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陶泓，字士泉，号砚山，生平无考。",[23,25,51,24,28,26,53,233,234,7,76,235,95,236,52,237],"云山","峻岭","小桥","临摹","智者乐水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbbee98cf491d6f7fe862b5d64e4bf5.jpg","53x89cm",[],15,{"id":243,"slug":244,"title":245,"dynasty":169,"author":246,"museum":91,"description":247,"tags":248,"thumbUrl":251,"material":107,"size":108,"collection":36,"collections":252,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":41},283724,"hua-chan-shi-xiao-jing-tu-ce-dong-qi-chang-283724","画禅室小景图册","董其昌","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[25,51,192,26,27,249,161,52,7,159,31,250,160],"行书","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2d3a31157a8e2a8f3646e3e282b8d8.jpg",[],14,{"id":255,"slug":256,"title":257,"dynasty":169,"author":258,"museum":91,"description":259,"tags":260,"thumbUrl":264,"material":107,"size":108,"collection":36,"collections":265,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},287780,"gu-bai-wen-dao-tu-li-zhou-chen-huan-287780","古柏问道图立轴","陈焕","陈焕（公元16-17世纪初），字子文，号尧峰，尧峰山人，吴县（今江苏苏州）人，陈镒后裔。\n陈焕寄情翰墨，工画山水，取法沈周并得宋元气脉，私淑侯懋功，候早卒，焕能继其业。所画山水用笔苍秀茂密，动合法度，展对间清思扑人眉睫，以画著称于万历间。\n陈焕事迹见《吴县志》、《画史会要》、《画引》、《图绘宝鉴续纂》。",[25,28,27,26,97,52,119,208,30,235,95,261,262,7,263],"古柏","枯树","问道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3a5668619c7cfc3dff684859ec488e3.jpg",[],{"id":267,"slug":268,"title":269,"dynasty":18,"author":90,"museum":91,"description":270,"tags":271,"thumbUrl":279,"material":107,"size":108,"collection":36,"collections":280,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},234431,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234431","清人文殊菩萨像轴","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[272,94,273,274,97,275,276,7,277,278],"唐卡","佛教","文殊菩萨","人物画","佛塔","祥云","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e06949b251abea9d27b16a30643646.jpg",[],{"id":282,"slug":283,"title":284,"dynasty":46,"author":90,"museum":91,"description":285,"tags":286,"thumbUrl":292,"material":107,"size":108,"collection":36,"collections":293,"showCount":294,"zanCount":11,"manualWeight":11,"mainColor":64},290105,"qing-xi-feng-fan-tu-yi-ming-290105","清溪风帆图","淡墨晕染出空濛的江南水色，远山如眉黛轻蹙，晕在烟霭之中，层次渐远渐淡，融在天际虚白里。\n\n汀渚横陈水面，茂林攒聚，墨色苍润，是水色里凝住的深翠。右下角苍松挺劲，清健枝桠破开柔缓水意，添了几分沉凝。\n\n孤舟扬帆破水而行，船尾拖曳纤长缆绳，渔人在空阔水天里成为一抹生动注脚。\n\n整幅以留白衬出水天寥廓，水墨轻施重染，将江南烟雨的空寂温柔揉进绢素，淡远幽微的诗意漫溢，尽显静观山水、天人共生的清雅意趣。",[23,287,25,24,26,53,288,289,7,290,291],"扇面","孤舟","风帆","远山","静水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41338053a7c8465b85bbb445ad94e4c4.jpg",[],4,{"id":296,"slug":297,"title":298,"dynasty":18,"author":299,"museum":91,"description":300,"tags":301,"thumbUrl":305,"material":107,"size":108,"collection":36,"collections":306,"showCount":294,"zanCount":11,"manualWeight":11,"mainColor":41},288500,"dan-ai-cang-shan-tu-dong-bang-da-288500","淡霭苍山图","董邦达","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,25,51,28,26,52,27,302,303,7,304,235,31,160,161],"苍山","云雾","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8214838b222f6c271dd732b2a627adb5.jpg",[],{"id":308,"slug":309,"title":310,"dynasty":311,"author":90,"museum":91,"description":312,"tags":313,"thumbUrl":319,"material":107,"size":108,"collection":36,"collections":320,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":41},289513,"bartholomeus-spranger-diana-and-actaeon-yi-ming-289513","Bartholomeus 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Europa","以暖红素描晕开这场宿命邂逅，线条柔婉舒展，将洛可可式轻盈揉进古典神话之中。欧罗巴倚坐白牛身侧，神色懵懂恍惚，侍女们环伺周遭，或牵衣低语或俯身注视，衣袂褶皱随动作自然垂落，柔美的情态跃然纸上。\n\n空中小天使乘飞鹰俯瞰，静静凝望这场隐秘邂逅。远景林木朦胧，古堡隐现于枝叶之后，晕开氤氲浪漫氛围。