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的收藏印，及比较院藏其他梁清标之题签，推测此册可能为梁清标所集，显示明末清初所理解的宋元画。",[23,48,24,25,7,26,27,28,130,214,169],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadad36eaac06d8f20b835860208428a2.jpg","23.7x24.3cm",[34],236,7,{"id":221,"slug":222,"title":223,"dynasty":18,"author":19,"museum":20,"description":224,"tags":225,"thumbUrl":227,"material":32,"size":228,"collection":34,"collections":229,"showCount":230,"zanCount":11,"manualWeight":38,"mainColor":39},218939,"xie-sheng-yu-zan-tu-lin-chun-218939","写生玉簪图","这幅画描绘了玉针花站在一个妃子身上，其香味吸引了蝴蝶飞来飞去。花和蝴蝶都是先用细墨线勾勒，然后上色的。白色的花瓣和绿色的叶子使芬芳的花朵更加美丽。在左下角的叶子下面可以看到林椿的签名。",[23,24,48,7,26,27,92,28,226,79],"玉簪花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0abbcbd3282deb21b8a8f4f226720bde.jpg","23.6x24.6",[34],235,{"id":232,"slug":233,"title":234,"dynasty":18,"author":105,"museum":235,"description":236,"tags":237,"thumbUrl":240,"material":32,"size":241,"collection":53,"collections":242,"showCount":243,"zanCount":38,"manualWeight":38,"mainColor":57},218658,"shan-shui-tu-ma-yuan-218658","山水图","维多利亚和阿尔伯特博物馆","虬枝如屈铁，斜出嶙峋崖壁，枯枝疏朗间透着苍劲风骨，垂悬的藤蔓似牵一缕寒烟。山石以斧劈皴斫出棱角分明，刚硬笔触衬得崖岸陡峭。远景以淡墨晕染，山峦隐现于虚渺雾霭，近景石畔或有幽人凭栏，小景点染更显天地空阔。边角构图不逐满幅，留白处藏尽清寂萧瑟，恰是宋人山水的空灵之境。笔底丘壑虽只一角，却以简驭繁、以小见大，藏无尽江山意趣，尽显马远山水的独特韵味——于有限画面中，铺展无限悠远的诗意与哲思，让人于尺幅间窥见宋人的山水情怀与审美境界。",[24,7,108,185,181,184,238,239,182,183],"山石","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82362b63dc9e0b444518f5ec9c4176a.jpg","25.5x25.7",[53],234,{"id":245,"slug":246,"title":247,"dynasty":18,"author":248,"museum":20,"description":249,"tags":250,"thumbUrl":254,"material":32,"size":255,"collection":53,"collections":256,"showCount":257,"zanCount":159,"manualWeight":38,"mainColor":39},219214,"xue-jing-han-qin-tu-wang-ding-guo-219214","雪景寒禽图","王定国","王定国，（公元12世纪）〔南宋〕汴（今河南开封）人，生卒年不详。建炎元年（1127）随吴郡王渡江，居临安(今浙江杭州)。工花鸟，师李安忠，亦学崔白兄弟笔法，傅色轻淡，清雅不凡，人所不及。后吴郡王奏荐入仕，赐金紫。",[23,24,25,7,27,26,28,251,252,169,253],"雪景","寒禽","浆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf83af5f258b7e3cf2ddcfd3f3c7dabe.jpg","纵24.3厘米，横26厘米",[53,34],226,{"id":259,"slug":260,"title":261,"dynasty":18,"author":262,"museum":196,"description":263,"tags":264,"thumbUrl":267,"material":32,"size":268,"collection":34,"collections":269,"showCount":270,"zanCount":11,"manualWeight":38,"mainColor":57},219138,"mei-que-tu-zhao-ji-219138","梅雀图","赵佶","枝桠遒劲，凝着早春的清寒，几簇白梅点缀其间，花瓣薄如蝉翼，花蕊纤毫毕现，似有暗香浮动。一只麻雀敛翅而立，羽色层次分明，从褐棕的背羽到浅黄的腹羽，过渡细腻如天然；墨点的眼珠炯炯有神，喙尖微挑，仿佛正细嗅梅香。古雅的底色衬得生灵与花枝愈发鲜活，笔意工致却不刻板，枝桠的顿挫、羽毛的丝缕、花瓣的晕染，皆藏着对自然的敬畏与细腻感知。静穆中透着生机，仿佛能听见风过枝桠的轻响，看见雀儿转颈的灵动，将转瞬的雅致凝为永恒，尽显笔墨间的生趣与文人清逸。",[23,24,48,25,26,27,7,28,265,266],"梅","雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51843aee1c6bdffdd691d63bea2ddcbd.jpg","23.0×24.2cm",[34],214,{"id":272,"slug":273,"title":274,"dynasty":275,"author":276,"museum":277,"description":278,"tags":279,"thumbUrl":281,"material":282,"size":283,"collection":34,"collections":284,"showCount":285,"zanCount":119,"manualWeight":38,"mainColor":39},216101,"mo-zhu-tu-wu-zhen-216101","墨竹图","元","吴镇","耶鲁大学艺术博物馆","这件作品是一幅描绘竹叶的图画，以其精细的绘画技巧和精美的艺术品质而闻名。墨竹图的名字来源于其使用的墨色，以及它描绘的竹子。墨竹图被认为是中国古代绘画艺术中最优秀的作品之一，并被许多人所珍视。",[23,24,25,7,108,280,131,50],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b830328da9d88aa4e298e550fe00be.jpg","绢本,水墨","23.2x22.9cm",[34],213,{"id":287,"slug":288,"title":289,"dynasty":164,"author":290,"museum":20,"description":291,"tags":292,"thumbUrl":294,"material":32,"size":295,"collection":204,"collections":296,"showCount":297,"zanCount":84,"manualWeight":38,"mainColor":57},218748,"an-le-tu-zhou-wen-ju-218748","按乐图","周文矩","这幅画描绘了一个有朱色栅栏的花园，花台上种着一棵香蕉，还有五个宫廷女乐师，两个人吹着竹笛和琵琶，一个人打着拍板，另外两个人拍着手掌，很和谐。这些人物身着双球，头发上插着半月形的角梳，每个人都有丰富的色彩。笔触如丝，色彩优雅明快，说明是南宋绘画大师所作。女士坐在朱漆的方凳上，藤椅的轮廓在两腿之间巧妙地形成了壶门的形状，腿和脚则是如意的形状。院子里的帐篷，有一根长长的横杆，两端都有灵芝花的装饰，上面挂着带有莲花图案的锦缎披风。",[23,24,7,26,27,109,199,293,111,201],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0036a38b7087699df87e8643fee08137.jpg","23.5x24.9",[204],210,{"id":299,"slug":300,"title":301,"dynasty":18,"author":302,"museum":20,"description":303,"tags":304,"thumbUrl":308,"material":32,"size":309,"collection":53,"collections":310,"showCount":311,"zanCount":312,"manualWeight":38,"mainColor":57},218917,"guan-pu-tu-xia-gui-218917","观瀑图","夏圭","画中的笔触平静而简练，水墨淋漓。近景突出，构图层次分明，实与虚、疏与密、远与近、开与合的对应关系明显，人物、树木、岩石的指向都是一步步画出来的，自然景物的细节更多是叠加的。这可能与夏圭的典型风格略有不同。",[23,24,108,27,7,185,181,305,306,307,238,113,239],"松树","瀑布","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda09cc87c5f596f8d71593807efe86cf.jpg","24.7x25.7",[53],180,2,{"id":314,"slug":315,"title":316,"dynasty":18,"author":105,"museum":20,"description":317,"tags":318,"thumbUrl":321,"material":32,"size":322,"collection":34,"collections":323,"showCount":324,"zanCount":38,"manualWeight":38,"mainColor":39},219203,"mei-zhu-shan-zhi-tu-ma-yuan-219203","梅竹山雉图","此图突出一个“简”，着墨甚少，然而笔精墨妙。图中梅树一棵，翠竹一枝，孤石一块，以简练的笔法画之，虽梅枝不多，怒张而有放射之态；翠竹柔姿与梅媲美；作者以浓墨大斧劈及丁头鼠尾画法相结合，石块质坚、方硬。只有图中的山雉，作者用笔精练，神彩俱牛，雄雉身上的背羽部分黑斑点，在银光闪烁的白羽上更黑更突出红脸上的黑眼，显得很有神态，黑颈白肚中夹着红色的胸羽，是画面中最能令人注目的视点。一只小小雌雉依偎在旁，更显雄者的威武，虽只有这一对雉，却使画面点缀得有声有色。",[23,24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技的不凡。只消看看货郎担上、身上所披挂的各式膏药、杂货与童玩（据画上提示有“五百件”），就已足够令人眼花缭乱，技艺的超群也就不言而喻了。除此之外，画中在描绘货郎为生计辛勤奔波、村妇为家计费心盘量的同时，画家能匠心地摹绘孩童的无邪天真，更在在显示刻划手法的独到与细腻。李嵩出身民间工匠，对农村生活的观察，体会尤深。在图1这幅图中，他以精准、顿挫有致的笔法，既呈现出市井小民的情态，也展现乡野浓厚的生命气息，可说是一件杰出、令人动容的小品。",[23,24,25,7,26,27,422,109,423,424,333,425],"白描","孩童","货担","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f373c10d3030225f43684528bc8cd74.jpg","25.8x27.6公分",[204],{"id":430,"slug":431,"title":432,"dynasty":433,"author":44,"museum":355,"description":434,"tags":435,"thumbUrl":437,"material":81,"size":81,"collection":81,"collections":438,"showCount":439,"zanCount":159,"manualWeight":38,"mainColor":57},234656,"ming-ren-he-hua-tu-shan-ce-yi-ming-234656","明人荷花图扇册","明","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,25,7,27,26,28,436],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e90a226e32a8455678335f042760aa.jpg",[],148,{"id":441,"slug":442,"title":443,"dynasty":18,"author":444,"museum":45,"description":445,"tags":446,"thumbUrl":448,"material":32,"size":449,"collection":400,"collections":450,"showCount":439,"zanCount":84,"manualWeight":38,"mainColor":57},214609,"jiao-yuan-ye-zhang-tu-wan-shan-ye-ma-lin-214609","郊园曳杖图纨扇页","马麟","郊园曳杖图是宋朝时期马麟所作的一幅著名的山水画。这幅画描绘了一个人在郊外散步的场景，画中的人物拿着一根曳杖，走在一片绿色的郊园里，周围环绕着山峦和树木。\n\n马麟是宋朝时期著名的画家，他的画风轻松优美，富有感性，并且注重写实。在他的作品中，常常出现山水画题材，他将山水画中的景物和人物结合起来，表现出人与自然和谐相处的意境。郊园曳杖图就是这样一幅作品，它展示了一个人在郊外散步的情景，与周围的山水相互融合，充满了自然之美。\n\n马麟的郊园曳杖图是一幅经典的山水画作品，其中细腻的笔墨，流畅的线条，精确的造型，以及生动的写意，都体现了马麟作为画家的高超技艺。这幅画不仅为后人留下了宝贵的艺术瑰宝，也为我们展现了宋朝时期山水画的魅力。",[7,24,48,25,27,185,181,109,333,447,50],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c4fe954c2ad1a1f925dcf460e2dd461.jpg","纵23.3 厘米 横23.7 厘米",[400],{"id":452,"slug":453,"title":454,"dynasty":433,"author":455,"museum":20,"description":456,"tags":457,"thumbUrl":458,"material":459,"size":460,"collection":81,"collections":461,"showCount":462,"zanCount":38,"manualWeight":38,"mainColor":39},222412,"mei-hua-zhou-zhi-mian-222412","梅花","周之冕","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。\n有明以来写花草者，无如吴郡，而吴郡自沈周之后，无如陈道复（1483—1544）陆叔平（1496—1576）然道复妙而不真，叔平真而不妙，周之冕似能兼之。周之冕采陈道复、陆治二家之长，为吴门画派重要画家。\n万历三十年（1602）作《竹石雄鸡图》轴和《百花图》卷，现藏故宫博物院；（1601）作 桃柳春燕图 手卷；《桂树榴雀图》轴藏南京博物院；万历十三年（1585）作《芙蓉凫鸭》图轴藏上海博物馆；十五年（1587）作《芙蓉双凫图》轴藏沈阳故宫博物院；三十年作《墨花图》卷藏天津市艺术博物馆；同年作《杏花锦鸡图》轴藏苏州市博物馆；二十四年作《梅花野雉图》轴藏辽宁省博物馆。",[23,24,25,7,108,28,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbd89ea65005058bae7f1df5879f312.jpg","纸本","58x55.6厘米",[],147,{"id":464,"slug":465,"title":466,"dynasty":18,"author":302,"museum":467,"description":468,"tags":469,"thumbUrl":471,"material":282,"size":472,"collection":400,"collections":473,"showCount":474,"zanCount":11,"manualWeight":38,"mainColor":39},215111,"bu-yu-tu-xia-gui-215111","捕鱼图","美国大都会艺术博物馆","捕鱼图是宋朝时期著名画家夏圭的一幅名作。这幅画描绘了一个捕鱼的场景，画面中有许多渔民在用各种方法捕捉鱼类。夏圭是宋朝时期著名的“四大家”之一，他的捕鱼图以其精细的细节和逼真的人物造型而闻名。这幅画被认为是宋朝时期画家对自然主题的精湛描绘的典范，并被视为中国绘画史上的杰作。",[23,48,24,25,7,108,185,181,182,183,470],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816c22a3a1796408cdb7def0393b7cd2.jpg","23.2×24.1cm",[400],145,{"id":476,"slug":477,"title":478,"dynasty":18,"author":44,"museum":355,"description":479,"tags":480,"thumbUrl":483,"material":81,"size":81,"collection":81,"collections":484,"showCount":485,"zanCount":11,"manualWeight":38,"mainColor":57},223683,"yin-cha-tu-yi-ming-223683","饮茶图","《宋饮茶图》是宋代佚名创作的绢本设色画，现藏于美国弗利尔美术馆。\n图中画一侍女双手捧茶盘，一妇人伸手盘中拿茶具。\n右边一贵夕面向她们而立，仪态端庄娴静。\n后随侍女双手捧一锦盒。\n画风承唐代周吩，典雅浓丽。\n旧题南唐 画，然观其时代气息，应为宋人所作。",[23,24,48,7,26,27,109,199,481,50,482],"茶具","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783b061be5eddc485e3cd90b44470fd.jpg",[],143,{"id":487,"slug":488,"title":489,"dynasty":18,"author":490,"museum":126,"description":491,"tags":492,"thumbUrl":494,"material":495,"size":496,"collection":53,"collections":497,"showCount":499,"zanCount":312,"manualWeight":38,"mainColor":39},221420,"dong-po-chi-bi-tu-wang-shen-221420","东坡赤壁图","王诜","『烏林赤壁事已陳，黃州赤壁天下聞』。蘇軾的兩次赤壁漫遊，喚醒和重排了赤壁古戰場在文學史和藝術史中的地位，不但前後《赤壁賦》和《水調歌頭·赤壁懷古》成爲千古名篇，由此託生的赤壁圖也成爲畫史中重要的主題。作爲蘇軾文人集團的兩位重要人物：李公麟和王詵，他們都曾畫過赤壁圖，以圖畫的方式呼應着蘇軾的歷史書寫。他們的創作直接建立了畫史中的『赤壁圖式』，對後代產生深遠影響。惜乎二作失傳。我們只能憑藉一些歷史文獻，復原二圖的基本風格面貌，爲我們探討北宋末年以來『赤壁圖式』的發展提供一些線索。",[23,24,108,7,181,182,238,239,109,493,27],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93947956f8d0518422dab73c735749f6.jpg","绢本，设色","24.8 x 28.1 CM",[53,400,498],"水墨画精选",137,{"id":501,"slug":502,"title":503,"dynasty":18,"author":105,"museum":355,"description":504,"tags":505,"thumbUrl":507,"material":32,"size":508,"collection":400,"collections":509,"showCount":499,"zanCount":38,"manualWeight":38,"mainColor":57},218628,"fan-zhou-tu-ma-yuan-218628","泛舟图","烟波浩渺间，一叶扁舟轻漾于粼粼水面。船中二人，一卧一坐，或醉眠或凝思，与天地相融。远山如黛，淡墨晕染出云气缭绕的朦胧，似隐似现于天际；近岸怪石嶙峋，线条刚劲如铁，皴擦间见苍劲质感。疏疏芦苇随风摇曳，墨色浓淡相宜，添几分野趣生机。\n\n画面以边角构图见巧，留白处尽是烟波浩渺的空濛，引观者思绪飘向远方。笔墨简练却意蕴悠长，水墨晕染与线条勾勒相映成趣，将文人雅士超脱尘嚣的心境凝于方寸扇面。空灵雅致的意境，尽显南宋山水的诗意哲思，令人心向往之。",[24,48,7,181,108,27,185,182,109,183,111,506],"芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa216b268b23e2c63a87ea695ec2fbf8d.jpg","21.5x24",[400],{"id":511,"slug":512,"title":513,"dynasty":18,"author":514,"museum":355,"description":515,"tags":516,"thumbUrl":518,"material":32,"size":519,"collection":34,"collections":520,"showCount":499,"zanCount":312,"manualWeight":38,"mainColor":57},218557,"zhen-qin-tu-li-di-218557","珍禽图","李迪","画面中两只禽鸟栖息于枝间，翎羽纤毫毕现，墨色晕染层次分明，黑褐斑纹与浅白羽毛相映成趣。上方禽鸟颔首敛翅，姿态娴静；下方者展翅欲动，羽翼柔润中透着劲挺。枝叶扶疏，浅金色叶片与棕褐枝干交织，古朴绢本底色衬出物象温润质感。构图疏密有致，动静相宜，每道线条皆见功底：羽毛的蓬松、枝干的纹理刻画入微，似能闻林间轻响，观禽鸟灵动之态。笔墨间藏着对自然的细腻体察，于方寸间尽显生机与雅致，让人沉醉于这份古朴而鲜活的意趣里。",[23,48,24,25,7,26,27,28,112,517,30],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232d7931170a1c143b987fbb2c17089a.jpg","28x32",[34],{"id":522,"slug":523,"title":524,"dynasty":18,"author":105,"museum":355,"description":525,"tags":526,"thumbUrl":529,"material":530,"size":531,"collection":498,"collections":532,"showCount":499,"zanCount":38,"manualWeight":38,"mainColor":57},218551,"gao-shi-xie-he-tu-ma-yuan-218551","高士携鹤图","垂丝柳影轻笼暮色，宽袍士人拄杖凝眸。身旁仙鹤独立，长颈引向天际，似欲与流云对语。画面构图疏朗，以简淡之笔见天地阔远：柳枝的柔曼衬出士人的清寂，鹤的高洁映其心性。淡墨晕染的远山如黛，近水无痕，留白处漾着幽远的禅意。线条简练却含筋骨，衣袂的飘举、鹤羽的疏劲，皆诉着隐逸之趣——抛却俗务，与鹤为友，在烟水间守一份澄澈自在。笔墨间藏着文人的精神归处，不恋尘嚣，只愿在山水云鹤间，寻得灵魂的安宁与超脱。",[23,48,24,25,7,108,27,422,109,527,528,181],"鹤","柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0535cd201a3698edcf794670a2a03726.jpg","纸本,水墨","26.3x24.6",[498],{"id":534,"slug":535,"title":536,"dynasty":18,"author":44,"museum":355,"description":537,"tags":538,"thumbUrl":539,"material":81,"size":81,"collection":81,"collections":540,"showCount":541,"zanCount":38,"manualWeight":38,"mainColor":39},227856,"shan-cha-hu-die-tu-ye-yi-ming-227856","山茶蝴蝶图页","以没骨晕染绘就白茶，瓣色柔润留白如凝脂莹洁，盛放与初绽花苞错落排布。浓墨绘叶，晕染出深浅枯润，将叶片舒展的柔劲姿态尽显。墨笔勾绘蝴蝶，翼上纹理纤毫毕现，振翅欲落的灵动，为静雅花枝添了鲜活意趣。\n\n赭色古雅底色衬得花木蝶影愈发清隽，构图疏朗秀逸。画面工致间带着写意韵致，将晴日山茶间的悠然小景定格，带着宋人的清雅审美，把一花一蝶的幽微之美晕染出隽永诗意，观之便好似踏入春日晴光，细品蝶绕山茶的闲静意趣。",[48,24,25,7,26,27,28,168,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f81ba4e7647a8fb90303638a82667e5.jpg",[],131,{"id":543,"slug":544,"title":545,"dynasty":18,"author":302,"museum":45,"description":546,"tags":547,"thumbUrl":549,"material":282,"size":550,"collection":204,"collections":551,"showCount":541,"zanCount":11,"manualWeight":38,"mainColor":57},219960,"yu-cun-gui-diao-tu-xia-gui-219960","渔村归钓图","这幅画作以边角截景取景，空灵留白间晕开幽寂江村暮色。古松虬曲倒挂，浓淡墨色区分枯荣枝叶，苍劲中带着柔姿，斜斜探向崖下茅舍，隐见烟火野趣。下方板桥横于浅渚，孤渔垂竿徐行，晚归的闲散诗意随晚风漫开。山石以斧劈皴利落皴擦，硬朗线条衬出水畔崖岸的清峭冷寂。整幅落笔极简，以少胜多，将江南渔村的宁谧晚景藏在简淡笔墨中，寥寥数笔便勾勒出悠远清寂的意境，把山水雅趣融在边角留白里，清淡悠远，余韵悠长。",[23,24,48,25,7,108,185,181,470,548,239,182,183,109,184],"小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa21f05a4516126b98b351e062b2bf0.jpg","23×22.3cm",[204],{"id":553,"slug":554,"title":555,"dynasty":18,"author":19,"museum":355,"description":556,"tags":557,"thumbUrl":564,"material":565,"size":566,"collection":81,"collections":567,"showCount":568,"zanCount":38,"manualWeight":38,"mainColor":57},289560,"pu-tao-cao-chong-tu-lin-chun-289560","葡萄草虫图","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[24,7,26,27,558,559,560,561,562,563],"葡萄","草虫","螳螂","蜻蜓","蚱蜢","花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd265e60b95e8fc8b7f968d06de63bf6.jpg","未知","Xcm*Xcm",[],127,{"id":570,"slug":571,"title":572,"dynasty":124,"author":573,"museum":355,"description":574,"tags":575,"thumbUrl":578,"material":565,"size":566,"collection":81,"collections":579,"showCount":580,"zanCount":84,"manualWeight":38,"mainColor":39},239153,"hua-hui-cao-chong-tu-shan-ye-ju-lian-239153","花卉草虫图扇页","居廉","居廉（1828年9月22日－1904年5月5日），广东省广州府番禺县隔山乡人，原籍江苏扬州宝应县 [1] ，字士刚，号古泉、隔山樵子、罗湖散人，是中国近代岭南地区著名的国画画家，和其从兄居巢并称“二居”。 [2] 他初时学宋光宝和孟丽堂，后吸收各家之长，自成一家。笔法工整，设色妍丽，在继承和发展恽寿平没骨画法基础上，广泛运用了撞水和撞粉法，继承、发展和完善了“居派”艺术。代表作品有《十二分春色》。",[24,48,25,7,26,27,28,214,559,576,577],"芙蓉","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718408587ec96f67a2d985fd07ea1e2f.jpg",[],123,{"id":582,"slug":583,"title":584,"dynasty":124,"author":125,"museum":20,"description":585,"tags":586,"thumbUrl":587,"material":588,"size":81,"collection":34,"collections":589,"showCount":580,"zanCount":312,"manualWeight":38,"mainColor":39},220979,"ping-shan-mian-hua-ce-yun-shou-ping-220979","平扇面畫冊","扇面顧名思義就是扇子形狀的一個面，在幾何上是這樣定義何為扇形的：一條弧和經過這條弧兩端的兩條半徑所圍成的圖形叫扇形，那麼扇面是不是就是一個扇形的面呢？其實並不是。\n現多指為書畫作品的一種形式，分為摺扇和團扇。",[23,7,129,27,28,78,214,169,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7984a13c489e6e7b3ce49166670d47.jpg","纸本设色",[34,401],{"id":591,"slug":592,"title":593,"dynasty":18,"author":302,"museum":126,"description":594,"tags":595,"thumbUrl":596,"material":459,"size":597,"collection":81,"collections":598,"showCount":599,"zanCount":11,"manualWeight":38,"mainColor":57},233211,"lin-liu-fu-qin-tu-ye-xia-gui-233211","临流抚琴图页","宋代郭熙《林泉高致》云：“山以水为血脉”、“山得水一活”，水是山的眼睛，关乎画面的神采，最难画活。宋代的山水画中多以密致的线条勾出水纹，如现存李唐的《江山小景图》、马远的《水图》等都是以工致的笔法画出水纹。在这幅画中，溪水则以简练的线条勾勒，部分留白，盘曲掩映，时隐时现，难觅其踪，表现出流水的清澈和流动感。夏圭是善于在绘画中“用虚”的大师，在这幅画中，他利用了留自来表现江山湖泊的辽阔深远，虽未着一笔，却能“无画处皆成妙境”，给人无限遐想的空间。画中的人物也很有特点，没有过多地描绘细节，而是注重表现身体的动势，笔简而神全。抚琴者似在弹奏，让人不禁联想到琴声的悠扬。\n作为一个欣赏者，我们可能更多地关注的是画面的内容和技法的运用，往往忽视了绘画材料本身。古人云：“皮之不存，毛将焉附?”画面的效果和气氛的营造，一方面取决于画家的精神境界和绘画技巧，另一方面取决于绘画的材料即媒材。唐、宋时期绘画尚用绢，至明末，画家皆用熟纸。夏圭此画作于熟绢之上，绢本细腻的质地适于表现笔墨的流利劲健，他充分利用了绢的特性，笔势纵横生动。\n元代庄肃的《画继补遗》中评价夏圭：“画山水人物极俗恶。宋末世道凋丧，人心迁革，圭遂滥得时名，其实无可取，仅可知时代姓名而已。”此论可谓偏颇至极。夏圭的山水画，用笔外露，非是缺点，而是其特点。夏文彦《图绘宝鉴》称赞夏圭说：“院人中画山水，自李唐以下，无出其右者也。”宋代绘画是中国传统绘画的精华，它来源于画家“外师造化，中得心源”，并非是抛弃自然的笔墨游戏。如宋代郭熙的《林泉高致》中提到画家对待绘画用“敬”的态度“凡一景之画，不以大小多少，必须注精以一之”、“必神与俱成之”、“必严重以肃之”、“必恪勤以周之”，不可“以轻心挑之”、“以慢心忽之”。夏圭正是以这种敬业的精神以及“心源”颖悟，在方寸之内，写出如此之大气象、大境界。\n宋、元以后文人画开始居于画坛的主流地位，夏圭的山水画不断遭到文人画家不公正的指责和排挤，虽偶有师法者，但已是落日余晖，失去了往日的辉煌。然而被文人画家“嗤之以鼻”的夏圭的山水画却跨越了国界，深深地影响了日本的绘画，出现了周文、雪舟等一批绘画大家，纷纷模仿夏圭的山水画。\n《临流抚琴图》是画家夏圭创作的一幅作品，该图是国家一级文物，图中绘一高士临流而坐，气象萧疏，意境深远。\n墨笔急扫之后，迅速以水笔接染，笔墨衔接自然，一气呵成。由于墨与水的使用恰到好处，使得整幅画面颜色透亮，一股清新之气扑面而来。画树木，得其形而又取其势，意笔写出枝干，偃仰屈曲，苍健老硬，有蛟龙惊虬之势；树叶点染而成，疏密有致，虚实相生，浓淡相宜，看似不经意，实则惨淡经营。茅屋隐现于树后，以墨笔勾出轮廓，再施以规则的点皴，极具装饰意味。画水有独特之处。",[24,48,25,7,108,185,181,109,239,360,238,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b6e2189c33e42f16457ba45586676b.jpg","25.5X26厘米",[],121,{"id":601,"slug":602,"title":603,"dynasty":124,"author":44,"museum":355,"description":604,"tags":605,"thumbUrl":609,"material":565,"size":566,"collection":81,"collections":610,"showCount":611,"zanCount":38,"manualWeight":38,"mainColor":39},236741,"huang-ju-mao-die-wan-shan-yi-ming-236741","黄鞠猫蝶纨扇","这帧纨扇小品取右虚左实之构图，苔石隐于浅草花丛间，乌背白腹的狸奴踞坐其上，圆瞳灼灼，紧盯翩跹粉蝶，蓬松绒毛以晕染细笔勾绘，憨态灵动，将花猫窥蝶的凝神一瞬定格。\n\n左上花枝柔曼，粉花轻缀，没骨笔法晕染出淡冶花色，明丽雅致。侧旁题笔规整清雅，与画面相映成趣。\n\n整幅小品以清隽设色勾勒日常闲趣，将庭间小景的恬淡野趣尽数铺陈，温婉雅致的意趣浸透绢面，尽显小品画的悠然雅韵。",[24,25,48,7,27,26,606,607,79,49,608,333],"清代","猫","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6235c2fe94225bf65dcfca3543ed3c.jpg",[],119,{"id":613,"slug":614,"title":615,"dynasty":433,"author":616,"museum":126,"description":617,"tags":618,"thumbUrl":620,"material":27,"size":621,"collection":34,"collections":622,"showCount":611,"zanCount":312,"manualWeight":38,"mainColor":39},216097,"qiang-wei-shan-mian-lu-zhi-216097","蔷薇扇面","陆治","陆治（1496—1576年），字叔平，吴县（今属江苏苏州）人。因居太湖之包山，号包山子，后隐居支硎山中。文徵明弟子，诗、文、书、画都有相当造诣，擅长画山水、花鸟，为“吴门画派”后期重要画家。花鸟画兼工能写，风格清秀。山水画笔墨劲峭，深受宋元人和文徵明影响而又创立了自己的风格。",[23,7,24,27,28,214,619,169,131,50],"蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8d7a219ff7f6c557ee6210e2bc55f4.jpg","15.9x49cm",[34],{"id":624,"slug":625,"title":626,"dynasty":433,"author":44,"museum":627,"description":628,"tags":629,"thumbUrl":630,"material":32,"size":631,"collection":34,"collections":632,"showCount":633,"zanCount":38,"manualWeight":38,"mainColor":57},216673,"mei-hua-xiao-niao-tu-yi-ming-216673","梅花小鸟图","私人收藏","梅花小鸟图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了一只小鸟停在一棵梅花树上，周围是一片茂密的树林。图画中使用了精致的线条和细腻的色彩，捕捉了小鸟和树林的美妙景象。这幅图画被认为是明朝时期图画艺术的杰作，具有极高的艺术价值。",[24,25,7,27,26,28,265,410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef71e1b2dede42b0a2dc0768e23aa09f.jpg","24.5x25cm",[34],118,{"id":635,"slug":636,"title":637,"dynasty":18,"author":44,"museum":355,"description":638,"tags":639,"thumbUrl":641,"material":32,"size":81,"collection":53,"collections":642,"showCount":643,"zanCount":38,"manualWeight":38,"mainColor":57},218401,"e-xi-tu-yi-ming-218401","鹅戏图","这幅画描绘了一个池塘，漂浮着如盘子般碧绿的荷叶，点缀着鲜红的荷花，四只白天鹅在水中嬉戏，一只领头，两只尾随，最后一只正在奋力追赶。\n这幅画色彩淡雅，薄而透明，色彩与水墨相得益彰，整体上没有浓墨重彩，导致前景的四只白天鹅特别明亮。",[23,24,48,7,26,27,640,64,50],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4cd89f1d562c9fdb8d729cb3008bbc.jpg",[53],117,{"id":645,"slug":646,"title":647,"dynasty":18,"author":648,"museum":355,"description":649,"tags":650,"thumbUrl":651,"material":565,"size":566,"collection":81,"collections":652,"showCount":653,"zanCount":38,"manualWeight":38,"mainColor":39},289110,"zhu-jiu-tu-li-an-zhong-289110","竹鸠图","李安忠","李安忠，南宋画家。钱塘（今浙江杭州）人，生卒年不详。宋徽宗宣和（1119-1125）时为画院祗候，历官成忠郎。南渡后绍兴（1131-1162）间复职画院，赐金带。",[48,24,7,28,26,27,112,280,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf7aff72457c41858438cb9ffdc6b09.jpg",[],115,{"id":655,"slug":656,"title":657,"dynasty":18,"author":44,"museum":126,"description":658,"tags":659,"thumbUrl":660,"material":495,"size":661,"collection":81,"collections":662,"showCount":653,"zanCount":11,"manualWeight":38,"mainColor":57},233199,"bai-tou-cong-zhu-tu-ye-yi-ming-233199","白头丛竹图页","图绘小竹数竿，清翠嫩绿，两只白头鹎栖于枝头，一只低头梳理羽毛，一只遥视前方。竹用双钩填彩画法，笔墨缜密严谨，色调沉着。山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有毛绒的质感。",[24,48,25,7,26,27,28,280,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e20b9236c841784d4114a5d6f05f27.jpg","纵25.4厘米，横28.9厘米",[],{"id":664,"slug":665,"title":666,"dynasty":18,"author":44,"museum":20,"description":667,"tags":668,"thumbUrl":670,"material":32,"size":671,"collection":53,"collections":672,"showCount":653,"zanCount":312,"manualWeight":38,"mainColor":57},218797,"hua-hu-tu-yi-ming-218797","画虎图","这幅画上的签名是 袁桂珍画虎。在面板的左侧是 归真 的签名，似乎已经被改变。因此需要进一步研究，以确定这幅画是由 归真 还是 李 姓画家创作的。画中，旷野荒凉，松树茂盛，绿竹随风飘荡，溪水潺潺。中国的习俗是把鹰和虎都画在一起。'虎'字形容地势雄伟险要，'鹰'字指的是雄伟壮丽的人才展示。这是一种比喻方式，表达了一种优越的地位和挥舞大权的能力。对于古代画家来说，老虎并不像今天这样容易看到，这幅画对老虎的形态描绘得非常精致，是中国绘画史上最好的作品之一。画风的上限可能早于元代，但可能是南宋的作品。",[23,24,7,27,185,669,362,333,238],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15501d2a2c11b6aebfe96cf28f72ce0c.jpg","25.6x26.6",[53],{"id":674,"slug":675,"title":676,"dynasty":18,"author":407,"museum":355,"description":677,"tags":678,"thumbUrl":680,"material":81,"size":81,"collection":81,"collections":681,"showCount":682,"zanCount":38,"manualWeight":38,"mainColor":57},227964,"pi-pa-xiu-yan-tu-tuan-shan-ye-wu-bing-227964","枇杷绣眼图团扇页","画面中枇杷垂枝，圆实饱满的果子晕染出暖黄熟色，果皮绒毛似可触感，叶片正反层次分明，筋脉勾勒细致，一片残叶添了自然错落的意趣。绣眼鸟栖于枝桠，墨绿羽色莹润光泽，身形小巧灵动，垂首望向满枝鲜果，将禽鸟的娇憨馋态刻画入微。\n\n整幅工笔细腻写实，设色雅致柔和，疏密构图恰到好处，静美的果枝与鲜活的禽鸟相映，定格了初夏果熟禽来的清逸小景，把藏在日常里的诗意娓娓道来，淡而愈真，静中生趣。",[7,26,27,28,679,112,24,48,25],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7715eb3815a372e3b5e1f25007e64c6c.jpg",[],114,{"id":684,"slug":685,"title":686,"dynasty":275,"author":687,"museum":20,"description":688,"tags":689,"thumbUrl":692,"material":32,"size":693,"collection":400,"collections":694,"showCount":682,"zanCount":11,"manualWeight":38,"mainColor":39},218388,"song-ren-yuan-hua-ce-shan-shui-sheng-mao-218388","宋人院画册-山水","盛懋","近处林木扶疏，枝干盘曲间，新绿与苍劲交织，生机隐现。水面平展如镜，一叶扁舟轻泊岸畔，船中人似伴流云静水，独享片刻悠然。远山如黛，以淡墨晕染出朦胧层次，云雾轻缠峰峦，将视野引向天际的悠远。笔墨兼具工致与写意，绢本的温润质感，更衬出画面的古雅韵致。整体意境清旷淡远，如一首静默的山水短章，藏着文人对自然的眷恋，于静谧中流淌着岁月的安然与从容。",[24,7,27,181,182,183,112,184,690,691],"远山","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58769b723ca1095e59ebae7b52a1713d.jpg","35.2x63.4",[400],{"id":696,"slug":697,"title":698,"dynasty":18,"author":19,"museum":45,"description":699,"tags":700,"thumbUrl":701,"material":32,"size":702,"collection":34,"collections":703,"showCount":704,"zanCount":38,"manualWeight":38,"mainColor":57},219281,"mei-zhu-han-qin-tu-lin-chun-219281","梅竹寒禽图","《梅竹寒禽图》在不满方尺的画面上截取梅竹支干的局部，表现了梅树的老硬和竹簧丛生的气势。画中有一寒莺栖立梅梢，处于此画的显著地位，禽鸟的刻划柔和。在技法上梅枝用笔苍劲，竹枝叶勾撇笔力坚挺，从而使整体画法显得刚柔相济。