[{"data":1,"prerenderedAt":629},["ShallowReactive",2],{"subject-po-di":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},487,"po-di","坡地","坡地画高清赏析","精选中国历代坡地题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82dec04c5a243d3e25319f1b01e565b3.jpg",0,44,[14,45,67,93,109,133,151,174,195,211,219,240,259,269,281,294,306,318,329,343,356,368,390,402,412,424,434,447,458,469,480,492,506,519,531,541,549,560,569,580,587,595,604,616],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":42,"zanCount":43,"manualWeight":11,"mainColor":44},222779,"bai-jun-tu-lang-shi-ning-222779","百骏图","清","郎世宁","台北故宫博物院","《百骏图》是意大利籍清代宫廷画家郎世宁创作的绘画作品，是中国十大传世名画之一。此图稿本为纸质，原作分别收藏于美国纽约大都会博物馆（纸质稿本）和中国台北故宫博物院（绢本）\n此图共绘有100匹骏马，姿势各异，或立、或奔、或跪、或卧，可谓曲尽骏马之态。画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n此图为一长卷，从右至左，画面开始是两棵参天的老松树，透过松枝的空隙，露出了牧马人搭建的简易白色帐篷，有三个身穿满族服装的牧人在帐篷前，二人倦怠地或坐或卧，还有一人双手拄着套马杆立在那里，看着不远处的马匹，一只牧犬从帐篷内伸出了半个身子。\n近处是一匹浑身滚圆的白马悠然而立，旁边的两匹花马在低头啃草，由此引出了后面千姿百态的群马。在草地上，一群肥瘦不一的马匹各自在觅食、躺卧、翻滚嬉闹。\n远处群山连绵，草木丛生，一个牧马人正用套杆套一匹跑远的马，另一牧人则在赶拢跑散的八九匹小马驹，此处近景也是几棵盘根虬枝的古松，一大群不同花色的骏马或立或卧或昂首或低头，还有几匹在追逐打闹。\n画面中段，在一片树木坡石间又有一群马在休息，其中有一对母子，母马正看着在吃奶的小马驹，旁边一匹马正在古松上蹭痒，惹得一牧人扭头观看。\n画卷再向左侧展开是一片湖水，湖岸边芦苇郁郁葱葱，马匹则在水边嬉闹。湖中有一人正在为一花马擦洗，湖中倒影清晰可见。\n过了水面窄处而后湖水又逐渐开阔，湖滩的沙地上长满了芦苇和杂草，另有一小群马在一个骑马的牧人带领下，泅过不宽的水面到对面去。\n画面的结尾是一个手持套马杆的牧人。在画幅的左下角，署有画家名款：“雍正六年，岁次戊申仲春，臣郎世宁恭画。”画幅上钤乾隆印多方。\n此图描绘了姿态各异的骏马百匹放牧游息的场面，画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n《百骏图》长卷洋洋洒洒，塑造了一大群或站或卧、或翻滚嬉戏、或打斗觅食的骏马，它们聚散不一，自由、舒闲。画作中除了上百匹骏马之外，还有人物、山水、草木，无不精致写实，形象逼真，给予人们足够的空间，令人产生无边的遐想。同时花卉的形态和神态作者也通过西画的透视和光感等技巧表现出来，画得相当精细，立体感强。\n此画上，作者运用中国的毛笔、纸绢和色彩，却以欧洲的绘画方法注重于表现马匹的解剖结构、体积感和皮毛的质感，使得笔下的马匹形象造型准确、比例恰当、凹凸立体，而不像中国古代画\n家采用延绵遒劲的线条来勾勒物象轮廓的方法。他是以细密的短线，按照素描的画法，来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅，来表现马匹的凹凸肌肉，与传统中国绘画中的马匹形象迥然有别。以中国传统绘画技法加入西洋光影透视法及西画颜料，以显示中西趣味兼容并蓄的画面。如画中马匹、人物、树木、土坡皆应用了光的原理，使物象极富立体感；而如松针、树皮、草叶等的墨线勾勒，石块土坡的皴擦等仍含有中国传统手法，即使是马匹及树干上的阴影表现，亦是以中国传统的渲染方法来完成的。\n此画构图复杂，风格独特，极具意趣，别具一格。尽管全图包含了马匹、牧者、帐篷、树木等众多景物，但作者充分显示了其“虚实相间”的构图功力，画面由牧者引出，又以牧者结束，而作为主角的百匹骏马均在牧马人的引导控制之下活动。整幅画面聚散、稀疏的设置充满了节奏感。\n中国画是散点透视，西画是焦点透视。这种透视效果在这幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。注重形象的解剖结构、光影效果及立体感。并且，在此画上，作者将中国画法巧妙地与西法相融合，突破了明清时期大部分山水、花鸟画作品以水墨为主流的表现方法，另辟蹊径，创造了一种“中西合璧”的绘画新风格，具有开拓性的意义，对于中国传统绘画的发展产生了巨大的推动和冲击。",[23,24,25,26,27,28,29,30,31,32,33,34,7,35],"高清","工笔","设色","长卷","中西合璧","马","树木","河流","草地","人物","帐篷","山水","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b30b71123be3a26bafdc83b49d1c5e.jpg","绢本设色","纵102厘米，横813厘米","花鸟画精选",[39,41],"设色画精选",1291,7,"795548",{"id":46,"slug":47,"title":48,"dynasty":18,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":61,"material":62,"size":63,"collection":64,"collections":65,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":44},222812,"fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812","仿古四季山水图-仿夏禹玉渔庄","王翚","辽宁省博物馆","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。",[23,53,54,55,25,34,29,56,30,57,58,59,7,60],"国画","仿古","皴法","山峦","渔舟","房屋","老树","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","纸本设色","82cm × 51 cm","山水画精选",[64,41],131,{"id":68,"slug":69,"title":70,"dynasty":71,"author":72,"museum":73,"description":74,"tags":75,"thumbUrl":85,"material":86,"size":87,"collection":64,"collections":88,"showCount":90,"zanCount":91,"manualWeight":11,"mainColor":92},220896,"jiu-feng-han-cui-tu-dong-qi-chang-220896","九峰寒翠图","明","董其昌","天津博物馆","董其昌书法上有“邢张米董”之称，即把他与临邑邢侗、晋江张瑞图、须天米钟并列；绘画上有南董北米之说。莫是龙、陈继儒提倡“南北宗”之说，即把“院体”山水画与“文人画”分为南北两派。董其昌一生创作的书画作品不可胜数，临仿古人的绘画和诗帖是其中的一个重要部分。他在《画禅室随笔》中所说的“读万卷书”正是指一个人要想成为艺术家，必须学习传统，学习古人。他17岁开始学习书法时临写颜真卿的《多宝塔》，22岁学习绘画时师法黄公望，以后又遍学诸家，这种以古人为师的作法八十而不辍，伴其终生。他广泛吸取对唐宋元诸家优长，抉精探微，使其书画取得了超越古人的艺术成就。\n在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵佶、米芾诸名家法书，于万历三十一年（1603年）刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸，他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。",[23,76,53,77,78,79,25,55,34,80,81,82,83,29,84,7],"名画","书画","立轴","水墨","枯树","山石","远山","近坡","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 墨笔","123.7cmx46cm",[64,89],"水墨画精选",86,1,"F48FB1",{"id":94,"slug":95,"title":96,"dynasty":97,"author":98,"museum":20,"description":99,"tags":100,"thumbUrl":104,"material":105,"size":106,"collection":64,"collections":107,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":44},221014,"shan-shan-tu-juan-dai-kui-221014","剡山图卷","晋","戴逵","戴逵（326－396年），字安道，谯郡铚县（今安徽省濉溪县临涣镇）人。东晋时期隐士、美术家、雕塑家，金城太守戴绥之子。\n\n早年师从名儒范宣，博学多才，善于鼓琴，工于绘画人物和山水。终身不仕，坚拒太宰武陵王（司马晞）召命和王徽之雪夜拜访。\n\n孝武帝司马曜即位，累次征辟，全部不就。太元二十一年，去世。著有《戴逵集》9卷，今已散佚。",[23,76,53,77,26,25,55,34,56,29,81,101,7,102,103],"茅屋","印章","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b825446ccfc90b423b206be2232fcac.jpg","纸本","38.4x615",[64,41],84,{"id":110,"slug":111,"title":112,"dynasty":113,"author":114,"museum":115,"description":116,"tags":117,"thumbUrl":128,"material":37,"size":129,"collection":130,"collections":131,"showCount":132,"zanCount":91,"manualWeight":11,"mainColor":44},221372,"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","宋","赵昌","藏地不详","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[23,53,76,26,24,25,118,119,120,121,122,35,123,124,7,125,126,127],"花鸟","鹌鹑","竹","荷","鸟","花草","藤蔓","浆果","野花","禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","横301.5cm纵32.5cm","宋画精选",[130,39,41],79,{"id":134,"slug":135,"title":136,"dynasty":71,"author":137,"museum":138,"description":139,"tags":140,"thumbUrl":144,"material":145,"size