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的地位，是非同寻常的。\n原文：山不在高，有仙则名。水不在深，有龙则灵。斯是陋室，惟吾德馨。苔痕上阶绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”",[23,52,53,54,55,56,57,58,59,60,7,61,62,63,64,65],"书法","行书","墨迹","笔法圆润","结体秀逸","山","水","龙","仙","丝竹","苔痕","草色","帘","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59291b947749ed8209ca5142e795263.jpg","纸本","纵49厘米、横131厘米","书法精选",[69],156,"BDBDBD",{"id":74,"slug":75,"title":76,"dynasty":18,"author":77,"museum":78,"description":79,"tags":80,"thumbUrl":87,"material":88,"size":89,"collection":90,"collections":91,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":43},220045,"ting-qin-kan-pu-tu-xia-gui-220045","听琴看瀑图","夏圭","藏地不详","危崖飞瀑垂落千仞，斧劈皴勾勒山石棱骨，墨色苍劲凝练，将峭壁雄浑之势尽显。虬松盘曲展枝，松下平坡之上，抚琴者席地拨弦，知音侧耳凝听，童子垂手侍立，寥寥数笔便将人物悠然意态勾勒传神。\n\n画面以局部取景，大片留白晕染出空濛悠远，将林泉雅集的闲逸与山川清旷相融，虚实之间，把静赏飞瀑、闲听雅琴的幽趣铺陈开来，藏着寄情丘壑、静悟天机的风雅，笔简而意无穷，尽得空灵禅寂之美。",[24,25,26,27,81,82,32,83,84,31,7,85,86],"水墨","皴法","瀑布","松树","岩石","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1f6772d48a16ed101d54e26afa835.jpg","绢本,设色","142.2 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蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。\n作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。\n由于作品本幅有徽宗题名与画押，作品一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者，正是赵佶本人。",[24,25,26,27,29,28,31,84,196,7,102,242,35,285,286,287],"桌","凳","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a06d38e220a4cfb38a1f63704749fe0.jpg","绢本，设色","纵147.2厘米，横51.3厘米",[],33,{"id":294,"slug":295,"title":296,"dynasty":191,"author":297,"museum":78,"description":298,"tags":299,"thumbUrl":301,"material":220,"size":221,"collection":156,"collections":302,"showCount":303,"zanCount":11,"manualWeight":11,"mainColor":43},287969,"song-ge-fu-qin-tu-li-zhou-li-yin-287969","松阁抚琴图立轴","李寅","李寅，清代扬州画家，字白也，号东柯，江都（今江苏扬州）人，擅画山水，楼阁及花鸟，画风工细，设色娟妍。",[25,26,27,24,32,84,272,86,31,7,82,28,300],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb15e2546efd6385412ac7e4bd64a9be.jpg",[],24,{"id":305,"slug":306,"title":307,"dynasty":308,"author":309,"museum":78,"description":310,"tags":311,"thumbUrl":317,"material":220,"size":221,"collection":156,"collections":318,"showCount":303,"zanCount":11,"manualWeight":11,"mainColor":72},230582,"an-tu-tao-shan-shi-dai-qin-qi-shu-hua-tu-ping-feng-di-1-ping-hai-bei-you-song-230582","安土桃山时代 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慶長20年6月2日（1615年6月27日））は、安土桃山時代から江戸時代初期にかけての絵師。海北派の始祖。",[23,312,28,81,7,313,131,314,31,315,316],"屏风","棋","画","日本画","桃山风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300ac58f010c9d92aba1a89eee999744.jpg",[],{"id":320,"slug":321,"title":322,"dynasty":97,"author":239,"museum":78,"description":323,"tags":324,"thumbUrl":329,"material":156,"size":156,"collection":156,"collections":330,"showCount":303,"zanCount":159,"manualWeight":11,"mainColor":43},228433,"xie-qin-tan-mei-tu-du-jin-228433","携琴探梅图","画面以淡墨晕染出清寂冬山，古松虬枝横斜，苍劲老辣。寒溪蜿蜒穿谷，水波轻漾间漾出幽冷空茫。