画上有楷书林椿题款，是为难得的宋代有款之迹。",[48,24,25,7,28,26,27,265,280,410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab319fa906b174b4282f08d0d10130a.jpg","纵24.8厘米，横26.9厘米",[34],110,{"id":706,"slug":707,"title":708,"dynasty":18,"author":105,"museum":355,"description":709,"tags":710,"thumbUrl":714,"material":565,"size":566,"collection":81,"collections":715,"showCount":716,"zanCount":312,"manualWeight":38,"mainColor":39},288422,"yue-xia-shang-mei-tu-ma-yuan-288422","月下赏梅图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[7,24,25,108,181,265,711,109,185,712,713],"明月","闲适","赏梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083183b331935fb1ed4c1a0c68b8dcc9.jpg",[],109,{"id":718,"slug":719,"title":720,"dynasty":18,"author":648,"museum":355,"description":721,"tags":722,"thumbUrl":724,"material":81,"size":81,"collection":81,"collections":725,"showCount":726,"zanCount":159,"manualWeight":38,"mainColor":39},227939,"qing-chun-die-xi-tu-li-an-zhong-227939","晴春蝶戏图","《宋李安忠晴春蝶戏图》是南宋画家李安忠所创作的一幅设色扇面画，藏于 。\n此图中绘体态雍容华丽的 、娇小素净的 等 15只和 1只，或平展双翼，或振翅飞舞，在明媚的春光下宛若俏丽的花团漫天绽放，形象生动地体现出“蝶戏”的创作主题。\n《宋李安忠晴春蝶戏图》本幅无款识。\n钤半印一方，印文模糊不辨。\n原载《四朝选藻图》册，旧签题“ 作”。\n裱边钤“ ”、“ ”。\n对幅有清乾隆御题七言诗一首：“蝡肖翘高复低，春园风物已昌兮。\n宣和画院曾经试，何未明拈逐马蹄”。\n钤“八征耄念之宝”、“自强不息” 等印。\n在蜂、蝶的塑造上，勾勒与渲染浑然一体，先以极细而淡的线条勾勒轮廓，然后再“随类赋彩”，或以粉白、土黄多层积色，或在墨线中填重彩，晕染工细而色泽丰富，展现出蛱蝶翅翼的绚烂之美。\n李安忠，生卒年不详，南宋画家，钱塘人。\n宋徽宗宣和年间为画院祗候，授成忠郎，南渡后绍兴年间复职。\n工花鸟走兽，尤长于“捉勒”（鹰鹘之类），得其搏攫惊避之状。\n传世作品有《晴春蝶戏图》《鹑图》等。",[23,48,24,25,7,26,27,28,79,50,131,723],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf555e4c587bc0c91770957ec2a1b1b4.jpg",[],108,{"id":728,"slug":729,"title":730,"dynasty":124,"author":731,"museum":355,"description":732,"tags":733,"thumbUrl":734,"material":81,"size":81,"collection":81,"collections":735,"showCount":736,"zanCount":11,"manualWeight":38,"mainColor":39},234589,"hai-tang-wan-shan-zhang-zhao-xiang-234589","海棠纨扇","张兆祥","张兆祥(1852年-1908年),，画家， 字和庵。天津人。师从孟绣村，多才多艺，通晓西洋照相技法和诗文书画，尤擅写生，画花鸟，并吸收郎世宁西洋画法，开一代画坛新风，自成一派。其作品传世甚少，尤为宝贵。藏于天津市艺术博物馆的《石榴花》，色彩浓艳，风姿绝伦，堪称珍品。其弟子陆文郁等人也在画坛名噪一时。",[24,25,7,27,26,28,29,169,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c0b8090cb60efc3ac11e58b2f23728.jpg",[],107,{"id":738,"slug":739,"title":740,"dynasty":18,"author":89,"museum":355,"description":741,"tags":742,"thumbUrl":745,"material":81,"size":81,"collection":81,"collections":746,"showCount":736,"zanCount":38,"manualWeight":38,"mainColor":57},227518,"mo-li-hua-tu-zhao-chang-227518","茉莉花图","赵昌（730—814），字洪祚，天水人。祖不器，父居贞，皆有名于时。李承昭为昭义节度，辟昌在幕府。贞元七年，为虔州刺史。属安南都护为夷獠所逐，拜安南都护，夷人率化。十年，因屋坏伤胫，恳疏乞还，以检校兵部郎中裴泰代之，入拜国子祭酒。及泰为首领所逐，德宗诏昌问状。昌时年七十二，而精健如少年者，德宗奇之，复命为都护，南人相贺。",[23,48,24,25,743,7,26,27,129,28,744,169],"宋代","茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c26aa0a5bf06d8540629ecbc54cada7.jpg",[],{"id":748,"slug":749,"title":750,"dynasty":164,"author":165,"museum":751,"description":752,"tags":753,"thumbUrl":755,"material":32,"size":756,"collection":34,"collections":757,"showCount":758,"zanCount":11,"manualWeight":38,"mainColor":57},216746,"xie-sheng-yuan-yang-tu-huang-quan-216746","写生鸳鸯图","费城艺术博物馆","画面描绘了一棵古老的梅花树，枝干粗壮，梅花枝条细长，树下有一丛绿竹；右下方是一对羽毛鲜艳的鸳鸯，一只蹲在地上，扭曲的头和嘴藏在羽毛中。",[24,25,7,26,27,28,754,184,320,265],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78b5310b6859685fde5b35c131cf676e.jpg","23.6x24.2cm",[34],106,{"id":760,"slug":761,"title":762,"dynasty":433,"author":763,"museum":355,"description":764,"tags":765,"thumbUrl":766,"material":565,"size":566,"collection":81,"collections":767,"showCount":768,"zanCount":84,"manualWeight":38,"mainColor":39},235799,"mu-dan-shan-chen-chun-235799","牡丹扇","陈淳","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[7,24,25,28,78,27,108,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b4e60c9cc0dc84edd2a1739d852f0d.jpg",[],105,{"id":770,"slug":771,"title":194,"dynasty":18,"author":195,"museum":355,"description":772,"tags":773,"thumbUrl":777,"material":81,"size":81,"collection":81,"collections":778,"showCount":768,"zanCount":159,"manualWeight":38,"mainColor":57},227801,"gong-nv-tu-liu-song-nian-227801","桐荫覆满深院，围栏外花木萦回，三位宫女消磨着悠长白日。红衣女子斜身倚过小杌，抬手遥遥指向前方，似唤榻上友人共赏景致，罗裙纹饰随抬手动作柔婉舒展。榻上宫女支颐托腮，目光追着前者指尖，眉眼浸着慵懒娇柔。立在侧旁的侍女垂眸静立，敛着恭谨自持。\n\n全幅设色古雅妍丽，衣物质感纤毫毕现，花木围栏皆以细笔晕染，棕褐绢底衬得满幅宁和。画中无宫闱沉郁，只将深宫日常里松弛闲散的片刻定格，把少女间的娇憨意趣藏在细腻笔触中，晕开宋时独有的雅致闲淡。",[23,24,48,25,7,26,27,109,199,360,774,775,776,482],"桌子","凳子","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc5296a5a36c0ab6eb8605bdcbdefd0.jpg",[],{"id":780,"slug":781,"title":782,"dynasty":18,"author":302,"museum":355,"description":783,"tags":784,"thumbUrl":786,"material":81,"size":81,"collection":81,"collections":787,"showCount":768,"zanCount":38,"manualWeight":38,"mainColor":788},227724,"zuo-kan-yun-qi-xia-gui-227724","坐看云起","《坐看云起图》为南宋画家夏圭所绘。左侧山石处款署“夏圭”。\n图绘江流滚滚，一人坐于临江高台上，旁放一高杖。身后峭壁有一古松，盘虬曲折。\n\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,48,24,108,181,7,185,109,305,239,111,785],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8e1bea9257f9b429a7874901d3a2ca.jpg",[],"F48FB1",{"id":790,"slug":791,"title":792,"dynasty":124,"author":793,"museum":355,"description":434,"tags":794,"thumbUrl":798,"material":81,"size":81,"collection":81,"collections":799,"showCount":800,"zanCount":38,"manualWeight":38,"mainColor":39},234591,"jin-yu-wan-shan-duan-xue-hai-234591","金鱼纨扇","段学海",[24,25,7,26,27,28,795,796,797],"金鱼","水草","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f8c809ca71eff535a97f2bdaa63cab.jpg",[],104,{"id":802,"slug":803,"title":804,"dynasty":18,"author":44,"museum":355,"description":805,"tags":806,"thumbUrl":807,"material":81,"size":81,"collection":81,"collections":808,"showCount":809,"zanCount":38,"manualWeight":38,"mainColor":39},227896,"mu-dan-tu-yi-ming-227896","牡丹图","此作以工笔设色绘就，将牡丹的雍容之态尽显绢上。重瓣花头饱满蓬松，紫艳花瓣层层叠叠，以色晕染出瓣面明暗渐变，从瓣根的深紫过渡至瓣尖的柔粉，将花瓣舒展翻卷的柔媚质感描摹入微，把牡丹的华贵风韵定格。嫩绿的萼片与枝叶作为映衬，线条细劲灵动，勾勒出叶片舒展的姿态，浅绿设色柔而清透，与花的浓艳形成冷暖呼应，愈衬花头妍丽不俗。\n\n整幅构图紧凑却不显拥塞，团扇形制里氤氲着雅致静谧的氛围，尽显内敛的审美意趣，将国色天香的雅致风骨凝于尺幅之间。",[23,48,24,25,7,27,26,28,78,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e83d9bc1bd1f8aa4ab7a2bddd7fdce5.jpg",[],101,{"id":811,"slug":812,"title":813,"dynasty":275,"author":814,"museum":467,"description":815,"tags":816,"thumbUrl":821,"material":32,"size":81,"collection":400,"collections":822,"showCount":809,"zanCount":84,"manualWeight":38,"mainColor":57},214843,"gu-he-heng-jiang-tu-zhao-yong-214843","孤鹤横江图","赵雍",""孤鹤横江图" 是由赵雍创作的一幅绘画作品，属于中国元代时期的艺术作品。这幅画描绘了一只孤独的鹤立在江边，四周环境荒凉，鹤自身也显得孤单寂寞。赵雍被认为是中国元代时期的杰出画家，他的作品常常描绘出自然的美丽和人性的温柔。"孤鹤横江图" 是赵雍的经典作品之一，其中蕴含着许多哲理性的内涵。",[23,24,25,181,7,108,27,305,238,817,182,109,818,819,820],"江水","山峦","红叶树","孤鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b5ac680d970d8fc5d20adb7ce936dc.jpg",[400],{"id":824,"slug":825,"title":301,"dynasty":18,"author":105,"museum":467,"description":826,"tags":827,"thumbUrl":828,"material":829,"size":830,"collection":53,"collections":831,"showCount":832,"zanCount":11,"manualWeight":38,"mainColor":39},221537,"guan-pu-tu-ma-yuan-221537","在中国历代传统绘画作品中，有相当数量的佳作，在画面风格和审美意趣上都具有某种明确的思想倾向，而这种倾向又多集中体现在对儒、道、释文化的承载上，比如宋代山水画的绘画形式和意境传达，除了受宋代理学的影响外，又常和老庄思想及佛教文化中的出世情怀相关联，但与一般意义的宗教绘画教化功用又有所不同，该绘画作品往往会透露出作者内心的情感思绪，特别是对出世情怀的向往，从而使画面呈现出独特的风格特点和意境营造，这类作品在以后的历史阶段着实影响了不少画家，南宋的马远就是这样一个例子。",[23,24,25,7,181,108,185,306,360,238,109,239,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fef887806591c0a160593aa1c4c9e00.jpg","绢本设色","30×30cm",[53,400,401],100,{"id":834,"slug":835,"title":836,"dynasty":18,"author":837,"museum":20,"description":838,"tags":839,"thumbUrl":848,"material":32,"size":849,"collection":34,"collections":850,"showCount":832,"zanCount":11,"manualWeight":38,"mainColor":39},219202,"xian-yan-yuan-lu-tu-ma-shi-rong-219202","仙岩猿鹿图","马世荣","岩岫间古木扶疏，虬枝盘曲，叶态丰茂，翠影婆娑。猿猱或攀附枝柯，或隐于叶隙，姿态灵动；麋鹿潜身丛筱，茸角微露，神情悠然。山石皴法细腻，纹理毕现，苔点繁密如星，更添苍润之气。设色古雅沉静，赭石为底衬出林木葱郁，墨色浓淡相宜，线条细劲却不失婉转。整幅画将仙岩幽邃与生灵自在融于一体，笔墨工致中见生机，意境空灵里藏野趣，仿佛能闻林间风声、猿啼鹿鸣，尽显宋人对自然生灵的细腻观照与诗意捕捉。",[23,24,7,27,26,362,358,359,840,333,238,841,842,843,844,845,846,847],"岩石","宋代绘画","花鸟兽类","细腻笔触","自然景物","山石景观","枝叶树木","动物形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022e7f9aab8d54c6068b8efa4d35a5e4.jpg","26.6x26.6cm",[34,53],{"id":852,"slug":853,"title":854,"dynasty":18,"author":419,"museum":20,"description":855,"tags":856,"thumbUrl":860,"material":32,"size":861,"collection":53,"collections":862,"showCount":832,"zanCount":38,"manualWeight":38,"mainColor":57},218974,"shui-dian-zhao-liang-tu-li-song-218974","水殿招凉图","画中有一道门，将湖水引入运河，流向宫廷花园。有顶的廊桥建在池塘和沼泽上，下面是底，上面是一排叉柱，柱子上有锅炉，锅炉之间有梁，这对研究宋代的桥梁和水闸是很有价值的资料。碑文上写着 李部长 几个字，从画风上看，应该是李松的作品。",[23,48,24,7,331,27,109,332,857,239,858,859],"廊桥","柳树","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666a148dad7f30d97877d2b6a766c63a.jpg","24.5x25.4",[53],{"id":864,"slug":865,"title":866,"dynasty":18,"author":867,"museum":20,"description":868,"tags":869,"thumbUrl":873,"material":32,"size":874,"collection":53,"collections":875,"showCount":832,"zanCount":38,"manualWeight":38,"mainColor":57},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","赵令穰","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[23,24,25,7,108,181,26,870,528,113,307,871,690,872,360,109],"淡设色","水","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[53,400],{"id":877,"slug":878,"title":879,"dynasty":124,"author":880,"museum":355,"description":881,"tags":882,"thumbUrl":884,"material":565,"size":566,"collection":81,"collections":885,"showCount":886,"zanCount":38,"manualWeight":38,"mainColor":39},236740,"tao-hua-jia-die-wan-shan-zhang-xiong-236740","桃花蛱蝶纨扇","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[24,25,7,606,26,27,28,883,79],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55170b403bb25051d64dc082a1e881e2.jpg",[],95,{"id":888,"slug":889,"title":890,"dynasty":18,"author":44,"museum":355,"description":891,"tags":892,"thumbUrl":893,"material":530,"size":894,"collection":400,"collections":895,"showCount":896,"zanCount":312,"manualWeight":38,"mainColor":897},218618,"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[24,25,7,26,108,27,239,112,333,111,28,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[400,53],94,"37474F",{"id":899,"slug":900,"title":901,"dynasty":18,"author":262,"museum":126,"description":902,"tags":903,"thumbUrl":906,"material":907,"size":908,"collection":53,"collections":909,"showCount":910,"zanCount":38,"manualWeight":38,"mainColor":39},221333,"pi-pa-shan-niao-tu-ye-zhao-ji-221333","枇杷山鸟图页","本幅款押“天下一人”。钤“御书”朱文葫芦形印一方。裱边题签：“宋宣和枇杷山鸟”。鉴藏印钤“宣统御览之宝”，中缝钤“八征耄念之宝”、“太上皇帝之宝”朱文印各一方。\n图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[23,24,25,7,108,26,129,28,679,904,905,131,50],"山雀","凤蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbc63c4273f7440564bd9b6a15e123f.jpg","绢本墨笔","纵22.6厘米，横24.5厘米",[53,34,401],93,{"id":912,"slug":913,"title":914,"dynasty":433,"author":915,"museum":20,"description":916,"tags":917,"thumbUrl":918,"material":32,"size":919,"collection":34,"collections":920,"showCount":910,"zanCount":38,"manualWeight":38,"mainColor":39},216775,"mei-hua-you-niao-tu-bian-wen-jin-216775","梅花幽鸟图","边文进","边文进（活动于1403-1428），字景昭，福建沙县人。永乐朝宫廷画家，至宣德年间被授与武英殿待诏官衔。善画花果翎毛，为明初宫廷画家中花鸟画最著名画家，并与善画山水人物的蒋子诚、画虎的赵廉并称「禁中三绝」。\n本幅为〈历代名绘册〉其中一开，描绘盛开白梅，并有一黄眉鵐栖于梅枝上，引颈顾盼。梅枝由左向画幅右侧伸出，曲虬横错，白梅盛开与将开的花苞倚侧枝头，并局部施以白线条勾勒花瓣型态，虽花朵颜料有些脱落，仍可略窥白梅盛开风华。枝头黄眉鵐鸟羽描绘精细，并呈现松活充盈之效。画幅左侧有「景昭」二字，提示画家身份，然似有涂抹痕迹。与院藏另一件边文进〈三友百禽〉相比，梅枝用笔略有相近之处，或许为时间相差不远的学仿者之作。此画整体承接宋代院画折枝花鸟的构图之趣以及优雅娴静气氛，与〈三友百禽〉所显示的喧闹气氛颇不相同，可丰富对明初宫廷花鸟画面貌的认识。",[23,24,48,25,7,26,27,28,265,410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F242a8a95847e379f0a5854c0f83e0499.jpg","23.8x24.7cm",[34],{"id":922,"slug":923,"title":924,"dynasty":124,"author":925,"museum":355,"description":926,"tags":927,"thumbUrl":930,"material":565,"size":566,"collection":81,"collections":931,"showCount":932,"zanCount":312,"manualWeight":38,"mainColor":39},237945,"yue-ji-lan-hua-wan-shan-zhang-pan-237945","月季兰花纨扇","张槃","张槃 （1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[24,25,7,27,28,928,929,50],"月季","兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e694aee14afb2a0093a45ad78f3bea.jpg",[],92,{"id":934,"slug":935,"title":936,"dynasty":18,"author":937,"museum":355,"description":938,"tags":939,"thumbUrl":942,"material":81,"size":81,"collection":81,"collections":943,"showCount":932,"zanCount":38,"manualWeight":38,"mainColor":57},227735,"xia-hui-pian-fang-tu-ye-lu-zong-gui-227735","夏卉骈芳图页","鲁宗贵","《鹅图》是南宋鲁宗贵创作的绢本设色画。\n《鹅图》描绘一只母鹅，背上驼着两只雏鹅在水中游戏，其中一只雏鹅曲颈望着水面，另一只则似乎和母鹅述说着什么，母鹅扭转过头来爱抚地倾听，表现出母鹅和雏鹅之间有似慈母和娇子之间的母子亲情。\n图中绘有大白鹅一只，背负两只雏鹅在水面上浮游，其中一只雏鹅在母鹅右侧颈后，低头引颈望水中，另一只雏鹅在母鹅左侧，抬头向天呜叫，鹅妈妈欣喜扭转过头来，似作侧耳细细倾听小仔的歌声。\n画面颇为情趣，给人以一种温馨善良的感觉。\n作者在构图上颇有新意，无任何背景作陪衬，河水以浅墨一抹而过，起到衬托作用，突出其主题。\n作者捕捉到这种母鹅背负雏鹅的情节，在一般画鹅的作品中不乏多见。\n在布局上取近景，以特写的镜头，将主体突出在画面的居中位置，为了说明母鹅带着雏鹅在水中游戏，一是鹅身前方的匦面留空多；二是母鹅的腿向后伸，虽没有画出水波纹，但这二点足以看出运动的鹅体具有向前浮游的动感。\n另外，采取色差变化来塑造母鹅与仔鹅的形体，以周围的浅灰色烘托出母鹅的洁白，又以墨笔勾勒及黑色晕染出母鹅背上栖卧的两只雏鹅。\n一般来说雏鹅的毛羽是鹅黄色的，但作者采用了与实体自然色相差甚远的黑色，这也是作者的又一新意。\n全图以染为主，仅在嘴、脚及羽毛部略以淡线勾勒，其羽毛形态隐约见真。\n整个图的艺术语言凝重简练，形态栩栩如生，画意情趣生动，意味绵绵。\n鲁宗贵，生卒年未详。\n南宋画家。\n室名筠斋，钱塘(今浙江杭州)人。\n理宗绍定时(1228一12)为画院待诏，出人杨驸马家。\n工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。\n尤长于写生，鸡雏乳鸭，甚有生意。\n画迹有《金葵翠羽》、《竹枝山鹧》、《梨花白燕》等图，著录于《绘事备考》。\n传世作品有《春韶鸣喜图》、《夏卉骈芳图》册页。",[48,24,25,940,7,26,27,28,214,941,576,30,50],"册","百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271a4d7d9c178ff1ca01282a323a7b3e.jpg",[],{"id":945,"slug":946,"title":947,"dynasty":18,"author":444,"museum":126,"description":948,"tags":949,"thumbUrl":951,"material":495,"size":952,"collection":34,"collections":953,"showCount":932,"zanCount":38,"manualWeight":38,"mainColor":57},221185,"ju-lv-tu-ma-lin-221185","橘绿图","图中橘子由绿转黄，满压枝头。\n画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。\n橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。\n虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。",[23,24,48,25,7,26,27,28,950,144,50],"橘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb517af2b4a5bcb26aab4781737446347.jpg","纵2cm，横2.5cm",[34,401],{"id":955,"slug":956,"title":957,"dynasty":275,"author":44,"museum":20,"description":958,"tags":959,"thumbUrl":962,"material":32,"size":963,"collection":34,"collections":964,"showCount":965,"zanCount":38,"manualWeight":38,"mainColor":39},215139,"bing-tao-han-xiao-tu-yi-ming-215139","饼桃含笑图","绢色温润如陈年素笺，托出一枝含笑与饼桃。墨笔勾枝，线条老劲却藏柔意，枝桠间，含笑花瓣轻展，白瓣晕浅粉，似含未语的羞涩；饼桃圆润饱满，裹着淡润光泽，透着朴拙生机。叶片以淡墨晕染，脉络细腻，与枝干苍劲相映成趣。几方朱印点缀，红韵与素色交织，更显古雅。画中无喧嚣，唯有花木静美：含笑的含蓄、饼桃的憨态，在简淡笔触里凝成清雅意境，仿佛能闻见那缕若有若无的暗香，尽得宋元文人画的幽淡之味，让观者心沉于这份素净的生机里。",[23,24,25,7,26,27,28,960,78,961,144,50],"桃","枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb03408a7f7684830af45e313ff9f410.jpg","22.9x23.6cm",[34],91,{"id":967,"slug":968,"title":969,"dynasty":18,"author":970,"museum":355,"description":971,"tags":972,"thumbUrl":977,"material":81,"size":81,"collection":81,"collections":978,"showCount":979,"zanCount":312,"manualWeight":38,"mainColor":57},227509,"zhuang-jing-shi-nv-tu-su-han-chen-227509","妆靓仕女图","苏汉臣","《妆靓仕女图》是宋代画家苏汉臣创作的一幅绢本扇面画。",[23,48,24,25,7,27,26,109,199,973,929,974,975,976],"仕女","器物","妆饰","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54e31d25805d2c3d737c9b6538502ea6.jpg",[],90,{"id":981,"slug":982,"title":983,"dynasty":164,"author":984,"museum":355,"description":985,"tags":986,"thumbUrl":988,"material":565,"size":566,"collection":81,"collections":989,"showCount":990,"zanCount":38,"manualWeight":38,"mainColor":57},288974,"ping-po-shan-niao-tu-huang-quan-288974","苹婆山鸟图","黄荃","竹石花雀学刁光胤与滕昌佑、山水松石学李升、人物龙水学孙位、画鹤学薛稷，皆能脱去古人格律，自创新意。而且，黄筌一家具擅绘画，其弟唯亮，子居宝、居实、居寀，其中尤以黄居寀的成就最大，黄氏父子的花鸟画，在当时人们普遍认为其风格特点是“黄家富贵”。宋人沈括在《梦溪笔谈》中明确指出：“诸黄(指黄氏一家)画花妙在傅色，用笔极新细，殆不见墨迹，但以轻色染成，谓之写生”。\n入秋的山林，一颗颗绯红了脸颊的苹果，悬挂在枝叶间。芬芳的气味、鲜艳的色彩，招来了不少「小过客」们在此停留，留下了许多的斑点与啮痕。一只娇小的粉红鹦嘴，也忍不住好奇地飞了上来。它轻巧地停落在弯细的枝桠上，仰着圆小的脸蛋，摇着细长的尾巴，淘气地又蹦又跳的，好不开心！\n粉红鹦嘴旧名黄头，是种可爱、善斗的小鸟。而吸引粉红鹦嘴的苹果树，传统名为「林檎（禽）」或「来禽」。名称的由来，据说是因为它的果实（即苹果）味道甘醇、甜美，因此常常能吸引许多鸟禽来此聚集的缘故。至于画名以「苹婆」（即柰，又名凤眼珠）相称，应是古人误题了，两者事实上并不相同。\n这幅精巧的「苹婆山鸟」，旧传为五代画家黄筌（活动于903-965）所作。黄筌是中国花鸟画史里，开创工笔细致风格的大师，对五代到北宋初期的画坛影响深远。这幅画作虽非大师亲笔，可是无论是特写式的取景方式或是精辟入理的写实趣味，都明显受到黄筌的影响，是一幅宋代杰出的花鸟画小品。",[24,7,26,27,28,112,987],"苹婆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ea7a4296d2a431f72d4200daacb413.jpg",[],89,{"id":992,"slug":993,"title":994,"dynasty":124,"author":995,"museum":355,"description":996,"tags":997,"thumbUrl":998,"material":565,"size":566,"collection":81,"collections":999,"showCount":1000,"zanCount":312,"manualWeight":38,"mainColor":39},288138,"hua-niao-tu-ye-ren-yi-288138","花鸟图页","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,7,26,27,28,112,928,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60e23a255768ce7e9fd81450f398093.jpg",[],88,{"id":1002,"slug":1003,"title":1004,"dynasty":343,"author":1005,"museum":20,"description":1006,"tags":1007,"thumbUrl":1009,"material":188,"size":1010,"collection":400,"collections":1011,"showCount":1000,"zanCount":38,"manualWeight":38,"mainColor":57},221095,"long-chi-jing-du-tu-li-zhao-dao-221095","龙池竞渡图","李昭道","大致在宋、元时期，涌现出了一批以反映园林建筑为主要题材的绘画作品，这种充满人文景观的建筑绘画作品，除了表现技巧上的成熟外，也营造出一种全新的绘画艺术形式，形成以楼图为主体、以山水为背景、以人物舟车为点缀的界画艺术",[23,24,25,7,1008,27,331,181,332,548,182,109],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dff8d35255766cbed16cb1427c7429.jpg","28.5x29.7cm",[400,401],{"id":1013,"slug":1014,"title":1015,"dynasty":18,"author":419,"museum":20,"description":1016,"tags":1017,"thumbUrl":1018,"material":32,"size":1019,"collection":53,"collections":1020,"showCount":1021,"zanCount":38,"manualWeight":38,"mainColor":57},218896,"song-wu-yan-bin-tu-li-song-218896","松坞延宾图","这幅画描绘了山中溪边的一个村庄，一个贵族把自己隐居起来，在家里建起了一些区域，当客人到来时，他们会用菜肴招待。这幅画是艺术家笔下的杰作，虽然它很饱满，但有一股清晰的水流在其中流淌。",[23,24,25,7,331,27,26,109,332,110,360,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af25e2e2d0263c374707240ac706ee.jpg","24.5x24.4",[53],87,{"id":1023,"slug":1024,"title":1025,"dynasty":18,"author":44,"museum":355,"description":1026,"tags":1027,"thumbUrl":1029,"material":565,"size":566,"collection":81,"collections":1030,"showCount":1031,"zanCount":11,"manualWeight":38,"mainColor":57},288935,"li-zhi-tu-yi-ming-288935","荔枝图","此作以折枝构图排布画面，疏密错落间尽显雅致意趣。画师以精工笔法晕染荔枝，半熟的青白带晕红，熟透的赤艳饱满，将果皮的粗糙肌理摹写入微，鲜活仿若可触。墨色枝叶层次分明，浓墨勾出叶骨，淡墨晕染叶背，阴阳向背间尽显叶片舒展的柔劲生机，浅褐色枝桠苍劲柔韧，托举累累果实。右上角隐见小飞虫，更添幽微野趣。整幅设色古雅沉静，写实入微，尽显观察万物的细腻匠心，将盛夏枝头鲜活的荔枝风物定格于绢素之上，藏着雅致生动的清赏意趣。",[23,24,48,25,7,26,27,28,1028],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60ae796b39da5fcbccf537b826cdca33.jpg",[],86,{"id":1033,"slug":1034,"title":1035,"dynasty":433,"author":44,"museum":277,"description":1036,"tags":1037,"thumbUrl":1040,"material":32,"size":81,"collection":204,"collections":1041,"showCount":1031,"zanCount":11,"manualWeight":38,"mainColor":39},219582,"tong-zi-li-fo-tu-yi-ming-219582","童子礼佛图","团扇取景庭院一隅，玲珑湖石旁牡丹绽蕊晕香，晕染出雅致闲静的氛围。数位童子稚态尽显，或合力捧持佛龛，或敛衣垂首礼拜，憨拙的动作将孩童模仿佛事的天真烂漫融于其中。设色柔丽清雅，衣纹线条纤细婉转，将童子娇憨的神态与稚嫩身形刻画入微，并未渲染礼佛的肃穆沉重，反以孩童的烂漫消解了仪式感，尽显日常嬉玩的松弛意趣，是兼具工致院体笔意与市井童真的小品佳作。",[48,24,25,7,1038,27,109,1039,111,214,50,26],"宗教","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95ae7ebde4a39a5de3ea7632554bec3.jpg",[204],{"id":1043,"slug":1044,"title":1045,"dynasty":18,"author":1046,"museum":20,"description":1047,"tags":1048,"thumbUrl":1050,"material":32,"size":1051,"collection":34,"collections":1052,"showCount":1031,"zanCount":11,"manualWeight":38,"mainColor":39},219225,"song-zhi-qun-lu-tu-mou-zhong-fu-219225","松芝群鹿图","牟仲甫","图绘松荫下双鹿，旁有翠竹灵芝。二鹿耸起耳朵，目光凝视同方向，似为某事所惊动。画家以极精致的笔法，描画出二鹿的形态，捕捉到自然界中生动微妙的刹那，这就是宋朝画家的长处。牟仲甫，生卒年待考。随州（今湖北省随县）人。画猿獐猴鹿与易元吉相似，画鸡尤有意趣。",[23,24,48,7,27,26,110,359,1049],"芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8e3db937a2cc36b9216018ebe39af9.jpg","23.9x24.3cm",[34],{"id":1054,"slug":1055,"title":1056,"dynasty":18,"author":302,"museum":355,"description":1057,"tags":1058,"thumbUrl":1064,"material":565,"size":566,"collection":81,"collections":1065,"showCount":1066,"zanCount":312,"manualWeight":38,"mainColor":57},289131,"hu-pan-you-ju-tu-xia-gui-289131","湖畔幽居图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[7,24,48,181,108,185,548,239,113,333,1059,690,1060,1061,109,1062,1063],"竹林","湖畔","幽居","清幽","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c2afeea3f577fe63a183d96a3c4ef6.jpg",[],85,{"id":1068,"slug":1069,"title":1070,"dynasty":275,"author":1071,"museum":20,"description":1072,"tags":1073,"thumbUrl":1074,"material":32,"size":1075,"collection":53,"collections":1076,"showCount":1077,"zanCount":11,"manualWeight":38,"mainColor":39},218971,"mao-ting-song-lai-tu-zhao-meng-fu-218971","茅亭松籁图","赵孟頫","顶端有强烈的轮廓，不太会凿刻。颜料先用赭石涂抹，然后分别用石绿和石青从山顶上染出。绿色和赭石的结合使这幅画在深度上有一种古朴的优雅，创造了一种宁静的气氛和松树音乐的基调，所谓天人合一。",[23,24,25,7,27,181,185,113,110,238,548,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ec586288683e2204eb12e7e55b91b.jpg","26.4x27.7",[53],82,{"id":1079,"slug":1080,"title":1081,"dynasty":18,"author":44,"museum":355,"description":1082,"tags":1083,"thumbUrl":1084,"material":81,"size":81,"collection":81,"collections":1085,"showCount":1086,"zanCount":38,"manualWeight":38,"mainColor":39},227377,"qiu-lan-zhan-rui-tu-yi-ming-227377","秋兰绽蕊图","图绘秋兰数茎，兰叶修长劲挺，兰花吐蕊，清丽雅逸。对开有清乾隆御题诗一首：“写兰反楚辞，亦足终古矣。底识其为秋，疏叶濩冷蕊。意出常人表，或远代其子。”钤“八征耄念之宝”、“自强不息”、“太上皇帝之宝”等玺印。",[23,24,25,7,27,28,929,723,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656591bb10af68e7bd8abcd88003f28a.jpg",[],81,{"id":1088,"slug":1089,"title":1090,"dynasty":18,"author":393,"museum":126,"description":1091,"tags":1092,"thumbUrl":1094,"material":188,"size":1095,"collection":53,"collections":1096,"showCount":1086,"zanCount":38,"manualWeight":38,"mainColor":57},221580,"mu-niu-tu-ye-li-tang-221580","牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。",[23,48,24,25,940,7,27,1093,493,112,50,362],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528be30dbb6d13761b480f04ecd894e.jpg","61X63cm",[53,204,401],{"id":1098,"slug":1099,"title":1100,"dynasty":18,"author":1101,"museum":627,"description":1102,"tags":1103,"thumbUrl":1106,"material":32,"size":81,"collection":400,"collections":1107,"showCount":1086,"zanCount":11,"manualWeight":38,"mainColor":57},214826,"gui-zhuang-tu-li-xi-cheng-214826","归庄图","李希成","李希成（约1086年—约1158年）是一位著名的宋代画家。