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》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[24,23,28,81,82,83,84,85,7,86],"飞鸟","枯柳","池塘","疏林","雾霭","萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0e139577d1c0981134a129ca84c66.jpg","未知","Xcm*Xcm",[],46,{"id":93,"slug":94,"title":95,"dynasty":76,"author":96,"museum":78,"description":97,"tags":98,"thumbUrl":109,"material":88,"size":89,"collection":67,"collections":110,"showCount":111,"zanCount":70,"manualWeight":11,"mainColor":71},288539,"xie-sheng-jia-die-tu-zhao-chang-288539","写生蛱蝶图","赵昌","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[99,24,23,25,100,101,55,102,103,104,105,106,107,108,7],"高清","长卷","工笔","花鸟","蛱蝶","草虫","花卉","野草","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97796390b63dc3cfc3af98bc62a819e5.jpg",[],44,{"id":113,"slug":114,"title":115,"dynasty":18,"author":116,"museum":78,"description":117,"tags":118,"thumbUrl":122,"material":88,"size":89,"collection":67,"collections":123,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":71},288180,"qiu-qu-jing-xin-ai-xin-jue-luo-zai-chun-288180","秋趣镜心","爱新觉罗·载淳","清穆宗爱新觉罗·载淳（1856年4月27日—1875年1月12日），清朝第十位皇帝，清定都北京后第八位皇帝，年号“同治”。为清文宗咸丰帝长子，生母为孝钦显皇后叶赫那拉氏。1861年至1875年在位，共13年。",[99,24,119,101,55,102,120,121,7,108],"扇面","月季","蜻蜓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c0dd7a7c4220caee75d3460dfb7f762.jpg",[],26,{"id":126,"slug":127,"title":128,"dynasty":76,"author":129,"museum":78,"description":130,"tags":131,"thumbUrl":137,"material":88,"size":89,"collection":67,"collections":138,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":140},288506,"qiu-shan-xing-lv-tu-guo-xi-288506","秋山行旅图","郭熙","峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[99,24,23,27,28,30,7,132,133,35,134,135,136],"山石","林木","孤舟","山居","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e7ca9f20e1578206e7ed6d99bcb96.jpg",[],22,"37474F",{"id":142,"slug":143,"title":144,"dynasty":145,"author":146,"museum":20,"description":147,"tags":148,"thumbUrl":156,"material":157,"size":158,"collection":67,"collections":159,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":71},290498,"shan-shui-xiao-jing-zhou-xiang-sheng-mo-290498","山水小景轴","明","项圣谟","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,26,149,28,55,30,150,151,152,153,154,155,108,7],"山水","山峦","云雾","松杉","屋舍","水渚","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea20af0bdde11306224e82a8f221a5e.jpg","纸本,设色","106.6x24.3",[],20,{"id":162,"slug":163,"title":164,"dynasty":76,"author":165,"museum":78,"description":166,"tags":167,"thumbUrl":172,"material":88,"size":89,"collection":67,"collections":173,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":71},290146,"wu-kuan-he-yan-tu-hua-niao-yi-ming-290146","无款荷雁图-花鸟","佚名","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,102,101,55,168,81,169,170,171,7],"雁","残荷","荒草","沙地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0356670f517de75dcb4d18a291a0c5.jpg",[],16,{"id":176,"slug":177,"title":178,"dynasty":145,"author":179,"museum":78,"description":180,"tags":181,"thumbUrl":185,"material":88,"size":89,"collection":67,"collections":186,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":71},288013,"qiu-lin-han-yan-tu-juan-sun-zhi-288013","秋林寒雁图卷","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[99,24,100,27,28,55,182,183,81,62,35,135,184,7,86,155,107,108],"秋林","寒雁","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12ca6b35db79bb43e21774644a2d1e9.jpg",[],7,{"id":189,"slug":190,"title":191,"dynasty":18,"author":192,"museum":193,"description":194,"tags":195,"thumbUrl":197,"material":67,"size":67,"collection":198,"collections":199,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":200},202246,"qiu-shan-mu-ai-tu-zhou-fan-qi-202246","秋山暮霭图轴","樊圻","上海博物馆","画面以淡墨晕染暮霭，远山隐现于烟岚间，峰峦轮廓柔和如黛。近景怪石嶙峋，皴笔勾勒山石肌理，纹理细腻见质感；溪流蜿蜒穿石而过，小桥横卧水面，连接疏林与村舍。枯树枝干遒劲，叶片疏落，尽显清秋萧疏之态。笔墨清润秀雅，墨色浓淡相宜，淡赭轻敷远山，添秋意暖意。整体意境幽远静谧，将秋山暮色的淡远韵致凝于立轴，尽显文人山水的雅致风骨。",[149,30,196,35,28,55,26,184,132,7,99],"小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030ae6ac93c766a1c2fb075a13ee86b1.jpg","山水画精选",[198],"bcae9a",{"id":202,"slug":203,"title":204,"dynasty":18,"author":205,"museum":78,"description":206,"tags":207,"thumbUrl":214,"material":88,"size":89,"collection":67,"collections":215,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":45},288403,"gan-qiu-shen-fu-qin-bei-wang-shi-sun-wen-288403","感秋深抚琴悲往事","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色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