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（今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[140,24,25,26,27,28,29,57,30,59,58,61,115,35,141,7,142],"名画","亭台","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","绢本,设色","171.2x111.3",[102],208,1,{"id":150,"slug":151,"title":152,"dynasty":86,"author":153,"museum":154,"description":155,"tags":156,"thumbUrl":164,"material":144,"size":165,"collection":44,"collections":166,"showCount":167,"zanCount":131,"manualWeight":48,"mainColor":49},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","大英博物馆","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[23,140,24,25,98,57,28,29,157,59,158,58,63,159,122,160,161,162,163,35,7,67],"宫城","宫殿","驴","城池","仪仗","官员","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[44,45],192,{"id":169,"slug":170,"title":171,"dynasty":18,"author":54,"museum":20,"description":55,"tags":172,"thumbUrl":174,"material":76,"size":77,"collection":101,"collections":175,"showCount":47,"zanCount":48,"manualWeight":48,"mainColor":49},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[23,140,24,25,26,29,57,28,58,59,60,61,62,63,64,94,65,120,36,32,7,173,71,117,122,67],"舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg",[],{"id":177,"slug":178,"title":179,"dynasty":18,"author":54,"museum":111,"description":180,"tags":181,"thumbUrl":186,"material":28,"size":187,"collection":42,"collections":188,"showCount":189,"zanCount":11,"manualWeight":48,"mainColor":49},221319,"qing-ming-yi-jian-tu-juan-zhang-ze-duan-221319","清明易简图卷","在画卷尾端的山石上有“翰林画史臣张择端进呈”签名，台湾中研院刘渊临认为其代表“金人入主汴京时的短时间风格”。北宋风俗画作品，北宋画家张择端所作。它生动地记录了中国十二世纪城市生活的面貌，是一幅举世闻名的现实主义风俗画卷。",[23,140,24,25,26,29,57,182,28,58,7,115,59,66,65,117,32,35,122,183,184,185],"白描","市井","民俗","宋代风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2dad2c8025aad97b6171fce959ff9.jpg","该幅 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。",[23,24,26,96,197,198,30,199,200,37,35,201,7,202],"山水画","皴法","江河","山峦","孤舟","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纸本，水墨","纵45.1厘米，横992.5厘米",[42,102,79],161,{"id":209,"slug":210,"title":211,"dynasty":109,"author":212,"museum":111,"description":213,"tags":214,"thumbUrl":216,"material":144,"size":217,"collection":44,"collections":218,"showCount":219,"zanCount":148,"manualWeight":48,"mainColor":220},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","仿宋院本金陵图","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。",[23,24,25,26,28,29,215,57,58,59,60,61,35,63,64,36,119,116,115,141,67,71,66,32,7],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[44,45],93,"37474F",{"id":222,"slug":223,"title":224,"dynasty":109,"author":110,"museum":111,"description":225,"tags":226,"thumbUrl":236,"material":101,"size":237,"collection":44,"collections":238,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},222834,"yuan-ben-qing-ming-shang-he-tu-sun-hu-222834","院本清明上河图","此画由清宫画院的五位画家协作画成，是参照了各朝仿本、集各家所长的作品。