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车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7,36,37,38,39,40,41,42,43,44,45,46,47,48,49],"高清","国画","书画","长卷","界画","工笔","设色","人物","楼阁","小桥","流水","船","马","树木","街市","店铺","桥梁","城墙","车","河流","码头","货船","行人","商贩","房屋","道路","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米","宋画精选",[53,55],"水墨画精选",8462,106,0,"795548",{"id":61,"slug":62,"title":63,"dynasty":18,"author":64,"museum":65,"description":66,"tags":67,"thumbUrl":72,"material":73,"size":74,"collection":53,"collections":75,"showCount":76,"zanCount":77,"manualWeight":58,"mainColor":78},214253,"mu-niu-tu-li-chun-214253","牧牛图","李椿","美国克利夫兰艺术博物馆","牧牛图是宋代画家李椿的一幅代表作。这幅画作描绘了牧牛的生活场景。\n\n在这幅画作中，李椿巧妙地捕捉了牧牛的生活状态。他用浓墨重彩的画法，勾勒出了牧牛的身形。他还用细腻的线条勾勒出了牧牛的面容，让人感受到了牧牛的温顺和和蔼。\n\n此外，李椿在这幅画作中还描绘了牧牛周围的景色。他用色彩丰富的画法，描绘了牧牛周围的山川和河流。这些景色与牧牛的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，牧牛图是一幅精美的画作，描绘了牧牛的生活场景。它让我们感受到了宋代画家李椿对动物的喜爱之情，也让我们感受到了宋代文化的魅力。",[23,24,29,28,7,68,30,69,70,71],"树","草地","石头","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95035fbb75855fef24415203e134b8ac.jpg","绢本,设色","24.8x25.7",[53],1394,5,"BDBDBD",{"id":80,"slug":81,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":82,"thumbUrl":90,"material":91,"size":92,"collection":53,"collections":93,"showCount":96,"zanCount":97,"manualWeight":58,"mainColor":59},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[23,24,26,27,29,83,28,30,31,32,33,84,37,85,36,86,7,35,87,88,48,89,46,45],"风俗画","船只","商铺","车马","建筑","市井","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","绢本设色","宽24.8厘米、长528.7厘米",[53,94,95],"人物画精选","设色画精选",858,6,{"id":99,"slug":100,"title":101,"dynasty":102,"author":103,"museum":20,"description":104,"tags":105,"thumbUrl":110,"material":111,"size":112,"collection":113,"collections":114,"showCount":116,"zanCount":117,"manualWeight":58,"mainColor":78},221052,"wu-niu-tu-quan-juan-han-huang-221052","五牛图全卷","唐","韩滉","《五牛图》是目前所见最早作于纸上的绘画，纸质为麻料，具有唐代纸张的特点。图画五牛，形象不一，姿态各异，或行或立，或俯首，或昂头，动态十足。其中一牛完全画成正面，视角独特，显示出作者高超的造型能力。作者以简洁的线条勾勒出牛的骨骼转折，筋肉缠裹，笔法老练流畅，线条富有力度和精确的艺术表现力。牛头部与口鼻处的根根细毛，更是笔笔入微。每头牛皆目光炯炯，作者通过对眼神的着力刻画，将牛既温顺又倔强的性格表现得极为传神。作品完全以牛为表现对象，无背景衬托，造型准确生动，设色清淡古朴，浓淡渲染有别，画面层次丰富，达到了形神兼备之境界。以牛入画是中国古代绘画的传统题材之一，体现了农业古国以农为本的主导思想。韩滉任职宰相期间，注重农业发展，此图可能含有鼓励农耕的意义。《五牛图》是其作品的传世孤本，也是为数寥寥的几件唐代纸绢绘画真迹之一，因此不论其艺术成就还是历史价值都备受世人关注。",[23,24,26,29,28,106,107,108,7,109],"印章","书法","行书","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102bd0cd5d4cb918fdece3f7352d6ced.jpg","绢本","525.92X21.6cm","书法精选",[113,115],"碑帖精选",654,4,{"id":119,"slug":120,"title":121,"dynasty":122,"author":123,"museum":20,"description":124,"tags":125,"thumbUrl":133,"material":134,"size":135,"collection":136,"collections":137,"showCount":138,"zanCount":139,"manualWeight":58,"mainColor":78},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","元","王蒙","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[23,126,24,25,127,29,128,129,30,35,7,32,33,130,131,132,47,106],"名画","立轴","皴法","山水","松树","岩石","山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纸本，设色","纵139厘米，横58厘米","山水画精选",[136,95],385,2,{"id":141,"slug":142,"title":143,"dynasty":144,"author":145,"museum":146,"description":147,"tags":148,"thumbUrl":150,"material":91,"size":151,"collection":136,"collections":152,"showCount":153,"zanCount":11,"manualWeight":58,"mainColor":59},222032,"chun-geng-tu-zhou-dai-jin-222032","春耕图轴","明","戴进","浙江省博物馆","这幅气度恢宏的作品取法两宋郭熙、李唐诸辈，笔法苍润，风格遒劲。形则春耕，实为寄寓淡淡哀愁与希望。其心志高远，胸怀宽壑，借春耕这一生活化的语言表达对社稷繁荣安定的渴望。画中一旁孤独思忖的老者，面对湍湍逝去的溪水，显出无奈寂寞的神情，俨然作者自身的写照。\n不知桥上玩耍的孩童，能否传承老者衣钵，以慰心志！ 此图由钱镜塘先生捐赠，该画上堂为沪上鉴定大家吴湖帆先生题鉴，下有钱镜塘先生亲笔跋文。",[23,24,25,127,129,30,7,32,33,68,128,29,149],"春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80401d4a9b5750d8677ebf9efd74019.jpg","144.2×105.1cm",[136,95],371,{"id":155,"slug":156,"title":157,"dynasty":144,"author":158,"museum":20,"description":159,"tags":160,"thumbUrl":171,"material":172,"size":173,"collection":136,"collections":174,"showCount":153,"zanCount":58,"manualWeight":58,"mainColor":78},220902,"shan-shui-ce-2-dong-qi-chang-220902","山水册2","董其昌","此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[23,126,24,25,161,128,29,162,163,129,130,164,42,7,36,165,166,167,168,169,170],"山水画","水墨","文人画","山石","远山","近树","溪流","坡岸","云雾","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d5fcdccb54e4ad4c6519be4ed88cbc.jpg","纸本，水墨和设色","每开纵26.3厘米，横25.5厘米。",[136,95],{"id":176,"slug":177,"title":178,"dynasty":18,"author":19,"museum":179,"description":180,"tags":181,"thumbUrl":184,"material":185,"size":185,"collection":185,"collections":186,"showCount":187,"zanCount":188,"manualWeight":58,"mainColor":59},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","藏地不详","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,25,26,27,28,182,30,31,32,33,34,35,7,36,37,85,41,183,42,47,43,45],"白描","轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg","",[],368,3,{"id":190,"slug":191,"title":192,"dynasty":102,"author":103,"museum":20,"description":193,"tags":194,"thumbUrl":195,"material":134,"size":196,"collection":185,"collections":197,"showCount":198,"zanCount":199,"manualWeight":58,"mainColor":200},232938,"wu-niu-tu-juan-han-huang-232938","五牛图卷","本图无作者款印，本幅及尾纸上有赵孟頫、孙弘、项元汴、弘历、金农等十四家题记。\n《五牛图》是目前所见最早作于纸上的绘画，纸质为麻料，具有唐代纸张的特点。图画五牛，形象不一，姿态各异，或行或立，或俯首，或昂头，动态十足。其中一牛完全画成正面，视角独特，显示出作者高超的造型能力。作者以简洁的线条勾勒出牛的骨骼转折，筋肉缠裹，笔法老练流畅，线条富有力度和精确的艺术表现力。牛头部与口鼻处的根根细毛，更是笔笔入微。每头牛皆目光炯炯，作者通过对眼神的着力刻画，将牛既温顺又倔强的性格表现得极为传神。作品完全以牛为表现对象，无背景衬托，造型准确生动，设色清淡古朴，浓淡渲染有别，画面层次丰富，达到了形神兼备之境界。以牛入画是中国古代绘画的传统题材之一，体现了农业古国以农为本的主导思想。韩滉任职宰相期间，注重农业发展，此图可能含有鼓励农耕的意义。《五牛图》是其作品的传世孤本，也是为数寥寥的几件唐代纸绢绘画真迹之一，因此不论其艺术成就还是历史价值都备受世人关注。",[24,25,26,29,28,7,109,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51331287195c83fe7996d6c65918e66c.jpg","纵20.8厘米，横139.8厘米",[],364,7,"F48FB1",{"id":202,"slug":203,"title":204,"dynasty":205,"author":206,"museum":207,"description":208,"tags":209,"thumbUrl":211,"material":73,"size":185,"collection":95,"collections":212,"showCount":213,"zanCount":199,"manualWeight":58,"mainColor":78},218501,"fang-song-yuan-ben-jin-ling-tu-xie-sui-218501","仿宋院本金陵图","清","谢遂","台北故宫博物院","本卷描绘了金陵城的城市和村庄的商店和街景，以及市场上的人们，细节丰富，气氛热烈。笔触非常准确，人物形象也很生动。根据作者在画板上的标记，这幅画完成于乾隆五十二年（公元1787年）。 在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[23,126,24,25,26,28,29,210,30,31,32,33,36,7,35],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[95],329,{"id":215,"slug":216,"title":217,"dynasty":122,"author":123,"museum":218,"description":219,"tags":220,"thumbUrl":222,"material":223,"size":185,"collection":185,"collections":224,"showCount":225,"zanCount":58,"manualWeight":58,"mainColor":78},214576,"shan-shui-ce-3-wang-meng-214576","山水册-3","私人收藏","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[126,24,162,128,221,129,36,7,33,168,106],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ef6f289b0869c501494295442e78b88.jpg","纸本,水墨",[],317,{"id":227,"slug":228,"title":229,"dynasty":122,"author":230,"museum":20,"description":231,"tags":232,"thumbUrl":233,"material":234,"size":235,"collection":94,"collections":236,"showCount":237,"zanCount":97,"manualWeight":58,"mainColor":59},220891,"qing-xi-long-yue-yu-ma-tu-juan-zhao-meng-fu-220891","青溪龙跃浴马图卷","赵孟頫","图中绘夏日疏林间，奚官在水塘为骏马洗浴纳凉的情景。人物与马各具姿态，生动自然，相互呼应，营造了一个轻松的氛围。人物衣纹流畅，树木坡石勾勒简练，色不掩墨，青绿与浅绛结合，色彩清丽雅致。",[23,126,24,25,26,28,29,35,7,30,36,33,106,107,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7886ceca9be6e9768ee8afb4d0ac6d0.jpg","绢本，设色","纵28.5厘米，横154厘米。",[94,95],220,{"id":239,"slug":240,"title":241,"dynasty":122,"author":230,"museum":20,"description":242,"tags":243,"thumbUrl":244,"material":111,"size":245,"collection":94,"collections":246,"showCount":247,"zanCount":117,"manualWeight":58,"mainColor":248},220856,"yu-ma-tu-juan-zhao-meng-fu-220856","浴马图卷","画上有一湾溪水，清澈透亮，溪水边有梧桐和垂柳，绿色成荫相映成趣，溪水中和岸边还有十四匹骏马，九名马倌。绘画中马的姿态各不相同，每一匹马的神态都非常生动，有的在水中站立，有的在喝水，有的在吃草，有的还在昂首嘶叫，有的卧在地上还在左顾右盼。马倌们牵着马在溪水边，有的人在给马洗澡，有的人在河岸边休息。在画面中，一位马倌洗完马后骑在马背上，等着马喝完水便准备上岸；一人一马，马在回眸主人而人则右手舀水，左手为马擦拭，眼神与马相对，表现爱惜之情，此时的人和马似乎心神交会了；马倌赤着上身坐在水边的岩石上，一只脚穿靴，而另一只脚却光着，悠闲地翘着二郎腿，面带微笑，马匹昂首目视前方，神气十足。\n唐宋绘画严谨的法度意趣建立在文学化境界上，元代以后绘画体现为书法化写意性和对于宣纸、水性的把握上，《浴马图》就体现了这种画风明显的演变过渡痕迹。\n《浴马图》是元武宗的命题之作，赵孟頫不敢大意，除了连日到宫中的养马之处现场观察外，他还细心揣摩元武宗的意图。元武宗是在一场血腥的宫延政变中上台执政的，当上皇帝后他大兴土木、对外用兵，和察合台汗国联手干掉了窝阔台汗国，结果引发了财政危机；他又滥发银钞，引发了严重的通货膨胀，但他却命令赵孟頫要在这幅关于马的画作里，表现出和平盛世的气氛。赵孟頫冥思苦想之后，终于创作出了《浴马图》。此画是赵孟俯中年时的作品。\n水中正在洗马的几个马倌，多是半裸，这在古代绘画中比较少见。人物的衣纹飘逸流动，面孔正侧向背各有特征，人和马之间，充满了一种友爱的感情。\n背景的笔法古朴遒劲，树干坡石，被法洗练而结实，无论是清澈透明的溪水，还是婆要多姿的水草，双钩填绿的梧桐、柳树及其他夹叶树，画法皆有特色。\n此画的特点之一，在画中有阳光感，与清澈的河水和岸边梧桐垂柳荫形成鲜明的冷热对照。这种表现手法在赵氏的其他作品中很少见。在技法方面，此画用工笔重彩，刻意学唐人，画法精工细致，这种工细紧密的线描似唐人手笔。人物造型趋肥胖，个个面如傅粉，华滋润泽，马体肥硕，追踪唐马造型。同时此画作者将书法用笔落于绘画之中，如人马线描工细劲健，犹如篆籀，古朴严谨中而蕴隽秀。\n《浴马图》场面宏大，共画马倌九人，骏马十四匹。马的造型准确，各种姿态跃然纸上，形态肤色各不相同；人物形象俊美，年龄、相貌、动作皆富于个性。\n骏马体格雄健，神态各异，或低头饮水，或引颈嘶鸣，或昂首顾盼，或卧在岸边，或在低首吃草等，意态生动。马倌有老少之别，穿着各种不同颜色服装，或立在水中为马洗刷，或牵马临溪，或跨马下水，或驱马上岸，或骑马上张望，或在岸边小憩等动态多样。河边绿茵如席，梧桐垂柳，婀娜多姿，环境清爽怡人。图中所有的形象有动有静，疏密有致，既不相扰，又互为照应，其人和马的动作互相呼应，生动有致，既突出了主题，又给观者以回味的余地。\n此图为工笔着色画。故马有黑、白、红、黄、灰、花斑诸色。画树、坡岸行笔凝重，勾、皴、染并用，苍逸中含清润，其背景用青绿敷染。人物鞍马分别施不同色彩，设色浓润，风格清新秀丽。",[23,24,25,26,29,28,35,30,68,33,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc608c918408f5c92a9bf9ef5f91842ca.jpg","纵28.5cm,横154cm",[94,95],198,"37474F",{"id":250,"slug":251,"title":252,"dynasty":253,"author":254,"museum":179,"description":255,"tags":256,"thumbUrl":259,"material":260,"size":261,"collection":185,"collections":262,"showCount":263,"zanCount":139,"manualWeight":58,"mainColor":248},289944,"xia-shan-tu-dong-yuan-289944","夏山图","五代十国","董源","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。",[23,126,24,26,162,129,36,42,257,258,7,128,169],"孤舟","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ceabacb99b9da3101f03c4570459283.jpg","未知","Xcm*Xcm",[],184,{"id":265,"slug":266,"title":267,"dynasty":18,"author":19,"museum":20,"description":21,"tags":268,"thumbUrl":270,"material":51,"size":52,"collection":185,"collections":271,"showCount":272,"zanCount":58,"manualWeight":58,"mainColor":59},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[23,126,24,25,26,28,27,29,30,31,32,33,34,35,7,68,37,85,47,42,39,269,45,86,87,40],"舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg",[],181,{"id":274,"slug":275,"title":276,"dynasty":102,"author":277,"museum":278,"description":279,"tags":280,"thumbUrl":284,"material":73,"size":285,"collection":94,"collections":286,"showCount":287,"zanCount":199,"manualWeight":58,"mainColor":59},220267,"wu-xing-er-shi-ba-xiu-shen-xing-tu-liang-ling-zan-220267","五星二十八宿神形图","梁令瓒","日本大阪市立美术馆","此图原分为上下两卷，前半卷画五星，后画二十八宿。此图现只存在五星及“角”至“危”十二宿神形，计17图，应当为上卷。星宿一般都与占卜相关联，而此图将天文，传说和世俗理念组为一体，独树一帜，形成了一种独特的艺术形式。每个星、宿各作一图，或老人，或描绘成女像，或是画成怪异的形象。有的人物骑着牛，有的手中拿着器物，面部特征与表情也各有不同。设色以黄色为基调，另有朱、青、绿、黑各色配合。衣褶、人体和兽身都采用晕染法，稍有立体感。",[23,126,24,25,26,281,28,29,182,30,7,35,109,282,283],"宗教","龙","兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3c8239f23b32915d34a24fb6fe3187.jpg","纵27.5厘米，横489.7厘米",[94],167,{"id":289,"slug":290,"title":291,"dynasty":292,"author":293,"museum":294,"description":295,"tags":296,"thumbUrl":307,"material":308,"size":185,"collection":185,"collections":309,"showCount":310,"zanCount":58,"manualWeight":58,"mainColor":78},220562,"yu-gong-yi-shan-xu-bei-hong-220562","愚公移山","民国","徐悲鸿","中央美术学院美术馆","以写实功底刻画出虬结如顽石的肌肉块垒，赤裸壮汉们挥锄蓄力，将千钧蛮力凝于舒展躯体之中，把移山的不屈意志具象为滚烫血肉。\n\n妇孺老者静立一侧，沉静目光藏着世代赓续的执念，缓行的大象驮负薪粮，为磅礴劳作添上一缕质朴烟火气。\n\n画作融西法解剖与东方水墨晕染于一体，让古老神话走出传说，将坚韧不拔的信念，化作眼前可视的磅礴群像，刻进民族骨血里的韧劲儿跃然绢素之上。",[23,24,29,297,30,298,7,299,300,301,302,303,304,305,306],"写实","大象","农具","竹篮","推车","土地","壮汉","老人","妇女","儿童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f740d7fd7175fb0157e825af787bca.jpg","油彩",[],160,{"id":312,"slug":313,"title":63,"dynasty":102,"author":103,"museum":314,"description":315,"tags":316,"thumbUrl":319,"material":73,"size":320,"collection":94,"collections":321,"showCount":322,"zanCount":11,"manualWeight":58,"mainColor":59},218385,"mu-niu-tu-han-huang-218385","耶鲁大学艺术博物馆","平坡旷野间，双牛安卧，墨色晕染出厚重肌理，犄角宛转，似带泥土气息。牧童蜷身酣眠，草帽斜倚，竹杖横陈，尽是天真慵懒。旁侧老枝虬劲，竹影疏疏，墨痕浓淡交织出野趣。整幅画无喧嚣，唯留田园静穆。笔墨简括却神形毕肖，牛的憨态、牧童的自在，皆藏于线条间。盛唐乡野的悠然时光，仿佛凝在绢上，望之忘俗，心生惬意。",[126,24,25,29,28,30,7,317,318,106,109],"竹","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30f0dc982c6116348e28f459cb13d33.jpg","27.9x31.4",[94],159,{"id":324,"slug":325,"title":326,"dynasty":102,"author":103,"museum":20,"description":327,"tags":328,"thumbUrl":329,"material":330,"size":196,"collection":95,"collections":331,"showCount":332,"zanCount":188,"manualWeight":58,"mainColor":78},219970,"wu-niu-tu-han-huang-219970","五牛图","《五牛图》中的五头牛从右至左一字排开，各具状貌，姿态互异。一俯首吃草荆棵蹭痒，一翘首前仰缓步前行，一纵峙而鸣，一回首舐舌，一络首而立。整幅画面除最后右侧有一小树外，没有其他的背景，因此每头牛可独立成章。",[23,24,25,26,29,28,106,107,108,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00eb300bc9aeab656f3c3031a5036af.jpg","纸本,设色",[95],155,{"id":334,"slug":335,"title":336,"dynasty":102,"author":337,"museum":207,"description":338,"tags":339,"thumbUrl":340,"material":223,"size":341,"collection":342,"collections":343,"showCount":344,"zanCount":117,"manualWeight":58,"mainColor":78},218623,"dou-niu-tu-dai-song-218623","斗牛图","戴嵩","图绘两条硕壮的公牛相斗，一牛低头而以两角尖顶向对方的肚子，肌肉鼓胀，四蹄撒开，急奔而来，可以设想这一顶的力量之猛；而另一牛则掉头离去，目光惊恐，气喘吁吁，落荒而逃。全图纯用水墨，虽也勾线，但已渐渐淡去。牛身通体染墨色，而以墨色的深淡变化，体现出牛身的结构以及运动时肌肉的紧张。用浓墨勾画牛的角、蹄，点出眼睛、鬃毛。看似色彩单纯，但仍能感觉到墨生“五彩”，极其优雅。这样的画法，在戴嵩之前似无，但也正是唐代画家王维倡导的“水墨渲淡”的手法。两头牛的形象、动态，无论是头、身体和四肢，以及彼此间相互协调，都画得非常准确，神态生动，场景激烈。传说他曾画饮水中的牛，水中倒影，唇鼻相连，可以见得戴嵩在写生上下功夫之精微。重写生、重情景，这是唐、宋时期的中国画的一大特点，也是中国画的一大宝贵历史传统。",[126,24,25,26,162,29,7,109,108,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf70d07ff8e284b799a06dedfd6f9ed4.jpg","纵44厘米，横40.8厘米","花鸟画精选",[342],140,{"id":346,"slug":347,"title":348,"dynasty":18,"author":349,"museum":350,"description":351,"tags":352,"thumbUrl":358,"material":359,"size":360,"collection":136,"collections":361,"showCount":362,"zanCount":117,"manualWeight":58,"mainColor":59},218586,"gu-mu-yao-shan-tu-zhou-guo-xi-218586","古木遥山图轴","郭熙","上海博物馆","全图画秋景山水，画文人士夫出行的情形，系平 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（1632─1717），字石谷，號耕煙散人、劍門樵客、烏目山人、清暉老人等。江蘇常熟人。清代著名畫家。被稱為清初畫聖。王翬作畫喜好干筆、濕筆並用，而且多以細筆皴擦，畫面效果比較繁密。此圖是王翬《仿古四季山水圖》屏風組畫中的一幅，描繪的是江南春景。圖中山巒層疊，樹青草綠，村舍屋宇錯落，小橋流水人家，漁船泛波湖上，一派雨後春光明媚的江南山村景致。在構圖布局上，小徑、樹木、庭院，皆隨河流之勢分布，疏密得當，既不擁擠，也不顯孤單零落。近處、遠處的小橋流水，將整幅畫面巧妙地連結在一起；遠處山巒環繞於霧靄之中，若隱若現，山巒以墨點點染，藉以烘托初春萬物復甦之景。臨湖的道路兩旁，樹木繁茂，枝葉稀疏清朗，同樹幹的高大粗壯之勢相呼應。全圖中樹幹的畫法不盡相同，體現了作者深厚的功底：近處多為粗壯老乾，先勾勒其輪廓，再以墨色和赭石加以暈染，刻畫詳細；遠處則多以濃墨一氣呵成，枝葉多以濕墨排點式描繪，各種技法交相呼應，使得整幅畫面變化多端。",[23,24,25,371,29,128,129,32,33,257,372,373,47,374,375,376,377,7],"仿古","老树","枯藤","山峦","杏花","春雨","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","82.5x51.2",[],126,{"id":383,"slug":384,"title":385,"dynasty":18,"author":386,"museum":387,"description":388,"tags":389,"thumbUrl":393,"material":73,"size":394,"collection":53,"collections":395,"showCount":396,"zanCount":58,"manualWeight":58,"mainColor":59},218629,"pan-che-tu-jiang-can-218629","盘车图","江参","美国弗利尔美术馆","寒林覆雪，枝桠虬曲如铁线，在凛风中舒展筋骨。山峦以淡墨晕染，层叠间透着清寂，山脚却藏烟火暖意——几辆盘车缓行于雪泥道上，牛蹄踏雪留痕，车轮碾过碎雪，车旁人物裹衣呵气，似在抵御严寒。远处村落隐于林麓，屋舍错落，炊烟轻袅，与苍茫山色相映。笔墨细腻处见功力：枯树皴擦显苍劲，盘车结构精准，人物动态鲜活；而雪景朦胧与山峦雄浑，又营造出阔远意境。整幅画于萧瑟冬日，融旅途艰辛与人间烟火于一炉，写实功底见古画本色，诗意留白引观者遐思，尽显冬日山水间的生活韵致与苍茫之美。",[24,126,25,29,128,129,164,390,372,391,41,7,30,392],"枯树","古道","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1548d14d9bbde0476e8e9f354f0095f2.jpg","30x24",[53],124,{"id":398,"slug":399,"title":400,"dynasty":18,"author":401,"museum":207,"description":402,"tags":403,"thumbUrl":406,"material":73,"size":407,"collection":53,"collections":408,"showCount":409,"zanCount":11,"manualWeight":58,"mainColor":59},220356,"feng-yu-gui-mu-tu-li-di-220356","风雨归牧图","李迪","绘两牧童沿柳岸归牧，风雨大作，柳枝、丛芦在风雨中摇荡。牧童策牛逆风徐行，一牧童披蓑衣俯身紧拉住斗笠，另一牧童的斗笠被风吹落。画家善于从江南乡村常见的景象中挖掘出美感，非常富有生活气息。全图用笔工细严谨，牧童的神情、水牛的憨态也都描绘得很真切。",[23,24,28,29,128,7,109,30,68,404,405],"蓑笠","风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdacf6fa6d8af2dba4881d869e5c6742d.jpg","纵120.7cm，横102.8cm",[53],122,{"id":411,"slug":412,"title":267,"dynasty":18,"author":19,"museum":179,"description":413,"tags":414,"thumbUrl":426,"material":185,"size":185,"collection":185,"collections":427,"showCount":428,"zanCount":58,"manualWeight":58,"mainColor":59},227394,"qing-ming-shang-he-tu-juan-zhang-ze-duan-227394","《清明上河图》卷，北宋，张择端作，绢本，淡设色，纵24.8厘米，横528厘米。\n《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。\n后幅有金张著、明吴宽等13家题记，钤96方印。\n《清河书画舫》、《庚子销夏记》、《式古堂书画记》等书著录。",[126,24,25,26,415,416,417,418,419,420,37,38,421,86,7,422,423,424,425,45,46],"淡设色","兼工带写","散点透视","汴河","虹桥","郊野","漕船","骆驼","市井人物","市集","城市生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6d5b509133b871c36ef9d9b4df3ba5.jpg",[],116,{"id":430,"slug":431,"title":432,"dynasty":144,"author":433,"museum":434,"description":435,"tags":436,"thumbUrl":437,"material":359,"size":185,"collection":94,"collections":438,"showCount":439,"zanCount":188,"manualWeight":58,"mainColor":59},219551,"lao-zi-tu-tang-yin-219551","老子图","唐寅","大英博物馆","笔意简逸空灵，以淡墨轻勾铺就画面。老子宽袍长髯，安坐牛背，神态超旷淡然，不见半分行旅劳顿，尽显太上忘情的出尘之姿，将道家风骨藏于简约笔墨之中。\n\n水牛造型朴拙写实，缓步行进间憨态尽显，与老子的清矍超然相映成趣。设色浅淡近乎白描，衣纹褶皱简括凝练，留白处氤氲着悠远超脱的林下之风，暗合道家“大象无形”的哲思。\n\n整幅画不见繁复铺陈，以极简物象传递出逍遥物外的高远意境，是兼具文思与笔情的写意佳作。",[23,24,25,126,162,182,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b062d62495bd228b5ed34446dc0182.jpg",[94],107,{"id":441,"slug":442,"title":443,"dynasty":18,"author":444,"museum":218,"description":445,"tags":446,"thumbUrl":450,"material":73,"size":185,"collection":136,"collections":451,"showCount":452,"zanCount":11,"manualWeight":58,"mainColor":248},218584,"tao-hua-chun-shui-tu-ma-yuan-218584","桃花春水图","马远","春波漾开绢本的暖褐底色，山影如黛晕染天边。几树桃枝轻绽，粉蕊隐在苍松与杂树间，似有若无的艳色，恰衬出春水的清寂。近坡散卧的石群、浅滩上的细浪，与远景淡墨勾勒的峰峦虚实相映，留白处尽是烟波浩渺的余韵。笔墨简劲，山石斧劈皴显刚健，松枝如屈铁见骨力，却在水纹轻描中柔化棱角，刚柔相济。整幅画如清绝小令，不肆铺张，却将春日温润与山水悠远藏进每一处笔墨转折，读来心尖漫过淡淡春愁与旷远，余味绵长。",[24,126,25,129,29,128,127,447,448,68,449,33,7,106],"山","水","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3487685dfafca30f80a992cf8814f4dd.jpg",[136],105,{"id":454,"slug":455,"title":456,"dynasty":18,"author":457,"museum":207,"description":458,"tags":459,"thumbUrl":462,"material":73,"size":463,"collection":53,"collections":464,"showCount":465,"zanCount":58,"manualWeight":58,"mainColor":59},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[23,126,24,25,26,29,28,129,32,33,7,36,460,461,392,258],"农舍","农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[53,136],103,{"id":467,"slug":468,"title":469,"dynasty":205,"author":470,"museum":179,"description":471,"tags":472,"thumbUrl":476,"material":260,"size":261,"collection":94,"collections":477,"showCount":478,"zanCount":139,"manualWeight":58,"mainColor":78},289911,"sheng-ping-le-shi-tu-ce-shi-er-kai-yi-ming-289911","升平乐事图册十二开","佚名","设色雅致柔润，取景精妙入微。水岸雕栏楼阁内，仕女孩童凭栏观览，孩童探身嬉玩，仕女悠然垂目，神态鲜活尽显闲逸松弛。水滩货幌高挑，摊贩游人往来鲜活，将市井升平的融融暖意铺陈开来。