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-1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 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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。",[23,115,24,25,57,56,241,58,29,30,137,60,61,7,144,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","纸本","40x196厘米","书法精选",[284],207,{"id":288,"slug":289,"title":290,"dynasty":110,"author":19,"museum":291,"description":292,"tags":293,"thumbUrl":297,"material":282,"size":68,"collection":41,"collections":298,"showCount":300,"zanCount":181,"manualWeight":11,"mainColor":182},216870,"xi-xiang-ji-tu-ce-yi-ming-216870","西厢记图册","法国国家图书馆","清辉漫洒的月夜，太湖石皱透玲珑，似藏幽怀几许。垂丝柳如缕拂墙，枝丫间漏下细碎银光。石畔佳人绿衫红襟，凭石凝眸，眉梢轻锁着朦胧心事；墙侧书生探身倚柳，目光灼灼，暗将情愫托与风。阶前细草缀淡紫小花，与石上苔痕相映成趣，更衬天地幽寂温柔。画面以淡彩晕染，线条婉转，凝住西厢记里墙头遥望的经典场景——不须言语，只眼波流转、柳丝轻拂，便把欲说还休的情愫，揉进月色朦胧的园囿中。",[24,29,28,116,30,95,144,7,294,295,296],"柳树","栏杆","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd228540a2e55badb58a67f3b014301b9.jpg",[41,299],"设色画精选",204,{"id":302,"slug":303,"title":304,"dynasty":50,"author":305,"museum":306,"description":307,"tags":308,"thumbUrl":309,"material":257,"size":310,"collection":232,"collections":311,"showCount":312,"zanCount":313,"manualWeight":11,"mainColor":72},218647,"dong-ting-qiu-yue-tu-mu-xi-218647","洞庭秋月图","牧溪","德川美术馆","据东京大学专门研究中国绘画史的小川裕中教授说，这幅《洞庭秋月》应该是潇湘八景中的第七幅。使用最简单的材料--水和墨，穆克希出色地捕捉到了潇湘地区的潮湿空气和朦胧的光线。",[23,24,58,137,60,7,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2680a913c7b3b674cc9769c96fa43ce.jpg","29.4x93.1",[232],189,4,{"id":315,"slug":316,"title":317,"dynasty":77,"author":19,"museum":20,"description":318,"tags":319,"thumbUrl":321,"material":322,"size":323,"collection":68,"collections":324,"showCount":325,"zanCount":166,"manualWeight":11,"mainColor":45},223350,"shi-nv-tu-ce-yi-ming-223350","仕女图册","画面以仕女为主题。最早见于唐代长沙窑瓷器。宋元时期仕女图较为罕见，这与当时花鸟画盛行有很大的关系.",[23,24,25,116,29,28,30,95,7,141,144,320],"小草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a51b5949edc9d99b29841d97b4903d4.jpg","绢本","12.7×19.1",[],181,{"id":327,"slug":328,"title":329,"dynasty":277,"author":278,"museum":330,"description":331,"tags":332,"thumbUrl":337,"material":322,"size":338,"collection":284,"collections":339,"showCount":340,"zanCount":166,"manualWeight":11,"mainColor":72},220848,"du-fu-qiu-xing-ba-shou-zhao-meng-fu-220848","杜甫秋兴八首","上海博物馆","此卷书杜甫秋兴八首。款署：“此诗是吾四十年前所书，今人观之未 必以为吾书也。子昂重题。至治二年(1322)正月十七日。”据此知该卷 书于元初至元十九年(1282)前后，作者时年二十八岁左右。此书用笔细腻，结体端庄秀逸，笔圆墨润，筋丰骨健，给人以神定气闲，虚和宛朗。\n公元759年，杜甫为避“安史之乱”，携妻儿由陕西入四川，寓居成都，依靠四川节度使严武等亲友的接济维持生活。765年四月，严武病逝，杜甫失去依凭，于是伴同家族，离开成都，乘舟沿江东下，先是寓居夔州，在夔州（今四川奉节）住了两年左右的时间，后转徙于湘鄂之间。公元770年冬，死在由长沙到岳阳的一条破船上。\n在寓居夔州两个年头里，杜甫时年五十五岁，已处在人生之秋，眼看晚年多病，知交零落，壮志难酬，心境非常寂寞、抑郁。当此秋风萧瑟之时，不免触景生情，感发诗兴，故曰《秋兴》。\n《秋兴》八首是公元766年秋天杜甫滞留夔州时惨淡经营的一组七言律诗。这八首诗是一个完整的乐章，命意蝉联而又各首自别，时代苦难，羁旅之感，故园之思，君国之慨，杂然其中，历来被公认为杜甫抒情诗中沉实高华的艺术精品。\n《秋兴》第一首，是组诗领起之作，八诗之纲领。（《读杜心解》云：“首章，八诗之纲领也。明写秋景，虚含兴意；实拈夔府，暗提京华。”）诗人用铺天盖地的秋色将渭原秦川与巴山蜀水联结起来，寄托自己的故国之思；又用滔滔不尽的大江把今昔异代联系起来，寄寓自己抚今追昔之感。诗中那无所不在的秋色，笼罩了无限的宇宙空间；而它一年一度如期而至，又无言地昭示着自然的岁华摇落，宇宙的时光如流，人世的生命不永。",[23,57,55,56,60,142,7,333,63,64,334,335,336,59],"秋风","花","树林","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a92b33186e851e63bc3e6ab6711d5.jpg","纵23.5厘米，横261.5厘米",[284],161,{"id":342,"slug":343,"title":344,"dynasty":277,"author":345,"museum":201,"description":346,"tags":347,"thumbUrl":348,"material":68,"size":68,"collection":68,"collections":349,"showCount":350,"zanCount":11,"manualWeight":11,"mainColor":45},228265,"yue-xia-mei-hua-tu-wang-mian-228265","月下梅花图","王冕","古梅老干盘虬苍劲，如铁铸凝霜，却自枯槎间抽发柔枝，繁花轻缀如堆雪团玉。左上角圆月晕出朦胧暖光，将夜色晕化，清辉漫过梅枝，冷艳花影与溶溶月色缠织，把孤高疏淡的意境烘托到极致。\n\n以顿挫老辣的水墨写枝，尽显梅树硬骨，淡墨圈花留白，衬出花瓣冰清玉洁，笔简意足。题诗与画意相融，诗书画印浑然一体，尽显文人雅致风骨。将梅花凌霜傲雪的君子品格，与画者淡泊襟怀藏在尺幅清景之中，暗香似随月色浮动，观之便觉心神澄澈。",[23,24,25,26,58,174,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b72dd09d14af6300a2dd92f27a517ef.jpg",[],142,{"id":352,"slug":353,"title":354,"dynasty":50,"author":19,"museum":330,"description":355,"tags":356,"thumbUrl":358,"material":39,"size":359,"collection":230,"collections":360,"showCount":361,"zanCount":181,"manualWeight":11,"mainColor":45},218600,"jiang-fei-wan-yue-tu-yi-ming-218600","江妃玩月图","月色如练，泼洒在虬枝瘦干间。墨笔勾勒的树影横斜，嶙峋枝干似在夜风中轻语。凭栏处，佳人衣袂翩然，或执扇凝睇，或侧首听月，身影与疏枝、栏杆相映成趣。夜的清寂被月色化开，淡墨晕染出朦胧意蕴，每一处线条都简劲有致，藏着宋人笔墨的雅致风骨。无需浓妆艳抹，仅以素淡之笔，便将玩月的悠然、月夜的幽远揉成一幅清绝画境，让人在静默中触碰到那份穿越时光的古雅与深情。",[23,24,25,58,241,30,95,7,141,140,357,144],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbdeecfafad713f88037a5c5c52fa50.jpg","25.4x24.8",[230],127,{"id":363,"slug":364,"title":365,"dynasty":50,"author":366,"museum":367,"description":368,"tags":369,"thumbUrl":372,"material":39,"size":373,"collection":230,"collections":374,"showCount":375,"zanCount":126,"manualWeight":11,"mainColor":72},219887,"yue-xia-yu-she-tu-zhao-ling-rang-219887","月下渔舍图","赵令穰","耶鲁大学艺术博物馆","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”。其子赵伯驹宋代著名画家，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。",[24,29,137,175,370,82,140,61,7,371],"枯树","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64745e0ff99130ce0f92eb82148afe6.jpg","26.7x26.7",[230],126,{"id":377,"slug":378,"title":379,"dynasty":18,"author":19,"museum":20,"description":380,"tags":381,"thumbUrl":383,"material":39,"size":384,"collection":41,"collections":385,"showCount":375,"zanCount":126,"manualWeight":11,"mainColor":45},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。",[115,24,25,26,29,28,30,140,61,158,254,7,174,382],"园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5dcf17369c07d5993485e20a0c645b.jpg","155.5x102.3",[41],{"id":387,"slug":388,"title":389,"dynasty":50,"author":305,"museum":306,"description":390,"tags":391,"thumbUrl":394,"material":257,"size":395,"collection":68,"collections":396,"showCount":397,"zanCount":11,"manualWeight":11,"mainColor":72},219190,"xiao-xiang-ba-jing-dong-ting-qiu-yue-mu-xi-219190","潇湘八景-洞庭秋月","薄雾似纱轻笼水面，远山隐于烟霭，如黛色剪影浮在天际。一叶扁舟孑然，渔翁身影模糊在夜色里，船尾涟漪搅碎秋月清辉。近岸树影婆娑，墨色淡染，似与雾气相融。天地静得只剩呼吸，秋夜凉意随淡墨游走，每一笔都透着禅意空灵。简淡笔触里藏着洞庭秋夜的幽远，观者仿佛听见水波轻响，看见月光洒在船舷，心沉入静谧烟波深处，触到自然最本真的呼吸。",[23,24,25,392,58,117,393,137,7,60,190,254,159],"山水画","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbf818004329886216e8020600b6c8e.jpg","29.4x93.1厘米",[],118,{"id":399,"slug":400,"title":401,"dynasty":50,"author":154,"museum":402,"description":403,"tags":404,"thumbUrl":406,"material":228,"size":407,"collection":230,"collections":408,"showCount":409,"zanCount":11,"manualWeight":11,"mainColor":45},221528,"lin-he-jing-mei-hua-tu-ma-yuan-221528","林和靖梅花图","日本京都国立博物馆","孤山已无吟诗处，\n西湖仍有处处枝。\n疏影高士横卧看，\n红日半斜香风迟。",[23,24,25,58,29,28,175,30,137,174,7,405,157],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcda8f28fa7dbe93178e2179ff242a9b.jpg","24.5×38.6cm",[230,123,232],114,{"id":411,"slug":412,"title":413,"dynasty":414,"author":19,"museum":52,"description":415,"tags":416,"thumbUrl":418,"material":101,"size":102,"collection":68,"collections":419,"showCount":420,"zanCount":11,"manualWeight":11,"mainColor":45},288517,"huan-yue-tu-yi-ming-288517","浣月图","五代十国","庭院浓荫覆裹，夜色晕开朦胧柔光。仕女们姿态温婉舒展，正于池畔浣月戏玩。主角掬水揽月，月影随波轻漾，身侧女眷凝神静观，似沉溺在这静夜雅趣之中，案边侍女垂首侍立，屏声静气。\n\n衣袂线条柔婉凝练，寥寥几笔便勾勒出闺阁女子的柔婉体态，设色沉雅古拙，花木石台都晕染着幽幽夜色，将深宫院落的闲谧氛围尽数铺展。全画布景简淡却意蕴悠长，把月下清玩的闲情与深苑夜色相融，古雅沉静里藏着悠悠闺中意绪，尽显古画的含蓄雅致。",[23,24,29,28,30,95,269,417,7],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ccd6842a037fe4359fde0eef99220dd.jpg",[],112,{"id":422,"slug":423,"title":424,"dynasty":110,"author":425,"museum":201,"description":426,"tags":427,"thumbUrl":432,"material":68,"size":68,"collection":68,"collections":433,"showCount":434,"zanCount":11,"manualWeight":11,"mainColor":72},233906,"hua-hui-shan-shui-ce-yun-shou-ping-233906","花卉山水册","恽寿平","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。",[24,428,116,429,29,59,294,189,430,7,431],"清代","没骨","鱼","落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45310b0b5b6eed41b29e10791b123347.jpg",[],110,{"id":436,"slug":437,"title":438,"dynasty":50,"author":154,"museum":201,"description":439,"tags":440,"thumbUrl":444,"material":101,"size":102,"collection":68,"collections":445,"showCount":446,"zanCount":181,"manualWeight":11,"mainColor":72},288422,"yue-xia-shang-mei-tu-ma-yuan-288422","月下赏梅图","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。",[441,24,25,58,137,174,7,30,175,442,443],"扇面","闲适","赏梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083183b331935fb1ed4c1a0c68b8dcc9.jpg",[],109,{"id":448,"slug":449,"title":450,"dynasty":110,"author":451,"museum":201,"description":452,"tags":453,"thumbUrl":456,"material":101,"size":102,"collection":68,"collections":457,"showCount":458,"zanCount":166,"manualWeight":11,"mainColor":72},289748,"li-hua-ye-yue-tu-zhou-zou-yi-gui-289748","梨花夜月图轴","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,115,26,28,29,454,455,7,59],"花鸟","梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff5dcc5f61ef2890fee967d4bf94603b.jpg",[],108,{"id":460,"slug":461,"title":365,"dynasty":50,"author":462,"museum":367,"description":463,"tags":464,"thumbUrl":465,"material":39,"size":466,"collection":230,"collections":467,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":72},218643,"yue-xia-yu-she-tu-gu-liang-218643","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。",[23,24,115,25,137,29,7,371,60,141,158,61,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bd989e6eda292aac4a6ea806d7f79a.jpg","25.7x25.4",[230],{"id":469,"slug":470,"title":471,"dynasty":110,"author":425,"museum":20,"description":472,"tags":473,"thumbUrl":477,"material":478,"size":479,"collection":163,"collections":480,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":72},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”。",[23,24,115,25,219,29,56,55,474,475,476,7,59],"临摹","树","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg","纸本 册","20.6 x 30.5 cm",[163,299],105,{"id":483,"slug":484,"title":485,"dynasty":50,"author":154,"museum":52,"description":486,"tags":487,"thumbUrl":494,"material":495,"size":496,"collection":230,"collections":497,"showCount":498,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,115,24,25,26,58,29,175,137,7,488,489,189,370,30,490,491,492,493],"寒岩","积雪","轩","岩石","湖面","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe690130e1e87bba26c0e4e9523fbab3e.jpg","绢本浅设色","纵：156.7厘米，横：82.4 厘米",[230,163,232],104,{"id":500,"slug":501,"title":502,"dynasty":277,"author":503,"museum":504,"description":505,"tags":506,"thumbUrl":509,"material":510,"size":511,"collection":41,"collections":512,"showCount":498,"zanCount":126,"manualWeight":11,"mainColor":45},220366,"zhong-kui-yue-ye-chu-you-tu-yan-hui-220366","钟馗月夜出游图","颜辉","美国克利夫兰艺术博物馆","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。",[23,115,24,25,57,241,58,30,7,507,508],"兵器","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb1ea86b91ff3415a751ad1b0b59ac4.jpg","绢本,水墨","24.8X240.3",[41,232],{"id":514,"slug":515,"title":516,"dynasty":50,"author":517,"museum":201,"description":518,"tags":519,"thumbUrl":523,"material":101,"size":102,"collection":68,"collections":524,"showCount":525,"zanCount":181,"manualWeight":11,"mainColor":72},289742,"run-zhong-qiu-yue-zhao-ji-289742","闰中秋月","赵佶","该书法帖是故宫博物院所藏赵佶的“瘦金体”《闰中秋月帖》。作品笔画细瘦如“筋”，舒展飘逸，却挺拔有力，气韵生动且不失腴润，更不显稚弱之气，有浓郁的书卷气息。\n赵佶的书法，早年学薛稷、黄庭坚，后又参合褚遂良诸家，出以挺瘦秀润，又变化“二薛”（薛稷、薛曜），形成自己的独特风格。观赏作品，可发现，其线条瘦直挺拔，横画收笔带钩，竖画收笔带点，撇如匕首，捺如切刀，竖钩细长，有些连笔字像游丝行空，已近行书。其用笔源于褚、薛，只是写得更瘦劲；结体笔势取黄庭坚大字楷书，舒展劲挺。这种书体从美学的角度讲：丽美之气袭人，婀娜多姿。在古代皇权集中制的时代，一般的情况下，肃穆、庄重、典雅和大气是皇家风格的主要特征。但是，历史似乎在动荡的宋朝发生了非规律性的扭动，从而造成了皇权和皇家审美标准的大逆转。赵佶荒废朝政、一心沉溺于书画艺术这一事实，推动了他艺术天分的表露和宣泄。而他的美学标准也随着扭动的历史现实化而变得大背传统，形成独特的一种艺术风格。这可能就是宋徽宗“瘦金体”书法形成的历史渊源吧！但是，优秀的艺术流派是以它优秀的艺术价值流传的，艺术的光芒不会因创造者某一方面的缺失而受到因影响。赵佶的“瘦金书”墨迹，优雅之气与瑰丽之气并重，正如岳珂在《宝真斋法书赞》称赞他的书法所言：“金缕之妙，细比毫发，殆与神工鬼能，较奇逞并于秋毫间。”",[23,55,520,59,7,521,522],"楷书","中秋","诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26596379d9428c2728071db884a953e4.jpg",[],103,{"id":527,"slug":528,"title":529,"dynasty":110,"author":111,"museum":201,"description":530,"tags":531,"thumbUrl":534,"material":101,"size":102,"collection":68,"collections":535,"showCount":525,"zanCount":126,"manualWeight":11,"mainColor":72},287452,"yi-jin-ling-ce-shi-tao-287452","忆金陵册","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。",[24,116,58,55,59,175,137,370,532,158,7,533],"茅屋","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4024d85ab10042e974297b9aa2ce45b2.jpg",[],{"id":537,"slug":538,"title":539,"dynasty":50,"author":540,"museum":541,"description":542,"tags":543,"thumbUrl":545,"material":39,"size":546,"collection":230,"collections":547,"showCount":525,"zanCount":181,"manualWeight":11,"mainColor":72},218561,"chi-bi-tu-yang-shi-xian-218561","赤壁图","杨士贤","波士顿美术馆","此卷一直被传为杨士贤的画笔，画史上认为杨士贤学郭熙用笔作小景，这种画法与郭熙相去甚远，不能确定是杨士贤所画，（《宋画全集》）为南宋初期无名画家。",[23,24,25,57,58,29,175,137,60,7,63,544,254,55,56,59],"风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32e2e40b11422761cb7bd67762bcddd.jpg","30.9x128.8cm",[230,163],{"id":549,"slug":550,"title":17,"dynasty":277,"author":19,"museum":201,"description":551,"tags":552,"thumbUrl":553,"material":39,"size":554,"collection":41,"collections":555,"showCount":556,"zanCount":11,"manualWeight":11,"mainColor":45},218444,"shui-yue-guan-yin-tu-yi-ming-218444","月色漫过绢面，晕开一层古雅的昏黄。观音趺坐于石上，衣袂如流水般铺展，垂眸间似含万顷慈悲。身后水月相涵，清波与月影交融成虚灵的境象，竹影疏斜掠过衣纹，添几分清寂禅意。线条柔婉却藏力道，每一笔都似在诉说禅心的空灵——不著凡尘，只留月华与水韵缠绵。这帧古画如同一枚被时光浸润的禅偈，静静铺展时，便将观者引入那片空明澄澈的水月世界，心也随之沉静下来。衣纹的流转、月色的朦胧、禅意的悠远，在方寸之间交织成一场无声的修行，让浮躁被温柔涤荡，只余对空性的敬畏与向往。",[23,24,25,26,27,28,241,29,30,7,220,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e706788ef465ef888e2024e9954d0f.jpg","83.8x43.2",[41],100,{"id":558,"slug":559,"title":560,"dynasty":50,"author":154,"museum":201,"description":561,"tags":562,"thumbUrl":564,"material":68,"size":68,"collection":68,"collections":565,"showCount":566,"zanCount":126,"manualWeight":11,"mainColor":45},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。",[23,115,24,25,137,58,29,563,189,138,159,7,158,254,59],"斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],87,{"id":568,"slug":569,"title":570,"dynasty":50,"author":366,"museum":571,"description":572,"tags":573,"thumbUrl":574,"material":510,"size":68,"collection":230,"collections":575,"showCount":566,"zanCount":11,"manualWeight":11,"mainColor":45},219789,"zhou-yue-tu-zhao-ling-rang-219789","舟月图","大英博物馆","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。",[115,24,25,58,241,29,30,60,7,59,2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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。",[23,115,24,25,57,241,58,29,137,30,60,141,7,61,82,144,56,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","绢本，淡设色","25.9*143cm",[230,163,299],{"id":730,"slug":731,"title":732,"dynasty":77,"author":733,"museum":52,"description":734,"tags":735,"thumbUrl":740,"material":39,"size":741,"collection":123,"collections":742,"showCount":743,"zanCount":11,"manualWeight":11,"mainColor":45},216845,"qiu-zhu-shui-qin-tu-lv-ji-216845","秋渚水禽图","吕纪","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。",[23,115,24,28,29,454,736,737,417,7,738,739],"水禽","芦苇","水域","岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa017ac0164b088a5d177f88bd5bd52d1.jpg","纵177.2厘米，横107.3厘米",[123],64,{"id":745,"slug":746,"title":747,"dynasty":77,"author":748,"museum":112,"description":749,"tags":750,"thumbUrl":752,"material":257,"size":753,"collection":232,"collections":754,"showCount":755,"zanCount":11,"manualWeight":11,"mainColor":45},220357,"yue-xia-pu-tao-tu-wang-liang-chen-220357","月下葡萄图","王良臣","王良臣（ 生卒年不详），平生无可考。