曳杖文士缓行山径，衣袂翩然尽是闲适从容，侍童抱琴紧随其后，将文人携琴探梅的雅兴藏于萧寒丘壑。\n\n笔墨洗练疏朗，山水皴擦简括写意，人物线条清劲灵动，淡墨轻岚晕染出空寂淡远的氛围，将冬日山林的萧寒清冷与文人寻幽访胜的孤高雅趣相融，于简淡之中尽显出超尘脱俗的文人情致。",[23,25,28,29,31,32,182,7,106,325,326,327,34,328,81],"老树","远山","水面","近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09df8d050a7184bf123970b4c974cb8.jpg",[],{"id":332,"slug":333,"title":334,"dynasty":18,"author":335,"museum":78,"description":336,"tags":337,"thumbUrl":339,"material":156,"size":156,"collection":156,"collections":340,"showCount":341,"zanCount":11,"manualWeight":11,"mainColor":72},227803,"song-yin-ming-qin-tu-liu-song-nian-227803","松荫鸣琴图","刘松年","苍松浓荫遮蔽出一方清寂天地，琴案横陈，炉烟似随着琴音袅袅轻扬。抚琴者身姿舒展，指尖落弦仿佛有声，将心绪尽数寄于丝弦之上。对面长者垂眸敛神，身心都沉湎在悠悠琴韵之中，连身侧侍立的小童都屏息静立，不敢惊扰这片刻雅静，周遭的幽草矮竹也似在凝聆听赏。\n\n画作以浓墨点染苍劲松针，淡墨勾勒人物衣纹，线条清劲简练。将宋代文人追求的林下雅逸，凝缩在尺幅之间，把知己相对、琴音寄怀的超然意趣铺陈开来，静穆悠然的禅意弥散在画面里，尽显文人雅集的清旷疏朗之美。",[23,24,25,26,271,29,28,31,30,196,338,35,7],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b81c56fb1a8b0fc313ca776e3e8f2af.jpg",[],22,{"id":343,"slug":344,"title":345,"dynasty":18,"author":252,"museum":99,"description":346,"tags":347,"thumbUrl":349,"material":88,"size":156,"collection":140,"collections":350,"showCount":351,"zanCount":11,"manualWeight":11,"mainColor":72},219647,"xie-qin-kan-shan-tu-yi-ming-219647","携琴看山图","苍松虬曲斜伸，撑起画面骨架，枝桠间松针层叠如盖，疏梅横斜于松下添了几分清寒意趣，淡墨晕染的远山如黛，漾开空濛暮色。\n士人携琴偕仆驻步松下，二人遥望远山，似正指点烟岚丘壑，僮仆捧炉侍立，将林泉雅意藏进细微情态里。设色沉雅温润，皴染兼具，远景山水虚淡悠远，虚实相生间烘托出江南暮色的清寂，将宋人寄情山水、寻幽访胜的隐逸意趣凝缩在尺幅扇面，尽显林下风流的雅逸格调。",[25,28,82,348,32,31,84,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb902321b31609328d6c2e1c91ceb4c44.jpg",[140],21,{"id":353,"slug":354,"title":355,"dynasty":191,"author":356,"museum":78,"description":357,"tags":358,"thumbUrl":363,"material":156,"size":156,"collection":156,"collections":364,"showCount":365,"zanCount":159,"manualWeight":11,"mainColor":72},224167,"ting-ruan-tu-liu-yan-chong-224167","听阮图","刘彦冲","《 》是清代画家刘彦冲创作的一幅设色画。\n图中文人身着高冕宽服，抱膝而坐，正听一位歌女弹奏阮琴。\n阮音清扬，四处芳草如茵，梧桐枝叶繁茂，又配以湖石、芭蕉、翠竹，清幽异常。\n《听阮图》图中款识可知此画是刘彦冲以其八兄为描绘对象绘出的。\n图中人物用线细劲圆润，颇有古意，设色妍 丽明快。\n草地以大面积花青渲染，以重色细笔根根绘出，间以浓淡的变化，形成雾动云涌之感。\n梧桐近乎淡墨白描，更有幽深清丽之意。\n整个背景有一种缥缈空灵的虚幻意味，衬托出人物笔墨的写实生动；画中人物的表情动态，又反衬阮音的悠扬动听。\n虚实相辅，以有写无，形成脱俗越尘的艺术效果。\n刘彦冲(187—1847)，初名荣，字咏之，四川铜梁人。\n擅山水、人物、花卉，工诗文。\n从师朱生昂学山水，常随师出游，尽得其法。\n兼采众家之长。\n泼墨作小米云山，亦蓊郁可观。\n人物花卉，笔法娴熟，活泼多变。\n传世作品有《柳燕图》、《松荫高士图》、《群峰秋翠图》等。",[23,29,28,31,35,34,196,125,359,242,195,360,103,7,361,102,362],"怪石","孩童","书箱","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d001b9b4db0438891675b109cf69c51.jpg",[],19,{"id":367,"slug":368,"title":369,"dynasty":18,"author":370,"museum":99,"description":371,"tags":372,"thumbUrl":374,"material":220,"size":221,"collection":156,"collections":375,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":43},290858,"gao-hui-xi-qin-tu-zhou-li-gong-lin-290858","高会习琴图轴","李公麟","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[25,24,27,28,29,31,35,373,198,7],"庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64262348adbc35a07c0481862b62ec38.jpg",[],15,{"id":378,"slug":379,"title":380,"dynasty":97,"author":381,"museum":99,"description":382,"tags":383,"thumbUrl":384,"material":156,"size":385,"collection":156,"collections":386,"showCount":387,"zanCount":11,"manualWeight":11,"mainColor":72},222419,"zhu-xia-bao-qin-shan-mian-jiang-song-222419","竹下抱琴扇面","蒋嵩","蒋嵩 ，字三松，号徂来山人、三松居士，江宁（今江苏南京）人。