\n\n画面远近疏密相宜，浅淡水色晕染出空濛柔美的水岸氛围，细碎笔触勾摹衣饰、风物细节，将日常里的安乐太平藏进雅致笔墨里，把俗世闲情的脉脉温情揉进方寸画幅间，尽显清和悠然的盛世烟火意趣。",[24,221,29,28,30,7,36,473,474,475],"廊台","喜乐","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4559f7002287957a6986f15ff5dae2.jpg",[94],102,{"id":480,"slug":481,"title":482,"dynasty":18,"author":444,"museum":483,"description":484,"tags":485,"thumbUrl":486,"material":73,"size":487,"collection":94,"collections":488,"showCount":489,"zanCount":139,"manualWeight":58,"mainColor":248},218833,"mu-tong-tu-ma-yuan-218833","牧童图","出光美术馆","老牛角弯似新月，驮着披蓑牧童缓行，身后小牛甩尾蹑踪，蹄印在软泥上拓出浅浅纹路。虬枝垂叶筛下碎金，落在牛背与牧童发梢。牧童半倚牛颈，或眯眼听风，或逗弄草茎，全然不觉时光轻淌。笔墨简淡却藏烟火气，江南田埂的闲逸凝于绢素皴擦间——无喧嚣，唯牛鸣与风声，是宋时寻常田园，亦是最动人的归心处。\n\n（注：文案以画面细节为引，用比喻与动态描写交织，将田园闲逸具象化，贴合宋画“以小见大”的意境，语言凝练且富有画面感，适配展览介绍场景。）",[23,24,25,29,28,30,7,372,109,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce337b6d511acdc8cad7304f75a2012e.jpg","22.1x24.2cm",[94],101,{"id":491,"slug":492,"title":63,"dynasty":18,"author":470,"museum":278,"description":493,"tags":494,"thumbUrl":495,"material":73,"size":496,"collection":53,"collections":497,"showCount":498,"zanCount":11,"manualWeight":58,"mainColor":59},215141,"mu-niu-tu-yi-ming-215141","柳树下母子牛与牧童幽然自得，老牛正舔小水牛，使人很自然想起舔犊情深的成语。一牧童依坐在柳树下打盹欲睡，远处池塘水波拂动，柳树及所有青草一齐飘拂一边，显然是春风和熙的春天情境。",[23,24,28,29,30,7,68,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb029c7a8756d57f421eeee8d256b9e45.jpg","24.7x25.6cm",[53,342],96,{"id":500,"slug":501,"title":502,"dynasty":205,"author":503,"museum":179,"description":504,"tags":505,"thumbUrl":506,"material":260,"size":261,"collection":136,"collections":507,"showCount":508,"zanCount":58,"manualWeight":58,"mainColor":78},235658,"shan-shui-ping-yuan-jiang-235658","山水屏","袁江","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,25,127,27,29,28,128,129,31,47,36,164,392,33,170,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d1025c7cc3b3c23c5404aad98a7d7f.jpg",[136],93,{"id":510,"slug":511,"title":204,"dynasty":205,"author":512,"museum":207,"description":513,"tags":514,"thumbUrl":517,"material":73,"size":518,"collection":94,"collections":519,"showCount":508,"zanCount":11,"manualWeight":58,"mainColor":248},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","杨大章","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,25,26,29,28,210,27,30,31,32,33,36,35,7,47,515,424,84,516,40,45,38,42,39],"街道","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[94,95],{"id":521,"slug":522,"title":63,"dynasty":144,"author":145,"museum":207,"description":523,"tags":524,"thumbUrl":526,"material":73,"size":527,"collection":94,"collections":528,"showCount":508,"zanCount":58,"manualWeight":58,"mainColor":59},216954,"mu-niu-tu-dai-jin-216954","戴进对人物的描绘通常是蚕头鼠尾式的，笔触笨拙而有力。柳树沾满了墨水，密密麻麻地洒满了叶子，加上风中摇曳的小草，纸面上一片清凉，沁人心脾。",[126,24,25,127,29,162,128,30,7,525,69],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c8c78bf69b7ec732d14fa5209f10d6.jpg","38.6x30.6",[94],{"id":530,"slug":531,"title":532,"dynasty":205,"author":533,"museum":368,"description":534,"tags":535,"thumbUrl":538,"material":330,"size":539,"collection":136,"collections":540,"showCount":541,"zanCount":11,"manualWeight":58,"mainColor":78},214692,"shan-shui-tu-cha-shi-biao-214692","山水图","查士标","这是查士标罕见的无骨山水之一，远处的云和山融合在一起，近处的几个泥滩，阴影中的柳树和丝带垂下；两个人和一头驴为这一场景增色不少。查士标，字尔瞻，清初画家，与孙逸、汪无端、僧弘仁等书画家一起被称为“新安四家”。",[23,24,129,162,128,108,525,42,536,30,7,36,257,165,537],"小船","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc953330b3b38786d8ac4d32756933080.jpg","90.1x36.7",[136],92,{"id":543,"slug":544,"title":545,"dynasty":205,"author":546,"museum":20,"description":547,"tags":548,"thumbUrl":553,"material":185,"size":554,"collection":136,"collections":555,"showCount":556,"zanCount":117,"manualWeight":58,"mainColor":78},223170,"geng-zhi-tu-ce-jiao-bing-zhen-223170","耕织图册","焦秉贞","《胤禛耕织图册·收刈》是清代佚名创作的绢本设色画。\n此为耕织图册之一开。\n本幅描绘麦田中农夫装扮的胤禛（雍亲王）正带领众人收割。\n此图用笔精到，设色典雅，人物形象生动传神，将劳动者辛勤耕作的场景描绘得十分生动。\n耕织图起源于南宋时期，是我国古代为劝课农桑而详实地记录耕作与蚕织的系列图谱。\n由于其“图绘以尽其状，诗文以尽其情”，形象生动、细腻传神地描绘了劳动者耕作与蚕织的场景和详细的生产过程，从而起到了普及农业生产知识、推广耕作技术、促进社会生产力发展的巨大作用，而其本身也成为极其珍贵的艺术瑰宝。\n宋代的《耕织图》册由耕图21幅、织图24幅组成。\n清康熙二十八年（1689年），康熙皇帝南巡时观览到此图，感慨万端，遂命内廷供奉焦秉贞根据其原意重新绘制《耕织图》册，作耕图2幅，织图2幅。\n《雍正耕织图》册是雍正帝登基以前以康熙年间刻版印制的《耕织图》为蓝本，内容和规格仿照焦氏本，由清宫廷画师精心绘制而成。\n所不同的是胤禛耕织图中的主要人物如农夫、蚕妇等均为胤禛及其福晋等人的肖像，这在历代的耕织图中是仅见的。\n该图现存52页，其中6页为未定稿的衍页，其余46页中耕图、织图各2页，每幅画上都有胤禛的亲笔题诗，并钤有“雍亲王宝”和“破尘居士”两方印章。\n根据画法特点，此画册可能出自当时宫廷画家陈枚之手。\n（1678—175) 即爱新觉罗， 。\n清朝皇帝。\n满族。\n圣祖第四子。\n年号雍正。\n1722—175年在位。\n康熙三十五年（1696年），从帝征喝尔丹。\n三十七年，封贝勒。\n四十八年，进封雍亲王。\n康熙末参与部分政务。\n得隆科多、年羹尧之助夺得帝位后,即用高压手段对付参与争位的诸弟；胤德被长期幽禁；胤视、胤塘被削籍，不得其死。\n康察的亲信多遭贬斥。\n隆科多、年羹尧亦被借故禁铜并杀。\n对汉族知识分子，改变康照时以笼络为主的策略，屡兴文字狱。\n曾用藩邸亲信鄂尔泰、田文镜、李卫等为重要省区的总督。\n雍正七年（1729年），建立军机房（后改军机处），取代内阁和大臣会议，成为承旨经办军政事务的国家中枢机构；又取消诸王为下五旗（正红、镶红、镶白、正蓝、镶蓝）管主的制度，以加强君主集权。\n实行摊丁人亩，以保证赋税收人。\n在西南少数民族地区推行“改土归流”，废除土司制度，设立府、州、县。\n始设置驻藏大臣,加强对西藏的管辖。\n曾出兵平定 贵族的叛乱，并镇压准噶尔部贵族的骚扰。\n对外曾与沙俄订立《 》和《中俄恰克图界约》，划定中俄中段边界。\n精通满、汉文，娴熟书法，熟悉儒家经典。\n有《世宗完皇帝有制文集》等。",[126,24,25,221,29,28,549,30,7,461,36,33,550,551,552],"清代","农耕","田园","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","34.7cm×27.7cm",[136,94,95],88,{"id":558,"slug":559,"title":560,"dynasty":102,"author":103,"museum":179,"description":561,"tags":562,"thumbUrl":566,"material":73,"size":567,"collection":94,"collections":568,"showCount":569,"zanCount":139,"manualWeight":58,"mainColor":59},219580,"nong-qian-tu-han-huang-219580","农迁图","此图是少有的描绘唐代农民生活的写实画作。左侧男子一手持竹杖，一手拿干粮而食，头戴斗笠，腰挂麻鞋，小腿上还系有绑带，可见行路之辛苦。其后一妇人手抱婴儿，骑驴而行，脸上似有疲倦之色。",[24,25,26,28,29,30,7,563,564,565,550],"驴","狗","羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f0ca4e6c67a7e352a230c6af67845a.jpg","25.1x91.1厘米",[94],87,{"id":571,"slug":572,"title":573,"dynasty":144,"author":145,"museum":20,"description":574,"tags":575,"thumbUrl":577,"material":134,"size":578,"collection":136,"collections":579,"showCount":580,"zanCount":139,"manualWeight":58,"mainColor":581},222028,"guan-shan-xing-lv-tu-dai-jin-222028","关山行旅图","作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[23,24,162,128,129,32,33,68,164,47,7,35,258,576,106],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[136,55],86,"FFFFFF",{"id":583,"slug":584,"title":585,"dynasty":205,"author":367,"museum":368,"description":586,"tags":587,"thumbUrl":591,"material":592,"size":379,"collection":185,"collections":593,"showCount":594,"zanCount":58,"manualWeight":58,"mainColor":59},222814,"fang-gu-si-ji-shan-shui-tu-fang-li-ying-qiu-ping-lin-san-mu-wang-hui-222814","仿古四季山水图-仿李营丘平林散牧","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,24,371,29,128,129,390,588,589,7,257,47,165,33,590],"平林","牧人","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28673520e3afdb6b01f941c6478c7144.jpg","纸本 设色",[],84,{"id":596,"slug":597,"title":400,"dynasty":18,"author":401,"museum":207,"description":598,"tags":599,"thumbUrl":600,"material":111,"size":601,"collection":53,"collections":602,"showCount":603,"zanCount":58,"manualWeight":58,"mainColor":59},221597,"feng-yu-gui-mu-tu-li-di-221597","《风雨归牧图》描绘的是两个牧童赶牛归家的场景，整个画面勾点结合，浓淡相济，层次丰富，朦朦胧胧，带来了凤雨欲来，细雾先到的清润之感。\n这幅画表现的是风雨刚来的一刹那，柳梢被风吹得摇摆，两个骑牛的牧童，急忙地往家跑。一个匍匐在牛背，用手扯住牧笠，挡住急风骤雨；另一个帽子已被风吹落，在迷濛的空间，可以依稀看到倾斜的雨流。诗堂有题诗一首写道：“冒雨衔风两牧儿，笠蓑低绾绿杨枝，深宫玉食何从得，稼穑艰难岂不知。”署款“缉熙殿书”，钤“御前之印”一玺。",[23,126,24,25,28,29,7,109,68,69,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640cb098d037ce82eb11fa48ec2f370e.jpg","纵123.7厘米，横102.8厘米",[53,94,95],82,{"id":605,"slug":606,"title":607,"dynasty":18,"author":608,"museum":20,"description":609,"tags":610,"thumbUrl":612,"material":111,"size":613,"collection":53,"collections":614,"showCount":615,"zanCount":58,"manualWeight":58,"mainColor":59},221580,"mu-niu-tu-ye-li-tang-221580","牧牛图页","李唐","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。",[23,126,24,25,221,611,29,7,390,392,106,109],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528be30dbb6d13761b480f04ecd894e.jpg","61X63cm",[53,94,95],81,{"id":617,"slug":618,"title":619,"dynasty":144,"author":433,"museum":350,"description":620,"tags":621,"thumbUrl":623,"material":624,"size":625,"collection":136,"collections":626,"showCount":627,"zanCount":11,"manualWeight":58,"mainColor":78},222357,"feng-tian-xing-du-tu-zhou-tang-yin-222357","葑田行犊图轴","此图取材于唐代李密的故事，史记李密骑牛住缑山拜访名士包恺，牛角挂一卷《汉书》，边走边读。本图并没有强调此一情节。而是突出了“行过松阴懒着鞭”的悠闲之意。图绘一老者手执长鞭骑牛前行，老者表情悠闲，一路观景，牛身形壮硕，四肢有力；上面松枝繁茂，郁郁葱葱。",[23,24,25,127,162,128,107,30,7,130,164,372,622,106],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa190e60a0b5555ac9e73c97a4767161f.jpg","纸本墨笔","纵74.7，横42.7厘米",[136,55],80,{"id":629,"slug":630,"title":631,"dynasty":205,"author":632,"museum":387,"description":633,"tags":634,"thumbUrl":635,"material":636,"size":637,"collection":185,"collections":638,"showCount":627,"zanCount":11,"manualWeight":58,"mainColor":59},214357,"san-jue-shan-shui-ce-3-hua-yan-214357","三绝山水册-3","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,25,221,162,29,129,87,48,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbbe74ad51b2f834a84bc920cbd5367.jpg","纸本","23.4x15.8",[],{"id":640,"slug":641,"title":642,"dynasty":18,"author":643,"museum":207,"description":644,"tags":645,"thumbUrl":649,"material":73,"size":650,"collection":53,"collections":651,"showCount":652,"zanCount":11,"manualWeight":58,"mainColor":59},231052,"san-guan-chu-xun-tu-ma-lin-231052","三官出巡图","马麟","云气浩荡漫卷寰宇，巡行仪仗铺陈开三界威仪。尊神安坐牛舆，仙官神将扈从环伺，或腾云跨兽，或执旄持戟，旌旗翻卷如龙，神性肃穆融于缥缈云雾之间。\n\n笔墨苍劲古雅，设色沉敛厚重，以铁线描勾勒衣袂甲胄，须发纹路纤毫毕现。云雾晕染层层叠叠，虚实相生，将天界出行的宏阔盛景缓缓铺展。画面疏密有致，云间仙众、浪里神异错落排布，既恪守仪仗森严规制，又尽显仙道空灵意境，将神话中的巡游盛景定格于绢素之上，尽显工笔精致入微的意趣与神性之美。",[23,24,126,28,29,281,30,7,282,109,646,169,647,648],"神话","仪仗","神性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318baad11558966bff3e3445d454be2c.jpg","174.2x122.9",[53],78,{"id":654,"slug":655,"title":656,"dynasty":18,"author":657,"museum":207,"description":658,"tags":659,"thumbUrl":660,"material":223,"size":661,"collection":113,"collections":662,"showCount":663,"zanCount":11,"manualWeight":58,"mainColor":78},221247,"lao-zi-qi-niu-tu-zhou-chao-bu-zhi-221247","老子骑牛图轴","晁补之","图中心位置画有一位光秃尖顶、宽额留须的圆脸老人，他身穿右衽长袍，腰有缚带，在两道浓黑的月牙形的长眉下，藏着一对炯炯有神的笑眼，和颜悦色地正面对着观众，骑乘在一头壮牛身上，他双手按扶着牛背。由于山路崎岖险要，刚出幽谷关，地势突变平缓，又要准备西去，这时主人露出成功的喜悦。乘骑在主人的驾驭下，继续开步行进。图左上角画有枯枝残藤沿岩壁漫漶而下，岩石峭壁，大有谷关之要，出关后风光截然不同。\n本图署款：“晁无咎写。”钤印一“云屏烟障吾庐”。诗塘有宋王诜四言赞。本幅有清高宗弘历题诗。收传印记有“明文清世家图书”，清乾隆鉴藏八玺全。",[24,25,127,162,30,7,107,108,106,390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c80c3c9a6bb3b8623ed0876ee5a459.jpg","50.6x20.4",[113],76,{"id":665,"slug":666,"title":667,"dynasty":102,"author":103,"museum":434,"description":668,"tags":669,"thumbUrl":670,"material":359,"size":671,"collection":342,"collections":672,"showCount":673,"zanCount":58,"manualWeight":58,"mainColor":59},219041,"shuang-niu-tu-han-huang-219041","双牛图","这幅画画在一个平坦的斜坡上，左边是一棵断裂枯萎的老树，画面中间是两头牛，一前一后，正在前进，前面的牧童骑着牛，后面的牧童跟着牛。",[23,24,26,162,28,7,30,68,164,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe648b205f631048024faea7c42d32cae.jpg","纵35.6横93.5厘米",[342],75,{"id":675,"slug":676,"title":677,"dynasty":102,"author":103,"museum":20,"description":678,"tags":679,"thumbUrl":681,"material":359,"size":185,"collection":342,"collections":682,"showCount":673,"zanCount":58,"manualWeight":58,"mainColor":78},218914,"feng-ren-tu-han-huang-218914","丰稔图","作品内容极为丰富——牛羊、乡野村田、田家农事、风俗集社、村童农夫——或是农家风土事物或是农家风俗人物或是农家日常生产生活的场景。从画史著录来看，韩滉人物画除为王公贵族歌功颂德之作外多以村田乡野为背景描绘田家人物及其生产生活的场面；其以牛羊为题材的畜兽绘画也是以田园风光为背景。",[23,24,26,29,28,107,108,106,7,30,680,36,69],"牧童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ea09afee4d67677294254777585a84d.jpg",[342,113],{"id":684,"slug":685,"title":686,"dynasty":205,"author":470,"museum":179,"description":687,"tags":688,"thumbUrl":691,"material":185,"size":185,"collection":185,"collections":692,"showCount":693,"zanCount":58,"manualWeight":58,"mainColor":59},224247,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-shi-er-yue-zhou-yi-ming-224247","清画院画十二月月令图十二月轴","画卷取景分野墅与深宅两重天地。上半幅里远山素裹，寒林枝桠凝霜，冰封湖面化作天然冰场，乡野村人驰骋滑行，雪色间漫着冬日野趣。\n下半处宅邸雅致规整，廊下仆从往来奔走，庭院里孩童们攒雪团、掷雪球，闹作一团，将深宅岁末的暖意烘起。\n全画工笔精细，设色清柔，将冬日的清寂与岁末烟火揉为一处，既有山野萧寒的静谧，也有家宅团圆的温煦，尽绘冬闲时分的太平意趣。",[23,24,126,127,28,29,27,129,31,30,689,89,36,7,47,690],"雪景","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f59e4bc38c1e3653cd281477159710.jpg",[],73,{"id":695,"slug":696,"title":482,"dynasty":18,"author":697,"museum":698,"description":699,"tags":700,"thumbUrl":701,"material":162,"size":702,"collection":53,"collections":703,"showCount":704,"zanCount":11,"manualWeight":58,"mainColor":59},221257,"mu-tong-tu-dai-ze-221257","戴泽","日本京都国立博物馆","整幅画作氤氲着江南水畔的萧散野趣，淡赭底色晕染出暮冬将醒的沉柔氛围。枯树斜欹坡岸，枝桠疏朗留白，衬得陂塘水色愈见空濛。\n\n两名牧童随性自在，一骑牛信步缓行，安然垂首似在聆听水声；一立树侧，牵引着俯身饮水的水牛，稚气隐于简淡笔触之下。水牛造型朴拙憨态，笔墨简括却筋骨俱现。\n\n画作以极简构图传递出平淡天真的意趣，将乡野日常的闲逸诗意藏于浅淡晕染间，褪去冗杂，只剩江南牧歌的松弛韵致，静穆中晕开鲜活的田园烟火气。",[23,24,25,18,29,30,7,372,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faced28b4a42cd3e3f64e1fd502af2828.jpg","25.6×22.8",[53,94,95],71,{"id":706,"slug":707,"title":63,"dynasty":144,"author":708,"museum":20,"description":709,"tags":710,"thumbUrl":712,"material":223,"size":713,"collection":342,"collections":714,"showCount":715,"zanCount":58,"manualWeight":58,"mainColor":78},219358,"mu-niu-tu-li-lin-219358","李麟","画面串联起数幅牧牛小景：牧童牵绳引牛涉过浅溪，牛儿低首饮水；稚童持竿逗弄，牛儿仰头呼应；更有童子骑牛，随牛缓步林间。笔墨简淡却意趣盎然：牛身以淡墨晕染，憨态可掬；牧童身形虽小，衣纹寥寥几笔便勾勒出天真烂漫之态。背景树木疏朗，坡石浅淡，留白处似含悠然风致。整卷洋溢着田园的闲静与生机，将寻常牧歌化为清雅的笔墨图景，尽显文人画的恬淡意趣。",[23,24,25,26,162,711,108,106,7,30,36,33],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ffc8e11b8b0d9721f2d41b9535d6b.jpg","纵34.2横156.2厘米",[342,55],70,{"id":717,"slug":718,"title":719,"dynasty":18,"author":608,"museum":218,"description":720,"tags":721,"thumbUrl":722,"material":73,"size":723,"collection":342,"collections":724,"showCount":5,"zanCount":11,"manualWeight":58,"mainColor":59},218970,"yu-yu-fang-mu-tu-li-tang-218970","雨余放牧图","雨后的山野浸着清润气息，山峦如黛，轻烟似纱晕染其间，远近层次在水墨中渐次铺展。老松虬枝盘结，苍劲枝干斜倚崖边，松针上似还挂着未干的雨珠。坡地间，牛群散卧或缓行，有的低头啃食带露青草，有的两两相依，蹄印浅浅印在湿润泥土上。远处山影朦胧，几只飞鸟掠过天际，更衬出天地静谧。整幅画将田园悠然与自然清旷融于一体，每一笔都带着岁月温润，仿佛能嗅到雨后泥土芬芳，听见风过松林轻响，让人沉醉在这份与世无争的安然里。",[24,25,129,128,162,29,7,130,392,164,36,372,165,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b23892c23ea69db3c885cc88ea4dc2d.jpg","纵204横96厘米",[342],{"id":726,"slug":727,"title":728,"dynasty":729,"author":730,"museum":179,"description":731,"tags":732,"thumbUrl":742,"material":260,"size":261,"collection":743,"collections":744,"showCount":745,"zanCount":58,"manualWeight":58,"mainColor":59},225700,"sha-mo-zhong-de-sheng-fang-ji-ge-qiao-fan-ni-bei-li-ni-225700","沙漠中的圣方济各","不详","乔凡尼·贝利尼","乔凡尼·贝利尼，（Giovanni 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是一幅画作，出自唐朝时期的画家戴嵩。它是一幅水墨画，描绘了一头牛在田野里放牧的场景。这幅画被认为是戴嵩的代表作之一，因为它体现了戴嵩独特的画风和技巧。牧牛图在唐朝时期广受欢迎，并被认为是中国水墨画的杰出作品。",[24,25,162,29,30,7,68,69,107,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f31192c42e51a9881f491e3d50c022.jpg",[342],{"id":754,"slug":755,"title":756,"dynasty":102,"author":757,"museum":179,"description":758,"tags":759,"thumbUrl":760,"material":185,"size":185,"collection":185,"collections":761,"showCount":762,"zanCount":11,"manualWeight":58,"mainColor":59},230931,"song-yin-tu-li-zhao-dao-230931","松荫图","李昭道","此作山峦以皴笔写就，淡墨晕染远山，铺展出沉浑苍劲的山水底色，幽壑层叠间漾出清远意境。近景村舍错落檐下，酒客围坐谈笑，道旁行骑缓辔徐行，田埂间牛犊悠游，草木扶疏间尽是乡野烟火气。将山水幽寂与市井温情相融，以精工笔致摹写太平乡居日常，盛唐雄浑的山水意趣间揉进鲜活的俗世意韵，绘出盛世里的田园悠然图景，尽显大唐乡野风物的温煦情致。",[24,29,129,128,447,448,68,35,7,30,32,33,164,258,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2028546aabb46cc23747564a9c5f49d.jpg",[],64,{"id":764,"slug":765,"title":766,"dynasty":205,"author":767,"museum":20,"description":768,"tags":769,"thumbUrl":770,"material":185,"size":185,"collection":771,"collections":772,"showCount":762,"zanCount":58,"manualWeight":58,"mainColor":78},220391,"dui-niu-tan-qin-tu-zhou-shi-tao-220391","对牛弹琴图轴","石涛","《对牛弹琴图》构图奇险，笔墨老到，意境突出，是石涛人物画杰作。“对牛弹琴”一词本是讥笑说话的人不看对象。但此图通过作者自题“世上琴声尽说假，不如此牛听得真”等诗句，反映出作者难遇知音，而只能寄托于“牛声一呼真妙解”，反映了作者孤独落寞的心境。",[23,24,25,127,162,711,30,7,107,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ddceb25e9a6e5e8adc1edb2963e9c9.jpg","人物精选",[771],{"id":774,"slug":775,"title":63,"dynasty":18,"author":470,"museum":179,"description":776,"tags":777,"thumbUrl":778,"material":73,"size":779,"collection":53,"collections":780,"showCount":781,"zanCount":58,"manualWeight":58,"mainColor":59},219011,"mu-niu-tu-yi-ming-219011","一幅典型的南宋田园画，以边角料的方式绘制。一棵高大的树被描绘在河边的浅滩上，一头水牛低着头，一个牛仔试图通过攀爬牛角爬上牛背。",[23,126,24,25,611,162,29,7,372,318,33,106,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc612d12f7fbf45193051cf350f77162.jpg","26x28",[53],63,{"id":783,"slug":784,"title":785,"dynasty":18,"author":786,"museum":179,"description":787,"tags":788,"thumbUrl":790,"material":260,"size":261,"collection":185,"collections":791,"showCount":792,"zanCount":58,"manualWeight":58,"mainColor":59},288839,"xi-shan-xing-lv-tu-zhu-rui-288839","溪山行旅图","朱锐","朱锐，中国宋代画家。生卒年不详，活动于北宋末南宋初。河北人。原为北宋宣和画院待诏，南渡后又入绍兴画院，任待诏，授迪功郎，赐金带。擅山水，工雪景，师法王维，所画多骡纲、雪猎、盘车、行旅等题材，表现了车辆旅人跋涉于荒寒苍凉的溪山之间的艰辛之状。形象真实，主题鲜明，情景动人。有《盘车图》传世。",[24,161,162,128,390,164,33,391,7,30,576,689,789],"荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea03f9828d4df9b53dc2f163cd69a4a0.jpg",[],61,{"id":794,"slug":795,"title":796,"dynasty":18,"author":797,"museum":798,"description":799,"tags":800,"thumbUrl":803,"material":73,"size":804,"collection":185,"collections":805,"showCount":806,"zanCount":188,"manualWeight":58,"mainColor":59},218642,"si-ji-mu-niu-tu-yan-ci-ping-218642","四季牧牛图","阎次平","南京博物院","长卷铺展，四季牧歌徐徐启幕。春柳垂丝，牛群缓步林间，蹄印轻踏新草；夏木荫浓，一牛卧地纳凉，牧童侧坐闲憩，蝉鸣似隐叶间；秋阳正好，老牛伏身，牧童倚背小憩，树影斑驳洒落；冬风未寒，两牛相依，牧童骑牛信步，柳梢轻摇伴归途。树干苍劲虬曲，笔墨勾勒出牛的憨态肌理，牧童神态悠然，或坐或行皆显天真。画面静谧却藏鲜活气息，四季流转间，恬淡之趣溢于绢素，尽显宋人笔下自然意韵与生活情味。",[23,126,24,25,26,162,28,128,7,30,680,68,525,69,801,302,802],"河岸","树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1489cb236d6a2e63c61b98228bdc5e34.jpg","35x99.7x4",[],59,{"id":808,"slug":809,"title":810,"dynasty":18,"author":401,"museum":218,"description":811,"tags":812,"thumbUrl":814,"material":73,"size":185,"collection":342,"collections":815,"showCount":816,"zanCount":139,"manualWeight":58,"mainColor":59},218754,"xue-xi-gui-mu-tu-li-di-218754","雪溪归牧图","寒柳垂丝，疏枝蘸水似挽住一川冷寂。雪后溪山清旷，牧人荷杖随牛缓行，蓑衣半落，鬓角沾霜。老牛踏石留痕，蹄间雪屑细碎，憨态尽显。山石皴法简劲，柳丝用线柔婉，笔墨浓淡相济，于萧瑟中藏生机。归牧身影渐入苍茫，天地间清寒与暖意交织——宋人笔下寻常景致，竟藏空灵悠远韵致，每处细节皆低语，道尽田园冬日的恬淡安然。笔墨简淡却神完气足，牛的憨态、柳的柔姿、石的坚凝，寥寥数笔写尽，尽显宋画山水的诗意与生机。",[23,24,25,28,162,29,129,30,7,372,33,813],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1151bc13e3b79f40fb8440c88fcfe9.jpg",[342],57,{"id":818,"slug":819,"title":820,"dynasty":18,"author":821,"museum":20,"description":822,"tags":823,"thumbUrl":824,"material":234,"size":825,"collection":53,"collections":826,"showCount":827,"zanCount":58,"manualWeight":58,"mainColor":59},221436,"jiang-shan-fang-mu-tu-juan-qi-xu-221436","江山放牧图卷","祁序","本幅无款，上有清高宗弘历御题五律诗一首。前隔水有金章宗完颜璟瘦金体书题签：“祁序江山放牧图”。清梁清标书签：“北宋祁序江山放牧图蕉林珍藏”。鉴藏印有金章宗“内殿珍玩”、“明昌”、“明昌宝玩”、“御府宝绘”；清耿昭忠“耿昭忠信公氏一字在良别号长白山长收藏书画印记”，梁清标“蕉林”、“观其大略”以及乾隆、嘉庆、宣统诸帝之玺。\n此图为平远式构图，取景开阔。