作花卉，意在沈周、徐渭之间，疑为明嘉、万历年间画家。",[24,25,26,58,454,751,7,59],"葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c5d497af84a9427a0bb325bf7c4c38.jpg","188.4x60.2",[232],62,{"id":757,"slug":758,"title":759,"dynasty":77,"author":760,"museum":722,"description":761,"tags":762,"thumbUrl":763,"material":122,"size":764,"collection":41,"collections":765,"showCount":755,"zanCount":11,"manualWeight":11,"mainColor":72},216085,"ming-huang-you-yue-gong-tu-zhou-chen-216085","明皇游月宫图","周臣","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。",[23,24,115,441,29,30,7,254,137,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb23230d53038694868c25d0ae2a93d4.jpg","纵18.6厘米，横50厘米",[41],{"id":767,"slug":768,"title":769,"dynasty":50,"author":770,"museum":201,"description":771,"tags":772,"thumbUrl":773,"material":68,"size":68,"collection":68,"collections":774,"showCount":775,"zanCount":11,"manualWeight":11,"mainColor":45},227704,"chun-jiang-hua-yue-ye-tu-ye-xiao-zhao-227704","春江花月夜图页","萧照","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”。",[23,115,24,25,116,58,29,175,137,61,60,7,139,141,82,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b470b220a55c2881ae3b91662b49dd.jpg",[],61,{"id":777,"slug":778,"title":304,"dynasty":50,"author":779,"museum":780,"description":781,"tags":782,"thumbUrl":783,"material":510,"size":68,"collection":163,"collections":784,"showCount":775,"zanCount":11,"manualWeight":11,"mainColor":72},219920,"dong-ting-qiu-yue-tu-yu-jian-219920","玉涧","日本文化厅","南宋玉涧的《洞庭秋月图》描绘了楼阁、圆月和树枝等，栩栩如生在大片的留白处题诗一首：“四面平湖月满出，一阿螺髻镜中看，岳阳楼上听长笛，诉尽崎岖行路难。洞庭秋月。”月光如泻，笛声悠扬，画中有声，诗画辉映，足见玉涧是一位集诗、书、画三绝为一身的僧人。",[23,115,24,25,57,58,55,59,137,7,139,475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e259371a089172ab221af814ccd9dc.jpg",[163],{"id":786,"slug":787,"title":788,"dynasty":77,"author":789,"museum":722,"description":790,"tags":791,"thumbUrl":792,"material":101,"size":102,"collection":68,"collections":793,"showCount":794,"zanCount":181,"manualWeight":11,"mainColor":45},289995,"chan-gong-yue-tu-tu-tao-cheng-289995","蟾宫月兔图","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。",[24,115,26,28,29,136,157,97,7,137,61,158,98,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c9583ba3902ef676ff0c13ef74bb75.jpg",[],59,{"id":796,"slug":797,"title":798,"dynasty":110,"author":425,"museum":52,"description":799,"tags":800,"thumbUrl":801,"material":67,"size":802,"collection":123,"collections":803,"showCount":794,"zanCount":126,"manualWeight":11,"mainColor":804},220982,"wu-qing-tu-zhou-yun-shou-ping-220982","五清图轴","恽寿平为人敦厚，个性孤介洒脱，不愿应试科举，以卖画为生，过着与世无争的日子，气节和人品相当受人敬重，而他的画也如他的人品一样，具有高洁不流俗的风格。五清指的是松、竹、梅及水、月。松柏经霜雪而不凋谢，竹子以其有节空心，代表君子的节操与虚心；梅花不畏风霜，愈冷愈开花，是品格坚贞的写照；而水与明月更是清澈透明、洁白无瑕的象征，所以合称「五清」，自古以来就常被用来比喻君子的德行。君子才德兼备，有高风亮节的情操，和「贫贱不能移，富贵不能屈」的志节，是社会上值得尊敬的人。这幅画，恽寿平以五清来代表君子，构图简单，分为三段，上段画老松由右横斜至左，明月高挂当空，中段则有梅花盛开，伴着青翠绿竹；下段流水潺潺。款识「辛酉初秋南田寿平制」，是恽寿平四十九岁的作品。笔墨多变，有的墨色饱含水份，有的枯干焦浓。有的先湿后枯，先浓后淡，墨趣丰饶。用笔温文柔和，呈现一种平和宁静的气氛，就像他所敬重的谦谦君子一般",[23,24,26,29,205,174,157,405,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870f71bba414a2c44d511dc3af19b001.jpg","86.1x38.4",[123,299],"F48FB1",{"id":806,"slug":807,"title":808,"dynasty":18,"author":19,"museum":20,"description":809,"tags":810,"thumbUrl":811,"material":510,"size":812,"collection":41,"collections":813,"showCount":814,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[24,25,26,27,30,241,29,7,61,144,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f74b241027c5bc565bf1a1a100e2598.jpg","180.3x83.5",[41],58,{"id":816,"slug":817,"title":818,"dynasty":50,"author":200,"museum":201,"description":819,"tags":820,"thumbUrl":822,"material":101,"size":102,"collection":68,"collections":823,"showCount":824,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,441,24,115,58,175,189,60,7,137,821,59,442],"泛舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f2945a3cf2401ced6554359bde119ad.jpg",[],57,{"id":826,"slug":827,"title":828,"dynasty":50,"author":19,"museum":201,"description":829,"tags":830,"thumbUrl":833,"material":68,"size":68,"collection":68,"collections":834,"showCount":824,"zanCount":126,"manualWeight":11,"mainColor":72},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。",[23,115,24,25,116,29,28,137,831,832,30,254,7],"雪山","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9779e57a11c43e5207a10113109fa36.jpg",[],{"id":836,"slug":837,"title":838,"dynasty":50,"author":636,"museum":52,"description":839,"tags":840,"thumbUrl":841,"material":322,"size":842,"collection":163,"collections":843,"showCount":824,"zanCount":11,"manualWeight":11,"mainColor":72},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。",[24,115,28,29,135,138,30,254,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578e2ffd01bb31fc19a9ed719b2041d1.jpg","24.8 x 25.2公分",[163,232],{"id":845,"slug":846,"title":847,"dynasty":110,"author":111,"museum":201,"description":848,"tags":849,"thumbUrl":850,"material":68,"size":68,"collection":68,"collections":851,"showCount":852,"zanCount":11,"manualWeight":11,"mainColor":72},228996,"hua-hui-shan-shui-ce-ye-12-kai-shi-tao-228996","花卉山水册页12开","《陈师曾画集》是以画家个案研究为切入点，以介绍画家作品为主线，将过去未被出版的近现代有影响画家作品编辑出版，为近现代绘画学习、研究提供第一手资料。\n进入二十世纪来，中国近代画家成为美术界、收藏界研究、关注的热点。\n《陈师曾画集》由 出版。\n菊花书画卷(局部) 花卉山水人物册页四开 花卉册页二开 仿李觯册页四开 花卉(合作) 花卉山水册页五开 山水册页二开 山水 墨兰 水仙 梅花 碧霞元君祠图 拟沈周夏日山居图 北京风俗图册页三十四开 秋花奇石 墨荷 鬼趣图 钟馗读书图 达摩图 读画图 深山古寺 山林人家 仙鹤 岁寒清供图 深山秋烟 姚华小像 花卉四条 清供图 菊石图 山水册页四开 花卉四条 松树 听秋图 蔬笋 拟吴仲圭山水 群仙上寿图 山水 花鸟四屏 山水 仿沈周山水 山水 山水册页四开 忽见千帆 半山流泉 荷 芍药 些 芭蕉 花卉四屏 菊石 兰竹 仿石涛山水 鸡冠花 金壶细叶 携酒与鱼 梅花 兰石 梅竹双雀(合作) 佛手 赤壁图 山水 桃花 梅石 芭蕉菊花 腊梅秀石 山水长卷(合作) 花卉 山水册页 溪流浣衣 江乡秋获 山原行旅 村醪泥醉 雨洗铅华 空谷幽香 烟寒雨昏 老圃秋容 梅竹 月季花 花卉四条 秋园晚艳 桃花 绣球花 山林楼影 姜白石词意图册十二开 山水册页四开 山水诗画册页十六开 竹 写摩诘诗意 园林小景册页六开 山水册页二开 花卉山水册页十开 山水花果册页四开 枇杷 竹笋 杨诚斋诗意图册页六开 花卉册页八开 枇杷 秋柳图 达摩图 猴戏图(合作) 菊石 玉兰 墨笔山水 溪山松居图 山林静处 霜林红万山 山林深处 竹石 花红叶翠 附：常用印章 陈师曾年表",[24,25,116,29,58,137,138,82,7,254,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f22ccc2a5c9017120af6648fb95f4bf.jpg",[],55,{"id":854,"slug":855,"title":856,"dynasty":77,"author":92,"museum":201,"description":93,"tags":857,"thumbUrl":858,"material":101,"size":102,"collection":68,"collections":859,"showCount":860,"zanCount":126,"manualWeight":11,"mainColor":72},287732,"wei-zhu-zui-yu-tu-tang-yin-287732","苇渚醉渔图",[24,115,58,26,137,60,7,737,371,55,59,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ed30e7e4f9029d9633816e33680693.jpg",[],54,{"id":862,"slug":863,"title":17,"dynasty":50,"author":19,"museum":201,"description":864,"tags":865,"thumbUrl":867,"material":101,"size":102,"collection":68,"collections":868,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":45},289879,"shui-yue-guan-yin-tu-yi-ming-289879","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。",[23,24,115,26,27,241,58,30,866,7,158,61],"观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad1c02b1758bf9ed874046a042ba650.jpg",[],52,{"id":871,"slug":872,"title":873,"dynasty":50,"author":154,"museum":52,"description":874,"tags":875,"thumbUrl":878,"material":510,"size":879,"collection":68,"collections":880,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":45},290999,"ju-bei-wan-yue-zhou-ma-yuan-290999","举杯玩月轴","风格独特，富有诗意画。水能表现出在不同环境气候下的种种形态。其花鸟作品善于在自然环境中描绘花鸟的神情野趣。",[115,24,26,58,137,30,7,205,370,158,876,62,877,175],"雾","闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde301ff84b5c3a8dfe486393212f2ca.jpg","205.6x104.1",[],51,{"id":883,"slug":884,"title":885,"dynasty":110,"author":19,"museum":201,"description":886,"tags":887,"thumbUrl":889,"material":101,"size":102,"collection":68,"collections":890,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":45},289741,"hua-yuan-hua-shi-er-yue-ling-tu-ba-yue-tu-zhou-yi-ming-289741","画院画十二月令图八月图轴","仲秋园池盛景跃然绢上，水岸亭台层叠错落，高阁凌水而建，文人雅士凭栏游赏，或把盏叙谈，或极目远眺，尽得清秋舒展意趣。下方庭院间，棕榈奇石点缀雅致园景，廊下有人对坐弈棋，仆从往来奔走备事，将官宦世家的闲适日常铺陈开来。\n\n水面澹澹漾开，远岸林木疏朗，暮色初升晕染天际，把八月的闲雅氛围揉入边角细节。全作工笔细腻，设色清隽雅致，将仲秋游园的松弛意趣藏在人物情态里，把园林精巧意趣与太平岁月的悠然融于一体，尽显古典雅致的世家闲情。",[24,26,29,28,135,30,138,139,61,254,7,269,158,508,888],"游乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcb28d920a01f8e8712b428cf940c7e.jpg",[],{"id":892,"slug":893,"title":894,"dynasty":50,"author":895,"museum":52,"description":896,"tags":897,"thumbUrl":899,"material":67,"size":900,"collection":230,"collections":901,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":45},221489,"yue-ye-kan-chao-tu-li-song-221489","月夜看潮图","李嵩","这幅「月夜看潮」图，所画即南宋时临安(今浙江杭州)中秋夜观海潮的情形。高悬的明月下，浪潮卷涌成一直线地奔驰而来;江畔华美的平台阁楼上，隐约可见有人穿梭、呼指着。整个画面没有拥塞的车水马龙、也没有激情喧闹的人海，取而代之的是远山江帆、月影银涛，一幕祥和而又没有纷扰的景致。",[23,24,29,135,137,138,60,7,254,898,59],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe131ee4ef3a1bf68a965799b0b4a1826.jpg","纵22.3厘米，横22厘米",[230,163,299],{"id":903,"slug":904,"title":214,"dynasty":50,"author":154,"museum":201,"description":905,"tags":906,"thumbUrl":908,"material":101,"size":102,"collection":68,"collections":909,"showCount":910,"zanCount":126,"manualWeight":11,"mainColor":45},287755,"yue-xia-ba-bei-tu-ma-yuan-287755","这幅马远传世精品《月下把杯图》，虽只一开册页，然画面“小中见大”，笔墨颇见生动精逸之境。此构图看似平夷，实则“平中生险”，尽显山涧深峻幽险之气。此图所绘的是十五中秋美景之夜，一轮圆月高挂空中，照的天地是那么的明亮。在这“每逢佳节倍思亲”的美景月下，恰逢远方多年不见的好友佳节来访，这让刚刚还在睹物思友的主人家中，立即增添了极大的精神欢乐。有诗句曰：“得好友来如对月，有奇书读胜观花”，似乎正是这个意境。\n画面上的主人，体态轻盈，举止文雅，面如春风，手中把杯迎友，显得是那么的亲密愉快。旁有四童仆，一侍立待呼，一侍果备用，另一侍酒小童，正在回望另一侍琴上台阶的半隐文童。整幅画面虽只写主仆六人，然内含笔墨神态各异，颇具生动真趣。月下空旷的山林是那么的幽雅静谧，然而月色中，依旧挡不住这欢愉间的良辰和美酒。",[115,24,25,29,30,7,157,649,907,55,59,442],"聚饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5828b63db994147999e5823f6ea3bf59.jpg",[],50,{"id":912,"slug":913,"title":914,"dynasty":277,"author":19,"museum":201,"description":915,"tags":916,"thumbUrl":919,"material":101,"size":102,"collection":68,"collections":920,"showCount":921,"zanCount":126,"manualWeight":11,"mainColor":45},290145,"chang-e-wang-yue-tu-yi-ming-290145","嫦娥望月图","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。",[24,441,29,28,30,95,96,7,189,917,98,137,918],"祥云","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe276658f8ba399b9ffd66097b8fbe89b.jpg",[],49,{"id":923,"slug":924,"title":925,"dynasty":50,"author":926,"museum":927,"description":928,"tags":929,"thumbUrl":932,"material":29,"size":933,"collection":230,"collections":934,"showCount":935,"zanCount":11,"manualWeight":11,"mainColor":45},221360,"yue-xia-wu-que-tu-dai-wan-221360","月下五雀图","戴琓","昆仑堂美术馆","戴琓，北宋画家。生卒年不详。汴（今河南开封）人。宣和（1111-1125）年间在翰林，殊蒙恩宠。画史称其：工翎毛花竹，常入阁供奉，后因求者甚众，徽宗闻之，封其臂不令私画，故传世者鲜。\n传世作品有《月下五雀图》，现藏昆山市昆仑堂美术馆；《雪梅寒雀图》，美国弗利尔美术馆藏。",[23,24,28,29,322,454,7,82,930,931,476,417],"雀鸟","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7afabac0c506934e7bf8980bedff63.jpg","20.5cm×26cm",[230,123,299],48,{"id":937,"slug":938,"title":939,"dynasty":110,"author":940,"museum":722,"description":941,"tags":942,"thumbUrl":943,"material":944,"size":945,"collection":68,"collections":946,"showCount":947,"zanCount":11,"manualWeight":11,"mainColor":72},223097,"mei-yue-chang-e-fei-yi-geng-223097","梅月嫦娥","费以耕","此图为民间脍炙人口的嫦娥奔月主题。画中所绘嫦娥鹅蛋脸，形象古典秀美，体态婀娜，气质娇柔，描绘了当时人们心目中的理想美人。所绘墨梅横向出枝，其秀美的花形，成功地烘托出嫦娥清雅脱俗的仙姿佚貌，由此可见费以耕与张熊间默契的笔墨配合，以及共通的审美意趣。",[23,24,25,441,29,30,95,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e351174213781c8cc14e95b053c0b66.jpg","金笺，设色","纵17.9cm，横52.8cm",[],47,{"id":949,"slug":950,"title":951,"dynasty":77,"author":952,"museum":330,"description":953,"tags":954,"thumbUrl":955,"material":282,"size":956,"collection":163,"collections":957,"showCount":947,"zanCount":11,"manualWeight":11,"mainColor":72},222484,"shang-bo-hua-ji-xuan-36-1-zhang-lu-222484","上博画集选36-1","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。",[23,115,24,58,241,7,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b5d5778cff96abe98aa324850a403d.jpg","55.88厘米 27.94厘米",[163,41],{"id":959,"slug":960,"title":961,"dynasty":50,"author":636,"museum":402,"description":962,"tags":963,"thumbUrl":964,"material":68,"size":407,"collection":41,"collections":965,"showCount":947,"zanCount":126,"manualWeight":11,"mainColor":45},221181,"lin-he-jing-gu-shan-tu-ma-lin-221181","林和靖孤山图","《林和靖孤山圖》人物採用簡筆法，衣紋用典型的「勾描線法」，「釘頭鼠尾描法」，線條利索、連綿、無斷筆。而《靜聽松風圖》人物線描線除了用「釘頭鼠尾描法」外，更多的是用「鐵線描」法，線條更複雜些，也更爲剛勁和挺拔，但是有斷筆，而且輪廓線內沿衣褶處用鉛白加以渲染。",[23,24,441,29,28,30,682,7,174,137,295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7257e7e52d338491b7b4a52f5b2b7d7f.jpg",[41,299],{"id":967,"slug":968,"title":969,"dynasty":77,"author":970,"museum":201,"description":971,"tags":972,"thumbUrl":973,"material":68,"size":68,"collection":68,"collections":974,"showCount":975,"zanCount":126,"manualWeight":11,"mainColor":45},228291,"juan-qiu-tu-chen-hong-shou-228291","眷秋图","陈洪绶","《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。",[23,24,25,115,26,29,30,95,141,158,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F217fca3cd0fb6c774655daffdbd538d9.jpg",[],45,{"id":977,"slug":978,"title":979,"dynasty":277,"author":980,"museum":52,"description":981,"tags":982,"thumbUrl":985,"material":257,"size":986,"collection":123,"collections":987,"showCount":975,"zanCount":11,"manualWeight":11,"mainColor":72},218819,"xie-sheng-tu-wang-yuan-218819","写生图","王渊","墨色晕染间，禽鸟栖于石畔，羽翼纹理随淡墨流转，似能触到绒羽温软。老枝横斜，梢头悬一轮清月，清辉洒在疏叶上，竹影与草茎在风里轻摇。工细处见笔力，写意时显灵动，水墨浓淡干湿交织出自然生趣，无艳色却满溢生机。留白藏幽远，题跋墨迹与画面相映，笔墨间流淌着元代文人的清雅心境——于寂静中观天地，于细微处藏深情。每一笔都似在低语，将自然之美与文人意趣融于尺幅，尽显“墨花墨禽”的韵致，让人在古雅气息里沉醉。",[24,25,58,28,983,7,454,144,984,931,220,59,55,56],"写生","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0627d9a79cc3230361415249eb53ed87.jpg","88.3x45.3cm",[123],{"id":989,"slug":990,"title":991,"dynasty":277,"author":992,"museum":52,"description":993,"tags":994,"thumbUrl":995,"material":510,"size":996,"collection":68,"collections":997,"showCount":998,"zanCount":126,"manualWeight":11,"mainColor":45},287543,"song-xi-fan-yue-zhou-sheng-mao-287543","松溪泛月轴","盛懋","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。",[115,24,25,26,137,58,29,175,7,61,60,141,158,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b41217752380df4d2fb17d949ad269.jpg","135.3x59",[],44,{"id":1000,"slug":1001,"title":304,"dynasty":50,"author":200,"museum":201,"description":1002,"tags":1003,"thumbUrl":1006,"material":68,"size":68,"collection":68,"collections":1007,"showCount":998,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,24,25,115,26,58,175,137,7,141,144,1004,1005],"水面","远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447d6ceb83a58f9c29a1ff0d0ad2cf84.jpg",[],{"id":1009,"slug":1010,"title":1011,"dynasty":77,"author":1012,"museum":1013,"description":1014,"tags":1015,"thumbUrl":1016,"material":510,"size":1017,"collection":232,"collections":1018,"showCount":998,"zanCount":11,"manualWeight":11,"mainColor":45},220402,"yue-mei-tu-liu-shi-ru-220402","月梅图","刘世儒","日本东京国立博物馆","刘世儒，字继相，号雪湖，山阴(（今浙江绍兴)）人，生卒不详，明代画家，传世作品有《雪梅双兔图》、《梅花图》长卷、《月梅图》、《先春报喜图》等。