整体笔触松弛细腻，将相遇时的暧昧绮丽悉数铺陈，把神话的旖旎诗意藏在暖红色调中，让古典浪漫缓缓漫溢。",[360,361,275,362,120,363,364,365,7,366,367],"西洋画","神话画","红褐素描","牛","小天使","飞鸟","古建筑","欧罗巴被劫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08c110e71ec670449c7b973dd52fa7ee.jpg",[],{"id":371,"slug":372,"title":373,"dynasty":18,"author":90,"museum":91,"description":374,"tags":375,"thumbUrl":381,"material":107,"size":108,"collection":36,"collections":382,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":383},270016,"zhu-diao-guan-pu-tu-bi-tong-yi-ming-270016","竹雕观瀑图笔筒","笔筒： 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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。",[390,391,392,393,377,7,394,173,95],"宋代","玉石","青玉","透雕","鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4980a9c8512399cd375031653f3fb23f.jpg",[],"37474F",{"id":399,"slug":400,"title":401,"dynasty":311,"author":90,"museum":91,"description":402,"tags":403,"thumbUrl":414,"material":107,"size":108,"collection":36,"collections":415,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":41},230559,"dao-cheng-si-tu-juan-yi-ming-230559","道成寺图卷","此卷以淡笔轻墨铺陈哀艳物语，开篇绘闺阁幽思，清姬的缱绻心事凝于柔和衣袂与低垂眉眼间。继而笔锋转向怒浪翻涌的海面，化蛇的清姬鳞爪灵动，红绡飘曳在苍蓝水波间，追逐仓皇避走的安珍，浪涛晕染写意灵动，将爱而不得的疯魔执念尽数托出。后半段山林古刹与钟下的终局，素净笔墨衬出宿命悲怆。\n\n图文交织的叙事节奏缓急相宜，敷色清雅沉静，线条柔婉却藏着痴狂张力，将日式古画特有的幽玄余韵揉入卷中，让这段为爱成魔的传说在素绢上缓缓舒展，哀戚妖异的氛围漫溢在每一处留白里。",[23,172,404,97,26,95,120,405,30,406,407,7,408,409,410,411,412,413],"古画","龙","海水","浪涛","古刹","哀戚","妖异","执念","传说故事","道成寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68da0b70ed0323fb33363194945db21c.jpg",[],{"id":417,"slug":418,"title":419,"dynasty":116,"author":90,"museum":91,"description":388,"tags":420,"thumbUrl":430,"material":107,"size":108,"collection":36,"collections":431,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":64},228154,"jin-qiu-shan-yu-shi-yi-ming-228154","金、「秋山」玉饰",[421,377,391,422,423,424,7,425,426,427,428,429],"元代","金器","饰品","秋山","动物","植物","玉雕","自然景物","立体雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd963964ba3b356f8cd68786709e55bd4.jpg",[],{"id":433,"slug":434,"title":435,"dynasty":18,"author":90,"museum":91,"description":436,"tags":437,"thumbUrl":443,"material":107,"size":108,"collection":36,"collections":444,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},274087,"zhang-rong-gua-ping-yi-ming-274087","漳绒挂屏","以绒为笔，织就林泉古刹。深绒晕染出层叠苍松，将幽寂山境铺陈眼前。飞檐翘角以深浅绒色勾勒繁复斗拱，朱红廊柱与黛瓦冷暖相映，把古建榫卯纹路、檐下雕饰一一织就。\n\n漳绒起花工艺让画面层次分明，绒面肌理带着织造的温润质感，既有工笔描摹的精细写实，又带着绒绣独有的柔润氛围感，将古刹隐于林泉的清幽禅意静静晕开，静穆雅致间，尽显东方山林古建相融的澹远之美。",[438,439,30,7,31,440,441,442],"挂屏","界画","古建","布料","织绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba057149a0dc1a9494035d213054dfbb.jpg",[],{"id":446,"slug":447,"title":448,"dynasty":18,"author":90,"museum":91,"description":449,"tags":450,"thumbUrl":457,"material":107,"size":108,"collection":36,"collections":458,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},270617,"wang-jin-sheng-wang-chuan-tu-mo-mu-lan-chai-mo-yi-ming-270617","汪近圣辋川图墨-木兰柴墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[451,452,453,160,365,454,7,455,456],"墨","文房四宝","楷书","夕阳","溪路","幽情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e1d67b2bdaffb1c9ddc6765488e8bf7.jpg",[],{"id":460,"slug":461,"title":462,"dynasty":18,"author":90,"museum":91,"description":449,"tags":463,"thumbUrl":465,"material":107,"size":108,"collection":36,"collections":466,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},270610,"wang-jin-sheng-wang-chuan-tu-mo-lu-chai-mo-yi-ming-270610","汪近圣辋川图墨-鹿柴墨",[451,160,453,464,7],"诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26458be60b78689855365ece97da5933.jpg",[],{"id":468,"slug":469,"title":470,"dynasty":18,"author":90,"museum":91,"description":374,"tags":471,"thumbUrl":473,"material":107,"size":108,"collection":36,"collections":474,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},269940,"zhu-diao-dong-shan-bao-jie-tu-bi-tong-yi-ming-269940","竹雕东山报捷图笔筒",[376,377,378,95,472,53,379,7],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3622c7f3042ab79b9e67910699882337.jpg",[],{"id":476,"slug":477,"title":478,"dynasty":18,"author":90,"museum":91,"description":479,"tags":480,"thumbUrl":488,"material":107,"size":108,"collection":36,"collections":489,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},260973,"ge-you-qing-hua-ren-wu-gu-shi-tu-yu-lou-guan-yi-ming-260973","哥釉青花人物故事图鱼篓罐","青花瓷（blue 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