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2印，上方有明王直、陈循德2家为彦谥题诗。清宫旧藏,有清内府嘉庆、宣统印各一方。现藏台北故宫博物院。",[23,24,25,26,48,28,7,31,49],"立轴","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e5295f96be134d53730e65174f29213.jpg","绢本","纵113.6厘米，横105.4厘米",[],82,"795548",{"id":57,"slug":58,"title":59,"dynasty":60,"author":61,"museum":45,"description":62,"tags":63,"thumbUrl":65,"material":66,"size":35,"collection":35,"collections":67,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":38},216595,"mo-zhu-pu-ce-ye-3-wu-zhen-216595","墨竹谱册页-3","元","吴镇","吴镇墨竹谱册简称《墨竹谱》，共二十二页，每页纵40.3厘米，横52厘米，纸本，墨笔，现藏台北故宫博物院。前两页书苏轼撰文同偃竹记，后二十幅画各种姿态的墨竹，每幅都有图有文。作于1350年（元至正十年），时吴镇71岁，是画给儿子佛奴的。全册画竹诸态悉备，可谓得竹之真性情。册首隶书“万玉藂”三字，王一鹏所书，王为明弘治间贡生。\n\n二十幅图，分别画新篁、嫩枝、老干、垂叶、雨竹、风竹、雪竹、坡地竹林、崖壁垂竹，或粗竿挺拔，竹叶清劲，或细枝临风，摇曳生姿。每幅画的构图都有很大的区别，以画谱而言，称得上变化多端，诸法悉备，成为后之学者极好的借鉴。\n\n这套竹谱的图文组合最值得称道，画面上书与画的“经营位置”的创意：承前而启后。在宋以前，图上都不落文字，连作者的名款都没有。北宋开始，画上渐有作者姓名和时间的落款，开始时写得极小，或隐在画中，生怕影响了画面。至元代赵孟頫出，强调以书入画，不但注重用书法的笔法作画，而且其画上所题的诗、文也渐多，有时为记事甚至出现长题。吴镇此《墨竹谱》册，在其丰富多变的构图中可以清晰地感觉到作者在画之前已为题文预留位置。书与画开始在画面上平分秋色，相得益彰，形成了中国画不同于其他艺术的最具文化意义的特色之一。\n\n吴镇墨竹谱册从附图观之，图绘笋、粗竿、新篁、折枝共七八竿，错落有致。虽说吴镇墨竹宗文同，但他的画法与文同相比较，已经有了很大的改变：文同画竹，竹竿纡曲，竹叶密集，而以墨之浓、淡示叶面之正、反。吴镇画竹，却以墨色的浓、淡示竹竿之前、后，新篁以淡墨画枝，而以浓墨画叶。叶之长、短，似随意生发，但疏落简率，苍劲挺拔。短枝疏叶，笔不连而意贯，一似其题款草书，纵横跌宕，一气呵成。笔锋略秃，中锋撇去，凝厉而厚重。竹根植于土中，根畔短草丛生，前浓而远淡，增强了画面透视的纵深感。",[23,25,26,28,64,31,49,29,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50b05cf34ed2b1620b65ae7ad0712f3.jpg","纸本,水墨",[],64,{"id":70,"slug":71,"title":72,"dynasty":43,"author":73,"museum":20,"description":74,"tags":75,"thumbUrl":80,"material":33,"size":34,"collection":35,"collections":81,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":83},288988,"gu-bai-tu-su-shi-288988","古柏图","苏轼","苏轼（1037年1月8日—1101年8月24日），字子瞻，一字和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙、坡仙，汉族，眉州眉山（今四川省眉山市）人，祖籍河北栾城，北宋文学家、书法家、美食家、画家，历史治水名人。\n嘉祐二年（1057年），苏轼进士及第。宋神宗时在凤翔、杭州、密州、徐州、湖州等地任职。元丰三年（1080年），因“乌台诗案”被贬为黄州团练副使。宋哲宗即位后任翰林学士、侍读学士、礼部尚书等职，并出知杭州、颍州、扬州、定州等地，晚年因新党执政被贬惠州、儋州。宋徽宗时获大赦北还，途中于常州病逝。宋高宗时追赠太师；宋孝宗时追谥“文忠”。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛”；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。李志敏评价：“苏轼是全才式的艺术巨匠。”\n作品有《东坡七集》《东坡易传》《东坡乐府》《潇湘竹石图》《枯木怪石图》等。",[25,24,28,27,26,76,77,7,78,49,79],"古柏","老树","孤石","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a070c6607dcc35014c7ddfa1ae14d46.jpg",[],48,"37474F",{"id":85,"slug":86,"title":87,"dynasty":60,"author":88,"museum":45,"description":89,"tags":90,"thumbUrl":92,"material":64,"size":93,"collection":35,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":55},221696,"fang-ni-zan-hua-mo-zhu-zhou-gu-an-221696","仿倪瓒画墨竹轴","顾安","墨竹三竿，葉片在勁風吹拂下，飛揚搖曳，彷佛可以聽到呼嘯的風聲和葉片摩擦的聲音。