\n刘世儒，艺术活动主要于明代正德、嘉靖时期。\n少年时偶然得元人王冕的墨梅，废寝忘食地临摹学习。随后遍走山林，观察各种梅花习性，终成墨梅大师。刘世儒一生好梅，时人谓之年九十，而画梅八十。\n曾作《铁干回春图》赠送胡元瑞。《雪湖梅谱》是其一生画梅之心得。",[23,24,25,26,58,29,174,7,59,55,417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88375881b16d084f1d1d60260c6ab4e.jpg","136.4x71.8厘米",[232,123],{"id":1020,"slug":1021,"title":1022,"dynasty":50,"author":154,"museum":52,"description":1023,"tags":1024,"thumbUrl":1025,"material":39,"size":1026,"collection":68,"collections":1027,"showCount":1028,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,24,115,25,26,58,175,137,157,7,159,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa301730172f5443a0e5a99c9f55ffb2b.jpg","111.5x53.1",[],43,{"id":1030,"slug":1031,"title":1032,"dynasty":110,"author":592,"museum":201,"description":593,"tags":1033,"thumbUrl":1035,"material":68,"size":68,"collection":232,"collections":1036,"showCount":1037,"zanCount":11,"manualWeight":11,"mainColor":72},237493,"san-jia-he-zuo-wu-qing-zhou-wang-hui-237493","三家合作五清轴",[115,24,25,26,58,29,205,157,174,7,55,59,28,175,1034],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3351e99781cdb65f9a423bfdf5e44492.jpg",[232,284],41,{"id":1039,"slug":1040,"title":1041,"dynasty":50,"author":1042,"museum":201,"description":1043,"tags":1044,"thumbUrl":1045,"material":68,"size":68,"collection":68,"collections":1046,"showCount":1037,"zanCount":11,"manualWeight":11,"mainColor":72},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。",[23,115,24,25,441,29,28,30,138,95,7,55,56,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505e3900af9740a371e317730b4d7558.jpg",[],{"id":1048,"slug":1049,"title":1050,"dynasty":277,"author":19,"museum":306,"description":1051,"tags":1052,"thumbUrl":1053,"material":257,"size":68,"collection":41,"collections":1054,"showCount":1037,"zanCount":126,"manualWeight":11,"mainColor":72},218438,"dui-yue-tu-yi-ming-218438","对月图","素绢上的身影敛衣而坐，指尖似拈着月光的碎片。眉目低垂间，似与清辉私语，又或沉湎于案上书卷的墨香？身旁石案上的茶盏尚温，远山隐在淡墨晕染里，留白处尽是夜的空濛。线条如行云流水，不着浓彩，却将月夜的幽寂与内心的澄澈晕染开来。风过林梢的轻响，月色落地的微声，仿佛都藏在简淡笔触里，引观者一同沉入静谧时光，与画中人共享此刻清宁。那简素的勾勒中，藏着对自然与心境的叩问，让每一寸留白都成了思绪的延伸。",[24,25,115,26,241,58,30,7,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd60483ffc03c351b0cd0fcc7ebfb4c4.jpg",[41],{"id":1056,"slug":1057,"title":1058,"dynasty":277,"author":19,"museum":330,"description":1059,"tags":1060,"thumbUrl":1061,"material":39,"size":1062,"collection":163,"collections":1063,"showCount":1037,"zanCount":126,"manualWeight":11,"mainColor":45},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。",[24,115,25,26,135,29,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f95b3c5c0f8d9489dcbed3fb582630.jpg","75.6x62.1cm",[163],{"id":1065,"slug":1066,"title":1067,"dynasty":77,"author":19,"museum":201,"description":1068,"tags":1069,"thumbUrl":1070,"material":101,"size":102,"collection":68,"collections":1071,"showCount":1072,"zanCount":11,"manualWeight":11,"mainColor":45},288159,"ku-teng-lao-shu-tu-li-zhou-yi-ming-288159","枯藤老树图立轴","此作用笔苍劲老辣，以枯墨皴擦出古松嶙峋老干，虬曲枝桠如铁戟森然，松针攒簇细密，尽显饱经风霜的古拙意气。冷月高悬，淡墨晕染出空濛清辉，将夜色的荒寒铺陈开来。坡石旁丛竹挺秀疏朗，瘦劲枝叶与苍松相映，刚柔互济。全画以水墨写就，浓淡相宜，淡墨晕染出空寂夜色，浓墨勾勒筋骨，萧疏静谧间，尽显林下幽居的孤高意趣，暗合寄情林泉、不与俗伍的文人心境。",[23,24,26,58,357,141,157,144,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07026ed6aab10adbe73f7f746e3383.jpg",[],40,{"id":1074,"slug":1075,"title":1076,"dynasty":50,"author":200,"museum":201,"description":1077,"tags":1078,"thumbUrl":1079,"material":68,"size":68,"collection":68,"collections":1080,"showCount":1072,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,115,24,25,116,58,175,137,205,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d8343726fb542a41407b3b3bf085bb.jpg",[],{"id":1082,"slug":1083,"title":1084,"dynasty":77,"author":1085,"museum":1086,"description":1087,"tags":1088,"thumbUrl":1090,"material":282,"size":1091,"collection":284,"collections":1092,"showCount":1093,"zanCount":126,"manualWeight":11,"mainColor":72},222476,"teng-wang-ge-xu-zhu-yun-ming-222476","滕王阁序","祝允明","苏州博物馆","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[23,56,55,57,59,58,1089,25,60,138,137,82,142,7],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 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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。",[24,115,25,219,58,29,175,137,189,61,60,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1dcf60be19a97c3123327632de9860.jpg","24.7×25.2cm",[],{"id":1178,"slug":1179,"title":1180,"dynasty":50,"author":19,"museum":201,"description":1181,"tags":1182,"thumbUrl":1185,"material":68,"size":68,"collection":68,"collections":1186,"showCount":1168,"zanCount":11,"manualWeight":11,"mainColor":804},227934,"qing-shan-bai-yun-tu-yi-ming-227934","青山白云图","近岸苍松虬曲古雅，枝桠探向水面，滩石错落，静水无波晕染出空濛雾气。远山隐现于烟岚之中，以淡墨轻擦出朦胧山形，留白托出云气舒卷的清旷。\n\n画侧题诗与山水呼应，行书隽秀飘逸，以诗点题，将青山朝暮、白云青松的幽寂山居铺陈在尺幅团扇间。墨色温雅清润，寥寥数笔便勾勒出世外林泉的闲逸意趣，尽显以小见大、诗画合璧的雅致审美，把文人心中的栖居理想藏在淡墨烟霞里。",[23,24,25,441,137,58,175,1183,1184,189,254,158,190,7,82,738],"青山","白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c120fff0efbccec8c077e1732729a70.jpg",[],{"id":1188,"slug":1189,"title":1190,"dynasty":110,"author":1191,"museum":201,"description":1192,"tags":1193,"thumbUrl":1195,"material":68,"size":68,"collection":68,"collections":1196,"showCount":1197,"zanCount":11,"manualWeight":11,"mainColor":45},230294,"gui-lin-qiu-yue-tu-yuan-jiang-230294","桂林秋月图","袁江","界画亦名宫室，主要以建筑物、舟车之类为表现题材，所画对象要求准确、工整，一丝不苟，过去画诀有“山水打头，界画打底”之说，宋郭思说：“画屋木者，折算无亏，笔画勾壮，深远透空，一去百斜”。\n画界画历代不乏高手，唐末有尹继昭及他的学生卫贤等，元夏永、明仇英皆是界画高手。\n到了清代，袁江、袁耀父子擅画界画，虽技艺超群，但不为时人所重。\n至近代在山西太原尉氏家中，发现大量“二袁”作品，声名始震。\n袁耀“露台秋月图”纵18、横142.5厘米，胡佩衡旧藏，此画绘中秋宫苑赏月情景，一轮明月当空，万籁俱寂，宫殿在树木中或露或隐，山石玲珑剔透，诗情画意跃然纸上，此意趣决非一般画匠所能为。\n袁耀字昭道，江都（今扬州）人。\n生卒年不详，创作年代约在1747年至1778年之间。",[23,24,25,135,29,28,137,138,7,254,1194,30,269,255],"山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc906c6d22f541f535a6f7ab6dde3b6da.jpg",[],31,{"id":1199,"slug":1200,"title":1201,"dynasty":110,"author":1153,"museum":722,"description":1202,"tags":1203,"thumbUrl":1205,"material":1206,"size":1207,"collection":68,"collections":1208,"showCount":1197,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,115,24,25,137,135,29,28,138,7,254,1204,596,190,294],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg","绢本，设色","纵57cm，横66.1cm",[],{"id":1210,"slug":1211,"title":1212,"dynasty":110,"author":1213,"museum":52,"description":1214,"tags":1215,"thumbUrl":1216,"material":122,"size":1217,"collection":41,"collections":1218,"showCount":1197,"zanCount":11,"manualWeight":11,"mainColor":72},220252,"pin-quan-tu-zhou-jin-ting-biao-220252","品泉图轴","金廷标","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。",[23,24,115,29,28,30,61,254,7,158,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3431179624016bbae30476a9512741.jpg","纵58厘米，横73.8厘米",[41],{"id":1220,"slug":1221,"title":1222,"dynasty":277,"author":19,"museum":504,"description":1223,"tags":1224,"thumbUrl":1225,"material":510,"size":1226,"collection":163,"collections":1227,"showCount":1197,"zanCount":11,"manualWeight":11,"mainColor":45},220108,"yue-xia-xing-lv-tu-yi-ming-220108","月下行旅图","以极简水墨写意铺展夜色行旅，冷月孤悬于淡墨晕染的空濛山巅，崖上古木萧疏，枝桠如铁，漫出深秋荒寒。陂陀小径之上，商旅结队徐行，简笔勾勒的人影意态宛然，将天涯羁旅的寂寥藏在冷寂夜色中。\n\n题诗与山水相映，诗画交融，把行客的孤愁寄寓在清寒月色间。以留白营造空茫虚境，淡墨轻皴晕开夜色，寥寥数笔便将羁旅况味铺陈尽致，尽显简淡悠远的写意之妙，把漂泊天涯的乡愁融在萧疏冷寂的水墨意境中，淡远里藏着绵长情致。",[23,24,25,26,58,29,137,30,7,143,254,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc25fc9283dc8d52cfec6c9fd342bab4.jpg","36x54.3",[163],{"id":1229,"slug":1230,"title":1231,"dynasty":110,"author":1232,"museum":266,"description":1233,"tags":1234,"thumbUrl":1236,"material":29,"size":68,"collection":163,"collections":1237,"showCount":1197,"zanCount":11,"manualWeight":11,"mainColor":72},219058,"shan-shui-tu-shan-yue-ming-qiu-si-shang-rui-219058","山水图扇-月明秋思","上睿","扇面之上，月色如纱轻覆山林。疏林间几树浅黄晕开秋意，墨色浓淡交织出枝叶层叠的生趣，或深或浅的笔触里藏着自然的韵律。小径上三五身影闲步，衣袂飘飘似在共赏明月、低语秋思。右侧茅舍隐于树后，檐角与草木相映，静谧中透着烟火气。\n\n笔墨清润灵动，水墨晕染出空濛月色，秋意与清辉交融成悠然雅致的氛围。仿佛能触到秋夜微凉，望见月光流转的温柔，文人的闲情与秋日的清寂，凝于这一方扇面，满纸皆是诗意的秋思。",[23,24,441,29,137,7,475,139,30,607,158,1235,175],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11813952ce248c3a101af6a0ec5aea6f.jpg",[163],{"id":1239,"slug":1240,"title":1241,"dynasty":50,"author":19,"museum":52,"description":1242,"tags":1243,"thumbUrl":1245,"material":39,"size":1246,"collection":230,"collections":1247,"showCount":1248,"zanCount":11,"manualWeight":11,"mainColor":45},289747,"song-yue-tu-zhou-yi-ming-289747","松月图轴","此画以古松为骨，虬干扭转斜出，鳞皴苍劲，松针攒簇如黛，垂丝摇曳间尽见古拙风姿。近岸坡石上，高士席地闲坐，侍童默立身侧，似共赴松间夜话，静揽山月清辉。远景山峦以淡墨晕染，林庐隐在烟岚之中，溪桥轻架水岸，虚实相映间晕开空濛夜色。\n\n笔墨简逸苍劲，干湿浓淡层次分明，将松间幽寂的清旷之境铺陈开来，把林泉高致的隐逸襟怀藏于水墨留白中，观之如踏入松月夜境，浸沉在清远淡宕的古雅意趣里。",[24,58,26,137,189,30,1244,7,442],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2c182bc3c9569195506d170a7daf1a.jpg","129.8x74",[230],30,{"id":1250,"slug":1251,"title":1252,"dynasty":50,"author":154,"museum":201,"description":439,"tags":1253,"thumbUrl":1255,"material":101,"size":102,"collection":68,"collections":1256,"showCount":1257,"zanCount":11,"manualWeight":11,"mainColor":45},289804,"han-yan-ji-xue-tu-ma-yuan-289804","寒岩积雪图",[115,24,26,58,137,1254,488,489,7,189,370,1244,30,62,175],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f93ef862367b2ca55ea4ca66889a885.jpg",[],29,{"id":1259,"slug":1260,"title":1261,"dynasty":50,"author":19,"museum":722,"description":1262,"tags":1263,"thumbUrl":1265,"material":1206,"size":1266,"collection":68,"collections":1267,"showCount":1257,"zanCount":11,"manualWeight":11,"mainColor":72},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。",[24,115,25,116,441,28,29,95,1264,7,59],"鸾鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae22542a4bef5e8d5926c3d431eae647.jpg","纵25.3厘米，横26.2厘米",[],{"id":1269,"slug":1270,"title":1271,"dynasty":77,"author":19,"museum":112,"description":1272,"tags":1273,"thumbUrl":1276,"material":39,"size":1277,"collection":41,"collections":1278,"showCount":1257,"zanCount":11,"manualWeight":11,"mainColor":45},218298,"luo-han-tu-yi-ming-218298","罗汉图","两尊罗汉共处一隅，坐者执卷凝思，眉眼间尽是专注，似在经文中悟得禅理；立者躬身侧耳，神态恭谨，如沐智慧的低语。衣袍线条婉转流畅，色彩古雅温润，赤足踏地的细节添了几分随性自在。背景深褐如晦，圆月隐于树影，静谧禅意悄然流淌。画作以生动的神态互动，传递禅林问学的融融之境，笔墨间既有宗教肃穆，又含人间温情，尽显古画的含蓄韵味与精神深度。",[24,25,26,29,28,27,30,1274,1275,158,7],"罗汉","衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e51e9f2411a999971874ae34ce0bb4.jpg","140.8x78.8",[41],{"id":1280,"slug":1281,"title":1282,"dynasty":50,"author":154,"museum":201,"description":439,"tags":1283,"thumbUrl":1284,"material":101,"size":102,"collection":68,"collections":1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唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,1293,55,56,57,58,59,7,142,137,60,140,61,139,82,357,141,174,1294,157,1295,118,1296,1297,1116,430,544,1298,1299,607,1300,1301,1302,1303,1304,1305],"明代","兰","菊","牡丹","桃花","雨","雪","日","夜","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米",[284],{"id":1311,"slug":1312,"title":1313,"dynasty":110,"author":592,"museum":132,"description":1314,"tags":1315,"thumbUrl":1317,"material":122,"size":68,"collection":68,"collections":1318,"showCount":1286,"zanCount":11,"manualWeight":11,"mainColor":72},214591,"fang-gu-shan-shui-ce-13-wang-hui-214591","仿古山水册-13","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,25,116,29,175,1316,137,7,607,475,61,33,60],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f501390a2a4e60586411f7d7211255.jpg",[],{"id":1320,"slug":1321,"title":1282,"dynasty":50,"author":154,"museum":201,"description":439,"tags":1322,"thumbUrl":1323,"material":101,"size":102,"collection":68,"collections":1324,"showCount":1325,"zanCount":11,"manualWeight":11,"mainColor":45},288357,"song-yin-wan-yue-tu-ma-yuan-288357",[24,115,392,58,175,189,158,61,159,7,30,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b9dc13d47c8a3cbf2cc568c8a58485.jpg",[],27,{"id":1327,"slug":1328,"title":1329,"dynasty":50,"author":154,"museum":201,"description":1330,"tags":1331,"thumbUrl":1332,"material":101,"size":102,"collection":68,"collections":1333,"showCount":1334,"zanCount":11,"manualWeight":11,"mainColor":45},290325,"song-jian-yin-yue-zhou-ma-yuan-290325","松间吟月轴","该幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢於画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[115,24,26,58,29,137,189,141,30,140,61,7,442,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b5499ddfdf61e30afc97a7fce10525.jpg",[],26,{"id":1336,"slug":1337,"title":1338,"dynasty":110,"author":1339,"museum":330,"description":1340,"tags":1341,"thumbUrl":1342,"material":257,"size":68,"collection":41,"collections":1343,"showCount":1334,"zanCount":126,"manualWeight":11,"mainColor":72},218259,"za-hua-juan-li-yu-218259","杂画卷","李渔","水墨写意间，月色轻笼孤舟，帆影随水草漾开清寂。兰草以简劲线条勾勒，墨色浓淡相生，逸趣盎然。仕女执扇伫立，衣袂翩然，身旁花草点染幽淡诗意。山石淡墨皴擦，云雾缭绕处，二人对坐，似论道品茗，空灵悠远。整卷笔墨疏朗，意境闲淡，文人雅致与自然之趣融于尺幅，每段皆含诗意，尽显写意之妙。",[23,24,25,58,241,56,55,57,59,137,30,60,7,1294,417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85eebb03ec7d9b97d1eea30725928f51.jpg",[41],{"id":1345,"slug":1346,"title":389,"dynasty":50,"author":1347,"museum":201,"description":1348,"tags":1349,"thumbUrl":1352,"material":101,"size":102,"collection":68,"collections":1353,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},288943,"xiao-xiang-ba-jing-dong-ting-qiu-yue-wang-hong-288943","王洪","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。",[24,57,58,392,60,254,1350,159,1351,7],"湖泊","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa807359ab7054471f13478c28203b3ee.jpg",[],{"id":1355,"slug":1356,"title":1357,"dynasty":277,"author":19,"museum":201,"description":1358,"tags":1359,"thumbUrl":1361,"material":68,"size":68,"collection":68,"collections":1362,"showCount":44,"zanCount":126,"manualWeight":11,"mainColor":72},228239,"xiang-yue-chao-yin-wan-shan-ye-yi-ming-228239","香月潮音纨扇页","右幅工笔晕染，墨云翻涌间寒梅虬枝横斜，素衣嫦娥凭枝独立，绿袂随风翩跹，两轮圆月晕出柔润清辉，将月宫清寂融在缥缈云气中，勾勒出幽冷出尘的仙庭之景。\n\n左侧行书题诗笔致秀雅疏朗，诗中月夜潮声、倚梅凝伫的意境与画中景致相互呼应，书画合璧，将清冷出尘的幽思晕染开来，整体雅静淡远，尽显古雅的文人意趣与仙逸之美，把月宫孤清又柔婉的氛围烘托得如梦似幻。",[23,24,25,441,29,30,95,7,370,1360,56,59],"云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f6f728d00ca1270b82eb5fb174b1f88.jpg",[],{"id":1364,"slug":1365,"title":1366,"dynasty":110,"author":19,"museum":201,"description":1367,"tags":1368,"thumbUrl":1369,"material":39,"size":68,"collection":68,"collections":1370,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},216708,"hong-lou-meng-fu-tu-ce-15-yi-ming-216708","红楼梦赋图册-15","木桥横卧溪上，涟漪轻漾着细碎的光。两位女子立于桥间，红衣者凭栏远眺，眉目间似凝着云边的愁绪；白衣者执扇低眉，身姿柔婉如风中垂柳。岸边树影婆娑，枝叶错落间漏下天光，远处屋宇隐在绿意里，飞鸟掠过天际，带起的风拂动了树的影、水的纹。整幅画晕染着江南园林的雅致，将红楼闺阁的闲静时光，凝成一抹诗意的温柔。每处细节都藏着细腻情思：树的繁荫、屋的隐现、鸟的翩跹，仿佛能让人嗅到那时的草木香，听见风穿过叶隙的轻响，触到闺中女儿未说出口的幽思。