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创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[51,122,23,52,54,25,24,28,57,123,7,84,89,86,124,125,126,127,128,129,130],"名画","雪景","山石","长廊","古建","积雪","寒林","亭台","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],61,{"id":135,"slug":136,"title":137,"dynasty":18,"author":138,"museum":78,"description":139,"tags":140,"thumbUrl":148,"material":149,"size":150,"collection":68,"collections":151,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":114},233147,"fang-dong-ju-shan-shui-tu-zhou-shen-zhou-233147","仿董巨山水图轴","沈周","五代南唐董源、巨然的风格受到明代吴门画家的重视，成为他们效仿、取法的对象，根据本幅左上角画家自题，图中仿董巨的风格是受民度本人所请。该图在狭长的尺幅中作长林巨壑之景，近处松石陂陀，中间有较大面积的湖水，水面上二人乘小舟垂钓，一座桥从画外延伸至山脚下的彼岸，桥上一文士策杖而行，岸上有茅亭屋舍。再往上山势连绵，景致层层深入，中间一条“S”形的山谷使两边的山峰在狭长的构图中并不显得拥挤，凸显了高远、深远的特色。图中皴笔短促繁密，圆润松秀，用笔注重层层渲染，笔锋内敛，具有外柔内刚的特点。该图在构图、笔墨上受到“董巨”的影响，但是画家融合古人的笔意而又有自己的特点，用笔颇为苍润醇厚，此外策杖归来、舟上垂钓均为当时吴门文士生活的真实写照。",[23,52,26,105,141,142,28,143,60,107,30,7,29,144,145,146,147],"皴法","临摹","山","溪流","岩石","小径","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e5c45557f6c8377677e6b12b06ec41.jpg","纸本，墨笔","纵163.4厘米，横37厘米",[],49,{"id":154,"slug":155,"title":156,"dynasty":18,"author":157,"museum":20,"description":158,"tags":159,"thumbUrl":162,"material":35,"size":163,"collection":164,"collections":165,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":114},231418,"ming-wen-bo-ren-fang-hu-tu-wen-bo-ren-231418","明文伯仁方壶图","文伯仁","《明文伯仁方壶图》描绘的是碧波万顷、祥云缭绕中，有仙岛浮现，道观数处隐于其间。依道教传说：仙山有五，方壶山即其一。即言：“渤海之东，不知几亿万里，有大壑焉。其中有五山焉:一曰岱舆，二曰员蟜，三曰方壶，四曰瀛洲，五曰蓬莱。”此画既取材于道教，所以在上方题名及下方款识处，也仿照了早期释道画加框榜题的习惯。此图无论在翻卷的波涛、飘动的云海或是尖拔的山峰、茂密的叶木，皆处处著笔繁谨，设彩明丽，呈现出家学的细笔画风。",[51,23,24,25,33,28,160,143,60,89,84,161,7],"云","岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分","山水画精选",[164],39,{"id":168,"slug":169,"title":170,"dynasty":171,"author":172,"museum":48,"description":173,"tags":174,"thumbUrl":181,"material":66,"size":67,"collection":182,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":185},225725,"bridge-in-the-rain-after-hiroshige-october-november-fan-gao-225725","Bridge in the rain after Hiroshige (October - November )","不详","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。",[175,142,176,24,7,177,178,27,179,180],"油画","浮世绘","雨","水面","小船","蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F337d72a832471d826298eec3e42253f3.jpg","油画精选",[182],33,"37474F",{"id":187,"slug":188,"title":189,"dynasty":171,"author":172,"museum":48,"description":173,"tags":190,"thumbUrl":196,"material":66,"size":67,"collection":182,"collections":197,"showCount":198,"zanCount":11,"manualWeight":11,"mainColor":41},225747,"fisherman-and-boats-from-the-pont-de-clichy-fan-gao-225747","Fisherman and boats from the Pont de Clichy",[122,175,24,191,192,58,7,108,84,193,194,27,195],"后印象派","渔夫","黄叶","渔乐","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8c3f712674167c7884bf0e358d5cee.jpg",[182],32,{"id":200,"slug":201,"title":202,"dynasty":76,"author":119,"museum":48,"description":203,"tags":204,"thumbUrl":208,"material":68,"size":68,"collection":68,"collections":209,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":41},224595,"zhu-bao-song-mao-tu-ping-yuan-jiang-224595","竹苞松茂图屏","《袁江竹苞松茂图屏》是清代袁江创作的一幅画。