图绘初春时节，牧童们在湖泽坡岸间牧牛的情景，是典型的宋代风俗小品画。作品表现了各种情态的牛，或低头饮水，或昂首举目，或扭身顾盼，或侧身前行，皆神态生动，富有情趣，显示出作者娴熟的笔墨技法和准确的造型能力。图中点景的树木具有宋人李唐刻画粗简的遗风，树干以粗线条勾勒轮廓，润墨皴擦，显现出苍健之态、虬曲之美；树叶用笔致细腻的夹叶法表现，中锋行笔，线条圆润工整，展现出树木丰润华滋之美。堤岸坡石的表现别具匠心，以曲折弯转的墨线勾边，再以石绿色晕染坡面，亮丽的色彩不仅丰富了画面的色调，也为全幅增添了万物复苏的春之气息。作者将悠闲惬意的牛与风和日丽的环境有机地融为一体，画面中洋溢着浓郁的乡土风情。\n此幅是祁序流存至今的唯一一件作品，原藏清宫内府，宣统年间为溥仪运出宫，存于长春的小白楼内，后为周觉民获得。1983年9月由周觉民之妻李倩玉捐献给故宫博物院。\n著录于清内府《石渠宝笈初编》。",[23,126,24,25,26,162,128,129,7,30,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7be5f835fcaeb89d01f42e584182ea.jpg","纵47.3厘米，横115.6厘米",[53],56,{"id":829,"slug":830,"title":831,"dynasty":144,"author":832,"museum":207,"description":833,"tags":834,"thumbUrl":836,"material":223,"size":837,"collection":94,"collections":838,"showCount":839,"zanCount":11,"manualWeight":58,"mainColor":78},222521,"lao-zi-qi-niu-zhou-zhang-lu-222521","老子骑牛轴","张路","《老子骑牛图》人物的面部刻画得非常传神，衣纹的穿插也灵活巧妙，整个人物给人一气画成之感，形象生动而富有情致。",[23,24,835,127,30,7,106,711,162,109,392],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206effd797ba2e6ba61c8c1c5ee3941c.jpg","纵101.5厘米 横55.3厘米",[94],55,{"id":841,"slug":842,"title":843,"dynasty":18,"author":470,"museum":207,"description":844,"tags":845,"thumbUrl":848,"material":73,"size":849,"collection":53,"collections":850,"showCount":839,"zanCount":58,"manualWeight":58,"mainColor":78},218837,"xi-yang-gui-du-tu-yi-ming-218837","夕阳归犊图","这幅画描绘了两头大牛在夕阳下涉水过河的情景，还有一头小牛在恐惧和害怕中伸出前蹄。笔触简单，牛和人物都没有形态，不像是专业画家的作品，也不像是普通文人的俏皮笔触。",[23,24,611,29,129,28,846,7,68,165,847,128],"夕阳","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a03dda9ca27d426983bebcf6e6d089.jpg","22.4x22.4",[53,136],{"id":852,"slug":853,"title":854,"dynasty":205,"author":632,"museum":179,"description":855,"tags":856,"thumbUrl":862,"material":185,"size":185,"collection":185,"collections":863,"showCount":864,"zanCount":58,"manualWeight":58,"mainColor":59},234249,"bai-shou-tu-hua-yan-234249","百兽图","华喦[yán]，清朝人。他生于康熙，卒于乾隆，经历“康乾盛世”，却一生贫苦。\n他年轻时因被乡绅羞辱，拒绝他为宗族祠堂作画。他一气之下，连夜在祠堂墙壁上画下高山云鹤、水国浮牛、悬崖青松、倚马题诗四幅画作，然后愤然离乡出走。\n他中年辗转于江南各地，与“扬州八怪”交往密切，成为扬州画派的代表人物，传世佳作皆被世人奉若珍宝。\n他晚年书、画、诗俱全，被称为“三绝”，人物、花鸟走兽、山水自然无不精通，终成一代名家。乃至后来者如吴昌硕、齐白石、徐悲鸿等大师也学习他绘画技法。\n在这里要特别提到的是，他笔下的画作，和别的艺术大师有些不同。\n嵒，通“岩”。华喦，人如其名。他的艺术成就如同山峰一般耸立在清代画坛，令无数后来者敬仰。自古以来善画走兽者甚多，但很少有人能画出百兽图。因此珍藏于北京故宫博物院的一幅《百兽图》便显得格外珍贵，它的作者便是华喦。\n此作为长卷画作，画面自右向左依次出现狗、牛、羊、马、鹿、狼、虎、猴、熊等动物，而一头老虎位居画面正中却面露囧态。画面中的动物们被华喦描绘的生动传神，栩栩如生，各具亮点。每一处局部独立展示便是一幅小品佳作，而纵览全画便犹如置身深山老林之中，处处散发着自然的生命力。\n画面最右侧，首先映入眼帘的是人类生活中常见的狗、牛、羊、马。\n接下来画面中来到河畔旁的草地上，一众动物在枫叶美景中悠闲地嬉戏打闹，但河对岸一只麋鹿正此刻正和一只灰狼对峙，凭添了几分紧张的气息。\n镜头继续向左转移，一只老虎在山坡的另一侧独自矗立。虽说老虎是百兽之王，可它此刻的面部表情却十分窘迫，甚至引得巨石上的猴子驻足观看。想来应该是它在头疼这森林的管理问题吧。\n随着我们的视角不断向左深入，画面中山石林立，藤叶纷飞，显得更加原始。而这里的主角变成了一群热闹的猴子，和两只争食的黑熊。\n整幅画作的最左侧，两只大黑熊在互相夺食，而另一只小黑熊却呆在山洞里悠闲地睡着懒觉，顿时令观者啼笑皆非。\n值得一提的是，华喦这幅《百兽图》除开陆地上生活的一群动物外，空中无鸟，水中无鱼。本应威武凶狠的老虎虽出画面正中心，却毫无威仪感，甚至显得有些窘迫。不知作者当时为何会如此创作。",[23,24,26,29,28,128,129,109,857,7,68,858,859,392,860,565,861],"猴","石","花草","犬","鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8e66486eac6115b5e7d13a3b541fdc.jpg",[],54,{"id":866,"slug":867,"title":868,"dynasty":205,"author":869,"museum":207,"description":870,"tags":871,"thumbUrl":872,"material":223,"size":873,"collection":136,"collections":874,"showCount":864,"zanCount":58,"manualWeight":58,"mainColor":78},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","董邦达","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[24,25,126,127,162,128,129,32,33,258,30,7,68,317,47,165,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[136],{"id":876,"slug":877,"title":878,"dynasty":102,"author":337,"museum":207,"description":879,"tags":880,"thumbUrl":883,"material":111,"size":185,"collection":55,"collections":884,"showCount":885,"zanCount":58,"manualWeight":58,"mainColor":78},219232,"hua-niu-dai-song-219232","画牛","戴嵩 ，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”。",[881,24,25,126,162,29,28,7,30,68,882,70,106],"唐代","小狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1d4166525a0816f7b92f6d8b121fdb.jpg",[55],53,{"id":887,"slug":888,"title":63,"dynasty":18,"author":470,"museum":207,"description":889,"tags":890,"thumbUrl":899,"material":73,"size":900,"collection":53,"collections":901,"showCount":902,"zanCount":58,"manualWeight":58,"mainColor":59},219014,"mu-niu-tu-yi-ming-219014","小河两岸溪流纵横，在树荫下草木茂盛，是放牧的好地方。牛群由六头牛组成，其中三头牛在争吵后相互厮打。而另外两个牧童则坐在牛背上，静静地交谈。笔力强劲，墨色厚重，画面没有标记，日期较晚。",[23,24,25,162,29,28,26,7,109,680,36,69,164,32,167,129,891,128,551,892,893,894,168,590,895,896,897,898],"淡墨","野趣","平远构图","草木","幼兽","动态","静谧","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dd986111c132cf50382a2bc3bf6d21.jpg","68.2x140.3",[53],52,{"id":904,"slug":905,"title":63,"dynasty":18,"author":470,"museum":278,"description":906,"tags":907,"thumbUrl":910,"material":73,"size":911,"collection":53,"collections":912,"showCount":902,"zanCount":58,"manualWeight":58,"mainColor":59},219013,"mu-niu-tu-yi-ming-219013","在池塘边的一棵柳树下，一头奶牛在舔她的小牛；不远处，一个牧童背靠着柳树睡觉，狭长的柳叶在风中飘动，温暖的阳光让春天的日子充满生机。这幅画是李唐和晏子平的遗作，他们都是著名的畜牧业画家，应该是大师级画家的作品。",[24,611,162,7,109,680,525,908,909],"池塘","春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa669771ee97905e8613b0c50bdb92e5a.jpg","24.7x25.6",[53],{"id":914,"slug":915,"title":916,"dynasty":18,"author":917,"museum":698,"description":918,"tags":919,"thumbUrl":922,"material":923,"size":924,"collection":53,"collections":925,"showCount":926,"zanCount":11,"manualWeight":58,"mainColor":59},221494,"long-gu-che-tu-li-song-221494","龙骨车图","李嵩","李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》、《水殿招凉图》，《观潮图》、《西湖图》、《仙山瑶涛图》，《骷髅幻戏图》、《观灯图》、《柳塘聚禽图》、《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,28,29,27,920,7,30,921],"农事","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a05840e2dc8620ab8a0852363b3faea.jpg","绢本墨画淡彩","25.626.4cm",[53,94,55],51,{"id":928,"slug":929,"title":930,"dynasty":205,"author":931,"museum":179,"description":932,"tags":933,"thumbUrl":935,"material":260,"size":261,"collection":185,"collections":936,"showCount":937,"zanCount":58,"manualWeight":58,"mainColor":78},290217,"shan-shui-shan-mian-2-zhang-xiong-290217","山水扇面-2","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[23,611,24,29,7,449,934,129,164,36,42],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88be39cdc3e376892292b3c895927355.jpg",[],50,{"id":939,"slug":940,"title":63,"dynasty":18,"author":470,"museum":179,"description":941,"tags":942,"thumbUrl":943,"material":359,"size":185,"collection":53,"collections":944,"showCount":937,"zanCount":11,"manualWeight":58,"mainColor":59},218663,"mu-niu-tu-yi-ming-218663","墨色晕染间，郊野清趣缓缓铺展。两头水牛憨态可掬：一头低首缓步，似嗅草间露气；一头驮着牧童悠然前行，弯弯牛角衬得身形愈发敦实。侧旁幼童牵绳随行，稚态尽显。左侧林木疏朗，枯枝横斜，藤蔓垂挂如帘，与右侧孤树相映，添了几分野逸之韵。山石起伏处，草木隐现，一派自然清旷。整幅画以淡墨勾染，线条温润细腻，将田园间的闲适宁静凝于绢素。似能闻得牛蹄踏土的轻响，牧童随口哼出的短调，尽显宋人笔下的生活意趣与山水情怀，将平凡日常淬炼成诗意的画面。",[23,24,25,28,128,7,30,68,129,373,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37756075c4b31aef394ddd6fd16cfcfe.jpg",[53],{"id":946,"slug":947,"title":948,"dynasty":18,"author":949,"museum":350,"description":950,"tags":951,"thumbUrl":952,"material":185,"size":185,"collection":53,"collections":953,"showCount":937,"zanCount":58,"manualWeight":58,"mainColor":954},202162,"ben-du-tu-juan-liang-tu-shan-202162","奔犊图卷","梁秃山","画面以简括笔墨勾勒奔牛动态，牛身墨色浓淡相间，肌肉张力隐现，四蹄腾空似奋力疾奔，尾梢甩动更添动感。旁侧小兽身形小巧，与壮牛形成对比，衬出牛之奔势。背景树木枝干疏朗，坡石以淡墨晕染，留白处尽显空濛，营造出野逸之境。整幅画作笔墨极简却意趣盎然，于瞬间动态中捕捉生命活力，尽显南宋文人画的写意精神与自然意趣。",[24,162,26,7,109,36,355,128,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6883540eba2ef1d4626cdca1f141cd96.jpg",[53],"a0855e",{"id":956,"slug":957,"title":958,"dynasty":102,"author":337,"museum":207,"description":959,"tags":960,"thumbUrl":961,"material":330,"size":962,"collection":342,"collections":963,"showCount":964,"zanCount":58,"manualWeight":58,"mainColor":78},218796,"hua-niu-tu-dai-song-218796","画牛图","壮硕的水牛缓步踏于郊野，肌理褶皱与蓬松毛发以浓淡墨色晕染，憨态中藏着沉实力量。牛背上的牧童半倚牛身，袖角轻扬似伴风哼歌，眉眼间漫着未泯的天真。旁侧老树枝干虬曲，墨叶层叠如盖，树下蜷伏的小狗探头张望，添了几分灵动野趣。\n\n整幅画以简练线条勾出轮廓，墨色深浅衬出物象质感，田园的悠然生机凝于尺幅。每处细节皆藏着对生活的细腻观察：牛蹄的厚重、牧童的松弛、树影的斑驳，仿佛能听见风过叶隙的轻响，与牧童唇边隐约的调子，瞬间跌入那片静谧的乡野时光里。",[23,126,24,25,162,29,28,7,30,68,106,564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c7dfa521d6e806e13ca8e77c45568ad.jpg","56.1x32.2cm",[342],49,{"id":966,"slug":967,"title":968,"dynasty":205,"author":470,"museum":434,"description":969,"tags":970,"thumbUrl":971,"material":73,"size":185,"collection":94,"collections":972,"showCount":973,"zanCount":58,"manualWeight":58,"mainColor":59},219557,"yi-ju-tu-yi-ming-219557","移居图","苍松虬劲盘绕，层岩峻壑氤氲古雅幽寂之气，林谷恍若世外桃源。一行人策蹇徐行，骑牛者衣袂舒展，神色悠然，随行众人或持物或顾盼，情态松弛怡然，将举家迁居的奔波，化为踏山寻幽的雅事。\n\n设色古淡沉着，绢面的岁月斑驳，更添沉静古意。山石以粗劲斧劈皴写就，古松笔墨苍劲老辣，人物线条细劲灵动，动静相映间，把隐世迁居的从容散淡尽数铺展，尽显寄情林泉的隐逸意趣，晕开东方古典人文的温雅余韵。",[23,24,25,29,28,128,129,30,7,36,131,391],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff184a8f18e6d13ec3a08cbd9aea9857b.jpg",[94],48,{"id":975,"slug":976,"title":977,"dynasty":102,"author":470,"museum":978,"description":979,"tags":980,"thumbUrl":985,"material":260,"size":261,"collection":185,"collections":986,"showCount":987,"zanCount":58,"manualWeight":58,"mainColor":59},226489,"ku-yong-dao-ding-bu-yi-ming-226489","窟甬道顶部","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[981,281,29,182,30,982,7,983,984],"壁画","动物","装饰纹样","建筑元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4891b46a78d4abcdaee6dc4824bd9eb.jpg",[],47,{"id":989,"slug":990,"title":991,"dynasty":144,"author":145,"museum":207,"description":992,"tags":993,"thumbUrl":994,"material":73,"size":995,"collection":342,"collections":996,"showCount":987,"zanCount":11,"manualWeight":58,"mainColor":59},218808,"wan-niu-tu-dai-jin-218808","纨牛图","中国人对于牛的情感不同于对待其他动物，这种感情是复杂且深厚的。这不仅是因为牛的性格敦厚老实，更主要的还是因为对于一个历史悠久的农业国家，牛在农耕文明中一直都担任着十分重要的劳动力角色，它几乎是每一个农村家庭不可缺少的伙伴。",[24,126,127,29,28,30,7,109,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2af2f1fd17bdb3ed688b14800f04d97.jpg","181x96.3cm",[342],{"id":998,"slug":999,"title":1000,"dynasty":144,"author":470,"museum":434,"description":1001,"tags":1002,"thumbUrl":1006,"material":73,"size":185,"collection":136,"collections":1007,"showCount":987,"zanCount":58,"manualWeight":58,"mainColor":59},217262,"jiang-nan-nong-shi-tu-yi-ming-217262","江南农事图","江南农事图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了江南农村的生活场景，包括农田耕作、收割、加工、运输、种植和养殖等内容。\n\n图画中有许多细节生动地展现了当时农村的生活方式。例如，图中的农夫们正在用牛耕地、用手提灌溉水桶灌溉农田，农妇们则在用手提筐采摘水果和蔬菜。图中还有农民们用手车运输农产品\n的场景。\n\n江南农事图还描绘了许多农村的建筑物，例如水井、磨坊、茅草屋等。这些建筑物是农民们生活中不可或缺的部分，在图中也得到了生动的展现。\n\n总之，江南农事图是一幅生动形象的作品，展现了明朝时期江南农村生活的精彩细节。它不仅是一幅艺术杰作，同时也是对历史的珍贵记录。",[23,24,126,29,550,461,7,30,1003,1004,1005,129,920],"茅草屋","水井","磨坊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5364f4bcc6551cb321b7a8a08cdfe4ee.jpg",[136],{"id":1009,"slug":1010,"title":1011,"dynasty":18,"author":470,"museum":207,"description":1012,"tags":1013,"thumbUrl":1015,"material":111,"size":1016,"collection":53,"collections":1017,"showCount":1018,"zanCount":58,"manualWeight":58,"mainColor":59},220235,"bian-zhuang-zi-ci-hu-2-yi-ming-220235","卞庄子刺虎2","宋人画卞庄子刺虎图，是从宋代遗存下来的古画，由于作品未留署名，尚不能确定作者是谁，有人推测是出自宋代李公麟之手！这幅画是一副寓意图，描绘的是两只老虎想吃一头牛，而卞庄又想猎杀两只老虎的场景，通过这些场景和最后结果的描绘想劝告人们做事不要只凭勇气，而没有智慧；另一方面的，也阐释出自己人“两只老虎”相争，最后却被别人得到利益。",[126,24,25,28,29,30,1014,7,317],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de4be4d0d370b1a0cbb18f0c2f5cb7e.jpg","39×169.1公分",[53],46,{"id":1020,"slug":1021,"title":1022,"dynasty":18,"author":470,"museum":179,"description":1023,"tags":1024,"thumbUrl":1032,"material":260,"size":261,"collection":185,"collections":1033,"showCount":1034,"zanCount":11,"manualWeight":58,"mainColor":59},290684,"ke-si-qing-niu-lao-zi-tu-zhou-yi-ming-290684","缂丝青牛老子图轴","画中人物为老子，姓李名耳，字聃。春秋时楚国人。道教认为老子即是「太上老君」在人间的化身。相传老子经过函谷关时，守山的官吏尹喜似乎感到东边的天空忽然一片紫气。他断定会有圣人将来此地。不久，果然见老子骑青牛从东边扬长而至。尹喜便请求老子著书传世，老子应允，便在函谷关著下五千言《道德经》，写完後便骑牛向西而去，其後即不知所终。",[127,1025,24,126,25,30,1026,7,1027,1028,29,1029,1030,1031],"缂丝","老子","青牛","道教","布料","祥云","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa336a1577cdc9d924e9eea1c51b6bf73.jpg",[],45,{"id":1036,"slug":1037,"title":1038,"dynasty":144,"author":1039,"museum":207,"description":1040,"tags":1041,"thumbUrl":1042,"material":223,"size":1043,"collection":94,"collections":1044,"showCount":1034,"zanCount":58,"manualWeight":58,"mainColor":78},216994,"ning-qi-fan-niu-tu-zhou-chen-216994","宁戚饭牛图","周臣","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[24,126,25,127,162,182,128,30,7,372,318,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fed04e633925c11d278f84b1628a630.jpg","126.7x68.9",[94],{"id":1046,"slug":1047,"title":1048,"dynasty":292,"author":293,"museum":294,"description":1049,"tags":1050,"thumbUrl":1052,"material":185,"size":185,"collection":185,"collections":1053,"showCount":1054,"zanCount":58,"manualWeight":58,"mainColor":78},220540,"qun-niu-xu-bei-hong-220540","群牛","以淡墨晕染浅草萋萋，浓墨勾勒水牛筋骨肌理，将乡野牧歌揉进笔墨之间。三头壮硕水牛犄角虬劲，皮毛以枯湿浓淡的墨色晕染，厚重朴拙的神态呼之欲出，幼牛灵动稚嫩，与老牛形成鲜活反差，尽显天趣。\n\n赤脚牧童步履悠然，衣角轻扬，寥寥数笔便将乡间孩童的自在松弛刻画得淋漓尽致。画面留白恰到好处，上部题款填补疏朗空间，诗画相映成趣，将江南郊野寻常放牧的日常，晕染成满是生机的诗意图景，兼具写意笔墨的意趣与田园温情，满溢质朴动人的烟火意韵。",[24,25,162,29,7,30,1051,109],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8efe1268ca4e88a89e6d9327f4fa9fe.jpg",[],43,{"id":1056,"slug":1057,"title":1058,"dynasty":144,"author":470,"museum":314,"description":1059,"tags":1060,"thumbUrl":1062,"material":73,"size":1063,"collection":94,"collections":1064,"showCount":1054,"zanCount":58,"manualWeight":58,"mainColor":59},219620,"ming-ren-lao-zi-chu-guan-tu-yi-ming-219620","明人老子出关图","古松虬劲盘绕城关，苍枝舒展如盖。老子安卧牛车之中，仆从前后相随，道童负囊循山径而来，行旅意态松弛悠然。远景山峦以斧劈皴挥写，雄奇险峻间晕染流岚云雾，晕化开山林的幽深空寂。画作以山水衬行旅，将道家归隐出关的澹然意趣，融于苍阔山景之间，人物刻画细腻生动，山水笔力刚劲爽利，把出世的超脱与山川的雄浑相融，尽显古典山水人物画的雅致意韵，藏着悠远沉静的道家风骨。",[24,25,126,127,29,30,129,31,391,7,41,68,164,128,1061],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b3b3a50865b6183c2ae52a94aaca214.jpg","纵140.3横67.5厘米",[94],{"id":1066,"slug":1067,"title":1068,"dynasty":144,"author":1069,"museum":207,"description":1070,"tags":1071,"thumbUrl":1072,"material":29,"size":1073,"collection":95,"collections":1074,"showCount":1054,"zanCount":58,"manualWeight":58,"mainColor":78},219459,"chun-geng-tu-lu-zhi-219459","春耕图","陆治","枯木疏枝间，春信暗生。农人执缰牵牛，缓步林间，牛蹄轻踏新萌的草色，似触到泥土苏醒的温度。前景孩童与幼畜嬉戏，憨态跃然纸上，为静谧春郊注入活泼意趣。笔墨简洁雅致，线条勾勒传神，枯树虬枝的苍劲与嫩草的轻软相映，尽显初春田园的质朴生机。画面未着浓艳色彩，却以日常劳作与嬉戏的细节，铺展耕读人家的恬淡岁月，于简淡中藏真趣，于寻常处蕴温情，让人沉浸在那份悠然自得的春日氛围里。",[24,25,127,28,29,7,30,390,69,106,550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dc445f537eb335e6d015ab4d279241.jpg","59.4x30厘米",[95],{"id":1076,"slug":1077,"title":1078,"dynasty":144,"author":470,"museum":434,"description":1079,"tags":1080,"thumbUrl":1081,"material":330,"size":185,"collection":94,"collections":1082,"showCount":1054,"zanCount":11,"manualWeight":58,"mainColor":59},218428,"ming-qing-ren-hua-ce-yi-ming-218428","明清人画册","绢本之上，老者凭牛缓行，须发垂落间尽显悠然。宽袍大袖以淡墨勾勒，线条洗练却藏风骨，衣袂似随清风微动。耕牛姿态稳健，四蹄轻移，犄角弯弯如新月，蹄尖点墨似踏过烟霞深处。画面不着山水，留白成韵，将观者思绪引向云外青山、林间溪涧。笔墨简淡却意趣绵长，老者眉宇间的恬淡与耕牛的从容相映，道尽超脱尘俗的隐逸之思。每一笔都似带着松风竹韵，让这份闲适漫溢开来，仿佛能闻得林间鸟语、草叶清香，令人心向往之。",[24,221,182,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1d0ad0973bfa1b1b8e6affbdfdb096.jpg",[94],{"id":1084,"slug":1085,"title":482,"dynasty":102,"author":337,"museum":434,"description":1086,"tags":1087,"thumbUrl":1089,"material":73,"size":1090,"collection":94,"collections":1091,"showCount":1054,"zanCount":58,"manualWeight":58,"mainColor":59},218364,"mu-tong-tu-dai-song-218364","它描绘了一头牛和一个人，牛很强壮，头很高，用蹄子向前走，男孩拿着一根树枝，骑在牛身上，斜着眼睛向左看，显然是被有趣的东西吸引了。",[126,24,25,162,29,30,7,390,107,106,1088,982,551],"唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0be78322a9eb453ec712a0ab48718e7.jpg","26.40x23",[94],{"id":1093,"slug":1094,"title":1095,"dynasty":292,"author":293,"museum":294,"description":1096,"tags":1097,"thumbUrl":1100,"material":1101,"size":185,"collection":185,"collections":1102,"showCount":1103,"zanCount":58,"manualWeight":58,"mainColor":78},220566,"xi-wo-hou-xu-bei-hong-220566","徯我后","焦土龟裂，流民褴褛。老者抬手极目远眺，干裂的唇畔似在发出喟叹，将渴盼化进焦灼的目光里；妇孺瘫倒在地，孱弱的身躯再也扛不住流离的苦楚。身旁水牛攒动，更衬出这方天地里的惶惶不安。\n\n沉郁的色调裹着悲怆，粗粝的笔触刻尽苦难。它借古抒怀，把乱世中人对救赎的祈盼，凝在每一道佝偻的背影里，每一双望穿秋水的眼眸中，是旧时代底层苍生呼号与热望的鲜活注脚。",[23,292,733,297,29,30,7,302,36,1098,1099],"荒郊","写实风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a716ceb0b89b148d93f747fef75255.jpg","布面油彩",[],42,{"id":1105,"slug":1106,"title":1107,"dynasty":18,"author":470,"museum":278,"description":1108,"tags":1109,"thumbUrl":1110,"material":223,"size":185,"collection":342,"collections":1111,"showCount":1103,"zanCount":139,"manualWeight":58,"mainColor":78},219089,"san-mu-tu-yi-ming-219089","散牧图","素净雪景铺展天地，淡墨晕染出苍茫清寂。枯树枝桠疏朗，似在寒风中轻颤；山石皴法简练，线条勾勒雪的厚重。几株老树苍劲，与留白雪地相映，更显悠远。牛群或缓步觅食，或嬉戏追逐，牧童骑于牛背，衣袂轻扬，尽展山野童趣。远处林峦朦胧，似隐似现，添了几分空濛。构图疏密有致，笔法细腻却不失洒脱，传递出人与自然相融的宁静之美，尽显雅致恬淡的意趣，仿佛能听见牧童的嬉笑声，随晚风消散在雪后的山林间。",[23,24,25,26,162,128,106,129,7,30,390,318,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d87cbb3dc7c63f2731e50347052b00d.jpg",[342],{"id":1113,"slug":1114,"title":1115,"dynasty":144,"author":1116,"museum":20,"description":1117,"tags":1118,"thumbUrl":1119,"material":134,"size":1120,"collection":185,"collections":1121,"showCount":1122,"zanCount":11,"manualWeight":58,"mainColor":78},233838,"wo-you-tu-ce-shui-niu-shen-zhou-233838","卧游图册－水牛","沈周","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,25,126,221,162,7,109,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F892357b8d795353c9df9c3dad573e9ae.jpg","纵27.8厘米，横37.3厘米",[],41,{"id":1124,"slug":1125,"title":1126,"dynasty":205,"author":470,"museum":1127,"description":1128,"tags":1129,"thumbUrl":1130,"material":223,"size":1131,"collection":342,"collections":1132,"showCount":1133,"zanCount":11,"manualWeight":58,"mainColor":59},219097,"shi-li-tu-yi-ming-219097","事犁图","费城艺术博物馆","斗笠覆顶，布衣宽袖，农夫躬身扶犁的姿态，似将田垄的气息凝在绢素之上。黑牛沉腰发力，犁铧划开的浅痕如时光笔触，在泛黄纸页间漾开生活真味。线条简劲却藏温度，无繁复设色，仅以墨色浓淡勾勒劳作肌理——农夫手背的筋络、牛身的鬃毛，都在极简中见生动。\n\n整幅画截取农耕日常的一瞬，无喧嚣，只有人与耕牛的默契，及土地里生长的烟火气。古朴绢色如岁月滤镜，让劳作的质朴更显厚重，仿佛能听见犁尖蹭过泥土的轻响，触到农人间歇时的喘息。这份对平凡劳作的描摹，藏着最本真的生活诗意，于简淡笔墨里，照见古人与土地相依的温情。",[24,182,162,30,7,404,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38490095cc1dab28575b96775c05b60e.jpg","23x27.1cm",[342],39,{"id":1135,"slug":1136,"title":1137,"dynasty":18,"author":1138,"museum":179,"description":1139,"tags":1140,"thumbUrl":1141,"material":260,"size":261,"collection":185,"collections":1142,"showCount":1143,"zanCount":11,"manualWeight":58,"mainColor":59},288537,"xue-jing-shan-shui-tu-liang-kai-288537","雪景山水图","梁楷","此图描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。在画幅左下角寒溪边缘有“梁楷”的落款。",[23,24,126,162,129,127,689,7,30,390,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4256a748fc84359256c2b38ef594ca2.jpg",[],38,{"id":1145,"slug":1146,"title":63,"dynasty":18,"author":608,"museum":179,"description":1147,"tags":1148,"thumbUrl":1149,"material":185,"size":185,"collection":185,"collections":1150,"showCount":1143,"zanCount":58,"manualWeight":58,"mainColor":59},227774,"mu-niu-tu-li-tang-227774","李唐牧牛图，绢本， 61X63cm ，北京故宫博物院藏。