这抹水墨里的静，恰是红楼故事里最动人的闲愁与清欢。",[23,24,116,29,28,30,95,140,61,254,82,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd36dfa8e558b65b38a8956433ff60ad.jpg",[],{"id":1372,"slug":1373,"title":413,"dynasty":414,"author":19,"museum":52,"description":1374,"tags":1375,"thumbUrl":1376,"material":101,"size":102,"collection":68,"collections":1377,"showCount":1378,"zanCount":11,"manualWeight":11,"mainColor":45},287372,"huan-yue-tu-yi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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。",[24,115,26,58,175,137,141,357,144,60,7,61,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dc250e39a664397ff48c4925b0cb88.jpg",[],22,{"id":1442,"slug":1443,"title":1444,"dynasty":110,"author":1445,"museum":201,"description":1446,"tags":1447,"thumbUrl":1448,"material":68,"size":68,"collection":68,"collections":1449,"showCount":1440,"zanCount":11,"manualWeight":11,"mainColor":72},239055,"shan-shui-hua-niao-ce-yang-jin-239055","山水花鸟册","杨晋","此帧以淡墨绘就江乡秋景，浅滩芦荻丛生，扁舟渔翁垂竿独钓，自在悠然。右侧汀上古木倚石，野趣天成。远景山峦以简笔晕染，空濛悠远，雁阵掠过长空，更衬江天寥廓。\n\n留白铺就无尽秋意，笔墨秀雅清润，萧疏淡远间尽显闲逸襟怀。题诗与画作相映，将秋日江乡的清冷疏旷，与渔樵忘机的隐逸之思相融，尽显文人画平淡天真的意趣，悠悠古韵沁入纸面。",[24,58,116,175,137,60,206,82,144,7,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91d92407b63081d12b841b16dc7887d.jpg",[],{"id":1451,"slug":1452,"title":1453,"dynasty":110,"author":592,"museum":201,"description":1454,"tags":1455,"thumbUrl":1458,"material":68,"size":68,"collection":123,"collections":1459,"showCount":1440,"zanCount":11,"manualWeight":11,"mainColor":72},236882,"yang-liu-xiao-yue-zhou-wang-hui-236882","杨柳晓月轴","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。",[24,25,26,58,29,175,137,1456,7,82,370,1457,159,59],"杨柳","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff957e7b95f4b3c3cb57f8c7616ebfbf9.jpg",[123],{"id":1461,"slug":1462,"title":1463,"dynasty":77,"author":19,"museum":201,"description":1464,"tags":1465,"thumbUrl":1467,"material":68,"size":68,"collection":68,"collections":1468,"showCount":1440,"zanCount":126,"manualWeight":11,"mainColor":45},235681,"tao-cheng-chan-gong-yu-tu-tu-zhou-yi-ming-235681","陶成蟾宫玉兔图轴","此作图绘仙乡秘境，一轮素月悬于空濛天际，清辉铺洒四野。玉兔静伏于青竹之侧，茸毛细密柔润，红眸澄澈灵动，憨态可掬，为清冷画面晕开一抹柔温。\n\n青绿山石晕染雅致，水流蜿蜒有声，远山瀑布垂挂如练，浅绛淡青交织出幽谧空寂的氛围感。数竿修竹挺秀清疏，枯木虬枝添了几分古意，与题诗相映成趣，诗画相融，晕染出出尘的仙家意韵。\n\n笔墨兼工带写，设色古雅沉静，将缥缈蟾宫的清寂与鲜活生机揉和一处，尽显古典雅致的仙境意趣。",[24,26,29,28,137,157,97,7,61,158,1466,508],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199c4e3ce8b760deb87b3e87847a32a2.jpg",[],{"id":1470,"slug":1471,"title":1472,"dynasty":77,"author":1473,"museum":1474,"description":1475,"tags":1476,"thumbUrl":1477,"material":282,"size":1478,"collection":123,"collections":1479,"showCount":1440,"zanCount":11,"manualWeight":11,"mainColor":45},220401,"mei-yue-hui-ying-tu-chen-lu-220401","梅月辉映图","陈录","天津博物馆","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。",[23,24,25,115,26,58,174,7,141,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ccb4e9ed68ba2b036805e6a57cbb30.jpg","223cm 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57.5cm",[123],{"id":1481,"slug":1482,"title":1483,"dynasty":110,"author":425,"museum":201,"description":1484,"tags":1485,"thumbUrl":1486,"material":101,"size":102,"collection":68,"collections":1487,"showCount":1488,"zanCount":11,"manualWeight":11,"mainColor":72},290527,"lin-wu-qing-tu-zhou-yun-shou-ping-290527","临五清图轴","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。",[115,24,25,26,58,474,59,7,205,157,144,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d55fd6aa28be344302951bbb9414093.jpg",[],21,{"id":1490,"slug":1491,"title":1492,"dynasty":110,"author":1493,"museum":201,"description":1494,"tags":1495,"thumbUrl":1497,"material":101,"size":102,"collection":163,"collections":1498,"showCount":1488,"zanCount":11,"manualWeight":11,"mainColor":72},239371,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239371","画载月十咏诗意册","永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[24,25,116,58,29,137,370,60,82,7,158,1496],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802a3fac4a620ea4ffc6e3e70fcfe962.jpg",[163,299],{"id":1500,"slug":1501,"title":1502,"dynasty":110,"author":1153,"museum":201,"description":1503,"tags":1504,"thumbUrl":1506,"material":68,"size":68,"collection":68,"collections":1507,"showCount":1488,"zanCount":11,"manualWeight":11,"mainColor":45},235119,"han-gong-qiu-yue-tu-zhou-yuan-yao-235119","汉宫秋月图轴","《汉宫秋月图》是清代袁耀创作的绢本设色画。\n本幅自题：“汉宫秋月，壬申初冬邗上袁耀画。\n”钤“袁耀”、“昭道”印2方。\n袁江和袁耀父子的绘画艺术，从题材到绘画风格完全一脉相承。\n“汉宫秋月”是袁氏父子经常画的一个题材，内容以昭君出塞的历史故事为背景。\n王昭君是汉元帝时的宫女，貌美且有志气，自愿远嫁匈奴和亲。\n在她的影响下，匈奴与中原之间得以和平相处，“三世无犬吠之警，黎庶无干戈之役”。\n袁耀曾多次选此题材，其主要兴趣在于描绘华美的宫殿建筑。\n此幅中殿宇宫门紧闭，月光似水，将庭院笼罩在一片苍茫的夜色中，淡淡的凄凉情调正符合王昭君即将远离故乡和亲人的离愁别绪，这使得原本精工华丽的楼阁也带上了一丝哀婉的色彩。\n袁耀（生卒年不详，约活动于18世纪中期），字昭道，江都（今江苏扬州）人，袁江之子。\n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工于山水楼阁界画，继承了唐宋及明代仇英青绿山水的画法。\n笔墨严整工细，设色艳丽浓郁，与袁江同为清代界画代表人物。",[24,26,135,29,28,138,30,254,7,295,1505,269],"宫殿建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42519666a6f65ddfe5d818f7ca2bf727.jpg",[],{"id":1509,"slug":1510,"title":1511,"dynasty":110,"author":19,"museum":722,"description":1512,"tags":1513,"thumbUrl":1514,"material":228,"size":1515,"collection":163,"collections":1516,"showCount":1488,"zanCount":11,"manualWeight":11,"mainColor":45},234898,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234898","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。",[24,25,116,29,56,55,59,137,138,158,254,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5d9b3ab8de6f6a73f21664055f4b51a.jpg","25.7×33厘米",[163,299],{"id":1518,"slug":1519,"title":1520,"dynasty":110,"author":1521,"museum":722,"description":1522,"tags":1523,"thumbUrl":1526,"material":1307,"size":1527,"collection":284,"collections":1528,"showCount":1529,"zanCount":11,"manualWeight":11,"mainColor":72},240043,"xing-shu-yuan-ren-shi-zhou-liang-shi-zheng-240043","行书元人诗轴","梁诗正","释文：\n每忆城西路，曾来好画亭。兰花经雨白，野竹入云青。\n波影浮春砌，山光扑昼扃。褰衣对萝薜，凉月照人醒。\n元人一律。梁师正。\n款署 “梁诗正”，钤“梁诗正”白文印、“薌林”朱文印。引首钤“十二楼前侍从印”朱文椭圆形印。\n此幅书元王士熙《题玩芳亭五首》之一。梁诗正书法初学柳公权，后参以赵孟頫、文徵明，晚年师法颜真卿、李邕。此作笔画伸展，结字严紧，骨力矫健，集众家之长，得雍容俊拔之态。",[26,56,55,139,1294,157,7,1524,607,1525,334,1298],"山光","波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3553d66abb03032c0de31ff38bc875ed.jpg","纵129厘米，横56.8厘米",[284],20,{"id":1531,"slug":1532,"title":1533,"dynasty":77,"author":1534,"museum":722,"description":1535,"tags":1536,"thumbUrl":1538,"material":1539,"size":1540,"collection":68,"collections":1541,"showCount":1529,"zanCount":11,"manualWeight":11,"mainColor":72},233121,"zhao-xian-juan-zhang-ling-233121","招仙卷","张灵","此图又名《朝仙图》，是幅以景寓情的杰作。皓月当空的桥头处，一清丽女子低眉笼袖悄然伫立。作者通过绘女子的饰带微微上扬，岸边的芦荻摇摆不定，巧妙地暗示出晚风席地而起的寒意。通过构图上大面积留白的处理烘托出画面寂寞凄凉的氛围。女子在此萧索的情景中不禁惆怅慨叹之情陡起，而这种凄婉的心境亦是作者自身不得志的写照。 图中女子的画法承袭了宋元以来的“白描”技法。作者以墨笔勾描人物面部及衣纹服饰。线条遒劲圆转，富有表现力度并有轻重缓急等诸多变化，显示出作者以线造型的精湛造诣。此外，作者还根据所绘物象的不同巧妙地运用了墨染法，人物的头部以浓墨晕染，芦荻、芙蓉叶等为深墨晕染，衣装饰带用淡墨晕染，深浅程度不同的墨韵无疑起到了扩大画面的层次和空间感的作用。此图不仅是张灵的代表作，亦是明代白描人物画的精品之作。 明代张丑《清河书画舫》在著录此图时言：“张梦晋《朝仙图》卷后有唐子畏题咏。”但目前此图并无唐寅的咏题，显然后世好事者在张丑目睹之后将唐寅的题咏割去而移作它用了，从而令原是书画合璧之作减色，使张灵与唐寅间的笔墨交往失去了重要的佐证。在唐寅的《六如居士补遗》中查到他为此图所作的题咏，名为《招仙曲》：“郁金步摇银约指，明月垂珰交龙绮。秋河拂树蒹葭霜，哪能夜夜掩空床。烟中滉滉暮江摇，月底纤纤露水飘。今夕何夕良宴会，此地何地承芳佩。”显然，唐寅的诗情与张灵的画意是完全吻合的。",[24,25,57,58,241,95,7,1537,140],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed1d30780fb498a81dae48abdae7351.jpg","纸本，墨笔","纵29.8厘米，横111.5厘米",[],{"id":1543,"slug":1544,"title":1545,"dynasty":77,"author":952,"museum":330,"description":953,"tags":1546,"thumbUrl":1548,"material":68,"size":68,"collection":68,"collections":1549,"showCount":1529,"zanCount":126,"manualWeight":11,"mainColor":72},222516,"shen-xian-tu-ce-5-zhang-lu-222516","神仙图册5",[23,24,25,116,58,7,1547,30],"海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a4ddcd0bd748a89bf8a86268389623.jpg",[],{"id":1551,"slug":1552,"title":1553,"dynasty":77,"author":19,"museum":201,"description":1554,"tags":1555,"thumbUrl":1556,"material":101,"size":102,"collection":68,"collections":1557,"showCount":1558,"zanCount":11,"manualWeight":11,"mainColor":72},236812,"wu-ling-hu-qiu-ye-yue-shan-mian-yi-ming-236812","吴令虎丘夜月扇面","此作用笔秀雅柔婉，金笺为底，以淡墨轻晕出月夜空蒙氛围。近岸坡石苍润，杂木扶疏，浅施淡赭点染秋意，林畔台榭中文士雅聚，凭栏观景，意态悠然。湖面空阔澄澈，扁舟浮于烟波间，对岸林峦隐约，山寺佛塔挺立于丘巅，古意盎然。\n构图虚实相映，以简淡笔墨铺陈出清寂悠远之境，将江南山水的秀润空灵与文人夜游的隽雅意趣相融，尽显温润静穆的文人幽怀。",[24,25,441,29,175,137,138,254,158,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3b1728139ee896dc3d11865e1eae57.jpg",[],19,{"id":1560,"slug":1561,"title":1562,"dynasty":110,"author":1563,"museum":330,"description":1564,"tags":1565,"thumbUrl":1566,"material":68,"size":68,"collection":68,"collections":1567,"showCount":1558,"zanCount":11,"manualWeight":11,"mainColor":1568},201848,"yue-mei-tu-zhou-hang-shi-jun-201848","月梅图轴","杭世骏","水墨绘就的梅枝横斜逸出，老干皴擦见苍劲，新梢勾勒显挺秀，白花以淡墨点染或留白示意，苞蕾欲放，绽花含露，姿态各异。一轮明月悬于枝间，素净无华，清辉与梅影交织，漾出幽寂清旷的氛围。右侧及下方的行书题跋笔意流畅，墨韵生动，与梅花、明月相映成趣，印章朱红点缀，更添雅致。整幅作品笔墨简淡却意境悠远，梅的孤高与月的清寒相融，尽显文人画诗书画印合一的韵致，传递出雅士的高洁情怀。",[24,58,174,7,56,59,26,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73b2f1738ba627b0d9144c68df69391.jpg",[],"c8b69d",{"id":1570,"slug":1571,"title":1572,"dynasty":50,"author":19,"museum":201,"description":1573,"tags":1574,"thumbUrl":1577,"material":101,"size":102,"collection":68,"collections":1578,"showCount":1579,"zanCount":126,"manualWeight":11,"mainColor":45},290683,"xiu-lun-xu-tu-zhou-yi-ming-290683","绣伦叙图轴","此幅构图与绣工皆为上品，图案用纱绣「二丝串」法绣成。所谓「二丝串」是每隔两根经纬垂直戳纳一针绣花线（针脚与纬线垂直）的绣法。利用深浅色线戳纱晕染，花纹突出，层次分明，有强烈织纹感和装饰效果。惜鹤颈与尾绣线腐蚀破损，后人用绢修补并用墨笔添绘，略损画面。纱绣多为小品，早期大幅之精品极为少见。",[26,454,1575,1576,682,82,1296,417,254,7,29,37],"绣品","凤凰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb395058cc5736a0109bbe872f769c894.jpg",[],18,{"id":1581,"slug":1582,"title":1583,"dynasty":277,"author":1584,"museum":722,"description":1585,"tags":1586,"thumbUrl":1587,"material":1588,"size":1589,"collection":284,"collections":1590,"showCount":1579,"zanCount":11,"manualWeight":11,"mainColor":45},239633,"xing-dan-shi-shi-zhou-ni-zan-239633","行淡室诗轴","倪瓒","释文：\n欲写新诗尘满几，味我迂言淡如水。白云淡淡何从来，来伴我（此字点去）孤吟北窗里。酒味甘浓易变酸，世情对面九疑山。白云且结无情友，明月幽禽与往还。八月廿日过宗道云栖楼，命余赋子安淡室诗，因赋。是日疏雨生凉，山光满几，殊有幽兴也。瓒。\n无题跋。鉴藏印钤有清“润州戴植字培之鉴藏书画章”印一方。\n《淡室诗》是倪瓒为友人“宗道”所书的一首七律诗。诗中寄托了他避世索居、与白云幽禽为伴的心境。\n此书是倪瓒存世这是一件彰显作者个性的书法作品，以立轴形式装裱在当时是比较少见的。此件楷书运笔俊峭，取法初唐楷书而兼有隶意，韵致高古，结字章法更打破楷书均衡取势之态，颇显生动飘逸的特点。据书风判断应为其晚年之作。",[26,56,55,58,7,143,1183,1184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9dbd69a846f83951a4d74d76cfee6c1.jpg","纸本，行楷书","纵64厘米，横27厘米",[284],{"id":1592,"slug":1593,"title":1594,"dynasty":18,"author":19,"museum":201,"description":1595,"tags":1596,"thumbUrl":1599,"material":68,"size":68,"collection":68,"collections":1600,"showCount":1579,"zanCount":11,"manualWeight":11,"mainColor":72},225302,"fu-shi-hui-26-yi-ming-225302","浮世绘26","清月垂悬远山之巅，将夜色晕成柔润水色。暖黄沙洲缓缓铺展，与幽蓝河湾错落相拥。石拱桥静卧水面，行人缓行其上，把清寂夜色揉进浅淡烟火气。\n\n右侧山坞间的屋舍藏在深翠林木中，檐角轻挑月色，几艘渔船系在浅滩，随波轻晃。画面冷暖色调交织碰撞，晕开静谧诗意，将水乡月夜的闲趣铺陈开来，带着日式风物独有的侘寂清宁，把寻常烟火揉进朦胧月色里，绘就一方松弛悠然的夜泊小景。",[1597,29,137,140,61,7,138,254,1598,30],"浮世绘","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a1b573bd1eedc319d19e2075a3be6b.jpg",[],{"id":1602,"slug":1603,"title":1604,"dynasty":1605,"author":19,"museum":201,"description":1606,"tags":1607,"thumbUrl":1613,"material":101,"size":102,"collection":68,"collections":1614,"showCount":1579,"zanCount":11,"manualWeight":11,"mainColor":72},223838,"yue-gong-jing-yi-ming-223838","月宫镜","唐","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[1608,1609,1610,7,97,1611,1612],"唐代","铜制","雕刻","桂树","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70f1600c0f816552865a385e8138c5bb.jpg",[],{"id":1616,"slug":1617,"title":1618,"dynasty":77,"author":1619,"museum":722,"description":1620,"tags":1621,"thumbUrl":1623,"material":1624,"size":1625,"collection":68,"collections":1626,"showCount":1579,"zanCount":11,"manualWeight":11,"mainColor":72},222318,"li-bai-gu-feng-shi-juan-wang-chong-222318","李白古风诗卷","王宠","本幅款署“雅宜山人王宠书”。钤“王履吉印”、“韡韡斋”，迎首钤“大雅堂”。收藏印钤“侯宝璋心赏”、“玉华堂绝品”、“玉华堂紫箫客”、“青萝山馆”、“披肝沥胆”。卷后有裘曰修、侯宝璋题跋。\n《李白古风诗》共8首，用金粟山藏经纸书写。此纸质地硬，纸面光滑，故笔墨线条清晰可辨，用笔转折历历在目。书法体势宽博疏拓，笔法丰沉圆遒，字形婉转结势，姿态奇特。王世贞曾评王宠书：“虽结法小疏，而天骨烂然，姿态横出，有威风千仞之势。”卷后裘曰修言：“雅宜山人书法大令，天骨秀拔，风神疏朗，名重一时。”",[23,1622,57,55,58,59,7,65,64,32],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67be2d310bcf7052aa6cc69f361390e3.jpg","纸本，手卷","纵26.8厘米, 横771厘米",[],{"id":1628,"slug":1629,"title":1630,"dynasty":110,"author":1153,"museum":722,"description":1631,"tags":1632,"thumbUrl":1634,"material":39,"size":1635,"collection":68,"collections":1636,"showCount":1579,"zanCount":126,"manualWeight":11,"mainColor":45},219137,"yang-zhou-si-jing-tu-chun-tai-ming-yue-yuan-yao-219137","扬州四景图-春台明月","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，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。",[23,115,24,25,135,29,28,137,138,7,1204,254,61,1633],"台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc2083e3304ec61a774b10ba10ced57.jpg","纵57厘米，横66.1厘米",[],{"id":1638,"slug":1639,"title":1640,"dynasty":110,"author":1641,"museum":132,"description":1642,"tags":1643,"thumbUrl":1647,"material":122,"size":1648,"collection":163,"collections":1649,"showCount":1579,"zanCount":11,"manualWeight":11,"mainColor":45},218311,"han-shan-si-tu-gu-zhong-quan-218311","寒山寺图","顾仲泉","月色轻笼层峦，远山如黛晕染朦胧。河面波光微漾，一叶扁舟张帆缓行，似载着晚归的思绪。岸边疏林掩映屋宇，禅意隐于其间。近景石砌水门轮廓苍劲，与远处静谧相映成趣。笔墨淡雅却含情致，江南水乡的清寂与古寺的悠远融于一卷。晚风仿佛拂过帆樯，隐约传来钟鸣，引人沉入悠然夜色，心绪随波轻漾，沉醉在画中禅意与诗意交织的静谧里。",[24,25,26,29,137,135,7,60,138,140,61,254,1644,1598,1645,159,1646],"房屋","城墙","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63cc8ddb867e90a5f40382b90fa4fb6.jpg","88.0x40.7cm",[163],{"id":1651,"slug":1652,"title":1653,"dynasty":110,"author":592,"museum":571,"description":1654,"tags":1655,"thumbUrl":1657,"material":122,"size":1658,"collection":68,"collections":1659,"showCount":1579,"zanCount":11,"manualWeight":11,"mainColor":72},217207,"fang-gu-shan-shui-shi-er-kai-shi-yi-wang-hui-217207","仿古山水十二开(十一)","此册王翚仿古十二开",[24,58,1316,175,116,7,60,141,139,254,1656,158,1004],"草坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611e13e5922eacde75f3651ef7421915.jpg","25x35.4cm",[],{"id":1661,"slug":1662,"title":1123,"dynasty":110,"author":592,"museum":330,"description":1663,"tags":1664,"thumbUrl":1665,"material":68,"size":68,"collection":163,"collections":1666,"showCount":1579,"zanCount":126,"manualWeight":11,"mainColor":1667},203388,"shan-shui-ce-wang-hui-203388","笔墨苍润秀逸，皴染相济间勾勒山川神韵。册页三帧各呈意趣：其一峰峦叠嶂，皴法细腻，林麓间茅舍隐现，流泉绕石添生机；其二江天浩渺，设色清润，孤舟泛波于烟水间，岸树葱茏点染旷远；其三柳岸亭榭，月色溶溶，闲者凭栏，疏柳与淡月相映成趣。画面融师古之笔墨与自然之灵趣，疏密有致，意境悠远，尽显文人山水的雅致情怀与笔墨功力。",[24,137,116,175,29,139,60,7,25,254,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c40674aec5891ea10ad8acb4c40419.jpg",[163],"c5baa2",{"id":1669,"slug":1670,"title":1671,"dynasty":50,"author":636,"museum":201,"description":1672,"tags":1673,"thumbUrl":1677,"material":101,"size":102,"collection":68,"collections":1678,"showCount":1679,"zanCount":11,"manualWeight":11,"mainColor":45},288419,"zhang-song-shan-shui-tu-ma-lin-288419","长松山水图","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。