":146,"collection":147,"collections":148,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":150},220027,"dong-zhuang-tu-ce-ting-zi-ping-shen-zhou-220027","东庄图册-艇子洴","沈周","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,53,79,141,55,34,59,142,60,7,143],"册","建筑","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083fb5e331396661ac55295f09115283.jpg","纸本,设色","纵28.6厘米，横33厘米","",[],66,"BDBDBD",{"id":152,"slug":153,"title":154,"dynasty":18,"author":155,"museum":115,"description":156,"tags":157,"thumbUrl":171,"material":147,"size":147,"collection":147,"collections":172,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":150},229005,"shi-er-yue-ling-shan-shui-ce-ye-gong-xian-229005","十二月令山水册页","龚贤","以淡墨晕染出郊野冬韵，枯木疏朗错落，枝桠褪尽繁叶，萧索间藏着山野幽居的静穆意趣。坡地以短笔皴擦，层层铺陈出浑厚质感，留白化作寒溪浅流，晕开冬日清寂。茅舍掩映在坡坳间，篱墙蜿蜒环绕，高悬的酒旗孤静无扰，不见行人踪迹，愈衬出林居的幽谧冷寂。笔墨简淡却意韵悠长，将冬日荒寒与山居恬然融作一处，淡墨轻皴间，把山野闲居的安然意绪缓缓铺展，尽显静穆淡远的林下风致。",[53,79,158,159,160,161,162,163,164,165,7,166,55,167,168,169,170],"册页","山水画","冬日","枯木","茅舍","篱墙","酒旗","寒溪","山居","幽谧","静穆","恬然","荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1e413a3bcf06fadb00a852fcadfc1f.jpg",[],62,{"id":175,"slug":176,"title":177,"dynasty":18,"author":19,"museum":20,"description":178,"tags":179,"thumbUrl":190,"material":191,"size":192,"collection":39,"collections":193,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":150},222793,"jin-chun-tu-lang-shi-ning-222793","锦春图","《锦春图》设色浓艳鲜丽，充分体现郎世宁的绘画特色。锦鸡花卉得写实之真，而湖石坡草又表现中国画的笔墨趣味。画春华锦鸡。锦鸡全用西法。点景树石笔墨是旧院体。构景一仍是陈法。当出另一画家补绘。设色画山涧旁湖石杂卉，二锦鸡栖石上。",[23,76,53,77,78,24,25,27,180,181,182,183,81,184,143,185,126,186,84,187,7,188,189],"光影透视","写实","锦鸡","禽鸟","花卉","岩壑","奇石","苔草","花叶","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2017289c044d5d1fb6ebf7be3f2e2187.jpg","绢本，设色","横68.6厘米，纵121.6厘米",[39,41],57,{"id":196,"slug":197,"title":198,"dynasty":113,"author":199,"museum":20,"description":200,"tags":201,"thumbUrl":206,"material":207,"size":208,"collection":130,"collections":209,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":150},218837,"xi-yang-gui-du-tu-yi-ming-218837","夕阳归犊图","佚名","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。",[23,53,202,25,34,24,203,204,205,82,7,55],"扇面","夕阳","牛","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a03dda9ca27d426983bebcf6e6d089.jpg","绢本,设色","22.4x22.4",[130,64],55,{"id":212,"slug":213,"title":214,"dynasty":71,"author":137,"museum":138,"description":139,"tags":215,"thumbUrl":216,"material":105,"size":146,"collection":147,"collections":217,"showCount":218,"zanCount":11,"manualWeight":11,"mainColor":150},220020,"dong-zhuang-tu-ce-zhi-sang-zhou-shen-zhou-220020","东庄图册之桑州",[23,53,77,141,79,25,34,29,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd451e05aae9ee860e65702e5c77a968d.jpg",[],45,{"id":220,"slug":221,"title":222,"dynasty":71,"author":223,"museum":224,"description":225,"tags":226,"thumbUrl":236,"material":145,"size":237,"collection":147,"collections":238,"showCount":239,"zanCount":91,"manualWeight":11,"mainColor":150},214665,"san-jue-tu-7-yao-shou-214665","三绝图-7","姚绶","上海博物馆","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[53,25,227,34,118,228,59,31,229,230,231,35,232,7,233,234,235],"青绿","松树","石头","兔子","飞鸟","梅","小景","设色山水","花鸟草虫","https:\u002F\u002Foss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牛肥壮，孩子调皮。",[23,76,53,78,25,24,288,29,289,7,102],"秋林","牛犊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c9fbfac81e21e219709419b2fe821c.jpg","96.3＊53.2cm",[130,64,89],25,{"id":295,"slug":296,"title":297,"dynasty":18,"author":49,"museum":115,"description":298,"tags":299,"thumbUrl":303,"material":147,"size":147,"collection":147,"collections":304,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":150},237582,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237582","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[53,77,141,79,55,300,34,80,59,301,302,7,29,250,102],"临摹","孤石","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57baa8839dc6361ac243cc972732649b.jpg",[],24,{"id":307,"slug":308,"title":309,"dynasty":273,"author":310,"museum":20,"description":311,"tags":312,"thumbUrl":314,"material":315,"size":316,"collection":147,"collections":317,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":44},231382,"shuang-song-tu-wu-zhen-231382","双松图","吴镇","全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。\n两松平地直立，上顶天，下立地，几乎占据了整个画面。两树均挺拔茂盛、枝叶桠槎、形势奇古。左松树身中下部曲成弧形，卧于地，中部挺直、劲健，顶部突然探向右方；右松直立挺拔，上部一个近于直角的弯曲，伸向右，于左松一树枝的上方又一个近于直角的弯曲，然后冲向高空。这样两松空中交插，成为X形，一种挺拔、孤傲、相依相扶的形象展示于画面。两松枝叶间点缀以清溪茅舍、远山丛树，更显出双松的高大、雄伟。\n画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。",[53,77,79,55,78,34,228,81,82,29,7,313],"石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf0fcc10dffdd8cca23f577240f388d.jpg","绢本","纵180厘米横111.4厘米",[],{"id":319,"slug":320,"title":321,"dynasty":18,"author":19,"museum":20,"description":322,"tags":323,"thumbUrl":325,"material":191,"size":326,"collection":147,"collections":327,"showCount":328,"zanCount":11,"manualWeight":11,"mainColor":150},222756,"ba-jun-tu-lang-shi-ning-222756","八骏图","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[23,76,53,77,78,24,25,27,181,28,324,32,102,7],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28adc62fbf3174d00b42d379a53d67ea.jpg","139.3公分，横：80.2公分",[],22,{"id":330,"slug":331,"title":332,"dynasty":18,"author":333,"museum":285,"description":334,"tags":335,"thumbUrl":338,"material":339,"size":340,"collection":147,"collections":341,"showCount":342,"zanCount":11,"manualWeight":11,"mainColor":150},233421,"yuan-ji-shan-shui-ce-shi-tao-233421","原济山水册","石涛","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[76,53,77,141,79,55,34,81,59,29,336,337,7],"小屋","栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c55c1ae79c7d14fcee18a101340766.jpg","纸本 