他的代表作之一是《归庄图》，这幅画描绘了一位老人归还到他的庄园。老人骑着马，身后是一排竹林，前面是一座庄园。整幅画给人以温馨、宁静的感觉。《归庄图》是李希成的一个经典作品，代表了他扎实的技术和对自然的精准描绘。\n\n李希成还创作了许多其他优秀的作品，包括《山水图》、《虎图》和《鹿图》。他的作品常常被描绘成清新、宁静的景观，捕捉到了大自然的精髓。李希成是宋代“四大画家”之一，与黄庭坚、苏轼和韩愈并称。他对中国画的发展产生了深远的影响，是中国画史上不可磨灭的巨匠。",[23,24,25,7,181,27,185,1104,871,109,1105,360,50],"山","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6e45b2e30a82967b3ef0547a95e5ba.jpg",[400],{"id":1109,"slug":1110,"title":1111,"dynasty":433,"author":763,"museum":20,"description":1112,"tags":1113,"thumbUrl":1116,"material":459,"size":1117,"collection":34,"collections":1118,"showCount":1119,"zanCount":38,"manualWeight":38,"mainColor":39},222556,"zi-wei-shan-mian-chen-chun-222556","紫薇扇面","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,48,24,25,7,1114,108,27,28,1115,238,1105,50,131],"写意","紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d66aa7b277e6d434140b8cfbf7bc17.jpg","纵17.7厘米 横47.9厘米",[34,401],79,{"id":1121,"slug":1122,"title":1123,"dynasty":275,"author":44,"museum":751,"description":1124,"tags":1125,"thumbUrl":1126,"material":32,"size":81,"collection":204,"collections":1127,"showCount":1119,"zanCount":312,"manualWeight":38,"mainColor":57},219585,"yue-xia-chang-e-tu-yi-ming-219585","月下嫦娥图","云霭舒卷漫过夜空，朗月悬垂，清辉铺洒幽林。古松虬枝蟠曲如苍龙探云，松针层叠细密，尽显苍劲古拙之态。嫦娥素衣翩跹，独立岩畔，隐在松影云气间，身姿娴静缥缈，自带出尘仙气。\n\n此作用笔简淡清逸，以水墨晕染营造空寂灵幻的月夜氛围，摒弃浓丽金碧，将仙家幽渺之境与山林夜色相融。笔意含蓄却神完气足，把月宫清寒与林下幽寂糅为一处，让人恍如踏入清虚之境，遥想广宫寒寂，体悟藏在仙踪里的清远意趣。",[7,24,27,109,711,305,785,238,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff447cc4f9a954ca5bb219c6d7be81a21.jpg",[204,401],{"id":1129,"slug":1130,"title":1131,"dynasty":18,"author":44,"museum":126,"description":1132,"tags":1133,"thumbUrl":1136,"material":32,"size":1137,"collection":34,"collections":1138,"showCount":1119,"zanCount":312,"manualWeight":38,"mainColor":39},216750,"yuan-hou-zhai-guo-tu-yi-ming-216750","猿猴摘果图","此图绘深山野林中，三只猿猴攀援栖止于树枝上。其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。",[23,48,24,25,7,26,27,50,1134,333,1135,362],"猿猴","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19385bb53dc3ac8f2ae0ebf08a7d2ed.jpg","纵25厘米，横25.6厘米",[34],{"id":1140,"slug":1141,"title":1142,"dynasty":275,"author":44,"museum":355,"description":1143,"tags":1144,"thumbUrl":1147,"material":565,"size":566,"collection":81,"collections":1148,"showCount":1149,"zanCount":11,"manualWeight":38,"mainColor":57},290067,"you-yuan-shi-nv-tu-yi-ming-290067","游园仕女图","湖石清奇嶙峋，梅枝缀着初绽的花苞，棕榈幽立，朱栏回环圈住一院春柔。主仆二人缓步游赏，仕女罗裙曳地，执扇抬首凝睇花枝，静嗅春信，侍女垂目紧随，姿态恭谨低柔。\n\n整作设色调古雅沉静，笔触细秀温婉，以淡墨轻彩晕染出深闺庭院的幽寂，将深闺女子探春的闲静情态藏在无言的游园片段里。没有喧嚷盛景，只借极简园景烘托出娴静疏离的闺中春日氛围，将仕女含蓄的春思融在无言的抬首凝望中，尽显元代工笔雅致内敛的特质，晕开古典闺苑的幽柔诗意。",[24,7,27,26,109,199,265,1145,859,1146],"湖石","仕女画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3619554a1b63843503db4e649a80a6f3.jpg",[],76,{"id":1151,"slug":1152,"title":1153,"dynasty":18,"author":1154,"museum":20,"description":1155,"tags":1156,"thumbUrl":1157,"material":1158,"size":1159,"collection":81,"collections":1160,"showCount":1161,"zanCount":38,"manualWeight":38,"mainColor":39},289352,"pi-pa-shou-dai-tu-xu-chong-si-289352","枇杷绶带图","徐崇嗣","徐崇嗣，北宋画家。徐熙孙。擅画草虫、禽鱼、蔬果、花木及蚕茧等。其画初承家学，因不合当时图画院程式和风尚，遂改学黄筌、黄居寀父子。后自创新体，所作不用墨笔钩勒，而直接以彩色晕染，世称“没骨图”，也称“没骨花”。兄徐崇勋、弟徐崇矩，均擅画花鸟，崇矩并工士女。",[48,24,25,7,28,27,129,679,112,723,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3638daf283762690d69128dce425c2f8.jpg","绢","25.7x27.8",[],74,{"id":1163,"slug":1164,"title":1165,"dynasty":433,"author":1166,"museum":355,"description":1167,"tags":1168,"thumbUrl":1169,"material":565,"size":566,"collection":81,"collections":1170,"showCount":1161,"zanCount":38,"manualWeight":38,"mainColor":57},234705,"lan-ying-sun-di-he-hua-zhu-shi-shan-ye-lan-ying-234705","蓝瑛、孙杕合画竹石扇页","蓝瑛","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[24,25,7,108,185,280,361,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a1b06275fa3ac945a043c4ba8219d.jpg",[],{"id":1172,"slug":1173,"title":1174,"dynasty":124,"author":44,"museum":355,"description":1175,"tags":1176,"thumbUrl":1178,"material":565,"size":566,"collection":81,"collections":1179,"showCount":1180,"zanCount":84,"manualWeight":38,"mainColor":57},270170,"qian-lan-se-ke-si-mu-dan-hua-die-tu-mian-wu-mu-diao-hua-bing-tuan-shan-yi-ming-270170","浅蓝色缂丝牡丹花蝶图面乌木雕花柄团扇","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[7,77,78,79,28,27,1177,26],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ff59ddc8813b983e9b27b64bbb79a1.jpg",[],73,{"id":1182,"slug":1183,"title":1184,"dynasty":18,"author":44,"museum":20,"description":1185,"tags":1186,"thumbUrl":1188,"material":32,"size":1189,"collection":53,"collections":1190,"showCount":1180,"zanCount":11,"manualWeight":38,"mainColor":39},218838,"yue-ming-jin-su-tu-yi-ming-218838","月明金粟图","这幅画描绘了山中的一轮明月，一枝金桂（又称金粟）从天而降，香气远扬。其构图在古代和现代的折叠式微型画中是独一无二的，折叠式花枝伴随着远山、云彩和月亮。",[23,48,24,25,7,26,27,711,1187,169,28],"桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffe1f4cf683153ff158daeb9f1f5bf1.jpg","21.7x23.8",[53,34],{"id":1192,"slug":1193,"title":1194,"dynasty":18,"author":302,"museum":355,"description":1195,"tags":1196,"thumbUrl":1199,"material":565,"size":566,"collection":81,"collections":1200,"showCount":1201,"zanCount":11,"manualWeight":38,"mainColor":57},288245,"yan-xiu-lin-ju-tu-xia-gui-288245","烟岫林居图","此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。\n在此扇面上，远处一片空旷、开阔，烟雾飘渺，在云雾笼罩下，左边露出峭秀的山峰，突兀的山峰耸立在群山之巅。山峰偏左，让出右边的空间。使人有云天苍茫，辽阔无际之感，显得轻浅。远景小河流水隐约可见，这是虚；中景平湖河道若隐若现，似有似无，渐渐伸向远处而消失在山谷树丛之中。近景则实，以浓墨笔健画出树丛j组，错落于山石、土坡上，是画家着意描绘的对象，以“树为君，山为辅”的方式构图，主从分清，疏密有致，中问一组起着支撑作用，树高干粗叶茂，两边各一组为辅，只取陪衬作用。处理得自然合乎情理。近景石坡树丛间，小桥曲径隐现，林间幽居的房舍，可见人物行踪。一人转过山石，过小桥，沿着弯曲的小路向坡下的茅屋走去，可见这是一幅诱人的静谧境界。\n整个画面虚实相映，以虚代实，虚实结合。善于利用空白来体现大自然的辽阔、深远。整个画面上疏下密，左实右虚，起到虚实相间，疏密有致，且显示了黑白对比的强烈。全画构图简赅而意蕴深远，前后层次分明，笔墨苍润，水墨淋漓。它不是江南景色的写生，而是以少胜多，以简就繁，以精致的笔墨表达无尽的诗意。而笔法简劲、墨气潮润。作者善用水笔涂抹画面，再用墨笔破之，以此拖泥带水皴法，水墨淋漓之气来表现江南烟雨迷漾之韵致。画近景坡石以秀笔作斧劈皴，充满质感及力度。此画树法以点线为主，树枝干用草率而劲健；山石土坡以线条勾勒轮廓，做到勾皴结合，线面互用，皴中有染，染中有皴，带水斧劈，一气呵成，呈现出水墨淋漓的效果，因此，夏圭山水艺术灵活多样，纵横奔放，精致秀润兼而有之。款署“夏圭”二字，此幅有项元汴、高士奇等藏印共五方。",[23,24,7,108,181,818,305,1197,548,1198,1063,185],"云雾","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29dd1c63e1b60626ee479c62c6069bd4.jpg",[],72,{"id":1203,"slug":1204,"title":1205,"dynasty":18,"author":444,"museum":45,"description":1206,"tags":1207,"thumbUrl":1208,"material":32,"size":1209,"collection":401,"collections":1210,"showCount":1201,"zanCount":38,"manualWeight":38,"mainColor":57},219745,"lou-tai-ye-yue-tu-wan-shan-ye-ma-lin-219745","楼台夜月图纨扇页","《楼台夜月图》为一小景图纨扇页，裁取亭廊台谢的一角之景，图上高柳擢秀、明月当空、山岩稍露、长廊俯见其顶、台榭俨然。在用笔上，岩石以斧劈皴法、亭榭以工稳的界笔画法，树叶全以点缀法，远山烘青，渲染设色，高空浩月，杨柳林中隐约可见楼台复道亭园之景，为马麟的精丽之作。",[24,48,25,7,27,331,181,332,711,333,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575197ec72f706dcbff331880e1f0f61.jpg","纵24.5厘米，横25.2厘米",[401],{"id":1212,"slug":1213,"title":1214,"dynasty":124,"author":125,"museum":355,"description":1215,"tags":1216,"thumbUrl":1217,"material":565,"size":566,"collection":81,"collections":1218,"showCount":1219,"zanCount":11,"manualWeight":38,"mainColor":1220},287731,"shan-mian-shan-shui-hua-hui-ce-yun-shou-ping-287731","扇面山水花卉册","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[7,24,25,940,108,27,280,111,723,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a68bc6121d0e0d9f243c202d21e65c.jpg",[],71,"FFFFFF",{"id":1222,"slug":1223,"title":1224,"dynasty":433,"author":1225,"museum":355,"description":1226,"tags":1227,"thumbUrl":1229,"material":81,"size":81,"collection":81,"collections":1230,"showCount":1219,"zanCount":38,"manualWeight":38,"mainColor":39},234272,"chou-ying-han-gong-chun-xiao-tu-cheng-shan-chou-ying-234272","仇英汉宫春晓图成扇","仇英","仇英是明代最有代表性的画家之一，与沈周，文徵明和唐寅被后世并称为“明四家”、“吴门四家” ，亦称“天门四杰”。沈、文、唐三家，不仅以画取胜，且佐以诗句题跋，就画格而言，唐，仇相接近。仇英在他的画上，一般只题名款，尽量少写文字，为的是不破坏画面美感，因此画史评价他为追求艺术境界的仙人。",[24,25,7,1228,26,27,109,973,199,332,859,28],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f8f3181d7241595427cab87333c805.jpg",[],{"id":1232,"slug":1233,"title":1234,"dynasty":18,"author":44,"museum":45,"description":1235,"tags":1236,"thumbUrl":1237,"material":32,"size":1238,"collection":400,"collections":1239,"showCount":1240,"zanCount":38,"manualWeight":38,"mainColor":57},219957,"jiang-tian-chun-se-tu-yi-ming-219957","江天春色图","以半边雄奇崖壁衬出半幅浩渺江天，虚实相生间铺展出清旷春景。淡施青绿晕染崖石积雪，冷润雅致，带着残冬未尽的清寒。山腰间隐着两隅茅舍，藏于松云崖岫之间，更衬林泉幽寂。汀岸老松虬曲，板桥卧于浅渚，悠悠生出林下幽居的雅趣。远景山峦以淡墨轻晕，和烟波江色融成一片空濛，将春日江天的静穆辽远晕染尽致，暗合寄情林泉、澄怀观道的山水雅意。",[48,24,25,7,27,185,181,113,548,333,238,817,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9003bc40ef9f1cd9031a6c367ac98e.jpg","26.4*20.5",[400],70,{"id":1242,"slug":1243,"title":1244,"dynasty":18,"author":44,"museum":20,"description":1245,"tags":1246,"thumbUrl":1247,"material":32,"size":81,"collection":34,"collections":1248,"showCount":1240,"zanCount":119,"manualWeight":38,"mainColor":39},218710,"shan-cha-su-niao-tu-yi-ming-218710","山茶宿鸟图","山茶敷彩浓淡相衔，花瓣层叠如染，露蕊轻绽似噙晨露；宿鸟羽纹细缜若织，绒羽软润可触，敛翅栖枝时，眸光凝定，恍与花叶私语。枝叶晕染自然，脉络隐现，墨青交织间衬得花红鸟俏。方寸小品藏天地，写实中蕴诗意：宋画的精微与雅致尽在笔端。静赏时，似闻花叶轻颤，觉鸟羽微动，古典的温润与生机漫溢开来，于清寂里见鲜活，于雅致中藏野趣，尽显宋人观物之细、写意之深。",[23,48,24,25,7,26,27,28,168,410,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659d3355cd9776da0b6336002c2c162d.jpg",[34],{"id":1250,"slug":1251,"title":1252,"dynasty":18,"author":1253,"museum":355,"description":1254,"tags":1255,"thumbUrl":1256,"material":32,"size":81,"collection":401,"collections":1257,"showCount":1240,"zanCount":312,"manualWeight":38,"mainColor":57},218659,"xi-shan-ye-zhang-tu-zhu-yi-218659","溪山曳杖图","朱义","溪光映带间，楼阁凭水而立，飞檐轻挑流云。虬枝老干上素花堆雪，暗香似随溪风漫溢。崖岫间隐现小亭，与层岩苍松相映，添得几分奇崛。\n\n径边曳杖人缓步而行，衣袂沾着山岚清润，似在细品林泉幽意。远山如黛，烟岚轻笼，江天浩渺处归舟几点，将天地拉得宽闲。\n\n整幅画以淡墨皴染山水，用细笔勾勒亭台人物，素花的留白与山石的浓淡相映成趣。动静之间，藏着宋人的雅致风骨——于山水间寻幽，让身心与自然相融，每一处笔触都似在诉说文人心中的丘壑。\n\n没有喧嚣，只有溪声、松影与步履轻缓，将“天人合一”的意趣，凝在这一方扇面里。",[23,48,24,25,7,27,181,109,113,548,239,265,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf47ca4d9fab18381e6f16e1d10768a0.jpg",[401],{"id":1259,"slug":1260,"title":637,"dynasty":18,"author":44,"museum":627,"description":638,"tags":1261,"thumbUrl":641,"material":32,"size":81,"collection":53,"collections":1262,"showCount":1240,"zanCount":312,"manualWeight":38,"mainColor":57},218537,"e-xi-tu-yi-ming-218537",[23,24,25,7,27,26,640,64,360,871,50],[53,34],{"id":1264,"slug":1265,"title":1266,"dynasty":433,"author":1267,"museum":126,"description":1268,"tags":1269,"thumbUrl":1271,"material":530,"size":1272,"collection":400,"collections":1273,"showCount":1240,"zanCount":11,"manualWeight":38,"mainColor":39},218339,"gao-mu-ci-ya-tu-tang-yin-218339","高木慈鸦图","唐寅","弧形扇面间，清寂之境徐徐铺展。枯树三五成丛，枝干虬曲如篆，焦墨勾勒处尽显苍劲老辣，墨色浓淡交错间藏着岁月痕迹。寒鸦数点，或栖于枝梢理羽，或振翅掠过天际，翅羽轻扬时添几分灵动生气。远山以淡墨晕染，云雾氤氲缭绕，与近树的沉郁形成虚实相映，层次悠远如幻。整幅画以简驭繁，笔墨洗练却意境深幽，文人画的雅致疏旷尽在其中——仿佛风过林间，鸦鸣隐约，方寸扇面竟藏得万千丘壑，引人沉湎于这份静谧与悠远。",[23,7,24,25,108,185,112,333,1270,131],"山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc421b662148e119d639962a695dae4a6.jpg","纵16.5cm，横47.3cm",[400,498],{"id":1275,"slug":1276,"title":1277,"dynasty":18,"author":44,"museum":467,"description":1278,"tags":1279,"thumbUrl":1280,"material":27,"size":1281,"collection":401,"collections":1282,"showCount":1283,"zanCount":38,"manualWeight":38,"mainColor":39},219226,"lv-dong-bin-guo-yue-yang-lou-tu-yi-ming-219226","吕洞宾过岳阳楼图","飞檐翘角似欲凌云，层叠瓦当如鳞排列，宋代楼阁的雅致在圆幅中徐徐铺陈。楼上回廊人影错落，或执盏品茗，或凭栏望水；楼下石阶人潮攘攘，市井声息仿佛可闻。衣袂轻扬的身影悄然驻足，仙韵与凡俗在此温柔碰撞。远山淡墨晕染，近树浓笔点染，古旧绢色裹着岁月温度，将“过楼”瞬间定格成既有人间烟火、又藏仙意缥缈的画卷。没有惊世邂逅，只有含蓄相逢——尘俗热闹里藏着跨越凡界的余味，引人遐想那仙客过楼时，风掠过檐角的轻响，与楼中茶烟的缠绵。",[23,24,48,7,331,27,109,332,1038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fcaf3edfa5fb282679ccfb73b4778f.jpg","23.8x25.1厘米",[401],69,{"id":1285,"slug":1286,"title":1287,"dynasty":164,"author":1288,"museum":355,"description":1289,"tags":1290,"thumbUrl":1291,"material":565,"size":566,"collection":81,"collections":1292,"showCount":1293,"zanCount":38,"manualWeight":38,"mainColor":57},289114,"he-ting-ying-xi-tu-wang-qi-han-289114","荷亭婴戏图","王齐翰","王齐翰(公元10世纪)〔五代·南唐〕金陵(今江苏南京)人，生卒年不详。后主李煜朝(961-975)为宫廷翰林图画院待诏。工画人物、佛道宗教画，兼擅山水、花鸟，以画猿獐出名。好作山林丘壑，隐岩幽谷，无朝市风埃气，其画以笔法工细为特色〔南唐〕金陵（今南京）人。仕南唐李煜（九六一至九七五）在位为翰林待诏。画道释人物多思致，好作山林丘壑，隐岩幽卜。其画以笔法入细者胜，无一点朝市风尘气。开宝末商贾刘元嗣以高价售得齐翰画罗汉十六轴，载入京师，置于僧寺。后僧以过期拒赎与讼。时太宗尹京，督索其画，一见大加赏叹。遂留画厚赐而释之。阅十六日太宗即位，后名其画曰应运罗汉。画花鸟如生，人但以獐猨名。",[7,24,48,27,26,109,423,199,113,858,425,859],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878e5b0c706548439d7b3646b4762c85.jpg",[],68,{"id":1295,"slug":1296,"title":214,"dynasty":124,"author":125,"museum":355,"description":1215,"tags":1297,"thumbUrl":1298,"material":565,"size":566,"collection":81,"collections":1299,"showCount":1293,"zanCount":11,"manualWeight":38,"mainColor":39},288640,"hua-hui-yun-shou-ping-288640",[24,48,25,7,27,28,214,50,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d1f4aa033cc0de1746c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吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,7,27,108,723,50,28,1028,30,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4049316925f6e1ce520b3918ad37dd08.jpg",[],{"id":1310,"slug":1311,"title":1312,"dynasty":124,"author":1313,"museum":1314,"description":1315,"tags":1316,"thumbUrl":1318,"material":32,"size":1319,"collection":204,"collections":1320,"showCount":1293,"zanCount":312,"manualWeight":38,"mainColor":39},219518,"ma-gu-jin-jia-tu-xiang-kun-219518","麻姑晋斝图","项焜","大英博物馆","画中麻姑乘槎浮于沧溟之上，鬓簪粉花，身着绣彩华裳，手持长篙缓行。仙槎遍缀灼灼牡丹，置放献礼樽斝，浪涛以淡赭浅墨晕染，烟霭水色清润朦胧。工笔勾勒仕女柔婉细腻，衣纹走线精工匀净，设色明丽柔和，晕染自然雅致。她垂首敛眉，神态温婉娴静，将赴宴献寿的虔诚柔态尽显。整幅作品兼具雅致装饰意趣与清隽仙逸氛围，尽显古典仙佛仕女题材画作的悠然意韵。",[24,25,7,27,26,109,199,1317,871,214],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99442fb06e9016f86d9569ee343991a6.jpg","21x25cm",[204],{"id":1322,"slug":1323,"title":1324,"dynasty":124,"author":1325,"museum":355,"description":1326,"tags":1327,"thumbUrl":1328,"material":565,"size":566,"collection":81,"collections":1329,"showCount":1330,"zanCount":38,"manualWeight":38,"mainColor":39},236381,"mei-hua-shi-nv-tu-shan-ren-xiong-236381","梅花仕女图扇","任熊","任熊，男，（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。",[24,25,7,27,26,109,199,265,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58566bf7ec75673652b28d8a30e1d02.jpg",[],67,{"id":1332,"slug":1333,"title":1334,"dynasty":275,"author":687,"museum":126,"description":1335,"tags":1336,"thumbUrl":1338,"material":495,"size":1339,"collection":400,"collections":1340,"showCount":1330,"zanCount":38,"manualWeight":38,"mainColor":39},221753,"zuo-kan-yun-qi-tu-sheng-mao-221753","坐看云起图","图绘古木平岗，林木错落有致，一士人手执如意，席地而坐，岗下山石嶙峋，水中苇草丛生；远处双雁振翅，云雾迷蒙，山峰隐现于云海之中。本幅图体现了雅士宁静的生活情趣。",[23,24,25,7,108,27,185,181,109,112,184,1337,238,785],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc41d70c8a6c3e79ab91e8b28705867.jpg","27*28cm",[400,401],{"id":1342,"slug":1343,"title":1344,"dynasty":18,"author":444,"museum":277,"description":1345,"tags":1346,"thumbUrl":1348,"material":32,"size":1349,"collection":34,"collections":1350,"showCount":1330,"zanCount":38,"manualWeight":38,"mainColor":39},219084,"can-he-yuan-yang-tu-ma-lin-219084","残荷鸳鸯图","图为荷塘岸边枯萎的荷花，两朵荷花干枯，细杆上隐约可见一层薄薄的雪花，似弯折折断； 一对鸳鸯站在岸边，羽毛鲜艳，身体匀称，一副低头的样子，似乎在寻找食物。",[48,24,25,7,27,26,64,1347,754,410,28,111,50],"残荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8148e5c307f646b726f878e7dad3e86.jpg","25.4x24.4cm",[34],{"id":1352,"slug":1353,"title":1354,"dynasty":275,"author":44,"museum":355,"description":1355,"tags":1356,"thumbUrl":1358,"material":565,"size":566,"collection":81,"collections":1359,"showCount":1360,"zanCount":38,"manualWeight":38,"mainColor":57},290062,"tao-hua-yuan-die-tu-yi-ming-290062","桃花猿蝶图","此作以折枝桃花铺陈画面，柔枝缀满盛放繁花，花瓣晕染细腻，枝叶舒展含露，尽显春日夭桃的娇妍柔媚。猿猴掩映于花枝间，仅露半身与修长猿臂，探伸的姿态暗含灵动憨趣，将猿的机警野态藏在烂漫花影里，动静相生，暗合山林幽趣。\n\n古旧绢色晕染出沉静古朴的基调，清雅敷色衬得花猿愈发生动，以尺幅小景框住林泉一角的生机，尽显幽闲野逸的文人情致，将雅致意趣藏于方寸之间。",[7,24,48,26,27,883,1357,28],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e287e8609db02fcf1f553464e2db193.jpg",[],66,{"id":1362,"slug":1363,"title":1364,"dynasty":18,"author":1365,"museum":355,"description":1366,"tags":1367,"thumbUrl":1370,"material":565,"size":566,"collection":81,"collections":1371,"showCount":1360,"zanCount":38,"manualWeight":38,"mainColor":57},288976,"tai-ye-he-feng-tu-feng-da-you-288976","太液荷风图","冯大有","南宋画家，生卒年不详，是南宋吴门（今江苏苏州）人。他自号怡斋，画史记载他善于捕捉莲花风、晴、老、嫩不同的面貌，可说是画莲的能手。",[7,24,48,26,27,1008,28,436,1368,112,1369],"荷叶","微风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feffd42f9cf8108f6afa83f0ebe8d2397.jpg",[],{"id":1373,"slug":1374,"title":1375,"dynasty":433,"author":1267,"museum":355,"description":1376,"tags":1377,"thumbUrl":1378,"material":565,"size":566,"collection":81,"collections":1379,"showCount":1360,"zanCount":312,"manualWeight":38,"mainColor":39},228480,"shi-shan-mian-tang-yin-228480","诗扇面","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 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其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[23,24,331,7,422,27,332,181,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a4943b845226bb520d7033519a172d.jpg","绢本，墨笔","纵24.4厘米，横26.2厘米",[400,498],{"id":1460,"slug":1461,"title":1462,"dynasty":18,"author":105,"museum":277,"description":1463,"tags":1464,"thumbUrl":1465,"material":32,"size":1466,"collection":400,"collections":1467,"showCount":1447,"zanCount":38,"manualWeight":38,"mainColor":39},219016,"shan-cun-ce-zhang-tu-ma-yuan-219016","山村策杖图","画的是远处隆起的山峰，靠近水草丰茂的河岸，左边是一个拄着拐杖的有学问的人走向一座桥，后面是一个孩子；右边是几间用栅栏围起来的茅草屋，后面是树木和竹子。",[23,24,25,48,7,108,27,185,181,548,109,184,238,1434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66170685f831ddb885e4d7d75d53efbb.jpg","22.5x22.5",[400],{"id":1469,"slug":1470,"title":1471,"dynasty":18,"author":419,"museum":355,"description":1472,"tags":1473,"thumbUrl":1477,"material":565,"size":566,"collection":81,"collections":1478,"showCount":1479,"zanCount":38,"manualWeight":38,"mainColor":39},289329,"ku-lou-huan-xi-tu-li-song-289329","骷髅幻戏图","整个画面非常祥和欢乐，毫无惊怖，应是一个流动的携家带口的提线木偶（傀儡）艺人的一场演出，主要描写妇女与儿童生活的一个欢乐场景。",[23,48,24,25,7,27,109,1474,423,1475,1476,131,723,50],"骷髅","母子","幻戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb763370785e266153eaddfb1f724eb.jpg",[],64,{"id":1481,"slug":1482,"title":1483,"dynasty":124,"author":1484,"museum":126,"description":1485,"tags":1486,"thumbUrl":1487,"material":81,"size":81,"collection":34,"collections":1488,"showCount":1489,"zanCount":38,"manualWeight":38,"mainColor":39},236194,"hua-mei-hua-zhang-zhao-shu-shi-cheng-shan-zou-yi-gui-236194","画梅花张照书诗成扇","邹一桂","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[24,25,7,27,28,265,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e5ea3cc711760373bed9285838479.jpg",[34,401],63,{"id":1491,"slug":1492,"title":1493,"dynasty":124,"author":1494,"museum":355,"description":1495,"tags":1496,"thumbUrl":1497,"material":81,"size":81,"collection":81,"collections":1498,"showCount":1489,"zanCount":38,"manualWeight":38,"mainColor":39},226639,"shan-shui-shan-mian-pu-ru-226639","山水扇面","溥儒","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[23,24,7,181,27,305,109,238,239,50,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1194f3f821239671a24fdd604c5306ed.jpg",[],{"id":1500,"slug":1501,"title":1502,"dynasty":18,"author":44,"museum":355,"description":1503,"tags":1504,"thumbUrl":1505,"material":32,"size":1506,"collection":53,"collections":1507,"showCount":1489,"zanCount":38,"manualWeight":38,"mainColor":57},219011,"mu-niu-tu-yi-ming-219011","牧牛图","一幅典型的南宋田园画，以边角料的方式绘制。一棵高大的树被描绘在河边的浅滩上，一头水牛低着头，一个牛仔试图通过攀爬牛角爬上牛背。",[23,48,24,25,7,108,27,1093,184,111,239,50,362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc612d12f7fbf45193051cf350f77162.jpg","26x28",[53],{"id":1509,"slug":1510,"title":1511,"dynasty":433,"author":1512,"museum":355,"description":1513,"tags":1514,"thumbUrl":1516,"material":565,"size":566,"collection":81,"collections":1517,"showCount":1518,"zanCount":11,"manualWeight":38,"mainColor":39},234847,"hai-tang-fu-die-tu-shan-ye-qu-yuan-jing-234847","海棠蚨蝶图扇页","瞿元镜","瞿元镜 约生于本年／常熟人。瞿世耜之子。一名镜，字端叔。常熟诸生。喜花鸟，工篆刻。明忠宣公子，父亡，十龄流落于外，人无有过而问之者，顾云美以夙谊收恤",[48,24,25,7,27,26,29,79,95,30,1515,1228],"昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782c7e9c61bf22243ba7bc8fbc180917.jpg",[],62,{"id":1520,"slug":1521,"title":1522,"dynasty":433,"author":1523,"museum":126,"description":1524,"tags":1525,"thumbUrl":1526,"material":133,"size":1527,"collection":204,"collections":1528,"showCount":1518,"zanCount":38,"manualWeight":38,"mainColor":39},216085,"ming-huang-you-yue-gong-tu-zhou-chen-216085","明皇游月宫图","周臣","这是一幅带有作者美好想象的画作。表现的是唐人小说中明皇李隆基曾偕方士梦游月中宫殿的情景。全图笔法工细，继承了南宋笔墨精妙的传统，注重人物个性的展示、人物与环境的配合，以及不同社会阶层人物神态、服饰的刻画，从中可见唐明皇高贵典雅的神态，侍从恭敬谦卑的表情和侍女们端庄优雅的气质等。此图是周臣优秀的人物画之一。",[23,24,48,7,27,109,711,333,181,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb23230d53038694868c25d0ae2a93d4.jpg","纵18.6厘米，横50厘米",[204],{"id":1530,"slug":1531,"title":1532,"dynasty":18,"author":44,"museum":45,"description":1533,"tags":1534,"thumbUrl":1535,"material":32,"size":1536,"collection":400,"collections":1537,"showCount":1538,"zanCount":312,"manualWeight":38,"mainColor":57},218662,"song-feng-lou-guan-tu-yi-ming-218662","松风楼观图","山顶上的松树被涂上了颜色，天空中出现了奇特的山峰，山坡上的森林中矗立着建筑和房屋。悬崖边上有围栏和行人。艺术家用长线和水流来画山和石头，用各种点和线来画森林。近处的山是沉重的，远处的山是缥缈的，近处的树是苍白的，远处的树是缥缈的，显示出由于空气的阻隔，近处和远处的景物在视觉上的差异。",[23,24,25,48,7,185,27,181,110,332,239,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05aa16083afb2ee32eae9a2801aa5c94.jpg","25.6x27.1",[400],61,{"id":1540,"slug":1541,"title":1542,"dynasty":433,"author":1543,"museum":355,"description":1544,"tags":1545,"thumbUrl":1551,"material":565,"size":566,"collection":81,"collections":1552,"showCount":1553,"zanCount":38,"manualWeight":38,"mainColor":39},237824,"fang-zhang-seng-yao-mei-gu-shan-shui-shan-zhang-hong-237824","仿张僧繇没骨山水扇","张宏","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,7,1546,27,1547,181,182,333,1548,690,1549,1550,50],"没骨山水","临摹","茅屋","河流","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e8df82dfc9d045a62c3ee52c28183e.jpg",[],60,{"id":1555,"slug":1556,"title":1557,"dynasty":433,"author":1558,"museum":627,"description":1559,"tags":1560,"thumbUrl":1561,"material":133,"size":1562,"collection":204,"collections":1563,"showCount":1553,"zanCount":38,"manualWeight":38,"mainColor":39},214882,"quan-sheng-yu-sheng-shan-ye-wen-zhen-heng-214882","泉声语声扇页","文震亨","皴染的山石间，细泉蜿蜒而下，似携泠泠清音穿林过隙。