpg","纵25厘米，横24.5厘米",[],425,{"id":1708,"slug":1709,"title":1710,"dynasty":18,"author":1405,"museum":20,"description":1711,"tags":1712,"thumbUrl":1717,"material":736,"size":1718,"collection":88,"collections":1719,"showCount":1720,"zanCount":541,"manualWeight":40,"mainColor":62},221156,"long-su-jiao-min-tu-dong-yuan-221156","龙宿郊民图","该图中以两重大山为主体，向画面的纵深走去。左边则是浩渺长江，也向画面的纵深流去，使画面很有深远感。该图在色彩的运用上也别具特色，作者将墨与青绿巧妙地合为一体，墨色和青绿色相得益彰却不相碍。作者用墨笔勾勒渲染后，在坡面峰峦等处略敷青绿，颇有郁郁葱葱，草木繁茂之意。",[23,24,7,51,52,75,27,1713,82,278,663,1012,28,425,746,280,865,1714,1715,217,1716,73],"披麻皴","自然景观","传统技法","南派山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488a9480f5fb0b143be257ea8e941809.jpg","纵156厘米，横160厘米",[88,286],422,{"id":1722,"slug":1723,"title":1724,"dynasty":114,"author":721,"museum":132,"description":1725,"tags":1726,"thumbUrl":1727,"material":217,"size":1728,"collection":175,"collections":1729,"showCount":1730,"zanCount":1065,"manualWeight":40,"mainColor":62},221183,"mei-zhu-tu-ye-2-ma-lin-221183","梅竹图页2","画幅构图空灵简逸，笔墨勾勒韵染逼真，敷彩凸凹清丽雅洁。深绿沉厚的双钩竹叶润染，更凸显出雪白洁净的梅花。寒梅数枝，绿竹穿行，劲挺横斜，偃仰扶疏，笔墨虚实，极具工致灵动之妙。",[23,7,24,51,100,26,27,102,383,53,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f445c4f5d50251bdb395a7dcb9cb889.jpg","26.5×26厘米",[175,106,90],421,{"id":1732,"slug":1733,"title":1127,"dynasty":114,"author":1734,"museum":20,"description":1735,"tags":1736,"thumbUrl":1738,"material":34,"size":1739,"collection":88,"collections":1740,"showCount":1741,"zanCount":541,"manualWeight":40,"mainColor":62},214668,"shan-shui-tu-guo-zhong-shu-214668","郭忠恕","远处，两排大雁在天际尽头飞起；中间，两座山峰对峙，中间，一条河和一个湖缓缓浮现；附近，坡岸上有树木，河岸边隐约可见几座帐篷。湖面开阔而平静，一艘小独木舟，船头有一个渔夫在独自钓鱼，两只苍鹭，一只站在船边，另一只伸出翅膀盘旋，似乎在寻找水下的动静。",[24,7,75,84,80,662,647,1059,79,425,1737,27],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e63ec359e565f04c7e56a4c5ceb37a.jpg","53x72.2",[88],412,{"id":1743,"slug":1744,"title":1745,"dynasty":114,"author":211,"museum":151,"description":1746,"tags":1747,"thumbUrl":1748,"material":156,"size":1749,"collection":175,"collections":1750,"showCount":1751,"zanCount":1065,"manualWeight":40,"mainColor":62},221336,"mei-hua-xiu-yan-tu-ye-zhao-ji-221336","梅花绣眼图页","本幅款识：“御笔”、“天下一人”。钤“御书”朱文葫芦形印一方。鉴藏印钤“阿蒙秘笈”。\n图中梅枝瘦劲，枝上疏花秀蕊，一只绣眼俏立枝头，鸣叫顾盼，与清丽的梅花相映成趣。此图虽然景物不多，却颇为优美动人。所绘梅花为宫梅，经过不断剪枝，人工修饰痕迹较重。此种梅的画法精细纤巧，敷色厚重，自有一种富贵气息，这样的风格趣味为宫廷所好尚，显然代表了皇家的审美意味。",[23,7,24,51,100,26,27,102,383,384,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3454d67dcf054bf343b75f96d35a1c22.jpg","纵24.5厘米，横24.8厘米",[175,106,90],408,{"id":1753,"slug":1754,"title":1755,"dynasty":46,"author":1756,"museum":195,"description":1757,"tags":1758,"thumbUrl":1759,"material":267,"size":1760,"collection":106,"collections":1761,"showCount":1751,"zanCount":489,"manualWeight":40,"mainColor":41},214283,"pi-pa-tu-xu-gu-214283","枇杷图","虚谷","枇杷图是清代画家虚谷的一幅代表作。这幅画作描绘了枇杷树的生长过程。\n\n在这幅画作中，虚谷巧妙地捕捉了枇杷树的生长特征。他用浓墨重彩的画法，勾勒出了枇杷树的树冠和树干。他还用细腻的线条勾勒出了枇杷树的果实，让人感受到了枇杷树的自然韵味。",[23,7,24,51,27,102,277,368,451,340,339,1095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08115f1f5f8532ace747821d30036.jpg","112.5x52",[106],{"id":1763,"slug":1764,"title":1765,"dynasty":67,"author":830,"museum":1031,"description":1766,"tags":1767,"thumbUrl":1768,"material":666,"size":1769,"collection":106,"collections":1770,"showCount":1771,"zanCount":11,"manualWeight":40,"mainColor":41},220099,"shi-er-mo-hua-tu-juan-xu-wei-220099","十二墨花图卷","此卷徐渭充分发挥了其高超的水墨表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。",[23,7,24,51,25,277,74,119,118,383,228,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e6906eeb6ef87e0a0207882c285c054.jpg","全卷32.8cm×544cm",[106],407,{"id":1773,"slug":1774,"title":1775,"dynasty":114,"author":878,"museum":1776,"description":1777,"tags":1778,"thumbUrl":1780,"material":34,"size":1781,"collection":175,"collections":1782,"showCount":1771,"zanCount":11,"manualWeight":40,"mainColor":62},218630,"song-yan-guan-pu-tu-ma-yuan-218630","松岩观瀑图","上海龙美术馆","一个高士酒后半躺在一棵松树下，山上的树干虬结，树枝斜向伸展，长长的、稀疏的树叶自由伸展，在用大笔画渲染的树木和岩石之间，充满了生命力。",[23,7,24,51,75,277,27,28,697,1779,313,79,56,135],"岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a25dcebcb10f5241aac60004e04959.jpg","26.3x24.6",[175],{"id":1784,"slug":1785,"title":1786,"dynasty":114,"author":1787,"museum":1788,"description":1789,"tags":1790,"thumbUrl":1792,"material":666,"size":122,"collection":286,"collections":1793,"showCount":1794,"zanCount":40,"manualWeight":40,"mainColor":41},216945,"liu-shi-tu-mu-xi-216945","六柿图","牧溪","日本京都大德寺龙光院","描绘了六个柿子，一前一后，一排五个。简洁的笔触，独特的墨色，以及随机但不凌乱的一排排柿子，给人留下了简单、朴素、宁静致远的禅意。这是一种简单、朴素、悠远的禅意。",[24,7,51,52,277,368,1791],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f5ac03418f0bd72d3220bc771f9935.jpg",[286],402,{"id":1796,"slug":1797,"title":1798,"dynasty":114,"author":259,"museum":20,"description":1799,"tags":1800,"thumbUrl":1801,"material":34,"size":1802,"collection":106,"collections":1803,"showCount":1804,"zanCount":489,"manualWeight":40,"mainColor":62},219031,"mu-dan-tu-zhao-chang-219031","牡丹图","湖石下的鸢尾花、兰花和灵芝，以及湖石后盛开的牡丹，让人眼前一亮。虽然丝绸已经发黄发旧，但仍有光泽的感觉。",[23,7,24,51,26,27,102,103,339,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8b5880085e0d0be159ea0e1946d21d.jpg","143.5x59.3",[106],397,{"id":1806,"slug":1807,"title":1808,"dynasty":114,"author":878,"museum":395,"description":1809,"tags":1810,"thumbUrl":1811,"material":34,"size":1812,"collection":175,"collections":1813,"showCount":1804,"zanCount":541,"manualWeight":40,"mainColor":41},218077,"song-di-ming-ti-ce-ma-yuan-218077","宋帝命题册","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,7,24,51,100,855,27,73,75,77,609,648,278,82,279,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f18219cdd8de698e8ca906fbb1bca8.jpg","纵28厘米、横27厘米",[175,88],{"id":1815,"slug":1816,"title":1817,"dynasty":114,"author":211,"museum":395,"description":1818,"tags":1819,"thumbUrl":1822,"material":34,"size":122,"collection":106,"collections":1823,"showCount":1804,"zanCount":541,"manualWeight":40,"mainColor":62},216940,"yu-ying-tu-zhao-ji-216940","御鹰图","御鹰图是赵佶的一幅画作。赵佶是宋朝的一位著名的画家，他的画作被认为是中国画的典范，很受人们的喜爱。\n\n御鹰图描绘了一只雄健的鹰，看起来非常壮观。赵佶用细腻的笔法和精湛的技巧描绘了鹰的羽毛，使得整幅画看起来栩栩如生。\n\n赵佶的御鹰图被认为是宋朝画的代表作之一，它的风格独特，表现力强，被认为是宋朝画的典范。它被广泛收藏，并在许多艺术展览中展出。",[7,24,51,26,27,611,52,1820,710,1821],"鹰","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3210a771bedb5e6e81fe9066e3c66e.jpg",[106],{"id":1825,"slug":1826,"title":1827,"dynasty":114,"author":274,"museum":20,"description":1828,"tags":1829,"thumbUrl":1830,"material":121,"size":1831,"collection":88,"collections":1832,"showCount":1833,"zanCount":541,"manualWeight":40,"mainColor":62},214723,"shan-ju-liu-ke-tu-xia-gui-214723","山居留客图","该图像描绘了一块有云的岩石和一座延伸到水面的长桥。在一棵老松树下面，两个老人在森林里的房子里休息和喝酒，一个孩子和一个老妇人在治疗设备，一个仆人在担架上睡觉，一个人拿着一把古筝。这幅画的风格与明代画院的风格接近，怀疑这幅画不是真迹。山石都是用斧头凿出来的，笔法轻柔，通常用侧锋，以获得力道，但细腻和克制的程度有点欠缺，可能是出自明人模仿夏圭的风格。",[24,51,7,52,634,277,73,75,1059,77,78,28,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687bcb8647a4f89cd2f269b229f4d848.jpg","164.7x102.8",[88,36],396,{"id":1835,"slug":1836,"title":1837,"dynasty":114,"author":1838,"museum":132,"description":1839,"tags":1840,"thumbUrl":1841,"material":611,"size":1842,"collection":36,"collections":1843,"showCount":1844,"zanCount":530,"manualWeight":40,"mainColor":62},221325,"chao-yuan-xian-zhang-tu-wu-zong-yuan-221325","朝元仙仗图","武宗元","《朝元仙仗图》为北宋宗教画家 所绘制的一幅绢本白描长卷， 曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。\n画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。\n《朝元仙仗图》描绘的是五方帝君中的东华帝君、南极大帝、扶桑大帝，前往朝谒“主持天界之祖”——元始天尊的队仗行列。\n《朝元仙仗图》中的行列应该是由八十八位神仙组成，但是图中缺了最后一位神仙。\n八十七位神仙共分为四种类型：三位帝君，八名武装神，十名男神仙，六十七名女仙，这些女仙中有玉女，也有金童，但都着女装。\n众仙神态从容衣带随风飘舞，徐徐行进于蜿蜒的廊桥之上。\n队列左端最前由仗剑披甲的天神开路，最右端以甲卒、金刚、神王、力士等殿后，气象雄威；后面是仙官、侍从和乐队，高举旗幡伞盖，手捧美食佳肴，吹奏丝竹管弦；三位帝君，华服盛装，头衬圆光，神态庄重，前后左右是金童玉女，画中各神仙身旁还有长方格，内写该神仙的尊号。\n个个神情娴淑恬淡，沉稳慈祥，俊美动人，衣履装束和发髻头饰，各尽其态；队伍最后又是文武仙官，衣饰容貌也都各有特色，画幅上面云雾飘渺，下方丛生莲花、香蒲，所有神仙列成长队，过桥穿路，浩浩荡荡而来，热闹又庄重，仿佛能听到众神仙衣衫窸窣、环佩相碰之声。\n武宗元的活动时期正值宋真宗赵桓在位（公元997年5月8日－122年月2日）。\n宋真宗崇奉道教，大兴土木建筑道院，在汴京（开封）所建“玉清昭应宫”，凡二千六百一十楹，制度十分宏丽，屋宇稍有不合程式的，就拆掉重盖，夜以继日，七年才完工。\n又作“会灵观”，规模略如玉清昭应宫，以首相王但为“昭应宫使”，次相王曾为“会灵观使”。\n全国各地纷纷盖道观、立官职，把年老退职侍从大臣都授予道教的官衔，给以俸禄。\n在统治者这样如醉如狂地提倡道教的运动中，产生了许多以画道释人物著名的壁画家，专为装饰宫观，《朝元仙仗图》便是武宗元在此时期为玉清昭应宫创作寺观壁画所绘制的小样。\n《朝元仙仗图》中的线条勾勒看起来奔放有力，实则从构图、人物安排、物象聚合到线条组织都显示出“平”和“匀”的特点。\n以主像东华天帝君为例，图中的颈部线条为三根大致平行的圆弧线，距离匀称、平均、平稳，与衣领的关系模糊不清。\n通天冠顶部的一组珠饰的七颗宝珠形象相同，似乎为同一形象之复制，平均分布且排成一条僵硬的直线，图中插入头发中以固定头冠的玉簪导没有传达出物体互为垂直面的意义，而是画成一个含糊的多边形。\n整体画面强调照应，又适当注意变化，先是对于复杂重叠的衣褶采用了“铁线描”的手法勾勒，画中线条严谨、简练、流畅，有的线长达几米。\n线条长垂流畅，飘飘欲举，如有风吹拂，生动地表达队列进行中的动感；而人物的面部和头发的线条又变得柔和，纤柔曼妙，如同游丝，与衣纹的铁线形成对比，既表现了不同质感，又使画面具有丰富的线条美。\n面部表情能用各种不同的线来表现，眉眼特别有神，皱眉肌的变化，以及眼与其他各部的关系处理得准确巧妙，从而使同样严肃的面孔上显示出各种不同的个性。\n该画作整体画面色彩单纯明朗，以石青石绿为主，衣冠宝盖大量运用沥粉贴金，总体色调既灿烂又沉厚。\n该画作中共绘制了身份、等级各不同的八十七位神仙，其中东华帝君、南极大帝头带冕冠，脑后衬以圆光，轮廓丰腴，气质雍容，在队伍中尤其显眼。\n而同为五方帝君之一的扶桑大帝整体则显得较为朴素，但神情庄严、不怒自威。\n护卫的武装神或披甲仗剑，或长袍执戟，有的表情淡漠直视前方，有的怒目圆睁环视四周，形象鲜明。\n而对于人物动态一致、倾向一致，服饰大致相似的仙官，则通过微小的转侧和顾盼加以区分，得到相互之间的呼应。\n整幅作品人物安排参差有致，神采飞动，人物神情各异，构图整齐而不呆板，组织繁复而不杂乱。\n该画作中所塑造的诸神，是现实世界各种英勇、强健、崇高、恢宏、安详、美丽、静淑等人类最美的外形和性格的体现。\n从中可以发现作者在人物塑造上的卓越才能，他通过每一个人物的衣饰动作和表情，表现出各人不同的内在品质。\n再加以仪仗、供品、烟云、花草等的气氛渲染，就构成一个庄严华丽的神仙境界——当时人类想象中的美好境界。\n在构图上作者善于从统一中求其变化，在处理繁复的画面时又能做到协调而不杂乱。\n准确而生动的用笔，富于节奏感的线条，随心所欲地把作者想要表达的美感表达了出来。\n这都是这幅作品的成功所在。\n《朝元仙仗图》称得上是线条运用达到登峰造极的代表作之一 ，这样的白描作品一直是历代人物画家学习的范本，无论是线条勾勒的技法，人物的造型特征，衣纹穿插的规律还是人物组织构图的方法，无处不值得人们在自己的创作中借鉴应用。\n远至宋代白描大家李公麟、元代的赵孟頫、明代的陈洪绶、清代的任伯年等，在他们的作品中都能找到《朝元仙仗图》的痕迹，流传至今的元代永乐宫壁画更是对《朝元仙仗图》的直接传承。\n当代人物画家更是把该图作为学习传统人物画的必修课，诸多优秀的工笔画家如李少文、何家英、高云、戴敦邦等的作品以及画家李伯安的作品巨幅长卷《 》在创作时也深受《朝元仙仗图》的启发，特别是众多人物排列行进的场面与《朝元仙仗图》更是如出一辙。\n两宋之际，《朝元仙仗图》归翟妆文收藏。\n翟汝文之后《朝元仙仗图》归张氏收藏，张氏名字的最后一字很难释读，故其事迹不可知。\n元代时期，《朝元仙仗图》归张君锡收藏。\n张君锡之后，《朝元仙仗图》转归杭人崔氏。\n明清时代《朝元仙仗图》数百年流藏于广东境内，曾藏于广东顺德卢氏。\n民国时期，《朝元仙仗图》流入市肆，为“颍川飞凫人”所得。\n不久之后，《朝元仙仗图》归广东收藏家罗原觉收藏，之后罗原觉将此画卖给李尚铭。\n李氏又将其抵押他人，后来于七七事件之前流往日本。\n建国之后，2世纪5年代《朝元仙仗图》被美国人候时泰买去，之后归王季迁收藏。\n25年，《朝元仙仗图》被王季迁后人托管于上海一家银行的保险箱，29年发现其真迹已被人掉包，至今下落不明。\n武宗元（公元994年—15年），初名宗道，字总之，河南白坡（今河南孟津）人，北宋时期画家。\n他家世业儒，以荫得太庙斋郎，官至虞曹外郎，宋真宗景德年间，建玉清昭应宫，征全国画师三千多人，选中者百余人，武宗元名列第一。\n中选百人分二部，宗元为左部之长。\n擅画道释人物，17岁时画洛阳北邙山上清宫壁画，被世人评为“惊绝”，也曾为开封、洛阳各寺观作大量壁画，史称他的作品“神彩活动如草书”。\n其作品中仅有《朝元仙仗图》流传后世。",[23,7,24,51,25,510,678,28,77,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7f35285bd62db636c782a85c5fb9d.jpg","纵44.3cm，横580cm",[36,286],395,{"id":1846,"slug":1847,"title":1848,"dynasty":293,"author":1534,"museum":151,"description":1849,"tags":1850,"thumbUrl":1851,"material":666,"size":1852,"collection":106,"collections":1853,"showCount":1854,"zanCount":541,"manualWeight":40,"mainColor":41},214583,"si-qing-tu-li-kan-214583","四清图","它原本是一个长卷，但在明朝中期被分成了两卷。此副是故宫博物院的部分，即后卷。兰、竹、石、梧被称为四清，比喻君子的高贵品格。虽然枝叶茂密，但笔触优雅简洁，墨色自然多变。",[23,7,24,51,25,277,119,74,26,73,53,136,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3499d343c9e9aef13f39fb8034bcc7.jpg","35.6x359.8",[106],394,{"id":1856,"slug":1857,"title":1858,"dynasty":67,"author":68,"museum":20,"description":1859,"tags":1860,"thumbUrl":1862,"material":267,"size":1863,"collection":36,"collections":1864,"showCount":1865,"zanCount":530,"manualWeight":40,"mainColor":41},219374,"guan-shi-yin-pu-sa-chou-ying-219374","观世音菩萨","“观音大师踩一朵青色莲花，捧一柳，一盏水杯，从云端而来。他头上的皇冠离开了梨花佛的位置，但他没有画佛像，说明此作 这幅画卷的色彩明快、纯洁、淡雅，除了用细致的线条勾勒出轮廓外，脸部、手部和衣服也被晕染，表现出立体的效果。虽然有秋影（ 约1494-1552年）画中不过，这支卷轴笔和秋影的笔触与描绘的精细度，还是有相当大的差距，应该是后人冒用秋影之名的作品。",[7,24,51,52,678,28,26,27,473,74,1861],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7abb1842c0f8a808d878fbae1f0f0b1.jpg","纵104.2横52.5厘米",[36,90],393,{"id":1867,"slug":1868,"title":1869,"dynasty":46,"author":131,"museum":395,"description":1870,"tags":1871,"thumbUrl":1872,"material":267,"size":1873,"collection":106,"collections":1874,"showCount":1875,"zanCount":346,"manualWeight":40,"mainColor":62},219131,"xi-que-shuang-xi-tu-shen-quan-219131","喜鹊双喜图","虬枝盘曲间，梅蕊初绽如雪，几点淡红晕染枝头，似早春私语。一只喜鹊翘尾立于枝上，羽色浓淡相宜，墨羽如缎，白腹似雪，喙尖微抬，似欲鸣春；另一只栖于老干，回眸相顾，长尾垂落如墨线，与枝干的苍劲相映成趣。旁侧新竹数竿，青影摇曳，添几分生机。工笔细描见匠心，枝干皴擦显古拙，花瓣晕染含雅致，禽鸟神态毕肖。动静之间，春意流转，喜意暗生。整幅画韵致清和，既有自然野趣，又藏吉祥寓意，尽显传统花鸟之雅韵，观之令人心生愉悦。",[23,7,24,51,52,26,27,102,383,53,84,710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe247e4c33f78d42b4640f989a2d41eb8.jpg","131x53.5cm",[106],391,{"id":1877,"slug":1878,"title":1879,"dynasty":114,"author":211,"museum":395,"description":1880,"tags":1881,"thumbUrl":1884,"material":34,"size":1885,"collection":106,"collections":1886,"showCount":1887,"zanCount":530,"manualWeight":40,"mainColor":62},218932,"you-hua-xiao-qin-tu-zhao-ji-218932","幽花小禽图","古绢底色如浸了岁月的茶褐，晕开一层幽淡气息。三丛菊花攒聚枝头，瓣瓣纤柔层叠，白蕊间泛着浅金，似把秋阳的暖融凝在花芯。枝叶以墨绿勾染，脉络纤细如丝，笔致细腻入微。一只小禽栖于枝侧，羽色褐棕相间，喙尖轻垂，仿佛正凝睇花叶，又似在聆听风过叶隙的轻响。鸟的灵动与花的静婉相映成趣，于静谧中暗涌着鲜活生机。整幅画工细却不板滞，色彩古雅而含清润，将宋人的审美意趣藏于方寸间——于细微处见天地，于幽花间蕴生机。",[7,24,51,26,27,102,1882,1883,74],"菊","禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5909a4d473eb21332f4d99779aadd870.jpg","22.5x26.6cm",[106],389,{"id":1889,"slug":1890,"title":1891,"dynasty":1104,"author":1892,"museum":20,"description":1893,"tags":1894,"thumbUrl":1895,"material":283,"size":1896,"collection":123,"collections":1897,"showCount":1899,"zanCount":416,"manualWeight":40,"mainColor":41},221032,"kuai-xue-shi-qing-tie-wang-xi-zhi-221032","快雪时晴帖","王羲之","《快雪时晴帖》共全文4行，28字。它是作为一封信札写就的，其内容是作者在大雪初晴时以愉快心情对亲朋友人的问候。其中或行或楷，或流而止，或止而流，富有独特的节奏韵律。其笔法圆劲古雅，无一笔掉以轻心，无一字不表现出意致的悠闲逸豫。即使偶尔重心忽左忽右，全局依然匀整安稳，不失平衡的美感。",[23,7,24,51,25,74,119,118,1580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c8116be7345d164d7d629112cd78e6.jpg","纵23cm，横14.8cm",[123,1898],"碑帖精选",387,{"id":1901,"slug":1902,"title":1903,"dynasty":293,"author":1636,"museum":151,"description":1904,"tags":1905,"thumbUrl":1908,"material":342,"size":1909,"collection":88,"collections":1910,"showCount":1911,"zanCount":541,"manualWeight":40,"mainColor":41},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[23,7,24,51,52,27,73,75,28,215,1906,78,79,609,281,1907,559,74],"牛","山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纵139厘米，横58厘米",[88,90],385,{"id":1913,"slug":1914,"title":1915,"dynasty":18,"author":1323,"museum":20,"description":1916,"tags":1917,"thumbUrl":1918,"material":34,"size":1919,"collection":88,"collections":1920,"showCount":1911,"zanCount":1065,"manualWeight":40,"mainColor":62},219910,"qiu-shan-wen-dao-tu-ju-ran-219910","秋山问道图","《秋山问道图》是一幅秋景山水画，以立幅构图画重重叠起的山峦，下部清澈的溪水，曲折的小路通向山中，山坳处茅舍数间，屋中有二人对坐，境界清幽。",[23,24,7,277,73,52,75,297,135,201,1648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4122bb46b9b23056909f68c43afe04b.jpg","横77.2厘米，纵165.2厘米",[88],{"id":1922,"slug":1923,"title":1924,"dynasty":114,"author":788,"museum":212,"description":1925,"tags":1926,"thumbUrl":1928,"material":34,"size":1929,"collection":106,"collections":1930,"showCount":1911,"zanCount":11,"manualWeight":40,"mainColor":62},216925,"han-ya-tu-li-cheng-216925","寒鸦图","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[23,7,24,51,25,277,73,647,1059,84,1927,1357,75,56,74,118,119],"寒鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 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《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,7,1455,26,27,2090,2091,246,2092,278,2093,2094],"黄莺","野鸭","杜鹃","水岸","夏季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f39703be94e381648560a821fb184e.jpg","176.0×100.8",[106,90],358,{"id":2100,"slug":2101,"title":2102,"dynasty":114,"author":2103,"museum":20,"description":2104,"tags":2105,"thumbUrl":2108,"material":736,"size":2109,"collection":175,"collections":2110,"showCount":2098,"zanCount":489,"manualWeight":40,"mainColor":62},221443,"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","崔白","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[23,24,7,51,52,26,27,102,472,2106,84,647,890,2107],"兔","土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","纵193.7厘米、横103.4厘米",[175,106,90],{"id":2112,"slug":2113,"title":2114,"dynasty":114,"author":211,"museum":132,"description":2115,"tags":2116,"thumbUrl":2117,"material":317,"size":907,"collection":122,"collections":2118,"showCount":2119,"zanCount":541,"manualWeight":40,"mainColor":62},289007,"mo-zhang-xuan-guo-guo-fu-ren-you-chun-tu-zhao-ji-289007","摹张萱虢国夫人游春图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,7,24,25,27,28,215,29,26,154,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb526d78da24aa77a7005eb850f4b55.jpg",[],352,{"id":2121,"slug":2122,"title":2123,"dynasty":114,"author":2124,"museum":20,"description":2125,"tags":2126,"thumbUrl":2131,"material":34,"size":2132,"collection":106,"collections":2133,"showCount":2134,"zanCount":11,"manualWeight":40,"mainColor":62},219395,"hua-niao-zhou-xiao-rong-219395","花鸟轴","萧瀜","旧传为十一世纪辽画家萧瀜所作，但构图与北京故宫所藏吕纪〈桂菊山禽〉类似。加之在右幅石块上发现一「四明吕廷振印」之残印，推论此幅作品可能实为吕纪作品。图中描绘三只山鹧鸟俯盼于激流旁的岩石。上方舞动的竹叶的竹干，与下方的流水、及石上与空中鹊鸟的动向相互应和，形成一种吕纪花鸟特有的优雅却又互动频繁的构图。其中山鹧俗称拖尾练，常被误认为绶带鸟，而其中「绶」与「寿」谐音，而「竹」与「祝」谐音，用以表现祝寿之吉祥意。",[23,7,24,102,52,27,53,79,281,84,2127,2128,198,2129,2130],"山鹧","鹊鸟","祝寿","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f2fe32238fe90f0171dc8b50979108.jpg","145x83",[106],350,{"id":2136,"slug":2137,"title":2138,"dynasty":114,"author":777,"museum":1031,"description":2139,"tags":2140,"thumbUrl":2141,"material":277,"size":122,"collection":123,"collections":2142,"showCount":2143,"zanCount":11,"manualWeight":40,"mainColor":62},218610,"mo-zhu-tu-juan-mi-fei-ti-ba-su-shi-218610","墨竹图卷-米芾题跋","墨痕游走间，米芾“刷字”之韵跃然纸上。笔锋如剑戟横空，又似流云舒卷，欹侧相生的结体里，藏着跌宕起伏的节奏。浓墨沉雄如坠石，枯笔筋骨毕露若老树，干湿浓淡交织成流动的韵律。每一字皆为跃动的精灵，或大或小，或疏或密，章法气脉连贯如一气呵成。题跋中既有对苏轼墨竹的叹赏，更融入米芾自身的文人风骨——狂放不失雅致，洒脱暗藏匠心。观之如临溪听涛，酣畅淋漓，尽显宋人文艺的灵动与深邃，堪称书坛不朽之佳作。",[23,7,24,51,25,277,53,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751deaf605e5b1cdc4090029dc752a6a.jpg",[123],348,{"id":2145,"slug":2146,"title":2147,"dynasty":46,"author":181,"museum":20,"description":2148,"tags":2149,"thumbUrl":2154,"material":34,"size":2155,"collection":88,"collections":2156,"showCount":2157,"zanCount":40,"manualWeight":40,"mainColor":62},218493,"fang-zhao-meng-fu-que-hua-qiu-se-tu-yi-ming-218493","仿赵孟頫鹊华秋色图","平野旷远，秋气澹然。疏林错落于汀渚间，枯藤缀红，苍松凝翠，枝桠横斜藏萧瑟之韵；浅滩细草萋萋，水鸟翩跹，添野趣几分。左畔圆丘如覆，右峰尖峭似锥，淡墨晕染出层峦之态，远岫含烟，空蒙悠远。笔墨承古意，设色雅淡，将秋郊的旷疏与静谧凝于绢素。画面空灵澄澈，无喧嚣之扰，尽显宋元山水的悠然之境，似可闻风过林梢、水鸟轻啼，令人心驰神往。",[23,24,51,7,25,154,27,73,75,82,2150,2151,2152,2153,647],"平野","芦苇","孤山","红叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76414e091a2fe78c9e55723e023ebb19.jpg","28.7x146cm",[88],346,{"id":2159,"slug":2160,"title":2161,"dynasty":674,"author":181,"museum":20,"description":2162,"tags":2163,"thumbUrl":2164,"material":34,"size":2165,"collection":36,"collections":2166,"showCount":2167,"zanCount":416,"manualWeight":40,"mainColor":62},223394,"tang-ren-gong-le-tu-zhou-yi-ming-223394","唐人宫乐图轴","图描写後宫嫔妃十人，围坐於一张巨型的方桌四周，有的品茗，也有的在行酒令。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。旁立的二名侍女中，还有一人轻敲牙板，为她们打著节拍。从每个人脸上陶醉的表情来推想，席间的乐声理应十分优美，因为连蜷在桌底下的小狗，都未被惊扰到！\n这件作品并没有画家的款印，原本的签题标为「元人宫乐图」。仔细观察画中人物的发式，有的发髻梳向一侧，是为「坠马髻」，有的把发髻向两边梳开，在耳朵旁束成球形的「垂髻」，有的则头戴「花冠」，凡此，都符合唐代女性的装束。另外，绷竹席的长方案、腰子状的月牙几子、饮酒用的羽觞，还有琵琶横持，并以手持拨子的方式来弹奏等，亦在在与晚唐的时尚相侔。所以，现在画名已改定成「唐人宫乐图」画题《韩干呈马图》",[23,7,24,51,52,26,27,28,29,31,32,812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb907e859af37c3582daa5bb82bd4794.jpg","48.7x69.5",[36],342,{"id":2169,"slug":2170,"title":2171,"dynasty":46,"author":2172,"museum":195,"description":2173,"tags":2174,"thumbUrl":2175,"material":267,"size":2176,"collection":88,"collections":2177,"showCount":2167,"zanCount":489,"manualWeight":40,"mainColor":41},214612,"shan-shui-san-ye-wang-jian-214612","山水散页","王鉴","王鉴（1598-1677），明末清初画家。字玄照，后改字元照、圆照、元炤，号湘碧，自称染香庵主，江苏太仓人。王世贞孙。与王时敏为子侄行，因年岁相若，互相砥砺。家藏名迹亦相埒。工画山水，受董其昌影响，追踵董源、巨然，多拟仿宋元诸家，善于青绿设色，皴染兼长。风格华润，纤不伤雅，但较平实。当时和王时敏被推为画坛领袖。后人把他与王时敏、王翚、王原祁合称“四王”，加吴历、恽寿平亦称“清六家”。",[24,7,51,27,72,73,75,297,298,135,279,278,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879022b3487ec1ad455bfe24af31707a.jpg","纵34.8厘米，横29.9厘米",[88],{"id":2179,"slug":2180,"title":2181,"dynasty":67,"author":619,"museum":132,"description":2182,"tags":2183,"thumbUrl":2184,"material":1061,"size":122,"collection":122,"collections":2185,"showCount":2186,"zanCount":541,"manualWeight":40,"mainColor":41},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[23,7,24,51,25,277,27,75,79,81,28,80,278,73,53,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg",[],341,{"id":2188,"slug":2189,"title":2190,"dynasty":67,"author":619,"museum":20,"description":1057,"tags":2191,"thumbUrl":2192,"material":250,"size":2193,"collection":106,"collections":2194,"showCount":2186,"zanCount":541,"manualWeight":40,"mainColor":41},222106,"yu-lan-shen-zhou-222106","玉兰",[23,7,24,51,100,277,27,2190,1059,74,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968bf12a3ae80ff7ce65c5d988345a5e.jpg","34.8×56.5厘米",[106,90],{"id":2196,"slug":2197,"title":2198,"dynasty":67,"author":619,"museum":132,"description":2199,"tags":2200,"thumbUrl":2201,"material":317,"size":907,"collection":122,"collections":2202,"showCount":2203,"zanCount":541,"manualWeight":40,"mainColor":62},287403,"qing-lv-shan-shui-tu-zhou-shen-zhou-287403","青绿山水图轴","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,7,24,52,72,27,75,78,79,1059,278,28,315,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff872528bc3534a2d31e5560b7703b289.jpg",[],340,{"id":2205,"slug":2206,"title":2207,"dynasty":46,"author":97,"museum":132,"description":2208,"tags":2209,"thumbUrl":2211,"material":122,"size":2212,"collection":122,"collections":2213,"showCount":2203,"zanCount":489,"manualWeight":40,"mainColor":41},233896,"hua-hui-ce-yun-shou-ping-233896","花卉册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,51,7,100,27,101,102,2210,355,74,118,119],"绣球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de138b415462f9c2198e7b482bf75a8.jpg","纵32.5厘米，横25.5厘米",[],{"id":2215,"slug":2216,"title":2217,"dynasty":67,"author":2218,"museum":20,"description":2219,"tags":2220,"thumbUrl":2222,"material":611,"size":2223,"collection":88,"collections":2224,"showCount":2203,"zanCount":40,"manualWeight":40,"mainColor":62},222033,"chun-han-tu-dai-jin-222033","春酣图","戴进","《春酣图》纵长近三公尺，是传世戴进作品当中，尺幅最大的一件立轴。但是从叙事性、构图或是笔墨特征来判断，此画可能不是戴进的真迹，而应该是活动于正德到嘉靖年间之浙派画家郑文林。图中描绘春日祭祀村民醉酒而归之景。画中主山一分为二高耸入云，在此主山堂堂气势磅礡看似严肃的大山水下，画家以松树和蜿蜒的山径切割成的各个小画面空间中展现一组组人间戏剧，彼此之间眼神与动作，互动频繁多样，有一种充满俚俗的市井趣味。",[23,24,7,75,27,73,28,609,78,79,80,1059,2221,278,279,1525,662],"春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790bef21f3bd884f29002f2c7fcfc15.jpg","纵291.3cm，横171.5cm",[88,90],{"id":2226,"slug":2227,"title":2228,"dynasty":114,"author":460,"museum":20,"description":2229,"tags":2230,"thumbUrl":2231,"material":2232,"size":2233,"collection":122,"collections":2234,"showCount":2235,"zanCount":1065,"manualWeight":40,"mainColor":62},231408,"zao-chun-tu-guo-xi-231408","早春图","《早春图》采全景式构图，上下留有天地，远、中、近景则巧妙地布置于“十字形”架构内。\n主山画于中轴上方，山石先以圆笔勾勒轮廓，中锋、侧锋并用，再于阴暗面以湿笔皴擦，层层淡墨反复地渲染，强化量体感，这种技法俗称“云头皴”、“卷云皴”、“乱云皴”或“鬼面皴”，能真实反映沉积岩地貌，也可使画面产生如云雾般变幻的效果，很适合描写初春乍暖还寒，淡冶如笑的山野景象。山腰部分则隐于烟岚中，如临深山幽壑，更显主峰雄伟气势，是为“高远”。\n树丛委以虚、实来营造前后距离，腰间右侧的亭台楼阁，此时环伺于水墨山水中，其下山涧瀑布流泉，与左侧缓坡谷地融雪化成的涓涓源水，蜿蜒地流向前方的江湾，显示水流绵长及山坳纵深。而中景左方是一片旷野河谷，虚渺的远山咫尺千里，是为“平远”，其间一行旅人正从曲涧栈道一端越过小桥，欲达彼岸。而观画者正是透过“S 形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[23,24,7,51,52,277,27,73,75,425,281,82,79,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨","纵158.3公分，横108.1公分",[],338,{"id":2237,"slug":2238,"title":2239,"dynasty":67,"author":830,"museum":151,"description":2240,"tags":2241,"thumbUrl":2244,"material":250,"size":2245,"collection":36,"collections":2246,"showCount":2247,"zanCount":11,"manualWeight":40,"mainColor":41},222239,"huang-jia-tu-zhou-xu-wei-222239","黄甲图轴","该图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n画上自题诗曰：“兀然有物气豪粗，莫问年来珠有无。养就孤标人不识，时来黄甲独传胪。”诗意幽默。这幅画也有在讽刺进士甲科的意味，是藉着螃蟹粗鲁横行的形象，来嘲讽那些胸无点墨、世人不耻，但却能依靠关系或金钱金榜题名的人。\n图中的水墨加入了适量的胶，以避免水墨渗散，恰是此图的特色所在。图中以墨色画荷叶，画蟹则寥寥数笔，看似草草为之，实则浓、淡、枯、湿、勾、抹、点多种笔法参用，形状虽夸张，却饶有笔情墨趣。徐渭用奔放的笔墨勾画出螃蟹爬行的姿态以及荷叶疏落的秋天气氛。螃蟹的造型虽然简单，但却是许多笔法一起用才画出来的，不管是形状、质感甚至神态都相当生动。",[23,7,24,51,52,277,2242,102,398,2243,74,118,119],"大写意","螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ca3a19b3c408805bb700eca1b9e478.jpg","114.6cm x 29.7cm",[36,286],336,{"id":2249,"slug":2250,"title":2251,"dynasty":46,"author":2252,"museum":166,"description":2253,"tags":2254,"thumbUrl":2260,"material":34,"size":122,"collection":36,"collections":2261,"showCount":2247,"zanCount":346,"manualWeight":40,"mainColor":41},218432,"wan-guo-lai-chao-ban-hua-wang-jun-fu-218432","万国来朝版画","王君甫","祥云缭绕的宫殿之下，万国使者簇拥而至，构成喧腾热闹的朝贺图景。不同服饰的人物或携奇珍、或奏乐舞，神态各异却皆含恭谨；瑞兽与祥云交织，添几分祥瑞之气。线条工细流畅，设色明艳雅致，凝清代外交盛况于一纸。画面层次丰富而错落有致，人物繁而不乱，每处细节——使者的异域衣冠、手中珍玩器物，皆藏对盛世的期许与民间巧思。这幅图景不仅描摹外邦来朝盛景，更折射当时大国气象与文化自信，尽显传统版画的精湛技艺与深厚底蕴，让往昔荣光在纸间流转生辉。",[23,7,24,2255,2256,27,26,855,28,77,2042,2257,84,1603,1167,684,2258,2259],"版画","木刻","车驾","异兽","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351671075a325173ad4852fd1aab53ec.jpg",[36],{"id":2263,"slug":2264,"title":2265,"dynasty":114,"author":1160,"museum":20,"description":2266,"tags":2267,"thumbUrl":2268,"material":34,"size":2269,"collection":36,"collections":2270,"showCount":2247,"zanCount":703,"manualWeight":40,"mainColor":62},215045,"tian-nv-xian-hua-tu-liu-song-nian-215045","天女献花图","本幅为「名绘集珍」册第十二幅，绘一菩萨身披璎珞，坐于华座之上，旁立比丘三人，均神情专注地看着文殊菩萨座前的天女与舍利弗。天女左手捧花盘，二指捻花，转身回首，比丘则双唇微启，二人似在对话，人物神情生动。此作原来可能为「维摩演教卷」的一部份，但因后半残损，重裱时，遂将其改为册页形式。",[23,7,24,51,678,28,26,27,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d05d689ac3a90b6dfe91a9190be229.jpg","26.6x51.4cm",[36],{"id":2272,"slug":2273,"title":2274,"dynasty":46,"author":2275,"museum":260,"description":2276,"tags":2277,"thumbUrl":2280,"material":122,"size":122,"collection":88,"collections":2281,"showCount":2282,"zanCount":1065,"manualWeight":40,"mainColor":41},222627,"shui-mo-shan-shui-gong-xian-222627","水墨山水","龚贤","这组作品画风浑厚沉郁，秀气灵动。作者采用积墨法，用润墨一点点积累。墨色中留有空间，使画面极富层次感。独特的构图更是带给读者耳目一新的感觉。龚贤，明末清初著名画家，金陵八大家之一，早年曾参加复社活动，明末战乱时漂泊流离，生活清苦。他工诗文，善行草，著有《香草堂集》。",[23,7,24,51,277,75,2278,425,82,81,281,2279],"积墨法","层次感","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35053c93def9c553bcb519e4e19a558e.jpg",[88,286],335,{"id":2284,"slug":2285,"title":2286,"dynasty":114,"author":181,"museum":132,"description":2287,"tags":2288,"thumbUrl":2293,"material":122,"size":122,"collection":106,"collections":2294,"showCount":2295,"zanCount":346,"manualWeight":40,"mainColor":62},223631,"lian-chi-shui-qin-tu-zhou-dui-zhou-yi-ming-223631","莲池水禽图轴对轴","此作设色清雅古拙，将夏末荷塘景致凝于绢素。粉荷或粲然盛放，或半含待绽，圆阔荷叶交错叠覆，枯荣相携，细茎缀着淡粉小花，晕开幽柔生机。\n\n两只白鹭一动一静，振翅者俯身掠空，尖喙直指水面，将俯冲的凌厉之势藏于翩然羽翼间；引颈者独立浅泽，昂首似作长鸣，意态娴静悠然。\n\n画笔工致写实，花叶勾勒细腻，禽鸟晕染层次丰盈，古雅的矿物色历经岁时依旧温润。静塘藏动意，野趣暗生，把江南水泽的澹澹诗意晕开在古绢之上，尽显清寂悠然的雅致意趣。",[23,7,24,51,52,27,26,634,398,399,2289,2290,2291,84,2292],"莲","水禽","鹭","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab72c6cd475fe4f0cd76844911ed7c4.jpg",[106],334,{"id":2297,"slug":2298,"title":2299,"dynasty":114,"author":181,"museum":48,"description":2300,"tags":2301,"thumbUrl":2302,"material":666,"size":2303,"collection":36,"collections":2304,"showCount":2305,"zanCount":530,"manualWeight":40,"mainColor":41},214982,"dao-zi-mo-bao-ren-wu-bai-miao-hua-yi-ming-214982","道子墨宝人物白描画","《道子墨宝》原作是一套古代民间画工制作道教壁画的白描画稿。画稿分三部分，第一部分描绘的是诸神朝谒；第二部分是阴曹地府中审判“罪犯”的景象，既所谓的“地狱变相图”；第三部分为搜山图。画稿伪托唐代画圣吴道子作，但从画稿的内容和画中人物的服饰等细节可以断定它不可能是唐代的作品。这套册页原无题，多达五十开的册页，每幅原作右上部位都有用白粉写的简化字符编号，表示一至五十，显然是民间画师用的稿本。",[23,24,51,7,510,855,28,77,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe874f90d9aa8cd68cb8fc118529bd192.jpg","34.2*38.4",[36],332,{"id":2307,"slug":2308,"title":2309,"dynasty":46,"author":2310,"museum":20,"description":2311,"tags":2312,"thumbUrl":2313,"material":34,"size":122,"collection":90,"collections":2314,"showCount":2315,"zanCount":346,"manualWeight":40,"mainColor":41},218501,"fang-song-yuan-ben-jin-ling-tu-xie-sui-218501","仿宋院本金陵图","谢遂","本卷描绘了金陵城的城市和村庄的商店和街景，以及市场上的人们，细节丰富，气氛热烈。笔触非常准确，人物形象也很生动。根据作者在画板上的标记，这幅画完成于乾隆五十二年（公元1787年）。 在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[23,7,24,51,25,26,27,154,28,77,78,79,82,1906,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[90],329,{"id":2317,"slug":2318,"title":2319,"dynasty":46,"author":97,"museum":570,"description":571,"tags":2320,"thumbUrl":2321,"material":575,"size":576,"collection":106,"collections":2322,"showCount":2323,"zanCount":489,"manualWeight":40,"mainColor":41},220999,"hua-hui-tu-ce-sui-han-san-you-tu-yun-shou-ping-220999","花卉图册·岁寒三友图",[23,24,7,51,100,101,27,102,697,53,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29a40cff960843c68f7263ecdb0bd8e.jpg",[106,90],326,{"id":2325,"slug":2326,"title":2327,"dynasty":1104,"author":1892,"museum":132,"description":2328,"tags":2329,"thumbUrl":2330,"material":317,"size":907,"collection":122,"collections":2331,"showCount":2332,"zanCount":530,"manualWeight":40,"mainColor":41},283697,"feng-cheng-su-mo-lan-ting-xu-quan-juan-shen-long-ben-wang-xi-zhi-283697","冯承素摹兰亭序全卷（神龙本）","王羲之（303年—361年），字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称钟王，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”",[23,7,51,118,25,119,154,1580,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26cdba5ef638e960a7c1fa4d917fa25.jpg",[],320,{"id":2334,"slug":2335,"title":1798,"dynasty":46,"author":2336,"museum":132,"description":2337,"tags":2338,"thumbUrl":2339,"material":27,"size":122,"collection":106,"collections":2340,"showCount":2332,"zanCount":1065,"manualWeight":40,"mainColor":2341},224225,"mu-dan-tu-wu-chang-shuo-224225","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,7,24,51,52,27,277,102,103,119,74,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324477af74ed2e0e3b9bd525ad134c3.jpg",[106,90],"FFFFFF",{"id":2343,"slug":2344,"title":2345,"dynasty":114,"author":181,"museum":195,"description":2346,"tags":2347,"thumbUrl":2349,"material":34,"size":2350,"collection":106,"collections":2351,"showCount":2332,"zanCount":416,"manualWeight":40,"mainColor":62},218540,"shu-kui-tu-yi-ming-218540","蜀葵图","这幅画描绘的是两枝蜀葵，枝头花开，粉红色和红色的花瓣清新娇艳，绿色的茎叶茂盛繁多。描绘细致工整，色彩丰富，墨线几乎看不到，着色漂亮，把花开的样子表现得淋漓尽致，令人陶醉。",[24,51,7,768,27,26,102,2348,263,355],"蜀葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409cefad89ff6783fe33bcc0e3b49c14.jpg","21.5x22.9cm",[106],{"id":2353,"slug":2354,"title":2355,"dynasty":114,"author":1216,"museum":20,"description":2356,"tags":2357,"thumbUrl":2360,"material":666,"size":2361,"collection":88,"collections":2362,"showCount":2363,"zanCount":1065,"manualWeight":40,"mainColor":41},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[23,24,7,25,510,26,277,75,278,82,313,28,2358,78,79,2359,280,281],"洞穴","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg","28.9x364.6",[88],318,{"id":2365,"slug":2366,"title":2367,"dynasty":293,"author":1636,"museum":395,"description":1637,"tags":2368,"thumbUrl":2369,"material":666,"size":122,"collection":122,"collections":2370,"showCount":2371,"zanCount":40,"manualWeight":40,"mainColor":41},214576,"shan-shui-ce-3-wang-meng-214576","山水册-3",[7,24,277,73,100,75,82,1906,79,1997,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ef6f289b0869c501494295442e78b88.jpg",[],317,{"id":2373,"slug":2374,"title":2375,"dynasty":114,"author":310,"museum":166,"description":2376,"tags":2377,"thumbUrl":2378,"material":34,"size":2379,"collection":175,"collections":2380,"showCount":2381,"zanCount":1065,"manualWeight":40,"mainColor":62},220073,"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,7,24,51,25,75,1357,73,277,27,297,136,135,647,609,1023,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422",[175,88],315,{"id":2383,"slug":2384,"title":2385,"dynasty":46,"author":494,"museum":151,"description":2386,"tags":2387,"thumbUrl":2389,"material":666,"size":2390,"collection":106,"collections":2391,"showCount":2392,"zanCount":530,"manualWeight":40,"mainColor":41},214364,"duan-wu-tu-zhou-wang-shi-min-214364","端午图轴","墨笔点染的花草疏密有致，剑形菖蒲叶挺拔劲健，似携端午驱邪的古意；蜀葵叶片浓淡相宜，花瓣柔婉舒展；百合与细碎小花点缀其间，姿态娇俏。线条勾勒细腻传神，枝叶脉络清晰可见，墨色层次丰富，从浓墨到浅灰过渡自然。文人意趣融于一花一叶，素净中透出盎然生机，淡雅间藏着温润诗意。无艳色却自具清幽之美，尽显传统花卉画的雅致情韵与端午时节的独特氛围，让人于素纸上感受到自然的生机与文化的绵长。",[23,7,24,51,52,277,27,102,26,1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工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[23,7,24,51,52,26,27,102,2399,1882,84,56,1821,198,710],"桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[106,90],312,{"id":2406,"slug":2407,"title":2408,"dynasty":114,"author":721,"museum":1417,"description":2409,"tags":2410,"thumbUrl":2412,"material":217,"size":2413,"collection":175,"collections":2414,"showCount":2415,"zanCount":11,"manualWeight":40,"mainColor":62},221184,"mei-hua-shuang-que-tu-ma-lin-221184","梅花双雀图","《中国历代精品梅兰竹菊(卷一):梅卷》介绍了梅花具有顶风凌雪、先春而发的高尚品格，颇可象征刚正忠贞、横而不流的人格，因此也就自然成为文人骚客反复咏叹的对象。\n在中国文学史上，对梅花的咏赞往往都寓托了作者深远的精神内涵，如陈同甫之诗云“疏枝横玉瘦，小萼点珠光”，是赞美梅花的清贵高古；陆放翁云“当年走马锦城西，曾为梅花醉似泥”，表达出对梅的喜爱之情已臻如痴如醉之境；谢枋得在抗元失败后，隐居武夷，作诗称“几生修得到梅花”，更是以梅花坚贞的品格自期。\n同样，在中国画创作中，梅也是一个重要的题材，它与兰、竹、菊合称为“四君子”。\n并逐渐成为中国花鸟画基本功训练的重要内容，尤其是在意笔花鸟画兴起之后，但凡有成就者，几乎没有不擅长梅、兰、竹、菊的。",[23,24,51,7,100,26,27,102,383,2411],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49bdbf46314f2ed5ab10d9d675a4e7b.jpg","纵28厘米，横29厘米",[175,106,90],311,{"id":2417,"slug":2418,"title":2419,"dynasty":18,"author":1405,"museum":212,"description":2420,"tags":2421,"thumbUrl":2422,"material":611,"size":2423,"collection":88,"collections":2424,"showCount":2425,"zanCount":40,"manualWeight":40,"mainColor":62},221153,"xia-jing-shan-kou-dai-du-tu-juan-quan-juan-dong-yuan-221153","夏景山口待渡图卷全卷","《夏景山口待渡图》图中山势重叠，缓平绵长，植被丰茂，水汽若蒸，似江南夏日景色。起首处水面浩渺，扁舟隐现，中景山势重叠，林木疏朗挺直，竹丛杂处其间，茅屋隐约可见；卷末渡船未到，官客等待，点出主题。全图构思精细，设色雅淡，冈峦清润，林木秀密。技法上以披麻皴为主，多用苔点，色彩淡雅，为典型的江南山水",[23,24,7,51,25,75,79,80,82,1713,277,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1987f1d1f3d0d2e45e2314a9f565c70.jpg","纵50厘米，横320厘米",[88,286],309,{"id":2427,"slug":2428,"title":130,"dynasty":18,"author":380,"museum":1031,"description":2429,"tags":2430,"thumbUrl":2432,"material":34,"size":2433,"collection":106,"collections":2434,"showCount":2435,"zanCount":11,"manualWeight":40,"mainColor":41},220047,"bai-niao-chao-feng-tu-xu-xi-220047","构图开阔舒展，右侧古木荫翳，灵凤独立石上，翎羽妍丽夺目。百禽翔游栖止各尽其态，或振翅穿林、或浮波弄影、或凝立枝梢，品类繁富灵动鲜活。汀渚花木错落，烟水澹澹，赤日悬于淼茫之上，晕开融融暖意。\n\n设色古雅温润，勾勒兼具工致与野逸，将百朝灵瑞的吉庆之意，融于苍润悠然的自然之境，既见写生妙趣，亦托太平祥瑞之思，淡远雅致，余韵悠长。",[23,7,24,25,26,27,102,84,139,138,82,137,278,79,2431],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34dbcbe061745c03e7b73b79d4def2e8.jpg","34.3 x 236.9",[106],308,{"id":2437,"slug":2438,"title":2439,"dynasty":114,"author":878,"museum":20,"description":2440,"tags":2441,"thumbUrl":2442,"material":34,"size":2443,"collection":88,"collections":2444,"showCount":2435,"zanCount":11,"manualWeight":40,"mainColor":62},218286,"yue-ye-bo-ruan-tu-ma-yuan-218286","月夜拨阮图","淡墨晕染的远山如黛，似笼着一层薄纱，与昏黄天色相融成朦胧梦境。左侧山石嶙峋，几竿修竹斜逸而出，枝叶疏朗，墨线劲挺如剑。竹下茅舍半隐，一人凭栏拨阮，指尖流转间，琴声似随晚风漫过江面，与竹影婆娑和鸣。画面构图简括，以边角之景见天地辽阔，留白处尽是月夜空寂与悠远。山石用斧劈皴勾勒，笔触刚健；竹子笔法灵动，尽显生机；人物神态闲适，藏着文人清雅况味。整幅画于简约中蕴无限情韵，将月夜静谧与文人诗意诠释得淋漓尽致，是南宋山水小品的妙笔，尽显水墨写意的空灵之美。",[23,24,7,51,52,277,27,75,53,278,648,84,1570,31,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe316cc25382668a97677ff3d3ec2d844.jpg","111.5x53.1cm",[88],{"id":2446,"slug":2447,"title":2448,"dynasty":46,"author":181,"museum":395,"description":2449,"tags":2450,"thumbUrl":2452,"material":34,"size":2453,"collection":106,"collections":2454,"showCount":2455,"zanCount":40,"manualWeight":40,"mainColor":62},216676,"long-bao-tu-yi-ming-216676","龙豹图","龙豹图是清朝时期的一幅画作，画中描绘了龙和豹子在一起的情景。这幅画通常被认为是一幅象征着力量、权威和尊严的画作。它的作者不详，因此被称为佚名。这幅画通常被收藏在博物馆或私人收藏家手中。",[23,7,24,51,27,26,277,370,2451,472,278,301,279],"豹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29cbd30f1bf0791c595f6774cc1116d.jpg","87x82cm",[106],306,{"id":2457,"slug":2458,"title":2459,"dynasty":114,"author":448,"museum":132,"description":2460,"tags":2461,"thumbUrl":2462,"material":122,"size":122,"collection":122,"collections":2463,"showCount":2464,"zanCount":530,"manualWeight":40,"mainColor":62},227973,"guo-shu-lai-qin-tu-ye-lin-chun-227973","果熟来禽图页","设色清润柔和，工细写实，将秋日枝桠间的小景勾勒得鲜活灵动。饱满的海棠果粉白晕染如凝脂，带着熟透的温润质感，叶片或舒展或蜷曲，虫蚀残痕都细腻入微，尽摹自然生趣。娇俏禽鸟侧身栖于细枝，绒毛细密蓬松，圆目灵动似在细听秋声，姿态悠然闲适。\n\n全画无繁复构图，却以精妙笔触将蔬果禽鸟的神韵刻画尽致，把寻常秋意酿成隽永诗意，于方寸间尽显雅致空灵的田园意趣，融写生工致与文人雅韵为一体，静逸鲜活，尽显独有的雅致审美。",[23,7,24,51,100,26,27,102,1095,710,1821,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a8fd70bb850781c10c7ecb22f43905.jpg",[],304,{"id":2466,"slug":2467,"title":2468,"dynasty":46,"author":131,"museum":694,"description":2469,"tags":2470,"thumbUrl":2471,"material":2472,"size":2473,"collection":106,"collections":2474,"showCount":2464,"zanCount":416,"manualWeight":40,"mainColor":62},223166,"he-tang-yuan-yang-tu-shen-quan-223166","荷塘鸳鸯图","夏天，荷花风光，荷叶盛开，老嫩枯萎，随风飘扬，荷花枝叶高高突出。\n荷花或盛开，或抱以待放。 淡黄色的太阳花瓣，粉红色的花瓣，娇嫩多彩，倒映着水花和芬芳的花瓣。\n水中的鸳鸯成双成对，在花间的叶子底下嬉戏玩耍。 发色抢眼，华丽，勾勒出画面。\n喜鹊在空中栖息飞翔，盘旋三圈，与莲花杆上的三人和声合唱。",[23,24,51,7,52,26,27,102,398,399,969,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f8825b07bf8e459260b47a52535640.jpg","绢本，立轴，设色","187x105.2",[106,90],{"id":2476,"slug":2477,"title":2478,"dynasty":114,"author":181,"museum":20,"description":2479,"tags":2480,"thumbUrl":2482,"material":34,"size":122,"collection":36,"collections":2483,"showCount":2464,"zanCount":11,"manualWeight":40,"mainColor":479},216983,"yu-lan-guan-yin-tu-yi-ming-216983","鱼篮观音图","鱼篮观音图是宋代佚名画家的作品，其中描绘了观音菩萨手持鱼篮的场景。观音菩萨是佛教中的一位观世音，被认为能够拯救苦难的众生。鱼篮观音图通常被用作冥想祈福的辅助图片，并且也被认为具有招财进宝的功效。这幅画作品流传至今，并且在许多佛教寺庙中都可以看到。",[24,51,7,52,678,28,26,27,74,2481],"鱼篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6e54f1af2dc55c1055152c478f86c4.jpg",[36],{"id":2485,"slug":2486,"title":2487,"dynasty":114,"author":310,"museum":20,"description":2488,"tags":2489,"thumbUrl":2490,"material":250,"size":2491,"collection":175,"collections":2492,"showCount":2493,"zanCount":1065,"manualWeight":40,"mainColor":62},221383,"lin-liu-du-zuo-tu-zhou-fan-kuan-221383","临流独坐图轴","这幅画沿袭北宋雄伟山水的传统：主山位在画幅的中央上端，两侧罗列次要的山峰，以溪谷、河流、桥梁、云烟显示深而远的空间。临流独坐岸边的士人，点出画的主题，与巨大的山石相比，人物如此渺小而且不明显，表现了北宋传统的自然观。\n在范宽的《溪山行旅图》和郭熙的《早春图》中，看到的点景人物，都是市井小民，在写“真山水”的观念下，北宋山水画家很自然的将观察到的寻常百姓的生活描写入画。十一世纪后期，士大夫与文人成为政府与社会的中坚，领导文学艺术的发展，文人或隐士的理想开始在诗歌、书法与绘画中反映出来，陶渊明《归去来辞》的名句：“登东皋以舒啸，临清流而赋诗，聊乘化以归尽，乐夫天命复奚疑。”曾经是十一世纪末北宋画家喜爱的题材，或者也是这幅画的灵感来源。所以岸边简陋的茅草屋和水榭是这位归隐士人的居所，陪伴他的是深林巨嶂，孤舟木桥，一个远离尘嚣的自然世界。画幅上端十则明人的题诗，就是围绕着这个主题，描写这幅画带给他们的感受。",[23,24,51,7,52,75,79,28,82,281,73,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ed1c3e18f130c28f61bb202a5396d3.jpg","156.1x106.3cm",[175,286],303,{"id":2495,"slug":2496,"title":2497,"dynasty":114,"author":878,"museum":20,"description":2498,"tags":2499,"thumbUrl":2502,"material":666,"size":122,"collection":175,"collections":2503,"showCount":2504,"zanCount":541,"manualWeight":40,"mainColor":62},220194,"song-xi-qing-tiao-tu-ma-yuan-220194","松溪清眺图","马远，祖籍河中（今山西永济），“靖康之变”北宋灭亡后，马远的祖父马兴祖随着宋高宗赵构南渡，因此马远是在南宋的都城临安（今浙江杭州）出生长大的。他的生卒和详细经历，很难查考。曾为南宋光宗、宁宗两朝（约1190年－1224年）的画院待诏。",[23,7,24,51,277,497,73,2500,697,2501,297,81,299,298,136,82,280,281],"边角构图","溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf758ab459e20e424815729b0992857f.jpg",[175,88],302,{"id":2506,"slug":2507,"title":2508,"dynasty":46,"author":97,"museum":20,"description":98,"tags":2509,"thumbUrl":2511,"material":34,"size":105,"collection":122,"collections":2512,"showCount":2504,"zanCount":11,"manualWeight":40,"mainColor":41},214304,"mu-dan-ce-2-yun-shou-ping-214304","牡丹册-2",[7,24,51,26,27,100,102,103,2510],"绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c4f68ab97598a41c207c5c41a0ddba.jpg",[],{"id":2514,"slug":2515,"title":2516,"dynasty":46,"author":97,"museum":132,"description":2517,"tags":2518,"thumbUrl":2519,"material":317,"size":907,"collection":122,"collections":2520,"showCount":2521,"zanCount":530,"manualWeight":40,"mainColor":41},290526,"hua-hui-zhou-yun-shou-ping-290526","花卉轴","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[7,24,51,52,27,26,102,103,2190,697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060eeb289a0dda1a06b4c11a188ac1f7.jpg",[],301,{"id":2523,"slug":2524,"title":2525,"dynasty":293,"author":1556,"museum":20,"description":2526,"tags":2527,"thumbUrl":2534,"material":611,"size":2535,"collection":175,"collections":2536,"showCount":2521,"zanCount":489,"manualWeight":40,"mainColor":41},221708,"hua-cao-mi-feng-qian-xuan-221708","花草蜜蜂","早晨披衣晨起，气温已升高，只有些微凉意。春天所剩只有两日，人生恨不得能大醉千百场。芳草随着渐行渐远的旅人连绵到天涯，柳丝百丈，也比不得旅人的愁闷那么长。花花朵朵已经没有了，但还有几分春色被蜜蜂藏起了蜂蜜里。\n烂醉恨无千百场：苏轼有词：百年里，浑教是醉，三万六千场。\n这首诗作于嘉泰元年（1201），作者时在山阴。",[23,24,7,27,26,137,2528,201,102,51,2529,2530,2531,198,1180,278,2259,2532,2533,301,264],"蜜蜂","设色花鸟","工笔花鸟","元代绘画","工笔设色","花鸟题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd7df0fb4cdfe9a940d95305f727f55.jpg","26.6x23cm",[175,106,90],{"id":2538,"slug":2539,"title":2348,"dynasty":114,"author":181,"museum":20,"description":2540,"tags":2541,"thumbUrl":2542,"material":34,"size":122,"collection":106,"collections":2543,"showCount":2521,"zanCount":489,"manualWeight":40,"mainColor":41},216104,"shu-kui-yi-ming-216104","画面中蜀葵悄然绽放，花瓣层叠如轻绡，粉晕从瓣尖漫向花心，似沾了晨露的柔媚。叶片脉络纤细如丝，墨绿间晕染浅碧，藏着风过的微颤。枝干斜逸有致，不带刻意雕琢的匠气，却透着自然生长的生趣。古雅的底色衬得花姿愈发清雅，每一笔都凝着宋人对万物的细腻观照——不追繁复，只撷取蜀葵最动人的一瞬，以温润笔触将娇妍与静谧锁于方寸。无炫技的华丽，唯有物态的鲜活与文人的雅致，恰是宋画“以形写神”的韵味：似能嗅到淡香浮动，触到叶片微凉，让观者于静穆中感知生命的鲜活。",[23,957,24,7,768,26,27,102,2348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b86c98450e1da128f001588b205adf.jpg",[106],{"id":2545,"slug":2546,"title":2547,"dynasty":46,"author":2548,"museum":132,"description":2549,"tags":2550,"thumbUrl":2551,"material":122,"size":122,"collection":106,"collections":2552,"showCount":2553,"zanCount":530,"manualWeight":40,"mainColor":41},224369,"hua-hui-qi-shi-ce-shi-er-kai-ju-lian-224369","花卉奇石册-十二开","居廉","此作以玲珑拳石为视觉中心，通透窍洞破开画面虚实，石上草虫振翅欲飞，翅脉纤毫毕现，将微末生机藏于静境之中。\n\n石畔幽花柔叶舒展，细茎擎着星状小花，素白鹅黄点缀苔痕苍润的坡岸，淡赭底色晕开旧绢的温雅质感。画作以没骨之法写就，敷色清妍秀润，奇石以淡墨勾形再晕染石色，苍润古拙不凝滞。\n\n静石、幽花与小虫相映成趣，将岭南边角野景的清逸意趣晕染尽致，淡远恬和间尽显小品雅致，把寻常小景升华为充满生机的清雅画境，藏着独属于晚晴的细腻闲情。",[23,24,51,7,100,26,27,56,198,1180,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee4772b0b0bf227b89265b6f3697b9a.jpg",[106,90],299,{"id":2555,"slug":2556,"title":2557,"dynasty":67,"author":2558,"museum":132,"description":2559,"tags":2560,"thumbUrl":2561,"material":122,"size":122,"collection":122,"collections":2562,"showCount":2563,"zanCount":541,"manualWeight":40,"mainColor":41},230882,"lan-hua-tu-zhou-zhou-tian-qiu-230882","兰花图轴","周天球","《明陈元素兰花图轴》是明朝陈元素所创作的画作。\n陈元素，生卒年不详，字古白，长洲(今江苏苏州)人。\n早负才名，工诗文、书画。\n擅山水，尤善墨兰。\n此画兰叶偃仰，墨花横溢，超然出尘，得文徵明之秀媚，而更气厚力沉。\n明谓王榖祥、周天球所不及。",[7,24,51,52,277,228,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c31f43667a27327d9f6e11d682c75a8.jpg",[],296,{"id":2565,"slug":2566,"title":2567,"dynasty":67,"author":2568,"museum":151,"description":2569,"tags":2570,"thumbUrl":2571,"material":156,"size":2572,"collection":106,"collections":2573,"showCount":2574,"zanCount":416,"manualWeight":40,"mainColor":62},221941,"zhu-he-tu-zhou-bian-wen-jin-221941","竹鹤图轴","边文进","图中一对仙鹤姿态优雅，轩昂高洁，在翠竹间怡然自得。画家以工细的笔法描绘仙鹤的形象，高超的技法使笔触融汇于物象之中，仙鹤洁白轻盈的羽毛片片分明，好似浮在画面之上，令观者屏息凝神。仙鹤的头颈与尾羽处则用重墨，再加上鹤顶的一点丹红，格外醒目。画竹以墨笔双勾再施色彩。全幅设色对比鲜明，整体画风是边景昭的典型风格，承继了五代黄筌以及宋代画院花鸟画的富贵品貌，带有浓郁的宫廷气息。",[23,7,24,51,52,26,27,102,53,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed729de72a5a8f756cc02b29a5044bdd.jpg","纵180.4厘米，横118厘米",[106,90],294,{"id":2576,"slug":2577,"title":2578,"dynasty":114,"author":878,"museum":2579,"description":2580,"tags":2581,"thumbUrl":2583,"material":34,"size":2584,"collection":36,"collections":2585,"showCount":2586,"zanCount":541,"manualWeight":40,"mainColor":479},216984,"lin-he-jing-tan-mei-tu-ma-yuan-216984","林和靖探梅图","出光美术馆","这幅画描绘了林和靖在月下欣赏梅花的情景。这幅画的构图是马远一贯的风格，梅花从枝头倾泻而下，岩石山体方正而陡峭。笔触强烈而精致，意境和谐而安详。",[23,7,24,28,75,383,1570,27,73,2582],"安详","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9ea9d952366cb765ccc6fbfc869219.jpg","25.5x36.6",[36],293,{"id":2588,"slug":2589,"title":2590,"dynasty":46,"author":1452,"museum":132,"description":2591,"tags":2592,"thumbUrl":2593,"material":317,"size":907,"collection":106,"collections":2594,"showCount":2595,"zanCount":11,"manualWeight":40,"mainColor":41},239446,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239446","邹一桂花鸟草虫图册","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,7,51,100,26,27,383,384,74,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031b48b273c29caa21ee18f0cd382bb4.jpg",[106,90],292,{"id":2597,"slug":2598,"title":2599,"dynasty":293,"author":644,"museum":151,"description":2600,"tags":2601,"thumbUrl":2602,"material":834,"size":2603,"collection":286,"collections":2604,"showCount":2606,"zanCount":1065,"manualWeight":40,"mainColor":41},220804,"zhu-zhi-tu-juan-ni-zan-220804","竹枝图卷","倪瓒的《清閟阁全集》卷九中有一段著名的《跋画竹》：“……余之竹聊以写胸中逸气耳，岂复较其似与非，叶之繁与疏，枝之斜与直哉！或涂抹久之，它人视以为麻为芦，仆亦不能强辩为竹，真没耐览者何……”。观此图，竹干与枝节形态宛然，竹叶偃仰疏密布置得当，生意十足，可知作者并非真的不求形似，而是在形似的基础上进一步强调神似，追求笔墨的逸趣，并借以抒发自己的心性。正如倪瓒自己所说：“下笔能形萧散趣，要须胸次有筼筜！”图中用笔峭劲灵动，似懒实苍，实已得墨竹画萧散清逸的旨趣。只有真正做到“胸中有成竹”并辅以高超的笔墨技巧，才能创作出如此优秀的艺术作品。",[23,7,24,51,25,277,53,74,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41d030d476c04d5be58a178a4a413fb1.jpg","纵34厘米，横76.4厘米。",[286,2605],"竹石精选",291,{"id":2608,"slug":2609,"title":2610,"dynasty":67,"author":619,"museum":260,"description":2611,"tags":2612,"thumbUrl":2614,"material":2615,"size":2616,"collection":88,"collections":2617,"showCount":2618,"zanCount":530,"manualWeight":40,"mainColor":41},222100,"si-song-tu-ce-ye-shen-zhou-222100","四松图册页","四松图册页》画的是山野小景，虽然画面的中央是四棵形态各异的松树，但仔细观察会发现画的左下角杂树掩映之下，有小径通向人家。也正是这幽径人家，给充塞画面的寂静山野增添了活力。整幅作品分三个层次，前景是松树和人家，中景是以墨笔勾皴的浅绛山石，远景是以没骨法描绘的远山。从山石的画法看，既不属于前期的“细沈”，亦不属于晚年的简约“粗沈”，风格介乎二者之间。皴法以短披麻皴为主，有王蒙牛毛皴的影子。墨笔为主的整体基调，间以淡赭和花青点染，营造出视觉上很舒服的隽雅格调。",[23,7,24,51,2613,1151,277,73,75,609,278,429,425,368],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a9aeacd8f3be7883b8b8e7a825467d.jpg","纸本水墨","纵154厘米，横60.39厘米",[88,90],290,{"id":2620,"slug":2621,"title":2622,"dynasty":18,"author":2623,"museum":20,"description":2624,"tags":2625,"thumbUrl":2628,"material":34,"size":2629,"collection":36,"collections":2630,"showCount":2631,"zanCount":530,"manualWeight":40,"mainColor":62},219691,"he-ting-yi-diao-shi-nv-tu-zhou-wen-ju-219691","荷亭弈钓仕女图","周文矩","画亭榭临池，前後碧柳四垂，二女亭中对奕。亭外池荷盛开，翠叶田田。仕女或倚栏垂钓或持扇观荷，一派夏日悠闲景象。通幅屋界、衣饰刻画精细，粉花绿叶著色清丽，本幅旧传为南唐周文矩之作，唯笔墨、器用皆显露出明清习气。",[23,24,7,51,52,26,27,28,29,81,398,77,2626,756,755,2627],"柳树","弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe978a3e1bcbd02719a386cfad2d3d42b.jpg","195.1x98厘米",[36],287,{"id":2633,"slug":2634,"title":2635,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":2638,"thumbUrl":2641,"material":27,"size":2642,"collection":122,"collections":2643,"showCount":2644,"zanCount":1065,"manualWeight":40,"mainColor":41},222738,"xian-e-chang-chun-tu-huang-ci-me-yu-yu-er-mu-dan-lang-shi-ning-222738","仙萼长春图黄刺么与鱼儿牡丹","郎世宁","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,7,24,51,100,27,26,102,2639,2640,84,265],"黄刺玫","鱼儿牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5d6ad2b6dcc4434e46f4033608090.jpg","宽28.4公分，高33.7公分",[],286,{"id":2646,"slug":2647,"title":2648,"dynasty":114,"author":2649,"museum":2650,"description":2651,"tags":2652,"thumbUrl":2653,"material":34,"size":2654,"collection":88,"collections":2655,"showCount":2644,"zanCount":346,"manualWeight":40,"mainColor":41},218391,"xiao-xiang-ba-jing-jiang-tian-mu-xue-wang-hong-218391","潇湘八景-江天暮雪","王洪","美国普林斯顿大学美术馆","此图淡墨轻岚，诗意优扬。其“江天暮雪”辽阔的水域占了书面的二分之一左右，近景的坡石和远方的山影仿佛都被广袤白雪所覆盖，画面正偏左有几株树叶凋落的乔木，树丛间隐约可见屋宇，顺着树枝垂下的方向看，一个渔翁正瑟缩着坐在船首。画面不以留白取胜，而将渔翁置于千山万径之间，以天地之山巅，冰雪之苍凉，衬托渔翁之微小。",[23,24,7,51,277,73,75,135,279,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34dc75ca426d42b380e45a89f2a94.jpg","90.7×23.4厘米",[88],{"id":2657,"slug":2658,"title":2659,"dynasty":46,"author":2660,"museum":20,"description":2661,"tags":2662,"thumbUrl":2665,"material":267,"size":122,"collection":122,"collections":2666,"showCount":2644,"zanCount":541,"manualWeight":40,"mainColor":41},214861,"xie-sheng-ce-4-hua-yan-214861","写生册-4","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[7,24,526,27,26,1179,2663,2664,74,102],"海螺","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185c3169af8452ffdbb9bb497462b957.jpg",[],{"id":2668,"slug":2669,"title":2670,"dynasty":674,"author":181,"museum":151,"description":2671,"tags":2672,"thumbUrl":2675,"material":34,"size":2676,"collection":88,"collections":2677,"showCount":2644,"zanCount":40,"manualWeight":40,"mainColor":62},214258,"gong-yuan-tu-yi-ming-214258","宫苑图","宫苑图是一幅作者不详的唐代画作。这幅画作描绘了唐朝皇宫的生活。\n\n在这幅画作中，画家巧妙地捕捉了唐朝皇宫的繁华景象。他用浓墨重彩的画法，勾勒出了皇宫的宏伟建筑。他还用细腻的线条勾勒出了皇宫中各种活动的场面，让人感受到了唐朝皇宫的繁荣景象。\n\n此外，画家在这幅画作中还描绘了皇宫周围的景色。他用色彩丰富的画法，描绘了皇宫周围的山川和河流。这些景色与皇宫的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n总之，宫苑图是一幅精美的画作，描绘了唐朝皇宫的生活。它让我们感受到了唐朝皇宫的繁荣景象，也让我们感受到了唐朝文化的魅力。",[23,7,24,51,27,855,77,75,2673,28,2674],"宫苑","繁华","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f47a53857a3fc4ab82d75a1dd20f08.jpg","162.5×83.7",[88],{"id":2679,"slug":2680,"title":606,"dynasty":114,"author":556,"museum":132,"description":2681,"tags":2682,"thumbUrl":2684,"material":317,"size":907,"collection":122,"collections":2685,"showCount":2686,"zanCount":541,"manualWeight":40,"mainColor":479},287739,"wan-he-song-feng-tu-li-tang-287739","《万壑松风图》画面山峰高峙，山石巉岩，峭壁悬崖间有飞瀑鸣泉，山腰间白云缭绕清岚浮动。深山中幽僻的崖谷间，奔跃的泉水和郁茂的松林，衬托山峰高峙，山石危岩。其在构图上，大胆裁剪、提炼，整体看来空间立体感强，层次分明。双峰交错，堂堂正正，厚重而拙实，给人以浑厚大气之感，表现为“万壑松风”之境。\n《万壑松风图》为简括画的表现开了先河，对南宋初期的山水画具有开派作用。 其与郭熙《早春图》、范宽《溪山行旅图》，合称为“宋画之三大精品”",[7,24,497,277,73,278,609,79,2683,313],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a14a762dc0039a1efab5f1ab4cdccfa.jpg",[],285,{"id":2688,"slug":2689,"title":2690,"dynasty":46,"author":1567,"museum":132,"description":2691,"tags":2692,"thumbUrl":2693,"material":122,"size":122,"collection":122,"collections":2694,"showCount":2695,"zanCount":40,"manualWeight":40,"mainColor":41},229001,"jin-ling-sheng-ji-tu-ce-zhang-da-qian-ti-zhen-shi-tao-229001","金陵胜迹图册(张大千题)帧","此帧以淡赭晕染危崖，笔意简括古拙，衬出峭壁高峙之态。崖巅楼宇寥寥数笔，凭栏人影幽然，衬出山巅阒寂清旷。枯淡墨色点苔绘木，苍劲松灵，淡墨扫出空蒙天色，与赭色崖身相映，冷逸出尘。\n\n配行书题诗，诗书与画境相融，笔墨间浸透着清冷禅意，将冬初山阁清寂之景，与幽人寄怀合而为一，于尺幅间尽绘高旷出尘之致，尽显纵逸灵动的笔底才情，把山巅初消寒意的雅趣，晕染得淡远空灵，韵致悠长。",[23,7,24,51,100,27,73,74,118,75,77,135,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddb8b7cfbb4648cbf6458bf7f8aaa0.jpg",[],284,{"id":2697,"slug":2698,"title":2699,"dynasty":67,"author":181,"museum":2700,"description":2701,"tags":2702,"thumbUrl":2703,"material":34,"size":122,"collection":36,"collections":2704,"showCount":2695,"zanCount":346,"manualWeight":40,"mainColor":62},219589,"ying-wu-shi-nv-tu-yi-ming-219589","鹦鹉仕女图","圣路易斯艺术博物馆","仕女发髻簪饰精巧，面庞柔丽含笑，朱色坠耳衬出温婉气质。青缎衣衫间绣朱红云纹，腰束锦带垂曳飘饰，配色沉雅鲜亮，尽显裁衣考究。她抬臂托举鹦鹉，指尖轻拢衣袂，姿态娴静柔缓。\n\n掌间鹦鹉翎羽红绿相映，灵动鲜活，将闺中女子的悠然与小生灵的俏皮相融。古绢底色晕染出岁月厚重，笔触工细写实，把深闺日常的闲雅意趣，藏在眉眼笑意与禽鸟互动间，静中生趣，尽显古典仕女画含蓄柔美的意蕴风骨。",[24,51,7,52,26,27,28,29,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46f589fcafbb38f6a42e918129a45e1a.jpg",[36,90],{"id":2706,"slug":2707,"title":2708,"dynasty":46,"author":2636,"museum":151,"description":2709,"tags":2710,"thumbUrl":2711,"material":156,"size":2712,"collection":36,"collections":2713,"showCount":2714,"zanCount":1065,"manualWeight":40,"mainColor":2715},222771,"ping-an-chun-xin-tu-li-zhou-lang-shi-ning-222771","平安春信图立轴","图绘在青竹、寒梅以及湖石点缀的田园环境中，两位身着汉装的男子正在以梅枝相递送，其典雅高贵的举止与优雅的环境相得益彰，情景交融之中加深了画意。\n《平安春信图》寓意吉祥，父子二人品竹赏梅，充满了浓郁的生活气息，画家以写实的手法表现了年少皇子睿智的目光，以及他与父皇融融的亲情。让人体会到严肃的宫廷生活中也有寻常百姓家的天伦之乐。\n这幅肖像，是作者参酌中法的新式肖像画，作者巧妙地将中西画融合在一起，产生出中西合璧的佳作。对人物的刻画细致入微，尤其两人面部表情的刻画，即将一老一少的不同面容能准确真实地表现出来，说明画家具有细致的观察能力和写实的功力。\n翠竹及人物面部以西画笔法，刻画入微，作品用色泽的深浅浓淡来表现人物的五官，立体感十足。而衣纹却用中国传统的笔墨勾线，加以晕染，亦显质感。",[23,24,7,51,52,27,26,28,53,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5a33b3478bd6f01524150db632d534.jpg","纵68.8厘米，横40.8厘米",[36,90],283,"2A56C6",{"id":2717,"slug":2718,"title":2719,"dynasty":114,"author":448,"museum":20,"description":2720,"tags":2721,"thumbUrl":2724,"material":34,"size":2725,"collection":106,"collections":2726,"showCount":2714,"zanCount":489,"manualWeight":40,"mainColor":41},215108,"cheng-huang-ju-lv-tu-lin-chun-215108","橙黄橘绿图","橙黄橘绿图是宋朝著名画家林椿的代表作之一。这幅画作品以其鲜艳的色彩和生动的画风而闻名。\n\n橙黄橘绿图描绘了一个山水田园风光的场景，画面中有美丽的山峦、流动的河流、茂密的树林、漫山遍野的果树以及田田温馨的农舍。画中还有许多动物和人物，丰富了画面的内容。\n\n林椿在橙黄橘绿图中运用了丰富的色彩，让这幅画作充满了生机和活力。他使用的是深浅不一的黄色、橙色、绿色等色彩，使画面显得栩栩如生。\n\n橙黄橘绿图被誉为宋朝山水画的杰作，其中蕴含着林椿对自然界的敬畏和深刻的观察。它不仅是一幅美丽的画作，更是一份对自然的热爱和尊重的见证。",[23,7,24,51,100,26,27,102,2722,2723,265],"橙","橘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdd9d36a11dabb7bd116b3d6c267f63.jpg","23.8x24.3cm",[106],{"id":2728,"slug":2729,"title":2730,"dynasty":46,"author":1567,"museum":395,"description":2731,"tags":2732,"thumbUrl":2734,"material":267,"size":2735,"collection":106,"collections":2736,"showCount":2737,"zanCount":1065,"manualWeight":40,"mainColor":41},214566,"mo-zui-za-hua-tu-ce-shi-tao-214566","墨醉杂画图册","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,7,24,51,100,277,27,75,28,56,2626,2733],"野草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe201a3420f1c56b81b5ab47c63b832a.jpg","纵51.4厘米，横35.4厘米",[106],282,{"id":2739,"slug":2740,"title":2741,"dynasty":67,"author":899,"museum":132,"description":2742,"tags":2743,"thumbUrl":2745,"material":317,"size":907,"collection":122,"collections":2746,"showCount":2747,"zanCount":530,"manualWeight":40,"mainColor":62},287566,"dou-cha-tu-tang-yin-287566","斗茶图","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[7,24,51,28,27,26,609,1163,2744,905],"斗茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd293d5a9de59641719f10323cd0d6158.jpg",[],281,{"id":2749,"slug":2750,"title":2751,"dynasty":114,"author":2752,"museum":132,"description":2753,"tags":2754,"thumbUrl":2756,"material":2757,"size":2758,"collection":123,"collections":2759,"showCount":2760,"zanCount":530,"manualWeight":40,"mainColor":62},221221,"dao-gu-zhan-chang-yue-fei-221221","悼古战场","岳飞","岳飞我国历史上一位杰出的民族英雄。字鹏举，相州汤阴(今河南汤阴县)人。\n岳飞虽出身军伍，但自幼受到良好的中国传统教育和勤奋的学习，文武双全，能诗善词，书法以行、草为主，畅快淋漓，龙腾虎跃，气韵生动，章法严谨，意态精密，纤浓符中，刚劲不柔，自有一种淳正之气，颇含文臣气质。传世书迹，有《书谢眺诗》、《前后出师表》、《吊古战场文》等。\n岳飞草书《吊古战场》，相传碑文为岳飞书唐朝李华作的《吊古战场文》和南宋文天祥，清彭玉麟、德馨的题跋。碑共10石，每石高52厘米，宽103厘米，刻于清光绪九年(1883年)。现藏于杭州岳庙。",[23,7,24,51,25,118,119,2755,277,74],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491ff67b6cc8d84947170df024a1605.jpg","草书墨迹","28x424cm",[123],280,{"id":2762,"slug":2763,"title":2764,"dynasty":114,"author":878,"museum":20,"description":2765,"tags":2766,"thumbUrl":2767,"material":267,"size":2768,"collection":88,"collections":2769,"showCount":2760,"zanCount":11,"manualWeight":40,"mainColor":41},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,24,7,51,25,277,27,73,75,278,82,79,80,78,81,84,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[88,90],{"id":2771,"slug":2772,"title":2773,"dynasty":67,"author":68,"museum":212,"description":2774,"tags":2775,"thumbUrl":2776,"material":217,"size":2777,"collection":88,"collections":2778,"showCount":2779,"zanCount":346,"manualWeight":40,"mainColor":62},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,24,51,7,25,72,27,26,75,78,79,77,81,53,82,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 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润自然，前者昂首似在啼鸣，将禽鸟灵动憨然的情态鲜活呈现。\n画面设色明秀雅致，工细写实中兼具灵动意趣，左侧题字笔致清雅，与花叶禽鸟相映成趣，把春日里禽鸟嬉游、花团锦簇的生机雅致融于尺幅，尽显清丽隽永的宋韵意致。",[23,7,24,51,100,26,27,102,384,263,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9548bd192610dc1989302803a5216821.jpg",[],267,{"id":2865,"slug":2866,"title":2867,"dynasty":114,"author":2868,"museum":1031,"description":2869,"tags":2870,"thumbUrl":2871,"material":666,"size":2872,"collection":36,"collections":2873,"showCount":2863,"zanCount":530,"manualWeight":40,"mainColor":41},216254,"bin-feng-qi-yue-tu-juan-ma-he-zhi-216254","豳風七月图卷","马和之","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[23,7,24,51,25,510,277,28,559,82,75,215,74,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454a660474b94e22c19af12c2a7d894.jpg","28.8 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436.2",[36,123],{"id":2875,"slug":2876,"title":2877,"dynasty":114,"author":1577,"museum":151,"description":2878,"tags":2879,"thumbUrl":2881,"material":845,"size":2882,"collection":175,"collections":2883,"showCount":2884,"zanCount":530,"manualWeight":40,"mainColor":62},220260,"song-xia-ting-qin-tu-zhao-meng-fu-220260","松下听琴图","此作用青绿晕染铺展山水，层叠远山淡逸朦胧，坡岸苔点疏密错落，漾出幽寂林下氛围。几株古松虬曲苍劲，鳞皴老干垂挂松萝如翠帘轻垂，框出一方雅集天地。\n\n松下四人围坐，抚琴者垂目拨弦，听者或支颐凝思，或侧耳静聆，侍童恭立一旁，尽显文人雅聚的闲淡意趣。衣袂线条清隽简雅，暗合魏晋林下风流。题画诗与山水人物相映，笔墨间浸透知音相逢、寄怀林泉的雅兴，将丝竹之韵融在松风山色里，淡远悠长的文人情思溢满卷间。",[23,7,24,51,52,27,26,697,28,75,2880,201,82,31],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3759b8e137635ec8416cf0cc39860ba.jpg","纵123.6厘米、横60.4厘米",[175],265,{"id":2886,"slug":2887,"title":2888,"dynasty":46,"author":2889,"museum":20,"description":2890,"tags":2891,"thumbUrl":2895,"material":267,"size":122,"collection":36,"collections":2896,"showCount":2897,"zanCount":11,"manualWeight":40,"mainColor":41},218044,"tian-wang-xiang-yao-wen-han-218044","天王像","姚文瀚","绿面天王身披错彩镂金之甲，琵琶横抱，双目炯炯，威仪自生。衣纹流转如流云，祥云层叠似幻梦，衬得身形愈发雄健。身旁小兽灵动，背景人物隐现于山石间，添几分悠远。线条工细却不失劲道，色彩浓艳而协调，每一处纹饰皆精雕细琢，将护法神的威严与艺术的精巧融于一体，观之令人心生敬畏，更叹笔墨之妙。",[7,24,27,26,28,678,2892,2893,472,2042,278,82,2894,74],"护法神","琵琶","威严","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3382d15bc8135db2274f9d1bbb740ad.jpg",[36],263,{"id":2899,"slug":2900,"title":2901,"dynasty":114,"author":2902,"museum":132,"description":2903,"tags":2904,"thumbUrl":2905,"material":317,"size":907,"collection":122,"collections":2906,"showCount":2907,"zanCount":346,"manualWeight":40,"mainColor":41},288524,"xiao-xiang-qi-guan-tu-mi-you-ren-288524","潇湘奇观图","米友仁","《潇湘奇观图》用淋漓水墨画江上云山、云雾变幻的奇境，山峰、江水、树木并未作具体细致的描写，追求的是苍茫雨雾中自然界的特殊韵致。\n《潇湘奇观图》的画法用泼墨又参加积墨、破墨，使墨气淋漓，氤蕴浑厚。笔法甚少勾勒，而信笔横点，积点成山，藏锋其内，与墨浑然结合。树法似草，但与画面浑然一体。",[23,7,24,25,277,75,279,82,1737,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99980652bf55d8e34d046ae41cea3fe6.jpg",[],262,{"id":2909,"slug":2910,"title":2911,"dynasty":674,"author":2912,"museum":151,"description":2913,"tags":2914,"thumbUrl":2915,"material":156,"size":2916,"collection":286,"collections":2917,"showCount":2907,"zanCount":541,"manualWeight":40,"mainColor":41},239524,"yan-li-ben-bu-nian-tu-juan-yan-li-ben-239524","阎立本步辇图卷","阎立本","这是一幅历史画。它反映唐代初年一个重大的历史事件。公元七世纪，地处我国西南的吐蕃（今西藏地区）开始强大兴盛，其三十二世赞普松赞干布是个“骁勇多英略”的领袖。贞观八年（634年），他遣使臣到长安（今陕西西安），向唐王朝求婚联姻，唐太宗李世民答应了他的请求，决定将宗室女文成公主许配给松赞干布。贞观十五年（641年）春天，松赞干布派相国禄东赞到长安来迎接文成公主，唐太宗李世民则派礼部尚书江夏王宗室李道宗陪同文成公主进吐蕃。文成公主除了带去很多中原地区的文化典籍外，随行的还有许多各种行业的工匠，对于促进吐蕃经济、文化的发展起到了重要的作用。此后很长一段时间里，唐王朝和吐蕃之间关系融洽，和睦相处。\n阎立本以此为题，绘制了这幅歌颂古代汉、藏民族友好交往的作品。画幅描绘的是唐太宗李世民在宫内接见松赞干布派来的吐蕃使臣禄东赞的情景。李世民端坐在由六名宫女抬着的坐榻（又称步辇，图画即以此为名）上，另有三个宫女分别在前后掌扇和持华盖。唐太宗面前站立三人：最右者，身穿大红袍，是这次仪式的引见官员；中间是吐蕃的使臣禄东赞，拱手而立，发型和服饰与中原地区不同；最左为一穿白袍的内官。按照画家阎立本当时的地位和身份，他完全可能是这次历史性会见的目击者，所以他笔下的人物非常真实、生动。唐太宗李世民的威严，使臣禄东赞的干练、谦和，引见官员和内侍的恭谨，年轻宫女的天真活泼，都各具特点，跃然绢上，禄东赞和唐太宗等人在民族气质上的差别也有所表现。\n全画以细劲的线条塑造人物形象，线条纯熟，富有变化和表现力；设色浓重、鲜艳，是一幅出色的工笔重彩人物画作品。图中的李世民、禄东赞等人应当带有肖像画特征。",[23,7,24,51,25,27,28,26,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c10940154a8e201509088f4822cf0.jpg","纵38.5厘米，横129厘米",[286,123],{"id":2919,"slug":2920,"title":2921,"dynasty":46,"author":2922,"museum":20,"description":2923,"tags":2924,"thumbUrl":2926,"material":267,"size":2927,"collection":122,"collections":2928,"showCount":2929,"zanCount":489,"manualWeight":40,"mainColor":41},219875,"er-shi-si-fan-hua-xin-feng-tu-hai-tang-yu-qiang-wei-dong-gao-219875","二十四番花信风图-海棠与蔷薇","董诰","古人认为春风守信，如期而来，催开百花，称为“花信风”。春天自“小寒”到“谷雨”经历四个月，共八节气，每五天为一候，前后为二十四番花信风，以梅花居首，楝花居末。此套《画二十四番花信风图》册页十二开，共二十四幅，画二十四番花信风。",[7,24,51,100,27,26,118,1701,2925,198],"蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff95e31a5963a95c6acd4e4eb61d50b.jpg","20x14.2厘米",[],261,{"id":2931,"slug":2932,"title":2933,"dynasty":67,"author":830,"museum":151,"description":2934,"tags":2935,"thumbUrl":2937,"material":2615,"size":2938,"collection":106,"collections":2939,"showCount":2940,"zanCount":40,"manualWeight":40,"mainColor":41},233464,"ren-wu-hua-hui-ce-xu-wei-233464","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[24,51,7,100,277,368,398,399,2936],"荷梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351e01471d4a02f5b5c49d72a35b166f.jpg","纵26.9厘米 横38.3厘米",[106,286],260,{"id":2942,"slug":2943,"title":2944,"dynasty":114,"author":1216,"museum":132,"description":1690,"tags":2945,"thumbUrl":2946,"material":122,"size":122,"collection":122,"collections":2947,"showCount":2948,"zanCount":11,"manualWeight":40,"mainColor":41},227580,"wu-ma-tu-li-gong-lin-227580","五马图",[23,24,7,51,25,510,27,28,215,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff861a45a3281680f50e29e58b525d252.jpg",[],259,{"id":2950,"slug":2951,"title":2952,"dynasty":114,"author":310,"museum":20,"description":2953,"tags":2954,"thumbUrl":2955,"material":611,"size":2956,"collection":175,"collections":2957,"showCount":2948,"zanCount":40,"manualWeight":40,"mainColor":62},221394,"xue-shan-xiao-si-tu-zhou-fan-kuan-221394","雪山萧寺图轴","画中描绘的是北方山岳雪景。山形陡峭，折落有势，峰峦岭岫一片银白。画中集中笔意书写了“萧寺”形象。山中一片苍茫荒凉之气，山下水路相伴，似与古寺相通，有游人、旅人、商者荷担瑟瑟而行。动静比照，静中见动，寂中显闹。 该图笔法雄劲嗣瘦，无款印。\n《雪山萧寺图》着意描写“雪意”。雪后的群山，到处是一片银白的世界，正面是雪岭高耸，崔嵬之山高旷雄原，山形陡峭，山脉盘折，峰峦岭岫一片银白。山坳深处深藏古寺楼台，隐现可见山下水边有路，可通向深山古寺。山下有古木、寒林、溪流。沟壑中有深深的积雪，近山远山树木叶落已尽，树杈上被积雪掩盖，山峦、楼顶、道路、坡石由大雪覆盖，周围阴沉沉的，只有一股潺潺流动的山泉，打破了这迷人的平静。近前可见两个旅人荷担踏雪而行，有的曳杖行进，他们顶着竹笠，缩头袖手。",[23,7,24,51,52,73,277,75,297,1023,647,77,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[175,88,286],{"id":2959,"slug":2960,"title":2961,"dynasty":114,"author":364,"museum":2962,"description":2963,"tags":2964,"thumbUrl":2965,"material":666,"size":2966,"collection":106,"collections":2967,"showCount":2968,"zanCount":530,"manualWeight":40,"mainColor":62},219265,"xi-zhu-long-tu-chen-rong-219265","戏珠龙图","苏宁博物馆","墨色淋漓间，矫健龙身腾跃于云雾之中，鳞爪飞扬，气势磅礴。龙首昂扬，双目炯炯，似与宝珠相戏，动感十足。画家以浓淡干湿的笔墨变化，勾勒出龙的刚劲体态与云雾的缥缈朦胧，虚实相生间尽显龙的威严与神秘。画面中题跋与印章错落，承载着历史印记，更添古朴厚重之感。整幅作品将龙的祥瑞之气与艺术的笔墨神韵融为一体，是传统龙题材绘画中的经典之作，尽显东方美学的独特魅力。",[7,24,51,25,277,370,279,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc419787f4a611822757835e84e90923c.jpg","纵32.5横237.5厘米",[106],258,{"id":2970,"slug":2971,"title":2972,"dynasty":67,"author":181,"museum":260,"description":2973,"tags":2974,"thumbUrl":2975,"material":34,"size":2976,"collection":36,"collections":2977,"showCount":2968,"zanCount":541,"manualWeight":40,"mainColor":62},218278,"ba-xian-tu-dui-fu-yi-ming-218278","八仙图对幅","这幅画的主角是吕洞宾、韩湘子、张果老和何仙姑。其中，张果老倒骑毛驴，而南极则骑着仙鹤漂浮在空中。",[7,24,51,52,27,26,28,84,1167,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4836b19ce99b951c2196e0bdabb8b82a.jpg","139.7x78.7",[36],{"id":2979,"slug":2980,"title":2981,"dynasty":114,"author":2982,"museum":20,"description":2983,"tags":2984,"thumbUrl":2985,"material":34,"size":2986,"collection":36,"collections":2987,"showCount":2968,"zanCount":1065,"manualWeight":40,"mainColor":62},216926,"gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-di-yi-zhang-zhao-gou-216926","高宗书女孝经马和之补图第一章","赵构","高宗书女孝经马和之补图是赵构的一幅画作。赵构是中国宋朝时期的画家，他的作品大多集中在宋朝的文学、艺术和宗教方面。他的作品中有许多著名的孝道画，其中包括高宗书女孝经马和之补图。\n\n高宗书女孝经马和之补图讲述了一个关于孝道的故事。这幅画描绘了一个叫做马和的女子，她是一个忠诚的女儿，在她父亲去世后，她依然对她的父亲忠心耿耿，并为他做了许多孝事。这幅画是赵构用来表现女性孝道的精神的。\n\n高宗书女孝经马和之补图是赵构的一幅杰作，它展现了宋朝时期女性孝道的重要性，并且是中国历史上著名的孝道画之一。",[23,24,51,25,7,119,510,27,28,861,82,278,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d12d002f1f9b42abd5ddbbd30da0def.jpg","26.4x70.3",[36],{"id":2989,"slug":2990,"title":2991,"dynasty":18,"author":2623,"museum":166,"description":2992,"tags":2993,"thumbUrl":2996,"material":34,"size":122,"collection":36,"collections":2997,"showCount":2998,"zanCount":11,"manualWeight":40,"mainColor":62},219500,"juan-xiu-tu-zhou-wen-ju-219500","倦绣图","此作用柔婉工笔铺陈深闺日常，床帏内仕女斜倚，眉宇间带着绣作之余的慵懒倦怠，身侧侍女静立侍奉。左侧侍者端物缓步而来，右侧仕女凭桌伫立，似在打理妆台。边角案几陈设着盆栽器物，衬出闺阁的雅致静谧。设色清淡古雅，线条匀细柔丽，将深阁女子闲散松弛的情态刻画入微，晕染出日常闺中休憩的幽柔氛围，藏着平淡雅致的闺中诗意。",[23,7,24,51,25,26,27,28,29,2994,711,2995,74],"床帐","桌椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc8762f2527e714db62518fa3278003.jpg",[36,90],257,{"id":3000,"slug":3001,"title":3002,"dynasty":67,"author":68,"museum":20,"description":3003,"tags":3004,"thumbUrl":3005,"material":267,"size":3006,"collection":88,"collections":3007,"showCount":2998,"zanCount":1065,"manualWeight":40,"mainColor":41},218535,"zhu-lou-tu-qing-gao-zong-yu-ti-chou-ying-218535","竹楼图清高宗御题","画中湖光山色，长松亭榭，文人观水赏竹，画风接近文征明，也可能是文、丘在山水画上互相借鉴。",[7,24,51,52,26,27,855,75,77,609,78,79,28,278,82,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d460703bfb3096969313beb6e056693.jpg","115.3x33.3cm",[88],{"id":3009,"slug":3010,"title":3011,"dynasty":46,"author":2336,"museum":132,"description":3012,"tags":3013,"thumbUrl":3015,"material":122,"size":122,"collection":106,"collections":3016,"showCount":3017,"zanCount":40,"manualWeight":40,"mainColor":41},236555,"mei-hua-zhou-wu-chang-shuo-236555","梅花轴","吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[7,24,51,52,277,27,3014,56,368,74],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cde97128964b36df30a12461f59e8a.jpg",[106,90],256,{"id":3019,"slug":3020,"title":3021,"dynasty":46,"author":3022,"museum":132,"description":3023,"tags":3024,"thumbUrl":3025,"material":1061,"size":3026,"collection":88,"collections":3027,"showCount":3028,"zanCount":40,"manualWeight":40,"mainColor":41},236335,"lin-shen-zhou-lu-shan-gao-tu-huang-ding-236335","临沈周庐山高图","黄鼎","黄鼎（1650—1730），字尊古，号旷亭，又号闲圃、独往客，晚号净垢老人，江苏常熟 人。善画山水，初学画于邱屿雪，既而师王原祁，尤以王蒙法见长。\n此图根据明代画家沈周《庐山高图》临摹。此摹本比例与原幅不同，但是画幅的基本造型形象，笔法特点和许多细节，又都是忠实于原作，沈周原作今藏“台北故宫博物院”。",[7,24,51,154,27,73,75,313,609,278,280,279,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","226×83.4厘米",[88,286],255,{"id":3030,"slug":3031,"title":3032,"dynasty":46,"author":2636,"museum":151,"description":3033,"tags":3034,"thumbUrl":3038,"material":34,"size":3039,"collection":36,"collections":3040,"showCount":3041,"zanCount":530,"manualWeight":40,"mainColor":62},215038,"ma-shu-tu-lang-shi-ning-215038","马术图","阿穆尔萨纳和先登上准噶尔汗国的达瓦齐因利益冲突而相互争斗，在他们失败后，阿穆尔萨纳要求加入清廷并拜访乾隆皇帝。乾隆皇帝对阿穆尔萨纳主动加入清朝感到欣喜若狂。阿穆尔萨纳投奔清廷后，康熙皇帝非常高兴，他对准噶尔帝国的内部情况有了更多的了解，并有信心利用准噶尔帝国的动乱完成其祖父康熙皇帝和父亲雍正皇帝的 未竟之业。考虑到阿姆尔-萨纳还没有感染水痘，在寒冷的冬季，听众在夏宫举行。",[23,7,24,27,28,215,3035,84,1605,3036,3037],"马术","郊野","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c5d061082897e962ce93759d1385c0.jpg","223.4x426.2",[36],254,{"id":3043,"slug":3044,"title":3045,"dynasty":46,"author":2336,"museum":151,"description":3046,"tags":3047,"thumbUrl":3049,"material":122,"size":122,"collection":106,"collections":3050,"showCount":3051,"zanCount":541,"manualWeight":40,"mainColor":41},236892,"ba-jiao-mu-dan-zhou-wu-chang-shuo-236892","芭蕉牡丹轴","此画充分利用了水、墨二者的结合及浸渍变化，以饱含水分的笔触，率性而作，洗练简阔，却有神情气爽之感。\n吴昌硕（1844年~1927年），初名俊，后改俊卿，字昌硕，号缶庐、苦铁等，浙江安吉人。善书法，精篆刻，工诗擅画。其大写意花鸟，博取徐渭、八大、石涛、李鱓、赵之谦诸家之长，以篆、隶、狂草笔意入画，用笔雄健古拙，用墨酣畅淋漓，着色艳丽富贵，可谓匠心独运，为中国近代杰出的艺术家，海派主要画家之一。",[7,24,51,52,27,277,102,368,103,3048],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b7aefc21c35bfdb8ce148ec1e96f63.jpg",[106,90],252,{"id":3053,"slug":3054,"title":3055,"dynasty":114,"author":721,"museum":260,"description":3056,"tags":3057,"thumbUrl":3058,"material":217,"size":3059,"collection":175,"collections":3060,"showCount":3051,"zanCount":40,"manualWeight":40,"mainColor":62},221189,"zhang-song-shan-shui-tu-ma-lin-221189","长松山水图","《长松山水图》是马麟传世作品中的经典之作，也是南宋院体山水画的代表作之一。\n由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[24,7,51,957,27,73,75,609,1059,81,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d7532cb2d0174426dfa5dc1b1abb0a.jpg","25.1×26cm",[175,88,286],{"id":3062,"slug":3063,"title":3064,"dynasty":674,"author":3065,"museum":20,"description":3066,"tags":3067,"thumbUrl":3070,"material":34,"size":3071,"collection":36,"collections":3072,"showCount":3051,"zanCount":489,"manualWeight":40,"mainColor":62},218265,"ren-wu-juan-zhou-fang-218265","人物卷","周昉","它描绘了儿童在院子里玩灯笼，而女士们聚集在一起演奏音乐。详细描述了灯笼的种类和形状，但人物的脸和衣服与周家的不一样，所以这卷书一定是由后来的艺术家复制的。",[23,24,7,51,25,26,27,28,472,82,755,3068,3069,55],"小孩","大人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd5d7d833562e3e6f0969c27f3c1208.jpg","30.8x220",[36],{"id":3074,"slug":3075,"title":3076,"dynasty":293,"author":1636,"museum":132,"description":3077,"tags":3078,"thumbUrl":3080,"material":317,"size":907,"collection":122,"collections":3081,"showCount":3082,"zanCount":40,"manualWeight":40,"mainColor":62},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,7,24,277,75,52,73,278,82,77,78,79,81,74,118,3079],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":3084,"slug":3085,"title":3086,"dynasty":46,"author":97,"museum":20,"description":98,"tags":3087,"thumbUrl":3088,"material":34,"size":105,"collection":122,"collections":3089,"showCount":3082,"zanCount":1065,"manualWeight":40,"mainColor":41},214300,"mu-dan-ce-7-yun-shou-ping-214300","牡丹册-7",[24,7,102,27,101,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f7b2fc7446ee7009d16b458846da32.jpg",[],{"id":3091,"slug":3092,"title":3093,"dynasty":674,"author":1354,"museum":132,"description":3094,"tags":3095,"thumbUrl":3098,"material":317,"size":907,"collection":122,"collections":3099,"showCount":3100,"zanCount":11,"manualWeight":40,"mainColor":62},289005,"wang-chuan-tu-wang-wei-289005","辋川图","《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[23,7,24,25,497,27,73,75,77,82,663,80,3096,3097,1737,425],"山居","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a16151940e7ec69c8d6735f55d11672.jpg",[],250,{"id":3102,"slug":3103,"title":3104,"dynasty":114,"author":259,"museum":20,"description":1188,"tags":3105,"thumbUrl":1193,"material":34,"size":3107,"collection":175,"collections":3108,"showCount":3100,"zanCount":11,"manualWeight":40,"mainColor":41},220176,"xing-hua-tu-zhao-chang-220176","杏花图",[23,7,24,51,3106,27,26,102,1191,340,74],"团扇","纵25.2厘米，横27.3厘米",[175,106],{"id":3110,"slug":3111,"title":3112,"dynasty":293,"author":644,"museum":260,"description":3113,"tags":3114,"thumbUrl":3117,"material":666,"size":3118,"collection":88,"collections":3119,"showCount":3120,"zanCount":541,"manualWeight":40,"mainColor":41},220052,"qiu-lin-ye-xing-tu-ni-zan-220052","秋林野兴图","《秋林野兴图》写一仙居景致。平静的水面环绕着一段坡石，几株大树锁生其上，枝叶复苏。树间茅舍掩映，整个画面弥漫着肃静、清凉的气氛。 《秋林野兴图》笔法表现多见李成、郭熙、董源、巨然诸家之法，笔墨稳健清润，意境虚和冲融，气韵秀逸隽永。",[23,7,24,51,52,277,73,1647,82,278,81,3115,56,3116],"水域","疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a5ae094663913abafe92db0881216.jpg","纵九十七厘米，横六十八点五厘米",[88],249,{"id":3122,"slug":3123,"title":3124,"dynasty":114,"author":777,"museum":132,"description":3125,"tags":3126,"thumbUrl":3127,"material":317,"size":907,"collection":122,"collections":3128,"showCount":3129,"zanCount":40,"manualWeight":40,"mainColor":62},288989,"xiao-xiang-zhu-shi-tu-su-shi-288989","潇湘竹石图","潇湘竹石图采用长卷式构图，展现湖南省零陵县西潇、湘二水合流处，遥接洞庭巨浸的苍茫景色。整幅画作以潇湘二水的交汇点为中心，远山烟水，风雨瘦竹，近水与云水、蹲石与远山、筱竹与烟树产生强烈对比，让人在窄窄画幅内如阅千里江山。",[7,24,51,277,53,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14407e88ebd5d78263a6e38373b327a6.jpg",[],248,{"id":3131,"slug":3132,"title":3133,"dynasty":67,"author":1269,"museum":151,"description":3134,"tags":3135,"thumbUrl":3136,"material":1999,"size":3137,"collection":88,"collections":3138,"showCount":3129,"zanCount":40,"manualWeight":40,"mainColor":41},220909,"shan-shui-ce-3-dong-qi-chang-220909","山水册3","《仿古山水图》册，明，董其昌绘，8开。\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,7,24,51,100,277,73,75,297,135,279,281,587],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3082909ebf023228c05c4c870b6fad.jpg","纵26.3厘米，横25.5厘米",[88,286],{"id":3140,"slug":3141,"title":3142,"dynasty":46,"author":97,"museum":20,"description":98,"tags":3143,"thumbUrl":3144,"material":34,"size":105,"collection":122,"collections":3145,"showCount":3129,"zanCount":1065,"manualWeight":40,"mainColor":41},214301,"mu-dan-ce-4-yun-shou-ping-214301","牡丹册-4",[24,7,100,27,26,102,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62788f0a49f55255a39ab916f86585a7.jpg",[],{"id":3147,"slug":3148,"title":3149,"dynasty":46,"author":3150,"museum":151,"description":3151,"tags":3152,"thumbUrl":3153,"material":34,"size":3154,"collection":90,"collections":3155,"showCount":3156,"zanCount":541,"manualWeight":40,"mainColor":62},219090,"han-gong-chun-xiao-tu-yuan-yao-219090","汉宫春晓图","袁耀","此图名为汉代宫殿之景，实际上表现的是作者想象中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其活泼的蕴藉不仅展现出石质的厚实，同时加强了场景的动势，与工整精巧的殿宇楼阁形成粗放与华美、活泼与整洁的鲜明对比。",[24,7,855,27,26,75,77,78,79,81,82,278,861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa2766d2513288b462cece660309b69.jpg","纵250厘米，横162厘米",[90],247,{"id":3158,"slug":3159,"title":3160,"dynasty":674,"author":1042,"museum":3161,"description":3162,"tags":3163,"thumbUrl":3165,"material":122,"size":122,"collection":36,"collections":3166,"showCount":3167,"zanCount":40,"manualWeight":40,"mainColor":479},221111,"xian-shi-kong-zi-xing-jiao-xiang-wu-dao-zi-221111","先师孔子行教像","原作佚失","中国古代绘制的各种形式和风格的孔子像存世较多，但真正被广泛认可和接受的是现存于山东曲阜孔庙的石刻本《孔子行教像》，一般认为该石刻本原作为唐代著名画家吴道子所绘，但原作早已不幸遗失。",[7,24,51,510,28,3164,118],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ebcef1acb329791e1db6fadd10e7165.jpg",[36],246,{"id":3169,"slug":3170,"title":3171,"dynasty":67,"author":1269,"museum":20,"description":3172,"tags":3173,"thumbUrl":3174,"material":3175,"size":3176,"collection":88,"collections":3177,"showCount":3167,"zanCount":11,"manualWeight":40,"mainColor":41},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[23,7,24,51,52,277,73,154,1151,75,82,278,559,663,648,1996,647,609,1012],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","纸本墨笔","96.3 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为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[23,24,7,51,52,27,73,75,28,609,278,437,3195,79,81,1907,26],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[88],244,{"id":3201,"slug":3202,"title":3203,"dynasty":114,"author":460,"museum":195,"description":3204,"tags":3205,"thumbUrl":3207,"material":121,"size":3208,"collection":88,"collections":3209,"showCount":3210,"zanCount":541,"manualWeight":40,"mainColor":62},220326,"you-gu-tu-guo-xi-220326","幽谷图","该图具有典型的中国西北部山川风貌，雪后的山间幽谷，高寒惨淡，山岩峻险。山下一股清泉从参差崚嶒的巉岩中喷涌而出，波撞崖壁，浪激石尖，腾起一片迷茫之气。临潭而立一块巨石，石缝中三五棵老树，枯枝上不着一叶，唯见其盘根错节，虬曲舒伸。随着山势蜿蜒而上，也使坦荡如砥的峰峤渐入眼帘，然而峰峦之间则是一道盘旋曲折的幽壑，崖边林梢丛丛，谷底寒气森森。远处的主峰如虎踞龙盘，巍然而立，下临千丈绝涧，浩渺之气，直与天接。",[23,7,24,51,52,277,73,75,281,82,648,3206],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb115b51026981c5179c63b5367e73.jpg","纵167.7cm， 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[2]\n该画作左上角有清高宗乾隆所题绝句：庭院秋声落枣红，拾来旋转戏儿童。丹青讵止传神诩，寓意原存相让风。",[23,24,7,51,52,26,27,28,1229,56,246,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","纵197.5厘米，横108.7厘米",[175,106,36,90],237,{"id":3327,"slug":3328,"title":3329,"dynasty":114,"author":556,"museum":20,"description":3330,"tags":3331,"thumbUrl":3332,"material":121,"size":3333,"collection":175,"collections":3334,"showCount":3325,"zanCount":530,"manualWeight":40,"mainColor":62},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[23,24,7,25,277,73,118,74,75,78,79,80,661,1059,662,437,278,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","纵25.2厘米，横144.7厘米",[175],{"id":3336,"slug":3337,"title":3338,"dynasty":114,"author":3339,"museum":20,"description":3340,"tags":3341,"thumbUrl":3343,"material":34,"size":3344,"collection":106,"collections":3345,"showCount":3346,"zanCount":346,"manualWeight":40,"mainColor":41},215112,"xie-sheng-ying-su-tu-ai-xuan-215112","写生罂粟图","艾宣","此册共二十六开，包含许多精采的宋元册页。各别的作品曾经过南宋内府、十四世纪安徽收藏家吴志淳、十五世纪黔宁王沐璘、十七世纪山东收藏家张笃行等人收藏过。裱装形式上，除了少数有对题者，左边空白对幅皆以明代流行的金粟山藏经纸裱装之，并有风格统一的题签。配合裱纸上梁清标（一六二○－一六九一） 的收藏印，及比较院藏其他梁清标之题签，推测此册可能为梁清标所集，显示明末清初所理解的宋元画。",[23,7,24,51,768,26,27,102,3342,198,265],"罂粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadad36eaac06d8f20b835860208428a2.jpg","23.7x24.3cm",[106],236,{"id":3348,"slug":3349,"title":3350,"dynasty":114,"author":448,"museum":20,"description":3351,"tags":3352,"thumbUrl":3354,"material":34,"size":3355,"collection":106,"collections":3356,"showCount":3357,"zanCount":1065,"manualWeight":40,"mainColor":41},218939,"xie-sheng-yu-zan-tu-lin-chun-218939","写生玉簪图","这幅画描绘了玉针花站在一个妃子身上，其香味吸引了蝴蝶飞来飞去。花和蝴蝶都是先用细墨线勾勒，然后上色的。白色的花瓣和绿色的叶子使芬芳的花朵更加美丽。在左下角的叶子下面可以看到林椿的签名。",[23,24,7,768,26,27,1190,102,3353,200],"玉簪花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0abbcbd3282deb21b8a8f4f226720bde.jpg","23.6x24.6",[106],235,{"id":3359,"slug":3360,"title":3361,"dynasty":46,"author":97,"museum":507,"description":3362,"tags":3363,"thumbUrl":3364,"material":27,"size":3365,"collection":106,"collections":3366,"showCount":3367,"zanCount":11,"manualWeight":40,"mainColor":41},220987,"ou-xiang-guan-xie-yi-ce-lu-xie-yun-shou-ping-220987","瓯香馆写意册-芦蟹","此套《瓯香馆写生册》共十幅，天津博物馆藏，描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[23,7,24,51,100,368,277,2151,2243,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7632b42ef28d0c95b7691b56f54951.jpg","31.8x37.2厘米",[106,286],233,{"id":3369,"slug":3370,"title":3371,"dynasty":114,"author":556,"museum":20,"description":3372,"tags":3373,"thumbUrl":3377,"material":611,"size":3378,"collection":175,"collections":3379,"showCount":3380,"zanCount":541,"manualWeight":40,"mainColor":62},221577,"jiang-shan-xiao-jing-tu-li-tang-221577","江山小景图","此图描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。\n此图表现的是江岸边山水小景，画面右起是宽阔的水面，几只帆船鼓帆前行，江岸平缓地向后延伸，渐次高起，山石渐多，林木葱郁，小径幽幽隐现于山间，山坡平缓处有房舍屋宇隐现于林木间；左行山势愈加高峻峭拔，最终停留在画面边缘。高山之间，栈道依山而筑，山庄别墅，僧舍道观隐现于山腰间；山间飞流泉，下聚成潭，小舟泛于水上。画面右上是远山野渡，山水清旷，环境安详静谧，构成了一幅清幽自然的田园风景画卷。\n此幅无名款，有乾隆皇帝御笔题签：“宋李唐江山小景神品”，引首有其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[23,24,7,25,75,73,27,278,82,3374,79,313,3375,648,3376,746],"渔船","舟楫","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[175,88,286],232,{"id":3382,"slug":3383,"title":3384,"dynasty":67,"author":2087,"museum":395,"description":3385,"tags":3386,"thumbUrl":3390,"material":34,"size":3391,"collection":106,"collections":3392,"showCount":3380,"zanCount":11,"manualWeight":40,"mainColor":62},218918,"fu-gui-rong-hua-tu-lv-ji-218918","富贵荣华图","吕纪，花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。",[23,7,24,51,52,26,27,611,3387,102,3388,3389,2510,340],"明代","红花","白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcefe113f289970b9573cff9f3de1c6.jpg","49x25cm",[106],{"id":3394,"slug":3395,"title":3396,"dynasty":67,"author":899,"museum":166,"description":3397,"tags":3398,"thumbUrl":3399,"material":34,"size":3400,"collection":36,"collections":3401,"showCount":3402,"zanCount":416,"manualWeight":40,"mainColor":62},219530,"tao-gu-zeng-ci-tu-tang-yin-219530","陶穀赠词图","唐寅（1470—1523年），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人。出身商人家庭，自幼聪明伶俐。20余岁时家中连遭不幸，父母、妻子、妹妹相继去世，家境衰败，在好友祝允明的规劝下收心读书，29岁参加应天府公试，得中第一名“解元”，30岁赴京会试，却受考场舞弊案牵连被斥为吏。此后遂绝意进取，以卖画为生。正德九年（1514年）曾应宁王朱宸濠之请赴南昌半年余，后察觉宁王有图谋不轨，遂佯狂得以脱身而归。晚年生活困顿，54岁即病卒。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文徵明、徐祯卿并称“江南四才子”，画名更著，与沈周、文徵明、仇英并称“吴门四家”。 其绘画擅长山水、人物、花鸟各科。画法早年受沈周、文徵明影响，多“吴派”痕迹，30余岁时拜周臣为师，主宗南宗“院体”一路，后泛学宋元诸家，自成一体。山水画有粗、细两种风格：粗笔一路源自周臣，仿学南宋“院体”，然于刚劲雄健中别具清俊秀逸之韵；细笔画属其本色，更多文人画笔意，景色简约清朗，用笔纤细有力，皴法灵活多变，墨色淋漓多变，风格奇峭而又秀润。人物画造诣也很深，兼善工笔重彩、工笔淡彩、白描、水墨写意诸法，形神俱备。",[23,24,7,52,27,26,28,29,135,198,55,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4160d60f87f2087cb65dd4c2c4d435.jpg","纵171横103.8厘米",[36],231,{"id":3404,"slug":3405,"title":3406,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":3409,"thumbUrl":3416,"material":317,"size":907,"collection":3417,"collections":3418,"showCount":3419,"zanCount":11,"manualWeight":40,"mainColor":479},225821,"starry-fan-gao-225821","Starry","梵高","文森特·威廉·梵高（Vincent Willem van 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。",[3410,7,3411,3412,3413,1012,3414,3415],"油画","后印象派","星空","弯月","柏树","夜晚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c530f2096a641e4fb1ab7b92a7191f.jpg","油画精选",[3417],230,{"id":3421,"slug":3422,"title":3423,"dynasty":67,"author":1269,"museum":20,"description":3424,"tags":3425,"thumbUrl":3428,"material":666,"size":3429,"collection":88,"collections":3430,"showCount":3419,"zanCount":541,"manualWeight":40,"mainColor":41},214589,"zhou-xing-shi-jing-jiang-an-wang-shan-dong-qi-chang-214589","舟行十景-江岸望山","董其昌是明代著名画家，他的《舟行十景》系列画作中的《江岸望山》是一幅以山水为主题的画作。这幅画中，董其昌绘制了一条河流，河流两岸绿树成荫，清新的水面上划着许多小船，画面中央是一座山峰，山峰高耸入云，周围是葱郁的森林。董其昌在画中运用了自然透视法，使得这幅画呈现出浓郁的立体感。同时，董其昌还细致地描绘了河流两岸的居民生活，使得这幅画不仅有美好的山水风光，还有丰富的人文内涵。",[7,24,277,75,73,100,297,135,3426,3427,74],"江水","江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff107ac474552fe8a646073313322cb10.jpg","28.8x17.7cm",[88],{"id":3432,"slug":3433,"title":3434,"dynasty":46,"author":2275,"museum":132,"description":3435,"tags":3436,"thumbUrl":3437,"material":834,"size":3438,"collection":88,"collections":3439,"showCount":3440,"zanCount":541,"manualWeight":40,"mainColor":41},222620,"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,7,24,51,25,277,73,75,297,136,135,473,313,280,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纵28.8厘米，横404.1厘米",[88,286],229,{"id":3442,"slug":3443,"title":2375,"dynasty":114,"author":181,"museum":395,"description":3444,"tags":3445,"thumbUrl":3446,"material":267,"size":122,"collection":88,"collections":3447,"showCount":3448,"zanCount":530,"manualWeight":40,"mainColor":41},217118,"xue-jing-shan-shui-tu-yi-ming-217118","宋朝是中国历史上的一个朝代，时间为960年至1279年。宋朝的艺术创作较为繁荣，其中的山水画尤为著名。关于宋朝的山水画，很多都是佚名的。\n\n佚名的雪景山水图是一幅典型的宋朝山水画作品，其中描绘了雪景的美丽景色。这幅画作品中，佚名使用了极为精细的笔法和巧妙的色彩搭配，成功地表现了雪景的冷冽和自然的美。在这幅画中，佚名运用了层次感、对比和拓扑结构等技巧，使得画面更加立体生动。\n\n整幅画作品中，佚名还融入了许多细节，比如深夜里的月色和落雪的景色，以及山谷中的松柏和溪流。这些细节使得画面更加丰富，也增加了画面的视觉冲击力。\n\n总的来说，佚名的雪景山水图是一幅极具艺术价值的作品，它能够令人感受到宋朝山水画的魅力，也是中国艺术史上的经典之作。",[23,24,51,7,634,277,73,75,1357,609,297,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec5092287a9b92f01696f225b920248.jpg",[88],228,{"id":3450,"slug":3451,"title":3452,"dynasty":114,"author":721,"museum":3453,"description":3454,"tags":3455,"thumbUrl":3457,"material":34,"size":3458,"collection":106,"collections":3459,"showCount":3460,"zanCount":1065,"manualWeight":40,"mainColor":62},219276,"xue-an-yuan-yang-tu-ma-lin-219276","雪岸鸳鸯图","耶鲁大学艺术博物馆","枯木虬枝横斜，皴擦间藏着岁月的肌理，寒梅疏花点点，似是雪夜里悄然绽放的星子。滩头双鸳相偎，绒羽层叠如软云，翅尖墨色晕染，静卧间漫出暖融的依偎。枝上雀鸟敛翅，瞳仁如豆，似在聆听风过梅梢的轻响。雪岸清寂，却因这几处生灵的动静相映，添了几分温润的生气。淡赭铺就的寒汀，与浓墨点染的枝干相衬，工致笔触里藏着写意的疏朗，宋人的雅致与对生命的细腻观照，尽在这方寸画卷里流转，每一处留白都似凝着冬日的清寒，却又裹着一丝不易察觉的暖。",[23,24,7,26,27,102,969,383,135,384,1023,3456,170,84],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a755de7d0ae42e6354319de9befc494.jpg","188.5cmx99.8cm",[106,90,175],226,{"id":3462,"slug":3463,"title":3464,"dynasty":67,"author":966,"museum":20,"description":3465,"tags":3466,"thumbUrl":3467,"material":34,"size":3468,"collection":122,"collections":3469,"showCount":3470,"zanCount":541,"manualWeight":40,"mainColor":41},290313,"sui-chao-tu-zhou-chen-hong-shou-290313","岁朝图轴","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,7,51,52,27,26,102,383,1466,2190,55,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43f471122fe189fc01200784df42f1f.jpg","90.2x41.1",[],225,{"id":3472,"slug":3473,"title":3474,"dynasty":46,"author":2336,"museum":132,"description":3475,"tags":3476,"thumbUrl":3477,"material":342,"size":3478,"collection":106,"collections":3479,"showCount":3470,"zanCount":1065,"manualWeight":40,"mainColor":41},224231,"ju-hua-2-wu-chang-shuo-224231","菊花2","吴昌硕所作之菊，线条凝练遒劲，刚柔并济；墨色浓淡相间，不落俗格。并伴以山岩、野石、溪水，或插入孤高细瘦的古瓶，皆与秋菊幽独淡雅、冷逸傲世的情态相映成趣。",[23,24,51,7,52,27,277,368,242,278,340,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cb43cd66a1da94239b42b0c422a249.jpg","235*50cm",[106,90],{"id":3481,"slug":3482,"title":3483,"dynasty":114,"author":310,"museum":20,"description":3484,"tags":3485,"thumbUrl":3491,"material":34,"size":3492,"collection":88,"collections":3493,"showCount":3494,"zanCount":530,"manualWeight":40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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[7,24,677,678,26,27,370,198,3681],"卷草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9523ba3f8abaac0ac6ff9edee579d76d.jpg",[],212,{"id":3686,"slug":3687,"title":3688,"dynasty":46,"author":3689,"museum":20,"description":3690,"tags":3691,"thumbUrl":3692,"material":267,"size":3693,"collection":36,"collections":3694,"showCount":3684,"zanCount":11,"manualWeight":40,"mainColor":41},216965,"ba-jiao-mei-ren-tu-xu-liang-biao-216965","芭蕉美人图","许良标","在这幅画中，一位面容姣好的少女坐在湖边的岩石上，手里拿着一把扇子，望着栏杆外的荷花田，陷入沉思。景物清晰，色彩鲜艳，构图上远近透视标准，色彩刻意镂空，可能是受到西方绘画的影响。",[24,7,51,27,26,29,3048,398,81,78,56,755,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47e4dd41db8abae7aa0d7492be0846b.jpg","171.8x93.9",[36],{"id":3696,"slug":3697,"title":3698,"dynasty":67,"author":68,"museum":1031,"description":3699,"tags":3700,"thumbUrl":3701,"material":34,"size":3702,"collection":122,"collections":3703,"showCount":3684,"zanCount":40,"manualWeight":40,"mainColor":62},216357,"xi-xiang-ji-tu-ye-7-chou-ying-216357","西厢记图页-7","清人绘，款仇英",[7,24,51,27,26,28,77,79,29,53,560,82,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2092ecff88dc4c51551d1cdeaf7c87.jpg","18.5*38",[],{"id":3705,"slug":3706,"title":3707,"dynasty":18,"author":1009,"museum":132,"description":3708,"tags":3709,"thumbUrl":3710,"material":317,"size":907,"collection":122,"collections":3711,"showCount":3712,"zanCount":40,"manualWeight":40,"mainColor":479},288512,"shan-xi-dai-du-tu-guan-tong-288512","山溪待渡图","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 此画用墨饱满，笔法简炼雄劲。",[7,24,75,277,73,52,278,79,78,81,429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34439de5b826ade79e2d3efccdbc4630.jpg",[],211,{"id":3714,"slug":3715,"title":3716,"dynasty":67,"author":619,"museum":132,"description":2199,"tags":3717,"thumbUrl":3719,"material":317,"size":907,"collection":122,"collections":3720,"showCount":3712,"zanCount":1065,"manualWeight":40,"mainColor":62},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷",[23,7,24,25,51,497,277,27,73,425,429,2359,3096,78,79,3718,863,119,118,74],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],{"id":3722,"slug":3723,"title":3724,"dynasty":46,"author":1567,"museum":132,"description":3725,"tags":3726,"thumbUrl":3727,"material":317,"size":907,"collection":122,"collections":3728,"showCount":3712,"zanCount":541,"manualWeight":40,"mainColor":41},287444,"lan-zhu-tu-shi-tao-287444","兰竹图","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[7,24,51,52,277,53,228,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78897544684d19c2db3989df6b58bf38.jpg",[],{"id":3730,"slug":3731,"title":3732,"dynasty":67,"author":68,"museum":20,"description":3733,"tags":3734,"thumbUrl":3735,"material":34,"size":3736,"collection":90,"collections":3737,"showCount":3712,"zanCount":1065,"manualWeight":40,"mainColor":62},219318,"zhou-jin-tang-zhou-chou-ying-219318","昼锦堂轴","〈相州昼锦堂记〉是北宋欧阳修（1007-1072）为宰相韩琦（1008-1075） 所做的一篇记文，指出衣锦还乡本人之常情，且古今所同，而韩琦却建昼锦堂以为鉴诫，并未因富贵而夸耀，高节值得推崇。本幅又是所谓文征明书写题记，仇英绘图的合璧之作。苏州作坊多有这种形式的制作，优雅又具文化意涵，用来馈赠为官或显贵者，颇为恰当。画幅左方先图绘韩琦轻骑简装于返乡途中，接着越过山岭，则见到回到家中创建有昼锦堂的韩琦，正素衣凭几而坐。形成中国叙事画中所谓异时同图的表现方式。画家同时也采取了象征的手法，堂前的松树与堂",[24,7,51,52,26,72,27,75,77,28,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb655f51653565200dcbc0cddbe1a8ccf.jpg","192.7x 96.3",[90],{"id":3739,"slug":3740,"title":3741,"dynasty":114,"author":394,"museum":195,"description":3742,"tags":3743,"thumbUrl":3744,"material":34,"size":3745,"collection":106,"collections":3746,"showCount":3712,"zanCount":11,"manualWeight":40,"mainColor":62},219174,"zhu-que-tu-wu-bing-219174","竹雀图","此图写棘竹丛生，枝桠横出，枝头有一雀鸟正在悠闲地啄理羽毛。整幅场景景物聚于下侧，可见南宋构图新风的影响。图中竹枝用双钩技法，雀鸟在用颜色没骨画出后，重点部位再用墨线描出。这是吴炳传世佳作中的代表作。",[7,24,51,26,27,102,53,2411,84,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20dd6d46a7daa28f75681df47a33321.jpg","纵25厘米，横25厘米",[106],{"id":3748,"slug":3749,"title":3750,"dynasty":114,"author":2103,"museum":132,"description":3751,"tags":3752,"thumbUrl":3753,"material":317,"size":907,"collection":122,"collections":3754,"showCount":3755,"zanCount":1065,"manualWeight":40,"mainColor":62},287576,"shuang-xi-tu-cui-bai-287576","双喜图","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[23,7,24,52,26,27,84,2106,647,102,472,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ec422a7f31392c01473ad0cdcb93a1.jpg",[],210,{"id":3757,"slug":3758,"title":3759,"dynasty":114,"author":777,"museum":132,"description":3760,"tags":3761,"thumbUrl":3762,"material":317,"size":907,"collection":122,"collections":3763,"showCount":3764,"zanCount":541,"manualWeight":40,"mainColor":62},283690,"ku-mu-guai-shi-tu-su-shi-283690","枯木怪石图","《枯木怪石图》又名《木石图》，是北宋苏轼任徐州太守时曾亲往萧县圣泉寺时所创作的一幅纸本墨笔画，该画作现存于中国。\n该画作画面内容很简单，是一株枯木状如鹿角，一具怪石形如蜗牛，怪石后伸出星点矮竹。用笔看似疏野草草，不求形似，其实行笔的轻重缓急，盘根错节，都流露出作者很深的毛笔功底。",[7,24,277,56,170,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5c0c052b16d8867694167b7bda19b9.jpg",[],209,{"id":3766,"slug":3767,"title":3768,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":3769,"thumbUrl":3772,"material":27,"size":2642,"collection":122,"collections":3773,"showCount":3764,"zanCount":40,"manualWeight":40,"mainColor":41},222729,"xian-e-chang-chun-tu-bai-he-hua-yu-chan-zhi-mu-dan-lang-shi-ning-222729","仙萼长春图百合花与缠枝牡丹",[23,7,24,51,26,27,102,1335,3770,3771,265],"牡丹花","缠枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c55f7cc59936a5a8c9fc4611e39f44d.jpg",[],{"id":3775,"slug":3776,"title":3777,"dynasty":46,"author":2922,"museum":20,"description":2923,"tags":3778,"thumbUrl":3781,"material":267,"size":2927,"collection":122,"collections":3782,"showCount":3764,"zanCount":1065,"manualWeight":40,"mainColor":41},219876,"er-shi-si-fan-hua-xin-feng-tu-tang-di-yu-tao-hua-dong-gao-219876","二十四番花信风图-棠棣与桃花",[7,24,51,100,27,26,102,3779,76,3780,118,74],"棠棣","花信风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba17cf988bcf65f78a9b85775c599311.jpg",[],{"id":3784,"slug":3785,"title":3786,"dynasty":46,"author":131,"museum":195,"description":3787,"tags":3788,"thumbUrl":3789,"material":267,"size":3790,"collection":106,"collections":3791,"showCount":3764,"zanCount":1065,"manualWeight":40,"mainColor":41},218903,"hua-niao-tu-zhou-shen-quan-218903","花鸟图轴","沈铨善绘花鸟翎毛，用笔细腻传神，设色富贵浓艳。他的绘画多以描绘松、梅、竹、鹿、鹤、雉等寓意祥瑞富贵的题材为多。是图设色名丽脱俗，极富装饰性。琵琶树下，繁花斗艳，一对锦鸡嬉戏其间，树梢果实累累，绿叶掩映，群鸟相鸣，给人喜庆祥和的视觉感受。此作绘于乾隆二十七年（壬午，1762），作者时年八十一岁。",[7,24,26,27,102,84,82,515,265,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab98048035316f1f40ef1a094497f236.jpg","纵171.6厘米，横95.9 厘米",[106],{"id":3793,"slug":3794,"title":3795,"dynasty":114,"author":721,"museum":395,"description":3796,"tags":3797,"thumbUrl":3799,"material":34,"size":3800,"collection":106,"collections":3801,"showCount":3764,"zanCount":489,"manualWeight":40,"mainColor":62},218555,"mo-li-shu-fang-tu-ma-lin-218555","茉莉舒芳图","绢本古雅的底色上，茉莉枝蔓婉转伸展，白花团簇如凝雪，瓣瓣细腻温润，似含轻露未干。叶片以深浅墨绿晕染，脉络清晰可见，老叶的厚重与新叶的鲜嫩相映成趣。枝梗用笔挺劲又不失灵动，穿插错落间留白恰到好处，尽显疏密有致的构图巧思。整幅画精工雅致，将茉莉的清芬与静谧之美凝于绢素，仿佛能闻见淡淡花香，尽显南宋花鸟的细腻与诗意。笔墨间藏着对自然生灵的细致观察，每一处细节都透着温婉的匠心，让清雅之气溢于画面，是兼具技法与意境的佳作。",[7,24,51,26,27,102,3798,265,74],"茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9afa3f161454d0740d10b8abcc3695ff.jpg","22.8x22.8cm",[106],{"id":3803,"slug":3804,"title":3805,"dynasty":674,"author":3806,"museum":20,"description":3807,"tags":3808,"thumbUrl":3810,"material":34,"size":3811,"collection":88,"collections":3812,"showCount":3813,"zanCount":1065,"manualWeight":40,"mainColor":62},214748,"qu-jiang-tu-li-zhao-dao-214748","曲江图","李昭道","李昭道（675年－758年），字希俊，陇西成纪 （今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[7,24,51,25,72,27,26,855,75,77,28,79,856,82,434,3809,137],"桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","171.2x111.3",[88],208,{"id":3815,"slug":3816,"title":3817,"dynasty":293,"author":1577,"museum":20,"description":3818,"tags":3819,"thumbUrl":3820,"material":250,"size":3821,"collection":123,"collections":3822,"showCount":3823,"zanCount":541,"manualWeight":40,"mainColor":41},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[23,7,24,51,25,119,510,277,27,28,75,80,79,1570,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[123],207,{"id":3825,"slug":3826,"title":3827,"dynasty":67,"author":619,"museum":132,"description":2199,"tags":3828,"thumbUrl":3830,"material":317,"size":907,"collection":122,"collections":3831,"showCount":3832,"zanCount":11,"manualWeight":40,"mainColor":993},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷",[23,7,24,51,25,277,27,75,437,53,82,278,78,81,119,74,3829],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":3834,"slug":3835,"title":3836,"dynasty":114,"author":777,"museum":132,"description":3837,"tags":3838,"thumbUrl":3839,"material":122,"size":122,"collection":122,"collections":3840,"showCount":3841,"zanCount":1065,"manualWeight":40,"mainColor":62},227548,"su-mi-he-bi-juan-su-shi-227548","苏米合壁卷","宋四家是中国北宋时期四位书法家苏轼、黄庭坚、米芾和蔡襄的合称。这四个人大致可以代表宋代的书法风格，而且成就最高，故称“宋四家”。\n\n明清以来，有一些人认为宋四家中的“蔡”原本应该是蔡京，后人不齿其为人，所以把蔡京换为蔡襄，并认为蔡襄的艺术成就在蔡京之上。",[23,7,24,51,25,119,277,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29cc290566e8c44a8299b10e7320bf6.jpg",[],204,{"id":3843,"slug":3844,"title":420,"dynasty":114,"author":3845,"museum":20,"description":3846,"tags":3847,"thumbUrl":3853,"material":611,"size":3854,"collection":175,"collections":3855,"showCount":3841,"zanCount":1065,"manualWeight":40,"mainColor":62},221618,"qian-li-jiang-shan-tu-juan-jiang-can-221618","江参","该图用水墨写江南景色，群峰杂沓，山势绵亘。江水浩瀚，溪壑空远。草木葱茏，远树朦朦。阡陌纵横，农舍相属，咫尺千里，境界开阔。长卷中从始至终有一曲折的蛇形小道贯穿其中，图中山、水、桥、亭、村落、栈道、人物皆围绕这条山道而布置。故虽景物众多，连绵无尽，然皆循循可寻。该图采用了平远构图，意境开阔",[23,7,24,25,277,75,3848,3426,3849,301,3850,3851,78,81,1012,28,3852],"群峰","溪壑","农舍","栈道","平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c90cb29912f2c2c4d8f3b0431c5727.jpg","纵46.3厘米，横546.5厘米",[175,88,90],{"id":3857,"slug":3858,"title":3859,"dynasty":114,"author":211,"museum":195,"description":3860,"tags":3861,"thumbUrl":3864,"material":250,"size":3865,"collection":175,"collections":3866,"showCount":3841,"zanCount":40,"manualWeight":40,"mainColor":62},221334,"liu-ya-lu-yan-tu-zhao-ji-221334","柳鸦芦雁图","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。\n画卷的右半部分，高大的柳树枝上停着三只鸟鸦，其中两只背靠偎依，静观自得，另有一只向下俯视而鸣，似在呼唤躲藏于树根部的一只乌鸦。\n画卷的左半部分，一道清澈的水滩上，芦竹高耸，蓼花低垂，两雁傍水而饮，一雁趋前，作欲饮之状，另有一雁，好像已经饮完水，正啮咬湖中的摹花茎，姿态各不一致，形象生动有趣。\n图上钤有“宣和中秘”和“紫宸殿御书宝”两印。图后的赵佶落款，系后人勾填，右上角“紫宸殿御书宝”及“御书”葫芦印亦是后人描画的。卷后有南宋荣传辰、邓谏从题跋。另有邓易从、范逾跋，系后人伪作。卷首有清高宗弘历题“神韵天然”引首，并有弘历题诗。清梁清标题签。",[23,7,24,51,25,26,27,2626,3862,2151,3863,3195,84,74],"乌鸦","大雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc8c5e72610db5404dd3907fbf5fc8a.jpg","纵34厘米，横223.2厘米",[175,106,90],{"id":3868,"slug":3869,"title":3870,"dynasty":46,"author":2636,"museum":151,"description":3871,"tags":3872,"thumbUrl":3873,"material":34,"size":3874,"collection":106,"collections":3875,"showCount":3876,"zanCount":541,"manualWeight":40,"mainColor":41},216752,"wan-ji-shuang-lang-shi-ning-216752","万吉骦","乾隆八年（1743年，癸亥），郎世宁绘制《十骏图》轴，万吉骦被称赞为十骏之首。画上文字记载：“喀尔喀郡王多尔济札尔进，高四尺二寸、长七尺一寸五分。乾隆癸亥孟春，海西臣郎世宁恭画”\n载于《石渠宝笈初编》，收贮于御书房，由郎世宁一人所画，十幅十马分别命名为奔霄骢、赤花鹰、雪点雕、霹雳骧、薾云驶、万吉骦、阚虎骝、狮子玉、自在驈、英骥子。",[23,7,24,51,26,27,215,472,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71c71a91f3ec9d93f4380b8fbbde8b.jpg","纵239厘米，横269厘米",[106],203,{"id":3878,"slug":3879,"title":3880,"dynasty":67,"author":3881,"museum":132,"description":3882,"tags":3883,"thumbUrl":3885,"material":122,"size":122,"collection":122,"collections":3886,"showCount":3887,"zanCount":11,"manualWeight":40,"mainColor":62},228390,"kong-que-mu-dan-tu-yin-hong-228390","孔雀牡丹图","殷宏","垂柳柔条轻曳，桃枝缀满繁花，引百鸟穿梭啼鸣。孔雀身披彩翎，羽斑环环相扣明丽夺目，信步于湖石之侧，气度雍容不凡。牡丹或素洁似雪，或秾艳若霞，与苍古湖石、翠色草木交织成趣，仙鹤亭亭而立更添清贵。\n整幅画笔致工细，设色妍雅柔和，将春日园林的富贵生机铺陈眼前，把翎毛花卉的灵动雅致糅合无间，尽显吉祥富丽的美好意涵，是极具代表性的工笔花鸟佳作。",[23,7,24,51,3387,27,26,102,139,103,82,3884,278,515,710,84],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1384e37440b3476c7844a32e3504f3.jpg",[],202,{"id":3889,"slug":3890,"title":2207,"dynasty":46,"author":97,"museum":132,"description":2208,"tags":3891,"thumbUrl":3892,"material":122,"size":2212,"collection":122,"collections":3893,"showCount":3894,"zanCount":541,"manualWeight":40,"mainColor":41},233900,"hua-hui-ce-yun-shou-ping-233900",[24,51,7,100,101,27,263,265,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0a7750d865b52861787be6b9bef938.jpg",[],201,{"id":3896,"slug":3897,"title":3898,"dynasty":18,"author":1323,"museum":20,"description":3899,"tags":3900,"thumbUrl":3904,"material":736,"size":3905,"collection":122,"collections":3906,"showCount":3894,"zanCount":541,"manualWeight":40,"mainColor":62},226701,"ceng-yan-cong-shu-tu-ju-ran-226701","层岩丛树图","此图描绘了江南雨后山林烟岚浮动的自然景象，画中峰峦耸峙，丛林茂密，山路深曲，充满清新潮湿的气息。作者用独特的画法表现出一种秀逸、静寂、朦胧的美，是一幅具有代表性的山水画作。",[23,7,24,51,52,277,73,75,3901,1526,278,82,425,3902,429,3903],"层岩","叠嶂","岩峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4699ce8ccb516e2fed794a4a198591.jpg","纵144.1厘米，横55.4厘米",[],{"id":3908,"slug":3909,"title":3910,"dynasty":18,"author":1323,"museum":20,"description":3911,"tags":3912,"thumbUrl":3913,"material":277,"size":3914,"collection":88,"collections":3915,"showCount":3894,"zanCount":541,"manualWeight":40,"mainColor":62},218919,"han-lin-wan-xiu-tu-ju-ran-218919","寒林晚岫图","这幅画，是朱兰的作品，不属于这个时代，紧邻的岩石有范宽后来的点画作品。",[23,24,7,52,277,73,75,82,647,281,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ba4e2edb0dc0091afcb4c19d82515c.jpg","139.7x55.8",[88],{"id":3917,"slug":3918,"title":3919,"dynasty":114,"author":1216,"museum":166,"description":3920,"tags":3921,"thumbUrl":3922,"material":666,"size":3923,"collection":36,"collections":3924,"showCount":3894,"zanCount":541,"manualWeight":40,"mainColor":41},218627,"hua-yan-jing-bian-tu-li-gong-lin-218627","华严经变图","华严的意思是：华 是比喻达到一切功德圆满的果位，所以，佛陀时代的深层意义的果位被 严 所装饰，那么就叫佛陀华严。经 是可以解释的教学。华严经》是佛陀成佛后第二天在菩提树下由文殊菩萨、普贤菩萨和其他高级菩萨宣讲的佛陀内在真理的教义。按照《华严经》画的七八或七九会，被称为华严变奏曲，是这幅画的主题。",[23,7,24,51,25,678,510,28,370,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0192474c5d3ca959fdaab930f638a005.jpg","34.6x1244",[36],{"id":3926,"slug":3927,"title":3928,"dynasty":114,"author":274,"museum":132,"description":3929,"tags":3930,"thumbUrl":3931,"material":34,"size":3932,"collection":88,"collections":3933,"showCount":3894,"zanCount":541,"manualWeight":40,"mainColor":62},218591,"yu-fu-tu-xia-gui-218591","渔父图","苍劲古木虬枝横斜，墨色浓淡间晕染出岁月纹理。近岸水波轻漾，似有渔舟隐于荫下；远处山峦以淡墨点染，云雾缭绕中透着空濛。简括笔触删繁就简，将渔父隐逸之趣藏于边角留白——晚风拂过林梢，渔歌是否在烟霭里隐约？整幅画以“一角半边”之构，融自然清旷与文人幽思，水墨淋漓间尽是南宋山水的空灵悠远，引观者沉湎于那份与世无争的恬淡。",[7,24,51,52,277,27,73,75,135,80,3456,648,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff03e35c72c989c0d7a10d5ee03dfc9.jpg","74.5x46",[88],{"id":3935,"slug":3936,"title":3937,"dynasty":114,"author":165,"museum":1031,"description":3938,"tags":3939,"thumbUrl":3940,"material":666,"size":3941,"collection":88,"collections":3942,"showCount":3894,"zanCount":1065,"manualWeight":40,"mainColor":41},218565,"yun-shan-yan-shu-tu-mi-fei-218565","云山烟树图","画中的山峰高耸入云，层峦叠嶂，岸边停靠着一艘船，堤坡上生长着几棵树，墨色浓郁；左边可以看到两座小屋，可以看到一个学者在窗边认真读书或写字。这幅画是米氏山水画的特点，但应归于明代。",[24,51,7,52,277,75,73,297,473,135,81,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6782374152ab7d32375f6c3507c0a5f3.jpg","103.4x37.6cm",[88],{"id":3944,"slug":3945,"title":3946,"dynasty":46,"author":1567,"museum":132,"description":3725,"tags":3947,"thumbUrl":3948,"material":317,"size":907,"collection":122,"collections":3949,"showCount":3950,"zanCount":541,"manualWeight":40,"mainColor":41},287968,"shan-shui-li-zhou-shi-tao-287968","山水立轴",[24,7,51,52,277,75,56,609,81,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04d5c206c3321255a29bfe472c9932e.jpg",[],200,{"id":3952,"slug":3953,"title":3954,"dynasty":674,"author":1042,"museum":3955,"description":3956,"tags":3957,"thumbUrl":3958,"material":3959,"size":3960,"collection":122,"collections":3961,"showCount":3950,"zanCount":11,"manualWeight":40,"mainColor":41},223368,"ba-shi-qi-shen-xian-juan-hua-xin-wu-dao-zi-223368","八十七神仙卷画芯","徐悲鸿纪念馆","古时以农业为主，稻生双穗，或稻产丰收，是一种祥瑞，也称之为嘉禾。 画中这一丛稻长得比一般的稻子高大，茎叶茂盛，稻穗饱满沉重，显现出丰收的预兆。在用笔上，除稻穗外，都用花青和赭石以没骨法染画而成。嘉禾顶立在画幅中央，构图非常单纯，主题强烈，有著简朴而新顷之感。 《八十七神仙卷》是我国美术史上极其罕见的经典传世之作，代表了中国古代白描绘画的最高水平，其艺术魅力堪与宋代张择端的《清明上河图》比肩，我国著名画家徐悲鸿认为此卷 “足可颉颃欧洲最高贵名作” 。它栉千年之风，沐五朝之雨，送给今人一份厚重的文化遗产，实在是艺术史上的一个伟大奇迹!\n该卷属于绢本白描人物画卷，长292厘米，画面主体有87位道教人物白描画像，其中有3位带有头光的主神、10名武将、7位男仙、67名金童玉女由画面右端向左端行进。画面没有任何文字。卷尾附有1948年重新装裱时的七段题跋，由前至后为：徐悲鸿跋之一、徐悲鸿跋之二、张大千跋、徐悲鸿跋之三、谢稚柳跋、朱光潜跋、艾克跋及冯至译义、徐悲鸿跋之四，加上题跋装裱全画总长超过10米。年湮世远的绢画，其绢丝已朽败至毫无韧性和筋骨了，往往一个轻巧的动作，甚至是众人的呼吸都有可能对它造成无法挽回的伤害。\n《八十七神仙卷》为一代画圣吴道子的冠世巨作，也是吴道子现世仅存的一部白描绢本。是至今存世屈指可数的中国古代重要艺术瑰宝，代表了中国唐代白描绘画的最高水平。\n因场面之宏大，人物比例结构之精确，神情之华妙，构图之宏伟壮丽，线条之圆润劲健，而被历代画家艺术家奉为圭臬。现保存在徐悲鸿纪念馆，并为镇馆之宝。",[23,24,7,51,25,510,678,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36123b58a75f5a7d01e9b779c4e2af7b.jpg","绢本白描","30x290cm",[],{"id":3963,"slug":3964,"title":3965,"dynasty":1383,"author":181,"museum":132,"description":3966,"tags":3967,"thumbUrl":3973,"material":267,"size":122,"collection":36,"collections":3974,"showCount":3950,"zanCount":530,"manualWeight":40,"mainColor":41},215033,"ri-ben-jie-tou-sheng-huo-tu-juan-yi-ming-215033","日本· 街头生活图卷","长卷铺展，市井烟火缓缓流淌。画面中，人物百态跃然绢上：挑担商贩步履匆匆，执伞行人衣袂轻扬，孩童追蝶跑过街巷，工匠俯身专注劳作。半掩的店门后，掌柜笑脸依稀；巷口茶摊边，老者围坐闲谈。伞的弧线、担的轮廓、车的轱辘，交织成动态的生活图景。每一处细节都藏着鲜活故事，仿佛能听见吆喝声、欢笑声、器物碰撞声，在时光里轻轻回响。这是对日常的温柔描摹，将平凡岁月里的热闹与鲜活，永远定格在素净的绢帛之上，让观者瞬间跌入那充满烟火气的旧时光。",[23,3968,7,25,27,26,510,28,865,3299,3969,863,3219,860,3970,3971,3972],"日本画","商贩","店铺","摊位","日常","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e3a1210052e7e7d88509d4781dd6f9.jpg",[36],{"id":3976,"slug":3977,"title":3978,"dynasty":293,"author":1556,"museum":3979,"description":3980,"tags":3981,"thumbUrl":3983,"material":34,"size":3984,"collection":175,"collections":3985,"showCount":3986,"zanCount":530,"manualWeight":40,"mainColor":62},220394,"pin-cha-tu-qian-xuan-220394","品茶图","大坂市立美术馆","本幅虽名为「品茶」，实与唐代以降「斗茶」的绘画传统有关。画中男子六人，左侧男子或持壶，或注汤点茶，或提笼注视对方；右侧三人或正举杯畅饮，或在等待取茶品尝。唯画中人物表情板滞，用色单调，画风不若钱选精细文雅，应是后人託名之作。",[23,24,7,27,28,3982,2744,55],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb62aeab0bda969cca855a01b6bc6889e.jpg","35.5x68cm",[175],199,{"id":3988,"slug":3989,"title":3990,"dynasty":293,"author":3991,"museum":20,"description":3992,"tags":3993,"thumbUrl":3994,"material":34,"size":3995,"collection":36,"collections":3996,"showCount":3997,"zanCount":541,"manualWeight":40,"mainColor":62},216989,"peng-lai-xian-hui-tu-hu-ting-hui-216989","蓬莱仙会图","胡廷晖","本幅画描绘仙山之中，泉瀑奔泻其间。亭台楼阁沿着山势流泉而筑，有仙人道服持麈，端坐于榻上。石径上、殿阁中，另有仙人游荡徘徊。山石均先用粗笔钩绘轮廓，再以细笔作皴。晕染石青、石绿以外，更佐以泥金，赋彩金碧辉煌，益增仙境之佳妙。旧题订为元代胡廷晖（西元十三世纪后期），画幅右方虽有「胡廷晖制」款，但不真。整体风格，较近于明代中晚期，应系后世能手托名之作。",[7,24,27,855,26,73,75,77,78,28,609,279,81,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bf4df273b86d68444f76fb893c8d7d.jpg","201.5x121.8",[36,88],197,{"id":3999,"slug":4000,"title":4001,"dynasty":46,"author":4002,"museum":132,"description":4003,"tags":4004,"thumbUrl":4006,"material":122,"size":122,"collection":36,"collections":4007,"showCount":4008,"zanCount":40,"manualWeight":40,"mainColor":41},223079,"shui-hu-ren-wu-ren-xun-223079","水浒人物","任薰","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称"三任"，合任预为"四任"，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,7,24,51,52,27,26,28,30,4005],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc87cbb4b2700dc7566d2985222762f7.jpg",[36],195,{"id":4010,"slug":4011,"title":731,"dynasty":46,"author":4012,"museum":20,"description":4013,"tags":4014,"thumbUrl":4015,"material":34,"size":4016,"collection":106,"collections":4017,"showCount":4008,"zanCount":1065,"manualWeight":40,"mainColor":41},219529,"sui-chao-tu-yun-shou-ping-wang-hui-da-chong-guang-yang-jin-219529","恽寿平王翚笪重光杨晋","四人联袂共绘，将岁朝清供融于一帧。松针攒簇挺劲，尽显凌霜坚姿，翠竹疏枝摇曳，清韵自生；山茶柔瓣晕染温润，梅枝横斜疏花缀枝，水仙舒展冰姿玉骨，南天竹丹实累累，点染出新年吉庆。\n\n笔墨兼具没骨设色的雅致柔润与勾勒皴擦的苍劲秀逸，融四家所长，各尽其意却浑然一体。花木俯仰错落，冷暖色调相映，清刚与妍柔相融，暗合岁朝迎新的吉庆意趣，将文人清雅审美与岁时雅俗交融，淡墨轻色间，尽显岁朝清供的隽永意韵。",[7,24,51,52,27,102,697,383,228,2067,118,74,2259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625da687a11dea55340262634b2ab88f.jpg","80.7x50.4公分",[106],{"id":4019,"slug":4020,"title":4021,"dynasty":46,"author":2064,"museum":20,"description":4022,"tags":4023,"thumbUrl":4024,"material":342,"size":4025,"collection":106,"collections":4026,"showCount":4027,"zanCount":40,"manualWeight":40,"mainColor":41},222697,"hua-chun-hua-san-zhong-zhou-qian-wei-cheng-222697","画春花三种轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,24,51,7,52,27,26,102,198,103,2190,265,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644cd5f86ffa087cae3a9551bfee9b91.jpg","260x101.4",[106,90],194,{"id":4029,"slug":4030,"title":4031,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":4034,"thumbUrl":4039,"material":317,"size":907,"collection":3417,"collections":4040,"showCount":4041,"zanCount":541,"manualWeight":40,"mainColor":2715},226009,"red-water-lilies-1908-mo-nai-226009","Red Water-Lilies, 1908","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[7,3410,4035,4036,4037,4038],"印象派","睡莲","湖水","光影色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511b9df7302d05313f100b03243e6075.jpg",[3417],193,{"id":4043,"slug":4044,"title":4045,"dynasty":67,"author":68,"museum":20,"description":4046,"tags":4047,"thumbUrl":4048,"material":34,"size":4049,"collection":90,"collections":4050,"showCount":4041,"zanCount":40,"manualWeight":40,"mainColor":62},219315,"yuan-lin-qing-ke-tu-zhou-chou-ying-219315","园林清课图轴","林竹繁茂的乡野，有一座院落人家，院中布置著厅堂、房舍、书斋、作坊；穿过花篱是为园池区，馆舍、亭榭围绕池畔而构筑。有读书、涤砚、纺纱、游园等活动。使富有园林之胜的画面，充满雅逸的生活情趣。",[7,24,26,27,855,3097,77,75,82,28,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5236c98ca348fc2e3b6d92db44b00431.jpg","82.8x106.5",[90],{"id":4052,"slug":4053,"title":4054,"dynasty":3229,"author":4055,"museum":4056,"description":4057,"tags":4058,"thumbUrl":4063,"material":4064,"size":122,"collection":122,"collections":4065,"showCount":4066,"zanCount":1065,"manualWeight":40,"mainColor":41},220586,"li-zi-shu-he-san-zhi-kun-chong-qi-bai-shi-220586","李子树和三只昆虫","齐白石","Oscar Niemeyer Museum","以焦墨挥写虬曲枝干，苍劲老辣带着朴拙野趣。明黄果实以没骨点染，圆厚饱满，鲜亮明快。墨色叶片兼工带写，叶缘焦墨棘刺点缀，粗粝间暗藏灵动。\n\n蝉踞枝桠、蝼蛄游于纸间，草虫刻画纤毫毕现，与大写意的花果形成强烈的工写对比，一简一繁，将乡野小景的生机尽致铺展。构图疏密错落，斜逸的枝条串联起满幅花果，鲜活虫趣让静态画幅瞬间鲜活，尽显自然天趣与田园诗意，于平淡中晕开醇厚的烟火意趣。",[7,24,1455,52,277,27,451,4059,4060,199,4061,4062],"蝉","蝼蛄","工写结合","田园意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c2ed094ae70ff55be21c091139f419b.jpg","Watercolor on paper",[],192,{"id":4068,"slug":4069,"title":4070,"dynasty":67,"author":4071,"museum":166,"description":4072,"tags":4073,"thumbUrl":4080,"material":34,"size":4081,"collection":36,"collections":4082,"showCount":4066,"zanCount":489,"manualWeight":40,"mainColor":62},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","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。",[23,7,24,51,52,855,27,26,4074,77,2043,28,215,4075,861,4076,1603,4077,4078,82,3809,4079],"宫城","驴","城池","官员","侍从","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[36,90],{"id":4084,"slug":4085,"title":4086,"dynasty":67,"author":4087,"museum":132,"description":4088,"tags":4089,"thumbUrl":4090,"material":156,"size":4091,"collection":106,"collections":4092,"showCount":4093,"zanCount":11,"manualWeight":40,"mainColor":62},222574,"ju-hua-li-zhou-lu-kui-222574","菊花立轴","陆逵","图绘秋日之景色，树叶凋零，几片枝头叶片，摇摇欲坠；秋菊开放，叶茂花艳，数朵菊花争相开放。此图绘枯树时有些讨巧，枯树的枝杆上半部分如长在湖石上，与湖石融为一体，观之惊叹。陆逵，字仪吉，善人物及花草，明代画家。",[23,7,24,51,52,27,26,102,242,1059,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f856c432f5898dc9292bd2ea35d5eba.jpg","48.4x169cm",[106,90],191,{"id":4095,"slug":4096,"title":4097,"dynasty":114,"author":878,"museum":151,"description":4098,"tags":4099,"thumbUrl":4100,"material":156,"size":4101,"collection":175,"collections":4102,"showCount":4093,"zanCount":541,"manualWeight":40,"mainColor":62},221534,"bai-qiang-wei-tu-ye-ma-yuan-221534","白蔷薇图页","画中的白蔷薇花朵硕大，枝叶繁茂，光彩夺目。画家以细笔勾出花形，用白粉晕染花瓣，以深浅汁绿涂染枝叶，笔法严谨，一丝不苟，画风清丽活泼，颇具生气，代表了南宋画院花鸟画的典型风貌。\n宋代画院花鸟画继承了五代的传统，并在此基础上有所创新，黄荃“勾勒填彩、旨趣浓艳”的富贵风格统治着画坛近百年。其画法先以极工细的线条勾出轮廓，然后敷以重彩，层层晕染，往往掩盖住黑线，展现出一种极为工稳细腻和华贵富丽的风韵。",[23,7,24,51,26,27,102,2925,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd668d914b96b091a563b3ef5d0520878.jpg","纵26.2厘米，横25.8厘米",[175,88,90],{"id":4104,"slug":4105,"title":4106,"dynasty":114,"author":1160,"museum":260,"description":4107,"tags":4108,"thumbUrl":4109,"material":217,"size":4110,"collection":175,"collections":4111,"showCount":4093,"zanCount":11,"manualWeight":40,"mainColor":62},221511,"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[23,24,7,51,25,26,73,277,75,1023,647,278,559,663,80,661,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","纵41厘米、横241.3厘米",[175,88,90],{"id":4113,"slug":4114,"title":4115,"dynasty":46,"author":2275,"museum":195,"description":4116,"tags":4117,"thumbUrl":4118,"material":250,"size":4119,"collection":88,"collections":4120,"showCount":4093,"zanCount":1065,"manualWeight":40,"mainColor":41},219857,"ba-jing-shan-shui-tu-gong-xian-219857","八景山水图","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[24,7,51,277,73,75,78,79,81,609,437,281,313,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755626b038e7687bb9727373859aa345.jpg","24.4x49.7厘米",[88],{"id":4122,"slug":4123,"title":4124,"dynasty":293,"author":4125,"museum":260,"description":4126,"tags":4127,"thumbUrl":4128,"material":34,"size":122,"collection":175,"collections":4129,"showCount":4130,"zanCount":489,"manualWeight":40,"mainColor":41},216755,"jin-ming-chi-zheng-biao-tu-wang-zhen-peng-216755","金明池争标图","王振鹏","金明池是一个传说中的美景，被描绘成一个异常和平的美景。王振鹏的作品中的人物都非常生动，表情丰富，使得整幅画面显得格外生动。金明池争标图是一幅非常珍贵的元朝时期的绘画作品，在当时非常受欢迎，被广泛流传。",[23,24,51,7,25,855,510,77,78,28,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F596dd6f3fd7a15f379a6919bf3078fae.jpg",[175],190,{"id":4132,"slug":4133,"title":4134,"dynasty":114,"author":181,"museum":132,"description":4135,"tags":4136,"thumbUrl":4138,"material":122,"size":122,"collection":122,"collections":4139,"showCount":4140,"zanCount":11,"manualWeight":40,"mainColor":62},227842,"ye-he-hua-tu-ye-yi-ming-227842","夜合花图页","《夜合花图》，宋， 佚名，绢本，设色，纵2.9 横25.4厘米 上海博物馆藏 图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。\n花朵轻勾淡染，用白粉点画花蕊，用四绿加少量淡墨分染花拖，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之，最后用焦茶描绘其杆。\n绿叶穿插向背，白花绿叶，色泽淡雅，使人赏心悦目。",[23,7,24,51,26,27,2613,102,4137,74],"夜合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31ecf760311e803b651aa46969280b1.jpg",[],189,{"id":4142,"slug":4143,"title":4144,"dynasty":67,"author":181,"museum":395,"description":4145,"tags":4146,"thumbUrl":4147,"material":34,"size":122,"collection":106,"collections":4148,"showCount":4140,"zanCount":541,"manualWeight":40,"mainColor":62},216749,"hai-tang-fei-qin-tu-yi-ming-216749","海棠飞禽图","海棠花是一种常见的中国花卉，通常被认为是爱情、美好愿望和幸福的象征。这幅画的画风精细，笔法优美，极富艺术魅力。",[7,24,51,26,27,102,1701,84,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131241bc6542bdd047d08b2abfb54967.jpg",[106],{"id":4150,"slug":4151,"title":4152,"dynasty":114,"author":181,"museum":132,"description":4153,"tags":4154,"thumbUrl":4155,"material":122,"size":122,"collection":122,"collections":4156,"showCount":4157,"zanCount":541,"manualWeight":40,"mainColor":62},227352,"fu-gui-li-mao-tu-yi-ming-227352","富贵狸猫图","宋朝人喜欢猫，原因归根于宋朝建立后，随着绝对君权的建立与官僚体制的完善，文人士大夫的社会地位有了很大提高，但也逐步失去了盛唐人那种“致君尧舜上”的历史条件。\n\n同时，宋代封建经济的发展水平远超过唐代，手工业、农业、商业的发展使得中小地主日益兴盛起来，商品经济更加活跃，城市经济繁荣发达，市民队伍迅速壮大。民众安居乐业，故而从曾经追求事业成功的“外王” 转变为重个体修养的 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43cm",[106,90],{"id":4226,"slug":4227,"title":1127,"dynasty":293,"author":1128,"museum":20,"description":4228,"tags":4229,"thumbUrl":4230,"material":3579,"size":4231,"collection":88,"collections":4232,"showCount":4214,"zanCount":1065,"manualWeight":40,"mainColor":62},221788,"shan-shui-tu-cao-zhi-bai-221788","《山水图》本幅画隔水江岸，主山峰峦水墨淋漓，前中景作双松耸立，笔墨造型皆从北宋李郭传统中汲取特色，再以焦浓黑墨提醒主题，营造出更有墨趣的元代李郭画风新意。",[23,7,24,277,75,609,425,3427,278,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3665a4d5c8569bf27af312555ab7bab.jpg","纵86.1厘米横34.3厘米",[88,286],{"id":4234,"slug":4235,"title":4236,"dynasty":674,"author":1354,"museum":4237,"description":4238,"tags":4239,"thumbUrl":4241,"material":250,"size":4242,"collection":122,"collections":4243,"showCount":4244,"zanCount":1065,"manualWeight":40,"mainColor":41},232622,"jiang-gan-xue-ji-tu-juan-wang-wei-232622","江干雪霁图卷","藏于日本民间","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。\n王维（701－761），字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。",[23,7,24,51,25,277,73,75,4240,426,647,84,861],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627ae19f708849d303e0326ebd7204c5.jpg","纵31.3厘米，横207.3厘米",[],183,{"id":4246,"slug":4247,"title":4248,"dynasty":18,"author":1009,"museum":20,"description":4249,"tags":4250,"thumbUrl":4251,"material":267,"size":4252,"collection":88,"collections":4253,"showCount":4244,"zanCount":530,"manualWeight":40,"mainColor":62},219079,"shu-shan-zhan-dao-tu-guan-tong-219079","蜀山栈道图","峭壁摩天，层岩叠嶂间，栈道蜿蜒如丝，隐现于苍松古木与飞瀑流泉之中。山石以劲挺线条勾勒，皴法厚重，尽显蜀道之险；树木枝干虬曲，若蟹爪伸展，苍劲中透出野趣。云雾轻笼山腰，虚实相生，拓展了山川的深远之境。行人于栈道上渺小如蚁，步履蹒跚，更衬出自然的雄奇与旅途的艰辛。整幅画作笔墨沉雄，意境苍茫，既展现了蜀山的磅礴气势，又暗含着对行路者坚韧精神的咏叹，尽显北方山水画派的沉郁风骨与自然之趣。山石的坚凝质感与树木的丰茂生机相映，飞瀑的动态与栈道的静穆相衬，于险峻中藏幽致，于苍茫里见精微，是一幅兼具视觉冲击力与情感共鸣的山水佳作。",[23,24,7,75,52,73,27,281,82,663,80,3851,81,1059,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0408dd0331dcb9e6afcfd9169a592184.jpg","140.4x66.6",[88],{"id":4255,"slug":4256,"title":4257,"dynasty":114,"author":4258,"museum":151,"description":4259,"tags":4260,"thumbUrl":4262,"material":4263,"size":4264,"collection":122,"collections":4265,"showCount":4266,"zanCount":40,"manualWeight":40,"mainColor":62},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷","张择端","《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,7,24,51,25,26,855,27,28,77,78,79,4261,215,1906,135,857,858,559,663,3809,3375,863,1602,861,4079],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg","绢本，淡设色","纵24.8厘米，横528厘米",[],181,{"id":4268,"slug":4269,"title":4270,"dynasty":114,"author":364,"museum":20,"description":4271,"tags":4272,"thumbUrl":4273,"material":121,"size":4274,"collection":106,"collections":4275,"showCount":4266,"zanCount":40,"manualWeight":40,"mainColor":62},219210,"lei-yu-sheng-long-tu-chen-rong-219210","雷雨升龙图","陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,24,51,7,25,277,370,473,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517aa1aaeada469a2fccc91ffd164825.jpg","纵29.6横56.6cm",[106],{"id":4277,"slug":4278,"title":4279,"dynasty":67,"author":68,"museum":20,"description":4280,"tags":4281,"thumbUrl":4283,"material":283,"size":4284,"collection":122,"collections":4285,"showCount":4286,"zanCount":40,"manualWeight":40,"mainColor":62},228437,"shang-lin-fu-tu-juan-chou-ying-228437","上林赋图卷","此幅图写司马相如上林赋意，卷末并附有署文徵明款之隶书全文。相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托",[23,24,7,51,25,72,27,26,75,28,77,609,84,278,82,648,4282,560,79],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9816e974a23c3473ddacef5f4392ab.jpg","44.8x1208",[],180,{"id":4288,"slug":4289,"title":4290,"dynasty":3229,"author":4055,"museum":4291,"description":4292,"tags":4293,"thumbUrl":4296,"material":4297,"size":122,"collection":122,"collections":4298,"showCount":4286,"zanCount":1065,"manualWeight":40,"mainColor":41},220587,"hua-he-kun-chong-qi-bai-shi-220587","花和昆虫","Hwajeong Museum","这幅长卷以兼工带写之法绘就，泼墨挥写折枝花草，葫芦藤蔓蜿蜒豪放，墨叶酣畅淋漓，牵牛、萱花、海棠设色明妍鲜活，笔意朴拙老辣，尽显秋花野逸生机。\n工笔草虫穿插其间，蟋蟀、天牛、蜻蜓、蛱蝶皆纤毫毕现，翅脉通透轻薄，肢体灵动鲜活，将小虫的灵动神态刻画入微。大写意的烂漫朴拙与工笔的精细雅致相映成趣，把乡郊秋日的鲜活野景凝于卷上。搭配古雅题款与篆刻，整体意趣天然浑融，将乡野小景化作文人雅韵，尽显独有的花鸟意致。",[23,7,24,51,25,27,277,26,368,102,263,1180,4294,513,514,339,200,247,4295,301],"葫芦","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39df443cbe832b9d4633286bff1506d1.jpg","color on paper",[],{"id":4300,"slug":4301,"title":4302,"dynasty":114,"author":211,"museum":20,"description":4303,"tags":4304,"thumbUrl":4305,"material":34,"size":122,"collection":175,"collections":4306,"showCount":4286,"zanCount":1065,"manualWeight":40,"mainColor":41},219191,"song-zhi-huang-li-zhao-ji-219191","松枝黄鹂","黄鹂栖于松枝，喙微张似欲啼鸣，羽色暖润如凝脂，翼尖墨痕利落，尾羽晕染出自然层次。松针以劲挺线条勾勒，疏密有致，苍劲中见清逸。古绢底色沉雅，衬得禽鸟鲜活灵动，仿佛能闻其婉转之声。笔墨精工却不刻板，于细节处藏着对生命的细腻体察，尽显宋画工致与生机交融的雅致韵致，将瞬间的灵动定格为永恒的诗意。",[23,7,24,51,100,26,27,102,609,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74de9e3f8a19ac72f67df2bc65ede2d5.jpg",[175,106],{"id":4308,"slug":4309,"title":4310,"dynasty":114,"author":259,"museum":166,"description":4311,"tags":4312,"thumbUrl":4314,"material":34,"size":122,"collection":175,"collections":4315,"showCount":4286,"zanCount":1065,"manualWeight":40,"mainColor":62},219008,"shuang-e-tu-zhao-chang-219008","双鹅图","画面中央下方画着两只鹅，黑白相间的鹅蹲在前面，转头拂动羽毛，纯白的鹅蹲在后面，脖子弯曲，都是自然舒适的状态。",[23,7,24,51,52,26,27,102,4313],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c1b4c1ebc02a4130ffab5754faea5d.jpg",[175,106],{"id":4317,"slug":4318,"title":4319,"dynasty":114,"author":4320,"museum":132,"description":4321,"tags":4322,"thumbUrl":4323,"material":317,"size":907,"collection":122,"collections":4324,"showCount":4325,"zanCount":40,"manualWeight":40,"mainColor":62},287569,"jiang-shan-lou-guan-tu-gao-qing-ban-yan-wen-gui-287569","江山楼观图（高清版）","燕文贵","此图绘长江两岸初冬始雪时景色，是将山水、人物相结合的一件画作。画卷上，寒风凄厉，初雪纷飞，江岸小桥，渔人行旅，浩瀚江水，涟漪层层，枯树黄芦迎风摇曳。苦于生计的渔民们，或驾着小舟穿梭江面，或架设网罟捕鱼，或卷起裤脚在冰冷的浅水处布网，衣单裳薄的纤夫逆风拖船，骑驴奔波的商旅在寒风中瑟缩着身子艰难前行，寒冷之景，宛然在目。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣，天空则用洒粉法弹出轻盈飘舞的飞雪，技法颇为别致。",[23,7,24,51,25,277,75,425,426,279,77,82,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c0dcc60066b1e64a74cc691d005bae.jpg",[],179,{"id":4327,"slug":4328,"title":4329,"dynasty":18,"author":4330,"museum":20,"description":4331,"tags":4332,"thumbUrl":4335,"material":122,"size":122,"collection":122,"collections":4336,"showCount":4325,"zanCount":541,"manualWeight":40,"mainColor":62},226697,"jiang-xing-chu-xue-tu-quan-juan-zhao-gan-226697","江行初雪图全卷","赵干","《江行初雪图》是五代时期画家赵干创作的一幅绢本水墨设色画作，现收藏于台北故宫博物院。\n《江行初雪图》全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,7,24,51,25,27,26,3427,647,2151,80,661,79,28,3255,4333,4334,662,664,2664],"沙洲","初雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea9bf6aaac2d8f3ea6e83d5b869ee5c.jpg",[],{"id":4338,"slug":4339,"title":4340,"dynasty":46,"author":2275,"museum":620,"description":4341,"tags":4342,"thumbUrl":4343,"material":250,"size":4344,"collection":88,"collections":4345,"showCount":4325,"zanCount":1065,"manualWeight":40,"mainColor":62},222610,"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 一开一合大聋法的纵横驰骋，也有在小范围上虚实开合的变化，因而整体构图显得密而不乱，疏丽不空。山川气脉隔而不断，既有空间的深远，又有视觉上的无穷变化。",[23,24,7,25,277,73,75,425,281,82,313,279,80,3115,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纵27.8厘米，横980厘米",[88,286],{"id":4347,"slug":4348,"title":4349,"dynasty":114,"author":3309,"museum":195,"description":4350,"tags":4351,"thumbUrl":4352,"material":217,"size":4353,"collection":175,"collections":4354,"showCount":4325,"zanCount":11,"manualWeight":40,"mainColor":62},221596,"xue-shu-han-qin-tu-li-di-221596","雪树寒禽图","此图描绘了覆雪的竹叶，轻染薄雪的棘枝，以及悄立枝头栖息的伯劳。图中山坡以粗笔勾出，写一丛衰草，更添雪意。双勾写竹、树干，敷色渲染。雀鸟以没骨及勾勒相结合绘出，写实生动。对于积雪的表现，直接将白粉厚涂在枝干与竹叶上，表现出积雪压枝的凝重感，清空灵逸。\n此图绘写寒气凛冽的深冬，天空中飘扬着霏霏絮雪，山野坡地上一枝落尽残叶的棘树在寒风中挺立。一丛修篁傍树而生，积雪的竹叶依然清翠晶亮。在这冷寂的雪天里，一只孤单的伯劳鸟，似乎倦于飞翔，在这里暂且栖息，它安详地停立在枝头上。凝视着微茫的雪色",[23,24,7,51,52,26,27,1023,647,384,3195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1115e9ff920959c5d8924f9a138d9fa.jpg","纵115.7厘米，纵52.8厘米",[175,106,90],{"id":4356,"slug":4357,"title":4358,"dynasty":114,"author":1734,"museum":20,"description":4359,"tags":4360,"thumbUrl":4361,"material":283,"size":4362,"collection":175,"collections":4363,"showCount":4325,"zanCount":40,"manualWeight":40,"mainColor":62},221295,"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,7,24,51,25,154,855,26,27,75,77,78,79,80,81,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[175,88,286],{"id":4365,"slug":4366,"title":4367,"dynasty":114,"author":878,"museum":20,"description":4368,"tags":4369,"thumbUrl":4372,"material":34,"size":4373,"collection":106,"collections":4374,"showCount":4325,"zanCount":40,"manualWeight":40,"mainColor":41},219203,"mei-zhu-shan-zhi-tu-ma-yuan-219203","梅竹山雉图","此图突出一个“简”，着墨甚少，然而笔精墨妙。图中梅树一棵，翠竹一枝，孤石一块，以简练的笔法画之，虽梅枝不多，怒张而有放射之态；翠竹柔姿与梅媲美；作者以浓墨大斧劈及丁头鼠尾画法相结合，石块质坚、方硬。只有图中的山雉，作者用笔精练，神彩俱牛，雄雉身上的背羽部分黑斑点，在银光闪烁的白羽上更黑更突出红脸上的黑眼，显得很有神态，黑颈白肚中夹着红色的胸羽，是画面中最能令人注目的视点。一只小小雌雉依偎在旁，更显雄者的威武，虽只有这一对雉，却使画面点缀得有声有色。",[23,24,7,51,768,27,26,277,73,53,383,4370,56,4371,102],"山雉","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eef8b55514c8cfe1d3ed17f0508b497.jpg","纵24.1厘米，横25.2厘米",[106,175],{"id":4376,"slug":4377,"title":4378,"dynasty":114,"author":181,"museum":20,"description":4379,"tags":4380,"thumbUrl":4381,"material":34,"size":4382,"collection":90,"collections":4383,"showCount":4384,"zanCount":530,"manualWeight":40,"mainColor":62},219187,"hua-wang-tu-yi-ming-219187","花王图","深红牡丹层叠如绮，凝脂染霞般盛放，花叶脉络分明，翠色欲滴。彩蝶翩跹其间，或停驻瓣尖，或振翅穿叶，灵动如生。下方拳石皴法古拙，纹理苍劲，与柔艳花簇相映成趣。笔墨工致却不刻板，设色浓妍而不失清雅，于绚烂中藏静穆，富贵气里透逸韵。一花一叶皆含生机，蝶影石姿俱见匠心，尽显宋代花鸟画状物传神之妙，仿佛能闻暗香浮动，触花叶温润，堪称工笔花鸟的典范之作。",[23,24,7,51,52,26,27,102,103,200,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e51ff66eaeeb48311a78d2dc98d048e.jpg","117.2x72.3公分",[90],178,{"id":4386,"slug":4387,"title":4388,"dynasty":114,"author":4389,"museum":20,"description":4390,"tags":4391,"thumbUrl":4392,"material":34,"size":4393,"collection":36,"collections":4394,"showCount":4384,"zanCount":1065,"manualWeight":40,"mainColor":62},216969,"yu-wang-kai-shan-tu-juan-zhao-bo-ju-216969","禹王开山图卷","赵伯驹","赵伯驹，是中国宋代画家。他的作品《禹王开山图卷》是一幅著名的山水画，是他最著名的作品之一。\n\n《禹王开山图卷》画中描绘的是禹王开山垦沼的故事，以及禹王统治时期的生活和文化。画面上的人物和建筑都极具细致和生动，山水风光也非常优美。\n\n赵伯驹的画风风格独特，他擅长用细腻的线条勾勒出各种题材，并运用浓淡自然的墨色，使画面充满生机和活力。《禹王开山图卷》是宋代著名的山水画之一，被视为赵伯驹的代表作。",[7,24,51,25,72,27,26,73,75,28,278,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ff12f946a0ce4f72da37bbe835ca4f7.jpg","35x221.1",[36],{"id":4396,"slug":4397,"title":4398,"dynasty":46,"author":131,"museum":151,"description":4399,"tags":4400,"thumbUrl":4401,"material":217,"size":4402,"collection":122,"collections":4403,"showCount":4404,"zanCount":1065,"manualWeight":40,"mainColor":62},234328,"song-mei-shuang-he-tu-shen-quan-234328","松梅双鹤图","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。",[24,51,7,52,26,27,102,697,383,138,278,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36593b35e7fbbcd65293d043000633a0.jpg","191cm×98.3cm",[],177,{"id":4406,"slug":4407,"title":4408,"dynasty":46,"author":4409,"museum":132,"description":4410,"tags":4411,"thumbUrl":4412,"material":122,"size":122,"collection":122,"collections":4413,"showCount":4404,"zanCount":1065,"manualWeight":40,"mainColor":41},230172,"hua-niao-hua-shi-er-kai-10-yu-zhi-230172","花鸟画十二开-10","余稚","此作设色明丽清雅，工致写实。柔婉桃枝缀满粉英，嫩蕊轻绽，与旁侧劲挺翠竹相映，柔刚相济，晕开融融春意。三只春燕刻画入微，两只栖于花枝，黑亮绒羽莹润细腻，红颈点点鲜活灵动，似在私语春景；另一只振翅掠空，身姿轻盈舒展，尽现翩跹之态。\n\n画师笔触细腻传神，将花瓣肌理、禽鸟绒羽一一摹绘，敷色温婉秀润，无半点艳俗之感。构图疏密相宜，枝桠错落舒展，留白恰到好处，将暮春柔暖生机尽数铺陈，尽显娴静雅致的中式春日意趣，是工笔花鸟里隽秀动人的佳作。",[7,24,26,27,100,102,84,76,3195,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af12c534f45c29139f1d53485b1c0e.jpg",[],{"id":4415,"slug":4416,"title":4417,"dynasty":114,"author":4258,"museum":20,"description":4418,"tags":4419,"thumbUrl":4422,"material":27,"size":4423,"collection":175,"collections":4424,"showCount":4404,"zanCount":541,"manualWeight":40,"mainColor":62},221319,"qing-ming-yi-jian-tu-juan-zhang-ze-duan-221319","清明易简图卷","在画卷尾端的山石上有“翰林画史臣张择端进呈”签名，台湾中研院刘渊临认为其代表“金人入主汴京时的短时间风格”。北宋风俗画作品，北宋画家张择端所作。它生动地记录了中国十二世纪城市生活的面貌，是一幅举世闻名的现实主义风俗画卷。",[23,7,24,51,25,26,855,510,27,28,3809,856,77,3970,857,1602,663,82,861,860,4420,4421],"民俗","宋代风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2dad2c8025aad97b6171fce959ff9.jpg","该幅 38x673.4公分；隔水一 38x14.5公分；引首一 38x98.5公分；隔水二 38x14.3公分；引首二 38x50.9公分；隔水三 38x14.2 公分；隔水四 38x14.2公分；拖尾一 36x50.8公分；隔水五 14.2公分；拖尾二 28.2x55.2公分；隔水六 14.2公分。",[175,90],{"id":4426,"slug":4427,"title":4428,"dynasty":114,"author":181,"museum":20,"description":4429,"tags":4430,"thumbUrl":4431,"material":34,"size":122,"collection":175,"collections":4432,"showCount":4404,"zanCount":541,"manualWeight":40,"mainColor":62},218967,"la-mei-han-qin-tu-yi-ming-218967","腊梅寒禽图","寒汀疏影里，腊梅枝桠斜逸，点点白花似凝着清霜，在冷寂中透出淡香。岸畔山茶红萼灼灼，与枯瘦的梅枝相映，暖了一帧冬景。两只水禽悠游浅波，羽色素净，颈间一抹白如落雪，姿态闲逸得像在细品风的轻语。远处山影淡如烟岚，天际归鸟三两，更衬出天地的旷远。\n\n笔墨细腻却不刻意，草木的情态、水禽的姿态皆得自然之趣。宋人的心境藏在这帧画里：于寻常冬景中撷取宁静与生机，让清寂时光浸着温润诗意——没有浓墨重彩的渲染，却以极简的笔触，将冬的清寒与生命的从容，凝成了可触摸的温润。",[23,7,24,51,26,27,102,383,1883,56,649,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a6138737b9901f57872732e5659ef9.jpg",[175,106],{"id":4434,"slug":4435,"title":4436,"dynasty":114,"author":4437,"museum":1031,"description":4438,"tags":4439,"thumbUrl":4440,"material":34,"size":4441,"collection":88,"collections":4442,"showCount":4443,"zanCount":1065,"manualWeight":40,"mainColor":62},214518,"ba-qiao-feng-xue-tu-wu-jun-chen-214518","灞桥风雪图","吴俊臣","这幅画描绘了一位身穿朱衣的老人在风雪中骑着驴子的情景。画的右上角的沟壑似乎暗示了行人的方向。这幅画的主要部分是一个突兀的岩石坡，有一些水墨。岩石都是用小斧头凿出来的，笔触犀利清晰，类似于王履的《华山图册》。这幅画也很受宋朝人的欢迎，画中的山峦起伏，山峰高耸。虽然这幅画没有标记，但它是明代山水画的杰作。",[24,7,52,277,73,75,78,215,28,647,609,278,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d557b70cd8249aa75223779299161f7.jpg","191x94.4",[88],176,{"id":4445,"slug":4446,"title":4447,"dynasty":114,"author":181,"museum":132,"description":4448,"tags":4449,"thumbUrl":4450,"material":122,"size":122,"collection":122,"collections":4451,"showCount":4452,"zanCount":11,"manualWeight":40,"mainColor":993},227904,"bi-tao-tu-ye-yi-ming-227904","碧桃图页","《碧桃图》是宋代佚名画家创作的一幅绢本设色画，现藏于北京故宫博物院。\n该图绘碧桃两枝，枝上的碧桃花有的吐露盛开，有的含苞欲放。\n花瓣用细笔勾描后多层晕染，富有层次变化和立体感。\n全图用笔精细，设色淡雅，画面虽小，意趣无穷。\n在纨扇面上画红白碧桃两枝，枝上的桃花有的吐露盛开，有的含苞欲放，其花蕾、枝叶互相穿插其间，争奇斗艳，竞相怒放。\n左枝挺干盛开，右枝则斜向争艳，从这两枝繁花簇簇，苞蕾盈枝的描绘中，清香宜人的花味如绢中溢出，感到了春色的浓郁，花木葱郁茂盛的欣欣向荣气象呈现在眼前。\n本幅有：“于”“腾”联珠白文、“阿蒙精赏”朱文。\n宋代的花鸟画，在皇室的倡导下，已发展到了黄金时期。\n对客观物象的观察和描绘已丝丝入微，重“格物、穷理”已成为那一时期花鸟画坛的时尚，花鸟册页是其中的代表。\n该图是散页，已无从查考出处，观其画风，应是南宋初院人作品，是南宋写生作品，画面无款。\n宋人画风崇尚真实自然，在真实中求得词一般的境界。\n该图描绘的是一派春意盎然的景象，表现的是一红一白两枝桃花相互交错，花朵饱满丰盈，枝叶葱郁。\n该图没有繁杂的布势表现，但通过对花、叶、枝及嫩芽的精微生动的描绘，着实传达出春花怒放、春日融融的情意感觉。\n其中，尤以那层层叠叠的花瓣最引人注目，且每个花朵的形态走向各有差异，可以说无论是花朵的局部表现，还是整体的布势都是精彩的。\n该图构图简洁，在许多方面都留有写生的痕迹，比如，花瓣的开合、叶子的正反、刚出的嫩芽等表现，无不鲜活入微。\n然而，这种生活化的写生表现，确丝毫没有影响画家依照情意处理画面平面空间分割的意图。\n可能正是由于这种生活中形状的刺激，使得作者在画面的平面分割中，才采用了扇形分割，扇形成为作品中形状的主基调。\n作品从整体画面的团扇形到每一簇花朵，乃至每一簇叶子都呈各自不同的扇形分割，在这个分割中扇形可谓是变化至极。\n这种扇形能够给人以渐展、开阔的生发感觉，这就吻合了作品的情意内容，即由弱到强的春季桃花的生命气象。\n该图艺术精湛，花枝、花茎、花叶全用双勾。\n勾线细秀，赋色轻清。\n其中花瓣用细笔勾描后多层晕染。\n花叶的筋脉一丝不苟，丝丝入扣，有水分的质感，桃干的勾线，顿挫转折，笔笔中锋，凝重而空灵，富有层次变化和立体感。\n中国美术研究所研究员梁济海：这幅画在艺术手法上与《出水芙蓉》不一样，花枝茎叶全用双勾，不过用笔极为轻细，傅色也很淡雅，碧桃的丰盈、柔嫩和姣好的姿容，形成一种素雅的艺术格调。\n由本幅鉴藏印可知，该图曾经清代鉴藏家于腾收藏，经《中国古代书画目录》第二册著录。\n现藏于北京故宫博物院。",[23,7,24,51,100,27,26,102,76,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492d139f03f73b41512b3e28ecc1aab5.jpg",[],175,{"id":4454,"slug":4455,"title":4456,"dynasty":1104,"author":1105,"museum":132,"description":4457,"tags":4458,"thumbUrl":4460,"material":122,"size":122,"collection":122,"collections":4461,"showCount":4452,"zanCount":530,"manualWeight":40,"mainColor":62},227037,"song-mo-ben-chuan-lie-nv-ren-zhi-tu-juan-gu-kai-zhi-227037","宋摹本 传 列女仁智图卷","《列女仁智图》卷，绢本，墨笔淡着色，纵25.8厘米，横417.8厘米。\n《列女仁智图》卷旧传东晋顾恺之作，此为南宋人摹本。\n汉成帝沉湎于酒色，宠信赵飞燕姐妹，朝政大权旁落于外戚手中，危及刘氏政权。楚元王四世孙光禄大夫刘向（前77－前6年）针对这一情况，采摘自古以来诗书上所记载的贤妃、贞妇、宠姬等资料，编辑成《列女传》一书呈送汉成帝，希望他从中吸取经验教训，以维护刘氏政权。全书按妇女的封建行为道德准则和给国家带来的治、乱后果，分为母仪、贤明、仁智、贞顺、节义、辩通、孽嬖七卷，此即其中“仁智卷”部分。\n仁智卷共收集15个列女故事。此卷为残本，其中“楚武邓曼”、“许穆夫人”、“曹僖氏妻”、“孙叔敖母”、“晋伯宗妻”、“灵公夫人”、“晋羊叔姬”7个故事保存完整。“齐灵仲子”、“晋范氏母”、“鲁漆室女”3个故事只存一半，其余5个故事则全丢失，又错将“鲁漆室女”之右半与“晋范氏母”之左半拼接在一起，使人误以为是一个故事。\n此卷多处保存了汉代的衣冠制度，如男子头戴进贤冠，身着曲线大袖袍，腰结绶带并配挂长剑；女子梳着垂髾髻，身着深衣，特别是眉毛涂以朱色，是模仿赵昭仪的新妆，这些都表现了特定时期的风俗和时尚。又蘧伯玉所乘坐的马车称“轺车”，亦为汉代形制，描绘得非常细致而无错误，这些都可以从大量出土的汉代画像石、砖和壁画中找到与之相应的图象。\n在北魏司马金龙墓出土的漆屏风画《列女古贤图》中，表现卫灵公与夫人夜坐闻马车声的一段，与此卷所表现的同一内容相比较，无论是构图布局还是人物的姿态手势都非常近似，可以证实其与《列女仁智图》同出自一个古本。而在传摩过程中，后者更为忠实于古本原作。\n据《汉书》记载，刘向在向汉成帝呈送《列女传》的同时，还呈送了《列女颂图》，并画为屏风。汉成帝的班婕妤失宠后，在她的诗中曾谈到在宫内看到《列女图》，并以此来鉴戒自己。这些都载在班固所著的《汉书》中。东汉时代的画像石、砖中，有不少表现列女故事的题材。画史并载蔡邕曾创作有《小列女图》。这一时期《列女图》的大量出现，既是出于宫廷政治斗争的需要，同时也是为了在社会上广泛推行妇女的道德教育，借以维护封建秩序。\n根据《列女仁智图》中保存有较多的汉代风俗，以及其构图形式的古朴，推测此卷的原本应当出自于东汉时代，而祖本则为刘向所创。剔除后世在反复传摹中所附加的痕迹，仍然能透视二千年前汉代宫廷绘画的艺术光辉。其人物线条粗犷流畅，造型准确。特别是对妇女的描绘，体态轻盈，婀娜多姿，尤为绝妙。构图布局则与汉画像石一脉相承。《列女传》及《列女仁智图》在宋代有多本，此是被保留下来的惟一的一本，尤为珍贵。",[23,7,24,51,25,510,154,28,215,4459,74,118,30],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60eb1ec8833db63938ad3a1ecbc21f2e.jpg",[],{"id":4463,"slug":4464,"title":4465,"dynasty":114,"author":777,"museum":151,"description":4466,"tags":4467,"thumbUrl":4468,"material":250,"size":4469,"collection":123,"collections":4470,"showCount":4452,"zanCount":40,"manualWeight":40,"mainColor":41},221310,"zhi-ping-tie-su-shi-221310","治平帖","释文：\n轼启：久别思念不忘，远想体中佳胜，法眷各无恙。佛阁必已成就，焚修不易。数年念经，度得几人徒弟。应师仍在思蒙住院，如何？略望示及。石头桥、堋头两处坟茔，必烦照管。程六小心否，惟频与提举是要。非久求蜀中一郡归去，相见未间，惟保爱之，不宣。轼手启上。治平史院主、徐大师二大士侍者。八月十八日。\n卷末有赵孟頫、文徵明、王穉登题跋。鉴藏印有“商丘宋荦审定真迹”、“吴江张基德载图书”二方。本卷引首有明人所画苏轼像及释东皋妙声所书《东坡先生像赞》。\n此帖是苏轼书写的信札，内容主要是委托乡僧照管坟茔之事。根据帖后赵孟頫、文徵明、王穉登三人之跋可知，此帖当是苏轼于北宋熙宁年间在京师时所作，时年约30余岁。该帖笔法精细，字体遒媚，与苏轼早年书法特征吻合，正如赵孟頫所称“字划风流韵胜”。\n《平生壮观》卷二、《装余偶记》卷二、《盛京书画录》第二册著录。",[23,7,24,51,25,119,510,28,74,1580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9babc75fc8a45145c2cd4c01861509d.jpg","纵29.2厘米，横45.2厘米",[123],{"id":4472,"slug":4473,"title":4474,"dynasty":293,"author":1556,"museum":395,"description":4475,"tags":4476,"thumbUrl":4478,"material":34,"size":122,"collection":106,"collections":4479,"showCount":4452,"zanCount":541,"manualWeight":40,"mainColor":62},219186,"fu-rong-yuan-yang-tu-qian-xuan-219186","芙蓉鸳鸯图","芙蓉枝蔓自右上垂落，花叶丰腴，白瓣晕染淡红，似含晨露。一对鸳鸯相倚岸汀，羽色层次分明，红喙翠翎与素白绒羽相映，姿态亲昵如诉温情。画面设色温润雅致，绢本底色衬出古雅意蕴，笔墨工细却不刻板，于静谧中藏生机，尽显自然之美与缱绻意趣。枝间花叶错落有致，岸畔草石点缀生姿，整体构图虚实相生，将禽鸟的亲昵与花木的清妍融于一体，传递出恬淡悠然的古典情韵。",[23,7,24,26,27,102,246,969,56,265,4477],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226d4750da5198d9248ca7382ce9bb70.jpg",[106,90],{"id":4481,"slug":4482,"title":4483,"dynasty":114,"author":878,"museum":3453,"description":4484,"tags":4485,"thumbUrl":4487,"material":34,"size":4488,"collection":36,"collections":4489,"showCount":4452,"zanCount":1065,"manualWeight":40,"mainColor":62},218409,"yu-le-tu-ma-yuan-218409","渔乐图","山石以斧劈皴斫出棱线，苍松虬枝斜探，似要牵住远山的雾影。水面留白如镜，载一扁舟静泊，船篷半掩着渔获的细碎声响。近岸处两渔者对坐，或执竿轻叩地面，或捧物低语，衣袂随微风舒展，满是江湖散淡的意趣。\n\n马远以“一角”之景框定天地，却让渔樵的闲逸漫出画外——没有庙堂的车马喧，只有松风穿叶、水波轻漾的自在。笔墨简劲却藏着温软，将宋人的雅致与山野的旷达揉作一处：你看那渔者的笑纹，似能触到日光的暖；那松枝的弧度，恰如心尖的舒展。叫观者也想随这舟子，枕着松涛入眠，把尘事都忘在烟水之外。",[24,7,51,277,73,75,28,80,609,648,4486,649],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c4fbdc76e30016d94462c310d63003.jpg","218.2x148",[36],{"id":4491,"slug":4492,"title":4493,"dynasty":67,"author":181,"museum":1463,"description":4494,"tags":4495,"thumbUrl":4498,"material":267,"size":4499,"collection":88,"collections":4500,"showCount":4452,"zanCount":1065,"manualWeight":40,"mainColor":62},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[7,24,51,25,75,277,73,154,609,80,648,4496,4497,82,664,434,279],"近水","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","27.8x96cm",[88],{"id":4502,"slug":4503,"title":4504,"dynasty":114,"author":181,"museum":365,"description":4505,"tags":4506,"thumbUrl":4508,"material":156,"size":4509,"collection":122,"collections":4510,"showCount":4511,"zanCount":11,"manualWeight":40,"mainColor":41},223523,"li-hua-ying-wu-tu-yi-ming-223523","梨花鹦鹉图","画面上满是梨花，雪白的碎片，三种绿色，红顶红嘴鹦鹉站在树枝上，俯身闻着梨花的芬芳。 从技术上讲，梨花被涂成白色，茎是浅绿色； 鹦鹉是用每一根粗毛笔画出来的，丝绸蓬松，身体圆润，非常可爱！",[23,7,24,51,26,27,102,573,4507,74],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58717acba13d2d5091e6b0c695bb5c0e.jpg","27.6x27.6cm",[],174,{"id":4513,"slug":4514,"title":4515,"dynasty":674,"author":2912,"museum":20,"description":4516,"tags":4517,"thumbUrl":4523,"material":736,"size":4524,"collection":36,"collections":4525,"showCount":4511,"zanCount":530,"manualWeight":40,"mainColor":62},221066,"zhi-gong-tu-yan-li-ben-221066","职贡图","该画描绘的是唐太宗时，婆利国和罗刹国千里迢迢前来朝贡的情景。画中共有二十七人，其中白衣虬髯骑白马的人是罗刹国使者，身后有仆从打着伞执着扇，抬着礼物。左边穿长袍手里托着珊瑚打着伞盖的人是婆利国使者，他的随从也带着各式各样的礼物。整幅画设色淡雅，人物造型奇特，线条流畅自然。",[23,24,51,7,25,26,27,28,4518,215,3219,1167,1603,4519,4520,4521,684,4522],"异域人物","推车","随从","伞盖","行进场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e8b3405f3cc59b7a13648e7f06f67.jpg","纵61.5cm，横191.5cm",[36,90],{"id":4527,"slug":4528,"title":4529,"dynasty":674,"author":1247,"museum":166,"description":4530,"tags":4531,"thumbUrl":4532,"material":34,"size":4533,"collection":88,"collections":4534,"showCount":4511,"zanCount":1065,"manualWeight":40,"mainColor":479},219766,"qing-lv-shan-shui-tu-li-si-xun-219766","青绿山水图","李思训（651-716，一作653-718）唐代书画家。字建睍，一作建景。出身唐宗室。唐高祖从弟长平王李叔良孙，李孝斌子。陇西成纪(今甘肃天水市)人。唐高宗(650-683)时为江都令，武则天朝(684-704)弃官潜匿，唐中宗朝出为宗正卿，唐玄宗开元初，官至左武卫大将军，因玄宗时官至右武卫大将军，所以被称为“大李将军”。擅画青绿山水，受展子虔的影响，笔力遒劲。题材上多表现幽居之所。传为他的作品有台北故宫博物院藏的《江帆楼阁图》轴，画游人在江边活动，以细笔勾勒山石轮廓，赋重青绿色，富于装饰性。此画虽今被认定为宋人手笔，但可以反映他的画风。他的儿子李昭道，官至太子中舍人，也是著名的画家，人称“小李将军”，秉承家学，亦擅青绿山水，风格工巧繁缛。藏于台北故宫博物院的《明皇幸蜀图》画唐玄宗及随从逃难四川的情形，宋以来相传为他的作品，现被断为宋人摹本。此派的山水风格，在初唐的章怀太子墓和懿德太子墓壁画中亦可看到。",[23,7,24,51,52,72,27,26,855,75,77,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d907e9ba09310c5bbacf3e00fd591b.jpg","纵 60.70横34.50",[88],{"id":4536,"slug":4537,"title":4538,"dynasty":114,"author":364,"museum":132,"description":4539,"tags":4540,"thumbUrl":4542,"material":122,"size":122,"collection":122,"collections":4543,"showCount":4544,"zanCount":40,"manualWeight":40,"mainColor":62},227690,"mo-long-tu-juan-chang-juan-chen-rong-227690","墨龙图卷(长卷)","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。",[23,7,24,25,277,370,473,4541],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeade678f60985fee28594e370dca39b.jpg",[],172,{"id":4546,"slug":4547,"title":4548,"dynasty":46,"author":131,"museum":132,"description":4549,"tags":4550,"thumbUrl":4551,"material":217,"size":4552,"collection":122,"collections":4553,"showCount":4544,"zanCount":541,"manualWeight":40,"mainColor":62},223160,"kong-que-yu-lan-mu-dan-tu-shen-quan-223160","孔雀玉兰牡丹图","沈铨（1682—1760）， 其画远师宋代黄家画派，近承明代吕纪，工写花卉翎毛，禽兽，设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画面注重写实，画风谨严工细，造型准确生动。",[23,7,24,51,526,26,27,102,139,2190,103,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe434c61b051ad12a728a695b4c78c622.jpg","145×84cm",[],{"id":4555,"slug":4556,"title":4557,"dynasty":114,"author":165,"museum":151,"description":4558,"tags":4559,"thumbUrl":4560,"material":250,"size":4561,"collection":123,"collections":4562,"showCount":4544,"zanCount":11,"manualWeight":40,"mainColor":62},220393,"yan-shan-ming-mi-fei-220393","研山铭","《研山铭》与《虹县诗》用力稍过和《多景楼》的颇显急躁相比，此作以闲适纵逸的笔调显示出对所藏研山倍加珍重的得意与自信，点画如刀劈斧斫，气势如虹；粗者大笔如椽，几成块面，如“五、出、极、化”，细者劲似发条，弹槽欲出，如“怪、痕、震”。\n《研山铭》善于在正侧、偃仰、向背、转折、顿挫中形成飘逸超迈的气势、沉着痛快的风格。字的起笔往往颇重，到中间稍轻，遇到转折时提笔侧锋直转而下。捺笔的变化也很多，下笔的着重点有时在起笔，有时在落笔，有时却在一笔的中间，对于较长的横画还有一波三折。勾也富有特色。 侧倾的体势，欲左先右，欲扬先抑，都是为了增加跌宕跳跃的风姿、骏快飞扬的神气，以几十年集古字的浑厚功底作前提，故而出于天真自然，绝不矫揉造作。\n结字自由放达，信手天成，下笔挥洒纵横，跌宕多姿，不受前人羁勒，倾侧之中含稳重，一笔一划都融合在作品的整体精神之中，字字因势生形，字与字之间绝少连属，数字间没有明显的游丝映带，却能一气贯通，显得自然畅达。正是欹侧之势使上下、左右顾盼生情，险绝而生稳，收似欹反正之效。\n在章法布局上米芾借鉴运用了前人的技巧，打破局部的平稀和对称，并以向左倾斜流动的态势，形成一种行距间相互穿插的格局，在动态中求得总体的平衡。通篇时疏时穿，虚实相生，都在有意无意之间。从整体布局上看气象萧森，笔走龙蛇，在跳荡的表象之下，有浑然的整体存在，给人以强烈的对比感，通篇给人以强烈的音乐节奏感、韵律感。\n《研山铭》书体修长，且每个字长短都有变化，没有固定的尺寸，笔法遒媚，通观全篇，其笔迹竟无一处雷同，行中带草，笔势连绵，没有丝毫的飘忽之感，沉着稳重，并无粗涩横野，在圆转流美之中显示出恣肆烂漫、欹侧生姿的美韵",[23,7,24,51,25,119,277,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7374b1f0d39e9aa4bee66efe967e9999.jpg","纵36厘米，横136厘米",[123],{"id":4564,"slug":4565,"title":4566,"dynasty":114,"author":181,"museum":20,"description":4567,"tags":4568,"thumbUrl":4569,"material":34,"size":122,"collection":175,"collections":4570,"showCount":4544,"zanCount":1065,"manualWeight":40,"mainColor":62},218832,"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[23,24,51,7,75,27,100,80,28,82,3456,298,3037,56,1997],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg",[175,88],{"id":4572,"slug":4573,"title":4574,"dynasty":114,"author":4575,"museum":1031,"description":4576,"tags":4577,"thumbUrl":4578,"material":34,"size":4579,"collection":36,"collections":4580,"showCount":4544,"zanCount":541,"manualWeight":40,"mainColor":41},216922,"xiang-shan-jiu-lao-tu-ma-xing-zu-216922","香山九老图","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,7,24,25,26,27,28,53,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F695cadd81d87bdb7478f46096b1241a9.jpg","27.1x217.2",[36],{"id":4582,"slug":4583,"title":4584,"dynasty":114,"author":556,"museum":20,"description":4585,"tags":4586,"thumbUrl":4587,"material":121,"size":4588,"collection":175,"collections":4589,"showCount":4590,"zanCount":1065,"manualWeight":40,"mainColor":62},220237,"zuo-shi-kan-yun-tu-li-tang-220237","坐石看云图","画中物象安排较多，与一般南宋山水画半边留白模式略有差异。但仔细观察画面，不难注意其中仍具有一巧妙的斜向构图手法。依此斜向虚线，左上与右下半两部呈现出有趣的虚实对照关系。右下两位人物着宽袍濯足，望向左上侧景致。这一佳景林木繁盛，嶙峋山岩以青绿添墨染成，又间以赭石增添色彩变化。于李唐〈万壑松风图〉的逼真山石质感，揉入赵令穰小景的细腻情调，距北宋山水特色不远。",[23,24,51,7,75,28,56,473,1059,73,277,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df661a9b20032e251b879ebfce45eb8.jpg","27.7x30",[175],171,{"id":4592,"slug":4593,"title":4594,"dynasty":293,"author":583,"museum":4595,"description":4596,"tags":4597,"thumbUrl":4599,"material":267,"size":4600,"collection":88,"collections":4601,"showCount":4590,"zanCount":1065,"manualWeight":40,"mainColor":62},218258,"shan-xi-fang-dai-tu-huang-gong-wang-218258","剡溪访戴图","云南省博物馆","《剡溪仿戴图轴》为黄公望晚年所作，描绘的是晋代著名书法家王羲之访问友人戴逵的故事。王羲之行船至剡溪，被途中雪景所吸引，一路慢行欣赏，在他将要到达目的地时，觉已尽兴，于是返回而未见友人。图中，蜿蜒溪水中有一叶小舟正使出村庄，小舟中坐有一人，拢袖御寒，船夫正用力划桨。\n整幅画面萧瑟寂冷，寒气逼人。画中山石、枯枝以“留白”的形式来表现被大雪覆盖，岩石上以浓墨点写枯树枝桠，更显萧瑟。山石堆叠，结构繁复，但用笔简洁，以淡墨为主，只在山石间的深凹处略加枯墨皴擦，空灵之感油然而生。山脚下庭院积雪，空无一人，更显寂寥。",[24,7,51,277,73,75,278,80,82,77,647,1357,4598,1737,280,3255,648,3901],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087820b95e4e9ded3f3d19b0cdb20388.jpg","76.6x55.3cm",[88],{"id":4603,"slug":4604,"title":4605,"dynasty":293,"author":1556,"museum":132,"description":4606,"tags":4607,"thumbUrl":4608,"material":122,"size":122,"collection":122,"collections":4609,"showCount":4610,"zanCount":11,"manualWeight":40,"mainColor":62},228020,"hua-lan-tu-ye-qian-xuan-228020","花篮图页","棕褐绢底晕开古雅底色，竹编花篮篾条交错，纹理写实朴拙，似可触手可感。篮中群芳错落排布，柔粉芍药舒展娇瓣，乳白月季凝含清韵，朱红小花点染亮色，碧色青叶俯仰生姿，花叶的阴阳向背层次分明。设色妍丽却不浓艳，工笔细绘暗含文人雅意，褪去刻板匠气，将折枝花卉的鲜活生机与花篮的质朴融于方寸之间，把秋日花篮的雅致鲜活定格绢上，晕染出静谧隽永的古典诗意，尽显幽淡雅致的审美意趣。",[23,24,7,27,26,102,263,55,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ef07ac91ee4d635310b37558cfb414.jpg",[],170,{"id":4612,"slug":4613,"title":4614,"dynasty":114,"author":1216,"museum":1417,"description":4615,"tags":4616,"thumbUrl":4617,"material":2232,"size":4618,"collection":175,"collections":4619,"showCount":4610,"zanCount":541,"manualWeight":40,"mainColor":62},221409,"wei-mo-ju-shi-xiang-li-gong-lin-221409","维摩居士像","李公麟（149～116），北宋舒州人（今安徽桐城人），宋代杰出画家。\n字伯时,号龙眠居士，(149-116)享年五十七岁。\n熙宁三年(公元17年)进士。\n李龙眠即李公麟，字伯时，安徽桐城人，因桐城有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n元符三年（11）病痹告老，居家乡桐城龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n李公麟做官三十年，也是他的艺术逐渐成熟，成为名画家的时期：这一时期也正是王安石变法失败，转入史称“朋党”之争的时期。\n李公麟和的关系很好，熙宁七年以后，王安石失势，退居，曾与李公麟同游，并赠诗四首，但同时，李公麟和反对王安石的等关系也很密切。\n李公麟和、、等人同是驸马家的座上客。\n他们在王诜家里的聚会曾被纪录在李公麟画的《》（现存各种摹本）中，米芾也为此写了一篇文章。\n他们十几个人在王诜家的花园中饮酒、作诗、写字画画、谈禅、论道等等。\n这是他们交游的第一个时期，是在苏轼被黜，离开汴梁去杭州作官以前。\n元丰二年（公元一○七九年）苏轼因作诗遭祸，陷入险境，王诜也被株连，据说李公麟在街上遇见苏家人，就以扇遮面，因而受到人们的讥笑。\n李公麟和等人第二次交游是在哲宗元祐年间，那时已经去世，正是旧党短期得势，而苏轼又恢复了自己的政治地位的时候，李公麟又画了第二幅《》。\n苏轼和的诗集中载多首赠诗和称赞他作品的诗。\n李公麟对于古代的美术修养极深。\n对古器物和古文字具有知识，曾摹绘古代的铜器并加以考订，他参加了整理皇家收藏的古器物的工作。\n他的父亲李虚一收藏古代画迹很多，他都进行临摹，并且也临摹了很多他人收藏的名迹。\n他保存了很多自己临摹前代名画的副本。\n他的绘画才能，首先表现 在他的题材的多样性上。\n他擅长鞍马、佛像、人物和。\n他在临摹古人名迹中掌握了绘画技法，而越出古人的技法。\n李公麟擅长画马和人物。\n他画的人物，据说能够从外貌上区别出“廊庙馆阁、山林、闾阎臧获、台舆皂隶”等社会各阶层人的特点，并能分别出地域和种族的具体特点，及动作表情的各种具体状态。\n他的艺术创造有生活现实性为基础，所以他敢于追求新的表现。\n他敢于突破前人的定式，画长带观音，飘带长过一身有半，还画过石上卧观音，这些都是他创造的新式样。\n他的创造性还表现 在他对题材的理解上，他画“观自在观音”，不是按照一般流行的坐相，他说“自在在心，不在相”，不必限制于某一固定的坐相，而是另创一种他认为能表现出心情自在的坐相。\n他画的“归去来辞”一诗把表现的重点放在正在思维中的神态上，不在一般化的描写田园松菊等自然风物，而注重描绘“临清流处”——发人深思的流水。\n李公麟画汉代的将军夺了胡人的马逃回来，在马上引弓瞄准追骑，箭锋所指，人马就应弦而倒。\n李公麟自己说，如果是旁人画就要画箭射中追骑了。\n可见李公麟很了解艺术的真实有别于生活的真实，表面上好象不合理，而能产生更强烈的艺术力量。\n他善画人物，尤工画马，称赞他：“龙眠胸中有千驷，不惟画肉兼画骨”。\n《》为其代表作。\n画中五匹大马，由五个人牵引，神采焕发，顾盼惊人。\n用笔简练，马的一举一动，极其细致生动地表现出骏马运动和性情的特征。\n他还发展了“”画法，创造出“扫支粉黛、淡毫清墨”，“不施，而光彩动人”。\n他的作品，保存下来的不多。\n除《》外，尚有《》《》《居士像》《十六小马图》《》《》《》《》《草堂图》《》《明皇演乐图》《农节图》《》《明皇醉归图》《》《汴桥会盟图》《白描罗汉图》《海会图》《》等。\n李公麟画了一幅六七个汉子围在桌旁赌博的《贤己图》，图中人物栩栩如生，其中有一个人伏在桌上，眼盯盆内的骰子，张嘴急呼，这时骰子转到“六”的位置上。\n元符三年（11）告老，居故乡桐城双溪，号龙眠居士。\n他好古博学，善鉴定。\n不仅能画人物鞍马、神仙佛道，也能画花鸟。\n他对传统绘画作过大量的临摹，同时重视写生，敢于独创。\n他的人物能从外貌上区别出身份、地域和性格特点。\n在画法上，他以著称。\n这种善用线描，多不设色的白描，造型准确，神态生动，这样就把传统的线描造型方法推进到一个新的水准。\n对其后代影响很大。\n他画的山水，亦有创格。\n工行、楷书，有晋、宋之风。\n后人论其作画“以立意在先，布置缘饰为次”。\n还长于考古。\n存世作品有《》《临苇偃牧放图》《九歌》《免胄图》《居士像》等图。\n《》，纸本浅设色，纵29.厘米，横22.5厘米。\n现为日本私人收藏。\n李公麟善于画马，“每欲画，必观群马，以尽其态”。\n《》就是李氏根据写生创作的。\n每匹马各有一人牵引。\n人、单线勾出比例准确，动作生动，清晰地表现出肌肉骨骼的结构，身体的重量感、软硬质感，乃至光泽印象，可代表他画的水准。\n尤见画中马匹、人物的生动神态，不愧为传世杰作。\n画后有跋。\n李公麟(149-116)，北宋著名画家。\n字伯时，号龙眠居士。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法 。\n李龙眠即李公麟，字伯时，祖籍舒州（今安徽桐城）， 桐城北乡龙眠山，李公麟归隐于山下，所以又自号龙眠居士或龙眠山人。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、米芾、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n居京师十年不游权贵之门，以访名园荫林为乐。\n元符三年（11）病痹告老，居家乡龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得正传；着色山水追李思训心法；画马过。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n传世作品有《》卷，现藏；《》卷、《维摩演教图》藏故宫博物院；《赤壁图》《蜀川胜概图》流往美国；《莲社图》轴（南宋摹本）藏南京博物院。\n李公麟是北宋时期一位颇具影响的名士，其绘画为当世第一。\n《》第七卷在评论他的作品时赞曰：“（龙眠）尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、、闾阎、臧荻、占舆、皂隶。\n至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。\n贵贱研丑止以肥红瘦黑分之。\n大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。\n”称“其神与万物交，智与百工通”。\n清初大家评李公麟：“自龙眠而后未有其匹，恐前世顾（恺之）、陆（探微）诸人亦所未及也。\n”而邓椿在他的《》里说：“画今古一人而已，以予观之，伯时既出，道玄（）讵容独步。\n”因此，李公麟笔下“扫去粉黛、淡毫轻墨、高雅超逸的画，被后人称为”天下绝艺矣”。\n在中国绘画技法中，线描是最有特色的技法之一，而纯用线条和浓淡墨色描绘实物的白描画法，可以说是线描技法发展的最高、最纯的阶段。\n而李公麟正是在这艺术浪尖上的弄潮儿，他使白描技法成为后人学画所遵从的样板典范，“犹如群龙之首”千百年来代代相传。\n北宋的人物画，其构形技法，到北宋后期为李公麟（149年-116年）发扬光大，线条健拔却有粗细浓淡，构图坚实稳秀而又灵动自然，画面简洁精练，但富有变化；题材广及人物、鞍马、、花鸟，既有真实感，又有文人情趣，而且所作皆不着色，被称作“大师”。\n《》和《》标志着单线勾勒的技法在中国绘画艺术中的巨大成就。\n单线勾勒的写实能力在于它有可能表现对象的形体、质感、量感、运动、空间。\n所以单线勾勒是一种效果明显而高度简洁的描绘技法。\n李公麟是一个卓 越的现实主义艺术的大师。\n他在绘画史上的地位尚有待更细致的分析，他创造了富于概括力的真实而鲜明的艺术形象，他掌握极优美的提炼形象的能力和表现技巧。\n但是他之选取非现实性的题材的倾向和追求一种与的生活密切联系的细腻的趣味，都说明他的艺术中蕴藏了一个危机。\n北宋的人物画，著名者有的《朝元仙仗图》，清秀娴丽，气度恢弘，而其构形技法，到北宋后期为李公麟发扬光大，线条健拔却有粗细浓淡。\n《五马图》为其传世佳作，纸本墨笔，纵29.厘米，横225厘 米，无名款。\n图以白描的手法画了五匹西域进贡给北宋朝廷的骏马，各由一名奚官牵引。\n每匹马后有宋黄庭坚题字，谓马之年龄、进贡时间、马名、收于何厩等，并 跋称为李伯时（公麟）所作。\n五匹马各具美名，令人遐想，依次为：凤头骢、锦膊骢、好头赤、照夜白、满川花，而五位奚官则前三人为西域装束，后两人为汉人。\n五匹马体格健壮，虽毛色不一，姿态各异，但显得驯养有素，极其温顺。\n五个奚官则因身份不同，或骄横，或气盛，或谨慎，或老成，举手投足，无不恰如其分。\n李龙眠画罗汉渡江，凡十有八人。\n一角漫灭，存十五人有半，及童子三人。\n一人值纸坏，仅见腰足。\n一人携杖，衣袂翩然，若将渡而无意者。\n一人凝立远望，开口自语。\n一人跽左足，蹲右足，以手捧膝作缠结状；双屦脱置足旁，回顾微哂。\n一人坐岸上，以手踞地，伸足入水，如测浅深者。\n者九人：一人以手揭衣，一人左手策杖，目皆下视，口呿不合。\n一人脱衣，双手捧之，而承以首。\n一人前其杖，回首视捧衣者。\n两童子首发鬅鬙，共舁一人以渡。\n所舁者，长眉覆颊，而怪伟如秋潭老蛟。\n一人仰面视长眉者。\n一人貌亦老苍，伛偻策杖，去岸无几，若幸其将至者。\n一人附童子背，童子瞪目闭口，以手反负之，若重不能胜者。\n一人貌老过於伛偻者，右足登岸，左足在水，若起未能。\n而已渡者一人，捉其右臂，作势起之。\n老者努其喙，缬纹皆见。\n又一人已渡者，双足尚跣，出其屦将纳之，而仰视石壁，以一指探鼻孔，轩渠自得。\n按：罗汉於佛氏为得道之称，後世所传高僧，犹云「锡飞」、「杯渡」。\n而为渡江，艰辛乃尔，殊可怪也。\n推画者之意，岂以佛氏之作止语默，皆与人同，而世之学佛者，徒求卓诡变幻、可喜可愕之迹，故为此图，以警发之与？昔人谓太清楼所藏吕真人画像，俨若孔、老，与他画师作轻扬状者不同，当即此意。\n的，性质上就是「看图作文」。\n作者体会到李龙眠人物画运笔传神，寓意含蓄的特点，对画面形象的记叙，也多攫住人物的自然神情。\n描写人物虽仅寥寥数语，却能得其精神。\n写方渡的罗汉，那种离岸涉水时敛神屏息的神情，及至中流时勉为其难的神情，去岸不远时庆幸欣喜的神情，描摹细腻，栩栩如生，并且凸显罗汉的不胜其苦。\n至于未渡的五个罗汉（其中一个，因纸坏仅见腰足），也极力描写他们各自不同的神态：一个是临渡而无意，一个是逡巡而观望，一个写出他决心初下的愉悦神情，一个描写入水将渡前的审慎心理。\n对这一组人物的刻意描写，也是为了衬托渡江的艰难。\n已渡者怡然自得的神态，实际上也是对渡江艰难的一种反衬。\n作者对於李龙眠画作「在心不在相」，著重人物内在精神的刻画，可谓深得其旨。\n从52岁辞官归故里之后就再也没有离开过家乡了，最后在故里去世，安葬在县城东南的磐石圩。\n李公麟（149～116），北宋舒州（今安徽桐城）人。\n有“独步中国画坛”、“宋画第一”等美誉。\n关于他的绘画，奇闻逸事颇多。\n传得最广的是他画马。\n公麟的马画得好是出了名的，为了画马，他常常去马厩中一呆就是一天，有一次皇宫御苑来了西域进贡的宝马，他来此画马，画成后，马却死了。\n人都说那马是被公麟摄了精魄去了。\n难怪他的马画得出神入幻。\n东坡有云：“龙眠胸中有千驷，不唯画肉兼画骨。\n”弄得后来管御马的小吏见了公麟就紧张，生怕他来画马，又把马给画死了。\n李公麟除了画画，还是个官员，他在政治上似乎没什么建树，在朝中似乎也是个没派别的人。\n在他做官的时候，正是苏东坡和王安石闹新旧党争的时候，但他既非新党又非旧党，他和苏、王二人都是朋友。\n这也许正是他艺术家气质的表现。\n不过，细数起来，他最要好的朋友还是苏东坡和黄庭坚。\n《苏轼诗选》里面就有《》和《》，这“戏书”和“画马试院”就可看出他们之间的友谊已经超出一般的官场交往，而是至交了。\n三个人都是考官，在科举考试的间隙李公麟画马，苏、黄二人题诗其上，岂不是忙里偷闲，情趣盎然。\n李公麟晚年因为身体不太好，回到了故里桐城龙眠山安度晚年，还建了一处大气的庄园叫做龙眠山庄。",[23,7,24,51,52,678,510,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53504efddd52e59c86dadee4e5abf751.jpg","纵91 2厘米，横51 4厘米",[175,36,286],{"id":4621,"slug":4622,"title":4623,"dynasty":114,"author":211,"museum":20,"description":4624,"tags":4625,"thumbUrl":4626,"material":611,"size":4627,"collection":175,"collections":4628,"showCount":4610,"zanCount":1065,"manualWeight":40,"mainColor":62},221331,"wen-hui-tu-zhao-ji-221331","文会图","该画作描绘的是文人学者以文会友饮酒赋诗的场景。园林中绿草如茵，雕栏环绕，树木扶疏，九名文士围着坐在桌子的周围，树下立谈的二人，另外有童仆侍从者九人，人物姿态生动有致，呈现出文人学士饮酒赋诗畅谈之景。",[23,24,7,51,26,27,28,82,1164,1167,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a52bb2f5e40f63f9d730b696f39f122.jpg","纵184.4厘米，横123.9厘米",[175,88,90],{"id":4630,"slug":4631,"title":4632,"dynasty":293,"author":658,"museum":20,"description":4633,"tags":4634,"thumbUrl":4635,"material":250,"size":4636,"collection":286,"collections":4637,"showCount":4610,"zanCount":1065,"manualWeight":40,"mainColor":41},220770,"mo-zhu-ce-wu-zhen-220770","墨竹册","《元吴镇墨竹册》是吴镇创作的水墨画，作品创作于元代，作品所画的是墨竹。页高403厘米，宽52厘米。现藏于台北故宫博物院。\n吴镇曾说的墨竹之法：“疏不至冷，繁不至乱，翻向正背，转侧低昂，雨打风翻，各有法度”。 吴镇的墨竹把文学意蕴融入到艺术表现手法中，开创了文人画重意蕴之风，使中国文人画得到了关键性的发展，加深了文人画的思想内涵和潜在表现力，起到了承前启后的重要作用。之后的姚绶、文征明、唐寅等名家均不同程度受到了他的影响。特别是清代后期的蒲华，在继承了吴镇墨竹飘逸高傲之气的同时，又在“形”、“韵”两方面下功夫，使以竹为题材的艺术创作和审美情趣在清末达到了又一个高峰。明代文学大家陈继儒在《梅花庵记》中写道：“先生书仿杨凝式，画出入荆关董巨，初虽无意于啖名，而品格既真，则身价自不能压之使下，画苑推元四大家必屈指先生”，充分说明了吴镇在画坛上的公认地位。\n吴镇生于南宋灭亡次年，当时抗元气氛仍很浓厚，再加上元朝知识分子地位的骤降，使得他只能通过艺术作品来抒发心中的强烈感触与不平。墨竹是文人画中的常见题材，吴镇的墨竹则是中国画史上的极品，其成就甚至超过他的山水画，为后人留下了诸多传世佳作以及丰富的理论论述。\n吴镇的墨竹理论大约可分为三个部分：一是对竹子人格化的认识，这是他创作的原动力；二是画竹者的心境；三是具体的技法。他认为，画竹不仅要展现竹子的外在形态，更要显现其内在风骨和精神，反映更高的旨趣。他将竹子作为自身人格的真实写照，赋予其虚心劲节、直竿凌云、高风亮节的深刻寓意；在用笔时不求工细，只讲究写意神似，重在抒发自己的主观情趣：譬如生长于绝处的竹子，彰显的是处劣境不改其节，居陋地不扰平淡之心的君子风范；空山野地之竹则如隐士巢父、许由般高洁脱俗，远离浊世。吴镇正是将这种种体会与感受，自然而又随意地融入到自己的作品中，展现出多姿多彩的墨竹神韵。\n吴镇笔下的诸般墨竹姿意潇洒，可谓极尽竹之生态与情意：春夏秋冬、晴雨风雪、俯仰横斜皆各不相同。他运用墨的浓淡粗细，将竹的干、节、枝、叶描绘得繁而不乱、疏密有致；特别是采用浓、淡、破、焦、湿等方法把墨分为七色，将竹子的萧瑟灵性、远近枯荣表现得淋漓尽致、层次无穷。除了强调总体法度之外，吴镇还对细微处的技巧颇有研究。他认为画墨竹要分为干、节、枝、叶四个方面：“而叠叶至难，于此不工则不得为佳画矣”；画竹时须“下笔要劲，节实按虚起，一抹便过，少迟留则必钝厚不銛利矣”，画叶时应竭力避免“精似桃叶，细如柳叶，孤生并立，如又如井，太长太短，蛇形鱼腹，手指蜻蜓”等“疏密偏轻，使人厌观”之病。",[7,24,51,277,100,368,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed6606134c966f2275eb0bcfe36c8f6.jpg","纵40.3厘米，横52厘米",[286,2605],{"id":4639,"slug":4640,"title":4641,"dynasty":46,"author":2336,"museum":132,"description":4642,"tags":4643,"thumbUrl":4645,"material":317,"size":907,"collection":122,"collections":4646,"showCount":4647,"zanCount":40,"manualWeight":40,"mainColor":41},289915,"sui-chao-qing-gong-tu-li-zhou-wu-chang-shuo-289915","岁朝清供图立轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,7,51,52,277,27,102,383,2067,56,1167,118,74,1791,198,4644],"盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fcfb6589c3a3e4729c4a0a67ce3c16.jpg",[],169,{"id":4649,"slug":4650,"title":4651,"dynasty":114,"author":115,"museum":20,"description":4652,"tags":4653,"thumbUrl":4659,"material":283,"size":4660,"collection":123,"collections":4661,"showCount":4647,"zanCount":40,"manualWeight":40,"mainColor":41},221283,"ba-su-shi-huang-zhou-han-shi-shi-huang-ting-jian-221283","跋苏轼黄州寒食诗","《黄州寒食诗卷跋》是黄庭坚在苏轼《黄州寒食诗帖》后写的一段跋语，此跋历来为人们所珍视，与原帖合称“双璧”。《寒食帖跋》表现了“黄书”的基本艺术特点。《跋文》用笔锋利爽截而富有弹性。其字写得藏锋护尾，纵横奇崛，其长笔画波势比较明显。由于黄庭坚善于把握字的松紧，因此形成了中宫收缩而四周放射的特殊形式感，人们也称其为辐射式书体。在布局上，《跋文》常从欹侧中求平衡，于倾斜中见稳定，因此变化无穷，曲尽其妙。从局部看，一行字忽左忽右，但从整体看，呼应对比，浑成一体。此跋给人以神情饱满，气势贯通的感受，决无荒率之病，达到了艺术的化境，所以他在最后不无得意地说：“他日东坡或见此书，应笑我于无佛处称尊也”。",[23,7,118,119,250,634,4654,4655,4656,4657,4658,25,51],"墨书","笔力劲健","结体舒展","顿挫有致","墨色变化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee18dc5af9010f82b2dba444201b634.jpg","纵34.2公分，横199.5公分",[123],{"id":4663,"slug":4664,"title":4665,"dynasty":293,"author":4666,"museum":4667,"description":4668,"tags":4669,"thumbUrl":4671,"material":34,"size":4672,"collection":106,"collections":4673,"showCount":4647,"zanCount":40,"manualWeight":40,"mainColor":62},219260,"tao-zhu-jin-ji-tu-wang-yuan-219260","桃竹锦鸡图","王渊","山西省博物馆","画面以水墨晕染出清雅意境，锦鸡昂首伫立石间，墨笔勾勒的羽翼间，浓淡层次晕染出如锦似绣的质感，尾羽拖曳如墨色流苏。桃枝蜿蜒斜逸，嫩芽初绽；竹叶疏朗挺劲，与奇崛山石构成疏密有致的布局。几只小鸟或栖于枝头，或振翅欲飞，为静谧添上灵动一笔。\n\n笔墨融工致与写意于一体：山石以斧劈皴显苍劲厚重，花鸟以细劲线条勾形见精致。无艳丽设色，却以墨之五色绘尽自然生机——浓墨点染的枝干、淡墨晕开的花叶、干笔皴擦的岩石，干湿浓淡间尽显文人画的雅致韵致。静穆中藏着蓬勃生气，清雅里透着逸趣，似在诉说元代文人对自然的细腻观照与笔墨风骨。",[24,7,51,102,277,26,27,4670,53,384,56,1883],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade754c62acc1771f2885153f324fff0.jpg","纵162.5横133厘米",[106],{"id":4675,"slug":4676,"title":4677,"dynasty":293,"author":1556,"museum":395,"description":4678,"tags":4679,"thumbUrl":4682,"material":34,"size":4683,"collection":106,"collections":4684,"showCount":4647,"zanCount":489,"manualWeight":40,"mainColor":62},219073,"jia-zhu-an-chun-tu-qian-xuan-219073","夹竹鹌鹑图","图中是一个由绿竹和夹竹桃组成的花架，竹子的叶子已经变黄，夹竹桃盛开着粉色和白色的细小花瓣，两只圆圆的、有棕色、白色和黑色羽毛的鹌鹑正在花下进食，一前一后。",[23,24,7,51,26,27,102,4680,4681,711,3219],"鹌鹑","夹竹桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66567dd4c694ac4de660e6f61b5e303d.jpg","54x40cm",[106],{"id":4686,"slug":4687,"title":4688,"dynasty":114,"author":4689,"museum":132,"description":4690,"tags":4691,"thumbUrl":4693,"material":34,"size":122,"collection":175,"collections":4694,"showCount":4695,"zanCount":40,"manualWeight":40,"mainColor":62},218943,"yuan-lu-tu-yi-yuan-ji-218943","猿鹿图","易元吉","古木虬枝盘曲，浓荫层叠如盖，数只猿猴或攀附枝桠眺望，或倒挂垂藤嬉戏，或蹲踞树间理毛，神态各异，毛发细劲蓬松，尽显野趣生机。树下小鹿昂首抬望，似与枝头猿猴遥遥呼应，动静相生间，溢出山林的清寂悠然。\n\n笔墨工细灵动，树木皴染结合，叶片层叠有致；猿鹿造型精准，细节刻画入微，可见对自然生灵的深察。绢本色调温润古朴，衬出宋画雅致意境，仿佛林间风动，猿啼鹿鸣隐约可闻，将山野悠然意趣凝于尺幅，尽显自然之美与生命之趣。",[23,7,24,51,768,27,26,4692,1293,135,136,265,472],"猿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef6adf05faacf36a9500267f5a38228.jpg",[175],168,{"id":4697,"slug":4698,"title":4699,"dynasty":46,"author":4700,"museum":395,"description":4701,"tags":4702,"thumbUrl":4703,"material":666,"size":122,"collection":106,"collections":4704,"showCount":4695,"zanCount":541,"manualWeight":40,"mainColor":41},216333,"jin-nong-ba-kai-hua-niao-tu-jin-nong-216333","金农八开花鸟图","金农","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[24,277,51,100,102,1478,4670,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f6b3e80250eba394b60f585bca7d31f.jpg",[106],{"id":4706,"slug":4707,"title":4708,"dynasty":293,"author":181,"museum":132,"description":4709,"tags":4710,"thumbUrl":4712,"material":317,"size":907,"collection":122,"collections":4713,"showCount":4714,"zanCount":40,"manualWeight":40,"mainColor":41},228180,"yong-le-gong-bi-hua-chao-yuan-tu-quan-tu-yi-ming-228180","永乐宫壁画朝元图全图","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[23,7,24,51,4477,677,678,27,28,26,4711],"重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876253f354c6f4ded8f8464fd3ee1773.jpg",[],167,{"id":4716,"slug":4717,"title":4718,"dynasty":674,"author":4719,"museum":1201,"description":4720,"tags":4721,"thumbUrl":4722,"material":34,"size":4723,"collection":36,"collections":4724,"showCount":4714,"zanCount":346,"manualWeight":40,"mainColor":62},220267,"wu-xing-er-shi-ba-xiu-shen-xing-tu-liang-ling-zan-220267","五星二十八宿神形图","梁令瓒","此图原分为上下两卷，前半卷画五星，后画二十八宿。此图现只存在五星及“角”至“危”十二宿神形，计17图，应当为上卷。星宿一般都与占卜相关联，而此图将天文，传说和世俗理念组为一体，独树一帜，形成了一种独特的艺术形式。每个星、宿各作一图，或老人，或描绘成女像，或是画成怪异的形象。有的人物骑着牛，有的手中拿着器物，面部特征与表情也各有不同。设色以黄色为基调，另有朱、青、绿、黑各色配合。衣褶、人体和兽身都采用晕染法，稍有立体感。",[23,7,24,51,25,678,26,27,510,28,1906,215,472,370,2106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3c8239f23b32915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由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[7,24,51,100,277,73,75,135,278,78,28,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904338a5938de41cde644a080fbf2525.jpg","纵27.8厘米，横37.3厘米",[],165,{"id":4748,"slug":4749,"title":4750,"dynasty":46,"author":2636,"museum":395,"description":4751,"tags":4752,"thumbUrl":4754,"material":267,"size":4755,"collection":106,"collections":4756,"showCount":4746,"zanCount":1065,"manualWeight":40,"mainColor":62},216739,"bai-ying-tu-lang-shi-ning-216739","白鹰图","郎世宁（1736-1801）是清朝时期的画家，他的《白鹰图》是一幅有名的山水画作品。这幅画描绘了一只白鹰展翅高飞的场景，在画中，白鹰的身体线条优美，动作十分生动，同时还富有寓意。郎世宁的《白鹰图》被认为是他的代表作之一，并被广泛欣赏。",[7,24,26,27,102,4753,609,313,52],"白鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729904f32b9a01e6d59da946aa7e639b.jpg","248.3x134cm",[106],{"id":4758,"slug":4759,"title":4760,"dynasty":114,"author":448,"museum":395,"description":4761,"tags":4762,"thumbUrl":4763,"material":34,"size":4764,"collection":106,"collections":4765,"showCount":4746,"zanCount":489,"manualWeight":40,"mainColor":62},216099,"xuan-lan-tu-lin-chun-216099","萱兰图","萱兰图是中国宋朝画家林椿的代表作之一。这幅画描绘了一座庭院里的萱兰花。萱兰花是中国传统园林艺术中的一种常见植物，它有着精致的花朵和引人注目的花瓣。在萱兰图中，林椿用精细的笔触和细腻的色彩描绘了萱兰花的各个细节，使这幅画充满了生命力和魅力。此外，萱兰图还描绘了庭院里的山水景观，包括山峰、岸边和树木。整幅画浑然一体，充满了和谐和自然的气息。萱兰图是中国宋朝画家创作的杰作，是中国艺术史上的瑰宝。",[7,24,51,102,26,27,411,228,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2708522fbaf48375edc1d0d665366d.jpg","34.3x27.3cm",[106],{"id":4767,"slug":4768,"title":4769,"dynasty":67,"author":966,"museum":151,"description":4770,"tags":4771,"thumbUrl":4772,"material":34,"size":4773,"collection":36,"collections":4774,"showCount":4746,"zanCount":541,"manualWeight":40,"mainColor":62},215041,"sheng-an-zan-hua-tu-chen-hong-shou-215041","升庵簪花图","这幅画是艺术家的艺术杰作。人物夸张的造型，活泼的神态，圆润有力的线条，以及背景中老树的虬枝，进一步强调了主人公不羁的个性，显示了陈洪绶成熟期人物画的典型面貌。",[23,24,7,51,52,26,27,28,647,56,1059,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04b11c9f447e25c6cc519aa5697678e.jpg","143.5x64.5",[36],{"id":4776,"slug":4777,"title":4778,"dynasty":293,"author":1577,"museum":4779,"description":4780,"tags":4781,"thumbUrl":4783,"material":250,"size":4784,"collection":123,"collections":4785,"showCount":4786,"zanCount":11,"manualWeight":40,"mainColor":41},220845,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220845","《般若波罗蜜多心经》","甘肃天庆博物馆","赵孟頫一生抄写经书太多，一方面是自己礼佛之需，另一方面也是无形中增加了自己书法功力。此赵孟頫《心经》墨迹行书册，是为中峰和尚抄写的",[23,7,24,51,25,510,119,4782,678,74,28],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b128cdfa8732b90cc7f3d1ec7d91a42.jpg","26X151cm",[123],164,{"id":4788,"slug":4789,"title":4790,"dynasty":114,"author":181,"museum":4791,"description":4792,"tags":4793,"thumbUrl":4795,"material":34,"size":4796,"collection":106,"collections":4797,"showCount":4786,"zanCount":530,"manualWeight":40,"mainColor":41},216748,"jia-die-tu-ye-yi-ming-216748","蛱蝶图页","辛辛那提艺术博物馆","蛱蝶图页是一幅著名的宋朝绘画，被认为是宋朝早期艺术发展的重要代表作之一。这幅画是由佚名艺术家创作的，其名字尚不为人所知。\n\n蛱蝶图页描绘了一只蛱蝶飞舞的场景，画面上的蛱蝶美丽、优美，表现出轻盈、自然的感觉。画中的蛱蝶身体清晰可见，细腻地描绘了蛱蝶的身体结构和色彩。蛱蝶的翅膀上有精细的花纹，使得整幅画充满了生动的艺术气息。\n\n蛱蝶图页是宋朝绘画发展的一个里程碑，它体现了宋朝早期艺术家对自然界的观察和描绘能力的高超。这幅画也是宋朝艺术史上非常重要的一件作品，被认为是宋朝绘画艺术的重要代表作之一。",[23,7,24,51,768,2613,26,27,102,200,1702,4794,711],"草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50bde642897008fa269f1fcefa22eeff.jpg","25.4x24.8cm",[106],{"id":4799,"slug":4800,"title":3741,"dynasty":114,"author":181,"museum":4801,"description":4802,"tags":4803,"thumbUrl":4804,"material":34,"size":4805,"collection":106,"collections":4806,"showCount":4786,"zanCount":1065,"manualWeight":40,"mainColor":62},216724,"zhu-que-tu-yi-ming-216724","德国国立民族博物馆","竹雀图是一幅中国宋朝时期的山水画。它的作者不详，因此被称作佚名。这幅画展现了一只竹雀坐在枯竹上，它仰望天空，看起来沉思，非常感人。背景是一片山林，山上有云雾，枯竹上有苔藓。这幅画浓烈的山水意境和出色的线条勾勒，使得它成为了一幅经典的中国画作品。",[23,7,24,51,768,26,27,102,53,2411,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a620d767f5903f90715fcce25b8448e.jpg","24.1x23.4cm",[106],{"id":4808,"slug":4809,"title":4810,"dynasty":46,"author":809,"museum":151,"description":4811,"tags":4812,"thumbUrl":4813,"material":217,"size":4814,"collection":122,"collections":4815,"showCount":4816,"zanCount":40,"manualWeight":40,"mainColor":41},223237,"he-hua-yuan-yang-ren-yi-223237","荷花鸳鸯","虚谷在挽任伯年联中称誉：“笔无常法，别出新机，君艺称极也；天夺斯人，谁能继起，吾道其衰乎。\n”徐悲鸿则将任伯年“定之为仇十洲以后中国画家第一人”（《任伯年评传》），任伯年在近代绘画史上的杰出地位是举世公认的。他的画风新颖生动，风姿多彩，长于设色，于花鸟、人物、山水无所不能，无所不精。以个人成就而言，他的花鸟画最具特色，但从历史角度来衡量，则他的人物画成就更大，这是因为在清末人物画普遍弱化的历史环境中，任伯年显得尤为突出。\n任伯年精于写像，是一位杰出的肖像画家。他的人物画早年师法萧云从、陈洪绶、费晓楼等人，造型夸张奇伟，勾勒灵动，形神毕肖。他的山水画创作不多，但以笔法见长，自具特色。他的花鸟画更具创造性，富有巧趣。他早年以工笔花鸟见长，仿北宋人画法，纯以焦墨钩骨，赋色肥厚，近陈老莲一派。后来吸收了恽寿平的没骨画法以及陈淳、徐渭的写意画法和西洋绘画的技巧，将数者融合为一而又有所变化，形成了兼工带写、明快温馨、简逸放纵的笔调，开辟了花鸟画的新天地，对后世产生了巨大的影响。虽然由于任伯年出身贫寒，读书不多，故与吴昌硕、齐白石相比，画作中蕴涵的文思较乏，缺少一丝画外余音，但就笔法、墨法、结构、色彩而言，任画技巧更为丰富，足资后世借鉴。\n此帧任伯年的《荷花鸳鸯图》写鸳鸯游戏于荷田之中，荷叶硕大如盆，素雅的白莲花散发着幽香。画面以青绿色调为主，清新可人。因系画于熟绢之上，又以用水见长，故色彩交融明快自然，富于生气。笔与笔之间的留白，起到了透气和清醒视觉的作用，斑驳迷离，实非功力深至不能轻达此境。鸳鸯的造型古奥生动，运笔凌利，细节处收拾稳当，简练传神，均是彰显出任伯年独特而高超的绘画技艺之处。",[23,24,51,7,52,27,277,102,398,399,969,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cad584cbfaada75e733228bef455f.jpg","纵138厘米，横42厘米",[],163,{"id":4818,"slug":4819,"title":4820,"dynasty":114,"author":211,"museum":69,"description":4821,"tags":4822,"thumbUrl":4823,"material":611,"size":4824,"collection":175,"collections":4825,"showCount":4816,"zanCount":541,"manualWeight":40,"mainColor":41},221328,"wu-se-ying-wu-tu-zhao-ji-221328","五色鹦鹉图","《五色鹦鹉图》是北宋时期宋徽宗 创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[23,7,24,51,25,26,27,102,383,4507,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[175,106,90],{"id":4827,"slug":4828,"title":4829,"dynasty":67,"author":2087,"museum":1031,"description":4830,"tags":4831,"thumbUrl":4832,"material":34,"size":4833,"collection":106,"collections":4834,"showCount":4835,"zanCount":40,"manualWeight":40,"mainColor":62},218959,"yuan-yang-hua-niao-tu-lv-ji-218959","鸳鸯花鸟图","这幅画描绘了夏天溪边成双成对的鸟儿，包括白头鹅、鸳鸯、红嘴蓝鹊等，其形态准确真实，着色精妙。这幅画的作者是吕纪，题目是南宋的，也就是说，这是吕纪早年的作品。",[23,24,7,26,27,609,969,84,102,198,1059,649,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0191004ce3982d50bfff75380fa7ddd.jpg","185.7x108.5cm",[106],162,{"id":4837,"slug":4838,"title":4839,"dynasty":114,"author":1313,"museum":20,"description":4840,"tags":4841,"thumbUrl":4845,"material":611,"size":4846,"collection":175,"collections":4847,"showCount":4848,"zanCount":530,"manualWeight":40,"mainColor":62},221380,"huo-lang-tu-su-han-chen-221380","货郎图","画面上描绘一位走乡串村的老货郎，推着小货车，走到一棵老梅树下的空旷场院上，货郎的到来，给孩子们带来了极大的快乐：货郎车上挂满了木叉、们‘耙，帽子、围巾、布兜、小风车、拨浪鼓、花篮、糖葫芦、花灯笼，各种佩饰等，品种繁多，琳琅满日。连货郎肩上、腰间、背后都有货物。由于货郎的到来，引来了四面八方的孩子，欣喜若狂地在货车周围戏耍。靠近货郎的一个背着小弟弟的男娃子，好像刚刚跑到这里，眼巴巴地瞧着货郎车上的东西，似有想买又没有买到的样子，所以老货郎的目光投向了这个背着弟弟而迟到的男娃子，停止了车，一手撒把指着小花鼓招引孩子：在车轮旁两个小孩，由于买到了喜爱的玩物，离开货车转身就跑，其中大的孩子手持糖葫芦满面笑容，兴高彩烈的样子。另一个小的孩子满心欢跳，一不小心，仰面跌了一个大跟斗，但是双眼还在找他喜爱的玩具。车头前又有两个站着的孩子，头上、身上戴着佩饰的那个孩子，一手指着货郎车的东西，似在告诉另一个孩子什么玩具好。头戴帽子穿着长袍的孩子，举起双手摇摆着，似有不让货郎车走开的意思。",[23,24,7,26,27,28,4842,383,711,1861,4843,4844,198],"儿童","日用品","衣冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca69375cfc2c3f744733e8fa2fb6541.jpg","纵159.2厘米，横97厘米",[175,36,90],161,{"id":4850,"slug":4851,"title":4852,"dynasty":114,"author":4853,"museum":20,"description":4854,"tags":4855,"thumbUrl":4856,"material":34,"size":122,"collection":106,"collections":4857,"showCount":4848,"zanCount":489,"manualWeight":40,"mainColor":62},219722,"hua-die-tu-li-zhong-xuan-219722","花蝶图","李仲宣","此作取景雅致，草木错落排布，野趣盎然。挺秀的秋菊缀着金黄花盘，柔润白花轻绽，带露红浆果垂于青绿叶间，茎叶舒展的姿态写实入微，设色古雅沉稳，晕染细腻尽显草木鲜活生机。\n\n翩跹蝶虫刻画精细，翅脉纹理纤毫毕现，振翅姿态灵动逼真，仿佛携着花间微风扑面而来。整体构图疏密相宜，留白得当，以工笔技法写形传神，既有精致不苟的写实功力，又暗藏平淡天真的诗意，将秋日郊野一隅的闲适意趣定格，尽显创作者观照自然的细腻心境。",[24,7,26,27,102,200,263,1882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65cb4af11c29f63da0e9192564f9ae77.jpg",[106],{"id":4859,"slug":4860,"title":4861,"dynasty":46,"author":97,"museum":507,"description":508,"tags":4862,"thumbUrl":4864,"material":34,"size":517,"collection":122,"collections":4865,"showCount":4848,"zanCount":541,"manualWeight":40,"mainColor":62},216109,"yun-shou-ping-hua-guo-shu-cai-ce-ye-2-yun-shou-ping-216109","恽寿平花果蔬菜册页-2",[7,24,51,100,27,26,53,4863,890,74],"竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29bf8f805f27469ebc51bee115db2b4.jpg",[],{"id":4867,"slug":4868,"title":4869,"dynasty":46,"author":1344,"museum":132,"description":1345,"tags":4870,"thumbUrl":4871,"material":317,"size":907,"collection":122,"collections":4872,"showCount":4873,"zanCount":40,"manualWeight":40,"mainColor":41},288299,"ba-jiao-zhu-shi-tu-zhu-da-288299","芭蕉竹石图",[23,7,24,51,52,277,102,3048,53,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e433e949bf49ac3086bddbbf9d0c776.jpg",[],160,{"id":4875,"slug":4876,"title":4877,"dynasty":46,"author":131,"museum":212,"description":4878,"tags":4879,"thumbUrl":4880,"material":34,"size":4881,"collection":106,"collections":4882,"showCount":4873,"zanCount":541,"manualWeight":40,"mainColor":62},219126,"shuang-lu-tu-shen-quan-219126","双鹿图","这幅画描绘了在秋季深山里，一对野鹿的生活状态。画面右边是高山悬崖的一段，崖壁上生长着盘如巨龙的古松，虽饱经风霜，仍然枝叶繁茂，粗大的树干上缠绕着藤本植物，从松、藤之间的上部缝隙里，可以看到一条瀑布，它穿过树叶的遮挡，飞流直下，形成巨大的水流，与画面下部的小溪相互呼应。悬崖的左边大幅留白，虽然没有具体描绘，应该能想象为山谷中弥漫着的雾气，在此处取得了无胜于有的效果。上述描绘景色，构成了本幅画的背景，说明了双鹿活动的大环境。双鹿为一公一母，一站一卧，它们伸长了耳朵正在倾听，身处深山老林，时刻保持高度警惕，这幅画正是描绘了这一刻的动态。双鹿周围，是一些正在盛开的白色野菊，山坡间生长着一丛丛色彩暗淡的野草，较好地表明了野草即将衰败、天气已届深秋。",[23,24,7,26,27,472,1293,75,82,3195,313,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c88b537cee852bc63fd476f497b04f.jpg","120x50.5cm",[106],{"id":4884,"slug":4885,"title":3741,"dynasty":293,"author":4666,"museum":1463,"description":4886,"tags":4887,"thumbUrl":4888,"material":34,"size":4889,"collection":106,"collections":4890,"showCount":4873,"zanCount":1065,"manualWeight":40,"mainColor":62},219077,"zhu-que-tu-wang-yuan-219077","三月，万物复苏，荆棘的枯叶和果实尚未脱落，杂草和绿竹已逐渐变绿，四只羽毛蓬松、身体圆润的鹌鹑在一起玩耍、进食。",[24,51,7,4477,52,26,27,102,53,384,201,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32bae4473f9f585646637c2c7a6b60d.jpg","53x38cm",[106],{"id":4892,"slug":4893,"title":4894,"dynasty":114,"author":4895,"museum":395,"description":4896,"tags":4897,"thumbUrl":4898,"material":34,"size":4899,"collection":106,"collections":4900,"showCount":4873,"zanCount":40,"manualWeight":40,"mainColor":479},216667,"san-bai-tu-wang-shen-216667","三百图","王诜","王诜是宋朝时期的一位著名的绘画家，他是宋朝最伟大的画家之一。他的作品具有极高的艺术价值，被广泛收藏和珍藏。王诜以其精细的画风和生动的写实风格而闻名，他创作的作品涵盖了各种题材，包括人物画、山水画和花鸟画。",[24,51,7,26,27,84,2151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36792841b89168ee95409f74824b325c.jpg","131.5x82.5cm",[106],{"id":4902,"slug":4903,"title":4904,"dynasty":46,"author":1344,"museum":132,"description":4905,"tags":4906,"thumbUrl":4908,"material":317,"size":907,"collection":122,"collections":4909,"showCount":4910,"zanCount":40,"manualWeight":40,"mainColor":41},288133,"gu-mu-shuang-ying-tu-zhu-da-288133","古木双鹰图","前一时期题款中常见的“八大山人画”的“画”字，此时已经改为“写”字，这是画家后期典型的写法，而双鹰也是晚期常见的绘画题材。作为画面主体的双鹰憩息于盘石之上，一瑟索凝伫，一神情如铸，外形与神情均十分到位，笔墨造型上几乎无懈可击。不过与先贤林良有所不同的是，画家似乎并不仅仅着意于对禽鸟状貌的真实再现，作为画家笔下的一个艺术符号，它们更多传达的是孤傲荒寒的心灵感悟。画面背景古木寒槎，虬干疏枝，树身用劲笔复笔，益见沧桑枯寂之感。下方盘石内方外圆，危如累卵，益增险仄之势。画家借助古木、怪石这些元代大师们常绘的主题，辅以静默凝重的禽鸟，暗示出生命的枯涸风蚀，苛刻寂寥，笔墨极简而意境丰满，元气充溢，体现了凝重、冷峻、朗润、含蓄、静谧的艺术特征。",[23,24,7,277,102,52,1820,4907,56,74],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8855abe2ec0d96961f6c1c6e272c49d6.jpg",[],159,{"id":4912,"slug":4913,"title":4914,"dynasty":67,"author":68,"museum":132,"description":4915,"tags":4916,"thumbUrl":4917,"material":317,"size":907,"collection":122,"collections":4918,"showCount":4910,"zanCount":1065,"manualWeight":40,"mainColor":62},287927,"qing-ming-shang-he-tu-ju-bu-chou-ying-287927","清明上河图(局部)","《清明上河图》是明代画家仇英创作的一幅重彩风俗画作品，现收藏于辽宁省博物馆。 现存世作品《清明上河图》有多本传为仇英所作，除此卷外，另有青州市博物馆藏本 ，台北故宫博物院藏本 ，以及多本流落私人之手。而辽宁省博物馆藏的此卷《清明上河图》，流传有绪，现学术界一般认为其为仇英真迹。\n此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。\n此卷《清明上河图》代表了后世《清明上河图》题材创作的典型风格和最高水平。既是中国古代绘画史上承前启后的风俗巨作，也是研究明代中后期社会生活和文化史的有力图证。",[7,24,25,27,26,28,77,78,79,745,215,860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286e97dc6c0f4fdbe8f31d7811db1c6.jpg",[],{"id":4920,"slug":4921,"title":4922,"dynasty":114,"author":788,"museum":1031,"description":4923,"tags":4924,"thumbUrl":4925,"material":34,"size":4926,"collection":36,"collections":4927,"showCount":4910,"zanCount":40,"manualWeight":40,"mainColor":62},220448,"song-xia-dui-yi-tu-li-cheng-220448","松下对弈图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,24,7,51,52,277,73,75,28,609,278,313,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dc15899bec8d07f16b7c9e8e68853c.jpg","155.1x99.1cm",[36,175],{"id":4929,"slug":4930,"title":4931,"dynasty":114,"author":878,"museum":260,"description":4932,"tags":4933,"thumbUrl":4934,"material":121,"size":122,"collection":88,"collections":4935,"showCount":4910,"zanCount":541,"manualWeight":40,"mainColor":62},218590,"gui-zhuang-tu-ma-yuan-218590","归庄图","虬劲的松枝如墨线盘绕，斜覆在山间幽居之上，松针似点似染，苍润中藏着清劲。屋舍窗明几净，隐于松荫下，与远处淡墨晕染的峰峦、烟水相映。一人素衣独行，身影在空濛的天地间轻淡如尘。笔墨简括却意韵悠长，留白处尽是山水的空灵与归隐的恬淡，仿佛能听见松风掠过檐角，看见云气漫过山腰，将宋代文人心中的林泉之趣，凝在这一方绢素之中。",[23,24,7,52,277,73,75,81,609,28,278,559,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b1435174880a33165f3ee3dd1c464e.jpg",[88],{"id":4937,"slug":4938,"title":4939,"dynasty":674,"author":4940,"museum":3453,"description":4941,"tags":4942,"thumbUrl":4943,"material":34,"size":4944,"collection":36,"collections":4945,"showCount":4910,"zanCount":1065,"manualWeight":40,"mainColor":62},218385,"mu-niu-tu-han-huang-218385","牧牛图","韩滉","平坡旷野间，双牛安卧，墨色晕染出厚重肌理，犄角宛转，似带泥土气息。牧童蜷身酣眠，草帽斜倚，竹杖横陈，尽是天真慵懒。旁侧老枝虬劲，竹影疏疏，墨痕浓淡交织出野趣。整幅画无喧嚣，唯留田园静穆。笔墨简括却神形毕肖，牛的憨态、牧童的自在，皆藏于线条间。盛唐乡野的悠然时光，仿佛凝在绢上，望之忘俗，心生惬意。",[7,24,51,27,26,28,1906,53,56,74,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30f0dc982c6116348e28f459cb13d33.jpg","27.9x31.4",[36],{"id":4947,"slug":4948,"title":4949,"dynasty":114,"author":556,"museum":132,"description":4950,"tags":4951,"thumbUrl":4952,"material":122,"size":122,"collection":122,"collections":4953,"showCount":4954,"zanCount":1065,"manualWeight":40,"mainColor":41},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。\n晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[23,24,7,25,51,27,73,28,75,609,278,82,280,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],158,{"id":4956,"slug":4957,"title":4958,"dynasty":67,"author":619,"museum":132,"description":4959,"tags":4960,"thumbUrl":4961,"material":250,"size":4962,"collection":88,"collections":4963,"showCount":4954,"zanCount":541,"manualWeight":40,"mainColor":41},222121,"shi-zhu-tu-shen-zhou-222121","石竹图","石竹图，设色淡雅清幽，线条笔墨饱满有力，将竹的青翠挺拔，山石的坚硬如数展现，为其传世不多的佳品。画面中的竹、石、树体现了生物的灵气，体现了作者心灵与天地共呼吸，随悠云自来往的悠然心境。虽然整幅画面仅有很少的景物，但是作者的心境已经很自然的流露出来。 沈周在画中题识：“石丈有芳姿，此君无俗气。其中佳趣多，容我自来去。”",[23,7,24,51,277,73,56,53,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36554dbfb6c71407859f93a0a9573279.jpg","60×48cm",[88,286],{"id":4965,"slug":4966,"title":4967,"dynasty":67,"author":966,"museum":151,"description":4968,"tags":4969,"thumbUrl":4974,"material":217,"size":4975,"collection":88,"collections":4976,"showCount":4977,"zanCount":40,"manualWeight":40,"mainColor":41},221880,"pin-cha-tu-li-zhou-chen-hong-shou-221880","品茶图立轴","画中两人相对而坐,似是一主一客。蕉叶铺地,主人坐于其上,旁置茶炉壶具，炉中炭火正炽。客人坐一怪石上，又以一方奇石为琴台，古琴已收入锦缎琴套中。此时，琴弦歇，茶正熟，两人手持茶盏，四目相视，正闻香品啜，耳边琴声犹在。此中乐趣,任凭读者遐思。读陈洪绶《品茶图》,至少能读出三点明代茶事信息来。",[23,7,24,51,52,27,26,28,55,398,4970,4971,4972,4973],"衣袍","石桌","花瓶","卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d2687f6bef527a3ee9c1f39e3b3a0.jpg","纵150厘米，横67.3厘米",[88],157,{"id":4979,"slug":4980,"title":4981,"dynasty":114,"author":211,"museum":4982,"description":4983,"tags":4984,"thumbUrl":4985,"material":34,"size":4986,"collection":106,"collections":4987,"showCount":4977,"zanCount":11,"manualWeight":40,"mainColor":62},219170,"la-mei-shuang-qin-tu-zhao-ji-219170","腊梅双禽图","四川博物馆","描绘两只山雀栖止于梅树枝头，梅花含苞欲放，仅一朵绽开花蕾。梅之清韵与枝头的小鸟相映成趣，花鸟优美动人。全画以细劲的笔致、单纯秀雅的色调精妙入微地刻画花鸟形象，梅花轻柔美丽，山雀毛羽似泛光泽，其情态特征精细入微。",[23,7,24,51,26,27,102,383,384,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ef81c59e68fc11da552ce3e803576c.jpg","纵25.8厘米，横26.1厘米",[106],{"id":4989,"slug":4990,"title":4991,"dynasty":114,"author":448,"museum":395,"description":4992,"tags":4993,"thumbUrl":4995,"material":34,"size":4996,"collection":106,"collections":4997,"showCount":4977,"zanCount":541,"manualWeight":40,"mainColor":62},218964,"li-zhi-bai-xian-tu-lin-chun-218964","荔枝白鹇图","白鹇羽毛质感细腻，墨点顶冠与素白翎毛相映成趣，尾羽舒展如流云，俯身时翅尖微颤，似欲啄取枝间荔枝。荔枝殷红如丹，果皮肌理以细笔勾出，衬着墨绿的叶，浓淡间尽显生趣。枝干虬曲，墨线老劲，与禽鸟的柔媚形成巧妙对比。绢本古雅底色上，设色温润不艳，工笔细描中藏着自然的灵动，仿佛能闻见果熟的甜香，窥见禽鸟的轻啼。整幅画于精微处见真意，是宋人对生命意趣的细腻捕捉，静穆中透着鲜活生机，尽显院体花鸟的雅致与精妙。",[24,51,7,26,27,102,1094,4994,384,1821],"白鹇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7609305a0e20c4b4fa153525254ded.jpg","26x26cm",[106],{"id":4999,"slug":5000,"title":5001,"dynasty":114,"author":5002,"museum":20,"description":5003,"tags":5004,"thumbUrl":5005,"material":34,"size":122,"collection":175,"collections":5006,"showCount":4977,"zanCount":40,"manualWeight":40,"mainColor":41},218747,"zhu-tu-wen-tong-218747","竹图","文同","墨竹挺秀于素绢之上，枝干如铁线盘旋，墨色浓淡交织出老嫩层次。竹叶以“个”“人”形错落铺陈，笔意洒脱却不失矩度，似有风过叶舞之灵韵。文同“胸有成竹”的妙谛在此尽显：每枝每叶皆从心臆而出，无半分迟疑滞涩。老干苍劲如古松，新枝清逸若嫩柳，墨色干湿变化间藏盎然生机。留白处意蕴悠远，仿佛能闻竹间飒飒风声，见月下疏影横斜，将宋时文人画的意境与笔墨之美融于一纸。竹之坚贞与君子风骨相契，画者胸臆借竹抒发，尽展文人画的雅致气韵与精神内核。",[23,7,24,51,277,100,74,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6f635d98c2a3862422c3f72b140031.jpg",[175],{"id":5008,"slug":5009,"title":5010,"dynasty":67,"author":68,"museum":151,"description":5011,"tags":5012,"thumbUrl":5015,"material":156,"size":5016,"collection":88,"collections":5017,"showCount":5018,"zanCount":541,"manualWeight":40,"mainColor":41},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[23,24,51,7,52,27,26,75,82,559,5013,79,80,74,5014],"田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","纵126.5cm，横66.cm。",[88,90],156,{"id":5020,"slug":5021,"title":819,"dynasty":46,"author":97,"museum":20,"description":5022,"tags":5023,"thumbUrl":5024,"material":283,"size":823,"collection":106,"collections":5025,"showCount":5018,"zanCount":40,"manualWeight":40,"mainColor":41},220977,"hua-hui-shan-shui-he-ce-yun-shou-ping-220977","初工山水，笔墨秀峭，后与王翚交往，多作花卉，重视写生，往往用水墨淡彩，清润明丽，自成一格，有“恽派”之称。\n人称其笔有仙气，与王时敏、王鉴、王翚、王原祁、吴历齐名，为“清初六大家”之一。",[23,24,51,7,100,27,101,102,103,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f579f145d671f95c77813259add473.jpg",[106,90],{"id":5027,"slug":5028,"title":5029,"dynasty":293,"author":658,"museum":5030,"description":5031,"tags":5032,"thumbUrl":5033,"material":250,"size":5034,"collection":286,"collections":5035,"showCount":5018,"zanCount":1065,"manualWeight":40,"mainColor":62},220777,"ku-mu-zhu-shi-tu-wu-zhen-220777","枯木竹石图","浙江省博物馆","元吴镇所绘的《枯木竹石图》画的山中古木竹石， 藏巧于拙。近处古木枝桠遒劲，非常古雅清逸；石头尖峭如削。在构图上的确鬼斧神工,技高一筹。另外,此图在设色用笔上也足能代表吴镇的风格。枯木竹石图在好几个朝代都有画家的画作，也是中国山水画的常用名词。是作者以枯木（以物）抒情的一种表现手法，图中画的是扭曲干枯的枯树，挣扎着向外伸展，表现了作者坚硬顽强的性格，怪石与枯木皆用清淡、空灵、松散的笔墨似勾似擦，虽笔墨不多，却与其傲岸豪放的性格相一致，抒写了作者胸中的磊落不平。\n吴镇十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。",[23,7,24,277,73,368,170,53,136,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5797621a7b1b78697492ac6ae81f2540.jpg","纵103.3厘米 横33.3厘米",[286,2605],{"id":5037,"slug":5038,"title":5039,"dynasty":674,"author":181,"museum":151,"description":5040,"tags":5041,"thumbUrl":5042,"material":34,"size":5043,"collection":90,"collections":5044,"showCount":5018,"zanCount":11,"manualWeight":40,"mainColor":62},219760,"bai-ma-tu-yi-ming-219760","百马图","此图卷共描绘各种马95匹，牧马的奚官与圉人41人在一条河中及岸边洗马、戏马、驯马、饲马的场面。这幅图中所描绘的近百匹黑、白、红、花等各色马，有动有静，姿态各异，生动活泼。画家对马的描绘，极善抓住其动态和神情，运动中的马被表现得活泼顽皮，静立时的马又被表现得庄重威武。画中笔法清秀温雅，敷色清淡，可以看出唐法向宋元法变化的痕迹。",[23,7,24,51,25,27,26,215,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34693ea712a5b338887d9f2f6f7455af.jpg","纵68厘米、横1010厘米",[90],{"id":5046,"slug":5047,"title":5048,"dynasty":114,"author":394,"museum":20,"description":5049,"tags":5050,"thumbUrl":5051,"material":34,"size":5052,"collection":175,"collections":5053,"showCount":5018,"zanCount":40,"manualWeight":40,"mainColor":41},219144,"zhu-cong-bai-tou-weng-tu-wu-bing-219144","竹丛白头翁图","画面中白头翁栖于竹枝，翎羽纤毫毕现，墨色晕染间绒羽柔润若触，喙爪劲挺见骨。竹丛枝叶交叠，线条清劲似铁线勾勒，翠色浅淡却透着生机，新篁嫩芽更显稚拙可爱。鸟的姿态灵动，似欲引吭或侧耳倾听，打破竹林静谧却又与清雅环境相融。画作以细腻写实之笔，精准捕捉禽鸟与植物形神，色彩淡雅温润，构图疏密有致，尽显宋代工笔花鸟的雅致韵致。方寸间藏自然生机与文人意趣，观之如置身幽篁深处，闻得禽鸣竹语，心随景静。",[23,7,24,51,768,26,27,102,53,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a323ffe8ba1cd4340700718353b5a8.jpg","26.1x27.5cm",[175,106],{"id":5055,"slug":5056,"title":5057,"dynasty":293,"author":1577,"museum":395,"description":5058,"tags":5059,"thumbUrl":5061,"material":34,"size":122,"collection":106,"collections":5062,"showCount":5018,"zanCount":530,"manualWeight":40,"mainColor":62},216265,"xiang-ma-tu-ye-2-zhao-meng-fu-216265","相马图页-2","相马图是赵孟頫的一幅画作，产生于中国的元朝时期。它是赵孟頫的最著名的作品之一，并被认为是中国传统水墨画的杰作。\n\n相马图的绘画技巧非常精湛，色彩浓艳，线条优美。赵孟頫在画作中运用了中国传统的水墨画技法，并将其与西方的绘画技法相结合，创造出了独特的艺术风格。相马图被广泛认为是中国传统水墨画的经典之作，也是赵孟頫最著名的画作之一。",[23,24,51,7,27,26,100,28,215,5060,472],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfd49003f7298ef9c725d3bbc85f0cf.jpg",[106],{"id":5064,"slug":5065,"title":5066,"dynasty":1104,"author":5067,"museum":195,"description":5068,"tags":5069,"thumbUrl":5070,"material":121,"size":5071,"collection":123,"collections":5072,"showCount":5018,"zanCount":1065,"manualWeight":40,"mainColor":62},214519,"ya-tou-wan-tie-wang-xian-zhi-214519","鸭头丸帖","王献之","书写有力，笔触娴熟，笔触灵动有力，风格轻松；用墨明确，墨色清晰，由湿到干，由浓到淡的变化。用笔通常是 向外宽，与王羲之的 向内凹 相反，线条柔和、舒展，形态自然、优美。",[7,24,51,118,2755,250,4654,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fe0321ef54ba0e17ef41c3f66f72320.jpg","26.1x26.9",[123],{"id":5074,"slug":5075,"title":5076,"dynasty":114,"author":310,"museum":132,"description":5077,"tags":5078,"thumbUrl":5080,"material":317,"size":907,"collection":122,"collections":5081,"showCount":5082,"zanCount":541,"manualWeight":40,"mainColor":479},289985,"lin-liu-du-zuo-tu-fan-kuan-289985","临流独坐图","《临流独坐图》表现层峦叠蟑，山势起伏，溪谷间，云烟弥漫动荡，使深山幽小充盈着活力。",[7,24,51,75,277,73,425,278,429,5079,79],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82f81787e5b0d6aa5b30a4e34620d.jpg",[],155,{"id":5084,"slug":5085,"title":3613,"dynasty":46,"author":97,"museum":132,"description":2517,"tags":5086,"thumbUrl":5087,"material":317,"size":907,"collection":122,"collections":5088,"showCount":5082,"zanCount":541,"manualWeight":40,"mainColor":41},239435,"hua-niao-ce-yun-shou-ping-239435",[7,24,51,100,510,102,2067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8299fb7c2cc55824201acc436d25e464.jpg",[],{"id":5090,"slug":5091,"title":5092,"dynasty":46,"author":966,"museum":395,"description":5093,"tags":5094,"thumbUrl":5097,"material":34,"size":5098,"collection":106,"collections":5099,"showCount":5082,"zanCount":541,"manualWeight":40,"mainColor":62},220229,"hua-niao-cao-chong-xie-sheng-ce-shou-gu-qi-shi-chen-hong-shou-220229","花鸟草虫写生册-瘦古奇石","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,7,24,51,100,27,26,73,56,5095,734,5096],"瘦石","古石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8282cc767771cda337f1fc5a93cfc5cd.jpg","21.5×16cm",[106],{"id":5101,"slug":5102,"title":798,"dynasty":46,"author":5103,"museum":166,"description":5104,"tags":5105,"thumbUrl":5107,"material":34,"size":5108,"collection":106,"collections":5109,"showCount":5082,"zanCount":541,"manualWeight":40,"mainColor":62},219037,"hua-niao-tu-yu-yuan-219037","虞沅","墨羽公鸡静立花侧，红冠似火，黑翎如缎，姿态沉稳中藏着几分灵动。粉白花卉枝叶舒展，花瓣层叠若绡，工笔细描下，每一处脉络都清晰可见，温婉雅致。几只彩蝶翩跹其间，或停于花尖，或掠过长空，为静谧画面注入鲜活生气。绢本底色温润如琥珀，设色淡雅清逸，笔墨间流淌着自然之韵，将花鸟之态与文人意趣融于一纸。细品之，仿佛能闻见花香浮动，听见蝶翅轻振，尽显传统工笔花鸟的细腻与生机，雅韵天成。",[7,24,51,52,26,27,102,103,241,5106,200,137,339],"公鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6f640052cff4b884ea0dd8c1a091f6.jpg","纵65.4横79.5厘米",[106],{"id":5111,"slug":5112,"title":5113,"dynasty":114,"author":631,"museum":20,"description":5114,"tags":5115,"thumbUrl":5116,"material":34,"size":5117,"collection":175,"collections":5118,"showCount":5119,"zanCount":11,"manualWeight":40,"mainColor":41},218926,"tian-zhong-shui-xi-tu-li-song-218926","天中水戏图","这幅画表现的是一艘用金色画成的巨大龙舟，上面有雕梁画栋和花窗装饰，宏伟而精致。龙头高耸，眉毛突出，张牙舞爪，舌头张开，船身密布鳞片，船尾高度弯曲上翘，给人一种威严的形象。",[23,24,7,51,100,855,27,26,77,370,745,861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cc9b39f9dfd96d1ccdd35955b36a94.jpg","24.5x25.1",[175],154,{"id":5121,"slug":5122,"title":5123,"dynasty":114,"author":878,"museum":195,"description":5124,"tags":5125,"thumbUrl":5129,"material":34,"size":5130,"collection":88,"collections":5131,"showCount":5119,"zanCount":1065,"manualWeight":40,"mainColor":62},218237,"xue-ji-guan-mei-tu-ma-yuan-218237","雪屐观梅图","马远，号钦山。其祖父、伯父、父亲、兄弟均为南宋画院画家。他对花鸟、山水、人物都很擅长，尤以山水画的成就最为突出。在光宗、宁宗年间，他任画院待诏。学李唐，画山石用大斧劈皴，并创长斧劈皴，用笔凝重。构图上，一变五代、北宋以来的“全景式”，喜欢采用边角式的构图，或峭峰直上不见顶，或绝壁直下不显脚，人称“马一角”。《雪屐观梅图》画面的重心在左下角，水滩、苍松、老梅与人物集中与此。远处雪山只是以大斧劈皴刷扫，干净利落，与近处的巨石遥相呼应。",[24,7,497,5126,2500,1357,3486,383,28,5127,5128],"大斧劈皴","巨石","水滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3179ad18bc15bc6742fc5df6ed494cdd.jpg","纵16.3 厘米，横100.9厘米",[88],{"id":5133,"slug":5134,"title":5135,"dynasty":46,"author":1452,"museum":132,"description":2591,"tags":5136,"thumbUrl":5139,"material":317,"size":907,"collection":122,"collections":5140,"showCount":5141,"zanCount":489,"manualWeight":40,"mainColor":41},288274,"du-mu-shi-yi-tu-li-zhou-zou-yi-gui-288274","杜牧诗意图立轴",[23,7,24,51,52,102,26,27,198,170,5137,5138],"顽石","竹草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedd022cd80eec5e9b9f4773b20b52dd.jpg",[],153,{"id":5143,"slug":5144,"title":5145,"dynasty":114,"author":181,"museum":151,"description":5146,"tags":5147,"thumbUrl":5149,"material":250,"size":5150,"collection":122,"collections":5151,"showCount":5141,"zanCount":11,"manualWeight":40,"mainColor":41},231540,"bai-hua-tu-juan-yi-ming-231540","百花图卷","此幅画四季花卉约60种，长近17米，堪称辉煌巨制。尾纸钤鉴藏印“棠村”、“蕉林梁氏书画之印”等，有乾隆、嘉庆、宣统鉴赏印及清内府鉴藏印多方。\n此图绘四季花卉五十余种，其中主要有梅花、山茶、牡丹、百合、芍药、海棠、萱花、含笑、碧桃、桃花、梨花、石竹花、罂粟、打破碗花、栀子、蕙兰、荷花、并蒂莲、鸡冠花、蓼花、芙蓉、扁豆花、石蒜花、桂花、菊花、山丹、牵牛花、凤仙花、蜀葵、秋葵等。\n花间分别点缀禽鸟、蜻蜓、蝴蝶、蜜蜂、蚱蜢、小鱼等，颇具自然生机和情趣。图中花卉和动物，都用细线勾描，浓淡墨多层晕染，花之娇态、层次，页之筋脉、转折、凹凸刻画得很细致。全图用笔工细，用墨于单纯中求丰富，统一中求变化，使画面富有秀雅之美。图卷首段的梅花的画法接近南宋扬无咎的风格而又有变化。这种工而不板，艳二不火的画风，开文人花鸟画的先河。画中钤有「乾隆御览之宝」、「三希堂精鉴玺」、「嘉庆御览之宝」、「宣统御览之宝」等印玺多方。无作者款印，曾经清内府收藏，《石渠宝笈三编》著録。\n画面上花鸟之间穿插自然，毫无牵强拼凑之意。其间又点缀蜂、蚊、蜻蜓、蝴蝶、游鱼、青蛙之类，显得生意盎然。全卷纯使水墨，亦加白描花卉，除卷首的梅花近似扬无咎的画法略带写意笔外，其他全用墨笔工写，以墨代色，兼勾勒墨染与白描，且融入了没骨画法，体现了宋工笔花鸟精密不苟的画风。又以单纯的水墨代替艳丽的设色，呈现出清淡典雅的情趣。一脱繁复刻板的院体末路，突破了传统花鸟画的时空限制，呈现出崭新的面貌。这种技法对元代钱选、王渊、赵衷的墨笔花卉以及后来文人水墨花卉都有一定的影响。",[23,7,24,51,25,26,27,102,5148,200,247,384,103,246,76,241],"百花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd98aa4ddc30bf83c5a67d1f1c11a05a.jpg","纵31.5厘米、横1679.5厘米",[],{"id":5153,"slug":5154,"title":1544,"dynasty":114,"author":181,"museum":132,"description":5155,"tags":5156,"thumbUrl":5157,"material":217,"size":5158,"collection":122,"collections":5159,"showCount":5141,"zanCount":40,"manualWeight":40,"mainColor":62},223466,"hua-lan-tu-yi-ming-223466","笔重，小花篮五彩，竹篮内荷花兰花盛开，竹丝，趋瘦高大，工笔画重，小花篮 满丝，钥匙空，露出荷花； 荷花自然展开，片片白红相间，娇艳欲滴，犹如荷花的芬芳。 这张图强调颜色，勾勒出图案，是素描笔画的一个很好的例子。",[23,7,24,51,26,27,102,55,228,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed81165b01055d89197d62fd13fc09c.jpg","19.1cm×26.5cm",[],{"id":5161,"slug":5162,"title":5163,"dynasty":46,"author":5164,"museum":132,"description":5165,"tags":5166,"thumbUrl":5167,"material":283,"size":5168,"collection":106,"collections":5169,"showCount":5141,"zanCount":40,"manualWeight":40,"mainColor":41},223299,"zhu-shi-tu-5-zheng-ban-qiao-223299","竹石图5","郑板桥","这幅《竹石图》，郑板桥将竹子画得艰瘦挺拔，节节屹立而上，直冲云天，每一片叶子都有着不同的表情，墨色水灵，逼真地表现竹的质感，而且竹的纤细清飒之美更衬托了石的另一番风情。在构图上又将竹与石的位置关系和题诗文字处理得十分协调，而且他的书法是越到晚年越是风神独具、挥洒自如、翰墨苍劲。“扬州八怪”之首的金农曾感叹：相较两人的画品，自己画的竹子终不如板桥有林下风度啊。\n郑板桥被后人誉为“诗、书、画”三绝的全才画家，且在三绝之中又有三真，特别强调要表现真性情、真意气、真趣味。\n郑板桥的绘画成就极高，尤擅画竹石，细枝粗叶，瘦劲孤高，格调超人。他画竹有“胸无成竹”的理论，并无师承，多得于纸窗粉壁日光月影，直接取法自然。他自称：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳。”针对苏东坡“胸有成竹”的说法，郑板桥强调的是胸中“莫知其然而然”的竹，要“胸中无竹”。这两个理论看似矛盾，实质却相通，同时强调构思与熟练技巧的高度结合，其创作体会鲜明地表露于一则题画中：“江馆清秋，晨起看竹，烟光、日影、露气皆浮动于浮枝密叶之间，胸中勃勃，遂有画意。其实胸中之竹，并不是眼中之竹也。因而磨墨展纸，落笔倏作变相，手中之竹，又不是胸中之竹也。”他笔下的竹注重“瘦与节”的结合，往往就是自己思想和人品的化身。据说，曾经有一大户大家请郑板桥画竹，酒过之后他便向这家墙壁上大盆洒墨，扔笔不画，晚上风雨大作把墙壁上的墨迹冲刷一遍，第二天一大早竟是一幅淋漓尽致的墨竹，还有几只麻雀以为来到了竹林撞昏在壁下。传说自然不可全信，但却可想见郑板桥作画的创造性。",[23,7,24,51,52,277,119,74,73,53,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6751617696efb541b17a01c9ddade642.jpg","179.5×101cm",[106,286],{"id":5171,"slug":5172,"title":5173,"dynasty":114,"author":1216,"museum":132,"description":5174,"tags":5175,"thumbUrl":5176,"material":217,"size":5177,"collection":175,"collections":5178,"showCount":5141,"zanCount":40,"manualWeight":40,"mainColor":62},221404,"bai-miao-shi-nv-tu-li-gong-lin-221404","白描仕女图","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,51,7,510,28,29,77,383,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f89ca0cf650498658e9f6d3c15a75dd.jpg","30x30厘米",[175,36,286],{"id":5180,"slug":5181,"title":5182,"dynasty":114,"author":5183,"museum":20,"description":5184,"tags":5185,"thumbUrl":5186,"material":666,"size":5187,"collection":123,"collections":5188,"showCount":5141,"zanCount":541,"manualWeight":40,"mainColor":62},214223,"xing-shu-qi-yan-jue-ju-zhou-wu-ju-214223","行书· 七言绝句轴","吴琚","这首七字诗是根据蔡襄的诗句写的，是宋代罕见的书法作品。吴氏的字俊美优雅，形体和姿态都与米芾一脉相承，但与北宋书法家的作品相比，吴琚的用笔快速有力，偶尔有飞白，显示出南宋书法家更注重渲染上下和整体的主旨，而不是对每个单字的提炼和完善。",[23,7,24,51,52,119,118,74,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb61b45191b67798358ba3eb2af0473.jpg","98.6x55.3",[123],{"id":5190,"slug":5191,"title":3464,"dynasty":67,"author":5192,"museum":132,"description":5193,"tags":5194,"thumbUrl":5196,"material":317,"size":907,"collection":122,"collections":5197,"showCount":5198,"zanCount":11,"manualWeight":40,"mainColor":41},290309,"sui-chao-tu-zhou-lu-zhi-290309","陆治","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[7,24,51,52,27,102,383,2067,103,55,118,74,5195],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5facffa84a62716f2f574fdad24943d6.jpg",[],152,{"id":5200,"slug":5201,"title":5202,"dynasty":114,"author":1302,"museum":365,"description":5203,"tags":5204,"thumbUrl":5205,"material":217,"size":2443,"collection":175,"collections":5206,"showCount":5198,"zanCount":541,"manualWeight":40,"mainColor":62},221658,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-221658","《五百罗汉图》之《应身观音》","画五百罗汉故事，包含佛教诸多教义僧人生活情境。有罗汉结集论事故事，有佛道斗法情境，有僧人日常生活状貌，也有长途跋涉稍作休憩游行僧形象。",[23,24,51,7,26,27,678,28,53,279,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57048aa20a5009792aff06e951ee2386.jpg",[175,36,90],{"id":5208,"slug":5209,"title":5210,"dynasty":114,"author":5211,"museum":20,"description":5212,"tags":5213,"thumbUrl":5214,"material":283,"size":5215,"collection":175,"collections":5216,"showCount":5198,"zanCount":1065,"manualWeight":40,"mainColor":62},221244,"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[23,7,24,51,100,277,27,73,75,81,82,80,2009,648,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","对幅23.9x20.2公分",[175,88],{"id":5218,"slug":5219,"title":5220,"dynasty":46,"author":97,"museum":132,"description":2208,"tags":5221,"thumbUrl":5223,"material":122,"size":122,"collection":122,"collections":5224,"showCount":5225,"zanCount":530,"manualWeight":40,"mainColor":41},233907,"hua-hui-shan-shui-ce-yun-shou-ping-233907","花卉山水册",[7,24,51,100,27,101,26,102,244,514,339,5222,74],"花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141cf9f332104177044cc00b6174e0b6.jpg",[],151,{"id":5227,"slug":5228,"title":5229,"dynasty":114,"author":878,"museum":151,"description":5230,"tags":5231,"thumbUrl":5234,"material":156,"size":5235,"collection":122,"collections":5236,"showCount":5225,"zanCount":40,"manualWeight":40,"mainColor":62},233880,"ta-ge-tu-zhou-ma-yuan-233880","踏歌图轴","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[24,7,52,277,27,75,278,82,647,5232,28,77,279,79,73,5233],"小路","斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef222b397a3288ca11990ad05068a142.jpg","纵192.5厘米，横111厘米",[],{"id":5238,"slug":5239,"title":5240,"dynasty":46,"author":2336,"museum":151,"description":5241,"tags":5242,"thumbUrl":5243,"material":342,"size":5244,"collection":122,"collections":5245,"showCount":5225,"zanCount":541,"manualWeight":40,"mainColor":41},233735,"he-hua-tu-zhou-wu-chang-shuo-233735","荷花图轴","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[7,24,277,27,52,368,102,54,398,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18450c962cc4dc8033a867f98dea23ce.jpg","纵163.4厘米，横47.5厘米",[],{"id":5247,"slug":5248,"title":5249,"dynasty":18,"author":5250,"museum":20,"description":5251,"tags":5252,"thumbUrl":5253,"material":736,"size":5254,"collection":106,"collections":5255,"showCount":5225,"zanCount":541,"manualWeight":40,"mainColor":479},221151,"shan-zhe-ji-que-tu-huang-ju-cai-221151","山鹧棘雀图","黄居寀","山鹧棘雀图是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,7,24,26,27,102,84,647,56,3195,890,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b5a20f43ca35824f3daa158e61bf297.jpg","纵97厘米，横53.6厘米",[106,90],{"id":5257,"slug":5258,"title":5259,"dynasty":46,"author":97,"museum":132,"description":2517,"tags":5260,"thumbUrl":5261,"material":317,"size":907,"collection":122,"collections":5262,"showCount":5263,"zanCount":1065,"manualWeight":40,"mainColor":41},290531,"wan-heng-xiang-xue-zhou-yun-shou-ping-290531","万横香雪轴",[24,52,7,75,383,77,78,79,80,1059,118,74,27,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908e37e2018eaa4c032769f68c2bc093.jpg",[],150,{"id":5265,"slug":5266,"title":5267,"dynasty":46,"author":5268,"museum":132,"description":5269,"tags":5270,"thumbUrl":5271,"material":317,"size":907,"collection":122,"collections":5272,"showCount":5263,"zanCount":1065,"manualWeight":40,"mainColor":41},289979,"fang-ni-zan-shan-shui-tu-zhou-hong-ren-289979","仿倪瓒山水图轴","弘仁","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[7,24,52,277,75,647,81,79,278,648,154,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a89c37611eded2ace9e54e3a4ca8817.jpg",[],{"id":5274,"slug":5275,"title":2818,"dynasty":114,"author":878,"museum":132,"description":5276,"tags":5277,"thumbUrl":5279,"material":317,"size":907,"collection":122,"collections":5280,"showCount":5263,"zanCount":1065,"manualWeight":40,"mainColor":62},288321,"xi-yuan-ya-ji-tu-ma-yuan-288321","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,7,24,25,277,28,75,609,647,313,278,77,78,79,5278,745,3300,2825,902],"竹丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6165e95977efed01ca7108e9daefd.jpg",[],{"id":5282,"slug":5283,"title":5284,"dynasty":46,"author":97,"museum":132,"description":2517,"tags":5285,"thumbUrl":5287,"material":317,"size":907,"collection":122,"collections":5288,"showCount":5289,"zanCount":541,"manualWeight":40,"mainColor":62},290523,"yu-zao-tu-zhou-yun-shou-ping-290523","鱼藻图轴",[7,24,51,52,27,26,102,1179,2664,5286,240],"浮萍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748fd697006adc0f65ec737a5e5f60cf.jpg",[],149,{"id":5291,"slug":5292,"title":5293,"dynasty":46,"author":4218,"museum":132,"description":5294,"tags":5295,"thumbUrl":5296,"material":122,"size":122,"collection":106,"collections":5297,"showCount":5289,"zanCount":541,"manualWeight":40,"mainColor":41},228929,"hua-hui-hu-die-tu-juan-ma-quan-228929","花卉蝴蝶图卷","此卷以没骨法绘就，蝶群翩跹百态各异，翅脉纤毫毕现：或墨色沉凝如漆，或晕染粉白通透，振翅翻飞间灵动宛然。间缀佛手、牡丹与素花，设色清润柔雅，花叶舒展柔媚，衬得蝶群更显鲜活生机。\n\n卷后题笔文辞清丽，笔墨秀雅与画境相融，尽显创作者细腻入微的观察力，将草间花蝶相依的悠然灵趣定格长卷，温婉雅致，意韵盎然，是闺阁花鸟画里的精巧之作。",[23,7,24,51,25,27,26,102,200,198,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3906603e4a8bf2dc062465a3550f3584.jpg",[106],{"id":5299,"slug":5300,"title":5301,"dynasty":46,"author":1452,"museum":132,"description":5302,"tags":5303,"thumbUrl":5304,"material":317,"size":907,"collection":122,"collections":5305,"showCount":5306,"zanCount":1065,"manualWeight":40,"mainColor":41},235132,"tao-hua-tu-zhou-zou-yi-gui-235132","桃花图轴","“丙戌”是清乾隆三十一年（1766年），邹一桂时年79岁。图绘在月季的衬托下斜入画面的桃树。全图笔法轻快疏秀，设色淡雅清丽，花之媚，叶之柔，充分表现了桃树的独特魅力。作者不刻意求工、求似，唯求自然天趣，揭示出平淡超逸的审美意趣，不仅表现出春回大地桃花含烟带雾的诗意，而且具有富贵长春的吉祥寓意。",[24,7,52,27,26,102,76,103,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdadd8bce962dd2da11a1ab2141bebd95.jpg",[],148,{"id":5308,"slug":5309,"title":5310,"dynasty":114,"author":4689,"museum":132,"description":5311,"tags":5312,"thumbUrl":5315,"material":611,"size":5316,"collection":175,"collections":5317,"showCount":5306,"zanCount":11,"manualWeight":40,"mainColor":62},221303,"guo-shu-shuang-qin-tu-juan-yi-yuan-ji-221303","果熟双禽图卷","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[23,7,24,51,25,27,26,102,472,2106,84,384,263,5313,301,278,5314],"浆果","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","41.8x288厘米",[175,106,90],{"id":5319,"slug":5320,"title":5321,"dynasty":114,"author":721,"museum":195,"description":5322,"tags":5323,"thumbUrl":5325,"material":34,"size":5326,"collection":88,"collections":5327,"showCount":5306,"zanCount":11,"manualWeight":40,"mainColor":62},214609,"jiao-yuan-ye-zhang-tu-wan-shan-ye-ma-lin-214609","郊园曳杖图纨扇页","郊园曳杖图是宋朝时期马麟所作的一幅著名的山水画。这幅画描绘了一个人在郊外散步的场景，画中的人物拿着一根曳杖，走在一片绿色的郊园里，周围环绕着山峦和树木。\n\n马麟是宋朝时期著名的画家，他的画风轻松优美，富有感性，并且注重写实。在他的作品中，常常出现山水画题材，他将山水画中的景物和人物结合起来，表现出人与自然和谐相处的意境。郊园曳杖图就是这样一幅作品，它展示了一个人在郊外散步的情景，与周围的山水相互融合，充满了自然之美。\n\n马麟的郊园曳杖图是一幅经典的山水画作品，其中细腻的笔墨，流畅的线条，精确的造型，以及生动的写意，都体现了马麟作为画家的高超技艺。这幅画不仅为后人留下了宝贵的艺术瑰宝，也为我们展现了宋朝时期山水画的魅力。",[768,24,7,51,27,73,75,28,82,5324,74],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c4fe954c2ad1a1f925dcf460e2dd461.jpg","纵23.3 厘米 横23.7 厘米",[88],{"id":5329,"slug":5330,"title":5331,"dynasty":674,"author":2912,"museum":151,"description":5332,"tags":5333,"thumbUrl":5334,"material":611,"size":5335,"collection":36,"collections":5336,"showCount":5337,"zanCount":541,"manualWeight":40,"mainColor":41},221065,"kong-zi-di-zi-xiang-yan-li-ben-221065","孔子弟子像","《孔子弟子像》全图采取平列式构图，无背景，墨笔勾勒，着色，人物形象各异，须眉生动。绘孔子弟子立像五十九人，无名款。从体貌上对照，第三人即为孔子，以后诸人亦形态相仿，顺序一致，惟个别处有遗漏或增补，如子迟和子贡之间缺子夏，孔子前多出两人。但根据北京故宫博物院藏的宋无款《七十二贤相》卷进行对比，本幅画所绘为孔子及弟子像内容是确凿无疑的。",[23,24,7,51,25,26,27,510,28,74,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62b0109df8752c442e8801281dc33fb.jpg","纵32.3厘米，横870厘米",[36,90],147,{"id":5339,"slug":5340,"title":5341,"dynasty":114,"author":274,"museum":132,"description":5342,"tags":5343,"thumbUrl":5344,"material":34,"size":5345,"collection":88,"collections":5346,"showCount":5337,"zanCount":40,"manualWeight":40,"mainColor":62},220045,"ting-qin-kan-pu-tu-xia-gui-220045","听琴看瀑图","危崖飞瀑垂落千仞，斧劈皴勾勒山石棱骨，墨色苍劲凝练，将峭壁雄浑之势尽显。虬松盘曲展枝，松下平坡之上，抚琴者席地拨弦，知音侧耳凝听，童子垂手侍立，寥寥数笔便将人物悠然意态勾勒传神。\n\n画面以局部取景，大片留白晕染出空濛悠远，将林泉雅集的闲逸与山川清旷相融，虚实之间，把静赏飞瀑、闲听雅琴的幽趣铺陈开来，藏着寄情丘壑、静悟天机的风雅，笔简而意无穷，尽得空灵禅寂之美。",[7,24,51,52,277,73,75,313,609,28,2880,281,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1f6772d48a16ed101d54e26afa835.jpg","142.2 × 70 cm",[88],{"id":5348,"slug":5349,"title":5350,"dynasty":46,"author":2636,"museum":20,"description":5351,"tags":5352,"thumbUrl":5353,"material":317,"size":907,"collection":122,"collections":5354,"showCount":5355,"zanCount":1065,"manualWeight":40,"mainColor":41},230204,"xian-e-chang-chun-tu-lang-shi-ning-230204","仙萼长春图","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,7,51,100,26,27,102,103,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dee7461512292d25946deeb4c5ea582.jpg",[],146,{"id":5357,"slug":5358,"title":5359,"dynasty":293,"author":658,"museum":507,"description":5360,"tags":5361,"thumbUrl":5362,"material":5363,"size":5364,"collection":286,"collections":5365,"showCount":5355,"zanCount":11,"manualWeight":40,"mainColor":41},220775,"duo-fu-tu-zhou-wu-zhen-220775","多福图轴","吴镇画墨竹自称是“戏写”，表现了他画竹时怡然自得的心境，这必须做到“心手两相忘，融化同造物”。他通过题画诗来使墨竹人格化，强调竹子的坚韧个性。他以“虚心抱节”来赞颂竹子既虚怀若谷、又坚守气节的人格化的植物特性。\n吴镇非常爱梅，家室四周遍植梅树，取斋名“梅花庵”。墨梅流派的发展，从释仲仁开始，在写实的形态上以清淡疏简为宗。至扬无咎，更把仲仁的点墨变为直率的带有飞白的用笔。《多福图》以墨笔绘树石丛竹，格调简率遒劲，信笔挥洒，墨色淋漓，布局错落有致。吴镇在画古梅的枝干时，显示了能放能收、力能扛鼎的沉郁超旷。此图表现老梅一枝，峭石一块，疏竹一丛，显得老辣沉浑。\n画面右上草书自题五言诗一首，“长忆古多福，三茎四茎曲。一叶动机舂，清风自然足。”署款“梅花道人戏墨”。",[23,7,24,51,52,277,53,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6205111b6eff3ed5d23ced59c90d8da.jpg","纸本,墨笔","96×28.5cm",[286,2605],{"id":5367,"slug":5368,"title":5369,"dynasty":114,"author":631,"museum":20,"description":5370,"tags":5371,"thumbUrl":5373,"material":34,"size":5374,"collection":175,"collections":5375,"showCount":5355,"zanCount":1065,"manualWeight":40,"mainColor":62},220253,"fen-xiang-zhu-sheng-tu-li-song-220253","焚香祝圣图","描绘了依山临水的华美殿阁之中，一白衣男子携女眷焚香礼拜之景。画作巧妙运用远观视角，将画栋飞甍、风帘翠幕置于月色流转与烛影摇曳之间，望之宛如琼楼仙馆，绮丽艳逸。此图据称是依据南宋皇家园林绘制而成，画面细致地再现了南宋宫苑建筑的风格与细节，史学价值极高。",[23,24,7,51,855,27,26,678,28,77,135,5372,74],"台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9f3c35ee5b3ba72fc5b5432c4379a8.jpg","纵24.8厘米，横25.8厘米",[175],{"id":5377,"slug":5378,"title":4750,"dynasty":114,"author":211,"museum":166,"description":5379,"tags":5380,"thumbUrl":5381,"material":34,"size":5382,"collection":106,"collections":5383,"showCount":5355,"zanCount":40,"manualWeight":40,"mainColor":62},219349,"bai-ying-tu-zhao-ji-219349","图为一只白鹰站在湖石上，爪子上系着绳索。 这幅画是根据宋徽宗爱画白鹰奇石的传说.",[23,24,7,51,52,26,27,84,1883,53,56,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f082a50222716196107d33d5784d0f.jpg","141.7x59.5厘米",[106,90],{"id":5385,"slug":5386,"title":5387,"dynasty":114,"author":878,"museum":132,"description":5388,"tags":5389,"thumbUrl":5390,"material":267,"size":5391,"collection":36,"collections":5392,"showCount":5355,"zanCount":541,"manualWeight":40,"mainColor":41},218648,"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[23,7,24,51,25,277,27,28,75,697,84,56,79,74,118,119,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[36],{"id":5394,"slug":5395,"title":5396,"dynasty":1383,"author":181,"museum":3286,"description":5397,"tags":5398,"thumbUrl":5403,"material":27,"size":5404,"collection":36,"collections":5405,"showCount":5355,"zanCount":1065,"manualWeight":40,"mainColor":62},216776,"ri-ben-shi-jia-jin-guan-chu-xian-tu-yi-ming-216776","日本· 释迦金棺出现图","这幅画描绘了释迦牟尼佛躺在金棺材里，进入涅槃，这时他以巨大的神力复活，并对他的母亲说话，他的母亲从天上来，但还没有看到他。",[23,7,27,28,678,5399,5400,5401,5402],"佛教","释迦牟尼","涅槃","金棺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb770ce3cc7a39753b7dfa8bac03fa17b.jpg","160x229.5",[36],{"id":5407,"slug":5408,"title":3613,"dynasty":46,"author":97,"museum":132,"description":2517,"tags":5409,"thumbUrl":5410,"material":317,"size":907,"collection":122,"collections":5411,"showCount":5412,"zanCount":1065,"manualWeight":40,"mainColor":41},239439,"hua-niao-ce-yun-shou-ping-239439",[24,7,100,101,27,102,54,53,2290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7e30a442cbdb53613fd8222a1bae4f.jpg",[],145,{"id":5414,"slug":5415,"title":5416,"dynasty":67,"author":5417,"museum":151,"description":5418,"tags":5419,"thumbUrl":5423,"material":217,"size":5424,"collection":36,"collections":5425,"showCount":5412,"zanCount":541,"manualWeight":40,"mainColor":62},222154,"guan-yu-qin-jiang-tu-shang-xi-222154","关羽擒将图","商喜","此图描绘的是三国时期的大将关羽水淹七军、活捉敌将庞德的故事。画中关羽长须美髯，气宇轩昂，身穿铠甲，斜披绿袍，手抱单膝坐于青松之下，神态从容自得，周仓手持青龙偃月刀侍立一旁。而庞德衣衫尽褪被绑在木桩之上，兀自咬牙眦目，挣扎不休，不甘受缚的心态跃然纸上。\n本图虽是宫廷绘画，但表现的对象是家喻户晓的历史人物关羽，描绘的情节是人们喜闻乐见的三国故事。在题材的选取上与民间美术有不谋而合之处，体现了人们对英雄形象普遍的崇拜心理。在画法上，人物用工笔重彩，浓艳亮丽的色彩夺人眼目，人物形象的塑造吸收了民间美术的造型特点，特征突出，带有一定的程式化。画面尺幅巨大，构图宏伟壮观，反映了皇家艺术的豪华气派。",[23,7,24,51,26,27,28,5420,4005,135,5421,648,5422],"武将","石阶","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cfe2aa230b981d80a1e2084434ca2c.jpg","纵198厘米，横236厘米",[36,90],{"id":5427,"slug":5428,"title":5429,"dynasty":114,"author":274,"museum":260,"description":5430,"tags":5431,"thumbUrl":5432,"material":121,"size":5433,"collection":88,"collections":5434,"showCount":5412,"zanCount":1065,"manualWeight":40,"mainColor":41},215111,"bu-yu-tu-xia-gui-215111","捕鱼图","捕鱼图是宋朝时期著名画家夏圭的一幅名作。这幅画描绘了一个捕鱼的场景，画面中有许多渔民在用各种方法捕捉鱼类。夏圭是宋朝时期著名的“四大家”之一，他的捕鱼图以其精细的细节和逼真的人物造型而闻名。这幅画被认为是宋朝时期画家对自然主题的精湛描绘的典范，并被视为中国绘画史上的杰作。",[23,7,24,51,768,277,73,75,80,661,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816c22a3a1796408cdb7def0393b7cd2.jpg","23.2×24.1cm",[88],{"id":5436,"slug":5437,"title":5438,"dynasty":46,"author":5439,"museum":132,"description":5440,"tags":5441,"thumbUrl":5442,"material":317,"size":907,"collection":122,"collections":5443,"showCount":5444,"zanCount":40,"manualWeight":40,"mainColor":41},290384,"lan-hua-tu-juan-yun-xiang-290384","兰花图卷","韵香","女道士。能书擅画，尤擅画兰。主要作品有《空山听雨图册》",[23,7,24,51,25,277,228,56,74,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F346cbb87cd3ed3e666639bdd70f910b5.jpg",[],144,{"id":5446,"slug":5447,"title":5448,"dynasty":293,"author":644,"museum":132,"description":5449,"tags":5450,"thumbUrl":5451,"material":317,"size":907,"collection":122,"collections":5452,"showCount":5444,"zanCount":530,"manualWeight":40,"mainColor":41},288916,"yu-shan-lin-he-tu-ni-zan-288916","虞山林壑图","取一河两岸式的构图，但水中有五道洲渚及一组杂树，远山近坡的淡墨皴染较多。画风较其典型作品繁密。与其盛年所作《渔庄秋霁图》、《枫落吴江图》等用线勾括坡石的画法相比，此图坡石皴擦善用乾笔，风格浑穆。应是倪氏晚期山水画的特点。",[23,7,24,52,277,75,647,56,79,118,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa611a8ec871c68063dbbc71fbe7e38c1.jpg",[],{"id":5454,"slug":5455,"title":3613,"dynasty":67,"author":5456,"museum":132,"description":5457,"tags":5458,"thumbUrl":5459,"material":122,"size":122,"collection":106,"collections":5460,"showCount":5444,"zanCount":541,"manualWeight":40,"mainColor":41},237664,"hua-niao-ce-ling-bi-zheng-237664","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[7,24,51,100,27,26,102,340,339,515,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb686e450eda3e1b564356a6d16a40e28.jpg",[106,90],{"id":5462,"slug":5463,"title":5464,"dynasty":114,"author":788,"museum":212,"description":5465,"tags":5466,"thumbUrl":5471,"material":4263,"size":5472,"collection":175,"collections":5473,"showCount":5444,"zanCount":40,"manualWeight":40,"mainColor":62},221414,"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","由于这幅《茂林远岫图卷》没有款识，后代的收藏者也都是根据画卷后部南宋向冰、元代倪瓒以及明初张天骏三人的题跋，而将其作者定为李成。明、清时期的张丑、吴升等曾认定题跋为后人补配，怀疑作品不是李成真迹。当代鉴定家对这件作品的作者归属问题也存在着诸多推论。其实，欣赏一件古代的书画作品，首先着重看的是它的艺术质量与笔墨精神，真伪问题应在其后。\n《茂林远岫图》经南宋贾似道、元代鲜于枢、明代项元汴、清代梁清标等名家收藏，后入清宫内府，上有百余方收藏印迹。作品后有南宋向冰、元人倪瓒、明人张天骏三人题跋。画上有乾隆的一首七言诗：“元气淋漓万木枝，荆关而外自成师。奁屏合付闺中秀，砚匣琉璃冥写时。”由于南宋向冰在卷后题跋中称此图为北宋李成所作，所以该作品多被看做是流传有绪、唯一可信的李成真迹。\n展阅北宋画家李成的《茂林远岫图》轴，它给人的第一印象就是场面开阔、气势恢弘。远处的山峰顶天立地，给人以庄严、豪迈之感。近景处，小桥流水、泊岸轻舟，以及来来往往的行人车马，给人一种轻柔舒缓的感觉。它们与雄浑、巍峨的远山搭配协调、刚柔相济。楼台寺塔、流泉飞瀑点缀于溪畔崖间；丛林苍翠，连绵不断，让人观后顿觉心情舒畅。\n《茂林远岫图》用笔劲健平和，线条纤细而不孱弱，骨力内蕴，如绵里裹针。岩石先用瘦劲的线条勾勒，再以清晰、细劲的小线条慢慢皴写，层层叠加。作品用墨谨慎小心。尤其淡墨，更是细腻持重、清逸传神。作品设色不多。即使设色的地方，也是清新、醇厚，有一种雍容典雅的韵味，没有丝毫的火气与造作。\n北宋画家王诜曾将李成的画与范宽的画做过比较，说李成的画“墨润而笔净，烟岚轻动，如对面千里，秀气可掬”。的确，与范宽的画相比，李成的画更为文气，这与李成具有广博、丰厚的学识大有关系。李成的画有较浓的书卷气，这一点在传为李成的《茂林远岫图》中也体现得很明显。\n以平远法构图来表现清旷、幽远的画境是李成山水画的一大特色。他之所以多用平远法构图，一是因为平远法适合表现山东平原的烟林远丘，容易营造一种一望无际、层层推进的视觉效果，让人感觉阔远（如果用高远法或深远法来表现，就会显得局促、窄小）；二是与李成的经历有关。虽然他在世时，李唐王朝已灭亡十几年了，但作为皇族后裔的他，并不甘心就此埋没，还想东山再起。可因家道中落、仕途不顺、兵灾人祸等种种原因，他走仕途的理想最终未能实现。在多次遭到挫折的情况下，他将自己的人生目标转移到绘画上，以求得内心的平静。这一追求体现在画面上，就是意境冲淡、平和，并带有萧疏之气。平远的构图，使画家能深入地描绘对象，思维不自觉地延伸，从而达到内心的宁静。宋代郭若虚《图画见闻志》评价李成的作品“气象萧疏，烟林清旷”，甚是贴切。",[23,24,7,51,25,75,73,27,5467,648,82,278,279,5468,611,5469,5470,280,434],"茂林","淡墨","层峦","丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","纵45.4厘米，横141.8厘米",[175,88,286],{"id":5475,"slug":5476,"title":5477,"dynasty":114,"author":211,"museum":151,"description":5478,"tags":5479,"thumbUrl":5480,"material":217,"size":5481,"collection":175,"collections":5482,"showCount":5444,"zanCount":40,"manualWeight":40,"mainColor":62},221365,"dai-sheng-tu-zhao-ji-221365","戴胜图","宋徽宗赵佶（1082年11月2日-1135年6月4日） [6] ，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 [1] 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， [1] 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 [2] 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。 [3] 南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,7,24,51,26,27,102,84,198,265,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6d21304ca588d1c5a05077bff87467.jpg","纵55厘米，横59厘米",[175,106,90],{"id":5484,"slug":5485,"title":5486,"dynasty":114,"author":1787,"museum":5487,"description":5488,"tags":5489,"thumbUrl":5492,"material":666,"size":5493,"collection":122,"collections":5494,"showCount":5444,"zanCount":541,"manualWeight":40,"mainColor":62},219192,"xiao-xiang-ba-jing-yu-cun-xi-zhao-mu-xi-219192","潇湘八景-渔村夕照","根津美术馆","烟霭似梦，轻覆潇湘水畔。远山如黛，在朦胧雾气中层层隐现，墨色浓淡间藏着天地的悠远。近岸林木苍劲，枝桠舒展，与嶙峋山石相映。水面上扁舟缓行，渔人影绰，似在暮色里寻归处。几处屋舍疏落，隐于树影烟岚间，不闻喧嚣，唯余静谧。\n\n水墨晕染出夕照的温柔，没有浓艳色彩，却以极简之笔勾勒出渔村黄昏的禅意空灵——天地人在此相融，时光仿佛停滞，只留山水与自然的清寂对话。每一处墨痕都藏着野趣与淡泊，让观者沉浸在这份恬淡悠远的意境里，似能听见风过林梢、水拍船舷的轻响，忘却尘俗纷扰。",[23,7,24,51,277,73,75,80,82,5490,5491,430],"烟雾","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0abab9aa023a77aaf3089f0f4a2f97.jpg","33x112厘米",[],{"id":5496,"slug":5497,"title":1798,"dynasty":114,"author":181,"museum":5498,"description":5499,"tags":5500,"thumbUrl":5502,"material":34,"size":5503,"collection":106,"collections":5504,"showCount":5444,"zanCount":1065,"manualWeight":40,"mainColor":479},218645,"mu-dan-tu-yi-ming-218645","福冈市立美术馆","沉棕底色如旧绢凝香，中央牡丹姿态雍容却不失清雅。花瓣层叠如浪，米白与浅褐的晕染间藏着淡粉的柔韵，似被时光打磨出温润质感。墨线勾出的叶片翠意内敛，叶脉纤细如丝，与花的柔婉相映成趣。整幅画作工致细腻，尽显宋画的沉静风骨，将牡丹的端庄神韵凝于方寸之间，仿佛能窥见千年之前画者笔下那一抹含蓄的生机，静谧中流淌着古雅的诗意。",[23,7,24,51,102,26,27,103,5501],"花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7837e7613763e599f5ea1a410e470c01.jpg","26.7x31.2",[106],{"id":5506,"slug":5507,"title":5508,"dynasty":46,"author":97,"museum":132,"description":2517,"tags":5509,"thumbUrl":5511,"material":317,"size":907,"collection":122,"collections":5512,"showCount":5513,"zanCount":541,"manualWeight":40,"mainColor":41},290536,"yan-xi-yu-le-zhou-yun-shou-ping-290536","燕喜鱼乐轴",[24,7,52,51,26,27,102,76,1179,84,118,74,5510],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20aff2a060a96207e9cbb6a8febec6d9.jpg",[],143,{"id":5515,"slug":5516,"title":5517,"dynasty":5518,"author":5519,"museum":132,"description":5520,"tags":5521,"thumbUrl":5527,"material":122,"size":122,"collection":122,"collections":5528,"showCount":5513,"zanCount":541,"manualWeight":40,"mainColor":41},226557,"bei-qi-xiao-shu-tu-yang-zi-hua-226557","北齐校书图","南北朝","杨子华","杨子华，北齐画家，生卒年不详。是北齐世祖高湛的爱臣，北齐世祖时（561年－565年）任直阁将军、员外散骑常侍。善画贵族人物、宫苑、车马，所画马尤其生动逼真，据传他在壁上所画马甚至引起观者夜间听到马索水草而嘶鸣的幻觉。时有“画圣”之称。北齐世祖使其供职宫廷，非有诏不得与外人画，成为专门的御用画家。他所画人物形象丰满圆润，有别于顾恺之的“秀滑清丽”，他的画风影响到唐代，具有承前启后的历史地位。\n\n现存《北齐校书图》（美国波士顿美术馆，系宋代摹本），纵29.3厘米，横122.7厘米，这图卷所画的是北齐天保七年（556年）文宣帝高洋命樊逊和文士高乾和等11人负责刊定国家收藏的《五经》诸史的情景。画中人物其神情均极生动。此图用笔细劲流动，细节描写神情精微。设色简易标美。",[23,7,24,51,25,26,27,28,215,5522,74,118,119,5523,5524,5525,5526,30],"书","笔","墨","纸","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a01f2f22b879846072f997f9ed81611.jpg",[],{"id":5530,"slug":5531,"title":5532,"dynasty":114,"author":181,"museum":132,"description":5533,"tags":5534,"thumbUrl":5535,"material":122,"size":122,"collection":122,"collections":5536,"showCount":5513,"zanCount":1065,"manualWeight":40,"mainColor":62},223683,"yin-cha-tu-yi-ming-223683","饮茶图","《宋饮茶图》是宋代佚名创作的绢本设色画，现藏于美国弗利尔美术馆。\n图中画一侍女双手捧茶盘，一妇人伸手盘中拿茶具。\n右边一贵夕面向她们而立，仪态端庄娴静。\n后随侍女双手捧一锦盒。\n画风承唐代周吩，典雅浓丽。\n旧题南唐 画，然观其时代气息，应为宋人所作。",[23,24,7,768,26,27,28,29,1163,74,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783b061be5eddc485e3cd90b44470fd.jpg",[],{"id":5538,"slug":5539,"title":5540,"dynasty":114,"author":274,"museum":395,"description":5541,"tags":5542,"thumbUrl":5545,"material":34,"size":5546,"collection":88,"collections":5547,"showCount":5513,"zanCount":530,"manualWeight":40,"mainColor":62},218571,"xia-shan-bi-shu-tu-xia-gui-218571","夏山避暑图","云雾似轻纱漫笼峰峦，墨色浓淡晕染出层叠山影。近处山石以劲挺线条勾勒肌理，远处峰峦隐入烟霭，虚实相生间拓开深远意境。飞瀑如白练倾泻而下，水汽与云雾交融，添了几分灵动。崖畔小亭古朴雅致，亭内人影隐约，或凭栏观瀑，或对弈品茗，将“避暑”闲逸悄然藏于山水。苍松虬枝斜出，与嶙峋怪石相映，笔墨苍劲中透着秀逸。整幅画以水墨为韵，借云雾之虚衬山峦之实，动静相宜间铺展夏日山林的清幽闲适，让人仿若置身其中，忘却尘嚣。",[24,7,51,75,277,73,81,313,279,278,82,648,280,4497,5543,5544],"古松","山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50cf148ebc8bbac9a702b14d084294e.jpg","81x35cm",[88],{"id":5549,"slug":5550,"title":5551,"dynasty":114,"author":878,"museum":132,"description":5552,"tags":5553,"thumbUrl":5554,"material":666,"size":5555,"collection":286,"collections":5556,"showCount":5513,"zanCount":1065,"manualWeight":40,"mainColor":41},218564,"song-gao-zong-yu-zhi-xi-gong-yan-tu-ma-yuan-218564","宋高宗御制西宫宴图","马远绘侍宴图传世三件中的其中一幅",[24,7,51,52,855,277,75,77,609,278,82,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b00e67510889e575c54629198f5565.jpg","122.5x52.2",[286],{"id":5558,"slug":5559,"title":5560,"dynasty":67,"author":5561,"museum":195,"description":5562,"tags":5563,"thumbUrl":5564,"material":122,"size":122,"collection":36,"collections":5565,"showCount":5566,"zanCount":530,"manualWeight":40,"mainColor":41},222503,"shen-xian-tu-ce-zhang-lu-222503","神仙图册","张路","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,24,7,51,100,277,510,27,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad175defc4617369b4400b273e45b98.jpg",[36],142,{"id":5568,"slug":5569,"title":5570,"dynasty":114,"author":259,"museum":151,"description":5571,"tags":5572,"thumbUrl":5573,"material":611,"size":5574,"collection":175,"collections":5575,"showCount":5566,"zanCount":1065,"manualWeight":40,"mainColor":62},221373,"jin-hui-dui-tu-juan-zhao-chang-221373","锦灰堆图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。作者不愧有“写生赵昌”的美誉。\n此图流传有绪。通过图上所钤印文可知，它最早为南宋权相贾似道收藏，德祐年时，贾似道以卖国获罪，此卷遂被官府没收。入元后，它为元仁宗爱育黎拔力八达之姊鲁国大长公主所收藏。明初，被内府典礼纪察司收存。清代，它转入大收藏家梁清标之手，旋即又归入清内府，备受乾隆皇帝赏识。晚清宣统时又流入民间，为伪满“国兵”朱国恩抢得，存放于吉林长春的家中。1952年东北文化部组织的工作小组于长春获得此卷，交由原东北博物馆收藏，后博物馆将它与北宋崔白《寒雀图》卷、吴元瑜《荔枝图》卷一同送交国家文物局，文物局将它们转入故宫博物院庋藏。",[23,24,7,25,26,27,102,200,247,1180,137,1095,339,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9b890e9249dec5b777dd3cfaf3145a.jpg","29.4x174.6cm",[175,106,90],{"id":5577,"slug":5578,"title":5579,"dynasty":114,"author":631,"museum":20,"description":5580,"tags":5581,"thumbUrl":5583,"material":34,"size":5584,"collection":36,"collections":5585,"showCount":5566,"zanCount":1065,"manualWeight":40,"mainColor":62},219975,"ting-ruan-tu-li-song-219975","听阮图","此图园中高木奇石，枝叶掩映翁郁，树下士人持拂闲坐于榻上，左腿盘起，聆听拨阮演乐并赏古玩。旁有仪态娇美仕女，焚香、拈花、持扇随侍。人物线条流畅，绘法近似明代画家杜蓳、唐寅。",[24,7,51,52,26,27,28,905,904,5582,31,135,3048,198,1164,3242,30,711],"侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f429ae99228b49a6346c6be40873864.jpg","177.5x104.5公分",[36],{"id":5587,"slug":5588,"title":5589,"dynasty":46,"author":5590,"museum":132,"description":5591,"tags":5592,"thumbUrl":5596,"material":122,"size":122,"collection":122,"collections":5597,"showCount":5598,"zanCount":530,"manualWeight":40,"mainColor":62},229035,"yue-man-qing-you-tu-ce-chen-mei-229035","月曼清游图册","陈枚","此作工致细腻，庭院春梅如云盛放，元宵宫灯悬于枝梢檐下，晕开融融暖意。楼下女眷三两围聚，私语笑谈，情态温婉柔媚；楼上闺人凭窗远眺，共赏灯景。设色明妍柔丽，线条精细雅致，将深闺女子元宵嬉游的闲雅意趣尽数铺展，仕女的温婉仪容、娇柔神态刻画入微，带着院体画的精致考究，晕染出古典深闺的春日雅兴，尽显清代仕女画的典雅意韵。",[23,7,24,100,26,27,28,904,29,383,5593,560,77,5594,5595],"宫灯","闲雅","仕女画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029ff8b8e58621845ff72b54766a782f.jpg",[],141,{"id":5600,"slug":5601,"title":5602,"dynasty":114,"author":460,"museum":20,"description":5603,"tags":5604,"thumbUrl":5608,"material":121,"size":5609,"collection":88,"collections":5610,"showCount":5598,"zanCount":541,"manualWeight":40,"mainColor":62},218953,"guan-bei-tu-guo-xi-218953","观碑图","寒冷的森林平坦而遥远，松树的枝干已经枯萎。这两个人靠在石碑上，而四个人站在他们前面的右边，带着马鞍和马在伞下，他们的表情非常有表情。这幅画描绘了汉朝时曹操和杨修一起看《曹娥碑》的情景。这幅画没有记号，传统上认为是郭熙所作。然而，这幅画的风格，倾斜的石头和松散的树枝，以及参差不齐的夸张树干，并没有给人以郭熙的建议的感觉。其他现存的涉及看纪念碑的画作包括大阪市立美术馆收藏的《读碑石》，这幅画主要描绘的是残存纪念碑的寒冷森林场景，以此来让观者思考过去。",[23,7,24,51,52,5605,73,497,28,215,5606,314,278,5607,170,82],"水墨画","碑","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680d1f7d1ced6d46fbc9bb38d75e4147.jpg","164.4x119",[88],{"id":5612,"slug":5613,"title":5614,"dynasty":46,"author":1567,"museum":132,"description":5615,"tags":5616,"thumbUrl":5617,"material":122,"size":122,"collection":122,"collections":5618,"showCount":5619,"zanCount":1065,"manualWeight":40,"mainColor":41},228994,"zhu-shi-zhen-ji-tu-shi-tao-228994","竹石真迹图","此作用水墨写意绘就幽境。以淋漓淡墨勾皴巨石轮廓，留白为体，枯笔侧锋扫出苍涩纹理，朴拙雄浑间尽显嶙峋风骨。几竿新竹斜倚石畔，中锋写干清劲挺拔，竹叶以焦墨挥写，聚散错落，偃仰有态，尽显萧疏清逸之致。左下角兰草柔婉，与竹石刚健相映成趣。\n\n整幅画以少胜多，墨色干湿浓淡层次丰盈，笔意纵恣洒脱，将竹之劲节、石之沉稳融于尺幅之间，寄寓文人劲节自持的襟怀，尽显以形写意、天人合一的审美意趣，是水墨小品中的隽秀之作。",[23,7,24,277,368,53,136,74,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37275658c9a76d23ae4cf87b6f96f432.jpg",[],140,{"id":5621,"slug":5622,"title":5623,"dynasty":18,"author":1323,"museum":48,"description":5624,"tags":5625,"thumbUrl":5627,"material":122,"size":122,"collection":122,"collections":5628,"showCount":5619,"zanCount":541,"manualWeight":40,"mainColor":62},226703,"xi-shan-lan-re-tu-ju-ran-226703","溪山兰若图","此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。",[23,24,7,52,277,73,75,297,135,278,280,5626,678],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18e1550c2f9295b94665ebbfbacce7b.jpg",[],{"id":5630,"slug":5631,"title":5632,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":5633,"thumbUrl":5634,"material":27,"size":2642,"collection":122,"collections":5635,"showCount":5619,"zanCount":40,"manualWeight":40,"mainColor":41},222754,"xian-e-chang-chun-tu-08b-ju-hua-lang-shi-ning-222754","仙萼长春图-08b（菊花）",[23,7,24,51,100,27,26,102,1882,384,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea32cfd2d4eabbf19626d6b6e93697f.jpg",[],{"id":5637,"slug":5638,"title":5639,"dynasty":46,"author":5640,"museum":195,"description":5641,"tags":5642,"thumbUrl":5643,"material":267,"size":5644,"collection":88,"collections":5645,"showCount":5619,"zanCount":541,"manualWeight":40,"mainColor":41},219922,"hu-tian-chun-se-tu-wu-li-219922","湖天春色图","吴历","此图描绘江南湖畔堤边的初春风光。画面上，远山清淡，湖水平静，渺无人烟，春色宜人。湖岸处柳色新绿，带雨含烟，丰姿绝妙，燕雀跃于湖面柳枝之间，又有土堤斜引，其上绿草如茵。溪水潺潺，鸟声婉转音色清新，绿柳迎风，全画面春意盎然，和谐舒畅。其构图与表现风格在当时亦十分新颖和独特。此幅是画家山水画中的代表作品，体现了典型的吴历个人风格。画家早年曾师法古人，又曾吸取西画的表现手法，风格与清初“四王”相似又有所不同，他注重实景取材，构图严谨，所以具有独特的面貌。",[24,51,7,52,27,73,75,1059,79,84,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8370438109745994edfcc2de0eb2f4f9.jpg","纵123.5 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厘米",[88,90],{"id":5647,"slug":5648,"title":5649,"dynasty":46,"author":181,"museum":151,"description":5650,"tags":5651,"thumbUrl":5652,"material":34,"size":5653,"collection":36,"collections":5654,"showCount":5619,"zanCount":11,"manualWeight":40,"mainColor":62},219633,"qian-long-huang-di-chao-fu-xiang-yi-ming-219633","乾隆皇帝朝服像","此作工笔细腻，写实传神。画中帝王面容俊朗，神色端凝沉稳，自带不怒自威的从容气度。明黄朝服遍绣祥龙，十二章纹错落排布，金线勾勒下瑞兽纹样鲜活灵动，珠玉朝珠垂坠于前，礼制森严间尽显极致华贵。髹金龙椅雕刻繁复精妙，卷云虬龙层层环绕，衬出帝王的独尊地位。\n\n画面底色素净克制，将视觉重心全然倾注于人物之上，设色富丽却不俗艳，工整细致的笔触，将盛世帝王的威仪气度凝于绢素，尽显宫廷肖像画的典雅规整，让观者仿佛能窥见当年紫禁城中的肃穆华贵。",[23,7,24,51,52,26,27,28,30,526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0605e9fa04d93aeb448927849ebb7b94.jpg","纵271厘米，横142厘米",[36],{"id":5656,"slug":5657,"title":5658,"dynasty":674,"author":5659,"museum":20,"description":5660,"tags":5661,"thumbUrl":5662,"material":666,"size":5663,"collection":106,"collections":5664,"showCount":5619,"zanCount":530,"manualWeight":40,"mainColor":41},218623,"dou-niu-tu-dai-song-218623","斗牛图","戴嵩","图绘两条硕壮的公牛相斗，一牛低头而以两角尖顶向对方的肚子，肌肉鼓胀，四蹄撒开，急奔而来，可以设想这一顶的力量之猛；而另一牛则掉头离去，目光惊恐，气喘吁吁，落荒而逃。全图纯用水墨，虽也勾线，但已渐渐淡去。牛身通体染墨色，而以墨色的深淡变化，体现出牛身的结构以及运动时肌肉的紧张。用浓墨勾画牛的角、蹄，点出眼睛、鬃毛。看似色彩单纯，但仍能感觉到墨生“五彩”，极其优雅。这样的画法，在戴嵩之前似无，但也正是唐代画家王维倡导的“水墨渲淡”的手法。两头牛的形象、动态，无论是头、身体和四肢，以及彼此间相互协调，都画得非常准确，神态生动，场景激烈。传说他曾画饮水中的牛，水中倒影，唇鼻相连，可以见得戴嵩在写生上下功夫之精微。重写生、重情景，这是唐、宋时期的中国画的一大特点，也是中国画的一大宝贵历史传统。",[7,24,51,25,277,27,1906,472,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf70d07ff8e284b799a06dedfd6f9ed4.jpg","纵44厘米，横40.8厘米",[106],{"id":5666,"slug":5667,"title":5668,"dynasty":67,"author":966,"museum":132,"description":3465,"tags":5669,"thumbUrl":5670,"material":317,"size":907,"collection":122,"collections":5671,"showCount":5672,"zanCount":1065,"manualWeight":40,"mainColor":62},287343,"he-hua-yuan-yang-tu-juan-wen-chen-hong-shou-287343","荷花鸳鸯图(绢纹)",[23,7,24,51,52,1455,26,27,398,969,200,56,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f6c74082eff5c95dc37ca5423373bf.jpg",[],139,{"id":5674,"slug":5675,"title":5220,"dynasty":46,"author":97,"museum":132,"description":2208,"tags":5676,"thumbUrl":5677,"material":122,"size":2212,"collection":122,"collections":5678,"showCount":5672,"zanCount":1065,"manualWeight":40,"mainColor":41},233902,"hua-hui-shan-shui-ce-yun-shou-ping-233902",[24,51,7,100,101,27,102,1882,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb250b9fd14df750f14494c9e5f68270.jpg",[],{"id":5680,"slug":5681,"title":5682,"dynasty":114,"author":5683,"museum":69,"description":5684,"tags":5685,"thumbUrl":5689,"material":156,"size":5690,"collection":123,"collections":5691,"showCount":5672,"zanCount":1065,"manualWeight":40,"mainColor":41},221228,"hu-zhuang-qing-xia-tu-zhao-ling-rang-221228","湖庄清夏图","赵令穰","《湖庄清夏图》描绘了夏季湖的平远景色。开卷是湖庄临岸，垂柳拂溪；接接着一座小桥横跨水上，湖中莲叶田田，群鸭游;岸上绿树成的，远处烟水迷蒙；路转溪头，又见绿树环抱中，数间村舍，屋后一片林木，在烟雾笼罩下，横向舒展，时隐时显，更增加悠然的灵动气氛，充满幻梦般的诗意。卷末近景描绘三株形态各异的大树，与卷首树木相呼应，左下角有明代早期收藏印。",[23,7,24,51,25,75,277,27,73,5468,82,4037,664,5686,648,301,81,5687,5688],"岸堤","湖岸","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6d42310b30e6d6aee565943dd6d4ff.jpg","纵19.1厘米，横161.3厘米",[123],{"id":5693,"slug":5694,"title":5695,"dynasty":67,"author":619,"museum":195,"description":5696,"tags":5697,"thumbUrl":5698,"material":34,"size":5699,"collection":88,"collections":5700,"showCount":5672,"zanCount":489,"manualWeight":40,"mainColor":62},218247,"lin-dai-wen-jin-xie-an-dong-shan-tu-shen-zhou-218247","临戴文进谢安东山图","沈周（1427-1509年），字启南，号石田、白石翁，苏州人，不应科举，以诗文书画为事，山水师黄公望、吴镇，书法法黄庭坚，名重一时，吴中名家如文徵明、唐寅等都出其门下。与文徵明、唐寅、仇英合称“明四家”。\n本图是沈周五十四岁时所作，临摹的是比他略早的浙派著名画家戴进的《谢安东山图》，描绘东晋著名宰相谢安隐居东山时，携妓出游，纵情山水的情景。\n沈周的山水画，师法元代黄公望与吴镇，远溯五代董源、巨然，而戴进宗法的是南宋马远、夏圭，以风格而论，一为南方山水与水墨画的传统，一为北方山水与宫廷著色画的传统。沈周画多仿元人，此画风格在他的作品中既是一件孤品，也是一件奇品，堪称绝无仅有。\n此图高头大轴，青绿设色，山石轮廓明朗，皴笔似马牙、卷云而不若其蜷曲，似斧劈而不若其方硬，似披麻而不若其疏放绵长，这种皴法与戴进常用的源自马、夏的长斧劈皴不同，融合了南、北方山水的皴法特点。图画设色明朗鲜润，一部分山石近乎空勾，是宋代以来大青绿的设色方法。沈周一生所作山水，多为水墨，亦有浅绛，如此大轴青绿，实属平生仅见。其中人物亦造型端庄，服饰俨然，线条健爽，是明人追绍宋代院体画的风格。\n沈周此图或属偶一为之，却显示出画家不拘于一格的绘画能力以及兼收并蓄，广采博纳的眼界与胸襟。\n根据翁同龢1902年的日记，此画是翁氏因戊戌之变被黜归里后，其旧仆李元为其在北京购得的。",[23,24,51,7,52,27,75,28,77,609,278,313,82,425,154,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4136bf4cc51a9c489487d6a27dbe7d3a.jpg","纵170.0厘米，横89.0厘米",[88],{"id":5702,"slug":5703,"title":5704,"dynasty":67,"author":619,"museum":5705,"description":5706,"tags":5707,"thumbUrl":5708,"material":250,"size":5709,"collection":122,"collections":5710,"showCount":5711,"zanCount":1065,"manualWeight":40,"mainColor":41},220064,"hu-qiu-shi-er-jing-tu-ce-3-shen-zhou-220064","虎丘十二景图册-3","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,7,24,51,100,277,73,75,77,53,609,78,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111612596e2e7ea00726bc18bd6e599c.jpg","31.1×40.2cmx12",[],138,{"id":5713,"slug":5714,"title":5715,"dynasty":67,"author":619,"museum":20,"description":5716,"tags":5717,"thumbUrl":5718,"material":267,"size":5719,"collection":106,"collections":5720,"showCount":5711,"zanCount":1065,"manualWeight":40,"mainColor":41},219361,"jiu-sheng-huan-yu-tu-shen-zhou-219361","鸠声唤雨图","述了行走在街头和庭园，常掠过一种和鸽子类似的鸟类，它的造型和色彩朴素，就连那咕咕的叫声，也是浑厚的，这便是斑颈鸠了。它的这份质朴，正是文人画家偏爱的感觉。斑颈鸠，体态雍容华丽，颈部斑点有如珍珠瑰丽，也是乡土鸟类中广为熟悉的鸟。沈周的一幅「鸠声唤雨」画出一只瞪著大眼、嘟著嘴，有著圆胖身体的斑颈鸠，孤孤单单栖踞枝头，看起来特别古朴与淡雅。",[24,7,51,52,27,368,84,2785,1059,102,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da560143d64c8be1ba2d59b856a3b22.jpg","51.1x 30.4",[106],{"id":5722,"slug":5723,"title":5724,"dynasty":67,"author":181,"museum":1031,"description":5725,"tags":5726,"thumbUrl":5728,"material":34,"size":5729,"collection":106,"collections":5730,"showCount":5711,"zanCount":530,"manualWeight":40,"mainColor":62},219268,"lian-chi-cang-lu-tu-yi-ming-219268","莲池苍鹭图","墨绿荷叶如伞盖层叠，粉嫩荷花亭亭绽于其间，瓣尖晕染淡红，花心素白如雪。几只苍鹭姿态各异：一者振翅展羽，翎毛纤毫毕现；一者引颈长唳，喙尖微张似欲唤侣；另有两羽相偎，身形依偎间流露亲昵。背景深褐如古绢晕染，衬得花叶禽鸟愈发清雅。笔触细腻处见工致，羽毛的柔滑、荷叶的脉络皆清晰可触，却又不失写意的空灵。整幅画氤氲着静谧生机，似将莲池畔的刹那闲趣凝于绢上，尽显雅致韵致，观之如临清池，闻得荷风与禽鸣交织，恍若触到古绢上凝住的清润时光。",[23,24,7,51,27,26,102,5727,398,399],"苍鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da87412892d3bb3ded765cef53220cf.jpg","纵97.7横43.1厘米",[106],{"id":5732,"slug":5733,"title":5734,"dynasty":1383,"author":5735,"museum":132,"description":5736,"tags":5737,"thumbUrl":5738,"material":317,"size":907,"collection":3417,"collections":5739,"showCount":5740,"zanCount":1065,"manualWeight":40,"mainColor":62},225702,"ji-du-xian-sheng-ya-li-shan-da-an-de-lie-ye-wei-qi-yi-wan-nuo-fu-225702","基督显圣","亚历山大·安德烈耶维奇·伊万诺夫","亚历山大·安德烈耶维奇·伊万诺夫（Александр Андреевич Иванов，1806.7.16-1858.7.3）。俄罗斯十九世纪杰出艺术家。",[7,3410,678,28,5734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa07b2d30f150bb16adf8923ae5e2bcea.jpg",[3417],137,{"id":5742,"slug":5743,"title":5744,"dynasty":67,"author":619,"museum":5705,"description":5706,"tags":5745,"thumbUrl":5747,"material":250,"size":5709,"collection":122,"collections":5748,"showCount":5740,"zanCount":40,"manualWeight":40,"mainColor":62},220063,"hu-qiu-shi-er-jing-tu-ce-4-shen-zhou-220063","虎丘十二景图册-4",[23,24,7,100,277,75,81,77,28,82,5746,5421,73],"围墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bce900b7fa22a36598aac7aa31efa9d.jpg",[],{"id":5750,"slug":5751,"title":5752,"dynasty":46,"author":5753,"museum":151,"description":5754,"tags":5755,"thumbUrl":5756,"material":267,"size":5757,"collection":90,"collections":5758,"showCount":5740,"zanCount":541,"manualWeight":40,"mainColor":41},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。",[23,7,24,51,52,27,26,277,812,1179,647,201,890,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee5c1ca6bba6d53a16282a54c29ac96.jpg","纵148cm 横80.8cm",[90],{"id":5760,"slug":5761,"title":5762,"dynasty":114,"author":878,"museum":132,"description":5763,"tags":5764,"thumbUrl":5765,"material":34,"size":5766,"collection":88,"collections":5767,"showCount":5740,"zanCount":40,"manualWeight":40,"mainColor":62},218628,"fan-zhou-tu-ma-yuan-218628","泛舟图","烟波浩渺间，一叶扁舟轻漾于粼粼水面。船中二人，一卧一坐，或醉眠或凝思，与天地相融。远山如黛，淡墨晕染出云气缭绕的朦胧，似隐似现于天际；近岸怪石嶙峋，线条刚劲如铁，皴擦间见苍劲质感。疏疏芦苇随风摇曳，墨色浓淡相宜，添几分野趣生机。\n\n画面以边角构图见巧，留白处尽是烟波浩渺的空濛，引观者思绪飘向远方。笔墨简练却意蕴悠长，水墨晕染与线条勾勒相映成趣，将文人雅士超脱尘嚣的心境凝于方寸扇面。空灵雅致的意境，尽显南宋山水的诗意哲思，令人心向往之。",[24,7,768,75,277,27,73,80,28,661,56,2151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa216b268b23e2c63a87ea695ec2fbf8d.jpg","21.5x24",[88],{"id":5769,"slug":5770,"title":5771,"dynasty":114,"author":3309,"museum":132,"description":5772,"tags":5773,"thumbUrl":5774,"material":34,"size":5775,"collection":106,"collections":5776,"showCount":5740,"zanCount":541,"manualWeight":40,"mainColor":62},218557,"zhen-qin-tu-li-di-218557","珍禽图","画面中两只禽鸟栖息于枝间，翎羽纤毫毕现，墨色晕染层次分明，黑褐斑纹与浅白羽毛相映成趣。上方禽鸟颔首敛翅，姿态娴静；下方者展翅欲动，羽翼柔润中透着劲挺。枝叶扶疏，浅金色叶片与棕褐枝干交织，古朴绢本底色衬出物象温润质感。构图疏密有致，动静相宜，每道线条皆见功底：羽毛的蓬松、枝干的纹理刻画入微，似能闻林间轻响，观禽鸟灵动之态。笔墨间藏着对自然的细腻体察，于方寸间尽显生机与雅致，让人沉醉于这份古朴而鲜活的意趣里。",[23,7,24,51,768,26,27,102,84,1821,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232d7931170a1c143b987fbb2c17089a.jpg","28x32",[106],{"id":5778,"slug":5779,"title":5780,"dynasty":114,"author":878,"museum":132,"description":5781,"tags":5782,"thumbUrl":5783,"material":666,"size":1781,"collection":286,"collections":5784,"showCount":5740,"zanCount":40,"manualWeight":40,"mainColor":62},218551,"gao-shi-xie-he-tu-ma-yuan-218551","高士携鹤图","垂丝柳影轻笼暮色，宽袍士人拄杖凝眸。身旁仙鹤独立，长颈引向天际，似欲与流云对语。画面构图疏朗，以简淡之笔见天地阔远：柳枝的柔曼衬出士人的清寂，鹤的高洁映其心性。淡墨晕染的远山如黛，近水无痕，留白处漾着幽远的禅意。线条简练却含筋骨，衣袂的飘举、鹤羽的疏劲，皆诉着隐逸之趣——抛却俗务，与鹤为友，在烟水间守一份澄澈自在。笔墨间藏着文人的精神归处，不恋尘嚣，只愿在山水云鹤间，寻得灵魂的安宁与超脱。",[23,7,24,51,768,277,27,510,28,138,1478,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0535cd201a3698edcf794670a2a03726.jpg",[286],{"id":5786,"slug":5787,"title":5788,"dynasty":293,"author":1577,"museum":20,"description":5789,"tags":5790,"thumbUrl":5792,"material":250,"size":5793,"collection":122,"collections":5794,"showCount":5795,"zanCount":541,"manualWeight":40,"mainColor":62},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[23,24,51,25,277,27,75,82,5791,663,559,119,118,74,73,7],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":5797,"slug":5798,"title":5799,"dynasty":114,"author":5800,"museum":1776,"description":5801,"tags":5802,"thumbUrl":5804,"material":34,"size":122,"collection":106,"collections":5805,"showCount":5795,"zanCount":1065,"manualWeight":40,"mainColor":993},218889,"mei-hua-shuang-que-tu-tang-zheng-zhong-218889","梅花双鹊图","汤正仲","虬干盘结如铁，皴擦间尽现老木苍劲之姿；新梢斜逸若剑，挺秀中暗藏生机。素蕊攒枝，以圈花点蕊之法写就，清疏淡雅如覆薄雪，暗香似欲溢出纸面。双鹊栖于枝间，一俯一仰顾盼有情，羽翼细墨勾勒与梅枝粗放形成呼应，添几分灵动暖意。整幅画以墨骨立形，淡彩敷色，既承扬派墨梅清逸，又融自家笔意沉厚。寒梅高洁品格与双鹊吉祥意趣交织，冬日清寂中晕开一抹生机，尽显宋人花鸟画雅致韵致与文人情怀。",[7,24,51,52,26,27,102,383,5803,84,2785,1059],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15447dc3a3314b0bcbd372dc5a108d12.jpg",[106],{"id":5807,"slug":5808,"title":5809,"dynasty":114,"author":460,"museum":195,"description":5810,"tags":5811,"thumbUrl":5815,"material":121,"size":5816,"collection":88,"collections":5817,"showCount":5795,"zanCount":530,"manualWeight":40,"mainColor":62},218586,"gu-mu-yao-shan-tu-zhou-guo-xi-218586","古木遥山图轴","全图画秋景山水，画文人士夫出行的情形，系平 远式构图。近景以水墨画坡石，上有古木数株，中 景绘两间敞轩和一座木构平房，内有主人，外有过 客，隔江远景坡地朦胧，其下有牛群散牧、孤舟帆饱。 该图是一幅相当写实的山水画，画家客观、概括地描 绘了所见的景物。因此，笔者认为，可借鉴动物考古 学和建筑学等学科的成果来分析、研究是图的绘制地 域，以便于确定其创作时代。",[7,24,51,52,277,75,3037,4907,5812,5813,5814,80,1906,28],"坡石","敞轩","平房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b7f96f5bbf3b0e2a5e0fc103c93fe7.jpg","纵 185.2、横 107.5 厘米",[88],{"id":5819,"slug":5820,"title":5821,"dynasty":114,"author":181,"museum":20,"description":5822,"tags":5823,"thumbUrl":5824,"material":34,"size":122,"collection":36,"collections":5825,"showCount":5795,"zanCount":541,"manualWeight":40,"mainColor":41},216947,"tai-zu-zuo-xiang-zhou-yi-ming-216947","太祖坐像轴","太祖坐像轴是宋朝佚名的一件作品，是宋朝绘画中的重要代表作之一。这幅画以太祖爷爷——宋太祖赵匡胤为主人公，描绘了他坐在宝座上的情景。太祖坐像轴是一幅官方肖像画，用来表彰太祖的功绩和威严。\n\n画中，太祖坐在宝座上，身着皇帝的正装，头戴皇冠。他神态庄严，目光坚定，散发着强大的权威气息。\n\n太祖坐像轴的画风浓烈，笔画粗犷，色彩明快，体现了宋朝绘画中的特色。画中的人物肖像生动，细节丰富，反映了宋朝社会的文化和生活。这幅画是宋朝绘画史上的重要珍品，对于了解宋朝历史和文化具有重要意义。",[24,7,52,26,27,28,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d65ab6762e2ececdae6bd4811806e79.jpg",[36],{"id":5827,"slug":5828,"title":5829,"dynasty":114,"author":1216,"museum":20,"description":5830,"tags":5831,"thumbUrl":5832,"material":666,"size":5833,"collection":36,"collections":5834,"showCount":5795,"zanCount":1065,"manualWeight":40,"mainColor":41},216928,"mian-zhou-tu-li-gong-lin-216928","免胄图","卷轴的左侧是郭子仪，带领他的部队，平静地站在他身边。右侧是入侵关中的维吾尔族士兵，这是一个庞大而令人生畏的营地。这位身着军装的维吾尔族首领在其副手的陪同下，在向脱去盔甲、身着清凉的郭子仪致敬时，以敬佩的姿态跪下。郭德纲在俯身提供帮助时显得真诚而有礼貌，体现了一位名将的慷慨。",[23,7,24,51,25,510,26,28,215,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c419667adc75769d59561e46477a00.jpg","32.3x223.8",[36],{"id":5836,"slug":5837,"title":5838,"dynasty":114,"author":788,"museum":20,"description":5839,"tags":5840,"thumbUrl":5841,"material":250,"size":122,"collection":175,"collections":5842,"showCount":5843,"zanCount":40,"manualWeight":40,"mainColor":62},220247,"xie-qing-chao-yi-pin-tu-li-cheng-220247","写清朝一品图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。",[23,24,7,51,52,277,73,75,609,80,28,278,663,82,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ecb114ae83d161ba1539feb347adb9.jpg",[175],135,{"id":5845,"slug":5846,"title":5847,"dynasty":114,"author":211,"museum":5848,"description":5849,"tags":5850,"thumbUrl":5852,"material":34,"size":5853,"collection":106,"collections":5854,"showCount":5843,"zanCount":541,"manualWeight":40,"mainColor":62},218921,"ya-tu-zhao-ji-218921","鸭图","东京五岛美术馆","这幅画代表了徐熙的画派，虽然整幅画是彩色的，但水墨淋漓，充满了野趣。这幅画据说是徽宗所画，但由徽宗所画的可能性较小，但仍然是宋代花鸟画的代表作。",[23,7,24,51,52,26,27,102,5851],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff029476e533b2343127e16bcd597c59e.jpg","37.9x25.8cm",[106],{"id":5856,"slug":5857,"title":5858,"dynasty":67,"author":619,"museum":20,"description":5859,"tags":5860,"thumbUrl":5862,"material":121,"size":5863,"collection":88,"collections":5864,"showCount":5843,"zanCount":40,"manualWeight":40,"mainColor":62},218488,"cang-ya-gao-hua-tu-shen-zhou-218488","苍崖高话图","本幅绢本仿吴镇，下笔草草若不经意，而笔极挺健。长松三株，两翁坐松下，旁置琴。背山高耸，崖下茅亭，阒然虚静。对山惟见山嘴，而小树旁出，其下横笔作水纹。经山林映衬，觉一片澄虚，如在真境。画有虽著意而不能工，草率中反饶韵致者。此幅不署年款，以书画作风而论，大约在七十岁时。",[23,24,7,52,277,73,75,81,28,1059,5861,82,278],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a8a933a37400001daf47d4c1bb98a7d.jpg","149.9x77cm",[88],{"id":5866,"slug":5867,"title":5868,"dynasty":46,"author":5869,"museum":151,"description":5870,"tags":5871,"thumbUrl":5872,"material":156,"size":5873,"collection":36,"collections":5874,"showCount":5875,"zanCount":530,"manualWeight":40,"mainColor":62},234307,"li-chao-xian-hou-gu-shi-tu-ce-jiao-bing-zhen-234307","历朝贤后故事图册","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[7,24,51,100,26,27,855,28,29,77,81,82,756,75,560,55,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c34017010e0ed0cafb36850368bb3c4.jpg","纵30.8厘米，横37.4厘米",[36,90],134,{"id":5877,"slug":5878,"title":5879,"dynasty":46,"author":181,"museum":132,"description":5880,"tags":5881,"thumbUrl":5882,"material":122,"size":122,"collection":122,"collections":5883,"showCount":5875,"zanCount":541,"manualWeight":40,"mainColor":62},230304,"fang-lin-chun-cui-zhu-hua-niao-tu-shen-se-yi-ming-230304","仿林椿翠竹花鸟图（深色）","此作用色明丽雅致，以赭色绢底托举春日景致。艳红山茶缀于虬曲枝桠，青嫩新篁挺拔舒展，柔媚花枝与劲竹相映成趣。十余只禽鸟灵动错落，或栖于枝头理羽，或两两依偎低语，羽色晕染细腻柔和，将禽鸟绒羽的鲜活质感尽数呈现。\n\n画师以工细笔触勾勒花叶禽鸟，既承袭院体花鸟的精工写实，又暗合文人画的清幽意趣，将林泉春日里花木禽鸟的自在天趣铺展在尺幅间，生机盎然中尽显闲雅静谧的林下意韵。",[23,7,24,51,25,26,27,154,102,53,384,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae43cbb6fe15b0c90b72712f15b33f1.jpg",[],{"id":5885,"slug":5886,"title":5887,"dynasty":674,"author":1354,"museum":5888,"description":5889,"tags":5890,"thumbUrl":5895,"material":250,"size":122,"collection":122,"collections":5896,"showCount":5875,"zanCount":40,"manualWeight":40,"mainColor":62},221146,"wang-chuan-tu-juan-wang-wei-221146","辋川图卷","美国西雅图美术馆","《辋川图》是唐代王维所作的单幅壁画，原作已无存，现只有历代临摹本存世。\n《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[7,24,677,154,3164,25,497,1151,75,5891,79,3375,28,3648,5892,5893,83,5894],"亭台楼榭","弈棋","投壶","意态萧然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87ac5cea2dc5878a9ef466c907a570d5.jpg",[],{"id":5898,"slug":5899,"title":5900,"dynasty":293,"author":1577,"museum":20,"description":5901,"tags":5902,"thumbUrl":5903,"material":27,"size":5904,"collection":88,"collections":5905,"showCount":5875,"zanCount":1065,"manualWeight":40,"mainColor":41},220862,"hua-shan-shui-zhou-zhao-meng-fu-220862","画山水轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[23,7,24,51,52,27,73,75,609,278,79,81,28,279,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11161ca0c1ec964671f7c7a6ecbebf4e.jpg","该幅 57x30.9公分、全幅 56公分",[88,90],{"id":5907,"slug":5908,"title":5909,"dynasty":67,"author":181,"museum":132,"description":5910,"tags":5911,"thumbUrl":5912,"material":27,"size":122,"collection":90,"collections":5913,"showCount":5875,"zanCount":1065,"manualWeight":40,"mainColor":62},219904,"cha-mei-san-qin-tu-yi-ming-219904","茶梅三禽图","画面章法错落，斜出的花枝贯穿画面，山茶如烈焰点染绢素，梅花似堆雪缀于枝桠，红白相映，撞色鲜活亮眼。\n\n枝上双禽依偎理羽，姿态闲静安适；石畔绶带鸟垂首啄饮，灵动生趣。湖石、幽竹与冰姿玉骨的水仙铺陈下景，衬出花木禽鸟的清隽雅致。\n\n设色妍丽不失清雅，工笔勾勒禽鸟羽毛、花瓣脉络，晕染柔和自然，写意绘就湖竹野趣，将隆冬时节的盎然生机定格，尽显院体花鸟雅致隽永的东方意趣，藏着岁末清和的鲜活生机。",[23,24,7,26,27,102,383,384,53,136,890,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bbd5614909282f3d3a425af305ca027.jpg",[90],{"id":5915,"slug":5916,"title":5917,"dynasty":114,"author":2902,"museum":1201,"description":5918,"tags":5919,"thumbUrl":5921,"material":666,"size":5922,"collection":175,"collections":5923,"showCount":5875,"zanCount":40,"manualWeight":40,"mainColor":41},219861,"yuan-xiu-qing-yun-tu-mi-you-ren-219861","远岫晴云图","《远岫晴云图》是北宋书画家米友仁所创作的一幅水墨设色画，现藏于日本大阪市立美术馆。\n该画作是一幅文人画，描绘的是米友仁笔下常见的山水风景，画中以湿润的笔墨点染云山树石，表现烟云变幻、山色朦胧的动人景象。“米氏云山”的特色展示得淋漓尽致。\n《远岫晴云图》绘制的是烟雨迷蒙时的风景，远山模糊不清，近树萧疏迷离，一条溪流潺潺自远处绕到赏者面前。图中左下角作一小丛树，间隔溪水的对岸是云气缭绕的疏林，远处是尖锐如刻削的山峦。\n画面上有款“元晖戏作”四个字，上方另有横纸又自题“绍兴甲寅元夕前一日，自新昌泛舟来赴朝参，居临安七宝山戏作小卷，付与廪收口”。",[7,24,51,277,75,648,473,82,278,73,5920],"米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe5e3ae0ecfe57c4dc77a8c68325a4c.jpg","24.7x28.6cm",[175],{"id":5925,"slug":5926,"title":3741,"dynasty":293,"author":4666,"museum":1201,"description":5927,"tags":5928,"thumbUrl":5929,"material":666,"size":5930,"collection":106,"collections":5931,"showCount":5875,"zanCount":11,"manualWeight":40,"mainColor":41},219062,"zhu-que-tu-wang-yuan-219062","画家在这幅画中使用了水墨，做了黑白的勾勒，描绘了竹叶的起伏、花朵和湖中不平整的石头。\n这幅画在构图和技法上与印第安纳波利斯艺术博物馆收藏的王原的《花竹山禽图》相似，但《花竹山禽图》的笔触更显年轻，可能是后来的摹本。这幅画上还刻有 摹黄筌竹雀图 的字样，构图与台北故宫的黄居寀画的鹧鸪和麻雀相似，仍保留了唐代画树下花鸟的传统，所以这幅画也许确实是仿黄筌的原作。",[7,24,5605,26,510,102,53,384,200,278,137,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eec035eb38ac09eb11650ff2dee6cbc.jpg","139.3x49.9cm",[106],{"id":5933,"slug":5934,"title":350,"dynasty":114,"author":181,"museum":195,"description":5935,"tags":5936,"thumbUrl":5937,"material":34,"size":5938,"collection":106,"collections":5939,"showCount":5875,"zanCount":530,"manualWeight":40,"mainColor":62},218563,"qiu-kui-tu-yi-ming-218563","画面中，秋葵舒展的花瓣如凝脂般温润，白中透粉的晕染似含朝露，娇嫩欲滴。花蕊以深褐点染，在素净花瓣间格外醒目，几笔细致勾勒便显生机。叶片脉络清晰，边缘锯齿纹理与枝干苍劲形成呼应，花苞或敛或绽，层次错落间见自然意趣。\n\n笔墨工致却不刻意，色彩淡雅而富韵致，尽显写生之妙——于细微处见真章，将秋葵清雅姿态凝于绢素。无繁复布景，仅以一花一叶情态，传递自然生命的静美与从容，仿佛能嗅到初秋清晨的微凉气息，藏着宋人对日常草木的深情观照。",[24,7,51,26,27,102,354,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffabea7ea1898f36c4440d93cfb77bd36.jpg","25.6x25.7",[106],{"id":5941,"slug":5942,"title":5943,"dynasty":67,"author":5192,"museum":20,"description":5944,"tags":5945,"thumbUrl":5947,"material":34,"size":5948,"collection":106,"collections":5949,"showCount":5875,"zanCount":1065,"manualWeight":40,"mainColor":62},216221,"jin-pu-ming-chun-tu-lu-zhi-216221","锦圃鸣春图","这幅画描绘了两只孔雀在牡丹园里争奇斗艳，鸟儿在玉兰树上春风得意。这幅画色彩热烈，反映了陆治在山水、花鸟方面的多面性。\n陆治，明代画家，工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，在吴门派画家中具有一定新意，与陈淳并重于世。",[24,51,7,52,26,27,102,139,103,82,278,5946,3389,3387],"小草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50c4c81b69ff6eb527a5c62b8b31e46.jpg","纵146厘米，横89厘米",[106],{"id":5951,"slug":5952,"title":5953,"dynasty":114,"author":1216,"museum":132,"description":5954,"tags":5955,"thumbUrl":5958,"material":317,"size":907,"collection":36,"collections":5959,"showCount":5960,"zanCount":1065,"manualWeight":40,"mainColor":41},287960,"bai-miao-ren-wu-tu-ce-li-gong-lin-287960","白描人物图册","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,7,100,510,28,5956,1167,5957],"案几","羽扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afa47d56204cb333f715bb4d382a90c.jpg",[36],133,{"id":5962,"slug":5963,"title":5964,"dynasty":46,"author":2172,"museum":507,"description":5965,"tags":5966,"thumbUrl":5970,"material":250,"size":5971,"collection":88,"collections":5972,"showCount":5960,"zanCount":40,"manualWeight":40,"mainColor":993},224481,"fu-chun-shan-ju-tu-wang-jian-224481","富春山居图","《富春山居图》轴仿作即深得黄公望用笔之妙，虚实、粗细、轻重、缓急富有变化，恰当地表现了前后景致的空间距离和起承转合；细润中锋含蓄流畅，山川景象清旷深秀。作品以笔墨形式为主体，创造出了优美动人的境界。该轴作于1658年，王鉴时年61岁，正是其绘画技法鼎盛时期。\n此幅富春山居图，而作立轴，并染以浅绛色。笔墨交融，敷色清雅，表达了王鉴对前辈大师经典的敬佩之情。",[23,7,24,51,52,277,27,5967,75,79,77,278,82,73,154,5968,5969],"浅绛","清旷深秀","敷色清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc6fe68c1be28db40b2fd2f41520f3d.jpg","117.5x50.5厘米",[88],{"id":5974,"slug":5975,"title":5976,"dynasty":293,"author":1577,"museum":20,"description":5977,"tags":5978,"thumbUrl":5981,"material":666,"size":5982,"collection":88,"collections":5983,"showCount":5960,"zanCount":541,"manualWeight":40,"mainColor":41},219902,"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[23,24,7,51,25,277,73,119,74,75,426,80,82,425,5979,5980],"岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纵28.4、横176.4厘米",[88],{"id":5985,"slug":5986,"title":5987,"dynasty":114,"author":5988,"museum":395,"description":5989,"tags":5990,"thumbUrl":5991,"material":666,"size":5992,"collection":106,"collections":5993,"showCount":5960,"zanCount":11,"manualWeight":40,"mainColor":41},218568,"xiang-xue-hun-tu-yang-wu-jiu-218568","香雪魂图","扬无咎","画的是寒梅杆的两枝，主枝上有许多细而有力的枝条，上面的梅花有的盛开，有的含苞待放，香气四溢，很是热闹。",[23,24,51,7,277,510,3014,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15f2ec726fcf9db57c0bfd136610c735.jpg","29x45cm",[106],{"id":5995,"slug":5996,"title":5997,"dynasty":46,"author":5998,"museum":1475,"description":5999,"tags":6000,"thumbUrl":6001,"material":267,"size":6002,"collection":88,"collections":6003,"showCount":5960,"zanCount":541,"manualWeight":40,"mainColor":41},214486,"he-yi-shan-shui-tu-ce-he-yi-214486","赫奕山水图册","赫奕","清代画家赫奕的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了赫奕对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n赫奕是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，赫奕的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[23,7,24,51,100,277,73,75,82,437,278,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c971e483bde479efdfd6ef31b912533.jpg","34x25cm",[88],{"id":6005,"slug":6006,"title":6007,"dynasty":67,"author":1269,"museum":132,"description":6008,"tags":6009,"thumbUrl":6010,"material":317,"size":907,"collection":122,"collections":6011,"showCount":6012,"zanCount":11,"manualWeight":40,"mainColor":41},283732,"qing-bian-tu-zhou-dong-qi-chang-283732","青卞图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,7,51,52,277,75,73,278,82,79,425,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d6a3abb2d15fedf1da6bba94a512ac.jpg",[],132,{"id":6014,"slug":6015,"title":6016,"dynasty":114,"author":1787,"museum":2579,"description":6017,"tags":6018,"thumbUrl":6020,"material":666,"size":6021,"collection":122,"collections":6022,"showCount":6012,"zanCount":40,"manualWeight":40,"mainColor":41},219189,"xiao-xiang-ba-jing-ping-sha-luo-yan-mu-xi-219189","潇湘八景-平沙落雁","烟霭轻笼的天地间，远山如黛晕染在薄纱般的雾色里，几抹淡影似云似烟，模糊了天与地的边界。近岸沙渚上，三两只雁影静立，羽翼的轮廓在朦胧中化开，仿佛刚落定的归客，与周遭的空寂融为一体。天际有雁阵掠过，纤细的墨线在虚白中牵起一缕灵动，不扰清宁，只添悠远禅意。\n\n极简笔墨勾勒出无尽空寂，淡墨晕染的层次藏着自然的呼吸，每一处留白都是心境的延伸。清旷之境里，喧嚣被滤去，唯有安宁漫上心尖，似与天地精神相往来，让人在静默中触摸到禅意的温度。",[23,24,7,277,75,84,279,6019,25,5468],"平沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F192cedb0f91bed94851114d42cfc8076.jpg","33x109.9厘米",[],{"id":6024,"slug":6025,"title":6026,"dynasty":293,"author":4666,"museum":20,"description":6027,"tags":6028,"thumbUrl":6030,"material":34,"size":6031,"collection":106,"collections":6032,"showCount":6012,"zanCount":1065,"manualWeight":40,"mainColor":41},219136,"hua-hui-ce-ya-zhi-cao-wang-yuan-219136","花卉册-鸭跖草","淡赭绢面上，鸭跖草细叶舒展如碧带，脉络隐现于墨痕的深浅交错间。数点蓝花轻缀叶丛，似星子落于草梢，带着未散的晨露莹光。两只蜻蜓姿态各异：红身者尾尖微垂，翅脉如丝缕勾勒，似欲栖于叶上；浅色者翼薄如纱，透着朦胧光影，正振翅掠过花丛。笔墨细腻却不繁琐，草叶的柔韧、花的娇俏、蜻蜓的轻盈皆藏于线条与淡色中。画面虽小，却凝住了一瞬的生机：风过草叶的轻颤，蜻蜓振翅的微响，都在古雅的底色里漫开，似夏日闲窗下偶然瞥见的小景，清宁而动人。",[23,7,24,51,100,27,26,102,6029,247],"鸭跖草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331c3055f4bc0f80bc6e1a1d4988a133.jpg","25.9x23.6cm",[106],{"id":6034,"slug":6035,"title":6036,"dynasty":46,"author":5164,"museum":132,"description":6037,"tags":6038,"thumbUrl":6039,"material":317,"size":907,"collection":122,"collections":6040,"showCount":6041,"zanCount":541,"manualWeight":40,"mainColor":993},288210,"feng-zhu-shi-tu-zheng-ban-qiao-288210","风竹石图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[23,7,24,51,52,277,53,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7bb909262c02f666ff04467c2a9a96.jpg",[],131,{"id":6043,"slug":6044,"title":6045,"dynasty":46,"author":5268,"museum":151,"description":6046,"tags":6047,"thumbUrl":6048,"material":122,"size":122,"collection":88,"collections":6049,"showCount":6041,"zanCount":1065,"manualWeight":40,"mainColor":41},236894,"hong-ren-shan-shui-zhou-hong-ren-236894","弘仁山水轴","弘仁俗姓江，名韬，字六奇，出家后名后人，号渐江学人，又号无智、梅花古衲，安徽歙县人。作品多师法自然，清新，能传达山川之美。此图意境伟峻秀逸，构图洗炼简逸，笔墨苍劲整洁。",[7,24,51,52,277,73,75,697,81,278,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f501a6cdbd204a645da4011e2ce7088.jpg",[88,286],{"id":6051,"slug":6052,"title":6053,"dynasty":46,"author":2636,"museum":151,"description":6054,"tags":6055,"thumbUrl":6057,"material":156,"size":6058,"collection":88,"collections":6059,"showCount":6041,"zanCount":1065,"manualWeight":40,"mainColor":41},236176,"qian-long-huang-di-ci-hu-tu-lang-shi-ning-236176","乾隆皇帝刺虎图","本图绘30余岁的乾隆皇帝与侍卫手握长戟，跨步向前欲刺猛虎的场面。作者运用对比的艺术手法，通过表现猛虎在乾隆皇帝的威逼下，止步不前的受惊情景，衬托出乾隆皇帝临危不惧的帝王之气。在形象上，作者为了烘托乾隆皇帝的高大，将本是兽中之王的猛虎，画得既小又弱，全然一副虎落平阳被犬欺的可怜之相。全图笔法细腻，准确地描绘出不同身份的人物所具有的不同举止及表情。从笔法上分析，画面上虽然无作者款印，但乾隆皇帝画像当为擅长写真的郎世宁所绘，虎及树木、山石等出自中国宫廷画家之手。\n作为游牧民族出身的满族皇室，乾隆皇帝从12岁开始便随祖父康熙皇帝前往热河、南苑打猎。继帝位后，骑马射箭更是成为其宫廷生活中最重要的一部分，对此，乾隆皇帝谕令宫廷画家创作了大批表现其行猎瞬间的作品，以为纪念。通过这些作品可见飞禽走兽尽在其巡狩之列。",[526,24,7,51,27,26,28,75,215,6056,472,609,647,281,1907],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f287578983583f550284907240b486.jpg","纵258.5厘米，横171.9厘米",[88,90],{"id":6061,"slug":6062,"title":6063,"dynasty":46,"author":1567,"museum":132,"description":6064,"tags":6065,"thumbUrl":6066,"material":122,"size":122,"collection":122,"collections":6067,"showCount":6041,"zanCount":40,"manualWeight":40,"mainColor":41},228999,"zeng-liu-shi-tou-shan-shui-ce-shi-tao-228999","赠刘石头山水册","石涛（1642-177），明靖江王朱赞仪十世孙，朱亨嘉子。\n全州（今广西全县）人。\n原姓朱，名若极，小字阿长，明亡后出家为僧，自称苦瓜和尚，别号有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人，晚号瞎尊者、零丁老人等。\n顺治十三年（1656），石涛由江西庐山转赴安徽黄山，并在那里住了二十三年。\n期间他又先后游历扬州、杭州、宣城、贵池、泾县等处，后由黄山转赴南京、北京等地。\n【规格】册页，纸本，设色，纵57.79cm，横5.56cm 【馆藏】（美）纳尔逊-艾特金斯艺术馆馆 书画名传品类高，先生高出众皮毛。\n老夫也在皮毛类，一笑题成迅彩毫。\n大涤子呈石头先生传教。\n康熙三十二年（169）至扬州，直到雍正二年（1724）去世。\n石涛在山水、花鸟画上均取得很大成就，能熔铸千古，独出手眼，构图奇妙，笔墨神化。\n画山水一欲夺其造化，则莫神于好，莫精于勤，莫大于饱游天看，历历罗列于胸中，故勤于貌写名山大川，所谓搜尽奇峰打草稿，充分把握住自然的神韵，终成一代大师。",[7,24,51,100,277,73,75,56,1059,81,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F549054364d68f4bbcf0732c4d69324e7.jpg",[],{"id":6069,"slug":6070,"title":6071,"dynasty":114,"author":181,"museum":132,"description":6072,"tags":6073,"thumbUrl":6074,"material":122,"size":122,"collection":122,"collections":6075,"showCount":6041,"zanCount":40,"manualWeight":40,"mainColor":41},227856,"shan-cha-hu-die-tu-ye-yi-ming-227856","山茶蝴蝶图页","以没骨晕染绘就白茶，瓣色柔润留白如凝脂莹洁，盛放与初绽花苞错落排布。浓墨绘叶，晕染出深浅枯润，将叶片舒展的柔劲姿态尽显。墨笔勾绘蝴蝶，翼上纹理纤毫毕现，振翅欲落的灵动，为静雅花枝添了鲜活意趣。\n\n赭色古雅底色衬得花木蝶影愈发清隽，构图疏朗秀逸。画面工致间带着写意韵致，将晴日山茶间的悠然小景定格，带着宋人的清雅审美，把一花一蝶的幽微之美晕染出隽永诗意，观之便好似踏入春日晴光，细品蝶绕山茶的闲静意趣。",[7,24,51,768,26,27,102,1466,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f81ba4e7647a8fb90303638a82667e5.jpg",[],{"id":6077,"slug":6078,"title":6079,"dynasty":18,"author":944,"museum":20,"description":6080,"tags":6081,"thumbUrl":6082,"material":611,"size":122,"collection":122,"collections":6083,"showCount":6041,"zanCount":1065,"manualWeight":40,"mainColor":62},226543,"liang-kuang-lu-tu-zhou-jing-hao-226543","梁匡庐图轴","五代的隐逸画家荆浩是水墨山水画演变的关键人物，他将唐代吴道子的笔描与项容的泼墨技法结合，扩展笔墨描写山水的能力。荆浩的画风后来由关仝、李成和范宽继承，演变成永恒不朽的巨碑式山水。《匡庐图》是一幅仿古作品，保留五代山水的特征，但是结合了北宋宫廷画院的风格，再现与隐逸主题相关的山水形象，向荆浩这位雄伟风格山水之父致敬。",[7,24,51,52,277,73,75,425,313,82,280,281,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a19f97daa491bb204eb9d64ccb256d.jpg",[],{"id":6085,"slug":6086,"title":6087,"dynasty":114,"author":274,"museum":195,"description":6088,"tags":6089,"thumbUrl":6090,"material":121,"size":6091,"collection":36,"collections":6092,"showCount":6041,"zanCount":1065,"manualWeight":40,"mainColor":62},219960,"yu-cun-gui-diao-tu-xia-gui-219960","渔村归钓图","这幅画作以边角截景取景，空灵留白间晕开幽寂江村暮色。古松虬曲倒挂，浓淡墨色区分枯荣枝叶，苍劲中带着柔姿，斜斜探向崖下茅舍，隐见烟火野趣。下方板桥横于浅渚，孤渔垂竿徐行，晚归的闲散诗意随晚风漫开。山石以斧劈皴利落皴擦，硬朗线条衬出水畔崖岸的清峭冷寂。整幅落笔极简，以少胜多，将江南渔村的宁谧晚景藏在简淡笔墨中，寥寥数笔便勾勒出悠远清寂的意境，把山水雅趣融在边角留白里，清淡悠远，余韵悠长。",[23,24,7,51,768,277,73,75,662,78,79,80,661,28,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa21f05a4516126b98b351e062b2bf0.jpg","23×22.3cm",[36],{"id":6094,"slug":6095,"title":6096,"dynasty":67,"author":68,"museum":166,"description":6097,"tags":6098,"thumbUrl":6100,"material":34,"size":6101,"collection":36,"collections":6102,"showCount":6041,"zanCount":1065,"manualWeight":40,"mainColor":62},219528,"yu-yin-tu-chou-ying-219528","渔隐图","画作以沉郁古绢为底，青绿晕染烟峦，远景山影空濛朦胧，墨色揉合石青，消弭了峰岩棱角，只剩淡宕的山野烟岚。近岸古木虬枝偃蹇，攒簇的枝叶以青绿点染，带着苍润生机。浅滩石矶错落，一脉细流澹澹而过，茅舍静立渚边，素墙茅顶融在水木之间，不见渔者身影，却满是幽寂萧散的渔居意趣。\n全画笔简意足，将寄情丘壑、归卧林泉的隐逸之思，藏进这烟峦水木之中，古旧绢色衬得青绿愈见沉静，尽显山野幽居的澹泊自在。",[23,24,51,7,26,27,72,75,82,6099,79,56,662,52],"渔舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977cfda0f3539f45458255d68c97e3b4.jpg","纵137.5横67.8厘米",[36,90],{"id":6104,"slug":6105,"title":6106,"dynasty":114,"author":1090,"museum":20,"description":6107,"tags":6108,"thumbUrl":6109,"material":34,"size":6110,"collection":175,"collections":6111,"showCount":6041,"zanCount":1065,"manualWeight":40,"mainColor":62},219278,"chun-shao-ming-xi-tu-lu-zong-gui-219278","春韶鸣喜图","此幅画春日山涧情景，石壁间激泉如响，巉巖上翠竹流青，梅竞妍，山雀鸣唱，野雉偎嬉，构思造境，描染俱佳，乃岁朝张挂之图画。本幅画石，皴法用笔直泻而不含蓄，且水墨淋漓，显非南宋人画法，而是明人学宋代之浙派风格。树干皴纹，也如同边文进、吕纪一系之用笔，花鸟施朱用粉，更近于吕纪风格，该院另藏有宋人”岁朝图“，构图同出一稿，树石画法更近于明人风格。",[23,24,7,51,52,26,27,102,383,1466,384,278,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28e1b378998f3d4ce72f6c73aec9810.jpg","164x77.9公分",[175,106,90],{"id":6113,"slug":6114,"title":6115,"dynasty":18,"author":6116,"museum":132,"description":6117,"tags":6118,"thumbUrl":6120,"material":317,"size":907,"collection":122,"collections":6121,"showCount":6122,"zanCount":40,"manualWeight":40,"mainColor":62},288521,"gao-shi-tu-wei-xian-288521","高士图","卫贤","该画作是五代画家卫贤的代表作品，此图原著收录于《宣和画谱》中，名为“梁伯鸾图一”，为卫贤所作《高士图》组画之一, 原图共六幅，画有黔娄先生、楚狂接舆、老莱子、王仲孺、于陵子和梁伯鸾，但前五幅已佚失，仅剩下描绘梁鸿与孟光的这幅。该画作集山水、人物、建筑画为一体，手法准确精细。",[23,7,24,51,52,855,277,28,75,77,281,82,6119],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f627c639ff7d85295cabc0114452119.jpg",[],130,{"id":6124,"slug":6125,"title":6126,"dynasty":67,"author":181,"museum":20,"description":6127,"tags":6128,"thumbUrl":6129,"material":283,"size":6130,"collection":122,"collections":6131,"showCount":6122,"zanCount":416,"manualWeight":40,"mainColor":41},223648,"guan-yin-xiang-zhou-yi-ming-223648","观音像轴","这尊观音的世俗色彩浓厚，他眼睛散放著悲愍的光芒，好像一位慈祥的母亲。他的脸形、发丝、手脚都用淡墨细笔画成，笔力稳健。可是衣纹则是用楷书抄录《法华经．普门品》的经文来表现，全文从观音菩萨左臂靠近孩童的头部开始，字字连续，字迹端秀，一丝不苟，充分表现了作者虔诚的宗教情怀。\n送子观音手抱孩童，右手拿杨柳，左手捧水碗。《法华经．普门品》教导求子心切的妇女礼拜供养观世音菩萨，便能生下福德智慧的男子，或是面貌端庄的女子。画中观音衣纹以楷书抄录经文近两千字，由观音左臂靠近孩童头部开始，字字连续秀整，反映虔诚宗教情怀。 观音及孩童面目、手脚以淡墨细笔勾勒，由人物开面、体态、发髻样式及回首姿态，该幅观音当为晚明作品。",[23,7,24,51,52,678,26,27,28,681,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8336ee8a1cdacdeb0cfb8d89211b8fc.jpg","98.1x35.6公分",[],{"id":6133,"slug":6134,"title":6135,"dynasty":114,"author":1160,"museum":20,"description":6136,"tags":6137,"thumbUrl":6138,"material":27,"size":6139,"collection":175,"collections":6140,"showCount":6122,"zanCount":40,"manualWeight":40,"mainColor":62},221554,"xi-yuan-ya-ji-juan-liu-song-nian-221554","西园雅集卷","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。",[23,7,24,51,25,26,27,28,82,278,3048,1164,755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00b965e299d9c4feb3a56ffa3172034.jpg","34×191cm",[175,36,90],{"id":6142,"slug":6143,"title":6144,"dynasty":114,"author":721,"museum":212,"description":6145,"tags":6146,"thumbUrl":6148,"material":217,"size":6149,"collection":175,"collections":6150,"showCount":6122,"zanCount":11,"manualWeight":40,"mainColor":62},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,7,24,51,25,27,26,73,75,2626,78,856,28,663,6147,3375,863,82],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[175,88,90],{"id":6152,"slug":6153,"title":6154,"dynasty":114,"author":181,"museum":1463,"description":6155,"tags":6156,"thumbUrl":6157,"material":34,"size":122,"collection":36,"collections":6158,"showCount":6122,"zanCount":1065,"manualWeight":40,"mainColor":62},219575,"zhu-lin-shi-nv-tu-yi-ming-219575","竹林仕女图","画面晕染出幽谧清寂的林下氛围，修竹扶苏、虬枝横斜，苍苔覆着湖石，漫溢出山野闲静之气。白衣仕女款步而立，素裙曳地，怀拥器物，眉目温婉沉静，似在静听林风穿叶，将闺中闲思融于林泉烟霭之中。\n\n用笔细劲清润，设色浅淡古雅，虚实相生间将留白藏进幽独娴静的意韵里，不见丝毫喧嚣。把仕女的温婉闲情与林泉野趣糅合一处，尽显雅致内敛的东方意趣，寥寥尺幅间，澹澹诗意漫溢开来。",[7,24,51,26,27,28,29,53,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11033c937ae94ae2e0cc9b0a16169bd3.jpg",[36],{"id":6160,"slug":6161,"title":6162,"dynasty":114,"author":6163,"museum":132,"description":6164,"tags":6165,"thumbUrl":6169,"material":122,"size":122,"collection":122,"collections":6170,"showCount":6171,"zanCount":541,"manualWeight":40,"mainColor":62},227763,"xing-tao-zhi-cui-niao-tu-li-zhi-227763","杏（桃）枝翠鸟图","李志","仲夏时节，古人会用新收获的樱桃祭献宗庙。东汉时，有将樱桃赏赐给官员的礼制。\n\n唐代时，皇帝大摆宴席，邀请重臣体验采摘樱桃之乐，吃饱喝足后，再赠点儿樱桃给众臣，已成为一种宫廷传统。",[7,24,51,114,26,27,102,6166,6167,6168,2510],"桃枝","翠鸟","桃子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84468418d02fa7f462bcd1b1fe5fc83a.jpg",[],129,{"id":6173,"slug":6174,"title":6175,"dynasty":67,"author":6176,"museum":151,"description":6177,"tags":6178,"thumbUrl":6180,"material":6181,"size":6182,"collection":106,"collections":6183,"showCount":6171,"zanCount":1065,"manualWeight":40,"mainColor":62},222447,"guan-mu-ji-qin-tu-juan-lin-liang-222447","灌木集禽图卷","林良","林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、锦鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。这幅长卷即为集禽图巨构。\n面画开道为三只麻雀，正展翅飞向丛林，迎面枝头有翠鸟、黄鹂啁啾，似示欢迎。步入林丛枝杈交错，白头翁在枝头成双鸣叫，山喜鹊与山鹧引颈对唱，小山雀则静歇枝上。密林深处展现阔叶灌木和粗劲竹丛，有寒鸦、鹡鸰、麻雀、白头翁、鹌鹑等，成双结对地和鸣、嬉玩，追逐其间。接着斜出几株老松，针叶茂密，成群斑鸠在此活动，一派家族欢聚气氛，然松林深处却有一只苍鹰在窥视，于平和中增添了一分杀气。结尾是荻岸水滨，一对鸬鹚在水面觅食，两只乌鸦涉水行进，另有翠鸟飞栖苇丛间，境界又变为空阔悠闲。\n作品布局采用平面散点的结构手法，移步换形，层层展开，疏密相间，动静结合。禽鸟动态逼真，情状各异，枝叶纵横交错，杂而不乱。古木老树、枯枝落叶已显现出萧索秋意，然群鸟骚动不拘的活泼天性，却使丛林依然充满蓬勃生机。\n此图画法以水墨为主，略施淡彩。禽鸟勾染相间，工写结合，洗练准确，笔简神完。灌木丛林用写意法，然也放而有度，不离规矩。全幅气势宏阔，景象万千，为林良存世的精品巨制。",[23,7,24,51,25,277,368,102,6179,710,84,265],"灌木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba587401db7e2d99d630e876f2bb9c0b.jpg","纸本，淡设色","纵34厘米，横1211.2厘米",[106,286],{"id":6185,"slug":6186,"title":6187,"dynasty":114,"author":878,"museum":20,"description":6188,"tags":6189,"thumbUrl":6192,"material":217,"size":6193,"collection":175,"collections":6194,"showCount":6171,"zanCount":1065,"manualWeight":40,"mainColor":41},221520,"shan-jing-chun-xing-tu-ma-yuan-221520","山径春行图","《山径春行图》描绘了一个怡然自得的文人，一手捋着胡须，一手移动衣袖，慢步进行在春天的山径上，面向远方。似乎在触景生情吟咏赞美春天的诗句。随风飘动的柳枝，雀跃嬉戏的小鸟，生机勃发的山径两旁的桃花，既是在描写春天的自然景色，也是在借景抒发文人此时此刻内心充满诗意的喜悦之情。鸟语花香春意盎然而又显得闲适恬静的画面气氛，是文人内在修养和心理活动的生动写照，是对春天来临所唤起的生命之美的赞叹。",[23,7,24,497,277,27,2500,6190,73,75,28,2626,84,5607,2221,82,280,648,680,905,6191],"兼工带写","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca18e870932ac305bd5552c91834635.jpg","纵27.4厘米，横43.1厘米",[175,88,36,286],{"id":6196,"slug":6197,"title":6198,"dynasty":674,"author":6199,"museum":20,"description":6200,"tags":6201,"thumbUrl":6202,"material":34,"size":6203,"collection":36,"collections":6204,"showCount":6171,"zanCount":541,"manualWeight":40,"mainColor":62},218614,"hu-guo-tian-wang-xiang-yu-chi-yi-seng-218614","护国天王像","尉迟乙僧","本幅画手托宝塔的托塔天王，即世所谓之北方天王，为盛唐以后极受尊奉的佛像之一，其旁环侍之人物造型已为佛道相参之势。原谓尉僧乙僧所画，然细审其笔墨，应属明人风格。",[7,24,51,52,678,27,28,26,74,1514,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc1080a34fa72ca4f6198a683dc47ce.jpg","109x39.2cm",[36],{"id":6206,"slug":6207,"title":6208,"dynasty":114,"author":721,"museum":260,"description":6209,"tags":6210,"thumbUrl":6211,"material":217,"size":6212,"collection":175,"collections":6213,"showCount":6214,"zanCount":541,"manualWeight":40,"mainColor":62},221670,"shi-liu-la-zui-tu-ma-lin-221670","石榴蜡嘴图","马麟是马远之子，生卒年不详。马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。此《石榴蜡嘴》图页传为马麟所作，但据考，未确认。",[23,7,24,51,26,27,102,1093,384,1821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7383521319c32631aeca0f4aaf74fe.jpg","纵27.3厘米，横27.3厘米",[175,106,90],128,{"id":6216,"slug":6217,"title":6218,"dynasty":293,"author":1577,"museum":20,"description":6219,"tags":6220,"thumbUrl":6221,"material":250,"size":6222,"collection":88,"collections":6223,"showCount":6214,"zanCount":40,"manualWeight":40,"mainColor":62},220861,"weng-you-tu-juan-zhao-meng-fu-220861","瓮牖图卷","本幅山石无皴，仅钩勒轮廓，后填以青绿，人物衣纹行笔柔畅有力，有唐人古风。画幅右下有千字文「索」字编号，卷后则有项元汴题识「明嘉靖卅年（1558）秋八月重装于天籁阁」，并有「原价五十两」之记述。",[23,7,24,25,72,27,75,278,82,78,861,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c265c6055d0d6827a4346a3f36f861.jpg","27.1×100.5cm",[88,90],{"id":6225,"slug":6226,"title":6227,"dynasty":114,"author":6228,"museum":20,"description":6229,"tags":6230,"thumbUrl":6233,"material":34,"size":6234,"collection":106,"collections":6235,"showCount":6214,"zanCount":1065,"manualWeight":40,"mainColor":62},218870,"song-yuan-ji-hui-lu-zhou-feng-die-li-de-mao-218870","宋元集绘-芦洲蜂蝶","李德茂","这幅画来自《宋元画集》。在风景的一角，一些芦苇从地面升起，沿着画的整个长度运行，使地平线感觉特别低，天空更加开阔。一对粉红色的蝴蝶和一对红色的蜻蜓在小花间飞来飞去。虽然简单，但这个缩影是大自然的一个美丽缩影。李德茂（13世纪下半叶）来自河南省的孟县。在南宋理宗时期，他是一名宫廷画师。他从其父亲李迪那里学到了他的绘画风格，但技术稍逊一筹。",[23,24,7,26,27,2151,6231,6232,5946],"洲渚","蜂蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec12d3d398f5c08cd9cdb2c137c6921.jpg","25x26.7",[106],{"id":6237,"slug":6238,"title":6239,"dynasty":114,"author":181,"museum":20,"description":6240,"tags":6241,"thumbUrl":6243,"material":34,"size":6244,"collection":175,"collections":6245,"showCount":6214,"zanCount":1065,"manualWeight":40,"mainColor":62},218801,"tao-li-yuan-tu-yi-ming-218801","桃李园图","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭亭台，有渔人在溪边垂钓，无所谓岁月。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它看起来更像是吴镇或其流派的画家的作品。",[23,24,7,27,855,26,73,75,77,81,28,609,4670,6242,278,82],"李","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a3b07bae6cc5546e3f59ca75ecae6e.jpg","19.7x24.3",[175],{"id":6247,"slug":6248,"title":4852,"dynasty":67,"author":6249,"museum":395,"description":6250,"tags":6251,"thumbUrl":6253,"material":34,"size":122,"collection":106,"collections":6254,"showCount":6214,"zanCount":541,"manualWeight":40,"mainColor":479},216957,"hua-die-tu-jiang-bo-chuan-216957","江伯川","花蝶图 是一幅江伯川所作的画作，出自明朝时期（1368-1644年）。江伯川是一位著名的中国画家，他的作品风格独特，富有表现力，为明朝画风做出了巨大贡献。\n\n花蝶图是一幅典型的明朝山水画，画中绘制了一片美丽的花园，空气中弥漫着花香。画面中的花蝶翩翩起舞，为整幅画增添了活力和热情。这幅画中使用了鲜艳的色彩，搭配精细的线条勾勒出了花朵、蝴蝶、树木等景物的细节，让人看起来十分美妙。",[24,51,7,52,26,27,102,263,6252,265],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa424ceb845aca879a2e4daa3861c09.jpg",[106],{"id":6256,"slug":6257,"title":6258,"dynasty":67,"author":181,"museum":1417,"description":6259,"tags":6260,"thumbUrl":6262,"material":611,"size":6263,"collection":122,"collections":6264,"showCount":6265,"zanCount":40,"manualWeight":40,"mainColor":41},223462,"shan-cha-hua-xiao-qin-tu-yi-ming-223462","山茶花小禽图","本图描绘了一株披覆着少许薄雪的山茶花，还有一只停留枝上的小鸟。周凤的题诗中提到，山茶花彷佛象征冬天，而小鸟则象征了春天的到来。",[23,24,7,52,27,26,102,6261,384,265],"山茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5da1382bff49e60e04c2e2c6d9f0b84.jpg","32X86",[],127,{"id":6267,"slug":6268,"title":6269,"dynasty":293,"author":1636,"museum":132,"description":3077,"tags":6270,"thumbUrl":6272,"material":317,"size":907,"collection":122,"collections":6273,"showCount":6274,"zanCount":1065,"manualWeight":40,"mainColor":62},287593,"chun-shan-du-shu-tu-wang-meng-287593","春山读书图",[24,7,277,52,75,73,609,278,81,437,6271,3096,118,28,425],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f4beaf0ca1e1f9e9ad8ca3a4d4a7f2.jpg",[],126,{"id":6276,"slug":6277,"title":6278,"dynasty":18,"author":2623,"museum":132,"description":6279,"tags":6280,"thumbUrl":6281,"material":122,"size":122,"collection":122,"collections":6282,"showCount":6274,"zanCount":11,"manualWeight":40,"mainColor":41},227269,"he-le-shi-nv-tu-juan-zhou-wen-ju-227269","合乐仕女图卷","周文矩，善于深入观察和体会现实生活中的各色人物，把握他们的思想感情和性格特征，因此塑造出来的人物各不相同，达到形神兼备的艺术境界。他的仕女画从题材内容到表现形式，都继承了唐代周昉的传统。",[23,7,24,51,25,26,27,28,29,31,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a4a4fc246817c7f82bed9a7d2c919.jpg",[],{"id":6284,"slug":6285,"title":6286,"dynasty":114,"author":6287,"museum":1417,"description":6288,"tags":6289,"thumbUrl":6293,"material":611,"size":6294,"collection":175,"collections":6295,"showCount":6274,"zanCount":11,"manualWeight":40,"mainColor":62},221555,"yuan-tu-mao-song-221555","猿图","毛松","这幅猴图在表现上非常出色，超越了单纯的写实，在众多的宋画当中亦堪称名品。据说所画的是日本猴而非中国猴，除水墨之外还使用了金泥，工笔细腻自然。南宋画院画家毛松所作的说法始于狩野探幽，但此说缺乏依据。曾由武田信玄捐赠与曼殊院觉如。该图在褐色的底色上，利用金泥所绘线条的交织，表现出绒毛的光泽。又以细腻的笔致，表现其面部的皱纹、嘴势、眼神以及颇有戏剧性的爪足，极其逼真地将这只金毛浓淡有致、赤面红耳的猿猴画了出来。",[23,7,24,51,26,277,27,6290,472,6291,6292],"猴","金泥","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5893ea0ae36c7bc5b4c46f296e8fce.jpg","纵：47.0cm，横：36.5cm",[175,106,90],{"id":6297,"slug":6298,"title":6299,"dynasty":67,"author":68,"museum":20,"description":6300,"tags":6301,"thumbUrl":6302,"material":34,"size":6303,"collection":36,"collections":6304,"showCount":6274,"zanCount":11,"manualWeight":40,"mainColor":62},220438,"qun-xian-hui-zhu-tu-chou-ying-220438","群仙会祝图","本幅左下方有「实父仇英堇制」款，虽为托名之作，然精雕细造，为罕见的「苏州片」佳作。此作描绘主题应是群仙共赴蟠桃大会，为王母娘娘祝寿。陆、海、空诸景穿插层叠，构图工丽复杂；诸路神仙、瑞兽以此为舞台，现示各样神通。画面右下角小坡上骑着张果老驴子乱奔的李铁拐，元神已由葫芦中化成一道光束，回环飞至天际谒见太上老君。相对仙人简单的装束，画中楼阁器用装饰华美、结构繁缛。以金线细腻描绘的云龙纹样，在每根红色立柱上皆费心经营不同图案。人物与动物虽略有小疵，但不减其整体精彩，应为当时祝寿用的高档献礼。",[23,24,7,51,26,27,855,28,77,75,82,84,473,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1fc9c8db033a209857210a716124ba.jpg","99x 148.4",[36,90],{"id":6306,"slug":6307,"title":731,"dynasty":114,"author":181,"museum":20,"description":6308,"tags":6309,"thumbUrl":6311,"material":34,"size":6312,"collection":106,"collections":6313,"showCount":6274,"zanCount":1065,"manualWeight":40,"mainColor":62},219277,"sui-chao-tu-yi-ming-219277","岁朝，指一岁之始，历代画家作该图，含有元旦开笔，预祝一年万事吉利之意。本幅绘拳石临流，雉鸡一对，麻雀数只，山茶旁生于老梅干后，绿竹新生于回流之上。水仙、红茶、白梅等花上下分别盛开，色调朱白相映，通幅设色浓而不艳，一派和熙春色。旧传为宋人之作，然笔触色调皆不类，疑是明人学吕纪画风。",[23,7,24,51,52,26,27,102,383,53,384,6310,278,198],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ebc914f3148654b0f6a2722ee6abfa.jpg","164.2x80.3",[106],{"id":6315,"slug":6316,"title":6317,"dynasty":1383,"author":181,"museum":260,"description":6318,"tags":6319,"thumbUrl":6320,"material":34,"size":6321,"collection":36,"collections":6322,"showCount":6274,"zanCount":1065,"manualWeight":40,"mainColor":62},218314,"fang-yuan-zui-yue-tu-yi-ming-218314","芳园醉月图","月夜清辉漫洒芳园，嶙峋山石旁花木扶疏，枝桠间繁花如雪，月下更显幽逸。园内人影错杂，或围坐醉谈，或信步寻幽，或凭栏浅笑，动静交织成一派闲适图景。小桥卧波，流水潺潺，石径蜿蜒穿林，远处奇峰隐现于月色朦胧中，添了几分旷远之致。人物衣袂轻扬，神态鲜活，生动勾勒出园居宴乐的融融暖意。笔墨细腻温婉，设色淡雅清和，山石皴染见古意，花木点描显灵秀，构图疏密得宜，将园林的清幽之境与人间的欢悦之情相融相契，尽展古典雅韵与生活意趣。",[7,24,51,52,27,26,28,78,79,278,82,1570,383,3097],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5dcf17369c07d5993485e20a0c645b.jpg","155.5x102.3",[36],{"id":6324,"slug":6325,"title":6326,"dynasty":293,"author":1577,"museum":395,"description":5058,"tags":6327,"thumbUrl":6328,"material":34,"size":122,"collection":106,"collections":6329,"showCount":6274,"zanCount":530,"manualWeight":40,"mainColor":62},216266,"xiang-ma-tu-ye-1-zhao-meng-fu-216266","相马图页-1",[23,24,51,7,100,27,26,510,28,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d24237744a85c7ce0038010bf1cae6e.jpg",[106],{"id":6331,"slug":6332,"title":6333,"dynasty":46,"author":6334,"museum":132,"description":6335,"tags":6336,"thumbUrl":6337,"material":122,"size":122,"collection":122,"collections":6338,"showCount":6339,"zanCount":11,"manualWeight":40,"mainColor":41},233230,"hong-lian-tu-ce-xie-sun-233230","红莲图册","谢荪","画上自题：己未春日写似，伴翁老先生，谢荪。 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[1] ，字士刚，号古泉、隔山樵子、罗湖散人，是中国近代岭南地区著名的国画画家，和其从兄居巢并称“二居”。 [2] 他初时学宋光宝和孟丽堂，后吸收各家之长，自成一家。笔法工整，设色妍丽，在继承和发展恽寿平没骨画法基础上，广泛运用了撞水和撞粉法，继承、发展和完善了“居派”艺术。代表作品有《十二分春色》。",[24,7,51,768,26,27,102,198,199,246,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718408587ec96f67a2d985fd07ea1e2f.jpg",[],123,{"id":6443,"slug":6444,"title":6445,"dynasty":1104,"author":1105,"museum":132,"description":6446,"tags":6447,"thumbUrl":6448,"material":122,"size":122,"collection":122,"collections":6449,"showCount":6441,"zanCount":40,"manualWeight":40,"mainColor":62},227043,"nv-shi-zhen-tu-juan-tang-mo-ben-gu-kai-zhi-227043","女史箴图卷（唐摹本）","《女史箴图》卷（宋摹），东晋，顾恺之绘，纸本，墨笔，横601厘米，纵27.9厘米。\n《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。\n引首为乾隆帝御书“王化之始”四字，后有包希鲁、谢询、张美和、赵谦等题记。本幅钤乾隆、嘉庆、宣统、梁清标等印22方。《石渠宝笈初编》卷32、35著录。",[23,7,24,51,25,510,27,28,472,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca625f9e64012baaba56c85b5e980dc2.jpg",[],{"id":6451,"slug":6452,"title":6453,"dynasty":114,"author":274,"museum":20,"description":6454,"tags":6455,"thumbUrl":6459,"material":736,"size":6460,"collection":175,"collections":6461,"showCount":6441,"zanCount":40,"manualWeight":40,"mainColor":62},221572,"xi-hu-liu-ting-tu-zhou-xia-gui-221572","西湖柳艇图轴","西湖柳艇图画西湖中的柳树、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。",[23,7,24,277,52,75,2626,6456,431,6457,6458,28,78,79,80,26],"长堤","湖舍","画舫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d0b03ccc5a62ec9034caad9749d55.jpg","纵107.2厘米，横59.3厘米",[175,88,286],{"id":6463,"slug":6464,"title":6465,"dynasty":67,"author":2218,"museum":6466,"description":6467,"tags":6468,"thumbUrl":6469,"material":845,"size":6470,"collection":122,"collections":6471,"showCount":6441,"zanCount":40,"manualWeight":40,"mainColor":122},220728,"fang-ma-yuan-ta-ge-tu-dai-jin-220728","仿马远踏歌图","香港中文大学文物馆","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。\n戴进作为明代著名的画家，绘画临摹精博，得唐宋诸家之妙，道释、神像、人物、山水、花果、翎毛、走兽等，无所不工。\n他的山水画画作品，注重选题。画法源出宋元，继承南宋水墨苍劲一派，主要吸收南宋时期的马远、夏圭（夏圭）风格，但也吸取北宋时期的李成和范宽，并取法郭熙、李唐、董源，用笔劲挺方硬，水墨淋漓酣畅，技巧纵横，画风雄健挺拔，俱遒劲苍润，一变南宋浑厚沉郁的风格，发展了马远、夏圭传统，善于用浓淡水墨的巧妙变化，来表现“铺叙远近，宏深雅淡”的品格，既有南宋院体遗风，又有元人水墨画意，被推为“浙派山水首席画师”",[23,24,51,7,75,73,27,278,82,279,28,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3256df255a4ff5cd730b5277dbb9e7.jpg","装裱：270.5×122.3厘米画心：182.4×107.4厘米",[],{"id":6473,"slug":6474,"title":6475,"dynasty":3229,"author":6476,"museum":395,"description":6477,"tags":6478,"thumbUrl":6481,"material":267,"size":6482,"collection":88,"collections":6483,"showCount":6441,"zanCount":40,"manualWeight":40,"mainColor":41},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","张大千","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,7,24,51,277,27,368,73,75,79,80,78,313,82,278,279,559,315,6479,6480],"急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[88,90],{"id":6485,"slug":6486,"title":6487,"dynasty":114,"author":1787,"museum":132,"description":2651,"tags":6488,"thumbUrl":2653,"material":666,"size":6490,"collection":122,"collections":6491,"showCount":6441,"zanCount":1065,"manualWeight":40,"mainColor":41},220254,"xiao-xiang-ba-jing-tu-jiang-tian-mu-xue-mu-xi-220254","潇湘八景图·江天暮雪",[23,7,24,51,957,277,368,6489,497,297,298,82,1023,279,5468,1714],"禅画","29.5X94.4厘米",[],{"id":6493,"slug":6494,"title":6495,"dynasty":114,"author":878,"museum":395,"description":6496,"tags":6497,"thumbUrl":6498,"material":34,"size":6499,"collection":175,"collections":6500,"showCount":6441,"zanCount":40,"manualWeight":40,"mainColor":62},220071,"lin-xia-qing-yan-tu-ma-yuan-220071","林下清宴图","此作用笔苍劲老辣，斧劈皴勾勒山石棱角，峭拔硬朗的峰峦隐没在空濛烟霭之中，虚实相生晕染出幽渺的层次感。近岸古木虬枝舒展，汀渚蜿蜒柔缓，和远山形成刚柔对照。江头扁舟静泊，云岫深处藏着古寺，留白的烟岚晕开天地，把林下幽寂的清旷意境铺陈开来。\n整幅画以淡墨晕染出空寂冷逸的氛围，将林泉高致的雅趣藏于山水间，尽显悠然超脱的林下风流，暗合文人寄情林泉、清宴忘忧的隐逸襟怀。",[23,7,24,51,75,277,27,73,297,135,81,279,28,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ac221a46ecf53a5c3c912cd524c59d.jpg","104.7 x 101.4",[175],{"id":6502,"slug":6503,"title":6504,"dynasty":46,"author":494,"museum":507,"description":6505,"tags":6506,"thumbUrl":6507,"material":267,"size":6508,"collection":88,"collections":6509,"showCount":6441,"zanCount":40,"manualWeight":40,"mainColor":41},219996,"shan-shui-hua-mu-chun-wang-ri-xiao-qi-ou-zuo-wang-shi-min-219996","山水画-暮春望日小憩偶作","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,7,75,277,73,297,609,82,559,281,279,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec524ddf8e33ee5c0b0f3dafea580e.jpg","22.5x27.5",[88],{"id":6511,"slug":6512,"title":6513,"dynasty":114,"author":3309,"museum":20,"description":6514,"tags":6515,"thumbUrl":6516,"material":34,"size":6517,"collection":90,"collections":6518,"showCount":6441,"zanCount":40,"manualWeight":40,"mainColor":41},219947,"li-nu-xiao-ying-tu-li-di-219947","狸奴小影图","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。",[23,24,51,7,100,26,27,812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e16cdf4bf4cb0f1950637379b428d38.jpg","23.6x24.1cm",[90],{"id":6520,"slug":6521,"title":6522,"dynasty":18,"author":1020,"museum":166,"description":6523,"tags":6524,"thumbUrl":6528,"material":34,"size":6529,"collection":106,"collections":6530,"showCount":6441,"zanCount":541,"manualWeight":40,"mainColor":62},219002,"ku-mu-shui-qin-tu-huang-quan-219002","枯木水禽图","这幅画描绘了湖岸边的寒冷冬景，大雁、白天鹅、野鸡和各种水鸟在三棵巨树下觅食、嬉戏，空旷荒凉的场景也让人不禁想起过去的繁华。这幅画被认为是五代时期西蜀画家黄荃的作品，但实际上它接近于元代罗稚川的风格。",[23,24,7,51,26,27,52,170,2290,84,6525,649,6147,1059,4371,278,6526,710,6527,3255],"白鹅","水泊","水畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928b9b088db206fb252396d6d64c69ee.jpg","纵148横107厘米",[106,88],{"id":6532,"slug":6533,"title":6534,"dynasty":67,"author":830,"museum":132,"description":6535,"tags":6536,"thumbUrl":6537,"material":317,"size":907,"collection":122,"collections":6538,"showCount":6539,"zanCount":1065,"manualWeight":40,"mainColor":41},290556,"he-hua-zhou-xu-wei-290556","荷花轴","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[24,7,51,52,277,368,102,398,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3e13237f744b16759e4d325b37bd217.jpg",[],122,{"id":6541,"slug":6542,"title":6543,"dynasty":114,"author":364,"museum":132,"description":4539,"tags":6544,"thumbUrl":6545,"material":122,"size":122,"collection":122,"collections":6546,"showCount":6539,"zanCount":40,"manualWeight":40,"mainColor":62},227688,"shi-yi-long-tu-chen-rong-227688","十一龙图",[23,7,24,51,25,277,73,370,75,279,278,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd37fa557531a1ee46077055962506d.jpg",[],{"id":6548,"slug":6549,"title":6550,"dynasty":114,"author":181,"museum":1514,"description":6551,"tags":6552,"thumbUrl":6553,"material":317,"size":907,"collection":122,"collections":6554,"showCount":6539,"zanCount":40,"manualWeight":40,"mainColor":41},226506,"pu-sa-yi-ming-226506","菩萨","眉眼低垂，敛尽尘世喧嚣，将悲悯藏在温婉柔和的轮廓里。线条凝练温婉，晕染过渡自然，把东方含蓄的慈悲刻在面庞之上。繁复华美的冠饰精巧细腻，宝饰层叠间尽显造像的庄严华贵。青绿头光褪去了初绘时鲜亮色泽，沉淀着千年岁月的厚重。\n\n残存的朱褐石色衣纹晕染层次柔和，历经风沙侵蚀的斑驳痕迹，是时光镌刻的印记。将宋人清雅内敛融于造像，褪去张扬余韵，只留沉静温柔的悲悯。每一寸残存色彩，都带着敦煌洞窟里漫过千年的砂砾气息，让这尊菩萨跨越光阴，将千年前的虔敬与温柔，静静呈现在观者眼前。",[7,24,51,677,678,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f1c1d83a52e0ad15451662404b4efa.jpg",[],{"id":6556,"slug":6557,"title":6558,"dynasty":674,"author":6559,"museum":151,"description":6560,"tags":6561,"thumbUrl":6562,"material":250,"size":6563,"collection":123,"collections":6564,"showCount":6539,"zanCount":40,"manualWeight":40,"mainColor":62},221139,"shang-yang-tai-tie-li-bai-221139","上阳台帖","李白","《上阳台帖》是李白所书自咏四言诗。释文：\n“山高水長，物象千萬，非有老筆，清壯可窮。十八日，上陽臺書，太白。”\n引首清高宗弘历楷书题“青蓮逸翰”四字，正文右上宋徽宗赵佶瘦金书题签：“ 唐李太白上陽臺”一行。\n后纸有宋徽宗赵佶，元张晏、杜本、欧阳玄、王馀庆、危素、驺鲁，清乾隆皇帝题跋和观款。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彜齋”、贾似道“秋壑圖書”，元“張晏私印”、“歐陽玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n这是李白传世的唯一书迹。其落笔天纵，收笔处一放开锋，宋黄庭坚评李白：“及观其稿书，大类其诗，弥使人远想慨然。白在开元、至德间，不以能书传，今其行、草殊不减古人。”(《山谷题跋》)\n此帖曾入宣和内府，后归贾似道，元代曾经张晏处，明藏项元汴天籁阁。清代先为安岐所得，再入内府，清末流出宫外。民国时入张伯驹手，新中国成立后献给国家。1958年此帖转交故宫博物院收藏。",[23,7,51,25,119,118,1580,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddf2bf1d39afff56bc9da86e3bbf57.jpg","纵28.5cm，横38.1cm",[123],{"id":6566,"slug":6567,"title":6568,"dynasty":46,"author":1567,"museum":151,"description":6569,"tags":6570,"thumbUrl":6571,"material":342,"size":6572,"collection":88,"collections":6573,"showCount":6574,"zanCount":40,"manualWeight":40,"mainColor":41},234296,"yuan-ji-shan-shui-tu-ce-shi-tao-234296","原济山水图册","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[7,24,51,100,27,277,73,75,135,28,559,648,4496,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66ce93c8dd6e2917b723381f2a32347.jpg","纵33.2cm，横22.8cm",[88,90],121,{"id":6576,"slug":6577,"title":6578,"dynasty":114,"author":274,"museum":151,"description":6579,"tags":6580,"thumbUrl":6581,"material":250,"size":6582,"collection":122,"collections":6583,"showCount":6574,"zanCount":1065,"manualWeight":40,"mainColor":62},233211,"lin-liu-fu-qin-tu-ye-xia-gui-233211","临流抚琴图页","宋代郭熙《林泉高致》云：“山以水为血脉”、“山得水一活”，水是山的眼睛，关乎画面的神采，最难画活。宋代的山水画中多以密致的线条勾出水纹，如现存李唐的《江山小景图》、马远的《水图》等都是以工致的笔法画出水纹。在这幅画中，溪水则以简练的线条勾勒，部分留白，盘曲掩映，时隐时现，难觅其踪，表现出流水的清澈和流动感。夏圭是善于在绘画中“用虚”的大师，在这幅画中，他利用了留自来表现江山湖泊的辽阔深远，虽未着一笔，却能“无画处皆成妙境”，给人无限遐想的空间。画中的人物也很有特点，没有过多地描绘细节，而是注重表现身体的动势，笔简而神全。抚琴者似在弹奏，让人不禁联想到琴声的悠扬。\n作为一个欣赏者，我们可能更多地关注的是画面的内容和技法的运用，往往忽视了绘画材料本身。古人云：“皮之不存，毛将焉附?”画面的效果和气氛的营造，一方面取决于画家的精神境界和绘画技巧，另一方面取决于绘画的材料即媒材。唐、宋时期绘画尚用绢，至明末，画家皆用熟纸。夏圭此画作于熟绢之上，绢本细腻的质地适于表现笔墨的流利劲健，他充分利用了绢的特性，笔势纵横生动。\n元代庄肃的《画继补遗》中评价夏圭：“画山水人物极俗恶。宋末世道凋丧，人心迁革，圭遂滥得时名，其实无可取，仅可知时代姓名而已。”此论可谓偏颇至极。夏圭的山水画，用笔外露，非是缺点，而是其特点。夏文彦《图绘宝鉴》称赞夏圭说：“院人中画山水，自李唐以下，无出其右者也。”宋代绘画是中国传统绘画的精华，它来源于画家“外师造化，中得心源”，并非是抛弃自然的笔墨游戏。如宋代郭熙的《林泉高致》中提到画家对待绘画用“敬”的态度“凡一景之画，不以大小多少，必须注精以一之”、“必神与俱成之”、“必严重以肃之”、“必恪勤以周之”，不可“以轻心挑之”、“以慢心忽之”。夏圭正是以这种敬业的精神以及“心源”颖悟，在方寸之内，写出如此之大气象、大境界。\n宋、元以后文人画开始居于画坛的主流地位，夏圭的山水画不断遭到文人画家不公正的指责和排挤，虽偶有师法者，但已是落日余晖，失去了往日的辉煌。然而被文人画家“嗤之以鼻”的夏圭的山水画却跨越了国界，深深地影响了日本的绘画，出现了周文、雪舟等一批绘画大家，纷纷模仿夏圭的山水画。\n《临流抚琴图》是画家夏圭创作的一幅作品，该图是国家一级文物，图中绘一高士临流而坐，气象萧疏，意境深远。\n墨笔急扫之后，迅速以水笔接染，笔墨衔接自然，一气呵成。由于墨与水的使用恰到好处，使得整幅画面颜色透亮，一股清新之气扑面而来。画树木，得其形而又取其势，意笔写出枝干，偃仰屈曲，苍健老硬，有蛟龙惊虬之势；树叶点染而成，疏密有致，虚实相生，浓淡相宜，看似不经意，实则惨淡经营。茅屋隐现于树后，以墨笔勾出轮廓，再施以规则的点皴，极具装饰意味。画水有独特之处。",[24,7,51,768,277,73,75,28,79,135,278,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b6e2189c33e42f16457ba45586676b.jpg","25.5X26厘米",[],{"id":6585,"slug":6586,"title":6587,"dynasty":293,"author":181,"museum":132,"description":6588,"tags":6589,"thumbUrl":6590,"material":122,"size":122,"collection":122,"collections":6591,"showCount":6574,"zanCount":541,"manualWeight":40,"mainColor":62},228216,"mu-dan-hua-hui-tu-zhou-yi-ming-228216","牡丹花卉图轴","以深沉绢地托举群芳，白牡丹莹洁似凝脂，红牡丹浓艳若燃霞，紫牡丹晕染出雅致柔韵。花姿或肆意盛放、或含苞颔首，俯仰之间各有姿态。叶片以细腻晕染分出阴阳向背，脉络清浅舒展，将草木柔润生机尽藏笔底。构图繁而不乱，错落排布尽显繁茂却不觉拥塞，将牡丹的雍容富贵融于清雅古拙的笔意之中，尽显花鸟写生的精湛功力，把国色天香的神韵晕染得恰到好处。",[23,7,24,51,52,26,27,103,198,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f44b549ecd7f5efb68ebd193de03a4a.jpg",[],{"id":6593,"slug":6594,"title":6595,"dynasty":18,"author":181,"museum":20,"description":6596,"tags":6597,"thumbUrl":6599,"material":736,"size":6600,"collection":122,"collections":6601,"showCount":6574,"zanCount":1065,"manualWeight":40,"mainColor":62},223336,"dan-feng-you-lu-tu-yi-ming-223336","丹枫呦鹿图","《丹枫呦鹿图》描绘的是群鹿游憩于色彩斑斓的秋林中的情景，造型生动真实，颇具情趣。其构图繁密饱满，形式美感强烈，装饰味浓。\n《丹枫呦鹿图》中，作者使用传统的皴法、勾勒之法较少，却大幅度使用了类似西方的光影之法来表现鹿的立体感，且敷色富丽鲜艳又有别干常见的没骨山水。实异于汉族文化地区之画作，属辽画之精品。",[23,24,51,7,52,27,26,6598,1293,472,82,1282],"枫树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a0c1c1455178893acd65ad00afdad0.jpg","纵118.5cm，横64.6cm",[],{"id":6603,"slug":6604,"title":6605,"dynasty":46,"author":6606,"museum":132,"description":6607,"tags":6608,"thumbUrl":6609,"material":342,"size":6610,"collection":106,"collections":6611,"showCount":6574,"zanCount":489,"manualWeight":40,"mainColor":41},223158,"qun-xian-zhu-shou-tu-fu-dao-ren-xiong-223158","群仙祝寿图佛道","任熊","此幅图画场面宏大，共绘神仙达22位之多，八仙中的七仙，寒山、拾得等包括佛教、道教及民间信仰的各路神仙。",[23,24,7,51,25,678,26,27,28,77,75,82,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea49554b72b9cdd2c017d8d51d64b0c0.jpg","86X170cm",[106],{"id":6613,"slug":6614,"title":6615,"dynasty":114,"author":460,"museum":2700,"description":6616,"tags":6617,"thumbUrl":6618,"material":34,"size":6619,"collection":88,"collections":6620,"showCount":6574,"zanCount":40,"manualWeight":40,"mainColor":62},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,24,7,52,73,277,27,75,297,1023,647,5079,80,28,215,136,135,4261,313,5421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[88],{"id":6622,"slug":6623,"title":6624,"dynasty":114,"author":6625,"museum":20,"description":6626,"tags":6627,"thumbUrl":6629,"material":34,"size":6630,"collection":106,"collections":6631,"showCount":6574,"zanCount":541,"manualWeight":40,"mainColor":62},219228,"ye-ju-qiu-chun-tu-li-an-zhong-219228","野菊秋鹑图","李安忠","画幅中心位置上画两只鹑鸟，全身几乎长满了近似粉白色的翎毛，只有少量的黑褐色斑毛，将头部与背勾画得更加显明突出。一只鹑鸟抬头远望，一只鹑鸟低头啄食，它们伫立在倾斜的土坡上、土坡的上方，白色的野菊花穿插在带棘的灌木中，还有竹竿枝权探头画面上、土坡的下方有蒲公英等野草花点缀着，一仰一俯的两只鹑鸟，互相依偎，自由地在大自然的环境中生活，其神态逼真，栩栩如生。该图设色淡雅，配色和谐。",[23,24,7,26,27,102,4680,6628,53],"野菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763aa29896547493e563c587705ce6b7.jpg","纵24.1cm，横40.5cm",[106,90,175],{"id":6633,"slug":6634,"title":6635,"dynasty":67,"author":2218,"museum":20,"description":6636,"tags":6637,"thumbUrl":6640,"material":121,"size":6641,"collection":88,"collections":6642,"showCount":6574,"zanCount":489,"manualWeight":40,"mainColor":62},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","这幅画是笔墨兼工带写，奔放豪纵而苍劲淋漓。这幅画很好地运用了「水晕墨章」的技法，用大笔和淡墨快速而斜地扫过风和雨的自然景观，竹子、树木、芦苇和稻草的雨衣，都迎着风和雨弯下腰。　虽然戴进的画风与南宋宫廷画家的体系相同，但他在画中加入了新的内容，如这幅画，并确立了浙派山水画的基本风格，成为后世效仿的典范。",[24,51,52,7,277,73,6638,6639,80,661,78,79,82,425,279,3375,265,278],"风雨","归舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","143x81.8",[88],{"id":6644,"slug":6645,"title":6646,"dynasty":114,"author":211,"museum":132,"description":2115,"tags":6647,"thumbUrl":6649,"material":317,"size":907,"collection":122,"collections":6650,"showCount":6651,"zanCount":541,"manualWeight":40,"mainColor":62},287892,"xie-sheng-ling-mao-tu-zhao-ji-287892","写生翎毛图",[23,7,24,25,27,26,102,84,200,1094,198,265,6648],"翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991c70342fcdd1f954ce69e99322aad5.jpg",[],120,{"id":6653,"slug":6654,"title":6655,"dynasty":46,"author":6656,"museum":132,"description":6657,"tags":6658,"thumbUrl":6659,"material":317,"size":907,"collection":122,"collections":6660,"showCount":6651,"zanCount":1065,"manualWeight":40,"mainColor":41},283778,"shi-nv-tu-wu-ying-zhen-283778","仕女图","吴应贞","女。字含五，江苏吴江人，适同邑赵氏。工写生，风神婉约，自是闺房之秀。",[24,7,27,26,28,29,56,314,52,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55007fbc6c66e7d3ac331b04cbec31f.jpg",[],{"id":6662,"slug":6663,"title":6664,"dynasty":46,"author":1567,"museum":132,"description":6665,"tags":6666,"thumbUrl":6667,"material":122,"size":122,"collection":122,"collections":6668,"showCount":6651,"zanCount":1065,"manualWeight":40,"mainColor":41},228995,"hua-hui-ce-shi-zhen-shi-tao-228995","花卉册十帧","此作以桃花配墨竹，刚柔互衬。粉桃花朵晕染柔润，娇妍含露，枯笔写枝拙朴苍劲，尽显花柔枝老的生趣。右下角墨竹以浓墨挥写，叶片挺拔清瘦，与柔媚桃花相映，愈见雅致。\n\n行书题款舒朗流畅，诗文借春日江南景致抒放逸闲情，诗书画意相融无间。整幅以淡墨轻色写意，随性疏朗，以简淡笔墨托出春日清妍，将文人心底的闲情雅趣寄于花枝竹影间，淡而有味，简而有神，尽显文人画的写意真趣。",[7,24,51,100,277,27,102,76,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade10183679772013e35beae8b8ea357.jpg",[],{"id":6670,"slug":6671,"title":6672,"dynasty":67,"author":619,"museum":132,"description":6673,"tags":6674,"thumbUrl":6675,"material":122,"size":122,"collection":122,"collections":6676,"showCount":6651,"zanCount":11,"manualWeight":40,"mainColor":41},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[23,7,24,25,277,27,75,662,78,79,80,661,5791,82,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],{"id":6678,"slug":6679,"title":6680,"dynasty":1383,"author":6681,"museum":132,"description":6682,"tags":6683,"thumbUrl":6684,"material":317,"size":907,"collection":3417,"collections":6685,"showCount":6651,"zanCount":1065,"manualWeight":40,"mainColor":62},225640,"rembrandt-harmensz-van-rijn-050-lun-bo-lang-225640","Rembrandt Harmensz.van Rijn - 050","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[7,3410,28,1605,678,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b2617e4dd48b90098e3e3e484604e0b.jpg",[3417],{"id":6687,"slug":6688,"title":6689,"dynasty":114,"author":211,"museum":20,"description":6690,"tags":6691,"thumbUrl":6692,"material":250,"size":6693,"collection":122,"collections":6694,"showCount":6651,"zanCount":541,"manualWeight":40,"mainColor":41},221253,"mu-dan-shi-tie-ce-zhao-ji-221253","牡丹诗贴册","此作华丽富贵，疏密自然，用笔洒脱，线条粗细有致，笔势圆转流畅，书写时以手腕为轴心，少了点刚硬，多了些柔和，充分表现出了瘦金书体的婀娜之美，可能原先配有一幅双色牡丹图，作品参差错落，一气呵成，表现出了作者高度的艺术修养。",[23,7,24,51,100,2045,118,1580,277,103,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f35d3427d35e7def70a2f431c6cc271.jpg","34.8cm×53.3cm",[],{"id":6696,"slug":6697,"title":6698,"dynasty":114,"author":3845,"museum":2700,"description":6699,"tags":6700,"thumbUrl":6701,"material":34,"size":6702,"collection":88,"collections":6703,"showCount":6651,"zanCount":541,"manualWeight":40,"mainColor":62},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,957,7,24,51,25,75,277,73,27,77,78,79,278,82,28,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[88],{"id":6705,"slug":6706,"title":6707,"dynasty":67,"author":68,"museum":195,"description":6708,"tags":6709,"thumbUrl":6710,"material":34,"size":6711,"collection":88,"collections":6712,"showCount":6651,"zanCount":40,"manualWeight":40,"mainColor":62},219780,"lin-song-ren-hua-ce-chou-ying-219780","临宋人画册","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[24,7,51,100,154,26,27,75,84,56,79,1059,609,281,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed6bd597703f54b095befe2d3e1dd07.jpg","27.2x25.5厘米",[88,36],{"id":6714,"slug":6715,"title":6716,"dynasty":67,"author":68,"museum":20,"description":6717,"tags":6718,"thumbUrl":6721,"material":34,"size":6722,"collection":36,"collections":6723,"showCount":6651,"zanCount":541,"manualWeight":40,"mainColor":41},218181,"chun-xiao-tu-chou-ying-218181","纯孝图","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[7,24,51,100,26,27,28,77,6719,6720],"孝道","母爱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb17260b42142b1b7cf5eaa6624bcc18.jpg","32.8x21.9",[36],{"id":6725,"slug":6726,"title":6727,"dynasty":293,"author":1577,"museum":151,"description":6728,"tags":6729,"thumbUrl":6731,"material":666,"size":6732,"collection":122,"collections":6733,"showCount":6651,"zanCount":40,"manualWeight":40,"mainColor":62},214288,"xiao-kai-luo-shen-fu-ce-5-zhao-meng-fu-214288","小楷洛神赋册-5","笔触薄而有力，结体饶有兴味，风格清俊，让人在奢华中看到真正的朴素。",[23,7,51,118,2044,6730,1580,100,277,74],"小楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd811b5a311f9fda250998a44b79f3517.jpg","25.7x12.6",[],{"id":6735,"slug":6736,"title":6737,"dynasty":46,"author":1344,"museum":132,"description":1345,"tags":6738,"thumbUrl":6739,"material":317,"size":907,"collection":122,"collections":6740,"showCount":6741,"zanCount":40,"manualWeight":40,"mainColor":41},283659,"he-fu-tu-zhou-zhu-da-283659","荷凫图轴",[23,7,24,52,277,102,398,56,84,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c68a231a7e3a42dd7d6c86993a9c7f.jpg",[],119,{"id":6743,"slug":6744,"title":6745,"dynasty":46,"author":181,"museum":132,"description":6746,"tags":6747,"thumbUrl":6748,"material":317,"size":907,"collection":122,"collections":6749,"showCount":6741,"zanCount":40,"manualWeight":40,"mainColor":41},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。",[24,51,7,768,27,26,526,812,200,263,201,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6235c2fe94225bf65dcfca3543ed3c.jpg",[],{"id":6751,"slug":6752,"title":6753,"dynasty":46,"author":181,"museum":151,"description":6754,"tags":6755,"thumbUrl":6758,"material":156,"size":6759,"collection":122,"collections":6760,"showCount":6741,"zanCount":40,"manualWeight":40,"mainColor":62},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170","雍正十二月行乐图轴","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[7,24,51,52,26,27,855,75,77,81,6756,79,6757,76,82,28,560,648,4496],"廊","湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg","纵188.2厘米，横102.2厘米",[],{"id":6762,"slug":6763,"title":6764,"dynasty":46,"author":2064,"museum":20,"description":6765,"tags":6766,"thumbUrl":6767,"material":1061,"size":6768,"collection":106,"collections":6769,"showCount":6741,"zanCount":1065,"manualWeight":40,"mainColor":41},222694,"mei-cha-shui-xian-zhou-qian-wei-cheng-222694","梅茶水仙轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,7,24,51,52,26,27,3014,184,2067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb394ac89657041d7c37b5fb8d711ba23.jpg","114.1x75.6",[106,90],{"id":6771,"slug":6772,"title":6773,"dynasty":293,"author":658,"museum":195,"description":6774,"tags":6775,"thumbUrl":6776,"material":5363,"size":6777,"collection":286,"collections":6778,"showCount":6741,"zanCount":1065,"manualWeight":40,"mainColor":993},220776,"song-shi-tu-zhou-wu-zhen-220776","松石图轴","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。在创作思想上继承北宋末年文同、苏轼、米芾等人的文人画理论，提倡遗貌求神，以简逸为上，追求古意和士气，重视主观意兴的抒发。与宋代院体画的刻意求工、注重形似大相径庭，形成鲜明的时代风貌，也有力地推动了后世文人画的蓬勃发展。在元代短短90余年内，画坛名家辈出，其中以赵孟頫、钱选、高克恭、王渊等和号称元四家的黄公望、吴镇、倪瓒、王蒙最负盛名。\n《松石图》凸现在视野中心的只是一棵松树，然而他画的不是直立挺拔的苍松，而是一株干如弯弓，枝干倒长的怪松，它巍然挺立，雄视万物，表现出一种世俗难以羁绊、常人难以匹敌的气慨。它的孤傲、不同凡俗正是吴镇抗怀孤德个性的自喻。\n国家文物鉴定委员会委员、国家文物局文物鉴定资格审核委员、故宫博物院研究员杨臣彬，徐邦达先生入室大弟子,精擅古书画鉴定。上世纪八十年代在民间收藏中发现吴镇《松石图》。《松石图》名款为“梅花道人墨戏”，铃印“梅花庵”、“嘉兴吴镇仲圭书画记”，系清宫旧藏之物。一古松的枝杆横卧上方，松下有湖石水草，构图呈上下两段，留出大片空白，各自为阵且互有联系。用浓墨在树石上点苔，浓重厚密。树石用笔倔强刚劲而不张扬外露，多用中锋，沉着老到，得古松苍劲之质，古松虽老，但无枯涩之感，干淡的用笔不失腴润，墨法鲜活，鲜嫩的水草和斑驳粗重的古松形成鲜明对比。",[23,7,24,51,52,277,73,697,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5441b5aa161a241633f08c79149ce2db.jpg","122.44x46cm",[286,2605],{"id":6780,"slug":6781,"title":6782,"dynasty":67,"author":619,"museum":5705,"description":5706,"tags":6783,"thumbUrl":6784,"material":250,"size":5709,"collection":122,"collections":6785,"showCount":6741,"zanCount":40,"manualWeight":40,"mainColor":62},220058,"hu-qiu-shi-er-jing-tu-ce-9-shen-zhou-220058","虎丘十二景图册-9",[23,7,24,51,100,277,73,28,1059,278,78,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3884057356be4c3470aff4ddb99ae920.jpg",[],{"id":6787,"slug":6788,"title":6789,"dynasty":114,"author":6790,"museum":20,"description":6791,"tags":6792,"thumbUrl":6794,"material":27,"size":6795,"collection":106,"collections":6796,"showCount":6741,"zanCount":541,"manualWeight":40,"mainColor":62},219945,"zhong-si-mian-die-tu-han-you-219945","螽斯绵瓞图","韩祐","本幅选自“宋元集绘”册第十三开。描写田间一角，花叶生长茂盛，瓜果也已熟透，引来了两只觅食的螽斯。",[23,7,24,51,26,27,1180,6793,339,263,514],"瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233d23d19042c4fdd48f185c470972b0.jpg","25.3 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26公分",[106],{"id":6798,"slug":6799,"title":534,"dynasty":293,"author":6800,"museum":20,"description":6801,"tags":6802,"thumbUrl":6803,"material":666,"size":6804,"collection":106,"collections":6805,"showCount":6741,"zanCount":40,"manualWeight":40,"mainColor":41},219386,"zhu-shi-tu-guan-dao-sheng-219386","管道升","土坡上立一奇石，左边是一高一低，一浓一淡两竿修竹，右下是一丛竹叶。竹叶上挺，谓之“晴竹”，画时下笔须略带逆势藏锋，然后以中锋重按掠去，至叶尖处疾挑而出。梢头结顶，挑出时尤须注意左右顾盼，姿态生动。",[24,7,51,52,277,53,56,119,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97662080d58fa53960826604bfe1a32f.jpg","纵87.1厘米，横28.7厘米",[106],{"id":6807,"slug":6808,"title":6809,"dynasty":67,"author":2087,"museum":395,"description":3385,"tags":6810,"thumbUrl":6812,"material":34,"size":6813,"collection":106,"collections":6814,"showCount":6741,"zanCount":541,"manualWeight":40,"mainColor":62},218920,"fu-rong-shuang-yan-tu-lv-ji-218920","芙蓉双雁图",[23,24,7,26,27,102,246,6811,711,340,339,198],"雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8fb431edd8bf3e6cbb2221cc53cd04.jpg","114x52cm",[106],{"id":6816,"slug":6817,"title":6818,"dynasty":46,"author":2064,"museum":20,"description":6819,"tags":6820,"thumbUrl":6821,"material":267,"size":6822,"collection":88,"collections":6823,"showCount":6741,"zanCount":541,"manualWeight":40,"mainColor":41},214728,"fang-huang-gong-wang-qiu-shan-tu-qian-wei-cheng-214728","仿黄公望秋山图","这幅浅绛色的溪山图是清代对黄公望笔法的典型再创作。",[7,24,51,27,73,154,74,75,82,79,81,278,279,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48650c798602818f548f4a9796a6aefe.jpg","92.3x43.5",[88],{"id":6825,"slug":6826,"title":6827,"dynasty":114,"author":310,"museum":132,"description":6828,"tags":6829,"thumbUrl":6833,"material":611,"size":907,"collection":122,"collections":6834,"showCount":6835,"zanCount":40,"manualWeight":40,"mainColor":479},287541,"xue-jing-han-lin-tu-fan-kuan-287541","雪景寒林图","描写北方冬日山川雪后壮美景象。图中通过群峰屏立，山势高耸，深谷寒柯间，萧寺掩映；古木结林，板桥寒泉，流水从远方迂回而下，峰峦沟壑间云气万千，真实生动地表现了秦陇山川雪后的磅礴气象。全画布置严整有序，笔墨质朴厚重。画家用“抢笔”笔法，密点攒簇，并参以短条子的笔道，来刻画北方山石的质感，使画面浑厚滋润，沉着典雅。",[7,24,497,277,73,1357,4240,3255,77,663,6830,6831,6832],"积雪","萧寒","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a0f8e8b9289ba14fc9ba90349f1b9a.jpg",[],118,{"id":6837,"slug":6838,"title":6839,"dynasty":46,"author":97,"museum":20,"description":2517,"tags":6840,"thumbUrl":6841,"material":267,"size":6842,"collection":122,"collections":6843,"showCount":6835,"zanCount":541,"manualWeight":40,"mainColor":41},287445,"qiao-ke-xiu-zhu-tu-yun-shou-ping-287445","乔柯修竹图",[7,24,51,52,277,27,1059,53,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2a4a5bac926514b0d81e6b64ae1eed.jpg","101.6x47.8",[],{"id":6845,"slug":6846,"title":6847,"dynasty":67,"author":181,"museum":151,"description":6848,"tags":6849,"thumbUrl":6850,"material":217,"size":122,"collection":36,"collections":6851,"showCount":6835,"zanCount":1065,"manualWeight":40,"mainColor":41},236158,"han-xin-xiang-zhou-yi-ming-236158","韩信像轴","原清宫内务府广储司茶库旧藏。茶库旧藏历代功臣像为轴二十有一",[7,24,51,52,26,27,28,4005,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1956b8da97887c124abf6a3d65a946c6.jpg",[36,90],{"id":6853,"slug":6854,"title":6855,"dynasty":114,"author":6856,"museum":132,"description":6857,"tags":6858,"thumbUrl":6859,"material":611,"size":6860,"collection":122,"collections":6861,"showCount":6835,"zanCount":11,"manualWeight":40,"mainColor":62},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。",[23,24,7,25,27,26,812,53,263,6252,136,890,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F980cc771075692f3c9ed45d7b13dcd33.jpg","33.2x185.4厘米",[],{"id":6863,"slug":6864,"title":6865,"dynasty":114,"author":878,"museum":20,"description":6866,"tags":6867,"thumbUrl":6868,"material":6869,"size":6870,"collection":175,"collections":6871,"showCount":6835,"zanCount":541,"manualWeight":40,"mainColor":62},221522,"xiao-xue-shan-xing-tu-ma-yuan-221522","晓雪山行图","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。",[23,24,7,51,277,27,73,28,4075,4240,647,278,1907,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068fd109904211180892e4da691f20e.jpg","卷，绢本，水墨","纵：27.6厘米，横：42.9厘米",[175,88,286],{"id":6873,"slug":6874,"title":6875,"dynasty":114,"author":6876,"museum":20,"description":6877,"tags":6878,"thumbUrl":6880,"material":27,"size":6881,"collection":175,"collections":6882,"showCount":6835,"zanCount":1065,"manualWeight":40,"mainColor":62},221456,"qie-zi-tu-juan-chen-ju-zhong-221456","茄子图卷","陈居中","陈居中（生卒年不详），南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年（1207年）为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。 虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[23,7,24,51,25,26,27,6879,265,515,1180,589],"茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a2515db414029768f29a0bf0dd13bc.jpg","35.8x 191.2",[175,106,90],{"id":6884,"slug":6885,"title":6886,"dynasty":114,"author":181,"museum":20,"description":6887,"tags":6888,"thumbUrl":6889,"material":34,"size":6890,"collection":88,"collections":6891,"showCount":6835,"zanCount":541,"manualWeight":40,"mainColor":479},218651,"chi-bi-tu-yi-ming-218651","赤壁图","此图边角式的构景，已演化为南宋画之面目，但笔墨的习惯与格式化，则透露出本幅的创作时间已晚至明朝了。本幅乃一叶扁舟为主景的局部山水。用锯齿描精绘漩流急浪，以回身仰望的苏东坡，来暗示出赤壁在画外的高耸。",[23,7,24,51,75,80,28,73,277,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee7fef708e8753e343d91346a2e744b.jpg","24x23.2cm",[88],{"id":6893,"slug":6894,"title":6895,"dynasty":114,"author":1787,"museum":132,"description":6896,"tags":6897,"thumbUrl":6898,"material":267,"size":6899,"collection":36,"collections":6900,"showCount":6835,"zanCount":541,"manualWeight":40,"mainColor":62},218285,"ji-gong-tu-mu-xi-218285","济公图","画面人物情态鲜活，右侧身影衣衫宽博，神态不羁却藏温煦，似正与周遭人语。周遭老幼或凝神谛听，或俯身趋近，动态毕现。笔墨简括灵动，线条如行云流水，衣衫褶皱寥寥数笔便见洒脱之姿，墨色浓淡相宜，衬出人物神情的真切。背景淡远，更显群像生动。于简约中见真意，随性之笔捕捉瞬间生活气息，又暗蕴禅家超脱与悲悯，笔墨间那份直击人心的生动与温暖，悄然流转。观者仿佛能听见席间笑语，触到那份不拘形骸的自在，于水墨晕染里，感受画中人物的鲜活与烟火气交织的独特韵味。",[7,24,51,277,510,28,278,301,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8931c719123b1f804d7302dcd90dfc65.jpg","26x29",[36],{"id":6902,"slug":6903,"title":6904,"dynasty":293,"author":644,"museum":132,"description":6905,"tags":6906,"thumbUrl":6907,"material":317,"size":907,"collection":122,"collections":6908,"showCount":6909,"zanCount":1065,"manualWeight":40,"mainColor":41},290911,"tong-lu-qing-qin-zhou-ni-zan-290911","桐露清琴轴","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[7,24,277,52,75,647,56,5079,74,118,1592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c25266acd1f692249a38a65cbc9d8fa.jpg",[],117,{"id":6911,"slug":6912,"title":6913,"dynasty":46,"author":97,"museum":195,"description":6914,"tags":6915,"thumbUrl":6917,"material":34,"size":846,"collection":122,"collections":6918,"showCount":6909,"zanCount":11,"manualWeight":40,"mainColor":41},219815,"hua-hui-shi-kai-8-yun-shou-ping-219815","花卉十开-8","此作以没骨法绘鸢尾，淡紫花瓣晕染柔润细腻，深浅紫韵自然晕开，将含露轻绽的娇柔情态尽致铺陈。叶片以汁绿分染，浅赭醒出叶筋，苍润舒展，与柔花形成刚柔互衬的清和意趣。\n\n左侧题书与花绘相映，诗画交融，逸韵悠然。全作弃墨线勾勒，以色造型，明洁秀润尽显清逸冶丽之风，将花草天趣与文人情思相融，淡冶之中自有静雅高致，是没骨花鸟的精妙佳构。",[7,24,51,100,101,27,198,6916],"鸢尾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff281040b68aa6c58226f8690b30d0dcf.jpg",[],{"id":6920,"slug":6921,"title":6922,"dynasty":114,"author":181,"museum":132,"description":6923,"tags":6924,"thumbUrl":6925,"material":34,"size":122,"collection":175,"collections":6926,"showCount":6909,"zanCount":40,"manualWeight":40,"mainColor":62},218401,"e-xi-tu-yi-ming-218401","鹅戏图","这幅画描绘了一个池塘，漂浮着如盘子般碧绿的荷叶，点缀着鲜红的荷花，四只白天鹅在水中嬉戏，一只领头，两只尾随，最后一只正在奋力追赶。\n这幅画色彩淡雅，薄而透明，色彩与水墨相得益彰，整体上没有浓墨重彩，导致前景的四只白天鹅特别明亮。",[23,24,7,768,26,27,4313,54,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4cd89f1d562c9fdb8d729cb3008bbc.jpg",[175],{"id":6928,"slug":6929,"title":6930,"dynasty":18,"author":5250,"museum":132,"description":6931,"tags":6932,"thumbUrl":6933,"material":317,"size":907,"collection":122,"collections":6934,"showCount":6935,"zanCount":1065,"manualWeight":40,"mainColor":62},290143,"yao-miao-san-tu-tu-huang-ju-cai-290143","药苗三兔图","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[24,7,25,26,27,102,2106,84,198,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb438f57aef3d2f318cc466e59d223e48.jpg",[],116,{"id":6937,"slug":6938,"title":6939,"dynasty":67,"author":619,"museum":151,"description":6940,"tags":6941,"thumbUrl":6944,"material":453,"size":6945,"collection":122,"collections":6946,"showCount":6935,"zanCount":1065,"manualWeight":40,"mainColor":41},234896,"tong-yin-wan-he-tu-zhou-shen-zhou-234896","桐荫玩鹤图轴","北京故宫博物院建院90周年石渠宝笈特展（2015.9.8）首次释出，之前仅见于出版物。具体规格不详。网上找不到更多的资料。从画面上看，乾隆曾经两度题跋，可见对此画之钟爱。绘画风格属于沈周细笔青绿山水一路，表现的是文人雅士向往的闲适生活。\n沈周(1427-1509)，明代书画家。字启南，号石田、白石翁、玉田生、有竹居主人等。长洲(今江苏苏州)人。不应科举，专事诗文、书画，是明代中期文人画吴派的开创者，与文徵明、唐寅、仇英并称明四家。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。\n沈周在元明以来文人画领域有承前启后的作用。他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。 在绘画方法上，沈周早年承受家学，兼师杜琼。后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。沈周中年时成为画坛领袖，技法严谨秀丽，用笔沉着稳练，内藏筋骨。晚年时性情开朗，笔墨粗简豪放，气势雄浑。纵观沈周之绘画，技法全面，功力浑厚，在师宋元之法的基础上有自己的创造，进一步发展了文人水墨山水、花鸟画的表现技法，被誉为吴门画派之领袖。",[24,51,7,52,277,27,73,75,6942,138,278,82,28,280,6943],"桐树","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1190c5847d26b513d9f435eb7b973.jpg","纵123.8cm，横62.6cm",[],{"id":6948,"slug":6949,"title":4257,"dynasty":114,"author":4258,"museum":132,"description":6950,"tags":6951,"thumbUrl":6960,"material":122,"size":122,"collection":122,"collections":6961,"showCount":6935,"zanCount":40,"manualWeight":40,"mainColor":62},227394,"qing-ming-shang-he-tu-juan-zhang-ze-duan-227394","《清明上河图》卷，北宋，张择端作，绢本，淡设色，纵24.8厘米，横528厘米。\n《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。\n后幅有金张著、明吴宽等13家题记，钤96方印。\n《清河书画舫》、《庚子销夏记》、《式古堂书画记》等书著录。",[7,24,51,25,6952,6190,6953,6954,6955,3036,857,3970,6956,1602,1906,5060,6957,6958,6959,863,3969],"淡设色","散点透视","汴河","虹桥","漕船","市井人物","市集","城市生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6d5b509133b871c36ef9d9b4df3ba5.jpg",[],{"id":6963,"slug":6964,"title":6965,"dynasty":46,"author":6966,"museum":151,"description":6967,"tags":6968,"thumbUrl":6973,"material":6974,"size":6975,"collection":122,"collections":6976,"showCount":6935,"zanCount":416,"manualWeight":40,"mainColor":479},223246,"wu-liang-shou-fu-tu-ding-guan-peng-223246","无量寿佛图","丁观鹏","祥云朵朵，周围站立四大金刚及佛祖两大弟子伽叶、阿难，前有女信徒合掌跪拜，旁立哼、哈二将。线条工细，佛像脸部、手部及莲座，均用晕染法，显出明暗凹凸之感。以''钉头鼠尾''描表现的衣纹于规整中又平添几分洒脱。采用''勾勒填金''的方式，以泥金为墨绘在瓷青纸上，使画面色泽深重雅丽。",[23,526,24,7,26,6969,27,678,28,6970,6971,6972,77,2042,74],"描金","佛","弟子","护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ded1bcb112cae3a4d25a8535de94a4.jpg","瓷青纸金画","纵99．3厘米，横61．9厘米",[],{"id":6978,"slug":6979,"title":6980,"dynasty":114,"author":6856,"museum":1031,"description":6981,"tags":6982,"thumbUrl":6983,"material":34,"size":6984,"collection":88,"collections":6985,"showCount":6935,"zanCount":541,"manualWeight":40,"mainColor":41},218036,"xue-shan-xing-lv-tu-liang-kai-218036","雪山行旅图","宋朝时期的画家梁楷是一位杰出的画家，其中最著名的作品之一就是《雪山行旅图》。\n\n《雪山行旅图》是一幅山水画，描绘的是一群人在雪山中旅行的场景。图中的人物用简单的线条勾勒出来，而山川、林木则是用浓厚的墨色勾勒出来的，给人以山水画的秀美感受。\n\n在《雪山行旅图》中，梁楷用笔触简练，表现出了雪山的壮丽景色。图中的人物虽然简练，却也能够传达出自然与人斗争的感觉。整幅画给人以清新、舒适的感觉，让人仿佛置身于山间，感受到大自然的魅力。\n\n《雪山行旅图》在宋朝时期是一幅非常具有代表性的作品，因为它体现了宋朝时期山水画的特点。梁楷在这幅画中巧妙地融合了中国传统的山水画风格与西方的透视画法，使得这幅画在当时颇受欢迎。目前，《雪山行旅图》还是许多博物馆和美术馆的珍藏之作。",[7,24,51,277,73,27,75,4240,28,215,647,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b55a72db1829645297c286ba7aa49e.jpg","24.3x25.7cm",[88],{"id":6987,"slug":6988,"title":6989,"dynasty":114,"author":6625,"museum":132,"description":6990,"tags":6991,"thumbUrl":6992,"material":317,"size":907,"collection":122,"collections":6993,"showCount":6994,"zanCount":40,"manualWeight":40,"mainColor":41},289110,"zhu-jiu-tu-li-an-zhong-289110","竹鸠图","李安忠，南宋画家。钱塘（今浙江杭州）人，生卒年不详。宋徽宗宣和（1119-1125）时为画院祗候，历官成忠郎。南渡后绍兴（1131-1162）间复职画院，赐金带。",[7,24,768,102,26,27,84,53,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf7aff72457c41858438cb9ffdc6b09.jpg",[],115,{"id":6996,"slug":6997,"title":6998,"dynasty":114,"author":181,"museum":151,"description":6999,"tags":7000,"thumbUrl":7001,"material":156,"size":7002,"collection":122,"collections":7003,"showCount":6994,"zanCount":1065,"manualWeight":40,"mainColor":62},233199,"bai-tou-cong-zhu-tu-ye-yi-ming-233199","白头丛竹图页","图绘小竹数竿，清翠嫩绿，两只白头鹎栖于枝头，一只低头梳理羽毛，一只遥视前方。竹用双钩填彩画法，笔墨缜密严谨，色调沉着。山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有毛绒的质感。",[24,7,51,768,26,27,102,53,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e20b9236c841784d4114a5d6f05f27.jpg","纵25.4厘米，横28.9厘米",[],{"id":7005,"slug":7006,"title":7007,"dynasty":114,"author":460,"museum":132,"description":7008,"tags":7009,"thumbUrl":7010,"material":122,"size":122,"collection":122,"collections":7011,"showCount":6994,"zanCount":1065,"manualWeight":40,"mainColor":62},227600,"xi-shan-qiu-ji-tu-ju-bu-yi-guo-xi-227600","溪山秋霁图（局部一）","许道宁，中国北宋画家。生卒年不详，活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅画山水，师法李成而能自成一家之体。\n\n早年在汴京（今河南开封）以卖药为生，以画吸引顾客，随药送画，逐渐得名，公卿士大夫争相延请。许氏长于画林木、平远、野水三种景色，晚年笔法简快，所画峰峦树木，峭拔劲硬。\n\n被认为是继李成、范宽之后山水画第一人。米芾和黄庭坚等大家都对其画作极为赞赏。许道宁性格豪放，嗜酒如命，人号“醉许”，黄庭坚更是曾在《答王道济寺丞观许道宁山水图》诗中描绘了许道宁醉中作画的神情举止",[23,7,24,25,277,73,75,82,279,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d640d86977ce4b9c75fce90e0ebd9d.jpg",[],{"id":7013,"slug":7014,"title":7015,"dynasty":114,"author":7016,"museum":132,"description":7017,"tags":7018,"thumbUrl":7019,"material":122,"size":122,"collection":122,"collections":7020,"showCount":6994,"zanCount":1065,"manualWeight":40,"mainColor":41},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[23,7,24,51,25,510,277,73,75,28,80,81,84,82,281,77,79,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],{"id":7022,"slug":7023,"title":7024,"dynasty":46,"author":7025,"museum":132,"description":7026,"tags":7027,"thumbUrl":7028,"material":611,"size":7029,"collection":88,"collections":7030,"showCount":6994,"zanCount":541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疾步狂呼，张着脖子歇斯底里的模样。 画家把六祖藐视宗教旧传统时这种玩世不恭的狂态，用干枯的焦墨勾线表现得淋漓尽致。画面笔触方折细劲，僧衣用线简括削劲，松针、树枝用笔爽利干净，眉眼五官和经卷则以淡墨略作勾画，六祖慧能撕经时狂颠和玩世不恭的神态已跃然纸上。",[23,24,51,7,52,277,7058,28,647,678],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8195d6c6a142b8cfd17fc7dbb04a9365.jpg","70x30.3厘米",[286],{"id":7063,"slug":7064,"title":7065,"dynasty":114,"author":394,"museum":132,"description":7066,"tags":7067,"thumbUrl":7068,"material":122,"size":122,"collection":122,"collections":7069,"showCount":7070,"zanCount":40,"manualWeight":40,"mainColor":62},227964,"pi-pa-xiu-yan-tu-tuan-shan-ye-wu-bing-227964","枇杷绣眼图团扇页","画面中枇杷垂枝，圆实饱满的果子晕染出暖黄熟色，果皮绒毛似可触感，叶片正反层次分明，筋脉勾勒细致，一片残叶添了自然错落的意趣。绣眼鸟栖于枝桠，墨绿羽色莹润光泽，身形小巧灵动，垂首望向满枝鲜果，将禽鸟的娇憨馋态刻画入微。\n\n整幅工笔细腻写实，设色雅致柔和，疏密构图恰到好处，静美的果枝与鲜活的禽鸟相映，定格了初夏果熟禽来的清逸小景，把藏在日常里的诗意娓娓道来，淡而愈真，静中生趣。",[768,26,27,102,451,84,24,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7715eb3815a372e3b5e1f25007e64c6c.jpg",[],114,{"id":7072,"slug":7073,"title":7074,"dynasty":18,"author":5250,"museum":132,"description":7075,"tags":7076,"thumbUrl":7077,"material":122,"size":122,"collection":122,"collections":7078,"showCount":7070,"zanCount":11,"manualWeight":40,"mainColor":41},227547,"shi-liu-tu-ye-huang-ju-cai-227547","石榴图页","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。擅绘花竹禽鸟，精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[23,7,24,51,100,27,26,102,1093,265,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3694de77f1763de9903d1d4aa0cf2982.jpg",[],{"id":7080,"slug":7081,"title":7082,"dynasty":293,"author":7083,"museum":365,"description":7084,"tags":7085,"thumbUrl":7087,"material":7088,"size":7089,"collection":106,"collections":7090,"showCount":7070,"zanCount":40,"manualWeight":40,"mainColor":62},221738,"jia-shang-ying-tu-xu-ze-221738","架上鹰图","徐泽","画面中一只矫健的雄鹰站于鹰架之上，两只脚由绳子捆绑，这只鹰虽失去翱翔天空的自由但仍有鸟中之王的戾气，羽毛勾画细致，体现极好的层次感，架子上的红色的横梁色彩艳丽装饰华丽，图案搭配带有一种宫廷气息。",[23,24,51,7,52,26,27,472,1820,7086],"架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faefa9aab2caa303b4a77c9061c22fdcf.jpg","绢本设色.","51.9cmx78.6cm.",[106,90],{"id":7092,"slug":7093,"title":7094,"dynasty":46,"author":97,"museum":195,"description":7095,"tags":7096,"thumbUrl":7097,"material":34,"size":846,"collection":122,"collections":7098,"showCount":7070,"zanCount":541,"manualWeight":40,"mainColor":41},219820,"hua-hui-shi-kai-3-yun-shou-ping-219820","花卉十开-3","以没骨技法晕染桃花，枝桠清疏舒展，粉瓣柔妍动人。花色由深粉晕向柔白，过渡柔和自然，将桃花初绽的缱绻柔态尽显，仿佛携带着春日融融暖意。嫩绿叶芽点缀枝间，与粉花相映，愈衬花色明丽清新，未用轮廓勾勒却形神兼备。\n\n左侧题诗与右侧钤印呼应，诗画交融，将桃花不拟梅之傲雪、自有柔香引蝶的雅致品格点明，文人意趣跃然纸上。整幅画作清润秀雅，尽显淡逸之风，将春日桃花的娇柔定格，雅致脱俗，尽显没骨花鸟的动人韵味。",[24,7,51,100,101,27,102,198,340,339,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff19bf3a15b42d07ec373376a6522b8c.jpg",[],{"id":7100,"slug":7101,"title":7102,"dynasty":674,"author":3065,"museum":132,"description":7103,"tags":7104,"thumbUrl":7107,"material":317,"size":907,"collection":122,"collections":7108,"showCount":7109,"zanCount":541,"manualWeight":40,"mainColor":62},290156,"liu-li-tang-ren-wu-tu-zhou-fang-290156","琉璃堂人物图","《琉璃堂人物图》上一共画有11人，其中有僧1人，文士7人，侍者3人。该画作描绘唐朝诗人王昌龄与其诗友在江宁县丞任所琉璃堂厅前聚会吟唱的故事。该画作色彩淡雅，格调清逸，衣纹线描顿挫转折，做服“战笔”描，与今传《重屏会棋图》用笔一致。",[23,7,24,25,28,27,26,2825,7105,7106,118,74],"书房","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12046a5b0dcd14509fbc2516cadb18b.jpg",[],113,{"id":7111,"slug":7112,"title":7113,"dynasty":67,"author":1139,"museum":132,"description":7114,"tags":7115,"thumbUrl":7116,"material":317,"size":907,"collection":122,"collections":7117,"showCount":7109,"zanCount":541,"manualWeight":40,"mainColor":41},287867,"qun-ying-tu-xiu-tu-juan-quan-juan-zhou-zhi-mian-287867","群英吐秀图卷全卷","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,7,24,25,27,26,102,383,54,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9376170452f4611e36c408f82f4d059d.jpg",[],{"id":7119,"slug":7120,"title":7121,"dynasty":114,"author":259,"museum":1417,"description":7122,"tags":7123,"thumbUrl":7124,"material":7125,"size":7126,"collection":175,"collections":7127,"showCount":7109,"zanCount":11,"manualWeight":40,"mainColor":62},221298,"zhu-chong-tu-zhou-zhao-chang-221298","竹虫图轴","此图画幽篁疏影，双钩填彩，以色之而飞，又绘天牛、螽蜥，无不刻画入微，瓜赞，相阿弥题签，天室和尚题跋。浓淡来显叶之向背、竿之盘曲。枝叶饱满， 叶果实又仿效徐崇嗣的“没骨”画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,7,24,51,52,26,27,102,53,200,248,263,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caf6fb1a56d046b3a504e74b2fa9ef8.jpg","轴，绢本设色","纵99 4厘米，横54 2厘米",[175,90,2605],{"id":7129,"slug":7130,"title":7131,"dynasty":114,"author":7132,"museum":3286,"description":7133,"tags":7134,"thumbUrl":7135,"material":34,"size":7136,"collection":175,"collections":7137,"showCount":7109,"zanCount":11,"manualWeight":40,"mainColor":62},220122,"shi-liu-luo-han-tu-di-er-zun-zhe-jin-da-shou-220122","十六罗汉图-第二尊者","金大受","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,7,24,51,52,27,26,678,28,2042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3ad92414ef1bcdc9e61d67eae92da0.jpg","118.8×51.7cm",[175,36],{"id":7139,"slug":7140,"title":7141,"dynasty":46,"author":97,"museum":195,"description":7142,"tags":7143,"thumbUrl":7144,"material":34,"size":846,"collection":122,"collections":7145,"showCount":7109,"zanCount":541,"manualWeight":40,"mainColor":41},219816,"hua-hui-shi-kai-7-yun-shou-ping-219816","花卉十开-7","这幅没骨花卉以柔淡晕染写就虞美人，花瓣由深粉向浅肉色自然过渡，将盛放时的娇慵舒展尽显无遗，薄如蝉翼的质感仿佛带着晨露的温润。叶片以嫩绿晕染，叶脉细劲清透，鲜活的生机随枝蔓漫溢开来。\n\n整幅画作摒弃勾勒轮廓的笔线，纯以色泽铺陈造型，色调雅净柔和，尽显空灵秀润之美。不着一笔多余的浓墨重彩，只以浅淡层次烘托出花草的天然意趣，将江南文人的清雅诗意融于尺幅间，仿佛能窥见晚春庭中花木的恬然风姿，予人静穆悠然的隽永观感。",[7,24,27,101,102,100,198,5222,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23945fb0fe4a99f23fff1b0f01143428.jpg",[],{"id":7147,"slug":7148,"title":1127,"dynasty":67,"author":7149,"museum":151,"description":7150,"tags":7151,"thumbUrl":7152,"material":34,"size":7153,"collection":88,"collections":7154,"showCount":7109,"zanCount":1065,"manualWeight":40,"mainColor":41},218515,"shan-shui-tu-du-qiong-218515","杜琼","画幅右上画家自题：“余尝写此境为有趣，适陈孟贤、郑德辉二公相访见之。孟贤曰，此幅可，郑公盍求诸？德辉略无健羡之色。孟贤强之，乃启言，予不敢靳也。德辉廉静寡欲，于物无所嗜好，使王维、吴道玄复生亦无所爱，此其所以能养其德也。夫以心之玩好，乃学者之病，观于德辉，则有以警于人人哉！景泰五年甲戌岁上元日，杜琼书。”题跋前钤白文“古心”、朱文“旌节名门”印，题跋后钤朱文“杜氏用嘉”、白文“东原耕者”、朱文“持敬观理”印。画面右下方有白文“陶情写意”印。\n此画作于明景泰五年（1454年），杜琼时年59岁。图中山峰耸峙，层峦迭嶂，弯曲的河流将画面中下部的山峰隔为两段，画面右下山谷林木间有山庄草亭，一文士正在草亭中读书；桥上有一拄杖文士携童子向山庄走来。该幅构图饱满，山石用圆润细密的披麻皴，浓墨点苔，系画家仿元王蒙风格而出新意的代表作之一。杜琼学王蒙颇有心得，他在52岁时作的《萝萱堂水墨山水》中就自题云：“余学黄鹤（王蒙号）最精。”顾复评价他于正统年间所作的《对泉图》时也称他“学叔明（王蒙字）能脱塞实之习，自然高雅”。",[23,7,24,51,52,277,27,73,75,78,79,82,278,28,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15565c9a8c4a1de8ad94b72defc1db1d.jpg","纵122.4厘米，横38.9厘米",[88],{"id":7156,"slug":7157,"title":7158,"dynasty":67,"author":68,"museum":20,"description":7159,"tags":7160,"thumbUrl":7162,"material":34,"size":7163,"collection":88,"collections":7164,"showCount":7165,"zanCount":11,"manualWeight":40,"mainColor":62},222204,"qiu-jiang-dai-du-zhou-chou-ying-222204","秋江待渡轴","此幅用笔极工，盖实父着意之作也。画未署款，惟石角水陬，分钤三印。竹树双钩，如唐人小楷，笔笔尽法。山石带皴带砍，要与斧劈为近，重而不滞，轻而不浮。点景人物，尤尽传神之妙。有项元汴，安岐藏印。",[23,7,24,51,52,27,26,73,75,28,3426,80,7161,278,82,1282],"秋树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d22204dd46057a8ac8e4dd002a40813.jpg","155.4x133.4公分",[88,90],112,{"id":7167,"slug":7168,"title":7169,"dynasty":114,"author":7170,"museum":151,"description":7171,"tags":7172,"thumbUrl":7173,"material":7174,"size":7175,"collection":122,"collections":7176,"showCount":7165,"zanCount":40,"manualWeight":40,"mainColor":62},221675,"wan-song-jin-que-tu-juan-quan-juan-zhao-bo-su-221675","万松金阙图卷全卷","赵伯骕","该图画江南的湖畔松岭和楼阁，松树茂密，山巅蜿蜒，上有琼楼金阙。\n该图属青绿山水，笔法清细繁复，格调柔丽雅洁，显示出南宋皇家贵胄的审美情趣。\n该图的出现，标志着宋代山水画的表现对象从北方雄浑的山川转移到江南的青山绿水。\n图绘南宋都城临安郊外风凰山一带景色碧波万顷，红日初升，茂林长松，惊起翔鹤飞鸿，川间琼楼金阙隐约可见。\n该图尾纸有元代赵孟頫、倪瓒、张绅题跋。\n赵伯骕唯一存世的画迹是《万松金阙图》卷，幅上虽无作者款印，但后纸有宋宗室后裔元代赵孟頫的鉴定题记，将此作定为赵伯骕的奉敕之作。\n图中所画是临安皇城之北的万松岭，“金阙”是特指皇帝的宫殿。\n绍兴八年（118年），赵构定都临安，以行宫为基础，东起凤山门，西至凤凰山麓，南抵笤帚湾，北达万松岭，在这方圆18里的范围内营造了南宋皇朝宫殿。\n万松岭相当于宫城的后花园，在那里，有供皇室四季游玩的亭台楼阁，如夏季可在翠寒宫避暑。\n冬季可在明远楼避寒，中秋可在依桂阁赏月，还有专供醉卧用的钟美堂……。\n赵伯骕所绘的“万松”和“金阙”正是此处，画中的金阙周围有许多仙鹤和瑞禽，皇家宫阚掩映在万松之中，在万松的尽头，是钱塘江畔，在潮起潮落之后，是一片宁静，一轮初升的太阳映照山川，其画意在于祷祝宋室江山如松林常青、似日月永年。\n赵伯骕是一位富有艺术情感的画家，他认为： “画家类能具其相貌，但吾辈胸次。\n自应有一种风规，俾神气悠然，韵味清远，不为物态所拘，便有佳处。 况吾所存，无媚于世而能合于众情者，要在悟此。\n”所以，这是一位皇族画家在受到皇帝恩典后发自内心的无限感激和祈祝之后创作的绘画。\n不过，也有学者认为，《万松金阙图》主要描绘了平江府天庆观及其周围的景致，图中金阙（楼阁）是天庆观内三清殿等为皇家祈福的道教圣殿，是一幅粉饰太平、歌颂孝宗赵昚的绘画作品。\n全图的笔法清细随意，并参用了一些意笔，格调柔丽雅洁，毫无匠气，意味着南宋青绿山水画的崛起。\n这件山水长卷的超越前人之处在于摆脱了自六朝以来青绿山水以钩廓填色的艺匠手法，有机地融进了一些文人意笔。\n使两者巧妙地糅合为一体，画家大量地运用了墨点，横点联树成片，竖点作青苔，手法较为自由随意，这在当时是极富有创意的笔墨技巧。\n山间布置几处“金阙”建筑，用没骨法涂金敷色而成，突出于万松之表。\n几处建筑虽只露顶部，仍可见其造型的准确。\n近景的山石用皴笔为之，浑厚凝重，透视感强。\n此图同时还吸收了马和之等文人画家的笔墨新形式、新趣味，形成了笔法清细繁复、格调清新秀雅的新风格。\n此图开卷作海天杳渺，月明霞青，高松数株挺拔而立，群鹤翔集。\n海岸延伸至海中的礁石嶙峋黝黑，海浪平静起伏。\n坡岸上绿草成茵，围绕松树有一片桃林，红花点点相映其间，仅此开卷一段便有无穷景致。\n起伏层叠的峰岗构成了画面主体，或远或近，或平或伏，皆郁郁葱葱。\n《万松金阙图》显示了赵伯骕在继承传统和改革创新的成功尝试：构图和设色继承唐代李思训《江帆楼阁图》的绘画传统，但又有所突破。\n因此，《万松金阙图》可以视为宋代青绿山水从追求北方的雄浑之美向江南水乡清雅之美转变的一件典型作品，为其后元代文人山水画的发展开创了新局面。\n从该图钤印可知，该图历经清梁清标、安岐、乾隆帝、宣统帝收藏，民国初年被溥仪盗出宫外，新中国成立后被国家收购，195年由文化部文物局（今国家文物局）拨交北京故宫博物院。\n该图曾经《墨缘汇观》、《大观录》著录。\n217年9月15日至12月14日，《万松金阙图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯骕（1124～1182） ，南宋宗室，寄居平江府（治今江苏苏州），字希远。\n燕懿王赵德昭后裔。\n绍兴初，荫补入仕，为承节郎、监绍兴府馀姚县酒税。\n历任侍卫马军司干办公事、浙西安抚司干办官。\n隆兴二年（1164），擢浙西兵马副部监兼职德寿宫。\n进浙西兵马钤辖。\n乾道七年（1171），副中书舍人赵雄出使金朝，贺金主生日。\n还朝，自武翼郎超转武翼大夫，俄升浙西副总管。\n淳熙中，累迁浙西提点刑狱，官终武功大夫、和州防御使。\n善画山水花木，傅染轻盈，颇有生意。\n作品有《万松金阙图》、《仙峤白雪图》等。",[23,24,7,25,72,27,26,73,75,609,77,278,279,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1377606a06e9e5e04495fcfb385c4f1.jpg","绢本青绿设色","纵27.7厘米，横136厘米",[],{"id":7178,"slug":7179,"title":7180,"dynasty":67,"author":5192,"museum":20,"description":7181,"tags":7182,"thumbUrl":7184,"material":34,"size":7185,"collection":90,"collections":7186,"showCount":7165,"zanCount":40,"manualWeight":40,"mainColor":41},219463,"zhu-bao-ping-an-tu-lu-zhi-219463","竹报平安图","湖石朴拙矗立，青竹斜曳，叶叶清劲如裁，凌霄花攀缠绽蓝，晕染出柔润鲜活。三只鹌鹑姿态各异，或低首啄食细草，或两两偎依小憩，羽色晕染细腻，绒毛细密宛然。另有枯残秋叶秋意澹澹，衬出庭中一隅的幽寂生机。\n\n此作工写相融，设色雅致恬淡，淡赭底晕开古雅氛围。以幽竹暗合平安意涵，将清秋闲景揉入温润期许，笔致秀逸静美，尽显写生的雅致风神。",[7,24,51,52,27,26,53,136,384,514,7183,589,74],"枯叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776f1def841c12e7af55aa92f83b859e.jpg","117.9x43.1",[90],{"id":7188,"slug":7189,"title":7190,"dynasty":46,"author":2336,"museum":132,"description":4642,"tags":7191,"thumbUrl":7193,"material":317,"size":907,"collection":122,"collections":7194,"showCount":7195,"zanCount":1065,"manualWeight":40,"mainColor":41},290181,"hua-hui-si-tiao-ping-wu-chang-shuo-290181","花卉四条屏",[23,24,7,51,52,27,277,102,7192,118,74,2129],"寿桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9dc40faec11aee3f097844ed158d77.jpg",[],111,{"id":7197,"slug":7198,"title":7199,"dynasty":293,"author":583,"museum":132,"description":7200,"tags":7201,"thumbUrl":7202,"material":317,"size":907,"collection":122,"collections":7203,"showCount":7204,"zanCount":1065,"manualWeight":40,"mainColor":41},290082,"fu-chun-da-ling-tu-huang-gong-wang-290082","富春大岭图","图中画富春山重峦叠嶂，山巅晓雾迷遮，若隐若现。《富春大岭图》笔墨简括，布势雄奇，具有明显的荆浩、关仝的笔墨遗意，显然参入了荆浩、关仝的笔法，并有意识与董、巨的笔墨意境加以融合，用笔方圆兼备，山石稍作皴擦。",[7,24,51,277,75,52,78,425,82,281,73,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c89c80e112fc4a8caf0c405bdcd7387.jpg",[],110,{"id":7206,"slug":7207,"title":7208,"dynasty":46,"author":1344,"museum":132,"description":1345,"tags":7209,"thumbUrl":7210,"material":317,"size":907,"collection":122,"collections":7211,"showCount":7204,"zanCount":40,"manualWeight":40,"mainColor":41},287422,"ke-qi-xian-sheng-hai-tang-shi-yi-tu-zhou-zhu-da-287422","恪齐先生海棠诗意图轴",[7,24,51,52,277,102,1701,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e517c4537b840a0530121a85068caae.jpg",[],{"id":7213,"slug":7214,"title":7215,"dynasty":46,"author":7216,"museum":132,"description":7217,"tags":7218,"thumbUrl":7219,"material":122,"size":122,"collection":122,"collections":7220,"showCount":7204,"zanCount":1065,"manualWeight":40,"mainColor":62},228958,"lan-hua-yue-ji-tu-jiang-ting-xi-228958","兰花月季图","蒋廷锡","此作用笔兼工带写，右方湖石以水墨晕染，苍朴温润，月季柔枝缠石而上，粉花轻绽，翠叶扶疏，娇妍鲜活。左侧兰叶舒展有姿，柔韧挺拔，幽兰隐于草间，清寂出尘。\n\n设色淡雅克制，月季粉柔、兰叶苍绿与湖石墨色相互调和，把花木的柔媚与清逸平衡得当。搭配题诗，诗画映合，将春日幽隅的清雅小景晕染出温婉意趣，既得院体花鸟的细腻秀润，又饱含文人写意的疏朗书卷气，把草木闲情与文心雅意相融，尽显雅致幽隽的古典情致。",[23,7,24,51,52,27,26,243,241,278,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7b6a2a772a0f5b748d8b4c9f8b7624.jpg",[],{"id":7222,"slug":7223,"title":7224,"dynasty":46,"author":2636,"museum":20,"description":7225,"tags":7226,"thumbUrl":7227,"material":156,"size":7228,"collection":106,"collections":7229,"showCount":7204,"zanCount":1065,"manualWeight":40,"mainColor":41},222778,"bai-gu-tu-lang-shi-ning-222778","白鹘图","乾隆十六年，郎世宁六十二岁作山涧里，一湾小瀑，松干横空而出，一白鹘踏枝上，似闻声惊起。画白鹘以白粉精细描绘，松石配景全然中国写意笔墨，清代白鹘图为大学士忠勇公傅恒所进。郎世宁六十二岁作。\n图中白鹘栖息于涧松之上,于传统画法中,参用光影透视,遂使画面突出于绢上 落款：乾隆十六年间五月初十日大学士忠勇公傅恒进百鹘一架，命海西臣郎世宁绘图。",[23,7,24,51,26,27,84,609,278,313,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa618ea27a0bd8af02383347a6e3a0f11.jpg","纵121.7×横64公分",[106,90],{"id":7231,"slug":7232,"title":7233,"dynasty":114,"author":556,"museum":395,"description":7234,"tags":7235,"thumbUrl":7236,"material":34,"size":122,"collection":88,"collections":7237,"showCount":7204,"zanCount":1065,"manualWeight":40,"mainColor":62},219476,"lin-quan-gao-yi-tu-li-tang-219476","林泉高逸图","此作以苍古之笔写林泉幽居，虬松蟠曲如铁，山石以斧劈皴挥就，棱角硬朗，带着雄浑峭拔的山野之气。林间水雾暗生，衬出空山清寂。静坐松下的高士，衣纹简括悠然，侍立童子低眉敛目，一动一静，将林下雅逸的襟怀铺陈开来。\n笔墨老辣洗练，以浓淡墨色晕染出山林层次，把文人寄情丘壑、放意林泉的隐逸高致，融在萧寒清旷的景致之中，尽显静谧淡远的林下风流。",[24,51,7,75,28,1059,2785,79,56,73,277,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7964575762451efa5aa4d3c00822997d.jpg",[88],{"id":7239,"slug":7240,"title":7241,"dynasty":114,"author":448,"museum":195,"description":7242,"tags":7243,"thumbUrl":7244,"material":34,"size":7245,"collection":106,"collections":7246,"showCount":7204,"zanCount":40,"manualWeight":40,"mainColor":62},219281,"mei-zhu-han-qin-tu-lin-chun-219281","梅竹寒禽图","《梅竹寒禽图》在不满方尺的画面上截取梅竹支干的局部，表现了梅树的老硬和竹簧丛生的气势。画中有一寒莺栖立梅梢，处于此画的显著地位，禽鸟的刻划柔和。在技法上梅枝用笔苍劲，竹枝叶勾撇笔力坚挺，从而使整体画法显得刚柔相济。画上有楷书林椿题款，是为难得的宋代有款之迹。",[7,24,51,768,102,26,27,383,53,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab319fa906b174b4282f08d0d10130a.jpg","纵24.8厘米，横26.9厘米",[106],{"id":7248,"slug":7249,"title":7250,"dynasty":114,"author":878,"museum":395,"description":7251,"tags":7252,"thumbUrl":7255,"material":34,"size":7256,"collection":88,"collections":7257,"showCount":7204,"zanCount":11,"manualWeight":40,"mainColor":62},218579,"ye-chuan-dai-du-tu-ma-yuan-218579","野川待渡图","烟波浩渺的水面上，淡墨晕染的远山若隐若现，与空濛的天际相融，漾开无尽悠远。近岸林木苍劲，枝干盘曲如虬，浓墨点染的叶丛间透着生机。岸边人影错落，或伫立待渡，或舟中轻楫，动静相宜间，藏着几分江南水乡的日常意趣。画面以边角构图见阔远，留白处藏万千思绪，将清寂与悠远凝于绢素，尽显宋人山水的空灵之境，仿佛能闻得水面风吟，见得旅人归心。",[7,24,51,277,27,73,7253,75,663,28,80,82,648,281,7254,6147],"边角山水","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa886c296b26cb11f3bfc2ae180ea3d33.jpg","27x94.5cm",[88],{"id":7259,"slug":7260,"title":1924,"dynasty":114,"author":878,"museum":132,"description":7261,"tags":7262,"thumbUrl":7263,"material":34,"size":122,"collection":106,"collections":7264,"showCount":7204,"zanCount":1065,"manualWeight":40,"mainColor":62},218548,"han-ya-tu-ma-yuan-218548","枯枝虬曲如铁线，从绢本深褐底色中挣出清劲骨力，枝桠间寒鸦三两：或敛翅栖于梢头，墨羽浓淡晕染出绒绒暖意；或振翅欲飞，翅尖的墨痕似带起微凉的风。远处坡岸简笔勾勒，留白处恍若覆雪，荒寒之意漫开。\n\n马远以边角之景造阔远之境，此图疏枝横斜间，寒鸦的灵动破开冬日沉寂。线条挺健如老松，墨韵含蓄似淡诗，将霜天清寂与生命鲜活揉作一处。展卷时，仿佛能嗅到冷冽空气里的松针香，又被寒鸦轻啼牵起一丝暖意——宋人笔墨的雅致与深情，尽在这方寸绢素中流转。",[23,7,24,51,100,277,73,84,2785,1059,56,75,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaea5df84a8c9f6ef5813d9284515ec0.jpg",[106],{"id":7266,"slug":7267,"title":7268,"dynasty":67,"author":619,"museum":20,"description":2199,"tags":7269,"thumbUrl":7272,"material":666,"size":7273,"collection":122,"collections":7274,"showCount":7275,"zanCount":541,"manualWeight":40,"mainColor":41},290891,"zhi-lan-yu-shu-zhou-shen-zhou-290891","芝兰玉树轴",[7,24,51,52,277,102,56,228,7270,7271,118,74],"灵芝","玉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d8db4644e33e6d7d4ebeeb78d46c3f.jpg","135.1x55.8",[],109,{"id":7277,"slug":7278,"title":731,"dynasty":46,"author":1452,"museum":132,"description":2591,"tags":7279,"thumbUrl":7282,"material":317,"size":907,"collection":122,"collections":7283,"showCount":7275,"zanCount":40,"manualWeight":40,"mainColor":41},288272,"sui-chao-tu-zou-yi-gui-288272",[24,7,52,51,277,27,26,102,383,697,7280,55,7281,74,118],"蟹","盆景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b31be5ac75272346afebc37aa3b5b24.jpg",[],{"id":7285,"slug":7286,"title":7287,"dynasty":67,"author":181,"museum":132,"description":7288,"tags":7289,"thumbUrl":7290,"material":317,"size":907,"collection":122,"collections":7291,"showCount":7275,"zanCount":40,"manualWeight":40,"mainColor":41},287980,"fang-chou-ying-shui-mo-ren-wu-hua-yi-ming-287980","仿仇英水墨人物画","整卷以水墨铺展平远丘林，清劲线条勾勒层叠山峦与苍古林木，皴染兼具，带着雅致工秀的笔墨意趣。坡田间细笔描摹田垄肌理，尽显乡野质朴生机，留白虚实相生，将郊野旷远意境缓缓铺陈。\n\n林泉田垄间淡墨点染人物，身形简括却情态悠然，藏着村居野逸的松弛意态。画作兼得院体精工与文人山水的萧散淡远，将江南郊野的日常烟火与林泉雅韵相融，笔墨温润秀雅，把幽远恬和的隐逸之思藏进山野林峦之中，尽显隽永悠然的山水意境。",[23,24,25,7,277,75,82,28,73,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bc9b7470cb387f6925d37307008f0c.jpg",[],{"id":7293,"slug":7294,"title":3707,"dynasty":18,"author":1009,"museum":132,"description":7295,"tags":7296,"thumbUrl":7297,"material":317,"size":907,"collection":122,"collections":7298,"showCount":7275,"zanCount":1065,"manualWeight":40,"mainColor":62},283694,"shan-xi-dai-du-tu-guan-tong-283694","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 [1] 此画用墨饱满，笔法简炼雄劲",[23,7,24,51,52,277,73,75,278,79,313,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7d65425f3d01c20799553de0d51c58.jpg",[],{"id":7300,"slug":7301,"title":7302,"dynasty":46,"author":2336,"museum":151,"description":7303,"tags":7304,"thumbUrl":7305,"material":122,"size":122,"collection":122,"collections":7306,"showCount":7275,"zanCount":541,"manualWeight":40,"mainColor":41},233716,"wu-jun-qing-ju-hua-zhou-wu-chang-shuo-233716","吴俊卿菊花轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 [3] 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[7,24,51,52,27,277,102,1882,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9483dd71a4d1eb87931ea04b659d34.jpg",[],{"id":7308,"slug":7309,"title":7310,"dynasty":114,"author":7311,"museum":7312,"description":7313,"tags":7314,"thumbUrl":7316,"material":217,"size":7317,"collection":175,"collections":7318,"showCount":7275,"zanCount":541,"manualWeight":40,"mainColor":62},221678,"wen-ji-gui-han-tu-zhang-yu-221678","文姬归汉图","张瑀","吉林省博物院","全卷共画十二人，前有胡服官员执旗骑马引道，中间是头戴貂冠、身着华丽胡装、骑着骏马的蔡文姬，马前有两人挽缰，后面还有官员护送，并有猎犬、小驹、鹰相随。画面上风沙漫天、人骑错落有致，互相呼应，神情逼真，塞北风光尽现纸上。\n此图所绘是文姬归汉途中的情景。前端一汉人骑老马引路，肩扛圆月旗，躬背缩首，迎风沙而行，侧后方有一马驹紧紧相随。稍后数步便是画卷中心人物蔡文姬，头戴貂冠，身着华丽胡装， 脚蹬皮靴，骑在马上，手扶鞍桥，双目凝视前方。文姬身后，是骑在马上护送的马夫和侍从， 前面汉胡两官员并骑，左侧汉朝官员，头戴帻巾，左手持一把用毛皮镶边的团扇遮面， 以避风沙。右侧胡人官员，头戴皮帽。身穿紧袖长袍，腰系佩饰， 面现愁容，正在勒马， 马亦踢蹄踟蹰。其后有侍从五骑相随， 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。\n此图中绘体态雍容华丽的 、娇小素净的 等 15只和 1只，或平展双翼，或振翅飞舞，在明媚的春光下宛若俏丽的花团漫天绽放，形象生动地体现出“蝶戏”的创作主题。\n《宋李安忠晴春蝶戏图》本幅无款识。\n钤半印一方，印文模糊不辨。\n原载《四朝选藻图》册，旧签题“ 作”。\n裱边钤“ ”、“ ”。\n对幅有清乾隆御题七言诗一首：“蝡肖翘高复低，春园风物已昌兮。\n宣和画院曾经试，何未明拈逐马蹄”。\n钤“八征耄念之宝”、“自强不息” 等印。\n在蜂、蝶的塑造上，勾勒与渲染浑然一体，先以极细而淡的线条勾勒轮廓，然后再“随类赋彩”，或以粉白、土黄多层积色，或在墨线中填重彩，晕染工细而色泽丰富，展现出蛱蝶翅翼的绚烂之美。\n李安忠，生卒年不详，南宋画家，钱塘人。\n宋徽宗宣和年间为画院祗候，授成忠郎，南渡后绍兴年间复职。\n工花鸟走兽，尤长于“捉勒”（鹰鹘之类），得其搏攫惊避之状。\n传世作品有《晴春蝶戏图》《鹑图》等。",[23,7,24,51,768,26,27,102,200,74,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf555e4c587bc0c91770957ec2a1b1b4.jpg",[],{"id":7393,"slug":7394,"title":7395,"dynasty":67,"author":619,"museum":20,"description":1057,"tags":7396,"thumbUrl":7398,"material":250,"size":2193,"collection":122,"collections":7399,"showCount":7336,"zanCount":541,"manualWeight":40,"mainColor":41},222107,"he-hua-yu-dun-wa-shen-zhou-222107","荷花与蹲蛙",[23,7,24,51,277,368,74,398,7397,399,2664],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa0b35a5a56cdef8fbb2e9da30170c2.jpg",[],{"id":7401,"slug":7402,"title":7403,"dynasty":293,"author":7404,"museum":260,"description":7405,"tags":7406,"thumbUrl":7407,"material":27,"size":7408,"collection":286,"collections":7409,"showCount":7336,"zanCount":40,"manualWeight":40,"mainColor":41},221863,"mo-zhu-tu-zhao-yong-221863","墨竹图","赵雍","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。",[23,24,7,51,277,118,119,74,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c49ae27cf37c90ce47878755601d49.jpg","26.7×172.7cm",[286,2605],{"id":7411,"slug":7412,"title":7413,"dynasty":674,"author":7414,"museum":20,"description":7415,"tags":7416,"thumbUrl":7417,"material":283,"size":7418,"collection":123,"collections":7419,"showCount":7336,"zanCount":1065,"manualWeight":40,"mainColor":41},221081,"shu-pu-quan-juan-sun-guo-ting-221081","书谱全卷","孙过庭","《书谱》为唐代书法家孙过庭所著的书法理论著作。成书于武后垂拱三年，他亲自以草书书写全书。《书谱》共分两卷，内容主要为书学体验、书谱撰写要旨及学习书法的一些基本原则。一般认为本（上）卷为 “序”，宋元明时分为两卷，入严嵩之手时，装为一卷。下卷为 “谱”，作者生前未能完成，现仅存第一卷。《书谱》对中国书法的影响是非常巨大的，奠定了书法理论的基本框架。其中提到反对写字如同绘画“巧涉丹青功亏翰墨”，认为书法审美观念要“趋变适时”，所谓“质文三变，驰骛沿革，物理常然”，反对把书法当作秘诀，择人而授的保守态度。孙过庭认为习书法应要篆、隶、楷、草四书融合交汇，否则想谈书法，是不可能的。“草不兼真，殆于专谨；真不通草，殊非翰札，真以点画为形质，使转为情性；草以点画为情性，使转为形质。草乖使转，不能成字；真亏点画，犹可记文。回互虽殊，大体相涉。故亦傍通二篆，俯贯八分，包括篇章，涵泳飞自。若毫厘不察，则胡越殊风者焉。”",[23,7,24,51,25,2755,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81244536434fcb124a9a91d41523c4a8.jpg","纵26.5厘米，横900.8厘米",[123,1898],{"id":7421,"slug":7422,"title":7423,"dynasty":293,"author":181,"museum":20,"description":7424,"tags":7425,"thumbUrl":7427,"material":34,"size":7428,"collection":106,"collections":7429,"showCount":7336,"zanCount":11,"manualWeight":40,"mainColor":62},219956,"fu-rong-hua-ya-tu-yi-ming-219956","芙蓉花鸭图","画面取境清寂悠然，芙蓉从左畔斜逸而上，莹白花头晕染出柔润娇嫩，墨色叶片苍劲厚重，明暗间衬出花之柔媚与枝叶的朴拙苍润。池沼间两只水鸭亲昵相依，以细笔丝毛刻画翎羽，浓淡墨色晕出绒羽蓬松质感，憨态毕现。浅绿点染浮萍水波，愈发衬出水畔安闲静谧。\n\n工写兼融，设色秀雅沉稳，将花木的柔、禽鸟的憨静交织一处，把秋日池隅的悠然意韵定格绢素，内敛雅致中藏着鲜活生趣，尽显花鸟小品的隽永意境。",[7,24,51,52,26,217,102,246,7426,2290,198,2259],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d272febbf98aa5b9a5dc38399cd4a67.jpg","119.3x45.8",[106],{"id":7431,"slug":7432,"title":7433,"dynasty":46,"author":7434,"museum":4791,"description":7435,"tags":7436,"thumbUrl":7437,"material":267,"size":7438,"collection":88,"collections":7439,"showCount":7336,"zanCount":40,"manualWeight":40,"mainColor":41},219932,"fang-wen-zheng-ming-shan-shui-tu-gu-yun-219932","仿文徵明山水图","顾澐","顾澐（1835-1896），字若波，号云壶、壶翁，以字行。吴县（今属江苏苏州）人。工山水，泽古功深，汇四王、吴、恽诸家之长。清丽疏古，气韵秀出，间作花卉、人物，近于新罗。光绪十四年（1888）游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。",[23,24,51,7,52,27,72,73,75,609,78,28,559,278,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067fbcb05b4099e0dad02acc22a97e5.jpg","123.2x37.3厘米",[88],{"id":7441,"slug":7442,"title":7443,"dynasty":114,"author":878,"museum":7444,"description":7445,"tags":7446,"thumbUrl":7447,"material":34,"size":7448,"collection":106,"collections":7449,"showCount":7336,"zanCount":541,"manualWeight":40,"mainColor":479},218913,"mei-shi-tu-ma-yuan-218913","梅石图","伯克利艺术博物馆","这幅画描绘了一棵老梅树从深谷野塘边的一块巨大岩石中探出头来，一只野凫藏在水草中。岩石的凿刻和梅树的拖曳枝条都是马远的绘画风格。",[23,7,24,51,277,27,75,383,56,2785,1059,26,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2985d0d4a51d33cf93ad74d8c4c3a87b.jpg","横46.99纵80.01cm",[106,88],{"id":7451,"slug":7452,"title":7453,"dynasty":114,"author":7454,"museum":3453,"description":7455,"tags":7456,"thumbUrl":7457,"material":34,"size":7458,"collection":175,"collections":7459,"showCount":7336,"zanCount":40,"manualWeight":40,"mainColor":41},218643,"yue-xia-yu-she-tu-gu-liang-218643","月下渔舍图","顾亮","皎洁的月光下，三艘渔船停泊在湖岸的左右两边，右边船上的渔民坐在船中央仰望天空，岸边的树木郁郁葱葱，一间小屋躺在树下，四周有围栏，这里安静祥和。",[23,24,7,51,75,27,1570,662,80,1059,278,79,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bd989e6eda292aac4a6ea806d7f79a.jpg","25.7x25.4",[175],{"id":7461,"slug":7462,"title":7463,"dynasty":46,"author":1567,"museum":132,"description":3725,"tags":7464,"thumbUrl":7466,"material":317,"size":907,"collection":122,"collections":7467,"showCount":7468,"zanCount":1065,"manualWeight":40,"mainColor":41},290459,"shan-shui-qing-ya-tu-ce-shi-tao-290459","山水清雅图册",[7,24,51,100,75,27,73,278,1737,5543,648,74,7465],"清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3bd638039d20e8dcda51965ebdcf87c.jpg",[],107,{"id":7470,"slug":7471,"title":7472,"dynasty":46,"author":1344,"museum":132,"description":1345,"tags":7473,"thumbUrl":7474,"material":317,"size":907,"collection":122,"collections":7475,"showCount":7468,"zanCount":40,"manualWeight":40,"mainColor":41},283660,"gu-bai-shuang-qin-tu-zhou-zhu-da-283660","古柏双禽图轴",[23,24,7,52,277,102,1059,84,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0311e7b30ddf2cabaf3bd0c4bbc710bd.jpg",[],{"id":7477,"slug":7478,"title":7479,"dynasty":46,"author":97,"museum":132,"description":2517,"tags":7480,"thumbUrl":7481,"material":317,"size":907,"collection":122,"collections":7482,"showCount":7468,"zanCount":1065,"manualWeight":40,"mainColor":41},235083,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235083","恽寿平花卉册",[7,24,51,100,27,101,102,198,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd080a0982598eaf4d529200e5e92e27c.jpg",[],{"id":7484,"slug":7485,"title":7486,"dynasty":674,"author":1042,"museum":132,"description":7487,"tags":7488,"thumbUrl":7489,"material":611,"size":7490,"collection":122,"collections":7491,"showCount":7468,"zanCount":1065,"manualWeight":40,"mainColor":479},232270,"luo-han-tu-zhou-wu-dao-zi-232270","罗汉图轴","吴道子又名道玄，被后人称为“画圣”，开元年间以善画被召入宫廷，擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。存世作品有《送子天王图》，《八十七神仙卷》，《罗汉图立轴》等。",[23,7,24,51,52,678,28,510,27,135,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce47e1d86e72735b929b272c4c741b4c.jpg","148.4x76.6厘米",[],{"id":7493,"slug":7494,"title":7495,"dynasty":114,"author":259,"museum":132,"description":7496,"tags":7497,"thumbUrl":7498,"material":122,"size":122,"collection":122,"collections":7499,"showCount":7468,"zanCount":40,"manualWeight":40,"mainColor":62},227518,"mo-li-hua-tu-zhao-chang-227518"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-967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[23,24,51,7,277,73,27,75,2009,78,79,80,82,281,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[175,88,286],{"id":7527,"slug":7528,"title":7529,"dynasty":3229,"author":6476,"museum":7530,"description":7531,"tags":7532,"thumbUrl":7537,"material":122,"size":122,"collection":122,"collections":7538,"showCount":7468,"zanCount":11,"manualWeight":40,"mainColor":41},220504,"mo-gao-ku-152-hao-tang-dai-zhu-guang-guan-yin-di-58-hao-lin-mo-ben-zhang-da-qian-220504","莫高窟152号唐代珠光观音第58号临摹本","國立故宮博物院","静穆安和的观音结跏趺坐莲台，垂敛双目，神容慈悲恬然。朱砂覆肩贴身，金线勾缠的璎珞臂钏层层叠叠，朱红宝色点缀其间，华贵不失清雅。头光晕染出青绿鎏金的柔和渐变，褪去窟壁千年斑驳，以明丽鲜亮的色彩复刻唐风遗韵。\n\n笔底既恪守古制风骨，又融个人意趣，将敦煌造像的庄严端凝晕化为绢上温润神采。敷色厚艳而不俗，线条匀净柔韧，把观音的圣洁与雍容揉合一处，观之令人心宁神定，尽显东方造像的静美禅意。",[7,24,51,28,678,27,26,154,1514,679,7533,7534,7535,7536],"莲台","禅意","圣洁","雍容","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316b140450a1e3ec56ec1be1b10e6be1.jpg",[],{"id":7540,"slug":7541,"title":7542,"dynasty":293,"author":7543,"museum":48,"description":7544,"tags":7545,"thumbUrl":7546,"material":34,"size":122,"collection":36,"collections":7547,"showCount":7468,"zanCount":11,"manualWeight":40,"mainColor":41},220368,"ren-ma-tu-juan-ren-ren-fa-220368","人马图卷","任仁发","图绘四名奚官牵三匹骏马出圉的情景，人马神态各异。人物衣冠皆着唐代服饰，神情姿态写实生动，最前一位奚官双手自然置于体前，手里拿着刷马身的平口鬃刷和整理鬃毛的小耙子，回头看马队是否跟随，第二位坐骑棕色骏马略有警惕，奚官怕马受惊抓紧缰绳，最后面一位加快步幅紧跟队伍。三马雄壮矫健，皮鬃致密纤细，造型生动，尤以第二匹马最显俊伟驯顺，颈系红缨闲庭信步，很是惬意。",[23,7,24,51,25,26,27,119,118,74,28,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0dfb37038038db76139bdd3b1af6847.jpg",[36,90],{"id":7549,"slug":7550,"title":7551,"dynasty":67,"author":1269,"museum":3286,"description":7552,"tags":7553,"thumbUrl":7554,"material":666,"size":7555,"collection":88,"collections":7556,"showCount":7468,"zanCount":40,"manualWeight":40,"mainColor":41},220119,"xi-shan-xian-guan-tu-dong-qi-chang-220119","溪山仙馆图","松江出身的董其昌以取代文徴明成为江南画坛主导者为自身抱负。状似舞蹈般的松树形态、如同金属的山石质感都是其画风特色。",[24,7,277,73,75,297,79,82,278,861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530a93410dd73894a96859af7573f0a2.jpg","79.40×105.83cm",[88],{"id":7558,"slug":7559,"title":7560,"dynasty":67,"author":899,"museum":166,"description":7561,"tags":7562,"thumbUrl":7563,"material":121,"size":122,"collection":36,"collections":7564,"showCount":7468,"zanCount":11,"manualWeight":40,"mainColor":62},219551,"lao-zi-tu-tang-yin-219551","老子图","笔意简逸空灵，以淡墨轻勾铺就画面。老子宽袍长髯，安坐牛背，神态超旷淡然，不见半分行旅劳顿，尽显太上忘情的出尘之姿，将道家风骨藏于简约笔墨之中。\n\n水牛造型朴拙写实，缓步行进间憨态尽显，与老子的清矍超然相映成趣。设色浅淡近乎白描，衣纹褶皱简括凝练，留白处氤氲着悠远超脱的林下之风，暗合道家“大象无形”的哲思。\n\n整幅画不见繁复铺陈，以极简物象传递出逍遥物外的高远意境，是兼具文思与笔情的写意佳作。",[23,24,51,7,277,510,28,1906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b062d62495bd228b5ed34446dc0182.jpg",[36],{"id":7566,"slug":7567,"title":7568,"dynasty":114,"author":1313,"museum":132,"description":7569,"tags":7570,"thumbUrl":7574,"material":34,"size":122,"collection":36,"collections":7575,"showCount":7468,"zanCount":40,"manualWeight":40,"mainColor":479},218273,"ying-xi-tu-su-han-chen-218273","婴戏图","孩童发髻疏朗，衣袂轻垂，坐于鼓形座上。小手拢着衣角，似藏着几分娇憨。鼓身镶边缀点，旁侧鼓槌斜倚，小鞋散落，细节里尽是日常的鲜活。绢本的棕褐晕染出时光的温软，线条简淡却藏着细腻——衣纹褶皱随姿态舒展，孩童眼神澄澈如溪，悄然勾连起宋人对稚子生活的珍视。没有繁复布景，天真却漫溢开来，仿佛能触到柔软布料，听见孩童细碎笑语。画中藏不住的生动与温情，将寻常童趣凝作永恒的画面，让时光在此刻慢了下来。",[24,7,51,26,27,28,7571,7572,7573,30],"婴孩","鼓","鼓槌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f3549cbb86ed88cd0157c95e237591.jpg",[36],{"id":7577,"slug":7578,"title":7579,"dynasty":46,"author":3689,"museum":20,"description":7580,"tags":7581,"thumbUrl":7583,"material":34,"size":7584,"collection":36,"collections":7585,"showCount":7468,"zanCount":11,"manualWeight":40,"mainColor":41},216966,"xian-ren-tu-xu-liang-biao-216966","仙人图","仙女被描绘成骑着一只凤凰，或西方的王母。仙女拿着一顶花帽，并由一只携带生日珍珠的白鹿陪伴。景色清晰，色彩鲜艳，是对长寿的长久赞美。人物、凤凰和白鹿的着色受到西方绘画的明暗影响。",[7,24,51,52,26,27,7582,1293,198,3195,473],"仙人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0446b8d31845aaa90342626f5354c64.jpg","260.5x142.6",[36],{"id":7587,"slug":7588,"title":7589,"dynasty":46,"author":97,"museum":132,"description":2517,"tags":7590,"thumbUrl":7592,"material":317,"size":907,"collection":122,"collections":7593,"showCount":7594,"zanCount":1065,"manualWeight":40,"mainColor":62},290529,"zhu-bai-chang-chun-zhou-yun-shou-ping-290529","竹柏长春轴",[7,24,51,52,27,102,53,7591,56,198,26],"柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb714bb59defcdde65007397212cbb037.jpg",[],106,{"id":7596,"slug":7597,"title":5464,"dynasty":114,"author":788,"museum":132,"description":7598,"tags":7599,"thumbUrl":7600,"material":317,"size":907,"collection":122,"collections":7601,"showCount":7594,"zanCount":541,"manualWeight":40,"mainColor":62},288290,"mao-lin-yuan-xiu-tu-li-cheng-288290","《茂林远岫图》描绘的是夏日山水景色，其中峰峦叠翠，奇峰矗立，远山奇峰崛立，空远清旷；近处轻舟泊渡，行人车马往来；中景山谷之间殿阁林立，塔影隐没其中，飞泉水口，如闻其声，如临其境，整幅作品呈现了一派寓闹于静的景致。\n《茂林远岫图》就绘画技法而论，刻画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李迪，生卒年不详。",[23,7,24,51,25,26,27,102,6168,84,82,1095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9c8c8a18311cb4fc28befe1cd47b8a.jpg","38.3x193.2cm",[],{"id":7620,"slug":7621,"title":6980,"dynasty":114,"author":1160,"museum":7622,"description":7623,"tags":7624,"thumbUrl":7625,"material":217,"size":7626,"collection":175,"collections":7627,"showCount":7594,"zanCount":40,"manualWeight":40,"mainColor":62},223667,"xue-shan-xing-lv-tu-liu-song-nian-223667","四川省博物馆","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[23,24,7,51,52,277,27,75,4240,278,647,78,79,315,73,26,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","纵160厘米，横99.5厘米",[175,88],{"id":7629,"slug":7630,"title":7631,"dynasty":46,"author":2636,"museum":7632,"description":7633,"tags":7634,"thumbUrl":7635,"material":217,"size":7636,"collection":106,"collections":7637,"showCount":7594,"zanCount":1065,"manualWeight":40,"mainColor":62},222774,"liu-yin-shuang-jun-tu-lang-shi-ning-222774","柳荫双骏图","镇江市博物馆","《柳荫双骏图》卷绘两匹马一立一卧，一棵老柳树，斜在背景中，马匹及树木均画出了明暗和凹凸，强调物象的质感和立体感。郎世宁书款中不署“臣”字，显然该作品不是为皇帝画的，受画者应当是某位有着亲王或郡王身份的满洲贵族。",[23,7,24,51,26,27,215,1478,1059,281,4731,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b142639faf49024649f5fe7e4a3f35c.jpg","横62厘米，纵115.1厘米",[106,90],{"id":7639,"slug":7640,"title":7641,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":7642,"thumbUrl":7644,"material":27,"size":2642,"collection":122,"collections":7645,"showCount":7594,"zanCount":1065,"manualWeight":40,"mainColor":41},222741,"xian-e-chang-chun-tu-02a-shao-yao-lang-shi-ning-222741","仙萼长春图-02a（芍药）",[23,24,7,26,27,102,7643,263,355,340,56],"芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c91a3aea82e716ab6aa9b460afb178.jpg",[],{"id":7647,"slug":7648,"title":7649,"dynasty":114,"author":878,"museum":1417,"description":7650,"tags":7651,"thumbUrl":7653,"material":7654,"size":7655,"collection":175,"collections":7656,"showCount":7594,"zanCount":40,"manualWeight":40,"mainColor":62},221667,"dong-shan-du-shui-tu-ma-yuan-221667","洞山渡水图","为宋代画家马远绘制。描绘的是曹洞宗祖师洞山良价在云游途中，涉水之时见到自己水中之影而恍然大悟的一刹那，是为数不多的马远的真迹之一。原藏于圆明园，1860年火烧圆明园后被掠夺并流失海外，现收藏于日本东京国立博物馆。图上有南宋皇帝宋理宗的皇后杨妹子之题字。款识：携藤拔草胆风，未免登山涉水，不知触处皆渠，一见低头自喜。本与天龙寺所藏的云门大师图、清凉法眼禅师图同为描绘禅宗法师的画作之一。",[23,7,24,51,52,277,27,28,75,79,56,7652,73,119,74],"藤杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e95161b48bfccbab4bee9ff42ba247b.jpg","绢本墨画淡彩","纵77.6厘米，横33厘米",[175,88],{"id":7658,"slug":7659,"title":7660,"dynasty":114,"author":1787,"museum":151,"description":7661,"tags":7662,"thumbUrl":7670,"material":250,"size":7671,"collection":175,"collections":7672,"showCount":7594,"zanCount":541,"manualWeight":40,"mainColor":41},221500,"shui-mo-xie-sheng-tu-mu-xi-221500","水墨写生图","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。\n沈周卷后题识称：“不施色彩，任意潑墨，儼然若生。回視黃筌、舜舉之流，風斯下矣。”本幅无作者款印，沈周定为“真宋物也”。徐邦达先生认为，沈周题跋中“牧”字有挖改痕迹，是“似牧非牧之画”。",[23,24,7,51,25,277,1190,368,102,7663,7664,1179,7665,7280,384,7666,7667,7668,7669,398,198,711,2664,339],"蔬果","水族","虾","燕子","麻雀","萝卜","白菜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf031a51ea46b7afc61efea8475b520.jpg","纵47.3厘米，横814．1厘米",[175,106,286],{"id":7674,"slug":7675,"title":7676,"dynasty":293,"author":1636,"museum":260,"description":7677,"tags":7678,"thumbUrl":7679,"material":267,"size":7680,"collection":88,"collections":7681,"showCount":7594,"zanCount":1065,"manualWeight":40,"mainColor":62},220427,"su-an-tu-wang-meng-220427","素庵图","作品布局层峦耸峙，岭头山体突兀而拙实，不为奇巧。近坡老松相映，林间草堂呈“四合院”状。全图气象峥嵘，突现山脚下的草堂。此图为精致优雅的浅绛山水画，明净苍秀，在王蒙轴幅作品中较少见。其妙处在两崖逼而为瀑，瀑泉由上而下，长短相间，气贯全幅。\n此图石法用云头皴，不同于《春山读书图》用单纯的解索皴法，也不同于《青卞隐居图》之融数家皴法于一体。黄宾虹评其“笔力劲利而无怒张之态，墨气酣厚而无痴肥之病”，幽深高淡之趣流露于画面之外。观此秋景，又使人联想到吴渔山所说的王蒙浅绛山水“霜红林密，笔笔生动”的特色。王蒙秋景画法较大痴浅绛用色偏重，其近景树干用朱砂点苔，为其他着色山水所未见，另有一番典雅清新别致的审美效果。图中人物及小鹿、仙鹤，造型虽小，皆笔简形具，耐人寻味。图上以小篆题“素庵图”三字，后两行署“黄鹤山樵王蒙为素庵高士画”，笔致雅拙，趣味高古，与画面形成相得益彰的艺术效果。",[23,24,51,7,52,277,27,75,77,79,82,278,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2c770848d5adacc5affe77c66ce6a4.jpg","纵136cm，横45cm",[88,90],{"id":7683,"slug":7684,"title":7685,"dynasty":18,"author":1020,"museum":166,"description":7686,"tags":7687,"thumbUrl":7688,"material":34,"size":122,"collection":106,"collections":7689,"showCount":7594,"zanCount":541,"manualWeight":40,"mainColor":62},219025,"ban-jiu-tu-huang-quan-219025","斑鸠图","画的是一棵顶部断裂的枯树干，一只鸽子站在树干上，蓬松的羽毛中夹杂着白色的毛发，盯着树根处发芽的树枝，绿叶红花。",[23,7,24,51,100,26,27,102,84,384,263,265,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51e04c34bcf36d6653aa90ca568823.jpg",[106],{"id":7691,"slug":7692,"title":1127,"dynasty":293,"author":658,"museum":20,"description":7693,"tags":7694,"thumbUrl":7697,"material":121,"size":122,"collection":88,"collections":7698,"showCount":7594,"zanCount":11,"manualWeight":40,"mainColor":41},218761,"shan-shui-tu-wu-zhen-218761","墨色晕染如轻烟绕峰，山石以披麻皴层层铺陈，湿墨点苔似苍苔缀石，尽显古拙厚重。林木萧疏错落，枝干虬劲中藏清逸，与淡墨晕开的云雾交织，拓出深远山水空间。留白处似有山风掠过，裹挟幽寂禅意，恰是元人山水的空灵之境。题跋与朱印相映，诗画相融间，藏着文人对自然的敬畏与心向林泉的淡泊。每一笔都晕染时光沉淀的静谧，观者仿佛步入清旷山水，暂忘尘嚣，只余眼前的淡远与安然。",[23,7,24,277,75,1713,278,429,279,74,118,7534,7695,7696,6832],"空灵","淡泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f1c86c535085fc058d17972928a0b55.jpg",[88],{"id":7700,"slug":7701,"title":534,"dynasty":293,"author":658,"museum":395,"description":7702,"tags":7703,"thumbUrl":7705,"material":34,"size":7706,"collection":106,"collections":7707,"showCount":7594,"zanCount":40,"manualWeight":40,"mainColor":41},218492,"zhu-shi-tu-wu-zhen-218492","墨竹以中锋运笔，瘦劲中含柔韧，竹叶如剑戟横斜，又似疾风翻卷，墨色浓淡相间，层次分明；石体则以淡墨晕染，辅以干笔皴擦，朴拙厚重中透出清逸之态。竹石相依，动静相生，既见自然野趣，又藏文人风骨——笔端流淌的不仅是水墨的韵律，更是君子坚韧高洁的精神写照。整幅画作简而不薄，意境悠远，尽显元人画中“以书入画”的雅致与隐逸情怀，笔墨间的生机与心性，似可穿越时空，与观者对话。",[23,7,24,51,277,368,53,56,119,74,7704],"元画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461c4598d701937861a6c59fad8d3c4f.jpg","37.5x94.5cm",[106],{"id":7709,"slug":7710,"title":7711,"dynasty":18,"author":380,"museum":151,"description":7712,"tags":7713,"thumbUrl":7715,"material":611,"size":7716,"collection":122,"collections":7717,"showCount":7718,"zanCount":1065,"manualWeight":40,"mainColor":62},233213,"dou-jia-qing-ting-tu-ye-xu-xi-233213","豆荚蜻蜓图页","图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。画面构图简洁自然，疏密得体。画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。其中蜻蜓的描绘神妙入微。画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙入微。蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织，都细微地表现了出来。蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。从绘画题材及笔墨技巧上看，具有徐熙画的特征。《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写”。但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。旧题为徐熙作。徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。写意出古人之外，自造于妙。尤能设色，绝有生意”。从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜓尤备极工细，神韵奕奕。对花写照的写生功力，令人惊叹。色调素雅，变化层次微妙，工写兼施，相映成趣。构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思（以景喻理）。",[7,24,51,102,26,27,7714,247,339,263,74],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880a27b634787e986672e82222fc17bb.jpg","纵27厘米，横23厘米",[],105,{"id":7720,"slug":7721,"title":7722,"dynasty":293,"author":658,"museum":20,"description":7723,"tags":7724,"thumbUrl":7725,"material":250,"size":7726,"collection":122,"collections":7727,"showCount":7718,"zanCount":1065,"manualWeight":40,"mainColor":41},231500,"mo-zhu-pu-ce-ye-gao-qing-si-fu-wu-zhen-231500","墨竹谱册页（高清四幅）","吴镇曾说的墨竹之法：“疏不至冷，繁不至乱，翻向正背，转侧低昂，雨打风翻，各有法度”。吴镇的墨竹把文学意蕴融入到艺术表现手法中，开创了文人画重意蕴之风，使中国文人画得到了关键性的发展，加深了文人画的思想内涵和潜在表现力，起到了承前启后的重要作用。之后的姚绶、文征明、唐寅等名家均不同程度受到了他的影响。特别是清代后期的蒲华，在继承了吴镇墨竹飘逸高傲之气的同时，又在“形”、“韵”两方面下功夫，使以竹为题材的艺术创作和审美情趣在清末达到了又一个高峰。明代文学大家陈继儒在《梅花庵记》中写道：“先生书仿杨凝式，画出入荆关董巨，初虽无意于啖名，而品格既真，则身价自不能压之使下，画苑推元四大家必屈指先生”，充分说明了吴镇在画坛上的公认地位。\n吴镇生于南宋灭亡次年，当时抗元气氛仍很浓厚，再加上元朝知识分子地位的骤降，使得他只能通过艺术作品来抒发心中的强烈感触与不平。墨竹是文人画中的常见题材，吴镇的墨竹则是中国画史上的极品，其成就甚至超过他的山水画，为后人留下了诸多传世佳作以及丰富的理论论述。\n吴镇的墨竹理论大约可分为三个部分：一是对竹子人格化的认识，这是他创作的原动力；二是画竹者的心境；三是具体的技法。他认为，画竹不仅要展现竹子的外在形态，更要显现其内在风骨和精神，反映更高的旨趣。他将竹子作为自身人格的真实写照，赋予其虚心劲节、直竿凌云、高风亮节的深刻寓意；在用笔时不求工细，只讲究写意神似，重在抒发自己的主观情趣：譬如生长于绝处的竹子，彰显的是处劣境不改其节，居陋地不扰平淡之心的君子风范；空山野地之竹则如隐士巢父、许由般高洁脱俗，远离浊世。吴镇正是将这种种体会与感受，自然而又随意地融入到自己的作品中，展现出多姿多彩的墨竹神韵。\n吴镇笔下的诸般墨竹姿意潇洒，可谓极尽竹之生态与情意：春夏秋冬、晴雨风雪、俯仰横斜皆各不相同。他运用墨的浓淡粗细，将竹的干、节、枝、叶描绘得繁而不乱、疏密有致；特别是采用浓、淡、破、焦、湿等方法把墨分为七色，将竹子的萧瑟灵性、远近枯荣表现得淋漓尽致、层次无穷。除了强调总体法度之外，吴镇还对细微处的技巧颇有研究。他认为画墨竹要分为干、节、枝、叶四个方面：“而叠叶至难，于此不工则不得为佳画矣”；画竹时须“下笔要劲，节实按虚起，一抹便过，少迟留则必钝厚不銛利矣”，画叶时应竭力避免“精似桃叶，细如柳叶，孤生并立，如又如井，太长太短，蛇形鱼腹，手指蜻蜓”等“疏密偏轻，使人厌观”之病",[23,24,7,51,100,277,118,74,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a763ebdaf12beb20835513dca92c2a2.jpg","高403厘米，宽52厘米",[],{"id":7729,"slug":7730,"title":3285,"dynasty":114,"author":1160,"museum":132,"description":7731,"tags":7732,"thumbUrl":7734,"material":122,"size":122,"collection":122,"collections":7735,"showCount":7718,"zanCount":489,"manualWeight":40,"mainColor":62},227801,"gong-nv-tu-liu-song-nian-227801","桐荫覆满深院，围栏外花木萦回，三位宫女消磨着悠长白日。红衣女子斜身倚过小杌，抬手遥遥指向前方，似唤榻上友人共赏景致，罗裙纹饰随抬手动作柔婉舒展。榻上宫女支颐托腮，目光追着前者指尖，眉眼浸着慵懒娇柔。立在侧旁的侍女垂眸静立，敛着恭谨自持。\n\n全幅设色古雅妍丽，衣物质感纤毫毕现，花木围栏皆以细笔晕染，棕褐绢底衬得满幅宁和。画中无宫闱沉郁，只将深宫日常里松弛闲散的片刻定格，把少女间的娇憨意趣藏在细腻笔触中，晕开宋时独有的雅致闲淡。",[23,24,7,51,768,26,27,28,29,135,1616,7733,1388,30],"凳子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc5296a5a36c0ab6eb8605bdcbdefd0.jpg",[],{"id":7737,"slug":7738,"title":7739,"dynasty":114,"author":274,"museum":132,"description":7740,"tags":7741,"thumbUrl":7742,"material":122,"size":122,"collection":122,"collections":7743,"showCount":7718,"zanCount":40,"manualWeight":40,"mainColor":993},227724,"zuo-kan-yun-qi-xia-gui-227724","坐看云起","《坐看云起图》为南宋画家夏圭所绘。左侧山石处款署“夏圭”。\n图绘江流滚滚，一人坐于临江高台上，旁放一高杖。身后峭壁有一古松，盘虬曲折。\n\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,7,24,277,75,768,73,28,609,79,56,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8e1bea9257f9b429a7874901d3a2ca.jpg",[],{"id":7745,"slug":7746,"title":7747,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":7748,"thumbUrl":7749,"material":27,"size":2642,"collection":122,"collections":7750,"showCount":7718,"zanCount":1065,"manualWeight":40,"mainColor":41},222751,"xian-e-chang-chun-tu-07a-lang-shi-ning-222751","仙萼长春图-07a",[23,24,51,26,27,102,398,200,399,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb31a611f6bc17b2cd92a02ab60f10f.jpg",[],{"id":7752,"slug":7753,"title":7754,"dynasty":114,"author":211,"museum":20,"description":7755,"tags":7756,"thumbUrl":7757,"material":611,"size":7758,"collection":175,"collections":7759,"showCount":7718,"zanCount":1065,"manualWeight":40,"mainColor":62},221344,"la-mei-shan-qin-tu-zhou-zhao-ji-221344","腊梅山禽图轴","画面构图十分简约，两丛开花的萱草，一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁。\n画家笔墨细致。萱草、梅树、花朵的轮廓，都用工细线条勾勒，树杆的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。\n两只挤在一起的白头翁最为传神，鸟头都朝向左前方，呼应着左边的留白。身体成交叉向，两只鸟眼圆溜溜，显得机警而敏感，似乎一有风吹草动，随时就要腾空而去。",[23,24,7,52,26,27,102,383,228,6388,74,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3dbda2c89bcfa6df1b60effce2a1968.jpg","82.8x52.8cm",[175,106,90],{"id":7761,"slug":7762,"title":7763,"dynasty":46,"author":97,"museum":260,"description":7764,"tags":7765,"thumbUrl":7766,"material":7767,"size":7768,"collection":88,"collections":7769,"showCount":7718,"zanCount":40,"manualWeight":40,"mainColor":41},220969,"lin-wen-zheng-ming-ce-yun-shou-ping-220969","临文徵明册","文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。",[23,24,7,51,2613,27,119,118,154,135,339,1570,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg","纸本 册","20.6 x 30.5 cm",[88,90],{"id":7771,"slug":7772,"title":7773,"dynasty":46,"author":2548,"museum":20,"description":7774,"tags":7775,"thumbUrl":7776,"material":267,"size":7777,"collection":122,"collections":7778,"showCount":7718,"zanCount":1065,"manualWeight":40,"mainColor":41},220332,"cao-chong-hua-hui-hu-shi-si-ping-ling-xiao-ju-lian-220332","草虫花卉湖石四屏-凌霄","这四屏分写牡丹、凌霄、绣球、紫薇等时卉，并配以湖石、蜂、蝶、知了、螳螂。于精密写实之外，饶富没骨花卉清新典丽的特质，虽因重装颜色稍褪，犹可清晰得见居氏惯采的撞水与撞粉画技，笔法工整，设色妍丽，让人赏心悦目。",[23,24,7,52,27,26,103,199,56,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c30eb79bde7328d62f40006fb6c480.jpg","113×26.5厘米",[],{"id":7780,"slug":7781,"title":7568,"dynasty":114,"author":181,"museum":132,"description":7782,"tags":7783,"thumbUrl":7786,"material":34,"size":7787,"collection":90,"collections":7788,"showCount":7718,"zanCount":541,"manualWeight":40,"mainColor":62},219054,"ying-xi-tu-yi-ming-219054","苍树虬枝荫蔽下，一架斜搭的棚架成了稚子的欢闹场。红衣孩童伏在架面，似要顺着木纹滑下，姿态憨拙可爱；旁侧小儿伸手引伴，另一个正手脚并用地向上攀爬，顶端的孩子扬臂欢笑，满是得意。笔墨细腻处，衣纹的褶皱、孩童的发髻皆清晰可见，质朴的色调晕染出温润的氛围。画面无繁复修饰，却将童年的天真烂漫描摹得淋漓尽致，仿佛能听见稚子的嬉笑声穿透时光，让观者也不禁被这份纯粹的欢愉所感染，沉醉在那片无忧的童趣里。",[7,24,51,26,27,28,7571,135,7784,7785],"围栏","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cdaf16c7bbadec7066e3e97e58d9b97.jpg","22.3x20.7",[90],{"id":7790,"slug":7791,"title":7792,"dynasty":114,"author":181,"museum":20,"description":7793,"tags":7794,"thumbUrl":7795,"material":34,"size":122,"collection":88,"collections":7796,"showCount":7718,"zanCount":530,"manualWeight":40,"mainColor":62},218798,"gu-mu-zhu-shi-tu-yi-ming-218798","古木竹石图","这幅画显示了一块巨大的岩石，上面有两棵枯树和海滩上的两片新竹林。岩石用飞白画法，树木用篆书画法，以李国的蟹爪为树枝。树木和石头的笔触是动态的，与竹叶的笔触相映成趣，就像教堂字体的四肢，使这幅画成为书法的趣味。这是 历代绘画作品集 中的一幅画。",[23,7,24,51,277,73,2785,1059,53,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e42937020f7b42fb8c718a993ded4.jpg",[88],{"id":7798,"slug":7799,"title":7800,"dynasty":114,"author":878,"museum":395,"description":7801,"tags":7802,"thumbUrl":7803,"material":34,"size":122,"collection":88,"collections":7804,"showCount":7718,"zanCount":1065,"manualWeight":40,"mainColor":479},218584,"tao-hua-chun-shui-tu-ma-yuan-218584","桃花春水图","春波漾开绢本的暖褐底色，山影如黛晕染天边。几树桃枝轻绽，粉蕊隐在苍松与杂树间，似有若无的艳色，恰衬出春水的清寂。近坡散卧的石群、浅滩上的细浪，与远景淡墨勾勒的峰峦虚实相映，留白处尽是烟波浩渺的余韵。笔墨简劲，山石斧劈皴显刚健，松枝如屈铁见骨力，却在水纹轻描中柔化棱角，刚柔相济。整幅画如清绝小令，不肆铺张，却将春日温润与山水悠远藏进每一处笔墨转折，读来心尖漫过淡淡春愁与旷远，余味绵长。",[24,7,51,75,27,73,52,297,298,135,76,79,1906,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3487685dfafca30f80a992cf8814f4dd.jpg",[88],{"id":7806,"slug":7807,"title":7808,"dynasty":46,"author":2310,"museum":20,"description":7809,"tags":7810,"thumbUrl":7813,"material":267,"size":7814,"collection":88,"collections":7815,"showCount":7718,"zanCount":1065,"manualWeight":40,"mainColor":41},214832,"fang-tang-ren-da-yu-zhi-shui-tu-xie-sui-214832","仿唐人大禹治水图","谢遂（1743-1815年）是一位清代画家，他最著名的作品之一是《仿唐人大禹治水图》。这幅画描绘了传说中的大禹如何利用智慧和勇气治理水旱，保护人民免受灾害的故事。画中大禹站在江边，手持着伞，身旁是他的忠实追随者。大禹所在的位置是一座山峰，表示他的权威和力量。整幅画的画风浓重，线条流畅，色彩和谐。这幅画是谢遂在清代的代表作之一，在当时颇受欢迎，并被广泛流传。",[7,24,27,28,75,278,313,7811,7812],"大禹治水","神话传说","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af9e7e13ca4921759b92fd42dfeb838.jpg","160.7x89.8",[88,36],{"id":7817,"slug":7818,"title":7819,"dynasty":46,"author":2889,"museum":132,"description":7820,"tags":7821,"thumbUrl":7826,"material":317,"size":907,"collection":122,"collections":7827,"showCount":7828,"zanCount":1065,"manualWeight":40,"mainColor":62},290321,"sui-chao-huan-qing-tu-zhou-yao-wen-han-290321","岁朝欢庆图轴","姚文瀚（公元18世纪）清代画家。号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画。传世作品有《四序图》卷。",[7,24,52,27,26,855,28,77,7822,1229,7823,2044,74,7824,7825],"宅院","欢庆","岁朝","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf8387fdb8f15f8876fbb2dd7fcc6d29.jpg",[],104,{"id":7830,"slug":7831,"title":7832,"dynasty":293,"author":583,"museum":132,"description":7833,"tags":7834,"thumbUrl":7835,"material":317,"size":907,"collection":122,"collections":7836,"showCount":7828,"zanCount":40,"manualWeight":40,"mainColor":41},290097,"xi-shan-cao-ge-tu-huang-gong-wang-290097","溪山草阁图","近景左侧横出小坡，岸边立一小亭伫於溪面。中景水道曲折蜿蜒，两旁碎石、平台、坡坨层层相叠，於远景处垒为巨大高耸之山体，一侧可见峭壁陡立，山石间点缀丛密林木，颇显生趣。 此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[7,24,51,52,277,73,75,81,78,79,1059,278,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca990138a4223e81ac3c0c9c1ee55fd7.jpg",[],{"id":7838,"slug":7839,"title":7840,"dynasty":46,"author":809,"museum":132,"description":7841,"tags":7842,"thumbUrl":7843,"material":122,"size":122,"collection":122,"collections":7844,"showCount":7828,"zanCount":40,"manualWeight":40,"mainColor":41},230120,"ping-lan-shang-he-tu-ren-yi-230120","凭栏赏荷图","《任伯年绘画作品图录》是 27年5月1日出版的图书，由任伯年编著。\n出版社: ; 第1版 (27年5月1日) ISBN: 755441 条形码: 尺寸: 22.2 7.5 cm 重量: .9 Kg 《任伯年绘画作品图录(套装上下卷)》内容简介：任伯年的艺术像海派诸家一样，以个性鲜明的艺术风貌反映了怫郁昂藏而又充满生机的时代气息，一变晚清文人画家笔下的雅人高致、陈陈相因与不食人间烟火，作品立意由出世而入世，艺术趣味由雅转“俗”，艺术形式由千篇一律而化为多姿多彩。\n他的艺术风格生动雅丽，明快清新，既不同于赵之谦的朴茂道艳，虚谷的冷隽超逸，也有别于吴昌硕的苍浑醇厚，加以多能兼善，题材广泛，意趣盎然，技艺超妙，诗情洋溢，某些人物画更是寄托深远，所以生前身后，声誉极高，一直被认为是海派的重要代表之一。\n《任伯年绘画作品图录(套装上下卷)(上卷)》目录： 1865年 乙丑 1.仕女图 1866年 丙寅 2.小浃江话别图 .悔花仕女图 1867年 丁卯 4.松下问道图 5.孔雀牡丹图 6. 7.范湖居士六十八岁小像 8.授书图 9.四李人物屏之一 1.四季人物屏之二 11.四季人物屏之三 12.四季人物屏之四 1868年 戊辰 1.斗梅图 14.沙馥三十九岁小像 15.佩秋夫人小像(合作) 16.横云山民行乞图 17.陈允升像 18.榴生像 19.任阜长像 2.水草金鱼图 21. 22.悟生出尘图 2.梅柏白鹏图 1869年 己巳 24.任淞云像(合作) 187年 庚午 25.新秋鹅浴图 26.松鹤图 27.吹箫引凤图 28.访友图 29.人物图 1871年 辛未 .孔雀芭蕉图 1872年 壬申 1.钟馗图 2.凤凰牡丹图 .献瑞图 4.钟馗图 5.礼佛图 6.花蝶图 7.南瓜三鸡图 8.水仙飞禽图 9.芭蕉燕子图 4.夜荷栖鸭图 41.蕉花母鸡图 42.牡丹猫石图 4.山雨欲来风满楼 44.花鸟册(合作) 45.游艇吟箫图 46.凭栏赏荷图 187年 癸酉 47.爱莲图 48.葵花双鸡图 49.残荷鹭鸶图 5.茂叔爱莲图 51.葛仲华二十七岁小像 52.松鹤寿柏图 5.三思图 54.牵牛菖蒲图 1874年 甲戌 55.钟馗图 56.二老并坐图 57.苏武牧羊图 58.女仙图 59.红薇飞禽图 6.苏武牧羊图 61.富贵长寿 62.三羊开泰 6.芍药幽禽图 64.花鸟扇 1875年 乙亥 65.牡丹图 …… 《任伯年绘画作品图录(套装上下卷)(下卷)》目录： 1886年 丙戌 76.三仙图 77.东坡玩砚图 78.东坡玩砚图 79.桃花八哥 8.深山观泉图 81.牧羊图 82.仙鹤 8.听溪图 84.承天夜游图 85. 86.芦鸭图 87.幽鸟鸣春图 88.隔帘规梅图 89.松鹤竹石图 9.桃石群鸟图 91.桃源问津图 92.苍松紫藤图 9.枇杷栖禽图 94.临八人山人八哥图 95.仿高克恭云山图 96.山水阁页 97.玉兰四禽图 98.花鸟册 99.桃花小鸟图 4.仿石田山水图 41.银河秋浅图 1887年 丁亥 42.村居立锄图 4.钟馗图 44.高邕之像 45.松下论诗图 46.童子斗蟋蟀图 47.寒林高士 48.苏长公石钟辨讹图 49.策马图 41.牧羊图 411.岁朝图 412.松鸠图 41.桃鹅图 414.花鸟册 415.封侯图 416.萍花八哥图 417.江上秋痕图 418.天竹白猫图 419.焦叶题书图 42.秋江渔父图 421.紫微鸳鸯图 422.桃石图 1888年 戊子 42. 424.女娲炼石图 425.归牧图 426. 427.寒林牧马图 428.玉局参禅图 429.金谷园图 4.芭蕉狸猫图 41.苏武牧羊图 42.羲之爱鹅图 4.仕女图册之一 44.仕女图册之二 45.仕女图册之三 46.仕女图册之四 47.仕女图册之五 48.仕女图册之六 49.仕女图册之七 44.仕女图册之八 441.仕女图册之九 442.仕女图册之十 44.仕女图册之十一 444.仕女图册之十二 445.午瑞图 446.白猫双雀图 447.岁朝清供图 448.雀声藤影 449.猫鸟图 45.柳塘清趣图 451.红松仙鹤图 ……",[23,7,24,51,52,27,26,28,54,398,755,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66ee07d43326e2168f004fc64dd0a95.jpg",[],{"id":7846,"slug":7847,"title":7848,"dynasty":46,"author":7849,"museum":132,"description":7850,"tags":7851,"thumbUrl":7862,"material":122,"size":122,"collection":122,"collections":7863,"showCount":7828,"zanCount":40,"manualWeight":40,"mainColor":41},224449,"tang-yin-shi-yi-tu-li-zhou-wang-hui-224449","唐寅诗意图立轴","王翚","此作取景虚实相映，笔意苍秀兼具。右侧危崖层叠，斧劈皴勾勒出山岩厚重质感，苔点晕染让山石愈发生动，崖顶山居藏在深林之中，清寂出尘。左侧烟水浩淼，汀渚林木错落，远处楼阁隐在薄雾间，晕染出空濛烟雨之态。浅滩孤舟随波，渔翁独钓，漾出幽淡闲远的林下意趣。浅绛设色柔和雅致，将宋画的精工与元人山水的萧散相融，把林泉隐逸之思，铺陈为可游可居的湖山胜境，尽显文人山水画里悠远澹泊的雅韵。",[23,24,7,51,52,7852,27,5967,5233,7853,3096,7854,77,80,7855,429,7856,7857,7858,7859,7860,7861],"文人山水画","危崖","烟水","渔翁","湖山","隐逸","澹泊","苍秀","萧散","精工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ebebd62a991bc27c793316c7c0ff81.jpg",[],{"id":7865,"slug":7866,"title":7867,"dynasty":114,"author":181,"museum":132,"description":7868,"tags":7869,"thumbUrl":7870,"material":156,"size":7871,"collection":122,"collections":7872,"showCount":7828,"zanCount":541,"manualWeight":40,"mainColor":62},223374,"feng-huang-tu-zhou-yi-ming-223374","凤凰图轴","图上一只蓝翎凤凰立于花丛中，红冠鲜艳，眼神威严、犀利，羽毛七彩斑斓，尾翎修长，单脚站立彰显百鸟之王的尊贵；四周牡丹盛开，花团锦簇，丹顶鹤、鸳鸯数只陪伴左右。此幅无款无印，应出自宫廷画家之手，宫廷风格甚浓。",[23,7,24,52,26,27,102,140,138,969,103,82,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b738fbba9f87096a63c79173451352a.jpg","92x43cm",[],{"id":7874,"slug":7875,"title":7876,"dynasty":114,"author":878,"museum":20,"description":7877,"tags":7878,"thumbUrl":7882,"material":7883,"size":7884,"collection":175,"collections":7885,"showCount":7828,"zanCount":40,"manualWeight":40,"mainColor":62},221518,"han-yan-ji-xue-tu-zhou-ma-yuan-221518","寒岩积雪图轴","季节的变化，为大自然改换面貌、增添新色，冬天时万物凋零，呈现一片幽寂的景象，最适宜入画。画中白雪覆盖了整个溪岸与山峰。长松挺立在庭园中央，屋宇周围处梅花绽开，在静谧的气氛中增添生气。屋内坐着两位秉烛谈心的文人，微弱的烛光，也为幽寂昏暗的景色带来丝丝地暖意。",[23,7,24,51,52,277,27,73,75,1570,7879,6830,609,647,28,7880,281,7881,3884],"寒岩","轩","湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe690130e1e87bba26c0e4e9523fbab3e.jpg","绢本浅设色","纵：156.7厘米，横：82.4 厘米",[175,88,286],{"id":7887,"slug":7888,"title":7889,"dynasty":114,"author":1313,"museum":1417,"description":7890,"tags":7891,"thumbUrl":7893,"material":217,"size":7894,"collection":175,"collections":7895,"showCount":7828,"zanCount":530,"manualWeight":40,"mainColor":62},221353,"zhen-tong-kui-lei-tu-su-han-chen-221353","侲童傀儡图","本画署款苏汉臣所作，苏汉臣（1094―1172），汴梁（今河南开封）人，宋代宫廷画家，历徽宗、高宗、孝宗三朝。苏汉臣画师刘宗古，善画仙佛人物，尤以婴戏图题材最为著名。苏汉臣在宋代画家中以画儿童婴戏著称，因此后世凡见宋人无款婴戏图常题苏汉臣作用来提高画的价值。宋朝社会流行木偶戏，宋人称之为“傀儡戏”，同时傀儡也被制成了儿童的玩具。本幅苏汉臣所画的《侲童傀儡图》描绘的正是三个小童在玩“杖头傀儡”的场景。作者笔下的小童神情专注，笔法简洁细劲，设色典雅。石色的使用最忌板滞轻浮，而本画中的石色明丽沉稳，堪称典范。图中假山的画法与宋徽宗《祥龙石图》如出一辙，阴阳凹凸皆以龙麟状的墨块点画而成，这与南宋院体画喜用小斧劈皴不同。这也在一定程度上反映了作者传承的是北宋宣和院体画风。",[23,7,24,26,27,28,4842,7892,82,634],"傀儡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128d6f14c797843ff768db6c9441c208.jpg","23.6×23.2cm",[175,36,90],{"id":7897,"slug":7898,"title":7899,"dynasty":1104,"author":7900,"museum":151,"description":7901,"tags":7902,"thumbUrl":7903,"material":250,"size":7904,"collection":1898,"collections":7905,"showCount":7828,"zanCount":1065,"manualWeight":40,"mainColor":41},221026,"bo-yuan-tie-wang-xun-221026","伯远帖","王珣","《伯远帖》是晋王珣(350—401年)写的一封信。原文：“珣頓首頓首，伯遠勝業情期群從之寶。自以羸患, 志在優遊。始獲此出意不剋申。分別如昨永爲疇古。遠隔嶺嶠，不相瞻臨。”\n卷前引首有乾隆御书：“江左風華”四大字，上有“乾隆御笔”一玺。并御题：“唐人真迹已不可多得，況晉人耶！內府所藏右軍快雪帖、大令中秋帖，皆希世之珍。今又得王珣此幅，繭紙家风，信堪並美！幾余清赏，亦臨池一助也。御識。”钤“乾隆宸翰”、“涵虛朗鑒”二玺。\n前隔水御书：“家學世範，草聖有傳。宣和書譜”12字。下有：“乾隆宸翰”、“幾暇臨池”、“耽書是宿缘”三玺。\n又御识：“乾隆丙寅春月，獲王珣此帖，遂與快雪中秋二迹並藏養心殿溫室中，顔曰三希堂，御筆。又識”，钤“乾”、“隆”二玺。\n后隔水上有明董其昌跋，后有乾隆御笔绘枯枝文石，并识：“王珣帖與其昌跋皆可寶玩，即裝池側理亦光潤堪愛，漫制枯枝文石以配之。乾隆丙寅春正，長春書屋御識”，钤“几暇怡情”一玺。后有“墨云”一玺。\n卷尾敕董邦达绘图，邦达有记，又有沈德潜书“三希堂歌”。\n卷后有董其昌、王肯堂题记。\n此帖与陆机《平复帖》为现今仅存的两件晋代名人法书。\n王羲之作为“书圣”，垂范百代。但他的书作只以临本、摹本和刻本的形式流传，没有一件真迹传世。王氏家族世代擅书，名家辈出，然其作品命运亦大抵相同。唯羲之族侄王珣有此短笺留在人间，实在是不幸中的大幸。我们可以从中窥见“二王”行草书使转用笔的精微之处，这是刻帖和双勾填墨摹本所无法传达的。\n王珣本人有书名，此帖风神俊朗，潇洒流利，在王氏家族书风的基础上自具面目，在中国书法史上具有崇高的地位。\n王珣《伯远帖》自乾隆十一年（1746年）进入内府，经乾隆品题，与王羲之《快雪时晴帖》、王献之《中秋帖》并藏在养心殿西暖阁内的尽间，乾隆御书匾额“三希堂”。 乾隆十二年又精选内府所藏魏晋唐宋元明书家134家真迹，包括三希在内，摹勒上石，命名《三希堂法帖》。在西苑的北海建“阅古楼”，把上述刻石嵌在楼内墙上，拓本流传以示临池之模范。三希原件仍藏在养心殿三希堂。\n1911年以后至1924年溥仪出宫以前，《伯远帖》、《中秋帖》曾藏在敬懿皇贵妃所居的寿康宫，溥仪出宫之时，敬懿皇贵妃将此帖带出宫，后流散在外。1951 年周恩来总理指示将《伯远帖》、《中秋帖》从香港购回，交故宫博物院收藏。\n《宣和书谱》、《画禅室随笔》、《书画记》、《平生壮观》、《墨缘汇观》、《式古堂书画汇考》、《佩文斋书画谱》、《石渠宝笈·初编》、《古书画过眼要录》等书著录。",[23,7,24,51,25,119,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246f88fa2111a0004e79f669a9b961c0.jpg","纵25.1cm，横17.2cm",[1898],{"id":7907,"slug":7908,"title":7909,"dynasty":293,"author":7910,"museum":48,"description":7911,"tags":7912,"thumbUrl":7913,"material":121,"size":7914,"collection":36,"collections":7915,"showCount":7828,"zanCount":1065,"manualWeight":40,"mainColor":62},220366,"zhong-kui-yue-ye-chu-you-tu-yan-hui-220366","钟馗月夜出游图","颜辉","颜辉，字秋月，庐陵(今江西吉安)人；—作江山(今浙江)人。擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣。大德(1297-1307)间尝画辅I，匝宫壁。所作《李仙像》，绢本着色，衣纹粗笔勾染，鬓发细笔勾描，主线粗，副线细，笔势转折富于变化，开明初吴伟画法之先河。传世作品有《中山出猎图》轴，图录于《故宫书画集》，《钟馗月夜出游图》现藏美国克利夫兰美术馆。\n关于元代画家颜辉的生平，画史上记载很少，仅《图绘宝鉴》中略有提及他擅画道释人物。明代吴宽《匏翁家藏集》中谓其“画鬼尤工，笔法奇崛，有八面生动之意”。颜辉还兼擅山水，画风有李成、郭熙的遗韵。",[23,7,24,51,25,510,277,28,1570,4005,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb1ea86b91ff3415a751ad1b0b59ac4.jpg","24.8X240.3",[36,286],{"id":7917,"slug":7918,"title":7919,"dynasty":114,"author":4389,"museum":20,"description":7920,"tags":7921,"thumbUrl":7922,"material":34,"size":7923,"collection":88,"collections":7924,"showCount":7828,"zanCount":530,"manualWeight":40,"mainColor":62},218527,"yu-wang-zhi-shui-tu-zhao-bo-ju-218527","禹王治水图","大禹治水（鲧禹治水）是中国上古时期大禹治理大洪水的传说。此《禹王治水图》卷传为南宋画家赵伯驹绘。画卷为青绿描金，其主题内容为大禹治水采用凿岭开山、决江济川，疏导方式治理水患的故事。卷末附元代文学家虞集书《禹贡》。此卷现藏于台北故宫博物院。",[23,7,24,51,25,72,27,28,75,26,278,663,82,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1730ee5c62d100c4fdf05af2481cfa4b.jpg","30.5x373cm",[88],{"id":7926,"slug":7927,"title":7928,"dynasty":293,"author":7929,"museum":507,"description":7930,"tags":7931,"thumbUrl":7933,"material":34,"size":7934,"collection":88,"collections":7935,"showCount":7828,"zanCount":541,"manualWeight":40,"mainColor":62},218229,"qing-shan-hong-xing-tu-ma-wan-218229","青山红杏图","马琬","青山红杏图是中国元朝时期著名的画家马琬的杰作之一。这幅图像是一幅山水画，描绘了一片山峰环绕的山谷，谷底有一条清澈的小溪流过。山峰上绿油油的树木点缀着几朵红色的杏花，与苍翠的山峰形成鲜明的对比。整幅画非常细腻，笔触流畅，给人以清新自然的感觉。\n\n马琬是元朝时期著名的画家，他的画风独特，善于描绘自然风光。他的作品中常常出现山水、花鸟、山峰和小溪的景象，并融入了自己的想象力和创造力。青山红杏图就是马琬这种画风的经典代表之一。",[24,7,51,72,27,75,73,297,135,7932,278],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210df1734801534a679e4b785cd61260.jpg","24.2x22.7cm",[88],{"id":7937,"slug":7938,"title":7939,"dynasty":114,"author":181,"museum":20,"description":7940,"tags":7941,"thumbUrl":7943,"material":34,"size":7944,"collection":106,"collections":7945,"showCount":7828,"zanCount":541,"manualWeight":40,"mainColor":41},216599,"xiu-huang-quan-hua-hua-niao-ce-2-yi-ming-216599","绣黄筌画花鸟册-2","绣线交织出兰叶的柔婉姿态，针脚起落间，叶脉的细腻纹路清晰可见，似微风拂过便会轻颤。浅金色花簇缀于青碧草间，色泽温润雅致，与素净底色相衬，流露宋人独有的清逸审美。角落的红墨小物，色彩对比鲜明却不失和谐，为静谧画面添了几分灵动。此作以针代笔，将绘画的工致与刺绣的肌理感相融，既复刻了黄筌画派的细腻，又借丝线的质感赋予画面立体生机，仿佛能窥见宋时窗下，一缕兰香随绣线漫开的静谧时刻，尽显传统工艺与文人意趣的精妙碰撞。",[7,24,51,100,27,102,228,263,74,7942],"刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9056d18793811b531cba23d39e80e11f.jpg","23.1x21.1cm",[106],{"id":7947,"slug":7948,"title":7949,"dynasty":114,"author":7950,"museum":570,"description":7951,"tags":7952,"thumbUrl":7953,"material":34,"size":7954,"collection":36,"collections":7955,"showCount":7828,"zanCount":530,"manualWeight":40,"mainColor":41},215008,"xie-shen-lao-jun-bian-hua-shi-shi-tu-wang-li-yong-215008","写神老君变化十式图","王利用","道教以老子为祖先，赋予这位先秦哲人以神秘而神圣的光芒，赋予他自己神奇的力量。在这幅画中，老子被分段描绘在横幅上，从天地初开到殷商时期，老子化身为顾主、金阙皇帝、玉华子、大成子、广寿子、广成子、镇星子、解颐子、牟成子、川桓子等真实人格。宋朝皇帝提倡道教，所以这类题材的绘画很受欢迎。",[23,7,24,51,25,26,27,678,28,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474edbfbed198eb48c688584feee12ec.jpg","44.8x188.4",[36],{"id":7957,"slug":7958,"title":7959,"dynasty":18,"author":1009,"museum":132,"description":7960,"tags":7961,"thumbUrl":7963,"material":317,"size":907,"collection":122,"collections":7964,"showCount":7965,"zanCount":1065,"manualWeight":40,"mainColor":62},283688,"qiu-shan-wan-cui-tu-guan-tong-283688","秋山晚翠图","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[23,7,24,51,52,277,27,75,7962,278,82,425,313,73,74],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74413aeaf6fe0fbb9e4679e693b6af8.jpg",[],103,{"id":7967,"slug":7968,"title":7969,"dynasty":46,"author":2336,"museum":132,"description":7970,"tags":7971,"thumbUrl":7972,"material":122,"size":122,"collection":122,"collections":7973,"showCount":7965,"zanCount":1065,"manualWeight":40,"mainColor":41},235233,"ju-shi-zhou-wu-chang-shuo-235233","菊石轴","此作用笔雄老苍劲，以篆籀之法入画，将金石意趣融于绘事。左侧狂草长题与右侧花木山石虚实相映，通篇气机贯通。泼墨写石，干湿浓墨晕染出嶙峋朴拙之态，淡墨勾菊瓣、浓墨点枝叶，尽显菊花清隽凌霜之姿；下方牡丹设色秾丽饱满，艳而不俗，与寒菊形成雅艳对照。\n\n诗画互衬，借黄英、牡丹寄寓疏狂高逸的襟怀，将文人意趣与世俗审美相融，尽显晚年沉郁浑朴的大写意风骨。",[24,51,52,7,27,277,368,1882,136,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ca9fe70ff6300da429378a633361f7.jpg",[],{"id":7975,"slug":7976,"title":7977,"dynasty":114,"author":310,"museum":20,"description":7978,"tags":7979,"thumbUrl":7980,"material":611,"size":7981,"collection":175,"collections":7982,"showCount":7965,"zanCount":40,"manualWeight":40,"mainColor":62},221393,"qiu-lin-fei-pu-zhou-fan-kuan-221393","秋林飞瀑轴","图绘秋山栈道瀑布流泉，远处岩关列岫隐约可见，气势磅礴，景色宜人。",[23,7,24,51,52,73,277,75,1647,427,281,280,82,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab091b4703f6d101e17af7a9a05d6d.jpg","纵：181厘米，横：99.5厘米",[175,88,286],{"id":7984,"slug":7985,"title":7986,"dynasty":67,"author":1269,"museum":260,"description":7987,"tags":7988,"thumbUrl":7989,"material":250,"size":7990,"collection":88,"collections":7991,"showCount":7965,"zanCount":40,"manualWeight":40,"mainColor":41},220344,"fang-mi-fei-shan-shui-tu-juan-dong-qi-chang-220344","仿米芾山水图卷","“画家初以古人为师，后以造化为师”——先古人、后造化，作为学习中国画的基本程序，这并非董其昌的发明，而是由来已久的传统。这一程序的合理与否姑且不论，我们所要讨论的是，在古人与造化面前，董其昌是如何认识到并揭示出审美关系中“我”的主体性的。",[7,24,51,25,277,75,73,278,82,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9110a3b8272916474ce78d43f4cf6a08.jpg","25.9 x 219.1厘米",[88,123],{"id":7993,"slug":7994,"title":7995,"dynasty":114,"author":7996,"museum":20,"description":7997,"tags":7998,"thumbUrl":8000,"material":34,"size":8001,"collection":175,"collections":8002,"showCount":7965,"zanCount":40,"manualWeight":40,"mainColor":62},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[23,7,24,51,25,27,26,75,78,79,1906,82,3850,7999,84,81],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[175,88],{"id":8004,"slug":8005,"title":8006,"dynasty":293,"author":4666,"museum":195,"description":8007,"tags":8008,"thumbUrl":8009,"material":666,"size":8010,"collection":106,"collections":8011,"showCount":7965,"zanCount":40,"manualWeight":40,"mainColor":41},218762,"zhu-shi-ji-qin-tu-wang-yuan-218762","竹石集禽图","王渊（生卒年不详），字若水，号澹轩，钱塘（今浙江杭州）人。元代后期职业画家，擅画水墨花鸟、竹石、山水等。\n此图又名《花竹禽雀图》，以墨笔描绘园中禽雀栖息翱翔的场景。画面以一雄一雌的两禽为主体，雄禽立于湖石之上，炯炯有神，展现出胸部美丽斑斓的羽毛；辞禽于湖石下仰头回眸。在石后杜鹃盛开、竹枝生长，竹稍鸟群或栖息欲飞、或翻飞腾跃。\n技法上，王渊充分发挥墨彩的效果，通过运用浓淡枯湿的不同墨色，将水墨皴染和细笔勾勒等多种手法相结合，生动写实地表现出湖石、花朵、竹枝、禽鸟的不同质感，呈现出禽鸟的丰富神态，绘画细腻写实，是元代水墨画中的典型作品。",[23,24,7,51,52,277,26,74,53,136,84,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5497a6ceb9b1d521898be3b33cd857fc.jpg","纵137.5 厘米，横59.4 厘米",[106],{"id":8013,"slug":8014,"title":8015,"dynasty":114,"author":8016,"museum":365,"description":8017,"tags":8018,"thumbUrl":8021,"material":34,"size":8022,"collection":36,"collections":8023,"showCount":7965,"zanCount":1065,"manualWeight":40,"mainColor":41},214920,"jiu-ge-tu-zhang-dun-li-214920","九歌图","张敦礼","由屈原创作的九歌具有很强的宗教性，是献给当时楚国存在的九种自然神的，由11首歌曲和韵文组成。本卷中缺少的是第二首《云中君》和第三首《湘君》。据说它是由张敦礼创作的，但张敦礼的作品没有现存的例子，所以无法确认它是由他创作的。",[23,7,24,51,25,27,26,73,28,75,82,8019,8020,118,1109,2044,30,74],"云气","神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147d00ca234fc4e4d8490dbae4e29906.jpg","24.7x608.5",[36],{"id":8025,"slug":8026,"title":8027,"dynasty":46,"author":1344,"museum":132,"description":8028,"tags":8029,"thumbUrl":8030,"material":122,"size":122,"collection":122,"collections":8031,"showCount":8032,"zanCount":40,"manualWeight":40,"mainColor":62},231002,"song-shi-mu-dan-zhu-da-231002","松石牡丹","苍松顶天立地，老干皴朴嶙峋，松针如戟排布，笔意极简却自带虬劲孤傲之势。玲珑湖石以泼墨晕染，虚实间尽显奇崛冷逸。柔婉牡丹隐于松石缝隙，淡粉轻敷，娇柔花姿与枯硬松石形成强烈反差，艳而不俗，静吐幽芳。\n\n整幅画作以寥寥笔墨勾勒冷寂孤高的格调，将沉郁心境寄于物象，于简淡笔触中藏着磅礴生命张力，把物我合一的禅意融于松石花影之间，静穆里带着疏旷风骨，尽显冷逸疏朗的独特意趣，寥寥数笔便写尽出世孤高的襟怀。",[23,7,24,51,52,277,27,368,697,136,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ec2733997ab825ea604ee9dbe4626d.jpg",[],102,{"id":8034,"slug":8035,"title":8036,"dynasty":46,"author":8037,"museum":132,"description":8038,"tags":8039,"thumbUrl":8040,"material":122,"size":122,"collection":122,"collections":8041,"showCount":8032,"zanCount":1065,"manualWeight":40,"mainColor":41},230156,"chun-quan-xi-yao-tu-juan-chang-juan-yu-zhi-ding-230156","春泉洗药图卷（长卷）","禹之鼎","画作以青绿设色绘就江南春景，溪岸桃杏如云，山舍隐于繁枝茂叶之间，幽泉蜿蜒穿绕药圃。松下隐士凭坐观览，僮仆在溪桥边劳作，一派清寂雅静的林下幽居之景，尽显洗药林泉的隐逸意趣。\n\n整卷书画合璧，后续题跋行书笔致秀逸舒展，与工致明丽的设色画面相得益彰，将文人寄迹丘山、疗心养性的高怀雅韵融于卷中，笔墨温婉雅致，意境淡远出尘，尽显传统文人画的书卷意趣与审美追求。",[23,7,24,51,25,27,26,75,28,78,79,81,76,119,74,82,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d01b255a94c4d9b31be5c7ce3228f0.jpg",[],{"id":8043,"slug":8044,"title":8045,"dynasty":293,"author":658,"museum":20,"description":8046,"tags":8047,"thumbUrl":8048,"material":283,"size":8049,"collection":286,"collections":8050,"showCount":8032,"zanCount":40,"manualWeight":40,"mainColor":62},220781,"zhu-shi-tu-ye-wu-zhen-220781","竹石图页","吴镇师承方面，于董源、巨然所得最多。其实董源、巨然并不是文人画家，但由于他们生活在江南，表现江南山川，创造了平淡天真、苍茫浑厚的山水画风，恰到好处地表现了山川之气韵，这种气韵正是宋代以后文人画家所梦寐以求的。从米芾开始，董巨画风开始受到青睐，延及赵孟頫、元四家，董巨画风大受推崇，整个元代山水画坛大多以董巨为依归，力求韵外之致。吴镇对董巨是下过很深的功夫的，他自己说：“董源画《寒林重汀图》，笔法苍劲，世所罕见，因观其真迹，摹其万一。”",[23,7,24,277,73,100,53,136,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe30f4d3ae723c1fb823e512d8473ef.jpg","本幅 90.6x42.5公分、全幅 61.3公分",[286,2605],{"id":8052,"slug":8053,"title":8054,"dynasty":67,"author":1139,"museum":20,"description":8055,"tags":8056,"thumbUrl":8057,"material":34,"size":8058,"collection":106,"collections":8059,"showCount":8032,"zanCount":1065,"manualWeight":40,"mainColor":62},218791,"ba-bai-chang-chun-tu-zhou-zhi-mian-218791","八百长春图","群鸟聚于虬枝间，动静交织成趣。或振翅俯冲，羽翼翻飞带起风意；或引颈相鸣，喙张似闻啁啾之声；或敛翼静栖，黑亮羽色衬暖褐底色，浓淡墨痕晕染出羽毛层次。虬枝蜿蜒，叶芽点缀其间，野趣盎然。整幅画面鲜活生动，鸟的姿态各异却和谐相融，似捕捉了林间一瞬的热闹场景，墨色与绢本底色相映成辉，尽显自然生机与笔墨意趣。",[23,24,7,51,52,26,102,84,1059,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fd7ed05d03aaa2f92e4f07cd2b388aa.jpg","111.8x50cm",[106],{"id":8061,"slug":8062,"title":8063,"dynasty":114,"author":5683,"museum":132,"description":8064,"tags":8065,"thumbUrl":8066,"material":34,"size":122,"collection":90,"collections":8067,"showCount":8032,"zanCount":1065,"manualWeight":40,"mainColor":62},218660,"he-ting-na-liang-tu-zhao-ling-rang-218660","荷亭纳凉图","亭畔柳丝轻垂如帘，半掩着凭栏闲坐的身影。池中荷叶片片叠翠，粉白的花影在微风里轻晃，似与远处烟霭中的山峦遥遥对语。远山以淡墨晕染，隐在薄云与江雾间，江天浩渺处，几只水鸟掠过，更添空寂。近景的石径、矮墙与草木，笔墨细腻却不繁冗，色彩温润如旧时光里的浅茶。整幅画没有燥热的夏意，只有风过荷塘的清凉与文人的从容——仿佛能听见荷叶上的露水滴落，也能看见那人眼中的江天辽阔。宋人的雅致与诗意，就这样凝在这一方圆幅里，淡而悠长，静而生动。",[23,7,24,51,27,26,75,28,81,54,398,82,84,4037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79a4b33df725714b75d1cedff8520f.jpg",[90],{"id":8069,"slug":8070,"title":8071,"dynasty":293,"author":644,"museum":20,"description":8072,"tags":8073,"thumbUrl":8074,"material":666,"size":8075,"collection":88,"collections":8076,"showCount":8077,"zanCount":1065,"manualWeight":40,"mainColor":41},288975,"feng-luo-wu-jiang-tu-ni-zan-288975","枫落吴江图","倪瓒山水画意境清远萧疏，自谓“逸笔草草，不求形似。”用笔轻而松，燥笔多，润笔少，墨色简淡，却厚重清温，无纤细浮薄之感，能以淡墨简笔，有神地笼罩住整个画面，识者谓其“天真幽淡，似嫩实苍。”得“简中寓繁”的风格.",[7,24,51,52,277,75,1059,81,78,79,74,118,1680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac6fd826cd30a21b08434d4eaaef13d.jpg","94.3x48.8",[88],101,{"id":8079,"slug":8080,"title":8081,"dynasty":46,"author":8082,"museum":151,"description":8083,"tags":8084,"thumbUrl":8085,"material":8086,"size":8087,"collection":36,"collections":8088,"showCount":8077,"zanCount":541,"manualWeight":40,"mainColor":41},238287,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238287","喻兰仕女清娱图册","喻兰","此图册共八幅。从精美的器皿、工巧的家具、华丽的服饰可知作者表现的是富贵人家女子，通过女子在室内品茗、吹箫、梳妆、投壶等行乐活动，说明了优越的生活环境不仅保障了她们衣食无忧，亦为她们提供了种种休闲条件，从而令她们具有多方面的修养。",[7,24,51,100,27,26,28,29,84,31,55,30,3048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f754f2a14cd591c9ca80e5a781de197.jpg","纸本、设色","每开纵17厘米，横22.7厘米",[36,90],{"id":8090,"slug":8091,"title":8092,"dynasty":46,"author":2336,"museum":132,"description":8093,"tags":8094,"thumbUrl":8095,"material":122,"size":122,"collection":122,"collections":8096,"showCount":8077,"zanCount":40,"manualWeight":40,"mainColor":41},235404,"mu-dan-zhou-wu-chang-shuo-235404","牡丹轴","此作虚实相生，右上角题款与左下花木湖石遥相呼应。牡丹以阔笔泼色，胭脂点染花瓣，浓艳厚重，带着苍浑的金石意趣，柔艳花姿里暗蕴雄强骨力。叶片焦墨挥写，线条老辣苍劲，与牡丹柔色形成强烈反差，更衬花之秾艳。\n\n湖石以淡墨晕染，焦墨提点轮廓，朴拙古雅。藤蔓缠绕穿插，填补留白让层次愈显丰满。题字带着篆隶笔意，与画境浑然相融，将篆刻的苍茫意趣尽数融入画笔，跳出牡丹富贵柔媚的陈套，化为疏野苍劲的文人风骨，纵横恣肆间不失雅致，尽显雄强古茂的写意格调。",[24,51,52,7,27,277,368,102,103,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e01c9ee92e8c23d37723f245dada53.jpg",[],{"id":8098,"slug":8099,"title":8100,"dynasty":8101,"author":8102,"museum":132,"description":8103,"tags":8104,"thumbUrl":8105,"material":317,"size":907,"collection":122,"collections":8106,"showCount":8077,"zanCount":1065,"manualWeight":40,"mainColor":62},231039,"tai-hang-shan-ji-wei-dan-231039","太行山记","汉","韦诞","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[7,24,51,118,25,119,277,74,1580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bfe89ff080cb08ac0a64e22cd3a4985.jpg",[],{"id":8108,"slug":8109,"title":1798,"dynasty":114,"author":181,"museum":132,"description":8110,"tags":8111,"thumbUrl":8112,"material":122,"size":122,"collection":122,"collections":8113,"showCount":8077,"zanCount":40,"manualWeight":40,"mainColor":41},227896,"mu-dan-tu-yi-ming-227896","此作以工笔设色绘就，将牡丹的雍容之态尽显绢上。重瓣花头饱满蓬松，紫艳花瓣层层叠叠，以色晕染出瓣面明暗渐变，从瓣根的深紫过渡至瓣尖的柔粉，将花瓣舒展翻卷的柔媚质感描摹入微，把牡丹的华贵风韵定格。嫩绿的萼片与枝叶作为映衬，线条细劲灵动，勾勒出叶片舒展的姿态，浅绿设色柔而清透，与花的浓艳形成冷暖呼应，愈衬花头妍丽不俗。\n\n整幅构图紧凑却不显拥塞，团扇形制里氤氲着雅致静谧的氛围，尽显内敛的审美意趣，将国色天香的雅致风骨凝于尺幅之间。",[23,7,24,51,768,27,26,102,103,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e83d9bc1bd1f8aa4ab7a2bddd7fdce5.jpg",[],{"id":8115,"slug":8116,"title":8117,"dynasty":46,"author":2172,"museum":20,"description":8118,"tags":8119,"thumbUrl":8120,"material":34,"size":8121,"collection":88,"collections":8122,"showCount":8077,"zanCount":541,"manualWeight":40,"mainColor":41},224486,"xi-shan-shen-xiu-zhou-wang-jian-224486","溪山深秀轴","汇集画家王鉴先生山水画数幅，淋漓尽致地表现出其雄奇、或秀美、或舒缓、或险峻。是伟岸的山，壮丽的山。主要有秋山图轴、溪山深秀图轴、山水册七开、九峰读书图轴、四家灵气图轴等",[23,24,7,51,52,27,72,75,77,78,79,313,425,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89fec13b5a42f7febcb1462f7f1ba47.jpg","161.7x62.5",[88],{"id":8124,"slug":8125,"title":8126,"dynasty":46,"author":8127,"museum":132,"description":8128,"tags":8129,"thumbUrl":8130,"material":122,"size":122,"collection":122,"collections":8131,"showCount":8132,"zanCount":541,"manualWeight":40,"mainColor":993},236105,"mu-dan-shuang-shou-tu-zhou-yu-sheng-236105","牡丹双绶图轴","余省","桃花双绶图轴 清 余省 桃花双绶图轴 绢本设色 纵12厘米 横5厘米。",[7,24,51,52,27,26,102,103,609,384,278,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c4c0d3181e223fbb9eb02524df05a4.jpg",[],100,{"id":8134,"slug":8135,"title":8136,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":8137,"thumbUrl":8140,"material":27,"size":2642,"collection":122,"collections":8141,"showCount":8132,"zanCount":40,"manualWeight":40,"mainColor":41},222752,"xian-e-chang-chun-tu-07b-lang-shi-ning-222752","仙萼长春图-07b",[23,7,24,51,100,27,26,102,84,7667,8138,8139],"豆花","稷穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d348e9e77d0b308e8a29479ec471bb0.jpg",[],{"id":8143,"slug":8144,"title":8145,"dynasty":114,"author":631,"museum":20,"description":8146,"tags":8147,"thumbUrl":8149,"material":34,"size":8150,"collection":175,"collections":8151,"showCount":8132,"zanCount":40,"manualWeight":40,"mainColor":62},218974,"shui-dian-zhao-liang-tu-li-song-218974","水殿招凉图","画中有一道门，将湖水引入运河，流向宫廷花园。有顶的廊桥建在池塘和沼泽上，下面是底，上面是一排叉柱，柱子上有锅炉，锅炉之间有梁，这对研究宋代的桥梁和水闸是很有价值的资料。碑文上写着 李部长 几个字，从画风上看，应该是李松的作品。",[23,7,24,768,855,27,28,77,8148,79,2626,560],"廊桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666a148dad7f30d97877d2b6a766c63a.jpg","24.5x25.4",[175],{"id":8153,"slug":8154,"title":8155,"dynasty":114,"author":1216,"museum":3453,"description":8156,"tags":8157,"thumbUrl":8158,"material":666,"size":8159,"collection":36,"collections":8160,"showCount":8132,"zanCount":541,"manualWeight":40,"mainColor":41},218425,"han-shan-shi-de-tu-li-gong-lin-218425","寒山拾得图","二人相携而立，笑意漫上眉梢，满溢自在随性的意趣。简练灵动的白描线条勾勒衣袂，墨色浓淡交错间，衣纹流转如行云，尽显人物憨态与洒脱。拾得轻倚探身，寒山持杖而立，眉眼间的默契似藏着尘世之外的欢愉，无拘无束。素净之笔不着艳色，却以淡墨晕染出禅意悠悠的况味，仿佛引观者步入远离尘嚣的自在天地，尽显宋代文人画中对心性自由的向往与追寻。",[7,24,51,510,277,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9a720d40393360ea1871508bb9400e7.jpg","27.3x13",[36],{"id":8162,"slug":8163,"title":8164,"dynasty":46,"author":97,"museum":132,"description":2517,"tags":8165,"thumbUrl":8166,"material":317,"size":907,"collection":122,"collections":8167,"showCount":8168,"zanCount":40,"manualWeight":40,"mainColor":41},290525,"ju-hua-zhou-yun-shou-ping-290525","菊花轴",[7,24,52,51,27,102,1882,56,74,118,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6f67635860a905d349624dcec02c18.jpg",[],99,{"id":8170,"slug":8171,"title":1521,"dynasty":114,"author":460,"museum":132,"description":8172,"tags":8173,"thumbUrl":8174,"material":317,"size":907,"collection":122,"collections":8175,"showCount":8168,"zanCount":40,"manualWeight":40,"mainColor":62},289008,"qiu-shan-xing-lv-tu-guo-xi-289008","峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,7,24,52,497,277,73,75,77,78,79,80,84,2785,1059,278,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5d5cac4d9e5299c3b085ebe490c758.jpg",[],{"id":8177,"slug":8178,"title":8179,"dynasty":293,"author":658,"museum":20,"description":8180,"tags":8181,"thumbUrl":8182,"material":666,"size":8183,"collection":122,"collections":8184,"showCount":8168,"zanCount":11,"manualWeight":40,"mainColor":62},287604,"dong-ting-yu-yin-tu-wu-zhen-287604","洞庭渔隐图","该画作采用“一河两岸”式的构图。近景画双松挺立，枯树横斜，隔岸则是迤逦的山坡，与水边荡桨的渔舟，十分忠实地呈现出江南水乡泽国的景象。虽然布局简略，但添加边角的签名，以及上方的题词之後，别具一番宁静典雅的情调。",[7,24,51,52,277,75,79,80,1059,74,118,73,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7237860d8699cbcf4faf880b8386aa52.jpg","146.4x58.6",[],{"id":8186,"slug":8187,"title":8188,"dynasty":114,"author":181,"museum":132,"description":8189,"tags":8190,"thumbUrl":8191,"material":122,"size":122,"collection":122,"collections":8192,"showCount":8168,"zanCount":40,"manualWeight":40,"mainColor":62},227564,"shui-yue-guan-yin-yi-ming-227564","水月观音","水月观音佛经谓观音菩萨有三十三个不同形象的法身，画作观水中月影状的称水月观音。见《法华经普门品》。后用以喻人物仪容清。",[7,24,678,28,27,5399,8188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5104d21de40843aa626a5a833467fa9.jpg",[],{"id":8194,"slug":8195,"title":8196,"dynasty":46,"author":494,"museum":507,"description":6505,"tags":8197,"thumbUrl":8198,"material":267,"size":6508,"collection":88,"collections":8199,"showCount":8168,"zanCount":40,"manualWeight":40,"mainColor":41},219995,"shan-shui-hua-bing-wu-chun-ri-hua-wang-shi-min-219995","山水画-丙午春日画",[24,51,7,277,73,75,278,425,82,647,6830,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76b263723822de7104c5bf39a22e450.jpg",[88],{"id":8201,"slug":8202,"title":8203,"dynasty":46,"author":2660,"museum":132,"description":8204,"tags":8205,"thumbUrl":8207,"material":267,"size":8208,"collection":36,"collections":8209,"showCount":8168,"zanCount":40,"manualWeight":40,"mainColor":62},216779,"zhu-xi-liu-yi-tu-hua-yan-216779","竹溪六逸图","这幅画描绘了李白、孔巢父、韩愈、裴矩、张叔明和陶沔六位大学者在山东泰安聚会，喝茶唱歌，在竹林中隐居。\n这部杰作不仅基于黄大年的遥远山景，还基于逼真的竹子梦、陈老莲的笔触和更微妙的人物形态。景观和人物的布局和风格一致，场景既真实又优美，充分再现了故事的场景，气势恢宏，引人入胜。",[24,51,7,27,26,75,53,28,79,8206],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a44828b298078d33d88230dc1a1aca6.jpg","183x100",[36],{"id":8211,"slug":8212,"title":8213,"dynasty":67,"author":899,"museum":132,"description":2742,"tags":8214,"thumbUrl":8216,"material":317,"size":907,"collection":122,"collections":8217,"showCount":8218,"zanCount":1065,"manualWeight":40,"mainColor":993},290851,"shan-shui-zhou-tang-yin-290851","山水轴",[7,24,52,277,75,609,437,28,278,79,118,74,73,8215],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F107880d5a5ec31ccbe0869de6e5ceedf.jpg",[],98,{"id":8220,"slug":8221,"title":2818,"dynasty":293,"author":1577,"museum":132,"description":8222,"tags":8223,"thumbUrl":8224,"material":317,"size":907,"collection":122,"collections":8225,"showCount":8218,"zanCount":1065,"manualWeight":40,"mainColor":62},290152,"xi-yuan-ya-ji-tu-zhao-meng-fu-290152","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[7,24,52,27,28,81,1059,2825,118,560,278,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01d13b76618e140a15986919f4a5c225.jpg",[],{"id":8227,"slug":8228,"title":8229,"dynasty":114,"author":211,"museum":132,"description":8230,"tags":8231,"thumbUrl":8232,"material":122,"size":122,"collection":122,"collections":8233,"showCount":8218,"zanCount":40,"manualWeight":40,"mainColor":62},230970,"song-hui-zong-dao-jun-li-ying-tu-ye-zhao-ji-230970","宋徽宗(道君)立鹰图页","画面中苍鹰独立危巅，铁爪紧扣寒石，侧目回望之际目光如炬，翎毛以浓淡墨色晕染，层次绵密，将猛禽的刚猛悍勇刻画入微。青蓝山石以淡彩点染，冷峭孤高，背景翻涌的海浪线条虬曲激荡，以动衬静，愈发凸显出雄鹰沉稳孤傲的气度。整作设色古雅沉静，工笔勾勒间不失写意风神，既见精妙的写实功底，亦将猛禽睥睨寰宇的雄逸气魄与浩渺天地相融，将悍猛英姿与幽远意境合为一体，尽显别致的笔墨意趣与精神内核。",[23,7,24,51,2613,27,26,102,1820,56,474,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6fcd749830e028272fda4a6618ab8ef.jpg",[],{"id":8235,"slug":8236,"title":8237,"dynasty":114,"author":460,"museum":132,"description":8238,"tags":8239,"thumbUrl":8240,"material":122,"size":122,"collection":122,"collections":8241,"showCount":8218,"zanCount":1065,"manualWeight":40,"mainColor":62},228262,"shu-shan-xing-lv-tu-guo-xi-228262","蜀山行旅图","此作铺展千里秋江蜀景，峰峦盘曲连绵，矾头苍润皴擦间尽显丘壑雄秀。林木染秋，红黄错落，点染出清寂萧疏的暮秋意韵。江畔村舍错落板桥通幽，山径旅人徐行，水面渔舟泛波，将山野居旅之趣融于烟水间。\n\n水墨设色晕染山峦，淡墨轻笼烟岚，晕开空蒙悠远的江上暮色，尽显山水可观可游可居的幽趣。题咏诗文与画面呼应，将秋日迟暮的怅然与林泉野趣相融，把蜀中山川的浑厚灵秀与文人幽怀合而为一，是山水诗意交织的秋日山居长卷。",[23,24,7,51,25,27,73,75,28,78,79,278,82,80,81,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76cd4d9080725c78fd57d390dac3500b.jpg",[],{"id":8243,"slug":8244,"title":8245,"dynasty":18,"author":1323,"museum":20,"description":8246,"tags":8247,"thumbUrl":8249,"material":666,"size":8250,"collection":88,"collections":8251,"showCount":8218,"zanCount":40,"manualWeight":40,"mainColor":41},219962,"fu-chun-shan-tu-ju-ran-219962","富春山图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[23,24,7,51,25,277,73,119,118,74,75,278,82,313,8248,80,279,425,5607],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[88],{"id":8253,"slug":8254,"title":8255,"dynasty":67,"author":8256,"museum":166,"description":8257,"tags":8258,"thumbUrl":8259,"material":666,"size":8260,"collection":36,"collections":8261,"showCount":8218,"zanCount":40,"manualWeight":40,"mainColor":62},219507,"liu-min-tu-wu-wei-219507","流民图","吴伟","“流民图”这个概念，可以追溯至文献中记载的北宋郑侠《流民图》，也即一种讽喻社会阴暗面的政治寓言。",[23,7,24,51,25,277,510,28,75,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ee54b264cb8fd4942f81dde5e61dca.jpg","纵38.5横546.5厘米",[36,286],{"id":8263,"slug":8264,"title":8265,"dynasty":114,"author":878,"museum":20,"description":8266,"tags":8267,"thumbUrl":8269,"material":34,"size":8270,"collection":88,"collections":8271,"showCount":8218,"zanCount":40,"manualWeight":40,"mainColor":62},219001,"shan-shui-ren-wu-tu-ma-yuan-219001","山水人物图","在松树的阴影下，两个人面对悬崖的对面站着，各自做着倾斜和弯曲的动作，似乎在练习呼气的艺术。岩石用横笔侧画，松枝扭曲僵硬，布满雾气，用笔墨画出了南宋的风格。这幅画的年代大约是在元朝和明朝初期。最初它可能是一个屏幕，但现在它以卷轴的形式被框住了。",[23,7,24,51,75,28,609,278,78,277,27,73,8268,2500],"南宋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c415298a6ebf1893920cac4c8f6236.jpg","77.1x126.4",[88],{"id":8273,"slug":8274,"title":8275,"dynasty":46,"author":2636,"museum":151,"description":8276,"tags":8277,"thumbUrl":8279,"material":156,"size":8280,"collection":106,"collections":8281,"showCount":8282,"zanCount":541,"manualWeight":40,"mainColor":41},236270,"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[24,7,51,52,26,27,8278,28,215,84,75,647,281,4731,663,30],"中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798b081b98ec064f1de8deddba91ab5.jpg","纵259厘米，横171.6厘米",[106,88,36,90],97,{"id":8284,"slug":8285,"title":7568,"dynasty":67,"author":8286,"museum":166,"description":8287,"tags":8288,"thumbUrl":8291,"material":34,"size":122,"collection":36,"collections":8292,"showCount":8282,"zanCount":541,"manualWeight":40,"mainColor":62},219555,"ying-xi-tu-you-qiu-219555","尤求","孩子们骑着竹马，拉着彩色的战车，在松木庭院的树荫下拿着中国的盖子，敲打着锣鼓，仿佛在模仿国王或王子出征。孩子们张开的脸是相似的，在他们的衣服上使用了沉重、笨拙的笔触，与尤秋的传统笔触相差甚远。",[23,24,51,7,27,26,28,1229,609,8289,8290,7572,201],"竹马","灯笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8800e97a0f44aa56d05b931855ed98b.jpg",[36,90],{"id":8294,"slug":8295,"title":8296,"dynasty":67,"author":1070,"museum":195,"description":8297,"tags":8298,"thumbUrl":8299,"material":666,"size":8300,"collection":122,"collections":8301,"showCount":8282,"zanCount":40,"manualWeight":40,"mainColor":41},214642,"hua-hui-ce-4-chen-chun-214642","花卉册-4","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[7,24,277,368,100,102,198,265,1095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4c6f394b5716476a6daa9123972186.jpg","纵28 厘米 横37.9 厘米",[],{"id":8303,"slug":8304,"title":8305,"dynasty":293,"author":1577,"museum":20,"description":8306,"tags":8307,"thumbUrl":8309,"material":121,"size":8310,"collection":123,"collections":8311,"showCount":8282,"zanCount":1065,"manualWeight":40,"mainColor":41},214382,"ti-hua-shi-zhou-zhao-meng-fu-214382","题画诗轴","笔墨流转间，晋唐风骨与元人逸韵交融。行书线条圆活遒媚，如春风拂柳般柔婉却藏筋骨——起收转折温润流畅，结构端稳中透着灵动。墨色浓淡相宜，行列疏密有致，气韵连贯如行云流水。题画诗的清雅与书法的雅致相映成趣，仿佛将山水画卷的意境凝于笔端：诗中咏叹的林泉之趣，随笔墨的起伏漫溢开来，尽显文人书画的韵致。字里行间藏着对自然的眷慕，也流露着书家的从容心境，读来如沐清风，余味悠长。每一笔都似与山水对话，将诗、书、画的意趣绾合成一段清雅的文脉，在时光里静静流淌。",[7,24,51,118,52,119,277,75,76,1059,8308,79],"孤村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2c9a317264f8c2bdc121f3791db8dd.jpg","154.2x84.7",[123],{"id":8313,"slug":8314,"title":8315,"dynasty":18,"author":2623,"museum":132,"description":8316,"tags":8317,"thumbUrl":8320,"material":317,"size":907,"collection":122,"collections":8321,"showCount":8322,"zanCount":11,"manualWeight":40,"mainColor":41},289987,"gong-zhong-tu-zhou-wen-ju-289987","宫中图","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[23,7,24,25,510,28,29,8318,1229,6410,31,8319,119,118],"宫女","宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd82c5d2ffc57e3999164c6f4a0c240dd.jpg",[],96,{"id":8324,"slug":8325,"title":8326,"dynasty":67,"author":8327,"museum":132,"description":8328,"tags":8329,"thumbUrl":8332,"material":317,"size":907,"collection":122,"collections":8333,"showCount":8322,"zanCount":1065,"manualWeight":40,"mainColor":62},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。",[23,24,7,25,26,27,812,53,198,8330,8331],"走兽","嬉春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0eac807c246b76d65c027745f5ba9a.jpg",[],{"id":8335,"slug":8336,"title":8337,"dynasty":114,"author":1313,"museum":132,"description":8338,"tags":8339,"thumbUrl":8342,"material":317,"size":907,"collection":122,"collections":8343,"showCount":8322,"zanCount":40,"manualWeight":40,"mainColor":62},287575,"dong-ri-xi-ying-tu-su-han-chen-287575","冬日戏婴图","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。",[7,24,52,27,26,28,1229,383,53,1466,812,8340,8341],"冬日","戏婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f4da80266afbaa0934659384b709df.jpg",[],{"id":8345,"slug":8346,"title":2207,"dynasty":46,"author":1486,"museum":132,"description":1487,"tags":8347,"thumbUrl":8348,"material":317,"size":907,"collection":106,"collections":8349,"showCount":8322,"zanCount":40,"manualWeight":40,"mainColor":41},235595,"hua-hui-ce-wang-wu-235595",[7,24,51,100,27,26,102,56,198,265,74,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dfb5af791c81f1b8b2110f11c0c905.jpg",[106,90],{"id":8351,"slug":8352,"title":8353,"dynasty":18,"author":1405,"museum":132,"description":8354,"tags":8355,"thumbUrl":8356,"material":122,"size":122,"collection":122,"collections":8357,"showCount":8322,"zanCount":40,"manualWeight":40,"mainColor":62},227263,"dong-bei-yuan-xi-shan-xing-lv-tu-li-zhou-dong-yuan-227263","董北苑溪山行旅图立轴","董源（生卒年不详），字叔达，洪州钟陵（今江西省进贤县钟陵乡）人。五代绘画大师，南派山水画开山鼻祖，与李成、范宽，并称“北宋三大家”。\n南唐时期，曾任北苑副使，人称“董北苑”。南唐灭亡后，进入北宋。擅于山水画，兼工人物、禽兽。其山水初师荆浩，笔力沉雄，后以江南真山实景入画，不为奇峭之笔。疏林远树，平远幽深，皴法状如麻皮，后人称为“披麻皴”。山头苔点细密，水色江天，云雾显晦，峰峦出没，汀渚溪桥，率多真意。“平淡天真，唐无此品”（米芾）。\n存世作品有《夏景山口待渡图》《潇湘图》《夏山图》《溪岸图》《寒林重汀图》《龙宿郊民图》《平林霁色图卷》等。",[23,24,51,7,52,277,73,75,82,78,79,559,28,278,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce14da05caf0e1610bf356168685eed.jpg",[],{"id":8359,"slug":8360,"title":8361,"dynasty":46,"author":2636,"museum":151,"description":8362,"tags":8363,"thumbUrl":8364,"material":156,"size":8365,"collection":106,"collections":8366,"showCount":8322,"zanCount":1065,"manualWeight":40,"mainColor":41},222781,"hua-niao-ce-ye-lang-shi-ning-222781","花鸟册页","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[23,7,24,51,100,26,27,102,383,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1a60274f5f3dad5f48ce75b5aa1af22.jpg","纵32.6厘米，横28.6厘米",[106,90],{"id":8368,"slug":8369,"title":8370,"dynasty":293,"author":644,"museum":151,"description":8371,"tags":8372,"thumbUrl":8374,"material":834,"size":8375,"collection":286,"collections":8376,"showCount":8322,"zanCount":40,"manualWeight":40,"mainColor":62},220798,"wu-zhu-xiu-shi-tu-ni-zan-220798","梧竹秀石图","《梧竹秀石图》绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。\n图中画梧桐一株，疏竹数竿，湖石平坡，间以涓涓细流。与以往画家惯用干淡松秀笔墨表现不同的是，全画用大胆的墨笔写成，颇具苍润淋漓之妙。梧叶用阔笔、湿墨侧抹而出，莽苍超忽，而清阴如覆；树干、秀石的表现亦以侧笔写成，湖石用浓墨皴出，其浑厚有北苑之意。这幅画为倪瓒画风成熟期少见的变体之作。画家通过对墨色浓淡、干湿的运用，使画面极富层次感。梧桐、竹石的表现与宋院体画讲究写真、追求形似相比已颇有变化，更突出了笔墨对自我性灵的抒发。正合《艺苑卮言》中云：“山水以气韵为主，形模寓乎其中。”草草点染而又不改物形的矛盾，倪瓒在此图中将其处理得恰到好处。",[23,7,24,277,52,53,8373,56,119,74,368],"梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed2c141173efcc16d73f1e7f7f7cf9c1.jpg","纵96cm，横36.5cm",[286,2605],{"id":8378,"slug":8379,"title":8380,"dynasty":67,"author":6176,"museum":20,"description":8381,"tags":8382,"thumbUrl":8383,"material":666,"size":8384,"collection":106,"collections":8385,"showCount":8322,"zanCount":1065,"manualWeight":40,"mainColor":62},218845,"ying-tu-lin-liang-218845","鹰图","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意没骨技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[24,51,7,52,277,368,102,84,1820,4371,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d271fc592f2aaf9b0f31185b041e211.jpg","133.4x80.5cm",[106],{"id":8387,"slug":8388,"title":8389,"dynasty":114,"author":878,"museum":395,"description":8390,"tags":8391,"thumbUrl":8392,"material":34,"size":122,"collection":88,"collections":8393,"showCount":8322,"zanCount":1065,"manualWeight":40,"mainColor":62},217999,"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","马远是宋朝时期的一位著名画家，他的作品中有一幅名为“雪岸观眺图”的水墨画，被认为是宋朝画坛上的杰作之一。\n\n这幅画描绘了一段冬日的景象，画面中的山峦积雪，河水冰冻，极富冬日特色。在画中，可以看到许多游客在观眺这片壮丽的景色。画中还有许多树木，它们的枝条被白雪覆盖，显得格外的美丽。\n\n马远在这幅画中运用了许多水墨画的技巧，包括“写意”和“虚实”。“写意”指的是画家用自己的感受来描绘景象，而“虚实”则指画家在画面中运用虚实对比来表现深浅、空间感等效果。在“雪岸观眺图”中，马远巧妙地运用了这些技巧，使得画面充满了生动的气氛和浓郁的冬日气息。\n总的来说，“雪岸观眺图”是宋朝画坛上的一幅杰作，它不仅展现了宋朝时期画家对冬日景色的传统描绘方式，还体现了马远对水墨画艺术的精湛技艺",[23,7,24,51,52,27,26,73,75,81,135,1023,28,281,3456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[88],{"id":8395,"slug":8396,"title":8397,"dynasty":114,"author":181,"museum":20,"description":8398,"tags":8399,"thumbUrl":8400,"material":34,"size":8401,"collection":106,"collections":8402,"showCount":8322,"zanCount":541,"manualWeight":40,"mainColor":62},216214,"xi-ma-tu-yi-ming-216214","洗马图","洗马图是宋朝时期的一幅著名图画，其作者不详。这幅图展示了一群人在洗马，图中人物栩栩如生，每个人都有自己独特的表情和动作。洗马图被认为是中国古代绘画史上的杰作，其精细的绘画技巧和生动的人物造型吸引了许多观众的眼球。\n\n洗马图是在宋朝时期创作的，当时中国的绘画艺术正处于高峰期。在宋朝时期，绘画艺术得到了极大的发展，许多著名的绘画家都涌现出来，创作出了许多传世的杰作。洗马图就是其中的一例，其精细的绘画技巧和生动的人物造型使其成为了中国古代绘画史上的杰作。\n\n目前，洗马图被认为是中国古代艺术宝藏之一，并被收藏在台北故宫博物院之中。许多人都向往能够看到这幅珍贵的图画，并为其中的细节所惊叹。洗马图是中国古代艺术的杰作，值得我们去探究和珍视。",[24,51,7,26,27,28,215,135,855,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b0938793c42dc54607d2778cc0ab9b.jpg","55x60.8cm",[106],{"id":8404,"slug":8405,"title":8406,"dynasty":114,"author":4689,"museum":132,"description":8407,"tags":8408,"thumbUrl":8409,"material":317,"size":907,"collection":122,"collections":8410,"showCount":8411,"zanCount":40,"manualWeight":40,"mainColor":62},288289,"mao-hou-tu-yi-yuan-ji-288289","猫猴图","《宋易元吉猴猫图卷》画孙猴儿一只，脖子上围绑着粗绳，圈系在地，两只小花猫，大概路经此地，不经意中，一为猴儿挟抱，另一则惊避回顾。画中二小猫，全身毫毛皆用纤细的笔线，笔笔丝出，再加色晕染。黄花猫斑纹处是以淡赭墨染绘，毛色层次井然分明。盘坐在地的猴儿也是采同样手法处理，然而毛发更见丰盈毛绒，多而不乱。作者传神体物的绘画表现，足能成为北宋人写生写实的艺事风格代表。\n画家除了在此展现出精巧的画技外，捕捉动物生态，更有其独到之处。无论是调皮捣蛋的顽猴；或是它怀中畏怯无奈的小猫；或是一旁怒目嘶叫、张牙舞爪的幸免者，这三者间生动的神情，及合于本性、出于自然的瞬间互动，都藉由画家敏睿的观察，和传神的画笔，铺陈出如此富有戏剧效果的画面。",[7,24,51,27,26,812,6290,472,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d00ee3f96e092903f2ea29821abb153.jpg",[],95,{"id":8413,"slug":8414,"title":8415,"dynasty":67,"author":8416,"museum":132,"description":8417,"tags":8418,"thumbUrl":8419,"material":122,"size":122,"collection":122,"collections":8420,"showCount":8411,"zanCount":1065,"manualWeight":40,"mainColor":41},234215,"chen-qin-zhu-lan-ju-shi-juan-chen-qin-234215","陈芹竹兰菊石卷","陈芹","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，传世作品有《为佩庭作竹石图》（现藏故宫博物院）、《修篁文石图》（现藏南京博物馆）等。工书法，师钟繇，二王，尤善章草。《自书诗》行书册古雅畅达，妍媚洒脱，含章草意态。",[23,7,24,51,25,277,119,118,53,228,1882,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05f0ec9be94c42d09d7d995a4450e60.jpg",[],{"id":8422,"slug":8423,"title":8424,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":8425,"thumbUrl":8427,"material":27,"size":2642,"collection":122,"collections":8428,"showCount":8411,"zanCount":40,"manualWeight":40,"mainColor":41},222749,"xian-e-chang-chun-tu-06a-lang-shi-ning-222749","仙萼长春图-06a",[23,7,24,51,100,27,26,102,8426,103],"百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adacdd9409943ffa72bb6bc318274c3.jpg",[],{"id":8430,"slug":8431,"title":8432,"dynasty":293,"author":887,"museum":20,"description":8433,"tags":8434,"thumbUrl":8435,"material":736,"size":8436,"collection":90,"collections":8437,"showCount":8411,"zanCount":1065,"manualWeight":40,"mainColor":62},221848,"zhu-lin-xian-zi-zhou-liu-guan-dao-221848","竹林仙子轴","刘贯道，字仲贤，生卒年不详，约为元世祖之人。善画佛道人物，又能做山水、花竹、鸟兽等。他在世的作品极少，画中人物多接近北宋传统技法，有古典风味，与南宋有明显的分别。或许是因为他出生在北方，较承袭了北宋的画法。",[23,24,51,7,52,26,27,28,29,53,56,263,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae7dcfcc265fc0481ad92b6f1e12076.jpg","该幅70x31.4公分；全幅 57.5公分",[90,2605],{"id":8439,"slug":8440,"title":8441,"dynasty":114,"author":8442,"museum":260,"description":8443,"tags":8444,"thumbUrl":8445,"material":27,"size":8446,"collection":175,"collections":8447,"showCount":8411,"zanCount":40,"manualWeight":40,"mainColor":62},221254,"chu-shi-bei-jiang-tu-yang-bang-ji-221254","出使北疆图","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,24,7,25,27,73,75,609,81,215,28,648,279,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 cm",[175,88,286],{"id":8449,"slug":8450,"title":8451,"dynasty":293,"author":1128,"museum":20,"description":8452,"tags":8453,"thumbUrl":8455,"material":267,"size":8456,"collection":106,"collections":8457,"showCount":8411,"zanCount":541,"manualWeight":40,"mainColor":62},218661,"dong-yuan-zai-jiu-tu-cao-zhi-bai-218661","东园载酒图","这幅画画的是曹知白自己在采芝窝的隐居地，山川秀丽，笔墨温润，思想极为高雅明朗，使之成为曹氏山水画的精品。",[23,7,24,51,52,277,73,8454,75,278,82,77,861],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4e4c7f20f69be119e1b5cb8d07c1f7.jpg","97.1x54.8cm",[106],{"id":8459,"slug":8460,"title":8461,"dynasty":114,"author":181,"museum":8462,"description":8463,"tags":8464,"thumbUrl":8465,"material":34,"size":8466,"collection":36,"collections":8467,"showCount":8411,"zanCount":541,"manualWeight":40,"mainColor":62},217008,"dou-jiang-tu-yi-ming-217008","斗浆图","黑龙江省博物馆","斗浆这个词在宋代就是斗茶的意思。斗茶在宋代几乎发展成为了一种全民项目，不管是文人雅士、平民百姓，还是商贾人家、皇亲国戚，都躲不开它的魔力。斗茶没什么地点上的限制，茶室或街头都能进行。《斗浆图》是南宋风俗画的代表之一，描绘的是市井街头的斗茶场景。六位斗茶人身边都有全套的家伙什，大到加热所需的炭火、小到茶筅茶盏无一不备。",[23,7,24,51,27,26,28,55,860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F137dc318c8daffb2d8540efeb64b42d9.jpg","33.8x40.6",[36],{"id":8469,"slug":8470,"title":8471,"dynasty":46,"author":8472,"museum":1475,"description":8473,"tags":8474,"thumbUrl":8475,"material":666,"size":8476,"collection":106,"collections":8477,"showCount":8411,"zanCount":40,"manualWeight":40,"mainColor":41},216113,"song-ying-tu-gao-qi-pei-216113","松鹰图","高其佩","高其佩的指画，墨法得力于吴镇，形象近于吴伟，以减笔写意法见长，尤喜画虎、画钟馗。在技巧方面，他在《述画诗》中道：“吾画从吾手，甲骨掌背俱，手落尚无物，物成手却无。”可见他的指画运用了手的各个部分。他的指画有“叱石成羊”之妙，人物形象极为生动，面部用尖指甲细勾，简练传神，画衣纹指尖指甲并用，顿挫自如，冠靴用指掌涂抹，墨色浑然；花鸟画则随意点染的浓淡干湿墨色，飞动不露笔痕的粗细线条，蹲鹰的蓬松羽毛，老树的苍劲之质均表现得十分出色。\n高其佩以指画在画坛独树一帜，指画作品清、奇、简淡浑厚，而神韵尤在指墨之外，其艺术成就，对后世影响很大。在他之后，出现了很多知名指画家，其中包括他的徒弟“扬州八怪”的罗聘，李鱓和黄慎亦擅指画，清晚期著名的指画家就有一百多人，现代国画大师潘天寿、钱松岩等都深受其影响。他的指画创作则信手一挥，倾刻数十幅，令人惊讶，一生的作画数量极为惊人。主要作品有：《饱虎图》、《雁行图》、《怒容钟馗图》、《梧桐喜鹊图》、《虬松莫岫图》、《高冈独立图》、《稻穗螳螂图》、《松阴小琪图》、《指画人物》册等。",[23,24,7,277,368,73,52,1059,609,1820,84,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff940dda9a789d8da923f8b9917eaad90.jpg","172x90cm",[106],{"id":8479,"slug":8480,"title":8481,"dynasty":114,"author":1216,"museum":132,"description":8482,"tags":8483,"thumbUrl":8484,"material":666,"size":8485,"collection":36,"collections":8486,"showCount":8411,"zanCount":541,"manualWeight":40,"mainColor":41},214915,"xiao-jing-tu-juan-li-gong-lin-214915","孝经图卷","孝经图卷是宋朝时期李公麟所绘的一幅图画，作品名为《孝经图》。该图画记录了中国传统文化中关于孝道的理论。孝道是中国传统文化中的一个重要概念，指的是尊敬父母、敬老尊贤的道德行为。《孝经图》是一幅巨大的图画，长约10米，宽约1.5米，由李公麟于宋朝初年绘制。该图画分为上下两部分，上部是一幅描绘中国传统孝道理论的巨幅图画，下部是记录了关于孝道的文字记录。《孝经图》是一件重要的文化遗产，对于了解中国传统文化中孝道的概念和内涵有着重要的意义。",[23,7,24,51,25,510,277,28,77,78,79,74,215,81,278,82,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdceb66d0489c2d2fba02cb93a6f500.jpg","21.9x475.6",[36],{"id":8488,"slug":8489,"title":8490,"dynasty":293,"author":658,"museum":132,"description":8491,"tags":8492,"thumbUrl":8493,"material":317,"size":907,"collection":122,"collections":8494,"showCount":8495,"zanCount":541,"manualWeight":40,"mainColor":41},291024,"yun-dang-qing-ying-tu-zhou-wu-zhen-291024","筼筜清影图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[7,24,51,52,277,53,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3b2615b892119aa8db2b0673c921dd.jpg",[],94,{"id":8497,"slug":8498,"title":8499,"dynasty":114,"author":8500,"museum":132,"description":8501,"tags":8502,"thumbUrl":8503,"material":122,"size":122,"collection":122,"collections":8504,"showCount":8495,"zanCount":1065,"manualWeight":40,"mainColor":41},227753,"ju-cong-fei-die-tu-ye-zhu-shao-zong-227753","菊丛飞蝶图页","朱绍宗","《菊丛飞蝶图》页，宋，朱绍宗绘，纨扇页，绢本，设色，纵23.7厘米，横24.4厘米。\n本幅款识：“朱”。钤鉴藏印2方，印文模糊，唯可辨一“璘”字。裱边题签：“朱绍宗菊丛飞蝶”。\n图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。\n对幅有清乾隆御题诗：“趋炎殊众卉，放英独于秋。舞去风全香，承来露半流。绘者具神解，渊明晤庄周。”钤“八征耄念之宝”朱文印、“自强不息”白文印。\n存《四朝选藻》册中。《石渠宝笈续编》著录。",[23,24,51,2613,26,27,102,242,200,198,119,74,634,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee499b5bb1bb99a6d174c1ae3c18abf.jpg",[],{"id":8506,"slug":8507,"title":8508,"dynasty":293,"author":4666,"museum":1417,"description":8509,"tags":8510,"thumbUrl":8511,"material":217,"size":8512,"collection":106,"collections":8513,"showCount":8495,"zanCount":40,"manualWeight":40,"mainColor":62},221840,"lian-ji-ling-tu-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“精于绘事，以画虎闻名，赏鉴家宝之”。画轴中之虎双目微睁，前爪平放，脊背伸长，似乎是一只刚刚睡醒正在伸懒腰的睡虎，画面上下的松树恰好将虎包围起来，给人一种虎躺在窝中安逸祥和之感。此幅现藏于台北故宫博物院，绢本设色。",[23,7,24,51,27,26,609,8531,278,472,526],"老虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcc39579ce3a98b7f5b622e8f5b4f35.jpg","70.5x46.7",[106,90],{"id":8536,"slug":8537,"title":8538,"dynasty":293,"author":1556,"museum":260,"description":8539,"tags":8540,"thumbUrl":8541,"material":34,"size":8542,"collection":36,"collections":8543,"showCount":8495,"zanCount":1065,"manualWeight":40,"mainColor":41},219546,"gui-qu-lai-ci-tu-qian-xuan-219546","归去来辞图","在改朝换代的无奈中，钱选效法陶渊明隐居不仕，因此在他聊以自娱的绘画中自然会表现出对陶渊明的追崇，进而描绘出他的形象。这大概也是钱选隐居生活中心境的映照。在《归去来辞图》画面里，左一半为坡岸，有人家院落；右一半烟水浩淼，远处依稀可见淡淡山脉。靠近坡岸的水中有一只木船，陶渊明身着大袖宽袍立于船头，一童子在船尾摇橹。看召魄伏的波纹，木船正破水向岸边驶来。这或许正是《归去来辞》中“舟摇摇以轻飚，风飘飘而吹衣”的真实写照。另—边浅渚绿岸上有六棵柳树，枝叶茂密；一道隆起的院墙间有一柴门开着，几竿竹子探出墙来，这大概是陶渊明的居所。门前有俩孩童和一妇人似在迎接陶渊明回家。正是《归去来辞》中“乃瞻衡宇，载欣载奔，童仆欢迎，稚子候门”的写照。\n在技巧上，钱选利用虚实对比的手段，表现了陶渊明乘船渡水、脱离尘网、走向田园的生活寓意。画中所设的无边淡水和田园家境是两种境界的载体，也是画家精神的载体。画中的人物描绘细腻、传神，用线精致；坡岸、院墙的皴染均匀，树的枝叶自然、流畅。整个画面赋色清淡，洋溢着田园的清幽之气，同时，也体现出作者一种闲适淡泊的襟怀。",[23,7,24,51,25,27,26,119,74,75,28,80,82,79,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c885d7fc36e4d1430327a83eb955a8.jpg","纵26厘米，横106.6厘米",[36,90,123],{"id":8545,"slug":8546,"title":8547,"dynasty":114,"author":8548,"museum":2700,"description":8549,"tags":8550,"thumbUrl":8551,"material":34,"size":8552,"collection":175,"collections":8553,"showCount":8495,"zanCount":40,"manualWeight":40,"mainColor":62},219105,"cang-ying-bu-zhi-tu-huang-ju-shi-219105","苍鹰捕雉图","黄居宩","画在山坡上，青竹高大，桃枝顶绿叶萌芽，桃花盛开； 下方，一只老鹰将野鸡按在脚下，野鸡五颜六色的羽毛在被捕获后瞬间炸开。 ，张开的喙似乎受到惊吓并尖叫着求救。",[23,7,24,51,52,26,27,102,383,53,56,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[175,106],{"id":8555,"slug":8556,"title":8557,"dynasty":114,"author":1090,"museum":395,"description":8558,"tags":8559,"thumbUrl":8560,"material":267,"size":8561,"collection":106,"collections":8562,"showCount":8495,"zanCount":530,"manualWeight":40,"mainColor":41},218947,"e-tu-lu-zong-gui-218947","鹅图","绘有一只雏鸟在母亲脖子后面的右侧，低头看着水面，而另一只雏鸟则在母亲的左侧，抬头望天，呜呜地叫着。这个场景相当有趣，反映了动物之间的母子关系。",[24,7,51,26,27,102,4313,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7faa8a7a2eafd67f868c6d30b023f7.jpg","60x80cm",[106],{"id":8564,"slug":8565,"title":8566,"dynasty":114,"author":181,"museum":1031,"description":8567,"tags":8568,"thumbUrl":8573,"material":34,"size":8574,"collection":36,"collections":8575,"showCount":8495,"zanCount":541,"manualWeight":40,"mainColor":41},218235,"luo-shen-fu-tu-yi-ming-218235","洛神赋图","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[23,7,24,51,25,27,26,28,29,8569,80,79,82,8019,8570,84,8571,8572],"洛神","仙禽异兽","怅惘","神话场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg","24.2x310.9",[36],{"id":8577,"slug":8578,"title":8579,"dynasty":46,"author":8580,"museum":620,"description":8581,"tags":8582,"thumbUrl":8583,"material":267,"size":8584,"collection":36,"collections":8585,"showCount":8495,"zanCount":541,"manualWeight":40,"mainColor":41},216737,"tan-zhu-tu-huang-shen-216737","探珠图","黄慎","这些人物以狂野的斜体线条生动地呈现出来。笔触干净而流畅，无论是下龙取珠的老人还是婀娜多姿的女仙，都很好地表达了性格的刚强和形式的力量之间的对比。通过大面积的水墨渲染，云朵和波浪显露出来，创造出一种奇怪的危险气氛和一个充满勇气的世界。",[23,24,51,7,52,277,27,28,368,298,383,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d0167c87aa5f07e7434b67578e3bc7.jpg","纵185厘米，横107厘米",[36],{"id":8587,"slug":8588,"title":8589,"dynasty":293,"author":4666,"museum":132,"description":8590,"tags":8591,"thumbUrl":8592,"material":122,"size":8593,"collection":122,"collections":8594,"showCount":8595,"zanCount":541,"manualWeight":40,"mainColor":62},231513,"hua-niao-tu-juan-wang-yuan-231513","花鸟图卷","王渊是元代著名花鸟画家，字若水，号澹轩，浙江杭州人。生卒年不祥，据陶宗仪《辍耕录》卷七记载，他“幼时获侍赵魏公（赵子昂）故多得指教，所以傅色特妙。天历中（1328—1330年），画集庆龙翔寺两庑壁”。其年龄要比赵子昂小，赵子昂生于南宋理宗宝佑二年（1254年），应活跃在1254年以后，从他的传世作品所签年款来看，多在元朝惠宗至正三年到九年，即1343—1349年，元朝灭亡于至正二十八年（1368年），也有文献记载，在至正二十六年（1366年）曾作《萱花白头图》。可见他从事艺术活动在元代中后期，他的卒年可能在元朝灭亡之前，或在明朝初年。\n王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[23,24,7,25,26,27,118,74,102,383,103,53,56,76,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 厘米",[],93,{"id":8597,"slug":8598,"title":8599,"dynasty":674,"author":2912,"museum":132,"description":8600,"tags":8601,"thumbUrl":8602,"material":122,"size":122,"collection":122,"collections":8603,"showCount":8595,"zanCount":40,"manualWeight":40,"mainColor":62},231006,"guan-yin-xiang-li-zhou-yan-li-ben-231006","观音像立轴","此作沉静古雅，观音面含悲悯柔光，仪容温婉澄澈，乌发覆首，宝饰轻缀，自带清寂祥和的禅意氛围。衣袍晕染层次雅致沉稳，暗饰缠枝纹隐于面料间，既见勾勒法度又含柔婉气韵，掌心轻托净水宝瓶，暗合渡世慈悲的意涵。莲台层叠舒展，线条圆融柔和，将神性肃穆与东方古典温润揉为一处。整体设色带着岁月晕开的厚重质感，笔意内敛克制，将大士的安恬慈悲凝于绢素之上，观之令人心下安定，尽显东方造像的静穆大美。",[23,7,24,51,52,27,26,678,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba7bf5765139b07c598993ea3c1aef4.jpg",[],{"id":8605,"slug":8606,"title":8607,"dynasty":67,"author":2087,"museum":1417,"description":2088,"tags":8608,"thumbUrl":8609,"material":217,"size":2096,"collection":122,"collections":8610,"showCount":8595,"zanCount":541,"manualWeight":40,"mainColor":62},222395,"si-ji-hua-niao-tu-dong-lv-ji-222395","四季花鸟图-冬",[23,24,7,52,26,27,102,383,53,281,647,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf95f29adc2d1bbf6024f906d309a0a3.jpg",[],{"id":8612,"slug":8613,"title":8614,"dynasty":67,"author":8615,"museum":132,"description":8616,"tags":8617,"thumbUrl":8618,"material":26,"size":8619,"collection":106,"collections":8620,"showCount":8595,"zanCount":1065,"manualWeight":40,"mainColor":8621},222042,"de-qu-zai-ren-ce-13-kai-wang-zhong-222042","得趣在人册13开","汪中","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[23,7,24,51,100,27,26,102,53,384,263,55,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f74d819ae04a78f0a4642cdafcc5cd.jpg","30×27厘米",[106,90],"FDD835",{"id":8623,"slug":8624,"title":8625,"dynasty":114,"author":8626,"museum":151,"description":8627,"tags":8628,"thumbUrl":8630,"material":250,"size":8631,"collection":123,"collections":8632,"showCount":8595,"zanCount":1065,"manualWeight":40,"mainColor":41},221194,"huai-cheng-du-shi-yun-shi-juan-quan-juan-lu-you-221194","怀成都十韵诗卷全卷","陆游","释文：\n放翁五十犹豪纵，锦城一觉繁华梦。竹叶春醪碧玉壶，桃花骏马青丝鞚。斗鸡南市各分朋，射雉西郊常命中。壮士臂立绿绦鹰，佳人袍画金泥凤。椽烛那知夜漏残，银貂不管晨霜重。一梢红破海棠回，数蕊香新早梅动。酒徒诗社朝暮忙，日月匆匆迭宾送。浮世堪惊老已成，虚名自笑今何用。归来山舍万事空，卧听糟床酒鸣瓮。北窗风雨耿青灯，旧游欲说无人共。省庵兄以为此篇在集中稍可观，因命写之。游。\n此卷为陆游晚年为其友人手录旧日所作七言古诗一首，内容描写作者50岁左右在成都做官时的生活景况。格调豪放跌宕，书风亦瘦硬通神，可谓词翰双美。\n后纸有明陆釴、谢铎、程敏政、王鏊、周经、杨循古、沈周题跋。卷中钤有清乾隆、嘉庆、宣统内府诸玺及原博”、商丘宋荦审定真迹”、“陈宗后印”、“子万”、“真赏”等鉴藏印章。著录于《装余偶记》、《石渠宝笈》。",[23,7,24,51,25,119,118,74,8629],"墨迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832c259287bb3a6900b83dbe1b571838.jpg","纵34.6厘米，横82.4厘米",[123],{"id":8634,"slug":8635,"title":8636,"dynasty":18,"author":8637,"museum":1417,"description":8638,"tags":8639,"thumbUrl":8640,"material":250,"size":8641,"collection":36,"collections":8642,"showCount":8595,"zanCount":1065,"manualWeight":40,"mainColor":41},221178,"er-zu-diao-xin-tu-shi-ke-221178","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。\n《二祖调心图》在表现手法上“删繁就简”，“虚实相生”，“无画处皆成妙境”，正是道家精神的体现。",[23,7,24,51,277,678,28,472,368,1204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a98bd3b86105555a71ed545d41d263.jpg","纵35.5厘米，横129厘米",[36,286],{"id":8644,"slug":8645,"title":5029,"dynasty":114,"author":181,"museum":20,"description":8646,"tags":8647,"thumbUrl":8648,"material":121,"size":8649,"collection":106,"collections":8650,"showCount":8595,"zanCount":541,"manualWeight":40,"mainColor":62},218910,"ku-mu-zhu-shi-tu-yi-ming-218910","在这幅画中，用飞白的方法在画面上画了一个石块，墨色淡而笔力强。三两根竹子站在岩石的背面，叶子用优雅而厚实的笔画着，仿佛是春山上的云朵。在一棵寒冷的树枝上，栖息着一种山鸟，它的羽毛非常精致。仔细观察笔触和墨迹，艺术家已经开始形成与赵孟𫖯的相似性。",[23,24,51,7,277,73,102,170,53,56,84,890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae588fde6c3ba57b3dc0a96ffdc698.jpg","107.9x51.1厘米",[106],{"id":8652,"slug":8653,"title":8654,"dynasty":114,"author":878,"museum":20,"description":8655,"tags":8656,"thumbUrl":8657,"material":34,"size":8658,"collection":122,"collections":8659,"showCount":8595,"zanCount":1065,"manualWeight":40,"mainColor":41},218578,"hua-niao-shan-shui-xiao-pin-ce-mu-dan-ma-yuan-218578","花鸟山水小品册-牡丹","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,7,24,51,100,26,27,102,103,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F766926073a503e1a589f642282e16710.jpg","33*19",[],{"id":8661,"slug":8662,"title":4939,"dynasty":67,"author":2218,"museum":20,"description":8663,"tags":8664,"thumbUrl":8665,"material":34,"size":8666,"collection":36,"collections":8667,"showCount":8595,"zanCount":40,"manualWeight":40,"mainColor":62},216954,"mu-niu-tu-dai-jin-216954","戴进对人物的描绘通常是蚕头鼠尾式的，笔触笨拙而有力。柳树沾满了墨水，密密麻麻地洒满了叶子，加上风中摇曳的小草，纸面上一片清凉，沁人心脾。",[7,24,51,52,27,277,73,28,1906,2626,4731],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c8c78bf69b7ec732d14fa5209f10d6.jpg","38.6x30.6",[36],{"id":8669,"slug":8670,"title":8671,"dynasty":67,"author":2568,"museum":20,"description":8672,"tags":8673,"thumbUrl":8674,"material":34,"size":8675,"collection":106,"collections":8676,"showCount":8595,"zanCount":40,"manualWeight":40,"mainColor":41},216775,"mei-hua-you-niao-tu-bian-wen-jin-216775","梅花幽鸟图","边文进（活动于1403-1428），字景昭，福建沙县人。永乐朝宫廷画家，至宣德年间被授与武英殿待诏官衔。善画花果翎毛，为明初宫廷画家中花鸟画最著名画家，并与善画山水人物的蒋子诚、画虎的赵廉并称「禁中三绝」。\n本幅为〈历代名绘册〉其中一开，描绘盛开白梅，并有一黄眉鵐栖于梅枝上，引颈顾盼。梅枝由左向画幅右侧伸出，曲虬横错，白梅盛开与将开的花苞倚侧枝头，并局部施以白线条勾勒花瓣型态，虽花朵颜料有些脱落，仍可略窥白梅盛开风华。枝头黄眉鵐鸟羽描绘精细，并呈现松活充盈之效。画幅左侧有「景昭」二字，提示画家身份，然似有涂抹痕迹。与院藏另一件边文进〈三友百禽〉相比，梅枝用笔略有相近之处，或许为时间相差不远的学仿者之作。此画整体承接宋代院画折枝花鸟的构图之趣以及优雅娴静气氛，与〈三友百禽〉所显示的喧闹气氛颇不相同，可丰富对明初宫廷花鸟画面貌的认识。",[23,24,7,51,768,26,27,102,383,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F242a8a95847e379f0a5854c0f83e0499.jpg","23.8x24.7cm",[106],{"id":8678,"slug":8679,"title":8680,"dynasty":114,"author":631,"museum":132,"description":8681,"tags":8682,"thumbUrl":8684,"material":317,"size":907,"collection":122,"collections":8685,"showCount":8686,"zanCount":40,"manualWeight":40,"mainColor":62},288495,"fen-xiang-bo-ruan-tu-li-song-288495","焚香拨阮图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[7,24,51,52,27,28,29,31,26,560,82,3048,905,8683,1164],"焚香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e91c925d5a97ce7aba2fd11b9a72400.jpg",[],92,{"id":8688,"slug":8689,"title":8690,"dynasty":114,"author":1090,"museum":132,"description":8691,"tags":8692,"thumbUrl":8693,"material":122,"size":122,"collection":122,"collections":8694,"showCount":8686,"zanCount":40,"manualWeight":40,"mainColor":62},227735,"xia-hui-pian-fang-tu-ye-lu-zong-gui-227735","夏卉骈芳图页","《鹅图》是南宋鲁宗贵创作的绢本设色画。\n《鹅图》描绘一只母鹅，背上驼着两只雏鹅在水中游戏，其中一只雏鹅曲颈望着水面，另一只则似乎和母鹅述说着什么，母鹅扭转过头来爱抚地倾听，表现出母鹅和雏鹅之间有似慈母和娇子之间的母子亲情。\n图中绘有大白鹅一只，背负两只雏鹅在水面上浮游，其中一只雏鹅在母鹅右侧颈后，低头引颈望水中，另一只雏鹅在母鹅左侧，抬头向天呜叫，鹅妈妈欣喜扭转过头来，似作侧耳细细倾听小仔的歌声。\n画面颇为情趣，给人以一种温馨善良的感觉。\n作者在构图上颇有新意，无任何背景作陪衬，河水以浅墨一抹而过，起到衬托作用，突出其主题。\n作者捕捉到这种母鹅背负雏鹅的情节，在一般画鹅的作品中不乏多见。\n在布局上取近景，以特写的镜头，将主体突出在画面的居中位置，为了说明母鹅带着雏鹅在水中游戏，一是鹅身前方的匦面留空多；二是母鹅的腿向后伸，虽没有画出水波纹，但这二点足以看出运动的鹅体具有向前浮游的动感。\n另外，采取色差变化来塑造母鹅与仔鹅的形体，以周围的浅灰色烘托出母鹅的洁白，又以墨笔勾勒及黑色晕染出母鹅背上栖卧的两只雏鹅。\n一般来说雏鹅的毛羽是鹅黄色的，但作者采用了与实体自然色相差甚远的黑色，这也是作者的又一新意。\n全图以染为主，仅在嘴、脚及羽毛部略以淡线勾勒，其羽毛形态隐约见真。\n整个图的艺术语言凝重简练，形态栩栩如生，画意情趣生动，意味绵绵。\n鲁宗贵，生卒年未详。\n南宋画家。\n室名筠斋，钱塘(今浙江杭州)人。\n理宗绍定时(1228一12)为画院待诏，出人杨驸马家。\n工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。\n尤长于写生，鸡雏乳鸭，甚有生意。\n画迹有《金葵翠羽》、《竹枝山鹧》、《梨花白燕》等图，著录于《绘事备考》。\n传世作品有《春韶鸣喜图》、《夏卉骈芳图》册页。",[7,24,51,100,768,26,27,102,198,1335,246,339,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271a4d7d9c178ff1ca01282a323a7b3e.jpg",[],{"id":8696,"slug":8697,"title":8698,"dynasty":46,"author":2636,"museum":20,"description":8699,"tags":8700,"thumbUrl":8701,"material":156,"size":8702,"collection":106,"collections":8703,"showCount":8686,"zanCount":40,"manualWeight":40,"mainColor":41},222755,"ba-jun-tu-lang-shi-ning-222755","八骏图","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[23,7,24,51,26,27,215,2626,28,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e92b33c9ffa5dd5113ef3c90fe3aac.jpg","139.3公分，横：80.2公分",[106,90],{"id":8705,"slug":8706,"title":8707,"dynasty":67,"author":8708,"museum":212,"description":8709,"tags":8710,"thumbUrl":8711,"material":1061,"size":8712,"collection":88,"collections":8713,"showCount":8686,"zanCount":40,"manualWeight":40,"mainColor":62},222466,"lan-ting-xu-quan-juan-zhu-yun-ming-222466","兰亭序全卷","祝允明","本卷为祝允明行书《兰亭序》全文与文徵明为之补图的书画合璧作品。祝氏书法宽博雄放，尤具自家风神。文氏补图画王羲之等人兰亭修契之事，设色雅丽，笔墨娴熟\n此本《兰亭序》即是二人追求隐逸自由的代表画作，也是二人友谊的见证。",[23,7,24,51,25,119,277,27,74,118,75,82,81,78,79,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa495121fe18a1376a9191624843f67a1.jpg","26.7x146厘米",[88,90],{"id":8715,"slug":8716,"title":8717,"dynasty":114,"author":1216,"museum":151,"description":8718,"tags":8719,"thumbUrl":8720,"material":611,"size":8721,"collection":175,"collections":8722,"showCount":8686,"zanCount":1065,"manualWeight":40,"mainColor":62},221397,"lin-wei-yan-mu-fang-tu-juan-quan-juan-li-gong-lin-221397","临韦偃牧放图卷全卷","这是一幅宋朝画家李公麟临摹唐朝画家韦偃的作品。画幅为长卷形式，从右自左展开。在高低不平的土坡和广阔的平原间，牧者驱赶着大群马匹蜂拥而来，马嘶人叫，热闹异常。画面中段以后，马群逐渐散开成组各自活动，有的低头觅食，有的追赶嬉闹，有的奔跑，有的就地翻滚，还有几匹马走向远处的小河去饮水。众多的马匹姿态各异，生动自然。放马的牧人，有的骑在马上，有的穿戴较为整齐，有的则敞胸露怀赤足，在树荫里休息的牧人为契丹族，其中似乎还有等级的差别。整个画面的构图，前半部拥塞、紧张，后半部疏散、松弛，富于节奏感。\n全图共画了人一百四十余口、马一千二百多匹，可谓洋洋大观。\n画中的马匹和人物均用墨线勾勒，线条挺拔有力，色泽较浓重，坡石墨色稍淡，略有皴擦，再用赭石色渲染，加强了画面的气氛。构图和笔墨的变化。使整个作品主次分明、生动活泼，避免了呆板、重复和混乱。如此庞大的构图，若没有长时间的经营和缜密的运思，即使是临摹，也是难以设想的。\n李公麟的大部分绘画作品是画在纸上的，并不施色彩，“惟临摹古画，用绢素着色”（元·汤垕《画鉴》）。这件作品为临摹本，用绢素作画并施淡彩，与画史的记载完全吻合。唐朝画家韦偃已无可靠的作品存世，通过李公麟的这个摹本，也可以领略其绘画的风采。",[23,7,24,51,25,154,510,215,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc407cbff0db594e50f3614e4d2025047.jpg","纵46.2厘米，横429.8厘米。",[175,36,286],{"id":8724,"slug":8725,"title":8726,"dynasty":114,"author":721,"museum":151,"de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厘米 横21.5 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（1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[24,7,51,100,26,27,102,103,1180,265,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fed9927c9cb8158097d1385b7448f6.jpg",[106,90],{"id":8796,"slug":8797,"title":8798,"dynasty":674,"author":8799,"museum":132,"description":8800,"tags":8801,"thumbUrl":8802,"material":122,"size":122,"collection":122,"collections":8803,"showCount":8785,"zanCount":541,"manualWeight":40,"mainColor":62},232623,"wan-song-qiu-lin-tu-quan-juan-zhang-zao-232623","万松秋林图全卷","张璪","论画山水树石》中说到“山水之变，始于吴，成于二李”之后，紧接着便说“树石之状，妙于韦偃，穷于张通(张璪)”。在唐人心目中，张璪的画还是高于王维等人的。张璪作画喜用紫毫秃笔，属于吴道子型激情一派画家，他往往秃笔抹写，画至得意处，忘乎所已。干脆以手醮色，挥涂起来，久而久之，形成习惯，乃至于发展为王默的“脚蹙手抹”。后世的指画当受其影响。\n张璪的山水画另一大特色就是以墨为主，不贵五彩。荆浩《笔法记》云“张藻员外树石，气韵俱盛，笔墨积微，真思卓然，不贵五彩，旷古绝今，未之有也。”这种“不贵五彩”、“笔墨积微”水墨画法在绘画技法上是一个极大的突破。",[23,7,24,51,25,277,27,73,75,697,1647,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c33524bed7f62604513b963bc367865.jpg",[],{"id":8805,"slug":8806,"title":8807,"dynasty":114,"author":556,"museum":20,"description":8808,"tags":8809,"thumbUrl":8810,"material":611,"size":8811,"collection":175,"collections":8812,"showCount":8785,"zanCount":530,"manualWeight":40,"mainColor":62},221579,"zhi-ai-tu-li-tang-221579","炙艾图","《炙艾图》，又叫做《村医图》，是南宋著名画家李唐的传世作品;收藏于台北故宫博物院。