同时增加了明清时代的特殊风俗，如踏青、表演等等娱乐活动，亦增添了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，使画中人物增加到超过4,000人，而且受到西洋画风的影响，街道房舍均以透视原理作画，并有西式建筑行置其中。此卷用色鲜丽明亮，用笔达圆熟细致，所画之桥梁、屋宇、人物皆细腻严谨，是院画中的精品之作。",[23,24,26,28,29,58,59,7,227,119,228,229,230,231,232,233,234,235],"屋宇","猴","戏剧","特技","擂台","西式建筑","踏青","风俗画","院画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98aa9c3aaaf37a0138ff09866aaaffc7.jpg","长1152.8公分及宽35.6公分",[44,45],86,{"id":241,"slug":242,"title":243,"dynasty":18,"author":244,"museum":245,"description":246,"tags":247,"thumbUrl":249,"material":250,"size":251,"collection":42,"collections":252,"showCount":253,"zanCount":148,"manualWeight":48,"mainColor":49},223660,"zha-kou-pan-che-tu-yi-ming-223660","闸口盘车图","佚名","上海博物馆","是宋代界画精品之一，为典型的“宣和装”，留有“宣和七玺”中的四枚。该卷屋宇楼榭，向背分明，斗拱铺作，不失绳墨。虽然台门有制、界画有度，但画家却用高超的技法突破题材的限制，生动呈现了一幅官营水磨作坊的日常情景。清代成亲王跋云：“雏凤楼中宝绘，须以此为第一，与汉瓦唐琴辉映千古。”",[23,140,24,25,26,57,29,28,58,59,61,68,62,35,7,248],"劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550c385948591bb6e2aac1ff29f0ea9f.jpg","绢本设色","纵55.4厘米横124.1厘米",[42,45],84,{"id":255,"slug":256,"title":257,"dynasty":18,"author":54,"museum":88,"description":258,"tags":259,"thumbUrl":262,"material":101,"size":101,"collection":101,"collections":263,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":49},227396,"jin-ming-chi-zheng-biao-tu-zhang-ze-duan-227396","金明池争标图","金明池坐落在北宋东京汴梁顺天门外（今河南开封城西），是当时著名的御苑之一。每年三月由皇帝赐令开放，并与士庶于此共观龙舟争标，郊游赏玩，成为京城一大盛事。靖康之变后，赵宋王朝南渡，“争标赐宴”则成为历史的陈迹，不复存在。因此传世近千年的北宋著名画家张择端所作《金明池争标图》成为我们领略当日繁华胜境的最直观方法。\n张择端，字正道，东武（今山东诸城）人，宋徽宗时画院待诏。工于界画，尤其擅长作舟船、市桥、城郭，所绘《清明上河图》可谓中国最著名的绘画作品，家喻户晓。此幅《金明池争标图》是其另一传世佳作。北宋张择端《金明池争标图》页，收藏于天津博物馆，纵28.5厘米、横28.6厘米，工笔设色绘于绢本之上。\n本图作者在不足一尺见方的绢本上将周围约九里三十步的金明池及岸边的景物、人物悉数生动摹画下来，且画面呈现出开阔、疏朗的布局。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。表现主题的龙舟竞标场景以一艘大型龙舟为中心，其两侧各有五艘小龙舟，每船头各立军校一名，舞旗招引，舟中桨手则奋力划棹，向前方标杆冲去。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。“临水殿”中皇帝赐宴群臣，共赏争标；池岸上百姓或观龙舟，或春游赏玩，或买卖交易……众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。",[23,140,24,25,57,29,28,59,7,115,58,260,35,122,158,261],"水面","岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b0e98ebb1fc83d5e69e50a542eff25.jpg",[],83,{"id":266,"slug":267,"title":268,"dynasty":269,"author":270,"museum":88,"description":271,"tags":272,"thumbUrl":278,"material":279,"size":280,"collection":281,"collections":282,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":283},225912,"charing-cross-bridge-the-thames-1903-mo-nai-225912","Charing Cross Bridge, The Thames, 