\n本幅题：“竹苞松茂，癸卯二月邗上袁江画”，钤“袁江之印”、“字文涛”印2方。\n袁江的界画楼阁无论大幅小幅，无不制作精工，尤其是精心绘制的通景屏，景物连贯一体，气势宏伟。\n此幅12条通景屏描绘作者理想中的仙山、楼阁、屋宇为长松茂竹所环抱，将雄伟壮阔的青绿山水与富丽堂皇的楼阁建筑恰到好处地融为一体，既精细入微，又大气磅礴，极大地提高了传统界画的表现能力和艺术感染力。",[51,23,54,24,25,28,57,84,124,205,86,7,206,207],"云雾","船只","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59156e4ca8c6cc344953a9422e597f54.jpg",[],29,{"id":212,"slug":213,"title":214,"dynasty":76,"author":215,"museum":216,"description":217,"tags":218,"thumbUrl":222,"material":223,"size":224,"collection":68,"collections":225,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":114},222951,"hong-lou-meng-76-sun-wen-222951","红楼梦76","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[51,23,25,24,219,28,27,58,56,7,29,57,107,220,108,221],"青绿","灯笼","对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdcdd2b0e6efbaf7ad7defbef1bc16c.jpg","绢本","纵43.3厘米、横76.5厘米",[],25,{"id":228,"slug":229,"title":230,"dynasty":76,"author":215,"museum":216,"description":217,"tags":231,"thumbUrl":232,"material":223,"size":224,"collection":68,"collections":233,"showCount":234,"zanCount":11,"manualWeight":11,"mainColor":114},222966,"hong-lou-meng-91-sun-wen-222966","红楼梦91",[51,23,52,53,24,25,54,27,7,108,84,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb39e4fc09e1e3bc62862b5c2e0b2c8.jpg",[],18,{"id":236,"slug":237,"title":238,"dynasty":171,"author":47,"museum":48,"description":239,"tags":240,"thumbUrl":252,"material":68,"size":68,"collection":68,"collections":253,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":114},225328,"fu-shi-hui-78-yi-ming-225328","浮世绘78","寒波之上，浮桥蜿蜒铺陈，驮马随旅人踏桥缓行，蓑笠行人点缀其上，将冬日常态揉入冷寂雪景里。右侧茅庐覆雪，孤松孑立，枝桠凝雪愈显清瘦。浅绛远山留白晕出积雪，靛蓝水面细浪轻翻，冷色调里暖棕柔化了冬日萧寒。\n\n线条勾勒出积雪蓬松质感，平涂设色带着雅致装饰意趣，虚实相生间铺展郊野冬旅的幽闲况味，静穆清寂中藏着行路的烟火暖意，把冬日清冽与日常行旅绘成一卷诗意冬景。",[176,241,242,24,7,243,27,244,143,60,147,245,246,207,247,248,249,127,84,250,123,251],"木刻","版画","马","雪","松树","雪地","冬季","行人","骑马","小屋","河面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d61bddb52bce801bd97e3d6de86d0c.jpg",[],15,{"id":256,"slug":257,"title":258,"dynasty":171,"author":259,"museum":48,"description":260,"tags":261,"thumbUrl":265,"material":66,"size":67,"collection":68,"collections":266,"showCount":267,"zanCount":11,"manualWeight":11,"mainColor":41},230501,"shi-ting-shi-dai-si-ji-shan-shui-tu-xia-xue-zhou-230501","室町时代 四季山水图（夏）","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。",[51,23,52,26,105,141,28,124,245,29,108,262,7,263,264],"牛","老树","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5c2ade0bff3d25429ac2e9dbccb1f0.jpg",[],12,{"id":269,"slug":270,"title":271,"dynasty":18,"author":138,"museum":272,"description":273,"tags":274,"thumbUrl":279,"material":280,"size":281,"collection":68,"collections":282,"showCount":283,"zanCount":11,"manualWeight":11,"mainColor":114},222094,"liang-jiang-ming-sheng-tu-ce-6-shen-zhou-222094","两江名胜图册6","上海博物馆","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[51,23,52,275,24,28,57,7,58,276,84,277,278,33],"册","远山","明月","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419cd7d3e9a099cd6e89767a3becac30.jpg","绢本设色","42.2×23.8厘米",[],11,{"id":285,"slug":286,"title":287,"dynasty":76,"author":288,"museum":48,"description":289,"tags":290,"thumbUrl":292,"material":66,"size":67,"collection":68,"collections":293,"showCount":294,"zanCount":11,"manualWeight":11,"mainColor":114},237961,"qiu-jing-shan-shui-ye-zhang-ke-237961","秋景山水页","张柯","此作以秋山平湖为景，近岸崖石皴法朴厚，丹红、苍蓝林木错落，点染出深秋斑斓意趣，层岩间垂落的山泉更添灵动。