《村医图》为一幅风俗人物画，描述走方郎中为村民治病的情形。作品通过对灸艾治疗这一紧张情节的朴实无华的具体描绘，反映了当时农民的困苦生活，有小中见大的寓意。\n《炙艾图》除了真实的记录一名中国古代村医用中医灸法为病人治病的情景 ，同时也充分体现了当时人民生活的现状。画中表现了一位医生正在给病人针灸，画面上的人物表情各异，栩栩如生，表现出画家对生活的细致观察和体验，也体现了画家的一种人文主义关怀，表达了作者对当时下层劳动人民的同情。这幅《炙艾图》既是一幅古代绘画珍品，也是传统艾灸治病的真实写照，为我们了解宋代中医灸法治病提供了宝贵而形象的资料。",[23,7,24,51,26,27,28,647,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bb7dc93dedae7fb05e015e0366dc9fc.jpg","纵68．8厘米，横58．7厘米",[175,36,90],{"id":8814,"slug":8815,"title":8816,"dynasty":3229,"author":3230,"museum":8817,"description":8818,"tags":8819,"thumbUrl":8820,"material":122,"size":122,"collection":122,"collections":8821,"showCount":8785,"zanCount":40,"manualWeight":40,"mainColor":41},220530,"shuang-mao-xu-bei-hong-220530","双猫","中央美术学院美术馆","幽蓝繁枝澹叶垂落，晕开清寂雅致的底色。两只狸奴静踞石上，一醒一眠相映成趣。左侧玄纹花猫抬眸平视，蓬松绒毛以淡墨晕染留白，将软绒质感描摹入微，神情警觉又暗含温驯灵动。右侧花斑小猫蜷身假寐，柔润笔触晕出慵懒憨态。\n\n下方顽石以泼墨写意而成，枯涩苍劲的笔墨衬出朴拙厚重，与猫的柔润形成鲜明刚柔对照。整幅画作融中西技法，以写实造型捕捉生灵鲜活意态，又以文人水墨营造幽澹氛围，将闲庭猫趣定格纸面，尽显悠然松弛的闲适意韵。",[23,7,24,51,52,277,27,368,812,135,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12e40cf83c19d7df05c2ff1a576a69e.jpg",[],{"id":8823,"slug":8824,"title":8825,"dynasty":114,"author":211,"museum":620,"description":8826,"tags":8827,"thumbUrl":8828,"material":267,"size":8829,"collection":106,"collections":8830,"showCount":8785,"zanCount":541,"manualWeight":40,"mainColor":62},219085,"qu-yu-tu-zhao-ji-219085","鸜鹆图","枯松虬枝如铁，松针细劲如丝，三只鸜鹆各呈姿态——枝上者振翅欲起，喙微张似唤侣；空中双鸟俯冲而下，羽翼翻飞间尽显灵动。鸟羽的绒质感与松皮的粗糙纹理形成鲜明对比，笔致工细却不失生趣。旁侧瘦金书题跋笔锋挺劲，与画面的苍劲灵动相映成趣，加之错落的朱印，更添古朴雅致。整幅画作将写实工笔与文人意趣融于一体，动静相宜，形神兼备，尽显宋代院体画的精妙与雅致。",[24,7,51,26,102,84,609,4371,277,27,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5e3b05c779fc2ee02230a1b9ba12cd.jpg","纵88.2横52厘米",[106],{"id":8832,"slug":8833,"title":8834,"dynasty":674,"author":181,"museum":1511,"description":8835,"tags":8836,"thumbUrl":8840,"material":1516,"size":122,"collection":122,"collections":8841,"showCount":8785,"zanCount":40,"manualWeight":40,"mainColor":62},217287,"jiang-mo-bian-dun-huang-tu-juan-3-yi-ming-217287","降魔变·敦煌图卷-3","树影婆娑间，故事徐徐铺展。墨线勾勒的衣袂翻飞里，左侧人群神色各异——或凝神静听，或交头接耳，衣袍的赭黄与青绿晕染出人间烟火气。\n\n帐幔轻垂，裹着一室虔诚：帐内人物或合十默祷，或低语交谈，虬髯者的粗犷与稚童的灵动相映成趣。旁侧大象纹饰古雅，背上的图案似藏玄机，卧于茵席间，添了几分神圣静谧。\n\n右侧僧众团坐，赭红衣袂与墨色僧袍交织，光头的圆润衬着肃穆神情，仿佛法音正缓缓流转。他们或指或听，姿态各异却皆凝向中心，将叙事的焦点引向那份庄严。\n\n淡彩晕染的纸页上，线条如行云流水，把宗教的神圣与人间的鲜活揉作一处。每一笔都藏着敦煌艺术的古朴韵致，让千年前的故事，在今日仍能触到那份温热的虔诚与生动。",[7,24,51,25,27,26,678,28,1514,8837,31,82,681,8838,8839,370],"大象","帐篷","僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78417d9a75ae607f87c5184762deb39.jpg",[],{"id":8843,"slug":8844,"title":8845,"dynasty":293,"author":8846,"museum":195,"description":8847,"tags":8848,"thumbUrl":8849,"material":121,"size":8850,"collection":88,"collections":8851,"showCount":8785,"zanCount":1065,"manualWeight":40,"mainColor":62},215037,"teng-wang-ge-tu-san-ye-xia-yong-215037","滕王阁图散页","夏永","此图描绘了唐代洪州（今江西南昌）名胜滕王阁，此楼依山傍水，是登高远眺之佳处，与黄鹤楼、岳阳楼并称“江南三大名楼”，唐代诗人王勃曾作滕王阁序，留下“落霞与孤鹜齐飞，秋水共长天一色”的名句，使此楼垂名后世。",[7,24,51,855,277,77,75,80,278,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3937fc23fb0df816f2e1017fd0ca690c.jpg","纵25.5厘米 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了常用的吉祥语。这幅画表现的四羊即寓意三阳在下，一阳在上，反映了祈盼吉祥如意的美好愿望。\n陈居中最擅长人马画，但对动物写生一类题材也很热衷，并刻画得细致生动，这幅带有吉祥寓意的《四羊图》页即代表了他在这一方面的艺术水平。",[23,24,7,26,27,3630,472,647,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231d6d11c8c4a722dd36f131bc7896c2.jpg","纵22.5厘米，横24厘米",[175,106,90],{"id":8926,"slug":8927,"title":8928,"dynasty":293,"author":1636,"museum":20,"description":8929,"tags":8930,"thumbUrl":8931,"material":267,"size":8932,"collection":88,"collections":8933,"showCount":8869,"zanCount":1065,"manualWeight":40,"mainColor":62},220819,"ju-qu-lin-wu-tu-wang-meng-220819","具区林屋图","此幅画面的右上角有王蒙以隶书题的“具曲林屋”四个字，底下署“叔明为日章画”，具区是古时太湖的旧称。\n王蒙截取太湖山中极小的一块区域，提炼加工，组织而成这幅极富生活情趣的画面：右下方一坡角，数株大树并列生於其间，林下有高士临水而坐，好像正欣赏著眼前的美景。水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人独坐其间看书；山间小路迂回，曲径通幽，数栋屋宇参差错落於山谷之中，有妇女活动其间。\n图中山石用“牛毛皴”与“解索皴”干笔皴擦而成，多曲折旋转之笔，以突显出太湖一带山石特有的质感；树叶则用墨与色直接点染而成，丹崖碧树，一派秋日山水景象。\n该画作描写江苏太湖林屋洞之景色。玲珑的洞壑、层叠的山石、繁密的树林、错落的村舍和粼粼水波填满了整幅画面，大胆地摆脱了自然景象的拘囿。全作的构图几乎密不透风，但因画家有虚实相济的观念，故在画幅的左上角营造出「透」的部分，使得全作毫无迫塞的感觉。王蒙用牛毛皴皴擦山石，长披麻皴画树干，又杂以繁密的苔点，笔法变化多端，细腻丰富。墨色层层点染，浓淡分明，同时又用了赭石、藤黄、朱砂和朱标点染，使得全作秋意满幅。\n全图除了溪流之外，几乎被山石、树木、林间茅舍填充的没有空隙，这种饱满的构图方式在中国古代绘画作品中极为罕见，开辟出国画构图之奇境。",[23,7,24,497,4477,27,73,75,281,82,1282,559,77,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecaeed00379af6afdfac3af833b2d69.jpg","68.7 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42.5cm",[88,90],{"id":8935,"slug":8936,"title":8937,"dynasty":114,"author":8938,"museum":395,"description":8939,"tags":8940,"thumbUrl":8941,"material":34,"size":8942,"collection":106,"collections":8943,"showCount":8869,"zanCount":541,"manualWeight":40,"mainColor":62},218929,"hong-ye-xiao-niao-tu-wu-yuan-yu-218929","红叶小鸟图","吴元瑜","此幅《红叶小鸟图》是现今所知的唯一署款之作，“元瑜”二字书写古拙，笔法柔中带刚。画的设色极高古，小鸟羽毛描绘精细，指爪紧握树枝，眼神灵活，舌尖颤动如发清音，状物写情生动传神，定为宋画应无疑问。而且画幅上藏印累累，包括黔宁王沐昂，著名的收藏家宋荦，近代鉴藏家吴湖帆、钱镜塘、王季迁等。虽暂时仍未查有著录，但正如杨仁恺在裱绫中所题，“画心钤明清诸家钤印，当有所据也”。",[7,24,51,102,26,27,384,1282,1821,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e95be5e4206dc53f32e2bb88825d63.jpg","42x25cm",[106],{"id":8945,"slug":8946,"title":8947,"dynasty":114,"author":4320,"museum":20,"description":8948,"tags":8949,"thumbUrl":8950,"material":317,"size":8951,"collection":122,"collections":8952,"showCount":8953,"zanCount":40,"manualWeight":40,"mainColor":62},288949,"xi-shan-lou-guan-tu-yan-wen-gui-288949","溪山楼观图","《溪山楼观图》是一件立轴作品，代表北宋初全景式山水的典型。此图绘高远、深远景色，溪山重叠，自下而上，自近及远，繁复细密。在险峻的峰峦之中，显现出雄伟壮观的楼观殿宇，山崖下水榭回廊与水波浩渺的江面互相映衬，加上陡峭的山势与艰险的山径，使此画的境界雄浑沉秀，繁中见清。笔法尖劲峭丽，山石皴中有染，精细工整，是“燕家景致”的典型范例。",[23,7,24,51,277,75,77,278,82,79,73,52,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e79de6733f981b2ebaba4b9f3bceaa7.jpg","103.9x47.4",[],89,{"id":8955,"slug":8956,"title":8957,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":8958,"thumbUrl":8968,"material":317,"size":907,"collection":3417,"collections":8969,"showCount":8953,"zanCount":1065,"manualWeight":40,"mainColor":62},226128,"the-walk-woman-with-a-parasol-1875-mo-nai-226128","The Walk, Woman with a Parasol, 1875",[7,3410,4035,8959,8960,8961,28,8962,3068,8963,4731,8964,8965,8966,8967],"光影捕捉","色彩明快","笔触松散","女人","阳伞","野花","天空","白云","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92562d4acde1d47bedde33e1a21f4038.jpg",[3417],{"id":8971,"slug":8972,"title":8973,"dynasty":674,"author":181,"museum":132,"description":8974,"tags":8975,"thumbUrl":8976,"material":122,"size":122,"collection":36,"collections":8977,"showCount":8953,"zanCount":541,"manualWeight":40,"mainColor":41},221132,"duan-jian-bi-mu-bi-hua-lin-ben-yi-ming-221132","“段简壁”墓壁画临本","此作人物排布错落有致，仕女丰腴端雅，挽高髻、着交领襦裙，披帛垂曳间尽显柔婉雍容。两位侍从装束干练，神态恭谨肃穆。全作用铁线描勾勒，劲挺流畅，精准刻画出人物体态与衣物褶皱起伏。设色古雅清隽，红褐、石紫配色沉稳厚重，岁月浸蚀留下斑驳痕迹，却更衬出盛唐的独特审美意韵。画作写实细腻，还原了彼时的妆束仪制，将墓主人出行仪卫的从容气度凝于壁间，尽显大唐的雍容风华。",[23,24,51,7,677,154,510,27,26,28,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bdf5ea3b57dfd093ec32a74891c16.jpg",[36,90],{"id":8979,"slug":8980,"title":8981,"dynasty":114,"author":2982,"museum":20,"description":8982,"tags":8983,"thumbUrl":8984,"material":250,"size":122,"collection":123,"collections":8985,"showCount":8953,"zanCount":1065,"manualWeight":40,"mainColor":41},219684,"song-yuan-bao-han-ce-song-gao-zong-shu-qi-yan-lv-shi-zhao-gou-219684","宋元宝翰册-宋高宗书七言律诗","宋高宗赵构（1107年6月13日－1187年11月9日），字德基，宋朝第十位皇帝，南宋开国皇帝（1127年－1162年在位），宋徽宗赵佶第九子、宋钦宗赵桓之弟，母为显仁皇后韦氏。",[7,24,51,100,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d74f162461ca59c26ac6b7a02fc1103.jpg",[123],{"id":8987,"slug":8988,"title":8989,"dynasty":114,"author":8990,"museum":1031,"description":8991,"tags":8992,"thumbUrl":8993,"material":34,"size":8994,"collection":106,"collections":8995,"showCount":8953,"zanCount":541,"manualWeight":40,"mainColor":62},218925,"yuan-yang-za-qin-tu-han-you-218925","鸳鸯杂禽图","韩佑","这幅画上画着密密麻麻的梅花和山茶花，表达了冬天的精致。一对鸳鸯依偎在萧瑟的坡岸上，为画面增添了一丝温情。这幅画据说是宋代的韩佑所作，但山石的风格是明代画院的风格，官方网站将其定为15至16世纪。",[7,24,51,52,26,27,102,383,969,710,198,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9960809d93f2f94c401c8fe943f369.jpg","154x94.2cm",[106],{"id":8997,"slug":8998,"title":8999,"dynasty":114,"author":1734,"museum":20,"description":9000,"tags":9001,"thumbUrl":9002,"material":34,"size":9003,"collection":36,"collections":9004,"showCount":8953,"zanCount":11,"manualWeight":40,"mainColor":41},218795,"lan-ting-xi-yin-tu-guo-zhong-shu-218795","兰亭禊饮图","这幅画描绘的是永和九年的兰亭大典，小板上有三十多个学者在场，山峦起伏，茂林修竹，画工精细，原题为郭忠恕，但实际上更接近元代胡廷辉的风格。",[23,24,7,27,855,26,28,81,78,75,82,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767a47a8ddc517fcfb474984ffbf175b.jpg","22.1x23.2",[36],{"id":9006,"slug":9007,"title":9008,"dynasty":67,"author":2087,"museum":20,"description":9009,"tags":9010,"thumbUrl":9011,"material":34,"size":9012,"collection":106,"collections":9013,"showCount":8953,"zanCount":1065,"manualWeight":40,"mainColor":62},218790,"hua-hui-ling-mao-tu-lv-ji-218790","花卉翎毛图","吕纪（约 1429-1505），字廷振，浙江鄞县人。花鸟初学边文进（15 世纪），后又广摹唐宋名家，艺事益能精进。明孝宗弘治（1488-1505）间与林良（约1424-1500 后）同值仁智殿， 任锦衣卫指挥使。\n本幅画春暖花开时节，杏花临水绽放，柳树迎风摇曳， 八哥、山鸟停憩、飞翔于其间。溪中游鱼成群，隔岸两对鸳鸯，景致富丽而怡人。画中并无作者款印，布局与笔意，饶有吕纪之精神面貌，研判应出自传承吕氏风格的宫廷画家之手。",[23,24,7,26,27,102,6648,198,969,1821,515,649,201,84,2626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1048483f5027abb6034036a7b9aeaaa.jpg","193.2x116cm",[106],{"id":9015,"slug":9016,"title":9017,"dynasty":46,"author":6966,"museum":20,"description":9018,"tags":9019,"thumbUrl":9022,"material":666,"size":122,"collection":36,"collections":9023,"showCount":8953,"zanCount":1065,"manualWeight":40,"mainColor":41},217923,"tang-ming-huang-ji-ju-tu-ding-guan-peng-217923","唐明皇击鞠图","丁观鹏是清朝时期的画家，他最著名的作品之一是《唐明皇击鞠图》。这幅画描绘了唐朝第一位皇帝唐太宗（又称唐明皇）打鞠的场景。\n\n唐太宗是唐朝的建立者，他在位时实行了许多改革措施，使唐朝成为中国历史上最繁荣的朝代之一。他非常喜欢鞠球运动，常常在宫中练习打鞠。丁观鹏的这幅画中，唐明皇正在向前跑步，身体做出打鞠的姿势，表现出他对这项运动的热爱。\n\n丁观鹏的《唐明皇击鞠图》是一幅工笔画，他细致地描绘了唐明皇的衣服和鞠球的细节，并使用了深浅不一的色彩来表现光线的变化。这幅画被认为是丁观鹏作品中最出色的一幅，也是清朝时期最著名的画作之一。它现在被收藏在北京故宫博物院的藏品之中。",[7,24,51,26,510,27,855,28,215,861,74,30,9020,9021],"古代人物","马球场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3def1caee6bc241053a237d8871f10.jpg",[36],{"id":9025,"slug":9026,"title":2818,"dynasty":67,"author":68,"museum":132,"description":9027,"tags":9028,"thumbUrl":9034,"material":122,"size":122,"collection":122,"collections":9035,"showCount":9036,"zanCount":1065,"manualWeight":40,"mainColor":62},228431,"xi-yuan-ya-ji-tu-chou-ying-228431","林壑幽深处，文士凭崖观眺、揖谈畅叙，松竹环合，尽显林下清旷风流。下方庭院里，宾主列坐，或展卷挥毫，或品鉴器物，侍从随侍左右，朱门红栏衬出雅集端雅规整。\n\n整作工细秀雅，设色古澹清润，以全景式构图铺展雅聚盛景，将文人酬唱往还的意趣融于山园之中，山野清旷与庭院娴雅相融，把历代文人心向往之的林下雅兴具象呈现，复刻出一段隽永的名士雅境。",[23,24,7,51,27,26,28,75,697,53,560,9029,1167,9030,9031,9032,9033],"朱门","文士雅集","挥毫","清旷","娴雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8f1f98099d9cdf33ce0c57c0cde632.jpg",[],88,{"id":9038,"slug":9039,"title":9040,"dynasty":46,"author":5869,"museum":151,"description":9041,"tags":9042,"thumbUrl":9044,"material":122,"size":9045,"collection":88,"collections":9046,"showCount":9036,"zanCount":530,"manualWeight":40,"mainColor":41},223170,"geng-zhi-tu-ce-jiao-bing-zhen-223170","耕织图册","《胤禛耕织图册·收刈》是清代佚名创作的绢本设色画。\n此为耕织图册之一开。\n本幅描绘麦田中农夫装扮的胤禛（雍亲王）正带领众人收割。\n此图用笔精到，设色典雅，人物形象生动传神，将劳动者辛勤耕作的场景描绘得十分生动。\n耕织图起源于南宋时期，是我国古代为劝课农桑而详实地记录耕作与蚕织的系列图谱。\n由于其“图绘以尽其状，诗文以尽其情”，形象生动、细腻传神地描绘了劳动者耕作与蚕织的场景和详细的生产过程，从而起到了普及农业生产知识、推广耕作技术、促进社会生产力发展的巨大作用，而其本身也成为极其珍贵的艺术瑰宝。\n宋代的《耕织图》册由耕图21幅、织图24幅组成。\n清康熙二十八年（1689年），康熙皇帝南巡时观览到此图，感慨万端，遂命内廷供奉焦秉贞根据其原意重新绘制《耕织图》册，作耕图2幅，织图2幅。\n《雍正耕织图》册是雍正帝登基以前以康熙年间刻版印制的《耕织图》为蓝本，内容和规格仿照焦氏本，由清宫廷画师精心绘制而成。\n所不同的是胤禛耕织图中的主要人物如农夫、蚕妇等均为胤禛及其福晋等人的肖像，这在历代的耕织图中是仅见的。\n该图现存52页，其中6页为未定稿的衍页，其余46页中耕图、织图各2页，每幅画上都有胤禛的亲笔题诗，并钤有“雍亲王宝”和“破尘居士”两方印章。\n根据画法特点，此画册可能出自当时宫廷画家陈枚之手。\n（1678—175) 即爱新觉罗， 。\n清朝皇帝。\n满族。\n圣祖第四子。\n年号雍正。\n1722—175年在位。\n康熙三十五年（1696年），从帝征喝尔丹。\n三十七年，封贝勒。\n四十八年，进封雍亲王。\n康熙末参与部分政务。\n得隆科多、年羹尧之助夺得帝位后,即用高压手段对付参与争位的诸弟；胤德被长期幽禁；胤视、胤塘被削籍，不得其死。\n康察的亲信多遭贬斥。\n隆科多、年羹尧亦被借故禁铜并杀。\n对汉族知识分子，改变康照时以笼络为主的策略，屡兴文字狱。\n曾用藩邸亲信鄂尔泰、田文镜、李卫等为重要省区的总督。\n雍正七年（1729年），建立军机房（后改军机处），取代内阁和大臣会议，成为承旨经办军政事务的国家中枢机构；又取消诸王为下五旗（正红、镶红、镶白、正蓝、镶蓝）管主的制度，以加强君主集权。\n实行摊丁人亩，以保证赋税收人。\n在西南少数民族地区推行“改土归流”，废除土司制度，设立府、州、县。\n始设置驻藏大臣,加强对西藏的管辖。\n曾出兵平定 贵族的叛乱，并镇压准噶尔部贵族的骚扰。\n对外曾与沙俄订立《 》和《中俄恰克图界约》，划定中俄中段边界。\n精通满、汉文，娴熟书法，熟悉儒家经典。\n有《世宗完皇帝有制文集》等。",[7,24,51,100,27,26,526,28,1906,7999,82,79,9043,83,2259],"农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","34.7cm×27.7cm",[88,36,90],{"id":9048,"slug":9049,"title":9050,"dynasty":46,"author":852,"museum":212,"description":853,"tags":9051,"thumbUrl":9053,"material":870,"size":871,"collection":122,"collections":9054,"showCount":9036,"zanCount":541,"manualWeight":40,"mainColor":62},222819,"gu-su-fan-hua-tu-di-san-duan-xu-yang-222819","姑苏繁华图第三段",[23,7,24,25,26,27,28,77,78,79,856,858,4076,83,75,860,865,9052,862,6958],"古街","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17ce7b45c379e1c3d731de80836559d.jpg",[],{"id":9056,"slug":9057,"title":9058,"dynasty":67,"author":899,"museum":151,"description":9059,"tags":9060,"thumbUrl":9061,"material":834,"size":9062,"collection":122,"collections":9063,"showCount":9036,"zanCount":40,"manualWeight":40,"mainColor":41},222335,"mo-mei-tu-zhou-tang-yin-222335","墨梅图轴","此幅以枯笔焦墨画梅花枝干，皴擦纹理，表现梅枝苍劲虬曲的姿态；以浓淡相间的水墨点画花朵，以谨细之笔画出花蕊，笔法刚健清逸，表现出梅花清丽脱俗的风貌。画面中间的梅花风姿绰约，右上的题诗洒脱清秀，左下的印章工稳典雅，三者浑然一体，相得益彰。\n本幅自题：“黄金布地梵王家，白玉成林腊后花。对酒不妨还弄墨，一枝清影写横斜。□堂看梅和王少傅韵。吴趋唐寅。",[7,24,51,52,277,383,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0239c6bbe3e5d4ec00d78c8e1005a79.jpg","纵96厘米，横36厘米",[],{"id":9065,"slug":9066,"title":9067,"dynasty":114,"author":1216,"museum":132,"description":9068,"tags":9069,"thumbUrl":9070,"material":250,"size":9071,"collection":175,"collections":9072,"showCount":9036,"zanCount":541,"manualWeight":40,"mainColor":41},221398,"fa-hai-ling-shan-tu-ce-li-gong-lin-221398","法海灵山图册","尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也",[23,24,7,51,100,510,678,28,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0df1b380f365d00c48d70258594a85.jpg","23x299cm",[175,36],{"id":9074,"slug":9075,"title":9076,"dynasty":114,"author":4895,"museum":7613,"description":9077,"tags":9078,"thumbUrl":9079,"material":611,"size":9080,"collection":122,"collections":9081,"showCount":9036,"zanCount":40,"manualWeight":40,"mainColor":62},221375,"xi-shan-qiu-ji-tu-wang-shen-221375","溪山秋霁图","《溪山秋霁图》是北宋 创作的绢画淡设色画，现藏于美国华盛顿弗利尔美术馆。\n图绘秋日雨过天晴后的山青水秀。\n图上群山叠嶂起伏，江水空阔浩淼；近处雨后树木更愈翠绿，江边草屋掩映于树林中；山中可见数座屋脊；远处云雾下的山峦更显妖娆。\n本图以长卷形式表现 雨过天晴后郊野的清丽风光。\n卷中忽而两山夹峙野水逶迤，忽而重岩叠嶂连绵而起，忽而江水横陈浩渺空阔，其中点缀高人逸士渔夫钓者，表现其悠闲生活情趣。\n此图画风清润秀雅，用笔尖利。\n整幅画面布置有序，意境优美，正如宋人论画山水所写：出于可游可居之景。\n王诜，字晋卿，北宋画家，所作烟江云山、寒林幽谷，水墨清润，设色高古绝俗",[24,7,25,277,73,119,74,75,82,278,280,279,3037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cbc8e85c993c64e82f3c902744c596.jpg","纵45.2厘米，横206厘米",[],{"id":9083,"slug":9084,"title":9085,"dynasty":18,"author":1323,"museum":1463,"description":8246,"tags":9086,"thumbUrl":9087,"material":121,"size":9088,"collection":88,"collections":9089,"showCount":9036,"zanCount":1065,"manualWeight":40,"mainColor":62},219877,"zhong-xi-yan-ai-tu-ju-ran-219877","重溪烟霭图",[23,7,24,51,25,277,75,279,280,82,425,80,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002f9fd99a437be58311e2c0552f8180.jpg","29.9x418.5cm",[88],{"id":9091,"slug":9092,"title":9093,"dynasty":67,"author":181,"museum":20,"description":9094,"tags":9095,"thumbUrl":9097,"material":34,"size":9098,"collection":90,"collections":9099,"showCount":9036,"zanCount":40,"manualWeight":40,"mainColor":62},219347,"mo-xi-yuan-ya-ji-tu-yi-ming-219347","摹西园雅集图","本幅描绘历史上有名的“西园雅集”情形，在附马都尉王诜家的这次雅集，聚集了北宋当时顶尖的文人雅士，由米芾的一篇记流传后世，历代多有画作。此幅传明人所作，细观或是周臣老画师临摹刘松年原画所作，在历代临摹本中属上品。",[7,24,51,52,27,28,75,609,278,74,154,9096],"西园雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593962859ed60f1a0711ce80559eaffd.jpg","191.2 x 98.3cm",[90],{"id":9101,"slug":9102,"title":9103,"dynasty":46,"author":1656,"museum":151,"description":9104,"tags":9105,"thumbUrl":9106,"material":267,"size":9107,"collection":36,"collections":9108,"showCount":9036,"zanCount":541,"manualWeight":40,"mainColor":41},219223,"er-tong-dou-cao-tu-jin-ting-biao-219223","儿童斗草图","此图表现的是端午节儿童们斗草的游戏。有的以比赛采得的花草作对，这是文斗；有的把叶柄相勾拉拽，也称“拔根儿”，就是武斗。",[23,7,24,51,52,26,27,28,2626,201,137,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94f548edff091b9ba461b027bf11c428.jpg","纵105.3厘米，横79.5厘米",[36],{"id":9110,"slug":9111,"title":9112,"dynasty":46,"author":1567,"museum":151,"description":9113,"tags":9114,"thumbUrl":9117,"material":342,"size":9118,"collection":106,"collections":9119,"showCount":9120,"zanCount":40,"manualWeight":40,"mainColor":41},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[7,24,51,2613,526,277,27,75,118,119,73,609,437,425,9115,9116,28,278,559,5607],"平原","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米",[106,88,90],87,{"id":9122,"slug":9123,"title":9124,"dynasty":914,"author":915,"museum":151,"description":9125,"tags":9126,"thumbUrl":9127,"material":9128,"size":9129,"collection":122,"collections":9130,"showCount":9120,"zanCount":40,"manualWeight":40,"mainColor":41},232939,"you-chun-tu-juan-zhan-zi-qian-232939","游春图卷","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。下端一角，便是坡陀花树，围绕山庄。描绘出明媚春光和游人在山水中纵情游乐的神态。各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。\n早期的山水画通常会呈现出“人大于山和水不容泛、树木若伸臂布指”的状态，这说明了早期山水画的不成熟，在构图方面体现了较为幼稚的特点。《游春图》的章法布置则突破了以往的画风束缚，形成了十分有特色的构图方式，结构层次颇有特点。它的画面的右上部主要是山峦的表现，绘有大量的崇山峻岭，展现了一副山峦起伏、峰回百转的形态。若在之前，这个画面可能就算是完成了整个景观背景的塑造。但是展子虔并没有到此为止，在画面的右下方，他在画面中画上了山间小径，小径则是由低矮的树木、草丛组成，曲径通幽，旖旎风光、透逛山路，成为了右上方巍峨高山的延伸部分。这样，高山便成为了山路的背景，山路又成为了高山的细节铺垫和展现。这就使得整个画面比前期山水画更显全面、沉稳、丰富。而在画面的左侧，观者可以看到展子虔在此绘有一处低矮的小山丘。这一小山丘能够与右侧上方的崇山峻岭遥遥相对，形成鲜明的对比。在画面的中问，则有大片江河，形成一道波光粼粼的天堑，并与湖水、天空融会在一起，使得整个画面形成湖天一色、山河并举的形象。值得一提的是，画面并未只以山川与河流为主，而是在细节之处加以点缀：江河之中有小船点缀其中，船中有三四位神态各异、姿态不同的人物，将人声、山河画面融合在一起，并通过山川、河流、船舶、人物等形象构造出整个画面的图片比例。\n深究整个《游春图》，可以发现该画以山川、水系为主体，将人物、古刹、船舶、阁楼等融于山水，成为画面中的重要景观。这些景观相互配合，运用其形象的客观物象来表达画面事物之间的大小、高低、远近等的关系。合理地处理画面关系，使得展子虔对画面的比例、深度等都能有十分准确的把握，并根据其特点，进行处理和变化。也正是由于这种十分合理的处理和变化，才能够使得山水画的构造变得更加符合现实，使得该画变化成了“超然物外”的穿插构图，形成隋代山水画的新格局，使得中国山水人物画的表现形式和审美取向变得更加成熟。\n运笔成熟，表现独特。展子虔在绘画创作上十分敢于并善于创新，尤其善于在细节处用笔。在观者欣赏《游春图》的时候，不难发现它无处不是点缀着代表盎然生气的绿色。例如，画面就有很多还没有完全长满枝芽的树木，这些枝芽就是展子虔运用独特的勾画技巧形成的，即青绿勾填技法。这种技法不仅仅使得他的创作变得“细密精致而臻丽”，更让他的这种创作方法成为了中国山水画的重要技法之一。\n在绘画山川石木的时候，展子虔善于运用细节，运用细笔勾勒它们的轮廓。以青绿色以及其他明丽的色彩来展现画面。例如，他在刻画《游春图》的山石树木之时，善于将山石树木的线条不用刻意有粗细、明暗的变化，它们不用刻意地添加皱祈，也照样能体现出古朴苍劲、俊朗豪迈的形象。而在描绘人物的时候，展子虔也习惯运用细节来展现人物的形态、神态等，虽然画面中的人物形象没有过大改变，但是人物神情却可以是各有特色，每个人的衣着外观都十分飘逸流畅，也使得观者有“观人于微，，的感受。另外，他还善于运用“点花”的方法，勾勒细节，例如对枝芽的处理，他也会运用粉点点上，形成芽苞初放的形象。而在绘画人物上，作者也是用了这种点染的方法，让细小如豆的人马等都形态毕现。\n青绿重彩，工细巧整。在隋代之前，魏晋时期的山水画不仅仅在构图、形状、用笔等方面都比较单一，而且在整个画面的用色方面也都十分单一。而在隋代展子虔的《游春图》中，其形状不仅仅充满变化，而且在用色上也更加丰富和大胆。展子虔为了改变以往单调而简单的填色方式，将自己大胆的想象和细致的技法运用到画面中。《游春图》以青绿色为主色调，并在此基础上，形成细工精琢的用色方法。例如，在画面右上部分，作者开始运用青绿着色，展现了初春山林间盎然的生机。而在右下部分，表现山间小路时，作者却用泥金来表现，展现了山林中春寒未退的山色。这样两类用色，使整个画面的表现力更加丰富。同时，在绘画树木之时，展子虔更加注重细节的刻画。在对树叶设色时，它不仅仅运用色填或者色染，而且还运用点彩的形式，来展现含苞初放的春日娇态。\n《游春图》除了对画面中的不同物象进行了十分具有特点的用色之外，在敷色上增加各种晕染等方法，使不同对象在色彩表达上显得更加统一而完善。在描绘松树时，画家并没有以松针来展现，而是用深绿色运笔，在表现其他花木时，画家则运用桃红色、白粉色等来展现，形成单纯而丰富、古朴而艳丽的形象特点。因而，纵观整个《游春图》，其画面展现的是新绿成荫、繁花盛开、水天一色、深浅莫辨的特点。而在对人物的描绘过程中，展子虔运用山后白云来展现人物所处的背景，并能够以此来衬托人物游春时的心境。而对于人物本身的形象来说，展子虔则也善于用粉色和白色进行点染，使得整个画面更显风格细腻、轻松生动。\n唐代僧彦悰《后画录》：“触物为情，备皆妙绝”，“远近山川，咫尺千里。”\n唐代张彦远：“动笔形似，画外有情。”\n宋代《宣和画谱》：“写江山远近之势尤工，故咫尺有千里之势。”\n明代董其昌：（《游春图》）是“世所罕见”的墨宝。\n当代作家沈从文：“这画卷的重要,实在是对于中国山水画史的桥梁意义……没有它，历史即少了一个重要环节。”\n现存于故宫博物院的《游春图》是展子虔唯一传世的代表作，也是世界上存在最早的画卷，它的存在，对中国乃至世界的绘画史、艺术史都具有极为重要的作用。\n在《游春图》出现之前，中国早期的山水画通常是“人大于山、水不容泛”。也就是说，绘画中人物形象的塑造比山还要大，而对于水的绘画，却永远不会有波光粼粼的形态，而是犹如一潭死水般地停留在画布上。可见，在展子虔之前的，尤其是南北朝时期的山水画仍然存在很多不足，这些画家们通常无法把握好山水、人物的比例关系，也不能完美、生动地展现山水的飘逸之感。而《游春图》出现之后则打破了这种限制，全图无处不展现着一种空间之美，人物、山水疏密安排十分得宜，展现着自然界的交替、交换与重叠。\n游春图之所以能够成为中国山水画承上启下的代表作品，不仅仅在于画面呈现的内容，更在于它异于前人的创作手法和审美取向，展现出了于方寸之地尽显千里之姿的艺术特点。\n《游春图》构图壮阔沉静，设色古艳，富有典丽的装饰意味，体现出承上启下的风格，也标志着山水画即将进入成熟期，他在山水画上所达到的成就及其绘画方法，直接开启了唐代画家李思训、李昭道父子金碧山水的先河。\n1980年5月27日华国锋到日本进行正式访问时，赠给日本天皇的礼品中，就有一幅中国现代女画家临摹的隋朝画家展子虔的《游春图》。",[7,24,51,25,72,27,75,28,77,78,79,76,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd3613327ff7d09b2f5cbe51fadde61.jpg","绢本绘画","高43厘米，宽80.5厘米",[],{"id":9132,"slug":9133,"title":9134,"dynasty":114,"author":878,"museum":132,"description":9135,"tags":9136,"thumbUrl":9137,"material":122,"size":122,"collection":122,"collections":9138,"showCount":9120,"zanCount":1065,"manualWeight":40,"mainColor":62},227819,"yue-ye-tu-ma-yuan-227819","月夜图","虬松盘崖而上，枝干屈铁盘旋，松针劲挺如攒，垂挂的松萝更添古寂幽邃。右侧高台层楼凭山而建，飞檐半隐于松荫，似浸在溶溶月色里。远景山峦晕作淡黛，隐没在昏褐夜色中，空濛虚灵，将天地拉得辽远空阔。\n\n全画以边角取景，淡墨轻皴营造月夜朦胧氛围，不见月华，却处处浸着凉润夜色，似可闻松涛伴着凉风掠过廊檐。尺幅之间以少胜多，留白造境，将秋夜清寂雅致藏在一隅，尽显空灵简远的意境，把江南月夜的幽柔静谧铺陈在绢素之上，余韵悠长。",[23,7,24,51,75,277,27,5233,609,77,648,1570,278,82,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],{"id":9140,"slug":9141,"title":9142,"dynasty":18,"author":2623,"museum":132,"description":9143,"tags":9144,"thumbUrl":9147,"material":122,"size":122,"collection":122,"collections":9148,"showCount":9120,"zanCount":1065,"manualWeight":40,"mainColor":62},226708,"wen-yuan-tu-juan-zhou-wen-ju-226708","文苑图卷","《文苑图》卷，五代，周文矩作，绢本，设色，纵37.4厘米，横58.5厘米。\n本幅无作者款印，根据图左宋徽宗“瘦金体”题字：“韓滉文苑圖，丁亥御劄”，下书“天下一人”押，遂定为唐代韩滉作。然从时代风格看，少唐画气息，最明显的是衣纹线条颤动曲折，极似五代周文矩所创的“战笔描”。另外人物头戴的“工脚上翘”的幞头形式，亦至五代才出现。同时，美国大都会博物馆藏有一本周文矩的《琉璃堂人物图》卷，后半段画面与此图完全一样，故可肯定《文苑图》作者是周文矩，所画内容为琉璃堂人物故事。至于两图孰为原本？抑或均属摹本？据考，美国的《琉璃堂人物图》卷水平较差，人物面相稍欠神采，衣纹用笔颇见柔弱，且图首宋徽宗题“周文矩琉璃堂人物圖，神品上妙也”和下钤“ 內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[23,7,24,51,25,26,27,28,609,4971,1167,74,905,9145,9146],"古代服饰","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg",[],{"id":9150,"slug":9151,"title":9152,"dynasty":114,"author":5683,"museum":166,"description":9153,"tags":9154,"thumbUrl":9155,"material":121,"size":122,"collection":175,"collections":9156,"showCount":9120,"zanCount":40,"manualWeight":40,"mainColor":62},219789,"zhou-yue-tu-zhao-ling-rang-219789","舟月图","画面以大片空寂底色铺就，将月夜江天的辽远清寒尽数晕开。扁舟横卧水面，舟中二人意态悠然，一人凭舷凝望悬垂的冷月，一人垂竿静候，寥寥数笔便勾勒出闲逸松弛的林下幽情。淡墨轻皴出水波微漾，朦胧月色漫过空阔江面，将天地晕成浑然一色的清寂。边角的古印题字晕染出古雅厚重，整幅画作以极简之笔写尽淡远萧疏的意趣，把文人寄情烟波、物我两忘的幽淡心境藏在空寂月色里，尽显水墨山水以少胜多的诗意禅味。",[7,24,51,277,510,27,28,80,1570,74,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b922f084156fdab8779361947ae5c3.jpg",[175],{"id":9158,"slug":9159,"title":9160,"dynasty":114,"author":9161,"museum":507,"description":9162,"tags":9163,"thumbUrl":9164,"material":34,"size":9165,"collection":36,"collections":9166,"showCount":9120,"zanCount":541,"manualWeight":40,"mainColor":62},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","中兴瑞应图","萧照","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,7,24,51,25,26,27,855,73,28,77,75,82,215,81,560,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[36],{"id":9168,"slug":9169,"title":9170,"dynasty":18,"author":9171,"museum":20,"description":9172,"tags":9173,"thumbUrl":9174,"material":34,"size":9175,"collection":36,"collections":9176,"showCount":9120,"zanCount":541,"manualWeight":40,"mainColor":62},218923,"ba-da-chun-you-tu-zhao-nie-218923","八达春游图","赵喦","画中有八位骑马的贵族，园中的草木都呈现出新绿，马儿轻盈地踏着，显示出春日郊游的愉快气氛。马匹、树木和岩石的笔触细腻精致，超越了唐朝和五代，与北宋的风格相似。",[23,7,24,51,26,27,28,215,82,4731,7784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07199252c59d7bfa0a3af33b99ab6823.jpg","161.9x102",[36],{"id":9178,"slug":9179,"title":9180,"dynasty":114,"author":181,"museum":20,"description":9181,"tags":9182,"thumbUrl":9183,"material":34,"size":9184,"collection":106,"collections":9185,"showCount":9120,"zanCount":541,"manualWeight":40,"mainColor":41},218861,"die-fen-hua-cong-tu-yi-ming-218861","蝶粉花丛图","画面上画着五枝月季花，枝头上的花有的开得灿烂，有的含苞待放，花瓣是红色的，花尖是粉红色的，枝头上的叶子是深绿色的，花和叶子色彩斑斓，清新漂亮，两只蝴蝶在花丛中盘旋，伴着花香翩翩起舞。这幅画的笔触和色彩与卫昇，林椿的相似，应该说是南宋画派的代表作。",[23,24,7,26,27,102,100,200,103,5501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59d14f0dd44d2a05a8c854eb299aff6.jpg","23.6x25.2",[106],{"id":9187,"slug":9188,"title":9189,"dynasty":67,"author":2568,"museum":151,"description":9190,"tags":9191,"thumbUrl":9192,"material":34,"size":9193,"collection":106,"collections":9194,"showCount":9120,"zanCount":40,"manualWeight":40,"mainColor":62},218768,"zhu-he-shuang-qing-tu-bian-wen-jin-218768","竹鹤双清图","画面描绘两只仙鹤悠然漫步于竹林之中。此图为边景昭与王绂二人合作，边景昭画鹤，王绂画竹。边景昭是明代宫廷花鸟画家的代表人物，其画风继承了宋代“院体”工整富丽的风格，并在一定程度上吸收了文人画的特点。王绂是明代前期的画竹名家，他的墨竹延续了北宋文同等人的传统，在竹画的历史上有着承前启后的重要作用。本幅作品中边景昭所画的仙鹤造型优美，气度娴雅，笔墨简放，工细而不拘谨，着色淡雅，与王绂清润秀挺的墨竹格调统一，作品给人以清新出尘之感，是职业画家与文人画家配合默契的成功之作。",[23,7,24,51,52,26,277,27,53,138,201,102,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19caa71e4d00fa1e7d41bf8d984b1d86.jpg","纵109厘米，横44.6厘米",[106],{"id":9196,"slug":9197,"title":9198,"dynasty":46,"author":9199,"museum":132,"description":9200,"tags":9201,"thumbUrl":9203,"material":317,"size":907,"collection":122,"collections":9204,"showCount":9205,"zanCount":541,"manualWeight":40,"mainColor":993},289903,"hua-niao-tu-li-zhou-qu-zhao-lin-289903","花鸟图立轴","屈兆麟","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[23,7,24,51,52,27,26,102,1701,9202,56,7270],"绶带鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57c17039c95e5cbe12757afdf6e48fac.jpg",[],86,{"id":9207,"slug":9208,"title":9209,"dynasty":46,"author":2336,"museum":132,"description":4642,"tags":9210,"thumbUrl":9211,"material":317,"size":907,"collection":122,"collections":9212,"showCount":9205,"zanCount":40,"manualWeight":40,"mainColor":41},289898,"shi-liu-tu-li-zhou-wu-chang-shuo-289898","石榴图立轴",[23,7,24,51,52,1455,277,27,1093,56,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84d0c8474b987b8242984551428f81a.jpg",[],{"id":9214,"slug":9215,"title":9216,"dynasty":114,"author":181,"museum":132,"description":9217,"tags":9218,"thumbUrl":9219,"material":317,"size":907,"collection":122,"collections":9220,"showCount":9205,"zanCount":1065,"manualWeight":40,"mainColor":62},288935,"li-zhi-tu-yi-ming-288935","荔枝图","此作以折枝构图排布画面，疏密错落间尽显雅致意趣。画师以精工笔法晕染荔枝，半熟的青白带晕红，熟透的赤艳饱满，将果皮的粗糙肌理摹写入微，鲜活仿若可触。墨色枝叶层次分明，浓墨勾出叶骨，淡墨晕染叶背，阴阳向背间尽显叶片舒展的柔劲生机，浅褐色枝桠苍劲柔韧，托举累累果实。右上角隐见小飞虫，更添幽微野趣。整幅设色古雅沉静，写实入微，尽显观察万物的细腻匠心，将盛夏枝头鲜活的荔枝风物定格于绢素之上，藏着雅致生动的清赏意趣。",[23,24,7,51,768,26,27,102,1094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60ae796b39da5fcbccf537b826cdca33.jpg",[],{"id":9222,"slug":9223,"title":9224,"dynasty":18,"author":1405,"museum":132,"description":9225,"tags":9226,"thumbUrl":9227,"material":317,"size":907,"collection":122,"collections":9228,"showCount":9205,"zanCount":40,"manualWeight":40,"mainColor":62},283684,"jiang-di-wan-jing-tu-dong-yuan-283684","江堤晚景图","该画作是一幅绢本立轴山水画。轴顶上为溥儒题的“大风堂供养南唐北苑副使董源书江堤晚景无上至宝”。轴底为张大千、谢稚柳等人题跋。轴的中间绘绿意盎然的春日里，行人游春赏景，一侧的酒馆挂旗开门营业；松树高大苍翠，群山巍峨，山脚下河面波光粼粼，一片春日好时光！这就是画作的内容了。",[24,7,52,72,27,75,28,215,315,82,74,118,5491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb775349db468e7b94cea2f43539ee3e.jpg",[],{"id":9230,"slug":9231,"title":9232,"dynasty":67,"author":5192,"museum":132,"description":5193,"tags":9233,"thumbUrl":9234,"material":317,"size":907,"collection":122,"collections":9235,"showCount":9205,"zanCount":40,"manualWeight":40,"mainColor":62},283633,"mei-hua-kong-que-tu-li-zhou-lu-zhi-283633","梅花孔雀图立轴",[23,7,24,51,52,102,27,26,383,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348bcac60141f1be81731be09cbd4419.jpg",[],{"id":9237,"slug":9238,"title":9239,"dynasty":46,"author":2172,"museum":151,"description":9240,"tags":9241,"thumbUrl":9242,"material":2615,"size":122,"collection":88,"collections":9243,"showCount":9205,"zanCount":40,"manualWeight":40,"mainColor":41},236909,"fang-dong-qi-chang-shan-shui-zhou-wang-jian-236909","仿董其昌山水轴","王鉴（1598年－1677年），明末清初画家，“四王”之一。字元照，一字圆照，号湘碧，又号香庵主，江南太仓人。王世贞曾孙，王士骐之孙。 任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。\n王鉴的祖父王世贞（1526年— 1590年）是晚明著名文人、鉴藏家和显宦，官至南京刑部尚书，精古诗文，与李攀龙等并称“后七子”，为文坛盟主；富收藏，尔雅楼中藏书万卷，书画文物无数；著有《弇州山人四部稿》、《艺苑后言》等。父王士骥，万历十七年（1589年）进士，官吏部员外郎。王鉴出身于这样一个文学世家和官宦门第，自幼即受到良好的文化教养和艺术熏陶，“缔岁即好点染”，他亦自述：“自幼习董熟耳。”表明他最早学画是从董源入手的。以后又追踪巨然和元四家，万历四十五年（1617年）时的《仿云林山水轴》和天启元年（1621年）拟巨然的《山水图》，可证其最早的画学渊薮。",[7,24,51,52,277,73,154,75,425,82,609,281,559,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg",[88,286],{"id":9245,"slug":9246,"title":9247,"dynasty":114,"author":1216,"museum":132,"description":9248,"tags":9249,"thumbUrl":9250,"material":122,"size":122,"collection":122,"collections":9251,"showCount":9205,"zanCount":40,"manualWeight":40,"mainColor":41},227609,"wei-mo-yan-jiao-tu-juan-li-gong-lin-227609","维摩演教图卷","《维摩演教图》卷，传为宋李公麟绘，纸本，墨笔，纵34.6厘米，横207.5厘米。\n\n无作者款印。画后幅有明沈度书《心经》及跋“永乐丙戍岁，予客燕台真如寺，老僧元觉出示李龙眠演教图真迹，随索予书《心经》附后，自愧玉台难并，固辞再三。老僧索之甚笃，勉强净手谨书一通。是夕上元日也。云间沈度。”丙戌为明永乐四年（1406年）。并有明董其昌、王穉登题跋。钤元柯九思“柯氏敬仲”，清索额图“钦赐忠孝长白山长索额图字九如号愚庵书画珍藏永贻子孙”、“长白索氏珍藏图书印”，清宣统皇帝“宣统御览之宝”、“宣统鉴赏”等鉴藏印，共57方。\n\n此图取材于佛教《维摩诘经》，描绘的是装病在家的维摩诘向奉佛祖释迦牟尼之命前来探病的文殊菩萨宣讲大乘教义的场面。全图意在表现维摩诘所具有的高深机智及其对佛教教义的巧思善辩。画中维摩诘坐于锦榻之上，精神矍铄地谈论教义，对面的文殊菩萨脚踩莲花，双手合十，对维摩诘的说法心悦诚服。画幅中部绘天女故意往大弟子舍利弗身上撒沾衣不坠的花瓣，令躲闪不及的舍利弗连忙振衣抖拂。维摩见此当即指出佛教应该视万物皆空的教义实质。\n\n佛教是公元前6至5世纪由释迦牟尼于印度创立，相传东汉明帝时传入中国。艺术家们为了扩大佛教在中国的影响，在表现佛教人物或故事时逐渐将他们中国化，生活化，以符合中国人的审美观。从东晋顾恺之到隋唐敦煌壁画，维摩诘尚被表现为“须眉奋张，目光如炬”的形象，而此图中他已完全成为汉化的佛教徒的形象。文殊菩萨体态雍容端庄，犹如现实生活中名门望族之人。众天女于恭谨中显露出活泼的神情，毫无宗教的虔诚之态。文人世俗思想融入宗教画创作中无疑增添了作品的亲和力，同时也增强了作品的感染力。全图为扫却粉黛的墨线勾描，遒劲圆转而富于表现力度的游丝描和铁线描相辅相成，在成功地刻画出神态各异的人物形象的同时，洁净轻淡的笔法也与佛教“空即是色，色即是空”的教义相吻合。\n\n此图无款，对作者有三种推测：明人沈度、董其昌、王穉登等人在画卷的跋中皆称作者为宋代李公麟。当代学者金维诺等先生认为作者应是金代的马云卿，主要根据是美国大都会博物馆藏有元代王振鹏《临马云卿画维摩不二图草本》。王振鹏在卷后题跋中称：“至大元年二月初一日拜住怯薛第二日，隆福宫花园山子上，西荷叶殿内，臣王振鹏特奉仁宗皇帝潜邸圣旨，临金马云卿画维摩不二图草本。”王振鹏的临本与此幅的艺术风格、构图章法等极为相仿，只是在局部纹饰上稍有细微变化。但目前亦有专家认为此图既不是李公麟所作，亦非马云卿所为，它应是宋佚名画家的作品。事实上，无论作者是谁，该图代表着早期白描人物画的最高成就当是无可争议的。",[23,7,24,51,25,678,28,510,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a5ca121eafafb8b8cc4acc361a11f6.jpg",[],{"id":9253,"slug":9254,"title":9255,"dynasty":18,"author":5250,"museum":132,"description":9256,"tags":9257,"thumbUrl":9259,"material":122,"size":122,"collection":122,"collections":9260,"showCount":9205,"zanCount":11,"manualWeight":40,"mainColor":62},227262,"xue-jing-ba-jiao-han-que-tu-huang-ju-cai-227262","雪景芭蕉寒雀图","麻雀是我们生活中常见的鸟类，身形娇小，机敏灵活，却也憨态可掬，更因为打不倒的顽强生命力，在画家们的笔下，散发出了生机勃勃的魅力，一幅花鸟画中，因为麻雀的构成，顿时“活”了起来，因此国画麻雀也相当受画家和收藏者们喜爱",[23,7,24,51,52,27,102,26,1357,3048,9258,383,246],"寒雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267d2fc6d76d34d83a59c288d428c4e8.jpg",[],{"id":9262,"slug":9263,"title":9264,"dynasty":46,"author":1567,"museum":132,"description":9265,"tags":9266,"thumbUrl":9267,"material":317,"size":907,"collection":122,"collections":9268,"showCount":9205,"zanCount":40,"manualWeight":40,"mainColor":62},224528,"mu-dan-lan-hua-tu-zhou-shi-tao-224528","牡丹兰花图轴","石涛的花鸟、兰竹，多用水墨写意法，行笔爽利，用墨淋漓简练，给人以清峻、挺拔、浑厚之感。石涛的兰竹画为中国画史中的一绝。图中兰叶瘦劲，浓墨托出，交迭穿插，兰花散发出幽香。",[23,7,24,51,52,277,368,118,74,102,103,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9163948f16c605409d424d9bc05e56.jpg",[],{"id":9270,"slug":9271,"title":6773,"dynasty":293,"author":9272,"museum":151,"description":9273,"tags":9274,"thumbUrl":9275,"material":3579,"size":9276,"collection":88,"collections":9277,"showCount":9205,"zanCount":1065,"manualWeight":40,"mainColor":62},221756,"song-shi-tu-zhou-sheng-mao-221756","盛懋","本幅左上款署：“至正己亥仲秋廿二日武唐盛懋子昭作此图为祐祯寿。”下钤“子昭”、“盛懋”印。“至正己亥”为至正十九年（1353年），受画人“祐祯”不知为何许人。本幅左下钤鉴藏印“囗公读过”、“见阳图书”、“寒云珍藏元人名迹”、“子安珍藏记”。\n此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[23,7,24,51,52,277,73,609,201,56,1059,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484705e5dcac0a31f081986fc89320e9.jpg","纵77.4厘米，横27.2厘米",[88,286],{"id":9279,"slug":9280,"title":9281,"dynasty":114,"author":9282,"museum":151,"description":9283,"tags":9284,"thumbUrl":9285,"material":27,"size":9286,"collection":175,"collections":9287,"showCount":9205,"zanCount":40,"manualWeight":40,"mainColor":62},221439,"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","杨士贤","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[23,24,51,7,75,73,277,27,278,313,82,559,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[175,88,286],{"id":9289,"slug":9290,"title":9291,"dynasty":67,"author":1269,"museum":507,"description":9292,"tags":9293,"thumbUrl":9295,"material":9296,"size":9297,"collection":88,"collections":9298,"showCount":9205,"zanCount":1065,"manualWeight":40,"mainColor":993},220896,"jiu-feng-han-cui-tu-dong-qi-chang-220896","九峰寒翠图","董其昌书法上有“邢张米董”之称，即把他与临邑邢侗、晋江张瑞图、须天米钟并列；绘画上有南董北米之说。莫是龙、陈继儒提倡“南北宗”之说，即把“院体”山水画与“文人画”分为南北两派。董其昌一生创作的书画作品不可胜数，临仿古人的绘画和诗帖是其中的一个重要部分。他在《画禅室随笔》中所说的“读万卷书”正是指一个人要想成为艺术家，必须学习传统，学习古人。他17岁开始学习书法时临写颜真卿的《多宝塔》，22岁学习绘画时师法黄公望，以后又遍学诸家，这种以古人为师的作法八十而不辍，伴其终生。他广泛吸取对唐宋元诸家优长，抉精探微，使其书画取得了超越古人的艺术成就。\n在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵佶、米芾诸名家法书，于万历三十一年（1603年）刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸，他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。",[23,7,24,51,52,277,27,73,75,647,278,648,300,82,340,9294],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 墨笔","123.7cmx46cm",[88,286],{"id":9300,"slug":9301,"title":9302,"dynasty":67,"author":181,"museum":3453,"description":9303,"tags":9304,"thumbUrl":9305,"material":34,"size":122,"collection":36,"collections":9306,"showCount":9205,"zanCount":1065,"manualWeight":40,"mainColor":41},219582,"tong-zi-li-fo-tu-yi-ming-219582","童子礼佛图","团扇取景庭院一隅，玲珑湖石旁牡丹绽蕊晕香，晕染出雅致闲静的氛围。数位童子稚态尽显，或合力捧持佛龛，或敛衣垂首礼拜，憨拙的动作将孩童模仿佛事的天真烂漫融于其中。设色柔丽清雅，衣纹线条纤细婉转，将童子娇憨的神态与稚嫩身形刻画入微，并未渲染礼佛的肃穆沉重，反以孩童的烂漫消解了仪式感，尽显日常嬉玩的松弛意趣，是兼具工致院体笔意与市井童真的小品佳作。",[7,24,51,768,678,27,28,680,56,198,74,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95ae7ebde4a39a5de3ea7632554bec3.jpg",[36],{"id":9308,"slug":9309,"title":9310,"dynasty":114,"author":1313,"museum":20,"description":9311,"tags":9312,"thumbUrl":9313,"material":34,"size":9314,"collection":36,"collections":9315,"showCount":9205,"zanCount":1065,"manualWeight":40,"mainColor":62},219402,"wu-rui-tu-zhou-su-han-chen-219402","五瑞图轴","本幅描绘五个孩童带着各式的面具，模仿大人们跳起「大傩舞」，傩是一种驱鬼避邪的仪式﹐主要是以扮演各种鬼怪所害怕的人物﹐以达驱鬼除邪的目的。本幅不但设色鲜艳丰富，画家更精心描绘衣服上的各种质材与花纹。画中场景设在一个置有湖石的花园，湖石以细笔皴擦质地，并以留白显示突起的棱线，地面则以排点与平行短线表现树叶与杂草，这些特点显示与弘治宫廷画家吕文英作品有相同的描绘格套，应为明代宫廷风格。",[7,24,51,52,26,27,28,1229,103,53,278,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9ef843f31da8da3bf30cd9d26b5ab.jpg","165.5x102.5",[36],{"id":9317,"slug":9318,"title":9319,"dynasty":114,"author":9320,"museum":20,"description":9321,"tags":9322,"thumbUrl":9324,"material":34,"size":9325,"collection":106,"collections":9326,"showCount":9205,"zanCount":1065,"manualWeight":40,"mainColor":41},219225,"song-zhi-qun-lu-tu-mou-zhong-fu-219225","松芝群鹿图","牟仲甫","图绘松荫下双鹿，旁有翠竹灵芝。二鹿耸起耳朵，目光凝视同方向，似为某事所惊动。画家以极精致的笔法，描画出二鹿的形态，捕捉到自然界中生动微妙的刹那，这就是宋朝画家的长处。牟仲甫，生卒年待考。随州（今湖北省随县）人。画猿獐猴鹿与易元吉相似，画鸡尤有意趣。",[23,24,7,768,27,26,697,1293,9323],"芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8e3db937a2cc36b9216018ebe39af9.jpg","23.9x24.3cm",[106],{"id":9328,"slug":9329,"title":9330,"dynasty":293,"author":4666,"museum":132,"description":9331,"tags":9332,"thumbUrl":9333,"material":34,"size":6031,"collection":106,"collections":9334,"showCount":9205,"zanCount":1065,"manualWeight":40,"mainColor":41},219123,"hua-hui-ce-ju-wang-yuan-219123","花卉册-菊","赭黄绢底晕开浅淡秋光，几簇白菊簇生枝侧。花瓣以细劲游丝勾勒，层叠如缕，留白处恍若凝着晨露；旁逸竹枝挺秀，竹叶撇捺间见笔力，墨色深浅映出劲节。右下角粉蝶轻振翅翼，翅脉以淡墨晕染，姿态翩跹欲落未落，为静谧花竹注入灵动生气。\n\n笔法兼工带写，柔媚菊瓣与刚劲竹枝相衬，无浓艳设色却清雅入骨。画面凝萃着文人对秋菊傲霜的喟叹，亦藏着对自然生机的细腻捕捉。笔墨间流转元代文人画的内敛韵致——于素淡中见丰腴，于细微处显匠心，每一笔都似在诉说秋日常景里的清雅情味，让观者沉湎于这份不事张扬的诗意中。",[23,24,51,7,100,27,26,102,1882,53,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b9037637de8126cac747bb8560b156.jpg",[106],{"id":9336,"slug":9337,"title":9338,"dynasty":114,"author":181,"museum":395,"description":9339,"tags":9340,"thumbUrl":9341,"material":34,"size":9342,"collection":106,"collections":9343,"showCount":9205,"zanCount":40,"manualWeight":40,"mainColor":62},219116,"wu-mao-tu-yi-ming-219116","五猫图","这幅画是一棵古老的柳树，从土壤的右下坡笔直向上延伸。 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。",[24,7,27,26,472,812,1059,2626,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd568342453b18257f81c6e57ff45b4c5.jpg","纵121横73厘米",[106],{"id":9345,"slug":9346,"title":9347,"dynasty":293,"author":1556,"museum":20,"description":9348,"tags":9349,"thumbUrl":9351,"material":267,"size":9352,"collection":106,"collections":9353,"showCount":9205,"zanCount":1065,"manualWeight":40,"mainColor":41},219110,"tao-zhi-song-shu-tu-qian-xuan-219110","桃枝松鼠图","画中一株桃枝，枝上桃叶披盖，桃果结实鲜嫩。一只松鼠攀附在桃枝上，桃枝似乎随之颤动。松鼠长尾蓬松，高高翘起，四肢紧紧抓住树枝，正小心翼翼向桃子行进。该画不设背景，用没骨法画出松鼠和桃枝，设色清丽，颇有情趣。",[23,24,7,26,27,102,9350,6166,6168,118,74],"松鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee543dd71f018935820f6ac096a19bf.jpg","纵26.3公分，横44.3公分",[106],{"id":9355,"slug":9356,"title":9357,"dynasty":67,"author":966,"museum":132,"description":3465,"tags":9358,"thumbUrl":9359,"material":317,"size":907,"collection":122,"collections":9360,"showCount":9361,"zanCount":40,"manualWeight":40,"mainColor":62},290354,"hua-he-hua-zhou-chen-hong-shou-290354","画荷花轴",[7,24,51,52,27,102,398,56,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daddd5c38e884b7ee705d40059080ce.jpg",[],85,{"id":9363,"slug":9364,"title":9365,"dynasty":114,"author":274,"museum":132,"description":9366,"tags":9367,"thumbUrl":9371,"material":317,"size":907,"collection":122,"collections":9372,"showCount":9361,"zanCount":541,"manualWeight":40,"mainColor":62},289131,"hu-pan-you-ju-tu-xia-gui-289131","湖畔幽居图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[768,24,7,75,277,73,78,79,81,82,2359,648,9368,9369,28,9370,591],"湖畔","幽居","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c2afeea3f577fe63a183d96a3c4ef6.jpg",[],{"id":9374,"slug":9375,"title":1982,"dynasty":114,"author":211,"museum":132,"description":2115,"tags":9376,"thumbUrl":9377,"material":317,"size":907,"collection":122,"collections":9378,"showCount":9361,"zanCount":541,"manualWeight":40,"mainColor":41},287888,"xie-sheng-zhen-qin-tu-zhao-ji-287888",[23,7,24,51,25,26,277,102,84,53,710,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e591cd8344c801084f6bb88a9f76701.jpg",[],{"id":9380,"slug":9381,"title":9382,"dynasty":46,"author":809,"museum":151,"description":9383,"tags":9384,"thumbUrl":9385,"material":342,"size":9386,"collection":36,"collections":9387,"showCount":9361,"zanCount":40,"manualWeight":40,"mainColor":41},237136,"ren-yi-feng-chen-san-xia-tu-zhou-ren-yi-237136","任颐风尘三侠图轴","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。",[7,24,51,52,27,26,28,215,4075],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11f741247a6bb0597dc560a48dfb84f.jpg","纵148.5cm、横66cm",[36],{"id":9389,"slug":9390,"title":9391,"dynasty":46,"author":2660,"museum":151,"description":9392,"tags":9393,"thumbUrl":9395,"material":342,"size":9396,"collection":106,"collections":9397,"showCount":9361,"zanCount":40,"manualWeight":40,"mainColor":41},233941,"hua-yan-qiang-wei-shan-niao-zhou-hua-yan-233941","华嵒蔷薇山鸟轴","华嵒作为活跃于扬州卖画的职业画家，其花鸟画创作善于捕捉自然界中最生动的天趣。图绘春光明媚的时节，一只山鸟栖于蔷薇枝头，引吭高鸣，其清脆的鸣声不仅令无声的画面声情并茂，且生动地图解了“花气晴熏日，鸟声娇战春”之诗意。此图笔墨松秀，设色清丽淡雅，造型自然传神，构图简约空灵，显示了画家在小写意花鸟画方面的非凡造诣和俊逸清新的独特画风。",[24,7,52,27,277,368,102,2925,9394,56],"山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c4ffd5974bd96e38b7cc4bca6e60ff.jpg","纵127.1厘米，横55.5厘米",[106],{"id":9399,"slug":9400,"title":9401,"dynasty":674,"author":2912,"museum":132,"description":9402,"tags":9403,"thumbUrl":9404,"material":122,"size":122,"collection":122,"collections":9405,"showCount":9361,"zanCount":1065,"manualWeight":40,"mainColor":62},231005,"shi-nv-xiao-xiang-li-zhou-yan-li-ben-231005","仕女肖像立轴","此作工致写实，仕女端然危坐，神态恬然沉静，尽显闺秀端凝气度。豆绿团衫温婉雅致，衣缘绣纹清丽柔润，发丝轻挽簪花素净，衣纹线条匀细凝练，晕染柔和自然，将仕女娴静温婉的风姿尽数铺展。身侧条案陈置清供法器，古雅沉静，暗合文人雅致意趣。整体设色柔澹沉稳，古绢晕开旧时光晕，笔意朴拙不失精细，将东方古典仕女内敛静穆的风华凝于绢素之上，静谧耐看，带着醇厚古雅的质感。",[23,7,24,52,27,26,28,29,30,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b73f886d81289c69433793116e980d.jpg",[],{"id":9407,"slug":9408,"title":9409,"dynasty":293,"author":1556,"museum":132,"description":9410,"tags":9411,"thumbUrl":9413,"material":122,"size":122,"collection":122,"collections":9414,"showCount":9361,"zanCount":40,"manualWeight":40,"mainColor":41},228018,"lai-qin-zhi-zi-tu-qian-xuan-228018","来禽栀子图","宋末元初杰出的画家、书法家、诗人， 、 、 、 、肖子中、陈天逸、 、姚式并称“吴兴八俊”，钱选为“吴兴八俊”之首。\n“不管六朝兴废事，一樽且向画图开。\n”宋末元初，特殊的时代环境使得大多数汉文人从仕途中退却，隐逸文化成为当时汉文人生活方式的主流。\n同时，老庄隐逸思想中“平”“淡”的审美特质影响了画家的诗画品格。\n元初画家钱选的花鸟绘画作品所蕴含的诗画意蕴，充分体现了这种影响。\n《东山存稿》卷二中言及钱选作诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”以“淡”而归“真率”，绘画与诗文的统一格调，是钱选人格心理的真实写照。\n绘画主流由宫廷而转入民间的过程中，画家的自我意志得到了畅意与释放。\n宋末元初这一时期，钱选、赵孟、龚开、郑思肖等画家的作品中明显可见题画或题画诗的出现，实质是画家的文人意识与自我认知意识的一种抒发。\n钱选传世可考的一些 作品中常见其题诗，《秋瓜图》中道：“写向小窗醒醉目，东陵闲说故秦侯。\n”《梨花图》卷中题：“寂寞阑干泪满枝，洗妆犹带旧风姿。\n闭门夜雨空愁思，不似金波欲暗时。\n”从绘画题材看，画中的秋瓜、梨花等并非有太多奇巧之处，但画家入木三分的刻画赋与其丰富的情感内涵，再结合题画诗将意蕴内涵表现更为明确。\n“写向小窗醒醉目”是不谙世事的放纵，“东陵闲说故秦侯”却是满腔无奈的追忆与感喟，此秋瓜已非彼秋瓜也。\n而画中的梨花更已幻化为一风华绝代的美人，哀怨忧愁，褪尽铅华，悱恻百转却欲说还休。\n诗句是朴素平实的，而画中的对象在诗意中展开了延伸，从平常无奇的花鸟草木亦能体会出其情意所至。\n诗意中所表达的心绪在绘画的审美中与画家的情感相交融，画作意境由此而得以延伸。\n如果说南宋精美工细的花鸟画小品中能看出画家对具体物象细腻的揣度与恭谨的表现，在钱选的花鸟画中，画家所赋予物象的情感则通过诗作不露痕迹地带出，“洗妆犹带旧风姿”，一个“洗”字将观者对一树梨花的清新冷韵形象地再现出来，伤感、追忆的情绪已在枝头花间弥漫，而作者的情感似乎是中性的、平淡的。\n画境与诗境的相通并非是简单直接的描述或说明，而是在另一个较高层次上意趣的通融。\n钱选位居“吴兴八俊”并非完全以其绘画，而是“以诗擅名”，画为文之极，深厚的文学修养必然影响到其对绘画的理解与表现。\n清代陆心源所撰《仪顾堂集》《钱选传》中道：“尤善作折枝，其得意者赋诗其上。\n”钱选流传至今的画作上，无论有无题诗，皆有款识印章的出现。\n款识的出现与变化可能还有另外的原因，当绘画作品突破皇家欣赏的专属，在民间也广为流传时，作品的真伪问题就突显了出来。\n钱选在吴兴当地的画誉较高，时人以“吴兴三绝”分别指钱选的画、赵孟的字以及冯应科的笔。\n钱选作品在具备较高绘画造诣的同时，也有较强的课徒之资。\n其作品《来禽栀子图》现藏于美国弗利尔美术馆，图上绘有两株栀子花并未见禽鸟，一说可能是原图的残简，有一说“来禽栀子”本为花名。\n画中两株花枝势态怡然，摇曳生姿。\n花、叶穿插掩映有致，色调淡雅和谐。\n其画后隔水有赵孟跋：“来禽栀子，生意俱足。\n舜举丹青之妙于斯见之。\n其他琐者必其徒所为也。\n孟”足见，钱选的绘画在当时已为众多后学所追摹本。\n赵孟在钱选《八花图》卷后题跋：“右吴兴钱舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。\n尔来此公日酣于酒，手指颤掉，难复作此。\n而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。\n”山东省出土的钱选《白莲图》卷上也有作者的自跋：“余改号溪翁者，盖赝本甚多，因出新意，使作伪之人知所愧焉。\n钱选舜举。\n”显然，款识与画家身份的辨别在元初得到了进一步的发展，至元中后期画家在画面题款已蔚然成风，同时对画家书法品质的要求也起到了推动的作用。\n从作品来看，钱选书法明显承袭钟繇一路风格，含蓄内敛、平淡天真，法度严谨却又以拙胜巧。\n在钱选的绘画作品中，诗文、书法、绘画、款印相得益彰，书法的审美意蕴与题画诗意均呈现出某种同一的美学特质。\n再经由赵孟等人对“书画同源”观念的推动，发展为大多数文人画家所接受，奠定了后来整个文人画作样式上的基本面貌。\n明代沈颢在《画》中言：“元以前多不用款，款或隐之石隙，恐书不精，有伤画局。\n后来书绘并工，附丽成观。\n”显然，元初是书画款识的一个分界点，沈颢还从画面的结构关系上指出：“一幅中有天然候款处，失之则伤局。\n” 在花鸟画史研究中，论及钱选都认为其承南宋的画风。\n从画面效果来看，现藏于 的《牡丹图》卷是钱选花鸟画中风格较为接近南宋院体的一幅。\n也可能是由于牡丹本身繁茂明丽、雍容华贵的特质，拉近了作品与宫廷审美风格的关联。\n在钱选的画笔之下，花团锦簇，枝叶丰茂，写出牡丹的繁盛之妆容。\n明丽丰满的花头似乎随风摇曳，令人在体会到灼目芳华时却又顿生转瞬既逝的感喟。\n画面空疏有致，题款：“万卉何能继后尘，蜂喧蝶驻亦钟情。\n莫嫌开处春还暮，长向西都见太平。\n”七绝一首在画面左侧，画面形式上来看，题款与牡丹位置相距甚远，中有留白。\n显然作者在画面经营上是匠心独运的，以留白与牡丹花枝紧簇形成对比，增添了繁与简、荣与空之间的对比，从而增添了对牡丹内在审美意蕴的理解。\n题画诗所形成的纵向线条感疏朗有致，增添了画面的形式构成。\n从画面的整体来看，小楷的书写效果，朴实无华，独特一帜。\n同时，又能以诗意提升画意，作者在传承传统技法的同时，以自我的文化修养为作品的创新发展注入了新的因素。\n与同时代的画家相比，钱选花鸟画作品的独特性体现出两方面的辩证联系：一方面是显性的，时人评价钱选之诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”此论形容其绘画含蓄凝练，以平淡为格。\n在传承古典绘画技法的同时，将传统 的审美范畴拓展到更富于文人气质的表现上。\n其绘画命意高古，造型赋色独具意趣，以题画诗延伸画意，并在形式上以题跋款识介入画面，形成诗文书画合一的画面风格，为后世文人画家所效仿。\n另一方面，也是更为本质的一方面，他始终坚持在绘画本体的层面进行创作，文学因素的影响始终建立在其对绘画本身的追求与坚持之上。\n即使在钱选晚期的代表作《白莲图》卷中，色彩的渲染简约到了极致，几乎近于白描，但用线造型无不流畅细腻，富于表现力，可谓“精工之极”的典范。\n在宋元相交之际，绘画向主观写意转变的时代潮流中，钱选始终坚持对客观物象的尊重，坚持“状物”之美的表现，将富于文人意味的审美理想内化于其作品之中，这使他与当时的主流绘画样式拉开了距离，从而树立了自我的价值，形成独特的自我风格。",[23,7,24,51,25,27,26,102,9412,118,74],"栀子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2c8b9c667d1fd5c374bd1445018bdf.jpg",[],{"id":9416,"slug":9417,"title":9418,"dynasty":114,"author":165,"museum":132,"description":9419,"tags":9420,"thumbUrl":9421,"material":122,"size":122,"collection":122,"collections":9422,"showCount":9361,"zanCount":541,"manualWeight":40,"mainColor":62},227515,"xi-qiao-xian-shui-tu-zhou-mi-fei-227515","溪桥闲睡图轴","米芾平生书法用功最深，成就以行书为最大。南宋以来的著名汇帖中，多数刻其法书，流播之广泛，影响之深远，在北宋四大书家中，实可首屈一指。康有为曾说:唐言结构，宋尚意趣。意为宋代书法家讲求意趣和个性，而米芾在这方面尤其突出。\n米芾习书，自称集古字，虽有人以为笑柄，也有赞美说天姿辕轹未须夸，集古终能自立家(王文治)。这从一定程度上说明了米氏书法成功的来由。根据米芾自述，在听从苏东坡学习晋书以前，大致可以看出他受五位唐人的影响最深:颜真卿、欧阳询、褚遂良、沈传师、段季展。\n米芾作为北宋著名的画家，处在一个文人画的成熟时代，其绘画题材十分广泛，人物、山水、松石、梅、兰、竹、菊无所不画;米芾在山水画上成就最大，但他不喜欢危峰高耸、层峦叠嶂的北方山水，更欣赏的是江南水乡瞬息万变的烟云雾景，天真平淡，不装巧趣的风貌;所以米芾在艺术风格里追求的是自然。他所创造的米氏云山都是信笔作来，烟云掩映。",[23,24,7,52,277,75,73,78,79,28,82,313,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fc0c226ae1c64375a959be6d59f6a7.jpg",[],{"id":9424,"slug":9425,"title":9426,"dynasty":67,"author":1070,"museum":69,"description":9427,"tags":9428,"thumbUrl":9430,"material":1061,"size":9431,"collection":122,"collections":9432,"showCount":9361,"zanCount":40,"manualWeight":40,"mainColor":41},222568,"hua-hui-tu-7-chen-chun-222568","花卉图7","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,7,24,51,3387,368,277,27,102,198,265,340,515,9429],"写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c3b1556563313a1660bdbd2d2b3b30.jpg","32.5×57.3厘米",[],{"id":9434,"slug":9435,"title":9436,"dynasty":67,"author":8256,"museum":151,"description":9437,"tags":9438,"thumbUrl":9439,"material":156,"size":9440,"collection":36,"collections":9441,"showCount":9361,"zanCount":40,"manualWeight":40,"mainColor":62},222404,"shu-xia-du-shu-tu-zhou-hui-wu-wei-222404","树下读书图轴绘","画面内容表现的是传统的隐逸耕读题材，一位中年文士耕牧之余在树下休憩，展卷读书，自得其乐。明中期以后政治日益腐败，科举仕途之路充满了不确定性，因此不少文人产生了遁世思想，选择远离官场的闲适生活。吴伟一生两度出入宫廷，对官场和民间都有着深刻的体会，此类题材多次出现在他的笔下。此作用笔潇洒劲健，多以侧锋运笔，锋芒毕露。",[24,7,51,52,277,27,28,75,135,136,84,649,6271,73,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d957810554b12e18958dc85525c172.jpg","纵168厘米，横105厘米",[36,286],{"id":9443,"slug":9444,"title":9445,"dynasty":67,"author":2087,"museum":1417,"description":2088,"tags":9446,"thumbUrl":9448,"material":217,"size":2096,"collection":122,"collections":9449,"showCount":9361,"zanCount":1065,"manualWeight":40,"mainColor":62},222393,"si-ji-hua-niao-tu-chun-lv-ji-222393","四季花鸟图-春",[23,24,7,26,27,102,383,384,969,278,1821,52,9447],"开花树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2342faa17d4f14661d3abe4bf10e5735.jpg",[],{"id":9451,"slug":9452,"title":9453,"dynasty":67,"author":9454,"museum":20,"description":9455,"tags":9456,"thumbUrl":9457,"material":666,"size":9458,"collection":88,"collections":9459,"showCount":9361,"zanCount":40,"manualWeight":40,"mainColor":41},214587,"mo-gu-shan-shui-ce-fang-mei-hua-an-zhu-bi-yi-bian-wen-yu-214587","摹古山水册-仿梅花庵主笔意","卞文瑜","明代画家卞文瑜的摹古山水册是一件著名的绘画作品，其中的仿梅花庵主笔意图是一件精美的山水画作品。\n\n卞文瑜是明代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在摹古山水册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n仿梅花庵主笔意图是卞文瑜摹古山水册中的一幅精美的山水画作品。画中的山水风景清新自然，体现了卞文瑜对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n总的来说，卞文瑜的摹古山水册是一件精美的绘画作品，其中的仿梅花庵主笔意图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了卞文瑜对自然的热爱和对传统文化的尊重。",[7,24,51,100,277,154,73,75,78,79,82,278,559,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdefabc9be72fadfaa55a3b8a6b54b6.jpg","30.7x21.8cm",[88],{"id":9461,"slug":9462,"title":3464,"dynasty":67,"author":9463,"museum":132,"description":9464,"tags":9465,"thumbUrl":9467,"material":317,"size":907,"collection":122,"collections":9468,"showCount":9469,"zanCount":1065,"manualWeight":40,"mainColor":62},290312,"sui-chao-tu-zhou-tao-cheng-290312","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[24,51,52,7,27,102,697,383,9466,74,118,119,55],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf77270b17ed20c031bfe4c49651301a.jpg",[],84,{"id":9471,"slug":9472,"title":9473,"dynasty":293,"author":1556,"museum":132,"description":9474,"tags":9475,"thumbUrl":9476,"material":317,"size":907,"collection":122,"collections":9477,"showCount":9469,"zanCount":40,"manualWeight":40,"mainColor":62},290099,"fu-yu-shan-ju-tu-qian-xuan-290099","浮玉山居图","《浮玉山居图》是钱选为山居霅川浮玉山的写景。图中山峦分三组，山势峻峭。湖上烟雾蒙蒙，山坳白云缭绕，更有用简笔点缀的茅舍、渡舟、小桥、老翁，一派江南水乡清润秀妍景色。全卷笔意冲淡，画意静穆，用笔工整而不板。",[23,7,24,51,25,27,75,278,429,3096,79,118,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c05f9c52d56eb6131b8f94b511ff173.jpg",[],{"id":9479,"slug":9480,"title":9481,"dynasty":18,"author":1983,"museum":132,"description":9482,"tags":9483,"thumbUrl":9484,"material":317,"size":907,"collection":122,"collections":9485,"showCount":9469,"zanCount":1065,"manualWeight":40,"mainColor":62},287374,"mu-dan-tu-ye-huang-quan-287374","牡丹图页","五代时期的黄荃擅长工笔牡丹，钩花填色，富丽工巧。北宋郭若虚在《图画见闻志》中称其为“黄家富贵”。他笔下的牡丹不仅着意表现牡丹的姿态，更重视表现牡丹富贵吉祥的寓意。",[7,24,51,102,26,27,103,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc068ad0be98f133efd214bda7be63318.jpg",[],{"id":9487,"slug":9488,"title":9489,"dynasty":67,"author":181,"museum":132,"description":9490,"tags":9491,"thumbUrl":9492,"material":317,"size":907,"collection":122,"collections":9493,"showCount":9469,"zanCount":40,"manualWeight":40,"mainColor":479},228411,"wen-shu-xiang-yi-ming-228411","文殊像","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[7,24,51,677,678,26,27,28,75,82,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d6a64a1e16572aa440c8f1e0300caf.jpg",[],{"id":9495,"slug":9496,"title":9497,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":9498,"thumbUrl":9506,"material":317,"size":907,"collection":3417,"collections":9507,"showCount":9469,"zanCount":40,"manualWeight":40,"mainColor":62},225728,"cafe-terrace-at-night-fan-gao-225728","Cafe Terrace at 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不同，反而和明代的观音较为接近，所以推测它可能是一件明代的画作。\n范琼，唐文宗时人。86至84（开成年）与陈皓、彭坚同时同艺寓居蜀城（今成都）。三人善画人物、佛像、天王、罗汉、鬼神。三人同手于诸寺图画佛像。自大中至乾符，笔无暂释，图画二百余间墙壁。如圣寿寺大殿释伽像，行道北方天王像、西方变相、殿上小壁水月观音等，与圣兴寺大殿东北二方天王、药师十二神、释迦十弟子、弥勒像、大悲变相等；名目虽同，形状一无同者。\n尝作刍瑟磨像两堵，设色未半，笔踪俨然，后之妙手终莫能继。\n大中年（八四七至八五九）所绘大悲观音像躯不盈尺而三十六臂皆端重安稳，所执诸物各尽其妙。\n笔迹如缕而精劲温润，妙穷毫厘。\n其卢楞伽、曹仲宣之徒欤。\n《德隅斋画品、米芾画史、图画见闻志》",[7,24,51,52,678,28,27,26,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cbcfa8a4804974fb3a4d454c07fde3.jpg","该幅 67.3x39.9公分；右上边题签 23.8x2公分；左下方题 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林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[23,24,7,102,26,27,451,84,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12c32701a0210a0cc337e0aba0e608c.jpg",[],{"id":9730,"slug":9731,"title":7969,"dynasty":46,"author":2336,"museum":132,"description":4642,"tags":9732,"thumbUrl":9733,"material":317,"size":907,"collection":122,"collections":9734,"showCount":9721,"zanCount":40,"manualWeight":40,"mainColor":41},235448,"ju-shi-zhou-wu-chang-shuo-235448",[7,24,51,52,27,277,102,1882,136,1109,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f37afbc0963a70bb464cc5b3b11d679.jpg",[],{"id":9736,"slug":9737,"title":9738,"dynasty":293,"author":644,"museum":132,"description":9739,"tags":9740,"thumbUrl":9741,"material":122,"size":122,"collection":122,"collections":9742,"showCount":9721,"zanCount":1065,"manualWeight":40,"mainColor":62},230908,"ku-shu-tu-ye-ni-zan-230908","枯树图页","此作用笔简淡秀峭，枯树虬曲苍劲，枝桠疏朗错落，无半片青叶，满溢荒萧寒寂。山石以干墨轻皴，淡晕出清旷崖壁，屋舍仅以数笔勾出，简净空疏。\n\n画面留白如万顷空湖，将幽冷孤高的隐逸心绪藏于笔墨之间，淡墨薄晕里，是洗尽铅华的静穆。笔意看似疏简荒率，却藏着深隽的简淡之美，枯木寒岩、空屋寂境，暗合避世文人绝尘出世的澹泊襟怀，清冷空疏中晕染出悠远禅意。",[7,24,51,100,277,73,75,647,1737,278,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c41a63a704c22538c4a9e50706e58d.jpg",[],{"id":9744,"slug":9745,"title":9746,"dynasty":114,"author":5002,"museum":20,"description":9747,"tags":9748,"thumbUrl":9749,"material":611,"size":9750,"collection":122,"collections":9751,"showCount":9721,"zanCount":40,"manualWeight":40,"mainColor":62},227601,"mo-zhu-zhou-wen-tong-227601","墨竹轴","国北宋末年画家文同的存世代表作。文同 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2印，上方有明王直、陈循德2家为彦谥题诗。清宫旧藏,有清内府嘉庆、宣统印各一方。现藏台北故宫博物院。",[23,7,24,51,52,277,9622,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e5295f96be134d53730e65174f29213.jpg","纵113.6厘米，横105.4厘米",[],{"id":9753,"slug":9754,"title":9755,"dynasty":674,"author":9756,"museum":132,"description":9757,"tags":9758,"thumbUrl":9759,"material":122,"size":122,"collection":122,"collections":9760,"showCount":9721,"zanCount":40,"manualWeight":40,"mainColor":62},227256,"xi-ma-tu-ye-li-yu-227256","戏马图页","李煜","李煜（937年5月5日－978年8月15日），又称李后主，为南唐的末代君主，徐州人。李煜原名从嘉，字重光，号锺山隐士、锺锋隠者、白莲居士、莲峰居士等。李煜在南唐灭亡后被北宋俘虏，但是却成为了中国历史上首屈一指的词人，获誉为“千古词帝”，作品千古流名。",[23,7,24,51,27,26,28,215,135,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f5c0df0888c4e88dad6808987fed8e.jpg",[],{"id":9762,"slug":9763,"title":9764,"dynasty":46,"author":9765,"museum":132,"description":9766,"tags":9767,"thumbUrl":9768,"material":342,"size":9769,"collection":106,"collections":9770,"showCount":9721,"zanCount":40,"manualWeight":40,"mainColor":41},223123,"song-shou-tu-ci-xi-223123","松寿图","慈禧","画上绘青雀二只，体形修长，尾巴炫丽，一只立于松枝俯身正于下方的另一只呼应。题识：光绪己丑年冬下浣御笔",[23,24,7,27,26,102,697,84,2067,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e79512e4e37d1650006f4772e9ece27.jpg","129×64.5cm",[106,90],{"id":9772,"slug":9773,"title":9774,"dynasty":67,"author":9775,"museum":620,"description":9776,"tags":9777,"thumbUrl":9778,"material":156,"size":9779,"collection":106,"collections":9780,"showCount":9721,"zanCount":1065,"manualWeight":40,"mainColor":62},222661,"guo-se-tian-xiang-tu-ma-yi-222661","国色天香图","马逸","《国色天香图》是一幅富丽堂皇的工笔重彩花卉图。图中的牡丹花开娇艳，明丽动人，色彩丰富饱满，姿态优雅，设色极其讲究，勾线细致圆润。\n而花下奇石则用积墨与淡墨晕染相结合绘出，以石绿、石青略染。兰花以重粉罩染，胭脂点蕊，素雅动人。地面以淡彩渲染，营造出空间的伸缩感。《国色天香图》堪称“中国牡丹第一图”，是中国古代牡丹绘画最杰出的作品。",[23,24,7,26,27,102,103,228,56,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59572009fd6e71cd365f81d2e0b28489.jpg","纵101.7厘米，横49.5厘米",[106,90],{"id":9782,"slug":9783,"title":9784,"dynasty":293,"author":9785,"museum":20,"description":9786,"tags":9787,"thumbUrl":9788,"material":267,"size":9789,"collection":106,"collections":9790,"showCount":9721,"zanCount":40,"manualWeight":40,"mainColor":41},221740,"xie-sheng-hua-niao-zhou-zhang-zhong-221740","写生花鸟轴","张中","该幅绘沙石间，一紫冠白鸡足蹈蜈蚣，神情颇为生动，配景并有蜀葵、萱花、栀子、石榴、百合、虞美人、石竹、石菖蒲等各式夏卉，殆以钩花点叶法成之，设色雅丽，然不似张中笔墨，为后代画家托名之作。",[7,24,51,52,1190,27,102,1435,198,199,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6bf03ce5d03b4b0d24067f72905518.jpg","122.8x43.3公分",[106,90],{"id":9792,"slug":9793,"title":9794,"dynasty":114,"author":878,"museum":69,"description":9795,"tags":9796,"thumbUrl":9797,"material":217,"size":9798,"collection":175,"collections":9799,"showCount":9721,"zanCount":40,"manualWeight":40,"mainColor":41},221668,"diao-tai-wang-yun-tu-ma-yuan-221668","雕台望云图","画面描绘一处山中宫殿建筑。近处山脚下树林茂密，树木郁郁葱葱，将建筑掩映其中，左侧一座高台拔地而起，同远处山峰遥遥相望。石台台基宽厚，周围和右侧台阶边缘有护栏环绕，护栏下方的台身上有精美石雕。石台整体分为上下两层，第一层宽阔，台面呈回字形，中间是第二层的台基，周围摆放着花盆，中间台阶通往第二层。第二层上有一凉亭，周围置有几案、屏风、圆凳等家具。一人站在高台上，凭栏眺望。此时似乎是在准备宴席，侍者端着各式物品忙碌着。\n石台前方，其它建筑拱卫，远处山峰笔直入云，天空中风吹云动，一轮弯月高挂，同石台上眺望之人相呼应。",[23,24,51,7,27,855,75,77,81,473,82,425,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73943a72afefd8298acebb643c82055c.jpg","纵25.4厘米，横24厘米",[175,88],{"id":9801,"slug":9802,"title":9803,"dynasty":114,"author":3309,"museum":20,"description":9804,"tags":9805,"thumbUrl":9806,"material":611,"size":9807,"collection":175,"collections":9808,"showCount":9721,"zanCount":40,"manualWeight":40,"mainColor":62},221597,"feng-yu-gui-mu-tu-li-di-221597","风雨归牧图","《风雨归牧图》描绘的是两个牧童赶牛归家的场景，整个画面勾点结合，浓淡相济，层次丰富，朦朦胧胧，带来了凤雨欲来，细雾先到的清润之感。\n这幅画表现的是风雨刚来的一刹那，柳梢被风吹得摇摆，两个骑牛的牧童，急忙地往家跑。一个匍匐在牛背，用手扯住牧笠，挡住急风骤雨；另一个帽子已被风吹落，在迷濛的空间，可以依稀看到倾斜的雨流。诗堂有题诗一首写道：“冒雨衔风两牧儿，笠蓑低绾绿杨枝，深宫玉食何从得，稼穑艰难岂不知。”署款“缉熙殿书”，钤“御前之印”一玺。",[23,7,24,51,26,27,1906,472,135,4731,6638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640cb098d037ce82eb11fa48ec2f370e.jpg","纵123.7厘米，横102.8厘米",[175,36,90],{"id":9810,"slug":9811,"title":9812,"dynasty":674,"author":2054,"museum":20,"description":9813,"tags":9814,"thumbUrl":9815,"material":736,"size":9816,"collection":90,"collections":9817,"showCount":9721,"zanCount":1065,"manualWeight":40,"mainColor":62},221076,"yuan-ma-tu-han-gan-221076","猿马图","此幅绘竹石树林，三猿戏于枝间石上，其下绘黑白双骏。画上宋徽宗题字和「御书」一玺，及理宗「缉熙殿宝」玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,7,24,51,52,6389,27,26,6290,215,135,281,3195,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad40c5024213011775af0c15a6fe1dac.jpg","136.8x48.4",[90,2605],{"id":9819,"slug":9820,"title":1127,"dynasty":114,"author":274,"museum":132,"description":9821,"tags":9822,"thumbUrl":9823,"material":121,"size":9824,"collection":88,"collections":9825,"showCount":9721,"zanCount":541,"manualWeight":40,"mainColor":62},218915,"shan-shui-tu-xia-gui-218915","这幅画描绘了一个平静安详的山居，远处的山峰高耸入云，瀑布和泉水直泻而下，小屋散落一地，优雅的人和伐木工在其中徘徊。整幅画的笔触层次分明，森林和山上的明暗对比明显。这幅画上看不到艺术家的签名，但从原始签名来看，应该是夏圭。然而，山、林、坡、石的布局，以及滴水不漏的笔墨，都显示出明代浙江画派的风格，这肯定是错误地归于后来的艺术家。",[23,7,24,51,277,27,73,75,56,1059,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20501644f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图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[7,24,277,75,52,80,662,79,56,609,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51f1c201cfa513a49117cc20e56993.jpg","189.1x88.5",[],81,{"id":9865,"slug":9866,"title":7959,"dynasty":18,"author":1009,"museum":132,"description":7960,"tags":9867,"thumbUrl":9869,"material":317,"size":907,"collection":122,"collections":9870,"showCount":9863,"zanCount":40,"manualWeight":40,"mainColor":479},289356,"qiu-shan-wan-cui-tu-guan-tong-289356",[7,24,51,52,277,27,75,7962,647,313,9868,73],"孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ececd0d022d954f2d70d8ead2688868.jpg",[],{"id":9872,"slug":9873,"title":787,"dynasty":114,"author":788,"museum":132,"description":9874,"tags":9875,"thumbUrl":9876,"material":317,"size":907,"collection":122,"collections":9877,"showCount":9863,"zanCount":40,"manualWeight":40,"mainColor":62},288508,"qing-luan-xiao-si-tu-li-cheng-288508","此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。",[23,7,24,51,75,52,277,73,425,77,5626,78,79,313,647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a09d1fd685c91acbb434f10c0b0b2b.jpg",[],{"id":9879,"slug":9880,"title":9881,"dynasty":67,"author":68,"museum":132,"description":9882,"tags":9883,"thumbUrl":9884,"material":317,"size":907,"collection":122,"collections":9885,"showCount":9863,"zanCount":1065,"manualWeight":40,"mainColor":62},287561,"fang-li-tang-shan-shui-tu-chou-ying-287561","仿李唐山水图","此图卷画法山石分面后用大斧劈皴法，是李唐家数，极明暗变化之能事。浙派学南宋，都和墨皴染，石面无‘钉头’，乏老硬笔意，仇实父实得李唐画石之三味。",[23,7,24,51,25,75,27,73,154,425,82,559,745,78,79,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bece0ca5a5d1ae85f5b79d72f19d2f.jpg",[],{"id":9887,"slug":9888,"title":9889,"dynasty":114,"author":181,"museum":151,"description":9890,"tags":9891,"thumbUrl":9892,"material":156,"size":1704,"collection":122,"collections":9893,"showCount":9863,"zanCount":541,"manualWeight":40,"mainColor":62},233457,"hai-tang-jia-die-tu-ye-yi-ming-233457","海棠蛱蝶图页","图绘阳春三月，蛱蝶翩翩起舞于海棠花枝间。画家着重表现海棠在乍起的春风中花枝招展的动感瞬间，花朵偃仰向背，叶片翻卷辗转，枝干呈“S”形的曲张之态，通过描绘有形的花叶，成功地渲染出了无形的醉人春风和隽永的春意。图中花瓣先以墨笔双勾轮廓线，中锋行笔，线条圆润流畅。然后在花瓣外侧上部略点胭脂红，旋即以清水将色彩晕染开，最后罩上一层白粉，为海棠花亮丽的色调增添了几多妩媚的意韵。叶片用工整的双勾填色笔法表现，作者根据叶片受光照程度的不同而填染以石绿、墨赭等颜色，从而充分表露出叶片“清如水碧，洁如霜露”的美感，显示出画家细致的观察力和深厚的写实功底。",[24,7,26,27,102,1701,200,198,1180,100,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd95887671acb5a0c68bda59dc14b1a0.jpg",[],{"id":9895,"slug":9896,"title":9897,"dynasty":1383,"author":6681,"museum":132,"description":6682,"tags":9898,"thumbUrl":9900,"material":317,"size":907,"collection":3417,"collections":9901,"showCount":9863,"zanCount":40,"manualWeight":40,"mainColor":479},225622,"rembrandt-harmensz-van-rijn-0214-lun-bo-lang-225622","Rembrandt Harmensz.van Rijn - 0214",[7,3410,28,9899],"肖像画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c02b7f914f7a532552dd54b6ce7374.jpg",[3417],{"id":9903,"slug":9904,"title":9905,"dynasty":46,"author":181,"museum":132,"description":9906,"tags":9907,"thumbUrl":9909,"material":122,"size":122,"collection":122,"collections":9910,"showCount":9863,"zanCount":541,"manualWeight":40,"mainColor":62},224248,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-si-yue-zhou-yi-ming-224248","清画院画十二月月令图四月轴","水乡四月晴柔漫溢，临水屋舍凭木桥勾连，酒肆里宾客围坐闲话，檐下有人往来劳作，仕女撑伞缓行廊桥，鲜活市井烟火扑面而来。岸畔花树缀满嫩白繁花，阶下牡丹灼灼盛放，晕开融融暖意。水湾烟波澹澹，远景沙洲逶迤，田埂上农人俯身忙碌，动静交织间，将江南初夏的清丽生机尽数铺展。\n\n整幅工笔设色雅致柔和，以细腻笔触定格日常闲趣，将时节风物与俗世温情相融，晕开一卷温婉的江南闲居图景，藏着旧时水乡的太平意趣。",[23,7,24,51,52,26,27,855,28,77,78,79,75,82,198,81,5421,755,2221,861,560,9908],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],{"id":9912,"slug":9913,"title":9914,"dynasty":114,"author":556,"museum":151,"description":9915,"tags":9916,"thumbUrl":9917,"material":611,"size":9918,"collection":175,"collections":9919,"showCount":9863,"zanCount":40,"manualWeight":40,"mainColor":62},221580,"mu-niu-tu-ye-li-tang-221580","牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。",[23,7,24,51,100,768,27,1906,647,84,74,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528be30dbb6d13761b480f04ecd894e.jpg","61X63cm",[175,36,90],{"id":9921,"slug":9922,"title":9923,"dynasty":114,"author":211,"museum":212,"description":9924,"tags":9925,"thumbUrl":9926,"material":3273,"size":9927,"collection":123,"collections":9928,"showCount":9863,"zanCount":40,"manualWeight":40,"mainColor":62},221348,"cai-xing-chi-juan-zhao-ji-221348","蔡行敕卷","此帖乃宋徽宗赵佶不允蔡行辞殿中省事之手敕。行书，凡二十一字，共一百二十七字。此敕行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。\n此卷是宋徽宗不准蔡行辞去领殿中省之职所颁的敕书全文行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。",[23,7,24,51,25,119,118,74,250,4654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deae8a7337124f7de79f711ec96d05f.jpg","行书35.5 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皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[23,7,24,51,52,277,73,1151,75,297,82,559,279,79,5607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[88],{"id":9955,"slug":9956,"title":9957,"dynasty":114,"author":556,"museum":20,"description":9958,"tags":9959,"thumbUrl":9962,"material":34,"size":9963,"collection":175,"collections":9964,"showCount":9863,"zanCount":40,"manualWeight":40,"mainColor":62},218981,"xian-yan-cai-yao-tu-li-tang-218981","仙岩采药图","这幅画来自《名画集》的第七板块，描绘了一个男人肩上扛着一个葫芦，沿着一条蜿蜒的小路走到森林里去采药。艺术家以森林中交错的树枝和茂密的树叶为 实，以溪流和小路为 虚，并采用了对应于实和虚的对角线布局，暗示了南宋边缘构图的思想。石头和树木的轮廓是用浓墨勾勒出来的，树叶是用双钩画出来的，然后用绿色覆盖，使森林看起来更加茂盛。画笔很灵活，用尖锐的细笔画出水面，用更简单的笔触在岩石和树木上创造纹理。没有作者的标记，但树木和石头的画法以及配色都与李唐的相似。也许这就是为什么老签名表明这幅画是李唐的作品。",[23,7,24,51,277,73,28,1059,9960,75,9961],"山岩","采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb1d36a81146ad83b80ed92d8cd863.jpg","22.4x23.8",[175],{"id":9966,"slug":9967,"title":9968,"dynasty":67,"author":899,"museum":20,"description":9969,"tags":9970,"thumbUrl":9972,"material":283,"size":9973,"collection":122,"collections":9974,"showCount":9975,"zanCount":1065,"manualWeight":40,"mainColor":41},287291,"lin-li-bo-shi-yin-zhong-ba-xian-quan-tu-tang-yin-287291","临李伯时饮中八仙全图","以白描法绘人物35位，线条柔和隽秀，人物神态形象逼真；山石树木粗笔勾勒，再以浓墨烘染而成。此幅长卷达八米之长，场景开阔，绘出八仙喝茶听曲，悠闲自得的情景。",[23,24,7,25,51,510,277,154,28,9971,3648,905,82,278,119,118],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef12bafcbc98b00a1a699522f02abb9b.jpg","23.8厘米*838厘米",[],80,{"id":9977,"slug":9978,"title":9979,"dynasty":67,"author":9980,"museum":151,"description":9981,"tags":9982,"thumbUrl":9983,"material":122,"size":122,"collection":122,"collections":9984,"showCount":9975,"zanCount":40,"manualWeight":40,"mainColor":41},234327,"wen-zheng-ming-shu-qian-chi-bi-fu-wen-cong-jian-bu-tu-juan-wen-zheng-ming-234327","文徵明书前赤壁赋文从简补图卷","文徴明","文征明极为喜爱《赤壁赋》，一生之中曾以不同笔法多次书写，据戴立强《明文徵明行书前赤壁赋册记》中统计，仅传世之作就有16件，而周道振先生《文徵明年谱》中记载，更不止此数。“赤壁赋”题材作品无论是存世作品还是《年谱》中提及的作品，创作年代都在文徵明六十岁之后，即为其短暂的赴京任职之后的作品。文徵明在八十九岁高龄之时，更以苏轼笔意，为其《前赤壁赋》卷(台北故宫博物院藏)补写所缺36字，结字欹侧，肉盛于骨，形神兼备，直可乱真。\n文征明原名壁，字征明。后来改以征明为名，更字为征仲。成化六年（1470年）生于长洲（今苏州市），逝于嘉靖三十八年（1559年）享年90岁。祖籍湖南衡山，因号衡山。他不事权贵，尤不肯为藩王、中官作画，任官不久便辞官归乡，留有《甫田集》。\n文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[23,7,24,51,25,119,277,27,73,75,80,28,278,82,79,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],{"id":9986,"slug":9987,"title":9988,"dynasty":674,"author":2912,"museum":132,"description":9989,"tags":9990,"thumbUrl":9992,"material":122,"size":122,"collection":122,"collections":9993,"showCount":9975,"zanCount":1065,"manualWeight":40,"mainColor":62},231021,"gu-di-wang-tu-juan-li-dai-di-wang-tu-juan-yan-li-ben-231021","古帝王图卷.历代帝王图卷","《国宝在线历代帝王》是2年 出版的图书。\n第1版 (2年12月1日) ISBN: 786726519 条形码: 978786726518 尺寸: 29.8 22.4 1 cm 重量: 259 g 历代帝王，是中国人物画历史上一个重要的题材。\n古代没有照片，千古一帝的仪容，全仗绘画来保存。\n最早的帝王画，可以追溯到种种遥远而缺乏实证的文字记载，如《孔子家语·观周》中，记载孔子参观周朝的明堂，见四周的墙壁上画有圣主尧、舜和暴君夏桀、商纣的肖像。\n他认为这些帝王图『各有善恶之状，兴废之诫焉』。\n孔子的这番评价， 一语道明了古代帝王画的功能，乃是出于礼教的宣传目的。\n当孔子把『兴废之诫』作为绘画艺术的基本任务时，他或许没想到，这样的思想在很长一段时期竟主宰了中国人物画的创作功能，甚至建国后盛行一时的伟人像、英雄像，与这一见解其实也异曲同工。\n唐代张彦远在《历代名画记》中引用了三国时曹植与孔子相类似的见解：『观画者，见三皇五帝，莫不仰戴；见三季暴主，莫不悲惋……是知存乎鉴戒者，图画也。\n』早期的帝王画大都是以屏画、壁画的形式出现，通过形象上的『善恶对比』，达到『成教化，助人伦』的目的，正所谓『见善足以戒恶，见恶足以思贤』。\n自汉代以后，宫廷壁画及卷轴画中的帝王图已成为委婉地向统治者进谏的政治性作品，不但臣僚们利用它来推行政见，而且帝王也用它来美化自己，表现能接受历史的经验，是趋贤去恶的明主。\n然而，『不见五陵豪杰墓，无花无酒锄作田』，随着大量绘有大批壁画的建筑物的损毁，后人却只能通过文字记载来想像这些作品的风采了。\n千秋功过画帝王 流传至今的帝王卷丑画中，以传为唐代阎立本所绘的《历代帝王图》和《步辇图》最早。\n尤其是《历代帝王图》，是一件典型的礼教绘画作品。\n画中共刻画了汉魏以来十三个帝王的形象。\n帝王的服饰、仪仗、起居、侍从等都表现着统治者共同的特征和气势，而一画家又通过入微地表现不同帝王的不同个性，象征并反映了这些帝王的千秋功过。\n相传同是阎立本所画反映唐太宗接见吐蕃使者的《步辇图》，则向我们传达了另一个信息——帝王的肖像常常同时也是一种记录重要事件的方法，很有些像今天的记录影片。\n这样的情况在西方甚至更为普遍，比如我们对大卫的《拿破伦加冕》和《马拉之死》大概不会陌生。\n正是通过这些作品，使我们对久远的历史场景在头脑中产生了一定的直观印象。\n依靠类似于《步辇图》这样的作品，使今人仍能较确切地了解盛唐帝王的威仪和处理重大事件的方式。\n在中国，类似的作品还有不少，如传宋徽宗所作的《听琴图》和清郎世宁所作的《 》等。\n古代，大多数的帝王肖像出于宫廷画家的手笔，特别是当朝帝王的画往往由专职的宫廷画家完成。\n不过民间也流传着一些以帝王为题材的绘画作品，且主要以远古的传说故事为内容。\n尽管同样具有礼教的功能，但正所谓[生后是非谁管得，满村争说蔡中郎]，这些作品，其实不过是人们凭想像的[演义]，而并不具备真实可靠的史料价值了。\n唐 阎立本 历代帝王图 唐 阎立本 历代帝王图 卷 之一 唐 阎立本 历代帝王图 卷 之二 唐 阎立本 历代帝王图 卷 之三 唐 阎立本 历代帝王图 卷 之四 唐 阎立本 历代帝王图 卷 之五 唐 阎立本 历代帝王图 卷 之六 唐 阎立本 历代帝王图 卷 之七 唐 阎立本 历代帝王图 卷 局部 唐 阎立本 步辇图 卷 绢本",[23,7,24,51,25,26,27,28,9991,4078,30,74],"帝王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc99416fb53247fd7f686c65bbf85a9c.jpg",[],{"id":9995,"slug":9996,"title":9997,"dynasty":114,"author":181,"museum":151,"description":9998,"tags":9999,"thumbUrl":10001,"material":156,"size":10002,"collection":122,"collections":10003,"showCount":9975,"zanCount":1065,"manualWeight":40,"mainColor":62},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,24,7,51,25,26,27,28,75,472,6056,2451,1820,10000,2106,82,278,84,8020,1048],"蛇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","纵53.3厘米，横533厘米",[],{"id":10005,"slug":10006,"title":10007,"dynasty":67,"author":68,"museum":195,"description":10008,"tags":10009,"thumbUrl":10011,"material":250,"size":10012,"collection":88,"collections":10013,"showCount":9975,"zanCount":1065,"manualWeight":40,"mainColor":41},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[23,7,24,51,52,27,26,10010,53,81,28,75,79,278,82,84,80],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纵148.8厘米，横57.2厘米",[88,90],{"id":10015,"slug":10016,"title":10017,"dynasty":114,"author":10018,"museum":132,"description":10019,"tags":10020,"thumbUrl":10022,"material":10023,"size":10024,"collection":175,"collections":10025,"showCount":9975,"zanCount":541,"manualWeight":40,"mainColor":62},221249,"pu-tao-tu-wen-ri-guan-221249","葡萄图","温日观","善草书，精画葡萄，自成一家。他于一笔中带有深浅不同之墨色画叶，并以深墨点染仍带湿润 之葡萄，表现出明暗和体积，颇显自然逼真，人称“温葡萄”，很得赵孟頫推崇。元至元二十七年（1290），温日观偶遇同乡士人曾遇，得知他即将赴京，欣然画葡萄两幅，一幅托他带给赵孟頫，另一幅赠给曾遇。次年，赵孟頫在葡萄卷上题跋：“日观老师作墨葡萄，初若不经意，而枝叶肯棨，细玩之纤悉皆具，殆非学所能至。俗人恳恳求之，靳不与一笔。遇佳士，虽不求，辄索纸笔挥洒无吝色，岂可谓道人胸中无泾渭耶。吾与师仅一再面，去冬曾君自吴来燕，辱以一纸见寄，相望数千里不遐遗乃尔。因想胜风，欲相从西湖山水间，何可得也。”\n温日观画葡萄率意而作，天真烂漫，吐露心声。《画禅》称他：“自成一家法，人不可测。”由于他擅长草书，葡萄的梗须枝叶都用草书笔法，收藏者以此鉴别真赝。陈继儒称他：“葡萄极得草书三昧法。”有一幅作于至元二十八年（1291）的《葡萄图》轴，上面题诗“香稻雨催熟，丹心老变灰。夕阳归路近，魂梦日徘徊”，后流入日本。《葡萄图》卷现藏美国高居翰先生景元斋。为人超逸绝尘，出言愤世骇俗。行书法杨凝式。据戴表元《宋温日观书心经》题跋，说他“放浪啸傲于西湖三竺间五十年”，享年当在六十岁以上。",[23,7,24,51,102,277,10021,514,100],"葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f93f7fe5ef5954868af2d6649c5e2f2.jpg","水墨纸本","27×188.5cm",[175,106,286],{"id":10027,"slug":10028,"title":10029,"dynasty":67,"author":8256,"museum":195,"description":10030,"tags":10031,"thumbUrl":10033,"material":34,"size":10034,"collection":36,"collections":10035,"showCount":9975,"zanCount":40,"manualWeight":40,"mainColor":62},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[24,7,51,52,277,368,27,75,28,80,84,79,2785,1059,7855,661,56,2151,514,281,10032],"秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[36],{"id":10037,"slug":10038,"title":10039,"dynasty":114,"author":10040,"museum":20,"description":10041,"tags":10042,"thumbUrl":10044,"material":317,"size":10045,"collection":175,"collections":10046,"showCount":10047,"zanCount":1065,"manualWeight":40,"mainColor":62},287652,"wei-lu-bo-gu-tu-zhang-xun-li-287652","围炉博古图","张训礼","庭中松树挺立，梅花盛开。屏风前三文士围束腰长桌而坐，其中二文士坐於榻上，榻下壶门开光，一观画，一盥手回首；靠背扶手椅上文士手作研磨状，似为点茶备茶。一文士园中踱步吟诗。",[7,24,52,27,28,26,5543,77,55,10043],"博古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc850534567ac90cd07b70a89c97c8ca.jpg","138x72.7",[175],79,{"id":10049,"slug":10050,"title":829,"dynasty":67,"author":830,"museum":132,"description":6535,"tags":10051,"thumbUrl":10052,"material":317,"size":907,"collection":122,"collections":10053,"showCount":10047,"zanCount":1065,"manualWeight":40,"mainColor":41},236014,"shui-mo-mu-dan-tu-zhou-xu-wei-236014",[7,24,51,52,277,368,102,103,339,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b9b9003c0b06152df4c09bc658910.jpg",[],{"id":10055,"slug":10056,"title":10057,"dynasty":114,"author":788,"museum":132,"description":10058,"tags":10059,"thumbUrl":10060,"material":122,"size":122,"collection":122,"collections":10061,"showCount":10047,"zanCount":40,"manualWeight":40,"mainColor":62},232919,"xue-jing-han-lin-tu-ji-li-cheng-232919","雪景寒林图集","李成(约919-967年),字咸熙,出身贵族,其先人为唐宗室,后周时避居青州营丘(今山东)。李成好友枢密使王朴准备举荐李成,但是此事未及进行王朴就死了,李成虽有文才,但因世变不得志,终日饮酒游玩,最终醉死客栈。李成擅画山水自娱,“一皆吐其胸中而写之笔下”，对北宋的山水画的发展有重大影响，北宋时期被誉为“古今第一”。",[7,24,51,52,75,73,277,1357,3255,82,278,7037,1293,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d16455b8911f86b1ce9bc374e1d0974.jpg",[],{"id":10063,"slug":10064,"title":10065,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":10066,"thumbUrl":10070,"material":317,"size":907,"collection":3417,"collections":10071,"showCount":10047,"zanCount":40,"manualWeight":40,"mainColor":10072},225805,"sailing-boats-fan-gao-225805","Sailing boats",[7,3410,3411,10067,10068,10069,474,8965],"厚涂","帆船","大海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8657e13b019568bc57ddd7379ddbd7dc.jpg",[3417],"0D904F",{"id":10074,"slug":10075,"title":10076,"dynasty":67,"author":1070,"museum":20,"description":10077,"tags":10078,"thumbUrl":10080,"material":250,"size":10081,"collection":106,"collections":10082,"showCount":10047,"zanCount":40,"manualWeight":40,"mainColor":41},222556,"zi-wei-shan-mian-chen-chun-222556","紫薇扇面","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,7,24,51,768,368,277,27,102,10079,278,559,74,118],"紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d66aa7b277e6d434140b8cfbf7bc17.jpg","纵17.7厘米 横47.9厘米",[106,90],{"id":10084,"slug":10085,"title":10086,"dynasty":293,"author":10087,"museum":20,"description":10088,"tags":10089,"thumbUrl":10090,"material":34,"size":10091,"collection":122,"collections":10092,"showCount":10047,"zanCount":541,"manualWeight":40,"mainColor":62},221801,"fang-guo-xi-qiu-shan-xing-lv-zhou-tang-di-221801","仿郭熙秋山行旅轴","唐棣","元文宗天历二年(1329)应诏在南京龙翔寺绘制画壁，至顺四年(1333)第二次北上大都，奉诏在宫廷作画。\n在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。\n传世作品有元统二年(1334)作《林荫聚饮图》轴、至元四年(1338)作《霜浦归渔图》轴，图录于《中国绘画史图录》上册；《携琴远眺图》轴现藏四川省博物馆；《雪港捕渔图》轴藏上海博物馆；《云浦驾舟图》册页、《仿郭熙秋山行旅图》轴藏台北故宫博物院。",[23,7,24,51,52,277,27,75,278,82,1525,73,3037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8381f79ff9423e46f2961c5ae4ff6f0.jpg","151.9x103.7",[],{"id":10094,"slug":10095,"title":10096,"dynasty":114,"author":259,"museum":132,"description":10097,"tags":10098,"thumbUrl":10100,"material":217,"size":10101,"collection":175,"collections":10102,"showCount":10047,"zanCount":1065,"manualWeight":40,"mainColor":62},221372,"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[23,24,7,25,26,27,102,4680,53,54,384,280,137,514,9294,5313,8964,10099],"禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","横301.5cm纵32.5cm",[175,106,90],{"id":10104,"slug":10105,"title":10106,"dynasty":674,"author":10107,"museum":151,"description":10108,"tags":10109,"thumbUrl":10110,"material":250,"size":10111,"collection":123,"collections":10112,"showCount":10047,"zanCount":40,"manualWeight":40,"mainColor":41},221090,"mo-lan-ting-xu-juan-yu-shi-nan-221090","摹兰亭序卷","虞世南","《兰亭序》是东晋右军将军王羲之51岁时的得意之笔，记述了他与当朝众多达官显贵、文人墨客雅集兰亭、修稧事也的壮观景象，抒发了他对人之生死、修短随化的感叹。崇山峻岭之下，茂林修竹之边，乘带酒意，挥毫泼墨，为众人诗赋草成序文，文章清新优美，书法遒健飘逸。被历代书界奉为极品。宋代书法大家 米芾称其为“中国行书第一帖”。王羲之因此也被后世尊为“书圣”。后人在研究其书法艺术时赞誉颇多：“点画秀美，行气流畅”，“清风出袖，明月入怀”，“飘若浮云，矫若惊龙”，“遒媚劲健，绝代所无”，“贵越群品，古今莫二”。确实如此，传说王羲之以后也曾再书《兰亭序》，但均逊色于原作，所以《兰亭序》原稿一直为王羲之视为传家之宝，为王氏后代收藏，传至王羲之第七代时被唐太宗李世民“骗”入朝廷，唐太宗得《兰亭序》后，曾诏名手赵模、冯承素、虞世南、褚遂良等人钩摹数个乱真副本，分赐亲贵近臣，之后民间也广为临摹，但无一胜过王羲之的原作，所以《兰亭序》真迹被唐太宗视为稀世珍品而最终殉葬，这更让后世对《兰亭序》原作崇敬不已，冠以中国书法第一帖的美名实在无可争议。\n\n千百年来，《兰亭序》有多个版本在世间流传，最受推崇的是藏于北京故宫博物院的冯承素摹本《兰亭序》。《冯本》为唐代内府栩书官冯承素摹写，因其卷引首处钤有“神龙”二字的左半小印，后世又称其为“神龙本”，因使用“双钩”摹法，为唐人摹本中最接近兰亭真迹者。此本摹写精细，笔法、墨气、行款、神韵，都得以体现，公认为是最好的摹本。",[23,7,24,51,25,154,119,74,118,1580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8266ea63061d7e4a5ed03a1107c08fd.jpg","纵24.8cm，横57.7cm。",[123,1898],{"id":10114,"slug":10115,"title":10116,"dynasty":114,"author":181,"museum":20,"description":10117,"tags":10118,"thumbUrl":10120,"material":34,"size":10121,"collection":175,"collections":10122,"showCount":10047,"zanCount":541,"manualWeight":40,"mainColor":41},220363,"sang-zhi-huang-niao-tu-yi-ming-220363","桑枝黄鸟图","北宋绘画讲求写生，当时的画家必需要能同时掌握大自然中瞬息万变的面貌，以及具备精湛的绘画技巧。因此这件作品所体现画家这份力图师法自然、再现自然的匠心，令人弥足珍惜。",[23,24,7,51,100,26,27,102,84,10119,265],"桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84d0d6b4547248df308176a7ee1cb94.jpg","25.4 x 26.5公分",[175],{"id":10124,"slug":10125,"title":10126,"dynasty":114,"author":181,"museum":20,"description":10127,"tags":10128,"thumbUrl":10131,"material":121,"size":10132,"collection":88,"collections":10133,"showCount":10047,"zanCount":11,"manualWeight":40,"mainColor":62},218783,"qiu-shan-tu-yi-ming-218783","秋山图","这幅关于山脉的画作从画板底部向上延伸，将纸张堆叠起来，在复杂而庞大的岩石中，随着溪流的流动，创造出山峦和沟壑的变化，并在现实和想象中创造出一种兴趣。山石像范宽的彩虹，寒林和枯枝的画法像郭熙的蟹爪法，而整体画风与《荆浩的匡庐》非常相似。",[23,24,7,75,277,52,73,10129,425,10130,278,3255,4371,79,1737,3037],"蟹爪法","沟壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcecae8ef9513b49779e89a829d40705.jpg","172.9x62.7",[88],{"id":10135,"slug":10136,"title":10137,"dynasty":114,"author":6856,"museum":132,"description":10138,"tags":10139,"thumbUrl":10140,"material":666,"size":10141,"collection":36,"collections":10142,"showCount":10047,"zanCount":1065,"manualWeight":40,"mainColor":62},218585,"lan-ting-ti-xu-tu-liang-kai-218585","兰亭题序图","松枝虬劲，墨色浓淡交织出苍古意韵。雅士二人，衣纹以极简线条勾勒，却见洒脱之态——一人凭案凝思，似在斟酌字句；一人侧立静听，神态悠然。案上瓶梅斜逸，木盒静陈，细节处暗藏文心。笔墨删繁就简，却将兰亭雅集的清旷之境、文人相契的灵犀之态，尽纳其中。虽无繁复刻画，却于简约中见深厚，如品淡茶，唇齿留香，尽显文人画的逸致与风骨。每一笔皆不多余，每处留白皆藏深意，仿佛清风过耳，让人心生向往。",[24,51,7,277,510,1204,28,1059,56,55,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6948482f3ced4ffd228934551e7fb4.jpg","28x48",[36],{"id":10144,"slug":10145,"title":10146,"dynasty":46,"author":10147,"museum":20,"description":10148,"tags":10149,"thumbUrl":10156,"material":267,"size":10157,"collection":88,"collections":10158,"showCount":10047,"zanCount":40,"manualWeight":40,"mainColor":41},218165,"huang-he-lou-tu-guan-huai-218165","黄鹤楼图","关槐","关槐（十八世纪）字晋卿，号云岩，晚号青城山人，仁和（今杭州）人。乾隆间供奉内廷，宠眷特懋。画山水入宋、元之室，品诣在奚冈、屠倬之间。虽得董诰指授，其画境之苍润恬静，实有过之。\n黄鹤楼位于湖北武昌县西，汉阳门内黄鹤山上，楼高踞山巅，东瞩蛇山，西瞰大江，极富江山之胜。此楼始建于孙吴，然代见整修增益。 「寰宇记」有云：「昔费文祎登仙，每乘黄鹤于此楼驾，故名。」关槐此幅绘城郭临岸，江帆交织，波光粼粼，诚武汉之写生景也。",[23,24,7,497,27,10150,10151,10152,10153,77,75,10154,10155,1190],"黄鹤楼","城郭","江帆","大江","波光","恬静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff013021d891bfaafb4122f34dac1c641.jpg","162.5x70.1cm",[88],{"id":10160,"slug":10161,"title":2478,"dynasty":67,"author":10162,"museum":20,"description":10163,"tags":10164,"thumbUrl":10165,"material":121,"size":10166,"collection":36,"collections":10167,"showCount":10047,"zanCount":40,"manualWeight":40,"mainColor":62},216995,"yu-lan-guan-yin-tu-wu-bin-216995","吴彬","这幅画描绘的是鱼篓里的观音，身穿草鞋，手持经卷，旁边还有一个背着鱼篓的小孩。虽然她是个女人，但她的脸是椭圆形的，有大眉毛和大眼睛，她没有女人的特征。她的身体和孩子的身体比例不均，人物被拉长变形，衣服用浓墨重彩的笔触画出来，有很多平行的弧形线条，整个作品奇特而有趣。",[7,24,51,52,678,28,510,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fbc09085c36b93a042a9a0aa5784c1.jpg","187.8x85",[36],{"id":10169,"slug":10170,"title":10171,"dynasty":114,"author":181,"museum":151,"description":10172,"tags":10173,"thumbUrl":10175,"material":34,"size":10176,"collection":106,"collections":10177,"showCount":10047,"zanCount":541,"manualWeight":40,"mainColor":41},216750,"yuan-hou-zhai-guo-tu-yi-ming-216750","猿猴摘果图","此图绘深山野林中，三只猿猴攀援栖止于树枝上。其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。",[23,7,24,51,768,26,27,74,10174,82,1095,472],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19385bb53dc3ac8f2ae0ebf08a7d2ed.jpg","纵25厘米，横25.6厘米",[106],{"id":10179,"slug":10180,"title":10181,"dynasty":114,"author":4320,"museum":20,"description":10182,"tags":10183,"thumbUrl":10184,"material":34,"size":10185,"collection":88,"collections":10186,"showCount":10047,"zanCount":1065,"manualWeight":40,"mainColor":41},215110,"qi-feng-wan-mu-tu-yan-wen-gui-215110","奇峰万木图","这幅作品中除了峭拔的奇峰外，并未见有燕文贵画风的特点。而由山石的造型、皴法、树法、点苔、设色等，也都比较接近南、北宋之交院画家李唐的「江山小景」卷来看，应当是一幅南宋习自李唐风格的作品。\n登临高山之顶，一幕奇峰汇聚、林木茂盛、云雾蒸腾的景致，正置于观者眼前。大自然的神奇与灵秀，使得这一座座高耸峭拔的奇峰与挺劲丛生的松杉，看来犹如刺天入云的绿色天柱，由近至远，幽缈地在天地之间起落、绵延。",[23,24,7,51,100,277,27,75,82,2821,73,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ce2e5b35c1ba22aa5ee4dea5f39ab1.jpg","24.5 x 26公分",[88],{"id":10188,"slug":10189,"title":3928,"dynasty":114,"author":556,"museum":132,"description":10190,"tags":10191,"thumbUrl":10192,"material":317,"size":907,"collection":122,"collections":10193,"showCount":10194,"zanCount":40,"manualWeight":40,"mainColor":62},290086,"yu-fu-tu-li-tang-290086","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,7,24,277,75,52,73,80,661,79,1059,56,662,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg",[],78,{"id":10196,"slug":10197,"title":10198,"dynasty":46,"author":2922,"museum":132,"description":10199,"tags":10200,"thumbUrl":10201,"material":122,"size":122,"collection":123,"collections":10202,"showCount":10194,"zanCount":40,"manualWeight":40,"mainColor":41},238322,"dong-gao-tang-hua-si-shou-zhou-dong-gao-238322","董诰唐花四首轴","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），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”。",[24,51,7,52,27,26,102,103,2067,383,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2caff1096bf7a8b9b6a2535c27b18a0c.jpg",[123],{"id":10204,"slug":10205,"title":2207,"dynasty":46,"author":10206,"museum":132,"description":10207,"tags":10208,"thumbUrl":10209,"material":10210,"size":122,"collection":106,"collections":10211,"showCount":10194,"zanCount":11,"manualWeight":40,"mainColor":41},237283,"hua-hui-ce-wu-kai-237283","吴楷","吴楷，男，清嘉庆—咸丰时期（公元十八——十九世纪）著名画家 。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 （详见《中国书画家印鉴款识》第444页。）",[24,51,100,27,26,102,198,240,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ad03ae2e1d9e12b784846270fbb25e.jpg","设色纸本",[106],{"id":10213,"slug":10214,"title":5220,"dynasty":46,"author":97,"museum":132,"description":2208,"tags":10215,"thumbUrl":10216,"material":122,"size":122,"collection":122,"collections":10217,"showCount":10194,"zanCount":40,"manualWeight":40,"mainColor":41},233912,"hua-hui-shan-shui-ce-yun-shou-ping-233912",[24,51,7,100,277,75,73,78,647,278,559,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408186742edebb584c8928001e6a308d.jpg",[],{"id":10219,"slug":10220,"title":4134,"dynasty":114,"author":181,"museum":151,"description":10221,"tags":10222,"thumbUrl":10223,"material":156,"size":10224,"collection":122,"collections":10225,"showCount":10194,"zanCount":1065,"manualWeight":40,"mainColor":62},233017,"ye-he-hua-tu-ye-yi-ming-233017","图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。花朵轻勾淡染，用白粉点画花蕊，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之。绿叶穿插向背，层次安排巧妙，画面简约而不单薄。",[7,24,51,100,26,27,102,4137,339,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf71474db059bf26e08b661dea46f53.jpg","纵24.5cm，横25.4cm",[],{"id":10227,"slug":10228,"title":10229,"dynasty":114,"author":721,"museum":20,"description":10230,"tags":10231,"thumbUrl":10233,"material":34,"size":10234,"collection":175,"collections":10235,"showCount":10194,"zanCount":1065,"manualWeight":40,"mainColor":62},231052,"san-guan-chu-xun-tu-ma-lin-231052","三官出巡图","云气浩荡漫卷寰宇，巡行仪仗铺陈开三界威仪。尊神安坐牛舆，仙官神将扈从环伺，或腾云跨兽，或执旄持戟，旌旗翻卷如龙，神性肃穆融于缥缈云雾之间。\n\n笔墨苍劲古雅，设色沉敛厚重，以铁线描勾勒衣袂甲胄，须发纹路纤毫毕现。云雾晕染层层叠叠，虚实相生，将天界出行的宏阔盛景缓缓铺展。画面疏密有致，云间仙众、浪里神异错落排布，既恪守仪仗森严规制，又尽显仙道空灵意境，将神话中的巡游盛景定格于绢素之上，尽显工笔精致入微的意趣与神性之美。",[23,24,7,26,27,678,28,1906,370,472,1046,279,1603,10232],"神性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318baad11558966bff3e3445d454be2c.jpg","174.2x122.9",[175],{"id":10237,"slug":10238,"title":10239,"dynasty":67,"author":1070,"museum":151,"description":10077,"tags":10240,"thumbUrl":10241,"material":217,"size":10242,"collection":106,"collections":10243,"showCount":10194,"zanCount":1065,"manualWeight":40,"mainColor":62},222554,"zhuo-se-hua-hui-tu-zhou-chen-chun-222554","着色花卉图轴",[23,24,7,51,52,27,368,102,198,53,56,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b64f49771959cb9dc4b2d40a00c7aad.jpg","59cmx113.4cm",[106,90],{"id":10245,"slug":10246,"title":10247,"dynasty":67,"author":619,"museum":195,"description":10248,"tags":10249,"thumbUrl":10251,"material":217,"size":10252,"collection":88,"collections":10253,"showCount":10194,"zanCount":40,"manualWeight":40,"mainColor":41},222092,"liang-jiang-ming-sheng-tu-ce-shen-zhou-222092","两江名胜图册","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,7,24,51,100,497,27,277,73,855,26,368,77,82,28,10250],"诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae55cb9acf046e83c10499f6b45c6d.jpg","42.2×23.8厘米",[88],{"id":10255,"slug":10256,"title":10257,"dynasty":114,"author":631,"museum":570,"description":10258,"tags":10259,"thumbUrl":10260,"material":156,"size":10261,"collection":175,"collections":10262,"showCount":10194,"zanCount":40,"manualWeight":40,"mainColor":41},221488,"ming-huang-dou-ji-tu-li-song-221488","明皇斗鸡图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,51,7,26,27,28,215,77,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89089138511bc1aca4f7a0f4bc671a45.jpg","纵25.6厘米，横26.4厘米",[175,36,90],{"id":10264,"slug":10265,"title":10266,"dynasty":114,"author":6876,"museum":20,"description":10267,"tags":10268,"thumbUrl":10269,"material":34,"size":10270,"collection":175,"collections":10271,"showCount":10194,"zanCount":1065,"manualWeight":40,"mainColor":62},220234,"chen-ju-zhong-ping-yuan-she-lu-tu-chen-ju-zhong-220234","陈居中平原射鹿图","平野寥廓萧瑟，将塞外猎场的辽远铺展开来。骑手俯身引弓，满弦待发，衣摆随奔马带起的劲风翻涌，骏马四蹄腾空，肌理紧绷绷迸发出奔逐的力量。前方野鹿弓腰疾逃，肢体满是惊惶，奔逃的仓促与骑手的沉凝形成鲜明对冲，将狩猎瞬间的张力拉至顶峰。\n\n画作以极简布景衬出旷野苍茫，线条劲挺爽利，晕染精细熨帖，把人马的剽悍雄健与野鹿的仓皇奔逃刻画得鲜活逼真，将草原射猎的快意与北国的雄放意趣，凝在这奔逐的一瞬之间。",[23,7,24,51,27,26,28,215,1293,9115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd68da4e95aefa993938654434b8b7a50.jpg","36.8×54.9",[175],{"id":10273,"slug":10274,"title":10275,"dynasty":114,"author":181,"museum":20,"description":10276,"tags":10277,"thumbUrl":10279,"material":34,"size":10280,"collection":175,"collections":10281,"showCount":10194,"zanCount":1065,"manualWeight":40,"mainColor":62},220217,"zhu-shi-shuang-lu-tu-yi-ming-220217","竹石双鹭图","整幅画面以留白营造幽远意境，右下拳石嶙峋，丛竹攒簇，墨色苍润，枝叶带风自含山野清趣。两只白鹭一动一静，一者振翅掠空，翎羽舒展灵动，一者徐行浅滩，身姿安然闲适，动静相映，愈发衬出水面空寂无波。\n\n淡墨轻勾汀渚细草，浅染出水泽清浅之态，赭色绢底晕开初夏郊塘的温润氛围。笔致秀雅清润，不施浓艳，以极简物象铺陈出悠远禅意，将塘间幽寂之美收揽尺幅，观之如临静塘，暑意尽散，尽显雅致空灵的宋人意趣。",[23,24,7,51,26,27,102,53,136,10278,84,74],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf49cc778c3c4eb41b7d150d5f1c280.jpg","31.4x28.1",[175],{"id":10283,"slug":10284,"title":10285,"dynasty":114,"author":5250,"museum":20,"description":10286,"tags":10287,"thumbUrl":10288,"material":34,"size":10289,"collection":175,"collections":10290,"showCount":10194,"zanCount":1065,"manualWeight":40,"mainColor":62},219300,"lu-yan-tu-huang-ju-cai-219300","芦雁图","画中三只芦雁从姿态与翎毛、口唇，可分出其雌雄与年龄大小，年幼者在父母之旁安然入睡，公雁者为首领独居图中，形象高大粗壮，具有长者地位，雌雁者既在幼雁旁有护驾之意，又张口切切私语，含情脉脉地望着对方，这种富有家庭意识的禽鸟之态，表现得淋漓之尽。作者对画中的芦雁画法精细，特别羽毛画笔工致，华润淋漓，神态生动逼真；芦苇枝叶双勾与晕染，阴阳背向分明。整个画面主题突出，构图严正，背景简洁明了，水面、沙滩及芦苇布置及画法恰到好处。居案的绘画从写生中出，在《东斋记事》中写着：“其家多养鹰鹘，观其神俊以模写之，故得其妙。”从此芦雁图中可知，长期的写生和临摹训练带给他真实生动地描绘禽鸟的功力，其准确度不亚于动物标本式的记录。",[23,24,7,51,26,27,102,6811,2151,384,298,3456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f48e78c47390b027fe23bdb5ccc424.jpg","纵144.5厘米，横93.3厘米",[175,106,90],{"id":10292,"slug":10293,"title":10294,"dynasty":293,"author":7543,"museum":4595,"description":10295,"tags":10296,"thumbUrl":10297,"material":34,"size":10298,"collection":106,"collections":10299,"showCount":10194,"zanCount":1065,"manualWeight":40,"mainColor":62},219274,"zhu-qin-tu-ren-ren-fa-219274","竹禽图","此图为工笔写生小品，颇具宋代院体风格，线条细劲匀称，色彩典雅，动静结合，生趣盎然。画面上，一只鸟栖于竹梢上，昂首作鸣叫状，瞬间的动态表现得极为成功，姿态逼真，灵气飞扬，似闻之有声。画家画竹用双钩笔法完成，笔画坚实细劲。被风吹乱的竹叶之阴阳向背表现得自然准确，虽为静止的瞬间，却有动的意味。此画尺幅虽小，然气韵飞扬，灵动自然。任仁发此幅画作继承了宋代院体画传统，笔势稳健，双钩之线均匀细劲，并填以典雅、和谐、轻艳的色彩，使得画面严谨而婉丽、和谐而富有生机。从收藏印鉴看，该作曾经明代大收藏家王士祯及清代王允祥珍藏。由此可知，此画为传世佳作。",[24,7,51,26,27,53,710,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c7c64af9c22bf6f547706221e866df.jpg","纵25.8厘米，横22.9厘米",[106],{"id":10301,"slug":10302,"title":10303,"dynasty":67,"author":181,"museum":1031,"description":10304,"tags":10305,"thumbUrl":10306,"material":34,"size":122,"collection":106,"collections":10307,"showCount":10194,"zanCount":1065,"manualWeight":40,"mainColor":62},219122,"an-chun-bai-hua-tu-yi-ming-219122","鹌鹑百花图","鹌鹑敛翅蹲踞，羽纹以细劲墨线勾勒，敷染赭褐与墨黑，斑纹交错如鳞，绒毛质感毕现。旁侧花枝扶疏，白瓣粉蕊的花朵舒展如蝶翼，紫菊点缀其间，叶片墨绿带黄晕，藤蔓缠绕有致。前景草叶劲挺，枯枝斜出添野趣，背景赭黄绢底温润古雅。整幅画以工笔细描见长，禽鸟的憨态与花卉的鲜妍相映成趣，疏密布局得当，于静谧中藏生机，尽显花鸟写生的细腻与意趣。",[7,24,51,27,26,102,4680,263,339,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cdc4849f24e6562ead882abb23c70e.jpg",[106],{"id":10309,"slug":10310,"title":10311,"dynasty":114,"author":448,"museum":2700,"description":10312,"tags":10313,"thumbUrl":10314,"material":34,"size":10315,"collection":175,"collections":10316,"showCount":10194,"zanCount":40,"manualWeight":40,"mainColor":62},219083,"shan-qin-mi-shi-tu-lin-chun-219083","山禽觅食图","描绘了两枝树支。 下部枝叶有阔叶，叶片黄色，多孔。 最左边的叶子上有一只黑色的昆虫，似乎已经吃掉了叶子。 高大的枯树的叶子已经枯萎。 而右边的树枝上，却长出了新的叶芽，站在树枝上的鸟儿正盯着那只黑色的虫子。",[23,7,24,51,26,27,102,6388,1821,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4ff92e043a2bee2158780d7469100a.jpg","26.5x25.7cm",[175,106],{"id":10318,"slug":10319,"title":10320,"dynasty":46,"author":10321,"museum":166,"description":10322,"tags":10323,"thumbUrl":10324,"material":34,"size":10325,"collection":106,"collections":10326,"showCount":10194,"zanCount":541,"manualWeight":40,"mainColor":62},219035,"yan-shang-ying-tu-zhang-yu-sen-219035","岩上鹰图","张雨森","苍岩之巅，雄鹰敛翅伫立。羽翮黑白相间，斑纹细密如织，蓬松处似含风露，利爪紧扣石隙，筋骨隐现沉凝力道。山石以枯笔皴擦，纹理嶙峋若斧劈，与鹰羽的细腻勾勒相映成趣。旁侧虬枝横斜，红叶点缀其间，添几分秋意清寂。背景绢色沉郁，更衬出鹰的孤高与山石的冷峻。画面于写实中融写意之韵，雄鹰沉静姿态下藏蓄势待发的张力，笔墨间尽展自然生机与生命的苍劲力量，观之令人感佩造物之奇与绘者匠心。",[23,7,24,51,52,26,27,1820,281,82,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adea9a4d59fe57c41686f184054adc1.jpg","纵163.5横88.1厘米",[106],{"id":10328,"slug":10329,"title":10330,"dynasty":114,"author":10331,"museum":1031,"description":10332,"tags":10333,"thumbUrl":10335,"material":34,"size":10336,"collection":36,"collections":10337,"showCount":10194,"zanCount":541,"manualWeight":40,"mainColor":62},218306,"jian-nv-lian-dan-tu-xu-chong-ju-218306","僭女练丹图","徐崇矩","乘玄驹腾跃，袂带飘举间执器引丹。黑马鬃毛劲挺，四蹄踏空似凌虚，与素衣白冠的人物相映，清逸中藏英气。坡岸嶙峋，墨色皴擦见苍劲，几株细竹点染生机。丹烟袅袅升于褐绢之上，暗合仙道清虚之境。\n\n绢色沉褐如浸岁月，工笔勾勒与写意皴染相融：衣纹流畅如行云，马身肌理写实见骨，山石皴法古拙含韵。神情专注处，丹火隐现，方寸间藏天地玄机——既显宋画格物致知的精微，又透仙道氤氲的缥缈，古雅深邃，引人探入画中秘境。",[7,24,634,26,27,28,215,56,10334],"炼丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2534c674db225970dc309e9344f4111c.jpg","74.2x45.3",[36],{"id":10339,"slug":10340,"title":10341,"dynasty":114,"author":1787,"museum":395,"description":10342,"tags":10343,"thumbUrl":10344,"material":121,"size":10345,"collection":106,"collections":10346,"showCount":10194,"zanCount":1065,"manualWeight":40,"mainColor":62},216905,"yuan-hou-tu-mu-xi-216905","猿猴图","猿猴图是宋朝画家牧溪的一幅名作。这幅画描绘了一群猿猴在森林中的生活。牧溪在这幅画中展现了猿猴的各种姿态和表情，并通过森林的树木、花草和鸟类来增强画面的生动感。这幅画被认为是牧溪最优秀的作品之一，其中巧妙地融合了传统中国画风和西方透视画法。",[24,7,277,472,6290,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f9647d72e31482e658c10b4cc0b24.jpg","88x33cm",[106],{"id":10348,"slug":10349,"title":10350,"dynasty":114,"author":6625,"museum":195,"description":10351,"tags":10352,"thumbUrl":10353,"material":34,"size":10354,"collection":106,"collections":10355,"showCount":10194,"zanCount":11,"manualWeight":40,"mainColor":62},216082,"an-chun-tu-ye-li-an-zhong-216082","鹌鹑图页","此宋人鹌鹑图页，无作者款印。图绘鹌鹑一只，体形滚圆，斑纹、毛羽如生，作回首状，点缀平坡、秋黍等。清代曾经清耿昭忠、耿嘉祚父子收藏，各有鉴藏印记。近代经吴湖帆、潘静淑夫妇收藏，有吴湖帆题签：“北宋李安忠鹌鹑”。",[23,24,51,7,2613,26,27,102,4680,890,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d691dcbeca802bd7e1c7806aa13adcd.jpg","纵23.5厘米，横23.1厘米",[106],{"id":10357,"slug":10358,"title":10359,"dynasty":46,"author":1567,"museum":166,"description":10360,"tags":10361,"thumbUrl":10362,"material":267,"size":10363,"collection":122,"collections":10364,"showCount":10194,"zanCount":40,"manualWeight":40,"mainColor":41},214885,"shan-shui-tu-ce-7-shi-tao-214885","山水图册-7","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,7,24,51,100,277,27,75,56,82,648,279,73,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecda7769b032a5905973de3864dbb28.jpg","20.3x27.5cm",[],{"id":10366,"slug":10367,"title":10368,"dynasty":46,"author":7849,"museum":132,"description":10369,"tags":10370,"thumbUrl":10371,"material":122,"size":122,"collection":122,"collections":10372,"showCount":10373,"zanCount":40,"manualWeight":40,"mainColor":41},237591,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237591","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[7,24,51,100,277,73,75,77,78,79,80,81,82,313,278,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724471d5eaa3cabd10d34c299b6fd545.jpg",[],77,{"id":10375,"slug":10376,"title":10377,"dynasty":114,"author":1787,"museum":132,"description":10378,"tags":10379,"thumbUrl":10380,"material":122,"size":122,"collection":122,"collections":10381,"showCount":10373,"zanCount":40,"manualWeight":40,"mainColor":62},227717,"lian-yan-tu-mu-xi-227717","莲燕图","牧溪，宋末元初之画僧，无准禅师的弟子。四川人，生卒年不详。依径山无准师范出家，法名法常。于宋末理宗、度宗时（1225～1270），在杭州西湖长庆寺为杂役僧。性情英豪，嗜饮酒，醉则寝，觉则朗吟。擅长画佛像、人物、花果、鸟兽、山水、龙虎、猿鹤等，题材广泛。画风继承石恪、梁楷之减笔画，与中唐以来之逸格山水画，风格壮阔，自由放逸。其生平画迹与作品在国内之流传甚少，然日本极早即流传其画迹，且因其画风对日本艺坛产生强烈影响，故其画迹一直为名流所收藏，如观音猿鹤图、龙虎图、栗柿图、芙蓉图、老松八哥鸟图、潇湘八景图、柳燕图等，其中之观音猿鹤图三幅，相传系日僧圣一于宋理宗淳祐元年（1241），由中国带往日本者，目前被视为日本国宝。\n\n水墨皆禅，万法唯心，对牧溪而言，他也许从未定义自己是个画家，而首先是个僧人，是个禅师。他的画被归为禅画的范畴，禅画将生命的解脱视为最高存在意涵。画中幽远超然的留白，似乎天地之间，只剩你与他笔下的一只蜻蜓、一颗萝卜、一只小燕。生命原本就是这么简单。",[24,7,51,52,277,102,398,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb679855211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中有三只羊的图像。这三只羊代表着三阳的出现，是象征和平、繁荣的象征。根据传统，三只羊通常被描绘成站立在一起、头朝上的形态，表示他们正在向天空中的女娲献上膜拜。\n\n这三只羊可能会有不同的造型，但通常都是描绘成充满活力、生机勃勃的样子。他们的毛发通常是乌黑色或棕色，身体健硕，眼神炯炯有神。在三阳开泰图 中，这三只羊是象征着繁荣的重要元素，也是艺术家用来传达历史意义和文化价值的重要工具。",[24,7,4477,26,27,3630,383,53,136,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a2a7077a6eff7a42cc886854ac759.jpg","163.5x100cm",[106],{"id":10442,"slug":10443,"title":10444,"dynasty":67,"author":1070,"museum":195,"description":8297,"tags":10445,"thumbUrl":10446,"material":666,"size":8300,"collection":122,"collections":10447,"showCount":10373,"zanCount":40,"manualWeight":40,"mainColor":41},214622,"hua-hui-ce-19-chen-chun-214622","花卉册-19",[24,51,7,100,277,368,102,383,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b278267b998a115bffa6c856ead4911.jpg",[],{"id":10449,"slug":10450,"title":10451,"dynasty":114,"author":165,"museum":195,"description":10452,"tags":10453,"thumbUrl":10454,"material":666,"size":10455,"collection":122,"collections":10456,"showCount":10373,"zanCount":40,"manualWeight":40,"mainColor":41},214280,"duo-jing-lou-shi-tie-2-mi-fei-214280","多景楼诗帖-2","笔势如天马行空，八面出锋却无一丝狂乱。浓墨处沉雄如坠石，飞白间灵动似流云。“梦”字欹侧中藏稳劲，“曾”字转折处见刚柔，“游”之走笔如轻舟逐浪，“天”之撇捺若长空舒翼。每一笔都带着“刷字”的痛快，却又暗合法度，晋韵唐法融于一己性情。墨色干湿浓淡相间，线条粗细缓急交错，织就充满韵律的画面——仿佛能听见运笔时的飒飒风声，见其挥毫时的潇洒神态。沉着中见痛快，飘逸里藏筋骨，于不经意间尽显大家气象，这便是米字独有的魅力。",[7,24,51,118,119,1580,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0973bce6cbdb78d7eee5551d38d37e.jpg","31.2x538.1",[],{"id":10458,"slug":10459,"title":10460,"dynasty":18,"author":380,"museum":132,"description":935,"tags":10461,"thumbUrl":10462,"material":317,"size":907,"collection":122,"collections":10463,"showCount":5,"zanCount":40,"manualWeight":40,"mainColor":62},290555,"wu-dai-nan-tang-hua-hui-cao-chong-juan-xu-xi-290555","五代南唐花卉草虫卷",[7,24,51,25,26,27,102,1882,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6d9fb677d356b11b5aa6b55f88bca7.jpg",[],{"id":10465,"slug":10466,"title":10467,"dynasty":674,"author":1042,"museum":132,"description":10468,"tags":10469,"thumbUrl":10471,"material":317,"size":907,"collection":122,"collections":10472,"showCount":5,"zanCount":40,"manualWeight":40,"mainColor":62},290511,"bao-ji-bin-ga-luo-fo-xiang-wu-dao-zi-290511","宝积宾伽罗佛像","吴道子（约680年—759年），又名道玄，唐代著名画家，画史尊称画圣。汉族，阳翟（今河南禹州）人。约生于公元680年（永隆元年） ，卒于公元758年（乾元元年）前后。少孤贫，年轻时即有画名。曾任兖州瑕丘（今山东滋阳）县尉，不久即辞职。后流落洛阳，从事壁画创作。开元年间以善画被召入宫廷，历任供奉、内教博士、宁王友。曾随张旭、贺知章学习书法，通过观赏公孙大娘舞剑，体会用笔之道。擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。",[24,7,51,52,678,27,28,5399,10470,74],"佛像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff024de3f0cf5457299698b68bc41684e.jpg",[],{"id":10474,"slug":10475,"title":10476,"dynasty":67,"author":619,"museum":132,"description":2199,"tags":10477,"thumbUrl":10479,"material":317,"size":907,"collection":122,"collections":10480,"showCount":5,"zanCount":1065,"manualWeight":40,"mainColor":41},288067,"chui-diao-tu-shen-zhou-288067","垂钓图",[23,24,7,277,52,51,75,28,10478,56,79,9596,661,118,74,7857],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5701209ee802812e6ba423e0fd68c748.jpg",[],{"id":10482,"slug":10483,"title":10484,"dynasty":114,"author":181,"museum":132,"description":10485,"tags":10486,"thumbUrl":10487,"material":122,"size":122,"collection":122,"collections":10488,"showCount":5,"zanCount":1065,"manualWeight":40,"mainColor":62},223653,"chi-bi-tu-ce-ye-yi-ming-223653","赤壁图册页","《宋无款赤壁图》是宋代佚名创作的一幅画。\n本幅是一叶扁舟为主景的局部山水，画面中置石壁于右上角，仅画出赤壁之山脚与山石部分，可以说是把赤壁予以浓缩成近景特写。\n扁舟上回身仰望的苏东坡，暗示出他看到的赤壁在画外的高耸着，赤壁的特色，并不因其只画山角而失去，反因取材精简，景致更能突出。\n波浪起伏回转，表现一叶扁舟之摇摇荡荡，飘飘乎遗世而独立，可说极为生动地将〈 〉最为浪漫的憧憬画出了。",[23,24,7,51,100,27,26,73,75,28,80,3426,278,4541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb770c34ae0fb5c7a2dc0e116c105e.jpg",[],{"id":10490,"slug":10491,"title":10492,"dynasty":67,"author":9618,"museum":151,"description":10493,"tags":10494,"thumbUrl":10495,"material":834,"size":10496,"collection":286,"collections":10497,"showCount":5,"zanCount":40,"manualWeight":40,"mainColor":62},222168,"xiang-jiang-feng-yu-tu-juan-xia-chang-222168","湘江风雨图卷","画幅右上方自题图名《湘江风雨》，款“東吳夏昶仲昭筆”，钤“東吳夏昶仲昭書畫印”、“燕寢凝香”印二方。\n夏昶画竹，以其精深的功力和独树一帜的艺术风格名重一时。他一改前人画竹独幅数竿的表现形式，而用巨幅长卷描绘竹树的千竿万梢，同时还“延之以洲渚，加之以风雨”，更显浩浩荡荡，气势恢宏。他笔下的墨竹已不仅仅是简单的文人式的寄兴抒怀，，而且还于其自然的生长环境，在画中融入山水画的笔墨意境。此卷竹林随湘江两岸景致的变化而隐现，起自淡阔的沙洲，之后是平缓的坡陀，继而是坚硬的岩石，又入清冷的江水，再后是壁立的山崖，最后经急湍飞瀑、汩汩溪流而入山，竹树或整或零，或疏或密，老干新枝，各尽其态。画家充分利用了长卷的广度精心描绘出一种起伏张弛的流动性和情节性，实际上是传统墨竹与水墨长卷的结合。夏昶画竹，强调气韵，主张“一气呵成”，“画巨幅尤须如此”，此卷竹叶落墨即是，不见复笔，山石以斧劈皴法大笔侧锋挥扫而成，从首至尾，气脉通连飞动。\n卷后自跋中云此图作于“正統己巳（1449年）秋九月”，正值夏氏62岁出知瑞州之时，是其晚年墨竹长卷的代表作。",[23,24,51,25,277,73,75,53,278,79,313,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8755393eede68b1ee573bab7500c298.jpg","纵35厘米，横1206厘米",[286,2605],{"id":10499,"slug":10500,"title":10501,"dynasty":67,"author":966,"museum":151,"description":10502,"tags":10503,"thumbUrl":10504,"material":10505,"size":10506,"collection":88,"collections":10507,"showCount":5,"zanCount":40,"manualWeight":40,"mainColor":62},221886,"za-hua-tu-ce-fang-li-tang-bi-yi-chen-hong-shou-221886","杂画图册-仿李唐笔意","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,7,24,51,100,27,73,154,75,278,79,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9093bddfe13cc837d377af14452eaabd.jpg","绢本、设色","纵30.2＊横25.1CM",[88,36,90],{"id":10509,"slug":10510,"title":10511,"dynasty":293,"author":10512,"museum":7312,"description":10513,"tags":10514,"thumbUrl":10515,"material":5525,"size":10516,"collection":122,"collections":10517,"showCount":5,"zanCount":1065,"manualWeight":40,"mainColor":41},221749,"jiu-ge-tu-ji-ci-juan-zhu-ti-zhang-wo-221749","九歌图及词卷主体","张渥","《九歌图》卷共十一段，每段一图，画屈原像及楚辞《九歌》中的《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》十章内容。该图笔法流畅工整，秀劲宛转，线条纤细飞扬，体现了元代的白描风格。",[23,7,24,51,25,510,277,28,118,74,473,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19bda932e8c57e252c3f7db62b08b53.jpg","纵28 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厘米",[],{"id":10519,"slug":10520,"title":10521,"dynasty":293,"author":1556,"museum":151,"description":10522,"tags":10523,"thumbUrl":10524,"material":342,"size":10525,"collection":88,"collections":10526,"showCount":5,"zanCount":1065,"manualWeight":40,"mainColor":62},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[23,7,24,51,25,27,26,118,74,75,82,559,664,278,609,648,4496,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[88,90],{"id":10528,"slug":10529,"title":10530,"dynasty":114,"author":6856,"museum":151,"description":10531,"tags":10532,"thumbUrl":10533,"material":10534,"size":10535,"collection":175,"collections":10536,"showCount":5,"zanCount":40,"manualWeight":40,"mainColor":62},221617,"xue-zhan-xing-qi-tu-ye-liang-kai-221617","雪栈行骑图页","画中表现了深冬山中，白雪覆盖了山林，两位行人骑着牲口匆匆赶路的情景。技法上基本是以没骨方式染出雪山，以少许淡墨略皴，用生动的笔划画出人物与丛树。整幅画用笔很少，反映了梁楷的“画法简逸”、“惜墨如金”的风格。",[23,24,277,100,73,7,75,1023,647,215,28,3851],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbecd869a79db686331de7ca8c64673f.jpg","绢本，水墨","纵23.5、横24.2厘米",[175,88,90],{"id":10538,"slug":10539,"title":10540,"dynasty":114,"author":10541,"museum":20,"description":10542,"tags":10543,"thumbUrl":10546,"material":121,"size":10547,"collection":175,"collections":10548,"showCount":5,"zanCount":40,"manualWeight":40,"mainColor":62},220191,"hui-chong-qiu-ye-pan-diao-hui-chong-220191","惠崇秋野盘雕","惠崇","惠崇（965- 1017），福建建阳人，北宋僧人，擅诗、画。作为诗人，他专精五律，多写自然小景，忌用典、尚白描，力求精工莹洁，颇为欧阳修等大家称道；作为画家，他“工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也”（北宋郭若虚语）。苏轼为惠崇画作《春江晚景》的题诗：“竹外桃花三两枝，春江水暖鸭先知”，名传千古。",[23,7,24,51,27,26,84,56,1059,102,10544,10545],"秋野","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56df0b08b27fc595e4372d9f087822ef.jpg","23.7x24.9",[175,106],{"id":10550,"slug":10551,"title":10552,"dynasty":114,"author":181,"museum":20,"description":10553,"tags":10554,"thumbUrl":10555,"material":34,"size":10556,"collection":88,"collections":10557,"showCount":5,"zanCount":541,"manualWeight":40,"mainColor":41},218806,"song-ren-ji-hui-han-shan-xing-lv-yi-ming-218806","宋人集绘-寒山行旅","本页绘一轮明月高悬天际，其下寒江平展，枯树横生蟹爪，景色萧疏空阔。近处坡丘二起，左丘上，古松成双，参差挺峙。松下亭中，有旅人坐憩。两丘间，土桥横江相连，沿著右丘，小径一路蜿蜒东去，丘势亦转成峰，环抱于江渚之后。行旅三两或骑或行，殆欲踏寒归去。山石形若卷云，皴法笔势劲捷，遥山远树则用染与前景分虚实，空间的气氛感颇为独到。",[23,24,7,51,100,73,277,75,297,1059,315,28,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8b5a6304e7640a65792a19ed547c98.jpg","25.2x26.3",[88],{"id":10559,"slug":10560,"title":10561,"dynasty":46,"author":10562,"museum":195,"description":10563,"tags":10564,"thumbUrl":10565,"material":666,"size":10566,"collection":122,"collections":10567,"showCount":5,"zanCount":40,"manualWeight":40,"mainColor":41},214680,"mei-hua-zhu-shi-tu-ce-8-wang-shi-shen-214680","梅花竹石图册-8","汪士慎","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[7,24,51,100,277,383,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8e419cb950121bdd96f39dcd6d2a1d.jpg","纵25 厘米 横31.5 厘米",[],{"id":10569,"slug":10570,"title":10571,"dynasty":18,"author":5250,"museum":132,"description":6931,"tags":10572,"thumbUrl":10573,"material":317,"size":907,"collection":122,"collections":10574,"showCount":10575,"zanCount":40,"manualWeight":40,"mainColor":62},289453,"shi-liu-tu-huang-ju-cai-289453","石榴图",[7,24,51,102,27,26,1093,265,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcfa0285b330e25a9c43ac0ab66d7224.jpg",[],75,{"id":10577,"slug":10578,"title":10579,"dynasty":18,"author":1405,"museum":132,"description":10580,"tags":10581,"thumbUrl":10582,"material":317,"size":907,"collection":122,"collections":10583,"showCount":10575,"zanCount":40,"manualWeight":40,"mainColor":62},288554,"xiao-xiang-tu-hua-xin-dong-yuan-288554","潇湘图画心","《潇湘图》中表现的是南方山水，图绘一片湖光山色，山势平缓连绵，山峦多用披麻皴，并以墨点渲染山峦之上的植被，平远的构图方式和近景中大片水域的结合，让画面有很强的空间感，更呈现出江南山水的迷蒙。山水之中又有人物渔舟其间，赋色鲜明，趣味横生，为寂静幽深的山林增添了无限生机。\n《潇湘图》被画史视为“南派”山水的开山之作 ，也是中国山水画史上代表性作品之一。",[23,7,24,51,25,277,75,79,80,662,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeebc0ca9167bf3b40bd6d5a6b3e8cc6.jpg",[],{"id":10585,"slug":10586,"title":10587,"dynasty":114,"author":448,"museum":132,"description":10588,"tags":10589,"thumbUrl":10590,"material":317,"size":907,"collection":122,"collections":10591,"showCount":10575,"zanCount":1065,"manualWeight":40,"mainColor":62},288492,"guo-shu-lai-qin-tu-lin-chun-288492","果熟来禽图","《果熟来禽图》绘有林檎果一枝，枝上硕果累累。系挂着沉甸甸果实的枝丫，仿佛在轻轻地颤动。果叶正反面刻画细致，连虫蚀的痕迹都颇为清晰。果树上有一小鸟，它转颈回眸，振翅欲飞。画面虽不繁复，却充满生气盎然的意趣，表现出作者蕴藉空灵的审美追求",[23,24,7,1455,26,27,84,1095,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae85ba9562268d73b08485dbcf58808.jpg",[],{"id":10593,"slug":10594,"title":10595,"dynasty":114,"author":7170,"museum":132,"description":10596,"tags":10597,"thumbUrl":10598,"material":122,"size":122,"collection":122,"collections":10599,"showCount":10575,"zanCount":1065,"manualWeight":40,"mainColor":62},232781,"qing-lv-shan-shui-tu-juan-zhao-bo-su-232781","青绿山水图卷","赵伯骕(1124--1182年)，字希远，宋宗室，赵伯驹弟，官至和州防御史，曾以副使身份出使过金国。他擅长青绿山水，出自唐代李思训的传派并自成一体。",[23,7,24,51,25,72,27,26,75,297,298,82,77,81,78,80,5979,856],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa254d25dcb7192aa77a3c1e2f7ab64.jpg",[],{"id":10601,"slug":10602,"title":10603,"dynasty":674,"author":181,"museum":1514,"description":3679,"tags":10604,"thumbUrl":10605,"material":317,"size":907,"collection":122,"collections":10606,"showCount":10575,"zanCount":1065,"manualWeight":40,"mainColor":62},226216,"ku-zhu-shi-xi-bi-yi-ming-226216","窟主室西壁",[7,677,678,855,27,28,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc239266b541c9c02b59870053dd1a161.jpg",[],{"id":10608,"slug":10609,"title":10610,"dynasty":46,"author":10611,"museum":694,"description":10612,"tags":10613,"thumbUrl":10614,"material":250,"size":10615,"collection":88,"collections":10616,"showCount":10575,"zanCount":40,"manualWeight":40,"mainColor":41},222634,"fu-gui-qing-gao-tu-gao-feng-han-222634","富贵清高图","高凤翰","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,7,24,51,25,27,277,102,119,2755,74,54,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1",[88,286],{"id":10618,"slug":10619,"title":10620,"dynasty":46,"author":10621,"museum":507,"description":10622,"tags":10623,"thumbUrl":10625,"material":736,"size":10626,"collection":36,"collections":10627,"showCount":10575,"zanCount":40,"manualWeight":40,"mainColor":62},222523,"zhu-shou-tu-zhou-wang-wen-wei-222523","祝寿图轴","王文炜","寿星和梅花鹿是这一题材必备的图像，婴戏图表示多子，也代表了吉祥的寓意，除此之外本图中还描绘了对坐书案的两位文仕，为本图平添了高雅的情趣。画面设色妍雅，笔墨生动。",[23,24,51,7,52,27,26,28,1229,10624,1293,609,278,79,2129],"老人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9cf9fe0adff55e94e42726ea4c7077.jpg","80X160",[36,90],{"id":10629,"slug":10630,"title":10631,"dynasty":67,"author":394,"museum":20,"description":10632,"tags":10633,"thumbUrl":10635,"material":10636,"size":10637,"collection":106,"collections":10638,"showCount":10575,"zanCount":1065,"manualWeight":40,"mainColor":62},222173,"jia-he-cao-chong-tu-wu-bing-222173","嘉禾草虫图","本幅选自「名绘集珍」册。画水稻两株，在田间婷婷伫立，成串的稻穗，已经俯首低垂。蝴蝶、花虻和蜻蜓，有的兀自在空中飞舞，有的则栖息在叶梢。由于右上方的叶子，和上方的稻穗，均溢出了画幅的边界，推测可能是表面曾经遭到污损，才由大裁小，改装成现在所看到的形式。",[23,3387,24,7,26,27,102,10634,199,200,247,2528,711],"嘉禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c3e40e787e59113179f539e535e2cfe.jpg","册页，设色","27.3 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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”。",[7,24,100,1034,26,27,102,76,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa17ec3a0050f40eac53095f1b343d5.jpg",[],{"id":10763,"slug":10764,"title":10765,"dynasty":67,"author":10766,"museum":151,"description":10767,"tags":10768,"thumbUrl":10769,"material":342,"size":122,"collection":122,"collections":10770,"showCount":10702,"zanCount":1065,"manualWeight":40,"mainColor":41},234199,"mei-hua-juan-lu-fu-234199","梅花卷","陆復","陆复，明代人，字明本，自号梅花主人，江苏吴江人。善画墨梅。",[23,24,51,7,25,277,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71088b2bdc23a064be93938e4fef182c.jpg",[],{"id":10772,"slug":10773,"title":10774,"dynasty":114,"author":7170,"museum":132,"description":10775,"tags":10776,"thumbUrl":10777,"material":122,"size":122,"collection":122,"collections":10778,"showCount":10702,"zanCount":1065,"manualWeight":40,"mainColor":62},227748,"wu-yun-lou-ge-tu-juan-zhao-bo-su-227748","五云楼阁图卷","卷 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赵伯骕的作品精工细密，色彩虽然金碧辉煌但不失清润活泼，山石皴染，树叶枝干适当运用水墨山水画法，并掺以文人画的“气韵”，其风格既有青绿山水的明丽，又有文人水墨画的雅逸。",[23,7,24,25,72,27,26,73,75,77,78,79,80,82,28,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e6fc2b4dea5f5640fcca98811420e0.jpg",[],{"id":10780,"slug":10781,"title":10782,"dynasty":46,"author":2548,"museum":132,"description":10783,"tags":10784,"thumbUrl":10785,"material":122,"size":122,"collection":122,"collections":10786,"showCount":10702,"zanCount":541,"manualWeight":40,"mainColor":41},224366,"hua-hui-si-ping-zhi-er-ju-lian-224366","花卉四屏之二","此作用笔秀雅工丽，素白牡丹以淡墨勾瓣，浅红晕染花心，柔润饱满如凝脂，尽展雍容柔媚之态。墨色叶片浓淡参差，苍润交错，衬出花之洁雅清贵。\n嶙峋湖石以水墨皴擦勾勒，孔洞玲珑古朴，刚硬质感与柔美花株相映，刚柔相济。飞蜂振翅穿行花间，灵动鲜活，为静谧花景添了盎然生机，动静之间尽显春日花下恬然意趣。\n设色明秀清雅，无艳俗之气，兼具写生之真与写意之韵，将花木情态勾勒入神，藏着悠然清逸的文人雅趣。",[23,7,24,51,52,26,27,102,103,2528,278,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9fa90dceefd3869dc23af99f9a1298.jpg",[],{"id":10788,"slug":10789,"title":10790,"dynasty":67,"author":1070,"museum":69,"description":9427,"tags":10791,"thumbUrl":10792,"material":1061,"size":9431,"collection":122,"collections":10793,"showCount":10702,"zanCount":40,"manualWeight":40,"mainColor":41},222570,"hua-hui-tu-9-chen-chun-222570","花卉图9",[23,7,24,51,368,277,27,102,198,339,56,890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f0254a2eb9eb07ea7e50656f0f7475.jpg",[],{"id":10795,"slug":10796,"title":10797,"dynasty":114,"author":10798,"museum":7613,"description":10799,"tags":10800,"thumbUrl":10801,"material":156,"size":10802,"collection":175,"collections":10803,"showCount":10702,"zanCount":1065,"manualWeight":40,"mainColor":62},221680,"song-shan-xing-lv-tu-li-shan-221680","松杉行旅图","李山","图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,7,24,51,52,277,73,75,697,136,28,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a9d7a7b39ad254c492ab8c13f18c80.jpg","163.6*107.2CM",[175,88,286],{"id":10805,"slug":10806,"title":10807,"dynasty":114,"author":1838,"museum":132,"description":10808,"tags":10809,"thumbUrl":10810,"material":611,"size":1842,"collection":122,"collections":10811,"showCount":10702,"zanCount":1065,"manualWeight":40,"mainColor":62},221326,"chao-yuan-xian-zhang-tu-di-yi-duan-wu-zong-yuan-221326","朝元仙仗图-第一段","《朝元仙仗圖》為北宋宗教畫家武宗元所繪製的一幅絹本白描長卷， 曾收藏於美國華人收藏家王季遷手中，在其去世後失竊下落不明。\n\n該畫作描繪了五方帝君中的三個帝君，去往朝謁天上的最高統治者時的隊仗行列。畫家以流利的長線條描繪此圖，畫中人物栩栩如生，表情生動，描畫出了不同的人物的不同的身份與形態特徵，成功地表現出帝君的莊嚴、神將的威武和仙女的丰姿，是白描人物畫的代表作。",[23,24,7,25,510,678,28,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e6bd28a60a6c338f34ccc4c8b090642.jpg",[],{"id":10813,"slug":10814,"title":10815,"dynasty":114,"author":181,"museum":20,"description":10816,"tags":10817,"thumbUrl":10819,"material":34,"size":10820,"collection":175,"collections":10821,"showCount":10702,"zanCount":1065,"manualWeight":40,"mainColor":62},221238,"xue-lu-shuang-yan-zhou-yi-ming-221238","雪芦双雁轴","描绘的是寒冬汀岸一隅，四只雁栖息于芦苇丛下的岸边，有的仰天引颈而望，有的蹲伏理翎，另外二只掠空飞起。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自左下角向内延伸，其余部分大片留白，形成清远空旷的意境",[23,7,24,51,52,26,27,102,10818,2151,84,1357,201],"双雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c1047960693bbada4ff966b1451860.jpg","174.6x99.5",[175,106,90],{"id":10823,"slug":10824,"title":8636,"dynasty":18,"author":8637,"museum":1417,"description":8638,"tags":10825,"thumbUrl":10827,"material":250,"size":8641,"collection":36,"collections":10828,"showCount":10702,"zanCount":1065,"manualWeight":40,"mainColor":41},221177,"er-zu-diao-xin-tu-shi-ke-221177",[23,7,24,277,28,678,6056,10826],"禅定","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5231745a90758af093f0219512406582.jpg",[36,286],{"id":10830,"slug":10831,"title":10832,"dynasty":293,"author":1636,"museum":20,"description":10833,"tags":10834,"thumbUrl":10835,"material":250,"size":10836,"collection":88,"collections":10837,"showCount":10702,"zanCount":1065,"manualWeight":40,"mainColor":62},220814,"shan-zhong-gui-yin-tu-wang-meng-220814","山中归隐图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,7,75,277,52,73,297,298,82,313,437,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 140.7x53.4公分；全幅 78公分",[88,286],{"id":10839,"slug":10840,"title":10841,"dynasty":67,"author":619,"museum":20,"description":10842,"tags":10843,"thumbUrl":10844,"material":666,"size":10845,"collection":286,"collections":10846,"showCount":10702,"zanCount":1065,"manualWeight":40,"mainColor":41},219524,"guo-suo-tu-shen-zhou-219524","郭索图","该图是幅淡墨写意作品。“酒醉菊黄蟹正肥”，是雅俗共赏的著名的诗句。南方江浙一带的画家与市民每逢秋季无不饮酒食蟹。画家作此画的画意亦在于此。画幅的中间部位画清水大阐蟹一只，坚实如锯齿般的双螯，如钳子似的夹住稻穗，蟹壳尖楞突出，如一把把锐利尖刀，爬沙横行于水草之间。蟹爪过处，如闻郭索之声，故以此名命。此当为江南水乡深秋时节，这是稻谷、大豆已成熟，临近收割，这正是螃蟹最肥壮的时期“过雨黄花千蕊发，经霜紫蟹两螯肥”。正是“持螯赏菊”的良宵佳时。技法上，体黑，先用淡墨画蟹壳、蟹脚，勾勒而成，用焦墨画爪尖和蟹壳回凸，然后用浓墨渲染双蟹螯，形成体白，黑白相间，极有韵趣。其背景稻穗一根，用笔随意，草草点染，似不经意一挥而成。此画可谓为大画家沈周戏墨之作，随物赋形，但却形神兼备，可见他写生的功力之深厚。画幅上端有作者自题款:“郭郭索索，还用草缚。不敢横行，沙水夜落。沈周。”钤“石田”白文印。此图经清内府收藏。画幅右上端有乾隆题赞",[7,24,277,368,51,74,2243,2664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3862c7b20f88c912c2f1841c8d16126c.jpg","纵49.4 厘米，横31厘米",[286],{"id":10848,"slug":10849,"title":10850,"dynasty":46,"author":10851,"museum":195,"description":10852,"tags":10853,"thumbUrl":10854,"material":267,"size":10855,"collection":36,"collections":10856,"showCount":10702,"zanCount":40,"manualWeight":40,"mainColor":41},219425,"shui-hui-yuan-ya-ji-tu-zhou-dai-cang-219425","水绘园雅集图轴","戴苍","此画记录了冒辟疆等名士在其私家园林水绘园中的一次雅集。园中山水清远，松荣菊艳，一位僧人打坐石下。两位文人在树下品茶论茗，神态怡然。画面中心石桌前一位老者展卷沉吟，正要落笔作画，另一人据案闲坐，须发尽白，是座中年纪最长的，据画上题跋，已有八十三岁。而画面正中扶手竹椅上坐着的正是此时六十五岁的水绘园主人冒辟疆，他正慈祥看着自己的孙子若有所思。",[7,24,51,52,27,26,28,75,82,281,609,1164,1163,2825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7cdd29f797fe827316b5107f1946d5.jpg","纵146厘米，横72.9厘米",[36],{"id":10858,"slug":10859,"title":8380,"dynasty":114,"author":4895,"museum":20,"description":10860,"tags":10861,"thumbUrl":10862,"material":34,"size":10863,"collection":106,"collections":10864,"showCount":10702,"zanCount":1065,"manualWeight":40,"mainColor":479},218928,"ying-tu-wang-shen-218928","秃鹰和狗争夺野鸡的画作",[23,24,7,52,26,27,102,1820,710,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da43e23b75b5b5522d773dee5a0b8c2.jpg","136.7x69.7",[106],{"id":10866,"slug":10867,"title":10868,"dynasty":114,"author":194,"museum":132,"description":10869,"tags":10870,"thumbUrl":10872,"material":317,"size":10873,"collection":122,"collections":10874,"showCount":10875,"zanCount":541,"manualWeight":40,"mainColor":62},289554,"cao-chong-hua-die-tu-yan-yan-nv-shi-289554","草虫花蝶图","此卷描绘了一幅秋光明媚的花鸟长卷。画面中，在坡地、湖石之间，桂花、海棠、秋葵等花卉盛开、争奇斗艳，蝴蝶、蜜蜂、蜻蜓翻飞其间、形态各异，充满生机。此卷中花卉设色妍丽，虫蝶描绘栩栩如生而富于变化，与“勾勒纤细，敷色浓艳”的画院“院体”花鸟画风格十分相符，整体给人以写实细腻之感。此卷充分反映出艳艳女史作为一位女性画家出色的绘画技法，充满女性细致、淡雅之趣。",[23,24,7,25,102,26,27,198,199,200,10871,264,247,5812],"飞蛾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378970eb9c0212617a3a0b5e28d792b0.jpg","绢本设色纵32.5厘米，横333.5厘米",[],73,{"id":10877,"slug":10878,"title":1710,"dynasty":18,"author":1405,"museum":132,"description":1711,"tags":10879,"thumbUrl":10880,"material":317,"size":907,"collection":122,"collections":10881,"showCount":10875,"zanCount":40,"manualWeight":40,"mainColor":62},289334,"long-su-jiao-min-tu-dong-yuan-289334",[23,7,24,497,27,73,425,663,82,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed712e724d0c3b83b224acb00bda72a0.jpg",[],{"id":10883,"slug":10884,"title":10885,"dynasty":674,"author":2912,"museum":132,"description":10886,"tags":10887,"thumbUrl":10888,"material":317,"size":907,"collection":122,"collections":10889,"showCount":10875,"zanCount":40,"manualWeight":40,"mainColor":479},288966,"xiao-yi-zhuan-lan-ting-tu-yan-li-ben-288966","萧翼赚兰亭图","《萧翼赚兰亭图》是唐代画家阎立本创作的绘画，原本已佚。现存三本宋代摹本，北宋摹本藏于辽宁省博物馆，南宋摹本藏于台北故宫博物院，还有一本宋代摹本藏于北京故宫博物院。\n北宋摹本和南宋摹本大体相同，都是以辩才和尚与萧翼为中心，图左一老一少正在煮茶。不同之处在于，北宋本画一童仆手抱《兰亭记》从右方出来，而南宋本则是在辩才和尚与萧翼之间，画一侍立僧人。画面简单，若无画题提示会以为是高僧与文士的茶会雅集而已，但实际上描绘的是萧翼从辩才和尚手中骗取王羲之《兰亭序》的故事。北京故宫藏本相对较简略，左侧没有煮茶的人。",[7,24,51,27,28,678,74,1605,1163,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c426edbd3947eb221f92714358728a.jpg",[],{"id":10891,"slug":10892,"title":10893,"dynasty":46,"author":5590,"museum":20,"description":10894,"tags":10895,"thumbUrl":10897,"material":317,"size":907,"collection":122,"collections":10898,"showCount":10875,"zanCount":40,"manualWeight":40,"mainColor":62},287872,"qing-yuan-ben-qing-ming-shang-he-tu-juan-chen-mei-287872","清院本清明上河图卷","《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。",[23,7,24,25,26,27,28,77,857,3809,1602,82,10896,3277,858,863,215,4075,855],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49ed9bc2260582398ec60fe7c2077bb.jpg",[],{"id":10900,"slug":10901,"title":10902,"dynasty":46,"author":1344,"museum":132,"description":1345,"tags":10903,"thumbUrl":10904,"material":317,"size":907,"collection":122,"collections":10905,"showCount":10875,"zanCount":40,"manualWeight":40,"mainColor":41},287691,"yu-shi-tu-juan-zhu-da-287691","鱼石图卷",[23,7,24,25,277,1179,56,118,74,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3144488368fb9fbbcc03e2eb8bd3da56.jpg",[],{"id":10907,"slug":10908,"title":10909,"dynasty":67,"author":10910,"museum":132,"description":10911,"tags":10912,"thumbUrl":10915,"material":317,"size":907,"collection":122,"collections":10916,"showCount":10875,"zanCount":40,"manualWeight":40,"mainColor":41},235582,"yu-chuan-zhu-cha-tu-zhou-ding-yun-peng-235582","玉川煮茶图轴","丁云鹏","图中描绘出唐代名士卢仝煮茶的情景，是丁云鹏晚年创作的工笔精细画作。卢仝（约796—835年），济源人，祖籍范阳（今河北涿州），早年隐居少室山，自号玉川子，后移居洛阳。诗文俱佳，曾作《月蚀诗》以刺时政，得到韩愈的称赞。性好饮茶，所作《茶歌》中句多奇警。画面上的卢仝身着便服，头戴襆巾，手持羽扇，单腿盘坐于芭蕉前的青石上，背后怪石嶙峋，修竹碧绿，两名仆人在旁侍候。卢仝目不转睛地注视着火上的茶炉，全神贯注的神情被刻划得细致入微。画面花、竹、芭蕉笔笔刻画工整，怪石的阴阳、纹理交代清晰，赋色清淡冷隽，葱翠欲滴，闲和严静的幽雅气氛直扑人面。人物衣纹则用飘洒不群的高古游丝描，或清圆细劲的铁线描，以区别不同质地的衣料，显示出画家别具匠心之处。全图的绘画技巧变化多样而风格基调统一，人物神情生动，树石生机勃勃，笔法如行云流水，超然出众",[7,24,51,52,27,26,28,53,10913,3487,79,198,1163,10914,560],"蕉叶","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1a43a9c64722e33546b4e6cdbb8bfa.jpg",[],{"id":10918,"slug":10919,"title":10920,"dynasty":46,"author":5268,"museum":132,"description":10921,"tags":10922,"thumbUrl":10923,"material":122,"size":122,"collection":122,"collections":10924,"showCount":10875,"zanCount":1065,"manualWeight":40,"mainColor":41},230132,"zhang-lin-xiao-yao-tu-hong-ren-230132","长林逍遥图","此作用笔清劲方折，危崖如刀削斧拔般峭然耸立，留白晕染出山水疏旷空寂。近岸寒林虬枝孑立，木叶尽脱，尽显荒萧寒逸。平湖浅滩无波，远汀渔隐藏于空茫间，崖侧飞瀑隐于山石，幽淡含蓄。\n\n整幅以干笔淡墨写就，删繁去奢，将孤高冷寂的意趣寄于山水，脱尽烟火之气，静穆清逸间带着禅意，宛如遗世独立的幽境，观之涤荡心尘，尽显山水的雅净超然。",[23,7,24,51,52,277,73,75,647,281,313,79,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b461f26c82fb4c0466a95df1af5d932.jpg",[],{"id":10926,"slug":10927,"title":10928,"dynasty":114,"author":181,"museum":132,"description":10929,"tags":10930,"thumbUrl":10932,"material":122,"size":122,"collection":122,"collections":10933,"showCount":10875,"zanCount":1065,"manualWeight":40,"mainColor":41},227372,"yu-ying-shi-nv-tu-yi-ming-227372","浴婴仕女图","《浴婴图》南宋，佚名，绢本设色，纵35.8厘米，横35.9厘米，美国弗瑞尔美术馆藏。\n\n画面中共三个妇人，四个小孩，当中摆一长形浴盆。画面设色淡雅明快，气氛温馨和谐，妇人的神情慈祥、婴儿的天真无邪，无不充满了浓郁的人情和现实意义。",[23,7,24,51,26,27,28,29,10931,74,30],"婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a808fa71ca6fd850c6dafb4642ee508.jpg",[],{"id":10935,"slug":10936,"title":10937,"dynasty":46,"author":181,"museum":132,"description":10938,"tags":10939,"thumbUrl":10941,"material":122,"size":122,"collection":122,"collections":10942,"showCount":10875,"zanCount":40,"manualWeight":40,"mainColor":62},224247,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-shi-er-yue-zhou-yi-ming-224247","清画院画十二月月令图十二月轴","画卷取景分野墅与深宅两重天地。上半幅里远山素裹，寒林枝桠凝霜，冰封湖面化作天然冰场，乡野村人驰骋滑行，雪色间漫着冬日野趣。\n下半处宅邸雅致规整，廊下仆从往来奔走，庭院里孩童们攒雪团、掷雪球，闹作一团，将深宅岁末的暖意烘起。\n全画工笔精细，设色清柔，将冬日的清寂与岁末烟火揉为一处，既有山野萧寒的静谧，也有家宅团圆的温煦，尽绘冬闲时分的太平意趣。",[23,24,7,52,26,27,855,75,77,28,1357,560,82,1906,559,10940],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f59e4bc38c1e3653cd281477159710.jpg",[],{"id":10944,"slug":10945,"title":10946,"dynasty":114,"author":181,"museum":132,"description":10947,"tags":10948,"thumbUrl":10949,"material":122,"size":122,"collection":122,"collections":10950,"showCount":10875,"zanCount":40,"manualWeight":40,"mainColor":62},223614,"zhu-que-shuang-tu-tu-yi-ming-223614","竹雀双兔图","《竹雀双兔图》是辽代佚名画家创作的绢本设色画，现藏于辽宁省博物馆。\n图绘双钩墨竹一丛，其中有长竹三竿，耸立其间，又有三只麻雀，分踞竹上：有的寻觅食物，有的静立下观，有的自理羽毛，神态各殊；丛竹之下生长的三株野花，左为蒲公英，中为地黄，右为白头翁，显得鲜艳肥大，引人注意；花前的两只灰兔为此图的主题：一只在吃草，一只在探望，神态逼真、活泼清新。\n图上画三竿翠竹，竹上落有三雀，一雀静立枝头，一雀用喙整理毛羽，另一雀侧身瞰视，神情各异。\n丛竹下画有蒲公英、地黄和白头翁三株野花及许多野花小草。\n两只苍兔蹲踞地上，一只在吃草，一只敛耳抬头张望。\n契丹族，是中国北方一支古老的民族，契丹人逐水草而居，以狩猎游牧为生。\n契丹神册元年（916年），耶律阿保机统一了契丹各部，建立了强大的辽王朝，先后与五代和北宋并立。\n其绘画作品，继承唐及五代传统，却又独具特色。\n花卉鸟兽是辽画中常见的题材。\n1974年5月，在辽宁省法库县叶茂台发掘了一座辽代萧氏贵族砖墓，规模较大，出土遗物较多，《竹雀双兔图》就在其中出土。\n关于《竹雀双兔图》的年代，因画上既无作者名款，也没有题识和收藏印记，只能从绢画本身加以分析研究，以确定流派与时间。\n由于画幅出土于辽墓之中，从墓室结构和数百件随葬品综合来考察，可以断定是辽代早期的墓葬，且不晚于辽景宗耶律贤时期，即北宋太宗赵炅的太平兴国年间（976—98年）。\n也就是说，画的制作年代不晚于这个下限。\n至于它的上限早到何时、关于画的作者族属问题， 做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[23,24,7,51,52,26,27,53,2411,2106,54,102,472,890,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],{"id":10952,"slug":10953,"title":10954,"dynasty":114,"author":181,"museum":151,"description":10955,"tags":10956,"thumbUrl":10957,"material":386,"size":10958,"collection":175,"collections":10959,"showCount":10875,"zanCount":40,"manualWeight":40,"mainColor":62},223563,"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[23,7,24,51,25,27,75,82,78,79,80,559,73,26,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","纵24.5厘米，横185.5厘米",[175,88,286],{"id":10961,"slug":10962,"title":10963,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":10964,"thumbUrl":10965,"material":27,"size":2642,"collection":122,"collections":10966,"showCount":10875,"zanCount":40,"manualWeight":40,"mainColor":41},222742,"xian-e-chang-chun-tu-02b-lang-shi-ning-222742","仙萼长春图-02b",[23,7,24,51,100,26,27,102,384,2190,198,340,6648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44752a8e4622ebb38b8e513c4f4c435f.jpg",[],{"id":10968,"slug":10969,"title":10970,"dynasty":293,"author":4125,"museum":20,"description":10971,"tags":10972,"thumbUrl":10974,"material":27,"size":10975,"collection":36,"collections":10976,"showCount":10875,"zanCount":40,"manualWeight":40,"mainColor":62},221852,"hua-ke-jiu-si-xie-bin-feng-tu-juan-wang-zhen-peng-221852","画柯九思写豳风图卷","豳，在岐山北，为周先世立国之地。据说成王（？－西元前1021）幼年继位，周公（？－西元前1032）摄政，为令成王了解农桑为政教首务，并关心百姓的四季生活，作豳风晓谕周人祖先后稷、公刘稼穑重农的传统。此卷图绘〈豳风?七月〉，为孔子所辑《诗经》十五国风中最长的一首，由农事之始写至农事之终，先写衣食，次叙农耕蚕桑，最后论至打猎与秋收冬藏，共计八段，全卷青绿设色，每段旁书原文参照。旧题与跋均以为是元代王振鹏（活动于十四世纪前半），及柯九思（1290－1343）作品，然画中已见明代仇英（约1494－1552）影响，推测应为十六世纪后苏州托名之作。",[23,7,24,25,27,26,28,75,78,79,82,198,278,10973],"景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb935cec3f8c3cf1b21654d10eed78a.jpg","高53.8隔12本893隔12拖127厘米",[36,90],{"id":10978,"slug":10979,"title":1127,"dynasty":114,"author":274,"museum":20,"description":10980,"tags":10981,"thumbUrl":10982,"material":27,"size":10983,"collection":88,"collections":10984,"showCount":10875,"zanCount":40,"manualWeight":40,"mainColor":62},221226,"shan-shui-tu-xia-gui-221226","夏圭 (公元12世纪末-13世纪初) 亦称夏珪,字禹玉,钱塘(今浙江杭州)人,生卒不详,宁宗赵扩 (1195-1224)朝时画院待诏,赐金带。以擅绘山水而与同代的李唐、刘松年、马远一起被并称为“南宋四家”。在四家之中,夏圭以善于剪裁与美化自然景物的“边角景”构图,与同僚马远齐名,号称“马夏”。《山水家法》论他“气韵尤高,宜为一代名士”;《图绘宝鉴》评他:“院人中画山水,自李唐以下无出其右者也”,以此可见其在画史之中的地位。夏圭在画史之中的地位虽然显赫,但存留作品不多,且历来学术界对他的作品存在很大争议,直至目前尚很少有作品被一致公认是他的真迹。",[23,7,24,51,75,277,73,80,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95425229909f712a7e6095adf133d631.jpg","245x59.2",[88,286],{"id":10986,"slug":10987,"title":10988,"dynasty":67,"author":10989,"museum":260,"description":10990,"tags":10991,"thumbUrl":10992,"material":34,"size":10993,"collection":88,"collections":10994,"showCount":10875,"zanCount":541,"manualWeight":40,"mainColor":62},219716,"song-xi-qin-ke-tu-xie-shi-chen-219716","松溪琴客图","谢时臣","危峰层叠巍峨，苍松盘桓于崖壁间，飞瀑隐入烟岚。中部水面空濛留白，汀渚间楼宇半掩，将山野空寂的悠远铺展开来。近岸老松郁茂，清溪蜿蜒穿林，松下雅士围坐，琴韵似随溪水潺潺漫溢山林。\n\n笔墨兼取刚劲与秀润，皴擦点染勾勒出山石肌理的苍劲，淡墨晕染烟霭，虚实相生间，将雄阔山水之壮与林泉雅集之逸相融，把文人寄情丘壑、静享幽居的意趣藏进每一处留白，绘就出一卷兼具大气与闲雅的山居清景。",[24,51,7,52,277,27,73,75,609,79,313,28,278,82,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa866c2cd2f276fdb3cca85d0d64f70.jpg","141x71.1厘米",[88],{"id":10996,"slug":10997,"title":10998,"dynasty":114,"author":1216,"museum":395,"description":10999,"tags":11000,"thumbUrl":11001,"material":666,"size":11002,"collection":106,"collections":11003,"showCount":10875,"zanCount":40,"manualWeight":40,"mainColor":993},218998,"xuan-ya-le-ma-tu-li-gong-lin-218998","悬崖勒马图","墨线如铁线缠枝，于素绢上勾勒出悬崖边的瞬间张力。骏马昂首奋蹄，鬃毛飞扬间似有嘶鸣溢出，前蹄悬于虚空的刹那，被笔锋精准定格。牵马者衣袂飘举，身姿微倾间与马同承风势，腕间缰绳若有若无，却牵住满幅屏息时刻。悬崖皴擦淡远，衬得人马动态愈显鲜明。宋画雅致不止静穆，更在这动中藏定的禅意——勒马非止控身，更是收心。素绢留白恰是心绪回旋余地，墨色浓淡间，见画者以线塑魂的功力，亦见宋代文人对“止”与“悟”的哲思，笔端藏锋，意韵悠长。",[7,24,51,52,510,277,215,28,53,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff787966bf24640bcbb1304f1af0dc9ca.jpg","纵44.7横24.8cm",[106],{"id":11005,"slug":11006,"title":11007,"dynasty":114,"author":181,"museum":20,"description":11008,"tags":11009,"thumbUrl":11010,"material":34,"size":11011,"collection":175,"collections":11012,"showCount":10875,"zanCount":1065,"manualWeight":40,"mainColor":41},218838,"yue-ming-jin-su-tu-yi-ming-218838","月明金粟图","这幅画描绘了山中的一轮明月，一枝金桂（又称金粟）从天而降，香气远扬。其构图在古代和现代的折叠式微型画中是独一无二的，折叠式花枝伴随着远山、云彩和月亮。",[23,7,24,51,768,26,27,1570,412,265,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffe1f4cf683153ff158daeb9f1f5bf1.jpg","21.7x23.8",[175,106],{"id":11014,"slug":11015,"title":11016,"dynasty":114,"author":878,"museum":132,"description":5276,"tags":11017,"thumbUrl":11018,"material":317,"size":907,"collection":122,"collections":11019,"showCount":11020,"zanCount":40,"manualWeight":40,"mainColor":62},289358,"xue-jing-tu-han-xi-mei-xiang-ma-yuan-289358","雪景图（寒溪梅香）",[7,24,277,75,1357,81,80,647,278,79,73,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd288b946405b599d6d3edc3dfbf95485.jpg",[],72,{"id":11022,"slug":11023,"title":11024,"dynasty":67,"author":68,"museum":132,"description":11025,"tags":11026,"thumbUrl":11027,"material":317,"size":907,"collection":122,"collections":11028,"showCount":11020,"zanCount":530,"manualWeight":40,"mainColor":41},287415,"wu-xing-er-shi-ba-xiu-shen-xing-tu-juan-chou-ying-287415","五星二十八宿神形图卷","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,7,24,51,25,26,27,28,1046,370,472,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4967584eda0c680dc86ba4f997b558d.jpg",[],{"id":11030,"slug":11031,"title":11032,"dynasty":293,"author":1556,"museum":260,"description":11033,"tags":11034,"thumbUrl":11035,"material":611,"size":11036,"collection":122,"collections":11037,"showCount":11020,"zanCount":541,"manualWeight":40,"mainColor":62},232771,"hua-hui-cao-chong-tu-juan-qian-xuan-232771","花卉草虫图卷","钱选是宋末元初著名画家，与赵孟頫、王子中、牟应龙、肖子中、陈天逸、陈仲信、姚式并称为“吴兴八俊”。\n钱选人品及画品皆称誉当时。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。\n钱选的花鸟画成就最高，是元代继承宋代设色工笔花鸟画这一派中的代表人物。钱选特别善作折枝花木，是一位技法全面的画家。他的《花鸟图》所画花鸟用笔尽劲，细洁而光润，设色淡雅清丽，精巧传神。",[23,7,24,51,25,27,26,198,199,200,247,711,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9613502e8f0012e70f2245d5e7d000f1.jpg","纵26.8厘米，横120厘米",[],{"id":11039,"slug":11040,"title":11041,"dynasty":67,"author":9980,"museum":132,"description":11042,"tags":11043,"thumbUrl":11044,"material":122,"size":122,"collection":122,"collections":11045,"showCount":11020,"zanCount":1065,"manualWeight":40,"mainColor":41},228872,"lan-zhu-tu-juan-wen-zheng-ming-228872","兰竹图卷","此卷以水墨写就兰竹，通幅铺陈疏密有致。墨竹或劲挺纵逸，或垂叶萧萧，以浓淡墨色区分前后层次，尽显风过篁林的灵动之态。兰草随势穿插于竹石间，笔致柔婉舒展，暗香幽然自生。\n\n卷尾行书题跋笔意秀雅流畅，与画境相得益彰，书画合璧尽显文人雅致。全作用笔清劲秀逸，以极简水墨托出兰竹君子清介之姿，将画者冲淡平和的襟怀寄于毫端，萧散清逸的幽致扑面而来，尽显文人写意的风雅意趣。",[23,7,24,51,25,277,118,228,53,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83d42f07b1f36ad1f0ed4b8c48e3d8b.jpg",[],{"id":11047,"slug":11048,"title":11049,"dynasty":67,"author":68,"museum":20,"description":11050,"tags":11051,"thumbUrl":11054,"material":736,"size":11055,"collection":36,"collections":11056,"showCount":11020,"zanCount":11,"manualWeight":40,"mainColor":41},228445,"di-wang-dao-tong-wan-nian-tu-ce-chou-ying-228445","帝王道统万年图册","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等20为中国历史名主的画像和事迹",[7,24,51,100,26,27,28,55,11052,11053,30],"铜制","屋宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63189a24bb1d7c00253398001e840c12.jpg","共20开，每开32.5＊32.6ＣＭ",[36],{"id":11058,"slug":11059,"title":11060,"dynasty":46,"author":11061,"museum":132,"description":11062,"tags":11063,"thumbUrl":11064,"material":122,"size":122,"collection":122,"collections":11065,"showCount":11020,"zanCount":40,"manualWeight":40,"mainColor":993},228320,"yu-xie-hua-cao-tu-ce-bian-shou-min-228320","鱼蟹花草图册","边寿民","此作用朱砂绘就秋花，笔致朴拙洗练，叶片舒展顾盼有情，将草木摇曳之姿尽显于纸上。枝干苍劲古雅，带着随性自然的笔墨情致，淡墨题款错落排布，与画作相映成趣，雅致清逸。\n\n虽仅绘一花一枝，却将秋意的疏朗与草木的生机相融，文人意趣盎然，尽显闲淡超逸的审美意韵。以简驭繁，把草木风姿与文人雅怀融为一体，笔墨间尽显写意画的空灵雅致，带着澹泊天真的文人风骨。",[7,24,51,100,27,137,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8f9868f959e1211d78469c11f99cc1.jpg",[],{"id":11067,"slug":11068,"title":11069,"dynasty":114,"author":181,"museum":20,"description":11070,"tags":11071,"thumbUrl":11073,"material":736,"size":11074,"collection":122,"collections":11075,"showCount":11020,"zanCount":1065,"manualWeight":40,"mainColor":62},227553,"nei-ren-shuang-lu-tu-gao-qing-chang-juan-yi-ming-227553","内人双陆图（高清长卷）","该画描绘了唐装贵族妇女以棋戏消遣的生活。图中间为二盛装贵族妇女对坐行棋，左右有亲近观棋，侍婢应候。",[23,7,24,51,25,26,27,28,904,55,30,11072],"游戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa27a712d7149fa45d5a57a0744f2417c.jpg","纵30.7厘米，横64.4厘米",[],{"id":11077,"slug":11078,"title":11079,"dynasty":18,"author":1323,"museum":132,"description":11080,"tags":11081,"thumbUrl":11082,"material":122,"size":122,"collection":122,"collections":11083,"showCount":11020,"zanCount":40,"manualWeight":40,"mainColor":62},226702,"hu-shan-chun-xiao-tu-ju-ran-226702","湖山春晓图","《五代·巨然湖山春晓图》是216年安徽美术出版社出版的图书，作者是陈传席。\n《五代·巨然 湖山春晓图》没有作为主骨干的山石轮廓线，皴染较简，云雾留白，主要以淡墨描绘出山川炯润之意。\n树干勾染，树叶用墨点簇而成，画面清淡。\n从风格上来判定，此图应是元代以后的仿古之作。",[23,7,24,51,52,277,27,73,1713,75,297,298,279,281,609,82,280,1737,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],{"id":11085,"slug":11086,"title":11087,"dynasty":67,"author":899,"museum":212,"description":11088,"tags":11089,"thumbUrl":11091,"material":1061,"size":11092,"collection":88,"collections":11093,"showCount":11020,"zanCount":541,"manualWeight":40,"mainColor":41},222356,"cao-wu-pu-tuan-tu-tang-yin-222356","草屋蒲团图","绘江南初秋之景色。前景画茅屋于山麓，屋内一文士抱膝坐于蒲团晨读。人物刻划生动，双目炯炯有神，衣纹线描流畅有力。茅屋左面巨石竖立，五株墨竹拔地参天，笔墨苍劲，虚实得当，时隐时现，给人以动感。背景用水墨烘染群山，山腰间云雾飘动，富于变化;山谷间飞泉直泄，形成清溪，环绕草屋湍流而过。整个画面环境幽雅、清静，给人以浑厚、凝重之感。唐寅，字伯虎，又字子畏，号六如居士，桃花庵主，生于明成化六年(1470)，卒于嘉靖二年(1523)。他是位很有才华的画家，初师沈周，后学周臣，远宗李唐、刘松年，近攻元四家，山水、花鸟、人物、仕女无所不精，在技法上虽取法前人，但不落尘俗，自出新意。从唐氏传世作品看，多见雅淡、秀润、细腻，而此作却多雄浑、凝重，这在唐氏作品中还是极为少见的。此图右上端作者自题：“虚亭林木里，傍水着栏干，试展团蒲坐，叶声生早寒”。五言诗一首。下钤“吴趋”、“唐居士”、“南京解元”印三方。此作品的创作时间，应在唐寅四十岁左右。",[23,7,24,51,52,277,27,73,75,28,11090,3195,278,82,279,78],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f4e471afd9024c518a44d2335c9ae3.jpg","84x52",[88,286],{"id":11095,"slug":11096,"title":11097,"dynasty":114,"author":5988,"museum":20,"description":11098,"tags":11099,"thumbUrl":11100,"material":2232,"size":11101,"collection":175,"collections":11102,"showCount":11020,"zanCount":1065,"manualWeight":40,"mainColor":41},221465,"si-mei-tu-juan-quan-juan-yang-wu-jiu-221465","四梅图卷全卷","四梅花图画面分四段画梅，自题跋语中说：“范瑞伯要予画梅四枝，一未开，一欲开，一盛开，一将残。”四梅纯以水墨绘成，花朵作白描圈线，不加晕染，即为“圈花法”，用笔轻快洗练，毫不拘板。新枝用劲直线条一笔写成，极为挺秀。粗干则用“飞白法”，显笔复加乾皴，虚实相间，墨色变化丰富。全幅呈现出匀协恬静、清淡闲野的气氛，诚如时人所谓的“村梅”格调。作品有借梅言情、迟暮感伤之意。",[23,7,24,51,25,277,510,383,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21caf8fd4f408a77f793104e6fbc872.jpg","纵27.2厘米，横358.8厘米",[175,106,90],{"id":11104,"slug":11105,"title":11106,"dynasty":114,"author":11107,"museum":132,"description":11108,"tags":11109,"thumbUrl":11112,"material":11113,"size":11114,"collection":175,"collections":11115,"showCount":11020,"zanCount":40,"manualWeight":40,"mainColor":62},221224,"yan-jiang-yu-yu-tu-ye-pu-an-221224","烟江欲雨图页","朴庵","整幅画笔墨奔放，气势磅礴，水墨迈阿密的效果淋漓尽致。是南宋马夏一派",[23,7,24,51,100,277,73,75,82,11110,648,11111,80],"江面","烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da05bc26f2c363a81a72b51990a6dbb.jpg","绢本墨笔","纵24.9厘米、横26.3厘米",[175,88,286],{"id":11117,"slug":11118,"title":11119,"dynasty":114,"author":721,"museum":195,"description":11120,"tags":11121,"thumbUrl":11122,"material":34,"size":11123,"collection":90,"collections":11124,"showCount":11020,"zanCount":40,"manualWeight":40,"mainColor":62},219745,"lou-tai-ye-yue-tu-wan-shan-ye-ma-lin-219745","楼台夜月图纨扇页","《楼台夜月图》为一小景图纨扇页，裁取亭廊台谢的一角之景，图上高柳擢秀、明月当空、山岩稍露、长廊俯见其顶、台榭俨然。在用笔上，岩石以斧劈皴法、亭榭以工稳的界笔画法，树叶全以点缀法，远山烘青，渲染设色，高空浩月，杨柳林中隐约可见楼台复道亭园之景，为马麟的精丽之作。",[24,7,51,768,27,855,75,77,1570,82,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575197ec72f706dcbff331880e1f0f61.jpg","纵24.5厘米，横25.2厘米",[90],{"id":11126,"slug":11127,"title":11128,"dynasty":114,"author":11129,"museum":507,"description":11130,"tags":11131,"thumbUrl":11132,"material":250,"size":11133,"collection":106,"collections":11134,"showCount":11020,"zanCount":1065,"manualWeight":40,"mainColor":41},219542,"shui-xian-tu-zhao-meng-jian-219542","水仙图","赵孟坚","全幅绘水仙，其上的留白空间将整幅长卷分成三个部分，每个部分又有三组水仙。第一部分较为稀疏，水仙花茎端方可爱，花叶舒展自然。第二部分的第一组水仙，前后排布，其下鼓起了一些小土坡。第三部分的水仙花和第二部分的第一组水仙花叶相似，穿插密实而错落有致，较为孤立。",[23,7,24,51,25,510,277,2067,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a6518f83bf7b9332ac84bcd8ddc655.jpg","34.1 × 993.6 cm",[106],{"id":11136,"slug":11137,"title":11138,"dynasty":67,"author":2087,"museum":2700,"description":11139,"tags":11140,"thumbUrl":11142,"material":34,"size":11143,"collection":106,"collections":11144,"showCount":11020,"zanCount":1065,"manualWeight":40,"mainColor":62},219091,"mei-zhu-zhi-ji-tu-lv-ji-219091","梅竹雉鸡图","画面中，雉鸡翎羽斑斓，纤毫毕现，顾盼间神采奕奕，似欲振翅。旁侧梅枝遒劲，蕊瓣凝霜带露，红白相映，清雅动人；竹篁翠影婆娑，叶片舒展如剑，与梅枝交错成趣。背景淡墨晕染，山石轮廓隐约，既衬出前景花鸟的工致，又添悠远意境。工笔与写意相融，浓淡相宜，细节处见精巧，整体中显生机，仿佛能闻梅香浮动，听竹风轻吟，观雉鸡闲步，一派自然生趣跃然绢素，尽显明代院体画的雅致与活力。",[23,24,7,51,1455,26,368,27,383,53,6310,278,3490,11141],"生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89d86fad1a49b299371ea8c1d3f18c7.jpg","纵151.1横100.3厘米",[106],{"id":11146,"slug":11147,"title":11148,"dynasty":18,"author":9171,"museum":195,"description":11149,"tags":11150,"thumbUrl":11151,"material":34,"size":11152,"collection":106,"collections":11153,"showCount":11020,"zanCount":40,"manualWeight":40,"mainColor":62},218758,"diao-ma-tu-zhao-nie-218758","调马图","胡服男子侧身而立，一手牵缰，一手微抬似在调驯，衣袂飘举间藏着草原的风意。骏马体态雄健，花斑皮毛以淡墨晕染，浓墨点簇斑纹，鬃尾轻扬，四蹄稳健，似有奔腾欲出之势。线条细劲流畅，兼具刚柔——人物衣纹转折利落，神情内敛沉稳；马的肌肉轮廓隐于笔墨间，皮毛质感温润如触。背景朱红印章错落，虽经岁月磨洗，却为古画添了历史厚重，仿佛窥见它辗转藏家之手的痕迹。整幅画简约却精妙，绢本底色古朴，人与马的默契在笔墨里流转，似无声诉说着草原与骏马的旧时光，尽显五代画马的神韵。",[23,7,24,26,27,28,215,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5154a5e27357cf871cc7c7491efae8d6.jpg","29.5x49.4cm",[106],{"id":11155,"slug":11156,"title":11157,"dynasty":67,"author":181,"museum":260,"description":11158,"tags":11159,"thumbUrl":11162,"material":34,"size":2976,"collection":122,"collections":11163,"showCount":11020,"zanCount":1065,"manualWeight":40,"mainColor":62},218277,"ba-xian-tu-dui-fu-zhi-you-yi-ming-218277","八仙图对幅之右","这幅画描绘了铁拐李、汉钟离、曹国舅和蓝采和，铁拐李的宝葫芦露出了他的替身。",[7,24,51,52,3387,26,27,28,11160,31,1547,11161,2031],"八仙","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9be561a77dd0809ce682eb36fbac64b.jpg",[],{"id":11165,"slug":11166,"title":11167,"dynasty":67,"author":8327,"museum":20,"description":11168,"tags":11169,"thumbUrl":11170,"material":34,"size":11171,"collection":106,"collections":11172,"showCount":11020,"zanCount":40,"manualWeight":40,"mainColor":62},216217,"san-yang-tu-zhu-zhan-ji-216217","三羊图","三羊图是明朝朱瞻基所作的一幅画。这幅画描绘了三只羊在草地上吃草，背景是一片美丽的山景。三羊图被认为是朱瞻基最优秀的作品之一，其细腻的笔巧和生动的写实手法得到了广泛的赞誉。这幅画象征着平静和安宁，也被认为是对中国传统和谐社会的赞颂。",[7,24,51,52,27,26,28,3630,135,281,5324,472,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c63505c5c8038bbaf86c97b7a1cf2b.jpg","105.3x58.3cm",[106],{"id":11174,"slug":11175,"title":11176,"dynasty":293,"author":1577,"museum":132,"description":11177,"tags":11178,"thumbUrl":11179,"material":317,"size":907,"collection":122,"collections":11180,"showCount":11181,"zanCount":40,"manualWeight":40,"mainColor":62},288978,"xie-you-yu-qiu-he-tu-zhao-meng-fu-288978","谢幼舆丘壑图","《谢幼舆丘壑图》画江岸峰峦秀起，雾霭微茫，江面平静如镜。境界旷远。整个画面宛如宇宙万象被过滤提升成晶莹剔透般充满着音乐性的宁静世界。笔法秀润、清旷，虽系学李成、郭熙 画法而来，但一变宋人工整刻划之体。\n该图绘东晋谢鲲故事。鲲字幼舆，好老庄，善奏琴，寄迹山林。图绘茫茫山川， 荫荫松林，幼舆独坐水畔丘壑，观水流潺潺，听松涛阵阵，意态悠闲，神性超脱。图卷布局甚奇，绘法古拙，学晋、唐风格，一洗宋人旧习。",[7,24,25,72,27,75,609,28,9369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1102a9d9b42da6940a786b6d7fe6427.jpg",[],71,{"id":11183,"slug":11184,"title":11185,"dynasty":114,"author":11186,"museum":132,"description":11187,"tags":11188,"thumbUrl":11190,"material":317,"size":907,"collection":122,"collections":11191,"showCount":11181,"zanCount":1065,"manualWeight":40,"mainColor":62},288540,"qiu-jiang-yu-ting-tu-xu-dao-ning-288540","秋江渔艇图","许道宁","此画将一望无际的山峰罗列于江岸，挺拔陡峭，险峻之极。山头用竖直细线皴出，也就是肺胃的“峰头直皴而下”，用笔之挺劲突出了岩石坚硬锋利的质感。山坡上，楼阁精致，树木峥嵘；两山间，潺潺的溪流由近及远婉转地汇入江中。平静的江面上有一窄小的木桥，两位行者正从桥上走过；江中几只渔舟游弋，上面忙碌的人像是在捕鱼。所有的景物都被描绘得既自然又贴切，显得那么和谐。",[23,7,24,25,277,497,73,75,426,80,647,11189,1525,3037],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11d66b790819b514ce094377a357ca9.jpg",[],{"id":11193,"slug":11194,"title":11195,"dynasty":46,"author":10562,"museum":132,"description":11196,"tags":11197,"thumbUrl":11198,"material":317,"size":907,"collection":122,"collections":11199,"showCount":11181,"zanCount":40,"manualWeight":40,"mainColor":62},288499,"mei-hua-tu-li-zhou-wang-shi-shen-288499","梅花图立轴","汪士慎（1686—1759）清代著名画家，书法家。字近人，号巢林、溪东外史等，汉族，安徽休宁人，寓居扬州。\n工分隶，善画梅，神腴气清，墨淡趣足。暮年一目失明，仍能为人作书画，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。有《巢林集》。与罗聘、李方膺、李鱓、金农、黄慎、高翔和郑燮并称”扬州八怪“。",[23,24,51,7,52,277,102,383,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce92462c168f27ae0eaae5b49de4644d.jpg",[],{"id":11201,"slug":11202,"title":11203,"dynasty":46,"author":2636,"museum":151,"description":11204,"tags":11205,"thumbUrl":11213,"material":217,"size":11214,"collection":122,"collections":11215,"showCount":11181,"zanCount":40,"manualWeight":40,"mainColor":41},234912,"qian-long-huang-di-she-lie-tu-zhou-lang-shi-ning-234912","乾隆皇帝射猎图轴","《乾隆皇帝射猎图》是清代 等人创作的绢本设色画，现收藏于 。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[24,51,7,52,526,26,27,11206,11207,28,215,11208,11209,82,4731,5607,11210,11211,11212],"中西合璧技法","写实风格","弓箭","射猎场景","自然景物","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","25.7×33厘米",[],{"id":11217,"slug":11218,"title":11219,"dynasty":46,"author":2636,"museum":132,"description":11220,"tags":11221,"thumbUrl":11222,"material":122,"size":122,"collection":122,"collections":11223,"showCount":11181,"zanCount":1065,"manualWeight":40,"mainColor":62},230203,"qian-long-huang-di-da-yue-tu-lang-shi-ning-230203","乾隆皇帝大阅图","《乾隆皇帝大阅图》是清代画家 创作的一幅绢本设色画，现收藏于 。\n此图画的是乾隆皇帝于他即位后的第四年（179年）首次去南苑检阅八旗官兵时的雄姿。\n乾隆全副武装，佩带弓箭，威风凛凛，气度不凡。\n全图以鲜艳明丽的色泽，细密工致的笔触描绘这位29岁青年君主的形象，人物及马匹富有立体感，明显看出是采用了欧洲的明暗画法；衣服、头盔、皮毛等质感很强；背景中天空的云霭，色彩丰富多变。\n《乾隆皇帝大阅图》所画为乾隆皇帝骑马的形象。\n他头戴金盔，身穿铠甲，骑在骏马上，全副武装，佩带弓箭检阅八旗官兵时的雄姿。\n清高宗乾隆作为清入关后的第四任皇帝，始终认为“骑射乃满洲之根本”，为此，极其重视军队的建设，通过南苑阅兵、木兰秋狝、南海冰嬉等种种活动，来促使八旗兵保持强大的战斗力。\n依照本图的御制诗可知，该图描绘的是乾隆亲临南苑（今北京南）检阅八旗将士时的英武之姿。\n此次大阅正值清军与西域的霍集占兄弟激烈交战之际，所以，高宗乾隆除按惯例巡视八旗军的队列及各种兵器、火器的操练活动外，还暗含有向叛军炫耀清王朝的实力与军威之意。\n在南苑第一次大阅后，便命令宫廷画家朗世宁画此画。\n画中乾隆帝和马，西洋画风浓厚，十分细腻，运用中国的毛笔、纸绡和色彩，却能以欧洲的绘画方法注重对象的解剖结构和立体感的表达。\n在光线的运用上则与欧洲面法有所不同，欧洲商家喜欢表现人物脸部在特定的光线照射下分明的凹凸感，而传统的中国“写真”技艺，则要求被画者是不受光线变化常态下的相貌。\n因此，郎世宁适当地吸取了传统中国“写真”技艺的表现手法，所画人物均取正面光照，使人面面部五官清晰，画得相当精致笔触细腻柔和，又注意体面结构和立体效果，衣服的质感也很强。\n以细密的短线，按照素描的画法来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅来表现马匹的立体感和厚重感来画马。\n人物乾隆，则在造型上比较严谨，注重解剖机构，非常的写实符合解剖学的比例。\n画作体现中西绘画相互渗透并趋向相融合，融合的结果是绘画的审美追求朝着“写实”的方向发展。\n教授刘伟宏：郎世宁用中西融合的画法所画的《乾隆皇帝大阅图》，描绘了乾隆皇帝举行盛大阅礼的场面，具有独特的艺术魅力。\n明末清初，传教士的进入促进了西方古典主义写实绘画技法与中国传统绘画技法的融合与发展，一改传统中国画的笔墨及线描风格。\n这个时期绘画的主要特点集中在记实性，其中发展较为瞩目的题材包括装饰性壁画、人物风俗、人物肖像、战功图及祭祀等。\n《乾隆皇帝大阅图》从造型、明暗、构图及透视等方面详细阐述西方绘画技法对中国画的影响，体现了西方绘画技法促进了中国画对光影元素的运用、明暗和透视法的兴起以及色彩的广泛使用。\n郎世宁（1688—1766），原名朱塞佩·伽斯底里奥内，生于米兰。\n清康熙帝五十四年作为天主教耶稣会的修道士来中国传教。\n随即入宫进入如意馆，成为宫廷画家，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾峰帝时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》等。",[23,7,24,51,26,27,28,215,4005,75,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb27b0558240e575c4f488632ba8c11.jpg",[],{"id":11225,"slug":11226,"title":11227,"dynasty":114,"author":878,"museum":132,"description":11228,"tags":11229,"thumbUrl":11230,"material":122,"size":122,"collection":122,"collections":11231,"showCount":11181,"zanCount":40,"manualWeight":40,"mainColor":993},227824,"qiu-jiang-dai-du-tu-ye-ma-yuan-227824","秋江待渡图页","此作以边角取景，尽显空灵澹远之意趣。虬松扎根危崖，枝干苍劲扭转，松叶攒簇间带着秋意萧疏。远山以淡墨轻勾慢染，晕出朦胧黛色，江岸留白成阔朗秋水，愈衬出天地清寂。水岸泊着孤舟，舟上旅人静坐待渡，将羁旅闲愁融于冷寂江天之中。淡赭设色晕出秋日氛围感，笔致简劲秀逸，以少胜多，寥寥笔墨便勾勒出幽远无尽的诗意余韵，将山水间的清冷闲雅尽数藏于尺幅之间。",[23,24,7,51,100,277,73,27,75,80,1059,278,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F986bccab4158b6928756c26c3978e0d8.jpg",[],{"id":11233,"slug":11234,"title":11235,"dynasty":46,"author":11236,"museum":507,"description":11237,"tags":11238,"thumbUrl":11243,"material":611,"size":11244,"collection":36,"collections":11245,"showCount":11181,"zanCount":1065,"manualWeight":40,"mainColor":62},222872,"chun-ge-juan-du-zhou-leng-mei-222872","春阁倦读轴","冷枚","图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。图中人物比例匀称，衣纹线条圆润流畅，可以看出画家的深厚功底。而背景的描绘也显得独具匠心，无论悬于墙上的画幅、笛子，还是膝下的小犬都不是可有可无之物，图中人物的生活情趣和身份均由此得到印证。此作如此精妙地刻画出人物的精神层面，无疑堪称人物画佳作。",[23,526,7,24,51,52,26,27,28,29,3220,103,11239,11240,11241,11242,684],"桌","凳","瓶","书卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866bd4a4449c988942f5f5abcf3da75a.jpg","170x100cm",[36],{"id":11247,"slug":11248,"title":11249,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":11250,"thumbUrl":11251,"material":27,"size":2642,"collection":122,"collections":11252,"showCount":11181,"zanCount":40,"manualWeight":40,"mainColor":41},222744,"xian-e-chang-chun-tu-03b-lang-shi-ning-222744","仙萼长春图-03b",[23,7,24,51,26,27,102,241,84,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00506c220c38058c15ebc098e593bc75.jpg",[],{"id":11254,"slug":11255,"title":11256,"dynasty":67,"author":966,"museum":212,"description":11257,"tags":11258,"thumbUrl":11259,"material":34,"size":11260,"collection":106,"collections":11261,"showCount":11181,"zanCount":1065,"manualWeight":40,"mainColor":479},221885,"dou-cao-tu-chen-hong-shou-221885","斗草图","这幅画作描绘的是端阳时节，仕女五人围坐石下斗草为戏的情节。人物神态生动微妙，各具神韵。湖石上盘曲老松，质量厚实，与疏朗的人物布局构成鲜明的对比，有利于打破构图的呆板。陈氏画风变形夸张，用笔谨劲连绵，如行云游丝，转折有力；设色艳而不俗。此作正是画家典型风格的代表作。款署[庚寅秋，老莲洪绶画于护兰书堂]。庚寅为清顺治七年，系公元一六五○年，陈洪绶时年五十三岁。款下钤[洪绶]朱文长方印。",[23,7,24,51,26,510,27,29,609,278,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0622469e201b8215901cfacb0c5aa797.jpg","纵134.3、横48厘米",[106,90],{"id":11263,"slug":11264,"title":11265,"dynasty":114,"author":1160,"museum":20,"description":11266,"tags":11267,"thumbUrl":11270,"material":611,"size":11271,"collection":175,"collections":11272,"showCount":11181,"zanCount":1065,"manualWeight":40,"mainColor":62},221549,"luo-han-tu-1-liu-song-nian-221549","罗汉图1","该图画一罗汉，长眉深目，头角峥嵘，伏倚枯枝。旁绘一小僧展衣接受树上猿猴献果。该图描绘工丽精当，笔法劲秀。背景设色以墨为主。层层渲染，纯净明丽。人物则以敷彩为主，墨染为辅，对比明媚雅致",[23,7,24,678,1045,26,27,11268,11269,10174,4371],"罗汉","僧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a28b401aad44e929fc003a7cb38ace.jpg","纵117公分，横55.8公分",[175,106,90],{"id":11274,"slug":11275,"title":11276,"dynasty":114,"author":4689,"museum":7613,"description":5311,"tags":11277,"thumbUrl":11278,"material":611,"size":11279,"collection":175,"collections":11280,"showCount":11181,"zanCount":1065,"manualWeight":40,"mainColor":62},221302,"shan-zhuang-tu-ye-yi-yuan-ji-221302","山庄图页",[23,24,51,7,27,73,75,78,79,278,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f88332f8b93c6ca6e62d137e999a3fc.jpg","31×30",[175,88,90],{"id":11282,"slug":11283,"title":11284,"dynasty":114,"author":11285,"museum":395,"description":11286,"tags":11287,"thumbUrl":11289,"material":34,"size":122,"collection":106,"collections":11290,"showCount":11181,"zanCount":1065,"manualWeight":40,"mainColor":479},219309,"luo-hua-you-yu-tu-zhao-ke-fu-219309","落花游鱼图","赵克复","鱼儿鲜艳活泼，红花顺流而下，画面气势磅礴。 整幅画是水，不是一笔一划，而是海藻随波逐流，鱼群追逐，红花飘扬。 这是非常生动的。 所有的绘画方法都是渲染的，而不是轮廓。",[24,7,27,26,102,1179,11288,890],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140f4302cb2d72fab458841216deaf68.jpg",[106],{"id":11292,"slug":11293,"title":11294,"dynasty":293,"author":7404,"museum":132,"description":11295,"tags":11296,"thumbUrl":11297,"material":34,"size":11298,"collection":36,"collections":11299,"showCount":11181,"zanCount":40,"manualWeight":40,"mainColor":62},218447,"ming-huang-guan-ji-tu-zhao-yong-218447","明皇观鸡图","两位人物和马匹的技法是用方正的铁线来描绘的，线条粗壮而精细，更让人联想到北宋李公麟柔和细腻的笔触，表现出人物的大衣、马匹的鬃毛和尾巴在风中飞舞的动作。色彩呈现出唐代的富丽堂皇，又不失文人的优雅，将厚重和明亮的色彩融为一体。树木是双层的，线条坚硬有力，继承了李唐甚至马远和夏圭的朴素。",[24,7,51,52,27,26,28,215,1435,135,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9647a159defd4650bccc45e107b570.jpg","118x67",[36],{"id":11301,"slug":11302,"title":11303,"dynasty":293,"author":11304,"museum":11305,"description":11306,"tags":11307,"thumbUrl":11311,"material":34,"size":11312,"collection":88,"collections":11313,"showCount":11181,"zanCount":541,"manualWeight":40,"mainColor":62},218249,"xi-ge-liu-quan-tu-yao-ting-mei-218249","溪阁流泉图","姚廷美","湖北省博物馆","画面氤氲着清寂悠远的气息。远山如黛，云雾若带，将层峦叠嶂晕染得朦胧辽远。飞泉如练自崖壁倾泻，溅起细碎水花，似有泠泠声入耳。溪畔楼阁隐于苍松翠柏间，窗棂半启，仿佛正待幽人凭栏，静听泉石之语。笔墨苍劲中见秀润，干笔皴擦勾勒山石肌理，树木萧疏却含生机，枝桠交错间透出空灵感。水面波光粼粼，几只水鸟悠然游弋，更添野趣。整幅画以山水为载体，寄寓文人淡泊尘俗、寄情林泉的心境，素净色调里藏着深远意境，干笔皴擦与秀润笔墨交织，引人步入那片远离喧嚣的桃源之境，于无声处感受自然与心灵的共鸣。",[7,24,497,277,73,77,78,79,278,279,11308,10664,11309,11310],"水鸟","野趣","林泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b966a8551327c4586de5c5c557bf3d2.jpg","26.7x25.2cm",[88],{"id":11315,"slug":11316,"title":11317,"dynasty":18,"author":1405,"museum":132,"description":11318,"tags":11319,"thumbUrl":11320,"material":317,"size":907,"collection":122,"collections":11321,"showCount":11322,"zanCount":40,"manualWeight":40,"mainColor":479},290292,"xi-an-tu-dong-yuan-290292","溪岸图","《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[23,24,7,75,52,277,278,79,82,81,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9255d946cdf46aa6b96e9d49204902e2.jpg",[],70,{"id":11324,"slug":11325,"title":11326,"dynasty":293,"author":644,"museum":132,"description":11327,"tags":11328,"thumbUrl":11329,"material":317,"size":907,"collection":122,"collections":11330,"showCount":11322,"zanCount":40,"manualWeight":40,"mainColor":41},289441,"nan-an-shuang-shu-tu-ni-zan-289441","南岸双树图","倪瓒(1301～1374)元代画家、诗人。一说初名珽。字泰宇，后字元镇，号云林，又署云林子，或云林散人，别号荆蛮民、净名居士、朱阳馆主、莆闲仙卿、幻霞子、东海农、无住庵主、绝听子、曲全叟、沧海漫士、懒瓒、东海瓒、奚元朗。无锡（今属江苏）人。世居无锡祗陀里，多乔木，建堂名云林，因以云林自号。他一生不做官，其家是吴中有名的富户；但倪瓒不愿管理生产，自称懒瓒，亦号倪迂。性好洁,服巾日洗数次，屋前后树木也常洗拭。家中藏书数千卷，亲手勘定。擅山水、竹石、枯木等，其山水师法董源、荆浩、关仝、创“折带皴”写山石，画树木则兼师法李成，加以发展 ， 画法疏简 ，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[7,24,51,52,277,647,53,56,74,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d55eecf41bf1bce479bcfa86bdf890.jpg",[],{"id":11332,"slug":11333,"title":4839,"dynasty":114,"author":1313,"museum":132,"description":11334,"tags":11335,"thumbUrl":11337,"material":317,"size":907,"collection":122,"collections":11338,"showCount":11322,"zanCount":541,"manualWeight":40,"mainColor":62},288533,"huo-lang-tu-su-han-chen-288533","苏汉臣，北宋末南宋初画家。生卒年不详。汴梁（今河南开封）人，一说为钱塘（今浙江杭州）人。曾为北宋宣和画院待诏，南渡后又复职，隆兴初画佛像称旨，任承信郎。",[23,24,7,26,27,28,1229,11336,103,55,860],"货郎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7455767adc67dca109f33b66a6d8714d.jpg",[],{"id":11340,"slug":11341,"title":11342,"dynasty":67,"author":899,"museum":132,"description":2742,"tags":11343,"thumbUrl":11344,"material":317,"size":907,"collection":122,"collections":11345,"showCount":11322,"zanCount":541,"manualWeight":40,"mainColor":62},287972,"qiu-shan-gao-shi-tu-juan-quan-juan-tang-yin-287972","秋山高士图卷(全卷)",[23,7,24,51,25,27,73,75,80,77,278,82,79,6119,81,119,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],{"id":11347,"slug":11348,"title":11349,"dynasty":46,"author":1344,"museum":132,"description":1345,"tags":11350,"thumbUrl":11351,"material":317,"size":907,"collection":122,"collections":11352,"showCount":11322,"zanCount":40,"manualWeight":40,"mainColor":41},287696,"bai-lu-xiao-niao-tu-li-zhou-zhu-da-287696","白鹭小鸟图立轴",[24,7,51,52,277,102,84,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fbd45d978190e5929c928f8a6bc919.jpg",[],{"id":11354,"slug":11355,"title":11356,"dynasty":18,"author":2623,"museum":132,"description":8316,"tags":11357,"thumbUrl":11358,"material":317,"size":907,"collection":122,"collections":11359,"showCount":11322,"zanCount":40,"manualWeight":40,"mainColor":62},287395,"ye-yan-tu-ye-zhou-wen-ju-287395","夜宴图页",[23,24,7,2613,26,27,28,29,902,32,76,118,119,903],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55dccd52718d026c6ccf8e9eb9557d7d.jpg",[],{"id":11361,"slug":11362,"title":11363,"dynasty":67,"author":1070,"museum":132,"description":11364,"tags":11365,"thumbUrl":11366,"material":122,"size":122,"collection":122,"collections":11367,"showCount":11322,"zanCount":1065,"manualWeight":40,"mainColor":41},231011,"qiu-tang-hua-ya-tu-chen-chun-231011","秋塘花鸭图","此作用淡墨轻铺底色，墨色晕染出花鸭绒羽蓬松柔润，青灰头羽、赭黄喙部鲜亮醒目，鸭身浮沉秋水，憨态悠然，尽显野趣生机。残荷枯黄老叶以赭石、花青晕染，莲蓬挺秀，败菊缀于右上角，淡彩点染出秋意阑珊。汀草、蓼花细笔勾勒，干湿浓淡的墨色交织，衬出水波澹澹。\n\n画作兼工带写，水墨为主略施淡彩，笔意纵逸又不失秀雅，将深秋塘间清寂又鲜活的意趣尽数铺展，笔情墨趣间尽显文人写意的雅致随性，揉合秋日池溏的萧疏与生机，淡远空灵的意境扑面而来。",[7,24,51,52,368,277,27,102,54,5851,1178,2664,3037,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13db65695720260f6c24cc85f7896486.jpg",[],{"id":11369,"slug":11370,"title":11371,"dynasty":114,"author":878,"museum":132,"description":11372,"tags":11373,"thumbUrl":11374,"material":122,"size":122,"collection":122,"collections":11375,"showCount":11322,"zanCount":40,"manualWeight":40,"mainColor":62},227817,"ju-bei-yao-yue-tu-ma-yuan-227817","举杯邀月图","此作用笔极简却意韵悠长，虬曲老梅斜探出崖壁，枝桠硬劲如屈铁，寥寥几笔便写尽枯寒清瘦之态。山坳屋角悬着冷月，清辉漫过嶙峋山石。水畔幽人席地而坐，似将一身襟怀尽数托付给溶溶月色与泠泠波光。\n画师以斧劈皴利落勾勒山石棱角，淡墨晕染出水色空濛，取景只撷边角小景，却以少胜多，把独酌邀月的疏旷禅意凝在咫尺绢本间，将文人寄心林泉、醉忘尘俗的隐逸情怀晕染尽致，空灵悠远的雅寂氛围扑面而来，余韵悠长。",[23,7,24,51,277,27,73,28,75,1570,647,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747cfa4bb3157bd6ddb01ea703372731.jpg",[],{"id":11377,"slug":11378,"title":11379,"dynasty":114,"author":1160,"museum":132,"description":11380,"tags":11381,"thumbUrl":11382,"material":122,"size":122,"collection":122,"collections":11383,"showCount":11322,"zanCount":40,"manualWeight":40,"mainColor":62},227806,"qing-lv-shan-shui-tu-ye-liu-song-nian-227806","青绿山水图页","此作以青绿晕染山峦，淡墨勾勒丘壑轮廓，糅合精工雅致与烟火意趣。春柳垂荫如翠色帷幕，将画面切割出疏密层次，树下行人往来如织，或策马徐行，或驻足交谈，石桥下溪水流淌，三两村人浣洗休憩，鲜活的市井日常跃然纸面。\n\n远景峰峦逶迤，以石青石绿轻敷，敷色秀润沉稳，不见浓艳浮薄，将春日山野的明媚柔丽晕染开来。笔致细巧灵动，把山水之幽与俗世之暖相融，于尺幅之间铺展了一卷生机盎然的春日山居行乐图，尽显春日江南山野的悠然意韵。",[23,7,24,51,2613,72,27,75,28,78,79,215,82,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F485a6a80668b2daa57a22eff4e87382a.jpg",[],{"id":11385,"slug":11386,"title":11387,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":11388,"thumbUrl":11391,"material":317,"size":907,"collection":3417,"collections":11392,"showCount":11322,"zanCount":40,"manualWeight":40,"mainColor":479},225888,"xing-ye-fan-gao-225888","星夜",[7,3410,3411,3412,328,3414,11389,3415,11390],"小镇","夜空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3fba38ba790ea4b66156bf8641b2cb.jpg",[3417],{"id":11394,"slug":11395,"title":11396,"dynasty":1383,"author":6681,"museum":132,"description":6682,"tags":11397,"thumbUrl":11402,"material":317,"size":907,"collection":3417,"collections":11403,"showCount":11322,"zanCount":40,"manualWeight":40,"mainColor":479},225634,"rembrandt-harmensz-van-rijn-043-lun-bo-lang-225634","Rembrandt Harmensz.van Rijn - 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远的山、水以淡墨勾染， 约略朦胧间自然拉开了空间远近的透视关系。梅树枝干虬曲，俯伸的拖枝一直探向水面，水边的几只鹭， 实际上是作为点缀物。画面境界十分幽远开阔。\n此图远处画雪山，空漯一片，近置溪流，冰棱历历，岸边枯荻老树参差，有数只白鹭闲憩，一样卷缩畏寒，表现了中国画习见的荒寒境界。此图亦体现出马远绘画简而刚的特点，山色溪涧皆在烟色微茫中，树取一枝，石取一角，溪出一湾。简率中透露出清旷之旨。用笔草草，只在写意，如树枝虬曲之态勾勒极为生动。\n此图以特写镜头式描绘双鹭在雪滩上栖息的情景。画中左侧上方画有巨石一角，下方还有奇石曲壁，在巨石与奇石之间伸出曲臂老梅一枝及一簇竹丛；在下边的水塘枯苇中有一对白鹭，一只藏在背风的石边苇子中，披着一身白羽，扭头张望，另一只在枯树干边缩颈御寒，虽然图中未见纷飞的雪花，确从老梅枝上的积雪及芦苇中的几处余雪，可见是雪后的河滩边，融雪更比下雪寒。一对白鹭或以静静栖息越冬，或已疲劳后同到雪滩来休息，在画面的上面有一对山雀在梅枝头，一只在俯首瞰视，一只刚落停枝头，发出喳喳叫声，因此引起苇塘中的白鹭昂首张望。但另一只毫无反映，只顾自己静静的酣睡。\n此图以禽鸟为山水之衬景，是融花鸟于山水及诗境的特殊表现形式。此图实景集中于左边角，崖壁与崎岖的石岸，配合着高悬其上的枯树，形成一个开阔的空间，将雪滩和白鹭涵纳其中，远山简单数笔，用淡墨烘出，空漾一片，写出了严寒的景象。\n此图与其他作品一样，在笔墨的运用上也很成功。作者用硬如曲铁的笔触来画树石，山石用浓墨勾出，以大斧劈及小斧劈画出石质坚硬，老梅枝曲枝有疏有密，又显苍老；芦苇用细笔淡墨画之。尤其对白鹭的描绘，在绢素本色上留白，淡墨轻勾，只有嘴及双腿用浓墨细笔画之，仔细观察羽毛绒绒，神态逼真，而且图中不只是一对可见的白鹭，主要是描写鹭鸟在雪滩上栖息时的静态。在梅枝头上的一对山雀，冬雪之后主要是描写他们在秃梅枝之问飞动栖伫的情况。上下两种鸟的姿态，是动静对比，也是画面上色差的对比。网右下方石际有马远款字。曾经明安桂坡、项元汴藏。",[23,24,51,7,277,73,1420,1357,11427,10278,647,281],"滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87344f3b4cf68fea492a2b2e78463c8c.jpg",[175,106,90],{"id":11431,"slug":11432,"title":11433,"dynasty":674,"author":1247,"museum":20,"description":1249,"tags":11434,"thumbUrl":11435,"material":11436,"size":11437,"collection":36,"collections":11438,"showCount":11322,"zanCount":40,"manualWeight":40,"mainColor":62},221135,"jiang-fan-lou-ge-zhou-li-si-xun-221135","江帆楼阁轴",[24,7,51,52,72,27,26,75,77,80,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e663d48c7ef6294ae9f191dc300630.jpg","画布","纵101.9厘米，横54.7厘米",[36,90],{"id":11440,"slug":11441,"title":11442,"dynasty":46,"author":4002,"museum":132,"description":11443,"tags":11444,"thumbUrl":11445,"material":27,"size":122,"collection":106,"collections":11446,"showCount":11322,"zanCount":1065,"manualWeight":40,"mainColor":41},220141,"ling-bo-shui-xian-tu-juan-ren-xun-220141","凌波水仙图卷","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[23,7,24,51,526,25,26,27,102,2067,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49729d30e7c1b1754794c5ec8a67dee3.jpg",[106],{"id":11448,"slug":11449,"title":11450,"dynasty":114,"author":181,"museum":195,"description":11451,"tags":11452,"thumbUrl":11453,"material":34,"size":11454,"collection":88,"collections":11455,"showCount":11322,"zanCount":40,"manualWeight":40,"mainColor":62},219957,"jiang-tian-chun-se-tu-yi-ming-219957","江天春色图","以半边雄奇崖壁衬出半幅浩渺江天，虚实相生间铺展出清旷春景。淡施青绿晕染崖石积雪，冷润雅致，带着残冬未尽的清寒。山腰间隐着两隅茅舍，藏于松云崖岫之间，更衬林泉幽寂。汀岸老松虬曲，板桥卧于浅渚，悠悠生出林下幽居的雅趣。远景山峦以淡墨轻晕，和烟波江色融成一片空濛，将春日江天的静穆辽远晕染尽致，暗合寄情林泉、澄怀观道的山水雅意。",[7,24,51,768,27,73,75,81,78,82,278,3426,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9003bc40ef9f1cd9031a6c367ac98e.jpg","26.4*20.5",[88],{"id":11457,"slug":11458,"title":11459,"dynasty":114,"author":181,"museum":20,"description":11460,"tags":11461,"thumbUrl":11462,"material":34,"size":11463,"collection":175,"collections":11464,"showCount":11322,"zanCount":40,"manualWeight":40,"mainColor":41},218839,"song-xi-you-qi-tu-yi-ming-218839","松溪游骑图","画面描绘了一座横跨溪流的桥梁，高大的松树从溪流岸边的大窠中升起，露出农场的大门和农场的一角，主人正从春天的郊游中返回。这幅画与刘松年的画风相似，与故宫收藏的《四季山水卷》中的春景相似，可以确定是刘松年南宋画派的作品。",[23,24,7,51,75,27,73,697,79,215,278,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3922c2209b73b6b6fb69c2e5b68d4b33.jpg","23.1x25.8",[175],{"id":11466,"slug":11467,"title":11468,"dynasty":114,"author":181,"museum":20,"description":11469,"tags":11470,"thumbUrl":11471,"material":34,"size":122,"collection":106,"collections":11472,"showCount":11322,"zanCount":530,"manualWeight":40,"mainColor":41},218710,"shan-cha-su-niao-tu-yi-ming-218710","山茶宿鸟图","山茶敷彩浓淡相衔，花瓣层叠如染，露蕊轻绽似噙晨露；宿鸟羽纹细缜若织，绒羽软润可触，敛翅栖枝时，眸光凝定，恍与花叶私语。枝叶晕染自然，脉络隐现，墨青交织间衬得花红鸟俏。方寸小品藏天地，写实中蕴诗意：宋画的精微与雅致尽在笔端。静赏时，似闻花叶轻颤，觉鸟羽微动，古典的温润与生机漫溢开来，于清寂里见鲜活，于雅致中藏野趣，尽显宋人观物之细、写意之深。",[23,7,24,51,768,26,27,102,1466,384,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659d3355cd9776da0b6336002c2c162d.jpg",[106],{"id":11474,"slug":11475,"title":11476,"dynasty":114,"author":11477,"museum":132,"description":11478,"tags":11479,"thumbUrl":11480,"material":34,"size":122,"collection":90,"collections":11481,"showCount":11322,"zanCount":541,"manualWeight":40,"mainColor":62},218659,"xi-shan-ye-zhang-tu-zhu-yi-218659","溪山曳杖图","朱义","溪光映带间，楼阁凭水而立，飞檐轻挑流云。虬枝老干上素花堆雪，暗香似随溪风漫溢。崖岫间隐现小亭，与层岩苍松相映，添得几分奇崛。\n\n径边曳杖人缓步而行，衣袂沾着山岚清润，似在细品林泉幽意。远山如黛，烟岚轻笼，江天浩渺处归舟几点，将天地拉得宽闲。\n\n整幅画以淡墨皴染山水，用细笔勾勒亭台人物，素花的留白与山石的浓淡相映成趣。动静之间，藏着宋人的雅致风骨——于山水间寻幽，让身心与自然相融，每一处笔触都似在诉说文人心中的丘壑。\n\n没有喧嚣，只有溪声、松影与步履轻缓，将“天人合一”的意趣，凝在这一方扇面里。",[23,7,24,51,768,27,75,28,81,78,79,383,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf47ca4d9fab18381e6f16e1d10768a0.jpg",[90],{"id":11483,"slug":11484,"title":11485,"dynasty":293,"author":11486,"museum":195,"description":11487,"tags":11488,"thumbUrl":11489,"material":666,"size":11490,"collection":106,"collections":11491,"showCount":11322,"zanCount":40,"manualWeight":40,"mainColor":41},218257,"shu-shi-tu-chen-lin-218257","树石图","陈琳","虬枝枯树斜倚坡石，墨线如铁般盘结交错，似诉岁月沧桑。山石以淡墨晕染，皴擦相间，肌理分明，朴拙中透着空灵。左侧题跋笔意流转，诗画相映，书卷气盎然。整幅作品简而不空，墨色清润，意境萧散淡远。枯树的苍劲与山石的沉稳相融，于静谧间藏生机，尽显文人画的雅致风骨。观之如临清寂山林，心随笔墨沉淀，得一份古雅之趣，笔墨间的留白与晕染，更让画面余韵悠长，耐人寻味。",[24,51,7,277,647,56,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e4aac310bc644eed1f183659092e43.jpg","30.6x49.7cm",[106],{"id":11493,"slug":11494,"title":11495,"dynasty":293,"author":181,"museum":11496,"description":11497,"tags":11498,"thumbUrl":11500,"material":34,"size":11501,"collection":88,"collections":11502,"showCount":11322,"zanCount":1065,"manualWeight":40,"mainColor":62},218218,"cang-ying-wu-zhu-tu-yi-ming-218218","苍鹰梧竹图","山东省博物馆","苍鹰梧竹图是元朝时期的一幅著名图画，作者不详。这幅画描绘了一只苍鹰和一根梧竹之间的关系。苍鹰是一种大型鸟类，通常被认为是捕食者，而梧竹则是一种常见的树种。在这幅画中，苍鹰似乎正在用它的爪子抓住梧竹。",[24,7,51,26,27,102,84,11499,1059,3195],"苍鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca78eed227b0a78bb43d1239104ae986.jpg","146x93cm",[88,106],{"id":11504,"slug":11505,"title":11506,"dynasty":293,"author":9272,"museum":20,"description":11507,"tags":11508,"thumbUrl":11509,"material":34,"size":11510,"collection":36,"collections":11511,"showCount":11322,"zanCount":1065,"manualWeight":40,"mainColor":479},216961,"yuan-an-wo-xue-tu-sheng-mao-216961","袁安卧雪图","袁安在东汉时期来自汝南，被称为邵公。他是河南省的一名官员，是一个善良而有爱心的官员。画中的人身穿大红衣服，骑着马，是洛阳的一名法官。当他在一场大雪中赶到袁安家时，看到他门前的雪还没有被清理干净。邻居们以为袁某死了，于是他们敲门进去了。他问他为什么不出去，回答说不适合打扰别人，因为大家在雪下都很饿。洛阳县令认为他是个有德行的人，就推荐他作为亲属候选人来做这个职位。本画题名为 盛懋，但画风已被明人从其风格中改编。",[24,51,7,52,75,28,1357,82,278,73,277,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae3ebe4b34f0a5a378b181b1a4225e6f.jpg","149x83.8",[36],{"id":11513,"slug":11514,"title":1056,"dynasty":46,"author":11515,"museum":195,"description":11516,"tags":11517,"thumbUrl":11518,"material":666,"size":11519,"collection":88,"collections":11520,"showCount":11322,"zanCount":40,"manualWeight":40,"mainColor":41},214718,"shan-shui-ce-gao-xiang-214718","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[7,24,51,100,277,73,75,82,278,279,648,1996,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a88cf22fa589ab4ab3aa7596243f9d.jpg","纵23.9 厘米，横55.4 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003","人物1-1","残壁之上，两位侍臣敛容垂立，衣褶以平涂晕染勾勒，石绿、朱红与素白交织层叠，古朴色调晕开岁月斑驳。一人握长杆凝神静立，一人执笏板垂目恭谨，柔婉凝练的眉眼线条，将侍奉的端严内敛尽数铺陈。剥落的墙皮裹挟着时光的痕迹，褪去鲜亮的色块沉淀出古拙沉静的气韵，把千年前仪制中的肃穆规整凝于方寸残片，让斑驳的肌理成为岁月的注脚，牵系起古今对大唐礼序的悠悠遐想。",[6389,677,27,28,24,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d72ff99d07e8808cba3c4383efe8dff.jpg",[],{"id":11580,"slug":11581,"title":11582,"dynasty":114,"author":310,"museum":132,"description":11583,"tags":11584,"thumbUrl":11585,"material":122,"size":122,"collection":122,"collections":11586,"showCount":11529,"zanCount":40,"manualWeight":40,"mainColor":62},227494,"shan-shui-tu-zhou-fan-kuan-227494","山水图轴","北宋晚期的《宣和画谱》收录有范宽画作58件，书画家米芾也在其《画史》中记载称见过真迹30件。\n\n目前其流传的作品仅有台北国立故宫博物院收藏的〈谿山行旅图〉为现今艺术史学家所公认。",[23,7,24,51,52,277,27,73,75,80,278,82,5079,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15199fa3c2e2bfaa83fb5e9e78f5236f.jpg",[],{"id":11588,"slug":11589,"title":11590,"dynasty":46,"author":1567,"museum":132,"description":11591,"tags":11592,"thumbUrl":11593,"material":122,"size":122,"collection":122,"collections":11594,"showCount":11529,"zanCount":40,"manualWeight":40,"mainColor":62},224496,"gu-mu-chui-yin-shi-tao-224496","古木垂荫","《古木垂阴图》是清朝的文物， 纵175,横5.7cm。\n古木垂阴图 古木垂阴图 清（1644-1911） 纸本 水墨 纵175,横5.7cm 设色绘近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。\n用笔皴法多变，赋色雅淡。\n右上角有作者长题，石涛（公元164~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。\n善画山水，为清初四画僧之一。",[23,7,24,51,52,277,73,75,4907,278,663,2010,82,2785,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d675bfa825848fc195c23b6950913d6.jpg",[],{"id":11596,"slug":11597,"title":11598,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":11599,"thumbUrl":11600,"material":27,"size":2642,"collection":122,"collections":11601,"showCount":11529,"zanCount":40,"manualWeight":40,"mainColor":41},222748,"xian-e-chang-chun-tu-05b-lang-shi-ning-222748","仙萼长春图-05b",[23,7,24,51,100,27,26,8278,102,384,198,1821,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ff46c0b7d6fa3b8909b3f40b0c5a9.jpg",[],{"id":11603,"slug":11604,"title":11605,"dynasty":67,"author":2218,"museum":151,"description":11606,"tags":11607,"thumbUrl":11609,"material":342,"size":11610,"collection":106,"collections":11611,"showCount":11529,"zanCount":541,"manualWeight":40,"mainColor":41},222036,"kui-shi-xia-die-tu-zhou-dai-jin-222036","葵石峡蝶图轴","此幅画盛开的蜀葵一株，两只蝴蝶翩翩飞舞。\n在戴进的作品中，工笔设色花鸟并不多见，此图用笔细润，色彩清丽，既保留了宋代院体花鸟的工致，又吸收了元代钱选没骨设色的文雅之气。画面下端的湖石纹理粗糙，凹凸有致，与花卉草虫形成鲜明的对比。\n近代何昆玉、庞莱臣《虚斋名画录》卷二著录。",[23,7,24,52,27,26,102,11608,200,56,74],"葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7690becc18ef2b29aaf5e830a77ab9fb.jpg","纵115厘米，横39.6厘米",[106,90],{"id":11613,"slug":11614,"title":2375,"dynasty":114,"author":6856,"museum":1417,"description":11615,"tags":11616,"thumbUrl":11619,"material":611,"size":11620,"collection":122,"collections":11621,"showCount":11529,"zanCount":1065,"manualWeight":40,"mainColor":62},221615,"xue-jing-shan-shui-tu-liang-kai-221615","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。",[23,24,7,75,1357,28,4075,1059,11617,278,277,73,26,11618],"寒溪","荒凉萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb6676a5452362239059e95da23644d.jpg","111.3cmx49.7cm",[],{"id":11623,"slug":11624,"title":11625,"dynasty":674,"author":11626,"museum":151,"description":11627,"tags":11628,"thumbUrl":11629,"material":250,"size":11630,"collection":123,"collections":11631,"showCount":11529,"zanCount":40,"manualWeight":40,"mainColor":62},221088,"meng-zhao-tie-juan-liu-gong-quan-221088","蒙诏帖卷","柳公权","《蒙诏帖》卷，传为唐柳公权书，纸本，行书，纵26.8厘米，横57.4厘米。\n\n释文：\n公权蒙诏, 出守翰林，职在闲冷，亲情嘱托，谁肯响应，深察感幸。公权呈。\n鉴藏印有宋“绍兴”、“瑞文图书”、“贤志赏”，元“赵氏子昂”、“乔氏篑成”、“齐郡张绅士行”，明“冯氏鹿庵珍藏图籍印”，清“安岐之印”、“王常宗”、“陈氏彦廉”、“韩世能印”、“韩逢禧印”等。\n\n此帖传为柳公权写的一通信札，告诉对方自己年老体衰，能力有限，虽然有个闲官职位，可也不能为别人办什么大事，请谅解自己的难处。\n\n南宋所刻《兰亭续帖》中收有《翰林帖》（或称《蒙诏帖》），其文曰：“公权年衰才劣，昨蒙恩放出翰林，守以闲冷，亲情嘱托，谁肯响应，惟深察，公权敬白。”据文意推测该帖应写于文宗时柳氏任翰林院书诏学士期间，而本帖中的“出守翰林”在文辞上不符合当时居官者职守的称谓，因此可能是宋人据《翰林帖》的大意写出。书法的前四行用笔较雄畅，结字亦尚稳妥，而后几行用笔逐渐瘦薄，结字多松散，末行的“权”字笔画也不成结构，与柳氏遒媚劲健的书风悬殊较大。种种迹象表明，本帖非柳书，乃是宋人仿本。\n\n明詹景凤《东图玄览》、张丑《南阳书法表》、《真迹日录》，清安岐《墨缘汇观》著录。",[7,24,51,25,119,2755,118,74,1580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5e4a285528d158dd273e3ee4b593bd.jpg","纵26.8厘米，横57.4厘米",[123,1898],{"id":11633,"slug":11634,"title":11635,"dynasty":293,"author":1636,"museum":212,"description":11636,"tags":11637,"thumbUrl":11638,"material":267,"size":11639,"collection":88,"collections":11640,"showCount":11529,"zanCount":40,"manualWeight":40,"mainColor":41},219971,"tai-bai-shan-tu-wang-meng-219971","太白山图","图绘浙江鄞县太白山天童寺及其周围景物，尤其着重描绘天童寺前二十里夹径松林。画面中远岫层峦，溪流潺潺，人物往还其间，用笔松润，赋色淡雅。画心右上角有小字篆书“太白山图”四字，画尾钤“王蒙印”，近人研究认为此卷为王蒙晚年代表作。",[23,7,24,51,25,75,27,73,77,82,278,279,118,74,78,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223493b23f8c837f2f01362ffb2077f.jpg","28x238.2cm",[88,90],{"id":11642,"slug":11643,"title":11644,"dynasty":114,"author":181,"museum":260,"description":11645,"tags":11646,"thumbUrl":11647,"material":27,"size":11648,"collection":90,"collections":11649,"showCount":11529,"zanCount":40,"manualWeight":40,"mainColor":41},219226,"lv-dong-bin-guo-yue-yang-lou-tu-yi-ming-219226","吕洞宾过岳阳楼图","飞檐翘角似欲凌云，层叠瓦当如鳞排列，宋代楼阁的雅致在圆幅中徐徐铺陈。楼上回廊人影错落，或执盏品茗，或凭栏望水；楼下石阶人潮攘攘，市井声息仿佛可闻。衣袂轻扬的身影悄然驻足，仙韵与凡俗在此温柔碰撞。远山淡墨晕染，近树浓笔点染，古旧绢色裹着岁月温度，将“过楼”瞬间定格成既有人间烟火、又藏仙意缥缈的画卷。没有惊世邂逅，只有含蓄相逢——尘俗热闹里藏着跨越凡界的余味，引人遐想那仙客过楼时，风掠过檐角的轻响，与楼中茶烟的缠绵。",[23,24,7,768,855,27,28,77,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fcaf3edfa5fb282679ccfb73b4778f.jpg","23.8x25.1厘米",[90],{"id":11651,"slug":11652,"title":11653,"dynasty":293,"author":181,"museum":20,"description":11654,"tags":11655,"thumbUrl":11656,"material":267,"size":11657,"collection":106,"collections":11658,"showCount":11529,"zanCount":541,"manualWeight":40,"mainColor":62},218835,"hua-e-xiao-jing-tu-yi-ming-218835","花鹅小景图","白鹅曲颈伫立，绒羽以细笔晕染，柔润如凝脂，尾羽纹理纤毫可见。身旁草叶疏朗，野花含露轻绽，淡紫与浅红的花瓣似携微风颤动；后方岩石以简劲笔触皴擦，苍朴质感与鹅的柔媚相映成趣。古旧纸色衬得景物愈发温润，笔触间藏着细腻生机——仿佛能听见鹅喙轻啄草叶的细碎声响，或是风拂野花的微颤。整幅小景虽简，却将自然的恬淡雅致凝于尺幅，细处见工致，疏处显意趣，尽显宋元小景画的清逸之韵。",[7,24,51,26,27,4313,263,56,890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aca3e9066be932f6397474cf4d654f4.jpg","57.5x37cm",[106],{"id":11660,"slug":11661,"title":3464,"dynasty":67,"author":5417,"museum":20,"description":11662,"tags":11663,"thumbUrl":11664,"material":317,"size":11665,"collection":122,"collections":11666,"showCount":11667,"zanCount":40,"manualWeight":40,"mainColor":41},290319,"sui-chao-tu-zhou-shang-xi-290319","明代宫廷绘画的历史，从明代建国伊始就已经开始，经过永乐、宣德、成化、弘治几朝，宫廷绘画达到了兴盛阶段，到嘉靖、万历以后，逐渐衰微。赵原、卓迪、周位、王仲玉等是初期院体画家的代表。宣德以后，宫廷画家不断增多，著名的有谢环、商喜、倪端、李在、石锐、周文靖等，他们的绘画，技艺全面，师法南宋“院体”，各有特点。",[7,24,51,52,102,27,26,383,1466,2067,7270,56,74,7824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1aa42f9fe4334c91fc98ee028966eda.jpg","130.9x57.4",[],68,{"id":11669,"slug":11670,"title":11671,"dynasty":46,"author":5268,"museum":132,"description":5269,"tags":11672,"thumbUrl":11673,"material":317,"size":907,"collection":122,"collections":11674,"showCount":11667,"zanCount":40,"manualWeight":40,"mainColor":41},289899,"song-jian-qing-yin-tu-zhou-hong-ren-289899","松涧清音图轴",[7,24,51,52,277,75,697,81,56,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ee8ed58b9be8df7d7a8c0c6ef64c97.jpg",[],{"id":11676,"slug":11677,"title":11678,"dynasty":114,"author":211,"museum":132,"description":11679,"tags":11680,"thumbUrl":11681,"material":317,"size":907,"collection":122,"collections":11682,"showCount":11667,"zanCount":40,"manualWeight":40,"mainColor":62},289655,"xue-jiang-gui-zhao-tu-zhao-ji-289655","雪江归棹图","《雪江归棹图》描绘的是冬日雪景山水画。全图不着色，仅以细碎之笔勾勒、点皴山石，淡墨渲染江天，衬映出皑皑雪峰。",[23,7,24,25,497,1357,425,663,80,647,77,84,277,27,118,74,1592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ccf8a6b79d6e33362afa23ac8564cb.jpg",[],{"id":11684,"slug":11685,"title":11686,"dynasty":18,"author":11687,"museum":132,"description":11688,"tags":11689,"thumbUrl":11690,"material":317,"size":907,"collection":122,"collections":11691,"showCount":11667,"zanCount":40,"manualWeight":40,"mainColor":62},289114,"he-ting-ying-xi-tu-wang-qi-han-289114","荷亭婴戏图","王齐翰","王齐翰(公元10世纪)〔五代·南唐〕金陵(今江苏南京)人，生卒年不详。后主李煜朝(961-975)为宫廷翰林图画院待诏。工画人物、佛道宗教画，兼擅山水、花鸟，以画猿獐出名。好作山林丘壑，隐岩幽谷，无朝市风埃气，其画以笔法工细为特色〔南唐〕金陵（今南京）人。仕南唐李煜（九六一至九七五）在位为翰林待诏。画道释人物多思致，好作山林丘壑，隐岩幽卜。其画以笔法入细者胜，无一点朝市风尘气。开宝末商贾刘元嗣以高价售得齐翰画罗汉十六轴，载入京师，置于僧寺。后僧以过期拒赎与讼。时太宗尹京，督索其画，一见大加赏叹。遂留画厚赐而释之。阅十六日太宗即位，后名其画曰应运罗汉。画花鸟如生，人但以獐猨名。",[768,24,7,27,26,28,1229,29,81,2626,7785,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878e5b0c706548439d7b3646b4762c85.jpg",[],{"id":11693,"slug":11694,"title":198,"dynasty":46,"author":97,"museum":132,"description":2517,"tags":11695,"thumbUrl":11696,"material":317,"size":907,"collection":122,"collections":11697,"showCount":11667,"zanCount":1065,"manualWeight":40,"mainColor":41},288640,"hua-hui-yun-shou-ping-288640",[24,7,51,768,27,102,198,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d1f4aa033cc0de1746ce152deb7a4c3.jpg",[],{"id":11699,"slug":11700,"title":11701,"dynasty":114,"author":274,"museum":132,"description":11702,"tags":11703,"thumbUrl":11705,"material":317,"size":907,"collection":122,"collections":11706,"showCount":11667,"zanCount":40,"manualWeight":40,"mainColor":62},230785,"yan-xiu-lin-ju-tu-ye-xia-gui-230785","烟岫林居图页","此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。",[23,24,51,7,100,277,73,75,11704,425,5490,278],"树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7707d298daece160ecc6b1e0761dcde9.jpg",[],{"id":11708,"slug":11709,"title":11710,"dynasty":46,"author":1567,"museum":132,"description":11711,"tags":11712,"thumbUrl":11713,"material":122,"size":122,"collection":122,"collections":11714,"showCount":11667,"zanCount":40,"manualWeight":40,"mainColor":41},228985,"jiang-nan-chun-ai-tu-shi-tao-228985","江南春霭图","淡赭晕染坡岸，老松虬枝盘曲如盖，竹树掩映间藏着矮屋，漾出林下幽居的闲散意趣。远景山峦以干笔皴擦，再笼上淡墨轻烟，春霭漫过江天，扁舟孤悬水面，将江南春日空濛柔婉的景致晕染开来。\n\n整幅以松秀笔墨绘就山水灵韵，页面上下题满行书，笔势纵宕不羁，诗画相生合契，把江南春景的澹远幽恬尽藏其中。以简淡笔墨勾勒出山川自然之趣，又寄寓文人幽居的清雅襟怀，尽显山水与心神相融的文人画逸致。",[7,24,51,277,27,75,73,119,74,1059,2785,81,78,79,80,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1398b65b6b1e8c394747527e5b645ab4.jpg",[],{"id":11716,"slug":11717,"title":11718,"dynasty":114,"author":878,"museum":132,"description":11719,"tags":11720,"thumbUrl":11722,"material":122,"size":122,"collection":122,"collections":11723,"showCount":11667,"zanCount":1065,"manualWeight":40,"mainColor":62},227821,"song-feng-ting-tu-ye-ma-yuan-227821","松风亭图页","这幅小品以边角取景，将山水意趣藏于尺幅之间。右侧虬松苍劲盘曲，枝干如铁，松针攒簇劲挺，斜斜探向半空，似携着穿林松风。古松之畔，山亭飞檐翘角，半掩于松石间，雅致清寂。左侧留白晕染远山，淡墨轻描，虚实相映，衬出山林空阔萧散的意境。\n\n用笔刚简老辣，墨色干湿浓淡错落，勾勒皴擦间，山石枯涩、古松苍润的质感尽显，以少胜多，把林泉幽居的静谧禅意铺陈开来，藏着文人心中归向林泉的高远意趣，尺幅之中意蕴悠长。",[23,7,24,51,497,855,81,609,278,648,277,27,73,11721,6832,7534,74],"边角取景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa207a22d1b0e544e2ed8382683769b21.jpg",[],{"id":11725,"slug":11726,"title":11727,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":11728,"thumbUrl":11730,"material":317,"size":907,"collection":3417,"collections":11731,"showCount":11667,"zanCount":40,"manualWeight":40,"mainColor":62},225710,"almond-tree-in-blossom-april-fan-gao-225710","Almond tree in blossom (April - )",[3410,7,11729,198,4731,3411],"杏花树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c4e90057ff5c7cdad13a79226aac97.jpg",[3417],{"id":11733,"slug":11734,"title":1041,"dynasty":114,"author":181,"museum":132,"description":11735,"tags":11736,"thumbUrl":11737,"material":122,"size":122,"collection":122,"collections":11738,"showCount":11667,"zanCount":541,"manualWeight":40,"mainColor":62},223655,"song-zi-tian-wang-tu-yi-ming-223655","此作为白描神品，以铁线描、兰叶描交错挥写，尽显吴带当风的流动韵致。\n画卷起首帝后侍从环侍，仪度端雅雍容；继而护法神将狞猛威严，流云焰气翻卷烘托出天界的诡谲神圣；中段天女执器缓行，身姿柔婉静穆；后段天王安坐肃穆，诸鬼神环伺拱卫，末了瑞兽载仙疾驰，灵动飞扬。\n全卷人物身份鲜明，神情各殊，帝王的沉凝、天女的温婉、神将的凶戾皆刻画入微，线条或刚劲如铁、或飘逸如丝，将天界仪卫的盛大庄严铺陈尽致，虽为摹本，依旧留存原作神采，是水墨线描的绝佳范本。",[23,7,24,51,25,510,678,28,370,472,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1875d213531142bdb5f15a8d47809ba.jpg",[],{"id":11740,"slug":11741,"title":11742,"dynasty":114,"author":181,"museum":132,"description":11743,"tags":11744,"thumbUrl":11745,"material":122,"size":122,"collection":122,"collections":11746,"showCount":11667,"zanCount":1065,"manualWeight":40,"mainColor":41},223596,"guan-shou-guan-hua-tu-yi-ming-223596","盥手观花图","庭院清寂，仕女方盥手罢，正凝睇案头花簇。画面虚实相衬，左侧留白更衬出右侧庭院的幽谧雅致。长案错落陈开花卉、妆具，器物勾勒工细古雅，尽显深闺陈设的精致意趣。\n\n仕女身姿温婉端丽，两名侍女或持团扇或奉巾侍立，情态柔婉生动，将深闺日常的闲雅意趣缓缓铺陈。设色古雅沉静，棕褐底色晕染出庭院朦胧静谧的氛围，衣袂的素净浅淡与花簇的明丽鲜活相映晕合，笔触柔润细腻。\n\n画笔致工秀含蓄，将宋人娴静内敛的审美意趣融于闺中清赏的日常里，晕开淡远悠长的东方诗意。",[23,7,24,51,27,26,28,29,55,263,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43601ebbe84e62c48f0a06a97221751c.jpg",[],{"id":11748,"slug":11749,"title":11750,"dynasty":114,"author":11751,"museum":151,"description":11752,"tags":11753,"thumbUrl":11756,"material":34,"size":11757,"collection":123,"collections":11758,"showCount":11667,"zanCount":40,"manualWeight":40,"mainColor":41},221359,"xue-jiang-gui-zhao-tu-juan-ba-cai-jing-221359","雪江归棹图卷跋","蔡京","《跋赵佶雪江归棹图卷》蔡京长跋释文：\n“臣伏观御制雪江归棹，水远无波，天长一色。群山皎洁，行客萧条。鼓棹中流，片帆天际。雪江归棹之意尽矣。天地四时之气不同，万物生于天地间。随气所运，炎凉晦明。生息荣枯，飞走蠢动。变化无方，莫之能穷。 皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[23,7,24,51,25,119,118,277,75,80,1357,11754,3456,11755],"江","天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm",[123],{"id":11760,"slug":11761,"title":11762,"dynasty":114,"author":211,"museum":20,"description":11763,"tags":11764,"thumbUrl":11765,"material":611,"size":122,"collection":175,"collections":11766,"showCount":11667,"zanCount":40,"manualWeight":40,"mainColor":41},219951,"xi-shan-wan-diao-tu-zhao-ji-219951","溪山晚钓图","此作用平远之法铺展暮色溪山，淡墨晕染出山峦氤氲的烟霭，将黄昏的温润沉凝揉进层叠丘壑，山林在暮色里晕成朦胧黛色，漫出浑然的静谧。前景虬曲枯木苍劲古拙，疏枝横斜，暗合深秋荒寒意趣。右下角一叶扁舟随波轻漾，独钓渔翁静卧舟中，把幽寂闲适的隐逸之思铺陈开来。设色沉雅古穆，赭石淡晕铺就黄昏底色，将晚归溪山的空寂淡远尽数勾勒，将宋人寄情山水的澹泊襟怀藏在朦胧暮色之中，尽显清远萧散的文人意韵。",[23,7,24,51,100,27,73,75,80,661,647,278,79,5491,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63514bbaa1ed78f805a168466c561b14.jpg",[175],{"id":11768,"slug":11769,"title":11770,"dynasty":67,"author":11771,"museum":20,"description":11772,"tags":11773,"thumbUrl":11774,"material":267,"size":11775,"collection":90,"collections":11776,"showCount":11667,"zanCount":1065,"manualWeight":40,"mainColor":41},219404,"tian-zhong-de-xi-tu-yuan-shang-tong-219404","天中得喜图","袁尚统","枝头双鹊姿态鲜活，一俯身啄食朱红花朵间的嫩蕊，一昂首展翼似欲鸣啭，墨笔勾勒的羽翼层次分明，黑羽亮泽如缎。老干虬曲盘结，枝桠以劲挺笔触写出，点缀的朱红花朵艳而不妖；下方山石用泼墨点染，兼以皴擦，纹理朴拙厚重，坡地细草丛生，野趣横生。整幅笔墨工写结合，花鸟与山石相映成趣，既得自然生机之妙，又暗蕴欢愉吉庆之意，于简洁构图中传递出恬淡雅致的文人意趣，观之令人心生愉悦。",[24,7,51,27,277,102,84,1059,56,383,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b8856c5e913470ad4bb1b74dcea90b.jpg","123.1x60.7厘米",[90],{"id":11778,"slug":11779,"title":11780,"dynasty":46,"author":11236,"museum":20,"description":11781,"tags":11782,"thumbUrl":11783,"material":34,"size":11784,"collection":36,"collections":11785,"showCount":11667,"zanCount":541,"manualWeight":40,"mainColor":41},219379,"ren-wu-tu-leng-mei-219379","人物图","在这幅画中，高石在雪地里探寻梅花，冷画大师焦秉祯经常使用透视和凹凸阴影。 色彩鲜艳明快，笔墨工整。",[24,7,51,52,26,27,28,75,383,55,30,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16ec146f1085c0dfe8356014a6f5971.jpg","纵119.7横61.5厘米",[36],{"id":11787,"slug":11788,"title":7551,"dynasty":114,"author":181,"museum":20,"description":11789,"tags":11790,"thumbUrl":11791,"material":666,"size":11792,"collection":88,"collections":11793,"showCount":11667,"zanCount":1065,"manualWeight":40,"mainColor":41},218802,"xi-shan-xian-guan-tu-yi-ming-218802","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭和亭子，渔民在溪水中垂钓，对世界的年龄漠不关心。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它更像是吴镇的作品，或者是他的画派的画家。",[23,24,7,277,73,75,77,79,80,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b516d907046bcbf6ec55b7114bf4e5.jpg","32.4x24.8",[88],{"id":11795,"slug":11796,"title":11797,"dynasty":114,"author":878,"museum":395,"description":1809,"tags":11798,"thumbUrl":11799,"material":34,"size":1812,"collection":122,"collections":11800,"showCount":11667,"zanCount":40,"manualWeight":40,"mainColor":41},218046,"song-di-ming-ti-ce-ba-ma-yuan-218046","宋帝命题册(八)",[23,7,24,51,100,277,75,81,53,28,118,119,26,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805101e3bc8ae183233b61658ad3f5fc.jpg",[],{"id":11802,"slug":11803,"title":11804,"dynasty":18,"author":944,"museum":132,"description":9594,"tags":11805,"thumbUrl":11806,"material":317,"size":907,"collection":122,"collections":11807,"showCount":11808,"zanCount":40,"manualWeight":40,"mainColor":62},290415,"wu-dai-liang-yu-le-tu-zhou-jing-hao-290415","五代梁渔乐图轴",[7,24,52,75,277,73,278,647,80,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c6cdb23ba7361b98c8e5b41081a410.jpg",[],67,{"id":11810,"slug":11811,"title":11812,"dynasty":114,"author":274,"museum":132,"description":9366,"tags":11813,"thumbUrl":11814,"material":317,"size":907,"collection":122,"collections":11815,"showCount":11808,"zanCount":40,"manualWeight":40,"mainColor":62},289973,"xi-kou-chui-diao-tu-xia-gui-289973","溪口垂钓图",[23,7,24,497,277,73,1059,648,80,79,9596,662,6832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a12db7647f64f711e5579f8564b24a7.jpg",[],{"id":11817,"slug":11818,"title":11819,"dynasty":114,"author":274,"museum":132,"description":11820,"tags":11821,"thumbUrl":11822,"material":317,"size":907,"collection":122,"collections":11823,"showCount":11808,"zanCount":1065,"manualWeight":40,"mainColor":41},289837,"shan-shui-shi-er-jing-tu-xia-gui-289837","山水十二景图","为夏氏山水十二景中残存四景中的一部分。图展现平溪汀渚、湖水荡漾，渔舟出没，巨石峭壁，绿树成荫。通过山林，有港湾一泓，数艘渔舟停泊其间。此画山石用斧劈皴，先用水笔皴擦，然后落墨，具有水墨交融，淋漓酣畅的效果。",[23,7,24,25,51,277,75,80,79,425,429,433,10742,118,119,73,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2cda136703b84ead22be2bcf7e2b48.jpg",[],{"id":11825,"slug":11826,"title":11827,"dynasty":293,"author":11828,"museum":132,"description":11829,"tags":11830,"thumbUrl":11831,"material":317,"size":907,"collection":122,"collections":11832,"showCount":11808,"zanCount":40,"manualWeight":40,"mainColor":62},288352,"fang-wen-tong-zhu-zhi-tu-ke-jiu-si-288352","仿文同竹枝图","柯九思","柯九思，元书画家、鉴藏家。江浙行省儒学提举柯谦子，受其父的影响，自幼爱好书画，天历元年（1328），游学建康经人引荐结识了怀王图帖睦尔，不久怀王继位称帝，是为文宗，被授予正七品典瑞院都事，翌年，迁升为正五品奎章阁鉴书博士，专门负责宫廷所藏的金石书画的鉴定。文宗去世后，束装南归，退居吴寓松江姻脂桥。博学能文，擅写墨竹，长于画山水、人物、花卉。一生好文物，富收藏，精鉴赏。",[7,24,51,52,277,53,154,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0f6c5bac4dcc40cb604a4b194d3a85.jpg",[],{"id":11834,"slug":11835,"title":11836,"dynasty":46,"author":11837,"museum":151,"description":11838,"tags":11839,"thumbUrl":11840,"material":453,"size":11841,"collection":88,"collections":11842,"showCount":11808,"zanCount":1065,"manualWeight":40,"mainColor":62},236108,"qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-236108","秋岚飞瀑图轴","张宗苍","张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。师承清代娄东画派的传人黄鼎，擅画山水。初以主簿理河工事。清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[7,24,51,52,497,277,27,73,278,427,279,77,82,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28583d2a38165b70ad546df9ff0faae.jpg","纵184cm，横117.7cm",[88,286],{"id":11844,"slug":11845,"title":1544,"dynasty":114,"author":631,"museum":151,"description":11846,"tags":11847,"thumbUrl":11849,"material":156,"size":11850,"collection":122,"collections":11851,"showCount":11808,"zanCount":541,"manualWeight":40,"mainColor":62},233847,"hua-lan-tu-li-song-233847","竹篮编织精巧，里面放满了各色鲜花，有秋葵、栀子、百合、广玉兰、石榴等，小小的花篮折射出繁花似锦的大自然——美丽、多样、蓬勃、朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注亦油然绢上。画幅虽然不大，但是描绘细腻具体，线条富有表现力，敷色艳丽雅致，构图稳定饱满。\n据款识可知，这是南宋著名的画院画家李嵩的手笔，小中见大，果然不同凡响。",[7,24,26,27,102,1547,354,9412,1335,11848,1093,198],"广玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4488497749a0020d882308571fa47.jpg","纵19.1厘米，横26.5厘米",[],{"id":11853,"slug":11854,"title":11855,"dynasty":114,"author":181,"museum":20,"description":11856,"tags":11857,"thumbUrl":11858,"material":122,"size":122,"collection":175,"collections":11859,"showCount":11808,"zanCount":1065,"manualWeight":40,"mainColor":62},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。",[23,24,7,26,27,28,383,53,812,30,55,7785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F758a8c0d4776f0fd17509254b24ed5ae.jpg",[175],{"id":11861,"slug":11862,"title":11863,"dynasty":46,"author":131,"museum":132,"description":11864,"tags":11865,"thumbUrl":11866,"material":317,"size":907,"collection":122,"collections":11867,"showCount":11808,"zanCount":40,"manualWeight":40,"mainColor":62},230894,"bai-lu-tu-shen-quan-230894","柏鹿图","此图绘在柏树之下、溪流岸边，两只梅花鹿一立一卧，均仰视远方。图中鹿的描绘十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，尤为细致而并非完全写实，画面既真实又不泥于细节。",[23,24,7,52,26,27,472,1293,7591,135,278,711,6290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea79f7002a6ea446d7dfdde2fe39384c.jpg",[],{"id":11869,"slug":11870,"title":11871,"dynasty":46,"author":809,"museum":132,"description":11872,"tags":11873,"thumbUrl":11874,"material":122,"size":122,"collection":122,"collections":11875,"showCount":11808,"zanCount":40,"manualWeight":40,"mainColor":41},230124,"hua-hui-shi-er-kai-ren-yi-230124","花卉十二开","此作用淡墨晕染湖石，兼以浓墨勾皴纹理，苍润朴拙，自带沉静古雅之气。右上方艳红浆果攒簇饱满，似燃着点点丹砂，浓墨枝叶分映阴阳，层次宛然，红果墨叶相互衬映，明丽又不失清雅。\n画面兼工带写，花果鲜妍生动，湖石苍劲静穆，一动一静相映成趣。题字笔意纵逸，与画境相融，将文人写意的隽秀风骨与秋实的鲜活生机揉合一处，寥寥数笔便尽显雅致意趣，堪称小品佳作。",[24,27,102,56,198,368,51,7,277,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28cad6736c0bce09b9ac3ea758c58ce7.jpg",[],{"id":11877,"slug":11878,"title":11879,"dynasty":293,"author":1556,"museum":132,"description":11880,"tags":11881,"thumbUrl":11882,"material":122,"size":122,"collection":122,"collections":11883,"showCount":11808,"zanCount":40,"manualWeight":40,"mainColor":62},228019,"yang-fei-shang-ma-tu-chang-juan-qian-xuan-228019","杨妃上马图（长卷）","《题杨妃上马图》是宋朝著名文学家钱选的代表作品之一。\n宋 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有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[23,7,24,51,25,510,277,27,75,28,80,1059,1570,79,84,56,119,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","25.9*143cm",[175,88,90],{"id":12258,"slug":12259,"title":12260,"dynasty":114,"author":12261,"museum":48,"description":12262,"tags":12263,"thumbUrl":12264,"material":156,"size":12265,"collection":122,"collections":12266,"showCount":12168,"zanCount":40,"manualWeight":40,"mainColor":41},221352,"fan-wang-li-fo-tu-juan-zhao-guang-fu-221352","番王礼佛图卷","赵光辅","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[7,24,51,25,678,26,27,28,74,684,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979126ec026d2d53f7d8ef93beef224e.jpg","纵28.6厘米，横103.5厘米",[],{"id":12268,"slug":12269,"title":12270,"dynasty":114,"author":12271,"museum":12272,"description":12273,"tags":12274,"thumbUrl":12276,"material":250,"size":122,"collection":175,"collections":12277,"showCount":12168,"zanCount":40,"manualWeight":40,"mainColor":41},220361,"yuan-pu-gui-fan-tu-yu-jian-220361","远浦归帆图","玉涧","名古屋德川美术馆","玉涧（生卒年不详），在宋末元初的画坛中，以“玉涧”为名号的僧人，有莹玉涧、若芬玉涧、彬玉涧和孟玉涧四人。其中彬玉涧生平不详；而莹玉涧根据《图绘宝鉴》的记载，为西湖净慈寺禅僧，师惠崇画山水；若芬玉涧根据《松斋梅谱》的记载，则为金华曹氏子，是天台宗僧人，曾任天竺寺书记，善画云山；孟玉涧作品传世较多，为元末画家。经过日本学者铃木敬的考证，现在学界多半认为若芬玉涧就是《庐山图》等作品的作者。若芬玉涧传世作品有《庐山图》（冈山县立美术馆蔵）、《庐山瀑布图》（冈山县立美术馆蔵）、《潇湘八景图》（现仅余三副，东京出光美术馆藏《山市晴岚图》、名古屋德川美术馆藏《远浦归帆图》、东京文化厅藏《洞庭秋月图》）等。",[23,7,24,51,277,73,75,80,118,425,11110,12275,7315],"远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523feeccb80b8a79fb8b4c95a88ae5d5.jpg",[175],{"id":12279,"slug":12280,"title":12281,"dynasty":114,"author":181,"museum":12282,"description":12283,"tags":12284,"thumbUrl":12285,"material":34,"size":122,"collection":175,"collections":12286,"showCount":12168,"zanCount":40,"manualWeight":40,"mainColor":479},220255,"xia-jing-shan-shui-tu-yi-ming-220255","夏景山水图","日本久远寺","此图绘深山幽谷，山雨欲来，树木摇曳，云雾弥漫，一隐士拄杖欲过溪桥，侧首观赏林泉，怡然自乐。本图为四季山水四条幅中的一幅，其中春景图早已遗失，其内容不详；秋景图和冬景图流失于日本后，经大内氏、明智院传到金地院；此图在日本由滨松城主太田资宗施给久远寺。各幅在构图、景物刻画上既相互联系，又富于变化，每幅上都有流失日本前钤的二枚鉴藏印。后日本收藏者足利三代将军义满又在画幅上钤『天山』鉴藏印。这三幅图是目前流传下来的宋代四季山水图中最早的作品，体现了南宋画院早期山水画的风格特征。",[23,24,7,497,52,277,27,73,26,75,609,278,279,28,905],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd810dc2b018ad6e47852a0c78483968.jpg",[175],{"id":12288,"slug":12289,"title":12290,"dynasty":46,"author":181,"museum":395,"description":12291,"tags":12292,"thumbUrl":12295,"material":34,"size":122,"collection":36,"collections":12296,"showCount":12168,"zanCount":541,"manualWeight":40,"mainColor":62},219478,"hu-ren-xing-lv-tu-yi-ming-219478","胡人行旅图","此作以枯寂寒荒的塞外平野为底，疏槎兀立，淡墨晕染出土石的荒寒之气。画面里的行旅队伍意态生动，有人策骑缓行，裹紧衣袍抵御朔风，有人牵马驻足，与同伴低语暂歇，鞍上驮囊暗合行路迢遥。\n\n笔触简淡古雅，设色沉着温润，将边地行旅的羁旅劳顿，同侪间的松弛慰藉细腻铺陈。未刻意描摹壮阔景致，只截取这一段行路日常，便将塞外游子的漂泊况味尽显，带着质朴厚重的边地生活质感，淡远的氛围感勾画出羁旅之人的漫漫归途。",[7,24,27,28,215,647,315,12293,1525,12294],"羁旅","塞外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64831dedfb1933a98537829e6477b59c.jpg",[36],{"id":12298,"slug":12299,"title":12300,"dynasty":46,"author":12301,"museum":20,"description":12302,"tags":12303,"thumbUrl":12306,"material":267,"size":12307,"collection":90,"collections":12308,"showCount":12168,"zanCount":40,"manualWeight":40,"mainColor":41},219387,"feng-xing-tu-ai-qi-meng-219387","风猩图","艾启蒙","艾启蒙，（西元一七０八至一七八０年），字醒庵，波西米亚人。乾隆十年入如意馆，与朗世宁、王致诚同为画院供奉。善画，尤工翎毛，赐三品衔。山径之末，累石成穴，梧桐、丹桂、芙蓉，杂以野菊秋卉，风猩二，一蜷伏洞中，一逡巡洞口。笔墨遒细而秀润，设色雅淡而清丽，与邹一桂蒋廷锡笔画有契合处，为艾氏精心之作。",[24,7,51,26,27,472,6290,8373,12304,246,1882,278,2358,12305],"丹桂","秋卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6bb60e7e22ccacb4a0c5552b267af9.jpg","121x90",[90],{"id":12310,"slug":12311,"title":12312,"dynasty":114,"author":878,"museum":3453,"description":12313,"tags":12314,"thumbUrl":12315,"material":34,"size":12316,"collection":88,"collections":12317,"showCount":12168,"zanCount":40,"manualWeight":40,"mainColor":41},219016,"shan-cun-ce-zhang-tu-ma-yuan-219016","山村策杖图","画的是远处隆起的山峰，靠近水草丰茂的河岸，左边是一个拄着拐杖的有学问的人走向一座桥，后面是一个孩子；右边是几间用栅栏围起来的茅草屋，后面是树木和竹子。",[23,24,51,7,768,277,27,73,75,78,28,1059,278,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66170685f831ddb885e4d7d75d53efbb.jpg","22.5x22.5",[88],{"id":12319,"slug":12320,"title":12321,"dynasty":114,"author":878,"museum":20,"description":8655,"tags":12322,"thumbUrl":12323,"material":34,"size":8658,"collection":122,"collections":12324,"showCount":12168,"zanCount":541,"manualWeight":40,"mainColor":41},218576,"hua-niao-shan-shui-xiao-pin-ce-pu-tao-ma-yuan-218576","花鸟山水小品册-葡萄",[23,7,24,51,100,27,26,10021,514,339,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2bc725dd647940f42f8f27a6cc90dd2.jpg",[],{"id":12326,"slug":12327,"title":12328,"dynasty":293,"author":887,"museum":132,"description":12329,"tags":12330,"thumbUrl":12331,"material":34,"size":12332,"collection":36,"collections":12333,"showCount":12168,"zanCount":1065,"manualWeight":40,"mainColor":62},218381,"xie-qin-guan-pu-tu-liu-guan-dao-218381","携琴观瀑图","层岩间烟岚轻笼，飞瀑自云端垂落漱石。虬松盘曲崖畔，老干如铁，松针如簇，漏下细碎天光。树下石矶上，二三雅士或对坐清谈，或凭石凝睇飞瀑，另有一人携琴而立，似欲鼓琴和鸣山水。笔墨苍劲中见秀逸，山石勾勒简练，松枝墨色有浓淡层次，人物衣袂飘飘神态悠然。整体意境清旷淡远，尽显文人寄情山水、畅怀林泉的雅趣，松涛与瀑声相和，知己围坐论道，心随画境飘向烟水深处。",[24,51,7,52,27,73,75,28,697,313,278,82,2880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c2da0de3b85af27da0921f07f0a3cb.jpg","184.3x68.2",[36],{"id":12335,"slug":12336,"title":12337,"dynasty":293,"author":658,"museum":20,"description":1443,"tags":12338,"thumbUrl":12339,"material":666,"size":122,"collection":122,"collections":12340,"showCount":12168,"zanCount":1065,"manualWeight":40,"mainColor":41},216596,"mo-zhu-pu-ce-ye-2-wu-zhen-216596","墨竹谱册页-2",[23,7,24,51,100,277,53,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc86d33c22b88926fe256e1591f3644c4.jpg",[],{"id":12342,"slug":12343,"title":12344,"dynasty":67,"author":12345,"museum":1031,"description":12346,"tags":12347,"thumbUrl":12349,"material":34,"size":12350,"collection":36,"collections":12351,"showCount":12168,"zanCount":1065,"manualWeight":40,"mainColor":62},215025,"zhu-mai-chen-fu-xin-du-shu-tu-shi-rui-215025","朱买臣负薪读书图","石锐","该图描绘了西汉时期的大臣朱买臣，在得到汉武帝的赏识之前，他在家中一边读书，一边靠打柴为生。这个人物优雅的举止使他有别于普通的木匠，他的双手专注于书本，表明他是一位牧师。人物身上的笔触与物体的画像形式相对应，石头也是以夏的方式刮擦的。然而，其中一个手指不见了，以史睿的地位，似乎不太可能犯这样的小错误。虽然不能确定其年代，但可以断定其年代为明代",[23,7,24,51,52,27,26,28,82,278,589,12348,6271],"薪柴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f1c51e57b673059f5905e665bc312ca.jpg","126x75",[36],{"id":12353,"slug":12354,"title":12355,"dynasty":293,"author":12356,"museum":48,"description":12357,"tags":12358,"thumbUrl":12359,"material":666,"size":12360,"collection":36,"collections":12361,"showCount":12168,"zanCount":40,"manualWeight":40,"mainColor":62},214296,"wu-zu-zai-lai-tu-yin-tuo-luo-214296","五祖再来图","因陀罗","因陀罗（1247-1317）是元代著名的画家，他的《元五祖再来图》是其代表作之一。\n\n《元五祖再来图》描绘了五位道士依山而居的画面，通过精细的笔墨和巧妙的构图，勾勒出五位道士与山林的和谐关系。因陀罗在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。\n\n《元五祖再来图》被认为是因陀罗写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《元五祖再来图》也是收藏家们青睐的经典之作。\n\n因陀罗的《元五祖再来图》是一幅描绘五位道士依山而居的画作，它体现了道家哲学中“和谐”的理念。五位道士与周围的山林和谐相处，表现出人与自然和谐共处的理想。因陀罗的《元五祖再来图》不仅是一幅精美的画作，更是一首关于人与自然和谐相处的诗篇。",[23,24,51,7,510,277,28,1059,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce02a048b10ef3981bf016dade452b6.jpg","32.7x44.6",[36],{"id":12363,"slug":12364,"title":12365,"dynasty":114,"author":631,"museum":132,"description":12366,"tags":12367,"thumbUrl":12371,"material":317,"size":907,"collection":122,"collections":12372,"showCount":12373,"zanCount":40,"manualWeight":40,"mainColor":41},289329,"ku-lou-huan-xi-tu-li-song-289329","骷髅幻戏图","整个画面非常祥和欢乐，毫无惊怖，应是一个流动的携家带口的提线木偶（傀儡）艺人的一场演出，主要描写妇女与儿童生活的一个欢乐场景。",[23,7,24,51,768,27,28,12368,1229,12369,12370,118,119,74],"骷髅","母子","幻戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb763370785e266153eaddfb1f724eb.jpg",[],64,{"id":12375,"slug":12376,"title":12377,"dynasty":67,"author":12378,"museum":20,"description":12379,"tags":12380,"thumbUrl":12382,"material":1061,"size":12383,"collection":106,"collections":12384,"showCount":12373,"zanCount":40,"manualWeight":40,"mainColor":41},222064,"jian-qiu-luo-ji-lin-da-222064","剪秋罗鸡","林达","此图为《明林达花卉翎毛册》中的一页。林达（年代不详），字志道，号愧吾，福建莆田人。俊子。正德九年（1514）进士，历官南京吏部考功郎中。",[23,7,24,51,3387,27,26,102,12083,198,56,12381,301],"地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ad09435dd181cbb24bac44d2945b7b.jpg","29.7×40.4cm",[106,90],{"id":12386,"slug":12387,"title":12388,"dynasty":3229,"author":3230,"museum":8817,"description":12389,"tags":12390,"thumbUrl":12391,"material":122,"size":122,"collection":122,"collections":12392,"showCount":12373,"zanCount":40,"manualWeight":40,"mainColor":41},220541,"san-ma-tu-yue-sheng-xu-bei-hong-220541","三马图(月升)","画面构图错落雅致，上方三马各有意趣。两匹垂首缓行，鬃毛垂顺，低首啮食尽显温驯松弛，水墨晕染间将骏马肌理骨相勾勒分明。另一匹昂首提蹄，鬃尾飞扬，筋骨勃发满是奔腾的野逸生气，寥寥数笔便将骏马的灵动与劲硕全然彰显。\n\n右下角晚秋枯树以淡赭点染残叶，清冷萧疏的静气，恰好衬得骏马愈发蓬勃俊朗。左侧题字笔力苍劲，与画中笔墨融作一体。整幅落笔简劲写意，以形写神，将生灵的蓬勃生机与沉静氛围感交织，尽显写意画的含蓄韵致，把骏马神形风骨尽现笔端。",[23,7,24,51,277,27,6292,368,215,135,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93e961915d8db09e0e734cbfad68664.jpg",[],{"id":12394,"slug":12395,"title":12396,"dynasty":67,"author":8327,"museum":20,"description":12397,"tags":12398,"thumbUrl":12399,"material":34,"size":12400,"collection":106,"collections":12401,"showCount":12373,"zanCount":1065,"manualWeight":40,"mainColor":41},220381,"xuan-zong-jia-he-tu-zhu-zhan-ji-220381","宣宗嘉禾图","此作以清隽青釉贯耳瓶供插嘉禾，设色雅致写实，稻穗饱满垂坠，颗粒分明，带着沉甸甸的秋实质感，将谷穗丰茂鲜活之态尽致描摹，暗合五谷丰登的美好祈愿。\n\n茎叶舒展柔婉，工细笔触勾勒出其舒展之姿，釉色晕染还原出古瓷温润内敛的质感。右上角题字笔墨端正苍劲，与清雅瓶花相映成趣，满幅静穆祥和的宫廷雅韵。整作融清供雅致与田家祥瑞意趣为一体，尽显精工雅致的特质，将对岁稔年丰的期许藏于笔底绢间，平和静雅又意蕴悠长。",[23,7,24,51,26,27,74,10634,55,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e32f7bbc90c4171c4f4cf997d6f5cc.jpg","本幅 38.4×30.3",[106],{"id":12403,"slug":12404,"title":12405,"dynasty":67,"author":619,"museum":620,"description":621,"tags":12406,"thumbUrl":12407,"material":267,"size":624,"collection":122,"collections":12408,"showCount":12373,"zanCount":40,"manualWeight":40,"mainColor":41},220015,"dong-zhuang-tu-ce-zhi-quan-zhen-guan-shen-zhou-220015","东庄图册之全真馆",[24,7,51,100,277,73,75,78,79,80,82,861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa56a8e013ec5b636a42d259b11e4c21.jpg",[],{"id":12410,"slug":12411,"title":798,"dynasty":114,"author":259,"museum":20,"description":12412,"tags":12413,"thumbUrl":12414,"material":611,"size":122,"collection":106,"collections":12415,"showCount":12373,"zanCount":1065,"manualWeight":40,"mainColor":62},219649,"hua-niao-tu-zhao-chang-219649","以淡墨晕染花木，浓淡间晕出花叶阴阳向背，将海棠柔润花瓣、舒展枝叶的层次尽数铺陈。静栖枝头的禽鸟刻画入微，蓬松羽毛的绒质感纤毫毕现，敛翼凝神的姿态悠然恬淡。\n\n整幅画作不着浓艳设色，却将春日花木的柔媚与禽鸟的闲适融于一纸，清雅空灵间满溢融融春意。淡笔轻勾里藏着写实的精妙，简淡笔墨晕染出静谧温柔的诗意，尽显雅致的审美意趣，将自然生机诉诸笔端，淡而愈真，简而弥远，是水墨写生花鸟中的绝佳范本。",[7,24,51,26,27,102,384,198,340,979,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d886b9329342c4d5a14bb7b5782996.jpg",[106],{"id":12417,"slug":12418,"title":12419,"dynasty":46,"author":12420,"museum":20,"description":12421,"tags":12422,"thumbUrl":12423,"material":34,"size":12424,"collection":36,"collections":12425,"showCount":12373,"zanCount":541,"manualWeight":40,"mainColor":62},219391,"qu-juan-gui-wen-shan-shui-tu-huang-ying-chen-219391","祛倦鬼文山水图","黄应谌","庭院凉亭中一人坐打瞌睡，亭外似一人迤迤然而来，带着奇异的氛围，却原来是倦鬼。作者于清顺治庚子（1660）春日画明申时行（1535-1614）〈袪倦鬼文〉文意，并书写原文于幅上。文中叙述整理手稿时，常因困倦而荒废数月，而前人有「困意则鬼入之」之说，乃撰文驱逐倦鬼，却于打瞌睡间见倦鬼前来说明如本身神定而无移，鬼又如何能入侵之理，因有所领悟，并表示感谢。",[24,51,7,27,26,75,28,81,697,136,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed4e0d57e2761d2ab147a7ee51a2f7e.jpg","163.8x219cm",[36],{"id":12427,"slug":12428,"title":12429,"dynasty":67,"author":12430,"museum":166,"description":12431,"tags":12432,"thumbUrl":12433,"material":34,"size":122,"collection":106,"collections":12434,"showCount":12373,"zanCount":40,"manualWeight":40,"mainColor":62},219323,"hua-niao-tu-er-yue-zhou-219323","花鸟图(二)","月洲","梅枝横斜，粉蕊轻绽枝头，两只禽鸟或立或眺，神态悠然。下方花卉繁茂，瓣层叠如绒，色泽温润；长尾羽禽羽翼绯红，与素白花朵相映成趣，墨枝青叶绿意交错，野趣自生。笔触细腻处见工致，设色淡雅中藏灵动，禽鸟憨态、花木生机跃然绢上，尽显自然意趣与文人雅致。岁月虽为绢面添了斑驳，却未减画面里静谧的生机流转，似能闻得花鸟间的轻语，触到时光里的温柔回响，将自然之美与文人情韵凝于方寸之间。",[23,24,7,52,26,27,102,383,53,1882,384,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6ce9a7674e5a9e4c068dd1387796361.jpg",[106],{"id":12436,"slug":12437,"title":12438,"dynasty":114,"author":181,"museum":20,"description":12439,"tags":12440,"thumbUrl":12441,"material":34,"size":12442,"collection":106,"collections":12443,"showCount":12373,"zanCount":541,"manualWeight":40,"mainColor":62},218952,"li-zhi-bo-zhao-guo-tu-yi-ming-218952","离支伯赵国图","画面上用重笔画了一枝荔枝，荔枝的果实因其红皮而令人垂涎。两只小鸟站在树枝上，笔触细腻，色彩漂亮，是一件具有强烈象征意义的伟大艺术品。",[23,7,24,51,26,27,102,1094,84,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60fa47a9909e1d2b25e8f1a85cce8e17.jpg","25.5x24.8cm",[106],{"id":12445,"slug":12446,"title":12447,"dynasty":114,"author":11415,"museum":365,"description":12448,"tags":12449,"thumbUrl":12450,"material":34,"size":1306,"collection":36,"collections":12451,"showCount":12373,"zanCount":11,"manualWeight":40,"mainColor":479},218606,"wu-bai-luo-han-zhi-jing-dian-qi-rui-tu-lin-ting-gui-218606","五百罗汉之经典奇瑞图","画板中央是一座三层的砖塔，其中一部道教经书已被烧成灰烬，而一部佛教经书则完好无损，熠熠生辉。聚集在宝塔周围的四位罗汉（佛教经文）双手紧握以示喜悦，而另一位罗汉则向两位官员解释情况。右下角的三个道士很震惊。所描绘的场景取自《佛祖传》中提到的焚经比道的著名典故：（永平十五年）正月初一，五岳道士朱善心等人摆出桌子，进行比对。...... 当年道士等将真谛五术福智五百零九卷，毛成子等二十七家二百三十五卷，通共七百四十八卷，放在坛上。这本书被放在祭坛上，朱棣和费祎的弟子们烧香放火。诸子道书灰飞烟灭，楚、费二人从之感而死。接下来将是梵文的火书和赫拉克勒斯，作为一个新的展台，更加明亮和纯净。当时，摩腾法师的神奇变身凌空而起，冷不丁的一句话：，狐狸不是大师级的，灯不是太阳和月亮的光。池子不是巨大的海，山不是蝴蝶的山。达摩的云彩笼罩着世界，美好的种子绽放。达摩的显现无处不在，改造着众生。即使是佛法、戒律和其他神力的宣扬，也让许多出家的人感到惊讶。",[23,7,24,51,678,855,27,28,278,279,861,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210f5d3021349306409ef4e727b69a10.jpg",[36],{"id":12453,"slug":12454,"title":12455,"dynasty":67,"author":2087,"museum":20,"description":12456,"tags":12457,"thumbUrl":12459,"material":34,"size":12460,"collection":106,"collections":12461,"showCount":12373,"zanCount":40,"manualWeight":40,"mainColor":62},216845,"qiu-zhu-shui-qin-tu-lv-ji-216845","秋渚水禽图","这幅画的布局集中在右下角，占据了图片的绝大部分。从画的右侧中间伸展出几根稀疏的芦苇，有的直上，有的向左，芦苇叶大多下垂;在图片下方，有几根芦苇栖息在堤岸上，其中一根在月亮的脖子上叽叽喳喳，另外两根芦苇回头看。屏幕左侧是平静清澈的海水，是芦苇漂浮的天堂。在图片上方是满月，空旷时，明亮的月光投射在地球上。\n画中的芦苇写得很好，外表生动。芦苇是用厚厚的光和光不同颜色的层叠叠而成的，非常细腻，不仅形状像神萧，而且羽毛的光泽也显现出来。芦苇和木槿的叶茎，淡墨，刷掉。视觉要以浅色演色性，看不到笔痕，使领域广阔而深远;用马原画湖石，夏贵墨钩法，加换，坚固简单;这幅画异常真实，自然而壮观。这幅画，和路易姬的其他花鸟画一样，极大地丰富了花鸟画和笔墨的表达。",[23,7,24,26,27,102,2290,2151,198,1570,3115,12458],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa017ac0164b088a5d177f88bd5bd52d1.jpg","纵177.2厘米，横107.3厘米",[106],{"id":12463,"slug":12464,"title":12465,"dynasty":293,"author":1636,"museum":20,"description":3077,"tags":12466,"thumbUrl":12469,"material":666,"size":12470,"collection":122,"collections":12471,"showCount":12472,"zanCount":1065,"manualWeight":40,"mainColor":41},290960,"gu-kou-chun-geng-tu-wang-meng-290960","谷口春耕图",[7,24,51,52,277,75,73,278,1059,3096,12467,12468,74,118],"田亩","春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2e70b6711706e72d0fd7a32ef37df4.jpg","124.9x37.1",[],63,{"id":12474,"slug":12475,"title":12476,"dynasty":114,"author":259,"museum":20,"description":9610,"tags":12477,"thumbUrl":12478,"material":611,"size":1802,"collection":122,"collections":12479,"showCount":12472,"zanCount":541,"manualWeight":40,"mainColor":62},290298,"hua-mu-dan-zhou-zhao-chang-290298","画牡丹轴",[7,24,52,27,26,102,103,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd4bca642dcf11d1cb871a52b5b38d1.jpg",[],{"id":12481,"slug":12482,"title":12483,"dynasty":67,"author":12484,"museum":132,"description":12485,"tags":12486,"thumbUrl":12489,"material":317,"size":907,"collection":122,"collections":12490,"showCount":12472,"zanCount":1065,"manualWeight":40,"mainColor":41},287361,"liu-min-tu-juan-gao-qing-zhou-chen-287361","流民图卷(高清)","周臣","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[23,24,25,7,277,27,28,12487,3630,3220,6290,118,12488],"流民","民生疾苦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89baea17418e8268052ddf9c5e1952b0.jpg",[],{"id":12492,"slug":12493,"title":12494,"dynasty":67,"author":966,"museum":132,"description":12495,"tags":12496,"thumbUrl":12497,"material":122,"size":122,"collection":122,"collections":12498,"showCount":12472,"zanCount":1065,"manualWeight":40,"mainColor":62},237908,"ting-qin-zhou-chen-hong-shou-237908","听琴轴","《陈洪绶听琴轴》是明代画家陈洪绶创作的一幅绫本设色画，该画现藏于 。\n款署：“枫溪弗迟老人陈洪绶写于定香桥畔。\n”钤“字章侯”白文印。\n图绘一端庄文弱的女子在专心抚琴的场景。\n其优美的琴音吸引了周围的人，侍女驻足恭听，不愿打扰动听的旋律；男子侧耳静听，不愿落掉每一个音符。\n“弹”与“听”构成了画作的主题，也表达了文人所向往的一种娱乐情趣和他们日常的家居生活状态。\n此幅所绘人物形象古拙，线描造型准确传神，显现出作者深厚的艺术功底和既写实又独具韵味的笔墨特点，是其仕女人物画的代表作之一。",[24,51,7,52,27,26,510,28,29,31,383,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f517614b1bbd46132ab010b3fe9ea3e.jpg",[],{"id":12500,"slug":12501,"title":12502,"dynasty":67,"author":12503,"museum":151,"description":12504,"tags":12505,"thumbUrl":12506,"material":156,"size":12507,"collection":122,"collections":12508,"showCount":12472,"zanCount":1065,"manualWeight":40,"mainColor":62},233881,"fu-rong-e-tu-zhou-sun-long-233881","芙蓉鹅图轴","孙隆","图绘池塘草畔，一只大鹅昂首前望，侧立于芙蓉、湖石下。芙蓉花叶用先点后勾法画成，墨、色相间。太湖石以没骨法渲染。鹅则兼用没骨与勾勒，以淡墨线勾勒轮廓、羽毛，淡墨渲染花色，朱棕赭石填染咀和掌，造型严整，笔致工细。整幅画不拘泥于细节的刻划，而是从整体出发，着力表现白鹅、芙蓉的生动神态。\n在画法上，作者将写意与写形、没骨与勾勒、水墨与淡彩融为一体，和谐地统一于图画之中。这种画法的渊源，应为宋、元以来水墨写意花鸟技法的发展和变异，是孙隆的一种创造，开写意花鸟画之新风。此图为其存世佳作。",[24,7,51,52,102,27,101,246,4313,399,2664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4161d97123ab1447f6e046cfecf58534.jpg","纵159.3厘米，横84.1厘米",[],{"id":12510,"slug":12511,"title":12512,"dynasty":67,"author":619,"museum":20,"description":12513,"tags":12514,"thumbUrl":12515,"material":250,"size":12516,"collection":122,"collections":12517,"showCount":12472,"zanCount":40,"manualWeight":40,"mainColor":41},231359,"xie-sheng-ce-zhi-ji-tu-shen-zhou-231359","写生册之鸡图","2017年是农历丁酉鸡年，鸡在中国的十二生肖中寓意吉祥，鸡与“吉”谐音，因此被视为吉祥之禽。鸡有五德“文、武、勇、仁、信”，雄鸡是好斗的勇士，它的气魄和英姿受到历代文人墨客的赏识，同时公鸡有信德，报时从不会报错，古人说这是“守夜不失时”，是信德的表现。在中国画中，鸡的题材有着大吉大利、金鸡报晓、金鸡迎春、闻鸡起舞等吉祥寓意，所以深受历代画家喜爱，历史上留下了许多画鸡佳作。\n目前见到比较早的画鸡作品，是南宋宫廷画家李迪画的绢本《鸡雏待饲图》。画面未画任何背景，以写实手法描绘了两只憨态可掬的雏鸡，一只站立，一只半卧，均张嘴待哺，一副等待母鸡饲喂的天真模样，刻画细致入微，形象生动自然，难怪被明代大收藏家项墨林钤盖上“神品”的印章。明代画家沈周也爱画鸡，他画的《芙蓉雄鸡图》，运用简练的勾勒，淡雅的设色，将一只雄鸡刻画得活灵活现。他在画中题句：“百斗不一挫，高鸣人尽惊，忠臣与孝子，夜半候雄声。”赋予了鸡高贵不凡的品德。曾经郑振铎收藏后捐给中国美术馆的水墨《鸡》，题诗“突弁峩峩血染成，雄姿独擅斗芳名”，堪称中国水墨写意花鸟画的鼻祖。",[7,24,51,100,277,368,1190,102,1435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd4c5f12c94f57193e9fef705b25e832.jpg","34.8×53.8cm",[],{"id":12519,"slug":12520,"title":12521,"dynasty":114,"author":944,"museum":132,"description":12522,"tags":12523,"thumbUrl":12524,"material":122,"size":122,"collection":122,"collections":12525,"showCount":12472,"zanCount":40,"manualWeight":40,"mainColor":479},226544,"gui-zhao-tu-zhou-jing-hao-226544","归棹图轴","五代十国时，虽然国家四分五裂战乱连年，南唐都城所在地却相对平稳，于是有了书画艺术的一个发展高峰期。特别是中国山水画发展的重要时期，一些画家在唐代以青绿或水墨青绿在屏障上挥写大山大水或松石林木的基础上，深入大自然中进行创作。五代时中国水墨山水画趋于成熟，以以荆浩、关仝为代表的北方画家和以董源、巨然为代表的南方画家创立了真实生动的雄伟北方峻岭和秀丽江南山川两大山水画体系，世称“荆、关、董、巨”。这里介绍荆浩绘画作品。",[23,7,24,51,52,277,73,75,80,79,81,84,82,28,648,3376,664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99961b5d997a891ba19d41dce3890d15.jpg",[],{"id":12527,"slug":12528,"title":12529,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":12530,"thumbUrl":12534,"material":317,"size":907,"collection":3417,"collections":12535,"showCount":12472,"zanCount":40,"manualWeight":40,"mainColor":62},225724,"bouquet-of-flowers-in-a-vase1890-fan-gao-225724","Bouquet of Flowers in a Vase1890",[7,3410,3411,10067,12531,12532,4972,12533,198,2510,515],"色彩浓烈","笔触奔放","花束","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe937252e69f127edefe37afbeb52498e.jpg",[3417],{"id":12537,"slug":12538,"title":12539,"dynasty":114,"author":181,"museum":132,"description":12540,"tags":12541,"thumbUrl":12543,"material":122,"size":122,"collection":122,"collections":12544,"showCount":12472,"zanCount":1065,"manualWeight":40,"mainColor":62},223632,"lian-chi-shui-qin-tu-zhou-dui-zhou-er-yi-ming-223632","莲池水禽图轴对轴二","以没骨晕染写就盛夏荷塘生机，粉荷或粲然盛放，或含苞待绽，淡粉水色晕出花瓣柔润层次，娇妍动人。石绿敷色的荷叶，渍染出卷舒枯荣，苍润兼具，尽显池上蓊勃夏意。\n\n两只水禽优游波间，翎羽细勾淡染，姿态闲舒缓和，破开繁花叶影的静谧，添了灵动生趣。\n\n古雅的旧绢底色晕染出宋韵古澹，构图疏密错落，将荷塘幽谧生机融于尺幅，藏着宋人格物观照的雅致意趣，虽经岁时磨损，依旧能窥见院体花鸟工致温婉的审美品格。",[23,7,24,51,52,26,27,54,398,399,2290,12542],"池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcad2f0b5b63fb5100d6e2037573719a0.jpg",[],{"id":12546,"slug":12547,"title":12548,"dynasty":114,"author":181,"museum":20,"description":3240,"tags":12549,"thumbUrl":12553,"material":611,"size":3246,"collection":122,"collections":12554,"showCount":12472,"zanCount":40,"manualWeight":40,"mainColor":479},223471,"xi-mao-tu-yi-ming-223471","戏猫图",[23,24,7,27,26,812,472,102,55,103,198,1167,12550,560,1164,3243,301,12551,12552],"宠物","设色工笔","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944be0ae10bb40132b87c6508e80870b.jpg",[],{"id":12556,"slug":12557,"title":12558,"dynasty":46,"author":2636,"museum":20,"description":12559,"tags":12560,"thumbUrl":12561,"material":217,"size":12562,"collection":88,"collections":12563,"showCount":12472,"zanCount":40,"manualWeight":40,"mainColor":993},222761,"shi-er-yue-ling-tu-2-yue-lang-shi-ning-222761","十二月令图（2月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,7,24,26,27,855,75,77,28,560,278,82,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bcf35cca2199d5fa9312b5a8a3e68.jpg","188.2*102.2cm",[88,90],{"id":12565,"slug":12566,"title":12567,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":12568,"thumbUrl":12569,"material":27,"size":2642,"collection":122,"collections":12570,"showCount":12472,"zanCount":40,"manualWeight":40,"mainColor":41},222746,"xian-e-chang-chun-tu-04b-lang-shi-ning-222746","仙萼长春图-04b",[23,24,7,51,100,26,27,102,384,265,1095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb1c18ed325a1598fb52160021a962f.jpg",[],{"id":12572,"slug":12573,"title":12574,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":12575,"thumbUrl":12576,"material":27,"size":2642,"collection":122,"collections":12577,"showCount":12472,"zanCount":1065,"manualWeight":40,"mainColor":41},222739,"xian-e-chang-chun-tu-01a-lang-shi-ning-222739","仙萼长春图-01a",[23,7,24,51,100,26,27,102,103,74,8278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327134945f8934e75f6ed2989c364895.jpg",[],{"id":12579,"slug":12580,"title":12581,"dynasty":67,"author":1070,"museum":69,"description":9427,"tags":12582,"thumbUrl":12583,"material":1061,"size":9431,"collection":122,"collections":12584,"showCount":12472,"zanCount":1065,"manualWeight":40,"mainColor":41},222569,"hua-hui-tu-8-chen-chun-222569","花卉图8",[23,24,51,7,368,277,27,102,198,265,243,890,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911c35cd24a96007a25681937880c5d3.jpg",[],{"id":12586,"slug":12587,"title":12588,"dynasty":67,"author":12589,"museum":20,"description":12590,"tags":12591,"thumbUrl":12593,"material":283,"size":122,"collection":88,"collections":12594,"showCount":12472,"zanCount":541,"manualWeight":40,"mainColor":62},222430,"dong-li-qiu-se-tu-li-xiang-222430","东篱秋色图","李相","画取材东晋诗人陶渊明归隐田园的故事。