二三文士散坐岩畔，衣袂轻扬处，或侧耳凝听泉鸣，或执手低语清谈，语声与泉声相和，融于松风竹韵间。笔墨简淡却意韵悠长，古雅绢色衬出山林的清幽，人物情态生动传神，尽显文人林下雅聚的悠然意趣。不必刻意铺陈，却于方寸扇面间，藏尽自然之妙与人文之雅，仿佛能让人暂离尘嚣，静享这片刻的泉声语声交织的清宁。",[7,24,25,27,181,109,185,238,333,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3285efdae6163e4d15a75b0ff14abde9.jpg","16.5x50.5cm",[204],{"id":1565,"slug":1566,"title":1567,"dynasty":124,"author":1568,"museum":355,"description":1569,"tags":1570,"thumbUrl":1572,"material":565,"size":566,"collection":81,"collections":1573,"showCount":1574,"zanCount":11,"manualWeight":38,"mainColor":39},224476,"fang-hui-chong-bi-yi-shan-mian-wang-jian-224476","仿惠崇笔意扇面","王鉴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n[ 万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,48,24,25,7,27,108,185,181,182,112,333,1548,1571,690,1549,1197],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],59,{"id":1576,"slug":1577,"title":1578,"dynasty":433,"author":1225,"museum":1579,"description":1580,"tags":1581,"thumbUrl":1582,"material":829,"size":1583,"collection":81,"collections":1584,"showCount":1585,"zanCount":11,"manualWeight":38,"mainColor":39},222213,"chuan-ren-xing-tu-chou-ying-222213","船人形图","日本京都国立博物馆","笔耕园收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有些其他朝代品质极高的优秀作品。",[23,24,25,7,26,27,109,199,182,360,280,691],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9007b806bd999f26739186ddee7c280.jpg","纵23.1厘米，横23.1厘米",[],58,{"id":1587,"slug":1588,"title":1589,"dynasty":433,"author":1225,"museum":20,"description":1590,"tags":1591,"thumbUrl":1592,"material":188,"size":81,"collection":81,"collections":1593,"showCount":1585,"zanCount":38,"manualWeight":38,"mainColor":39},222202,"hua-zhu-shen-he-jing-ce-ye-chou-ying-222202","画竹深荷静册页","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。\n综述:\n仇英的山水画多学赵伯驹、刘松年，发展南宋李唐、刘松年、马远、夏圭的“院体画”传统，综合融会前代各家之长，即保持工整精艳的古典传统，又融入了文雅清新的趣味，形成工而不板、研而不甜的新典范，还有一种水墨画，从李唐风格变化而来，作界画楼阁，尤为细密。\n仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范，后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代之杰出者\n纵观仇英的山水画，大致具有如下几个鲜明的特点：\n首先，在境界上不一味追求富丽堂皇或空漠冷寂的气氛，而在“秀雅纤丽”中有一种飘逸优雅的气息。所作山水多为表现士大夫林泉诗酒生活和清新旷远之自然景色。由于仇英出身贫寒、读书不多，其画作中也少有诗文题跋，一般仅于画幅边角落款，未有诗画结合之面貌。但是所画丘壑泉石、烟云竹树、亭台楼阁、人物景色皆精描细染而又不失清秀雅逸的气韵。特别是他描写文人高士隐遁生活的作品，如《桃源高隐图》《蕉荫结夏图》《月下吹笛图》《园居图》《春夜宴桃李园图》等，无时不流露其隽秀飘逸的情怀，画卷气溢于笔墨之中。\n其次，仇英的山水画虽隽逸优雅，“士气”十足，却少有一般文人画家笔下那种冷寂空疏的情调，而总是流溢出清新明丽的气氛，有的作品还充满蓬勃欢乐的意趣。如《莲溪渔隐图》中平远山水、溪岸水畔、房屋堂轩、茅舍鱼罟、田亩葱郁、小桥相通、行人往来，画面布局清旷，一片江南夏日情景，极富生活气息，给人以可游可居之感。再看描绘四川剑门关景色的《剑阁图》，画面峰峦重迭，远处是皑皑的雪崖雪峰，近处是重彩辉映的山峦，陡峭的绝壁上树木茂密，残雪覆盖，在崎岖的栈道上，人马众多，或隐或现迎面而来。人马动态各异，行人身着各式冬装，无不具体生动。此画画风工整，色彩浓艳，丰满壮观，可谓仇英青绿画法的代表作。仇英作品中这种浓艳而清新、壮阔而平朴的审美意趣与明中期整个美学思想的世俗化倾向相一致。\n第三，仇英的山水画风格虽源于传统青绿和“院体”画法，但并不拘于一家一派的面貌。就其整个山水画而言，在技法上可分为三类：一是较为纯正的大青绿山水，山石勾勒后不用细皴，山脚以赭石分，以青绿重色染石面，然后每一块面再加染石绿，或分以石青，使各山色协调而有分别，树木云岫勾勒精细。其《九成宫图》《桃源仙境图》等属此类典型之作。二是青绿画法与水墨画法相融合的一类。通常近处山石用小斧劈细细皴成，用青绿法以绿与石青相间染出，色不凝笔。远峰不作皴笔，以花青或石青、石绿和墨渍染而成，似有董源或沈、文画法之精神。《秋江待渡图》《莲溪渔隐图》《仙山楼阁图》等为此类代表作。三是以水墨皴染为主的画法，此类画法得到刘松年、李唐院体家法，山石用细笔小斧劈法，分面细，然于阴暗处和墨淋之，立即又以清水接染，绢地不吸水，故能产生含混融和的意趣，略见吴派绘画之影响。树法中增强转折趣味，衬以夹叶，叶叶分明，一枝一叶无不与实景契合。《松亭试泉图》《松溪论画图》等均属此类画法。",[23,24,25,7,26,27,181,280,64,333,1548,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878a5dc84b1d01f557f1f963ad693448.jpg",[],{"id":1595,"slug":1596,"title":1597,"dynasty":433,"author":616,"museum":20,"description":1598,"tags":1599,"thumbUrl":1600,"material":1601,"size":1602,"collection":34,"collections":1603,"showCount":1585,"zanCount":38,"manualWeight":38,"mainColor":39},222179,"hua-hui-shan-mian-lu-zhi-222179","花卉扇面","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,25,48,7,27,28,214,961,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf89fa4fadd7ff6f66e547f02d3e913.jpg","泥金，纸本","纵18.3厘米， 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叶果实又仿效徐崇嗣的没骨画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,48,24,25,7,26,27,28,280,1701,743],"虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01191a7671ec45bee311028ed57ed69c.jpg",[],{"id":1705,"slug":1706,"title":1707,"dynasty":18,"author":302,"museum":355,"description":1708,"tags":1709,"thumbUrl":1710,"material":81,"size":81,"collection":81,"collections":1711,"showCount":1674,"zanCount":38,"manualWeight":38,"mainColor":39},227726,"song-xia-guan-pu-xia-gui-227726","松下观瀑","《松下观瀑图》为南宋画家夏圭所作。右下山石处款署“夏圭”。\n\n图绘一瀑布飞流，水边峭壁悬一古松。一高士坐于松下观赏飞瀑。\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,24,25,48,7,108,185,181,305,306,109,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea35dcf8553220d48caebb48114605af.jpg",[],{"id":1713,"slug":1714,"title":1715,"dynasty":18,"author":105,"museum":1579,"description":1716,"tags":1717,"thumbUrl":1718,"material":188,"size":1719,"collection":81,"collections":1720,"showCount":1674,"zanCount":11,"manualWeight":38,"mainColor":57},221531,"jiang-shang-xiao-chuan-tu-ma-yuan-221531","江上小船图","马远（约1140－约1225年后），南宋画家。字遥父，号钦山，原籍河中（今山西永济），侨寓钱塘（今浙江杭州）。出身绘画世家，南宋光宗、宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,24,48,25,7,108,27,109,182,181,493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9920e6cf5cd9c356e5072e6bc0e4c7e.jpg","纵26厘米，横26.5厘米",[],{"id":1722,"slug":1723,"title":1724,"dynasty":18,"author":1725,"museum":20,"description":1726,"tags":1727,"thumbUrl":1730,"material":32,"size":1731,"collection":34,"collections":1732,"showCount":1674,"zanCount":11,"manualWeight":38,"mainColor":39},219940,"ye-shu-cao-chong-tu-xu-di-219940","野蔬草虫图","许迪","素净的地面上，有一株孤伶伶的白菜。零星的叶片，褪了不少绿意，也被虫子啃蚀得有些残破。一只红尾的蝗虫大剌剌地弹跳了过来，看来又是想要来饱食一顿的饕客。白菜上方，另一位访客－淡黄的粉蝶也翩然而至，与一只黑翅的蜻蜓不期而遇。看这只蜻蜓摩拳搓掌的样子，不禁令人替这只娇弱的粉蝶捏把冷汗。",[23,48,24,7,26,27,1728,559,79,561,1729],"蔬菜","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9714821a89822cea4d8aee785f1a6b.jpg","纵25.8厘米、横26.9厘米",[34],{"id":1734,"slug":1735,"title":1736,"dynasty":164,"author":1737,"museum":20,"description":1738,"tags":1739,"thumbUrl":1741,"material":32,"size":1742,"collection":34,"collections":1743,"showCount":1674,"zanCount":11,"manualWeight":38,"mainColor":39},219212,"gu-mu-jin-jiu-tu-tang-xi-ya-219212","古木锦鸠图","唐希雅","苍劲棘枝斜逸，锋芒暗藏的枝桠间，一只锦鸠悠然栖息。羽色层次细腻，翠绿覆背，褐羽衬胸，翅间赭红轻点，尾羽沉黑如墨，连绒羽的柔润质感都被精心晕染。它昂首敛翅，眼神澄澈，与枯枝嶙峋形成动静相宜的对照。素净绢底衬得禽鸟鲜活、枝干古拙。笔墨工细却不板滞，线条劲挺中含柔婉，将生灵生机与古木风骨融于方寸，尽显五代花鸟写生的精妙神韵，藏着天地静美与盎然生机。",[23,24,48,7,28,26,27,1740,410,320],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188bf758524620865734d70b114afc3e.jpg","24.7x26.1cm",[34],{"id":1745,"slug":1746,"title":1747,"dynasty":18,"author":19,"museum":20,"description":1748,"tags":1749,"thumbUrl":1750,"material":32,"size":1751,"collection":53,"collections":1752,"showCount":1674,"zanCount":38,"manualWeight":38,"mainColor":39},219205,"hua-mu-zhen-qin-tu-lin-chun-219205","花木珍禽图","画面中花木扶疏，珍禽顾盼生姿，翎羽纹理细腻如织，每一片花瓣都似凝着晨露的清润。淡赭色的背景晕染出雅致的古意，草木的姿态舒展自然，禽鸟的动态鲜活传神——或低头理羽，或抬足欲行，仿佛能听见羽翼轻振的细碎声响。工笔勾勒的线条精准灵动，设色淡雅却见层次，将自然生灵的生机与宋人的清幽审美融于一方圆扇之中，尽显写生妙趣与雅致格调，似能让人嗅到花木的浅香，触到古绢上的温润时光。",[23,48,24,25,7,26,27,28,49,360,410,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e39a3b8400e6e4315756cb77ddc544.jpg","25.8x26.3cm",[53,34],{"id":1754,"slug":1755,"title":1756,"dynasty":433,"author":44,"museum":751,"description":1757,"tags":1758,"thumbUrl":1759,"material":32,"size":1760,"collection":204,"collections":1761,"showCount":1674,"zanCount":38,"manualWeight":38,"mainColor":57},218451,"mao-nv-tu-yi-ming-218451","毛女图","飞瀑自崖间倾泻，溅起细碎水痕，苔石旁草木疏朗。毛女侧立，发髻簪着粉白小花，衣袂轻垂，眉目间透着悠然清寂。身旁灵鹿昂首，似与她共赏山光。山石以淡墨皴擦，肌理朴拙却藏层次；瀑布线条流畅，动静相衬。绢本的古雅色调，更添岁月沉淀的温润。画面简淡却意韵悠长，将毛女栖隐山林、与兽为友的传说，化作一卷仙逸之境，笔墨间满是山野的清旷与绝尘的况味。",[24,25,7,27,26,109,362,181,239,111,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13675267f743bc53cfd605358debfb0.jpg","21x21.4",[204],{"id":1763,"slug":1764,"title":1765,"dynasty":18,"author":302,"museum":355,"description":1057,"tags":1766,"thumbUrl":1769,"material":565,"size":566,"collection":81,"collections":1770,"showCount":1771,"zanCount":38,"manualWeight":38,"mainColor":39},289444,"gao-shi-guan-hua-tu-xia-gui-289444","高士观花图",[7,24,108,1767,331,185,305,332,181,109,712,1768,690],"山水画","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff727011fb484f5d3322b69ceb8e8e28c.jpg",[],55,{"id":1773,"slug":1774,"title":1775,"dynasty":164,"author":290,"museum":355,"description":1776,"tags":1777,"thumbUrl":1779,"material":565,"size":566,"collection":81,"collections":1780,"showCount":1771,"zanCount":11,"manualWeight":38,"mainColor":39},287396,"shi-nv-yu-tu-tu-ye-zhou-wen-ju-287396","仕女玉兔图页","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[23,24,48,7,26,27,1146,199,1778,332,333,331],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a2c3d32ca970cdb9e4de407e67b73b.jpg",[],{"id":1782,"slug":1783,"title":1784,"dynasty":18,"author":44,"museum":20,"description":1785,"tags":1786,"thumbUrl":1789,"material":32,"size":1790,"collection":53,"collections":1791,"showCount":1771,"zanCount":38,"manualWeight":38,"mainColor":39},218837,"xi-yang-gui-du-tu-yi-ming-218837","夕阳归犊图","这幅画描绘了两头大牛在夕阳下涉水过河的情景，还有一头小牛在恐惧和害怕中伸出前蹄。笔触简单，牛和人物都没有形态，不像是专业画家的作品，也不像是普通文人的俏皮笔触。",[23,24,7,27,181,26,1787,1093,360,690,1788,185],"夕阳","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a03dda9ca27d426983bebcf6e6d089.jpg","22.4x22.4",[53,400],{"id":1793,"slug":1794,"title":1795,"dynasty":18,"author":1796,"museum":355,"description":1797,"tags":1798,"thumbUrl":1800,"material":81,"size":81,"collection":81,"collections":1801,"showCount":1802,"zanCount":38,"manualWeight":38,"mainColor":39},227637,"lang-tu-ma-xing-zu-227637","浪图","马兴祖","宋代 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山西永济人，绍兴1131年-1162年间画院待诏。擅画花鸟，人物，山水，杂画。《浪图》纵20，8厘米，横22厘米，东京国立美术馆藏。",[23,48,24,25,743,7,108,26,871,1799,181],"浪涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a18ac02739bb609ce29d13ab637a86f.jpg",[],54,{"id":1804,"slug":1805,"title":1806,"dynasty":18,"author":514,"museum":467,"description":1807,"tags":1808,"thumbUrl":1812,"material":188,"size":1813,"collection":53,"collections":1814,"showCount":1802,"zanCount":38,"manualWeight":38,"mainColor":57},221501,"chun-jiao-mu-yang-tu-li-di-221501","春郊牧羊图","《春郊牧羊图》为扇面小品，大不盈尺，绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼",[23,24,48,7,26,27,528,1809,362,109,1810,447,1811],"羊","草地","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a238f37fd4e936610467a8de5665e84.jpg","24.1×24.8cm",[53,34,498],{"id":1816,"slug":1817,"title":1818,"dynasty":275,"author":1819,"museum":20,"description":1820,"tags":1821,"thumbUrl":1824,"material":32,"size":1825,"collection":34,"collections":1826,"showCount":1802,"zanCount":38,"manualWeight":38,"mainColor":57},220384,"qiu-fang-niao-yu-tu-qian-xuan-220384","秋芳鸟语图","钱选","钱选山水师赵令穰，人物师李公麟，花鸟师赵昌，青绿山水师赵伯驹，尤善作折枝，其得意者赋诗其上。工临仿，尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉。选多写人物、花鸟，故所图山水当世罕传。。钱选与赵孟頫同乡并同享盛名。擅画人物、花卉及山水。其自题《其与花鸟画曾师法赵昌，又自有变法，多表现田园隐居等情趣，如《柴桑翁像》、等山水画。后因为手颤，以及对付诸多仿造者，改作水墨写意花卉。明代鲁王朱檀墓随葬有钱选等，多以水墨画就。",[23,48,24,25,7,27,26,28,1822,112,111,1823],"菊","秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194ffa877014eafa9f6fefd8f3e58dd3.jpg","24.2x26.2",[34],{"id":1828,"slug":1829,"title":1830,"dynasty":18,"author":44,"museum":45,"description":1831,"tags":1832,"thumbUrl":1834,"material":32,"size":1835,"collection":53,"collections":1836,"showCount":1802,"zanCount":38,"manualWeight":38,"mainColor":57},218619,"yuan-lu-tu-yi-ming-218619","猿鹭图","在画山的一棵老松树上，一只猴子右手抱着一只苍鹭，左手挥舞着，似乎在吓唬坐在树顶的另一只苍鹭，尽管树顶的苍鹭确实受到了惊吓，它张着尖嘴，翅膀微微张开，似乎准备逃走了。紧握着的游隼张开的嘴，似乎在呼救。",[23,48,24,25,7,27,26,50,358,1833,305,1571,111,184,112,362],"鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68a43a8dfe0798f567015c2597b7b30.jpg","23.3x23.8",[53],{"id":1838,"slug":1839,"title":1840,"dynasty":124,"author":1841,"museum":355,"description":1842,"tags":1843,"thumbUrl":1854,"material":81,"size":81,"collection":81,"collections":1855,"showCount":1856,"zanCount":11,"manualWeight":38,"mainColor":39},234599,"qing-lv-shan-shui-wan-shan-jiang-yun-234599","青绿山水纨扇","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒。",[24,25,7,1008,27,181,239,182,333,238,1197,113,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853],"青绿山水","设色山水","扇面画","传统国画","古典书画","山水景物","流水孤舟","云雾缭绕","山石树木","亭台建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9fc52f859f06ac6e06372c7f3cfa33.jpg",[],53,{"id":1858,"slug":1859,"title":1860,"dynasty":275,"author":1861,"museum":20,"description":1862,"tags":1863,"thumbUrl":1864,"material":32,"size":81,"collection":400,"collections":1865,"showCount":1856,"zanCount":38,"manualWeight":38,"mainColor":39},219617,"song-jian-heng-qin-tu-zhu-de-run-219617","松涧横琴图","朱德润","画面中下部，是一条左低右高的石磵，且清且浅的河水自远及近蜿蜒跳跃而下，俞远愈淡。近岸左右有两松矗立，一直一曲，一高一低。左边的松树高而直，以一浓一淡两棵杂树副之。右边的松树似虬龙一样盘曲左伸，松下则是磵边开阔微斜的石头滩地，三位老者盘腿对坐在蒲团之上，中间有一盘食物，置三酒杯。一人双手放在琴上，眼睛左看，似正在弹琴并与左边的朋友目光交流，右边的老者则闭目笼袖，似乎听得很是入神。画面的右上角，署名“朱泽民”并有题句：峰阳之桐，声越冰泉；天然宫商，松风画弦。\n该画的人物、场景及构图，非常类似其立轴大画《林下鸣琴图》，似是一图多本。不过可能因画幅太小尚不盈尺，故而画得更为简洁，无法画出对岸的坡陀岗峦。就画中人物而言，这种扮相与组合曾出现在其他画中，显然就不仅仅是文人雅士简单的时尚风雅，而有着特定的时代的情感映射。或许，这既是“七匠八娼九儒十丐”历史境遇中被侮辱被边缘化的元代知识分子的实际生存状态，也是其理想化的精神家园。",[23,24,25,7,108,185,181,305,239,109,293,238,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03fe743673cf85aafc314641bd35833e.jpg",[400],{"id":1867,"slug":1868,"title":1869,"dynasty":18,"author":1870,"museum":20,"description":1871,"tags":1872,"thumbUrl":1876,"material":32,"size":1877,"collection":400,"collections":1878,"showCount":1856,"zanCount":38,"manualWeight":38,"mainColor":39},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","燕文贵","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[23,48,24,25,7,108,27,185,181,239,182,1873,333,251,1874,1875,238],"积雪","溪流","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[400,53],{"id":1880,"slug":1881,"title":1882,"dynasty":18,"author":1883,"museum":627,"description":1884,"tags":1885,"thumbUrl":1887,"material":32,"size":81,"collection":34,"collections":1888,"showCount":1856,"zanCount":38,"manualWeight":38,"mainColor":57},218905,"yan-e-tu-cui-bai-218905","雁鹅图","崔白","画面中雁鹅姿态鲜活，羽翼层叠间细笔勾出绒羽的蓬松质感，白绒与墨羽晕染过渡自然，红掌轻点地面似欲移步，尽显禽鸟灵动之态。旁侧水草以疏朗线条勾勒，叶片随风摇曳如含生机，与雁鹅的写实刻画相映成趣。古绢底色沉雅温润，衬得物象愈发鲜活，打破了宋初院体画的刻板拘谨，透出自然野趣。整作以写生为基，笔墨兼具工致与意趣，将禽鸟的鲜活与草木的清逸融于方寸纨扇，于细微处见生机盎然，尽显宋代画坛新风韵。",[23,24,25,7,27,26,28,1886,506,111,691],"雁鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f48905bd757fa0bd76d4450fe81f6d.jpg",[34],{"id":1890,"slug":1891,"title":1892,"dynasty":18,"author":44,"museum":355,"description":1893,"tags":1894,"thumbUrl":1898,"material":565,"size":566,"collection":81,"collections":1899,"showCount":1900,"zanCount":38,"manualWeight":38,"mainColor":788},288349,"fang-ma-yuan-dong-tian-lun-dao-tu-yi-ming-288349","仿马远洞天论道图","此作截取山林一角取景，虬松盘桓苍劲，松萝垂拂摇曳，尽显古木苍莽野趣。幽壑洞天深处，二人相对清谈，逸韵飘然恍如世外。右下角山道之上，负杖策蹇的行者缓行而来，似赴雅约，动静之间，让画面生出悠远意趣。\n\n笔墨承袭院体风骨，山石以硬劲水墨皴擦，棱线清刚利落，林木晕染秀润柔和，虚实相映间，铺展出林泉高隐的悠然意境，将文人林下谈玄、寄情丘山的雅逸襟怀尽数铺陈，空灵雅致，尽显宋画小品的隽永韵味。",[7,24,48,108,185,181,1895,238,109,1896,1897],"古松","论道","隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f673a57d4c4662982d4368a198aef3.jpg",[],52,{"id":1902,"slug":1903,"title":1904,"dynasty":18,"author":393,"museum":355,"description":1905,"tags":1906,"thumbUrl":1908,"material":81,"size":81,"collection":81,"collections":1909,"showCount":1900,"zanCount":11,"manualWeight":38,"mainColor":39},227969,"guan-mei-du-shu-tu-li-tang-227969","观梅读书图","虬曲老梅横斜而出，枝桠如屈铁般苍劲疏朗，残蕾轻缀梢头，古藤垂曳更添荒寒之致。右下角淡墨晕染出远山坡岸，幽林掩映间，坡下士人凭坐观梅静读，全然融入冷寂清旷的氛围中。\n\n笔法简劲老辣，以干湿浓淡的墨色晕染出空濛早春的清冷氛围感，留白铺陈出幽远意境。将文人耽于林泉、寄情梅下的雅趣藏于萧寒景致里，把观梅闲读的幽居况味和清雅荒寒的意境融为一体，尽显小品极简含蓄的意趣，是文人心中理想栖居图景的缩影。",[23,24,48,7,26,108,185,181,265,184,1337,111,109,1907],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8f248e33ae44c43fac3cc6f2f01bc7.jpg",[],{"id":1911,"slug":1912,"title":1913,"dynasty":18,"author":1914,"museum":355,"description":1915,"tags":1916,"thumbUrl":1918,"material":81,"size":81,"collection":81,"collections":1919,"showCount":1900,"zanCount":312,"manualWeight":38,"mainColor":39},227398,"qiu-kui-tu-li-da-zhong-227398","秋葵图","李大忠","画面写秋葵一枝，工笔钩勒填彩。秋葵之花瓣用粉细勾，叶用重绿，重彩渲染，布局谨严，一丝不苟，姿韵生动。两朵盛开的花与疏疏的几枝叶，充分表现出秋葵的神态。该图堪称南宋院体画的精品，是南宋写生画的绝妙之作。",[23,48,24,25,7,26,27,28,1917],"秋葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20f76969895d93adc7c35e9fffc51bc.jpg",[],{"id":1921,"slug":1922,"title":1502,"dynasty":18,"author":44,"museum":1923,"description":1924,"tags":1925,"thumbUrl":1929,"material":32,"size":1930,"collection":53,"collections":1931,"showCount":1900,"zanCount":38,"manualWeight":38,"mainColor":57},219013,"mu-niu-tu-yi-ming-219013","日本大阪市立美术馆","在池塘边的一棵柳树下，一头奶牛在舔她的小牛；不远处，一个牧童背靠着柳树睡觉，狭长的柳叶在风中飘动，温暖的阳光让春天的日子充满生机。这幅画是李唐和晏子平的遗作，他们都是著名的畜牧业画家，应该是大师级画家的作品。",[24,7,108,1093,362,1926,858,1927,1928],"牧童","池塘","春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa669771ee97905e8613b0c50bdb92e5a.jpg","24.7x25.6",[53],{"id":1933,"slug":1934,"title":1935,"dynasty":18,"author":302,"museum":20,"description":1936,"tags":1937,"thumbUrl":1938,"material":32,"size":1939,"collection":400,"collections":1940,"showCount":1900,"zanCount":38,"manualWeight":38,"mainColor":39},218682,"han-xi-chui-diao-tu-xia-gui-218682","寒溪垂钓图","这幅画描绘的是月光下的寒流，隐者披头散发，环境非同一般，笔触特别冰冷，署名夏圭。",[23,24,25,7,108,185,181,182,239,305,183,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb060226a5cefc9cdcb37f39b8b4c4a.jpg","24.5x25.7cm",[400],{"id":1942,"slug":1943,"title":1944,"dynasty":18,"author":262,"museum":355,"description":1945,"tags":1946,"thumbUrl":1947,"material":565,"size":566,"collection":81,"collections":1948,"showCount":1949,"zanCount":38,"manualWeight":38,"mainColor":57},287889,"hong-li-shan-qin-tu-zhao-ji-287889","红荔山禽图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[48,24,25,7,27,26,28,1028,112,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F499471b14708a88846e258b8065c8c2e.jpg",[],51,{"id":1951,"slug":1952,"title":1953,"dynasty":124,"author":44,"museum":355,"description":1954,"tags":1955,"thumbUrl":1960,"material":565,"size":566,"collection":81,"collections":1961,"showCount":1949,"zanCount":38,"manualWeight":38,"mainColor":39},270175,"hong-se-ke-si-lan-hua-tu-mian-xiang-ya-diao-ba-xian-tu-bing-tuan-shan-yi-ming-270175","红色缂丝兰花图面象牙雕八仙图柄团扇","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[7,77,1956,79,1957,1958,1959,28],"兰花","象牙","雕刻","八仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd866559dd24addc2f93e3e6b5cee6d92.jpg",[],{"id":1963,"slug":1964,"title":1965,"dynasty":18,"author":178,"museum":355,"description":1966,"tags":1967,"thumbUrl":1969,"material":565,"size":566,"collection":81,"collections":1970,"showCount":1971,"zanCount":11,"manualWeight":38,"mainColor":39},290484,"xue-shan-tu-fan-kuan-290484","雪山图","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[24,7,108,181,1968,493,113,239,251,185],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dbdbcb25d9a80347e20f677806d5ce0.jpg",[],50,{"id":1973,"slug":1974,"title":1975,"dynasty":124,"author":880,"museum":355,"description":881,"tags":1976,"thumbUrl":1978,"material":565,"size":566,"collection":81,"collections":1979,"showCount":1971,"zanCount":38,"manualWeight":38,"mainColor":39},290217,"shan-shui-shan-mian-2-zhang-xiong-290217","山水扇面-2",[23,7,24,27,1093,883,1977,181,238,333,1549],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88be39cdc3e376892292b3c895927355.jpg",[],{"id":1981,"slug":1982,"title":1983,"dynasty":18,"author":44,"museum":355,"description":1984,"tags":1985,"thumbUrl":1989,"material":565,"size":566,"collection":81,"collections":1990,"showCount":1971,"zanCount":84,"manualWeight":38,"mainColor":57},289984,"bai-zi-tu-yi-ming-289984","百子图","庭院间百童嬉游，百态尽显。孩童们或组队舞狮，红帕翻飞间满是喧闹活力；或围坐博弈，蹙眉托腮憨态毕露，亦有扑蝶追跑、搭肩低语者。画面构图饱满却错落有致，细笔勾勒孩童衣衫褶皱与灵动神态，浅淡设色晕染出古雅柔润的质感。\n整作将市井婴戏的鲜活日常凝于尺幅，把稚子烂漫天真悉数铺展，暗含着对烟火盛景、多子安康的美好祈愿，尽显风俗画的细腻功力，目之所及，恍若能听见满院稚语欢声，踏入千年前的童趣庭院。",[23,24,7,109,1986,859,27,26,1987,1988],"儿童","嬉戏","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec42fc443c5d526d45d1d3b947cf6b25.jpg",[],{"id":1992,"slug":1993,"title":1994,"dynasty":18,"author":302,"museum":355,"description":1057,"tags":1995,"thumbUrl":2000,"material":565,"size":566,"collection":81,"collections":2001,"showCount":1971,"zanCount":38,"manualWeight":38,"mainColor":39},288327,"ze-pan-ji-feng-tu-xia-gui-288327","泽畔疾风图",[7,24,108,181,818,1996,182,1997,1998,1999,185],"古树","渔人","疾风","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc829033f8e29113ad506ff1513a0ed9.jpg",[],{"id":2003,"slug":2004,"title":2005,"dynasty":124,"author":1325,"museum":355,"description":1326,"tags":2006,"thumbUrl":2007,"material":565,"size":566,"collection":81,"collections":2008,"showCount":1971,"zanCount":11,"manualWeight":38,"mainColor":39},234981,"mu-dan-shan-mian-ren-xiong-234981","牡丹扇面",[24,7,27,26,28,78,111,169,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef6e39009c0679e8fbde899009d894d.jpg",[],{"id":2010,"slug":2011,"title":2012,"dynasty":18,"author":407,"museum":467,"description":2013,"tags":2014,"thumbUrl":2015,"material":81,"size":81,"collection":81,"collections":2016,"showCount":1971,"zanCount":38,"manualWeight":38,"mainColor":57},227963,"pi-pa-ba-ge-tu-tuan-shan-ye-wu-bing-227963","枇杷八哥图团扇页","此作工致写实，将一隅小景绘得意趣悠长。通体乌黑的禽鸟静栖枝桠，羽翼以浓淡墨色晕染出蓬松柔润的质感，亮眼圆睁尽显憨稚警觉，喙部与爪尖勾勒细腻，姿态沉稳憨拙。旁侧枇杷枝叶舒展，叶片以淡绿敷色，细笔勾出筋脉区分阴阳向背，将叶片的舒展柔劲尽显无遗，簇生的浅黄花苞素雅清新。\n整幅画面设色温润古雅，笔意精细却不显匠气，把寻常林间片刻定格为隽永图景，尽显静观万物的雅致审美，淡逸平和中藏着鲜活生机。",[48,24,25,7,26,27,28,112,679],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff313a95abb99fbd631ae6e3ea15178f3.jpg",[],{"id":2018,"slug":2019,"title":2020,"dynasty":18,"author":444,"museum":45,"description":2021,"tags":2022,"thumbUrl":2024,"material":32,"size":2025,"collection":400,"collections":2026,"showCount":1971,"zanCount":312,"manualWeight":38,"mainColor":57},218553,"jiao-yuan-ye-zhang-tu-ma-lin-218553","郊原曳杖图","亭子和阳台的一角被画上了。