1903","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[273,274,7,32,275,276,277],"油画","印象派","雾景","晨光","城市风光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcaa82ff5dd02ac7c2b14ef3a3d991a9.jpg","未知","Xcm*Xcm","油画精选",[281],"F48FB1",{"id":285,"slug":286,"title":287,"dynasty":269,"author":288,"museum":88,"description":289,"tags":290,"thumbUrl":299,"material":279,"size":280,"collection":281,"collections":300,"showCount":264,"zanCount":301,"manualWeight":48,"mainColor":220},225822,"starry-night-1888-fan-gao-225822","Starry Night 1888","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。",[273,291,292,293,294,32,295,7,115,58,296,297,298],"后印象派","厚涂技法","星空","星星","水面倒影","夜晚","灯光","河岸草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9fc3dec81f00cc8603582b4eaf305ab.jpg",[281],3,{"id":303,"slug":304,"title":305,"dynasty":109,"author":306,"museum":111,"description":307,"tags":308,"thumbUrl":310,"material":279,"size":280,"collection":101,"collections":311,"showCount":312,"zanCount":48,"manualWeight":48,"mainColor":49},287872,"qing-yuan-ben-qing-ming-shang-he-tu-juan-chen-mei-287872","清院本清明上河图卷","陈枚","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[23,140,24,26,29,28,58,59,65,7,117,35,234,309,120,71,63,159,57],"市井生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49ed9bc2260582398ec60fe7c2077bb.jpg",[],73,{"id":314,"slug":315,"title":316,"dynasty":269,"author":270,"museum":88,"description":271,"tags":317,"thumbUrl":325,"material":279,"size":280,"collection":281,"collections":326,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":105},225914,"claude-monet-charing-cross-bridge-1899-mo-nai-225914","Claude Monet - Charing Cross Bridge, 1899",[274,273,7,32,260,115,318,319,320,321,322,323,324],"城市建筑","雾气","光影表现","色彩交融","朦胧感","水面反光","淡色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6473a3064a6e8eaaa03a80c1794abcf5.jpg",[281],66,{"id":329,"slug":330,"title":331,"dynasty":86,"author":87,"museum":111,"description":332,"tags":333,"thumbUrl":336,"material":127,"size":337,"collection":102,"collections":338,"showCount":327,"zanCount":301,"manualWeight":48,"mainColor":105},221996,"hu-xi-cao-tang-hua-xin-wen-zheng-ming-221996","浒溪草堂画芯","作品是作者六十六岁时所作。描绘的是吴邑沉天民的浒溪草堂，既反映了草堂主人淡泊明志，不追逐名利的品格，又对映了主人热情好客的秉性，同时也折射出了作者本人的好恶。\n《浒溪草堂图》原藏沉天民家中，明末遗失。沉天民曾孙沈培风少时曾在朋友姚子文家见到此画，想要购回，却终究没好意思开口，一直是心头的一块心病，念念不忘。二十年后的一天，得知姚子文已于一年前的冬天患病不治而逝的讯息后，沈培风立即前往浙江的姚宅，欲觅得此画，可惜宅内已空无一物。有道是功夫不负有心人，不久有人将画送上门来。经过二十年世事沧桑，百变流转，培风又遇此画，便下定决心说什么也不能让机会从自己身边再次溜走。于是，几乎倾其所有，重金购得，并请工匠重新装裱后珍藏起来。此举显示出培风与其曾祖一样不忘本，具有难得的孝心。当年天民虽生活在城市，但仍不忘先祖的桑梓生活而在城市中修建草堂，取名为浒溪，才得以有画作《浒溪草堂图》留传至今，让后人一睹名家画作的风采。\n此画画法秀润，意境清幽，构图严谨，笔法细腻，设色明快。画面上描绘的是高木浓荫，掩映草堂，群山环抱，清波蜒曲，帆樯林立，榭阁屋宇错落。近处草堂敞轩，二高士案前对坐，正在高谈阔论；远山以石青晕染，近山则石青加赭石微抹，树干纯以赭石钩染，枝叶以石绿加石青点染，背光处加渴墨，显得更加郁郁葱葱。在艺术表现手法上，用笔细腻严谨，山石仅用渴笔微抹，以点苔显出明暗，经营位置，得写生之助化出清幽境界。",[23,24,30,92,93,94,95,7,334,28,335,97,26,99],"舟船","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb9da20bb028a48cc761920595df3e9.jpg","166 X 31.5cm",[102,45],{"id":340,"slug":341,"title":342,"dynasty":86,"author":87,"museum":343,"description":344,"tags":345,"thumbUrl":346,"material":347,"size":348,"collection":102,"collections":349,"showCount":350,"zanCount":148,"manualWeight":48,"mainColor":49},221981,"shan-zhuang-ke-zhi-tu-wen-zheng-ming-221981","山庄客至图","辽宁省博物馆","描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。