鉴藏印：奉使之印、项元汴印、退密、仙客、子京所藏、项墨林父秘籍之印、蔗田珍玩、项叔子、叶蔗田珍赏章、蔗田曾藏识者宝之、平生珍赏、畊霞溪馆、虚斋审定书画名迹 钤印：苏氏文印、西磵云樵、昌龄、苏。",[23,126,24,25,129,30,7,372,29,162,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc523ca70a1e521c7a8b3535a78de55.jpg",[],{"id":1152,"slug":1153,"title":1154,"dynasty":292,"author":1155,"museum":1156,"description":1157,"tags":1158,"thumbUrl":1159,"material":185,"size":185,"collection":185,"collections":1160,"showCount":1143,"zanCount":58,"manualWeight":58,"mainColor":78},220474,"mu-tong-he-niu-li-ke-ran-220474","牧童和牛","李可染","Hong Kong Museum of Art","以淡墨晕染水牛躯体，浓墨提点犄角、蹄足，虚实相映间将水牛憨沉体态尽数铺展，朴拙笔触晕开茸茸肌理，尽显牲畜温驯之态。牧童仅以数笔勾勒，随性伏于牛背，眉眼简淡却将乡野孩童的松弛自在全然流露，不见繁复刻画，却把乡野午后漫无目的的悠然闲趣定格。题印错落点缀留白，融文雅书卷气于乡野图景，整幅画以简驭繁，笔意温润朴拙，将田园日常的松弛诗意娓娓道来，淡而愈浓，静中生暖，把乡野间人与牲畜相伴的温煦闲逸，藏进水墨晕染的东方意趣之中。",[23,24,162,711,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85969e3b12abf542622314da3c0554.jpg",[],{"id":1162,"slug":1163,"title":1164,"dynasty":18,"author":1165,"museum":1166,"description":1167,"tags":1168,"thumbUrl":1169,"material":223,"size":185,"collection":342,"collections":1170,"showCount":1143,"zanCount":11,"manualWeight":58,"mainColor":59},218999,"niu-yang-tu-yi-yuan-ji-218999","牛羊图","易元吉","美国大都会艺术博物馆","笔墨简淡却意趣横生，画面左侧羊群散落，或低头啮草，或结伴游走，姿态憨拙灵动；右侧牛车沿坡而上，双牛奋力蹬蹄，车轱辘纹理清晰，赶车人衣袂轻扬，动态毕现。整幅画作以细腻线条勾勒物象，淡墨晕染衬出郊野氛围，动物神情与人物动态皆刻画入微，尽显宋代写生画的写实功底与生活意趣，于简约中见生动，于质朴中藏精巧。",[24,26,182,162,128,7,565,109,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1bb0575845dae604de9d8abc5bc93d4.jpg",[342],{"id":1172,"slug":1173,"title":1174,"dynasty":144,"author":1175,"museum":1176,"description":1177,"tags":1178,"thumbUrl":1179,"material":223,"size":185,"collection":185,"collections":1180,"showCount":1181,"zanCount":58,"manualWeight":58,"mainColor":78},228296,"lao-zi-qi-niu-chen-hong-shou-228296","老子骑牛","陈洪绶","1","画面以清简之笔勾勒出超脱意趣，老子清癯古雅，神色淡然恬和，衣褶线条凝练劲挺，带着金石质感，古拙高逸。水牛憨拙沉稳，缓步渡溪，笔墨朴拙间尽显生动意态。布景疏朗，几竿修竹斜逸出尘，淡赭坡岸搭配墨色流云，留白铺就出空寂悠远的道家天地。设色雅致柔和，浅绛基调晕染出古淡空灵的氛围，将清逸超脱的意境尽数铺展，把天人合一的玄妙意趣藏于笔底，尽显古雅奇崛的画风特质，沉静里裹挟着出尘的悠远韵味。",[23,24,29,28,30,7,317,318,33,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ce83cdace5474ad255b551c4c99211.jpg",[],37,{"id":1183,"slug":1184,"title":642,"dynasty":18,"author":643,"museum":207,"description":1185,"tags":1186,"thumbUrl":1189,"material":73,"size":650,"collection":185,"collections":1190,"showCount":1191,"zanCount":58,"manualWeight":58,"mainColor":59},288937,"san-guan-chu-xun-tu-ma-lin-288937","画面描绘了道教神仙“三官大帝”，表现了三官巡游天地的盛况。",[23,24,126,1187,1028,30,282,7,29,28,646,1061,448,1188],"宗教画","神仙出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8887bcfc399239609b214e9bf562900.jpg",[],36,{"id":1193,"slug":1194,"title":1195,"dynasty":205,"author":1196,"museum":207,"description":1197,"tags":1198,"thumbUrl":1201,"material":1202,"size":518,"collection":185,"collections":1203,"showCount":1191,"zanCount":58,"manualWeight":58,"mainColor":59},288829,"fang-yang-da-zhang-song-yuan-ben-jin-ling-tu-juan-feng-ning-288829","仿杨大章宋院本金陵图卷","冯宁","杨大章，清代画家，乾隆时期内廷供奉，善画山水、人物，最善画龙。\n\n其代表作品有：乾隆三十六年仿刁光胤写生册，乾隆四十四年仿宋宣和《柳鸦芦雁图》，乾隆五十五年仿陈容《九龙图》，乾隆五十六年仿《宋人金陵图卷》，其作品在市场上极少见到。清史记载「杨大章，亦赋色修洁，可与邹一桂颉颃，花鸟以二人为最工，其善画人物、花卉、翎毛，偶画山水，师法宋人。」说明了他的绘画造诣之高。其擅长水墨花卉，极有重名。常写五色菊，墨花五彩，有清冷隽逸之气。",[23,24,26,29,28,30,7,129,36,461,1199,31,1200,33,39,88],"民居","舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8fce5ba5993e927b3090298414355.jpg","绢",[],{"id":1205,"slug":1206,"title":1207,"dynasty":18,"author":1208,"museum":207,"description":1209,"tags":1210,"thumbUrl":1211,"material":111,"size":185,"collection":185,"collections":1212,"showCount":1191,"zanCount":58,"manualWeight":58,"mainColor":59},227397,"hu-xi-san-xiao-tu-xiao-zhao-227397","虎溪三笑图","萧照","宋代佚名《虎溪三笑图》，绢本设色，纵26.4厘米，横47.6厘米，无款印，钤“宣统御览之宝”、“珍秘”等鉴赏印四枚，现收藏在台北故宫博物院。画面中，古树参天，虎溪蜿蜒奔流，水花飞溅，红叶飘洒，雾霭沉沉；三位老者气宇轩昂，肢体夸张，面对淙淙虎溪，相识无语，仰天长笑；左一童子肩负包袱、右二童子牵驴等候，样子朴实天真。图中笔细劲锐，设色古雅，远山以淡墨勾染，古树细笔勾勒，浓墨点小树，山石则淡青色皴染，墨线勾勒轮廓，整幅画面相融一气，极富立体灵动之感，体现了宋人卓越的绘画成就。",[23,24,126,29,128,129,30,7,33,68,164,391,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709f3a195d6a3665c242433604b692d1.jpg",[],{"id":1214,"slug":1215,"title":1216,"dynasty":122,"author":470,"museum":368,"description":1217,"tags":1218,"thumbUrl":1220,"material":1221,"size":1222,"collection":136,"collections":1223,"showCount":1191,"zanCount":58,"manualWeight":58,"mainColor":59},223461,"shan-xi-shui-mo-tu-yi-ming-223461","山溪水磨图","《民物熙乐图轴》又名《山溪水磨图》，描绘了山水、楼阁、盘车，山石画法受北宋风格影响，画法写实，界画整饬，人物生动，富于浓郁的生活气息。画面上无题款及收藏印记，也未见画史著录，有印章数枚，但是模糊难辨，系20世纪50年代初辽宁省博博物馆从民间收购获藏。曾经有人认为是明代作品，从画风看应为元人所作，后来鉴定为元人真迹，是一幅带有界画特点的典型的民间风俗画，可以使我们了解到宋元风俗画、界画的面貌。",[23,24,25,29,129,27,28,31,33,164,36,30,7,1219],"水磨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3136e54ffa0e16bac85bd2b82cc151b.jpg","绢本淡设色，立轴","纵153.5厘米，横94.3厘米",[136,55],{"id":1225,"slug":1226,"title":63,"dynasty":18,"author":1227,"museum":179,"description":1228,"tags":1229,"thumbUrl":1230,"material":260,"size":261,"collection":185,"collections":1231,"showCount":1232,"zanCount":11,"manualWeight":58,"mainColor":59},289883,"mu-niu-tu-mu-xi-289883","牧溪","牧溪，俗姓李，佛名法常，号牧溪，四川人，大概时间为宋末元初，具体生卒年月不祥，但有资料记载牧溪于公元1281年逝世。代表作品有《老子图》《松猿图》《远浦归帆图》《潇湘八景图》。",[23,126,24,127,162,30,7,390,689,404,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aebcdcc31240055baee615d070987a9.jpg",[],35,{"id":1234,"slug":1235,"title":1236,"dynasty":18,"author":470,"museum":434,"description":1237,"tags":1238,"thumbUrl":1241,"material":73,"size":1242,"collection":136,"collections":1243,"showCount":1232,"zanCount":58,"manualWeight":58,"mainColor":59},219812,"dong-xue-mu-gui-tu-yi-ming-219812","冬雪牧归图"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风俗画的兴盛至晚出现在南宋时期，这和当时的商品经济、市民经济发展有关。",[23,24,25,26,28,182,30,7,35,551,1317,107,106,108],"耕作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65d45b34c3b7c6f1debaca0eb192617.jpg","27.2 x 101.5",[],{"id":1322,"slug":1323,"title":1324,"dynasty":729,"author":1325,"museum":179,"description":1326,"tags":1327,"thumbUrl":1329,"material":260,"size":261,"collection":185,"collections":1330,"showCount":1309,"zanCount":58,"manualWeight":58,"mainColor":200},231666,"shi-ting-shi-dai-fang-liang-kai-huang-chu-ping-tu-xue-zhou-231666","室町时代 仿梁楷黄初平图","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[24,25,162,182,210,30,7,1328,318],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cbaeb5a70ff2eeb09b8af16b85dbbcc.jpg",[],{"id":1332,"slug":1333,"title":1334,"dynasty":122,"author":1335,"museum":179,"description":1336,"tags":1337,"thumbUrl":1340,"material":185,"size":185,"collection":185,"collections":1341,"showCount":1309,"zanCount":11,"manualWeight":58,"mainColor":78},228037,"mo-lou-shu-geng-zuo-tu-chang-juan-cheng-qi-228037","摹楼璹耕作图（长卷）","程棨","此作以长卷铺陈田家岁时劳作全程，从垦壤播种到刈获登场，每段农事场景鲜活写实，农人的动作、形制各异的农具、田陇桑野的细节皆一一细致摹绘，还原出耕织劳作的质朴烟火。笔墨兼具宋画的精工写实，又暗含元人淡和的写意韵致。卷上题跋鉴印层层累叠，带着历代递藏的厚重脉络，将田家稼穑的日常，与文人题咏的雅致融于一卷，既是记录古代农桑的图像实录，也是承载着鉴藏史迹的书画珍存。",[23,24,25,26,210,29,28,107,106,30,7,299,460,1338,36,33,1339,32],"田地","稻禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c64d15f526a4ae7c823223adca9895.jpg",[],{"id":1343,"slug":1344,"title":1345,"dynasty":144,"author":1346,"museum":350,"description":1347,"tags":1348,"thumbUrl":1349,"material":185,"size":185,"collection":94,"collections":1350,"showCount":1309,"zanCount":58,"manualWeight":58,"mainColor":1351},203347,"lin-song-ren-hua-ce-chou-ying-203347","临宋人画册","仇英","画面分两段，左绘文人对弈，老者凝神落子，旁侍静观，衣袂线条流畅；右展庭院雅集与童戏场景，士人围坐清谈，孩童追闹、牧牛悠然，人物神态鲜活。设色淡雅温润，线条工细精准，既承宋画古雅意趣，又显独特细腻笔触，将文人闲逸与市井生动融于一卷，尽显古典绘画含蓄之美。",[28,29,210,30,7,221,106,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da32616a345d5f4cccdbfd95b0268cc.jpg",[94],"aa9271",{"id":1353,"slug":1354,"title":1355,"dynasty":292,"author":293,"museum":294,"description":1356,"tags":1357,"thumbUrl":1366,"material":185,"size":185,"collection":185,"collections":1367,"showCount":1368,"zanCount":58,"manualWeight":58,"mainColor":78},220557,"cun-ge-xu-bei-hong-220557","村歌","这幅画作以写意笔墨勾勒乡野童趣，壮硕水牛低首拽绳，墨色浓淡晕出皮毛的厚重肌理，犄角弯劲尽显憨倔神态。顽童扑卧浅草，手脚舒展，粉衫素裙晕染出稚拙灵动，与水牛的沉浑形成生动反差。\n\n远景以淡墨轻扫烟霭朦胧的水泽汀洲，浅赭点染滩涂，将江南水乡的柔婉晕染开来。画面未作刻意雕琢，却把乡野间的松弛鲜活尽数铺陈，牧童嬉牛的日常瞬间，化作治愈悠然的田园牧歌，藏着最动人的乡土温情。",[24,162,29,711,7,1358,1359,1360,551,1361,1362,1363,1364,1365],"孩童","乡野","水乡","童趣","治愈","浅草","滩涂","水泽汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f712e167bdddfd3099adcb0285d20e3.jpg",[],31,{"id":1370,"slug":1371,"title":1372,"dynasty":18,"author":1373,"museum":179,"description":1374,"tags":1375,"thumbUrl":1376,"material":260,"size":261,"collection":185,"collections":1377,"showCount":1378,"zanCount":58,"manualWeight":58,"mainColor":59},290081,"du-niu-tu-zhao-ji-290081","犊牛图","赵佶","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[24,25,108,107,30,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a1438d43f250c27a700ded5d75d9d2.jpg",[],30,{"id":1380,"slug":1381,"title":1382,"dynasty":18,"author":1383,"museum":179,"description":1384,"tags":1385,"thumbUrl":1387,"material":185,"size":185,"collection":185,"collections":1388,"showCount":1389,"zanCount":58,"manualWeight":58,"mainColor":59},227728,"liu-yin-mu-niu-tu-xia-gui-227728","柳荫牧牛图","夏圭","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,126,25,611,29,30,1386,7,68,129],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179c42d2f8f6243fd9a831f72ed6fb5e.jpg",[],29,{"id":1391,"slug":1392,"title":1393,"dynasty":18,"author":401,"museum":179,"description":1303,"tags":1394,"thumbUrl":1396,"material":260,"size":261,"collection":185,"collections":1397,"showCount":1398,"zanCount":58,"manualWeight":58,"mainColor":59},288952,"xue-zhong-gui-mu-tu-2-li-di-288952","雪中归牧图-2",[24,162,30,7,390,689,1395],"归牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F834f83e235421db8fff85457647de683.jpg",[],28,{"id":1400,"slug":1401,"title":1402,"dynasty":18,"author":797,"museum":179,"description":1403,"tags":1404,"thumbUrl":1406,"material":185,"size":185,"collection":185,"collections":1407,"showCount":1398,"zanCount":58,"manualWeight":58,"mainColor":59},227758,"qiu-ye-mu-niu-tu-yan-ci-ping-227758","秋野牧牛图","《秋野牧牛图》是画家阎次平所创作的一幅画，现藏于泉屋博古馆藏。\n\n《秋野牧牛图》描绘了真实生动的乡间生活情景。图中画二牧童和三牛。二牧童并坐于树下，安闲自若，一位似在给另一位捉虱子；一头大牛卧于树下，一小牛依卧母牛身旁，母牛伸过头来给小牛捉蝨子，另一牛向外奔去，自得其乐。树叶染红，杂以黄色，岸坡和远山则以淡墨轻抹勾勒。充满诗意，牛和牧童的刻画更体现出画家的细微观察力。\n\n阎次平 南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水、人物，尤工画牛，颇为生动。画法近李唐。存世作品有《牧牛图》等。弟次于，亦善画。",[23,24,162,29,28,128,129,68,7,1405,353],"田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0571f2ca0a021ab1e67ffbdcbdde86ef.jpg",[],{"id":1409,"slug":1410,"title":545,"dynasty":205,"author":546,"museum":20,"description":1411,"tags":1412,"thumbUrl":1413,"material":185,"size":554,"collection":185,"collections":1414,"showCount":1398,"zanCount":11,"manualWeight":58,"mainColor":78},223222,"geng-zhi-tu-ce-jiao-bing-zhen-223222","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,28,29,221,7,30,404,461,129,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c2295c618cbfb9ca0d09285cc0220c5.jpg",[],{"id":1416,"slug":1417,"title":1418,"dynasty":205,"author":470,"museum":179,"description":1419,"tags":1420,"thumbUrl":1426,"material":260,"size":261,"collection":185,"collections":1427,"showCount":1428,"zanCount":11,"manualWeight":58,"mainColor":78},267350,"xiu-xiang-yu-di-zhu-tang-ka-yi-ming-267350","绣像狱帝主唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[1421,1422,1423,281,1424,7,1425,1030,129,30,29],"唐卡","绣像","佛教","护法神","火焰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675f53e418a8ef7eecf65ba55f461038.jpg",[],27,{"id":1430,"slug":1431,"title":1432,"dynasty":122,"author":470,"museum":179,"description":1433,"tags":1434,"thumbUrl":1440,"material":260,"size":261,"collection":185,"collections":1441,"showCount":1442,"zanCount":11,"manualWeight":58,"mainColor":59},290163,"liu-min-tu-yi-ming-290163","流民图","此作以长卷铺展流民迁徙的群像。左侧农妇骑牛抱子，随行孩童或驱牛牵犬，涉水流民肩扛行囊、拖家带口，步履仓促间满是疲色。右侧岸上乡邻伫立眺望，神情怅惘，默默送别远去的乡人。\n画师以苍劲白描勾勒身形，衣纹顿挫利落，将流民的凄苦与不舍刻画入微，憨拙写实的水牛，与孩童懵懂嬉闹的情态，反衬出成人背井离乡的愁绪。淡墨晕染水岸山石，荒寂江野烘托出离乱氛围，未刻意渲染悲戚，却以日常迁徙细节，道尽乱世生民的辛酸，藏着对苍生疾苦的深切共情。",[23,24,26,1435,162,29,7,1358,42,1436,1437,1438,1439],"人物画","岸边","流民","民生疾苦","民俗场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6114084f09029b5f13855ef6b5090d.jpg",[],26,{"id":1444,"slug":1445,"title":1446,"dynasty":205,"author":1447,"museum":179,"description":1448,"tags":1449,"thumbUrl":1451,"material":260,"size":261,"collection":185,"collections":1452,"showCount":1442,"zanCount":58,"manualWeight":58,"mainColor":78},235410,"gui-mu-tu-zhou-ren-yi-235410","归牧图轴","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[24,25,127,162,29,711,128,7,30,390,392,1450],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a255d8a5587e721f7641ff82ff02e1.jpg",[],{"id":1454,"slug":1455,"title":1456,"dynasty":205,"author":1457,"museum":20,"description":1458,"tags":1459,"thumbUrl":1460,"material":330,"size":1461,"collection":94,"collections":1462,"showCount":1442,"zanCount":11,"manualWeight":58,"mainColor":78},219634,"lao-zi-qi-niu-tu-wu-chao-219634","老子骑牛图","吴焯","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。",[24,25,126,29,28,30,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdc7b0425ec06c744d6c192a567f8e64.jpg","纵63.17cm，横32.19cm",[94],{"id":1464,"slug":1465,"title":385,"dynasty":18,"author":1466,"museum":179,"description":1467,"tags":1468,"thumbUrl":1469,"material":185,"size":185,"collection":185,"collections":1470,"showCount":1471,"zanCount":58,"manualWeight":58,"mainColor":59},227415,"pan-che-tu-jiang-guan-dao-227415","江贯道","江贯道是北宋时期的画家，他名叫江参，贯道是他的字。 江贯道的山水画风格融合了董源、巨然的画风，擅画远山丛丛，水天一色。 清初的王鉴很喜欢江贯道的画风，临仿了多幅他的作品。 从清初四王的风格来看，他们都有强大的摹古能力，尤其是宋元名家的风格特征已经深深地烙印在他们的作品之中。",[24,126,25,129,29,128,373,372,7,41,30,447,391,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7232f33445e065218724fbbeadf8b1e2.jpg",[],25,{"id":1473,"slug":1474,"title":1475,"dynasty":18,"author":470,"museum":207,"description":1476,"tags":1477,"thumbUrl":1478,"material":73,"size":185,"collection":53,"collections":1479,"showCount":1471,"zanCount":58,"manualWeight":58,"mainColor":59},220388,"sha-yuan-fang-mu-tu-yi-ming-220388","莎原放牧图","收集中....",[23,24,162,29,7,109,1051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22188db02b9ab7fe1635f882a8d17db8.jpg",[53],{"id":1481,"slug":1482,"title":1483,"dynasty":18,"author":470,"museum":179,"description":1484,"tags":1485,"thumbUrl":1487,"material":185,"size":185,"collection":1287,"collections":1488,"showCount":1489,"zanCount":58,"manualWeight":58,"mainColor":248},243026,"cuo-jin-yin-xi-zun-yi-ming-243026","错金银牺尊","此器作昂首瑞牺之形，竖耳挺颈，身姿浑厚矫健，昂首抬颌尽显昂扬威仪。周身以错金银工艺饰满缠卷涡旋纹，金银细线在苍古铜色间盘转萦回，流畅婉转的纹路让瑞兽躯体兼具装饰美感与力量感。腹部开敞，既承续上古牺尊的礼器功用，又消解了造型的壅滞笨重。\n\n它复刻先秦牺尊古雅气韵，又融入时代摹古审美，苍润铜色与金银亮泽交织碰撞，将瑞兽威仪与装饰美学精妙糅合，尽显古朴雅致的匠造巧思。",[18,1285,1486,109,7,1280,1281],"错金银","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650b780727f792db9bb31d30c940c1fb.jpg",[1287],24,{"id":1491,"slug":1492,"title":1493,"dynasty":18,"author":444,"museum":179,"description":1494,"tags":1495,"thumbUrl":1496,"material":185,"size":185,"collection":185,"collections":1497,"showCount":1489,"zanCount":58,"manualWeight":58,"mainColor":59},227829,"wen-dao-tu-ma-yuan-227829","问道图","《明戴进洞天问道图》是明朝画家戴进创作的绢本设色画。\n描绘了深山大川、弥散的云气、 的青松、激荡的水流等山中之景。\n作品现藏于 。\n此图描绘 黄帝至 向 问道的故事。\n画面左侧峰峦突起，直入云霄，右侧古松茂蔚，老干虬枝。\n山谷险道上，身着衮服的皇帝孤身赴洞天问道。\n山石用斧劈皴，人物作琴弦描。\n设色淡雅。\n画风学南宋[画体]而又有元人秀劲的特色，为戴氏前期比较精微优美的佳构。\n画中署有[同郡戴文进为德宣卿友制]。\n后钤[钱塘戴氏文进]、[文进]二。\n此画笔法劲秀，描写精工，皴染淹润，着色清淡，画面境界有一种神秘幽渺之感。\n整幅作品皴法繁密，有条不紊，理在其中，深远之处用墨稍重，皴擦紧密，传达出了空间深远之感。\n图中山谷险道通往洞天，左侧峰突兀，右边长松茂蔚。\n山石用斧劈皴，人物作琴弦描，结构严谨，笔法秀劲，系南宋院体画法，属于 前期比较精微、优秀的佳作。\n戴进（公元188—1462年），明代画家，《明商录》作名班，学文进，号静庵，父号玉泉山人。\n钱塘（今浙江杭州）人。\n少时作银工，所作钗朵精巧绝伦，以为得以传之久远，后见销银者所熔销之物即出已作，遂改学画。\n神像、人物、走善、花果，翎毛俱精绝。\n所作山水，师马远，夏理，并取法轮照、李唐，俱道劲苍洞，行管顿挫多变，设色敷积沉重出严。\n宜宗时与谢廷循等同为待识，因进绘朱农人垂钓而遭谗。\n放归穷死。\n世评戴进为“浙派”之祖，明朝画流第一。\n传世作品有《春山积翠图》轴、《南屏雅集图》卷等。",[23,126,24,25,162,182,29,30,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe614a528d695d5f88bfee95f233c5e03.jpg",[],{"id":1499,"slug":1500,"title":1501,"dynasty":102,"author":470,"museum":978,"description":979,"tags":1502,"thumbUrl":1503,"material":260,"size":261,"collection":185,"collections":1504,"showCount":1489,"zanCount":11,"manualWeight":58,"mainColor":59},226414,"ku-zhu-shi-nan-bi-yi-ming-226414","窟主室南壁",[981,281,29,30,27,109,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f37073b44ca6087c9d75e7730b2c2f7.jpg",[],{"id":1506,"slug":1507,"title":1508,"dynasty":1509,"author":470,"museum":179,"description":1510,"tags":1511,"thumbUrl":1517,"material":260,"size":261,"collection":185,"collections":1518,"showCount":1519,"zanCount":58,"manualWeight":58,"mainColor":59},224089,"shi-er-sheng-xiao-jing-yi-ming-224089","十二生肖镜","隋","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[1512,1280,1285,1281,1513,7,1014,283,282,1514,35,565,857,1515,564,1516,921],"隋代","鼠","蛇","鸡","猪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4279e31dfdc5b014a6c52949e36c2b.jpg",[],23,{"id":1521,"slug":1522,"title":1523,"dynasty":18,"author":470,"museum":207,"description":1524,"tags":1525,"thumbUrl":1534,"material":359,"size":1535,"collection":185,"collections":1536,"showCount":1519,"zanCount":58,"manualWeight":58,"mainColor":59},223424,"song-ren-ping-chou-hu-du-zhou-yi-ming-223424","宋人平畴呼犊轴","树叶和芦矛经霜成了赭黄色，秋意已深。在平原上游散着一大一小两头牛，小牛被遗落在后，急了便高耸着鼻子呼唤。母牛停下了脚步，回过头来等候着，足见母子情深。画家描绘小牛的鸣叫，张着唇吻，屈着前足，背高高的耸起，尾却朝上轻摇。对牛在鸣叫时骨骼筋络的反应，研究观察得非常精细，使人看了，仿佛也可以听到小牛的呼叫声。诚为一南宋无款佳作",[23,24,25,127,29,28,7,109,390,1526,1527,131,894,1405,1528,1529,1530,1531,1532,1533,297],"杂草","平野","水牛","犊牛","枝干","土坡","草丛","细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1f0accd9c0ce6a2dcc5675ccf7d880.jpg","97x52.4",[],{"id":1538,"slug":1539,"title":1540,"dynasty":122,"author":230,"museum":1166,"description":1541,"tags":1542,"thumbUrl":1544,"material":234,"size":1545,"collection":185,"collections":1546,"showCount":1519,"zanCount":11,"manualWeight":58,"mainColor":78},222607,"xi-cheng-gui-le-tu-tu-juan-zhao-meng-fu-222607","西成归乐图图卷","这幅画以人和家畜为材料，描绘了人们的欢乐。 图中的家畜包括牛、驴和狗。 人物包括老、中、轻、女人和婴儿。 他们手里拿着东西，脸上挂着微笑。 作者用丰富自然的表情精心绘制了每一张笑脸，表达了人们幸福的心情！",[23,24,25,26,29,30,7,563,564,28,108,107,550,475,1543],"服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3dd48200465c183774dfee6b68d610.jpg","22.9×89.5",[],{"id":1548,"slug":1549,"title":1174,"dynasty":122,"author":1550,"museum":207,"description":1551,"tags":1552,"thumbUrl":1555,"material":260,"size":261,"collection":185,"collections":1556,"showCount":1557,"zanCount":58,"manualWeight":58,"mainColor":59},287530,"lao-zi-qi-niu-yan-hui-287530","颜辉","颜辉，字秋月，生卒年不详，庐陵（今江西吉安）人，一作浙江江山人。宋末元初时人物画家，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，在画法上喜作水墨粗笔，用笔劲健豪放，笔法粗犷，有梁楷遗法。元代由于山水画、文人画兴起，作为人物画家的颜辉在中国画史埋没无闻，由于其作品流传日本较多，颜辉在日本受评甚高，对日本室町时代的绘画有较大影响。