柳树高大而美丽，月亮在天空中，岩石微微露出，从上面可以看到长廊，亭子完全可以看到。\n悬崖用凿子画，亭子用稳健的笔触画，树叶也得到充分的装饰，远处的山峰被烤得绿油油的，并被渲染成彩色，天空中的月亮，以及柳树林中隐约可见的亭子和台阶。",[23,24,25,7,108,27,181,109,818,333,2023,50,185],"小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef491921f92892f4f8b6bec2dc1e90cc.jpg","23.3x23.6",[400],{"id":2028,"slug":2029,"title":2030,"dynasty":433,"author":2031,"museum":126,"description":2032,"tags":2033,"thumbUrl":2034,"material":530,"size":2035,"collection":400,"collections":2036,"showCount":1971,"zanCount":38,"manualWeight":38,"mainColor":39},218345,"fang-ni-shan-shui-tu-dong-qi-chang-218345","仿倪山水图","董其昌","此作从构图到用笔均仿自倪瓒。构图取倪氏标准的“一河两岸三段”模式，平波无浪的辽阔水域将近景的树木与远景的山峦分列两岸，令画面空间层次鲜明，又得平远之势。山石行笔仿倪氏折带皴法，线条勾勒以侧锋为主，笔墨整体苍逸，表现出疏朗清雅而又超逸萧疏的意境。这种“简淡中自有一种风致”的意境正是董其昌对倪氏画作最为欣赏之处，认为它“非若画史纵横习气也”。此图当是董其昌仿倪的代表作之一。",[23,7,108,181,111,184,1547,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd588df824569eeead48bf69a9e5ed670.jpg","纵17厘米，横50.5厘米",[400],{"id":2038,"slug":2039,"title":2040,"dynasty":433,"author":1523,"museum":235,"description":2041,"tags":2042,"thumbUrl":2045,"material":133,"size":2046,"collection":400,"collections":2047,"showCount":1971,"zanCount":38,"manualWeight":38,"mainColor":39},217921,"shan-jing-xing-lv-tu-zhou-chen-217921","山径行旅图","画面中可以看到蜿蜒的山径，周臣巧妙地运用了线条和色彩来表现山径的弯曲起伏。顶部的云朵和树林以及画面下方的山峰和溪流，使得整幅画充满了生机和动感。\n\n此外，周臣还细致地描绘了山径两侧的植物和动物，包括花草、山石、鸟类、鹿等。这些细节使得画面更加丰富多彩，也展示了周臣对生物的热爱和观察力。\n\n总的来说，《山径行旅图》是周臣的杰作，它展现了他对自然的热爱和描绘能力，也是中国画史上的一颗明珠。",[24,7,181,2043,2044,109,1433,333,238,108,27,185],"山径","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a6eebb70a11f31cd71bd92a3caf50.jpg","33.5x61cm",[400],{"id":2049,"slug":2050,"title":2051,"dynasty":275,"author":44,"museum":355,"description":2052,"tags":2053,"thumbUrl":2057,"material":565,"size":566,"collection":81,"collections":2058,"showCount":2059,"zanCount":11,"manualWeight":38,"mainColor":57},290145,"chang-e-wang-yue-tu-yi-ming-290145","嫦娥望月图","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。",[24,7,27,26,109,199,2054,711,305,2055,2056,181,1999],"嫦娥","祥云","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe276658f8ba399b9ffd66097b8fbe89b.jpg",[],49,{"id":2061,"slug":2062,"title":2063,"dynasty":18,"author":302,"museum":355,"description":1057,"tags":2064,"thumbUrl":2066,"material":565,"size":566,"collection":81,"collections":2067,"showCount":2059,"zanCount":38,"manualWeight":38,"mainColor":57},288224,"song-xia-guan-pu-tu-xia-gui-288224","松下观瀑图",[23,48,24,7,108,181,305,306,238,109,185,2065,712],"观瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ecc0a7025721416ab7cb43a1afd43.jpg",[],{"id":2069,"slug":2070,"title":2071,"dynasty":124,"author":2072,"museum":355,"description":2073,"tags":2074,"thumbUrl":2075,"material":565,"size":566,"collection":81,"collections":2076,"showCount":2059,"zanCount":38,"manualWeight":38,"mainColor":39},239543,"lan-hua-shan-zhang-sheng-fu-239543","兰花扇","张升福","此作用水墨写意绘就兰石，兰叶以书法笔意挥写，墨线抑扬顿挫、穿插错落，将兰叶舒展之姿勾勒得灵动清雅，寥寥数笔便让芝兰柔润风骨尽显。淡墨点染兰花，花瓣简约却形神兼备，隐有暗香浮动之意。\n配景湖石以淡墨皴擦留白，写意出嶙峋之态，衬出芝兰幽生于岩畔的逸致。右侧题字行书隽秀，笔墨与题识相互映衬，整体简淡萧疏，将兰花高洁脱俗的品格寄寓水墨之中，尽显清幽雅致，意韵悠长。",[24,25,7,108,929,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b98f44aa997e5edf16a17681698160e.jpg",[],{"id":2078,"slug":2079,"title":2080,"dynasty":124,"author":2081,"museum":355,"description":2082,"tags":2083,"thumbUrl":2084,"material":81,"size":81,"collection":34,"collections":2085,"showCount":2059,"zanCount":38,"manualWeight":38,"mainColor":39},236198,"hua-gui-hua-yu-min-zhong-lin-huang-ting-jian-tie-cheng-shan-qian-wei-cheng-236198","画桂花于敏中临黄庭坚帖成扇","钱维城","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。",[24,25,7,28,1187,1547,723,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf40f10679bf2abd7c354888e76c59f3.jpg",[34],{"id":2087,"slug":2088,"title":2089,"dynasty":124,"author":2090,"museum":355,"description":2091,"tags":2092,"thumbUrl":2093,"material":565,"size":566,"collection":81,"collections":2094,"showCount":2059,"zanCount":38,"manualWeight":38,"mainColor":39},235564,"lin-ni-zan-xi-ting-shan-se-tu-shan-mian-wang-hui-235564","临倪瓒溪亭山色图扇面","王翚","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,25,7,108,1547,185,131,50,181,113,360,238,306,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9946beb712e3f30922fe588e598acbf8.jpg",[],{"id":2096,"slug":2097,"title":2098,"dynasty":18,"author":302,"museum":467,"description":2099,"tags":2100,"thumbUrl":2101,"material":2102,"size":2103,"collection":81,"collections":2104,"showCount":2059,"zanCount":38,"manualWeight":38,"mainColor":39},221508,"bu-yu-tu-tuan-shan-ye-xia-gui-221508","捕鱼图团扇页","按《捕鱼图》团扇页题签，此画传为南宋画家夏圭所作。有学者认为可能是明代画家的作品。夏珪腕力刚劲，运笔迅速，与此画文静秀逸的笔法不同；《捕鱼图》人物温雅的面容，简洁而细腻的衣纹，也不是夏珪的风格，反而与马远的画风一致。尽管《捕鱼图》可能不是宋代作品，但画得依然很出色，能妙笔入神，情景交融，表现出雅静虚和的韵味。",[23,24,7,108,185,181,182,183,470,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b90038fa4d4f5868eee3e4e06e13086.jpg","绢本 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Museum","此作用色鲜亮泼辣，两枚寿桃以朱砂铺陈桃身，晕染出熟透的红润，留白与藤黄轻点桃腹，尽显饱满甜熟的质感，鲜活仿佛将欲滴浆。\n\n浓墨挥写桃叶藤蔓，线条苍劲老拙，墨色干湿浓淡富于层次，与暖艳的桃色形成鲜明对比，艳而不俗，厚重灵动兼具。扇面形制之下布局疏密得当，硕果垂坠于枝桠，暗含丰盈吉祥的意趣。\n题字笔墨雄健朴拙，与画面笔意融为一体，整幅小品简括大气，寥寥数笔便将物象生机与祝福意蕴尽皆抒发，尽显写意精髓。",[2118,24,7,27,1114,28,2123,30,50,723],"桃子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf3a3089bcebf91a06cfe9e353c2e9.jpg","color on paper",[],48,{"id":2129,"slug":2130,"title":2131,"dynasty":18,"author":262,"museum":20,"description":2132,"tags":2133,"thumbUrl":2135,"material":32,"size":81,"collection":34,"collections":2136,"showCount":2127,"zanCount":38,"manualWeight":38,"mainColor":39},219224,"li-peng-qiu-zhan-zhao-ji-219224","栗蓬秋绽","墨叶扶疏间，栗蓬携尖刺静绽，外壳微裂处，嫩实隐现如珠。工笔细描的叶片脉络分明，墨色晕染出苍劲与柔润的层次，枝干线条如篆如隶，藏着书法般的骨力。秋意凝于绢素，既有院体画的精工写实，又含文人画的雅致韵致。一笔一画皆见对自然物态的深察，从刺尖的锋芒到叶脉的转折，皆细致入微，尽显宋画格物致知的精神，让秋之栗蓬的生机与静美，在方寸扇面间流转不息。",[23,155,24,25,7,26,27,28,2134,30,517,50],"栗蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc547c3110157d019ed1ea0f90ee3b260.jpg",[34],{"id":2138,"slug":2139,"title":2140,"dynasty":164,"author":2141,"museum":355,"description":2142,"tags":2143,"thumbUrl":2147,"material":565,"size":566,"collection":81,"collections":2148,"showCount":2149,"zanCount":11,"manualWeight":38,"mainColor":57},290487,"xi-yan-mu-se-tu-guan-tong-290487","西岩暮色图","关仝","关仝（约907-960年），字号不详，京兆长安（陕西西安）人。五代时期杰出画家，与荆浩、董源、巨然并称“四大山水画家”。\n荆浩的追随者，活跃于五代末及宋初，他刻苦认真地揣摩钻研静好的艺术，甚至达到了废寝忘食的地步，最后终于青出于蓝胜于蓝。他多描绘关陕一带山水，写景绘形更为概括提炼，笔简气壮，景少意长，予人以深刻印象。关仝善画秋山，寒林，村居，野渡等景色，使人看后如身临其境。",[23,24,7,108,181,2144,2145,1740,182,185,2146],"暮色","崖壁","幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13765a3465f65baf21947eedfd03376f.jpg",[],47,{"id":2151,"slug":2152,"title":2153,"dynasty":18,"author":195,"museum":355,"description":2154,"tags":2155,"thumbUrl":2158,"material":565,"size":566,"collection":81,"collections":2159,"showCount":2149,"zanCount":84,"manualWeight":38,"mainColor":39},288356,"qiu-chuang-du-yi-tu-liu-song-nian-288356","秋窗读易图","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[23,24,7,25,27,26,331,181,305,332,131,723,50,2156,2157],"秋景","读易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6dadc0e51fb4a03d05372ce1324e11.jpg",[],{"id":2161,"slug":2162,"title":2163,"dynasty":433,"author":763,"museum":355,"description":764,"tags":2164,"thumbUrl":2167,"material":565,"size":566,"collection":81,"collections":2168,"showCount":2149,"zanCount":38,"manualWeight":38,"mainColor":39},235803,"luo-hua-you-yu-tu-shan-chen-chun-235803","落花游鱼图扇",[7,27,108,1114,28,111,883,2165,2166,1810],"鱼","落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b063b4f738948ec89dde7314392fb68.jpg",[],{"id":2170,"slug":2171,"title":2172,"dynasty":124,"author":2173,"museum":355,"description":2174,"tags":2175,"thumbUrl":2176,"material":81,"size":81,"collection":81,"collections":2177,"showCount":2149,"zanCount":38,"manualWeight":38,"mainColor":39},234520,"hua-niao-wan-shan-zhu-cheng-234520","花鸟纨扇","朱偁","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，别署鸳湖散人、玉溪外史、玉溪钓者、鸳湖画史、胥山樵叟，浙江嘉兴人。熊弟。工花鸟，初法张熊，暇辄借临，熊自视几不能辨。及王礼得名以超脱胜张熊之工细，遂改从礼，兼得张画之华瞻工细与王画之超脱飘逸，神似华喦，成为名家，在上海书画界享有盛誉。题字款识，莫不酷似。晚年精进，惜未脱霸气。间仿华岩亦得其神似，卒年七十五（一作七十四）。\n事迹收录于《海上墨林》、《桐阴复志》、《近代六十名家画传》 。",[24,25,7,27,26,28,111,410,214,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f6db911ad00282fc6ef5a8e0e78eae.jpg",[],{"id":2179,"slug":2180,"title":2181,"dynasty":18,"author":19,"museum":126,"description":2182,"tags":2183,"thumbUrl":2184,"material":495,"size":2185,"collection":81,"collections":2186,"showCount":2149,"zanCount":11,"manualWeight":38,"mainColor":57},234009,"pu-tao-cao-chong-tu-ye-lin-chun-234009","葡萄草虫图页","图绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，画家以小幅的画面抒写了一幅生机盎然的田园景致。昆虫以双勾填彩法绘制，用线刚柔相济，既准确地勾勒出秋虫或动或静的各种体态和神情，又将昆虫翅膀的轻薄或外壳的坚硬等不同的质感表露无遗，显示出作者敏锐的观察力和精于细节表现的绘画功底。在色彩上，敷色轻淡，深得造化之妙，葡萄藤的藤尖点染红色以示其新生初发之嫩，叶子的边缘略以褐色渲染，表明叶片饱经浓霜重露之貌。这种合乎自然规律的晕染与其求实写真的线条相得益彰，具有宋代院体工笔画的鲜明特色。",[24,48,25,28,7,26,27,558,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F749b5dc78e09cc13d321b8999ca74329.jpg","纵26.2厘米，横27厘米",[],{"id":2188,"slug":2189,"title":2190,"dynasty":343,"author":2191,"museum":2192,"description":2193,"tags":2194,"thumbUrl":2195,"material":188,"size":2196,"collection":81,"collections":2197,"showCount":2149,"zanCount":38,"manualWeight":38,"mainColor":39},223556,"qing-xi-yin-ma-tu-han-gan-223556","清溪饮马图","韩干","辽宁省博物馆","韩干(约706～783)，唐代画家，长安蓝田（今属陕西）人，官至太府寺丞。善画肖像、人物道释、花竹，尤工鞍马。韩干初师曹霸，为其入室弟子，后自成一家。所绘马匹，体形肥硕，态度安详，比例准确，一改前人画马螭颈龙体、筋骨毕露、姿态飞腾的“龙马”作风，创造了富有盛唐时代气息的画马新风格。杜甫在《丹青引》中有“干唯画肉不画骨”的诗句，在《画马赞》中又说：“韩干画马，毫端有神。……鱼目瘦脑，龙文长身，雪垂白肉，风蹙蓝筋”。对他的画马，赞赏备至，后人将他与当时最善画牛的戴嵩并称为“韩马戴牛”以画马着称。",[23,24,25,7,26,108,1433,109,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148f3125d6a4c66d8e3539b1472fcf74.jpg","42*68厘米",[],{"id":2199,"slug":2200,"title":2201,"dynasty":124,"author":2202,"museum":126,"description":2203,"tags":2204,"thumbUrl":2205,"material":2206,"size":2207,"collection":81,"collections":2208,"showCount":2149,"zanCount":38,"manualWeight":38,"mainColor":39},223097,"mei-yue-chang-e-fei-yi-geng-223097","梅月嫦娥","费以耕","此图为民间脍炙人口的嫦娥奔月主题。画中所绘嫦娥鹅蛋脸，形象古典秀美，体态婀娜，气质娇柔，描绘了当时人们心目中的理想美人。所绘墨梅横向出枝，其秀美的花形，成功地烘托出嫦娥清雅脱俗的仙姿佚貌，由此可见费以耕与张熊间默契的笔墨配合，以及共通的审美意趣。",[23,24,25,7,27,109,199,265,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e351174213781c8cc14e95b053c0b66.jpg","金笺，设色","纵17.9cm，横52.8cm",[],{"id":2210,"slug":2211,"title":1597,"dynasty":433,"author":763,"museum":20,"description":1112,"tags":2212,"thumbUrl":2218,"material":2219,"size":2220,"collection":81,"collections":2221,"showCount":2149,"zanCount":11,"manualWeight":38,"mainColor":39},222571,"hua-hui-shan-mian-chen-chun-222571",[23,24,25,7,1114,108,27,723,214,2213,2214,2215,2216,2217],"花枝","花叶","写意花鸟","笔墨","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77b227089b3a30105cdc5394e4006f97.jpg","纸本，泥金","纵18.6厘米横54.1厘米",[],{"id":2223,"slug":2224,"title":2225,"dynasty":18,"author":444,"museum":467,"description":2226,"tags":2227,"thumbUrl":2228,"material":495,"size":2229,"collection":34,"collections":2230,"showCount":2149,"zanCount":38,"manualWeight":38,"mainColor":57},221190,"xue-mei-tu-ye-ma-lin-221190","雪梅图页","《雪梅图》中梅花枝条从左上角斜逸而出，伸向右下角，枝条纤细有骨力。梅花以墨线勾勒，浓墨点出花苞，枝条上和花瓣上尤有雪痕。整体观之，疏影横斜，暗香浮动，耐人揣摩",[23,48,24,25,7,27,28,265,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9feb1bb92a02678ce933bdbe405dd03d.jpg","30x31",[34,401],{"id":2232,"slug":2233,"title":2234,"dynasty":18,"author":444,"museum":1579,"description":2235,"tags":2236,"thumbUrl":2237,"material":81,"size":2238,"collection":204,"collections":2239,"showCount":2149,"zanCount":11,"manualWeight":38,"mainColor":57},221181,"lin-he-jing-gu-shan-tu-ma-lin-221181","林和靖孤山图","《林和靖孤山圖》人物採用簡筆法，衣紋用典型的「勾描線法」，「釘頭鼠尾描法」，線條利索、連綿、無斷筆。而《靜聽松風圖》人物線描線除了用「釘頭鼠尾描法」外，更多的是用「鐵線描」法，線條更複雜些，也更爲剛勁和挺拔，但是有斷筆，而且輪廓線內沿衣褶處用鉛白加以渲染。",[23,24,7,27,26,109,527,711,265,181,1683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7257e7e52d338491b7b4a52f5b2b7d7f.jpg","24.5×38.6cm",[204,401],{"id":2241,"slug":2242,"title":2243,"dynasty":18,"author":2244,"museum":1923,"description":2245,"tags":2246,"thumbUrl":2248,"material":133,"size":2249,"collection":34,"collections":2250,"showCount":2149,"zanCount":38,"manualWeight":38,"mainColor":57},219133,"pu-bian-you-lu-tu-ma-he-zhi-219133","瀑边游鹿图","马和之","瀑流如素练倾泻而下，溅起碎玉般的水花，山石间苔痕隐现。左侧枯树盘曲，枝桠似铁线勾勒，苍劲中藏清逸之姿。几只游鹿或低头饮泉，或侧耳听瀑，姿态悠然，与山林气韵相融。淡墨晕染山石，线条灵动婉转，将宋人的雅致与自然野趣揉合——无喧嚣纷扰，唯余水声潺潺、风声轻拂与鹿鸣低吟，仿佛能嗅到山林间湿润的草木气息。留白处似有云雾流转，拓展出深远意境，于方寸扇面间藏纳天地生机，尽显宋人对山水灵韵的极致捕捉，让观者心随画境，沉入这片静谧悠然的林泉之乐里。",[48,24,25,7,27,181,362,2247,238,239,306],"枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f935cf5ded05b595572aec0df2933a.jpg","20.3x23.5cm",[34],{"id":2252,"slug":2253,"title":2254,"dynasty":275,"author":687,"museum":20,"description":2255,"tags":2256,"thumbUrl":2257,"material":32,"size":81,"collection":81,"collections":2258,"showCount":2149,"zanCount":312,"manualWeight":38,"mainColor":39},218776,"qing-lin-cui-ai-tu-sheng-mao-218776","青林翠霭图","画面轻烟如纱，青林错落生姿，翠霭氤氲漫过山峦。近树以中锋勾出苍劲骨态，侧锋晕染枝叶润意；远山层叠似黛色屏障，皴擦笔触藏着山石厚重。霭气用淡墨晕出虚实，牵起远近景致呼应，让山林浸在朦胧里，似醒非醒。笔墨兼工带写，工致处见细节，疏朗处显逸气，凝住元代文人的林泉之趣。目光游走间，仿佛触到山间润凉，听见风过林梢轻响，心境随翠霭舒展，跌入烟霞缭绕的清幽之境。",[23,24,25,7,27,181,333,548,239,1197,238,185],"https:\u002F\u002Foss.chuangqi.store\u002F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》《枫鹰雉鸡图》《风雨归牧图》等。",[23,48,24,25,7,27,422,109,1809,362,360,361],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceaa42b0901bb55ad17260f047b24a30.jpg","24.4x21.5厘米",[53,204,401],{"id":2351,"slug":2352,"title":2353,"dynasty":18,"author":1883,"museum":277,"description":2354,"tags":2355,"thumbUrl":2356,"material":32,"size":2357,"collection":34,"collections":2358,"showCount":2279,"zanCount":38,"manualWeight":38,"mainColor":39},219088,"xue-qin-tu-cui-bai-219088","雪禽图","这幅画的是河岸边树杆折断，一旁杂草叶片已枯黄，藤杆上覆盖着一层薄雪，一只灰北白肚鸟儿立于细藤上，尾翎修长，扭头尖喙咬住羽毛，半眯的眼睛似乎在沉睡中。",[24,25,7,28,26,27,410,517,1443,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3706dae6af508fd6c7d4846d57c4de27.jpg","23.5x22.2cm",[34],{"id":2360,"slug":2361,"title":2362,"dynasty":275,"author":687,"museum":627,"description":2363,"tags":2364,"thumbUrl":2365,"material":188,"size":2366,"collection":400,"collections":2367,"showCount":2279,"zanCount":38,"manualWeight":38,"mainColor":57},214913,"lou-ge-shan-shui-tu-sheng-mao-214913","楼阁山水图","楼阁山水图是一幅由盛懋绘制的山水画作，出现在元朝时期。这幅画作以楼阁为主要构图元素，描绘了山水景观。楼阁山水图被认为是盛懋最著名的作品之一，在当时非常受欢迎。由于盛懋是一位著名的山水画家，他的作品经常描绘自然风光，并使用了细腻的笔触和鲜明的色彩来表现景色的美丽。楼阁山水图也是如此，它展示了盛懋对山水景观的精确捕捉和传达。\n\n盛懋是元朝时期著名的山水画家，他的作品风格独特，很受欢迎。楼阁山水图是他的代表作之一。在这幅画作中，盛懋使用了自然的色彩来描绘山水景观，并使用精细的笔触来表现每个细节。画面中的楼阁是一个重要的构图元素，它位于画面的中央，呈现出一种高耸入云的感觉。周围的山水景观也十分优美，有群山环绕，河流缠绕，树木茂盛。整幅画作散发出一种平静而舒适的氛围，使人们感觉得到了身心的放松。",[24,25,7,331,108,27,181,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7ab334398f7bdeec85c5eabe7afbc9.jpg","25x27cm",[400],{"id":2369,"slug":2370,"title":2371,"dynasty":18,"author":490,"museum":355,"description":2372,"tags":2373,"thumbUrl":2376,"material":565,"size":566,"collection":81,"collections":2377,"showCount":2378,"zanCount":11,"manualWeight":38,"mainColor":39},290074,"xiu-long-xiao-jing-tu-wang-shen-290074","绣栊晓镜图","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[7,24,27,26,109,199,973,2374,131,50,2375],"镜","室内","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3850122dec566e5bbd67ec8ee7158ba.jpg",[],45,{"id":2380,"slug":2381,"title":2382,"dynasty":124,"author":995,"museum":355,"description":996,"tags":2383,"thumbUrl":2385,"material":565,"size":566,"collection":81,"collections":2386,"showCount":2378,"zanCount":38,"manualWeight":38,"mainColor":39},287931,"teng-hua-ying-wu-ren-yi-287931","藤花鹦鹉",[24,7,26,27,28,2288,2384,50],"藤花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f64c4d32fd0519c29062015ed843b48.jpg",[],{"id":2388,"slug":2389,"title":2390,"dynasty":124,"author":2391,"museum":126,"description":2392,"tags":2393,"thumbUrl":2394,"material":81,"size":2395,"collection":34,"collections":2396,"showCount":2378,"zanCount":11,"manualWeight":38,"mainColor":57},236196,"hua-mei-hua-xuan-ye-shu-fan-zhou-xi-hu-shi-cheng-shan-jiang-ting-xi-236196","画梅花玄烨书泛舟西湖诗成扇","蒋廷锡","蒋廷锡（1669—1732），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。",[24,25,7,265,723,28,27,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefea21cbd916e8e96569fa9ba15061da.jpg","纵34厘米，横56厘米",[34,401],{"id":2398,"slug":2399,"title":2400,"dynasty":18,"author":2401,"museum":355,"description":2402,"tags":2403,"thumbUrl":2405,"material":81,"size":81,"collection":81,"collections":2406,"showCount":2378,"zanCount":38,"manualWeight":38,"mainColor":57},227831,"she-xiang-tu-mao-song-227831","麝香图","毛松","洞石旁蜀葵柔枝舒展，粉白淡紫的花晕漾开雅致生机，藏在花枝间的禽鸟敛羽小憩，暗生幽趣。狸奴踞坐于地，蓬松白毛似覆软雪，琥珀眼眸凝向幼崽，神态温静慵懒。三只乳猫两两嬉闹，稚拙灵动的憨态被描摹入微。\n\n设色秀妍清雅，笔致工细却不失灵韵，以圆形构图收拢庭院景致，将母猫育幼的日常温情定格成一方温柔剪影，把宋人的细腻闲情晕开在绢素之上，平和松弛的烟火暖意漫溢其间，尽显雅致柔和的审美意趣，将寻常里的治愈温情留存至今。",[23,48,24,25,7,26,27,607,362,49,111,2404],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e654708b44e5b560820fa536d6656d.jpg",[],{"id":2408,"slug":2409,"title":2410,"dynasty":433,"author":44,"museum":126,"description":2411,"tags":2412,"thumbUrl":2413,"material":188,"size":2414,"collection":81,"collections":2415,"showCount":2378,"zanCount":11,"manualWeight":38,"mainColor":57},223384,"shuang-tu-tu-ye-yi-ming-223384","双兔图页","《双兔图页》是明代佚名创作的绢本设色画。",[23,24,25,7,26,27,362,1778,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd702801541ffb43e86522d41bd3b9e52.jpg","纵114.3厘米 横56厘米",[],{"id":2417,"slug":2418,"title":2419,"dynasty":18,"author":2420,"museum":20,"description":2421,"tags":2422,"thumbUrl":2424,"material":32,"size":2425,"collection":204,"collections":2426,"showCount":2378,"zanCount":11,"manualWeight":38,"mainColor":57},219609,"song-xia-ye-zhang-tu-xu-dao-ning-219609","松下曳杖图","许道宁","湖滨之畔，苍松翠竹，盘纡成阴，松下逸士自小径出，持杖凝神，倾听松籁竹韵。江渚野趣，清朗怡人。本幅结构严密，景物偏幅右边，全图描写着重一风字。幅内之松、竹、草、枯枝、士人衣褶帽带皆因风势顺成一向，双钩墨笔点画松竹人物，描绘甚为灵动。本幅旧签题为许道宁，然依画松竹人物等作风则与刘松年较近，可能为南宋后期受刘氏影响的作品。本幅为「历代名绘」册第八幅。许道宁（约西元11世纪），河北河间人。初市药于都门，好描绘街坊各色人物。后游太华山，转好写山水。",[23,48,24,25,7,27,109,110,238,2423],"曳杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecbfb88746858382f40f7dd5ca3d89fb.jpg","24.2x25.3厘米",[204],{"id":2428,"slug":2429,"title":2430,"dynasty":124,"author":2431,"museum":355,"description":2432,"tags":2433,"thumbUrl":2435,"material":81,"size":81,"collection":81,"collections":2436,"showCount":2437,"zanCount":38,"manualWeight":38,"mainColor":39},234620,"li-hua-wan-shan-zhu-ying-234620","梨花纨扇","朱英","朱英（1417年－1485年8月21日），字时杰、世杰，号澹菴、诚庵、任真子。明湖广承宣布政使司郴州桂阳外沙村（今湖南省汝城县）人，曾在甘肃及两广等地任职，官至两广总督、加都察院右都御史，累封太子太保、荣禄大夫，毕生廉洁奉公、忧国忧民。后被奉为潮州饶平城隍。谥号恭简。",[24,25,7,27,26,28,2434,50],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89aab06fbba9347ea1c77e4b64953a1b.jpg",[],44,{"id":2439,"slug":2440,"title":2441,"dynasty":124,"author":2090,"museum":355,"description":2091,"tags":2442,"thumbUrl":2443,"material":565,"size":566,"collection":81,"collections":2444,"showCount":2437,"zanCount":11,"manualWeight":38,"mainColor":39},224454,"shan-shui-tu-shan-mian-wang-hui-224454","山水圖扇面",[23,24,25,7,108,185,181,113,184,111,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e2c6d018d8d60dc5c74f88cf991c8b.jpg",[],{"id":2446,"slug":2447,"title":2448,"dynasty":124,"author":995,"museum":355,"description":2449,"tags":2450,"thumbUrl":2451,"material":81,"size":2452,"collection":81,"collections":2453,"showCount":2437,"zanCount":38,"manualWeight":38,"mainColor":39},223227,"zhe-zhi-hua-hui-shan-mian-ren-yi-223227","折枝花卉扇面","水墨泼洒清润自在，花如薄绢，叶片浸润犹有滴洒之感。山鸡体态肥硕，脚爪甚有骨力。画面整体优雅娴静，富有美感。",[23,48,24,25,7,27,28,78,410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f12cd162d27310e69972efc06ba6ab.jpg","纵111.2cm，横55.4cm",[],{"id":2455,"slug":2456,"title":2457,"dynasty":18,"author":44,"museum":20,"description":2458,"tags":2459,"thumbUrl":2461,"material":32,"size":2462,"collection":53,"collections":2463,"showCount":2437,"zanCount":38,"manualWeight":38,"mainColor":39},219233,"qiu-tang-fu-yan-tu-yi-ming-219233","秋塘凫雁图","松枝如墨笔皴染，苍劲枝干斜倚塘边，松针细密如丝，织着秋的清寒。几只凫雁散落在岸石上：有的敛翅蜷身，似枕着午后秋光小憩；有的侧颈理羽，绒羽软意与石面凉硬相映成趣。塘水静如镜，淡褐水面漾着若有若无的烟霭，把远天晕成朦胧色块，连风都放缓了脚步。\n\n笔墨简淡却藏极致细腻：每根松针带秋的劲挺，每片羽翎裹塘边静气，连岸石纹理都浸着湿润凉意。这方圆景里，秋意非萧瑟，而是生灵与自然的温柔相拥——宋人把对天地万物的深情，凝在一笔一划、一禽一木的静谧中，让千年后的我们，仍能触到那份清旷与安然。",[23,48,24,27,26,7,2460,333,1927,871,608,2156],"凫雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512ca8a7e13d31ef689e673f06c54768.jpg","24.8x25.2cm",[53,34],{"id":2465,"slug":2466,"title":2467,"dynasty":124,"author":2468,"museum":20,"description":2469,"tags":2470,"thumbUrl":2472,"material":530,"size":2473,"collection":2474,"collections":2475,"showCount":2437,"zanCount":38,"manualWeight":38,"mainColor":39},214312,"min-xian-mo-bao-lin-ze-xu-214312","闽贤墨宝","林则徐","此卷将圣人林则徐、严复、郭尚贤的笔墨集于一卷",[23,124,131,723,2471,7,108,50],"立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63c2bbac2a035f9020459ada7d9b6c2a.jpg","29.1x31.1","书法精选",[2474],{"id":2477,"slug":2478,"title":2479,"dynasty":18,"author":2333,"museum":355,"description":2480,"tags":2481,"thumbUrl":2482,"material":565,"size":566,"collection":81,"collections":2483,"showCount":2484,"zanCount":38,"manualWeight":38,"mainColor":57},289957,"xue-jing-shan-shui-ye-liang-kai-289957","雪景山水页","梁楷，生于1150年，父亲梁端，祖父梁扬祖，曾祖梁子美皆为宋朝大臣。东平须城（今山东东平）人，南宋画家。南渡后流寓钱塘（今浙江杭州）。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。他喜好饮酒，酒后的行为不拘礼法，人称是“梁风（疯）子”。\n梁楷传世的作品包含了《六祖伐竹图》《李白行吟图》《泼墨仙人图》《八高僧故事图卷》等，但以《泼墨仙人图》最为有名。",[24,48,7,108,185,181,251,493,182,1999],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626a1cd836e0e08dc4762048b518eb9f.jpg",[],43,{"id":2486,"slug":2487,"title":2488,"dynasty":18,"author":970,"museum":355,"description":2489,"tags":2490,"thumbUrl":2496,"material":565,"size":566,"collection":81,"collections":2497,"showCount":2484,"zanCount":38,"manualWeight":38,"mainColor":57},289345,"jing-zhuang-shi-nv-tu-su-han-chen-289345","靓妆仕女图","苏汉臣（1094年―1172年），汴京（今河南开封）人，北宋画家。