整幅作品以S型构图，山石皴然兼施，多有抬点，笔致气魄洋溢。是典型的文人画作，淡于仕进，优游林下，以诗文书画自娱，表现自己的品格情怀。此画描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。",[23,24,59,30,92,93,94,95,28,98,97,99,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677782faafd32968920256e48cddfb04.jpg","纸本设色","纵87.5厘米，横27.3厘米",[102,45],65,{"id":352,"slug":353,"title":354,"dynasty":18,"author":355,"museum":111,"description":356,"tags":357,"thumbUrl":361,"material":144,"size":362,"collection":42,"collections":363,"showCount":364,"zanCount":48,"manualWeight":48,"mainColor":220},221286,"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[23,24,140,25,98,96,28,198,30,358,35,359,7,115,141,360],"雪景","山石","流水 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567a440bad362794ef3a58bd9280e8cc.jpg","120.4x74.7厘米",[42,102,79],63,{"id":366,"slug":367,"title":368,"dynasty":18,"author":355,"museum":88,"description":369,"tags":370,"thumbUrl":380,"material":101,"size":101,"collection":101,"collections":381,"showCount":382,"zanCount":148,"manualWeight":48,"mainColor":49},228400,"shu-shan-zhan-dao-tu-guo-xi-228400","蜀山栈道图","此作以全景铺展蜀中山川，层峦叠嶂氤氲在淡墨轻岚之中，岩壁苍劲厚重，林木蓊郁苍润。栈道盘桓于幽谷险峰之间，山坳间村舍山居错落，行旅、舟桥点缀其间，将蜀道的奇崛险峻与山野烟火相融。\n画师以温润秀劲的笔墨，兼工带写晕染山石肌理，赭石敷色古雅沉静，以高远、平远交替的章法，尽显山川宏阔清旷的苍莽意境，将蜀地山水的雄秀灵奇和行旅幽情完美相合，尽显全景山水的雄浑雅致。",[23,371,24,25,26,30,28,198,200,372,373,35,36,7,58,374,375,376,377,378,379],"宋画","岩石","栈道","马匹","溪流","山谷","路径","书法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce8e773a25ce85e5e2190d4006eead8.jpg",[],50,{"id":384,"slug":385,"title":386,"dynasty":86,"author":87,"museum":20,"description":387,"tags":388,"thumbUrl":389,"material":390,"size":391,"collection":102,"collections":392,"showCount":393,"zanCount":48,"manualWeight":48,"mainColor":105},221998,"xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-221998","溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[23,24,60,61,30,92,93,94,7,96,97,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2362b6efd04d72a6c9344c9188f272.jpg","纸本，墨笔","纵95.8厘米，横48.7厘米",[102,79],40,{"id":395,"slug":396,"title":397,"dynasty":109,"author":398,"museum":20,"description":399,"tags":400,"thumbUrl":401,"material":40,"size":402,"collection":101,"collections":403,"showCount":404,"zanCount":48,"manualWeight":48,"mainColor":105},233114,"bi-shu-shan-zhuang-tu-zhou-leng-mei-233114","避暑山庄图轴","冷枚","作者以写实的手法描绘了避暑山庄后苑部分及其四周的崇山峻岭。构图为鸟瞰式，自景区上方向下纵向取景，景致具体而微。设色以青绿着色和浅绛渲染相结合，冷暖色调和谐呼应，成功地营造出山庄静寂清幽的氛围。笔法灵活多变，山石树木或以干笔皴擦，或青绿烘染。建筑物的描绘，作者在传统的工笔界画基础上，又巧妙地吸收了欧洲的透视法，并将二者融合在一起，从而更科学、客观地表现出建筑物的物理结构，同时也加强了画面的纵深感。