传世代表作有《钟馗雨夜出游图》，《蛤蟆仙人像》，《李仙像》，《猿图》。",[24,25,127,30,182,162,7,1553,1026,130,1554],"道家","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec6acefc1a511537d785d80eee4c4a2.jpg",[],22,{"id":1559,"slug":1560,"title":1561,"dynasty":144,"author":1562,"museum":179,"description":1563,"tags":1564,"thumbUrl":1565,"material":260,"size":261,"collection":185,"collections":1566,"showCount":1557,"zanCount":58,"manualWeight":58,"mainColor":78},236802,"xue-jing-shan-shui-shan-mian-liu-yuan-qi-236802","雪景山水扇面","刘原起","初名祚，以字行，更字子正。工诗，画山水，师钱谷，颇肖其神",[24,25,611,162,689,129,390,35,7,32,30,106,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f75ef4b3c71050ae92fa9a1cfdaad8.jpg",[],{"id":1568,"slug":1569,"title":336,"dynasty":102,"author":337,"museum":179,"description":1570,"tags":1571,"thumbUrl":1573,"material":185,"size":185,"collection":185,"collections":1574,"showCount":1557,"zanCount":58,"manualWeight":58,"mainColor":59},227249,"dou-niu-tu-dai-song-227249","《斗牛图》传为唐代画家 所画的绢本水墨画，现藏于台北故宫博物院。\n此图绘两牛相斗的场面，风趣新颖。\n一牛前逃，似力怯，另一牛穷追不舍，低头用牛角猛抵前牛的后腿。\n双牛用水墨绘出，以浓墨绘蹄、角，点眼目、鬃毛，传神生动地画出斗牛的肌肉张力、逃者喘息逃避的憨态、击者蛮不可挡的气势。\n牛之野性和凶顽，尽显笔端。\n图中画两牛相斗，一头牛用角觝触，另一牛却旋转著身子，好像虽败而欲再迎战。\n此幅画牛，身驱颇为健壮，大有蛮劲足以力仆万人之慨。\n图中右上方有乾隆题诗：“角尖项强力相持，蹴踏腾轰各出奇。\n想是牧童指点后，股间激露尾垂垂。\n” 中国人对于牛的图腾崇拜，可以追溯到4年前的大禹治水时期。\n传说大禹每治好一处水患，就要铸铁牛投入水底，以示镇压，等到了唐代，就将镇水的铁牛改设岸上了。\n在中国老百姓的眼中，牛更多的美德是埋头苦干而从无怨言的品质，是勤劳的象征。\n然而，野牛的彪悍好斗却也是人所共知的。\n世界上不少民族都有“斗牛”的传统风俗，而我国的斗牛习俗，则要溯源至公元前2年春秋战国时期。\n据《水经注》记载：秦李冰治蜀，为根治水患造福蜀地百姓而修建“都江堰”，触怒了江神，两者化作两头公牛激烈搏斗，李冰在下属的帮助下刺杀了江神，从此蜀地再无水患。\n蜀人敬仰李冰的勇敢果决，遂将体格健壮的青年称作“冰儿”，而斗牛也就成为蜀人历史悠久的习俗：宋初编纂的《太平广记》就记载汉晋之后蜀地已流行斗牛之戏。\n出身书香门第的戴嵩从小热衷书画，水牛画得很好，年少即有名。\n《斗牛图》就是他创作的关于“牛”题材绘画之一。\n关于此图是否是戴嵩真迹还有争议，从其画风观之，此作或属明中期以前辗转流传的摹本。\n画面上一牛昂首腾空，前蹄离地，作躲闪状，看似已斗不过，也许在作迂回战，以逃状作避，伺机反扑；另一牛，鼓足力气，急速猛冲，低头侧目，四肢有力蹬地，将一只垮角猛击逃牛的后腿。\n呈现出一场激烈厮杀的惊险场面。\n画家用水墨淋漓、笔触刚健的艺术形式，画出一窜一追、一抵一昂、一冲一跃的两头牛，浑身绷紧的肌肉，显示牛的强壮有劲；前头那腾空的蹄，那踢蹴的腿，那昂首喘气的憨态；后头那低头猛击的蛮劲，很有将对方挑起猛摔之势；活灵活现地表现了斗牛的野性与凶顽，以及进攻与防御双方的伎俩；此画之所以颇见风趣和新意，是由于画家对牛的牛活和特性有朴殊感受，善于对于一定情势下的牛的特殊表现，作出别出心裁的处理；两牛相斗的动人情节，不止于外形的逼真，而是有情趣的牛的描写，体现了画家的笔墨熟练和细心观察。\n从构图看，画家选择了两牛相斗高潮似刚过去、但搏斗仍在继续这一瞬间的场面，加以刻画，颇见风趣和新意。\n作者以清淡朦胧的背景，在于使人有置于茫野的感受，其目的为了突出主题 。\n烟台大学教授、中国美术家协会会员 ：透过《斗牛图》精湛的表现力，我们还可以体验到作者在哲学上的良好修养。\n那主体、背景的浓、淡对比，那寓静于动的玄妙构图，那失去平衡的稳态造型，无不渗透着本民族古典哲学的精髓。\n这一点在唐以前的作品中是很少见到的。\n由图上题跋可知，该图曾经入清宫，经乾隆帝鉴赏。\n现藏于台北故宫博物院。\n该图收录于：盛京故宫书画录（卷一） ，第一册；故宫书画录（卷八），第四册；故宫书画图录，第十五册。\n戴嵩，唐代画家。\n最初学画时，以 为师，韩滉镇守浙西时，嵩为巡官。\n擅画田家、川原之景，写水牛尤为著名，后人谓得“野性筋骨之妙”。\n相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。\n明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。\n”与韩干之画马，并称“韩马戴牛”。\n传世作品有《斗牛图》。\n牛有青出于蓝的声誉，又擅长于农家风景。\n他的弟弟 也以画牛而闻名。",[23,24,162,126,881,7,109,30,68,858,1572],"斗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F585082e468b1730f72d9bc88f06964e5.jpg",[],{"id":1576,"slug":1577,"title":1578,"dynasty":18,"author":1579,"museum":207,"description":1580,"tags":1581,"thumbUrl":1583,"material":260,"size":261,"collection":185,"collections":1584,"showCount":1585,"zanCount":58,"manualWeight":58,"mainColor":59},291006,"wu-liang-shou-fo-xiang-zhou-chen-ju-zhong-291006","无量寿佛像轴","陈居中","陈居中，南宋时期著名画家，擅人物、蕃马、走兽等，作品多描绘西北少数民族生活情态及鞍马，多表现社会混乱、民族矛盾给人们带来的离别痛楚。",[24,126,127,281,29,30,1582,7,107,106,28],"佛像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a06c99350f9755c09cbed1f5acce7a.jpg",[],21,{"id":1587,"slug":1588,"title":1589,"dynasty":144,"author":470,"museum":20,"description":1590,"tags":1591,"thumbUrl":1593,"material":73,"size":185,"collection":94,"collections":1594,"showCount":1585,"zanCount":58,"manualWeight":58,"mainColor":59},219294,"mu-niu-du-shu-tu-yi-ming-219294","牧牛读书图","柳丝如缕，垂落于苍劲的老干间，墨色线条似有若无，牵起几分空濛诗意。牧人身着宽袍，缓步随牛而行，衣袂在微风中轻摆，简淡笔触勾勒出闲适姿态。牛儿低首，肌理以淡墨晕染，温顺得似与主人心意相通。田埂草色稀疏，却衬得天地愈发宁静。画面无喧嚣，只有自然与人物的和谐相融——是牧歌里的悠然，还是文人笔下的田园逸趣？淡墨浅染间，时光仿佛慢了下来，每处线条都藏着对尘世之外的向往，让观者沉下心，品味这片刻清宁。",[23,24,25,127,162,29,30,7,525,372,318,69,1592],"牧牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6eb5b132178a7cac92aa8154cb10fdd.jpg",[94],{"id":1596,"slug":1597,"title":1598,"dynasty":18,"author":797,"museum":179,"description":1599,"tags":1600,"thumbUrl":1602,"material":185,"size":185,"collection":185,"collections":1603,"showCount":1604,"zanCount":58,"manualWeight":58,"mainColor":59},227755,"jiang-di-fang-mu-tu-yan-ci-ping-227755","江堤放牧图","《四季牧牛图》是南宋画家阎次平创作的绢本浅设色画，现藏于南京博物院。\n\n此画共四幅。春牧绘春野柳坡，细草如茵，一童牧二牛于其间。夏牧绘高树浓荫，芦池夏草，二童跨牛浮水而渡。秋牧绘霜叶满地，幼犊依偎于牝牛，牡牛缓步于傍，牝牛坐弄蟾蜍。冬牧绘雪地残草，寒风呼号，牧童牵牛而归。全图画树木用笔粗简，画牛则精细勾描，人物尤为生动。",[23,24,25,611,29,129,128,28,7,1601,36,165,318,33,1306],"堤岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a261f44b092c6d8d8542f432afd33d.jpg",[],20,{"id":1606,"slug":1607,"title":1608,"dynasty":18,"author":470,"museum":350,"description":1609,"tags":1610,"thumbUrl":1611,"material":73,"size":185,"collection":95,"collections":1612,"showCount":1604,"zanCount":58,"manualWeight":58,"mainColor":59},219744,"liu-xia-shuang-niu-tu-yi-ming-219744","柳下双牛图","画中柳树下悠闲的南方水牛，一母一子，尽管母牛背向而站，但眼神紧盯着小牛，而小牛似乎正围着母牛撒欢。另一侧，农夫辛勤的在水田里劳作。",[24,611,162,29,7,109,372,1386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd182958fae8609b7da0dda8ab0764823.jpg",[95],{"id":1614,"slug":1615,"title":482,"dynasty":102,"author":337,"museum":434,"description":1086,"tags":1616,"thumbUrl":1089,"material":359,"size":185,"collection":94,"collections":1617,"showCount":1604,"zanCount":58,"manualWeight":58,"mainColor":59},219563,"mu-tong-tu-dai-song-219563",[24,25,162,30,7,373,372,107],[94],{"id":1619,"slug":1620,"title":63,"dynasty":144,"author":1621,"museum":207,"description":1622,"tags":1623,"thumbUrl":1624,"material":223,"size":1625,"collection":55,"collections":1626,"showCount":1604,"zanCount":58,"manualWeight":58,"mainColor":78},219384,"mu-niu-tu-lv-kong-dao-ren-219384","屡空道人","墨书与绘事共构一卷田园清趣。卧牛以简淡墨痕晕染慵懒之态，双角弯翘憨态可掬；牧童侧坐其旁，眉眼间流露天真，一旁草帽斜倚，似是歇晌时的随性。笔墨洗练传神，寥寥数笔便勾勒出郊野间的悠然片刻。书法笔势流畅，与画面相映成趣，尽显文人画的雅致意韵。整卷如一缕清风，携着田园闲适与童趣，将平凡日常点染成诗意栖居，引人沉醉于这份静谧安然的时光里。",[126,24,25,127,162,108,106,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78f17b37170f269d261e6ddbb3a2a0b.jpg","73.6x37.4",[55],{"id":1628,"slug":1629,"title":63,"dynasty":18,"author":470,"museum":1630,"description":1631,"tags":1632,"thumbUrl":1633,"material":73,"size":185,"collection":342,"collections":1634,"showCount":1604,"zanCount":58,"manualWeight":58,"mainColor":59},219261,"mu-niu-tu-yi-ming-219261","奈良国立博物馆","近景处，牧童束发短衣，执绳牵挽，牛犊低首啃青，蹄下草石错落，野趣盎然。远山含黛，云气轻笼，几株松影点缀坡岸，右上角枯枝疏梅，添得清寂。笔墨简淡却意韵悠长：牧童衣纹用线简练传神，牛身墨色晕染浑厚，山水以淡墨渲染出空濛之境。绢本的古雅色泽，更衬出田园生活的静谧悠然。右上角题字与钤印，融诗画于一体，尽显宋人“以物寄情”的审美意趣——不刻意雕琢，却于寻常景致中藏着对自然与生活的深情观照。",[23,126,24,29,127,28,30,7,129,165,36,70,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37ea1289e3fa5c09c47ae388263d40f.jpg",[342],{"id":1636,"slug":1637,"title":1638,"dynasty":18,"author":608,"museum":20,"description":1639,"tags":1640,"thumbUrl":1641,"material":111,"size":613,"collection":185,"collections":1642,"showCount":1643,"zanCount":58,"manualWeight":58,"mainColor":59},233214,"liu-yin-mu-niu-tu-ye-li-tang-233214","柳荫牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的。\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。\n《东图玄览》记：“李唐《春牧图》，牛欲前行，童子力挽之，势甚奇。”吴其贞《书画记》载：“李唐《风归牛图》……有一牛乘风而奔，气韵如真，为神晶。”又记：“李唐《牧牛图》绢画一幅，树下有水，牛欲右行，而牧童欲牵左转，两下努力相持，使观者亦自费力。”以上记载，亦可略见李唐画牛成就之一斑了。李唐画的牛今日已不多见了。《乳牛图》一直传为李唐之作，在传世的宋人画牛图中，似此图者不少，然如此图之精彩者却不多。现存画迹中，南宋的画牛图还不算太少，大抵皆受李唐的影响。\n李唐(约1066一约1150)字晞古，河南人，乃南宋画院“四大家”之一，宋徽宗时就已是画院待诏。后因战乱被俘，遂又潜逃南渡，历尽颠沛流离之苦，一度落泊于南宋都城临安，靠卖画度日。后被高宗赵构重用，仍任朝廷画院旧职。李唐的山水、人物、走兽皆精，而山水最佳，创大斧劈皴法，所作长图大幛，气势宏伟，独步南宋画坛。晚年代表作有《清溪渔隐图》等留世。其人物画富李公麟遗韵，却性格刻画突显，且多绘文人高士形象，如《七贤过关图》、《采薇图》等。史传他极擅画牛，但存世作品真伪难辨。",[24,25,221,162,29,128,1386,7,30,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9caed9a29913ebe1ad5d983892d9d17.jpg",[],19,{"id":1645,"slug":1646,"title":336,"dynasty":122,"author":1647,"museum":179,"description":1648,"tags":1649,"thumbUrl":1651,"material":185,"size":185,"collection":185,"collections":1652,"showCount":1643,"zanCount":58,"manualWeight":58,"mainColor":59},228247,"dou-niu-tu-dun-min-228247","敦敏","郊野荒寒，枯木虬劲苍古，枝桠疏朗斜伸，带着冬日萧索静气。前景双牛犄角相抵，四蹄攒劲，肌肉紧绷贲张，将斗牛憨猛相争的张力尽显，朴拙写实，鲜活灵动。\n以静衬动，萧寂的野景衬出斗牛的生猛勃发，右上角题诗呼应画中趣味，笔墨苍简淡远，将山野朴趣与文人画的清冷意韵相融，于简约留白间晕染出悠然生机，尽显笔墨疏淡雅致的侘寂之美。",[23,1650,126,24,25,127,28,29,7,109,390,164],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37247abe557be32eff5ae6096d2856e.jpg",[],{"id":1654,"slug":1655,"title":63,"dynasty":18,"author":401,"museum":179,"description":1656,"tags":1657,"thumbUrl":1658,"material":185,"size":185,"collection":185,"collections":1659,"showCount":1643,"zanCount":58,"manualWeight":58,"mainColor":78},227950,"mu-niu-tu-li-di-227950","淡墨晕开暮色山岗，枯木寒槎的枝桠如铁线劲挺，萧疏间漫着郊野冬日的荒寒意趣。坡岸间老牛缓步垂首，憨拙身形似正衔着衰草慢行，幼犊轻捷随行左右，一大一小的动静反差，晕开牧归时分的松弛温情。\n\n画作以淡赭晕染坡石，水墨铺陈烟霭，不着过多繁复刻画，以极简笔墨铺展出山野清寂氛围，于淡远荒寒中藏着质朴的田园意趣，寥寥数笔便融物态与意境为一体，尽现独有的雅致淡远诗意。",[23,126,24,25,611,29,28,129,317,68,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f28a98374dd8c8b309719c6f9a66639.jpg",[],{"id":1661,"slug":1662,"title":1663,"dynasty":18,"author":470,"museum":350,"description":1664,"tags":1665,"thumbUrl":1668,"material":73,"size":185,"collection":342,"collections":1669,"showCount":1643,"zanCount":58,"manualWeight":58,"mainColor":59},219262,"xie-sheng-si-duan-tu-yi-ming-219262","写生四段图","四段景致各蕴生机。首段猫卧石边，茸毛细腻如绒，石肌理古拙苍然，静中藏韵；中段数兽嬉游郊野，或低啮青草，或昂首顾盼，姿态鲜活，野趣盎然；末段枯槎疏竹旁，禽鸟栖止，枝干虬曲见骨，笔墨简淡却传物之神；最末猫踞笼畔，犬趋前欲动，笼栅细劲入微，猫狗情态宛然，尽得生活意趣。全卷以写生之笔摹万物，线条精准，墨色层次有致，于细节处显匠心，足见写实功力之深。",[23,24,126,25,28,29,1666,7,35,1667,109,318,68,317,736],"写生","猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901bd7646e4d18c3736a30353ef0db54.jpg",[342],{"id":1671,"slug":1672,"title":1673,"dynasty":18,"author":470,"museum":350,"description":1674,"tags":1675,"thumbUrl":1678,"material":185,"size":185,"collection":185,"collections":1679,"showCount":1643,"zanCount":58,"manualWeight":58,"mainColor":1680},202372,"chun-geng-tu-wan-shan-ye-yi-ming-202372","春耕图纨扇页","这幅纨扇页笔墨清雅，远山以淡墨晕染，朦胧间层叠有致；近树枯枝疏朗，悄然透出春的萌动。田埂交错处，耕者与牲畜的身影简淡却鲜活，传递出春耕时节的质朴生机。画面以细腻皴擦表现土地肌理，淡设色温润雅致，将田园静谧与劳作意趣融于方寸之间，尽显宋人对自然与生活的入微体察，意境悠远动人。",[24,611,162,29,128,129,36,1676,1677,7,23],"田埂","耕者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84e59907211dd5078a76d9f72d459b0.jpg",[],"705540",{"id":1682,"slug":1683,"title":1684,"dynasty":122,"author":470,"museum":207,"description":1685,"tags":1686,"thumbUrl":1687,"material":1688,"size":1689,"collection":136,"collections":1690,"showCount":1691,"zanCount":58,"manualWeight":58,"mainColor":59},232263,"mu-meng-zhan-feng-tu-yi-ming-232263","牧梦占丰图","日已斜挂，远处重岭，烟岚迷濛，村居隐现。前景岸上有柳石环成一状似舞台之空间。一牧童正为牛系紖牛首偏倚，尾巴轻摆，温驯乖巧。另有三牛卧地休憩。一体大健硕，花白相杂；另二当为母子，双目相对，爱意无限。旁有一牧童以簑代席，枕膝而眠，面容祥悦，彷入好梦。身后却有同伴恶作剧而至。\n柳树干老槎枒，而枝嫩幼叶；远方桃林花开繁茂，点缀地通幅春意盎然。树石绘法与元意趣类明浙派风格，或为其先驱。",[24,25,127,29,128,129,36,7,30,373,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c1f7ae0a2d7bf6eae0fc73297bbaa5.jpg","绢本浅设色","147.1x98.1厘米",[136],18,{"id":1693,"slug":1694,"title":1695,"dynasty":18,"author":470,"museum":20,"description":1696,"tags":1697,"thumbUrl":1702,"material":91,"size":1703,"collection":185,"collections":1704,"showCount":1691,"zanCount":58,"manualWeight":58,"mainColor":59},223480,"mo-liang-ling-zan-xing-xiu-tu-juan-yi-ming-223480","摹梁令瓒星宿图卷","全卷画五星和二十八宿神形（现存五星十二宿）。五星即五大行星：金、木、水、火、土，二十八宿是古人用作观测日月五星运行坐标的二十八组星座，环列在日月五星的四方，犹如诸星的栖宿场，故称二十八宿。",[24,25,26,210,28,29,281,30,1698,1699,7,35,1700,1701,1543],"神怪","星宿","龟","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82126ff917ff070f22cf00c6e8f9a55c.jpg","27.5x489.7厘米",[],{"id":1706,"slug":1707,"title":482,"dynasty":18,"author":470,"museum":434,"description":1708,"tags":1709,"thumbUrl":1710,"material":111,"size":185,"collection":94,"collections":1711,"showCount":1691,"zanCount":58,"manualWeight":58,"mainColor":59},219056,"mu-tong-tu-yi-ming-219056","苍润绢本晕开宋时的清寂。老松如盖，虬枝盘结，墨色沉郁间藏着笔底苍劲；坡地之上，牧童斜倚牛背，似梦似醒，牛儿低首啃青，憨态可掬。寥寥数笔，便将乡野的自在勾勒得淋漓尽致。远处云气轻笼，山峦隐现，留白处尽是悠远意韵。没有繁复铺陈，极简构图里，田园的静谧与生命的松弛揉进每寸笔墨。风过松梢的轻响，牧童鼻息的绵长，仿佛都藏在这墨色深浅间——宋画的烟火与诗意，原是这般不着痕迹，却动人心弦。",[23,24,126,611,162,129,30,7,372,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b347b3f67fc81eebd171ee0cbca07b.jpg",[94],{"id":1713,"slug":1714,"title":1715,"dynasty":144,"author":1716,"museum":20,"description":1717,"tags":1718,"thumbUrl":1719,"material":330,"size":1720,"collection":342,"collections":1721,"showCount":1691,"zanCount":58,"manualWeight":58,"mainColor":78},216927,"hua-niu-shan-ye-zhang-hong-216927","画牛扇页","张宏","张宏（1577—？年），字君度，号鹤涧，江苏苏州人。善画山水，师法沈周而略有变化，画风苍秀，亦善人物。",[24,611,162,7,525,30,109,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccc76923873475685601e9d35f19f81.jpg","纵17.6cm，横61.8cm",[342],{"id":1723,"slug":1724,"title":1725,"dynasty":122,"author":470,"museum":179,"description":1726,"tags":1727,"thumbUrl":1729,"material":260,"size":261,"collection":185,"collections":1730,"showCount":1731,"zanCount":58,"manualWeight":58,"mainColor":59},290894,"xia-shan-gan-yu-zhou-yi-ming-290894","夏山甘雨轴","以半边奇崛崖壁开篇，苍林垂挂于危岩，浓墨晕染尽夏雨濡湿的沉厚质感。另一侧淡墨轻铺远山平水，烟岚隐现，晕开空濛的天色。滩渚错落间，渔舟横斜，渔人撑篙摇橹、偎舟闲憩，坡岸水牛散漫食草，野趣自生。\n\n画作以干湿墨色交织，浓墨点苔醒透草木生机，淡墨晕染铺就空寂雨意，将夏雨初歇的江南野色，揉进悠远恬和的意境里，把江村闲逸日常与山野润泽生机，晕作一卷淡远的水墨诗意。",[24,127,162,161,128,129,33,257,7,36,1728],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4297de6e0e5c2eef90220565b7ea348.jpg",[],17,{"id":1733,"slug":1734,"title":1735,"dynasty":144,"author":158,"museum":179,"description":1736,"tags":1737,"thumbUrl":1738,"material":260,"size":261,"collection":185,"collections":1739,"showCount":1731,"zanCount":58,"manualWeight":58,"mainColor":78},283752,"lan-rong-chuan-se-tu-zhou-dong-qi-chang-283752","岚容川色图轴","此图是董其昌74岁（1628年）时创作的，以笔墨表现为主旨，意在聊写胸中丘壑。作者在静观自然景象的基础上，以娴熟的笔墨技法阐释自己对自然山川的本质感悟，它超越了山水云树的具体形貌，以形写神，故图中每一景、每一境虽都不是自然景观的真实描绘，但读者却可从其谨严的笔墨塑造中领略到真山实水的存在。以近景的树木为例，形态各异的树木，互有遮掩地生长在凹凸不平的坡地上。树干以短线条双勾，高低不同且有曲直变化，干体以淡墨或皴或晕，增强了其明暗效果及立体感；树叶表现得更为丰富，有的以侧锋卧笔大点横贯，有的浓淡墨相互交叠，有的直接落笔画线成叶，有的则以线勾双边成夹叶状，各具神采。但将它们参照客观存在的植物，却难以分辨出其树种，显然它们是董其昌“读万卷书，行万里路，胸中脱去尘浊，自然丘壑内营，成立鄄鄂（注：指城廓），随手写出，皆为山水传神矣”的美学观的最好图释。",[24,126,127,162,129,107,106,374,36,33,318,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4139975bf6ec2cb9c58f64adc8a49b12.jpg",[],{"id":1741,"slug":1742,"title":1743,"dynasty":205,"author":767,"museum":179,"description":1744,"tags":1745,"thumbUrl":1746,"material":185,"size":185,"collection":185,"collections":1747,"showCount":1731,"zanCount":58,"manualWeight":58,"mainColor":78},235891,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235891","原济黄山游图册","这幅山水以水墨晕染烟岚，春山隐在翻涌云气间，虚实掩映晕出空山新雨的湿润。近景茅庐藏于芦荻深处，水牛静卧溪头，田畴青苗含露。\n以枯湿浓淡的多变笔墨绘就山峦苔点，苍劲朴拙，烟霭则以淡墨留白晕染，铺展出山野初春的空蒙柔润。题诗与画境相融，将山农冒雨春耕的野趣藏在淡烟疏柳里，揉合田园闲逸与山野生机，笔底兼具自然意趣与文人气韵，寄寓着隐逸耕读的林下雅情。",[24,162,128,711,126,129,447,169,1051,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a1219c43d19bd359589ad745709dc4.jpg",[],{"id":1749,"slug":1750,"title":1751,"dynasty":205,"author":1752,"museum":179,"description":1753,"tags":1754,"thumbUrl":1755,"material":185,"size":185,"collection":185,"collections":1756,"showCount":1731,"zanCount":58,"manualWeight":58,"mainColor":59},230226,"fang-gu-shan-shui-shi-er-kai-yang-jin-230226","仿古山水十二开","杨晋","此作以淡彩晕染江南春岸晓景，堤岸垂柳柔丝拂水，水汽清润朦胧，晕开浅淡氤氲的晨雾。戴笠行旅骑牛缓行于田埂，为乡野添上鲜活意趣。远景山峦以淡墨轻扫，林麓含烟，归雁掠过长空，将平远山水的空阔疏朗铺陈开来。笔墨秀雅工致，设色明洁温润，把江南水乡的恬静诗意融于尺幅之中，尽显平淡天真的文人画韵致，将春日郊野的闲适悠然娓娓铺展，晕染出一派生机盎然的田园雅景。",[24,29,129,221,128,371,106,30,392,7,391,258,33,165,36,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387a052644e1585c611187534130e0d3.jpg",[],{"id":1758,"slug":1759,"title":1760,"dynasty":292,"author":293,"museum":294,"description":1761,"tags":1762,"thumbUrl":1764,"material":308,"size":185,"collection":185,"collections":1765,"showCount":1731,"zanCount":58,"manualWeight":58,"mainColor":78},220558,"yin-du-niu-xu-bei-hong-220558","印度牛","以大块沉郁油色铺就水牛躯体，敦实厚重的轮廓尽显巨兽的慵懒与野性张力，它们静卧滩涂，将午后倦怠松弛尽数揉进肌理笔触里。水泽漾着柔润的灰调波光，沿岸枯苇舒展浅黄身姿，暖调砂土托衬出郊野湿暖的呼吸感。作者将西式光影色块与东方写意意境相融，以松弛笔触晕染出郊野静穆氛围，没有刻意雕琢的繁复细节，却把自然野趣的质朴生机晕开在画布之上，让观者仿佛踏入这方慵懒午后的水畔郊原，呼吸裹挟着水汽的暖柔野风。",[733,29,297,7,109,69,1763,1051],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0501893091f8b1be6af1a55908721b.jpg",[],{"id":1767,"slug":1768,"title":1769,"dynasty":144,"author":470,"museum":1127,"description":1770,"tags":1771,"thumbUrl":1773,"material":73,"size":1774,"collection":342,"collections":1775,"showCount":1731,"zanCount":58,"manualWeight":58,"mainColor":78},219134,"mu-du-tu-yi-ming-219134","牧渡图","图为池塘一角，河岸上芦苇盛开，重重的花穗压弯芦苇。 池塘里的孩子半淹没在水里，小牧童调皮的抓着牛尾巴",[24,28,29,30,7,448,1772],"芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7a034758c32d0f6814f3c6b89c1034.jpg","23.9x24.4cm",[342],{"id":1777,"slug":1778,"title":1779,"dynasty":18,"author":470,"museum":218,"description":1780,"tags":1781,"thumbUrl":1782,"material":73,"size":185,"collection":342,"collections":1783,"showCount":1731,"zanCount":11,"manualWeight":58,"mainColor":59},218766,"mu-di-tu-yi-ming-218766","牧笛图","老牛踏草缓行，牧童斜倚牛背，似将竹笛轻吹——虽无乐器入画，却由姿态暗合悠然意趣。旁侧古木虬枝盘结，墨色浓淡晕染出苍劲生机，枝叶如盖遮半亩阴凉。远处茅舍隐于烟霭，几缕炊烟与云气相融，野趣横生。\n\n淡墨勾染的线条温婉见骨，牛的憨态、牧童的自在，寥寥数笔便鲜活。林间静谧与笛声悠扬形成虚实呼应，仿佛风穿叶隙的沙沙声，正和着牧歌在山野轻荡。这方小品以简驭繁，捕捉田园瞬间，藏着宋人对寻常生活的诗意观照，把山野牧歌绘成清宁悠远的梦境，引人沉醉于那份与世无争的恬淡。",[23,24,162,611,129,30,7,68,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F012b567c42582e5820a81aa0027bc612.jpg",[342],{"id":1785,"slug":1786,"title":1787,"dynasty":205,"author":470,"museum":350,"description":1788,"tags":1789,"thumbUrl":1790,"material":185,"size":185,"collection":95,"collections":1791,"showCount":1731,"zanCount":58,"manualWeight":58,"mainColor":1792},201832,"mu-niu-tu-zhou-yi-ming-201832","牧牛图轴","画面以淡赭设色晕染，柳枝用细劲笔触勾勒，柔丝轻垂，随风摇曳生姿。田埂纵横交错，小径蜿蜒穿连，牛群散于其间，或行或驻，憨态可掬。构图疏密相宜，笔墨温润细腻，将乡野牧歌的闲适意境悄然铺展，静谧中透着生机，尽显田园生活的恬淡与悠然。",[24,29,28,7,525,126,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb287d1f1b34da859f91af63e910e65ba.jpg",[95],"6a5134",{"id":1794,"slug":1795,"title":1796,"dynasty":18,"author":470,"museum":207,"description":1797,"tags":1798,"thumbUrl":1800,"material":260,"size":1801,"collection":185,"collections":1802,"showCount":1803,"zanCount":58,"manualWeight":58,"mainColor":78},290715,"qing-xi-wan-mu-tu-zhou-yi-ming-290715","清溪晚牧图轴","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[24,127,162,29,30,7,392,33,129,106,1799],"牧乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89651633828c154e4081949ee032c05c.jpg","75.6x44.3",[],16,{"id":1805,"slug":1806,"title":1807,"dynasty":18,"author":470,"museum":207,"description":1808,"tags":1809,"thumbUrl":1812,"material":185,"size":1801,"collection":53,"collections":1813,"showCount":1803,"zanCount":11,"manualWeight":58,"mainColor":78},231083,"qing-xi-wan-mu-tu-yi-ming-231083","清溪晚牧图","画面铺陈出悠然的乡野暮色，清溪浅流舒缓漫过滩涂。一头水牛浸在水中，半隐于苇草间，抬首斜睨，慵懒消暑；另一头负着戴斗笠的牧童，踏水登上岸坡，牧童持杆闲坐，不见丝毫匆忙。侧畔老树盘根虬曲，坡岸蒹葭随风轻摆，两只水鸟振翅掠过天际，为静谧图景添上灵动生机。\n\n笔墨清润秀雅，以淡墨晕染出水色空濛的氛围感，将晚牧时分的松弛乡趣娓娓道来，把日常放牧的寻常景致，晕染成了意韵悠长的诗意画卷，尽显乡野间的自在野趣。",[126,24,25,71,29,28,162,7,680,392,33,36,1772,164,551,1810,129,1811],"牧歌","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81e794353e50d88ea22a19584279e31.jpg",[53],{"id":1815,"slug":1816,"title":1817,"dynasty":144,"author":470,"museum":179,"description":1818,"tags":1819,"thumbUrl":1820,"material":185,"size":185,"collection":185,"collections":1821,"showCount":1803,"zanCount":58,"manualWeight":58,"mainColor":59},228781,"fang-li-tang-bai-niu-tu-juan-yi-ming-228781","仿李唐百牛图卷","此作取景平远雅致，水岸林皋间意趣悠然。