北宋徽宗宣和年间（1119~1125）任画院待诏，南宋高宗绍兴年间（1131~1162）复职，南宋孝宗隆兴初年（1163）任承信郎。\n苏汉臣曾为北宋宣和画院待诏，南渡后又复职，隆兴初画佛像称旨，任承信郎。师刘宗古，工画道释、人物臻妙，尤善婴孩，所画货郎图，描画精细，货物繁颐，更为特出。\n苏汉臣师从画院待诏刘宗古，所绘人物、士女及佛道宗教画，用笔工整细劲，着色鲜润。尤擅描绘婴儿嬉戏之景和货郎担，情态生动。传世作品有《秋庭戏婴图》《五瑞图》《击乐图》《婴戏图》等。",[24,7,26,27,973,199,2491,2492,2493,493,2494,2495],"室内场景","妆扮","屏风","盆栽","娴静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461f3a441637bef355b5e52fce686547.jpg",[],{"id":2499,"slug":2500,"title":2501,"dynasty":18,"author":419,"museum":355,"description":2502,"tags":2503,"thumbUrl":2504,"material":565,"size":566,"collection":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-zhu-shao-zong-288421","菊丛飞蝶图-草虫","朱绍宗","图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。",[23,24,7,26,27,28,2577,79,131,723,50],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe49dd3804561dfd01b41e581c283a7eb.jpg",[],{"id":2581,"slug":2582,"title":2583,"dynasty":433,"author":455,"museum":355,"description":2584,"tags":2585,"thumbUrl":2586,"material":565,"size":566,"collection":81,"collections":2587,"showCount":2559,"zanCount":38,"manualWeight":38,"mainColor":39},236818,"fu-rong-can-he-shan-mian-zhou-zhi-mian-236818","芙蓉残荷扇面","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[7,27,28,576,64,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0dd8d66ac4ce3212b6b5df3088965c.jpg",[],{"id":2589,"slug":2590,"title":2591,"dynasty":124,"author":995,"museum":355,"description":996,"tags":2592,"thumbUrl":2593,"material":565,"size":566,"collection":81,"collections":2594,"showCount":2559,"zanCount":38,"manualWeight":38,"mainColor":39},236768,"hua-niao-shan-ren-yi-236768","花鸟扇",[24,25,7,27,28,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f11184dc2996880960c34348e5bdf56.jpg",[],{"id":2596,"slug":2597,"title":2598,"dynasty":124,"author":2599,"museum":355,"description":2600,"tags":2601,"thumbUrl":2602,"material":565,"size":566,"collection":81,"collections":2603,"showCount":2559,"zanCount":38,"manualWeight":38,"mainColor":39},235807,"yuan-ji-mei-hua-tu-shan-shi-tao-235807","原济梅花图扇","石涛","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,7,108,265,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33ad238ab940dbfc5b3cb36729abcd03.jpg",[],{"id":2605,"slug":2606,"title":2607,"dynasty":433,"author":44,"museum":355,"description":2608,"tags":2609,"thumbUrl":2610,"material":565,"size":566,"collection":81,"collections":2611,"showCount":2559,"zanCount":38,"manualWeight":38,"mainColor":39},235558,"wen-chu-lan-shi-shan-mian-yi-ming-235558","文俶兰石扇面","金笺素底之上，淡绿绘就兰叶，萦拂舒展，尽显摇曳灵韵。粉白轻晕兰花，清润柔雅，与枯拙苍劲的顽石相映成趣。棘枝细草点缀其间，更衬出芝兰孤高出尘。\n\n全幅笔墨简净清逸，以简驭繁，将林下幽娴之趣凝于尺幅扇面间，闲淡笔意晕开清雅风骨，尽展幽兰自持高洁的品格，静穆悠远，余韵绵长。",[24,25,7,27,26,929,361,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F503ca5f64cd9854bbf2c310af2ea2948.jpg",[],{"id":2613,"slug":2614,"title":2615,"dynasty":18,"author":44,"museum":627,"description":2616,"tags":2617,"thumbUrl":2618,"material":32,"size":81,"collection":400,"collections":2619,"showCount":2559,"zanCount":11,"manualWeight":38,"mainColor":57},218331,"gao-shi-guan-mei-tu-yi-ming-218331","高士观梅图","虬枝如铁，横斜出崖际，疏影错落间似有暗香暗涌。二三逸士或伫立凝眸，或缓步徐行，衣袂沾霜，望梅枝低眉沉吟，仿佛与寒蕊私语。远山淡抹如黛，近石嶙峋生姿，坡下茅舍隐于林麓，添几分野逸之趣。笔墨简劲，枯笔勾枝显苍劲，淡墨晕山见悠远，将文人孤高清逸的襟怀融于萧瑟冬景。无尘嚣扰耳，唯梅香绕身、山风入怀，尽显宋画“以景托情”的深致。观之如临清寂之境，心随画中逸士，共赴一场与梅的清雅之约。",[23,24,7,27,109,181,265,493,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56eaa9b1aece8be3458c44b1a7f67849.jpg",[400],{"id":2621,"slug":2622,"title":2623,"dynasty":433,"author":2624,"museum":355,"description":2625,"tags":2626,"thumbUrl":2628,"material":565,"size":566,"collection":81,"collections":2629,"showCount":2630,"zanCount":11,"manualWeight":38,"mainColor":39},287797,"hua-hui-cao-chong-shan-chen-hong-shou-287797","花卉草虫扇","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,7,24,48,25,27,26,28,2627,576,79],"花卉草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d257f034c5743e049d2308aee80852.jpg",[],41,{"id":2632,"slug":2633,"title":2634,"dynasty":124,"author":2635,"museum":355,"description":2636,"tags":2637,"thumbUrl":2639,"material":565,"size":566,"collection":81,"collections":2640,"showCount":2630,"zanCount":38,"manualWeight":38,"mainColor":39},237944,"hua-die-tu-shan-ye-ren-xun-237944","花蝶图扇页","任薰","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[48,24,25,7,27,26,28,2638,1822,50],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57bd5590052ab002d16d24d19df57820.jpg",[],{"id":2642,"slug":2643,"title":2644,"dynasty":433,"author":616,"museum":355,"description":2645,"tags":2646,"thumbUrl":2648,"material":81,"size":81,"collection":81,"collections":2649,"showCount":2630,"zanCount":11,"manualWeight":38,"mainColor":39},233799,"li-hua-bai-yan-shan-mian-lu-zhi-233799","黎花白燕扇面","明代画家陆治的花鸟画多表现出与众不同的格调，《梨花双燕图》所展现出的境界与同时期的明代画家甚至于他自己的其他作品也完全不同。工笔与写意结合，勾勒中粗细结合，整幅画上画幅只占小部分，大部分都是题字，并有文征明的亲笔题跋。而在众多题字中尤为值得关注的就是乾隆御题，此作曾经两次被乾隆当皇上和太上皇两个时期展阅过。《梨花双燕图》构图上采用较为传统的对角线方式描绘花枝，敷色雅致，对梨花和燕子形态的描绘生动传神。画面上有作者自题诗句一首，署款“包山陆治制”，并钤有乾隆内府玺印多方。《梨花双燕图》堪称陆治花鸟画代表作。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因居包山，自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[1228,7,24,25,26,27,28,2434,2647,517],"白燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e90a284399b9a35c0b28c400c76c4c.jpg",[],{"id":2651,"slug":2652,"title":2653,"dynasty":18,"author":2654,"museum":355,"description":2655,"tags":2656,"thumbUrl":2657,"material":81,"size":81,"collection":81,"collections":2658,"showCount":2630,"zanCount":38,"manualWeight":38,"mainColor":39},227798,"yao-tai-bu-yue-tu-liu-zong-gu-227798","瑶台步月图","刘宗古","《宋刘宗古瑶台步月图》是宋代画家刘宗古所创作的一幅设色画。\n此图原载《四朝选澡册》（见《石渠宝笈续编》）。\n题 作。\n《 》云：“刘宗古，京师人。\n间（公元1119一1125），以待诏官至成叫郎。\n乱离后，归江左，朝廷方寻访车辂式，而宗古进本称旨，除提举车辂院。\n其画人物，长于成染，不背粉，水墨轻成，但笔墨织弱耳。\n”此画布局疏朗，设色清丽，不失为一件精构。\n本幅无款印。\n对开清 题七言绝句一首。\n钤乾隆内府诸收藏印。\n《石渠宝笈续编·养心殿》著录。\n图页写中秋 赏月情景，人物纤秀，风格婉约，景色空蒙。\n宋人册页中的楼阁画除了描写完整的单体建筑或建筑群的全景，还有描绘建筑局部的作品。\n此页即界画平台的局部，虽只是作为人物活动的背景，但深棕色嵌玉栏杆、莲花柱头装饰和台子的斗拱样式交代得准确清楚，与描绘建筑全图的作品恰是一种互补，展现了 楼阁小品画活泼的表现形式及丰富的表现手法。",[23,48,24,25,7,27,26,109,332,199,711,131,723,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505e3900af9740a371e317730b4d7558.jpg",[],{"id":2660,"slug":2661,"title":2662,"dynasty":18,"author":44,"museum":45,"description":2663,"tags":2664,"thumbUrl":2665,"material":32,"size":2666,"collection":34,"collections":2667,"showCount":2630,"zanCount":38,"manualWeight":38,"mainColor":57},218965,"he-tang-ji-ling-tu-yi-ming-218965","荷塘鹡鸰图","枯枝斜倚间，鹡鸰敛翅而立。羽色黑白相衬：墨色背羽似覆薄霜，腹羽轻敷淡粉，尾羽挺括如剑；尖喙微垂，似在打量水面游弋的细物，爪尖紧扣枝桠，力道藏于柔劲线条。背景是朦胧荷塘一角：淡墨晕染的荷叶若隐若现，水波漾成细碎纹理，远处岸汀模糊成浅褐色块，留白处似有清风掠过。\n\n整幅画以小见大，写实中透着空灵。无繁复堆砌，仅用简练笔墨勾勒生命鲜活——宋人的雅致尽在方寸间。观者于静谧里捕捉自然幽微：鸟的凝神、风的轻拂、水的微动，皆融于淡雅色调，似能听见荷叶婆娑，触到空气里的湿润凉意。",[48,24,25,7,26,27,28,64,112,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa026a32cb53006818e2bc15bbd910790.jpg","22.4x23cm",[34],{"id":2669,"slug":2670,"title":2671,"dynasty":18,"author":2672,"museum":355,"description":2673,"tags":2674,"thumbUrl":2676,"material":32,"size":81,"collection":400,"collections":2677,"showCount":2630,"zanCount":38,"manualWeight":38,"mainColor":57},218596,"gui-zhou-tu-yang-an-dao-218596","归舟图","杨安道","绢素底色晕开时光的温厚，近岸层岩以皴笔刻出苍劲肌理，岸边茅亭隐于林麓，似含待归之意。中流归舟破水而行，船篷织纹细密如织，舟子俯身撑篙，浪涛翻涌处，笔触如丝缕缠连，尽现江水柔劲与动荡。远处峰峦淡染烟霭，山影浮沉于水色之间，天地悠远尽纳圆幅。细劲线条勾摹山水清旷，墨色层次含蓄蕴藉，既见自然之浩渺，又藏归舟之温情——烟波里每道波纹，皆似诉说归途远近，观者于静谧中触到羁旅者的心跳，于方寸间感怀天地与人心的交融。",[23,24,48,7,27,181,182,2675,818,239,50,113,470],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97e0d78ead1baca9afea6b99613fa71.jpg",[400],{"id":2679,"slug":2680,"title":2681,"dynasty":275,"author":2682,"museum":277,"description":2683,"tags":2684,"thumbUrl":2685,"material":133,"size":2686,"collection":400,"collections":2687,"showCount":2630,"zanCount":38,"manualWeight":38,"mainColor":39},217890,"yun-shan-tu-fang-cong-yi-217890","云山图","方从义","这幅图画描绘了云山之间的壮丽景色。方从义精细地捕捉了云山间的层次感，并使用清晰的线条勾勒出了山体的轮廓。同时，他还运用了多种不同的颜色来表现云山的美丽，让图画整体看起来十分生动。\n\n除了描绘自然景色，云山图中还有许多人物和动物的身影。这些人物和动物与山体相互呼应，使图画看起来更加真实。\n\n总的来说，云山图是一幅令人惊叹的艺术杰作，值得一看。",[24,25,7,108,185,181,785,1104,360,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027831a0ebcaf82168a5a483608c7ea1.jpg","22.9x25.1cm",[400],{"id":2689,"slug":2690,"title":2691,"dynasty":18,"author":105,"museum":355,"description":709,"tags":2692,"thumbUrl":2694,"material":565,"size":566,"collection":81,"collections":2695,"showCount":2696,"zanCount":38,"manualWeight":38,"mainColor":57},289344,"gu-song-lou-ge-tu-ma-yuan-289344","古松楼阁图",[7,24,25,331,108,185,1895,332,181,2693],"萧疏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feecdcd1b7f2e5df3f39c8f2645afbde3.jpg",[],40,{"id":2698,"slug":2699,"title":2700,"dynasty":124,"author":44,"museum":126,"description":2701,"tags":2702,"thumbUrl":2703,"material":81,"size":81,"collection":400,"collections":2704,"showCount":2696,"zanCount":11,"manualWeight":38,"mainColor":39},236182,"hong-wu-shan-shui-shan-mian-yi-ming-236182","弘旿山水扇面","此作用笔松秀温润，以淡墨皴擦写尽山林意趣。取景幽寂，草堂临水依林而建，柴扉半虚掩，暗合幽居避俗之思。坡岸错杂，古木虬曲苍劲，细笔点染枝叶，疏密间尽显山野萧森之态。曲水蜿蜒绕于石滩，右侧崖壁悬泉轻落，为静谧山居添了几分灵动生机。\n\n整幅浅施淡彩，干笔勾勒山石肌理，湿墨晕染林木华滋，将文人林泉高致凝于尺幅。无市井喧嚣，只余丘壑闲澹之美，淡远清和，引人沉湎于这份江南山居的悠然雅意之中。",[24,25,7,181,185,108,548,239,333,238,1105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8e5ed61aa16afbae7a5f0315de3a66.jpg",[400],{"id":2706,"slug":2707,"title":2708,"dynasty":275,"author":1819,"museum":355,"description":2709,"tags":2710,"thumbUrl":2712,"material":81,"size":81,"collection":81,"collections":2713,"showCount":2696,"zanCount":38,"manualWeight":38,"mainColor":39},228016,"xiao-niao-tu-tuan-shan-qian-xuan-228016","小鸟图团扇","此作截取清秋小景，斜出的桂枝缀着苍润绿叶，细碎黄花藏于叶底，似有暗香悠悠溢出。枝头的白头鹎栩栩如生，白羽如凝雪覆于头颈，青灰背羽晕染出柔和层次，尖喙微张，仿佛正啼鸣于凉秋。\n\n画家以淡墨晕染底色，设色清隽雅致，未作繁复勾勒，只以轻染淡彩便将花鸟形神尽数描摹，尽显幽淡闲远的文人意趣。尺幅团扇间，将秋日清寂里的鲜活生机定格，把山野寻常小景晕染成充满诗意的刹那剪影，笔底带着松弛闲散的文人情思，淡而有味，雅韵悠长。",[23,48,24,25,7,27,28,2711,169,50],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ab02594b013a2f743dbd67a5ec0c06.jpg",[],{"id":2715,"slug":2716,"title":2717,"dynasty":18,"author":44,"museum":45,"description":2718,"tags":2719,"thumbUrl":2720,"material":32,"size":2721,"collection":400,"collections":2722,"showCount":2696,"zanCount":11,"manualWeight":38,"mainColor":897},217068,"xi-qiao-gui-qi-tu-yi-ming-217068","溪桥归骑图","《溪桥归骑图》是一幅综合了山水、人物和动物的图画。画中，山水景色非常美丽，清澈的小溪流过葱郁的山谷，山峰高耸入云，森林茂密，景色宜人。在溪边，一名骑马而归的男子和他的马从远处走来，似乎是从旅行中归来。画中还有许多生动的动物，如嬉戏的鹿、石鸡等。",[24,7,181,1433,109,548,185,27,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc46ceb389667c533df831b73b9a5047.jpg","18.3x29cm",[400],{"id":2724,"slug":2725,"title":2726,"dynasty":18,"author":262,"museum":355,"description":1945,"tags":2727,"thumbUrl":2728,"material":565,"size":566,"collection":81,"collections":2729,"showCount":2730,"zanCount":38,"manualWeight":38,"mainColor":57},287890,"zi-li-shan-qin-tu-zhao-ji-287890","紫荔山禽图",[24,7,48,25,26,27,28,1028,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe470cd29f5ac84389785a1d6adc8e420.jpg",[],39,{"id":2732,"slug":2733,"title":2734,"dynasty":124,"author":995,"museum":355,"description":996,"tags":2735,"thum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青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 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[1] 。团扇起源于中国。扇子最早出现在商代，用五光十色的野鸡毛制成，称之为“障扇”。\n当时，扇子不是用来扇风取凉，而是作为帝王外出巡视时遮阳挡风避沙之用。西汉以后，扇子开始用来取凉。三国时诸葛亮轻摇鹅毛扇，妙计横生，运筹帷幄。羽扇出风缓软，不入腠理。东汉时，大都改羽扇为丝、绢、绫罗之类织品，以便点缀绣画。一轮明月形的扇子称之为“纨扇”或“团扇”，也叫“合欢扇”。当时扇子有长圆、葵花、梅花、六角、匾圆之形；亦有木、竹、骨等材之柄；还有扇坠、流苏、玉器之饰。\n宋以前称扇子，都指团扇。王昌龄《长信愁》诗：“奉帚平明秋殿开，且将团扇共徘徊”。《杖扇新录》载：近世通用素绢，两面绷之，或泥金、瓷青、湖色，有月圆、腰圆、六角诸式，皆倩名人书画，柄用梅烙、湘妃、棕竹，亦有洋漆、象牙之类。名为“团扇”。圆形或近似圆形扇面，扇柄不长。现在的团扇扇柄较长，越来越符合大众审美。",[23,48,24,25,7,27,109,26,199,200,482,1620,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a0f76cfffbd1d013df65fbdf7e9d6f.jpg",[],{"id":2870,"slug":2871,"title":2872,"dynasty":275,"author":2873,"museum":126,"description":2874,"tags":2875,"thumbUrl":2876,"material":495,"size":2877,"collection":400,"collections":2878,"showCount":2835,"zanCount":38,"manualWeight":38,"mainColor":57},221736,"shu-shi-tu-wan-shan-zhao-yuan-221736","树石图纨扇","赵原","图绘疏树坡石，远岫平溪，水天一色。山势平缓，形如窠石。山峦用侧锋勾出轮廓和脉络，再以淡墨加彩皴染，类似层云。树干随写随皴，并用浓墨点疤节，树枝似龙角或凤尾，错落有致。笔法圆秀。构图平远。",[23,24,25,7,108,185,360,361,493,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d958098ca36462d23e5bfbb73f9ed9.jpg","纵25厘米，横19．7厘米",[400,498],{"id":2880,"slug":2881,"title":2882,"dynasty":275,"author":2883,"museum":196,"description":2884,"tags":2885,"thumbUrl":2886,"material":32,"size":2887,"collection":204,"collections":2888,"showCount":2835,"zanCount":11,"manualWeight":38,"mainColor":57},219597,"ma-ren-xing-tu-ren-ren-fa-219597","马人形图","任仁发","画面以深苑楼阁为衬，廊间仕女凭栏窥望，中庭处马作人形扬蹄起舞，周遭观者环立，将私邸宴乐的融融欢趣铺陈开来。\n\n界画工细严整，楼宇台阁层叠错落尽显规制精巧，人物衣袂飘举灵动柔婉，设色古雅沉润，晕染柔和自然，把贵族家眷宴饮观舞的闲逸图景刻画入微。古旧绢面晕开的淡痕更添岁月意韵，定格了元代世俗声色的一隅，尽显笔底细腻的观察力，将雅集间松弛悠然的意趣娓娓道来。",[48,24,25,7,27,331,109,1433,332,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4752ad7bcbf37d7ad54a02274fa11273.jpg","25.5×24.7厘米",[204],{"id":2890,"slug":2891,"title":2892,"dynasty":275,"author":44,"museum":2192,"description":2893,"tags":2894,"thumbUrl":2896,"material":32,"size":2897,"collection":400,"collections":2898,"showCount":2835,"zanCount":38,"manualWeight":38,"mainColor":57},218209,"song-quan-gao-shi-tu-yi-ming-218209","松泉高士图","图画的背景是一片茂密的森林，松树和松针在风中摇曳。整幅图画给人以庄严肃穆的感觉，表达了对松泉高士伟大品格的敬意。",[24,48,7,27,181,109,110,2895,239,238,333,185],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4041017ea2d172063a033356abfa97ad.jpg","24x27.3cm",[400],{"id":2900,"slug":2901,"title":2902,"dynasty":433,"author":763,"museum":355,"description":764,"tags":2903,"thumbUrl":2904,"material":565,"size":566,"collection":81,"collections":2905,"showCount":2906,"zanCount":38,"manualWeight":38,"mainColor":39},235796,"chen-dao-fu-tian-xiang-tu-shan-ye-chen-chun-235796","陈道复天香图扇页",[7,108,28,1822,131,723,50,1114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc792f32bb6847098aa7d32e3c97c6c5e.jpg",[],36,{"id":2908,"slug":2909,"title":418,"dynasty":18,"author":419,"museum":355,"description":2910,"tags":2911,"thumbUrl":2913,"material":81,"size":81,"collection":81,"collections":2914,"showCount":2906,"zanCount":38,"manualWeight":38,"mainColor":39},227736,"shi-dan-ying-xi-tu-li-song-227736","《市担婴戏图》是宋代画家李嵩创作的一幅绢本浅设色画，现藏于台北故宫博物院。此画描绘老货郎担着琳琅满目的百货，妇女、孩童蜂拥而来的情景。",[24,25,7,26,422,27,109,425,2912,333,1986,974,2298],"市担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ae9504a8080a71cacabd3b44df2120.jpg",[],{"id":2916,"slug":2917,"title":2918,"dynasty":18,"author":2333,"museum":1579,"description":2919,"tags":2920,"thumbUrl":2922,"material":188,"size":2923,"collection":81,"collections":2924,"showCount":2906,"zanCount":38,"manualWeight":38,"mainColor":57},221614,"xue-shan-xing-lv-tuan-shan-liang-kai-221614","雪山行旅团扇","画面以大雪覆盖的高山为背景，绘有一位在酷冬严寒之中骑驴的旅人，与南宋马远、夏珪风大量使用留白、仅表现出自然一角的山水画不同，这幅画出色地表现出大自然的博大精深。画面中相对于大雪山显得细微渺小的骑驴人物的精细表现、以及雁群飞过山等画面的各个角落都展现了梁楷的精妙笔法，如实地体现了梁楷作为山水画家的不凡功力。",[23,48,24,7,108,181,1443,1433,238,493,109,2044,333,251,2921,185],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6642a6a7959b2fdb36f7e5b0ea9b676.jpg","24.3x25.7厘米",[],{"id":2926,"slug":2927,"title":2928,"dynasty":18,"author":302,"museum":1579,"description":2929,"tags":2930,"thumbUrl":2931,"material":829,"size":2932,"collection":81,"collections":2933,"showCount":2906,"zanCount":38,"manualWeight":38,"mainColor":57},221570,"wu-wei-tu-xia-gui-221570","五位图","夏圭是善于在绘画中“用虚”的大师，在这幅《白鹭五位图》中，他利用了留自来表现江山湖泊的辽阔深远，虽未着一笔，却能“无画处皆成妙境”，给人无限遐想的空间。在这幅画中，溪水则以简练的线条勾勒，部分留白，盘曲掩映，时隐时现，难觅其踪，表现出流水的清澈和流动感。",[23,24,25,48,7,27,111,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e55800cf5769403bf51a5e8263db06c.jpg","26.5x27厘米",[],{"id":2935,"slug":2936,"title":2937,"dynasty":18,"author":44,"museum":20,"description":2938,"tags":2939,"thumbUrl":2942,"material":32,"size":2943,"collection":53,"collections":2944,"showCount":2906,"zanCount":38,"manualWeight":38,"mainColor":39},218888,"shen-shu-mao-tang-tu-yi-ming-218888","深树茅堂图","浓荫匝地，苍树如幄，茅堂隐于深翠间，似被林岚轻裹。堂内几榻疏朗，有人凭窗闲坐，或观叶动，或听风吟，意态萧然忘尘。笔墨细处见神：树石的皴染层叠生幽，茅舍的勾勒简净含韵，人物姿态虽小却活脱，尽显宋人对闲居之趣的精微捕捉。无艳色张扬，仅以墨色浓淡铺陈山林静谧，每一处线条皆藏着对自然的敬畏与对隐逸的向往，将宋画小品的雅致含蓄，凝作一方可居可游的林下清境，引人静赏其间悠然。",[23,24,7,108,27,181,360,2940,1548,2941,185],"茅堂","深树","https:\u002F\u002Foss.chuangqi.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。\n图中绘小竹数竿，清翠欲滴，两只山雀栖于枝头，一只低头俯视，一只眺望前方。\n竹用双钩填彩，笔墨缜密严谨，色调沉着。\n山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有质感。\n图绘白头翁鸟两只，栖于丛竹之中。\n图中的丛竹，自竹篁中长出的几枝落叶的老枝，画幅左上方伸展，这就打破了左面景物过于稀疏的格局。\n左侧的老枝，竹叶开始枯黄，在几处竹叶根部略见积雪，分明是初冬时节。\n两只鸟伫立于一根枝权上，上者低头梳理羽毛，长尾下垂；下者凝视前方，姿态逼肖。\n本幅无款。\n钤鉴藏印“佟氏家藏”。\n此图过去一直被认为代表了唐代李思训画派的风格，后经傅熹年考证，认为其时代上限不超越南宋中期，而且很可能出自既不了解唐代宫苑之制、也未亲见宋代宫苑贵邸的临安以外地区的民间画家之手。\n此图画竹先以浓墨细笔勾出枝叶，再以淡色渍染，染色时从尖到根逐渐加深，叶根部留白作雪。\n笔墨严谨，色调沉着。\n设色除了竹叶较重的青绿，其他部分用色都很清淡，做到工而不板，丽而不俗。\n两只白头翁先用笔层层晕染，然后用尖毫细笔画出它们身上的绒羽，这样刻画出丰满可爱的白头翁形象，与竹枝、竹叶的劲利画法不同，而柔软蓬松的翎羽与刚直劲挺的竹枝、竹叶，形成艺术效果的对比。\n足见作者在此图上施以多种手法而得到的艺术效果甚佳。\n这是作者对自然界的花鸟进行认真观察、勇于摸索、不断实践创作的结果。\n画面上，两只白头翁立在竹枝之间．一只平视前方，另一只低着头，用喙梳理羽毛，动作显得十分传神。\n竹子采用双钩填彩画法，尤是竹叶似剑锋不锐利。\n在着布局上，色调构图缜密。\n《白头丛竹图》在用线上，竹的线条勾勒坚挺劲利，用笔顿挫提按有力，叶的勾勒显出飘逸、灵动，枝的用线则稳健，叶与枝在统一中求变化。\n白头翁身上的绒羽则用尖毫细笔勾出，与竹一柔一刚形成强烈的张力，既表明了两者形态、质感上的不同，也强化了内在的冲突：环境严寒、凛冽而白头翁的温柔可爱。\n凌寒不屈的寓意需要相应的笔法和设色与之相称。\n白头翁作为主体以黑、白、灰为主，既朴素大方，又对比强烈地镇住画面。\n在中国传统色彩学中，黑与白是所有色彩中的极色，它们在这幅画中被赋予特殊的关注。\n衬景的竹子先染墨后施色，显出了色调的沉着，竹叶稳沉的绿与古铜色绢底既有反差，又有参差的层次，构成和谐的统一。\n叶尖、叶背以及次要的竹枝淡淡施以摊墨，进一步融合了绢与竹在色彩与空间上的联系。\n通幅调子淡雅、朴素、沉着，既是客观的写照而又融人主观的情趣，体现了工笔花鸟画形式所特有的设色的法度：主辅必明，傅染必渐，洪托必匀，雅俗必分，层层值染，使得墨与色和谐相融。\n这一切不仅增加了色彩的厚度，而且也使画面显得细腻而丰富。\n这种微妙屯自然、柔和的变化及空间控制之精妙，是意笔花鸟画难以企及的。\n在构图上，静态的白头翁栖于主位，理羽的白头翁处于辅位，一静一动主次的安排，既莫定画面“静”的基调又使画面有“动”的生气。\n衬景中最醒目的竹干从画面中下部向左中下方斜长出画外，白头翁站立的竹枝伸向右中上方，与右斜带叶小枝形成右上方与中下部的连势，加之竹叶横生长势，与白头翁站立的竹枝同长于一个竹节点，但长势相反且与止于画面的辅枝一起，形成多层次的、非十字形的交叉，既丰富又统一，与冲出画外的竹干长势一同把人的联想引到画外无限的空间。\n会员李敬仕：画家以不同的手法，表现了不同对象的质感和精神气质，使白头翁与劲利的竹枝、叶片形成刚柔对比的艺术效果。",[23,48,24,25,7,940,26,27,28,280,112,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eabac537775fc8e4c72a25d5260302.jpg",[34],{"id":2986,"slug":2987,"title":2988,"dynasty":124,"author":2812,"museum":355,"description":2813,"tags":2989,"thumbUrl":2990,"material":2816,"size":2817,"collection":81,"collections":2991,"showCount":2970,"zanCount":38,"manualWeight":38,"mainColor":39},222625,"shan-shui-shan-mian-4-gong-xian-222625","山水扇面-4",[23,7,24,25,108,185,181,184,548,333,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030eef42f9fe02485556236ab0f68ff9.jpg",[],{"id":2993,"slug":2994,"title":2995,"dynasty":18,"author":44,"museum":20,"description":2996,"tags":2997,"thumbUrl":2998,"material":32,"size":2999,"collection":400,"collections":3000,"showCount":2970,"zanCount":11,"manualWeight":38,"mainColor":39},219040,"shui-xuan-hua-xie-tu-yi-ming-219040","水轩花榭图","露台建在岩石上，有一个开放的亭子，下面是一片树林。一条走廊半藏在绿色景观中，其另一端通向两个大厅堂。建筑物的主要部分被小心翼翼地放在画的下半部分，这样，[上半部分]的白色空间就变得更加宽广，而背景是月亮的天空，则非常遥远！。这是南宋微型山水画中典型的空间表达方式。画中的建筑画得很精致，具有逼真写实的艺术风格。画中的人物都有宋人纤细的体态，摆放祭品和攀登亭子可能是官家在仲夏夜的活动写照。",[23,24,7,27,331,26,332,113,305,1683,238,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c80f01916371f7568e1b5d290868c0.jpg","24.8x25.8",[400],{"id":3002,"slug":3003,"title":3004,"dynasty":124,"author":125,"museum":355,"description":1215,"tags":3005,"thumbUrl":3006,"material":565,"size":566,"collection":81,"collections":3007,"showCount":3008,"zanCount":38,"manualWeight":38,"mainColor":39},290522,"qing-fu-rong-yuan-yang-yun-shou-ping-290522","清芙蓉鸳鸯",[7,24,48,25,28,27,26,576,754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6faa670a9de5d2a3fdb5690327caf1.jpg",[],34,{"id":3010,"slug":3011,"title":3012,"dynasty":124,"author":3013,"museum":355,"description":3014,"tags":3015,"thumbUrl":3017,"material":565,"size":566,"collection":81,"collections":3018,"showCount":3008,"zanCount":38,"manualWeight":38,"mainColor":39},236377,"xu-gu-song-shu-pu-tao-shan-ye-xu-gu-236377","虚谷松鼠葡萄扇页","虚谷","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[24,25,7,27,108,362,3016,558,28],"松鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250ff96f9b0cc51a3c44c944ddd83da6.jpg",[],{"id":3020,"slug":3021,"title":3022,"dynasty":18,"author":44,"museum":355,"description":3023,"tags":3024,"thumbUrl":3026,"material":81,"size":81,"collection":81,"collections":3027,"showCount":3008,"zanCount":38,"manualWeight":38,"mainColor":39},227935,"qing-feng-ju-die-tu-yi-ming-227935","青枫巨蝶图","《青枫巨蝶图》是宋代佚名画家创作的一幅绢本设色画。\n描绘了伸出嫩绿色枫树一株，枝叶婆娑。\n一只赭黄色巨蝶从右上侧凌空飞临，与枫叶构成平衡的对角关系。\n本幅无款。\n鉴藏印钤“大观”葫芦形朱文印以及“石渠宝笈”、“乐 善堂图书记”、“重华宫鉴藏宝”印。\n钤清乾隆、嘉庆二御览印。\n图左下方更有鲜红色 伏于枫叶之上，十分俏皮。\n画风高度写实，细致入微。\n画法的特点一是细线勾勒，笔若游丝，使蝶与枝、叶的形态皆极为轻倩灵秀；二是设色淡雅明快，红、绿、黄对比鲜明，给人以清新出尘之感，不落浓艳俗套。\n存《 》册中。\n《 》著录。",[23,48,24,25,7,27,28,26,3025,79,50],"枫树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b2cd2c17f1f932ab06e135ac4df848.jpg",[],{"id":3029,"slug":3030,"title":3031,"dynasty":275,"author":44,"museum":45,"description":3032,"tags":3033,"thumbUrl":3034,"material":32,"size":3035,"collection":400,"collections":3036,"showCount":3008,"zanCount":38,"manualWeight":38,"mainColor":57},215144,"xuan-pu-chun-shen-tu-yi-ming-215144","悬圃春深图","悬圃春深图是一幅元朝（1271-1368）时期的图画，作者佚名。这幅图展示了一个人站在悬圃之上，俯视着春天的景色。悬圃是一种古老的中国园林建筑，通常是一个圆形的小建筑，用来观赏周围的景色。在这幅图中，悬圃上的人可以看到树木芽生，花儿开放，鸟儿欢快地唱歌。这幅图捕捉了春天带来的生机勃勃的气息，是一幅生动而优美的作品。",[24,331,27,1008,7,332,181,333,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d3510d20cfcdbf5cc710910d3669f7d.jpg","26x27.8cm",[400],{"id":3038,"slug":3039,"title":3040,"dynasty":18,"author":490,"museum":355,"description":2372,"tags":3041,"thumbUrl":3044,"material":565,"size":566,"collection":81,"collections":3045,"showCount":3046,"zanCount":11,"manualWeight":38,"mainColor":788},289929,"qiu-lin-he-yi-tu-wang-shen-289929","秋林鹤逸图",[7,24,1767,27,305,3042,527,690,112,332,3043,1897],"秋林","湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623db88646b4856450cfc34a8a105256.jpg",[],33,{"id":3048,"slug":3049,"title":3050,"dynasty":433,"author":3051,"museum":355,"description":3052,"tags":3053,"thumbUrl":3055,"material":565,"size":566,"collection":81,"collections":3056,"showCount":3046,"zanCount":38,"manualWeight":38,"mainColor":39},237801,"hua-die-shan-wu-shi-pei-237801","花蝶扇","吴时培","此作以没骨法绘就，构图疏密相宜。