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数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,442,79,120,35,29,7],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde50c2552559fadc928067e60eecddd0.jpg","浅设色","35.88x57.31cm",[],{"id":448,"slug":449,"title":450,"dynasty":71,"author":451,"museum":115,"description":452,"tags":453,"thumbUrl":455,"material":147,"size":147,"collection":147,"collections":456,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":44},236928,"shan-shui-ce-qin-mao-de-236928","山水册","秦懋德","此作以淡墨晕染烟岚，远山在云气间半遮半露，似含倦意隐于空濛。近岸林木苍秀错落，枝叶以写意笔法点染，自带萧散野趣。\n\n左侧题诗与画作相得益彰，笔致清逸俊雅，诗画合璧，将林泉幽隐的意趣铺展开来。简淡的笔墨里藏着悠然隐逸的心境，不着浓艳，却把山居闲澹的诗意晕透纸面，观之如踏入空山烟林，揽得一怀松风墨韵。",[53,77,141,79,454,55,34,29,56,7,102],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d86db61e7258f3942f4179fa8bd3ad2.jpg",[],6,{"id":459,"slug":460,"title":450,"dynasty":71,"author":461,"museum":115,"description":462,"tags":463,"thumbUrl":467,"material":147,"size":147,"collection":147,"collections":468,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":44},235153,"shan-shui-ce-li-liu-fang-235153","李流芳","此作用笔简淡清逸，以水墨晕染出山水襟怀。近坡淡墨轻铺，竹枝萧疏摇曳，笔致清瘦隽雅。中处长松亭亭如盖，浓墨点染松针，枯淡勾勒树干，高低错落间见出苍劲古拙。远山以淡墨轻扫而过，留白衬出烟岚空濛。\n\n通篇墨色层次分明，浓淡相依，糅合出萧散出尘的幽远意境，暗含文人澹泊襟怀。题款与画面浑然相融，笔墨间不见烟火尘嚣，只余林泉高致，将山居幽寂的清冷意趣尽数铺陈。",[53,76,77,79,464,55,158,465,34,29,466,81,7,377],"淡墨渲染","写意","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda4d66caabfd57aa2897466192206d8.jpg",[],{"id":470,"slug":471,"title":472,"dynasty":113,"author":199,"museum":115,"description":473,"tags":474,"thumbUrl":475,"material":476,"size":477,"collection":147,"collections":478,"showCount":479,"zanCount":11,"manualWeight":11,"mainColor":44},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。",[53,79,204,397,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083ba34f3c39e90c774873925b3837f1.jpg","未知","Xcm*Xcm",[],5,{"id":481,"slug":482,"title":483,"dynasty":18,"author":484,"museum":115,"description":485,"tags":486,"thumbUrl":490,"material":476,"size":477,"collection":64,"collections":491,"showCount":479,"zanCount":11,"manualWeight":11,"mainColor":44},236203,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236203","避暑山庄三十六景图书诗成扇","王际华","王际华（1717—1776），字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。\n字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。乾隆十年一甲三名进士，授编修。