左侧群牛或立或卧，于浅滩闲散憩息，肌理厚重朴拙，憨态尽显。右侧童子策杖徐行，与近旁食草的牛只相映成趣，野逸生机扑面而来。\n\n林木皴染兼具苍劲与秀润，枯木虬枝疏密错落，新发柔条轻拂水岸，尽显春日郊野的清润之气。设色淡雅沉稳，赭石与墨色晕染出古绢沉静质感，追摹院体笔意又融入牧歌式恬淡，铺陈出物我相忘的山野闲趣，尽显旧朝牧放题材的风雅余韵。",[23,24,25,26,29,30,7,109,36,129,210,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e62a1ad2b0378e674fd4cb6fc02c2d3.jpg",[],{"id":1823,"slug":1824,"title":1825,"dynasty":18,"author":470,"museum":179,"description":1826,"tags":1827,"thumbUrl":1828,"material":185,"size":185,"collection":185,"collections":1829,"showCount":1803,"zanCount":11,"manualWeight":58,"mainColor":59},227918,"geng-huo-tu-ye-yi-ming-227918","耕获图页","它将江南农耕的收种全序铺展在团扇尺幅间，陂塘田垄错落交织，揉成鲜活的郊野劳作长卷。水畔有人俯身插秧，田埂上乡人肩挑饱满稻穗，场院间众人打谷堆粮，连跨水板桥、茅舍林木都晕染出江南乡野的温润烟火。\n\n构图疏密相宜，把忙而不紊的农忙日常拆解入微，小人物身形虽小却鲜活灵动，或挥汗劳作，或歇憩闲谈，尽显田家夏耘秋收的质朴暖意。以淡墨轻晕远山近树，褪去繁复设色，将纪实的乡居劳作绘成充满生机的风物小诗，藏着对烟火日常的细致体察，把辛劳又鲜活的田家日常定格为隽永的乡野图景。",[23,24,25,611,28,29,30,7,461,32,33,36,129,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f946904c60ad2b0f73b01e183f9e3ae.jpg",[],{"id":1831,"slug":1832,"title":1833,"dynasty":18,"author":1834,"museum":20,"description":1835,"tags":1836,"thumbUrl":1837,"material":91,"size":1838,"collection":185,"collections":1839,"showCount":1803,"zanCount":58,"manualWeight":58,"mainColor":59},221588,"tian-jun-zui-gui-tu-liu-lv-zhong-221588","田畯醉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幅中坡石皆用斧劈法侧斜横皴，用笔凝重，墨色浓郁，画法齐整严谨。以笔墨论，或是出於南宋后期受李唐风格影响者所作。",[24,161,162,689,1855,7,391,374,390,47,1856,164],"牛车","石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca962091e2a05f32ff6737bcf33face7.jpg","164.2x104.1",[53],15,{"id":1862,"slug":1863,"title":63,"dynasty":18,"author":608,"museum":179,"description":1864,"tags":1865,"thumbUrl":1866,"material":260,"size":261,"collection":185,"collections":1867,"showCount":1860,"zanCount":58,"manualWeight":58,"mainColor":59},289226,"mu-niu-tu-li-tang-289226","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,24,126,611,162,7,30,372,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2bdd190ae6f5953eca07721acf56ac.jpg",[],{"id":1869,"slug":1870,"title":1871,"dynasty":144,"author":1872,"museum":179,"description":1873,"tags":1874,"thumbUrl":1875,"material":185,"size":185,"collection":185,"collections":1876,"showCount":1860,"zanCount":58,"manualWeight":58,"mainColor":78},234207,"wen-zheng-ming-quan-nong-tu-juan-wen-zheng-ming-234207","文徵明劝农图卷","文徴明","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。 [1]\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,26,162,108,107,106,129,30,32,33,258,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b09253d9d58e272bdeb6f3bee99f795.jpg",[],{"id":1878,"slug":1879,"title":1598,"dynasty":18,"author":797,"museum":179,"description":1599,"tags":1880,"thumbUrl":1881,"material":185,"size":185,"collection":185,"collections":1882,"showCount":1860,"zanCount":58,"manualWeight":58,"mainColor":78},227756,"jiang-di-fang-mu-tu-yan-ci-ping-227756",[23,24,126,25,611,29,129,7,36,1601,318,33,165,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e32dad27f36b039d1b36db0db02d9fd.jpg",[],{"id":1884,"slug":1885,"title":1886,"dynasty":729,"author":1887,"museum":179,"description":1888,"tags":1889,"thumbUrl":1895,"material":260,"size":261,"collection":743,"collections":1896,"showCount":1860,"zanCount":58,"manualWeight":58,"mainColor":59},225851,"the-siesta-after-millet-fan-gao-225851","The siesta (after Millet)","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[733,210,1890,30,1891,7,1405,734,1892,1893,1894],"厚涂","稻草堆","鞋子","盘子","干草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba74f2b89d691346100f74501c68eff7.jpg",[743],{"id":1898,"slug":1899,"title":532,"dynasty":205,"author":533,"museum":179,"description":1900,"tags":1901,"thumbUrl":1903,"material":1904,"size":1905,"collection":136,"collections":1906,"showCount":1860,"zanCount":58,"manualWeight":58,"mainColor":78},224254,"shan-shui-tu-cha-shi-biao-224254","图中景岸上一人牵驴待渡，挥手呼叫船夫；船夫撑着小船正缓缓地驶向岸边。远景山峦起伏，林木苍郁，云雾缭绕，若隐若现的景象。 作品的结构追仿倪云林画风，但形似倪云林画，内涵却不同。图中远山的笔墨好像师法米芾，但又不同于米芾，是查士标“风神懒散，气韵荒寒”（《国朝画征录》）的典型风格。\n画中景物疏密有致、层次分明。作品用笔干净利索：树木用笔以直勾为主，线条方折；舟船、人物刻画细微、用笔轻松，毫无刻板之意；河岸用阔笔、以赭褐色写出；树叶稍有皴染，但颜色较浅，几近于无。整幅画以暖色调为主，点缀以数片绿色。\n该作品笔墨疏简，风神闲散，意境荒寒。书法作品布白稀疏，线条粗细对比明显。运笔变化笔锋，粗笔凝重，细笔灵活。诗联色彩灿烂，氤氲虚幻，仿佛看到一幅幅画面。画家笔下的诗句视觉形象和线条造形尤其简朴闲散，不同米颠的八面书锋，风樯阵马，而是一种看到老树昏鸦的幽隐期约，使人浮想联翩，大隐于市、超然尘外的闲情逸致表现得淋漓尽致。",[23,24,129,162,29,525,1902,30,7,165,536],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8532cafb37db10142222cf2f0d4da91.jpg","纸本设色","纵90.1厘米，横36.7厘米",[136],{"id":1908,"slug":1909,"title":1910,"dynasty":18,"author":470,"museum":179,"description":1911,"tags":1912,"thumbUrl":1913,"material":185,"size":185,"collection":185,"collections":1914,"showCount":1860,"zanCount":58,"manualWeight":58,"mainColor":59},223671,"xue-xi-fang-mu-tu-ye-yi-ming-223671","雪溪放牧图页","萧寒冬日的溪岸，淡墨晕染出铺陈的积雪，留白尽显空寂清寒。几株古木依偎而生，虬枝带着残叶，苍劲古朴的身姿在素净雪色间愈显沉郁，将冬日荒郊的萧索尽数铺展。\n\n溪滩处，小童策杖引牛踏水而行，憨态的水牛缓涉浅流，细碎的动态打破了天地的岑寂，为这片清冷雪景晕开一缕烟火暖意。\n\n整幅小品以极简的笔墨勾勒意境，淡墨扫雪、枯笔写树，于留白中烘托出深静的冬日氛围，萧寒里带着鲜活的生趣，尽显以小见大的雅致意趣，将冬日郊野的清寂与悠然牧歌融为一卷，淡远悠长。",[23,24,29,611,129,813,7,68,167,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a98cdb3acb6a785bb5f2a05d96d3bfe.jpg",[],{"id":1916,"slug":1917,"title":1918,"dynasty":205,"author":1752,"museum":20,"description":1919,"tags":1920,"thumbUrl":1921,"material":185,"size":1922,"collection":113,"collections":1923,"showCount":1924,"zanCount":58,"manualWeight":58,"mainColor":78},237772,"yang-jin-shi-gu-qi-niu-tu-zhou-yang-jin-237772","杨晋石谷骑牛图轴","此图款题为“画白石翁诗意”，所提“白石翁”是明代吴门画派的创始人沈周，晚号白石翁，人称白石先生。所画者为王翠，字石谷，号耕烟散人，为清初“虞山派”创立者，而作者即是早期虞山派的佼佼者，经常与师同绘画作。此图中王翠头戴斗笠，身垫蓑衣，骑于牛背之上，缓缓而行，像是雨过天晴之后，徜徉于乡野小径。墨色轻润，渲染有致，勾画简洁，却神韵俱足，充满诗情画意。",[24,25,127,29,28,30,7,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84915670167119b90b18a3de51665151.jpg","81.6×33.5",[113],14,{"id":1926,"slug":1927,"title":1928,"dynasty":144,"author":470,"museum":179,"description":1929,"tags":1930,"thumbUrl":1931,"material":185,"size":185,"collection":185,"collections":1932,"showCount":1924,"zanCount":58,"manualWeight":58,"mainColor":59},228780,"fang-li-tang-bai-niu-tu-yi-ming-228780","仿李唐百牛图","此作以长卷铺展郊野牧歌，百头水牛形神各异，或缓步山径、或卧息林麓、或就水嬉游，尽显野性生机。村童三两，或骑牛徐行、或滩间闲坐，稚态可掬。平远山水间，枯木疏林、浅坡村居晕染出淡远乡野意趣。笔墨朴雅清润，勾勒皴擦简淡灵秀，于苍旧绢色里晕开田园闲逸，将牧放日常的悠然意致尽数铺陈，写生状物精妙，尽显古雅的山野生机之美。",[23,24,25,26,29,210,7,129,36,30,32,33,318,128,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84587f45aecfd3e120826fe52fe1e9fc.jpg",[],{"id":1934,"slug":1935,"title":1936,"dynasty":122,"author":1335,"museum":179,"description":1937,"tags":1938,"thumbUrl":1940,"material":185,"size":185,"collection":185,"collections":1941,"showCount":1924,"zanCount":58,"manualWeight":58,"mainColor":78},228036,"mo-lou-shu-geng-zuo-tu-cheng-qi-228036","摹楼璹耕作图","它以长卷娓娓铺展江南农耕全景，从育秧插田到收谷晾晒，田埂间农人往来忙碌，挑担、插秧、打谷各尽其事，农舍林木点缀其间，晕开融融烟火气。\n笔墨以淡彩衬白描，人物形神鲜活灵动，田畴草木朴拙写实，完整复刻出古早农事的全过程。卷身遍留历代题跋钤印，让这幅纪实之作，又成为递藏传承的书画珍迹，既是乡土民生的鲜活注脚，也承载着后世对旧时田家意趣的追慕。",[23,126,24,25,26,210,29,28,108,1939,106,30,7,461,299,550,68,47],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a0dc446b4b1e22194f3aab6e230f72.jpg",[],{"id":1943,"slug":1944,"title":1945,"dynasty":18,"author":608,"museum":179,"description":1946,"tags":1947,"thumbUrl":1948,"material":185,"size":185,"collection":185,"collections":1949,"showCount":1924,"zanCount":58,"manualWeight":58,"mainColor":59},227968,"niu-tu-li-tang-227968","牛图","此作用边角构图铺展意境，淡墨晕染出山峦烟岚空蒙的朦胧质感，远山隐于虚淡暮色之中，将山野荒陂的清寂悠远铺陈开来。\n\n坡岸间三头水牛成为画面生机所在，两头抵角嬉闹，憨态尽显，另一头闲步缓行，悠然自得，将乡野牧歌的松弛意趣揉入淡远山水间。笔墨苍简疏朗，舍去繁复勾勒，以极简笔意烘托出空灵静谧的氛围感，尽显宋人简淡野逸之美，平朴画面藏着悠然禅意，将山野闲趣融于山水烟岚之中。",[23,24,29,129,7,109,128,374,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74b8ed2232c30132e78af099212babd.jpg",[],{"id":1951,"slug":1952,"title":545,"dynasty":205,"author":546,"museum":20,"description":1411,"tags":1953,"thumbUrl":1956,"material":185,"size":554,"collection":185,"collections":1957,"showCount":1924,"zanCount":58,"manualWeight":58,"mainColor":78},223221,"geng-zhi-tu-ce-jiao-bing-zhen-223221",[24,25,28,29,30,7,1954,1955,36,47,299,107],"耕地","水田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b54d2943eeabde80bb1bd85f146d6f1.jpg",[],{"id":1959,"slug":1960,"title":1961,"dynasty":144,"author":145,"museum":207,"description":1962,"tags":1963,"thumbUrl":1968,"material":330,"size":1969,"collection":185,"collections":1970,"showCount":1924,"zanCount":58,"manualWeight":58,"mainColor":78},216094,"tai-ping-le-shi-tu-ce-2-dai-jin-216094","太平乐事图册-2","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[24,29,221,30,7,68,164,1964,36,1965,1966,1967],"民俗活动","地面路径","山石景观","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3763cc4bb201a1b8b86ddc7581cfe77c.jpg","22.8x22cm",[],{"id":1972,"slug":1973,"title":1974,"dynasty":18,"author":1975,"museum":179,"description":1976,"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的宋代士大夫们，对于「故乡」最美好的记忆。当他们告老还乡时，最大的心愿之一，莫过于徜佯在这片青草地上，伴随着自在悠闲的牛儿，作一名安闲平凡的牧人。正如一位北宋诗人所说的：「人生愿望无数，能达成的又有多少呢？我想，若能拥有百亩良田以及一只牛的陪伴，也就心满意足了吧！」",[23,24,126,25,221,29,28,1386,7,30,68,2047,448,69],"塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f94cf9b5d56f49c5f99cdb42a8ad360.jpg","纵24.9厘米 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横73厘米",[94],{"id":2320,"slug":2321,"title":2322,"dynasty":18,"author":2323,"museum":218,"description":2324,"tags":2325,"thumbUrl":2326,"material":73,"size":2327,"collection":136,"collections":2328,"showCount":2272,"zanCount":58,"manualWeight":58,"mainColor":78},220085,"feng-nian-kao-mu-tu-ma-kui-220085","丰年考牧图","马逵","平野铺陈，林木错落间，百畜悠然信步，牧童嬉游往来，村舍田畴点缀远近，将乡野的恬然生机缓缓铺展。\n笔墨工致细腻，设色古雅柔和，群畜姿态神韵各异，或卧或驰、或饮或嬉，尽写真淳野趣，村人日常悠然自洽，宛若一卷鲜活的乡居牧歌长卷。\n它以全景构图承载古朴田家意趣，尽显雅致格调，带着千年前的烟火暖意，将丰年里的太平牧歌，永远定格在绢素之上。",[23,126,24,25,26,29,28,30,7,35,109,36,1405,33,392,47,680,550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e2dd3e38e9ba50937357bec0d35a38.jpg","24×160",[136],{"id":2330,"slug":2331,"title":2332,"dynasty":144,"author":145,"museum":207,"description":1962,"tags":2333,"thumbUrl":2336,"material":330,"size":1969,"collection":185,"collections":2337,"showCount":2272,"zanCount":58,"manualWeight":58,"mainColor":78},216088,"tai-ping-le-shi-tu-ce-8-dai-jin-216088","太平乐事图册-8",[24,25,221,29,28,30,7,36,1763,404,302,2334,299,801,2335],"斗笠","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038c2970b7ee8eae6f36c8f6102b3f0b.jpg",[],{"id":2339,"slug":2340,"title":2341,"dynasty":205,"author":1752,"museum":350,"description":2342,"tags":2343,"thumbUrl":2344,"material":185,"size":185,"collection":136,"collections":2345,"showCount":2272,"zanCount":58,"manualWeight":58,"mainColor":2346},202196,"chun-xi-fang-mu-tu-zhou-yang-jin-202196","春溪放牧图轴","柳丝垂曳如缕，老树盘根错节，溪畔两头水牛或卧地小憩，或缓步寻青，姿态憨然。远山以淡墨晕染，层次空灵；近景细笔勾勒草木，皴擦山石，笔墨兼具工致与意趣。春日溪涧的清宁之气漫溢画面，放牧闲逸场景传递出文人画特有的雅致情韵，细节处见生趣，平淡中显真意。",[24,129,7,162,29,127,372,33,128,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe40b0324543b78698c57d25dfcb3c2.jpg",[136],"c8b39e",{"id":2348,"slug":2349,"title":2350,"dynasty":729,"author":470,"museum":179,"description":2351,"tags":2352,"thumbUrl":2354,"material":260,"size":261,"collection":185,"collections":2355,"showCount":2356,"zanCount":58,"manualWeight":58,"mainColor":59},289570,"qiu-zhou-seng-ga-jing-xiang-yi-ming-289570","泅洲僧伽經像","这是一幅朴拙古雅的民俗宗教经像，构图饱满严整，主次分明。帐下主尊神态端凝，朱砂暖调衣袍沉稳厚重，自有肃穆神性。两侧侍从恭谨侍立，形神质朴鲜活，带着民间画工的天真意趣。下方席地乐工拨弦奏乐，隅角牧牛悠然啃食，侍者垂袖待命，将清寂的宗教场域揉进俗世烟火。线条稚拙古劲，旧色晕染出斑驳岁月感，把乡土信众的精神祈愿与日常意趣融于一纸，是民间宗教美术里兼具信仰温度与生活质感的鲜活范本。",[23,24,25,127,281,1423,29,30,7,2353,106],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb8e0c2f970caf60dc29334f27c39de.jpg",[],8,{"id":2358,"slug":2359,"title":1382,"dynasty":18,"author":470,"museum":207,"description":2360,"tags":2361,"thumbUrl":2362,"material":2363,"size":2364,"collection":185,"collections":2365,"showCount":2356,"zanCount":58,"manualWeight":58,"mainColor":59},289231,"liu-yin-mu-niu-tu-yi-ming-289231","烟霭轻笼郊野，垂柳柔条垂挂，晕开暮色里的温柔。老柳虬干苍劲，墨色皴擦尽显岁月质感，柳丝如缕轻拂软润田埂。\n\n缓步的老水牛垂首舐唇，淡墨晕染出皮毛肌理，朴拙写实，将耕罢暂歇的慵懒尽数铺陈。坡岸尽头，简笔勾勒的看牛小童似正蜷卧休憩，把牧歌式闲散揉进淡远暮色中。\n\n整幅以水墨晕染江南郊野清润底色，笔致简淡却意韵悠长，将日常牧归的细碎闲恬，晕作一卷悠然静穆的乡野旧梦。",[24,611,162,525,7,551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe58490a5bc1e05c7333dbcb7a25173d3.jpg","白纸本","纵137厘米，横34.5厘米",[],{"id":2367,"slug":2368,"title":2369,"dynasty":18,"author":470,"museum":179,"description":2370,"tags":2371,"thumbUrl":2373,"material":260,"size":261,"collection":185,"collections":2374,"showCount":2356,"zanCount":58,"manualWeight":58,"mainColor":59},289230,"tian-long-mu-niu-tu-yi-ming-289230","田垄牧牛图","以圆取景铺展江南乡野闲趣，左侧田埂纵横、新苗青青，两头牛犊信步缓行，漫着春耕之余的慵懒松弛。右侧水湾萦回，岸畔老柳垂荫，枝叶婆娑间藏着三两村舍，隐在淡霭轻烟里。\n\n笔墨清润淡雅，浅赭晕染出水色天光的柔和，墨色轻施便分出柳色浓淡与田亩层次，不着繁复勾勒，便将水乡初春的柔静氛围尽数铺陈。将日常乡居的细碎景致凝缩在尺幅团扇中，带着独有的诗意静观，于细微处晕开田园真味，悠悠然尽显江南郊野的恬谧生机。",[24,611,29,2372,7,36,33,551,129],"田垄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31bb722b142091dfb468d28b944b61b4.jpg",[],{"id":2376,"slug":2377,"title":2378,"dynasty":144,"author":470,"museum":179,"description":2379,"tags":2380,"thumbUrl":2383,"material":185,"size":185,"collection":1287,"collections":2384,"showCount":2356,"zanCount":58,"manualWeight":58,"mainColor":248},243044,"niu-zun-yi-ming-243044","牛尊","这尊青铜牛体态敦实健壮，犄角劲挺上扬，双目圆睁有神，鼻间系带刻画细致，将耕牛温驯却不失雄健的气质尽显。牛身褶皱肌理写实自然，背负束帛鞍垫，上承方座，兼顾礼器的功能性与日常牲畜的意趣。\n\n整体包浆厚重古雅，铜色沉穆温润，历经岁月仍线条流畅饱满。没有繁复纹饰堆砌，凭借洗练造型勾勒出耕牛质朴憨拙的神韵，暗含对农耕之本的敬意，是写实性与礼制实用性兼具的青铜佳作。",[2381,1285,1280,1281,297,109,7,1283,2382],"明代","盛酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3934c0ad4f507ffa24a8d631e960fef4.jpg",[1287],{"id":2386,"slug":2387,"title":2388,"dynasty":18,"author":2389,"museum":20,"description":2390,"tags":2391,"thumbUrl":2393,"material":91,"size":2394,"collection":185,"collections":2395,"showCount":2356,"zanCount":58,"manualWeight":58,"mainColor":59},233996,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233996","画赵构书唐风册","马和之","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,126,25,221,182,29,30,2392,35,7,107],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a75c5a92be8096b6eefb899962094d0.jpg","60.33x41.04厘米",[],{"id":2397,"slug":2398,"title":2399,"dynasty":18,"author":470,"museum":207,"description":2400,"tags":2401,"thumbUrl":2402,"material":359,"size":1535,"collection":185,"collections":2403,"showCount":2356,"zanCount":58,"manualWeight":58,"mainColor":59},231043,"ping-chou-hu-du-tu-yi-ming-231043","平畴呼犊图","《四季牧放》是24年上海书画出版社出版的图书。\n属于《国宝在线》的一册，是中国画中有关四季放牧图的。\n出版社: 上海书画出版社; 第1版 (24年5月1日) 丛书名: 国宝在线 平装: 44页 开本: 8开 ISBN: 7867285 条形码: 97878672855 尺寸: 29.6 22.4 .6 cm 重量: 299 g 欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，上海书画出版社编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 大慨因传说中佛祖和比丘僧为恶牛说法，使之死后转世到仞利天宫，得须陀还果，从此牛以其温厚忠良的形象出现在人们面前。\n除了任劳任怨、辛勤耕作之外，牛似乎还具有着一种人格的隐喻和象征。\n连圣人之师老子也选择骑青牛西去函谷关，在关内太初宫留下了五千言的《道德经》；南朝陶弘景也曾以画牛自喻婉拒梁武帝诏其出山，留下了『山中宰相』的美名。\n古往今来，牛的形象被喜爱它的人们再三图绘表现，不论是嘉峪关的砖画还是敦煌壁画，我们都可以看到许多无名氏的画牛作品。\n即以大家比较熟悉的卷轴画来说，至迟在晚唐五代时期，画家就对这个题材投入了相当的热情和精力，唐代的名家如韩湿和戴嵩，都擅长画牛。\n这些作品，既体现了唐人的努力生产，也反映出唐代那种以现实题材入画的风尚和社会生活的情调。\n当时戴嵩画水牛尤为著名，《唐朝名画录》谓其得『野性筋骨之妙』。\n不过，起初戴嵩画牛还闹过笑话。\n据说，他有次画了一幅斗牛图，观者大加称赞，可是偏偏有位牧童看了之后却拊掌大笑。\n戴嵩觉得奇怪，问其原因。\n牧童解释说：两牛角斗时，尾巴是夹在两股之间的，你怎么把它画成摇着尾巴呢?牧童的善意批评，对戴嵩启发很大，自那以后，他就深入乡间，与牧童交友，以造化为师，画艺自然精进不已，由此可见唐人作画对写生的重视。\n而韩混的《五牛图》，除了准确自然地表现了牛的生活形态外，更是充满了人格化的魅力，甚至可以从中看出每头牛的个性与年龄来，难怪有些研究者认为其中可能含有某种寓意。\n到了北宋，以描绘畜兽包括牛为内容的绘画被归于特殊的门类，如郭若虚撰写《图画见闻志》，就把畜兽、鱼龙、屋木等题材的作品皆归为『杂画』，与山水、人物、花鸟并列，在一定程度上反映了画牛队伍的逐渐壮大。\n从目前存世的作品看，宋代是牧放题材创作的鼎盛时期。\n不论是作品数量还是艺术水准，都是其他时代准以比似的。\n之昕以如此，笔者以为有几方面原因。\n首先，宋代皇家画院在招贤选才方面，可谓后世之楷模。\n由于采取考试制度，使得一大批有才华的民间画家得以进入社会上层，从而有机会更好地施展他们的艺术特长。\n这些原本长期生活在民间的画家把他们熟悉的富于乡土气息的绘画题材带入禁中，以身边熟悉的人和物为描绘对象，表现其自然朴素的情趣。\n因此，在两宋时期，画院里出现不少牧放题材的作品，直观地反映了宋代的农村生活。\n其次，宋代城市工商业的繁荣乃是以农村经济为基础的，画院画家通过描绘农村劳动生活的甘苦，来贯彻统治者劝喻农桑的意图。\n同时，城市工商经济的繁荣又反过来带动了农村经济的发展，从而使得丰年乐业的广大农民，对于自己的生活取得了新的认识，提出了新的要求。\n作为这种新认识、新要求的形象描绘，牧放题材与其说是农村田园生活的真实再现，毋宁说是对通过劳动生活而使人与自然达到本真契合的淳朴情性进行歌颂，与此同时，这其中又在很大程度上掺入了文人士大夫返璞归真的理想，从而使作品获得了更深刻的寓意。\n从画家个体来说，之所以创作出这么多高水准的艺术作品还在于他们能够正确处理观察生活和运用艺术表现语言之间的关系。\n在对生活的体验和观察方面，后世极少有像宋代画家那样精谨细致、具体人微的。\n所以，这类作品不管是高轴长卷，还是案头小品，它们所具有的生活情趣，无论是丰富性还是真实性，都令后人殊难超越。\n从宋人的画牛作品看，画家的用笔，是从对象出发，以对象的形态为旨归，将朴素的情感蕴藏在精妙的笔法中，这与后来文人画家所追求的『单纯化』表现，所谓『逸笔草草，不求形似』相比照，其问的差异是不喻自明的。\n中国传统绘画讲究诗情画意，这些牧题材的作品同样有着诗意盎然、妙趣横生的意境，这是此一题材自身所具有的魅力。\n在喧嚣的尘世中，面对这些笔佳墨妙的作品，想见烟云清雨，牛羊在野，湖岸风来，轻裾致爽，应该也算偷得浮生半日闲了吧。\n唐韩滉五牛图 唐韩滉五牛图之一 唐韩滉五牛图之二 唐韩滉五牛图之三 唐韩滉五牛图（局部） 唐韩滉五牛图（局部） 宋李唐乳牛图 宋李唐彩薇图 宋阎次平四季牧牛图 宋阎次平四季牧牛图之一 宋阎次平四季牧牛图之二 宋阎次平四季牧牛图之三 宋阎次平四季牧牛图之四 宋阎次平四季牧牛图之四（局部） 宋李迪风雨归物图 宋李迪风雨归物图（局部） 宋李迪风雨归物图（局部） 宋佚名平畴呼犊图 宋佚名平畴呼犊图（局部） 宋佚名牧牛图 ……",[24,25,29,28,7,109,68,1051,858,1405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3a60a9cd87946a5051cb9b8246487f.jpg",[],{"id":2405,"slug":2406,"title":2407,"dynasty":18,"author":64,"museum":179,"description":2408,"tags":2409,"thumbUrl":2411,"material":185,"size":185,"collection":185,"collections":2412,"showCount":2356,"zanCount":58,"manualWeight":58,"mainColor":78},227971,"fang-mu-tu-ye-li-chun-227971","放牧图页","虬曲老树枝叶扶苏，浓荫之下牧童闲坐，垂首专注把玩手边小物，全然沉浸在郊野的松弛意趣之中。浅滩溪岸，老牛垂首缓步涉水，皮毛厚重写实、肌理鲜活细腻，憨态小牛亦步亦趋紧随其后，灵动稚态尽显。\n\n整幅小品疏密得宜，设色浅淡柔和，以精妙工笔描摹物象形神，将乡野放牧的日常闲景铺陈得鲜活动人，既以细致笔触还原郊野生灵的自然情态，又晕染出田园牧歌式的悠然氛围，把乡野间的闲散温情凝于尺幅间，于平淡日常中尽显雅致隽永的宋画意韵。",[23,126,24,29,28,2410,7,30,68,70],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e3f18c16b1455c2e6e91367d1f9459.jpg",[],{"id":2414,"slug":2415,"title":2416,"dynasty":729,"author":1887,"museum":179,"description":1888,"tags":2417,"thumbUrl":2425,"material":260,"size":261,"collection":743,"collections":2426,"showCount":2356,"zanCount":58,"manualWeight":58,"mainColor":59},225740,"enclosed-field-with-ploughman-1889-fan-gao-225740","Enclosed Field with Ploughman 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花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,24,25,126,221,162,711,7,30,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9205455fc7afbb5d7e63de117b17c09.jpg","纵28.5 厘米横46.5 厘米",[],{"id":2579,"slug":2580,"title":2581,"dynasty":144,"author":2582,"museum":2583,"description":2584,"tags":2585,"thumbUrl":2586,"material":223,"size":185,"collection":185,"collections":2587,"showCount":199,"zanCount":58,"manualWeight":58,"mainColor":78},218487,"ri-ben-mu-tong-tu-zhuo-zong-deng-yang-218487","日本· 牧童图","拙宗等杨","九州国立博物馆","垂柳疏丝轻拂，牧童踞牛背而坐，老牛缓步踏过坡岸。墨色淡远晕染空濛，线条简括勾出牛的憨态与童子的自在。嶙峋山石点染野趣，背景虚渺似含远山流云，将田园清寂与天真童趣相融。画面简淡却藏闲逸，仿佛能嗅到草木清芬，听见风过柳梢、牛蹄踏草的轻响，引人向往那悠然自在的山野岁月。笔意虽简，却以留白与写意，织就一方充满生机与诗意的天地，让观者心随牛步，漫入这份恬淡的田园清境。",[24,25,611,162,30,7,525,164,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9242d90ab1da388e3d2960d9ef3cf7d.jpg",[],{"id":2589,"slug":2590,"title":7,"dynasty":102,"author":337,"museum":179,"description":2591,"tags":2592,"thumbUrl":2593,"material":260,"size":261,"collection":185,"collections":2594,"showCount":97,"zanCount":58,"manualWeight":58,"mainColor":78},289998,"niu-dai-song-289998","戴嵩 ，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。