此图同时是一幅反映康熙时期避暑山庄建筑的图样，对于我们了解避暑山庄的建筑沿革有着重要的图像价值。",[140,24,25,98,28,29,30,59,61,35,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d890f29b07ff6e1df7488c12dacbcf7.jpg","纵254.8厘米，横172.5厘米",[],37,{"id":406,"slug":407,"title":408,"dynasty":109,"author":409,"museum":111,"description":410,"tags":411,"thumbUrl":414,"material":415,"size":217,"collection":101,"collections":416,"showCount":417,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,26,28,29,58,64,30,35,412,413,59,334,61,7,183],"农田","民居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8fce5ba5993e927b3090298414355.jpg","绢",[],36,{"id":419,"slug":420,"title":421,"dynasty":86,"author":87,"museum":111,"description":422,"tags":423,"thumbUrl":424,"material":425,"size":426,"collection":101,"collections":427,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":105},222008,"cha-shi-tu-zhou-wen-zheng-ming-222008","茶事图轴","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏·茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。\n本幅上方自题“茶具十咏”五言律诗十首，分别为茶坞、茶人、茶笋、茶籝、茶舍、茶灶、茶焙、茶鼎、茶瓯、煮茶。后款署：“嘉靖十三年岁在甲午，谷雨前三日，天池、虎丘茶事最盛，余方抱疾偃息一室，弗能往与好事者同为品试之会。佳友念我走惠二三种，乃汲泉吹火烹啜之，辄自第其高下，以适其幽闲之趣。偶忆唐贤皮陆辈‘茶具十咏’，因追次焉，非敢窃附于二贤后，聊以寄一时之兴耳。漫为小图，遂录其上。衡山文徵明识。”钤“徵”“明”朱方联珠印。嘉靖十三年即1534年，文徵明时年65岁。右下钤“徵仲父印”白文方印、“衡山”朱文方印。",[23,24,28,378,30,92,93,94,95,96,97,98,99,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1516f91f0ee98d8bbe93d23b0f607e3a.jpg","白纸本","纵136.1cm，横26.8cm",[],29,{"id":430,"slug":431,"title":432,"dynasty":109,"author":433,"museum":88,"description":434,"tags":435,"thumbUrl":438,"material":101,"size":101,"collection":102,"collections":439,"showCount":440,"zanCount":48,"manualWeight":48,"mainColor":105},238246,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238246","燕山八景图册","张若澄","《燕山八景图》册（8开），清，张若澄绘，绢本，设色，纵4.7cm，横4.cm。\n燕山八景图册 自题：“臣张若澄敬写。\n”下钤“臣若澄”、“笔露思雨”二方印。\n对幅均有清乾隆帝题诗。\n钤清乾隆内府诸收藏印。\n此册以北京城著名的“燕京八景”为题而画。\n燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。\n“燕京八景”历金、元、明、清四代，又有称 “燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八 景的名称在不同时期则有所变化。\n乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。\n该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[24,25,436,28,57,30,59,35,201,7,379,437,378],"册","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0adf7b2fcbdf57fa597e8cf40b281f.jpg",[102,45],27,{"id":442,"slug":443,"title":444,"dynasty":109,"author":244,"museum":88,"description":445,"tags":446,"thumbUrl":452,"material":101,"size":101,"collection":101,"collections":453,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},223661,"nao-long-zhou-yi-ming-223661","闹龙州","这幅工笔风俗画以春日江畔为底色，屋舍朱黛错落，楼阁上下人头攒动，凭栏共览盛景，市井烟火扑面而来。水面之上龙舟劈波竞渡，旌旗招展，健儿合力挥桨，浪涛随舟翻涌，喧腾的节庆氛围满溢卷间。\n\n远处山峦逶迤浅黛，汀渚桃杏初绽，柔化了喧闹的底色，晕开融融春意。