前後兩竹，一濃一淡，好像隔了一層淡淡的霧氣，剛直秀勁中又有婀娜温婉之意。",[23,24,25,26,48,28,91,29,78,7],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47784ae4659f6b95e770f86d3397a48.jpg","该幅93.5x52.3公分；全幅105.3公分",[],30,{"id":97,"slug":98,"title":99,"dynasty":60,"author":88,"museum":45,"description":100,"tags":101,"thumbUrl":104,"material":105,"size":106,"collection":35,"collections":107,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":38},233784,"quan-shi-xin-huang-tu-gu-an-233784","拳石新篁图","《拳石新篁图》画新竹几枝和荆棘一丛，新篁数竿，瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。笔法劲利，墨气浓润，表现出新竹破土而出的欣欣向荣之势，是顾安墨竹精品。\n在中国传统绘画中，四季长青的竹历来都是画家所钟爱的传统题材。这件作品主要描绘的是几株新篁，枝干瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。作者用笔劲健沉静，兼工带写，以中锋行笔，兼容侧锋，几乎不见复笔。\n《拳石新篁图》此图构图简洁，只有一块小石和数竿新竹。小石如拳，静静地占据了画幅左下角位置，一丛荆棘蔓生于石上。石旁，几竿新竹依石而立，枝节横生，劲节毕显。与竹竿的瘦削细长不同的是：竹叶的描绘极其夸张，硕大如挥舞的剑戟，与竹竿的纤细形成视觉上的强烈反差。\n作者笔法老到，劲健有力。墨色的运用，浓淡、明暗拿捏有度，使画面墨色清润浓厚，各得其宜，颇具神韵。画面上方，自右至左有百不居士题诗和清乾隆皇帝御题诗各一首，百不居士题诗云：“节君自是非今尔，石丈谁能拜下风。惟有王猷并米芾，高情千古远相同。”字里行间给予顾安作品极高的评价。乾隆诗云：“一拳之石几叶竹，空谷无人结契幽。淡霭轻烟风入际，声相应复气相求。”观画上作者款识“至正乙巳闰月写于岁寒楼定之”，可知这幅画创作于元至正乙巳年(1365年)，正是顾安去世之年，其生命不息、艺术不辍的精神写照真是令人肃然起敬。",[25,28,48,29,102,7,103,49],"石","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4283db10a92caf3791c278faf89e9e43.jpg","纸本","76cm x 40cm",[],27,{"id":110,"slug":111,"title":112,"dynasty":60,"author":113,"museum":45,"description":114,"tags":115,"thumbUrl":117,"material":118,"size":119,"collection":35,"collections":120,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":55},231405,"si-ji-ping-an-tu-li-kan-231405","四季平安图","李衎","李衎性情温和淳厚，人不见其喜愠之色，潜心于画，其画风亦较为平淡恬静。他的绘画得到帝王的赏识，曾奉诏图写嘉熙殿壁，并以著色竹画殿堂御屏。\n李衎以画竹著名，他初学王庭筠，后上追文同，又深入南方竹乡进行观察，特别是借出使安南（今越南）之机，详细辨认各种竹子的生性姿态，从中获益甚多。他能画双勾著色竹，又善墨竹，笔法精谨，意态生动，所作竹好取整枝全景，且以风霜雨露等自然气候烘托竹子挺拔刚劲的个性。\n李衎毕生致力于画竹，并著有《竹谱》，分画竹谱、墨竹谱、竹态谱等节，对竹之结构品类、生长规律及画竹源流技法详加探讨，记录其心得，深感想要画艺精湛十分不易。\n李衎强调画竹需深入观察，初学必守法度，久之可达于规矩绳墨之外，切忌信笔涂抹。\n他还分析竹之品类及生长规律，深入浅出地论述画竹方法，如他在“画竹谱”中论及画竹位置上的五忌为“冲天撞地、偏重偏轻、对节排竿、鼓架胜眼、前枝后叶”，“冲天撞地者，谓梢至绢头，根至绢末，陋塞填满者。偏轻偏重者，谓左右枝叶，一边偏多，一边偏少，不停趁者，对节者，谓各竿节节相对。排竿者，谓各竿匀排如窗棂。鼓架者，谓中一竿直，左右两竿交叉如鼓架者。胜眼者，谓四竿左右相差匀停，中间如方胜眼者。前枝后叶者，谓枝在前、叶却在后，或枝叶俱生在前，俱生在后者”。",[24,25,26,48,28,7,29,102,116],"竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa487b54a498557293ce2008ea956aa1e.jpg","绢本,水墨","131.4 x 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