\n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。",[115,24,25,137,1674,1194,7,138,1675,59,58,175,223,1676],"长松","高士","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32fd310c2f4d050fec2e4b45931b71b.jpg",[],17,{"id":1681,"slug":1682,"title":1683,"dynasty":77,"author":1684,"museum":201,"description":1685,"tags":1686,"thumbUrl":1688,"material":101,"size":102,"collection":68,"collections":1689,"showCount":1679,"zanCount":11,"manualWeight":11,"mainColor":72},283735,"fang-ju-ran-shan-shui-tu-juan-yu-chen-ji-ru-shu-hua-he-juan-dong-qi-chang-283735","仿巨然山水图卷（与陈继儒书画合卷）","董其昌","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。",[55,56,25,57,137,405,205,430,7,1687],"夜色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c4537fa29e0be2b7d2ebc9141d08537.jpg",[],{"id":1691,"slug":1692,"title":1693,"dynasty":110,"author":19,"museum":201,"description":1694,"tags":1695,"thumbUrl":1700,"material":101,"size":102,"collection":68,"collections":1701,"showCount":1679,"zanCount":11,"manualWeight":11,"mainColor":1702},272997,"zi-tan-bian-fa-lang-gua-ping-yi-ming-272997","紫檀边珐琅挂屏","此作以金地为底，珐琅填色绘就青绿山水。上部远山衔云，月色垂悬，清辉遍洒山巅，意境幽寂旷远；下部山居临溪而立，飞瀑穿谷而下，林木蓊郁苍劲，流云柔化金地的厚重华贵，将山林隐逸的清趣晕染开来。\n\n石青、石绿层层晕染出山石肌理，色彩明丽细腻，勾勒皴擦皆见匠心。左侧题诗呼应画中逸境，诗画相映，将文人山水的清雅意趣，与珐琅工艺的宫廷华贵质感相融，把林泉高致的隐逸之美凝于方寸，是清代装饰工艺与文人审美合璧的精巧之作。",[1696,1697,1698,136,29,137,7,139,138,61,1699,55],"挂屏","琺瑯器","木质","云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c8d59e8f26f75adfce4ef08e06c672.jpg",[],"0D904F",{"id":1704,"slug":1705,"title":1706,"dynasty":77,"author":19,"museum":201,"description":1707,"tags":1708,"thumbUrl":1710,"material":68,"size":68,"collection":68,"collections":1711,"showCount":1679,"zanCount":11,"manualWeight":11,"mainColor":45},235680,"chen-lu-yu-tu-zheng-qing-tu-zhou-yi-ming-235680","陈录玉兔争清图轴","此作用淡墨晕染明月，清辉遍洒，老梅盘虬苍劲，主干皴擦见古拙质感，枝桠舒展斜逸，层层向上铺展。枝头繁花密缀，以浓淡墨色勾点花瓣，如星子攒聚，尽显寒梅莹洁灵动。\n\n梅枝挺秀清癯，凌然风骨暗藏其中，月色与梅影相映成趣，空寂清隽的冬夜幽境跃然绢上。笔意简淡苍润，将梅的孤高与月的空净相融，晕染出冬夜梅月争清的幽绝景致，尽显清雅出尘的文人意趣，寥寥笔墨写尽寒梅傲雪品格，意境清寂淡远。",[24,25,26,58,29,174,7,141,1709],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F001113171e468916c1f3343f48898518.jpg",[],{"id":1713,"slug":1714,"title":1715,"dynasty":110,"author":19,"museum":201,"description":1716,"tags":1717,"thumbUrl":1720,"material":68,"size":68,"collection":68,"collections":1721,"showCount":1679,"zanCount":11,"manualWeight":11,"mainColor":72},235371,"xu-gu-ling-mao-qiu-yue-zhou-yi-ming-235371","虚谷翎毛秋月轴","以淡墨晕开清寂秋夜，圆月隐在交错枝桠间，晕出朦胧柔美的月色。枯笔皴擦的寒枝苍劲萧疏，留白错落间写尽深秋寥落。\n枝上禽鸟以浓淡墨色晕塑身形，羽翼晕染层次分明，喙爪写实灵动，孤然独立侧目远眺，将秋夜清寒孤寂的氛围拉满。右侧题字笔意清逸，与画面气韵浑然相融，整体以写意之韵藏尽文人清冷禅意，淡而不寡，简中见情，把秋夜幽谧的意境藏在水墨留白之间，尽显中式写意含蓄悠远的雅致风骨。",[24,58,26,454,7,1718,1719],"枯枝","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd146666d8a2b641c5708f0e37d4773.jpg",[],{"id":1723,"slug":1724,"title":1725,"dynasty":18,"author":19,"museum":201,"description":1726,"tags":1727,"thumbUrl":1730,"material":68,"size":68,"collection":68,"collections":1731,"showCount":1679,"zanCount":11,"manualWeight":11,"mainColor":72},225310,"fu-shi-hui-42-yi-ming-225310","浮世绘42","澄澈圆月悬于墨蓝天幕，清辉遍洒高台式木质廊榭。三位仕女身着纹彩妍丽的和服，姿态悠然舒展：一人抬指望月似在私语，一人缓步凭栏神情温婉，最后一位持物随行，将夜游闲雅缓缓晕开。暖调提灯晕着柔光，与冷色月色交织相融，明丽暖黄的木构廊台衬着幽深夜色，冷暖碰撞间把静谧柔美的夜宴氛围烘托恰到好处，将和风市井里温婉雅致的夜游意韵，永远定格在画面中。",[1597,1728,29,30,95,138,7,1729],"木刻","灯笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb76223ea6f0d154274980f6a36c302.jpg",[],{"id":1733,"slug":1734,"title":1735,"dynasty":77,"author":92,"museum":52,"description":1736,"tags":1737,"thumbUrl":1738,"material":67,"size":1739,"collection":68,"collections":1740,"showCount":1679,"zanCount":11,"manualWeight":11,"mainColor":72},222341,"wan-yue-tu-cheng-shan-tang-yin-222341","玩月图成扇","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[441,24,29,189,7,30,138,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3356a0f403554d54c19312dd1870f3.jpg","28.2x42.5",[],{"id":1742,"slug":1743,"title":1744,"dynasty":110,"author":19,"museum":291,"description":1745,"tags":1746,"thumbUrl":1747,"material":282,"size":68,"collection":68,"collections":1748,"showCount":1679,"zanCount":11,"manualWeight":11,"mainColor":182},216856,"xi-xiang-ji-tu-ce-20-yi-ming-216856","西厢记图册-20","圆月清辉遍洒庭院，树影斑驳如碎银。藤蔓似绿绸缠绕花架，枝叶间缀着零星幽花。女子素衣长裙，身姿窈窕，轻倚花架旁，眉目间凝着淡淡幽思，仿佛正沉浸在西厢故事的缱绻心绪里。右侧圆拱门内，烛火摇曳，几案静立，朦胧光影勾画出深院的静谧。红栏绕岸，石砌铺阶，园林景致精巧雅致，每一处细节都晕染着古典温婉。画面色调柔和，笔触细腻，将人物情态与园林幽境相融，风过枝叶的轻响似在耳畔，那份藏在画中的细腻情思缓缓流淌，尽显传统绘卷的诗意与叙事之美。",[24,25,116,28,29,30,95,7,144,254,295,269,138,417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56bfa9b8b76f98e2617ae763f5dda4d2.jpg",[],{"id":1750,"slug":1751,"title":1752,"dynasty":277,"author":1753,"museum":201,"description":1754,"tags":1755,"thumbUrl":1758,"material":101,"size":102,"collection":68,"collections":1759,"showCount":1760,"zanCount":11,"manualWeight":11,"mainColor":45},289551,"lu-tai-guan-yue-tu-zhang-ke-guan-289551","露台观月图","张可观","张可观的作品流传下来的极少，此幅作品几乎是现在唯一能够找到的张可观的传世画作\n从这幅画里，可以很明显地感受到源自马远的边角风格，楼台的界画画法，奇崛的松树以及苍润的远山，都显示出宋代院体画的高古气韵。",[24,115,29,30,137,1756,189,140,138,7,442,1757],"露台","观月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3efc946a9f551f581db180b0222eef.jpg",[],16,{"id":1762,"slug":1763,"title":1764,"dynasty":77,"author":1765,"museum":201,"description":1766,"tags":1767,"thumbUrl":1768,"material":68,"size":68,"collection":68,"collections":1769,"showCount":1760,"zanCount":11,"manualWeight":11,"mainColor":72},234491,"juan-dong-ting-ye-yue-shan-zhu-yin-234491","隽洞庭夜月扇","朱胤","明清时期，每逢中秋佳节，文人墨客们总会创作许多关于中秋赏月的扇面小品，相互赠予，以表思念团聚之情。",[24,25,441,58,175,137,7,254,158,1004,159,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7189ad8459fc1b6f9a24ecaf33e0dcfd.jpg",[],{"id":1771,"slug":1772,"title":1773,"dynasty":1605,"author":19,"museum":722,"description":1774,"tags":1775,"thumbUrl":1777,"material":1206,"size":1778,"collection":68,"collections":1779,"showCount":1760,"zanCount":11,"manualWeight":11,"mainColor":72},234062,"tang-ren-fu-xi-nv-wa-xiang-dan-ye-yi-ming-234062","唐人伏羲女娲像单页","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。",[24,25,219,29,241,30,1776,7,98],"蛇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926562084f175f7bc144648f04df841e.jpg","纵左222.5cm，右231cm，横上115cm，下94cm",[],{"id":1781,"slug":1782,"title":1783,"dynasty":77,"author":952,"museum":201,"description":1784,"tags":1785,"thumbUrl":1786,"material":101,"size":102,"collection":68,"collections":1787,"showCount":1760,"zanCount":126,"manualWeight":11,"mainColor":45},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。",[23,24,115,26,58,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F612e8cb0aec083b8380283ac557cadab.jpg",[],{"id":1789,"slug":1790,"title":1791,"dynasty":77,"author":733,"museum":201,"description":1792,"tags":1793,"thumbUrl":1796,"material":68,"size":68,"collection":68,"collections":1797,"showCount":1760,"zanCount":11,"manualWeight":11,"mainColor":45},228370,"yan-bo-lu-si-tu-lv-ji-228370","烟波鹭鸶图","暮月浮空，烟柳垂曳，江色晕成一片朦胧柔澹。两只鹭鸶踞于汀石之上，一只昂首引颈远眺烟水深处，一只敛羽静憩，姿态悠然生动。\n\n画作兼工带写，禽鸟羽翼晕染细腻，绒羽蓬松质感宛然可见，水岸渚石以水墨破晕，苍润写意。柳条轻拂间，漾开江晚景致的空寂萧疏，写实工致与水墨意趣相融，将江渚暮色的清寂野韵尽数铺展，晕开澹泊悠远的诗意，尽显幽谧雅致的晚江闲趣。",[23,24,29,28,454,1794,1795,144,7,737,26],"鹭鸶","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e99361f9eb6549e3533363dcac0288.jpg",[],{"id":1799,"slug":1800,"title":1801,"dynasty":277,"author":503,"museum":201,"description":1802,"tags":1803,"thumbUrl":1804,"material":68,"size":68,"collection":68,"collections":1805,"showCount":1760,"zanCount":11,"manualWeight":11,"mainColor":72},228075,"yue-xia-bai-mei-tu-yan-hui-228075","月下白梅图","此作用极简笔墨，截取折枝白梅入画。枯劲苍涩的墨枝虬曲伸展，尽显老梅历经霜寒的嶙峋风骨，淡墨晕染出的柔白花瓣轻缀枝头，似将溶在朦胧月色里。\n画面空疏留白晕染开幽寂夜色，把月下梅的清冷雅致烘托到极致。笔意简淡却韵致悠长，将梅的疏淡高洁与夜色空濛融作一片，于空寂中暗涌生机，尽显文人画清雅出尘的意趣，似能让观者嗅见月下浮动的暗香，浸身于这幽谧孤高的清寂意境中。",[23,24,441,58,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fbf45d785efad4875fefb5551c888a.jpg",[],{"id":1807,"slug":1808,"title":1809,"dynasty":50,"author":19,"museum":201,"description":1810,"tags":1811,"thumbUrl":1814,"material":68,"size":68,"collection":68,"collections":1815,"showCount":1760,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,24,115,28,29,135,30,95,138,7,141,269,1812,1813,34],"台阶","石盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff31f6caa12baf6d4b5085cfd27df4b4.jpg",[],{"id":1817,"slug":1818,"title":1819,"dynasty":77,"author":1820,"museum":52,"description":1821,"tags":1822,"thumbUrl":1823,"material":68,"size":1824,"collection":68,"collections":1825,"showCount":1760,"zanCount":11,"manualWeight":11,"mainColor":45},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","朱瞻基","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。",[115,24,25,116,56,55,58,7,544,1301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963871be30a56a6c36f7c0e449908c14.jpg","37x46.6厘米",[],{"id":1827,"slug":1828,"title":1829,"dynasty":110,"author":111,"museum":722,"description":1830,"tags":1831,"thumbUrl":1836,"material":68,"size":68,"collection":284,"collections":1837,"showCount":1838,"zanCount":11,"manualWeight":11,"mainColor":72},240034,"yuan-ji-guan-lian-hua-feng-shi-shi-tao-240034","原济观莲花峰诗","原济(1642一1707)，俗姓朱。名若极，字石涛，号大涤子，广西全州人。明藩靖江王朱守谦后裔，父亲在明末被追杀，时若极五岁，削发为僧得以存活。法名原济，一作元济，自称苦瓜和尚。与弘仁、髡残、朱耷合称“四僧”。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。对后来扬州画派和近代画风，影响极大。",[25,55,56,58,59,1298,607,1832,1183,1833,1834,1835,7,61],"楼","洲","树影","落日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75ac02d4b3bcace5ae32d3549fb30ff.jpg",[284],15,{"id":1840,"slug":1841,"title":1842,"dynasty":77,"author":1843,"museum":201,"description":1844,"tags":1845,"thumbUrl":1846,"material":101,"size":102,"collection":68,"collections":1847,"showCount":1838,"zanCount":11,"manualWeight":11,"mainColor":72},237819,"hu-shan-wan-yue-shan-zhang-hong-237819","虎山玩月扇","张宏","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,25,441,58,137,140,138,475,7,832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa46bf4220d1645be60da2305a7e7aca.jpg",[],{"id":1849,"slug":1850,"title":1851,"dynasty":110,"author":19,"museum":201,"description":1852,"tags":1853,"thumbUrl":1854,"material":68,"size":68,"collection":68,"collections":1855,"showCount":1838,"zanCount":11,"manualWeight":11,"mainColor":45},235670,"yuan-yao-shan-shui-ping-chun-tai-ming-yue-yi-ming-235670","袁耀山水屏-春台明月","此画以淡晕烟霭织就春夜底色，圆月悬于浅青长空，将清辉温柔泼洒在湖山间。重檐朱阁倚山而建，飞檐翘角揽着月色，檐下窗棂隐约透出暖意，与周遭盛放的花树、垂岸的柔柳相映，将人工雅意揉入湖山清景。\n\n水面扁舟轻泛，渔人慢摇船桨漾开细微波光，和静雅的楼台形成动静对照。整幅设色柔润秀雅，以淡墨晕染烟岚，把春夜湖山的空濛温婉尽数铺展。无需浓墨重彩，便将春台望月的清和诗意藏在每处细节里，观之如临其境，似能嗅到春夜湿润花香，耳闻水波轻拍船舷的浅响，尽显东方山水悠然禅意。",[24,29,135,28,137,7,138,254,1418,1004,1633],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe874e6605c1df06f174e906972637056.jpg",[],{"id":1857,"slug":1858,"title":1859,"dynasty":110,"author":1860,"museum":722,"description":1861,"tags":1862,"thumbUrl":1866,"material":1867,"size":1868,"collection":68,"collections":1869,"showCount":1838,"zanCount":11,"manualWeight":11,"mainColor":72},233143,"han-tuo-can-xue-tu-zhou-hua-yan-233143","寒驼残雪图轴","华嵒","图绘天寒地冻、晓月高悬的雪夜，一旅者与驼露宿山路的景象。画面以对角线分割，右下为该画主体即人与驼。在雪山脚下寒林枯树旁，一枯瘦的双峰驼正低头啮雪，帐篷中一人向外观望。作者用寥寥数笔简练地绘出帐篷的圆形；人物高鼻、卷发、胡须浓密，似西域人；骆驼以线勾出后稍加晕染，驼骨微露，双目圆睁，神情专著，充分显示出华嵒减笔画的深厚功力。左上以淡墨染底表示雪夜的阴霾，以浓墨勾出一弯残月与孤雁，这与下部留白所表示的残雪形成对照，视觉反差强烈，由此可以看出华嵒驾驭画面的高超能力和文人的审美情趣。\n该画的画意与华嵒的《天山积雪图》有相似之处，二图的人物面象也略似，两件作品均形象生动，是华嵒的代表作。",[24,25,26,29,58,1863,30,1864,1865,7,82,59,1254,223],"骆驼","残雪","孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81cfed74214149a504d200af26a333aa.jpg","纸本，设色","纵139.7厘米，横58.4厘米",[],{"id":1871,"slug":1872,"title":1873,"dynasty":110,"author":1874,"museum":201,"description":1875,"tags":1876,"thumbUrl":1878,"material":101,"size":102,"collection":68,"collections":1879,"showCount":1838,"zanCount":11,"manualWeight":11,"mainColor":45},224208,"shu-fa-21-wu-chang-shuo-224208","书法21","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》。",[55,26,56,1877,59,7],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7447a84ab368b81850adda919cb4968.jpg",[],{"id":1881,"slug":1882,"title":49,"dynasty":110,"author":1883,"museum":201,"description":1884,"tags":1885,"thumbUrl":1887,"material":101,"size":102,"collection":68,"collections":1888,"showCount":1838,"zanCount":11,"manualWeight":11,"mainColor":182},224207,"chi-bi-fu-he-shuo-cheng-qin-wang-224207","和硕成亲王","和硕成亲王，清朝世袭亲王。乾隆五十四年（1789年），乾隆帝皇十一子永瑆封亲王，封号成，死后谥号哲，未得世袭罔替，每次袭封需递降一级，一共传了七代七位。",[55,56,7,1886,60,65],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f0f199d842a0bb46fc33498c196171.jpg",[],{"id":1890,"slug":1891,"title":1892,"dynasty":50,"author":1893,"museum":1405,"description":1894,"tags":1895,"thumbUrl":1897,"material":1206,"size":1898,"collection":68,"collections":1899,"showCount":1838,"zanCount":11,"manualWeight":11,"mainColor":72},221672,"lian-zhou-xin-yue-tu-quan-juan-zhao-bo-ju-221672","莲舟新月图全卷","赵伯驹","此卷整体画面以色彩渲染，着色清丽,内容描写的北宋著名理学家周敦颐爱莲的故事。画面人物精神清润，能别状貌。柳树旁的两棵对称式的野花，以及坡石上的点苔都极富装饰趣味。",[23,115,24,25,57,136,29,28,56,55,59,137,1896,60,7],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b08ce584a2b3aee32d00009daf8bd9.jpg","24.2x591.8cm",[],{"id":1901,"slug":1902,"title":1903,"dynasty":110,"author":1904,"museum":201,"description":1905,"tags":1906,"thumbUrl":1912,"material":101,"size":102,"collection":68,"collections":1913,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":72},290466,"chun-quan-xi-yao-tu-juan-yu-zhi-ding-290466","春泉洗药图卷","禹之鼎","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[23,57,55,56,25,1907,1908,7,1909,1397,382,489,1910,1911],"春泉","药圃","翠竹","闲情逸致","题咏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a952dc62001c0ff71c2b0f568dae5f.jpg",[],14,{"id":1916,"slug":1917,"title":838,"dynasty":50,"author":636,"museum":201,"description":839,"tags":1918,"thumbUrl":1920,"material":101,"size":102,"collection":68,"collections":1921,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":72},289787,"bing-zhu-ye-you-tu-ma-lin-289787",[441,24,115,28,29,135,138,254,7,1687,269,1919,59],"夜游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5652c5aec70fdd55a6d5531ea6cbd2c8.jpg",[],{"id":1923,"slug":1924,"title":1925,"dynasty":50,"author":154,"museum":201,"description":439,"tags":1926,"thumbUrl":1928,"material":101,"size":102,"collection":68,"collections":1929,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":45},288417,"yue-xia-hua-qian-tu-ma-yuan-288417","月下花前图",[23,24,115,219,25,29,56,55,30,157,7,137,649,1927,59],"宴赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e0e5c000968db8ef0dc27931ee8a28.jpg",[],{"id":1931,"slug":1932,"title":1933,"dynasty":110,"author":1934,"museum":722,"description":1935,"tags":1936,"thumbUrl":1939,"material":282,"size":1940,"collection":284,"collections":1941,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":72},240451,"zheng-fu-shi-shi-shan-shi-zhou-zheng-fu-240451","郑簠石室山诗轴","郑簠","此轴书录谢灵运《石室山诗》一首，自识云：“谢灵运石室山诗，己巳秋书为实庵老公祖。谷口郑簠。”钤“郑簠之印”、“脉望楼”印二方，引首钤“书带草堂”印。本幅无藏印。　　“己巳”为清康熙二十八年（1689年），作者时年67岁。\n此轴书法虽仍以《曹全碑》为宗，但去其俏丽而略增雄浑之气，用笔较为粗放，荡规逾矩，别具风彩，具郑簠晚年书法的典型风格。