左畔折枝错落，红果碎花点缀其间，晕染柔润鲜亮，尽显草木鲜活生机。中部草虫伏于阔叶之上，翅脉纹路勾勒细致，将虫豸之态摹写逼真。右侧双蝶振翅翩跹，灵动轻盈，仿佛携着微风掠过花间。\n\n设色清雅明丽，没骨晕染衬出花叶柔润质感，工写相融，既有写生的生动写实，又不失文人写意的澹澹雅致。题款与画面相映成趣，将花间逸趣凝于咫尺扇面，静中藏动，尽显悠然雅致的文人意趣。",[7,24,25,27,28,79,214,3054,169],"石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F237f267cd73fc030b9c293426b428408.jpg",[],{"id":3058,"slug":3059,"title":3060,"dynasty":124,"author":880,"museum":355,"description":881,"tags":3061,"thumbUrl":3062,"material":565,"size":566,"collection":81,"collections":3063,"showCount":3046,"zanCount":38,"manualWeight":38,"mainColor":39},237691,"ying-su-hua-wan-shan-zhang-xiong-237691","罂粟花纨扇",[48,24,25,7,27,26,28,111,214,2404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232c70277cf671993d3a7637e9c67d0c.jpg",[],{"id":3065,"slug":3066,"title":3067,"dynasty":124,"author":1304,"museum":355,"description":3068,"tags":3069,"thumbUrl":3070,"material":81,"size":81,"collection":81,"collections":3071,"showCount":3046,"zanCount":11,"manualWeight":38,"mainColor":57},234703,"she-se-hong-mei-lan-hua-shan-mian-wu-chang-shuo-234703","设色红梅兰花扇面","香骚遗意。老缶又涂于禅甓轩。缶（朱文） 迢迢雁落沙连海，滑滑禽言树抱轩。天似穹庐梅古雪，一年好事半淞园。躄一足如仙隔尘，澹云微雨去寻春。几生修到梅知否，临笑无端见美人。半淞园看梅。沽酒怡白云，吹笛坐黄犊。江花泊岸红，山雨下庭绿。题画。壶叟属书。丙寅夏，吴昌硕年八十三。苦铁良铁也。《周礼》：典丝……则受良工而藏之……郑云：良当作苦，则苦亦良矣。大聋。吴昌石（朱文）　苦铁（白文）",[24,25,7,27,28,265,929,131,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa22462af8c7db2282cd725846a281295.jpg",[],{"id":3073,"slug":3074,"title":7,"dynasty":124,"author":995,"museum":355,"description":3075,"tags":3076,"thumbUrl":3078,"material":81,"size":81,"collection":81,"collections":3079,"showCount":3046,"zanCount":38,"manualWeight":38,"mainColor":39},230121,"shan-mian-ren-yi-230121","此作以秋瓜入绘，工写兼施。枯荣相参的瓜叶，或褐黄带霜尽显残秋意态，或鲜绿含润犹存生机，筋脉勾勒细劲婉转，敷色古雅沉着，将时节更迭里的枯荣对照铺陈尽致。虬曲藤蔓牵绕棚架，墨色枯湿浓淡互衬，野趣横生。左上角题款落印，文气与画境相融无间。\n\n画师以灵秀笔触，跳脱院体刻板，将寻常瓜蔬绘就清寂鲜活的秋韵，把日常风物升华为雅致的文人意趣，淡朴中见情致，尺幅团扇间藏尽晚清秋光，尽显花鸟画雅俗共赏之妙。",[24,7,27,26,28,3077,64],"虾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32bcbe0e39807d36839a6e5b3ad2916.jpg",[],{"id":3081,"slug":3082,"title":3083,"dynasty":18,"author":44,"museum":355,"description":3084,"tags":3085,"thumbUrl":3086,"material":81,"size":81,"collection":81,"collections":3087,"showCount":3046,"zanCount":38,"manualWeight":38,"mainColor":39},227936,"feng-yu-gui-zhou-tu-ye-yi-ming-227936","风雨归舟图页","这幅扇面以淡墨晕染出烟笼远岫，山影在濛濛水雾里晕开，似有风雨欲来的湿冷之意漫过江天。近岸老树虬曲偃仰，枝桠带风，坡石苍润间杂生的丛草随势披拂，暗合风动之姿。\n\n江面波痕隐现，孤舟破波疾行，舟中人敛缩身形，将急欲归乡的羁旅心绪藏在烟霭里。整幅以留白与晕染营造空濛层次，咫尺扇面铺展出江天浩渺的悠远意境，把江南骤雨将临的萧疏冷寂烘托尽致。淡墨轻岚间，将归思怅惘融在烟水迷茫之中，尽显含蓄雅致，以小见大，在尺幅之间晕开悠悠诗意。",[23,24,25,7,108,27,181,185,182,183,238,333,239,1197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff166f0b2b34f8ed7374b455745c84edb.jpg",[],{"id":3089,"slug":3090,"title":3091,"dynasty":18,"author":44,"museum":355,"description":3092,"tags":3093,"thumbUrl":3094,"material":81,"size":81,"collection":81,"collections":3095,"showCount":3046,"zanCount":11,"manualWeight":38,"mainColor":788},227834,"zheng-qin-tu-ye-yi-ming-227834","争禽图页","折枝山茶斜斜铺展，莹白花朵团簇绽放，叶片晕染出浓淡层次，尽显阴阳向背的苍润生机。两只禽鸟打破静谧，一鸟振翅俯冲，姿态凌厉，细枝上的小雀瑟缩避让，将枝头争闹的瞬间精准定格。\n\n全作用笔精细入微，禽鸟纤毫毕现，山茶设色清润雅致，淡绢底色更衬古雅气韵。以小幅尺幅定格春日花鸟间的刹那灵动，把自然生趣凝练于方寸之间，尽显写生格物、以小见大的精妙造诣，生机满溢，意趣悠长。",[23,48,24,25,7,27,26,28,112,49,144,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7afa4755efb0dfc6d21d7a5d1a31d71.jpg",[],{"id":3097,"slug":3098,"title":3099,"dynasty":18,"author":105,"museum":355,"description":3100,"tags":3101,"thumbUrl":3103,"material":81,"size":81,"collection":81,"collections":3104,"showCount":3046,"zanCount":38,"manualWeight":38,"mainColor":57},227823,"shi-bi-kan-yun-tu-ma-yuan-227823","石壁看云图","这幅小品以边角取景，尽显简淡空灵之美。烟雨如纱晕染朦胧江天，对岸石壁在烟霭中半隐半现，恍若蜃境。左侧老木斜出，苍枝带着疏朗新叶，探向空茫水面，与右下策杖伫立的白衣士人遥遥相望。\n\n士人昂首望云，似在静赏流云舒卷，将世俗心绪尽数融在烟水间。全作用笔苍秀简劲，以水墨晕染铺就空濛氛围感，以少胜多，把文人观云忘机、寄情山水的雅逸襟怀藏在留白之中，尽显含蓄悠远的世外意趣。",[23,24,25,7,181,185,27,109,3102,785,360,238],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4363302bd8bcc307d085b159df2b994.jpg",[],{"id":3106,"slug":3107,"title":3108,"dynasty":18,"author":3109,"museum":355,"description":3110,"tags":3111,"thumbUrl":3115,"material":565,"size":566,"collection":81,"collections":3116,"showCount":3117,"zanCount":11,"manualWeight":38,"mainColor":57},289457,"gui-yu-tu-li-cheng-289457","归渔图","李成","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[7,24,1767,27,185,493,3112,239,182,251,3113,3114],"小屋","归渔","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452eb3b75c778a86f0bc37c9d3e801fd.jpg",[],32,{"id":3119,"slug":3120,"title":3121,"dynasty":18,"author":105,"museum":355,"description":709,"tags":3122,"thumbUrl":3124,"material":565,"size":566,"collection":81,"collections":3125,"showCount":3117,"zanCount":38,"manualWeight":38,"mainColor":57},289365,"yao-yue-jiu-mei-tu-ma-yuan-289365","邀月就梅图",[7,24,48,265,711,181,109,238,108,185,3123],"清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F042efd55f24860f7a9c20cfd921d1aff.jpg",[],{"id":3127,"slug":3128,"title":3129,"dynasty":124,"author":44,"museum":355,"description":1175,"tags":3130,"thumbUrl":3132,"material":565,"size":566,"collection":81,"collections":3133,"showCount":3117,"zanCount":11,"manualWeight":38,"mainColor":57},270157,"luo-xiu-mao-die-shi-liu-tu-mian-hong-mu-diao-hua-bing-tuan-shan-yi-ming-270157","罗绣猫蝶石榴图面红木雕花柄团扇",[7,2796,607,2638,3131,214,776,1177,2298],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19dbf0f31a4b58149f78e50e1ba54345.jpg",[],{"id":3135,"slug":3136,"title":3137,"dynasty":433,"author":1523,"museum":355,"description":3138,"tags":3139,"thumbUrl":3140,"material":565,"size":566,"collection":81,"collections":3141,"showCount":3117,"zanCount":38,"manualWeight":38,"mainColor":39},235791,"tao-he-shan-zhou-chen-235791","桃鹤扇","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[24,25,7,27,26,181,883,112,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8233d53c2b21d9041938e7b34732dd.jpg",[],{"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，字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,7,181,27,185,108,1104,871,333,840,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff182c5839f1f93fccca4fda27fff9d5.jpg",[400],{"id":3216,"slug":3217,"title":3218,"dynasty":124,"author":3219,"museum":355,"description":3220,"tags":3221,"thumbUrl":3222,"material":81,"size":81,"collection":81,"collections":3223,"showCount":3206,"zanCount":38,"manualWeight":38,"mainColor":39},234697,"fang-wu-li-shan-shui-shan-mian-qian-wei-qiao-234697","仿吴历山水扇面","钱维乔","钱维乔（1739~1806），字树参，号竹初居士等，武进（今江苏常州）人，钱维城弟。工书画、擅戏曲。在山水画创作上承袭董其昌的绘画理念，推崇宋元诸家的绘画风格，强调笔墨技法，追求蕴藉平和的审美意趣。\n钱维乔以笔笔有古意为创作宗旨，此图是他仿黄公望、吴镇法，绘制的江南景致。山石的皴擦点染以及树木的勾描，均可见钱氏已能熟练地运用黄、吴的笔墨技法，表现其平淡娟雅的山水意境。",[24,25,7,108,27,185,181,1104,360,840,50,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4796b8f97833f8f76881a0e589dcc.jpg",[],{"id":3225,"slug":3226,"title":3227,"dynasty":124,"author":3228,"museum":355,"description":3229,"tags":3230,"thumbUrl":3231,"material":81,"size":81,"collection":81,"collections":3232,"showCount":3206,"zanCount":38,"manualWeight":38,"mainColor":39},234672,"wu-rui-tu-shan-mian-ni-can-234672","五瑞图扇面","倪燦","倪灿，清初学者、史志目录学家。字闇公，号雁园，江苏省江宁府上元县人。\n其先居钱塘（今浙江杭州）。诸生。康熙六年（1667）中举，十八年（1679）召试博学鸿儒，倪灿中榜，为一等二名，官授翰林院检讨。受荐修《明史》，作《明史艺文志·序》，与姜宸英《刑法志·序》，并称杰作。他鉴于《明史艺文志·序》以专收明一代著述为限，未能补救宋、辽、金、元四朝艺文志所缺，数百年文化史，残缺不全，依据黄虞稷《千顷斋书目》，就补辑宋人所撰“四部”图书“六百七十八家、一万二千七百四十二卷”。与黄虞稷灿哥共同修撰《宋史艺文志补》1卷。鉴于辽金元三史原先都没有纂修艺文志，又编纂《补辽金元艺文志》1卷，由卢文弨校订。对考定宋辽金元各代的学术源流，有很大帮助。开启了清代学者补修史志的工作，于是从补辽、金、元三代入手而蔚为一时风气。自此之后，补成史志目录达20余种。工于诗文，书法则秀绝一时。",[24,7,27,26,28,49,1135,929,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fddc3a7fa3144440dbe0ce07a52adf0.jpg",[],{"id":3234,"slug":3235,"title":555,"dynasty":18,"author":19,"museum":355,"description":3236,"tags":3237,"thumbUrl":3239,"material":81,"size":81,"collection":81,"collections":3240,"showCount":3206,"zanCount":38,"manualWeight":38,"mainColor":57},227974,"pu-tao-cao-chong-tu-lin-chun-227974","《葡萄草虫图》是宋代画家林椿创作的一幅设色扇面画想，现藏于 。\n图中绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，富有生活气息。\n昆虫以双钩填彩绘制，用线刚柔相济，表现出不同的质感，如蜻蜓轻薄的翅膀，蝽象坚硬的外壳。\n藤尖叶边略作点染，表现季节特征。\n此图承袭了北宋的写实画风。\n图绘绿色玫瑰葡萄一枝，须蔓缠绕，硕果累累，垂挂枝叶间，果实晶莹如玉，水分饱满，绿色枝叶，向四周伸展，须子有的曲绕枝干，有的随意飞飘。\n纺织娘在叶子上吸吮着鲜汁；螳螂抬首举前足；蜻蜓刚刚飞停于枝头。\n另有一只金龟子匍伏于葡萄枝上，为葡萄绿叶所掩遮：甲虫落枝叶上，或低头觅食，或抬首举足，形象生动有趣。\n昆虫形象毕肖，富有生趣，给人甜美丰实的精神享受。\n本幅款识“林椿”。\n整个画面题材取景为自然界一隅，十分平常，但对葡萄、叶片、昆虫的描绘真实牛功，具有深厚的写牛功力：林椿工花鸟，师法赵昌，多直接用色彩分别浓淡进行细致描绘：画葡萄分出浓淡不同层次，一气呵成，犹如泼墨，然后用浓墨，以草书法勾口厂筋、藤蔓。\n葡萄叶因用笔用墨的不同而能分出老嫩、正反、枯鲜等状态。\n葡萄果莹润饱满；蜻蜓尤备极工细，神韵奕奕，其翅膀透明轻盈；螳螂的眼睛明亮如镜，镰刀状的前足生有钩刺，日光炯炯，真有“挹露裳初试，迎风斧半撑的气势”。\n都是多层设色，层层晕染，造成形体的凹凸体积和具有质感。\n当然，在某些地方，如葡萄枝十及口卜脉也适当地用细线作一些勾勒，只是这些勾勒已具有粗细浓淡的变化，因此更富有表现力。\n这些为农家随处可见景物，画家以独具的慧眼撷之入画，可谓别开生面-总体来说，此图用笔精细，设色轻柔，变化层次微妙，工写兼施，相映成趣；构图善从一角出发，全幅荡漾着空灵的诗意、画面左下方署有“林椿”二宁款，小楷书，无收藏印。\n此幅为林椿真迹代表之作。\n《葡萄草虫图》体现了“以实写虚，意味无穷”的画风，表现出“诗中有画，画中有诗”和“诗是无形画，画是有形诗”的不同艺术意蕴风格，并求通过真实、具体的形象，抒写作者的感情，以激起读者的想象和联想，产生艺术魅力。\n整体画面的表现为虚实关系的进一步发展，体现了画家对物象的刻画以诗意的意境和气韵来追求现实的全实的客观精神，这就使得宋代宫廷花鸟画以自由来追求自然与人审美情怀，这就构成了一个高超的艺术境界。\n宋代绘画风格的现实性不仅是客观的物象，是画家用“写实”语言，在充分尊重客观对象，并按照创作需要和审美观念来对客观分析一系列的艺术，从而描述一个故事来表达自己的思想感情和精神寄托。\n可以看出，古代绘画通过“现实主义”的表现手法，不仅是形象的东西，而且还真正体现了事物的状态，画中所绘的动植物不仅真实存在，符合动植物的生长规律及习性还符合当时的时间，地点和情境。\n裱边旧题签：“林椿葡萄草虫。\n”存《名笔集》册中。\n经《虚斋名画录》卷十一、《中国古代书画目录》第二册著录。\n林椿（生卒年不详），钱塘（今浙江杭州）人。\n孝宗淳熙（1174－1189年）时为画院待诏，由于其画艺高超，受赐金带。\n所绘花鸟、果品、草虫小品为多，画法远师赵昌，近取李迪，时人赞为“极写生之妙，莺飞欲起，宛然欲活。\n”",[23,24,48,25,7,26,27,28,558,559,3238,30],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282864883129152b7ca84a825688e9bf.jpg",[],{"id":3242,"slug":3243,"title":3244,"dynasty":18,"author":105,"museum":355,"description":3245,"tags":3246,"thumbUrl":3247,"material":81,"size":81,"collection":81,"collections":3248,"showCount":3206,"zanCount":38,"manualWeight":38,"mainColor":57},227826,"she-se-shan-shui-tu-ma-yuan-227826","设色山水图","《黄宾虹浑厚华滋的山水画》内容简介：黄宾虹是一位学者型的画家，也是我国杰出的山水画大师。\n他既师古人，更师造化。\n其山水画色调浓黑，浑厚华滋。\n他的山水画黑、密、厚、重，淋漓尽致、大气磅礴，而具有浑厚华滋、意境深邃的特色。\n黄宾虹山水画特别强调线条质量，他以金石篆书的线条来强化画的风骨，使之苍劲老辣、浑厚古拙。\n《黄宾虹浑厚华滋的山水画》由 出版。\n黄宾虹作为中国近现代绘画史上高标独立的画家，其一生经历丰富，学养深厚。\n在文史研究及中国画实践中造诣非凡。\n本图书以图文并茂的形式，充分诠释黄宾虹将古典山水绘画向近现代山水绘画转变的伟大界标作用。\n在古典与现代关捩处 黄宾虹早期山水作品 拟龚贤山水图册 拟古人山水图册之一 拟古人山水图册之二 拟古人山水图册之三 拟古人山水图册之四 拟古人山水图册之五 拟古人山水图册之六 仿宋人画意图轴 临倪瓒山水图轴 林亭孤坐图轴 溪山亭树图轴 丹崖翠壁图轴 江上雨霁图轴 古木幽岸图轴 曲径云峰图轴 轻舟夜色图轴 歙县渔梁图册 设色山水屏之一 设色山水屏之二 设色山水屏之三 设色山水屏之四 山疏水浅图轴 拟宋人画意图轴 松阴听泉图轴 登高望远图轴 黄宾虹中期山水作品 临王维画稿 临赵令穰、关仝画稿 临赵孟烦画稿 临巨然、高克恭画稿 临董源画稿 临范宽画稿 临王维、荆浩画稿 临黄公望画稿 临黄公望、马远画稿 临李唐画稿 临郭熙画稿 临米芾画稿之一 临米芾画稿之二 临范宽画稿 临李成画稿 临倪瓒画稿 临马远画稿之一 临马远画稿之二 黄山写生画稿之一 黄山写生画稿之二 黄山写生画稿之三 黄山写生画稿之四 黄山写生画稿之一 黄山松写生画稿之一 黄山松写生画稿之二 黄山松写生画稿之三 黄山松写生画稿之四 鼋峰写生画稿 江郎山写生画稿 武夷写生画稿之一 武夷写生画稿之二 武夷写生画稿之三 武夷写生画稿之四 武夷写生画稿之五 武夷写生画稿之六 武夷写生画稿之七 武夷写生画稿之八 武夷写生画稿之九 武夷写生画稿之十 武夷写生画稿之十一 武夷写生画稿之十二 武夷写生画稿之十三 武夷写生画稿之十四 桂林写生画稿 香港九龙写生画稿之一 香港九龙写生画稿之二 香港九龙写生画稿之三 香港九龙写生画稿之四 临安写生画稿之一 临安写生画稿之二 临安写生画稿之三 南海写生画稿之一 南海写生画稿之二 四川写生画稿之一 四川写生画稿之二 设色山水图册 奔泉图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 丛林折瀑图轴 深山烟岚图轴 松山静坐图轴 古寺松云图轴 设色山水图轴 湘水秋山图轴 浙东纪游图轴 设色山水图轴 金华万罗山居图轴 设色山水图册 山居车水图轴 设色山水图轴 峨山风景图轴 雁荡三折瀑图轴 拟宋人江山无尽图轴 设色山水图册 设色山水图册之一 设色山水册图之二 设色山水图册之三 设色山水图册之四 设色山水图轴 黄宾虹晚期山水作品 栖霞晓望图轴 深山古寺图轴 设色山水图轴 水墨山水图轴 烟霭空漾图轴 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图轴（背面画） 设色山水图横幅 设色山水图册 设色山水图册 设色山水图册之一 设色山水图册之二 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图横幅 设色山水图轴 玉泉纪游图轴 用范宽法山水图轴 设色山水图轴 水墨山水图轴 水墨山水图轴 设色山水图轴 焦墨山水图轴 设色山水图轴 水墨山水图横幅 蜀中山水图轴 雨景山水图轴 拟巨然山水图轴 湖山初霁图轴 溪桥烟雨图轴 溪桥烟霭图轴 水墨山水图横幅 水墨山水图横幅 设色山水图轴 水墨山水图轴 雁荡诸峰图轴 桃花溪图轴 拟元人简笔山水图轴 拟程邃山水图轴 夜山图轴 设色山水图轴 设色山水图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 设色山水图册之七 设色山水图册之八 设色山水图册之九 设色山水图册之十 设色山水图册之十一 设色山水图册之十二 设色山水图册之十三 设色山水图册之十四 设色山水图册之十五 设色山水图册之十六 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”成为中国绘画的传统题材。\n“ ”又谐“余”之音，有祝颂丰穰之吉祥寓意。\n本幅无款。\n鉴藏印钤“季彤平生真赏”、“庞莱臣珍藏宋元真迹”。\n裱边钤“虚斋审定名迹”。\n图中绘小鱼5尾，欢快地游戏于荇藻之间。\n鱼身用没骨法墨染而成，其光滑、细腻而富于弹性的质感表现得非常充分，线条圆浑流畅；黑脊与白肚之间过渡自然；口、眼、鳍、尾之刻画逼真而具立体感。\n鱼的游向各异，远近分明，荇藻轻灵而富于动感，构图生动活泼，是宋人画鱼的名作。\n存《名笔集胜》册中。\n《虚斋名画续录》著录。",[23,48,24,25,7,26,108,27,2165,3445],"藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a01514fa33b348d72283aebee102b35.jpg",[],{"id":3449,"slug":3450,"title":3451,"dynasty":18,"author":44,"museum":355,"description":3452,"tags":3453,"thumbUrl":3454,"material":81,"size":81,"collection":81,"collections":3455,"showCount":3381,"zanCount":38,"manualWeight":38,"mainColor":57},227854,"shan-shui-tuan-shan-yi-ming-227854","山水团扇","危崖嶙峋踞于近岸，枯木萧疏间细泉漱石，凛凛秋意漫溢而出。视线随水色铺展，远峰晕染在烟岚薄雾里，和空濛秋水融作一片淡墨云烟。滩头扁舟静泊，渔翁偃卧，将山野幽寂与林下闲逸揉作一处。\n\n此作用笔苍润相济，硬皴勾勒崖石肌理，枯笔点染寒木枝桠，淡墨晕开江天烟霭，以边角取景铺展出辽远山水格局，将秋日江野的清寂闲静截取在咫尺扇面，尽显以小见大的山水雅趣，藏着寄情林泉的幽远心境。",[48,24,25,7,27,108,181,493,238,239,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450874808150a62736ffbb1713c6d774.jpg",[],{"id":3457,"slug":3458,"title":3459,"dynasty":18,"author":302,"museum":355,"description":1057,"tags":3460,"thumbUrl":3461,"material":81,"size":81,"collection":81,"collections":3462,"showCount":3381,"zanCount":38,"manualWeight":38,"mainColor":57},227728,"liu-yin-mu-niu-tu-xia-gui-227728","柳荫牧牛图",[23,24,48,25,7,27,109,528,1093,360,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179c42d2f8f6243fd9a831f72ed6fb5e.jpg",[],{"id":3464,"slug":3465,"title":3466,"dynasty":433,"author":407,"museum":467,"description":3467,"tags":3468,"thumbUrl":3470,"material":829,"size":3471,"collection":81,"collections":3472,"showCount":3381,"zanCount":38,"manualWeight":38,"mainColor":57},223369,"ba-ge-pi-pa-tu-wu-bing-223369","八哥枇杷图","八哥立于枇杷枝上，望向一簇枇杷果，若有所思",[23,24,7,26,27,28,3469,679,410,1135,169],"八哥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498a1485d8d313bbe33eac698b9db385.jpg","31.1x31.1cm",[],{"id":3474,"slug":3475,"title":3476,"dynasty":433,"author":1384,"museum":20,"description":3477,"tags":3478,"thumbUrl":3481,"material":3482,"size":3483,"collection":34,"collections":3484,"showCount":3381,"zanCount":38,"manualWeight":38,"mainColor":39},222124,"zhi-shi-tu-shen-zhou-222124","芝石图","此作未署年款，画芝石笔墨肥润，其书法及款印，与画秋葵相近，似为同年作品。题识：“烨烨神芝，钤冈之。九英挺秀，五色纷披。兆厥祥，杰阁宏基。宸翰辉赫，日丽星义。表以延恩，汪无涯。奕叶朱房，灵光永绥。”钤印：“石田”“日夕堂”。",[23,24,25,48,7,108,27,3479,361,3480,723,50],"灵芝","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14977f5430a499d1e4b5206e785058b3.jpg","泥金，纸本，设色","纵18.1厘米，横52.4 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—1645后），号青霞。吴郡（今江苏苏州）人。为人好学，于古今坟典艺志无所不窥，喜蓄商周秦汉文物。画山水师董、巨、又出入荆、关，兼精画理。",[24,25,7,1008,27,1547,181,182,109,3169,360,111,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11fd43f6398ebbe444dac28d65fc0fd.jpg",[],{"id":3684,"slug":3685,"title":2172,"dynasty":124,"author":2173,"museum":355,"description":3686,"tags":3687,"thumbUrl":3688,"material":565,"size":566,"collection":81,"collections":3689,"showCount":3610,"zanCount":38,"manualWeight":38,"mainColor":39},234700,"hua-niao-wan-shan-zhu-cheng-234700","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，浙江嘉兴人。",[24,25,7,27,26,28,265,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7beb9f562f134873ff52e60f68afed1b.jpg",[],{"id":3691,"slug":3692,"title":3693,"dynasty":343,"author":3522,"museum":126,"description":3694,"tags":3695,"thumbUrl":3696,"material":495,"size":3697,"collection":81,"collections":3698,"showCount":3610,"zanCount":38,"manualWeight":38,"mainColor":39},233807,"jing-ji-rui-xue-tu-wan-shan-li-si-xun-233807","京畿瑞雪图纨扇","扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且目前尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[7,24,25,48,1008,331,27,181,332,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ee61859bd068c3c6b8fd3ba0b72f1f.jpg","纵42.7厘米，横45.2厘米",[],{"id":3700,"slug":3701,"title":3702,"dynasty":433,"author":3703,"museum":355,"description":3704,"tags":3705,"thumbUrl":3706,"material":565,"size":566,"collection":81,"collections":3707,"showCount":3610,"zanCount":38,"manualWeight":38,"mainColor":39},228335,"qiu-ye-jing-wu-tu-shan-mian-lu-shi-ren-228335","秋夜景物图扇面","陆士仁","字文近，号澄湖，一作承湖，长洲（今江苏苏州）人。",[23,24,7,108,185,181,333,1105,608,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c162e5283af955c7a9d2567091f6929.jpg",[],{"id":3709,"slug":3710,"title":3711,"dynasty":18,"author":44,"museum":20,"description":3712,"tags":3713,"thumbUrl":3714,"material":32,"size":3715,"collection":400,"collections":3716,"showCount":3610,"zanCount":38,"manualWeight":38,"mainColor":39},218815,"liu-an-he-tang-tu-yi-ming-218815","柳岸荷塘图","这幅画描绘了一个芦苇茂盛的荷塘，荷叶田田，五支老箭极为茂盛，说明这里是陶渊明的隐居之地，过了小桥就能看到南山。",[23,48,24,27,181,7,185,528,64,436,360,1104,871,872],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[400],{"id":3718,"slug":3719,"title":3720,"dynasty":275,"author":1819,"museum":20,"description":3721,"tags":3722,"thumbUrl":3723,"material":32,"size":81,"collection":400,"collections":3724,"showCount":3610,"zanCount":38,"manualWeight":38,"mainColor":39},218781,"tao-sheng-song-yun-tu-qian-xuan-218781","涛声松韵图","松枝盘曲如篆，墨色苍润间见清劲；流泉漱石，涛声似可闻于纸上。山石以细劲线条勾廓，皴染相济显丘壑层次；松针挺劲如钉，笔笔含力，透出苍然生机。浅赭设色温润，衬得山林幽寂。天际孤鸟轻掠，为静景添丝灵动，更衬天地空阔。整幅画不重繁复布景，却以简淡之笔营造“天人合一”的清旷意境，藏着文人对自然的深情与尘外之境的向往。笔墨间漾着宋元之际文人的散淡襟怀，不追形似而重神韵，观之如置身林泉，心随松涛泉响，渐入澄明之境。",[23,24,7,27,185,181,305,239,112,238,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f58b1ae6d25b570dc4eefb629ed142.jpg",[400],{"id":3726,"slug":3727,"title":3728,"dynasty":433,"author":44,"museum":277,"description":3729,"tags":3730,"thumbUrl":3731,"material":32,"size":3732,"collection":400,"collections":3733,"showCount":3610,"zanCount":38,"manualWeight":38,"mainColor":57},217918,"liu-an-xue-yu-tu-yi-ming-217918","柳岸雪渔图","柳岸雪渔图是明朝时期的一幅绘画作品，作者不详。这幅画描绘了一个冬天的景象，一位渔夫正在雪地里钓鱼。画面中的柳树上积了厚厚的一层雪，而渔夫则穿着厚厚的衣服，站在寒冷的柳岸边。他手里拿着鱼竿，似乎正在等待鱼儿上钩。\n\n这幅画被认为是明朝时期绘画艺术的代表作之一，因为它体现了当时绘画艺术的特点：细致、精细、写实。画面中的每一个细节都被精心描绘，比如渔夫的衣服、柳树的枝叶、雪地的花纹。\n同时，这幅画还体现了明朝时期艺术家对自然界的热爱。画中的冬天景象并不寒冷而残酷，相反，它给人以温馨、宁静的感觉。渔夫手边的鱼缸里放着一条活鱼，这也许意味着他已经成功地钓到了鱼，并且生活充满希望。\n\n总的来说，柳岸雪渔图是一幅描绘冬天景象的优秀绘画作品，它展现了明朝时期艺术家的精湛画技和对自然界的热爱。",[24,108,27,7,181,858,872,1443,470,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f30799baed7df89bbb654c278069a2.jpg","26.5x30.5cm",[400],{"id":3735,"slug":3736,"title":3737,"dynasty":433,"author":1267,"museum":355,"description":1376,"tags":3738,"thumbUrl":3739,"material":565,"size":566,"collection":81,"collections":3740,"showCount":3741,"zanCount":38,"manualWeight":38,"mainColor":39},290904,"ming-diao-ma-tu-tang-yin-290904","明调马图",[24,7,27,109,1433,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8039eff5db1f3396aeff6633513891cd.jpg",[],26,{"id":3743,"slug":3744,"title":3745,"dynasty":18,"author":2333,"museum":355,"description":2480,"tags":3746,"thumbUrl":3750,"material":565,"size":566,"collection":81,"collections":3751,"showCount":3741,"zanCount":38,"manualWeight":38,"mainColor":39},289373,"ze-pan-xing-yin-tu-liang-kai-289373","泽畔行吟图",[7,24,108,181,182,109,1999,3747,3748,3749],"行吟","水岸","朦胧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0eebe565286429967e39cefabcf52c2.jpg",[],{"id":3753,"slug":3754,"title":3755,"dynasty":18,"author":867,"museum":355,"description":3756,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苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,25,7,27,28,3794,131,50],"玫瑰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71faa4378c6f9e8510d6f90708e3ceb4.jpg",[],{"id":3798,"slug":3799,"title":3800,"dynasty":124,"author":3801,"museum":355,"description":3802,"tags":3803,"thumbUrl":3805,"material":565,"size":566,"collection":81,"collections":3806,"showCount":3741,"zanCount":38,"manualWeight":38,"mainColor":39},235562,"tao-yuan-ming-gui-qu-lai-ci-tu-shan-ye-jiao-bing-zhen-235562","陶渊明归去来辞图扇页","焦秉贞","此图根据陶渊明《归去来辞》文意，描绘陶氏辞官隐居，离船登岸时受到“童仆欢迎”的场景。作者作为曾受过西洋技法影响的画家，在此件创作上除了茅屋结构有些许透视外，受西方画法的影响尚不明显，其笔法基本属于中国传统的人物山水画范畴。作者注重以形写神，将陶氏下船时小心翼翼的举止，和童仆们恭敬的神态均刻画得生动传神。",[7,24,25,27,26,181,109,333,1105,111,2023,3804],"田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fabb13a531648cafb448d513a0361f6.jpg",[],{"id":3808,"slug":3809,"title":3810,"dynasty":124,"author":3811,"museum":355,"description":434,"tags":3812,"thumbUrl":3814,"material":81,"size":81,"collection":81,"collections":3815,"showCount":3741,"zanCount":11,"manualWeight":38,"mainColor":39},234587,"he-tang-fei-yan-wan-shan-xin-yue-234587","荷塘飞燕纨扇","辛樾",[24,25,7,108,27,26,28,64,436,1368,112,3813],"燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6520d05d1c8a90a069b4eea658183e03.jpg",[],{"id":3817,"slug":3818,"title":3819,"dynasty":124,"author":2599,"museum":126,"description":3820,"tags":3821,"thumbUrl":3822,"material":3823,"size":3824,"collection":81,"collections":3825,"showCount":3741,"zanCount":38,"manualWeight":38,"mainColor":39},234053,"yuan-ji-shan-shui-shan-shi-tao-234053","原济山水扇","石涛（1642年－1708年），清初画家。本姓朱，名若极，小字阿长，削发为僧后，更名元济、超济、原济，自称苦瓜和尚。游南京时，得长竿一枝，因号枝下叟，别署阿长，钝根，山乘客、济山僧、石道人、一枝阁。他的别号很多，还有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人、晚号瞎尊者、零丁老人等。与弘仁、髡残、朱耷合称“清初四僧”。\n其擅花果兰竹，兼工人物，尤善山水，常体察自然景物，主张“笔墨当随时代”，画山水者应“脱胎于山川”，“搜尽奇峰打草稿”，进而“法自我立”。所画的山水、兰竹、花果、人物，讲求新格，构图善于变化，笔墨恣肆，意境苍莽新奇，一反当时仿古之风。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品、折扇扇面；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。",[24,7,108,185,181,238,333,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2219facf2cfab380a36a40003b932061.jpg","金笺 ，设色","纵17.6cm，横50.7cm",[],{"id":3827,"slug":3828,"title":3829,"dynasty":275,"author":1071,"museum":355,"description":3830,"tags":3831,"thumbUrl":3832,"material":81,"size":81,"collection":81,"collections":3833,"showCount":3741,"zanCount":38,"manualWeight":38,"mainColor":39},228248,"jiang-cun-yu-le-tu-zhao-meng-fu-228248","江村渔乐图","《元·赵孟頫法书选:行书杜甫秋兴诗四首》是历代法书真迹萃编系列之一。\n元代对书法的重视不亚于前代，书法得到一定的发展。\n探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。\n久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。\n在应用价值上来说，算得是最伟大的。\n故能自后汉相传至今，历久而弥新。\n《元·赵孟頫法书选——行书杜甫秋兴诗四首》为其中代表作。\n《元·赵孟頫法书选:行书杜甫秋兴诗四首》由黄山书社出版。\n赵孟頫（1254-122年），元代书画家、文学家。\n字子昂，号松雪道人、水精宫道人，中年曾作孟俯。\n湖州（今属浙江）人杨维，宋宗室。\n宋亡，归里闸居。