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年）的伟大画家之一，最著名的是他的屏风",[23,122,147,142,289,7,290],"林","水墨山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bc11c61caf8720caa141d314a0ddd57.jpg",[],35,{"id":295,"slug":296,"title":297,"dynasty":93,"author":264,"museum":265,"description":266,"tags":298,"thumbUrl":301,"material":277,"size":278,"collection":43,"collections":302,"showCount":303,"zanCount":11,"manualWeight":11,"mainColor":47},223038,"hong-lou-meng-163-sun-wen-223038","红楼梦163",[23,24,27,28,29,30,32,33,38,7,147,34,149,269,299,65,300,58],"茶具","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77715bf17c0334e164e3416334c83b.jpg",[],31,{"id":305,"slug":306,"title":307,"dynasty":308,"author":309,"museum":54,"description":310,"tags":311,"thumbUrl":315,"material":130,"size":131,"collection":43,"collections":316,"showCount":317,"zanCount":11,"manualWeight":11,"mainColor":72},290139,"kan-shu-tu-wang-qi-han-290139","勘书图","五代十国","王齐翰","此图绘一文士勘书之暇挑耳自娱的情景。文人白衣长髯，袒胸赤足，坐于书几前，左手扶椅，右手作挑耳状，神态怡然自得。书几上有摊开的书卷，一书童于几旁侍立。文人身后为三叠屏风，上画青绿设色山水。屏风前横一长案，上陈卷帙。画家十分巧妙地选取画中人“校读间隙挑耳”这一看似平常的动作，着意刻画了其惬意的神情。加之环境的铺陈、烘托，生动地表现了南唐贵族文人闲适的情状，展示出他们日常生活的一个侧面\n该图描写手法高超，形神兼备，反映了昔日勘书者的荡然性格与狂放的气质。画中环境，为室内陈设着的屏风、几案、卷册之类。全图构思十分精密，合适有度。",[255,24,25,28,30,312,313,314,7,147,59,60,64],"书房","书桌","书籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fa9c6a247d3036f1d8a3cae7e653f5.jpg",[],30,{"id":319,"slug":320,"title":321,"dynasty":118,"author":322,"museum":54,"description":323,"tags":324,"thumbUrl":327,"material":130,"size":131,"collection":43,"collections":328,"showCount":317,"zanCount":11,"manualWeight":11,"mainColor":72},230589,"jiang-hu-shi-dai-lou-ge-shan-shui-tu-ping-feng-12-kai-chi-da-ya-230589","江户时代楼阁山水图屏风12开","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[24,25,7,28,29,147,32,30,325,34,35,326],"小桥","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20545c3e86b58644149fb020c8ccf4e8.jpg",[],{"id":330,"slug":331,"title":332,"dynasty":118,"author":333,"museum":54,"description":334,"tags":335,"thumbUrl":340,"material":130,"size":131,"collection":43,"collections":341,"showCount":317,"zanCount":134,"manualWeight":11,"mainColor":72},226152,"gong-zhu-zhan-mu-si-mai-ke-ni-er-hui-si-lei-226152","公主","詹姆斯·麦克尼尔·惠斯勒","詹姆斯·阿博特·麦克尼尔·惠斯勒（James Abbott McNeill 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夏秋草图屏风-夏分","日本画家的的琳派。他以复兴绪方光琳的风格和流行而闻名，并创作了光琳作品的许多复制品。",[23,469,28,27,7,36,705,706,707,189,708],"草","百合","花","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb548c61cf45af09f8adccf27384be288.jpg",[],{"id":712,"slug":713,"title":714,"dynasty":118,"author":715,"museum":54,"description":287,"tags":716,"thumbUrl":720,"material":130,"size":131,"collection":43,"collections":721,"showCount":722,"zanCount":11,"manualWeight":11,"mainColor":72},231753,"mu-ma-tu-ping-feng-di-yi-ping-zhang-gu-chuan-deng-bo-231753","牧马图屏风第一屏","长谷川等伯",[23,24,25,7,28,27,580,30,717,619,176,718,719],"树","水","牧马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ae7c460b8c7fa4288de97a20837dfb.jpg",[],13,{"id":724,"slug":725,"title":726,"dynasty":52,"author":356,"museum":20,"description":727,"tags":728,"thumbUrl":732,"material":733,"size":734,"collection":43,"collections":735,"showCount":722,"zanCount":11,"manualWeight":11,"mainColor":72},231410,"luo-han-tu-er-liu-song-nian-231410","罗汉图（二）","台北故宫藏画中，有三幅刘松年画罗汉，每幅都款署开禧丁卯（1207）刘松年画，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了赏玩，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。