受书人“实庵老公祖”尚不能确考其为何许人，据查清初号实庵者有二，一为黄秀，另一为安丘人曹贞吉，题中所称抑或为其中一人，尚乏足够证据，姑录于此，待考。",[26,55,1937,59,7,137,1938],"隶书","泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ccfcac4d0668cf73183bdf6195c6ee.jpg","纵200.2厘米，横98.8厘米",[284],{"id":1943,"slug":1944,"title":1945,"dynasty":110,"author":1946,"museum":201,"description":1947,"tags":1948,"thumbUrl":1949,"material":68,"size":68,"collection":232,"collections":1950,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":72},238945,"lin-yue-se-tu-ce-ye-xu-fang-ping-238945","林月色图册页","徐方平","此作用淡墨晕开空蒙月色，枯木疏枝错落伸展，勾勒出秋夜林野的清寂轮廓。山溪蜿蜒穿林，板桥横卧浅流，策杖行人驻足于侧，冷寂夜色里添了些许动静对比。笔触清润秀雅，取法北宗淡远意趣，铺展出幽旷林泉之境，将月夜林间的萧寒静谧尽数晕开。把羁旅闲步的清寂意趣与林泉幽怀相融，尽显文人画简淡出尘的诗意，仿佛让人踏入这片溶溶月色下的平林，浸身于澄澈安宁的夜色中。",[24,25,116,58,29,137,370,7,140,61,30,59,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa1474cbd2b9cb76aef5844274a64e1.jpg",[232],{"id":1952,"slug":1953,"title":1954,"dynasty":77,"author":1955,"museum":201,"description":1956,"tags":1957,"thumbUrl":1958,"material":101,"size":102,"collection":68,"collections":1959,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":72},237833,"xi-ting-wan-yue-shan-ye-chen-chun-237833","溪艇玩月扇页","陈淳","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\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。",[24,441,137,60,7,254,158,58,175,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d8f22a2ec16cecf0600a59d52dc9678.jpg",[],{"id":1961,"slug":1962,"title":1963,"dynasty":110,"author":592,"museum":722,"description":1454,"tags":1964,"thumbUrl":1966,"material":1206,"size":1967,"collection":68,"collections":1968,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":72},234193,"bai-di-ye-yue-tu-juan-wang-hui-234193","白堤夜月图卷",[23,24,25,115,57,29,137,175,7,140,61,1204,254,138,139,189,294,1644,1965],"岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],{"id":1970,"slug":1971,"title":1972,"dynasty":110,"author":1973,"museum":201,"description":1974,"tags":1975,"thumbUrl":1977,"material":68,"size":68,"collection":68,"collections":1978,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,24,25,115,26,28,29,454,7,1719,334,931,1976,1537],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcafc6fa2c004fa104f0237b2fc2238e0.jpg",[],{"id":1980,"slug":1981,"title":1982,"dynasty":110,"author":1983,"museum":722,"description":1984,"tags":1985,"thumbUrl":1987,"material":1867,"size":1988,"collection":68,"collections":1989,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":72},223228,"yue-ye-shan-ji-tu-ren-yi-223228","月夜山鸡图","任颐","本幅款识：“墨君仁兄有道之属伯年写于鸿城庽斋。”钤“颐印”白方印。收藏印钤“虞山张青莲博士鉴藏”。\n任颐的花鸟画多有兼工带写、明丽活泼的特点。画中巨石用淡墨勾写，以赭色随意勾描石上的丛草，竹子采用工写结合的方法，山鸡则以短粗的线条细细地绘出其皮毛的质感，又以浓淡设彩的变化呈现其体积感，使山鸡神情毕肖。全图用笔奔放灵活，设色淡雅清新，构图平中求奇，静中寓动。\n1998年，由北京大学张青莲教授转让，故宫博物院购藏。",[23,24,25,26,29,454,1986,220,144,7],"山鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f8caca1ede984a66f9290ea96cb503.jpg","纵111.2cm，横55.4cm",[],{"id":1991,"slug":1992,"title":1993,"dynasty":50,"author":1994,"museum":52,"description":1995,"tags":1996,"thumbUrl":1997,"material":39,"size":68,"collection":68,"collections":1998,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":72},218676,"xi-hu-shi-jing-tu-liu-lang-wen-ying-ye-xiao-yan-218676","西湖十景图-柳浪闻莺","叶肖岩","烟峦淡远，柳丝拂岸，亭台楼阁隐于葱茏间。墨色温润如宋时烟雨，将柳浪的柔曼与闻莺的清越融于一纸。远山含黛，近树扶疏，建筑错落有致，似有流莺啼鸣穿林而过，惹得柳丝轻摇。题字笔意洒脱，与画作相映成趣，尽显文人雅趣。整幅画以淡墨晕染出西湖春日的清幽，不著艳色却意境悠远。观者仿佛立于湖畔，听柳浪翻涌，闻莺声婉转，沉醉在那抹宋时湖光的温柔里。",[23,24,25,116,29,58,137,1976,82,139,138,254,7,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2de438d4c2cddd2b29b345f3825a0337.jpg",[],{"id":2000,"slug":2001,"title":2002,"dynasty":50,"author":1994,"museum":52,"description":2003,"tags":2004,"thumbUrl":2006,"material":39,"size":2007,"collection":68,"collections":2008,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":72},218669,"xi-hu-shi-jing-tu-san-tan-yin-yue-ye-xiao-yan-218669","西湖十景图-三潭印月","烟水空濛间，远山如黛，轻烟似纱，将峰峦轮廓晕染得朦胧温柔。湖面敛着淡月清辉，几处汀洲疏树错落，墨色浓淡间淌着江南温润气息。三潭倩影隐在水云深处，似与月影低语，惹得笔墨也浸了几分禅意。旁侧题跋笔墨流转，与山水淡远相映，字里行间皆是对湖山胜景的眷恋。整幅画如一首婉约小令，把西湖月夜的静谧空灵凝于尺幅，每一笔都带着水墨氤氲，每一处都藏着江南诗意，叫人一眼便坠入这清宁的湖山梦境里。",[23,24,25,116,29,137,175,7,1194,2005],"植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0268e1d23cc4cbce336dac9b0a7abd11.jpg","23.9x20.2",[],{"id":2010,"slug":2011,"title":2012,"dynasty":110,"author":19,"museum":291,"description":2013,"tags":2014,"thumbUrl":2016,"material":282,"size":68,"collection":68,"collections":2017,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":182},216850,"xi-xiang-ji-tu-ce-28-yi-ming-216850","西厢记图册-28","月辉轻笼草舍，薄雪覆檐，疏枝横斜间缀着几点红，似把秋冬清寒揉进暖意。屋内案前，人影静对笔墨，一室幽寂里藏着未言的心事。溪边石上，素衣女子执花伫立，眸光落向水面，衣袂与青丝随微风轻漾，手中花枝如诉如慕。\n\n笔触细腻温润，淡彩晕染出朦胧月夜。人物眉间的轻蹙、指尖的微滞，都藏着西厢故事里的缱绻怅惘。风过枝叶的轻响、溪水的低吟似在耳畔，将古典情愫里的含蓄温柔，静静铺展成一幅可感可触的诗画——每一处细节都在低语，把千年前的幽微心绪，凝在这方纸页上。",[24,116,29,28,95,140,61,30,7,141,2015,254,296],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F760d951c02b48612d921e06a314b57f4.jpg",[],{"id":2019,"slug":2020,"title":2021,"dynasty":110,"author":2022,"museum":201,"description":2023,"tags":2024,"thumbUrl":2026,"material":101,"size":102,"collection":68,"collections":2027,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},289916,"du-fu-shi-yi-tu-quan-juan-ding-guan-peng-289916","杜甫诗意图全卷","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,24,57,58,137,30,60,1397,7,254,158,55,59,2025],"诗意图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853d9da5c5ea3102b3bf5f6ad2f01a39.jpg",[],{"id":2029,"slug":2030,"title":2031,"dynasty":110,"author":2032,"museum":201,"description":2033,"tags":2034,"thumbUrl":2036,"material":101,"size":102,"collection":68,"collections":2037,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},288143,"cao-shu-li-zhou-deng-shi-ru-288143","草书立轴","邓石如","邓石如（1743—1805年），初名琰，因避清仁宗讳，遂以字行，更字顽伯，号完白山人、笈游道人等，怀宁（今安徽安庆）人。清代乾、嘉时期著名碑学大师。少好刻石，弱冠谒江宁梅镠，梅家多藏金石善本，尽出与石如，使专摹习。客梅氏八年，学既成，又客于两江总督毕沅幕府。三年后辞归。工书法、篆刻。书工各体，以篆、隶为最精，颇得古法，兼融各家之长，形成独特风格。清李兆洛谓其书“真气弥满，楷则俱备，其手之所运，心之所追，绝去时俗，同符古初，津梁后生，一代宗仰。”对清代中、后期书坛有巨大影响。著有《完白山人篆刻偶存》等书行世，《清史稿》有传。",[58,55,1622,26,59,2035,7,138,61],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef818dceb705e9d54ca012acd3179626.jpg",[],{"id":2039,"slug":2040,"title":2041,"dynasty":50,"author":2042,"museum":201,"description":2043,"tags":2044,"thumbUrl":2047,"material":101,"size":102,"collection":68,"collections":2048,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":182},287804,"fa-yu-huang-ting-jian-287804","法语","黄庭坚","黄庭坚（1045年6月12日—1105年9月30日），字鲁直，乳名绳权，号清风阁、山谷道人、山谷老人、涪翁、涪皤、摩围老人、黔安居士、八桂老人，世称黄山谷、黄太史、黄文节、豫章先生。宋江南西路洪州府分宁人（今江西省九江市修水县）人。祖籍浙江省金华市。北宋诗人黄庶之子，南宋中奉大夫黄相之父。北宋大孝子，《二十四孝》中“涤亲溺器”故事的主角。北宋著名文学家、书法家、江西诗派开山之祖。\n黄庭坚在诗、词、散文、书、画等方面取得很高成就。黄庭坚与张耒、晁补之、秦观都游学于苏轼门下，合称为“苏门四学士”。黄庭坚的诗，被苏轼称为“山谷体”。黄庭坚的书法独树一格，自成一家，他和北宋书法家苏轼、米芾和蔡襄齐名，世称为“宋四家”。在文学界，黄庭坚生前与苏轼齐名，时称“苏黄”。作品有《山谷词》《豫章黄先生文集》等。\n治平四年（1067年），黄庭坚进士及第，历任叶县县尉、北京国子监教授、泰和县知县、德平镇监、秘书省校书郎、《神宗实录》编修官、集贤校理、国史局编修官、起居舍人、宣州知州、鄂州知州、涪州别驾、宣议郎监鄂州、奉议郎兼宁国军判官、朝奉郎兼舒州知州、吏部员外郎、太平州知州等职。1105年，黄庭坚病逝于宜州南楼，享年61岁。而后，宋高宗追赠黄庭坚为“龙图阁大学士”。1265年，宋度宗追赠黄庭坚谥号：文节。黄庭坚一生为官清正，治学严谨，以文坛宗师、孝廉楷模垂范千古。",[23,55,2045,1089,57,56,1622,27,59,7,64,607,2046,118,62,442],"拓本","青松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c286f95b6d7727f0226168b69d6c59.jpg",[],{"id":2050,"slug":2051,"title":2052,"dynasty":110,"author":2053,"museum":722,"description":2054,"tags":2055,"thumbUrl":2056,"material":1867,"size":2057,"collection":68,"collections":2058,"showCount":71,"zanCount":126,"manualWeight":11,"mainColor":72},233449,"ren-wu-shan-shui-ce-luo-pin-233449","人物山水册","罗聘","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[24,25,115,116,58,241,30,60,7,61,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8b8187910c9fca863f3381a4450720.jpg","纵24.2厘米，横30.7厘米",[],{"id":2060,"slug":2061,"title":2062,"dynasty":77,"author":970,"museum":201,"description":2063,"tags":2064,"thumbUrl":2065,"material":257,"size":68,"collection":68,"collections":2066,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":45},216316,"xi-xiang-ji-zhen-ben-tu-ce-2-chen-hong-shou-216316","西厢记真本图册-2","画面仕女身姿婉约，衣纹线条凝练古拙，如铁线般挺劲却不失柔韵，眉宇间似凝一缕幽思。背景老树虬枝盘曲，栅栏隐现，庭院静谧氛围悄然弥漫。右侧题字印章错落有致，笔墨古朴，与左侧人物景致相映成趣，尽显文人画的雅致意趣。整幅画作于简淡中见深意，线条的张力与意境的幽远交融，将古典情境的韵致娓娓道来，笔墨间的高古气息扑面而来，令人沉浸于那份含蓄的古典情韵里。",[24,241,116,30,95,141,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84985d2249cc7d30119b9f59c5b7da0e.jpg",[],{"id":2068,"slug":2069,"title":2070,"dynasty":77,"author":2071,"museum":201,"description":2072,"tags":2073,"thumbUrl":2074,"material":101,"size":102,"collection":68,"collections":2075,"showCount":2076,"zanCount":126,"manualWeight":11,"mainColor":45},290964,"ren-wu-zhou-guo-chun-290964","人物轴","郭纯","郭纯（1370年－1444年），原名文通，明成祖赐名纯，遂以文通为字，号朴庵，浙江永嘉人，明初宫廷画家。历事永乐、洪熙、宣德、正统四朝，备受恩宠。",[24,26,58,30,137,139,294,7,140,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ef8dfee46506306e5b4ab101c26285.jpg",[],12,{"id":2078,"slug":2079,"title":2080,"dynasty":277,"author":2081,"museum":722,"description":2082,"tags":2083,"thumbUrl":2084,"material":282,"size":2085,"collection":284,"collections":2086,"showCount":2076,"zanCount":126,"manualWeight":11,"mainColor":72},239670,"zhang-nan-ba-yong-shi-juan-zhao-yong-239670","鄣南八咏诗卷","赵雍","释文：\n鄣南八咏。\n天目晴雪\n雨池银水在云中，岩壑生花瑞气隆。盐虎作寒连地合，玉鳌扶冻与天通。照人错落山应瘦，向日消残树半空。独有小梅清见骨，只将真色笑春风。\n渚溪夕照\n渚溪行过少邻家，操面黄蜂趁晚衙。一片素秋清暎水，半汀红日澹迎霞。渔竿影没人争渡，牧笛声沉雁落沙。危石路头清浅处，只消新月照梅花。\n北庄梅花\n颠倒溪流险在兹，山中忽复见横枝。天生一白世无匹，花压万红春有私。疏影卧波宜入夜，暗香蒙雪幸同时。江南地暖开容易，马上逢人寄所思。\n樊坞梨园\n旧日樊川雪作团，尚余清艳后人看。一枝香湿雨初霁，千树恨多春企寒。留月只应空院落，闭门谁复倚阑干。何当载酒来花下，洗却凡妆跨素鸾。\n梅溪春涨\n玉磬峰头积雪消，紫梅花下水平桥。喷开石窦山倾倒，怒拍溪门浪动摇。连岸白沙鸥鸟下，满川红雨鳜鱼跳。黄流引入星河去，一任乘槎上碧霄。\n独松冬秀\n撞破关门山势开，树头云起唤龙来。擎天老盖高千丈，傲雪贞标压众材。岁久节根坚作玉，风生岩壑响成雷。苍颜不改只依旧，万古相期竹与梅。\n浮玉晚娇\n白玉山前叠绮纨，故将娇艳弄轻寒。天香喷散龙涎饼，国色铺交玛瑙盘。贵重万花春作主，醉逢三月日凭阑。自从李白题诗后，不许寻常子弟看。\n石埭夜航\n顺风吹送下山前，石鼓沿溪不碍船。帆影扑开沙上月，橹声摇动水中天。沧浪一曲寻秋去，玄鹤孤鸣恼夜眠。乘涉已为天下共，载云归越在何年。\n凌孟傅诗，赵仲穆书。\n钤“仲穆”印。卷前为执柔道人篆书“鄣南八咏”，卷后有刘麟、顾应祥题诗。本幅鉴藏印有“陈子受家珍藏”、“子受秘玩”等3方。\n赵雍书法结体用笔及笔画特点都恪守家法，《书史会要》记载赵孟頫：“尝为幻住庵写金刚经未半，雍足成之，其联续处，人莫能辨。”此书结体稳健，功力深厚，形体秀美，温润闲雅，具有赵书遗意。",[23,57,25,55,56,58,59,174,1299,64,32,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6d4dc89bf03fd0211961bd3fdcc68b.jpg","纵30.8厘米, 横227.9厘米",[284],{"id":2088,"slug":2089,"title":2090,"dynasty":110,"author":111,"museum":201,"description":530,"tags":2091,"thumbUrl":2092,"material":101,"size":102,"collection":68,"collections":2093,"showCount":2076,"zanCount":11,"manualWeight":11,"mainColor":45},235519,"yuan-ji-shan-shui-tu-ce-shi-tao-235519","原济山水图册",[24,25,116,58,29,137,370,158,138,7,157,175,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2a78c5b32a9df0169ae4148b73f13e.jpg",[],{"id":2095,"slug":2096,"title":2097,"dynasty":110,"author":1232,"museum":201,"description":2098,"tags":2099,"thumbUrl":2100,"material":101,"size":102,"collection":68,"collections":2101,"showCount":2076,"zanCount":126,"manualWeight":11,"mainColor":72},230923,"shan-shui-tu-shan-mian-shang-rui-230923","山水图扇面","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文\n康熙十一年（1672）作《仿周臣山水人物图》轴，现藏辽宁省博物馆；三十二年（1693）作《桐阴书屋图》、三十八年作《绣谷送春图》藏故宫博物院；三十二年作《携琴访友图》卷藏旅顺博物馆；雍正二年（1724）作《溪山密雪图》藏日本大阪市立美术馆；《为友梅作行乐图册》藏苏州市博物馆。著有《习余吟》。1904年北京故宫博物院出版《清释目存仿宋元山水册》影印本。",[24,441,58,29,137,254,139,30,7,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5310bef9780ef758a53339e81bc9fb1c.jpg",[],{"id":2103,"slug":2104,"title":2105,"dynasty":77,"author":2106,"museum":201,"description":2107,"tags":2108,"thumbUrl":2109,"material":68,"size":68,"collection":68,"collections":2110,"showCount":2076,"zanCount":11,"manualWeight":11,"mainColor":72},228372,"dong-ting-qiu-yue-tu-ye-chen-huan-228372","洞庭秋月图页","陈焕","此作用淡墨轻晕出洞庭秋夜，远景汀洲隐在烟霭中似有若无，湖面细碎波纹漾开，仿佛浸着满轮秋月的清辉。近岸茂林环着临水小榭，不见明月，却以空濛水光晕染出月色铺陈的幽寂氛围，以虚写实，将秋夜湖面上的清寒辽远尽数铺开。\n\n左侧题诗行书隽秀舒展，桂香月色融在诗句与淡岚间，诗画呼应，把洞庭秋夜的澄澈空灵晕成一片静谧逸境，寥寥笔墨间尽显文人雅致的幽远诗意，勾勒出江南月夜独有的清寂意趣。",[23,24,25,116,29,58,137,7,139,254,1004,56,55,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9446575332c01a3b587a8e0d7377ac.jpg",[],{"id":2112,"slug":2113,"title":2114,"dynasty":18,"author":19,"museum":201,"description":2115,"tags":2116,"thumbUrl":2120,"material":101,"size":102,"collection":68,"collections":2121,"showCount":2076,"zanCount":126,"manualWeight":11,"mainColor":182},225314,"fu-shi-hui-50-yi-ming-225314","浮世绘50","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。",[1597,2117,2118,29,140,294,1034,7,2119],"漆器","螺钿镶嵌","星星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6292ea9ec34ce7d2a4bc88eda894b420.jpg",[],{"id":2123,"slug":2124,"title":2125,"dynasty":110,"author":2126,"museum":722,"description":2127,"tags":2128,"thumbUrl":2129,"material":1867,"size":2130,"collection":68,"collections":2131,"showCount":2076,"zanCount":11,"manualWeight":11,"mainColor":72},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。",[23,115,24,25,57,28,29,55,59,30,82,7,254,137,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f94dd9300cfae4fe43a6c4fdbf70e5.jpg","纵26.1厘米，横110.7厘米",[],{"id":2133,"slug":2134,"title":2135,"dynasty":50,"author":1994,"museum":52,"description":2136,"tags":2137,"thumbUrl":2139,"material":322,"size":68,"collection":68,"collections":2140,"showCount":2076,"zanCount":11,"manualWeight":11,"mainColor":72},218673,"xi-hu-shi-jing-tu-ping-hu-qiu-yue-ye-xiao-yan-218673","西湖十景图-平湖秋月","秋夜湖光如镜，远山淡笼烟霞，墨色轻染出清寂的秋意。水面无波，似映着朦胧月色，岸边林木疏朗，隐见小舟泊于汀渚。左侧行书笔意婉转，与山水景致相映成趣，诗画交融间，藏着南宋文人的闲淡心境。笔墨简淡却意境悠远，仿佛能触到湖面的微凉，闻见夜露的清芬，将平湖秋月的空灵静谧凝于尺幅。江南水乡的雅致，秋夜湖景的静谧，皆在这一方画卷中缓缓流淌，尽显宋人的审美意趣。",[23,24,25,116,58,29,137,7,144,254,1418,2138,158],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfb40a0e7d764088ae5815d0d9ce724.jpg",[],{"id":2142,"slug":2143,"title":2144,"dynasty":110,"author":2145,"museum":52,"description":2146,"tags":2147,"thumbUrl":2151,"material":282,"size":2152,"collection":284,"collections":2153,"showCount":2154,"zanCount":11,"manualWeight":11,"mainColor":72},240710,"shi-juan-liu-yong-240710","诗卷","刘墉","本幅为刘墉书写杜甫诗句之手卷，书于水红色、钩金花的纸张上，十分别致。起始的一首诗题名为“缚鸡行”，叙述小仆绑着鸡要到市中去卖，引起了诗人对人、鸡、虫三者间的一些感概，内容颇有意趣。至于在书法方面，圆润婉转的字体，看似柔软无骨，实际上却是将劲道隐藏于丰厚的外貌中，相当的内敛，前人评论刘墉的书法为棉里裹针，应即此意了。",[23,55,56,57,59,7,137,63,2035,2148,2149,2150,544,1301,607,334],"菊花","星","火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb205c3850b765c4e2b6b30fd470f7041.jpg","金笺22.5x232cm",[284],11,{"id":2156,"slug":2157,"title":2158,"dynasty":77,"author":19,"museum":201,"description":2159,"tags":2160,"thumbUrl":2161,"material":68,"size":68,"collection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沈周的书法起步于家传，初学赵孟頫；四十岁左右起，泛学诸家，而对宋四家用力最勤；至晚年更倾心学黄庭坚。喜用狼毫挥书，线条锋利铦锐，结构跌宕开阖，中宫收紧而四维开张，所谓“长撇大捺”，遒劲奇崛，也是明代的书法名家。",[23,56,55,57,58,59,7,144,137,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35860016e1c8c78552c7fadc8481f4c.jpg","长卷，纸本，墨书","纵30.1厘米，横420厘米",[],{"id":2255,"slug":2256,"title":2257,"dynasty":110,"author":2258,"museum":330,"description":2259,"tags":2260,"thumbUrl":2261,"material":68,"size":68,"collection":41,"collections":2262,"showCount":2194,"zanCount":11,"manualWeight":11,"mainColor":2263},202063,"he-he-er-xian-tu-zhou-wu-xiang-202063","和合二仙图轴","吴湘","淡墨晕染出朦胧月夜，水波轻荡，圆月悬于天际，山石侧畔枝叶疏垂。和合二仙相携而坐，一人抬手理鬓，一人笑靥舒展，神态亲昵生动。衣纹线条婉转流畅，设色淡雅清润，竹篮鲜果等细节点缀其间，更添生活意趣。