整作设色雅致明丽，工笔细腻入微，将官民同观竞渡的鲜活民俗盛景定格，于细节处铺陈清代市井百态，尽显院体风俗画的写实功力，把春日水乡的温婉与节庆的喧腾完美相融。",[23,140,24,25,26,29,28,57,30,59,58,334,447,448,7,36,121,449,450,359,32,451,35],"桃花","亭","旗帜","栏杆","人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53fe0824f719b89c17c45135e87db139.jpg",[],20,{"id":456,"slug":457,"title":458,"dynasty":269,"author":270,"museum":88,"description":271,"tags":459,"thumbUrl":469,"material":279,"size":280,"collection":281,"collections":470,"showCount":471,"zanCount":48,"manualWeight":48,"mainColor":105},226124,"the-thames-below-westminster-1871-mo-nai-226124","The Thames below Westminster, 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第七卷绢本","法眼圆伊","这幅绘卷诗画合璧，河川乡野铺展为鲜活舞台，左侧楼阁雅集、河滨行旅络绎，右侧町外农舍间，田垄劳作、涉水救难的日常图景一一铺陈，尽显俗世百态。\n\n古雅沉郁的绢本底色上，朴拙生动的线条勾勒出鲜活的世相烟火气，中段的和歌文书串联起浮生情爱与幽微思绪，将市井悲欢、乡野闲情与文学意趣交织，让画面叙事与文字共情融为一体，带着旧物的岁月温度，静静诉说着中古日常的细腻况味。",[23,127,26,28,29,58,30,32,7,122,63,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726c0e520b1bd318e1fa83179658cdaf.jpg",[],9,{"id":505,"slug":506,"title":507,"dynasty":269,"author":270,"museum":88,"description":271,"tags":508,"thumbUrl":516,"material":279,"size":280,"collection":281,"collections":517,"showCount":503,"zanCount":48,"manualWeight":48,"mainColor":49},226053,"the-bridge-under-repair-1871-1872-mo-nai-226053","The Bridge under Repair, 1871-1872",[274,509,460,510,511,7,512,32,513,514,122,35,260,515],"外光写生","色彩表现","笔触灵动","脚手架","倒影","蒸汽","维修场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ac063d2eb11f913532d6effd9b7c0.jpg",[281],{"id":519,"slug":520,"title":521,"dynasty":269,"author":270,"museum":88,"description":271,"tags":522,"thumbUrl":525,"material":279,"size":280,"collection":281,"collections":526,"showCount":527,"zanCount":48,"manualWeight":48,"mainColor":105},226122,"the-thames-at-westminster-1871-mo-nai-226122","The Thames at Westminster, 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yellow house (The street) (September - )",[273,291,119,413,71,35,7,548,549],"城镇街景","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7f2c3a0db6cae4782be25f4bcbfcbf.jpg",[281],{"id":553,"slug":554,"title":555,"dynasty":269,"author":270,"museum":88,"description":271,"tags":556,"thumbUrl":563,"material":279,"size":280,"collection":281,"collections":564,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},226103,"the-railway-bridge-at-argenteuil-1874-mo-nai-226103","The Railway Bridge at Argenteuil, 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-1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,25,436,28,198,30,359,35,61,201,7,575,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F978b9f88e7246c4183dfa943cf46d2b4.jpg",[],{"id":642,"slug":643,"title":644,"dynasty":109,"author":244,"museum":88,"description":645,"tags":646,"thumbUrl":651,"material":279,"size":280,"collection":101,"collections":652,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":105},261606,"qing-hua-qi-shi-tu-guan-yi-ming-261606","青花骑士图罐","青花瓷（blue 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