十三年，大考翰詹，擢侍读学士、上书房行走。广东旧设两学政，十五年，以侍读程岩督广韶学政，际华督肇高学政，旋用岩议裁并，以忧归。服除，起原官。三迁至侍郎，历工、刑、兵、户、吏诸部。在兵部，疏言：“武乡会试旧例，外场挑双好、单好、合式三类入内场，双、单好列东号，合式列西号。不肖者见列西号，知不能幸中，纷纷求出。即有归号，终日喧哗。请嗣后武乡会试，但挑双、单好，毋更挑合式。”在吏部，疏请在京文武官吏议处，及各部会议外省文武官吏议处，当分别定限，皆如所议。三十四年，迁礼部尚书。三十八年，加太子少傅，调户部尚书。四十一年，卒，赠太子太保，谥文庄。赐其子朝梧内阁中书，官至山东兖沂曹道。",[487,202,25,34,29,82,488,55,489,7],"清代","书法","近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dcb86eae09920ccddbb4d293908ebbc.jpg",[64],{"id":493,"slug":494,"title":495,"dynasty":18,"author":496,"museum":285,"description":497,"tags":498,"thumbUrl":503,"material":147,"size":504,"collection":147,"collections":505,"showCount":479,"zanCount":11,"manualWeight":11,"mainColor":150},223193,"geng-zhi-tu-ce-jiao-bing-zhen-223193","耕织图册","焦秉贞","《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。",[24,25,499,32,58,29,500,501,7,502],"界画","庭院","围栏","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca084f29b8dd14d8d72bab984dcd4762.jpg","34.7cm×27.7cm",[],{"id":507,"slug":508,"title":509,"dynasty":113,"author":510,"museum":20,"description":511,"tags":512,"thumbUrl":516,"materi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住吉物语画卷","不详","以俯瞰长卷铺展秋日图景，左段郊野丹枫点染秋意，士人围坐雅谈，武士恭谨侍立，山林丘壑间漫着悠然秋韵。中段日式宅邸廊庑萦回，屋中主人安坐，侍从穿廊往来，将贵族闲居日常细腻铺陈。\n清隽墨线勾勒屋宇衣纹，浅淡设色晕开古雅温柔，岁月晕黄的纸本更添沉静韵味，将山居闲雅诗意融于笔底，复刻出千年前和风贵族的风雅日常。",[26,24,25,499,32,363,29,34,556,228,500,7,557],"红叶","水洼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e8492f4fb31b52df86230c0000e433.jpg",[],{"id":561,"slug":562,"title":563,"dynasty":18,"author":496,"museum":115,"description":564,"tags":565,"thumbUrl":567,"material":145,"size":147,"collection":147,"collections":568,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":150},215055,"tui-bei-tu-ce-53-jiao-bing-zhen-215055","推背图册-53","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,53,77,141,25,24,79,32,59,7,566],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea97251a00019fab83156a1f20de9d3.jpg",[],{"id":570,"slug":571,"title":572,"dynasty":18,"author":573,"museum":115,"description":574,"tags":575,"thumbUrl":577,"material":147,"size":147,"collection":147,"collections":578,"showCount":579,"zanCount":11,"manualWeight":11,"mainColor":150},237947,"shan-shui-tu-ce-liu-yu-237947","山水图册","柳堉","此帧以淡墨晕染江南村居之景，近岸林麓间村舍错落，茅庐覆草朴野天然，远渚轻峦隐于烟岚薄雾间，平远之境如诗铺展。笔墨松秀温润，以干笔淡皴勾勒坡岸林木，墨色清浅柔和，不着浓艳重彩，将水乡的清宁安谧晕染尽致。