生卒年不详，从艺活动约在成化、嘉靖间。\n传世作品有《芦洲泛艇图》轴，现藏天津市艺术博物馆；《秋溪曳杖图》轴、《无尽溪山图》轴藏上海博物馆；《携琴看山图》轴、《渔舟读书图》轴藏故宫博物院；《秋林读书图》轴藏山东省博物馆；《松下著履图》轴藏南京博物院。\n善画山水人物，画法宗吴伟，为浙派名家之一。喜用焦墨枯笔，亦善用淡墨，浓淡相间，浑然一体，如《渔舟读书图》，山石多用大片湿墨，颇见功力，虽尺幅山水，小巧流水却云蒸雾变，烟霞触目。亦工人物，与郑文林、钟礼、张路等都是浙派晚期名手。又因他们纵笔豪放，多越矩度，曾被吴派讥为“狂态邪学”。",[23,25,26,271,81,82,31,196,7,32,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e0f6a5a8ea215f87b0f758dfe800581.jpg","纵18.5厘米横53厘米",[],12,{"id":389,"slug":390,"title":391,"dynasty":191,"author":392,"museum":78,"description":393,"tags":394,"thumbUrl":396,"material":156,"size":156,"collection":156,"collections":397,"showCount":398,"zanCount":159,"manualWeight":11,"mainColor":72},235090,"meng-lou-fu-qin-tu-zhou-wang-zhao-ji-235090","梦楼抚琴图轴","王肇基","《梦楼抚琴图轴》纵54cm，横26.4cm。\n清代文物。\n名称： 梦楼抚琴图轴 年代：清 作者：王肇基 特征：绢本，设色 尺寸：纵54cm，横26.4cm。\n本幅王肇基题：“爱镜者美人，爱剑者侠客，名士则爱砚，嗜好各成癖。\n先生放达人，耽此琴三尺，世俗竞淫哇，太古音谁识？庚辰孟夏月，梦楼宗台抚琴图。\n王肇基绘并题。\n”下钤“王肇基印”白文印、“镜香”朱文印。\n“庚辰”为清乾隆二十五年（176年），这一年，王肇基6岁，王文治（号梦楼）1岁。\n“孟夏月”则正值会考结束，殿试、御赐之前。\n王文治在这年的五月初十日得中进士第三人。\n图绘王文治在室内的画像。\n他手持折扇神情淡定地端坐在木椅上，身旁条案上摆有古琴和香炉，身后的花架上则置有盛开的兰花一盆。\n虽然点景物象不多，但是它们高低错落的陈设，丰富了画面的纵深空间，同时，也映衬出像主王文治幽兰般的君子心志和以琴瑟为伴的文化素养。",[25,26,27,28,31,35,7,395,102],"盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2463e961b794a748f0e3b21f09314859.jpg",[],11,{"id":400,"slug":401,"title":402,"dynasty":48,"author":252,"museum":99,"description":403,"tags":404,"thumbUrl":405,"material":406,"size":407,"collection":140,"collections":408,"showCount":409,"zanCount":11,"manualWeight":11,"mainColor":410},290797,"chun-tang-qin-yun-zhou-yi-ming-290797","春堂琴韵轴","这类题材与唐宋时代的《十八学士图》有密切的关系。唐太宗（在位于公元六二六—六四九年）时代礼贤下士，设立文学馆，聘请杜如晦、房玄龄等十八位博学之士为文学馆学士，并命当时大画家阎立本图像，是为《十八学士图》。\n此幅绘春景。垂杨绕榭，亭中一人抚琴，二人环听，又一人自外来，奚奴抱琴随之。",[25,27,31,272,373,35,7,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd610d14504dad628b0c744c440ad397d.jpg","绢本,水墨","133.6x79.8",[140],9,"37474F",{"id":412,"slug":413,"title":414,"dynasty":97,"author":415,"museum":78,"description":416,"tags":417,"thumbUrl":431,"material":220,"size":221,"collection":156,"collections":432,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":43},228347,"huang-zhou-zhu-lou-ji-shen-zao-228347","黄州竹楼记","沈藻","沈藻，字凝清，一字仲藻，华亭（今松江属上海市）人，明代书法家沈度之子。",[52,53,102,418,57,419,420,421,196,7,422,423,424,258,104,425,426,427,428,429,430],"竹楼","月","波","云","酒","茶","舟","雁","屋","城","滩濑","素月","清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f132ee553de624622d081448aee353c.jpg",[],7,{"id":435,"slug":436,"title":437,"dynasty":97,"author":252,"museum":78,"description":438,"tags":439,"thumbUrl":443,"material":220,"size":221,"collection":156,"collections":444,"showCount":445,"zanCount":11,"manualWeight":11,"mainColor":43},283646,"wan-qin-tu-yi-ming-283646","玩琴图","松下雅集，炉烟轻飏。