空阔湖面间，几艘帆船静泊浅滩，汀洲村舍隐在烟霭之中，远景峰峦晕染如黛，淡远朦胧。左下角溪桥上的行旅缓步徐行，为清寂秋山增添了烟火暖意。\n\n画作以浅绛设色糅合水墨皴擦，色调清雅温润，笔墨简淡却意境悠长，将秋日山湖的清旷淡远铺陈开来，尽显文人山水的闲澹野逸之美，藏着秋日山林的幽寂萧散况味。",[23,24,28,275,141,124,84,291,179,147,243,27,276,7,33],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f7609a10352d1d52dc64546c286f4b.jpg",[],8,{"id":296,"slug":297,"title":298,"dynasty":76,"author":299,"museum":48,"description":300,"tags":301,"thumbUrl":308,"material":66,"size":67,"collection":68,"collections":309,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":114},241676,"fan-zhou-xi-hu-ji-jing-ba-shou-ce-qian-long-241676","泛舟西湖即景八首册","乾隆","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[76,275,278,302,303,304,28,305,7,306,307],"书法","西湖","孤舟","日","芙蓉","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90636a70ad449b4b9292a60752b76474.jpg",[],7,{"id":312,"slug":313,"title":314,"dynasty":76,"author":47,"museum":78,"description":315,"tags":316,"thumbUrl":319,"material":320,"size":321,"collection":68,"collections":322,"showCount":323,"zanCount":11,"manualWeight":11,"mainColor":114},233084,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233084","平定苗疆战图册","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[25,24,141,27,28,243,7,108,317,318],"山峦","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa733c868361ebe2992d7e4e548d3aff3.jpg","纸本","纵55.4cm，横90.8cm",[],6,{"id":325,"slug":326,"title":327,"dynasty":171,"author":47,"museum":48,"description":328,"tags":329,"thumbUrl":330,"material":68,"size":68,"collection":68,"collections":331,"showCount":332,"zanCount":11,"manualWeight":11,"mainColor":114},225320,"fu-shi-hui-62-yi-ming-225320","浮世绘62","寒波漾着清蓝，木桥曲折如带牵起两岸雪色。旅人戴笠踏霜，牵驮货的瘦马缓行桥上，肩头落雪未掸，羁途匆匆。右侧茅庐雪压檐角，孤松疏枝擎着碎雪，静看行旅。远山素裹银装，暖调淡霞晕开在雪巅，冷暖撞色晕开清寂氛围。\n\n画面将冬日行旅的萧索，融在雪国水乡的静穆里，笔调雅致温婉，把冬郊羁愁与初雪诗意揉作一处，铺展出让人沉醉的雪国侘寂之美。",[176,24,241,123,7,243,147,84,60,143,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd748d6b44a119d42d7ca22eda0f7f54f.jpg",[],5,{"id":334,"slug":335,"title":336,"dynasty":171,"author":47,"museum":48,"description":337,"tags":338,"thumbUrl":343,"material":68,"size":68,"collection":68,"collections":344,"showCount":332,"zanCount":11,"manualWeight":11,"mainColor":114},225319,"fu-shi-hui-60-yi-ming-225319","浮世绘60","高拱木桥横跨水泽，桥上行人摩肩接踵，铺陈开江户市井的鲜活烟火。浅青长天晕开柔淡底色，远处富士山覆着素白雪顶，为热闹市景晕开一抹清寂闲雅。桥下滩湾错落，茶摊凉伞散落其间，黛瓦屋舍依水而建，晕染出水乡的温婉日常。\n\n构图舒展雅致，明快柔和的配色将俗世喧嚣与远山静穆相融，把江户浮生的鲜活日常同东瀛山水意趣揉为一体，尽显浮世绘独有的市井诗意，让观者窥见旧日东瀛鲜活的人间暖意，于烟火中静赏山水闲情。",[176,241,24,7,207,143,339,84,147,27,340,341,342],"雪山","云朵","伞","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d8cdb469b69f6af8a32c5f6cd26751.jpg",[],{"id":346,"slug":347,"title":348,"dynasty":171,"author":47,"museum":48,"description":349,"tags":350,"thumbUrl":352,"material":68,"size":68,"collection":68,"collections":353,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":114},225318,"fu-shi-hui-58-yi-ming-225318","浮世绘58","画面以层叠铺展的构图铺陈水乡风物。前景屋舍错落引出底色，中景拱桥凌波横卧，柔婉桥身搭配六边形纹理石墩，雅致精巧。桥上行人三两，步履闲散，让清寂风景晕染出烟火暖意。