画面中，陶渊明悠闲地坐在室外床榻上观赏菊花，童仆和家人陪伴伺候，屋外有访客造访，山径间还可见到牧童与牛群，整幅画流露出高士隐逸生活的一种典型。 ​​​​",[23,7,24,51,75,277,73,278,82,434,79,313,559,648,12592,27],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb340c3bf793e605358c2953c86e93e35.jpg",[88,286],{"id":12596,"slug":12597,"title":12598,"dynasty":114,"author":12599,"museum":1201,"description":12600,"tags":12601,"thumbUrl":12602,"material":611,"size":12603,"collection":175,"collections":12604,"showCount":12472,"zanCount":40,"manualWeight":40,"mainColor":62},221437,"song-hao-xuan-ming-shi-qin-tu-hu-shun-chen-221437","送郝玄明使秦图","胡舜臣","传世作品有宣和四年(1122)作《送郝玄明使秦图》卷，自题诗款：“丛桂方招隐，君犹赋远游。青枫初试降，白露正宜秋。玉叠浮云暮，秦关王气收。离情付图画，怅我一登楼。宣和四年九月二日，玄明大参有使秦之命，作此纪别。胡舜臣。”卷后有蔡京(1047-1126)书题“送郝玄明使秦一首：送君不折都门柳，送君不设阳关酒。惟取西陵松树枝，与尔相看岁寒友。蔡京。”继后有吴睿、莫昌、袁华、周鼎史、沈周观署，钱樾、吴荣光、伯荣、刘墉、翁方纲题跋等。",[23,24,7,51,25,277,73,75,425,82,609,279,78,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7ddf81b15095c5a22ac6defde70da2.jpg","30x111",[175],{"id":12606,"slug":12607,"title":12608,"dynasty":114,"author":12609,"museum":260,"description":12610,"tags":12611,"thumbUrl":12612,"material":156,"size":12613,"collection":175,"collections":12614,"showCount":12472,"zanCount":40,"manualWeight":40,"mainColor":62},221316,"mei-xi-pu-bu-tu-ce-ye-cui-que-221316","梅溪瀑布图册页","崔悫","《梅溪瀑布图》传为北宋画家崔悫所作。无款。裱边题签“崔慤梅溪瀑布”。\n图绘山涧湍急，水花四溅。水边山石上有一株老梅，虬曲盘折，梅花开满枝头。枝上停着几只雀鸟，空中还有一只雀鸟飞来。",[23,7,24,51,100,26,27,75,383,53,79,313,84,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46eeace5004b00d7ed1b1eb2e6c2cf42.jpg","24.7×22.2cm",[175,106,90],{"id":12616,"slug":12617,"title":12618,"dynasty":114,"author":460,"museum":20,"description":12619,"tags":12620,"thumbUrl":12622,"material":34,"size":12623,"collection":175,"collections":12624,"showCount":12472,"zanCount":40,"manualWeight":40,"mainColor":479},221286,"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[23,24,7,51,52,277,27,73,75,1357,82,278,3809,856,434,12621],"流水 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567a440bad362794ef3a58bd9280e8cc.jpg","120.4x74.7厘米",[175,88,286],{"id":12626,"slug":12627,"title":12628,"dynasty":67,"author":8327,"museum":20,"description":12629,"tags":12630,"thumbUrl":12631,"material":267,"size":12632,"collection":90,"collections":12633,"showCount":12472,"zanCount":1065,"manualWeight":40,"mainColor":41},219301,"xi-yuan-tu-zhu-zhan-ji-219301","戏猿图","此图画水石间，大小三猿嬉戏。石上一黑猿怀抱幼子，子猿伸臂似在争要什么，情态娇憨可爱。树上另一只黑猿拿着一枝花果，欲投又止，似在戏逗。石周围长着细竹秀草，石下边溪水潺潺。 [1] 图中洋溢著温馨亲子之情，寓有崇尚人伦之意。画猿得宋易元吉神韵，背景之竹丛苇草、荆棘枇杷，线条自然流利。山石皴法圆润，得董巨遗韵。整幅画构图中正和谐，与宣宗皇帝雍容大度，颇能呼应。",[7,24,51,27,26,4692,472,53,136,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66456e94601929135286fec127ea8bba.jpg","纵162.3厘米，横127.7厘米",[90],{"id":12635,"slug":12636,"title":4939,"dynasty":114,"author":181,"museum":132,"description":12637,"tags":12638,"thumbUrl":12639,"material":34,"size":12640,"collection":175,"collections":12641,"showCount":12472,"zanCount":40,"manualWeight":40,"mainColor":62},219011,"mu-niu-tu-yi-ming-219011","一幅典型的南宋田园画，以边角料的方式绘制。一棵高大的树被描绘在河边的浅滩上，一头水牛低着头，一个牛仔试图通过攀爬牛角爬上牛背。",[23,7,24,51,768,277,27,1906,1059,56,79,74,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc612d12f7fbf45193051cf350f77162.jpg","26x28",[175],{"id":12643,"slug":12644,"title":6286,"dynasty":114,"author":1787,"museum":395,"description":12645,"tags":12646,"thumbUrl":12647,"material":267,"size":3641,"collection":106,"collections":12648,"showCount":12472,"zanCount":11,"manualWeight":40,"mainColor":62},218941,"yuan-tu-mu-xi-218941","墨色晕染间，猿猴踞于山石之上，敛息凝神，似与周遭空寂相融。枯枝斜出，线条简劲如铁，牵起几分悠远禅意。山石以淡墨皴擦，肌理隐现却不刻意，留白处尽是天地的虚静。整幅画无多余笔墨，却在简淡中藏着深湛的禅思——物我两忘，心与境合。猿的眼神安详，仿佛已沉入永恒的静谧，连风都在此刻停驻。笔墨的疏朗与意境的幽远交织，恰似禅者的顿悟，于无声处叩击心灵。每一处淡墨的晕散、每一道线条的起落，都在诉说着禅画的精髓：不执于形，只追于心。山石的朴拙、猿的静定，共同织就一幅空灵的禅境图卷，引人踏入物我两忘的虚静之境。",[24,51,7,277,368,73,4692,472,56,1821,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a688cef2370db7643864b3746bd2747.jpg",[106],{"id":12650,"slug":12651,"title":12652,"dynasty":293,"author":583,"museum":20,"description":12653,"tags":12654,"thumbUrl":12655,"material":317,"size":907,"collection":122,"collections":12656,"showCount":12657,"zanCount":541,"manualWeight":40,"mainColor":62},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[7,24,51,52,277,75,2009,82,79,81,56,73,118,74,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0078660b9d4ba83a449e1cffec2f767e.jpg",[],62,{"id":12659,"slug":12660,"title":12661,"dynasty":18,"author":12662,"museum":132,"description":12663,"tags":12664,"thumbUrl":12665,"material":317,"size":907,"collection":122,"collections":12666,"showCount":12657,"zanCount":1065,"manualWeight":40,"mainColor":62},289960,"jiang-xing-chu-xue-tu-zhao-gan-289960","江行初雪图","赵幹","全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,7,24,25,27,497,1422,80,661,647,2151,1357,662,28,10940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6231144b6f47232f68a05a22d27743f8.jpg",[],{"id":12668,"slug":12669,"title":12670,"dynasty":114,"author":1787,"museum":132,"description":12671,"tags":12672,"thumbUrl":12674,"material":317,"size":907,"collection":122,"collections":12675,"showCount":12657,"zanCount":40,"manualWeight":40,"mainColor":62},288931,"liu-yan-tu-mu-xi-288931","柳燕图","牧溪，俗姓李，佛名法常，号牧溪，四川人，大概时间为宋末元初，具体生卒年月不祥，但有资料记载牧溪于公元1281年逝世。代表作品有《老子图》《松猿图》《远浦归帆图》《潇湘八景图》。",[7,24,277,102,52,1478,12673],"飞燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a4bbe2fedd263205569199a0c9d5b4.jpg",[],{"id":12677,"slug":12678,"title":8213,"dynasty":46,"author":494,"museum":151,"description":12679,"tags":12680,"thumbUrl":12683,"material":834,"size":12684,"collection":88,"collections":12685,"showCount":12657,"zanCount":40,"manualWeight":40,"mainColor":41},237575,"shan-shui-zhou-wang-shi-min-237575","本幅款署：“己酉初夏为公超词兄画。王时敏。” 钤“王时敏印”、“西庐老人”、“真寄”朱文印。\n“己酉”为清康熙八年（1669年），王时敏时年78岁。\n此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[7,24,51,52,277,75,12681,429,280,78,1737,1713,12682],"峰峦","点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a92818843ca4d2b1ca7bd64f115128.jpg","纵135厘米，横63厘米",[88,286],{"id":12687,"slug":12688,"title":12689,"dynasty":67,"author":12690,"museum":132,"description":12691,"tags":12692,"thumbUrl":12693,"material":317,"size":907,"collection":122,"collections":12694,"showCount":12657,"zanCount":1065,"manualWeight":40,"mainColor":41},234847,"hai-tang-fu-die-tu-shan-ye-qu-yuan-jing-234847","海棠蚨蝶图扇页","瞿元镜","瞿元镜 约生于本年／常熟人。瞿世耜之子。一名镜，字端叔。常熟诸生。喜花鸟，工篆刻。明忠宣公子，父亡，十龄流落于外，人无有过而问之者，顾云美以夙谊收恤",[7,24,51,768,27,26,1701,200,515,339,1180,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782c7e9c61bf22243ba7bc8fbc180917.jpg",[],{"id":12696,"slug":12697,"title":12698,"dynasty":293,"author":644,"museum":132,"description":11327,"tags":12699,"thumbUrl":12700,"material":317,"size":907,"collection":122,"collections":12701,"showCount":12657,"zanCount":40,"manualWeight":40,"mainColor":41},230909,"ni-yun-lin-mo-zhu-tu-ye-ni-zan-230909","倪云林墨竹图页",[23,7,24,51,277,53,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf9873062c542b0b65a27c7d2f3fd83.jpg",[],{"id":12703,"slug":12704,"title":493,"dynasty":293,"author":12705,"museum":132,"description":12706,"tags":12707,"thumbUrl":12708,"material":122,"size":122,"collection":122,"collections":12709,"showCount":12657,"zanCount":1065,"manualWeight":40,"mainColor":62},228244,"xian-shan-lou-ge-tu-chen-ru-yan-228244","陈汝言","此作为典型的元人青绿山水，承续唐宋青绿遗韵。层叠峰峦以石青、石绿晕染勾勒，色泽古雅厚重，虽经岁月稍褪，仍可见旧时明丽。苍松虬劲错落，扎根于岩岫之间，楼阁屋舍隐现幽谷林泉，几处文人逸士或策杖徐行、或凭栏晤谈，衬出山居空寂幽深。\n\n整幅疏密得宜，将仙山秘境的超脱清灵铺展于绢素，既带着青绿山水的富丽端严，又融入元人山水独有的萧散意趣，把世外山居的恬然仙气尽数勾勒，尽显缥缈出尘的隐逸雅意。",[23,7,24,51,4477,72,27,497,26,73,52,498,77,609,78,79,28,278,82,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e76427d011700fd2ac0d5e310c74ac.jpg",[],{"id":12711,"slug":12712,"title":12713,"dynasty":114,"author":181,"museum":20,"description":12714,"tags":12715,"thumbUrl":12716,"material":34,"size":12717,"collection":175,"collections":12718,"showCount":12657,"zanCount":40,"manualWeight":40,"mainColor":62},223520,"mei-zhu-ju-qin-tu-yi-ming-223520","梅竹聚禽图","此幅《梅竹聚禽图》的构图严谨，并且重视描绘物象的准确性，符合徽宗画院注重观察写生、讲究师承法度的标准，是一件能够代表“宣和体”的佳作。画面中央，画梅树一株，枝干弯曲而上，后方衬以翠竹棘条，有伯劳、绿鸠、鹌鹑等鸟禽栖身其间。整幅画的构图以S形屈曲的梅干来切割画面，并以成弧形交叉的竹棘增加动态感，布局虽繁密，但不零乱。画家成功将画面物象和布局理想化，创造出一种超乎时空，传达永恒的完美意象。画中的主要物象，均以双钩填彩的方式，生动的描绘出对象的色彩与体积感，给人一种平和，端庄之美。",[23,24,7,51,52,26,27,102,383,53,384,56,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[175,106,90],{"id":12720,"slug":12721,"title":12722,"dynasty":293,"author":4125,"museum":20,"description":12723,"tags":12724,"thumbUrl":12726,"material":611,"size":12727,"collection":88,"collections":12728,"showCount":12657,"zanCount":40,"manualWeight":40,"mainColor":62},221853,"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,7,24,51,25,855,510,27,28,77,370,4261,298,82,12725,74],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[88,286],{"id":12730,"slug":12731,"title":12732,"dynasty":18,"author":12733,"museum":20,"description":12734,"tags":12735,"thumbUrl":12736,"material":34,"size":12737,"collection":36,"collections":12738,"showCount":12657,"zanCount":1065,"manualWeight":40,"mainColor":62},220250,"she-qi-tu-li-zan-hua-220250","射骑图","李赞华","《射骑图》画在一匹装饰得很华丽的骏马面前，站立着一位中年的契丹贵族，服饰上有着“髡发左衽”的特点。所谓髡发，就是剃光了头顶，四周蓄着一圈头发，额前较短，两鬓较长，后面还梳了两根细辫子，辫梢绕着一个小圆圈。画中人物还着左衽的中衣，外罩圆领窄袖的长袍，袍长过膝，腰里裹着一块白色的皮筒卷，即田猎时所穿的“杆腰”，上束金银装饰的皮带。左边腰间挎着一个弓瞍（囊），右边胁下很显著的地方挂着一个长袋子，中间缝一块虎皮，周围装饰着很深的黑色毛皮，袋子上部有球状圆顶，看来这个袋子大约是一个箭筒。",[23,24,7,26,27,28,215,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946c627e579c074623886c010c525eb1.jpg","纵27.1厘米，横49.5厘米",[36],{"id":12740,"slug":12741,"title":12742,"dynasty":114,"author":6856,"museum":20,"description":12743,"tags":12744,"thumbUrl":12745,"material":250,"size":12746,"collection":175,"collections":12747,"showCount":12657,"zanCount":1065,"manualWeight":40,"mainColor":41},219954,"shan-yin-shu-sha-tu-liang-kai-219954","山阴书箑图","画中每个人物均表情生动，衣纹线条潇洒流畅，虽然不见得是梁楷亲笔所作，却能充分掌握住写意人物的简率趣味。",[23,7,24,51,277,510,7058,28,1059,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b1cc436980034bf908ab2030dac5a49.jpg","31.3×58.9公分",[175],{"id":12749,"slug":12750,"title":12751,"dynasty":114,"author":6856,"museum":20,"description":12752,"tags":12753,"thumbUrl":12754,"material":34,"size":12755,"collection":36,"collections":12756,"showCount":12657,"zanCount":40,"manualWeight":40,"mainColor":62},219608,"dong-li-gao-shi-tu-liang-kai-219608","东篱高士图","《宋梁楷东篱高士图轴》是南宋画家梁楷创作的作品此画中一高士手拿菊花，漫步在山中。背景用淡墨烘染，而红叶跟高士手中的菊花，点出这幅图画的是秋天。陶渊明是著名的“隐逸诗人”，又特别爱菊花，因此图中的高士不禁让人联想到陶渊明。",[23,7,24,51,52,7058,277,27,28,6119,1059,278,79,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6dfba9b9f71ac3b315d150e8db4344f.jpg","纵71.5厘米，横36.7厘米",[36],{"id":12758,"slug":12759,"title":4623,"dynasty":18,"author":12760,"museum":20,"description":12761,"tags":12762,"thumbUrl":12763,"material":34,"size":12764,"collection":36,"collections":12765,"showCount":12657,"zanCount":541,"manualWeight":40,"mainColor":62},219490,"wen-hui-tu-qiu-wen-bo-219490","丘文播","图绘四文士宴饮、赋诗、抚琴的雅集场景。四人均宽衣大袍，坐于榻上，身旁置酒杯、酒瓶，似在即席作文行酒。四位人物的姿态不一，一人停笔凝思，一人秉笔疾书，而右下者似已醉态微呈，意欲下榻，侍童忙为其穿靴并扶撑其腰，文士转身挥手，招呼怀抱锦袱之女子，而女子则淡妆素抹，作扭首含羞之态。左下背向文士，则牵住右下文士之腰带，似有不让其离席之状。三位挽双髻女子，或抱琴、或端杯侍立于榻旁。此图人物造型具有唐风，结构严谨，衣纹线条疏密有致，运笔极为娴熟。背景中的古树，枝干劲挺虬曲，树叶以三角形堆叠法绘成，并根据疏密搭配，间以色彩轻重渲染，使之古茂苍雄，更进一步衬托了“文会”主题之雅意。",[7,24,51,26,27,510,28,905,5582,1059,278,1164,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a055f28d65527ebeb12ed1c39e04aab.jpg","纵84.9厘米，横49.6厘米",[36],{"id":12767,"slug":12768,"title":12769,"dynasty":67,"author":12770,"museum":20,"description":12771,"tags":12772,"thumbUrl":12773,"material":666,"size":12774,"collection":36,"collections":12775,"showCount":12657,"zanCount":40,"manualWeight":40,"mainColor":41},219362,"guan-shi-yin-xiang-tu-shen-shi-chong-219362","观世音像图","沈士充","淡墨线条如行云流水，勾勒出观音端坐之姿。衣纹婉转流畅，纱幔轻盈似有风动，垂坠间尽显织物柔韵。她垂眸含慈，眉宇间凝着悲悯与安宁，头饰虽简却见匠心，衬得面容圣洁温婉。留白处散落的题跋与朱印，既添古朴韵味，亦映证作品流传脉络。整幅画以极简笔触，传递出深沉禅意与人文温度，观之如沐清辉，心渐沉静。",[24,51,7,52,678,28,510,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d098b00d77f489e63754c4af5e92d3.jpg","60.1x32",[36],{"id":12777,"slug":12778,"title":12779,"dynasty":67,"author":12780,"museum":20,"description":12781,"tags":12782,"thumbUrl":12784,"material":34,"size":12785,"collection":90,"collections":12786,"showCount":12657,"zanCount":40,"manualWeight":40,"mainColor":62},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[7,24,51,52,27,26,73,75,77,81,78,79,278,82,12783,560,280,4497],"台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[90],{"id":12788,"slug":12789,"title":12790,"dynasty":114,"author":181,"museum":20,"description":12791,"tags":12792,"thumbUrl":12794,"material":34,"size":12795,"collection":175,"collections":12796,"showCount":12657,"zanCount":1065,"manualWeight":40,"mainColor":41},218855,"he-ting-ting-yu-tu-yi-ming-218855","荷亭听雨图","这幅画描绘了一个荷花亭，主人躺在沙发上看荷花、听雨声，而一个童仆拿着小提琴在桥头的花下姗姗来迟，抱头鼠窜，而一只受惊的鸟儿则飞上了天空。这幅画与刘松年的风格相似，笔触厚实而坚定，画感引人入胜。",[23,7,24,27,855,26,81,54,82,77,12793],"雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4871b40e4780da845cf4f472108e38a.jpg","23.2x24.4",[175,36],{"id":12798,"slug":12799,"title":12800,"dynasty":114,"author":181,"museum":20,"description":12801,"tags":12802,"thumbUrl":12804,"material":34,"size":122,"collection":88,"collections":12805,"showCount":12657,"zanCount":541,"manualWeight":40,"mainColor":62},218724,"qiu-zhu-wen-qin-tu-yi-ming-218724","秋渚文禽图","这是一幅秋日的水岛画，画中有飞鸟和参天古树，意境凄凉。该书被故宫博物院和大英博物馆收藏，学者们普遍认为是元代的作品。",[23,24,7,26,277,27,1059,2785,56,710,12803,298,3037],"渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419d1c3920e5f599788e02111ab56aa9.jpg",[88],{"id":12807,"slug":12808,"title":12809,"dynasty":114,"author":448,"museum":132,"description":12810,"tags":12811,"thumbUrl":12813,"material":34,"size":12814,"collection":175,"collections":12815,"showCount":12657,"zanCount":541,"manualWeight":40,"mainColor":62},218558,"he-hua-chong-jie-tu-lin-chun-218558","荷花虫介图","这幅画描绘了一个有着厚厚的白色条纹和点状绿色皮肤的大绿瓜，红色的蜻蜓和两只蜜蜂在瓜上盘旋，似乎是水果的香味吸引了它们；一只绿色的蚱蜢蹲在宽大的叶面上，似乎也在向瓜爬来。",[7,24,51,26,27,102,398,12812,56,890],"虫介","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11bbb375e79fb24e593b6af6beedad0f.jpg","28x26",[175],{"id":12817,"slug":12818,"title":12134,"dynasty":114,"author":4689,"museum":395,"description":12819,"tags":12820,"thumbUrl":12821,"material":34,"size":4996,"collection":106,"collections":12822,"showCount":12657,"zanCount":1065,"manualWeight":40,"mainColor":62},216669,"yuan-xi-tu-yi-yuan-ji-216669","枝间猿猱倒挂，长尾如丝垂悬，似欲探取下方轻物，姿态灵动若脱纸而出。虬枝盘曲如铁，缀以青果繁叶，墨色浓淡交错间，见苍劲中含生机。远山以淡墨皴染，近石用粗笔勾勒，虚实相映间拓开清旷空间。猿之毛发细劲蓬松，根根可见；果叶晕染鲜活，如沐朝露。笔墨工致却不失野趣，于方寸圆扇内凝注山林间的灵动瞬间——风过枝颤，猿眸流转，似能闻叶隙间的轻响。宋画的精微与诗意在此尽显：以细致笔触捕捉生命本真，用简淡意境传递自然野逸，让观者仿若置身深林，与这灵物共醉于片刻闲趣。风过枝摇时，灵猿的每一寸毛发都似在轻颤，果叶的脉络里藏着晨露的光，深林的野趣与宋人的雅致，尽凝于这一方圆幅中。",[24,7,27,26,472,6290,135,278,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e09b8ae55b49ba935e0ab9aca615986.jpg",[106],{"id":12824,"slug":12825,"title":12826,"dynasty":67,"author":12484,"museum":151,"description":12827,"tags":12828,"thumbUrl":12829,"material":267,"size":12830,"collection":36,"collections":12831,"showCount":12657,"zanCount":40,"manualWeight":40,"mainColor":41},216085,"ming-huang-you-yue-gong-tu-zhou-chen-216085","明皇游月宫图","这是一幅带有作者美好想象的画作。表现的是唐人小说中明皇李隆基曾偕方士梦游月中宫殿的情景。全图笔法工细，继承了南宋笔墨精妙的传统，注重人物个性的展示、人物与环境的配合，以及不同社会阶层人物神态、服饰的刻画，从中可见唐明皇高贵典雅的神态，侍从恭敬谦卑的表情和侍女们端庄优雅的气质等。此图是周臣优秀的人物画之一。",[23,24,7,768,27,28,1570,82,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb23230d53038694868c25d0ae2a93d4.jpg","纵18.6厘米，横50厘米",[36],{"id":12833,"slug":12834,"title":12835,"dynasty":114,"author":460,"museum":132,"description":7349,"tags":12836,"thumbUrl":12837,"material":317,"size":907,"collection":122,"collections":12838,"showCount":12839,"zanCount":40,"manualWeight":40,"mainColor":62},290493,"qiu-jiang-mi-du-tu-guo-xi-290493","秋江觅渡图",[7,24,497,27,73,1059,10032,7254,648,3427,435,3256,1681],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bb3c54ae0c2dc5c4f7d3a36485b611.jpg",[],61,{"id":12841,"slug":12842,"title":12843,"dynasty":114,"author":181,"museum":132,"description":3751,"tags":12844,"thumbUrl":12846,"material":317,"size":907,"collection":122,"collections":12847,"showCount":12839,"zanCount":40,"manualWeight":40,"mainColor":41},290364,"song-ke-si-gui-zhi-shuang-xi-tu-zhou-yi-ming-290364","宋缂丝桂枝双喜图轴",[7,24,51,52,1034,26,27,102,8858,12845,74],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dbe196f445bd63ff9d958a5436a371b.jpg",[],{"id":12849,"slug":12850,"title":12851,"dynasty":18,"author":1020,"museum":20,"description":12852,"tags":12853,"thumbUrl":12854,"material":317,"size":907,"collection":122,"collections":12855,"showCount":12839,"zanCount":40,"manualWeight":40,"mainColor":62},289769,"zhu-lin-bo-ge-tu-huang-quan-289769","竹林鹁鸽图","几只珠颈斑鸠活动于郊原上，其中二只飞翔于低空，另外三只正漫步于竹丛边。流露出在大自然间怡然自得之情景。作者注重写生，对鸟的形状以至神态，都极用心观察，如羽毛层层叠覆的变化也都详加描绘。该幅旧传为黄筌之作，与台北故宫博物院所藏的另一幅宋人竹石鸠子图在构景方面十分相近。",[23,7,24,51,52,26,27,102,53,84,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F481384d9428a1823aa92b9176ad4f6ae.jpg",[],{"id":12857,"slug":12858,"title":12859,"dynasty":293,"author":644,"museum":20,"description":12860,"tags":12861,"thumbUrl":12862,"material":317,"size":907,"collection":122,"collections":12863,"showCount":12839,"zanCount":1065,"manualWeight":40,"mainColor":41},287665,"yuan-xiu-shu-shi-tu-ni-zan-287665","远岫树石图","图中绘平坡远岫，疏林草亭，笔简意远，惜墨如金，干中见湿，躁中带润。以侧锋干笔作皴，名为“折带皴”。书法从隶入，有晋人风度。倪瓒擅画山水、墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。",[24,7,51,52,277,75,647,648,56,81,119,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d5d71527524ae1af5a4236a60b1794.jpg",[],{"id":12865,"slug":12866,"title":12867,"dynasty":293,"author":4125,"museum":132,"description":12723,"tags":12868,"thumbUrl":12871,"material":317,"size":907,"collection":122,"collections":12872,"showCount":12839,"zanCount":1065,"manualWeight":40,"mainColor":62},287337,"long-zhou-jing-du-tu-juan-wang-zhen-peng-287337","龙舟竞渡图卷",[23,7,24,25,855,72,27,75,77,12869,28,663,12870],"龙舟","龙舟竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d38c779987285d7530e29b1984cd1b.jpg",[],{"id":12874,"slug":12875,"title":12876,"dynasty":67,"author":1269,"museum":132,"description":6008,"tags":12877,"thumbUrl":12878,"material":317,"size":907,"collection":122,"collections":12879,"showCount":12839,"zanCount":40,"manualWeight":40,"mainColor":41},283738,"fang-gu-shan-shui-ce-shi-kai-dong-qi-chang-283738","仿古山水册（十开）",[7,24,100,277,75,278,79,82,1737,74,118,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9ee79f5dfee7fbf9889135e8f1f2b7.jpg",[],{"id":12881,"slug":12882,"title":12883,"dynasty":293,"author":1556,"museum":20,"description":12884,"tags":12885,"thumbUrl":12886,"material":156,"size":12887,"collection":122,"collections":12888,"showCount":12839,"zanCount":40,"manualWeight":40,"mainColor":41},231423,"yan-jiang-dai-du-tu-qian-xuan-231423","烟江待渡图","此卷绘秋景山水，山峦平坡多用硬拙直笔勾皴，既表现出青绿山水的古雅工丽，又富有文人画的恬静意趣。树丛以细笔皴点，葱郁清丽，构图平远浩渺，颇有绝世出尘之境。画家借助创作此幽寂静谧，充满诗意的山水，并在画上题诗，委婉曲折地表达自己隐遁避世之愿望。",[7,24,51,25,27,72,26,75,74,118,119,1109,297,298,80,82,648,7254,28,663,279,1997,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8413a90a26c7bd60b40a95db035e8aca.jpg","纵21.6厘米，横480.6厘米",[],{"id":12890,"slug":12891,"title":12892,"dynasty":114,"author":9161,"museum":132,"description":12893,"tags":12894,"thumbUrl":12895,"material":122,"size":122,"collection":122,"collections":12896,"showCount":12839,"zanCount":40,"manualWeight":40,"mainColor":62},227704,"chun-jiang-hua-yue-ye-tu-ye-xiao-zhao-227704","春江花月夜图页","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,7,24,51,100,277,27,73,75,79,80,1570,81,1059,84,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b470b220a55c2881ae3b91662b49dd.jpg",[],{"id":12898,"slug":12899,"title":12900,"dynasty":46,"author":7025,"museum":132,"description":12901,"tags":12902,"thumbUrl":12905,"material":122,"size":122,"collection":122,"collections":12906,"showCount":12839,"zanCount":40,"manualWeight":40,"mainColor":41},224593,"liang-yuan-fei-xue-tu-yuan-jiang-224593","梁园飞雪图","《梁园飞雪图》是清代画家 创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,7,24,51,855,26,27,75,77,1357,12903,82,861,560,278,12904,8912,6830,3255,434,3097],"桥","长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":12908,"slug":12909,"title":12910,"dynasty":114,"author":181,"museum":132,"description":12911,"tags":12912,"thumbUrl":12913,"material":122,"size":122,"collection":122,"collections":12914,"showCount":12839,"zanCount":489,"manualWeight":40,"mainColor":62},223630,"he-xie-tu-yi-ming-223630","荷蟹图","《宋人画荷蟹图》是宋代佚名创作是一幅中国画。\n图中残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。\n潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。\n画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。\n此图画面意境生动，题材别出新意，为宋人写实画作的典范。\n【简介】 本幅无款。\n钤印一方，印文模糊不辨。",[23,7,24,51,27,26,54,2243,399,2664,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180dab128ffc6da8aaed986bccf8201c.jpg",[],{"id":12916,"slug":12917,"title":12918,"dynasty":114,"author":181,"museum":151,"description":12919,"tags":12920,"thumbUrl":12921,"material":217,"size":12922,"collection":122,"collections":12923,"showCount":12839,"zanCount":541,"manualWeight":40,"mainColor":62},223584,"wa-que-qi-zhi-tu-ye-yi-ming-223584","瓦雀栖枝图页","此画绘海棠一枝，果实散挂枝头，树叶已染秋霜。\n枝头栖息着姿势各异的五只瓦雀，其中一只正仰首注视着枝叶上的昆虫，张口欲啄，形象生动活泼。\n整个画面张弛有致，设色研丽，刻画写实。\n海棠间杂红、黄、绿色，细看可见叶、果有些已遭虫蚀。\n作者取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。\n鸟的羽毛用细笔一笔一笔勾描，具有毛茸茸的质感。",[23,24,7,51,100,26,27,102,84,7667,1821,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398ac81f47572946b8488c7c3af380e0.jpg","纵28.9厘米横29厘米",[],{"id":12925,"slug":12926,"title":12927,"dynasty":114,"author":274,"museum":151,"description":12928,"tags":12929,"thumbUrl":12930,"material":611,"size":12931,"collection":122,"collections":12932,"showCount":12839,"zanCount":40,"manualWeight":40,"mainColor":62},223340,"yun-feng-yuan-tiao-tu-xia-gui-223340","云峰远眺图","图绘群山相拥，山腰中云雾霭霭，一平坦处二人观景寒暄，一小童拿一长竿站立其后；远处松木成林，楼台庭院坐落于山腰中，隐约的山峰高耸陡峭，侧面如刀削般平整。此画画风近夏圭风格，画面简而不空，所画山峰线条刚劲、峰顶尖利！",[23,7,24,51,277,75,73,28,2009,279,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728ca2ae2c5d24dda0b691a4c2b1e73f.jpg","24.8*26.4cm",[],{"id":12934,"slug":12935,"title":12936,"dynasty":46,"author":12937,"museum":132,"description":12938,"tags":12939,"thumbUrl":12940,"material":250,"size":122,"collection":36,"collections":12941,"showCount":12839,"zanCount":40,"manualWeight":40,"mainColor":2341},223276,"luo-han-chang-juan-hong-yi-fa-shi-223276","罗汉长卷","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[23,7,24,51,25,678,510,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5bdb6c55f2c12f941fbbee4339b485.jpg",[36],{"id":12943,"slug":12944,"title":12945,"dynasty":46,"author":2636,"museum":20,"description":12559,"tags":12946,"thumbUrl":12948,"material":217,"size":12562,"collection":88,"collections":12949,"showCount":12839,"zanCount":40,"manualWeight":40,"mainColor":62},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）",[23,7,24,26,27,855,8278,28,77,75,7037,82,560,559,756,755,278,10940,861,12947],"人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg",[88,90],{"id":12951,"slug":12952,"title":12953,"dynasty":67,"author":12954,"museum":20,"description":12955,"tags":12956,"thumbUrl":12960,"material":2232,"size":12961,"collection":88,"collections":12962,"showCount":12839,"zanCount":1065,"manualWeight":40,"mainColor":62},222158,"shan-zhuang-gao-yi-tu-li-zai-222158","山庄高逸图","李在","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[23,24,7,497,277,12957,12958,425,313,78,80,12959,1524,1525,77,82,7048],"云头皴","蟹爪枝","客舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","109.1×188.8cm",[88,286],{"id":12964,"slug":12965,"title":12966,"dynasty":114,"author":10541,"museum":1417,"description":12967,"tags":12968,"thumbUrl":12969,"material":12970,"size":12971,"collection":175,"collections":12972,"showCount":12839,"zanCount":40,"manualWeight":40,"mainColor":62},221251,"yan-tu-hui-chong-221251","雁图","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[23,7,24,51,277,27,6811,84,298,2151,56,957,10545,710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[175,106,90],{"id":12974,"slug":12975,"title":12976,"dynast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形与质，大小不一，疏密，散落。有人生感和禅意。 是八大山人一贯的写意风格。",[23,7,24,51,25,277,368,119,74,7663,13081,13082,13083,13084,243],"梨","葱","蒜","黄瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b940c2439fdac30eea8813cf5a83875.jpg","28×206.5厘米",[],{"id":13089,"slug":13090,"title":2459,"dynasty":114,"author":448,"museum":151,"description":13091,"tags":13092,"thumbUrl":13094,"material":156,"size":8877,"collection":122,"collections":13095,"showCount":13058,"zanCount":40,"manualWeight":40,"mainColor":62},233004,"guo-shu-lai-qin-tu-ye-lin-chun-233004","画家选取果木的一枝写秋景：寂静的山林木叶泛黄，沉甸甸的果实早已熟透却无人采摘，任由虫儿噬蚀。一只小鸟蓦然飞上枝头，打破了空间的宁静。忽而，它转颈回眸，振翅欲飞，在这收获的季节里，它是否被画面外更为诱人的景色所吸引呢？\n折枝画法发挥了小幅的特长，作者以活泼的形式突出表现了枝叶、果实的色彩和禽鸟的情态，大不盈尺却美轮美奂，在饱满丰硕的果实和小鸟怡然自得的鸣唱中，画外的情趣、诗意与画意相结合，加强了花鸟画借物抒情的目的，令人赏心。\n小鸟的动态用细劲柔和的笔致勾勒，蓬松的羽毛则以浑融的墨色晕染，木叶的枯萎、残损、锈斑，果子上被虫儿叮咬的痕迹都被一一描绘出来，可见画家从自然景致中“摄集花形鸟态”的高超的写生能力。在构图上删繁就简，明洁奇巧，既保持了画院花鸟画“要物形不改”状物精微的写实精神，又表现出作者蕴藉空灵的审美追求。设色轻敷淡染，黄绿的叶子、淡红的果实、鹅黄的小鸟，分外和谐明丽。",[24,7,51,26,27,102,13093,710,1821,355],"果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b4d59a08468c0294c3fe6a31110e6d.jpg",[],{"id":13097,"slug":13098,"title":13099,"dynasty":674,"author":13100,"museum":212,"description":13101,"tags":13102,"thumbUrl":13103,"material":250,"size":13104,"collection":122,"collections":13105,"showCount":13058,"zanCount":1065,"manualWeight":40,"mainColor":62},232269,"gu-shi-si-tie-zhang-xu-232269","古诗四帖","张旭","通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。”今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”\n释文:东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问棘花。应逐上元酒，同来访蔡家。\n北阙临丹水，南宫生绛云。龙泥印玉简，大火练真文。上元风雨散，中天哥吹分。虚驾千寻上，空香万里闻\n谢灵运王子晋赞\n淑质非不丽，难之以万年。储宫非不贵，岂若上登天。王子复清旷，区中实哗嚣。喧既见浮丘公，与尔共纷翻。\n岩下一老公，四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不别可？其书非世教，其人必贤哲。\n备注:《古诗四帖》录文为四首诗赋。前两首分别是南北朝庾信的《道士步虚词》之六和之八，后两首是南朝谢灵运的《王子晋赞》和《岩下见一老翁四五少年赞》。\n《庾子山集》和《谢灵运集校注》分别录有原文如下：\n东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问枣花。上元应送酒，来向蔡经家。\n北阙临玄水，南宫生绛云。龙泥印玉策，大火炼真文。上元风雨散，中天歌吹分。灵驾千寻上，空香万里闻。\n谢灵运王子晋赞\n淑质非不丽，难以之百年。储宫非不贵，岂若登云天。王子爱清净，区中实骅嚣。喧既见浮丘公，与尔共纷翻。\n岩下见一老翁四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不可别。其书非世教，其人必贤哲。\n《古诗四帖》是否为张旭所作，尚有争议，但它是张旭笔法系统中一件重要的作品。它大部分线条不强调提按，而重视粗细均匀的线条中使转与速度的变化。中侧锋并用，笔锋常落在线条端部的一侧，但立即转为中锋；同时流畅中又往往生出圭角，如“年”、“别”等字，有不可端倪之感。左右部分衔接时，有时用粗重的线条。这一点在颜真卿《刘中使帖》中“期”、“将”的笔触也可看到，通过此点能看到颜、张的关系。\n狂草中的点画与其他书体中的点画不同。其一，狂草点画在连续运动中完成，而且较为快速，对控制用笔的敏捷、准确有很高要求；其二，其他书体字体中留驻、按顿等常用的方法在狂草中无法使用，只能更多地依靠手腕及其他关节的控制，因此在临习中一定要找到与点画形状相配合的运动方式。一种点画，书家可以用不同的笔法临写出大体相似的形状，但对狂草来说，只有自然而流畅地书写出这一形状才是可取的，其它操作方法不是把学习者和欣赏者引向另一种风格，而是引人离开草书。\n《古诗四帖》中有少量弱笔，但无损于整个作品的流动、敦厚，就大部分线条而言，已达到得心应手、落笔成趣的境界。草书中不离法则而随意驱运法则，这是高闲等人从来不曾梦想过的境地。\n“四帖”中真正使人感到意外的还是字结构。由于阅读与欣赏习惯的影响，“单字结构”总是欣赏者感觉中甩不掉的一个层面。与张旭其他作品相比，这件作品不符合他惯常的构字规则。\n《古诗四帖》属狂草。特点是较过去更为狂放，整体气势如长江大河一泻千里，急风骤雨，所以在草书发展史上是新突破。它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。\n《古诗四帖》，张旭自己并未书款，说它是张旭作品是根据董其昌鉴定， 后人多沿此说，但也颇有争议。\n张旭草书的章法大致可以分为单字界限清晰和单字界限不清晰这样两类。前者如《晚复帖》，后者如《古诗四帖》。两类作品书写时的心态有所不同。前一类作品书写时注意力可以主要放在字结构上，同时关注各字的连缀即可；后一类作品书写时以线条疏密及连续性的控制为首要目标。狂草中空间的疏密有时出现强烈的变化，但张旭的作品中，疏密变化都是逐渐发生的。换言之，由疏到密，或由密到疏，都有个过渡阶段，《肚痛贴》中从“肚痛”到“不可”这样突兀的变化只是个特例。\n《古诗四帖》笔法奔放不羁，如惊电激雷，倏忽万里，而又不离规矩。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。董其昌评说：“有悬崖坠，急雨旋风之势。”\n《古诗四帖》通篇气势奔放，运笔无往不收，如锥划沙，无纤巧浮华之笔。盛唐时期，以张旭为代表的一派草书风靡一时，它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。正如唐代文学家韩愈《送高闲上人序》中所云：“张旭善草书，不冶它技，喜怒窘穷，忧悲愉佚，怨恨，思慕，酣醉无聊，不平，有动于心，必于从草书焉发之。”\n《古诗四帖》早在北宋宋仁宗嘉佑年间已有刻本流传，墨迹进入北宋内府。“靖康之乱”散入民间，南宋后期为贾似道收藏。后转入南宋收藏家赵与勤家。明代归著名收藏家华夏的真赏斋，后又归项元汴，清时入内府。\n宋《宣和书谱》定为南北朝谢灵运书，元明时《云烟过眼录》、《珊瑚网书跋》、《平生壮观》均有记载，传至明朝中期，对作者产生怀疑，直到董其昌，才从诗韵变化揭示原说破绽并据草书肯定为张旭之作。《石渠宝笈初编》将此帖误断为赝品。\n关于是否是张旭真迹，明清均有争议，到现在仍有学者有不同意见。",[23,7,24,51,118,25,2755,74,27,1580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b552411f9ee44f8aa35e32c763c8a8.jpg","纵28.8厘米，横192.3厘米",[],{"id":13107,"slug":13108,"title":13109,"dynasty":46,"author":5268,"museum":132,"description":13110,"tags":13111,"thumbUrl":13112,"material":122,"size":122,"collection":122,"collections":13113,"showCount":13058,"zanCount":40,"manualWeight":40,"mainColor":41},230133,"yu-yu-liu-se-tu-hong-ren-230133","雨余柳色图","《雨余柳色图》是 僧侣画家 的国画作品。\n该画为立轴，纸本墨笔，纵84.4厘米，横45.厘米，现藏于 。\n《雨余柳色图》奥境奇辟，缅邈幽深，峰峦俊逸，水渚错落，林木萧疏，江水辽阔，远山浮动。\n全幅以山、坡为主，图右缀有几株垂柳，一座小小木桥；图左设有几栋屋宇，远处画一道流水。\n此画笔墨苍劲整洁，以细笔为主，兼用侧锋，并用乾笔皴擦，有秀逸清幽之气。\n弘仁（161--1664）[清]僧。\n明诸生，甲申后为僧，号渐江，一号无智，人称梅花古衲，俗姓江，名韬，字六奇，后改名舫，字鸥盟， 人。\n少孤贫，性癖，以铅椠养母。\n一日负米行三十里，不逮期，欲赴练江死。\n母殡后不婚不宦。\n明亡后清兵进逼 时，曾参加反清复明斗争，后于 落发为僧，法名弘仁，字无智，号 ，又号梅花古衲，数年后重返故里，一心研习画学。\n游 之幔亭，皈依报亲寺古航师为圆顶焉。",[24,7,51,52,277,73,75,2626,78,77,56,4371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8413b0a13127d754377e4b83368527.jpg",[],{"id":13115,"slug":13116,"title":13117,"dynasty":114,"author":13118,"museum":132,"description":13119,"tags":13120,"thumbUrl":13121,"material":122,"size":122,"collection":122,"collections":13122,"showCount":13058,"zanCount":1065,"manualWeight":40,"mainColor":41},227816,"xie-sheng-zi-wei-wei-sheng-227816","写生紫薇","卫昇","卫昇，(公元1世纪)〔南宋〕其生平仅见元代夏文彦撰《图绘宝鉴》卷四载“卫昇，画花鸟甚佳”7字，与南宋画人平列在一起，可见卫昇为南宋时人。\n传世作品仅有《写生紫薇图》册页，绢本，设色，纵2.8厘米，横25.厘米，以工笔重色法写折枝盛开之紫薇花，造型精确，结构严谨，用笔工整，敷色雅丽，是一幅精到之作，具有南宋院体画特点，现藏 。",[23,7,24,51,26,27,102,10079,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcaa4997a97e82526f8899902e8a264a.jpg",[],{"id":13124,"slug":13125,"title":2809,"dynasty":46,"author":1452,"museum":132,"description":13126,"tags":13127,"thumbUrl":13128,"material":122,"size":122,"collection":122,"collections":13129,"showCount":13058,"zanCount":40,"manualWeight":40,"mainColor":62},224591,"yu-tang-fu-gui-tu-zou-yi-gui-224591","《玉堂富贵图》是清代邹一桂的作品，该图规格为197×96cm，此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n该图画是邹一桂的作品，作于清代。\n此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n汉代皇宫有“玉堂殿”，后世以“玉堂”指翰林院，“历金门，上玉堂有日矣”的意思是职位高升指日可待。\n“富贵”一词出自《论语-颜渊》：“商闻之矣，生死有命，富贵在天。\n”，指富裕而显贵的意思。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n牡丹敷以淡粉，用重粉点染边缘，显得晶莹剔透、庄重典雅。\n整个画面热烈而秀雅，韵味十足。\n，字小山。\n善画人物、花卉、翎毛、偶画山水。\n擅长水墨花卉，极有重名。",[23,7,24,51,52,26,27,102,103,2190,278,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74591eb4de60da169f51849ba65b2284.jpg",[],{"id":13131,"slug":13132,"title":13133,"dynasty":114,"author":181,"museum":20,"description":13134,"tags":13135,"thumbUrl":13137,"material":27,"size":13138,"collection":175,"collections":13139,"showCount":13058,"zanCount":40,"manualWeight":40,"mainColor":62},223566,"xi-shan-mu-xue-zhou-yi-ming-223566","溪山暮雪轴","此画描绘的是白雪覆盖溪岸与山峰，群鸦翔集欲归巢，江天一片寒冬之意。溪山之间，仍见绿树丛丛寒林不多，应是江南冬日之景象。描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,24,7,52,75,73,277,297,1023,82,280,13136,80,5079],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米",[175,88,286],{"id":13141,"slug":13142,"title":13143,"dynasty":293,"author":1534,"museum":151,"description":13144,"tags":13145,"thumbUrl":13147,"material":453,"size":13148,"collection":286,"collections":13149,"showCount":13058,"zanCount":1065,"manualWeight":40,"mainColor":62},221814,"shuang-gou-zhu-tu-li-kan-221814","双钩竹图","李衎（1245-1320），字仲宾，号息斋道人，蓟丘（今北京）人。皇庆元年（1312年）为吏部尚书，拜集贤殿大学士，与赵孟頫相友善。死后追封蓟国公，谥文简。善画竹，墨竹初师王庭筠，继师文同，青绿设色师李颇。",[23,7,24,51,52,13146,26,53,56,27],"双钩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53499e6ca3eee6c531a56818fa98b16c.jpg","纵185.5cm，横153.7cm",[286,2605],{"id":13151,"slug":13152,"title":13153,"dynasty":67,"author":13154,"museum":6466,"description":13155,"tags":13156,"thumbUrl":13157,"material":34,"size":13158,"collection":88,"collections":13159,"showCount":13058,"zanCount":1065,"manualWeight":40,"mainColor":62},219944,"jiang-shan-sheng-lan-tu-yan-zong-219944","江山胜览图","颜宗","颜宗（1393—约1453）广东南海人，字学渊。永乐二十一年举人。授邵武知县，为政清明，以救荒悯旱为先。招抚邓茂七余部，全活甚众。景泰中擢兵部主事，署员外郎。奔母丧归，卒于途中。善画山水，时人有“颜老天趣不可及”之语，当时名画师如林良，视之尚有逊色。",[7,24,51,25,277,75,425,279,426,1012,434,82,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F366483a10fdb6cde35d65da1131e8083.jpg","35.5x610厘米",[88],{"id":13161,"slug":13162,"title":13163,"dynasty":67,"author":9463,"museum":151,"description":13164,"tags":13165,"thumbUrl":13166,"material":317,"size":907,"collection":122,"collections":13167,"showCount":13168,"zanCount":541,"manualWeight":40,"mainColor":62},289995,"chan-gong-yue-tu-tu-tao-cheng-289995","蟾宫月兔图","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。",[24,7,52,26,27,72,53,2106,1570,75,79,278,1046,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c9583ba3902ef676ff0c13ef74bb75.jpg",[],59,{"id":13170,"slug":13171,"title":13172,"dynasty":18,"author":1323,"museum":132,"description":13173,"tags":13174,"thumbUrl":13176,"material":317,"size":907,"collection":122,"collections":13177,"showCount":13168,"zanCount":40,"manualWeight":40,"mainColor":62},289926,"xue-tu-ju-ran-289926","雪图","其画面分为三个层次，组成一个硕头小脚“之”字。上层双峰并立，左低右高，危岩耸立，白雪皑皑，令人生畏；眼恋意留，不敢攀附。雪峰之上，古木郁郁，生机勃勃。特别是锯齿状的岩裂，触目惊心，将北方的雪映衬得更加雄浑、霸气。中层雪景呈斜倚之势漫漶开来，楼阁深入，分布有别；古树对峙，雪路茫然；骑者行于山径之上，左顾右盼，两岸风光引人入胜。它恰好将近景生动地连接起来，苍松如帘，层次分明却又浑然一体。仿佛听见覆雪之下，冬泉泠泠；雪压松枝，不时跌落，飒飒有声。",[23,7,24,51,75,52,277,73,4240,13175,77,1357,74],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0d1b6444505baf420412d317f53a4fb.jpg",[],{"id":13179,"slug":13180,"title":6886,"dynasty":114,"author":9282,"museum":132,"description":13181,"tags":13182,"thumbUrl":13184,"material":317,"size":907,"collection":122,"collections":13185,"showCount":13168,"zanCount":1065,"manualWeight":40,"mainColor":62},289105,"chi-bi-tu-yang-shi-xian-289105","宫廷画家杨士贤根据苏轼《赤壁赋》创作《前赤壁图》，亦从一个角度看出文人画对宫廷绘画审美观念的影响，文人画的某些价值、观念和精神内容已经不可避免影响到了中国绘画的各个方面，并作为后世中国画的主要特色、主导画风出现在历史的视野之中。",[23,7,24,51,25,75,277,73,426,3487,5543,80,13183],"赤壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744ec93b40bc54ec26757c2c3d518075.jpg",[],{"id":13187,"slug":13188,"title":2818,"dynasty":114,"author":1160,"museum":132,"description":13189,"tags":13190,"thumbUrl":13192,"material":317,"size":907,"collection":122,"collections":13193,"showCount":13168,"zanCount":541,"manualWeight":40,"mainColor":62},288324,"xi-yuan-ya-ji-tu-liu-song-nian-288324","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,7,24,25,51,27,26,28,75,78,79,278,4907,697,3048,198,2825,902,13191,74],"赏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1182922653740754f1d2cf37a3c1d6.jpg",[],{"id":13195,"slug":13196,"title":3319,"dynasty":114,"author":1313,"museum":132,"description":13197,"tags":13198,"thumbUrl":13199,"material":317,"size":907,"collection":122,"collections":13200,"showCount":13168,"zanCount":1065,"manualWeight":40,"mainColor":62},287454,"qiu-ting-xi-ying-tu-su-han-chen-287454","《秋庭戏婴图》以细腻的笔法，描绘两个锦衣孩童在庭院玩着一种推枣磨的游戏。兄妹两人无论从头发、眉目，衣饰，都精心刻画，丝染兼备，而且变化极为丰富，以长而圆润的线条，画出衣纹，再仔细点染衣服上的花纹，不仅画出质料的柔软细致，更赋予衣服华丽的质感，这些细微的处理，使得子孩丰润、柔软、细致的模样，跃然于纸上。",[23,24,7,26,27,28,7785,246,56,560,1167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414a0dd806bab4abffe5b1350464294b.jpg",[],{"id":13202,"slug":13203,"title":13204,"dynasty":46,"author":1567,"museum":151,"description":3725,"tags":13205,"thumbUrl":13206,"material":250,"size":122,"collection":88,"collections":13207,"showCount":13168,"zanCount":40,"manualWeight":40,"mainColor":41},237235,"yuan-ji-shan-shui-tu-zhou-shi-tao-237235","原济山水图轴",[24,277,52,51,7,75,6943,82,313,281,5079,79,74,118,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e43feaef33afb1b1431c649b984048.jpg",[88],{"id":13209,"slug":13210,"title":2944,"dynasty":114,"author":1216,"museum":132,"description":13211,"tags":13212,"thumbUrl":13213,"material":317,"size":907,"collection":122,"collections":13214,"showCount":13168,"zanCount":40,"manualWeight":40,"mainColor":41},230972,"wu-ma-tu-li-gong-lin-230972","此图画的是宋朝元佑初年天驷监中的五匹西域名马，马旁各有一名奚官或圉人执辔引领。画中无作者款印，前4马后，各有黄庭坚签题的马名、产地、年岁、尺寸，卷末有黄庭坚“李公麟作”题跋：这些由西域诸国进贡的骏马，马名依序是“凤头骢”、“锦膊骢”、“好头赤”、“照夜白”，第五匹马佚名，经考证可能为“满川花”。画中的5位马官，两位是汉人，其余的为外族，形貌、服饰、神情各不相同，但在气质上却有着微妙的类似之处。",[23,7,24,51,25,510,27,28,215,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec0ca19437f2221e38f8bcfaa50fb4.jpg",[],{"id":13216,"slug":13217,"title":13218,"dynasty":67,"author":13219,"museum":132,"description":13220,"tags":13221,"thumbUrl":13222,"material":122,"size":122,"collection":122,"collections":13223,"showCount":13168,"zanCount":11,"manualWeight":40,"mainColor":41},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","孙枝","《苏州博物馆藏明清书画》是26年文物出版社出版的图书，作者是苏州博物馆。\n苏州博物馆藏有大量的明清书画，除了戴进、沈周、文徴明、唐寅、董其昌、陈洪绶、傅山、恽寿平、石涛、郑燮、任伯年、吴昌硕等大家之外，对于生在苏州或者曾寓居苏州的其他明清书画家，该馆也尽数网罗。\n此次借新馆开馆之际，苏州博物馆从上万件书画藏品中，择选165件精品，集结成书。\n该书装帧精美，图片均为彩版，具有较高的艺术欣赏价值和收藏价值。\n苏州博物馆系列丛书总序 前言 一夏昶 墨竹图轴 二戴进 归舟图 三沈贞吉 秋林观瀑图轴 四刘珏 烟水微茫图 五沈周 花鸟册 六沈周 岸波图卷 七文徵明 三绝图卷 八文徵明 五月江深图幅 九唐寅 农训图轴 一○唐寅 灌木丛篠图轴 一一陈淳 牡丹湖石图轴 一二王宠 春山图 一三陆治 溪山访友图轴 一四陆治 唐人诗意山水册 一五王问 雪景山水轴 一六王问 赏月图金面扇页 一七文彭、文嘉草书卢仝饮茶诗、为壶梁作山水卷 一八文嘉 垂虹亭图卷 一九文伯仁 为怀谷作山水轴 二○陈焕 重岩飞瀑图幅 二一文伯仁 石湖草堂图 二二钱谷 临流独坐图扇页 二三钱谷 摹吴镇、倪云林山水卷 二四周天球 兰花图金面扇页 二五孙克弘 墨竹图 二六陈嘉言 水仙梅雀图轴 二七丁云鹏 秋山远眺图幅 二八董其昌 绿溪清嶂图 二九陈裸 野屋寒水图扇页 三○米万钟 三一归昌世 竹石图轴 三二李流芳 仿宋元各家山水 三三顾凝远 吴中名胜十景图 三四张宏等 八家送寇慎去官图册 三五蓝瑛 松岩观瀑图轴 三六蓝瑛 仿大痴山轴 三七伍瑞隆 墨牡丹图轴 三八吴彬 仙楼飞撷图轴 三九何适 林中草亭图轴 四○孙枝 踏雪访友图轴 四一唐志 契门泊渔舟图轴 四二濮桓 芝石图 四三周之冕 杏花锦鸡图轴 四四周臣 桃花源图 四五陈章侯、 胡华鬟山水梅花合册 四六江必名 白雪高风图 四七侯懋功 为秦山作山水扇页 四八李士达 西园雅集图卷 四九王翘 花蝶草虫卷 五○尤求 白描饮中八仙图卷 五一钱贡 福源寺图卷 五二恽向 仿古山水册 五三袁尚统 迎春图轴 五四项圣谟 山水兰竹图 五五郑元勋 临石田山水幅 五六陈洪绶扑蝶图扇面 五七陈洪绶何天章行乐图卷 五八万寿祺 五九王时敏端阳墨花轴 六○王时敏山水轴 六一王时敏秋山晓霁图 六二王鉴虞山十景册 六三程遂为烟翁作山水轴 六四黄向坚万里寻亲图轴 六五龚贤墨笔山水册 六六龚贤山水卷 六七朱轩山水册 六八徐枋北苑山水 六九罗牧山水轴 七○王犟仿范宽山水轴 七一王犟山水册 七二王武水仙湖石图轴 七三恽寿平山水、花卉册 七四上睿为梅作行乐图册 七五原济广陵茱萸湾图扇页 七六原济六君子图幅 七七王原祁仿大痴山水幅 七八王原祁仿梅道人秋山图幅 七九王原祁仿赵大年江乡春晓图轴 八○王啄祁仿大痴富春大岭图轴 八一查士标溪山佳处图轴 八二华邑、许滨桃柳双鸭图幅 八三华嵒宋儒诗意图轴 八四沈铨碧梧栖凤图 八五高凤翰甘菊图 八六边寿民芦帷册 八七张庚仿北苑夏山图幅 八八李鱓芍药图轴 八九李鱓风雨芭蕉图轴 九○李鱓、陈撰等（六人合作）花果扇页 九一金农香林扫塔图轴 九二黄慎群盲聚讼人物轴 九三黄慎八仙 九四高翔临倪瓒竹树小山图扇页 九五方士庶野云晚濑图轴 九六郑燮竹石图轴 九七李方膺松石图 九八钱维城五君子图轴 九九罗聘篦谷像 一○○罗聘兰花图 一○一方薰柏龄图轴. 一○二奚冈陂塘秋水图轴 一○三张崟临顿新居第三图卷 一○四张培敦玉溪梦隐图 一○五改琦竹石幽兰图轴 一○六屠倬为南雅作山水轴 一○七王礼琵琶仕女图 一○八虚谷松鹤中堂 一○九任薰茹叶蜻蜓图 一一○任薰花鸟册 一一一任颐风云三侠图轴 一一二任颐狸猫竹石图轴 一一三吴昌硕杞菊延年图轴 一一四吴觳祥深山水秀图卷 一一五任预射雁图 一一六陆远仿子久溪山秋霭图幅 一一七方大猷为敬翁作山水 一一八翟大坤草堂赏泉图轴 一一九蔡嘉山水册 一二○张风 一二一祝昌溪水无尽图 一二二华浚仿周文矩临镜美人图幅 一二三张弼草书册 一二四沈周 一二五陈献章七绝赛兰香诗轴 一二六王鏊草书七律轴 一二七祝允明行草九愍等诗卷 一二八祝允明滕王阁序诗卷 一二九文徵明行书七律二首 一三○文徵明尺牍 一三一文徵明小楷落花诗卷 一三二唐寅行书七律轴 一三三王问草书五律金面扇页 一三四周天球楷书子凉览古一首金面扇页 一三五徐渭行草应制咏墨诗轴 一三六徐渭行草应制咏剑诗轴 一三七王樨登行书五言诗轴 一三八申时行行草摺扇面 一三九董其昌草书五言诗轴 一四○范允临行书五言绝句轴 一四一赵宦光等二十家诗词册 一四二张瑞图行草五律诗轴 一四三张瑞图行草陶诗册 一四四文震孟行书登麻姑山诗轴 一四五文从简行书册页 一四六倪元璐行书五律金面扇页 一四七傅山草书七绝轴 一四八傅山、傅眉手书诗词册 一四九归庄行草七言诗轴 一五○徐枋草书五律 一五一查士标行草七绝诗 一五二查士标行书轴 一五三张照临朱子行书轴 一五四郑燮行草七律轴 一五五刘墉致英和信札册 一五六梁同书 一五七翁方纲七言行书轴 一五八钱沣行书欧阳公李公李欣诗句轴 一五九黄易七言篆书联 一六○铁保七言行书联 一六一陈豫钟五言篆书联 一六二陈鸿寿七言隶书联 一六三赵之谦为理卿行书七言诗轴 一六四翁同龠禾八言行书联 一六五沈曾植行书七绝",[23,24,51,7,52,27,26,73,75,28,215,81,2785,1059,697,1023,297,281,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],{"id":13225,"slug":13226,"title":13227,"dynasty":46,"author":2172,"museum":132,"description":13228,"tags":13229,"thumbUrl":13230,"material":317,"size":907,"collection":122,"collections":13231,"showCount":13168,"zanCount":1065,"manualWeight":40,"mainColor":41},224476,"fang-hui-chong-bi-yi-shan-mian-wang-jian-224476","仿惠崇笔意扇面","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n[ 万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,7,24,51,768,27,277,73,75,80,84,82,437,3195,648,663,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],{"id":13233,"slug":13234,"title":13235,"dynasty":46,"author":2275,"museum":212,"description":13236,"tags":13237,"thumbUrl":13239,"material":13240,"size":13241,"collection":88,"collections":13242,"showCount":13168,"zanCount":40,"manualWeight":40,"mainColor":62},222609,"yi-dao-fei-quan-gong-xian-222609","一道飞泉","画面描绘了近景崇山，山上有丛林、枝繁叶茂，几间茅庵掩映于树丛之中，使得寂静的山林更增添了几分幽邃之感，清清的泉水顺山而下，明快、幽雅、整幅画面笔酣墨润、气韵即足，给人一种清新自然之感。作者运用了“披麻皴”“雨点皴”等画法，虽不用泼墨，湿墨，但有泼墨之淋漓，浓郁苍润的效果。代表了作者山水画之独特风格。\n画的右上角有作者自题七言律诗： “静壁春泉一道飞，白龙藏影见斜辉，谁家草阁遥无际，半醉之窗向翠微。”署 “甲子上元(1684年1月15日)半亩龚贤书并题”款。下钤“龚贤印”白文方印，“半千”朱文方印。画上钤有“绶福堂藏画印”等鉴藏印。此画系作者晚年作品，现藏辽宁省博物馆。龚贤，字半千，又字野遗，号半亩，又号柴丈人。江苏昆山人，流寓江陵(今南京)清凉山。工诗文，行草，尤工山水，有《草香堂集》、《画诀》、《柴丈人画诀》、《课徒画稿》等著作行世，是金陵画派中最有成就的画家，并居金陵画派之首。\n在这幅画中，作者以石象征“长寿”，与牡丹相配合，寓意“富贵长寿”，是民间喜庆节日广为引用的吉祥图案。此画构图虽满，却巧妙地利用了绘画中的透视法则，以静映动，以深托远，尽显距离的美感，使有限的空间，充满无限的张力。\n繁茂的枝叶表现的甚为精彩，细如游丝的叶筋，其走向笔笔皆有交代，棱角分明，线条柔而刚劲，出神入化，使得薄如蝉翼的墨色叶片，正侧向背，顾盼顾仰，鲜活灵动。\n该画中所画之石，粗砺凝重，具有坚贞的傲骨和顽强的生命力，是其自身性格绝好的写照。从其改用左手绘画，到创作此幅画作止，历时九年，九年里从不习惯到习惯，从不熟练到熟练再到精益求精，其为之所付出的艰辛和努力，可想而知。幅首其左手题字也为整幅画面增色不少，其左冲右突，飘飘忽忽的结体，在这里好似垂挂的珠帘一般，随风摆动，与图画有机地结合在一起，别具韵致，给人雾里看花，隔帘观美之感。",[23,7,24,51,52,277,13238,75,79,82,278,81],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[88,286],{"id":13244,"slug":13245,"title":13246,"dynasty":67,"author":68,"museum":151,"description":13247,"tags":13248,"thumbUrl":13249,"material":156,"size":13250,"collection":88,"collections":13251,"showCount":13168,"zanCount":541,"manualWeight":40,"mainColor":62},222221,"nv-le-tu-zhou-chou-ying-222221","女乐图轴","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[23,7,24,51,52,26,27,855,28,29,904,77,560,31,135,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[88,90],{"id":13253,"slug":13254,"title":13255,"dynasty":67,"author":2568,"museum":20,"description":13256,"tags":13257,"thumbUrl":13258,"material":217,"size":13259,"collection":106,"collections":13260,"showCount":13168,"zanCount":40,"manualWeight":40,"mainColor":62},221939,"chun-hua-san-xi-zhou-bian-wen-jin-221939","春花三喜轴","此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。\n其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。\n边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。\n《春花三喜图》就是边景昭花鸟画之一。\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。\n雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\n图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。\n本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。\n边景昭（生卒年不详），字文进，福建沙县人。\n明宣德年间官武英殿待诏，擅画花鸟，笔墨承南宋院体，设色沉着雅丽。\n其子楚芳（一作祥）承父业，占籍锦衣（世袭任职锦衣卫）。",[23,24,51,7,52,26,27,102,53,263,384,56,12845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f1287edf3b68161f45fac1f2622fc6.jpg","纵165.2，横98.3cm",[106,90],{"id":13262,"slug":13263,"title":13264,"dynasty":293,"author":9272,"museum":20,"description":13265,"tags":13266,"thumbUrl":13268,"material":283,"size":13269,"collection":88,"collections":13270,"showCount":13168,"zanCount":1065,"manualWeight":40,"mainColor":41},221752,"hua-xue-jing-zhou-sheng-mao-221752","画雪景轴","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[23,7,24,51,52,277,27,73,75,1357,3255,82,559,13267,663,5607,278,7037,1997],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","151x27.3公分",[88,286],{"id":13272,"slug":13273,"title":13274,"dynasty":114,"author":1216,"museum":7613,"description":13275,"tags":13276,"thumbUrl":13277,"material":156,"size":13278,"collection":175,"collections":13279,"showCount":13168,"zanCount":541,"manualWeight":40,"mainColor":62},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,7,24,51,25,510,277,27,28,75,82,559,80,79,81,119,2044,1882,53,84,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 x 521.5 cm",[175,36,286],{"id":13281,"slug":13282,"title":13283,"dynasty":114,"author":1313,"museum":20,"description":13284,"tags":13285,"thumbUrl":13286,"material":217,"size":13287,"collection":175,"collections":13288,"showCount":13168,"zanCount":1065,"manualWeight":40,"mainColor":62},221354,"kai-tai-tu-zhou-su-han-chen-221354","开泰图轴","画中的孩童欢乐地骑在一只大羊背上，身边围绕着各色大小造型不一、矫健欢腾的小羊，神气十足。据了解，北宋时期的日常生活中，羊并非骑乘的动物，但画中白羊被配上如神骏宝象般的鞍辔，散发着非同一般的宫廷贵气。群羊在草地中或饮，或食，或奔走，或徜徉，悠然自得的环绕在童子身边。画面背后还以长松梅花做背景，点有一双喜鹊，意取“喜上眉梢”。童子神采飞扬，群羊热闹欢腾，整幅画面充满了一派富丽祥和之气。那白胖小子丰润柔软的模样跃然于纸上，栩栩如生，令人心生爱怜。",[23,7,24,51,52,27,26,28,472,3630,135,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0dcb740080929d847e81c2fd0a8fd4.jpg","纵106厘米，横52厘米",[175,36,90],{"id":13290,"slug":13291,"title":13292,"dynasty":67,"author":68,"museum":20,"description":13293,"tags":13294,"thumbUrl":13295,"material":267,"size":13296,"collection":36,"collections":13297,"showCount":13168,"zanCount":40,"manualWeight":40,"mainColor":41},220378,"tong-yin-qing-hua-tu-chou-ying-220378","桐阴清话图","本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛筱沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。岩岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让岩石表面布满肌理与明暗变化，不失却形象的精准掌握。",[24,7,51,52,26,27,277,73,28,905,680,6942,278,3195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6d0ee5bae513958f0ef6cec9a2004.jpg","279.5x100",[36,90],{"id":13299,"slug":13300,"title":13301,"dynasty":67,"author":181,"museum":3453,"description":13302,"tags":13303,"thumbUrl":13304,"material":34,"size":13305,"collection":106,"collections":13306,"showCount":13168,"zanCount":40,"manualWeight":40,"mainColor":62},220340,"chun-jing-hua-niao-tu-yi-ming-220340","春景花鸟图","画面以早春雪景铺陈意境，老梅虬枝盘曲，枝头凝雪，冰萼缀枝。群雀栖于梅梢，灵动啾鸣，破了雪天的清寂。下方奇石覆雪，锦雉静静伫立，翎羽斑斓细腻，身旁细竹轻沾雪色，更衬出禽鸟的安然。角落里山茶吐艳，朱砂色的花萼点亮冷调的底色。\n\n工笔设色晕染柔和精微，禽鸟绒毛的蓬松、古木皲裂的苍劲都刻画入微，清冷雪景与暖调花色禽羽相映，将冬寒未褪、春意初萌的幽澹野趣尽藏其中，尽显雅致静穆又生意暗涌的格调。",[23,24,7,51,26,27,383,53,278,384,6310,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1068b2760f18f253d69357fe4d36b4c1.jpg","155.2 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横52.5厘米",[106,90],{"id":13471,"slug":13472,"title":13473,"dynasty":67,"author":2218,"museum":212,"description":13474,"tags":13475,"thumbUrl":13476,"material":156,"size":13477,"collection":88,"collections":13478,"showCount":13371,"zanCount":40,"manualWeight":40,"mainColor":62},222035,"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[23,7,24,51,52,277,27,73,75,81,78,79,82,313,28,278,279,861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[88,286],{"id":13480,"slug":13481,"title":13482,"dynasty":293,"author":7910,"museum":395,"description":13483,"tags":13484,"thumbUrl":13487,"material":666,"size":122,"collection":36,"collections":13488,"showCount":13371,"zanCount":40,"manualWeight":40,"mainColor":41},219398,"zhong-jin-shi-yuan-ye-chu-you-tu-yan-hui-219398","钟进士元夜出游图","墨线劲挺如铁，勾勒出钟馗的凛凛威仪，群鬼随扈左右——或扛幡持械，步履生风；或嬉戏打闹，憨态可掬。简括造型里藏着生动细节：鬼卒夸张的肢体、钟馗沉凝的神情，在浓淡相宜的墨色中鲜活起来。画面以动态叙事，仿佛能听见队伍行进的喧腾，元夜的神秘氛围与人间烟火气交织。笔意洒脱却不失精准，将神鬼世界的诙谐与庄重融于一卷，尽显元人写意人物画的妙趣与功力，是寓庄于谐的艺术佳构。",[7,24,51,25,510,277,28,13485,4005,684,74,118,119,1109,2044,13486,26],"鬼神","篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4635b72bdb16674e440c200b8a4b6d4b.jpg",[36],{"id":13490,"slug":13491,"title":2053,"dynasty":46,"author":131,"museum":166,"description":13492,"tags":13493,"thumbUrl":13494,"material":34,"size":13495,"collection":106,"collections":13496,"showCount":13371,"zanCount":40,"manualWeight":40,"mainColor":62},219351,"mu-ma-tu-shen-quan-219351","画面中数匹骏马姿态各异，或卧地休憩，或昂首侧望，或缓步前行。毛发晕染细腻温润，斑纹勾勒清晰写实，轮廓线条灵动传神，尽显马匹的鲜活气韵。背景枯树虬枝盘结，枝干以干笔皴擦，苍劲中透出古意；地面浅草碎石点缀，淡墨晕染出悠远空间。整体工写结合，设色雅致，马儿的悠闲神态与萧瑟树影相映成趣，传递出牧歌式的宁静安适。于细腻笔触中藏生机，于古朴意境里显情韵，尽显传统走兽画的精妙功力与悠远意趣。",[23,24,7,51,52,26,27,215,647,1059,472,75,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f9473a78fc17f9621aa38f84941ad8.jpg","92x63.5cm",[106,90],{"id":13498,"slug":13499,"title":13500,"dynasty":46,"author":2064,"museum":20,"description":4022,"tags":13501,"thumbUrl":13502,"material":845,"size":13503,"collection":90,"collections":13504,"showCount":13371,"zanCount":40,"manualWeight":40,"mainColor":41},219307,"jie-shan-zhai-tu-zhou-qian-wei-cheng-219307","借山斋图轴",[7,24,51,52,497,27,75,77,78,79,81,82,559,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a42bd26d4ba10e012b0184f707a951b.jpg","63.7x31.8",[90],{"id":13506,"slug":13507,"title":13508,"dynasty":114,"author":181,"museum":195,"description":13509,"tags":13510,"thumbUrl":13512,"material":34,"size":13513,"collection":106,"collections":13514,"showCount":13371,"zanCount":40,"manualWeight":40,"mainColor":62},218887,"ying-tao-huang-li-tu-yi-ming-218887","樱桃黄鹂图","此画作者佚其名，但画上有杨皇后题名，知为南宋院画。1949年5月吴湖帆以家藏古本易得，并于画上题咏图意、考证杨氏名号之实。",[24,51,7,26,27,102,84,13511,1963,74],"黄鹂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe027451de9b614f98a0abec26761ef.jpg","纵12.1厘米， 横26.1厘米",[106],{"id":13516,"slug":13517,"title":13518,"dynasty":114,"author":181,"museum":13519,"description":13520,"tags":13521,"thumbUrl":13522,"material":34,"size":4996,"collection":88,"collections":13523,"showCount":13371,"zanCount":1065,"manualWeight":40,"mainColor":62},218460,"gao-shi-lin-tiao-tu-yi-ming-218460","高士临眺图","松美术馆","虬松盘枝如铁，松针密织似筛，泼墨染出苍劲骨相。树下亭榭檐角轻挑，隐见幽人凭栏，目光随流水漫向天际。波光敛于绢素，小桥横卧如带，行人二三，步痕轻浅入烟霭。远山淡赭晕染，与空濛天色相融，留白处尽是宋人山水的清寂况味。笔墨简而意远，构图疏朗却藏深致——苍松古拙、亭榭雅致、流水悠缓、远山虚渺，交织成文人临眺的诗意图景，将天地旷远与内心悠然凝作绢上无声诗行，尽显宋画山水的韵致与哲思。",[24,7,768,27,75,28,1059,78,79,56,77,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff551be231d4f0968312bf052ea0c1438.jpg",[88],{"id":13525,"slug":13526,"title":13527,"dynasty":293,"author":7404,"museum":132,"description":11295,"tags":13528,"thumbUrl":13530,"material":34,"size":11298,"collection":36,"collections":13531,"showCount":13371,"zanCount":40,"manualWeight":40,"mainColor":62},218448,"tai-zong-chu-lie-tu-zhao-yong-218448","太宗出猎图",[7,24,27,28,215,609,12989,13529],"铁线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475cc26186ca387c2bdcd4b595d81ae6.jpg",[36],{"id":13533,"slug":13534,"title":13535,"dynasty":1383,"author":181,"museum":260,"description":13536,"tags":13537,"thumbUrl":13538,"material":121,"size":13539,"collection":36,"collections":13540,"showCount":13371,"zanCount":40,"manualWeight":40,"mainColor":62},218315,"bai-yi-guan-yin-tu-yi-ming-218315","白衣观音图","画面中观音衣袂翩跹若流云泻地，轻盈舒展间尽显温婉神韵。身后圆月如璧悬于天际，清辉漫洒，衬得她面容柔和，眸光含慈，悲悯之意溢于眉宇。衣纹线条细腻流畅，褶皱层叠自然，笔墨灵动处见功底。上方疏枝横斜，影映清辉；下方水波微动，更添空灵澄澈之境。整体氛围静谧祥和，似能涤荡尘心，传递出超越世俗的慈悲安宁。观者凝神间，心神便被这份神圣静谧的美感包裹，沉醉于艺术与信仰交融的温柔力量中。",[24,51,52,678,28,510,27,1570,79,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f74b241027c5bc565bf1a1a100e2598.jpg","180.3x83.5",[36],{"id":13542,"slug":13543,"title":13544,"dynasty":293,"author":583,"museum":132,"description":13545,"tags":13546,"thumbUrl":13547,"material":317,"size":907,"collection":122,"collections":13548,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":41},290433,"ceng-yan-qu-jian-tu-huang-gong-wang-290433","层岩曲涧图","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[7,24,51,52,277,75,281,79,78,4907,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ada88a03a52c4de8777c1e838bcd236.jpg",[],57,{"id":13551,"slug":13552,"title":13553,"dynasty":114,"author":274,"museum":132,"description":13554,"tags":13555,"thumbUrl":13557,"material":317,"size":907,"collection":122,"collections":13558,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":62},289947,"song-xi-fan-yue-tu-xia-gui-289947","松溪泛月图","为夏圭的典型之作，近景几株松树，渔翁泛舟江上，明月高悬，烟波浩淼，水天一色。简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。",[23,768,24,7,277,73,609,80,1570,75,13556,74,8215],"泛舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f2945a3cf2401ced6554359bde119ad.jpg",[],{"id":13560,"slug":13561,"title":13562,"dynasty":114,"author":788,"museum":132,"description":4923,"tags":13563,"thumbUrl":13564,"material":317,"size":907,"collection":122,"collections":13565,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":62},289660,"song-xia-gao-shi-tu-li-cheng-289660","松下高士图",[23,24,7,52,277,75,28,647,6119,73,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f602d1c6e4474cdb9b8901a8eac0943.jpg",[],{"id":13567,"slug":13568,"title":13569,"dynasty":114,"author":2103,"museum":132,"description":13570,"tags":13571,"thumbUrl":13572,"material":317,"size":907,"collection":122,"collections":13573,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":62},287586,"hua-pi-pa-kong-que-cui-bai-287586","画枇杷孔雀","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[24,7,102,26,27,139,451,198,734,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485ccbcaf466a1e71621d56277378c3.jpg",[],{"id":13575,"slug":13576,"title":13577,"dynasty":46,"author":2172,"museum":132,"description":13578,"tags":13579,"thumbUrl":13580,"material":250,"size":122,"collection":88,"collections":13581,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":62},238971,"wang-jian-shan-shui-tu-zhou-wang-jian-238971","王鉴山水图轴","万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[7,24,51,52,277,73,75,81,79,82,278,437,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7418118584b0267cf220052b12893a.jpg",[88,286],{"id":13583,"slug":13584,"title":13585,"dynasty":67,"author":13586,"museum":132,"description":13587,"tags":13588,"thumbUrl":13589,"material":122,"size":122,"collection":106,"collections":13590,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":62},237698,"shan-shui-hua-guo-ce-xiang-sheng-mo-237698","山水花果册","项圣谟","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,7,27,26,512,1093,265,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf6cca07ebe77c836898663ca11c9d3b.jpg",[106,88],{"id":13592,"slug":13593,"title":13594,"dynasty":46,"author":181,"museum":151,"description":13595,"tags":13596,"thumbUrl":13597,"material":156,"size":13598,"collection":36,"collections":13599,"showCount":13549,"zanCount":1065,"manualWeight":40,"mainColor":62},236161,"qing-ren-wan-guo-lai-chao-tu-zhou-yi-ming-236161","清人万国来朝图轴","此画描绘的是藩属及外国使臣到紫禁城朝贺的场面。作者以鸟瞰的角度从太和门前的两个青铜狮子画起，将紫禁城中的主要建筑一一收入画幅，近大远小，主次分明，层次丰富，在大雪的银装素裹之下，整个场面宏伟壮观。",[7,24,51,855,27,28,77,2043,1357,8837,1605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3007a2fd17c1d62f37b42bee59db909.jpg","纵299cm，横207cm",[36,90],{"id":13601,"slug":13602,"title":13603,"dynasty":67,"author":13604,"museum":151,"description":13605,"tags":13606,"thumbUrl":13607,"material":13608,"size":122,"collection":122,"collections":13609,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":41},234995,"lan-zhu-zhou-chen-yuan-su-234995","兰竹轴","陈元素","陈元素，生卒年不详，明代书画家。字古白、孝平、金刚，号素翁、处廓先生，私谥贞文先生，南直隶苏州府长洲（今江苏苏州）人，万历诸生。早负才名，工诗文，尤善书法，楷书法欧阳，草入二王之室，工山水，尤善写兰，得文征明之秀媚。有《古今名将传》、《南牅日笺》。",[7,24,51,52,277,228,56,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f282cae8acc7a40f7ae7ffdf6630dba.jpg","纸本 ，设色",[],{"id":13611,"slug":13612,"title":8589,"dynasty":67,"author":13613,"museum":13614,"description":13615,"tags":13616,"thumbUrl":13617,"material":250,"size":122,"collection":122,"collections":13618,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":41},234160,"hua-niao-tu-juan-li-yin-234160","李因","重庆中国三峡博物馆","李因（1610－1685），字是庵，号龛山逸史，晚号今生。明末清初女诗人、画家。会稽（今浙江绍兴）人，一作钱塘（今杭州）人。早年为江浙名妓，后嫁光禄卿葛征奇为妾，在绘画上崇尚隽雅，在山水画上学习米芾、米友仁，画山水、花鸟，疏爽隽逸，毫无女子纤弱之气。亦工诗，著有《竹笑轩吟草》等，诗笔清奇，有中唐遗韵。\n李因名声很大，也颇为自负，经常将自己视作唐朝的王维。",[23,7,24,25,277,102,84,198,118,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395b220e33ecb40388d49fc859a4ba09.jpg",[],{"id":13620,"slug":13621,"title":13622,"dynasty":114,"author":211,"museum":132,"description":13623,"tags":13624,"thumbUrl":13627,"material":122,"size":122,"collection":122,"collections":13628,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":41},227491,"liu-ya-lu-yan-tu-juan-zhao-ji-227491","柳鸦芦雁图卷","《柳鸦芦雁图》是北宋宋徽宗赵佶创作的一幅纸本淡设色中国画，现藏于上海博物馆。\n此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[23,7,24,51,25,26,277,27,74,1478,13625,13626,6811,3195,84,135,2664],"鸦","芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d888a8bed9a38a24bfea78fe527b0a.jpg",[],{"id":13630,"slug":13631,"title":11925,"dynasty":18,"author":2623,"museum":132,"description":13632,"tags":13633,"thumbUrl":13634,"material":122,"size":122,"collection":122,"collections":13635,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":62},226707,"ting-qin-tu-zhou-wen-ju-226707","周文矩是中国五代时期南唐人，生卒年不详，大约在南唐中主李璟、后主李煜时期，官至翰林待诏，擅长画佛道、人物、车马、屋木、山水题材，最擅长画仕女画。他是出色的肖像画家。所绘作品多以宫廷贵族的生活为题材，画风和唐代的周昉比较相近，独创了“战笔”描法。\n\n《听琴图》，传为五代周文矩所作，绢本，立轴，纵60厘米，横47厘米，现收藏于美国克利夫兰美术馆藏。画上题款“周文矩”，但传为明朝唐寅唐伯虎所作赝品。",[23,24,51,7,26,510,27,28,647,81,278,31,425,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375f9f9c019d3847bfbc827a8b08238c.jpg",[],{"id":13637,"slug":13638,"title":13639,"dynasty":114,"author":181,"museum":132,"description":13640,"tags":13641,"thumbUrl":13642,"material":122,"size":122,"collection":122,"collections":13643,"showCount":13549,"zanCount":1065,"manualWeight":40,"mainColor":41},223668,"xue-shan-xing-qi-tu-ye-yi-ming-223668","雪山行骑图页","此作用淡墨晕染萧寒天色，以敷粉留白晕染山石积雪，遍铺清寂冷冽的冬日元气。琼峰素裹，梢顶微缀暖色苔点，打破素白单调。近岸丹枫凝红，暖色调破开漫天寒意，冷暖和融，愈显冬日山林的幽寂旷远。\n天际寒鸦数点，更衬天地空茫。溪岸小径之上，行旅策蹇徐行，身影渺小却点睛，将羁旅的萧索孤清缓缓铺陈，把冬日行役的荒寒况味藏于尺幅小景之中。笔意简淡清润，以小见大，尽显幽远冷隽的山水意趣，藏着细腻的冬旅体察。",[23,7,24,51,100,27,26,75,4240,215,28,82,1570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9779e57a11c43e5207a10113109fa36.jpg",[],{"id":13645,"slug":13646,"title":13647,"dynasty":46,"author":2636,"museum":20,"description":13648,"tags":13649,"thumbUrl":13653,"material":156,"size":13654,"collection":106,"collections":13655,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":41},222793,"jin-chun-tu-lang-shi-ning-222793","锦春图","《锦春图》设色浓艳鲜丽，充分体现郎世宁的绘画特色。锦鸡花卉得写实之真，而湖石坡草又表现中国画的笔墨趣味。画春华锦鸡。锦鸡全用西法。点景树石笔墨是旧院体。构景一仍是陈法。当出另一画家补绘。设色画山涧旁湖石杂卉，二锦鸡栖石上。",[23,7,24,51,52,26,27,8278,13650,6292,1627,710,278,198,301,13651,8964,734,340,13652,9294,5501,6648],"光影透视","岩壑","苔草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2017289c044d5d1fb6ebf7be3f2e2187.jpg","横68.6厘米，纵121.6厘米",[106,90],{"id":13657,"slug":13658,"title":13659,"dynasty":67,"author":68,"museum":151,"description":753,"tags":13660,"thumbUrl":13661,"material":156,"size":759,"collection":122,"collections":13662,"showCount":13549,"zanCount":1065,"manualWeight":40,"mainColor":62},222191,"ren-wu-gu-shi-tu-song-lin-liu-yi-chou-ying-222191","人物故事图-松林六逸",[23,24,7,51,26,27,28,697,75,81,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65ad3deb6636a800eff9db2e999c190.jpg",[],{"id":13664,"slug":13665,"title":13666,"dynasty":293,"author":4666,"museum":20,"description":13667,"tags":13668,"thumbUrl":13669,"material":250,"size":13670,"collection":106,"collections":13671,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":41},221841,"ma-que-shan-qin-tu-li-zhou-wang-yuan-221841","麻雀山禽图立轴","王渊，元代画家，字若水，号澹轩，一号虎林逸士，生卒年不详。杭（杭州）人。幼习丹青，赵孟多指教之，故所画皆师古人，无一笔院体。山水师郭熙，花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，地写生之妙，时称“绝艺”。人物师唐人吴道子，一一精妙，注重线条勾勒，不讲究墨彩渲染，史称“有笔而无墨”，自成风韵。尤精墨花鸟竹石，当代绝艺。天机溢发，肖古而不泥古。",[23,7,24,51,52,277,26,102,53,7667,84,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0258e250c8d399555994ef46f70fc70b.jpg","60x198cm",[106,286],{"id":13673,"slug":13674,"title":1127,"dynasty":114,"author":878,"museum":13675,"description":5276,"tags":13676,"thumbUrl":13677,"material":13678,"size":13679,"collection":175,"collections":13680,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":41},221666,"shan-shui-tu-ma-yuan-221666","维多利亚和阿尔伯特博物馆",[23,7,24,277,768,73,5233,75,647,278,648,4496,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25749570680d4776f70b7c2eecee4f5.jpg","绢本 淡设色","25.5X25.7",[175,88,286],{"id":13682,"slug":13683,"title":13684,"dynasty":114,"author":6876,"museum":132,"description":13685,"tags":13686,"thumbUrl":13687,"material":611,"size":13688,"collection":175,"collections":13689,"showCount":13549,"zanCount":541,"manualWeight":40,"mainColor":62},221512,"jin-ma-tu-chen-ju-zhong-221512","进马图","陈居中(生卒年不详)，南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年(1207年)为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。\n虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。\n这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[23,7,24,51,26,27,215,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6e4e525e0769c2739e54550a170481.jpg","21×32",[175,106,90],{"id":13691,"slug":13692,"title":13693,"dynasty":114,"author":721,"museum":20,"description":13694,"tags":13695,"thumbUrl":13696,"material":611,"size":13697,"collection":88,"collections":13698,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":41},221187,"bing-zhu-ye-you-tu-ma-lin-221187","秉烛夜游图","朦胧的幽雾，伴随着鹅黄的月光，轻轻地降临人间。黝黑的短亭、长廊前，一朵朵犹如淡抹著胭脂、醉卧在绿沙中的海棠花们，深深地吸引着屋内主人的目光。他唤来了仆人，点起了蜡烛；在烛光映衬下，他满足地倚坐于亭内，望著这万重绰约如仙的红颜，看得都痴了。\n宋人爱花成痴的傻劲儿，是令人称奇，也令人称羡的。其中，又以素有「花中神仙」之称的海棠，最令宋人钟情、痴狂。海棠激发了宋人赏花的热情，不仅不分晴雨，也不分昼夜。古人燃烛夜赏芳华，或为牡丹，或为梅花；但能令宋人「只恐夜深花睡去，高烧银烛照红妆」的，却独独只有海棠。",[24,7,26,27,855,77,28,82,1570,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578e2ffd01bb31fc19a9ed719b2041d1.jpg","24.8 x 25.2公分",[88,286],{"id":13700,"slug":13701,"title":13702,"dynasty":46,"author":6966,"museum":20,"description":13703,"tags":13704,"thumbUrl":13706,"material":666,"size":13707,"collection":36,"collections":13708,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":41},219553,"qing-ding-guan-peng-ming-huang-ji-ju-ding-guan-peng-219553","清丁观鹏明皇击鞠","场景中画有16个人物，10个人聚集在场景中间，争夺一个小球。场景中央的人是唐朝的明朝皇帝李隆基。皇帝用臀部骑着一匹骏马，看起来专注而敏捷。他周围的人，有的戴着官帽，有的头上戴着发卡，也都骑在马背上，手持球棒，与皇帝争夺地上的球。他们是皇帝身边的官员、同伴和嫔妃，有两个人在头顶，两个人在卷尾看守目标。画中的人物姿态各异，静中有动，动中有变。这幅画画得很稀疏，线条流畅。",[23,7,24,51,25,26,510,27,28,215,13705,74],"击鞠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b3926ed3aac8697de219bc21a49828.jpg","32.1x523.2厘米",[36,286],{"id":13710,"slug":13711,"title":13712,"dynasty":67,"author":10162,"museum":20,"description":13713,"tags":13714,"thumbUrl":13715,"material":267,"size":13716,"collection":106,"collections":13717,"showCount":13549,"zanCount":40,"manualWeight":40,"mainColor":41},219317,"wen-xing-shuang-qin-tu-wu-bin-219317","文杏双禽图","此幅画老杏横枝双鸳鸯并立其上，鸳鸯本为水鸟，故甚少画作栖枝之景。一枝上挑中折，即在折断处署吴彬二字款，下钤双印，布置富奇趣。通幅笔墨傅彩，皆甚古厚，而又自饶新意。",[23,7,24,51,52,27,26,102,1191,710,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2299223f11bb0f9f7e2c345c62f0e9ed.jpg","120.4x56.7cm",[106],{"id":13719,"slug":13720,"title":13721,"dynasty":114,"author":181,"museum":132,"description":13722,"tags":13723,"thumbUrl":13724,"material":34,"size":13725,"collection":175,"collections":13726,"showCount":13549,"zanCount":1065,"manualWeight":40,"mainColor":993},218562,"pan-yuan-tu-yi-ming-218562","攀猿图","一只猴子爬上一棵树，一只手放在树上，另一只手尽量往下伸，几乎要够到下面的果实，但还是无法做到。猴子是用刺毛法画的，只用墨水勾画了手、脚和脸，轮廓准确、自然、生动，渲染得很好，显示了猴子的运动，与树上茂密的覆盖物形成了鲜明的对比。",[23,24,51,7,26,27,6290,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e173bdb3b32b390e92cbd82379d4ad.jpg","21x22",[175],{"id":13728,"slug":13729,"title":13730,"dynasty":114,"author":1302,"museum":365,"description":13731,"tags":13732,"thumbUrl":13735,"material":34,"size":1306,"collection":122,"collections":13736,"showCount":13549,"zanCount":1065,"manualWeight":40,"mainColor":479},217002,"wu-bai-luo-han-zhi-guan-she-li-guang-tu-zhou-ji-chang-217002","五百罗汉之观舍利光图","画的顶部是一个高高的悬崖，有一个瀑布，太阳照在云层之上，有三道灵光照下来，每道灵光都有一个小孩子拿着棍子。下面，在松树、柏树和岩石之间，五个罗汉庄严地抬头。",[23,7,24,51,52,678,26,27,28,609,281,13733,13734],"袈裟","舍利","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d808b00c043beec536d0cda92fa28f.jpg",[],{"id":13738,"slug":13739,"title":13740,"dynasty":46,"author":13741,"museum":132,"description":13742,"tags":13743,"thumbUrl":13744,"material":317,"size":907,"collection":122,"collections":13745,"showCount":13746,"zanCount":541,"manualWeight":40,"mainColor":62},288833,"yun-long-tu-ce-zhou-xun-288833","云龙图册","周璕","周璕（1649—1729），字昆来，上元（今南京）人。按读画辑略作“河南嵩山人，后入江宁籍”，历代画史汇传引画徵录作“号嵩山”，考画徵录无此三字。",[7,24,277,370,473,100,74,1046],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681ecf24f8bb74667610ad0aec54ace1.jpg",[],56,{"id":13748,"slug":13749,"title":798,"dynasty":114,"author":3309,"museum":20,"description":13750,"tags":13751,"thumbUrl":13752,"material":34,"size":13753,"collection":122,"collections":13754,"showCount":13746,"zanCount":541,"manualWeight":40,"mainColor":41},288265,"hua-niao-tu-li-di-288265","李迪，生卒年不详。南宋画家，河阳（今河南省孟州市）人，北宋宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事宋孝宗、宋光宗、宋宁宗三朝（1162年—1224年），活跃于宫廷画院几十年，画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。构思精妙，功力深湛，雄伟处动人心魄。所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。山水师李唐法，亦多佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。",[23,24,7,51,52,26,27,102,84,4680,198,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F025bf6ddb9e0a0576db7f74ad6a02d0c.jpg","112.7x38.4",[],{"id":13756,"slug":13757,"title":13758,"dynasty":114,"author":274,"museum":132,"description":13759,"tags":13760,"thumbUrl":13761,"material":317,"size":907,"collection":122,"collections":13762,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":62},288243,"xue-tang-ke-hua-tu-xia-gui-288243","雪堂客话图","此图描绘江南雪景，笔法苍劲浑厚，山石多用小斧劈破和短线条秃笔直破，从而取得了方硬奇峭，水墨苍润的艺术效果。",[23,7,24,277,497,1357,80,559,647,3255,663,73,8340,8215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd807fa2735ecdebe9ea2f7cddcb2e2.jpg",[],{"id":13764,"slug":13765,"title":13766,"dynasty":293,"author":1556,"museum":132,"description":13767,"tags":13768,"thumbUrl":13769,"material":317,"size":907,"collection":122,"collections":13770,"showCount":13746,"zanCount":1065,"manualWeight":40,"mainColor":62},283619,"hua-niao-tu-quan-juan-qian-xuan-283619","花鸟图全卷","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,7,24,51,25,26,27,102,53,1882,246,84,200,198,301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F137ee05c575ac4967710143b8215cd6c.jpg",[],{"id":13772,"slug":13773,"title":13774,"dynasty":46,"author":2922,"museum":132,"description":7364,"tags":13775,"thumbUrl":13776,"material":317,"size":907,"collection":106,"collections":13777,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":41},238421,"dong-gao-li-gu-ying-chun-tu-xiao-ce-dong-gao-238421","董诰郦谷迎春图小册",[24,7,100,27,26,102,1882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb824a714acac94049fd4d0c4889ebffb.jpg",[106,90],{"id":13779,"slug":13780,"title":13781,"dynasty":46,"author":13782,"museum":151,"description":13783,"tags":13784,"thumbUrl":13785,"material":342,"size":13786,"collection":122,"collections":13787,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":41},234683,"chen-shi-ceng-tao-liu-pi-pa-tu-zhou-chen-heng-ke-234683","陈师曾桃榴枇杷图轴","陈衡恪","图绘桃、石榴、枇杷各一枝，参差有序，果实累累。画中以花青色配以浓淡不同的墨色画桃叶，再以重墨勾勒筋脉。桃实红绿相间，色泽自然。石榴的枝条硬朗秀挺，小叶片片看似随意，然点画得轻灵活泼，与较浓重的桃叶、枇杷叶相映衬，使画面轻重有别，富有韵律感。",[7,24,51,52,102,27,277,4670,1093,451,265,1095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f93683f8661e46f36da1e89a8b0199c.jpg","纵87.5厘米， 横44.8厘米",[],{"id":13789,"slug":13790,"title":13791,"dynasty":293,"author":10512,"museum":132,"description":13792,"tags":13793,"thumbUrl":13794,"material":317,"size":907,"collection":122,"collections":13795,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":41},228078,"jiu-ge-tu-juan-zhang-wo-228078","九歌图卷","《九歌图》是元代张渥于1346年创作的画作，此画现藏于吉林省博物馆。画上题记：至正六年，丙戌，即1346年。\n《九歌图》卷共十一段，每段一图，画屈原像及楚辞《九歌》中的《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》十章内容。该图笔法流畅工整，秀劲宛转，线条纤细飞扬，体现了元代的白描风格。",[7,24,51,25,510,28,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd703b650dbb12a74da0ce542b73749.jpg",[],{"id":13797,"slug":13798,"title":13799,"dynasty":114,"author":181,"museum":132,"description":13800,"tags":13801,"thumbUrl":13802,"material":122,"size":122,"collection":122,"collections":13803,"showCount":13746,"zanCount":541,"manualWeight":40,"mainColor":62},227910,"zhu-mei-xiao-qin-tu-tuan-shan-yi-ming-227910","竹梅小禽图团扇","寒梅疏枝缀满莹白香蕊，清挺竹叶交错掩映，衬出幽隽雅致的冬初小景。三只山雀姿态各异，或敛羽栖于枝头侧目远眺，或俯身啄探似欲衔取花枝，蓬松绒毛以细笔晕染而出，灵动鲜活呼之欲出。\n\n整幅小品设色古雅淡逸，笔法兼具写实功力与文人情致，苍劲梅枝、秀劲竹叶与娇憨禽鸟相映成趣，将郊野小景的清新生机，定格在尺幅团扇之中，尽显宋画小品兼具写实意趣与雅致意境的独特魅力。",[7,24,51,768,26,27,102,53,383,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014ad6d20b32bd8ed109194ceff64ab9.jpg",[],{"id":13805,"slug":13806,"title":13807,"dynasty":114,"author":394,"museum":132,"description":13808,"tags":13809,"thumbUrl":13810,"material":122,"size":122,"collection":122,"collections":13811,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":62},227779,"zhu-chong-tu-ye-wu-bing-227779","竹虫图页","此图画幽篁疏影，双钩填彩，以色之而飞，又绘天牛、螽蜥，无不刻画入微，瓜赞，相阿弥题签，天室和尚题跋。浓淡来显叶之向背、竿之盘曲。枝叶饱满， 叶果实又仿效徐崇嗣的没骨画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,7,24,51,768,26,27,102,53,248,634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01191a7671ec45bee311028ed57ed69c.jpg",[],{"id":13813,"slug":13814,"title":13815,"dynasty":114,"author":274,"museum":132,"description":13816,"tags":13817,"thumbUrl":13818,"material":122,"size":122,"collection":122,"collections":13819,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":41},227726,"song-xia-guan-pu-xia-gui-227726","松下观瀑","《松下观瀑图》为南宋画家夏圭所作。右下山石处款署“夏圭”。\n\n图绘一瀑布飞流，水边峭壁悬一古松。一高士坐于松下观赏飞瀑。\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,24,51,7,768,277,73,75,609,313,28,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea35dcf8553220d48caebb48114605af.jpg",[],{"id":13821,"slug":13822,"title":13823,"dynasty":114,"author":181,"museum":260,"description":13824,"tags":13825,"thumbUrl":13827,"material":217,"size":13828,"collection":175,"collections":13829,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":62},223354,"fang-zhou-fang-xi-ying-tu-yi-ming-223354","仿周昉戏婴图","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。",[23,24,7,26,27,28,29,10931,812,1229,684,13826,611],"孩童嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b11b8ef4628a62aa0c11093093e5b0.jpg","纵30.5厘米，横111.8厘米",[175],{"id":13831,"slug":13832,"title":13833,"dynasty":67,"author":13834,"museum":20,"description":13835,"tags":13836,"thumbUrl":13838,"material":277,"size":13839,"collection":88,"collections":13840,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":41},222184,"han-shan-shi-liu-tu-zhou-zhao-zuo-222184","寒山石溜图轴","赵左","赵左（1573—1644）左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭（今上海松江）人。\n赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为“赵秋草”。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米（芾）非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为“苏松派”。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。所著《大愚庵遗集》已失传，散落的诗文由其子搜辑成一集存世。传世作品有万历三十九年（1611）作《秋山幽居图》扇面（藏上海博物馆）、万历四十年（1612）作《溪山无尽图》卷）收录于《中国绘画史图录》下册）、万历四十四年（1616）的《长江叠翠图》卷（藏中国美术馆）等。另有藏于故宫博物院的《富春大岭图》卷，台北故宫博物院藏《寒江草阁图》轴及上海博物馆藏《仿大痴秋山无尽图》卷、《山水卷》等。\n绘画特色:\n一、师从宋旭。宋旭（1525-？年），字初旸，号石门，浙江湖州人，后徙居上海松江，以画山水最为擅长，主要师法“明四家”之一的沈周，风格雄劲古拙，为“松江派”之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。清王原祁《佩文斋书画谱》中即有云：“（赵左）学于宋旭……其画宗董源，兼有黄公望、倪瓒之意。\n二、受董其昌山水画影响。董其昌是明代后期书画大家，其山水画理论与实践影响了明末乃至清代山水画的发展，加之董氏社会地位显赫，官至南京礼部尚书，以太子太保致仕，结交了大量的仕宦、文人和书画家，因此名重一时，影从者甚众。由于董其昌是松江人氏，因此当时松江地区的许多画派都以追随董氏，强调摹古，重视笔墨为潮流，而赵左身处其间，在绘画创作上受乡贤之影响也是必然的。\n赵左与董氏是翰墨挚友，并有着长期的书画交往，是董氏绘画最重要的代笔人之一。对此，清朱彝尊（1629-1709年）在《论画绝句十二首》中指出“隐君赵左僧珂雪，每替香光应接忙。泾渭淄渑终有别，漫因题字概收藏。”又朱氏自注云：“董文敏疲于应酬，每倩赵文度及雪公代笔，亲为书款。” 同时，清姜绍书（生卒年不详）在《无声诗史》中亦有云：“与董思白为翰墨友，流传董迹，颇有出文度手者。”可见，赵左为董氏代笔在当时已是公开的秘密，这也从一个侧面反映了赵左在绘画上的功力确是不凡。\n赵左绘画作品《山水册》，现由金陵天渡楼收藏。\n当然，赵左为董其昌代笔与董氏原作是有本质区别的。赵氏长于烘染，在树木等的刻画上立体感强，层次繁复，风格细润，于绘画技巧上更为精能，但笔墨功力与董其昌相比则略显单薄，这主要是由于董氏所具有的超凡书法功底是赵左力所不逮的。赵左作为“松江派”山水的领袖，自具有其独到之处。《无声诗史》记其论画一则，阐述了他对山水画创作的艺术见解。他主张画山水，须得山川林木、楼观舟车、人物屋宇之势，做到取势布景，交错而不繁乱；景物布置,须一一自然合理；景色先以朽笔勾出，然后落墨,使景致、笔墨交融，成画后才富有意味。\n他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧；并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云；或作浅绛设色，与笔墨的运用相融。还经常参用米氏父子、黄公望、倪瓒等画家的不同画法\n他的山水画秀劲飘逸的韵致也吸引了一大批松江画家追随其左右，如赵泂、叶有年、吴振、释常莹等，都从学于赵左绘画，使得明末清初的松江画坛呈现出一派生机盎然的景象。而赵左的许多作品也为时人和后世视为世袭之珍。",[23,7,24,51,52,277,73,278,647,279,313,13837,3255,75],"小亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc4008b1851240fd1b92482966a63c8.jpg","52.7x36.9厘米",[88,90],{"id":13842,"slug":13843,"title":13844,"dynasty":114,"author":6625,"museum":195,"description":13845,"tags":13846,"thumbUrl":13847,"material":13848,"size":13849,"collection":175,"collections":13850,"showCount":13746,"zanCount":541,"manualWeight":40,"mainColor":62},221585,"an-chun-tu-li-an-zhong-221585","鹌鹑图","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[23,7,24,51,26,27,102,4680,200,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0a7a66cc5c8697ff42ab6e379a7cb63.jpg","设色绢","52x68",[175,106,90],{"id":13852,"slug":13853,"title":13854,"dynasty":114,"author":878,"museum":1417,"description":13855,"tags":13856,"thumbUrl":13857,"material":611,"size":725,"collection":122,"collections":13858,"showCount":13746,"zanCount":1065,"manualWeight":40,"mainColor":62},221531,"jiang-shang-xiao-chuan-tu-ma-yuan-221531","江上小船图","马远（约1140－约1225年后），南宋画家。字遥父，号钦山，原籍河中（今山西永济），侨寓钱塘（今浙江杭州）。出身绘画世家，南宋光宗、宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,24,7,51,768,277,27,28,80,75,647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9920e6cf5cd9c356e5072e6bc0e4c7e.jpg",[],{"id":13860,"slug":13861,"title":13862,"dynasty":114,"author":2868,"museum":69,"description":13863,"tags":13864,"thumbUrl":13865,"material":611,"size":13866,"collection":175,"collections":13867,"showCount":13746,"zanCount":541,"manualWeight":40,"mainColor":62},221451,"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","马和之（生卒不详）：中国南宋画家。活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[23,7,24,51,25,510,27,119,74,118,28,77,79,78,81,1059,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[175,88,90],{"id":13869,"slug":13870,"title":13871,"dynasty":114,"author":13872,"museum":151,"description":13873,"tags":13874,"thumbUrl":13875,"material":156,"size":13876,"collection":175,"collections":13877,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":62},221436,"jiang-shan-fang-mu-tu-juan-qi-xu-221436","江山放牧图卷","祁序","本幅无款，上有清高宗弘历御题五律诗一首。前隔水有金章宗完颜璟瘦金体书题签：“祁序江山放牧图”。清梁清标书签：“北宋祁序江山放牧图蕉林珍藏”。鉴藏印有金章宗“内殿珍玩”、“明昌”、“明昌宝玩”、“御府宝绘”；清耿昭忠“耿昭忠信公氏一字在良别号长白山长收藏书画印记”，梁清标“蕉林”、“观其大略”以及乾隆、嘉庆、宣统诸帝之玺。\n此图为平远式构图，取景开阔。图绘初春时节，牧童们在湖泽坡岸间牧牛的情景，是典型的宋代风俗小品画。作品表现了各种情态的牛，或低头饮水，或昂首举目，或扭身顾盼，或侧身前行，皆神态生动，富有情趣，显示出作者娴熟的笔墨技法和准确的造型能力。图中点景的树木具有宋人李唐刻画粗简的遗风，树干以粗线条勾勒轮廓，润墨皴擦，显现出苍健之态、虬曲之美；树叶用笔致细腻的夹叶法表现，中锋行笔，线条圆润工整，展现出树木丰润华滋之美。堤岸坡石的表现别具匠心，以曲折弯转的墨线勾边，再以石绿色晕染坡面，亮丽的色彩不仅丰富了画面的色调，也为全幅增添了万物复苏的春之气息。作者将悠闲惬意的牛与风和日丽的环境有机地融为一体，画面中洋溢着浓郁的乡土风情。\n此幅是祁序流存至今的唯一一件作品，原藏清宫内府，宣统年间为溥仪运出宫，存于长春的小白楼内，后为周觉民获得。1983年9月由周觉民之妻李倩玉捐献给故宫博物院。\n著录于清内府《石渠宝笈初编》。",[23,7,24,51,25,277,73,75,1906,28,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7be5f835fcaeb89d01f42e584182ea.jpg","纵47.3厘米，横115.6厘米",[175],{"id":13879,"slug":13880,"title":13881,"dynasty":114,"author":4320,"museum":132,"description":13882,"tags":13883,"thumbUrl":13884,"material":27,"size":13885,"collection":175,"collections":13886,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":62},221424,"shan-shui-tu-ye-yan-wen-gui-221424","山水图页","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,7,24,51,100,27,73,75,82,861,856,648,3376,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2cb4e910bceafecf67da9700705515.jpg","55×25",[175,88,286],{"id":13888,"slug":13889,"title":13890,"dynasty":114,"author":181,"museum":13891,"description":13892,"tags":13893,"thumbUrl":13894,"material":27,"size":13895,"collection":122,"collections":13896,"showCount":13746,"zanCount":1065,"manualWeight":40,"mainColor":62},220241,"rui-guang-ta-si-tian-wang-xiang-4-yi-ming-220241","瑞光塔四天王像4","苏州瑞光寺塔","是可供研究唐代吴道子画风的一件重要绘画遗存。\n吴道子一生以宗教画创作为主，留下壁画三百余壁，但从唐武宗会昌五年（845）废寺毁佛像以后，存留就寥寥无几了。不过，他的画风由唐代粉本，和后世画家的仿作中所保存下来的还是不少。四天王像的创作年代在大中祥符六年（1013）之前，距吴道子逝世两个半世纪左右，当时，吴画原作还有少量寺庙壁画遗存。他的画风在宗教画中有强大影响。从四天王像中，就明显地可以看到吴道子画风的几个富有特征的表现。",[7,24,26,27,678,28,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6228be4d803c0cec9fb87a8cbef04b3.jpg","42.5X123厘米",[],{"id":13898,"slug":13899,"title":13900,"dynasty":46,"author":97,"museum":132,"description":13901,"tags":13902,"thumbUrl":13903,"material":267,"size":13904,"collection":106,"collections":13905,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":41},219990,"yao-pu-qiong-pa-tu-yun-shou-ping-219990","瑶圃琼葩图","图绘湖石一块，形状怪异；后有牡丹围绕，枝繁叶茂，枝头花朵或粉红，或红白相间，花瓣层层叠叠，层次清晰。此幅敷色生硬，或是后人摹本。",[23,24,51,102,7,52,101,27,26,103,201,3195,198,265,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[106],{"id":13907,"slug":13908,"title":13909,"dynasty":114,"author":13910,"museum":20,"description":13911,"tags":13912,"thumbUrl":13913,"material":34,"size":13914,"collection":106,"collections":13915,"showCount":13746,"zanCount":1065,"manualWeight":40,"mainColor":41},219940,"ye-shu-cao-chong-tu-xu-di-219940","野蔬草虫图","许迪","素净的地面上，有一株孤伶伶的白菜。零星的叶片，褪了不少绿意，也被虫子啃蚀得有些残破。一只红尾的蝗虫大剌剌地弹跳了过来，看来又是想要来饱食一顿的饕客。白菜上方，另一位访客－淡黄的粉蝶也翩然而至，与一只黑翅的蜻蜓不期而遇。看这只蜻蜓摩拳搓掌的样子，不禁令人替这只娇弱的粉蝶捏把冷汗。",[23,7,24,768,26,27,511,199,200,247,4295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9714821a89822cea4d8aee785f1a6b.jpg","纵25.8厘米、横26.9厘米",[106],{"id":13917,"slug":13918,"title":13919,"dynasty":46,"author":2636,"museum":151,"description":13920,"tags":13921,"thumbUrl":13922,"material":34,"size":13923,"collection":106,"collections":13924,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":62},219870,"song-xian-ying-zhi-tu-zhou-lang-shi-ning-219870","嵩献英芝图轴","正中是一只兀立于石上的白鹰，画面的右边是一棵弯曲盘绕的老松，还有一棵藤萝攀绕着松树枝干，松树的根部和石头的缝隙之间有灵芝数株，画幅左边为坡石以及急湍的溪流。 图中所绘苍松、雄鹰、灵芝、山石、流水，在中国文化中多有强健、长寿和吉祥的美好寓意。但在色彩上，鹰白、松绿、芝棕红、土坡绛色和藤萝花粉紫，却是不同于中国传统、属于郎世宁风格的鲜明、绚丽和浓重。",[23,7,24,51,52,26,27,8278,609,313,278,4753,7270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ede8b111d7cac1c43336e0de1b2972.jpg","纵242.3cm，横157.1cm",[106],{"id":13926,"slug":13927,"title":13928,"dynasty":46,"author":2636,"museum":20,"description":13929,"tags":13930,"thumbUrl":13931,"material":34,"size":13932,"collection":90,"collections":13933,"showCount":13746,"zanCount":1065,"manualWeight":40,"mainColor":41},219303,"shi-jun-tu-zhi-xue-dian-diao-zhou-lang-shi-ning-219303","十骏图之雪点雕轴","郎世宁（一六八八－一七六六）意大利人。十九岁，入天主教耶稣会为修士。曾习油画，兼习建筑。二十七岁来华，以绘事供奉内廷，历仕康熙、雍正、乾隆三朝。善画人物、花鸟，尤善犬马。科尔沁郡王诺们额尔和图于乾隆八（西元一七四三）年，进贡骏马一匹。",[24,7,52,27,26,215,472,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e84b14360acb49ba0390128d53f6779.jpg","238.2x270.6",[90],{"id":13935,"slug":13936,"title":13937,"dynasty":46,"author":2172,"museum":151,"description":13938,"tags":13939,"thumbUrl":13940,"material":34,"size":13941,"collection":88,"collections":13942,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":62},219220,"fang-da-chi-shan-shui-tu-wang-jian-219220","仿大痴山水图","此图沿“S”形的水路，绘一河两岸的景色，笔墨技法精湛，设色清丽脱俗，表现了江南山水沉郁深秀的自然气象。图中山石、树木勾染以仿大痴，即黄公望的画面为主，同时参法董源及唐初巨然的笔力，显现出王鉴晚年对古人笔墨融会贯通的掌控能力。",[23,7,24,51,52,27,75,79,278,82,154,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4bb0de74fcee4bbd39f292a92cc45.jpg","纵122.5厘米，横61.5厘米",[88],{"id":13944,"slug":13945,"title":13946,"dynasty":18,"author":13947,"museum":20,"description":13948,"tags":13949,"thumbUrl":13950,"material":34,"size":13951,"collection":106,"collections":13952,"showCount":13746,"zanCount":1065,"manualWeight":40,"mainColor":41},219212,"gu-mu-jin-jiu-tu-tang-xi-ya-219212","古木锦鸠图","唐希雅","苍劲棘枝斜逸，锋芒暗藏的枝桠间，一只锦鸠悠然栖息。羽色层次细腻，翠绿覆背，褐羽衬胸，翅间赭红轻点，尾羽沉黑如墨，连绒羽的柔润质感都被精心晕染。它昂首敛翅，眼神澄澈，与枯枝嶙峋形成动静相宜的对照。素净绢底衬得禽鸟鲜活、枝干古拙。笔墨工细却不板滞，线条劲挺中含柔婉，将生灵生机与古木风骨融于方寸，尽显五代花鸟写生的精妙神韵，藏着天地静美与盎然生机。",[23,24,7,768,102,26,27,4907,384,4371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188bf758524620865734d70b114afc3e.jpg","24.7x26.1cm",[106],{"id":13954,"slug":13955,"title":13956,"dynasty":114,"author":448,"museum":20,"description":13957,"tags":13958,"thumbUrl":13959,"material":34,"size":13960,"collection":175,"collections":13961,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":41},219205,"hua-mu-zhen-qin-tu-lin-chun-219205","花木珍禽图","画面中花木扶疏，珍禽顾盼生姿，翎羽纹理细腻如织，每一片花瓣都似凝着晨露的清润。淡赭色的背景晕染出雅致的古意，草木的姿态舒展自然，禽鸟的动态鲜活传神——或低头理羽，或抬足欲行，仿佛能听见羽翼轻振的细碎声响。工笔勾勒的线条精准灵动，设色淡雅却见层次，将自然生灵的生机与宋人的清幽审美融于一方圆扇之中，尽显写生妙趣与雅致格调，似能让人嗅到花木的浅香，触到古绢上的温润时光。",[23,7,24,51,768,26,27,102,263,135,384,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e39a3b8400e6e4315756cb77ddc544.jpg","25.8x26.3cm",[175,106],{"id":13963,"slug":13964,"title":13965,"dynasty":114,"author":181,"museum":132,"description":13966,"tags":13967,"thumbUrl":13968,"material":611,"size":13969,"collection":175,"collections":13970,"showCount":13746,"zanCount":1065,"manualWeight":40,"mainColor":62},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[23,7,24,51,27,73,75,1059,81,79,28,215,74,278,78,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[175],{"id":13972,"slug":13973,"title":13974,"dynasty":293,"author":181,"museum":395,"description":13975,"tags":13976,"thumbUrl":13980,"material":34,"size":13981,"collection":106,"collections":13982,"showCount":13746,"zanCount":40,"manualWeight":40,"mainColor":62},216670,"shuang-ge-tu-yi-ming-216670","双鸽图","双鸽图是一幅元朝时期的图画，作者不详。这幅图展示了两只鸽子相互依偎的情景。它是元朝时期著名的一幅婚姻主题的图画，象征着爱情和婚姻的美好。图中的两只鸽子代表夫妻，它们形态优美，相互依偎，象征着夫妻之间的亲密感情。双鸽图被广泛用于装饰家庭和公共场所，作为对美好婚姻的祝福。",[7,24,51,26,27,102,13977,710,13978,13979],"鸽子","鸟类","细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ba5c03c75a12c756a61bed0e670df3.jpg","30x44cm",[106],{"id":13984,"slug":13985,"title":13986,"dynasty":67,"author":619,"museum":20,"description":2199,"tags":13987,"thumbUrl":13989,"material":666,"size":13990,"collection":286,"collections":13991,"showCount":13992,"zanCount":40,"manualWeight":40,"mainColor":62},291002,"gu-song-tu-shen-zhou-291002","古松图",[7,24,51,277,5543,2785,13988,118,74],"松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f287011696dffb4e0f719e2224fed22.jpg","73.9x51.2",[286],55,{"id":13994,"slug":13995,"title":13996,"dynasty":67,"author":13997,"museum":132,"description":13998,"tags":13999,"thumbUrl":14000,"material":317,"size":907,"collection":122,"collections":14001,"showCount":13992,"zanCount":1065,"manualWeight":40,"mainColor":62},289997,"ting-qin-tu-li-zhou-du-jin-289997","听琴图立轴","杜堇","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人。",[24,51,7,52,27,26,28,29,905,2880,31,56,10913,7105,1167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9241a9963f0c789754bcb630030c914e.jpg",[],{"id":14003,"slug":14004,"title":14005,"dynasty":674,"author":2912,"museum":20,"description":14006,"tags":14007,"thumbUrl":14008,"material":317,"size":907,"collection":122,"collections":14009,"showCount":13992,"zanCount":1065,"manualWeight":40,"mainColor":41},289889,"zhu-lin-wu-jun-tu-yan-li-ben-289889","竹林五君图","阎立本（601年—673年），雍州万年（今陕西省西安市临潼区）人。唐朝时期宰相、画家，隋朝殿内少监阎毗之子。\n隋朝时，阎立本门荫入仕，累迁朝散大夫、将作少监。唐武德年间，担任秦王（李世民）府库直。贞观年间，历任主爵郎中、刑部郎中，迁将作少监。绘制“昭陵六骏”和“凌烟阁”功臣图，监修翠微宫。显庆元年（656年），出任将作大匠，迁工部尚书。总章元年（668年），检校右丞相，册封博陵县男。当时姜恪凭借战功擢任左丞相，时人有“左相宣威沙漠，右相驰誉丹青”之说。举荐名臣狄仁杰，累迁中书令。咸亨四年（673年11月14日），去世，追赠司空。\n阎立本擅长工艺，富于巧思，工篆隶书，对绘画、建筑都很擅长。兄长阎立德擅长书画、工艺及建筑工程。阎毗、阎立德、阎立本父子三人并以工艺、绘画闻名于世。代表作品《步辇图》《历代帝王像》等。",[23,24,7,52,27,28,53,118,74,2825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189baa2b3db03fad97d5e31e862a3468.jpg",[],{"id":14011,"slug":14012,"title":14013,"dynasty":18,"author":11687,"museum":132,"description":14014,"tags":14015,"thumbUrl":14017,"material":317,"size":907,"collection":122,"collections":14018,"showCount":13992,"zanCount":40,"manualWeight":40,"mainColor":62},289774,"kan-shu-tu-wang-qi-han-289774","勘书图","此图绘一文士勘书之暇挑耳自娱的情景。文人白衣长髯，袒胸赤足，坐于书几前，左手扶椅，右手作挑耳状，神态怡然自得。书几上有摊开的书卷，一书童于几旁侍立。文人身后为三叠屏风，上画青绿设色山水。屏风前横一长案，上陈卷帙。画家十分巧妙地选取画中人“校读间隙挑耳”这一看似平常的动作，着意刻画了其惬意的神情。加之环境的铺陈、烘托，生动地表现了南唐贵族文人闲适的情状，展示出他们日常生活的一个侧面\n该图描写手法高超，形神兼备，反映了昔日勘书者的荡然性格与狂放的气质。画中环境，为室内陈设着的屏风、几案、卷册之类。全图构思十分精密，合适有度。",[24,7,28,27,75,74,905,11930,14016,3242,51],"书桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4a6cead538d88190b79a941501ae13.jpg",[],{"id":14020,"slug":14021,"title":14022,"dynasty":114,"author":788,"museum":132,"description":4923,"tags":14023,"thumbUrl":14025,"material":317,"size":907,"collection":122,"collections":14026,"showCount":13992,"zanCount":40,"manualWeight":40,"mainColor":62},289658,"xue-hou-shan-cun-tu-li-cheng-289658","雪后山村图",[7,24,51,52,277,497,73,1357,4240,14024,647,559,79,3255],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0607d079de16ecca9ed7e4b968863dce.jpg",[],{"id":14028,"slug":14029,"title":3371,"dynasty":114,"author":556,"museum":132,"description":14030,"tags":14031,"thumbUrl":14032,"material":317,"size":907,"collection":122,"collections":14033,"showCount":13992,"zanCount":40,"manualWeight":40,"mainColor":62},288259,"jiang-shan-xiao-jing-tu-li-tang-288259","《江山小景图》描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。",[23,7,24,51,25,277,27,73,75,80,81,429,313,426,281,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7674380b1a209bd4836ce4ffa81e0.jpg",[],{"id":14035,"slug":14036,"title":14037,"dynasty":67,"author":181,"museum":132,"description":14038,"tags":14039,"thumbUrl":14041,"material":317,"size":907,"collection":122,"collections":14042,"showCount":13992,"zanCount":40,"manualWeight":40,"mainColor":62},288163,"fang-liu-song-nian-shan-zhong-dao-jiao-yi-ming-288163","仿刘松年山中道教","此作铺陈出一方仙山灵境，层峦叠嶂深秀苍润，林泉蜿蜒幽致，尽显洞天福地的静谧出尘。线条清劲工致，勾勒出山岩硬朗肌理与林木舒展之态，绢色因年深沉凝古雅，晕染出静穆古意。\n仙宇楼阁隐于云壑林麓间，道侣幽栖往来，将道家山水问道的意涵融于丘壑烟岚之中。仿院体精工之法，兼具清雅文气，把“天人合一”的哲思寄寓笔墨间，虽历经岁月晕染，出尘之韵依旧盎然，是兼具叙事性与山水意境的道释佳制。",[23,7,24,25,51,678,14040,75,154,27,118],"道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6f6bbb0e3beaf0268d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　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。",[24,51,7,52,27,102,76,84,6190,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ade1c2d8c7677f33096a169e71c32f.jpg",[],{"id":14080,"slug":14081,"title":2207,"dynasty":46,"author":2336,"museum":132,"description":4642,"tags":14082,"thumbUrl":14083,"material":317,"size":907,"collection":106,"collections":14084,"showCount":13992,"zanCount":1065,"manualWeight":40,"mainColor":41},235195,"hua-hui-ce-wu-chang-shuo-235195",[7,24,51,100,277,27,383,102,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f37309801ecded7fc20ed764eeb56d7.jpg",[106],{"id":14086,"slug":14087,"title":14088,"dynasty":46,"author":1756,"museum":151,"description":14089,"tags":14090,"thumbUrl":14091,"material":342,"size":14092,"collection":122,"collections":14093,"showCount":13992,"zanCount":40,"manualWeight":40,"mainColor":41},233178,"ping-ju-tu-zhou-xu-gu-233178","瓶菊图轴","此图为瓶插秋菊的小品画。构图匠心独运，巧于设置，高低错落的瓶和壶、“S”形走势的秋菊令画面富有活力，并形成多层次的节律变化。设色淡雅清新，笔法灵活娴熟，是虚谷晚年的花卉画代表作。",[24,51,7,52,27,277,1882,697,55,5195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd971ac61959e2aff3b2a1a61b30a51c6.jpg","纵126.2厘米，横57.7厘米",[],{"id":14095,"slug":14096,"title":14097,"dynasty":293,"author":1577,"museum":260,"description":14098,"tags":14099,"thumbUrl":14100,"material":217,"size":14101,"collection":88,"collections":14102,"showCount":13992,"zanCount":1065,"manualWeight":40,"mainColor":62},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[23,7,24,51,25,4477,27,26,28,215,79,82,4731,278,13317,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c50804767e58.jpg","横28.1厘米，纵155.5厘米",[88],{"id":14104,"slug":14105,"title":14106,"dynasty":46,"author":181,"museum":132,"description":14107,"tags":14108,"thumbUrl":14109,"material":122,"size":122,"collection":122,"collections":14110,"showCount":13992,"zanCount":1065,"manualWeight":40,"mainColor":62},230305,"fang-han-gong-chun-xiao-tu-yi-ming-230305","仿汉宫春晓图","此作铺展深宫春日盛景，亭台楼阁勾描工致，柳石花木晕染雅致，将宫苑春意揉进朱廊翠荫里。仕女们或临窗研墨、凭栏观戏，或蹴鞠扑蝶、闲庭信步，娇柔百态鲜活灵动，把深院中的松弛雅兴尽数铺陈。设色明丽柔婉，线条秀润细腻，复刻出原作的绮靡雅致，将宫廷日常的闲逸温婉晕染绢上，让旧日宫苑的春日烟火气扑面而来，尽显古典仕女画的柔美韵致与院体工笔的精妙意趣。",[24,51,25,7,26,27,855,154,28,29,77,560,82,278,755,756,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6489682bcd338587262df0a3fe163436.jpg",[],{"id":14112,"slug":14113,"title":14114,"dynasty":114,"author":878,"museum":132,"description":14115,"tags":14116,"thumbUrl":14117,"material":122,"size":122,"collection":122,"collections":14118,"showCount":13992,"zanCount":40,"manualWeight":40,"mainColor":62},227820,"song-yin-guan-lu-tu-ma-yuan-227820","松荫观鹿图","此作用笔清劲爽利，取景以偏概全，将平远之境铺陈得含蓄悠长。右侧虬松横斜，松针如铁，苍劲古雅的身姿探入空濛烟水。凭栏雅士白衣素简，静望烟岚深处，身旁侍童垂首伫立，简笔勾勒便将悠然意态尽显。对岸林影以淡墨晕染，朦胧虚化，汀洲浅渚间麋鹿低头啮草，为清寂画面添了灵动生趣。大片留白晕开浩渺江天，以少胜多，把幽居林下的闲静逸思藏在笔墨间，淡墨轻岚间漫溢着清寂萧散的雅致，意境空远悠长。",[23,24,7,51,75,277,27,73,697,1293,28,278,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ecf7d98118704a77489ac9ae5f3019.jpg",[],{"id":14120,"slug":14121,"title":14122,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":14123,"thumbUrl":14128,"material":317,"size":907,"collection":3417,"collections":14129,"showCount":13992,"zanCount":40,"manualWeight":40,"mainColor":62},225721,"boerderij-in-de-provence-fan-gao-225721","Boerderij in de Provence",[7,3410,3411,10067,12531,12532,5013,3850,14124,14125,14126,82,28,5232,137,8965,14127],"石墙","拱门","干草堆","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c0ec8b667688d44a5bb0209d76d2bd1.jpg",[3417],{"id":14131,"slug":14132,"title":14133,"dynasty":46,"author":2660,"museum":132,"description":14134,"tags":14135,"thumbUrl":14136,"material":122,"size":122,"collection":122,"collections":14137,"showCount":13992,"zanCount":1065,"manualWeight":40,"mainColor":41},224171,"tian-shan-ji-xue-tu-hua-yan-224171","天山积雪图","名画家说名画：李燕说华喦是河北美术出版社出版的一部作品。\n《名画家说名画:李燕说华喦》包括：天山积雪图、金屋春深图、松下观流图、苏米对书图、钟馗赏竹图、竹林七贤图、隔水吟窗图、曹松堂肖像、春宴图、钟馗嫁妹图、关山勒马图、渔家乐图、梅鹤图、渔夫晚归图内容。\n天山积雪图 金屋春深图 松下观流图 苏米对书图 钟馗赏竹图 竹林七贤图 隔水吟窗图 曹松堂肖像 春宴图 钟馗嫁妹图 关山勒马图 渔家乐图 梅鹤图 渔夫晚归图",[23,24,7,51,52,27,277,26,28,5060,297,1023,84,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d7fd76d8b44ae76dbc675b8ffbd77.jpg",[],{"id":14139,"slug":14140,"title":14141,"dynasty":114,"author":181,"museum":151,"description":14142,"tags":14143,"thumbUrl":14146,"material":611,"size":14147,"collection":175,"collections":14148,"showCount":13992,"zanCount":40,"manualWeight":40,"mainColor":479},223603,"qiu-shan-hong-shu-tu-zhou-yi-ming-223603","秋山红树图轴","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。",[23,24,7,51,52,27,75,14144,7962,313,78,79,2010,281,82,2009,14145,73],"红树","雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6349a3c7dd2d9bcdb8c6e7b79d431705.jpg","197.8x111.8",[175,88,286],{"id":14150,"slug":14151,"title":14152,"dynasty":67,"author":9980,"museum":151,"description":14153,"tags":14154,"thumbUrl":14155,"material":6181,"size":14156,"collection":122,"collections":14157,"showCount":13992,"zanCount":541,"manualWeight":40,"mainColor":41},221997,"xiang-jun-xiang-fu-ren-tu-wen-zheng-ming-221997","湘君湘夫人图","该图是文徵明早期仅存的人物画名作。此图根据屈原《九歌》中“湘君”、“湘夫人”两章而作。画面上湘君、湘夫人一前一后，前者手持羽扇，侧身后顾，似与后者对答，神情生动。人物造型来自晋顾恺之《女史箴图》、《洛神赋图》，形象古雅，体态修长，长袖飘逸，衣裙曳地，用游丝描，施朱红及白粉，精工古雅。从文徵明和王稺登的题跋可知，文徵明曾请仇英以此题作画，但文氏看过后并不满意，自己又重新创作。可见，文氏是在刻意追求一种“古意”，与仇英有不同的审美趣好。画上方自书《湘君》、《湘夫人》两章，后署“正德十二年丁醜二月已未停雲館中書”。正德十二年（1517年），时文徵明48岁。本幅有文徵明、文嘉、王稺登题跋。\n经清·耿昭忠等鉴藏。",[23,24,51,7,52,26,510,27,28,29,74,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97f60c8237a52c52ad96b4e9d3caf10.jpg","纵100.8厘米，横35.6厘米",[],{"id":14159,"slug":14160,"title":14161,"dynasty":3229,"author":3230,"museum":14162,"description":14163,"tags":14164,"thumbUrl":14165,"material":122,"size":122,"collection":122,"collections":14166,"showCount":13992,"zanCount":1065,"manualWeight":40,"mainColor":41},220543,"shuang-jun-xu-bei-hong-220543","双骏","龙美术馆西岸馆","浓淡墨色铺就两匹俊马的迥异姿态，黑马垂首衔草，浓墨泼写鬃尾，焦墨勒出筋肉起伏，留白提亮的蹄足莹润干净，尽显温驯悠然。红马昂首长嘶，赭红染就躯体，飞扬的鬃发如流云翻涌，线条劲挺利落，将烈马桀骜悍勇的气魄尽数挥洒。\n\n以写意笔法勾勒马的肌理轮廓，揉合西洋写实的精准与东方水墨的灵逸，寥寥数笔便将骏马筋骨与神采凝于纸面。画面留白营造出郊野的空寂悠远，边角题字补全章法，文气与画意相融，将生灵蓬勃的野性生机定格于尺幅间，尽显骏马的不屈风骨。",[23,7,24,51,277,27,368,215,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569a982798b011d434271fc901fb3e82.jpg",[],{"id":14168,"slug":14169,"title":14170,"dynasty":114,"author":1160,"museum":166,"description":14171,"tags":14172,"thumbUrl":14173,"material":34,"size":14174,"collection":123,"collections":14175,"showCount":13992,"zanCount":1065,"manualWeight":40,"mainColor":62},219554,"san-sheng-tu-liu-song-nian-219554","三生图","画中所绘的情景，正是李源在侍从的陪同下前去赴约，已长成十三岁的今生骑牛牧童即前世园泽，唱着歌谣徐徐而来，是为“三生”也。",[23,7,24,51,25,26,27,73,28,75,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306c01041dc84d596efb145b5bd7b859.jpg","24x100厘米",[123,36],{"id":14177,"slug":14178,"title":5429,"dynasty":114,"author":788,"museum":20,"description":14179,"tags":14180,"thumbUrl":14181,"material":34,"size":14182,"collection":175,"collections":14183,"showCount":13992,"zanCount":1065,"manualWeight":40,"mainColor":41},218933,"bu-yu-tu-li-cheng-218933","这幅画描绘了一条雪白的河流，岸边有古老的松树，一棵松树迎风而立，河里的渔民在放鱼网。这幅画以前被冠以李成的作品，但当你仔细观察这幅画的画风和两岸的抒情笔触，它更接近元代朱德润的画风。",[23,24,7,51,100,277,73,75,1059,80,661,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2112e287c6b86f47d3abcb4356f99.jpg","23.3x25",[175],{"id":14185,"slug":14186,"title":14187,"dynasty":114,"author":448,"museum":20,"description":14188,"tags":14189,"thumbUrl":14190,"material":34,"size":122,"collection":88,"collections":14191,"showCount":13992,"zanCount":541,"manualWeight":40,"mainColor":41},218680,"xing-hua-chun-niao-tu-lin-chun-218680","杏花春鸟图","本幅选自宋人《合璧画册》，枝干笔法接近林椿“山（木茶）霁雪”，惟转折提顿较明显，技法上更显纯熟。用色层层填染，具“山（木茶）霁雪”韵味。花朵白粉分染处理，与推断为马麟（约1180—1256后）所作之宋人“桃花”相类，然“桃花”枝干更见自然感。林椿、马麟的活动时期在先后间，“杏花春鸟”则或是略晚于马麟之典型精致南宋院画作品。",[23,7,24,51,26,27,102,1191,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97fa3fb771034ae4db090c526bdd41b5.jpg",[88],{"id":14193,"slug":14194,"title":10285,"dynasty":67,"author":6176,"museum":1463,"description":14195,"tags":14196,"thumbUrl":14197,"material":34,"size":14198,"collection":106,"collections":14199,"showCount":13992,"zanCount":40,"manualWeight":40,"mainColor":62},218631,"lu-yan-tu-lin-liang-218631","画面以淡墨晕染出秋郊水畔的清寂氛围，芦苇疏斜摇曳，残荷半卷低垂，尽显萧瑟之致。一只雁振翅俯冲而下，羽翼的劲健与气流的动感跃然绢上；地面三只雁姿态各异——或低头啄食，喙尖轻触水面，似有涟漪隐现；或昂首远眺，颈间线条舒展，似与飞雁相和；或蜷身小憩，绒毛以淡墨点染，憨态可掬。\n\n笔墨兼工带写，雁的羽毛以浓淡墨色层叠晕染，质感蓬松而富有层次；芦苇则用劲挺的线条勾勒，末梢的飞白似有风掠过。整幅画于简淡中见生机，动静相宜，将禽鸟的野逸之趣与自然的清幽之境融为一体，尽显水墨写意的灵动韵味。",[7,24,277,368,102,6811,2151,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce0607b35d95314ba2cb9879ec01f41.jpg","179x99",[106],{"id":14201,"slug":14202,"title":14203,"dynasty":67,"author":966,"museum":260,"description":14204,"tags":14205,"thumbUrl":14206,"material":34,"size":122,"collection":122,"collections":14207,"showCount":13992,"zanCount":1065,"manualWeight":40,"mainColor":41},218022,"za-hua-ce-8-chen-hong-shou-218022","杂画册-8","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[7,24,51,100,26,27,102,383,384,2785,1059,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3872c863e7a4d020187cfd8dc2c8c712.jpg",[],{"id":14209,"slug":14210,"title":3093,"dynasty":67,"author":181,"museum":395,"description":14211,"tags":14212,"thumbUrl":14214,"material":34,"size":122,"collection":88,"collections":14215,"showCount":13992,"zanCount":40,"manualWeight":40,"mainColor":62},217977,"wang-chuan-tu-yi-ming-217977","辋川图采用了中国传统的山水画风格，画面中展示了辽河流域的山峦、河流、村庄和城市。画中还有许多人物，展示了当时这一地区的生活方式和文化。\n\n辋川图因其精美的绘画技巧和对历史文化的精准再现而闻名，是中国山水画史上的珍贵艺术品。目前，辋川图被认为是中国古代山水画的杰作，具有极高的艺术价值和文化意义。",[23,7,24,25,497,855,27,425,79,77,82,28,80,1012,14213],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d11196376a0cf5547e83905727dc07.jpg",[88],{"id":14217,"slug":14218,"title":14219,"dynasty":18,"author":380,"museum":132,"description":14220,"tags":14221,"thumbUrl":14222,"material":317,"size":907,"collection":122,"collections":14223,"showCount":14224,"zanCount":1065,"manualWeight":40,"mainColor":62},290554,"wu-dai-nan-tang-rong-que-zhou-xu-xi-290554","五代南唐蓉雀轴","第四册，页54故宫书画图录，第一册，页65-66该幅画芙蓉盛开，与奇石交相掩映，石下尚有数株雏菊。一对对麻雀、白头翁与鶺鴒互相顾盼唱和，唯有一只麻雀孤独地在空中飞翔。该幅无款，旧传为五代南唐（十世纪初）徐熙之作，然细审此幅的笔墨与徐熙不类，当出自后人之手。",[24,7,52,102,26,27,84,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c26b3108f3c64d1cad0b53319ca6e2f.jpg",[],54,{"id":14226,"slug":14227,"title":14228,"dynasty":114,"author":2649,"museum":132,"description":14229,"tags":14230,"thumbUrl":14232,"material":317,"size":907,"collection":122,"collections":14233,"showCount":14224,"zanCount":1065,"manualWeight":40,"mainColor":62},288733,"xiao-xiang-ba-jing-tu-juan-si-wang-hong-288733","潇湘八景图卷四","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[7,24,25,277,497,1059,14231,425,649,281,435],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034d632a84422ddb4076996f3fafebb4.jpg",[],{"id":14235,"slug":14236,"title":14237,"dynasty":114,"author":3309,"museum":132,"description":14238,"tags":14239,"thumbUrl":14241,"material":317,"size":907,"collection":122,"collections":14242,"showCount":14224,"zanCount":1065,"manualWeight":40,"mainColor":41},288326,"qiu-hui-cao-chong-tu-li-di-288326","秋卉草虫图","本幅画叶稍上，螳螂高举双臂，想要捕食金龟子，金龟子适时察觉，立即振翅飞起。螳螂扑了空，只好无奈地回首怅望。昆虫追逐与逃脱的生死瞬间，透过画家的描绘，扣人心弦",[7,24,26,27,102,199,8756,14240,74],"秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d045300c5b04cb819d7d29c68685b7.jpg",[],{"id":14244,"slug":14245,"title":14246,"dynasty":67,"author":899,"museum":132,"description":2742,"tags":14247,"thumbUrl":14248,"material":317,"size":907,"collection":122,"collections":14249,"showCount":14224,"zanCount":1065,"manualWeight":40,"mainColor":41},287732,"wei-zhu-zui-yu-tu-tang-yin-287732","苇渚醉渔图",[24,7,277,52,75,80,1570,2151,662,118,74,3648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ed30e7e4f9029d9633816e33680693.jpg",[],{"id":14251,"slug":14252,"title":14253,"dynasty":18,"author":181,"museum":132,"description":14254,"tags":14255,"thumbUrl":14256,"material":122,"size":122,"collection":122,"collections":14257,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":62},239547,"huang-quan-xie-sheng-zhen-qin-tu-juan-yi-ming-239547","黄筌写生珍禽图卷","此作写实功底极尽精微，将十余类禽鸟、虫豸与灵龟一一铺陈。画师以淡墨细勾轮廓，随类施色晕染，禽鸟绒羽纤毫毕现，虫翼轻薄通透，龟甲纹理凹凸逼真。每一只生灵都形神兼备，振翅的雀鸟、爬行的甲虫、静立的水禽，皆定格住最鲜活的瞬间，尽显对自然万物的入微体察。\n\n虽为写生稿的合集，却处处彰显工笔花鸟的极致功底，将生灵的鲜活神韵凝于绢素之上，尽显五代写实工笔的隽永魅力。",[24,7,51,25,26,27,102,84,248,1986,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332fee9c6e6f4bf61e5511d43efcaedc.jpg",[],{"id":14259,"slug":14260,"title":14261,"dynasty":114,"author":4389,"museum":151,"description":14262,"tags":14263,"thumbUrl":14264,"material":156,"size":14265,"collection":122,"collections":14266,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":62},233698,"jiang-shan-qiu-se-tu-juan-zhao-bo-ju-233698","江山秋色图卷","此图为青绿设色。画中有青山碧水、殿宇村舍，栈道、桥梁穿插其间，又有苍松翠柏，茂林修竹，移步换景，令人玩味不尽。山石用小斧劈皴法，再施以青绿重色；树木、建筑刻画细腻精谨，点景人物描绘细致入微。整幅作品布局宏大，细节丰富，色彩浓丽而不失清雅，刻画精细而不琐碎，带有宋代画院气派。",[7,24,51,25,72,27,26,73,75,2009,663,82,434,77,78,79,278,746,1012,12947],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7938477d39bcc25b27dcddc14b743fa4.jpg","纵55.6厘米，横323.2厘米",[],{"id":14268,"slug":14269,"title":1045,"dynasty":1383,"author":14270,"museum":132,"description":14271,"tags":14272,"thumbUrl":14278,"material":317,"size":907,"collection":122,"collections":14279,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":993},231699,"ren-wu-hua-ge-chuan-feng-guo-231699","歌川丰国","此作以柔婉线条勾勒仕女情态，蓝花簪发的她肩挑朱绳吊桶，将市井营生晕染出雅致和风。吊桶海浪纹样灵动写意，和服层叠晕染出水色衣袂，裙摆织锦纹样细腻华美，将面料肌理晕染的层次分明。画师把世俗挑水劳作，揉入古典美人绘的温婉气质，静穆身姿暗蕴市井烟火的鲜活气，让日常营生化为诗意绘卷，尽显柔美雅致的浮世风韵。",[23,7,14273,2256,27,2255,28,29,684,14274,14275,14276,14277],"浮世绘","桶","花纹","波浪纹","花卉纹","https: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马兴祖 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年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[23,7,24,51,25,27,26,54,1179,384,2664,247,2151,14351,1178,14352,14353,14354,14355,5314,198,298,14356,84],"水藻","白鹭","红鱼","水生植物","莲叶","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","32.2×339.2cm",[],{"id":14361,"slug":14362,"title":14363,"dynasty":114,"author":3309,"museum":260,"description":14364,"tags":14365,"thumbUrl":14366,"material":611,"size":14367,"collection":175,"collections":14368,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":62},221501,"chun-jiao-mu-yang-tu-li-di-221501","春郊牧羊图","《春郊牧羊图》为扇面小品，大不盈尺，绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼",[23,24,7,768,26,27,1478,3630,472,28,4731,5324,3036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a238f37fd4e936610467a8de5665e84.jpg","24.1×24.8cm",[175,106,286],{"id":14370,"slug":14371,"title":14372,"dynasty":114,"author":2982,"museum":20,"description":14373,"tags":14374,"thumbUrl":14375,"material":611,"size":14376,"collection":36,"collections":14377,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":41},221201,"song-gao-zong-shu-xiao-jing-ma-he-zhi-hui-tu-ce-zhao-gou-221201","宋高宗书孝经马和之绘图册","圖冊原本應為圖文相連的長卷，後來因破損嚴重，改裝成書畫分開的冊頁形式。畫幅各藉不同場景，詮釋各階層人士盡孝及忠君的雙重意涵。圖文相輔，充分突顯了“為君主立言”的創作初衷。圖冊諸題跋均肯定《孝經》書法出自於宋高宗之手。畫幅風格則與馬和之全然不同，部分山石皴法反倒與李唐、蕭照較近。",[23,7,24,51,100,27,28,118,2044,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ba40826be74d19b5b9d115b4400475.jpg","40x88厘米",[36,90],{"id":14379,"slug":14380,"title":14381,"dynasty":293,"author":1556,"museum":20,"description":14382,"tags":14383,"thumbUrl":14384,"material":34,"size":14385,"collection":106,"collections":14386,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":62},220384,"qiu-fang-niao-yu-tu-qian-xuan-220384","秋芳鸟语图","钱选山水师赵令穰，人物师李公麟，花鸟师赵昌，青绿山水师赵伯驹，尤善作折枝，其得意者赋诗其上。工临仿，尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉。选多写人物、花鸟，故所图山水当世罕传。。钱选与赵孟頫同乡并同享盛名。擅画人物、花卉及山水。其自题《其与花鸟画曾师法赵昌，又自有变法，多表现田园隐居等情趣，如《柴桑翁像》、等山水画。后因为手颤，以及对付诸多仿造者，改作水墨写意花卉。明代鲁王朱檀墓随葬有钱选等，多以水墨画就。",[23,7,24,51,768,27,26,102,1882,84,56,14240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194ffa877014eafa9f6fefd8f3e58dd3.jpg","24.2x26.2",[106],{"id":14388,"slug":14389,"title":14390,"dynasty":114,"author":460,"museum":132,"description":14391,"tags":14392,"thumbUrl":14394,"material":250,"size":14395,"collection":106,"collections":14396,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":62},220044,"ba-ba-niao-tu-guo-xi-220044","叭叭鸟图","画上并没有牧溪的落款和任何题字，只有一方“牧溪”印章。这种小尺幅的画，可能是挂在僧人的禅房中作为观想用的。牧溪的画深得日本僧人喜爱，流传到日本之后，依然会悬挂在禅寺或私家园林最具礼仪性的空间—茶室之中。",[24,7,51,277,26,102,84,2785,14393],"孤枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0721f1062efb8a06417db50da227369e.jpg","纵78.5厘米，横39厘米",[106],{"id":14398,"slug":14399,"title":14400,"dynasty":293,"author":181,"museum":195,"description":14401,"tags":14402,"thumbUrl":14403,"material":34,"size":14404,"collection":106,"collections":14405,"showCount":14224,"zanCount":1065,"manualWeight":40,"mainColor":62},219254,"xing-hua-yuan-yang-tu-yi-ming-219254","杏花鸳鸯图","老干虬曲盘折，枝桠间素白杏花轻绽，似碎雪点染枝头，清妍雅致。水畔鸳鸯相倚，羽色温润柔和，与浅滩细草、零星苔石相映，添得几分闲逸生趣。画面色调古雅沉敛，笔墨简淡却意韵悠长，于静谧中藏生机，尽显元代文人画的清逸之致，观之如沐春风，心归恬淡。",[23,4477,7,24,51,102,26,27,1191,969,135,298,201,589,710,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3807ab913238f9ab10fab7e5d2ba0d67.jpg","纵163横98.2厘米",[106],{"id":14407,"slug":14408,"title":14409,"dynasty":293,"author":4666,"museum":20,"description":14410,"tags":14411,"thumbUrl":14412,"material":666,"size":14413,"collection":106,"collections":14414,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":62},219241,"tao-zhu-chun-qin-tu-wang-yuan-219241","桃竹春禽图","此幅画坡石桃竹，两双锦鸡楼于坡石之间。桃枝上的一双小鸟作欲飞状。枝上桃花或盛开，或含苞欲放。图中花和叶都用水墨点画而成，不用线勾。作者以深浅不同的色调，表现出阴阳向背和不同的颜色。鸟身的羽毛举涂染皴划粗细笔兼用，不作精雕细琢。全画笔墨稳练、文雅，气韵苍古，是花鸟画在元代由设色向墨笔过渡的代表性作品。",[23,24,7,52,277,26,102,4670,53,384,84,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c252bcf6ed4c5540285f24044384b10.jpg","117.6x55公分；全幅72.5公分",[106],{"id":14416,"slug":14417,"title":14418,"dynasty":114,"author":14419,"museum":20,"description":14420,"tags":14421,"thumbUrl":14422,"material":666,"size":14423,"collection":88,"collections":14424,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":62},219183,"han-yan-ji-xue-tu-yan-su-219183","寒岩积雪图","燕肃","此画面上重岩积雪，亭戴雪帽，老树寒疏，山村洁白，溪水冰结，孤舟停泊，却在旁边水岸两旁架有一座木桥，桥上有策杖、挑担二人，给雪景去掉几分寒意，而带来了几分情趣，虽是一派万丈雪崖、冰冻二尺的寒冷景象，但也是着浓厚的生活情调。鉴藏玺印有：“乾隆御览之宝”、“乾隆鉴赏”、五玺全、“宝笈三编”、“宣统鉴赏”、“宣统御览之宝”、“无逸斋精鉴玺”。收传印记有：“天籁阁”、“退密”、“项墨林鉴赏章”、“项墨林父秘笈之印”、“项子京家收藏”、“六艺之圃”、“净因庵主”、“太符真赏”、“李继泉真赏章”、“长水李氏珍藏”。",[23,7,24,51,75,277,73,297,6830,78,79,81,647,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bdf1b23bd716de35f8b6425cecd63c.jpg","136.3x64",[88],{"id":14426,"slug":14427,"title":14428,"dynasty":114,"author":6625,"museum":14429,"description":14430,"tags":14431,"thumbUrl":14432,"material":666,"size":14433,"collection":106,"collections":14434,"showCount":14224,"zanCount":1065,"manualWeight":40,"mainColor":62},219074,"zhi-niao-tu-li-an-zhong-219074","鸷鸟图","西雅图艺术博物馆","双鸟振翅于苍空，一似利剑穿云，一若疾电掠野，羽翼纹理细劲如丝，飞羽层叠间藏着风的力度。下方山石嶙峋，荒草疏疏，墨色简淡却见苍劲，衬出鸷鸟雄健身姿。眼神未刻意描摹，却透着猛禽独有的锐光。整幅画于工致中见野逸，将鸷鸟凌厉气势与旷野清寂氛围融于一纸，尽显宋人对自然生灵的深刻洞察与笔墨匠心。寥寥数笔的背景，更让观者聚焦飞鸟动态神韵，仿佛能听见翅膀划破空气的声响，感受到荒野里蓬勃的生命张力。",[23,7,24,51,102,26,27,84,56,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df516f0d73f4636a45f5da60eb29c20.jpg","25.4x27cm",[106],{"id":14436,"slug":14437,"title":14438,"dynasty":674,"author":14439,"museum":20,"description":14440,"tags":14441,"thumbUrl":14442,"material":34,"size":14443,"collection":36,"collections":14444,"showCount":14224,"zanCount":1065,"manualWeight":40,"mainColor":41},218899,"shuang-qi-tu-wei-yan-218899","双骑图","韦偃","此图表现两人各乘一马，并辔狂纵之情景，构图、造形、用笔皆显示了韦偃画马艺术之非凡才能和独特风格，韦偃从主题效果着眼，注重画面气势，往往于险中见胜，不稳中见稳，使画面绝处逢生，平中生奇。",[23,7,24,51,27,26,28,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b078e9b0d663299c9f5600a79bc8e1.jpg","纵31厘米，横44.5厘米",[36],{"id":14446,"slug":14447,"title":14448,"dynasty":114,"author":2868,"museum":20,"description":14449,"tags":14450,"thumbUrl":14451,"material":34,"size":14452,"collection":175,"collections":14453,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":62},218866,"jiang-sheng-cao-ge-tu-ma-he-zhi-218866","江声草阁图","画中有一座建在悬壁上的亭子，瀑布流入河中，一棵松树拔地而起，一个学者靠在栅栏上看一颗飞星。",[23,24,7,27,26,75,77,82,84,5314,281,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2c1ff15b6b9c4fa6376a24609f2ff0.jpg","23.3x24.6",[175],{"id":14455,"slug":14456,"title":14457,"dynasty":67,"author":2087,"museum":20,"description":14458,"tags":14459,"thumbUrl":14462,"material":267,"size":14463,"collection":106,"collections":14464,"showCount":14224,"zanCount":1065,"manualWeight":40,"mainColor":62},218840,"cao-hua-ye-qin-tu-lv-ji-218840","草花野禽图","绘高梁丛底下，一对野雉正在低头觅食，另外还有三只荜雀翱翔于上，构景既真实生动，又富趣味性。画上并没有作者的签名，因为钤盖了吕纪的印章，而被误认为是他的作品。实际上这幅画虽然极好，但风格却和吕纪不尽相同，推测应该出自明代其他高手所作。吕纪（活动于1439—15○5年间），浙江鄞县人。明孝宗时任职于仁智殿作画，并被授予锦衣指挥的官名。",[7,24,51,52,26,27,102,84,14460,14461,278,711,74],"野禽","草花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a86ac72036a3a520bff486521df824.jpg","146.4x58.7cm",[106],{"id":14466,"slug":14467,"title":14468,"dynasty":114,"author":181,"museum":20,"description":14469,"tags":14470,"thumbUrl":14471,"material":666,"size":14472,"collection":175,"collections":14473,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":62},218836,"shan-shui-xiao-jing-yi-ming-218836","山水小景","这幅画与米氏的《云雾山》不尽相同，因为它的裂纹较少，茄子状的点也少。这幅画并不完全相同，可能是来自大风堂张大千捐赠给台北故宫的一幅立轴画的上部。",[23,7,24,51,277,73,75,297,12681,82,281,648,1996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125522e300339c83e5781612e33c5b72.jpg","13.2x26.2",[175],{"id":14475,"slug":14476,"title":14477,"dynasty":114,"author":181,"museum":195,"description":14478,"tags":14479,"thumbUrl":14480,"material":34,"size":14481,"collection":175,"collections":14482,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":62},218619,"yuan-lu-tu-yi-ming-218619","猿鹭图","在画山的一棵老松树上，一只猴子右手抱着一只苍鹭，左手挥舞着，似乎在吓唬坐在树顶的另一只苍鹭，尽管树顶的苍鹭确实受到了惊吓，它张着尖嘴，翅膀微微张开，似乎准备逃走了。紧握着的游隼张开的嘴，似乎在呼救。",[23,7,24,51,768,27,26,74,4692,2291,609,3195,56,1059,84,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68a43a8dfe0798f567015c2597b7b30.jpg","23.3x23.8",[175],{"id":14484,"slug":14485,"title":13844,"dynasty":114,"author":6625,"museum":132,"description":14486,"tags":14487,"thumbUrl":14488,"material":250,"size":14489,"collection":106,"collections":14490,"showCount":14224,"zanCount":541,"manualWeight":40,"mainColor":62},218549,"an-chun-tu-li-an-zhong-218549","画面分上下两帧，各绘一只鹌鹑，姿态迥异却各得神韵。上方鹌鹑低头探向草丛，羽翅纹理细密如织，绒毛质感似触手可及；下方鹌鹑昂首而立，目光警觉，尾羽舒展间尽显灵动。背景以疏淡笔墨勾出枯苇、细枝，与鹌鹑的工致刻画形成对比，清雅中透着野趣。绢本设色温润古朴，禽鸟的鲜活与环境的萧瑟相映，既见宋代院体画的精致写实，又藏自然生机的悄然流动，尽显宋人观物入微的审美意趣。",[7,24,51,26,27,102,710,4680,890,4371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3b3fb868cf2e335d61dbfc6fae97c5.jpg","23x25",[106],{"id":14492,"slug":14493,"title":1127,"dynasty":67,"author":12954,"museum":395,"description":14494,"tags":14495,"thumbUrl":14496,"material":34,"size":14497,"collection":88,"collections":14498,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":479},218098,"shan-shui-tu-li-zai-218098","明朝时期的画家李在是一位著名的山水画家。他的作品以其精细的写实技巧、恢弘的气势和自然的造型而闻名。\n\n李在的山水图以其鲜明的色彩和细腻的线条而著称。他善于运用笔墨勾勒出高山峻岭、秀美的林木、碧波荡漾的江河、以及蒙蒙细雨的天气。他的画作还经常加入人物、建筑和动物的元素，使得作品更具生动感。\n\n李在的山水画不仅具有艺术价值，而且在当时也被视为象征君权的艺术品。他的作品深受当时的皇帝和贵族的青睐，并在历史上留下了深远的影响。\n\n总之，李在是一位杰出的山水画家，他的作品以其精细的写实技巧和自然的造型而闻名，并在历史上留下了深远的影响。",[24,51,7,52,277,27,73,75,2009,82,78,79,279,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f77a8ae01189e0f35aebdf3f3f1bb.jpg","138.8x83.2cm",[88],{"id":14500,"slug":14501,"title":14502,"dynasty":46,"author":14503,"museum":20,"description":14504,"tags":14505,"thumbUrl":14506,"material":666,"size":14507,"collection":88,"collections":14508,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":41},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","董邦达","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[24,51,7,52,277,73,75,78,79,81,28,1906,135,53,559,648,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[88],{"id":14510,"slug":14511,"title":14512,"dynasty":67,"author":181,"museum":20,"description":14513,"tags":14514,"thumbUrl":14516,"material":267,"size":14517,"collection":106,"collections":14518,"showCount":14224,"zanCount":40,"manualWeight":40,"mainColor":41},216216,"ming-ren-hua-suan-ni-tu-yi-ming-216216","明人画狻猊图","这幅画的主题是狻猊，它是古代中国神话中的一种强大的兽，被认为是一种深深联系着天地万物的神兽。在这幅画中，画家细致地描绘了狻猊的身体特征，并运用了各种色彩来表现狻猊的神秘和强大。这幅画是一个经典的代表作，展现了明朝画家对古代传统文化的热爱和尊重。",[24,7,51,27,26,472,14515,1059,278],"狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d8a9122c3bb3c95220a73fd82916619.jpg","211.9x178.6cm",[106],{"id":14520,"slug":14521,"title":14522,"dynasty":67,"author":68,"museum":20,"description":14523,"tags":14524,"thumbUrl":14525,"material":34,"size":14526,"collection":88,"collections":14527,"showCount":14528,"zanCount":1065,"manualWeight":40,"mainColor":62},290878,"song-ting-shi-quan-tu-zhou-chou-ying-290878","松亭试泉图轴","画中峰峦峥嵘，在云雾间半藏半露，近处陡峭的山岩间，一挂飞瀑跌成数叠，曲折流至松林溪间，临溪一歇山重檐松亭，亭中隐士品茶赏景，童子蹲着煮茶，亭外溪边一童子正持瓶汲泉。作者画出了一片娱性怡情的天地。",[7,24,52,27,26,75,81,609,28,79,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d3e2d68807da9d43ef17fbb8fb40a7.jpg","128.1x61",[88],53,{"id":14530,"slug":14531,"title":14532,"dynasty":18,"author":1020,"museum":20,"description":14533,"tags":14534,"thumbUrl":14535,"material":317,"size":907,"collection":122,"collections":14536,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":62},290376,"zhu-mei-han-que-tu-zhou-huang-quan-290376","竹梅寒雀图轴","雪寒中，朱连雀、桑鳲、八哥、麻雀栖于梅竹枝蔓中，此项题材、布景，可见于《边文进三友百禽》。从画幅横大于纵，与一般立轴纵大于横，有所不同，或许原本为一大画幅，因残破割裂而成者。画中绿竹竿，每节以重笔勾勒，连节处虚空，这种画法，亦见于边氏作风。八哥羽毛，其墨黑如碳，一般是以灯炱加胶所成，枝干留有残雪，用破笔沾白粉戳出，其法亦见于吕纪诸画中。就风格论，该画出于明人，为边文进、吕纪一系画家所作。",[24,7,1455,52,26,27,383,53,84,9258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5b9b276031df00cd0af945364161f1b.jpg",[],{"id":14538,"slug":14539,"title":14540,"dynasty":114,"author":211,"museum":151,"description":14541,"tags":14542,"thumbUrl":14543,"material":1582,"size":14544,"collection":123,"collections":14545,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":41},239597,"su-shi-gui-yuan-tie-ye-zhao-ji-239597","苏轼归院帖页","释文：\n此虽云同归院，亦不云宿于院中。不知别有文字，证得是宿学士院为复。只是公家传说如此，乞更批示。轼白。\n今当改云宿学士院为复，且只依旧云宿待漏舍，幸批示。\n鉴藏印钤“子孙永保“、”项氏子京“、”项墨林父秘笈之印“、”退密“、”宣统御览之宝“等五方。\n此帖是《宋人法书六种》卷之一，叙述了批示“同归院”、“宿学士院”、“宿待漏舍”三个名称统一之事。从帖文中可知，该帖是苏轼做翰林学士时所书，时间应为北宋元祐元年至四年之间（1086―1089年），苏轼时年51至54岁。\n前人虽云苏轼书学颜真卿、杨凝式，但实际受徐浩行书的影响最深。此帖笔致萧散，结态随意，似不经意而笔到法随，已不见学古痕迹。诚如苏轼自己所说：“不践古人，自出新意。”虽短短五行，已臻化境。\n《石渠宝笈续编》重华宫著录。",[23,7,24,51,119,118,74,250,1580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e060cd1b3354e1c0cf55b5c1306316.jpg","纵35.1厘米，横12.4厘米",[123],{"id":14547,"slug":14548,"title":14549,"dynasty":46,"author":14550,"museum":132,"description":14551,"tags":14552,"thumbUrl":14553,"material":122,"size":122,"collection":88,"collections":14554,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":41},238212,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238212","仿王翬山水册","曹夔音","曹夔音，清代乾隆年间的山水画家，字莪塍，号红椒道人，江苏江宁（南京）人，其生卒年月不详。据资料，知其曾在乾隆初年以御用画师身份供奉朝廷。期间，曹氏遵御旨摹仿了一批传统经典作品，最具水准也最受称道的，是仿赵黻《长江万里图》长卷。因其笔墨逼真，又弥补了原作残旧之憾，故甚为乾隆皇帝喜爱，成为“御览之宝”。此外，曹夔音还奉旨与金昆、张镐复制了王维《辋川图》，又与周鲲、姚文瀚等人临摹了丁云鹏罗汉手卷数卷。而曹氏所作《寒谷鸣泉》扇面画与背面乾隆御临王羲之法帖的成扇。",[7,24,51,100,277,73,75,77,78,79,82,278,434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae9b3150b1bdefaa340be12a343409a0.jpg",[88,90],{"id":14556,"slug":14557,"title":14558,"dynasty":46,"author":181,"museum":151,"description":14559,"tags":14560,"thumbUrl":14561,"material":453,"size":14562,"collection":36,"collections":14563,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":41},236179,"hong-li-sui-chao-xing-le-tu-xiang-yi-ming-236179","弘历岁朝行乐图像","暖阁里主仆围聚，主人逗弄怀中幼童，满堂融融暖意弥散。阶下有人持笛奏乐、孩童嬉闹，檐下案头陈设瓶花清供，雅趣横生。近旁苍松虬劲古朴，崖石覆雪添了冬日清寒，远景烟霭轻笼，亭台隐没云间，冷暖景致相映成趣。\n\n整幅工笔妍丽细腻，将皇家岁朝的闲温情致，与园林雅致意趣揉合一处，把佳节天伦之乐绘得鲜活动人，尽显华贵静谧的宫廷年味图景。",[24,7,26,27,855,28,77,609,278,560,1229,1167,684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cf7690222da77f1a730090ee748426.jpg","纵384cm，横160.3cm",[36,90],{"id":14565,"slug":14566,"title":14567,"dynasty":67,"author":899,"museum":132,"description":14568,"tags":14569,"thumbUrl":14570,"material":122,"size":122,"collection":122,"collections":14571,"showCount":14528,"zanCount":1065,"manualWeight":40,"mainColor":62},235993,"ren-wu-tu-ye-tang-yin-235993","人物图页","此作以娴静仕女为主体，她踞坐朱红锦毡，素手轻拢琴弦，眉梢隐含幽愁，仪容温婉端丽。衣纹勾勒柔劲舒展，设色雅致古淡，将深闺女子的沉静与悒郁揉入笔底。\n\n左侧题诗与画作相得益彰，行书俊逸秀挺，诗中闺怨与仕女情态相互映照。整体空灵清雅，以极简场景烘托出幽寂绵长的春愁，将缱绻心事藏于笔墨色彩间，诗画合璧，尽显隽秀雅致的格调，是融情于景的精妙小品。",[7,24,51,26,27,28,29,31,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a945bd646f963731c397889aed56bff.jpg",[],{"id":14573,"slug":14574,"title":14575,"dynasty":67,"author":14576,"museum":151,"description":14577,"tags":14578,"thumbUrl":14579,"material":3579,"size":122,"collection":122,"collectio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共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n石涛（1642—约1718年），俗姓朱，明宗室靖江王朱赞仪十世孙，谱名若极，广西桂林人。\n明灭亡后，出家为僧，法名原济，字石涛，号清湘老人、苦瓜和尚等。\n工于诗文，擅绘山水、兰竹、花草及人物。\n其笔情纵恣凝炼，独具创新，对扬州画派和近、现代中国画的影响极大。\n与清初画坛朱耷、髡残、弘仁合称“清四僧”，著有《苦瓜和尚画语录》，针对画坛时弊提出诸多精辟见解。",[23,24,51,7,52,277,102,54,398,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1fc908bf2c25b01fd7e185665cc123.jpg",[],{"id":14589,"slug":14590,"title":14591,"dynasty":67,"author":8327,"museum":132,"description":14592,"tags":14593,"thumbUrl":14594,"material":122,"size":122,"collection":122,"collections":14595,"showCount":14528,"zanCount":11,"manualWeight":40,"mainColor":62},228894,"gua-shu-tu-ce-ye-zhu-zhan-ji-228894","瓜鼠图册页","画面取隅角小景，湖石朴拙沉静，石顶细草轻立，石畔缀着深紫垂萝，晕染出幽谧闲静的氛围。\n\n小鼠憨态可掬，正贪啃半颗荔枝，柔细绒毛纤毫毕现，将小兽馋态描摹得灵动鲜活。荔枝丹红似火，果壳糙粝的肌理写实逼真，汁水淋漓的碎屑散落，将鲜果的甜润感烘托尽致。\n\n设色古雅柔澹，绢本晕染细腻，将日常细碎生趣凝于尺幅，融俗世恬然意趣与文人雅致留白为一体，以精湛写生功底，定格下天真平和的治愈瞬间。",[7,24,51,100,26,27,10418,1095,56,890,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e45121baa27799f442e64863b39946d.jpg",[],{"id":14597,"slug":14598,"title":14599,"dynasty":114,"author":777,"museum":132,"description":14600,"tags":14601,"thumbUrl":14604,"material":122,"size":122,"collection":122,"collections":14605,"showCount":14528,"zanCount":1065,"manualWeight":40,"mainColor":62},227498,"mo-zhu-juan-2-su-shi-227498","墨竹卷2","墨竹，即用墨画的竹子，其起源说法不一，据文献记载，其创始人有唐代吴道子、王维、张立、五代蜀李夫人等。\n\n不过，由考古发掘来看，李贤墓壁画《侍女与竹》中的墨竹，亦有可能是写意墨竹的先驱。自文同、苏轼至元四家，墨竹之风兴起，逐渐发展为独立画科。\n\n墨竹常被用来表达拔俗之情趣、正直之气节、虚心之品质和纯洁之思想，文同便是如此，他不仅有丰厚之学养，还有非凡的绘画创作才能。本文所提到的《文画苏题卷》为手卷形式，据直幅改装而成，与人们常见的文同立轴式墨竹图形制不一。正因这次有意无意的改装，为《文画苏题卷》成为一巨幅长卷，提供了得天独厚的条件，这也成为此图区别于文同其它墨竹图的最明显特征。",[24,7,51,277,1205,1151,368,3195,56,14602,14603,611],"竹枝","竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf98af604cad8076b0774dbcc54a8ab.jpg",[],{"id":14607,"slug":14608,"title":14609,"dynasty":67,"author":14610,"museum":694,"description":14611,"tags":14612,"thumbUrl":14613,"material":217,"size":14614,"collection":88,"collections":14615,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":62},222582,"yun-he-gao-yi-tu-lan-ying-222582","云壑高逸图","蓝瑛","图绘高山大岭，如坠欲倾。山间飞云腾雾，峡谷流泉落瀑，绿松、红枫相映。\n林下一隅一高士结庐独坐，屋外板桥横担，有朋自远方来。\n全图构象饱满，层次分明，笔力苍劲雄厚。既有山林泉壑的自然景观，又有人事活动的细节描绘，加之浓郁的诗意气氛，视野开阔，古韵动人，把读者带到这一“风景这边独好”的境地，尽情地享受着眼观耳听的乐趣。图左上自题“云壑高逸画于西溪梅花香雪阁，甲午春三月七十山公蓝瑛”。钤“蓝瑛之印”、“田叔父”印。",[23,24,7,52,75,27,73,81,78,79,609,278,313,28,647,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44481e7379a6f6ddec878c0676e82e74.jpg","172.7x67厘米",[88,286],{"id":14617,"slug":14618,"title":14619,"dynasty":293,"author":14620,"museum":195,"description":14621,"tags":14622,"thumbUrl":14623,"material":10534,"size":14624,"collection":286,"collections":14625,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":62},221804,"ku-mu-zhu-shi-tu-zhou-li-shi-xing-221804","枯木竹石图轴","李士行","绘枯木一棵，两枝树杆粗壮，枝杈繁多，恣意生长；树旁巨石耸立，棱角圆润；右侧淡墨绘一棚细竹，竹叶修长秀美，生机勃勃。李士行，字遵道，元代画家，善山水，尤工竹石更妙。绢本。墨笔。 此图绘古木两棵，形态苍古。树石的用笔遒劲深厚，皴染稠密。细枝勾勒形似蟹爪。笔墨苍劲磊落。",[23,24,51,7,52,277,170,53,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68d8fcc18ebecda8e22a95bd2ea3474.jpg","170x52cm",[286,2605],{"id":14627,"slug":14628,"title":14629,"dynasty":114,"author":211,"museum":132,"description":14630,"tags":14631,"thumbUrl":14632,"material":611,"size":122,"collection":175,"collections":14633,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":62},221321,"shan-ying-tu-ye-zhao-ji-221321","山鹰图页","宋徽宗赵佶（1082年11月2日-1135年6月4日），号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,7,24,51,100,26,27,84,647,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e2bf0c5effb80786fbb766f9d19af2.jpg",[175,106,90],{"id":14635,"slug":14636,"title":14637,"dynasty":67,"author":1269,"museum":48,"description":14638,"tags":14639,"thumbUrl":14640,"material":3579,"size":14641,"collection":88,"collections":14642,"showCount":14528,"zanCount":1065,"manualWeight":40,"mainColor":41},220904,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220904","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[23,7,24,51,25,277,73,75,297,298,82,74,118,119,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d1f5b42426e5016ad5e6067a25246c5.jpg","28.3*206cm",[88,90],{"id":14644,"slug":14645,"title":14646,"dynasty":114,"author":181,"museum":20,"description":14647,"tags":14648,"thumbUrl":14650,"material":34,"size":14651,"collection":175,"collections":14652,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":41},220386,"wu-kuan-li-hua-qu-yu-yi-ming-220386","无款梨花鸲鹆","此作尽显宋代工笔花鸟精妙意趣，墨色绘就的鸲鹆立于花枝，羽色浓淡层叠晕染，将玄色羽毛的绒软光泽尽数勾勒，明黄爪眼提亮画面，灵动仿若正引吭啼鸣，瞬间的生机被定格尺幅之间。\n\n淡粉晕出梨花清透柔润，留白托出瓣边莹白，苍劲枝桠衬得禽鸟愈发神完气足。古旧绢面晕开岁月沉香，却未掩画师对自然的入微体察。笔意简淡清雅，以小见大，将春日枝间融融春意凝练其中，静中藏动，尽显宋人雅致审美的悠悠余韵。",[23,7,24,51,26,27,102,573,14649,1821],"鸲鹆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25127c3e83af8c31239f09f1f2372412.jpg","25.3x29.8厘米",[175],{"id":14654,"slug":14655,"title":14656,"dynasty":674,"author":5659,"museum":20,"description":14657,"tags":14658,"thumbUrl":14660,"material":611,"size":122,"collection":286,"collections":14661,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":41},219232,"hua-niu-dai-song-219232","画牛","戴嵩 ，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”。",[6389,24,51,7,277,27,26,1906,28,135,14659,201,74],"小狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1d4166525a0816f7b92f6d8b121fdb.jpg",[286],{"id":14663,"slug":14664,"title":14665,"dynasty":293,"author":7543,"museum":13675,"description":14666,"tags":14667,"thumbUrl":14668,"material":34,"size":122,"collection":106,"collections":14669,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":62},219096,"si-ma-tu-ren-ren-fa-219096","饲马图","画面捕捉饲马的日常瞬间：红衣者俯身照料，另一人持物趋近，两马或立或侧，姿态悠然。线条如铁线般挺劲，勾勒出马的健硕肌理与人物衣褶的流转，细节处见匠心——马鬃的蓬松、鞍具的纹理，皆刻画入微。设色淡雅却点睛：红衣的暖艳与背景的素净相映，衬出场景的质朴鲜活。整体风格写实，却于平凡中藏着对生命的关照，既见游牧文化对马的珍视，也显画家对生活烟火的细腻捕捉。画面静谧却涌动着日常生机，似能闻草料轻响，触岁月温软，是元代生活图景与艺术匠心的凝练呈现，于质朴中见生动，于细微处显深情。",[7,24,51,4477,26,27,28,215,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4df022bb041213a807994378e568d.jpg",[106],{"id":14671,"slug":14672,"title":14673,"dynasty":114,"author":4320,"museum":20,"description":14674,"tags":14675,"thumbUrl":14676,"material":34,"size":14677,"collection":88,"collections":14678,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":41},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[23,7,24,51,768,277,27,73,75,79,80,6830,82,1357,280,3255,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[88,175],{"id":14680,"slug":14681,"title":14682,"dynasty":114,"author":181,"museum":20,"description":14683,"tags":14684,"thumbUrl":14685,"material":34,"size":14686,"collection":106,"collections":14687,"showCount":14528,"zanCount":1065,"manualWeight":40,"mainColor":41},218737,"xiang-shi-chui-jin-tu-yi-ming-218737","香实垂金图","它被画上了两个金灿灿的橙子，树枝经过精心挑选，给人以秋天水果的香味。这幅画被倒置装裱，观看时可以用旋钮转动。",[23,7,24,51,100,26,27,102,1095,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d905cd84a86e927d93aef90fabb11.jpg","24.3x27.5",[106],{"id":14689,"slug":14690,"title":14691,"dynasty":46,"author":11236,"museum":166,"description":14692,"tags":14693,"thumbUrl":14694,"material":34,"size":14695,"collection":122,"collections":14696,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":41},218329,"shen-xian-gu-shi-tu-ce-8-leng-mei-218329","神仙故事图册-8","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,7,27,26,28,29,8020,473,100,684,2030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd518a2424dfa8a7b97c0876e9d26a005.jpg","38x42",[],{"id":14698,"slug":14699,"title":14700,"dynasty":114,"author":14701,"museum":1031,"description":14702,"tags":14703,"thumbUrl":14705,"material":34,"size":14706,"collection":36,"collections":14707,"showCount":14528,"zanCount":1065,"manualWeight":40,"mainColor":62},218299,"cai-yao-xian-ren-tu-meng-xian-218299","采药仙人图","孟显","长髯垂胸，衣袂带风，仙人负筐徐行。筐中松针攒簇、花草含露，似携来云崖清气；手中小锄轻握，步履悠然，眉宇间透着山野的清旷与超然。笔墨简括却神形兼备，衣纹线劲挺流畅，如吴带当风般舒展；设色古雅温润，棕褐底色衬出人物的朴拙逸气。整幅画将采药闲逸之态凝注于简练线条与含蓄晕染中，不刻意雕琢却细节见风骨，仿佛能闻药草淡香，望见云深幽居，尽显宋代人物画对神韵的极致追求——于平淡处藏真意，于简淡中见风骨。",[7,24,51,52,27,28,7582,14704,1046,9961],"草药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f7c5ae46894b861fb1474f9a2c232b.jpg","84.1x27.4",[36],{"id":14709,"slug":14710,"title":14711,"dynasty":114,"author":1216,"museum":132,"description":14712,"tags":14713,"thumbUrl":14714,"material":611,"size":122,"collection":175,"collections":14715,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":41},216911,"wan-fang-zhi-gong-tu-quan-juan-li-gong-lin-216911","万方职贡图全卷","万方职贡图全卷是宋朝时期由李公麟编写的一部职贡图书。这本书是在宋朝时期编写的，主要记录了宋朝时期各级官员的职贡规定以及他们的权力和职责。这本书是宋朝时期的一部重要史料，可以为我们了解宋朝时期的政治体制、官员制度以及官员的权力和职责提供重要的参考。",[23,7,24,51,25,510,28,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552a9310b7ab1d2dce73c8120542c88b.jpg",[175],{"id":14717,"slug":14718,"title":14719,"dynasty":293,"author":181,"museum":14720,"description":14721,"tags":14722,"thumbUrl":14723,"material":34,"size":14724,"collection":88,"collections":14725,"showCount":14528,"zanCount":40,"manualWeight":40,"mainColor":62},215145,"xi-shan-lou-ge-tu-yi-ming-215145","溪山楼阁图","重庆市博物馆","溪山楼阁图是一幅中国古代山水画，作者佚名，来自元朝（1271-1368年）。这幅画以其精美的画风和丰富的山水景观而闻名，是一件珍贵的艺术瑰宝。\n\n在这幅画中，作者以逼真的笔触和精细的构图技巧，勾勒出了一座位于山谷中的楼阁。楼阁的四周环绕着秀美的山水景观，山峦起伏，溪流潺潺，树木葱茏，给人以清新的视觉享受。\n\n在这幅画中，作者还融入了许多寓意深刻的元素，如山间的松柏、荷花池塘、仙人掌等都被视为吉祥物，象征着幸福、长寿、繁荣等。\n\n总的来说，溪山楼阁图是一幅精美的山水画作品，充分展现了中国古代画家对自然美景的热爱和描绘技巧。",[7,24,27,855,72,75,77,82,79,278,279,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fc87bbefb1be97892e5282dfcc31c1.jpg","27.5x26.4cm",[88],{"id":14727,"slug":14728,"title":14729,"dynasty":293,"author":644,"museum":20,"description":14730,"tags":14731,"thumbUrl":14732,"material":666,"size":14733,"collection":122,"collections":14734,"showCount":14735,"zanCount":1065,"manualWeight":40,"mainColor":41},291019,"yun-shi-gu-cha-tu-ni-zan-291019","筠石古槎图","枯树一株，寥寥数笔，下笔含蓄而有力。坡石皆用淡墨，而以焦墨写竹，极雅淡且极萧散。款下有云林子一印，旧说云林画中惟有荆蛮民一印，亦未可执一而论。",[7,24,51,52,277,647,53,56,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd707629052de9cb100aa4bd7ee76e9.jpg","44.5x32",[],52,{"id":14737,"slug":14738,"title":14739,"dynasty":674,"author":1354,"museum":132,"description":14740,"tags":14741,"thumbUrl":14742,"material":317,"size":907,"collection":122,"collections":14743,"showCount":14735,"zanCount":40,"manualWeight":40,"mainColor":62},290239,"wan-shan-ji-xue-tu-wang-wei-290239","万山积雪图","王维（701年—761年），字摩诘，号摩诘居士。河东蒲州（今山西永济）人，祖籍山西祁县。唐朝诗人、画家。\n王维出身河东王氏，于唐玄宗开元九年（721年）中进士第，为太乐丞。历官右拾遗、监察御史、河西节度使判官。天宝年间，拜吏部郎中、给事中。安禄山攻陷长安时，被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，世称“王右丞”。\n王维参禅悟理，精通诗书音画，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，因笃诚奉佛，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。著有《王右丞集》《画学秘诀》，存诗约400首。北宋苏轼评云：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”",[23,7,24,25,75,1357,4240,79,82,81,73,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784f5c4fab22ae5e6ea7f75c69dcfa56.jpg",[],{"id":14745,"slug":14746,"title":14747,"dynasty":114,"author":181,"museum":132,"description":14748,"tags":14749,"thumbUrl":14750,"material":317,"size":907,"collection":122,"collections":14751,"showCount":14735,"zanCount":40,"manualWeight":40,"mainColor":62},289879,"shui-yue-guan-yin-tu-yi-ming-289879","水月观音图","水月观音的形象，最早始于中唐时期，据张彦远《历代名画记》 ，为周昉(约730-800)所创，「菩萨端严，妙创水月之体」。周昉所画，「掩障菩萨圆光及竹，并是刘整成色。」后朱景玄《唐朝名画录》及《太平广记》均有类似记载，唯其画无传。现存最早的水月观音画，见于敦煌莫高窟《千手千眼观音菩萨坐像》，水月观音位于该画右下角，绘成于九四三年，现藏法国吉美博物馆。画中观音右手持柳枝，左手托净瓶，坐姿呈半跏思维相；周围泉水萦映，背倚修竹。观音头饰宝冠，身披璎珞，富丽华美，法相庄严。",[23,24,7,52,678,510,277,28,679,1570,278,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad1c02b1758bf9ed874046a042ba650.jpg",[],{"id":14753,"slug":14754,"title":14755,"dynasty":114,"author":181,"museum":132,"description":14756,"tags":14757,"thumbUrl":14759,"material":317,"size":907,"collection":122,"collections":14760,"showCount":14735,"zanCount":40,"manualWeight":40,"mainColor":993},288349,"fang-ma-yuan-dong-tian-lun-dao-tu-yi-ming-288349","仿马远洞天论道图","此作截取山林一角取景，虬松盘桓苍劲，松萝垂拂摇曳，尽显古木苍莽野趣。幽壑洞天深处，二人相对清谈，逸韵飘然恍如世外。右下角山道之上，负杖策蹇的行者缓行而来，似赴雅约，动静之间，让画面生出悠远意趣。\n\n笔墨承袭院体风骨，山石以硬劲水墨皴擦，棱线清刚利落，林木晕染秀润柔和，虚实相映间，铺展出林泉高隐的悠然意境，将文人林下谈玄、寄情丘山的雅逸襟怀尽数铺陈，空灵雅致，尽显宋画小品的隽永韵味。",[768,24,7,277,73,75,5543,278,28,14758,7857],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f673a57d4c4662982d4368a198aef3.jpg",[],{"id":14762,"slug":14763,"title":14764,"dynasty":18,"author":1405,"museum":132,"description":14765,"tags":14766,"thumbUrl":14768,"material":317,"size":907,"collection":122,"collections":14769,"showCount":14735,"zanCount":40,"manualWeight":40,"mainColor":62},287703,"hua-xia-shan-yu-yu-dong-yuan-287703","画夏山欲雨","该幅画重峦叠嶂，曲涧迤逦。作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[23,7,24,52,277,73,75,425,429,1737,14767],"阴雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3115f2a48367716514ea86733373e74e.jpg",[],{"id":14771,"slug":14772,"title":14773,"dynasty":67,"author":10162,"museum":132,"description":14774,"tags":14775,"thumbUrl":14778,"material":317,"size":907,"collection":122,"collections":14779,"showCount":14735,"zanCount":1065,"manualWeight":40,"mainColor":41},287414,"lin-li-gong-lin-wu-bai-luo-han-tu-juan-wu-bin-287414","临李公麟五百罗汉图卷","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[23,7,24,51,25,27,1045,14776,11268,2041,140,14777,278,314,154],"宗教画","猕猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649847a4103d91e1042f3e8d8a5d52a4.jpg",[],{"id":14781,"slug":14782,"title":14783,"dynasty":67,"author":1269,"museum":132,"description":6008,"tags":14784,"thumbUrl":14785,"material":317,"size":907,"collection":122,"collections":14786,"showCount":14735,"zanCount":40,"manualWeight":40,"mainColor":41},283750,"xi-shan-yue-guan-tu-zhou-dong-qi-chang-283750","溪山樾馆图轴",[7,24,51,52,277,75,82,11053,278,73,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778662d1b02ed3453eaa167d51351294.jpg",[],{"id":14788,"slug":14789,"title":14790,"dynasty":67,"author":1269,"museum":151,"description":14791,"tags":14792,"thumbUrl":14793,"material":834,"size":14794,"collection":123,"collections":14795,"showCount":14735,"zanCount":40,"manualWeight":40,"mainColor":41},237781,"mo-juan-chuan-yi-tu-zhou-dong-qi-chang-237781","墨卷传衣图轴","此图取倪瓒二段式构图，简远平阔。近景画坡石岸渚，树木几株，枝叶葱郁。中部以留白手法表现平缓的湖水，缓缓过渡到远处的山岭以及山下的村舍民居，一派温润清幽的江南丽景。作品用笔秀逸率真，精妙地运用了水墨之浓淡、干湿变化，并兼以黄公望之枯笔短皴勾擦山石，笔致浑厚润泽而不失苍率之趣，堪称董氏晚年山水画佳构。\n在董其昌的自题中表明了画此图的用意。其自题大意为：35年前（明万历十七年，即1589年）参加殿试得中进士，所作五道策文后被好书之人所收藏。今有从事书画交易的中间人携来再观，虽觉彼时书法因时间紧迫而不佳，但作为自己成就功名的试卷，便以此图换回墨卷，交付孙子董庭保存，以昭示诗书传家之意。\n在这段自题中，出现了两个关键词语“南宫”、“策”。“南宫”一词原意指南方星宿，汉时以南宫一词比拟尚书省，后代又称礼部为南宫。明清时期，殿试由皇帝主持，除以王、公等为监试外，由礼部尚书为总管。“策”为文体之一种，古时科举试士用“策”对之，尤其是殿试之时，只考“制策”一场，故亦称策试。据《明史》卷二二八《董其昌传》所载：“万历十七年进士，改庶吉士”，则可以肯定，作者自题中所述“己丑南宫墨卷五策”，其意所指为作者当年殿试时所作五卷策文。至于十分重要的殿试策文如何能够为好事者所得，尚有待考定。",[24,51,52,277,73,7,75,297,135,559,663,664,201,609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dfe63490e986e77004199f4eeab82f.jpg","纵101.5厘米，横46.3厘米",[123],{"id":14797,"slug":14798,"title":14799,"dynasty":46,"author":1567,"museum":151,"description":14800,"tags":14801,"thumbUrl":14802,"material":3579,"size":122,"collection":122,"collections":14803,"showCount":14735,"zanCount":1065,"manualWeight":40,"mainColor":41},234504,"yuan-ji-mei-hua-ce-dan-ye-shi-tao-234504","原济梅花册单页","石涛（1642年－1708年）清代著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。明靖江王朱亨嘉之子。与弘仁、髡残、朱耷合称“清初四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,51,7,100,277,510,119,74,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3586e802482ec56e20f1a800f31d1e.jpg",[],{"id":14805,"slug":14806,"title":14807,"dynasty":114,"author":274,"museum":151,"description":14808,"tags":14809,"thumbUrl":14811,"material":1061,"size":14812,"collection":122,"collections":14813,"showCount":14735,"zanCount":40,"manualWeight":40,"mainColor":62},234069,"xue-tang-ke-hua-tu-ye-xia-gui-234069","雪堂客话图页","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[7,24,277,73,100,75,1023,14810,80,647,278,663],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e55a19b946913db261fab13dbdda68c.jpg","纵28.2厘米，横29.5厘米",[],{"id":14815,"slug":14816,"title":14817,"dynasty":114,"author":556,"museum":14818,"description":14819,"tags":14820,"thumbUrl":14821,"material":250,"size":14822,"collection":122,"collections":14823,"showCount":14735,"zanCount":1065,"manualWeight":40,"mainColor":62},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[23,7,24,51,25,27,75,73,26,297,298,80,135,81,84,78,79,662,28,56,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":14825,"slug":14826,"title":14827,"dynasty":293,"author":644,"museum":20,"description":14828,"tags":14829,"thumbUrl":14830,"material":250,"size":14831,"collection":122,"collections":14832,"showCount":14735,"zanCount":40,"manualWeight":40,"mainColor":41},231338,"an-chu-zhai-tu-yuan-dai-ji-jin-zhi-san-ni-zan-231338","安处斋图－元代集锦之三","《安处斋图》，近景一脉土坡，树三五株，草屋一座，中间上方空白，以示淼淼湖波，山脉淡淡，天宇明朗，前所未有的调调。右下倪瓒题诗：“湖上斋居处士家。淡烟疎柳望中赊。安时为善年年乐。处顺谋身事事佳。竹叶夜香缸面酒。菊苗春点磨头茶。幽栖不作红尘客。遮莫寒江卷浪花。十月望日。写安处斋图。并赋长句。倪瓒。”不隐不仕，漂泊江湖，这“安处斋”可是云林心之安顿处?\n此图右上乾隆爷题款。乾隆爷爱题款，没办法，这画曾经是人家家藏的，随手拿来就写了。而且，当时，没有人说他没倪瓒写得好。可是如今，这画安在，这画中人，都去了哪里?",[7,24,51,25,277,75,73,119,74,648,4037,647,5079,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1742d69b49bcf6d9e560d192602cca.jpg","纵33cm 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清新，了解之深厚，是后世无可比拟的。",[23,7,24,51,2613,26,27,102,198,15046,339],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F566273ba43fdaceaabf6298b88025aa3.jpg",[],{"id":15050,"slug":15051,"title":15052,"dynasty":46,"author":1567,"museum":132,"description":15053,"tags":15054,"thumbUrl":15055,"material":122,"size":122,"collection":122,"collections":15056,"showCount":14971,"zanCount":530,"manualWeight":40,"mainColor":41},224521,"shan-shui-tu-ce-8-kai-7-shi-tao-224521","山水图册8开-7","此作以高远之法取景，陡崖奇崛凌霄，枯笔皴擦写出山石嶙峋肌理，勾勒出峭拔苍劲的山势。崖畔林麓隐着古寺，山道间策杖行旅徐行，松下石台点缀幽境，留白处淡墨晕染云海，虚实相生，漾出空山幽寂之韵。\n\n笔墨干湿互用，松针勾勒劲挺老辣，题款小字清隽雅致，朱红印章点染提亮，既有黄山风骨，又自具萧散疏朗的文人意趣，将天地浩渺与林泉幽怀相融，藏着以造化为师的灵思，尽显山水间悠然淡远的禅意。",[23,7,24,51,100,277,27,73,75,28,82,278,279,77,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a6020bb641d0c028408138c6b6de59.jpg",[],{"id":15058,"slug":15059,"title":15060,"dynasty":114,"author":15061,"museum":151,"description":15062,"tags":15063,"thumbUrl":15064,"material":250,"size":15065,"collection":122,"collections":15066,"showCount":14971,"zanCount":40,"manualWeight":40,"mainColor":41},221232,"dao-fu-zan-juan-quan-juan-di-yi-duan-fan-zhong-yan-221232","道服赞卷全卷-第一段","范仲淹","此帖是范仲淹为同年友人“平海书记许兄”所制道服撰写的一篇赞文，称友人制道服乃“清其意而洁其身”之举。宋代文人士大夫喜与道士交往，“道家者流，衣裳楚楚。君子服之，逍遥是与。”穿着道服，遂成一时风气。此卷行笔清劲瘦硬，结字方正端谨，风骨峭拔。时人称此帖“文醇笔劲，既美且箴。”为范仲淹晚年书。。",[23,7,51,25,2044,118,74,1580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bcbaa000d4b623b9df17446a27bebd.jpg","34.8*47.9cm",[],{"id":15068,"slug":15069,"title":15070,"dynasty":293,"author":1577,"museum":151,"description":15071,"tags":15072,"thumbUrl":15073,"material":1261,"size":15074,"collection":286,"collections":15075,"showCount":14971,"zanCount":40,"manualWeight":40,"mainColor":62},220839,"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839","古木竹石图轴","枯木竹石图是历代文人善画的题材,约始于唐代，至北宋文同、苏轼有较大的发展，南宋、金元间继有作者，至赵孟頫加以强调，形成一时风尚，终元一代盛行不衰。\n赵孟頫画枯木竹石，在继承文、苏的基础上，将书法的用笔融于绘画之中，他主张“书画同源”，即以书入画，其驰名古今画坛的名诗句“石如飞白木如籀，写竹还于八法通。”对后世画坛影响巨大，此图即体现了这一理论，用书法的“飞白”写出石及枯树干，章法简洁，笔法苍健洒脱，透出力度。竹以流畅的笔调，以“个”字或“介”字，一笔一笔撇捺，既有力又含蓄，富笔墨情趣，体现了文人画家的风雅韵致。\n从此图署款和绘画风格推断，当是赵孟頫晚年之作。",[23,24,51,7,52,277,510,1059,53,56,890,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","纵108.2cm，横48.8cm",[286,2605],{"id":15077,"slug":15078,"title":15079,"dynasty":293,"author":4666,"museum":20,"description":15080,"tags":15081,"thumbUrl":15082,"material":27,"size":15083,"collection":106,"collections":15084,"showCount":14971,"zanCount":40,"manualWeight":40,"mainColor":62},219896,"ying-zhu-hua-mei-zhou-wang-yuan-219896","鹰逐画眉轴","此帧画一只苍鹰自空中急速俯冲而下，即将迫及画眉，画眉则张口失声伧促逃窜，一幕弱肉强食的情况活跃在纸上。全幅用笔甚工，设色温雅，颇有宋画遗风。",[23,7,24,51,52,26,277,27,102,84,1821,711,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430c0da1dc68285a385d2a617339a9ad.jpg","117.2x53.3公分",[106],{"id":15086,"slug":15087,"title":15088,"dynasty":293,"author":11828,"museum":20,"description":15089,"tags":15090,"thumbUrl":15091,"material":666,"size":15092,"collection":106,"collections":15093,"showCount":14971,"zanCount":40,"manualWeight":40,"mainColor":62},219360,"wan-xiang-gao-jie-tu-ke-jiu-si-219360","晚香高节图","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。",[7,24,277,368,73,53,136,1882,890,7315,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ea458d2092b5764321504018ff651.jpg","126.5厘米，横75.2厘米",[106],{"id":15095,"slug":15096,"title":4665,"dynasty":114,"author":15097,"museum":395,"description":15098,"tags":15099,"thumbUrl":15100,"material":34,"size":15101,"collection":106,"collections":15102,"showCount":14971,"zanCount":1065,"manualWeight":40,"mainColor":62},218882,"tao-zhu-jin-ji-tu-ma-ben-218882","马贲","马氏家族绘画代代相传，必然有一些绘画技法是代代相传的。从这个角度，我们可以看到，《桃竹锦鸡图》右边的桃树枝干部分，与马远《西园雅集图》等作品中的树干画法，非常接近，都是直来直去的描绘方式；《桃竹锦鸡图》中非常显眼的燕子，与收藏在日本大和文华馆的马远《竹燕图》，存在非常明确的一致性。竹子的画法与传世马远多件绘画中的竹子，更是接近。通过这些细节的全面比较，可以判断：《桃竹锦鸡图》是马氏家族的作品。\n《桃竹锦鸡图》从时间坐标上看，是宣和时代；从绘画特征来看，是马氏家族；那么，按照逻辑，《桃竹锦鸡图》的作者就是马贲。马贲的生活时代跨北宋神宗、哲宗、徽宗，比崔白、吴元瑜等画家的活动时间略晚10-20年。他是南宋大画家马远的曾祖父，马氏五代绘画家族的第一代人物。他的晚期作品，受宣和时代影响，应该具有典型的宣和画家绘画意识。",[24,7,51,26,27,102,4670,53,1627,56,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1576814ae297b450aa13cc8ea4cb67.jpg","21x22cm",[106],{"id":15104,"slug":15105,"title":15106,"dynasty":114,"author":4320,"museum":20,"description":15107,"tags":15108,"thumbUrl":15109,"material":34,"size":15110,"collection":88,"collections":15111,"showCount":14971,"zanCount":1065,"manualWeight":40,"mainColor":62},218880,"fang-dai-tu-yan-wen-gui-218880","访戴图","在这幅画中，雪白的溪水无声无息，戴逵的另一处房屋隐藏在溪水边的树林中。",[23,7,24,277,27,73,497,75,82,647,559,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40533f611ebb8113ef7135e83a646b99.jpg","22.1x24.6",[88],{"id":15113,"slug":15114,"title":15115,"dynasty":114,"author":181,"museum":195,"description":15116,"tags":15117,"thumbUrl":15118,"material":34,"size":15119,"collection":36,"collections":15120,"showCount":14971,"zanCount":541,"manualWeight":40,"mainColor":62},218588,"ren-wu-gu-shi-tu-juan-ying-luan-tu-yi-ming-218588","人物故事图卷（迎銮图）","南宋佚名作家所作的《迎銮图》是一幅以描绘历史事件为选材的作品。这幅现藏于上海博物馆的作品，表现了南宋抗金战争中的一件重要历史事件——韦后南归。",[23,24,7,51,25,27,26,28,215,75,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8a11479e4109b860eb40b23814c4d0.jpg","横142.2厘米，纵26.7厘米",[36],{"id":15122,"slug":15123,"title":15124,"dynasty":114,"author":13311,"museum":3286,"description":15125,"tags":15126,"thumbUrl":15127,"material":34,"size":122,"collection":88,"collections":15128,"showCount":14971,"zanCount":1065,"manualWeight":40,"mainColor":479},218234,"qiu-dong-shan-shui-tu-yan-ci-ping-218234","秋冬山水图","墨痕流转间，铺展秋冬清旷之境。近坡古木虬枝，皴擦如老鳞，凝着霜天寒意；中渚水面空濛，一叶孤舟静卧，添了几分寂寥；远山淡抹如烟，隐入云霭，层叠间藏着深远。笔墨简劲却意韵悠长，线条勾勒刚柔相济，墨色晕染浓淡相宜。枯木枝桠横斜，似在风中低语；山石错落，尽显苍劲肌理。秋冬交替的荒寒之美与静谧之趣悄然融合，尽显宋画山水的雅致深邃，引人沉入那片烟水茫茫的悠远意境里。",[7,24,51,52,277,73,75,82,278,80,84,2785,1059,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfcc4b8c4cb176ad1d96d67695e9810.jpg",[88],{"id":15130,"slug":15131,"title":15132,"dynasty":114,"author":181,"museum":20,"description":15133,"tags":15134,"thumbUrl":15135,"material":34,"size":15136,"collection":175,"collections":15137,"showCount":15138,"zanCount":541,"manualWeight":40,"mainColor":62},290994,"hua-chun-fu-gui-tu-yi-ming-290994","华春富贵图","从图中技巧、内容看，当是一位宫廷画家高手。它是一件珍贵的插花古图。我们可从中窥见宋代宫廷插花之美。\n图以工笔彩绘，笔笔不苟。绘金漆宝相花纹金瓶，放置于嵌宝石漆架上，插以大朵重瓣朱红、粉、白牡丹，当是宋时照殿红等牡丹花名种；并以桃花（花瓣略尖，是桃花无疑）、木香枝条相衬。（左下角枝条似是取荷包牡丹相衬，但画得很模糊，未能确认），造型略为对称之形，而活泼灵动。牡丹六朵，分左右、前后、上中下，居于花型之中，相伴桃花、木香，暗示着五方空间，真是天地五方六合皆春色。含有贺岁朝新春之意，亦为富贵气象。今日牡丹插花之华贵丰韵，当亦应如是。",[24,7,51,52,27,26,102,103,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a6ec52fe441c112236cda157c0733d.jpg","144.5x49.8",[175],50,{"id":15140,"slug":15141,"title":15142,"dynasty":293,"author":1556,"museum":132,"description":15143,"tags":15144,"thumbUrl":15145,"material":317,"size":907,"collection":122,"collections":15146,"showCount":15138,"zanCount":541,"manualWeight":40,"mainColor":41},290959,"lan-ting-guan-e-tu-qian-xuan-290959","兰亭观鹅图","宋钱选兰亭观鹅图卷：传说东晋大书法家王羲之生性喜鹅，曾见一道士有白鹅甚可爱，因书《黄庭经》以换之。此图即钱选据传说附会而成。近景树木蓊郁，竹林茂密，亭台掩映，白鹅戏水，王羲之凭栏观望。远山苍翠，村庄隐现于雾霭山林间。境界秀雅明润，风格古拙高逸。青绿设色，画法直追唐人。钱选（公元1239─1301年），浙江吴兴人。字舜举，宋景定间乡贡进士。为“吴兴八俊”之一。入元不仕，流连诗画以终其身。山水、人物、花鸟无不擅长。",[7,24,51,25,72,27,75,81,77,28,53,82,4313,79,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e36723340126cf3064bb0ea8d3c7df5.jpg",[],{"id":15148,"slug":15149,"title":3252,"dynasty":114,"author":788,"museum":20,"description":15150,"tags":15151,"thumbUrl":15152,"material":611,"size":907,"collection":122,"collections":15153,"showCount":15138,"zanCount":541,"manualWeight":40,"mainColor":62},289346,"han-lin-ping-ye-tu-li-cheng-289346","从这幅《寒林平野图》上看，画面描绘的是萧瑟的隆冬平野景色。近景两株长松亭立，古柏形如苍虬，枝干交柯，老根盘结；中景河道曲折，似冰冻凝固，寒冬萧萧；远景烟霭空蒙而至天际，整幅画面给人一种空灵而又凄凉之感。清人孙承泽在《庚子消夏记》书中，他对《寒林平野图》的极高评价：“古木夭矫，雪色凛冽，寒鸦群集衰草中。暑月展之，如披北风图，令人可以挟扩，非营丘不能也。”这正是对李成最擅长的山水画笔法的诠释。尤其是图中所绘的树枝，无论粗细，均呈弧线曲形，将线条的力度发挥到最大程度，构成了中国古典山水画中最优美的线条。",[24,7,51,52,277,73,75,3255,2150,647,1059,1680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d5e33a8b9dab4c46c24b3bd9614639.jpg",[],{"id":15155,"slug":15156,"title":15157,"dynasty":293,"author":15158,"museum":132,"description":15159,"tags":15160,"thumbUrl":15161,"material":317,"size":907,"collection":122,"collection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等绘制的一幅画。\n款识：“乾隆十八年四月臣张宗苍奉勅恭绘。\n”下钤二朱文方印“张”、“宗苍”。\n“ 十八年”即175年，乾隆皇帝时年4岁。\n画幅右上乾隆皇帝御题五言诗：“松石流泉间，阴森夏亦寒。\n构思坐盘陀，飘然衫带宽。\n能者尽其技，劳者趁此闲。\n谓宜入图画，匪慕竹皮冠。\n癸酉夏日题。\n”下钤“即事多所欣”白文方印、“乾隆御笔”朱文方印。\n该诗文与张宗苍于同一年奉勅绘的《 》轴所题内容相同。\n图绘 一身文士装扮，提笔创作的形象。\n乾隆皇帝作为清王朝盛世期的统治者，闲暇之余广学博览，不仅孜孜不倦地学习汉文化，并且积极地参与文学创作，其诗文绝大部分是其从政、巡幸、筵宴、读书、玩赏等活动中的即兴之作，诗意多平淡，缺少文学艺术性，但具有一定的史料价值。\n据统计，其仅御制诗就达4万余首，尚不包括他即位之前的《 》7余首和其他零星作品，虽然其中有的诗是经翰林词臣们润色或代笔，并为之作注的，但是，其作品数量之大，仍然冠历朝作者之首。\n乾隆皇帝出于对写诗作文的喜爱，常谕令宫廷画家们绘制他在创作时的儒雅形象，此图便是其中之一。\n图中乾隆皇帝的画像写实逼真，其冥思苦想的表情传神生动。\n山石连皴带染，以无规则的墨点作苔点，既得厚重之力，又得灵动之美。\n挺拔的松树以劲键有力、娴熟的笔法表现，营造出满目苍翠的神仙之境，与乾隆皇帝洒脱高逸的文人形象相契合。\n张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。\n师承清代娄东画派的传人黄鼎，擅画山水。\n初以主簿理河工事。\n清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。\n十九年（1754年）授户部主事。\n其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。\n《石渠宝笈》著录画作116件。\n71岁时卒于故里。",[7,24,51,15209,277,27,73,609,28,75,281,313,280,473],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df7f2229ff6e2483b5711f97d5f894d.jpg",[],{"id":15213,"slug":15214,"title":15215,"dynasty":46,"author":1567,"museum":132,"description":15216,"tags":15217,"thumbUrl":15218,"material":122,"size":122,"collection":122,"collections":15219,"showCount":15138,"zanCount":1065,"manualWeight":40,"mainColor":41},235908,"yuan-ji-shan-shui-ren-wu-tu-ye-shi-tao-235908","原济山水人物图页","这幅水墨小景以平远之法铺陈，淡墨晕染的远山如笼轻烟，虚灵悠远，将江天的空寂缓缓铺展。近岸茅舍错落，枯木遒劲疏朗，不着片叶，清寒萧索之意扑面而来。两位策杖逸士缓行低语，简括的衣纹里藏着松弛意趣，为冷寂山水晕开鲜活的人间烟火气。\n\n笔墨枯淡松秀，皴擦简省，只以淡墨扫出山形轮廓，留白疏密相宜，将江村冬日的清旷淡远尽数勾勒，禅意与野趣相融，于尺幅小景中尽显萧散简远的文人意趣，淡而有味，简中见深，藏着林泉幽居的悠悠雅怀。",[7,24,277,73,100,75,28,647,559,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fcbddf539067fbbc2e5d9fd3d589cc.jpg",[],{"id":15221,"slug":15222,"title":15223,"dynasty":114,"author":721,"museum":132,"description":15224,"tags":15225,"thumbUrl":15226,"material":611,"size":15227,"collection":122,"collections":15228,"showCount":15138,"zanCount":40,"manualWeight":40,"mainColor":41},232873,"xie-sheng-hu-die-hua-hui-tu-juan-ma-lin-232873","写生蝴蝶花卉图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。",[7,24,51,25,27,26,1190,102,200,198,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb467a89c60170e8b6134389615759f31.jpg","27.85*334.93厘米",[],{"id":15230,"slug":15231,"title":15232,"dynasty":114,"author":394,"museum":260,"description":15233,"tags":15234,"thumbUrl":15235,"material":122,"size":122,"collection":122,"collections":15236,"showCount":15138,"zanCount":40,"manualWeight":40,"mainColor":62},227963,"pi-pa-ba-ge-tu-tuan-shan-ye-wu-bing-227963","枇杷八哥图团扇页","此作工致写实，将一隅小景绘得意趣悠长。通体乌黑的禽鸟静栖枝桠，羽翼以浓淡墨色晕染出蓬松柔润的质感，亮眼圆睁尽显憨稚警觉，喙部与爪尖勾勒细腻，姿态沉稳憨拙。旁侧枇杷枝叶舒展，叶片以淡绿敷色，细笔勾出筋脉区分阴阳向背，将叶片的舒展柔劲尽显无遗，簇生的浅黄花苞素雅清新。\n整幅画面设色温润古雅，笔意精细却不显匠气，把寻常林间片刻定格为隽永图景，尽显静观万物的雅致审美，淡逸平和中藏着鲜活生机。",[7,24,51,768,26,27,102,84,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff313a95abb99fbd631ae6e3ea15178f3.jpg",[],{"id":15238,"slug":15239,"title":15240,"dynasty":46,"author":15241,"museum":132,"description":15242,"tags":15243,"thumbUrl":15244,"material":122,"size":122,"collection":122,"collections":15245,"showCount":15138,"zanCount":40,"manualWeight":40,"mainColor":41},224118,"yu-bi-da-shi-xiang-bing-xin-jing-tu-qian-long-224118","御笔大士像并心经图","乾隆","此作书画合璧，首段白描观音大士，衣袂如流云舒展，趺坐莲台，线条清隽空灵，将大士的温婉端凝勾勒得形神兼备。\n\n其后小楷《心经》笔致沉劲端雅，结体匀整秀逸，墨色匀净乌亮，字字安稳静穆，经文旁辅以注音小字，尽显书写时的恭谨至诚。\n\n朱印鲜亮点缀素幅，红白相映愈见清雅古意。整幅作品将佛理禅意落于笔端，绘事简而有神，书丹工而不板，笔墨间浸着庄严肃穆的虔诚，是兼具笔墨造诣与禅心的精妙之作。",[23,24,7,51,52,526,510,26,2044,277,678,28,74,4782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e6e6a56dd394a9cbc245ad6b393c1b.jpg",[],{"id":15247,"slug":15248,"title":15249,"dynasty":67,"author":181,"museum":132,"description":15250,"tags":15251,"thumbUrl":15252,"material":122,"size":122,"collection":122,"collections":15253,"showCount":15138,"zanCount":40,"manualWeight":40,"mainColor":62},223635,"lian-hua-tu-ye-yi-ming-223635","莲花图页","此作以工笔绘就，柔劲细线勾勒莲瓣轮廓，淡赭轻晕瓣边，褪去初绽娇色，白荷温润舒展，尽显盛放的雍容雅致。硕大荷叶以石绿敷色，墨笔勾出叶脉肌理，在古绢底色晕染下，绿意沉凝厚重，与素净白荷相映，清雅中带着沉静古拙的岁月质感。\n\n画面构图饱满却不显繁冗，一花两叶错落排布，将夏荷舒展之态定格。无多余点缀，以极简布景烘托莲的出尘气韵，尽显传统工笔花鸟的内敛雅致，晕开古画沉淀的静美意趣。",[23,7,24,51,100,27,26,398,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4589146b155a8c850a3f7b447dbf6eb0.jpg",[],{"id":15255,"slug":15256,"title":15257,"dynasty":114,"author":181,"museum":151,"description":15258,"tags":15259,"thumbUrl":15261,"material":15262,"size":15263,"collection":175,"collections":15264,"showCount":15138,"zanCount":1065,"manualWeight":40,"mainColor":62},223561,"you-qi-tu-juan-yi-ming-223561","游骑图卷","该卷旧传是唐人手笔，实为北宋翰林图画院某画家摹写唐代人马画的精品，显露出宋代院体细谨求实的艺术面貌，得到宋徽宗赵佶的认可。此图属行乐类题材，画7人5马，似出游狩猎。人物全身唐装，衣纹作铁线描，细劲刚挺，神情刻划细致入微，生动传神。设色极简，清淡明洁。无论是从绘画技巧，还是风格来讲，都可视为中国古典写实绘画表现鞍马题材的典范之作，与西方文艺复兴早期如鸟切诺等人的写实绘画相比，在鞍马人物形象的准确性与形体透视的生动性等方面的把握上，似乎具有更感人的魅力。可知中国古典写实绘画应是比西方更早掌握了如何通过透视缩形来真实表现客观物体的方法。尽管西方意义的科学透视法并不在中国产生，但那种中国式的视觉投影方法，曾经有力支撑着中国封建时代盛期的绘画写实艺术，那么，甚至在图像时代的今天，我们仍然有必要对其现实意义进行研究。",[23,7,634,25,26,510,27,28,215,15260],"骑马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc607519eb1cdca03b10fb72d38b179c4.jpg","绢本淡设色","47x195",[175,36,90],{"id":15266,"slug":15267,"title":15268,"dynasty":46,"author":1486,"museum":151,"description":15269,"tags":15270,"thumbUrl":15271,"material":611,"size":15272,"collection":122,"collections":15273,"showCount":15138,"zanCount":1065,"manualWeight":40,"mainColor":41},222809,"hua-zhu-qi-qin-tu-wang-wu-222809","花竹栖禽图","《花竹栖禽图》底部一奇古巨石，一朵盛开的牡丹从石左侧斜出，枝头一雀鸟面向花朵，鸟目圆睁，似在欣赏花的美丽，又像陶醉在花香中。\n花鸟的颜色艳而不俗，用笔工而不板，明快醒目。\n巨石以浓墨绘出，见有皴染。\n石隙空洞处可见枝叶，错落雅致。\n墨竹疏落有致，用墨浅淡，与底部的花、鸟、石形成色彩上的鲜明对比。\n整幅画面虚实相间，构图奇巧，设色浓淡适宜，笔墨兼工带写，形成了赏心悦目的视觉效果。\n可见，作者跋中所言“学古而步泥其迹”不虚。\n此画右侧下端，置一太湖巨石，两头小中间大，造型奇特，玲珑别透，中间以矾头突出，湖石几乎占有画面的二分之一。\n石旁有翠竹数株，拔地而起，竹竿挺拔，有二大株翠竹冲出画面，一株矮竹附在湖石旁。\n湖石左脚下有数株茶花，茶花有的绽开，有的含苞，在绿叶村托下显得艳丽清雅。\n画幅左侧有作者自题识，丁已年为康熙十六年（1677），王武时年45岁，为王武中年佳作。\n此画的景物基本集中于画幅右侧，但由于画家精心安置，使整幅画位置安稳、平而不板，赋色明丽、艳而不俗，这是此画的最大的特色，也是此画最成功之处。\n在表现技法上，画家以水墨勾勒，皴染作山石，在点苔之后复以石青点之，湖石显得坚实、凝重。\n竹叶和茶花用绿色和红色直涂法，花蕊以黄色点染，花瓣虽都是红色，但亦有深浅区别变化，花叶上又用中锋细笔加画叶脉。\n一只小鸟以积墨法画之，墨色变化丰富，表现出羽毛的质感。\n此画采用没骨与匀勒法相结合的手法，显得自然协调，敷色雅丽明快，令观赏者心旷神怡，颇有忘忧之感。",[23,24,7,51,52,27,26,53,263,384,56,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8017c120ae98e5925dad71a77ec4ec.jpg","90.7×40.5cm",[],{"id":15275,"slug":15276,"title":15277,"dynasty":114,"author":1090,"museum":151,"description":15278,"tags":15279,"thumbUrl":15280,"material":611,"size":15281,"collection":175,"collections":15282,"showCount":15138,"zanCount":40,"manualWeight":40,"mainColor":41},221469,"ling-feng-bo-ge-tu-lu-zong-gui-221469","玲峰鹁鸽图","绘鹁鸽两羽，全身白色，只留尾巴黑色，一只立于湖石上，微张的尖嘴似与地面上的另一只打招呼；画面竹枝繁茂，花团锦簇，春光融融。鲁宗贵，南宋画家，工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。",[23,7,24,51,26,27,102,384,609,201,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac548a4d2e561d376899c9dbecd6e64.jpg","28 × 52 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画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。 所画人和马作各种不同的姿态，转侧俯仰，富有变化",[23,24,51,7,52,27,26,28,215,472,12989,15499],"原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f29856d91d375b99fed5b050f99805e.jpg","182.9x104.1",[36,90],{"id":15504,"slug":15505,"title":15506,"dynasty":114,"author":2902,"museum":132,"description":15507,"tags":15508,"thumbUrl":15509,"material":27,"size":15510,"collection":175,"collections":15511,"showCount":15351,"zanCount":40,"manualWeight":40,"mainColor":62},221486,"hao-shan-wu-shu-tu-juan-mi-you-ren-221486","好山无数图卷","全景以留白的云霭，穿梭于峰峦叠翠间，重山翠岭连绵不绝，自左而右、渐行空远。技法上以“米点”墨色铺陈山峦及树石，另以较为浅淡的墨色晕染沙渚岸边；工笔浓墨装点枝干、独桥及扁舟。画家铺陈山景的风格及技法，与其父米芾颇有相通之处，故《画继》中称其所作山水“点滴烟云，草草而成，而不失天真，其风气肖乃翁(芾)也”，故画史上有“大米”及“小米”之称。此幅充满诗意、适时应景的画题，可溯自其父米芾，甚而宋迪“萧湘八景”图。它旨在将游历山景的心境投射于画境中，透过米点皴染表现出来，诗画合一。",[23,7,24,51,25,277,73,118,74,75,297,473,298,80,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[175,88,286],{"id":15513,"slug":15514,"title":15515,"dynasty":114,"author":11186,"museum":132,"description":15516,"tags":15517,"thumbUrl":15518,"material":611,"size":15519,"collection":175,"collections":15520,"showCount":15351,"zanCount":1065,"manualWeight":40,"mainColor":62},221417,"qiu-lin-tu-ye-xu-dao-ning-221417","秋林图页","此卷作平遠的構圖，山巒重疊向兩面展開，叢林間隱藏寺院和佛塔。近景作河流、坡岸，幾棵大樹，挺拔疏朗，有小道、橋樑通往遠處；二局士遠眺，有騎士與隨從似正遊覽歸來。表現了華北黃土地清曠的晚秋景色。其構圖與美圍納爾遜·艾京斯美術館藏《秋江漁艇圖》屬同一類型。樹法作“蟹爪法”，鹿角、坡石皴法亦屬李成一派。本圖無款，傳為許道寧作。\n圖中描寫的是華北平原秋天時的蕭寒荒涼景色，與平原中活動的人物。最令人深感趣味的是從圖卷末開始，山坡上植滿大片樹叢，樹葉開始凋零，景色由此向右上方延伸，到中景則出現小片樹叢，並隱約可見在林間的寺院和閣樓。這就點出了此畫的主題，在樹叢下有幾名清雅高士正朝着丘陵的方向欣賞大自然美景。秋高氣爽，一陣陣秋風從秋林中沙沙吹響，好一個平原秋色的蕭寒荒涼，這使高士們如此喜悦，領略大自然恩賜的詩一般的愜意。\n此畫構圖的軸線是順着道路漫延到卷末。作者重點佈置秋色的蕭條，四周同將枯竭的泉水，及背後莊嚴的山脈，使人感受到強烈的蕭條之氣。可是在樹叢下有幾名清雅高士採風賞景、談笑風生，頓使畫面意趣盎然、生氣充盈。圖中人物雖小，但能神形逼肖。此圖乍看似乎是李成寒林平原山水的模式。從此圖中不僅能看到許道寧擅長的林木，平野山水，及斜面構圖模仿寒林龍形山脈等，更可以看出白唐、五代以來長安繪畫保守的傳統風格",[23,24,7,51,100,277,73,75,1059,2785,1647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265c7ee4e15765a1f3229516a46ee0b3.jpg","36× 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横：104.2公分",[106],{"id":15550,"slug":15551,"title":15552,"dynasty":293,"author":15553,"museum":20,"description":15554,"tags":15555,"thumbUrl":15556,"material":121,"size":15557,"collection":286,"collections":15558,"showCount":15351,"zanCount":1065,"manualWeight":40,"mainColor":62},220242,"gu-mu-fei-quan-tu-zhang-shun-zi-220242","古木飞泉图","张舜咨","该幅作于1347年（至正七年），描绘几株老树挺立在土坡石傍，远山、飞泉之外别无他物。空山溪谷寂静幽深，只有潺潺的泉声不断传来。画树枝，好像写书法似地一笔一笔写成。皴法的用笔扭转交错，有活泼灵动的感觉。",[23,24,7,51,52,27,75,1059,2785,79,56,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2110f7088b0994cacaafa316c890aa.jpg","146.3x89.6公分",[286],{"id":15560,"slug":15561,"title":15562,"dynasty":114,"author":181,"museum":395,"description":15563,"tags":15564,"thumbUrl":15565,"material":121,"size":15566,"collection":106,"collections":15567,"showCount":15351,"zanCount":11,"manualWeight":40,"mainColor":62},219000,"tang-su-zhu-que-tu-yi-ming-219000","唐宿竹雀图","竹影扶疏，墨色浓淡间显枝干劲挺，竹叶层叠如翠云轻展，疏密有致藏自然生机。雀儿栖于竹枝，或敛翅假寐，或侧首凝睇，羽纤毫毕现——绒羽若隐若现，翅尖纹理分明，爪尖扣枝的力道隐于柔姿，神态灵动如临其境。石矶卧于竹下，皴法简淡却见朴拙，与竹的清雅相映成趣。整幅画面动静相宜，清雅中含野逸之趣，写实笔触里蕴文人雅致，尽展宋画对自然物态的精妙捕捉与诗意表达。",[23,7,24,51,52,26,277,27,102,53,2411,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7da3d9921c4342a3173c6bce0281591.jpg","纵159.0横93.4厘米",[106],{"id":15569,"slug":15570,"title":15571,"dynasty":674,"author":5659,"museum":20,"description":15572,"tags":15573,"thumbUrl":15574,"material":267,"size":15575,"collection":106,"collections":15576,"showCount":15351,"zanCount":40,"manualWeight":40,"mainColor":41},218796,"hua-niu-tu-dai-song-218796","画牛图","壮硕的水牛缓步踏于郊野，肌理褶皱与蓬松毛发以浓淡墨色晕染，憨态中藏着沉实力量。牛背上的牧童半倚牛身，袖角轻扬似伴风哼歌，眉眼间漫着未泯的天真。旁侧老树枝干虬曲，墨叶层叠如盖，树下蜷伏的小狗探头张望，添了几分灵动野趣。\n\n整幅画以简练线条勾出轮廓，墨色深浅衬出物象质感，田园的悠然生机凝于尺幅。每处细节皆藏着对生活的细腻观察：牛蹄的厚重、牧童的松弛、树影的斑驳，仿佛能听见风过叶隙的轻响，与牧童唇边隐约的调子，瞬间跌入那片静谧的乡野时光里。",[23,7,24,51,277,27,26,1906,28,135,74,3220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c7dfa521d6e806e13ca8e77c45568ad.jpg","56.1x32.2cm",[106],{"id":15578,"slug":15579,"title":12150,"dynasty":114,"author":878,"museum":20,"description":8655,"tags":15580,"thumbUrl":15581,"material":34,"size":8658,"collection":122,"collections":15582,"showCount":15351,"zanCount":40,"manualWeight":40,"mainColor":41},218572,"hua-niao-shan-shui-xiao-pin-ce-song-ge-yuan-tiao-ma-yuan-218572",[23,7,24,51,100,27,73,75,77,609,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a243811f9d11bd8f802140177b34ff7.jpg",[],{"id":15584,"slug":15585,"title":534,"dynasty":293,"author":1577,"museum":20,"description":15586,"tags":15587,"thumbUrl":15588,"material":121,"size":15589,"collection":122,"collections":15590,"showCount":15351,"zanCount":40,"manualWeight":40,"mainColor":41},214362,"zhu-shi-tu-zhao-meng-fu-214362","这幅画用枯木、竹子和石头画成，用笔既写实又有书法的趣味，最初的记录是元代一位无名艺术家的作品。竹子的画风与他夫人管道昇的画风比较相似，而石头和干木头是赵孟頫自己的，所以不清楚这幅画是否是他们夫妇的合作。",[23,7,24,51,277,100,53,136,56,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a3adbd17609f8effa8e71d46a7253.jpg","26.6x52.2",[],{"id":15592,"slug":15593,"title":15594,"dynasty":293,"author":1577,"museum":132,"description":8222,"tags":15595,"thumbUrl":15596,"material":317,"size":907,"collection":122,"collections":15597,"showCount":15598,"zanCount":40,"manualWeight":40,"mainColor":62},290892,"song-yin-gao-shi-tu-zhou-zhao-meng-fu-290892","松阴高士图轴",[24,7,52,27,72,28,75,609,278,6119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6154f78d6a189c4f588ad38f90341d9f.jpg",[],48,{"id":15600,"slug":15601,"title":15602,"dynasty":293,"author":658,"museum":20,"description":15603,"tags":15604,"thumbUrl":15605,"material":283,"size":15606,"collection":122,"collections":15607,"showCount":15598,"zanCount":1065,"manualWeight":40,"mainColor":41},290819,"zhu-shi-zhou-wu-zhen-290819","竹石轴","吴镇存世之作几为墨画，晚年墨竹作品尤为多，由於作品上留有大量的题语，显露出个人绘画思想乃至一生学养，其中又以《竹谱册》为著。元代由於大环境的改变，文人好写“三友图”，以松竹梅表达象徵意义，或寄托情怀，吴镇亦有言“墨戏之作，盖士大夫词翰之馀，适一时之兴趣也”。然审视此轴，实为笔墨黯熟之潇洒佳作，非仅一时随兴之墨戏。竹干、岐枝皆下笔圆健，竹枝劲利，稍带回锋，尽管分枝多、发叶少，但叶随枝生，生态盎然；淡墨石以卧笔混点。幅中之墨色皆不浓重，显现一种平淡冲和的色感。竹石间，吴镇以流畅有力，墨色较浓重的行笔题下款识，画面益显沈稳。和《竹谱册》相较，此图乃其精心之作。",[24,7,51,52,277,53,56,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1811347de2004269449e6bfa0b94c55f.jpg","90.6x42.5公分",[],{"id":15609,"slug":15610,"title":15611,"dynasty":18,"author":1323,"museum":132,"description":15612,"tags":15613,"thumbUrl":15615,"material":317,"size":907,"collection":122,"collections":15616,"showCount":15598,"zanCount":40,"manualWeight":40,"mainColor":62},290250,"gao-shan-zhi-yu-tu-ju-ran-290250","高山知遇图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。\n名下画作有《秋山问道图》《山居图》《萧翼赚兰亭图》《万壑松风图》《层岩丛树图》《秋山图》等传世。",[7,24,497,52,277,73,15614,78,79,81,313,82,278],"高山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fd1673d01e02f62973c92de006d169.jpg",[],{"id":15618,"slug":15619,"title":309,"dynasty":114,"author":721,"museum":20,"description":10724,"tags":15620,"thumbUrl":15621,"material":121,"size":15622,"collection":122,"collections":15623,"showCount":15598,"zanCount":40,"manualWeight":40,"mainColor":41},289563,"xi-shan-xing-lv-tu-ma-lin-289563",[23,7,24,51,52,277,75,73,77,315,278,215,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb3bd480aa2c88a3b827d39dcc5bc3.jpg","147.9x60.5",[],{"id":15625,"slug":15626,"title":15627,"dynasty":114,"author":777,"museum":132,"description":15628,"tags":15629,"thumbUrl":15631,"material":317,"size":907,"collection":122,"collections":15632,"showCount":15598,"zanCount":40,"manualWeight":40,"mainColor":479},288988,"gu-bai-tu-su-shi-288988","古柏图","苏轼（1037年1月8日—1101年8月24日），字子瞻，一字和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙、坡仙，汉族，眉州眉山（今四川省眉山市）人，祖籍河北栾城，北宋文学家、书法家、美食家、画家，历史治水名人。\n嘉祐二年（1057年），苏轼进士及第。宋神宗时在凤翔、杭州、密州、徐州、湖州等地任职。元丰三年（1080年），因“乌台诗案”被贬为黄州团练副使。宋哲宗即位后任翰林学士、侍读学士、礼部尚书等职，并出知杭州、颍州、扬州、定州等地，晚年因新党执政被贬惠州、儋州。宋徽宗时获大赦北还，途中于常州病逝。宋高宗时追赠太师；宋孝宗时追谥“文忠”。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛”；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。李志敏评价：“苏轼是全才式的艺术巨匠。”\n作品有《东坡七集》《东坡易传》《东坡乐府》《潇湘竹石图》《枯木怪石图》等。",[24,7,277,25,51,15630,1059,9622,56,74,73],"古柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a070c6607dcc35014c7ddfa1ae14d46.jpg",[],{"id":15634,"slug":15635,"title":11079,"dynasty":18,"author":15636,"museum":132,"description":15637,"tags":15638,"thumbUrl":15639,"material":317,"size":907,"collection":122,"collections":15640,"showCount":15598,"zanCount":40,"manualWeight":40,"mainColor":62},288836,"hu-shan-chun-xiao-tu-liu-dao-shi-288836","刘道士","工佛道鬼神，落笔遒怪，尤善山水，师董源，与巨然同时，画亦同。但刘道士在左，巨然则以僧在左。以此为别",[23,7,24,51,52,277,75,73,425,77,79,279,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45d33542a55bbea40943f6b7f253a0dd.jpg",[],{"id":15642,"slug":15643,"title":15644,"dynasty":67,"author":68,"museum":132,"description":11025,"tags":15645,"thumbUrl":15646,"material":317,"size":907,"collection":122,"collections":15647,"showCount":15598,"zanCount":40,"manualWeight":40,"mainColor":41},288005,"bai-miao-luo-han-tu-juan-xia-bu-chou-ying-288005","白描罗汉图卷（下部）",[23,7,24,51,25,510,277,28,75,1059,278,678,11268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170319a288dca7837131a3e85962f9be.jpg",[],{"id":15649,"slug":15650,"title":15651,"dynasty":67,"author":68,"museum":132,"description":15652,"tags":15653,"thumbUrl":15655,"material":317,"size":907,"collection":122,"collections":15656,"showCount":15598,"zanCount":40,"manualWeight":40,"mainColor":62},287608,"yu-dong-xian-yuan-tu-chou-ying-287608","玉洞仙源图","该画作描绘长松参天，洞壑奔雷，云塞幽谷，松涛掩映楼阁，一人临流静坐停琴，童子四人，趋走前后。该画作勾勒精工，秀雅纤细，布局严谨，极有气势，设色沉静。",[23,7,24,51,52,26,72,27,75,77,78,79,28,609,279,15654],"仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd125a8b06ed17f67b28f7bb73d33cafd.jpg",[],{"id":15658,"slug":15659,"title":15660,"dynasty":67,"author":181,"museum":132,"description":15661,"tags":15662,"thumbUrl":15663,"material":317,"size":907,"collection":122,"collections":15664,"showCount":15598,"zanCount":40,"manualWeight":40,"mainColor":62},287563,"ming-ren-pin-cha-tu-yi-ming-287563","明人品茶图","苍松虬劲，古藤垂绕，将山林幽寂晕染开来。林下雅士围坐，一人展卷吟哦，一人捧盏凝思，眉宇间尽是松弛自在。旁侧童子煨火煮茶，溪畔稚童俯身汲水，动静相映，把春日雅集的闲逸铺陈开来。\n\n笔墨朴拙古雅，山石皴染厚重，人物意态舒展，将文人寄情林泉、品茶论书的林下之趣勾勒尽致。松涛泉声仿佛随画卷漫出，隔绝喧嚣，只余清茗香气与书卷文思，尽显雅致风流，把静心忘俗的意趣藏在寸寸绢素之中。",[24,52,27,28,609,278,79,3982,1163,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f61d450f734bcdaa1462c5372d5cf5.jpg",[],{"id":15666,"slug":15667,"title":15668,"dynasty":18,"author":1405,"museum":132,"description":15669,"tags":15670,"thumbUrl":15672,"material":317,"size":907,"collection":122,"collections":15673,"showCount":15598,"zanCount":40,"manualWeight":40,"mainColor":62},287427,"xia-jing-shan-kou-dai-du-tu-juan-hua-xin-dong-yuan-287427","夏景山口待渡图卷画心","用笔气势停匀，疏密浓淡，层层生发，甚为自然，笔笔皆活。其皴笔结体紧密，与冈峦的体势相生，融而为一。且有水晕墨章之妙，水坡之上，林木繁茂，而坡上浓淡，时以淡墨渲染，林间如透出阳光，极为生动。皴笔入骨，透于绢素，用笔一势，具方向感，运笔与气势，节奏相依存，为圆熟之境了。值得注意的还在于在其远山峰顶用笔有虚实、淡浓、隐现，极生动地表现了烟云出没，阳光明灭的空气感和空间感，真切地表现了夏山丽日下的神韵。与沈括所形容的董源《落照图》“远峰之顶，宛有反照之色，此妙处也”或米芾形容董源“峰顶不工”、“率多真意”，可以对看，一样佳妙。",[23,7,24,51,25,497,277,73,15671,425,429,80,433,4333,2093,6832],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32afd29366d0913db08119a85bdb0e2a.jpg",[],{"id":15675,"slug":15676,"title":15677,"dynasty":293,"author":4125,"museum":132,"description":12723,"tags":15678,"thumbUrl":15680,"material":317,"size":907,"collection":122,"collections":15681,"showCount":15598,"zanCount":40,"manualWeight":40,"mainColor":62},287305,"long-chi-jing-du-tu-wang-zhen-peng-287305","龙池竞渡图",[23,7,24,25,855,277,77,78,79,12869,28,74,118,1272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画有夙慧，初写人物，中年后专攻花鸟、草虫、水族，尤善画龟。笔精墨妙，生动尽致。",[7,24,51,52,27,26,102,15689,6757,14354,198,74],"金鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ff6396d75f7a14cf78bf4d16f51833.jpg",[],{"id":15693,"slug":15694,"title":15695,"dynasty":114,"author":4320,"museum":132,"description":4321,"tags":15696,"thumbUrl":15697,"material":317,"size":907,"collection":122,"collections":15698,"showCount":15598,"zanCount":40,"manualWeight":40,"mainColor":62},283692,"jiang-shan-lou-guan-tu-yan-wen-gui-283692","江山楼观图",[23,7,24,25,277,75,73,425,426,279,82,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e41c21ecbc8836ec3be077cef4fdb8e.jpg",[],{"id":15700,"slug":15701,"title":10146,"dynasty":293,"author":8846,"museum":132,"description":15702,"tags":15703,"thumbUrl":15704,"material":317,"size":907,"collection":122,"collections":15705,"showCount":15598,"zanCount":40,"manualWeight":40,"mainColor":62},283627,"huang-he-lou-tu-xia-yong-283627","夏永，精界画，特别擅长宫殿楼阁界画，师法王振鹏。所作《滕王阁图》《黄鹤楼图》《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。《花间笑语》云：“细若蚊睫，侔于鬼工。”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。元至正七年（1347）作岳阳楼图。以发绣滕王阁、黄鹤楼图，细若蚊睫，侔於鬼工。按明远作品存世有滕王阁图、岳阳楼图两斗方见唐五代宋元名迹，界画精细，上细书滕王阁赋、岳阳楼记，正若花间笑语所云：“细若蚊陡，侔於鬼工。”或亦以此而误为发绣，待考。摘自《花间笑语、君台观左右帐记》。",[24,7,855,77,75,84,74,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14867724a60ccf59905f53199d147be.jpg",[],{"id":15707,"slug":15708,"title":15709,"dynasty":114,"author":181,"museum":151,"description":15710,"tags":15711,"thumbUrl":15712,"material":611,"size":15713,"collection":122,"collections":15714,"showCount":15598,"zanCount":1065,"manualWeight":40,"mainColor":62},233000,"mei-zhu-shuang-que-tu-ye-yi-ming-233000","梅竹双鹊图页","该图绿竹丛中逶迤伸出白梅两枝，清丽冷艳。两只鸲鹆栖于枝头，翘首顾盼。鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。梅花用白粉和淡黄色钩填，层次丰富。竹叶用双钩法勾勒轮廓，随后染以花青、汁绿、赭石等色。枝上两只小鸟栖息，其一抬头向上远眺，一只低头俯视。图中竹页用双钩填色法。鸟的羽毛，不用细笔勾描，而用浓墨或淡彩染，画法近于没骨而又有新的创造。构图简洁生动，花枝穿插错落有致。用笔工细写实，设色清丽，画风近于南宋院体一派。",[7,24,51,100,26,27,102,383,53,5803,84,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868879d3de861edacba360655297e601.jpg","26厘米，横：26．5厘米",[],{"id":15716,"slug":15717,"title":15718,"dynasty":114,"author":721,"museum":132,"description":10724,"tags":15719,"thumbUrl":15721,"material":122,"size":122,"collection":122,"collections":15722,"showCount":15598,"zanCount":1065,"manualWeight":40,"mainColor":41},232910,"dou-die-tu-ma-lin-232910","豆蝶图",[23,7,24,51,25,27,26,957,102,200,15720,198,1180,74],"豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b08f1fa810326ea69c7b5cb3b5cbbf0.jpg",[],{"id":15724,"slug":15725,"title":15726,"dynasty":674,"author":181,"museum":1514,"description":3679,"tags":15727,"thumbUrl":15728,"material":317,"size":907,"collection":122,"collections":15729,"showCount":15598,"zanCount":1065,"manualWeight":40,"mainColor":62},226283,"ku-zhu-shi-bei-bi-yi-ming-226283","窟主室北壁",[24,51,7,677,678,855,27,28,77,75,861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20a829b1e7a26c782be3b06a09edbd8.jpg",[],{"id":15731,"slug":15732,"title":15733,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":15734,"thumbUrl":15737,"material":317,"size":907,"collection":3417,"collections":15738,"showCount":15598,"zanCount":40,"manualWeight":40,"mainColor":62},225748,"flowering-plum-orchard-after-hiroshige-october-november-fan-gao-225748","Flowering plum orchard after Hiroshige (October - November 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宋代方勺《泊宅编》中记载了一则民间故事：婺州（今浙江金华）有僧嗜猪头，行为莫测，或曰 猪头和尚。有衢守馔猪头召师食，守自牖窥之，见一鬼从旁食，师无预焉。已而师坐亡。衢人奉香火良谨, 有祷辄应。梁楷曾流寓杭州，或听过此传说。",[7,24,51,277,7058,28,678,118,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039957feaf907cdaebe3debd5fc5b332.jpg","23.7x37.8厘米",[36],{"id":16037,"slug":16038,"title":16039,"dynasty":114,"author":2868,"museum":1201,"description":16040,"tags":16041,"thumbUrl":16043,"material":267,"size":16044,"collection":106,"collections":16045,"showCount":15853,"zanCount":40,"manualWeight":40,"mainColor":62},219133,"pu-bian-you-lu-tu-ma-he-zhi-219133","瀑边游鹿图","瀑流如素练倾泻而下，溅起碎玉般的水花，山石间苔痕隐现。左侧枯树盘曲，枝桠似铁线勾勒，苍劲中藏清逸之姿。几只游鹿或低头饮泉，或侧耳听瀑，姿态悠然，与山林气韵相融。淡墨晕染山石，线条灵动婉转，将宋人的雅致与自然野趣揉合——无喧嚣纷扰，唯余水声潺潺、风声轻拂与鹿鸣低吟，仿佛能嗅到山林间湿润的草木气息。留白处似有云雾流转，拓展出深远意境，于方寸扇面间藏纳天地生机，尽显宋人对山水灵韵的极致捕捉，让观者心随画境，沉入这片静谧悠然的林泉之乐里。",[7,24,51,768,27,75,472,16042,278,79,313],"枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f935cf5ded05b595572aec0df2933a.jpg","20.3x23.5cm",[106],{"id":16047,"slug":16048,"title":16049,"dynasty":293,"author":1577,"museum":395,"description":16050,"tags":16051,"thumbUrl":16052,"material":34,"size":16053,"collection":106,"collections":16054,"showCount":15853,"zanCount":40,"manualWeight":40,"mainColor":62},218945,"yan-zhi-cong-shu-hua-he-bi-tu-zhao-meng-fu-218945","胭脂骢书画合璧图","朱红骏马静立柳下，鬃毛如缎顺滑，温顺随文人轻牵缰绳。文人素袍宽袖，神态悠然，似在林间暂歇。虬枝盘曲的老柳，枝叶垂落如帘，背景淡墨晕染的山石，更添静谧。左侧行书笔墨流转，诗句与画面相映，诗中意境与画里闲情交融，尽显书画合璧的雅致。整幅作品笔墨温润，色彩雅致，将文人与马的悠然瞬间定格，满溢古雅闲逸之趣。",[24,7,51,27,28,215,1059,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5dbfc6d9b0280b6016d847fe99dffd2.jpg","26.5x63cm",[106],{"id":16056,"slug":16057,"title":16058,"dynasty":114,"author":181,"museum":20,"description":16059,"tags":16060,"thumbUrl":16061,"material":34,"size":16062,"collection":175,"collections":16063,"showCount":15853,"zanCount":40,"manualWeight":40,"mainColor":41},218852,"kong-shan-guan-pu-tu-yi-ming-218852","空山观瀑图","画面上画的是悬崖上的松树，枝干粗壮，分叉有致，一位高僧坐在松树下的空位上，看着叮咚作响的泉水，俗话说得好。智者乐水。这幅画复制了李唐和夏圭的笔法，但笔法过分转折，可能是明代浙派画家的作品。",[23,24,51,7,277,73,75,313,609,281,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd35279e156a6ba9386da672ffb1e86.jpg","23.4x25.5",[175],{"id":16065,"slug":16066,"title":16067,"dynasty":67,"author":2218,"museum":20,"description":16068,"tags":16069,"thumbUrl":16070,"material":34,"size":16071,"collection":106,"collections":16072,"showCount":15853,"zanCount":1065,"manualWeight":40,"mainColor":62},218808,"wan-niu-tu-dai-jin-218808","纨牛图","中国人对于牛的情感不同于对待其他动物，这种感情是复杂且深厚的。这不仅是因为牛的性格敦厚老实，更主要的还是因为对于一个历史悠久的农业国家，牛在农耕文明中一直都担任着十分重要的劳动力角色，它几乎是每一个农村家庭不可缺少的伙伴。",[24,7,52,27,26,28,1906,472,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2af2f1fd17bdb3ed688b14800f04d97.jpg","181x96.3cm",[106],{"id":16074,"slug":16075,"title":16076,"dynasty":293,"author":16077,"museum":3286,"description":16078,"tags":16079,"thumbUrl":16081,"material":34,"size":16082,"collection":106,"collections":16083,"showCount":15853,"zanCount":40,"manualWeight":40,"mainColor":62},218742,"xue-ting-you-qin-tu-luo-zhi-chuan-218742","雪汀游禽图","罗稚川","罗稚川，元代前期的文人画家。临川新喻（江西省清江）人。在中国的画史等文献中并无其相关记录，其详细经历不明，但因与同乡元代范德机（－1330）等人交友，故人们将其活跃期推定在至正年以前至后至元（1335－1340）年间。\n本图是罗稚川为数不多的一幅作品，描绘了荒凉的寒林平远景色，展示了继承北宋寒林平远图形式的元代李郭派的画风。前景部分的中央着重描绘了复杂曲折的老树和延至左方的枯木、以及栖息在枯苇与树枝上的鸟、或是寒空中交错飞过的群鸟等景物，主要以水墨表现出的世界中，枯苇和竹叶却略施淡彩，只有寒风下缩身于枯木中的长尾鸡和枯苇中的野鸭施有浓彩，令人对雪汀荒寒的景色印象深刻。图中有“罗氏稚川” 之印（白文方印）。",[23,7,24,51,277,73,75,84,647,7037,16080,648],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79112c7b3314cbaa0d7594df0ebd6017.jpg","52x77cm",[106],{"id":16085,"slug":16086,"title":16087,"dynasty":114,"author":181,"museum":395,"description":16088,"tags":16089,"thumbUrl":16090,"material":34,"size":122,"collection":106,"collections":16091,"showCount":15853,"zanCount":40,"manualWeight":40,"mainColor":62},218622,"dou-que-tu-yi-ming-218622","斗雀图","翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱の倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n（注：此处の为日式助词？不，换回来，用“的”更合适。修改：连尾羽弧度都带着不甘示弱的倔强。）\n\n调整后：\n\n翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n完美，符合所有要求。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。",[23,7,24,51,26,27,102,2411,1882,56,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0aefe9c75944a321bf250100378bff.jpg",[106],{"id":16093,"slug":16094,"title":1127,"dynasty":293,"author":10087,"museum":20,"description":16095,"tags":16096,"thumbUrl":16097,"material":34,"size":16098,"collection":88,"collections":16099,"showCount":15853,"zanCount":1065,"manualWeight":40,"mainColor":62},218462,"shan-shui-tu-tang-di-218462","岩石被涂成了小绿，而特写中通往房子的楼梯被涂上了边框，这是一种干净整洁的技术。桌椅的轮子上涂有红色的朱砂，与石头的绿色相映成趣，给人一种古老而优雅的感觉。",[23,24,7,75,72,27,28,77,1059,855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb9e8dcf01ecc2b0641455fe02e2a43.jpg","114x57.5",[88],{"id":16101,"slug":16102,"title":16103,"dynasty":67,"author":16104,"museum":395,"description":16105,"tags":16106,"thumbUrl":16107,"material":34,"size":16108,"collection":88,"collections":16109,"showCount":15853,"zanCount":1065,"manualWeight":40,"mainColor":62},218309,"fang-huang-gong-wang-shan-shui-tu-ying-huang-218309","仿黄公望山水图","应黄","笔墨苍润清逸，承黄公望山水遗风。山峦以淡墨皴染，叠嶂起伏间见空灵之致；林木萧疏有致，或挺拔或欹侧，与山石相映成趣。屋舍隐于林泉深处，隐约可见，似藏幽居之境。画面气脉连贯，远近层次分明，淡赭底色更添古雅质感。虽为仿作，却于笔墨间流露自身心性，尽显文人画中寄情山水、追求清雅的雅致情怀，观之令人心生悠然之意。",[7,24,51,75,154,27,73,277,297,82,559,79,281,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe654dfe126da316ec152c9d55c386cf.jpg","35.5x24.9cm",[88],{"id":16111,"slug":16112,"title":1215,"dynasty":67,"author":181,"museum":1031,"description":16113,"tags":16114,"thumbUrl":16116,"material":666,"size":16117,"collection":88,"collections":16118,"showCount":15853,"zanCount":1065,"manualWeight":40,"mainColor":41},217955,"lian-she-tu-yi-ming-217955","《莲花社》说了慧远的故事：东晋元兴年间，慧远在庐山东林寺与十八位专修净土的圣人一起，寻求脱离污秽之地，希望往生极乐世界。",[23,7,24,25,51,678,5399,28,118,119,16115],"莲社","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15dee5dc0c3904ed22a998b96f72a044.jpg","30.1x595.8cm",[88,36],{"id":16120,"slug":16121,"title":16122,"dynasty":67,"author":181,"museum":166,"description":16123,"tags":16124,"thumbUrl":16129,"material":34,"size":122,"collection":88,"collections":16130,"showCount":15853,"zanCount":40,"manualWeight":40,"mainColor":62},217262,"jiang-nan-nong-shi-tu-yi-ming-217262","江南农事图","江南农事图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了江南农村的生活场景，包括农田耕作、收割、加工、运输、种植和养殖等内容。\n\n图画中有许多细节生动地展现了当时农村的生活方式。例如，图中的农夫们正在用牛耕地、用手提灌溉水桶灌溉农田，农妇们则在用手提筐采摘水果和蔬菜。图中还有农民们用手车运输农产品\n的场景。\n\n江南农事图还描绘了许多农村的建筑物，例如水井、磨坊、茅草屋等。这些建筑物是农民们生活中不可或缺的部分，在图中也得到了生动的展现。\n\n总之，江南农事图是一幅生动形象的作品，展现了明朝时期江南农村生活的精彩细节。它不仅是一幅艺术杰作，同时也是对历史的珍贵记录。",[23,24,7,27,9043,7999,1906,28,16125,16126,16127,75,16128],"茅草屋","水井","磨坊","农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5364f4bcc6551cb321b7a8a08cdfe4ee.jpg",[88],{"id":16132,"slug":16133,"title":3464,"dynasty":114,"author":259,"museum":20,"description":9610,"tags":16134,"thumbUrl":16135,"material":317,"size":907,"collection":122,"collections":16136,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":41},290311,"sui-chao-tu-zhou-zhao-chang-290311",[7,24,51,52,26,27,102,103,2067,56,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb52957ae581f17b47d34d35a52e539e8.jpg",[],46,{"id":16139,"slug":16140,"title":3464,"dynasty":67,"author":2568,"museum":132,"description":16141,"tags":16142,"thumbUrl":16143,"material":317,"size":907,"collection":122,"collections":16144,"showCount":16137,"zanCount":1065,"manualWeight":40,"mainColor":41},290307,"sui-chao-tu-zhou-bian-wen-jin-290307","边文进，字景昭，福建沙县人。诸画史皆谓为陇西（今甘肃）人。盖边姓旧出陇西，题款或署其故郡，遂至传讹。与吕纪齐名。\n永乐（一四○三至一四二四）间召至京师授武英殿待诏。至宣德（一四二六至一四三五）间仍供事内殿。为人夷旷洒落，善绘事，尤精于花鸟。花之娇藉，不但钩勒有笔，其用墨无不合宜。宋、元之后殆其人矣。有三友百泰图见故宫名画集。《图绘宝鉴续纂、沙县志、延平县志、明画录、无声诗史、四友斋丛说》。所画的翎毛与蒋子诚的人物、赵廉的虎，曾被称为“禁中三绝”。",[24,7,52,27,102,26,383,697,2067,9466,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ab93eeb8b340c282d279f6ec88b49db.jpg",[],{"id":16146,"slug":16147,"title":1666,"dynasty":293,"author":16148,"museum":132,"description":16149,"tags":16150,"thumbUrl":16151,"material":317,"size":907,"collection":122,"collections":16152,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":62},290138,"xue-zhu-tu-tan-zhi-rui-290138","檀芝瑞","檀芝瑞，明代画家，生卒年不详。只见于《中国美术人名大辞典》，寥寥数语。介绍为元代人，擅长梅兰墨竹。",[23,7,24,51,277,53,56,1023,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19287786270e4376bfc16080de26ef0.jpg",[],{"id":16154,"slug":16155,"title":16156,"dynasty":114,"author":721,"museum":132,"description":16157,"tags":16158,"thumbUrl":16161,"material":317,"size":907,"collection":122,"collections":16162,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":41},289788,"shen-tang-qin-qu-tu-ma-lin-289788","深堂琴趣图","此图描写山斋数楹，葱树掩映，一人于堂中抚琴，二鹤在琴声中闲步。远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。",[23,768,24,7,27,26,75,77,78,82,16159,2880,16160,74],"厅堂","雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f01482f6dbe10ed17a90037b2e3219.jpg",[],{"id":16164,"slug":16165,"title":16166,"dynasty":114,"author":460,"museum":132,"description":16167,"tags":16168,"thumbUrl":16169,"material":317,"size":907,"collection":122,"collections":16170,"showCount":16137,"zanCount":1065,"manualWeight":40,"mainColor":62},288643,"shu-se-ping-yuan-tu-guo-xi-288643","树色平远图","描绘的是一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。",[7,24,51,25,277,75,1059,81,78,80,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0cf467d4d396a0fbafbe38d1de4739.jpg",[],{"id":16172,"slug":16173,"title":16174,"dynasty":114,"author":5683,"museum":132,"description":16175,"tags":16176,"thumbUrl":16179,"material":317,"size":907,"collection":122,"collections":16180,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":62},288549,"qiu-tang-tu-zhao-ling-rang-288549","秋塘图","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[24,7,277,84,16177,2292,3116,16178,14926,3256],"枯柳","雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0e139577d1c0981134a129ca84c66.jpg",[],{"id":16182,"slug":16183,"title":16184,"dynasty":674,"author":2912,"museum":132,"description":14006,"tags":16185,"thumbUrl":16187,"material":317,"size":907,"collection":122,"collections":16188,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":62},287311,"li-dai-di-wang-tu-juan-chang-juan-se-dan-yan-li-ben-287311","历代帝王图卷长卷（色淡）",[23,7,24,25,27,28,26,1605,9991,16186,118],"群臣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411a33cef4504359b61294216f06577b.jpg",[],{"id":16190,"slug":16191,"title":3613,"dynasty":46,"author":2636,"museum":151,"description":8362,"tags":16192,"thumbUrl":16193,"material":156,"size":8365,"collection":122,"collections":16194,"showCount":16137,"zanCount":1065,"manualWeight":40,"mainColor":41},232972,"hua-niao-ce-lang-shi-ning-232972",[24,51,100,26,27,118,74,102,263,339,5222,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51a29033cad5a16e9df56e5c4465f8c.jpg",[],{"id":16196,"slug":16197,"title":7403,"dynasty":293,"author":644,"museum":7613,"description":16198,"tags":16199,"thumbUrl":16200,"material":250,"size":16201,"collection":122,"collections":16202,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":41},231478,"mo-zhu-tu-ni-zan-231478","倪瓒善画水墨山水画，元朝， 创造“折带皴”，是平远画法的典型，取材于太湖一带平原风景，其画萧瑟幽寂，寒林浅水，不见人踪，画出他伤时感事的心情。倪瓒以这种空旷而辽远的太湖意境征服了画坛，以致后世常有“太湖属于倪云林”之说。\n倪瓒的画“似嫩而苍”，简中寓繁，小中见大，外落寞而内蕴激情。他也善画墨竹，风格“遒逸”，瘦劲开张。画中题咏很多。他的画由于简练，多年来伪作甚多，但不容易仿出他的萧条淡泊的气质。\n倪瓒的绘画属于宋代兴起的“文人画”——通过主观的描绘表达更多的作者自身情怀，进入“有我之境”（李泽厚语）。他将自己的画法风格和追求总结成“逸气”一语， 可以说是中国画“笔墨”一说的最好代表。",[7,24,51,277,53,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1cb10c76f5727e7efa78d2e5d9ea2c9.jpg","高29.2厘米，宽28.7厘米",[],{"id":16204,"slug":16205,"title":16206,"dynasty":18,"author":2623,"museum":132,"description":16207,"tags":16208,"thumbUrl":16210,"material":122,"size":122,"collection":122,"collections":16211,"showCount":16137,"zanCount":1065,"manualWeight":40,"mainColor":62},231033,"ting-yuan-tong-xi-tu-zhou-wen-ju-231033","庭院童戏图","画面里，玲珑湖石错落而立，旁侧蜀葵抽茎绽红，晕开雅致清幽的庭中底色。三个稚童于廊下嬉玩，或俯地、或跪坐，手持玩具专注投入，憨态天真尽显笔端。\n\n作者以精细笔触勾勒出衣纹的软柔灵动，设色古雅温润，将孩童嬉闹的鲜活日常描摹得生动自然。静谧庭苑与稚子烂漫相映，把细碎童趣晕化成悠然平和的古典意趣，藏着旧时世家庭院里的温柔烟火气。",[23,7,24,51,26,27,28,16209,56,78,560,711,198],"童戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8bf418623c3f4f8d9458352c316f86.jpg",[],{"id":16213,"slug":16214,"title":16215,"dynasty":46,"author":16216,"museum":132,"description":16217,"tags":16218,"thumbUrl":16220,"material":122,"size":122,"collection":122,"collections":16221,"showCount":16137,"zanCount":541,"manualWeight":40,"mainColor":62},230229,"guang-xu-tong-guang-shi-san-jue-zhong-cai-tu-juan-shen-rong-pu-230229","光绪 同光十三绝重彩图卷","沈蓉圃","此作工笔重彩刻画入微，将十三位梨园宗师的神采风骨定格于卷上。生旦净丑各行当扮相俱全，衣饰纹样繁丽精工，珠翠翎毛分毫毕现。各人眉眼神态各有千秋，或威严凝重，或温婉柔媚，或诙谐灵动，既带着戏中角色的魂魄，又留存着名伶本人的气韵，将晚清京剧鼎盛之时的风华凝于尺幅之间，让百年前的梨园风姿鲜活重现于眼前。",[23,7,24,51,25,27,4711,26,28,16219,30],"戏曲人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a6d01122cb40fed604a2d2815de271.jpg",[],{"id":16223,"slug":16224,"title":16225,"dynasty":67,"author":619,"museum":132,"description":16226,"tags":16227,"thumbUrl":16228,"material":122,"size":122,"collection":122,"collections":16229,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":41},228838,"lian-hua-dou-jia-tu-ce-shen-zhou-228838","莲花豆荚图册","此作用笔松秀淡逸，以清浅墨色晕染果实，晕化柔和雅致，墨色层次疏淡清润，墨点点缀其上，朴拙天真，尽得果实鲜活意态。枝叶以枯淡墨线勾勒，笔致苍劲随性，不求描摹工细，却将叶片舒展之姿尽显，枯荣之态暗含其间。\n画面留白开阔疏朗，以简驭繁，尽显文人写意的简淡风骨，将日常乡野小景，绘出悠然清逸的林下意趣，平淡之中藏着天真雅致的文人心境，笔底全是松弛自在的闲适之味。",[23,7,24,51,100,277,102,7714,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db9f55c64cddb22c8eac5284a05317e.jpg",[],{"id":16231,"slug":16232,"title":16233,"dynasty":114,"author":1787,"museum":132,"description":12671,"tags":16234,"thumbUrl":16235,"material":122,"size":122,"collection":122,"collections":16236,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":479},227716,"long-hu-tu-zhou-mu-xi-227716","龙虎图轴",[7,24,51,52,277,370,6056,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb229fdf17c2f47f0594e267085c31a4b.jpg",[],{"id":16238,"slug":16239,"title":16240,"dynasty":114,"author":10331,"museum":132,"description":16241,"tags":16242,"thumbUrl":16243,"material":122,"size":122,"collection":122,"collections":16244,"showCount":16137,"zanCount":541,"manualWeight":40,"mainColor":41},227586,"huo-lang-tu-ye-xu-chong-ju-227586","货郎图页","徐熙孙，与徐崇嗣、徐崇勋为弟兄，生卒年不详。画有祖风，所作花木、禽鸟形骨轻秀。北宋时期徐熙画花木、禽鱼、蝉蝶、蔬果之类极夺造化之妙，与黄筌之花鸟画为当时之两大流派，有“黄家富贵，徐熙野逸”之说。崇矩兄弟虚心好学，吸收黄筌、黄居寀父子画法之长，终于自创“没骨法”新体，摈弃墨笔钩勒而直接用彩色晕染。亦工仕女，曲眉丰脸，姿态可人，有唐人风。流传作品不多，《宣和画谱》著录御府所藏其作品有《夭桃图》《折枝桃花图》《仕女图》《紫燕药苗图》《萱草猫图》《花竹捕雀猫图》等14件。《红蓼水禽图》册页传为崇矩所作，为其传世作品，现藏故宫博物院。",[23,7,24,51,100,26,27,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcf30c4506bba83e0d7658c832494ed.jpg",[],{"id":16246,"slug":16247,"title":16248,"dynasty":114,"author":310,"museum":132,"description":16249,"tags":16250,"thumbUrl":16251,"material":122,"size":122,"collection":122,"collections":16252,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":62},227578,"xue-shan-lou-ge-tu-fan-kuan-227578","雪山楼阁图","北宋，范宽作, 绢本设色，传范宽，纵182.4 厘米，横103厘米。\n\n此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。\n\n现藏美国波士顿美术博物馆。\n\n范宽（生卒不详）：本名中正，字中立（又作仲立，因性情宽和，不拘成礼，时人呼之为“宽”，遂以范宽自名。华原（今陕西耀县）人。据《宣和画谱》记载，他“风仪峭古，进止疏野，性嗜酒，落魄不拘世故”。山水初学李成，继法荆浩，后感“与其师人，不若师诸造化”，因移居终南山、太华山，对景造意，不取繁饰，自成一家。宋人将其与关仝、李成并列，誉为“三家鼎峙，百代标程”。后人将之与李成、董源二人合称“宋三家”，之后的“元四家”、明朝的唐寅，以至清朝的“金陵画派”和现代的黄宾虹等大师，都受到范宽画风的影响。",[23,7,24,51,52,73,277,75,297,1023,77,82,278,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa375bbe146b99d0065149a804c5dc346.jpg",[],{"id":16254,"slug":16255,"title":447,"dynasty":18,"author":1983,"museum":132,"description":16256,"tags":16257,"thumbUrl":16258,"material":122,"size":122,"collection":122,"collections":16259,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":62},227439,"pi-pa-shan-niao-tu-huang-quan-227439","宋徽宗名下流传至今的绘画作品面貌多样，既有雍容典雅的重彩工笔，也有古拙朴茂的粗笔水墨。所以历来对其真伪归属多有争论可谓画史的一段公案，一般认为工丽细致的院体风格是他人代笔或是御题画，而朴拙一路则是徽宗亲笔真迹。现藏于北京故宫博物院的《枇杷山鸟图》是学界一致公认的宋徽宗赵佶的真迹之一。本画为绢本设色，纵22.6厘米，横24.5厘米，画上题有“天下一人”的御笔花押。此幅《枇杷山鸟图》设色极淡，又因年代久远几乎不能分辨，看上去就如同单纯的水墨画一般。画中景物工写相参，渲染精细，犹如黑白老照片，在宋代绘画中别具一格。",[23,7,24,51,26,27,102,451,9394,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bc94a04488f0b800bfb8c8250fa6ac.jpg",[],{"id":16261,"slug":16262,"title":16263,"dynasty":114,"author":788,"museum":132,"description":4923,"tags":16264,"thumbUrl":16265,"material":122,"size":122,"collection":122,"collections":16266,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":62},227412,"bai-yuan-xian-shou-tu-li-cheng-227412","白猿献寿图",[23,24,51,7,27,26,472,6290,313,278,84,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21c51cd22e4004907bdc5e4839ebbe4.jpg",[],{"id":16268,"slug":16269,"title":16270,"dynasty":18,"author":1020,"museum":132,"description":16271,"tags":16272,"thumbUrl":16273,"material":317,"size":907,"collection":122,"collections":16274,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":62},226153,"xie-sheng-zhen-qin-quan-juan-huang-quan-226153","写生珍禽全卷","黄筌是五代时期最有名的宫廷画家，一个在前蜀、后蜀画院任职40年的大画家，入宋后，又得到宋太祖的激赏。入宋百年一直把他的笔法当作画院画家作画的模范。宋代《宣和画谱卷十八》记载：“祖宗以来，图画院之较艺者，必以黄筌父子笔法为程序……”\n黄筌画出来的画，上自皇帝下至走卒，没有不连声赞叹的。而他留下来的这幅画稿《写生珍禽图卷》，也同样是技巧精湛、内涵丰实、人人叹服的绝世之作。\n这幅画中，画了24只小生物，都是珍禽异鸟。它们在皇宫中受到细心的养护，品种优良，造型独特，有的五彩斑斓，眩人耳目。黄筌在宫中画院任职，能够利用画院的便利条件，观察这些珍禽异鸟，而把它们揽入他的绢素中。\n也许有人会说这幅画没有意境，没有布局章法，鸟、虫都自顾自的，没有交集。其实没布局是有其道理的，因为这是画稿嘛，不是完整独立的画作，只是针对个别鸟虫而画，初学者基本上能掌握住这些生物的外形、动态就行。\n这24只小生命像图鉴般被安置在一方小小绢布上，不但不见拥挤、单调，反倒觉得谐和热闹，视觉上也很赏心悦目。",[23,24,7,25,26,27,1190,102,84,2411,1986,1180,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f2cb06acdd7b030fbea827f9f0e.jpg",[],{"id":16276,"slug":16277,"title":16278,"dynasty":114,"author":6856,"museum":151,"description":16279,"tags":16280,"thumbUrl":16281,"material":156,"size":16282,"collection":122,"collections":16283,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":62},221610,"shu-liu-han-ya-liang-kai-221610","疏柳寒鸦","本幅款识：“梁楷”。\n图绘枯柳疏枝，两只乌鸦栖息于树干上，一只低头啄食，一只仰望高空，与远处的飞鸦呼应成趣，另有一只飞临树干。几枝败柳将冬季萧瑟的气氛巧妙地烘托出来，四只寒鸦形神各异。乌鸦头尾以浓墨点染，羽翼用焦墨勾写，腹部略敷白粉，更突出鸦头之黑，笔简神丰。\n梁楷的“减笔”画既带有文人的笔墨情趣，又能对物象高度概括，具有传神的效果，这在两宋花鸟画中是绝无仅有的。这种画法对元代的颜辉、明代的徐渭、清代的黄慎、近代的任伯年等著名画家都有较大的影响。",[23,24,7,768,277,7058,102,1478,13625,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12681876ad222db36245da81d5c54f6.jpg","纵26.4厘米，横24.2厘米",[],{"id":16285,"slug":16286,"title":3627,"dynasty":114,"author":3309,"museum":151,"description":16287,"tags":16288,"thumbUrl":16289,"material":217,"size":16290,"collection":175,"collections":16291,"showCount":16137,"zanCount":11,"manualWeight":40,"mainColor":62},221560,"su-wu-mu-yang-tu-li-di-221560","李迪（生卒年不详），南宋画家，河阳（今河南孟州南）人。供职于孝宗、光宗、宁宗三朝画院。擅写生，花鸟、竹石、走兽皆精，亦作山水小景。大幅气象豪迈，小品精细入微，晚年犹能作纤入毫笔的刻画。存世作品有《雪树寒禽图》《枫鹰雉鸡图》《风雨归牧图》等。",[23,7,24,51,768,27,510,28,3630,472,135,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceaa42b0901bb55ad17260f047b24a30.jpg","24.4x21.5厘米",[175,36,90],{"id":16293,"slug":16294,"title":16295,"dynasty":46,"author":5640,"museum":151,"description":16296,"tags":16297,"thumbUrl":16298,"material":267,"size":16299,"collection":88,"collections":16300,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":41},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[23,7,24,51,25,277,73,75,82,279,663,80,648,4282,746,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[88,90],{"id":16302,"slug":16303,"title":16304,"dynasty":114,"author":181,"museum":20,"description":16305,"tags":16306,"thumbUrl":16307,"material":611,"size":16308,"collection":175,"collections":16309,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":62},220235,"bian-zhuang-zi-ci-hu-2-yi-ming-220235","卞庄子刺虎2","宋人画卞庄子刺虎图，是从宋代遗存下来的古画，由于作品未留署名，尚不能确定作者是谁，有人推测是出自宋代李公麟之手！这幅画是一副寓意图，描绘的是两只老虎想吃一头牛，而卞庄又想猎杀两只老虎的场景，通过这些场景和最后结果的描绘想劝告人们做事不要只凭勇气，而没有智慧；另一方面的，也阐释出自己人“两只老虎”相争，最后却被别人得到利益。",[7,24,51,26,27,28,6056,1906,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de4be4d0d370b1a0cbb18f0c2f5cb7e.jpg","39×169.1公分",[175],{"id":16311,"slug":16312,"title":16313,"dynasty":293,"author":658,"museum":20,"description":16314,"tags":16315,"thumbUrl":16316,"material":666,"size":16317,"collection":88,"collections":16318,"showCount":16137,"zanCount":1065,"manualWeight":40,"mainColor":41},219964,"shu-lin-yuan-shan-tu-wu-zhen-219964","疏林远山图","图绘秋林疏树，三五成丛，一派萧瑟，远山漠漠，淡逸出群。此幅笔精墨妙，是吴镇小品真迹。",[23,24,7,51,75,277,73,648,3116,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa4038fe6ccb0cc00828917283a8009.jpg","39.7x50.2",[88],{"id":16320,"slug":16321,"title":16322,"dynasty":67,"author":5192,"museum":20,"description":16323,"tags":16324,"thumbUrl":16327,"material":267,"size":16328,"collection":106,"collections":16329,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":41},219461,"liu-hua-xiao-jing-tu-lu-zhi-219461","榴花小景图","陆治不仅长于山水画,也能画花鸟,所作花卉生意盎然,在吴派画家中以能得宋人韵度,备受赞赏",[24,7,52,26,27,102,16325,16326,74],"榴花","兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42162f4933d3bd900c46a0622726a62f.jpg","65.3x33.3",[106],{"id":16331,"slug":16332,"title":16333,"dynasty":114,"author":6625,"museum":20,"description":16334,"tags":16335,"thumbUrl":16336,"material":34,"size":16337,"collection":175,"collections":16338,"showCount":16137,"zanCount":1065,"manualWeight":40,"mainColor":62},219151,"xiang-bo-tu-li-an-zhong-219151","翔鹁图","这幅无标题的画,描绘了四只鹌鹑，它们飞翔或降落。 刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[23,7,24,51,52,26,27,102,84,56,890,263,4371,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[175,106,90],{"id":16340,"slug":16341,"title":1127,"dynasty":67,"author":16342,"museum":16343,"description":16344,"tags":16345,"thumbUrl":16346,"material":16347,"size":122,"collection":88,"collections":16348,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":41},219099,"shan-shui-tu-zhang-hong-219099","张宏","昆仑堂美术馆","峰峦层叠如聚，皴笔勾勒出山石苍劲肌理，淡墨晕染间藏起峰巅的朦胧。云雾似轻纱漫卷，将远近景致晕染得虚实相生，添了几分空灵缥缈。坡岸处几株古松挺立，枝干虬劲如盘龙，松针细密如簇，尽显岁月雕琢的苍劲之姿。掩映在松影间的村落，屋舍错落，隐于山环水抱之中，烟火气与清寂山水相融，更显雅致。\n\n笔墨兼具刚柔：山石勾勒用劲挺之笔，皴擦见厚重；松枝线条灵动，松针点染细密；云雾留白与淡墨交织，显轻盈。远近层次分明，虚实相映，既有山川雄浑壮阔，又含林泉清幽雅致，仿佛步入一处可居可游的山水胜境，心随景动，沉醉其间。",[23,7,24,51,52,277,73,75,297,298,82,559,279,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[88],{"id":16350,"slug":16351,"title":16352,"dynasty":293,"author":7543,"museum":2793,"description":16353,"tags":16354,"thumbUrl":16356,"material":34,"size":122,"collection":106,"collections":16357,"showCount":16137,"zanCount":1065,"manualWeight":40,"mainColor":62},219067,"ying-sun-tu-ren-ren-fa-219067","鹰隼图","画面描绘了一只白腹黑背、体态丰满、羽毛整齐的大壮鹰，用一对锋利的爪子按住一只麻雀，张开翅膀，圆睁双眼，张开嘴，却无计可施。",[7,24,26,27,52,1820,16355,647,589,198,278,102],"隼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e640e66b80da72ad388df45295a7d4.jpg",[106],{"id":16359,"slug":16360,"title":16361,"dynasty":46,"author":16362,"museum":166,"description":16363,"tags":16364,"thumbUrl":16365,"material":34,"size":16366,"collection":106,"collections":16367,"showCount":16137,"zanCount":541,"manualWeight":40,"mainColor":62},219032,"tao-que-tu-xia-wen-xuan-219032","桃雀图","夏文铉","绢本泛黄如时光沉淀的暖光，数只雀鸟或栖枝梳羽，或振翅欲飞，羽色赭褐与墨黑相间，神态鲜活灵动。梅枝疏朗横斜，淡粉花瓣点染梢头，似携清寒暗香；松针苍劲如笔，与柔枝相映成趣。画面留白开阔，笔墨简淡却意韵悠长，将禽鸟的生趣与花木的清雅融于一方素绢，尽显文人画的雅致风骨。观之令人心宁神悦，仿佛触到了春日的轻暖气息，于细微处见生机，于简淡中藏深情，是一幅兼具意趣与格调的佳作。",[23,7,24,51,26,27,102,76,7667,609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282866ed8d516c58dc487f5bdc68d7c8.jpg","纵39.1横26.5厘米",[106],{"id":16369,"slug":16370,"title":16371,"dynasty":114,"author":4689,"museum":20,"description":16372,"tags":16373,"thumbUrl":16374,"material":34,"size":16375,"collection":175,"collections":16376,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":41},218948,"qiao-ke-yuan-gua-tu-yi-yuan-ji-218948","乔柯猿挂图","图绘山野之中，两黑一白三只小猿猴在老柏树上嬉戏玩耍。形象生动，用笔细腻，应是从写生中得来。",[23,24,7,26,277,27,4907,10174,278,472,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c73ab950f34a4402a9ba1c8dd4002e.jpg","24.2x26.4",[175],{"id":16378,"slug":16379,"title":1008,"dynasty":114,"author":556,"museum":20,"description":16380,"tags":16381,"thumbUrl":16382,"material":34,"size":16383,"collection":88,"collections":16384,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":41},218822,"guan-shan-xing-lv-tu-li-tang-218822","这幅画展示了河流景观的美丽景色，一座古寺隐藏在山中，一群旅行者在河边的水池边跌跌撞撞。这幅画的旧题是《李唐游山图》，仔细观察这幅画的岩石景观和松树的拖曳枝条，可以看出这幅画是由明代艺术家按照马远的风格所画。",[23,7,24,51,100,75,79,80,77,281,609,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9c9b894cd1cf749503a5a856729ab8.jpg","32x33",[88],{"id":16386,"slug":16387,"title":16388,"dynasty":114,"author":181,"museum":20,"description":16389,"tags":16390,"thumbUrl":16391,"material":34,"size":16392,"collection":175,"collections":16393,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":62},218692,"an-he-tu-yi-ming-218692","安和图","在秋天的风景中，草和叶子变黄，野高粱的茎上长满了穗子。在茎叶下，五只鹌鹑在其中休息，而另外四只鸟则在上面栖息，为自己的羽毛做准备或啄食谷物。虽然这幅画没有作者的签名，但构图合理，所有物体都栩栩如生，所以它一定是出自艺术家之手。鹌鹑的造型与北宋崔訢的《七夕鹌鹑图》相似，而高粱则与明代陆机的《草花野禽图》相似，但《草花野禽图》的笔法显然更富变化，而这幅画则具有南宋的流畅细腻风格。它也被称为 安和，因为 鹑 和 安、和 和 和 是同音字，使它成为一部吉祥之作。",[23,24,51,7,26,27,102,2151,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8456b5937e15cbbc97e3c44852831d14.jpg","105.4x51.6",[175],{"id":16395,"slug":16396,"title":16397,"dynasty":114,"author":1216,"museum":260,"description":16398,"tags":16399,"thumbUrl":16400,"material":121,"size":8485,"collection":36,"collections":16401,"showCount":16137,"zanCount":541,"manualWeight":40,"mainColor":41},216770,"xiao-jing-tu-chang-juan-li-gong-lin-216770","孝经图长卷","李公麟的孝经形象在宋代以来的各种作品中被反复提及，而且大多以不止一种形式流传。",[23,7,24,51,25,510,277,28,135,136,81,5956,2995,10973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52813534dd45106294016e482651eab3.jpg",[36],{"id":16403,"slug":16404,"title":16405,"dynasty":114,"author":4689,"museum":1201,"description":16406,"tags":16407,"thumbUrl":16408,"material":34,"size":16409,"collection":106,"collections":16410,"showCount":16137,"zanCount":1065,"manualWeight":40,"mainColor":62},216666,"ju-yuan-tu-yi-yuan-ji-216666","聚猿图","此图水墨画群猿在山壑丛树间的情景：画面的背景为嶙峋山石，高低不一，山石起伏，山峦亘连，山间树木丛生，有的生长在山脚下，有的生长在山缝处，充满着顽强的生命力，遍布整个山石。山谷间溪水潺潺流淌，游息其间的二十余只猿猴，只只生动活泼，姿态各异，或坐立、或攀援、或倒挂、或跳跃、或嬉戏、或食饮、或亲昵、或爱抚。\n画卷结尾有元钱选跋，图中则分别钤有南宋贾似道、清耿昭忠、安岐及清内府等鉴藏印，画上并有清乾隆皇帝弘历旧题。",[23,7,24,51,25,26,73,277,6290,2785,1059,278,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1efaf0c1e4d20ece3e0235e08d4dc5e.jpg","纵41.3厘米，横146厘米",[106],{"id":16412,"slug":16413,"title":16414,"dynasty":46,"author":2660,"museum":1031,"description":10689,"tags":16415,"thumbUrl":16416,"material":250,"size":10692,"collection":122,"collections":16417,"showCount":16137,"zanCount":40,"manualWeight":40,"mainColor":62},214358,"san-jue-shan-shui-ce-1-hua-yan-214358","三绝山水册-1",[23,7,24,51,100,27,75,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf1a7ee3b5c0bbe9e26fadd849e0122a.jpg",[],{"id":16419,"slug":16420,"title":16421,"dynasty":67,"author":899,"museum":132,"description":2742,"tags":16422,"thumbUrl":16423,"material":317,"size":907,"collection":122,"collections":16424,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":62},290849,"shan-jing-ri-zhang-tu-zhou-tang-yin-290849","山静日长图轴",[24,7,52,51,75,27,78,79,1737,1059,278,81,118,74,6832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448ee5d3c113be971d34e5fddf18503.jpg",[],45,{"id":16427,"slug":16428,"title":16429,"dynasty":293,"author":181,"museum":20,"description":16430,"tags":16431,"thumbUrl":16432,"material":34,"size":16433,"collection":36,"collections":16434,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":62},290786,"chun-jing-huo-lang-tu-zhou-yi-ming-290786","春景货郎图轴","货郎图自宋代以降，常被画家引为表现主题。此幅无名款，画春日郊园中，桃花初绽，新柳泛绿，杂草野卉丛生於小溪石畔。柳荫下停放一货担，架上满置鸟笼，笼中鸟色品种殊异，四周并缀有各式童玩。货郎二人，一人手执鹦鹉兜售，另一妇人携二童立于担前，举手雀跃作欲索取状。人物设色妍雅，神情活泼生动，表现出古代农业社会纯朴闲适的生活情态。",[7,24,52,27,28,26,29,1229,1478,383,11336,860,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac3d16ea3f794f22ec38440af84d107.jpg","196.8x104.3",[36],{"id":16436,"slug":16437,"title":16438,"dynasty":114,"author":181,"museum":132,"description":16439,"tags":16440,"thumbUrl":16443,"material":317,"size":907,"collection":122,"collections":16444,"showCount":16425,"zanCount":1065,"manualWeight":40,"mainColor":62},290684,"ke-si-qing-niu-lao-zi-tu-zhou-yi-ming-290684","缂丝青牛老子图轴","画中人物为老子，姓李名耳，字聃。春秋时楚国人。道教认为老子即是「太上老君」在人间的化身。相传老子经过函谷关时，守山的官吏尹喜似乎感到东边的天空忽然一片紫气。他断定会有圣人将来此地。不久，果然见老子骑青牛从东边扬长而至。尹喜便请求老子著书传世，老子应允，便在函谷关著下五千言《道德经》，写完後便骑牛向西而去，其後即不知所终。",[52,1034,24,7,51,28,16441,1906,16442,14040,27,1388,2042,7270],"老子","青牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa336a1577cdc9d924e9eea1c51b6bf73.jpg",[],{"id":16446,"slug":16447,"title":16448,"dynasty":46,"author":7216,"museum":132,"description":16449,"tags":16450,"thumbUrl":16451,"material":317,"size":907,"collection":122,"collections":16452,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":41},290317,"hua-sui-chao-tu-zhou-jiang-ting-xi-290317","画岁朝图轴","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[24,52,7,51,27,26,102,103,2067,7270,1791,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ccadc1ef0f0c75e51a73bcab26a1f7.jpg",[],{"id":16454,"slug":16455,"title":16456,"dynasty":114,"author":878,"museum":132,"description":5276,"tags":16457,"thumbUrl":16459,"material":317,"size":907,"collection":122,"collections":16460,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":479},290154,"fang-you-tu-ma-yuan-290154","访友图",[7,24,51,52,277,855,75,28,77,78,79,609,278,215,16458],"访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f58872533feea15d4e46dc492f9ff5f.jpg",[],{"id":16462,"slug":16463,"title":16464,"dynasty":114,"author":788,"museum":132,"description":16465,"tags":16466,"thumbUrl":16467,"material":317,"size":90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29.5x359公分、隔水一 18公分、隔水二 18.8公分",[],{"id":16538,"slug":16539,"title":16540,"dynasty":67,"author":4258,"museum":20,"description":16541,"tags":16542,"thumbUrl":16543,"material":16544,"size":16545,"collection":122,"collections":16546,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":62},231831,"qing-ming-yi-jian-tu-zhang-ze-duan-231831","清明易简图","传宋张择端清明易简图〈清明易简图〉的画题，乾隆皇帝（1711-1799）认为出自《易经．系辞》的「易则易知，简则易从。」也就是平易、简单 的英文。作者希望透过画面，来现如今北宋都城的繁华景象。北宋画家张择端（活动于12世纪）以首都汴京的城市景街为题，创作了〈藏北京故宫博物院〉。 由于深受喜爱和喜爱，家庭画家遂纷纷效仿，许多同名的〈清明上河图〉。本卷也模仿张择端的作品，乾隆皇帝画推崇。 虹桥市集、城墙、天津之桥等段落，人物栩栩如生的描绘非常形象，各种活动及商店买卖，也相当精彩，是明代苏州女孩的优秀模仿作品。",[23,7,24,25,27,26,28,77,78,858,6958,4079,215,118,74,154,860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52111166a0d9cb90d99f022c1eb4318b.jpg","絹本","纵38x横673.4公分",[],{"id":16548,"slug":16549,"title":16550,"dynasty":114,"author":460,"museum":132,"description":16551,"tags":16552,"thumbUrl":16553,"material":122,"size":122,"collection":122,"collections":16554,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":62},228914,"dai-du-tu-guo-xi-228914","待渡图","此作用平远之景铺展江天，烟波浩渺的水面空阔清远，左岸远山浅渚隐在淡墨晕染的霭气中，愈见悠远。右岸林木苍郁虬劲，亭台桥榭依岩而建，亭中文人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[23,7,24,51,25,75,73,27,78,79,80,81,82,278,28,648,3376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],{"id":16556,"slug":16557,"title":16558,"dynasty":67,"author":966,"museum":132,"description":16559,"tags":16560,"thumbUrl":16561,"material":122,"size":122,"collection":122,"collections":16562,"showCount":16425,"zanCount":1065,"manualWeight":40,"mainColor":62},228291,"juan-qiu-tu-chen-hong-shou-228291","眷秋图","《明陈洪绶眷秋图》是明代画家陈洪绶所创作的一幅设色画。\n由该作品中的题记可知，此图为仿唐人同题画。\n其中石头浓墨粗点为陈洪缓所作，而构图、人物、梧桐树则为其弟子所作。\n图中画一 手执菊花信步于庭院林石间，后有一侍女举扇，扇面上画有梅花图，前有一侍女捧盘，盘中有壶和秋叶。\n陈洪绶（1598~1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟频。\n绘有《水浒叶子》、《博古叶子》、《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》、《笼鹅图》、《升庵簪花图》、《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,51,7,52,27,28,29,1059,278,1570,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F217fca3cd0fb6c774655daffdbd538d9.jpg",[],{"id":16564,"slug":16565,"title":16566,"dynasty":114,"author":181,"museum":132,"description":16567,"tags":16568,"thumbUrl":16569,"material":122,"size":122,"collection":122,"collections":16570,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":41},227832,"cong-ju-tu-ye-yi-ming-227832","丛菊图页","《丛菊图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n鉴藏印钤“□藤仙馆书画”、“云谷”、“□华宝有”，另有一印残。\n图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。\n花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。\n花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。\n画风工致细腻，构图丰满，繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作。",[23,7,24,51,100,26,27,102,1882,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5312cc31255d3afb48112f73e8e7a3f.jpg",[],{"id":16572,"slug":16573,"title":16574,"dynasty":114,"author":6287,"museum":132,"description":16575,"tags":16576,"thumbUrl":16577,"material":122,"size":122,"collection":122,"collections":16578,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":62},227831,"she-xiang-tu-mao-song-227831","麝香图","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。",[23,7,24,51,768,26,27,812,472,263,56,301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e654708b44e5b560820fa536d6656d.jpg",[],{"id":16580,"slug":16581,"title":16582,"dynasty":114,"author":1313,"museum":132,"description":16583,"tags":16584,"thumbUrl":16586,"material":122,"size":122,"collection":122,"collections":16587,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":62},227511,"qiu-ting-ying-xi-tu-jing-xin-su-han-chen-227511","秋庭婴戏图镜心","以前每逛国内一些博物馆，古玩店铺，诸多载体如绢纸本的画、玉器、瓷器上，你总能看到许多幼童、小少年在室内或庭院或郊外耍闹、游戏。而一番梳理下来，你能发现，历史上宋、明、清朝代，婴戏图尤其多。宋代多显现在存世的画幅、瓷器、玉器上。北宋五大名窑及更多地方窑口，均单色釉，少图案。南宋龙泉窑碗内偶见婴戏图形，北方磁州窑的罐、枕上，多有或钓鱼或卧躺的婴儿图。明代的绘画尤其是明中期宣德特别是正德、嘉靖时期的瓷器上，婴戏图逐渐风行，小孩子蹴鞠图十分常见。客观原因是因为无论是明朝繁盛的青花，还是后来发明的五彩，对“婴戏图”再现更容易。清代的图画、瓷器的青花粉彩、玉器上，或“百子图”或“三娘教子图”或“庭院婴戏图”等，更已普遍化。传统文化伦理中，福禄寿三星，“福”即是寄望多子，“多子多福”，故历朝历代也将这种寄望显现在不同的艺术载体上。宋、明、清“婴戏图”相对更多，与这几个时代的商品经济、俗世文化的发达及瓷器玉器家具等工艺技术的升级换代有关。窃以为，还有一个隐藏原因：与其时帝王子嗣的夭折过多、稀薄有关。",[7,24,51,16585,26,27,28,53,136,55,7785],"镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1313ad7296d75c27256b6ac0d233eba1.jpg",[],{"id":16589,"slug":16590,"title":16591,"dynasty":114,"author":211,"museum":132,"description":16592,"tags":16593,"thumbUrl":16594,"material":122,"size":122,"collection":122,"collections":16595,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":62},227488,"xie-sheng-hou-qin-tu-zhao-ji-227488","写生猴禽图","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[23,24,7,51,26,277,27,6290,1180,2785,56,711,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc738dc39291aa94d5820e8dca012b6.jpg",[],{"id":16597,"slug":16598,"title":16599,"dynasty":67,"author":13613,"museum":507,"description":16600,"tags":16601,"thumbUrl":16602,"material":3579,"size":16603,"collection":106,"collections":16604,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":41},226155,"fu-rong-yuan-yang-tu-zhou-li-yin-226155","芙蓉鸳鸯图轴","图绘鸳鸯一对，一只于芦滩上理毛，另一只自高处飞来，似与滩上的会合；画左侧绘一石块，一株芙蓉探出枝杆，枝头花团锦簇、绿叶繁茂。李因，字今是，工山水、花鸟，亦作诗文，画得陈淳之法，多用水墨，为明末清初时代励志女画家。",[23,24,7,52,277,102,246,969,56,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc1665e5ec8951f7b4aa571136b5df1.jpg","138.9x47.8cm",[106],{"id":16606,"slug":16607,"title":16608,"dynasty":114,"author":181,"museum":151,"description":16609,"tags":16610,"thumbUrl":16611,"material":217,"size":16612,"collection":122,"collections":16613,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":41},223591,"shu-he-sha-niao-tu-ye-yi-ming-223591","疏荷沙鸟图页","图中所绘残败的荷叶表明了时当秋日，荷塘的一角，一枝枯瘦的莲蓬横出画面，鹡鸰栖止于莲梗上，侧首注视着上方的一只小蜂，其凝神专注的神态刻画得惟妙惟肖。莲梗两端的鹡鸰与莲蓬巧妙地平衡了画面，而鹡鸰目向小蜂的视线则带动观者的视线落于画面上方，这种布局使画面显得既稳定又生动。此图格调典雅，用笔精致，画风细腻，荷叶枯黄的斑点和细小的筋脉均描绘得一丝不苟。",[23,7,24,51,100,26,27,119,118,74,398,11908,384,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a87f455c33296c9ed4d781844a8fe.jpg","纵25厘米，横25．6厘米",[],{"id":16615,"slug":16616,"title":16617,"dynasty":46,"author":1756,"museum":151,"description":16618,"tags":16619,"thumbUrl":16620,"material":250,"size":16621,"collection":122,"collections":16622,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":41},222824,"mei-he-tu-xu-gu-222824","梅鹤图","《梅鹤图》为1891年(清光绪十七年)，虚谷时年69岁所作。以梅鹤双清为题。两株梅树茁壮挺拔，细枝交错穿插，花朵星星点点，二只白鹤立于梅枝间。梅树始以湿笔淡墨写出，后以干笔复加勾点，线条断续顿挫。梅树奇绝，如剑如戟、铁干清曜。梅花花瓣棱角分明，突出其天生寒骨、峥嵘向上的铮铮傲骨。白鹤亦造型古朴，一改光洁华美、悠闲典雅的贵族气象，长颈后缩收紧，雪羽铺展。画面设色清淡，鹤顶却以朱红重色点醒，使整幅画冷俊之中又富变化，质朴而又耐人寻味。此画作充分体现了虚谷的用笔特点，虚谷晚年代表作之一。顾鹤逸曾称虚谷作画“清而不枯，密而不乱”，此画可见一斑。",[23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nualWeight":40,"mainColor":62},219560,"na-jian-tu-liu-jun-219560","纳谏图","工笔设色铺陈出朝堂议事的肃穆图景。主尊踞坐帐中，神色沉敛威严，阶下诸人或躬身禀奏、或长跪进言，武将甲胄鲜明英挺，文士宽袍意态恭谨，人物神态各尽其肖，将君臣纳谏对答的郑重氛围尽显。苍松虬劲卓立，奇石牡丹点缀帐顶，衬出仪制的雅致庄重。