弟戴峄，擅画水牛。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”，传世作品有《斗牛图》",[126,24,162,30,7,106,107,372,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc560693cbfd068e1b840d78eb3a8a71f.jpg",[],{"id":2596,"slug":2597,"title":2598,"dynasty":2076,"author":470,"museum":179,"description":2599,"tags":2600,"thumbUrl":2601,"material":260,"size":261,"collection":185,"collections":2602,"showCount":97,"zanCount":58,"manualWeight":58,"mainColor":59},244769,"da-ji-yi-niu-ling-yi-ming-244769","大吉宜牛铃","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[2076,1285,1280,1281,7,109,1979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f7fb8853211be31271e6dc8d1089f2.jpg",[],{"id":2604,"slug":2605,"title":2606,"dynasty":205,"author":470,"museum":179,"description":2607,"tags":2608,"thumbUrl":2609,"material":185,"size":185,"collection":185,"collections":2610,"showCount":97,"zanCount":58,"manualWeight":58,"mainColor":78},236060,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236060","王翚仿古山水册","此作以淡墨轻皴绘就平林寒野，近岸枯木疏枝交错，浅赭点染残叶，晕开初冬萧索意趣。右下角茅舍隐于坡林之间，野水蜿蜒远去，遥岸淡影朦胧。滩涂上三两牧群徐行，衬得天地愈见空寂悠然。\n\n全作用笔松秀温润，设色清浅雅致，以留白铺展平远之境，将郊野荒寒闲逸融于尺幅。淡而有味，简中见韵，尽显含蓄静穆的仿古意趣，悠悠晕开江南冬野清远淡宕的诗意。",[24,25,221,210,162,29,129,373,372,258,392,7,128,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a4d524989c1b3b6d1da5f119753f62.jpg",[],{"id":2612,"slug":2613,"title":2614,"dynasty":122,"author":470,"museum":20,"description":2615,"tags":2616,"thumbUrl":2617,"material":51,"size":2618,"collection":185,"collections":2619,"showCount":97,"zanCount":58,"manualWeight":58,"mainColor":59},233180,"nong-cun-jia-nv-tu-juan-yi-ming-233180","农村嫁女图卷","此图原名《瘤女图》，后更名为《农村嫁女图》。全卷绘大小人物37人，分布疏密得当，自然形成四个段落，各段又有相对突出的重点人物的描写。首段以一骑牛披纱妇人为中心，众人目光多集于其身；次段是来宾与迎候者相见的场面，相对施礼的两位妇女为该段的中心；第三段表现两位身份较高的男性奉酒的场面；末段绘鼓乐、歌舞表演及围观者。各段虽有各自的主要人物，但次要人物的朝向、动作又使各段落间相互联系，构成一幅完整的画面。从画面表现的内容看，画的是否农村嫁女场面还有待商榷，图中吃奶的婴儿和扛于肩上的小童似与婚嫁主题不太相符，且骑牛女子似亦非新娘形象。笔者推测此图所表现的可能是一民女回乡省亲的场面，具体内容尚有待进一步考察。\n图中人物略施淡赭色，余则全以水墨为之。人物全用颤笔描加以表现，面部刻画也较为粗简，人物造型与南宋马远《踏歌图》有些相近之处。绘画艺术水平一般，但却生动地记录了宋元时期的现实生活场景。",[126,24,26,182,30,35,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa772f058d46d74fa4ba5a5d9ffc20222.jpg","纵22.5厘米，横131厘米",[],{"id":2621,"slug":2622,"title":2623,"dynasty":729,"author":2624,"museum":179,"description":2625,"tags":2626,"thumbUrl":2627,"material":260,"size":261,"collection":185,"collections":2628,"showCount":97,"zanCount":58,"manualWeight":58,"mainColor":78},231628,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-zhong-tu-zuo-guang-xin-231628","室町时代 清水寺缘起画卷(中)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[29,28,26,27,107,281,30,31,32,33,36,89,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a580c0d510cd600e0c22b55140b7c.jpg",[],{"id":2630,"slug":2631,"title":2632,"dynasty":144,"author":470,"museum":179,"description":2633,"tags":2634,"thumbUrl":2635,"material":185,"size":185,"collection":185,"collections":2636,"showCount":97,"zanCount":58,"manualWeight":58,"mainColor":59},228376,"ren-wu-gu-shi-ye-yi-ming-228376","人物故事页","此作用笔挺劲，以铁线描勾勒形象，线条简练流畅，将人物衣褶的起伏褶皱精准铺展，生动带出二人一马二牛的动态。骑者神色安然，坐姿舒展，仆从赤足束发，扬杆驱策双牛，朴拙情态呼之欲出。\n\n设色简淡清雅，以赭石、石绿晕染衣饰层次，古旧绢面晕开沉厚古韵。画面捕捉羁旅行役的日常一瞬，以小见大，无繁复铺陈却将赶路的平实氛围烘托尽致。留白与古印相映，暗合古韵悠长的雅致意趣，尽显写实中暗藏写意情致的风貌，浅淡间定格行旅的烟火日常。",[23,24,29,30,7,35,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b314c39166e2c1ee3b7573373fd05b.jpg",[],{"id":2638,"slug":2639,"title":336,"dynasty":18,"author":470,"museum":179,"description":2640,"tags":2641,"thumbUrl":2642,"material":185,"size":185,"collection":185,"collections":2643,"showCount":97,"zanCount":58,"manualWeight":58,"mainColor":59},227860,"dou-niu-tu-yi-ming-227860","枯木斜欱，淡墨晕出朦胧坡岸，寥寥数笔便铺就荒寂郊野底色。两头犍牛犄角相抵，四蹄攒动拧转，躯体的肌肉轮廓以浓墨晕染，将角力间迸发的蛮力与野性尽数展露。\n\n全作笔致简淡却精准传神，舍去多余修饰，独取斗牛最酣烈的一瞬定格。以写意笔墨捕捉牲畜好斗的天生野性，乡野间蓬勃朴拙的生趣跃然绢素，于疏淡之中蕴藏着饱满蓬勃的生命力，尽显以简驭繁的写意妙趣。",[23,24,126,25,127,29,28,7,318,68,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd528a92ff060f51045a85b2c95ebad86.jpg",[],{"id":2645,"slug":2646,"title":2647,"dynasty":18,"author":470,"museum":179,"description":2648,"tags":2649,"thumbUrl":2650,"material":185,"size":185,"collection":185,"collections":2651,"showCount":97,"zanCount":58,"manualWeight":58,"mainColor":59},227857,"gui-mu-tu-yi-ming-227857","归牧图","柔柳垂丝轻拂溪岸，将暮春的慵懒揉入淡墨晕染的郊野暮色里。右侧石畔春树缀着初绽的碎花，清润雅致。\n\n溪间小径上，牧童斜卧牛背，抬手逗弄枝梢，自在憨顽的神态跃然绢上。水牛缓步徐行，憨态温驯，带着收工后的松弛安然。\n\n整幅笔墨简括灵动，留白悠远清寂，将日暮归牧的闲散诗意铺陈开来。寥寥数笔便定格乡野间悠然自适的日常，把田园隐逸的恬淡安闲揉进空濛画境里，尽显小品画的隽永意趣。",[126,24,25,28,29,129,30,7,1386,164,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa148c2528ceed5d7922fc200a9a4438.jpg",[],{"id":2653,"slug":2654,"title":2655,"dynasty":205,"author":2431,"museum":350,"description":2656,"tags":2657,"thumbUrl":2658,"material":185,"size":185,"collection":94,"collections":2659,"showCount":97,"zanCount":58,"manualWeight":58,"mainColor":2660},203373,"ren-wu-shan-shui-tu-ce-ren-xiong-203373","人物山水图册","郊野坡地间，丛草葱茏，老者素衣闲坐草畔，神情恬淡悠然。二牛相伴左右，一卧一立，姿态憨朴，与老者相顾成趣，尽显田园闲适之味。画作笔墨兼工带写，人物衣纹简练流畅，牛的造型写实生动，设色温润雅致，以细腻笔触勾勒情态，淡彩晕染营造清和氛围，寥寥数笔便将人与自然的和谐之景铺陈开来，意境恬淡悠远。",[24,29,30,7,28,221,128,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F115614a441a386ec124b274e870871a9.jpg",[94],"cbbb99",{"id":2662,"slug":2663,"title":2664,"dynasty":18,"author":470,"museum":179,"description":2665,"tags":2666,"thumbUrl":2668,"material":260,"size":261,"collection":185,"collections":2669,"showCount":77,"zanCount":58,"manualWeight":58,"mainColor":78},290016,"xi-yin-yu-mu-tu-yi-ming-290016","溪阴浴牧图","早秋的江南，依然残留著盛夏最後一丝的酷热。河岸上，近树犹见绿叶繁茂，远处则已是红叶片片。渺茫的烟波中，牧童两人骑著水牛，一边舒服地浸泡在水里消暑，一边又不放心地转头望向岸上。只见小牛落了单，但又不敢跟著下水去，只能焦急地在岸上，不断用它的鼻子去触碰那又凉又湿的河水，看起来苦恼极了。",[24,221,611,29,28,129,36,33,257,7,2667],"浴牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb125597050d41c7fa61ceca013d9ab5e.jpg",[],{"id":2671,"slug":2672,"title":63,"dynasty":18,"author":470,"museum":179,"description":2673,"tags":2674,"thumbUrl":2675,"material":260,"size":261,"collection":185,"collections":2676,"showCount":77,"zanCount":58,"manualWeight":58,"mainColor":200},289225,"mu-niu-tu-yi-ming-289225","此作以淡墨晕染出空寂郊野，疏竹错落，枝叶轻曳，晕开萧散野趣。坡岸平缓舒展，放牛郎踞坐侧畔，垂首凝神，似正拨弄草叶，浑然忘机。一旁水牛敛首蜷卧，温驯恬然，与牧童的自在两相映照。\n\n全幅无繁复勾勒，仅以水墨写意铺陈，将江南郊野慵懒午后定格。把牧歌式的松弛藏在极简笔墨间，淡远空濛，尽显雅致含蓄的审美意韵，暗合了对幽居林泉、安然自适的生活向往。",[23,126,611,24,162,7,317,30,318,2092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598d9e8fa7682ff2432eda0cf044c6ba.jpg",[],{"id":2678,"slug":2679,"title":2680,"dynasty":729,"author":470,"museum":179,"description":2681,"tags":2682,"thumbUrl":2684,"material":260,"size":261,"collection":185,"collections":2685,"showCount":77,"zanCount":58,"manualWeight":58,"mainColor":78},288480,"ping-zhi-wu-yu-tu-juan-yi-ming-288480","平治物语图卷","画面以图文并置，左侧题跋笔意苍古，右侧出行场景鲜活传神。黑漆牛车饰金菊纹样，雅致端方，牛与挽马同驾，控车仆役俯身稳驾，白衣公卿疾步趋赶，一动一静，相映成趣。线条清劲舒展，设色淡雅古拙，将旧贵族出行的仪制风貌定格于绢素之上，以叙事绘卷的特有形式，让泛黄古纸晕开旧日剪影，把行旅匆匆与和风风雅揉合一处，尽显古典绘卷的沉静意韵。",[23,126,24,26,29,30,7,1855,107,2683],"历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd699f79dfc0de7412a5d48ff81ed1b2.jpg",[],{"id":2687,"slug":2688,"title":2689,"dynasty":18,"author":470,"museum":179,"description":2690,"tags":2691,"thumbUrl":2692,"material":260,"size":261,"collection":185,"collections":2693,"showCount":77,"zanCount":58,"manualWeight":58,"mainColor":59},288359,"shui-niu-tu-yi-ming-288359","水牛图","此作用淡墨勾勒晕染水牛情态，缓坡之上的水牛回首低顾，坡下母水牛带着幼犊抬首呼应，彼此温情脉脉，将山野间的日常意趣悄然铺展。简淡的笔触精准捕捉水牛憨敦肌理，犄角与皮毛的晕染朴拙生动，不着浓艳色彩，依托古雅底色尽显沉静质感。\n\n画面留白开阔，仅以淡笔扫出坡岸轮廓，衬出山野荒疏之境，以极简布景承载悠然生机。画作以小见大，将乡野间的脉脉温情融在浅墨淡染之间，静而不寂，淡而有味，尽显小品雅致意韵，把寻常乡野日常的自在温情，藏在淡墨浅描的闲淡景致中。",[24,162,7,109,847],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083ba34f3c39e90c774873925b3837f1.jpg",[],{"id":2695,"slug":2696,"title":2697,"dynasty":205,"author":470,"museum":179,"description":2698,"tags":2699,"thumbUrl":2702,"material":260,"size":261,"collection":185,"collections":2703,"showCount":77,"zanCount":58,"manualWeight":58,"mainColor":59},258721,"hong-you-lao-zi-qi-qing-niu-ci-xiang-yi-ming-258721","红釉老子骑青牛瓷像","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[2279,549,30,7,2700,2701,2282],"红釉","青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e313ebe1c92dd401ebfc35dc80b779.jpg",[],{"id":2705,"slug":2706,"title":2707,"dynasty":144,"author":470,"museum":179,"description":2708,"tags":2709,"thumbUrl":2710,"material":260,"size":261,"collection":2711,"collections":2712,"showCount":77,"zanCount":58,"manualWeight":58,"mainColor":59},255757,"peng-cheng-yao-mu-tong-qi-niu-yi-ming-255757","彭城窑牧童骑牛","彭城窑，古代北方民窑，磁州窑的中心窑场之一。彭城窑创始于宋，经过金元的发展，在元末明初达到顶峰，并且一直延续到民国时期。\n窑地位于河北省邯郸市峰峰矿区彭城镇，有盐店和大庙坡两处遗址。该窑产品十分丰富，尤其在元明时期，造型有碗、盘、瓶、罐、坛、盆、炉、枕、瓷俑及陶瓷玩具等，装饰技法有白地黑花、白地赭花、灰地白彩、刻划花、绿釉、五彩、翠蓝釉及黑釉、天目釉等。",[2279,921,7,30,680,29,317],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee2015cdbccf28ca98e231fc96efe676.jpg","瓷器精选",[2711],{"id":2714,"slug":2715,"title":2716,"dynasty":1509,"author":470,"museum":179,"description":2698,"tags":2717,"thumbUrl":2721,"material":260,"size":261,"collection":185,"collections":2722,"showCount":77,"zanCount":58,"manualWeight":58,"mainColor":59},254583,"tao-huang-lv-you-niu-che-yi-ming-254583","陶黄绿釉牛车",[1512,2279,2718,2719,7,41,1281,2720],"黄绿釉","陶塑","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85adab79ec4e3926a4ae958c38b81795.jpg",[],{"id":2724,"slug":2725,"title":545,"dynasty":205,"author":2726,"museum":179,"description":2727,"tags":2728,"thumbUrl":2730,"material":260,"size":261,"collection":185,"collections":2731,"showCount":77,"zanCount":58,"manualWeight":58,"mainColor":78},238447,"geng-zhi-tu-ce-mian-yi-238447","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[24,29,28,221,30,7,1955,36,47,299,550,1676,2729],"劳作场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f5550c900c5d23909b67684aa9487a.jpg",[],{"id":2733,"slug":2734,"title":2735,"dynasty":144,"author":470,"museum":20,"description":2736,"tags":2737,"thumbUrl":2738,"material":2739,"size":2740,"collection":185,"collections":2741,"showCount":77,"zanCount":58,"manualWeight":58,"mainColor":59},234177,"ming-ren-bai-niu-tu-juan-yi-ming-234177","明人百牛图卷","此卷以平远视角铺展郊野水畔全景，群水牛或卧憩坡岸、或涉水抵角、或缓步悠游，百牛神态灵动无一处重样，尽显生趣。\n画师以水墨晕染区分皮毛虚实质感，浓墨点出牛角与眼眸，朴拙间不失细腻。坡岸枯木杂树以简劲笔法写出，浅淡墨色晕出水边苔草朦胧之态，晕染出江南郊野温润空寂的氛围感。\n画面疏密排布精妙，群牛错落铺陈繁而不乱，留白衬出郊野旷远意境，暗合宋式牧画的闲逸意趣，将田园牧歌的松弛诗意定格卷中，静中藏动，朴雅天真。",[23,24,26,162,28,7,68,858,894],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704fa276913da6761043b6065ada12e0.jpg","绢本 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双纸-2","直寿敬","此作兼具叙事性与文人意趣，左侧行书题字舒展清雅，朱印古拙端方，文气沉静。右侧绘祭典出行渡河的鲜活图景，设色柔雅清淡，线条细腻写实。渡头牛车浮于水面，驭牛者神色专注，车中人物姿态安然，桥上、船间行人衣着各异，神态鲜活松弛，将祭典沿途的市井烟火铺陈开来。\n\n画作以平实笔致描摹民俗日常，未作浓墨重彩渲染，却细致捕捉了旧时祭典出行的悠然氛围，还原出古早祭典的鲜活世情，带着和风古画独有的温婉写实质感，于静卷之中重现往昔祭典的鲜活意趣，尽显对世俗日常的细致体察。",[23,24,26,29,28,107,106,30,7,41,2100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F791f054a22b874944cc9cc95a1c08b15.jpg",[],{"id":2930,"slug":2931,"title":2932,"dynasty":144,"author":470,"museum":179,"description":2933,"tags":2934,"thumbUrl":2937,"material":260,"size":261,"collection":185,"collections":2938,"showCount":188,"zanCount":58,"manualWeight":58,"mainColor":78},228731,"diao-yu-shu-xiang-shi-er-sheng-xiao-niu-yi-ming-228731","雕玉属像十二生肖（牛）","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 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。",[2381,2935,1281,7,109,2936],"玉石","十二生肖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fff2deb615388de6bd673673fdc52c5.jpg",[],{"id":2940,"slug":2941,"title":2942,"dynasty":144,"author":470,"museum":179,"description":2943,"tags":2944,"thumbUrl":2955,"material":185,"size":185,"collection":185,"collections":2956,"showCount":188,"zanCount":58,"manualWeight":58,"mainColor":78},223641,"shi-ying-sheng-hui-tu-quan-juan-yi-ming-223641","蓍英盛会图全卷","此卷以朱丝栏界格小楷书就，用笔秀挺雅致，结体端稳匀净，尽得晋唐小楷遗韵，通篇气息连贯从容，无一笔苟且。\n\n文字详实记述洛中耆英雅集诸位贤达生平、雅集始末，将记事述人与书法精妙融合。既是记录宋代文人群贤雅聚的珍贵文献，亦是极具观赏性的书法佳作。笔墨间尽显沉静内敛的文人意趣，点画精微法度谨严，工整秀雅中藏有灵动意致，书写者深厚功底尽显其间，古雅隽永的书卷风神浸透全卷。",[23,24,25,26,29,28,30,258,31,32,33,2182,107,108,2194,106,2945,2946,2947,2232,1283,2783,1284,2948,2081,2080,1029,2749,2949,317,2950,2951,2952,2953,2954,7,35,109],"笔","墨","纸","饪食器","兰","菊","荷","牡丹","鸟","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff2ab5fb781f6a9b46ac0a60e31de28.jpg",[],{"id":2958,"slug":2959,"title":2960,"dynasty":205,"author":2520,"museum":434,"description":2961,"tags":2962,"thumbUrl":2963,"material":223,"size":2964,"collection":185,"collections":2965,"showCount":188,"zanCount":58,"manualWeight":58,"mainColor":78},214984,"zhi-tou-za-hua-ce-4-gao-qi-pei-214984","指头杂画册-4","清朝时期的高其佩是一位著名的画家，他的指头杂画册是一本收录了他的各种杂画的画册。这本画册是高其佩的代表作之一，其中包含了他的许多经典作品。高其佩的指头杂画册被广泛认为是清朝时期最优秀的画册之一，其中的画作展现了高其佩高超的画技和对自然的深刻理解。\n\n高其佩的指头杂画册中的画作涵盖了许多不同的题材，包括自然风景、人物、动物、花卉等。他的画作细腻生动，富有表现力，深受观众的喜爱。高其佩还经常在他的画作中加入许多寓意深刻的元素，使得他的画作不仅具有观赏性，而且富有哲理性。\n\n高其佩的指头杂画册是他一生的杰作，也是中国传统绘画的瑰宝。现在，这本画册被广泛收藏，并被认为是中国文化遗产的重要组成部分。",[23,24,162,2524,221,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1863ae7c36736680c96bf783e2c4405d.jpg","36.7x33.1cm",[],{"id":2967,"slug":2968,"title":2969,"dynasty":729,"author":470,"museum":179,"description":2970,"tags":2971,"thumbUrl":2972,"material":260,"size":261,"collection":185,"collections":2973,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":78},290028,"jun-niu-tu-duan-jian-yi-ming-290028","骏牛图断简","本图描绘的是牛犊，体态稍显华丽，转头后顾的姿势也颇惹人爱。采用细腻的笔锋细致的描绘了从头部至尾部的所有细节，对具有稳定感形象的把握能力也很出色",[23,24,25,126,127,162,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e79e86a202e0e5a31998fc85c5530b.jpg",[],{"id":2975,"slug":2976,"title":2977,"dynasty":18,"author":470,"museum":179,"description":2978,"tags":2979,"thumbUrl":2981,"material":260,"size":261,"collection":185,"collections":2982,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":78},289956,"liu-yin-yun-dui-tu-yi-ming-289956","柳荫云碓图","此作用笔简淡秀雅，浓墨点簇垂柳，柔枝拂过浅漾陂塘，岸石错落间藏着水碓农居。水墨晕染出江南乡野的湿润空濛，没有繁复皴擦，却将柳荫下的静穆乡居铺陈眼前。\n\n细碎水纹里暗合农作运转的烟火气，搭配题诗托出田家苦中作乐的意趣，诗画相映，将日常桑麻揉入淡远山水，尽显小品以小见大的雅致，把村居闲逸的幽然意境藏进尺幅之间。",[23,126,24,25,221,29,129,551,550,525,33,2980,7,108,107,106],"茅棚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcd190388052b2dae9dee58b86ef655d.jpg",[],{"id":2984,"slug":2985,"title":2986,"dynasty":729,"author":470,"museum":179,"description":2987,"tags":2988,"thumbUrl":2994,"material":260,"size":261,"collection":185,"collections":2995,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":581},288579,"attributed-to-francesco-allegrini-the-rape-of-europa-yi-ming-288579","attributed to Francesco Allegrini--The Rape of Europa","这幅速写以奔放灵动的棕褐线条，定格下劫掠的瞬间。前景里少女衣袍褶皱带着疾飞的张力，随奔牛一同向前掠动，她的姿态裹挟着惊惶，被奔行的节奏牢牢牵动。远景牧人抬手惊呼，坡上的牛羊却兀自安闲，动静对冲放大了场景的戏剧感。寥寥线条便精准抓住神话的核心张力，潦草的笔触带着蓬勃的生命力，将奔放的韵律藏于笔锋，把追逐奔逃的刹那凝在纸面，让这个经典场景拥有了鲜活的临场悸动。",[2989,182,30,7,2990,2991,2992,2993],"素描","神话场景","风景","动态场景","紧张氛围","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233db348fdc663dbff5ec6c360b68905.jpg",[],{"id":2997,"slug":2998,"title":2999,"dynasty":205,"author":470,"museum":179,"description":3000,"tags":3001,"thumbUrl":3003,"material":260,"size":261,"collection":185,"collections":3004,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":248},269523,"xiang-ya-diao-mu-niu-tong-zi-yi-ming-269523","象牙雕牧牛童子","此作以温润象牙为材，勾勒出乡野牧歌图景。一大一小两头水牛姿态亲昵，牛背上两名童子怡然自在，一人横笛吹奏，一人依偎憨笑，另有幼童伏在小牛背上嬉闹。刀工细腻婉转，衣褶纹理舒展自然，童子神态天真烂漫，水牛肌理写实鲜活，将郊野放牧的闲逸日常定格。构图紧凑层次分明，把田园间悠然松弛的意趣揉进每一处雕刻细节中，尽显雅致工巧，鲜活复刻出乡野孩童的自在时光，满是治愈人心的烟火闲情。",[1281,3002,1554,7,30,1979,1361],"象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3cfb7ddf7fba9245b483de3b99d685.jpg",[],{"id":3006,"slug":3007,"title":3008,"dynasty":205,"author":470,"museum":179,"description":3009,"tags":3010,"thumbUrl":3012,"material":260,"size":261,"collection":185,"collections":3013,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":59},260985,"qing-hua-mu-niu-tu-ping-yi-ming-260985","青花牧牛图瓶","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[2279,3011,921,7,30,1592],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05d3fc9cea340844250f8bfeacc7d9a2.jpg",[],{"id":3015,"slug":3016,"title":2276,"dynasty":1509,"author":470,"museum":179,"description":2277,"tags":3017,"thumbUrl":3018,"material":260,"size":261,"collection":185,"collections":3019,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":248},253800,"tao-huang-you-niu-yi-ming-253800",[1512,2279,2281,7,109,2283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f89b50286ad8762f077aaf67819f3a.jpg",[],{"id":3021,"slug":3022,"title":3023,"dynasty":18,"author":470,"museum":179,"description":3024,"tags":3025,"thumbUrl":3028,"material":260,"size":261,"collection":185,"collections":3029,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":78},253743,"shun-zi-geng-tian-zhuan-diao-yi-ming-253743","舜子耕田砖雕","这方砖雕以浅浮雕铺陈画面，匠人以刀代笔，将山野牧歌凝于青砖之上。持杖农人神态温厚，垂目照看身旁牲畜。大象垂鼻敛足，温驯恭谨，牛羊缓步低首，小猪憨态游走，各循其态，满是乡野悠然生机。\n\n画面边框随形勾勒出林下郊野的幽然氛围，古朴圆融的刀法，把日常放牧的恬淡与古意孝义悄然结合。粗粝青砖之上，刻画出细腻的生活意趣，沉敛的人文内核藏在质朴图景里，尽显民间匠人的巧思，让佳话融于寻常烟火，满是沉静雅致的世俗诗意。",[1281,3026,3027,30,7,1516,550,392],"砖雕","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F491e87e3cd0c4c3aaf4806f53580e161.jpg",[],{"id":3031,"slug":3032,"title":3033,"dynasty":3034,"author":470,"museum":179,"description":2933,"tags":3035,"thumbUrl":3036,"material":260,"size":261,"collection":185,"collections":3037,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":59},252273,"yu-niu-yi-ming-252273","玉牛","商",[2935,1281,921,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a10fe50eb44862d19ba558b7aff05c.jpg",[],{"id":3039,"slug":3040,"title":3041,"dynasty":205,"author":470,"museum":179,"description":2933,"tags":3042,"thumbUrl":3047,"material":260,"size":261,"collection":185,"collections":3048,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":581},251204,"qing-yu-shi-er-chen-niu-yi-ming-251204","青玉十二辰-牛",[205,2935,1281,7,109,3043,3044,3045,3046],"人身","带皮","手持器物","生肖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2030a144e3f48fb6aaf835df3f47e5c3.jpg",[],{"id":3050,"slug":3051,"title":3052,"dynasty":729,"author":470,"museum":179,"description":3053,"tags":3054,"thumbUrl":3055,"material":185,"size":185,"collection":185,"collections":3056,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":59},231676,"jun-niu-tu-juan-duan-jian-yi-ming-231676","骏牛图卷断简","此作笔墨凝练老辣，以浓墨晕染牛身，将黑牛油润厚重的皮毛质感尽显，墨色晕渍自然，兼具体量感与蓬松绒感。画师精准捕捉牛缓步行进的姿态，肩胛、腰腿的肌肉轮廓暗含张力，双目圆睁有神，系着缰绳却不见局促，反倒带着温驯又沉稳的山野意趣。\n\n泛黄绢本遍布细碎裂纹，带着岁月沉淀的斑驳质感，更衬得墨色愈发沉郁古雅。整幅画面无多余衬景，全然聚焦于牛之形神，笔简意足，尽显畜兽画的写实功力与空灵意韵。",[23,24,162,109,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8caa0f5870c4f2752ffffbbec472df6.jpg",[],{"id":3058,"slug":3059,"title":3060,"dynasty":729,"author":470,"museum":179,"description":3061,"tags":3062,"thumbUrl":3065,"material":185,"size":185,"collection":185,"collections":3066,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":59},231656,"yun-juan-tu-juan-yi-ming-231656","云卷图卷","此作以全景长卷铺展世间烟火，疏密有致的构图将郊野与町肆串联。