主客围案对坐，琴音暗淌。主人神色安和，二宾或倾身凝聆，或捻髯沉醉，旁侧侍者垂立随侍。庭中古松苍虬撑盖，湖石堆簇间牡丹绽艳，孔雀闲踱阶前，案头盆栽雅致清幽。\n全作用笔工细遒劲，衣纹流转自然，设色古雅沉润，将文人雅聚的闲逸情致尽数铺展，把耽乐于丝竹、寄怀于林泉的林下高风，揉入这一方庭院雅景之中，尽显文人士大夫的审美意趣与精神归处。",[25,28,29,31,440,7,35,84,441,442,373],"文人雅集","牡丹","孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2301dcb7c455395f785793016048436e.jpg",[],6,{"id":447,"slug":448,"title":449,"dynasty":97,"author":450,"museum":78,"description":451,"tags":452,"thumbUrl":454,"material":220,"size":221,"collection":156,"collections":455,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":72},287386,"ting-ying-shi-qin-ge-wang-duo-287386","听颖师琴歌","王铎","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。",[23,26,52,53,255,81,102,7,453],"琴歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e65bc9721f5e853590d041bb0b933be.jpg",[],{"id":457,"slug":458,"title":459,"dynasty":97,"author":252,"museum":78,"description":460,"tags":461,"thumbUrl":463,"material":220,"size":221,"collection":156,"collections":464,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},237855,"yun-wo-ting-qin-shi-si-tu-shan-yi-ming-237855","云窝停琴诗思图扇","此作用极简水墨铺陈悠远意境，石畔隐士静坐，置琴于侧，似在凝听松风与流云私语。淡墨晕染山峦云霭，虚实相生间漾开空寂清远的氛围。简笔勾勒出人物安闲萧散之态，笔墨皴染随性自然，将林下幽居、寄情丘壑的雅趣藏于尺幅扇面。整体意韵清寂淡远，以画载情，尽显文人超脱尘俗、物我两忘的林下襟怀，寥寥笔墨间，铺展出一方可居可游的诗意天地。",[25,271,67,81,462,82,32,421,31,7],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F089201117226a859f591fe02927e6e2c.jpg",[],{"id":466,"slug":467,"title":468,"dynasty":191,"author":252,"museum":78,"description":469,"tags":470,"thumbUrl":475,"material":220,"size":221,"collection":156,"collections":476,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":43},265671,"pin-lan-se-duan-di-zhi-jin-qin-qi-shu-hua-mei-lan-zhu-ju-wen-tao-yi-ming-265671","品蓝色缎地织金琴棋书画梅兰竹菊纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[259,471,7,313,131,314,182,472,196,473,474],"织金","兰","菊","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911ee6d5b4c5068d25651f7a2bbd8973.jpg",[],{"id":478,"slug":479,"title":480,"dynasty":191,"author":481,"museum":78,"description":482,"tags":483,"thumbUrl":492,"material":156,"size":156,"collection":156,"collections":493,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":72},231048,"xing-shu-zhou-lin-shu-231048","行书轴","林纾","此作用笔苍朴老辣，揉合帖学流秀与碑学沉厚，起收可见颜体沉雄，又兼得苏黄萧散意韵。通篇行气疏朗，字势错落欹侧，首句起笔舒缓墨足，随诗文情绪铺展，笔墨愈见跳宕，至末句笔锋开张，尽显放达之态。题款小字敛藏锋芒，与正文虚实相映，章法疏密得宜。\n\n以文人笔意入书，将诗文禅寂悠然融于笔墨间，整幅既是书法佳构，亦是作者心性襟怀的展露，漫溢出山林世外的清逸意趣。",[23,24,25,26,52,53,27,484,485,486,487,421,488,489,490,491,57,182,7],"水寺","钟楼","雨","野僧","深院","溪","船","道人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f1dfb6014cf5b75cddea9b9ecd5908a.jpg",[],{"id":495,"slug":496,"title":497,"dynasty":97,"author":252,"museum":78,"description":498,"tags":499,"thumbUrl":503,"material":220,"size":221,"collection":156,"collections":504,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":505},24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