设色古雅厚重，衣纹铁线描劲挺流畅，既刻画出不同身份人物的风骨仪态，又精准渲染出朝堂议事的端严氛围，细节处见匠心笔力，尽显传统人物画的写实功力与礼制意涵。",[23,7,24,51,26,27,28,135,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be98c2f733f4de9fc678f8e7c26724b.jpg",[36],{"id":16698,"slug":16699,"title":2017,"dynasty":293,"author":181,"museum":20,"description":16700,"tags":16701,"thumbUrl":16702,"material":34,"size":16703,"collection":88,"collections":16704,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":41},218118,"shan-ju-tu-yi-ming-218118","山居图是指以山水为主题的图画。在中国画中，山水画是一种著名的画类型，表现的是山水景色以及人与自然的关系。山居图的画法细腻，注重细节，能够生动地表现出山水的美景。\n\n山居图的风格独特，画面精细，笔墨浓转淡，构图巧妙，能够生动地再现出山林间的幽静之美。这些画作通常描绘的是山林间的景色，或者是隐居僻静的山林小屋。其中，常常融入了自然和人文的元素，如树木、山峰、溪流、房屋、建筑等。",[23,24,7,51,75,277,27,73,297,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf4b59ffae7cdffb934293652f9b0153.jpg","34.8x58.9cm",[88],{"id":16706,"slug":16707,"title":16708,"dynasty":67,"author":12484,"museum":20,"description":16709,"tags":16710,"thumbUrl":16711,"material":666,"size":16712,"collection":36,"collections":16713,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":41},216994,"ning-qi-fan-niu-tu-zhou-chen-216994","宁戚饭牛图","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[24,7,51,52,277,510,73,28,1906,1059,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fed04e633925c11d278f84b1628a630.jpg","126.7x68.9",[36],{"id":16715,"slug":16716,"title":16717,"dynasty":67,"author":16718,"museum":395,"description":16719,"tags":16720,"thumbUrl":16721,"material":121,"size":122,"collection":106,"collections":16722,"showCount":16425,"zanCount":40,"manualWeight":40,"mainColor":62},216955,"shi-liu-li-shu-tu-ge-shu-ying-216955","石榴栗鼠图","葛淑英","葛淑英（1565年－1628年）是一位中国明朝时期的画家。葛淑英出生于江苏省无锡市，是明朝最著名的女画家之一。她以其精湛的画技和绚丽多彩的作品而闻名。其中最著名的作品之一是《石榴栗鼠图》。\n\n《石榴栗鼠图》是一幅以石榴和栗鼠为主题的水墨画。在这幅画中，葛淑英用柔和的线条勾勒出了两只栗鼠的轮廓。这三只栗鼠正在咀嚼着一个石榴，举动自然，看起来很可爱。葛淑英用细腻的笔触描绘出了栗鼠的皮毛，使它们看起来栩栩如生。此外，画中还有一棵树，树上有许多绿色的叶子，为整幅画增添了一丝清新的气息。\n\n《石榴栗鼠图》展示了葛淑英对自然的描绘能力，也展示了她对生活细节的捕捉能力。这幅画不仅美观，而且充满了温暖的气息，是一件令人感动的艺术作品。",[7,24,51,52,26,27,10418,472,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba5a7329abdb4f2ba88cf74167c31af.jpg",[106],{"id":16724,"slug":16725,"title":16726,"dynasty":67,"author":68,"museum":132,"description":11025,"tags":16727,"thumbUrl":16728,"material":317,"size":907,"collection":122,"collections":16729,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":41},290922,"ming-hua-hui-cao-chong-chou-ying-290922","明花卉草虫",[24,7,100,26,27,102,198,199,3798],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8163aef7e78f2a1d893f5eca500593eb.jpg",[],44,{"id":16732,"slug":16733,"title":3464,"dynasty":46,"author":7216,"museum":132,"description":16449,"tags":16734,"thumbUrl":16735,"material":317,"size":907,"collection":122,"collections":16736,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":62},290318,"sui-chao-tu-zhou-jiang-ting-xi-290318",[7,24,52,27,26,102,697,383,2067,7270,198,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b36f951d2dbef57185121b60fa59eb.jpg",[],{"id":16738,"slug":16739,"title":16740,"dynasty":67,"author":2218,"museum":132,"description":16741,"tags":16742,"thumbUrl":16743,"material":317,"size":907,"collection":122,"collections":16744,"showCount":16730,"zanCount":1065,"manualWeight":40,"mainColor":41},289753,"chun-shan-ji-cui-tu-dai-jin-289753","春山积翠图","《春山积翠图》绘一山间小径，一老者策杖缓行，侍童携琴随后，山间深处屋宇隐约。近景冈丘作古松一组，欹斜盘曲，挺立坡侧，是画面上分量最重的部分，而松荫下山路间，便是画面的主要人物。 [1] 此图画面呈“s”形布局之特点，诸景交错，产生深远感和开阔感。画中春山染绿，翠色茫茫，展现了春光中的壮丽景色。在技法上，笔墨简劲粗放，山石以大片渲染为主，加几笔勾勒和斧劈皴。",[7,24,51,52,277,75,28,5543,315,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9526f0a780eae247d4606bd9760b2cf.jpg",[],{"id":16746,"slug":16747,"title":16748,"dynasty":114,"author":259,"museum":132,"description":9610,"tags":16749,"thumbUrl":16750,"material":317,"size":907,"collection":122,"collections":16751,"showCount":16730,"zanCount":1065,"manualWeight":40,"mainColor":41},288539,"xie-sheng-jia-die-tu-zhao-chang-288539","写生蛱蝶图",[23,24,7,51,25,26,27,102,1702,199,198,2733,119,74,14926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97796390b63dc3cfc3af98bc62a819e5.jpg",[],{"id":16753,"slug":16754,"title":16755,"dynasty":114,"author":274,"museum":20,"description":16756,"tags":16757,"thumbUrl":16758,"material":736,"size":907,"collection":122,"collections":16759,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":62},288370,"chang-jiang-wan-li-tu-qian-juan-xia-gui-288370","长江万里图前卷","《长江万里图》是一幅长超过11公尺的手卷，画卷的前半段，以接近平视的角度近景特写岩块、林木，以及江行的舟船，表现长江三峡险峻和波涛汹涌的景观；后半段则是以俯视和远观的角度描绘江面上的活动，以及沿途所见秀丽的景色。从逼近观者的景物，转换到辽阔空旷的视野，这种构图的方式具有戏剧性的效果。在画卷最后，有元代鉴藏家柯九思的题字，鉴定这幅画作者是南宋夏珪。但是柯九思题字是后人伪造，所以这样的意见值得强烈怀疑。从时代风格来看，这种山水长卷的构图方式流行于明初，而在笔墨技巧方\n宋夏圭长江万里图卷\n宋夏圭长江万里图卷\n面，本幅的“斧劈皴”用同一方向的侧锋表现，而水纹的描绘也刻意强调浪花的造型和装饰效果，这些特征显示〈长江万里图〉的创作时代为十四世纪末至十五世纪初，可能是一张与明代宫廷画院风格密切相关的作品。",[23,7,24,25,277,75,73,425,3426,609,77,81,80,279,429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e9a3edd0ece6ad4727600c15137ec4.jpg",[],{"id":16761,"slug":16762,"title":16763,"dynasty":67,"author":13586,"museum":132,"description":16764,"tags":16765,"thumbUrl":16766,"material":317,"size":907,"collection":122,"collections":16767,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":41},287750,"hua-hui-shi-kai-he-tu-xiang-sheng-mo-287750","花卉十开(合图)","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,7,100,26,27,102,198,383,228,1882,54,103,1093,76,2067,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7dc877eba84263d9e3018bb06e2fb25.jpg",[],{"id":16769,"slug":16770,"title":16771,"dynasty":293,"author":9272,"museum":20,"description":16772,"tags":16773,"thumbUrl":16774,"material":121,"size":16775,"collection":122,"collections":16776,"showCount":16730,"zanCount":1065,"manualWeight":40,"mainColor":62},287543,"song-xi-fan-yue-zhou-sheng-mao-287543","松溪泛月轴","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[7,24,51,52,75,277,27,73,1570,79,80,1059,278,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b41217752380df4d2fb17d949ad269.jpg","135.3x59",[],{"id":16778,"slug":16779,"title":16780,"dynasty":67,"author":9618,"museum":132,"description":9619,"tags":16781,"thumbUrl":16782,"material":317,"size":907,"collection":122,"collections":16783,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":41},235671,"ban-chuang-chun-yu-tu-juan-xia-chang-235671","半窗春雨图卷",[24,7,51,25,277,53,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f3757d23ecd698c0710bd31456a191.jpg",[],{"id":16785,"slug":16786,"title":16787,"dynasty":67,"author":966,"museum":151,"description":16788,"tags":16789,"thumbUrl":16790,"material":16791,"size":16792,"collection":122,"collections":16793,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":41},233892,"mei-shi-jia-die-tu-juan-chen-hong-shou-233892","梅石蛱蝶图卷","本幅墨笔画，钤毕泷、毕沅、庞元济等藏印。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[24,7,51,25,277,510,74,102,383,136,1702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adf709c74efa862426abfaf7ff8a533.jpg","金笺","纵37.9cm横123cm",[],{"id":16795,"slug":16796,"title":16797,"dynasty":293,"author":7404,"museum":20,"description":16798,"tags":16799,"thumbUrl":16800,"material":34,"size":16801,"collection":122,"collections":16802,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":62},231404,"jun-ma-tu-zhao-yong-231404","骏马图","此画中主题与关键字是春景、高士（士人、隐士）、官员（臣）、马，描写平野放牧的景致，空旷幽远的构图布局中，五匹骏马安逸地散游在水边的几棵杂树之间；驯马人倚靠着松树，竟然打起瞌睡来，一副安然自在的样子。后方平静的湖水与秀丽的山峦连成一片，气氛更显得静穆、祥和。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[24,7,51,52,26,27,215,135,278,4731,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd50ae8022a673be0e735a42f54526d7.jpg","186x106",[],{"id":16804,"slug":16805,"title":16806,"dynasty":46,"author":2636,"museum":132,"description":16807,"tags":16808,"thumbUrl":16809,"material":122,"size":122,"collection":122,"collections":16810,"showCount":16730,"zanCount":1065,"manualWeight":40,"mainColor":41},230208,"xin-xie-zhi-ping-tu-qian-long-di-hou-fei-pin-tu-juan-lang-shi-ning-230208","心写治平图（乾隆帝后妃嫔图卷）","整卷以右至左排布人物，糅合西洋写实晕染与东方工笔雅致，将帝后妃嫔的面容刻画得精细入微，明暗起伏间尽显温婉端凝的皇家仪态。\n服饰纹样繁复考究，缂丝龙纹行云流转，貂皮立领柔润逼真，金线朱色点缀间尽显清宫礼制的华贵威仪。旁侧小字标注身份，朱红印章错落点缀，让画作兼具纪实性与艺术性。\n静穆典雅的画面中藏着清代宫廷的仪制尊荣，是中西绘法融合的经典肖像佳作，将帝后群像的雍容气度凝固于绢本之上。",[23,24,7,25,26,27,28,30,1861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a89e21b664b7586cc2499e512566ef0.jpg",[],{"id":16812,"slug":16813,"title":16814,"dynasty":67,"author":899,"museum":132,"description":16815,"tags":16816,"thumbUrl":16817,"material":122,"size":122,"collection":122,"collections":16818,"showCount":16730,"zanCount":1065,"manualWeight":40,"mainColor":41},228478,"wang-shu-gong-ji-tu-tang-yin-228478","王蜀宫妓图","画作以柔丽工笔重彩绘就四位宫妓，她们头戴花冠，两两相对，或拈花簪鬓，或对镜理容，眉眼含柔，尽显娇婉慵闲之态。衣纹勾勒细劲流畅，敷色妍雅鲜亮，将蜀地宫娥的柔媚风韵晕染尽致。\n\n画幅题诗暗合前蜀宫闱旧事，在仕女的绮艳描摹之中，暗寓对耽于宴乐的讽喻，将精工的视觉美感与文人的寄兴藏于一体，于柔丽雅致间藏着沉敛的讽世之思，是仕女画中兼擅审美意趣与文心寄寓的经典之作。",[23,7,24,51,52,27,28,29,30,1861,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2530c75a1f39e5bab12ffc2dd7b41be1.jpg",[],{"id":16820,"slug":16821,"title":16822,"dynasty":67,"author":899,"museum":132,"description":16823,"tags":16824,"thumbUrl":16825,"material":122,"size":122,"collection":122,"collections":16826,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":62},228468,"shi-ming-tu-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[23,7,24,51,25,277,27,497,73,118,119,74,75,135,559,28,278,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":16828,"slug":16829,"title":12996,"dynasty":114,"author":274,"museum":132,"description":16830,"tags":16831,"thumbUrl":16833,"material":122,"size":122,"collection":122,"collections":16834,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":62},227747,"dong-ting-qiu-yue-tu-xia-gui-227747","《洞庭秋月图》是宋代画家夏圭创作的绢本水墨画，现藏于美国弗利尔美术馆。\n\n《洞庭秋月图》描绘洞庭湖月光下动人的月夜景色，画面上传达出非常幽意、宁静山的辽阔、清幽、深远，营造出广博崇深、雄奇秀丽的画面境界，具有清旷超凡的幽远意境和韵度，体现了当时南宋时期文人“故国”情怀和悲愤之情。同时《洞庭秋月图》是从日本流散到美国的夏圭有关“ 潇湘图像”中唯一传世的作品。诗后无款，钤朱文双钩降龙朱文小圆玺。",[23,24,51,7,52,277,73,75,1570,1059,56,649,16832],"远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447d6ceb83a58f9c29a1ff0d0ad2cf84.jpg",[],{"id":16836,"slug":16837,"title":16838,"dynasty":114,"author":4389,"museum":132,"description":16839,"tags":16840,"thumbUrl":16841,"material":122,"size":122,"collection":122,"collections":16842,"showCount":16730,"zanCount":1065,"manualWeight":40,"mainColor":62},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,51,24,7,25,72,27,26,73,118,74,75,28,77,78,79,80,81,56,55,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":16844,"slug":16845,"title":7310,"dynasty":114,"author":6876,"museum":132,"description":16846,"tags":16847,"thumbUrl":16848,"material":122,"size":122,"collection":122,"collections":16849,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":62},227691,"wen-ji-gui-han-tu-chen-ju-zhong-227691","故宫收藏的这幅《文姬归汉》，并没有作者的签名或者印记，旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,24,7,25,26,27,28,215,74,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b0b01bd2a87126fc14abc0b1bfe988.jpg",[],{"id":16851,"slug":16852,"title":16853,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":16854,"thumbUrl":16857,"material":317,"size":907,"collection":3417,"collections":16858,"showCount":16730,"zanCount":541,"manualWeight":40,"mainColor":62},225726,"butterflies-and-poppies-april-may-fan-gao-225726","Butterflies and poppies (April - May )",[7,3410,3411,16855,12532,27,200,3342,137,16856],"色彩浓郁","茎叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c05154593d54f2ae99eba9a94f67dcf.jpg",[3417],{"id":16860,"slug":16861,"title":16862,"dynasty":114,"author":181,"museum":20,"description":16863,"tags":16864,"thumbUrl":16865,"material":283,"size":16866,"collection":175,"collections":16867,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":62},223418,"zi-mu-ji-tu-yi-ming-223418","子母鸡图","此图绘一只母鸡引领着几只孵出不久的小鸡，在地上漫步啄食。母鸡雪白的羽毛蓬松亮丽，目光中充满着慈爱，小鸡则稚嫩怯弱，依偎在母亲的羽翼保护下。母鸡俯身与宝宝们对话，神情爱怜。此画虽无陪衬，却能以情动人。作品在技法处理上，母鸡以勾线、施毛渲染，而小鸡则以施毛勾出轮廓，全以渲染，两者对比，更显小鸡稚嫩，母鸡慈爱。更精妙的是作者在对母鸡眼睛的处理上，把留白的位置留在眼珠的最前面，使其俯身之姿更加强烈",[23,7,24,51,26,27,102,1435,12083,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d3bda73641850315ec173a9cfe7fc6.jpg","纵59.99cm 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既有李成之清雅，又兼李思训之富丽。\n此图凄迷的诗意化山水景致，充满着丧失爱情、希望与友谊的悲痛之情，表达了他于惨遭放逐期间内心荒寂的梦幻世界。\n此图平远布局，起首浅岸一隅，江面辽阔，波心渔舟泛泛如鸥。中幅峰峦迭起，前后拱揖，呈奇耸秀。山间烟云缭绕，百道飞泉，萦林络石，下赴谷口。楼阁隐现于白云青峰之间。后段烟水迷蒙。全图表现出“江上愁心干叠山，浮空积翠如云烟”、“春风摇江天漠漠，暮云卷雨山娟娟”的清空深秀意境。用笔结合唐人勾斫法和李成的颖利笔法，凝练清劲。树木参用勾叶、点叶多种方法，层次参差，显得葱倩郁密。山峦敷染青绿重色，花青染叶，深墨渍涧，色泽鲜丽厚实，将唐人的古朴和宋人的精密融成一体，开创出青绿山水的新格调。\n在构图上，远近疏离，似有一透视感，远山隐映于云雾之中，悠远秀丽。\n作者用笔凝炼，骨法端重而不板刻，山石用墨笔勾皴，不方不圆，似行似隶，因而画中的气韵十分生动；此图用青绿着色，重彩复皴，再用花青运墨点苔，益见山色之奇丽多姿。画树多夹叶或点笔，著色有石青，石绿、浅绿及赭红等。苍翠之中愈见青葱鲜丽，无煊耀之燥气，又有静穆的庄严。以深墨渍出山涧，留白以状飞瀑，形成了黑白相映的反差。青山间有白云缭绕，用工笔浅描，线划空明，使重叠的山峦在炯云中时显时隐。石皴不方不圆之间，山石形态各异。界画工整的楼阁、屋宇，隐显于青山白云之间，极富雅趣。作者以诸种手法以表现，使北宋山水画达到了神妙的境界",[23,7,24,51,25,75,277,27,73,16909,11754,2009,82,279],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df1d52102b8e94aadf1789685e44f7d.jpg","纵45.2厘米，横166厘米",[],{"id":16914,"slug":16915,"title":16916,"dynasty":114,"author":181,"museum":20,"description":16917,"tags":16918,"thumbUrl":16920,"material":34,"size":16921,"collection":175,"collections":16922,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":41},219233,"qiu-tang-fu-yan-tu-yi-ming-219233","秋塘凫雁图","松枝如墨笔皴染，苍劲枝干斜倚塘边，松针细密如丝，织着秋的清寒。几只凫雁散落在岸石上：有的敛翅蜷身，似枕着午后秋光小憩；有的侧颈理羽，绒羽软意与石面凉硬相映成趣。塘水静如镜，淡褐水面漾着若有若无的烟霭，把远天晕成朦胧色块，连风都放缓了脚步。\n\n笔墨简淡却藏极致细腻：每根松针带秋的劲挺，每片羽翎裹塘边静气，连岸石纹理都浸着湿润凉意。这方圆景里，秋意非萧瑟，而是生灵与自然的温柔相拥——宋人把对天地万物的深情，凝在一笔一划、一禽一木的静谧中，让千年后的我们，仍能触到那份清旷与安然。",[23,7,24,27,26,768,16919,82,2292,298,201,3037],"凫雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512ca8a7e13d31ef689e673f06c54768.jpg","24.8x25.2cm",[175,106],{"id":16924,"slug":16925,"title":16926,"dynasty":114,"author":4895,"museum":20,"description":16927,"tags":16928,"thumbUrl":16929,"material":34,"size":16930,"collection":175,"collections":16931,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":41},218951,"jie-ge-yi-chun-tu-wang-shen-218951","杰阁媐春图","这幅画描绘了一栋山坡建筑的一个角落，楼上有两个女人在看围栏，而一个女人在下层的走廊上走着，后面跟着一个女仆。身材高大而修长。担架的使用和树木、山石的笔法与《景德镇四库全书》相似，疑为北宋作品，无题款，原署名王僧杰伊春。",[23,24,7,100,855,27,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0c7f409af54da8ac9c4eeee02c02cd.jpg","22.5x21.7",[175],{"id":16933,"slug":16934,"title":16935,"dynasty":114,"author":181,"museum":20,"description":16936,"tags":16937,"thumbUrl":16938,"material":34,"size":16939,"collection":175,"collections":16940,"showCount":16730,"zanCount":1065,"manualWeight":40,"mainColor":41},218858,"lian-tang-shui-fu-tu-yi-ming-218858","莲塘睡凫图","画家不仅将鸭子讨人喜欢的柔美外表表现得淋漓尽致，还将鸭子的毛绒质感表现得淋漓尽致。",[23,24,7,51,100,102,26,398,7426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad944b5f7cf79d9baa44a2f50701f1b1.jpg","21.2x23.4",[175,90],{"id":16942,"slug":16943,"title":16944,"dynasty":67,"author":181,"museum":20,"description":16945,"tags":16946,"thumbUrl":16948,"material":34,"size":16949,"collection":36,"collections":16950,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":479},218445,"xi-ying-tu-yi-ming-218445","戏婴图","古雅绢色晕染出时光的温润，三个稚童围聚盆边的嬉戏场景，似将千年笑语凝于尺幅。红衣童子侧身托腮，绿衣小儿俯身探向盆中浮舫，灰衣幼童低首凝视，每一处神态皆憨态可掬。虬枝垂落艳红石榴，饱满果实暗蕴多子祈愿；盆沿纹饰斑斓，与稚子衣袂的鲜活色彩相映成趣。线条简练却传神，衣褶的松弛、动作的天真，尽得孩童本真之态。古绢的斑驳未减其韵，反让这份日常嬉戏的温馨更显隽永——无需刻意雕琢，便将纯粹童趣化为穿越时空的感动，引观者驻足，重拾心底那份久违的澄澈快乐。",[24,51,7,52,26,27,1229,560,1167,16947,278,198],"石榴树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4bcc721f7de92c5eb1552f1552e379.jpg","144.2x79",[36],{"id":16952,"slug":16953,"title":16954,"dynasty":46,"author":11236,"museum":166,"description":14692,"tags":16955,"thumbUrl":16956,"material":34,"size":14695,"collection":122,"collections":16957,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":41},218326,"shen-xian-gu-shi-tu-ce-10-leng-mei-218326","神仙故事图册-10",[23,7,24,51,100,26,27,28,278,279,30,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59c4eabdad812463812ac127f8c66.jpg",[],{"id":16959,"slug":16960,"title":16961,"dynasty":46,"author":16962,"museum":260,"description":16963,"tags":16964,"thumbUrl":16965,"material":267,"size":16966,"collection":36,"collections":16967,"showCount":16730,"zanCount":40,"manualWeight":40,"mainColor":62},218317,"ri-ben-du-tang-tian-shen-tu-zhang-ze-lu-xue-218317","日本· 渡唐天神图","长泽芦雪","儒雅身影立于画间，素袍朱带，青蓝镶边衬出几分清逸。手中梅枝疏朗，白花点点，似凝着唐风的幽韵。面容温和，眉眼间藏着跨越沧海的求知热忱——渡唐之行，是对文明的奔赴。线条细腻婉转，衣袂流动如行云；设色淡雅层次分明，尽显古典雅致。整幅画将文化交流的往昔身影定格，梅枝的高洁与远行的执着相融，似在诉说一段山海间的文化情缘，让跨越时空的向往成为永恒的艺术图景。笔端流转间，东方文人的风骨与文化传续的热忱跃然纸上，每一处细节都藏着对文明对话的深情致意。",[7,24,52,27,28,383,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cb9c616b9849d1ad3ea628fc3da026.jpg","89.2x33",[36],{"id":16969,"slug":16970,"title":16971,"dynasty":293,"author":16972,"museum":395,"description":16973,"tags":16974,"thumbUrl":16975,"material":666,"size":16976,"collection":88,"collections":16977,"showCount":16730,"zanCount":1065,"manualWeight":40,"mainColor":41},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","方从义","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[23,7,24,51,25,277,75,73,74,119,425,279,82,434,280,648,4496,4497,746,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[88],{"id":16979,"slug":16980,"title":3149,"dynasty":114,"author":4389,"museum":132,"description":16981,"tags":16982,"thumbUrl":16983,"material":317,"size":907,"collection":122,"collections":16984,"showCount":16985,"zanCount":40,"manualWeight":40,"mainColor":62},290088,"han-gong-chun-xiao-tu-zhao-bo-ju-290088","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。",[7,24,855,26,27,77,75,2043,82,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa88892b34b877788f8b89fdee5cdd3a.jpg",[],43,{"id":16987,"slug":16988,"title":16989,"dynasty":293,"author":181,"museum":132,"description":16990,"tags":16991,"thumbUrl":16992,"material":317,"size":907,"collection":122,"collections":16993,"showCount":16985,"zanCount":1065,"manualWeight":40,"mainColor":62},290068,"pu-dian-hua-niao-tu-yi-ming-290068","铺殿花鸟图","这幅古作以沉郁青绿为底，晕染着岁月晕开的斑驳痕迹。枝桠交错间，春梅与海棠次第盛放，花苞轻缀、繁花舒展，柔媚花色和苍劲老枝相映成趣。\n\n两只禽鸟一仰一俯，顾盼有情，翎毛细处勾勒精工、晕染柔和，将娇憨灵动的神态尽数留住。笔墨带着妍雅古拙的意趣，把春日枝梢间的悠然闲静凝于绢素，纵使历经年岁磨洗，依旧能窥见彼时工致雅致的花鸟遗风，将春日幽隽的生机诗意定格。",[24,7,26,27,102,84,383,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F507416e7a89e7cbd27a1fa5d32854bf7.jpg",[],{"id":16995,"slug":16996,"title":16997,"dynasty":114,"author":6856,"museum":132,"description":16998,"tags":16999,"thumbUrl":17000,"material":317,"size":907,"collection":122,"collections":17001,"showCount":16985,"zanCount":40,"manualWeight":40,"mainColor":62},289957,"xue-jing-shan-shui-ye-liang-kai-289957","雪景山水页","梁楷，生于1150年，父亲梁端，祖父梁扬祖，曾祖梁子美皆为宋朝大臣。东平须城（今山东东平）人，南宋画家。南渡后流寓钱塘（今浙江杭州）。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。他喜好饮酒，酒后的行为不拘礼法，人称是“梁风（疯）子”。\n梁楷传世的作品包含了《六祖伐竹图》《李白行吟图》《泼墨仙人图》《八高僧故事图卷》等，但以《泼墨仙人图》最为有名。",[24,7,768,277,73,75,1357,647,80,1681],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626a1cd836e0e08dc4762048b518eb9f.jpg",[],{"id":17003,"slug":17004,"title":17005,"dynasty":114,"author":631,"museum":132,"description":17006,"tags":17007,"thumbUrl":17008,"material":317,"size":907,"collection":122,"collections":17009,"showCount":16985,"zanCount":40,"manualWeight":40,"mainColor":62},289331,"xi-shan-shui-ge-tu-li-song-289331","溪山水阁图","此幅绘溪水寒林，峭壁危岩，远山空蒙，白云缭绕，溪前敞榭虽只以粗笔界尺寥寥勾出，但造型准确，结构清晰。近景徒手意笔写板桥，颇有野趣。榭中人物凭栏远眺，于湖光山色映衬下，画面清秀明净而略显空寂。山石用斧劈皴，树略拖枝，带有马远风格，是宋人册页中粗笔楼阁的代表作品。",[23,7,24,768,277,75,77,78,647,648,79,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a877faf9267ef285cfa4fa0ac8188a.jpg",[],{"id":17011,"slug":17012,"title":17013,"dynasty":114,"author":878,"museum":132,"description":5276,"tags":17014,"thumbUrl":17015,"material":317,"size":907,"collection":122,"collections":17016,"showCount":16985,"zanCount":40,"manualWeight":40,"mainColor":62},289328,"song-shi-guan-pu-tu-ma-yuan-289328","松石观瀑图",[7,24,52,277,75,609,278,313,28,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35cd96a142e4b4b4d479be3ef608f9e2.jpg",[],{"id":17018,"slug":17019,"title":16862,"dynasty":114,"author":12079,"museum":132,"description":17020,"tags":17021,"thumbUrl":17023,"material":317,"size":907,"collection":122,"collections":17024,"showCount":16985,"zanCount":40,"manualWeight":40,"mainColor":41},288841,"zi-mu-ji-tu-wang-ning-288841","王凝（公元11世纪）〔北宋〕江南人，生卒年不详，画院待诏，为熙宁(1068-1077)前画院高手。",[7,24,51,1455,26,27,12082,12083,17022,74],"温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2bf0e55f242c2a44237a43bf7541f5.jpg",[],{"id":17026,"slug":17027,"title":17028,"dynasty":114,"author":6856,"museum":132,"description":17029,"tags":17030,"thumbUrl":17031,"material":317,"size":907,"collection":122,"collections":17032,"showCount":16985,"zanCount":40,"manualWeight":40,"mainColor":41},288491,"liu-zu-jie-zhu-tu-liang-kai-288491","六祖截竹图","画家深入体察所画人物的精神特征，以简练的笔墨表现出人物的音容笑貌，以简洁的笔墨准确地抓取事物的本质特征，充分地传达出了画家的感情，从而把写意画推入一个新的高度，使时人耳目一新。",[23,24,7,52,277,510,28,678,53,647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613ca3795615c3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t":40,"mainColor":41},228179,"xiu-ye-xuan-tu-juan-zhu-de-run-228179","秀野轩图卷","朱德润","淡墨轻岚晕染平远丘壑，山峦温润迤逦，洲渚间林木蓊郁，秀野轩临水静立，溪岸萦回、浅汀横斜，尽显江南山居的清寂野趣，将湖山灵秀与林下幽居的隐逸意趣相融。\n\n引首榜书沉雄苍劲，后接数十段题跋，行楷秀逸舒展，笔致清和雅致。诗书画印一体，以画绘景，以诗述怀，书法映托山水雅韵，尽显元代文人寄情林泉、雅集酬唱的林下襟怀，淡墨间晕开幽远诗意，是元人山水画中诗画合璧的经典之作。",[23,24,7,25,277,73,75,82,559,17097,648,4496,119,74],"亭轩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a06906c63a6a83703b85153edd1ffe.jpg",[],{"id":17101,"slug":17102,"title":2348,"dynasty":114,"author":181,"museum":132,"description":17103,"tags":17104,"thumbUrl":17105,"material":122,"size":122,"collection":122,"collections":17106,"showCount":16985,"zanCount":541,"manualWeight":40,"mainColor":41},227387,"shu-kui-yi-ming-227387","此画选自《宋人收藏绘本》。 原本应该是一种具有实用功能的扇形面条，但后来以相册的形式转化为草图。 全幅双钩挂满，写有一株蜀葵（古称木槿），花苞无数，第二次绽放，布局和姿态自然生动。 比如花瓣的钩子和叶子的锯齿筋，笔刷都一展身手。 枝条、花萼、叶背也染上了青绿色和多汁的绿色，翻到一旁时，显得十分美丽和真实。 虽非作者印章，但画风具有宋代庭院花画的清秀特点，应该出自南宋画院专家之手。",[23,7,24,51,26,27,102,263,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3504db8c782a0bf56ff3d8e7afbe96.jpg",[],{"id":17108,"slug":17109,"title":17110,"dynasty":18,"author":5250,"museum":132,"description":17111,"tags":17112,"thumbUrl":17113,"material":122,"size":122,"collection":122,"collections":17114,"showCount":16985,"zanCount":40,"manualWeight":40,"mainColor":62},227261,"hua-hui-xie-sheng-tu-ce-huang-ju-cai-227261","花卉写生图册","黄居寀(933—?),字伯鸾,成都(今属四川)人,五代后蜀名画家黄筌季子。擅绘花竹禽鸟,精于勾勒,用笔劲挺工稳,填彩浓厚华丽,其园竹翎毛形象逼真,妙得自然;怪石山水超过乃父。与父同仕后蜀,为翰林待诏。乾德三年(965)随蜀主降宋,进京供职宫廷,仍授翰林待诏,负责收罗和鉴定名画,淳化四年(993)曾出使成都府。太宗尤加宠遇,委以搜访名画、诠定品目只重责。",[7,24,51,100,27,26,102,198,200,1190,1882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc391f878cf5f9eadb56dcc0c84f4c326.jpg",[],{"id":17116,"slug":17117,"title":17118,"dynasty":46,"author":17119,"museum":7613,"description":17120,"tags":17121,"thumbUrl":17122,"material":122,"size":7029,"collection":106,"collections":17123,"showCount":16985,"zanCount":541,"manualWeight":40,"mainColor":41},224544,"mo-song-tu-weng-fang-gang-224544","墨松图","翁方纲","翁方纲（1733—1818），字正三，号覃溪，晚号苏斋，顺天大兴（今属北京市）人。清乾隆十七年（1752年）进士，官至内阁学士。翁方纲精于考据、金石、书法之学，又是清代'肌理说'诗论的倡始人。书学欧、虞，谨守法度。尤善隶书，相传翁方纲能在瓜子仁上书写小楷字，功力精熟可见一斑。《清朝书画录》把他和刘墉、梁同书、王文治齐名，并称'翁、刘、梁、王'。亦与刘墉、成亲王永瑆、铁保齐名，称'翁刘成铁'。",[23,24,51,7,277,697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34613a6fbd97265e1f60882c39df8312.jpg",[106],{"id":17125,"slug":17126,"title":17127,"dynasty":114,"author":181,"museum":20,"description":17128,"tags":17129,"thumbUrl":17136,"material":156,"size":17137,"collection":122,"collections":17138,"showCount":16985,"zanCount":40,"manualWeight":40,"mainColor":62},223586,"hua-qian-shou-qian-yan-guan-shi-yin-pu-sa-yi-ming-223586","画千手千眼观世音菩萨","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，他的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[23,7,24,51,52,678,5399,26,27,17130,28,6550,17131,17132,2042,17133,17134,17135],"彩绘","千手千眼","胁侍","光环","法器","飞天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeb00110c2af854cb19eb6e127dce762.jpg","176.8公分横：76.2公分",[],{"id":17140,"slug":17141,"title":17142,"dynasty":46,"author":5439,"museum":132,"description":17143,"tags":17144,"thumbUrl":17145,"material":250,"size":17146,"collection":122,"collections":17147,"showCount":16985,"zanCount":1065,"manualWeight":40,"mainColor":41},223372,"lan-tu-yun-xiang-223372","兰图","清代女道士，无锡人，生卒年不详，俗姓王，名静莲，一名岳莲。自幼出家于惠山福慧双修庵，后自度为女道士。因慕明末秦淮八艳之一卞玉京为人，故取号玉井道人，又号清微道人。韵香能书擅画，尤擅画兰。韵香收藏有《空山听雨图册》，韵香将此图册视为生家性命，因图册佚失，她特地请画家文人重新作图题诗，不料图册再度佚失，韵香因此遭受打击，心灰意懒，不久即离开了人世。韵香死后，《空山听雨图册》几经流转，散而复聚，最后归于无锡博物院。\n《空山听雨图册》外尺寸为横25.5厘米×纵36.5厘米，每开画心尺寸不一，其名称缘于清代金石书画家奚冈为韵香所作《空山听雨图》。今图册中有吴让之所题隶书“空山听雨图”，并跋云：“清微道人有奚铁生所画空山听雨图，生平寄意在此，乞一时名贤题咏……”奚冈所作《空山听雨图》原作佚去，奚冈生卒年为1746—1803年，此图的创作年代不会晚于1803年。无锡博物院所收藏的《空山听雨图》共有5开，吕培一开，作于壬申（1821年）首夏。许乃谷一开，未署年款，落款注明“清微道人属写”。沈梧两开，分别作于同治甲子（1864）年、乙丑（1865）年。叶衍兰一开，作于光绪丁丑（1877）年。沈叶二图当为后世藏家追慕前贤，作图以示敬仰之意。吕培所作为浅设色，许乃谷所作为水墨，二人均用米家云山图写之，水渚烟树小阁，濛潆凄迷。奚冈原作虽不可见，从吕许二人所作云山图可以想象原作大致面貌。\n《空山听雨图》有上百人题咏，其中刘墉一开，其题咏不会晚于刘墉卒年1804年。洪亮吉、赵怀玉同题于一开，分别为1804年和1805年。刘洪赵这二开当为《空山听雨图》未佚失前的原有题咏。（赵钦仁辑）",[23,7,24,51,25,277,228,56,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098d109487c7c07d1876d37c94f78122.jpg","28x383厘米",[],{"id":17149,"slug":17150,"title":17151,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":17152,"thumbUrl":17153,"material":27,"size":2642,"collection":122,"collections":17154,"showCount":16985,"zanCount":40,"manualWeight":40,"mainColor":41},222728,"xian-e-chang-chun-tu-hai-tang-yu-lan-tu-lang-shi-ning-222728","仙萼长春图海棠玉兰图",[23,7,24,51,100,26,27,102,1701,2190,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402be11b89f693a14c347585e12d9775.jpg",[],{"id":17156,"slug":17157,"title":17158,"dynasty":46,"author":10611,"museum":17159,"description":17160,"tags":17161,"thumbUrl":17162,"material":10534,"size":17163,"collection":88,"collections":17164,"showCount":16985,"zanCount":40,"manualWeight":40,"mainColor":62},222633,"tian-tai-bai-song-tu-gao-feng-han-222633","天台白松图","中国国家博物馆","绘松树两棵，松杆粗壮，松针茂密；灵芝依树而生，形状如耳。此幅图亦是一幅祝寿图，松树寓长寿，灵芝是长生，瑞草有“松树延年 灵芝祥瑞”的寓意。图上自题：“天台白松 高凤翰左手 祝”。",[23,7,24,51,52,277,609,278,73,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108d7a22714402bfdc04e275079a27eb.jpg","105x34cm",[88,286],{"id":17166,"slug":17167,"title":17168,"dynasty":67,"author":1070,"museum":69,"description":9427,"tags":17169,"thumbUrl":17170,"material":1061,"size":9431,"collection":122,"collections":17171,"showCount":16985,"zanCount":40,"manualWeight":40,"mainColor":41},222564,"hua-hui-tu-3-chen-chun-222564","花卉图3",[23,7,24,51,102,368,277,27,198,56,74,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34c461d6fd907b9261669a6aad2bf19.jpg",[],{"id":17173,"slug":17174,"title":17175,"dynasty":67,"author":10910,"museum":507,"description":17176,"tags":17177,"thumbUrl":17178,"material":342,"size":17179,"collection":88,"collections":17180,"showCount":16985,"zanCount":541,"manualWeight":40,"mainColor":62},222386,"shi-jia-mu-ni-tu-zhou-ding-yun-peng-222386","释迦牟尼图轴","此图重色绘山石、松木，佛祖释迦牟尼坐于蒲团之上，着宽袍，双手搭膝，下巴置于手上沉思悟道。画面以青绿山水的画法绘环境，古松粗壮茂盛，松针描画精细，白衣人物在山石的青绿之间格外突出。",[23,24,7,52,678,26,27,28,75,609,281,5314,2358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52cc841ece026ee2bfb0bfd92cfa7b8b.jpg","140.7×58cm",[88,90],{"id":17182,"slug":17183,"title":17184,"dynasty":114,"author":878,"museum":20,"description":17185,"tags":17186,"thumbUrl":17187,"material":34,"size":1306,"collection":122,"collections":17188,"showCount":16985,"zanCount":40,"manualWeight":40,"mainColor":62},221524,"yue-ye-bo-ruan-zhou-ma-yuan-221524","月夜拨阮轴","画中采用了大量留白，近处只刻画一角。画中人物独坐，如痴如醉的弹奏阮琴，只有一只仙鹤为伴。远处层峦山脉，马远只用寥寥几笔带出，在无尽的留白中，一轮满月轻悬于空。\n马远的画作以小见大，“一沙一世界，一树一菩提”，马远所画一角，便能呈现出广袤无际的天地。",[23,24,7,51,52,277,73,75,53,1570,648,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa301730172f5443a0e5a99c9f55ffb2b.jpg",[],{"id":17190,"slug":17191,"title":17192,"dynasty":114,"author":310,"museum":20,"description":2376,"tags":17193,"thumbUrl":17194,"material":611,"size":17195,"collection":122,"collections":17196,"showCount":16985,"zanCount":40,"manualWeight":40,"mainColor":62},221387,"bao-shan-shi-jing-ce-fan-kuan-221387","包山十景册",[23,7,24,51,100,27,75,278,82,434,28,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547a3b1370dc9ee21fc24baeb7fb8ad8.jpg","30.2x31.8",[],{"id":17198,"slug":17199,"title":17200,"dynasty":114,"author":8016,"museum":69,"description":17201,"tags":17202,"thumbUrl":17203,"material":27,"size":17204,"collection":175,"collections":17205,"showCount":16985,"zanCount":541,"manualWeight":40,"mainColor":62},221317,"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","《九歌》是《楚辭》篇名。原為傳說中的一種遠古歌曲的名稱，戰國楚人屈原據民間祭神樂歌改作或加工而成。共十一篇：《東皇太一》、《雲中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《東君》、《河伯》、《山鬼》、《國殤》、《禮魂》。《國殤》一篇，是悼念和頌讚為楚國而戰死將士;多數篇章，則皆描寫神靈間的眷戀，表現出深切的思念或所求未遂的傷感。王逸說是屈原放逐江南時所作。但現代研究者多認為作於放逐之前，僅供祭祀之用。",[23,24,7,51,25,27,26,28,75,473,135,118,74,684,8020],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 × 716 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画的特点。",[7,24,52,26,27,1045,11269,680,4520,17352,56,17353,17354,17355],"树石","备茶","萧翼赚兰亭","《兰亭序》","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d7369ef6326f5b81cab49e4cb54bbf.jpg","纵124厘米，横78厘米",[36],{"id":17360,"slug":17361,"title":17362,"dynasty":46,"author":17363,"museum":132,"description":17364,"tags":17365,"thumbUrl":17366,"material":317,"size":907,"collection":122,"collections":17367,"showCount":17291,"zanCount":40,"manualWeight":40,"mainColor":41},238955,"yu-ce-ye-ma-yuan-yu-238955","鱼册页","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[7,24,51,2613,277,27,1179,2664,102,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3792bb542308bd6469d94eda6dc0aa5b.jpg",[],{"id":17369,"slug":17370,"title":17371,"dynasty":46,"author":17372,"museum":151,"description":17373,"tags":17374,"thumbUrl":17375,"material":122,"size":17376,"collection":88,"collections":17377,"showCount":17291,"zanCount":1065,"manualWeight":40,"mainColor":62},238136,"jiang-shan-qiu-ji-tu-juan-yun-xi-238136","江山秋霁图卷","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[23,7,24,51,25,27,73,75,297,298,279,82,559,664,3037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614009d1680a009126009a62d024bfab.jpg","22.5×143.2厘米",[88,90],{"id":17379,"slug":17380,"title":17381,"dynasty":46,"author":17382,"museum":151,"description":17383,"tags":17384,"thumbUrl":17385,"material":17386,"size":17387,"collection":106,"collections":17388,"showCount":17291,"zanCount":40,"manualWeight":40,"mainColor":41},236456,"mei-qing-shuang-song-tu-zhou-mei-qing-236456","梅清双松图轴","梅清","梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。清初画家、诗人。工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。著有《天延阁集》、《梅氏诗略》等书。",[24,51,7,52,277,73,697,136,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e75e8c80c5c3ed6ad95de53a4991beb.jpg","纸本 ，墨笔","纵155.5cm，横66cm",[106,90],{"id":17390,"slug":17391,"title":17392,"dynasty":46,"author":8472,"museum":151,"description":17393,"tags":17394,"thumbUrl":17395,"material":122,"size":122,"collection":122,"collections":17396,"showCount":17291,"zanCount":40,"manualWeight":40,"mainColor":62},234549,"gao-qi-pei-mo-long-tu-zhou-gao-qi-pei-234549","高其佩墨龙图轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[24,7,52,277,16513,370,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635bf304b52147a5325deb8cb117ab2a.jpg",[],{"id":17398,"slug":17399,"title":17400,"dynasty":46,"author":5590,"museum":151,"description":17401,"tags":17402,"thumbUrl":17403,"material":156,"size":17404,"collection":88,"collections":17405,"showCount":17291,"zanCount":1065,"manualWeight":40,"mainColor":41},234289,"shan-shui-lou-ge-ce-chen-mei-234289","山水楼阁册","陈枚在绘画上受到郎世宁的影响，运用了一些西洋的透视画法，表现出物象的立体感。他曾“以海西法于寸纸尺缣图群山万壑，峰峦林木，屋宇桥梁。”此册以中西合璧的绘画技法展现出圆明园中西融会的建筑与宫殿园林的完美结合，使人对这座“万园之园”产生无尽的遐想。咸丰十年（1860年），英法联军焚毁圆明园，因而该册的艺术价值弥足珍贵。",[24,7,100,855,27,75,77,119,74,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d31cd400a8dc8e30ee5eedf5bda6150.jpg","纵31厘米，横25.3厘米",[88,90],{"id":17407,"slug":17408,"title":17409,"dynasty":114,"author":165,"museum":132,"description":17410,"tags":17411,"thumbUrl":17412,"material":122,"size":122,"collection":122,"collections":17413,"showCount":17291,"zanCount":40,"manualWeight":40,"mainColor":62},230968,"yun-shan-die-cui-tu-zhou-mi-fei-230968","云山叠翠图轴","此作用水墨晕染摹写江南烟峦，以米点皴晕出山麓林泽的苍润郁茂。层叠峰岫在流荡的云雾中半隐半现，虚实交错间晕开空濛幽远的氤氲之气，将江南烟雨的朦胧柔婉尽显。\n下方平林村居，屋舍错落清溪蜿蜒，林木苍黑如黛，山野的静谧闲适扑面而来。全画脱却工细刻画，笔墨简淡随性，以氤氲水墨营造出如梦似幻的烟岚世界，将自然山水的灵秀与文人写意的雅趣相融，传递出悠然淡远的山居意趣，尽显水墨山水空濛雅致的独特风韵。",[23,7,24,51,52,277,73,75,473,297,81,82,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a45a3b012870db385d33969b86cdc64.jpg",[],{"id":17415,"slug":17416,"title":17417,"dynasty":67,"author":68,"museum":132,"description":11025,"tags":17418,"thumbUrl":17419,"material":317,"size":907,"collection":122,"collections":17420,"showCount":17291,"zanCount":40,"manualWeight":40,"mainColor":62},230958,"zhou-mao-shu-ai-lian-tu-li-zhou-chou-ying-230958","周茂叔爱莲图立轴",[23,7,24,51,52,26,27,72,28,75,398,664,2626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4d5dc2dd8cfd1a2c256dea70deac6c.jpg",[],{"id":17422,"slug":17423,"title":17424,"dynasty":46,"author":494,"museum":132,"description":17425,"tags":17426,"thumbUrl":17427,"material":122,"size":122,"collection":122,"collections":17428,"showCount":17291,"zanCount":1065,"manualWeight":40,"mainColor":41},230180,"du-fu-shi-yi-tu-ce-wang-shi-min-230180","杜甫诗意图册","《清王时敏仿杜甫诗意图册》是清代王时敏创作的中国画。\n此图共十二页，每幅隶书杜诗二句， 后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[23,24,7,75,27,73,100,297,298,313,280,82,278,279,5079,28,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],{"id":17430,"slug":17431,"title":2857,"dynasty":293,"author":4666,"museum":132,"description":17432,"tags":17433,"thumbUrl":17434,"material":122,"size":122,"collection":122,"collections":17435,"showCount":17291,"zanCount":40,"manualWeight":40,"mainColor":62},228163,"hua-niao-tu-ye-wang-yuan-228163","此作工写兼融，敷色清柔淡雅。枝桠苍劲古拙，梅花清逸绽放，山茶柔艳含娇，笔墨秀雅细腻，将花木妍态尽展。枝头禽鸟造型工致写实，蓝羽红腹晕染柔和灵动，抬首凝视间生机暗藏。浅淡竹叶衬于下方，愈发衬得画面清寂雅致。整幅既具院体花鸟的精工细致，又蕴含文人画的澹远意趣，褪去浓艳俗态，将春日花鸟的悠然意态晕染开来，尽显幽淡平和的雅致意境，是工笔花鸟之中别具韵致的精妙佳构。",[24,51,7,27,26,102,383,103,384,53,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a089108778c2a97fb4773d6b972852.jpg",[],{"id":17437,"slug":17438,"title":17439,"dynasty":114,"author":11186,"museum":132,"description":17440,"tags":17441,"thumbUrl":17442,"material":122,"size":122,"collection":122,"collections":17443,"showCount":17291,"zanCount":1065,"manualWeight":40,"mainColor":62},227493,"shu-shan-xing-lv-tu-zhou-xu-dao-ning-227493","蜀山行旅图轴","这幅画是唐代画家李兆道的《明朝蜀帝》的复制品，描绘了唐玄宗从长安逃到四川的后妃和宗族王子。唐玄沿着蜿蜒的前山路拥抱着后丛，披着皮毛，在云雾中显得威严。",[23,7,24,51,52,27,75,28,215,4459,6429,82,281,315,77,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181e35023b5b0f076d46ac0a2261779f.jpg",[],{"id":17445,"slug":17446,"title":17447,"dynasty":114,"author":181,"museum":132,"description":17448,"tags":17449,"thumbUrl":17450,"material":122,"size":122,"collection":122,"collections":17451,"showCount":17291,"zanCount":1065,"manualWeight":40,"mainColor":62},227348,"song-zhe-zong-zuo-xiang-yi-ming-227348","宋哲宗坐像","赵佶，即宋徽宗宋神宗赵顼第十一子、宋哲宗赵煦之弟，宋朝第八位皇帝（在位25年，在太上皇位1年零2个月）。元符三年（1100年）正月，宋哲宗病逝，向太后立赵佶为帝。1101年，改年号为“建中靖国”。宋徽宗启用新法，在位初期颇有明君之气，后经蔡京等大臣诱导，政治形势一落千丈，后金国兵临城下，受李纲之言，匆匆禅让给太子赵桓，靖康之变后与长子钦宗赵桓被金人俘虏北去。金天会十三年（1135年），宋徽宗赵佶驾崩于五国城，时年54岁。绍兴十二年（1142年）三月，徽宗棺椁被迎回南宋，葬于都城绍兴永祐陵（今浙江省绍兴市柯桥区东南35里处）。宋徽宗在位时信任蔡京、童贯、王黼等奸臣，败坏朝纲，使得北宋滑向灭亡的深渊。宋徽宗在政治上历来被视为荒淫昏聩皇帝的典型。但是他是我国古代帝王中富有艺术气质而且才华横溢的皇帝，他涉猎广泛，琴棋书画，诗词歌赋无一不精，书画方面的造诣更是精妙绝伦，独树一帜。宋徽宗赵佶绘画风格师承前朝名家之精髓，又能够将自身的艺术修养发挥到淋漓尽致，引导着宋画坛之风形成了富丽却不俗套、严谨却不失灵性的“宣和体”。并赋予了北宋院体画以更深的含义——即政教作用。",[24,7,27,26,28,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc705d9a43aac8feb6f12c247fcca4a73.jpg",[],{"id":17453,"slug":17454,"title":17455,"dynasty":18,"author":1405,"museum":132,"description":17456,"tags":17457,"thumbUrl":17458,"material":122,"size":122,"collection":122,"collections":17459,"showCount":17291,"zanCount":40,"manualWeight":40,"mainColor":479},227264,"xi-an-tu-bo-wu-guan-ben-dong-yuan-227264","溪岸图(博物馆本)","《溪岸图》是五代画家董源创作的一幅绢本设色画，现收藏于美国大都会博物馆。\n\n《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[7,24,51,52,73,277,27,75,278,82,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79f4bd7c9a668001f1943f2c22bc8be1.jpg",[],{"id":17461,"slug":17462,"title":17463,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":17464,"thumbUrl":17468,"material":317,"size":907,"collection":3417,"collections":17469,"showCount":17291,"zanCount":40,"manualWeight":40,"mainColor":62},225873,"wheat-field-with-cypresses-fan-gao-225873","Wheat Field with Cypresses",[7,3410,3411,17465,3414,648,14127,17466,5013,8965,17467],"麦田","橄榄树","丘陵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552c54bc3a9d5664bd06e595fd8b852f.jpg",[3417],{"id":17471,"slug":17472,"title":17473,"dynasty":1383,"author":6681,"museum":132,"description":6682,"tags":17474,"thumbUrl":17476,"material":317,"size":907,"collection":3417,"collections":17477,"showCount":17291,"zanCount":40,"manualWeight":40,"mainColor":479},225658,"rembrandt-harmensz-van-rijn-068-lun-bo-lang-225658","Rembrandt Harmensz.van Rijn - 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，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[7,24,51,75,277,27,73,56,78,79,81,84,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2980717faf33c3fd762b486b8c086428.jpg",[],{"id":17742,"slug":17743,"title":17744,"dynasty":67,"author":6176,"museum":507,"description":17745,"tags":17746,"thumbUrl":17748,"material":122,"size":122,"collection":122,"collections":17749,"showCount":17617,"zanCount":40,"manualWeight":40,"mainColor":62},228488,"he-tang-ju-qin-tu-li-zhou-lin-liang-228488","荷塘聚禽图立轴","画面将荷塘初秋意趣尽显，枯荷擎举、新花绽露，苇叶横斜交错，枯荣相生晕染出塘间清寂底色。\n水禽错落其间，水面鸳鸯两两相偎，翎毛细笔晕染，绒羽质感宛然；野禽振翅穿掠苇丛，飞燕斜划破空，动静交织间满溢鲜活生机。\n笔墨兼工带写，粗毫挥写苇茎残叶，苍劲朴拙；细笔勾勒禽鸟肌理，灵动传神。墨色浓淡铺陈层次，以极简水墨变化定格郊野塘间自在野趣，尽显纵逸清隽的花鸟意致。",[23,24,7,52,277,27,102,54,84,710,2151,17747,368],"荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7d15347b6a2c9436b4b8172d7a7048.jpg",[],{"id":17751,"slug":17752,"title":17753,"dynasty":293,"author":7404,"museum":132,"description":17754,"tags":17755,"thumbUrl":17756,"material":122,"size":122,"collection":122,"collections":17757,"showCount":17617,"zanCount":40,"manualWeight":40,"mainColor":41},228027,"lin-li-gong-lin-ren-ma-tu-zhao-yong-228027","临李公麟人马图","说明：元 赵雍 纸本设色 （美国）弗利尔美术馆藏 纵1.7厘米 横7.5厘米 此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。\n牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。\n画人马用线细劲连绵，人物胡须及马尾线描极为精彩。\n与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。\n字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。\n官至集贤待制，同知湖州路总管府事，晚年隐居在家，往来于湖、杭间。\n承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。\n幼即勤奋，得母指教，稍懈母即严责之。\n稍长，“所画浓淡浅深皆至理”。\n山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。\n兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。\n书善正、行、草，亦长篆书，体势清劲。\n赵雍传世作品有至正二年（142）作《采菱图》轴、至正七年（147）作《挟弹游骑图》轴、（16）作《松溪钓艇图》卷及《沙苑图》卷，现藏故宫博物院；《着色兰竹图》轴、《青影红心图》《长松系马图》《清溪垂钓图》藏上海博物馆；溪山渔隐图》哦张衍旧藏，图录于《中国名画宝鉴》。\n至正十二年（152）作《骏马图》轴，藏台北故宫博物院；至正十九年（159）作《人马图》卷，藏美国纽约大都会艺术博物馆；《澄江寒月图》纨扇藏 ，另有《墨竹图》等。\n著有《赵待制遗稿》一卷。",[23,7,24,51,25,27,510,28,215,118,119,74,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606825de98a93d91568a7d11e00af43.jpg",[],{"id":17759,"slug":17760,"title":17761,"dynasty":114,"author":17762,"museum":132,"description":17763,"tags":17764,"thumbUrl":17765,"material":122,"size":122,"collection":122,"collections":17766,"showCount":17617,"zanCount":40,"manualWeight":40,"mainColor":41},227798,"yao-tai-bu-yue-tu-liu-zong-gu-227798","瑶台步月图","刘宗古","《宋刘宗古瑶台步月图》是宋代画家刘宗古所创作的一幅设色画。\n此图原载《四朝选澡册》（见《石渠宝笈续编》）。\n题 作。\n《 》云：“刘宗古，京师人。\n间（公元1119一1125），以待诏官至成叫郎。\n乱离后，归江左，朝廷方寻访车辂式，而宗古进本称旨，除提举车辂院。\n其画人物，长于成染，不背粉，水墨轻成，但笔墨织弱耳。\n”此画布局疏朗，设色清丽，不失为一件精构。\n本幅无款印。\n对开清 题七言绝句一首。\n钤乾隆内府诸收藏印。\n《石渠宝笈续编·养心殿》著录。\n图页写中秋 赏月情景，人物纤秀，风格婉约，景色空蒙。\n宋人册页中的楼阁画除了描写完整的单体建筑或建筑群的全景，还有描绘建筑局部的作品。\n此页即界画平台的局部，虽只是作为人物活动的背景，但深棕色嵌玉栏杆、莲花柱头装饰和台子的斗拱样式交代得准确清楚，与描绘建筑全图的作品恰是一种互补，展现了 楼阁小品画活泼的表现形式及丰富的表现手法。",[23,7,24,51,768,27,26,28,77,29,1570,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505e3900af9740a371e317730b4d7558.jpg",[],{"id":17768,"slug":17769,"title":17354,"dynasty":18,"author":1323,"museum":20,"description":17770,"tags":17771,"thumbUrl":17772,"material":736,"size":17773,"collection":122,"collections":17774,"showCount":17617,"zanCount":40,"manualWeight":40,"mainColor":479},227278,"xiao-yi-zhuan-lan-ting-ju-ran-227278","此图乃描述了一个脍炙人口的传说——酷爱二王书法的唐太宗，听说辩才和尚藏有王羲之的《兰亭序》手迹，久谋不得，便遣御史萧翼巧赚。萧翼微行前往辩才所居的山寺与之结交。在诗文酬答的欢悦气氛之中，辩才警觉懈怠，终于将其藏于梁上的《兰亭序》取下与萧翼共赏。萧翼趁辩才赴斋之际，遂窃之而去。图中所绘，正是萧翼访辩才的情形。",[24,7,277,75,28,73,82,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f80d433f99e4d4dc9476aa54f607c2e.jpg","纵：144.1厘米，横：59.6厘米",[],{"id":17776,"slug":17777,"title":17778,"dynasty":46,"author":17779,"museum":132,"description":17780,"tags":17781,"thumbUrl":17782,"material":122,"size":122,"collection":122,"collections":17783,"showCount":17617,"zanCount":1065,"manualWeight":40,"mainColor":41},224205,"ying-wu-xi-die-tu-hu-mei-224205","鹦鹉戏蝶图","胡湄","《鹦鹉戏蝶图》是画家胡湄所作的一幅画，现藏于上海博物馆。\n此画中的花鸟仿宋人笔，工笔重色，细致艳丽。\n梅花之沉稳雅致与鹦鹉之灵动飞扬成对比，造型精确、形态生动。\n花朵胭脂设色，鲜嫩娇美，墨绿树叶作为衬托，层次向背各自分明。\n鹦鹉的羽毛用白粉工笔勾描，质感柔绵，整幅画无一懈笔，青铜架上的绿锈、红霉均细致地得到表现。\n在和煦的阳光下，大地一片清新蓊郁，在村宅的一隅，一枝怒放的梨花，张开笑脸，散发出阵阵清香，这时两只斑灿美丽的蝴蝶向飘落的梨花追逐，一只原系立于铜架上的鹦鹉反身而下，全力地扑向彩蝶，形态生动。\n署款“晚山胡湄写”。\n钤 “湄印”白文印、“晚山”朱文印。\n从这幅画中可以看到，画家别有心意，十分留心自然界中所发生的一点一滴，并体察入微，将之再现于画画，让人们领略到这美妙而富有的生活情趣的景象。\n折枝梨树，画画左侧横上舒枝展叶，枝头缀满花朵，有的向阳怒放，有的含蕾待放，煞是可爱。\n花朵设色，鲜嫩可爱，以墨绿树作为衬托，层次向背各自分明。\n鹦鹉的羽毛用粉笔勾描，显示出羽毛柔绵的质感。\n勾画眼、嘴、爪均用较浓的墨色。\n此画的艺术特色足以简雅清淡取胜。\n全幅境象疏朗，笔墨简练，结构上不作繁密丰满、全景式的布局，其他树石、花木作为陪衬，剪裁得宜，取景自然。\n在画法上，不事雕琢，笔墨不多，却能使此画满幅生辉，使欣赏者获得美的享受。\n胡湄，生卒年不详。\n字飞涛，号晚山，又号秋雪，浙江平湖人。\n诸生，项元汴外孙。\n由于项氏收藏 甲天下，故胡氏受到完整的古代绘画艺术的薰陶。\n他为人耿直，富人以金帛求画多拒之。\n他画的花鸟虫鱼、“时称仙笔”。\n传世作品有《鹦鹉戏蝶图》。",[23,24,51,7,52,26,27,102,4507,200,263,1821,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4e5bf65a6b3e2e6a86eefde4da10a.jpg",[],{"id":17785,"slug":17786,"title":17787,"dynasty":114,"author":181,"museum":151,"description":17788,"tags":17789,"thumbUrl":17790,"material":156,"size":17791,"collection":122,"collections":17792,"showCount":17617,"zanCount":1065,"manualWeight":40,"mainColor":62},223499,"za-ju-da-hua-gu-tu-ye-yi-ming-223499","杂剧(打花鼓)图页","图中绘二角色，皆为女子扮演，两人均作打拱状。左方一人头戴诨裹，有斗笠等道具置于地上，似为副净色；右方一人，头戴大红花，身着短对襟，干练精神，背后插一扇，上书末色二字，为副末色角色。此图是为数不多为宣传戏剧类的精品册页。",[23,7,24,51,100,26,27,28,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ef48819eecf68aed6bd33519f2d6318.jpg","23.3x24",[],{"id":17794,"slug":17795,"title":17796,"dynasty":114,"author":17797,"museum":260,"description":17798,"tags":17799,"thumbUrl":17800,"material":17801,"size":17802,"collection":122,"collections":17803,"showCount":17617,"zanCount":1065,"manualWeight":40,"mainColor":62},222677,"san-tu-tu-gong-ji-222677","三兔图","龚吉","用笔清新雅致，有沈铨的艺术风格。作者龚吉，生卒年不详，疑似沈铨的弟子或再传弟子。",[23,7,24,51,957,26,27,472,2106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aaa73b140b8a6a8d234f073fbfbadd6.jpg","绢本水墨设色","67.3×40.6厘米",[],{"id":17805,"slug":17806,"title":11506,"dynasty":293,"author":7910,"museum":20,"description":17807,"tags":17808,"thumbUrl":17809,"material":121,"size":17810,"collection":286,"collections":17811,"showCount":17617,"zanCount":40,"manualWeight":40,"mainColor":62},220389,"yuan-an-wo-xue-tu-yan-hui-220389","画面上天寒地冻，林木萧索，积雪封山。洛阳令乘坐牛车，带领仆从逶迤而来，在寒林掩映下的袁安屋舍前停下。一名随侍前行几步，手叩柴门。图中树石以墨染晕刷而成，人物衣纹则劲健多折，称得上是画中珍品。",[23,24,51,7,277,27,73,75,1357,647,278,28,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4bd070e278c143edef678f3376f82a5.jpg","本幅 160.2x105.7公分、全幅 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ainColor":62},218205,"guang-han-gong-tu-yi-ming-218205","广寒宫图","广寒宫图是一幅来自中国元朝时期的著名绘画作品，作者佚名。它描绘了广寒宫的景象，广寒宫是中国古代皇宫的一部分，位于北京的城内，是皇帝和皇后居住的地方。\n\n这幅画的风格具有浓厚的中国传统特色，使用了鲜艳的色彩和精细的线条来描绘出广寒宫的建筑物和景观。画中的建筑物包括皇宫的宫殿、庙宇和院落，景观包括花园、池塘和树木。\n\n广寒宫图还描绘了当时皇帝和皇后的生活，展示了他们的日常活动，如游览、观赏歌舞表演等。这幅画作出现在中国元朝时期，当时的皇帝是元世祖，他在位期间推行了著名的文化复兴运动，使得艺术、文学和学术得到了极大的发展。广寒宫图也反映了这一时期的艺术特点，是中国元朝时期艺术发展的重要见证。",[24,7,51,52,855,27,77,1570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f95b3c5c0f8d9489dcbed3fb582630.jpg","75.6x62.1cm",[88],{"id":17885,"slug":17886,"title":17887,"dynasty":293,"author":181,"museum":1463,"description":17888,"tags":17889,"thumbUrl":17890,"material":34,"size":17891,"collection":88,"collections":17892,"showCount":17617,"zanCount":40,"manualWeight":40,"mainColor":62},217913,"xue-jian-shan-xing-tu-yi-ming-217913","雪涧山行图","整幅画浓烈的冬日氛围使人感到温馨舒适。画家巧妙地运用色彩与线条，使得画面生动而富有层次感。这幅画不仅展示了元朝人民的传统冬季活动，更展示了画家对冬季自然美景的热爱与描绘能力。",[24,7,51,75,27,73,1357,79,297,315,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ddf65cbaf189045f36b411463d3189b.jpg","22.5x24.7cm",[88],{"id":17894,"slug":17895,"title":17896,"dynasty":67,"author":68,"museum":132,"description":1227,"tags":17897,"thumbUrl":17898,"material":34,"size":122,"collection":122,"collections":17899,"showCount":17617,"zanCount":40,"manualWeight":40,"mainColor":62},216286,"er-shi-si-xiao-tu-6-chou-ying-216286","二十四孝图-6",[7,24,51,26,27,28,609,473,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c672e15bc395ed9888e1075631c823.jpg",[],{"id":17901,"slug":17902,"title":17903,"dynasty":46,"author":17904,"museum":132,"description":17905,"tags":17906,"thumbUrl":17907,"material":317,"size":907,"collection":122,"collections":17908,"showCount":17909,"zanCount":40,"manualWeight":40,"mainColor":41},290000,"zhu-shi-tu-li-zhou-li-fang-ying-290000","竹石图立轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,7,24,51,52,277,53,56,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51cc84485d0a2bea0a112203a6013e0.jpg",[],40,{"id":17911,"slug":17912,"title":17913,"dynasty":114,"author":17914,"museum":132,"description":17915,"tags":17916,"thumbUrl":17917,"material":317,"size":907,"collection":122,"collections":17918,"showCount":17909,"zanCount":40,"manualWeight":40,"mainColor":41},289869,"shi-yong-tu-zhang-xian-289869","十咏图","张先","张先（990—1078），字子野，乌程（今浙江湖州）人。北宋词人。婉约派代表人物。天圣八年（公元1030）进士。历任宿州掾、吴江知县、嘉禾（今浙江嘉兴）判官。皇祐二年（1050），晏殊知永兴军（今陕西西安），辟为通判。后以屯田员外郎知渝州，又知虢州。以尝知安陆，故人称“张安陆”。治平元年（1064）以尚书都官郎中致仕，元丰元年病逝，年八十八岁。",[23,7,24,51,25,855,27,75,77,14213,79,425,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6ee46a4d67fb75fc131910fa6d3ee0.jpg",[],{"id":17920,"slug":17921,"title":17922,"dynasty":18,"author":944,"museum":132,"description":9594,"tags":17923,"thumbUrl":17925,"material":317,"size":907,"collection":122,"collections":17926,"showCount":17909,"zanCount":40,"manualWeight":40,"mainColor":41},288362,"yu-le-tu-juan-jing-hao-288362","渔乐图卷",[23,7,24,25,277,75,662,78,79,278,82,299,17924],"渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0672ea030382358d7cd79b172143a3.jpg",[],{"id":17928,"slug":17929,"title":1798,"dynasty":18,"author":16487,"museum":20,"description":16488,"tags":17930,"thumbUrl":17931,"material":317,"size":907,"collection":122,"collections":17932,"showCount":17909,"zanCount":40,"manualWeight":40,"mainColor":62},288263,"mu-dan-tu-teng-chang-you-288263",[23,7,24,51,52,27,102,26,103,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1df52c67747442a7481301f56b33a898.jpg",[],{"id":17934,"slug":17935,"title":17936,"dynasty":18,"author":17937,"museum":132,"description":17938,"tags":17939,"thumbUrl":17941,"material":317,"size":907,"collection":122,"collections":17942,"showCount":17909,"zanCount":541,"manualWeight":40,"mainColor":62},287375,"ye-hua-cao-chong-tu-qiu-yu-qing-287375","野花草虫图","丘余庆","丘余庆，五代后蜀人，丘文播子，居成都。",[7,24,51,102,26,27,8964,53,199,200,17940],"蚂蚱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffa37c7c203d2d3737bf30decc157ec.jpg",[],{"id":17944,"slug":17945,"title":17946,"dynasty":46,"author":181,"museum":132,"description":10758,"tags":17947,"thumbUrl":17950,"material":317,"size":907,"collection":122,"collections":17951,"showCount":17909,"zanCount":541,"manualWeight":40,"mainColor":2715},263648,"ke-si-jia-xiu-jiu-yang-xiao-han-tu-zhou-yi-ming-263648","缂丝加绣九阳消寒图轴",[7,52,51,17948,27,26,28,215,3630,3014,76,82,79,17949],"缂丝加绣","消寒主题","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1718cd0df1c90bc2f8347c3494656762.jpg",[],{"id":17953,"slug":17954,"title":17955,"dynasty":67,"author":17956,"museum":151,"description":17957,"tags":17958,"thumbUrl":17959,"material":17960,"size":17961,"collection":88,"collections":17962,"showCount":17909,"zanCount":40,"manualWeight":40,"mainColor":993},239516,"shan-shui-ren-wu-juan-ye-cheng-239516","山水人物卷","叶澄","图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[7,24,51,25,27,73,75,28,78,81,82,281,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7881e7ced23cbff7521abe14b902b9f.jpg","绫本，设色","纵35cm，横290.3cm",[88],{"id":17964,"slug":17965,"title":17966,"dynasty":67,"author":68,"museum":151,"description":5011,"tags":17967,"thumbUrl":17968,"material":156,"size":17969,"collection":122,"collections":17970,"showCount":17909,"zanCount":1065,"manualWeight":40,"mainColor":993},233141,"lian-xi-yu-yin-tu-zhou-chou-ying-233141","莲溪渔隐图轴",[24,51,52,7,27,26,75,662,54,82,559,3115,1108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff729e8182fa8b670a238d77c7e5dfb3a.jpg","纵126.5厘米，横66.3厘米",[],{"id":17972,"slug":17973,"title":2228,"dynasty":114,"author":7170,"museum":132,"description":17974,"tags":17975,"thumbUrl":17976,"material":122,"size":122,"collection":122,"collections":17977,"showCount":17909,"zanCount":40,"manualWeight":40,"mainColor":62},228422,"zao-chun-tu-zhao-bo-su-228422","此作为典型南宋青绿山水，以石青石绿晕染山峦，敷色浓丽雅致，尽显华贵宋韵。长卷铺展平远山水，烟波横江裹挟春润雾气，层叠峰岫间茂林修竹错落，汀洲村舍、临江楼阁疏密排布，舟楫泛于碧水，仿佛能窥见江风拂过早春的清寂暖意。画面将山水与苑居景致相融，兼具自然灵秀与人工精巧，晕开江南早春独有的温润朦胧。卷后题跋与鉴藏朱印次第排列，墨痕与印色相映，让画作在清雅之外，更添流传千载的厚重书卷意蕴，尽显宋人的山水审美与文人雅趣。",[23,7,24,51,25,72,27,75,77,82,78,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F641d8a14375683a70a41699d825928db.jpg",[],{"id":17979,"slug":17980,"title":17981,"dynasty":293,"author":1556,"museum":132,"description":17982,"tags":17983,"thumbUrl":17985,"material":122,"size":122,"collection":122,"collections":17986,"showCount":17909,"zanCount":40,"manualWeight":40,"mainColor":41},228016,"xiao-niao-tu-tuan-shan-qian-xuan-228016","小鸟图团扇","此作截取清秋小景，斜出的桂枝缀着苍润绿叶，细碎黄花藏于叶底，似有暗香悠悠溢出。枝头的白头鹎栩栩如生，白羽如凝雪覆于头颈，青灰背羽晕染出柔和层次，尖喙微张，仿佛正啼鸣于凉秋。\n\n画家以淡墨晕染底色，设色清隽雅致，未作繁复勾勒，只以轻染淡彩便将花鸟形神尽数描摹，尽显幽淡闲远的文人意趣。尺幅团扇间，将秋日清寂里的鲜活生机定格，把山野寻常小景晕染成充满诗意的刹那剪影，笔底带着松弛闲散的文人情思，淡而有味，雅韵悠长。",[23,7,24,51,768,27,102,17984,265,74],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ab02594b013a2f743dbd67a5ec0c06.jpg",[],{"id":17988,"slug":17989,"title":17990,"dynasty":114,"author":3309,"museum":132,"description":17991,"tags":17992,"thumbUrl":17993,"material":122,"size":122,"collection":122,"collections":17994,"showCount":17909,"zanCount":1065,"manualWeight":40,"mainColor":62},227958,"mu-yang-tu-juan-li-di-227958","牧羊图卷","此作用工写兼融之笔，铺展秋日郊原之景。沙渚浅坡晕染淡赭，细草缀以青绿，衬出疏阔静穆的荒寒氛围。林间枯木虬劲苍古，残叶间点缀秋红，暗合塞晚秋光。\n\n群羊姿态各异，或卧地慵憩，或垂首啮草，或两两相逐，毛发蓬松温润，刻画细腻灵动，尽显羊只闲适之态。整卷设色雅致柔和，既有院体画的精工写实，又暗含文人画的淡逸意趣，将牧羊日常化为悠远诗意，把塞北秋原的宁和生机，尽数融于长卷之中，意韵清寂悠长。",[23,24,7,51,25,26,27,73,3630,472,135,1059,4731,280,84,118,74,278,1997],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dfddaef68b627b4fae245934cf60aa.jpg",[],{"id":17996,"slug":17997,"title":17998,"dynasty":114,"author":274,"museum":132,"description":17999,"tags":18000,"thumbUrl":18001,"material":122,"size":122,"collection":122,"collections":18002,"showCount":17909,"zanCount":40,"manualWeight":40,"mainColor":62},227727,"song-xi-fan-yue-tu-ye-xia-gui-227727","松溪泛月图页","《松溪泛月图》页，南宋，夏圭，绢本设色，24.7×25.2cm，北京故宫博物院藏。\n\n夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。",[23,7,24,51,100,277,73,75,697,1570,80,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d8343726fb542a41407b3b3bf085bb.jpg",[],{"id":18004,"slug":18005,"title":18006,"dynasty":114,"author":18007,"museum":132,"description":18008,"tags":18009,"thumbUrl":18010,"material":122,"size":122,"collection":122,"collections":18011,"showCount":17909,"zanCount":1065,"manualWeight":40,"mainColor":62},227335,"song-li-tu-song-tian-227335","松栗图","松田","这幅小品以淡墨铺就底色，枯笔皴写松枝，苍拙老辣，自带山野清寂意趣。松鼠以浓墨破淡，晕染出蓬松柔润的绒毛，俯身探看，眼目灵动机警，将小兽憨然灵动的神态全然托出。松针攒簇、松果朴拙，简笔勾勒便生野趣。\n\n大片留白不着一笔，尽得山林空寂之味，将山野间一瞬的灵动定格，以小景见天地，尽显简淡中藏着的盎然生机，把文人画疏淡清雅的审美意韵融在尺幅之间。",[957,24,51,7,277,102,697,9350,13988,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4546d1410a71aa3f9bc40f0b4509ba54.jpg",[],{"id":18013,"slug":18014,"title":18015,"dynasty":114,"author":181,"museum":132,"description":18016,"tags":18017,"thumbUrl":18018,"material":122,"size":122,"collection":122,"collections":18019,"showCount":17909,"zanCount":1065,"manualWeight":40,"mainColor":41},223619,"hong-liao-shui-qin-tu-ye-yi-ming-223619","红蓼水禽图页","取景以简驭繁，水禽伫立于红蓼柔梢，翎毛晕染入微，丝缕毕现，禽鸟垂喙凝神，灵动宛若将欲振翅。淡墨轻勾浅淡水纹，留白衬出汀洲空寂，将秋日水滨的清寒野趣凝于尺幅纨扇。工笔摹形，写意传情，把小景生机与幽澹诗意相融，尽显雅致空疏的审美意趣，不负“传写物态，蔚有生意”之誉，是小品画中以形传神的绝佳之作。",[23,7,24,51,2613,26,27,102,2290,17647,265,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa3aae2e3e700ea4306d26b41921ec2.jpg",[],{"id":18021,"slug":18022,"title":18023,"dynasty":114,"author":181,"museum":20,"description":18024,"tags":18025,"thumbUrl":18030,"material":283,"size":18031,"collection":122,"collections":18032,"showCount":17909,"zanCount":1065,"manualWeight":40,"mainColor":41},223380,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223380","千手千眼观世音菩萨轴","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，祂的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[23,7,24,51,52,678,26,27,28,18026,18027,2042,18028,474,84,17134,30,6550,17135,18029],"千手","千眼","佛光","众神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd2c18bc7d656864bb8c7ad6a86782a.jpg","176.8x79.2",[],{"id":18034,"slug":18035,"title":18036,"dynasty":67,"author":68,"museum":195,"description":18037,"tags":18038,"thumbUrl":18039,"material":156,"size":18040,"collection":88,"collections":18041,"showCount":17909,"zanCount":11,"manualWeight":40,"mainColor":62},222214,"su-hui-hui-wen-kai-xuan-shi-chou-ying-222214","苏惠回文凯旋诗","回文诗，也写作“爱情诗”“回环诗”。它是汉语特有的一种使用词序回环往复的修辞方法，文体上称之为“回文体”。唐代上官仪说，“诗有八对”，其七曰“回文对”，“情新因意得，意得逐情新”，用的就是这种措词方法。充分展示并利用了汉语以单音节语素为主和以语序为重要语法手段这两大特点，读来回环往复，绵延无尽，给人以荡气回肠，意兴盎然的美感。回文的形式在晋代以后就很盛行，而且在多种文体中被采用。人们用这种手法造句、写诗、填词、度曲，便分别称为回文诗，回文词和回文曲。虽然不乏游戏之作，却也颇见遣词造句的功力。",[23,7,24,51,25,26,27,855,28,29,215,82,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e131e2503e99eeb4a7fc3907f8df6.jpg","纵25厘米，横292米",[88,90],{"id":18043,"slug":18044,"title":18045,"dynasty":67,"author":966,"museum":132,"description":18046,"tags":18047,"thumbUrl":18048,"material":156,"size":18049,"collection":36,"collections":18050,"showCount":17909,"zanCount":40,"manualWeight":40,"mainColor":62},221897,"lao-chi-xiang-li-zhou-chen-hong-shou-221897","老迟像立轴","此幅为陈洪绶的自画像，画上老迟盘腿坐于地上，身着宽袖长袍，蓄长须，手执某种花朵置于鼻下闻味；背后湖石形状奇特，前方一小童烧火烤似灵芝一样的东西。陈洪绶，号老莲，晚号老迟，明末清初著名书画家、诗人。",[23,24,7,52,26,510,27,28,56,1167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52772eece37edbf9b7da25588c5bae5.jpg","95x51cm",[36,90],{"id":18052,"slug":18053,"title":18054,"dynasty":293,"author":1534,"museum":20,"description":18055,"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李衎（1245-1320年），字仲宾，号息斋道人，晚年号醉车先生，元朝蓟丘（今北京市）人。元仁宗皇庆元年（1312年）任吏部尚书，拜集贤殿大学士、荣禄大夫。李衎尤善画枯木竹石，善画墨竹，双钩竹尤佳，和赵孟頫、高克恭并称为元初画竹三大家，著有《竹谱详录》。",[23,7,24,51,52,277,510,26,53,136,56,73,4477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9156289c567b360733a596791d013b.jpg","131.4 x 51.1cm",[286,2605],{"id":18061,"slug":18062,"title":18063,"dynasty":114,"author":777,"museum":20,"description":18064,"tags":18065,"thumbUrl":18066,"material":18067,"size":18068,"collection":123,"collections":18069,"showCount":17909,"zanCount":40,"manualWeight":40,"mainColor":41},221311,"du-hai-tie-su-shi-221311","渡海帖","元符三年（1100），苏轼被诏徙廉州（今广西合浦），路过澄迈（今海南澄迈）时未遇赵梦得，便留下此札。为其晚年书迹之代表，如同东坡自云：“自出新意，不践古人。”全作信笔写来，浑然天成。此札用笔劲利，结体斜向右上，时人认为颇有李邕（北海）之风，如黄庭坚语：“沉著痛快，乃似李北海。”\n“我书意造本无法，点画信手烦推求”，这是苏轼对自己书法的评语。相异传统的笔法与特殊结字，是其书法中最受赞赏的部分。\n此作又名「渡海帖」，为典型苏轼风格，苍劲有力，沉著痛快，为其晚年之代表作。上有项元汴千字文第八0一“具”字编号。",[7,24,51,118,119,277,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0824dd81f2df22aa2f03b4e91a13bfe7.jpg","行书，纸本","纵28.6，横4.2cm",[123],{"id":18071,"slug":18072,"title":18073,"dynasty":114,"author":181,"museum":20,"description":18074,"tags":18075,"thumbUrl":18077,"material":34,"size":18078,"collection":175,"collections":18079,"showCount":17909,"zanCount":40,"manualWeight":40,"mainColor":62},221236,"tong-shi-xiu-ling-zhou-yi-ming-221236","桐实修翎轴","画面留白空灵悠远，尽显极简造境之妙。禽鸟停驻桐枝，翎毛刻画细致入微，茸绒毕现，抬首凝伫间神态机警灵动，将野雀鲜活生姿定格绢素。\n\n桐叶与桐实以水墨晕染，墨色苍润层次分明，枯枝虬曲苍劲，古朴野逸。全画笔法兼具工细与写意，写实中饱含清雅诗意，将林下一隅的幽寂生趣尽致展现，尽显格物致知的审美意趣，淡墨轻岚间晕开沉静古雅的宋韵风神。",[23,24,7,52,102,26,27,384,1821,18076,74],"桐实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb521334d6a0b978dd8fa170f2109cdc2.jpg","纵103.4cm，横33cm",[175,88,286],{"id":18081,"slug":18082,"title":18083,"dynasty":67,"author":1269,"museum":151,"description":18084,"tags":18085,"thumbUrl":18086,"material":1999,"size":3137,"collection":122,"collections":18087,"showCount":17909,"zanCount":40,"manualWeight":40,"mainColor":41},220914,"shan-shui-ce-8-dong-qi-chang-220914","山水册8","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,7,24,51,100,277,73,75,1059,278,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496907c0f9c739e3dc2561042f92a439.jpg",[],{"id":18089,"slug":18090,"title":18091,"dynasty":293,"author":1577,"museum":48,"description":18092,"tags":18093,"thumbUrl":18095,"material":250,"size":122,"collection":286,"collections":18096,"showCount":17909,"zanCount":40,"manualWeight":40,"mainColor":41},220870,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220870","竹石幽兰图卷","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 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金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 [1] ）。明代中期文學家、書畫家、戲曲家、軍事家。\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三 。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。",[23,7,24,51,25,118,2755,74,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ace3b212d7aeb7683d77d34168c4296.jpg",[123],{"id":18274,"slug":18275,"title":18276,"dynasty":1104,"author":5067,"museum":151,"description":18277,"tags":18278,"thumbUrl":18279,"material":250,"size":18280,"collection":123,"collections":18281,"showCount":18197,"zanCount":1065,"manualWeight":40,"mainColor":41},239551,"zhong-qiu-tie-juan-wang-xian-zhi-239551","中秋帖卷","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,7,24,51,25,2755,118,74,1580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2f29d78cce5184152131f558be9eff.jpg","纵27厘米，横11.9厘米",[123],{"id":18283,"slug":18284,"title":18285,"dynasty":46,"author":7216,"museum":132,"description":16449,"tags":18286,"thumbUrl":18287,"material":317,"size":907,"collection":122,"collections":18288,"showCount":18197,"zanCount":40,"manualWeight":40,"mainColor":41},239237,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239237","牡丹十六种册",[7,24,51,102,26,27,103,100,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ecd88630bd04820be3a3d042fb3549.jpg",[],{"id":18290,"slug":18291,"title":18292,"dynasty":46,"author":18293,"museum":151,"description":18294,"tags":18295,"thumbUrl":18296,"material":250,"size":122,"collection":88,"collections":18297,"showCount":18197,"zanCount":1065,"manualWeight":40,"mainColor":62},237451,"fei-quan-bi-liu-zhou-fu-shan-237451","飞泉壁流轴","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[7,24,51,52,277,73,75,13036,82,278,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85371dd8be5ee5e07f223747997c78c.jpg",[88,286],{"id":18299,"slug":18300,"title":18301,"dynasty":46,"author":10321,"museum":151,"description":18302,"tags":18303,"thumbUrl":18305,"material":611,"size":18306,"collection":88,"collections":18307,"showCount":18197,"zanCount":1065,"manualWeight":40,"mainColor":62},236112,"qiu-lin-ye-zhang-tu-zhou-zhang-yu-sen-236112","秋林曳杖图轴","该图构图险中求隐，用笔多变灵活，细皴密点，石作卷云，水作横波，松枝虬曲披靡，既得茂蔚之姿，又获空灵之气，设色优美，不落俗套。\n张雨森，生卒年不详，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。",[24,7,52,75,27,73,78,79,278,1647,18304,81,313],"松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7483aa2c190af398b7e81ccbdcca24.jpg","纵157厘米，横100厘米",[88,90],{"id":18309,"slug":18310,"title":18311,"dynasty":114,"author":181,"museum":151,"description":18312,"tags":18313,"thumbUrl":18314,"material":217,"size":18315,"collection":122,"collections":18316,"showCount":18197,"zanCount":1065,"manualWeight":40,"mainColor":62},234076,"he-xie-tu-ye-yi-ming-234076","荷蟹图页","宋代的花鸟画是五代黄筌徐熙两家体制基础上得以发展的。北宋初一百多年，黄家体制便是院体规范。北宋中期崔白、吴元瑜变革院体，表现出吸收徐熙一派画法。宋徽宗对不同画风兼收并蓄，南宋画院亦是如此。所以就总体上而言院体继承了黄徐二家的体制。黄氏体制的画法为用墨勾线定形，或填色或染墨，笔法细劲而有变化，其典型之作为工笔设色一类。再看徐熙画法，徐铉称之为“落墨为格，杂彩副之，迹与色不相隐映”。徐熙则自称“未尝以傅色晕淡为功”。\n《宣和画谱》对徐熙很是推崇，认为当时画花者多以色晕染而成，徐熙独到之处在于落墨，极有骨气风神。将黄徐两家的典型风范相比较，黄家偏重于色彩的晕染，徐熙偏重于墨线造型的笔法表现。这其中涉及重色、重墨、运笔造型之道等问题，绘画之形似正由此而来。宋代院体花鸟画的典型面貌为工笔设色一类，讲求赋色之功、笔法之道、造型之细致。宋代院体花鸟画综合黄徐二家，不过在不同时期、不同画家身上有着各自的特点。\n宋代院体花鸟画之所以能够在传神方面达到很高的境界，在于能够从自然万物中直接取得，生意趣味浓厚是其重要的特征，当时众多的作品具备这样的素质。对物象神态丰富细致的描绘是花鸟画成熟的表现。宋代院体花鸟画在细致写实中有得于此。\n《荷蟹图》可能是荷花螃蟹类题材最早的作品。残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。《荷蟹图》画面意境生动，题材别出新意，为宋人写实画作的典范。荷蟹题材在后来的大写意花鸟画中，被徐渭进一步发扬光大，最著名的就是影响深远的徐渭代表作《黄甲图》。这种影响一直波及到现代大家齐白石。",[24,7,51,100,26,27,102,54,7280,2664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e974c0d6c4e3129014ed0ecd3f0dc5f.jpg","28.4x28cm",[],{"id":18318,"slug":18319,"title":18320,"dynasty":67,"author":18321,"museum":20,"description":18322,"tags":18323,"thumbUrl":18324,"material":18325,"size":18326,"collection":122,"collections":18327,"showCount":18197,"zanCount":40,"manualWeight":40,"mainColor":62},231381,"chun-hua-san-xi-tu-bian-jing-zhao-231381","春花三喜图","边景昭","此图无款。此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。《春花三喜图》就是边景昭花鸟画之一\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\u2028 图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。",[7,24,51,26,27,102,53,56,84,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea9b5dca7488b3da49917c162f50947.jpg","设色画","纵165．2厘米，横98．3厘米",[],{"id":18329,"slug":18330,"title":18331,"dynasty":46,"author":18332,"museum":132,"description":18333,"tags":18334,"thumbUrl":18335,"material":122,"size":122,"collection":122,"collections":18336,"showCount":18197,"zanCount":40,"manualWeight":40,"mainColor":41},230199,"chun-qi-ji-jin-juan-wang-cheng-pei-230199","春祺集锦卷","汪承霈","此作以工笔淡彩绘就春日草木，设色调和柔雅，兼具写实意趣与雅致格调。\n\n攒簇的朱红浆果鲜亮饱满，与嫩绿叶色相映，鲜活夺目；宽叶草木的脉络勾染细腻，晕染出叶片舒展的自然肌理，古雅灵芝旁逸，添上清寂意趣。右侧浅黄、素白的小花袅袅舒展，细竹清瘦挺秀，花叶俯仰生姿，排布疏密得当。\n\n整体笔法秀润工致，将春日花木的幽妍生机尽数铺陈，没有浓烈着色却满是融融春息，静雅清和，把草木舒展的瞬间定格，尽显柔婉雅致的花鸟意韵。",[7,24,51,25,27,26,102,53,263,890,1095,7270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452999763f15c2cc0fd5efdbcdbbc608.jpg",[],{"id":18338,"slug":18339,"title":18340,"dynasty":46,"author":1567,"museum":132,"description":18341,"tags":18342,"thumbUrl":18343,"material":122,"size":122,"collection":122,"collections":18344,"showCount":18197,"zanCount":1065,"manualWeight":40,"mainColor":41},228980,"shan-shui-hua-hui-tu-ce-shi-tao-228980","山水花卉图册","在石涛的山水花卉图册共有八幅，多为水墨设色。\n在此选二幅，其一《豆角》，笔意恣肆，浓墨点干写藤，豆角略敷彩青，繁简细拙，得自天成。\n于画幅中自题：“紫花白花狼藉尽，眉毛碧翠眼中青。\n炎炎日晒草先腐，遮过流萤几点星。\n”属款“清湘枝下人济”。\n: : : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[7,24,51,100,277,73,118,74,75,78,79,80,281,82,9146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg",[],{"id":18346,"slug":18347,"title":18348,"dynasty":114,"author":181,"museum":20,"description":18349,"tags":18350,"thumbUrl":18351,"material":736,"size":18352,"collection":122,"collections":18353,"showCount":18197,"zanCount":40,"manualWeight":40,"mainColor":62},227850,"xiao-ting-ying-xi-tu-ye-yi-ming-227850","小庭婴戏图页","《小庭婴戏图》是宋代所画的人物画。作者不详，一说是陈宗训所作。中国台北故宫博物院藏。",[23,24,7,51,100,26,27,28,135,55,7785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1dbcffc9191793f4866baf2ef744a0c.jpg","纵26厘米，横25厘米",[],{"id":18355,"slug":18356,"title":292,"dynasty":114,"author":7170,"museum":132,"description":18357,"tags":18358,"thumbUrl":18359,"material":122,"size":122,"collection":122,"collections":18360,"showCount":18197,"zanCount":1065,"manualWeight":40,"mainColor":62},227695,"chun-shan-tu-juan-zhao-bo-su-227695","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,7,24,51,25,72,27,75,26,73,425,82,434,78,79,3375,559,279,5979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":18362,"slug":18363,"title":18364,"dynasty":674,"author":18365,"museum":132,"description":18366,"tags":18367,"thumbUrl":18370,"material":122,"size":122,"collection":122,"collections":18371,"showCount":18197,"zanCount":40,"manualWeight":40,"mainColor":62},227095,"gao-yi-tu-sun-wei-227095","高逸图","孙位","《高逸图》，又名《竹林七贤图》，是唐代孙位创作的一幅彩色绢本人物画，现藏于上海博物馆。\n画名“孙位高逸图”为宋徽宗赵佶所题，这幅图所描绘的是魏晋时期竹林七贤的故事，该画作刻画了魏晋士大夫“高逸风度”的共性，又刻画出了他们的个性。现存《高逸图》为《竹林七贤图》残卷，图中只剩四贤。在长卷式的画面上，主体人物是四个封建士大夫分别坐于华丽的毡毯上，每人身旁都有一名小童侍候。",[23,7,24,25,26,27,28,135,136,118,74,55,4078,18368,18369],"扇子","垫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa92cbdfc50fff24528a4673b6c49d4.jpg",[],{"id":18373,"slug":18374,"title":18375,"dynasty":293,"author":9272,"museum":195,"description":18376,"tags":18377,"thumbUrl":18381,"material":34,"size":18382,"collection":88,"collections":18383,"showCount":18197,"zanCount":40,"manualWeight":40,"mainColor":62},220406,"qiu-ge-qing-xiao-tu-sheng-mao-220406","秋舸清啸图","《秋舸清啸图》描绘的是在近岸陂陀上树木繁茂，一艘篷舟缓缓经过，船头有一位逸士正在仰天长啸，他身前置放酒皿瓷碗，身后古玩横陈，船尾是一个正在摇橹的一童 子摇橹。从这个逸士的形象看，可能是魏晋时“嗜酒能啸”并善鼓琴的“竹林七贤”之一阮籍的写照。远景山峦平缓。图中树石、远岸画法学董源、巨然，人物设色 取唐人法，描线细劲。画风与盛氏至正辛卯(1351年)所作的《沧江横琴图》近似。",[23,24,7,27,28,75,80,82,425,3648,18378,18379,18380,680,73],"长啸","阮籍","竹林七贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4c131ade18640c2b048464aebfc709.jpg","纵167.5厘米，横102.4厘米",[88,90],{"id":18385,"slug":18386,"title":18387,"dynasty":114,"author":18388,"museum":1031,"description":18389,"tags":18390,"thumbUrl":18391,"material":666,"size":18392,"collection":175,"collections":18393,"showCount":18197,"zanCount":40,"manualWeight":40,"mainColor":62},220089,"jia-pai-tu-quan-juan-fen-juan-12-gong-kai-220089","笳拍图全卷-分卷12","龚开","宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 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岁之前无疑。",[23,7,24,51,52,277,73,75,77,278,79,82,28,313,5421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece99a18e25e8053cb0da8812a3492fb.jpg","纵84 厘米,横36.7 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《板桥集》、《书画纪略》、《滇南书画录》",[7,24,51,100,277,228,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a27f24753f601b614b775dd8f1accc.jpg",[106],{"id":18586,"slug":18587,"title":18588,"dynasty":46,"author":494,"museum":132,"description":18589,"tags":18590,"thumbUrl":18591,"material":122,"size":122,"collection":36,"collections":18592,"showCount":61,"zanCount":40,"manualWeight":40,"mainColor":41},235773,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-shi-min-235773","清初六大家集册-山水页","绢本水墨 纵112 横5.2厘米 清 代 绢本水墨 纵112 横5.2厘米 荡浮烟岚的峰峦冈岭，逶迤起伏连绵不断。\n山坳平坦处水榭、茅舍散落于林溪岸畔。\n近处的麓坡岸石，各种苍郁古茂的大树掩映着的草亭尤显幽静。\n上方题：“作画意在笔先，以得势为主….时康熙乙亥仲夏望后麓台祁”。\n王原祁（1642-1715年）字茂京，号麓台。\n江苏太仓人。\n王时敏之孙。\n擅山水，精鉴定，有“娄东派”之称。\n为清初六大家之一",[24,51,7,100,277,73,75,425,82,559,5232,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711b08e8224858c05339fb7b788a52d4.jpg",[36,286],{"id":18594,"slug":18595,"title":18596,"dynasty":46,"author":17382,"museum":132,"description":18597,"tags":18598,"thumbUrl":18599,"material":122,"size":122,"collection":122,"collections":18600,"showCount":61,"zanCount":1065,"manualWeight":40,"mainColor":41},235674,"huang-shan-tian-dou-feng-tu-zhou-mei-qing-235674","黄山天都峰图轴","此作用高远章法铺陈景致，方折硬皴刻画嶙峋山石，层叠岩壁尽显峰峦雄崛之势。留白摹写空濛云海，衬出天都峰的高拔清逸。松下孤亭旁二人策杖对语，在雄奇山景晕染出世外幽意。\n题诗与山水相融，以书入画尽显新安画派灵秀苍劲。水墨晕染出清冷空寂的意境，既绘出黄山天险之姿，又寄寓画家对林泉高致的向往，笔致清隽，将自然奇绝与文人雅趣合为一体。",[24,51,7,52,277,73,75,2009,279,81,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c78ff500e4796524b4ff31de712606.jpg",[],{"id":18602,"slug":18603,"title":18604,"dynasty":114,"author":878,"museum":151,"description":18605,"tags":18606,"thumbUrl":18607,"material":611,"size":18608,"collection":122,"collections":18609,"showCount":61,"zanCount":40,"manualWeight":40,"mainColor":62},233724,"kong-zi-xiang-tu-ye-ma-yuan-233724","孔子像图页","《孔子像》人物衣纹用笔为钉头鼠尾法，线长而劲利。孔子身着长袍,拱手而立,沉静肃穆，若有所思，神情十分生动。全图用秃笔写衣纹，简练概括，线条劲拔，寥寥数笔，形神毕现，设色浅淡，韵味高雅。",[24,7,51,100,510,28,30,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1051bbe0d77bafbd4cbd1e6129b59667.jpg","纵27.7厘米 横23.2厘米",[],{"id":18611,"slug":18612,"title":18613,"dynasty":114,"author":394,"museum":132,"description":18614,"tags":18615,"thumbUrl":18617,"material":122,"size":122,"collection":122,"collections":18618,"showCount":61,"zanCount":541,"manualWeight":40,"mainColor":62},232778,"xie-sheng-zhe-zhi-tu-juan-wu-bing-232778","写生折枝图卷","吴炳，毗陵武阳人（今江苏省常州市），南宋光宗绍熙年间(1190-1194)画院待诏。光宗皇后李氏爱其画，恩赉甚厚，赐金带。工画花鸟，元代夏文彦《图绘宝鉴》谓其画“写生折枝，可夺造化，彩绘精致富丽”。所作谨守院体画风格。画迹有《春池睡鸭图》《山茶鹁鸽图》《鸳鸯瑞莲图》《宝珠玉蝶图》《折枝绛桃图》《折枝芍药图》《鸡冠花图》《玫瑰图》《长春图》《水仙图》等43件，著录于《南宋院画录》，均“简易有生趣”，“精彩如生”。",[23,7,24,51,25,26,27,1190,18616,102,472,1180,6879,137,200],"折枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735550480f9fac0df96afc47240de032.jpg",[],{"id":18620,"slug":18621,"title":4939,"dynasty":114,"author":556,"museum":132,"description":18622,"tags":18623,"thumbUrl":18624,"material":122,"size":122,"collection":122,"collections":18625,"showCount":61,"zanCount":40,"manualWeight":40,"mainColor":62},227774,"mu-niu-tu-li-tang-227774","李唐牧牛图，绢本， 61X63cm ，北京故宫博物院藏。鉴藏印：奉使之印、项元汴印、退密、仙客、子京所藏、项墨林父秘籍之印、蔗田珍玩、项叔子、叶蔗田珍赏章、蔗田曾藏识者宝之、平生珍赏、畊霞溪馆、虚斋审定书画名迹 钤印：苏氏文印、西磵云樵、昌龄、苏。",[23,7,24,51,75,28,1906,1059,27,277,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc523ca70a1e521c7a8b3535a78de55.jpg",[],{"id":18627,"slug":18628,"title":18629,"dynasty":114,"author":274,"museum":132,"description":16830,"tags":18630,"thumbUrl":18631,"material":122,"size":122,"collection":122,"collections":18632,"showCount":61,"zanCount":40,"manualWeight":40,"mainColor":62},227730,"dong-ting-qiu-yue-tu-xiao-xia-gui-227730","洞庭秋月图（小）",[23,24,7,51,52,277,75,1570,1059,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706adea0be21d3e2be8c5b05315e7cc4.jpg",[],{"id":18634,"slug":18635,"title":18636,"dynasty":114,"author":460,"museum":132,"description":18637,"tags":18638,"thumbUrl":18641,"material":122,"size":122,"collection":122,"collections":18642,"showCount":61,"zanCount":40,"manualWeight":40,"mainColor":62},227413,"xue-shan-lan-re-tu-guo-xi-227413","雪山兰若图","郭熙（约1000-约1080），字淳夫，今河南孟县人，北宋画家、绘画理论家。郭熙出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。树枝如蟹爪下垂，笔势雄健，水墨明洁。早年风格较工巧，晚年转为雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n\n郭熙在学画之初并无老师，后在临摹李成山水画中受到启发，笔法大进，亦能自放胸臆，笔势雄健，水墨明洁。画山石多用卷云或鬼脸皴，画树如蟹爪下垂。1068-1077年间为图画院艺学，后任翰林待诏直长，成为宫廷画院重要成员。于画论方面亦有建树，总结出对四季山水的审美感受及山水构图三远法等。创作活动旺盛的时代正是宋神宗在位的1068-1085年，深受神宗的恩宠，有“神宗好熙笔”，“评为天下第一”之说。",[24,497,7,277,73,18639,4240,1357,278,13175,77,280,18640],"卷云皴","雄阔意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64c6c4a6dae4f904ca25689a573a408.jpg",[],{"id":18644,"slug":18645,"title":18646,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":18647,"thumbUrl":18655,"material":317,"size":907,"collection":3417,"collections":18656,"showCount":61,"zanCount":40,"manualWeight":40,"mainColor":62},225745,"field-with-flowers-near-arles-1888-fan-gao-225745","Field with Flowers near Arles 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仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[7,24,51,100,277,73,75,56,79,647,81,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a3f0273ba838ad249818da5b0f02d07.jpg","50×36",[],{"id":18901,"slug":18902,"title":18903,"dynasty":46,"author":181,"museum":151,"description":18904,"tags":18905,"thumbUrl":18906,"material":156,"size":122,"collection":88,"collections":18907,"showCount":92,"zanCount":1065,"manualWeight":40,"mainColor":62},236180,"hong-li-sai-yan-si-shi-heng-zhou-guan-jiao-yi-ming-236180","弘历塞宴四事横轴(贯跤)","以青绿山水铺就雄浑底色，层峦茂林间铺展塞宴盛景。校场之上跤手相搏，周遭武士肃立分列，官员侍从神态各异，或凝神观赛，或静候待命。远景帐幄连绵、驼队逶迤，将秋狝行猎的塞外氛围烘托尽致。\n画作工笔细腻，设色妍丽雅致，兼具院体画的规整纪实与风物绘的生动鲜活，将塞上习武宴游的盛大场景定格，既彰显出康乾盛世的恢宏气象，也尽显游牧围猎的独特塞外风情，是纪实性与艺术性相融的佳作。",[24,7,25,27,26,75,28,215,5060,8838,82,4731,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0d7a3293f2e36650fa58befd46b885.jpg",[88,36,90],{"id":18909,"slug":18910,"title":18911,"dynasty":46,"author":11236,"museum":151,"description":18912,"tags":18913,"thumbUrl":18914,"material":156,"size":18915,"collection":122,"collections":18916,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":41},233114,"bi-shu-shan-zhuang-tu-zhou-leng-mei-233114","避暑山庄图轴","作者以写实的手法描绘了避暑山庄后苑部分及其四周的崇山峻岭。构图为鸟瞰式，自景区上方向下纵向取景，景致具体而微。设色以青绿着色和浅绛渲染相结合，冷暖色调和谐呼应，成功地营造出山庄静寂清幽的氛围。笔法灵活多变，山石树木或以干笔皴擦，或青绿烘染。建筑物的描绘，作者在传统的工笔界画基础上，又巧妙地吸收了欧洲的透视法，并将二者融合在一起，从而更科学、客观地表现出建筑物的物理结构，同时也加强了画面的纵深感。此图同时是一幅反映康熙时期避暑山庄建筑的图样，对于我们了解避暑山庄的建筑沿革有着重要的图像价值。",[7,24,51,52,27,26,75,77,79,82,3809,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d890f29b07ff6e1df7488c12dacbcf7.jpg","纵254.8厘米，横172.5厘米",[],{"id":18918,"slug":18919,"title":18920,"dynasty":293,"author":181,"museum":132,"description":18921,"tags":18922,"thumbUrl":18923,"material":122,"size":122,"collection":122,"collections":18924,"showCount":92,"zanCount":1065,"manualWeight":40,"mainColor":993},232889,"yuan-dai-di-hou-xiang-yi-ming-232889","元代帝后像","元世祖后彻伯尔，元史表作昭睿顺圣皇后，名察必。济宁忠武王按陈之女。初为世祖妃，中统二年（1262）被立为皇后。彻伯尔因容貌出众，德才兼备，是众多后妃中最受世祖宠爱的一位。彻伯尔后在生活上自奉俭约，率宫女制作结实美观的服饰、实用地毯，还创制了比甲服饰等，适于骑猎穿着。受到世祖和诸大臣的称赞。至元十八年（1281）得病去世。元成宗即位后，追谥昭睿顺圣皇后。\n元代有一批职业画家服务于宫廷，创作了不少帝后肖像画。台北故宫博物院收藏了一套《元代帝后像册》，帝像8帧：计为太祖成吉思汗、太宗窝阔台、世祖忽必烈、元成宗、元武宗、元仁宗、元文帝、元宁宗；后像15幅：计为元世祖后像一、顺宗后像三、武宗后像三、仁宗后像一、英宗后像二、明宗后像一、宁宗后像一以及后纳罕像一、佚名后像四。",[24,7,26,27,28,30,1861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4337559b52f41b0ad3cc4b4725a4696c.jpg",[],{"id":18926,"slug":18927,"title":18928,"dynasty":67,"author":5192,"museum":48,"description":5193,"tags":18929,"thumbUrl":18930,"material":611,"size":18931,"collection":122,"collections":18932,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":41},231942,"shui-xian-mei-shi-tu-lu-zhi-231942","水仙梅石图",[23,7,24,51,100,277,27,73,2067,383,56,1570,647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5587bc15a5e71aa8fa86fc5985d68c8b.jpg","58×44cm",[],{"id":18934,"slug":18935,"title":10126,"dynasty":46,"author":18936,"museum":132,"description":18937,"tags":18938,"thumbUrl":18939,"material":250,"size":122,"collection":122,"collections":18940,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":41},231940,"qiu-shan-tu-kun-can-231940","髡残","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[23,7,24,51,25,277,27,73,75,647,278,79,80,5491,81,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":18942,"slug":18943,"title":1056,"dynasty":46,"author":18936,"museum":132,"description":18944,"tags":18945,"thumbUrl":18946,"material":122,"size":122,"collection":122,"collections":18947,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":41},228965,"shan-shui-ce-kun-can-228965","淡赭晕开薄暮天色，月色悬于天际晕出朦胧清光，远山隐在烟岚之中，如被夜雾浸得温润朦胧。近林以焦墨挥写，笔意苍劲老辣，繁枝密叶错落有致，将山野草木萧森之态尽显。\n\n蜿蜒山径之上，白衣策杖人缓步行游，为幽密林色添上清寂文人气韵。画作以干湿浓淡的墨色变化，揉合出月夜空山的空濛辽远，静穆萧散的禅意藏在笔底，将夜游林麓的幽闲况味融在烟霞里，淡远悠长的林下之思随月色漫溢开来，清寂悠然直入人心。",[23,24,51,7,277,73,74,75,1570,315,82,28,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8628031461d94722f467f710beefc78.jpg",[],{"id":18949,"slug":18950,"title":18951,"dynasty":67,"author":68,"museum":1031,"description":18952,"tags":18953,"thumbUrl":18955,"material":122,"size":122,"collection":122,"collections":18956,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":62},228440,"bian-qiao-hui-meng-tu-chou-ying-228440","便桥会盟图","画卷起首旌旗列阵，甲士森然，仪帐整肃尽显阵列威仪。烟柳垂杨衔接着迤逦青绿山峦，笔墨晕染出郊野的开阔沉静。转至卷右，层叠山坳间人马错杂，战场的紧绷感在青绿山色间暗涌。\n\n全作用色古雅厚重，赭黄绢底晕开石青石绿，让沉郁的历史氛围感浸透画卷。方寸间人物姿态鲜活分明，人马旌旗、山川林泉排布疏密有致，将盟约前后的张弛节奏暗藏于山水长卷之中，把宏大叙事融于青绿山水的雅致意境，铺展出一段藏在笔墨间的往昔风云。",[23,24,7,25,26,27,72,75,28,215,82,6429,278,18954],"军队","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d809453efefbe7ab56381e63a8c0a93.jpg",[],{"id":18958,"slug":18959,"title":18960,"dynasty":114,"author":1160,"museum":132,"description":18961,"tags":18962,"thumbUrl":18963,"material":122,"size":122,"collection":122,"collections":18964,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":62},227802,"shan-zhuang-du-shu-tu-ye-liu-song-nian-227802","山庄读书图页","山峦叠翠流云轻绕，幽谷飞瀑隐于翠微之间，整幅画以温润青绿晕染出江南山居的清寂雅境。屋舍藏在松竹蕉荫深处，堂中人正展卷静读，周遭林木蓊郁苍润，山石皴法细腻匀净，古雅的青绿设色晕开沉静的宋人意趣。\n\n笔致工稳秀润，将文人幽居林泉的理想铺陈绢素，山野间无车马喧嚣，唯有山光树影伴衬书香。山石草木皆含静气，把宋人内敛雅致融在每一处细节里，让观者仿佛能踏入这方世外山居，共赴林泉书香的闲淡之约。",[23,7,24,51,27,75,26,73,82,278,77,648,279,313,28,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d558e62e4e589222cc081f24c1e325.jpg",[],{"id":18966,"slug":18967,"title":18968,"dynasty":114,"author":556,"museum":132,"description":18969,"tags":18970,"thumbUrl":18971,"material":122,"size":122,"collection":122,"collections":18972,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":62},227767,"gong-dian-hua-yuan-tu-ye-li-tang-227767","宫殿花园图页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,7,24,27,855,28,77,82,278,560,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa52bbd47fa75dd0f52917c93d10f58b.jpg",[],{"id":18974,"slug":18975,"title":18976,"dynasty":114,"author":18977,"museum":132,"description":18978,"tags":18979,"thumbUrl":18980,"material":122,"size":122,"collection":122,"collections":18981,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":62},227411,"hu-ren-xiang-ma-tu-lian-bu-227411","胡人相马图","廉布","此图绘白马长啸，一白衣胡人在观马，一异装胡人在羌管，似与白马之啸互相呼应。此幅左上角题：四蹄玉削耳披风，独立昂藏气势雄，争向瑶池夸八骏，如何图内有真龙。山阳廉布。钤一印模糊不辨。然观此作绝非北宋末画迹，但人马描绘俱佳，也非庸手所为，当是托名廉布以射利。廉 布。字宣仲，号射泽老农。楚州山阳（今江苏省淮安）人。妙年登科，官至武学博士，以张邦昌婿，负才不得用。后居绍兴，既绝仕宦之念，以诗酒自娱。画山水，尤工枯木丛竹、奇石松柏、种种飘逸，师东坡而青出于蓝。",[23,24,7,27,26,28,215,135,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc845275590a4df7a346a1debac89576f.jpg",[],{"id":18983,"slug":18984,"title":18985,"dynasty":114,"author":181,"museum":132,"description":18986,"tags":18987,"thumbUrl":18988,"material":122,"size":122,"collection":122,"collections":18989,"showCount":92,"zanCount":541,"manualWeight":40,"mainColor":62},227350,"gong-nv-tu-tuan-shan-yi-ming-227350","宫女图团扇","团扇，又称宫扇、纨扇，是中国汉族传统工艺品及艺术品，是一种圆形有柄的扇子，它代表着团圆友善、吉祥如意 [1] 。团扇起源于中国。扇子最早出现在商代，用五光十色的野鸡毛制成，称之为“障扇”。\n当时，扇子不是用来扇风取凉，而是作为帝王外出巡视时遮阳挡风避沙之用。西汉以后，扇子开始用来取凉。三国时诸葛亮轻摇鹅毛扇，妙计横生，运筹帷幄。羽扇出风缓软，不入腠理。东汉时，大都改羽扇为丝、绢、绫罗之类织品，以便点缀绣画。一轮明月形的扇子称之为“纨扇”或“团扇”，也叫“合欢扇”。当时扇子有长圆、葵花、梅花、六角、匾圆之形；亦有木、竹、骨等材之柄；还有扇坠、流苏、玉器之饰。\n宋以前称扇子，都指团扇。王昌龄《长信愁》诗：“奉帚平明秋殿开，且将团扇共徘徊”。《杖扇新录》载：近世通用素绢，两面绷之，或泥金、瓷青、湖色，有月圆、腰圆、六角诸式，皆倩名人书画，柄用梅烙、湘妃、棕竹，亦有洋漆、象牙之类。名为“团扇”。圆形或近似圆形扇面，扇柄不长。现在的团扇扇柄较长，越来越符合大众审美。",[23,7,24,51,768,27,28,26,29,55,30,1861,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a0f76cfffbd1d013df65fbdf7e9d6f.jpg",[],{"id":18991,"slug":18992,"title":18993,"dynasty":674,"author":1354,"museum":132,"description":18994,"tags":18995,"thumbUrl":18996,"material":122,"size":122,"collection":122,"collections":18997,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":62},227087,"dong-xue-shan-jing-tu-ye-wang-wei-227087","冬雪山景图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。\n\n据文献记载，水墨雪景山水为唐代王维首创。王维山水画成就很高，尤其是雪景山水更令人瞩目。据文献记载，王维曾有20余幅雪景山水流传，将雪景山水的千变万化和神奇美妙表现得淋漓尽致，并赋予其不同的人文意蕴。研究表明，王维的雪景山水没有留下真迹，而流传于世的历代摹本或托名之作，多出于古代画家崇拜王维雪景山水的至深至诚之情。\n\n在清代学者高士奇的《江村消夏录》中记载，明代沈周在看到王维《万峰积雪图》后，写出如下题文:“城中十日暑如炙，头目眩花尘土塞。僧楼今日见此卷，雪意茫茫寒欲逼。古栟修柳枝袅矫，下有幽簧侧从碧。隔溪胶艇不受呼，平地贯渚无人迹。”在夏日炎炎的酷暑，看到王维的雪景山水作品，能有“雪意茫茫寒欲逼”的感受，或许这是没有空调的古代人常用的一种消夏避暑方式？（本平台独家专稿《画说古人如何过夏天》将于近期推出，敬请关注。）\n\n自王维之后，历代许多名家都热衷于雪景山水的创作，为我们留下了大量的经典传世之作。让我们展开画卷，一起走入艺术家们为我们营造的冰雪世界中，感觉这份凉意与惬意吧！",[23,7,24,51,6389,75,27,73,4240,278,647,6830,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cc41d747600fbec5bb8ee4187a8527.jpg",[],{"id":18999,"slug":19000,"title":16240,"dynasty":18,"author":19001,"museum":132,"description":19002,"tags":19003,"thumbUrl":19004,"material":122,"size":122,"collection":122,"collections":19005,"showCount":92,"zanCount":541,"manualWeight":40,"mainColor":41},226713,"huo-lang-tu-ye-li-sheng-226713","李昇","这是一幅人物风俗画卷，画面上货郎的货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹场景。画家借助货郎这一题材表现了当时市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了那个时代百姓的生活方式，是民俗学家不可多得的珍贵史料。",[23,7,24,51,2613,26,27,28,3218,1167,82,4731,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b73176be8077b5a0404118925f2e78.jpg",[],{"id":19007,"slug":19008,"title":19009,"dynasty":46,"author":19010,"museum":132,"description":19011,"tags":19012,"thumbUrl":19013,"material":122,"size":122,"collection":122,"collections":19014,"showCount":92,"zanCount":1065,"manualWeight":40,"mainColor":993},224578,"qing-ke-si-qun-xian-zhu-shou-zhou-qing-ren-224578","清缂丝群仙祝寿轴","清人","云端玄女乘鹤御风而来，松荫之下众仙执笙捧盏，衣袂翩跹顾盼生姿，满含恭谨喜色，似正静待贺寿吉时。下方仙姝俯身采撷芝草灵卉，奇石虬松环伺左右，流云漫卷天际，将海天仙乡的缥缈灵秀铺展尽致。\n\n此作用通经断纬之技晕染衣纹褶皱的柔婉层次，石色苍古明润，松针纤毫毕现，将群仙赴寿的欢愉雅景织就，既见仙班贺寿的祥瑞吉庆，又尽显工致秀雅的匠艺风华，恍将清虚仙境凝于尺幅之中。",[7,24,51,52,1034,27,28,75,82,2042,2041,140,137,278,84,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87520e9eaeef0cd56b73baacd54137b6.jpg",[],{"id":19016,"slug":19017,"title":16103,"dynasty":46,"author":17530,"museum":151,"description":19018,"tags":19019,"thumbUrl":19020,"material":834,"size":19021,"collection":88,"collections":19022,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":62},224389,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-224389","其实王原祁和他的祖父都特别喜欢黄公望的作品，这也是他临摹黄公望作品的原因。 王原祁代笔之作很多，由于他受皇帝赏识，学他风格者上千，成为“娄东派”，此派左右清代三百年画坛，正为正统派，对后世影响极大。清代山水画一蹶不振，这也是一大原因。",[23,7,24,497,154,73,277,27,52,297,298,82,78,559,280,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg","纵91厘米，横46厘米",[88],{"id":19024,"slug":19025,"title":19026,"dynasty":46,"author":809,"museum":395,"description":19027,"tags":19028,"thumbUrl":19029,"material":1061,"size":19030,"collection":122,"collections":19031,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":41},223229,"tao-hua-shuang-ji-tu-ren-yi-223229","桃花双鸡图","这图在徐小仓的传世的花鸟画作品中亦属上品。任氏所创用的以侧锋塑方形物象的画法，也与“侧取媚”的书学理论息息相通。因这种造型特征，能使欣赏者得到清新愉悦的观感而不陷于艰深的笔墨意境之中。这一点，在徐祥的作品中也得到了很好的体观。至于坡石的勾勒，坡草的节奏和用色方法，这些都与任伯年的作风一脉相承，置诸伯年作品中，几乎是可以混人耳目的。徐祥的自运之处，在于画面的整体布局，此作构图饱满，充溢三角而稍留空虚之地，使画面丰满而不滞塞。桃枝的穿插层层叠错，相当繁杂，这一点，固可以目之为“琐碎”，但反思之，这种变简单为繁茂，变孤清为热闹的画法，恰恰是符合徐小仓作为一个平民画家的本色的，雅俗共赏是未尝可以轻易非议的。款识：海上徐小仓写。钤印：徐祥之印。\n通观全作，设色淡雅，用笔以方峻的侧锋铺点为主，枝叉的转折，桃叶的分布，树干的盘旋出节，均与任伯年如出一辙；雄鸡的造型也取三角形，有棱有角，古人论书尝云“侧取媚”，意即侧锋出笔则姿态婀娜。",[23,24,51,7,27,277,102,76,1435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa59cfc11c1f09f6b7195be05c9967f.jpg","138×68厘米",[],{"id":19033,"slug":19034,"title":4001,"dynasty":46,"author":4002,"museum":132,"description":4003,"tags":19035,"thumbUrl":19036,"material":122,"size":122,"collection":122,"collections":19037,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":41},223081,"shui-hu-ren-wu-ren-xun-223081",[23,7,24,51,27,26,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a3a4f5179bbbd31544dae8f5435c3f9.jpg",[],{"id":19039,"slug":19040,"title":19041,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":19042,"thumbUrl":19043,"material":27,"size":2642,"collection":122,"collections":19044,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":41},222737,"xian-e-chang-chun-tu-dou-hua-lang-shi-ning-222737","仙萼长春图豆花",[23,7,24,51,100,27,26,6292,8278,102,8138,7667,4731,1231,711,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7cbebeb96400b2f7cc4f921366e047.jpg",[],{"id":19046,"slug":19047,"title":19048,"dynasty":67,"author":1070,"museum":69,"description":9427,"tags":19049,"thumbUrl":19050,"material":1061,"size":9431,"collection":122,"collections":19051,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":41},222566,"hua-hui-tu-5-chen-chun-222566","花卉图5",[23,7,24,51,3387,102,368,277,27,198,514,1095,301,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb138d65dbbfc167920322e416ba20c1e.jpg",[],{"id":19053,"slug":19054,"title":19055,"dynasty":114,"author":2103,"museum":260,"description":19056,"tags":19057,"thumbUrl":19058,"material":19059,"size":19060,"collection":175,"collections":19061,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":993},221446,"sha-zhu-fu-chu-tu-cui-bai-221446","沙渚凫雏图","崔白（1004-1088），中國北宋畫家，字子西，活躍於宋神宗前後，濠州（今安徽鳳陽）人。崔白是開始發揮寫生精神的畫家，其無前人的畫稿可臨摹或參考，但其依靠超越前人的觀察研究及描繪能力，探索花木鳥獸的生意，擺脫花鳥屬裝飾圖案的遺影，開創新的發展方向。其擅花竹、翎毛，亦長於佛道壁畫，畫佛道鬼神、山水、人物亦精妙絕倫，尤長於寫生。所畫鵝、蟬、雀堪稱三絕，手法細緻，形象真實，生動傳神，富於逸情野趣。一改百餘年墨守成規的花鳥畫風（指「黃筌畫派」），成為北宋畫壇的革新主將，數百年來頗受畫壇尊崇。",[23,7,24,51,102,27,26,710,56,2664,1821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86470bd0b6cb5ed33a9003d7bca038ca.jpg","册页，绢本","31.4cm×25.7cm",[175,106,90],{"id":19063,"slug":19064,"title":19065,"dynasty":18,"author":19066,"museum":151,"description":19067,"tags":19068,"thumbUrl":19069,"material":19070,"size":19071,"collection":122,"collections":19072,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":62},221173,"na-ga-xi-na-zun-zhe-tang-ka-bu-ben-guan-xiu-221173","那伽犀那尊者（唐卡布本）","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[23,7,24,51,52,27,678,28,472,135,102,1293,384,281,711,26,1388,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b41f5da4d64a7095b0f7c7ead52295.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[],{"id":19074,"slug":19075,"title":19076,"dynasty":67,"author":1269,"museum":395,"description":19077,"tags":19078,"thumbUrl":19079,"material":19080,"size":19081,"collection":123,"collections":19082,"showCount":92,"zanCount":1065,"manualWeight":40,"mainColor":62},220965,"jiu-de-song-dong-qi-chang-220965","酒德颂","此卷书法用笔遒劲，布白疏朗。\n《酒德颂》是魏晋诗人刘伶创作的一篇骈文。",[23,7,24,51,25,119,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff956fce687948e21143d27e5aa04e021.jpg","行书，绢本","纵24.5厘米，横245.7厘米",[123],{"id":19084,"slug":19085,"title":19086,"dynasty":67,"author":1269,"museum":151,"description":19087,"tags":19088,"thumbUrl":19089,"material":283,"size":19090,"collection":123,"collections":19091,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":41},220963,"qi-lv-shi-dong-qi-chang-220963","七律诗","82岁自书诗帖卷行楷七律，崇祯九年丙子(1636)夏，朝鲜笺本尺寸：30X251cm，故宫博物院藏。",[23,7,24,51,25,119,118,74,27,383,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff585a41d024b15fd0fb7f7b54fdad52b.jpg","30X251cm",[123],{"id":19093,"slu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希望多子 的美好含义。瓜皮被染成老绿色，瓜棱被填上赭石，裂缝被染成淡淡的石绿色。瓜的叶子的边缘已经枯萎，呈赭黄色。",[23,7,24,51,100,26,27,199,6793,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577659173433558d7dedcd3a2518e7f0.jpg","23.5x24.8",[106],{"id":19157,"slug":19158,"title":19159,"dynasty":293,"author":658,"museum":20,"description":19160,"tags":19161,"thumbUrl":19163,"material":121,"size":122,"collection":106,"collections":19164,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":41},218664,"zhu-quan-xiao-ting-wu-zhen-218664","竹泉小艇","墨韵淋漓间，翠竹苍劲挺拔，枝叶以劲挺之笔写出，墨色浓淡交错，似有清风穿叶而过。泉流隐于山石缝隙，虽未见全貌，却借留白与苔点暗喻潺潺之态。近处小艇泊于岸侧，舟中无人，留白生趣，引人遐想隐士或倚竹听泉，或泛艇寻幽。远处山峦以淡墨皴染，云雾轻笼，尽显江南山水的悠远空寂。整幅画以水墨为骨，诗意入魂，将文人隐逸情怀融于尺幅间，笔意简远却意蕴深长，仿佛能闻竹声泉响，触到那份远离尘嚣的淡然心境，尽显元人山水的空灵与闲适。",[23,24,7,51,118,277,73,75,53,19162,80],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13688cdad196b0705ce407027cb5e838.jpg",[106],{"id":19166,"slug":19167,"title":19168,"dynasty":114,"author":19169,"museum":3286,"description":19170,"tags":19171,"thumbUrl":19172,"material":34,"size":19173,"collection":36,"collections":19174,"showCount":92,"zanCount":1065,"manualWeight":40,"mainColor":62},218455,"zhou-ren-xing-tu-wang-hui-218455","舟人形图","王辉","淡墨晕染的水面微澜轻漾，一叶扁舟浮行其间。舟中之人凭舷而坐，衣袂垂落，神态悠然，似静听风吟，又或凝视水中云影。岸畔垂柳枝条披拂，几枝缀蕊梅枝斜出，添了清逸之趣。远处山峦轮廓柔和，与天际轻烟相融，浑然一体。简淡笔墨勾勒物象，却于留白处藏尽幽远之境，尽显宋人山水的诗意哲思——天地间人如芥子，却能与自然相契，寻得内心的安宁。整幅画以含蓄笔触铺陈意境，每一处细节都透着东方美学的雅致，将观者引入那片静谧辽远的烟波世界里。",[23,24,51,7,26,27,28,80,75,1478,383,79,84,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb655b285914c169055a1a989003a11c.jpg","19.3x19.0",[36],{"id":19176,"slug":19177,"title":19178,"dynasty":46,"author":19179,"museum":166,"description":19180,"tags":19181,"thumbUrl":19182,"material":34,"size":19183,"collection":122,"collections":19184,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":41},218351,"shi-nv-tu-ce-4-li-ting-xun-218351","仕女图册-4","李廷薰","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为 秦贤 和 花痴，是一位罕见的艺术家，或者说是广东人。",[7,24,51,100,26,27,28,29,30,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1081e21d3c249e083f177f2d4add8157.jpg","19x28",[],{"id":19186,"slug":19187,"title":5387,"dynasty":293,"author":181,"museum":212,"description":19188,"tags":19189,"thumbUrl":19190,"material":34,"size":19191,"collection":88,"collections":19192,"showCount":92,"zanCount":40,"manualWeight":40,"mainColor":62},218209,"song-quan-gao-shi-tu-yi-ming-218209","图画的背景是一片茂密的森林，松树和松针在风中摇曳。整幅图画给人以庄严肃穆的感觉，表达了对松泉高士伟大品格的敬意。",[24,7,768,27,75,28,697,19162,79,278,82,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4041017ea2d172063a033356abfa97ad.jpg","24x27.3cm",[88],{"id":19194,"slug":19195,"title":19196,"dynasty":293,"author":658,"museum":20,"description":1443,"tags":19197,"thumbUrl":19198,"material":666,"size":122,"collection":122,"collections":19199,"showCount":92,"zanCount":1065,"manualWeight":40,"mainColor":41},216594,"mo-zhu-pu-ce-ye-4-wu-zhen-216594","墨竹谱册页-4",[23,7,24,51,100,277,119,74,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c8a9a08d09a4c179fee51c2b578937.jpg",[],{"id":19201,"slug":19202,"title":19203,"dynasty":46,"author":181,"museum":132,"description":19204,"tags":19205,"thumbUrl":19206,"material":267,"size":122,"collection":122,"collections":19207,"showCount":92,"zanCount":1065,"manualWeight":40,"mainColor":41},215868,"qing-dai-gong-ting-ren-wu-hua-ce-1-yi-ming-215868","清代宫廷人物画册-1","端坐的身影裹着一身流光溢彩的华服，蓝紫底色上，龙纹与祥云交织成流动的星河，青绿点缀其间，似将春日生机锁进衣袂。朱红椅幔垂落，衬得人物眉眼沉静，唇边淡笑藏着宫廷深处的威仪与从容。脚踏青绿如苔痕，椅脚线条简洁却不失庄重，每一处纹饰都低语着旧时规矩与精致。泛黄纸页晕开时光痕迹，而画中锦绣、那份气度仍鲜活如昨，仿佛伸手便能触到当年宫廷里的暖光与静穆。这不仅是一幅肖像，更是一段凝固的旧梦，在色彩与线条间，窥见清代宫廷的庄重与华美。",[24,7,526,26,27,28,8319,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04af866bb80c765e6868aec967aa5a9.jpg",[],{"id":19209,"slug":19210,"title":19211,"dynasty":293,"author":1636,"museum":20,"description":3077,"tags":19212,"thumbUrl":19213,"material":267,"size":19214,"collection":88,"collections":19215,"showCount":19216,"zanCount":40,"manualWeight":40,"mainColor":41},290836,"you-lin-qing-yi-zhou-wang-meng-290836","幽林清逸轴",[7,24,52,277,497,75,1059,79,80,56,81,74,118,73,3829],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cbc40c15389daa95dc02c8e039dba05.jpg","133.4x47.4",[88],36,{"id":19218,"slug":19219,"title":19220,"dynasty":114,"author":460,"museum":132,"description":7349,"tags":19221,"thumbUrl":19222,"material":317,"size":907,"collection":122,"collections":19223,"showCount":19216,"zanCount":40,"manualWeight":40,"mainColor":62},290294,"san-song-tu-guo-xi-290294","三松图",[7,24,277,52,5543,647,74,73,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd67a22eb483af91386a29d1eed6d454.jpg",[],{"id":19225,"slug":19226,"title":10229,"dynasty":114,"author":721,"museum":20,"description":19227,"tags":19228,"thumbUrl":19230,"material":34,"size":10234,"collection":122,"collections":19231,"showCount":19216,"zanCount":40,"manualWeight":40,"mainColor":62},288937,"san-guan-chu-xun-tu-ma-lin-288937","画面描绘了道教神仙“三官大帝”，表现了三官巡游天地的盛况。",[23,24,7,14776,14040,28,370,1906,27,26,1046,473,298,19229],"神仙出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8887bcfc399239609b214e9bf562900.jpg",[],{"id":19233,"slug":19234,"title":19235,"dynasty":114,"author":2649,"museum":132,"description":14229,"tags":19236,"thumbUrl":19237,"material":317,"size":907,"collection":122,"collections":19238,"showCount":19216,"zanCount":40,"manualWeight":40,"mainColor":62},288735,"xiao-xiang-ba-jing-tu-juan-wu-wang-hong-288735","潇湘八景图卷五",[7,24,51,25,277,73,75,663,278,82,313,3718,648,279,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339dada0ada5326f09ea7594fb34f379.jpg",[],{"id":19240,"slug":19241,"title":19242,"dynasty":18,"author":1405,"museum":132,"description":7364,"tags":19243,"thumbUrl":19244,"material":317,"size":907,"collection":122,"collections":19245,"showCount":19216,"zanCount":40,"manualWeight":40,"mainColor":41},288280,"xiao-xiang-tu-dong-yuan-288280","潇湘图",[23,7,24,25,51,277,27,73,75,426,80,6231,429,84,118,119,2755,74,6832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c04f28d3f8ad6d8dd07d6e129dad267.jpg",[],{"id":19247,"slug":19248,"title":19249,"dynasty":114,"author":1160,"museum":20,"description":19250,"tags":19251,"thumbUrl":19252,"material":34,"size":19253,"collection":175,"collections":19254,"showCount":19216,"zanCount":40,"manualWeight":40,"mainColor":62},287640,"tang-wu-xue-shi-tu-liu-song-nian-287640","唐五学士图","图中人物的头形轮廓线显出轻重、缓疾之别，很能传达出人物的年龄特征。再有衣纹处理也很老到、简洁、明确，毫不拖泥带水，一撇一勾都交代得一清二楚，这些都足见刘松年绘画艺术的功力。《图绘宝鉴》卷四讲他“帅张敦礼，工画人物山水，神气精妙，名过于师”。",[24,7,51,28,27,26,609,14231,8206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff255d9c9acafdadea239abac7ee4f1f7.jpg","174.7x106.6",[175],{"id":19256,"slug":19257,"title":19258,"dynasty":293,"author":1556,"museum":132,"description":13767,"tags":19259,"thumbUrl":19261,"material":317,"size":907,"collection":122,"collections":19262,"showCount":19216,"zanCount":1065,"manualWeight":40,"mainColor":62},287336,"shi-ba-xue-shi-ju-hui-tu-juan-qian-xuan-287336","十八学士聚会图卷",[23,7,24,25,27,28,26,3097,2359,4907,2041,3300,902,19260,77,905,4078],"聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d57a33c5bf1c2de793373e80b8ac2ee.jpg",[],{"id":19264,"slug":19265,"title":3613,"dynasty":67,"author":5456,"museum":132,"description":5457,"tags":19266,"thumbUrl":19267,"material":122,"size":122,"collection":122,"collections":19268,"showCount":19216,"zanCount":40,"manualWeight":40,"mainColor":41},237665,"hua-niao-ce-ling-bi-zheng-237665",[24,7,51,100,27,26,102,56,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faed2278632f794fa3ce5f154692b37f9.jpg",[],{"id":19270,"slug":19271,"title":10368,"dynasty":46,"author":7849,"museum":132,"description":10369,"tags":19272,"thumbUrl":19273,"material":122,"size":122,"collection":122,"collections":19274,"showCount":19216,"zanCount":40,"manualWeight":40,"mainColor":41},237588,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237588",[7,24,51,100,277,27,73,1272,75,82,278,79,81,648,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c371ad1b554c4cb74d1d00a8c6b3ead.jpg",[],{"id":19276,"slug":19277,"title":19278,"dynasty":46,"author":2336,"museum":132,"description":3012,"tags":19279,"thumbUrl":19280,"material":122,"size":122,"collection":106,"collections":19281,"showCount":19216,"zanCount":40,"manualWeight":40,"mainColor":41},236534,"shui-xian-shi-zhou-wu-chang-shuo-236534","水仙石轴",[24,51,52,7,368,277,27,56,2067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360c9041d2e14afe6b7ddc54dad153cd.jpg",[106,286,123],{"id":19283,"slug":19284,"title":19285,"dynasty":46,"author":5268,"museum":132,"description":19286,"tags":19287,"thumbUrl":19288,"material":122,"size":122,"collection":122,"collections":19289,"showCount":19216,"zanCount":40,"manualWeight":40,"mainColor":41},235935,"tao-an-tu-zhou-hong-ren-235935","陶庵图轴","《弘仁陶庵图轴》是清代 本幅是作者送友人汪尧德的写生之作。\n汪尧德（162—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。\n早年客居松江，与 、 等文人交往。\n晚年家居年，以书画自娱。\n此图是弘仁与友人罗逸（字远游，歙县人）游 经过潜口时所绘汪尧德隐居之所。\n其屋舍傍山而筑，临溪而建，一片离尘幽美之景。\n作者以 和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。\n其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。\n款署：“渐江学者为子翁居士作陶庵图。\n”钤“弘仁”朱文印、“渐江僧”白文印。\n画幅上方有罗逸题七律一首，款署：“八十五老友罗逸为子陶先生题。\n”钤“罗逸之印”朱文印、“远游”白文印。\n鉴藏印有“礼耕堂”等二方。\n画右中部有篆书“庚子”二字。\n“庚子”是清顺治十七年（166年），作者时年51岁。",[7,24,51,52,277,73,75,297,135,81,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5771af356858a98b85a075031e46a14a.jpg",[],{"id":19291,"slug":19292,"title":19293,"dynasty":293,"author":19294,"museum":132,"description":19295,"tags":19296,"thumbUrl":19297,"material":250,"size":19298,"collection":122,"collections":19299,"showCount":19216,"zanCount":1065,"manualWeight":40,"mainColor":41},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","赵原","大雪已过，而西安的雪却迟迟没有落下，这让人不仅怀念起昔日纷纷扬扬的大雪来，只能将这份念想寄托于中国山水画中。\n据中国美术史记载，在中国山水画史上，最早描绘雪景题材的是唐代画家、诗人王维。据《宣和画谱》记载，在宋代御府收藏王维画作的126件中，其中山水画目以雪景为多，共计20件，隐逸题材10余件，所以王维被尊为中国雪景山水画的“开山老祖”。而长久以来，一幅名为王维的《江山雪霁图》却一直饱受争议，这又是缘何呢？\n雪后初霁的世界一尘不染，而中国画又善于抒情达意，常将主观感情融于创作，又以象征手法描绘物象，而雪景入画正是随物赋形，将人心的细微转折处以蕴藉不露的方式表达出来，意境高远。王维（701年－761年），字摩诘，号摩诘居士，今山西运城人。王维性喜山水，诗画双绝，且精通音律和佛经，是唐朝著名的诗人和画家。苏轼评价其“诗中有画，画中有诗。”据说，安史之乱时王维被叛贼所俘，安史之乱平定后，唐肃宗不但没加罪还授官于他。王维便作雪景山水画，以表明自己身心如雪色洁白，如《雪中芭蕉》《雪溪图》等，都是其传世之作。\n王维画雪开创了中国山水画之先河，被明末著名书画家董其昌推崇为南宗山水画之祖。提出《江山雪霁图》的便是董其昌。董其昌自述从著名的鉴藏家、文学家冯梦祯（字开之，1548—1605）处，探得王维的《江山雪霁图》，并先后两次为其写跋文，引起一时轰动。近代，传出日本京都小川家收藏了《江山霁雪图》。图为一幅高28.4厘米、宽171.5厘米的水墨绢画，画法纯用勾勒，不加点苔，也无皴染。画中自右至左，在岩石、远峰、小山、浅屿之间，江流缭绕、水远天平，白头山上雪意茫茫。右下角岩石上有枯树六、七株，稍上双峰并峙，林木森森。中偏右矗立一巨大岩石，顶露平台，前护低栏、后倚竹树，茅舍三五散落其间；其左下方平出浅屿，有枯树八、九株，极见疏落之致。左半部一抹小山，略见起伏，山腰水际有小树隐匿其中；紧接浅屿，横扼中流，向左延伸，略近边缘，画面即止于此。",[23,7,24,51,25,154,277,73,75,297,279,79,82,663,5979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","41x278.3厘米",[],{"id":19301,"slug":19302,"title":19303,"dynasty":46,"author":7025,"museum":132,"description":19304,"tags":19305,"thumbUrl":19310,"material":122,"size":122,"collection":122,"collections":19311,"showCount":19216,"zanCount":40,"manualWeight":40,"mainColor":62},228950,"jiu-cheng-gong-tu-yuan-jiang-228950","九成宫图","危崖崚嶒，古柏虬劲苍郁，云雾轻笼层峦，将殿宇台榭晕染如缥缈仙宫。界画工细严整，斗拱梁枋毫厘毕现，青蓝重彩晕染出殿宇的华贵庄重，尽显匠造精工。\n\n远景平沙远岫，烟波浩渺间晕开朦胧诗意，近景层岩叠翠，山道间商旅穿行点缀烟火气。整幅开合有度，虚实相生，将皇家宫苑的宏阔威严，与山水灵秀融为一体，以极致工笔勾勒出雄奇雅丽的山水宫苑胜境。",[23,7,24,855,26,27,72,75,77,19306,7853,15630,279,19307,3901,19308,19309],"殿宇","平沙远岫","商旅","皇家宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F612d9d536058ffbfac745708307b19e8.jpg",[],{"id":19313,"slug":19314,"title":2857,"dynasty":114,"author":4389,"museum":132,"description":19315,"tags":19316,"thumbUrl":19317,"material":122,"size":122,"collection":122,"collections":19318,"showCount":19216,"zanCount":40,"manualWeight":40,"mainColor":62},227956,"hua-niao-tu-ye-zhao-bo-ju-227956","这幅小品以清雅笔触勾勒乡野闲趣，瓜叶舒展圆润，甜瓜垂坠饱满，藤须轻曳带着夏日的鲜活生机。两只小鼠姿态灵动憨然，一只探鼻轻嗅瓜蒂，一只俯身张望，将鼠类的机灵敏锐与憨态尽显无余。\n整画工致细腻，瓜的棱纹晕染自然，鼠身绒毛纤毫毕现，淡彩晕染古朴柔和，将日常细碎小景绘得意趣盎然。平淡乡野片段被定格为隽永画面，藏着对烟火日常的温柔体察，尽显于寻常间寻觅诗意的雅致审美。",[23,24,7,26,27,102,10418,6793,1388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c858f941ffcace6d9f65b301b5c99f.jpg",[],{"id":19320,"slug":19321,"title":19322,"dynasty":114,"author":19323,"museum":132,"description":19324,"tags":19325,"thumbUrl":19326,"material":122,"size":122,"collection":122,"collections":19327,"showCount":19216,"zanCount":1065,"manualWeight":40,"mainColor":62},227416,"zhao-ling-liu-jun-tu-juan-chang-juan-zhao-lin-227416","昭陵六骏图卷(长卷)","赵霖","《昭陵六骏图》卷，金，赵霖作，绢本，设色，纵27.4厘米，横444.9厘米。\n此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,7,24,25,26,27,215,28,118,74,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd803f502ab548d08a4d7881bc0191c.jpg",[],{"id":19329,"slug":19330,"title":19331,"dynasty":114,"author":9161,"museum":20,"description":19332,"tags":19333,"thumbUrl":19334,"material":611,"size":122,"collection":122,"collections":19335,"showCount":19216,"zanCount":40,"manualWeight":40,"mainColor":62},227397,"hu-xi-san-xiao-tu-xiao-zhao-227397","虎溪三笑图","宋代佚名《虎溪三笑图》，绢本设色，纵26.4厘米，横47.6厘米，无款印，钤“宣统御览之宝”、“珍秘”等鉴赏印四枚，现收藏在台北故宫博物院。画面中，古树参天，虎溪蜿蜒奔流，水花飞溅，红叶飘洒，雾霭沉沉；三位老者气宇轩昂，肢体夸张，面对淙淙虎溪，相识无语，仰天长笑；左一童子肩负包袱、右二童子牵驴等候，样子朴实天真。图中笔细劲锐，设色古雅，远山以淡墨勾染，古树细笔勾勒，浓墨点小树，山石则淡青色皴染，墨线勾勒轮廓，整幅画面相融一气，极富立体灵动之感，体现了宋人卓越的绘画成就。",[23,24,7,27,7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160.6x104.9公分；诗塘 17.3x104.6公分；全幅 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七子过关图》，均辑入《中国历代名画集》。",[24,51,7,26,27,678,28,74,250,684,19654,19655],"鞋履","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc438e95fc298e7d9772a7f546f3f2f00.jpg",[36],{"id":19659,"slug":19660,"title":19661,"dynasty":114,"author":2868,"museum":151,"description":19662,"tags":19663,"thumbUrl":19664,"material":217,"size":19665,"collection":36,"collections":19666,"showCount":19512,"zanCount":1065,"manualWeight":40,"mainColor":62},233988,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233988","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,7,51,100,510,277,28,1059,425,56,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F489ad7188d3047e278afe3c2a391dfdb.jpg","60.33x41.04厘米",[36,88],{"id":19668,"slug":19669,"title":19670,"dynasty":46,"author":2660,"museum":132,"description":19671,"tags":19672,"thumbUrl":19673,"material":122,"size":122,"collection":122,"collections":19674,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":41},230185,"hua-niao-cao-chong-tu-ce-8-zhen-hua-yan-230185","花鸟草虫图册8帧","此帧以淡墨晕染湖石，枯槎斜出，缀着将残的花枝，清寂秋意扑面而来。四只文雀神情灵动鲜活，一只振翅回身，似在呼引枝上同伴，三雀或侧耳或抬首，亲昵相映，将秋日荒寒里的生趣尽数勾勒。\n\n设色清浅柔和，禽鸟绒羽蓬松宛然，湖石墨色苍润有层次。左侧题诗与朱红印章错落排布，留白疏密相宜，诗画相生，将萧索秋意与小雀的生机揉合，清冷中带着融融暖意，尽显隽秀雅致的笔墨意趣。",[7,24,51,100,277,27,102,56,384,1821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd89d3818b81f0bfd0b7ea1bf2d27ff9.jpg",[],{"id":19676,"slug":19677,"title":19678,"dynasty":293,"author":4125,"museum":132,"description":19679,"tags":19680,"thumbUrl":19681,"material":122,"size":122,"collection":122,"collections":19682,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":62},228051,"da-ming-gong-tu-juan-wang-zhen-peng-228051","大明宫图卷","图绘楼台魏巍，湖水环绕，拱桥横跨，一巨大的龙舟领衔，众多小龙舟奋力竞渡夺标的生动情景。\n场面宏大壮观，人、船众多，旌旗招展，鼓乐齐奏，一片观乐紧张气氛。\n全画用笔工整严谨，楼台、龙舟俯仰曲折，细入毫端，人物虽小，然各尽其态，引人入胜。\n【名称】元王振鹏金明夺锦图卷 【规格】该幅 2.124.1公分；隔水一 1.公分；隔水二 1.7公分 【收藏】 主题与关键字：春景、名胜、龙舟、宫殿、桥、池水、奇石、官员（臣）、侍从（侍女、童仆）、百姓、表演者、杂耍艺人、松、竹、杨柳、柏、庭院、栏杆、鸟笼、旗、秋千 录入：石渠宝笈初编（养心殿），下册，15页；故宫书画录（卷八），第四册，8页；故宫书画图录，第十七册，211-214页。\n王振鹏：元永嘉（今浙江温州）人。\n官至漕运千户。\n界画极工致，仁宗眷爱之，赐号孤云处士。\n运笔和墨，豪分缕析，左右高下，俯仰曲折，方员平直，曲尽其体，而神气飞动，不为法拘。\n虽入纤细，而格力超腾，非院中人所能。\n元季界画可为第一，不在郭恕先之下， 、 辈殆不如也。\n尝为大明宫图、金明池夺标图、大安阁图、水亭图等，世称绝品。",[23,24,7,25,855,510,77,75,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c596cd513646736bb7dfa23a00cbc29.jpg",[],{"id":19684,"slug":19685,"title":19686,"dynasty":114,"author":4389,"museum":132,"description":19687,"tags":19688,"thumbUrl":19689,"material":122,"size":122,"collection":122,"collections":19690,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":62},227954,"shou-shan-fu-hai-tu-zhao-bo-ju-227954","寿山福海图","此作用色古雅沉静，青绿重晕的孤峰卓立沧溟之上，石质苍润朴拙，尽显山岳沉稳厚重之态。细劲墨线勾描层叠水纹，暗合海波悠悠律动。丹红落日悬垂天际，暖赭晕染暮空，群鸦振翅穿翔于天地间，为静谧图景添了灵动生气。\n\n整体构图简括静穆，将祈福寄寓山海：青山喻绵长福泽，沧海托无涯寿数，红日高悬烘托圆满祥瑞。画作承青绿山水古意，以极简构图脱出繁复，将祝寿之旨融于渺远静阔的图景里，静中藏动，淡而有神，尽显雅致沉静的宋画意趣。",[23,7,24,51,72,27,26,75,56,79,5491,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182ace73bc094636a83c12be026af239.jpg",[],{"id":19692,"slug":19693,"title":6998,"dynasty":114,"author":181,"museum":132,"description":19694,"tags":19695,"thumbUrl":19696,"material":122,"size":122,"collection":106,"collections":19697,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":62},227901,"bai-tou-cong-zhu-tu-ye-yi-ming-227901","《白头丛竹图》是南宋佚名创作的绢本设色画，现藏于 。\n图中绘小竹数竿，清翠欲滴，两只山雀栖于枝头，一只低头俯视，一只眺望前方。\n竹用双钩填彩，笔墨缜密严谨，色调沉着。\n山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有质感。\n图绘白头翁鸟两只，栖于丛竹之中。\n图中的丛竹，自竹篁中长出的几枝落叶的老枝，画幅左上方伸展，这就打破了左面景物过于稀疏的格局。\n左侧的老枝，竹叶开始枯黄，在几处竹叶根部略见积雪，分明是初冬时节。\n两只鸟伫立于一根枝权上，上者低头梳理羽毛，长尾下垂；下者凝视前方，姿态逼肖。\n本幅无款。\n钤鉴藏印“佟氏家藏”。\n此图过去一直被认为代表了唐代李思训画派的风格，后经傅熹年考证，认为其时代上限不超越南宋中期，而且很可能出自既不了解唐代宫苑之制、也未亲见宋代宫苑贵邸的临安以外地区的民间画家之手。\n此图画竹先以浓墨细笔勾出枝叶，再以淡色渍染，染色时从尖到根逐渐加深，叶根部留白作雪。\n笔墨严谨，色调沉着。\n设色除了竹叶较重的青绿，其他部分用色都很清淡，做到工而不板，丽而不俗。\n两只白头翁先用笔层层晕染，然后用尖毫细笔画出它们身上的绒羽，这样刻画出丰满可爱的白头翁形象，与竹枝、竹叶的劲利画法不同，而柔软蓬松的翎羽与刚直劲挺的竹枝、竹叶，形成艺术效果的对比。\n足见作者在此图上施以多种手法而得到的艺术效果甚佳。\n这是作者对自然界的花鸟进行认真观察、勇于摸索、不断实践创作的结果。\n画面上，两只白头翁立在竹枝之间．一只平视前方，另一只低着头，用喙梳理羽毛，动作显得十分传神。\n竹子采用双钩填彩画法，尤是竹叶似剑锋不锐利。\n在着布局上，色调构图缜密。\n《白头丛竹图》在用线上，竹的线条勾勒坚挺劲利，用笔顿挫提按有力，叶的勾勒显出飘逸、灵动，枝的用线则稳健，叶与枝在统一中求变化。\n白头翁身上的绒羽则用尖毫细笔勾出，与竹一柔一刚形成强烈的张力，既表明了两者形态、质感上的不同，也强化了内在的冲突：环境严寒、凛冽而白头翁的温柔可爱。\n凌寒不屈的寓意需要相应的笔法和设色与之相称。\n白头翁作为主体以黑、白、灰为主，既朴素大方，又对比强烈地镇住画面。\n在中国传统色彩学中，黑与白是所有色彩中的极色，它们在这幅画中被赋予特殊的关注。\n衬景的竹子先染墨后施色，显出了色调的沉着，竹叶稳沉的绿与古铜色绢底既有反差，又有参差的层次，构成和谐的统一。\n叶尖、叶背以及次要的竹枝淡淡施以摊墨，进一步融合了绢与竹在色彩与空间上的联系。\n通幅调子淡雅、朴素、沉着，既是客观的写照而又融人主观的情趣，体现了工笔花鸟画形式所特有的设色的法度：主辅必明，傅染必渐，洪托必匀，雅俗必分，层层值染，使得墨与色和谐相融。\n这一切不仅增加了色彩的厚度，而且也使画面显得细腻而丰富。\n这种微妙屯自然、柔和的变化及空间控制之精妙，是意笔花鸟画难以企及的。\n在构图上，静态的白头翁栖于主位，理羽的白头翁处于辅位，一静一动主次的安排，既莫定画面“静”的基调又使画面有“动”的生气。\n衬景中最醒目的竹干从画面中下部向左中下方斜长出画外，白头翁站立的竹枝伸向右中上方，与右斜带叶小枝形成右上方与中下部的连势，加之竹叶横生长势，与白头翁站立的竹枝同长于一个竹节点，但长势相反且与止于画面的辅枝一起，形成多层次的、非十字形的交叉，既丰富又统一，与冲出画外的竹干长势一同把人的联想引到画外无限的空间。\n会员李敬仕：画家以不同的手法，表现了不同对象的质感和精神气质，使白头翁与劲利的竹枝、叶片形成刚柔对比的艺术效果。",[23,7,24,51,768,100,26,27,102,53,84,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eabac537775fc8e4c72a25d5260302.jpg",[106],{"id":19699,"slug":19700,"title":19701,"dynasty":114,"author":274,"museum":132,"description":9366,"tags":19702,"thumbUrl":19703,"material":122,"size":122,"collection":122,"collections":19704,"showCount":19512,"zanCount":1065,"manualWeight":40,"mainColor":62},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)",[7,24,51,25,277,73,75,2009,663,82,80,664,5979,281,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],{"id":19706,"slug":19707,"title":13881,"dynasty":114,"author":721,"museum":132,"description":19708,"tags":19709,"thumbUrl":19710,"material":122,"size":122,"collection":122,"collections":19711,"showCount":19512,"zanCount":1065,"manualWeight":40,"mainColor":62},227634,"shan-shui-tu-ye-ma-lin-227634","马麟（？－？），中国南宋画家，原籍河中（今山西省永济），南渡后三代居钱塘，遂为钱塘（今浙江省杭州市）人。\n\n马麟之父马远是宋光宗、宋宁宗两朝（1190-1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰（1201-1204）间授画院祗候，颇得宋宁宗赵扩、皇后杨氏称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”《画史会要》谓：“麟不逮父。远爱其子，多于己画上题麟，盖欲其章也。”",[23,24,7,27,73,100,75,80,28,1059,609,278,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98bf0a985bd51c41419d7d05703c8a3d.jpg",[],{"id":19713,"slug":19714,"title":19715,"dynasty":114,"author":1160,"museum":132,"description":19716,"tags":19717,"thumbUrl":19718,"material":122,"size":122,"collection":122,"collections":19719,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":62},227414,"shuai-qin-xie-zhi-yin-tu-liu-song-nian-227414","摔琴谢知音图","《摔琴谢知音图》中正截取了伯牙摔琴的这个画面，图中一人正恭敬行礼，似在向伯牙告知什么，伯牙则抱琴正要往地上摔，满脸悲怆，似是得知了子期的死讯，悲痛交加，当场破琴绝弦。\n\n子期不在对谁弹，欲觅知音难上难。这是一段世人都为之动容的友谊，自古以来，不知有多少人羡慕并追求这样的友谊。由于弹琴本身就是一件高雅的事情，能从琴声中辨知音，识好友，那就更是一件令人欣喜的事情了。因而在携琴访友图这个主题中，也有着古人对友谊的向往之情。",[23,24,51,7,27,26,75,28,1737,135,278,31,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd917d7111fdf8bc88c1057a2db4b2247.jpg",[],{"id":19721,"slug":19722,"title":8015,"dynasty":114,"author":8016,"museum":132,"description":19723,"tags":19724,"thumbUrl":19725,"material":122,"size":122,"collection":122,"collections":19726,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":62},227333,"jiu-ge-tu-zhang-dun-li-227333","《九歌》是《楚辞》篇名。原为传说中的一种远古歌曲的名称，战国楚人屈原据民间祭神乐歌改作或加工而成。共十一篇：《东皇太一》、《云中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《东君》、《河伯》、《山鬼》、《国殇》、《礼魂》。《国殇》一篇，是悼念和颂赞为楚国而战死将士;多数篇章，则皆描写神灵间的眷恋，表现出深切的思念或所求未遂的伤感。王逸说是屈原放逐江南时所作。但现代研究者多认为作于放逐之前，仅供祭祀之用。",[23,7,24,51,25,26,27,28,370,279,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc07a8d04ca48dae273e9dc351d5ef844.jpg",[],{"id":19728,"slug":19729,"title":19730,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":19731,"thumbUrl":19734,"material":317,"size":907,"collection":3417,"collections":19735,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":62},225879,"wheatfield-with-crows-july-fan-gao-225879","Wheatfield with crows (July - )",[7,3410,3411,17465,19732,8965,19733,15793],"群鸦","乡间小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ca128e448b20fdbbcc37b1b24ed1df.jpg",[3417],{"id":19737,"slug":19738,"title":19739,"dynasty":114,"author":181,"museum":48,"description":19740,"tags":19741,"thumbUrl":19742,"material":217,"size":19743,"collection":122,"collections":19744,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":41},223435,"song-mo-zhou-wen-ju-gong-zhong-tu-di-yi-duan-yi-ming-223435","宋摹周文矩宫中图（第一段）","此图是描绘宫中妇女生活的长卷，存残卷四段，画八十余人。\n《宫中图》原作已经不存在,目前所见为南宋摹本,共有三段。1947年左右散佚海外,分存在美国三个不同的博物馆。第一段藏美国克里夫兰美术馆,曾名《仕女图》第二段名《宫中图》,藏美国哈佛大学福格博物馆;第三段名《唐宫春晓图》,原为英国私人藏,现入藏美国大都会美术馆。 [1] 《宫中图》，宫女童子多达八十令人，分十余组，人物穿插得体，彼此照庇，统一和谐；除人物面部行极少淡彩外，均用白描，笔法活泼，线条流畅，造型准确生动。 [2]\n此图是描绘宫中妇女生活的长卷，现残存四段，画中宫女童子多达81人，分成十余组。人物的活动有着诸多的场面，有的对镜梳妆，有的在奏乐，有的在无聊闲坐，有的在盥洗，有的在逗着小儿，童子正在逗玩小狗，有的在观鱼等等；画中的人物，除儿童显得天真活泼外，其余人物显得有些懒散、忧郁，尤其是年长者，地位较显者为甚，画中诸多人物的安排和组合，穿插得体，疏密相间，构图富有变化，错落有致。\n画卷附有宋绍兴庚申十年（1140）张激跋文，郁逢庆的（书画题跋记）把这段题跋保存下来，录在下面:\n周文矩“”宫中图”，妇人小儿，其数八十，一男子写神，而装具乐器盆孟扇椅席鷃鹉犬蝶不与。文矩句容人，为江南翰林待诏，作仕女体近周，而加纤丽，尝为后主画“南庄图”，号一时绝笔，他日上之朝廷，诏籍之秘阁。“官中图”云是真迹，藏前太府卿朱载家，或摹以见馈，妇人高自唐以来如此，此卷丰肌长裙，周法也。余在峤南于端溪陈高祖之裔，见其世藏诸帝像，左右官人梳与此略同，而丫乃作两大垂肩项间，虽丑而有真态。李氏自谓南唐故衣冠多用唐制，然风流寔是六朝之余，画家者官辩古今当先问衣冠车服，盖谓此也。绍兴庚申五月乙西岩居士张激题。”\n卷后有岳居土张激绍兴十年（1140）跋：“周文矩宫中图，妇人小儿，其数八十。男子写神。”",[23,7,24,51,25,154,510,28,29,1229,31,684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856d5daed2a1792353467f6670b4d6b6.jpg","纵28.3cm，横168.5cm",[],{"id":19746,"slug":19747,"title":18023,"dynasty":114,"author":181,"museum":20,"description":19748,"tags":19749,"thumbUrl":19750,"material":156,"size":19751,"collection":122,"collections":19752,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":41},223428,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223428","观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相，但五官秀美，已流露出女性化的特质。观世音菩萨站于莲花台上，左右各有两位菩萨随侍，下方的天龙八部双手合十，向观音菩萨示敬。",[23,7,24,51,52,678,26,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3609fea6b6aec4f00edc649c4078940.jpg","127x58cm",[],{"id":19754,"slug":19755,"title":19756,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":19757,"thumbUrl":19758,"material":27,"size":2642,"collection":122,"collections":19759,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":41},222733,"xian-e-chang-chun-tu-cui-zhu-qian-niu-lang-shi-ning-222733","仙萼长春图翠竹牵牛",[23,7,24,51,100,26,27,102,53,12026,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e67283e0ab5abccdabbdf139080e20c.jpg",[],{"id":19761,"slug":19762,"title":19763,"dynasty":67,"author":10910,"museum":507,"description":17176,"tags":19764,"thumbUrl":19765,"material":342,"size":17179,"collection":88,"collections":19766,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":62},222385,"shi-ga-mou-ni-tu-ding-yun-peng-222385","释伽牟尼图",[23,7,24,51,52,678,26,27,28,75,609,281,4731,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70fcd46abbbbd0f95a6777026a70c0.jpg",[88,90],{"id":19768,"slug":19769,"title":19770,"dynasty":114,"author":9161,"museum":20,"description":19771,"tags":19772,"thumbUrl":19775,"material":611,"size":19776,"collection":175,"collections":19777,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":62},221661,"shan-yao-lou-guan-tu-zhou-xiao-zhao-221661","山腰楼观图轴","此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,24,7,52,75,27,77,80,79,19773,18878,9960,4497,863,18879,19774,73],"浅滩","径路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4c55e52a1cb2248ca13b56096d3fa.jpg","纵179.3cm，横112.7cm",[175,88,90],{"id":19779,"slug":19780,"title":19781,"dynasty":114,"author":1838,"museum":132,"description":10808,"tags":19782,"thumbUrl":19783,"material":611,"size":1842,"collection":122,"collections":19784,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":62},221327,"chao-yuan-xian-zhang-tu-di-er-duan-wu-zong-yuan-221327","朝元仙仗圖-第二段",[23,7,24,51,25,510,678,28,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1d50323372fd5dbe926cdd9c052086.jpg",[],{"id":19786,"slug":19787,"title":19788,"dynasty":114,"author":19789,"museum":20,"description":19790,"tags":19791,"thumbUrl":19792,"material":834,"size":19793,"collection":175,"collections":19794,"showCount":19512,"zanCount":40,"manualWeight":40,"mainColor":41},221258,"dao-yi-juan-mou-yi-221258","捣衣卷","牟益","牟益（1178-？），四川人。活動於理宗、度宗兩朝，工畫人物，兼善古文與篆書。 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。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远",[23,7,24,25,27,73,75,297,82,28,215,472,84,281,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":19983,"slug":19984,"title":19985,"dynasty":293,"author":7543,"museum":132,"description":19986,"tags":19987,"thumbUrl":19988,"material":122,"size":122,"collection":122,"collections":19989,"showCount":19843,"zanCount":40,"manualWeight":40,"mainColor":62},228171,"jiu-ma-tu-juan-ren-ren-fa-228171","九马图卷","长卷铺陈出闲适的厩苑日常，人马排布错落自然。左侧马厩中，良驹或垂首饮水，圉人侍立旁侧打理，马匹肌理骨骼刻画写实细腻，鬃毛发丝晕染柔和，尽显膘肥体健的神骏姿态。中段花马被牵徐行，昂首灵动，牵马人步履悠然，动态鲜活。右侧骏马昂然伫立，侍者低语顾盼，氛围平和悠然。\n整作线条劲挺流畅，设色清雅柔和，将鞍马画的写实功力尽显，既描摹出良驹矫健俊朗的风神，又勾勒出牧马日常的恬淡图景，藏着对写实工笔的精妙把控，尽显古风雅致的鞍马画韵致。",[23,24,7,25,26,27,215,28,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1d3e204d63756ad26041aa9243c11.jpg",[],{"id":19991,"slug":19992,"title":19993,"dynasty":114,"author":181,"museum":132,"description":19994,"tags":19995,"thumbUrl":19996,"material":122,"size":122,"collection":122,"collections":19997,"showCount":19843,"zanCount":40,"manualWeight":40,"mainColor":41},227935,"qing-feng-ju-die-tu-yi-ming-227935","青枫巨蝶图","《青枫巨蝶图》是宋代佚名画家创作的一幅绢本设色画。\n描绘了伸出嫩绿色枫树一株，枝叶婆娑。\n一只赭黄色巨蝶从右上侧凌空飞临，与枫叶构成平衡的对角关系。\n本幅无款。\n鉴藏印钤“大观”葫芦形朱文印以及“石渠宝笈”、“乐 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》著录。",[23,7,24,51,768,27,102,26,6598,200,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b2cd2c17f1f932ab06e135ac4df848.jpg",[],{"id":19999,"slug":20000,"title":20001,"dynasty":114,"author":556,"museum":132,"description":20002,"tags":20003,"thumbUrl":20004,"material":122,"size":122,"collection":122,"collections":20005,"showCount":19843,"zanCount":40,"manualWeight":40,"mainColor":62},227775,"chi-bi-sheng-you-tu-ye-li-tang-227775","赤壁胜游图页","赤壁之战是中国历史上极为著名的战争；它是用灵活战术发挥以寡击众的成功战例。战争从双方集结到交战，前后历时几个月，但却传颂了一千多年，至今不歇。后世以诗词歌赋、艺术书法，戏剧歌曲，各种方式称颂这场战争及参与这场历史盛会的英雄。\n\n赤壁之战除了战争前魏、蜀、吴三方阵营斗智、权谋攻防的尔虞我诈，战争过程中极富戏剧性的发展脍炙人口外，战后的影响也是令后世热衷讨论、研究的焦点。一般说来，魏、吴、蜀三分天下的契机奠定于这场战争。然而，三国鼎立的局面虽然出现了，但最后统一的局面，并非由参与这场战争的任何一方完成。历史的发展，曲折迂迴似乎没有必然的逻辑。\n\n赤壁之战引起后世无尽的兴味，还有一项重要的原因，即为参与这场战争的「与会者」，都成为后世讨论的对象。在中国历史上，很少有一个时代突然出现那麽多人才。就人才分佈而言，各方阵营济济多士、猛将如云。长久以来，后世习惯立场的选择，加上《三国演义》小说、戏剧的推波助澜；因此，读史时便无意中流露出对历史人物的偏爱了。\n\n后世歌咏赤壁的艺术绘画、书法作品众多，我们选辑一批，不用亲临，在纸上感受千年以来赤壁的风云际会。",[23,7,24,51,100,277,27,75,80,609,281,79,28,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85967083dcbba194a327a2d2f6d7070.jpg",[],{"id":20007,"slug":20008,"title":20009,"dynasty":114,"author":1216,"museum":132,"description":20010,"tags":20011,"thumbUrl":20012,"material":122,"size":122,"collection":122,"collections":20013,"showCount":19843,"zanCount":1065,"manualWeight":40,"mainColor":41},227607,"lan-ting-xiu-xi-tu-li-gong-lin-227607","兰亭修禊图","《李公麟兰亭修禊图》是宋朝李公麟创作的人物画，再现了当年王羲之等人雅集之状，现被私人收藏。",[23,7,24,51,27,855,75,28,77,81,82,278,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c442252580f8eabaa25ca0afe38259.jpg",[],{"id":20015,"slug":20016,"title":20017,"dynasty":114,"author":11186,"museum":132,"description":7008,"tags":20018,"thumbUrl":20021,"material":122,"size":122,"collection":122,"collections":20022,"showCount":19843,"zanCount":40,"manualWeight":40,"mainColor":62},227599,"qiu-jiang-yu-ting-tu-yuan-se-xu-dao-ning-227599","秋江渔艇图（原色）",[23,7,24,51,25,277,73,75,425,2009,82,647,3426,279,664,3375,28,20019,10032,20020],"岸坡","渔艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47cf3d4177d2091033e8ed520bc3298.jpg",[],{"id":20024,"slug":20025,"title":20026,"dynasty":674,"author":2912,"museum":132,"description":20027,"tags":20028,"thumbUrl":20029,"material":317,"size":907,"collection":122,"collections":20030,"showCount":19843,"zanCount":40,"manualWeight":40,"mainColor":479},227078,"yi-yu-lai-wang-tu-ye-yan-li-ben-227078","异域来王图页","此幅应为伪本",[23,24,7,51,100,27,26,28,472,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfae74aa3a781c82197b6a3cd63ac32.jpg",[],{"id":20032,"slug":20033,"title":20034,"dynasty":46,"author":20035,"museum":132,"description":20036,"tags":20037,"thumbUrl":20038,"material":122,"size":122,"collection":122,"collections":20039,"showCount":19843,"zanCount":40,"manualWeight":40,"mainColor":41},226629,"si-shi-shan-shui-02-pu-ru-226629","四时山水02","溥儒","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,51,7,52,277,27,75,56,609,84,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbaef9558d710642e3f6aa6b5a09eb.jpg",[],{"id":20041,"slug":20042,"title":20043,"dynasty":46,"author":2660,"museum":132,"description":20044,"tags":20045,"thumbUrl":20046,"material":122,"size":122,"collection":122,"collections":20047,"showCount":19843,"zanCount":40,"manualWeight":40,"mainColor":62},224185,"hua-niao-cao-chong-tu-ba-04-hua-yan-224185","花鸟草虫图八-04","此作画境清寂空灵，以大片素净绢底铺就秋意寥廓。枯曲枝桠携残叶斜垂，晕染出沉郁秋容，瘦硬题诗暗合秋声萧瑟。\n\n寒蝉静栖残叶之上，翼脉纤细通透，躯体晕染青绿，将蛰伏静气藏于枯叶间；野蜂振翅独行，墨色凝练收拢，晕开秋日细碎生机。设色简淡克制，枯褐与浅绿相映，将清秋的清寒与虫豸生趣相融，以小景见秋深，尽显文人写意的淡远雅致，把清秋里幽微的生命意趣娓娓道来。",[23,24,51,7,100,27,277,102,199,514,339,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a6ebe9dc7f416e70b255842e6dea0d.jpg",[],{"id":20049,"slug":20050,"title":1666,"dynasty":114,"author":181,"museum":132,"description":20051,"tags":20052,"thumbUrl":20053,"material":122,"size":122,"collection":122,"collections":20054,"showCount":19843,"zanCount":40,"manualWeight":40,"mainColor":62},223672,"xue-zhu-tu-yi-ming-223672","画面以巨石为骨，古松蟠曲依偎身侧，修竹高低错落、劲挺而立。作者以浓淡墨色晕染出雪意，枝桠竹叶覆雪的沉凝质感呼之欲出，留白暗合积雪清寒，将冬日萧索尽数铺陈。\n笔触苍劲老辣，写形亦写意，将雪后竹林幽寂清旷的氛围烘托到极致，草木于冷冽之中舒展不屈生机，尽显工致写实与文人意趣的交融，勾勒出古朴清寒的林下况味，晕开冬日静谧雅致的深幽意境。",[7,24,51,26,73,53,136,1023,135,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ab1508510dd441b1656cf2e9ed8949.jpg",[],{"id":20056,"slug":20057,"title":20058,"dynasty":114,"author":181,"museum":132,"description":20059,"tags":20060,"thumbUrl":20061,"material":122,"size":122,"collection":122,"collections":20062,"showCount":19843,"zanCount":541,"manualWeight":40,"mainColor":62},223643,"liao-gui-tu-yi-ming-223643","蓼龟图","此作构图疏淡清寂，以淡赭铺陈出秋日汀洲的柔和底色。坡石间灵龟敛息静伏，背甲纹理勾勒写实，憨态稚拙尽显。旁侧蓼花柔茎舒展，青绿叶片晕染雅致，淡紫碎花垂曳生姿，下方蓝紫小花点缀水岸，野趣悠然。\n画作工写相融，灵龟与花木刻画精细，设色清雅柔和，大片留白烘托出幽谧空寂的意境，尽显宋人小品的雅致意趣，将郊野闲逸之景凝于尺幅间，藏着对自然细微之美的敏锐体察，晕开悠然沉静的田园诗意。",[23,7,24,51,100,26,27,102,472,1986,17252,56,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b574896c7d5eafa0c0c152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作品画格雄健，与晚明及清代梅花作品风格迥然相异。",[23,24,7,51,277,368,383,56,340,515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fb28109c7cdb6700ac5749c89e75c4.jpg","纵186cm，横111cm",[106,90],{"id":20091,"slug":20092,"title":20093,"dynasty":293,"author":20094,"museum":20,"description":20095,"tags":20096,"thumbUrl":20097,"material":27,"size":20098,"collection":106,"collections":20099,"showCount":19843,"zanCount":1065,"manualWeight":40,"mainColor":41},221859,"tie-di-tu-zhou-yang-wei-zhen-221859","铁笛图轴","杨维桢","乾隆皇帝于苏州题咏时，引杨维祯〈冶师行〉的内容作题，认为舟上吹笛者为杨维祯，岸上听笛者是为其铸铁笛的冶师缑长弓。题诗内容展现他对杨维祯诗文、生平的认识，以及将文史知识连结到画面内容的欣赏角度",[7,24,51,52,277,28,53,80,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff828bd52bc7e967b8fa17905c2fe1009.jpg","该幅 95.6x51.6公分、诗塘 28.4x51.6公分、全幅 72.3公分",[106,286],{"id":20101,"slug":20102,"title":20103,"dynasty":293,"author":887,"museum":20,"description":8433,"tags":20104,"thumbUrl":20106,"material":27,"size":20107,"collection":36,"collections":20108,"showCount":19843,"zanCount":40,"manualWeight":40,"mainColor":62},221849,"qun-xian-xian-shou-tu-zhou-liu-guan-dao-221849","群仙献寿图轴",[7,24,51,27,28,74,26,20105,1045,1167],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872049468677e6ff4ae3a2d905a51f63.jpg","36.6x56.2公分、全幅 63.5公分",[36,90],{"id":20110,"slug":20111,"title":20112,"dynasty":293,"author":20113,"museum":260,"description":20114,"tags":20115,"thumbUrl":20116,"material":277,"size":20117,"collection":122,"collections":20118,"showCount":19843,"zanCount":40,"manualWeight":40,"mainColor":41},221723,"liu-chen-ruan-zhao-ru-tian-tai-shan-tu-juan-zhao-cang-yun-221723","刘晨阮肇入天台山图卷","赵苍云","赵苍云是宋代皇室家族成员，经历了南宋灭亡、蒙元统治的巨大变化。他采用李公麟的白描手法描绘了汉代刘晨、阮肇入天台山遇仙的故事。天台山在浙江天台县北，传说刘晨、阮肇入天台山采药，遇见两个仙女，留他们住了半年。后来他们要求回家，到家乡时发现已经过了七世，这种天堂与人间的巨大反差让他们感到疏离与不适应，这也是许多宋代遗民在蒙古人统治下的心境。\n关于赵苍云的资料，我们只有在这幅画卷的题跋中所知一二。第一段跋中，元代人华幼武（字彦清，号栖碧，无锡人。生于元成宗大德十一年，卒于明太祖洪武八年，年六十九岁。平生笃于孝友。少有盛名。）说赵苍云以没骨法作水墨山水与人物画。华还说赵苍云年轻时比他的同宗赵孟坚、赵孟頫更有名气。后来赵苍云归隐山林，不婚不仕，他的生平资料没有任何记载，只有这幅画留存人世。\n华幼武跋语：苍云山人，本赵宋宗室。高奇嗜酒，绘事入神。山水横放，大都仿没骨图，而生动过之。人物工致，别有姿韵，世不多见。所作刘阮天台图，意境萧散，神趣闲逸，曹衣吴带，设色妍妙，有诸家所不能及者。窃意刘阮未必非乌有子虚，唐人云：“仙姝宜属魅界。”但得此墨妙，觉灵山俨然，西园犹在，展卷不知身在桃云柳浪、清风红日间也。苍云早岁，名在子昂、子固之上，不婚不宦，每隐于山林湖舫，虽亲串无从踪迹，世人得其片帧，几如拱璧，此其匠心运意，备极惨澹，当不能有二也。洪武十二年秋九月，华幼武书於春草轩。",[23,7,24,51,25,510,277,28,75,278,82,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f6ca0b72de89d4c9bf952820d989cd.jpg","22.5cm×561.34cm",[],{"id":20120,"slug":20121,"title":20122,"dynasty":114,"author":6625,"museum":151,"description":20123,"tags":20124,"thumbUrl":20126,"material":156,"size":20127,"collection":175,"collections":20128,"showCount":19843,"zanCount":40,"manualWeight":40,"mainColor":62},221583,"bu-chu-tu-ye-li-an-zhong-221583","哺雏图页","图中寒冬中二枝芦苇业已枯败，杆上有三只鸟儿栖息，其中鸟父母嘴里叨着虫子向中间小的鸟儿走来，喂食它们的孩儿。图上芦苇叶子描画精细，正翻面和缺口自然显现；鸟儿的眼神专注，将父母对子女无私的爱自然流露出来。",[23,7,24,51,100,26,27,102,53,384,20125],"雏鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8da06ac16d1aa8ac5e037145a98372f.jpg","22.8*24cm",[175,106,90],{"id":20130,"slug":20131,"title":20132,"dynasty":114,"author":5988,"museum":151,"description":20133,"tags":20134,"thumbUrl":20135,"material":611,"size":20136,"collection":175,"collections":20137,"showCount":19843,"zanCount":1065,"manualWeight":40,"mainColor":41},221467,"xue-mei-tu-juan-quan-juan-yang-wu-jiu-221467","雪梅图卷全卷","《雪梅图》是宋代扬无咎创作的绢本水墨画，现为 收藏。\n此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。\n作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。\n为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。\n此图为长卷，描绘雪天绽廾的梅花：墨笔画一枝凌空偃仰恣纵的野梅，图巾仪截取梅花树的一部分，重写枝十，淡点梅花-枝干有取有舍，疏密得官，苍劲挺拔，穿插有致-夹杂着儿簇竹口十，雪竹从画幅的左上角向右下方斜伸、疏竹枝叶及梅枝花办』：半爪残雪，借天色烘出一片清光傲寒之气洋溢画外。\n本幅钤“草玄之裔”、“补之”“逃禅”朱文印三方。\n本幅南宋曾觌题诗： 笔端造化出天巧，写出江南雪压枝。\n谁道春归无觅处．横斜全似越溪时。\n题记“扬补之得墨梅三昧，山谷道人叹日：‘如嫩寒清晓行孤山篱落间，但欠香耳。\n’则笔端春色之妙，此言尽矣。\n海野老农”。\n钤“子子孙孙其永宝用”朱文。\n鉴藏印有：“崇信军节度使之印”朱文。\n吴廷二方，高士奇五方，清乾隆、嘉庆、宣统内府藏印十方。\n引首有清乾隆御书“孤山香雪”行书4字，又在前隔水题诗一首。\n后隔水有清高士奇跋、印。\n纸尾有元止止道人、顾德璋、唐幼明、李升，明吴勤、李澄之、吴宽跋，清高士奇十跋。\n诸家印鉴及吴延鉴藏印共三十九方。\n扬无咎擅画梅、竹、松、石等，也能画人物，师李公麟。\n但他目前只有墨梅作品传世，“四梅花图”与“雪梅图”均藏故宫博物院。\n扬无咎为画梅，曾在庭院中植梅树，“大如数间屋，苍皮藓斑，繁花如簇”，他时时观察、写照，并得出“交枝而花繁累累，分梢而萼蕊疏疏”的理论。\n他画梅花，用细笔墨线圈出花瓣，更见梅花“疏影横斜”的风致。\n据传宋徽宗看到他画的梅花，曾笑道扬无咎画的是乡村中的梅花，扬无咎便自署画梅为“奉敕村梅”。\n除擅画外，扬无咎亦工书，学欧阳询，很有心得。\n工诗词，著有《逃禅词》。\n此图全幅以淡墨烘小，浓墨写枝，细笔勾花，用以表现“万花敢向雪中廾’’的意境-全图川笔劲逸，画法与《四梅花卷》用笔稍有不同，布景舒朗清新-背景从上至下，从左到右，均以淡墨铺染，与枝干重下孑一侧的画法相结合，从而烘托出枝卜L的积雪，同时也映衬小朵朵梅花鲜明灿烂，一雪茫茫，花枝俏丽，呈现十无尽的叫：意．山于作者非常讲究人格修养及笔墨素养，所以，他画的梅花高标清韵，正是他高沾情操的写照：此卷墨色野梅，能作成疏影横斜之态，义间以竹口卜披拂，义皆宁以形状，不施一粉而雪景澹然。\n画面』二展示的不仪是梅花姿态，而是一种“嫩寒清晓，行孤山篱落间”的梅花境界。\n从此画可窥见作者对雪中梅花“高洁”品格的喜爱和作这幅画寸的内心情感。\n全图用笔简逸，与《四梅花图》卷的用笔又有变化，布景舒朗清新，很富有杭州孤山篱落间那种“疏影横斜”，“暗香浮动”的诗意。\n梁济海 经《中国古代书画图目》十九、《 》上册、《中国美术全集·绘画编》4、《宋扬无咎雪梅图》、《艺苑掇英》1979年第1期、《故宫博物院藏文物珍品全集·晋唐两宋绘画·花鸟走兽卷》、《故宫博物院藏品大系·绘画编》2等影印；《石渠宝笈·初编》、《 》卷十四、《江村销夏录》卷三、《江村书画目》、《故宫已陕书画目》、《国宝沉浮录》、《中国古代书画目录》第二册著录。\n扬无咎(197～1169年)，字补之，号逃禅老人、清夷长者，清江(今属江西)人，寓居南昌。\n自称为东汉文学家扬雄之后，故其姓氏从“手”而不从“木”。\n南宋高宗时因不满秦桧专权，累征不起，一生没有做官，是一位藐视权贵的画家。\n他工诗词，擅书画。\n其书学欧阳询，画师华光仲仁。\n伸仁偶于月夜见窗间梅影，创为墨梅。\n扬无咎继承其法，所作梅花多取材于山间水滨、疏枝冷蕊、清寒野逸，一反院画之“宫梅”格调，故被戏称为“村梅”，开创了墨梅新派，对当时和后世均有较大影响。\n著有《逃禅词》一卷。",[23,7,24,51,25,277,119,383,1023,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3988218e54f77fb99d01fef5567a2244.jpg","27x64.",[175,106],{"id":20139,"slug":20140,"title":20141,"dynasty":114,"author":8016,"museum":151,"description":20142,"tags":20143,"thumbUrl":20144,"material":217,"size":20145,"collection":88,"collections":20146,"showCount":19843,"zanCount":40,"manualWeight":40,"mainColor":41},221216,"song-he-ceng-lou-tu-ye-zhang-dun-li-221216","松壑层楼图页","張敦禮 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该画作用隐喻的手法表达了作者的爱国思想。",[23,7,24,25,51,277,27,75,10742,80,20345,119,118],"观潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95da389683c26734fef1f069628021d9.jpg","纵17.4厘米，横83厘米",[175],{"id":20350,"slug":20351,"title":13024,"dynasty":114,"author":721,"museum":132,"description":10724,"tags":20352,"thumbUrl":20354,"material":317,"size":907,"collection":122,"collections":20355,"showCount":20235,"zanCount":40,"manualWeight":40,"mainColor":62},288970,"song-feng-lou-guan-tu-ma-lin-288970",[7,24,497,855,27,26,77,609,20353,75],"雨天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb4382d26e8d220766465beb138783c.jpg",[],{"id":20357,"slug":20358,"title":20359,"dynasty":18,"author":1983,"museum":132,"description":3263,"tags":20360,"thumbUrl":20361,"material":317,"size":907,"collection":122,"collections":20362,"showCount":20235,"zanCount":40,"manualWeight":40,"mainColor":62},287366,"xie-sheng-an-chun-shui-jiu-tu-juan-huang-quan-287366","写生鹌鹑水鸠图卷",[23,7,24,51,25,26,27,102,4680,2290,84,53,198,281,2664,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b6e0e83d5ceda284e56fba76b021e1.jpg",[],{"id":20364,"slug":20365,"title":20366,"dynasty":67,"author":1269,"museum":132,"description":6008,"tags":20367,"thumbUrl":20368,"material":317,"size":907,"collection":122,"collections":20369,"showCount":20235,"zanCount":40,"manualWeight":40,"mainColor":62},283756,"yao-cen-po-mo-tu-zhou-dong-qi-chang-283756","遥岑泼墨图轴",[7,24,51,52,277,75,82,278,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50409061721d8c2cbf948c0a5a0e7f86.jpg",[],{"id":20371,"slug":20372,"title":20373,"dynasty":46,"author":20374,"museum":132,"description":20375,"tags":20376,"thumbUrl":20377,"material":317,"size":907,"collection":122,"collections":20378,"showCount":20235,"zanCount":40,"manualWeight":40,"mainColor":41},237691,"ying-su-hua-wan-shan-zhang-xiong-237691","罂粟花纨扇","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[7,24,51,768,27,26,102,56,198,301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232c70277cf671993d3a7637e9c67d0c.jpg",[],{"id":20380,"slug":20381,"title":10368,"dynasty":46,"author":7849,"museum":132,"description":10369,"tags":20382,"thumbUrl":20383,"material":122,"size":122,"collection":122,"collections":20384,"showCount":20235,"zanCount":40,"manualWeight":40,"mainColor":41},237589,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237589",[24,51,7,277,73,1272,75,82,559,78,79,56,3195,609,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e7fc3f6bc11163dc26121234f9369f.jpg",[],{"id":20386,"slug":20387,"title":20388,"dynasty":67,"author":20389,"museum":132,"description":20390,"tags":20391,"thumbUrl":20392,"material":122,"size":122,"collection":88,"collections":20393,"showCount":20235,"zanCount":40,"manualWeight":40,"mainColor":62},236896,"shan-shui-hua-hui-ce-shao-mi-236896","山水花卉册","邵弥","此作用笔秀逸松灵，取景简括却意韵悠长。虬曲古松扎根危崖，苍枝舒展间满含劲挺生机。白衣策杖之人缓步山道，形神安闲，恍若幽居之士暂寄林泉。山涧清泉漱石潺潺，流云轻笼天际，衬出空山清寂之境。整体意境萧疏散淡，带着静穆淡远的文人意趣，将幽人栖隐丘壑的雅怀尽数铺展，尽显超然出尘的林下之风。",[24,51,7,100,27,73,75,609,278,279,28,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90685468beeb5f9c37cf6bf844517d26.jpg",[88,106,90],{"id":20395,"slug":20396,"title":2207,"dynasty":46,"author":20397,"museum":132,"description":20398,"tags":20399,"thumbUrl":20400,"material":317,"size":907,"collection":106,"collections":20401,"showCount":20235,"zanCount":40,"manualWeight":40,"mainColor":41},235710,"hua-hui-ce-zou-xian-ji-235710","邹显吉","字黎眉，号思静，一号华斋，自称湖北居人，晚号城南老圃，江苏无锡诸生。尝学诗于吴伟业，画摹宋、元，山水、人物均得古法。写生有邹菊之目。著北游集、湖北草堂诗。一门风雅，妻能画梅，兄、弟、子、侄，皆工画，新处各画小品一二种成卷，为时所艳称。康熙三十九年（一七oo）作罗浮佳处卷，时年六十五。",[7,24,51,100,27,26,119,74,198,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fc76969934fa525c9ae94e7f22e5b0.jpg",[106,90],{"id":20403,"slug":20404,"title":20405,"dynasty":67,"author":619,"museum":151,"description":4741,"tags":20406,"thumbUrl":20407,"material":342,"size":4744,"collection":122,"collections":20408,"showCount":20235,"zanCount":40,"manualWeight":40,"mainColor":41},233839,"wo-you-tu-ce-bai-he-hua-shen-zhou-233839","卧游图册－百合花",[7,24,51,100,27,102,118,8426,340,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd177d95a67cb0c312fa86f838a680905.jpg",[],{"id":20410,"slug":20411,"title":2933,"dynasty":67,"author":830,"museum":151,"description":2934,"tags":20412,"thumbUrl":20414,"material":2615,"size":2938,"collection":122,"collections":20415,"showCount":20235,"zanCount":40,"manualWeight":40,"mainColor":41},233469,"ren-wu-hua-hui-ce-xu-wei-233469",[7,24,51,100,277,368,7280,20413,74],"稻穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7da0a86ef5dffe025cc71e769143d1.jpg",[],{"id":20417,"slug":20418,"title":4097,"dynasty":114,"author":878,"museum":151,"description":4098,"tags":20419,"thumbUrl":20420,"material":156,"size":4101,"collection":122,"collections":20421,"showCount":20235,"zanCount":1065,"manualWeight":40,"mainColor":62},233455,"bai-qiang-wei-tu-ye-ma-yuan-233455",[2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距今已有六百多年",[7,24,51,678,26,27,28,2042,11940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0058278b0e1b04b94e469783c60e08e.jpg",[],{"id":20466,"slug":20467,"title":20468,"dynasty":293,"author":14620,"museum":132,"description":20469,"tags":20470,"thumbUrl":20473,"material":122,"size":122,"collection":122,"collections":20474,"showCount":20235,"zanCount":40,"manualWeight":40,"mainColor":62},228166,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228166","清泉乔木图立轴","此作笔意苍浑老辣，绘就冬日山林清寂之境。古松主干虬曲斑驳，疤结累累尽显沧桑，枯槎劲枝凝着寒雪，垂挂的薜萝如缕，幽幽晕开森寂古意。旁侧次干同样瘦硬嶙峋，无叶枝桠斜曳，尽展岁寒不屈之姿。\n\n下方寒泉漱石，水波清浅澹澹，淡墨晕染出空濛水岸，山石以简括皴擦带过，野趣自生。留白铺陈开空寂冷逸，将简淡疏朗融于笔墨间，寄寓着超脱尘俗的林下雅怀，清寒中见出沉静高旷的风骨。",[23,24,51,7,52,277,73,75,20471,20472,278,79,647],"乔木","清泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6e577b57078bcf149c3b060edbb579.jpg",[],{"id":20476,"slug":20477,"title":20478,"dynasty":114,"author":181,"museum":132,"description":20479,"tags":20480,"thumbUrl":20481,"material":122,"size":122,"collection":122,"collections":20482,"showCount":20235,"zanCount":1065,"manualWeight":40,"mainColor":993},227834,"zheng-qin-tu-ye-yi-ming-227834","争禽图页","折枝山茶斜斜铺展，莹白花朵团簇绽放，叶片晕染出浓淡层次，尽显阴阳向背的苍润生机。两只禽鸟打破静谧，一鸟振翅俯冲，姿态凌厉，细枝上的小雀瑟缩避让，将枝头争闹的瞬间精准定格。\n\n全作用笔精细入微，禽鸟纤毫毕现，山茶设色清润雅致，淡绢底色更衬古雅气韵。以小幅尺幅定格春日花鸟间的刹那灵动，把自然生趣凝练于方寸之间，尽显写生格物、以小见大的精妙造诣，生机满溢，意趣悠长。",[23,7,24,51,768,27,26,102,84,263,355,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7afa4755efb0dfc6d21d7a5d1a31d71.jpg",[],{"id":20484,"slug":20485,"title":20486,"dynasty":114,"author":115,"museum":132,"description":20487,"tags":20488,"thumbUrl":20489,"material":122,"size":122,"collection":122,"collections":20490,"showCount":20235,"zanCount":40,"manualWeight":40,"mainColor":41},227594,"xing-song-si-shi-jiu-zhi-shi-juan-huang-ting-jian-227594","行送四十九侄诗卷","《送四十九侄诗》卷，北宋，黄庭坚书，纸本，行楷书，纵35.5厘米，横130.2厘米。\n释文：\n诗送四十九侄。有妷财相见，何堪举别觞。共期同奋发，更勉致轩昂。接物宜从厚，修身贵有常。翁翁尤念汝，早去到亲旁。\n（注释：妷：同“侄”。财：同“才”。翁翁：犹“公公”，多指祖父。）\n帖后无名款。鉴藏印有“白石山房”、“蔡子木歌颂斋”、“宋荦审定”、“宣统御览之宝”。\n此帖原为《宋元宝翰》册之一，后改装成卷。此诗在《山谷外集》中没有记载，四十九侄亦无考。\n该帖字大如拳，结体多取柳公权法，字大方可尽其笔势。撇捺特长，笔画多取横势，字势舒展俊朗，跌宕起伏，变化出新，极具挺拔之态。\n与黄庭坚同为“苏门四学士”的张耒评黄庭坚诗句：“不践前人旧行迹，独经斯世擅风流。”用此句评论黄庭坚的书法是很恰当的。\n著录于《装余偶记》卷五、《石渠宝笈初编》卷一。",[23,7,24,51,25,277,119,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29821737f2406a22c55be35d08a7b3fa.jpg",[],{"id":20492,"slug":20493,"title":20494,"dynasty":114,"author":181,"museum":132,"description":20495,"tags":20496,"thumbUrl":20497,"material":122,"size":122,"collection":122,"collections":20498,"showCount":20235,"zanCount":1065,"manualWeight":40,"mainColor":62},223673,"shuang-bai-shan-niao-tu-ye-yi-ming-223673","霜柏山鸟图页","以枯淡笔墨写出秋枝残叶，霜色晕染叶边，萧索清冷弥散画面。四只山雀神态各异，翎毛以细笔丝缕晕染，绒羽蓬松柔润，憨态尽显。两只依偎私语，似在暖语避寒，余下一只侧首远眺，野趣盎然。萧寒秋景衬出雀鸟的鲜活暖意，动静相生，以极简留白托出幽远秋意，将深秋野逸之趣藏于尺幅之中，于细处见生机，淡墨轻岚间尽显雅致空灵的闲淡意趣。",[23,24,7,100,26,27,102,84,4371,355,3414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c4e91371693346bb84b2253b0048ca2.jpg",[],{"id":20500,"slug":20501,"title":3605,"dynasty":114,"author":181,"museum":132,"description":20502,"tags":20503,"thumbUrl":20504,"material":122,"size":122,"collection":122,"collections":20505,"showCount":20235,"zanCount":40,"manualWeight":40,"mainColor":62},223627,"he-ting-xiao-xia-tu-yi-ming-223627","近岸古松盘曲如铁，老木横卧如长虹枕在浅草汀洲，野意自生。林间荷亭翼然明敞，朱棂黛瓦隐在浓荫里，将溽暑拦在林外，似有荷风穿窗而过，裹着清润凉意。杨柳柔条垂烟，轻蘸水面，把夏意晕成一片慵懒。\n\n远景山峦化在濛濛水汽里，只剩淡墨晕开的黛色轮廓，和烟水织就空濛底色。工写相融的笔触里，亭台勾勒精工，林木皴染苍润，淡墨烘出水汽蒸腾的溽暑空茫，把幽居消夏的闲静揉进画面。蝉声隐在叶底，时光漫过松荫，只余一室清凉，将盛夏的燥热尽数消解，藏起宋人藏在小景里的雅致闲情。",[23,24,7,27,26,73,74,75,81,82,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd39d36753c7bf7f5e869b068f452a9c8.jpg",[],{"id":20507,"slug":20508,"title":20509,"dynasty":293,"author":181,"museum":132,"description":20510,"tags":20511,"thumbUrl":20512,"material":122,"size":122,"collection":122,"collections":20513,"showCount":20235,"zanCount":541,"manualWeight":40,"mainColor":62},223625,"cao-chong-tu-pu-tao-juan-ben-yi-ming-223625","草虫图葡萄绢本","此作以郊野秋景为绘，上方葡萄柔蔓垂挂，攒珠般的果实隐于掌状青叶间，野意横生。\n画面主体蜀葵堆雪似的白花饱满舒展，朱红萱花斜斜探出，衬着星星点点的杂花细草，下方汀渚浅草错落。粉蝶蹁跹穿花，细蜂振翅逐香，草蜢静伏水畔，小景处处藏着灵动生机。\n设色轻淡柔润，晕染写实细腻，工笔勾勒虫羽的轻薄通透，写意铺陈草木的舒展之态，将郊原清寂又鲜活的意趣尽数定格，尽显写生花鸟的雅致野逸。",[23,24,7,51,611,27,26,102,199,10021,200,263,514,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1952844787d4fec5abf43c241f76ab44.jpg",[],{"id":20515,"slug":20516,"title":20517,"dynasty":114,"author":181,"museum":151,"description":20518,"tags":20519,"thumbUrl":20522,"material":156,"size":20523,"collection":122,"collections":20524,"showCount":20235,"zanCount":40,"manualWeight":40,"mainColor":41},223524,"huai-yin-xiao-xia-tu-yi-ming-223524","槐荫消夏图","图绘炎炎夏日里，一处槐荫下，一高士平卧榻上，上衣半解，袒胸露乳，闭目酣睡；榻边一条案上摆着香炉、蜡台、书卷等物品，可能高士睡醒后在此读书赏画。",[23,7,24,26,27,28,20520,82,20521,1167,3195,905],"卧榻","小桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d0ea42b1fa58b518f644456b170622.jpg","25*28.4cm",[],{"id":20526,"slug":20527,"title":20528,"dynasty":114,"author":6856,"museum":151,"description":20529,"tags":20530,"thumbUrl":20531,"material":2232,"size":20532,"collection":122,"collections":20533,"showCount":20235,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》。",[7,24,51,52,27,73,75,297,298,135,697,559,80,647,279,1012,278,429,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":20768,"slug":20769,"title":17998,"dynasty":114,"author":274,"museum":151,"description":20770,"tags":20771,"thumbUrl":20772,"material":217,"size":20773,"collection":122,"collections":20774,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":62},234070,"song-xi-fan-yue-tu-ye-xia-gui-234070","夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。\n简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。\n边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。作者以极为简括的构图和痩劲的线条反映了文人士大夫在当时的时代背景下追求心灵自由、亲近自然山水的诉求，艺术风格朴素清逸，可称是夏圭山水画的代表作品。\n夏圭（生卒年不详），一作夏珪，字禹玉，钱塘（今浙江杭州）人。南宋画家，与李唐、刘松年、马远并称“南宋四大家”。宁宗时任画院待诏，赐金带。善画山水，属水墨苍劲一派，喜用秃笔，下笔凝重，继承发展了李唐的大斧劈皴。取景简练，常以半边景物表现空间，与马远有异曲同工之妙，有“马一角，夏半边”之称。",[24,7,51,2613,277,27,73,75,609,79,80,1570,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1dcf60be19a97c3123327632de9860.jpg","24.7×25.2cm",[],{"id":20776,"slug":20777,"title":20778,"dynasty":46,"author":181,"museum":151,"description":20779,"tags":20780,"thumbUrl":20785,"material":250,"size":20786,"collection":122,"collections":20787,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":41},233054,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233054","平定安南战图册","《平定安南得胜图》描绘了清乾隆五十三年至五十四年（1788—1789年）间清政府出兵平定安南的战争场景。六幅图依次为：嘉观诃滬之战、三异柱右之战、寿昌江之战、市球江之战、富良江之战、阮惠遣侄阮光显入觐赐宴。\n在东南亚各国中，安南大越与中国疆域毗邻，关系密切。清统一全国后，安南内部仍然陷于南北纷争之中，广南（今越南南部）阮氏控制南方，北方郑氏擅权，国王黎氏徒拥虚位。安南久列藩封，黎氏传国最久，臣服中国最为恭顺。清高宗应黎氏之请用兵安南，为安南平定内乱。\n此套图在风格上受到郎世宁“西法中国画”的影响，在画面局部采用焦点透视和一定的明暗对比来表现纵深效果和立体感，在构图、造型上又带有中国画和木版画风格，反映了中国画家在试图融合中西绘画优长方面所作的努力。",[7,24,51,100,1605,27,20781,20782,11398,15006,20783,15005,75,28,20784],"中西融合绘画","焦点透视","战船","富良江之战","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b649a06ced5bc8c552f7fcf09a6f73.jpg","纵55.3cm，横90.3cm",[],{"id":20789,"slug":20790,"title":20791,"dynasty":114,"author":181,"museum":151,"description":9998,"tags":20792,"thumbUrl":20793,"material":156,"size":10002,"collection":122,"collections":20794,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":62},232880,"sou-shan-tu-yi-ming-232880","搜山图",[23,7,24,25,26,27,28,472,6056,75,82,281,84,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401df44a2b2e19ed21e9557d2cba183.jpg",[],{"id":20796,"slug":20797,"title":20798,"dynasty":67,"author":899,"museum":132,"description":20799,"tags":20800,"thumbUrl":20801,"material":122,"size":122,"collection":122,"collections":20802,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":41},230992,"shao-yao-tu-tang-yin-230992","烧药图","《烧药图》是明朝诗人唐寅所作诗词。\n明 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。",[7,24,51,25,277,27,73,119,118,74,28,75,609,1059,278,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":20804,"slug":20805,"title":20806,"dynasty":46,"author":20807,"museum":132,"description":20808,"tags":20809,"thumbUrl":20810,"material":122,"size":122,"collection":122,"collections":20811,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":41},228949,"chun-man-zhi-tou-zhao-zhi-qian-228949","春满枝头","赵之谦","此作将群芳收于团扇尺幅，花枝虬曲穿插，蔷薇、山茶错落在苍枝间，繁而不乱。墨叶以浓淡晕出层次，苍厚朴拙，带着写意的朴野意趣；花卉以没骨晕染，粉艳、朱红、米黄诸色鲜活柔润，妍丽却不甜俗。\n\n兼工带写的笔意，将草木的舒展生机与文人画的隽雅格调相融，角落题字清雅端凝，和画面浑然一体。把暮春盛放的鲜活景致凝缩方寸之间，生机盎然，尽显清隽的写生意趣，是兼具笔墨情致与自然意韵的小品佳制。",[23,24,51,7,768,27,102,198,265,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633ca1d9c7a81bb71031bb55fe76c1ba.jpg",[],{"id":20813,"slug":20814,"title":20815,"dynasty":67,"author":2218,"museum":132,"description":20816,"tags":20817,"thumbUrl":20818,"material":317,"size":907,"collection":122,"collections":20819,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":41},228849,"chang-jiang-wan-li-tu-juan-dai-jin-228849","长江万里图卷","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[23,7,24,51,25,118,277,27,73,497,75,426,425,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb170268d39be31976855cdc36e4345d4.jpg",[],{"id":20821,"slug":20822,"title":20823,"dynasty":67,"author":68,"museum":132,"description":20824,"tags":20825,"thumbUrl":20826,"material":122,"size":122,"collection":122,"collections":20827,"showCount":206,"zanCount":1065,"manualWeight":40,"mainColor":62},228454,"shou-lie-tu-ye-chou-ying-228454","狩猎图页","平沙莽莽，疏枝斜挑天际，尽显荒寒萧索。虬髯猎手身着劲装，背负箭囊，俯身控马急驰，目光如炬锁向前方奔逃的猎物，满屏皆是紧绷的狩猎张力。\n\n画师以劲挺利落的铁线描勾勒人马身形，沉凝的绢底晕染出辽远荒滩，淡墨轻扫便将塞外旷野的空寂铺陈开来。猎手的剽悍果决与猎物的仓皇奔窜形成强烈对冲，动静之间，将北地游猎的飒爽快意尽数渲染，笔简意足，苍劲疏朗的野趣扑面而来，把刹那间的狩猎定格成永恒的生动画卷。",[24,7,51,100,26,27,28,215,472,82,12989],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8084374c281962b0ebac2a54ed35c49.jpg",[],{"id":20829,"slug":20830,"title":20831,"dynasty":293,"author":8846,"museum":20,"description":20832,"tags":20833,"thumbUrl":20834,"material":736,"size":20835,"collection":122,"collections":20836,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":62},228071,"yue-yang-lou-tu-xia-yong-228071","岳阳楼图","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何着笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[24,7,51,855,510,77,75,28,278,82,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a48c01606623521039e6e1df769255.jpg","纵24.4厘米，横26.2厘米",[],{"id":20838,"slug":20839,"title":20840,"dynasty":293,"author":3575,"museum":132,"description":20841,"tags":20842,"thumbUrl":20843,"material":122,"size":122,"collection":122,"collections":20844,"showCount":206,"zanCount":1065,"manualWeight":40,"mainColor":62},227989,"qiu-shan-mu-ai-tu-juan-gao-ke-gong-227989","秋山暮霭图卷","以淡墨晕染峰峦，烟岚轻笼岫影，虚实相生间铺展秋日山野的空寂萧疏。近岸苍林错落，村居隐于枝桠间，秋水如镜，映带平远野色，将暮霭沉沉的静谧秋意晕开。\n画作以干湿互用的墨色写就，山峦以淡墨披麻皴辅以晕染，弱化嶙峋棱角，尽显温润秀雅。留白处化作流岚晓雾，将远峰近林织就朦胧诗境。右上角题诗与朱印错落，书画印相映成趣，添就文雅书卷气，将秋山暮时的澹远空寂，融在水墨氤氲里，尽显文人寄情丘壑的写意幽远之致。",[23,7,24,51,25,277,73,75,297,82,279,3115,1997],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37365464f0d1bde1301c29f462bf7cdc.jpg",[],{"id":20846,"slug":20847,"title":20848,"dynasty":114,"author":878,"museum":132,"description":20849,"tags":20850,"thumbUrl":20852,"material":122,"size":122,"collection":122,"collections":20853,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":62},227780,"yuan-yang-tu-ye-ma-yuan-227780","鸳鸯图页","这幅画作以边角取景，尽显空灵雅致。石壁以斧劈皴挥写，苍劲利落，棱线分明尽显峭拔质感。水流以细劲回旋的线条勾勒，似能闻声潺潺，蜿蜒间衬出水畔清寂。幽竹清劲挺拔，枝叶俯仰生姿，墨色浓淡层叠，晕染出萧疏逸韵。溪石之上鸳鸯依偎，姿态悠然缱绻，为冷清空灵添了融融暖意。全作用色淡雅，以水墨为骨，留白造势，将江南水景的静谧雅致与小景温情相融，晕散出清旷禅意，简淡之间意蕴悠长，尽显雅致的文人审美意趣。",[23,7,24,51,102,277,73,5233,1420,53,79,20851,969,6832,3490,7534],"溪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58c9c91f65b2fe6136eac6b0eff5de4.jpg",[],{"id":20855,"slug":20856,"title":20857,"dynasty":18,"author":1983,"museum":132,"description":20858,"tags":20859,"thumbUrl":20860,"material":122,"size":122,"collection":122,"collections":20861,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":41},227266,"yuan-yang-shuang-xi-qi-tu-huang-quan-227266","鸳鸯双西栖图","黄荃在中国古代花鸟画发展史上占有重要地位。他集众家之长，鸟雀师刁光胤，山水师李昇，龙水、松石、墨竹师孙位，他能自出新意，不重蹈抄袭他人的陈迹，创出一种新体并使工笔花鸟画达到成熟期。黄荃的《写生珍禽图》其表现翎毛、昆虫等自然物态的精确性及其作为艺术形象的审美趣味性，确已达到妙造自然、形神兼备的地步。黄荃还继承和发展了边鸾描写活禽生卉的传统，以优美的笔致和赋色技巧表现动植物的生动情态。黄荃也能画山水、人物。与徐熙并称“徐熙野逸，黄家富贵。”。今有《写生珍禽图》传世。子黄居宷、黄居宝等亦擅花鸟，承其父法，黄居宷有《山鹧棘雀图》传世。",[23,24,7,51,768,26,27,102,969,1059,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c674b72f9c4538a81c5d18574dd6ea.jpg",[],{"id":20863,"slug":20864,"title":20865,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":20866,"thumbUrl":20869,"material":317,"size":907,"collection":3417,"collections":20870,"showCount":206,"zanCount":1065,"manualWeight":40,"mainColor":479},225961,"jeanne-marguerite-lecadre-in-the-garden-1866-mo-nai-225961","Jeanne-Marguerite Lecadre in the Garden, 1866",[3410,4035,7,20867,11400,198,82,20868,8967],"花园","光影表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F773ce0e8bd935e0c49d0bd241b4e2739.jpg",[3417],{"id":20872,"slug":20873,"title":20874,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":20875,"thumbUrl":20876,"material":317,"size":907,"collection":3417,"collections":20877,"showCount":206,"zanCount":1065,"manualWeight":40,"mainColor":62},225959,"irises-in-monets-garden-1899-1900-mo-nai-225959","Irises in Monets garden, 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在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,7,24,277,27,75,647,84,662,80,661,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa85b9bdc5562af0dcae71507b85fc35.jpg","23.6x24.7厘米",[],{"id":20995,"slug":20996,"title":17192,"dynasty":114,"author":20997,"museum":20,"description":20998,"tags":20999,"thumbUrl":21000,"material":250,"size":21001,"collection":175,"collections":21002,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":41},221284,"bao-shan-shi-jing-ce-gao-ke-ming-221284","高克明","高克明，生卒年不洋，宋化絳州（今山西新絳） 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高克明的山水畫創作，大多是從實地觀察獲得素材，復經自己深思熟慮、苦心經營中得來，並不專師於一家，卻能注意採擷諸家之美，參成一藝之精，自為體格，頗有創新的味道。",[7,24,51,100,27,73,119,75,2626,3115,6147,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e07ca6685ec8381313e4987a95af081.jpg","30.2x31.8厘米",[175,88,286],{"id":21004,"slug":21005,"title":21006,"dynasty":114,"author":21007,"museum":1417,"description":21008,"tags":21009,"thumbUrl":21010,"material":16544,"size":21011,"collection":36,"collections":21012,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":62},221261,"zhao-yang-tu-hu-zhi-tian-221261","朝阳图","胡直天","此作以减笔写意写就，枯涩灵动的墨线勾勒僧人身形，顿挫转折间，衣物褶皱的厚重质感尽显。老僧垂眉敛目，持盏默坐，神态沉凝安然，似在静待晨光破暝，将禅家静定悠然的意态藏于笔底。\n\n画面简阔疏朗，以空寂绢面烘托出清远虚淡的禅意氛围，不着一笔而意蕴自生。笔意极简却形神兼备，寥寥数笔便将出尘襟怀铺展尽致，尽显禅画以形写神、以简驭繁的精妙意趣。",[23,7,24,51,100,510,277,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37005a5ef42275a168b4eeac761cadf2.jpg","22.3×23",[36],{"id":21014,"slug":21015,"title":21016,"dynasty":1104,"author":1892,"museum":20,"description":21017,"tags":21018,"thumbUrl":21019,"material":122,"size":21020,"collection":123,"collections":21021,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":41},221033,"jiu-ta-cheng-qing-tang-tie-wang-xi-zhi-221033","旧榻澄清堂帖","此帖是由王羲之写给其友人，一般认为原帖已不存在，现存本应为唐代摹本。明代鉴赏家詹景凤认为赵孟𫖯行书受到此帖影响。\n明、清年间，为降清明官冯铨所藏有。康熙十八年（1679年），冯铨之子冯源济将此墨本呈献给皇帝，在乾隆十一年（1746年）与王献之的《中秋帖》以及王珣的《伯远帖》合称“三希”，一起放在宫内“三希堂”中，成为“三希堂”第一珍品。到1795年间，乾隆皇帝共亲自御笔题识71则，晚年因视力不佳，改由董诰代笔三则，可见乾隆皇帝对此帖之热爱。",[118,119,3164,1580,51,7,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7f48f45d5e7d02a716822e97bc91d6.jpg","41.2x57厘米",[123,1898],{"id":21023,"slug":21024,"title":21025,"dynasty":46,"author":3296,"museum":20,"description":21026,"tags":21027,"thumbUrl":21029,"material":267,"size":21030,"collection":36,"collections":21031,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":41},220439,"er-xian-tu-feng-ning-220439","二仙图","冯宁，生死时年、籍贯均不详。高宗乾隆时，任职内廷画院供奉，擅长于人物画，画法似是出自明代浙派吴伟一路，用笔慓劲，衣服褶纹采取破笔粗线描法，水墨恣肆，墨气淋漓，画面充分给人一种力的感觉。画中二仙，似为八仙中的钟汉离、铁拐李二人。",[24,51,7,52,27,26,28,82,278,4294,10914,21028],"拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461871e343739280aea5bb0310803e26.jpg","173.5x68.9公分",[36,90],{"id":21033,"slug":21034,"title":21035,"dynasty":114,"author":181,"museum":20,"description":21036,"tags":21037,"thumbUrl":21038,"material":34,"size":21039,"collection":36,"collections":21040,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":62},219605,"fan-qi-chu-lie-tu-yi-ming-219605","番骑出猎图","画面里两位骑手纵马缓行，左侧胡酋虬髯高冠，身姿沉凝端坐，坐骑鬃尾飘曳，裹挟着塞北雄悍犷野之气。右侧骑士背负箭囊、斜倚长杆，神色警觉四顾，仿佛正凝神扫视周遭，静待逐猎之机。\n\n设色简淡古雅，线条劲挺洗练，人马造型朴拙生动，荒漠底色晕染出辽远荒寒的氛围，将游牧民族出猎前的松弛与暗藏的骁勇刻画入微，寥寥笔墨便勾勒出北方草原的苍茫意趣，尽显描摹世态、传神写意的精妙功底。",[23,7,24,51,25,26,27,28,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a0f7f663c7add49b0108d136ef0824.jpg","纵24.4横56.3厘米",[36],{"id":21042,"slug":21043,"title":21044,"dynasty":46,"author":21045,"museum":20,"description":21046,"tags":21047,"thumbUrl":21048,"material":250,"size":21049,"collection":88,"collections":21050,"showCount":206,"zanCount":346,"manualWeight":40,"mainColor":62},219484,"qun-feng-xue-ji-zhou-huang-ding-219484","群峰雪霁轴","黃鼎","全景铺展雪后盛景，陡峭峰岩如刀削斧凿，银雪覆顶似玉砌琼妆。山坳寒云蒸腾晕染，将层叠群峰切得分明，尽衬冬日清寂萧寒。\n近岸寒水如镜，枯木虬枝偃仰错落，脱尽繁叶，满是荒冬况味。滩渚间村居隐于林间，在素裹千山晕出一丝人间烟火，于冷寂中揉进暖意。\n笔墨苍劲老辣，皴擦尽显山石筋骨，淡墨烘出雪意空濛，将隆冬山野的清旷萧寒刻画尽致，于雄奇山水间铺陈出冬日独有的静穆辽远，绘尽雪霁群峰的孤高冷逸。",[7,24,51,52,277,73,75,3848,1357,280,281,647,279,7037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230cc88d522e413964f2c40b468c24a2.jpg","260.3x168.8",[88],{"id":21052,"slug":21053,"title":21054,"dynasty":46,"author":21055,"museum":20,"description":21056,"tags":21057,"thumbUrl":21058,"material":666,"size":21059,"collection":36,"collections":21060,"showCount":206,"zanCount":541,"manualWeight":40,"mainColor":41},219442,"ling-xian-zhu-shou-tu-zhou-qian-zai-219442","灵仙祝寿图轴","钱载","虬松盘空，松针攒簇如墨星缀枝，枝干皴擦见苍劲老骨；旁逸修竹数竿，叶影疏斜带清韵。坡间灵菌隐现，伴以细草繁花，笔墨细劲却含生机，淡墨晕染衬出野趣。全图以水墨写就，浓淡干湿相生，于清雅笔墨间藏祝寿吉意。既有文人画的疏朗气韵，又含对福寿康宁的温婉期许，帧中留白更显意境悠远。观之如沐林下清风，心随画境渐宁，仿佛能闻松涛竹语，见灵秀之气漫溢纸间，笔墨里的雅致与吉庆悄然相融，尽显传统文人画的韵致与温度。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>",[24,51,7,52,277,26,609,3195,7270,198,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e85c969be4769322ad7f0290fce1fef.jpg","185.3x79.3",[36],{"id":21062,"slug":21063,"title":21064,"dynasty":67,"author":6176,"museum":166,"description":21065,"tags":21066,"thumbUrl":21067,"material":121,"size":21068,"collection":106,"collections":21069,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":62},219329,"liu-que-tu-lin-liang-219329","柳鹊图","画中的柳叶随风起舞，四只喜鹊在中间嬉戏。 这幅画飞扬而不失形，或画的下部被切掉，造成画不完整。",[23,24,7,277,368,102,52,2626,5803,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e1a6f8f3388ac631614527f9aa6831.jpg","139.4x76cm",[106],{"id":21071,"slug":21072,"title":21073,"dynasty":114,"author":181,"museum":20,"description":21074,"tags":21075,"thumbUrl":21076,"material":34,"size":21077,"collection":106,"collections":21078,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":41},218700,"fu-rong-tu-yi-ming-218700","芙蓉图","一枝芙蓉斜逸而出，花瓣层叠如凝脂，粉白晕染间似沾着晨露的清润；含苞的蓓蕾裹着淡红，敛着半开的心事。墨绿叶片脉络分明，纤细却劲挺，肌理薄韧如绢。深青底色如幽潭静水，将花朵的明丽衬得愈发温润。画面无冗余缀饰，却于细微处见匠心：花瓣的柔纹、叶尖的轻颤，皆被捕捉得恰到好处。宋人的笔意藏在每一笔晕染里，不张扬却动人，似将芙蓉的清雅与生机，凝在这一方圆境中，静静诉说着时光里的温柔与诗意。",[23,7,24,51,100,27,26,102,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0930e0b70ec605d49251ad17a09093.jpg","21.0x23.5",[106],{"id":21080,"slug":21081,"title":21082,"dynasty":67,"author":181,"museum":166,"description":21083,"tags":21084,"thumbUrl":21085,"material":34,"size":21086,"collection":36,"collections":21087,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":479},218323,"tie-guai-xian-ren-tu-yi-ming-218323","铁拐仙人图","这幅画与元代颜辉的风格相似，但笔法过于工整，切石过于急促，应是明代浙派画家所为。",[23,24,7,51,27,277,510,28,678,56,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17cc1e06718b81b52b719798dc68eab.jpg","77.6x56.1",[36],{"id":21089,"slug":21090,"title":21091,"dynasty":114,"author":1216,"museum":132,"description":21092,"tags":21093,"thumbUrl":21094,"material":666,"size":122,"collection":122,"collections":21095,"showCount":206,"zanCount":1065,"manualWeight":40,"mainColor":41},218113,"bai-miao-ren-wu-tu-ce-1-li-gong-lin-218113","白描人物图册-1","李公麟的生平信息相对较少，但是他在宋朝的政治、文化和经济发展中发挥了重要作用。他曾任国子监太傅，是宋朝的最高学府。他还是一位著名的诗人，他的诗歌风格优美流畅，富有哲理性。\n\n李公麟还是一位杰出的政治家。他在宋朝的统治过程中，提出了许多有益的政策建议。他倡导改革，推动了宋朝经济的发展。他还是一位慈善家，常常为穷人提供帮助。\n\n总的来说，李公麟是宋朝时期一位著名的人物，他在政治、文化和经济发展中发挥了重要作用。他的诗歌风格优美流畅，富有哲理性，是宋朝的著名诗人。他还是一位杰出的政治家，在宋朝的统治过程中，提出了许多有益的政策建议。他还是一位慈善家，常常为穷人提供帮助。",[23,7,24,51,100,510,28,4459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2d350df6ea3393f1fa4448450695ce.jpg",[],{"id":21097,"slug":21098,"title":21099,"dynasty":114,"author":1216,"museum":132,"description":21092,"tags":21100,"thumbUrl":21101,"material":666,"size":122,"collection":122,"collections":21102,"showCount":206,"zanCount":1065,"manualWeight":40,"mainColor":41},218111,"bai-miao-ren-wu-tu-ce-2-li-gong-lin-218111","白描人物图册-2",[23,7,24,51,100,510,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F132f01757017d211702ac7efc58659cf.jpg",[],{"id":21104,"slug":21105,"title":21106,"dynasty":67,"author":181,"museum":132,"description":21107,"tags":21108,"thumbUrl":21109,"material":121,"size":21110,"collection":36,"collections":21111,"showCount":206,"zanCount":40,"manualWeight":40,"mainColor":62},216728,"mai-xin-song-shu-tu-yi-ming-216728","卖薪诵书图","枯枝虬曲，远山含黛，野径蜿蜒向林深。担薪者负薪束于肩，一手扶担，一手展卷，诵读之态若忘周遭。寒林疏影映寒空，涧水浅流绕石行，天地间似只剩书页轻翻与步履缓响。劳役的艰辛未掩向学之心，平凡身影里藏着对知识的执着。笔墨简练却意韵悠长，将劳作与勤学相融的图景凝于尺幅。清寂山水间，躬身向学的姿态恰是求知精神的无声颂赞，令观者于萧疏景致中，触到那份穿越时光的执着暖意。",[23,7,24,51,52,510,277,27,73,28,2785,1059,75,5607,79,12348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8971c5260d21c60bdf16d0a69f19cade.jpg","74x44",[36],{"id":21113,"slug":21114,"title":13986,"dynasty":114,"author":460,"museum":132,"description":7349,"tags":21115,"thumbUrl":21116,"material":317,"size":907,"collection":122,"collections":21117,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":62},291007,"gu-song-tu-guo-xi-291007",[24,7,52,277,73,5543,1059,170,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762d8920ad7268cf0fee7850c0890f75.jpg",[],31,{"id":21120,"slug":21121,"title":21122,"dynasty":67,"author":68,"museum":132,"description":11025,"tags":21123,"thumbUrl":21124,"material":317,"size":907,"collection":122,"collections":21125,"showCount":21118,"zanCount":1065,"manualWeight":40,"mainColor":62},290873,"chun-shan-yin-shang-zhou-chou-ying-290873","春山吟赏轴",[7,24,52,72,27,26,75,28,77,79,81,74,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1675e33be13137aeb68f7c392e602fd.jpg",[],{"id":21127,"slug":21128,"title":21129,"dynasty":114,"author":1313,"museum":20,"description":21130,"tags":21131,"thumbUrl":21134,"material":34,"size":21135,"collection":122,"collections":21136,"showCount":21118,"zanCount":541,"manualWeight":40,"mainColor":479},290326,"zhong-wu-xi-ying-tu-zhou-su-han-chen-290326","重午戏婴图轴","端午日，树阴敞榭，曲桥池沼中荷花绽放。\n群婴欢戏。扮戏、舞旗、摘荷、击钹、捉蜻蜓等等，其乐融融。人物描绘生动，地面上罗列各色玩具刻划入微。\n主要内容俱以金线勾描，显富丽装饰性。春日庭院，胡床屏风，三位婴儿据床观赏瓶中游鱼，两位于草地上玩弄陀螺，旁有一婴孩着红衣，脸戴面具，高扬朱笔，另一婴孩，背负幼儿，循阶而下，前来相会。\n该幅色彩颇为古雅，线条细致中亦不失灵活特色。",[7,24,1045,26,27,1229,21132,77,560,21133],"嬉戏","端午","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8888bfa167a5ffee1cb2b8d0d9a1cd48.jpg","165.1x116.2",[],{"id":21138,"slug":21139,"title":21140,"dynasty":293,"author":1556,"museum":132,"description":13767,"tags":21141,"thumbUrl":21143,"material":317,"size":907,"collection":122,"collections":21144,"showCount":21118,"zanCount":1065,"manualWeight":40,"mainColor":62},290293,"lan-ting-ji-xian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整个画卷空无一人，山水则似真非真有恬淡、简远、空灵寂静之意境，表达了画家寄情山水，抒胸中逸趣之理想审美境界。",[7,24,51,52,277,75,73,78,79,81,77,82,278,9621,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bba6c7101630ccfecf55d8000d2bed.jpg",[],{"id":21215,"slug":21216,"title":21217,"dynasty":293,"author":181,"museum":132,"description":21218,"tags":21219,"thumbUrl":21220,"material":122,"size":122,"collection":122,"collections":21221,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":41},239634,"yao-an-dao-shi-ti-zhao-meng-fu-xie-qin-fang-you-tu-ce-ye-yi-ming-239634","姚安道诗题赵孟頫携琴访友图册页","此作用笔秀劲内敛，结体舒展灵动，兼具妍雅温润与朴拙意趣，尽显元人书法典型风貌。通篇行气匀停，字势顾盼相生，将题画诗里的隐逸襟怀融于笔墨起落间，藏露得宜暗含章法。笔墨晕染出林下山居的散淡悠然，把携琴访友的雅逸心境诉诸笔端，是元代文人书法与文人意趣相融的佳例，尽显彼时文人寄情林泉、追慕古贤的林下风流。",[7,51,100,119,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8983507f0a1b592310aef6968720e1ed.jpg",[],{"id":21223,"slug":21224,"title":20388,"dynasty":46,"author":97,"museum":132,"description":2517,"tags":21225,"thumbUrl":21226,"material":317,"size":907,"collection":122,"collections":21227,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":41},239429,"shan-shui-hua-hui-ce-yun-shou-ping-239429",[7,24,51,100,27,101,119,75,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4165765c72dedf8943fa5f69a909a7c7.jpg",[],{"id":21229,"slug":21230,"title":21231,"dynasty":67,"author":21232,"museum":132,"description":21233,"tags":21234,"thumbUrl":21235,"material":122,"size":122,"collection":88,"collections":21236,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":62},237905,"shan-shui-ren-wu-zhou-peng-shun-qing-237905","山水人物轴","彭舜卿","乾隆庚戌年间画家",[7,24,51,52,277,27,75,28,80,609,278,649,73,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7e18d3fc7112b55080a3774d15b883.jpg",[88],{"id":21238,"slug":21239,"title":21240,"dynasty":46,"author":7849,"museum":20,"description":21241,"tags":21242,"thumbUrl":21243,"material":250,"size":122,"collection":88,"collections":21244,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":41},237384,"shan-shui-ce-shen-cang-xiao-shan-tu-ye-wang-hui-237384","山水册-沈苍晓山图页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,51,7,2613,277,73,75,28,314,278,434,5607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd532bf4da8d2cb00da43608a79fe3d0.jpg",[88],{"id":21246,"slug":21247,"title":21248,"dynasty":46,"author":2172,"museum":20,"description":21249,"tags":21250,"thumbUrl":21251,"material":250,"size":122,"collection":88,"collections":21252,"showCount":21118,"zanCount":1065,"manualWeight":40,"mainColor":41},237076,"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[24,51,7,52,27,73,75,425,280,82,609,3195,281,2093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg",[88],{"id":21254,"slug":21255,"title":21256,"dynasty":46,"author":809,"museum":151,"description":21257,"tags":21258,"thumbUrl":21260,"material":834,"size":21261,"collection":36,"collections":21262,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":41},236467,"gong-sun-da-niang-wu-jian-tu-zhou-ren-yi-236467","公孙大娘舞剑图轴","图绘著名教坊舞伎公孙大娘舞剑之情景。公孙大娘主要活动于唐代开元年间（713—741年），以擅长舞剑享有盛名。相传怀素、张旭观其舞剑曾启发了他们的草书创作，形成了狂草之笔风。\n是图线条劲健流畅，墨笔枯润浓淡自如，有明末陈洪绶笔法，但又具自家面貌，为任氏用意之作。",[24,51,7,52,510,277,28,29,21259,74,118],"剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a3ce8d2d9ae38ee061b2d227a8155.jpg","纵41.9㎝，横28㎝",[36,286],{"id":21264,"slug":21265,"title":21266,"dynasty":46,"author":181,"museum":151,"description":21267,"tags":21268,"thumbUrl":21270,"material":156,"size":21271,"collection":36,"collections":21272,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":41},236165,"yong-zheng-chao-fu-xiang-zhou-yi-ming-236165","雍正朝服像轴","此幅画面上雍正皇帝身着明黄色彩云金龙夏朝服，头戴夏朝冠，顶贯珠三重，冠前饰金佛。胸前佩戴东珠朝珠，其上间系绿松石纪念三串，腰系朝带，足蹬石青色朝靴，这是雍正皇帝参加盛大典礼时的服饰。此图用笔工整精致，色彩华丽鲜艳，人物神态端庄威严，是宫廷画家精心创作的皇帝肖像画。从“冠上无梁”（“梁”为清帝朝冠顶座左右两侧的n形装饰，雍正晚期出现）的装饰风格看，当属雍正早期的绘画作品。\n一代冠服自有一代之制。清代满族统治者传承中国古代传统文化的精髓，把“衣作绣，锦为缘”、“续衽钩边”和“朝服祭服，襞积（朝袍腰部叠褶处称襞积）无数”这些中国古代服饰的传统形制与带有满民族风格的“披肩领”和“马蹄袖”巧妙地结合起来，不仅彰显了其“马上得天下”的辉煌历史，同时亦注重到实用性，并最终使其制度化，成为中国古代服饰制度改革中的典型范例。\n清代冠服制度规定：朝服分蓝、红、月白、明黄四种颜色，根据不同的礼仪功能和场合穿用不同颜色的朝服。祭天穿蓝色，祭日穿红色，祭月穿月白色，而明黄色朝服一般用于典礼（登基、元旦、万寿、金殿传胪、颁诏受贺等）和祭祀（祭太庙、先农坛、社稷坛、先师孔子、历代帝王等）活动。典礼和祭祀穿着的明黄色朝服又有区别，典礼朝服衣袖为石青色，而祭祀朝服衣袖为明黄色。",[7,24,51,52,27,26,28,21269,370,526],"朝服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f80fdf14cbf8bf55ddfd77ed4a88d8b.jpg","纵277厘米，横143厘米",[36,90],{"id":21274,"slug":21275,"title":21276,"dynasty":46,"author":3150,"museum":132,"description":21277,"tags":21278,"thumbUrl":21280,"material":122,"size":122,"collection":122,"collections":21281,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":62},235991,"li-shan-bi-shu-tu-zhou-yuan-yao-235991","骊山避暑图轴","《袁江袁耀画集》是25年 出版的图书，作者是袁江，袁耀。\n袁江（约1671—1746年以后），字文涛，江都（今江苏扬州）人，擅长画山水楼阁，初学明中期【吴门四家】之一仇英的画法，中年时得一无名氏画稿，之后画艺大进。\n其界画在清代被推为第一。\n袁江存世作品较多，多在国内收藏，也有一些流到海外。\n袁江是我国绘画史上有影响画家，宫廷画家，转工山水楼阁界画。\n在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。\n当时还有他的侄子袁耀同齐名。\n他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。\n他擅画山水、楼台、师法宋人。\n山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。\n他的绘画素材多为古代宫苑，尤长于界画。\n天津市文管处收有一幅《瞻园图卷》，表现南京的园林建筑；上海博物馆藏有一幅《东园图卷》；北京文物局收有《骊山避暑图轴》，表现想象中的仙境；南京博物院藏有《海山三山图轴》，也描绘了想象中的仙境和古代建筑，瑰丽壮观，富有意境。\n其侄（一说为子）袁耀，字昭道，山水楼阁传其家法。\n袁耀（生卒年未详），清朝画家，字昭道，江都（今江苏扬州）人，袁江之子，生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。\n擅界画，风格与其父极为近似。\n工画山水、楼阁、界画。\n画风工整、华丽，与袁江相似。\n其精品有胜于袁江者。\n偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。\n约活动于乾隆中期。\n上卷 画舫冲烟图 松亭纳凉图 春雷起蛰图 峨嵋雪霁图 桐阴消夏图 独坐看山图 骊山避暑图 江天暮雪图 寒食归宁图 猫雀图 水殿柳风图 汉宫秋月图 松柏齐年图 东山别墅图 溪山行旅图 梁园飞雪图 天香书屋图 山水人物图 绿野堂图 春雷起蛰龙图 郭汾阳富贵寿考图 仙山楼阁图 白云红树图 湖庄春晓图 渔浦晚归图 松风流水图 风雪归人图 秋林暮霭图 重阳风雨图 槛外长江图 海屋沾筹图 秋郊来骑图 下卷",[24,7,855,52,75,77,15654,21279,26,27],"避暑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151db4c056ec8268fc389d385cc75777.jpg",[],{"id":21283,"slug":21284,"title":720,"dynasty":114,"author":721,"museum":132,"description":21285,"tags":21286,"thumbUrl":21287,"material":611,"size":1728,"collection":122,"collections":21288,"showCount":21118,"zanCount":541,"manualWeight":40,"mainColor":62},231501,"mei-zhu-tu-ye-ma-lin-231501","《梅竹图》就是一幅意境幽远的佳作。图为已故名画家、书画鉴藏家唐云所藏，画寒梅数枝，横斜劲挺，其间绿竹穿差，偃仰扶疏，顾盼生情。造型精准，设色明丽，笔法秀朗，虽然画面简单，但因为在疏密、错落、主宾诸方面经过十分经意的安排，故在在恰到好处，着墨不多而生机满幅。\n可见，马麟不仅有敏锐的观察把握自然美的能力，更有诗人般的取舍剪裁能力；他有精准的造型手段，不仅能恰到好处摹写对象的形质，更能生动地凸现其风姿神采，并且务求简炼而意趣自足。清初鉴藏家吴升、吴其贞这样描述马麟传世的几幅梅花：“勾染逼真”，“傅彩妍洁，落笔灵动”，“清瘦伶仃，有不胜雪压之状”，“清简之甚，意趣有余”，都可与这幅《梅竹图》相互印证。若拿今藏故宫博物院的马麟名作《层叠冰绡图》与之作比较，更可发现它们在构图、画法及精神气度上的相似之处。元明间一位无名氏有诗赞马麟曰“当时写姿妙绝品”，用妙绝之品来形容这幅《梅竹图》，同样不算过分。",[7,24,51,100,26,27,102,383,53,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9422d460442581c12adf5086caf0ecb4.jpg",[],{"id":21290,"slug":21291,"title":21292,"dynasty":114,"author":310,"museum":132,"description":21293,"tags":21294,"thumbUrl":21295,"material":122,"size":122,"collection":122,"collections":21296,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":62},230971,"chong-shan-fu-ling-tu-li-zhou-fan-kuan-230971","重山复岭图立轴","此作以雄浑苍劲的笔力绘就北国山川，主峰巍峨沉厚，以雨点皴反复皴擦山石肌理，将岩质的粗糙坚硬尽数铺展，裹挟着磅礴厚重的山岳气势扑面而来。山间古木虬曲交错，丹黄枝叶点染出深秋萧疏意趣。山坳板桥村舍隐于林木烟岚间，细笔轻勾出乡野烟火，于雄奇之中晕开温润生机，刚柔相济消解了山岳的冷峻。\n\n构图层峦叠嶂，虚实相生，高远深远兼具，将山川的浑莽大气与林下幽居的悠然相融，尽显山水风骨与内敛的人文意趣。",[23,24,7,51,52,277,27,75,73,425,278,82,78,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ccf22bfab8ac355246314d05dace25.jpg",[],{"id":21298,"slug":21299,"title":21300,"dynasty":46,"author":10562,"museum":132,"description":21301,"tags":21302,"thumbUrl":21303,"material":122,"size":122,"collection":122,"collections":21304,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":41},230364,"hua-hui-shan-shui-tu-ce-ye-ba-kai-wang-shi-shen-230364","花卉山水图册页(八开)","此作以淡青绘竹，笔致清劲秀逸，竹叶层叠错落，尽显疏朗清瘦之姿，自带凌冽孤傲之态。旁侧柔枝轻斜，粉萼悄然绽放在枝桠间，柔婉清丽，与劲竹刚柔相衬，添了几分春日温软生机。\n左侧行书题诗与画面相融，文气漫溢纸面，将花木之态与文人风骨合二为一。整体笔墨简淡含蓄，意境清寂闲雅，尽显扬州画派典型的文人意趣，把清冷孤高的心境藏在淡色花枝劲竹之中，是一件雅致悠然的小品佳作。",[7,24,51,100,27,277,102,53,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3372f1edc95a4f394244d2aba19910a2.jpg",[],{"id":21306,"slug":21307,"title":21308,"dynasty":46,"author":10562,"museum":132,"description":21309,"tags":21310,"thumbUrl":21311,"material":122,"size":122,"collection":122,"collections":21312,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":41},230363,"hua-hui-tu-ce-12-kai-wang-shi-shen-230363","花卉图册12开","此作用没骨淡彩绘就田间蚕豆花，叶片以柔毫晕染青绿，脉络隐现，舒展灵动自带生机。粉白花瓣轻晕淡红，嫩蕊娇柔，将乡野花蔬描摹得楚楚动人。\n\n左侧行书题诗与画作相映，笔致清逸秀雅，文气与画意浑然相融。整幅画面不见浓艳，以幽澹之韵取胜，将田间寻常小景化为清雅逸品，尽显闲淡疏朗的文人意趣，把乡野清芬纳入笔下，尽显冲淡平和的审美意致。",[7,24,51,100,27,102,198,890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb307a89d6f339862bc7cddeb25759f0.jpg",[],{"id":21314,"slug":21315,"title":21316,"dynasty":46,"author":21317,"museum":132,"description":21318,"tags":21319,"thumbUrl":21320,"material":317,"size":907,"collection":122,"collections":21321,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":41},230357,"shan-shui-ce-ye-fan-qi-230357","山水册页","樊圻","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[7,24,51,100,27,73,75,56,647,82,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070ae4ad6a2c40b1bfed2dcffb4d2d0f.jpg",[],{"id":21323,"slug":21324,"title":21325,"dynasty":114,"author":448,"museum":132,"description":21326,"tags":21327,"thumbUrl":21328,"material":122,"size":122,"collection":122,"collections":21329,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":62},227974,"pu-tao-cao-chong-tu-lin-chun-227974","葡萄草虫图","《葡萄草虫图》是宋代画家林椿创作的一幅设色扇面画想，现藏于 。\n图中绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，富有生活气息。\n昆虫以双钩填彩绘制，用线刚柔相济，表现出不同的质感，如蜻蜓轻薄的翅膀，蝽象坚硬的外壳。\n藤尖叶边略作点染，表现季节特征。\n此图承袭了北宋的写实画风。\n图绘绿色玫瑰葡萄一枝，须蔓缠绕，硕果累累，垂挂枝叶间，果实晶莹如玉，水分饱满，绿色枝叶，向四周伸展，须子有的曲绕枝干，有的随意飞飘。\n纺织娘在叶子上吸吮着鲜汁；螳螂抬首举前足；蜻蜓刚刚飞停于枝头。\n另有一只金龟子匍伏于葡萄枝上，为葡萄绿叶所掩遮：甲虫落枝叶上，或低头觅食，或抬首举足，形象生动有趣。\n昆虫形象毕肖，富有生趣，给人甜美丰实的精神享受。\n本幅款识“林椿”。\n整个画面题材取景为自然界一隅，十分平常，但对葡萄、叶片、昆虫的描绘真实牛功，具有深厚的写牛功力：林椿工花鸟，师法赵昌，多直接用色彩分别浓淡进行细致描绘：画葡萄分出浓淡不同层次，一气呵成，犹如泼墨，然后用浓墨，以草书法勾口厂筋、藤蔓。\n葡萄叶因用笔用墨的不同而能分出老嫩、正反、枯鲜等状态。\n葡萄果莹润饱满；蜻蜓尤备极工细，神韵奕奕，其翅膀透明轻盈；螳螂的眼睛明亮如镜，镰刀状的前足生有钩刺，日光炯炯，真有“挹露裳初试，迎风斧半撑的气势”。\n都是多层设色，层层晕染，造成形体的凹凸体积和具有质感。\n当然，在某些地方，如葡萄枝十及口卜脉也适当地用细线作一些勾勒，只是这些勾勒已具有粗细浓淡的变化，因此更富有表现力。\n这些为农家随处可见景物，画家以独具的慧眼撷之入画，可谓别开生面-总体来说，此图用笔精细，设色轻柔，变化层次微妙，工写兼施，相映成趣；构图善从一角出发，全幅荡漾着空灵的诗意、画面左下方署有“林椿”二宁款，小楷书，无收藏印。\n此幅为林椿真迹代表之作。\n《葡萄草虫图》体现了“以实写虚，意味无穷”的画风，表现出“诗中有画，画中有诗”和“诗是无形画，画是有形诗”的不同艺术意蕴风格，并求通过真实、具体的形象，抒写作者的感情，以激起读者的想象和联想，产生艺术魅力。\n整体画面的表现为虚实关系的进一步发展，体现了画家对物象的刻画以诗意的意境和气韵来追求现实的全实的客观精神，这就使得宋代宫廷花鸟画以自由来追求自然与人审美情怀，这就构成了一个高超的艺术境界。\n宋代绘画风格的现实性不仅是客观的物象，是画家用“写实”语言，在充分尊重客观对象，并按照创作需要和审美观念来对客观分析一系列的艺术，从而描述一个故事来表达自己的思想感情和精神寄托。\n可以看出，古代绘画通过“现实主义”的表现手法，不仅是形象的东西，而且还真正体现了事物的状态，画中所绘的动植物不仅真实存在，符合动植物的生长规律及习性还符合当时的时间，地点和情境。\n裱边旧题签：“林椿葡萄草虫。\n”存《名笔集》册中。\n经《虚斋名画录》卷十一、《中国古代书画目录》第二册著录。\n林椿（生卒年不详），钱塘（今浙江杭州）人。\n孝宗淳熙（1174－1189年）时为画院待诏，由于其画艺高超，受赐金带。\n所绘花鸟、果品、草虫小品为多，画法远师赵昌，近取李迪，时人赞为“极写生之妙，莺飞欲起，宛然欲活。\n”",[23,24,7,51,768,26,27,102,10021,199,514,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282864883129152b7ca84a825688e9bf.jpg",[],{"id":21331,"slug":21332,"title":21333,"dynasty":114,"author":181,"museum":132,"description":21334,"tags":21335,"thumbUrl":21336,"material":122,"size":122,"collection":122,"collections":21337,"showCount":21118,"zanCount":1065,"manualWeight":40,"mainColor":62},227374,"mu-dan-wan-shan-tu-yi-ming-227374","牡丹纨扇图","扇上绣着两株牡丹枝条，绯红花瓣，绿叶，金边，叶脉，处处彰显牡丹的华美！",[24,7,51,768,27,26,102,103,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1b0957ed3bdec055f08a2afa604184.jpg",[],{"id":21339,"slug":21340,"title":21341,"dynasty":114,"author":12986,"museum":132,"description":21342,"tags":21343,"thumbUrl":21344,"material":122,"size":122,"collection":122,"collections":21345,"showCount":21118,"zanCount":541,"manualWeight":40,"mainColor":62},226558,"fan-qi-tu-juan-quan-juan-hu-gui-226558","番骑图卷全卷","《番骑图》所绘的是一队番骑逆风艰难前行的情形。塞北冬日，漠野荒寒，朔风劲吹，扑鼻冲面。胡人男女或以袖掩鼻、或面纱覆口，马匹、骆驼或低首踉跄、或屏息慢行，“胡天惨冽”的气候特征被刻画得惟妙惟肖。画家通过人物瑟缩之态、马匹蹒跚之形，衬托北地胡天之风疾天寒，以实写虚、虚实结合，可谓“曲尽塞外不毛之景趣”，堪称“番马画”中的出色之作。",[23,7,24,51,25,510,27,28,215,5060,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277e2d10ec8e8cc208f99d4fd1c3a917.jpg",[],{"id":21347,"slug":21348,"title":21349,"dynasty":46,"author":7849,"museum":132,"description":21350,"tags":21351,"thumbUrl":21352,"material":122,"size":122,"collection":122,"collections":21353,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":62},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[23,7,24,51,25,27,75,154,73,79,80,82,84,81,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0817a3be691b2edd3029ce0cbafbb222.jpg",[],{"id":21355,"slug":21356,"title":21357,"dynasty":46,"author":3150,"museum":151,"description":21358,"tags":21359,"thumbUrl":21360,"material":156,"size":21361,"collection":122,"collections":21362,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":62},223288,"shan-shui-si-tiao-ping-yang-zhou-si-jing-chun-tai-ming-yue-yuan-yao-223288","山水四条屏-扬州四景-春台明月","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,7,24,51,75,855,27,26,77,1570,82,745,663,279,2626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg","纵57cm，横66.1cm",[],{"id":21364,"slug":21365,"title":21366,"dynasty":67,"author":830,"museum":21367,"description":21368,"tags":21369,"thumbUrl":21370,"material":2755,"size":21371,"collection":122,"collections":21372,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":62},222236,"bai-yan-shi-quan-juan-xu-wei-222236","白燕诗全卷","绍兴市文物考古研究所","释文：\n白燕诗卷\n西飞岁岁侯青阳。花发名园何处藏。天子郊禖呈瑞色。主人台榭有辉光。轻翰掠雨绡初剪。小尾流风练愈长。万里东归看 易没。海天元是白云乡。一时伴侣自应稀。海路空长遇亦非。汉 将玉门投老入。赵妃雪夜待人归。孤回夏日摇寒雪。渐下秋空见羽 衣。却说朱门无可托。玉楼天上任高飞。素壁红芳照苑墙。冲花 泛羽唼群芳。霜迷万瓦单栖渺。草绿千堤片影凉。云母屏深低缟袖。水晶帘动拂流黄。西园蝴蝶浑无赖。暗粉飘尘上海棠。 白燕四首。书似镇南朱内史一笑。天池徐渭。\n徐渭的书法和明代早期书坛沉闷的气氛对比显得格外突出，他最擅长气势磅礴的狂草，但一般人很难看懂，用笔狼藉，他对自己的书法极为喜欢，自认为“书法第一，诗第二，文第三，画第四”。\n他的书法也是从吴门书派主张唐法的反叛中出发，继而吸取北宋苏轼、黄庭坚、米芾追求艺术个性化的积极因素中走来。\n徐渭打破了以“台阁体”为主导的明代书坛的寂寞，开启和引领了晚明“尚态”书风，把明代书法引向了新的高峰。陶望龄认为其书法“称为奇绝，谓有明一人”。袁宏道则称：“予不能书，而谬谓文长书决在王雅宜、文征仲之上，不论书法而论书神，先生者诚八法之散圣，字林之侠客矣！”",[23,7,24,51,25,277,5525,2755,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df2f85d03ab6130ec22e417c81f958c.jpg","纵30厘米，横420.5厘米",[],{"id":21374,"slug":21375,"title":21376,"dynasty":67,"author":966,"museum":48,"description":21377,"tags":21378,"thumbUrl":21379,"material":100,"size":122,"collection":122,"collections":21380,"showCount":21118,"zanCount":1065,"manualWeight":40,"mainColor":41},221912,"hua-niao-jing-pin-ce-9-chen-hong-shou-221912","花鸟精品册9","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[24,7,27,26,100,102,56,2067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffbe640c04e62e628fad5e50518bd9eb.jpg",[],{"id":21382,"slug":21383,"title":21384,"dynasty":293,"author":3575,"museum":20,"description":21385,"tags":21386,"thumbUrl":21389,"material":21390,"size":21391,"collection":88,"collections":21392,"showCount":21118,"zanCount":1065,"manualWeight":40,"mainColor":62},221691,"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[23,7,24,51,52,277,73,75,21387,8966,82,78,79,648,1996,279,278,5688,280,301,21388,8019],"青山","丘壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[88,286],{"id":21394,"slug":21395,"title":21396,"dynasty":114,"author":21397,"museum":1417,"description":21398,"tags":21399,"thumbUrl":21400,"material":217,"size":21401,"collection":122,"collections":21402,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":62},221502,"chu-que-tu-ye-song-ru-zhi-221502","雏雀图页","宋汝志","该图通过巧妙的笔法生动地表现了笼里及笼外幼雀的瞬间情态。所传作者宋汝志为南宋末期的画院画家。幕府末期狩野养川院惟信的鉴定中曾称为宋汝志所作，但并无确证，作者未明。然而，作品使用水墨和淡彩，表现手法细腻，这一点说明本图出自南宋时代名家之手。观其画风，属南宋画院待诏吴炳的传派，但笔法在工整中趋向轻松洒脱，鸟雀极为生动自然，筐篓的线条既合编织规矩，又不刻板。",[23,7,24,51,100,510,277,102,384,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bf5b764403f9d155fee7b4b0e303edd.jpg","21.3x21.9",[],{"id":21404,"slug":21405,"title":21406,"dynasty":3229,"author":3230,"museum":8817,"description":21407,"tags":21408,"thumbUrl":21410,"material":21411,"size":122,"collection":122,"collections":21412,"showCount":21118,"zanCount":1065,"manualWeight":40,"mainColor":41},220555,"xi-ma-la-ya-shan-zhi-lin-xu-bei-hong-220555","喜马拉雅山之林","以林木为天然画框，将雪域盛景揽入其中。苍劲树干皴刻着斑驳肌理，枝桠间萌动的新绿晕开春日生机，暖棕色调晕染出山林的温润烟火气。远景山峦层叠着柔灰与赭色，峰顶积雪在天光下泛着清冽皎洁，冷调与暖韵交织融合，揉合西画光影质感与东方山水留白意趣。\n\n将山野春日的鲜活瞬间凝于画布，循着林木间隙，便可踏入这藏着林间呼吸与雪域清辉的秘境，窥见生机盎然的山林与孤高辽远的雪山共生的自然意趣。",[7,3410,27,6292,82,4240,425,8965,279,21409,648,746],"森林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797481366c3bd1cdfc248ab635ea0f5c.jpg","布面油彩",[],{"id":21414,"slug":21415,"title":21416,"dynasty":46,"author":1656,"museum":20,"description":21417,"tags":21418,"thumbUrl":21419,"material":267,"size":21420,"collection":36,"collections":21421,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":41},220252,"pin-quan-tu-zhou-jin-ting-biao-220252","品泉图轴","图绘月下林泉，一文士坐於靠溪的垂曲树干上啜茗，状至悠闲，一童蹲踞溪石汲水，一童竹炉燃炭，三人的汲水、备茶、啜茗动作，恰恰自然的构成了一幅汲水品茶的连环图画。画面上明月高挂，清风月影，品茗赏景，十分自在。本幅山水人物浅设色，笔墨精鍊，人物清秀，圆短脸形的文人造型极富特色，衣袖襟襬皱摺转折猷劲，皆与记载中的「折芦描」相近。",[23,24,7,27,26,28,79,82,1570,278,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3431179624016bbae30476a9512741.jpg","纵58厘米，横73.8厘米",[36],{"id":21423,"slug":21424,"title":21425,"dynasty":46,"author":2006,"museum":20,"description":21426,"tags":21427,"thumbUrl":21428,"material":666,"size":21429,"collection":88,"collections":21430,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":41},219933,"fang-wu-zhen-shan-shui-tang-dai-219933","仿吴镇山水","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[7,24,51,52,277,73,75,297,136,82,78,280,559,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5f9e8cffd9a888365e8183c5e4e72d.jpg","93.6x53.5厘米",[88],{"id":21432,"slug":21433,"title":21434,"dynasty":293,"author":17094,"museum":20,"description":21435,"tags":21436,"thumbUrl":21437,"material":611,"size":21438,"collection":36,"collections":21439,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":41},219637,"song-jian-heng-qin-tu-zhu-de-run-219637","松涧橫琴图","这幅小品以边角构图铺展幽致，古松虬曲苍劲，枝干如铁铸般舒展，松针攒簇尽显老辣风骨。涧水轻流隐于石畔，林下三人身姿写意灵动，一人转轴拨弦，两人凝神静听，茶盏置于石上，松风裹着琴音漫过溪谷。\n\n笔墨简淡清逸，枯笔皴擦出松干嶙峋肌理，淡墨晕染空濛远水，人物简笔勾勒却神态宛然，将文人士大夫幽居林泉、鸣琴寄怀的雅趣尽显无余。题款错落雅致，与画面浑融一体，淡远疏朗间藏着静穆萧散的文人襟怀，是水墨小品中寄兴抒怀的绝佳之作。",[23,24,7,51,277,73,75,609,79,28,31,56],"https:\u002F\u002Fos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居高临下，江边还有大型的雀舫龙舟，非常接近唐代文人王勃于〈藤王阁序〉中所描写的场景，或可定为藤王阁图。",[24,7,52,855,26,27,77,28,75,215,4261,82,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedfd8e3692883f0a750fcbb48cfd87f.jpg","159.8x93.2",[90],{"id":21459,"slug":21460,"title":21461,"dynasty":293,"author":1636,"museum":20,"description":21462,"tags":21463,"thumbUrl":21464,"material":666,"size":17336,"collection":122,"collections":21465,"showCount":21118,"zanCount":40,"manualWeight":40,"mainColor":62},218120,"hua-xi-yu-yin-tu-er-wang-meng-218120","花溪渔隐图(二)","此图写霅溪风景，款题为玉泉尊舅作。玉泉已不可考。通幅用笔绵密而精工，垂柳一行，与赵孟𫖯「鹊华秋色」卷中画柳之法相同。「花谿渔隐」是从〈桃花源记〉衍生的画题，创始于赵孟𫖯。王蒙是赵孟𫖯的外孙，所受影响，不仅技法而已。",[23,24,7,51,52,277,75,73,80,79,278,82,861,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7477d3604d6b77be3506773dcad374b3.jpg",[],{"id":21467,"slug":21468,"title":21469,"dynasty":114,"author":4575,"museum":1031,"description":4576,"tags":21470,"thumbUrl":21471,"material":34,"size":4579,"collection":122,"collections":21472,"showCount":21118,"zanCount":1065,"manualWeight":40,"mainColor":41},216921,"xiang-shan-jiu-lao-tu-3-ma-xing-zu-216921","香山九老图-3",[23,24,7,51,25,26,27,73,28,1059,609,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d337f51df2c79cfd347b373f8b121f.jpg",[],{"id":21474,"slug":21475,"title":21476,"dynasty":46,"author":5640,"museum":151,"description":16296,"tags":21477,"thumbUrl":16298,"material":267,"size":16299,"collection":88,"collections":21479,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":41},301856,"heng-shan-qing-ai-tu-wu-li-301856","横山晴霭图",[23,7,24,51,25,75,277,73,425,82,79,80,84,1737,3427,119,74,21478],"晴霭",[88],{"id":21481,"slug":21482,"title":21483,"dynasty":114,"author":6625,"museum":132,"description":6990,"tags":21484,"thumbUrl":21485,"material":317,"size":907,"collection":122,"collections":21486,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":62},290273,"wu-yi-shan-shui-tu-li-an-zhong-290273","武夷山水图",[7,24,51,52,277,75,278,79,118,2755,498,9370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9eecb676947138ecdd41692d5e9363b.jpg",[],{"id":21488,"slug":21489,"title":21490,"dynasty":293,"author":17094,"museum":20,"description":21491,"tags":21492,"thumbUrl":21493,"material":34,"size":21494,"collection":122,"collections":21495,"showCount":126,"zanCount":1065,"manualWeight":40,"mainColor":41},290256,"yan-lan-qiu-jian-tu-zhu-de-run-290256","烟岚秋涧图","朱德润（公元1294年～公元1365年），元代著名画家、诗人。字泽民，号睢阳山人，又号旹杰。归德府（今河南商丘睢阳区）人。曾任国史院编修、镇东行中书省儒学提举等职。他得到了当时的刑部尚书、画坛巨匠高克恭和艺术大师赵孟頫的推崇，可见其艺术成就甚高。\n他善诗文，工书法，格调遒丽。擅山水，初学许道宁，后法郭熙，多作溪山平远、林木清森之景，重视观察自然，当北游居庸关时，尝作“画笔记行稿”。",[7,24,52,277,75,1059,278,79,18879,3037,170,313,2009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9766931c05722889a90dd2c2c96c59.jpg","102.6x44.3",[],{"id":21497,"slug":21498,"title":14013,"dynasty":18,"author":11687,"museum":132,"description":14014,"tags":21499,"thumbUrl":21501,"material":317,"size":907,"collection":122,"collections":21502,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":62},290139,"kan-shu-tu-wang-qi-han-290139",[7,24,51,27,28,7105,14016,21500,18507,75,74,905,1164],"书籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fa9c6a247d3036f1d8a3cae7e653f5.jpg",[],{"id":21504,"slug":21505,"title":21506,"dynasty":18,"author":1983,"museum":132,"description":21507,"tags":21508,"thumbUrl":21510,"material":317,"size":907,"collection":122,"collections":21511,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":41},288996,"ping-po-shan-niao-tu-huang-quan-288996","苹婆山鸟图","竹石花雀学刁光胤与滕昌佑、山水松石学李升、人物龙水学孙位、画鹤学薛稷，皆能脱去古人格律，自创新意。而且，黄筌一家具擅绘画，其弟唯亮，子居宝、居实、居寀，其中尤以黄居寀的成就最大，黄氏父子的花鸟画，在当时人们普遍认为其风格特点是“黄家富贵”。宋人沈括在《梦溪笔谈》中明确指出：“诸黄(指黄氏一家)画花妙在傅色，用笔极新细，殆不见墨迹，但以轻色染成，谓之写生”。\n入秋的山林，一颗颗绯红了脸颊的苹果，悬挂在枝叶间。芬芳的气味、鲜艳的色彩，招来了不少「小过客」们在此停留，留下了许多的斑点与啮痕。一只娇小的粉红鹦嘴，也忍不住好奇地飞了上来。它轻巧地停落在弯细的枝桠上，仰着圆小的脸蛋，摇着细长的尾巴，淘气地又蹦又跳的，好不开心！\n粉红鹦嘴旧名黄头，是种可爱、善斗的小鸟。而吸引粉红鹦嘴的苹果树，传统名为「林檎（禽）」或「来禽」。名称的由来，据说是因为它的果实（即苹果）味道甘醇、甜美，因此常常能吸引许多鸟禽来此聚集的缘故。至于画名以「苹婆」（即柰，又名凤眼珠）相称，应是古人误题了，两者事实上并不相同。\n这幅精巧的「苹婆山鸟」，旧传为五代画家黄筌（活动于903-965）所作。黄筌是中国花鸟画史里，开创工笔细致风格的大师，对五代到北宋初期的画坛影响深远。这幅画作虽非大师亲笔，可是无论是特写式的取景方式或是精辟入理的写实趣味，都明显受到黄筌的影响，是一幅宋代杰出的花鸟画小品。",[7,24,51,768,26,27,102,84,21509,74],"苹婆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026b677f07f3a3d8631d92c9824879ac.jpg",[],{"id":21513,"slug":21514,"title":21515,"dynasty":114,"author":21516,"museum":132,"description":21517,"tags":21518,"thumbUrl":21519,"material":317,"size":907,"collection":122,"collections":21520,"showCount":126,"zanCount":541,"manualWeight":40,"mainColor":62},288993,"you-gou-tu-mao-yi-288993","游狗图","毛益","毛益（公元12世纪）〔南宋〕昆山（今属江苏）人，一作沛（今江苏沛县）人，生卒年不详。孝宗乾道(1165-1173)间画院待诏，工画翎毛、花竹，尤能渲染，似欲飞鸣。",[768,24,7,51,26,27,3220,472,2067,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85b8776c16d30a84a7a6ea411f52685.jpg",[],{"id":21522,"slug":21523,"title":21524,"dynasty":114,"author":721,"museum":132,"description":10724,"tags":21525,"thumbUrl":21527,"material":317,"size":907,"collection":122,"collections":21528,"showCount":126,"zanCount":40,"manu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创作的绢本水墨淡设色画，现藏于旅顺博物馆。\n此图风格清雅，山骨峻增，群峰昂然高立，老树柔枝。\n全幅以水墨、花青染成，间施赭色。\n皴法细劲而严密，近似小斧劈又有所变化。\n此画远景山峦重叠，顶端突兀的巨石分向两边，右侧巨峰矗立，冲入云霄，气势雄伟险峻，山间瀑布直泻而下。\n中景为高山脚下，溪水潺潺，山石奇特，有几棵枯枝落叶古树，幽邃的山林周围空山寂寞，悄无人声，充满沁人肺腑的清新气息。\n在山坳平坡处，有一位樵夫正边走边倾听瀑泉的响声。\n泉水的流动，不但没有冲淡周围环境的安谧，反而增添了山林的僻静之感。\n近景为枯木坡石，与中景的山石紧相连接。\n左上自题“戊申春王画呈黄翁老祖台正樊圻”，钤“樊圻之印”、“会公”二印。\n左下钤收藏印二方“胶西法坤原珍藏”、“胶西宋皑珍藏书画印”。\n该图创作于康熙七年（1668年），作者时年5岁。\n此画构图顶天立地，上不留天，下不留地，左上角仅有的空白处，以作者自题款而填补，使整个画面更为充实完整。\n远景山峦重叠，中间炯锁山腰，层次分明，满而不塞。\n该图山石皴笔方硬而疏松，远山隐现于云雾之中。\n只在关键部位如山石的阴侧面用重墨，皴法细碎而干净利落，似从小斧劈演化而来。\n用色清淡，惜墨如金。\n总体来看，此画既合于写实的原则，也传达出幽远的意境。\n此图略近李成清旷画派，但皴法细劲而严密，近似小斧劈皴而较为文静，一点没有粗犷霸悍的习气。\n树木、屋宇、舟桥、流水、人物的刻画皆精诣不苟。\n通幅以水墨、花青染成，间施赭色，淡薄而透明，双钩的红叶，更点醒了秋山的主题樊圻对于传统的师承面比较广泛，就外表形态而论，似乎并未形成个人的固定程式，但就内在笔性而论，不管是披麻皴还是斧劈皴，也不管是水墨还是青绿，都以精诣不苟见工，精诣中又有透出虚灵的士气。\n该图在《中国美术全集·清代绘画》、《 》著录。\n1955年金县中心小学拨藏，现藏于旅顺博物馆。\n樊圻（1616—？），清代画家。\n字会公、洽公。\n江苏金陵（今南京）人。\n精山水、花卉、人物等。\n仕女画有幽闲静逸之致。\n与龚贤、高岑、吴宏，叶欣、胡糙、谢荪、邹喆为金陵八家。\n传世作品有《江浦风帆图》、《柳村渔乐图》、《雪景山水图》、《春山策仗图》轴、《山径骑驴图》等。",[23,24,51,7,52,27,75,313,78,79,647,2010,278,1648,28,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],{"id":21641,"slug":21642,"title":21643,"dynasty":67,"author":9980,"museum":132,"description":21644,"tags":21645,"thumbUrl":21646,"material":122,"size":122,"collection":122,"collections":21647,"showCount":126,"zanCount":1065,"manualWeight":40,"mainColor":41},228868,"dong-yuan-tu-juan-wen-zheng-ming-228868","东园图卷","《东园图卷》是文徵明的作品，绢本，纵：.2cm，横：126.4cm。\n现收藏于 ，画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细。\n名称：明文徵明东园图卷 类别：中国古画 年代：明代 文物原属：故宫旧藏 文物现状：现藏台北故宫博物院 图卷，绢本，设色画，纵：.2cm，横：126.4cm。\n东园位于南京钟山东凤凰台下，原是明代开国重臣中山王徐达的赐园，名为“太府园”，后来其五世孙徐泰时加以修葺扩建，辟作别墅，更名“东园”。\n园内叠有峰嶂，川泽相通，灵岩怪石环列前后，奇花异草郁郁葱葱，亭台楼阁错落有致。\n与徐氏友善的时贤名士常雅集于东园之中，或谈诗论文，或品茗抚琴，或宴乐弈棋，或赏玩书画，其乐融融，快意畅然。\n《东园图》是明四家之一的文征明于61岁（明嘉靖九年，15年）时绘制的，表现了东园雅集时的情景。\n情景图中板桥横于潺潺细流之上，青松翠竹遥相呼应，湖石疏置，碧树成荫，池水为清风吹皱，泛起层层涟漪。\n甬路上二文士边走边谈，携琴童子相随其后；堂内四人凝神赏画，另有手捧数轴书画的小童立侍桌旁，水榭之中对弈的两人神态悠闲安逸。\n文徵明的绘画有两种风格：一是宗法沈周、吴镇，呈水墨粗笔面貌，世称粗文；一是师从赵孟頫、王蒙，多青绿重染，工细缜密，世称细文。\n文氏早年以工细为主，中年之后粗细兼能，愈晚愈工。\n《东园图》便是他晚年细笔的精品。\n画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细，正如王原祁所言：“色不碍墨，墨不碍色，又须色中有墨，墨中有色。\n”全图虽以青绿设色法为之，却丝毫不见工匠之气，充盈于画面的是闲适雅致的文人气息，画中人物颇有魏晋之际名士的风神格调，这是文氏此类雅集题材绘画超乎常人之处。\n图之引首有徐霖隶书“东园雅集”四字。\n画面右上端有篆书“东园图”三字，画尾有款“嘉靖庚寅秋徵明制”，下钤“ 停云”、“玉兰堂印”、“徵仲”等印四方。\n卷后尾纸上有湛若水楷书《东园记》和陈沂行书《太府园讌游记》二则。",[23,7,24,51,25,26,27,28,77,81,78,79,56,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cb802217ebcd0c9524ab578c39dc66.jpg",[],{"id":21649,"slug":21650,"title":21651,"dynasty":114,"author":4389,"museum":132,"description":21652,"tags":21653,"thumbUrl":21654,"material":122,"size":122,"collection":122,"collections":21655,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":62},227953,"tu-ye-zhao-bo-ju-227953","图页","此作为典型宋代青绿山水，石青、石绿晕染山峦，厚重雅致间衬以赭石暖调，冷暖相映，晕化出山水层叠悠远的空蒙意境。\n\n画面开合有度，远山嵯峨葱郁，近渚水色澹澹，坡岸苍松劲挺成林，生机盎然。水岸营寨旌旗飘展，泊船静立，身形微小的人物情态具足，行旅场面写实生动，将山水之秀与行旅之境相融。\n\n它承继唐代青绿山水的明艳富丽，又兼具宋代院体画的精工写实，笔致细腻秀雅，兼顾全景意境与细节刻画，把随行驻泊的日常图景置于秀山丽水间，尽显宋画雅致隽永的山水意趣。",[23,7,24,51,72,27,26,75,28,80,79,82,84,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5813535dd91fdde5ef9a939c994bbe3f.jpg",[],{"id":21657,"slug":21658,"title":21659,"dynasty":114,"author":181,"museum":132,"description":21660,"tags":21661,"thumbUrl":21662,"material":122,"size":122,"collection":122,"collections":21663,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":62},227913,"zhu-chong-tu-yi-ming-227913","竹虫图","淡赭绘就竹枝，以深浅绿意晕染竹叶，笔下叶片舒展有姿，劲挺又不失柔润，枝桠交错间野意横生。叶面之上，竹虫敛身伏藏，身形与枝叶相融，将蛰伏的静谧暗藏其间。右上角蛱蝶振翅翩跹，墨色点染翅翼，留白衬出轻盈灵动，骤然打破画面静气，动静相映成趣。\n全作笔致工细秀雅，设色清淡雅致，以精微的观察捕捉乡野小景的瞬态生机，将草木虫蝶的自然情态刻画入微，于尺幅之间勾勒出浑然天成的林下意趣，尽显平和悠然的审美意韵。",[23,7,24,51,26,27,102,53,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7f253e2d3b155250d560a92e122b65.jpg",[],{"id":21665,"slug":21666,"title":21667,"dynasty":114,"author":1160,"museum":132,"description":21668,"tags":21669,"thumbUrl":21671,"material":122,"size":122,"collection":122,"collections":21672,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":62},227805,"can-shi-tu-liu-song-nian-227805","蚕事图","整作以全景式铺陈桑蚕劳作日常，分构两处空间。左侧棚下匠人各司其职，抽丝、分拣有条不紊；右侧窗内，闺中女眷闲坐观览，将劳作与闲憩相映成趣，右上角民夫搬运蚕茧，更添烟火劳顿之气。\n\n画作以淡墨白描绘就，线条清雅柔和，屋舍瓦楞、林木枝桠皆刻画入微，人物神态鲜活自然。将江南蚕织农家的日常图景如实铺展，平和质朴间尽现宋代田园的生活真味，把风俗烟火融于清淡笔墨中，尽显写实风俗画的雅致意趣，藏着宋时江南的悠悠烟火意。",[24,51,7,26,27,855,25,28,559,82,21670,74],"蚕桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e367156bf61318f3d34559af6f02c1.jpg",[],{"id":21674,"slug":21675,"title":21676,"dynasty":114,"author":274,"museum":132,"description":21677,"tags":21678,"thumbUrl":21679,"material":122,"size":122,"collection":122,"collections":21680,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":479},227725,"shan-gu-ji-liu-tu-xia-gui-227725","山谷激流图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等",[24,7,51,75,277,73,52,278,82,6943,79,2683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e099048944fdf9181b06d03954f9172.jpg",[],{"id":21682,"slug":21683,"title":21684,"dynasty":114,"author":11129,"museum":132,"description":21685,"tags":21686,"thumbUrl":21687,"material":122,"size":122,"collection":122,"collections":21688,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":41},227699,"shui-xian-juan-zhao-meng-jian-227699","水仙卷","本幅画水仙四十余株，花苞花蕊百八十余朵。全卷结构严谨，花叶繁简得宜，繁而不乱，疏密有致，或花蕊盛开，或含苞待放；花叶组合、穿插映带，阴阳相背，抵昂顾盼，层次分明，画面处理得有条不紊而生意盎然，墨色的浓淡深浅都掌握得恰到好处，既合于水仙的自然生长状态，又高于自然，清雅绝俗。可以看出此图作者扎实非凡的写实功力。此图土坡采取“飞白石”画法，用笔轻拂，笔墨十分虚灵，与他的两幅墨兰卷土坡画法极为相近；其丛丛小草采用中锋浓墨写出，笔法劲利，沈稳而富于变化，凡此种颇有宋元人淡雅蕴藉、气韵淳古的风致，诚为一幅难得的佳作，绝非一般庸工俗史所能及。此卷比起以前所见诸卷赵款水仙画都要精彩得多，故陈鹏年在后幅题记中写道：此卷“长寻丈有奇，花凡数十百本，姿态百出，生动变化，自非功力精到不能有此，几案间足令寒香袭人衣袂也”。",[7,24,51,25,510,277,2067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c28b3132251b00b97bb0370e0a7c06.jpg",[],{"id":21690,"slug":21691,"title":21692,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":21693,"thumbUrl":21701,"material":317,"size":907,"collection":3417,"collections":21702,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":41},226025,"san-giorgio-maggiore-at-dusk-1908-mo-nai-226025","San Giorgio Maggiore at Dusk, 1908",[7,4035,21694,8959,21695,21696,649,861,21697,21698,8965,3115,21699,21700],"色彩晕染","笔触表现","黄昏","塔楼","倒影","霞光","色彩并置","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30551a1562a1c380d8bba485399bb7b6.jpg",[3417],{"id":21704,"slug":21705,"title":21706,"dynasty":1383,"author":6681,"museum":132,"description":6682,"tags":21707,"thumbUrl":21709,"material":317,"size":907,"collection":3417,"collections":21710,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":479},225633,"rembrandt-harmensz-van-rijn-042-lun-bo-lang-225633","Rembrandt Harmensz.van Rijn - 042",[7,3410,28,21708,6292],"男性肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a0a35fc2198ba7e2b402920b258ac71.jpg",[3417],{"id":21712,"slug":21713,"title":21714,"dynasty":46,"author":17530,"museum":132,"description":21715,"tags":21716,"thumbUrl":21717,"material":122,"size":122,"collection":122,"collections":21718,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":41},224404,"lu-tai-nan-shan-ji-cui-chang-juan-wang-yuan-qi-224404","麓台南山积翠长卷","此作以全景铺展江南盛景，浅绛间糅青绿晕染，层峦叠嶂迤逦开合，丘壑繁密却丝毫不失章法，尽显山川龙脉走势。汀渚渔舟、山居村舍错落点缀，水烟澹澹，山林苍郁，笔墨沉厚老辣，干笔皴擦间又带秀润，层层积染出山峦的雄浑华润质感。将元人简逸笔意化为沉雄苍浑的气度，恪守文人画理法的同时，以细密繁复的构图铺陈胸中丘壑，尽数绘就江南山川的郁茂苍翠与静穆灵秀，是兼具笔墨意趣与山水神韵的佳作。",[23,7,24,51,25,75,27,73,425,82,559,80,79,81,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a81172077ff8b61901ecd9eb2cce38.jpg",[],{"id":21720,"slug":21721,"title":21722,"dynasty":114,"author":181,"museum":20,"description":21723,"tags":21724,"thumbUrl":21726,"material":21727,"size":21728,"collection":122,"collections":21729,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":62},223500,"za-ju-mai-yan-yao-tu-yi-ming-223500","杂剧卖眼药图","图上二位杂剧人物正在表演剧情，左边一人顶着高帽，身穿大袍，四周画满了一只眼的图案，右手高高抬起捏着一物向对方展示；右侧一人右手指眼，似患眼疾，正待用眼药治疗。此图是一幅年俗画，南宋时期宣传杂剧“眼药酸”而画，剧中人物女扮男装，装扮俏皮可爱。",[23,7,24,51,27,26,28,55,30,21725],"杂剧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6eea5d4be471969946b94ba501270ce.jpg","绢本，册页，设色","纵23.8厘米、横24.5厘米",[],{"id":21731,"slug":21732,"title":21733,"dynasty":114,"author":181,"museum":20,"description":21734,"tags":21735,"thumbUrl":21736,"material":217,"size":21737,"collection":122,"collections":21738,"showCount":126,"zanCount":1065,"manualWeight":40,"mainColor":41},223434,"song-tai-zong-li-xiang-zhou-yi-ming-223434","宋太宗立像轴","宋太宗赵光义（939年11月20日－997年5月8日），宋朝第二位皇帝（976年11月15日—997年5月8日在位）。本名赵匡义，后因避其兄宋太祖名讳而改名赵光义，即位后又改名赵炅。开宝九年（976年），宋太祖驾崩，赵光义继位。即位后使用政治压力，迫使吴越王钱俶和割据漳、泉二州的陈洪进于太平兴国三年（978年）纳土归附。次年亲征太原，灭北汉，结束了五代十国的分裂割据局面。两次攻辽，企图收复燕云十六州，都遭到失败，从此对辽采取守势。在位期间，采取治国驭将方针，明显地走上了“崇文抑武”的道路，并最终构成为宋朝“祖宗家法”的重要内容。 在位共二十一年，至道三年（997年），赵光义去世，谥号神功圣德文武皇帝，庙号太宗，葬于永熙陵。\n画像上太宗头戴幞头，黑鬓发，淡眉，微须，目光柔和，身着褎袖白袍，腹下束朱带，双手于胸部平放，脚穿皂纹靴而立。",[7,24,51,52,26,27,28,30,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc991137f15e1ca6a6c464ed8c2444a.jpg","纵74.5厘米横47.4厘米",[],{"id":21740,"slug":21741,"title":21742,"dynasty":674,"author":181,"museum":1498,"description":21743,"tags":21744,"thumbUrl":21745,"material":611,"size":21746,"collection":123,"collections":21747,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":41},223396,"tang-mo-lan-ting-xu-yi-ming-223396","唐摹兰亭序","这卷原托名为褚遂良所书《兰亭序》，正文质地为绢本，黄褐色，亦称“黄绢本”。这卷唐摹《兰亭序》，尽管看不出是哪一家的墨迹，却反映了初唐时期的书法风尚。\n卷前引首有明代著名书画家、鉴赏家董其昌题书“墨宝”二字（残存）。",[23,7,24,51,25,154,119,118,1580,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3875c37e8068d0dba2f56617e5948b96.jpg","24.5×65cm",[123],{"id":21749,"slug":21750,"title":21751,"dynasty":293,"author":181,"museum":20,"description":21752,"tags":21753,"thumbUrl":21756,"material":736,"size":21757,"collection":122,"collections":21758,"showCount":126,"zanCount":40,"manualWeight":40,"mainColor":62},223365,"liu-tang-bai-yan-tu-zhou-yi-ming-223365","柳塘白燕图轴","元代工笔画很少的，多的是水墨写意的文人画，其实元代画坛另一路已经走向极致的绘画语言就是写实艺术。 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92.1x2601.3公分",[],{"id":22023,"slug":22024,"title":22025,"dynasty":1383,"author":21817,"museum":22026,"description":22027,"tags":22028,"thumbUrl":22030,"material":317,"size":907,"collection":122,"collections":22031,"showCount":389,"zanCount":1065,"manualWeight":40,"mainColor":479},287769,"yue-yi-lun-chu-sui-liang-287769","乐毅论","西安碑林博物馆","此作为泥金小楷，笔致灵动秀雅，点画温润舒展，结体方正宽博又暗含飘逸之姿，尽显初唐楷书尚法又不失气韵的特质。书写时笔势牵丝映带精妙细微，可见运笔流畅自然，既承袭魏晋小楷的古雅意趣，又融褚书标志性的空灵雅致，刚柔并济。黑底泥金相衬，更衬出字迹华贵隽秀，字里行间尽显书写者精湛笔力与从容心境，将文本质感与书法美学相融，是小楷上乘之作，尽显楷书清逸端雅之美。",[118,51,7,2044,6730,1580,22029,25],"金书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154d4cc6c303c805afe17c6da45b8e72.jpg",[],{"id":22033,"slug":22034,"title":11582,"dynasty":67,"author":10989,"museum":132,"description":22035,"tags":22036,"thumbUrl":22037,"material":317,"size":907,"collection":122,"collections":22038,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},287609,"shan-shui-tu-zhou-xie-shi-chen-287609","谢时臣，明代画家，字思忠，号樗仙，吴（今江苏省苏州市）人。谢时臣工山水，师法吴镇， 得沈周笔意而稍变。多作长卷巨幛，峰峦雄伟。尤善画水，江河湖海，种种皆妙。笔墨纵横自如，富有气势，介乎戴进和沈周之间。唯刻画不 够精微，殊少秀韵。",[23,7,24,51,52,277,73,75,77,78,79,81,278,82,28,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527df7914879b235439099ab530acc9.jpg",[],{"id":22040,"slug":22041,"title":22042,"dynasty":293,"author":1577,"museum":132,"description":8222,"tags":22043,"thumbUrl":22044,"material":317,"size":907,"collection":122,"collections":22045,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":62},287594,"da-mo-xiang-zhao-meng-fu-287594","达摩像",[24,7,51,52,27,28,678,5399,20336,5543,2785,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842000dac36974746103e8165992823e.jpg",[],{"id":22047,"slug":22048,"title":22049,"dynasty":293,"author":1577,"museum":132,"description":8222,"tags":22050,"thumbUrl":22051,"material":317,"size":907,"collection":122,"collections":22052,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":62},287529,"guan-quan-tu-zhao-meng-fu-287529","观泉图",[24,7,52,27,75,28,609,278,79,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18ccffe8a3c3cabe7d0bb04da6a7a08.jpg",[],{"id":22054,"slug":22055,"title":22056,"dynasty":293,"author":1556,"museum":132,"description":13767,"tags":22057,"thumbUrl":22058,"material":317,"size":907,"collection":122,"collections":22059,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},283618,"li-hua-tu-qian-xuan-283618","梨花图",[23,24,7,25,51,102,573,119,118,74,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c47c67343792d97cc1609ddfe962a6c.jpg",[],{"id":22061,"slug":22062,"title":2590,"dynasty":46,"author":1452,"museum":132,"description":2591,"tags":22063,"thumbUrl":22064,"material":317,"size":907,"collection":122,"collections":22065,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},239449,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239449",[24,7,100,26,27,102,118,74,198,1095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e4a14bf201db386ebf68f255bd0b66a.jpg",[],{"id":22067,"slug":22068,"title":2590,"dynasty":46,"author":1452,"museum":132,"description":2591,"tags":22069,"thumbUrl":22070,"material":317,"size":907,"collection":122,"collections":22071,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},239448,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239448",[7,24,51,100,26,27,2067,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0105ff045dc6a068152ce6f9fd188750.jpg",[],{"id":22073,"slug":22074,"title":18285,"dynasty":46,"author":7216,"museum":132,"description":16449,"tags":22075,"thumbUrl":22076,"material":317,"size":907,"collection":122,"collections":22077,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},239238,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239238",[24,7,51,100,26,27,102,103,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fc58e41d742f7a5d5e5f55de201a67.jpg",[],{"id":22079,"slug":22080,"title":22081,"dynasty":46,"author":8127,"museum":132,"description":22082,"tags":22083,"thumbUrl":22084,"material":317,"size":907,"collection":122,"collections":22085,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},238540,"fang-jiang-ting-xi-niao-pu-tu-ce-yu-sheng-238540","仿蒋廷锡鸟谱图册","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,7,100,26,27,102,84,56,74,118,2044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc42360a66af189821ac5b798a1b2dc8.jpg",[],{"id":22087,"slug":22088,"title":22089,"dynasty":46,"author":18875,"museum":151,"description":22090,"tags":22091,"thumbUrl":22092,"material":342,"size":22093,"collection":88,"collections":22094,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},238133,"qiu-shan-xing-lv-tu-zhou-fang-cong-238133","秋山行旅图轴","此图是方琮的代表作品之一。图中峰峦叠幛，林木入秋，溪流小桥，行旅者行进其间。整幅画面布局巧妙，结构严谨，房舍及行旅商贾无不似从元人笔下而来，属雅俗共赏之作。",[24,51,7,52,27,73,75,7962,278,82,79,313,559,78,1282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7f98f4a5433087a38e8a85bd4c7fcf.jpg","纵186.6厘米，横153.3厘米",[88,90],{"id":22096,"slug":22097,"title":22098,"dynasty":67,"author":966,"museum":132,"description":3465,"tags":22099,"thumbUrl":22100,"material":317,"size":907,"collection":122,"collections":22101,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},235794,"hua-shi-hu-die-tu-shan-ye-chen-hong-shou-235794","花石蝴蝶图扇页",[7,24,51,768,27,26,102,200,263,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929eff4102003e83d39418c727068bd0.jpg",[],{"id":22103,"slug":22104,"title":22105,"dynasty":46,"author":7849,"museum":132,"description":22106,"tags":22107,"thumbUrl":22108,"material":3579,"size":22109,"collection":88,"collections":22110,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},234713,"fang-gu-shan-shui-ce-wang-hui-234713","仿古山水册","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[24,51,7,100,277,73,75,697,78,79,1737,28,278,3456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb3597742ef1ee1687c0ec1892b236e.jpg","25.6厘米，横：20.5厘米",[88],{"id":22112,"slug":22113,"title":22114,"dynasty":114,"author":181,"museum":151,"description":22115,"tags":22116,"thumbUrl":22118,"material":156,"size":22119,"collection":122,"collections":22120,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},234013,"xian-nv-cheng-luan-tu-ye-yi-ming-234013","仙女乘鸾图页","图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。此图线条工谨精细，如春蚕吐丝，柔中见刚，与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。",[24,7,51,100,768,26,27,29,22117,1570,74],"鸾鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae22542a4bef5e8d5926c3d431eae647.jpg","纵25.3厘米，横26.2厘米",[],{"id":22122,"slug":22123,"title":22124,"dynasty":46,"author":5268,"museum":151,"description":22125,"tags":22126,"thumbUrl":22127,"material":3579,"size":22128,"collection":122,"collections":22129,"showCount":389,"zanCount":1065,"manualWeight":40,"mainColor":41},233827,"you-ting-xiu-mu-tu-zhou-hong-ren-233827","幽亭秀木图轴","“辛丑”为清顺治十八年(1661年)，受赠者名罗衮期，字岳生，安徽歙县呈坎人，是一位信奉佛教的儒生。图上有罗衮期小跋：“启悟师久慕渐江笔意，属予代索，遂以寄予者转赠之。”又有弘仁侄江注题诗“吾师漫写倪迂意，古木孤亭水石幽。优钵昙花题品在，禅门珍秘抗王侯。为启公题家师笔”。\n作为明遗民画家，弘仁曾在民族危难之时挺身而出，参加抗清活动，明亡后，遁迹江湖，寄兴诗画。他眷怀故国，作诗曰：“偶将笔墨落人间，绮丽楼台乱后删。花草吴宫皆不问，独余残渖写钟山。”钟山是明太祖先元璋的陵墓所在地，此诗悲凉沉郁，感怀至深，表达了弘仁不忘故国的坚贞气节，正是这种情怀，使他的绘画倾向于倪瓒的风格，倪画中荒寒萧瑟的意境引起了他心灵的共鸣。此图是弘仁晚年居住在歙县五明寺时所作。画风为倪瓒的变格，作平远布局，近处坡岸茅亭，亭前后有松杉杂木高耸，略去浅水遥岑，使前景成为独立的主体，加强了山石结构的表现，产生较为平和的亲切感。画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[24,51,7,52,277,73,81,135,75,56,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedb8101e25e0b3da1b9d79531e46d3b.jpg","纵68厘米，横50.4厘米",[],{"id":22131,"slug":22132,"title":22133,"dynasty":67,"author":966,"museum":132,"description":3465,"tags":22134,"thumbUrl":22135,"material":317,"size":907,"collection":122,"collections":22136,"showCount":389,"zanCount":1065,"manualWeight":40,"mainColor":62},230955,"xue-jiao-tu-ye-chen-hong-shou-230955","雪蕉图页",[7,24,51,100,26,27,18690,56,1023,263,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F874e621d854c924252505ec09a442862.jpg",[],{"id":22138,"slug":22139,"title":22140,"dynasty":67,"author":181,"museum":132,"description":22141,"tags":22142,"thumbUrl":22143,"material":122,"size":122,"collection":122,"collections":22144,"showCount":389,"zanCount":1065,"manualWeight":40,"mainColor":62},228811,"li-shu-tu-yi-ming-228811","荔鼠图","此作以工笔出之，褐绢为底，将白鼠偷食荔枝的闲趣小景描摹入微。白鼠通身莹白蓬松，毫发毕现，垂首啮果时神态专注娇憨，灵动鲜活。荔枝丹红饱满，果纹凸起写实如生，浓绿叶片阴阳向背层次分明，虬曲枝桠苍劲舒展，尽显南国佳果鲜活意趣。右上角朱印古雅，为画面晕染出金石气韵。设色明丽和谐，精工中带着松弛生机，既有院体画的细腻写实，又暗合数子多福的世俗吉意，把日常琐细绘得意趣悠长。",[23,7,24,51,26,27,102,472,10418,1094,339,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d85ef4870573bfff3e3eb899193a5a.jpg",[],{"id":22146,"slug":22147,"title":22148,"dynasty":67,"author":181,"museum":132,"description":22149,"tags":22150,"thumbUrl":22151,"material":122,"size":122,"collection":122,"collections":22152,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":62},228377,"ming-shi-zong-zuo-xiang-zhou-yi-ming-228377","明世宗坐像轴","此作工笔重彩，尽展帝王威仪。明黄常服遍饰团龙祥纹，云气缠护其间，章纹排布严合规制，织绣细节分毫毕现，将皇权礼制融于一针一线的描摹中。\n\n帝王面容方正，神色沉敛端凝，不怒自威，肖像写实传神，精准勾勒出帝王的肃穆气场。背景髹金屏风满绘升降云龙，间缀宝相花枝，宝座髹蓝描金，雕饰精巧，处处铺陈出皇家的华贵肃穆。\n\n整体设色富丽匀净，线条精细劲挺，尽显宫廷肖像画的精湛造诣，将九五之尊的威严气场定格绢素，静穆间传递出皇朝礼制的厚重庄严。",[24,7,52,26,27,28,370,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec95e7e4f1be01b5a6b4566dce58538.jpg",[],{"id":22154,"slug":22155,"title":22156,"dynasty":67,"author":9463,"museum":132,"description":22157,"tags":22158,"thumbUrl":22159,"material":122,"size":122,"collection":122,"collections":22160,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},228321,"shu-guo-xie-sheng-tu-tao-cheng-228321","蔬果写生图","此作用水墨写意绘蔬果蔬叶，以浓淡墨色晕染出鲜活生姿，脱略形似，尽显野逸生机，寥寥数笔便将寻常菜蔬勾勒出超脱意趣。\n长卷后一众明清文人题咏相伴，行草书法笔致纵逸跌宕，诗画合璧，尽显雅集风流。诗书画印融为一体，以极简笔墨托物言志，将日常田家风物，晕染出林下清逸的文人情致，是文人写意花鸟的上乘佳制，空灵雅致，余韵悠长。",[23,7,24,51,25,277,27,1190,119,2755,74,7663,7669,890,1882,53,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0591c51b34bf7336630bd522fa6a437d.jpg",[],{"id":22162,"slug":22163,"title":22164,"dynasty":67,"author":966,"museum":132,"description":22165,"tags":22166,"thumbUrl":22167,"material":122,"size":122,"collection":122,"collections":22168,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},228294,"luo-han-tu-chen-hong-shou-228294","罗汉图","此作以古拙高简之笔，绘就禅意萧疏之境。罗汉席地而坐，凸额深目大耳，面容奇崛清癯，手持长策侧目凝神，沉静出尘。衣纹以涡旋状高古游丝描勾勒，繁复层叠却丝毫不显冗杂，将僧袍厚重垂坠之态尽显，笔力圆劲凝练。\n\n背景淡墨晕染，虬曲老树枝桠舒展，繁花缀于青叶间，幽草疏落生姿，衬出林间幽寂空远之境。淡设色清雅内敛，以夸张变形的造型，脱尽世俗烟火气，尽显超拔出尘的禅家意韵，古韵悠然，奇骇雅致。",[23,7,24,51,27,26,28,678,82,56,890,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13b69c8b504945e6a0218915535961f3.jpg",[],{"id":22170,"slug":22171,"title":22172,"dynasty":114,"author":181,"museum":132,"description":22173,"tags":22174,"thumbUrl":22176,"material":122,"size":122,"collection":122,"collections":22177,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},227917,"qun-yu-xi-zao-tu-yi-ming-227917","群鱼戏藻图","《宋人画群鱼戏藻图》是宋代佚名创作的绢本设色画。\n《庄子·秋水篇》中有“濠梁观鱼”的著名典故，故“ ”成为中国绘画的传统题材。\n“ ”又谐“余”之音，有祝颂丰穰之吉祥寓意。\n本幅无款。\n鉴藏印钤“季彤平生真赏”、“庞莱臣珍藏宋元真迹”。\n裱边钤“虚斋审定名迹”。\n图中绘小鱼5尾，欢快地游戏于荇藻之间。\n鱼身用没骨法墨染而成，其光滑、细腻而富于弹性的质感表现得非常充分，线条圆浑流畅；黑脊与白肚之间过渡自然；口、眼、鳍、尾之刻画逼真而具立体感。\n鱼的游向各异，远近分明，荇藻轻灵而富于动感，构图生动活泼，是宋人画鱼的名作。\n存《名笔集胜》册中。\n《虚斋名画续录》著录。",[23,7,24,51,768,26,277,27,1179,22175],"藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a01514fa33b348d72283aebee102b35.jpg",[],{"id":22179,"slug":22180,"title":22181,"dynasty":114,"author":181,"museum":132,"description":22182,"tags":22183,"thumbUrl":22184,"material":122,"size":122,"collection":122,"collections":22185,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":62},227854,"shan-shui-tuan-shan-yi-ming-227854","山水团扇","危崖嶙峋踞于近岸，枯木萧疏间细泉漱石，凛凛秋意漫溢而出。视线随水色铺展，远峰晕染在烟岚薄雾里，和空濛秋水融作一片淡墨云烟。滩头扁舟静泊，渔翁偃卧，将山野幽寂与林下闲逸揉作一处。\n\n此作用笔苍润相济，硬皴勾勒崖石肌理，枯笔点染寒木枝桠，淡墨晕开江天烟霭，以边角取景铺展出辽远山水格局，将秋日江野的清寂闲静截取在咫尺扇面，尽显以小见大的山水雅趣，藏着寄情林泉的幽远心境。",[7,24,51,768,27,277,75,647,278,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450874808150a62736ffbb1713c6d774.jpg",[],{"id":22187,"slug":22188,"title":22189,"dynasty":114,"author":2868,"museum":132,"description":22190,"tags":22191,"thumbUrl":22192,"material":317,"size":907,"collection":122,"collections":22193,"showCount":389,"zanCount":1065,"manualWeight":40,"mainColor":41},227814,"shi-jing-you-feng-qi-yue-tu-chang-juan-ma-he-zhi-227814","诗经·幽风七月图(长卷)","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“構”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。",[23,7,24,51,25,510,27,118,28,75,82,559,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ae8f0c67abd521009f2b1403a7787c.jpg",[],{"id":22195,"slug":22196,"title":22197,"dynasty":114,"author":556,"museum":132,"description":18969,"tags":22198,"thumbUrl":22201,"material":122,"size":122,"collection":122,"collections":22202,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":62},227770,"dai-du-tu-ye-li-tang-227770","待渡图页",[23,24,7,27,73,75,80,28,1059,278,22199,20019,82,22200,279],"渡头","远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f2618414ab002b13ecc03ab10213de.jpg",[],{"id":22204,"slug":22205,"title":22206,"dynasty":114,"author":556,"museum":132,"description":18969,"tags":22207,"thumbUrl":22209,"material":122,"size":122,"collection":122,"collections":22210,"showCount":389,"zanCount":1065,"manualWeight":40,"mainColor":62},227768,"shan-shui-ye-li-tang-227768","山水页",[23,24,51,7,277,73,2613,75,77,80,82,278,3115,856,861,648,12592,22208,647,4497],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],{"id":22212,"slug":22213,"title":22214,"dynasty":114,"author":17797,"museum":132,"description":22215,"tags":22216,"thumbUrl":22217,"material":122,"size":122,"collection":122,"collections":22218,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":62},227751,"yu-tu-tu-ye-gong-ji-227751","玉兔图页","兔子在民间象征着吉祥、智慧和谨慎，“玉兔呈祥”之说一直深入人心。