笔墨灵动洒脱，意境闲适祥和，将传统吉祥题材融入雅致的文人画语境，尽显人物画的鲜活韵味与和睦吉庆的内涵。",[24,30,58,29,26,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15548d745664165b4cdabc6d34a5aa62.jpg",[41],"968572",{"id":2265,"slug":2266,"title":2267,"dynasty":77,"author":19,"museum":201,"description":2268,"tags":2269,"thumbUrl":2271,"material":101,"size":102,"collection":68,"collections":2272,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":45},287519,"ting-qin-tu-zhou-yi-ming-287519","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。",[23,24,26,29,30,174,7,139,2270,160],"听琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa89ebe350d23e5e95fc8091f4f9ea7.jpg",[],{"id":2274,"slug":2275,"title":2276,"dynasty":110,"author":2277,"museum":201,"description":2278,"tags":2279,"thumbUrl":2281,"material":101,"size":102,"collection":68,"collections":2282,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":45},241315,"wu-lv-zhou-dai-ming-shuo-241315","五律轴","戴明说","戴明说（音yue，通“悦”）(1609——1686)，河北沧州人，字道默，号岩荦，道号定园，晚年自号铁帚，行一。有子戴王纶。 ... 天启丁卯(1627)科举人，崇祯甲戌(1634)科进士。",[25,55,26,56,59,607,1299,1719,682,7,2280],"五岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59a841e4fcb1d3b6d4a28a2f9e2fb23.jpg",[],{"id":2284,"slug":2285,"title":1123,"dynasty":110,"author":2286,"museum":201,"description":2287,"tags":2288,"thumbUrl":2289,"material":101,"size":102,"collection":68,"collections":2290,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":72},239368,"shan-shui-ce-wang-san-xi-239368","王三锡","王三锡(1716—？) 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年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,25,116,58,137,60,141,7,357,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb247c602951eb9730962ead73d735631.jpg",[],{"id":2647,"slug":2648,"title":2649,"dynasty":110,"author":592,"museum":52,"description":2650,"tags":2651,"thumbUrl":2655,"material":282,"size":68,"collection":68,"collections":2656,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":72},237380,"shan-shui-ce-shan-ting-yue-se-ye-wang-hui-237380","山水册-山亭月色页","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。",[24,58,116,392,2652,370,7,158,61,2653,175,59,2654],"山亭","茅舍","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc323859920ccdeb03fb34af9ce6a88ad.jpg",[],{"id":2658,"slug":2659,"title":2660,"dynasty":110,"author":19,"museum":201,"description":2661,"tags":2662,"thumbUrl":2663,"material":101,"size":102,"collection":68,"collections":2664,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":72},237080,"qin-shi-dong-ting-qiu-yue-shan-ye-yi-ming-237080","钦式洞庭秋月扇页","这幅扇面以淡墨晕染铺就水天色，左侧江岸立起层叠楼阁，港湾内舟楫系泊，近岸草木萧疏晕染出秋意。湖面开阔空寂，远帆缓行于烟波之间，将秋水辽远铺陈开来。\n\n工细勾勒的楼阁与淡扫晕染的水天相映，虚实相生间晕化出洞庭秋月的清寂空灵。笔墨古朴淡雅，以简淡的皴染写江岸坡石，点染间尽显秋夜的静谧悠远，将洞庭月夜的清旷诗意融于咫尺扇面之中，暗含文人寄情烟水的幽远意趣，尽显传统山水小品的雅致韵致。",[24,441,58,29,137,138,140,61,60,7,254,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d1b36e7c1be3d1165aa0f167217805.jpg",[],{"id":2666,"slug":2667,"title":2668,"dynasty":110,"author":2669,"museum":201,"description":2670,"tags":2671,"thumbUrl":2676,"material":101,"size":102,"collection":68,"collections":2677,"showCount":87,"zanCount":126,"manualWeight":11,"mainColor":72},235541,"xi-xiang-tu-ce-ye-bu-235541","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[24,25,116,29,28,30,95,7,417,2672,2673,2674,55,56,59,2675,1396],"屏风","桌","椅","衣饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F286f31cae46c40f96f65152087b949a8.jpg",[],{"id":2679,"slug":2680,"title":2681,"dynasty":110,"author":2682,"museum":201,"description":2683,"tags":2684,"thumbUrl":2685,"material":101,"size":102,"collection":68,"collections":2686,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":45},234946,"yue-man-qing-you-ce-chen-mei-234946","月漫清游册","陈枚","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,25,28,29,56,55,59,30,95,138,139,7,254,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe28a13ec087287115be0adb00a9fe29.jpg",[],{"id":2688,"slug":2689,"title":2690,"dynasty":110,"author":2691,"museum":722,"description":2692,"tags":2693,"thumbUrl":2695,"material":68,"size":68,"collection":68,"collections":2696,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":72},234625,"ting-bei-dai-yue-tu-wan-shan-sha-fu-234625","停杯待月图纨扇","沙馥","沙馥（1831年—1906年），字山春，号粟庵，别署香泾外史，江苏苏州人，晚清画家。出身绘画世家，马仙根弟子，工人物、仕女、花鸟，笔意纵意饶富韵致。\n沙馥善画人物、仕女、花卉，以此为业，为苏州阊门外山塘年画铺中最著名画家。初慕陈老莲；咸丰间任熊至吴门，曾问业于任熊；任熊去世后，又与任薰关系甚密。后因自愧画学不如任薰雄伟恣肆，遂弃老莲法，转学改琦、费丹旭，并专攻仕女、花卉，遂自成一家，卒年七十六。",[24,25,441,29,28,30,475,157,7,62,2694],"文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee5f9716eafa22ef7e9a25ec8ef9557.jpg",[],{"id":2698,"slug":2699,"title":2700,"dynasty":18,"author":2701,"museum":201,"description":2702,"tags":2703,"thumbUrl":2704,"material":68,"size":68,"collection":68,"collections":2705,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":72},231581,"jiang-hu-shi-dai-xiao-xiang-ba-jing-tu-juan-shou-ye-chang-xin-231581","江户时代萧湘八景图卷","狩野常信","此作用淡墨轻晕出空濛烟岚，山峦在水雾里迤逦起伏，或显或隐，晕染出悠远的纵深。江面烟波浩渺，归雁列队掠过长空，江渚间村居错落、渔舟泛波，林舍与茂树点缀水岸，将水乡闲逸日常藏进山水间。\n画家以极简笔墨勾勒物象，淡彩点染草木，把潇湘山水的清寂灵秀揉进温润雅致的笔墨意趣里，整体意境澹泊空灵，将烟波水乡的幽远禅意晕散开来，仿佛能闻见水畔林风，窥见渔樵往来的悠然日常，尽显山水间的澹然诗意。",[23,24,57,58,29,137,175,139,60,82,138,61,158,254,7,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and white 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"collections":2818,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":72},234363,"you-niao-shi-tu-ce-jin-kun-234363","有鸟诗图册","金昆","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》",[24,25,116,58,29,137,82,60,7,56,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9033be58bb019b68f21ba42f6c1c8de5.jpg",[],{"id":2820,"slug":2821,"title":2822,"dynasty":77,"author":2823,"museum":201,"description":2824,"tags":2825,"thumbUrl":2826,"material":68,"size":68,"collection":68,"collections":2827,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":72},233645,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233645","十竹斋五色笺谱册","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。",[24,25,116,29,1728,174,144,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc8a1897fe637bbcb526c68ebe6122c.jpg",[],{"id":2829,"slug":2830,"title":2831,"dynasty":18,"author":2832,"museum":201,"description":2833,"tags":2834,"thumbUrl":2837,"material":101,"size":102,"collection":68,"collections":2838,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":72},232558,"mi-lai-si-102-yue-han-ai-fu-li-te-mi-lai-si-232558","米莱斯102","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[241,30,334,34,2835,7,2836],"狗","线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9afb0d5ebec280c97564b5495f65410.jpg",[],{"id":2840,"slug":2841,"title":2842,"dynasty":18,"author":19,"museum":201,"description":2843,"tags":2844,"thumbUrl":2846,"material":101,"size":102,"collection":68,"collections":2847,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":45},231682,"jiang-hu-shi-qi-ren-wu-tu-zhou-yi-ming-231682","江户时期 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通幅书作，运笔放纵，流转自如，劲健洒脱，用墨浓时而枯，淋漓痛快。结体圆实，行笔潇洒之处，可看出早年学赵孟頫的迹象。",[24,25,26,55,56,59,2870,205,157,1886,7,2871,2872],"秋月","翠帐","竹房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51baeeeab2d4cc8e58254774872862e1.jpg","纸","(公分) 本幅154.3x34.3 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南京编撰《江南通志》，盛情难却，他带上长子恭贻一起赴任。志书编成，宋曹坚不留名，最终《江南通志》仅署了恭贻的名字。于成龙敬重他的人品，称他为射陵先生。于成龙邀其出山，终于使宋曹结束了隐居生涯。为了实现书法方面的抱负，他毅然离家出游，浪迹江淮，客维扬、润州、昆山、苏州、杭州等地，拜师会友，吊古觅胜。康熙六年，会顾炎武，互赠诗赋，结为友好。历数载，他纵觅南北名碑，吮吸精髓，悟入微际，并加以融会贯通，取舍扬弃，为自己寻得一条正宗的书法道路。",[55,56,26,59,1295,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c53b5e4811f44127a75a253a0972ffc.jpg",[],{"id":2938,"slug":2939,"title":2940,"dynasty":110,"author":2941,"museum":201,"description":2942,"tags":2943,"thumbUrl":2944,"material":101,"size":102,"collection":68,"collections":2945,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":45},240692,"xing-kai-shi-zhou-zhou-liang-gong-240692","行楷诗轴","周亮工","周亮工（1612年—1672年），字元亮，又有陶庵、减斋、缄斋、适园、栎园等别号，学者称栎园先生、栎下先生。河南祥符（今河南开封祥符区）人，明末清初官员、文学家、篆刻家、收藏家。\n周亮工于明崇祯十三年（1640年）进士及第，曾任山东潍县知县，迁浙江道监察御史。入清后，任两淮盐法道、淮扬兵备道、福建布政使、都察院左副都御史、户部右侍郎等。后屡次被弹劾判死刑，又遇赦免。康熙元年（1662年），起复为青州海道、江安储粮道。康熙十一年（1672年），逝世于江宁，享年六十一岁。\n周亮工博学多才，诗文、金石、书画皆有很深造诣。古文宗法唐宋八大家，推崇严羽诗论。著有《赖古堂集》《读画录》等。",[55,56,520,26,59,60,142,7,137,82,2170,2213,1304,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dbfe329da6114111aaa25770c487ef.jpg",[],{"id":2947,"slug":2948,"title":2949,"dynasty":110,"author":2950,"museum":201,"description":2951,"tags":2952,"thumbUrl":2954,"material":101,"size":102,"collection":68,"collections":2955,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":72},240146,"wang-wen-zhi-shi-zhou-wang-wen-zhi-240146","王文治诗轴","王文治","王文治（1730—1802），字禹卿，号梦楼，江苏丹徒人。工书法，以风韵胜。有《梦楼诗集》《快雨堂题跋》，清代书法家、诗人。\n曾随翰林侍读全魁至琉球。乾隆二十五年进士，授编修，擢侍读，官至云南临安知府。罢归，自此无意仕进。不到五十岁，即究心佛学。有《梦楼诗集》《快雨堂题跋》。",[25,55,26,56,58,59,142,7,544,1832,2761,2953,64,2481,143],"林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c69947ad47c602df83f34bd3c1ae3e7.jpg",[],{"id":2957,"slug":2958,"title":1492,"dynasty":110,"author":1493,"museum":201,"description":1494,"tags":2959,"thumbUrl":2960,"material":101,"size":102,"collection":68,"collections":2961,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":72},239372,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239372",[24,25,116,58,29,135,241,137,139,141,357,7,140,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60223ec76359aa218bac089dcfe6d84f.jpg",[],{"id":2963,"slug":2964,"title":1492,"dynasty":110,"author":1493,"museum":201,"description":1494,"tags":2965,"thumbUrl":2966,"material":101,"size":102,"collection":68,"collections":2967,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":72},239370,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239370",[24,25,116,58,59,55,607,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6026e8f37091ec9ac1e937295a7084.jpg",[],{"id":2969,"slug":2970,"title":1123,"dynasty":110,"author":2971,"museum":201,"description":2972,"tags":2973,"thumbUrl":2974,"material":68,"size":68,"collection":68,"collections":2975,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":45},239009,"shan-shui-ce-li-dong-239009","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[24,25,137,116,29,175,144,141,357,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd8593f537fd8054f69e75921f515f98.jpg",[],{"id":2977,"slug":2978,"title":2357,"dynasty":110,"author":2358,"museum":201,"description":2979,"tags":2980,"thumbUrl":2981,"material":68,"size":68,"collection":68,"collections":2982,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":72},238767,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238767","此作用淡墨晕染出空濛水色天色，近处亭台错落虬枝苍劲，凭栏雅士静赏烟波，远景孤阁浮于浅渚，虚实相生，将咫尺画幅拉出悠远景深。\n\n笔墨清润秀雅，全以淡墨皴擦勾勒物象，不着浓艳却氤氲出江南水畔的静谧诗意。右侧题诗与画作呼应，诗画交融，把闲居寄情山水的雅趣娓娓道来，尽显文人画诗画合一的意境，淡而不寡，简中见雅，将林下幽居的恬然心境铺陈在尺幅之间。",[24,25,116,58,137,139,138,475,405,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6829138d75650b4323d6f7e0b2fe54.jpg",[],{"id":2984,"slug":2985,"title":2789,"dynasty":110,"author":2358,"museum":201,"description":2986,"tags":2987,"thumbUrl":2988,"material":68,"size":68,"collection":68,"collections":2989,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":72},238733,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238733","此作用淡晕轻皴铺展江月夜色，远山衔着孤月，云气在峰峦间缓缓晕染，江天化作一片烟水空蒙，不见艳色，只余水墨清寂。近岸老木虬枝盘曲，槎桠错落，将萧索秋意藏在枝桠皴纹里。白衣文士独立岸畔，凝望着浩渺江波，把羁旅怀人的怅惘尽数融在眼底。\n\n右上角题诗笔意清隽，和水墨山水呼应着诗作里的迟暮怅惋，将文辞幽思与山水空寂相融，淡墨绘就的不仅是江天夜色，更是藏在山月江波里的飘零愁绪，简淡疏朗间，清冷孤高的诗意漫溢开来，尽书人事聚散无常的叹惋。",[24,58,137,30,7,370,141,116,175,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2a703d5dc4d9676ff7299a37840bc0.jpg",[],{"id":2991,"slug":2992,"title":2993,"dynasty":110,"author":2994,"museum":201,"description":2995,"tags":2996,"thumbUrl":2997,"material":68,"size":68,"collection":68,"collections":2998,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":72},238253,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238253","燕山八景图册","张若澄","此作绘就秋晓清景，晓月初悬远空，薄雾柔化山棱，永定河如素练蜿蜒铺展，石桥静卧河面，桥畔村舍错落、林树疏朗。晨霭晕开天地边界，将清寂秋意漫染四方。浅淡赭石晕染坡岸，轻墨勾绘林木屋舍，不作繁冗皴擦，却将平远之境铺陈得悠远空寂。\n\n右侧题诗笔意秀雅舒展，诗画相映，把客行早发的羁旅清怀融进烟水晓色中。整体设色明净清润，淡远间藏着细腻意趣，将朝暾初露时的薄寒意韵，与题诗中的早行情致合为一体，尽显文人画雅致清寂的韵致。",[24,25,116,29,135,56,59,137,140,61,1644,254,159,7],"https:\u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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。",[2117,3111,1610,7,30,1612],"剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b26730cbdab30c052a72e1680b65ccd.jpg",[],{"id":3115,"slug":3116,"title":3117,"dynasty":110,"author":3118,"museum":201,"description":3119,"tags":3120,"thumbUrl":3121,"material":101,"size":102,"collection":68,"collections":3122,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":72},241585,"lu-wen-ye-zhuang-bao-241585","录文页","庄宝","此作用笔温润圆融，点画舒展灵动，牵丝映带间尽显行书流转之美。结体疏密得宜、欹正相生，章法错落平和，通篇匀净自然。墨色浓淡过渡雅致，既有帖学的谨严功底，又不失随性舒展的文人意趣。\n\n所录诗文清雅疏朗，与书风相映成趣。笔墨间浸透着闲适澹远的襟怀，将观景寄情的诗意融于毫端。尺幅虽小，却以从容笔致勾勒出悠远意境，尽显传统文人书法的雅致品格，是一件颇具韵味的翰墨小品。",[25,116,56,59,7,143,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1b8aa3368d975792f83de5d1956f4a.jpg",[],{"id":3124,"slug":3125,"title":3126,"dynasty":110,"author":3127,"museum":201,"description":3128,"tags":3129,"thumbUrl":3131,"material":101,"size":102,"collection":68,"collections":3132,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":72},241518,"ji-bai-shou-mei-hua-shi-tie-ce-liang-wei-jia-241518","集百首梅花诗帖册","梁维佳","此作用笔舒展灵动，行书笔势圆活流畅，牵丝映带自然妥帖，将咏梅诗的清雅意趣融于笔墨间。点画粗细得宜，或轻盈如梅萼初绽，或沉实如老枝凝霜，把诗句里孤高淡远的梅之品格，随笔锋晕染开来。\n\n行气连贯舒和，通篇节奏缓急有度，笔墨流转间，咏梅文思与隽雅书风相融无间，尽显旧时文人寄情花木、以笔遣兴的悠然意态，是诗书合一的雅致佳制。",[55,116,56,58,174,7,3130,61],"孤山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19bfb9dda92292acf93c5322dfb9bf1a.jpg",[],{"id":3134,"slug":3135,"title":3136,"dynasty":110,"author":3137,"museum":201,"description":3138,"tags":3139,"thumbUrl":3140,"material":101,"size":102,"collection":68,"collections":3141,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":72},241197,"wu-lv-shi-shan-mian-yu-sen-241197","五律诗扇面","俞森","俞森为中国清朝官员，本籍中国直隶。俞森于1817年（嘉庆22年）接替徐锷，于台湾台北地区担任台湾府淡水厅艋舺县丞一职，是大台北地区的地方父母官。",[24,25,441,55,520,58,59,7,2590,82,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b79bf9a41f1c62e9621c6a98fbfe54.jpg",[],{"id":3143,"slug":3144,"title":2144,"dynasty":77,"author":3145,"museum":201,"description":3146,"tags":3147,"thumbUrl":3148,"material":101,"size":102,"collection":68,"collections":3149,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":72},240872,"shi-juan-li-meng-yang-240872","李梦阳","李梦阳（1473年1月5日—1530年1月28日），字献吉，号空同，汉族，祖籍河南扶沟，出生于庆阳府安化县（今甘肃省庆城县），后又还归故里，故《登科录》直书李梦阳为河南扶沟人。他善工书法，得颜真卿笔法，精于古文词。明代中期文学家，复古派前七子的领袖人物。提倡“文必秦汉，诗必盛唐”，强调复古，《自书诗》师法颜真卿，结体方整严谨，不拘泥规矩法度，学卷气浓厚。李梦阳所倡导的文坛“复古”运动盛行了一个世纪，后为袁宗道、袁宏道、袁中道三兄弟为代表的“公安派”所替代。",[55,56,57,58,7,142,143,82,60,137,139,141,357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d8669501aa08cedc3e954ea4176b16.jpg",[],{"id":3151,"slug":3152,"title":2144,"dynasty":110,"author":3153,"museum":722,"description":3154,"tags":3155,"thumbUrl":3159,"material":3160,"size":3161,"collection":284,"collections":3162,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":72},240703,"shi-juan-cha-ji-zuo-240703","查继佐","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 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村舍错落藏在浅黄的岸渚间，远山晕染成柔淡的黛色暖黄。