\n\n左侧山林间隐现楼阁，远景翠色孤山静立，淡云轻绕山脚晕开朦胧清旷。清浅水色与草木青绿、屋瓦黛蓝交织，色调明快柔润。整体线条舒展圆润，将自然山水的悠然与俗世日常鲜活相融，尽显和风风景绘的雅致意趣，勾勒出江户水乡的恬淡诗意。",[176,241,24,28,7,57,84,351,147,143,60],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01271d3b09a0b6f3b79339f39344ad6f.jpg",[],{"id":355,"slug":356,"title":357,"dynasty":76,"author":358,"museum":48,"description":359,"tags":360,"thumbUrl":364,"material":66,"size":67,"collection":68,"collections":365,"showCount":366,"zanCount":11,"manualWeight":11,"mainColor":41},240692,"xing-kai-shi-zhou-zhou-liang-gong-240692","行楷诗轴","周亮工","周亮工（1612年—1672年），字元亮，又有陶庵、减斋、缄斋、适园、栎园等别号，学者称栎园先生、栎下先生。河南祥符（今河南开封祥符区）人，明末清初官员、文学家、篆刻家、收藏家。\n周亮工于明崇祯十三年（1640年）进士及第，曾任山东潍县知县，迁浙江道监察御史。入清后，任两淮盐法道、淮扬兵备道、福建布政使、都察院左副都御史、户部右侍郎等。后屡次被弹劾判死刑，又遇赦免。康熙元年（1662年），起复为青州海道、江安储粮道。康熙十一年（1672年），逝世于江宁，享年六十一岁。\n周亮工博学多才，诗文、金石、书画皆有很深造诣。古文宗法唐宋八大家，推崇严羽诗论。著有《赖古堂集》《读画录》等。",[302,278,361,26,33,304,362,277,28,351,7,83,363,60],"楷书","夕阳","秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dbfe329da6114111aaa25770c487ef.jpg",[],3,{"id":368,"slug":369,"title":370,"dynasty":76,"author":371,"museum":48,"description":372,"tags":373,"thumbUrl":374,"material":66,"size":67,"collection":68,"collections":375,"showCount":366,"zanCount":11,"manualWeight":11,"mainColor":41},237919,"shan-shui-ce-cheng-ming-237919","山水册","程鸣","清代中早期画家、文人、收藏家,安徽歙县人,字友声,号松门,乾隆诸生。",[23,105,141,275,33,302,28,107,143,7,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c7d2fc757ea7d087ed5a40dcf9f1701.jpg",[],{"id":377,"slug":378,"title":379,"dynasty":171,"author":380,"museum":48,"description":381,"tags":382,"thumbUrl":384,"material":66,"size":67,"collection":68,"collections":385,"showCount":366,"zanCount":11,"manualWeight":11,"mainColor":114},231789,"wen-yong-he-mao-ji-tu-juan-shuang-zhi-2-zhi-shou-jing-231789","文永贺茂祭图卷 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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。",[392,393,394,395,28,29,27,7,396],"清代","玉石","雕刻","浮雕","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdf6878f703f79837d1abdb90fcd0d68.jpg",[],{"id":400,"slug":401,"title":402,"dynasty":76,"author":403,"museum":48,"description":404,"tags":405,"thumbUrl":426,"material":66,"size":67,"collection":68,"collections":427,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":114},241206,"li-zhang-ji-jue-ju-zhou-wu-kai-sheng-241206","李长吉绝句轴","吴闿生","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[302,26,278,33,60,406,407,408,409,31,410,411,143,412,413,414,415,416,417,7,418,83,244,362,419,107,420,421,422,423,424,425],"竹","花","月","鸟","露","菊","风","木","兰","柳","杜","雁","江","孤云","苔","黄","绿","钩","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94389ea4a9f9f206dbf7cb997ca6384e.jpg",[],{"id":429,"slug":430,"title":431,"dynasty":76,"author":432,"museum":78,"description":433,"tags":434,"thumbUrl":440,"material":441,"size":442,"collection":443,"collections":444,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":114},240703,"shi-juan-cha-ji-zuo-240703","诗卷","查继佐","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 如岑参、王昌龄、白居易、高适、杜甫、李商隐、刘禹锡、温庭筠、杜牧等人的诗作。个别字句与原诗略有出入。其书学颜真卿，用笔劲健、爽利，分间布白极其匀称。