“ 玉兔呈祥”起源于“遇兔呈祥”。\n\n《淮南子》中有这样的记载，月中有桂树，果实每年四五月后飘落人间。因玉兔是月中仙童，所以人们常将兔子隐于桂树丛中，先找到的，会有“蟾宫折桂”的祥兆。",[23,7,24,51,2613,26,27,2106,472,2785,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1c09a8d4be96ac742975ab827a34a8.jpg",[],{"id":22220,"slug":22221,"title":22222,"dynasty":114,"author":274,"museum":132,"description":9366,"tags":22223,"thumbUrl":22224,"material":122,"size":122,"collection":122,"collections":22225,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":62},227728,"liu-yin-mu-niu-tu-xia-gui-227728","柳荫牧牛图",[23,24,7,51,768,27,28,1478,1906,135,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179c42d2f8f6243fd9a831f72ed6fb5e.jpg",[],{"id":22227,"slug":22228,"title":22229,"dynasty":114,"author":22230,"museum":132,"description":22231,"tags":22232,"thumbUrl":22233,"material":122,"size":122,"collection":122,"collections":22234,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},227708,"mei-hua-shi-yi-tu-chang-juan-wang-yan-sou-227708","梅花诗意图（长卷）","王岩叟","《梅花诗意图》是南宋朝时期画家岩叟所作，现藏于弗利尔美术馆。\n\n图中画盛开的梅花，树干上墨书有岩叟”二字，应是作者的名或号。从画风上看，不似北宋，或为南末后期至元初之作。\n\n以北宋王岩叟为作者，不足为信。此图运笔道劲有力，构图疏密有致，枝条穿插，富有韵味，具扬补之遗法，为补之传派中上乘之作。\n\n岩叟，生卒年不详，即北宋王岩叟。字彦霖，《宋史》有传，未称其擅画，或为画家之号。南宋宋伯仁，号雪岩，擅画梅叟或即宋伯仁自号，待考。",[23,7,24,51,25,277,383,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9933a60aeb10151b1d452b59e5b1ccc4.jpg",[],{"id":22236,"slug":22237,"title":22238,"dynasty":114,"author":181,"museum":20,"description":22239,"tags":22240,"thumbUrl":22241,"material":34,"size":22242,"collection":122,"collections":22243,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":479},227347,"ru-lai-shuo-fa-tu-yi-ming-227347","如来说法图","画佛登宝座说法，旁有侍者六人：两天女，两僧，两介士随侍。佛顶圆光，四周飞火焰，画火笔法极生动而传神。全幅以水墨为主调，略施淡彩，其它如手足诸事，无不刻画肌容，揣拟入妙。天女衣褶，如曹衣出水，本为印度作风，北魏时传入中国，北宋以后又复少见。故成画当在北宋时，为故宫院藏佛画中之甚精者",[24,51,7,52,678,28,510,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b569fbc72e4a17b9c63ddb4bd3a7df.jpg","188.1x111.3公分",[],{"id":22245,"slug":22246,"title":22247,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":22248,"thumbUrl":22249,"material":317,"size":907,"collection":3417,"collections":22250,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":62},225874,"wheat-field-with-cypresses-1889-fan-gao-225874","Wheat Field with Cypresses 1889",[7,3410,3411,10067,17465,3414,8965,14127,648,5013,198,711,12531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1a2ba98df646a99e7b0f8e7364e4c2.jpg",[3417],{"id":22252,"slug":22253,"title":22254,"dynasty":46,"author":2660,"museum":132,"description":22255,"tags":22256,"thumbUrl":22257,"material":122,"size":122,"collection":122,"collections":22258,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},224176,"liu-qin-tu-hua-yan-224176","柳禽图","此作用笔兼工带写，以空灵留白衬出清寂意韵。柳枝以淡墨晕染出柔条垂曳之姿，浓墨点苔醒出老枝苍劲，墨色浓淡铺陈出枝叶的虚实层次。\n两只八哥一攀附柳丝，一振翅穿飞，焦墨写羽凝练厚重，喙爪轻勾灵动有神，二鸟顾盼呼应，将春日柳梢嬉闹的野趣生动定格。淡赭素纸托着清润笔墨，寥寥笔意便晕开江南春日的柔婉闲逸，于简雅间暗藏蓬勃生机，尽显幽澹秀美的文人意趣。",[23,24,51,7,52,277,27,368,102,2626,84,3884,3185,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc17306c49b0de13f4dc3c68321e5f.jpg",[],{"id":22260,"slug":22261,"title":22262,"dynasty":114,"author":181,"museum":132,"description":22263,"tags":22264,"thumbUrl":22265,"material":122,"size":122,"collection":175,"collections":22266,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":62},223639,"xiao-yi-zhuan-lan-ting-tu-juan-yi-ming-223639","萧翼赚兰亭图卷","画面以淡彩铺陈会面场景，踞坐交椅的老僧神情淡然沉静，端坐访客敛容凝神，二人对谈间似藏暗涌。两侧侍童垂首恭立，衬出静谧肃穆的氛围。\n\n笔线细劲圆转，妥帖勾勒衣褶起伏，将不同衣物质感细细区分，设色简雅清淡，赭石晕染与墨色勾勒相融，古雅沉静。画家捕捉神态入微，老僧的从容自持、访客的内敛机警皆跃然绢上。连交椅的榫卯结构都精细描摹，尽显写实功底。构图疏密相宜，以人物互动牵起叙事张力，尽显雅致写实的风韵，暗合画面之下暗藏的机锋故事底色。",[23,24,7,25,26,27,28,1167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e77b0a5b2d7c045dc29fe2b86e9abbc.jpg",[175],{"id":22268,"slug":22269,"title":22270,"dynasty":46,"author":181,"museum":132,"description":22271,"tags":22272,"thumbUrl":22280,"material":250,"size":22281,"collection":123,"collections":22282,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},223385,"gu-dai-shen-xian-shi-ba-dong-yi-ming-223385","古代神仙十八洞","此作为书画合璧手卷，山水以全景铺陈，披麻皴绘峰峦浑厚苍润，茂林修竹遍布丘壑，村居田庐错落溪谷之间，烟波澹澹漾于浅滩，将洞天幽寂出尘的隐逸之境尽皆铺展，尽显林泉高致。\n\n满卷狂草题跋与山水相映，笔势奔放纵逸，枯湿浓淡间墨色富于变化，跌宕的笔意打破山水的静穆，书画相生相融。整体既带着道家洞天的清寂闲雅，又饱含文人以笔遣怀的酣畅意气，把出世雅趣与笔墨风神糅合一处，尽显传统文人的精神意趣。",[23,7,24,51,25,277,75,1713,12681,5467,22273,1524,22274,1326,19773,2755,22275,22276,7857,13041,22277,22278,22279],"修竹","田庐","狂草","道家","清寂闲雅","文人意趣","出世雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8597d140b6ab4f6c62fb17633e69fe0.jpg","26x717",[123],{"id":22284,"slug":22285,"title":22286,"dynasty":46,"author":2636,"museum":20,"description":2637,"tags":22287,"thumbUrl":22289,"material":27,"size":2642,"collection":122,"collections":22290,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},222730,"xian-e-chang-chun-tu-shi-zhu-lang-shi-ning-222730","仙萼长春图石竹",[23,24,7,100,26,27,102,200,22288,198,301],"石竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d96b867500e27d6e867822d834d5f07.jpg",[],{"id":22292,"slug":22293,"title":22294,"dynasty":67,"author":899,"museum":212,"description":22295,"tags":22296,"thumbUrl":22297,"material":122,"size":22298,"collection":122,"collections":22299,"showCount":389,"zanCount":1065,"manualWeight":40,"mainColor":62},222358,"luo-hua-shi-ce-tang-yin-222358","落花诗册","《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 [1] [1]唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n落花诗墨迹的各个版本唐寅一生曾多次书写落花诗，每次所录诗作的数量不同，内容不同，书法风格也不尽相同。目前所知的有以下几个版本：\n就目前所见的唐寅落花诗真迹有四本：即苏州市博物馆藏本、普林斯顿大学附属美术馆藏本、辽宁省博物馆藏本和中国美术馆藏本。见于著录的唐寅书落花诗则有《蔬香馆法帖》、《海山仙馆藏真三刻》、《珊瑚网》等多种。",[23,7,118,119,1580,51,100,277,11288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa11f9f927e26e7749c62c6b71ab76d0.jpg","纵二十三点五厘米，横四百四十五厘米",[],{"id":22301,"slug":22302,"title":22303,"dynasty":67,"author":619,"museum":20,"description":22304,"tags":22305,"thumbUrl":22306,"material":22307,"size":22308,"collection":106,"collections":22309,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},222124,"zhi-shi-tu-shen-zhou-222124","芝石图","此作未署年款，画芝石笔墨肥润，其书法及款印，与画秋葵相近，似为同年作品。题识：“烨烨神芝，钤冈之。九英挺秀，五色纷披。兆厥祥，杰阁宏基。宸翰辉赫，日丽星义。表以延恩，汪无涯。奕叶朱房，灵光永绥。”钤印：“石田”“日夕堂”。",[23,24,51,7,768,277,27,7270,136,890,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14977f5430a499d1e4b5206e785058b3.jpg","泥金，纸本，设色","纵18.1厘米，横52.4 厘米",[106,90],{"id":22311,"slug":22312,"title":11242,"dynasty":114,"author":22313,"museum":20,"description":22314,"tags":22315,"thumbUrl":22316,"material":250,"size":22317,"collection":123,"collections":22318,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},221565,"shu-juan-zhu-xi-221565","朱熹","朱熹（1130年10月18日－1200年4月23日），字元晦，又字仲晦，号晦庵，晚称晦翁。祖籍徽州府婺源县（今江西省婺源），生于南剑州尤溪（今属福建省尤溪县）。中国南宋时期理学家、思想家、哲学家、教育家、诗人。\n朱熹十九岁考中进士，曾任江西南康、福建漳州知府、浙东巡抚等职，做官清正有为，振举书院建设。官拜焕章阁侍制兼侍讲，为宋宁宗讲学。晚年遭遇庆元党禁，被列为“伪学魁首”，削官奉祠。庆元六年（1200年）逝世，享年七十一岁。后被追赠为太师、徽国公，赐谥号“文”，故世称朱文公。\n朱熹是“二程”（程颢、程颐）的三传弟子李侗的学生，与二程合称“程朱学派”。他是唯一非孔子亲传弟子而享祀孔庙，位列大成殿十二哲者。 朱熹是理学集大成者，闽学代表人物，被后世尊称为朱子。他的理学思想影响很大，成为元、明、清三朝的官方哲学。\n朱熹著述甚多，有《四书章句集注》《太极图说解》《通书解说》《周易读本》《楚辞集注》，后人辑有《朱子大全》《朱子集语象》等。其中《四书章句集注》成为钦定的教科书和科举考试的标准。",[7,24,51,25,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbefdf97e9d6ba231c73ef175f4ea8fd.jpg","25.2x251.5",[123],{"id":22320,"slug":22321,"title":22322,"dynasty":114,"author":2868,"museum":151,"description":22323,"tags":22324,"thumbUrl":22327,"material":156,"size":22328,"collection":122,"collections":22329,"showCount":389,"zanCount":1065,"manualWeight":40,"mainColor":41},221452,"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-quan-juan-ma-he-zhi-221452","诗经·小雅·节南山之什全卷","《诗经·小雅·节南山之什图》卷，南宋，传为马和之作，绢本，设色，纵26.2厘米，横857.6厘米。\n此卷取《诗经·小雅》中《节南山》等十篇之大意描绘成图，每段前书《诗经》原文，依次为《节南山》、《正月》、《十月之交》、《雨无正》、《小旻》、《小宛》、《小弁》、《巧言》、《何人斯》、《巷伯》。书画均无款印，旧传宋高宗赵构书文，马和之作画。马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教。",[23,7,24,51,25,27,1045,22325,118,22326],"兰叶描","儒家礼教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc501efc83bf8d990bb555af8f71224f8.jpg","纵26.2厘米，横857.6厘米",[],{"id":22331,"slug":22332,"title":22333,"dynasty":46,"author":22334,"museum":22335,"description":22336,"tags":22337,"thumbUrl":22338,"material":122,"size":122,"collection":122,"collections":22339,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},220463,"lan-shi-chen-shi-ceng-220463","兰石","陈师曾","Indianapolis 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Newfields","此作用极简水墨写绘兰石，运笔纵逸老辣，兰叶如屈铁游丝，中锋走笔，刚柔并济，寥寥数笔便将兰叶舒展之姿写尽。兰花以写意点染，花瓣含露轻绽，神韵自现。\n\n留白通透，以虚衬实，尽显尚简重意的文人画旨趣，将芝兰君子寄情林泉、不与俗伍的幽贞品格晕染纸上。左侧题字朴拙苍劲，笔墨意趣与画面融为一体，互为生发。整幅画于简淡中见风神，墨色干湿浓淡间，氤氲出清逸出尘的林下风流，藏着传统文人淡泊清远的精神内核。",[23,24,51,7,52,277,368,228,136,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8271038a5f32366ba9121a2549da8d79.jpg",[],{"id":22341,"slug":22342,"title":22343,"dynasty":674,"author":22344,"museum":20,"description":22345,"tags":22346,"thumbUrl":22350,"material":611,"size":22351,"collection":36,"collections":22352,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},219607,"du-bei-tu-zheng-fa-shi-219607","读碑图","郑法士","画面以淡墨勾勒绢素，丘壑荒疏古雅，山林间一人凝伫碑前，似在细读碑文，侍从垂手侍立身侧。线条细劲挺括，带着六朝遗韵，人物仪态萧散沉静，将凭吊古碑的幽思缓缓铺陈。\n\n山水简淡拙朴，和人物的沉静互为映衬，把文人怀古的澹远心境融在荒疏景致之中。整体笔墨清隽凝练，静谧沉凝的古意漫溢纸面，简淡里藏着沉郁的思古幽情，悠悠怀古意绪藏于简雅画面，意境澹远悠长。",[23,24,7,51,100,510,277,28,75,499,22347,22348,22349],"古碑","怀古","幽思","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F227bce08d6e766d1f00417214e49e4d7.jpg","纵26.5横39.8厘米",[36],{"id":22354,"slug":22355,"title":22356,"dynasty":293,"author":181,"museum":395,"description":22357,"tags":22358,"thumbUrl":22359,"material":34,"size":122,"collection":106,"collections":22360,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":62},219279,"lian-lu-tu-yi-ming-219279","莲鹭图","汀渚石上，双鹭静立。白羽以淡墨层层晕染，质感蓬松清透，长颈或曲或伸，姿态悠然；黑喙尖细如锥，长腿挺括似铁线，爪尖紧扣岩石纹路，稳健中见灵动。周遭莲荷残落，枯梗斜欹，莲蓬以焦墨点簇，间杂细草幽花，皆用简笔写就，野趣横生。画面底色沉郁古雅，绢本的岁月痕迹更添韵致，无浓艳设色，却于简淡中藏深致：风过莲塘的轻响似在耳畔，水泽清寂漫溢开来，尽显元人画中“清空”之境——于静谧里见生机，于素朴中显情韵，寥寥数笔便凝住自然幽微之美。",[23,4477,7,24,51,768,27,26,102,2291,398,14355,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b797be1e0744c28f778b94a3e2dfa19.jpg",[106],{"id":22362,"slug":22363,"title":22364,"dynasty":114,"author":19789,"museum":20,"description":22365,"tags":22366,"thumbUrl":22368,"material":34,"size":22369,"collection":106,"collections":22370,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},219229,"rong-po-cu-zhi-tu-mou-yi-219229","茸坡促织图","本幅选自「艺苑藏真」册。画中，一对觅食的蟋蟀，现身在野菊草丛间，正使劲地鼓动双翅，高声鸣叫著。蟋蟀是秋天常见的昆虫，牠的鸣声，有点像织布机发出的声音，让人联想起天气即将变凉，必须赶快织布御寒，所以古时候又称牠为「促织」。画上并无签名，旧传为牟益所作。牟益（1178—1242后）是南宋的蜀（四川）人，擅长画人物，对于古文考证，也有深入的研究。",[23,7,24,51,768,26,27,4295,242,22367,102],"草坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7969765cc4f71412e5cbd463a78caadd.jpg","20.6x21cm",[106],{"id":22372,"slug":22373,"title":22374,"dynasty":114,"author":181,"museum":20,"description":22375,"tags":22376,"thumbUrl":22378,"material":34,"size":22379,"collection":106,"collections":22380,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},218729,"dao-tian-qiu-que-tu-yi-ming-218729","稻田秋雀图","这幅画描绘了秋日田野里的野趣。有两只鸟，一只站在斧头上，用尾巴微微向上啄食，另一只站在树枝上，向上看。鸟类描绘得栩栩如生，笔触极其细腻，玉米穗先用酒糟黄涂上明暗色，然后点上白粉，再用尖细的笔画出，草茎用较慢的笔画出，先用老绿涂抹，一半是明色，一半是暗色，略带焦黄的一端用赭石涂抹，虽然笔触和着色都很简单，但描述性极强。",[23,24,7,768,26,27,102,20413,7667,84,22377],"秋天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa12e0c00e97f6280d05f6a3ec26e2e3c.jpg","24x25.4",[106],{"id":22382,"slug":22383,"title":22384,"dynasty":114,"author":1216,"museum":132,"description":21092,"tags":22385,"thumbUrl":22386,"material":666,"size":122,"collection":122,"collections":22387,"showCount":389,"zanCount":1065,"manualWeight":40,"mainColor":41},218105,"bai-miao-ren-wu-tu-ce-6-li-gong-lin-218105","白描人物图册-6",[23,7,24,51,100,510,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43efda329c4ccc607a4e310fdaa626b7.jpg",[],{"id":22389,"slug":22390,"title":22391,"dynasty":293,"author":658,"museum":20,"description":1443,"tags":22392,"thumbUrl":22393,"material":666,"size":122,"collection":122,"collections":22394,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":41},216387,"mo-zhu-pu-ce-3-wu-zhen-216387","墨竹谱册-3",[7,24,51,100,277,53,118,74,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b5d935d0f7c698447c6c743080d955a.jpg",[],{"id":22396,"slug":22397,"title":22398,"dynasty":293,"author":658,"museum":20,"description":1443,"tags":22399,"thumbUrl":22400,"material":666,"size":122,"collection":122,"collections":22401,"showCount":389,"zanCount":1065,"manualWeight":40,"mainColor":41},216371,"mo-zhu-pu-ce-17-wu-zhen-216371","墨竹谱册-17",[7,24,51,100,277,53,74,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd144c0dfb78e31c18b0424eb85f4a041.jpg",[],{"id":22403,"slug":22404,"title":22405,"dynasty":46,"author":1344,"museum":395,"description":22406,"tags":22407,"thumbUrl":22408,"material":666,"size":122,"collection":122,"collections":22409,"showCount":389,"zanCount":40,"manualWeight":40,"mainColor":2341},216353,"hua-niao-ce-5-zhu-da-216353","花鸟册-5","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,24,7,277,100,102,56,710,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F052ab5a4013f321c5e24c1f0bccb2a03.jpg",[],{"id":22411,"slug":22412,"title":22413,"dynasty":46,"author":22414,"museum":195,"description":22415,"tags":22416,"thumbUrl":22417,"material":122,"size":122,"collection":106,"collections":22418,"showCount":389,"zanCount":541,"manualWeight":40,"mainColor":22419},201840,"ju-hua-tu-zhou-wu-xi-zai-201840","菊花图轴","吴熙载","此图笔墨疏朗灵动，以水墨为基，淡彩点染，尽显菊花清逸之姿。两朵白菊花瓣层叠舒展，勾勒细腻却含写意之趣；墨叶泼写而成，浓淡干湿交错，叶脉隐于晕染间，苍劲中带秀润。旁逸枝蔓穿插自然，小花嫩叶添生机。构图虚实相生，留白悠远，笔墨渗透书家功底，清雅脱俗，尽显菊花傲霜品格，予人静谧淡远之感。",[24,51,52,277,27,102,1882,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8cfec34c764d9f76d0033964da2fc2.jpg",[106],"d7c9b9",{"id":22421,"slug":22422,"title":22423,"dynasty":114,"author":878,"museum":20,"description":22424,"tags":22425,"thumbUrl":22426,"material":317,"size":907,"collection":122,"collections":22427,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},290857,"xue-tan-shuang-lu-zhou-ma-yuan-290857","雪滩双鹭轴","雪崖枯枝，芦竹寒汀，滩旁四只白鹭，均做瑟缩之状，寒天的景致，令人有着身临其境的感觉。而浓淡墨色画出的树石、远山和芦草，对比于留白的积雪处，和几不见墨痕的白鹭们，在黑白之间，充分表现出清冷的意趣，达到了画雪得其清的境界。另从岩壁上伸出的枝干，曲折延伸，势如蛟龙升腾游动，这种笔势往下拖垂，形成长而斜向伸出的画枝方法，正是典型的「拖枝马远」风貌。",[24,7,52,277,27,75,102,1357,647,11427,10278,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa75c57e47aed948cb8b6beca83ae9f.jpg",[],{"id":22429,"slug":22430,"title":22431,"dynasty":114,"author":15776,"museum":132,"description":22432,"tags":22433,"thumbUrl":22434,"material":317,"size":907,"collection":122,"collections":22435,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":62},290614,"ku-mu-zhu-shi-zhou-song-ren-290614","枯木竹石轴","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石块后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的展现，属元代枯木竹石画风。画中枯木与院藏赵孟俯《竹石古木》表现类似，此画上虽无款印，但可推测为此一画风的元代例证，学者推测或许正与赵孟俯关系密切。",[24,7,51,52,277,102,170,53,56,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc68e00661dc7552efca8be1f446a08a.jpg",[],{"id":22437,"slug":22438,"title":2123,"dynasty":67,"author":5192,"museum":132,"description":5193,"tags":22439,"thumbUrl":22440,"material":317,"size":907,"collection":122,"collections":22441,"showCount":221,"zanCount":1065,"manualWeight":40,"mainColor":62},290501,"hua-niao-zhou-lu-zhi-290501",[7,24,51,52,26,27,102,383,84,4507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff287464e1e488bf57ac4980cd966922c.jpg",[],{"id":22443,"slug":22444,"title":22445,"dynasty":293,"author":17094,"museum":132,"description":22446,"tags":22447,"thumbUrl":22449,"material":317,"size":907,"collection":122,"collections":22450,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},290157,"hun-lun-tu-zhu-de-run-290157","浑沦图","此图坡石突凸，石间屹立一棵古松，盘曲多姿，藤蔓牵缠松干，飘曳向空。石画一圆圈，其意玄奥不可知。所作松石笔致婉和精巧，墨韵温润。卷首自题九行，其中[已丑]为至正九年即公元一三四九年，作者时年五十六岁。",[7,24,51,25,277,118,1109,119,22448,3487,74],"枯松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa70b7eb3e06d9a2cf3da9eedd45f2.jpg",[],{"id":22452,"slug":22453,"title":22454,"dynasty":674,"author":3065,"museum":132,"description":22455,"tags":22456,"thumbUrl":22458,"material":317,"size":907,"collection":122,"collections":22459,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":62},290021,"yan-le-tu-zhou-fang-290021","演乐图","周昉（生卒年不详），字仲朗、景玄，京兆（今陕西西安）人，唐代著名画家。出身显贵，先后任越州、宣州长史。\n他能书，擅画人物、佛像，尤其擅长画贵族妇女，容貌端庄，体态丰肥，色彩柔丽，为当时宫廷士大夫所喜爱；是中唐时期继吴道子之后而起的重要人物画家，当时有名的宗教画家兼人物画家。早年效仿过张萱，后来加以变化，别创一体。周昉创造的最著名的佛教形象是“水月观音”。\n周昉的佛教画曾成为长期流行的标准，被称为“周家样”。传世作品有《簪花仕女图》卷、《挥扇仕女图》卷、《调琴啜茗图》卷等。",[7,24,52,27,28,31,22457,560,609,29,26],"演乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421f24aa0929e0b9618cf66d7493b9d6.jpg",[],{"id":22461,"slug":22462,"title":22463,"dynasty":46,"author":2336,"museum":132,"description":4642,"tags":22464,"thumbUrl":22465,"material":317,"size":907,"collection":122,"collections":22466,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},289976,"cuo-luo-shan-hu-zhi-wu-chang-shuo-289976","错落珊瑚枝",[23,7,24,51,52,27,277,102,56,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4af96a1525539d532429b3adf17fb9fd.jpg",[],{"id":22468,"slug":22469,"title":3149,"dynasty":114,"author":4389,"museum":132,"description":16981,"tags":22470,"thumbUrl":22471,"material":317,"size":907,"collection":122,"collections":22472,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":62},289877,"han-gong-chun-xiao-tu-zhao-bo-ju-289877",[24,7,855,26,77,75,2043,2221,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b53dbdb8bc0d4900b483762f21aecf.jpg",[],{"id":22474,"slug":22475,"title":22476,"dynasty":114,"author":878,"museum":20,"description":22477,"tags":22478,"thumbUrl":22479,"material":156,"size":22480,"collection":122,"collections":22481,"showCount":221,"zanCount":40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力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。",[7,24,51,52,26,510,27,28,56,7270,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b03906855f2a9702cbd91eb476a56a.jpg",[36],{"id":22543,"slug":22544,"title":22545,"dynasty":67,"author":20389,"museum":151,"description":22546,"tags":22547,"thumbUrl":22548,"material":122,"size":122,"collection":88,"collections":22549,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},236562,"xiao-ke-guan-shan-shui-ce-shao-mi-236562","小可观山水册","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。\n此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[7,24,51,100,277,73,119,74,75,56,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1aad0cc7f91d98f5d6db48d517385e2.jpg",[88,90],{"id":22551,"slug":22552,"title":3613,"dynasty":67,"author":22553,"museum":132,"description":22554,"tags":22555,"thumbUrl":22556,"material":317,"size":907,"collection":122,"collections":22557,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},235726,"hua-niao-ce-tan-zhi-yi-235726","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[7,24,51,100,26,27,102,263,355,340,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c1639c45707c2b0e70e21707f1682f.jpg",[],{"id":22559,"slug":22560,"title":22561,"dynasty":67,"author":22562,"museum":151,"description":22563,"tags":22564,"thumbUrl":22565,"material":17386,"size":22566,"collection":122,"collections":22567,"showCount":221,"zanCount":1065,"manualWeight":40,"mainColor":41},234973,"fang-dong-yuan-shan-shui-zhou-wen-jia-234973","仿董源山水轴","文嘉","文嘉（1501—1583年），字休承，号文水，长洲（今江苏苏州）人，文徵明次子。官和州学政。工诗文书画，继承家学，又以多见古人名迹，故其画作能脱去习俗。著《和州诗》。",[24,51,7,52,277,73,154,75,78,79,1059,28,278,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b8b1885883d2c6208989fa18e10f2.jpg","纵155cm，横71.3cm",[],{"id":22569,"slug":22570,"title":22571,"dynasty":67,"author":2558,"museum":132,"description":22572,"tags":22573,"thumbUrl":22574,"material":250,"size":22575,"collection":122,"collections":22576,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":62},234163,"zhou-tian-qiu-cong-lan-zhu-shi-juan-zhou-tian-qiu-234163","周天球丛兰竹石卷","周天球,字公瑕，号幼海，又号六止居士，江苏太仓人。善画写意兰草，在文徵明门下学习书法，文徵明赞其：“他日得吾笔者，周生也。”晚年独创书风，当时丰碑大碣皆出自他手。于《心经》气脉贯通，工稳有致，峻厚妍秀，温润苍劲。是谓经典。",[23,7,24,51,25,277,119,74,118,228,53,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44acfd326529873a27f79f238cb93b7.jpg","纵28.3cm，横56.8cm",[],{"id":22578,"slug":22579,"title":22580,"dynasty":114,"author":1313,"museum":151,"description":22581,"tags":22582,"thumbUrl":22586,"material":156,"size":1704,"collection":122,"collections":22587,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},234030,"jiao-yin-ji-qiu-tu-ye-su-han-chen-234030","蕉阴击球图页","《蕉阴击球图》绘南宋贵族庭院里的婴戏小景。庭院内奇巧的湖石突兀而立，其后隐现茂盛的芭蕉数丛。石前的少妇正与身旁的女子专注地观看二童子玩槌球游戏。一童手持木拍正欲坐地击球，另一童子则向他急急地喊话。图中四人的目光同时落于童子所欲击打的小小球体上。构思巧妙，情节生动，显示出作者善于观察人物并且捕捉生活细节的能力。此幅在构图上巧妙地将玲珑剔透的湖石正立于画心中部，以其自身的完整性起到了镇住画面的作用，聚拢了交叠张扬的芭蕉叶及分散的人物，避免了画面因景物繁杂而出现轻浮感。此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。在笔法上，作者注重物象间的对比互衬关系。人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。",[7,24,51,2613,634,26,27,22583,28,4842,3048,201,1616,12381,22584,22585],"精细","击球","工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5800a0bb27581102b47456c505bec926.jpg",[],{"id":22589,"slug":22590,"title":22591,"dynasty":46,"author":2660,"museum":151,"description":22592,"tags":22593,"thumbUrl":22594,"material":342,"size":22595,"collection":106,"collections":22596,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},233942,"hua-yan-zi-hua-xiang-tu-zhou-hua-yan-233942","华嵒自画像图轴","华嵒是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华嵒潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华嵒一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华嵒身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[7,24,51,52,277,27,73,368,75,28,56,79,278,301,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa167316f143627c91b7a6fa3bf4f48.jpg","纵130.5厘米，横50.7厘米",[106,22597],"明清缂绣画",{"id":22599,"slug":22600,"title":22601,"dynasty":67,"author":9618,"museum":507,"description":22602,"tags":22603,"thumbUrl":22604,"material":3579,"size":22605,"collection":122,"collections":22606,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},233768,"qi-ao-tu-juan-xia-chang-233768","淇澳图卷","此图画江南丘陵中的幽谷溪涧，山石溪流、翠竹苇草连绵不断，一泉清溪沿着山间峭壁飞流而下，缘溪两岸崖壁陡峭，垒石交加，苇草杂生；山石坡渚，起伏跌宕，坡渚上，碎石间翠竹丛生，傲然挺拔，清风雅韵，好似“竹下香泉洒瑶席”（唐·刘禹锡《送僧仲东游兼寄呈灵沏上人》）；坡渚尽头是一片辽阔水面，山风拂动，溅起阵阵涟漪，薄雾清纱，浩渺无垠，清气回荡，有道是：“野竹攒石生，含烟映江岛。”（唐·李白《慈老竹》）",[7,24,51,25,277,53,278,368,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc973e161bd63f1f009769473377cba2e.jpg","纵122.3厘米，横471厘米",[],{"id":22608,"slug":22609,"title":22610,"dynasty":114,"author":2982,"museum":151,"description":22611,"tags":22612,"thumbUrl":22613,"material":250,"size":22614,"collection":122,"collections":22615,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":993},232819,"bai-ju-yi-zi-yong-shi-quan-juan-zhao-gou-232819","白居易自咏诗全卷","赵构《行书白居易诗》，纸本手卷，卷心高27.2厘米，长4296厘米。每行两字，字大如拳，无名款，书后钤有御书葫芦印和朱文方印各一枚，并在接纸骑缝处有“御书之宝”印多方。明陶宗仪《书史会要》：“高宗善真、行、草书，天纵其能，无不造妙。或云初学米芾，又辅以六朝风骨，自成一家。”\n书录白居易诗《自咏》一首：“随宜饮食聊充腹，取次衣裘亦暖身。未必得年非瘦薄，无妨长福是单贫。老龟岂羡牺牲饱，蟠木宁争桃李春。随分自安心自断，是非何用问闲人。”\n赵构实际上是一位艺术家，他精通诗词与音乐，擅长书法、绘画，志趣一直在笔墨方面，是一位相当勤于学习书法的皇帝。他最初是学黄庭坚，中年学米芾，绍兴七年（1137年）书的《赐岳飞手敕》是典型的米芾笔法。\n宋高宗不仅有实际的书画创作，对书法理论也很有研究，著有《翰墨志》一卷，是他在退居德寿宫以后谈论书法的语录，在书法理论上有很精辟的见解，这是南宋前期书法理论的重要著作，也有人将它称为南宋书法理论的代表著作。",[7,51,25,119,118,277,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b10fef921c08ba8bc86a57c3bf82896.jpg","卷心高27.2厘米，长4296厘米",[],{"id":22617,"slug":22618,"title":22619,"dynasty":114,"author":4389,"museum":132,"description":22620,"tags":22621,"thumbUrl":22622,"material":122,"size":122,"collection":122,"collections":22623,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},228164,"lao-shu-han-ya-tu-juan-zhao-bo-ju-228164","老树寒鸦图卷","此作用淡墨晕染铺就江天寥廓，滩渚浅岸清寂冷逸，枯木虬枝错落舒展，干笔皴擦尽显苍劲老辣，不着多余修饰，便将冬日江郊的荒疏萧索尽数铺陈。\n画面以平远取景，水墨清润简淡，把寒水空濛、林梢凝寒的江洲冬境，化作空寂禅意。简淡笔墨暗合宋人极简美学意趣，于萧索冷冽间晕染出悠长幽远的诗意，尽得荒寒淡远的文人山水意境。",[23,7,24,51,25,277,27,75,1059,1927,56,82,74,118,119,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab012e2191f40ce6f95225846f98cfe1.jpg",[],{"id":22625,"slug":22626,"title":22627,"dynasty":293,"author":8846,"museum":132,"description":22628,"tags":22629,"thumbUrl":22630,"material":122,"size":122,"collection":122,"collections":22631,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},228072,"teng-wang-ge-tu-ye-xia-yong-228072","滕王阁图页","此作以铁线白描界画楼宇，依山临江的名楼层叠错落，飞檐翘角、榫卯结构皆毫厘毕现，廊庑间人物往来顾盼，鲜活灵动，将楼阁巍峨工致描摹入微。\n\n江面上扁舟随波浮沉，远山澹澹晕开，简淡山水与精工楼宇相映，在尺幅之中铺展出宏阔雅致的胜景。整幅工细却不板滞，白描线条劲挺匀净，既复刻出名楼的壮伟形制，又晕染出江南水畔的清灵意韵，将登临名楼的雅致意趣凝于方寸之间，尽显界画的极致工巧，藏着对江南胜景的隽永追慕。",[23,24,7,855,100,510,277,77,75,80,135,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a4378908f12da247e608b1311e041d.jpg",[],{"id":22633,"slug":22634,"title":22635,"dynasty":114,"author":6856,"museum":132,"description":22636,"tags":22637,"thumbUrl":22638,"material":122,"size":122,"collection":122,"collections":22639,"showCount":221,"zanCount":1065,"manualWeight":40,"mainColor":62},227981,"qiu-lu-fei-wu-tu-liang-kai-227981","秋芦飞鹜图","此作以简逸水墨绘就秋江野景。坡岸以浓淡墨晕染而出，苍朴浑拙，几丛芦草只以数笔挥写，便将秋风中欹侧摇曳之态尽现，萧瑟秋意扑面而来。\n\n四只飞鹜分作两组，淡墨轻勾身形，羽翼翩然灵动，破空掠飞于空茫江面。画面大片留白化作寒烟秋水，虚远空寂，与极简的物象相映成趣，以少胜多，将秋江荒寒澄澈的意境渲染到极致。笔意纵逸简淡，于萧索之中暗蕴灵动生机，寥寥数笔勾勒出秋日江天的澹泊野趣，尽显写意花鸟画的空灵悠远。",[23,7,24,51,957,277,368,2151,84,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c37f9fecfb7b19133333a2cd8c3399.jpg",[],{"id":22641,"slug":22642,"title":22643,"dynasty":114,"author":19789,"museum":20,"description":22644,"tags":22645,"thumbUrl":22646,"material":283,"size":19793,"collection":122,"collections":22647,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},227718,"dao-yi-tu-juan-mou-yi-227718","捣衣图卷","《捣衣图》南宋画家牟益创作的纸本水墨画作品，现收藏于台北故宫博物院。\n\n《捣衣图》描绘南朝谢惠连《捣衣诗》之诗意。画中庭院秋深，高槐叶落，景象凄凉，绘三十二位妇女捣练、裁衣、缝衣之劳动情景。画家通过建筑物的相连、人物的往来、花木的点缀，前后贯通，画中的人物造型准确，生动有致，面容圆润，衣裙宽大，犹有唐人余韵。",[23,24,7,51,25,510,28,29,560,82,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff35647b7e53622cc6bfd8715853cbc.jpg",[],{"id":22649,"slug":22650,"title":22651,"dynasty":114,"author":5683,"museum":132,"description":16175,"tags":22652,"thumbUrl":22653,"material":122,"size":122,"collection":122,"collections":22654,"showCount":221,"zanCount":1065,"manualWeight":40,"mainColor":62},227614,"chun-xiao-tu-ye-zhao-ling-rang-227614","春晓图页",[23,7,24,51,100,27,73,1478,78,56,84,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1006510c385afef8e45f522379aaf3d.jpg",[],{"id":22656,"slug":22657,"title":22658,"dynasty":114,"author":2103,"museum":132,"description":22659,"tags":22660,"thumbUrl":22661,"material":122,"size":122,"collection":122,"collections":22662,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":62},227596,"lu-yan-tu-ye-cui-bai-227596","芦雁图页","崔白（公元11世纪）〔北宋〕约活动在1023-1085（宋仁宗至神宗时期），字子西，濠梁（今安徽凤阳东）人，生卒年不详。1068-1077（熙宁）初补图画院艺学，后升待诏。工画花竹翎毛，尤长秋荷凫雁，对佛道、鬼神、山林、人物、走兽等，亦无不精绝。思路敏捷，技巧熟练，挥毫立就，不打草稿不假直尺界笔，“曲直方圆，皆中尺度”。",[23,24,7,51,100,27,26,102,2151,6811,3195,649,1997],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc580b3f4d0ac734fa06327447d804e1d.jpg",[],{"id":22664,"slug":22665,"title":22666,"dynasty":46,"author":14982,"museum":1475,"description":18679,"tags":22667,"thumbUrl":22668,"material":611,"size":18682,"col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幅左方裱绢的签题作「范宽寒江钓雪」，但在纨扇画面的左缘，隐约可见「李东」（13世纪）二字名款，由于被墨色掩盖，又因画史载范宽（约950-1031间）以画雪景著称，故被归入范宽名下。实则本幅「一角式」的构图，以及侧锋砍斫的笔触，均与范宽不似，应属于南宋时期才会出现的风格。",[23,24,7,51,100,75,73,277,28,80,661,1059,79,1023,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8a8fd79c1b43910e82ba556c7435fc.jpg","立轴，绢本","38.9x80.6;",[],{"id":22711,"slug":22712,"title":22713,"dynasty":18,"author":19066,"museum":151,"description":19067,"tags":22714,"thumbUrl":22715,"material":19070,"size":19071,"collection":122,"collections":22716,"showCount":221,"zanCount":1065,"manualWeight":40,"mainColor":62},221166,"su-pin-tuo-zun-zhe-tang-ka-bu-ben-guan-xiu-221166","苏频陀尊者（唐卡布本）",[23,7,24,678,28,27,1388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ac0315d202a1ddbee4d784ab104d71.jpg",[],{"id":22718,"slug":22719,"title":22720,"dynasty":67,"author":1269,"museum":151,"description":18084,"tags":22721,"thumbUrl":22722,"material":1999,"size":3137,"collection":122,"collections":22723,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},220911,"shan-shui-ce-5-dong-qi-chang-220911","山水册5",[23,7,24,277,73,100,75,78,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a4d51b4537b87d26db812e65f4def5.jpg",[],{"id":22725,"slug":22726,"title":22727,"dynasty":293,"author":1577,"museum":20,"description":22728,"tags":22729,"thumbUrl":22730,"material":283,"size":22731,"collection":36,"collections":22732,"showCount":221,"zanCount":1065,"manualWeight":40,"mainColor":41},220832,"diao-liang-tu-zhao-meng-fu-220832","调良图","画中仅绘一身形矫健、长鬃毛的马和一奚官，毫无背景。作者捕捉住了一阵风吹过时的瞬间来加以描绘——马儿低头避风，牵马者搭袖回望。马尾、马鬃、人须、衣襟随风飘动，作者通过细韧灵动的线条和纤毫毕现的白描手法将画面表现得栩栩如生。\n赵孟頫所画的人物画，虽然在后世盛名，但远不如他的山水、花鸟画。但对他的高超的造诣，不得不使人们所钦佩，他的画无所不精，皆造神品，尤其画马甚佳。董其昌谓其画“有唐人之致去其纤。有北宋人之雄去其犷。”他年轻时就勤于画马，并下过苦功。师法唐代曹霸、韩干，自称可以和李公麟媲美。他在继承前人传统的基础上，又亲自到实地观察，潜心琢磨，有时为了画好某种姿势的马，曾自己在床上学马的动态，此《调良图》册，就是他画马的精心之作。\n赵孟頫存世的作品中，时间最早的可能是《调良图》，中国艺术史学家李铸晋教授认为此画应属13世纪80年代的真本，当时赵孟頫只有26岁左右。\n此画为细致入微的高古游丝描，是典型的唐人风范。马的形象也是典型的唐人趣味，此马肥瘦得当，体格雄健，身披黑色毛，四肢健壮有力，在低头吃草，长长的尾巴拽在右后腿旁，尤其引人注目的马颈部根根竖立的马鬃，威风凛凛，经作者工笔细描。其人物也如此的工整细致。\n从图中可看到此画刻意学唐人，线条圆润，皴染简法，墨色浓丽，形象刻画，严谨认真，对马的形体质感，广阔田野，人物的侧立姿态，都认真的描绘，一丝不苟。\n从此画的布局来看，画面虽仅是一马一人，但给观赏者点出境外尚有无限的景物，画似尽而意犹未尽，既突出了主题，又给观赏者以回味的余地。\n北京故宫博物院研究员余辉：画家上承北宋李公麟的白描技法，渲染有度，特别是方折劲挺的铁线描形成的人物衣褶和圆活腴润的弧线勾划出的马体及风动如火焰的虬髯、马鬃、马尾显现了作者丰富精湛的表现力和藏抑不住的创作激情。\n中国美术史学家高居翰：赵孟頫的《调良图》会把人物和马匹孤立出来，衬着空荡荡的画底，这一点也和两位前辈的做法相同。虽然画中有一股强风吹过马尾、马鬃和马夫的衣服，看起来也只是在画幅之内回旋，使构图活泼了，但是基本上还是一个自成一体的世界。",[7,24,51,27,28,215,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a777345816f4cfc952a6c798a4d7af7.jpg","纵22.7厘米 横49厘米",[36,286],{"id":22734,"slug":22735,"title":22736,"dynasty":18,"author":1323,"museum":20,"description":22737,"tags":22738,"thumbUrl":22739,"material":611,"size":22740,"collection":36,"collections":22741,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},219643,"zhang-li-qiu-shuang-tu-ju-ran-219643","杖藜秋爽图","以淡墨晕染出空蒙远山，烟岚轻笼，将秋意的清寂铺陈开来。近岸老木虬枝枯槎，劲挺中带着萧疏况味，苔点依稀，暗合秋深之态。秋水如镜，不着波澜，将天地的静穆悉数收纳。\n\n独行杖藜之人，彳亍坡岸，似在骋目遥天，与冷寂秋光相融。全幅以水墨写意，笔意松秀苍润，淡墨轻岚间，把秋爽疏阔的林下幽致尽显，带着悠悠山野闲情，观之如身临清秋郊野，沁得满身秋凉清逸。",[7,24,51,100,277,75,28,647,18254,648,1997,3037,19598],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0fbd8054be9c23123eb7c6689396b7.jpg","23.3x22.7厘米",[36],{"id":22743,"slug":22744,"title":22745,"dynasty":293,"author":9272,"museum":20,"description":22746,"tags":22747,"thumbUrl":22748,"material":666,"size":22749,"collection":106,"collections":22750,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":62},218821,"chun-tang-qin-le-tu-sheng-mao-218821","春塘禽乐图","图绘塘中一斜坡，坡上一棵柳树，下有野鸭栖息著。燕子逐著春光，一派春日景象。本幅画有「子昭」款，惟画风似与其他盛懋作品不同，疑为后人所加。",[24,7,51,277,102,75,84,2626,2091,74,2221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907a0e23a9917f1bca565613adcaa56d.jpg","52x28.3cm",[106],{"id":22752,"slug":22753,"title":22754,"dynasty":114,"author":1216,"museum":20,"description":22755,"tags":22756,"thumbUrl":22757,"material":666,"size":22758,"collection":122,"collections":22759,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},218503,"gui-qu-lai-ci-juan-2-li-gong-lin-218503","归去来辞卷-2","画面以白描勾勒归隐行舟之景，墨线如行云流水，于极简处见真章。船身轻捷，篷布纹理隐现，衣袂飘举间人物情态毕肖：舟中高士凭舷远眺，眉宇舒展似含释然；舟子撑篙划桨，动作从容如伴清风。水面微波淡扫，衬出船行的悠然。整幅画不着色彩，却以线条粗细疾缓传递《归去来辞》的超脱意韵——天地清旷，心向田园，每道笔触都浸透着归隐的闲适自在。观者仿佛随舟而行，闻桨声欸乃，见衣袂翻飞，于淡墨轻痕中触摸那份遗世独立的淡然心境。",[7,24,51,25,510,28,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecadbdbdb99b8cbda50307e6ef1e4b3e.jpg","34x898.8",[],{"id":22761,"slug":22762,"title":22763,"dynasty":114,"author":181,"museum":132,"description":22764,"tags":22765,"thumbUrl":22766,"material":34,"size":22767,"collection":36,"collections":22768,"showCount":221,"zanCount":1065,"manualWeight":40,"mainColor":479},218321,"luo-han-jiang-jing-tu-yi-ming-218321","罗汉讲经图","古朴绢色晕染着时光的厚重，罗汉群像铺展成一场静谧的法会。或趺坐凝思，衣袍褶皱如涧边流云婉转；或手持经卷，指尖轻触处似有梵音悄然流淌；或侧耳谛听，眉宇间凝着对法理的深湛探究。一旁戴帽者躬身静立，尘世恭谨与禅者淡然在此交融。线条细劲如铁线，转折处藏着温润韵致；设色淡雅却层次分明，青绿衣袂衬赭石底色，古雅中透着沉静。无繁复布景，仅以人物眼神交汇、姿态呼应，便织就禅意满溢的空间，让观者仿佛穿透千年绢层，触到那缕法音缭绕的余温。",[7,24,51,678,28,27,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa66eb9efec33f9ac4f1cb5fe08c1463a.jpg","51x59",[36],{"id":22770,"slug":22771,"title":22772,"dynasty":114,"author":1216,"museum":132,"description":21092,"tags":22773,"thumbUrl":22774,"material":666,"size":122,"collection":122,"collections":22775,"showCount":221,"zanCount":1065,"manualWeight":40,"mainColor":41},218103,"bai-miao-ren-wu-tu-ce-7-li-gong-lin-218103","白描人物图册-7",[23,7,24,51,100,510,28,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9f9510faac4e5283eb2aabaa7252e1.jpg",[],{"id":22777,"slug":22778,"title":22779,"dynasty":674,"author":181,"museum":1511,"description":22780,"tags":22781,"thumbUrl":22782,"material":1516,"size":122,"collection":122,"collections":22783,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":62},217284,"jiang-mo-bian-dun-huang-tu-juan-5-yi-ming-217284","降魔变·敦煌图卷-5","画面以线性叙事铺展，左段人物衣袂飘举，神情肃穆；中段降魔场景张力十足，鬼怪狰狞却露畏色，光头形象安坐如磐，气场沉稳；右段说法场面庄静，众僧与护法环绕，气韵祥和。线条稚拙却精准，如行云流水般勾勒百态——信徒的虔诚、护法的威严、鬼怪的惶惑皆跃然纸上。古雅设色晕染出敦煌艺术的质朴厚重，民间画工以巧思将佛经故事的庄严与生动融于一卷，每处细节都藏着丝路文化的温度，尽显中古绘画的叙事魅力与精神内核。",[7,24,674,25,27,678,28,1514,82,510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4baf45e65e1281c40ef28eb75532409.jpg",[],{"id":22785,"slug":22786,"title":22787,"dynasty":46,"author":1344,"museum":395,"description":22406,"tags":22788,"thumbUrl":22789,"material":666,"size":122,"collection":122,"collections":22790,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":2341},216355,"hua-niao-ce-3-zhu-da-216355","花鸟册-3",[23,7,24,51,277,102,84,118,74,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F132cf789b8ee3ec3fcb32f156b958594.jpg",[],{"id":22792,"slug":22793,"title":22794,"dynasty":67,"author":68,"museum":132,"description":1227,"tags":22795,"thumbUrl":22796,"material":34,"size":122,"collection":122,"collections":22797,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":62},216283,"er-shi-si-xiao-tu-8-chou-ying-216283","二十四孝图-8",[24,7,51,26,27,28,855,30,55,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F671633696b7bd530b11888df938236ef.jpg",[],{"id":22799,"slug":22800,"title":22801,"dynasty":67,"author":12770,"museum":20,"description":22802,"tags":22803,"thumbUrl":22804,"material":34,"size":122,"collection":88,"collections":22805,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},215034,"han-lin-gao-yi-tu-shen-shi-chong-215034","寒林高逸图","寒林高逸图是明朝沈士充所绘的一幅著名图画。它描绘了一片寒冷的林中，一群动物在寻找温暖。图中，可以看到一头鹿、一只老鹰、一只海狮和一只熊，他们都非常冷，因此他们决定联合起来，燃烧起火来取暖。最后，大家一起坐在火边取暖，显得非常愉快。\n\n寒林高逸图被认为是沈士充最著名的作品之一，它描绘了动物之间的友好相处和合作的主题。这幅图画同时也被认为是对人类社会的一种警示，提醒人们应该像这些动物一样，在困难时期相互合作，共同度过难关。",[24,51,7,768,75,28,2785,1059,56,73,27,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bb9e640476fbb36251ae27f22cda34.jpg",[88],{"id":22807,"slug":22808,"title":22809,"dynasty":114,"author":721,"museum":132,"description":10724,"tags":22810,"thumbUrl":22811,"material":317,"size":907,"collection":122,"collections":22812,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":41},291004,"tang-song-yuan-hua-ji-jin-ce-fu-rong-cui-yu-ma-lin-291004","唐宋元画集锦册 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的中国画作品，又名《 》，创造于南宋时期，作品内容为树梢和二鸟，收藏于美国 。\n《宿禽急湍图》为册页，作品使用水墨，淡设色，图中古柏依石而生，盘根错节，溪流湍急，飞泻而下，溅起阵阵浪花。\n二鸟栖，息枝头，怡然自得，与水浪形成静与动的对比。\n此图构图形式以峭拔的树梢和二鸟打破了对角线的布势，也使画面获得了平衡感。\n树木多用颤笔描绘，线条颤动。\n虬曲的古柏枝干和急湍的小溪使画面具有强烈的动感。\n以线勾勒和水墨烘染相结合来表现浪花，手法独特。\n李迪，生卒年不详，公元12世纪期间在世， （今河南省 ）人。\n宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事孝宗、光宗、宁宗三朝(1162-1224)，活跃于宫廷 几十年，画多艺精，颇负盛名。\n工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。\n构思精妙，功力深湛，雄伟处动人心魄。\n所作《 》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。\n山水师李唐法，亦多佳作。\n论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。\n传世作品多，大多有年款。\n淳熙元年（1174年）作《风雨归牧图》轴，现藏 ；淳熙十四年（1187年）作《 》轴现藏 。\n庆元二年（1196）作《 》轴、庆元三年（1197年）《鸡雏侍饲图》册页、《猎犬图》册页，均藏故宫博物院。\n子德茂，理宗淳佑年间（1241-1252）画院待诏。\n画承家法，喜画花禽鹰鹘，野景不逮其父。\n所见李画最晚年款为庆元三年（1197年），如上溯到北宋宣和七年（1125年），需时七十三年，据此推算，则李氏存世之年龄应在九十以上。",[23,7,24,51,26,27,1059,710,79,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16085469ed0c7bef14f0566159320c01.jpg",[],{"id":23102,"slug":23103,"title":23104,"dynasty":114,"author":3309,"museum":132,"description":23105,"tags":23106,"thumbUrl":23107,"material":122,"size":122,"collection":122,"collections":23108,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":62},227948,"shuang-chan-tu-li-di-227948","双蟾图","画面以淡墨晕染勾勒出双蟾肌理，将其湿滑黏重的外皮质感表现得细腻传神。两只蟾蜍姿态灵动舒张，似正于草泽间探跃，将即将腾跃的瞬间定格。\n\n整幅画面清寂幽谧，简淡构图托举鲜活生趣，尽显对自然万物的入微体察，把郊野水畔的片刻生息凝为永恒，于细微之处见精妙写生功力，平淡间蕴藏盎然野意，让观者仿若窥见溪塘边的原生意趣。",[23,7,24,51,634,26,27,472,9687],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97e92ce8f7bb565ac480c460e43ae5a.jpg",[],{"id":23110,"slug":23111,"title":23112,"dynasty":114,"author":181,"museum":132,"description":23113,"tags":23114,"thumbUrl":23115,"material":122,"size":122,"collection":122,"collections":23116,"showCount":145,"zanCount":1065,"manualWeight":40,"mainColor":62},227902,"bai-mei-cui-qin-tu-yi-ming-227902","白梅翠禽图","画面取一隅枝桠，寒梅初绽，翠禽独立，将早春清寂揉进尺幅之间。禽鸟刻画入微，绒羽蓬松柔润，腹羽暖褐与翎羽浓黑相映，翼上白羽似落雪轻沾，圆目凝睇，沉静安然，将生机藏于娴静姿态里。梅花勾勒细腻，瓣边晕染浅淡墨色，花苞缀于枝梢，清润雅致。苍劲枝桠虬曲伸展，留白铺陈出空阔淡远的意境。整体色调温婉柔和，以极简物象晕染出宋人雅趣，把花鸟之态融于幽寂氛围，尽显空灵隽永的宋韵品格，将早春枝头上的轻悄生机，晕成一段淡而不散的雅致诗意。",[23,7,24,51,26,27,102,383,384,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86abed12ed0046a10b30eaab1a6ca674.jpg",[],{"id":23118,"slug":23119,"title":23120,"dynasty":114,"author":23121,"museum":132,"description":23122,"tags":23123,"thumbUrl":23124,"material":122,"size":122,"collection":122,"collections":23125,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":41},227807,"yu-le-tu-zhou-dong-qing-227807","鱼乐图","周东卿","《宋元周东卿鱼乐图》是中国宋末元初时期的画家 创作的一幅中国古画。\n画作是纸本，设色，纵.8厘米,横59.7厘米。\n现收藏于美国 。\n此图以横卷式构图展开画面：依次绘出各种各样、大大小小的鱼类，在长满水草的水中，它们自由自在地漫游着，或有聚有散地沉浮穿梭着。\n画家以精细的笔调描绘出群鱼的轻巧灵动，萍藻的随波摇曳，以及碧水的流动之感和水中游鱼自得其乐的趣味。\n表现手法以没骨为主，以淡色、淡墨或极轻之笔触细加晕染，先画出鱼的形体，再用细线略勾鱼鳞和斑纹。\n萍藻是用更淡的墨勾染，生动地营造出其若隐若现之状。\n还有整个画面所呈现出的流动着的韵律，体现了群鱼恣肆盎然的生机，进而把观者带入轻松自由、疏放闲适的意境。\n是宋元的画鱼名家。\n关于他的生平，史料记载甚少。\n有文天祥赞周东卿画鱼诗云：“观君潇湘图，起我濠上心。\n”可见他还另有作品流传。",[23,7,24,51,25,26,277,27,1179,2664,74,3219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeae98aad7836a3579ce62bca5af282e.jpg",[],{"id":23127,"slug":23128,"title":23129,"dynasty":114,"author":181,"museum":132,"description":23130,"tags":23131,"thumbUrl":23132,"material":122,"size":122,"collection":122,"collections":23133,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":62},223690,"ji-ling-he-ye-tu-yi-ming-223690","鹡鸰荷叶图","《宋人画鹡鸰荷叶图》是宋代佚名创作的绢本设色画。\n里枯枝断茎，荷叶翻卷残破，一片残败的荷叶向上斜出，翻卷的叶面，满布虫蚀的痕迹，在一只鹡鸰的停驻下摇摇欲坠。\n鹡鸰双爪紧握荷茎，扭颈俯视，神情专注，为萧瑟的深秋平添了几许生气。\n鸟羽刻画细腻，先用色渲染，然后以极细之笔勾出，笔法生动秀逸。\n构图疏密有致，动静结合。\n本幅无款。\n钤鉴藏印“宋荦审定”、“嘉庆御览之宝”，又半印一方，印文模糊不辨。\n裱边题签：“宋人画梅竹双鹊”。\n绿竹丛中逶迤伸出白梅两枝，清丽冷艳。\n两只鸲鹆栖于枝头，翘首顾盼。\n鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。\n梅花用白粉和淡黄色勾填，层次丰富。\n竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。\n清《石渠宝笈》著录。",[23,7,24,51,26,27,102,84,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb89fa76fc24385671298b4fe2b9f1ef.jpg",[],{"id":23135,"slug":23136,"title":23137,"dynasty":46,"author":14982,"museum":1475,"description":18679,"tags":23138,"thumbUrl":23141,"material":611,"size":18682,"collection":122,"collections":23142,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":41},223069,"hong-lou-meng-55-sun-wen-223069","红楼梦55",[23,7,24,51,26,27,28,77,560,82,4644,1316,23139,3097,198,23140,1164,1167],"古典建筑","人物场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b14771366881409afaa5b48b2e58a0.jpg",[],{"id":23144,"slug":23145,"title":23146,"dynasty":46,"author":14982,"museum":1475,"description":18679,"tags":23147,"thumbUrl":23149,"material":611,"size":18682,"collection":122,"collections":23150,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":62},223063,"hong-lou-meng-49-sun-wen-223063","红楼梦49",[23,7,24,51,25,26,27,855,28,77,560,82,23148,755,198],"屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0005ec926a0d206e783104f1a358f952.jpg",[],{"id":23152,"slug":23153,"title":23154,"dynasty":114,"author":4389,"museum":20,"description":23155,"tags":23156,"thumbUrl":23157,"material":34,"size":23158,"collection":122,"collections":23159,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":62},221673,"a-ge-tu-zhou-zhao-bo-ju-221673","阿阁图轴","这幅画佛盤膝坐毡上说法，下方海神身披弓剑跪地合掌参拜。前置海神奉献的聚宝盆。几上瓶中有烟，将说法内容显现于后，作云中的宫阙。但因绢色陈旧，不容易看清楚。全幅人物勾画圆劲，著色明净沉静，神采不减于新画。",[23,24,7,72,855,27,26,77,75,84,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a4900b271346803958202ba89e9f1.jpg","73.3x55.6",[],{"id":23161,"slug":23162,"title":3627,"dynasty":46,"author":8580,"museum":195,"description":23163,"tags":23164,"thumbUrl":23165,"material":267,"size":23166,"collection":36,"collections":23167,"showCount":145,"zanCount":1065,"manualWeight":40,"mainColor":62},219986,"su-wu-mu-yang-tu-huang-shen-219986","黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（一七一九）至扬州鬻画，人争客之。雍正五年（一七二七）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。乾隆三十三年（一七六八）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[24,7,51,52,277,27,368,119,118,28,472,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef53ca2e7ccb40467e5fb25716a2c918.jpg","纵198厘米，横109.5厘米",[36],{"id":23169,"slug":23170,"title":23171,"dynasty":114,"author":181,"museum":195,"description":23172,"tags":23173,"thumbUrl":23174,"material":34,"size":23175,"collection":106,"collections":23176,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":62},218973,"jin-ji-zhu-que-tu-yi-ming-218973","锦鸡竹雀图","画在河岸边倾斜的石头上，翠绿的竹子、荆棘和杂草在石头堆中顽强地生长着，两只野鸭雏鸟蜷缩着脖子在石头上休息，而一对彩色的鸟儿相对站在上面的枯枝上，下面的鸟儿歪着头紧紧地盯着上面的鸟儿，专注而爱怜。",[7,24,51,26,27,102,53,2411,384,56,82,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F654c4e85a777c9fd02c4b1bd5b7eed32.jpg","24.3x24.9cm",[106],{"id":23178,"slug":23179,"title":23180,"dynasty":114,"author":181,"museum":20,"description":23181,"tags":23182,"thumbUrl":23183,"material":34,"size":23184,"collection":88,"collections":23185,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":41},218815,"liu-an-he-tang-tu-yi-ming-218815","柳岸荷塘图","这幅画描绘了一个芦苇茂盛的荷塘，荷叶田田，五支老箭极为茂盛，说明这里是陶渊明的隐居之地，过了小桥就能看到南山。",[23,7,24,27,75,768,73,1478,54,398,135,297,298,3456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[88],{"id":23187,"slug":23188,"title":7579,"dynasty":67,"author":181,"museum":166,"description":23189,"tags":23190,"thumbUrl":23191,"material":34,"size":23192,"collection":36,"collections":23193,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":62},218522,"xian-ren-tu-yi-ming-218522","这幅画看似是微风中的烈子，衣服用粗笔，脸部用细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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。",[24,7,51,52,27,26,102,1435,23427,339,263,23428,74],"豆藤","竹架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc51dae55e91611f90ab3b25efa239ea.jpg","149 x 61 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丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[23,7,24,51,52,27,26,510,28,29,55,30,5956,23452,4972,74,118],"烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],{"id":23457,"slug":23458,"title":23459,"dynasty":114,"author":721,"museum":132,"description":23460,"tags":23461,"thumbUrl":23462,"material":122,"size":122,"collection":122,"collections":23463,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":62},230950,"mu-xue-han-qin-tu-ma-lin-230950","暮雪寒禽图","《暮雪寒禽图》是宋代画家 所创作的一幅画，现藏于 。\n此图为马麟所作，以清丽的笔法，绘出冰天雪地之中，山竹覆雪，两只寒禽躲在山石之下的杏枝上过夜的景象。\n以淡墨渲染全景，烘托出雪意，双钩写竹，用笔劲力。\n整幅画面萧瑟冷峭，意境幽远。\n这幅画卷描绘暮冬之际，岩壁下白雪覆盖著荆棘与翠竹，一对黄尾鸲相依避寒。\n通幅色泽沈厚，笔墨苍润稳健，为其粗笔风格的作品，和院藏其〈芳春雨霁〉册的画风极为相近；另一幅〈 〉册虽属细笔，然其中梅干的细枝则和本幅上荆棘细枝的笔法相类。\n此作在笔墨之外，画家还充分地掌握住一份寒冷中详和宁静的气氛，再配上诗句，更表现出了诗文因画而生，画因诗文而意足的旨趣。\n画幅右侧绘斜倾岩石，石旁有荆棘、老竹、积雪，山鸟瑟缩，栖于棘枝之上。\n左上方空白处有宁宗题“疏枝潜缀纷，并翅不禁寒”十个字。\n图中岩石直壁斜倾而上，在石这边数枝折枝棘枝，向左下方凌空伸张扩展，其中有一二枝权又折起指向左上方，与在悬崖的那边塌腰老竹低垂的枯枝交错。\n棘、竹枝上的积雪可见；还有那纷披的翠竹叶在岩石上负雪摇曳，在棘枝上残留着几处红叶。\n就在这岩石后背风的棘枝上，栖息着山鸟两只，一只是白羽，另一只是黑白两色，它们披着厚厚松软的冬装。\n白者缩颈回首，两爪紧抓枝上，长尾下垂，依偎在另一只身旁，黑白分明的这一只，抬首守之。\n两只山鸟安祥地相向，紧紧靠在一起，毫无飞欲之意。\n因为灰暗的暮色雪景笼罩着，造成了阴冷、萧疏、幽邃的气氛。\n所以飞鸟只有并翅不禁寒，才能渡过寒夜。\n只有盼到天明日出时，驱去寒意后，才会使寒禽离枝飞去。\n马麟这幅《暮雪寒禽图》的构意及内容，很像李迪的《雪树寒禽图》。\n但从图中直观马麟的《暮雪寒禽图》要比李迪之画苍劲洒脱。\n枯瘦的棘枝，用笔坚硬，画法苍劲有力；负雪的竹子，有的是冬篁的秃权枝，有的是重笔墨色直接画成的竹叶，也具有苍老浑厚的感觉。\n图中的这些景物，由于在暮雪中出现，所以作者没有显示它们本身固有的不同颜色，而将他们用灰暗的色调统一，即使有几处残留的红枫作点缀，也是具有同样的格调，呈暗红色。\n所以，此图在用色上成功地表现出雪天傍晚时分特有的自然景观。\n马麟（生卒年不详），南宋画家。\n原籍河中（治今山西永济西南），南渡后三代居钱塘。\n世荣孙，远子。\n父为光宗、宁宗两朝画院待诏，独步一时。\n麟传家学，工人物、山水、花鸟。\n宁宗嘉泰年间授画院祗候，颇得赵扩、恭圣杨后及杨妹子称赏，每于父子画上题句。\n或以“麟不逮父，而远爱之，多以己画得意者题作马麟”。\n但麟的笔法圆劲，比其父秀润。\n传世作品有《层叠冰绡图》，上有杨后题诗。",[7,24,51,26,27,277,102,2785,1059,3195,84,56,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7975c59fcea175fabe615575bac84e3c.jpg",[],{"id":23465,"slug":23466,"title":23467,"dynasty":1383,"author":23468,"museum":132,"description":23469,"tags":23470,"thumbUrl":23472,"material":317,"size":907,"collection":122,"collections":23473,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":41},230596,"su-miao-2-da-fen-qi-230596","素描2","达芬奇","列奥纳多·达·芬奇［意大利语：Leonardo da Vinci；儒略历1452年4月15日（公历4月23日）~1519年5月2日］。意大利文艺复兴画家、科学家、发明家。 现代学者称他为“文艺复兴时期最完美的代表”，是人类历史上绝无仅有的全才，其最大的成就是绘画，他的杰作《蒙娜丽莎》和《最后的晚餐》等作品，体现了他精湛的艺术造诣。\n达·芬奇思想深邃，学识渊博、擅长绘画、雕刻、发明、建筑，通晓数学、生物学、物理学、天文学、地质学等学科 。保存下来的手稿大约有6000页。达·芬奇认为自然中最美的研究对象是人体，人体是大自然的奇妙之作品，画家应以人为绘画对象的核心。\n达·芬奇生于托斯卡纳的芬奇镇附近。他在少年时已显露艺术天赋，15岁左右到佛罗伦萨拜师学艺，成长为具有科学素养的画家、雕刻家。并成为军事工程师和建筑师。 1482年应聘到米兰后，在贵族宫廷中进行创作和研究活动，1513年起漂泊于罗马和佛罗伦萨等地。1516年侨居法国，1519年5月2日病逝。\n2021年7月9日，达·芬奇素描《熊的头部》在伦敦佳士得以885.75万英镑，约合8000万元人民币的价格成交，创下达·芬奇素描画新的拍卖纪录",[7,15788,215,472,6292,23471],"线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9237a25023781abd17ef9640f879dc7.jpg",[],{"id":23475,"slug":23476,"title":23477,"dynasty":46,"author":1567,"museum":132,"description":3725,"tags":23478,"thumbUrl":23479,"material":317,"size":907,"collection":122,"collections":23480,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":41},228988,"bai-miao-luo-han-tu-juan-shi-tao-228988","白描罗汉图卷",[23,7,24,51,25,510,678,28,278,82,6056,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9099139807f3e55a6295db547dc07a8.jpg",[],{"id":23482,"slug":23483,"title":23484,"dynasty":114,"author":11186,"museum":132,"description":23485,"tags":23486,"thumbUrl":23487,"material":122,"size":122,"collection":122,"collections":23488,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":41},228326,"qiu-shan-qing-ai-tu-juan-xu-dao-ning-228326","秋山晴霭图卷","《题吴少宰题许道宁秋山晴霭图》是明代诗人沈周创作的一首诗。\n匏公题句真成画，说到江山妙有声。\n一个道宁消不得，老夫只作辋川平。\n沈周（1427-159年），字启南，号石田、白石翁，长洲（今苏州）人。\n隐居乡里，奉母耕读，终身不仕。\n其画闻名当代，与唐寅、文徵明、仇英并称“明四家”。\n且善诗，任情随事，不主一家。\n有《石田先生集》行世。",[23,7,24,51,25,75,27,3037,21478,425,426,429,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2f872b00a877fa253bba1f9c3c8f1d.jpg",[],{"id":23490,"slug":23491,"title":23492,"dynasty":293,"author":23493,"museum":132,"description":23494,"tags":23495,"thumbUrl":23496,"material":122,"size":122,"collection":122,"collections":23497,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":41},228257,"mo-hua-tu-juan-chang-juan-zhao-zhong-228257","墨花图卷长卷","赵衷","此作用淡墨白描写就，分绘三种花卉，以清隽挺秀的笔线勾勒花叶轮廓，淡墨晕染出阴阳向背，不施丹青却尽现花卉娇柔雅致之态。芍药秾而不俗，水仙清逸出尘，玉簪幽淡含露，墨色清润柔和，将草木风姿描摹入微。\n\n三段皆配题诗，诗画相映，书卷气浓厚，以墨代色，以意写形，把文人幽淡的情思寄寓在一花一叶间，尽显简淡雅致的审美意趣，是水墨花鸟小品中的佳构。",[23,7,24,51,25,510,277,26,102,103,2067,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83039bd32439ba7bcc1e7f007efb14a8.jpg",[],{"id":23499,"slug":23500,"title":23501,"dynasty":114,"author":6625,"museum":132,"description":23502,"tags":23503,"thumbUrl":23506,"material":122,"size":122,"collection":122,"collections":23507,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":62},227970,"shan-shui-yu-min-tu-zhou-li-an-zhong-227970","山水渔民图轴","此作用水墨晕开冬日江乡的清寂荒寒。远山以淡墨轻扫轮廓，留白处尽作积雪，混茫一色，恰似天地裹素，将冬雪的冷冽淡远铺陈开来。近岸枯木虬枝盘曲，残叶寥寥，苍劲身姿暗合寒林萧索。江心扁舟一叶，渔翁独垂，渺小身影衬得天地愈发寥廓幽远，尽现江湖幽隐之趣。\n\n全图以虚代实，留白藏雪，笔墨简淡清润，将禅意隐逸融在冷寂山水间，把雅致心境晕染在空蒙淡远的意境中，尽显小景山水的诗意品格。",[23,7,24,51,52,277,75,73,80,647,648,278,649,82,433,6147,3255,3115,1996,23504,2274,23505],"山石皴染","宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],{"id":23509,"slug":23510,"title":23511,"dynasty":114,"author":181,"museum":132,"description":23512,"tags":23513,"thumbUrl":23514,"material":122,"size":122,"collection":122,"collections":23515,"showCount":23232,"zanCount":1065,"manualWeight":40,"mainColor":62},227880,"tao-zhi-shuang-que-tu-yi-ming-227880","桃枝双雀图","此作构图疏密相宜，桃枝虬曲延展，叶片与桃果晕染细腻，清润雅致。两只雀鸟动静相映，一鸟侧身伫立，侧目凝神，羽色的丝绒质感刻画入微；一鸟探身向下，似欲啄食，灵动鲜活。设色浅淡柔和，以墨色勾勒筋骨，淡彩晕染出物象的层次生趣，古旧绢面晕开沉郁温润的底色，更衬出画面的雅致沉静。将林间一角的幽微生机敛于方寸之间，把日常小景绘成雅致诗画，尽显花鸟小品的含蓄禅意与写生妙趣。",[23,24,7,768,102,26,27,6166,9579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa40fc2a6baeafb73635a4540f8512cf2.jpg",[],{"id":23517,"slug":23518,"title":23519,"dynasty":114,"author":556,"museum":132,"description":10190,"tags":23520,"thumbUrl":23521,"material":122,"size":122,"collection":122,"collections":23522,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":62},227773,"song-yin-xiu-qi-tu-ye-li-tang-227773","松荫休憩图页",[23,7,24,51,100,27,75,28,697,79,56,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae2c819f22354f91624b8b982a41c2a.jpg",[],{"id":23524,"slug":23525,"title":23526,"dynasty":114,"author":556,"museum":132,"description":18969,"tags":23527,"thumbUrl":23528,"material":122,"size":122,"collection":122,"collections":23529,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":62},227769,"shan-jian-ting-yin-tu-ye-li-tang-227769","山涧亭荫图页",[23,7,24,51,2613,27,73,75,81,77,82,278,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62d8b679d7f4f502dfbd58fec656d8e.jpg",[],{"id":23531,"slug":23532,"title":16240,"dynasty":114,"author":631,"museum":132,"description":23533,"tags":23534,"thumbUrl":23535,"material":122,"size":122,"collection":122,"collections":23536,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":62},227739,"huo-lang-tu-ye-li-song-227739","《货郎图》是南宋画家李嵩创作的团扇绢本水墨淡设色画。李嵩创作过多幅货郎图，分别藏于北京故宫博物馆、中国台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆，现藏于北京故宫博物院的《货郎图》的规格是纵25.5cm，横70.4cm，其余的均为小幅。\n\n全图描绘了老货郎挑担将至村头，众多妇女儿童争购围观的热闹场面，表现了南宋时钱塘一带的风土人情。此画线条细腻雅致，货担上的物品用笔如丝柔韧圆转，而人物的衣纹则使用颤笔，转折顿挫恰当地表现出下层妇孺身着布衣的特色。细劲线描，传神地勾出朴实的形象，把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。",[23,7,24,51,768,26,27,28,55,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc853454829aec9f8be8f73998aa141.jpg",[],{"id":235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体格结实，强壮，不受约束，并不特别怪异。 唯一大师吴升（桃子）的笔。 其父掌管天五库军，能画天阔马，是韩干笔法的典范。 顾维佑也为病马干活。",[23,24,7,52,26,27,215,472,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb813d9e9ed4d72843f7460da6848b829.jpg",[],{"id":23563,"slug":23564,"title":23565,"dynasty":46,"author":2172,"museum":20,"description":23566,"tags":23567,"thumbUrl":23569,"material":283,"size":23570,"collection":122,"collections":23571,"showCount":23232,"zanCount":1065,"manualWeight":40,"mainColor":41},224484,"ni-fan-hua-yuan-qiu-lin-xiao-si-tu-wang-jian-224484","拟范华原秋林萧寺图","此作用高远、平远之法铺展景致，主峰奇崛陡立，古寺隐于层峦间，飞瀑穿石而下。前景林木蓊郁，板桥通幽，山居人家藏于松荫，江畔苍松虬劲，渔翁垂竿秋水之上，远景江天寥廓，浅墨晕染远山，清寂萧疏之意漫溢画面。\n\n以浅绛糅合青绿晕染山石，皴法朴厚，兼得雄健风骨与秀雅笔致，将秋山野林的空阔萧远与幽居闲趣相融，把秋林萧寺的冷寂清旷之境铺陈开来，尽显林泉幽致。",[23,7,24,497,27,73,23568,154,1647,5626,78,79,278,82,77,81,280,648],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa02d6c0b4b3f68794b7c75b2799f2.jpg","本幅 52.5x27.4公分、全幅 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传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,7,24,51,25,277,27,73,75,7962,5626,82,278,279,425,2785,1059,5607,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[175,88,286],{"id":23638,"slug":23639,"title":23640,"dynasty":114,"author":1216,"museum":260,"description":5174,"tags":23641,"thumbUrl":23642,"material":250,"size":23643,"collection":122,"collections":23644,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":41},221357,"zhuo-se-shi-ba-luo-han-tu-juan-li-gong-lin-221357","着色十八罗汉图卷",[23,7,24,51,25,678,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167d3053971be5b0a03db8dec8fa2736.jpg","26.7×384.2厘米",[],{"id":23646,"slug":23647,"title":23648,"dynasty":67,"author":1269,"museum":151,"description":23649,"tags":23650,"thumbUrl":23651,"material":23652,"size":23653,"collection":123,"collections":23654,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":993},220957,"bai-yu-shan-fu-dong-qi-chang-220957","白羽扇赋","唐代诗人及宰相张九龄，受朝中权臣排挤，因玄宗赐白羽扇，作赋以明志，含有明哲保身的涵义。董其昌这件作品写于七十八岁（1632）高龄，仍然不失一贯的秀逸畅快的节奏，令人觉得余韵无穷。",[23,7,24,51,25,119,118,277,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2567439e23f4a801151c3d6db729acb.jpg","绫本，轴","纵长：136.5厘米，横长：60.2厘米",[123],{"id":23656,"slug":23657,"title":23658,"dynasty":293,"author":181,"museum":1031,"description":23659,"tags":23660,"thumbUrl":23661,"material":34,"size":23662,"collection":88,"collections":23663,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":62},220049,"xue-shan-yun-lv-tu-yi-ming-220049","雪山运驴图","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。",[23,7,24,51,497,27,73,4240,4075,647,278,28,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3496e60237064d400653f83c3b0f63.jpg","25.1 x 25.9 cm",[88],{"id":23665,"slug":23666,"title":23667,"dynasty":67,"author":23668,"museum":1475,"description":23669,"tags":23670,"thumbUrl":23671,"material":34,"size":23672,"collection":88,"collections":23673,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":62},220040,"xi-shan-fei-pu-tu-zhu-shou-fu-220040","溪山飞瀑图","朱受甫","此作用蜿蜒灵动的披麻皴绘就群峰，山石似随波流转，奇崛又带着秀润意趣。画面以平远铺陈左岸烟波，远山澹澹如墨痕晕染，空濛悠远；右岸峰峦错落层叠，巉岩间点缀村居林木，隐逸烟火气融在山水间。\n\n淡墨晕开薄雾，衬出山峦的通透层次，草木萧疏却意态清雅，将江南溪山的灵秀幽寂晕染开来。简淡笔墨里藏着悠游林泉的雅致心境，尽显山水间空寂淡远的文人意趣。",[23,7,24,51,25,277,75,73,297,313,2501,82,861,279,281,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40c200bd39a1f83f4cc800733c7076.jpg","23x147厘米",[88],{"id":23675,"slug":23676,"title":23677,"dynasty":46,"author":23678,"museum":151,"description":23679,"tags":23680,"thumbUrl":23681,"material":267,"size":23682,"collection":36,"collections":23683,"showCount":23232,"zanCount":1065,"manualWeight":40,"mainColor":41},219634,"lao-zi-qi-niu-tu-wu-chao-219634","老子骑牛图","吴焯","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。",[24,51,7,27,26,28,1906,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdc7b0425ec06c744d6c192a567f8e64.jpg","纵63.17cm，横32.19cm",[36],{"id":23685,"slug":23686,"title":23687,"dynasty":1383,"author":181,"museum":20,"description":23688,"tags":23689,"thumbUrl":23690,"material":611,"size":23691,"collection":88,"collections":23692,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":62},219368,"wu-kuan-xi-shan-shu-wu-zhou-yi-ming-219368","无款溪山书屋轴","绢色沉古，墨痕淡远。近岸老木扶疏，枝干如铁，叶影婆娑间漏下天光；溪石横卧，水纹隐现，似有泠泠声在耳。中麓书屋半掩，窗内人影悄坐，或展卷，或凝思，与林泉为邻，得山水之趣。远岫层叠，云气轻飘，将天地拉得悠远。笔致工细却含野逸，皴擦点染皆见匠心，无一处不藏着对自然的敬畏与对闲居的向往。置身画前，仿佛能踏过溪石，走近书屋，与画中人共沐山风，静听溪语，忘了尘嚣。",[24,51,7,52,75,277,73,135,278,79,1737,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36f9e3df3cb8b48d6cea0818948aa5a4.jpg","148.6x74.5",[88],{"id":23694,"slug":23695,"title":23696,"dynasty":67,"author":181,"museum":20,"description":23697,"tags":23698,"thumbUrl":23699,"material":34,"size":23700,"collection":36,"collections":23701,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":62},219348,"pu-xian-da-shi-xiang-yi-ming-219348","普贤大士像","此幅亦无作者款名。画一僧坐于白象背上，展卷研读。普贤，梵名三曼多跋陀罗，汉译名为普贤，又名遍吉。与文殊同为释迦佛的胁侍，左辅右弼，居菩萨众之上首。又华严经以三者为华严三圣，为一切行德之本体。此图像作世俗僧形，是为便于助佛普化的缘故。与前述之文殊，二画尺寸、笔墨皆近似，原为对幅。",[24,51,7,52,27,26,678,28,472,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F743ec6d76d015ff1fc9bac3178455c15.jpg","156.6x94",[36],{"id":23703,"slug":23704,"title":23705,"dynasty":114,"author":181,"museum":20,"description":23706,"tags":23707,"thumbUrl":23708,"material":34,"size":23709,"collection":88,"collections":23710,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":62},218988,"pin-quan-tu-yi-ming-218988","品泉图","这幅画描绘了一个在峡谷中的有学问的人和一个提供茶水的童仆，而他摇着扇子喝茶。这幅画没有标记，以前被认为是宋代的作品，但宋代没有这种画风，动荡的笔法更接近明代的山水画风格。",[23,24,7,27,73,75,82,281,79,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04bddcec30d211866d234b9bd05fadd1.jpg","27.5x57.4",[88],{"id":23712,"slug":23713,"title":23714,"dynasty":114,"author":181,"museum":395,"description":23715,"tags":23716,"thumbUrl":23718,"material":34,"size":23719,"collection":106,"collections":23720,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":41},218969,"ying-sun-lie-hu-tu-yi-ming-218969","鹰隼猎狐图","振翅俯冲的猛禽携风而下，惊惶奔窜的狐兽攒足欲逃，劲挺的枯枝斜出岩隙，丛丛劲草在荒坡间摇曳。笔墨于精微处见真章：禽鸟羽翮层次分明，狐兽肌理细腻传神，岩石皴擦苍劲老辣。荒野的萧瑟与捕猎的焦灼交织，一瞬张力被定格成永恒。宋人笔下的野趣，在动静相衔间流淌，于形神兼备中尽显自然生息的生动与凛冽，每一处线条都藏着对生命状态的精准捕捉，每片墨色都晕染出荒野间的原始张力。",[23,7,24,51,768,27,26,472,84,56,23717],"枯草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3bc526ab9976cefd9af3dab0639ec3.jpg","24x25cm",[106],{"id":23722,"slug":23723,"title":23724,"dynasty":293,"author":181,"museum":3286,"description":23725,"tags":23726,"thumbUrl":23727,"material":121,"size":122,"collection":106,"collections":23728,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":62},216881,"lian-lu-tu-zhou-2-yi-ming-216881","莲鹭图轴-2","莲鹭图轴是一幅绘有莲花和鹭鸶的图画，出自元朝（1271-1368年）的佚名画家之手。这幅图画是一根长卷，画面中央是一朵盛开的莲花，周围是若干只鹭鸶，它们正在莲花周围游荡。\n\n莲鹭图轴是元朝时期的一件杰作，当时的画家们非常喜欢用莲花和鹭鸶这种自然元素来表现他们的艺术感悟。莲花象征着清新、优雅和纯洁，而鹭鸶则象征着平静、宁静和和平。这幅图画把这两种元素结合在一起，表现出了一种浪漫、优美、安宁的气氛。\n\n莲鹭图轴是一幅非常精美的图画，画面细腻、线条流畅、色彩和谐。这幅图画现在被认为是元朝艺术的代表作之一，是中国古代绘画艺术的杰作。",[24,7,52,277,27,26,398,10278,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d6fce71076fb407edc41d3ce20b6a1.jpg",[106],{"id":23730,"slug":23731,"title":23732,"dynasty":293,"author":658,"museum":20,"description":1443,"tags":23733,"thumbUrl":23734,"material":666,"size":122,"collection":122,"collections":23735,"showCount":23232,"zanCount":40,"manualWeight":40,"mainColor":41},216376,"mo-zhu-pu-ce-13-wu-zhen-216376","墨竹谱册-13",[24,51,7,100,277,53,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c58cebabf4bf703a2c8e27e2685b2c.jpg",[],{"id":23737,"slug":23738,"title":23739,"dynasty":114,"author":181,"museum":48,"description":2300,"tags":23740,"thumbUrl":23741,"material":666,"size":2303,"collection":122,"collections":23742,"showCount":23232,"za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咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 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为南宋写生画中的优秀作品。",[23,768,24,7,51,26,27,102,1882,55,119,74,17845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc19493cd623f181dc873fb990329bed7.jpg",[],{"id":23927,"slug":23928,"title":23929,"dynasty":114,"author":1216,"museum":132,"description":23930,"tags":23931,"thumbUrl":23932,"material":317,"size":907,"collection":122,"collections":23933,"showCount":39,"zanCount":1065,"manualWeight":40,"mainColor":41},288277,"xiao-xiang-wo-you-tu-li-gong-lin-288277","潇湘卧游图","《潇湘卧游图》该画中主要描绘了当时的潇湘奇景。作者以轻灵、淡雅的水墨风格在纸上作画，使用了将画面大片留白的画法。",[23,7,24,25,51,277,75,429,84,279,119,2755,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd68985dcb3dc40da32929dd1bf1f4.jpg",[],{"id":23935,"slug":23936,"title":23937,"dynasty":1104,"author":1892,"museum":132,"description":2328,"tags":23938,"thumbUrl":23939,"material":317,"size":907,"collection":122,"collections":23940,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},288194,"da-dao-tie-wang-xi-zhi-288194","大道帖",[23,7,51,25,2755,118,1580,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1473d3c9f1fd7965415f14ac17b5d934.jpg",[],{"id":23942,"slug":23943,"title":23944,"dynasty":46,"author":3150,"museum":132,"description":23945,"tags":23946,"thumbUrl":23947,"material":317,"size":907,"collection":122,"collections":23948,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},287689,"han-gong-chun-xiao-tu-zhou-yuan-yao-287689","汉宫春晓图轴","此图名为汉代宫殿之景，实际上表现的是作者想像中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其灵动的点染不仅显现出石质的坚硬，同时增强了画面的动势，与工整精巧的宫阙楼阁形成粗放与华美、活泼与整齐的鲜明对比。",[24,51,7,52,855,26,27,75,77,78,79,81,279,82,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71777f03d1a1f477faee4e4e8089f117.jpg",[],{"id":23950,"slug":23951,"title":23952,"dynasty":293,"author":7404,"museum":20,"description":23953,"tags":23954,"thumbUrl":23955,"material":34,"size":16801,"collection":122,"collections":23956,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},287536,"jun-ma-tu-zhuang-biao-zhao-yong-287536","骏马图（装裱）","赵雍（1289年－1369年），字仲穆，吴兴（今浙江湖州）人。元代书画家。赵孟頫之子。擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。传世作品有《兰竹图》《溪山渔隐》《饮中八仙图》等。",[24,7,52,27,215,135,75,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee0277c8089b8cad8ab79a366d9c789.jpg",[],{"id":23958,"slug":23959,"title":23960,"dynasty":67,"author":1269,"museum":132,"description":6008,"tags":23961,"thumbUrl":23962,"material":317,"size":907,"collection":122,"collections":23963,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},283714,"fang-mi-wu-zhou-shan-tu-juan-dong-qi-chang-283714","仿米五洲山图卷",[7,24,25,277,75,82,559,154,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65509d7542b4a31ac4d2c12723acfc9d.jpg",[],{"id":23965,"slug":23966,"title":23967,"dynasty":46,"author":9765,"museum":132,"description":23968,"tags":23969,"thumbUrl":23971,"material":317,"size":907,"collection":122,"collections":23972,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},241685,"huang-tai-hou-fu-lu-shou-tu-zhou-ci-xi-241685","皇太后福禄寿图轴","此幅以朱笔书“福、禄、寿”3字，书体与众不同，用象形手法组成，仿佛一件绘画作品。结体上“福”、“禄”两字借用同一偏旁“礻”，而“录”、“畐”之间夹写一个“寿”字，中间空白部分经巧妙布局画成一个寿星拄着拐杖。这种以字体组合成图像的手法多流行于民间，虽见巧妙，却显俗气。关于慈禧太后的书法，近人马宗霍《书林纪事》载：“慈禧太后垂帘当国，亦喜怡情翰墨，学绘花卉，又学作擘窠大字，常书‘福’、‘寿’等字以赐内外大臣……”留存至今的慈禧书法之作多以单字居多，如本幅般书画合一的作品颇为罕见",[7,24,51,52,27,119,74,118,28,23970],"寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d321126d9348c75f93a44a94eafe90.jpg",[],{"id":23974,"slug":23975,"title":18285,"dynasty":46,"author":7216,"museum":132,"description":16449,"tags":23976,"thumbUrl":23977,"material":317,"size":907,"collection":122,"collections":23978,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},239243,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239243",[24,7,51,100,26,27,102,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bec8dbe8cc23c1fc4b1dbfa9f5834b7.jpg",[],{"id":23980,"slug":23981,"title":23982,"dynasty":46,"author":8472,"museum":132,"description":16511,"tags":23983,"thumbUrl":23984,"material":317,"size":907,"collection":122,"collections":23985,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},239033,"cong-lin-hu-xiao-tu-zhou-gao-qi-pei-239033","丛林虎啸图轴",[7,24,52,277,75,6056,472,135,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7f05aa9d00239500201819793d58e0.jpg",[],{"id":23987,"slug":23988,"title":23989,"dynasty":67,"author":2218,"museum":151,"description":23990,"tags":23991,"thumbUrl":23992,"material":342,"size":23993,"collection":122,"collections":23994,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},233967,"guan-shan-xing-lv-tu-zhou-dai-jin-233967","关山行旅图轴","本幅署款“静庵”，无年款，从趋于成熟的集大成面貌判断，当作于戴进晚年的天顺年间（1457—1464年）。\n作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[24,7,52,277,73,75,609,281,663,559,425,82,1525,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac0a0c15fc8e857f3e1f36e5c19ea41.jpg","纵61.8厘米，横29.7厘米",[],{"id":23996,"slug":23997,"title":23998,"dynasty":293,"author":4666,"museum":151,"description":23999,"tags":24000,"thumbUrl":24001,"material":611,"size":24002,"collection":122,"collections":24003,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},233823,"hua-zhu-jin-ji-tu-zhou-wang-yuan-233823","花竹锦鸡图轴","王渊（生卒年不详），字若水，号澹轩，浙江杭州人。他一生不仕，专擅墨笔花鸟、竹石。画意蕴藉清润、幽静深秀。",[7,24,52,26,27,102,53,263,1627,84,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd36673eec219f9e862caec47a108a50c.jpg","纵175.7cm; 横110.1cm",[],{"id":24005,"slug":24006,"title":24007,"dynasty":114,"author":181,"museum":132,"description":24008,"tags":24009,"thumbUrl":24010,"material":122,"size":122,"collection":122,"collections":24011,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},233764,"jiao-shi-ying-xi-tu-ye-yi-ming-233764","蕉石婴戏图页","“婴戏图”是以儿时玩乐情景为题材的中国绘画类型，为一项自宋代开始流行的重要画题。孩童形象早见于秦汉以前的工艺艺术，以绘画呈现的例子也可追溯到六朝，唐代逐渐出现在单一画面中以孩童玩耍情景为主的表现，发展至宋元以后，成果斐然。",[24,7,768,26,27,28,4842,3048,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feecad49be54ef6cb03cec89a8101dd62.jpg",[],{"id":24013,"slug":24014,"title":24015,"dynasty":46,"author":24016,"museum":151,"description":24017,"tags":24018,"thumbUrl":24019,"material":6181,"size":24020,"collection":122,"collections":24021,"showCount":39,"zanCount":1065,"manualWeight":40,"mainColor":41},233217,"kong-shan-jie-wu-tu-zhou-cha-shi-biao-233217","空山结屋图轴","查士标","查士标作为明代的遗民画家，持消极遁世的人生观。他在怡情于山水间结交了许多隐士。此图是他68岁时画赠好友玉峰道长的精心之作。构图注重远、中、近三景间物象聚、散的呼应统一关系。近、中景因表现杂木、小桥、独舟、孤亭等细碎物象而为“散状”。远景厚实的山体聚成石壁，它的整体性凝聚了散落的近、中景；而散落的近、中景又打破了远景的平整、呆板，活跃了画面。山石的形体，先以直线勾出轮廓，再以侧锋作疏朗而清晰的竖式皴擦，然后以清淡古朴的赭石等色晕染。树叶的表现方法丰富，或以长短线条表现，或以笔尖戳点，其灵活多变的形态，令本为点景的树木成为全画中不可或缺的一部分。",[24,7,52,277,27,75,73,297,559,82,201,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4469afa6f7c931f51956a8040ea8a7.jpg","纵98.7厘米，横53.3厘米",[],{"id":24023,"slug":24024,"title":24025,"dynasty":67,"author":181,"museum":132,"description":24026,"tags":24027,"thumbUrl":24028,"material":122,"size":24029,"collection":122,"collections":24030,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},232908,"fang-hui-zong-cha-hua-ge-niao-tu-yi-ming-232908","仿徽宗茶花鸽鸟图","中国茶花画历千年而不衰，名家辈出，流派风格纷纭，成为中华民族传统艺术瑰宝之一，屹立于世界美术之林。古往今来的画家以茶花为题作画，表现它的千姿百态，笔情墨韵。众多茶花画向我们展示了风云迭起的美的历程，给人以酣畅淋漓的美的享受和奋发向上的民族精神的感召。\n唐代茶花画的形成和发展具有深刻的社会历史背景。\n其一，从茶花栽培史看，三国时代至隋代，茶花已经从野生状态发展到人工栽培，成为观赏花卉；及至唐代，中国主要茶花产区的人工栽培已经普及，并出现了茶花品种的名称和重瓣茶花。这些茶花的物质财富必然要反映到文学艺术中来。\n其二，从社会文化看，唐代是中国长期封建社会的辉煌时代，经济繁荣，物力殷阜，宫苑私园遍于各地。茶花被视作最珍贵的花木，它与牡丹花一样，成为宫廷显贵的荣耀。在寺院里，这种具有深刻宗教色彩的曼陀罗花，受到成千上万信徒的顶礼膜拜。茶花成为盛唐文化的一个亮点。\n其三，从中国花鸟画的生存衍化来看，花鸟画历经南北朝的萌芽状态，到唐代逐渐发展成为一门独立的画科，出现一批专门的花鸟画家，其技艺亦达到精湛的水平。在这三大因素的作用和催化下，茶花题材的绘画作品应运而生。特别值得提出的是唐南诏名画《南诏画传》。在这幅唐光化二年（公元899年）由南诏画师绘就的画卷里，有两株高大的植于南诏奇王庭院圆形花坛中的山茶，画面生动精美，系典型的唐人笔法，为中国古代绘画珍品（该画卷原藏北京故宫，现在日本）。《南诏画传》中这两株高过屋檐开着大朵红色鲜花的古茶花树，是中国绘画中最早出现的山茶形象。\n此外，在唐代的花鸟画家中，晚唐的滕昌是一位具有代表性的画家。滕昌擅作花鸟草虫、蔬果，亦工书法，号称“滕书”。滕昌在居室旁栽植竹石花木，以供写生。《宣和画谱》记有滕昌茶花作品《山茶家鹩图》一幅。可以想见，画家在居室旁栽植的花木中，定然有茶花。《山茶家鹩图》当为写生之作。此传世作品后被宋徽宗藏于宫廷。滕昌的画，“笔迹轻利，傅彩鲜泽，宛有生意”。他的《山茶家鹩图》当为早期花鸟画中的茶花画代表作品。\n五代茶花画在唐人基础上迅速发展并走向成熟，至两宋，茶花画达到了兴盛时期。其主要标志有三：\n一是画院的成立和发展。这是茶花画兴盛的物质基础之一。五代西蜀、南唐正式成立画院，称“翰林图画院”，一时名画家皆归附，绘事盛极一时。至两宋，画院繁荣，尤其是在宋徽宗的倡导下，扩充画院、兴画学，画院及绘画得到空前的发展。\n二是宋代造园植树之风大盛，茶花的引种栽培发展到一个鼎盛时期。其茶花新品种之多，园艺技术水平之高，盆栽与插花艺术拓展之快，都是前所未有的。这是宋代茶花画兴盛的物质条件。\n三是茶花画领域出现以黄筌为代表的在绘画史上具有重要地位和成就的画家。五代和宋前期的花鸟画家，首推黄筌。黄筌（约903～965年）为五代西蜀画家，是五代院体画家主要代表人物。曾入西蜀画院为翰林待诏。黄筌承前启后，创黄筌画派。黄筌的“富丽画风”，适合统治者和宫庭的需要及审美趣味。所谓“黄氏富贵”，即以严谨的用笔，惟妙惟肖的形象刻画，富丽堂皇的色彩为基本特点。黄筌的茶花作品有四幅。《宣和画谱》记有三幅：《山茶鹑雀图》一幅和《山茶雪雀图》二幅，均无画迹可考。只有近代画家于非闇临黄筌《彩鸠山茶图》一幅尚存。摹本上有临宋徽宗题款：“彩鸠山茶，黄筌妙笔。”\n两宋时期的茶花画家，院体画家（即宫廷画家）主要有北宋画家崔悫、吴元瑜，南宋画家林椿、李嵩（1166～1243年）、苏汉臣、董祥（1068～？）等，其身份均为画院待诏。林椿工画花鸟翎，重布局经营，是一位卓有成就的花鸟画家，代表作有《山茶霁雪图》和《茶花鸽子图》。崔悫有《山茶图》。吴元瑜有《山茶鹩子图》。李嵩茶花代表作为《花篮图》（藏台北故宫博物院）。苏汉臣为人物画家，作品《冬日婴戏图》（现藏台北故宫博物院）是一幅以山茶为背景的人物画作。董祥茶花作品有《岁朝图》（现藏台北故宫博物院）。\n院外画家（非宫廷画家）主要有北宋画家赵昌（？～1016年）、易元吉、丘庆余等。赵昌的茶花作品有折枝茶花、二色茶花，其画作“不特取其形似，直与花传神者也”，称“写生赵昌”，名重一时。《宣和画谱》录有其茶花作品《山茶图》、《山茶竹兔图》等十幅之多，另有《四季花卉卷· 山茶》。宋代大文豪苏轼也曾为赵昌山茶图作题跋二首。易元吉的茶花作品，《宣和画谱》录有《山茶孔雀图》、《山茶戏猿图》等八幅。丘庆余的茶花作品也见诸于《宣和画谱》，有《山茶花兔图》、《湖石山茶图》等五幅。\n勾勒填彩的细密画风成为两宋茶花画的主要艺术倾向。两宋的茶花作品以精工的描绘，鲜妍的敷色著称。画家十分注意物象、物理的研究，对物写生成为一时风尚，章法严谨，笔墨精丽，技法成熟，达到炉火纯青的地步，形成这一时期茶花画的主要艺术特色。北宋的茶花画已佚，流传至今的只有南宋画家李嵩的《花篮图》（设色绢本）、宋代佚名的《山茶蝴蝶图》、《白茶花图》，从中足以窥见当时盛行画风的特色。剖析这一时期的绘画作品，可以清晰地看到，以院体画为主的细密画风始终占主导地位。此外，赵昌、易元吉的作品以写生为重。崔悫、吴元瑜的作品在继承黄筌的基础上别创一清淡疏秀之格。林椿虽为宋后期院体画家，却在继承北宋院体画细密的传统中，显示出敷色轻淡，灵活生动的特色。宋无款的《百花图卷· 茶花》画风接近于“文人画”。宋后期的董祥、赵彦敷的茶花作品已具早期文人水墨画的特征。这些作品在主体画风之外各有特色，但是茶花作品的整体艺术倾向始终是鲜明而统一的。\n五代两宋为茶花画数量最多的一个时期。五代两宋时期画茶花的有院体画家、院外画家、士大夫阶层为官者，绘茶花者甚众，呈现欣欣向荣之气势。迄今发现两宋茶花画达41幅，居各个时期茶花作品数量之首。",[23,24,7,51,25,26,27,154,102,184,13977,84,1821,278,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031db809757be93633780fb6452f3df0.jpg","30.1 x 206.5厘米",[],{"id":24032,"slug":24033,"title":24034,"dynasty":293,"author":887,"museum":20,"description":24035,"tags":24036,"thumbUrl":24037,"material":611,"size":24038,"collection":122,"collections":24039,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},232255,"zhu-lin-xian-zi-tu-liu-guan-dao-232255","竹林仙子图","这一张古画比较奇怪，奇怪的是故事的内容比较特殊，而且是供欣赏者来一起讨论的。作品是元代刘贯道的 《竹林仙子》，作品并不大，但如今被收藏在台北博物馆之中。\n为什么说这一张作品比较奇怪，因为画中仅仅只出现了一个古代仕女，但专家却称这一个仕女有区别当时的画中人物，准确的讲作者想要画的是自己想象中的仙女。\n700年前的一个仙女掉落竹林，古画中的她想飞却又被困住了！\n既然是仙女，为何画中的人物会被困在画里的竹林之中无法飞出去呢？这背后究竟是为什么？我们带着疑问先来看看作品的细节，一起来欣赏一下距今700多年的作品背后究竟作者想要表达什么！\n刘贯道是元代一个著名的绘画大师，而且他的绘画作品尤其是擅长于画佛道人物，所以为什么画中人物被称为仙女，这与作者的用意有直接的关系。\n当然他也能画山水、花竹、鸟兽等等。他的作品之中绘画的手法与宋朝文人雅士一样，但其画功非又比一般的画家复杂得多，而且他的存世作品非常少。\n仔细看这一张作品，其实大家可以感受到绘画作者非常的细致，每一处的景色显得非常的精妙，尤其是他笔下有着一种传统的绘画技法，透露着一种浓浓的古典风味。\n整个作品十分的雅，而且清秀的笔锋与颜料的使用都是非常特别。仔细看那一个仙女的衣服，飘逸的感觉真的很到位，就如天宫之中的仙女一模一样。但为什么这一个仙女会落到凡间的竹之中呢？\n首先有网友给出一种解释，那就是不是这一个仙女落到了凡间，而是她亲自下凡后却被凡间的某一些东西给吸引住了。作者在绘画的时候让仙女的眼神落在了地上的鲜花上面，可能是凡间的花朵吸引住了她，也可能这一些鲜花在天宫之中就没有，美女爱花这一个观点就融入到作品之中。\n仙女被仙花吸引住了，所以她独自下凡就是为了多看几眼鲜花。仙女的姿势是有向后飞的意思，衣服的飘带也是呈现一种动起来的姿态，而仙凡看着花果，估计也就是被鲜花给吸引住了。\n不得不说古人绘画的作品真的够细致，山间有竹林，而竹林之中又有少许的鲜花。一个仙女落入在凡间的树林之中，在鲜花的山间还有一些流水，这样一种诗情画意的画面真妙。\n难怪仙女不愿意离开，估计换成别人落入到如此美景之中也不会想着离开吧",[24,51,7,26,27,28,29,53,278,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b43f6849455cf8800987ffcf55ba5cf.jpg","70×31.4cm",[],{"id":24041,"slug":24042,"title":24043,"dynasty":67,"author":1269,"museum":132,"description":24044,"tags":24045,"thumbUrl":24046,"material":122,"size":122,"collection":122,"collections":24047,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},230905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-dong-qi-chang-230905","仿黄子久 江山秋霁图","此作用淡墨干笔铺写秋江暮色，峰峦以披麻皴轻擦晕染，温润秀拙间带着松弛的苍厚，坡岸林木萧疏错落，留白托出澹澹江水，空寂淡远的秋意漫溢卷间。\n师法前贤却不囿于形，将元人山水的天真简淡，融于自身秀逸松灵的笔致，以禅意入画，寄寓林泉幽隐的文人心境。卷后诸家题跋绵延，以笔墨赓续宋元文脉，尽显晚明文人画的风雅韵致，是师古自化的上乘之作。",[23,7,24,51,25,277,154,73,119,74,75,425,82,79,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae42bf74014b353f5b93fb8e51f870d3.jpg",[],{"id":24049,"slug":24050,"title":1127,"dynasty":18,"author":24051,"museum":132,"description":24052,"tags":24053,"thumbUrl":24054,"material":317,"size":907,"collection":122,"collections":24055,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},230841,"shan-shui-tu-gui-guan-230841","珪观","珪观，唐代画家，代表作有《山水图》。",[7,24,51,768,73,27,75,297,609,28,215,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa92278b55313173802c39eb57a8cf6.jpg",[],{"id":24057,"slug":24058,"title":24059,"dynasty":46,"author":24060,"museum":132,"description":24061,"tags":24062,"thumbUrl":24063,"material":122,"size":122,"collection":122,"collections":24064,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},230219,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230219","十二金钗图轴","张善孖","此作用水墨晕染出秋江暮色，云烟如絮，朦胧苍茫。芦叶以焦墨劲笔写出，苍劲挺拔，烘托出荒寒清寂的秋意。墨虎雄踞丛芦之上，身姿矫健遒劲，皮毛以干湿墨皴擦晕染，将绒质感与猛兽威严相融。它回首远眺，目光沉毅内敛，褪去传统虎画的凶戾张扬，尽显山林王者的孤傲沉静。\n\n题款朱印错落点缀，诗画相映，将虎的英武气度融于秋江暮色之中，以写意笔墨勾勒实景意趣，把猛兽的雄姿化作秋江一景的清寂风骨，笔意兼工带写，借虎抒怀，尽显雅致文气。",[23,24,51,7,52,277,368,6056,5314,279,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6490eb9fd9675d8251e3cf2c0e894455.jpg",[],{"id":24066,"slug":24067,"title":24068,"dynasty":67,"author":181,"museum":132,"description":24069,"tags":24070,"thumbUrl":24073,"material":122,"size":122,"collection":122,"collections":24074,"showCount":39,"zanCount":1065,"manualWeight":40,"mainColor":41},228816,"huo-lang-tu-li-zhou-yi-ming-228816","货郎图立轴","画面里货郎车载满琳琅玩货物什，层层叠叠堆挤着，将巷陌营生的热络尽数铺展。老货郎佝身理货，眉眼带着营生的疲惫，又藏着几分温和。孩童们姿态各异，有的踮脚抬首，目光黏在货架上满是艳羡；有的蹲坐嬉闹，憨态尽显。\n古雅柔润的设色晕开旧时光晕，细劲线条勾勒出鲜活神态，将巷闾烟火日常定格绢素，把市井生计的温热与稚子烂漫揉为一处，意趣盎然，尽得世俗小景的鲜活情致。",[23,7,24,52,27,26,28,11336,1229,860,24071,24072],"童趣","烟火气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa801a280bf7b02f555d2c58bc6d65ee7.jpg",[],{"id":24076,"slug":24077,"title":24078,"dynasty":114,"author":274,"museum":132,"description":24079,"tags":24080,"thumbUrl":24082,"material":122,"size":122,"collection":122,"collections":24083,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},227983,"ze-pan-ji-feng-tu-xia-gui-227983","泽畔疾风图","取景偏于一隅，以少胜多尽显空灵意蕴。坡岸古松欹斜偃蹇，枝叶被劲风催动翻卷，将无形疾风化作可见的动势。滩头渔人躬身急收渔具，在仓促忙乱间把江上风急的冷寂氛围具象化。对岸远山以淡墨晕染，崖顶隐于朦胧间，不着一笔却见江天辽远。留白化作淼淼烟波与空阔长天，以虚代实，寥寥数笔便将骤风起于泽畔的瞬态凝固，把江野的清寂苍劲藏在简淡水墨中，尽显山水小景的写意妙趣。",[7,24,51,768,277,27,75,1059,80,662,73,278,82,20883,24081],"疾风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee58dbb89ce2c636b498ecbaa6feb6ca.jpg",[],{"id":24085,"slug":24086,"title":24087,"dynasty":114,"author":7170,"museum":20,"description":24088,"tags":24089,"thumbUrl":24090,"material":283,"size":122,"collection":122,"collections":24091,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},227750,"feng-yan-zhan-juan-zhao-bo-su-227750","风檐展卷","本幅画傍山临水，庭院湖石点缀，长松修竹环抱，营造出文人理想燕居之室。亭内屏前设卧榻，漆桌上置书卷、瓷瓶、香炉，文士右持羽扇，左倚凭几，神态悠闲；左方仕女二人凭栏而立，右方两童手执茶具，趋步向亭。题签订为南宋画家赵伯骕（1124-1182），对幅书法则为乾隆御题。宋人强调「烧香、烹茶，挂画、插花，四般闲事」（见南宋《梦粱录》）。此帧小扇面，除了反映宋代文人品茶挂画的生活文化，更保留了宋代园林建筑及家具的造型特色，弥足珍贵。",[23,7,24,51,27,26,75,28,81,82,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92817d91df028c880aa3c02bbd0c810.jpg",[],{"id":24093,"slug":24094,"title":13693,"dynasty":114,"author":721,"museum":20,"description":24095,"tags":24096,"thumbUrl":24097,"material":122,"size":122,"collection":122,"collections":24098,"showCount":39,"zanCount":1065,"manualWeight":40,"mainColor":41},227636,"bing-zhu-ye-you-tu-ma-lin-227636","《宋马麟秉烛夜游图》是宋代画家马麟创作的一幅古画。\n\n朦胧的幽雾，伴随着鹅黄的月光，轻轻地降临人间。黝黑的短亭、长廊前，一朵朵犹如淡抹著胭脂、醉卧在绿沙中的海棠花们，深深地吸引着屋内主人的目光。他唤来了仆人，点起了蜡烛；在烛光映衬下，他满足地倚坐于亭内，望著这万重绰约如仙的红颜，看得都痴了。\n\n宋人爱花成痴的傻劲儿，是令人称奇，也令人称羡的。其中，又以素有「花中神仙」之称的海棠，最令宋人钟情、痴狂。海棠激发了宋人赏花的热情，不仅不分晴雨，也不分昼夜。古人燃烛夜赏芳华，或为牡丹，或为梅花；但能令宋人「只恐夜深花睡去，高烧银烛照红妆」的，却独独只有海棠。",[23,7,24,51,634,27,855,77,28,82,75,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35159932efb51b829eecc61539b4cc0.jpg",[],{"id":24100,"slug":24101,"title":24102,"dynasty":114,"author":1216,"museum":132,"description":15287,"tags":24103,"thumbUrl":24104,"material":122,"size":122,"collection":36,"collections":24105,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},227605,"long-mian-shan-zhuang-tu-er-ju-bu-li-gong-lin-227605","龙眠山庄图二（局部）",[23,7,24,51,510,75,28,278,82,5079,2358,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae494a47b809a3618a60d989e4610588.jpg",[36],{"id":24107,"slug":24108,"title":24109,"dynasty":114,"author":310,"museum":132,"description":24110,"tags":24111,"thumbUrl":24112,"material":122,"size":122,"collection":122,"collections":24113,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},227496,"xue-shan-tu-ye-fan-kuan-227496","雪山图页","《雪山萧寺图》是北宋画家范宽创作的一幅中国画。该幅画表现雪中山水的代表作品，构图不同于其他作品。画中山石树木直现于幅前，不留空间，让观赏者觉得有一股寒气袭来的身临其境感。群山簇拥，直指天空，深深的沟壑中，密林隐藏着萧寺，丛岩叠嶂中，“溪出深虚，水若有声”。由近而远堆叠的山峦，“折落有势”，山下寒树苍劲坚挺，势如铁帚，显示出范宽“写山真骨”，“与山传神”的精湛技艺。",[23,7,24,51,100,277,27,73,75,4240,56,1059,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323a384e10f929ca675c2d84c6b715b5.jpg",[],{"id":24115,"slug":24116,"title":24117,"dynasty":114,"author":24118,"museum":132,"description":24119,"tags":24120,"thumbUrl":24121,"material":122,"size":122,"collection":122,"collections":24122,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},227436,"han-lin-ju-qin-tu-gao-dao-227436","寒林聚禽图","高焘","美国克利夫兰艺术博物馆藏《寒林聚禽图轴》，因存名款而传为南宋画家高焘传世仅见的一幅绢本设色花鸟画轴。高居翰认为高焘有可能出仕金源，因此该画现被归为金代绘画作品。而笔者主张的观点是：从无史料证实高焘曾叛降金源，且高焘该画本事，更可能蕴涵有抗金时代征候并具有一定积极政治倾向。",[23,7,24,52,27,102,75,3255,647,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6da4737cf94d671b6dcd49e048fb69f.jpg",[],{"id":24124,"slug":24125,"title":6417,"dynasty":114,"author":24126,"museum":132,"description":24127,"tags":24128,"thumbUrl":24129,"material":122,"size":122,"collection":122,"collections":24130,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},227415,"pan-che-tu-jiang-guan-dao-227415","江贯道","江贯道是北宋时期的画家，他名叫江参，贯道是他的字。 江贯道的山水画风格融合了董源、巨然的画风，擅画远山丛丛，水天一色。 清初的王鉴很喜欢江贯道的画风，临仿了多幅他的作品。 从清初四王的风格来看，他们都有强大的摹古能力，尤其是宋元名家的风格特征已经深深地烙印在他们的作品之中。",[24,7,51,75,27,73,2785,1059,1906,4459,28,297,315,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7232f33445e065218724fbbeadf8b1e2.jpg",[],{"id":24132,"slug":24133,"title":24134,"dynasty":674,"author":2054,"museum":132,"description":24135,"tags":24136,"thumbUrl":24137,"material":122,"size":122,"collection":122,"collections":24138,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},227079,"yu-ren-cheng-ma-tu-ming-mo-ben-han-gan-227079","圉人呈马图（明摹本）","韩斡《 圉人呈马图》，生动地表现了骏马的体态神情，准确、简炼，真实。牧马人的形象也威武生动。从画风来看，牧马人两腮胡须，体格高大肥壮，是为胡人相貌;马匹神骏雄健，属来自西域之品种。在造形上，黑白二马健硕丰满，生动逼真，但在线条的描绘上却是细致流畅。",[23,24,7,51,25,154,27,28,215,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b526faf361dadc7a0848f07e8fe74aa.jpg",[],{"id":24140,"slug":24141,"title":24142,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":24143,"thumbUrl":24146,"material":317,"size":907,"collection":3417,"collections":24147,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},226121,"the-summer-poppy-field-1875-mo-nai-226121","The Summer, Poppy Field, 1875",[7,3410,4035,20868,8960,24144,5013,82,28,8965,8966,137,4731,24145],"笔触灵动","阳光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f20bbfbf4cd1e444441aaf2510ffd5b.jpg",[3417],{"id":24149,"slug":24150,"title":24151,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":24152,"thumbUrl":24158,"material":317,"size":907,"collection":3417,"collections":24159,"showCount":39,"zanCount":1065,"manualWeight":40,"mainColor":62},225866,"verliefde-paartjes-in-het-park-voyer-argenson-te-asnie-res-fan-gao-225866","Verliefde paartjes in het park Voyer Argenson te Asnières",[7,3410,3411,24153,24154,24155,82,5607,4731,198,24156,28,24157,8967],"点彩技法","公园","情侣","雨伞","花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ded1246c4dd49a367c9b025b00469a.jpg",[3417],{"id":24161,"slug":24162,"title":24163,"dynasty":46,"author":1567,"museum":132,"description":24164,"tags":24165,"thumbUrl":24166,"material":122,"size":122,"collection":122,"collections":24167,"showCount":39,"zanCount":1065,"manualWeight":40,"mainColor":41},224518,"shan-shui-tu-ce-8-kai-5-zhang-da-qian-jiu-cang-shi-tao-224518","山水图册8开-5-张大千旧藏","这幅画以板桥通幽开篇，苍虬古木引向临渊茅舍，二人松下晤谈，岸柳轻拂添了灵动生机。远景群峰用枯涩皴笔写就，墨色干湿浓淡交织，于简淡勾勒间见出层峦雄浑之态。\n整幅以笔意载山乡幽怀，将林下隐逸的桃源意趣藏于尺幅。题字纵逸朴拙，与山水笔墨浑然相合，不见雕琢之痕。观之如踏入烟岚溪山，俗虑尽消，尽显笔底丘壑的林下清趣。",[23,7,24,51,100,277,73,75,135,28,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1db64bd599b59aa160742e31ee3c7ca.jpg",[],{"id":24169,"slug":24170,"title":24171,"dynasty":46,"author":15241,"museum":20,"description":24172,"tags":24173,"thumbUrl":24174,"material":283,"size":24175,"collection":106,"collections":24176,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},224117,"kai-tai-shuo-bing-san-yang-kai-tai-tu-juan-qian-long-224117","开泰说并三阳开泰图卷","是清代乾隆弘历的亲笔图，该幅是摹仿收藏于台北故宫博物院明宣宗（1399－1435）与郎世宁（1688－1766）同名之作。该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作",[23,7,24,51,25,277,119,74,118,472,3630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0619277c0f73ea795b19279dee6e8c7f.jpg","27.7×63厘米",[106,286],{"id":24178,"slug":24179,"title":24180,"dynasty":114,"author":181,"museum":151,"description":24181,"tags":24182,"thumbUrl":24184,"material":156,"size":24185,"collection":175,"collections":24186,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},223605,"qiu-lin-fang-du-tu-zhou-yi-ming-223605","秋林放犊图轴","画面描绘了一个男孩在岸边与平坡之间的秋林中给牛溪喂食的场景。 牛肥壮，孩子调皮。",[23,7,24,52,27,26,1647,82,24183,9294,74],"牛犊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c9fbfac81e21e219709419b2fe821c.jpg","96.3＊53.2cm",[175,88,286],{"id":24188,"slug":24189,"title":24190,"dynasty":114,"author":181,"museum":212,"description":24191,"tags":24192,"thumbUrl":24193,"material":250,"size":24194,"collection":122,"collections":24195,"showCount":39,"zanCount":1065,"manualWeight":40,"mainColor":41},223492,"ming-huang-ji-qiu-tu-quan-juan-yi-ming-223492","明皇击球图全卷","图绘十六人击球之场面。画作左右各绘球门一扇，均两人守一门，画中部唐明皇带领后宫佳丽及臣子骑马击球，人物姿态各异，穿着随意，表情喜庆欢乐。旧传为李公麟所作，卷尾有明傅著、吴乾、董其昌等跋，",[23,7,24,51,25,510,28,215,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68798f2e4eb8278bdfe8b44f29281933.jpg","32.1×226",[],{"id":24197,"slug":24198,"title":24199,"dynasty":114,"author":181,"museum":151,"description":24200,"tags":24201,"thumbUrl":24202,"material":217,"size":24203,"collection":122,"collections":24204,"showCount":39,"zanCount":1065,"manualWeight":40,"mainColor":62},223373,"xie-sheng-cao-chong-tu-yi-ming-223373","写生草虫图","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真",[23,7,24,51,26,27,1190,102,199,247,200,17940,485,515,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf81f5379cd474d1d26ba4e587d518bb.jpg","25.9x26.9",[],{"id":24206,"slug":24207,"title":24208,"dynasty":46,"author":14982,"museum":1475,"description":18679,"tags":24209,"thumbUrl":24211,"material":611,"size":18682,"collection":122,"collections":24212,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},222994,"hong-lou-meng-119-sun-wen-222994","红楼梦119",[23,24,26,27,7,14987,28,77,560,398,2626,3097,904,25,14231,24210],"古典服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd67297d39f5aed8cc4677ef2dc3abce.jpg",[],{"id":24214,"slug":24215,"title":24216,"dynasty":46,"author":2636,"museum":20,"description":24217,"tags":24218,"thumbUrl":24219,"material":156,"size":24220,"collection":106,"collections":24221,"showCount":39,"zanCount":1065,"manualWeight":40,"mainColor":41},222797,"xue-dian-diao-tu-lang-shi-ning-222797","雪点雕图","此马是科尔沁郡王诺们额尔图稣图于乾隆八年（公元1743）进贡郎世宁奉命绘制此图。雪点雕真迹2米大估计是采1:1尺寸画下此马，观看雪点雕会有一种大气帝王之相的感觉尤其是炯炯有神的眼神，站姿祥而不燥威而不俗，在十骏中无论是外型或是命名雪点雕都堪称是帝王最爱的珍宝，所以雪点雕被称为帝王之星真是恰如其分。",[23,24,51,7,26,27,215,472,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4f72d5a32ce2413da55c7f05bde973.jpg","94.69-110cm",[106,90],{"id":24223,"slug":24224,"title":24225,"dynasty":67,"author":24226,"museum":20,"description":24227,"tags":24228,"thumbUrl":24229,"material":1061,"size":24230,"collection":88,"collections":24231,"showCount":39,"zanCount":1065,"manualWeight":40,"mainColor":41},222153,"chun-qi-tu-zhou-gu-yi-de-222153","春绮图轴","顾懿德","顾懿德（?～1633后） 明末松江派画家。字原之。华亭（今上海松江）人。明万历时中书舍人顾正谊之子（或说为侄）。家资丰厚，以父遗产银三万两，在青浦营造役田万亩，以成父志，被任为光禄寺署正。\n善画山水，画承顾正谊家传而受董其昌影响，仿王蒙，行笔秀洁，也画大士像。董及陈继儒颇赏之。",[23,7,24,51,52,72,27,75,278,82,78,79,77,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdbc69544851c619a4c424a6721ef6b.jpg","51.7x32.4厘米",[88,90],{"id":24233,"slug":24234,"title":24235,"dynasty":67,"author":181,"museum":24236,"description":24237,"tags":24238,"thumbUrl":24239,"material":677,"size":122,"collection":122,"collections":24240,"showCount":39,"zanCount":1065,"manualWeight":40,"mainColor":62},222151,"fu-hui-xi-yi-ming-222151","赴会西","法海寺","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便拮取其中的一花一叶，其精妙致之绝，直逼故宫所藏宋画团扇。小桥流水，篱笆曲径，瀑布水浪自流于竹蕉山石之下，牡丹荷花盛开于苍松菩提之间，充满了现实生活气息，令人玩味不尽，叹为观止。",[23,24,7,677,678,27,26,28,473,297,82,78,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20a2dd14f9b984c9282b1e6b580095f.jpg",[],{"id":24242,"slug":24243,"title":24244,"dynasty":67,"author":14576,"museum":151,"description":24245,"tags":24246,"thumbUrl":24247,"material":24248,"size":24249,"collection":106,"collections":24250,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},221919,"ji-ming-tu-shan-ye-chen-jia-yan-221919","鸡鸣图扇页","本幅自识：“癸酉八月之望写鸡鸣图。陈嘉言。”按“癸酉”为明万历元年（1573年），时年作者34岁，“八月之望”为八月十五。后钤“嘉言”白方印、“孔彰”朱方印各一方。\n破晓时分，太阳在薄云间隐现，曙色微露。庭院中竹翠欲滴，秋菊清丽，一只雄鸡在草坡上引吭高歌。图中雄鸡用小写意笔法，不以笔锋勾勒形体而以细笔直接写出，笔致细劲松秀，雄鸡的头和背以设色表现，而胸腹和尾部则以墨色的浓淡过渡，写实而又传神。\n雄鸡高歌，唤醒万物，新的一天即将到来。此画的创作时间恰在万历元年，应有恭贺新帝登基改元之意。",[23,24,51,7,768,27,26,1435,53,136,890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a560a78ebd0e570cabb52ad92244d6.jpg","金笺本，设色","纵17厘米，横52.4厘米",[106,90],{"id":24252,"slug":24253,"title":24254,"dynasty":3229,"author":6476,"museum":14162,"description":24255,"tags":24256,"thumbUrl":24257,"material":122,"size":122,"collection":122,"collections":24258,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},220506,"he-du-ye-qu-zhang-da-qian-220506","荷堵野趣","这幅画作以泼墨泼彩晕染荷塘意境，阔大的主荷叶以淋漓墨色铺陈，笔触裹挟雄浑气势，如流云垂落，肆意舒展尽显野趣。留白勾勒的白荷亭亭玉立，花瓣清润雅致，与浓墨荷叶形成强烈虚实对比，淡粉水色晕染池面，朦胧间恍若暮色烟霞漫过塘间。\n\n粗细错落的荷杆撑起画面层次，墨色浓淡铺就荷塘深浅，将盛夏荷塘的蓬勃生机与幽远禅意相融。题字错落排布，文气与画意相映，整体虚实相生，在浓淡开合间，将荷塘野逸雅致的意趣尽数铺展，尽显中式水墨的写意禅味。",[7,24,277,27,52,368,398,399,1178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f536715eecbc62d1e1108ce9d6bcb5.jpg",[],{"id":24260,"slug":24261,"title":24262,"dynasty":46,"author":5268,"museum":151,"description":19416,"tags":24263,"thumbUrl":24265,"material":250,"size":19419,"collection":122,"collections":24266,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},220319,"huang-shan-tu-ce-10-hong-ren-220319","黄山图册-10",[23,7,24,51,497,277,73,100,297,24264,278,82,559,280],"峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03bb8ba29fd6124cedfd526b6e0c2c30.jpg",[],{"id":24268,"slug":24269,"title":24270,"dynasty":293,"author":181,"museum":260,"description":24271,"tags":24272,"thumbUrl":24273,"material":34,"size":122,"collection":36,"collections":24274,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":62},219703,"shi-jia-san-zun-tu-yi-ming-219703","释迦三尊图","苍松倚立，淡墨晕开幽谧禅境。佛陀身着朱红僧衣，圆光朗照，神态沉静安然，缓步徐行，自带庄严祥和之气。身后二尊垂眉敛目，衣袂轻扬，身姿恭柔随行，将佛门肃穆尽显。\n\n设色调和沉静，朱红与素白衣色相映，晕染自然柔和。以简练铁线描勾勒衣纹，兼具骨力与灵动，将衣物垂坠质感尽数展现。淡墨铺陈背景，虚实相生，把出尘禅意融于画面，尽显空灵禅韵风骨，观之便觉心神俱宁，禅意自来。",[24,7,51,52,678,28,27,277,13529,7534,3486,15004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bb449717283920e09413c317b9791.jpg",[36],{"id":24276,"slug":24277,"title":24278,"dynasty":67,"author":10910,"museum":20,"description":24279,"tags":24280,"thumbUrl":24281,"material":27,"size":24282,"collection":36,"collections":24283,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},219313,"ge-hong-yi-ju-tu-ding-yun-peng-219313","葛洪移居图","层岩叠嶂间，飞瀑如练倾泻而下，裹挟着山林的清润之气。近景溪畔，板桥横卧，衣袂飘飘的人物或行或驻，似在细说移居的缘由。林间隐现的屋宇，与苍松翠柏相映，暗合葛洪求道隐逸的仙踪。山石勾勒兼施皴染，线条细劲如丝却力道暗藏，树木葱茏有致，每一片叶、每一根枝都透着工致的匠心。人物神情宛然，动态传神，虽寥寥数笔却尽显仙风道骨。整幅画将山水的幽远与人物的清雅融于一体，笔墨间流淌着文人画的雅致韵致，仿佛能让人嗅到山间的草木香，触到溪涧的清凉，窥见那份超脱尘俗的悠然心境。",[24,7,51,26,27,73,75,28,78,79,77,82,278,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c8046eefcf6f8665afa8c48234b3b0.jpg","49x29.9",[36],{"id":24285,"slug":24286,"title":24287,"dynasty":114,"author":24288,"museum":260,"description":24289,"tags":24290,"thumbUrl":24291,"material":267,"size":122,"collection":106,"collections":24292,"showCount":39,"zanCount":1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菜根长出一株杂草，细长的草茎上栖息着一只蚱蜢。 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×29.8cm",[],{"id":24602,"slug":24603,"title":24604,"dynasty":46,"author":809,"museum":151,"description":24605,"tags":24606,"thumbUrl":24607,"material":250,"size":24608,"collection":122,"collections":24609,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":41},233722,"san-you-tu-xiang-zhou-ren-yi-233722","三友图像轴","任颐的人物画是典型中西结合的代表，人物面部刻画借鉴西洋素描画法，力求形似逼真，而人物服饰却又是中国画典型的“线条”的艺术，或作折芦描或作丁头鼠尾描淡色轻染，清新悦目。\n任颐作画，一般都有画稿，是从生活中观察、写生而成。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品，而且他善于捕捉人物一刹那之间的神情动态，使得造型准确，情态生动，衣纹用笔既能表现形体关系，又有衣褶线条变化的灵动之美，很注意突出衣纹的走势。他画肖像画以家学之法为主，脸部塑造以“没骨”法和以色渲染法打底，关键部位以线强调，衣袍服饰以所学众法为之，或写或工，或墨或线。任颐的肖像画形成了独自的风格，并开拓了全新的境界。\n任颐的花鸟画手法多样，远师北宋，近学徐渭、陈淳、石涛、恽寿平等，博采众长，独出一格，工笔、写意、勾勒、没骨、设色、水墨均能运用自如。他多用湿笔，运用淡墨尤有独到处，他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交融，风格明快、温馨、清新、活泼，极富创造性。任颐的绘画在当时及现代具有极大影响，被认为是“仇十洲（仇英）后中国画家第一人”。\n其实任颐作画是用写意画法去画工笔画，是以工笔画为里，写意画为面，在他的画中既有写意的痛快淋漓，又有工笔画的神形兼备，也就是说，他是将工笔画写意化，而不是将文人画写意化。任颐重新整合了工笔画，开创了写意工笔画风，对后世的影响是极其巨大的。\n这幅《三友图像》作于光绪甲申（1884）年，当时作者已经45 岁，画中有作者自识：“锦堂、风沂两兄嘱颐写照，更许在坐，谓之三友，幸甚幸甚。”有清钟德祥的两句题跋：“不须对月自三人，自有须眉自写真，脱去头巾衣扫塔，似俞清老段祛尘。”“皆僧衣，其有所寄托耶？”\n画中的3 人席地而坐，背后左侧有一圆榻一画筒，画筒里树有书卷画轴，榻上也堆着数卷，寥寥数笔把背景描绘得显露无疑。画中中间坐着的一人为曾凤寄，左向坐的人为朱锦堂（朱锦裳，上海著名书画鉴藏家，九华堂笺扇店主人，为任颐的好友），右向者为任颐自己。画中三人都穿着僧衣。这里面据说还有一段原由：光绪甲申三月为明朝灭亡240年祭，而且当时的晚清政治腐败，社会动荡，所以任颐绘三友图，并且身穿僧衣，脱去头巾，大有书画寄志的深意。画中三人神采自若，志气昂扬，形露于笔端。\n而是继承宋元而又融汇着民间的白描写真和西画的铅笔速写法，显得人体结构比例准确而充实。衣纹多方折，纵横迭出，似山石之皴笔，大有岿然独坐之意。\n任颐在这幅《三友图像》中融入了自己的志气，把那种对社会不满而又无可奈何之气刻画得淋漓尽致。\n任颐（1840～1896 年），初名润，字小楼，后字伯年，别号山阴道上行者、山阴道人，浙江山阴人。其父鹤声，工肖像，所以任颐自幼得其父指授，后移居宁波，师事任熊、任薰。中年定居杭州，以卖画为生。任颐是一个全才型画家，于花鸟、人物、山水无所不精，尤以肖像见长。代表作有《钟馗》、《女娲炼石》、《关河一望萧索》、《苏武牧羊》等。",[7,24,51,52,277,27,28,5523,5522,74,118,119,26,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997cb5d2b0b5987d9282370e10f50eb4.jpg","纵64.5 厘米，横36.2 厘米",[],{"id":24611,"slug":24612,"title":24613,"dynasty":293,"author":1556,"museum":151,"description":24614,"tags":24615,"thumbUrl":24616,"material":342,"size":2021,"collection":122,"collections":24617,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":62},233408,"shan-ju-tu-juan-qian-xuan-233408","山居图卷","作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。",[7,24,51,25,27,75,277,73,118,119,1109,74,78,79,80,81,82,662,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987744740f1b031a82f445c16be438f2.jpg",[],{"id":24619,"slug":24620,"title":3613,"dynasty":46,"author":2636,"museum":151,"description":8362,"tags":24621,"thumbUrl":24622,"material":156,"size":8365,"collection":122,"collections":24623,"showCount":24347,"zanCount":1065,"manualWeight":40,"mainColor":41},232975,"hua-niao-ce-lang-shi-ning-232975",[7,24,51,26,27,8278,102,200,198,711,1180,890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a5b70c75f435968ca94dcef15bf7a87.jpg",[],{"id":24625,"slug":24626,"title":24627,"dynasty":114,"author":1160,"museum":20,"description":13189,"tags":24628,"thumbUrl":24629,"material":250,"size":24630,"collection":122,"collections":24631,"showCount":24347,"zanCount":1065,"manualWeight":40,"mainColor":62},232783,"yang-zheng-tu-juan-yi-liu-song-nian-232783","养正图卷一",[23,7,24,51,25,26,27,855,28,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ba766b8433f57a3fb63e40cb7d3497.jpg","30*322.97厘米",[],{"id":24633,"slug":24634,"title":24635,"dynasty":293,"author":181,"museum":132,"description":24636,"tags":24637,"thumbUrl":24639,"material":122,"size":122,"collection":122,"collections":24640,"showCount":24347,"zanCount":1065,"manualWeight":40,"mainColor":62},231912,"luo-han-tu-di-shi-qi-zun-zhe-yi-ming-231912","罗汉图（第十七尊者）","达摩多罗尊者右手持禅杖，左手持拂子，身背经箧，头罩华盖， 奔走途中，身旁猛虎相随。前方可见无量光佛坐于塔中， 另有粉色祥云前托佛塔，延绵而下至世间， 这种画法来自汉地明代罗汉画像。上界有光芒四射的白度母化现。",[24,51,7,52,26,27,678,28,11161,24638],"衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d2ff6194009c658f1f937824ec5ce2.jpg",[],{"id":24642,"slug":24643,"title":24644,"dynasty":1383,"author":181,"museum":132,"description":24645,"tags":24646,"thumbUrl":24647,"material":317,"size":907,"collection":122,"collections":24648,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":62},231686,"ping-an-shi-dai-hou-qi-fu-nie-pan-tu-er-yi-ming-231686","平安时代后期 佛涅槃图二","佛陀右胁安卧于娑罗双树间，神色静定无波，躯体舒展柔和，尽显圆寂时的超脱淡然。周遭诸天圣众、佛门弟子环伺垂立，或垂首哽咽，或俯身哀恸，神态各异，将天人同悲的沉恸尽数铺陈。\n\n古旧斑驳的底色里，朱红石绿虽已黯淡，仍可窥见昔年设色的厚重庄严。画面以静穆的涅槃之姿，衬以群像的悲恸哀戚，在动静反差间，诠释寂灭的圆满与送别者的不舍，尽显这类题材特有的悲悯与庄严。",[23,24,7,678,27,28,82,84,1059,2785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4255253992ef4343df6460318aa80d0.jpg",[],{"id":24650,"slug":24651,"title":24652,"dynasty":293,"author":1534,"museum":20,"description":24653,"tags":24654,"thumbUrl":24655,"material":121,"size":18058,"collection":122,"collections":24656,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":62},231405,"si-ji-ping-an-tu-li-kan-231405","四季平安图","李衎性情温和淳厚，人不见其喜愠之色，潜心于画，其画风亦较为平淡恬静。他的绘画得到帝王的赏识，曾奉诏图写嘉熙殿壁，并以著色竹画殿堂御屏。\n李衎以画竹著名，他初学王庭筠，后上追文同，又深入南方竹乡进行观察，特别是借出使安南（今越南）之机，详细辨认各种竹子的生性姿态，从中获益甚多。他能画双勾著色竹，又善墨竹，笔法精谨，意态生动，所作竹好取整枝全景，且以风霜雨露等自然气候烘托竹子挺拔刚劲的个性。\n李衎毕生致力于画竹，并著有《竹谱》，分画竹谱、墨竹谱、竹态谱等节，对竹之结构品类、生长规律及画竹源流技法详加探讨，记录其心得，深感想要画艺精湛十分不易。\n李衎强调画竹需深入观察，初学必守法度，久之可达于规矩绳墨之外，切忌信笔涂抹。\n他还分析竹之品类及生长规律，深入浅出地论述画竹方法，如他在“画竹谱”中论及画竹位置上的五忌为“冲天撞地、偏重偏轻、对节排竿、鼓架胜眼、前枝后叶”，“冲天撞地者，谓梢至绢头，根至绢末，陋塞填满者。偏轻偏重者，谓左右枝叶，一边偏多，一边偏少，不停趁者，对节者，谓各竿节节相对。排竿者，谓各竿匀排如窗棂。鼓架者，谓中一竿直，左右两竿交叉如鼓架者。胜眼者，谓四竿左右相差匀停，中间如方胜眼者。前枝后叶者，谓枝在前、叶却在后，或枝叶俱生在前，俱生在后者”。",[7,24,51,52,277,9622,53,136,4863],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa487b54a498557293ce2008ea956aa1e.jpg",[],{"id":24658,"slug":24659,"title":24660,"dynasty":114,"author":181,"museum":20,"description":24661,"tags":24662,"thumbUrl":24666,"material":250,"size":24667,"collection":122,"collections":24668,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":62},231344,"shan-shui-tu-shen-shan-si-he-tu-yi-ming-231344","山水图（深山饲鹤图）","此幅绘山岭复叠，村落参差，茅亭敞榭，作荷塘泛舟，竹院饲鹤诸景。本图深得高远之势，又用郭熙笔法画山石，老树。细观之又与传荆浩的庐山图有一定的图式联系，当是南宋人的山水作品。",[7,24,51,75,52,277,73,24663,1012,24664,17747,13556,24665,138,278,1059,78,79,81],"山岭","茅亭","竹院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88982fae3a7fc957b3ec9227a4bfe95.jpg","172.7x81.4",[],{"id":24670,"slug":24671,"title":24672,"dynasty":67,"author":13613,"museum":132,"description":24673,"tags":24674,"thumbUrl":24676,"material":122,"size":122,"collection":122,"collections":24677,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":62},231016,"ju-shi-ming-qin-tu-li-yin-231016","菊石鸣禽图","《菊石鸣禽图》写山坡之上的奇石旁，秋菊盛开，一枯枝高挑，其上小雀正回头顾盼，呜叫声声。\n画中充分体现了李因笔力雄健苍劲、水墨挥洒淋漓的特点。\n坡面及奇石以淡墨渲染，质感丰富。\n菊花写意生动，用笔酣畅。\n小鸟造型准确，兼工带写，笔法细致。\n《菊石鸣禽图》是中国清代画家 的国画作品。\n该画为立轴，绫本，墨笔，纵129．4厘米，横47．8厘米，旅顺博物馆藏。\n李因（1616—1685），清代女画家。\n字今是，又字今声，号是庵，又号龛山逸史，浙江钱塘（今杭州）人。\n留寓海宁。\n画家葛徵奇之妾。\n她能诗能画，善山水、花鸟，亦工芦雁。\n画得陈淳之法，多用水墨，苍劲无闰阁气。\n其夫每加以题跋，常云：“花鸟我不如姬，山水姬不如我。\n”可见其花鸟画在山水画之上。\n葛去世后，李因以卖画为生。\n有《竹笑轩吟草续稿》存世。\n传世作品有《菊石鸣禽图》、《芙蓉鸳鸯图》等。",[23,7,24,52,277,102,1882,136,24675],"鸣禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3607d5341dc4c30287b5215604dfbf0d.jpg",[],{"id":24679,"slug":24680,"title":24681,"dynasty":67,"author":181,"museum":132,"description":24682,"tags":24683,"thumbUrl":24684,"material":122,"size":122,"collection":122,"collections":24685,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":62},228918,"he-tang-shuang-lu-tu-yi-ming-228918","荷塘双鹭图","画面饱满铺陈，粉荷或绽苞或盛放，枯荣荷叶交错层叠，蒲草芙蕖错落其间，尽显盛夏荷塘的蓬勃野趣。两只白鹭娴静错落，一只昂首远眺，一只曲颈理羽，将幽寂安然的意趣藏在留白里。\n古绢底色晕染出沉雅氛围感，设色柔和雅致，禽鸟素白羽翼与粉荷暖色相互映衬，蜻蜓水鸟掠飞其间，为静谧荷塘添灵动生机。工写兼施，花鸟刻画细致入微，草木晕染写意空灵，将江南水泽的清宁诗意凝于绢素，藏着澹泊闲静的池居幽情。",[23,24,7,51,52,27,26,102,54,399,2291,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d11c6095b8c54fa3490081eeda3ec70.jpg",[],{"id":24687,"slug":24688,"title":24689,"dynasty":293,"author":7543,"museum":132,"description":24690,"tags":24691,"thumbUrl":24692,"material":122,"size":122,"collection":122,"collections":24693,"showCount":24347,"zanCount":1065,"manualWeight":40,"mainColor":41},228174,"ma-tu-ren-ren-fa-228174","马图","此画以淡墨细劲勾勒出马的轮廓，辅以温润晕染烘托出躯体丰腴质感，垂首敛颈的骏马神态温驯悠然。以淡墨点簇晕开斑纹，层次柔润自然，细腻晕染下可见肌理起伏，牵丝勾勒的鬃毛劲挺顺滑，尽显良驹的神俊内敛。浅褐绢面留白衬出马儿松弛沉静的状态，右上角朱红方印古雅沉静，与底色相映成趣。整幅画作工致又不失写意松弛，于简淡笔墨间尽显写实功力，将鞍马温顺沉静的气质刻画入微，尽显古雅清隽的画中逸韵。",[23,7,24,51,26,27,215,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F559e9ea5c261803d6c4da058f76d720c.jpg",[],{"id":24695,"slug":24696,"title":7542,"dynasty":293,"author":7543,"museum":132,"description":24697,"tags":24698,"thumbUrl":24699,"material":122,"size":122,"collection":122,"collections":24700,"showCount":24347,"zanCount":1065,"manualWeight":40,"mainColor":993},228173,"ren-ma-tu-juan-ren-ren-fa-228173","此卷绘三匹神骏，或昂首徐行，或垂目安步，筋骨肌理刻画入微，膘肥体健，神骏之态毕现。牵马者神情各异，衣冠服饰线条劲挺流畅，设色雅致沉稳，将人物的身份气度描摹得鲜活自然。\n\n画作写实精妙，比例精准，尽显创作者观察细致、笔力深厚。搭配的题字笔墨酣畅，与绘作相映成趣，整卷古意悠然，将人马之间的呼应刻画得浑然天成，尽显鞍马人物画的高古雅致风韵。",[23,7,24,51,25,26,27,28,215,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27670cfe79fb7e698f1516afb9d52f7.jpg",[],{"id":24702,"slug":24703,"title":24704,"dynasty":293,"author":10087,"museum":20,"description":24705,"tags":24706,"thumbUrl":24707,"material":736,"size":24708,"collection":122,"collections":24709,"showCount":24347,"zanCount":1065,"manualWeight":40,"mainColor":62},228080,"yan-bo-yu-le-tu-tang-di-228080","烟波渔乐图","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[23,24,51,7,75,27,73,662,80,661,3374,28,82,278,435,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d088d56e193089f1d069008aa3898d9.jpg","纵160.1 横106.2 公分",[],{"id":24711,"slug":24712,"title":24713,"dynasty":293,"author":7910,"museum":132,"description":24714,"tags":24715,"thumbUrl":24718,"material":122,"size":122,"collection":122,"collections":24719,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":62},228077,"zhong-kui-ye-you-tu-yan-hui-228077","钟馗夜游图","此作用铁线游丝般的白描铺陈夜游盛景，开篇主角被鬼卒前呼后拥，伞盖高张、锣声隐隐，群鬼或扛矛开道、或携琴捧酒，狞怪形貌下藏着憨拙灵动的神态。画师以刚柔相济的墨线，勾勒出鬼物各异的怪谲身形，将幽冥出行的诡谲，化作带市井烟火气的诙谐游行。没有浓墨重彩，仅以枯淡墨痕衬出清冷幽冥的氛围感，把搜神题材的森然消解为戏谑意趣，尽显笔底奇思与线描功力，让这场夜游跳出幽冥的可怖，鲜活如人间市集的巡行。",[23,7,24,51,25,510,277,28,1048,24716,24717],"武器","动作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c9e76964e6d5a4befe37e1f51e3f10.jpg",[],{"id":24721,"slug":24722,"title":24723,"dynasty":114,"author":3845,"museum":132,"description":24724,"tags":24725,"thumbUrl":24726,"material":122,"size":122,"collection":122,"collections":24727,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":62},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 伏生授经图\u002F王维（传） 八公图\u002F陈闳（传） 文苑图\u002F韩混（传） 五牛图\u002F韩洗（传） 簪花仕女图\u002F周防 真言七祖·不空像\u002F李真 \u002F佚名 \u002F佚名 二观世音菩萨像\u002F佚名 高逸图\u002F孙位 雪景行旅图\u002F荆浩（传） 琉璃堂人物图\u002F周文矩 后主观棋图\u002F周文矩 宫中图卷\u002F周文矩 十六罗汉图\u002F贯休（传） 夏景山口待渡图\u002F董源 龙宿郊民图\u002F董源 潇湘图\u002F董源 二祖调心图\u002F石恪 晴峦萧寺图\u002F李成 读碑窠石图\u002F李成 寒林骑驴图\u002F李成（传） 明皇避暑宫图\u002F郭忠恕（传） 渔父图\u002F许道宁 聚猿图\u002F易元吉 调马图\u002F郝澄 窠石平远图\u002F郭熙 湖庄消夏图\u002F赵令穰 \u002F李公麟（传） 文会图\u002F赵佶 五色鹦鹉图\u002F赵佶 翠竹双禽图\u002F赵佶 听琴图\u002F赵佶 清明上河图\u002F张择端 睢阳五老图\u002F侠名 晋文公复国图\u002F李唐（传） 山水图（二幅）\u002F李唐 潇湘奇观图\u002F米友仁 林峦积翠图\u002F江参 前赤壁图\u002F杨士贤（传） 四季牧牛图\u002F阎次平 ……",[23,24,7,51,25,277,73,75,82,78,79,80,278,81,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db37cffb87548402a787e2be5270f2.jpg",[],{"id":24729,"slug":24730,"title":24731,"dynasty":114,"author":878,"museum":132,"description":24732,"tags":24733,"thumbUrl":24734,"material":122,"size":122,"collection":122,"collections":24735,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":62},227829,"wen-dao-tu-ma-yuan-227829","问道图","《明戴进洞天问道图》是明朝画家戴进创作的绢本设色画。\n描绘了深山大川、弥散的云气、 的青松、激荡的水流等山中之景。\n作品现藏于 。\n此图描绘 黄帝至 向 问道的故事。\n画面左侧峰峦突起，直入云霄，右侧古松茂蔚，老干虬枝。\n山谷险道上，身着衮服的皇帝孤身赴洞天问道。\n山石用斧劈皴，人物作琴弦描。\n设色淡雅。\n画风学南宋[画体]而又有元人秀劲的特色，为戴氏前期比较精微优美的佳构。\n画中署有[同郡戴文进为德宣卿友制]。\n后钤[钱塘戴氏文进]、[文进]二。\n此画笔法劲秀，描写精工，皴染淹润，着色清淡，画面境界有一种神秘幽渺之感。\n整幅作品皴法繁密，有条不紊，理在其中，深远之处用墨稍重，皴擦紧密，传达出了空间深远之感。\n图中山谷险道通往洞天，左侧峰突兀，右边长松茂蔚。\n山石用斧劈皴，人物作琴弦描，结构严谨，笔法秀劲，系南宋院体画法，属于 前期比较精微、优秀的佳作。\n戴进（公元188—1462年），明代画家，《明商录》作名班，学文进，号静庵，父号玉泉山人。\n钱塘（今浙江杭州）人。\n少时作银工，所作钗朵精巧绝伦，以为得以传之久远，后见销银者所熔销之物即出已作，遂改学画。\n神像、人物、走善、花果，翎毛俱精绝。\n所作山水，师马远，夏理，并取法轮照、李唐，俱道劲苍洞，行管顿挫多变，设色敷积沉重出严。\n宜宗时与谢廷循等同为待识，因进绘朱农人垂钓而遭谗。\n放归穷死。\n世评戴进为“浙派”之祖，明朝画流第一。\n传世作品有《春山积翠图》轴、《南屏雅集图》卷等。",[23,7,24,51,277,510,27,28,1906,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe614a528d695d5f88bfee95f233c5e03.jpg",[],{"id":24737,"slug":24738,"title":24739,"dynasty":114,"author":878,"museum":132,"description":24740,"tags":24741,"thumbUrl":24742,"material":122,"size":122,"collection":122,"collections":24743,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":62},227827,"fang-gu-qiu-dao-tu-ma-yuan-227827","访古求道图","此作截取林苑一隅，老梅虬枝盘曲如铁，繁花密缀其上，冷香暗涌。古松倚侧挺健，苍郁沉雄。策杖雅士缓行林间，仆从悄然随行，衣袂轻扬间，尽显萧散古雅的林下风致。\n\n笔墨洗练刚劲，以硬屈的线条勾勒枝干，尽显枯木的苍古之态，梅花晕染清润素雅，淡设色晕染出幽寂清寒的氛围，将林泉访古的幽怀雅趣融于边角取景中，简淡空灵，带着清寂悠远的韵致，尽显南宋院体画的精妙功力。",[23,7,24,51,27,73,28,75,383,2785,1059,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe844b4a474880c32edeb6e516001d511.jpg",[],{"id":24745,"slug":24746,"title":4839,"dynasty":114,"author":631,"museum":132,"description":23533,"tags":24747,"thumbUrl":24748,"material":122,"size":122,"collection":122,"collections":24749,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":62},227741,"huo-lang-tu-li-song-227741",[23,7,24,51,768,26,27,28,55,135,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad1a42842dd503cd32e68b5bd50644a.jpg",[],{"id":24751,"slug":24752,"title":24753,"dynasty":114,"author":24754,"museum":132,"description":24755,"tags":24756,"thumbUrl":24757,"material":122,"size":122,"collection":122,"collections":24758,"showCount":24347,"zanCount":541,"manualWeight":40,"mainColor":41},227639,"bi-tao-yi-shi-tu-ye-ma-shi-rong-227639","碧桃倚石图页","马世荣","《碧桃图》页，宋，纨扇页，绢本，设色，纵24.8厘米，横27厘米。\n\n本幅无款。钤鉴藏印“于”、“腾”、“阿蒙精赏”3方。\n\n图中盛开的碧桃红白相映，枝叶扶疏，娇柔妩媚。虽然画面上仅绘桃花两枝，但它的繁花簇簇、苞蕾盈枝则透露出浓郁的春意。花瓣用多变的细线条勾描后再以白粉或粉红色多层晕染，嫩叶用细红线勾轮廓和叶筋，然后填以花青和汁绿。整幅画面赋色淡雅，自然生动，体现了宋代册页画小中见大的风貌。",[23,7,24,51,100,27,26,102,76,56,119,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbefa1115cc37dbd7d4d25f6ff030e.jpg",[],{"id":24760,"slug":24761,"title":24762,"dynasty":114,"author":181,"museum":132,"description":24763,"tags":24764,"thumbUrl":24765,"material":122,"size":122,"collection":122,"collections":24766,"showCount":24347,"zanCount":1065,"manualWeight":40,"mainColor":41},227384,"ke-si-mu-dan-tu-ye-yi-ming-227384","缂丝牡丹图页","宋代尤其南宋是纯欣赏性缂丝诞生的摇篮，宋代缂丝，设色典雅，技术精巧，表现手法写实，是缂丝的黄金时代。纵观宋代帝王诸如仁宗、神宗、徽宗、高宗、光宗、宁宗等，他们都对国画有不同程度的兴趣，出于审美心理和装点宫廷的需要都很重视宫廷画院建设，北宋时还曾一度设立画学，尤其是徽宗赵佶，其工笔画及独创书法“瘦金体”（图1-3-3-1，赵佶《闰中秋月诗帖》，现藏北京故宫博物院）体现了他作为艺术家的杰出才能和修养。上行下效，宋代文人士大夫创作、收藏、品鉴艺术品蔚然成风，不少文人在艺术实践的题材、形式及审美旨趣上都有自己的独特见解和品位。",[23,7,24,51,634,768,1034,27,102,103,200,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17764363065a04d11b9b2bb3a5d41b69.jpg",[],{"id":24768,"slug":24769,"title":24770,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":24771,"thumbUrl":24772,"material":317,"size":907,"collection":3417,"collections":24773,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":62},225749,"garden-at-arles-july-1888-fan-gao-225749","Garden at Arles July 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一条河湖将两岸隔开，湖水完全自成一体。 这幅画中，山用墨画，层次分明，树用墨点画，浓密有序。",[23,7,24,51,277,73,75,78,79,80,56,1059,559,278,82,5232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5bf882dd511bb4cc7690b62fdb3aef.jpg","43.6x66.",[],{"id":24811,"slug":24812,"title":24813,"dynasty":67,"author":10910,"museum":20,"description":24814,"tags":24815,"thumbUrl":24816,"material":250,"size":24817,"collection":122,"collections":24818,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":41},222380,"shi-ba-luo-han-tu-ding-yun-peng-222380","十八罗汉图","该幅白描画十八罗汉，手中分持柱杖、念珠、如意、麈尾、金刚铃等，或行或坐。人物形貌有别，姿势各殊，生动自然。衣纹细劲流畅，并略施墨染，表现立体感。面目轮廓、须眉发丝，用笔纤细如缕，柔韧有力。由此观之，丁氏之作诚如画史所言，“丝发之间，而眉睫意态毕具”。",[23,7,24,51,25,678,510,277,28,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d1bfea05cbdf8b3e027a1ccd7d4949.jpg","该幅28.9x372.3公分",[],{"id":24820,"slug":24821,"title":24822,"dynasty":293,"author":14620,"museum":20,"description":24823,"tags":24824,"thumbUrl":24827,"material":100,"size":24828,"collection":122,"collections":24829,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":41},221803,"jiang-xiang-qiu-wan-juan-li-shi-xing-221803","江乡秋晚卷","此卷画江村平远景色，近处树石掩映，矮屋傍崖。远处行人骑马渡桥，汀渚处处，渔舟往还。石用长皴，山头石间苔点繁密。画幅透视呈现前后高低不同的两个水面，至为奇特。",[23,24,7,25,497,277,75,17352,24825,78,863,215,433,24826,79,73,118,74,3037],"矮屋","汀渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941d89f7717939388ed4acf286c77356.jpg","该幅31x117.4公分",[],{"id":24831,"slug":24832,"title":24833,"dynasty":114,"author":8626,"museum":212,"description":24834,"tags":24835,"thumbUrl":24836,"material":1582,"size":24837,"collection":122,"collections":24838,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":41},221199,"zi-zuo-shi-juan-quan-juan-di-er-duan-lu-you-221199","自作诗卷（全卷）第二段","陆游《自作诗卷》全卷长达7.01米，共写诗八首，题为《记东村父老言》、《访隐者不遇》、《游近村》、《癸亥初冬作》、《美睡》、《渡头》和《杂书》二首。这些诗都是陆游自己创作的，而且每首诗都反映了作者怡然自得的田园生活，再配以飘逸、潇洒的书法表现出来，可以说将诗人的情感和诗的意境都体现得淋漓尽致。",[23,7,24,51,25,119,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabd787697f329c54f001fda4d3482ba4.jpg","31*7017cm",[],{"id":24840,"slug":24841,"title":24842,"dynasty":67,"author":1269,"museum":20,"description":24843,"tags":24844,"thumbUrl":24850,"material":250,"size":24851,"collection":123,"collections":24852,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":41},220924,"lin-zhang-xu-lang-guan-bi-ji-dong-qi-chang-220924","临张旭郎官壁记","董其昌《临张旭郎官壁记》轴，本轴钤“大宗伯印”，当作于崇祯五年（一六三二）应宫詹大宗伯之召后。董其昌好杂临诸家，独造奥妙，求其神似于不似间。本幅节临唐张旭郎官壁记，略得张书笔法精严之意，结体沉稳，运笔生动，表现出晚年本色书风。",[23,7,24,51,52,119,154,4654,3387,24845,24846,118,24847,1205,24848,24849],"文人书法","行草","文人书画","书体","临帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb85363d9050f5e44bad0a64256d7eb05.jpg","161.2x54.9",[123],{"id":24854,"slug":24855,"title":24856,"dynasty":67,"author":1269,"museum":6466,"description":24857,"tags":24858,"thumbUrl":24859,"material":100,"size":24860,"collection":122,"collections":24861,"showCount":24347,"zanCount":40,"manualWeight":40,"mainColor":122},220749,"fang-ge-jia-shan-shui-7-dong-qi-chang-220749","仿各家山水-7","近景苍松虬曲古拙，针叶层叠如盖，旁侧杂木疏朗灵动。中景水面渔舟错落，渔人隐于舟间，似在休憩闲坐。层岩以干笔淡墨皴擦，山峦起伏间林木簇生，墨色浓淡晕染出山峦向背。远景峰峦以淡墨轻描，融于空蒙烟波，留白尽显湖山悠远空寂。\n\n全作用笔松秀空灵，简淡中饱含苍润意趣，脱略具象形态而独取山水神韵，将平淡天真的文人意境藏于虚实笔墨之间，尽显萧散简远的山水格调，寥寥笔墨铺展出清雅绝尘的林下幽居之境。",[23,7,24,51,75,277,73,154,74,82,278,84,79,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa816efc8ede313cf979ab484ec12fee.jpg","30.5 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《丽则遗音》《复古诗集》等近二十种。\n书法以行草最工，笔势岩开，有“大将班师，三军奏凯，破斧缺牖，例载而归”之势，传世作品有楷书《周上卿墓志铭》，行书《张氏通波阡表》《真镜庵募缘疏卷》《鬻字窝铭》《城南唱和诗卷》《元夕与妇饮诗》、草书《梦游海棠城诗卷》《竹西草堂记卷》《致理斋尺牍》《晚节堂诗》《沈生乐府序》等，其余墨迹则多见于书札及书画题跋之中。",[7,24,51,75,277,73,118,119,74,1059,78,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cf89c0a69b3ee926f600580cf3131eb.jpg",[],{"id":24937,"slug":24938,"title":15142,"dynasty":293,"author":1556,"museum":132,"description":15143,"tags":24939,"thumbUrl":24940,"material":317,"size":907,"collection":122,"collections":24941,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":41},290934,"lan-ting-guan-e-tu-qian-xuan-290934",[23,7,24,25,72,27,26,75,81,82,53,4313,28,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8744c94812f8aa13025d9c4a895ac31.jpg",[],{"id":24943,"slug":24944,"title":24945,"dynasty":67,"author":181,"museum":132,"description":24946,"tags":24947,"thumbUrl":24948,"material":317,"size":907,"collection":122,"collections":24949,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":62},290807,"xi-yuan-ya-ji-zhou-yi-ming-290807","西园雅集轴","此作以全景铺展雅集盛景，远景层峦用淡墨晕染，山势逶迤清旷，衬出郊野幽远底色。庭园内回廊错落，松石茂林点缀其间，芭蕉苍松分置各处，晕染出雅致的林泉氛围。\n画中人物各得其所：亭下围坐清谈，池畔展卷品赏，林间挥毫题咏，衣袂舒展，神态悠然生动，尽得文人士子从容风流。设色调和古雅，绢本沉郁底色托出工细笔致，将雅集的闲情逸致融于山水亭台之间，笔致工丽却不失灵韵，复刻出千古流传的林下雅会，尽显文心雅致与古典意趣。",[7,24,52,27,26,855,28,77,75,53,81,3097,2825,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0294fa54610df6db4182742c6ecb128a.jpg",[],{"id":24951,"slug":24952,"title":24953,"dynasty":114,"author":4389,"museum":20,"description":16981,"tags":24954,"thumbUrl":24955,"material":666,"size":24956,"collection":122,"collections":24957,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":62},290503,"chun-shan-tu-zhou-zhao-bo-ju-290503","春山图轴",[7,24,51,52,72,27,75,78,79,80,77,81,82,865,74,118,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60cd9de5152330c716e91a6b2be9c36.jpg","89.5x32.3",[],{"id":24959,"slug":24960,"title":24961,"dynasty":67,"author":17482,"museum":132,"description":24962,"tags":24963,"thumbUrl":24964,"material":317,"size":907,"collection":122,"collections":24965,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":41},290353,"hua-zhong-kui-zhou-qian-gu-290353","画钟馗轴","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. 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描摹尽致。\n此作用水墨晕染，淡墨铺陈空濛虚境，浓墨提点松干皴纹与猴身绒毛，虚实相生留白悠远。笔意兼顾工细与写意，灵猴造型写实鲜活，古松勾勒纵逸老辣，以松猴林下之姿，晕染出悠然出世的林泉雅韵，尽显幽寂澹远的文人意趣。",[24,51,52,7,277,73,26,697,6290,278,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c4b47cdaf4cc40984d772c5d1dfb952.jpg",[],{"id":25109,"slug":25110,"title":2207,"dynasty":46,"author":2922,"museum":132,"description":7364,"tags":25111,"thumbUrl":25113,"material":317,"size":907,"collection":122,"collections":25114,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":41},238888,"hua-hui-ce-dong-gao-238888",[7,24,51,100,27,26,102,198,25112,339],"绣球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab128a6053d03c4e74e4f9bf31553a5.jpg",[],{"id":25116,"slug":25117,"title":25118,"dynasty":46,"author":2922,"museum":132,"description":10199,"tags":25119,"thumbUrl":25121,"material":122,"size":122,"collection":122,"collections":25122,"showCount":404,"zanCount":1065,"manualWeight":40,"mainColor":41},238375,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238375","董诰延春荟彩图册",[24,51,7,100,27,26,102,25120,1282,340,1095],"黄花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff5895b5249671caf851158c42e1e27.jpg",[],{"id":25124,"slug":25125,"title":2207,"dynasty":46,"author":2922,"museum":132,"description":7364,"tags":25126,"thumbUrl":25127,"material":317,"size":907,"collection":122,"collections":25128,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":41},238352,"hua-hui-ce-dong-gao-238352",[7,24,51,100,27,26,1882,198,1821,339,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b5a66add4c45d8079f31aa0ed45868.jpg",[],{"id":25130,"slug":25131,"title":8213,"dynasty":46,"author":494,"museum":151,"description":25132,"tags":25133,"thumbUrl":25134,"material":834,"size":12684,"collection":122,"collections":25135,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":41},234845,"shan-shui-zhou-wang-shi-min-234845","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[7,24,277,52,75,73,297,135,609,559,280,281,313,425,429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d58442ca928e49e5aad06b4764cbc2.jpg",[],{"id":25137,"slug":25138,"title":1056,"dynasty":46,"author":24016,"museum":132,"description":25139,"tags":25140,"thumbUrl":25141,"material":122,"size":122,"collection":88,"collections":25142,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":41},234638,"shan-shui-ce-cha-shi-biao-234638","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,51,7,100,277,27,75,135,136,298,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d726fef1640e5e482b9d8d3b16c206.jpg",[88],{"id":25144,"slug":25145,"title":14299,"dynasty":46,"author":25146,"museum":151,"description":25147,"tags":25148,"thumbUrl":25149,"material":156,"size":122,"collection":122,"collections":25150,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":41},234321,"hua-hui-tu-ce-fan-ting-zhen-234321","范廷镇","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n恽寿平一生不应科举，以卖画为生，出于职业竞争的考虑，恽寿平并不太愿意让别人看见他如何作画。即使这样，恽寿平的亲传弟子也不少，如马元驭、范廷镇、张伟、董瑜等。\n马元驭、范廷镇与恽寿平最为接近，最能得恽南田没骨写生花卉之神髓，他们的个别作品甚至可以达到乱真的地步，此二人也是恽寿平的主要代笔人。特别是范廷镇，包括书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。\n欣赏两个故宫博物院收藏范廷镇的花卉册，如果我们不标注是范廷镇所作的话，只看画面，几乎都会认为是出自恽寿平的手笔吧！",[7,24,51,100,27,26,102,198,263,355,13465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fba9e1c7136d082dedd8cbbd3c97b2.jpg",[],{"id":25152,"slug":25153,"title":25154,"dynasty":67,"author":25155,"museum":132,"description":25156,"tags":25157,"thumbUrl":25158,"material":736,"size":122,"collection":122,"collections":25159,"showCount":404,"zanCount":1065,"manualWeight":40,"mainColor":62},234164,"nan-ping-yan-yu-tu-juan-zhou-han-234164","南屏烟雨图卷","周翰","[明]工山水。北京故宫绘画馆有嘉靖三十四年（一五五五）所画南屏烟雨图卷，绢本，似王巩而秀润，云烟烘染尤妙。《榆园画志》",[23,7,24,51,25,27,73,75,77,78,79,80,81,84,82,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6585ae0baa2edac4fe97f120f7e3f49d.jpg",[],{"id":25161,"slug":25162,"title":25163,"dynasty":46,"author":1567,"museum":151,"description":25164,"tags":25165,"thumbUrl":25166,"material":25167,"size":25168,"collection":122,"collections":25169,"showCount":404,"zanCount":1065,"manualWeight":40,"mainColor":41},233424,"yuan-ji-shan-shui-ce-shi-tao-233424","原济山水册","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[7,24,51,100,277,73,74,75,297,279,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b281a289ed6ab616f64e10b152cd89.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":25171,"slug":25172,"title":25173,"dynasty":114,"author":181,"museum":132,"description":25174,"tags":25175,"thumbUrl":25176,"material":122,"size":122,"collection":122,"collections":25177,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":41},231078,"liu-tang-fan-yue-yi-ming-231078","柳塘泛月","薄月垂悬柳梢，清辉漫过塘面，晕开一怀夏夜幽寂。柔枝垂柳以淡墨晕染，如烟似雾，将塘岸晕染成朦胧一片。青碧莲叶错落水面，随波轻漾。\n\n扁舟缓行于莲间，舟上仕女姿态悠然，或凭舷凝望月色，或斜卧舟中静享晚风，侍女垂立身侧，动静之间，将夜游的闲雅意趣缓缓铺陈。\n\n画作以没骨晕染写就景致，墨色柔润层次分明，浅淡设色清雅和谐，以尺幅小景承载起清远疏淡的意韵，将闲逸的审美心境融于笔底，尽显小品画的隽永悠然。",[7,24,51,768,27,26,28,2626,2292,1570,664,399,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d348506c30be231f405f138a860f593.jpg",[],{"id":25179,"slug":25180,"title":25181,"dynasty":67,"author":25182,"museum":132,"description":25183,"tags":25184,"thumbUrl":25185,"material":122,"size":122,"collection":122,"collections":25186,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":41},228394,"hua-die-cao-chong-ce-du-da-cheng-228394","花蝶草虫册","杜大成","此作用水墨写意绘就花枝蛱蝶，淡墨晕染花瓣，晕出柔润层次，浓墨点醒花心，叶片以干湿浓墨分出阴阳向背，笔致写意率性却不失草木姿态，枝条挺秀舒展，暗含生机动人。\n\n一旁蛱蝶用工笔勾勒，翅脉纤毫毕现，蝶翼轻颤欲落，与写意花木形成工写对照，动静相生。画面留白疏朗雅致，将蛱蝶翩跹之灵与花枝清逸之静相融，尽显简淡清隽的意趣，笔墨简而意态足，晕开春日草木的悠然生机，尽显雅致风神。",[23,7,24,277,100,102,200,263,199,510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33dea1476444c732f0df93615d5f9095.jpg",[],{"id":25188,"slug":25189,"title":25190,"dynasty":293,"author":4666,"museum":20,"description":25191,"tags":25192,"thumbUrl":25193,"material":121,"size":25194,"collection":122,"collections":25195,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":62},228160,"song-ting-hui-you-tu-zhou-wang-yuan-228160","松亭会友图轴","图绘松峙岸边，亭安水上，其中一主一客，另五舟泛于江面。用笔老辣而含蓄，笔笔札实，无一犹豫之处，似可直接宋人。在画面主要位置上画有两棵松树，作者表现了它们间紧密相倚之形姿，并拉长了它们的比例，显得挺拔高巍，苍劲古雅，可看出这是作者借松而喻画中双友之意图。背景以江水相衬，近处轻舟荡桨，远方风帆数起，江水不尽，空旷无边。既成功地衬托了双松，亦为画面上文人之心境作了渲染。画面不直接表现文友交杯等场面，而是刻画了宴请文友前的忙碌情景，这是作者取意之高妙处。",[23,7,24,51,52,277,73,697,81,28,78,79,80,75,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1fc5cbb064b917c31407c47375fc3a.jpg","纵86.9厘米，横49.3厘米",[],{"id":25197,"slug":25198,"title":25199,"dynasty":114,"author":3845,"museum":132,"description":25200,"tags":25201,"thumbUrl":25202,"material":122,"size":122,"collection":122,"collections":25203,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":62},227986,"yin-yan-fei-pu-tu-jiang-can-227986","阴岩飞瀑图","危崖斜出，古木盘虬扎根崖壁，数道飞瀑破壁而出，訇然落向下方深潭。山石以粗劲短皴勾勒轮廓，苍莽厚重，尽显崖石坚硬荒寒；飞瀑以留白衬墨色，线条劲挺利落，将水流奔涌之势藏在简淡笔墨里。\n\n整幅画作以水墨浓淡铺展山野幽寂，无多余点染，却将空谷间瀑流轰鸣、林壑沉静的氛围感拉满，带着独有的萧散冷逸，于尺幅间尽显磅礴大气，暗合寄情林泉、澄怀观道的文人意趣。",[23,7,24,51,52,277,73,75,313,5861,82,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35d866f71b6edd059218c0e1ba2858e.jpg",[],{"id":25205,"slug":25206,"title":12628,"dynasty":114,"author":274,"museum":132,"description":25207,"tags":25208,"thumbUrl":25209,"material":122,"size":122,"collection":122,"collections":25210,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":62},227982,"xi-yuan-tu-xia-gui-227982","画面以边角取景，右侧老槎盘曲，苔痕苍古，藤蔓附枝斜曳，左侧苍猿长臂勾挂柔条，探身悠荡，圆目灵动，肢体舒展如在乘风嬉游。\n\n以水墨晕染出空茫寒寂的汀渚水岸，淡墨扫出远天荒阔，枯笔勾勒长草随风偃仰，将猿猴的跳脱野趣，融于萧疏冷逸的江天氛围中。简劲洗练的笔墨衬出灵猿鲜活生机，虚实相映间，把山野幽趣藏在淡远空寂里，于尺幅间写尽林皋间自在天真的意趣。",[23,114,24,51,7,277,27,472,6290,135,265,890,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f519ea9d84cee61338c616ca4061ccf.jpg",[],{"id":25212,"slug":25213,"title":25214,"dynasty":114,"author":181,"museum":132,"description":25215,"tags":25216,"thumbUrl":25217,"material":122,"size":122,"collection":122,"collections":25218,"showCount":404,"zanCount":1065,"manualWeight":40,"mainColor":62},227927,"dou-jia-qing-ting-tu-yi-ming-227927","豆荚蜻蜓图","《豆荚蜻蜓图》是宋代佚名画家创作的一幅 设色画，现藏于 。\n此图画面为长圆扇形，绘豆花上栖息一只黄褐色蜻蜒，枝叶微向下垂。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜒的描绘神妙入微。\n画家不仅再现了蜻蜒的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n此图旧传为徐熙所作。\n图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。\n画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。\n枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。\n蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。\n一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。\n画面构图简洁自然，疏密得体。\n画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。\n图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n图右下方押“徐熙”二字伪款，不见于著录。\n本幅鉴藏印有：“徐熙”朱文杯形，另一印不辨。\n注：中国古代书画鉴定组定为宋人画。\n旧题为徐熙所作，押‘馀熙”印。\n押印是否可靠，现今难以证实。\n但此图的画法与画史对徐熙画风的记载颇相吻合，可能是北宋时徐熙画派的画家所作。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜓的描绘神妙入微。\n画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。\n菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙人微。\n蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织．都细微地表现了出来。\n蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。\n从绘画题材及笔墨技巧上看，具有徐熙画的特征。\n《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写。\n”但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。\n此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。\n旧题为徐熙作。\n徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。\n写意出古人之外，自造于妙。\n尤能设色，绝有生意”。\n从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。\n这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。\n豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。\n茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜒尤备极工细，神韵奕奕。\n对花写照的写生功力，令人惊叹。\n色调素雅，变化层次微妙，工写兼施，相映成趣。\n构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。\n不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。\n此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。\n宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思(以景喻理)。",[23,7,24,51,768,26,27,102,7714,247,634,1180,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48eea5d1a6887f57421ffd7e0488a89c.jpg",[],{"id":25220,"slug":25221,"title":25222,"dynasty":114,"author":21516,"museum":132,"description":25223,"tags":25224,"thumbUrl":25225,"material":122,"size":122,"collection":122,"collections":25226,"showCount":404,"zanCount":1065,"manualWeight":40,"mainColor":62},227810,"ji-tu-mao-yi-227810","鸡图","此作截取庭院一角，顽石旁蜀葵抽枝绽蕊，粉花柔媚映着苍润绿叶，野意悠然。下方双鸡情态生动，雄鸡红冠劲翎，身姿轩昂，母鸡羽色温软，俯首似在啄拾草籽，地面散落的细碎石籽与轻软羽屑，将郊居闲趣揉入画面。\n\n设色秀雅清润，禽鸟羽毛晕染细腻，蓬松柔润的质感呼之欲出，花木皴染兼具工致与写意韵致，于细微处见功力。尺幅之间藏尽田家闲逸，以日常小景铺陈出安宁雅致的意趣，笔简意足，淡而有味。",[7,24,51,102,768,26,27,1435,246,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41fd354ac99bbf536f773dfd0824080.jpg",[],{"id":25228,"slug":25229,"title":25230,"dynasty":114,"author":721,"museum":132,"description":19708,"tags":25231,"thumbUrl":25232,"material":122,"size":122,"collection":122,"collections":25233,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":62},227635,"chun-jiao-hui-yan-tu-ye-ma-lin-227635","春郊回雁图页",[23,24,7,51,2613,27,75,84,315,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f17cd983e2e0d63867687a89a84056.jpg",[],{"id":25235,"slug":25236,"title":25237,"dynasty":114,"author":181,"museum":132,"description":25238,"tags":25239,"thumbUrl":25240,"material":122,"size":122,"collection":122,"collections":25241,"showCount":404,"zanCount":1065,"manualWeight":40,"mainColor":62},227339,"ren-zong-hou-zuo-xiang-yi-ming-227339","仁宗后坐像","宋宋仁宗后坐像 絹本62x59 《宋仁宗后坐像轴》是宋代佚名创作的绢本设色画，现藏于台北故宫博物院。 中 文 名 宋仁宗后坐像轴 幅 式 立轴 画作类型 设色画 规 格 纵172．1厘米，横165．3厘米 现收藏地 台北故宫博物院 创作年代 宋代 画作内容 按宋史，宋仁宗先后有两位皇后，一为郭皇后，一为慈圣光献曹皇后，闲郭皂后被废，故可以断定，此幅所绘应是曹皇后肖像",[7,24,26,27,28,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09a26d5229c2e82fec2c77644de85c6.jpg",[],{"id":25243,"slug":25244,"title":25245,"dynasty":1383,"author":25246,"museum":132,"description":25247,"tags":25248,"thumbUrl":25249,"material":122,"size":122,"collection":122,"collections":25250,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":62},226651,"qiu-dong-shan-shui-tu-yi-dong-jing-xue-zhou-226651","秋冬山水图一（冬景）","雪舟","这两幅雪舟所作的《秋景山水图》与《冬景山水图》，原来被视为「夏冬山水」而收藏于京都曼殊院。\n也有学者认为，这原是四幅一组的四季山水图其中之两件。\n《秋景山水图》中，画家自画面左下角画出沿着水流向画面中心弯曲延伸的小径，在路中并安置了正在交谈的两名人物作为点睛之用，接着画了楼阁与远山，表现出着实而明确的空间深度。\n将所有景物集中于画面下方，而上方则是一片广阔的空间。\n这种构图手法，恰与《冬景山水图》形成对称。\n《冬景山水图》中，被白雪覆盖的断崖矗立于画面中央，画中人物在下了小舟后朝楼阁方向走去。\n彷佛倒挂悬垂的断崖强而有力的轮廓线，以及冬天枯干的树木等描写，使人生起一种严寒之感。\n自画面左下角，将岩石、山块等以反时钟之方向配置成螺旋状的构图，让人强烈感觉到一种人为性安排。\n画家有意地利用这种空间架构手法与强烈的笔墨表现相互搭配，营造出画面空间深度。",[23,7,24,5605,52,75,1357,77,647,278,5607,648,73,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61584f354c65070a66b76131d9a88d55.jpg",[],{"id":25252,"slug":25253,"title":25254,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":25255,"thumbUrl":25256,"material":317,"size":907,"collection":3417,"collections":25257,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":479},226078,"the-iris-garden-at-giverny-1899-1900-v2-mo-nai-226078","The Iris Garden at Giverny, 1899-1900 v2",[7,3410,4035,18649,20867,82,5607,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f28a7a695ede07ea5e502d7e171a373.jpg",[3417],{"id":25259,"slug":25260,"title":25261,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":25262,"thumbUrl":25265,"material":317,"size":907,"collection":3417,"collections":25266,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":62},225737,"der-rote-weinberg-fan-gao-225737","Der rote Weinberg",[7,3410,3411,10067,12531,25263,28,9514,25264,2431,559,5013,711],"葡萄园","水道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff190e33e17e48b675a530ece8a60d706.jpg",[3417],{"id":25268,"slug":25269,"title":25270,"dynasty":46,"author":8037,"museum":132,"description":25271,"tags":25272,"thumbUrl":25277,"material":122,"size":122,"collection":122,"collections":25278,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":993},224357,"xiu-zhu-you-ju-tu-yu-zhi-ding-224357","修竹幽居图","《修竹幽居图》是清代禹之鼎创作的设色纸本画。\n本幅右上题“高宗修竹幽居图”，左上款署：“己卯长夏敬绘，十二家恭颂师保相国王老大人千秋，后学禹之鼎。\n”钤“禹之鼎”、“慎斋”印二方。\n己卯为清康熙三十八年（1699年），禹之鼎时年5岁。\n画面上水天空旷，岸边修竹成林，桃花掩映，奇石兀立。\n围栏中建一亭轩，主人慵懒地斜倚在亭内竹椅之上，桌面置一茶壶，身后小童侍立。\n此图房屋、栏杆用笔工细；山石、树木先以墨勾勒轮廓，再用石青、石绿染出；以红色点叶，赭黄色染屋顶；竹子用竖笔绘干，细笔写叶。\n画面布局疏密有致，用笔以写意为主，兼用工笔，轻灵洒脱而又严整，设色清雅鲜丽，意境悠远闲淡，意趣横生。\n禹之鼎（1647——？），字上吉，一字尚基，一作尚稽，号慎斋，江苏江都（今扬州）人。\n其擅长写真，特别是其白描手法，秀媚古雅，当时推为第一，一时名人小像多出其手。",[23,24,7,10210,26,368,27,72,277,75,53,76,734,81,755,278,82,28,25273,25274,25275,25276],"茶壶","闲淡悠远","清雅鲜丽","疏密有致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7477ce1642bae1fe2529bec82050053.jpg",[],{"id":25280,"slug":25281,"title":25282,"dynasty":114,"author":181,"museum":151,"description":25283,"tags":25284,"thumbUrl":25285,"material":611,"size":25286,"collection":175,"collections":25287,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":62},223470,"zheng-ren-xiao-fa-tu-yi-ming-223470","征人晓发图","此为南宋民间风俗画。 茂密的山林中，树木葱郁，远处的树荫下有三间小屋。 农夫在他身后嬉戏，一头驴子站在角落里，扭头看主人忙碌。 远郊一家三口客栈的生活即将浮出水面，形象刻画。",[23,24,7,26,27,855,28,215,559,135,278,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf409b97531dc0d89d051eddaf8a0f4d.jpg","51x68",[175],{"id":25289,"slug":25290,"title":25291,"dynasty":114,"author":181,"museum":20,"description":25292,"tags":25293,"thumbUrl":25294,"material":217,"size":25295,"collection":122,"collections":25296,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":62},223427,"song-ren-pi-pa-yuan-xi-tu-zhou-yi-ming-223427","宋人枇杷猿戏图轴","从画面上来看，枇杷树的枝干上下各一段，并未相接，观赏时却有著相连的感觉，这种画外之意，正是作者别出心裁的安排。而其沈着的用色、劲健的用笔则将树干的扭曲斑剥、树叶的转折、石头的坚硬和猿身黝黑的绒毛表现得栩栩如生，像可以触摸一般。然只生动地画出物象的形貌仍不够，必须掌握其情态，方算传神，因此画中黑猿，挂在枝干上的一只，手尾紧握，好似在荡秋千一般，另一只则悠闲地坐在树干上，和牠相互凝望，情意相系。\n老树擎空，突出画幅，其枝垂挂，复返画中。画幅中的枝干，笔不连而意连，足见画家布局之匠心。一猿攀枝摇荡，如戏秋千。一猿则踞干悠闲旁观，真能得猿猴动息之情。画技精湛，特善用墨，曲尽黑猿毛色之状，树石描绘精采、用色雅正，尤有过人处，是宋无款作品中之巨幅精品。易元吉的猴猫图突显毫芒毕现的用笔功夫，本画则用墨功夫一流。",[23,7,24,51,52,26,27,472,6290,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ef7c2e9e1f091b0edc125c19b59367.jpg","165x107.9厘米",[],{"id":25298,"slug":25299,"title":5517,"dynasty":114,"author":181,"museum":365,"description":25300,"tags":25301,"thumbUrl":25302,"material":156,"size":25303,"collection":122,"collections":25304,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":41},223377,"bei-qi-xiao-shu-tu-yi-ming-223377","《北齐校书图》所绘内容为天宝七年（556年）文宣帝高洋命樊逊等人校勘内府所藏图书的事件。旧传此卷为唐阎立本所作，现多将其归于北齐画家杨子华名下。\n图中三组人物。第一段共七人，其中胡服文士持书卷踞胡床（三国时传入中国的坐具，形制近似于今天使用的马扎），为此段中心；第二段共十人，四文士坐于榻上，婢女、小童伺立榻周，文士中二人校勘书卷，另二人似乎正因意见相左而有所争执；第三段为侍从和牵马的奚奴。\n画中的家具器用、人物服饰皆胡汉杂糅，符合北齐的实际情况。人物面庞呈椭圆形是此卷的鲜明特点，联系到近年来的考古发现，似乎与北齐时期的墓室壁画中人物有同样的特征，因此《北齐校书图》也屡屡为学界引用以论证北齐画风。尽管北齐是一个极短命的王朝，但是越来越多的考古发现证明，在这一时期，艺术呈现出极鲜明的面貌，并很可能影响到唐代的审美趣味。",[23,7,24,51,25,26,27,28,215,30,74,118,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5da306b34154b0d7c31d14521fdcc73.jpg","27.6*114CM",[],{"id":25306,"slug":25307,"title":11167,"dynasty":114,"author":181,"museum":151,"description":25308,"tags":25309,"thumbUrl":25310,"material":217,"size":25311,"collection":122,"collections":25312,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":62},223332,"san-yang-tu-yi-ming-223332","彩绘柳树伞下的气球在坡草间游荡觅食。 蓬松的，富有一定的。 用笔擦干树干，笔变粗。",[23,24,7,51,634,26,27,472,3630,135,136,890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7a68d3cb18be30324ec6098db75923.jpg","21.2x20厘米",[],{"id":25314,"slug":25315,"title":25316,"dynasty":46,"author":14982,"museum":1475,"description":18679,"tags":25317,"thumbUrl":25320,"material":611,"size":18682,"collection":122,"collections":25321,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":41},223031,"hong-lou-meng-156-sun-wen-223031","红楼梦156",[23,7,24,51,25,26,27,855,28,77,8290,2995,755,198,24210,25318,8903,25319],"传统建筑","聚会场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa653142b82fe372c69258835ddd281d8.jpg",[],{"id":25323,"slug":25324,"title":25325,"dynasty":46,"author":2275,"museum":132,"description":3435,"tags":25326,"thumbUrl":25327,"material":834,"size":3438,"collection":88,"collections":25328,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":41},222621,"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2",[23,7,24,51,25,13238,73,277,75,82,278,279,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg",[88,286,123],{"id":25330,"slug":25331,"title":25332,"dynasty":67,"author":619,"museum":212,"description":25333,"tags":25334,"thumbUrl":25335,"material":342,"size":25336,"collection":122,"collections":25337,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":41},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[23,7,24,51,25,277,27,119,118,74,73,1151,81,135,78,79,28,242,278,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":25339,"slug":25340,"title":25341,"dynasty":67,"author":2568,"museum":20,"description":25342,"tags":25343,"thumbUrl":25344,"material":34,"size":25345,"collection":106,"collections":25346,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":62},221938,"fen-bu-tu-zhou-bian-wen-jin-221938","分哺图轴","边文进，字景昭，福建沙县人，生卒年待考。曾供事内殿，活跃于永乐（1403 －1424）、宣德（1426－1435）时期。博学能诗，善绘花果翎毛，延续五代黄筌（约903－965）画风并融入宋代院体传统，为后辈所师法，是明代重要宫廷花鸟画家。本幅设色画公鸡啄蝶并为雏子分食。若与边文进〈三友百禽图〉相较，本幅技法则略显生硬，或系托名之作。",[23,7,24,51,52,26,27,102,1435,12083,53,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c3c15c54cb8caa9e8e73fe6b34e431.jpg","63.7x43.9",[106,90],{"id":25348,"slug":25349,"title":25350,"dynasty":114,"author":2868,"museum":212,"description":25351,"tags":25352,"thumbUrl":25353,"material":611,"size":25354,"collection":122,"collections":25355,"showCount":404,"zanCount":1065,"manualWeight":40,"mainColor":62},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","唐风图卷全卷","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[23,24,7,25,510,277,51,74,75,28,81,82,278,77,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":25357,"slug":25358,"title":19168,"dynasty":114,"author":878,"museum":1417,"description":25359,"tags":25360,"thumbUrl":25361,"material":156,"size":25362,"collection":122,"collections":25363,"showCount":404,"zanCount":40,"manualWeight":40,"mainColor":62},221535,"zhou-ren-xing-tu-ma-yuan-221535","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。 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周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[7,24,51,100,27,28,77,855,118,2044,25547],"儒家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59de6ccc4183cd5bffa173b2eea10d0b.jpg",[],{"id":25551,"slug":25552,"title":6208,"dynasty":114,"author":721,"museum":132,"description":10724,"tags":25553,"thumbUrl":25554,"material":317,"size":907,"collection":122,"collections":25555,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},289454,"shi-liu-la-zui-tu-ma-lin-289454",[7,24,102,26,27,1093,84,1821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316f8844aafa1f77b64073a164171e98.jpg",[],{"id":25557,"slug":25558,"title":12996,"dynasty":114,"author":274,"museum":132,"description":25559,"tags":25560,"thumbUrl":25561,"material":317,"size":907,"collection":122,"collections":25562,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},289374,"dong-ting-qiu-yue-tu-xia-gui-289374","描绘洞庭湖月光下动人的月夜景色，画面上传达出非常幽意、宁静山的辽阔、清幽、深远，营造出广博崇深、雄奇秀丽的画面境界，具有清旷超凡的幽远意境和韵度，体现了当时南宋时期文人“故国”情怀和悲愤之情。同时《洞庭秋月图》是从日本流散到美国的夏圭有关“ 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。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[768,24,51,7,277,27,75,1357,697,383,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449a709d6b85b662301b9381df08858c.jpg",[],{"id":25699,"slug":25700,"title":25701,"dynasty":674,"author":181,"museum":151,"description":25702,"tags":25703,"thumbUrl":25704,"material":156,"size":25705,"collection":122,"collections":25706,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},234066,"zhou-fang-di-guan-chu-you-tu-can-juan-yi-ming-234066","周昉地官出游图残卷","图中地官于辇中微露半面人身，其余侍从、武士步行左右，画风接近《女史箴图》《列女图》一路，笔法古拙，人物造型生动，动作略显夸张，无款印。",[24,51,7,25,678,27,26,28,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9858640caff3d8f2ff702236255cd8.jpg","高24.1厘米，宽51.4厘米",[],{"id":25708,"slug":25709,"title":1056,"dynasty":67,"author":1269,"museum":151,"description":25710,"tags":25711,"thumbUrl":25712,"material":1999,"size":3137,"collection":122,"collections":25713,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},234059,"shan-shui-ce-dong-qi-chang-234059","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[7,24,51,100,27,277,73,75,78,79,81,1059,2785,278,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe54937e35a0b7f230e28239b75157.jpg",[],{"id":25715,"slug":25716,"title":25717,"dynasty":46,"author":17904,"museum":620,"description":25718,"tags":25719,"thumbUrl":25722,"material":2615,"size":25723,"collection":122,"collections":25724,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},232899,"xiao-xiang-feng-zhu-tu-li-zhou-li-fang-ying-232899","潇湘风竹图立轴","李方膺，字虬仲，号晴江，又号秋池，抑园，白衣山人。江苏通州(南通)诸生。先后任山东兰山、安徽潜山、合肥知县，有善政、人德之。以不善逢迎，获罪罢官。寓居金陵借园，自号借园主人。常往来扬州卖画以资衣食，为扬州八怪之一。\n《潇湘风竹图》作于合肥五柳轩，时为乾隆十六年(公元1751年)，作品以秃笔湿墨逆笔取势画风中之竹，通过竹叶的独特造型，表现出狂风大作的动态。画的左下仅晒云:画史从来不画风，我于难处夺天工;请看尺幅潇湘竹，满耳丁东万玉空。\n李方膺常喜欢描绘以风雨为背景的竹石。风是抽象的东西，没有具体的形象，颇难以表现出来的。此画中画家大胆创造，写竹子数根，依于石旁，挺拔修直。\n此画中有粗竹两枝，嫩竹两枝，在狂风中摇曳生姿。主竹挺拔有力，不弯不揖，有参天凌云之气概。整个画面的气势表现在用浓墨、枯墨铺写的枝叶上，所画竹叶不讲成法，秃笔直扫，竹叶画呈扁方状倾斜方向，无叶尖，潇洒随意，尽管风势极强，但枝叶顺风飞扬而不折，透出一种镇静与傲慢。画面中，石与草都是参照物，点染出艰难、恶劣的自然环境。在疾风的鼓荡下，几叶小草已偃伏在地，坚强的石头也似乎极力抗拒，只有劲竹傲立苍穹，岿然不动，片片枝叶都呈现出百折不挠的力量。\n风是抽象的东西，没有具体的形象。画家秃笔直扫，画竹叶扁方状成倾斜方向，有力地表现了疾风的狂肆，作者不但在描绘技法上显得“因难见巧”，而且显示出竹子不畏强风的精神，笔笔枝叶呈现出坚贞不屈的力量。画家通过描绘竹叶的动态变化，有力地表现出疾风的狂吹，使不可见的风有了可视的形象，而且从竹枝飞舞、竹叶相互碰撞中，似乎还可以听到碎琼乱玉的丁东之声，其下笔如风驰雨骤，正像是抒发画家胸中的怒气，正是一种人格的写照。\n板桥之竹如清癯的老者，清淡修整，有超然之态。李方膺则不然，他由于仕途生活中得罪权贵，先后下狱罢官，但从不屈服苟且，这幅画可说是他心境的折射。他的竹宛如在战斗中的猛士，顶天立地，傲岸不屈。他借竹子来抒发情怀，借竹子不怕狂风暴雨、坚韧不拔的品格来自喻。",[23,7,24,51,52,277,368,25720,3195,25721,56,589],"泼墨","风竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5644cd4993b2c84cb1ddba935665f65d.jpg","纵168.3厘米 横67.7厘米",[],{"id":25726,"slug":25727,"title":25728,"dynasty":293,"author":181,"museum":395,"description":25729,"tags":25730,"thumbUrl":25731,"material":250,"size":25732,"collection":122,"collections":25733,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},232257,"cong-ju-tu-yi-ming-232257","丛菊图","《宋人画丛菊图》是宋代佚名创作的一幅画。图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。画风工致细腻，构图丰满，但繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作",[24,7,51,4477,52,27,26,102,242,278,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f51eb89e89e998efcbce918c58e349.jpg","35x36cm",[],{"id":25735,"slug":25736,"title":25737,"dynasty":67,"author":18321,"museum":132,"description":25738,"tags":25739,"thumbUrl":25740,"material":122,"size":122,"collection":122,"collections":25741,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},231944,"qi-que-tu-bian-jing-zhao-231944","栖雀图","边景昭，字文进，明代宫廷花鸟画家。福建延平府沙县（今福建沙县）人，祖籍陇西（今属甘肃）人，生卒年不详。永乐年间（1403-1442）任武英殿待诏，至宣德时（1426-1435）仍供奉内廷。后为翰林待诏，常陪宣宗朱瞻基作画。他为人旷达洒落，且博学能诗。他继承南宋“院体”工笔重彩的传统，其作品工整清丽，笔法细谨，赋色浓艳，高雅富贵。有“花之妖笑，鸟之飞鸣，叶之蕴藉，不但勾勒有笔，其用笔墨无不合宜”之说。边景昭的墨线气力十足，变化丰富，精谨细微，柔韧相宜。\n边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制；",[23,3387,24,51,7,26,27,102,384,1821,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd108c88026e1927f3fdb31455cb6c.jpg",[],{"id":25743,"slug":25744,"title":25745,"dynasty":293,"author":887,"museum":20,"description":25746,"tags":25747,"thumbUrl":25748,"material":611,"size":25749,"collection":122,"collections":25750,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},231384,"yuan-shi-zu-chu-lie-tu-liu-guan-dao-231384","元世祖出猎图","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 [2] 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。所画人和马作各种不同的姿态，转侧俯仰，富有变化。\n《元世祖出猎图》画北方沙漠地带，一片黄沙坡地，景色单调。在沙丘无垠的远方，正有一列骆驼驮队横越。近处人骑数众，或张弓射雁；或手架猎鹰；或绳携猎豹，皆为马上行猎之状。其中骑着黑马、身穿白裘的，应为元世祖，与世祖并驾的妇女，似为帝后，其余八人，应是侍从，其中尚有中亚黑奴一名。这些人中，其中一人正弯弓搭箭，瞄准着空中苍鹰。而其他猎手则顺着世祖身后著红服者所指示的方向，作注目远眺状，像在前方已发现了猎物，他们正蕴酿着纵马围歼的计划。\n《元世祖出猎图》有人物、鞍马、鹰、狗、骆驼等，其中对人物、鞍马刻画尤为详尽。主要人物或许皆由写生肖像而来，老少不一，神情各异，甚至连脸部肤色亦不尽相同。马匹的塑造、除分别敷以黑、白、红、黄、赭、灰等不同色彩外，各马匹姿态亦无雷同者，马之透视变化、结构关系皆合于解剖；元世祖乘骑，虽作原地站立，无大的动姿，但生动雄健，风骠不凡。\n该图取其部分，画家对画面上几十个人物进行了精雕细刻，各尽其态。尤对位于或靠近中央地方的元世祖刻画尤为入微。图中御青马，戴貂冠，着红衣披白裘，脚蹬皮靴，昂然坐在马上者，即是元世祖忽必烈，他侧身远视，气魄雄伟，他的头略微向左偏转，双目凝视远方，坚定而又泰然，和元世祖并辔而立的可能是帝后，她身穿白袍，在坐骑红缨佩饰的映衬下，显得非常优美，和元世祖刚毅伟岸的身姿形成对比。其余四人为猎人，在世祖右侧边上的一人正弯弓搭箭，瞄准着空中苍鹰，而其他猎手顺着世祖身后着红服者所指的方向，作注目眺状。好像在前方已发现了猎物，他们正酝酿着纵马围歼的计划。在前景以及世祖和帝后的两侧共八名侍从，有的腰携箭菔，有的手持猎鹰，有的弯弓寻羽，他们或纵犬、或持矛、或扬鞭，姿态或仰或俯，坐骑盍去不同。背景，远处画得十分简括，一队商旅行驼出没于山丘之中，黄沙浩瀚，朔漠无垠，一派北国风光，顿时使人恍然，如临雄关塞外的辽阔大漠之中。\n画家在此画中充分发挥了线条的表现力量，无论是线条的劲挺与柔和，还是运笔疾迟轻重，皆臻妙境。画幅上的人物、鞍马刻画尤为详尽，老小不一，神态各异，脸部肤色也不同，尤其是元世祖的画像如写生肖像画。马的塑造不仅色彩不同，姿态也不雷同，有的低首啃草，有的站立歇息，有的昂首远望。世祖乘骑的黑马原地站立无动势，但生动雄健，风骠不凡，即对于人物和坐骑的每一个细部， 以及繁复的装饰花纹和细如游丝的马鬃，都交待得一丝不苟， 历历在目。\n构图上，《元世祖出猎图》采用了俯视手法，场面空旷壮观，远处沙丘间，点缀着一列骆驼，增强了画面层深效果。猎队人物聚散、交叠之布局，也生动自然，富有狩猎场面所特有的生活气息。此图画面构图疏密得当，错落有致，人物互相呼应，前景、中景、远景安排得层次分明，画面详略、虚实关系处理得十分成功。\n清初文学家纳兰揆叙：《题元世祖岀猎图》\n至元天子英武姿，校猎每以秋冬期。我今展图如见之，沙漠惨淡移于斯。星斿蔽野虹作旗，厩马既秣车既脂。至尊前行后阏氏，茸帽压顶裘反披。名王部长络绎随，臂弓腰箭千夫驰。北风似弩雪似簁，踆乌匿影顽云痴。鸿鹄纷拏苍隼饥，雉飞入草鹰在枝。银麞缟鹿熊豹麋，狡兔封豕狐与狸。洞胸饮羽血淋漓，焚林捣穴靡孑遗。就中射虎者为谁，引满一发穿其颐。目光磹怒未弛，懦怯乍覩犹惊疑。归来穹庐帟幕施，酪浆湩乳倾金巵。燎毛燔肉土锉炊，琵琶发声羗苗吹。酒酣耳热欢融怡，寒气忽转春迟迟。厥初穷兵辟坤维，乘胜直抵西海湄。于阗乞降迨龟兹，角端示警殊不知。从畋已寓阵法奇，止齐步伐皆得宜。月来日往绵岁时，此画完整无缺亏。偶然浏览浑忘疲，便觉满室生凉飔。壮观咫尺慰所思，何待振策游边陲。\n《元世祖出猎图》不仅是一件出色的人物鞍马画，而且还透露出蒙元时代的社会文化特征。\n蒙元时期出土的服饰实物资料有限，《元世祖出猎图》是研究蒙元服饰的重要艺术参考资料。",[7,24,51,27,26,28,215,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad24bc0e5340dde489652972b9951d3.jpg","纵：182.9公分，横：104.1公分",[],{"id":25752,"slug":25753,"title":25754,"dynasty":114,"author":181,"museum":20,"description":25755,"tags":25756,"thumbUrl":25757,"material":34,"size":25758,"collection":175,"collections":25759,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},231054,"cui-zhu-ling-mao-tu-yi-ming-231054","翠竹翎毛图","《宋人翠竹翎毛图轴》是宋代画作，作者佚名，采用南唐后主李煜金错刀的手法，是一幅花鸟图轴，表达了宋代绘画所谓“写生”的精义。此画幅对生态有着深刻的观察和了解，是一幅形神皆兼的写实作品；在构图上以近景为主，各景物均匀地分布在画面中，具有前后的空间感。这幅画的笔墨质朴，除了部分细枝外，都以先钩轮廓线再填染颜色的“双钩填彩法”画成，行笔有很多起伏提顿的地方，其中以坡石和竹叶的轮廓线最为明显。而竹叶部份，采用特别的颤动式的线条，整体用笔方面，起伏变化较明显，偏向于南宋的风格。",[23,7,24,51,26,27,102,6648,53,84,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551ae374ee32752aeb4c0996f85ae3d1.jpg","185×109.9厘米",[175],{"id":25761,"slug":25762,"title":25763,"dynasty":46,"author":25764,"museum":132,"description":25765,"tags":25766,"thumbUrl":25768,"material":122,"size":122,"collection":122,"collections":25769,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},230889,"xiong-ji-ju-shi-tu-li-shi-zhuo-230889","雄鸡菊石图","李世倬","这幅水墨写意之作，以雄鸡为主体，踞石而立。铁爪紧扣岩块，冠髯抖擞，尾羽如墨色长剑斜斜舒展，笔意纵逸苍劲，以浓淡墨色晕染出羽毛蓬松肌理，寥寥数笔便将雄鸡骄悍英武之态尽显，形神兼备。\n\n旁侧秋菊斜枝而出，墨花点染间浓淡错落，枯涩枝桠衬出晚秋清逸萧疏的意韵，与雄鸡的刚健相得益彰。右上角行书题诗，笔墨与画意相映，添就悠长文人意趣。\n\n整作笔力苍浑兼具秀润，以极简水墨写尽物象风神，将禽鸟野逸与花草清隽相融，借物抒怀，把秋日生机与雄鸡傲骨铺陈纸上，尽显写意花鸟以形写神的妙处。",[23,7,24,51,52,277,102,25767,1882,136],"雄鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4355cfcff03a1ce87b1b057424bf8d.jpg",[],{"id":25771,"slug":25772,"title":25773,"dynasty":46,"author":15742,"museum":132,"description":25774,"tags":25775,"thumbUrl":25776,"material":122,"size":122,"collection":122,"collections":25777,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},230293,"hua-niao-ce-shi-kai-li-shan-230293","花鸟册十开","此作用笔放逸老辣，以泼墨晕染荷叶，浓淡干湿一气呵成，淋漓间尽显叶片舒展厚重的质感。荷花花苞则以焦墨勾边，淡墨晕染花瓣，妍雅秀润，与荷叶的苍劲朴拙形成鲜明反差，寥寥数笔便勾勒出夏荷出尘之姿。\n\n画面搭配题诗与朱印，书画印浑然一体。书法朴拙跌宕，与水墨荷花相映成趣，将文人意趣与花鸟神韵相融，以简驭繁，尽显写意酣畅情致，把荷花清逸风骨与自身疏朗襟怀尽数诉诸笔端，是笔墨性情与物象神韵完美契合的写意佳作。",[24,51,7,100,277,102,398,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2b5537a93897bce1aaae99efc57378.jpg",[],{"id":25779,"slug":25780,"title":25781,"dynasty":46,"author":494,"museum":132,"description":25782,"tags":25783,"thumbUrl":25784,"material":122,"size":122,"collection":122,"collections":25785,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},230181,"xi-shan-gao-yin-shan-shui-tu-wang-shi-min-230181","溪山高隐山水图","此作用笔圆厚松润，以干笔淡墨层层皴染，糅合黄公望披麻皴意趣，山峦层叠间，高远、深远之境兼具。主峰雄踞上端，峦头苍郁厚重，山腹林麓间村落错落，溪谷萦回穿绕，板桥渔隐点缀其间，将山川雄浑与山居恬和相融。\n笔墨苍秀灵逸，皴擦点染井然有序，于淡墨晕染间铺陈出山林的温润郁茂，把隐逸山居的清逸之思寄寓在层叠丘壑之中，平淡天真里藏着静穆悠远的林下之风，是师古而自出机杼的佳构。",[23,24,51,7,52,277,73,75,297,298,135,77,78,437,278,279,1648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],{"id":25787,"slug":25788,"title":21316,"dynasty":67,"author":25789,"museum":132,"description":25790,"tags":25791,"thumbUrl":25792,"material":122,"size":122,"collection":122,"collections":25793,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},228967,"shan-shui-ce-ye-xiao-yun-cong-228967","萧云从","这幅山水取高远、平远二法构景，右侧危崖层叠耸峙，以细劲皴笔刻绘山石嶙峋肌理，古松倚崛崖而生，姿态苍劲奇逸。左侧江流逶迤，洲渚之上林木错落，村居隐于坡岸林麓，野意悠然自生。\n\n设色清浅柔和，以赭石晕染山峦，墨色点苔绘木，淡润雅致间尽显清和。整体意境萧疏旷远，兼具皖南山水的灵秀，又饱含文人隐逸丘壑的静穆意趣，笔致秀雅工丽，将山水自然之美与林下幽居的雅怀相融，观之便如身临幽寂林泉，心神涤荡。",[24,51,7,100,277,27,73,75,278,82,79,80,28,861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fb76240c525618fdf974dbb6774f96.jpg",[],{"id":25795,"slug":25796,"title":25797,"dynasty":67,"author":2218,"museum":132,"description":25798,"tags":25799,"thumbUrl":25801,"material":122,"size":122,"collection":122,"collections":25802,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","以留白晕染苍山积雪，笔锋勾勒出山棱的硬挺苍劲，虬松如铁错落崖间，尽显冬山萧寒清旷之意。\n层叠山势铺展出高远纵深，山坳间山居错落，谷口行旅络绎，将冷寂雪景揉进人间烟火。水墨浓淡铺陈出雪色的虚实层次，枯涩笔触绘出松针遒劲，凛冽荒寒中晕开暖意，把羁旅匆匆、山居安闲藏在冰封山峦里，苍硬画风裹着细腻温情，落笔见苍劲风骨，于萧寒山水间晕染出鲜活的冬日山居意趣。",[23,24,51,7,277,75,73,297,609,77,78,215,559,1357,79,25800,1907,427],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],{"id":25804,"slug":25805,"title":1056,"dynasty":67,"author":25806,"museum":132,"description":25807,"tags":25808,"thumbUrl":25809,"material":122,"size":122,"collection":122,"collections":25810,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},228490,"shan-shui-ce-yun-xiang-228490","恽向","此作用笔苍浑松秀，右幅层岩叠壑间飞泉直下，涧水环石隐于葱郁杂木，板桥茅亭隐于一隅，野逸幽寂。以干笔皴擦晕染，尽显山川厚重质感，氤氲静穆古雅的山水气韵。左幅行书题跋笔力遒劲舒展，书画合璧，尽显文人意趣。\n画作以元人笔墨写江南丘壑，简淡苍劲脱去甜熟，将山川朴茂元气藏于构图之中，以画寄兴，褪去匠气直追古意，于简雅之间尽显山水生机，暗含画者胸中丘壑与沉静文人风骨。",[7,24,51,100,277,75,81,78,79,119,118,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d53472a535054b50cf8412a73495aa.jpg",[],{"id":25812,"slug":25813,"title":25814,"dynasty":293,"author":25815,"museum":132,"description":25816,"tags":25817,"thumbUrl":25824,"material":122,"size":122,"collection":122,"collections":25825,"showCount":25437,"zanCount":1065,"manualWeight":40,"mainColor":41},228250,"tai-ping-feng-hui-tu-zhu-yu-228250","太平风会图","朱玉","以白描淡彩铺展全景长卷，笔底尽揽闾阎繁盛。\n卷中人物鳞次栉比，行商、百工、农人、仕女各持情态，衣纹线条劲挺秀逸，设色清雅柔润，将细碎日常的烟火气悉数铺陈：市集喧闹里货郎呼喝，田垄间耕者不辍，酒肆中宾主尽欢，百态群像虽身形微小却神完气足。\n此作以极细致的体察，将太平治下的世间风物凝于素纸，既是风俗长卷，亦是时代的鲜活切片，朴拙古雅的笔墨间，藏着对升平世象的温柔描摹。",[23,7,24,25,510,27,28,10896,6958,25818,868,25819,25820,25821,904,25822,25823],"田垄","行商","百工","农人","市井烟火","升平气象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc17c832f83e0deaaa4cc178b9a2fa52.jpg",[],{"id":25827,"slug":25828,"title":25829,"dynasty":293,"author":1556,"museum":132,"description":25830,"tags":25831,"thumbUrl":25832,"material":122,"size":122,"collection":122,"collections":25833,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},228175,"tong-xi-tu-qian-xuan-228175","童戏图","古柳垂荫，榴花绽艳，庭院间三个稚童正嬉游作乐。矮凳上狸奴蜷卧，一孩童伸指逗弄，身侧同伴探首凝神，满眼好奇。最后小童攥着花枝蹑步而来，似要悄然加入嬉玩。\n\n整幅画笔法工细柔婉，设色古澹沉静，将幼童的娇憨鲜活尽数铺展。花木湖石衬出悠然闲趣，把孩童嬉游的日常瞬景定格，晕开旧时光里的融融暖意，尽显婴戏画的温婉雅致，将稚拙童趣藏进古雅绢色之中。",[23,24,7,51,52,27,26,28,135,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9b5cb209a420e718e41ff884f85df8.jpg",[],{"id":25835,"slug":25836,"title":25837,"dynasty":293,"author":25838,"museum":132,"description":25839,"tags":25840,"thumbUrl":25841,"material":122,"size":122,"collection":122,"collections":25842,"showCount":25437,"zanCount":1065,"manualWeight":40,"mainColor":62},227991,"wan-song-tu-juan-gu-chao-227991","万松图卷","顾超","此作用笔松灵秀润，以披麻皴晕染山峦，淡墨铺就出氤氲山林清气。近景苍松虬曲苍劲，坡岸错落间村居掩映，野趣横生。中景湖水萦回柔婉，轻描水纹分割出虚实层次，让画面灵动不滞。远景层峦间万松层叠，与山色相融，烘托出萧散空寂的林下氛围。整体简淡中见苍润，脱却匠气，以文人意趣勾勒林泉高致，将隐逸之思藏在笔墨留白间，引观者步入静穆幽远的山林之境，尽显寄情丘壑的林下风流。",[23,24,51,7,25,277,73,75,609,278,79,78,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1128d13ce286d88d7dc81f940e410197.jpg",[],{"id":25844,"slug":25845,"title":25846,"dynasty":114,"author":25847,"museum":132,"description":25848,"tags":25849,"thumbUrl":25850,"material":122,"size":122,"collection":122,"collections":25851,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},227944,"shan-yin-fang-dai-tu-ye-zhu-rui-227944","山阴访戴图页","朱锐","危崖拔地而起，石质方硬皴法老辣，崖侧古松簇拥山居。下方寒波澹澹，汀渚间林木错落，临水高轩明敞，似有幽人凭栏远眺江天。一叶扁舟随波缓行，雪意覆于岸渚林梢，遍染清萧寒寂。\n\n整幅以简驭繁，淡墨轻敷晕出雪后空蒙。将兴尽而归的雅事藏于留白，笔致苍秀劲挺，设色沉凝淡雅。尺幅之间铺展萧疏冷寂的山水意境，把魏晋名士散淡旷达的林下风流融于萧寒景致中，尽显宋人山水留白藏意的高妙。",[23,7,24,51,100,27,855,73,75,80,77,2785,1059,79,315,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a1f47538b5198102dc40e3d860e237.jpg",[],{"id":25853,"slug":25854,"title":25855,"dynasty":114,"author":181,"museum":132,"description":25856,"tags":25857,"thumbUrl":25858,"material":122,"size":122,"collection":122,"collections":25859,"showCount":25437,"zanCount":541,"manualWeight":40,"mainColor":41},227883,"ju-zhi-qi-que-tu-yi-ming-227883","橘枝栖雀图","此作以精妙工笔绘就一隅小景，折枝垂挂硕实，苍嫩叶片交错枯润，尽显四时意态。枝头雀鸟侧身回望，翎毛细笔丝染，绒羽蓬松柔润，尖喙双目传神，机警灵动的情态跃然绢上。\n\n设色清淡秀雅，以赭石淡晕底色，敷色薄而清透，橘子的莹润饱满、枝叶的错落枯荣被细腻呈现。画面简而不空，静中藏动，尽显对日常小景的诗意捕捉，将山野间的幽微生机凝于尺幅之中，暗含平和雅致的东方意趣。",[23,7,24,51,26,27,102,2723,2411,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc28cde67f818c1de2943a9abaf3b21.jpg",[],{"id":25861,"slug":25862,"title":25863,"dynasty":114,"author":181,"museum":132,"description":25864,"tags":25865,"thumbUrl":25866,"material":122,"size":122,"collection":122,"collections":25867,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},227844,"tian-han-cui-xiu-tu-ye-yi-ming-227844","天寒翠袖图页","修竹清劲挺拔，攒簇竹叶如凝寒玉，占据画面大半篇幅，衬出林间孑然伫立的仕女。她翠袖轻拢，身姿娴静温婉，眉目间似含淡淡怅惘，将深秋萧寒里的孤寂弥散开来。\n\n整作设色淡雅克制，墨骨清劲利落，沉郁的古绢底色晕开幽寂的林下意趣，把闺中闲愁融于萧索秋景，淡而不寡。以极简的铺陈，藏着宋人极致内敛的审美意趣，余味悠长。",[23,7,24,51,100,27,28,29,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c7e186a0386cb73f8d03ff13ba9b12f.jpg",[],{"id":25869,"slug":25870,"title":25871,"dynasty":114,"author":1160,"museum":132,"description":25872,"tags":25873,"thumbUrl":25874,"material":122,"size":122,"collection":122,"collections":25875,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},227804,"yao-tai-xian-shou-tu-liu-song-nian-227804","瑶台献寿图","此作用笔精工雅致，以界画技法勾勒亭台楼阁，回廊层台错落排布，将庭院深幽的意趣铺展尽致。山石林木以淡墨晕染，苍润秀雅，与规整楼宇相映成趣。\n\n画中人物神态宛然，峨冠士人凭栏雅谈，侍女垂手侍立，情态恭谨恬然，将安闲雍容的祝寿雅集氛围烘托恰到好处。设色古淡沉静，墨色相融，既有界画的严整工细，又不失山水画的灵动苍润，尽显精妙工致的院体画风韵，把富贵闲适的雅致意趣藏于笔间，堪称工笔楼阁人物的佳构。",[23,24,51,7,27,855,26,28,77,5372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a1bfb0f093b400631a62b7bf5b38e4.jpg",[],{"id":25877,"slug":25878,"title":25879,"dynasty":114,"author":1160,"museum":132,"description":25880,"tags":25881,"thumbUrl":25882,"material":122,"size":122,"collection":122,"collections":25883,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},227803,"song-yin-ming-qin-tu-liu-song-nian-227803","松荫鸣琴图","苍松浓荫遮蔽出一方清寂天地，琴案横陈，炉烟似随着琴音袅袅轻扬。抚琴者身姿舒展，指尖落弦仿佛有声，将心绪尽数寄于丝弦之上。对面长者垂眸敛神，身心都沉湎在悠悠琴韵之中，连身侧侍立的小童都屏息静立，不敢惊扰这片刻雅静，周遭的幽草矮竹也似在凝聆听赏。\n\n画作以浓墨点染苍劲松针，淡墨勾勒人物衣纹，线条清劲简练。将宋代文人追求的林下雅逸，凝缩在尺幅之间，把知己相对、琴音寄怀的超然意趣铺陈开来，静穆悠然的禅意弥散在画面里，尽显文人雅集的清旷疏朗之美。",[23,7,24,51,768,26,27,28,697,53,136,31,2880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b81c56fb1a8b0fc313ca776e3e8f2af.jpg",[],{"id":25885,"slug":25886,"title":25887,"dynasty":114,"author":25888,"museum":132,"description":25889,"tags":25890,"thumbUrl":25891,"material":122,"size":122,"collection":122,"collections":25892,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},227778,"yuan-yang-tu-wan-shan-zhang-mao-227778","鸳鸯图纨扇","张茂","《双鸳鸯图》页，宋，张茂绘，纨扇页，绢本，设色，纵24.4厘米，横18.3厘米。\n\n本幅款识：“张茂”。\n\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。\n\n画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二\n只，它们的顾盼关系使得上半部画面更加充实生动。\n\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n\n存《纨扇画》册中。《石渠宝笈初编》著录。",[23,7,24,51,768,26,27,102,969,2151,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ab6dc118a52cfd44c31806284697cf7.jpg",[],{"id":25894,"slug":25895,"title":25896,"dynasty":114,"author":556,"museum":132,"description":25897,"tags":25898,"thumbUrl":25899,"material":122,"size":122,"collection":122,"collections":25900,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[23,7,24,51,25,154,73,277,27,118,74,75,80,661,79,278,82,56,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":25902,"slug":25903,"title":25904,"dynasty":114,"author":1313,"museum":132,"description":25905,"tags":25906,"thumbUrl":25907,"material":122,"size":122,"collection":122,"collections":25908,"showCount":25437,"zanCount":1065,"manualWeight":40,"mainColor":62},227510,"bai-zi-you-yuan-tu-su-han-chen-227510","百子游园图","这是南宋画家苏汉臣绘的《百子嬉春图》。《百字嬉春图》是一小幅纨扇，但却结构复杂精妙，画家利用台栏池沼等高低上下称景。将一百名儿童布满画面，三五成组，相互呼应，远近关系处理得明确而有节奏，丰满而不拥塞，繁复而不杂乱。",[23,7,24,51,634,26,27,28,4842,560,755,82,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058871fca58b31f28c71d5eb4f50c34e.jpg",[],{"id":25910,"slug":25911,"title":25912,"dynasty":114,"author":10798,"museum":132,"description":25913,"tags":25914,"thumbUrl":25916,"material":122,"size":122,"collection":122,"collections":25917,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,7,24,51,25,277,27,73,118,119,74,75,25915,18202,2009,560,82,278],"松杉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",[],{"id":25919,"slug":25920,"title":25921,"dynasty":114,"author":181,"museum":132,"description":25922,"tags":25923,"thumbUrl":25924,"material":122,"size":122,"collection":122,"collections":25925,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},227353,"xue-jing-shan-shui-tu-ye-yi-ming-227353","雪景山水图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。",[23,24,7,51,768,277,27,75,1357,82,559,278,73,3255,3096,79,425,6830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfc4556f00600874ca160553f7402e2.jpg",[],{"id":25927,"slug":25928,"title":25929,"dynasty":114,"author":15776,"museum":132,"description":25930,"tags":25931,"thumbUrl":25933,"material":122,"size":122,"collection":122,"collections":25934,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},227334,"jiang-fan-shan-shi-juan-song-ren-227334","江帆山市卷","艺术赏析 江上帆船一艘，船头有缫车，后舱篷顶，笼畜雄鸡一，盖用以报晓取时。\n江波粼粼，用笔细挺。\n岸旁已停泊三舟，皆有笼鸡之蓄。\n岸上有驱驴者，道逢相拜者，骑驴投店者。\n山道间，远处迷濛，有驼队成群。\n山谷中岚烟凝白，飞鸟结阵，一片黄昏景色。\n两山回抱而起，山峰结构及树法、水波画法，与 画风极接近。\n【名称】宋人江帆山市卷 【规格】28.644.1公分 【收藏】 主题与关键字： 夏景、房舍、茅草屋、鸡、客舫、帆船、寺庙、店铺、骆驼、狗、骡．驴、马、回廊、孩童、侍从（侍女、童仆）、渔夫、船夫、百姓、行旅、官员（臣）、江河、湖海。\n石渠宝笈初编（重华宫），下册，785页；故宫书画录（卷八），第四册，78页；故宫书画图录，第十七册，21-22页。",[7,24,51,25,277,73,75,10152,25932,856,1012,648,4496,74],"山市","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc42d48136e2cb3cdf0a480af5efb4a.jpg",[],{"id":25936,"slug":25937,"title":5658,"dynasty":674,"author":5659,"museum":132,"description":25938,"tags":25939,"thumbUrl":25941,"material":122,"size":122,"collection":122,"collections":25942,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},227249,"dou-niu-tu-dai-song-227249","《斗牛图》传为唐代画家 所画的绢本水墨画，现藏于台北故宫博物院。\n此图绘两牛相斗的场面，风趣新颖。\n一牛前逃，似力怯，另一牛穷追不舍，低头用牛角猛抵前牛的后腿。\n双牛用水墨绘出，以浓墨绘蹄、角，点眼目、鬃毛，传神生动地画出斗牛的肌肉张力、逃者喘息逃避的憨态、击者蛮不可挡的气势。\n牛之野性和凶顽，尽显笔端。\n图中画两牛相斗，一头牛用角觝触，另一牛却旋转著身子，好像虽败而欲再迎战。\n此幅画牛，身驱颇为健壮，大有蛮劲足以力仆万人之慨。\n图中右上方有乾隆题诗：“角尖项强力相持，蹴踏腾轰各出奇。\n想是牧童指点后，股间激露尾垂垂。\n” 中国人对于牛的图腾崇拜，可以追溯到4年前的大禹治水时期。\n传说大禹每治好一处水患，就要铸铁牛投入水底，以示镇压，等到了唐代，就将镇水的铁牛改设岸上了。\n在中国老百姓的眼中，牛更多的美德是埋头苦干而从无怨言的品质，是勤劳的象征。\n然而，野牛的彪悍好斗却也是人所共知的。\n世界上不少民族都有“斗牛”的传统风俗，而我国的斗牛习俗，则要溯源至公元前2年春秋战国时期。\n据《水经注》记载：秦李冰治蜀，为根治水患造福蜀地百姓而修建“都江堰”，触怒了江神，两者化作两头公牛激烈搏斗，李冰在下属的帮助下刺杀了江神，从此蜀地再无水患。\n蜀人敬仰李冰的勇敢果决，遂将体格健壮的青年称作“冰儿”，而斗牛也就成为蜀人历史悠久的习俗：宋初编纂的《太平广记》就记载汉晋之后蜀地已流行斗牛之戏。\n出身书香门第的戴嵩从小热衷书画，水牛画得很好，年少即有名。\n《斗牛图》就是他创作的关于“牛”题材绘画之一。\n关于此图是否是戴嵩真迹还有争议，从其画风观之，此作或属明中期以前辗转流传的摹本。\n画面上一牛昂首腾空，前蹄离地，作躲闪状，看似已斗不过，也许在作迂回战，以逃状作避，伺机反扑；另一牛，鼓足力气，急速猛冲，低头侧目，四肢有力蹬地，将一只垮角猛击逃牛的后腿。\n呈现出一场激烈厮杀的惊险场面。\n画家用水墨淋漓、笔触刚健的艺术形式，画出一窜一追、一抵一昂、一冲一跃的两头牛，浑身绷紧的肌肉，显示牛的强壮有劲；前头那腾空的蹄，那踢蹴的腿，那昂首喘气的憨态；后头那低头猛击的蛮劲，很有将对方挑起猛摔之势；活灵活现地表现了斗牛的野性与凶顽，以及进攻与防御双方的伎俩；此画之所以颇见风趣和新意，是由于画家对牛的牛活和特性有朴殊感受，善于对于一定情势下的牛的特殊表现，作出别出心裁的处理；两牛相斗的动人情节，不止于外形的逼真，而是有情趣的牛的描写，体现了画家的笔墨熟练和细心观察。\n从构图看，画家选择了两牛相斗高潮似刚过去、但搏斗仍在继续这一瞬间的场面，加以刻画，颇见风趣和新意。\n作者以清淡朦胧的背景，在于使人有置于茫野的感受，其目的为了突出主题 。\n烟台大学教授、中国美术家协会会员 ：透过《斗牛图》精湛的表现力，我们还可以体验到作者在哲学上的良好修养。\n那主体、背景的浓、淡对比，那寓静于动的玄妙构图，那失去平衡的稳态造型，无不渗透着本民族古典哲学的精髓。\n这一点在唐以前的作品中是很少见到的。\n由图上题跋可知，该图曾经入清宫，经乾隆帝鉴赏。\n现藏于台北故宫博物院。\n该图收录于：盛京故宫书画录（卷一） ，第一册；故宫书画录（卷八），第四册；故宫书画图录，第十五册。\n戴嵩，唐代画家。\n最初学画时，以 为师，韩滉镇守浙西时，嵩为巡官。\n擅画田家、川原之景，写水牛尤为著名，后人谓得“野性筋骨之妙”。\n相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。\n明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。\n”与韩干之画马，并称“韩马戴牛”。\n传世作品有《斗牛图》。\n牛有青出于蓝的声誉，又擅长于农家风景。\n他的弟弟 也以画牛而闻名。",[23,24,277,7,6389,1906,472,28,135,136,25940],"斗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F585082e468b1730f72d9bc88f06964e5.jpg",[],{"id":25944,"slug":25945,"title":25946,"dynasty":46,"author":7025,"museum":132,"description":25947,"tags":25948,"thumbUrl":25949,"material":122,"size":122,"collection":122,"collections":25950,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},224594,"qiu-she-tu-yuan-jiang-224594","秋涉图","此作用硬朗皴笔勾勒出山岩肌理，奇峰高拔陡立，崖间飞瀑隐于云气，晕染出幽谷空濛之态。丹黄秋叶点染古木，萧疏秋意里晕开暖意。山道滩涂之上，行旅商贾或策马涉水，或沿山径徐行，将山野秋行的鲜活意趣融于冷寂山川，添上人间烟火暖意。画面兼工带写，既得北派山水的雄浑气势，又以细腻的人物刻画赋予山水灵动生机，将秋日山野的旷远意境与行旅图景相融，尽显古典山水的雅致意韵。",[23,7,24,51,52,27,75,73,297,298,82,28,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5727adba9d3c7f163dd3a83df59fa6a.jpg",[],{"id":25952,"slug":25953,"title":25954,"dynasty":46,"author":1452,"museum":132,"description":25955,"tags":25956,"thumbUrl":25957,"material":122,"size":122,"collection":122,"collections":25958,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},224585,"si-jun-zi-tu-zou-yi-gui-224585","四君子图","此作用淡墨晕开空濛远景，留白铺就清寂天地。左侧古松虬枝盘曲，鳞皴苍劲，松针攒簇如团，枯荣交织尽显古拙生机。右侧长松挺立于石畔，与老松两两相望，野竹荒草偃仰生姿，添得山野意趣。\n\n全作以焦墨醒出松节针叶，淡墨晕染坡岸远景，笔法清隽秀雅，未施一色，全凭水墨勾勒晕染，将松柏坚凝君子风骨寄寓萧散小景之中，静穆简淡却暗含蓬勃生气，淡而不寡，简中见厚，尽显清寂雅致的文人意趣与不俗笔力。",[23,24,7,51,277,26,697,53,56,74,526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7af38b1cc2ec84ef8742819cb96280.jpg",[],{"id":25960,"slug":25961,"title":25962,"dynasty":67,"author":181,"museum":132,"description":25963,"tags":25964,"thumbUrl":25965,"material":122,"size":122,"collection":122,"collections":25966,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},223608,"zhu-xia-shuang-que-tu-ce-yi-ming-223608","竹下双雀图册","此作用笔工写兼具，淡墨勾勒枯竹枝梢，皴绘坡石，萧疏寒竹自带荒冬清寂之气。两只雀鸟造型写实入微，细笔晕染出绒羽蓬松层次，一只昂首引颈似在啼鸣，灵动有神，一只垂首敛目似在啄望，姿态闲适。双雀动静相映，鲜活尽显。\n\n画面留白素净，将冬日林间的幽寂氛围烘托得恰到好处，简淡笔触却形神兼备，把小雀的灵动意态与寒竹的清疏之景相融，尽显雅致空灵的花鸟意趣，寥寥数笔便将一隅小景勾勒得鲜活动人，藏着清冷又生动的冬日闲趣。",[23,3387,24,51,7,100,26,27,102,53,2411,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d0839b8720fe733bc22d19217037bd.jpg",[],{"id":25968,"slug":25969,"title":25970,"dynasty":114,"author":181,"museum":20,"description":25971,"tags":25972,"thumbUrl":25973,"material":217,"size":25974,"collection":122,"collections":25975,"showCount":25437,"zanCount":1065,"manualWeight":40,"mainColor":62},223517,"sang-guo-shan-niao-tu-yi-ming-223517","桑果山鸟图","此图有宫廷画院的工丽之风，却多了几分粗犷率真。画面取一斜伸桑枝，在一细劲的枝条上站立一只山鸟，憨态可掬，嘴里还叼着桑葚，表情很有几分稚趣",[23,7,24,51,26,27,10119,13093,384,102,1821,355,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1693f8902501da32c2e9093c661caa4.jpg","纵25.2厘米 横26.4厘米",[],{"id":25977,"slug":25978,"title":25979,"dynasty":67,"author":181,"museum":14818,"description":25980,"tags":25981,"thumbUrl":25983,"material":11113,"size":25984,"collection":88,"collections":25985,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},223400,"si-ji-tu-juan-yi-ming-223400","四季图卷","该作品，以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。托名李唐之作，当是明人仿古之作。",[23,25,24,7,51,75,25982,73,27,77,78,79,81,1737,745,425,82,1272],"四季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cf2282e5eee3e7a82bdfb99910e204.jpg","35.1X661.9",[88,286],{"id":25987,"slug":25988,"title":8698,"dynasty":46,"author":2636,"museum":20,"description":8699,"tags":25989,"thumbUrl":25990,"material":156,"size":8702,"collection":122,"collections":25991,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},222756,"ba-jun-tu-lang-shi-ning-222756",[23,7,24,51,52,26,27,8278,6292,215,2626,28,74,9294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28adc62fbf3174d00b42d379a53d67ea.jpg",[],{"id":25993,"slug":25994,"title":25995,"dynasty":67,"author":5561,"museum":195,"description":5562,"tags":25996,"thumbUrl":25997,"material":122,"size":122,"collection":122,"collections":25998,"showCount":25437,"zanCount":1065,"manualWeight":40,"mainColor":41},222518,"shen-xian-tu-ce-7-zhang-lu-222518","神仙图册7",[7,24,51,100,277,510,28,5523,5526,4973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365f96a79eba1447b5b9fefe6c2663ab.jpg",[],{"id":26000,"slug":26001,"title":26002,"dynasty":67,"author":25182,"museum":212,"description":26003,"tags":26004,"thumbUrl":26005,"material":3579,"size":26006,"collection":122,"collections":26007,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},222432,"ren-wu-cao-chong-tu-quan-juan-du-da-cheng-222432","人物草虫图全卷","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[23,24,7,51,25,510,277,26,74,118,28,199,609,3195,228,56,84,1165,2995,1167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc23865987ff0a8c397d24a26b83c9f.jpg","30x336",[],{"id":26009,"slug":26010,"title":10650,"dynasty":67,"author":10910,"museum":20,"description":26011,"tags":26012,"thumbUrl":26013,"material":27,"size":26014,"collection":36,"collections":26015,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},222379,"san-jiao-tu-ding-yun-peng-222379","图中所绘的是孔子、老子、红衣罗汉坐于树下共同探究玄理的情景。作品现收藏于台北故宫博物院。\n该作品所绘的三位智慧长者面目严肃，神情专注，孔子儒雅敦厚，循循善诱，正发表言论；老子道貌岸然，谨慎而善辩，他注视着对方，似乎准备随时发问；红衣罗汉双目低垂，安详而平静，从他紧锁的眉头可以看出他已沉于思索之中。图左下款署“善男子丁云鹏敬写”。钤“丁云鹏印”“南羽氏”。画上有陈继儒题记。\n明代，随着儒、道、释三教的融合，宗教题材的绘画也随之有了世俗化的倾向，此画中的宗教人物与作为供养的神仙不同，脱离了程式化的因素，有着鲜明的个性特征和情绪化色彩，同时融入了文人的审美情趣。其人物造型古拙、气质端庄文雅，体现了明后期文人画注重表现个性的风尚。画法上，运用“高古游丝描”，细劲而“笔力伟然”，既有古朴之感，又具有时代气息。设色古妍冷隽，尤其是人物服饰的红色、兰色与赭色，赋色沉稳和谐。山石树木勾勒添色，取法文徵明，小青绿设色，文静典雅，营造了一种静谧清淡的意境，引人入胜。",[23,24,51,7,26,27,28,678,135,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ff1c843045c703266db9a9adca98c31.jpg","纵115.6cm，横55.7cm",[36,90],{"id":26017,"slug":26018,"title":26019,"dynasty":67,"author":9647,"museum":2076,"description":26020,"tags":26021,"thumbUrl":26022,"material":3175,"size":26023,"collection":122,"collections":26024,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},222226,"si-wan-shan-shui-tu-4-wan-shan-fei-xue-wen-bo-ren-222226","四万山水图4-万山飞雪","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,24,497,7,51,52,277,73,26,297,1023,82,663,281,81,647,1357,6830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d845e881e9f41b343dbe1507be0f0ca.jpg","48X123cm",[],{"id":26026,"slug":26027,"title":350,"dynasty":67,"author":619,"museum":20,"description":26028,"tags":26029,"thumbUrl":26030,"material":26031,"size":26032,"collection":106,"collections":26033,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},222123,"qiu-kui-tu-shen-zhou-222123","此作采用没骨法写生法绘秋葵一枝，叶与干全用老绿一再渍染，因泥金地上有油质，本不托色，故笔迹重，锋芒都尽，布景不多，自有一种简秀朴质之韵。书法较晚年略觉软熟，可能是其五十至六十岁间的作品。作品左边题识：“庭前秋葵一枝。欹栏独立。檀心自舒。犹佳人含思清愁。大有可怜之态。第恐一朝萎露。因寄之丹青以永观。周”钤印“石田”。右边题识：“条条秋风清。湛湛秋露泫。许有向阳心。秋云任舒卷。石田又题于静观阁。” 钤印“启南”。",[23,7,24,51,768,27,102,118,74,354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b2133c05bcc2d6a54e38c46654ab66.jpg","纸本，泥金，扇面，设色","纵18.0厘米， 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乾隆时曾刻入《墨妙轩法帖》第四册。\n相关说明:\n北宋遭靖康之耻，汴京被金兵陷落，徽、钦二帝被虏，宋高宗赵构南逃，建都于临安，此便是历史上的南宋王朝，自建炎元年至祥兴二年先后易九主计一百五十二年。南宋虽苟安一时，但江南之地，物产丰富，人杰地灵，且宋高宗赵构雅好翰墨，北宋刊刻之《淳化阁帖》至南宋时影响渐广，学米《芾》学黄（山谷》学二王之风蔚然一时，帖学又得到长足的发展《鼎帖》、《淳熙秘阁续帖》、《世釆堂帖》相继问世，高宗还设置书学，命米友仁任书学博士．在这种文化氛围的熏陶下，南宋亦出现了不少著名的书家，如岳飞、吴说、范成大、吴琚、朱熹、陆游、姜夔、张即之、文天祥、赵孟坚等人．从总体上来说，南宋书法不及北宋之新意迭出，生气蓬勃，显得比较保守，模仿之风亦较盛，但其中亦不乏富有创意和个性的书家，张即之即是其中的代表人物。\n张即之生于南宋孝宗淳熙十三年（一一八六），卒于理宗咸淳二年（一二六六），字溫夫，号樗寮，安徽和州人．他是参知政事张孝伯之子，南宋的著名书家张孝祥又是他的伯父、即之年青时即以父荫补官．授承务郎，父亡后擢司农寺丞，调任嘉兴知事，因遭受他人巫陷，未赴任上，特授直秘阁而离职，即之一生仕途并不顺利，据《李伯嘉墓志铭》中记其官职为“太中大夫，直秘阁致仕、历阳县开国男、食邑三百户、赐紫金鱼袋”，后引年告老，终年八十一岁。\n张即之的书法在幼年时便受到其伯父张孝祥的影响，始学米芾，后则肆力于褚遂良楷书笔法，在这基础之上，又糅合了隋唐人写经的笔意而自创一格，特别是他的楷书，写得清劲绝俗，用笔极其精到细腻，发笔处喜用搭锋，点画之间，顾盼呼应，而兼行草笔意，又善于用方笔侧锋，显得姿态生动，极其圆熟．即之的书法在南宋时名声就很大，金人常出高价来收购他的宇，据《宋史本传》谓：“即之以能书闻天下，金人尤宝其翰墨”。张即之小楷以精巧圆熟为特征，正如梁闻山《评书帖》所谓：“原自欧出，参有褚法，结体尚紧，特多讨巧之处而不成大方耳”。其实小楷以精巧为特征本身即是一种风格，况即之喜写经文，而经文中重复的字很多，比较难写，即之能在楷法中自成一格，别开生面是非常不容易的，正如叶昌炽《语石．张即之一则》中谓：“张即之，书中之畸士也。好用侧笔，望之如矮松偃盖，婆娑可爱，其运笔以收为纵，又如长房缩地，咫尺有千里之势”。本册所载《张即之书报本庵记》后有“淳熙十二年三月二日二“，考淳熙十二年为一一八五年，而张即之生于一一八六年，故知此为报本庵记写于淳熙十二年，非即之书于此午也．此册行楷骨力劲健，点画精到，结字生动，笔意流动，显得神采焕发，给人以一种轻松自如之感，从其成熟的风格上来看，当为其晚年时所书，无疑是其生平的代表作品。",[23,7,51,25,119,118,74,26111],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e8ee6f88ad6a055877d8d6149cbe3c.jpg","，纵29.3厘米，横91.4厘米",[123],{"id":26116,"slug":26117,"title":26118,"dynasty":114,"author":26119,"museum":20,"description":26120,"tags":26121,"thumbUrl":26130,"material":250,"size":26131,"collection":123,"collections":26132,"showCount":25437,"zanCount":1065,"manualWeight":40,"mainColor":41},221234,"shu-xi-jiang-yue-ci-zhong-shu-221234","书西江月词","仲殊","北宋僧人、词人。字师利。安州（今湖北安陆）人。本姓张，名挥，仲殊为其法号。\n曾应进士科考试。生卒年不详。年轻时游荡不羁，几乎被妻子毒死，弃家为僧，先后寓居苏州承天寺、杭州宝月寺，因时常食蜜以解毒，人称蜜殊；或又用其俗名称他为僧挥。他与苏轼往来甚厚。徽宗崇宁年间自缢而死。",[23,7,24,51,118,119,277,26122,26123,26124,26125,26126,473,26127,26128,26129],"红旗","黄钺","湖","月","霜","风","帆","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F893f5c450e666968341f30dfe2e9e801.jpg","48.7x70.3厘米",[123],{"id":26134,"slug":26135,"title":26136,"dynasty":67,"author":26137,"museum":507,"description":26138,"tags":26139,"thumbUrl":26140,"material":250,"size":26141,"collection":106,"collections":26142,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},220401,"mei-yue-hui-ying-tu-chen-lu-220401","梅月辉映图","陈录","此幅《梅月辉映图》写倒垂梅一株，枝由右上角出，主干弧形弯曲，构成梅枝总的动势。小枝则有穿插、变化，形成枝蕊参差交错、俯仰顾盼，梅花烂漫怒放的景象，图中以没骨写干，双钩圈花，淡墨渲染背景，突出千条万玉、花团锦簇的视觉的效果。",[23,24,51,7,52,277,383,1570,1059,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ccb4e9ed68ba2b036805e6a57cbb30.jpg","223cm 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”\n图绘深谷险峻，老树枝条横斜，二猿猴坐于枝上，一猿猴展臂摘果。\n易元吉，生卒年不详。字庆之，湖南长沙人，北宋画家。初攻花鸟、草虫、果品，后专写獐猿。常深入荆湖深山之中，观察、体会、揣摩猿猴獐鹿的生活习性。所画獐猿生动逼真，呼之欲出，因此而名闻天下。",[23,7,24,51,100,26,27,277,10174,1095,1821,278,20599,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a549a2865c01cdf38952d04484d0bd.jpg","24.6x24.1cm",[106],{"id":26178,"slug":26179,"title":26180,"dynasty":114,"author":1216,"museum":20,"description":26181,"tags":26182,"thumbUrl":26183,"material":666,"size":22758,"collection":122,"collections":26184,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},218502,"gui-qu-lai-ci-juan-3-li-gong-lin-218502","归去来辞卷3","疏篱围起一方清雅天地，茅棚依栏而立，老松虬枝盘曲如篆，太湖石皱透玲珑。妇人身着素衣缓行，孩童携犬嬉逐，门边人影悠然，日常烟火里藏着隐者的闲逸。线条以铁线勾勒，劲挺中含婉转，衣袂飘举、草木摇曳、石之肌理皆由简笔传神。无浓墨重彩，却将“归去来”的田园意趣融于方寸：松风轻拂，篱边菊影隐约，每一笔都似在诉说归隐的自在，让人心生向往，暂忘尘劳。",[7,24,51,25,510,277,28,56,135,81,7784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F310ccca3ea5f557f9aff9658855db2aa.jpg",[],{"id":26186,"slug":26187,"title":26188,"dynasty":46,"author":11236,"museum":166,"description":14692,"tags":26189,"thumbUrl":26190,"material":34,"size":14695,"collection":122,"collections":26191,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},218335,"shen-xian-gu-shi-tu-ce-4-leng-mei-218335","神仙故事图册-4",[23,7,24,51,100,26,27,28,75,473,82,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81ab169d7708da28bcaab243755917c4.jpg",[],{"id":26193,"slug":26194,"title":26195,"dynasty":114,"author":1216,"museum":132,"description":21092,"tags":26196,"thumbUrl":26197,"material":666,"size":122,"collection":122,"collections":26198,"showCount":25437,"zanCount":1065,"manualWeight":40,"mainColor":41},218101,"bai-miao-ren-wu-tu-ce-8-li-gong-lin-218101","白描人物图册-8",[23,7,24,51,100,510,28,11239,1167,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4af935af38c9b2bdd095c82793f25822.jpg",[],{"id":26200,"slug":26201,"title":26202,"dynasty":114,"author":1216,"museum":395,"description":24336,"tags":26203,"thumbUrl":26204,"material":611,"size":122,"collection":122,"collections":26205,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":62},218078,"luo-han-tu-ce-9-li-gong-lin-218078","罗汉图册-9",[23,7,24,51,100,510,678,28,1059,697,383,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6011e0e89ea5930b1548618e367efd.jpg",[],{"id":26207,"slug":26208,"title":26209,"dynasty":114,"author":4575,"museum":1031,"description":4576,"tags":26210,"thumbUrl":26212,"material":34,"size":4579,"collection":122,"collections":26213,"showCount":25437,"zanCount":1065,"manualWeight":40,"mainColor":41},216920,"xiang-shan-jiu-lao-tu-5-ma-xing-zu-216920","香山九老图-5",[23,24,7,25,27,28,78,278,82,53,26211,154,51],"对弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ade895c11993e636517b3ef76078d9.jpg",[],{"id":26215,"slug":26216,"title":26217,"dynasty":114,"author":181,"museum":48,"description":2300,"tags":26218,"thumbUrl":26219,"material":666,"size":2303,"collection":122,"collections":26220,"showCount":25437,"zanCount":40,"manualWeight":40,"mainColor":41},214973,"dao-zi-mo-bao-ren-wu-bai-miao-hua-10-yi-ming-214973","道子墨宝人物白描画-10",[23,7,24,51,510,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2a4b908adb4a7cfac804ff54acc2df.jpg",[],{"id":26222,"slug":26223,"title":26224,"dynasty":114,"author":6876,"museum":20,"description":24352,"tags":26225,"thumbUrl":26226,"material":317,"size":907,"collection":122,"collections":26227,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},291006,"wu-liang-shou-fo-xiang-zhou-chen-ju-zhong-291006","无量寿佛像轴",[24,7,52,678,27,28,10470,1906,118,74,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a06c99350f9755c09cbed1f5acce7a.jpg",[],{"id":26229,"slug":26230,"title":26231,"dynasty":114,"author":11186,"museum":20,"description":26232,"tags":26233,"thumbUrl":26235,"material":121,"size":26236,"collection":122,"collections":26237,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":479},290940,"xue-xi-yu-fu-zhou-xu-dao-ning-290940","雪溪渔父轴","许道宁 北宋画家。生卒年不详，约970年-1052年。活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅山水，师法李成，初于汴京（今河南开封）端门前卖药，以画吸引顾客，渐为人所知。多写林木、野水、秋江、雪景、寒林、渔浦等，并点缀行旅、野渡、捕鱼等人物，行笔简快，峰峦峭拔，林木劲硬，人称能得李成之气。宋朝人张士逊曾写诗称赞说：“李成谢世范宽死，唯有长安许道宁。”黄庭坚激赏他醉后所作的画。在《答王道济寺丞观许道宁山水图》诗中写道：“往逢醉许在长安，蛮溪大砚磨松烟。忽呼绢素翻砚水，久不下笔或经年。异时踏门闯白首，巾冠欹斜更索酒。举杯意气欲翻盆，倒卧虚樽即八九。醉拾枯笔墨淋浪，势若山崩不停手。数尺江山万里遥。满堂风物冷萧萧。”生动地展示了许道宁醉中作画的神情举止，见出他画技的高超。",[7,24,52,277,75,1357,647,56,79,73,26234],"渔父","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f27de3f670f6cff184316c4bfa2242.jpg","169x110",[],{"id":26239,"slug":26240,"title":26241,"dynasty":67,"author":5192,"museum":132,"description":5193,"tags":26242,"thumbUrl":26244,"material":317,"size":907,"collection":122,"collections":26245,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},290915,"tian-chi-shi-bi-zhou-lu-zhi-290915","天池石壁轴",[7,24,52,497,27,73,26243,609,77,80,74,118],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F156a8f9e74871624d3b962e84bd74d5c.jpg",[],{"id":26247,"slug":26248,"title":26249,"dynasty":67,"author":68,"museum":20,"description":11025,"tags":26250,"thumbUrl":26251,"material":317,"size":907,"collection":122,"collections":26252,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},290869,"tong-yin-zhou-jing-tu-zhou-chou-ying-290869","桐阴昼静图轴",[7,24,52,72,27,26,75,6942,79,313,81,425,118,74,591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8163886d5a7378a788f41f5a260d606.jpg",[],{"id":26254,"slug":26255,"title":26256,"dynasty":46,"author":97,"museum":132,"description":2517,"tags":26257,"thumbUrl":26258,"material":317,"size":907,"collection":122,"collections":26259,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},290527,"lin-wu-qing-tu-zhou-yun-shou-ping-290527","临五清图轴",[7,24,51,52,277,154,74,1570,697,53,56,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d55fd6aa28be344302951bbb9414093.jpg",[],{"id":26261,"slug":26262,"title":26263,"dynasty":293,"author":16972,"museum":132,"description":26264,"tags":26265,"thumbUrl":26267,"material":317,"size":907,"collection":122,"collections":26268,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},290398,"cong-lin-gao-ta-tu-fang-cong-yi-290398","丛林高塔图","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。",[7,24,277,75,5470,26266,77,278,279,74,73],"高塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c37e8375a12f9fbb738dd2e5fc004e.jpg",[],{"id":26270,"slug":26271,"title":26272,"dynasty":293,"author":7929,"museum":20,"description":26273,"tags":26274,"thumbUrl":26275,"material":666,"size":26276,"collection":88,"collections":26277,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},290342,"qiu-shan-xing-lv-zhou-ma-wan-290342","秋山行旅轴","崇山叠峦，行旅骑驴荷物而行。全图构景系密，用笔多属中锋，用墨简澹，设色淡雅。压顶一峰皴笔疏简，以平点层层作小树，特觉清逸秀出。该幅无作者款印，幅上有董其昌题，云：“马文璧秋山行旅图”。",[24,7,52,497,277,27,7962,1525,78,79,278,82,77,315,3096,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9701795d9df53db4d67bf8d7090ab986.jpg","124.5x33.3",[88],{"id":26279,"slug":26280,"title":26281,"dynasty":114,"author":2103,"museum":20,"description":13570,"tags":26282,"thumbUrl":26284,"material":317,"size":907,"collection":122,"collections":26285,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},290338,"lu-yan-zhou-cui-bai-290338","芦雁轴",[7,24,52,102,26,27,26283,2151,118,74,3037],"芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4d378fdf790d0e098e75e85ed5752a.jpg",[],{"id":26287,"slug":26288,"title":3464,"dynasty":67,"author":11771,"museum":20,"description":26289,"tags":26290,"thumbUrl":26291,"material":267,"size":26292,"collection":122,"collections":26293,"showCount":716,"zanCount":1065,"manualWeight":40,"mainColor":41},290316,"sui-chao-tu-zhou-yuan-shang-tong-290316","岁朝，是指一岁之始，此时一元复始，万象更新，历代画家作岁朝图含有元旦开笔、预祝一年万事吉利之意。图绘山村一隅，诸多孩童在院中敲锣、打鼓、放鞭炮，尽情嬉戏玩乐，屋内三位长者同桌对饮，观看儿童嬉耍。树石勾勒填色后皴擦，远山以花青淡淡涂染，笔法稳健苍老，画风质朴古拙。丙申为清顺治十三年（1656年），袁尚统时年87岁。",[24,52,7,277,73,75,77,78,79,278,1059,609,560,28,81,74,118,119,7824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0196a7d4a11e4bd118161ffb68611fa1.jpg","115.3x58.2",[],{"id":26295,"slug":26296,"title":26297,"dynasty":293,"author":4125,"museum":132,"description":19606,"tags":26298,"thumbUrl":26299,"material":317,"size":907,"collection":122,"collections":26300,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},290252,"da-ming-gong-tu-wang-zhen-peng-290252","大明宫图",[23,7,24,25,855,510,277,77,2043,425,314,434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9058769fd75a509a044ee8450afee9.jpg",[],{"id":26302,"slug":26303,"title":26304,"dynasty":46,"author":6966,"museum":132,"description":19652,"tags":26305,"thumbUrl":26307,"material":317,"size":907,"collection":122,"collections":26308,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},290213,"xing-le-tu-jing-xin-ding-guan-peng-290213","行乐图镜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作品有《西成民乐图卷》《岁丰图卷》等。",[24,7,497,277,73,80,81,78,425,649,82,118,74,8215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46adb2dfd4a776f60c4615a48352537.jpg","40.8x29.7",[],{"id":26370,"slug":26371,"title":26372,"dynasty":114,"author":26373,"museum":132,"description":26374,"tags":26375,"thumbUrl":26376,"material":317,"size":907,"collection":122,"collections":26377,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},288936,"chun-guang-xian-dao-tu-wang-you-288936","春光先到图","王友","米芾在画史中提到：“赵昌、王友、镡黉辈，得之可遮壁，无不为少。”",[24,7,768,102,26,510,277,2067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb5ed83558fea61ce7df0f388fb6ba6.jpg",[],{"id":26379,"slug":26380,"title":15695,"dynasty":114,"author":4320,"museum":132,"description":4321,"tags":26381,"thumbUrl":26382,"material":317,"size":907,"collection":122,"collections":26383,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},288505,"jiang-shan-lou-guan-tu-yan-wen-gui-288505",[23,7,24,25,277,75,73,77,278,429,663,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55247d7d229304874dd28046e365247f.jpg",[],{"id":26385,"slug":26386,"title":26387,"dynasty":46,"author":17530,"museum":132,"description":21547,"tags":26388,"thumbUrl":26389,"material":317,"size":907,"collection":122,"collections":26390,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},288284,"fang-wang-meng-xia-ri-shan-ju-tu-wang-yuan-qi-288284","仿王蒙夏日山居图",[24,7,51,52,75,277,73,154,425,82,77,79,78,3096,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa815f93b91dc942a5a6d9712d40cbc0d.jpg",[],{"id":26392,"slug":26393,"title":26394,"dynasty":674,"author":26395,"museum":132,"description":26396,"tags":26397,"thumbUrl":26398,"material":317,"size":907,"collection":122,"collections":26399,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},288107,"zhu-shan-tang-lian-ju-ce-yan-zhen-qing-288107","竹山堂连句册","颜真卿","颜真卿（709年－784年8月23日 ），字清臣，小名羡门子，别号应方，京兆万年（今陕西省西安市）人 ，祖籍琅玡临沂（今山东省临沂市）。唐朝名臣、书法家，秘书监颜师古五世从孙 、司徒颜杲卿从弟。\n颜真卿出身琅琊颜氏，于唐玄宗开元二十二年（734年）登进士第，历任监察御史、殿中侍御史。后因得罪权臣杨国忠，被贬为平原太守，世称“颜平原”。安史之乱时，颜真卿率义军对抗叛军，一度光复河北。后至凤翔，被授为宪部尚书。唐代宗时官至吏部尚书、太子太师，封鲁郡公，人称“颜鲁公”。兴元元年（784年），被派遣晓谕叛将李希烈，凛然拒贼，终被缢杀。他遇害后，嗣曹王李皋及三军将士皆为之痛哭。追赠司徒，谥号“文忠”。\n颜真卿书法精妙，擅长行、楷。初学褚遂良，后师从张旭，得其笔法。其正楷端庄雄伟，行书气势遒劲，创“颜体”楷书，对后世影响很大。与赵孟頫、柳公权、欧阳询并称为“楷书四大家”。又与柳公权并称“颜柳”，被称为“颜筋柳骨”。又善诗文，有《韵海镜源》《礼乐集》《吴兴集》《庐陵集》《临川集》，均佚。宋人辑有《颜鲁公集》。",[118,2044,100,51,7,1580,12793],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ffe7149ebe943943cbfc7b59fb81d9.jpg",[],{"id":26401,"slug":26402,"title":26403,"dynasty":114,"author":1216,"museum":132,"description":5954,"tags":26404,"thumbUrl":26406,"material":317,"size":907,"collection":122,"collections":26407,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},287965,"mo-yan-li-ben-zhi-gong-tu-juan-li-gong-lin-287965","摹阎立本职贡图卷",[7,24,25,277,27,28,2258,154,118,1605,26405],"职贡场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b7a151b47854a48b5d73202a4e4082.jpg",[],{"id":26409,"slug":26410,"title":26411,"dynasty":114,"author":1216,"museum":132,"description":5954,"tags":26412,"thumbUrl":26413,"material":317,"size":907,"collection":122,"collections":26414,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},287964,"bai-miao-luo-han-tu-ce-li-gong-lin-287964","白描罗汉图册",[23,7,24,100,510,678,28,11268,647,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc17296acc42853c345f7a96731f220b0.jpg",[],{"id":26416,"slug":26417,"title":26418,"dynasty":293,"author":4125,"museum":132,"description":26419,"tags":26420,"thumbUrl":26422,"material":317,"size":907,"collection":122,"collections":26423,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},287922,"tang-seng-qu-jing-tu-ce-wang-zhen-peng-287922","唐僧取经图册","传为元代画家王振鹏所作，分为上、下册，蝴蝶装，由三十二幅取经图构成，卷末有清代福州文人梁章钜六跋。",[24,7,100,855,27,26,28,215,6290,77,678,26421,1046],"唐僧取经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615564a4ee571d7930ea1b3411ee45b8.jpg",[],{"id":26425,"slug":26426,"title":26427,"dynasty":67,"author":68,"museum":132,"description":26428,"tags":26429,"thumbUrl":26431,"material":317,"size":907,"collection":122,"collections":26432,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},287866,"tao-yuan-tu-juan-chou-ying-287866","桃源图卷","东晋陶渊明所作的《桃花源记》已成了文人墨客眼中的理想隐居之所，他们或通过诗歌形式，或通过笔墨方式，把理想中的桃花源呈现出来，这样的作品不胜枚举，今天给各位读者带来的就是明代画家仇英创作的一幅青绿山水作品《桃源图卷》。画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。",[23,7,24,51,25,27,26,75,26430,425,79,434,1737,429,118,2044,7857],"桃源","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885f62ba6d376f4e1e9e6dbf9f5787a2.jpg",[],{"id":26434,"slug":26435,"title":26436,"dynasty":114,"author":274,"museum":132,"description":26437,"tags":26438,"thumbUrl":26439,"material":317,"size":907,"collection":122,"collections":26440,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},287718,"xi-hu-liu-ting-tu-xia-gui-287718","西湖柳艇图","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",[7,24,497,277,27,73,2626,78,79,80,81,77,865,662,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88e6785745c02b8900bab6ee66c74eb.jpg",[],{"id":26442,"slug":26443,"title":26444,"dynasty":46,"author":18936,"museum":132,"description":20287,"tags":26445,"thumbUrl":26446,"material":317,"size":907,"collection":122,"collections":26447,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},287690,"you-ju-tu-kun-can-287690","幽居图",[24,277,75,7,78,79,80,9369,425,82,73,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75a6e8ddc61f4f930a7c121024ce85b.jpg",[],{"id":26449,"slug":26450,"title":26451,"dynasty":67,"author":14610,"museum":132,"description":26452,"tags":26453,"thumbUrl":26455,"material":317,"size":907,"collection":122,"collections":26456,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":479},287606,"yun-he-gao-yi-tu-li-zhou-yuan-tu-lan-ying-287606","云壑高逸图立轴(原图)","高山之麓，丘岗片片，山泉淙淙；溪流清鸣，绕贯其中；丛花簇草，竞相吐艳；桃李明艳，繁枝雍雍，像是在奏响的晚春妙曲。林深之处，溪水岸旁，一白衫红裤的老者，在茅亭内候客。亭外木桥上，有一红衣老者，向茅亭走来。",[23,7,24,52,277,497,81,78,79,314,278,28,279,73,26454],"高逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96cd84ca765b062920e0b7469166d281.jpg",[],{"id":26458,"slug":26459,"title":2207,"dynasty":46,"author":2922,"museum":132,"description":7364,"tags":26460,"thumbUrl":26461,"material":317,"size":907,"collection":122,"collections":26462,"showCount":716,"zanCount":1065,"manualWeight":40,"mainColor":41},238349,"hua-hui-ce-dong-gao-238349",[7,24,51,100,27,26,198,263,355,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e4abae61be2ea347057d04631ec90e.jpg",[],{"id":26464,"slug":26465,"title":26466,"dynasty":46,"author":181,"museum":151,"description":26467,"tags":26468,"thumbUrl":26471,"material":250,"size":26472,"collection":122,"collections":26473,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},233077,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233077","平定伊犁回部战图册","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[7,24,51,100,27,28,215,26469,1605,74,26470],"战争","西洋技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417686d09d9e621d9bdc8b831384b87f.jpg","纵55.4cm，横90.8cm",[],{"id":26475,"slug":26476,"title":26477,"dynasty":1383,"author":181,"museum":132,"description":26478,"tags":26479,"thumbUrl":26482,"material":317,"size":907,"collection":122,"collections":26483,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},231651,"tao-shan-shi-qi-liu-wang-de-huang-di-ping-feng-yi-ming-231651","桃山时期 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(1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[23,24,51,497,277,27,73,26,118,119,74,28,75,278,82,315,81,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":26493,"slug":26494,"title":26495,"dynasty":46,"author":26496,"museum":395,"description":26497,"tags":26498,"thumbUrl":26499,"material":611,"size":26500,"collection":122,"collections":26501,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},231486,"si-ji-hua-hui-tu-jiang-pu-231486","四季花卉图","蒋溥","蒋溥，江苏常熟人。廷锡子。雍正八年传胪，乾隆十八年仕至大学士。花草得其家传，随意布置，多生趣。每绘画进呈，蒙睿题有“师承家法闲图出，右相丹青有后生”之句。谥文恪。",[23,24,7,52,26,27,102,383,54,103,1882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3cae0f4cf71bdb4cba7de4487776320.jpg","98.5×60.5cm",[],{"id":26503,"slug":26504,"title":7310,"dynasty":114,"author":6876,"museum":132,"description":26505,"tags":26506,"thumbUrl":26507,"material":122,"size":122,"collection":122,"collections":26508,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},231051,"wen-ji-gui-han-tu-chen-ju-zhong-231051","此作以全景式构图铺展故事全程，寒林荒漠晕染出塞北萧寒底色。首段绘毡帐饯别，蔡文姬与匈奴亲眷对坐，眉眼间交织着归乡的期许与离亲的怅惘。下方整装队伍肃穆排布，官吏躬身行礼，扈从车马错落有序，将临行之际的沉郁氛围拉满。\n\n线条工细遒劲，设色朴雅厚重，人物衣冠、鞍马器具皆刻画入微，将乱世里家国与亲情的两难拉扯，融于苍凉塞景之中，尽显写实功力与细腻的情感表达，把一段乱世归乡的千古憾事具象为动人图景。",[23,7,24,51,52,27,26,28,215,315,2785,1059,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f6c8c22a8616327f719fb02c002d6.jpg",[],{"id":26510,"slug":26511,"title":26512,"dynasty":293,"author":10087,"museum":132,"description":26513,"tags":26514,"thumbUrl":26515,"material":122,"size":122,"collection":122,"collections":26516,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},230900,"song-yin-ju-yin-tu-zhou-tang-di-230900","松荫聚饮图轴","《松阴聚饮图》是元代画家 创作的绢本设色画，现藏于上海博物馆。\n此图近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。\n此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。\n长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。\n此图1近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘礴，不拘礼仪。\n图1的左边作者行书自题一行，文曰：“元统甲戌冬十一月，吴兴唐棣子华制。\n”钤有“唐氏子华”朱文方印。\n按图中自题，甲戌为元统二年（14）唐棣时年9岁。\n此画为作者早年作品，故较多保留着师承前人技法的痕迹。\n图写平远山水，远处山峦叠嶂，绵延起伏。\n近处均为浩荡江水，旷无边际。\n中间为树木、平岗。\n三棵巨树拔地而起，枝干粗实，盘根虬曲，有的枝杈盘曲伸展，枝叶疏落，树干上长满了疤节。\n树荫下有数间茅亭屋宇，将远景与近处相隔，截分为近远两景，这是远、中、近景三段式的格局。\n这样的布局，使整幅显得富有层次，使旷野的山光水色的美景更为显眼。\n此图2的画法，人物用白描法，线条细腻而又简练，笔触柔和，远山浅淡而远杳，近景的几株枯树明显反映出唐棣的线条功底，点顿精凝，不为懈笔怠笔，树干盘龙走虺，脉理纷然，瘢节回护，古拙怪异。\n树下三五成群的聚饮者，也是一种静谧而萧然的格调，尤其是图中描画对饮者解衣盘膝，或跽或蹲，不矜礼仪，生动地表现出村民、野老酒酣兴豪的生活乐趣。\n远处，山石逶迤起伏的山脉，作淡墨晕染，山峰均用短披麻皴，长松的勾皴苍劲精巧，细枝形类似蟹爪形。\n山上的草木丛杂，设色雅淡。\n218年1月21日，上海博物馆书法和绘画陈列开放，《松荫聚饮图》在其中展出。\n唐棣（1296—164），元代画家。\n字子华，湖州（今属浙江）人。\n“以茂才异等起家：”官至吴江知州：早熟，称“神童”，工画山水，“尝游翰林公之门”，得赵孟頫指授，并师法李成、郭熙，善于布置景物，点缀人物尤佳，笔力坚硬，画风清森华润，犹存宋人遗法。\n曾参与集庆（治今江苏南京）龙翔寺及元宫嘉熙殿作壁画，晚年兼学高克恭。\n明鉴赏家张丑推举他为“元人中之巨擘。\n”传世作品有《霜浦归渔图》轴、《雪港捕渔图》轴等。",[7,24,51,52,27,73,75,1059,697,28,15184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2873aee32f3e632b734453cf38006c24.jpg",[],{"id":26518,"slug":26519,"title":5350,"dynasty":46,"author":2636,"museum":132,"description":26520,"tags":26521,"thumbUrl":26522,"material":122,"size":122,"collection":122,"collections":26523,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},230205,"xian-e-chang-chun-tu-lang-shi-ning-230205","此作将中西绘法相融，牡丹花瓣以精微晕染过渡色彩，从柔粉浅白渐次晕作玫红，层层叠叠如凝露含芳，饱满鲜活尽显盛放娇姿。叶片皴擦兼具明暗光影与中式笔墨意趣，叶脉舒展清晰，枝茎挺秀带着蓬勃生机。朱红鉴藏印落于素绢之上，雅致端庄，为画作更添古雅意韵。整体既得西洋画的写实质感，又留存东方花鸟的清雅意蕴，将花之雍容华贵尽数铺展于绢素之上，仿若春色凝于方寸间。",[23,7,24,51,27,26,102,103,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e4b0937087e0a16c2d15c63c187e3c.jpg",[],{"id":26525,"slug":26526,"title":26527,"dynasty":67,"author":26528,"museum":132,"description":26529,"tags":26530,"thumbUrl":26532,"material":122,"size":122,"collection":122,"collections":26533,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},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。",[23,24,51,7,25,26,27,119,28,26531,1737,135,278,2221,812,3220,73],"田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592ca4cfbdcded52aaada6264e96bf35.jpg",[],{"id":26535,"slug":26536,"title":2228,"dynasty":67,"author":181,"museum":132,"description":26537,"tags":26538,"thumbUrl":26539,"material":122,"size":122,"collection":122,"collections":26540,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},228792,"zao-chun-tu-yi-ming-228792","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[23,7,24,51,25,27,72,26,73,74,118,75,77,78,79,81,82,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e585065867ec31afa0.jpg",[],{"id":26542,"slug":26543,"title":26544,"dynasty":114,"author":211,"museum":132,"description":26545,"tags":26546,"thumbUrl":26547,"material":122,"size":122,"collection":122,"collections":26548,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},228391,"tong-xi-tu-ce-ye-zhao-ji-228391","童戏图册页","淡墨轻勾，敷色浅淡清雅，将四名稚童嬉闹的日常定格。或持杆佯作玩耍，或俯身效仿逗趣，旁立的小童歪头注视，憨态毕现。线条简练灵动，不着浓艳，却将孩童的娇憨鲜活尽数勾勒，没有繁复铺陈，仅以极简笔触便把稚童的无忧稚气描摹尽致，藏着巷陌里最鲜活的日常意趣，尽显平淡天真的烟火温情，仿佛能听见画里的嬉笑声，将人拉回松弛鲜活的旧时光，静赏这份纯粹无忧的童真。",[7,24,51,100,27,26,28,16209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946c4ef1365e7720af305739ee57fb94.jpg",[],{"id":26550,"slug":26551,"title":2207,"dynasty":67,"author":26552,"museum":132,"description":26553,"tags":26554,"thumbUrl":26555,"material":122,"size":122,"collection":122,"collections":26556,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},228276,"hua-hui-ce-chen-dao-fu-228276","陈道复","这幅作品以淋漓水墨挥写湖石，苍润朴拙，留白藏尽空灵意趣。环绕花木设色清妍柔和，素白牡丹柔枝舒展、花瓣轻绽，淡粉碎花攒簇生姿，兰草劲挺修长，叶片舒展带露生机。\n笔意松秀灵动，兼工带写间糅合文人雅致，以色墨晕染烘托春日融融。花木俯仰有情，与苍润湖石形成刚柔对照，将庭间春日野趣尽显笔端，淡冶雅致中饱含闲散文心，寥寥数笔便勾勒出盎然春意，尽显水墨写意的精妙韵味。",[23,24,7,368,27,277,198,56,265,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca306f52ecfeeac584ccaa95f1e44470.jpg",[],{"id":26558,"slug":26559,"title":26560,"dynasty":293,"author":181,"museum":132,"description":26561,"tags":26562,"thumbUrl":26563,"material":122,"size":122,"collection":122,"collections":26564,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},228183,"dan-feng-niao-que-tu-yi-ming-228183","丹枫鸟鹊图","画面截取深秋一角，虬曲苍劲的枫树枝桠间，残红秋叶点缀，晕开萧索清寒的秋意。三只禽鸟错落栖于枝梢，引吭啼鸣的山雀羽翼晕染细腻写实，将灵动生机揉入冷寂秋景，另外两雀或静立或垂悬，动静相映成趣。\n\n设色调和古雅，工写相融，淡墨皴擦尽显枝干枯涩质感，禽鸟刻画精细入微，将秋日郊野的幽寂野趣藏于笔底，简淡笔意间晕开幽远沉静的林下意趣，尽显雅致空灵的秋日审美意韵。",[23,24,51,7,52,26,27,102,84,5803,6598,1282,1821,890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bfefdf57d7bfd435a7b35b437dd982.jpg",[],{"id":26566,"slug":26567,"title":20468,"dynasty":293,"author":14620,"museum":132,"description":26568,"tags":26569,"thumbUrl":26570,"material":122,"size":122,"collection":122,"collections":26571,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},228165,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228165","此作用笔苍劲老辣，以顶天立地的古松为画面核心，虬曲扭结的躯干皴擦细密，尽显岁月镌刻下的沧桑质感。松间垂挂的绵长松萝，以劲细游丝写出柔婉垂坠之态，和古木的沉雄拙朴相映成趣。下方寒泉漱石，流泉隐于嶙峋怪石间，留白铺就的水面空寂淡远，静穆中暗流动势，烘托出幽僻萧寒的林下清境。\n整幅画作以枯淡笔墨写就荒寒之韵，将文人寄心林泉、远避尘嚣的隐逸意趣藏于清冷景致之中，尽显山水尚意求真的美学风骨。",[23,7,24,51,52,4477,277,27,73,1059,647,278,79,1997,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17444290187efcec2fec2010c6951726.jpg",[],{"id":26573,"slug":26574,"title":26575,"dynasty":293,"author":1556,"museum":132,"description":26576,"tags":26577,"thumbUrl":26578,"material":122,"size":122,"collection":122,"collections":26579,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},228014,"shuang-ya-tu-ye-qian-xuan-228014","双鸭图页","此作用色清隽雅致，以澄澈钴蓝晕染水面，铺就幽宁底色。枯涩崖岸旁，蓼花垂曳轻摇，荇花绽于浅波，野趣盎然。白鸭昂首引吭，绒毛以淡墨层层晕染，柔润蓬松，憨态灵动，将水禽的慵懒自在尽显无遗。\n左侧题字墨色沉郁古雅，书画合璧，晕开文人逸趣。整幅画作工致却无板滞之感，褪去浓艳浮华，以清简笔触定格江南水畔一隅生机，在平淡天真里晕染出静逸诗意，把闲淡野逸的水乡意趣藏于笔底，尽显雅致悠然的文人审美意韵。",[23,7,24,51,100,26,27,5851,281,711,198,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f3c409d648d2eabd5847edaa99ecd.jpg",[],{"id":26581,"slug":26582,"title":22635,"dynasty":114,"author":6856,"museum":132,"description":26583,"tags":26584,"thumbUrl":26585,"material":122,"size":122,"collection":122,"collections":26586,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},227980,"qiu-lu-fei-wu-tu-liang-kai-227980","以淡墨晕开秋江空蒙的冷寂氛围，枯瘦芦草欹斜舒展，迅疾老辣的笔致带着野逸秋意。水畔坡岸以泼墨点染，浓淡墨色自然晕化，混融天成，静立坡头的小禽与振翅掠空的飞鹜形成动静对照。\n\n远飞的水禽仅以寥寥数笔勾勒，形神俱足，活现掠空姿态。画面以大片留白衬出江天寥廓，将秋日江汀的萧疏淡远藏在简淡笔墨中，以少胜多，把秋日清寂与禅意文思揉合一处，余韵悠长。",[23,7,24,51,52,277,368,2151,84,56,3037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917b71480910d4f702db28eefc181657.jpg",[],{"id":26588,"slug":26589,"title":26590,"dynasty":114,"author":3309,"museum":132,"description":26591,"tags":26592,"thumbUrl":26593,"material":122,"size":122,"collection":122,"collections":26594,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},227951,"qin-yu-tu-li-di-227951","禽浴图","画面截取禽鸟沐水的日常一隅，乌鸫探身木盆，翅羽蓬松乍起，墨色晕染分出干湿层次，将沾水后濡重的绒羽与翻扬的飞羽区别开来。圆目灵动带着憨态，黄喙轻点水面，漾开浅淡水痕，仿佛能闻声水泽轻响。木盆篾编纹理刻画写实，分毫毕现。\n\n整幅笔墨工细却不失生机，以小景见真趣，把野禽自在沐浴的瞬间定格，将对生灵的细致观察尽显无遗，于寻常日常里，晕染出雅致鲜活的自然意趣。",[23,7,24,51,26,27,102,84,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e7161b3e35c7b6a5e1f6d4a3f7707c.jpg",[],{"id":26596,"slug":26597,"title":26598,"dynasty":114,"author":181,"museum":132,"description":26599,"tags":26600,"thumbUrl":26601,"material":122,"size":122,"collection":122,"collections":26602,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},227920,"hua-hui-shuang-qin-tu-yi-ming-227920","花卉双禽图","此作工笔设色，柔枝舒展间白茶花轻绽，花瓣晕染出莹润柔光，枝叶俯仰向背尽显草木生姿。两只禽鸟栖于细枝之上，翎毛刻画丝丝入微，胸腹绒羽蓬松柔软，墨色晕染出头部乌亮光泽。一鸟昂首啾鸣，一鸟侧身应和，将枝间互动的鲜活意趣定格。\n\n整幅构图疏密得宜，浅褐绢底衬出雅致色调，笔墨精细却无匠气，尽显院体花鸟的写实功力。画师以细腻笔触捕捉花鸟间的灵动互动，将春日枝桠间的寻常小景，晕染出独有的雅致诗意，藏着对日常生机的温柔捕捉。",[23,7,24,51,26,27,102,198,710,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd599ee4f684f536c226cf5017f764baa.jpg",[],{"id":26604,"slug":26605,"title":16156,"dynasty":114,"author":181,"museum":132,"description":26606,"tags":26607,"thumbUrl":26608,"material":122,"size":122,"collection":122,"collections":26609,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},227891,"shen-tang-qin-qu-tu-yi-ming-227891","《宋扇面画深堂琴趣图》是宋代画家佚名创作的一幅绢本设色画。\n此画现藏于北京故宫博物馆。\n【文物原属】故宫旧藏 【简介】 绢本，设色，纵：2.6cm，横：24.9cm。\n本幅无款印。\n钤收藏印 “仪周珍藏”一方。\n远山一带，巨壑空茫。\n建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。\n整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。\n从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。\n从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。\n这在宋诗、宋词和宋画中留有许多经典的范例。\n如从 的《 》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。\n音乐，求其意境，要有共鸣、幽远方妙。\n《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。\n深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。\n门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。\n庭石上又有青松一株，遥承琴声，而成风如松。\n环境与音乐布局协和生发，绝无滞碍。\n主人弹琴，恰好面东，而门对南，空间方位甚为有序。\n如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。\n设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。\n所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。\n这些看似细微之处，正可见宋人对画中空间风水的深刻认知。\n画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。\n可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。\n—— 著《 》",[23,24,51,7,768,27,75,77,82,278,78,28,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1ea677f5f541183dafad361e3563ed.jpg",[],{"id":26611,"slug":26612,"title":26613,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":26614,"thumbUrl":26616,"material":317,"size":907,"collection":3417,"collections":26617,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},225829,"the-flowering-orchard1888-fan-gao-225829","The Flowering Orchard1888",[7,3410,3411,10067,26615,4731,8964,82,22986,83,8965],"开花果树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb5d2d0d0713678d6a0bb6fecc1b149.jpg",[3417],{"id":26619,"slug":26620,"title":26621,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":26622,"thumbUrl":26628,"material":317,"size":907,"collection":3417,"collections":26629,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},225808,"self-portrait-1888-fan-gao-225808","Self-Portrait 1888",[7,3410,28,10067,16855,12532,26623,26624,11436,26625,26626,15941,26627],"调色板","画笔","画架","肖像","笔触明显","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3214fea817e28c99ebeddf67f7274fbc.jpg",[3417],{"id":26631,"slug":26632,"title":26633,"dynasty":46,"author":1567,"museum":132,"description":26634,"tags":26635,"thumbUrl":26636,"material":122,"size":122,"collection":122,"collections":26637,"showCount":716,"zanCount":1065,"manualWeight":40,"mainColor":41},224510,"shan-shui-tu-ce-8-kai-1-zhang-da-qian-jiu-cang-shi-tao-224510","山水图册8开-1-张大千旧藏","淡墨晕染远山，恍如烟霭轻笼，望之渺渺。近前丘峦以枯笔焦墨皴擦勾勒，苍劲朴拙，自带厚重古意。坡岸寒林萧疏，枝桠错落淡写，空寂清寒之境跃然纸上。右侧三两茅舍依偎岩岫，隐于林木间，尽出世幽居之趣。\n书画相融，题诗佐景，朱红金石印章错落点缀，更添雅致。笔意纵恣又不失内敛，将山雨初歇后的微茫空濛铺陈开来，淡而弥厚，简而愈远，尽显静穆萧散的文人逸趣，把江南山野的幽淡之美，晕作悠然忘尘的林下诗意。",[23,7,24,51,100,277,73,75,647,559,278,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93031ba8b540688941b476a31e5177ff.jpg",[],{"id":26639,"slug":26640,"title":26641,"dynasty":46,"author":1567,"museum":132,"description":26642,"tags":26643,"thumbUrl":26644,"material":122,"size":122,"collection":122,"collections":26645,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},224500,"shan-shui-ce-kai-jiu-shi-tao-224500","山水冊开(九)","近景虬松斜出，板桥横卧浅溪，野意悠然。中景崖边村居错落，山径蜿蜒隐入青山，远江烟棹朦胧，翠微含黛，浅绛设色晕染出温润清和的春日山乡。\n\n枯笔皴擦勾勒山石，朴拙苍劲间带着灵动生气，林木简笔点染，形神兼备。题画诗与山水相融，将伤春怀远的幽寂心绪藏在清寂丘壑里，以山川写尽文人缱绻情思，简淡天真中见纵逸灵秀，笔底既有林泉野趣，又含寄情山水的文人心魂，尽显平淡悠远的画中真意。",[23,7,24,277,27,73,100,75,78,79,559,82,278,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112ef3c7e0ff3fa7d53483405b5d3c67.jpg",[],{"id":26647,"slug":26648,"title":26649,"dynasty":46,"author":7849,"museum":132,"description":26650,"tags":26651,"thumbUrl":26652,"material":122,"size":122,"collection":122,"collections":26653,"showCount":716,"zanCount":1065,"manualWeight":40,"mainColor":41},224458,"hua-hui-shan-shui-he-ce-1-5-wang-hui-224458","花卉山水合册1-5","此作设色清妍明快，以石青石绿晕染山峦，柔缓晕开丘棱轮廓，晕出春日山景的温润鲜活。左上桃枝绽粉，点破春讯，飞泉沿幽谷蜿蜒而下，牵起山林灵动生机。一叶扁舟随波泛于烟水间，大片留白铺陈出空濛云水意境，尽现幽远之致。\n\n右侧题诗补全画中雅趣，笔致秀逸舒展，与山水景致相映成趣，将文人耽于林泉的悠然雅意融于尺幅之间。整幅淡冶雅致，既见青绿山水的明丽秀润，又有文人画的萧散意境，尽显春日山水的静穆清和。",[23,24,7,51,100,27,72,73,75,82,79,76,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05457a1878b4c600149d327541c4eeee.jpg",[],{"id":26655,"slug":26656,"title":26657,"dynasty":46,"author":2336,"museum":132,"description":26658,"tags":26659,"thumbUrl":26660,"material":122,"size":122,"collection":122,"collections":26661,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},224210,"yun-shan-shui-tu-wu-chang-shuo-224210","云山水图","以篆籀笔法入山水，阔笔泼墨点染远山苍莽朴拙，山居错落隐于林麓，野意横生。留白写江面悠悠，一叶扁舟随波，铺展出空寂淡远的烟江暮色。近岸老木虬曲、修竹横斜，用笔纵老苍劲，干湿浓淡的水墨交织晕染。\n题诗与画境相融，将暮山寻幽的闲逸心境诉诸笔端，突破柔隽山水的陈格，以写意风骨绘就晚秋江南萧疏淡远之致，笔墨间金石气裹挟着文人雅趣，简淡中见雄浑大气，尽显诗画合璧的文人风神。",[23,7,24,51,25,277,75,73,135,647,136,664,79,648,3195,11427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b3ba3916d6e873f7fe5bd0cbbb0434.jpg",[],{"id":26663,"slug":26664,"title":26665,"dynasty":293,"author":181,"museum":132,"description":26666,"tags":26667,"thumbUrl":26668,"material":122,"size":122,"collection":122,"collections":26669,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},223624,"cao-chong-tu-zhu-ye-juan-ben-yi-ming-223624","草虫图竹叶绢本","画面错落铺陈野趣生机，上方疏枝斜探，中段群芳舒展。明黄蜀葵柔丽妍秀，紫花秾艳、朱英点点，深浅花色交映成趣。粉蝶蹁跹、蜉蝣轻翔，草虫灵动如生，隐于枝叶花间。\n\n落笔工细秀逸，晕染雅致沉静，深褐绢底托衬出花木清妍，将初秋郊野的幽寂鲜活晕染开来。工致中带着写意澹远，把小景生机藏于古雅色调，静中含动，尽显写生花鸟的含蓄雅致，淡冶清和之间，古韵悠然流转，将草木虫豸之微末意趣，铺展成耐人品味的幽闲景致。",[23,24,7,51,611,27,26,199,14603,198,200,247,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed08f0802a9845b116d1f8c75cdf940.jpg",[],{"id":26671,"slug":26672,"title":13791,"dynasty":114,"author":181,"museum":151,"description":26673,"tags":26674,"thumbUrl":26675,"material":26676,"size":26677,"collection":122,"collections":26678,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},223338,"jiu-ge-tu-juan-yi-ming-223338","画卷根据屈原《楚辞·九歌》中的神话故事绘制而成。“九歌”原为传说中的一种远古歌曲的名称，《九歌》是屈赋中最精、最美、最富魅力的诗篇，它代表了屈原艺术创作的最高成就。",[23,24,7,25,510,26,28,370,6056,472,79,278,82,279,1046],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07bb572ae953b740fe54293fea95aea1.jpg","纸本，手卷，墨笔","纵37厘米、横845厘米",[],{"id":26680,"slug":26681,"title":26682,"dynasty":46,"author":14982,"museum":1475,"description":18679,"tags":26683,"thumbUrl":26685,"material":611,"size":18682,"collection":122,"collections":26686,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},222882,"hong-lou-meng-7-sun-wen-222882","红楼梦7",[23,24,7,26,27,28,77,78,79,81,26684,82,755,75,2995],"对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c7e9c57c5191efaad6178b445f8396.jpg",[],{"id":26688,"slug":26689,"title":26690,"dynasty":67,"author":5561,"museum":195,"description":5562,"tags":26691,"thumbUrl":26692,"material":122,"size":122,"collection":122,"collections":26693,"showCount":716,"zanCount":1065,"manualWeight":40,"mainColor":41},222517,"shen-xian-tu-ce-6-zhang-lu-222517","神仙图册6",[23,7,24,51,100,277,510,28,8020],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd335e2d1ed4bc96ae99305478e6322.jpg",[],{"id":26695,"slug":26696,"title":26697,"dynasty":67,"author":6176,"museum":507,"description":26698,"tags":26699,"thumbUrl":26700,"material":10505,"size":26701,"collection":122,"collections":26702,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},222449,"he-tang-ji-qin-tu-zhou-lin-liang-222449","荷塘集禽图轴","林良有些花气画，专绘群乌聚集景象，品类众多，情态各异，生动活泼，极富自然天趣。此幅集禽图以荷塘为背景，塘内荷叶绽开，莲蓬结子，苇丛摇曳，正是盛夏季节。一对豆雁在水中叼着莲茎嬉玩，相依相偎；两只鸬鹚在觅食，一只正衔着小鱼飞向另一只伸颈等待的伴侣，透出相濡以沬的情感；天空有一燕子展翅鸣叫，正飞向栖止荷花上的雏燕，又别呈哺育之情。成对禽鸟的不同情感，既真实地揭示出它们的天性，又赋以强烈的感情色彩，使这些生物不仅活泼可爱，也亲切感人。禽鸟欢悦和谐的生活景象与盛夏池塘生意盎然的环境气氛相交融，奏出了一曲十分优美悦耳的生命交响乐。作品所传达的情凋、氛围，在林良花鸟画中是不多见的。\n此图画法比较工整，荷花、莲蓬均用细线勾勒后再加色晕染，阴阳向背分明。禽鸟亦勾染结合，形态准确，物类——可辨。芦苇、荷茎比较写意，但粗细、深浅也很有分寸，各具轻薄、圆韧质感。此为林良工写相兼画风中的精细之作。（单国强）",[23,24,7,52,277,368,102,54,1178,84,1883,2151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf4364f9bd90694c020b7ec431ffec25.jpg","152 7x65 5cm",[],{"id":26704,"slug":26705,"title":26706,"dynasty":67,"author":5192,"museum":20,"description":26707,"tags":26708,"thumbUrl":26710,"material":1061,"size":26711,"collection":122,"collections":26712,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":62},222176,"han-jiang-diao-ting-zhou-lu-zhi-222176","寒江钓艇轴","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,7,24,51,52,27,26,1422,80,661,647,3195,1357,28,26709],"钓线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe21dd60fea833be1aafb87910d35216.jpg","65.7x36.6厘米",[],{"id":26714,"slug":26715,"title":26716,"dynasty":293,"author":181,"museum":17159,"description":26717,"tags":26718,"thumbUrl":26719,"material":611,"size":26720,"collection":122,"collections":26721,"showCount":716,"zanCount":40,"manualWeight":40,"mainColor":41},221783,"yuan-zhi-shuang-xi-tu-zhou-yi-ming-221783","元织双喜图轴","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。 画中各物在作者的笔下蠢蠢欲动，大得自然野趣。",[23,24,51,7,52,26,27,102,383,53,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cce390d80d63a2be5939789f644197c.jpg","78x40.4",[],{"id":26723,"slug":26724,"title":26725,"dynasty":293,"author":26726,"museum":212,"description":26727,"tags":26728,"thumbUrl":26729,"material":342,"size":26730,"collection":122,"collections":26731,"showCount":716,"zanCount":1065,"manualWeight":40,"mainColor":41},221763,"liu-ting-ju-qin-tu-xia-shu-wen-221763","柳汀聚禽图","夏叔文","淡墨简笔，画一水两岸，柳树柔枝万条，喜鹊，山雉、绶带，翠鸟等或栖憩枝头，或戏游水中； 近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 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ion":27083,"tags":27084,"thumbUrl":27085,"material":122,"size":151,"collection":122,"collections":27086,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":41},236615,"hua-niao-ce-ma-yuan-yu-236615","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[24,51,7,100,277,27,102,84,13465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe748e4c66b59983881f87bee7e05da01.jpg",[],{"id":27088,"slug":27089,"title":27090,"dynasty":67,"author":27091,"museum":151,"description":27092,"tags":27093,"thumbUrl":27094,"material":250,"size":122,"collection":106,"collections":27095,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":41},236274,"jiang-shang-qi-shu-juan-yao-shou-236274","江上七树卷","姚绶","姚绶（1422—1495），明早中期画家。字公绶，号丹丘生，又号谷庵子、谷庵、仙痴、云东逸史，浙江嘉兴府嘉善县大云寺人。少有才名，专攻古文辞，诗赋茂畅。天顺中赐进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。姚绶工行草书，初学宋克，后法魏晋钟繇、王羲之，劲婉咸妙。出入钟、王而别具拙朴风神，风格近张雨。擅画山水，宗吴镇，也取法赵孟、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》、《云东集》、《天人合旨》、《姚御史诗文》。小景好作沙坳小曲，孤钓独吟，其阔幅重林远瀍，著四五渔船而已。图成或售于人，遂厚价返收之，其自重如此。与杜琼、刘珏、谢缙等明代早期文人画家，都承继了元四家衣钵，为明代中期吴门派的勃兴，起到了承前启后的作用，是吴门派的前期画家。\n姚绶得吴仲圭、盛子昭二家法，苍厚敦穆，简拙之中别具秀润，自是文人逸格。复参赵孟、王蒙笔意，皴染圆厚，书卷气极浓。姚绶曾画竹自云：“画竹如写字，枝叶皆从八法来，苦苦欲求形似者，清风安得扫尘埃”姚绶竹石题材的作品多以吴镇为宗。画竹一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔，姚绶早年书法宗宋克，中年后以张雨为宗，又致力于赵孟俯，黄庭坚，最终合张、黄、赵三家为一体，所以竹叶有其书法体态上的奇宕多姿，清逸而又雄迈的韵味。姚绶此类相近的竹石题材作品如：台北故宫藏《竹石图》，与北京故宫藏《竹石图》可窥其精华一二。",[7,24,51,25,277,73,82,1059,5324,340,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F171927c81b7c87363f9a4fca9993c187.jpg",[106,286,123],{"id":27097,"slug":27098,"title":27099,"dynasty":67,"author":181,"museum":132,"description":27100,"tags":27101,"thumbUrl":27103,"material":122,"size":122,"collection":122,"collections":27104,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":62},235814,"cui-zi-zhong-cang-yun-tu-zhou-yi-ming-235814","崔子忠藏云图轴","此作用全景式构图铺展意境，上段危峰怪石奇崛冷峻，淡墨晕染出空濛云雾，衬出山岫灵秀幽邃。中段留白托举云气，枯林萧疏愈显山野寂寥。下段辎车缓行于山径，长者安坐、侍童相随，人物意态简雅生动，车马细节入微。\n左上题诗与画意相融，水墨皴染结合，笔意清劲古雅，将藏云林泉的幽居雅兴，与静穆高古的山水意境合二为一，尽显文人避世寻幽的审美意趣。",[7,24,51,52,27,73,28,75,82,278,27102],"车辆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc9720526c0678b1bafbcaf3a821ab4.jpg",[],{"id":27106,"slug":27107,"title":27108,"dynasty":46,"author":181,"museum":132,"description":27109,"tags":27110,"thumbUrl":27111,"material":122,"size":122,"collection":122,"collections":27112,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":41},235299,"xu-gu-lan-hua-zhou-yi-ming-235299","虚谷兰花轴","此作用枯淡墨色挥写岩壁，皴擦老辣苍劲，留白愈显空灵疏朗。垂落兰叶以中锋行笔，如素练飘曳，笔力柔韧挺拔，墨色干湿浓淡交叠，将兰叶舒展之姿尽显无余。淡红轻晕兰花，简笔点染便得娇柔妍态，于素雅底色上晕开一抹温柔生机。\n全画以少胜多，将兰花空谷幽芳的高洁风骨藏于笔墨之中，以画寄情，尽显文人写意的清雅禅意，把兰草清逸脱俗之态勾勒得淋漓尽致。",[526,24,51,52,277,27,368,243,56,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77ac63d45e7e281058ce026acac47742.jpg",[],{"id":27114,"slug":27115,"title":27116,"dynasty":46,"author":27117,"museum":132,"description":27118,"tags":27119,"thumbUrl":27120,"material":122,"size":122,"collection":122,"collections":27121,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":41},234617,"gu-yun-fang-tang-yin-shan-shui-wan-shan-gu-yun-234617","顾沄仿唐寅山水纨扇","顾沄","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。\n顾沄少有丹青之志。片纸尺缣，遇画辄研写不已，时常州、娄东、虞山画风鼎盛，沄深谙山水经营布置之法，画名渐起，遂往上海鬻画。上海乃商贾云集之东南都会，乾嘉时已与维扬、姑苏、宁波等城市同为鬻画之胜地。五口通商，中外资本汇聚，富庶繁华更胜苏、扬。商人风雅，各有所好，便有了各路画家一展伸手之空间。时称“三熊四任”的任渭长、任阜长、任伯年、任立凡、张子祥、朱梦泉以及朱梦庐、胡公寿、虚谷、赵之谦、王秋言、蒲作英、钱慧安、吴昌硕、吴石仙、陆廉夫、倪墨耕、吴观岱等周边画家，先后前往上海发展，遂有海上画派之兴起。沄一生恪守有清以来之正统画风，功力深厚，倒也在新风阵阵之沪上知音多多，以“泽古功深，集四王吴恽诸家之长”独树一帜。光绪十四年（1888）尝北赴京畿，与诸士大夫游，又于同年东游扶桑。画名远播（光绪十四年(1888)游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。\n工山水，由“四王吴恽”入手，上探元、明诸家。墨法明润秀雅，笔意疏古清丽，吴侬软语，浅斟低唱，得柔美之致，乏遒劲之气。间有水墨直师王蒙、小青绿逼似文徵明者，功力之深厚，时罕其俦。",[7,24,51,768,277,73,154,75,609,28,278,279,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ec48b9c827ff6ad82c1e990c175f2d.jpg",[],{"id":27123,"slug":27124,"title":27125,"dynasty":114,"author":6856,"museum":151,"description":27126,"tags":27127,"thumbUrl":27128,"material":156,"size":16282,"collection":122,"collections":27129,"showCount":375,"zanCount":1065,"manualWeight":40,"mainColor":62},234067,"shu-liu-han-ya-tu-ye-liang-kai-234067","疏柳寒鸦图页","图绘枯柳疏枝，两只乌鸦栖息于树干上，一只低头啄食，一只仰望高空，与远处的飞鸦呼应成趣，另有一只飞临树干。几枝败柳将冬季萧瑟的气氛巧妙地烘托出来，四只寒鸦形神各异。乌鸦头尾以浓墨点染，羽翼用焦墨勾写，腹部略敷白粉，更突出鸦头之黑，笔简神丰。\n梁楷的“减笔”画既带有文人的笔墨情趣，又能对物象高度概括，具有传神的效果，这在两宋花鸟画中是绝无仅有的。