行书题跋与画意相映，文心绘境相融，将文人幽居寄怀山水的雅兴藏进淡墨烟岚中，观之如临水畔闲坐，静看烟波日晚，尽显萧散冲淡的意趣，幽恬静穆间，满是江南水乡的温润诗意。",[53,77,141,79,55,576,34,80,58,82,7,60,385],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a1e37bc93113bf7a1da78430e9e93d.jpg",[],3,{"id":581,"slug":582,"title":583,"dynasty":18,"author":496,"museum":115,"description":564,"tags":584,"thumbUrl":585,"material":145,"size":147,"collection":147,"collections":586,"showCount":579,"zanCount":11,"manualWeight":11,"mainColor":150},215069,"tui-bei-tu-ce-38-jiao-bing-zhen-215069","推背图册-38",[23,53,77,141,24,25,205,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dfda66360cdd36209a68b779b4cc71d.jpg",[],{"id":588,"slug":589,"title":590,"dynasty":18,"author":496,"museum":115,"description":564,"tags":591,"thumbUrl":593,"material":145,"size":147,"collection":147,"collections":594,"showCount":579,"zanCount":11,"manualWeight":11,"mainColor":150},215063,"tui-bei-tu-ce-46-jiao-bing-zhen-215063","推背图册-46",[23,53,24,25,32,397,592,81,7,351,141],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F459791ff2bf1052b21f2a37d2360ed40.jpg",[],{"id":596,"slug":597,"title":450,"dynasty":18,"author":598,"museum":115,"description":599,"tags":600,"thumbUrl":601,"material":147,"size":147,"collection":147,"collections":602,"showCount":603,"zanCount":11,"manualWeight":11,"mainColor":150},239041,"shan-shui-ce-wu-lin-239041","吴麐","此作取景疏空灵透，远山以淡墨轻勾慢染，笔致简括却见层峦起伏，留白代云气，将山峦虚实衔连，晕染出空濛悠远的烟岚之态。近岸苍松错落，干枝挺拔苍劲、松针攒簇有致，坡石以短皴带染，拙朴厚重间不失温润质感。左侧题字朱印与画面相映成趣，诗画合璧尽显文人雅韵。全幅以水墨写意，不施重彩，却将江南山水的清寂淡远融于尺幅，以极简笔情墨韵传递出林泉高致的幽寂心境，尽显文人山水画的空灵意趣。",[53,77,141,79,55,34,205,375,301,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd76dc3dbada10613fbee6ad216f6da18.jpg",[],2,{"id":605,"slug":606,"title":607,"dynasty":553,"author":199,"museum":115,"description":608,"tags":609,"thumbUrl":614,"material":476,"size":477,"collection":147,"collections":615,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":44},289546,"attributed-to-peter-de-wint-landscape-with-a-rock-wall-yi-ming-289546","Attributed to Peter De Wint--Landscape with a Rock Wall","这幅风景速写以灰调铺就沉静底色，用水色晕染揉合出林间岩壁的幽寂氛围。深色块晕染出上方林莽的阴翳朦胧，留白与淡墨勾画出岩壁层叠的断面，棱角被水汽柔化，却依旧带着山石的厚重质感。\n\n前景滩涂以枯笔扫过，浅淡的水痕漫出湿润的松弛感，和岩壁的硬朗形成微妙反差。画师以极简的明暗层次，铺陈开山野间潮湿静谧的氛围，没有刻意雕琢的细节，用虚实相生的笔触，让岩壁与林莽融在氤氲水汽里，仿佛能嗅到林间潮润的草木气息，将郊野一隅的松弛安然定格下来。",[610,611,612,29,7,613],"水彩画","风景画","岩壁","淡彩晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621e3c385337cbe5a0b42a14488b04b8.jpg",[],{"id":617,"slug":618,"title":450,"dynasty":18,"author":619,"museum":20,"description":620,"tags":621,"thumbUrl":626,"material":25,"size":627,"collection":147,"collections":628,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":150},238264,"shan-shui-ce-zhang-yan-238264","张演","此作用浅绛设色晕染出幽寂山居。近隅茅舍错落，屋中二人对坐晤谈，周遭嘉木扶苏，枝叶皴染细致，翠色鲜活生机暗涌。中景崖壁逶迤，山道萦回，林木错落嵌于岩隙间。远景危崖以淡墨浅赭晕出肌理，留白处尽显空濛悠远。\n\n构图疏密得宜，笔墨秀润清逸，将林下幽居的雅趣融于尺幅之中，静穆萧散的文人意韵浸透纸面，引观者踏入尘嚣之外的林泉佳处，尽显澹泊出尘的襟怀。",[53,25,141,34,55,81,56,29,58,32,103,228,302,7,364,622,623,624,465,625],"居所","远峰","近景","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223801e336f2d1e91f94eb0c474355a2.jpg","37.1x31.7",[],1777535710540]