刘松年的这幅《罗汉图》(见图)又名《猿猴献果图》，绢本设色，纵117.2厘米，横56厘米，现存台北“故宫博物院”。他创作此幅《罗汉图》正是受禅宗思想的影响，把佛教壁画中守护在菩萨身边的罗汉，变成游山玩水的世俗僧人。图中前面是一棵历尽沧桑的枯树，树干由下而上呈“s”型，枯树叶已脱尽，只剩下遍体的嶙峋与凌乱的树权。后面是一株枝叶茂盛的阔叶大树，两树中间夹着结满果实的小树。画中的罗汉双手相交，趴伏在一横斜树枝上，深情地注视着面前两只温顺的小鹿，表情亲切、温和，流露出世俗的欢乐。罗汉的头部造型准确，虽与全身相比略显大些，但五官刻画细致，具有神韵。树上的两只猿猴居高临下，形态生动、活泼，正在摘熟透的果子。树下一清秀文雅的小和尚双袖合抱去接其中一只猿猴扔下的果子，一只小鹿仰头观望。这种极富生活情趣的描写，不仅表现了人与自然相依相存的亲密关系，也淡化了作品的宗教气氛。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈。",[24,25,729,359,27,28,231,30,7,189,730,731,268,39],"立轴","拐杖","扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bad5af550efbba55abfcfb88b17f3e.jpg","绢本设色画","纵117公分，横55.8公分",[],{"id":737,"slug":738,"title":739,"dynasty":740,"author":119,"museum":20,"description":741,"tags":742,"thumbUrl":744,"material":43,"size":745,"collection":43,"collections":746,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":72},223587,"hua-si-xiao-tu-juan-yi-ming-223587","画四孝图卷","元","「四孝图」描绘故事四则，以图文相间的方式表达。第一则述王武子之妻割股作羹汤，治癒婆母寒疾；第二则述三国陆绩因其母好食橘，乃於进謁袁术席间，怀橘以奉母；第三则述晋王祥為母病中思食鲤鱼於冬月，而至江上卧冰求鲤；第四则述后汉曹娥之父溺毙江中不得尸灵，至娥投江，三日后方抱父尸出。是皆孝心感人之事蹟，卷末并附李居敬四孝图序，论孝之精义。通幅人物，以匀称之线条為主，细挺而有力。",[23,24,25,26,28,27,30,33,34,489,39,7,417,743,268,218],"成人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49ea7682e123d88c66ded0f834267302.jpg","38.9x502.7",[],12,{"id":749,"slug":750,"title":751,"dynasty":93,"author":752,"museum":753,"description":754,"tags":755,"thumbUrl":764,"material":765,"size":766,"collection":43,"collections":767,"showCount":768,"zanCount":11,"manualWeight":11,"mainColor":47},223313,"fa-jie-yuan-liu-tu-juan-7-ding-guan-peng-223313","法界源流图卷-7","丁观鹏","吉林省博物院","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,27,28,231,756,757,758,30,34,35,7,268,759,760,761,762,687,763],"罗汉","菩萨","佛","法器","背光","火焰纹","祥云","花卉装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bca15cb25d345e9d926b5f3241d8c95.jpg","纸本，设色","纵33厘米、横1635厘米",[],11,{"id":770,"slug":771,"title":772,"dynasty":118,"author":456,"museum":54,"description":457,"tags":773,"thumbUrl":778,"material":130,"size":131,"collection":43,"collections":779,"showCount":780,"zanCount":11,"manualWeight":11,"mainColor":72},230583,"si-ji-shan-shui-tu-ping-feng-di-yi-ping-zhou-wen-230583","四季山水图屏风第一屏",[23,24,25,7,122,375,147,668,774,326,374,128,775,776,777],"蓑笠","远山","近石","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90625f9167db424f96348cc9de928d36.jpg",[],10,{"id":782,"slug":783,"title":784,"dynasty":93,"author":785,"museum":20,"description":786,"tags":787,"thumbUrl":788,"material":277,"size":789,"collection":43,"collections":790,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":47},224599,"bai-hai-qing-he-qing-tai-224599","白海青","贺清泰","乾隆四十八年(西元1783)。达拉罕亲王。汪扎尔多尔济进白海青一架。架上白鹰，铁喙钩爪，羽毛洁白，神情威猛，深得写生之妙，此幅当是与郎士宁同时同地写生而成。两位画家从不同角度观察白鹰，并以逼真手法写生下来。\n中西结合的宫廷绘画 清代没有画院的设置，只在内务府造办处中有画画处和如意馆，负责组织画家为宫廷服务。画家地位低下，或称“南匠”，因画家多系南方人之故，或称“画画人”。