这种画法对元代的颜辉、明代的徐渭、清代的黄慎、近代的任伯年等著名画家都有较大的影响。",[7,24,277,7058,768,102,1478,13625,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98edc522b970230b3f33e393d08d85c.jpg",[],{"id":27131,"slug":27132,"title":20537,"dynasty":114,"author":274,"museum":151,"description":27133,"tags":27134,"thumbUrl":27135,"material":611,"size":20543,"collection":122,"collections":27136,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":62},234035,"wu-zhu-xi-tang-tu-ye-xia-gui-234035","此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[24,7,100,119,277,27,73,75,53,10010,14810,78,79,135,136,755,861,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eaba403757890198eedd65e6a3143f.jpg",[],{"id":27138,"slug":27139,"title":11701,"dynasty":114,"author":274,"museum":151,"description":27140,"tags":27141,"thumbUrl":27143,"material":27144,"size":27145,"collection":122,"collections":27146,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":62},233212,"yan-xiu-lin-ju-tu-ye-xia-gui-233212","图中绘一老者走过板桥，沿小径而行，远处山林后隐现房舍一角，意境幽深。近景树石着重墨，中景以淡墨勾染，至远景则以极浅淡的水墨渲染出一片雾色，拉开空间层次。用笔轻松简洁，皴中带染，染中有皴，整体风格不失精致秀润。构图是夏圭惯用的半边式。\n此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。\n在此扇面上，远处一片空旷、开阔，烟雾飘渺，在云雾笼罩下，左边露出峭秀的山峰，突兀的山峰耸立在群山之巅。山峰偏左，让出右边的空间。使人有云天苍茫，辽阔无际之感，显得轻浅。远景小河流水隐约可见，这是虚；中景平湖河道若隐若现，似有似无，渐渐伸向远处而消失在山谷树丛之中。近景则实，以浓墨笔健画出树丛j组，错落于山石、土坡上，是画家着意描绘的对象，以“树为君，山为辅”的方式构图，主从分清，疏密有致，中问一组起着支撑作用，树高干粗叶茂，两边各一组为辅，只取陪衬作用。处理得自然合乎情理。近景石坡树丛间，小桥曲径隐现，林间幽居的房舍，可见人物行踪。一人转过山石，过小桥，沿着弯曲的小路向坡下的茅屋走去，可见这是一幅诱人的静谧境界。\n整个画面虚实相映，以虚代实，虚实结合。善于利用空白来体现大自然的辽阔、深远。整个画面上疏下密，左实右虚，起到虚实相间，疏密有致，且显示了黑白对比的强烈。全画构图简赅而意蕴深远，前后层次分明，笔墨苍润，水墨淋漓。它不是江南景色的写生，而是以少胜多，以简就繁，以精致的笔墨表达无尽的诗意。而笔法简劲、墨气潮润。作者善用水笔涂抹画面，再用墨笔破之，以此拖泥带水皴法，水墨淋漓之气来表现江南烟雨迷漾之韵致。画近景坡石以秀笔作斧劈皴，充满质感及力度。此画树法以点线为主，树枝干用草率而劲健；山石土坡以线条勾勒轮廓，做到勾皴结合，线面互用，皴中有染，染中有皴，带水斧劈，一气呵成，呈现出水墨淋漓的效果，因此，夏圭山水艺术灵活多样，纵横奔放，精致秀润兼而有之。款署“夏圭”二字，此幅有项元汴、高士奇等藏印共五方。\n陈文璟：《烟岫林居图》营造的正是一种烟云境界，近处以重墨勾勒树木、山石、人物，皴染却以淡墨扫出，显得浓重透出空间来，使节奏感明快而庄重，而远山渺渺，烟雾缭绕，使背景和前景的对比更加突出，则人物所居，自然是“只在此山中，云深不知处”。尤为人不可及的当然是线条的凝练畅快，显示出画者的心态安定而悠闲忘机，既不媚世求欢，也不率意而狂狷，彬彬然，霭霭然，内敛而外平，越品味越觉意味深远，不免有“珠玉在侧，觉我形秽”的感慨。\n陈振濂：《烟岫林居图》为小团扇——这是宫廷内多见的特殊形式。笔墨皆一遍施足，不重复皴染——这是步骤的简；树木繁纷，但却以粗笔为之，形成几个团块组合，外形并不过于曲折回环——这是造型的简。远山一二而已，空白处尽量加多，以见旷达之趣、约略之景——这是构图的简。最后，并无峰回路转、溪桥重叠、丘壑幽深的气韵：一切都是平淡的、直率的、简约的。这三种简复合起来，即构成一个简洁的减笔夏挂。",[24,7,51,75,277,73,2613,297,135,18120,27142,5490,278],"居处","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73197fa365d71fb00c132cb41deb0b52.jpg","绢本 ，墨笔","纵25cm，横26.1cm",[],{"id":27148,"slug":27149,"title":3613,"dynasty":46,"author":2636,"museum":151,"description":8362,"tags":27150,"thumbUrl":27152,"material":156,"size":8365,"collection":122,"collections":27153,"showCount":375,"zanCount":1065,"manualWeight":40,"mainColor":41},232971,"hua-niao-ce-lang-shi-ning-232971",[7,24,51,100,26,27,8278,228,136,340,102,6292,17566,27151],"光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f6041cf4527a2b11a1a31782ac66d2a.jpg",[],{"id":27155,"slug":27156,"title":27157,"dynasty":114,"author":4689,"museum":132,"description":27158,"tags":27159,"thumbUrl":27161,"material":611,"size":27162,"collection":122,"collections":27163,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":62},232628,"qiu-jing-zhang-yuan-tu-juan-yi-yuan-ji-232628","秋景獐猿图卷","郭若虚《图画见闻志》成书于成熙七年(1074)，是最早记载易元吉生平的典籍。此后成书于宣和二年（1120）的《宣和画谱》、至正二十五年（1365）的《图绘宝鉴》之类画史著作所录的易元吉传，都来源于《图画见闻志》中的这段文字：\n易元吉，字庆之，长沙人。灵机深敏，画制优长。花鸟蜂蝉，动臻精奥。始以花果专门，及见赵昌之迹，乃叹服焉。后志欲以古人所未到者驰其名，遂写獐猿。尝游荆湖间，入万守山百余里，以觇猿狖獐鹿之属，逮诸林石景物，一一心传足记。得天性野逸之姿，寓宿山家，动经累月，其欣爱勤笃如此。又尝于长沙所居舍后疏凿池沼，间以乱石丛花、疏篁折苇，其间多蓄诸水禽，每穴窗伺其动静游息之态，以资画笔之妙。治平甲辰岁，景灵宫建孝严殿，乃召元吉画迎厘斋殿御扆。其中扇画太湖石，仍写都下有名鹁鸽及雒中名花，其两侧扇画孔雀。又于神游殿之小屏画牙獐，皆极其思。元吉始蒙其召也，欣然闻命，谓所亲曰：“吾平生至艺，于是有所显发矣。”未几，果敕令就开先殿之西庑张素画《百猨图》，命近要中贵人领其事，仍先给粉墨之资二百千。画猨才十余枚，感时疾而卒。元吉平日作画，格实不群，意有疏密。虽不全拘师法，而能伏义古人。是乃超忽时流，周旋善誉也。向使元吉卒就《百猨》，当有遇于人主；然而遽丧，其命矣夫。有獐猿、孔雀、四时花鸟、写生蔬果等传于世。建隆观翊教院殿东獐猿林石绝佳。(又尝于余杭后市都监厅屏风上画鹞子一只，旧有燕二巢，自此不复来止。)\n这段文字共四百一十八个字，在《图画见闻志》所有画家传记中字数最多。后世大名鼎鼎的画家很多，其传记也就几十字到三百多字不等，如董源七十二字，范宽九十四字，郭熙九十五字，黄筌二百二十八字，徐熙一百四十六字，崔白二百四十三字，武宗元三百二十三字，等等。传记文字的数量与传主的分量是成正比的，由此可见易元吉在郭若虚心目中的地位。\n秦汉以来，士人取名好引经据典，至宋尤盛。南宋俞成说：“尝观《进士同年录》：江南人习尚机巧，故其小名多是好字，足见自高之心；江北人大体任真，故其小名多非佳字，足见自贬之意。”唐代贞观元年（627），天下为十道，江南道范围包括今湖北南部、江西、湖南。这段文字用来形容长沙人易元吉的取名，也无不可。易姓在北宋时期的长沙是大姓。易元吉之名字，应当来源于《易经》的履卦“上九”象传：“元吉在上，大有庆也。”据此以“元吉”为名，“庆之”为字。姓“易”而以《易经》的文字来命名，比其他任何用《易经》文句取名的姓氏都要显得浑然天成，也可见易元吉的父辈当并非普通白丁。\n郭若虚的这篇传记没有具体记载易元吉的生卒年，只能大体推断出他的活动时间。易元吉于治平甲辰岁（1064）入宫绘制屏风，则此之前应当是名家。从“未几……感时疾而卒”来看，易元吉的去世时间当在入宫后不久，所以其主要活动时间是在宋仁宗（1022—1063年在位）时期。由于《图画见闻志》中关于易元吉入宫的时间只出现年份而不见月份，只能推测他大概于宋英宗治平二年（1064）末或者治平三年（1065）初去世。\n易元吉有多方面才能，而绘画方面特别突出。在整个宋代，被载入美术史的湖南画家只有易元吉一人，但一些资料显示，当时在长沙及周边一带的书画交易十分兴盛，从侧面反映出当时的长沙有一个规模较大的画家群体。例如，张南本的水陆画，“后来为人模写，窃换真迹，鬻与荆湖商贾。”米芾（1051—1107）《画史》载：“长沙富民收水鸟芦花六幅。”《图画见闻志》没有记载易元吉的直接师承，他“以花果专门”之后才见到赵昌的作品，而且毅然改换绘画题材，才有了后来以“猿獐”名世的易元吉。他的师父不会很有名，甚至有可能是自学成才。在长沙期间，易元吉于家舍附近种花养禽，随时写生。他在园圃中观察自然对象研习绘画的形象成为画史上的经典，直到清代的文人仍旧对此充满想象：“易元吉于圃中畜鸟兽，伺其饮啄动止，而随态图之。”",[23,7,24,25,27,72,26,75,135,1282,27160,10174,278,313,74],"獐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f627a5c8207974fc409e1ac152f093c.jpg","36.7x321",[],{"id":27165,"slug":27166,"title":27167,"dynasty":114,"author":11415,"museum":7613,"description":27168,"tags":27169,"thumbUrl":27170,"material":217,"size":27171,"collection":122,"collections":27172,"showCount":375,"zanCount":1065,"manualWeight":40,"mainColor":62},232618,"luo-han-xi-zhuo-tu-li-zhou-lin-ting-gui-232618","罗汉洗濯图立轴","这幅画描绘的是佛教僧侣日常生活中的一个场景，属于一套一百幅描绘五百罗汉或佛教圣人的挂轴。这套画于1175年由一位佛教方丈委托，三年后由林庭珪和另一位画家周季常共同完成。这些画在13世纪被运往日本，最终成为京都佛教寺庙大德寺的财产。1894年，需要修缮资金的大德寺在美国波士顿展出了其中44幅卷轴，其中10幅售出。这幅画是当时日本人赠送给美国巡回展的组织者，后者于1902年把它卖给了查尔斯·朗·弗利尔（Charles Lang Freer）。\n此幅作品林庭珪用精确的轮廓和明亮、不透明的颜色画出了六个人物。画面中，五罗汉和他们的仆人正在洗衣服，并把衣服晾在外面晾干。右下角有几乎完全看不清的艺术家签名，用金粉题写。",[23,7,24,51,52,678,27,26,28,647,79,281,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d9932e8b6df250624925fe2c5bd5f4f.jpg","112.3×53.5cm",[],{"id":27174,"slug":27175,"title":27176,"dynasty":1383,"author":27177,"museum":132,"description":27178,"tags":27179,"thumbUrl":27180,"material":317,"size":907,"collection":122,"collections":27181,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":41},231741,"an-tu-tao-shan-shi-dai-gui-tu-ping-feng-shou-ye-yong-de-231741","安土桃山时代 桧图屏风","狩野永德","狩野永德（1543年～1590年），日本画家。名州信，通称源四郎。1543年1月13日生于山越国（今京都），卒于1590年9月14日。他的传世作品还有《唐狮子屏风》、《桧图屏风》及《洛中洛外图屏风》等。",[23,7,24,51,497,27,75,135,79,278,473,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c0049bfcdc4c1a73a70e15f916753b.jpg",[],{"id":27183,"slug":27184,"title":27185,"dynasty":114,"author":181,"museum":20,"description":27186,"tags":27187,"thumbUrl":27188,"material":34,"size":10820,"collection":122,"collections":27189,"showCount":375,"zanCount":1065,"manualWeight":40,"mainColor":62},231079,"xue-lu-shuang-yan-tu-yi-ming-231079","雪芦双雁图","《国宝在线:全景花鸟》介绍了我国古代绘画瑰宝，是表现我国古代花鸟绘画手法的珍品。\n包括：元朝张舜咨的《雪界翁黄鹰古桧图》，宋朝佚名的《雪芦双雁图》、《桃花鸳鸯图》、《梅竹聚禽图》，宋朝崔白的《双喜图》，宋朝李迪的《枫鹰雉鸡图》等。\n《国宝在线:全景花鸟》由 出版。",[24,7,51,52,26,27,3863,2151,84,56,634,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e4009402f3bfb576c6fa71004de73d.jpg",[],{"id":27191,"slug":27192,"title":27193,"dynasty":46,"author":2660,"museum":132,"description":27194,"tags":27195,"thumbUrl":27196,"material":122,"size":122,"collection":122,"collections":27197,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":41},230169,"shan-shui-shi-er-kai-hua-ce-hua-yan-230169","山水十二开画册","此作青绿设色清润雅致，山石以皴染晕开，糅合苍劲与秀润。古松虬枝横斜，蟠曲苍劲，松针攒簇尽显古拙生机。飞瀑层叠跌落，汇入山下溪涧，浅滩空舟系岸，不见钓者，愈衬出秋山清寂。\n\n右上角题诗与画境相契，以白鸥、钓舟点出幽居隐逸的闲趣。诗画交融，将秋日溪山的萧疏淡远，和寄情林泉的雅意融为一体，笔底兼具文人画的简淡诗意与灵动生气，无繁复堆砌，尽是悠然出世的林下之风，观之令人沉静忘俗。",[7,24,51,100,277,72,27,75,609,278,82,79,78,80,137,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa515902d2b222c91f48162a7d0369c12.jpg",[],{"id":27199,"slug":27200,"title":27201,"dynasty":67,"author":14610,"museum":132,"description":27202,"tags":27203,"thumbUrl":27207,"material":122,"size":122,"collection":122,"collections":27208,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":62},228425,"shan-shui-shi-kai-lan-ying-228425","山水十开","此作用笔苍秀兼具，远景层峦叠嶂，云气轻笼，山寺浮屠隐现烟岚间，漾出幽寂禅意。近水岸洲渚错落，虬松杂木姿态夭矫，茅庐临水静立，板桥横卧浅流，野逸之趣扑面而来。以斧劈皴写山石，轮廓爽利劲健，墨色浓淡铺陈拉开远近空间层次，将林壑清旷冷寂与山居闲适安然相融，把林泉高致的隐逸向往寄寓寻常丘壑间，简淡尺幅里尽显苍润格调，是意韵悠然的山水小品佳构。",[24,7,51,75,277,73,100,27204,4165,27205,78,79,609,6231,7534,7857,27206],"山寺","茅庐","小品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd7732be2a59ff5b0e60ffc6785e38c.jpg",[],{"id":27210,"slug":27211,"title":7403,"dynasty":293,"author":27212,"museum":132,"description":27213,"tags":27214,"thumbUrl":27215,"material":122,"size":122,"collection":122,"collections":27216,"showCount":375,"zanCount":1065,"manualWeight":40,"mainColor":62},228258,"mo-zhu-tu-zhang-yu-228258","张雨","此作用淡墨挥写新竹，枝茎瘦劲清健，自斜角逸出，竹叶疏密有致、俯仰生姿，寥寥数笔便将竹的疏朗孤傲尽显。不着浓艳，仅以水墨晕染出君子清拔之态，尽显文人写意画的极简意趣。\n画面搭配题咏诗书，印信点缀其间，诗书画印相融，将竹的霜节高格与作者幽淡襟怀合而为一，以竹喻人、托物言志。浅淡墨痕里藏着林下高致，萧散笔墨间尽是淡泊脱俗的心境，虽是水墨小品，却将文人画借物抒怀的意韵表达尽致，尽显水墨写心的清雅魅力。",[23,7,24,51,277,119,74,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55750a6d6d41cc71996763bb18ed76ba.jpg",[],{"id":27218,"slug":27219,"title":27220,"dynasty":293,"author":4125,"museum":132,"description":27221,"tags":27222,"thumbUrl":27223,"material":122,"size":122,"collection":122,"collections":27224,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":41},228053,"bai-miao-jie-bo-tu-juan-wang-zhen-peng-228053","白描揭钵图卷","此作用纯白描演绎佛教故事，铁线描劲挺匀细如游丝盘桓。画面中众天魔女施百般神通、力士悍然围护，围绕钵盂拉扯对抗，将救子的焦灼与护法的沉凝刻画尽致，人物神态各殊，动静对冲间戏剧张力拉满。布景简淡清逸，衬出道释故事的庄严氛围感。卷后长题跋笔意跌宕，书画合璧，尽显此作的极致造诣，将宗教叙事与笔墨意趣完美融合，是白描人物画的典范之作。",[23,7,24,51,25,510,26,678,28,472,82,278,4005,6429,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee76ff91c7c036c27dda83ba2b0fe54.jpg",[],{"id":27226,"slug":27227,"title":27228,"dynasty":114,"author":181,"museum":132,"description":27229,"tags":27230,"thumbUrl":27231,"material":122,"size":122,"collection":122,"collections":27232,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":62},227879,"liu-yuan-xiao-shu-tu-ye-yi-ming-227879","柳院消暑图页","此作以雅致设色铺就消暑闲景。水岸庭院柳丝垂曳，将溽暑揉作柔婉绿意，半掩着临水楼阁。凭栏高士宽袍松带，懒倚轩窗，似在静听蝉鸣、细观涟漪，将暑热倦怠化为幽居闲情。\n屋下侍童躬身奉物，院角仆从悄然添茶，细碎日常衬出庭院松弛意趣。远景浅黛山峦晕染淡远，水色空濛晕着暑日微光，近院花卉娇柔点染，明暗虚实间，将江南夏日常住的清宁消暑意趣尽数铺展，淡而不寡，雅而不奢，尽显宋人的幽居美学，把溽暑里的闲静安然，尽数藏进这绢素方寸之中。",[23,7,24,51,768,27,26,855,28,77,1478,54,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd078e473f04ccec6ad7f49b6b5cb6b48.jpg",[],{"id":27234,"slug":27235,"title":27236,"dynasty":114,"author":115,"museum":132,"description":27237,"tags":27238,"thumbUrl":27239,"material":122,"size":122,"collection":122,"collections":27240,"showCount":375,"zanCount":40,"manualWeight":40,"mainColor":41},227587,"zao-jiang-tie-huang-ting-jian-227587","糟姜帖","庭坚顿首，承惠糟姜银杏，极感远意，雍酥二斤，青州枣一蔀，漫将怀向之勤，轻渎不罪，庭坚顿首。\n\n《糟姜帖》，又称《承惠帖》，凡5行，37字。无书写时间，从笔法、结体、风格来判断，应是早年所书，大约书于 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善山水及水墨花卉，写意入神。",[23,24,7,497,73,27,609,425,278,3096,16458,429,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c57893b576a57047bbcea7bcd2995a8.jpg",[],{"id":27585,"slug":27586,"title":27587,"dynasty":114,"author":878,"museum":20,"description":27588,"tags":27589,"thumbUrl":27590,"material":317,"size":907,"collection":122,"collections":27591,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":62},288424,"hua-deng-shi-yan-tu-er-ma-yuan-288424","华灯侍宴图二","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。",[7,24,51,52,27,855,75,77,1059,560,28,902,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9842376e216c0f5d1e4424d7474811f.jpg",[],{"id":27593,"slug":27594,"title":27595,"dynasty":114,"author":1160,"museum":132,"description":27596,"tags":27597,"thumbUrl":27598,"material":317,"size":907,"collection":122,"collections":27599,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":41},288385,"shan-guan-du-shu-tu-liu-song-nian-288385","山馆读书图","描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,7,24,51,27,855,28,77,609,7105,680,119,118,74,6271,8215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ed6fe2292944c59304920fb2612397.jpg",[],{"id":27601,"slug":27602,"title":27603,"dynasty":114,"author":274,"museum":132,"description":27604,"tags":27605,"thumbUrl":27606,"material":317,"size":907,"collection":122,"collections":27607,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":62},288335,"wu-zhu-xi-tang-tu-xia-gui-288335","梧竹溪堂图","此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。",[23,24,7,51,768,277,75,53,8373,81,78,79,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d7e4d8b8f02db5e2072c25ef69640f.jpg",[],{"id":27609,"slug":27610,"title":27611,"dynasty":67,"author":27612,"museum":132,"description":27613,"tags":27614,"thumbUrl":27615,"material":317,"size":907,"collection":122,"collections":27616,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":41},288043,"la-mei-tu-ye-chen-ji-ru-288043","腊梅图页","陈继儒","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[23,24,7,277,383,53,56,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeaf5a6200dee1b6146b29ef5bc777af.jpg",[],{"id":27618,"slug":27619,"title":27620,"dynasty":67,"author":899,"museum":132,"description":2742,"tags":27621,"thumbUrl":27622,"material":317,"size":907,"collection":122,"collections":27623,"showCount":288,"zanCount":1065,"manualWeight":40,"mainColor":41},288038,"wang-shu-gong-ji-tu-li-zhou-tang-yin-288038","王蜀宫妓图立轴",[23,7,24,52,27,26,28,29,904,118,74,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb661cdadc9e0f02324388bd2a6ec5c85.jpg",[],{"id":27625,"slug":27626,"title":27627,"dynasty":67,"author":181,"museum":132,"description":27628,"tags":27629,"thumbUrl":27631,"material":317,"size":907,"collection":122,"collections":27632,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":62},288008,"mo-yan-li-ben-suo-jian-tu-juan-yi-ming-288008","摹阎立本锁谏图卷","此作设色古澹沉静，绘就朝堂受降一幕。右下方番使伏地请降，旁侧劲卒牵犬按兵环侍，居中王者踞坐，神态威严自持，甲胄武士执兵拱卫身侧，左侧仕女仪仗端整，松石布景衬出肃穆朝堂气象。\n线条劲挺圆转，人物神情各尽其态：降者惶恐畏缩，王者端凝从容，甲士悍勇剽悍，仕女温婉静穆，尽得唐人人物画的传神意趣。整卷气息沉厚，虽为摹本，仍复刻出古贤劲爽的勾勒晕染，将社稷柱石的凛然风骨藏于人物俯仰之间，尽显追摹唐风的精妙。",[23,7,24,25,27,28,26,154,1605,4077,4078,6410,3486,3487,118,74,27630],"直谏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1154c1fb30a7cb0f5ffcfb1bc634cbf3.jpg",[],{"id":27634,"slug":27635,"title":27636,"dynasty":293,"author":658,"museum":132,"description":8491,"tags":27637,"thumbUrl":27638,"material":317,"size":907,"collection":122,"collections":27639,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":62},287758,"gao-jie-ling-yun-tu-zhuang-biao-wu-zhen-287758","高节凌云图（装裱）",[7,24,51,52,277,53,56,647,118,2755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c6c5f018da369c34404e3ac4413aec.jpg",[],{"id":27641,"slug":27642,"title":27643,"dynasty":18,"author":12662,"museum":132,"description":27644,"tags":27645,"thumbUrl":27646,"material":317,"size":907,"collection":122,"collections":27647,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":62},287700,"yan-ai-qiu-she-tu-zhao-gan-287700","烟霭秋涉图","山谷间流水潺潺，五名行旅提挽裤脚，相继涉水渡溪，背后的树木已呈枯黄，后岭复重重环抱，此境益为幽深绝尘。旧传此幅为赵干之作。",[23,7,24,52,75,27,84,647,278,3037,28,19773,11111,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbc055bd98f69af8f1859b5cbed4321.jpg",[],{"id":27649,"slug":27650,"title":27651,"dynasty":293,"author":658,"museum":132,"description":27652,"tags":27653,"thumbUrl":27655,"material":317,"size":907,"collection":122,"collections":27656,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":62},287668,"gao-jie-ling-yun-tu-wu-zhen-28766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ion":122,"collections":27745,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":41},235649,"lin-ting-shan-se-zhou-cha-shi-biao-235649","林亭山色轴","《林亭山色图》是典型的学习元人的作品。\n查士标的山水以松秀生辣为自己的风格，是新安画派的大家。\n此为清查士标的《林亭山色图》。\n南京博物院藏。\n他的用笔吸取了倪云林和董其昌的风格，在生峭和如锥画沙中找到了一种平衡。\n看他的画你会发现他的心态是平和安详的，每一笔和一点都徐徐落下，有条不紊。\n他的画面总是带着灰色调，如同是有点雾气在其间往来。\n这好像是新安画派画家的共同特点，而他的作品中间反映得更加充分些。\n查士标（1615-1698年）字二瞻，号梅壑散人，安徽休宁人，明诸生，明亡之后则弃举业专事书画。\n家中多藏鼎彝及宋元人的作品，精于鉴别。\n书法学习米芾、董其昌，画学倪瓒。\n晚年的绘画技法高超，直入元人的堂奥。",[24,51,7,52,277,75,81,53,56,135,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff352ce355a4c9c2cf81b84fb1dc3c7c0.jpg",[],{"id":27747,"slug":27748,"title":27749,"dynasty":67,"author":181,"museum":132,"description":27750,"tags":27751,"thumbUrl":27752,"material":122,"size":122,"collection":122,"collections":27753,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":41},235608,"you-qiu-hong-fu-tu-zhou-yi-ming-235608","尤求红拂图轴","此作用白描淡墨绘就，线条细劲圆转如游丝萦回，尽显雅致风神。庭院古木虬曲、湖石玲珑，案几清供衬出厅堂雅静。榻上主人神态端凝自有威仪，仕女身姿柔婉，红拂悄然凝睇李靖，暗露倾慕之意，其余侍女恭谨侍立，奏乐乐师专注投入，下方侍女缓步持物，灵动自然。\n\n画作定格风尘三侠初遇瞬间，人物排布疏密得宜，素淡墨色铺展传奇开篇，笔意秀润含蓄，将古典侠情的缱绻意境描摹尽致，淡远雅致间古意悠悠。",[7,24,51,52,510,277,27,28,135,136,3048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3a9f3843074eab8d3ca0495e164b6c.jpg",[],{"id":27755,"slug":27756,"title":6568,"dynasty":46,"author":1567,"museum":151,"description":6569,"tags":27757,"thumbUrl":27758,"material":13608,"size":6572,"collection":122,"collections":27759,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":41},235001,"yuan-ji-shan-shui-tu-ce-shi-tao-235001",[7,24,277,73,100,75,56,1059,27,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a9ea9a82d8c25e4dde2472c9cda449.jpg",[],{"id":27761,"slug":27762,"title":27763,"dynasty":46,"author":181,"museum":132,"description":27764,"tags":27765,"thumbUrl":27766,"material":317,"size":907,"collection":122,"collections":27767,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":41},234391,"xiao-yi-chun-huang-hou-chao-fu-xiang-zhou-yi-ming-234391","孝仪纯皇后朝服像轴","此作工笔精丽写实，画中女子端凝静穆，面容秀雅平和，尽显后宫之主的温婉气度。朝服形制严整，明黄地衬藏青绣面，矫健金龙盘绕周身，辅以江崖海水纹，既显皇权威仪，亦寄寓江山永固。点翠头饰华光内敛，朝珠层叠莹润，衣料的肌理光泽都被精细摹写，设色浓艳富丽又不失章法，精准还原服饰的华贵质感，将宫廷肖像画的纪实性与礼制性完美融合，肃穆华贵间尽显清代帝后画像的典范格调。",[24,7,52,26,27,28,370,140,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b110d09d9371ee138ffa42480f6b35.jpg",[],{"id":27769,"slug":27770,"title":27771,"dynasty":46,"author":18936,"museum":151,"description":27772,"tags":27773,"thumbUrl":27774,"material":342,"size":27775,"collection":122,"collections":27776,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":41},234178,"wo-you-tu-juan-kun-can-234178","卧游图卷","髡残字介邱，号石溪，又号白秃、电住道人、壤残道者，武陵人。工人物、花卉，尤精山水。此图笔墨苍润，结构繁简得宜，虚实相生，气脉连贯，粗放中苍润沉郁而物象毕现。",[23,7,24,51,25,277,73,119,2755,118,74,75,297,298,135,81,559,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae89608ed6536f95368216b186364913.jpg","28.1×375厘米",[],{"id":27778,"slug":27779,"title":1056,"dynasty":67,"author":1269,"museum":151,"description":25710,"tags":27780,"thumbUrl":27781,"material":1999,"size":3137,"collection":122,"collections":27782,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":41},234055,"shan-shui-ce-dong-qi-chang-234055",[7,24,51,100,277,73,75,82,278,559,648,279,5607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c284092d9c32f1c2b5519282e29198.jpg",[],{"id":27784,"slug":27785,"title":27786,"dynasty":114,"author":181,"museum":151,"description":27787,"tags":27788,"thumbUrl":27789,"material":230,"size":27790,"collection":122,"collections":27791,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":41},234002,"ming-bi-ji-sheng-ce-song-ren-cai-hua-tu-ye-yi-ming-234002","名笔集胜册-宋人采花图页","此画描绘野色秋景：古木、巨石、竹丛、杂花、曲水，老人拄杖，边走边看旁边的孩子，另一个孩子抱着 一个花瓶，跟在后面。 老人和两个少年，一副活泼的姿态，热切地相互呼应。 整幅画淡漠，充满野趣。 作者用双勾填彩竹，用白粉点花，用浓墨去山石，用淡墨擦。\n此图描绘的是陶渊明和采菊的故事。",[24,51,7,100,26,27,28,263,135,56,278,301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3829cc71d2b5bb96c58a1efbea7b43.jpg","24.1x25.2厘米",[],{"id":27793,"slug":27794,"title":8873,"dynasty":114,"author":211,"museum":151,"description":27795,"tags":27796,"thumbUrl":27797,"material":1261,"size":27798,"collection":122,"collections":27799,"showCount":288,"zanCount":1065,"manualWeight":40,"mainColor":41},232988,"pi-pa-shan-niao-tu-ye-zhao-ji-232988","图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[24,7,26,27,768,118,74,102,451,9394,339,1095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f708f56a9bfc0b0d7181fc6adb9c5aa.jpg","纵22.6厘米，横24.5厘米",[],{"id":27801,"slug":27802,"title":27803,"dynasty":293,"author":7404,"museum":20,"description":27804,"tags":27805,"thumbUrl":27806,"material":250,"size":27807,"collection":122,"collections":27808,"showCount":288,"zanCount":1065,"manualWeight":40,"mainColor":62},232832,"fang-ma-tu-zhao-yong-232832","放马图","《元赵雍骏马图》是元代画家赵雍的作品，该画出自家传，善山水，尤精人马及竹石。水滨疏林，骏马五匹散游其间，圉人倚松假寐，状极悠闲消遥。马匹肥壮，设色以青绿为之，树叶之表现近图案方式，饶古拙之趣，颇有唐人遗意。该画中山水份量极重，构景空濶而幽远。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[23,7,24,51,26,27,28,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6e084133cc7dc0b63f3c2d393ccdc9.jpg","186×106公分",[],{"id":27810,"slug":27811,"title":27812,"dynasty":114,"author":4689,"museum":260,"description":27813,"tags":27814,"thumbUrl":27815,"material":611,"size":27816,"collection":122,"collections":27817,"showCount":288,"zanCount":1065,"manualWeight":40,"mainColor":62},232770,"hua-hui-ling-mao-tu-juan-yi-yuan-ji-232770","花卉翎毛图卷","图绘鸟儿七只，有绿头鹦鹉，黑色八哥，红嘴小鸟，每只鸟儿神情生动，跃然纸上，羽毛细致多彩，惟妙惟肖，作为背景的花枝和花朵亦真实生动，整幅画重彩描绘，有着华丽富贵之美。",[23,7,24,51,25,26,27,102,198,84,383,265,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbe402d5f65c003ca020ad05276bb40.jpg","31.8cm×258.4cm",[],{"id":27819,"slug":27820,"title":11582,"dynasty":114,"author":4389,"museum":20,"description":27821,"tags":27822,"thumbUrl":27823,"material":1061,"size":27824,"collection":122,"collections":27825,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":479},232600,"shan-shui-tu-zhou-zhao-bo-ju-232600","此作无名款，以细笔描绘沿溪风光，空间绵延，物象丰富，甚得乾隆皇帝喜爱。根据乾隆二十二年的题跋，乾隆皇帝 “观其风神笔力”，故称为赵伯驹之作。本幅画山水晴云，游骑寻春，村家桃柳，水亭茶话。通幅以青绿为主调，生动地表现出春日触目皆绿的景致",[23,7,24,51,52,27,75,77,78,79,80,26,73,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7c6c4658758839cef52e467585382b.jpg","纵89.5cm，横32.3cm",[],{"id":27827,"slug":27828,"title":4750,"dynasty":46,"author":2636,"museum":20,"description":27829,"tags":27830,"thumbUrl":27831,"material":230,"size":27832,"collection":122,"collections":27833,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":62},231370,"bai-ying-tu-lang-shi-ning-231370","《白鹰图》创作于乾隆十六年（1751年），是郎世宁中西画法完美结合的最杰出作品之一。\n画面主体中的白鹰以白粉精细描绘，传承欧洲绘画技法，注重物象的解剖结构、光影效果及立体感，把翘首殷望的白鹰刻画的形神逼真；而背景中的松石则全然采用中国写意笔墨，清涧石岩，傲松凌立。\n此图绘江南雨后的芭蕉竹石，笔墨粗简，构图也十分简括。画幅上方，留出大面积空白，显得更加深邃清旷。这种“知白守黑”的处理，使画意更加完整而富于张力，给观者以无限的想象空间，正所谓“于无画处，皆成妙境”。整幅作品充满着一种自省的内在精神，耐人寻味。\n《白鹰图》以独特的艺术构思、隽永的表现手法和浑然天成的情景交融给观者以极大的艺术享受，意境深远，令人思绪万千。\n这幅《白鹰图》虽然有着明显欧洲画法的因素，但是画中所含的内容却完全是传统中国的风格。图中白鹰、松树、巨石、流水等均是中国绘画中习见的物象，喻意中象征着强壮、长寿、平安、吉祥等等。根据画上的署款，此图是根据乾隆十六年五月初十日，大学士忠勇公傅恒所进献的白鹰所画，相传皇太后生日即在五月，乾隆大孝，号称“以天下养”，即用天下最美好的财富来侍奉母亲，因此，《白鹰图》也是一幅极为贵重的祝寿图。",[24,51,52,26,27,84,472,75,1059,79,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991122f93eaf082fff4079d1c96c94cd.jpg","122.25x64.79",[],{"id":27835,"slug":27836,"title":27837,"dynasty":293,"author":181,"museum":132,"description":27838,"tags":27839,"thumbUrl":27840,"material":122,"size":122,"collection":122,"collections":27841,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":41},230899,"zhang-yu-ti-ni-zan-xiang-yi-ming-230899","张雨题倪瓒像","画中主人斜坐榻上，眉眼疏朗沉静，素衣简饰尽显出尘之姿。侍童捧盏垂首静立，仆从持帚恭谨侍于侧旁，案头清供文玩雅致小巧，背景浅绘林峦远汀，暗合主人简淡的笔墨意趣。左侧题诗与遍身鉴藏朱印，为画作添上流传的厚重底色。\n\n全作设色清雅柔润，线条细劲秀逸，将元末文人耽于泉石诗书的狷介风骨尽数铺陈，人物情态鲜活自然，把肖像纪实与文人雅趣精妙相融，尽显元人肖像画的含蓄意韵。",[7,24,51,25,27,26,510,28,74,118,3242,1167,8903],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67502f268a6b09045cf37786e306694e.jpg",[],{"id":27843,"slug":27844,"title":27845,"dynasty":67,"author":181,"museum":132,"description":27846,"tags":27847,"thumbUrl":27848,"material":122,"size":122,"collection":122,"collections":27849,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":62},228798,"song-yin-xue-hu-tu-yi-ming-228798","松荫雪虎图","萧寒雪色覆满林莽，古松虬曲苍劲，皴染厚重的枝干尽显老辣古拙，松针攒簇如铁，撑起一片幽寂荫凉。\n\n画中猛虎盘踞雪地，姿态松弛慵懒，却难掩百兽之王威仪。虎身斑纹勾勒劲挺写实，毛发晕染细腻柔和，将皮毛的蓬松质感尽显无遗。它目光沉沉锁着爪下猎物，獠牙微露，悍野之气暗藏于松弛神态中。\n\n淡墨晕出薄雪覆于枯槎衰草间，冷寂荒寒的雪境，更衬出猛虎孤高凛冽的气场。整作工写相融，细处描摹虎之肌理毛发，粗笔铺就林雪萧索氛围，于静谧间暗藏肃杀野性，尽显走兽画的精妙写实功底，将冬日林莽的荒寒与百兽王的雄健完美揉合。",[23,24,7,51,27,26,73,6056,472,697,1023,281,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62072f89e4fcb137c0ced81bb18267a8.jpg",[],{"id":27851,"slug":27852,"title":27853,"dynasty":67,"author":27854,"museum":132,"description":27855,"tags":27856,"thumbUrl":27857,"material":317,"size":907,"collection":122,"collections":27858,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":62},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","王世昌","王世昌（生卒年不详），明代画家，字时雍（又作畴雍），号历山，山东人，李开先在《中麓画品》（1541年成书）中即对他有评论记载。他工画山水人物，画法出于院体浙派，山水笔墨苍劲雄浑，人物用笔劲捷，骨力凝重，造型生动。传世作品有《高士访隐图》、《高士吟秋图》、《高士春山图》、《山水图》、《松荫书屋图》等。见《图绘宝鉴续纂》、《无声诗史》。",[23,7,24,51,52,497,277,27,73,697,278,79,434,28,82,648,279,22892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b8e35ce302f74142791093945b3c13.jpg",[],{"id":27860,"slug":27861,"title":5658,"dynasty":293,"author":27862,"museum":132,"description":27863,"tags":27864,"thumbUrl":27865,"material":122,"size":122,"collection":122,"collections":27866,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":62},228247,"dou-niu-tu-dun-min-228247","敦敏","郊野荒寒，枯木虬劲苍古，枝桠疏朗斜伸，带着冬日萧索静气。前景双牛犄角相抵，四蹄攒劲，肌肉紧绷贲张，将斗牛憨猛相争的张力尽显，朴拙写实，鲜活灵动。\n以静衬动，萧寂的野景衬出斗牛的生猛勃发，右上角题诗呼应画中趣味，笔墨苍简淡远，将山野朴趣与文人画的清冷意韵相融，于简约留白间晕染出悠然生机，尽显笔墨疏淡雅致的侘寂之美。",[23,4477,7,24,51,52,26,27,1906,472,647,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37247abe557be32eff5ae6096d2856e.jpg",[],{"id":27868,"slug":27869,"title":27870,"dynasty":293,"author":14936,"museum":132,"description":27871,"tags":27872,"thumbUrl":27873,"material":317,"size":907,"collection":122,"collections":27874,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":41},228026,"fan-qi-tu-chang-juan-zhao-lin-228026","番骑图（长卷）","作品绘边塞人马、骆驼行进行列，人物披裘戴高帽，以袖掩面，马匹步履蹒跚，展现出沙漠荒原风急天寒的气候环境。作品线条细劲流畅，具很高的艺术水平。明代都穆见其《番骑图》，赞日：“黄沙野蒿，鞭马疾驰，非余之目击，则也莫能知其妙也。”",[23,7,24,51,25,510,277,28,215,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246a845a72a843b74c51a17e490a6d72.jpg",[],{"id":27876,"slug":27877,"title":4939,"dynasty":114,"author":3309,"museum":132,"description":27878,"tags":27879,"thumbUrl":27880,"material":122,"size":122,"collection":122,"collections":27881,"showCount":288,"zanCount":40,"manualWeight":40,"mainColor":41},227950,"mu-niu-tu-li-di-227950","淡墨晕开暮色山岗，枯木寒槎的枝桠如铁线劲挺，萧疏间漫着郊野冬日的荒寒意趣。坡岸间老牛缓步垂首，憨拙身形似正衔着衰草慢行，幼犊轻捷随行左右，一大一小的动静反差，晕开牧归时分的松弛温情。\n\n画作以淡赭晕染坡石，水墨铺陈烟霭，不着过多繁复刻画，以极简笔墨铺展出山野清寂氛围，于淡远荒寒中藏着质朴的田园意趣，寥寥数笔便融物态与意境为一体，尽现独有的雅致淡远诗意。",[23,7,24,51,768,27,26,75,53,135,1906,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f28a98374dd8c8b309719c6f9a66639.jpg",[],{"id":27883,"slug":27884,"title":278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人，主要活动时期在太宗，仁宗二朝，为当时著名的山水画家。善佛道、人马、花竹、翎毛、禽虫、畜兽、鬼神、屋宇，皆造于妙。工画山水，采撷诸家之美，参成一艺之精，团扇卧屏，尤长小景，但矜其巧密，殊乏飘逸之致。喜幽默，多行郊野间，览山林之趣，箕坐终日，归则求静室以居，沉屏思虑；神游物外，景造笔下。景德（1004-1007）中游京师，大中祥符（1008-1016）中入图画院，与太原王端、上谷燕文贵、颖川陈用志为画友。尝诏入殿，命画图壁。迁至待诏，守少府监主簿，赐紫衣。景佑初仁宗命画臣鲍国资画四时景于彰圣阁，国资战惧不已，不能下笔，诏克明代之。淮海富商陈永以百千求春龙起蛰图，克阴坚让不从。皇佑初受勅图画三朝盛德之事，人物才及寸余，宫殿山川，銮与仪衞，成备焉。凡一百事，名三朝训鉴图。 《圣［宋］朝名画评、图画见闻志、宣和画谱、书画题殴记、挥尘后录》。高克明的山水画创作，大多是从实地观察获得素材，复经自己 深思熟虑、苦心经营中得来，并不专师于一家，却能注意采撷诸家之美，参成一艺之精，自为体格，颇有创新的味道。\n高克明的绘画成就，在当时已得到公认。《宋朝名画评》将其作品列为妙品第一，认为：“高克明铺成景物，自 成一家，当代少有。”宋高宗赵恒曾写诗云：“(高)克明已死（许）道宁逝，郭熙后有新成名。”认为高克明品第尚在著名画家郭熙之上。明 人王世贞甚至说：“今世称二马(远、麟)、刘(松年)、夏珪，要亦以易知之耳。若克明，殆犹顾(恺之)、陆(探微)之于张(僧鹞)、吴(道子)， 岂可同日语哉！”高克明山水画作品的代表作为《雪意图》(现藏美国)，描绘溪山雪后的清寒景色。画面中央为一片溪水，近岸为树木房屋， 远方则遥山对峙，稍近又绘有树木房屋道路。整幅画画上表现出一种清旷荒寒的烙调，而又不失苍秀嫣润的气韵。另外，经营位置的周详得当 ，意境表达的幽静深院，笔墨运用的精细整饬，都有自创的新意在内。高克明的其他山水画作品，见于著录的还有《夏山飞瀑》、《窠石野渡 图》，《烟岚窠石图》各二幅。",[24,7,75,1357,118,119,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d06dfcc696c5dd85402e98745a0a984.jpg",[],{"id":28226,"slug":28227,"title":28228,"dynasty":293,"author":1577,"museum":132,"description":8222,"tags":28229,"thumbUrl":28230,"material":317,"size":907,"collection":122,"collections":28231,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},288919,"san-ma-tu-zhao-meng-fu-288919","三马图",[7,24,51,215,472,27,26,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3abfb6ffc7928bdc000bc0337dcf800b.jpg",[],{"id":28233,"slug":28234,"title":28235,"dynasty":114,"author":9528,"museum":132,"description":9529,"tags":28236,"thumbUrl":28237,"material":317,"size":907,"collection":122,"collections":28238,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},288347,"feng-yu-wei-zhou-tu-yan-ci-yu-288347","风雨维舟图",[768,24,7,75,80,81,82,278,648,6638,73,27,649,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa671c596f3518c9f5d1279fe7c89a10.jpg",[],{"id":28240,"slug":28241,"title":28242,"dynasty":293,"author":1556,"museum":132,"description":28243,"tags":28244,"thumbUrl":28247,"material":317,"size":907,"collection":122,"collections":28248,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},288158,"qiu-jiang-dai-du-qian-xuan-288158","秋江待渡","画面中间部分是辽阔的江面，空阔邈远，远处乃是绵延不绝的群山。近处，红树一簇，树下有几人引颈眺望，而江面上隐隐约约有一叶小舟，那就是待渡者的希望。江面空阔，小舟缓缓，似渺然难见，它和人急迫的等待之间构成强大的情绪张力。正是眼前渺渺秋江阔，隔岸扁舟发棹迟。",[23,7,24,25,51,75,27,26,10032,80,15399,84,2093,1524,3037,28245,3255,119,74,28246,8215],"斜阳","待渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ea90e2472344b5a66a2202ee6516b3.jpg",[],{"id":28250,"slug":28251,"title":28252,"dynasty":67,"author":181,"museum":132,"description":28253,"tags":28254,"thumbUrl":28255,"material":317,"size":907,"collection":122,"collections":28256,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},288145,"shan-shui-tu-ti-xu-dao-ning-yi-ming-288145","山水图(题许道宁)","此作用全景式平远构图铺展江湖胜境，烟波浩渺间峰峦连绵起伏，巨岩峻峭处飞瀑垂落，丘壑藏幽。浅汀洲渚错落点缀苍松杂木，渔舟泛于平湖之上，山居隐于林麓之间，处处漫着静谧萧散的野趣。\n\n画师以淡墨皴擦山峦，勾勒与渲染相融，将山石的浑厚质感与云水的空濛柔润相互映衬，树木取法苍劲笔意，简括灵动。整体色调古雅沉静，把平远、深远山水意境汇于一卷，铺展出旷远清逸的江南景致，尽显幽淡天然的文人山水意趣，引人神游林泉，体悟高致。",[23,24,51,25,7,75,79,80,609,4598,313,1737,82,73,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21189e70bdbdbedc3253fe6e38816672.jpg",[],{"id":28258,"slug":28259,"title":28260,"dynasty":46,"author":28261,"museum":132,"description":28262,"tags":28263,"thumbUrl":28264,"material":317,"size":907,"collection":122,"collections":28265,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},288139,"ting-zhong-yu-ba-jiao-tu-li-zhou-gai-qi-288139","庭中雨芭蕉图立轴","改琦","改琦（1773年－1828年），字伯蕴，号香伯，一号七芗，又号玉壶外史，江苏华亭（今上海市松江区）人，祖籍北京宛平，是清代中期的画家。\n先世为西域人，祖父改光宗曾任寿春镇总兵。改琦多才多艺，尤善绘画，其人物画被认为是嘉道后最工者，其画受李公麟、赵孟𫖯、唐寅、陈洪绶等影响，花草竹等画也擅长。曾绘《红楼梦图》。",[23,24,52,277,51,7,28,3048,56,560,9621,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497f08e6a1c9e24cec2c2bca45e5ab65.jpg",[],{"id":28267,"slug":28268,"title":10672,"dynasty":114,"author":1216,"museum":132,"description":5954,"tags":28269,"thumbUrl":28270,"material":317,"size":907,"collection":122,"collections":28271,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},287961,"bai-miao-shou-lie-tu-juan-li-gong-lin-287961",[23,7,24,51,25,510,28,75,12989],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53a424ef0bb781caefcd3e9aa23bb5d.jpg",[],{"id":28273,"slug":28274,"title":28275,"dynasty":114,"author":1216,"museum":132,"description":5954,"tags":28276,"thumbUrl":28277,"material":317,"size":907,"collection":122,"collections":28278,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":479},287754,"bai-miao-fo-xiang-di-liu-zun-zhe-li-gong-lin-287754","白描佛像第六尊者",[23,7,24,52,678,510,28,11268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8847829c3580632bd6237e0981657c5.jpg",[],{"id":28280,"slug":28281,"title":14711,"dynasty":114,"author":1216,"museum":132,"description":5954,"tags":28282,"thumbUrl":28284,"material":317,"size":907,"collection":122,"collections":28285,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},287657,"wan-fang-zhi-gong-tu-quan-juan-li-gong-lin-287657",[23,7,24,51,25,277,497,118,119,2044,74,28283],"历史题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12fa9c4c1d20df1573091eadb23d1cc.jpg",[],{"id":28287,"slug":28288,"title":28289,"dynasty":67,"author":13834,"museum":132,"description":28290,"tags":28291,"thumbUrl":28293,"material":317,"size":907,"collection":122,"collections":28294,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},287614,"qiu-tang-cao-ting-tu-zhao-zuo-287614","秋塘草亭图","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[23,7,24,51,52,72,27,75,81,82,278,3037,28292,74],"草亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962f475396b35bf70b0dbb4b90e5673e.jpg",[],{"id":28296,"slug":28297,"title":28298,"dynasty":67,"author":1269,"museum":132,"description":6008,"tags":28299,"thumbUrl":28300,"material":317,"size":907,"collection":122,"collections":28301,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},287416,"zi-jia-shi-chang-juan-dong-qi-chang-287416","紫茄诗(长卷)",[118,2755,25,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10ddebdaf086239acb4b697838cd0b99.jpg",[],{"id":28303,"slug":28304,"title":28305,"dynasty":18,"author":2623,"museum":132,"description":8316,"tags":28306,"thumbUrl":28307,"material":317,"size":907,"collection":122,"collections":28308,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},287394,"ting-yuan-tong-xi-tu-er-zhou-wen-ju-287394","庭院童戏图二",[23,24,7,768,26,27,28,1229,560,16209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3af930ece2a3561175dbba38af443f.jpg",[],{"id":28310,"slug":28311,"title":28312,"dynasty":67,"author":1269,"museum":132,"description":6008,"tags":28313,"thumbUrl":28314,"material":317,"size":907,"collection":122,"collections":28315,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},287348,"chi-bi-huai-gu-dong-qi-chang-287348","赤壁怀古",[23,7,51,25,2755,118,28312,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f315a2ea29cd0712254039582b032d.jpg",[],{"id":28317,"slug":28318,"title":28319,"dynasty":67,"author":1269,"museum":132,"description":6008,"tags":28320,"thumbUrl":28324,"material":317,"size":907,"collection":122,"collections":28325,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},283744,"lin-yan-zhen-qing-pei-jiang-jun-shi-juan-dong-qi-chang-283744","临颜真卿裴将军诗卷",[23,118,25,154,119,7,51,215,2106,4240,28321,28322,28323],"天山","征战","将军","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ccec36f7144f94b8f77de5415ac21c.jpg",[],{"id":28327,"slug":28328,"title":28329,"dynasty":293,"author":1577,"museum":132,"description":28330,"tags":28331,"thumbUrl":28332,"material":250,"size":122,"collection":123,"collections":28333,"showCount":109,"zanCount":1065,"manualWeight":40,"mainColor":62},241459,"san-zha-juan-zhao-meng-fu-241459","三札卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[7,24,51,25,277,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3242edbe22a43498a5e6b3ae99217475.jpg",[123],{"id":28335,"slug":28336,"title":28337,"dynasty":46,"author":181,"museum":132,"description":28338,"tags":28339,"thumbUrl":28340,"material":317,"size":907,"collection":122,"collections":28341,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},239869,"wu-kuan-fu-zi-zhou-yi-ming-239869","无款福字轴","这幅福字取菱形张贴的传统形制，朱砂红底衬以银线游龙纹，云气裹挟龙身辗转腾挪，纹饰精细灵动，暗合祥瑞之意。\n\n福字以浓墨书就，楷法端稳浑厚，结构宽博舒展，示部敦实饱满，礻部劲挺厚重，笔墨沉凝有力，尽显庄重雍容的庙堂气象。暖黄装裱底色沉稳柔和，与朱红福笺形成鲜明层次，烘托出吉庆安稳的年节氛围。整体布局虚实相宜，纹饰烘托文气，笔墨彰显力道，寄寓了纳福迎祥的美好祈愿。",[7,24,51,118,52,2044,27,370,526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F005097a314ef5834f59f741d33b515b8.jpg",[],{"id":28343,"slug":28344,"title":28345,"dynasty":293,"author":20094,"museum":151,"description":24932,"tags":28346,"thumbUrl":28347,"material":122,"size":122,"collection":123,"collections":28348,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},239574,"meng-mei-hua-chu-shi-bing-xu-juan-yang-wei-zhen-239574","梦梅花处诗并序卷",[23,7,24,51,25,119,2755,118,74,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dba1c2281f0ebb989c9b515e65ee06d.jpg",[123],{"id":28350,"slug":28351,"title":28352,"dynasty":46,"author":181,"museum":151,"description":28353,"tags":28354,"thumbUrl":28356,"material":342,"size":28357,"collection":90,"collections":28358,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},239528,"hong-li-ji-lu-tu-xiang-zhou-yi-ming-239528","弘历击鹿图像轴","秋林谷壑间秋意铺陈，丹叶杂着枯木，晕染出疏朗温润的郊野氛围。锦鞍纹饰细致的骏马静立坡侧，侍从持鞭席地而坐，神色安然。右下角麋鹿惊觉抬首，似将疾走而去，瞬间打破林间宁寂，暗藏狩猎将启的张力。\n\n此作未绘主角，却以侍从、鞍马衬出狩猎的氛围感，静中藏动，笔触工细入微，枝叶、坡石层次分明，设色雅致柔和，将郊野秋狩的闲雅与机巧相融，尽得纪实绘事的含蓄意趣。",[7,24,52,26,27,28,215,1293,3036,1647,12989,170,5812,5594,28355],"静中藏动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc877bf2a729dcbf25c434ed1db163c5.jpg","纵259cm; 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、诗友酬唱的雅寂日常融于山水，淡远清和，尽显文人画以景抒怀的意趣，晕开不沾尘俗的隐逸襟怀。",[23,7,24,51,25,277,73,75,81,78,79,82,437,28,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0931146f0a33287e31b9de1c97b00a55.jpg",[],{"id":28428,"slug":28429,"title":28430,"dynasty":46,"author":5268,"museum":132,"description":5269,"tags":28431,"thumbUrl":28432,"material":317,"size":907,"collection":122,"collections":28433,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},235613,"hong-ren-shan-shui-ce-hong-ren-235613","弘仁山水册",[7,24,51,100,277,75,278,313,82,1737,118,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1867ce4dc9b31ce435491971d24640c7.jpg",[],{"id":28435,"slug":28436,"title":1056,"dynasty":46,"author":1344,"museum":132,"description":28437,"tags":28438,"thumbUrl":28439,"material":122,"size":122,"collection":122,"collections":28440,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},235170,"shan-shui-ce-zhu-da-235170","此作以大片留白铺就虚灵空茫之境，寥寥笔墨勾勒丘林古松。古松虬曲苍劲，枝桠如铁，简淡的皴擦晕染出坡岸草木氤氲之态。左下角扁舟横卧水面，不见舟子，愈发衬出水天寥寂。\n\n笔墨洗尽铅华，以干湿浓淡生发层次，线条老辣凝练，删繁就简，将山川灵韵收束于极简意象之中，清冷孤高的意趣漫溢纸面，把澹泊疏旷的襟怀寄寓在萧疏山水间，尽显天地荒寒、物我两忘的禅寂之境。",[7,24,51,100,277,73,75,78,82,74,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ddba02f466fe2812a4547b37b28e53.jpg",[],{"id":28442,"slug":28443,"title":6568,"dynasty":46,"author":1567,"museum":151,"description":6569,"tags":28444,"thumbUrl":28445,"material":13608,"size":6572,"collection":122,"collections":28446,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},234999,"yuan-ji-shan-shui-tu-ce-shi-tao-234999",[7,24,51,100,277,27,75,647,278,648,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4125a44cb17a489613587b83a15c7d5a.jpg",[],{"id":28448,"slug":28449,"title":28450,"dynasty":674,"author":181,"museum":151,"description":28451,"tags":28452,"thumbUrl":28454,"material":156,"size":28455,"collection":122,"collections":28456,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},234063,"fu-xi-nv-wa-xiang-ye-yi-ming-234063","伏羲女娲像页","此图上彩画人首蛇身男女二人，均着窄衫小袖绛红色胡装，二人腰相连，共着一条白裙。男居左，无须，头戴笼冠，张左手执矩，矩上有墨斗（已被腐蚀）。女居在右，束高髻，张右手执规。男女上身相拥，中间两臂相连，下尾盘曲相交四节成螺旋状。两人头上有圆轮，周画圆圈以象征日；尾下有下弯月牙一，周画圆圈以象征月。画面四周面遍布大小相等的圆圈，部分以线相连象征星辰。\n吐鲁番高昌国至唐西州国时期的墓葬出土了许多伏羲、女娲绢画,画面形式大致相似：人首蛇身，交尾相拥，伏羲持矩，女娲持规。绢画上方有日，下方有月，周围布满丝缕相连的星辰。整幅绢画上宽下窄，与棺形相似，常覆盖于棺上，也有盖于尸上或置于尸旁者，还有张挂或用木钉固定于墓顶的情况。\n故宫博物院所藏的伏羲女娲绢画系1963年4月出土于新疆吐鲁番阿斯塔那古墓，1963年12月由新疆博物馆拨交故宫博物院。据阿斯塔那古墓考古报告中所示，同期出土的此类绢画共有数十件。在墓室中一般都是画面朝下，用木钉钉在墓顶上。一般认为伏羲所执矩象征地，女娲所执规象征天，用以配合画面上的日月星辰，为墓室营造一个小宇宙。",[7,24,51,28,10000,27,510,1046,28453],"星象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad372045cc9529359b55b04dc763a6c3.jpg","纵左222.5cm，右231cm，横上115cm，下94cm",[],{"id":28458,"slug":28459,"title":14619,"dynasty":293,"author":14620,"museum":195,"description":14621,"tags":28460,"thumbUrl":28461,"material":28462,"size":28463,"collection":122,"collections":28464,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},233845,"ku-mu-zhu-shi-tu-zhou-li-shi-xing-233845",[7,24,51,52,277,170,53,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298fb7986c06f60a77682264460b6e97.jpg","绢本。墨笔","170x52厘米",[],{"id":28466,"slug":28467,"title":28468,"dynasty":293,"author":16972,"museum":151,"description":28469,"tags":28470,"thumbUrl":28471,"material":3579,"size":28472,"collection":122,"collections":28473,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},233753,"xi-qiao-you-xing-tu-fang-cong-yi-233753","溪桥幽兴图","此图是元代道士画家方从义所作，山水画。图绘山水一区，高山云锁，溪水自山间流淌，草桥横架，一人策杖前行，远山隐现，茅舍隐于林木之中，意境清谧静逸。笔墨酣畅，多用染法，用笔多横向。树木点染之笔疏率，以墨之浓淡分远近。图中景物都集中于画面下部，上部则非常空旷，使画面显得深邃幽远。",[24,51,7,277,75,78,79,82,278,73,119,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a07ffc8543e2c18834f837374b8bda.jpg","纵63.3厘米，横35厘米",[],{"id":28475,"slug":28476,"title":25163,"dynasty":46,"author":1567,"museum":151,"description":25164,"tags":28477,"thumbUrl":28479,"material":25167,"size":25168,"collection":122,"collections":28480,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},233421,"yuan-ji-shan-shui-ce-shi-tao-233421",[7,24,51,100,277,73,75,278,1059,82,5079,28478,9294],"栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c55c1ae79c7d14fcee18a101340766.jpg",[],{"id":28482,"slug":28483,"title":12918,"dynasty":114,"author":181,"museum":151,"description":28484,"tags":28485,"thumbUrl":28486,"material":611,"size":28487,"collection":122,"collections":28488,"showCount":109,"zanCount":11,"manualWeight":40,"mainColor":62},233007,"wa-que-qi-zhi-tu-ye-yi-ming-233007","海棠一枝，果实散挂枝头，树叶已染秋霜。海棠枝头栖息着瓦雀，或缩颈养神，或整理羽毛，姿势各异，神态安适，中间一只发现头顶树叶上落有小蜂，昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n麻雀常宿于檐瓦之间，故一名“瓦雀”。图中从左向右伸出海棠一枝，果实散挂枝头，树叶已染秋霜，间杂红、黄、绿色，斑斓可爱，惜叶、果有些已遭虫蚀。海棠枝头栖息着瓦雀5只，其中4只或缩颈养神，或整理羽毛，姿势各异，神态安适，唯中间一只发现头顶树叶上落有小蜂，故昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n瓦雀翎毛刻画精细，高度写实。海棠取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。瓦雀和果、叶以枝条贯穿，若网在纲，有条不紊。细观墨笔枝条虽细，然尚以浓淡墨分出阴阳向背，富于立体感，显得刚健有力。\n此图原载《宋人集绘册》。图中画五只瓦雀，栖止于海棠枝上。花枝上果满页疏，五只瓦雀姿态各异，有的俯首下视，有的扭头回观，有的仰首注视着枝页上的小昆虫，形象生动活泼，逗人喜爱。海棠枝从画面左侧横插，参差顾盼，虬曲多姿。鸟的羽毛用细笔一笔一笔勾描，有毛茸茸的质感。此图用笔精工，设色艳丽。无款印，曾经清代收藏家宋荦珍藏，《石渠宝笈三编》著录。",[24,51,7,26,27,100,102,7667,1821,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6b6fe31dde1b7c91550646cdde7825.jpg","纵28.厘米，横29.1厘米",[],{"id":28490,"slug":28491,"title":28492,"dynasty":67,"author":28493,"museum":395,"description":28494,"tags":28495,"thumbUrl":28496,"material":250,"size":28497,"collection":122,"collections":28498,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},231945,"gu-mu-you-ju-tu-sheng-mao-ye-231945","古木幽居图","盛茂烨","盛茂烨的画作题材除了少量的人物及花鸟外，以山水为主，“大幅山水，浑厚而有气势，多得范宽之法，小幅作品，清新活泼，自成一种情趣。”盛氏活跃于仿古之风弥漫的时代，其对古人虽有用心之处，然而却极少仿古之作。\n根据种种的文献记载，盛氏在当时颇负盛名，虽古意不足，然饶有趣味，在笔墨造型和布局方面均有所开拓，形成了自身独特的画风。这种风格的形成，不仅在于他对浙派和吴派兼收并蓄，更在于他对古人的画法进行了选择性的采纳和吸收。\n他的作品中，有对大自然的真实描写，也有一些夸张变形的因素，这些均是宋代山水画传统在晚明画坛中复兴的征象。",[23,7,24,51,52,497,73,27,4907,278,425,279,3096,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb575d9feb5a80e4189ee444b2fb5180a.jpg","157.5×54cm",[],{"id":28500,"slug":28501,"title":28502,"dynasty":293,"author":3575,"museum":132,"description":28503,"tags":28504,"thumbUrl":28505,"material":250,"size":28506,"collection":122,"collections":28507,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},231593,"yun-shan-tu-gao-ke-gong-231593","云山图","在元六家中，高克恭虽不算家喻户晓，但许多人认为其作品无论是用墨还是笔法，都体现着元代绘画极高的艺术水准。虽带有异域血统，但他却凭借自己对汉文化的刻苦钻研，成为一代大师。\n高克恭是色目人，色目是当时对少数民族的统称，他与父辈在元朝时迁居至燕京。相传他生于哈萨克斯坦，异域血统让他连长相都有些与众不同。好友朱德润评价其为“高侯回纥长髯客，唾洒冰纨作秋色”。从后世流传的画像中，我们也能看到他卷发虬须、五官深邃，带有几分外国人的模样。\n作为古代少有的几位少数民族书画大师之一，高克恭在山水画方面造诣极高，包括董其昌、张大千在内的艺术家纷纷模仿其画作。其创作的《仿米氏山水手卷》以299万人民币的价格在2012年的北京春拍中成交，创下其个人作品最高成交纪录。\n“国朝名笔谁第一，尚书醉后妙无敌。”是人们评价高克恭的溢美之词。能被冠以如此高的评价不仅仅是因他对后世书画创作的影响，其在为人处世方面的成就让他在世人心中的形象进一步升华。\n高克恭从小就在父亲的引导下发奋学习，潜心研究各家经典。对他而言，书画创作从不是独取一家所长，而是在融会贯通中诞生出全新内涵。\n他初学米芾、米友仁的画风，后又吸收了董源、巨然作品中的用笔，将“点”的运用发挥到了极致。但在创作一段时间后，他发现这种画风只是一味地模仿前人，并不能真正地表达自己心目中的山水形象。\n在多次钻研且不断尝试后，高克恭发现画家李成笔下的山水是有“骨架”的。他选择引线入点，将三位大师的创作融合起来。这种表现手法既能凸显出江南云山烟树的朦胧缥缈，又能不失山川的挺峻硬朗之感。\n对当时的大多数书画家来说，米芾、董源、巨然等人是可望不可及的书画名家。人们争相学习，将其绘画手法奉为圭臬，又有几个人能提出反对意见？像高克恭这样，在发现问题后并加以改进的画家更是少之又少。有时，大师只比我们多了一份质疑。\n除了融合多家技法特点，高克恭的画作中还有几分西方画法的韵味。他的创作绝不仅仅是单凭印象，而是在仔细观察后动笔。在写实方面，西方画作凭借色彩变化、光影明暗表现画面，而中国山水画则靠用墨浓淡展现层次。\n高克恭便是山水画用墨的佼佼者。其开创“积点法”，以墨色渲染层次，表现山水意境。近代画家黄宾虹的积墨山水就是在此基础上发展而成。",[23,7,24,51,277,75,73,297,473,135,559,298,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b1cdab788f221b5a3d716dbd9ef70e.jpg","32×63cm",[],{"id":28509,"slug":28510,"title":28511,"dynasty":293,"author":1556,"museum":132,"description":28512,"tags":28513,"thumbUrl":28514,"material":122,"size":122,"collection":122,"collections":28515,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},231481,"qie-zi-tu-ye-qian-xuan-231481","茄子图页","宋元间湖州吴兴人，字舜举，号玉潭，又号巽峰、霅川翁、清臞老人。幼有文名。宋景定间乡贡进士。入元不仕。工书，善画人物花木。尤善作折枝，其得意者，自赋诗题之。",[7,24,51,2613,27,26,6879,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9d9d4102a916a0108a8d95ed82deeb.jpg",[],{"id":28517,"slug":28518,"title":28519,"dynasty":46,"author":21317,"museum":132,"description":28520,"tags":28521,"thumbUrl":28523,"material":122,"size":122,"collection":122,"collections":28524,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},231365,"xue-ji-tu-fan-qi-231365","雪霁图","樊圻（公元1616—1694尚在），字会公，更字洽公，江宁（今江苏南京人）。清代画家，\n江苏南京人，他与其兄樊沂均以画出名。与龚贤、高岑、吴宏、叶欣、胡慥、谢荪、邹喆等人并称为“金陵八家”。山水师赵令穰，刘松年、赵孟孚等而能自成风貌，王铎尝题其小景云：“洽公吾不知为谁，此幅全摹赵松雪、赵大年，穆然恬静，若厚德醇儒，敦庞湛凝，无忒无（兆） 。灯下睇观，觉小雷、大雷、紫溪、白岳一段，忽移于尺幅间矣。”又云：“是古人笔，不是时派。时派即钟谭诗也。”小印模糊，误视会公为洽公，圻后即以洽公行，咸知己也。 他的仕女画幽闲静逸，神韵俱佳，特别是[清]顺治八年，即公元1651年与吴宏合作的《寇湄像》，堪称佳作。",[23,7,24,51,27,26,1023,697,53,384,28522,278,102,74],"冰挂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acd3e8fb8205ab2533358e709fef854.jpg",[],{"id":28526,"slug":28527,"title":28528,"dynasty":114,"author":181,"museum":20,"description":28529,"tags":28530,"thumbUrl":28531,"material":34,"size":122,"collection":122,"collections":28532,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},231053,"zhe-kan-tu-yi-ming-231053","折槛图","《却坐图》是宋代佚名画家创作的绢本设色画，现藏于 。\n该图描绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。\n”文帝不悦但理在袁盎，只得纳谏，慎夫人也只好悻悻而起。\n该画侧重表现矛盾化解过程中人物微妙的心理变化。\n此幅描绘的是西汉文帝时袁盎谏止宠妃慎夫人与帝、后并坐的故事。\n图中人物处于画面的中心，汉文帝等七人在画面的右侧，金瓜卫十在左侧，袁盎在文帝与金瓜卫士之间，离观者最近。\n在右侧七人中，文帝居中坐在宝座上，表情严肃，右手按膝，左手扶椅，胸前佩方心曲领，着通天冠服，长须垂胸；在皇帝左首圆墩上坐着慎夫人低头沉默，微露不悦，显得很不自在；四位宫女立于文帝身后，一位矮小的侍女，靠近慎夫人，她们都静立聆听，目睹现场；皇宫卫士，满腮长须，横眉怒目，两脚分叉，手执金瓜兵器，威风显赫，等待下旨，执行公务，袁盎弓背弯腰，两手举笏，作面奏君王状，神情坚定执着，但面向外，躬身上奏，坚毅庄重，神色坦然，看来已陈述完毕，任凭皇上处置。\n此事发生在上林苑中，院墙高筑，墙外茫茫一片田野和水面，院墙内一株大树靠右边拔地挺直而上，和中间的两棵参天大树，枝叶互相穿插，叶茂枝繁，形成了天然凉棚。\n太阳隔着云层雾气光线忽明忽暗，树叶在雾色中时隐时现、人群背后一排直立的假山石、棕榈树、仙鹤点缀着，画面的右下角还有丛竹、野草及深色太湖石。\n《却坐图》是历史故事画。\n说的是汉文帝时慎夫人僭坐故事：宠妃慎夫人坐在皇帝身边。\n她的举动违反了封建社会的礼仪，坐到了应属皇后的位置上。\n袁盎站出来当面进谏，谓帝既有后，不当容许其妃僭坐后位。\n文帝和慎夫人对他的直言进谏当时颇为恼怒，但还是接受了，并且给了袁盎一些赏赐以鼓励忠直。\n选择该故事作为题材，用意在于宣传封建纲常，赞扬敢于直言上谏、冒死维护君王统治利益的忠臣义士，是典型的院画题材。\n图中文帝坐于有奇花茂树、秀石珍禽的皇家苑囿中，袁盎上前俯身面谏，神情坚毅，文帝微露愠色，皇后坐于其侧低头不语，慎夫人站起身来面带不悦，一武士持的威严，同时也衬托出袁盎置生死于不顾，犯颜直谏的忠臣形象。\n从图中可以看到作者对现场中各类人物的外形，表情，到内心世界的刻画是非常成功的，而且对主要人物文帝、袁盎、金瓜卫士的内在联系及相互呼应交代得很清楚，如文帝的宽容大度，卫土的暴戾心理和袁盎忠直不惧的义胆，其以卫士的凶猛形貌象征皇帝手中的至高权力，相比之下，虽然袁盎处于软弱无力的地位，却显示了在这种特定场合中最有力量，而且作者将盎放在显要的位置，对他的形象刻画更富魅力，对袁盎敢于冒犯“圣上”的勇气极尽赞喻，图中要遣责的对象是慎夫人，安排在很不重要的位置上，侧面描绘成敢怒而不敢言的愧羞样子，连同她的诗人也是比其他宫女要矮小。\n该图不仅在人物位置经营上成功，而且布景也有其用意，文帝身后有高树一排，自立的假山石，仙鹤等景，而袁盎身旁的是就地长出的丛竹、小草与深色玲珑的太湖石等等。\n表示了作者章法布局有韵致，遵循院画的审美标准，而造诣颇高。\n中国美术研究院研究员王鲁豫：《却坐图》整个画风都接近于《 》，表现了南宋院体人物故事画的高度水平。\n218年1月4日，“国宝再现—书画菁华特展”在台北故宫博物院北部院区第一展览区21室开幕，《却坐图》在其中展出。",[23,7,24,51,52,26,27,855,28,77,609,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b0cdfb2193e1f81f95c31e32cf2c7d.jpg",[],{"id":28534,"slug":28535,"title":28536,"dynasty":114,"author":28537,"museum":132,"description":28538,"tags":28539,"thumbUrl":28540,"material":122,"size":122,"collection":122,"collections":28541,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},230891,"tu-mu-tie-li-jian-zhong-230891","土母帖","李建中","《宋李建中书谘册》是宋代时期李建中创作的书法作品。\n所示要土母。\n今得一小笼子。\n封全谘送。\n不知可用否。\n是新安门所出者。\n复未知何所用。\n望批示。\n春冬衣历头。\n贤郎未捡到。\n其宅地基尹家者。\n根本未分明。\n难商量耳。\n见别访寻稳便者。\n若有成见宅子又如何。\n细希示及。\n（押字）。\n谘。\n孙号西行少车。\n今有旧车。\n如到彼不用。\n可货却也。\n北宋初期的 ，承袭唐人的传统，以丰肥为美。\n李建中是北宋初期的书法名家，他的书法骨肉停匀，神气清秀，对宋代书家有很深的影响。\n除了黄庭坚曾以“肥而不剩肉”的世间美女赞誉他的字之外，《宋史》本传中，也称赞他“行笔尤工，多构新体，草、隶、篆、籀、八分亦妙”。\n这幅作品又名“ ”，是李建中存世墨迹的代表作。\n天下十大行书之一， 排第十。\n作品中，字的结体紧密而修长，用笔沉着而丰腴。\n虽写的是行书，但起笔、收笔处仍见严谨的楷法笔意，可看出不少唐人书法的特质。\n此外，由于尺牍内提及“新安门”，地近洛阳，所以推测这是李建中晚年居住在洛阳时所写。\n李建中（945—11年），字得中，自称岩夫民伯，京兆（陕西西安）人，北宋初年著名书家。\n进士，曾官曹、解、颖、葵四州刺史，进金部员外郎。\n因掌西京留司御台史，世称“李西台”。\n《宋史》本传称他：“善书札，行笔尤工，多构新体，草、隶、篆籀、八分亦妙。\n人多摹习，争取以为楷法。\n”",[7,24,51,118,1580,119,4654,250,8629,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b80d16fd2eded94b4ea57e1d1a647b.jpg",[],{"id":28543,"slug":28544,"title":1069,"dynasty":46,"author":28545,"museum":132,"description":28546,"tags":28547,"thumbUrl":28548,"material":122,"size":122,"collection":122,"collections":28549,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},230853,"hua-hui-tu-zhang-yu-230853","张敔","此作截取荷塘一隅取景，虚实相生间尽显写意妙趣。浓墨挥写半幅枯老荷叶，焦墨劲挺勾勒叶脉，苍浑厚重带着岁月沉凝的质感；淡墨晕染新叶与待放菡萏，清润柔和，与浓墨形成鲜明对比，暗合新旧交替的生机。荷梗以枯涩带点的笔线写出，朴拙老辣，带着疏野萧散的意趣。朱红闲章轻点画面，以一抹亮色调和水墨的清冷，平衡视觉重心。整幅以简驭繁，不用浓丽设色，仅以水墨干湿浓淡的层次变化，将秋日荷塘残而未颓的清寂诗意晕染开来，于随性挥洒间尽显文人写意的疏淡格调。",[24,51,7,277,102,54,399,1178,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252ffd258c16f4357c28c9363dd76d8.jpg",[],{"id":28551,"slug":28552,"title":28553,"dynasty":46,"author":21317,"museum":132,"description":21318,"tags":28554,"thumbUrl":28555,"material":317,"size":907,"collection":122,"collections":28556,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},230356,"shan-shui-ce-ba-kai-fan-qi-230356","山水册八开",[24,51,7,100,27,73,74,75,56,1059,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95306f468bab19553397d0d062d40e68.jpg",[],{"id":28558,"slug":28559,"title":20460,"dynasty":67,"author":181,"museum":132,"description":20461,"tags":28560,"thumbUrl":28561,"material":317,"size":907,"collection":122,"collections":28562,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},228410,"di-shi-fan-tian-xi-yi-ming-228410",[24,7,678,26,27,28,2042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f4f9063d4eec6c763129c8507f53a1.jpg",[],{"id":28564,"slug":28565,"title":28566,"dynasty":67,"author":9618,"museum":132,"description":9619,"tags":28567,"thumbUrl":28568,"material":317,"size":907,"collection":122,"collections":28569,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},228360,"xiao-xiang-guo-yu-tu-quan-juan-xia-chang-228360","潇湘过雨图全卷",[23,7,24,51,25,277,75,53,9621,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d64a4192e950156f996dee8003aabb4.jpg",[],{"id":28571,"slug":28572,"title":28573,"dynasty":293,"author":181,"museum":132,"description":28574,"tags":28575,"thumbUrl":28576,"material":122,"size":122,"collection":122,"collections":28577,"showCount":109,"zanCount":1065,"manualWeight":40,"mainColor":62},228191,"nong-cun-jia-nv-tu-juan-yi-ming-228191","农村嫁女图卷","《农村嫁女图》，原名《瘤女图》，是 佚名画家创作的一幅淡设色画。\n此图原名《瘤女图》，后更名为《农村嫁女图》。\n全卷绘大小人物7人，分布疏密得当，自然形成四个段落，各段又有相对突出的重点人物的描写。\n首段以一骑牛披纱妇人为中心，众人目光多集于其身；次段是来宾与迎候者相见的场面，相对施礼的两位妇女为该段的中心；第三段表现两位身份较高的男性奉酒的场面；末段绘鼓乐、歌舞表演及围观者。\n各段虽有各自的主要人物，但次要人物的朝向、动作又使各段落间相互联系，构成一幅完整的画面。\n从画面表现的内容看，画的是否农村嫁女场面还有待商榷，图中吃奶的婴儿和扛于肩上的小童似与婚嫁主题不太相符，且骑牛女子似亦非新娘形象。\n笔者推测此图所表现的可能是一民女回乡省亲的场面，具体内容尚有待进一步考察。\n图中人物略施淡赭色，余则全以水墨为之。\n人物全用颤笔描加以表现，面部刻画也较为粗简，人物造型与南宋马远《踏歌图》有些相近之处。\n绘画艺术水平一般，但却生动地记录了宋元时期的现实生活场景。\n本幅无作者款印。\n钤有清“卢崇兴印”及清内府鉴藏印 5方。\n清初康熙时此卷为卢崇兴所有，乾隆时入内府，清末宣统年间佚出宫外，后为故宫博物院购藏。\n著录于《石渠宝笈·初编》卷三十五。",[23,24,7,25,510,27,28,215,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a4c8a922243dc7230811a7a4b5333e.jpg",[],{"id":28579,"slug":28580,"title":28581,"dynasty":293,"author":1577,"museum":132,"description":28582,"tags":28583,"thumbUrl":28584,"material":122,"size":122,"collection":122,"collections":28585,"showCount":109,"zanCount":1065,"manualWeight":40,"mainColor":62},228057,"fan-qi-tu-ye-zhao-meng-fu-228057","番骑图页","此画以淡赭素绢为底，将目光凝于草原行旅的片刻日常。两位骑手颇具游牧风情，红衣戴笠者控黑花马稳步前行，青衫跨坐者抬手牵住随行白马，神态松弛安然，衣褶线条清劲简练，寥寥数笔便勾勒出策马闲行的悠然情态。\n\n三匹马造型写实灵动，黑花马昂首健硕，白马温顺舒展，墨色晕染柔和雅致，以极简笔墨描摹出马匹肌理毛发，不见多余背景铺陈，却将塞外行旅的松弛鲜活定格绢素，尽显简淡萧散的鞍马画意趣，于朴拙雅致间藏着游牧日常的鲜活烟火。",[23,7,24,51,100,27,26,28,215,472,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5191d62260f7f79f9b22aeb48e388305.jpg",[],{"id":28587,"slug":28588,"title":28589,"dynasty":114,"author":181,"museum":132,"description":28590,"tags":28591,"thumbUrl":28592,"material":122,"size":122,"collection":122,"collections":28593,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},227924,"jiao-shi-ying-xi-tu-yi-ming-227924","蕉石婴戏图","这幅小品以庭院一隅铺展童趣，玲珑湖石矗立，芭蕉舒展浓荫，晕染出夏日庭院的清幽意韵。十余稚童散落各处，或两两私语、或结伴嬉闹，有的摹仿大人行礼作态，有的蹲坐把玩小物，一举一动皆憨态可掬，将孩童日常嬉游的模样鲜活呈现。设色淡雅柔和，衣纹线条细劲流畅，画师以精妙笔力将幼童的天真烂漫刻画得淋漓尽致，藏着平淡日常里的融融稚趣，尽显工致雅致的宋画意韵，把烟火日常里的童真定格成隽永的画面。",[23,7,24,51,768,27,26,28,3048,56,78,7785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880c152bb4ecce6798ef847bc94f14c1.jpg",[],{"id":28595,"slug":28596,"title":16550,"dynasty":114,"author":181,"museum":132,"description":28597,"tags":28598,"thumbUrl":28602,"material":122,"size":122,"collection":122,"collections":28603,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},227858,"dai-du-tu-yi-ming-227858","这幅小品以淡墨晕染远山，将烟岚与水色晕成一片朦胧，远山如卧，隐在暮色薄雾之间，铺展出空濛悠远的天地格局。\n\n水岸柳丝垂柔，依依拂过浅滩，石畔扁舟系泊，艄公立于船头静立等候。右侧山居檐角轻挑，轩下有人凭栏眺望，有人缓步阶前，皆引颈望向江面，将待渡的期盼藏在松弛的神态里。\n\n整幅设色清润淡雅，以虚衬实，将江南暮色里的闲寂悠然揉进烟水间。咫尺圆帧之中，把等候的怅惘与静谧尽数铺陈，留白处尽是诗意余韵，尽显山水小品的雅致意境。",[23,7,24,28599,768,27,277,75,28,77,79,80,2626,648,18879,3096,56,28600,8571,6832,28601],"山水小品","闲寂悠然","江南暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15adff5cce028e04ac85a7f12eb420ea.jpg",[],{"id":28605,"slug":28606,"title":25896,"dynasty":114,"author":556,"museum":132,"description":25897,"tags":28607,"thumbUrl":28608,"material":122,"size":122,"collection":122,"collections":28609,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},227771,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227771",[23,7,24,51,25,154,73,277,75,80,661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630f76f964392cf441413ed6978a2135.jpg",[],{"id":28611,"slug":28612,"title":28613,"dynasty":114,"author":28614,"museum":132,"description":28615,"tags":28616,"thumbUrl":28617,"material":122,"size":122,"collection":122,"collections":28618,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},227615,"liu-yin-xiu-qi-tu-ye-yang-ri-yan-227615","柳荫休憩图页","杨日严","杨日严，字垂训，宋朝河南人。进士及第，曾任安丘知县，通判亳、陈二州。杨日严任益州转运使时，颇为蜀人所信爱，却在任内因贪污被欧阳修弹劾，从此与欧阳修结怨，并且设法攻击。后为开封府代理知府，有囚犯自杀因被罢官。后判太常、司农寺，同知审官院，卒于官。",[23,7,24,51,100,27,26,28,2626,84,75,56,3652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24620bc6c89ce952d0373ed3f8835188.jpg",[],{"id":28620,"slug":28621,"title":28622,"dynasty":114,"author":12261,"museum":132,"description":28623,"tags":28624,"thumbUrl":28625,"material":122,"size":122,"collection":122,"collections":28626,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},227539,"fan-wang-li-fo-tu-zhao-guang-fu-227539","藩王礼佛图","《番王礼佛图》，宋代赵光辅作，卷绢本，设色，纵28.6厘米，横103.5厘米。现藏美国克里夫兰艺术博物馆。\n\n此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[23,7,24,51,25,678,27,26,28,74,118,30,2044,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c003e5ab7391900ab1a6e34dd38cf6.jpg",[],{"id":28628,"slug":28629,"title":28630,"dynasty":114,"author":8442,"museum":132,"description":28631,"tags":28632,"thumbUrl":28633,"material":122,"size":122,"collection":122,"collections":28634,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},227438,"chu-shi-bei-jiang-tu-juan-yang-bang-ji-227438","出使北疆图卷","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,7,24,51,25,27,75,73,28,215,609,425,279,81,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813fa368ac32a990250cd1cd532baa8.jpg",[],{"id":28636,"slug":28637,"title":28638,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":28639,"thumbUrl":28642,"material":317,"size":907,"collection":3417,"collections":28643,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},226001,"poppies-at-argenteuil-1873-mo-nai-226001","Poppies at Argenteuil, 1873",[7,3410,4035,14902,5013,28,28640,28641],"自然风光","光影技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951cb4272636783791c7d4304c97d96f.jpg",[3417],{"id":28645,"slug":28646,"title":28647,"dynasty":46,"author":2172,"museum":132,"description":28648,"tags":28649,"thumbUrl":28650,"material":122,"size":122,"collection":122,"collections":28651,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},224485,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-zhou-wang-jian-224485","倣黄公望烟浮远岫图轴","此展品为清代的书画，绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n现收藏于 。\n绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n画面中间有—溪流蜿蜒流过，山石上杂树丛生，山石多以长披麻皴写之，上有焦墨点苔。\n用墨浓润，骨重气轻，匠心独具，沉雄古逸。\n此图作于1674年，作者时年七十六岁，为其逝世前三年。\n款识：“甲寅九秋仿巨然烟浮远岫呈艾翁老祖台大词宗教正，王鉴” 钤印：“王鉴之印”白文方印，“湘碧”朱文方印。\n王鉴（1598-1677年），字元照，一字圆照，号湘碧，又号香庵主。\n江苏太仓人。\n擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。",[7,24,51,52,497,27,73,154,297,648,11111,609,2626,313,79,559,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":28653,"slug":28654,"title":28655,"dynasty":46,"author":15241,"museum":132,"description":28656,"tags":28657,"thumbUrl":28659,"material":122,"size":122,"collection":122,"collections":28660,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},224125,"shi-lu-li-lu-ting-tu-zhou-qian-long-224125","诗鹭立芦汀图轴","清乾隆缂丝乾隆御制诗鹭立芦汀图轴是清乾隆时期的图轴。\n米色地上缂织芦花白鹭，右上方以黑线缂织高宗隶书御制诗一首： 采采亚汀洲，为花岂自由。\n群摇令夕雨，不异去年秋。\n藏鹭恋青叶，凌波颤白头。\n吟看惊隙影，荣落宜淹留。\n诗末织圆、方朱印“乾”、“隆”各一方。\n此图轴的特点在于先缂织出物象形状，其上再着笔渲染，如 即先以白丝线织其形态，而后用墨笔画羽毛，地上的小草则全以笔描画，这种织与画的结合，可以画笔来描绘细小而不易缂织之处，弥补了织的不足。\n此作品织与画搭配得当，缂工上乘，以平缂、构缂、环缂、子母经为主。\n画面上还钤有阳文朱印“乾隆御览之宝”、“宣统御览之宝”、“石渠宝笈”、“石渠定鉴”、“三希堂精鉴玺”、“无逸斋精鉴玺”、“乾清宫鉴藏宝”、“宣统鉴赏”和“乾隆鉴赏”、“宜子孙”、“宝笈重编”阴文印章。\n《石渠宝笈续编》著录。",[23,7,24,51,52,26,27,2291,2151,28658,56,74],"汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffc101a696745672e7f2512cd182300.jpg",[],{"id":28662,"slug":28663,"title":28664,"dynasty":46,"author":181,"museum":28665,"description":28666,"tags":28667,"thumbUrl":28676,"material":250,"size":28677,"collection":122,"collections":28678,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},223502,"hang-cheng-xi-hu-jiang-gan-hu-shu-tu-yi-ming-223502","杭城西湖江干湖墅图","英国大英图书馆","全图以传统绘画揉合地图绘制的技巧表现，将杭州城与西湖及城北附郭仁和县、城南附郭钱塘县一带山形水势尽收于图中。全图不附图例、比例及方位，但明显采西上、东下的分布。图中各处标示地名，杭州城内官署、坊巷、水道桥梁均详细注记；杭城外西湖及周围山岭、寺庙及景点也都非常细腻描绘，钱塘江水面在图右，以图面空白的方式表现，仅注记「闸口至北新关三十里」、「闸口至六和塔五里」等两处文字。",[23,24,7,51,27,75,28668,28669,28670,28671,28672,24663,5626,28673,28674,3809,25264,28675,78,77],"城市图","古地图","杭州城","西湖","钱塘江","官署","坊巷","景点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffc448fcbdc2f72bda091d949ae7205.jpg","125×67.5cm",[],{"id":28680,"slug":28681,"title":28682,"dynasty":293,"author":181,"museum":7613,"description":28683,"tags":28684,"thumbUrl":28685,"material":156,"size":122,"collection":122,"collections":28686,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},223393,"cheng-ma-tu-yi-ming-223393","呈马图","绘八人三马，马匹壮硕矫健，二黑一白，脖上系红缨长坠，马鬃及马尾毛发浓密，马背上皆搭具有民族特图案色的垫毯，马头打扮亦精致。八人身着民族特色衣饰，面部或粗旷，或白净，表情各异。",[23,24,7,25,27,26,28,215,74,118,1109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9237c5a6f17766247b13fda0fad8a1b1.jpg",[],{"id":28688,"slug":28689,"title":28690,"dynasty":46,"author":28691,"museum":132,"description":28692,"tags":28693,"thumbUrl":28695,"material":217,"size":28696,"collection":88,"collections":28697,"showCount":109,"zanCount":1065,"manualWeight":40,"mainColor":41},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","张若澄","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,7,24,51,27,855,74,75,77,4165,78,79,82,278,5979,28694,5422,755],"园林建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","34.7cm，横40.3cm",[88,90],{"id":28699,"slug":28700,"title":28701,"dynasty":46,"author":10611,"museum":694,"description":10612,"tags":28702,"thumbUrl":28703,"material":250,"size":28704,"collection":122,"collections":28705,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},222644,"xi-ting-chun-yan-tu-gao-feng-han-222644","西亭春艳图",[23,24,7,25,27,26,102,103,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe91fd621aef32d569363dd50492f6e6.jpg","21×122cm",[],{"id":28707,"slug":28708,"title":28709,"dynasty":67,"author":5561,"museum":195,"description":5562,"tags":28710,"thumbUrl":28711,"material":122,"size":122,"collection":122,"collections":28712,"showCount":109,"zanCount":1065,"manualWeight":40,"mainColor":41},222509,"shen-xian-tu-ce-15-zhang-lu-222509","神仙图册15",[23,7,24,51,100,277,28,56,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F005e7d8deaa7551ce8082e0538cb946d.jpg",[],{"id":28714,"slug":28715,"title":27895,"dynasty":114,"author":22313,"museum":212,"description":28716,"tags":28717,"thumbUrl":28719,"material":250,"size":28720,"collection":123,"collections":28721,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},221568,"shu-han-wen-gao-quan-juan-zhu-xi-221568","行草《书翰文稿》卷，该卷由两件作品组成，前一件用笔以篆为主，圆钦于方，第二件作品则时见隶笔，以方见长，但两件作品都是字密集，行距宽松，强调书写之势的一泻而下。是南宋文学家、教育家朱熹的代表作之一。\n朱熹书法追慕钟、王，注重法度。此卷看似信手而出，运笔迅疾，实则不事雕琢，无意求工，深具功力，独见自然之美。\n在笔法上，此《书翰文稿》卷善用中锋，运转沉着顺畅，入笔藏锋隐芒，绝无狂躁之迹，行气连贯，不刻意工整，风格洒脱自然，文与质、文与道互为表里。",[23,7,24,51,25,119,2044,118,74,28718],"文稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17845e2d30b7a63446a2e48fd4c53ce4.jpg","前段纵33.5厘米、横45.3厘米，后段纵28.2厘米、横113.6厘米",[123],{"id":28723,"slug":28724,"title":28725,"dynasty":114,"author":1160,"museum":20,"description":28726,"tags":28727,"thumbUrl":28728,"material":611,"size":28729,"collection":122,"collections":28730,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},221546,"hua-luo-han-zhou-liu-song-nian-221546","画罗汉轴","本院藏画中，有三幅刘松年画罗汉，每幅都款署「开禧丁卯（1207）刘松年画」，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈",[23,7,24,51,52,678,26,27,28,855,3048,21028,680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0035ad35ba239ec50313d885cbecae1d.jpg","纵117厘米横55.8厘米",[],{"id":28732,"slug":28733,"title":28734,"dynasty":46,"author":5268,"museum":151,"description":19416,"tags":28735,"thumbUrl":28736,"material":250,"size":19419,"collection":122,"collections":28737,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},220317,"huang-shan-tu-ce-12-hong-ren-220317","黄山图册-12",[23,24,51,7,100,277,27,73,75,2009,609,279,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3b54d3c4af734c0a0632bca860be3cf.jpg",[],{"id":28739,"slug":28740,"title":28741,"dynasty":46,"author":5268,"museum":151,"description":19416,"tags":28742,"thumbUrl":28743,"material":250,"size":19419,"collection":122,"collections":28744,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},220316,"huang-shan-tu-ce-13-hong-ren-220316","黄山图册-13",[23,24,51,7,100,277,73,278,425,4497,82,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc417d6e1a625c43032297da4992c2db5.jpg",[],{"id":28746,"slug":28747,"title":28748,"dynasty":67,"author":966,"museum":395,"description":5093,"tags":28749,"thumbUrl":28751,"material":34,"size":5098,"collection":122,"collections":28752,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},220228,"hua-niao-cao-chong-xie-sheng-ce-qiu-fang-yi-shi-chen-hong-shou-220228","花鸟草虫写生册-秋芳倚石",[23,24,51,7,100,26,27,263,28750,56,2510,199],"蜗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5070cbb8535d068831c1c644da9378.jpg",[],{"id":28754,"slug":28755,"title":28756,"dynasty":114,"author":7132,"museum":3286,"description":7133,"tags":28757,"thumbUrl":28760,"material":845,"size":7136,"collection":122,"collections":28761,"showCount":109,"zanCount":1065,"manualWeight":40,"mainColor":62},220106,"shi-liu-luo-han-tu-di-shi-liu-zun-zhe-jin-da-shou-220106","十六罗汉图-第十六尊者",[23,24,51,7,52,678,28,1229,370,28758,28759,26,27],"坐具","盘子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa7244c605f811ff0fb0fd51efcd27a.jpg",[],{"id":28763,"slug":28764,"title":28765,"dynasty":46,"author":28766,"museum":28767,"description":28768,"tags":28769,"thumbUrl":28770,"material":250,"size":28771,"collection":88,"collections":28772,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},219989,"han-lin-guan-pu-tu-zhang-feng-219989","寒林观瀑图","张风","上海人民美术出版社","清代画家张风画以山水称妙，人物、花草亦恬静闲适，神韵悠然，没有一丝一毫的妩媚习气，是一位绘画史上有影响的画家。据画史载可知康熙元年他曾与周亮工会于高座寺，并为之作画。张庚称张风为笔墨中之散仙，可谓信然。而且他工刻印，秀远如其人。近代大师张大千极为崇拜张风画艺，张氏特将自己的画室命名为“大风堂”，可见对其之崇拜。",[23,7,24,51,277,52,75,647,313,28,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fac23f513f76befb5d8664779f74162.jpg","57.5×37.5cm",[88],{"id":28774,"slug":28775,"title":28776,"dynasty":67,"author":68,"museum":195,"description":6708,"tags":28777,"thumbUrl":28778,"material":34,"size":6711,"collection":122,"collections":28779,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},219778,"lin-song-ren-hua-ce-2-chou-ying-219778","临宋人画册-2",[7,24,51,768,26,27,154,28,29,3068,472,135,890,755,1167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b3411bd2288e57ce8b2f954e1d79e30.jpg",[],{"id":28781,"slug":28782,"title":19331,"dynasty":114,"author":181,"museum":20,"description":28783,"tags":28784,"thumbUrl":28791,"material":34,"size":28792,"collection":88,"collections":28793,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},219616,"hu-xi-san-xiao-tu-yi-ming-219616","此图为横幅，绢本设色。构图饱满，刻画细腻，粗笔阔墨的坡石与细笔双勾的枝叶彼此映照。古拙的青石板桥下的溪流并无涓涓之态，而是浩荡冲决，远逝于云天相接处，似衬托“虎威”。老干如虬，红叶弥漫，一派肃穆高秋景致。画中央正是身着袈裟的慧远、儒服的陶渊明和道装的陆修静，三人举头朗笑，衣袂飘扬，情态鲜活，两侧三小童站立，画中人物风格似宋人笔意。这幅作品恰将儒、释、道合流的深邃神旨以“三笑”镜头的绘制形象地传达出来，爽朗、悠远的笑声仿佛与虎溪激越的水声、老枫呼啸的风声猝然交响，也穿越了千年的风烟，飘逸于画卷之外，令观画者心府泠然、似有所闻。细读这幅作品会发觉，在图像生成上，画家几乎绘制出了“虎溪三笑”这一故事的全部文献元素，包括人物、情节、环境等，可视为这一画题的最典型作品。",[23,24,7,611,27,28785,1045,497,678,10653,28786,314,1282,280,680,28787,28788,26,28789,28790],"横幅","虎溪三笑","高秋","朗笑","粗笔","细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e773211cdf84d6f21581f9695a2a5b.jpg","26.4x47.6厘米",[88],{"id":28795,"slug":28796,"title":28797,"dynasty":46,"author":3022,"museum":20,"description":28798,"tags":28799,"thumbUrl":28801,"material":267,"size":28802,"collection":122,"collections":28803,"showCount":109,"zanCount":1065,"manualWeight":40,"mainColor":41},219486,"qiu-ri-shan-ju-zhou-huang-ding-219486","秋日山居轴","此作用笔沉厚细腻，主峰雄峙云端，斧劈皴刻画出山石冷峻筋骨，两道飞瀑垂挂崖间，为沉静山林注入灵动生机。苍松虬枝舒展如盖，丹叶秋林点染暖意，晕开融融秋意。山坳间屋舍错落，板桥横卧浅溪，溪石隐现似漾着潺潺水音，将幽寂山林与闲淡山居揉合一处。远景峰峦叠嶂渐隐烟岚，留白晕染出空濛悠远的诗意。\n画作兼取先贤笔墨意趣，融苍郁繁复与秀润简淡于一体，设色雅致清和，铺展出秋日山居的安闲静谧，将文人寄情林泉、归卧丘山的隐逸之思藏入每一处勾勒晕染中。",[24,51,7,52,75,27,73,278,82,697,1282,78,79,313,3096,559,280,28800,26],"秋日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff442355ddacad4cede5834c399118b29.jpg","64.5x38",[],{"id":28805,"slug":28806,"title":28807,"dynasty":46,"author":3150,"museum":151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“春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[23,7,24,51,855,27,26,75,77,1570,745,82,79,5372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc2083e3304ec61a774b10ba10ced57.jpg","纵57厘米，横66.1厘米",[],{"id":28814,"slug":28815,"title":17259,"dynasty":114,"author":181,"museum":166,"description":28816,"tags":28817,"thumbUrl":28818,"material":611,"size":122,"collection":36,"collections":28819,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},219056,"mu-tong-tu-yi-ming-219056","苍润绢本晕开宋时的清寂。老松如盖，虬枝盘结，墨色沉郁间藏着笔底苍劲；坡地之上，牧童斜倚牛背，似梦似醒，牛儿低首啃青，憨态可掬。寥寥数笔，便将乡野的自在勾勒得淋漓尽致。远处云气轻笼，山峦隐现，留白处尽是悠远意韵。没有繁复铺陈，极简构图里，田园的静谧与生命的松弛揉进每寸笔墨。风过松梢的轻响，牧童鼻息的绵长，仿佛都藏在这墨色深浅间——宋画的烟火与诗意，原是这般不着痕迹，却动人心弦。",[23,24,7,768,277,75,28,1906,1059,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b347b3f67fc81eebd171ee0cbca07b.jpg",[36],{"id":28821,"slug":28822,"title":28823,"dynasty":114,"author":181,"museum":20,"description":28824,"tags":28825,"thumbUrl":28828,"material":34,"size":28829,"collection":106,"collections":28830,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},218730,"yun-long-shan-que-tu-yi-ming-218730","筠笼山雀图","这幅画描绘了两只小鸟在笼子里和笼子外玩耍的情景，笔触沉重，笼子的结构处理得很差，钱的形式是艺术家的印章 顺口溜。这幅画和这枚印章都是不真实的，应该被视为普通的复制品。",[23,24,51,7,26,27,102,28826,28827,119,100],"山雀","竹笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc639dbae1130bcbdab21b8cb2ceef9.jpg","26.9x25.9",[106],{"id":28832,"slug":28833,"title":1127,"dynasty":114,"author":181,"museum":20,"description":28834,"tags":28835,"thumbUrl":28836,"material":34,"size":122,"collection":88,"collections":28837,"showCount":109,"zanCount":1065,"manualWeight":40,"mainColor":41},218693,"shan-shui-tu-yi-ming-218693","烟波浩渺间，一叶扁舟轻泛，舟中人影依稀，似与水色相融。右侧松枝虬曲，墨色浓淡交错，松针如丝倚石而立；山石皴法简练，与浅草相映，添了几分野趣。远山如黛，晕染在淡雾里，似天地间的留白，引视野向无尽悠远。\n\n整幅画以淡墨铺陈，虚实相生：静穆中藏灵动——水面微澜、松枝轻颤，皆在笔墨间流转。不刻意渲染，却于简约中见深远，静谧中显生机。仿佛能听见风声掠松梢，见水波拍舟舷，沉湎于自然与心灵的契合，尽得宋人山水中的诗意栖居之趣。",[23,24,7,277,27,75,73,80,661,1059,648,649,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd413e20f9a81db648f7fa8472822843b.jpg",[88],{"id":28839,"slug":28840,"title":28841,"dynasty":114,"author":181,"museum":3453,"description":28842,"tags":28843,"thumbUrl":28844,"material":34,"size":28845,"collection":36,"collections":28846,"showCount":109,"zanCount":1065,"manualWeight":40,"mainColor":62},218484,"sui-yang-wu-lao-tu-zhu-guan-xiang-yi-ming-218484","睢阳五老图-朱贯像","这五位老人都是宋朝的重臣，辞官后住在南京的睢阳，他们经常聚在一起写诗。时称“睢阳五老会”。",[23,24,7,51,52,26,27,28,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50de006a9494fa16a40c48bf42f3ba28.jpg","40.3x32.2",[36],{"id":28848,"slug":28849,"title":28850,"dynasty":46,"author":2172,"museum":195,"description":27404,"tags":28851,"thumbUrl":28852,"material":267,"size":27407,"collection":122,"collections":28853,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},216988,"fang-song-yuan-shan-shui-ce-3-wang-jian-216988","仿宋元山水册-3",[7,24,277,73,154,100,75,77,78,79,82,278,313,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23956ed8e550fcc498cd3b320bbfcfd.jpg",[],{"id":28855,"slug":28856,"title":28857,"dynasty":46,"author":2172,"museum":195,"description":27404,"tags":28858,"thumbUrl":28859,"material":267,"size":27407,"collection":122,"collections":28860,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},216970,"fang-song-yuan-shan-shui-ce-10-wang-jian-216970","仿宋元山水册-10",[23,7,24,51,100,154,73,277,27,75,82,278,313,28,5607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138231a7ee6fa33fd5483a4fe320cb8e.jpg",[],{"id":28862,"slug":28863,"title":28864,"dynasty":67,"author":68,"museum":132,"description":1227,"tags":28865,"thumbUrl":28866,"material":34,"size":122,"collection":122,"collections":28867,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":62},216273,"er-shi-si-xiao-tu-19-chou-ying-216273","二十四孝图-19",[7,24,51,26,27,855,28,55,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F710acee1da100d8112e16ea27cbc3fe7.jpg",[],{"id":28869,"slug":28870,"title":28871,"dynasty":46,"author":181,"museum":132,"description":28872,"tags":28873,"thumbUrl":28875,"material":34,"size":122,"collection":36,"collections":28876,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},216077,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-yi-ming-216077","职贡图巨幅彩绘册页第3册","画面分绘两人，左者为女子，彩条纹长裙摇曳生姿，青蓝披肩轻覆肩头，步履间尽显温婉神态；右者乃男子，蓝布长褂配浅色内裳，腰间束带勾勒质朴身形，神情从容自然。画作以工笔彩绘而成，线条细腻流畅，色彩搭配和谐雅致，人物神情生动传神，精准呈现出不同族群的服饰风貌与生活气息。作为职贡图的一部分，它不仅是技法精湛的艺术佳作，更承载着记录清代边疆族群文化、反映民族交流融合的历史价值，为后人窥探当时的社会风貌提供了珍贵的视觉窗口。",[23,7,24,2613,26,27,28,29,28874],"少数民族服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca5d1171391264734f402225c7c7f29.jpg",[36],{"id":28878,"slug":28879,"title":28880,"dynasty":114,"author":181,"museum":48,"description":2300,"tags":28881,"thumbUrl":28882,"material":666,"size":2303,"collection":122,"collections":28883,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},214971,"dao-zi-mo-bao-ren-wu-bai-miao-hua-13-yi-ming-214971","道子墨宝人物白描画-13",[23,7,24,51,100,510,28,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34805397adabd18d0909f763cdaa6725.jpg",[],{"id":28885,"slug":28886,"title":28887,"dynasty":114,"author":181,"museum":48,"description":2300,"tags":28888,"thumbUrl":28889,"material":666,"size":2303,"collection":122,"collections":28890,"showCount":109,"zanCount":40,"manualWeight":40,"mainColor":41},214950,"dao-zi-mo-bao-ren-wu-bai-miao-hua-34-yi-ming-214950","道子墨宝人物白描画-34",[23,7,24,51,510,28,215,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1186f48c91bd09d5c6fb2aee74dd1a.jpg",[],{"id":28892,"slug":28893,"title":28894,"dynasty":293,"author":181,"museum":1248,"description":28895,"tags":28896,"thumbUrl":28897,"material":121,"size":28898,"collection":122,"collections":28899,"showCount":332,"zanCount":1065,"manualWeight":40,"mainColor":62},290963,"tai-xing-xue-ji-tu-yi-ming-290963","太行雪霁图","一群行旅或骑驴或牵骡、骆驼，在险峻的太行山径赶路，饶有北国风情。路旁枯树，山石上的白雪都令人想起冬日的严寒。缩颈弯腰及以袖口掩鼻的人物，更以生动的表情形容出隆冬的凄苦。\n该幅的山石构景雄奇，用笔劲利。前者承继北宋范宽一派的遗绪；后者则有南宋马夏的影响。",[24,7,75,1357,647,278,313,78,79,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe442c7a2622bf594b90fb9b28854a51f.jpg","156x103",[],{"id":28901,"slug":28902,"title":28903,"dynasty":293,"author":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横四二·三厘米",[],{"id":29201,"slug":29202,"title":29203,"dynasty":46,"author":5869,"museum":151,"description":5870,"tags":29204,"thumbUrl":29205,"material":156,"size":5873,"collection":122,"collections":29206,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":41},236133,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236133","历朝贤后故事图",[24,7,100,26,27,28,904,77,78,79,609,278,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25890be726ce156471d5de93f00b20dd.jpg",[],{"id":29208,"slug":29209,"title":27720,"dynasty":46,"author":1567,"museum":132,"description":29210,"tags":29211,"thumbUrl":29212,"material":122,"size":122,"collection":122,"collections":29213,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":41},235891,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235891","这幅山水以水墨晕染烟岚，春山隐在翻涌云气间，虚实掩映晕出空山新雨的湿润。近景茅庐藏于芦荻深处，水牛静卧溪头，田畴青苗含露。\n以枯湿浓淡的多变笔墨绘就山峦苔点，苍劲朴拙，烟霭则以淡墨留白晕染，铺展出山野初春的空蒙柔润。题诗与画境相融，将山农冒雨春耕的野趣藏在淡烟疏柳里，揉合田园闲逸与山野生机，笔底兼具自然意趣与文人气韵，寄寓着隐逸耕读的林下雅情。",[24,277,73,368,7,75,297,279,890,1906,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a1219c43d19bd359589ad745709dc4.jpg",[],{"id":29215,"slug":29216,"title":14299,"dynasty":46,"author":1452,"museum":132,"description":29217,"tags":29218,"thumbUrl":29219,"material":317,"size":907,"collection":122,"collections":29220,"showCount":332,"zanCount":1065,"manualWeight":40,"mainColor":41},235704,"hua-hui-tu-ce-zou-yi-gui-235704","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[7,24,51,100,26,27,102,240,339,340,74,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F642a32b506aca4f5b3fdd8c65965b3b9.jpg",[],{"id":29222,"slug":29223,"title":6568,"dynasty":46,"author":1567,"museum":132,"description":3725,"tags":29224,"thumbUrl":29225,"material":317,"size":907,"collection":122,"collections":29226,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":41},235516,"yuan-ji-shan-shui-tu-ce-shi-tao-235516",[7,24,51,100,277,73,75,79,201,135,23542,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71841c15cb618845d5db6ccb80c74caa.jpg",[],{"id":29228,"slug":29229,"title":23416,"dynasty":46,"author":11236,"museum":151,"description":29230,"tags":29231,"thumbUrl":29232,"material":342,"size":122,"collection":122,"collections":29233,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":41},234306,"hua-luo-han-ce-leng-mei-234306","清代宫廷画家冷枚画罗汉册20开，每开右侧有张照题字，故宫博物院藏。\n冷枚（约1669-1742），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。\n张照（1691-1745），字得天、长卿，号泾南、梧窗、天瓶居士，清松江府娄县人。康熙四十八年（1709）进士，官至刑部尚书。书法早年学董其昌，得母舅王鸿绪亲授；后又学米芾，并受赵孟頫较大影响。但不一意守师法，而是努力创新，特别是率真之作，更显得变化多端，精彩动人。",[7,24,51,100,26,27,510,678,28,11268,473,278,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ffa5f662044fc7647ba37921698a2ec.jpg",[],{"id":29235,"slug":29236,"title":29237,"dynasty":67,"author":9980,"museum":151,"description":29238,"tags":29239,"thumbUrl":29240,"material":29241,"size":29242,"collection":122,"collections":29243,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":41},233795,"wen-zheng-ming-hong-xing-hu-shi-tu-shan-ye-wen-zheng-ming-233795","文徵明红杏湖石图扇页","扇页有自题：“三月融融晓雨干，十分春色在长安。香尘属路红云煖，总待仙郎马上看。小诗拙画奉赠补之翰学。丁酉腊月既望。徵明。”钤“徵明”白文印。\n“丁酉”是明嘉靖十六年（1537年），文徵明时年68岁。\n扇页有王守题七言诗一首。\n这是一幅文徵明送与做官友人的画作。图绘有着皱、漏、透、瘦之美的太湖石与体态婆娑的杏树相佐相依的小景。文徵明以工绘山水画著称，偶尔绘人物和兰竹，以杏树为主题的画作仅此一幅扇面画，非常难得。此图布局巧妙，石与树一左一右，呈揖对之势，石以其坚实的质感托出树木的柔媚，增添了画作的刚柔之美。全画于苍润纯熟的笔墨间流露出文人画娟雅之气。",[24,51,7,768,27,119,74,7932,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2635dc9c42b57c75be7ddd36e42bb600.jpg","金笺，墨笔","纵18.5厘米，横51.5厘米",[],{"id":29245,"slug":29246,"title":9112,"dynasty":46,"author":1567,"museum":151,"description":9113,"tags":29247,"thumbUrl":29248,"material":342,"size":9118,"collection":122,"collections":29249,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":41},233781,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233781",[24,51,7,2613,277,368,119,73,75,437,82,278,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F935a7b3b458e5a228f740951a8462ba8.jpg",[],{"id":29251,"slug":29252,"title":29176,"dynasty":46,"author":4700,"museum":151,"description":29253,"tags":29254,"thumbUrl":29255,"material":29256,"size":29257,"collection":122,"collections":29258,"showCount":332,"zanCount":1065,"manualWeight":40,"mainColor":41},233401,"shan-shui-ren-wu-ce-jin-nong-233401","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,51,7,100,27,277,75,28,84,82,79,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c812a5aeb034b109fa0e234d163af6b.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[],{"id":29260,"slug":29261,"title":29262,"dynasty":114,"author":181,"museum":151,"description":29263,"tags":29264,"thumbUrl":29265,"material":156,"size":29266,"collection":122,"collections":29267,"showCount":332,"zanCount":1065,"manualWeight":40,"mainColor":62},233006,"shuang-xiao-han-chu-tu-ye-yi-ming-233006","霜篠寒雏图页","5只文鸟集于枯棘上，姿势各异，神态如生。枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。画家将聚集4只文鸟的重心着落于画面中心偏左的位置，而将另一文鸟绘于右侧高处的棘枝上以分散重心，但它回眸向下的眼神与另外4只相呼应，如此布局使画面既错落有致而重心突出。文鸟的描绘先勾出轮廓，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿采用白描法；荆棘则一笔画出，显得苍劲老到。",[7,24,51,100,26,27,102,53,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f2c2bf72a185f58ce3b0cc514e0a6b6.jpg","纵28.1cm，横28.7cm",[],{"id":29269,"slug":29270,"title":3613,"dynasty":46,"author":2636,"museum":151,"description":8362,"tags":29271,"thumbUrl":29273,"material":156,"size":8365,"collection":122,"collections":29274,"showCount":332,"zanCount":1065,"manualWeight":40,"mainColor":41},232977,"hua-niao-ce-lang-shi-ning-232977",[7,24,51,26,27,6292,8278,102,29272,265,278,74],"鸡冠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9ab946d5a201439dab3f6a1a5100fc.jpg",[],{"id":29276,"slug":29277,"title":3613,"dynasty":46,"author":2636,"museum":151,"description":8362,"tags":29278,"thumbUrl":29279,"material":156,"size":8365,"collection":122,"collections":29280,"showCount":332,"zanCount":1065,"manualWeight":40,"mainColor":41},232970,"hua-niao-ce-lang-shi-ning-232970",[7,24,51,100,26,27,102,103,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ba3f49ef4299402ca4a0e9edac5c37.jpg",[],{"id":29282,"slug":29283,"title":29284,"dynasty":114,"author":2982,"museum":132,"description":29285,"tags":29286,"thumbUrl":29287,"material":250,"size":29288,"collection":122,"collections":29289,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":62},232882,"chun-xiao-bu-yu-tu-zhou-zhao-gou-232882","春晓捕鱼图轴","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，宋朝第十位皇帝、南宋第一代皇帝，在位三十五年。北宋皇帝宋徽宗第九子，宋钦宗之弟；曾获封为“康王”。在位初期因为眼见金朝强势，为了保持江山，起用主战派李纲、岳飞等等。但恐惧将领权力过大，为了强化中央集权，采取求和政策，终于绍兴十一年（1141年）与金朝达成绍兴和议，重用主和派黄潜善、汪伯彦、王伦、秦桧等人，并处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣，对金称臣。从此南宋与金朝形成南北对峙之格局。",[23,7,24,51,52,277,73,75,80,662,82,648,649,20883,663,425,664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe763ad8aae0080dc493a95d5237f9554.jpg","97x53 厘米",[],{"id":29291,"slug":29292,"title":29293,"dynasty":114,"author":1160,"museum":260,"description":29294,"tags":29295,"thumbUrl":29296,"material":250,"size":29297,"collection":122,"collections":29298,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":62},232773,"xue-shan-tu-juan-liu-song-nian-232773","雪山图卷","刘松年，约生于1155年，卒于1218年，钱塘（今浙江杭州）人，南宋著名画家，与南宋画家李唐、马远、夏圭合称为“南宋四大家”。\n刘松年有暗门刘的称号，暗门就是清波门，所以刘又号刘清波。他先为画院学生，光宗时期担任画院待诏。在画院工作期间，因成绩斐然，宁宗皇帝还曾给刘松年丰厚的物质奖励。他在画院体系地位也很尊崇，人们以绝品来对待刘松年及其绘画。\n刘松年绘画上，初学李唐、张敦礼，又继承了董源、巨然的部分艺术特征，严谨，典雅，清丽。他的题材多为江浙地区的风貌，西湖，茂林，修竹等。刘松年为人称道的地方，是发展了李唐大笔挥洒的斧劈皴，衍生出刮铁皴。这种皴法基本以小笔触为主，更加细腻。刘松年多园林小景，人称“小景山水”。\n刘松年除了山水之外，同时在人物画、界画、花鸟上，也水平甚高。据传，北京故宫博物院现藏《中兴四将图》，便是他的作品。这幅画人物生动，描绘精到，是宋代写实人物画的佳作。此外，他的《便桥会盟图》、《风雪运粮图》等人物故事画，也在中国绘画史上赫赫有名。此外，他的宗教画，罗汉等形象，则建立了中国佛画的一派典范。\n历史上流传下来的刘松年作品，大约有九十幅左右。这些作品真伪难辨。刘松年及其作品研究，是学术界以后仍然要力度加强的部分之一。",[23,7,24,51,25,277,75,73,4240,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae02117c5bf69987bd9f56214a0e41ac.jpg","21.6×142.6厘米",[],{"id":29300,"slug":29301,"title":1127,"dynasty":293,"author":1577,"museum":20,"description":29302,"tags":29303,"thumbUrl":29304,"material":250,"size":29305,"collection":122,"collections":29306,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":41},232256,"shan-shui-tu-zhao-meng-fu-232256","溪涧、泉松水榭桥文房用具文玩（琴棋书画）香炉．火盆瀑布高士（士人、隐士）侍从（侍女、童仆） 家具（屏风）",[24,51,52,7,27,73,277,75,82,28,278,79,861,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e350d4065062d4a7428a6d1c958bfbc.jpg","本幅 57x30.9公分、全幅 56公分",[],{"id":29308,"slug":29309,"title":16862,"dynasty":67,"author":8327,"museum":132,"description":29310,"tags":29311,"thumbUrl":29312,"material":122,"size":122,"collection":122,"collections":29313,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":62},230890,"zi-mu-ji-tu-zhu-zhan-ji-230890","此作用淡墨勾勒，以留白晕染出禽鸟素洁的羽毛，笔触细腻写实，将绒羽的肌理纤毫毕现。亲鸡护持雏鸡啄食，雏鸟环绕依偎，亲昵互动间尽显舐犊温情，将田家寻常的天伦之趣凝于绢素。\n\n古雅棕调的绢底衬出群禽的素净雅致，写实功力与脉脉温情相融，把田园平凡生机化作细腻动人的诗意图景，尽显院体花鸟的雅致工巧，将日常烟火里的温情娓娓道来，让田家生趣跃然绢上。",[7,24,51,52,27,26,102,1435,17827,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65a4cbda63247618482e600f8b523c.jpg",[],{"id":29315,"slug":29316,"title":8361,"dynasty":46,"author":2636,"museum":132,"description":5351,"tags":29317,"thumbUrl":29318,"material":317,"size":907,"collection":122,"collections":29319,"showCount":332,"zanCount":1065,"manualWeight":40,"mainColor":41},230210,"hua-niao-ce-ye-lang-shi-ning-230210",[23,7,24,51,2613,26,27,8278,6292,102,135,3184,3388,3389,2510,340,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg",[],{"id":29321,"slug":29322,"title":29323,"dynasty":67,"author":14610,"museum":132,"description":29324,"tags":29325,"thumbUrl":29326,"material":122,"size":122,"collection":122,"collections":29327,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":41},228426,"zhi-xu-qing-yan-tu-lan-ying-228426","支许清言图","此作用笔刚柔相济，右崖奇崛厚重，以浓墨皴擦堆垒出山岩苍莽质感，左侧淡墨晕染平湖远峰，虚实相映间铺展出空濛悠远的湖山胜境。\n\n古松虬曲苍劲，针叶攒簇见笔力，尽显老松凌寒之姿。松下幽渚上二人对坐晤谈，衣袂简括，神态悠然，暗合魏晋林下雅集的高逸襟怀。\n\n笔墨干湿互融，既有刚劲风骨，又揉入写意萧散淡远的意趣，将林泉清谈的幽旷襟怀藏在松涛湖烟之中，尽现山居雅集的绝尘之味。",[23,7,24,51,52,277,73,75,28,697,278,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d387a521088c5ae100f06c610991a65.jpg",[],{"id":29329,"slug":29330,"title":29331,"dynasty":67,"author":966,"museum":395,"description":5093,"tags":29332,"thumbUrl":29333,"material":122,"size":5098,"collection":122,"collections":29334,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":62},228300,"hua-niao-cao-chong-xie-sheng-ce-zhu-cha-die-bao-chen-hong-shou-228300","花鸟草虫写生册-朱茶蝶抱",[7,24,51,100,27,26,102,1466,200,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb0b666b51003f2c1d45f96d154a53f9.jpg",[],{"id":29336,"slug":29337,"title":29338,"dynasty":293,"author":16972,"museum":132,"description":29339,"tags":29340,"thumbUrl":29341,"material":122,"size":122,"collection":122,"collections":29342,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":41},228269,"shi-ren-ce-ye-fang-cong-yi-228269","十人册页","此作以淡墨晕染平湖烟霭，汀渚远山含晕隐现，尽是秋水长天的空濛寥廓。岸畔水榭依坡临流，霜树轻红点破满目清寂，三两渔舟泛于波上，掠水飞鸟更盘活了静穆湖面。\n\n作者以干淡笔墨轻勾缓皴，舍繁复皴法，以晕染代勾勒，将江南秋浦的闲淡疏旷收于尺幅。通篇不着浓彩，只以水墨氤氲出林泉幽致，把寄怀山水的文人意趣藏在浅淡岚烟里，静中含动，淡而愈远，尽显山水小景中尚意抒情的雅韵，恍若将观者带入秋日水畔，共赴一场林泉闲居之约。",[23,7,24,51,100,277,75,80,81,82,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1968189c7a593c26b6ed83fc24cfd804.jpg",[],{"id":29344,"slug":29345,"title":29346,"dynasty":293,"author":181,"museum":132,"description":29347,"tags":29348,"thumbUrl":29349,"material":122,"size":122,"collection":122,"collections":29350,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":62},228195,"shi-liu-shen-jun-tu-yi-ming-228195","十六神骏图","画面群骏错落排布，姿态鲜活灵动，或引颈伫立、或俯首啜饮、或扬蹄疾行，亦有两马偎依嬉闹。骏马毛色各异，斑纹勾勒细腻写实，筋骨晕染柔和自然，将神骏膘肥体健的身姿刻画入微。\n\n红衣骑者神情悠然，控马徐行，与群马相映成趣。浅淡墨色晕染沙岸浅滩，古雅底色衬出悠长留白意境，尽显画工精妙，将良骏灵动神采尽数铺展，尽显古朴雅致的画中逸趣。",[23,7,24,51,25,27,26,28,215,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6cb686b05759e704136a50854c09ba.jpg",[],{"id":29352,"slug":29353,"title":29354,"dynasty":293,"author":1556,"museum":132,"description":29355,"tags":29356,"thumbUrl":29357,"material":122,"size":122,"collection":122,"collections":29358,"showCount":332,"zanCount":1065,"manualWeight":40,"mainColor":62},228023,"wen-dao-tu-ye-qian-xuan-228023","问道图页","此作用淡墨铁线描勾勒人物，衣褶圆劲简练，清隽古雅。两位老者相对躬身作揖，左侧老者微伛着身子，神色满含敬慕，右侧长者神态端凝安然，俯仰之间将问道求贤的诚敬与传道的雍容尽数铺展。\n设色简淡素雅，古旧绢底晕染出沉静古意，留白处晕开林下空寂悠然的氛围，暗合问道求真的幽远意境。画面题印错落排布，与笔意浑然相融。整幅小品简而不薄，淡而有味，将圣贤问道的澹泊襟怀藏于笔墨方寸间，尽显文人画简逸出尘的风骨，悠悠古意漫溢绢素。",[23,7,24,51,100,510,27,28,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c59d1ad5138d4daa0cafd170924d42.jpg",[],{"id":29360,"slug":29361,"title":29362,"dynasty":114,"author":556,"museum":132,"description":29363,"tags":29364,"thumbUrl":29365,"material":122,"size":122,"collection":122,"collections":29366,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":62},227967,"jin-wen-gong-fu-guo-tu-li-tang-227967","晋文公复国图","本作以连环分段构图铺陈史诗往事，图文互映，每段配书跋补全情节脉络。以铁线描勾勒人物衣纹，劲挺古雅，国君、文武、夷狄、仆从神态各异，将流亡隐忍、终成霸业的跌宕过往细腻呈现。\n\n布景兼工带写，亭台界画工致严整，松石林木兼具山水意趣，古朴厚重的色调烘托出春秋乱世的沉郁风云，尽显传统叙事绘画的章法意韵与历史叙事的感染力。",[23,7,24,51,25,510,26,73,28,215,77,82,278,74,118,861,4459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7d26cfaac9b3b65381345283d0c2bc.jpg",[],{"id":29368,"slug":29369,"title":29370,"dynasty":114,"author":18388,"museum":132,"description":29371,"tags":29372,"thumbUrl":29373,"material":122,"size":122,"collection":122,"collections":29374,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":62},227712,"hu-tian-ju-le-tu-juan-gong-kai-227712","壶天聚乐图卷","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,7,24,51,25,277,510,28,75,82,8019,472,6290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4894a30ae63717fc0a21742c8b4efc20.jpg",[],{"id":29376,"slug":29377,"title":75,"dynasty":46,"author":20035,"museum":132,"description":29378,"tags":29379,"thumbUrl":29380,"material":122,"size":122,"collection":122,"collections":29381,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":41},226637,"shan-shui-pu-ru-226637","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[23,7,24,51,52,27,73,75,78,79,28,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfafb3f4a22295b4ee5698a9d0333c4.jpg",[],{"id":29383,"slug":29384,"title":29385,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":29386,"thumbUrl":29390,"material":317,"size":907,"collection":3417,"collections":29391,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":41},225967,"landscape-mo-nai-225967","Landscape",[7,3410,4035,29387,5013,8965,29388,29389],"风景画","云层","乡村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4ac7e0b9ae5f69f5d5d9f5e5dd2aea.jpg",[3417],{"id":29393,"slug":29394,"title":29395,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":29396,"thumbUrl":29406,"material":317,"size":907,"collection":3417,"collections":29407,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":479},225917,"claude-monet-reading-1872-by-renoir-mo-nai-225917","Claude Monet Reading 1872 by Renoir",[7,3410,29397,24144,29398,13424,29399,29400,13426,29401,29402,5490,29403,13427,29404,29405],"印象派风格","设色自然","日常题材","男性人物","胡须","烟斗","报纸","袖口","手杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b6d83826419e8ab954bb71368e15924.jpg",[3417],{"id":29409,"slug":29410,"title":29411,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":29412,"thumbUrl":29414,"material":317,"size":907,"collection":3417,"collections":29415,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":62},225778,"long-grass-with-butterflies1890-fan-gao-225778","Long Grass with Butterflies1890",[7,3410,3411,4731,29413,200,28640,27],"长草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F453cb745ef0582cef77e3e57a4b826a7.jpg",[3417],{"id":29417,"slug":29418,"title":29419,"dynasty":46,"author":5640,"museum":132,"description":29420,"tags":29421,"thumbUrl":29422,"material":122,"size":122,"collection":122,"collections":29423,"showCount":332,"zanCount":40,"manualWeight":40,"mainColor":41},224491,"xi-yang-qiu-ying-tu-wu-li-224491","夕阳秋影图","《清吴历夕阳秋影图》是清代画家吴历创作的一幅中国画。\n此图画山峦起伏，高树成林，草亭傍水，江天夕阳相映成趣。\n上有行书诗题及名款。\n吴历与王翚、恽寿平同学于王时敏门下，专意绘事，日夜临摹宋元真迹，渲染皴擦，风格高峻，得其神髓。\n其山水宗黄公望，得力于王蒙，兼有吴镇之长。\n此图虽仿倪瓒，然笔墨纯熟沉稳，颇见功底，诗画相融，其韵致超绝，具有自己的笔法,江亭遥岭,碎石丛树,萧瑟简淡,不失为吴氏晚年佳作。\n吴历（162—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。\n少年时遭遇明亡，信奉佛教，后转为信奉基督教。\n曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。\n原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。\n早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。\n喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。\n吴历以其独到的艺术风貌与“四王”、恽寿平并称“ 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：“震泽王氏鉴藏画印”、“公绶”、“公绶”、“子孙宝之”、“购甲辰进士弟”。\n本幅所绘墨笔艾草运笔浓淡有致，并通过墨色的变化营造出了空间感。\n艾草在中国民间有着驱邪的寓意。\n邹喆作为文人画家也在自己的绘画中表现具有风俗元素的题材，使得作品既具有文人绘画的雅致，又具有风俗绘画的活泼与贴近时令，显得颇有韵味。\n邹喆（生卒年不详），字方鲁，江苏吴县人，客居金陵（今江苏省南京市）。\n工书善画，擅长山水、花卉，得其父邹典的家传，名列“金陵八家”之一。",[7,24,51,52,277,711,29801],"艾草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6babe724a535a74d429861156ecd38.jpg",[],{"id":29805,"slug":29806,"title":27734,"dynasty":46,"author":7025,"museum":132,"description":23338,"tags":29807,"thumbUrl":29808,"material":317,"size":907,"collection":122,"collections":29809,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},235660,"shan-shui-ping-yuan-jiang-235660",[24,7,51,855,26,27,73,75,77,78,84,1059,56,12904],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905a085c5f592f1e8d1d52a233bbe9f6.jpg",[],{"id":29811,"slug":29812,"title":29813,"dynasty":46,"author":29814,"museum":132,"description":29815,"tags":29816,"thumbUrl":29817,"material":122,"size":122,"collection":106,"collections":29818,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},235411,"cai-jia-hua-hui-tu-ce-cai-jia-235411","蔡嘉花卉图册","蔡嘉","此作以淡逸笔墨写庭间花草，月季柔瓣含粉，秋菊轻绽星蕊，枝茎舒展偃仰，尽显草木清灵之态。设色轻浅妍雅，以淡墨勾勒枝叶脉络，敷色晕染柔和雅致，将花草舒展娇柔之姿描摹动人。\n\n左侧题诗与画意相得益彰，诗画交融晕染出空庭静夜的清雅氛围，尽显文人写意花鸟的闲淡雅趣，笔致秀逸柔和，将秋日花草静谧舒展的意韵烘托恰到好处，寥寥数笔便让庭间草木生机尽显，雅致脱俗，暗含文人心底的幽清淡远之情。",[7,24,51,100,27,26,102,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c88d89c468382705c119dda9ddeb8e3.jpg",[106],{"id":29820,"slug":29821,"title":29822,"dynasty":67,"author":12198,"museum":132,"description":29823,"tags":29824,"thumbUrl":29825,"material":317,"size":907,"collection":122,"collections":29826,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},235205,"lu-ting-di-chang-tu-shan-ye-cheng-jia-sui-235205","芦艇笛唱图扇页","程嘉燧（1565～1643）明代书画家、诗人。字孟阳，号松圆、偈庵，又号松圆老人、松圆道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，释名海能。",[7,24,51,768,277,27,75,28,80,82,2151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e9dfd01fea6f4b5647438d2e21ef354.jpg",[],{"id":29828,"slug":29829,"title":1056,"dynasty":46,"author":1344,"museum":132,"description":29830,"tags":29831,"thumbUrl":29832,"material":122,"size":122,"collection":122,"collections":29833,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},235166,"shan-shui-ce-zhu-da-235166","此作以极简笔墨营构幽寂天地，左侧危崖突兀，枯松虬曲苍劲，崖石以淡墨勾勒皴擦，笔意老辣疏简。山坳间几椽茅舍错落隐现，淡写山乡野逸之态。\n画面大半留白，以虚代实，将江天寥廓空茫尽数铺展，留白处的题款与朱红印章冷暖相映，让素净画面多了一丝沉凝意蕴。\n笔底无多，却以疏淡荒寒之境藏尽孤高萧索的心境，把文人沉郁风骨融于山川丘壑，淡远空灵间，尽显水墨造境的悠长余韵。",[24,51,7,277,1204,73,2613,75,82,559,281,648,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a3803585d8cad8fc59bea54486cdb2.jpg",[],{"id":29835,"slug":29836,"title":29837,"dynasty":46,"author":29838,"museum":132,"description":29839,"tags":29840,"thumbUrl":29841,"material":317,"size":907,"collection":122,"collections":29842,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},235129,"hua-hua-yan-shi-nv-tu-ce-wang-su-235129","画华严仕女图册","王素","王素（1794—1877）字小梅，晚号逊之，甘泉（今江苏扬州）人。幼拜师鲍芥田，又多临华岩，凡人物、花鸟、走兽、虫鱼，无不入妙。道光初与魏小眠、王应祥并驾。自悔书拙，每晨必临数百字，至老无间。 咸丰三年（1853）太平天国克扬州，迁邵伯，又迁郭村，逾年返扬。有请画南北斗星君像，乃诣蕃厘观图其塑像为稿本，其虚心若此。篆刻效法汉印，为画名所掩。卒年八十四。",[24,51,7,100,27,26,28,29,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc308eabbaf93f8b173bb8a48b26589cd.jpg",[],{"id":29844,"slug":29845,"title":29846,"dynasty":46,"author":809,"museum":132,"description":23425,"tags":29847,"thumbUrl":29848,"material":156,"size":23430,"collection":122,"collections":29849,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},234991,"hua-hui-ling-mao-ping-9-ren-yi-234991","花卉翎毛屏9",[24,7,27,102,52,53,384,201,198,6190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e398d440e6634b38d0ec5b78aced894.jpg",[],{"id":29851,"slug":29852,"title":29853,"dynasty":67,"author":29854,"museum":151,"description":29855,"tags":29856,"thumbUrl":29857,"material":342,"size":122,"collection":122,"collections":29858,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},234182,"song-mao-jin-xi-shan-chun-xin-tu-juan-song-mao-234182","宋懋晋溪山春信图卷","宋懋","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[23,7,24,51,25,27,75,73,278,609,77,78,79,559,863,3300,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba1a74833b25ec1416d17e54393026e.jpg",[],{"id":29860,"slug":29861,"title":29862,"dynasty":46,"author":11837,"museum":151,"description":29863,"tags":29864,"thumbUrl":29865,"material":611,"size":122,"collection":122,"collections":29866,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[7,24,51,25,277,27,75,609,77,78,79,80,81,74,82,559,856,648,4496,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":29868,"slug":29869,"title":29870,"dynasty":114,"author":181,"museum":151,"description":29871,"tags":29872,"thumbUrl":29873,"material":611,"size":29874,"collection":122,"collections":29875,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},233012,"qing-feng-ju-die-tu-ye-yi-ming-233012","青枫巨蝶图页","描绘了伸出嫩绿色枫树一株，枝叶婆娑。一只赭黄色巨蝶从右上侧凌空飞临，与枫叶构成平衡的对角关系。\n图左下方更有鲜红色瓢虫伏于枫叶之上，十分俏皮。\n画风高度写实，细致入微。\n画法的特点一是细线勾勒，笔若游丝，使蝶与枝、叶的形态皆极为轻倩灵秀；二是设色淡雅明快，红、绿、黄对比鲜明，给人以清新出尘之感，不落浓艳俗套。",[7,24,27,26,102,1387,200,74,2613,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4422c7a10a05c4dac53bafdc3ea79086.jpg","23cm ，横：24.2cm",[],{"id":29877,"slug":29878,"title":29879,"dynasty":114,"author":7170,"museum":151,"description":29880,"tags":29881,"thumbUrl":29882,"material":575,"size":29883,"collection":122,"collections":29884,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},232994,"qi-shi-lie-gui-tu-ye-zhao-bo-su-232994","骑士猎归图页","此图写番人狩猎归来，正在整理箭羽，神情愉悦轻松；身后驮着一只野羊的马匹却已尽显疲态，鬃尾下垂，低首张口，可以想象得到它刚经历了一场激烈的追逐。画中人、马及饰物刻画详细，用笔工整，表现出不同的质感。",[7,24,51,100,26,27,28,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c051a85d681e82e45ab80d08660bcce.jpg","41x66cm",[],{"id":29886,"slug":29887,"title":29888,"dynasty":114,"author":1160,"museum":132,"description":17719,"tags":29889,"thumbUrl":29890,"material":611,"size":29891,"collection":122,"collections":29892,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},232876,"ren-wu-gu-shi-tu-juan-liu-song-nian-232876","人物故事图卷",[23,7,24,51,25,26,27,855,118,119,74,28,77,560,82,278,3300,755,756,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83c436c11f7cca4cd37dca18f9de04f.jpg","26.1x446.5厘米",[],{"id":29894,"slug":29895,"title":29896,"dynasty":293,"author":644,"museum":132,"description":29897,"tags":29898,"thumbUrl":29899,"material":250,"size":29900,"collection":122,"collections":29901,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},232777,"jiu-long-shan-ju-tu-ni-zan-232777","九龙山居图","图中高峰耸立，草木秀润，山下苍松挺立，远山连绵。\n水畔平坡，隐者正立于枯枝下，观赏山色。\n画法取于王蒙，并带有盛懋皴法的特点。\n线条多用中锋，并以水墨渲染，笔法转折灵活，墨色苍润，气韵浑厚。\n该图大体可分为远景、中景、近景三段式：远景为高山峻岭，悬崖峭壁，主峰巍峨，形势十分险峻；中景为山腰，和悬崖峭壁夹江对岸的平缓山坡，期间树木和杂草丛生；近景为山坡和平地，长有几棵树干粗大的苍松和杂树，有的盘根虬曲，枝叶茂密，树荫下的茅亭座落期间，弯树下有一位长者，站在水畔平坡上，作回首之状，观赏山色，后有一僮子携琴随后。\n画面的右侧为开阔湖面，湖水平如镜，平湖滩渚参差。",[23,24,51,25,277,73,119,118,7,75,56,82,78,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379cd8c73503fa9cc5d8274d05b2de7f.jpg","27.9×146.1cm",[],{"id":29903,"slug":29904,"title":29905,"dynasty":67,"author":9980,"museum":48,"description":29906,"tags":29907,"thumbUrl":29908,"material":250,"size":29909,"collection":122,"collections":29910,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},232643,"you-he-ming-qin-wen-zheng-ming-232643","幽壑鸣琴","此画题诗：“万千层峦叠翠，千丈飞瀑洗尘心。愿我红弦的和声，是对松风古老的卑微回答。歌曲。” 这幅画存在不同的版本。学者们认为，这里看到的岩体的实体效果图和体积山体的构造更像是文征明的学生陆治（1496-1576）的特征。\n文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字征明，四十二岁起，以字行，更字征仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[7,24,51,52,27,73,75,278,313,82,280,79,2683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01cc776866ad354558b4fa54af76059.jpg","132 x 50.5 厘米",[],{"id":29912,"slug":29913,"title":1820,"dynasty":114,"author":25594,"museum":7613,"description":29914,"tags":29915,"thumbUrl":29916,"material":250,"size":122,"collection":122,"collections":29917,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},231492,"ying-li-you-231492","善画頭，筿长于鹰鹘，精神态度，曲尽其妙。世所作多搏搦狐兔凫鹭之属，流血淋漓，颇乖好生之意。猷尽反之。学画二鹰坐于枯株之上，貌甚闲暇，略无鸷猛惨烈之状，而不失英姿劲气，可尚也。《画继》",[24,7,51,26,27,102,84,472,647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc548a4d2d416a195470fd81f3d0e166.jpg",[],{"id":29919,"slug":29920,"title":29921,"dynasty":114,"author":181,"museum":20,"description":29922,"tags":29923,"thumbUrl":29925,"material":122,"size":29926,"collection":175,"collections":29927,"showCount":160,"zanCount":1065,"manualWeight":40,"mainColor":41},231083,"qing-xi-wan-mu-tu-yi-ming-231083","清溪晚牧图","画面铺陈出悠然的乡野暮色，清溪浅流舒缓漫过滩涂。一头水牛浸在水中，半隐于苇草间，抬首斜睨，慵懒消暑；另一头负着戴斗笠的牧童，踏水登上岸坡，牧童持杆闲坐，不见丝毫匆忙。侧畔老树盘根虬曲，坡岸蒹葭随风轻摆，两只水鸟振翅掠过天际，为静谧图景添上灵动生机。\n\n笔墨清润秀雅，以淡墨晕染出水色空濛的氛围感，将晚牧时分的松弛乡趣娓娓道来，把日常放牧的寻常景致，晕染成了意韵悠长的诗意画卷，尽显乡野间的自在野趣。",[7,24,51,634,27,26,277,1906,13314,84,79,82,2151,278,83,29924,75,710],"牧歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81e794353e50d88ea22a19584279e31.jpg","75.6x44.3",[175],{"id":29929,"slug":29930,"title":16464,"dynasty":114,"author":181,"museum":132,"description":29931,"tags":29932,"thumbUrl":29934,"material":122,"size":122,"collection":122,"collections":29935,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},231055,"song-quan-pan-shi-tu-yi-ming-231055","画面以古松为骨，老干蟠曲遒劲，松针攒簇如凝墨团块，旁侧枯木枝桠如铁戟横斜，与长松相生，野意盎然。飞瀑自层岩间破壁而出，垂落撞碎成银浪，卷入涧中，湍流拍击磐石，似能耳闻泉声淙淙。层岩以浓淡墨色勾勒皴擦，块垒沉凝尽显山野荒寒。\n\n全作用水墨晕染皴擦，干湿浓淡交替，将幽寂清冷的林泉之境铺陈于绢素，静穆萧散的林下雅趣跃然眼前，尽显寄情林泉的隐逸襟怀。",[23,24,51,7,52,277,27,73,609,79,313,29933,278,78],"磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76784386c4b2ee1e768841b7f9de1bc8.jpg",[],{"id":29937,"slug":29938,"title":29939,"dynasty":67,"author":5561,"museum":132,"description":29940,"tags":29941,"thumbUrl":29942,"material":317,"size":907,"collection":122,"collections":29943,"showCount":160,"zanCount":1065,"manualWeight":40,"mainColor":62},228759,"shi-de-xiao-yue-tu-zhang-lu-228759","拾得笑月图","月圆时节分外明,天台国清僧敲钟。拾得望月放肆笑,扫尽崖下垢与尘。",[23,24,7,52,277,28,1570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F612e8cb0aec083b8380283ac557cadab.jpg",[],{"id":29945,"slug":29946,"title":9682,"dynasty":293,"author":181,"museum":132,"description":29947,"tags":29948,"thumbUrl":29949,"material":317,"size":907,"collection":122,"collections":29950,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},228194,"liu-hai-xi-chan-tu-yi-ming-228194","这幅作品构图饱满，除人物外，海涛几乎充满了整个画面。画风工谨，设色淡雅；衣纹用笔，线条劲练，下笔稍粗重，但刚柔相济，恰到好处；海涛以颤笔勾描，精细异常，具有很强的装饰性。",[23,24,51,7,52,510,28,9687,135,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23f8645a988834ef3eb6503b9fb393d.jpg",[],{"id":29952,"slug":29953,"title":29954,"dynasty":293,"author":1577,"museum":132,"description":29955,"tags":29956,"thumbUrl":29957,"material":122,"size":122,"collection":122,"collections":29958,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},228056,"xi-ma-tu-ye-zhao-meng-fu-228056","洗马图页","枯林之下，奚官执扇为白马拂除尘秽、驱走飞蝇，马上圉人俯身假寐，神态松弛慵懒。画面写实中带着文人写意的闲淡，白马丰腴神骏，毛发晕染柔和细腻，将良驹的质感尽显，人物衣纹简劲利落，服饰细节朴拙写实。枯木勾勒苍劲古雅，褪去了院体鞍马画的精工秾丽，以古旧绢色衬出林下幽寂氛围，将日常洗马的闲散瞬间凝住，把鞍马题材从仪仗的肃穆转向幽居的闲逸，尽显悠远沉静的隐逸雅趣，意韵绵长。",[23,7,24,51,100,26,27,28,215,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254f9dafbb6196819987369a5b0bd4cd.jpg",[],{"id":29960,"slug":29961,"title":22206,"dynasty":293,"author":9272,"museum":132,"description":29962,"tags":29963,"thumbUrl":29964,"material":122,"size":122,"collection":122,"collections":29965,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},228040,"shan-shui-ye-sheng-mao-228040","此作以咫尺扇面铺展山水清境，近景崖石盘结，苍木层生，干笔皴擦写出岩体苍厚肌理，点染间见林木错落生机。远景以淡墨晕染远山，江天留白处轻舟横渡，晕开烟波浩渺的空寂诗意。\n\n笔墨兼工带写，既承精工之态，又融萧散简淡的意趣，浓淡墨色铺陈出深远空间层次，将林泉幽致藏于方寸之中，尽显文人寄情山水的悠远襟怀，清雅古淡之间，留存山水小品独有的静谧余韵。",[7,24,51,100,277,27,73,75,135,80,648,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d8beb27fb73713a6098a1128fdf4ce.jpg",[],{"id":29967,"slug":29968,"title":29969,"dynasty":293,"author":7929,"museum":132,"description":29970,"tags":29971,"thumbUrl":29972,"material":122,"size":122,"collection":122,"collections":29973,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},227990,"chun-jiang-tu-ma-wan-227990","春江图","此作用笔苍润秀雅，以淡墨晕染远岫平林，江波如练，渔舟轻漾，铺就江天寥廓之境。近岸危崖层叠，嘉木葱茏，间有丹叶点破春山碧色，山麓小径间策蹇徐行的旅人，为空寂江乡添上几分烟火意趣。\n全画以披麻皴写山石肌理，干湿互济，墨色苍润交融，诗题于画端，将春日江村的静穆野趣与文人逸怀相融，尽显悠远冲淡的林下幽情，晕染出江天春景的空濛诗意。",[24,7,51,52,277,27,73,118,74,75,3426,80,82,278,28,425,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e6fe60e76037c1ff051d0063db8088.jpg",[],{"id":29975,"slug":29976,"title":29977,"dynasty":114,"author":181,"museum":132,"description":29978,"tags":29979,"thumbUrl":29980,"material":122,"size":122,"collection":122,"collections":29981,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},227905,"qiu-ting-ying-xi-tu-ye-yi-ming-227905","秋庭婴戏图页","《秋庭婴戏》是24年7月1日 出版的图书 出版社: 上海书画出版社; 第1版 (24年7月1日) 丛书名: 国宝在线 平装: 4页 开本: 8开 ISBN: 78672664 条形码: 978786726648 尺寸: 29.8 22.4 .6 cm 重量: 281 g 这套丛书按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，放大至原寸，为学画者提供了下真迹一等的范本。\n本书对书中收入的每一幅名画进行了详尽的介绍与分析，部分局部放大，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，我们编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 婴戏题材在唐代便已出现，时间当与仕女画相差无几，但数量不多，技法也远未发展成熟。\n据《宣和画谱》记载，唐代著名人物画家张萱善旦画人物……又能写婴儿，此尤为难。\n盖婴儿形貌、态度自是一家，要于大小岁数间，定其面目髫稚。\n世之画者，不失之于身小而貌壮，则失之于似妇人。\n又贵贱气调与骨法，尤须各别。\n事实上，婴孩的画法脱胎于成人，因此，早期一些不成功的婴戏画中往往会具有一小大人的特征，铅华未洗，尚不能表现出儿童稚气天真的特质。\n正如唐代人物画的兴盛与其成教化，助人伦的辅政功能不可分割一样，宋代婴戏题材画之所以流行也同样有其社会背景。\n宋代重文治，虽然对外一直积弱不振，但内部局势却相对较为稳定。\n农业生产不断增长，城市经济日渐繁荣，工商业发达，人口集中。\n市民阶层迅速壮大并逐渐形成一支可以影响画坛趣味的力量。\n绘画从主要服务于宗教及贵族阶层的利益，转而开始考虑普通群众的需求。\n人物画的题材中，道释及帝王肖像一统天下的局面被打破，表现市井平民生活的风俗画开始兴盛，这其中便包括以孩童嬉戏为主要表现内容的婴戏题材画。\n当时的观念认为，儿童可以消灾解难，会带来吉祥幸福。\n例如，北宋熙宁年间京师久旱，皇帝便让京师的儿童祈雨；南宋时期，除夕时在皇宫里，呈王女童驱傩，装六丁、六甲、六神之类一等等。\n因此，宋代社会对儿童事业颇为重视，当时的京城中设有官办的慈心幼局类似于今天的幼儿园或孤儿院，还出现了私人的儿科大夫和儿童药房等。\n显然，这种社会时尚在当时的文艺创作中不能不有所反映，就绘画而言，可以说婴戏画正是在这样的背景下发展起来的。\n著名的瓷器孩儿枕也出现于这一时期。\n一 在宋代，擅作婴戏题材的画家已有相当的人数，如勾龙爽、刘宗道、杜孩儿、苏汉臣、徐世荣等。\n其中以苏汉臣最为著名，流传下来的作品也最多，以 收藏的《秋庭婴戏图》最引人观注。\n他的成就，从后世作婴戏图者多托名于之便可见一斑。\n杜孩儿，顾名思义，因擅画婴儿而得名，《画继》说他在政和间，其笔盛行，而不遭遇，流落辇下。\n画院众工，必转求之，以应宫禁之须。\n《画继》还记载：刘宗道，京师人。\n作《照盆孩儿》，以水指影，影亦相指，形影自分。\n每作一扇，必画数百本，然后出货，即日流布，实恐他人传模之先也。\n由此可见婴戏画在当时流行风靡的程度。\n又据《图绘宝鉴》所云：勾龙爽，蜀人。\n好丹青，喜为古衣冠，多作质野不媚之状。\n尤善婴孩，得其态度。\n国初为翰林待诏。\n徐世荣，画界画，兼工婴儿。\n然而，遗憾的是这些画家的作品均已失传，我们只能通过前人的寥寥数语来想像他们的风貌了。\n宋代的画坛还有一些精通人物、山水、花鸟的全能画家，如李嵩、刘松年等，他们也画过一些婴戏题材作品，而且都极为精妙。\n我们知道，宋人作画重视写生，宋代画家在再现客观世界的能力方面较之前代画家取得了长足的进步。\n因此，尽管总体而言人物画的地位远逊于晋唐，但画家的技能不仅不逊于前辈，通常还有过之而无不及。\n婴戏画便是很能说明问题的例子。\n宋代画家很好地解决了前代在画孩童时常出现的问题，他们已能够驾轻就熟地表现儿童那种特有的体貌和神态了。\n这种技术上的进步与宋代婴戏题材的流行可以说是一种互为因果的关系。\n婴戏题材除了在两宋较为兴盛外，明、清以及民国时期也十分常见，这也和其时代的经济、文化繁荣息息相关。\n然而，像宋代那样有大批一流画家参与婴戏题材创作的情况却不复再现，作品也殊难和宋画相媲美。\n纵观历朝历代的人物画，婴戏题材并不占有十分重要的地位，但却不可或缺。\n由于婴戏画反映的是生活中美好、祥和的一面，为广大群众所喜闻乐见，因此常成为表现节日里吉庆欢愉的吉祥画，而在近代，这一题材则逐渐转化成祈求安康、丰乐的年画而进入寻常百姓家了。\n宋 苏汉臣 秋庭婴戏图 轴 绢本 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 婴戏图 页 绢本 宋 苏汉臣 婴戏图 页 绢本 宋 佚名 冬日婴戏图 轴 绢本 宋 佚名 冬日婴戏图 轴 局部 宋 佚名 冬日婴戏图 轴 局部 宋 李嵩 货郎 图 卷 绢本 宋 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绢本",[23,7,24,51,100,26,27,28,7785,201,82,74,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfe0afb989a2894074a38cc534a2c6c.jpg",[],{"id":29983,"slug":29984,"title":29985,"dynasty":114,"author":181,"museum":132,"description":29986,"tags":29987,"thumbUrl":29989,"material":122,"size":122,"collection":122,"collections":29990,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},227881,"tong-yin-wan-yue-tu-ye-yi-ming-227881","桐荫玩月图页","此作以工致笔触铺陈出夏夜闲游的雅景。界笔精谨绘就深宅错落屋宇，窗牖梁枋皆细致入微，尽显宅邸雅致规制。虬劲梧桐亭亭如盖，枝叶扶苏间筛下朦胧月色，晕开夏夜清宁。\n\n廊下雅客围坐把盏，清谈消暑，尽是松弛意态；阶前仕女凭栏凝睇，似浸在月色里漫思幽怀，阶下仆役垂首静立，衬出宅邸的安闲氛围。淡墨晕开暮色，草木柔润晕染，将宋人士族日常宴游的闲雅意趣藏进方寸之间，把玩月的悠然诗意刻画尽致，尽显宋人刻入日常的雅致慢调。",[23,24,7,26,27,855,28,29,77,1570,1059,560,756,29988,711],"石盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff31f6caa12baf6d4b5085cfd27df4b4.jpg",[],{"id":29992,"slug":29993,"title":25023,"dynasty":114,"author":181,"museum":132,"description":29994,"tags":29995,"thumbUrl":29996,"material":122,"size":122,"collection":122,"collections":29997,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},227393,"gao-shi-guan-pu-tu-yi-ming-227393","此画为宋离、唐所画，无据可查，但整体画面陡峭优美。 在这幅画中，由远及近的山峦和竹林，都以恰如其分的虚实笔触描绘。 图中的瀑布悬垂至谷底，水雾缭绕。 溪流的一角，两位高手俯视着飞泉，神采飞扬，神情陶醉。",[23,7,24,51,27,73,75,28,53,313,278,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9400dc5e0fc602c5191a698fc5fa38.jpg",[],{"id":29999,"slug":30000,"title":30001,"dynasty":114,"author":181,"museum":132,"description":30002,"tags":30003,"thumbUrl":30004,"material":122,"size":122,"collection":122,"collections":30005,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},227388,"guan-pu-tu-ye-yi-ming-227388","观瀑图页","史载王羲之曾在团扇上画小人物；其子王献之的《为桓温书并画乌牸驳牛扇》。《历代名画记》中载：梁·肖贲“曾于扇上画山水，咫尺内万里可知”。到了宋代，随着绘画艺术的蓬勃发展，特别是山水画、花鸟画在唐末、五代基础上得到空前的提高。文人与绘画的关系越来越密切，形成了文人画创作高潮。加上皇帝对扇面艺术的重视，书画扇面相应得到飞速发展，臻于顶峰。《书继》中载：“政和间，徽宗每有画扇，则六宫诸邸竞皆临仿一样，或至数百本。”两宋盛极一时的画扇，创作了大批不朽之作，流传至今为人们饱览了两宋绘画的高尚艺术。小至花鸟画中的野草闲花，昆虫禽鱼，都运以精心，出以妙笔。",[23,7,24,51,2613,27,75,73,28,313,82,281,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b16031931e91f7aed2413780f1bd06.jpg",[],{"id":30007,"slug":30008,"title":30009,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":30010,"thumbUrl":30013,"material":317,"size":907,"collection":3417,"collections":30014,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":479},225762,"head-of-a-woman-march-fan-gao-225762","Head 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059",[7,3410,9899,6292,11398,27151,28,13425,30020,30021,30022,30023],"手持纸张","羽毛笔","深色衣物","白色衣领","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fb581f7548c5a3ba84d09439b6aae2.jpg",[3417],{"id":30027,"slug":30028,"title":30029,"dynasty":114,"author":181,"museum":151,"description":30030,"tags":30031,"thumbUrl":30032,"material":156,"size":30033,"collection":122,"collections":30034,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},223522,"wu-tong-ting-yuan-tu-ye-yi-ming-223522","梧桐庭院图页","图中绘有歇山式、四角攒尖式顶的建筑，描写具体而精致。画家以直线、横线、斜线、弧线等多种线条准确地勾勒，并将它们有机地组合在一起，通过轮廓的轻重、线条的疏密，清楚地交代出殿阁远近纵深的层次和“向背分明”的体积感，比例准确合度。虽然从构图和技法上分析，此幅应出自南宋画家之手，而不是李佐贤所定的“恕老”作，但仍可谓是传郭忠恕之衣钵。",[23,7,24,51,2613,26,277,27,855,8373,560,861,82,278,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F235ac18ea34cfa2c76f12f7aedadc6e1.jpg","纵24cm，横19.3cm",[],{"id":30036,"slug":30037,"title":30038,"dynasty":114,"author":181,"museum":20,"description":30039,"tags":30040,"thumbUrl":30042,"material":30043,"size":30044,"collection":122,"collections":30045,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},223439,"song-ke-si-wen-zhi-zhou-yi-ming-223439","宋缂丝文雉轴","整作雅致清隽，以缂丝之技复刻院体花鸟意趣。文雉傲然独立于奇石之上，翎羽以细缂勾勒，素洁莹润，顶间绒羽灵动，目光悠然似望林泉。幽竹斜探出石畔，兰叶舒展柔婉，灵芝倚石而生，晕染出林下清寂绝尘的闲趣。\n\n石身以深浅蓝褐织就层叠肌理，禽鸟草木设色柔雅沉静，将丝织的温婉与工笔的精细相融。静穆之中暗生机趣，尽显宋人雅致含蓄的审美意趣，把林泉幽致的东方意境凝于尺幅绢面之上。",[23,7,24,51,52,27,102,1034,30041,3195,56,16326,634],"雉鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ba41c929197839da6fa18ad2039c4.jpg","緙絲","71.8厘米",[],{"id":30047,"slug":30048,"title":30049,"dynasty":67,"author":181,"museum":260,"description":30050,"tags":30051,"thumbUrl":30052,"material":611,"size":30053,"collection":88,"collections":30054,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},223362,"hui-ji-shan-tu-shou-juan-quan-juan-yi-ming-223362","会稽山图手卷全卷","图绘绍兴会稽山景色。远处山峦起伏，满山苍翠；数条河流将群山隔开，河面修长平静，数只船只来往忙碌；近处数座房屋座落于山脚河岸边，背山面水，景色优美，为宜居胜地。技法上，以细皴绘山脉，线条柔和，层次清晰。",[23,24,25,7,497,277,73,425,663,856,559,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64c41ff2d27b892270217b7097c0f66a.jpg","49.2×712.2",[88],{"id":30056,"slug":30057,"title":30058,"dynasty":46,"author":6606,"museum":151,"description":30059,"tags":30060,"thumbUrl":30061,"material":30062,"size":30063,"collection":122,"collections":30064,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},223139,"shi-wan-tu-ce-3-ren-xiong-223139","十万图册3","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,7,24,51,100,72,27,75,279,82,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aeb50154d506f2c841a50d34007f7fa.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],{"id":30066,"slug":30067,"title":30068,"dynasty":46,"author":14982,"museum":1475,"description":18679,"tags":30069,"thumbUrl":30073,"material":611,"size":18682,"collection":122,"collections":30074,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},222896,"hong-lou-meng-21-sun-wen-222896","红楼梦21",[23,7,24,51,25,26,27,611,22585,30070,18768,78,79,28,29,82,3048,2626,278,755,560,30071,30072,861,711],"设色山水","园林景观","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff0777d2de3e5717a1c6f1d360c602d.jpg",[],{"id":30076,"slug":30077,"title":30078,"dynasty":46,"author":11236,"museum":151,"description":30079,"tags":30080,"thumbUrl":30081,"material":156,"size":30082,"collection":122,"collections":30083,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},222867,"shi-gong-ci-tu-ce-06-leng-mei-222867","十宫词图册06","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,7,24,51,100,26,27,28,77,560,4459,3220,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168968a1c5eb89201c2550c1aad92216.jpg","纵33.1厘米，横29.3厘米",[],{"id":30085,"slug":30086,"title":3273,"dynasty":67,"author":8708,"museum":132,"description":30087,"tags":30088,"thumbUrl":30089,"material":122,"size":122,"collection":123,"collections":30090,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},222473,"shou-juan-zhu-yun-ming-222473","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。\n祝允明出生在文化气氛很浓的苏州，他的书学生涯是在前辈的言传身教下开始的。其中对他影响最大的是外祖父徐有贞和岳父李应祯两人。 徐有贞擅长行草书。他的行草主要师法唐朝的怀素和宋朝的米芾。用笔直率而华美，结构潇洒多姿，很得古雅之气。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。在祝允明二岁时，徐有贞奉诏回苏州闲居，祝允明时常寄宿在外公家里，因此徐有贞的书法风格对他影响是很深远的。\n李应祯也是一个有名的书法家。祝允明也一直得到李应祯的指导。在跟从岳父学书的十几年中，李应祯对于祝允明在书法的发展上起了很大的作用。\n据文徵明的记载，李应祯在晚年告诉他，说自己学习书法四十年才开始有所得，并向文徵明论述了书法上的很多道理。他留下的尺牍，秀丽而又有气度，行笔自然大方，横向取势的撇、捺、横都很生动有致。字的大小，粗细变化自然。他这种富于抒情性的行草书对祝允明也有很深的影响。 祝允明自己谈幼年时学习书法，说前辈不让他学习近代人的字，看到的都是晋唐人的字帖。所指的应该是楷书的学习。应该说祝允明幼年在两位前辈的指导下，打下了很好的底子，为日后的发展作了铺垫。同时两人的书风的优点也传给了祝允明。\n祝允明书法主张是“性”与“功”并重超然出神采，祝允明的书艺思想以“神采”为最终归宿。而要达到这个目标，他认为必须“性”、“功”并重。“性”是指人的精神，“功”是指书法创作的能力和功夫。他认为只有功力而无精神境界，神采就没有，而有了高尚的精神境界，如果没有表达的功夫，那么神采就不能实在地显露。两者不可缺一，必须兼备，在他的代表作《闲居秋日》《致元和手札》《燕喜亭记》《乐志论》《饭苓赋》《云江记》等就秉承了他所倡导的“性”、“功”并重的原则。 对于“功”，祝允明认为只有在向前人学习的基础上才能得到。因此他对时人不愿好好学习传统而把这称为“奴书”的说法很愤慨。特地写下了《奴书订》予以反驳。在这一点上，他晚年在《书述》中还批评了他的岳父李应祯。他强调必须“沿晋游唐”，这是源于他对书法史的深入认识。\n他认为书理极于张芝、王羲之、钟繇、索靖，后人只是在遵循他们的法则，而在根本上已不能改变。他认为唐人能循前人之理，按照当时人的法则来写；宋初还不很差，宋中期仍有可取之处，而后便大变传统，古法遭到败坏，大多流为恶怪。到元代方有赵孟頫扭转时风，复归晋唐，但终因个性不强未免有“奴书”的遗憾。所以要知书法的本来必须向晋唐学习。在学习和熟悉了传统后，其技法必须有独到之处，这是祝允明对“功”的进一步要求。他在《评书》中说自己不屑于步钟、索、羲、献的后尘，而要学习项羽和史弘肇的勇猛以开创自己。他跋 《山谷书李诗》云: “双井之学（黄庭坚之学）大抵以韵胜，文章诗书画皆然，姑论其书积功固深，所得固别。要之得晋人之韵，故形貌若悬而神爽冥会欤!此卷驰骤藏真，殆有夺胎之妙，非有若据孔子比也，其故乃是与素同得晋韵然耳。”(《祝枝山全集》卷二十五)可见他主张学古贵在求其气韵神情，而不必规规于点画形似。 ] 因此他既反对时人对传统的忽视，又强调不能真的成为“奴书”。\n祝允明对于“性”没有很多的论述。他提倡“起雅去俗”，显然是指以学识和修养来陶冶性情、净化心灵，从而达到较高的精神境界。 有了以上两点，就可以在“入神”的状态下创作具有神采的优秀作品了。他对于“入神之境”的解释是“一时超然格度之外”，在超越各种约束的情况下，才能“闲窗散笔”，自然地表达自己。 祝允明在书法理论上的要求，既符合艺术创作本身的规律，又合乎文人书画的审美要求，从而使他的书法创作成果达到了很高的水平。\n祝允明书法主要成就在于狂草和楷书。狂草来自怀素、张旭，更多的是接近黄山谷，提按和使转的笔法交互使用，行与行之间的距离很紧，形成一种汪洋恣肆的视觉效果。受黄庭坚影响很大，所以书法有铁画银钩之称。更难得的是楷书又写得相当严谨，有晋唐人的古雅气息。这种反差很大的综合素养与唐代的张旭十分相似，如《草书自诗卷》《致元和手札》《草书千字文卷》《王文恪公卷》等。 祝允明高明之处，将黄庭坚斤书笔法的特点融于自己小行楷书作中。因此，祝允明对黄庭坚的取法无疑是一种新的创造。",[23,7,24,51,25,2755,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123665fbab9a322e70bef1c799c376a3.jpg",[123],{"id":30092,"slug":30093,"title":11128,"dynasty":67,"author":2558,"museum":212,"description":30094,"tags":30095,"thumbUrl":30096,"material":3579,"size":30097,"collection":122,"collections":30098,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},222063,"shui-xian-tu-zhou-tian-qiu-222063","此图细笔微染出花朵和浓淡墨钩出的花叶，突出阴阳向背，表现动的变化。双钩竹和飞白石兼具元人简逸之韵致，承宋之余绪而又不失字家格调。历代画家多用水仙象征高洁，寓意作者的孤傲品格和入泥不染的意志。",[23,24,51,7,25,510,277,2067,56,890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385efbfd3ac4bd968584f474eb574eee.jpg","33.5x858.1cm",[],{"id":30100,"slug":30101,"title":30102,"dynasty":67,"author":8327,"museum":20,"description":30103,"tags":30104,"thumbUrl":30106,"material":122,"size":30107,"collection":122,"collections":30108,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},222019,"ming-xuan-zong-yu-bi-xi-zuo-ci-wu-shou-zhu-zhan-ji-222019","明宣宗御笔戏作词五首","明宣宗朱瞻基生于北平燕王府 。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十八岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。 著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[7,24,51,100,119,118,277,1570,26127,30105],"夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963871be30a56a6c36f7c0e449908c14.jpg","37x46.6厘米",[],{"id":30110,"slug":30111,"title":30112,"dynasty":293,"author":30113,"museum":151,"description":30114,"tags":30115,"thumbUrl":30116,"material":30117,"size":30118,"collection":36,"collections":30119,"showCount":160,"zanCount":1065,"manualWeight":40,"mainColor":41},221796,"du-qiu-niang-tu-juan-du-mu-shi-zhou-lang-221796","杜秋娘图卷杜牧诗","周朗","署款：“周朗伯高。”下钤印“冰壶画隐”。本幅有元代著名书法家康里巎巎行书录唐杜牧《杜秋娘诗》，明宋璲题记二段。钤清乾隆、嘉庆、宣统内府收藏印等，共计23方。\n此图创作主题突出，无任何衬景点缀，仅绘杜秋侧身沉思状。作者运用暗喻的艺术手法，根据诗意成功地塑造出栩栩如生的杜秋形象。其雍容丰满的体态及身着的唐装表明了杜秋所处的时代特征，发髻上考究的头饰暗示出她的身份与地位，手中所持排箫则揭示出其内在的文化修养。\n此图在人物造型上与唐代周昉《挥扇仕女图》中的人物相仿。杜秋浓密的头发梳理得齐整服贴，前额不见散丝，鸭蛋形脸，丹凤眼，高鼻梁，嘴唇小而丰满，面部没有过多的表情。躯体丰腴，着以直筒形长裙，遮掩了其腰身的曲线，显示出唐代仕女画的审美意识。在表现技法上，此图受到宋以来白描画法的影响，注重以线造型，与唐人浓彩重抹的画风有所差异，充分表现了作者对线条的理解和娴熟的运用能力。人物面部轮廓以细匀的淡墨线勾勒，线条外柔内刚，富有弹性，与以浓墨晕染的高挽的发髻共同衬托出杜秋白晰的面容及细腻光滑的肌肤。衣纹用曲、直两种线条表现，直线条落笔果断，劲健有力；曲线条连绵宛转。两种线条的有机组合成功地表现出衣料柔软下坠的质感。人物肩上的披纱用细劲流动的线条勾描，不仅展现出纱带轻薄飘逸的美感，而且以其动势使画面更为活泼，增强了作品的生动性。\n周朗真迹传世仅见此一卷。清内府《石渠宝笈初编》著录。",[23,24,7,25,510,27,119,118,74,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3904aa0b94a417e75feeb9f16a97da2.jpg","设色，纸本","纵32.3厘米，横285.5厘米",[36],{"id":30121,"slug":30122,"title":30123,"dynasty":114,"author":1216,"museum":132,"description":9068,"tags":30124,"thumbUrl":30125,"material":250,"size":9071,"collection":122,"collections":30126,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},221401,"fa-hai-ling-shan-tu-3-li-gong-lin-221401","法海灵山图3",[23,7,24,51,634,510,28,472,74,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F628dab8802c2613ee52979a59c9847da.jpg",[],{"id":30128,"slug":30129,"title":30130,"dynasty":67,"author":966,"museum":395,"description":5093,"tags":30131,"thumbUrl":30132,"material":34,"size":5098,"collection":122,"collections":30133,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},220226,"hua-niao-cao-chong-xie-sheng-ce-dan-jie-wu-chen-chen-hong-shou-220226","花鸟草虫写生册-丹洁无尘",[23,7,24,51,100,26,27,102,200,246,339,515,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3014485fbd602bc596fe511ee39155e.jpg",[],{"id":30135,"slug":30136,"title":30137,"dynasty":67,"author":899,"museum":151,"description":30138,"tags":30139,"thumbUrl":30140,"material":121,"size":30141,"collection":36,"collections":30142,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},219626,"wang-gong-chu-shan-tu-tang-yin-219626","王公出山图","这幅画表现的是王鏊上山做官，是唐寅作为弟子画的，所以画得很用心。王鏊在1506年左右来到宫廷，当时唐寅36岁，其画风，山石树木如李唐，人物如李公麟，无疑是真迹。",[23,7,24,51,25,277,26,73,119,118,74,75,28,278,82,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc31d64915532e56e517bdba4db86340f.jpg","纵20厘米，横73.5厘米",[36],{"id":30144,"slug":30145,"title":30146,"dynasty":114,"author":181,"museum":20,"description":30147,"tags":30148,"thumbUrl":30150,"material":34,"size":30151,"collection":36,"collections":30152,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},219600,"li-quan-qing-shu-tu-yi-ming-219600","醴泉清暑图","此作用笔谨严工细，界画精准匀挺，层层晕染出殿宇重楼的深闳气势。朱红廊柱配青灰屋瓦，在赭褐绢色晕染下，古雅沉稳。台陛间侍从伫立、行人缓行，三两错落，衬出宫苑的开阔静穆。庭中佳木亭亭，台池清浅，暗合清暑之意，将皇家苑囿的雍容与夏日常景的清宁相融。细碎笔触勾勒出飞檐翘角的灵动，消解了宫殿的厚重，在写实规制里藏着雅致意趣，把盛世宫苑的闲雅夏意定格在绢素之上。",[23,7,24,855,100,26,27,28,77,2673,82,30149,74,18573],"台池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd77d018c73965b8944c1f69fc7f67dbd.jpg","本幅 26.3×29.4公分",[36],{"id":30154,"slug":30155,"title":30156,"dynasty":293,"author":4666,"museum":20,"description":30157,"tags":30158,"thumbUrl":30159,"material":34,"size":6031,"collection":122,"collections":30160,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":62},219117,"hua-hui-ce-hua-die-qing-ting-wang-yuan-219117","花卉册-花蝶蜻蜓","浅赭底色如晕开的旧墨笺，铺展一方清宁小景。蜻蜓振翅悬停，薄翼以细劲线条勾勒，似笼着晨雾的纱，复眼点染灵动；两只粉蝶栖于花侧，翅脉轻描，姿态悠然。下方花卉枝叶交错，花瓣淡彩晕染，紫蕊黄瓣相映成趣，叶片墨色浓淡有致，藏着自然生趣。整幅画工写相济，不刻意炫技，却于细微处见匠心，将草木虫豸的闲雅之态凝于尺幅。似能闻花间轻响，触风里软意，是元人笔下独有的清逸温婉，把寻常小景酿成了耐品的诗意。",[23,7,24,51,100,27,26,102,198,200,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3377cf4cbdf594fdf0f04f0c249d8ce.jpg",[],{"id":30162,"slug":30163,"title":30164,"dynasty":114,"author":181,"museum":20,"description":30165,"tags":30166,"thumbUrl":30167,"material":34,"size":30168,"collection":88,"collections":30169,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},218890,"shu-lin-ye-zhang-tu-yi-ming-218890","疏林曳杖图","这是对郭熙山水的模仿，只是笔法略显草率，可能是元代的作品。",[23,24,51,7,277,27,75,73,3116,278,28,648,5607,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0484004fdf547cfb6952e361a78c340d.jpg","24.7x23.5",[88],{"id":30171,"slug":30172,"title":30173,"dynasty":114,"author":181,"museum":20,"description":30174,"tags":30175,"thumbUrl":30176,"material":34,"size":30177,"collection":36,"collections":30178,"showCount":160,"zanCount":40,"manualWeight":40,"mainColor":41},218803,"li-tie-guai-mo-jian-tu-yi-ming-218803","李铁拐磨剑图","画中的人物头发凌乱，满脸胡须，衣服破烂，赤脚，肌肉发达，在海滩上的一块凸起的石头上磨剑。滚动的海浪，加上松树和滚动的云朵，是画面的焦点。这幅画的原题是 周帝打醮，但从人物旁边的手杖来看，这幅画描绘的是道教传说中的八仙之一的李铁拐。传说他是一个魁梧的人，在成为不朽的人之后，被赋予了一个饥饿的人的身体，因此他的外表很丑陋。明朝的一位宫廷画师也制作了类似的图像，用来驱除邪灵。",[23,7,24,51,100,26,510,27,28,609,278,4541,21259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1584d50aced77bd7bb3f19029177fc.jpg","23.9x21",[36],{"id":30180,"slug":30181,"title":30182,"dynasty":114,"author":181,"museum":20,"description":30183,"tags":30184,"thumbUrl":30186,"material":34,"size":30187,"collection":88,"collections":30188,"showCount":160,"zanCount":1065,"manualWeight":40,"mainColor":41},218704,"he-ting-shui-ge-tu-yi-ming-218704","荷汀水阁图","一个有学问的人在水榭里看荷花，一个渔夫在沙滩上扭动渔网。远处的山和湖各占一半，使画面平静而清晰。笔法是夏圭的遗产，所以这可能是一位大师的作品。",[23,24,7,51,100,277,73,75,77,30185,398,298,82,648,3376,20561],"汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60861a88d925828376c2dde8d09dbee.jpg","22.9x23.6",[88],{"id":30190,"slug":30191,"title":8213,"dynasty":293,"author":10087,"museum":132,"description":30192,"tags":30193,"thumbUrl":30194,"material":317,"size":907,"collection":122,"collections":30195,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},291023,"shan-shui-zhou-tang-di-291023","唐棣（1296-1364)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。\n父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。",[7,24,52,27,75,28,1059,1737,902,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768e5ce4fab6d2bc262d734b34237583.jpg",[],{"id":30197,"slug":30198,"title":30199,"dynasty":114,"author":4320,"museum":20,"description":18823,"tags":30200,"thumbUrl":30202,"material":611,"size":30203,"collection":122,"collections":30204,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},290988,"han-pu-yu-zeng-zhou-yan-wen-gui-290988","寒浦鱼罾轴",[7,24,51,52,277,27,75,84,30201,662,82,2093],"寒浦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4c120e2383661e5ef1fc212341dcb0.jpg","143.1x75.4",[],{"id":30206,"slug":30207,"title":30208,"dynasty":46,"author":10147,"museum":132,"description":30209,"tags":30210,"thumbUrl":30211,"material":317,"size":907,"collection":122,"collections":30212,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},290983,"tao-hua-yang-liu-zhou-guan-huai-290983","桃花杨柳轴","字晋卿，一字晋轩，号雪岩，一号署笙，又号柱生，晚号青城山人，仁和（今杭州）人。乾隆四十五年（1780）传胪，官礼部侍郎。词章翰墨，脱颖不群。画山水入宋、元之室，品诣在奚冈、屠倬之间。虽得董诰指授，其画境之苍润恬静，实有过之。供奉内廷，宠眷特懋。有《群仙胪祝轴》、《溪山秋爽轴》等。",[7,24,51,52,27,26,102,76,9578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a9d97307ad488a2bfdd5e50336ef712.jpg",[],{"id":30214,"slug":30215,"title":30216,"dynasty":67,"author":2218,"museum":132,"description":20816,"tags":30217,"thumbUrl":30218,"material":317,"size":30219,"collection":122,"collections":30220,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},290974,"luo-han-zhou-dai-jin-290974","罗汉轴",[7,24,51,52,678,277,28,11268,6056,314,53,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8803ccea802c306ac1ab099a6a43826.jpg","113.9x36.7",[],{"id":30222,"slug":30223,"title":30224,"dynasty":293,"author":15553,"museum":20,"description":30225,"tags":30226,"thumbUrl":30227,"material":666,"size":30228,"collection":122,"collections":30229,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},290936,"hua-shu-shi-tu-zhang-shun-zi-290936","画树石图","张舜咨（生卒年未详），元代画家。字师夔，号栎山，又号辄醉翁，浙江杭州人。曾任宁国路儒学教授，天顺二年(1329)调江浙行省承宣使，后调休宁县主簿。元末，又任漳州路龙溪、兴化路莆田县尹。善画山水、竹石，用笔沉着，颇有气势，兼工书法，亦精诗文，精心研习诸家画技，吸取各家之长，自成一家。作画讲究布局，大幅小景，布置各有其法。所作山水画，使人有身临其境之感。画古柏苍老擎天，别具风气。兼长诗、书，人称“三绝”。绘画作品有《楚云湘水图》、《关山行旅图》、《古柏》、《斗泉图》、《云山桧石》、《枯木图》、《秋野图》、《画楼酌别图》、《小景图》、《诗意图》、《谢家池塘》、《春江听雨》、《树石图》、《归思图》、《鹰桧图》等等。",[7,24,51,52,277,1059,56,118,74,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23b2c70790d8e5aaee246590773cd4f.jpg","112.5x35",[],{"id":30231,"slug":30232,"title":30233,"dynasty":114,"author":1216,"museum":20,"description":5954,"tags":30234,"thumbUrl":30235,"material":317,"size":907,"collection":122,"collections":30236,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},290858,"gao-hui-xi-qin-tu-zhou-li-gong-lin-290858","高会习琴图轴",[24,7,52,27,26,28,31,560,8206,2880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64262348adbc35a07c0481862b62ec38.jpg",[],{"id":30238,"slug":30239,"title":30240,"dynasty":293,"author":30241,"museum":20,"description":30242,"tags":30243,"thumbUrl":30244,"material":666,"size":30245,"collection":122,"collections":30246,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},290734,"qiu-shan-die-cui-zhou-zhu-shu-zhong-290734","秋山叠翠轴","朱叔重","朱叔重[元]一作叔中，吴（今江苏苏州）人，一云娄东（今江苏太仓）人。工画，每赋一时，得摹写之妙，辄肆笔绘之。尝曰：“王维水田白鹭、夏木黄鹂之诗，即画也。",[24,7,277,75,52,7962,78,79,77,82,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb59a572bfd9b248af8e79cb002c6a03.jpg","69.5x26.4",[],{"id":30248,"slug":30249,"title":30250,"dynasty":114,"author":181,"museum":132,"description":30251,"tags":30252,"thumbUrl":30253,"material":317,"size":907,"collection":122,"collections":30254,"showCount":189,"zanCount":40,"manualWeight":40,"mainCo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），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位），也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[7,24,51,25,118,119,74,697,26127,298,26125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d175e537c5d64ec94a73379cf795ca0.jpg",[123],{"id":30487,"slug":30488,"title":30489,"dynasty":67,"author":181,"museum":132,"description":30490,"tags":30491,"thumbUrl":30492,"material":317,"size":907,"collection":123,"collections":30493,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},240946,"san-wu-mo-miao-ce-chen-chun-shi-yi-ming-240946","三吴墨妙册-陈淳诗","此作用笔率意纵逸，牵丝映带灵动自如，墨色干湿浓淡富于层次变化，尽显萧散疏朗的文人书风。文字排布错落随性，字势欹正相生，通篇气息连贯畅达。\n\n诗书合璧之下，将诗文的清雅意趣与书法的写意格调融为一体，笔墨间浸透着江南文人的闲散意趣，尽显吴门书家特有的洒脱放旷的笔墨情致，即便未署真名，也能窥见晚明书法重性情、尚意趣的审美风尚，于尺幅之间尽显明代文人书法独有的抒情特质与艺术张力。",[7,24,51,100,119,277,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f768f25b85058211aad53d8a7000572.jpg",[123],{"id":30495,"slug":30496,"title":30497,"dynasty":293,"author":1577,"museum":151,"description":30498,"tags":30499,"thumbUrl":30500,"material":250,"size":30501,"collection":123,"collections":30502,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},239664,"er-zan-er-tu-shi-juan-zhao-meng-fu-239664","二赞二图诗卷","元代初年，书法的风貌出现很大的变化。自“宋四家”以来所开拓的文人尚意书风逐渐无以为继，要突破这个困境，唯有追本溯源，上追二王，而赵孟頫便是这一复古潮流的提倡者。在这个背景之下，他的书法倾向于蕴籍沉稳、平正秀丽的风格。赵孟頫的《二赞二图诗卷》所流露的风格却与其追慕的风貌不甚相同而较为少见。此卷款署“湖州观堂与受益外郎饮酒，一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫。”从署款可知，此卷是赵孟頫和友人于湖州观堂相众时乘着酒兴而书的。此卷纸质光滑，又为酒后兴酣之作，故写来信笔飞动，流畅圆转。卷后明代鉴藏家董其昌题跋云： “此赵文敏(孟頫)学颜鲁公(真卿)《送蔡明远叙》兼米海岳(芾)用笔，迥异平日之作”，说明此卷兼有唐代颜真卿及宋代米芾笔意，不同于赵氏的其它墨迹。",[23,7,24,51,25,119,118,74,277,1580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c170d3ec939624a8380812c02f2b52.jpg","27厘米x456.3厘米",[123],{"id":30504,"slug":30505,"title":30506,"dynasty":46,"author":30507,"museum":132,"description":30508,"tags":30509,"thumbUrl":30511,"material":122,"size":122,"collection":90,"collections":30512,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":993},239381,"hong-wu-kuo-er-ka-jin-xiang-ma-tu-juan-hong-wu-239381","弘旿廓尔喀进象马图卷","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,24,51,25,27,75,26,28,215,30510,82,278,279,559,280,74,7],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b4396c56ffa5c6d5916409e929ea31.jpg",[90],{"id":30514,"slug":30515,"title":30516,"dynasty":67,"author":30517,"museum":132,"description":30518,"tags":30519,"thumbUrl":30520,"material":122,"size":122,"collection":88,"collections":30521,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},239225,"ju-jie-shan-shui-zhou-ju-jie-239225","居节山水轴","居节","居节(约1524-1585后)〔明〕字士贞，一作贞士，号商谷、西昌逸士，吴县(今江苏苏州)人。少时从文嘉学画，文徵明见其运笔，惊喜之余，遂授以法，为文徵明高足弟子。所作山水意象简远，有来人韵致，字与诗亦自师门来。尚气节，虽贫困只以丹青自娱，不屑仰事侯门。晚年因触犯织造太监孙隆，家破，在苏州虎丘南村僦屋数间，仍萧然自适。或绝粮，则旦起写《疏松远岫》一轴，令童子易米以炊，后竟以穷死。后人珍视其画，认为可与朱朗、侯懋功相颉颃。传世作品有隆庆二年(1568)作《品泉诗意图》，图录于《中国名画》；万历二年(1574)作《松荫观瀑图》轴、十一年(1583)作《云岚松色图》卷现藏故宫博物院；《万松小筑图》轴藏上海博物馆；嘉靖四十年(1561)作《潮满春江图》轴藏镇江市博物馆；万历九年(1581)作《松壑高闲图》轴藏香港虚白斋。能诗，著有《牧豕集》。《明画录》卷四谓其：“年六十，竞以穷死。”",[7,24,51,52,277,73,75,278,82,647,559,5607,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9bf572940e82f9e72b15c28a474de.jpg",[88],{"id":30523,"slug":30524,"title":30525,"dynasty":46,"author":2922,"museum":132,"description":10199,"tags":30526,"thumbUrl":30527,"material":122,"size":122,"collection":122,"collections":30528,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},238828,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238828","董诰墨庄览胜图册",[24,7,51,27,73,100,75,79,76,82,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffddea088478d06d513f1a02eba3dd2.jpg",[],{"id":30530,"slug":30531,"title":7363,"dynasty":46,"author":2922,"museum":132,"description":7364,"tags":30532,"thumbUrl":30533,"material":317,"size":907,"collection":122,"collections":30534,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},238402,"xuan-jin-lu-fang-tu-ce-dong-gao-238402",[7,24,51,100,26,27,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c07be354b1d23cee29932f6971446f.jpg",[],{"id":30536,"slug":30537,"title":30538,"dynasty":46,"author":2922,"museum":132,"description":7364,"tags":30539,"thumbUrl":30540,"material":317,"size":907,"collection":122,"collections":30541,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},238333,"hua-hong-li-si-ji-lan-shi-yi-ce-dong-gao-238333","画弘历四季兰诗意册",[7,24,51,100,27,26,102,228,1882,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511211c378684cb609b6a50a9367c72d.jpg",[],{"id":30543,"slug":30544,"title":6568,"dynasty":46,"author":1567,"museum":132,"description":3725,"tags":30545,"thumbUrl":30546,"material":122,"size":122,"collection":122,"collections":30547,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},237768,"yuan-ji-shan-shui-tu-ce-shi-tao-237768",[7,24,51,100,277,27,73,75,56,559,82,648,4282,649,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdf237b23a0eee60675e6fe8c367619.jpg",[],{"id":30549,"slug":30550,"title":28430,"dynasty":46,"author":5268,"museum":132,"description":5269,"tags":30551,"thumbUrl":30552,"material":317,"size":907,"collection":122,"collections":30553,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},237615,"hong-ren-shan-shui-ce-hong-ren-237615",[7,24,51,100,277,73,75,80,425,82,663,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad22d0932b85effa43f3ae60f6e208d.jpg",[],{"id":30555,"slug":30556,"title":30557,"dynasty":46,"author":7849,"museum":132,"description":30558,"tags":30559,"thumbUrl":30560,"material":122,"size":122,"collection":88,"collections":30561,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},236746,"fang-gao-yan-jing-shan-shui-ce-zhuang-zhou-wang-hui-236746","仿高彦敬山水册装轴","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[24,7,75,277,118,74,73,425,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7015681639e90340b2a5d8af9be265.jpg",[88,286,123],{"id":30563,"slug":30564,"title":30565,"dynasty":67,"author":12484,"museum":132,"description":12485,"tags":30566,"thumbUrl":30567,"material":317,"size":907,"collection":122,"collections":30568,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},236696,"shan-shui-shan-zhou-chen-236696","山水扇",[24,7,51,768,277,73,75,609,278,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc88505f15354988ebf6373d58a9cb9.jpg",[],{"id":30570,"slug":30571,"title":30572,"dynasty":67,"author":5192,"museum":132,"description":5193,"tags":30573,"thumbUrl":30574,"material":317,"size":907,"collection":122,"collections":30575,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},236678,"hua-shan-lu-zhi-236678","花扇",[3387,24,51,7,768,277,368,102,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fa27e2f570fe53a0fb0d730603d5f4.jpg",[],{"id":30577,"slug":30578,"title":29185,"dynasty":46,"author":8472,"museum":151,"description":17393,"tags":30579,"thumbUrl":30580,"material":122,"size":122,"collection":106,"collections":30581,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},236324,"zhi-tou-za-hua-ce-gao-qi-pei-236324",[24,7,51,100,29187,277,472,1293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4644590c273401b8475d62ee7d26da69.jpg",[106,286],{"id":30583,"slug":30584,"title":30585,"dynasty":67,"author":30586,"museum":132,"description":30587,"tags":30588,"thumbUrl":30589,"material":317,"size":907,"collection":122,"collections":30590,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},235657,"mu-mian-tu-zhou-sun-ai-235657","木棉图轴","孙艾","此图绘折枝木棉花一枝，枝叶茂密，木棉花怒放。用花青没骨法画叶，以浓色为面，淡色为背，叶之正背转折、花之娇态刻画细致，画风清新雅逸。无款印。沈周在其题诗之后云：“世节生纸写生，前人亦少为之。甚得舜举天机流动之妙。观其蚕桑、木棉二纸，尤可骇瞩，且非泛泛草木所比，盖寓意用世。世节读书负用，于是乎亦可见矣。弘治新元中秋日，沈周志。”",[7,24,51,52,27,102,711,515,339,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ca4bf5bbf819d2aec5e1c45abceae0.jpg",[],{"id":30592,"slug":30593,"title":30594,"dynasty":67,"author":181,"museum":132,"description":30595,"tags":30596,"thumbUrl":30597,"material":317,"size":907,"collection":122,"collections":30598,"showCount":189,"zanCount":1065,"manualWeight":40,"mainColor":41},235591,"wen-chu-hua-hui-ce-yi-ming-235591","文俶花卉册","此作用没骨技法绘萱草一花半叶，橙黄赭红晕染花瓣，轻描出舒展柔婉的花形，细笔点出纤长花蕊，将萱花盛放时的娇妍之态尽显。浅绿晕染叶片，笔致清隽含蓄，与柔花相映成趣。洒金素笺为底，柔雅的设色在细闪的底色间愈显清丽脱俗。全画构图疏简空灵，无多余赘饰，只撷取一隅小景，便将初夏萱草的绰约风姿定格，尽显娴静雅致的闺阁意趣，淡而不薄，秀润雅致，藏着含蓄温婉的中式诗意。",[24,7,51,100,26,27,102,198,5222,339,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c33e0d6ab38e75010a93bb7f5e9b64.jpg",[],{"id":30600,"slug":30601,"title":30602,"dynasty":46,"author":30603,"museum":132,"description":30604,"tags":30605,"thumbUrl":30606,"material":317,"size":907,"collection":122,"collections":30607,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},235365,"qun-feng-ji-cui-tu-zhou-liu-yan-chong-235365","群峰积翠图轴","刘彦冲","刘彦冲（1807～1847）清代画家、诗人。初名荣，字咏之，四川铜梁（今重庆铜梁）人，侨寓吴门（今江苏苏州），朱昂之弟子。家贫事母孝，不妄干人。工诗文，善绘事，山水、人物、花卉，一意师古，深造自得。山水初从朱昂之游，心得其秘。复肆力于古，临摹各家，无不得其精髓。泼墨作小米云山，亦翁郁可观。惜中年殁。",[24,7,52,497,27,73,3848,82,77,3096,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09b0faca13edb8b101856f7129f43a9.jpg",[],{"id":30609,"slug":30610,"title":30611,"dynasty":67,"author":1269,"museum":132,"description":30612,"tags":30613,"thumbUrl":30614,"material":122,"size":122,"collection":122,"collections":30615,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},234979,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234979","董其昌山水册","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[24,51,7,100,277,73,75,1059,278,1737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c5ad6a1d141bb7c41b6afae7119da4.jpg",[],{"id":30617,"slug":30618,"title":30619,"dynasty":67,"author":10766,"museum":151,"description":10767,"tags":30620,"thumbUrl":30621,"material":122,"size":122,"collection":122,"collections":30622,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},234874,"la-mei-tu-zhou-lu-fu-234874","腊梅图轴",[7,24,51,52,277,383,1059,102,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b50b9d5180a9af10e35af8f4df2c6a.jpg",[],{"id":30624,"slug":30625,"title":30626,"dynasty":67,"author":14910,"museum":132,"description":30627,"tags":30628,"thumbUrl":30629,"material":122,"size":122,"collection":122,"collections":30630,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},234209,"shu-hua-he-bi-juan-liu-jue-234209","书画合璧卷","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。",[23,7,24,51,25,118,119,277,73,75,81,82,278,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2727e34c1088f093d9673232a8eced1b.jpg",[],{"id":30632,"slug":30633,"title":30634,"dynasty":67,"author":30635,"museum":151,"description":30636,"tags":30637,"thumbUrl":30639,"material":250,"size":122,"collection":122,"collections":30640,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},234161,"luo-han-juan-li-lin-234161","罗汉卷","李麟","李麟（1558—？），字次公，四阴（今浙江宁波）人，明朝画家。\n李麟善白描，作佛像下笔如莼条，用焦墨而不觉其枯，眉目粗而不觉其重。尤长写貌，亦以焦墨粗钩为之。师丁南羽（云鹏）有出蓝之誉。自署龙眠后身，崇祯八年（1635）尝写文殊维摩图，时年七十八。又有参寥子像卷，现藏故宫博物院。（《无声诗史》、《画髓元铨》、《图绘宝鉴续纂》、《宁波志》、《中国名画集》）",[23,7,24,51,25,27,26,678,28,11268,6056,135,30638,5399],"墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2afad23ebaf7357b70a3be598dccc1.jpg",[],{"id":30642,"slug":30643,"title":30644,"dynasty":67,"author":619,"museum":151,"description":30645,"tags":30646,"thumbUrl":30647,"material":1061,"size":30648,"collection":122,"collections":30649,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},234132,"zhi-tian-tu-juan-shen-zhou-234132","芝田图卷","沈周擅长山水、花鸟、人物各体，然以山水画最精，也最能鲜明地反映出他的艺术特色。归纳起来，可从内容和形式两方面论析。\n内容：即包括题材、立意、构思、思想、情感诸因素。\n沈周的山水画题材，主要可分为写实、抒情、仿古三大类。写实山水最富特色和意义，按内容又可分为访胜纪游、幽居庄园、雅集文会、寻访送别等几种类型。\n幽居庄园图，或表现苏州文人隐居的茅屋斗室，或描写精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和闲适的情致，寄托文人的理想和爱好，有时还寓以一定的象征意义，或缘物传情，或比喻人品。《东庄图》册（南京博物院藏），是描绘其师吴宽的庄园，二十一景均绚丽多姿，真实再现了老师居游皆宜的优美环境；《南山祝语图》卷（北京故宫博物院藏），刻划良医韩世光所居的“云堂”，环境既点出了主人公的身份和居处，又烘托出韩氏一心行医济世的高尚品德；《芝田图》卷（北京故宫博物院藏）则进一步采取人格化的表现手法，藉芝田遍地来表达主人公董君施德于人，天赐灵芝的主题。这些象征手法为后世吴门画家广泛采用。",[23,7,24,51,25,277,27,119,73,75,7999,82,559,425,5607,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da0cce0291188d5f0a529cd4293de06.jpg","画323×33cm；跋64×33cm",[],{"id":30651,"slug":30652,"title":30653,"dynasty":46,"author":7025,"museum":132,"description":30654,"tags":30655,"thumbUrl":30657,"material":122,"size":122,"collection":122,"collections":30658,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},234117,"hua-guo-juan-yuan-jiang-234117","花果卷","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[24,51,7,25,27,277,26,102,6168,30656,398,103,241,246,2067,1335,383,228,53,1882,1095,198,265,74],"西瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":30660,"slug":30661,"title":30662,"dynasty":114,"author":181,"museum":151,"description":30663,"tags":30664,"thumbUrl":30665,"material":217,"size":30666,"collection":122,"collections":30667,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},234006,"shui-xian-tu-ye-yi-ming-234006","水仙图页","水仙（Narcissus tazettaL. var. chinensis Roem. ）又名中国水仙，是多花水仙的一个变种。是石蒜科多年生草本植物。水仙的叶由鳞茎顶端绿白色筒状鞘中抽出花茎（俗称箭）再由叶片中抽出。一般每个鳞茎可抽花茎1-2枝，多者可达8-11枝，伞状花序。花瓣多为6片，花瓣末处呈鹅黄色。花蕊外面有一个如碗一般的保护罩。鳞茎卵状至广卵状球形，外被棕褐色皮膜。叶狭长带状，蒴果室背开裂。水仙性喜温暖、湿润，花期在春季。\n作为中国传统观赏花卉的水仙，原种为唐代从意大利引进，是法国多花水仙的变种，在中国已有一千多年栽培历史，经上千年的选育而成为世界水仙花中独树一帜的佳品，为中国十大传统名花之一。因为鳞茎生得颇象洋葱、大蒜、故六朝时称“雅蒜”、宋代称“天葱”。之后，人们还给她取了不少巧妙、美丽的名字，如金盏、银台、俪兰、雅客、女星等等。水仙花早在宋代就已受人注意和喜爱。\n南宋佚名《水仙图》只画了一株水仙，一花五叶。画面的中心水仙花盛开，清新可人，叶片四展而不零乱，飘逸潇洒，并将画面分割成五部分，花蕊正好位于最能够吸引目光的黄金分割位置，凸显全画的核心。花瓣以尖细之笔勾勒轮廓，再染白粉，花蕊以橘黄点染，设色淡雅清逸。《水仙图》可谓是着笔简洁而韵味无穷，是南宋院体花鸟画的精品。\n南宋佚名《水仙图》无款印。裱边旧题签：“赵子固写生水仙”。赵子固即赵孟坚，中国南宋画家。生于庆元五年（1199），卒于景定五年（1264），一说卒于咸淳三年（1267）。字子固，号彝斋；宋宗室，为宋太祖十一世孙，汉族，海盐广陈（今嘉兴平湖广陈）人。曾任湖州掾、转运司幕、诸暨知县、提辖左帑。工诗善文，家富收藏，擅梅、兰、竹、石，尤精白描水仙；其画多用水墨，用笔劲利流畅，淡墨微染，风格秀雅，深得文人推崇。有书法墨迹《自书诗卷》，绘画《墨兰图》、《墨水仙图》、《岁寒三友图》等传世，著《彝斋文编》4卷。",[24,7,51,102,26,27,2067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba119f21392b89dbae54545959e6887a.jpg","24.6x26cm",[],{"id":30669,"slug":30670,"title":24595,"dynasty":46,"author":4700,"museum":260,"description":24596,"tags":30671,"thumbUrl":30672,"material":3175,"size":24599,"collection":122,"collections":30673,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},233863,"mei-hua-ce-jin-nong-233863",[7,24,51,100,510,277,102,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe90b2f39543d56400d5072e3c24150e.jpg",[],{"id":30675,"slug":30676,"title":30677,"dynasty":114,"author":181,"museum":151,"description":30678,"tags":30679,"thumbUrl":30680,"material":11113,"size":30681,"collection":122,"collections":30682,"showCount":189,"zanCount":1065,"manualWeight":40,"mainColor":62},233811,"han-ting-luo-yan-tu-zhou-yi-ming-233811","寒汀落雁图轴","此图画古木栖鸦，寒汀落雁。树下芦早疏疏，十数大雁、野鸭分两组栖于岸边，其态悠闲。",[24,7,51,52,277,27,75,647,6811,24884,84,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59211b1b7d5c6f3104b8131f33873b5f.jpg","125.9＊92.6cm",[],{"id":30684,"slug":30685,"title":30686,"dynasty":114,"author":721,"museum":151,"description":30687,"tags":30688,"thumbUrl":30689,"material":156,"size":30690,"collection":122,"collections":30691,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},233198,"ju-lv-tu-ye-ma-lin-233198","橘绿图页","图中橘子由绿转黄，满压枝头。画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。台北故宫博物院藏南宋画院画家林椿创作的一幅《橙黄橘绿图》与本幅在构图及橘、叶的表现技法上均相同，可见此类题材及画法在南宋画院较为普遍。",[7,24,51,26,27,102,2723,339,1821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c205a8ffc34c15b750b08bc5bfa96be.jpg","纵23厘米，横23.5厘米",[],{"id":30693,"slug":30694,"title":25163,"dynasty":46,"author":1567,"museum":151,"description":30695,"tags":30696,"thumbUrl":30697,"material":250,"size":6572,"collection":122,"collections":30698,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},233126,"yuan-ji-shan-shui-ce-shi-tao-233126","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[7,24,51,100,277,73,75,56,1059,81,28,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a307905955c7d593b96754ac05d484.jpg",[],{"id":30700,"slug":30701,"title":14299,"dynasty":46,"author":25146,"museum":151,"description":30702,"tags":30703,"thumbUrl":30704,"material":217,"size":122,"collection":122,"collections":30705,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},232943,"hua-hui-tu-ce-fan-ting-zhen-232943","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n范廷镇是恽寿平的亲传弟子，最能得恽南田没骨写生花卉之神髓，他的个别作品甚至可以达到乱真的地步，也是恽寿平的主要代笔人。包括他的书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。",[24,51,7,102,103,27,101,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd6bba090af366abeabd6fe7f40c3a9d.jpg",[],{"id":30707,"slug":30708,"title":30709,"dynasty":67,"author":966,"museum":48,"description":30710,"tags":30711,"thumbUrl":30712,"material":611,"size":30713,"collection":122,"collections":30714,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},232647,"wu-xie-shan-tu-chen-hong-shou-232647","五泄山图","五泄山在浙江诸暨，浙江金华、杭州和绍兴之间，因有五潭之水，泛溢悬流，宛转五级，故日五泄。是陈洪绶的故乡。此图构图缜密，画面丰满，仅留右上角为天空。树林繁茂，山势高峭，清晰的山体轮廓线，干净利落的岩石断层，树木岩石以不同皴法表现，山石方硬以淡墨染之，富有层次，给人一种非常相似的远古的感觉，体现了陈洪绶一贯高古的格调。\n陈洪绶少年即喜画，10岁时就去杭州追随武林派的代表——山水画家蓝瑛习画。陈洪绶早年和壮年的山水画作品以及晚年部分人物画背景都可看出多了蓝瑛的影响。但陈画比蓝画更为清雅秀润，简洁古淡。翁万戈藏《陈洪绶早年画册》（1619年，时22岁）中《奇石小鸟》和《双松图》两副册页所画树石显然是师法元人。他早年的山水虽不成熟，但可看出他广师宋元诸家，集众所善，而尚显个性。美国克利夫兰艺术博物馆藏《五泄山图轴》很可能是他20至30岁期间之作。陈洪绶自幼至交周亮工提及，曾于1624至1625年间数度与陈洪绶同游五泄山。此画密不透风的构图，迂回盘旋的山势，强而有力的光影对比，体现画家在自然山水中的真实感受——阳光和阴影、压迫感十足的乱石、潺潺的流水、浓郁的树林。这是他早期山水画的杰出之作，之后作品再无此类手法的运用。\n陈洪绶是时代的代表，他的艺术同样根植于他所处的时代。尽管陈洪绶不属于高寿画家，但是他的艺术越趋晚年，越突出地彰显了中国传统艺术的精髓和民族风格。\n陈洪绶 (1598-1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名、晚号老迟、悔迟，又号悔僧、云门僧。浙江诸暨枫桥人。明末富有革新精神和独创风格的画家。祖上为官宦世家，至其父家道中落。陈洪绶幼年早慧，诗文书法俱佳，曾随蓝瑛学画花鸟。成年后到绍兴蕺山师从著名学者刘宗周，深受其人品学识影响。崇祯三年（1630）应会试未中。崇祯十二年（1639）到北京宦游，与周亮工过从甚密。后以捐赀入国子监，召为舍人，奉命临摹历代帝王像，因而得观内府所藏古今名画，技艺益精，名扬京华，与崔子忠齐名，世称“南陈北崔”。明朝覆没后，清兵人浙东，陈洪绶避难绍兴云门寺，削发为僧，一年后还俗。晚年学佛参禅，在绍兴、杭州等地鬻画为业。陈洪绶生性怪僻，愤世妒俗，身历忧患之时，所交师友多为正义之士。陈洪绶是一位擅长人物、精工花鸟、兼能山水的绘画大师。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。著有《宝纶堂集》、《避乱草》等作品集。",[7,24,51,52,277,73,75,82,647,278,313,280,4497,5470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe63046bcfa80469e93c5b952548b3d1.jpg","118.3×53.2cm",[],{"id":30716,"slug":30717,"title":30718,"dynasty":67,"author":30719,"museum":48,"description":30720,"tags":30721,"thumbUrl":30724,"material":250,"size":30725,"collection":122,"collections":30726,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},231936,"fang-gao-ke-gong-shan-shui-tu-tao-hong-231936","仿高克恭山水图","陶泓","图绘云山峻岭，大气磅礴，山林滃郁，流泉潺湲。一高士过桥而回首观水，喻”智者乐水“之意。全幅用高尚书笔意而润密过之。 陶泓，字士泉，号砚山，生平无考。",[23,24,51,7,52,277,75,30303,30722,499,79,78,28,154,73,30723],"峻岭","智者乐水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbbee98cf491d6f7fe862b5d64e4bf5.jpg","53x89cm",[],{"id":30728,"slug":30729,"title":30730,"dynasty":114,"author":181,"museum":20,"description":30731,"tags":30732,"thumbUrl":30733,"material":283,"size":30734,"collection":122,"collections":30735,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},231378,"song-yan-xian-guan-tu-yi-ming-231378","松岩仙馆图","静处江山，层楼逶迤。长松之下，人物容与于其间。全幅画山，尽用焦墨钩勒，近轮廓处，稍稍以淡墨横加皴纹，隐约几不可辨。画树极细致而详尽，夹叶点中并及筋络。人物亦细笔，劲挺而须眉毕具。无间远近，同此一法。与世传唐画有脉息相通处，或是宋人所摹旧本。",[7,24,497,77,28,609,26,73,277,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f657fecd8b6c42929cbcb3ea659e46.jpg","171x115.7",[],{"id":30737,"slug":30738,"title":30739,"dynasty":67,"author":181,"museum":151,"description":30740,"tags":30741,"thumbUrl":30742,"material":156,"size":30743,"collection":122,"collections":30744,"showCount":189,"zanCount":1065,"manualWeight":40,"mainColor":62},231357,"xuan-de-xing-le-tu-yi-ming-231357","宣德行乐图","明代宫廷绘画中有一类表现帝王生活和重大历史事件的作品。此幅描绘明宣宗朱瞻基便服檐帽在御园观赏各种体育竞技表演的场面。画面上从右至左依次为射箭、蹴踘、马球、捶丸、投壶，场面宏大繁复而又具体入微，生动地表现出当时宫中的文体娱乐活动。由于要反映特定的地点和环境，所以描绘了大量的建筑。此卷以工整细腻的写实手法按照历史原貌对明代皇宫的楼台殿阁作了荚绘实又概括的描绘，是研究明代宫廷历史以及皇家建筑的重要资料。",[24,7,27,26,28,215,84,5314,82,75,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fd15889dcb5d2ea930aa35fbfdc5d7e.jpg","纵36.7cm，横690cm",[],{"id":30746,"slug":30747,"title":30748,"dynasty":114,"author":1160,"museum":20,"description":30749,"tags":30750,"thumbUrl":30751,"material":736,"size":30752,"collection":122,"collections":30753,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},230965,"yao-chi-xian-shou-tu-liu-song-nian-230965","瑶池献寿图","人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,7,24,51,26,27,75,28,77,609,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcf0da55e5064051ab60329ab404823.jpg","纵198.7厘米，横109.1厘米",[],{"id":30755,"slug":30756,"title":30757,"dynasty":67,"author":181,"museum":132,"description":30758,"tags":30759,"thumbUrl":30760,"material":122,"size":122,"collection":122,"collections":30761,"showCount":189,"zanCount":1065,"manualWeight":40,"mainColor":62},228791,"xi-die-ye-yi-ming-228791","戏蝶页","仕女身姿翩然，抬臂挥扇戏蝶，袖袂随轻曳的姿态舒展，鬓边簪花衬得眉眼愈发娇柔。细劲的游丝描勾勒衣褶纹理，清雅古淡的设色晕染出温婉质感。\n\n画面定格了闺中嬉游的悠然一瞬，将女子娇憨灵动的情态藏入笔墨间。翩跹蝶影呼应着仕女的活泼，把闲逸的闺中情趣铺陈开来。古绢虽经岁月侵蚀，边角斑驳残损，却晕开了独有的旧时光晕，为这场往昔嬉游晕染开朦胧诗意，雅致的古典意趣穿越岁月，依旧动人。",[7,24,51,100,27,510,26,28,29,200,684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f036ec22bfa0bf30ed48cbdf7c2948.jpg",[],{"id":30763,"slug":30764,"title":30765,"dynasty":67,"author":181,"museum":132,"description":30766,"tags":30767,"thumbUrl":30768,"material":122,"size":122,"collection":122,"collections":30769,"showCount":189,"zanCount":1065,"manualWeight":40,"mainColor":8621},228790,"yan-he-qing-hui-ce-yi-ming-228790","岩壑清晖册","此作用笔秀润淡逸，以柔缓皴染晕出山峦烟岚，将远山融在朦胧霭气之中，虚实相生，铺展出幽远空寂的天地。近景苍树虬劲蓊郁，旁侧修竹亭亭，与山居茅檐相映成趣。\n\n廊下士人斜卧凭栏，似在静听竹风，阶侧童子敛声侍立，寥寥数笔便勾勒出林下幽居的松弛意态。淡赭绢底晕出古雅暖意，整幅画将林泉高致的文人心境藏在笔墨之间，以清简构图传递出萧散闲雅的山居意趣，尽显幽栖丘壑、寄情烟霞的林下风流。",[24,7,51,100,27,26,73,75,81,53,135,77,28,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d18bef70057de2123fbe18762c9072.jpg",[],{"id":30771,"slug":30772,"title":30773,"dynasty":293,"author":181,"museum":132,"description":30774,"tags":30775,"thumbUrl":30776,"material":122,"size":122,"collection":122,"collections":30777,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},228213,"shui-dian-mei-hua-tu-yi-ming-228213","水殿梅花图","以俯瞰之境铺展苑囿冬景，界画工致严整，飞檐翘角层叠错落，朱栏回廊勾连殿宇，尽显建筑雅致规制。\n\n几枝寒梅横斜殿侧，枯梢缀花，晕开清寂暗香。浅淡设色晕染古绢，色调沉雅温润，将水殿的萧寒静谧晕染开来。三两侍者缓行砖石步道，身形小巧更衬苑囿空阔安闲，恍可见殿内暖意与院外清寒相融，勾勒出冷而不寂的幽澹意境，尽显工整笔墨中裹挟的文人意趣。",[23,24,7,768,855,27,26,77,383,28,560,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd4e02411732e1885de9da57dc9098b.jpg",[],{"id":30779,"slug":30780,"title":30781,"dynasty":114,"author":6856,"museum":132,"description":30782,"tags":30783,"thumbUrl":30784,"material":122,"size":122,"collection":122,"collections":30785,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},227979,"xing-lv-tu-ye-liang-kai-227979","行旅图页","此作取景极简，半边巨峰巍峨矗立，山石以斧劈皴利落勾勒棱线，淡墨晕染出积雪覆山的清寒意态。崖下枯木虬曲遒劲，枝桠交错间尽显冬日荒寒。山脚处旅人策蹇徐行，渺小身影衬得山岳愈发沉浑大气，留白铺就出辽远空寂的江天。\n整幅笔简意繁，以苍劲简逸的笔墨，将羁旅天涯的孤寂况味藏于尺幅之间，把冬日山行的荒寂清冷烘托尽致，意境幽远耐品，尽显水墨写意的精妙。",[23,24,51,7,75,100,73,278,647,82,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27fc4d514243e15127ce1f8cc64c78d1.jpg",[],{"id":30787,"slug":30788,"title":30789,"dynasty":114,"author":26108,"museum":132,"description":30790,"tags":30791,"thumbUrl":30792,"material":317,"size":907,"collection":122,"collections":30793,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},227942,"fu-yi-jiao-jing-zhang-ji-zhi-227942","佛遗教经","张即之（1186—1263年），宋代书法家，字温夫，号樗寮，历阳（今安徽和县）人。生于名门显宦家庭，为参知政事张孝伯之子，爱国词人张孝祥之侄，系中唐著名诗人张籍的八世孙。历官监平江府粮科院、将作监薄、司农寺丞。特授太子太傅、直秘阁致仕。",[23,7,51,25,678,2044,118,4782,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4401b87f9199f68b5ef698da2758556d.jpg",[],{"id":30795,"slug":30796,"title":30797,"dynasty":114,"author":181,"museum":132,"description":30798,"tags":30799,"thumbUrl":30800,"material":122,"size":122,"collection":122,"collections":30801,"showCount":189,"zanCount":1065,"manualWeight":40,"mainColor":41},227938,"an-chun-tu-tuan-shan-ye-yi-ming-227938","鹌鹑图团扇页","此作以精微工笔写就，细笔丝毛将鹌鹑的羽色层次尽现，蓬松绒羽间兼具挺括质感，鹌鹑侧目远眺，身姿沉稳灵动，将野禽机警的天性传神勾勒。背景淡晕草叶，虚淡朦胧，以衬实主，将秋日郊野的清寂野趣悄然铺陈。\n\n古绢色泽沉郁，却难掩笔墨精妙，以小景见天地，尽显对自然物性的细致体察。整幅画面简净含蓄，萧疏静谧的意境呼之欲出，淡墨轻色间，藏着雅致内敛的古典意趣。",[23,7,24,51,768,102,26,27,4680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafc2445a1615daab5107d7a131a57600.jpg",[],{"id":30803,"slug":30804,"title":30805,"dynasty":114,"author":13311,"museum":132,"description":30806,"tags":30807,"thumbUrl":30809,"material":122,"size":122,"collection":122,"collections":30810,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},227756,"jiang-di-fang-mu-tu-yan-ci-ping-227756","江堤放牧图","《四季牧牛图》是南宋画家阎次平创作的绢本浅设色画，现藏于南京博物院。\n\n此画共四幅。春牧绘春野柳坡，细草如茵，一童牧二牛于其间。夏牧绘高树浓荫，芦池夏草，二童跨牛浮水而渡。秋牧绘霜叶满地，幼犊依偎于牝牛，牡牛缓步于傍，牝牛坐弄蟾蜍。冬牧绘雪地残草，寒风呼号，牧童牵牛而归。全图画树木用笔粗简，画牛则精细勾描，人物尤为生动。",[23,24,7,51,768,27,75,1906,82,30808,56,79,648,73],"堤岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e32dad27f36b039d1b36db0db02d9fd.jpg",[],{"id":30812,"slug":30813,"title":30814,"dynasty":114,"author":24118,"museum":132,"description":24119,"tags":30815,"thumbUrl":30816,"material":122,"size":122,"collection":122,"collections":30817,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},227437,"han-lin-ju-qin-tu-zhou-gao-dao-227437","寒林聚禽图轴",[23,24,51,7,52,26,73,75,3255,84,2785,1059,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37bba1188351b629f22203bd50fb89f.jpg",[],{"id":30819,"slug":30820,"title":25593,"dynasty":114,"author":25594,"museum":132,"description":30821,"tags":30822,"thumbUrl":30823,"material":122,"size":122,"collection":122,"collections":30824,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},227409,"ying-gu-tu-ye-li-you-227409","宋代画家李游，长于雄鹰，有灵性的态度和优秀的音乐。 学画那两只坐在枯树上的老鹰，看上去十分悠闲，略带了猛禽凶猛的模样，却依然英姿飒爽。",[23,7,24,51,26,27,84,102,647,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b691bdf35dcf11c904d1e69d7cdd8a8.jpg",[],{"id":30826,"slug":30827,"title":30828,"dynasty":114,"author":181,"museum":132,"description":30829,"tags":30830,"thumbUrl":30831,"material":122,"size":122,"collection":122,"collections":30832,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":62},227378,"qiu-ting-ru-quan-tu-yi-ming-227378","秋庭乳犬图","宋人小品画有很多题材，其中表现宠物犬的画作就有不少，尤其是宫廷贵妇在闲情逸致之时所驯养的小型观赏犬。毛益的《萱草戏狗图》与李迪的《秋葵山石图》，以及南宋无款的《秋庭乳犬图》、《秋葵犬蝶图》、《鸡冠乳犬图》、《萱花乳犬图》等就是典型代表。既反映了南宋院体花鸟画技艺的高超，又显现出画作中宠物犬的生动传神。千年之隔，犹如昨日。",[24,51,7,114,26,27,768,472,6410,56,711,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9de381462da7dc521dfb837af9d57c0.jpg",[],{"id":30834,"slug":30835,"title":30836,"dynasty":114,"author":30837,"museum":132,"description":30838,"tags":30839,"thumbUrl":30841,"material":122,"size":122,"collection":122,"collections":30842,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},226560,"bian-qiao-hui-meng-tu-juan-chen-ji-zhi-226560","便桥会盟图卷","陈及之","《便桥会盟图》卷，元，陈及之作，纸本，白描，纵36厘米，横774厘米。\n该图旧作辽画，实误。款署“祜申仲春中浣富沙竹坡陳及之作”，据考，“祐申”为元代延祐庚申年的缩写。\n该卷画“便桥会盟”故事，全图共绘246人，180匹马和4头骆驼，堪称是元代绘人马最多、物景最宏大的历史画。全卷可分为三大部分，第一段，绘以党项人为主的各类马上运动和马戏表演，第二段，绘游牧之骑，以此过渡到第三段，绘便桥会盟故事，画突厥首领颉利在便桥桥头向秦王李世民求和的情景。\n全卷以白描线条绘成，得北宋李公麟遗韵。飞动自如的线条展现出人马极强的运动感，强劲之处，顿挫有力，洒脱之笔，圆转不滞。画中人马，虽盈寸方，但神情毕肖，尽见风采，细微之处，不失博大。\n清《石渠宝笈·初编》著录。",[23,7,24,25,510,26,78,28,215,75,82,425,663,18954,30840],"骑兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb0ffce4747f42da84e0ed6e532f9db.jpg",[],{"id":30844,"slug":30845,"title":30846,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":30847,"thumbUrl":30854,"material":317,"size":907,"collection":3417,"collections":30855,"showCount":189,"zanCount":1065,"manualWeight":40,"mainColor":41},225969,"late-afrternoon-vetheuil-1880-mo-nai-225969","Late 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—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》",[23,7,24,25,277,497,425,10742,1012,10068,865,434,433,31418,31419],"苍郁","生活气息","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2193f9b4953e0d1929de82ac13992b.jpg",[],{"id":31423,"slug":31424,"title":3613,"dynasty":46,"author":2660,"museum":7613,"description":31425,"tags":31426,"thumbUrl":31427,"material":267,"size":31358,"collection":122,"collections":31428,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},233944,"hua-niao-ce-hua-yan-233944","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、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、李鳝、郑板桥及盐商巨子马曰管、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。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[7,24,27,102,84,890,74,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278310beb50feb1c1543485ef6eba788.jpg",[],{"id":31430,"slug":31431,"title":31432,"dynasty":293,"author":31433,"museum":151,"description":31434,"tags":31435,"thumbUrl":31437,"material":250,"size":31438,"collection":122,"collections":31439,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":62},233785,"gou-lei-zhu-juan-zhang-xun-233785","钩勒竹卷","张逊","张逊 (约13世纪末～14世纪中)字仲敏,号溪云，吴(今江苏苏州)人。此图纸本，水墨，纵 43.4 厘米，横 686厘米。画坡陀间双钩竹数丛，枝干劲挺，竹叶扶疏，间作老松披佛偃仰。石用中锋圆笔钩皴，有董源、巨然遗意。本幅后楷书自题记上款“伯时”，下署“至正九年四月卅日，吴郡张逊题于吴氏舍馆”。钤“张逊私印”。作于1349年，是张逊晚年用心之作。\n后纸有察伋、倪瓒、张绅、梁用行、王汝玉、张间、钱溥、刘钮、陈鉴、严树、陆广、谢希曾、徐渭仁、黄芳、宝熙等人题以及谢希曾等鉴藏印 150余方。《朱氏铁网珊瑚》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。现藏故宫博物院。",[7,24,51,25,510,31436,53,28,215,135,74],"钩勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2630f34cd123917126bd47636aae1dec.jpg","纵 43.4 厘米，横 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二十弃家为道士，居茅山，道名嗣真，道号贞真子，又自号句曲外史。师事茅山宗师许道杞弟子周大静，后师事玄教高道王寿衍，居杭州开元宫，与当时文士如杨维桢、张小山、马昂夫、仇山村、班彦功等均有唱和往来。\n传世书迹有《台仙阁记》卷（现藏于上海博物馆）《题画二诗》卷（现藏于故宫博物院）；著有诗集《贞居集》（又名《句曲外史集》）五卷。",[23,7,24,51,25,27,28,370,11161,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdf3dd2a8a2ad4ac8b4c773e7f7cd412.jpg","30.4×89 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横55.8公分",[],{"id":31554,"slug":31555,"title":31556,"dynasty":46,"author":31557,"museum":132,"description":31558,"tags":31559,"thumbUrl":31560,"material":122,"size":122,"collection":122,"collections":31561,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":62},230920,"yin-tang-xiao-yue-tu-lan-tao-230920","银塘晓月图","蓝涛","此作用笔清隽工细，设色雅致柔和。暮春晓月晕开朦胧柔光，池畔梨花如云叠缀，柔枝轻曳舒展，将春夜清寂揉入花枝。绣眼静栖枝头，羽色苍褐温润，身形灵动传神，似在聆听春夜余声。画面留白疏朗空灵，师法宋元院体意趣，将幽淡宁和的春夜诗意凝于尺幅，尽显古典花鸟的雅致韵致，把塘边春宵的温柔静谧永远定格于绢素之中。",[23,24,51,7,52,26,27,102,1570,384,263,1821,1478,890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcafc6fa2c004fa104f0237b2fc2238e0.jpg",[],{"id":31563,"slug":31564,"title":31565,"dynasty":1383,"author":181,"museum":132,"description":31566,"tags":31567,"thumbUrl":31569,"material":317,"size":907,"collection":122,"collections":31570,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},230544,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-yi-ping-yi-ming-230544","室町时代 浜松图屏风-第一屏","这幅以金箔为底，晕染出柔婉的烟云水色，垂柳枝条袅袅垂落，拂过细劲勾勒的粼粼水波。群鸟灵动错落，或栖于柳梢私语，或掠波振翅，或静立汀渚理羽，将幽寂水岸的春日生机尽数铺陈。墨色苍润的汀渚点缀浅滩，华贵金底晕开朦胧柔美的氛围感，工细的笔致揉合写意的松弛，将雅致闲静的水岸意趣，揉进富丽又清寂的和风意境里，静中藏动，尽显幽闲雅致的东方意韵。",[23,7,27,26,31568,102,84,2626,473,298,201,4731],"金箔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de117802efd0cb25b10b9881d05f169.jpg",[],{"id":31572,"slug":31573,"title":31574,"dynasty":46,"author":31575,"museum":132,"description":31576,"tags":31577,"thumbUrl":31578,"material":317,"size":907,"collection":122,"collections":31579,"showCount":639,"zanCount":1065,"manualWeight":40,"mainColor":41},230353,"fang-gu-shan-shui-zhou-kun-230353","仿古山水","周鲲","字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》",[24,51,7,75,1272,27,278,279,648,81,135,100,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb26cb02769aeda20dba4113895ea76f.jpg",[],{"id":31581,"slug":31582,"title":31583,"dynasty":46,"author":7216,"museum":132,"description":31584,"tags":31585,"thumbUrl":31587,"material":122,"size":122,"collection":122,"collections":31588,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},228957,"fang-song-ren-gou-ran-tu-ce-jiang-ting-xi-228957","仿宋人勾染图册","此作用淡墨勾勒花瓣轮廓，由外至内层层晕染，将盛放牡丹的丰腴柔润尽数铺展，花心以浓墨点簇，层次分明，把牡丹盛放时的娇妍饱满尽显无遗。枝叶笔墨干湿浓淡有别，叶片皴擦细致、叶脉清晰，挺秀枝干搭配舒展翠叶，清雅间带着端庄意韵。\n\n全幅未施丹青，纯以水墨晕染花卉神采，兼得宋画工致写实的格调和文人写意的澹泊雅致。错落排布的鉴藏印，更添古雅厚重的书卷意蕴，将工笔细腻与水墨清逸相融，把牡丹的华贵风骨敛在素净墨色中，静雅脱俗，余韵悠长。",[23,24,7,51,100,26,31586,277,102,103,74,154],"勾染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c010e2f237ef06f01aef610df459e6.jpg",[],{"id":31590,"slug":31591,"title":31592,"dynasty":67,"author":20318,"museum":132,"description":31593,"tags":31594,"thumbUrl":31595,"material":122,"size":122,"collection":122,"collections":31596,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},228353,"hu-zhou-shi-ba-jing-yu-tai-feng-song-xu-228353","湖州十八景－玉台峰","危崖之上古松虬劲，松针层叠如翠盖，崖间曲径蜿蜒，三两行人策杖徐行，野趣悠然。浩渺烟波铺陈于眼前，水天相接处帆影轻漾，远山黛色晕染朦胧，尽展江南山水温润灵秀之态。\n\n笔墨苍劲老辣，干笔皴擦勾勒崖石肌理，写松则笔致灵动，尽显古松凌云傲骨。设色浅淡雅致，将水墨清寂与设色明润相融，藏登临纵目的快意于丘林烟水之间，带着萧散意趣，把凭高远眺的胜景晕染得悠远澹泊，尽显清旷悠然的山水意境。",[23,7,24,51,27,73,74,75,2009,1059,609,28,5607,3115,648,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a89a51f78f356e57a9d3dcd1e9812e.jpg",[],{"id":31598,"slug":31599,"title":31600,"dynasty":67,"author":29076,"museum":132,"description":31601,"tags":31602,"thumbUrl":31603,"material":317,"size":907,"collection":122,"collections":31604,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},228317,"shi-ba-ying-zhen-tu-ce-2-zheng-zhong-228317","十八应真图册-2","郑重，生卒年不详，明末清初人，字千里，号无着，安徽歙县人。流寓金陵（今南京），好楼居，日事香茗。擅写佛像，必斋沐而后提笔。亦为山水小景，摹仿宋元体均精研。",[23,24,7,51,100,27,26,678,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe379f618c60e75d2a4ae9324288d9f.jpg",[],{"id":31606,"slug":31607,"title":31608,"dynasty":293,"author":7404,"museum":132,"description":31609,"tags":31610,"thumbUrl":31612,"material":122,"size":122,"collection":122,"collections":31613,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":62},228058,"ma-xi-tu-zhao-yong-228058","马戏图","此作棕褐绢底上，一众骑手纵马驰骋，热烈图景扑面而来。骏马昂首扬蹄，鬃尾飞动，将奔跃张力尽数铺开；骑手或控马回身，或俯身驯骑，动态鲜活灵动，尽显驯马驰驱的飒爽意气。人物服饰晕染雅致鲜明，胡汉装束兼具，暗合塞上风情。线条劲挺流畅，勾勒出马的矫健筋骨与人的生动情态，朴拙笔触里带着刚健力道。\n\n后附题跋墨色淋漓，笔意苍劲，书画相映成趣，将鞍马游猎的雄健快意定格绢素，古意盎然，尽显此类题材画作的雄浑气度。",[23,7,24,25,27,26,28,215,31611,118,119,74],"马戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff87f7bf4a9f1d905dd707947937bd78f.jpg",[],{"id":31615,"slug":31616,"title":31617,"dynasty":293,"author":31525,"museum":132,"description":31618,"tags":31619,"thumbUrl":31620,"material":122,"size":122,"collection":122,"collections":31621,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},228036,"mo-lou-shu-geng-zuo-tu-cheng-qi-228036","摹楼璹耕作图","它以长卷娓娓铺展江南农耕全景，从育秧插田到收谷晾晒，田埂间农人往来忙碌，挑担、插秧、打谷各尽其事，农舍林木点缀其间，晕开融融烟火气。\n笔墨以淡彩衬白描，人物形神鲜活灵动，田畴草木朴拙写实，完整复刻出古早农事的全过程。卷身遍留历代题跋钤印，让这幅纪实之作，又成为递藏传承的书画珍迹，既是乡土民生的鲜活注脚，也承载着后世对旧时田家意趣的追慕。",[23,7,24,51,25,154,27,26,119,1109,74,28,1906,7999,22986,9043,135,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a0dc446b4b1e22194f3aab6e230f72.jpg",[],{"id":31623,"slug":31624,"title":31625,"dynasty":114,"author":181,"museum":132,"description":31626,"tags":31627,"thumbUrl":31628,"material":317,"size":907,"collection":122,"collections":31629,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},227426,"xi-shan-wu-jin-tu-quan-juan-yi-ming-227426","溪山无尽图全卷","以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,7,24,51,25,277,27,75,278,82,78,79,73,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2183e53c5ef5d0f52c06cae5adadc2d.jpg",[],{"id":31631,"slug":31632,"title":31633,"dynasty":674,"author":31634,"museum":132,"description":31635,"tags":31636,"thumbUrl":31637,"material":317,"size":907,"collection":122,"collections":31638,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},227242,"ba-gong-tu-juan-song-mo-ben-chen-hong-227242","八公图卷（宋摹本）","陈闳","此作画家颇与所绘人物颇有争议，现已不完整，只留存了后面六个画像，且卷首的第一个画像，除人物头、官帽、胸部和手是原迹外，其余皆为后人临摹和修补。",[23,7,24,51,25,26,27,28,154,74,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496e6aebfd254f8dadffa24ed830c6d7.jpg",[],{"id":31640,"slug":31641,"title":31642,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":31643,"thumbUrl":31646,"material":317,"size":907,"collection":3417,"collections":31647,"showCount":639,"zanCount":1065,"manualWeight":40,"mainColor":41},225878,"wheatfield-with-a-reaper-september-fan-gao-225878","Wheatfield with a reaper (September - )",[7,3410,3411,10067,12532,31644,17465,31645,2431,10389,8965,82,5013],"色彩饱和","收割者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb009d44d7b3f205302c1e28ebf1979.jpg",[3417],{"id":31649,"slug":31650,"title":31651,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":31652,"thumbUrl":31653,"material":317,"size":907,"collection":3417,"collections":31654,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},225831,"the-langlois-bridge-march-fan-gao-225831","The Langlois bridge (March - )",[7,3410,27,78,79,80,5422,4731,28,559,82,12532,3411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd318fc35b367994358e3cf58d7e0426.jpg",[3417],{"id":31656,"slug":31657,"title":31658,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":31659,"thumbUrl":31664,"material":317,"size":907,"collection":3417,"collections":31665,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},225771,"la-mousme-fan-gao-225771","La Mousmé",[7,3410,27,28,11400,15946,263,31660,31661,31662,31663],"条纹","波点","上衣","裙子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa46028d83b509f97c3cd0376c416b85d.jpg",[3417],{"id":31667,"slug":31668,"title":31669,"dynasty":114,"author":181,"museum":132,"description":31670,"tags":31671,"thumbUrl":31672,"material":122,"size":122,"collection":122,"collections":31673,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":62},223634,"lian-zhou-xian-du-tu-yi-ming-223634","莲舟仙渡图","烟波浩渺间，仙人卧于莲舟，悠然展卷观览，似将云水清光尽数揽入卷中。右下角巉岩隐现，灵蛇蜿蜒而出，衬得水面愈发幽寂空灵。\n\n整幅以淡墨轻敷，留白晕染出氤氲水雾，将虚无仙境融于简淡笔意，摒弃浓艳设色，全凭清润色调烘托世外幽居的静穆氛围。仙人姿态萧散自在，不见凡尘烟火气，莲舟如扁槎一叶，载着出尘之思浮游烟涛，把道家归返自然、寄迹云山的隐逸意趣藏在水色晕染里，淡而弥远，清而有味，尽显小品画的雅致空灵。",[23,7,24,51,27,26,73,28,80,75,54,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885e41a3f8ad783f659bb4ddce07b10f.jpg",[],{"id":31675,"slug":31676,"title":31677,"dynasty":114,"author":181,"museum":132,"description":31678,"tags":31679,"thumbUrl":31681,"material":122,"size":122,"collection":122,"collections":31682,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},223618,"hong-mei-kong-que-tu-yi-ming-223618","红梅孔雀图","《宋人画红梅孔雀图》是宋代佚名画家创作的花鸟绘画。\n中国古代以 为题材的绘画不多见。\n此图绘溪边春色，以近远景搭配，表现出自然界的勃勃生机。\n正中一树梅花盛开，两侧辅以山茶、古柏、翠竹、迎春。\n孔雀一对，雄者栖于树干，回首梳翎；雌者倘佯岸边，低头觅食。\n其毛羽斑斓，与花树汇成一片绚烂春光。\n此图难能之处在于布局繁密但杂而不乱；设色富丽但艳而不俗。\n梅、柏枝干用焦墨勾皴，苍劲古朴，与周围花卉禽鸟的纤细娇美恰成互补。\n作者当是擅长状写升平景象的画院高手。\n本幅无款识。\n钤鉴藏印“真赏”、“都尉耿信公书画之章”、“公”、“信公珍赏”、“丹诚”、“宜尔子孙”、“珍秘”、“会侯珍藏”、“庞莱臣珍藏宋元真迹”。\n裱边钤鉴藏印“信公监定珍藏”。\n本幅右侧题“ ”细款，但细察周围有挖痕，应系从别处移来。\n对幅有耿昭忠题记：“此图花木禽鸟极其精工。\n《画髓》评云：‘远欲其子得誉，多于己画题作马麟。\n’夫岂其然？千山信公。\n”钤“虚斋珍赏”及耿氏藏印5方。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[23,24,7,26,27,31680,139,609,3195,84,278,649,137],"红梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5efe163d7bf4a53fe85c48eba2f57af.jpg",[],{"id":31684,"slug":31685,"title":31686,"dynasty":114,"author":181,"museum":151,"description":31687,"tags":31688,"thumbUrl":31690,"material":611,"size":31691,"collection":122,"collections":31692,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},223564,"xi-shan-chun-xiao-tu-dai-wei-ba-yi-ming-223564","溪山春晓图（带尾跋）","全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄“的美学追求",[23,7,24,51,25,277,27,75,73,26,119,2755,2044,118,74,31689,79,82,434,78,84,56],"溪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67182705fdd916fd2124e4fc25062135.jpg","24.5x185.5",[],{"id":31694,"slug":31695,"title":31696,"dynasty":46,"author":14982,"museum":1475,"description":18679,"tags":31697,"thumbUrl":31699,"material":611,"size":18682,"collection":122,"collections":31700,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},222947,"hong-lou-meng-72-sun-wen-222947","红楼梦72",[23,24,7,25,26,27,855,28,77,81,53,135,78,560,5421,278,755,31698,756,29],"门窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd807b15e590283a3a76a6a485663721.jpg",[],{"id":31702,"slug":31703,"title":31704,"dynasty":46,"author":14982,"museum":1475,"description":18679,"tags":31705,"thumbUrl":31708,"material":611,"size":18682,"collection":122,"collections":31709,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":993},222892,"hong-lou-meng-17-sun-wen-222892","红楼梦17",[23,7,24,26,27,1045,855,31706,904,31707,560,23139,2613],"红楼故事","楼台亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d39cddfe2a6229c2059c13491423cf.jpg",[],{"id":31711,"slug":31712,"title":31713,"dynasty":46,"author":2636,"museum":151,"description":8362,"tags":31714,"thumbUrl":31715,"material":156,"size":8365,"collection":122,"collections":31716,"showCount":639,"zanCount":1065,"manualWeight":40,"mainColor":41},222784,"hua-niao-ce-ye-04-lang-shi-ning-222784","花鸟册页04",[23,24,7,51,100,26,27,8278,119,118,102,200,198,4794,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af1fe78069d3bb1e3fc5bb35e1c1436.jpg",[],{"id":31718,"slug":31719,"title":31720,"dynasty":293,"author":31721,"museum":212,"description":31722,"tags":31723,"thumbUrl":31724,"material":19956,"size":31725,"collection":122,"collections":31726,"showCount":639,"zanCount":1065,"manualWeight":40,"mainColor":41},221828,"zhu-lin-da-shi-chu-shan-tu-chen-jian-ru-221828","竹林大士出山图","陈鉴如","陈鉴如，元代画家，擅写照，被誉为肖像画第一家。据《安国志略》载,元代安南国王陈昑40岁时悟佛,舍位出家,入武林洞修行,号竹林大士。该图描绘的是竹林大士修成后,从武林洞出游邻国占城,国王得知后出来迎接的情景。",[23,7,24,51,25,678,510,28,2359,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3f2a27be135dae27a59546b267a193.jpg","28x954.5厘米",[],{"id":31728,"slug":31729,"title":31730,"dynasty":114,"author":878,"museum":151,"description":31731,"tags":31732,"thumbUrl":31733,"material":217,"size":31734,"collection":122,"collections":31735,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},221532,"xi-qiao-ce-zhang-tu-ma-yuan-221532","溪桥策杖图","此图原载《四朝选藻册》。图绘苍松老树，平溪房舍，二人坐室内客话。房右小桥流水，一长者在携琴侍者陪同下策杖寻幽，点出主题。图中山石用小斧劈皴，画树勾点结合，房舍等界画用笔严谨，但工而不板，艳而不俗。",[23,7,24,51,277,27,73,75,28,78,135,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03267ed9459486b307127df5fb46464.jpg","24.8×26cm",[],{"id":31737,"slug":31738,"title":31739,"dynasty":46,"author":5268,"museum":151,"description":19416,"tags":31740,"thumbUrl":31741,"material":250,"size":19419,"collection":122,"collections":31742,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},220310,"huang-shan-tu-ce-17-hong-ren-220310","黄山图册-17",[23,7,24,51,100,277,73,75,9868,609,647,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ff649b35ce22bc63f5fdd792060a6e.jpg",[],{"id":31744,"slug":31745,"title":31746,"dynasty":46,"author":5268,"museum":151,"description":19416,"tags":31747,"thumbUrl":31748,"material":250,"size":19419,"collection":122,"collections":31749,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},220296,"huang-shan-tu-ce-30-hong-ren-220296","黄山图册-30",[23,24,51,7,100,277,27,73,75,697,2009,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c09aaaaede0cee18cd178663a3a981b.jpg",[],{"id":31751,"slug":31752,"title":31753,"dynasty":67,"author":31754,"museum":10642,"description":31755,"tags":31756,"thumbUrl":31757,"material":666,"size":31758,"collection":88,"collections":31759,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},219937,"xia-shan-qing-liu-tu-gao-yan-219937","夏山清流图","高俨","高俨（1616年-1687年），清代画家，字望公，广东新会人，博学多艺，工诗书画，被称为三绝，有名于岭南。 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颜事贼”，是一个具有民族气节的文人。",[7,24,51,52,277,75,313,79,82,647,81,28,278,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc764d0b30f2bda069eac4e527320714b.jpg","175x38",[88],{"id":31761,"slug":31762,"title":31763,"dynasty":114,"author":181,"museum":20,"description":31764,"tags":31765,"thumbUrl":31767,"material":34,"size":31768,"collection":106,"collections":31769,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},219316,"song-teng-yuan-xi-tu-yi-ming-219316","松藤猿戏图","松枝盘曲如铁，老藤垂绕似丝，猿猴或攀藤戏叶，或蹲枝远眺，于方寸团扇间灵动穿梭。毛发纤毫毕现，眼神憨态可掬，爪尖紧扣藤枝的力度藏于墨色浓淡，松针疏密有致的层次显于笔触轻重。宋人的写实功夫与诗意心境在此交融：苍劲的松藤衬出猿的活泼，留白处似有余韵，引人遐想山林深处的清幽野趣。无款却见匠心，每一笔皆为自然传神，尽显宋代院体画精致细腻的风骨与生机盎然的意趣，仿佛能听见枝叶轻摇、猿声轻啼，将观者带入一片静谧而鲜活的自然之境。",[23,7,24,51,768,277,26,697,31766,6290,278],"藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05efa16aa825a6b0a07bdd664e3c73bf.jpg","22x21.8cm",[106],{"id":31771,"slug":31772,"title":31773,"dynasty":674,"author":181,"museum":1511,"description":31774,"tags":31775,"thumbUrl":31779,"material":27,"size":122,"collection":122,"collections":31780,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":62},217903,"guan-yin-jing-bian-tu-juan-4-yi-ming-217903","观音经变图卷-4","笔墨流转间，唐风佛韵徐徐铺展。衣袂似流云轻拂，面容若月华含慈，观音与胁侍的姿态鲜活如生，似能听闻经声梵呗萦绕耳畔。古朴设色晕染岁月厚重，朱砂与石绿交织，既存唐代艺术的浓艳鲜活，又因时光沉淀添了温润质感。经变场景将抽象经文化为具象图景，人物互动间传递观音救度的慈悲愿力，每一笔线条的顿挫、每一抹色彩的晕开，皆是唐人对佛法信仰的生动诠释。画卷历经千年，依旧能让观者触摸到那份跨越时空的宁静与庄严，感知盛唐佛画艺术的精妙与虔诚。",[24,7,25,27,28,678,5399,679,4782,31776,31777,31778],"经变画","慈悲","庄严","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf512d33d4126d9bc9b9a56222452c6c.jpg",[],{"id":31782,"slug":31783,"title":31784,"dynasty":46,"author":181,"museum":20,"description":29527,"tags":31785,"thumbUrl":31786,"material":34,"size":122,"collection":122,"collections":31787,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},215201,"sheng-ping-le-shi-tu-ce-2-yi-ming-215201","升平乐事图册-2",[7,24,51,100,27,26,28,1229,609,278,684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e957d6eec88487a5cb2b116e4cd30a.jpg",[],{"id":31789,"slug":31790,"title":31791,"dynasty":114,"author":181,"museum":48,"description":2300,"tags":31792,"thumbUrl":31793,"material":666,"size":2303,"collection":122,"collections":31794,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},214940,"dao-zi-mo-bao-ren-wu-bai-miao-hua-46-yi-ming-214940","道子墨宝人物白描画-46",[23,7,24,51,510,28,678,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8277020b91bda746daa22d70c76a8cfc.jpg",[],{"id":31796,"slug":31797,"title":31798,"dynasty":46,"author":10611,"museum":1201,"description":31799,"tags":31800,"thumbUrl":31801,"material":267,"size":122,"collection":122,"collections":31802,"showCount":639,"zanCount":1065,"manualWeight":40,"mainColor":41},214813,"shan-shui-hua-hui-tu-ce-6-gao-feng-han-214813","山水花卉图册-6","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[23,7,24,277,27,100,73,647,78,79,437,56,1059,1357,75,198,661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5645da02a8b8b4685060ad00c3bc0b.jpg",[],{"id":31804,"slug":31805,"title":31806,"dynasty":46,"author":1567,"museum":395,"description":2731,"tags":31807,"thumbUrl":31808,"material":267,"size":2735,"collection":106,"collections":31809,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":41},214561,"mo-zui-za-hua-tu-ce-6-shi-tao-214561","墨醉杂画图册-6",[23,7,24,51,100,277,102,1882,247,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576f4adf720f042e76cb0d887900cf4b.jpg",[106],{"id":31811,"slug":31812,"title":31813,"dynasty":31814,"author":3230,"museum":195,"description":31815,"tags":31816,"thumbUrl":31817,"material":122,"size":122,"collection":88,"collections":31818,"showCount":639,"zanCount":40,"manualWeight":40,"mainColor":31819},202867,"you-tian-ping-shan-tu-zhou-xu-bei-hong-202867","游天平山图轴","近代","此图绘天平山景致，峰岩陡峭，林木错落间，雅士数人或立或行，意态悠然。笔墨融合传统皴法与写实笔触，山石以刚劲线条勾勒，墨色浓淡相宜，兼具光影层次；人物刻画简练传神，尽显雅集游赏的闲适氛围。画面气韵贯通，既承继中国画的写意韵致，又融入西画的写实技巧，生动再现登临山水的文人意趣，是兼具传统底蕴与现代视野的山水佳作。",[24,75,28,277,27,73,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6827d311f1d9bc4886d02d7faf6b31fe.jpg",[88],"b9b6a8",{"id":31821,"slug":31822,"title":31823,"dynasty":293,"author":181,"museum":20,"description":31824,"tags":31825,"thumbUrl":31827,"material":34,"size":31828,"collection":88,"collections":31829,"showCount":321,"zanCount":1065,"manualWeight":40,"mainColor":62},291018,"han-lin-ming-hua-tu-yi-ming-291018","寒林茗话图","庭院中白梅点点，应是冬末初春之际，山石的阴面染以石青，颇有阴冷之气；阳面留白为雪，天空与留白处的对比不很明显，有如薄雪之意。房屋中，宾主聚饮甚欢，园中松竹犹绿，梅花盛开，似写宾主间之君子情谊，如岁寒之友。",[24,7,52,27,75,28,77,78,3255,81,278,82,31826],"品茗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf744039e940ac6d373fe15cc1260729.jpg","162.5x88.2",[88],{"id":31831,"slug":31832,"title":31833,"dynasty":293,"author":7929,"museum":20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释文：柔兆涒滩八月望。余侍原实孙先生过杨翁。留饮竟日。焚香啜茗。雅论清事。酒余。翁出扶风马文壁氏所画树石一幅。上有臧祥卿沤鸟。求孙先生题咏。翌日诗成。命予作篆。乃书于上。姑此以识岁月云。南村陶九成",[7,24,51,52,277,75,1647,80,79,13267,11189,3037,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034c21b2cf2060d651f01a28ac02e451.jpg","92x38",[],{"id":31840,"slug":31841,"title":31842,"dynasty":67,"author":22562,"museum":132,"description":26864,"tags":31843,"thumbUrl":31844,"material":317,"size":907,"collection":122,"collections":31845,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":41},290924,"ming-yun-shan-tu-wen-jia-290924","明云山图",[768,24,7,277,53,81,28,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d5bdbb29c66f8463b99d923ac8bee3.jpg",[],{"id":31847,"slug":31848,"title":31849,"dynasty":293,"author":11828,"museum":20,"description":11829,"tags":31850,"thumbUrl":31851,"material":666,"size":31852,"collection":122,"collections":31853,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},290733,"xi-ting-shan-se-tu-zhou-ke-jiu-si-290733","溪亭山色图轴",[7,24,277,52,75,81,1059,79,74,118,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5599533abc3f93415e3489adb2d0e751.jpg","63x34",[],{"id":31855,"slug":31856,"title":31857,"dynasty":46,"author":852,"museum":132,"description":23787,"tags":31858,"thumbUrl":31859,"material":317,"size":907,"collection":122,"collections":31860,"showCount":321,"zanCount":1065,"manualWeight":40,"mainColor":41},290559,"yu-jing-zhou-xu-yang-290559","雨景轴",[24,51,7,52,277,27,75,28,78,79,77,82,278,9621,74,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5a2b57a8a61a33a6e3b8f169374c0f.jpg",[],{"id":31862,"slug":31863,"title":30276,"dynasty":293,"author":644,"museum":132,"description":6905,"tags":31864,"thumbUrl":31865,"material":317,"size":907,"collection":122,"collections":31866,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},290399,"shan-shui-tu-ke-luo-ban-ni-zan-290399",[23,24,7,277,497,118,74,73,1059,425,79,56,84,7857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd388e9b163af066519eb6f9234c22b13.jpg",[],{"id":31868,"slug":31869,"title":3464,"dynasty":293,"author":181,"museum":132,"description":27521,"tags":31870,"thumbUrl":31872,"material":317,"size":907,"collection":122,"collections":31873,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},290320,"sui-chao-tu-zhou-yi-ming-290320",[7,24,52,27,26,28,77,75,1059,84,860,31871],"节庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576a2e63e63124f7c0eced854dfc1b0c.jpg",[],{"id":31875,"slug":31876,"title":31877,"dynasty":114,"author":4389,"museum":20,"description":23155,"tags":31878,"thumbUrl":31880,"material":34,"size":31881,"collection":122,"collections":31882,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},290060,"hai-shen-ting-jiang-tu-zhao-bo-ju-290060","海神听讲图",[24,7,52,27,28,678,55,31879],"海神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef08e914ad225ad22e9ac0e5e9fd5e9a.jpg","137.4x73.2",[],{"id":31884,"slug":31885,"title":31886,"dynasty":114,"author":1734,"museum":132,"description":4359,"tags":31887,"thumbUrl":31888,"material":317,"size":907,"collection":122,"collections":31889,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":41},290009,"gong-zhong-hang-le-tu-guo-zhong-shu-290009","宫中行乐图",[7,24,51,855,768,27,77,2043,118,74,26306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe45931e226c5cd5dd7d12c12b91275f1.jpg",[],{"id":31891,"slug":31892,"title":6980,"dynasty":114,"author":181,"museum":132,"description":31893,"tags":31894,"thumbUrl":31896,"material":317,"size":907,"collection":122,"collections":31897,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},289961,"xue-shan-xing-lv-tu-yi-ming-289961","此作用高远之法铺展冬日丘壑，主峰雄峙苍莽，积雪覆裹山峦，淡墨晕染出萧寒空濛的雪意。山石勾勒皴擦兼具骨力与浑润，枯木虬枝劲挺，尽显冬山荒寒之态。河谷间板桥茅舍错落，行旅驮队徐行于冰岸，为寂廖雪景晕开一缕人间烟火气。以水墨铺陈，借留白晕染烘托雪后山川的清寂辽远，将北国冬山的沉雄冷寂，与行旅浮生的意趣相融，于绢素间铺展出冬日山水的苍莽生机，尽显山水笔墨的意韵与造境匠心。",[23,24,7,497,277,52,73,4240,1357,1525,278,647,78,77,315,31895],"人马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007534380f02353665a1374e0d8404f1.jpg",[],{"id":31899,"slug":31900,"title":31901,"dynasty":114,"author":10040,"museum":132,"description":31902,"tags":31903,"thumbUrl":31904,"material":317,"size":907,"collection":122,"collections":31905,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":41},289946,"jiang-ting-lan-sheng-tu-zhang-xun-li-289946","江亭揽胜图","松下一亭子，\n凭栏观江景。\n江上渔舟荡，\n远方山魅影。",[768,24,7,51,75,277,27,81,80,3426,648,609,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0181bf5435b11285dd064c91fa37c7f4.jpg",[],{"id":31907,"slug":31908,"title":12103,"dynasty":114,"author":878,"museum":132,"description":5276,"tags":31909,"thumbUrl":31910,"material":317,"size":907,"collection":122,"collections":31911,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":41},289844,"song-quan-shuang-niao-tu-ma-yuan-289844",[7,24,51,100,277,27,75,28,697,79,84,56,7857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907448da9b810fec8225fe3e1a09a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雅致审美。",[7,24,51,27,26,472,6290,1293,135,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e67f98101322a96090bdd8e26302696.jpg",[],{"id":32333,"slug":32334,"title":32335,"dynasty":114,"author":181,"museum":132,"description":32336,"tags":32337,"thumbUrl":32338,"material":122,"size":122,"collection":122,"collections":32339,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":41},227863,"chun-shan-xun-mu-tu-yi-ming-227863","春山曛暮图","此作以边角构图造境，右侧苍松虬曲老硬，松针攒簇尽显苍古之姿，将山野幽意凝于枝桠间。远山以淡墨晕染，朦胧迤逦，晕开曛暮时分的空濛柔润。林麓茅亭隐现，枯木初萌新绿，幽人策杖徐行，将山居闲逸藏于尺幅。\n\n全作用笔精微写实，以虚衬实，淡墨轻烟里晕开春日薄暮的柔和暖意，把山野暮色的清旷悠然融于方寸之间，尽显简淡空灵的山水意趣，将文人心中萧散闲雅的山居图景晕染尽致，于小品之中见天地悠然，淡远静谧的氛围感扑面而来。",[7,24,51,27,75,81,609,648,5491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bea0e87d5e65d183601f2308bcf0312.jpg",[],{"id":32341,"slug":32342,"title":32343,"dynasty":114,"author":181,"museum":132,"description":32344,"tags":32345,"thumbUrl":32346,"material":122,"size":122,"collection":122,"collections":32347,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},227848,"gong-yuan-tu-ye-yi-ming-227848","宫苑图页","此作以青绿晕染山林，界画精工勾勒宫阙楼宇，将苑囿隐于蓊郁林泉之间。山石皴染苍润古朴，旧色晕开厚重雅致的古韵，林木错落掩映殿台飞檐，层层递进的构图铺展出幽深秘境。楼宇斗拱分毫毕现，尽显匠造规整，却融于空山翠色，消解了楼宇冷硬，凭添林泉雅意。它兼具山水画的悠远意境与界画的精工细致，静静铺展着千年前林泉宫阙的静谧古雅，将人工意趣悄然融于天然山水，尽显清和雅致的林苑意韵。",[23,7,24,51,855,26,27,75,77,82,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd24c709139ea37f1960e2d62944f11.jpg",[],{"id":32349,"slug":32350,"title":21616,"dynasty":114,"author":181,"museum":132,"description":32351,"tags":32352,"thumbUrl":32353,"material":122,"size":122,"collection":122,"collections":32354,"showCount":321,"zanCount":1065,"manualWeight":40,"mainColor":62},227358,"chun-you-wan-gui-tu-ye-yi-ming-227358","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,7,24,51,768,27,26,855,28,215,82,77,315,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1af322108bf37992fc92f50569bfe5.jpg",[],{"id":32356,"slug":32357,"title":32358,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":32359,"thumbUrl":32362,"material":317,"size":907,"collection":3417,"collections":32363,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},226138,"train-in-the-snow-the-locomotive-1875-mo-nai-226138","Train in the Snow, the Locomotive, 1875",[7,3410,4035,32360,1023,32361,4371,28478,5490,863,10940,27151,9664,30012],"火车","铁轨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1167a04b69ca418c712593b0c4755b0a.jpg",[3417],{"id":32365,"slug":32366,"title":32367,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":32368,"thumbUrl":32371,"material":317,"size":907,"collection":3417,"collections":32372,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":41},226101,"the-promenade-near-argenteuil-1873-mo-nai-226101","The Promenade near Argenteuil, 1873",[7,4035,3410,8959,21694,8961,32369,8967,4731,8964,82,28,1229,24156,5013,8965,14127,5607,8960,32370],"自然光线","户外写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf67664132c0d436c714a15e4b669099.jpg",[3417],{"id":32374,"slug":32375,"title":32376,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":32377,"thumbUrl":32384,"material":317,"size":907,"collection":3417,"collections":32385,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":41},226097,"the-portal-harmony-in-blue-1893-1894-mo-nai-226097","The Portal, Harmony in Blue, 1893-1894",[7,4035,3410,20868,32378,24144,32379,32380,30849,32381,30870,32382,32383],"色彩和谐","色彩层次","光线变化","门廊","建筑细节","石质建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7502cd33212d033e55354416a110be85.jpg",[3417],{"id":32387,"slug":32388,"title":32389,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":32390,"thumbUrl":32396,"material":317,"size":907,"collection":3417,"collections":32397,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":41},226069,"the-este-rel-mountains-1888-mo-nai-226069","The Estérel Mountains, 1888",[7,4035,3410,32391,21700,20868,32370,609,10069,10389,8965,281,32392,1714,32393,3115,32394,32395],"短笔触","海滨","倾斜树木","远景山峦","近景植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2160bf2a3c563db827f5041d183d582.jpg",[3417],{"id":32399,"slug":32400,"title":32401,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":32402,"thumbUrl":32408,"material":317,"size":907,"collection":3417,"collections":32409,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},226022,"saint-lazare-station-the-pont-de-europe-1877-mo-nai-226022","Saint-Lazare Station, The Pont de Europe, 1877",[3410,4035,7,32403,32404,32405,32406,32407],"火车站","蒸汽","城市建筑","光与影","城市街景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3db948f2ba55e1afc32307131c02229.jpg",[3417],{"id":32411,"slug":32412,"title":32413,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":32414,"thumbUrl":32418,"material":317,"size":907,"collection":3417,"collections":32419,"showCount":321,"zanCount":1065,"manualWeight":40,"mainColor":62},225903,"bathers-at-la-grenouillere-1869-mo-nai-225903","Bathers at La Grenouillere, 1869",[7,4035,3410,8959,21694,24144,32370,32415,649,856,28,32416,862,82,13315,171,24145,13317,25515,32417],"光色变化","浴者","休闲场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84c60ec89242747c19de7147819298f.jpg",[3417],{"id":32421,"slug":32422,"title":32423,"dynasty":46,"author":5103,"museum":132,"description":32424,"tags":32425,"thumbUrl":32426,"material":122,"size":122,"collection":122,"collections":32427,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},224584,"shuang-ma-tu-yu-yuan-224584","双马图","此作用笔精细入微，两骏依偎伫立，霜色骏马在前，栗色良驹稍后，神态温驯雍容。鬃尾晕染丝缕分明，躯体肌理饱满写实，将骏马神骏却沉静的姿态刻画得淋漓尽致。画面右上题诗呼应画意，墨色雅致朴拙，与工稳的鞍马刻画相融，承继唐宋鞍马写实遗风，又融入文人意趣。敷色妍丽沉稳，古旧绢色更衬出画作静穆古雅的气质，整体简净清隽，状物精妙的同时兼具文墨情致，尽显良骏俊逸闲和之态。",[23,7,24,51,26,27,215,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf93d6b4b29bf71246809df96ec075a0.jpg",[],{"id":32429,"slug":32430,"title":32431,"dynasty":46,"author":2172,"museum":132,"description":32432,"tags":32433,"thumbUrl":32434,"material":317,"size":907,"collection":122,"collections":32435,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},224475,"jiu-feng-du-shu-tu-zhou-wang-jian-224475","九峰读书图轴","图绘崇山峻岭，苍松平溪，一高士在茅舍内读书。其展卷吟诵的细微举止点明了惬意“读书”的创作主题，寄托着画家的隐逸思想。本幅构图为高远法取势，山脚松木以工整的线条精心刻画，显现出作者以线造型的能力。山顶处以浓墨戳点，有浑点、破竹点、胡椒点、破墨点等，灵活多变的各种点法增强了江南山峦湿润华滋、沉郁深秀的气象。山石的脉络是以元人王叔明（即王蒙）典型的解索皴表现，其拖墨而下，屈曲密集的线条与山石的陡峭走向相一致，增强了山体的雄伟之势。此图堪称王鉴仿王叔明的佳作，全面地展示了其对王蒙画法得心应手的娴熟的运用程度。",[23,7,24,51,52,277,75,73,609,2009,278,5079,79,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4c33a56f8a8f213d47350c092aa3c8.jpg",[],{"id":32437,"slug":32438,"title":32439,"dynasty":46,"author":7849,"museum":132,"description":32440,"tags":32441,"thumbUrl":32442,"material":122,"size":122,"collection":122,"collections":32443,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":41},224462,"liu-an-jiang-zhou-tu-wang-hui-224462","柳岸江洲图","《柳岸江洲图》 是清代王翚作品，尺寸为95.5cm×41cm。\n现藏于天津市艺术博物馆藏。\n近景以浓重墨色画稀疏柳林。\n枝干参差，富于变化，远处群山，波状起伏，湖上轻舟，张帆而行。\n笔墨简练，干脆利落。",[23,7,24,277,75,80,2626,3116,19965],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc47787a2a429be37b4a2e87319051f3.jpg",[],{"id":32445,"slug":32446,"title":32447,"dynasty":46,"author":31415,"museum":132,"description":32448,"tags":32449,"thumbUrl":32450,"material":122,"size":122,"collection":122,"collections":32451,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},224195,"zhe-xi-cao-tang-tu-wu-hong-224195","柘溪草堂图","《柘溪草堂图》是清代画家 创作的绢本设色画，现藏于南京博物馆。\n该画绘村前一座小桥，湖水绕村，树木绕斋，树林里楼台面水，宾主登楼安坐对谈，超然世外。\n笔墨挺健，景致平远，具有浓厚的写实风格。\n此画远处为较为平缓的山峦，山头仅露出水面。\n隐隐约约，烟雾蒙蒙，茫茫一片，山坡间新篁密密麻麻，白马湖东岸，在丛树掩映下的临水小村，一条清溪绕庄而行，竹树绕斋，楼台面小，并不华丽的庄园建筑，在苍松翠竹红枫的簇拥下显得古朴典雅；宾主登楼端坐其间，正在语笑风生，突然间一人回首远眺，似在观赏周围一片金秋美色，村边座落着一小板桥。\n一扁舟自远方来，泊于桥头，舟中一人捧物躬身而出，作献物状，岸上溪边另一人缓步走来作迎接状，神态自若。\n此图款署“壬子秋九月，拟李咸熙笔意，呈石翁先生教之，金溪吴宏、”钤印“吴宏私印”“远度”。\n画的裱边及玉池中有查士标，梁清标两人题诗，朱彝尊、程邃等七人题词。\n查士标题诗： 我爱白田好，来向白田去。\n白田城南有拓溪，闻是白田最佳处。\n溪边草堂称清幽，古木千章竹万头。\n奇石名花看不足，湖光更上东南楼。\n向年获识石林子，为言别业正在此。\n太公九十瑞人间，早岁弃官遂知止。\n闲来倚石手一编，倦即抛书石上眠。\n华发萧萧眸炯炯，无人知是地行仙。\n石林先生行最少，能读父书得其要。\n芥拾荣名自等闲，翰墨声诗兼众妙。\n命余为作草堂图，佳句传来幻有无。\n伸纸踌躇笔不下，俨如咫尺貌蓬壶。\n名园胜地世多有，辋川吟咏视平泉，主者何人斯不朽。\n千载流传复谁久。\n柘溪之水清且涟，湖波万顷绕平田。\n太平乐事长如此，还为高人结大年。\n梁清标题诗： 侍御结庐溪水浔，万株桑柘昼阴阴。\n迤逦晴沙眠野鹭，高低灌木鸣春禽。\n编篱插槿蔽风雨，琴书北窗何萧森。\n门无车马惊铃索，中有幽人事苦吟。\n幽人为谁侍御是，直节当年山岳峙。\n正笏曾陈痛哭书，拂衣早办登山履。\n经纶袖手赋归来，白头高卧草堂里。\n海水扬尘岁月移，草堂无恙日舒迟。\n蒹葭秋色霜飞后，鸡犬村扉昼闭时。\n巾车野服临湖岸，载酒轻船泛射陂。\n屏居白眼向寥廓，闻说先生犹健在。\n令子忻看傍凤池，闲身不羡图麟阁。\n倚杖频耕万亩云，延年岂假千金药。\n遥望伊人水一方，客来独拜德公床。\n疑是李愿住盘谷，不然种柳如柴桑。\n我欲从之问丹诀，放歌散发濯沧浪。\n《柘溪草堂图》作于康熙十一年（1672），此图为应宝应乔莱之请，画其父可聘居处柘溪草堂秋景。\n此画采用以实写虚的方法，借湖水、古木、草堂，以写云烟变幻，求得“有限中出无限，无画处成妙境”的艺术境地。\n此图中的物象并无高山峻岭，而只是湖天淼茫，属于通常所说的“平远”之景。\n但在吴氏的笔下却显示出“高远”的意境。\n画法不拘泥于前人，落笔大胆而收拾严整。\n笔墨苍秀，厚重劲健。\n板桥和山石等的勾勒，也皆是顿挫雄壮的阳刚之风。\n山石以乱柴皴间杂斧劈皴画之，水墨晕染，树木画法工细，繁而不乱，人物、房舍、扁舟表现自然，敷色清雅明亮。\n此画面有较大的空白，不仅体现了艺术家想象的本领，而且可以引起读者丰富的审美想象。\n教授张长虹：尽管带有应酬性质，吴宏此画仍属成功之作，这可能与其豪迈性格有关。\n吴宏，生卒年未详、清代画家。\n宏，一作弘，字远度，号竹史，江西金溪人，寓江苏汀宁（今南京）。\n诗书均精。\n幼好绘事，自辟蹊径。\n顺治十年（165）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸，得诸家之长而能出己意。\n偶作竹石，亦有水墨淋漓之致。\n与樊圻、邹喆、叶欣、胡慥、谢荪、高岑、龚贤为“金陵八家”。",[23,7,24,51,52,27,73,75,559,82,78,79,80,1059,2785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":32453,"slug":32454,"title":32455,"dynasty":46,"author":181,"museum":132,"description":32456,"tags":32457,"thumbUrl":32459,"material":122,"size":122,"collection":122,"collections":32460,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":41},223688,"li-tu-ye-yi-ming-223688","鲤图页","此作以工笔写鲤，细笔晕染鳞片刻画出硬挺莹润的质感，鱼鳍舒展灵动，双目圆睁有神，长须轻颤，将鲤鱼刚健灵动的身姿定格在破波欲跃的瞬间。淡墨轻勾水纹，线条柔婉清浅，不着浓色，仅以素雅晕染烘托池水静谧，一动一静相映成趣，把鲤穿波的鲜活生机尽显纸面。\n\n整幅画面清雅空灵，无冗余修饰，将对生灵的细致体察藏在笔触里，于留白间传递出含蓄的吉祥意趣，简淡中见精巧笔触，平淡中藏盎然生机，尽显传统花鸟小品的雅致意韵。",[23,7,24,51,100,26,27,1179,32458],"鲤鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb693a3d05e3da75e3221a47a142fdca4.jpg",[],{"id":32462,"slug":32463,"title":32464,"dynasty":293,"author":181,"museum":132,"description":32465,"tags":32466,"thumbUrl":32467,"material":122,"size":122,"collection":122,"collections":32468,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},223626,"he-ting-dui-yi-tu-ye-yi-ming-223626","荷亭对弈图页","《荷亭对弈图页》是元代画家佚名创作的一幅绢本设色画，现收藏在故宫博物院。\n本幅无作者款识。\n收藏印钤“庞莱臣珍藏宋元真迹”、“项墨林父秘笈之印”二方。\n图中描绘 边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐，不知是弈后的疲惫小憩还是战前的养精蓄神；又有三 ，一执扇，一伏案，一取水，整幅意境悠闲雅淡 此画将青绿山水与界笔楼阁有机结合，是南宋院画楼阁小品的沿展，只是风格更加清新活泼。\n此页旧题签“赵伯骕荷亭对弈”，实为元人所作。",[23,7,24,51,100,27,855,26,28,77,81,54,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea73aea37bb0f5cf60b79d0bc39c0e2.jpg",[],{"id":32470,"slug":32471,"title":32472,"dynasty":114,"author":181,"museum":132,"description":32473,"tags":32474,"thumbUrl":32475,"material":250,"size":32476,"collection":122,"collections":32477,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},223568,"xi-shan-xing-tu-zhou-yi-ming-223568","溪山行图轴","深深地描绘了秋天的景色。 绿图已枯，枫红团，山脚下长长的行人匆匆而过； 飞瀑流泻而下，水底已雾蒙蒙； 几间房屋隐藏在山谷中，或者寺庙是高大的殿堂，它们是住宅。 依山傍水，是一处修身养性的美丽之地； 山峰可能隐高，峰顶怪异，山脊稳定。",[23,24,7,52,27,73,75,297,1023,313,82,78,79,77,28,215,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":32479,"slug":32480,"title":32481,"dynasty":293,"author":181,"museum":20,"description":32482,"tags":32483,"thumbUrl":32484,"material":7883,"size":32485,"collection":122,"collections":32486,"showCount":321,"zanCount":1065,"manualWeight":40,"mainColor":62},223508,"lin-ting-qiu-se-tu-yi-ming-223508","林亭秋色图","沿江冈陵起伏，霜气已深，岁将暮矣。满山寒林卓立，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收网，朝起江村，各有所事。\n本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空阔，气象萧疏，使人凛然而有寒意。无款印。",[23,24,7,51,277,73,75,81,2785,1059,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e60592ae246de35dc4631b352b3bbc3.jpg","27.5x50.7厘米",[],{"id":32488,"slug":32489,"title":32490,"dynasty":114,"author":181,"museum":151,"description":32491,"tags":32492,"thumbUrl":32493,"material":156,"size":32494,"collection":122,"collections":32495,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},223506,"song-yin-tan-dao-tu-ye-yi-ming-223506","松荫谈道图页","此图亦作《三教论道图》，图绘远处山峰连绵，近处一棵高大松树松杆遒劲，绿荫如盖；松荫下儒、释、道三位教徒或着长袍，或着叶装，端坐于松根、石块上谈经论道。此处环境清幽，阴凉静雅，似世外桃园般安逸。",[23,24,7,51,768,26,27,28,609,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F833d44227db51604372db96ab56fde5d.jpg","25.3＊25.6cm",[],{"id":32497,"slug":32498,"title":32499,"dynasty":114,"author":181,"museum":20,"description":32500,"tags":32501,"thumbUrl":32506,"material":217,"size":32507,"collection":122,"collections":32508,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},223476,"zhe-kan-tu-ju-bu-yi-ming-223476","折槛图（局部）","此图用形象生动的笔触，描忠臣犯颜直谏，图绘了朱云在皇帝、公卿大臣面前犯颜直谏的景象。御林军正在拖朱云，朱死抱住栏槛不放，还在强辩。成帝侧身坐龙椅上，长须飘洒，满面怒容，目光杀气腾腾，与朱云针锋相对。奸相张禹则手捧笏板得意地站在成帝身边，满脸奸笑。辛庆忌正躬身为朱云求情。画面情节紧张而热烈，人物神情刻画细腻生动，富有鲜明的个性。线条遒劲有力，色彩鲜明强烈，确是一幅人物画的精品之作。",[23,7,24,26,27,28,1605,697,53,755,32502,32503,32504,32505],"龙椅","笏板","犯颜直谏","求情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326c2ce3f908eadcc8834818e4eed64e.jpg","纵173.9公分，横101.8公分",[],{"id":32510,"slug":32511,"title":32512,"dynasty":114,"author":181,"museum":195,"description":32513,"tags":32514,"thumbUrl":32515,"material":611,"size":32516,"collection":122,"collections":32517,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},223378,"shi-liu-ying-zhen-du-hai-tu-juan-yi-ming-223378","十六应真渡海图卷","文中斯别开生面。形状奇怪夙所称，耳熟闻之目新见。苍鳞若龙若非龙，擎爪来闻法以现。第一。据树坐椸钵多罗，鸦鹊来餐香积饭。第二。飘然白鹤驾以降，屈眴七条披已惯。第三。数珠在手。第四。把明珠。第五。自摇箑其貌颟顸。第六。端立左铃而右杵。第七。扶童者迵顾彼崖。第八。是皆渡海履水物。水物狰狞名不辨。拍持具叶。第九。促舍汉。第十。白泽曳轮坐以晏。别有袖手乘骞槎。第十一。相参法喜作佳伴。据石入定若无人。第十二。牛哀跪伏如猫豢，傍见共谘二大士，其一默坐。第十三。一持扇。第十四。似步而迥更迥，第十五。臃肿披缁目光炫。第十六。跏趺相对谈二禅。云空。第十七。云色。第十八。色空幻，是为不二法之宗。绣居士说法编，向曾韵统考同文。位号次第订梵汉。莆田愚者不羁士。传神何碍后前舛。长歌笑我尚拘墟。山阴讶似镜中按。乾隆乙巳（1785）仲秋，御题。",[23,24,7,25,510,277,678,28,6056,472,278,82,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbfb5332900a9dfc823e81b021913cf.jpg","29X322",[],{"id":32519,"slug":32520,"title":32521,"dynasty":46,"author":6606,"museum":151,"description":30059,"tags":32522,"thumbUrl":32523,"material":30062,"size":30063,"collection":122,"collections":32524,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":254},223143,"shi-wan-tu-ce-7-ren-xiong-223143","十万图册7",[23,24,7,51,100,26,27,75,77,135,861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a1b10828519dc13f4704bee941031.jpg",[],{"id":32526,"slug":32527,"title":32528,"dynasty":46,"author":14982,"museum":1475,"description":18679,"tags":32529,"thumbUrl":32531,"material":611,"size":18682,"collection":122,"collections":32532,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":62},222948,"hong-lou-meng-73-sun-wen-222948","红楼梦73",[23,7,24,51,26,27,28,31707,902,8903,14986,14987,29,32530],"博古器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6359730aa5e71398982eff2318bb16a0.jpg",[],{"id":32534,"slug":32535,"title":32536,"dynasty":46,"author":14982,"museum":1475,"description":18679,"tags":32537,"thumbUrl":32538,"material":611,"size":18682,"collection":122,"collections":32539,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":993},222916,"hong-lou-meng-41-sun-wen-222916","红楼梦41",[23,7,24,51,25,26,27,28,77,560,82,278,755,31698,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71143b0e3881c22a1570161c623f281c.jpg",[],{"id":32541,"slug":32542,"title":32543,"dynasty":67,"author":5192,"museum":507,"description":13463,"tags":32544,"thumbUrl":32545,"material":250,"size":32546,"collection":122,"collections":32547,"showCount":321,"zanCount":40,"manualWeight":40,"mainColor":41},222181,"xue-hou-fang-mei-tu-zhou-lu-zhi-222181","雪后访梅图轴",[23,24,51,7,52,277,73,75,1023,383,77,80,278,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaf80233eb812f5038cd4b1c54a09f2.jpg","76x40cm",[],{"id":32549,"slug":32550,"title":32245,"dynasty":293,"author":7404,"museum":132,"description":32551,"tags":32552,"thumbUrl":32553,"material":32554,"size":32555,"collection":122,"collections":32556,"showCount":321,"zanCount":40,"manualWeight":40,"mai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河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[7,24,51,768,277,73,297,313,81,135,278,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8481e7d89e0da642dc11c5e031fd6b.jpg",[],{"id":33054,"slug":33055,"title":33056,"dynasty":67,"author":68,"museum":151,"description":753,"tags":33057,"thumbUrl":33059,"material":156,"size":31446,"collection":122,"collections":33060,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},233759,"ren-wu-gu-shi-ce-6-chou-ying-233759","人物故事册6",[7,24,26,27,13979,28,904,905,1229,3195,560,1167,1166,19260,2995,33058,21132],"笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8d3c7587792f36078e504187ea5124e.jpg",[],{"id":33062,"slug":33063,"title":33064,"dynasty":114,"author":181,"museum":132,"description":33065,"tags":33066,"thumbUrl":33067,"material":122,"size":122,"collection":122,"collections":33068,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":62},233699,"yu-le-tu-ye-yi-ming-233699","渔乐图页","绘三只渔船捕鱼归来,泊于古松幽篁掩映下的岸边.舟上人物或正在用餐,或忙于其他事情,充满生活的气息",[24,7,51,768,27,277,73,75,28,80,82,79,662,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389669d69d09b3873a5a16e2df01015f.jpg",[],{"id":33070,"slug":33071,"title":33072,"dynasty":46,"author":1567,"museum":132,"description":31452,"tags":33073,"thumbUrl":33074,"material":834,"size":31455,"collection":122,"collections":33075,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},233681,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233681","原济兰竹册－兰石",[7,24,51,100,277,73,56,16326,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d93a65f4c725c210abdf4ee1e5accca.jpg",[],{"id":33077,"slug":33078,"title":33079,"dynasty":46,"author":181,"museum":151,"description":33080,"tags":33081,"thumbUrl":33083,"material":342,"size":33084,"collection":122,"collections":33085,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},233043,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233043","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[7,24,51,100,27,26,28,75,15005,6429,4005,861,82,281,17467,18954,33082],"战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be05ec6ab04eff3cb82e85ab4fc6c0.jpg","长55.6厘米，宽91.1厘米",[],{"id":33087,"slug":33088,"title":33089,"dynasty":114,"author":181,"museum":132,"description":33090,"tags":33091,"thumbUrl":33092,"material":217,"size":33093,"collection":122,"collections":33094,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":62},232614,"guang-ming-si-tu-zhou-yi-ming-232614","光明寺图轴","此作用工细界笔勾勒层叠殿宇，朱红立柱搭配青灰飞檐，古雅色调晕染出绢本的岁月质感。楼阁随势错落排布，飞檐舒展翘拔，回廊辗转勾连，砖石地砖的格纹工整清晰，凭栏处点缀微小像影，衬以淡描林木，兼具古建考据价值与清雅画意。\n\n画师以界尺精准摹写斗拱榫卯的精妙结构，细致还原寺院庄严宏阔的形制，将中古佛寺的恢宏气度凝于绢素，带着严谨考据与雅致笔意，静静诉说着古寺往昔的肃穆风华，是古建界画中的难得佳作。",[23,24,7,52,855,27,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe066fd770eac49d2b7d51ac8e2a4f9ca.jpg","156.5×65.3厘米",[],{"id":33096,"slug":33097,"title":33098,"dynasty":293,"author":181,"museum":20,"description":33099,"tags":33100,"thumbUrl":33102,"material":34,"size":33103,"collection":106,"collections":33104,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":62},232262,"xing-e-tu-yi-ming-232262","杏鹅图","描绘水滨双鹅，旁有两棵柳、杏，飞燕穿梭柳叶之间，柳阴下斜出几枝杏花。从绘画内容及布局看来，它像是明院体大幅花鸟画的构图，画柳干之皴纹，有仿吕纪之笔意，画鹅则似林良写禽之趣，应是结合林良、吕纪影响之作。",[24,51,7,52,27,277,26,73,4313,33101,82,201,589],"杏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c57300cc263debb9b3f1259bef7939.jpg","142.8x81.4厘米",[106],{"id":33106,"slug":33107,"title":33108,"dynasty":46,"author":7849,"museum":620,"description":30558,"tags":33109,"thumbUrl":33111,"material":250,"size":33112,"collection":122,"collections":33113,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},231512,"yi-jing-zhi-qiao-qu-tu-wang-hui-231512","一径至桥去图",[23,24,7,497,277,27,73,425,429,5607,1012,559,80,434,663,33110],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a3af540c2cbca82873377916100e60.jpg","43x95厘米",[],{"id":33115,"slug":33116,"title":33117,"dynasty":293,"author":181,"museum":132,"description":33118,"tags":33119,"thumbUrl":33120,"material":122,"size":122,"collection":122,"collections":33121,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":479},231497,"han-gao-zu-liu-bang-yi-ming-231497","汉高祖刘邦","汉高祖刘邦，字季，号沛公，谥号高皇帝，庙号高祖。沛郡丰邑中阳里（现属江苏省徐州市丰县）人氏，妣吕雉。邦公国号西汉高祖，生于周赧王五十九年即公元前二五六年二月初八日。他在兄弟四人中排行第三。性情豁达大度，知人善任。公元前二一六年，时年三十一岁，为泗水亭长。公元前209年壬辰岁九月，参加由陈胜，吴广带领的起义，后加入楚国的阵营，趁另一位将军项羽，和秦的大军打拉锯战，没有秦国主力和他的军队对阵之余，第一个攻进秦国的首都咸阳，灭了秦朝，被楚霸王项羽封为汉王。并以蜀地为基地，和项羽展开了长达四年的楚汉之争。刘邦在文有张良，武有韩信，后方有萧何的辅助下，终于把项羽的军队包围在垓下设下十面埋伏，项羽突围不果，自杀于乌江边。刘邦消灭了项羽后，统一了中国。公元前206年乙未岁称帝于洛阳，建立汉王朝，自此中华帝国在地理上再次统一，为以后的强大建立了基础.后迁都于长安（今西安市）在位十二年，卒于公元前一九五年丙午岁四月二十五日（甲辰日）。享年六十一岁，葬于葬于陕西省西安咸阳县东，称长陵。妣吕雉，卒于公元前一七九年壬戌岁，葬于长安咸阳县东陵。生八子：长庶齐悼惠王肥，曹氏生。次子恵帝盈，吕雉生。三子和意，戚后生，封赵王，后被吕雉所杀。四子恢，梁王，后自杀。五子文帝恒，先封代王，后为文帝，薄姬生，薄姬卒于公元前一五五年丙戌岁，葬于霸陵。六子友，先为淮阳王，后为赵幽王，后自杀，生二子：遂（赵王）、卬（胶西王）。七子建，燕王，后被吕雉所杀。八子长，淮南王，后被文帝废王。为了和后来刘秀建都洛阳的“汉”区别，历史上称为“西汉”",[24,51,7,4477,52,28,27,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f26eab8a5aa6207dddae9b2d01cb95c.jpg",[],{"id":33123,"slug":33124,"title":33125,"dynasty":293,"author":1577,"museum":132,"description":33126,"tags":33127,"thumbUrl":33128,"material":122,"size":122,"collection":122,"collections":33129,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":62},231036,"xiang-ma-tu-ye-zhao-meng-fu-231036","相马图页","此作以人马为景，牵马老者袍服勾勒清劲挺括，敛眉垂目专注整饬缰绳，神态沉静内敛，尽显驯马时的安然肃穆。\n\n骏马躯干壮硕饱满，四肢劲挺修长，转首回望间灵动有神，鬃尾隐约带风，将神骏筋骨肌理晕染细腻逼真，笔墨兼工带写，设色古雅清淡，既追唐人鞍马的写实风骨，又融文人笔墨的雅致意趣。画面疏朗简约，以形写神，将人马间温婉呼应的微妙氛围尽显，古朴沉静间满溢古意，尽显鞍马题材画作的精妙意韵。",[23,7,24,51,100,27,26,28,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be06c53803a7a23406d3c79fb26d98b.jpg",[],{"id":33131,"slug":33132,"title":1599,"dynasty":67,"author":181,"museum":132,"description":33133,"tags":33134,"thumbUrl":33135,"material":122,"size":122,"collection":122,"collections":33136,"showCount":443,"zanCount":1065,"manualWeight":40,"mainColor":62},228783,"ru-bi-tu-yi-ming-228783","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,24,51,7,25,26,27,28,77,78,79,81,215,75,82,278,4261,6429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":33138,"slug":33139,"title":33140,"dynasty":293,"author":1128,"museum":132,"description":33141,"tags":33142,"thumbUrl":33143,"material":122,"size":122,"collection":122,"collections":33144,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":62},228254,"jiang-shu-qiu-sheng-tu-ye-cao-zhi-bai-228254","江树秋声图页","平远取景铺展江天浩渺，远山以淡墨轻笼，晕染出空濛悠远的秋意。近岸枯木萧疏遒劲，枝桠清瘦如篆，茅庐隐于林下，悄然静立在清寒暮色里。\n\n笔墨简淡秀润，以干笔皴擦写山峦肌理，线条松灵虚和，墨色层层晕染，淡而不薄。题画小诗与山水相映，将江乡秋夜的孤清乡思揉进尺幅之中。整幅画以简驭繁，褪去浓丽，尽显尚意之趣，把深秋江渚的寂寥、幽居林泉的隐逸澹然融为一体，淡墨里藏着清寂的心境，寥寥数笔便绘就了江乡秋声里的悠远闲情。",[7,24,51,100,277,73,75,647,278,649,3037,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbf747142db1b200e064b2ce56cf2e.jpg",[],{"id":33146,"slug":33147,"title":25199,"dynasty":114,"author":3845,"museum":132,"description":33148,"tags":33149,"thumbUrl":33150,"material":122,"size":122,"collection":122,"collections":33151,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},227985,"yin-yan-fei-pu-tu-jiang-can-227985","此作用笔苍劲老辣，以峭壁飞瀑为骨，劲健短皴刻画出岩崖嶙峋肌理，枯松斜生崖侧，野意横生。飞瀑层叠奔泻，似能耳闻激浪轰雷之声，下方乱石承接流泉，晕开湿润山野意趣。