查家在清初遭受了文字狱之灾，当时保存查氏墨迹可能会引起杀身之祸，所以查继佐的传世作品较少，此件则更为珍贵。",[51,302,53,278,105,33,435,436,437,177,438,407,408,412,107,409,83,7,108,362,277,439,29,351,304,28,396,414,406,411],"江南","芳草","烟","湖","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","绫本，行书","纵450厘米，横33.3厘米","书法精选",[443],{"id":446,"slug":447,"title":448,"dynasty":76,"author":449,"museum":48,"description":450,"tags":451,"thumbUrl":453,"material":280,"size":454,"collection":68,"collections":455,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":114},223259,"yan-shan-ba-jing-tu-6-lu-gou-xiao-yue-zhang-ruo-cheng-223259","燕山八景图-6-卢沟晓月","张若澄","此册以北京城著名的“燕京八景”为题而画。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”。“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。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。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。",[51,122,23,24,28,54,25,7,277,317,207,84,89,452],"道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd89b5e10589bbf20bc9d7008f1318da.jpg","34.7cm，横40.3cm",[],{"id":457,"slug":458,"title":459,"dynasty":76,"author":47,"museum":48,"description":460,"tags":461,"thumbUrl":462,"material":66,"size":67,"collection":68,"collections":463,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},251665,"qing-yu-song-xi-qiao-ting-tu-shan-zi-yi-ming-251665","青玉松溪桥亭图山子","以刀代笔，将林泉雅趣凝于莹润玉料之间。随形取势雕琢山林图景，主峰舒展挺拔，苍松虬曲而生，枝桠缀满松果，生机盎然。左侧飞檐小亭依水而立，清溪潺潺穿流于山石间，板桥横跨两岸，两位策杖文士信步同行，似在共赏山色、闲谈叙旧。匠师巧用玉质色泽渐变勾勒山石肌理，层次分明，将中式山居的悠远闲静雕琢尽致，温润玉色衬出雅致意境，尽显清寂出尘的文人山居意趣。",[393,394,30,7,29,28,27,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9675eb76addbb6a4e43ba4bb06ae298.jpg",[],{"id":465,"slug":466,"title":467,"dynasty":171,"author":47,"museum":48,"description":468,"tags":469,"thumbUrl":471,"material":68,"size":68,"collection":68,"collections":472,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":114},225358,"fu-shi-hui-114-yi-ming-225358","浮世绘114","以跨河高桥为视觉核心，朱红旌幡沿桥檐迤逦排布，暖金桥身凌于靛蓝河面，将攒动行人托举半空。桥上仕庶摩肩接踵，衣色鲜亮错落，尽是市井喧嚷的鲜活热络。桥下波光明净，挂着招幌的舟船缓行于柔波，摇橹声似在纸面漾开。沿岸屋舍枕水而建，晕开水上町肆的娴静底色。\n冷暖色调交织碰撞，暖调桥身点亮画面，冷调河水铺就悠然底色。线条洗练遒劲，既勾勒出建筑舟楫的工整形制，也将河上的升平盛景细腻铺展，把水上市井的鲜活世情凝作永恒的纸面风华。",[176,470,24,7,207,206,147,59,84,27],"木刻版画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69eabb4216cd38a02d219d6896dd47f8.jpg",[],{"id":474,"slug":475,"title":476,"dynasty":76,"author":47,"museum":48,"description":477,"tags":478,"thumbUrl":482,"material":66,"size":67,"collection":68,"collections":483,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},258806,"shen-de-tang-kuan-fen-cai-shan-shui-ren-wu-tu-hua-pen-yi-ming-258806","慎德堂款粉彩山水人物图花盆","此器六棱敞口，形制端雅秀挺，底足镂空纹饰精巧灵秀。\n\n以粉彩晕染山水人物，青绿敷色铺就层叠山峦，苍松翠柏掩映亭台楼阁，水面扁舟轻泛，山道行人缓步，将江南林居的闲逸图景凝于瓷上。釉色柔润鲜亮，构图疏密相宜，远山近景层次分明，人物情态鲜活灵动，把文人心中的山水雅居意境尽数融于瓷绘之间，工致刻画中带着写意的悠远氛围感，尽显瓷绘兼具观赏意趣与笔墨诗情的绝妙造诣。",[76,479,480,24,28,27,57,107,7,351,124,481],"粉彩","陶瓷","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80f6c7100fd37c5d2a6d3338de17d1bf.jpg",[],{"id":485,"slug":486,"title":487,"dynasty":76,"author":47,"museum":48,"description":488,"tags":489,"thumbUrl":492,"material":66,"size":67,"collection":68,"collections":493,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},252052,"qian-long-ke-shi-bi-yu-zhu-xi-liu-yi-tu-bi-tong-yi-ming-252052","乾隆刻诗碧玉竹溪六逸图笔筒","笔筒： 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