雅致的平涂色块晕开日式和风意趣，靛蓝河面撞着暖棕舟船、土黄岸渚，将江户河川夜行的悠然烟火揉进朦胧月色，把商贾行旅的日常，晕成清冷月色下流淌的俗世诗意，是侘寂美学与市井暖意的温柔相融。",[1597,1728,29,7,138,1598,596,3309,159,254,255],"水车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76593e34ec54c5e7ffffad52c96f604c.jpg",[],{"id":3313,"slug":3314,"title":3315,"dynasty":18,"author":19,"museum":201,"description":3316,"tags":3317,"thumbUrl":3319,"material":68,"size":68,"collection":68,"collections":3320,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":45},225325,"fu-shi-hui-72-yi-ming-225325","浮世绘72","满月清辉漫洒天际，将淀川晕作幽蓝琉璃。石构城阁踞于画角，飞檐层叠挑破夜色，旁侧水车静立晕开乡野意趣。水面商船连樯而行，暖棕货舱在冷色水光里格外温软，舟子俯身打理货物，将生计揉进月夜行旅中。\n\n远处浅丘覆着月色晕出的暖黄，林莽间村舍星散，田埂行人三两缓行，将烟火气晕染进清寂夜色。冷暖色调交织糅合，把河畔夜航晕成静谧又鲜活的风物诗，将乡野悠然与市井温热融在一处，晕开旧时光的温柔余韵。",[1597,29,135,7,138,61,3318,137,254],"舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab6580c15e0f473bcb0cb9bf4f1c08c.jpg",[],{"id":3322,"slug":3323,"title":3324,"dynasty":110,"author":3325,"museum":201,"description":3326,"tags":3327,"thumbUrl":3330,"material":68,"size":68,"collection":68,"collections":3331,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":804},224416,"shu-hua-shi-liu-kai-2-wang-shi-min-224416","书画十六开-2","王时敏","此作为行书小品，笔墨秀逸苍劲，起收间可见沉稳功底，点画顾盼有情，线条随章法灵动变奏，粗细提按尽显节奏韵律。字间疏密得宜，行气贯通浑然，兼具妍雅意趣与朴拙质感。\n书文为寻幽佳句，笔墨与诗意相融，将林泉雅趣藏于笔底。素纸古色衬出墨色浓淡层次，朱红钤印点缀晕染出沉静古雅的文人书卷氛围，笔墨舒缓的节奏里，恰似把幽居寻游的隐逸心境缓缓铺展，是兼蓄笔墨法度与文人情思的佳构。",[23,24,25,116,56,55,58,682,3328,475,3329,7],"涧","峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0a8f524714afbea1ce5e6b2234491c.jpg",[],{"id":3333,"slug":3334,"title":3335,"dynasty":110,"author":3325,"museum":201,"description":3336,"tags":3337,"thumbUrl":3338,"material":3339,"size":3340,"collection":68,"collections":3341,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":804},224411,"shu-hua-shi-liu-kai-12-wang-shi-min-224411","书画十六开-12","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,25,116,56,58,142,7,118,1896,119,2171,144,1537,2761,32,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84aedfa28e75d33e856affa0fda90d1.jpg","墨色绢本","48x32",[],{"id":3343,"slug":3344,"title":3345,"dynasty":110,"author":2994,"museum":201,"description":3346,"tags":3347,"thumbUrl":3349,"material":228,"size":3350,"collection":68,"collections":3351,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":72},223259,"yan-shan-ba-jing-tu-6-lu-gou-xiao-yue-zhang-ruo-cheng-223259","燕山八景图-6-卢沟晓月","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。",[23,115,24,29,137,135,28,2170,7,1194,596,254,255,3348],"道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd89b5e10589bbf20bc9d7008f1318da.jpg","34.7cm，横40.3cm",[],{"id":3353,"slug":3354,"title":3355,"dynasty":110,"author":3356,"museum":3357,"description":3358,"tags":3359,"thumbUrl":3360,"material":3361,"size":3362,"collection":68,"collections":3363,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":68},220700,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220700","凤阿山房图册","吴历,朱彝尊,陆遵等","香港中文大学文物馆","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。",[23,24,25,116,56,520,55,59,64,157,7,1832,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d90d3bc41658b1878f3e8c47ba62d2.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":3365,"slug":3366,"title":3367,"dynasty":77,"author":3368,"museum":330,"description":3369,"tags":3370,"thumbUrl":3372,"material":68,"size":68,"collection":68,"collections":3373,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":3374},202718,"wan-li-wu-yun-shi-yi-tu-zhou-xie-shi-chen-202718","万里无云诗意图轴","谢时臣","这幅画以淡墨铺陈出清旷月夜之境，远山层叠隐于薄雾，近景古松虬枝盘曲，苍劲有力。木桥横架其间，三人凭栏而立，似共赏万里无云的澄明夜色。亭台掩映于林麓，飞檐与松影相映成趣。笔墨兼工带写，山石以皴法勾勒纹理，树木枝干挺劲，人物衣袂轻扬，神态悠然。整体意境空灵静谧，既展自然山水之幽远，又含文人雅集之清趣，尽显明代文人画的抒情意韵。",[24,25,26,58,29,137,30,139,140,7,82,3371,175,28,23],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe484253225520cbfb23237efdabc2f43.jpg",[],"a78973",{"id":3376,"slug":3377,"title":3378,"dynasty":77,"author":1820,"museum":201,"description":3379,"tags":3380,"thumbUrl":3384,"material":101,"size":102,"collection":68,"collections":3385,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":45},290932,"xuan-zong-shu-hua-01-zhu-zhan-ji-290932","宣宗書畫01","明宣宗朱瞻基（1399年3月16日－1435年1月31日），号长春真人，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n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，终年三十六岁，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。",[55,56,116,7,3381,3382,3383],"烛影","孤房","愁怀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff472b5f4c523e0475a78d8452d066066.jpg",[],{"id":3387,"slug":3388,"title":3389,"dynasty":18,"author":19,"museum":201,"description":3390,"tags":3391,"thumbUrl":3393,"material":101,"size":102,"collection":68,"collections":3394,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":45},281565,"dou-lu-hua-xiang-hua-hua-hui-tu-zhou-yi-ming-281565","都路华香画花卉图轴","这幅水墨花卉以极简笔墨写就藤萝舒卷之姿，浓墨点染向阳老叶，墨色沉厚苍润，尽显叶片饱实质感；淡墨晕染下垂新叶，笔意清灵秀雅，层次分明间将枝叶的俯仰开合、枯荣姿态描摹入微。\n\n右上角留白晕出一轮素月，清辉掩映枝叶，幽谧静雅的夜色氛围油然而生。落款朱印与水墨相映，整幅删繁就简，以虚实相生的章法，将草木清隽意趣与月夜幽寂意境相融，尽显东方水墨写意的雅致禅趣。",[24,26,58,417,3392,7],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e62d8246649d140756cc7394bf5fc2.jpg",[],{"id":3396,"slug":3397,"title":3398,"dynasty":18,"author":19,"museum":201,"description":3399,"tags":3400,"thumbUrl":3401,"material":101,"size":102,"collection":68,"collections":3402,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":45},281564,"chi-shang-xiu-mu-shan-shui-tu-zhou-yi-ming-281564","池上秀亩山水图轴","淡月悬于空濛天际，山岚如纱晕染峰峦，将山林晕作深浅不一的墨色层次。山坳间村居依岩临水，白墙黛瓦隐于苍林怪石之间，烟火气融于清寂山光。浅滩流水潺湲，留白与淡墨铺就水光清浅，将山野幽居的静谧尽数铺开。\n\n整幅设色清润雅致，以晕染烘托出月夜山乡的空濛氛围，把幽居的恬然和山野的清寂融为一体，笔意简淡却意境悠长，将江村月夜的安闲诗意铺陈于绢素之上。观之如临其境，仿若能聆听见流水松风，静享山乡夜色的清宁。",[24,25,26,392,29,7,3077,1457,158,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbff70080a09dea58a916c4cebae1545.jpg",[],{"id":3404,"slug":3405,"title":3406,"dynasty":110,"author":19,"museum":201,"description":3407,"tags":3408,"thumbUrl":3410,"material":101,"size":102,"collection":68,"collections":3411,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":72},281546,"yang-ci-hua-niao-wen-yuan-pan-yi-ming-281546","洋瓷花鸟纹圆盘","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[2578,454,3409,7,29,28],"鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1310cd0e7b20f4148fb7c58a3c08aef4.jpg",[],{"id":3413,"slug":3414,"title":3415,"dynasty":110,"author":19,"museum":201,"description":3416,"tags":3417,"thumbUrl":3421,"material":101,"size":102,"collection":68,"collections":3422,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":45},280670,"zhu-lin-zui-yue-qing-tian-shi-zhang-yi-ming-280670","“竹林醉月”青田石章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[59,3418,1877,34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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[3436,3437,97,7,55,520,1610,2741],"砚","澄泥砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef56155fb729de8b6104489e4a4e344.jpg",[],{"id":3441,"slug":3442,"title":3443,"dynasty":110,"author":19,"museum":201,"description":3444,"tags":3445,"thumbUrl":3448,"material":101,"size":102,"collection":68,"collections":3449,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":45},270601,"wang-jin-sheng-wang-chuan-tu-mo-zhu-li-guan-mo-yi-ming-270601","汪近圣辋川图墨-竹里馆墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[3446,520,55,7,3447,3420,1676,2741],"墨","山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac67f2a21516200643e96dd288355f2.jpg",[],{"id":3451,"slug":3452,"title":3453,"dynasty":110,"author":19,"museum":201,"description":3454,"tags":3455,"thumbUrl":3458,"material":101,"size":102,"collection":68,"collections":3459,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":72},270370,"dai-mao-gu-shu-hua-zhe-shan-yi-ming-270370","玳瑁股书画折扇","此扇以玳瑁为骨，斑斓纹理如凝就流云霞光，古雅温润。扇面行书笔墨清隽秀逸，线条舒展灵动，字势顾盼有情，将诗文意韵融于笔锋起落间。墨色浓淡相宜，带着旧时文人的闲散意趣，落笔藏锋收放自如，尽显传统书法的含蓄雅致。整器形制规整，书画与材质相得益彰，既是可赏可用的随身雅物，又凝聚着传统工艺与文人审美，藏着旧时案头袖畔的清趣，尽显中式文玩的隽永美感。",[441,55,56,95,7,174,3456,3457],"玳瑁","愁绪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad17762c549d49d334f24ad7c6e0e722.jpg",[],{"id":3461,"slug":3462,"title":3463,"dynasty":110,"author":19,"museum":201,"description":2729,"tags":3464,"thumbUrl":3466,"material":101,"size":102,"collection":68,"collections":3467,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":45},261939,"qing-hua-shan-shui-ren-wu-tu-bi-tong-yi-ming-261939","青花山水人物图笔筒",[2578,2731,3465,137,30,158,254,1034,7],"笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b53e02c4a74e65cd92f2f9871740a4a.jpg",[],{"id":3469,"slug":3470,"title":3471,"dynasty":110,"author":19,"museum":201,"description":2729,"tags":3472,"thumbUrl":3475,"material":101,"size":102,"collection":68,"collections":3476,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":182},261780,"qing-hua-kai-guang-shan-shui-tu-zhe-zhi-hua-wen-zun-yi-ming-261780","青花开光山水图折枝花纹尊",[2578,2731,3473,137,254,7,3474,1612],"折枝花","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa7f068f4eb57ff77181a9a05c11cac.jpg",[],{"id":3478,"slug":3479,"title":3480,"dynasty":110,"author":19,"museum":201,"description":2729,"tags":3481,"thumbUrl":3482,"material":101,"size":102,"collection":68,"collections":3483,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":45},261652,"qing-hua-shan-shui-tu-bi-tong-yi-ming-261652","青花山水图笔筒",[2578,2731,137,140,61,254,138,7,1612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2130f48e86bec489ccb0558057a6044b.jpg",[],{"id":3485,"slug":3486,"title":3487,"dynasty":77,"author":19,"museum":201,"description":2729,"tags":3488,"thumbUrl":3489,"material":101,"size":102,"collection":68,"collections":3490,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":72},260810,"tian-qi-kuan-qing-hua-shan-shui-ren-wu-tu-wan-yi-ming-260810","天启款青花山水人物图碗",[2578,2731,137,30,139,7,2732],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d5a31963edf3c4ddaf6471052fc641b.jpg",[],{"id":3492,"slug":3493,"title":3480,"dynasty":110,"author":19,"museum":201,"description":2729,"tags":3494,"thumbUrl":3495,"material":101,"size":102,"collection":68,"collections":3496,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":45},260778,"qing-hua-shan-shui-tu-bi-tong-yi-ming-260778",[2578,2731,137,7,138,254,30,3465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c1c93ca8372721ffd687d04d1aed54.jpg",[],{"id":3498,"slug":3499,"title":3500,"dynasty":110,"author":19,"museum":201,"description":3501,"tags":3502,"thumbUrl":3503,"material":101,"size":102,"collection":68,"collections":3504,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":45},247044,"qian-long-kuan-ti-hong-bu-yue-tu-bian-yuan-he-yi-ming-247044","乾隆款剔红步月图扁圆盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[428,2117,3111,1610,29,30,7,137,1612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d246c79e09036bec29f7d95053b5d85.jpg",[],{"id":3506,"slug":3507,"title":3108,"dynasty":77,"author":19,"museum":201,"description":3109,"tags":3508,"thumbUrl":3509,"material":101,"size":102,"collection":68,"collections":3510,"showCou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著有《惜抱轩诗文集》，编有《古文辞类纂》等。",[26,55,56,58,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320a2387cd59ea933c02a4bf076b9b9f.jpg",[],{"id":3521,"slug":3522,"title":3523,"dynasty":110,"author":3524,"museum":201,"description":3525,"tags":3526,"thumbUrl":3527,"material":101,"size":102,"collection":68,"collections":3528,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":72},240319,"shi-zhou-wang-zheng-gong-240319","诗轴","王正功","此作行书苍劲老辣，结体欹正相生，起笔沉实厚重，行笔提转自然，牵丝映带间尽显章法精妙。笔墨韵律和题松诗意相融无间，将绝壁苍松的孤高意境，藏进跌宕舒展的线条之中。\n\n笔画粗细错落富于节律，通篇行气贯通，字字独立却气脉相连，把诗文里幽栖林泉、伴月听松的林下襟怀，借笔墨节奏缓缓铺陈。以笔达意，文心与书境浑然一体，尽显文人书法萧散出尘的雅致意趣。",[24,25,26,56,58,7,64,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eedc5cda4ff24a17b3fe23b2fdc3530.jpg",[],{"id":3530,"slug":3531,"title":3532,"dynasty":77,"author":3533,"museum":201,"description":3534,"tags":3535,"thumbUrl":3536,"material":101,"size":102,"collection":68,"collections":3537,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":72},237021,"mo-mei-ce-shen-hao-237021","墨梅册","沈颢","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[24,25,116,58,56,59,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6835c7132198604e25f5599cbc1c7b.jpg",[],{"id":3539,"slug":3540,"title":3532,"dynasty":77,"author":3533,"museum":201,"description":3534,"tags":3541,"thumbUrl":3542,"material":101,"size":102,"collection":68,"collections":3543,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":72},237020,"mo-mei-ce-shen-hao-237020",[24,25,116,58,56,59,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc38203450258d6fb0bf675122a20e6c.jpg",[],{"id":3545,"slug":3546,"title":2822,"dynasty":77,"author":2823,"museum":201,"description":2824,"tags":3547,"thumbUrl":3548,"material":68,"size":68,"collection":68,"collections":3549,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":72},233644,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233644",[24,25,116,1728,29,174,7,144,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e14ea8490da38df86f57a947469855.jpg",[],{"id":3551,"slug":3552,"title":3553,"dynasty":18,"author":3554,"museum":201,"description":3555,"tags":3556,"thumbUrl":3561,"material":101,"size":102,"collection":68,"collections":3562,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":72},232129,"jockeys-before-the-start-with-flagpoll-circa-barber-institute-of-fine-arts-england-de-jia-232129","Jockeys 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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。",[3557,3558,30,832,3559,7,3560],"油画","印象派","草地","旗杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b2e7f1173159cfdc2f9e4534c932ff6.jpg",[],{"id":3564,"slug":3565,"title":3566,"dynasty":18,"author":19,"museum":201,"description":2115,"tags":3567,"thumbUrl":3571,"material":101,"size":102,"collection":68,"collections":3572,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":72},225524,"fu-shi-hui-282-yi-ming-225524","浮世绘282",[1597,1728,29,30,138,3035,7,255,3568,3569,3570],"西式服装","传统和服","互动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71f96a8a1ff1ef0b2ac4748cfde0f483.jpg",[],{"id":3574,"slug":3575,"title":3576,"dynasty":18,"author":19,"museum":201,"description":2115,"tags":3577,"thumbUrl":3579,"material":101,"size":102,"collection":68,"collections":3580,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":72},225463,"fu-shi-hui-221-yi-ming-225463","浮世绘221",[1597,1728,29,30,7,2171,1547,3578,417,3035],"刀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a6344b4bfd24b6c52f3b981cd6fdaa0.jpg",[],{"id":3582,"slug":3583,"title":3584,"dynasty":77,"author":3585,"museum":201,"description":3586,"tags":3587,"thumbUrl":3591,"material":68,"size":68,"collection":68,"collections":3592,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":72},224555,"shu-hua-ce-ye-20-xiao-yun-cong-wang-shi-zhen-224555","《书画册页》-20","萧云从 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