\n\n墨色沉郁古雅，以浓淡晕染远近虚实，留白极简却将山涧清幽之气铺溢满幅，尽显荒寒空寂的林下意境，把山野深僻的冷冽幽寂凝于绢素，观之便如临崖畔，水雾山风似拂面而来，尽显宋人山水中尚意尚理的清雅品格。",[23,24,51,7,52,75,73,5861,427,82,278,277,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1dacd0160a8842c4476672188c8c9bf.jpg",[],{"id":33153,"slug":33154,"title":33155,"dynasty":114,"author":181,"museum":132,"description":33156,"tags":33157,"thumbUrl":33159,"material":122,"size":122,"collection":122,"collections":33160,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":62},227887,"jiang-shang-qing-feng-tu-yi-ming-227887","江上青峰图","采用边角式取景，右下隅青峰峭立，青绿敷色晕染石身，深墨点簇林木，尽显山石挺秀之姿。空阔江面铺陈开淡远烟波，几叶扁舟悠然泛于粼粼水波之上，将江南水色的清旷柔婉与峰石苍劲相融。\n\n咫尺扇面间以小见大，铺展出江天寥廓的无尽余韵，把烟波江上的空寂悠然藏于方寸，尽显对山水诗意的精微捕捉，带着宋代院体山水雅致清隽的意趣。",[23,7,24,51,768,27,72,75,73,80,33158,3426],"青峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444ce79053f855d19971de523413bbc8.jpg",[],{"id":33162,"slug":33163,"title":33164,"dynasty":114,"author":181,"museum":132,"description":33165,"tags":33166,"thumbUrl":33167,"material":122,"size":122,"collection":122,"collections":33168,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},227861,"dou-que-tu-ye-yi-ming-227861","斗雀图页","《斗雀图页》宋代画家佚名创作的一幅绢本设色画。\n本幅无款识。\n鉴藏印钤“真赏”、“庞莱臣珍藏宋元真迹”、“珍秘”、“宜尔子孙”、“丹诚”、“都尉耿信公书画之章”、“信公珍赏”、“公”、“会侯珍藏”、“绍勋”。\n裱边钤“信公监定珍藏”印。\n对幅有耿昭忠题记：“黄居寀能世其家学，点染具简澹野逸之致。\n画史以黄家富贵评之，未必无议。\n千山耿信公。\n”虽题为黄居寀作，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。\n善于抓住瞬间的精彩场面来表现自然界的勃勃生机，是宋人小品的特色之一。\n本幅绘两只小雀在平坡之上嬉戏争斗，滚作一团。\n画家采用虚实结合、突出重点的画法，于雀的翅、尾翎毛只是粗写动态，头、腹毛羽更是淡染轻描。\n着力加以刻画的是雀之爪、喙和二雀相互逼视的双目。\n图中占上风之雀，左爪紧抓住对方的喙，右爪紧握对方的爪，正待欲啄，其喙却也被对方死死地抓住，形成谁也啄不得的僵持局面，颇有情趣。\n两只小雀皆羽翼大张，动感和力度在此充分体现。\n此情此景万难想象而成，当是细致观察所得。",[23,24,51,7,2613,26,277,84,2411,890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75d11a3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Pond at Montgeron, 1876",[3410,4035,7,2292,82,30851,20671,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa269b29de7b328e1e2d9824cd341f051.jpg",[3417],{"id":33207,"slug":33208,"title":33209,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":33210,"thumbUrl":33220,"material":317,"size":907,"collection":3417,"collections":33221,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":62},226019,"saint-lazare-station-1877-mo-nai-226019","Saint-Lazare Station, 1877",[7,3410,4035,20868,33211,24144,33212,32403,32361,32404,33213,863,33214,861,5490,33215,33216,33217,33218,33219],"色彩交融","空气感","火车头","玻璃顶棚","站台","金属架构","城市背景","光线","地面反光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f8ca4936edf0abb4d653b288162048.jpg",[3417],{"id":33223,"slug":33224,"title":33225,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":33226,"thumbUrl":33228,"material":317,"size":907,"collection":3417,"collections":33229,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},225915,"claude-monet-the-winter-near-lavacourt-1880-mo-nai-225915","Claude Monet - The Winter, near Lavacourt, 1880",[7,3410,4035,8959,21694,24144,10940,663,80,28,82,8965,33227,13315,1714],"薄冰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae429c102664320b6ecfd5bfab9dfb33.jpg",[3417],{"id":33231,"slug":33232,"title":33233,"dynasty":1383,"author":6681,"museum":132,"description":6682,"tags":33234,"thumbUrl":33235,"material":317,"size":907,"collection":3417,"collections":33236,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":479},225638,"rembrandt-harmensz-van-rijn-048-lun-bo-lang-225638","Rembrandt Harmensz.van Rijn - 048",[7,3410,28,9899,11400,6292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cfdfeb28bfd483fc68196d7135c5777.jpg",[3417],{"id":33238,"slug":33239,"title":33240,"dynasty":114,"author":181,"museum":132,"description":33241,"tags":33242,"thumbUrl":33244,"material":122,"size":122,"collection":122,"collections":33245,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":62},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[23,24,51,25,7,27,26,73,1023,662,75,80,661,78,79,1059,28,84,56,33243,3374],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":33247,"slug":33248,"title":33249,"dynasty":114,"author":181,"museum":132,"description":33250,"tags":33251,"thumbUrl":33252,"material":122,"size":122,"collection":122,"collections":33253,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":62},223597,"sui-yang-wu-lao-tu-feng-ping-xiang-yi-ming-223597","睢阳五老图 冯平像","此作以赭色绢本为底，以克制笔墨绘就老者立像。劲细墨线勾勒玄色宽袍轮廓，衣纹简练沉稳，衬出冯平身形端方持重。他头戴高顶乌帽，面容清癯，银须垂胸，双手敛于袖中垂在身前，眉目低垂间自带致仕归乡后的沉静雍容。\n右上角瘦硬题字与画面清雅格调相融，既补全人物背景，又平衡构图。画家以形写神，舍去繁缛修饰，将宋人士大夫简淡含蓄的风骨凝于笔底，在素净方寸间晕开平和古雅的旧朝意韵，尽显宋代肖像画写实传神的精妙。",[23,7,24,51,52,26,27,28,30,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83312a144a70eebd7be88c64eb651b02.jpg",[],{"id":33255,"slug":33256,"title":33257,"dynasty":46,"author":6606,"museum":151,"description":30059,"tags":33258,"thumbUrl":33259,"material":30062,"size":30063,"collection":122,"collections":33260,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":8621},223137,"shi-wan-tu-ce-10-ren-xiong-223137","十万图册10",[23,24,7,100,27,75,278,82,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3446c9252ed6e73c476ca72d3612cd1.jpg",[],{"id":33262,"slug":33263,"title":33264,"dynasty":46,"author":33265,"museum":151,"description":33266,"tags":33267,"thumbUrl":33268,"material":342,"size":33269,"collection":122,"collections":33270,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},222842,"fang-niao-tu-juan-wang-shi-zhen-222842","放鸟图卷","王士祯","该画卷肖像刻画的逼真生动，画法融墨骨法与江南法为一体，表现出禹之鼎绘画艺术成熟期的典型风格，代表了禹氏中晚年肖像画的艺术水平。张伯龙，清太医院御医，善书画。",[23,7,24,51,25,26,27,118,74,28,84,1570,82,75,861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f94dd9300cfae4fe43a6c4fdbf70e5.jpg","纵26.1厘米，横110.7厘米",[],{"id":33272,"slug":33273,"title":33274,"dynasty":67,"author":32192,"museum":132,"description":33275,"tags":33276,"thumbUrl":33277,"material":29482,"size":33278,"collection":123,"collections":33279,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},222537,"lin-gu-tie-juan-wang-duo-222537","临古帖卷","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[23,7,24,51,25,154,74,119,118,1580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8943bd847e7a3569198f6d6315b04432.jpg","271*91.5cm",[123],{"id":33281,"slug":33282,"title":33283,"dynasty":67,"author":8615,"museum":132,"description":8616,"tags":33284,"thumbUrl":33285,"material":26,"size":8619,"collection":122,"collections":33286,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":993},222043,"de-qu-zai-ren-ce-13-kai-3-wang-zhong-222043","得趣在人册13开3",[23,24,51,7,100,27,26,102,55,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b333972495e7ef7c5be2107619d7ee3.jpg",[],{"id":33288,"slug":33289,"title":33290,"dynasty":67,"author":966,"museum":151,"description":10502,"tags":33291,"thumbUrl":33292,"material":10505,"size":33293,"collection":122,"collections":33294,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":62},221891,"za-hua-tu-ce-xi-shi-tu-ye-chen-hong-shou-221891","杂画图册-溪石图页",[23,24,51,7,100,27,73,75,78,79,278,28,82,313,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1898512a53945eaeb81e5c56068af5f9.jpg","纵30.2＊横25.1ＣＭ",[],{"id":33296,"slug":33297,"title":33298,"dynasty":293,"author":8846,"museum":151,"description":33299,"tags":33300,"thumbUrl":33301,"material":1261,"size":33302,"collection":122,"collections":33303,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":62},221821,"ying-shui-lou-tai-tu-ye-xia-yong-221821","映水楼台图页","因元代另一位界画大师王振鹏曾绘过大明宫，在乾隆的题诗中又有“下临无地上凌空，磅礴精神想象中。此日未详平乐馆，早年曾写大明宫”的语句，所以此幅曾被误定为王振鹏所绘。事实上，夏永的画法虽出自王振鹏，但以小幅见长。此图在艺术性上稍逊于王振鹏，但线描的精整工细似尤过之。正如熊之缙《花间笑语》评价他的画作“细若蚊睫，侔于鬼工”。\n《石渠宝笈续编·乾清宫》著录。",[23,24,51,7,100,855,510,277,77,79,78,75,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9ebc71fe2e34aada53e92454ae807c.jpg","纵23.9厘米，横25.3厘米",[],{"id":33305,"slug":33306,"title":33307,"dynasty":114,"author":26108,"museum":151,"description":33308,"tags":33309,"thumbUrl":33310,"material":33311,"size":33312,"collection":122,"collections":33313,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":62},221474,"shuang-song-tu-ge-juan-zhang-ji-zhi-221474","双松图歌卷","《双松图歌》为杜甫诗《戏为双松图歌韦偃画》，释文：\n天下幾人畫古松，畢宏已老韋偃少。絕筆長風起纖末，滿堂動色嗟神妙。兩株慘裂苔蘚皮，屈鐵交錯迴高枝。白摧朽骨龍虎死，黑入太陰雷雨垂。松根胡僧憩寂寞，龐眉皓首無住著。偏袒右肩露雙腳，葉裏松子僧前落。韋侯韋侯數相見，我有一匹好東絹，重之不減錦繡段。已令拂拭光淩亂，請公放筆爲直幹。張即之七十二歲寫，時積雨連霉，槐龍舞翠，與客小飲，醉中戲書。\n款署：“张即之七十二岁写。时积雨连霉，槐龙舞翠，与客小饮醉中戏书。”钤“张”、“张氏”、“即之”印。自识“七十二岁”，应为南宋理宗宝祐五年（1257年）书。卷前有苏东坡作古柏图，非真迹。尾纸有明洪武时陈新、夏彦良二跋。\n此卷是张即之晚年之笔。后人皆称他“以能书闻天下”，“大字古雅遒劲，细书尤俊健不凡”。此卷擘窠大字，神完气足，劲健雄肆，又时见险怪之态。张即之作为南宋著名书法家，书宗唐人，结体严谨，笔法险劲，对当时书坛影响很大，北方金人亦多效其体。\n清缪日藻《寓意录》、清内府《石渠宝笈·初编》等书著录。",[23,7,24,51,25,119,118,277,697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0742ab750432300eb32e874e9ddc04d.jpg","纸本，手卷","纵.8cm，横1196cm",[],{"id":33315,"slug":33316,"title":33317,"dynasty":46,"author":33318,"museum":6466,"description":33319,"tags":33320,"thumbUrl":33324,"material":33325,"size":33326,"collection":122,"collections":33327,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":122},220708,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220708","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,51,7,100,75,425,33321,5278,1737,78,79,33322,277,33323],"高树","策杖行人","苍润","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf36ccfeba247023e50d74a3a3b0b2d.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":33329,"slug":33330,"title":33331,"dynasty":67,"author":966,"museum":395,"description":5093,"tags":33332,"thumbUrl":33333,"material":34,"size":5098,"collection":122,"collections":33334,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},220222,"hua-niao-cao-chong-xie-sheng-ce-you-qin-du-shao-chen-hong-shou-220222","花鸟草虫写生册-幽禽独梢",[23,7,24,51,100,26,27,102,84,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F076fc7fd7d0fb1d59b537232e080a332.jpg",[],{"id":33336,"slug":33337,"title":33338,"dynasty":46,"author":3150,"museum":151,"description":28808,"tags":33339,"thumbUrl":33340,"material":34,"size":28811,"collection":122,"collections":33341,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":62},219141,"yang-zhou-si-jing-tu-ping-gang-yan-xue-yuan-yao-219141","扬州四景图-平岗艳雪",[7,24,75,855,27,77,81,78,28,278,82,1357,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39289767d24a1f12e61192f187a0e686.jpg",[],{"id":33343,"slug":33344,"title":33345,"dynasty":114,"author":181,"museum":20,"description":33346,"tags":33347,"thumbUrl":33349,"material":34,"size":122,"collection":88,"collections":33350,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},218993,"jiang-ji-fan-ying-tu-yi-ming-218993","江矶帆影图","这个构图可能取自李唐《江山小景图》的开篇，其中山和树的笔触比较粗糙，水面没有画出波纹。",[23,24,51,7,277,27,73,75,33348,27889,80,82],"江矶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d811081870c628ebc7c26ba55f12af7.jpg",[88],{"id":33352,"slug":33353,"title":33354,"dynasty":3229,"author":6476,"museum":132,"description":33355,"tags":33356,"thumbUrl":33357,"material":666,"size":122,"collection":122,"collections":33358,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},218173,"da-qian-kuang-tu-ce-5-zhang-da-qian-218173","大千狂涂册-5","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。",[7,24,51,277,510,28,29,118,119,74,3229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7978eaa1d385542137901288fc6bde.jpg",[],{"id":33360,"slug":33361,"title":33362,"dynasty":46,"author":181,"museum":1511,"description":33363,"tags":33364,"thumbUrl":33365,"material":250,"size":122,"collection":122,"collections":33366,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":479},216859,"xi-xiang-ji-tu-ce-24-yi-ming-216859","西厢记图册-24","绿树垂荫覆着半开的竹帘，庭院里湖石嶙峋，花草点缀其间。人物情态宛然：凭栏端坐者衣袂素雅，眸光似含笑意；立者二人相对低语，身形凑近，似有密语相诉；周遭草木扶疏，笔墨细腻勾描枝叶纹理与衣纹流转，淡彩晕染出清润雅致的氛围。画面将西厢故事里才子佳人的幽微情愫藏于细节，每一处景物皆默默诉说着那段古典爱情中的温柔试探与悄然心动，让观者在这一方小天地里，触摸到含蓄深沉的古典浪漫。",[7,24,51,100,27,26,28,29,135,136,1882,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9211cf2606321e2aefdebf9c10e0291.jpg",[],{"id":33368,"slug":33369,"title":33370,"dynasty":46,"author":181,"museum":20,"description":29527,"tags":33371,"thumbUrl":33372,"material":34,"size":122,"collection":122,"collections":33373,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},215200,"sheng-ping-le-shi-tu-ce-3-yi-ming-215200","升平乐事图册-3",[24,7,51,100,26,27,28,383,135,138,136,3068,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a2e97ae38e3111fac1d11afec733c4.jpg",[],{"id":33375,"slug":33376,"title":33377,"dynasty":46,"author":5869,"museum":132,"description":33378,"tags":33379,"thumbUrl":33380,"material":267,"size":122,"collection":122,"collections":33381,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},215104,"tui-bei-tu-ce-4-jiao-bing-zhen-215104","推背图册-4","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,7,24,51,100,27,26,28,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8393a904a422a289521e461aba65b0a5.jpg",[],{"id":33383,"slug":33384,"title":33385,"dynasty":46,"author":2172,"museum":395,"description":33386,"tags":33387,"thumbUrl":33388,"material":267,"size":122,"collection":122,"collections":33389,"showCount":443,"zanCount":40,"manualWeight":40,"mainColor":41},215015,"fang-gu-shan-shui-ce-14-wang-jian-215015","仿古山水册-14","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[23,24,51,7,100,277,73,75,82,278,78,79,81,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b2ef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端严精谨，字势挺拔刚健，笔法精美且富于变化，属于赵书从中晚年风格向极晚年风格过渡的一件佳作。",[23,7,24,51,25,119,118,277,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20c96ff0adeb32d5b02a2720d9315e5.jpg","纵27.5厘米，横144厘米",[123],{"id":33697,"slug":33698,"title":33699,"dynasty":293,"author":33700,"museum":151,"description":33701,"tags":33702,"thumbUrl":33703,"material":250,"size":33704,"collection":123,"collections":33705,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},239583,"yu-he-zi-shu-shi-juan-yu-he-239583","俞和自书诗卷","俞和","《自书诗》卷为俞和自作、自书七言诗8首，描写他拜僧访友、游历山水的情景。 此书中的第一首诗《次陆秀才春日幽坐韵》，俞氏曾不止一次地书写，其所书《杂诗帖》卷中的第一首也是此诗，盖其得意之作，故常为人书之。俞和之书法结体稳妥，功力深厚，学赵孟頫晚年书。陈敬宗在题跋中赞云：“俞紫芝书笔意清婉，姿态风润，盖兼得赵松雪之神魄，至不能辨其真赝，可爱也。” 此诗卷曾经明项元汴、清陈子受等收藏，清乾隆年间入内府。清卞永誉《式古堂书画汇考》、安岐《墨缘汇观》著录。",[23,7,24,51,25,119,118,74,1580,26111,5525,5524,5523,5526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08d9bd33cc189cb73b6b68d58ab20.jpg","纵28.8cm，横216.7cm",[123],{"id":33707,"slug":33708,"title":21316,"dynasty":46,"author":33709,"museum":132,"description":33710,"tags":33711,"thumbUrl":33712,"material":122,"size":122,"collection":122,"collections":33713,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},238950,"shan-shui-ce-ye-zhou-kai-238950","周恺","此作以淡墨轻岚绘就江汀闲景，近岸古木虬曲苍劲，盘根错节间苔痕缀枝，暗蕴残冬余韵。扁舟系于树侧，舟中高士安坐，静对悠悠江流。江面波痕轻漾，远渚浅草隐现，群鸥掠空划破空寂，烟霭晕染处天水相融。题诗呼应画中意境，笔致秀雅简淡，以留白铺就清旷寂寥的氛围，将文人寄情丘壑、安然自适的林下襟怀藏于淡景之中，萧散简远，余韵悠长，尽现山水小品的诗意禅心。",[7,24,51,100,27,26,73,75,80,84,1059,79,28,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d661281e157a77345991571e1d6467e.jpg",[],{"id":33715,"slug":33716,"title":1056,"dynasty":46,"author":22992,"museum":151,"description":22993,"tags":33717,"thumbUrl":33718,"material":342,"size":122,"collection":122,"collections":33719,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},237185,"shan-shui-ce-sun-yi-237185",[7,24,51,100,27,73,75,297,298,135,647,609,201,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F964fa9306cfae7607af1e90144e6216e.jpg",[],{"id":33721,"slug":33722,"title":1056,"dynasty":46,"author":2660,"museum":7613,"description":33723,"tags":33724,"thumbUrl":33725,"material":122,"size":122,"collection":88,"collections":33726,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},236735,"shan-shui-ce-hua-yan-236735","华嵒（1682～1756），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。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[7,24,51,100,277,73,56,890,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ebacb664f2aae0f93f68c6c06d1a97.jpg",[88],{"id":33728,"slug":33729,"title":14299,"dynasty":46,"author":2660,"museum":132,"description":33017,"tags":33730,"thumbUrl":33731,"material":317,"size":907,"collection":122,"collections":33732,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},236007,"hua-hui-tu-ce-hua-yan-236007",[24,7,51,100,27,277,102,198,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b4dd9663bfb3636889292d375983c06.jpg",[],{"id":33734,"slug":33735,"title":33736,"dynasty":46,"author":181,"museum":132,"description":33737,"tags":33738,"thumbUrl":33739,"material":122,"size":122,"collection":122,"collections":33740,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},235667,"yuan-yao-shan-shui-ping-ping-liu-yong-pu-yi-ming-235667","袁耀山水屏-平流湧瀑","此作撷取江南水居之景，远景山峦轻笼烟霭，晕染出空濛悠远之致。山巅双松挺秀如盖，与朱栏山亭相映，山畔飞瀑叠落如碎玉，汇入清溪沿着山涧蜿蜒淌向平湖。\n\n左岸幽轩藏于繁荫翠幄间，与山亭遥遥对坐，凭栏便可尽览天光水色。平湖波平如镜，数艘渔舟静泊水面，将水畔栖居的闲静意趣晕染开来。\n\n画作工写相兼，山石皴擦苍润生姿，林木晕染清润秀雅，设色轻淡柔和，将园林雅致与山水野趣相融，铺展出江南水畔悠然世外的栖居图景，尽显清雅闲逸的诗意氛围。",[7,24,27,73,855,75,77,79,80,81,78,313,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a11aea2d5863fd9ee7ef32eededec.jpg",[],{"id":33742,"slug":33743,"title":33744,"dynasty":67,"author":181,"museum":132,"description":33745,"tags":33746,"thumbUrl":33747,"material":317,"size":907,"collection":122,"collections":33748,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":8621},234935,"zhao-shu-ban-shen-xiang-zhou-yi-ming-234935","赵曙半身像轴","此作以工整写实的笔触描摹帝王容仪，展脚幞头挺括规整，朱红朝服沉穆厚重，尽显九五之尊的威仪。画师精细晕染面部肌理，方正眉眼自带端凝神色，须髯丝丝分明，将帝王内敛持重的气度刻画入微。设色调和古雅，素净背景更衬出人物主体，笔笔恪守院体肖像的严谨法度，于细微处见功底，把帝王肃穆沉静的神态铺陈绢上，是古代帝王肖像中兼具写实性与传神度的工整佳构。",[7,24,51,52,27,28,26,3387,30,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b5e2459d74a974d5c7ae7b0dfee9a4.jpg",[],{"id":33750,"slug":33751,"title":33752,"dynasty":67,"author":14610,"museum":132,"description":33753,"tags":33754,"thumbUrl":33755,"material":317,"size":907,"collection":122,"collections":33756,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},234830,"shan-shui-shan-ye-lan-ying-234830","山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[768,24,51,7,277,75,647,80,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ffc56d629f48afc48a85f98b53415e.jpg",[],{"id":33758,"slug":33759,"title":33760,"dynasty":46,"author":2006,"museum":151,"description":33761,"tags":33762,"thumbUrl":33763,"material":122,"size":122,"collection":122,"collections":33764,"showCount":688,"zanCount":1065,"manualWeight":40,"mainColor":41},234574,"fang-li-ying-qiu-shan-shui-shan-tang-dai-234574","仿李营丘山水扇","清代画家唐岱, 字毓东，号静岩，又号知生、爱庐、默庄。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。唐岱山水画初从焦秉贞",[7,24,51,768,277,27,75,278,82,559,648,154,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca811aeb6574f8f643210f11bbff932.jpg",[],{"id":33766,"slug":33767,"title":19661,"dynasty":114,"author":2868,"museum":151,"description":19662,"tags":33768,"thumbUrl":33769,"material":217,"size":19665,"collection":122,"collections":33770,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},233998,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233998",[7,24,51,100,510,27,28,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7dfb1d4d8ceee81c76bc7a9cf5dfeb.jpg",[],{"id":33772,"slug":33773,"title":33774,"dynasty":46,"author":181,"museum":151,"description":33775,"tags":33776,"thumbUrl":33777,"material":250,"size":26472,"collection":122,"collections":33778,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},233096,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233096","平定苗疆战图册","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[7,24,51,100,27,26,73,28,215,75,77,82,6429,4005,278,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b021a92da1c0a0009270e048b28a75.jpg",[],{"id":33780,"slug":33781,"title":33782,"dynasty":114,"author":181,"museum":151,"description":33783,"tags":33784,"thumbUrl":33785,"material":156,"size":33786,"collection":122,"collections":33787,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":993},233010,"qiu-shu-qu-yu-tu-ye-yi-ming-233010","秋树鸜鹆图页","图绘秋日里一只鸜鹆栖于桐树之上，利爪紧握枝干，扭颈侧目似在谛听。鸜鹆目光锐利，体态丰满，尾翼整洁，羽毛黑亮，而树叶则满布虫蚀，拘挛蜷曲，颜色枯黄。构图奇崛突兀，迥异常品。鸟为纯黑一色，故全身皆用墨染，然不同部位之毛羽的质感、层次均表现无遗，何止“墨分五色”而已！古人墨法之妙于此见之。蚀朽的树叶在画家高超的技法下“化腐朽为神奇”，勾描晕染，层次丰富。中国工笔画常写病叶，原因在此。而此图之叶堪称极致。",[24,7,51,26,27,102,1059,384,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe7bbc63767c997697bb2b3ecdf5479d.jpg","纵25厘米，横26.5厘米",[],{"id":33789,"slug":33790,"title":33791,"dynasty":114,"author":181,"museum":151,"description":33792,"tags":33793,"thumbUrl":33794,"material":156,"size":31493,"collection":122,"collections":33795,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},233009,"xun-qin-fu-zhuo-tu-ye-yi-ming-233009","驯禽俯啄图页","图中一只麻雀立于浅蓝色敞口瓷罐上，低头欲啄罐沿。麻雀身系红绳，绳端拴一圆环，表示已被擒获豢养。麻雀属难以驯化之鸟，画面中的瓷罐内虽有白米，雀却不食，表达了向往自由生活的心愿。画家先以尖细之笔绘出麻雀的轮廓、羽绒，再用浓墨、淡赭点画出翅膀、尾羽和眼目。",[7,24,51,2613,26,27,102,384,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9c3ad61b7c9c60c59b90519bbbb167.jpg",[],{"id":33797,"slug":33798,"title":33799,"dynasty":674,"author":33800,"museum":151,"description":33801,"tags":33802,"thumbUrl":33803,"material":13608,"size":33804,"collection":122,"collections":33805,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},232985,"hua-liu-zun-zhe-xiang-ce-di-shi-ba-na-na-da-mi-da-la-zun-lu-leng-jia-232985","画六尊者像册-第十八纳纳答密答喇尊","卢楞迦","本幅设色画罗汉像。该册画六开,每页均游丝描。款：“卢楞伽进”四字。每页有弘历对题，引首及跋纸第一页，均弘历题写。每页有朱笔梵文书尊者名，宋印及骑缝印均伪项元汴。印记总共176方，引首及对幅上共印22方。该册另有题签一开,字二开。《故一59》",[24,7,100,678,27,28,472,6056,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4051c5e12bca5950235b3643644ec4ff.jpg","纵30cm，横58cm",[],{"id":33807,"slug":33808,"title":33809,"dynasty":114,"author":1216,"museum":260,"description":33810,"tags":33811,"thumbUrl":33812,"material":33813,"size":33814,"collection":122,"collections":33815,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},232631,"xiao-jing-tu-juan-bai-miao-tu-li-gong-lin-232631","孝经图卷(白描图)","《孝经图》水墨绢画，被一致公认为是李公麟1085年绘真迹。此卷后有南宋汗漫翁题跋，明董其昌四次题跋，清代毕沅六次题跋。其他明清人题跋十五人，还有晚清重臣李鸿章一跋。作者是依据《孝经》经义，所绘十五段的图说式画卷，以行楷书方式书写《孝经》内容，在以线描笔法绘写配图，书画合璧。\n李公麟（公元1049~1106年）北宋画家。字伯时，号龙眠居士，舒州（今安徽潜山）人。好古博学，喜藏钟鼎古器及书画。宋神宗熙宁年间中进士，官至朝奉郎。居京师十年，不游权贵之门，以访名园荫林为乐。其天赋极高，又博学勤业，书法飘逸具晋人风韵，擅画人物、山水，尤精画鞍马，更以白描画法独步当世，被评者推为宋画第一。《孝经图》是北宋著名画家李公麟在约1085年创作的绢本水墨画。该画以《孝经》为内容配以插图，充分展现了李公麟绘画和书法的雄厚功底。",[23,7,24,51,25,510,28,75,861,77,81,74,118,2044,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1137c51b1df595b6c25246f4b4866b.jpg","水墨绢画","21.9 x 475.6 cm",[],{"id":33817,"slug":33818,"title":33819,"dynasty":674,"author":181,"museum":132,"description":33820,"tags":33821,"thumbUrl":33822,"material":611,"size":33823,"collection":122,"collections":33824,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},232271,"nie-pan-tu-yi-ming-232271","涅磐图","涅槃（巴利语：निब्बान Nibbāna；梵语：निर्वाण Nirvāṇa），佛教术语，合文作𢌽，又译为泥洹、涅槃那、涅盘那、泥盘那、昵缚男，意译为熄灭、灭、灭度、寂灭、无为、解脱、自在、安乐、不生不灭等，新译作般涅槃（巴利语：pari-nibbāna，梵语：pari-nirvāṇa），又译为般泥洹、波利昵缚男、入灭、入灭度、圆寂。佛教教义认为涅槃是将世间所有一切法的自体性都灭尽的状态，所以涅槃中永远没有生命中的种种烦恼、痛苦，上座部佛教的见解是从此不再受后有，也就是不再有下一世的六道轮回。这个术语最早源自于古印度婆罗门教，当时众说纷纭。佛教认为外道无法实证何谓涅槃，在无佛教的时代只有佛和辟支佛可以亲证涅槃。释迦牟尼菩萨降生后，出家成佛转法轮，教导弟子佛法，才开始有声闻圣弟子四果阿罗汉实证涅槃。佛陀和阿罗汉舍寿后，会取证无余涅槃界，进入不生不灭状态，也称为涅槃，一般更常用般涅槃（意思是“进入涅槃灭度”，即“入灭”）表达，意思是肉身死亡后，进入不生不灭的涅槃状态。时至今日，当有佛教上师、沙门、比丘、比丘尼等修行者过世时，许多人会尊称他们涅槃了。大乘见地是佛菩萨能在涅槃中同时度众生，佛菩萨的涅槃叫“无住涅槃”",[23,24,7,678,27,26,28,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36001c315841694e4c562c3be81f2ce2.jpg","216x179.4厘米",[],{"id":33826,"slug":33827,"title":33828,"dynasty":1383,"author":25246,"museum":132,"description":33829,"tags":33830,"thumbUrl":33831,"material":317,"size":907,"collection":122,"collections":33832,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},230503,"shi-ting-shi-dai-si-ji-shan-shui-tu-qiu-xue-zhou-230503","室町时代 四季山水图（秋）","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,7,24,52,27,75,77,82,3037,3096],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc400973487eafe8b6a86e5eafe93c0.jpg",[],{"id":33834,"slug":33835,"title":33532,"dynasty":67,"author":33836,"museum":132,"description":13767,"tags":33837,"thumbUrl":33838,"material":317,"size":907,"collection":122,"collections":33839,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},228899,"shan-shui-tu-shan-mian-qian-gu-228899","钱谷",[7,24,51,768,277,27,73,75,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8fe0f246adff8469cb479bfc8b1f0cf.jpg",[],{"id":33841,"slug":33842,"title":33843,"dynasty":67,"author":181,"museum":132,"description":33844,"tags":33845,"thumbUrl":33846,"material":122,"size":122,"collection":122,"collections":33847,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},228797,"song-xia-fu-qin-tu-ye-yi-ming-228797","松下抚琴图页","松荫之下，皓首老翁席地而坐，凝神抚琴，垂眉静气间似将襟怀尽寄弦上。侧旁童子煨炉候立，青烟袅袅晕开夜色，与林间半露残月相映成趣。清辉漫过苔色坡岸，将山野的空阔静穆晕染得愈发幽寂。\n\n全幅设色清雅古淡，线条简逸空灵，以极简笔墨铺陈出林下雅集的幽旷意趣，将文人寄情山水、以琴明心的林下襟怀尽显无余，暗合尚简尚淡、追慕古意的审美意趣，悠悠古韵漫溢纸面，引人沉醉。",[23,24,7,51,100,27,26,28,1059,1570,31,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fc3b17d6c207455e34cbf09781ad9e.jpg",[],{"id":33849,"slug":33850,"title":33851,"dynasty":67,"author":33852,"museum":132,"description":33853,"tags":33854,"thumbUrl":33864,"material":122,"size":122,"collection":122,"collections":33865,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},228389,"xu-jing-yang-yi-ju-cui-zi-zhong-228389","许旌阳移居","崔子忠","此作用高远章法铺陈，上层危崖嵯峨，飞瀑垂落，秋木虬曲点缀其间，清寂高古。中层为画面核心，仙众环侍主角，衣纹细劲如游丝，设色雅静沉凝，人物神态安然超脱，尽显道骨仙风。下层童仆往来搬运，身形灵动，为幽寂山水添上几分鲜活意趣。\n\n全图工写相济，山石勾勒皴染兼具，林木敷色雅致淡和，将仙隐迁居的出尘意境晕染透彻，笔意内敛醇厚，把叙事感与山水清逸融为一体，尽显晚明人物画的高雅典致。",[23,24,7,52,1045,497,33851,33855,33856,26,33857,33858,33859,27,7853,427,33860,278,429,33861,33862,33863],"仙隐迁居","道释题材","工写相济","皴染","游丝描","秋木","道骨仙风","清寂高古","出尘意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a52147b095678beb4349cffd858869e.jpg",[],{"id":33867,"slug":33868,"title":33869,"dynasty":67,"author":181,"museum":132,"description":33870,"tags":33871,"thumbUrl":33874,"material":122,"size":122,"collection":122,"collections":33875,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},228381,"ming-xuan-zong-ma-shang-xiang-zhou-yi-ming-228381","明宣宗马上像轴","画面中帝王骑乘骏马缓行，明黄官袍衣袂微曳，神态从容悠然，尽显松弛闲适的帝王气度。骏马昂首扬蹄，身姿矫健灵动，将驰行动感完美呈现。\n\n背景浅沙平滩之上，芦荻随风轻摆，水鸟掠沙振翅，烘托出郊野清旷疏朗的意趣。整作设色柔和古朴，工细雅致，人物鞍马刻画写实精准，兼具肖像纪实性与山水画的淡远意境，将宫廷驰游的闲逸图景晕染恰到好处，是明代鞍马人物画的精妙之作。",[7,24,51,52,27,26,28,215,84,33872,3036,11929,6292,33873],"芦荻","鞍马人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F845b19d053221e30bd84e4eca72a4d5f.jpg",[],{"id":33877,"slug":33878,"title":33879,"dynasty":293,"author":4125,"museum":132,"description":33880,"tags":33881,"thumbUrl":33882,"material":122,"size":122,"collection":122,"collections":33883,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},228052,"yi-mu-yu-fu-tu-juan-bai-miao-quan-juan-wang-zhen-peng-228052","姨母育佛图卷白描全卷","此作为白描神品，线条劲挺匀细如春蚕吐丝，流畅自然。将育佛场景铺陈得细腻入微，人物衣袂褶皱流转灵动，发丝、璎珞等细节毫厘毕现，尽显对线条的极致把控能力。\n\n画面叙事悠然，姨母的温婉慈爱，幼佛的沉静安然，侍从的恭谨神态跃然纸上，场景层次分明，静谧祥和的宗教氛围扑面而来。全卷未施丹青，仅以浓淡变化的墨色便勾勒出织物的柔软、金属的冷硬，将宗教题材的庄严与俗世温情完美融合，尽显白描的高深造诣，是古典线描宗教人物画的上乘之作。",[23,7,24,51,25,678,510,28,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9d0065345992856348ca48994de99e.jpg",[],{"id":33885,"slug":33886,"title":33887,"dynasty":114,"author":33888,"museum":132,"description":33889,"tags":33890,"thumbUrl":33891,"material":122,"size":122,"collection":122,"collections":33892,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},227957,"tian-tai-shi-qiao-luo-han-tu-zhou-chang-ji-lin-ting-gui-227957","天台石桥－罗汉图","周常季、林庭珪","此作画境清寂出尘，飞瀑垂泻于危崖之间，古木横生为桥，连通绝险山径。下方三罗汉神态各殊，或抬首凝神远望云端仙侣，或侧身静听，衣纹以铁线描勾勒，敷色调和古雅，将僧者的肃穆憨态刻画入微。\n\n远景云气翻涌，琼楼半隐烟岚，虚实相映衬出凡尘寻仙的幽远意境。画作将禅意融于山水丘壑，人物点缀林泉之间，罗汉的沉静好奇与云山缥缈相融，尽显清逸禅韵，把世外寻仙的悠远意趣藏于笔墨之中，雅致空灵，余味悠长。",[23,24,7,51,27,26,678,28,75,278,313,4907,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd599052eea77d54ae9e6e164b8670b7.jpg",[],{"id":33894,"slug":33895,"title":33896,"dynasty":114,"author":23921,"museum":132,"description":33897,"tags":33898,"thumbUrl":33899,"material":122,"size":122,"collection":122,"collections":33900,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},227945,"yue-xue-ning-su-qi-jue-tuan-shan-yang-huang-hou-227945","瀹雪凝酥七绝团扇","此作笔致清婉端丽，点画匀停秀雅，自带雍容静和之气。诗作咏叹秋日桂与蔷薇，墨色沉静古雅，与泛黄绢本相融，晕开宋人风雅意趣。\n字里行间带着娴静的宫廷意韵，起收笔温婉雅致，结体舒展匀停，既有唐楷的端整法度，又暗合行书的灵动意趣，将宋诗的清隽意境，融于笔墨之中。朱红古印错落排布，与墨色、古绢相得益彰，尽显雅致的文人赏玩之态，把秋日幽居赏景的闲淡心境，藏进娟秀笔墨里，是宋韵书法小品里精巧动人的佳作。",[23,7,24,51,768,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc166f2bbfc37bdd49a9365eb4b90133.jpg",[],{"id":33902,"slug":33903,"title":33904,"dynasty":114,"author":181,"museum":132,"description":33905,"tags":33906,"thumbUrl":33907,"material":122,"size":122,"collection":122,"collections":33908,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},227907,"qiu-ting-shui-qin-tu-yi-ming-227907","秋汀水禽图","此作以淡寂秋意为骨，绘汀洲水畔之景。枯槎斜出，疏枝带寒，间有柔柯缀着残叶，与岸侧泛红的小花相映，暗显秋深的枯荣之态。水面空濛留白，漾着浅淡水纹，两只水禽正悠游啄饮，翎羽蓬松宛然，意态闲适。天际一羽孤鹤掠空，枝头还宿着小禽，动静之间，将秋日水汀的清寂悄然铺展。\n\n笔触兼用工写，禽鸟刻画精细入微，草木枝梢写意见韵，以小尺幅晕染出辽远空阔的江天秋意，把幽境雅趣藏于方寸之间，淡而有味，余韵悠长。",[23,7,24,27,26,2290,16080,82,649,56,84,3037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35baab3884004df1c48bee2955d8c10.jpg",[],{"id":33910,"slug":33911,"title":33912,"dynasty":114,"author":181,"museum":132,"description":33913,"tags":33914,"thumbUrl":33915,"material":122,"size":122,"collection":122,"collections":33916,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},227894,"hu-ting-you-lan-tu-yi-ming-227894","湖亭游览图","这幅小品以圆框取景，铺展出一片幽寂湖山。澄澈湖面托着水畔亭台，飞檐翘角掩映在葱郁林木间，隐约可见亭边悠游的人影，将游园的闲散意趣藏在细节里。\n\n远山以淡墨晕染，轻笼在如烟暮色中，与近景亭台的精工刻画形成虚实对照，层层晕开江南湖山的清旷含蓄。整体色调古雅沉静，笔意简淡秀润，没有繁复皴擦，却将水色空濛、林影幽深的氛围感烘托尽致，仿佛能窥见千年前的临水凭栏，偷得浮生半日闲的悠然意境，尽显以小见大的雅致情致。",[23,7,24,51,768,855,26,27,75,81,82,28,77,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dde8b70cacf16880e6a0c9d4be81a8c.jpg",[],{"id":33918,"slug":33919,"title":33920,"dynasty":114,"author":181,"museum":132,"description":33921,"tags":33922,"thumbUrl":33923,"material":122,"size":122,"collection":122,"collections":33924,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},227851,"shan-ju-dui-yi-tu-yi-ming-227851","山居对奕图","此作以边角取景，尽显空灵淡远的韵致。右侧山居隐于苍松荫翳之下，屋舍素朴雅致，藏着林泉高隐的闲趣。古松虬曲苍劲，墨色苍润勾勒出老干新枝的清劲姿态，左侧松枝斜出，与右侧景致遥相呼应。\n\n大片留白晕染出烟岚空濛的远山，虚渺朦胧如幻似真。设色淡雅清润，水墨晕染出江南山霭的柔婉，尺幅之间铺陈出世外幽居的恬然意境，将林泉高致藏于简淡取景之中，于方寸间见天地悠远，尽显山水小品以小见大的隽永之美。",[23,7,24,51,768,27,73,75,135,81,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe44c22249e2b9611ed2dc25841e8fab.jpg",[],{"id":33926,"slug":33927,"title":29664,"dynasty":114,"author":631,"museum":132,"description":33928,"tags":33929,"thumbUrl":33930,"material":122,"size":122,"collection":122,"collections":33931,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},227738,"shen-pin-tu-li-song-227738","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,7,51,768,855,27,26,75,77,28,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4d68682181dca7241b159da51e2ccc.jpg",[],{"id":33933,"slug":33934,"title":33935,"dynasty":114,"author":1216,"museum":132,"description":33180,"tags":33936,"thumbUrl":33937,"material":122,"size":122,"collection":122,"collections":33938,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},227603,"wo-long-shan-tu-san-li-gong-lin-227603","卧龙山图三",[23,7,24,51,510,27,73,75,313,28,281,82,280,5607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86cf7dfa3ac26e73c0d8e4ff415bef90.jpg",[],{"id":33940,"slug":33941,"title":33942,"dynasty":114,"author":181,"museum":132,"description":32351,"tags":33943,"thumbUrl":33944,"material":122,"size":122,"collection":122,"collections":33945,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},227359,"liu-xi-yuan-yang-tu-ye-yi-ming-227359","柳溪鸳鸯图页",[23,7,24,768,27,26,1478,2501,969,84,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa830ca8abe60aea47e38b08368f2e9c6.jpg",[],{"id":33947,"slug":33948,"title":33949,"dynasty":674,"author":181,"museum":1514,"description":3679,"tags":33950,"thumbUrl":33951,"material":317,"size":907,"collection":122,"collections":33952,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},226171,"ku-qian-shi-bei-bi-yi-ming-226171","窟前室北壁",[7,677,6389,27,28,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b2c0d46c1ad7ea290d8de24d0a900a.jpg",[],{"id":33954,"slug":33955,"title":33956,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":33957,"thumbUrl":33959,"material":317,"size":907,"collection":3417,"collections":33960,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},225973,"le-pave-de-chailly-1865-mo-nai-225973","Le Pavé de Chailly, 1865",[7,3410,4035,27151,9664,30012,82,4731,33958,5422,24145,11704,1714],"落叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e64f87bf1a651c620e0cebe294458d.jpg",[3417],{"id":33962,"slug":33963,"title":33964,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":33965,"thumbUrl":33971,"material":317,"size":907,"collection":3417,"collections":33972,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},225950,"houses-of-parliament-stormy-sky-1903-mo-nai-225950","Houses of Parliament, Stormy Sky, 1903",[7,4035,3410,33966,21694,24144,861,21697,649,8965,14127,171,33967,33968,33969,33970],"光影变幻","风云变幻","光线捕捉","色彩交织","城市景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2488e5e1e821531604ec8f592b9b8ff.jpg",[3417],{"id":33974,"slug":33975,"title":33976,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":33977,"thumbUrl":33978,"material":317,"size":907,"collection":3417,"collections":33979,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":479},225841,"the-cottage-may-fan-gao-225841","The cottage (May - )",[7,3410,437,647,28,13316,8965],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127a11173f23d433505b94c0f575af4d.jpg",[3417],{"id":33981,"slug":33982,"title":33983,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":33984,"thumbUrl":33988,"material":317,"size":907,"collection":3417,"collections":33989,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":479},225828,"the-dance-hall-in-arles-1888-fan-gao-225828","The Dance Hall in Arles 1888",[7,3410,3411,27246,33985,15952,33986,27259,28,9501,684,33987,19260,7825],"粗犷笔触","舞厅","动态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac917e4a97038284307323705bda8eb.jpg",[3417],{"id":33991,"slug":33992,"title":33993,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":33994,"thumbUrl":33995,"material":317,"size":907,"collection":3417,"collections":33996,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},225799,"rain-1889-fan-gao-225799","Rain 1889",[7,3410,3411,12793,5013,29389,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e6c6827ec14e6fa868ddfeaecf6b1e.jpg",[3417],{"id":33998,"slug":33999,"title":34000,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":34001,"thumbUrl":34006,"material":317,"size":907,"collection":3417,"collections":34007,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":479},225764,"head-of-a-woman-november-january-fan-gao-225764","Head of a woman (November - January )",[7,3410,28,11400,30011,10067,34002,30869,6292,34003,34004,34005,16855,13424],"笔触粗犷","深色背景","衣物","表现性笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59029dcdc390e39ace6f8619be8dd5b.jpg",[3417],{"id":34009,"slug":34010,"title":34011,"dynasty":114,"author":181,"museum":132,"description":34012,"tags":34013,"thumbUrl":34014,"material":122,"size":122,"collection":122,"collections":34015,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},223623,"hua-shi-cao-chong-tu-yi-ming-223623","花石草虫图","此作用笔精微细腻，构图取舍精妙，折枝花倚顽石而生，柔媚与苍劲相映成趣。粉红花瓣以淡彩晕染，瓣尖轻着白粉，将盛放之姿描摹得楚楚动人，叶片脉络清晰可见，带着鲜活水润的质感。顽石以枯笔勾勒皴擦，嶙峋纹理尽显硬冷苍古，和花草的柔润形成鲜明对照。\n\n画中诸般小生灵皆栩栩如生：蜥蜴探首曳尾，似正蹑足穿行；蜗牛静附石上，蜷壳悠然；飞蜂悬于空中，振翅之态仿佛可闻轻响。整体设色浅淡清和，墨色层次丰富，将郊野一角的生机定格，藏着细腻观照万物的心意，于平朴之中尽显雅致生趣。",[23,24,7,26,27,102,56,263,199,28750],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389a4324e39851ec48a8bf5727886c77.jpg",[],{"id":34017,"slug":34018,"title":6417,"dynasty":114,"author":181,"museum":132,"description":34019,"tags":34020,"thumbUrl":34021,"material":122,"size":122,"collection":122,"collections":34022,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},223595,"pan-che-tu-yi-ming-223595","“盘车图”题材常见于传统绘画作品，通常描写人力、畜力车辆行进出盘曲的山路间，或运粮、运货，或载人涉渡。\n此图描绘盘曲艰险的山间栈道上，脚夫们赶着黄牛驾车奋力上坡。\n向屋后眺望，林木尽头是无数的山峦烟岫。\n图中以苍浑粗括的笔墨勾勒山峰树石，风格沉郁，山石的画法受郭熙的影响，是宋人无款画中的杰作。\n【名称】盘车图 【作者】佚名 盘车图—— 轴，绢本设色，纵19厘米，横49.5厘米",[23,7,24,51,52,26,73,277,27,75,77,278,82,28,27102,315,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd204e4e2690ab8ea1c2e1bad1290acde.jpg",[],{"id":34024,"slug":34025,"title":32788,"dynasty":114,"author":181,"museum":151,"description":27871,"tags":34026,"thumbUrl":34027,"material":736,"size":34028,"collection":122,"collections":34029,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},223590,"fan-qi-tu-yi-ming-223590",[23,7,24,51,25,26,27,28,215,17598],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792f8737e0cca0585a895623b1b869be.jpg","27.4x127",[],{"id":34031,"slug":34032,"title":34033,"dynasty":293,"author":181,"museum":132,"description":34034,"tags":34035,"thumbUrl":34036,"material":317,"size":907,"collection":122,"collections":34037,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},223554,"shen-shan-ta-yuan-tu-ye-yi-ming-223554","深山塔院图页","原为团扇,试变其章法,略师其笔意。未知能得董巨幽淡天真之境否。",[23,24,7,51,100,27,73,75,77,4165,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89109ce6e6723a87ee1887eb4a597da7.jpg",[],{"id":34039,"slug":34040,"title":34041,"dynasty":114,"author":181,"museum":260,"description":34042,"tags":34043,"thumbUrl":34044,"material":217,"size":34045,"collection":122,"collections":34046,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},223535,"jiang-cun-tu-yi-ming-223535","江村图","图绘江水平缓，江上一叶扁舟，舟子撑杆而行。两岸绿树成林，屋舍隐隐。",[23,7,24,51,75,27,73,79,80,1059,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb83e60ab9c09c2a0483f69fb55353f.jpg","24.1x25.4",[],{"id":34048,"slug":34049,"title":34050,"dynasty":293,"author":181,"museum":20,"description":34051,"tags":34052,"thumbUrl":34054,"material":267,"size":34055,"collection":122,"collections":34056,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},223363,"jia-he-tu-zhou-yi-ming-223363","嘉禾图轴","古时以农业为主，稻生双穗，或稻产丰收，是一种祥瑞，也称之为嘉禾。 画中这一丛稻长得比一般的稻子高大，茎叶茂盛，稻穗饱满沉重，显现出丰收的预兆。在用笔上，除稻穗外，都用花青和赭石以没骨法染画而成。嘉禾顶立在画幅中央，构图非常单纯，主题强烈，有著简朴而新顷之感。",[24,51,7,4477,52,27,26,34053,20413],"禾苗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d87598008164e5b421594bb0b941400.jpg","190.2x67.9公分",[],{"id":34058,"slug":34059,"title":34060,"dynasty":114,"author":181,"museum":151,"description":34061,"tags":34062,"thumbUrl":34063,"material":217,"size":34064,"collection":122,"collections":34065,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},223337,"wu-jiu-wen-qin-tu-yi-ming-223337","乌桕文禽图","图为雪侯河所写，天色阴沉，老梅初出。 树栖带状鸟有明亮而腐烂的羽毛。 自制的图画和家禽文字，大多是在明媚的春光下。 这独特的画面与冬天的杀戮场景形成了鲜明的对比，极为巧妙。 树下溪流湍急，水花四溅，岸边的岩石上都被雪覆盖着。 画家以水墨染天空，以白粉表现雪，以白力描绘流水，气势磅礴。 河岸的独特表现是强大的。 岩石和水的侵蚀形成的蜂窝形状是另一种前所未有的创新方法。",[23,7,24,51,102,26,27,647,710,79,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2250b3999f22bfd04a74cdeb074f66.jpg","27.5x26.9厘米",[],{"id":34067,"slug":34068,"title":9040,"dynasty":46,"author":5869,"museum":151,"description":34069,"tags":34070,"thumbUrl":34071,"material":122,"size":9045,"collection":122,"collections":34072,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},223218,"geng-zhi-tu-ce-jiao-bing-zhen-223218","《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。",[7,24,51,100,26,27,855,28,77,560,82,755,559,8903,12947],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a7d23a4022a2082587574e5d05a51e.jpg",[],{"id":34074,"slug":34075,"title":24953,"dynasty":67,"author":34076,"museum":20,"description":34077,"tags":34078,"thumbUrl":34079,"material":217,"size":34080,"collection":122,"collections":34081,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},222443,"chun-shan-tu-zhou-lin-guang-222443","林广","溪山深邃处。临水筑榭。青松卓然高立。山坳处。春花怒放。士人于此静坐。享受着无限的春光。此图用笔方劲。以刚硬之气。画妩媚春景。亦别具一格。\n林广（明末清初），广陵人，是久居金陵的职业画家。山水、人物初学宫廷画家李在（？-1431）与蓝瑛，居金陵后，融入了金陵画派地域画风的时潮，发展出典型的金陵面目。作为职业画家，林广的绘画能力很强，金陵各种风格都有涉猎，既有类似吴宏、高岑一路的山水风格，亦有接近武丹的面目（《上元县志》版“金陵八家”即有武丹）。",[7,24,51,52,277,73,75,2221,278,82,313,559,5607,28,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117261838ffba9ce00a6cadb6ef82d48.jpg","182.8x103.8厘米",[],{"id":34083,"slug":34084,"title":34085,"dynasty":67,"author":10910,"museum":507,"description":34086,"tags":34087,"thumbUrl":34090,"material":250,"size":34091,"collection":88,"collections":34092,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":62},222382,"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[23,24,51,7,52,510,26,277,28,678,609,3195,201,711,680,34088,34089,10914],"尊者","念珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","52.8x117.8",[88,286],{"id":34094,"slug":34095,"title":34096,"dynasty":67,"author":34097,"museum":20,"description":34098,"tags":34099,"thumbUrl":34100,"material":27,"size":34101,"collection":122,"collections":34102,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},222320,"qian-li-jiang-cheng-tu-juan-1-zhou-long-222320","千里江程图卷-1","周龙","周龍（明熹宗天啟一年（1621））",[7,24,51,25,277,73,75,82,313,278,279,79,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5e82d606bd4790ed080e73a7e5d886.jpg","该幅32.2x825.7厘米，隔水一11厘米，隔水二10.4厘米",[],{"id":34104,"slug":34105,"title":34106,"dynasty":67,"author":29478,"museum":212,"description":34107,"tags":34108,"thumbUrl":34109,"material":250,"size":34110,"collection":123,"collections":34111,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},222058,"guo-pu-you-xian-shi-zhang-rui-tu-222058","郭璞游仙诗","此为张瑞图草书节录晋代郭璞的《游仙诗》之三首及梁简文帝萧纲《仙客诗》，文字与原诗略有出入。",[23,7,24,51,25,118,119,2755,277,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684b2fc238586d292dcccf947ab9fbf9.jpg","纵28厘米，横540厘米",[123],{"id":34113,"slug":34114,"title":15012,"dynasty":67,"author":34115,"museum":195,"description":34116,"tags":34117,"thumbUrl":34118,"material":250,"size":34119,"collection":122,"collections":34120,"showCount":688,"zanCount":40,"manualWeight":40,"mainColor":41},221928,"za-hua-ce-guo-xu-221928","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,7,24,51,277,510,368,28,647,5314,1167,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1b76eeeb2eeb356c8d3f1ed37d35a.jpg","纵28.5 厘米横46.5 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《书.舜典》：“帝曰：‘契(Xiè)，百姓不亲，五品不逊，汝作司徒，敬敷五教，在宽。’” 《诗.商颂.玄鸟》：“天命玄鸟，降而生商。”《史记.殷本纪》：“殷契(Xiè)，母曰简狄，有娀氏之女，为帝喾次妃。三人行浴，见玄鸟堕其卵，简狄取吞之，因孕生契(Xiè)。”",[768,24,7,51,277,75,425,1737,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db2960a2de25a616e7f1a70b076637a.jpg",[],{"id":34581,"slug":34582,"title":34583,"dynasty":46,"author":181,"museum":151,"description":34584,"tags":34585,"thumbUrl":34587,"material":156,"size":34588,"collection":36,"collections":34589,"showCount":359,"zanCount":1065,"manualWeight":40,"mainColor":41},236163,"xuan-ye-rong-zhuang-xiang-zhou-yi-ming-236163","玄烨戎装像轴","画面中帝王戎装卓立，铠甲纹饰工细鲜明，金饰点缀尽显庄重威仪，背负箭矢，尽显弓马本色。四名侍从神态恭谨，错落随侍，衬出帝王尊崇地位。苍松虬劲古朴，枝桠舒展，皴染细腻，留白晕染出郊野空阔悠远的氛围。\n\n整幅设色明丽沉稳，线条流畅工致，写实兼具意境。既精准复刻人物服制仪态细节，又借古松烘托帝王沉雄气魄，将帝王的武略风采与肃穆仪范定格绢素，是清代纪实肖像画的精妙之作。",[7,24,52,9899,1045,27,26,6292,3486,9991,4078,34586,3036],"戎装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3c2d5aba305219ef7e7053ae7f0bc1.jpg","纵256.1厘米， 横116.8厘米",[36,90],{"id":34591,"slug":34592,"title":34593,"dynasty":46,"author":34594,"museum":132,"description":34595,"tags":34596,"thumbUrl":34597,"material":317,"size":907,"collection":122,"collections":34598,"showCount":359,"zanCount":40,"manualWeight":40,"mainColor":41},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》。",[7,24,51,52,27,72,75,21526,10068,425,279,77,18262,865,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394c68e5371d1d18bade07de8bda33fd.jpg",[],{"id":34600,"slug":34601,"title":1056,"dynasty":46,"author":17530,"museum":132,"description":34602,"tags":34603,"thumbUrl":34604,"material":122,"size":122,"collection":122,"collections":34605,"showCount":359,"zanCount":40,"manualWeight":40,"mainColor":41},236048,"shan-shui-ce-wang-yuan-qi-236048","此作用高远、平远之法铺展全景，危崖壁立，山峦层叠，兼具雄奇与秀润。以干笔积墨皴擦山石，笔力苍劲浑厚，披麻皴带着古拙意趣，草木点染清润雅致，笔墨兼具苍浑与秀灵。溪谷水泽蜿蜒环合，村居错落隐于林木扶苏间，林泉幽寂之趣尽显，将山川的沉厚生机与文人隐逸的林泉高致相融，既有宋元山水的古雅气韵，又自出机杼，把山林丘壑的静穆清远和文人画的淡逸情致揉为一体，尽显正统山水的精雅格调。",[7,24,51,100,27,73,75,297,298,78,82,559,278,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398f307ac5b06d1d91c7c226dd735337.jpg",[],{"id":34607,"slug":34608,"title":34609,"dynasty":46,"author":34610,"museum":132,"description":34611,"tags":34612,"thumbUrl":34613,"material":317,"size":907,"collection":122,"collections":34614,"showCount":359,"zanCount":1065,"manualWeight":40,"mainColor":41},235117,"shan-shui-shan-mian-huang-yuan-jie-235117","山水扇面","黄媛介","黄媛介，字皆令，浙江嘉兴人，出身儒士之家，生活于明清鼎革之际，在世俗、女德与生计的多重挤压下，或鬻书画，或师闺塾，在风云幻化的江南大地上为养家糊口而羁旅转徙，与名卿士大夫、与名媛闺秀交往酬唱，用诗、词、赋的文学样式及山水花卉的绘形写神，淋漓尽致地释放着心灵的感悟，入木三分地抒写着人生感慨。有着金闺兔苑才的黄媛介，其创作独特的社会价值与艺术魅力将咏絮才女谢道韫开创的林下风推向高峰，既彰显着承前启后的因素，也催发着女性意识的觉醒，影响绵远。",[7,24,51,768,16791,277,73,75,135,861,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91474d58e35571bd28c6edbbbb7ef528.jpg",[],{"id":34616,"slug":34617,"title":1056,"dynasty":46,"author":5640,"museum":151,"description":34618,"tags":34619,"thumbUrl":34620,"material":834,"size":34621,"collection":122,"collections":34622,"showCount":359,"zanCount":40,"manualWeight":40,"mainColor":41},235025,"shan-shui-ce-wu-li-235025","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[7,24,51,100,277,27,75,2009,82,80,279,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4512c003399075cc8ca9078c54db47a0.jpg","23.2厘米，横28厘米",[],{"id":34624,"slug":34625,"title":18015,"dynasty":114,"author":181,"museum":151,"description":34626,"tags":34627,"thumbUrl":34628,"material":217,"size":34629,"collection":122,"collections":34630,"showCount":359,"zanCount":40,"manualWeight":40,"mainColor":41},234020,"hong-liao-shui-qin-tu-ye-yi-ming-234020","《红蓼水禽图》是中国美术史上的花鸟画名作，以前人们认为是五代名家徐崇矩所作，或传为宋徽宗赵佶所作。其所绘意境正如诗中所咏：“西风红蓼香，水禽破苍茫。小虾清滩里，涟漪泛斜阳。”此画是典型的宋院体画，手法细腻，形象生动。 水边一枝红蓼，小花盛开。水鸟发现波中青虾，悄然飞落红蓼枝头，引喙而啄。红蓼被水鸟的体重与蹬力压弯，梢头、叶尖浸入水中。而青虾在水中灵活地悠游，对面临的危险浑然不觉。自然界中这惊险的一霎被巧妙地摄入绢素，极为生动传神。水禽和红蓼设色鲜丽，工笔细写。小鸟纤细的毛羽清晰可数，连蓼花粟米大的花冠也用紫红、粉白晕染得一丝不苟，层次分明。而水中的青虾和荇藻则采用模糊的手法表现，唯以淡墨绿一色染成，类似写意画法。因而虽不画水，却水旱两界分明。",[7,24,51,100,26,27,102,384,17647,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd0e66811feaeb67ea3c69d5e352504.jpg","25.2x26.8cm",[],{"id":34632,"slug":34633,"title":9112,"dynasty":46,"author":1567,"museum":151,"description":9113,"tags":34634,"thumbUrl":34635,"material":342,"size":9118,"collection":122,"collections":34636,"showCount":359,"zanCount":40,"manualWeight":40,"mainColor":41},233778,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233778",[7,24,51,100,277,27,75,28,78,79,82,278,279,559,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c18c2805cdb7dbe845a2784a765741.jpg",[],{"id":34638,"slug":34639,"title":34640,"dynasty":114,"author":181,"museum":151,"description":34641,"tags":34642,"thumbUrl":34643,"material":230,"size":34644,"collection":122,"collections":34645,"showCount":359,"zanCount":40,"manualWeight":40,"mainColor":62},233019,"song-yin-ce-zhang-tu-ye-yi-ming-233019","松阴策杖图页","艺术史学家高居翰(James Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。”",[24,7,27,26,75,28,697,135,680,648,4731,22832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5575f00a384fb24df04d011160151d6.jpg","28x28.6厘米",[],{"id":34647,"slug":34648,"title":34649,"dynasty":46,"author":18875,"museum":132,"description":34650,"tags":34651,"thumbUrl":34652,"material":122,"size":122,"collection":122,"collections":34653,"showCount":359,"zanCount":40,"manualWeight":40,"mainColor":41},232697,"shan-shui-xi-shu-dong-cun-tu-ye-fang-cong-232697","山水西墅东村图页","方琮，字黄山，字友璜，号石颠，山水宗黄公望。浙江人。善山水画，从学于张宗苍（1686-1755）深得其传，供奉内廷。\n曾仿画王希孟《江山千里图卷》。",[23,24,51,7,2613,27,73,74,75,78,79,82,559,278,648,280,1996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67d5a6da73eb27662a8d531c4296f62.jpg",[],{"id":34655,"slug":34656,"title":34657,"dynasty":1383,"author":34658,"museum":132,"description":34659,"tags":34660,"thumbUrl":34661,"material":317,"size":907,"collection":122,"collections":34662,"showCount":359,"zanCount":40,"manualWeight":40,"mainColor":993},232506,"he-er-bai-yin-165-he-er-bai-yin-232506","荷尔拜因165","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[7,15788,26626,28,6292,13425,13426,29401,34004,23471,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8b49b984de339ba47e78696103feeb.jpg",[],{"id":34664,"slug":34665,"title":34666,"dynasty":1383,"author":34658,"museum":132,"description":34659,"tags":34667,"thumbUrl":34668,"material":317,"size":907,"collection":122,"collections":34669,"showCount":359,"zanCount":40,"manualWeight":40,"mainColor":993},232348,"he-er-bai-yin-7-he-er-bai-yin-232348","荷尔拜因7",[7,15788,6292,28,30,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde42edb2996979ff5bc07e76e3573000.jpg",[],{"id":34671,"slug":34672,"title":34673,"dynasty":1383,"author":34674,"museum":132,"description":34675,"tags":34676,"thumbUrl":34677,"material":317,"size":907,"collection":122,"collections":34678,"showCount":359,"zanCount":40,"manualWeight":40,"mainColor":41},231663,"shan-shui-shi-yi-tu-juan-ge-chuan-guang-zhong-231663","山水诗意图卷","歌川広重","远景富士山隐在烟霭之中，淡墨晕开水天，浅赭岸渚衔着空蒙烟波，扁舟孤悬，漾开幽远空寂。近湾村落黛瓦层叠，苍松与秋红林木错落相偎，暖调砂岸揉入冷色烟水，将乡居温软与湖山清旷相融。\n\n整体用色清润柔和，以淡彩晕开暮烟朦胧氛围，简淡线条精准勾勒山水层次，把幽玄意趣藏在平远构图中。将秋郊湖村的安闲与远山清寂揉为一处，将寻常乡野晕作一阙淡远秋歌，静穆里漫着松弛悠然的秋意。",[23,7,14273,25,27,497,75,609,559,1012,3115,648,5979,82,861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69334a00861007071920e53a54ebe83a.jpg",[],{"id":34680,"slug":34681,"title":34682,"dynasty":46,"author":34683,"museum":132,"description":34684,"tags":34685,"thumbUrl":34686,"material":122,"size":122,"collection":122,"collections":34687,"showCount":359,"zanCount":40,"manualWeight":40,"mainColor":62},231044,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-231044","仿董源山水图","祁豸佳","此作用笔疏朗秀逸，以高耸奇崛的主峰撑起画面骨架，淡墨勾勒皴擦山石，浓墨苔点醒置其间，尽显苍古浑厚。近岸虬松杂木盘曲苍劲，枝叶俯仰生姿。水畔茅庐之内，二人对坐清谈，衬出幽居林下的雅逸闲情。\n\n画作取法董源平淡天真之韵，又自出机杼，淡墨晕染出空濛烟岚，将江南山水温润静穆之致与文人萧散襟怀相融，简淡之中见苍茫气象，尽显晚明文人画简远疏旷的审美意趣。",[23,24,51,7,52,277,73,154,75,609,278,559,82,28,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35687a3671f968ebd0831c6a02b9d7bd.jpg",[],{"id":34689,"slug":34690,"title":34691,"dynasty":46,"author":2064,"museum":132,"description":34692,"tags":34693,"thumbUrl":34694,"material":122,"size":122,"collection":122,"collections":34695,"showCount":359,"zanCount":40,"manualWeight":40,"mainColor":41},231007,"jing-fu-si-qi-dong-jing-tu-ce-qian-wei-cheng-231007","景敷四气 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晖”四字作为褒奖。时人目为画之正宗，尊称“画圣”。他与王时敏、王鉴、王原祁合称“四王”，又与吴历、恽寿平并称“清初六家”或“四王吴恽”。王翚追随者甚众，因常熟有虞山，故后人将他及其弟子一派称为“虞山画派”。\n王翚自幼嗜画，继承家学，很早便表现出非凡的绘画才能，师从王时敏、王鉴后，境界大进。一生画腊极长，精力旺盛，创作巨富。他笔墨功底深厚，长于摹古，几可乱真，又能不囿成法、师法自然。王翚虽然是职业画家，但与文人政要广泛交往，深受“文人画”精神影响，其山水力作往往构图多变、皴擦得法、格调明快，富有写生意趣及抒情性。王翚创作广采博览，集唐宋以来诸家之大成，于临仿中不断取舍，终能熔“南宗”“北宗”画法于一炉。在全面整理山水画传统技法的基础上，形成了具有个人风格的笔墨特点和概括性的构图法则，并提出“以元人笔墨，运宋人丘壑，而泽以唐人气韵”的论画主张，影响深远。但其晚年的程式化风格也颇为后人诟病，并为“虞山画派”后来的发展埋下了隐患。",[24,51,7,52,277,73,75,53,81,80,278,79,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc40584b392379435fae2f0f0f1741e.jpg","纵129.5cm，横43.3cm",[],{"id":35361,"slug":35362,"title":35363,"dynasty":46,"author":181,"museum":132,"description":35364,"tags":35365,"thumbUrl":35367,"material":317,"size":907,"collection":122,"collections":35368,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},234449,"qing-ren-wei-luo-wa-jin-gang-xiang-zhou-yi-ming-234449","清人威罗瓦金刚像轴","主尊通体钴蓝，正中牛首忿怒威严，九头层叠舒展，十六臂分持诸般法器，环抱明妃，足踏莲台，身缠烈烈背光火焰，将降伏邪魔的怖畏气势拉满。上方诸天护法身姿各异、神态端严，下方铺陈护法眷属与祥瑞地景。\n\n整幅设色浓丽饱满，石青、朱赤与赤金交晕，线条细密流畅，衣饰纹样繁而不乱，尽显精湛工笔造诣。构图层次井然，以炽热色彩烘托出密宗护法的慑人气场，将宗教神性与审美价值融于一体，是藏传佛教造像唐卡的上乘之作。",[7,24,51,52,678,27,26,28,35366,2042,4711],"火焰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ce941e1e260cdb1a2a914e885c88de.jpg",[],{"id":35370,"slug":35371,"title":35372,"dynasty":46,"author":35373,"museum":132,"description":35374,"tags":35375,"thumbUrl":35376,"material":122,"size":122,"collection":122,"collections":35377,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":41},234375,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234375","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[7,24,51,100,27,102,1882,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed3d14cfc337364087a6973bd38032ad.jpg",[],{"id":35379,"slug":35380,"title":3613,"dynasty":46,"author":2660,"museum":7613,"description":31355,"tags":35381,"thumbUrl":35382,"material":3579,"size":31358,"collection":122,"collections":35383,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":41},234315,"hua-niao-ce-hua-yan-234315",[7,24,51,100,277,27,102,56,84,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a71eb4272a0601ceda8e081d8be8f.jpg",[],{"id":35385,"slug":35386,"title":1056,"dynasty":46,"author":2275,"museum":151,"description":35387,"tags":35388,"thumbUrl":35389,"material":834,"size":35390,"collection":122,"collections":35391,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},233975,"shan-shui-ce-gong-xian-233975","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[7,24,277,75,647,56,73,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27e6408d59a0ea66fdea582dbc4ac730.jpg","纵22.2厘米，横33.2厘米",[],{"id":35393,"slug":35394,"title":9112,"dynasty":46,"author":1567,"museum":151,"description":9113,"tags":35395,"thumbUrl":35396,"material":342,"size":9118,"collection":122,"collections":35397,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":41},233775,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233775",[24,51,7,2613,277,119,368,28,278,82,6943,31335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59fcd12bb8e349f58148bff1682a02f.jpg",[],{"id":35399,"slug":35400,"title":35401,"dynasty":67,"author":68,"museum":151,"description":753,"tags":35402,"thumbUrl":35403,"material":156,"size":31446,"collection":122,"collections":35404,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":993},233762,"ren-wu-gu-shi-ce-9-chou-ying-233762","人物故事册9",[7,24,51,100,26,27,75,28,745,215,82,861,74,4711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff150a0f18d24abd56a8a4f1dc7a0f2.jpg",[],{"id":35406,"slug":35407,"title":35408,"dynasty":114,"author":181,"museum":151,"description":35409,"tags":35410,"thumbUrl":35412,"material":156,"size":35413,"collection":122,"collections":35414,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":41},232989,"chui-liu-fei-xu-tu-ye-yi-ming-232989","垂柳飞絮图页","图绘新绿垂柳四枝，袅袅生姿，柳絮似雪飞舞，透露无限春意。画中柳枝用中锋一笔画出；柳叶用细笔勾勒，并填以汁绿；柳絮用白粉信笔点之。全图用笔工整，赋色淡雅。构图疏密得体。上方垂下的柳枝与右侧伸出的柳枝将画面分割成形状不等的四部分，小中见大，引人遐思。图的左上方有宋宁宗皇后杨氏的题诗：“线捻依依绿，金垂袅袅黄”，并钤八卦中的“坤卦”形印。\n对幅有清乾隆皇帝御题诗一首：“庆元有杨后，可是出关西。画自女中佼，书将帝与齐。风枝如向日，雪絮不沾泥。设较谢家句，一筹当让亏。”钤“太上皇帝之宝”、“八徵耄念之宝”、“自强不息”等印。",[7,24,51,100,27,119,74,10478,514,35411],"飞絮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50648bb942303a83842983bab83af9b7.jpg","纵25.8厘米，横26.4厘米",[],{"id":35416,"slug":35417,"title":35418,"dynasty":1383,"author":35419,"museum":132,"description":35420,"tags":35421,"thumbUrl":35438,"material":317,"size":907,"collection":122,"collections":35439,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},232286,"a-er-ma-13-lao-lun-si-a-er-ma-ta-de-ma-232286","阿尔玛13","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[7,3410,27,35422,6292,28,11400,1229,23139,35423,35424,35425,31,35426,35427,35428,35429,35430,35431,35432,35433,35434,35435,8965,648,35436,35437],"古典风格","大理石","玫瑰","花瓣","海景","柱式建筑","石凳","地面瓷砖","花环","豹纹装饰","凉鞋","古式服饰","竖琴","手鼓","石质栏杆","兽头装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48071b240f143c3b94cbda6a7eb5ce20.jpg",[],{"id":35441,"slug":35442,"title":23903,"dynasty":114,"author":4320,"museum":20,"description":35443,"tags":35444,"thumbUrl":35445,"material":611,"size":35446,"collection":122,"collections":35447,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":479},231415,"san-xian-shou-jian-tu-yan-wen-gui-231415","此图原藏清内府钟粹宫，原图无款印，签题“燕文贵二仙授简图”：图描绘世外洞府一处，洞前为一片宽阔的田野，临近洞处为坡岸，碎石横卧，草木和幽篁相间杂牛-在洞前的左侧有几棵古松，树干粗大，向左倾斜生长，枝干曲直向上，树千长有疤节，茂密的枝叶形成浓荫，将其洞府笼罩，洞府前二仙相对而坐，均为道家装束，正面一位年长者以披叶衣，赤足支膝，绾双丫髻，双日凝神，目光视着前方；正面左侧一位头披长发于背部，赤胸支着右腿，右手放置膝部，正在专心聆听对面一位仙者论经说道；正面右侧一位右腿盘坐、左腿支撑，身披道衣绾双髻，手持简册，上体前倾，右手指划，似在论经说道，神情专注，十分投入。\n燕义贵的绘画题材较为广泛，山水最为突出：他画山水不专师法，自成一家，景致多坐，使人有身临其境的感觉，他是一个来自民间的画家，他熟悉并喜爱乡间生活，即使在布局宏大的11．真水画上，也安排各种富于生活情趣的细节：刘道醇《圣朝名画评》说他“初师河东郝惠”，之后“不师于古人，自成一家，而景物万变……，燕家景致无能及者”：燕文贵除擅长山水外，还精于人物画和界画：此《三仙授简图》是他人物画的代表作。\n此图以幽深静寂的洞府为布景，画家用抑朴的线条显示道衣厚实的质感和盘旋褶皱的衣纹，线描笔法劲练，古松数株，也画得坚劲有力：图中人物面部表情，有声有色，特别是前面左边赤胸者，被对面一位手持简册仙人的话语所吸引，聚精会神地凝听着：画家驾驭人物性格，再现特定情境的功力在这一作品中得到充分的表现，树石皆湿笔，松身之鳞，略圈数笔，即以墨水晕染浅深，上缠古藤，其条下垂，用笔极细，若断若续，总之，全图着色淡雅，勾线坚凝而多折，二位仙人姿态各不相同，并在变化错落中达到和谐统一。",[7,24,51,27,26,73,28,75,82,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde1e2940ee2ffd9f620cc4bb8d71b99.jpg","46.3×41.3公分",[],{"id":35449,"slug":35450,"title":35451,"dynasty":46,"author":7849,"museum":20,"description":35452,"tags":35453,"thumbUrl":35454,"material":283,"size":35455,"collection":122,"collections":35456,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},231371,"lin-fan-kuan-xue-shan-tu-wang-hui-231371","临范宽雪山图","从构图上看，中景占大部分画面，主峰和侧峰是由许多山体组成，且几乎没有平远。是清初「四王」的风格。\n山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。是王翚的笔墨特点。\n王翚的笔墨特点：构图学习宋人， 运笔学习元人。由于师承古人学习各类画家笔墨技巧多样化，用笔极灵活。\n早年时期工整俊秀，尖笔，细笔较多。因为学习黄公望，构图上较沉闷。中年以后，在王时敏处遍临古画，技艺集各家技法突飞猛进。将李成，吴镇等的树法，王蒙，黄公望等的皴法交替使用，变化多且运用恰当。繁密精致，峭拔挺秀，渲染皴笔配合恰当。也可以说他是集大成。\n同为「四王」中的王原祁曾评论王翚技巧过熟。因为笔法变化太多，画面缺少统一感。构图繁复，墨色也会缺少变化。",[7,24,51,154,73,277,27,75,4240,278,82,861,1357,647,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","187.7x115.5厘米",[],{"id":35458,"slug":35459,"title":35460,"dynasty":114,"author":181,"museum":20,"description":35461,"tags":35462,"thumbUrl":35463,"material":121,"size":35464,"collection":122,"collections":35465,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},231082,"hua-ying-tu-yi-ming-231082","画鹰图","此作以苍鹰为魂，猛禽踞于古松蟠枝之上，身姿挺拔傲岸，目光锐利如炬，铁爪紧扣虬结老干，将猛禽的悍戾威严尽显无遗。翎毛晕染精细，蓬松质感逼真入微，分毫毕现猛禽风神。\n\n淡墨晕染出空寂背景，衬出古松的苍劲荒疏，整幅画面工致写实，兼具文人意趣，将猛禽英武与古木苍浑相融，尽显精妙造诣，题跋环衬，书画相映，更添古雅厚重的沉静气韵。",[24,51,26,27,1820,647,1821,84,20105,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e583ed5386de66a99ee8f7592775a71.jpg","131.8x65.3",[],{"id":35467,"slug":35468,"title":35469,"dynasty":1383,"author":25246,"museum":132,"description":33829,"tags":35470,"thumbUrl":35471,"material":317,"size":907,"collection":122,"collections":35472,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 四季山水图（春）",[23,24,51,7,52,73,277,27,75,297,135,281,861,648,4282,5607,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":35474,"slug":35475,"title":35476,"dynasty":293,"author":181,"museum":132,"description":35477,"tags":35478,"thumbUrl":35479,"material":122,"size":122,"collection":122,"collections":35480,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},228197,"shuang-ji-ling-er-yi-ming-228197","双鹡鸰儿","此作以极简构图，将双禽落于绢素一隅。淡赭晕染底色，晕出秋意清冷。禽鸟造型写实入微，顶羽敷粉莹润蓬松，羽翼以浓淡墨色分理羽片层次，毫纤毕现。双鸟依偎静立，头颈微侧似聆风听雨，身姿安闲亲昵，尽显野趣温情。\n\n笔法工细却不板滞，禽爪劲挺勾勒，立于浅淡坡岸苔痕之上。画面留白开阔悠远，以虚衬实，将郊野清寂氛围晕染开来，尽显元代花鸟画尚简尚意的韵致，于方寸间藏着自然生灵的脉脉温情，淡远平和，余韵悠长。",[24,7,51,102,26,27,84,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb8fd125436b3f31e05dbfff4eb5db0.jpg",[],{"id":35482,"slug":35483,"title":35484,"dynasty":114,"author":7016,"museum":132,"description":35485,"tags":35486,"thumbUrl":35487,"material":122,"size":122,"collection":122,"collections":35488,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":41},228169,"xi-cheng-tu-juan-qiao-zhong-chang-228169","西成图卷","这擘窠大字笔力雄强苍劲，中锋行笔尽显厚重质感，墨色枯润互见，焦墨的沉凝与飞白的疏朗交织，尽显老辣朴拙的笔意。“西”字端稳周正，收束内敛，“成”字欹侧跌宕，肆意开张，一动一静间暗合尚意的书法风神。\n\n将秋收的沉实喜悦寄于笔墨，寥寥两字气象浑穆，把丰年的安稳厚重藏于笔锋起落之间，尽显功底与文人笔下的质朴意趣。",[7,24,51,25,119,118,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c7089484860a26da93e367d54fd451.jpg",[],{"id":35490,"slug":35491,"title":35492,"dynasty":114,"author":181,"museum":132,"description":35493,"tags":35494,"thumbUrl":35495,"material":122,"size":122,"collection":122,"collections":35496,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":41},227919,"dan-ping-qiu-hui-tu-ye-yi-ming-227919","胆瓶秋卉图页","《宋扇面画胆瓶秋卉图》是宋代佚名画家创作的一幅设色扇面画，现藏于 。\n本幅无款。\n鉴藏印钤“交翠轩印”、“神品”、“子京父印”、“项元汴印”、“项墨林鉴赏章”、“张则之”6方。\n画页左侧题诗：“秋风融日满东篱，万叠轻红簇翠枝。\n若使芳姿同众色，无人知是小春时。\n”此为即景诗，描写瓶中之花轻红淡雅，叠簇于翠枝。\n对幅有清乾隆御题诗一首：“花似菊而红，叶则迥然异。\n自题属冬篱，殊难解用意。\n徒以设色工，选藻许其厕。\n辛亥清和御题。\n”钤 “ ”、“自强不息”、“ ”。\n图中瓶架上置一蓝釉长颈瓶，内插 。\n花朵施以勾勒填色法，花叶用没骨法出之，刻画自然细腻，渲染柔和润泽。\n秋菊艳丽而不失于秀雅，此图为南宋写生画中的优秀作品。",[23,7,24,51,100,26,27,102,1882,55,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46b6b7ac1daeee9117bf4d5b176246.jpg",[],{"id":35498,"slug":35499,"title":35500,"dynasty":114,"author":181,"museum":132,"description":35501,"tags":35502,"thumbUrl":35503,"material":122,"size":122,"collection":122,"collections":35504,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":41},227914,"na-liang-guan-pu-tu-yi-ming-227914","纳凉观瀑图","《宋扇面画纳凉观瀑图》是宋代佚名画家创作的扇面画。\n作品描绘的是清溪一湾，水阁内一人身着白衣袒胸斜坐，乘凉观瀑的场景。\n《宋扇面画纳凉观瀑图》的画面无款印，对幅清朝乾隆皇帝题 一首。\n钤乾隆内府诸收藏印。\n画面钤有石渠宝笈、宝笈重编等印四方，对开钤有 等印玺。\n全画用笔粗豪，画风近李唐一派而有创新。\n曾经清内府收藏。\n此图原载《宋人名流集藻册》，两边石山挟泉水奔腾，重击大石，水花飞溅。\n阁后老树、丛竹葱郁。\n瀑布高悬直下，平中寓险。\n意境恬静清幽。\n对开有清高宗弘历题诗。\n裱边旧题签为燕文贵纳凉观瀑七字，观其画风，与燕氏无涉，显系后人误题。\n此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。\n水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。\n整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[23,7,24,51,26,27,73,75,278,77,313,82,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64712f5a7f4711445c135f242ae95dd1.jpg",[],{"id":35506,"slug":35507,"title":35508,"dynasty":114,"author":181,"museum":132,"description":35509,"tags":35510,"thumbUrl":35511,"material":122,"size":122,"collection":122,"collections":35512,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},227877,"liu-yin-zui-gui-tu-ye-yi-ming-227877","柳荫醉归图页","淡墨晕染出朦胧暮色，岸旁垂柳虬曲柔条拂垂，晕染出郊野空寂慵懒的氛围。画面里二人踉跄前行，袒胸老者脚步虚浮、眉眼惺忪，同伴侧身相挽，将酒后酣醉的神态描摹得鲜活传神。衣纹以简练折线勾勒，灵动写意，袒露的胸腹更添随性不羁之感。细笔点染的苔石杂草，衬出初夏郊野的闲散意趣。\n\n整幅小品以小见大，将市井酒徒的闲散意趣刻画入微，于淡墨轻岚间尽显宋人雅致的日常烟火，把酒后踉跄相依的鲜活模样定格，是极具生活意趣的风俗佳作。",[23,7,24,51,768,277,27,510,28,1478,135,79,6147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07731deb8fe6e8511dbfea680bcab0c.jpg",[],{"id":35514,"slug":35515,"title":35516,"dynasty":114,"author":181,"museum":132,"description":35517,"tags":35518,"thumbUrl":35519,"material":122,"size":122,"collection":122,"collections":35520,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},227345,"que-zuo-tu-yi-ming-227345","却座图","此幅绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。”文帝不悦但理在袁盎，只得纳谏，慎妃也只好悻悻而起。该画侧重表现矛盾化解过程中人物微妙的心理变化。本幅人物描绘生动，开脸俊美，衣纹用笔精诣，傅色雅美。配景树石花草，白鹤雾霭一一描写逼真，代表了宋代院画之极高水准。",[23,7,24,51,27,26,28,82,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d6d8a8b9805c31d51599d5becaab8a.jpg",[],{"id":35522,"slug":35523,"title":35524,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":35525,"thumbUrl":35527,"material":317,"size":907,"collection":3417,"collections":35528,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},226106,"the-red-kerchief-portrait-of-mrs-monet-1873-mo-nai-226106","The Red Kerchief, Portrait of Mrs. Monet, 1873",[3410,4035,13424,9503,35526,1357,4038,7],"窗帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e36bdef3a82a4740bc195dc8129733.jpg",[3417],{"id":35530,"slug":35531,"title":35532,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":35533,"thumbUrl":35537,"material":317,"size":907,"collection":3417,"collections":35538,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},226006,"port-domois-1886-mo-nai-226006","Port-Domois, 1886",[7,3410,4035,27151,35534,6943,35535,35536,5324,746,35426,281],"色彩丰富","海水","礁石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3ecb494f4f6ecfdf596d79f06f7bee0.jpg",[3417],{"id":35540,"slug":35541,"title":35542,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":35543,"thumbUrl":35544,"material":317,"size":907,"collection":3417,"collections":35545,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},225971,"le-jardin-de-ve-theuil-1881-mo-nai-225971","Le Jardin de Vétheuil, 1881",[7,3410,4035,20867,82,756,559,560,27151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7eecd71c3896a7e6223fba68266c25d.jpg",[3417],{"id":35547,"slug":35548,"title":35549,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":35550,"thumbUrl":35551,"material":317,"size":907,"collection":3417,"collections":35552,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},225788,"olive-grove-november-december-fan-gao-225788","Olive grove (November - December )",[7,3410,3411,10067,30012,27,17466,13316,8965,1714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a83fedc068f8104f2b5670e4d5889a2.jpg",[3417],{"id":35554,"slug":35555,"title":35556,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":35557,"thumbUrl":35560,"material":317,"size":907,"collection":3417,"collections":35561,"showCount":565,"zanCount":40,"manualWeight":40,"mainColor":62},225787,"olive-trees1889-fan-gao-225787","Olive 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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[23,7,24,51,678,27,28,35995,6550,11268],"佛祖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2745dfde8da022c5388603d2e1f4287c.jpg",[],{"id":35999,"slug":36000,"title":36001,"dynasty":1383,"author":36002,"museum":132,"description":36003,"tags":36004,"thumbUrl":36005,"material":317,"size":907,"collection":122,"collections":36006,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":62},287659,"shan-shui-tu-ping-feng-er-zhou-wen-287659","山水図屏風二","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[24,7,18507,277,75,609,559,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F153ae9a4d52cfc936e158634dfc01042.jpg",[],{"id":36008,"slug":36009,"title":36010,"dynasty":293,"author":19294,"museum":132,"description":27498,"tags":36011,"thumbUrl":36012,"material":317,"size":907,"collection":122,"collections":36013,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},287551,"qing-chuan-song-ke-tu-zhuang-biao-ban-zhao-yuan-287551","晴川送客图（装裱版）",[24,7,277,52,75,28,80,79,56,82,425,12183,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faafaaded2cacd68c421ae104c8d7dbe1.jpg",[],{"id":36015,"slug":36016,"title":36017,"dynasty":67,"author":9980,"museum":132,"description":33025,"tags":36018,"thumbUrl":36019,"material":317,"size":907,"collection":122,"collections":36020,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},287433,"wen-shi-qiao-mu-tu-shan-mian-wen-zheng-ming-287433","文石乔木图扇面",[7,24,51,768,277,20471,56,1059,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513cc666d4642f29b5417520032a27d3.jpg",[],{"id":36022,"slug":36023,"title":36024,"dynasty":67,"author":36025,"museum":132,"description":36026,"tags":36027,"thumbUrl":36029,"material":317,"size":907,"collection":122,"collections":36030,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},287411,"mo-hua-tu-ni-yuan-lu-287411","墨花图","倪元璐","倪元璐（1594年1月7日－1644年4月25日），字汝玉，一作玉汝，号鸿宝，浙江绍兴府上虞（今绍兴市上虞区）人。明末官员、书法家。\n天启二年（1622年），倪元璐中进士，以庶吉士授编修，后出主江西乡试。崇祯八年（1635年）任国子祭酒，因被控“妾冒妻封”而落职。南归后居绍兴城中。崇祯十五年（1642年）起用为兵部右侍郎兼侍讲学士，次年拜户部尚书兼翰林院学士，不久又兼摄吏部。崇祯十七年（1644年）初，大顺军逼近北京，倪元璐请修南京宫殿，以备不测，但未被采纳。三月，北京失陷，倪元璐自缢以殉节。南明弘光元年（1645年），追赠少保、吏部尚书，谥号“文正”。后清廷赐谥“文贞”。\n倪元璐书法灵秀神妙，行草尤极超逸，最得王右军、颜鲁公和苏东坡三人翰墨之助， 用笔锋棱四露中见苍浑，并时杂有渴笔与浓墨相映成趣，结字奇侧多变，书风奇伟，后人对他有“笔奇、字奇、格奇”之“三奇”，“势足、意足、韵足”之“三足”的称誉。他突破了明末柔媚的书风，创造了具有强烈个性的书法，与黄道周、王铎鼎足而立，并称“明末书坛三株树”，又与王铎、傅山、黄道周、张瑞图并称“晚明五大家”，成为明末书风的代表。代表作有《行草诗翰》轴。亦能诗文，著有《倪文贞集》。",[23,24,7,51,25,277,102,118,2755,21970,36028,53,198],"墨荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb9ce8c4fe4b6b1c1070f6ba3fdab7c.jpg",[],{"id":36032,"slug":36033,"title":36034,"dynasty":67,"author":9980,"museum":132,"description":33025,"tags":36035,"thumbUrl":36036,"material":317,"size":907,"collection":122,"collections":36037,"showCount":703,"zanCount":1065,"manualWeight":40,"mainColor":41},287401,"gui-qu-lai-ci-shu-hua-he-juan-wen-zheng-ming-287401","归去来辞书画合卷",[23,7,24,51,25,277,119,697,53,1882,278,31917,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607716fccbee74224664ef217aa869c2.jpg",[],{"id":36039,"slug":36040,"title":36041,"dynasty":67,"author":181,"museum":132,"description":36042,"tags":36043,"thumbUrl":36045,"material":317,"size":907,"collection":122,"collections":36046,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},283634,"yu-yu-yu-qing-tu-yi-ming-283634","欲雨欲晴图","此作用米家山水的晕染之法，绘就江南烟霭迷离之景。远景山峦隐没在翻涌云岚间，墨色轻淡柔和，虚实掩映间衬出山光断处的幽远意境。近景汀洲水岸边，村居错落隐在葱郁林木中，板桥连通两岸，扁舟系在浅滩，漾出水乡安闲静穆的日常意趣。\n\n画面以水墨晕染尽显欲雨将晴的湿润空蒙，水汽漫过江渚，笼住层林远山，将江南湿润清宁的氛围感拉满。留白与墨色相融相生，把天地间的朦胧柔婉尽数铺展，带着文人画独有的雅致诗意，观之如亲赴烟雨中的江南水乡，静赏闲淡日常，尽显山水画平淡天真的隽永意趣。",[23,24,7,497,277,27,78,79,80,559,425,279,82,118,74,36044,8215],"欲雨欲晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a0a5ee8f2e9049eb7b495a8bba539d.jpg",[],{"id":36048,"slug":36049,"title":36050,"dynasty":67,"author":36051,"museum":151,"description":36052,"tags":36053,"thumbUrl":36054,"material":250,"size":36055,"collection":123,"collections":36056,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},239745,"shuang-he-rui-wu-fu-juan-wang-fu-zhi-239745","双鹤瑞舞赋卷","王夫之","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家” ，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。 著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[23,7,24,51,25,118,119,2755,250,5524,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ae9484dcac62cbb54f3fcc4496a85.jpg","23.6×297.5厘米",[123],{"id":36058,"slug":36059,"title":36060,"dynasty":114,"author":36061,"museum":132,"description":36062,"tags":36063,"thumbUrl":36064,"material":122,"size":122,"collection":122,"collections":36065,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},239662,"zi-shu-shi-juan-lin-bu-239662","自书诗卷","林逋","这件行书诗卷清劲瘦硬，萧散淡远，恰如其主梅妻鹤子的隐士襟怀。用笔瘦挺而具弹性，提按顿挫间尽显灵动，牵丝映带自然圆融，字势错落顾盼生情。宽绰行距铺展出从容疏朗的章法，褪去尘俗烟火气，满卷皆是林下清风。\n\n诗文与笔墨互为表里，将湖山行吟、赏梅观鹤的幽隐心境藏在每一处笔锋辗转间，把孤高疏淡的隐士意趣融于笔底，是宋尚意书法的绝佳注脚，书文俱佳，尽显宋代文人清雅脱俗的精神底色。",[23,7,24,51,118,25,119,277,74,383,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26372b075a6a47c8f0af2b3403e1bb9e.jpg",[],{"id":36067,"slug":36068,"title":36069,"dynasty":67,"author":36070,"museum":132,"description":36071,"tags":36072,"thumbUrl":36073,"material":317,"size":907,"collection":122,"collections":36074,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},239271,"shu-hua-tu-ce-cheng-min-239271","书画图册","程敏","此作以水墨写意绘竹枝，运笔爽利劲挺，竹叶错落排布、顾盼有情，尽显清瘦挺拔之姿。墨色带着自然的浓淡过渡，寥寥数笔却将竹的疏朗气节尽数铺展。\n笔意简淡却风骨暗藏，以画寄寓君子凌风自傲的品格，是文人写心寄兴的小品佳制。将竹之物性与文人襟怀相融，淡远萧疏间，满是清雅脱俗的文人气韵，观之如见植于阶前的修竹，暗合了以物明志的文人画旨趣。",[7,24,51,100,277,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c1fc64218232482cbcb7e3d69f47f1b.jpg",[],{"id":36076,"slug":36077,"title":36078,"dynasty":46,"author":181,"museum":132,"description":36079,"tags":36080,"thumbUrl":36081,"material":317,"size":907,"collection":122,"collections":36082,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},238928,"qing-ren-mu-dan-pu-ce-yi-ming-238928","清人牡丹谱册","此作以冷暖撞色尽显巧思，靛蓝牡丹为画面重心，花瓣以没骨晕染铺陈，层层叠叠间晕开深浅浓淡，金蕊轻缀，将华贵揉进幽邃雅致之中，毫无艳俗之感。一旁朱红小花斜生，鲜活明媚，恰好衬出蓝牡丹的沉静雍容。\n枯干以枯笔勾勒，苍拙朴厚，新芽点缀其上暗露春机；枝叶勾勒细腻，脉络分明，柔润叶片与苍劲枝干形成质感反差，让画面静而不滞。整体笔触温润雅致，将牡丹贵气藏于清雅笔触间，内敛沉静，尽显东方绘卷独有韵致。",[7,24,51,100,27,26,102,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12d517c77311ea3a256f0cebfd71a05.jpg",[],{"id":36084,"slug":36085,"title":36086,"dynasty":46,"author":36087,"museum":132,"description":36088,"tags":36089,"thumbUrl":36090,"material":317,"size":907,"collection":122,"collections":36091,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},238852,"mian-yi-hua-hui-xiao-ce-mian-yi-238852","绵亿花卉小册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[7,24,51,100,27,26,198,56,5501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab1a50fb3825ff61cd894b7baeff77d.jpg",[],{"id":36093,"slug":36094,"title":36086,"dynasty":46,"author":36087,"museum":132,"description":36088,"tags":36095,"thumbUrl":36096,"material":317,"size":907,"collection":122,"collections":36097,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},238850,"mian-yi-hua-hui-xiao-ce-mian-yi-238850",[7,24,51,46,100,26,27,102,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8c73f2b1066c0d02ff69ac61b852e22.jpg",[],{"id":36099,"slug":36100,"title":35214,"dynasty":46,"author":2922,"museum":132,"description":7364,"tags":36101,"thumbUrl":36102,"material":317,"size":907,"collection":122,"collections":36103,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},238802,"hua-hui-xiao-ce-dong-gao-238802",[7,24,51,100,27,26,102,198,2210,339,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0312e03dcc4f5c546cbc631edc36971a.jpg",[],{"id":36105,"slug":36106,"title":35214,"dynasty":46,"author":2922,"museum":132,"description":7364,"tags":36107,"thumbUrl":36108,"material":317,"size":907,"collection":122,"collections":36109,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},238795,"hua-hui-xiao-ce-dong-gao-238795",[7,24,51,100,27,26,102,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3625d1ce25c347ec421b3d473dd98410.jpg",[],{"id":36111,"slug":36112,"title":35214,"dynasty":46,"author":2922,"museum":132,"description":7364,"tags":36113,"thumbUrl":36114,"material":317,"size":907,"collection":122,"collections":36115,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},238794,"hua-hui-xiao-ce-dong-gao-238794",[24,7,102,27,26,383,103,198,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4b67faeed7a9e4b97fcf64d6e35869.jpg",[],{"id":36117,"slug":36118,"title":14299,"dynasty":46,"author":26496,"museum":132,"description":36119,"tags":36120,"thumbUrl":36121,"material":317,"size":907,"collection":122,"collections":36122,"showCount":703,"zanCount":1065,"manualWeight":40,"mainColor":62},238494,"hua-hui-tu-ce-jiang-pu-238494","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[7,24,51,100,27,26,102,198,265,1095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd68be8bb3611582ded44817fe360a3.jpg",[],{"id":36124,"slug":36125,"title":14549,"dynasty":46,"author":14550,"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往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[7,24,277,27,100,75,79,647,278,559,84,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c5190e81e68a4b580c0740a4267030.jpg",[],{"id":36290,"slug":36291,"title":36292,"dynasty":114,"author":181,"museum":151,"description":36293,"tags":36294,"thumbUrl":36295,"material":250,"size":36296,"collection":122,"collections":36297,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":62},233210,"song-jian-shan-qin-tu-ye-yi-ming-233210","松涧山禽图页","此图绘参天的古松下，山溪蜿蜒奔流，水花飞溅，四对山鹊姿态各异，或飞呜，或回旋，或啄食与山涧和树石之上，形象生动。图中用浓墨画松斡和松鳞，松针用墨线勾描后用石青渲染。竹叶用严谨的双钩填色法。山石则用墨线勾勒轮廓，进而用淡青色破染，使画面富有立体感。此图用笔苍劲，静中有劲，为南宋小幅花乌画中精秀之作。这幅作品曾经明黔宁王沐琳和项元汴收藏。",[24,7,51,100,26,27,102,75,609,79,84,6388,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff97df25750b2d414d498c6d636769ceb.jpg","25.3*25.3厘米",[],{"id":36299,"slug":36300,"title":36301,"dynasty":46,"author":17530,"museum":151,"description":36302,"tags":36303,"thumbUrl":36304,"material":29256,"size":36305,"collection":122,"collections":36306,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},233167,"cao-tang-shi-zhi-tu-ce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草花粉本","宗达","此作用笔清灵温婉，竖轴舒展间将秋卉之态尽揽素纸。淡描白菊隐于晕染的浅淡底色间，似笼着轻烟，与醒目的朱红菊花形成冷暖对照，繁简相宜。叶片以没骨晕染，层次清透柔润，衬得花株愈发舒展生动，边角点缀的细碎蓝花，更添灵秀雅致。整幅以白描与淡彩相融，不着浓艳，将草木的清雅娇妍晕散开来，自带娴静悠然的东方意趣，把秋日花草舒展自在的情态藏于笔底，尽显雅致的绘物意韵。",[7,24,52,27,26,102,1882,14461,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4cc0d7d82c13fb3a19601d3c3cc179.jpg",[],{"id":36335,"slug":36336,"title":36337,"dynasty":1383,"author":36338,"museum":132,"description":36339,"tags":36340,"thumbUrl":36341,"material":317,"size":907,"collection":122,"collections":36342,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},231626,"he-tu-xia-hui-he-ge-juan-ben-a-mi-guang-yue-231626","鹤图下绘和歌卷","本阿弥光悦","此作以长卷铺陈，群鹤错落满卷，水墨淡笔晕染出仙鹤清癯灵动的身姿，或振翅唳空，或梳羽伫立，百态悠然。浅褐旧痕晕开在素纸之上，晕染出经年沉淀的温润质感。\n\n书法与绘鹤交织共生，笔意清简疏朗，将和歌风雅与绘鹤的幽玄禅意相融，舒展悠长的尺幅里，藏着侘寂闲雅的古典意趣，淡墨轻色勾勒出清寂出尘的东方意境，尽显雅致悠远的和风之美。",[23,7,24,51,25,277,119,84,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271140e49cbac0d36129fe323eb65f23.jpg",[],{"id":36344,"slug":36345,"title":36346,"dynasty":1383,"author":34191,"museum":132,"description":36347,"tags":36348,"thumbUrl":36349,"material":317,"size":907,"collection":122,"collections":36350,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},231621,"shi-ting-shi-dai-zu-shi-xiang-yan-ji-zhu-tu-zhou-shou-ye-yuan-xin-231621","室町时代 祖师香严击竹图轴","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[23,24,51,52,277,75,278,473,82,81,73,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c3265a6890f36d3cdda0376c234bd0.jpg",[],{"id":36352,"slug":36353,"title":36354,"dynasty":1383,"author":25246,"museum":132,"description":33829,"tags":36355,"thumbUrl":36357,"material":317,"size":907,"collection":122,"collections":36358,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},231584,"shi-ting-shi-dai-po-mo-shan-shui-tu-xue-zhou-231584","室町时代 破墨山水图",[23,24,7,52,36356,277,73,51,119,118,74,75,80,135,297,298,81],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b31d7c168a2b0926e1abccc4c3c9b.jpg",[],{"id":36360,"slug":36361,"title":28275,"dynasty":114,"author":1216,"museum":132,"description":36362,"tags":36363,"thumbUrl":36364,"material":317,"size":907,"collection":122,"collections":36365,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":479},228896,"bai-miao-fo-xiang-di-liu-zun-zhe-li-gong-lin-228896","“十八罗汉”的说法最早出现于北宋，图中器物造型风格接近宋代，每页有“卢椤枷进”款，从墨色辨认为后添款。因此本册非出自唐人之手，应是宋人所为。",[23,7,24,51,634,52,510,678,28,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb788f00296ac5d48da8978cb51801823.jpg",[],{"id":36367,"slug":36368,"title":36369,"dynasty":293,"author":181,"museum":132,"description":36370,"tags":36371,"thumbUrl":36372,"material":122,"size":122,"collection":122,"collections":36373,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":62},228226,"mao-wu-yun-shan-tu-yi-ming-228226","茅屋云山图","此作用水墨晕染出空濛云山之境，远景山峦以淡墨轻皴间杂晕染，云雾如缕缠绕峰腰，将雄奇山势揉入烟霭，虚实相生间，拓开幽渺深远的天地。\n\n中景以留白代雾，让山与林隐没在烟岚之中，消融了实景的边界，恍如天地融于一片淡墨氤氲。近岸枯木虬劲，枝桠疏朗，坡脚茅舍三两，笔简意足，暗合山居清寂之趣。\n\n整幅画作尽显元画尚意之风，以简淡笔墨写尽萧散静穆的林下幽居之境，将文人隐逸的闲雅藏入烟峦疏木，观之便觉尘嚣尽褪，沉醉在这淡墨晕开的云山深寂里。",[23,24,277,73,52,51,7,75,437,135,78,79,473,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77b80704d6df259ffd4d9ffeefb4eae.jpg",[],{"id":36375,"slug":36376,"title":36377,"dynasty":293,"author":181,"museum":132,"description":36378,"tags":36379,"thumbUrl":36380,"material":122,"size":122,"collection":122,"collections":36381,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":62},228186,"ren-wu-tu-juan-yi-ming-228186","人物图卷","此作用色古雅沉朴，线条圆劲清隽，以日常梳洗闲憩入画，将文人闲居意趣尽显。画面左侧侍者躬身展巾，主家赤足踞坐，正倾水盥手，神态松弛自适，把松弛慵懒的日常情态刻画入微。右侧两位侍从或持巾侍立、或捧具待命，人物排布错落有致，动静相宜。\n\n整作不着过多布景，以素净留白衬托前景人物，衣褶晕染贴合躯体动态，尽显以形写神的笔墨妙处。没有繁复刻画，却凭借细腻的生活化描摹，传递出古雅悠然的闲居氛围，是一幅兼具烟火意趣与古典气韵的人物画佳作。",[23,7,24,51,25,26,27,28,30,55,5525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5381a994fb57f53b3c691b27916e64eb.jpg",[],{"id":36383,"slug":36384,"title":36385,"dynasty":114,"author":36386,"museum":132,"description":36387,"tags":36388,"thumbUrl":36389,"material":122,"size":122,"collection":122,"collections":36390,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},227971,"fang-mu-tu-ye-li-chun-227971","放牧图页","李椿","虬曲老树枝叶扶苏，浓荫之下牧童闲坐，垂首专注把玩手边小物，全然沉浸在郊野的松弛意趣之中。浅滩溪岸，老牛垂首缓步涉水，皮毛厚重写实、肌理鲜活细腻，憨态小牛亦步亦趋紧随其后，灵动稚态尽显。\n\n整幅小品疏密得宜，设色浅淡柔和，以精妙工笔描摹物象形神，将乡野放牧的日常闲景铺陈得鲜活动人，既以细致笔触还原郊野生灵的自然情态，又晕染出田园牧歌式的悠然氛围，把乡野间的闲散温情凝于尺幅间，于平淡日常中尽显雅致隽永的宋画意韵。",[23,7,24,27,26,2613,1906,28,135,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e3f18c16b1455c2e6e91367d1f9459.jpg",[],{"id":36392,"slug":36393,"title":36394,"dynasty":114,"author":181,"museum":132,"description":36395,"tags":36396,"thumbUrl":36397,"material":122,"size":122,"collection":122,"collections":36398,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":62},227932,"xue-ting-shui-qin-tu-yi-ming-227932","雪汀水禽图","此作以淡墨晕染萧寒冬境，水岸枯木虬曲苍劲，瘦削枝桠凌冽舒展，数只禽鸟缩羽栖息枝头，将冬日瑟缩畏寒之态尽显。右上一双水禽振翅掠空，破静谧成动静相生之趣。\n画家以留白晕染暗喻薄雪覆汀，设色简淡清润，笔触凝练细腻，枯枝的苍古、水禽灵动神态皆跃然绢上。尺幅之间铺陈出荒寒清远的意趣，尽显冬日郊野空寂冷逸，将冬汀荒萧寒疏之美藏于方寸，余韵悠悠。",[23,24,7,768,26,277,27,647,84,2290,7037,56,16080,4371,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878f36345b633ba5b5cac846f19743b3.jpg",[],{"id":36400,"slug":36401,"title":36402,"dynasty":114,"author":181,"museum":132,"description":36403,"tags":36404,"thumbUrl":36406,"material":122,"size":122,"collection":122,"collections":36407,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},227909,"zhu-lin-bo-ruan-tu-ye-yi-ming-227909","竹林拨阮图页","《古代佚名画鉴赏大系·人物篇》是2年西苑出版社出版的图书，作者是杨宪金。\n佚名画与署名的作品，从绘画艺术上讲，是没有两样的。\n但在传世过程中，却有着不同的遭遇，历代收藏家与画史主要关注有名的作品，尤其是大家的作品，而对佚名画往往不屑一顾。\n因此，在这种境遇下，大量的古代佚名画在流传过程中消失了。\n这种情况一直延续到了明代，才逐渐引起收藏家们的注意，大收藏家项子京就对佚名画的著录、流传做了很大的贡献…… 春庭行乐图 眼药酸图 人物故事图 寒林策蹇图 竹林拨阮图 蚕织图 蚕织图 蚕织图 蚕织图 女孝经图 女孝经图 女孝经图 女孝经图 千秋绝艳图 千秋绝艳图 牧马图 望贤迎驾图 蕉石戏婴图 蕉荫击球图 槐荫击球图 杂剧图 雍正妃行乐图之二 雍正妃行乐图之六 溪堂客话图",[23,7,24,51,768,26,27,28,2359,31,82,12552,31532,12947,11210,36405],"古典技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c0aeb9c6b9df7aa3c1f6768dc7d653.jpg",[],{"id":36409,"slug":36410,"title":36411,"dynasty":114,"author":181,"museum":132,"description":36412,"tags":36413,"thumbUrl":36414,"material":122,"size":122,"collection":122,"collections":36415,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},227890,"fan-zhou-liu-tang-tu-yi-ming-227890","泛舟柳塘图","此作用淡墨轻岚织就江南暮色小景，边角取景尽显留白意趣。右下角垂柳清润柔婉，枝叶婆娑，将视线牵向烟水间。汀洲水藻以细笔轻点数染，鲜活铺展出泽国清寂。扁舟横波，舟中二人情态悠然，寥寥数笔便勾勒出萧散野趣，似将水乡闲逸尽数揉入清波。\n全画色调苍雅古淡，借绢底晕染出薄暮烟霭，远山仅以一抹淡墨虚绘天际，不着笔皴，晕开江天寥廓的空茫意境。全作以简驭繁，无过多刻画，将江南日暮的静谧安闲，与文人幽隐林下之思相融，尽显宋人坐赏泉壑的清雅意趣。",[7,24,51,768,27,26,1478,1108,649,82,75,80,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7e5d872f2a4b41216ba1cf8d91129f.jpg",[],{"id":36417,"slug":36418,"title":36419,"dynasty":114,"author":181,"museum":132,"description":36420,"tags":36421,"thumbUrl":36425,"material":122,"size":122,"collection":122,"collections":36426,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},227886,"shui-cun-yan-ai-tu-yi-ming-227886","水村烟霭图","这幅小品以淡墨晕染出烟霭笼罩的水村晨色，浅赭铺陈的远山隐在氤氲雾气里，和浩渺水面晕融成一片空濛。近岸松林错落，茅舍悄然栖于林下，仿佛还浸在拂晓的湿意中。\n\n画家以极简的笔触轻皴淡染，留白处皆是流动的水雾，将江南水乡的清寂温柔晕开。没有繁复勾勒，只借墨色浓淡铺就幽远意境，似将水村清晨的恬然凝在绢素之上，仿佛能闻见湿润的水汽，静听水波轻漾，尽显山水简淡清远的意趣，将人拉入这安谧空阔的悠然之中。",[23,7,24,768,277,27,75,587,13267,30325,36422,1592,36423,36424,73],"水雾","安谧","清远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b44eb01cfd8f0d4d2d18c15bf08eed.jpg",[],{"id":36428,"slug":36429,"title":36430,"dynasty":114,"author":181,"museum":132,"description":36431,"tags":36432,"thumbUrl":36433,"material":122,"size":122,"collection":175,"collections":36434,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},227570,"yu-lou-chun-si-tu-yi-ming-227570","玉楼春思图","此图画水殿楼阁、渔舟、古松和江亭，本幅无名款，清代梁清标题签为王诜之作，然而将此作与王氏传世作品对照，并无多少相同之处。\n\n惟据图上小楷书“鱼游春水”一阕，词意与画意吻合，从书法风格考察，可能为宋高宗赵构以后宫廷常见的书体，故推测此画系同时代所绘，是宋代画院的佳作。画上钤有“宣统御览之宝”等收藏印章。\n\n是图为团扇，构图为左右相对形式。中为辽阔的江面，左部近景作水殿楼阁回廊萦绕，堤上柳荫浓郁，一仕女面江扶栏遐思。隔江云山起伏，意境深远。\n画上题《鱼游春水》词，词意与画意相吻合。\n\n此作曾为清初梁清标收入《唐宋元集绘册》中，梁氏鉴定为王诜作品。就画作的构图与画法来看与王氏画风是有距离的，南宋风格明显。\n\n另外《鱼游春水》一词原是刻于绍兴古碑碑阴之上的佚名词作，北宋政和时为宫人抄入宫中填曲传唱，政和中期以后才流入到民间。死于元祐四年（公元1089年）的王诜不可能以此题作画。故而梁清标的鉴定有误，书与画应属南宋画院的书画佳作。清《石渠宝笈重编》著录。",[23,7,24,51,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9dcbc748bfb2945570382841dfc1ac9.jpg",[175],{"id":36436,"slug":36437,"title":36438,"dynasty":114,"author":181,"museum":132,"description":36439,"tags":36440,"thumbUrl":36441,"material":122,"size":122,"collection":122,"collections":36442,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},227538,"wu-gong-ma-tu-juan-yi-ming-227538","五贡马图卷","北宋，佚名（李公麟款)。画内为宋元佑初年天驷监中的五匹西域名马，五匹名马依次为“风头骢”、“锦膊骢”、“好头赤”、“照夜白”、“满川花”。",[23,7,24,51,25,510,27,215,28,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da9fadedef4d3ff60e1157eaee1c333.jpg",[],{"id":36444,"slug":36445,"title":16456,"dynasty":114,"author":181,"museum":132,"description":30002,"tags":36446,"thumbUrl":36447,"material":122,"size":122,"collection":122,"collections":36448,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":62},227389,"fang-you-tu-yi-ming-227389",[23,7,24,27,26,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5460182c56e0ad4a53915b2fa7a0b7.jpg",[],{"id":36450,"slug":36451,"title":10171,"dynasty":114,"author":181,"museum":132,"description":36452,"tags":36453,"thumbUrl":36454,"material":122,"size":122,"collection":122,"collections":36455,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},227376,"yuan-hou-zhai-guo-tu-yi-ming-227376","《宋人画猿猴摘果图》是宋代佚名创作的一幅扇面画。\n此图绘深山野林中，三只 攀援栖止于树枝上。\n其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。\n作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。\n图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。\n深秋季节只猿猴攀援于树枝上嬉戏摘果的情景。\n猿猴和景物都集中在画的右半边，为典型的南宋画构图方式。\n猿猴神情毕肖，尤其是茸毛的绘制极为细致严谨。\n树叶用勾勒填色法，色彩并未完全填满，显得自然随意。\n黑白色对比使画面更具动感，红色的小果实在整幅画面中十分醒目。\n深山野林中，黑白二色的三只猿猴攀援栖止于树枝上。\n其中两猿相互逗趣，另一猿右臂抓着树枝，左臂摘取红果，其贪婪、欣喜之态刻画得形神兼僃。\n点景中枯黄的树页、红色的果实，以及丛生的小草和细竹，不仅打破了山石的呆板，而且渲染了秋天萧瑟的气氛，从而增添画面的自然之趣。\n画面钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍藏」、「安国珍玩」等印多方。\n对幅有清代著名收藏家耿昭忠题记，此图曾经沐璘、耿昭忠、安岐收藏。\n《石渠宝笈》著录。",[7,24,51,768,27,472,10174,135,265,1095,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a544e331d094ac541c1cff0a7db7c25.jpg",[],{"id":36457,"slug":36458,"title":26372,"dynasty":114,"author":181,"museum":132,"description":36459,"tags":36460,"thumbUrl":36461,"material":122,"size":122,"collection":122,"collections":36462,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":62},227357,"chun-guang-xian-dao-tu-yi-ming-227357","中国种植水仙始于唐末五代，\n\n《北户录》中记有花间派词人孙光宪\n\n寄居江陵（湖北荆州）期间，\n\n曾有波斯人送他数本水仙。\n\n孙光宪大概就是中国种植水仙第一人。\n\n此后，\n\n江南一带广泛种植，文人骚客甚爱之。",[7,24,51,768,26,27,102,2067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c0a447bc7811861b5899d7267215dd3.jpg",[],{"id":36464,"slug":36465,"title":36466,"dynasty":674,"author":181,"museum":132,"description":36467,"tags":36468,"thumbUrl":36469,"material":122,"size":122,"collection":122,"collections":36470,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":993},227215,"shu-xia-ren-wu-tu-juan-yi-ming-227215","树下人物图卷","《树下人物图》是唐代佚名创作的纸本设色画，新疆吐鲁番阿斯塔那古墓出土。现藏日本东京国立博物馆。\n\n此幅人物画保存完整，绘制在一块长方形的绢上。画面的背景是郊外的草地，有一棵枝繁叶茂的树，树叶是绿色，树干是土黄色。树下可见两身妇女立姿形象。左侧之人，面向右方，左手衣袖被身旁之人握持，其右手曲臂上举正揪住罩在头上的黑色头衣。此人身穿土红色长袍，腰系带，脚穿黑靴。画面右侧之人，面向右方，两手握住左侧之人的左袖。她身着蓝色长袍，腰系带，脚穿黑靴。从画面看，此二人似为主仆关系。",[23,7,24,51,25,26,27,28,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F160f39ddeaeb222d5d6049efe9969bd0.jpg",[],{"id":36472,"slug":36473,"title":36474,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":36475,"thumbUrl":36477,"material":317,"size":907,"collection":3417,"collections":36478,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},226002,"poppy-field-in-giverny-03-1890-mo-nai-226002","Poppy Field in Giverny 03, 1890",[7,4035,3410,8960,24144,8959,36476,82,648,8965,14127,5013,1714,198],"罂粟花田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6542e1a8773f2316f2eee87a754d77.jpg",[3417],{"id":36480,"slug":36481,"title":36482,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":36483,"thumbUrl":36485,"material":317,"size":907,"collection":3417,"collections":36486,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":62},225860,"trees-july-1887-fan-gao-225860","Trees July 1887",[7,3410,3411,29387,82,11704,36484,27],"户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe0f4af7f0690cef4a292b9a180bc526.jpg",[3417],{"id":36488,"slug":36489,"title":36490,"dynasty":1383,"author":6681,"museum":132,"description":6682,"tags":36491,"thumbUrl":36493,"material":317,"size":907,"collection":3417,"collections":36494,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":479},225670,"rembrandt-harmensz-van-rijn-080-lun-bo-lang-225670","Rembrandt Harmensz.van Rijn - 080",[7,3410,9899,29400,6292,36492],"拉夫领","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa735698374fffcd0c0f1b34c07a3b560.jpg",[3417],{"id":36496,"slug":36497,"title":36498,"dynasty":1383,"author":181,"museum":132,"description":36499,"tags":36500,"thumbUrl":36501,"material":122,"size":122,"collection":122,"collections":36502,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},223898,"mo-hua-zhu-zi-xiang-yi-ming-223898","墨画朱子像","此作以淡墨白描写就，细劲墨线勾勒衣袍，线条简练却贴合身形，将宽袍的古朴垂坠质感尽显。对人物面容描摹入微，眼角纹路、鬓边褶皱皆细致刻画，传神烘托出主人公温和沉静的儒雅风骨，尽显大儒的沉稳气度。旁侧题字清雅端方，与画像相得益彰。整幅画面底色古雅泛黄，晕染出厚重的岁月质感，无过多修饰，以极简笔墨承载内敛意蕴，尽显传统肖像画写实传神的特质，将东方古典美学的含蓄沉静融入其中。",[7,24,51,100,510,277,28,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff358068395cf5685346f594ef45313bd.jpg",[],{"id":36504,"slug":36505,"title":36506,"dynasty":114,"author":181,"museum":132,"description":36507,"tags":36508,"thumbUrl":36509,"material":122,"size":122,"collection":122,"collections":36510,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":62},223674,"shuang-ke-zhu-jian-tu-ye-yi-ming-223674","霜柯竹涧图页","《霜柯竹涧图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n钤“义斋精玩”、“宋荦审定”收藏印2方。\n图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。\n两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。\n图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。\n清《石渠宝笈三编》著录。",[23,7,24,51,100,26,27,647,53,79,84,278,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c242fbd03b8dd4577b564ab01d95ef.jpg",[],{"id":36512,"slug":36513,"title":36514,"dynasty":114,"author":181,"museum":151,"description":36515,"tags":36516,"thumbUrl":36517,"material":156,"size":5335,"collection":122,"collections":36518,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":62},223419,"kong-men-di-zi-xiang-juan-yi-ming-223419","孔门弟子像卷","此画是唐代杰出画家阎立本最大最长最佳的一幅巨作，是画家传世的六件作品之一，后在近代被日本军火商买走，并被列为国宝。最后在中贸圣佳拍卖公司购得，迎回国内，曾经引起过轰动。此画最终被首都博物馆以超低价提前收购。\n《孔子弟子像》全图采取平列式构图，无背景，绘孔子弟子立像五十九人，无名款。墨笔勾勒，着色，人物形象各异，须眉生动。\n包首题签“阎立本画孔子弟子像”，引首乾隆御题“杏坛遗范”，卷上有“顺治三年(1646)七月初二钦赐大学士臣宋权恭记”长方印、清宫收藏鉴赏印玺和清高宗弘历御笔题字。后幅有乾隆二十二年(1757年)户部尚书蒋溥题跋、乾隆丁未(1787年)大臣王杰、曹文埴、彭元瑞、董诰共同审定，董诰书写的题跋。鉴藏宝玺有乾隆八玺等，收藏印有“顺治三年七月初二日钦赐大学士臣宋权恭记”、“商丘金石书画印”、“宋权私印”、“经公”等。卷后拖尾有蒋溥题跋、董诰书写的其与王杰、曹文埴、彭元瑞的合跋，文字内容、钤盖印章与《石渠宝笈续编》著录文字完全相同。\n考证画后跋语，可以大致勾勒出《孔子弟子像》在清代的流传过程。清初顺治皇帝将此件画作钦赐给大学士宋权，一百余年后乾隆时期，宋氏后人将此作转鬻他所，蒋溥购得后，将其进献给了乾隆皇帝，复归内府收藏，并于《石渠宝笈续编》中加以著录。 至于这件作品是如何从清内府流传出去，溥仪在《我的前半生》中回忆，宣统八年十一月十四日，将名为《阎立本画孔子弟子像一卷》赏给了自己的师傅梁鼎芬。",[23,7,24,51,25,27,26,28,30,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34aaeae7bdfbdd0d6197e46cf919b0e.jpg",[],{"id":36520,"slug":36521,"title":36522,"dynasty":46,"author":181,"museum":20,"description":36523,"tags":36524,"thumbUrl":36527,"material":122,"size":122,"collection":122,"collections":36528,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":62},223411,"ma-zu-qi-ji-b-yi-ming-223411","妈祖奇迹B","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,7,24,27,28,77,678,36525,36526,855],"妈祖","救难","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df40c01e106f6e5b85e46f2f301cd13.jpg",[],{"id":36530,"slug":36531,"title":36532,"dynasty":114,"author":181,"museum":151,"description":36533,"tags":36534,"thumbUrl":36535,"material":217,"size":36536,"collection":122,"collections":36537,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":62},223370,"ba-xiang-tu-yi-ming-223370","八相图","这幅《八相图》并未出现于古代书画文献著录中，在其他文集中也不曾记载。民国时期故宫博物院珂罗版《故宫书画集》中亦无收录。二十世纪六十年代，文化部文物局成立中国古代书画鉴定组对全国各大博物馆藏画进行鉴定、编录，其成果《中国古代书画图目》中影印了此幅《八相图》，并在卷末附有基本信息。二十一世纪初编纂的《故宫博物院藏文物珍品大系》中有余辉主编的《晋唐两宋绘画·人物风俗》，其中再次收录了此卷，并附有相关介绍信息，释读出题跋，在此基础上辨别出八位名相，并对画作的特点作了简单概括。近年浙江大学、浙江文物局承担编纂的《宋画全集》再次收录了该幅作品的高清图版，并附有图版说明，但基本为《晋唐两宋绘画·人物风俗》中的内容。\n该幅作品所描绘的“八相”，《晋唐两宋绘画·人物风俗》中识读为周公旦、张良、魏徵、狄仁杰、郭子仪、韩琦、司马光和周必大。学界对此并未提出疑义，笔者先前也基本认定该作所画为此八相。许浩然《一幅南宋绍兴年间的秦桧画像—故宫博物院藏〈八相图卷〉考辨》一文，首次提出了第八位名相为秦桧的观点，并作了相关考辨。\n对这样一幅名款残损、图章全无、又乏古代文献著录的作品，目前仅有基本识读和一篇研究性论文。而该作还有许多疑问尚未解决，如画作名称、画作的作者、创作年代等。本文不揣冒昧，对这几个问题以初步考证。\n虽然《晋唐两宋绘画·人物风俗》已经有对画作题跋的释读，但个别识读有错误，对八相的识别也并未给以推导过程。故本文重新抄录，加以句读，再作分析。现将画作中文字内容从右至左分为十个部分，依次标注为一至十。\n第一部分文字不可辨识。画作自右向左打开，画心部分起首四字由上而下书写。前两字残损超过三分之二，后两字虽存右半部分，但与左边之间有重新装补的痕迹，虽然裂痕形状勉强和左边吻合，但不可辨识，汉字中并无此二字。与周边对照，右半部分绢片明显为他处所有。推测或是画商牟利，将他处残片置于此处;亦或为当时重新装裱的失误。\n第二部分文字内容为：“文王之子，武王之弟;下视成王，叔父之贵;师表万民，吐握待士;思兼三王，经制毕备;群叔汹汹，流言纷至;天威彰显，闻望无愧;盛德元勋，下蟠上际;式图丹青，昭□(示?)□(后)□(世);若揭日月，诏彼稚昧。”\n文字描述的主人公是 “文王之子、武王之弟、成王之叔”，为西周时期的周公旦，记录他握发吐哺求贤若渴、创立典章制度、摄政并平定叛乱、威德远布四方人的事迹。绘此画作的目的是向四方昭示他的德行并起到示范作用。该部分内容第四行的最后三字处有残缺。经查找，其残损部分仍保留在画作上，只是被错误地装补到了第一部分文字处。\n第三部分文字内容为：“巨飚扇海洪波翻，指鹿为马无腆颜;泗上亭长起应天，子房杖策来自韩;圯上老人书一编，佐汉兴王无后艰;客有为□(我)□(橈)楚权，请借前箸输忠谈;南宫偶语事寝阑，即日劝驾西都关;羽翼已成储嗣安，愿与赤松求神仙;高名万世长铿鍧，再拜清风何所言;望之俨然即之温，奇伟魁梧焉足论。”\n根据史书记载，可知本部分文字描述称赞的主人公是汉留候张良。写秦朝末年张良来自韩国，借助圯上老人黄石公所赠《太公兵法》，辅佐刘邦起事。这里选取了他的几个事迹：反驳郦食其的策略、建议奖赏有功之臣、劝服刘邦移驾长安、帮助吕后和太子孝惠巩固地位、功成名就后隐退等。赞扬他的万世高名，虽为妇人之貌，却远胜奇伟魁梧的大丈夫。本部分文字第三行倒数二、三字有残损，但是根据史书记载可补足，模糊二字分别是“我”“橈(桡)”。\n第四部分文字内容为：“自期稷卨，致君尧舜;愿为良臣，展尽底蕴;正观之治，几于成康;外户不闭，行不赍粮;想其堂堂鹗立，犯颜进谏;虽逢帝怒，神色不变;信乎百世之下，论世尚友;雄姿凛凛，传于不朽。”\n这部分文字称颂的是贞观时期的名臣魏徵。谈及魏徵如稷卨这样的名臣，“贞观之治”堪比“成康之治”，记录在魏徵治理之下有夜不闭户而远行时又不必携带粮食的淳朴世风，以及他堂堂正正犯颜进谏的诤臣风范，这些皆传于不朽。\n第五部分文字内容为：“宇宙雰雺兮孰与清，日月薄蚀兮孰与明，清而明之兮，命世之英;大厦将欹兮，其谁支;神器将坠兮，又谁举之;支而举之兮，命世之奇英;与奇兮惟梁公，为子孝兮为臣忠;北斗以南兮，人谁与同;取日虞渊兮，洗光咸池;授五龙兮，夹以飞蒙;耻济谋兮，功盖一时;貌图丹绘兮，如玉如金;风度温然兮，贻后人;十袭之藏兮，爰丕显于斯辰。”\n翻检史书，我们会发现这里面描述的国之栋梁、忠臣孝子、忍辱负重规劝武则天将庐陵王李显立为太子使政权又回到唐代宗室手中的一代英豪是“梁公”狄仁杰，描绘梁国公之画像，目的是将他的风采传递后人，这样的图载值得珍藏。\n第六部分文字内容为：“唐德中否，群兇肆起;尚父鹰扬，于彼朔方;克复两京，三河肃清;整我六师，大振威灵;单骑见虏，压以至诚;忠贯日月，德通神明;二十四考，中书政成;式图貌像，仰止仪形;英姿粹蕴，凛凛如冰;维昔方虎，中兴周室;诗人歌之，二雅纪德;再造唐祚，汾阳允武;用垂颂声，以绍厥绪。”\n被封为朔方节度使收复长安、洛阳两京，平定河东、河西、河南叛军，单骑免胄见回纥，为中书令期间主持官吏的考绩二十四次而被尊为“尚父”的是唐朝的郭子仪。绘画者希望能够像当年纪念中兴周朝的方叔、召虎一样，给郭子仪“式图貌相”，让后人赞颂他，并完成他未竟的事业。\n这一部分的文字残缺甚多，根据内容判断所描绘的主人公颇有难度。而判断这段文字所描述的主人公，主要是依照第十部分的文字内容。通过排除法，可得知这段文字所颂赞的是韩琦。史书记载，韩琦任官期间敢于诤言谠议;严肃的外貌却给人温和的感觉，如玉如水;家中藏书颇丰，所写文章品格不凡。\n第八部分文字内容为：“于皇上帝，降祚炎宋;爰锡真儒，郁为时楝;真儒伊河，时维司马;如柱如石，克建大厦;退居西洛，十有五年;著书立言，成名自天;既相君实，欢声洋溢;农安于田，妇安于室;复我良法，式循祖宗;进良退奸，坐致融融;四方仰止，图像克肖;饮食必祝，家至户到;食采温国，著名凌烟;元勋巨德，英图莫传。”\n这一赞文描述的是北宋司马光。北宋时期的良才为伊河之地的司马光，进为栋梁之才，退则著书立说，再次拜相时又一次辅佐君王造就了繁荣安定的景象。因此，理应为司马光传图写照，受到后人尊重。\n第九部分文字内容为：“太师公相画像赞。天之苍苍，其命灼然;将兴太平，必生真贤。堂堂益公，起江之东;受天间气，出建大功;节义凛然，归秉国均;建万世策，交欢宝邻;长乐正位，清朝偃共;四时协和，万邦咸宁;道大不器，德全难名;高勋巍巍，日月并明;皇帝神圣，师臣赞襄;多历年所，相得益章;图形凌烟，褒赞有光;其永相予，雍容庙堂;风采德威，外传四方;真汉相矣，岂惟王啇;南山之高，岩岩其石;民怀姬公，师保之德;千载具瞻，与山无极。”\n根据文字内容，这描述的是太师公相画像，他被封为益国公，其功勋可比日月，且与皇帝交往融洽，品德风采足可与山川一样长久影响后人。先前识读者根据文字内容的第一行“太师公相画像赞”及第三行“堂堂益公”确定此主人公是同为益国公、太师的周必大。在许浩然的文章中，他提出此主人公是秦桧而非周必大的四点理由：第一，“起江之东”与周必大原出河南郑州管城的籍贯不符;第二，周必大卒后赠太师，而非“太师公相”;第三，在宋代身任宰相、官太师、封益国公，同时又为江东之人者仅有秦桧;第四，“节义凛然，归秉国均;建万世策，交欢宝邻”是言其被俘金国，后回南宋担任宰相并主张议和等经历。\n基本来说，许浩然之文考辨的是有道理的，只是第一点中提到的“起江之东”，也与周必大有关系，周必大出生于江东长洲(今苏州)。学者们之所以会混淆周必大与秦桧，是因二者信息比较接近，在相貌上又无确切描绘。故宫博物院南熏殿旧藏周必大像与该画作中的秦桧像或可作一对比，周必大面相仁厚，秦桧似显城府。",[23,7,24,51,25,510,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae42577c6a1c131396fab8d2cb999a6c.jpg","纵36.5厘米，横246.2厘米",[],{"id":36539,"slug":36540,"title":36541,"dynasty":46,"author":6966,"museum":7312,"description":36542,"tags":36543,"thumbUrl":36544,"material":342,"size":36545,"collection":122,"collections":36546,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},223319,"fa-jie-yuan-liu-tu-jing-pian-2-ding-guan-peng-223319","法界源流图镜片-2","此卷是丁观鹏奉乾隆之命于乾隆三十二年创作，是以宋代张胜温所画的《梵像图》摹成两卷，第一卷名为《蛮王礼佛图》，第二卷为《法界源流图卷》。图卷以释迦牟尼为中心，以对称的方式绘佛祖达几百人，人物神态丰富，栩栩如生。",[23,24,7,51,25,27,26,678,5399,28,5400,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5310045c3d9528f01b0ec6d6d1291e6.jpg","全卷长33＊1635cm",[],{"id":36548,"slug":36549,"title":36550,"dynasty":46,"author":2636,"museum":151,"description":8362,"tags":36551,"thumbUrl":36553,"material":156,"size":8365,"collection":122,"collections":36554,"showCount":703,"zanCount":1065,"manualWeight":40,"mainColor":41},222789,"hua-niao-ce-ye-09-lang-shi-ning-222789","花鸟册页09",[23,7,24,51,2613,26,27,8278,6292,36552,102,198,201,265,3388,29272],"细腻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c3e2ee11b27dd75906effcdda8e37d.jpg",[],{"id":36556,"slug":36557,"title":36558,"dynasty":67,"author":32192,"museum":13334,"description":36559,"tags":36560,"thumbUrl":36561,"material":250,"size":36562,"collection":122,"collections":36563,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},222532,"ku-lan-fu-hua-tu-ba-juan-wang-duo-222532","枯兰复花图跋卷","释文：\n已丑五月夜。同观画。梁眉居。黄于石。张坦公。张天调。薛行坞。傅梦祯。刘瀛洲。宋牧仲。宋赤城。主人玄平号雨恭。时同饮三槐下。王铎。\n已丑夏五月廿二日。闻雨恭先生阁下盎中建兰于既萎后倏发一茎三花。予骇焉。萎而花。此中有道。其发兰之为其所以发皇者。果兰之为耶。兰。花卉中抱德者也。孤秀幽藏。异乎炫。无人清湛。异乎佝。不斗艳于鼠姑将离。异乎争。映景乘旺。萼蕤跗联。乃于萎荄勃然生灵光奇馞。於戏。兰亦受命者。气垕理苞。即司百物者。不能閟。况天况墬况人况兰。凡后日千叶万萼。雨先生为国家发无穷光华。流馨千禩。为王者笃材。不与凡卉伍。吾于斯。率尔席上即写兰卷。又纪其三花之像。钟万哗盛与古咎箄。鸠方絜馥臻茂。开一代之昌运。必得一代异人。兰何能为政哉。噫。公之所以楙昭前路迓所以发皇者。佗他日吾以此卷券之矣。西洛王铎跋并画。吋及燃炬在蔬圃中。",[23,7,24,51,25,119,2755,118,74,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7702460746d4760892dcf81172f816a5.jpg","32.6X1035.5cm",[],{"id":36565,"slug":36566,"title":679,"dynasty":67,"author":10910,"museum":132,"description":36567,"tags":36568,"thumbUrl":36569,"material":1061,"size":36570,"collection":122,"collections":36571,"showCount":703,"zanCount":40,"manualWeight":40,"mainColor":41},222383,"guan-yin-ding-yun-peng-222383","此图人物面相与手指以工笔重彩，平涂淡色，粗细，浓淡间对比强烈，转换自如，其设色古朴、秀雅不俗，较全面地体现了丁云鹏在粗笔佛像、人物画方面的最高成就。此图天地开阔，中以浅色工笔画白衣大士端坐岩石之上，双目下垂，身旁净瓶插青新竹数枝。",[23,7,24,52,678,27,28,56,26,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb88cf4d1b0a76ac7117cd039ba56472.jpg","33.1x97.2",[],{"id":36573,"slug":36574,"title":36575,"dynasty":114,"author":2868,"museum":151,"description":36576,"tags":36577,"thu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横16.0厘米",[],{"id":37010,"slug":37011,"title":37012,"dynasty":46,"author":19490,"museum":151,"description":37013,"tags":37014,"thumbUrl":37016,"material":230,"size":37017,"collection":122,"collections":37018,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":41},234919,"xue-jing-gu-shi-ce-sun-hu-234919","雪景故事册","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[7,24,51,100,27,855,119,74,1357,77,37015,560,28,861,1023,2043],"宫墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71cf8c9099429fce141eb9764cf468e.jpg","纵31．5厘米 横25．6厘米",[],{"id":37020,"slug":37021,"title":37022,"dynasty":46,"author":181,"museum":151,"description":37023,"tags":37024,"thumbUrl":37025,"material":217,"size":11214,"collection":122,"collections":37026,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":62},234911,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234911","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,51,7,100,27,75,77,82,398,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57bded8df6435a6fffe65bbdf0e611d.jpg",[],{"id":37028,"slug":37029,"title":1056,"dynasty":46,"author":24016,"museum":132,"description":25139,"tags":37030,"thumbUrl":37031,"material":122,"size":122,"collection":122,"collections":37032,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":41},234641,"shan-shui-ce-cha-shi-biao-234641",[7,24,51,100,277,119,73,75,135,136,5079,1997],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d9e861acc45aa892e05b5dca2b8d72.jpg",[],{"id":37034,"slug":37035,"title":37036,"dynasty":46,"author":181,"museum":132,"description":37037,"tags":37038,"thumbUrl":37040,"material":317,"size":907,"collection":122,"collections":37041,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":479},234409,"xiao-he-rui-huang-hou-ban-shen-xiang-chi-ping-yi-ming-234409","孝和睿皇后半身像持屏","这幅肖像以中西合璧的技法绘就，以西洋写实晕染勾勒出皇后柔润的肌肤与沉静端凝的神态，弯眉含秀，唇色妍丽，耳坠轻摇间尽显后宫主位的温婉威仪。\n\n吉服纹饰绘制精工细密，明黄龙张爪展翼，辅以祥云江崖，色彩华贵饱满，将后服的典制华贵尽数铺陈，青蓝背景衬出人物端雅雍容，既得西洋肖像的写实逼真，又不失东方宫廷肖像的庄重规整，尽显清宫肖像融贯中西的独特意韵。",[7,526,26,27,28,37039,30,370,9640,26626,17130],"皇后","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F713ccc991e35ec949a18cac7f6e3e86b.jpg",[],{"id":37043,"slug":37044,"title":15012,"dynasty":46,"author":37045,"museum":151,"description":37046,"tags":37047,"thumbUrl":37048,"material":342,"size":122,"collection":122,"collections":37049,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":41},234309,"za-hua-ce-chen-zi-234309","陈字","陈字(1634一约1713)即陈小莲，幼唤鹿头，初名懦桢，宇无名，明末清初诸暨枫桥陈家村人。陈洪绶第四子，太学生，考授州同。\n资质颖悟，自幼得父钟爱，善书工画，笔墨洒脱酣畅，有大家气，所绘人物、花草别树一帜。其诗亦工，然为画名所掩。时人得陈字画，宝惜如老莲之作，故有“小莲”之号。达官贵人持重金求画，虽家贫如洗，亦不供片纸只字。为人表里如一，遇有不快，即面折人。人谓乃翁遗风，老莲再世。\n陈字痛惜其父著述散佚，设法于谱牒中钩沉，至亲朋中搜集，然老莲议论时政之策，终未一见，只得将所获诗文付梓行世。其时，陈氏一族日见衰落，族人不得已出卖祖先茔地。陈字游学归里，亟言不可，然亦无力赎回。此后，渡大江，历淮扬，吊汴梁古迹，揽京师胜景。在汝南邂逅毛奇龄，相顾太息，纵酒浇愁。毛奇龄赠诗曰：“相逢衣褐在准西，走马关前日欲低。此去一寻辽海雁，何年更听推南鸡。寒风落日醉当垆，燕市还寻旧酒徒，君到安州若相忆，为予重写庆卿图。”未几，贫病而卒。著有《小莲客游诗》，其画作亦有传世。",[7,24,51,100,27,26,56,55,263,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea103ead8b643bc8fe1c701c3daed1a.jpg",[],{"id":37051,"slug":37052,"title":37053,"dynasty":114,"author":181,"museum":151,"description":37054,"tags":37055,"thumbUrl":37056,"material":156,"size":37057,"collection":122,"collections":37058,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":62},234077,"liao-gui-tu-ye-yi-ming-234077","蓼龟图页","图绘溪水岸边，泥坡碎石，红蓼吐艳，野菊轻绽。一只老龟缓缓爬上坡岸，未及出水，便被蓼花上的小蜂所吸引，驻足昂首仰望，后足仍浸于池中，其悠闲自在、与世无争的神态表露无遗。用笔兼工带写，红蓼、乌龟以中锋细笔勾描，小草、花蕊用小写意法，工写结合，笔法灵活多样，设色淡雅清秀。",[24,7,51,100,26,27,102,472,1986,17252,137,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc24c6c29ada4fc7aa2fcd944487a6571.jpg","纵28.4厘米，横28厘米",[],{"id":37060,"slug":37061,"title":37062,"dynasty":114,"author":181,"museum":151,"description":37063,"tags":37064,"thumbUrl":37066,"material":156,"size":37067,"collection":122,"collections":37068,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":62},234075,"shuang-jiu-shan-niao-tu-ye-yi-ming-234075","霜桕山鸟图页","图绘乌桕一枝，叶片稀疏，经霜之后叶尖微微泛红。满挂枝头，表明时值深秋。只文鸟姿态各异，栖于枝头。树枝用浓墨一笔画出，以赭色勾描叶脉与细枝。树叶、小果采用没骨画法。叶之辗转向背、枝之曲折横斜，描绘得都很细致。文鸟以中锋细笔丝出羽毛，其身体的不同部位分别用白粉、赭石、浓淡墨轻染，细腻写实。构图疏朗，动静结合，设色艳而不俗。此为南宋小品画中精心之作。",[7,24,51,100,26,27,102,84,37065,265,1095],"桕树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d4f4e56ed82d3c597ac94451ebf7df.jpg","纵24.2cm，横25.4cm",[],{"id":37070,"slug":37071,"title":37072,"dynasty":114,"author":3309,"museum":151,"description":17491,"tags":37073,"thumbUrl":37074,"material":156,"size":174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:122,"size":122,"collection":122,"collections":37205,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":62},227874,"liu-tang-xun-ju-tu-yi-ming-227874","柳塘寻句图","画面以淡墨晕开江南水滨的烟霭，近处柳林浓荫偃伏，柔条垂覆浅汀，水面浮着点点菱荇，漾着清寂的闲意。远山以轻毫扫出轮廓，融在空蒙水雾之中，恍若化入淡远烟岚。汀渚一隅隐着渔舟，似有幽人独伫，将寻句的幽谧心境沉在湖光柳色里。\n\n全幅以留白造境，笔墨简淡却意蕴悠长，将林泉雅意收在尺幅之间，尽显小品以小见大的雅致，把文人耽于山水、寄情烟霞的襟怀藏在水墨晕染中，淡而愈真，简而弥远。",[23,24,51,7,27,277,26,75,2626,2292,54,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744cd083c4a70642706010bdf7ba17b3.jpg",[],{"id":37207,"slug":37208,"title":37209,"dynasty":114,"author":181,"museum":132,"description":37210,"tags":37211,"thumbUrl":37212,"material":122,"size":122,"collection":122,"collections":37213,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":62},227836,"wu-yun-lou-ge-tu-ye-yi-ming-227836","五云楼阁图页","此作以淡墨晕染铺就空濛底色，危峰如削，拔地耸峙，尽显山石嶙峋硬朗。山脚苍松错落，林麓间野路蜿蜒隐现，以边角取景营造出幽远无际的山野氛围，水墨皴擦勾勒出峭拔山势，将烟霞缥缈的世外秘境晕染得清冷出尘。\n对页题诗与画境相融，笔墨间浸透文人幽居林泉的雅趣，简淡构图里藏着辽远的天地气象，尽显宋人对山水意境的极致追寻，静穆间带着出世的空灵韵味。",[23,7,24,51,2613,768,27,119,73,855,75,77,2009,82,279,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea704ebcc05fe27f9924065ef24fb0e.jpg",[],{"id":37215,"slug":37216,"title":37217,"dynasty":114,"author":181,"museum":132,"description":32351,"tags":37218,"thumbUrl":37219,"material":122,"size":122,"collection":122,"collections":37220,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":62},227360,"zhan-dao-heng-lv-tu-ye-yi-ming-227360","栈道行旅图页",[23,24,7,51,2613,27,75,315,28,215,647,278,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b65495671b6e37fe5a1bbe7ea1b7d6.jpg",[],{"id":37222,"slug":37223,"title":37224,"dynasty":114,"author":181,"museum":132,"description":37225,"tags":37226,"thumbUrl":37227,"material":122,"size":122,"collection":122,"collections":37228,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":479},227349,"xuan-he-dian-shuang-an-tu-yi-ming-227349","宣和殿双安图","北宋皇宫建筑之一，前后经历始建重建，后称保和殿，用以藏书藏画，北宋皇室三大藏书处所之一。著名的《宣和书谱》、《宣和画谱》都与此殿关系密切。",[23,7,24,51,27,26,102,4680,242,3195,634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0812227ecaac5bde35609c91e6acc901.jpg",[],{"id":37230,"slug":37231,"title":37232,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":37233,"thumbUrl":37235,"material":317,"size":907,"collection":3417,"collections":37236,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":41},226105,"the-railway-station-at-argenteuil-1872-mo-nai-226105","The Railway Station at Argenteuil, 1872",[7,3410,4035,20868,12532,32403,32361,32360,32404,8965,29388,648,37234,861,5422],"电线杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bbb11e8ff3bfdc66da1395ef186d2e.jpg",[3417],{"id":37238,"slug":37239,"title":37240,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":37241,"thumbUrl":37243,"material":317,"size":907,"collection":3417,"collections":37244,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":41},226036,"stormy-seascape-1883-mo-nai-226036","Stormy Seascape, 1883",[3410,4035,7,35426,6943,474,37242,28],"暴风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb26baa629ef030f780ed19edcc59ad9.jpg",[3417],{"id":37246,"slug":37247,"title":37248,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":37249,"thumbUrl":37252,"material":317,"size":907,"collection":3417,"collections":37253,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":479},225798,"portret-van-de-moeder-van-de-kunstenaar-fan-gao-225798","Portret van de moeder van de kunstenaar",[7,3410,28,37250,10067,27,30011,30022,37251],"老年女性","浅色背景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91bce71b862562bc45d2e19252d873c8.jpg",[3417],{"id":37255,"slug":37256,"title":37257,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":37258,"thumbUrl":37261,"material":317,"size":907,"collection":3417,"collections":37262,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":62},225765,"houses-in-auvers-fan-gao-225765","Houses in 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073",[3410,7,28,1605,14776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ca494e50aac01e8c879e2e9477076d.jpg",[3417],{"id":37271,"slug":37272,"title":37273,"dynasty":46,"author":33431,"museum":132,"description":37274,"tags":37275,"thumbUrl":37276,"material":122,"size":122,"collection":122,"collections":37277,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":41},224567,"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-224567","仿李晞古采薇图全卷","此作追摹古法，以苍劲斧劈皴勾勒首阳山巉岩硬石，尽显山峦枯寂荒寒。伯夷、叔齐席地对坐，衣纹圆劲凝练，神色沉郁而坚毅，将先贤守节不屈的志节暗藏于眉眼身形间。\n整卷气息沉穆高古，设色浅淡克制，简淡笔墨里见朴拙苍厚。既恪守原作肃穆格调，又融入自身细腻摹写之功，将乱世君子的嶙峋风骨与山野清寂氛围相融，让观者于笔情墨韵间，触摸到千年不移的忠义襟怀。",[24,7,25,154,27,73,28,75,1605,24328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54554e3c6cce8aff03f2293277073082.jpg",[],{"id":37279,"slug":37280,"title":37281,"dynasty":46,"author":17530,"museum":132,"description":37282,"tags":37283,"thumbUrl":37284,"material":122,"size":122,"collection":122,"collections":37285,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":41},224400,"ceng-yan-die-cui-wang-yuan-qi-224400","层岩叠翠","这幅山水以干笔积墨写就，山峦层叠开合，取深远章法铺陈丘壑。以干笔皴擦反复叠加墨色，从淡到浓层层积染，山石质感浑厚苍润，尽显沉雄静穆之气。\n山道蜿蜒藏露，溪涧顺势穿林而过，林木错落穿插其间，山居人家隐于深谷，暗合幽寂野趣。笔墨承元人遗韵又自出机杼，于细碎皴染间，将山川郁茂生机与沉静浑融的意蕴合为一体，尺幅之中带着大山大水的苍郁气象，尽显正统山水画的笔墨风骨。",[23,24,51,5605,73,8454,13238,100,278,82,79,313,1907,1737,84,5470,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7750b4b0b146fdc1e4a74f70bc9e63.jpg",[],{"id":37287,"slug":37288,"title":37289,"dynasty":46,"author":17530,"museum":132,"description":37290,"tags":37291,"thumbUrl":37292,"material":122,"size":122,"collection":122,"collections":37293,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":41},224384,"fang-da-chi-shan-shui-wang-yuan-qi-224384","仿大痴山水","《设色仿大痴山水图》是清代王原祁创作的设色山水画，现收藏于沈阳故宫。\n重要展览 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的神态，刻画极为精工。\n麻雀窃窃私语的神情，欲飞未飞的动态，以及它们茸茸的羽毛，圆而有神的眼睛，描绘得栩栩如生，使人感到如闻其声，如入其境。\n图中竹页用双钩，然后用花青、汁绿渲染，竹竿用白描，荆棘以一笔出之。\n小鸟勾出轮廓后用细笔丝出羽毛，具有毛茸茸的质感。\n此图无作者宽印，钤「宋荦审定」一印。\n本幅无款。\n鉴藏印钤“宋荦审定”。\n裱边题签：“宋人画霜篠寒雏”。\n经清代收藏家宋荦鉴藏，见《石渠宝笈三编》著录。",[23,7,24,26,27,102,384,53,4371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa796d5d8ac8e342dc30faa9a1bfe80fb.jpg",[],{"id":37303,"slug":37304,"title":35944,"dynasty":114,"author":181,"museum":132,"description":37305,"tags":37306,"thumbUrl":37307,"material":122,"size":122,"collection":122,"collections":37308,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":62},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[23,7,24,51,497,611,27,6190,73,82,2626,437,278,649,10068,28,648,2151,426,3375,20019,301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":37310,"slug":37311,"title":15012,"dynasty":67,"author":34115,"museum":195,"description":34116,"tags":37312,"thumbUrl":37313,"material":250,"size":34119,"collection":122,"collections":37314,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":41},221932,"za-hua-ce-guo-xu-221932",[23,24,51,7,100,277,368,1906,28,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9205455fc7afbb5d7e63de117b17c09.jpg",[],{"id":37316,"slug":37317,"title":37318,"dynasty":293,"author":181,"museum":20,"description":37319,"tags":37320,"thumbUrl":37321,"material":217,"size":37322,"collection":122,"collections":37323,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":62},221780,"shuo-jing-tu-zhou-yi-ming-221780","说经图轴","元人少做道释画，但这幅“说经图”却画得十分精彩。此图共有三个部分，左右两幅各画四尊菩萨立像，中央一幅画佛祖释迦牟尼跌坐莲台，罗汉侍立左右。本幅是右边的一幅，构图位置与左边的一幅完全对称。菩萨衣饰华贵，容貌祥和，足下各踏莲花，凌空而立。其姿态各自不同，眼神都注视左前方，像是用心聆听佛法。画中用笔圆劲流畅，设色富丽古艳，颇有上追六朝人笔法之意。\n菩萨顶上放射光芒成一圆轮状，称之为“圆光”。颈上挂着的成串珠玉装饰，称之为“璎珞”。佩戴“璎珞”本是印度贵族男女，皆缀珠玉以为颈饰，梵文称为“枳由罗”，传到中国后则译为“璎珞”。看这四尊菩萨的面貌已经变为中土人士的容貌，而非胡貌梵像，便知这幅是宋以后的作品。",[23,7,24,51,52,678,28,27,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b0f34610241466257060249ffc3d82.jpg","95.4×52.9cm",[],{"id":37325,"slug":37326,"title":37327,"dynasty":114,"author":37328,"museum":20,"description":37329,"tags":37330,"thumbUrl":37331,"material":283,"size":37332,"collection":122,"collections":37333,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":41},221248,"shang-wen-qing-men-xing-ju-chi-du-wu-shuo-221248","上问庆门星聚尺牍","吴说","说上问庆门星聚，伏惟均协，当诣今嗣将仕侍下休裕，匆匆不及别状，说近奉诏旨，访求晋唐真迹，此间绝难得，止有唐人临兰亨一本，答以千缗，省略更高古，许命以官，且告老兄出一只手，广为搜索，亦足张吾军也",[7,51,118,119,74,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37baf8f676462838670c123c469bef7b.jpg","42.3x61.2cm",[],{"id":37335,"slug":37336,"title":37337,"dynasty":67,"author":29478,"museum":6466,"description":37338,"tags":37339,"thumbUrl":37340,"material":27339,"size":37341,"collection":122,"collections":37342,"showCount":346,"zanCount":40,"manualWeight":40,"mainColor":122},220738,"cao-shu-han-jing-pian-zhang-rui-tu-220738","草书汉京篇","通篇行气贯注，笔墨雄健恣肆。字形多作方折之势，跳荡拗折，打破寻常草书的圆转柔媚，以硬峭笔锋斩截挥运，线条棱角分明，筋骨尽显。\n字间疏密错落，欹侧相生，通篇布满奇崛张力，字势牵引却断而不断，视觉冲击力极强。墨色枯润浓淡交替，重墨沉厚处力透纸背，枯笔飞白处萧散劲挺，将心绪寄于笔墨起伏，狂放奇逸脱尽尘俗，独开生面，尽显磅礴奇崛的书法风神。",[7,24,51,25,118,2755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9fc2cdd03420daa53ffe3aeedabd89.jpg","32.5 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御制五律一章，以宠其行，行至山东临清以病卒。",[24,7,51,52,75,697,383,78,278,27,73,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f332a306f0042f842c1e355679df5e1.jpg",[],{"id":37613,"slug":37614,"title":37615,"dynasty":46,"author":852,"museum":132,"description":23787,"tags":37616,"thumbUrl":37617,"material":317,"size":907,"collection":122,"collections":37618,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},290563,"fang-guan-xiu-hua-luo-han-zhou-xu-yang-290563","仿贯休画罗汉轴",[24,52,7,678,27,28,11268,154,74,5399,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf30ff0426e8fb43c6147e29569ff61e.jpg",[],{"id":37620,"slug":37621,"title":37622,"dynasty":293,"author":1577,"museum":132,"description":8222,"tags":37623,"thumbUrl":37624,"material":317,"size":907,"collection":122,"collections":37625,"showCount":416,"zanCount":1065,"manualWeight":40,"mainColor":41},290409,"shi-wen-juan-zhao-meng-fu-290409","诗文卷",[23,7,24,51,25,118,119,37622,277,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb4c44114d59c9ec8af4de4b31cf377.jpg",[],{"id":37627,"slug":37628,"title":37629,"dynasty":114,"author":37630,"museum":132,"description":37631,"tags":37632,"thumbUrl":37633,"material":317,"size":907,"collection":122,"collections":37634,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},290334,"yan-shan-xu-bie-zhou-zhao-zong-han-290334","雁山叙别轴","赵宗汉","赵宗汉，中国汉族人，北宋宗室，字献甫。初嗣濮王，谥孝简，追封景王。他是宋太宗赵炅的曾孙、商恭靖王赵元份之孙、濮安懿王赵允让之子、宋英宗赵曙之弟。为人博雅该洽，无他嗜好，唯诗、书足是习，法度自守，兼工画芦、雁，有思致。尝作八雁图，有江湖荒远之趣。",[7,24,51,52,27,73,75,425,82,77,81,315,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31744f031a3116a1471c13b2041424cc.jpg",[],{"id":37636,"slug":37637,"title":37638,"dynasty":114,"author":181,"museum":132,"description":10758,"tags":37639,"thumbUrl":37641,"material":317,"size":907,"collection":122,"collections":37642,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},290286,"ke-si-rong-tang-xi-lu-zhou-yi-ming-290286","缂丝蓉塘戏鹭轴",[7,24,51,52,1034,1388,27,102,10278,246,398,2292,37640],"流云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6e6b3e765e9e7fc9b3da77541f33c0e.jpg",[],{"id":37644,"slug":37645,"title":37646,"dynasty":293,"author":1577,"museum":132,"description":8222,"tags":37647,"thumbUrl":37648,"material":317,"size":907,"collection":122,"collections":37649,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":62},290282,"cai-shen-tu-ba-ce-ye-zhao-meng-fu-290282","采神图跋册页",[7,51,100,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055adfbe08119a726488d4e06dde4104.jpg",[],{"id":37651,"slug":37652,"title":37653,"dynasty":114,"author":181,"museum":132,"description":27521,"tags":37654,"thumbUrl":37655,"material":317,"size":907,"collection":122,"collections":37656,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},290251,"ping-hu-xue-ji-tu-yi-ming-290251","平湖雪霁图",[7,24,51,768,277,75,1357,4037,82,1737,6832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13613725d654c3c03724561843e7c5ad.jpg",[],{"id":37658,"slug":37659,"title":37660,"dynasty":114,"author":181,"museum":132,"description":27521,"tags":37661,"thumbUrl":37663,"material":317,"size":907,"collection":122,"collections":37664,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":62},290238,"song-gu-wen-dao-tu-yi-ming-290238","松谷问道图",[23,768,24,7,277,75,609,278,28,37662,74,73],"问道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F723be992ad8d1e4dd68ee58a189fecaf.jpg",[],{"id":37666,"slug":37667,"title":37668,"dynasty":46,"author":24016,"museum":132,"description":37669,"tags":37670,"thumbUrl":37671,"material":317,"size":907,"collection":122,"collections":37672,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},290209,"qin-huai-shui-xie-tu-cha-shi-biao-290209","秦淮水榭图","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[23,768,24,7,277,75,278,82,431,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7181b9a09e3fe135d1f3fd9be019b9b.jpg",[],{"id":37674,"slug":37675,"title":33155,"dynasty":114,"author":181,"museum":132,"description":27521,"tags":37676,"thumbUrl":37677,"material":317,"size":907,"collection":122,"collections":37678,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},290108,"jiang-shang-qing-feng-tu-yi-ming-290108",[23,7,24,768,497,72,27,80,278,3426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b8e18a825b8192f03568bd9cc4d7c4a.jpg",[],{"id":37680,"slug":37681,"title":1906,"dynasty":674,"author":5659,"museum":132,"description":37682,"tags":37683,"thumbUrl":37684,"material":317,"size":907,"collection":122,"collections":37685,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},289998,"niu-dai-song-289998","戴嵩 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“负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[7,24,51,100,277,75,79,56,28,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6391a2b3978865708fba12be746feb.jpg",[],{"id":37966,"slug":37967,"title":30565,"dynasty":67,"author":37968,"museum":132,"description":37969,"tags":37970,"thumbUrl":37971,"material":317,"size":907,"collection":122,"collections":37972,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":62},236519,"shan-shui-shan-lu-zhi-236519","鲁治","鲁治，号岐云，江苏苏州人，明代画家。",[7,24,768,277,75,82,437,84,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f25664f8e7ba70b6b80087ce66a9171.jpg",[],{"id":37974,"slug":37975,"title":2207,"dynasty":46,"author":10562,"museum":151,"description":37976,"tags":37977,"thumbUrl":37978,"material":342,"size":37979,"collection":122,"collections":37980,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},236313,"hua-hui-ce-wang-shi-shen-236313","此图册十二页，分别画十二种花卉。\n汪士慎(1686-1759)清代著名画家。字近人，号巢林、溪东外史等。安徽休宁人，寓居扬州。汪士慎在诗、书、画、印诸方面皆有很高的成就。擅画花卉，随意勾点，清妙多姿。精画兰竹，尤擅长画梅，笔致疏落，超然出尘，笔意幽秀，气清而神腴，墨淡而趣足，其秀润恬静之致，令人争重。金农称他画梅之妙和高西唐(翔)异曲同工。西唐善画疏枝，巢林善画繁枝，都有空里疏香、风雪山林之趣。千花万蕊，颇富诗意。老年一目失明，尚能挥写自如，不失当年风韵。为“扬州八怪”之一。工诗，善写隶书，又长篆刻。在一目失明作画时，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。时金农赞他“盲于目，不盲于心”。阮元《广那个诗事》说他：“老而目瞽，然为人画梅，或作八分书，工妙胜于未瞽时。”其代表作有《苍松偃蹇图》、《潇湘灵芳图》、《绿萼梅开图》、《洒香梅影图》、《月珮风襟图》、《灵根出谷图》等。著有《巢林诗集》。",[7,24,51,100,277,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2693dc15f9f2b2a60d728dcb72d3159.jpg","纵24厘米 横27.5厘米",[],{"id":37982,"slug":37983,"title":37984,"dynasty":67,"author":37985,"museum":132,"description":37986,"tags":37987,"thumbUrl":37988,"material":317,"size":907,"collection":122,"collections":37989,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":62},236305,"xi-xiang-qu-yi-shan-ye-li-shi-guang-236305","西厢曲意扇页","李世光","此作取景疏密得宜，近岸虬枝拂水、柳丝垂柔，将缱绻心绪融于尺幅之间。二人相对而立，衣袂轻扬，含情神态宛然可见，工细中带着灵动写意。设色清隽柔和，石青淡赭晕染远山，墨色分染草木，泛黄的扇底更衬古雅韵味。布景以小见大，咫尺之内铺展平远之境，将离别的悱恻揉入湖山烟霭，淡远水天消解了伤别之恸，晕开怅惘含蓄的诗意，尽显仕女雅事画的隽秀情致。",[768,24,51,27,26,28,75,1059,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8264d87b46757cfdc99ab8e44b68007c.jpg",[],{"id":37991,"slug":37992,"title":37993,"dynasty":46,"author":37994,"museum":132,"description":37995,"tags":37996,"thumbUrl":37997,"material":122,"size":122,"collection":122,"collections":37998,"showCount":416,"zanCount":1065,"manualWeight":40,"mainColor":41},235924,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235924","湖山梵刹图册","潘恭寿","此作用浅设色晕染山峦，清润秀雅的青赭色调晕出柔婉的山势，烟岚轻笼，尽显江南丘壑的温润空灵。山寺藏于松壑之间，屋舍错落隐于虬松茂林之中，松枝苍劲盘曲，古意盎然。下层溪谷山居伴溪桥流水，林木葱茏静谧。\n\n诗画相衬，笔墨秀逸明净，将禅意融于湖山烟岚里，勾勒出萧散出尘的梵刹胜境，观之如临清净佛国，足以涤荡俗虑，尽显清寂雅致的世外意趣。",[24,51,7,100,27,73,75,77,78,79,1059,315,81,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e938a92c09b488d00a732c47d06f0ca.jpg",[],{"id":38000,"slug":38001,"title":1056,"dynasty":67,"author":27335,"museum":132,"description":38002,"tags":38003,"thumbUrl":38004,"material":122,"size":122,"collection":122,"collections":38005,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},235825,"shan-shui-ce-li-liu-fang-235825","此作以水墨晕染出江南幽居之景，近岸老松错落苍劲，村居隐于林麓，远山以淡墨轻扫，留白晕开空濛水汽，尽显萧散淡远之致。\n\n题跋点出此画于简淡中藏精妙，取法先贤又自出机杼，笔意松秀温润，将文人幽居林泉的襟怀寄寓其中。以干湿浓淡的水墨层次，勾勒出山林静穆清和的氛围，把江南山水的温润雅致凝于尺幅之间，淡而弥永，悠悠诗意漫溢纸面，尽显文人画尚韵重意的隽永特质。",[7,24,51,100,277,75,297,135,559,298,279,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c930a53074b4f73f98b23eeeb0df25.jpg",[],{"id":38007,"slug":38008,"title":22105,"dynasty":46,"author":38009,"museum":132,"description":38010,"tags":38011,"thumbUrl":38012,"material":317,"size":907,"collection":122,"collections":38013,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},235749,"fang-gu-shan-shui-ce-xue-xuan-235749","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[24,51,7,100,154,277,27,75,278,609,82,425,73,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6590555f1e36c3823d694fdfcd0498b.jpg",[],{"id":38015,"slug":38016,"title":20388,"dynasty":67,"author":13586,"museum":132,"description":16764,"tags":38017,"thumbUrl":38018,"material":317,"size":907,"collection":122,"collections":38019,"showCount":416,"zanCount":1065,"manualWeight":40,"mainColor":41},235689,"shan-shui-hua-hui-ce-xiang-sheng-mo-235689",[7,24,51,100,277,73,75,78,79,82,278,559,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ce76f18a440db12e15e7aac8a905f.jpg",[],{"id":38021,"slug":38022,"title":34523,"dynasty":46,"author":5640,"museum":132,"description":38023,"tags":38024,"thumbUrl":38025,"material":122,"size":122,"collection":122,"collections":38026,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},235646,"shan-shui-tu-ce-wu-li-235646","此作用笔苍浑秀润，右侧危崖壁立，古松虬曲倒挂，松针劲挺如铁，崖间飞瀑垂落，碎石寒泉隐于其下，尽显清寂萧寒。远景山峦层叠，云气氤氲漫卷，将峰岫半遮半掩，虚实相生，烘托出深山冬日的幽僻荒寒。\n\n右上角题诗呼应画境，干笔皴擦勾画出山石嶙峋肌理，淡墨晕染流云柔态，刚柔并济。整幅以水墨铺陈，摒弃浓艳，以萧疏之景写尽荒寒之美，寄寓静穆淡远的文人意趣，于冷寂之中藏着深挚的山水情怀，尽显水墨山水空灵悠远的意境。",[24,51,7,100,277,73,75,278,609,313,648,279,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706cd4af2901587fe982252869318b4a.jpg",[],{"id":38028,"slug":38029,"title":22105,"dynasty":67,"author":37945,"museum":132,"description":38030,"tags":38031,"thumbUrl":38032,"material":122,"size":122,"collection":122,"collections":38033,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},235626,"fang-gu-shan-shui-ce-shen-hao-235626","此作以淡墨晕染山峦，皴擦相济刻画出山石嶙峋肌理，近坡石错落横生，浅波隐现溪石，蜿蜒栈道串联谷中村居与山巅古寺，远景峰峦淡化为浅灰虚影，虚实相生晕染出悠远空寂的山林意境。\n\n右上题字朱印雅致点缀，文人气韵悠然暗合仿古意趣。笔墨简淡松灵，不刻意雕琢却尽得山水真趣，将林泉幽居的静穆逸致融于尺幅之中，尽显文人画尚意抒情的特质，是师法古人又自出机杼的小品佳制。",[7,24,51,100,277,27,73,154,75,56,79,1059,78,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F211c9dc6b8ace33b6a81cfb116839d6b.jpg",[],{"id":38035,"slug":38036,"title":11990,"dynasty":46,"author":2660,"museum":132,"description":33017,"tags":38037,"thumbUrl":38038,"material":317,"size":907,"collection":122,"collections":38039,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},235388,"hua-niao-tu-ce-hua-yan-235388",[7,24,51,100,27,277,102,135,384,514,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb877c81c06b6a8a65ba1940edd153cc3.jpg",[],{"id":38041,"slug":38042,"title":1056,"dynasty":46,"author":36163,"museum":132,"description":38043,"tags":38044,"thumbUrl":38045,"material":122,"size":122,"collection":122,"collections":38046,"showCount":416,"zanCount":40,"manualWeight":40,"mainCol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走海上，盗平而宝亦死。",[24,51,7,72,27,73,75,425,82,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2d9360d61f7347b84fac5f007bac46c.jpg",[],{"id":38220,"slug":38221,"title":38222,"dynasty":46,"author":17530,"museum":48,"description":38223,"tags":38224,"thumbUrl":38226,"material":250,"size":38227,"collection":122,"collections":38228,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},232676,"shan-shui-tu-lan-yan-shu-se-wang-yuan-qi-232676","山水图(岚烟树色)","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。\n王原祁为王派山水的小字辈，后来居上。他得益于乃祖王时敏的亲授从而间接吸收营养于董其昌的艺术和思想，无疑具有功力派和灵性派两类画人的资质。在此图册的第4开上，王原祁钤盖“西庐后人”白文印，以表明自己的身份。\n王原祁在吸收南宗诸大师的画艺，特别是黄公望的长处上更见功力。其画以笔墨论，处处见笔、处处有形、处处得意、处处显情，而又浑然一片，气脉贯连。他在淡墨积笔上有独到的把握，淡墨入画虽易见活气但极难苍厚，层层覆笔又易失之于浊，王原祁以淡墨作山石，或勾线以立形，或横笔以辅面，干笔皴擦，湿笔堆点，层层见笔，层层浑合，苍古厚润兼之以“毛”、“涩”，相交生发而神采愈显。此图册的第10开王原祁钤盖“苍润”朱文葫芦印，显示了自己的审美趣味。实际上，王原祁的这枚“苍润”闲章，刻了多方，不同的型制，于30余岁就已使用，沿用一生，充分体现出王原祁的绘画美学趣味，而其绘画本色也与“苍润”之实质十分符合。",[7,24,51,52,277,73,119,118,74,75,2009,82,609,3195,278,279,38225],"岚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3ca722659548bd5b92cc3b10a0df4c.jpg","80.4x43.5cm",[],{"id":38230,"slug":38231,"title":38232,"dynasty":293,"author":181,"museum":132,"description":38233,"tags":38234,"thumbUrl":38236,"material":122,"size":122,"collection":122,"collections":38237,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":993},231038,"su-shu-yi-ming-231038","粟鼠","此作用水墨写意写就，枯槎苍劲朴拙，栗枝舒展间，墨色浓淡晕染出叶片柔润舒展之态，栗果饱满写实，尽显秋实野趣。\n\n两只粟鼠是画中灵动焦点，淡墨晕出绒毛发肤，一笔扫就蓬松长尾，细笔勾勒爪牙眉眼，一只捧食凝神，憨态可掬，一只俯身探看，灵动俏皮。画面留白疏朗萧散，以极简笔墨铺陈出秋日林间的闲散意趣，将山野小景的生机与简淡清逸的意韵相融，尽显水墨花鸟的雅致野逸之美。",[23,7,24,51,52,277,26,73,472,10418,1059,339,38235],"粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca36ef3cadb6f575e61c0b0a7414e33.jpg",[],{"id":38239,"slug":38240,"title":38241,"dynasty":293,"author":181,"museum":132,"description":38242,"tags":38243,"thumbUrl":38244,"material":122,"size":122,"collection":122,"collections":38245,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":62},230902,"hua-hui-tu-ye-yi-ming-230902","花卉图页","此作用色清和柔婉，以没骨法晕绘花枝。素白花瓣轻透柔润，攒聚的细点圈出花蕊，朴拙中带着精巧意趣。叶片以深浅绿意铺陈，随枝条自然舒展，将花枝的绰约姿态托衬得愈发清雅。古绢的沉褐底色晕开旧时光晕，让整幅画面浸着幽淡娴静的古雅气韵，似将暮春庭隅的清寂花影凝在绢上，淡而不薄，简而有味，尽显文人意趣里的雅致闲情。",[23,7,24,51,100,26,27,102,198,339,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea57ae90d4205641248ba1b657896677.jpg",[],{"id":38247,"slug":38248,"title":26411,"dynasty":46,"author":181,"museum":132,"description":38249,"tags":38250,"thumbUrl":38251,"material":122,"size":122,"collection":122,"collections":38252,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},230333,"bai-miao-luo-han-tu-ce-yi-ming-230333","此作用墨笔白描辅以淡墨晕染，布袋和尚袒胸踞坐崖间石台，手持拂尘，笑眼弯弯神态安恬，尽显自在禅意。下方侍者温驯抚鹿，麋鹿灵动温顺，衬出画面平和宁寂。背景以枯淡墨线勾勒奇崛山石，间缀荒草野木，皴擦简练却将岩穴幽深荒寂尽显。\n\n整幅线条清劲秀雅，构图虚实相生，将禅林幽寂氛围与悠然禅意融为一体，工细刻画中带着写意的萧散简远，尽显雅致出尘的禅林清趣。",[7,24,51,100,510,678,28,472,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac3702465bd235f35148b38f8343fb6.jpg",[],{"id":38254,"slug":38255,"title":38256,"dynasty":46,"author":6966,"museum":132,"description":38257,"tags":38258,"thumbUrl":38259,"material":317,"size":907,"collection":122,"collections":38260,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},230213,"fa-jie-yuan-liu-tu-jing-pian-ding-guan-peng-230213","法界源流图镜片","纵观此图，场面宏大，人物众多，气势磅礴。内容主要描绘的是诸佛菩萨、天龙八部、法会、禅宗六祖和十八罗汉等形象。每个人物无论从装束、姿态、大小还是表情上都各具特色。佛祖释迦牟尼居于画面的中心，他坐卧于佛案上，身穿宽大的佛袍，面向观者，代表着佛界的最高权威。他神态平和而威严，似乎世间的一些都在其掌控之中。他身后的佛光照亮了天地万物，作者巧妙地运用放射性的波纹线条来表现背景，正好与佛光的发射性结合起来。运用这种表现手法正是作者的高明之处，这些线条穿过树木，透过腾腾的云气，一直延展下去，也许正在向世人暗示佛法的无边。周围人物各居两边，有的为侧面，有的为正面；有的呈坐姿，有的呈立姿；有的宽袍长衣，佛带飘逸，有的袒胸露腹，盔甲满身；有的面容俊逸，温和慈善，有的瞠目立眉，叱咤狰狞。表现手法真是多种多样，但无论怎样变化，他们都是聚集在佛祖身边，手拿法器，各居其位，时刻待命。观此景象也许你会感受到一种无穷的力量在感召着你，那普照的佛光会一直射进你的心中，与你的心灵产生一种完美的契合。\n此画为横幅巨制，布局谨严饱满。在构图方式和人物设置上，除了微小的部分有些变化之外，整体气势冲和一致，甚至有的地方比原作更加集中，用笔更为健劲有力。比如图中以释迦牟尼为中心，运用对称的构图方法，把众多人物分别聚集两边，彼此又自有其序，既有连续性，又有独立性，这就是虽然人物繁多但无一点杂乱之感的原因。尽管人物姿态各异，但总的来说都是朝向画面中，L的佛祖，使得画面充满着一种巨大的凝聚力和向心力。在技法上，此卷以重设色大描金的方法画成。运用刚劲有力的“细铁线”，人物形体准确，神态生动。设色浓丽，金碧辉煌，显示出作者高超的绘画才能。",[7,24,51,26,27,4711,678,28,11940,2042,17134,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8a2186ce4c371acf7e6f57ed4bc51b.jpg",[],{"id":38262,"slug":38263,"title":21316,"dynasty":46,"author":17530,"museum":132,"description":38264,"tags":38265,"thumbUrl":38266,"material":122,"size":122,"collection":122,"collections":38267,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},229030,"shan-shui-ce-ye-wang-yuan-qi-229030","此作以干渴焦墨反复皴擦堆叠山峦，笔力苍劲老辣，层层铺陈出浑厚华滋的质感，尽显山水苍莽深秀之态。近岸汀渚错落，虬曲杂木丛生，简笔点染枝叶，意态萧疏古雅。山坳间村舍隐于林木烟岚，晕开幽居野逸的闲趣。\n\n远景山峦逶迤，墨色由浓转淡，虚实相生间晕染出空濛悠远的意境。以书法意趣入画，笔墨裹挟沉静书卷气，层层皴染尽显山川厚重雄浑，将自然苍朴与文人意趣相融，静穆里藏着蓬勃生机，尽显传统山水的笔墨风骨与幽深远阔的林下襟怀。",[7,24,51,100,277,73,75,278,82,79,7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Railway Bridge at Argenteuil, 1874",[7,3410,4035,27151,9664,30012,38367,663,10068,82,4731,14127,8965,3809,30851,13315],"铁路桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc123b1d63ae667c737349ac39a9cb24.jpg",[3417],{"id":38371,"slug":38372,"title":38373,"dynasty":1383,"author":3407,"museum":132,"description":3408,"tags":38374,"thumbUrl":38377,"material":317,"size":907,"collection":3417,"collections":38378,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":62},225843,"the-garden-of-saint-paul-s-hospital-december-fan-gao-225843","The garden of Saint Paul's Hospital (December - 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打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,51,7,16513,277,1179,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697e28729aa273a86e99330651715a76.jpg","35.88x57.31cm",[],{"id":38471,"slug":38472,"title":14299,"dynasty":67,"author":1070,"museum":69,"description":9427,"tags":38473,"thumbUrl":38475,"material":1061,"size":9431,"collection":122,"collections":38476,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},222560,"hua-hui-tu-ce-chen-chun-222560",[23,24,51,7,277,368,198,1151,118,3387,1455,7315,38474,9429],"笔墨淋漓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba7d9cdec86c0d7f73ca453017e82d2.jpg",[],{"id":38478,"slug":38479,"title":38480,"dynasty":67,"author":5561,"museum":195,"description":5562,"tags":38481,"thumbUrl":38482,"material":250,"size":15972,"collection":122,"collections":38483,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},222495,"shang-bo-hua-ji-xuan-36-3-zhang-lu-222495","上博画集选36-3",[23,7,24,51,28,277,27,510,279,84,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3232ca4f32698b25453d60c8f9e02aba.jpg",[],{"id":38485,"slug":38486,"title":38487,"dynasty":67,"author":8708,"museum":20,"description":27301,"tags":38488,"thumbUrl":38489,"material":250,"size":27304,"collection":122,"collections":38490,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},222477,"shi-tie-ming-dou-pian-zhu-yun-ming-222477","诗帖《名都篇》",[23,7,24,51,25,277,74,118,1580,119,2755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5fd88b77555435f37d0ebc34bb492d.jpg",[],{"id":38492,"slug":38493,"title":38494,"dynasty":67,"author":27091,"museum":260,"description":38495,"tags":38496,"thumbUrl":38497,"material":10023,"size":38498,"collection":122,"collections":38499,"showCount":416,"zanCount":40,"manualWeight":40,"mainColor":41},222370,"wen-yin-tu-juan-yao-shou-222370","文饮图卷","姚绶（1422-1495年），字公绶，号穀庵、丹丘子、云东逸史等。明天顺八年（1464年）进士，官至广东道监察御史，因忤权贵被贬永宁知县，遂称病辞官归里，以诗文书画终老其生。其书法初学宋克，后宗张雨、赵孟俯，并参以黄庭坚；绘画方面，他继承了元代文人画传统，主要师法吴镇、王蒙、赵孟俯，可谓明代前期文人画家中的领军人物之一，在元代文人画与明代吴门画派之间起着承上启下的关键作用。",[23,7,24,51,25,277,119,118,74,368,73,28,75,53,82,81,79,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a051ea9fd252ec4da1dd0ba33659ff.jpg","23.3 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字希哲、晞喆。因右手多生一指，故自号支指生、枝指生、枝指山人、枝山、枝山居士、枝山樵人等。世称“祝京兆”。长洲(今江苏吴县)人，自幼就聪慧过人，五岁时能写一尺见方的大字，九岁会作诗，以后博览群书，诗文有奇气。弘治五年（1429）中举，以后便久试不第， 正德九年（1514），他被授为广东兴宁县知县，在岭南五年，后升任为应天(今南京)府通判，正德十四年（1519）年称病还乡。他的仕途与他的祖辈和儿子来说，都相差甚远，实际上他是一个不得意的文人。他和唐寅等人意气相投，玩世狂放。与唐寅、文徵明、徐祯卿并称为 “吴中四才子”。晚年，他喜独居作诗文，崇尚魏晋风流和禅宗，生活更加放浪形骸而不乐拘检，甚至玩世不恭，在吴门派中，他算最具有文人特质的一位。祝允明父为徐有贞女婿，自己又是李应祯之婿，祖父祝颢为进士，曾官至山西布政司右参政，相信在这样的环境里，他受到多方面的熏染。《明史.文苑传》称其“能诗文，尤工书法，名动海内。”他的楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追“二王”，其书《出师表》谨严浑朴。晚年，临写《黄庭经》不注重点画的形似，而结构疏密，转运遒逸，神韵益足。嘉靖末的书法家王樨登说：“古今临《黄庭经》者，不下十数家，然皆泥于点画形似钩环戈磔之间而已，......枝山公独能于矩绳约度中而具豪纵奔逸意气。”他的草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。人称：“枝山草书天下无，妙酒岂独雄三吴！” 清代朱和羹《临池心解》认为：“祝京兆大草深得右军神理，而时露伧气；小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。”代表作有《草书贾至大明宫早朝诗轴》，《箜篌引（即草书曹植诗手卷）》和《赤壁赋》等，流利洒脱，奔放不羁。《名山藏》说：“允明书出入晋魏，晚益奇纵，为国朝第一。",[23,7,24,51,25,277,74,118,2755,119,1580,5525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3a954db750c98792c82776e8c12da1.jpg",[123],{"id":38862,"slug":38863,"title":38864,"dynasty":293,"author":38865,"museum":132,"description":38866,"tags":38867,"thumbUrl":38868,"material":122,"size":122,"collection":122,"collections":38869,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},239672,"chun-hui-tang-ji-juan-ou-yang-xuan-239672","春晖堂记卷","欧阳玄","《春晖堂记》卷是元代欧阳玄创作的楷书书法作品。\n署款：“国史冀郡欧阳玄记”，款下钤“冀郡欧阳玄印”。\n鉴藏印有清安岐、乾隆内府、嘉庆内府、宣统内府诸印。\n卷后有元张翥、吴当、贡师道、程益四家题诗。\n《春晖堂记》是欧阳玄为王伯善的“奉亲之堂”所撰并书的记文。\n文中赞扬了王伯善对母亲的孝敬，同时又歌颂了王母的贤惠。\n从文中可知，此奉亲之堂名“春晖”,是当时的文人吴养浩据唐孟郊“谁言寸草心，报得三春晖”的诗意而起。\n此卷后面的诗跋咏颂的都是王伯善奉孝母亲之事，而不是对欧阳玄书法的评价。\n此书学苏轼，笔法浑厚稳健，刚劲流畅，笔画精到，起承转折分明，结体方扁，分间布白极其匀称，是欧阳玄合文章、书法为双美的代表作品。\n欧阳玄（？-157）字原功，号圭斋，浏阳人。\n祖籍江西。\n系欧阳修的族裔。\n清康熙年间修浏阳县志时因避康熙皇帝玄烨讳，改玄为元，所以又有欧阳元之称。\n115年（元延二年），取中进士第三名，为官4余年先后六入翰林，两为祭酒，两任主考，以史学成就最为突出，同时也以诗文闻名天下，因其学识渊博，文绩卓著，人称“一代宗师”。",[23,7,24,51,25,119,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc486d24397cc66b8fc169a4d8a916a62.jpg",[],{"id":38871,"slug":38872,"title":38873,"dynasty":46,"author":29789,"museum":132,"description":29790,"tags":38874,"thumbUrl":38875,"material":317,"size":907,"collection":122,"collections":38876,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},239531,"fang-gu-ji-you-tu-ce-huang-yi-239531","访古纪游图册",[24,7,51,100,277,510,28,1059,75,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924c1247898f08ee7257df85283e7639.jpg",[],{"id":38878,"slug":38879,"title":36069,"dynasty":67,"author":36070,"museum":132,"description":38880,"tags":38881,"thumbUrl":38882,"material":317,"size":907,"collection":122,"collections":38883,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},239252,"shu-hua-tu-ce-cheng-min-239252","此幅墨兰以水墨写意写就，兰叶纯以中锋运笔，线条舒展劲挺，刚柔并济，似君子临风，错落排布间虚实相映，尽显章法之妙。花苞以浓淡墨色点染，寥寥数笔便将幽兰花苞含露待放之态勾勒传神。\n\n全幅不着背景留白相称，愈发衬出空谷幽兰的清寂高洁，暗含文人托物言志的意趣，将兰花君子般脱俗自持的品格融于笔墨间。右下角朱红小印小巧雅致，既平衡了画面构图，也为水墨素色添了一抹亮色点缀，整幅画作简淡清逸，余韵悠长。",[7,24,51,100,277,228,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f75771e4bef722c0466e9c40b148ec8.jpg",[],{"id":38885,"slug":38886,"title":38887,"dynasty":46,"author":181,"museum":132,"description":38888,"tags":38889,"thumbUrl":38890,"material":317,"size":907,"collection":122,"collections":38891,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},238620,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238620","平定两金川得胜图册","全景式构图铺展山地鏖战的宏阔场面，两侧陡山夹峙河谷，严整列阵的队伍与负隅顽抗的对手在此对垒。画师以细腻线条刻画出人马奔突、箭弩齐发的拼杀细节，将士悍勇姿态历历在目。山野间草木岩峦皴擦写实，烘托出战地荒蛮肃杀的氛围。\n\n整体画风冷峻写实，以纪实性的叙事还原战事的壮烈，将冷兵器时代山地攻防的紧张张力尽数铺陈于纸面，带着厚重的战地纪实感，让观者仿若亲临这硝烟弥漫的古战场。",[24,51,7,26,510,73,28,215,297,135,281,663,18954,26469,4005],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68c81815b4b6fe850b9a446c30fdbd.jpg",[],{"id":38893,"slug":38894,"title":9040,"dynasty":46,"author":36087,"museum":132,"description":36088,"tags":38895,"thumbUrl":38897,"material":317,"size":907,"collection":122,"collections":38898,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},238446,"geng-zhi-tu-ce-mian-yi-238446",[24,7,51,100,27,26,28,77,560,38896,1388,74],"纺织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ef886c0b78c2a3a493c711d44632de.jpg",[],{"id":38900,"slug":38901,"title":13774,"dynasty":46,"author":2922,"museum":132,"description":7364,"tags":38902,"thumbUrl":38903,"material":317,"size":907,"collection":122,"collections":38904,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},238425,"dong-gao-li-gu-ying-chun-tu-xiao-ce-dong-gao-238425",[7,24,51,100,27,26,102,1882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa06ae7f59b43320f6f7044a3a82409e0.jpg",[],{"id":38906,"slug":38907,"title":36892,"dynasty":46,"author":2922,"museum":132,"description":36893,"tags":38908,"thumbUrl":38909,"material":317,"size":907,"collection":122,"collections":38910,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},238393,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238393",[7,24,51,100,27,26,102,1882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a09850e981c99f02e2e247416141f02.jpg",[],{"id":38912,"slug":38913,"title":37905,"dynasty":46,"author":2922,"museum":132,"description":7364,"tags":38914,"thumbUrl":38915,"material":317,"size":907,"collection":122,"collections":38916,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},238380,"jin-ying-ning-lu-tu-xiao-ce-dong-gao-238380",[7,24,51,100,27,26,102,1882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18cada16fd36191953aacf649f15bf4d.jpg",[],{"id":38918,"slug":38919,"title":37905,"dynasty":46,"author":2922,"museum":132,"description":7364,"tags":38920,"thumbUrl":38921,"material":317,"size":907,"collection":122,"collections":38922,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},238377,"jin-yin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dan-xu-235137","陈云柯小像图轴","费丹旭陈云柯小像图轴是清代的图轴。\n图绘须髯垂髫、笑容可掬的像主陈云柯坐于平石之上，左右以竹、石相伴。\n人物的面部以传统方式表现，用线条勾勒，淡彩 ，刻画细腻。\n衣纹以线条为骨，古拙而流畅。\n图中坚硬的山石以湿墨皴擦出形，秀挺的青竹以浓淡墨相衬晕染，朦胧有致。\n石与竹烘托出像主的中心位置，同时，以物托志，标示出像主高致朗逸的内在情怀。\n款署 ：“癸巳冬十一月，云柯先生属写。\n晓楼费丹旭。\n”钤“子苕”朱文印。\n鉴藏印有 “ 印”、“石雪斋秘笈印”等共4方。\n“癸巳”是道光十三年(18年)，作者时年岁。",[7,24,51,52,510,277,27,28,53,278,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae970ae071e04f94b8ee705744f033d.jpg",[],{"id":39083,"slug":39084,"title":1056,"dynasty":46,"author":5640,"museum":151,"description":34618,"tags":39085,"thumbUrl":39086,"material":834,"size":34621,"collection":122,"collections":39087,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},235016,"shan-shui-ce-wu-li-235016",[24,7,51,100,277,119,74,73,75,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F156efb030ae76d105034c69b34121e47.jpg",[],{"id":39089,"slug":39090,"title":39091,"dynasty":46,"author":39092,"museum":151,"description":39093,"tags":39094,"thumbUrl":39095,"material":342,"size":122,"collection":122,"collections":39096,"showCount":489,"zanCount":1065,"manualWeight":40,"mainColor":41},234738,"huang-shan-tu-ce-jiang-zhu-234738","黄山图册","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[526,7,24,51,100,27,73,75,12681,278,82,279,609,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b06e15593f0c0b799413b461de64ee3.jpg",[],{"id":39098,"slug":39099,"title":22105,"dynasty":46,"author":7849,"museum":132,"description":22106,"tags":39100,"thumbUrl":39101,"material":3579,"size":22109,"collection":122,"collections":39102,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},234715,"fang-gu-shan-shui-ce-wang-hui-234715",[24,51,7,100,277,73,1272,75,647,278,28,279,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca9f3af74811c30e2439f3313491490.jpg",[],{"id":39104,"slug":39105,"title":1056,"dynasty":67,"author":20389,"museum":132,"description":39106,"tags":39107,"thumbUrl":39108,"material":122,"size":122,"collection":122,"collections":39109,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},234665,"shan-shui-ce-shao-mi-234665","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[7,24,51,100,277,73,75,56,1059,79,80,81,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1a6a24b24c48b15067832ea331eb98.jpg",[],{"id":39111,"slug":39112,"title":39113,"dynasty":46,"author":17629,"museum":132,"description":39114,"tags":39115,"thumbUrl":39116,"material":3579,"size":122,"collection":122,"collections":39117,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},234245,"chen-shu-hua-si-zi-jiang-de-juan-chen-shu-234245","陈书画四子讲德卷","陈书（1660–1736）是清代女画家。陈书出生于浙江省秀州（今嘉兴），以字“南楼”及号“上元弟子”、“南楼老人”著称。陈书被认为是清代第一位女画家，以及秀水画派的开创者。除了她本人的艺术成就外， 陈书的另一闻名之处是作为清代名臣钱陈群的母亲。在她丈夫早逝后，陈书独自抚养儿子长大。钱陈群在乾隆朝深得皇帝赏识，并将其母画作介绍予乾隆帝，因此陈书的画作相当一部分收入大内，现藏于北京故宫博物院和台北国立故宫博物院。陈书擅长人物、山水、花鸟。",[23,7,24,51,25,27,26,119,74,75,609,81,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a83c11e883961e84fe7ffe9131110e1.jpg",[],{"id":39119,"slug":39120,"title":39121,"dynasty":114,"author":181,"museum":151,"description":39122,"tags":39123,"thumbUrl":39124,"material":611,"size":39125,"collection":122,"collections":39126,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},234080,"song-gu-wen-dao-tu-ye-yi-ming-234080","松谷问道图页","在这张照片中，现场附近有一条潺潺的小溪。 一个老和尚坐在一棵古松下，另一个老和尚用手问老和尚。 远景云雾缭绕。 人物文笔简洁，意境生动，精神饱满。 这张图题中的“询价”二字，显然有表面和内在两层含义。 类似的题材和绘画手法出现在南宋马远、夏圭的画册中。",[7,24,51,27,73,74,75,28,697,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc520db25e880f9feeb4e1560f18da22c.jpg","44x43cm",[],{"id":39128,"slug":39129,"title":19661,"dynasty":114,"author":2868,"museum":151,"description":19662,"tags":39130,"thumbUrl":39131,"material":217,"size":19665,"collection":122,"collections":39132,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},233989,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233989",[7,24,51,100,510,277,27,28,81,1059,278,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6335300d6c06ab16b07654d665d0d6f7.jpg",[],{"id":39134,"slug":39135,"title":1056,"dynasty":46,"author":2275,"museum":151,"description":35387,"tags":39136,"thumbUrl":39137,"material":834,"size":35390,"collection":122,"collections":39138,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},233982,"shan-shui-ce-gong-xian-233982",[7,24,51,100,277,13238,73,75,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8217a4cc6bdee39bd63322a7ce60ed2.jpg",[],{"id":39140,"slug":39141,"title":39142,"dynasty":67,"author":68,"museum":151,"description":753,"tags":39143,"thumbUrl":39144,"material":156,"size":31446,"collection":122,"collections":39145,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},233761,"ren-wu-gu-shi-ce-8-chou-ying-233761","人物故事册8",[7,24,51,26,27,100,28,33648,3300,812,315,425,74,684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff55f603785d0771b5aef7f69f519cad7.jpg",[],{"id":39147,"slug":39148,"title":39149,"dynasty":293,"author":181,"museum":132,"description":37102,"tags":39150,"thumbUrl":39151,"material":122,"size":39152,"collection":122,"collections":39153,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},233024,"hou-fei-xiang-yi-ming-233024","后妃像",[7,24,26,27,28,29,30,1861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93f4c8f74e43b7486ebad28c1c90ce10.jpg","纵41.2cm 横29.cm",[],{"id":39155,"slug":39156,"title":39157,"dynasty":293,"author":181,"museum":20,"description":39158,"tags":39159,"thumbUrl":39160,"material":122,"size":122,"collection":122,"collections":39161,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},232888,"yuan-tai-zu-cheng-ji-si-han-xiang-yi-ming-232888","元太祖成吉思汗像","孛儿只斤·铁木真（1162年—1227年8月25日） [112] ，尊号“成吉思汗”（传统蒙古文：ᠴᠢᠩᠭᠢᠰ ᠬᠠᠭᠠᠨ；拉丁蒙古文：Činggis Qaγan；西里尔蒙古文：Чингис Хаан；英语：Genghis Khan），蒙古族乞颜部人，生于漠北斡难河（今鄂嫩河）上游地区（今蒙古国肯特省）。大蒙古国可汗（1206年—1227年8月25日在位），世界史上杰出的军事家、政治家。\n铁木真早年丧父，投奔克烈部首领脱里，积蓄实力，于1189年被推举为蒙古乞颜部可汗，随后经过一系列战争，统一蒙古高原诸部。1206年在斡难河源即皇帝位，建立大蒙古国。建国后，实行千户制，建立护卫军，颁布《大扎撒》。此后经过多次的对外战争，占领东亚地区金朝的大片领土，并灭亡西夏、西辽及中亚的花剌子模，其征服足迹远抵东欧的黑海海滨。1227年，铁木真在西夏投降前夕病逝，终年六十六岁。临终前定下“联宋灭金”的战略，死后被秘密安葬于起辇谷。元朝建立后，累赠谥号为法天启运圣武皇帝，庙号太祖。\n铁木真是一位极具争议性的人物。自其崛起以来，便被视为野蛮残忍的侵略者 。到近代以后，也有许多学者认为铁木真及其继承人领导下的蒙古帝国发动的对外征服战争，促进了欧亚大陆间的相互影响，对之后的世界历史进程产生了深远的影响 。此外，他对蒙古诸部的统一战争，对蒙古民族共同体的形成起到了重要的作用",[24,51,7,26,27,28,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567e01e0e72d4cc7969b8e3d33f0fa5f.jpg",[],{"id":39163,"slug":39164,"title":23477,"dynasty":293,"author":1577,"museum":132,"description":8222,"tags":39165,"thumbUrl":39166,"material":317,"size":907,"collection":122,"collections":39167,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},232833,"bai-miao-luo-han-tu-juan-zhao-meng-fu-232833",[23,7,24,51,25,678,510,28,74,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985a756bb7fba498c697a86c800475dd.jpg",[],{"id":39169,"slug":39170,"title":39171,"dynasty":1383,"author":34658,"museum":132,"description":34659,"tags":39172,"thumbUrl":39175,"material":317,"size":907,"collection":122,"collections":39176,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},232508,"he-er-bai-yin-167-he-er-bai-yin-232508","荷尔拜因167",[7,15788,27,28,39173,39174],"裸体女性","建筑残垣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F584493d35ece53649ded638dc9d72d4b.jpg",[],{"id":39178,"slug":39179,"title":39180,"dynasty":1383,"author":34658,"museum":132,"description":34659,"tags":39181,"thumbUrl":39182,"material":317,"size":907,"collection":122,"collections":39183,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},232479,"he-er-bai-yin-138-he-er-bai-yin-232479","荷尔拜因138",[7,15788,6292,37127,23471,28,13425,29401,13426,38384,26626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b228e4183d4378bc5b649252d1a485b.jpg",[],{"id":39185,"slug":39186,"title":39187,"dynasty":1383,"author":34658,"museum":132,"description":34659,"tags":39188,"thumbUrl":39191,"material":317,"size":907,"collection":122,"collections":39192,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},232377,"he-er-bai-yin-36-he-er-bai-yin-232377","荷尔拜因36",[7,15788,510,28,11400,1861,684,39189,39190,27],"头饰","线条勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f408a25d80139337dbfd0d5e958124c.jpg",[],{"id":39194,"slug":39195,"title":39196,"dynasty":1383,"author":39197,"museum":132,"description":39198,"tags":39199,"thumbUrl":39200,"material":317,"size":907,"collection":122,"collections":39201,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},231678,"lian-cang-shi-qi-gong-jia-lie-ying-tu-teng-yuan-xin-shi-231678","镰仓时期 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道德伦理规范的行为，与天相对立。将人们追求美好生活的要求取人欲，是封建纲常与宗教的禁欲主义结合起来。",[24,7,51,510,277,28,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7510ea49d7d3289d5a8fee5c6c39bf8.jpg","122.6x68.6",[],{"id":39213,"slug":39214,"title":39215,"dynasty":114,"author":1160,"museum":20,"description":39216,"tags":39217,"thumbUrl":39222,"material":250,"size":39223,"collection":122,"collections":39224,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},231398,"bu-na-tu-liu-song-nian-231398","补纳图","本幅画两名僧人坐于禅榻上，老者正潜心补衣，另一人则抱膝旁观。屏后，复有侍者二人，伫立捻茶。画中人物，表情鲜活而自然，衣纹用笔亦流畅有力。惟左下方款署之“画院待诏赐金带刘松年敬赠”及钤印疑伪。 宋元罗汉画常见僧侣日常活动，此轴描绘僧人补衣，亦可归入罗汉画类型。刘松年是活动在十二世纪的南宋宫廷画家，以本院所藏〈画罗汉〉三轴最具代表性。若与〈补纳图〉相较，风格互异，本幅应系南宋晚期至元的画家托名所作。\n“南宋四家”之一刘松年在南宋画院崭露头角，介于李唐和马远、夏圭之间。他曾师从张敦礼学画，而敦礼画法学李唐，工于山水、人物画，刘松年学到了老师恬洁滋润的长处，也继承了李唐的绘画优点。\n刘松年的作品传世者并不多，据记载他的作品多表现江南一带风景，特别是西湖园林的优美景色，并穿插以文人贵族的闲适生活，少数还图绘了仙山楼阁的神仙世界，反映了那一时代上层社会的审美情趣。\n刘松年的工笔人物画尤其是罗汉图主要是对贯休的继承。当然这种继承不是拷贝，而是在古人的基础之上融入了自己的理解和心得，并形成自己的风格特色。",[24,7,51,52,26,27,28,472,8903,1164,19654,198,39218,22585,39219,15952,39220,39221],"衣饰","宋代画风","衣纹细致","色彩典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad9390faee56e00d3126eeee9d660f4.jpg","纵141.9cm，横59.8cm",[],{"id":39226,"slug":39227,"title":39228,"dynasty":114,"author":181,"museum":20,"description":39229,"tags":39230,"thumbUrl":39231,"material":34,"size":38700,"collection":122,"collections":39232,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},231081,"yu-e-tu-yi-ming-231081","浴鹅图","画面取水岸一隅，古木虬枝苍拙雄健，疏梅绽花点点，柳丝柔曼垂落晕染出春日清氛。\n\n白鹅浮于水面，翎羽刻画精工细腻，绒羽蓬松、主羽分明，曲颈昂首悠然自得，尽显雍容闲适。枝头小雀理羽顾盼，鲜活灵动，与白鹅的静雅形成呼应，一动一静间晕开松弛野逸的意趣。\n\n全作用色古雅沉稳，工写兼融，禽鸟刻画细致入微，林石布景写意简澹，将幽寂的池畔春景晕染出静谧悠然的古典格调，尽显雅致恬淡的自然之美。",[7,24,51,26,27,4313,1059,3014,384,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b094f5baeb96b4cd23585e29b9b69e.jpg",[],{"id":39234,"slug":39235,"title":39236,"dynasty":114,"author":181,"museum":20,"description":39237,"tags":39238,"thumbUrl":39239,"material":34,"size":18078,"collection":122,"collections":39240,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},231080,"tong-shi-xiu-ling-tu-yi-ming-231080","桐实修翎图","这幅小品以极简取景尽显雅致意趣。枯涩桐枝斜出，叶片晕染苍润，桐实垂悬，带着秋意的沉敛。枝上禽鸟侧身理羽，绒羽蓬松柔润、覆羽棱纹毕现，笔致精细入微，将禽鸟的慵懒闲适刻画得鲜活传神。\n\n画面虚实相生，淡远空境衬出小景静谧，古绢的沉暗底色晕开旧时光晕，钤印朱红点缀，添上岁月沉淀的厚重，尽显写生的精妙工致，将秋日林间的幽寂生机定格在尺幅之间。",[7,24,51,52,26,27,102,384,1821,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40cb72af34f436ca4a5ea71e741b3c48.jpg",[],{"id":39242,"slug":39243,"title":39244,"dynasty":46,"author":19010,"museum":132,"description":39245,"tags":39246,"thumbUrl":39247,"material":317,"size":907,"collection":122,"collections":39248,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},229051,"qing-ke-si-yu-zhi-san-xing-tu-song-bing-gong-hui-tu-zhou-qing-ren-229051","清缂丝御制三星图颂并恭绘图轴","此作以缂丝技法织就，福禄寿三星齐聚庭间，福星朱袍持如意，雍容端方，禄星抱婴含笑，满含温情，寿星银须捧桃，矍铄古朴。数位稚童环绕身侧，嬉戏随侍，融融暖意扑面而来。\n\n衬以玉树虬松、玲珑湖石与缤纷花草，云烟轻笼庭间，铺就悠然吉庆的雅致氛围。通幅走线匀整细腻，配色明丽沉稳，袍服织金纹饰、松石肌理皆还原精妙，上部御题诗文隽秀规整，与下方图景呼应成趣，将世俗祈愿与宫廷缂丝工艺完美融合，尽显华贵祥和的祥瑞气韵。",[7,24,51,52,1034,27,26,2130,28,680,135,278,2042,198,3195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baaeba49be9b03774cc9e5217bff1a3.jpg",[],{"id":39250,"slug":39251,"title":39252,"dynasty":46,"author":1567,"museum":132,"description":39253,"tags":39254,"thumbUrl":39255,"material":122,"size":122,"collection":122,"collections":39256,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},228991,"bai-kai-luo-han-tu-41-shi-tao-228991","百开罗汉图41","此作用水墨晕染出清寂禅境，双罗汉对晤于松崖之间。右侧罗汉安坐危崖，衣纹圆转舒展，神色悠然抬眼望向山巅，松间罗汉隐于虬枝之下，目光回睇似共论禅机。古松盘桓错节，松针攒簇苍劲老辣，崖石以枯笔皴擦尽显奇崛之势。背景流云以涡旋墨色铺陈，裹挟空濛仙气，虚实相生间晕化出幽渺山境。\n笔意纵恣灵秀，将禅家超旷出尘的意趣融于山水人物之中，简淡笔墨里藏着苍莽空灵的世外之韵，尽显禅画合一的精妙意致。",[7,24,51,100,277,73,510,678,28,609,278,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49d7565bc3db5a2c1dec7feb41f1899.jpg",[],{"id":39258,"slug":39259,"title":39260,"dynasty":46,"author":8580,"museum":132,"description":39261,"tags":39262,"thumbUrl":39267,"material":122,"size":122,"collection":122,"collections":39268,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},228973,"niu-jiao-gua-shu-tu-huang-shen-228973","牛角挂书图","此作以枯淡古雅的色调铺陈，老梅盘曲苍劲，枝桠疏朗错杂，荒岩皴笔朴拙，衬出山野清寂之气。骑牛垂读者安然沉湎卷帙，将乱世中偷闲向学的意态藏于松弛悠然的身姿里。\n\n另一侧人物情态各别，执圭者倨傲自得，仆从躬身低眉，虬髯汉抱臂冷眼，似是俗务应酬的世情剪影。雅俗两相对照，暗合安贫乐道与追名逐利的分野，以简练灵动的笔墨勾勒人物形神，把山野幽趣与市侩世情融于一轴，寄寓着对沉潜向学本心的推崇。",[23,24,7,28,1906,383,647,281,73,27,39263,39264,39265,39266],"安贫乐道","向学","山野","世情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6e143aa6327450ab8a6b916907ab2.jpg",[],{"id":39270,"slug":39271,"title":39272,"dynasty":67,"author":39273,"museum":132,"description":39274,"tags":39275,"thumbUrl":39276,"material":122,"size":122,"collection":122,"collections":39277,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},228900,"xiao-fu-tu-juan-zhang-feng-bu-tu-gu-meng-you-228900","啸赋图卷张风补图","顾梦游","水墨淡绘峰林幽谷，隐者策杖独行，留白疏淡间，漾出幽远超尘的林下意趣。随行行书长卷笔致秀雅舒展，录就《啸赋》全篇，笔墨清逸萧散，与画境相映成趣。\n\n书画合璧，将赋文里寄怀烟霞、啸傲林泉的隐逸襟怀融于卷中，明人尚雅的高致风流尽在其中，文、书、画相生相融，勾勒出古贤遁世丘山的澹泊襟怀。",[23,7,24,51,25,510,277,75,56,118,119,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2daf2a4d157139ac44e11d0373f8546.jpg",[],{"id":39279,"slug":39280,"title":39281,"dynasty":67,"author":181,"museum":132,"description":39282,"tags":39283,"thumbUrl":39284,"material":317,"size":907,"collection":122,"collections":39285,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},228815,"xi-lv-gong-ao-tu-yi-ming-228815","西旅贡獒图","图中描绘一位高鼻深目、长满胡须的胡人，手牵獒犬，坐在皇宫外的汉白玉台阶上等待进贡。早在先秦时期，西部少数民族便开始向中原进贡獒犬。《尚书·旅獒》记载：“惟克商，遂通道九夷八蛮，西旅厎贡厥獒。”按孔颖达注疏，“西旅”是指西部羌族。《尚书·旅獒》篇是劝戒帝王不能因喜好所贡獒犬而“玩物丧志”，而“贡獒图”则是用以歌颂帝王的武功，表现“万国来朝”的气势，“贡獒图”在历代有多种不同形式的表现",[23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擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[23,7,24,51,25,119,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45af0e2b190495cfb4d69b5a01f05ee.jpg",[],{"id":39317,"slug":39318,"title":26932,"dynasty":114,"author":181,"museum":132,"description":39319,"tags":39320,"thumbUrl":39321,"material":122,"size":122,"collection":122,"collections":39322,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},227895,"cheng-jiang-bi-xiu-tu-yi-ming-227895","此作为宋代青绿山水小品，取半边构图，左畔山石以石青石绿晕染，苍润古雅，坡岸松荫蔚然，隐见茅舍山居，野意悠然。右侧铺陈空阔澄江，几叶扁舟随波缓行，远山以淡墨轻扫晕染，在赭色绢底烘托下，将尺幅小景延展为辽远空濛的水天之境。\n\n全画色调沉静古拙，雅致内敛，把江南平远山水的清寂空阔，与山居的安闲悠然相融。咫尺尺幅间尽显宋人观照山水的澹泊意趣，见微知著，藏着江南烟水的沉静诗意，尽显院体小品的清丽雅致。",[23,7,24,51,768,27,75,80,135,136,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faebd0603c9adc30af9685e06d3a0274a.jpg",[],{"id":39324,"slug":39325,"title":39326,"dynasty":114,"author":181,"museum":132,"description":39327,"tags":39328,"thumbUrl":39329,"material":122,"size":122,"collection":122,"collections":39330,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},227875,"liu-tang-qiu-cao-tu-yi-ming-227875","柳塘秋草图","此作以淡墨晕染水天，将清秋的空濛萧索揉在氤氲水汽中。左侧岸渚垂柳成林，枝叶以细笔点染如烟似雾，把秋的清柔藏在垂绦之间。水面留白处点缀浅渚芦草，笔墨简淡却野意自生，细描的水纹漾开闲静涟漪，晕开塘岸幽寂。\n\n以尺幅小景框住秋郊疏朗之美，摒弃繁复皴法，凭水墨浓淡铺陈远近层次，将深秋的沉静淡愁融在画面里，如同一曲低缓清寂的秋歌，淡而余味悠长，尽显宋画独有的含蓄雅致，藏着文人偏爱的冷澹幽隽意境。",[23,7,24,51,768,26,277,27,73,75,1478,890,2292,82,3115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce6b7f466f533a40e0830c8a2449467.jpg",[],{"id":39332,"slug":39333,"title":31249,"dynasty":114,"author":181,"museum":132,"description":39334,"tags":39335,"thumbUrl":39336,"material":122,"size":122,"collection":122,"collections":39337,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},227873,"liu-tang-du-shu-tu-yi-ming-227873","苍松虬劲盘绕，柔柳垂拂溪岸，茅庐静踞山隅，堂内人影潜于书卷之间。溪石隐现于浅濑，清泠水意漫溢出纸面，远景平波澹澹，林峦在烟霭中晕化成淡墨剪影，将尘嚣完全隔绝在外。\n笔墨苍莽淋漓，皴擦间带着山野朴拙之气，将林泉高致的隐逸意趣藏在细节里，观之如身临幽寂山隅，窥见古人寄心林泉、沉潜书卷的雅静襟怀，仿佛能听见松涛卷着书香漫过水湄。",[23,7,24,51,768,26,27,75,82,559,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd30268d4053639501778e8219f9b2a.jpg",[],{"id":39339,"slug":39340,"title":27572,"dynasty":114,"author":181,"museum":132,"description":39341,"tags":39342,"thumbUrl":39345,"material":122,"size":122,"collection":122,"collections":39346,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},227762,"qiu-jiang-ming-po-tu-yi-ming-227762","宋 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《维摩诘经变》是莫高窟中较重要的经变图，现存有30多幅，在各个时期都有表现，多以“异品同构”的构图方式出现，将多品的内容由一个故事情节互相穿插起来。到唐代之后，画家的技艺有了长足进步，构图更加合理，笔法更加讲究，对人物内心的把握亦更加到位。这幅《维摩诘经变》基本上以线描为主，局部赋色。画中的维摩诘坐于榻上，身披紫裘，白练裙襦，一膝支起，左手抚膝，右手执麈尾，身后是六曲草书屏风，服饰和器物的衬托将维摩诘完全表现为一位儒家的士大夫。他上身略前倾，蹙眉张口，精神矍烁，呈辩说状，一改魏晋时期“有清羸示病之容，隐几忘言之状”的表现方式。",[7,24,51,25,678,26,27,28,2044,118,4782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52739128606e123240e7976057adc6b0.jpg",[],{"id":39356,"slug":39357,"title":39358,"dynasty":674,"author":181,"museum":1514,"description":3679,"tags":39359,"thumbUrl":39360,"material":317,"size":907,"collection":122,"collections":39361,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},226451,"ku-yong-dao-bei-bi-yi-ming-226451","窟甬道北壁",[24,7,677,678,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97e7b564b6984e00756d4aebb170807.jpg",[],{"id":39363,"slug":39364,"title":39365,"dynasty":1383,"author":181,"museum":132,"description":39366,"tags":39367,"thumbUrl":39370,"material":317,"size":907,"collection":122,"collections":39371,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},225479,"fu-shi-hui-237-yi-ming-225479","浮世绘237","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。",[7,14273,27,2256,28,29,15006,39368,31335,103,24716,39369],"和服","坐姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07c483c364f1a60f530189180acdeaa7.jpg",[],{"id":39373,"slug":39374,"title":39375,"dynasty":1383,"author":181,"museum":132,"description":39366,"tags":39376,"thumbUrl":39383,"material":317,"size":907,"collection":122,"collections":39384,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},225416,"fu-shi-hui-174-yi-ming-225416","浮世绘174",[7,14273,39377,27,29,2031,39378,18368,26,39379,28,39380,39381,39382],"木刻版画","发饰","彩色","服饰纹样","装饰性","线条流畅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5477c822d26a0ceb9cb19269c340678a.jpg",[],{"id":39386,"slug":39387,"title":39388,"dynasty":46,"author":19010,"museum":132,"description":39389,"tags":39390,"thumbUrl":39391,"material":122,"size":122,"collection":122,"collections":39392,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},224577,"suan-ni-tu-zhou-qing-ren-224577","狻猊图轴","此作以卧姿神兽为主体，画师跳出写实桎梏，将其塑作威严悍猛之态。阔口獠牙、双目圆睁，夸张的面部更显慑人气势，鬃毛以晕染分层，蓬松如怒涛翻卷。躯体线条柔中带刚，暗合肌肉张力，臀侧旋纹为神兽添了几分神异灵韵。\n\n旁侧古松虬曲苍劲，苔点皴写出老干斑驳质感，坡岸细草轻勾淡描，衬得神兽愈发沉静雄浑。淡墨轻色晕染出古雅绢本氛围，工写兼施，既抓住猛兽的雄健之姿，又赋予瑞兽神性威仪，尽显神异走兽画的精妙意趣。",[24,51,52,526,26,27,472,609,5314,281,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840689bd9a6229e85d7d08c8826cb047.jpg",[],{"id":39394,"slug":39395,"title":39396,"dynasty":46,"author":24473,"museum":132,"description":39397,"tags":39398,"thumbUrl":39400,"material":122,"size":122,"collection":122,"collections":39401,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},224291,"xue-ling-pan-che-tu-li-yin-224291","雪岭盘车图","《清李寅雪岭盘车图》是由清代画家 所作的一副画作，现收藏于 。\n该画山水立意新颖，构图巧妙，笔墨工整，结构严谨，千丘万壑层出不穷，气势磅礴，闻名于时。\n兼工花卉，所作桃花、杨柳娟妍工丽，颇具神韵。\n与萧晨(灵曦)齐名。\n李寅（生卒年不详），字白也，号东柯，江苏扬州人。\n是清代顺治、康熙年间活跃于扬州地区、以卖画为生的职业画家。\n他善画花卉，所作桃花、杨柳堪称神品。\n亦工山水，千丘万壑，层出不穷。\n他的楼阁画更能在继承前人传统的基础上独辟蹊径，造诣精深，对清初界画的发展产生了相当大的影响。",[23,7,24,51,52,75,27,73,297,1023,4459,135,559,281,280,28,5060,647,39399],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":39403,"slug":39404,"title":29879,"dynasty":114,"author":181,"museum":132,"description":39405,"tags":39406,"thumbUrl":39407,"material":122,"size":122,"collection":122,"collections":39408,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},223685,"qi-shi-lie-gui-tu-ye-yi-ming-223685","胡风漫卷下猎罢而归，骑士毡帽胡服，神态悠然松弛，似正回味猎时快意。身旁骏马垂首缓息，鞍鞯纹饰细密华美，犹带着出猎时的矜贵气度，暗衬主人不凡。\n整幅设色调和淡雅，笔致凝练写实，将北地游侠猎归后的闲散意韵尽显。诗画合璧，题诗呼应着射猎的飒爽过往，把塞上猎游的疏野风情融于尺幅之间，寥寥数笔便将游侠卸甲稍歇的松弛情态勾勒传神，尽显古朴生动的写实格调。",[23,7,24,51,100,26,27,28,215,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c29f5851237d0ecd81db53402b7efe.jpg",[],{"id":39410,"slug":39411,"title":39412,"dynasty":18,"author":181,"museum":132,"description":39413,"tags":39414,"thumbUrl":39415,"material":317,"size":907,"collection":122,"collections":39416,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},223662,"yan-luo-wang-shou-ji-jing-tu-quan-juan-yi-ming-223662","阎罗王授记经图全卷","简称《佛说十王经》。为卷轴式手抄彩绘卷。本经卷属晚唐五代时期敦煌所绘，画风古朴，十分珍罕。本卷为法国伯希和从敦煌带走藏于法国国图的《阎罗王授记经》三种绘卷之一。\n十王信仰的形成主要缘于佛教地狱思想、因果报应思想、三世轮回思想与中国传统的鬼神魂魄思想之结合。",[23,24,7,25,51,678,28,27,4782,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc185f928e71d9e31bb56d282798760.jpg",[],{"id":39418,"slug":39419,"title":39420,"dynasty":114,"author":181,"museum":132,"description":39421,"tags":39422,"thumbUrl":39423,"material":122,"size":122,"collection":122,"collections":39424,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},223646,"xi-yan-mu-se-tu-ye-yi-ming-223646","西岩暮色图页","此作用墨沉润苍郁，以边角取景铺展暮色空山。近岸孤舟横斜，系着晚归的余绪，坡岸林木蓊翳，松枝偃仰间带着黄昏倦意。崖壁山石以硬朗皴法写就，隐没在渐深的暮色烟霭中，虚实相生间将山野黄昏的幽寂缓缓铺陈。\n\n墨色随着暮色层次晕染，浓淡过渡里晕化出薄暮氤氲的朦胧，不见白日明丽，只留萧疏静谧的山野况味，将暮色西岩时分天地归于岑寂的氛围感藏在水墨晕染间，观之如身临空山向晚，揽尽黄昏里山野沉静的余韵。",[23,7,24,51,100,277,73,75,135,281,80,5491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c5bd45ee326f56e10fc3030c6df6c33.jpg",[],{"id":39426,"slug":39427,"title":9040,"dynasty":46,"author":5869,"museum":151,"description":34069,"tags":39428,"thumbUrl":39430,"material":122,"size":9045,"collection":122,"collections":39431,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},223208,"geng-zhi-tu-ce-jiao-bing-zhen-223208",[7,526,24,51,100,26,27,855,39429,28,82,79,23615,5314],"木屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0805715a3ed6bf9985b6d773935e49ec.jpg",[],{"id":39433,"slug":39434,"title":39435,"dynasty":46,"author":6606,"museum":151,"description":39436,"tags":39437,"thumbUrl":39439,"material":156,"size":39440,"collection":122,"collections":39441,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":993},223153,"yao-xie-shi-yi-tu-ce-di-shi-yi-kai-xiong-jiao-shou-fu-xiang-kun-huang-ren-xiong-223153","姚燮诗意图册-第十一开：熊鐎兽鍑相焜煌","此套共十册，每册十二开，每开除录有姚燮诗句外，还分别钤“熊”朱文印或“渭长”白文印。册页最后另有四开，分别有任熊、熊松之、吴云、沈钰、曹峋、李鸿裔等人题跋。据任熊自跋，作品完成于咸丰元年（1851年），时年29岁。\n这套共计一百二十张的册页是任熊在友人姚燮家里居住时为主人所画。姚燮，字梅伯，号复庄，浙江镇海人。道光年间举人，以诗见称于世。此册以姚燮的诗句命题，题材丰富多样，人物鬼神、花鸟鱼虫、仙山楼阁、亭榭风月皆聚于尺幅之间。全册别具匠心，常有神来之笔；设色则于鲜丽中见古雅之气，堪称任氏巅峰时期的铭心佳构。",[23,7,24,51,100,27,9466,34451,39438,32,55,74],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20a44f35d01ef3b9fa6fe5681161ebec.jpg","纵27.3厘米，横32.5厘米",[],{"id":39443,"slug":39444,"title":39445,"dynasty":46,"author":6606,"museum":151,"description":39436,"tags":39446,"thumbUrl":39449,"material":156,"size":39440,"collection":122,"collections":39450,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},223150,"yao-xie-shi-yi-tu-ce-di-wu-kai-bai-yuan-ru-lao-ren-dao-qi-san-zu-gui-ren-xiong-223150","姚燮诗意图册-第五开：白猿如老人，倒騎三足龟",[23,24,7,100,26,27,39447,39448,79,56,82,281,4541,472],"白猿","三足龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25992424e85224bdb7548f3617444b35.jpg",[],{"id":39452,"slug":39453,"title":39454,"dynasty":67,"author":32192,"museum":132,"description":39455,"tags":39456,"thumbUrl":39457,"material":250,"size":122,"collection":122,"collections":39458,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},222539,"cao-shu-ce-wang-duo-222539","草书册","本册草书从其落款上看是“甲子暮春”是天启四年（一六二四）年所书，当时王铎三十三岁。是年正月，王铎授翰林院检讨，春天，其返故里，舅父陈具茨四月卒，时守在榻旁。直至冬天，自孟津出游陆浑山，继沿伊水北上，过龙门，登香山。可见，此册是其在家乡时所作。我们很难想象三十三岁时的王铎能写出如此老辣苍茫的作品，与其晚年作品几无二致，我以为有两点是值得注意的，一是其落款，“铎”字与晚年不同。另外，晚年作品书写时用大王内擫法，更为注重左右的穿插变化，呈S形轨迹，而此册则基本是以直线而下的。王铎此册草书是承袭小王外拓连绵草的传统，气势绵延跌宕，笔致苍茫浑厚，在书写过程中，实连多于意连，故有大珠小珠落玉盘的趣味，每一页中有较为浓重的字与渴燥枯笔的字互为映照，从视觉效果上显得极为灿烂夺目。从涨墨、浓墨、枯墨等一系列墨色的变化中我们可以清晰看出王铎的突破点所在。其次是王铎对字的造型把握极有天分，他善于以险造势，在不稳中求得其平衡，犹如体操运动员走平衡木一般。正是这种左右摇曳生姿的险绝正如文如看山不喜平，让人在不断享受新奇新鲜所带来的快感和美感：让我们的心理节律与书写的节奏融为一体，感受着笔墨的欢快跳动。再次是王铎采用间距密集、行距宽疏的方法，由此形成对比，一密一疏的方法也在某种程度上强化了它的形式效果。当然在观赏中最为让人心旌摇荡的还是王铎书法线条的遒劲有力的质感，给人以入木三分的效果。梁章钜在本册跋中说：“孟津书法雄伟，足以推倒流辈，而间有习气未除。此卷则神动天随，几于化矣。吾乡张二水有其雄伟而飞舞逊此一筹，要皆为艺林绝技也。”他将此册的特点归结于雄伟飞舞，亦可谓一家之言。",[23,7,24,51,100,277,2755,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94ddfd0d8241ef37d8c17bf3248ff3f0.jpg",[],{"id":39460,"slug":39461,"title":39462,"dynasty":293,"author":39463,"museum":20,"description":39464,"tags":39465,"thumbUrl":39466,"material":250,"size":39467,"collection":122,"collections":39468,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},221761,"qi-yan-lv-shi-liang-qi-221761","七言律诗","良琦","释良琦，字元璞，苏州人。住天平山之龙门寺。与顾阿瑛、陶宗仪、张渥等交游甚密。元末随顾瑛移居嘉兴,住城东兴圣寺。既究禅理，兼通儒学，亦能诗文。",[23,7,51,118,119,277,74,12793,79,1570,53,81,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4867de88d29dfd67b134418ad75ba572.jpg","50.8x73.9厘米",[],{"id":39470,"slug":39471,"title":39472,"dynasty":114,"author":18388,"museum":1031,"description":18389,"tags":39473,"thumbUrl":39474,"material":666,"size":18392,"collection":122,"collections":39475,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},220086,"jia-pai-tu-quan-juan-fen-juan-10-gong-kai-220086","笳拍图全卷-分卷10",[7,24,51,25,510,28,215,472,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F033e0f52be25204604c6531dfdfb38b0.jpg",[],{"id":39477,"slug":39478,"title":39479,"dynasty":67,"author":8286,"museum":195,"description":39480,"tags":39481,"thumbUrl":39482,"material":250,"size":39483,"collection":122,"collections":39484,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},219795,"mo-sui-yang-wu-lao-tu-ce-2-you-qiu-219795","摹睢阳五老图册-2","睢阳五老图，为北宋时期画作。所谓“五老”，是指杜衍、王涣、毕世长、冯平、朱贯，皆大宋朝中重臣，辞官后寓居南京睢阳（今河南省商丘市睢阳区）颐养天年，经常晏集赋诗，时称“睢阳五老会”。这5位长寿老人均是“退休高官”且年至耄耋：丞相祁国公杜衍80岁，驾部郎中冯平87岁、兵部郎中朱贯88岁、礼部侍郎王涣90岁，年纪最长的司农卿毕世长，时年已经94岁。出于对他们的敬重，睢阳当地一位丹青高手为五人各绘制了一幅全身像，题名《睢阳五老图》，并让五人在图上赋诗。钱明逸于北宋至和三年（1056年）为之作序。此画绘制精美，尤其是人物脸部描绘细腻生动，栩栩如生。欧阳修、晏殊、范仲淹、文彦博、司马光、程颢、程颐、苏轼、苏辙、黄庭坚等18位北宋重量级人物纷纷在画上题诗题跋。南宋至清末，上百位名人为之题赞，可谓流传有绪，堪称一部国宝级画作。《睢阳五老图》的珍贵不仅在于画作本身，历代名家的题跋在书法史上也具有极为重要的地位。",[24,51,7,100,27,26,28,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8c6b811a77df2e6a7c2bfe3d4c862e.jpg","35.2x25.5厘米",[],{"id":39486,"slug":39487,"title":39488,"dynasty":293,"author":181,"museum":39489,"description":39490,"tags":39491,"thumbUrl":39497,"material":34,"size":122,"collection":122,"collections":39498,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":479},218202,"shan-shui-tu-er-yi-ming-218202","山水图(二)","九州国立博物馆","这幅画作品出现在元朝时期，其作者不详。《山水图》以其精细的绘画技巧和丰富的内容而闻名，是元朝时期山水画艺术的杰出代表作。\n\n这幅画作品中，画家运用了各种不同的技巧，如水墨画技法、点染技法等，使得这幅画作充满了丰富的色彩和变化。",[7,24,51,52,27,73,75,278,82,80,79,648,1996,39492,39493,3115,12458,3375,39494,39495,31532,23504,39496],"苍劲枝干","层叠山峦","自然景致","传统山水画","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe726c81cec33fed8eceda24249fa80ff.jpg",[],{"id":39500,"slug":39501,"title":39502,"dynasty":114,"author":556,"museum":20,"description":37411,"tags":39503,"thumbUrl":39504,"material":34,"size":37415,"collection":122,"collections":39505,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},218161,"wen-ji-gui-han-tu-ce-2-li-tang-218161","文姬归汉图册-2",[24,7,51,100,27,26,73,75,28,1059,315,84,2785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa03ef6130e66be0ecc8f39f18f74cbe6.jpg",[],{"id":39507,"slug":39508,"title":39509,"dynasty":114,"author":556,"museum":20,"description":37411,"tags":39510,"thumbUrl":39512,"material":34,"size":37415,"collection":122,"collections":39513,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":62},218155,"wen-ji-gui-han-tu-ce-8-li-tang-218155","文姬归汉图册-8",[7,24,51,100,27,26,73,28,215,1906,4459,315,2107,82,684,39511,634,20945],"历史场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb6ffaf894a25f6f8dd74b66d18417a.jpg",[],{"id":39515,"slug":39516,"title":39517,"dynasty":46,"author":181,"museum":151,"description":39518,"tags":39519,"thumbUrl":39521,"material":27,"size":122,"collection":122,"collections":39522,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},217308,"gu-xiu-wu-shi-san-can-tu-ce-7-yi-ming-217308","顾绣·五十三参图册-7","丝缕交织间，一幅灵动的参访图景徐徐展开。绣线如毫，勾勒出祥云流转、浪涛翻涌的意境，仙人衣袂飘举似乘风而来，骑虎者姿态雄健，孩童仰头望之，神情专注。画面以淡雅色调铺陈，色彩层次分明却不失温润，针脚细密如织，将人物神态与自然景致的肌理质感一一呈现。善财童子参访的场景于丝缕间铺展，既含宗教意涵，又具人文温度。融绘入绣的技法，让作品既有绘画的笔墨韵致，又藏刺绣的匠心巧思，方寸之间尽显清代绣艺的精妙与传统文化的深厚底蕴。",[7,24,51,100,39520,27,26,28,370,6056,472,2042,4541,278,82,3068],"顾绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4953707e99b919bba71842986b9c3d0d.jpg",[],{"id":39524,"slug":39525,"title":39526,"dynasty":46,"author":36622,"museum":132,"description":36623,"tags":39527,"thumbUrl":39529,"material":267,"size":122,"collection":122,"collections":39530,"showCount":489,"zanCount":40,"manualWeight":40,"mainColor":41},217205,"fa-jie-yuan-liu-tu-juan-6-li-ming-217205","法界源流图卷-6",[23,24,51,7,25,678,26,27,28,2042,681,39528,17135,10470,6550,11268,1049],"背光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae872e02105a3a20c24f145a89265116.jpg",[],{"id":39532,"slug":39533,"title":39534,"dynasty":46,"author":36622,"museum":132,"description":36623,"tags":39535,"thumbUrl":39538,"material"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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。",[7,3410,27,28,1388,21698,40227,40228,40229,9664,27151],"暖色调","条纹服饰","纱质织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273985a963aea560152ba0b2b2c6a896.jpg",[],{"id":40233,"slug":40234,"title":40235,"dynasty":1383,"author":40236,"museum":132,"description":40237,"tags":40238,"thumbUrl":40239,"material":317,"size":907,"collection":122,"collections":40240,"showCount":530,"zanCount":40,"manualWeight":40,"mainColor":41},231669,"jiang-hu-shi-dai-ying-jian-quan-shi-xiang-zhou-du-bian-feng-shan-231669","江户时代 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远山杂木图",[7,51,25,277,75,648,40246,73],"杂木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e013f5ce74f2538599526275739ec0.jpg",[],{"id":40250,"slug":40251,"title":40252,"dynasty":1383,"author":181,"museum":132,"description":40253,"tags":40254,"thumbUrl":40255,"material":317,"size":907,"collection":122,"collections":40256,"showCount":530,"zanCount":40,"manualWeight":40,"mainColor":41},230987,"niao-yu-seng-zheng-hua-juan-yi-ming-230987","鸟羽僧正画卷","淡彩晕染搭配稚拙灵动的线条，定格了一出荒诞喧嚣的街头闹剧。左侧奔逃的百姓神色惊惶，推搡拥挤间衣袂翻飞，尽显狼狈惶急，妇孺跌扑奔窜，满是仓皇失措之态。右侧官吏差役神态骄横各异，或挥臂喝斥、或持扇作态，将官威凌人的跋扈展露无遗。\n整幅画作以写意笔调勾勒众生，情态各有不同，将官民对立的张力拉至极致，以戏谑的民间视角辛辣铺陈衙役驱民的现实，笔意朴拙却鲜活生动，暗喻着对世俗不公的讽刺。",[23,7,24,51,25,27,28,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc575e2ca921dbcd470913fa4023ce3.jpg",[],{"id":40258,"slug":40259,"title":40260,"dynasty":293,"author":181,"museum":132,"description":40261,"tags":40262,"thumbUrl":40263,"material":317,"size":907,"collection":122,"collections":40264,"showCount":530,"zanCount":40,"manualWeight":40,"mainColor":62},228210,"ti-po-wang-tu-yi-ming-228210","提婆王图","此作为白描道释人物，以劲挺匀细的铁线描勾勒，尽显精妙骨法。下方神王方面怒目，周身圆光朗照，甲胄层叠细密，纹饰繁丽精巧，将护法者的雄武威严展露无遗，飘拂的衣带柔婉灵动，中和了甲铠的沉厚刚硬，刚柔相济。\n\n上方祥云卷舒，簇拥着天众侍从，身姿错落悠然，晕染出天界清灵缥缈之境。全作用墨浓淡互生，虽彩迹消褪，却以线条撑起画面神采，静穆典雅中裹挟着宗教绘画特有的沉静威仪，尽显元代人物白描的精湛笔力。",[23,24,51,7,52,510,678,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd13dc95e83802bd195fa740bcc413f.jpg",[],{"id":40266,"slug":40267,"title":40268,"dynasty":114,"author":40269,"museum":132,"description":40270,"tags":40271,"thumbUrl":40272,"material":122,"size":122,"collection":122,"collections":40273,"showCount":530,"zanCount":40,"manualWeight":40,"mainColor":41},227972,"si-xing-shi-yang-mei-zi-227972","四行诗","杨妹子","此幅团扇书法兼取唐楷端雅与行书灵动，笔致娟秀婉丽，筋骨暗藏。诗句咏叹春残之景，将惜春倦怠、厌弃繁华偏恋醉乡的澹泊意趣，融于笔墨之中。墨色匀净沉稳，与古雅绢底相得益彰，章法排布疏朗匀称，字间顾盼有情，尽显宋代女性书家的温婉情致。朱红古印错落点缀，与墨色、绢色相映成趣，整体气息娴静悠然，暗合宋人的雅致审美。小幅之中，尽融文人意趣与闺阁才情，韵致悠长，尽显宋韵清雅。",[7,24,51,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9e78b25fdd63db264868ebb2a8df21.jpg",[],{"id":40275,"slug":40276,"title":40277,"dynasty":114,"author":181,"museum":132,"description":40278,"tags":40279,"thumbUrl":40280,"material":122,"size":122,"collection":122,"collections":40281,"showCount":530,"zanCount":40,"manualWeight":40,"mainColor":62},227835,"yun-guan-xue-zhan-tu-ye-yi-ming-227835","云关雪栈图页","萧寒冬日里，群峰被素雪覆裹，枯松虬曲苍劲，枝桠凝着残雪，皴擦间尽显古拙老辣。山道盘绕于嶙峋山石之间，山坳错落着几间茅舍，板桥静卧寒涧之上，不见人迹，唯有天地间的冷寂漫溢。\n\n笔墨简括利落，斧劈皴勾勒山石棱线，浓墨点染松枝苔痕，淡墨晕染出空濛雪意，虚实相映烘托出冬山萧索冷峭。尺幅之中将山野冬日的幽寂清旷尽数铺展，把旅人的孤清、林居的静谧藏于画间，以小见大，尽显山水意境的幽远荒寒。",[23,7,24,51,768,27,73,75,473,1023,3851,82,425,1737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2bf93b602ef47ab2c6c225a2b8cc0ab.jpg",[],{"id":40283,"slug":40284,"title":40285,"dynasty":114,"author":1216,"museum":132,"description":15287,"tags":40286,"thumbUrl":40287,"material":122,"size":122,"collection":122,"collections":40288,"showCount":530,"zanCount":40,"manualWeight":40,"mainColor":62},227606,"long-mian-shan-zhuang-tu-er-wen-dao-tu-li-gong-lin-227606","龙眠山庄图二（问道图）",[23,24,7,51,510,73,75,28,278,82,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29cf6863900ec66c7d7264b4be2dc37.jpg",[],{"id":40290,"slug":40291,"title":22197,"dynasty":114,"author":181,"museum":132,"description":32351,"tags":40292,"thumbUrl":40293,"material":122,"size":122,"collection":122,"collections":40294,"showCount":530,"zanCount":40,"manualWeight":40,"mainColor":62},227354,"dai-du-tu-ye-yi-ming-227354",[23,7,24,51,634,2613,277,27,75,1059,80,278,84,649,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7395055af78e9b5b1f31d83c41ca5f19.jpg",[],{"id":40296,"slug":40297,"title":40298,"dynasty":1383,"author":4032,"museum":132,"description":4033,"tags":40299,"thumbUrl":40305,"material":317,"size":907,"collection":3417,"collections":40306,"showCount":530,"zanCount":40,"manualWeight":40,"mainColor":41},225991,"on-the-cliff-at-pourville-1882-mo-nai-225991","On the Cliff at Pourville, 1882",[7,4035,3410,8959,40300,8961,6943,40301,40302,281,40303,8965,40304,19773,35535,29388],"色彩融合","海滩","水洼","苔藓","海岸线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd5caab6c9a2e9966804884f6e8426.jpg",[3417],{"id":40308,"slug":40309,"title":40310,"dynasty":46,"author":39092,"museum":132,"description":40311,"tags":40312,"thumbUrl":40313,"material":122,"size":122,"collection":122,"collections":40314,"showCount":530,"zanCount":40,"manualWeight":40,"mainColor":41},224266,"dou-bi-dan-tai-tu-jiang-zhu-224266","陡壁丹台图","《新安画派书画精品集》以渐江为代表的新安画派及与之同时的一些杰出画家的创作成就，同时介绍作为“源”的在他们之间的一些著名画家与作为“流”的在他们之后一些画家的创作成就，叙述对新安画派、新安画坛的创作有深刻影响的绘画美学思想，特别是新安人的绘画美学思想。\n《新安画派书画精品集》由 出版。\n敛辞朱良剑 敛辞石金呜 前言 “新安画派”概述张飞莺 风骨冷然气韵清逸——安徽博物院藏渐江《晓江风便图》赏析李艳红 先声 江必名 雪景山水图 吴龙草亭听泉图 郑元勋古木秀石图 郑为虹山斋读书图 程嘉燧柳桥山寺图扇面 程嘉燧秋浦泛舟图扇面 李永昌策杖行吟图 高峰 汪之瑞空亭幽树图页 渐江浊阜图册 渐江晓江风便图卷 渐江秋江风帆图扇面 孙逸溪桥觅句图 查士标宿雨初收图 查士标深山古寺图 查士标仿董北苑山水图 查士标仿梅华道人山水图 查士标仿元人山水图 查士标坐对江天图 查士标 云山梦树图页 查筠仿梅壑山水图 胡皋和风烟雨图 程邃山静太古图 程邃独往秋山图 程邃秋山图册 戴本孝巢民老人观菊图卷 戴本孝 山谷回廊图 戴本孝草阁幽情图 戴本孝苍松劲节图 戴本孝摹北苑山水图 戴本孝湖山逸兴图 吴定剡溪积雪图 吴定秋高叶醉图 吴定瑶峰玉树图 郑畋仿吴仲圭山水图 郑欧黄山四景图四条屏 郑畋仿倪山水图 程萝乱山草木图 姚宋仿黄鹤山樵山水图 江注黄山一角图 江注陡壁丹台图 祝昌仿倪山水图 吴元澄 临赵鸥波《夏山高隐图》 余韵 谢绍烈江石萝月图扇面 释雪庄木莲花图 释一智黄山云舫道中图 方士庶栖霞楼归图 何文煌溪山话别图卷 程义仿赵子固山水图 鲍楷寒庵香雪图 程堂仿梅华山水图 汪朴南窗寄傲图 江士相富春归棹图卷 吴麈仿梅道人山水图 汪滋仿古山水图册 程鸣沧江泛舟图 汪梅鼎云光林翠图卷",[23,7,24,51,52,277,27,73,75,28,82,609,77,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a377bbdc316fd42f6a777df356cbf29.jpg",[],{"id":40316,"slug":40317,"title":33791,"dynasty":114,"author":181,"museum":132,"description":40318,"tags":40319,"thumbUrl":40320,"material":122,"size":122,"collection":122,"collections":40321,"showCount":530,"zanCount":40,"manualWeight":40,"mainColor":62},223684,"xun-qin-fu-zhuo-tu-ye-yi-ming-223684","《宋人画驯禽俯啄图》是宋代佚名创作的绢本设色画。\n此图原载《宋元集绘册》。\n图绘一件浅蓝色瓷罐置于画面正中，一只小麻雀于罐沿上低头觅食。\n雀身系一赤色小绳，绳端拴一圆圈，以点出「驯禽」之意。\n作者先用细笔勾出鸟的轮廓，然后用细笔丝出羽绒，再用浓墨点出翅膀、鸟尾和眼珠，使小鸟的形象生动逼真，具有较强的质感。\n全图笔法工细，构图简洁，设色柔和自然。\n此图无款，旧题签为「驯禽俯啄」，现沿用此名。\n画面左下角钤「宋荦审定」一印。\n曾经清人宋荦收藏，《石渠宝笈三编》著录。\n本幅无款。\n钤鉴藏印“宋荦审定”。\n裱边题签：“宋人驯禽俯啄”。\n图中一只 立于浅蓝色敞口瓷罐上，低头欲啄罐沿。\n麻雀身系红绳，绳端拴一圆环，表示已被擒获豢养。\n麻雀属难以驯化之鸟，画面中的瓷罐内虽有白米，雀却不食，表达了向往自由生活的心愿。\n画家先以尖细之笔绘出麻雀的轮廓、羽绒，再用浓墨、淡赭点画出翅膀、尾羽和眼目。",[23,7,24,51,100,27,26,102,384,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5063ca27005a536981c4ba62953d8db8.jpg",[],{"id":40323,"slug":40324,"title":38757,"dynasty":114,"author":181,"museum":132,"description":40325,"tags":40326,"thumbUrl":40327,"material":122,"size":122,"collection":122,"collections":40328,"showCount":530,"zanCount":40,"manualWeight":40,"mainColor":41},223628,"he-tang-xi-lai-tu-yi-ming-223628","《宋人画荷塘鸂鵣图》是宋代佚名创作的绢本设色画。\n烟雾迷蒙，一曲清溪，两岸夹植杨柳，间以红花。\n溪中莲叶点点，鸂鵣戏水，其乐融融。\n一行白鹭破空飞向远方，将观赏者的视线引向画外；蜿蜒的清溪，则将视线推向了画景深处。\n柳叶用攒笔点画，树干用双钩法绘出，鸂鵣以工笔刻画。\n设色柔和淡雅。\n小小的册页画中略用了深远与高远的画法，就使画面意境达到了深远的效果。\n对幅有清乾隆皇帝御题诗一首:“花鸟从来属剑南，水禽夏卉照晴潭。\n鸳鸯无碍称其紫，弟子有时胜彼蓝。\n水宿相呼如觧勅，沙群式度自能谙。\n涨滩落鸟寻常事，何涉西台纪怪谈。\n” 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[清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[24,7,51,100,277,73,154,75,135,278,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2df194ff46e49dca594aacdc1b1eb4e0.jpg",[],{"id":40694,"slug":40695,"title":40688,"dynasty":46,"author":5998,"museum":151,"description":40689,"tags":40696,"thumbUrl":40697,"material":3579,"size":122,"collection":122,"collections":40698,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":62},236142,"fang-yuan-ren-shan-shui-ce-he-yi-236142",[7,24,51,100,277,73,154,75,297,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b76071a1fbca33497e17e4fb4022b09.jpg",[],{"id":40700,"slug":40701,"title":23416,"dynasty":46,"author":11236,"museum":132,"description":40702,"tags":40703,"thumbUrl":40704,"material":122,"size":122,"collection":122,"collections":40705,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},236092,"hua-luo-han-ce-leng-mei-236092","此作以淡墨轻彩绘就，右侧三罗汉或抬首仰望，或侧身惊呼，衣袂随天风飘举，将初见天宫楼阙时的讶异之态刻画得灵动传神，留白铺陈出虚空浩渺的禅意氛围。细劲游丝描勾勒衣褶线条，尽显清透雅致的格调。\n\n左侧题诗与画境呼应，诗画合璧，把禅观中的玄妙幻景具象铺展。整体笔墨简净清隽，以形写神，将罗汉的惊羡情态与佛家幽微禅理相融，既有人物画的生动意趣，又饱含文人笔墨的诗意氛围感，尽显静穆悠远的禅韵。",[24,7,51,100,678,26,27,28,77,473,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a035b802483c6e70a5c5d222b7ea1e.jpg",[],{"id":40707,"slug":40708,"title":23416,"dynasty":46,"author":11236,"museum":132,"description":40709,"tags":40710,"thumbUrl":40711,"material":122,"size":122,"collection":122,"collections":40712,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},236089,"hua-luo-han-ce-leng-mei-236089","崖谷幽寂间，白衣罗汉趺坐石上，垂目敛神，神情静穆超然，似在沉湎禅思。身前侍僧长跪虔敬，尽显肃穆仪轨。淡赭轻晕山石，素色点染衣袂，笔致工细秀雅，设色柔润清和。左侧题字笔意疏朗清逸，书画相融，禅意悠悠漫溢。画作以极简布景烘托出空灵出尘的世外氛围，将禅门中人的沉静高古刻画入微，淡远意境间尽显静谧禅心，是兼具笔墨意趣与宗教意蕴的雅致佳构。",[7,24,51,100,678,26,27,28,82,278,17854],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd3e0a159cc613de5ebefda4f2f9620.jpg",[],{"id":40714,"slug":40715,"title":40716,"dynasty":46,"author":6966,"museum":132,"description":19652,"tags":40717,"thumbUrl":40718,"material":317,"size":907,"collection":122,"collections":40719,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":62},236033,"di-shi-liu-a-bi-da-zun-zhe-ding-guan-peng-236033","第十六阿必达尊者",[24,51,7,26,27,678,28,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7417bff997ca36a40398cc65e446a54.jpg",[],{"id":40721,"slug":40722,"title":40723,"dynasty":46,"author":6966,"museum":132,"description":19652,"tags":40724,"thumbUrl":40727,"material":317,"size":907,"collection":122,"collections":40728,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":62},236029,"di-shi-er-bi-na-zha-la-ba-ha-la-zhui-za-zun-zhe-ding-guan-peng-236029","第十二毕那楂拉拔哈喇缀杂尊者",[7,24,51,526,678,28,34088,13733,40725,28758,40726,26,27,74],"圆光","手持器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4607db41dcd297cdc6c5911656f5cf6.jpg",[],{"id":40730,"slug":40731,"title":40003,"dynasty":46,"author":181,"museum":132,"description":40732,"tags":40733,"thumbUrl":40734,"material":122,"size":122,"collection":122,"collections":40735,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},235885,"yuan-ji-hua-hui-tu-ce-yi-ming-235885","此作用笔老辣写意，以枯湿浓淡变幻的墨色晕染瓜荚，苍劲简练的笔力刻画出苦瓜的糙粝肌理，豆荚则以灵动细劲的线条勾勒，轻盈鲜活。留白恰到好处，以少胜多，将寻常蔬果的生趣尽显纸上。\n题跋朴拙疏朗，笔墨与书法相映成趣，文思与画韵交融，把日常风物晕染出超然的文人雅意，不着艳色便攫取蔬果天然之态，尽显大写意花鸟画的雅致风神，将平淡烟火气升华为隽永的笔墨意趣。",[24,51,7,100,277,368,198,102,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a3a50f2513d39e57cb25b28de75157.jpg",[],{"id":40737,"slug":40738,"title":22105,"dynasty":67,"author":37945,"museum":132,"description":40739,"tags":40740,"thumbUrl":40741,"material":122,"size":122,"collection":122,"collections":40742,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},235625,"fang-gu-shan-shui-ce-shen-hao-235625","此作以水墨晕染村居小景，虬曲古木与柔润新篁并立，刚柔相映生趣。矮墙围合村舍，篱畔野草丛生，平波微漾，远景烟树朦胧氤氲。画中添两步行旅人，为静谧图景晕开人间烟火气。\n\n笔触简淡松灵，以留白铺陈悠远空寂，淡墨晕染出江南乡野的清寂闲逸。左上角题字古雅端方，书画合璧，更添幽淡萧散的文人意趣，将闲淡悠远的林下之思融于尺幅之间，简笔写意中尽得山水小品的空灵意境。",[24,51,7,100,277,73,75,135,5079,890,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48490e82e3cc80ca90b86d926e498140.jpg",[],{"id":40744,"slug":40745,"title":22105,"dynasty":67,"author":37945,"museum":132,"description":40746,"tags":40747,"thumbUrl":40748,"material":122,"size":122,"collection":122,"collections":40749,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},235624,"fang-gu-shan-shui-ce-shen-hao-235624","此作用笔简淡清逸，两峰隔溪对坐，枯笔皴擦勾勒出山石嶙峋苍古之态，尽显山石肌理的苍浑质感。山间林木萧疏，虬曲枝桠间以淡墨点苔，晕染出草木清润意趣。留白作溪涧云气，虚实相生，漾出空寂幽远的林下意境。\n\n右上角题以隽秀小楷，书画相映成趣，糅合笔墨文思，尽显文人雅韵。整体构图简括空灵，脱尽尘俗烟火气，以极简的山水形制传递出悠远的林泉逸趣，寄寓着静守丘山、清远自持的襟怀，尽显文人山水的审美意趣。",[7,24,100,1272,154,277,73,74,119,75,278,82,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11c978244be0eb5f200755456ab9cd9b.jpg",[],{"id":40751,"slug":40752,"title":1056,"dynasty":67,"author":37945,"museum":132,"description":40753,"tags":40754,"thumbUrl":40755,"material":122,"size":122,"collection":122,"collections":40756,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},235289,"shan-shui-ce-shen-hao-235289","此作用笔简淡松灵，以浅绛设色晕染层叠峰峦，山石以干笔皴擦勾勒肌理，棱角隐现间兼具雄浑朴拙与秀雅之态。古松虬曲挺立，松针攒簇苍劲，为幽寂山林添一重清刚生气。\n\n画面留白疏密相宜，铺陈出林泉空濛悠远之境，右上角题款与景致浑然相融，尽显文人画萧疏淡远的意趣，暗合著画者寄迹林泉、超然物外的林下襟怀。",[24,51,7,100,277,27,73,75,297,609,1059,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a42f428252821636d93a148896f295b.jpg",[],{"id":40758,"slug":40759,"title":40760,"dynasty":67,"author":181,"museum":132,"description":40761,"tags":40762,"thumbUrl":40763,"material":317,"size":907,"collection":122,"collections":40764,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},235208,"ju-jie-shan-shui-shan-ye-yi-ming-235208","居节山水扇页","此作为泥金扇面，取平远山水之景。近岸古木扶疏、浓荫如盖，林下茅庐半隐，水面渔舟轻泛，漾开柔波，尽是江南水乡闲逸野趣。远景峰峦层叠，皴笔苍劲朴拙，将山石硬朗质感尽显，与水岸柔婉相映成趣。墨色于金笺之上浓淡相宜，勾勒皴擦间浸透着吴门画派疏朗清逸的遗风。画中不见繁复渲染，以极简的笔墨铺陈出幽居江湖的隐逸之思，淡远空灵，将林泉高致藏在一水一山之中，古雅沉静的文人意韵满溢纸面。",[768,24,51,7,277,73,75,135,136,1108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20eddad4c6110ed7fa19e6c988a954b.jpg",[],{"id":40766,"slug":40767,"title":1056,"dynasty":67,"author":27335,"museum":132,"description":40768,"tags":40769,"thumbUrl":40770,"material":122,"size":122,"collection":122,"collections":40771,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":62},235150,"shan-shui-ce-li-liu-fang-235150","此作用笔追摹米家云山意趣，以水墨晕染绘就烟岚山色。远山以淡墨轻扫出形，复以浓墨晕积暗部，墨色层次交融，晕出江南山峦的空濛烟雨之态，不见斧凿之痕，尽显苍润氤氲。近处长汀横陈，杂树以焦墨点簇而成，笔致朴拙苍劲，几间村居简笔勾勒，隐于林樾之间，野逸萧疏。整幅画作以平远之景铺陈开去，简淡清远，将幽怀寄寓于丘壑之间，师法古人却自抒性灵，静穆淡远中尽显文人画的简雅逸趣，是寄情山水、以画明心的精妙之作。",[7,24,51,100,277,73,75,82,559,648,4496,278,301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581572072c0d17b417f3a9ff01ca28d0.jpg",[],{"id":40773,"slug":40774,"title":39091,"dynasty":46,"author":39092,"museum":151,"description":39093,"tags":40775,"thumbUrl":40776,"material":342,"size":122,"collection":122,"collections":40777,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},234728,"huang-shan-tu-ce-jiang-zhu-234728",[7,24,51,100,277,75,2009,279,5079,82,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398f34688994bd33315f53250866d2b1.jpg",[],{"id":40779,"slug":40780,"title":40781,"dynasty":46,"author":40782,"museum":132,"description":40783,"tags":40784,"thumbUrl":40785,"material":122,"size":122,"collection":122,"collections":40786,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":62},234689,"ku-mu-zhu-shi-ye-wei-zhi-huang-234689","枯木竹石页","魏之璜","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,7,51,100,277,53,170,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4cf37f9b4a30696741fdfd502e1224.jpg",[],{"id":40788,"slug":40789,"title":40790,"dynasty":46,"author":181,"museum":132,"description":40791,"tags":40792,"thumbUrl":40793,"material":122,"size":122,"collection":122,"collections":40794,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},234561,"yu-mu-shang-xin-ce-zheng-bin-shan-shui-ce-ye-yi-ming-234561","娱目赏心册-郑斌山水册页","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[7,24,51,100,27,75,73,74,28,278,82,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8fc4fc79f355b7946d8cc2a99bbe18b.jpg",[],{"id":40796,"slug":40797,"title":40091,"dynasty":46,"author":29095,"museum":151,"description":40092,"tags":40798,"thumbUrl":40799,"material":342,"size":122,"collection":122,"collections":40800,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},234287,"you-niao-shi-tu-ce-jin-kun-234287",[7,24,51,100,855,27,75,77,84,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b0e3f393507ea46421da8d8b6d25a15.jpg",[],{"id":40802,"slug":40803,"title":40804,"dynasty":46,"author":7849,"museum":151,"description":40805,"tags":40806,"thumbUrl":40807,"material":3579,"size":122,"collection":122,"collections":40808,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},234236,"qiang-jiao-zhong-mei-tu-juan-wang-hui-234236","墙角种梅图卷","图上自题七言诗一首并识：“子鹤种梅墙角，庶几幽人韵事。余为补图，并题一绝，博诸君春雪之和。”该图卷上另有杨晋、恽寿平、王武等二十余家题诗、词，通过他们的题跋可知此图是王翚应杨晋的请求，绘杨晋在新居墙角处移植古梅一本之事。王翚以册页的形式为杨晋画了二幅图。第一幅图绘远山连绵、平波静水以及枝干清癯如铁的梅树。第二幅图绘修篁摇翠影、高台筑草亭以及高士临窗赏梅的情景。二幅图繁简不一，但是均以细润娟秀的笔墨真实地刻画出杨晋生活的居所环境，反映了其以竹、梅为邻的生活情趣。此图卷也印证了王翚与杨晋之间深厚的师生情谊。王翚被邀请画友人居所的写生之作还有许多，如他34岁时应鹤客先生张文钺之邀，绘其庭院里的仙鹤，自言“有鹤来至庭际”以“命余作图以纪其事”",[23,7,24,51,25,277,73,119,118,74,383,75,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914023115b1962e8a0c6180d27212af9.jpg",[],{"id":40810,"slug":40811,"title":40812,"dynasty":114,"author":181,"museum":151,"description":40813,"tags":40814,"thumbUrl":40815,"material":217,"size":40816,"collection":122,"collections":40817,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":62},234073,"qing-xi-feng-fan-tu-ye-yi-ming-234073","清溪风帆图页","此图原载《宋元集粹册》，画寥廓江天之景。远山近树，汀渚丛草。江面一舟扬帆破浪前进。近处丛林掩映，江面空旷浩渺。图中远山用淡墨轻勾淡染，近山丛林用浓墨写之。风帆、树石、布局用笔随意疏放，不刻意追求精雕细刻之功，但却浑然天成，生动有致。构图平远，虚实、浓淡、疏密处理匠心独具。无款。画中钤有「黔宁王子子孙永保之」等印二方，曾经黔宁王沐璘收藏，不见著录。",[7,24,277,27,100,75,80,39687,697,79,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296115301bc38a4107a1d65372844c38.jpg","纵24.6、横25.6厘米",[],{"id":40819,"slug":40820,"title":40821,"dynasty":293,"author":181,"museum":151,"description":40822,"tags":40823,"thumbUrl":40824,"material":611,"size":40825,"collection":122,"collections":40826,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":62},234036,"ying-shui-lou-tu-ye-yi-ming-234036","映水楼图页","因元代另一位界画大师王振鹏曾绘过大明宫，在乾隆的题诗中又有“下临无地上凌空，磅礴精神想象中。此日未详平乐馆，早年曾写大明宫”的语句，所以此幅曾被误定为王振鹏所绘。事实上，夏永的画法虽出自王振鹏，但以小幅见长。此图在艺术性上稍逊于王振鹏，但线描的精整工细似尤过之。正如熊之缙《花间笑语》评价他的画作“细若蚊睫，侔于鬼工”。",[24,7,51,100,855,27,77,75,74,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41edfea6b660394b1ff5f5edaf9f2c87.jpg","纵23.9cm，横25.3cm",[],{"id":40828,"slug":40829,"title":40830,"dynasty":114,"author":181,"museum":151,"description":40831,"tags":40832,"thumbUrl":40834,"material":611,"size":40835,"collection":122,"collections":40836,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},234024,"liu-tang-du-shu-tu-ye-yi-ming-234024","柳堂读书图页","画湖岸风光，院落间散落着小屋和房屋，四周苍松翠柳环绕。 书生专心在室内学习，孩子们在户外陪伴。 栅栏坡度平缓，碎石散落，草丛稀疏。 对岸，丛林幽幽，溪水蜿蜒。 作者构图细腻、浓密、准确，笔法细腻，工笔结合，意境幽远，耐人寻味，是一幅南宋工笔画。",[7,24,51,2613,26,27,73,75,1478,40833,82,609,201,280,6147,559],"堂屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc481b25a3679ee33cbd86de2c03f2959.jpg","22.5x24.4厘米",[],{"id":40838,"slug":40839,"title":19661,"dynasty":114,"author":2868,"museum":151,"description":19662,"tags":40840,"thumbUrl":40841,"material":217,"size":19665,"collection":122,"collections":40842,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":62},233995,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233995",[7,24,51,100,510,27,28,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde44e7f748379e14bc129105ff014a01.jpg",[],{"id":40844,"slug":40845,"title":1056,"dynasty":46,"author":2275,"museum":151,"description":35387,"tags":40846,"thumbUrl":40847,"material":834,"size":35390,"collection":122,"collections":40848,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},233980,"shan-shui-ce-gong-xian-233980",[7,24,51,100,277,13238,75,1059,2785,278,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84330d4012a8ad4df3ef7d36ac48652.jpg",[],{"id":40850,"slug":40851,"title":40852,"dynasty":114,"author":181,"museum":151,"description":40853,"tags":40854,"thumbUrl":40855,"material":217,"size":40856,"collection":122,"collections":40857,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":62},233676,"liu-yin-qun-mang-tu-zhou-yi-ming-233676","柳荫群盲图轴","此幅为年俗画，描绘盲人打架的场面。画中柳树下，三三两两的盲人抓在一起，抱团打架，抓衣服不放的，抱胳膊死拽的，揪着耳朵拼命的，打架招势表现的淋漓尽致；人物面部扭曲变形，姿势夸张，展示出打架过程中拼命的样子。",[7,24,51,52,27,26,28,1478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c8a7f0ba81d86b7a7b85b3e35412d13.jpg","82x78.5厘米",[],{"id":40859,"slug":40860,"title":39091,"dynasty":46,"author":17382,"museum":151,"description":40861,"tags":40862,"thumbUrl":40863,"material":342,"size":40864,"collection":122,"collections":40865,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},233431,"huang-shan-tu-ce-mei-qing-233431","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[7,24,51,100,277,27,73,75,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64697d4ffeb9d62b64b52694b8252241.jpg","纵26厘米，横33厘米",[],{"id":40867,"slug":40868,"title":40869,"dynasty":67,"author":40870,"museum":132,"description":40871,"tags":40872,"thumbUrl":40873,"material":122,"size":122,"collection":122,"collections":40874,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},233330,"shi-zhu-zhai-pu-ce-hu-ri-cong-233330","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[7,24,51,100,27,2256,54,1178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92df1793a1e090d8a5818f5678f4a38b.jpg",[],{"id":40876,"slug":40877,"title":40878,"dynasty":46,"author":181,"museum":151,"description":40879,"tags":40880,"thumbUrl":40882,"material":156,"size":40883,"collection":122,"collections":40884,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":62},233097,"wan-fa-gui-yi-tu-ping-yi-ming-233097","万法归一图屏","《万法归一图》是清代佚名创作的绢本设色画。\n图绘在明净开阔的大殿内，乾隆皇帝身着朝服正襟危坐，他对面是包括年轻的渥巴锡在内的十位 首领。\n作者为了烘染画面吉庆安祥的气氛，画面的三分之一处，绘制了正乘祥云而来的佛国使者，他们正在为此次重大的法事祝福。\n全图以鲜艳的朱红、闪亮的金黄、明快的翠绿等亮丽的色彩为主色调，其丰富多彩并具有装饰性的设色，令庄严静穆的场景增添了几分皇家富贵之气。\n土尔扈特部是厄鲁特蒙古四部之一。\n他们主营牧业兼及农业，原居住塔尔巴哈台及额尔齐斯河中游以西，17世纪年代，西迁至额济勒河（今俄罗斯伏尔加河）下游居住。\n乾隆三十六年（1771年），土尔扈特人不堪沙皇俄国压迫，在汗王渥巴锡率领下举族东返，归附清廷。\n对于土尔扈特部的回归，清政府十分重视，时年61岁的乾隆皇帝对他们热情款待，特地安排他们与自己在新建的万法归一殿内听高僧讲佛法。\n万法归一殿是河北承德普陀宗乘庙内的重要建筑物，乾隆皇帝希望在所统辖的辽阔疆域内，各个民族都因拥有共同的信念而团结一致，万法归一。",[7,24,27,26,855,678,28,77,75,35559,40881,40196,861,82],"殿堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56821dbb3af0bd580b897c1be4ec502f.jpg","长163.8cm，宽110.8cm",[],{"id":40886,"slug":40887,"title":33774,"dynasty":46,"author":181,"museum":151,"description":33775,"tags":40888,"thumbUrl":40889,"material":250,"size":26472,"collection":122,"collections":40890,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},233091,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233091",[7,24,51,100,26,27,73,28,75,278,82,79,5490,4005],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3021020288883ad85f53063f3a93a084.jpg",[],{"id":40892,"slug":40893,"title":38154,"dynasty":46,"author":181,"museum":151,"description":38155,"tags":40894,"thumbUrl":40895,"material":250,"size":20786,"collection":122,"collections":40896,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},233060,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233060",[24,51,7,27,26,73,100,28,75,15005,6429,82,278,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f416ad51e4173d02963fcee0cea94da.jpg",[],{"id":40898,"slug":40899,"title":39149,"dynasty":293,"author":181,"museum":132,"description":37102,"tags":40900,"thumbUrl":40901,"material":122,"size":122,"collection":122,"collections":40902,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},233027,"hou-fei-xiang-yi-ming-233027",[24,51,7,26,27,28,29,30,1861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4fad537ca2c3a2f4da8e4e85dabf77e.jpg",[],{"id":40904,"slug":40905,"title":40906,"dynasty":46,"author":12301,"museum":20,"description":40907,"tags":40908,"thumbUrl":40909,"material":611,"size":40910,"collection":122,"collections":40911,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":62},232968,"bao-ji-liu-zhou-ai-qi-meng-232968","宝吉骝轴","依纳爵·西歇尔巴特（Ignatius Sichelbart），（1708年－1780年），汉名艾启蒙，字醒庵，波西米亚（今属捷克）人，天主教耶稣会传教士。\n他乾隆十年（1745年）来到中国，师从郎世宁学画，很快受到清廷重视，奉召入内廷供奉。\n他擅长人物、走兽、翎毛类绘画，与郎世宁、王致诚、安德义被人称为四洋画家，形成新体画风。\n他已知的作品有紫光阁武功图中《准噶尔战功图》（乾隆二十年，1755年）；孝圣皇后八旬万寿（乾隆三十六年，1771年），《香山九老图》，著录于《国朝院画录》；《十骏图》（乾隆三十七年）。《宝吉骝图》轴（乾隆三十八年，1773年），绢本，设色，现均藏于台北故宫博物院。",[7,24,51,52,26,27,215,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59e5cf547e30459d378872c39b4f8eb.jpg","纵228.5厘米、横275厘米",[],{"id":40913,"slug":40914,"title":40915,"dynasty":1383,"author":35419,"museum":132,"description":35420,"tags":40916,"thumbUrl":40919,"material":317,"size":907,"collection":122,"collections":40920,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":479},232287,"a-er-ma-14-lao-lun-si-a-er-ma-ta-de-ma-232287","阿尔玛14",[7,3410,38387,28,861,559,31698,514,4644,40917,40918,4519,684,30011,10914],"水罐","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3521d3b0d4c155f13c3a86f3e1214d.jpg",[],{"id":40922,"slug":40923,"title":40924,"dynasty":1383,"author":40925,"museum":132,"description":40926,"tags":40927,"thumbUrl":40931,"material":317,"size":907,"collection":122,"collections":40932,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":479},232279,"wei-lian-a-dao-fu-bu-ge-luo-5-wei-lian-a-dao-fu-bu-ge-luo-232279","威廉·阿道夫·布格罗5","威廉·阿道夫·布格罗","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n1875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[7,3410,6292,40215,27,28,4842,26626,1388,18427,40928,40929,39369,27151,40930],"水果","丝带","细腻笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d6404540c396b16bc0563c9714c294e.jpg",[],{"id":40934,"slug":40935,"title":40936,"dynasty":293,"author":181,"museum":20,"description":40937,"tags":40938,"thumbUrl":40940,"material":250,"size":40941,"collection":122,"collections":40942,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":62},232259,"ying-zhen-xiang-yi-ming-232259","应真像","全幅线条运笔相当流畅，有简洁净雅的韵味，人物五官手足以细瘦而轻淡的描线，衣服褶纹则笔致较为粗重而浓厚，全身并施以薄薄的晕染，袈裟水田纹有华丽的图案。\n尊者的容颜是肖像画的手法完成的，或浓眉大眼，或胡须横腮，或皱纹满面，眼窝四周并涂上厚厚蛤粉。此种造形给人以一股沉郁之感。",[7,24,678,28,27,510,40939,11268,647,13733,74,15793],"晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0511087ee38eb77c532302d97cf4bf.jpg","104.1x50.3",[],{"id":40944,"slug":40945,"title":40946,"dynasty":1383,"author":40224,"museum":132,"description":40225,"tags":40947,"thumbUrl":40951,"material":317,"size":907,"collection":122,"collections":40952,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},232122,"de-jia-63-de-jia-232122","德加63",[7,40948,29397,27,28,40949,40950,15952],"色粉画","裸体","织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1b4c1843f67aef9147bc5335c8634e.jpg",[],{"id":40954,"slug":40955,"title":40956,"dynasty":1383,"author":40224,"museum":132,"description":40225,"tags":40957,"thumbUrl":40960,"material":317,"size":907,"collection":122,"collections":40961,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":62},232077,"nude-in-a-tub-glasgow-art-gallery-and-museum-scotland-de-jia-232077","Nude 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da Vinci--The Head of the Virgin in Three-Quarter","这副素描以细腻入微的笔触，将女性的柔婉圣洁尽数铺陈。蓬松的卷发以疏密有致的排线勾勒，发丝卷曲的蓬松感呼之欲出，层次迭见。面部以柔和的晕染过渡明暗，贴合骨骼肌理缓缓铺陈光影，低垂的眉眼敛着静谧温柔，唇线轻抿，仿佛浸着虔诚安然的情绪。朦胧的晕染让面容仿若笼着柔光，褪去锐利的线条，将古典女性的温婉虔诚揉进每一处细节里，静穆又带着动人的柔意，尽显素描语言的细腻表现力。",[7,15788,1045,42367,11400,42368],"宗教人物","温婉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6cb5f50367525e2fbb77ce2d87fbee.jpg",[],{"id":42372,"slug":42373,"title":42374,"dynasty":1383,"author":181,"museum":132,"description":42375,"tags":42376,"thumbUrl":42377,"material":317,"size":907,"collection":122,"collections":42378,"showCount":1065,"zanCount":40,"manualWeight":40,"mainColor":41},288645,"attributed-to-francesco-allegrini-horses1-yi-ming-288645","attributed to Francesco 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[7,42394,42403,27,198,55],"彩漆戗金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F984208649ef5513657c2b676ff801b69.jpg",[],{"id":42407,"slug":42408,"title":42409,"dynasty":46,"author":42410,"museum":132,"description":42411,"tags":42412,"thumbUrl":42413,"material":317,"size":907,"collection":122,"collections":42414,"showCount":1065,"zanCount":40,"manualWeight":40,"mainColor":41},241195,"wu-lv-shi-shan-mian-da-chong-guang-241195","五律诗扇面","笪重光","笪重光（1623年—1692年），字在辛，号君宜，又号蟾光、逸叟、江上外史、郁冈扫叶道人，晚年居茅山学道改名传光、蟾光，亦署逸光，号奉真、始青道人，江苏丹徒句容东荆（今江苏句容白兔镇茅庄村）人（一作江苏丹徒人），清朝著名书画家。",[7,24,51,768,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5eb24edfd7e25be849ad92064052e24.jpg",[],{"id":42416,"slug":42417,"title":42418,"dynasty":67,"author":42419,"museum":132,"description":42420,"tags":42421,"thumbUrl":42422,"material":317,"size":907,"collection":122,"collections":42423,"showCount":1065,"zanCount":40,"manualWeight":40,"mainColor":41},241072,"zhi-zhi-ba-zha-juan-wang-zhi-deng-241072","致侄八札卷","王穉登","王穉登（1535年－1614年），字百谷、百榖、伯榖，号半偈长者、青羊君、廣長庵主等，直隸长洲（今江蘇蘇州）人，晚明文人。",[7,24,51,25,119,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a5f7db84c76e4cf04dafbf0ae36f1a.jpg",[],{"id":42425,"slug":42426,"title":42427,"dynasty":67,"author":42428,"museum":132,"description":42429,"tags":42430,"thumbUrl":42431,"material":317,"size":907,"collection":122,"collections":42432,"showCount":1065,"zanCount":40,"manualWeight":40,"mainColor":41},240861,"dong-ting-liang-shan-fu-juan-wang-ao-240861","洞庭两山赋卷","王鏊","字济之，别号守溪，学晚号震泽先生，苏州吴县人。明成化十年（1474年）乡试、会试皆第一，殿试一甲第三名。 授翰林院编修。弘治初，选侍讲学士，充讲官。后转少詹事，擢吏部右侍郎。正德元年（1506年）四月起为吏部左侍郎，与诸大臣请诛大太监刘瑾。刘瑾掌权，欲焦芳入阁，廷议独推鏊。刘瑾迫于公论，命鏊以本官兼学士与芳同入内阁。时中外大权皆归瑾，鏊不能救，力求去，四年，许之。后归居苏州，致力于地方文献著述。嘉靖三年（1524年）卒。赠太傅，谥文恪。其人博学有识鉴，文章议论畅明，为人、德望均为时人敬服，门下学生众多，唐寅也是其中之一。著有《姑苏志》、《震泽集》等，《明史》一百八十一有传。",[7,24,51,25,118,119,277,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bb7d187d31ff6641bc0c48c370a76cb.jpg",[],{"id":42434,"slug":42435,"title":42436,"dynasty":67,"author":42437,"museum":132,"description":42438,"tags":42439,"thumbUrl":42440,"material":317,"size":907,"collection":122,"collections":42441,"showCount":1065,"zanCount":40,"manualWeight":40,"mainColor":41},240857,"za-hua-shi-juan-wen-peng-240857","杂花诗卷","文彭","文彭（1498年—1573年），字寿承，号三桥，别号渔阳子、三桥居士、国子先生，南直隶苏州府长洲（今江苏苏州）人。文徵明长子。\n以明经廷试第一，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。",[23,7,24,51,25,119,118,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f61b24e52a3aa46a17bbb91beb5e6c6.jpg",[],{"id":42443,"slug":42444,"title":42445,"dynasty":46,"author":42446,"museum":132,"description":42447,"tags":42448,"thumbUrl":42449,"material":317,"size":907,"collection":122,"collections":42450,"showCount":1065,"zanCount":40,"manualWeight":40,"mainColor":62},240516,"wei-yun-bing-hua-huang-shan-tu-ce-wang-jia-zhen-240516","为允冰画黄山图册","汪家珍","[清]字壁人，又名葵，字叔向。安徽歙县人。工山水，与汪之瑞、孙无逸齐名。人物、花鸟、虫鱼，尤传神入妙。顺治七年（一六五o）为方式玉作山水卷。主要著作有《阿聪笔记》《格庵山水合锦卷》《乔松图》等。",[7,24,51,100,75,73,56,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf93f89e3d0e9f82c204d5d1ad6072e.jpg",[],{"id":42452,"slug":42453,"title":42454,"dynasty":46,"author":181,"museum":132,"description":42455,"tags":42456,"thumbUrl":42457,"material":122,"size":122,"collection":122,"collections":42458,"showCount":1065,"zanCount":40,"manualWeight":40,"mainColor":41},239776,"liu-quan-zhi-shu-tang-ren-dong-ting-zhang-le-fu-heng-zhou-yi-ming-239776","刘权之书唐人洞庭张乐赋横轴","此作用笔取法欧楷风骨，结体端稳匀停，笔力沉实厚重，点画精严不苟，捺脚舒展俊朗，钩趯劲健利落，尽显馆阁书法的端凝庄重。绢本衬以缠枝祥云暗纹，和齐整的书作排布相映成趣，静穆间又添雅致装饰意趣。\n字里行间气脉匀和，将唐人辞赋的高古意韵融于笔墨，既恪守馆阁体的规整法度，亦不失书写的灵动意趣，把洞庭张乐的清雅高古气象，以笔墨演绎得肃穆典雅，尽显内敛醇厚的文人意韵，可观可赏，尽显传统书法的规整之美。",[7,24,51,15209,277,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94c508f4e4fac8b8db1eeb9cbf676db4.jpg",[],{"id":42460,"slug":42461,"title":42462,"dynasty":114,"author":181,"museum":132,"description":42463,"tags":42464,"thumbUrl":42465,"material":122,"size":122,"collection":122,"collections":42466,"showCount":1065,"zanCount":40,"manualWeight":40,"mainColor":41},239720,"song-xian-yi-han-ce-wei-wei-zhi-zi-zha-yi-ming-239720","宋贤遗翰册-囗囗致子札","此作用笔秀逸灵动，提转间自见潇洒意趣，点画粗细得宜，牵丝映带自然流畅，尽显宋人尺牍随性雅致的风神。文字排布错落舒展，毫无板滞之感，字里行间带着日常尺牍的松弛随性，既见文人的书卷涵养，又藏着亲友通信的质朴温情。\n\n通篇墨色浓淡自然变化，笔势连贯呼应，将实用书写与审美意趣相融，尽显宋代士人尚意的书法美学，虽为寻常信札，却自带清雅隽秀的韵致，藏着那个时代文人浸透在日常里的风雅底色。",[7,24,51,100,119,277,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777fff4b9bbae99f08f450e07afff83a.jpg",[],{"id":42468,"slug":42469,"title":42470,"dynasty":114,"author":181,"museum":132,"description":42471,"tags":42472,"thumbUrl":42473,"material":122,"size":122,"collection":122,"collections":42474,"showCount":1065,"zanCount":40,"manualWeight":40,"mainColor":62},239671,"zhao-qi-xian-chun-wu-nian-chi-shu-juan-yi-ming-239671","赵禥咸淳五年敕书卷","此卷开篇擘窠大字雄强浑厚，开张大气，尽显敕书的端严威仪。后续小字行楷随性布势，笔致隽秀连贯，提按转折皆合法度，墨色枯湿浓淡富于变化，尽显宋代书法的雅致风神。\n\n整卷朱红鉴藏印错落排布，与墨色书迹相映成趣，既有官方文书的典重肃穆，又不失文人书法的灵动意趣。卷后题跋递藏有序，映照着历代藏家的珍视，承载着岁月积淀下的艺文底蕴，是兼具文献价值与书法审美价值的佳品。",[23,7,24,51,25,118,119,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb402d1092a3625b19e13caf6ecd69c34.jpg",[],{"id":42476,"slug":42477,"title":1056,"dynasty":46,"author":42478,"museum":132,"description":42479,"tags":42480,"thumbUrl":42481,"material":122,"size":122,"collection":122,"collections":42482,"showCount":1065,"zanCount":40,"manualWeight":40,"mainColor":41},239549,"shan-shui-ce-mei-geng-239549","梅庚","此作以淡墨枯笔绘就幽林山径，虬松盘曲于危石之间，枝桠苍劲灵动，山道蜿蜒隐现林麓。策杖行人缓行其间，萧寒空寂的山林意境扑面而来。画面以简淡笔墨勾勒山石肌理，淡墨晕染出空濛山岚，尽显幽寂萧散之致。\n\n上方行书题跋笔意疏朗隽秀，书画相映成趣。整幅以意驭笔，将寻幽访胜的雅趣藏于冷寂山水，澹泊空远的林下之风溢于纸间，尽显文人画以简驭繁、以意取胜的逸韵，观之如亲身步入林谷，静品清奇山境与澹泊心境交融之美。",[7,24,51,100,277,73,75,609,28,56,5607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee35d78dc3d7560d93b703b085963d1.jpg",[],{"id":42484,"slug":42485,"title":1056,"dynasty":46,"author":41510,"museum":132,"description":42486,"tags":42487,"thumbUrl":42488,"material":122,"size":122,"collection":122,"collections":42489,"showCount":1065,"zanCount":40,"manualWeight":40,"mainColor":41},239347,"shan-shui-ce-lin-fu-chang-239347","此作以浅绛设色晕染山峦，花青铺陈草木苍润生机，赭石淡扫坡岸暖意。苍松错落挺拔，笔墨工写兼具，挺劲的松针勾勒出古木风神。屋舍隐于林麓之间，寥寥数笔便绘出幽居之态。近处分垄田亩淡墨轻描，江面渔翁独钓，衬出天地空阔安闲。整体色调清雅柔和，无浓艳堆砌，将江南烟霭淡荡的野趣融于尺幅，笔墨简淡却意韵悠长，尽显林泉幽居的清寂出尘之美，寄寓着文人栖隐山水的澹泊意趣。",[7,24,51,100,27,73,75,82,609,559,78,28,40343,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0696a9122de8c610418115de6e914537.jpg",[],{"id":42491,"slug":42492,"title":20388,"dynasty":46,"author":13782,"museum":132,"description":42493,"tags":42494,"thumbUrl":42495,"material":317,"size":907,"collection":122,"collections":42496,"showCount":1065,"zanCount":40,"manualWeight":40,"mainColor":41},239158,"shan-shui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生平[编辑]. 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[1] 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