画家来源或为原在宫中服务的画家子弟，或大臣推荐，或画家毛遂自荐，均经考核再录用。其中也有大臣如王原祁、蒋廷锡等，虽也创作绘画为宫廷所用，则不在此中。 顺治初见于记载的宫廷画家只有黄应谌一人。康熙时有唐岱、焦秉贞、冷枚等。唐岱山水得王原祁指授，画风亦相近。焦秉贞善山水人物，用透视法，受西方的影响，冷枚为焦秉贞的学生，以人物仕女见长。其后至乾隆时期，画家有丁观鹏、姚文瀚、金廷标、余省、张宗苍、徐扬、陈枚等。他们的作品艺术成就远不及宋代和明代。最具有清代宫廷绘画特色并创造出了艺术成就的是宫廷中的一批来自西方的传教士画家，他们中有意大利人郎世宁、安德义、潘廷章，法国人贺清泰、王致诚，波希米亚人艾启蒙等。他们根据官廷的需要与爱好，用中国的作画工具，综中、西不同的观察和表现方法，如人物用西法，背景则为中法，或背景用中国画家来画；面部塑造采用正面光，减轻明暗对比度，以适合中国传统欣赏习惯等等，因而创造出一种新的风格。",[23,24,25,729,27,28,36,146,143,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81de27f18ee00b00b65c920a57e2c0fb.jpg","110x60cm",[],{"id":792,"slug":793,"title":794,"dynasty":118,"author":119,"museum":54,"description":795,"tags":796,"thumbUrl":798,"material":130,"size":131,"collection":43,"collections":799,"showCount":800,"zanCount":11,"manualWeight":11,"mainColor":72},290030,"jiu-tu-ping-feng-yi-ming-290030","厩图屏风","这对六曲屏风以金地铺陈，定格厩舍日常。上层马厩中，良驹神态各异，或昂首振蹄、或垂首静立，牵马仆役悠然随侍，将骏马蹄下的灵动与驯养的平和日常细腻铺展。\n\n下层庭院间，贵族席地宴游交谈，侍从往来待命，灵犬、小雀点缀其间，晕开松弛闲逸的氛围。整体构图舒展平铺，设色调和古雅，带着唐风浸染的和风雅致，将贵族养马赏玩的闲情娓娓道来，在写实的场景里晕开古朴意趣，尽显中古贵族日常的雅致况味。",[23,24,255,25,7,28,580,30,797],"厩舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8735aaa206ea3cb27e650b73ac9b18f9.jpg",[],8,{"id":802,"slug":803,"title":804,"dynasty":118,"author":456,"museum":54,"description":457,"tags":805,"thumbUrl":808,"material":130,"size":131,"collection":43,"collections":809,"showCount":800,"zanCount":11,"manualWeight":11,"mainColor":72},287659,"shan-shui-tu-ping-feng-er-zhou-wen-287659","山水図屏風二",[24,255,7,122,147,374,806,807],"房屋","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F153ae9a4d52cfc936e158634dfc01042.jpg",[],{"id":811,"slug":812,"title":813,"dynasty":740,"author":119,"museum":20,"description":814,"tags":815,"thumbUrl":816,"material":817,"size":43,"collection":43,"collections":818,"showCount":800,"zanCount":11,"manualWeight":11,"mainColor":47},232264,"ni-zan-xiang-hua-xin-yi-ming-232264","倪瓒像画芯","关于倪瓒出身富贵之家的记载很多，此不赘述。\n如此富家子弟，并没有过着纨绔的生活。倪瓒博闻好古，虽然不事产业，但也并非离经叛道之人，行走于上流知识圈子中。\n正是因此，倪瓒在太湖边为自己修建了一处规模宏伟的庄园“清閟阁”，此外，倪瓒名下还有云林堂、逍闲仙亭、朱阳宾馆、雪鹤洞和海岳翁书画轩等园林庄园。\n何良俊在《四友斋丛说》中继续说，“家饶于财，所居有清閟阁，备潇洒幽深之致，惟不喜见俗人，遇便舍去，盖去尘离垢之士也。”\n如今，“中国台北故宫博物院”藏有一幅元末佚名画家所作《张雨题倪瓒像》，大抵上可以看成描绘倪瓒生活于清閟阁时期的画像。",[24,25,27,28,30,147,7,201,39,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd179c2e3db6a4c926d417d4833f205ae.jpg","纸本",[],{"id":820,"slug":821,"title":822,"dynasty":118,"author":715,"museum":54,"description":287,"tags":823,"thumbUrl":825,"material":130,"size":131,"collection":43,"collections":826,"showCount":827,"zanCount":11,"manualWeight":11,"mainColor":72},231752,"mu-ma-tu-ping-feng-di-er-ping-zhang-gu-chuan-deng-bo-231752","牧马图屏风第二屏",[23,24,25,7,28,27,30,580,230,34,176,718,824],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4eaf33f4fb0d88855c935dc14bf6b14.jpg",[],7,{"id":829,"slug":830,"title":831,"dynasty":118,"author":322,"museum":54,"description":323,"tags":832,"thumbUrl":835,"material":130,"size":131,"collection":43,"collections":836,"showCount":827,"zanCount":11,"manualWeight":11,"mainColor":47},231739,"jiang-hu-shi-dai-qian-tang-guan-chao-tu-ping-feng-chi-da-ya-231739","江户时代 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