画面里市集人流攒动，官绅出行的仪仗、贩夫走卒的行迹、乘马驱车的行人错落交织，朱红牌坊临水而立，乡野村居错落铺陈。\n工细的线条勾勒出各色人物的情态衣袂，古雅的设色晕染出郊野的温润底色，将市井喧嚷、仕宦排场与田舍闲趣融为一体。细节里藏着往昔日常的鲜活风貌，把旧岁世相凝于绢素之间，尽显写实叙事的古雅意趣。",[23,24,26,29,28,30,35,32,47,1405,3063,36,392,7,48,3064,87],"车辆","人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a5c9e889cce3d7668f0cb97b6412eb.jpg",[],{"id":3068,"slug":3069,"title":545,"dynasty":205,"author":546,"museum":20,"description":1411,"tags":3070,"thumbUrl":3072,"material":185,"size":554,"collection":185,"collections":3073,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":78},223205,"geng-zhi-tu-ce-jiao-bing-zhen-223205",[24,25,221,28,29,30,7,299,551,1317,3071],"纺织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402e8991ac447042d625c00898598c5d.jpg",[],{"id":3075,"slug":3076,"title":545,"dynasty":205,"author":546,"museum":20,"description":1411,"tags":3077,"thumbUrl":3079,"material":185,"size":554,"collection":185,"collections":3080,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":78},223171,"geng-zhi-tu-ce-jiao-bing-zhen-223171",[126,24,25,549,28,29,2410,30,7,550,3078,460,36,299],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b13e23b1d69d7aa0bc8a0c9644ff767.jpg",[],{"id":3082,"slug":3083,"title":545,"dynasty":205,"author":546,"museum":20,"description":1411,"tags":3084,"thumbUrl":3087,"material":185,"size":554,"collection":185,"collections":3088,"showCount":139,"zanCount":58,"manualWeight":58,"mainColor":59},223169,"geng-zhi-tu-ce-jiao-bing-zhen-223169",[24,25,221,28,29,549,30,7,299,3085,551,3086,1317,3071],"织机","农家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b47df9ca67dfaccb0c5384c8fc267dd.jpg",[],{"id":3090,"slug":3091,"title":3092,"dynasty":205,"author":470,"museum":17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Picador","蚀刻的粗粝线条铺就出沉郁的斗牛场氛围，将斗牛瞬间的紧绷对峙定格。脊背绷紧的公牛昂首抬角，野性的威慑直指向端坐马背的长矛手，一动一静间拉扯出剑拔弩张的张力。左侧骑手仓促控马闪避，慌乱的姿态衬出公牛的凶悍。背景模糊的身影晕开临场的喧嚣，铜版肌理晕染出场地间浮动的烟尘，将斗牛的原始暴力揉进每一道刻痕里，把西班牙斗牛的狂热野性与残酷张力刻画得淋漓尽致，冷硬笔触下满是鲜活的临场气息。",[3119,1572,7,35,30,3142,3162,3163],"竞技场景","黑白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38b2ca837b1949ec7bbd4ae922906a7b.jpg",[],{"id":3167,"slug":3168,"title":3169,"dynasty":729,"author":470,"museum":179,"description":3170,"tags":3171,"thumbUrl":3174,"material":260,"size":261,"collection":185,"collections":3175,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":78},289153,"gregorio-de-ferrari-study-for-emperor-heraclius-carrying-yi-ming-289153","Gregorio de' Ferrari--Study for Emperor Heraclius 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Luke","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[2989,281,30,7,3182,3183,3172],"插画","画具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50c2038e0e55a248b52e4f0fe4005874.jpg",[],{"id":3187,"slug":3188,"title":3189,"dynasty":729,"author":470,"museum":179,"description":3180,"tags":3190,"thumbUrl":3193,"material":260,"size":261,"collection":185,"collections":3194,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":78},288882,"giovanni-battista-tiepolo-illustration-for-a-book-soldiers-driving-yi-ming-288882","Giovanni Battista Tiepolo--Illustration for a Book Soldiers Driving",[2989,3182,3191,7,3063,3192,1435,2762],"士兵","旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff978349d3819cac2e085998c7522953e.jpg",[],{"id":3196,"slug":3197,"title":3198,"dynasty":729,"author":470,"museum":179,"description":3199,"tags":3200,"thumbUrl":3203,"material":260,"size":261,"collection":185,"collections":3204,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":200},288633,"jean-baptiste-greuze-a-farmer-entrusting-the-plow-to-his-son-yi-ming-288633","Jean-Baptiste Greuze--A Farmer Entrusting the Plow to His Son","粗粜的炭笔线条晕开郊野晨雾，苍劲林木环抱着这场庄重的托付。老父抬手殷殷嘱托，青年握定犁柄凝神颔首，身旁乡邻簇立，满含期许。左侧牛群缓行，伴着手执长鞭的吆喝，喧闹的乡野队伍把农作传承的温情悄然铺展。\n\n没有浓丽敷色，仅以明暗光影勾勒鲜活神态，将农家代际间的劳作托付揉进松弛笔触里，把乡土日常的热忱与庄重定格。粗朴的线条藏着饱满的烟火暖意，让平凡的农事交接，成为满是人情温度的隽永瞬间。",[2989,3142,1435,7,564,36,2057,550,3201,2763,3202],"户外","速写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65568e933fa148c15af5dcdc8f22d40b.jpg",[],{"id":3206,"slug":3207,"title":3208,"dynasty":729,"author":470,"museum":179,"description":3209,"tags":3210,"thumbUrl":3212,"material":260,"size":261,"collection":185,"collections":3213,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":59},288626,"jean-baptiste-marie-pierre-the-flight-into-egypt-yi-ming-288626","Jean-Baptiste Marie Pierre--The Flight into Egypt","以棕褐色调铺就山野洞窟，逃难的圣家族暂作停留。怀拥圣婴的圣母周身晕着柔光，约瑟牵马立身侧，前景村民围拢跪拜，奉以蔬果敬奉神迹，牛群静卧在旁，消解了流亡的仓促。\n\n粗粝的笔触皴擦岩壁肌理，将山野荒蛮与人物的柔润线条交织，日常烟火与神圣叙事相融。随性松弛的速写感，让奔波的宗教故事落回俗世暖意，在幽寂的洞窟里，把流亡跋涉，化为一场温柔的林间驻留。",[281,2989,30,7,35,3211,3142],"洞窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3873bf61d65803ebf7c716c2c9f0465.jpg",[],{"id":3215,"slug":3216,"title":3217,"dynasty":729,"author":470,"museum":179,"description":3218,"tags":3219,"thumbUrl":3226,"material":260,"size":261,"collection":185,"collections":3227,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":78},288625,"jean-baptiste-marie-pierre-the-rape-of-europa-yi-ming-288625","Jean-Baptiste Marie Pierre--The Rape of Europa","以暖红素描晕开这场宿命邂逅，线条柔婉舒展，将洛可可式轻盈揉进古典神话之中。欧罗巴倚坐白牛身侧，神色懵懂恍惚，侍女们环伺周遭，或牵衣低语或俯身注视，衣袂褶皱随动作自然垂落，柔美的情态跃然纸上。\n\n空中小天使乘飞鹰俯瞰，静静凝望这场隐秘邂逅。远景林木朦胧，古堡隐现于枝叶之后，晕开氤氲浪漫氛围。整体笔触松弛细腻，将相遇时的暧昧绮丽悉数铺陈，把神话的旖旎诗意藏在暖红色调中，让古典浪漫缓缓漫溢。",[3142,3220,1435,3221,3152,7,3222,392,3223,3224,3225],"神话画","红褐素描","小天使","山林","古建筑","欧罗巴被劫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08c110e71ec670449c7b973dd52fa7ee.jpg",[],{"id":3229,"slug":3230,"title":3231,"dynasty":729,"author":470,"museum":179,"description":3232,"tags":3233,"thumbUrl":3237,"material":260,"size":261,"collection":185,"collections":3238,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":78},288608,"jonas-umbach-april-one-of-a-series-representing-yi-ming-288608","Jonas Umbach--April (one of a series representing","以红棕素描晕开春日暖意，前景里贵族男女悠然闲坐，侍从为女眷打理发丝，农妇静分拣作物，幼童在侧嬉闹，远景农夫驱牛耕作，田舍错落林梢抽芽。\n线条松弛灵动，将闲情雅致与乡野生机相融，一边是慵懒松弛的享乐日常，一边是勤恳质朴的田间劳作，动静交织铺陈出春日乡野的鲜活图景。笔触轻简却精准勾勒出人物神态，把春日郊野松弛的烟火气晕染开来，将乡野四月的恬淡意趣藏进每一处细节里，让春日乡居的鲜活日常跃然纸上。",[2989,83,1435,2057,3234,36,7,3235,1358,3236,1199],"初春","农作","户外休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb901d16793ed62bfbfa1784835eaa3.jpg",[],{"id":3240,"slug":3241,"title":3242,"dynasty":729,"author":470,"museum":179,"description":3243,"tags":3244,"thumbUrl":3247,"material":260,"size":261,"collection":185,"collections":3248,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":78},288607,"jonas-umbach-august-one-of-a-series-representing-the-labors-yi-ming-288607","Jonas Umbach--August (one of a series representing the 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Temple","这幅单棕色调的淡彩风景，将怀古幽思揉入松弛日常。残损神庙的立柱仍存巍峨轮廓，断壁在晕染的烟霭里同远景林峦相融，明暗晕开的笔意漫开时光剥蚀的沧桑。\n\n前景里劳作的农人、休憩的牧者与静驻车辕，消解了古迹的疏离感，让荒颓遗址漾开俗世烟火暖意。干湿错落的笔触写意出远景朦胧，利落线条勾勒梁柱肌理，把古文明湮灭的残影，轻轻锚定在鲜活的俗世片刻间，简淡的色调里藏着悠远的氛围感，让怀古的沉郁和乡野的悠然温柔相融。",[3142,3263,3264,2989,3265,3224,7,30,1098],"风景画","淡彩","残庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ddb63272d31b6d97197df7867e41a4b.jpg",[],{"id":3269,"slug":3270,"title":3271,"dynasty":205,"author":470,"museum":179,"description":3272,"tags":3273,"thumbUrl":3274,"material":260,"size":261,"collection":185,"collections":3275,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":78},274939,"qian-long-kuan-tong-xi-zun-yi-ming-274939","乾隆款铜牺尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[1285,1280,7,109,1281,1283,1284,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3bc27b34e1cc468985d5aa233d72fab.jpg",[],{"id":3277,"slug":3278,"title":3279,"dynasty":205,"author":470,"museum":179,"description":3280,"tags":3281,"thumbUrl":3285,"material":260,"size":261,"collection":185,"collections":3286,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":59},274392,"tong-du-jin-niu-tuo-ping-hua-biao-yi-ming-274392","铜镀金牛驮瓶花表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[1280,3282,7,3283,3284,921],"金器","钟表","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cb5a21c9b67a4094f8779c9430af447.jpg",[],{"id":3288,"slug":3289,"title":3279,"dynasty":205,"author":470,"museum":179,"description":3280,"tags":3290,"thumbUrl":3293,"material":260,"size":261,"collection":185,"collections":3294,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":59},274391,"tong-du-jin-niu-tuo-ping-hua-biao-yi-ming-274391",[3282,1280,7,3283,1281,3291,3292,392],"工艺品","瓶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e03098c62e200f0715af2c274b834d.jpg",[],{"id":3296,"slug":3297,"title":3298,"dynasty":205,"author":470,"museum":179,"description":3299,"tags":3300,"thumbUrl":3302,"material":260,"size":261,"collection":185,"collections":3303,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":248},260855,"fan-ci-mu-ma-tu-bi-tong-yi-ming-260855","反瓷牧马图笔筒","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。",[2279,1281,3301,30,35,7,921],"笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8059e07e5ffdad0f9616f2dabb19daed.jpg",[],{"id":3305,"slug":3306,"title":3307,"dynasty":205,"author":470,"museum":179,"description":3308,"tags":3309,"thumbUrl":3311,"material":260,"size":261,"collection":2711,"collections":3312,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":248},259054,"shi-wan-yao-niu-shi-hua-cha-yi-ming-259054","石湾窑牛式花插","石湾窑在今广东佛山市石湾镇，明清著名民窑之一。以陶塑和建筑陶瓷著称。始于宋代（亦有一说始于唐），极盛于明清两代。\n石湾窑以善仿钧窑而着称。仿钧釉色以蓝色、玫瑰紫、翠毛釉等为佳，但仿中有创。钧窑的窑变釉是一层釉色，而石湾窑变釉却有底釉与面釉之分。寂圆叟在其《陶雅》中盛赞石湾窑变釉色："广窑谓之泥均，其蓝色甚似灰色┅┅于灰釉中旋涡周遭，故露异彩，较之雨过天晴尤极浓艳，目为云斑霞片不足以方厥体态。┅┅又有时于灰釉中露出深蓝色之星点，亦足玩也。"\n石湾窑不仅善仿钧，而且善仿宋代各大名窑，宋代官、哥、汝、钧诸名窑产品，从材质运用、技法处理、艺术造型等各方面都仿得惟妙惟肖，而且有创造性的发展，梅建鹰评价曰："石湾集宋代各大名窑之大成，仿钧而青出于蓝，独创石湾自已的艺术风格。"",[2279,3310,921,7],"石湾窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F286b9bfb16f22bfe637d1cde7afb6be6.jpg",[2711],{"id":3314,"slug":3315,"title":3316,"dynasty":18,"author":470,"museum":179,"description":3317,"tags":3318,"thumbUrl":3323,"material":260,"size":261,"collection":2711,"collections":3324,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":248},257034,"ding-yao-bai-you-yin-hua-wu-niu-chuan-yue-tu-pan-yi-ming-257034","定窑白釉印花吴牛喘月图盘","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[18,3319,3320,3321,2279,921,7,3322],"定窑","白釉","印花","月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf9a52c2c046a268905746f480f6bfa8.jpg",[2711],{"id":3326,"slug":3327,"title":3328,"dynasty":2076,"author":470,"museum":179,"description":3329,"tags":3330,"thumbUrl":3332,"material":260,"size":261,"collection":185,"collections":3333,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":248},255555,"tao-hua-cai-niu-che-xiang-yi-ming-255555","陶画彩牛车厢","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 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。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[102,3872,3873,29,7,109],"陶","画彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff643bd2011d0f8c25866dfdca3642d0b.jpg",[],{"id":3877,"slug":3878,"title":3869,"dynasty":102,"author":470,"museum":179,"description":3870,"tags":3879,"thumbUrl":3880,"material":260,"size":261,"collection":185,"collections":3881,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":248},255734,"tao-hua-cai-niu-yi-ming-255734",[102,2279,3873,109,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25a4461bab6a7066db3937ac571e039.jpg",[],{"id":3883,"slug":3884,"title":3885,"dynasty":102,"author":470,"museum":179,"description":3886,"tags":3887,"thumbUrl":3892,"material":260,"size":261,"collection":185,"collections":3893,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":248},255585,"shi-wo-niu-yi-ming-255585","石卧牛","此件卧牛匍匐方座之上，姿态安恬温顺，刀工洗练朴拙，却精准勾勒出犍牛敦实的身形肌理，将憨态尽显。石面晕染斑驳黄褐沁色，是岁月沉淀留下的痕迹。造像无繁复修饰，以极简线条捕捉牛只沉静松弛的神态，带着浑厚大气的特质，藏着匠人对日常生灵的细致体察，静穆间漾着质朴生机，是世俗审美与石雕技艺相融的隽永小品。",[881,3888,1281,3889,7,3890,3891],"石雕","卧兽","兽类","石质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71978486804c10258256ec96d3faac45.jpg",[],{"id":3895,"slug":3896,"title":3328,"dynasty":102,"author":470,"museum":179,"description":3870,"tags":3897,"thumbUrl":3899,"material":260,"size":261,"collection":185,"collections":3900,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255558,"tao-hua-cai-niu-che-xiang-yi-ming-255558",[102,3362,3898,29,7,3331,921],"彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad565fc34b1684beab783c872ee8ca7.jpg",[],{"id":3902,"slug":3903,"title":3904,"dynasty":102,"author":470,"museum":179,"description":3870,"tags":3905,"thumbUrl":3906,"material":260,"size":261,"collection":185,"collections":3907,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255096,"tao-niu-che-yi-ming-255096","陶牛车",[2279,3348,7,109,1281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9e5559d0d7e28ada69cf703824fb54.jpg",[],{"id":3909,"slug":3910,"title":3345,"dynasty":2076,"author":470,"museum":179,"description":3329,"tags":3911,"thumbUrl":3912,"material":260,"size":261,"collection":185,"collections":3913,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":248},254820,"tao-niu-yi-ming-254820",[2076,2279,1281,3348,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84a919cb4239b6ffa90d484573f41d0.jpg",[],{"id":3915,"slug":3916,"title":3345,"dynasty":3346,"author":470,"museum":179,"description":2698,"tags":3917,"thumbUrl":3918,"material":260,"size":261,"collection":185,"collections":3919,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":248},254814,"tao-niu-yi-ming-254814",[3346,2719,7,3348,2279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fd7ef68c74bf59f26c6624a7e96a146.jpg",[],{"id":3921,"slug":3922,"title":3345,"dynasty":102,"author":470,"museum":179,"description":3870,"tags":3923,"thumbUrl":3924,"material":260,"size":261,"collection":185,"collections":3925,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":248},254813,"tao-niu-yi-ming-254813",[881,2279,3348,7,109,2719],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe224b0377798fb526c3bc20027b2ef88.jpg",[],{"id":3927,"slug":3928,"title":3345,"dynasty":18,"author":470,"museum":179,"description":3929,"tags":3930,"thumbUrl":3931,"material":260,"size":261,"collection":185,"collections":3932,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":248},254797,"tao-niu-yi-ming-254797","宋代的美学，是以沉静雅素见长。虽有热烈绽放的玫瑰紫、天蓝釉瓷器，但也总是不如唐三彩给人以更为直接的视觉冲击。宋代瓷器釉色绚烂夺目，既有汝窑恬静温润的天青色，又有钧窑热情奔放的玫瑰紫、海棠红；既有定窑自然淳朴的象牙色，又有龙泉窑清新匀净的梅子青、粉青。宋人的审美已经不再是追求简单的透明釉，而是追求精致的乳浊釉和结晶釉。这与宋代的经济发展水平有极大的关系，著名史学家陈寅恪说“华夏民族之文化，历数千载之演进，造极于赵宋之世”。文化的盛极体现在文人的日常生活之中，即点茶、挂画、插花和熏香。以点茶为例，陆游的《临安春雨初霁》，诗中有句云：“矮纸斜行闲作草，晴窗细乳戏分茶”，北宋初年人陶谷在《荈茗录》中已经说到一种叫“茶百戏”的游艺：“茶至唐始盛。近世有下汤运匕，别施妙诀，使汤纹水脉成物象者，禽兽虫鱼花草之属，纤巧如画。但须臾即就散灭。此茶之变也，时人谓之茶百戏。”将饮茶从最初的解毒解渴功能升华成陶冶情操的雅事乐事，唯有宋代达到极致。\n器物的发展依赖于风尚，反过来器物又促进风尚的延续，在相对稳定的政治经济局面和尚古之风影响下，宋代陶瓷业得到了空前的发展。首先是五大名窑汝官哥钧定的异军突起，其次是定窑系、磁州窑系、耀州窑系、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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。",[2381,3736,1281,4116,7,129,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39bd6782451dfbee32f51fcc3ca416ab.jpg",[],{"id":4137,"slug":4138,"title":4139,"dynasty":2076,"author":470,"museum":179,"description":2599,"tags":4140,"thumbUrl":4141,"material":260,"size":261,"collection":185,"collections":4142,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":78},244835,"yi-niu-ling-yi-ming-244835","宜牛铃",[2076,1280,1281,2801,7,1285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc72379788381931e26d1fcaad334c884.jpg",[],{"id":4144,"slug":4145,"title":4146,"dynasty":144,"author":470,"museum":179,"description":4147,"tags":4148,"thumbUrl":4150,"material":260,"size":261,"collection":185,"collections":4151,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},242301,"wan-xiang-tang-su-shu-tie-yi-ming-242301","晚香堂苏书帖","此作为行书刻帖，笔墨取法东坡意趣，乌墨沉润如漆，尽得尚意书风之妙。用笔丰腴跌宕，藏锋处温润内敛，露锋时爽利劲挺，点画间带着宋人独有的散淡疏朗。\n\n所书东坡诗作，结体大小随性错落，章法排布匀整却不失灵动，字间行气连贯自然，将诗中山林清居的悠然襟怀融于笔墨流转。虽为刻帖，依旧能窥见原迹的潇洒风神，尽显追摹宋贤的雅致意趣，把东坡笔下的林下闲逸，凝在寸尺墨纸之间。",[107,108,1978,4149,7],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44f84a9f101300be44a2c73fd7b2257b.jpg",[],{"id":4153,"slug":4154,"title":4155,"dynasty":205,"author":470,"museum":179,"description":4156,"tags":4157,"thumbUrl":4158,"material":185,"size":185,"collection":185,"collections":4159,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":78},238896,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238896","董诰春华集庆册","此作为诗画合璧的小品佳制。上方绘溪村早春，疏柳未匀新绿，板桥卧于浅溪之上，水色空濛，漫着初春清寂的淡霭；下方画沐雨春郊，耕牛就坡而憩，新芜初萌，野树含烟，尽是田家春日的恬和意趣。\n\n配笔挺秀雅的馆阁小楷，诗句与画境呼应相合。整体笔墨清浅柔润，设色淡净温丽，以极简尺幅铺展出早春的柔润清和，将郊野春景的澹远闲雅与乡居意趣相融，把春日的恬然生机藏于疏淡笔墨之间，尽显雅致温婉的小品意韵。",[24,25,221,29,129,7,68,318,108,128,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eb63941b23d36907b1802ce7750404b.jpg",[],{"id":4161,"slug":4162,"title":4163,"dynasty":205,"author":4164,"museum":207,"description":4165,"tags":4166,"thumbUrl":4167,"material":29,"size":4168,"collection":185,"collections":4169,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":78},238263,"shan-shui-ce-zhang-yan-238263","山水册","张演","此作淡墨轻岚，晕染出江南水乡晨间清景。近岸林木葱茏，牧人缓步驱牛，野意盎然。板桥卧波，牵起两岸疏林村舍，烟水之上渔舟静泛，远山隐没在空濛雾气中。\n\n山石以淡墨轻皴敷色，林木以点染写出清润生机，笔墨松秀温婉，摒弃奇崛刻绘，将乡野闲澹之景融于山水间，平和安闲的田园意趣扑面而来。以淡设色晕开晨昏氤氲，将自然林泉与村居野逸的日常融为一体，尽显清和淡远的文人逸韵，寄寓着林泉高致的雅致情怀。",[24,29,128,221,129,32,33,68,7,30,447,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda32e92815f548dd67b00d869391af9.jpg","37.1x31.7",[],{"id":4171,"slug":4172,"title":4173,"dynasty":144,"author":4174,"museum":179,"description":4175,"tags":4176,"thumbUrl":4177,"material":185,"size":185,"collection":185,"collections":4178,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":78},233491,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233491","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。",[24,25,221,3450,29,7,921,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccbd6471a52266e3239023ced9512852.jpg",[],{"id":4180,"slug":4181,"title":4173,"dynasty":144,"author":4174,"museum":179,"description":4175,"tags":4182,"thumbUrl":4183,"material":185,"size":185,"collection":185,"collections":4184,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":78},233490,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233490",[24,25,221,182,29,7,921,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371ccd7595532ed19d0b8987d370292b.jpg",[],{"id":4186,"slug":4187,"title":4188,"dynasty":205,"author":4189,"museum":179,"description":4190,"tags":4191,"thumbUrl":4193,"material":260,"size":261,"collection":185,"collections":4194,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":78},229755,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-geng-mo-cao-su-gong-229755","曹素功 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