\n元世祖忽必烈搜访“遣逸”，经程巨夫荐举，始任兵部郎中，仁宗爱育黎拔力八连朝（111-12年），官至翰林学士承旨，封魏圃公，谨文敏。\n精通音乐，善鉴定古器物，于书法绘画成就尤高。\n山水取法董源、李成，人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法昼石，以书法用笔写竹。\n力主变革南宋院体格调，自谓“作画卖有古意，若无古意，虽工无益”，遥追迫五代、北宋法度，论者谓：“有唐人之致去其鳞，有北宋人之雄去其犷。\n”开创了元代新画凰。\n能诗文，风格和婉。\n兼工篆刻，以“圆朱文”著称。\n传世书迹较多，传世画作有《鹊华秋色图》、《红衣罗汉图》、《幼舆丘壑图》、《秋郊饮马图》、《江村渔乐图》等。\n着有《松雪斋文集》十卷（附外集一卷）。",[23,24,25,7,108,27,181,470,239,182,333,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96766e1c56502a11ade3361e84a7bffe.jpg",[],{"id":3835,"slug":3836,"title":3837,"dynasty":18,"author":44,"museum":355,"description":3838,"tags":3839,"thumbUrl":3842,"material":81,"size":81,"collection":81,"collections":3843,"showCount":3741,"zanCount":11,"manualWeight":38,"mainColor":57},227880,"tao-zhi-shuang-que-tu-yi-ming-227880","桃枝双雀图","此作构图疏密相宜，桃枝虬曲延展，叶片与桃果晕染细腻，清润雅致。两只雀鸟动静相映，一鸟侧身伫立，侧目凝神，羽色的丝绒质感刻画入微；一鸟探身向下，似欲啄食，灵动鲜活。设色浅淡柔和，以墨色勾勒筋骨，淡彩晕染出物象的层次生趣，古旧绢面晕开沉郁温润的底色，更衬出画面的雅致沉静。将林间一角的幽微生机敛于方寸之间，把日常小景绘成雅致诗画，尽显花鸟小品的含蓄禅意与写生妙趣。",[23,24,48,7,28,26,27,3840,3841],"桃枝","雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa40fc2a6baeafb73635a4540f8512cf2.jpg",[],{"id":3845,"slug":3846,"title":3847,"dynasty":18,"author":419,"museum":355,"description":3848,"tags":3849,"thumbUrl":3850,"material":81,"size":81,"collection":81,"collections":3851,"showCount":3741,"zanCount":38,"manualWeight":38,"mainColor":57},227739,"huo-lang-tu-ye-li-song-227739","货郎图页","《货郎图》是南宋画家李嵩创作的团扇绢本水墨淡设色画。李嵩创作过多幅货郎图，分别藏于北京故宫博物馆、中国台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆，现藏于北京故宫博物院的《货郎图》的规格是纵25.5cm，横70.4cm，其余的均为小幅。\n\n全图描绘了老货郎挑担将至村头，众多妇女儿童争购围观的热闹场面，表现了南宋时钱塘一带的风土人情。此画线条细腻雅致，货担上的物品用笔如丝柔韧圆转，而人物的衣纹则使用颤笔，转折顿挫恰当地表现出下层妇孺身着布衣的特色。细劲线描，传神地勾出朴实的形象，把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。",[23,48,24,25,7,26,27,109,200,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc853454829aec9f8be8f73998aa141.jpg",[],{"id":3853,"slug":3854,"title":3855,"dynasty":18,"author":44,"museum":355,"description":3856,"tags":3857,"thumbUrl":3858,"material":81,"size":81,"collection":81,"collections":3859,"showCount":3741,"zanCount":38,"manualWeight":38,"mainColor":39},223612,"zhu-jian-fen-xiang-tu-yi-ming-223612","竹涧焚香图","此作以边角取景，笔墨简净秀润。浅渚涧水缓流，坡岸幽竹斜曳，士人趺坐石上，静对空山远岑。晕染轻淡的远山融在空濛烟岚里，将天地寥廓之意藏于尺幅留白间。\n\n画面与题诗相契，炉烟随竹风漫过山涧，空山阒寂，将闻未闻的幽玄禅意弥散开来。把林泉高致的隐逸襟怀，化作眼前清寂淡远的图景，于简淡平远中，尽显出世幽居的静穆禅趣，是小品山水里以小见大的精妙之作。",[23,24,25,7,27,181,280,109,361,723,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52389ef17d1f2b63c69f1c05719db98a.jpg",[],{"id":3861,"slug":3862,"title":3863,"dynasty":124,"author":995,"museum":467,"description":3864,"tags":3865,"thumbUrl":3866,"material":3867,"size":81,"collection":81,"collections":3868,"showCount":3741,"zanCount":38,"manualWeight":38,"mainColor":39},220470,"shi-shang-du-shu-ren-yi-220470","石上读书","画面以瘦透皱漏的太湖石为布景，雅士踞坐石侧，展卷潜读，神情悠然沉谧，全然沉浸于书卷意趣之中。\n\n设色清雅柔和，衣纹勾勒简练劲挺，将文士宽袍博带的闲适姿态尽显。太湖石以淡墨晕染，辅以皴擦勾勒出空灵剔透的质感，虚实相生间衬出幽寂安闲的氛围。整幅扇面构图疏密得当，把文人幽居耽书的雅静意趣铺陈开来，尽显精妙的笔墨格调。",[24,25,7,27,26,109,111,1907,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e528abdd16572b6722a32a318064bf1.jpg","纸本水墨",[],{"id":3870,"slug":3871,"title":3872,"dynasty":433,"author":44,"museum":74,"description":3873,"tags":3874,"thumbUrl":3875,"material":32,"size":3876,"collection":401,"collections":3877,"showCount":3741,"zanCount":38,"manualWeight":38,"mainColor":57},220352,"shan-lin-hui-you-tu-yi-ming-220352","山林会友图","这幅小品以虚实相生铺陈意境，左侧重峦叠石以石青、石绿晕染，苍松虬劲古雅，山居掩映于林麓间，笔墨苍秀雅致。右侧烟波浩渺，远山如黛隐于霭色中，汀洲屋舍朦胧悠远，以留白衬出山水空阔辽远。近景松下雅士围坐清谈，悠然会友，将山林雅集的闲适意趣娓娓道来。\n\n整体设色沉稳古雅，咫尺尺幅间兼具山水之旷远与文人雅聚的悠然，尽显雅致含蓄的山水意趣，把林下清谈的雅逸氛围融于青绿山水间，淡墨轻岚里藏着中式文人的精神栖居之所。",[24,25,7,27,1008,181,109,332,333,238,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd57379418541d43f527b09165c063b4.jpg","20.2x21.2",[401],{"id":3879,"slug":3880,"title":301,"dynasty":18,"author":44,"museum":1923,"description":3881,"tags":3882,"thumbUrl":3883,"material":32,"size":3884,"collection":400,"collections":3885,"showCount":3741,"zanCount":38,"manualWeight":38,"mainColor":39},219030,"guan-pu-tu-yi-ming-219030","一条瀑布从山涧中流下，远处的山峰在云雾中清晰可见；在岩石高原的左侧，一个有学问的人拿着杖，仰望着眼前的雄伟山峰。他听着瀑布撞击岩石的声音，看到水蔓延上升，后面跟着一个抱着琵琶的孩子。这幅画是马夏的风格，用大斧头砍的石头，笔力强劲，笔触宽阔，盖子坚硬，使石头的质地很牢固。",[24,25,7,108,27,181,185,306,109,333,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c9cc6d2677a6abf31cfae2e0748f4c.jpg","23.2x23.4",[400],{"id":3887,"slug":3888,"title":3889,"dynasty"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[清]（1758—1844）字文山，一作雯山，号晴峰，安徽桐城人，客吴门（今江苏苏州）。善画山水、花卉，尤工人物。画仙佛像妙甚。仕女每作高髻，近宋人定本。又擅写真，所作画宁繁毋略，宁朴毋巧，铺白设色，确守顾、陆、徐、黄格律。卒年八十七。《墨香居画识、墨林今话、清朝书画家笔录》",[24,7,28,108,27,528,4364],"蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eb5d15093e3a04348b50d3265191e55.jpg",[],{"id":4368,"slug":4369,"title":4370,"dynasty":18,"author":44,"museum":355,"description":4371,"tags":4372,"thumbUrl":4373,"material":81,"size":81,"collection":81,"collections":4374,"showCount":4247,"zanCount":38,"manualWeight":38,"mainColor":39},231078,"liu-tang-fan-yue-yi-ming-231078","柳塘泛月","薄月垂悬柳梢，清辉漫过塘面，晕开一怀夏夜幽寂。柔枝垂柳以淡墨晕染，如烟似雾，将塘岸晕染成朦胧一片。青碧莲叶错落水面，随波轻漾。\n\n扁舟缓行于莲间，舟上仕女姿态悠然，或凭舷凝望月色，或斜卧舟中静享晚风，侍女垂立身侧，动静之间，将夜游的闲雅意趣缓缓铺陈。\n\n画作以没骨晕染写就景致，墨色柔润层次分明，浅淡设色清雅和谐，以尺幅小景承载起清远疏淡的意韵，将闲逸的审美心境融于笔底，尽显小品画的隽永悠然。",[48,24,25,7,27,26,109,858,1927,711,307,1368,871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d348506c30be231f405f138a860f593.jpg",[],{"id":4376,"slug":4377,"title":4378,"dynasty":18,"author":44,"museum":355,"description":4379,"tags":4380,"thumbUrl":4382,"material":81,"size":81,"collection":81,"collections":4383,"showCount":4247,"zanCount":11,"manualWeight":38,"mainColor":57},227927,"dou-jia-qing-ting-tu-yi-ming-227927","豆荚蜻蜓图","《豆荚蜻蜓图》是宋代佚名画家创作的一幅 设色画，现藏于 。\n此图画面为长圆扇形，绘豆花上栖息一只黄褐色蜻蜒，枝叶微向下垂。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜒的描绘神妙入微。\n画家不仅再现了蜻蜒的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n此图旧传为徐熙所作。\n图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。\n画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。\n枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。\n蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。\n一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。\n画面构图简洁自然，疏密得体。\n画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。\n图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n图右下方押“徐熙”二字伪款，不见于著录。\n本幅鉴藏印有：“徐熙”朱文杯形，另一印不辨。\n注：中国古代书画鉴定组定为宋人画。\n旧题为徐熙所作，押‘馀熙”印。\n押印是否可靠，现今难以证实。\n但此图的画法与画史对徐熙画风的记载颇相吻合，可能是北宋时徐熙画派的画家所作。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜓的描绘神妙入微。\n画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。\n菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙人微。\n蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织．都细微地表现了出来。\n蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。\n从绘画题材及笔墨技巧上看，具有徐熙画的特征。\n《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写。\n”但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。\n此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。\n旧题为徐熙作。\n徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。\n写意出古人之外，自造于妙。\n尤能设色，绝有生意”。\n从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。\n这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。\n豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。\n茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜒尤备极工细，神韵奕奕。\n对花写照的写生功力，令人惊叹。\n色调素雅，变化层次微妙，工写兼施，相映成趣。\n构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。\n不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。\n此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。\n宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思(以景喻理)。",[23,48,24,25,7,26,27,28,4381,561,743,1515,201],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48eea5d1a6887f57421ffd7e0488a89c.jpg",[],{"id":4385,"slug":4386,"title":4387,"dynasty":18,"author":44,"museum":355,"description":4388,"tags":4389,"thumbUrl":4390,"material":81,"size":81,"collection":81,"collections":4391,"showCount":4247,"zanCount":38,"manualWeight":38,"mainColor":57},227833,"lin-liu-fu-qin-tu-yi-ming-227833","临流抚琴图","画面以边角取势，古松虬曲苍劲，垂藤萦绕，将崖岸的荒古野逸晕开。临流石上，隐士安然抚琴，襟怀自适。远处汀渚隐现于烟岚薄雾之间，水色空蒙，淡墨轻皴尽绘江天寥廓。\n笔墨简淡却意韵悠长，以苍劲勾勒写松之老态，晕染铺就江天虚静，将林下幽居、寄情山水的文人意趣藏于尺幅间，尽显尚简求雅的禅寂风骨，静穆之中，似有琴音随波远逝，恍若带人走入物我两忘的幽远之境。",[23,24,108,185,7,181,109,239,333,111,293,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F525e8494d45cb369b9a329292fc78b89.jpg",[],{"id":4393,"slug":4394,"title":4395,"dynasty":18,"author":3304,"museum":355,"description":4396,"tags":4397,"thumbUrl":4398,"material":81,"size":81,"collection":81,"collections":4399,"showCount":4247,"zanCount":11,"manualWeight":38,"mainColor":57},227810,"ji-tu-mao-yi-227810","鸡图","此作截取庭院一角，顽石旁蜀葵抽枝绽蕊，粉花柔媚映着苍润绿叶，野意悠然。下方双鸡情态生动，雄鸡红冠劲翎，身姿轩昂，母鸡羽色温软，俯首似在啄拾草籽，地面散落的细碎石籽与轻软羽屑，将郊居闲趣揉入画面。\n\n设色秀雅清润，禽鸟羽毛晕染细腻，蓬松柔润的质感呼之欲出，花木皴染兼具工致与写意韵致，于细微处见功力。尺幅之间藏尽田家闲逸，以日常小景铺陈出安宁雅致的意趣，笔简意足，淡而有味。",[48,24,25,28,7,26,27,4033,576,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41fd354ac99bbf536f773dfd0824080.jpg",[],{"id":4401,"slug":4402,"title":4403,"dynasty":275,"author":687,"museum":467,"description":4404,"tags":4405,"thumbUrl":4406,"material":4407,"size":4408,"collection":81,"collections":4409,"showCount":4247,"zanCount":38,"manualWeight":38,"mainColor":57},221758,"qiu-lin-yu-yin-tu-sheng-mao-221758","秋林渔隐图","《传世名画题诗品赏》是26年 出版的图书。\n本书以“一图一文”的组合形式构成，为每幅名画配上一篇品赏文字，内容包括画幅收藏处，画家、诗人生平简介，画幅技巧、布局、意境的评述，诗篇词语典故的诠释，技巧、诗境的阐发等。\n开本: 2开 ISBN: 72224564 条形码: 978722245644 尺寸: 21 14.2 4.2 cm 重量: 721 g 绘画艺术品受战乱兵燹等社会因素和风化水蚀等自然因素的损毁和破坏，大量散佚，很难传留。\n因此，传世名画更显名贵，成为我国文化遗产宝库中的重要部分，值得珍视。\n画上题诗，是诗画艺术结合的产物，“诗书画”三绝，构成一件艺术珍品，使图像、线条、色彩、笔情、墨趣、诗境、画意，和谐地融合在一起，形成东方民族美学的独特艺术形态，集中反映和体现华夏民族的审美观念和文化精神，足以屹立于世界艺术之林。\n为帮助爱好诗画艺术的朋友们欣赏传世名画上的题画诗，笔者特意从海内外各大博物馆（院）以及私家收藏的传世名画中，遴选出若干幅作品，品赏评析画上题诗，编撰成这本《传世名画题诗品赏》，并就题画诗的艺术特质和艺术功能，题画诗的发展轨迹，以及本书的编写体例等问题，详作阐述，以说明笔者的编撰意图。\n上篇 两宋 第一图 赵佶《蜡梅山禽图》 第二图 徐禹功《雪中梅竹图》 第三图 马远《踏歌图轴》 第四图 梁楷《泼墨仙人图》 第五图 马麟《层叠冰绡图》 第六图 马麟《漳冷梅康馨图页》 第七图 赵孟坚《墨兰图》 第八图 龚开《骏骨图》 元代 第九图 玉涧《庐山瀑布图》 第十图 陆文圭《扁舟傲睨图》 第一一图 钱选《归去来辞图》 第一二图 钱选《 》 第一三图 钱选《山居图卷》 第一四图 钱选 《牡丹图》 第一五图 高克恭《黑竹坡石图》 第一六图 赵孟頫《人骑图卷》 第一七图 赵孟頫《秀石疏林图》 第一八图 黄公望《天池石壁图》 第一九图 曹知白《疏松幽岫图轴》 第二十图 吴镇《松石图》 第二一图 吴镇《芦花寒雁图轴》 第二二图 吴镇《草亭诗意图》 第二三图 吴镇《多福图轴》 第二四图 吴镇《松泉图》 第二五图 吴镇《芦滩的艇图》 第二六图 吴镇《渔父图》 第二七图 张渥《竹西草堂图》 第二八图 王渊《牡丹图卷》 第二九图 盛懋《秋江待渡图》 第三十图 盛懋《秋林渔隐图》 第三一图 王冕《墨梅图》 第三二图 王冕《墨梅图卷》 第三三图 王冕《寒梅图》 第三四图 王冕《南枝春早图》 第三五图 倪瓒《古木幽篁图》 第三六图 倪瓒《江岸望山图》 第三七图 倪瓒《虞山林壑图》 第三八图 倪瓒《梧竹秀石图》 第三九图 倪瓒《琪树秋风图》 第四十图 倪瓒《六君子图》 第四一图 倪瓒《幽涧寒松图》 第四二图 倪瓒《秋林新兴图》 第四三图 倪瓒《水竹居图》 第四四图 倪瓒《秋亭嘉树图》 第四五图 倪瓒《雨后空林图》 第四六图 倪瓒《渔庄秋霁图》 …… 明代 下篇 清代 下册",[23,24,7,108,185,181,3042,182,112,470,360,238,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264a3578244bd0799ebe3b6cf74625e3.jpg","绢本，淡设色","26.7×33.7cm",[],{"id":4411,"slug":4412,"title":4413,"dynasty":18,"author":105,"museum":1579,"description":4414,"tags":4415,"thumbUrl":4416,"material":495,"size":4417,"collection":81,"collections":4418,"showCount":4247,"zanCount":38,"manualWeight":38,"mainColor":57},221535,"zhou-ren-xing-tu-ma-yuan-221535","舟人形图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。 [1]\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,48,24,25,7,26,108,27,109,182,493,871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb8c933f34f669b59817096fc70265b.jpg","纵21厘米，横21厘米",[],{"id":4420,"slug":4421,"title":4422,"dynasty":18,"author":44,"museum":4423,"description":4424,"tags":4425,"thumbUrl":4426,"material":32,"size":81,"collection":400,"collections":4427,"showCount":4247,"zanCount":38,"manualWeight":38,"mainColor":57},219919,"xue-yuan-tu-yi-ming-219919","雪园图","香港中文大学文物馆","以俯瞰视角铺展冬园景致，枯木寒竹环伺素瓦厅堂，朱红廊桥蜿蜒于池畔，暖艳色调破开绢底沉郁的萧寒。远山以淡墨晕染，空濛悠远，不着一笔画雪，却借萧索枝桠、冷寂苔阶衬出隆冬清寒。\n\n屋宇勾勒工整流丽，与山水的写意晕染相融，将园林的规整雅致与冬景的荒淡清寂揉合一处，藏着宋人冬日静居园中的闲淡心境，把隆冬里的幽居意趣晕染在方寸纨扇之上。",[23,24,25,7,331,27,332,548,493,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa442b5ebc3c18eafd18163b69ed18bd3.jpg",[400],{"id":4429,"slug":4430,"title":4431,"dynasty":18,"author":44,"museum":20,"description":4432,"tags":4433,"thumbUrl":4435,"material":32,"size":4436,"collection":204,"collections":4437,"showCount":4247,"zanCount":38,"manualWeight":38,"mainColor":39},218722,"mian-qin-zhu-ming-tu-yi-ming-218722","眠琴煮茗图","图中描绘的是一个有学问的人在溪流上拿着一把琴，而一个孩子在打水泡茶。使用圆润的笔触，没有任何大的顿挫，也是这幅画的特点。",[23,24,7,26,27,109,293,239,131,50,181,4434],"茶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b812228f88e00200e5a176dd1aa5a7.jpg","26.7x25.7",[204],{"id":4439,"slug":4440,"title":4441,"dynasty":433,"author":2031,"museum":45,"description":4442,"tags":4443,"thumbUrl":4446,"material":81,"size":81,"collection":400,"collections":4447,"showCount":4247,"zanCount":38,"manualWeight":38,"mainColor":4448},203011,"yan-wu-ba-jing-tu-ce-dong-qi-chang-203011","燕吴八景图册","画面取山水之精粹，左幅以淡彩晕染山峦，峰顶赭石点染与深绿山体形成层次，云雾借留白与淡墨晕化，松枝挺劲，岸畔茅舍隐现，尽显江南山水的温润悠远；右幅以水墨写雪景，山石皴法刚健，线条勾勒积雪厚重与岩石肌理，枯树疏枝傲立，寒江静谧，传递冬日山川的清寂萧疏。笔墨间可见董其昌对意境的追求，不重写实而重神韵，以简洁构图营造空灵淡远的文人气息，尽显“以画为寄”的艺术主张。",[7,108,27,185,181,110,4444,238,1197,251,493,4445,23],"茅舍","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc25ef6d679fbc825f90db5e577bda970.jpg",[400],"beae99",{"id":4450,"slug":4451,"title":4452,"dynasty":18,"author":1883,"museum":20,"description":4453,"tags":4454,"thumbUrl":4456,"material":565,"size":566,"collection":81,"collections":4457,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":57},289983,"lu-yan-tu-cui-bai-289983","芦雁图","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[23,48,24,7,27,26,28,506,4455,3748,3114],"雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2977e53530733292bf2afc1fd715202.jpg",[],22,{"id":4460,"slug":4461,"title":4462,"dynasty":18,"author":444,"museum":355,"description":4463,"tags":4464,"thumbUrl":4465,"material":565,"size":566,"collection":81,"collections":4466,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},288459,"xue-mei-tu-ma-lin-288459","雪梅图","此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。",[23,7,24,28,454,251,108,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dcad4bd6428ac052ea136b51a37bf3.jpg",[],{"id":4468,"slug":4469,"title":4470,"dynasty":18,"author":44,"museum":355,"description":4471,"tags":4472,"thumbUrl":4474,"material":565,"size":566,"collection":81,"collections":4475,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":57},288198,"xue-jing-dai-du-tu-yi-ming-288198","雪景待渡图","以淡墨晕染铺就江天寒寂，留白尽展冬日空濛。岸渚之上枯木虬枝错落，寒叶稀疏，旅人裹衣伫立石畔，引颈遥望江心，待渡的怅然悄然弥散。远山隐在氤氲寒雾中，只剩淡远轮廓，寒鸦掠过长空，更添清寥。江面寥寥淡笔勾出水波，扁舟隐约浮沉，似正缓缓渡来。\n\n全幅未施白粉，却以墨色浓淡晕出积雪凝寒之意，将冬日江渡的萧索宁静揉入尺幅之间，尽显山水留白的悠远意趣，把萧寒冬日里的羁旅况味藏在淡墨清岚之中，清冷空寂直入人心。",[23,7,24,108,181,251,493,111,112,4473,4445],"渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32408b9658940e6f1d83b48259817af5.jpg",[],{"id":4477,"slug":4478,"title":4479,"dynasty":124,"author":44,"museum":355,"description":1954,"tags":4480,"thumbUrl":4483,"material":565,"size":566,"collection":81,"collections":4484,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},270173,"huang-se-ke-si-feng-qi-wu-tong-tu-tuan-shan-yi-ming-270173","黄色缂丝凤栖梧桐图团扇",[7,77,28,4481,4482,78],"凤","梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea269a8f859a35457aaf744a288a144.jpg",[],{"id":4486,"slug":4487,"title":4488,"dynasty":433,"author":4489,"museum":355,"description":4490,"tags":4491,"thumbUrl":4493,"material":565,"size":566,"collection":81,"collections":4494,"showCount":4458,"zanCount":11,"manualWeight":38,"mainColor":39},237856,"shi-nv-fen-xiang-shan-wang-sheng-237856","仕女焚香扇","王声","扇面之上，枯木虬枝横斜，奇石衬出幽境。两位仕女仪态柔静，一立一坐，执香侍立者素衣亭亭，坐观幽思者敛神沉静，将深闺焚香寄怀的闲情铺展开来。\n\n衣纹线条清劲婉转，寥寥数笔便勾勒出女子柔婉之态。布景写意疏朗，老树皴染苍朴，淡墨浅晕间晕染出空寂雅致的氛围。整体意韵清和古雅，把闺中女子幽微的情思藏于咫尺尺幅，淡简笔墨尽显尚雅的意趣，以小景见深致，尽显仕女小品的隽雅之美。",[24,25,7,26,27,109,199,238,333,4492,50],"焚香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81ef760b91d12544883a492e7b7cb53.jpg",[],{"id":4496,"slug":4497,"title":4498,"dynasty":124,"author":4499,"museum":355,"description":4500,"tags":4501,"thumbUrl":4503,"material":565,"size":566,"collection":81,"collections":4504,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},237809,"lin-fu-chun-shan-tu-shan-gao-cen-237809","临富春山图扇","高岑","高岑（1621-1691），字善长，又字蔚生，杭州人，居金陵（今南京）。高阜弟，为“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[24,25,7,108,185,1547,181,493,238,690,4502,50],"近草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264978b278a35530837adab05b20abab.jpg",[],{"id":4506,"slug":4507,"title":4508,"dynasty":433,"author":2322,"museum":355,"description":3950,"tags":4509,"thumbUrl":4510,"material":565,"size":566,"collection":81,"collections":4511,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},236804,"mo-ju-shan-ye-sun-ke-hong-236804","墨菊扇页",[24,25,48,7,108,1822,1114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58c78e10c22fd1a8ea6ff0490af865ea.jpg",[],{"id":4513,"slug":4514,"title":4515,"dynasty":433,"author":4293,"museum":355,"description":4294,"tags":4516,"thumbUrl":4517,"material":565,"size":566,"collection":81,"collections":4518,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},236802,"xue-jing-shan-shui-shan-mian-liu-yuan-qi-236802","雪景山水扇面",[24,25,7,108,251,181,493,1433,1093,548,109,50,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f75ef4b3c71050ae92fa9a1cfdaad8.jpg",[],{"id":4520,"slug":4521,"title":4522,"dynasty":124,"author":4523,"museum":355,"description":4524,"tags":4525,"thumbUrl":4526,"material":565,"size":566,"collection":81,"collections":4527,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},236346,"ju-hua-shan-chen-heng-ke-236346","菊花扇","陈衡恪","陈师曾（1876年3月12日—1923年9月17日），男，原名衡恪，字师曾，号朽道人、槐堂，江西南昌义宁（今江西修水）人，著名美术家、艺术教育家。\n陈师曾出身书生门第，祖父是湖南巡抚陈宝箴，父亲是著名诗人陈三立。1902年东渡日本留学，1909年回国，任江西教育司长。从1911年2月至1913年4月，他受南通张謇之邀，至通州师范学校（今南通师范学校）任教，专授博物课程。1913年又赴长沙第一师范任课，后至北京任编审员之职。先后兼任北京女子高等师范学校、北京高等师范学校、北京美术专门学校教授。1923年9月为奔母丧回南京，不幸染病逝世，终年仅47岁。",[24,7,27,108,28,1822,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7939f928ff554e633a85c466953760cd.jpg",[],{"id":4529,"slug":4530,"title":4531,"dynasty":124,"author":4532,"museum":355,"description":4533,"tags":4534,"thumbUrl":4535,"material":565,"size":566,"collection":81,"collections":4536,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},234849,"fang-wu-zhen-mei-hua-shan-mian-gu-he-qing-234849","仿吴镇梅花扇面","顾鹤庆","顾鹤庆（1766－？），字子馀，号弢庵，江苏镇江府丹徒县（今江苏镇江）人。乾隆三十一年生，卒年不详。诸生。性潇洒，工诗文，善行草，好饮。入都，馆庄亲王府。",[24,25,7,108,454,1547,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022fc414f11997188176d3f95cb6b2a6.jpg",[],{"id":4538,"slug":4539,"title":4540,"dynasty":433,"author":4541,"museum":355,"description":4542,"tags":4543,"thumbUrl":4544,"material":81,"size":81,"collection":81,"collections":4545,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},234773,"zhu-shi-shan-mian-gui-chang-shi-234773","竹石扇面","归昌世","归昌世（1573－1644）字文休，号假庵，昆山人，移居常熟。明末诗人、书画家、篆刻家，散文大家归有光嫡孙，归庄之父。明诸生，早慧过人，十岁能诗文，书宗晋唐，亦善书画，尤擅草书，丹青法倪黄，山水萧散疏淡；兰竹脱透空灵，妙趣横溢，意在青藤、白阳之间、 兼工篆刻。诗文得家法与王志坚、李流芳时称三才子。与潘澄、龚贤等十三位昆山画家组织画社，史称“玉山高隐十三家”，崇祯末以待诏徵不应，有《假庵诗草》。",[433,7,108,280,361,1114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97e8addfbf2359216f59047a00a54fb2.jpg",[],{"id":4547,"slug":4548,"title":4549,"dynasty":433,"author":44,"museum":355,"description":434,"tags":4550,"thumbUrl":4551,"material":81,"size":81,"collection":81,"collections":4552,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":57},234680,"ming-ren-shu-kui-wan-ye-yi-ming-234680","明人蜀葵纨页",[24,25,7,26,27,28,143,1228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a3de9dc56a64f73b459d7e9d6af110f.jpg",[],{"id":4554,"slug":4555,"title":4556,"dynasty":433,"author":1166,"museum":355,"description":4557,"tags":4558,"thumbUrl":4559,"material":81,"size":81,"collection":81,"collections":4560,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},234631,"fang-zhao-gan-jiang-gao-xue-qian-shan-ye-lan-ying-234631","仿赵幹江皋雪骞扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[7,24,25,48,108,27,181,251,110,265,1547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449a709d6b85b662301b9381df08858c.jpg",[],{"id":4562,"slug":4563,"title":4564,"dynasty":124,"author":4565,"museum":355,"description":434,"tags":4566,"thumbUrl":4567,"material":81,"size":81,"collection":81,"collections":4568,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},234621,"jian-fu-qin-wan-shan-li-yu-zhu-234621","涧抚琴纨扇","李育竹",[24,25,7,27,26,280,109,111,239,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe6778a14dde5179000d3d8eb76e5893.jpg",[],{"id":4570,"slug":4571,"title":4572,"dynasty":124,"author":4573,"museum":355,"description":4574,"tags":4575,"thumbUrl":4576,"material":81,"size":81,"collection":81,"collections":4577,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},234597,"wu-zhao-zhu-shi-wan-shan-wu-zhao-234597","吴照竹石纨扇","吴照","吴照（1755—1811），字照南，号白庵，江西南城人。乾隆五十四年（1789）拔贡，官至大庾教谕，后弃官卖画自给。通六书，画竹得金错刀法，兼善山水、人物，亦能画兰。意气豪宕，嗜饮，罗聘尝为绘石湖课耕图，并联吟、饭牛诸图。有说文字原考略、听雨楼集。卒年五十七。事具《墨香居画识》、《墨林今话》、《怀旧集》、《清画家诗史》。",[24,25,7,108,280,361],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2485fda3f670a81bbcb0572bcc5842ff.jpg",[],{"id":4579,"slug":4580,"title":4581,"dynasty":433,"author":4582,"museum":126,"description":4583,"tags":4584,"thumbUrl":4585,"material":2206,"size":4586,"collection":81,"collections":4587,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},234046,"wen-dao-tu-shan-ye-cui-zi-zhong-234046","问道图扇页","崔子忠","图绘一年轻男子正向老者作揖行礼，老者则举手指点作回答状的场景，因此，本幅又名《说法图》。崔子忠的人物画在师法顾恺之、陆探微、阎立本、吴道子等传统笔墨的基础上而有创新。他注重人物表情的刻画，在故宫博物院所藏其《洗象图》、《藏云图》及《渔家图》中，都能准确地画出不同身份的人物的特征。在此图中，他将年轻人问询时谦卑的表情和老者自信淡定的神态均表现得生动传神。衣纹用笔圆润细劲，线条颤掣，虬折多变，突出了衣服质料的柔软质感和随风飘的动势。树木的枝叶以双线勾边填色，用笔工细，富装饰性。",[24,25,7,27,26,109,184,238,690,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe607e403e39498919d386dbca761bcc9.jpg","纵20.8厘米，横60.2厘米",[],{"id":4589,"slug":4590,"title":4591,"dynasty":433,"author":3146,"museum":355,"description":4592,"tags":4593,"thumbUrl":4594,"material":4595,"size":4596,"collection":81,"collections":4597,"showCount":4458,"zanCount":312,"manualWeight":38,"mainColor":39},233675,"wen-zheng-ming-feng-zhu-shan-mian-wen-zheng-ming-233675","文徵明风竹扇面","释文：风揽青桐叶半摧，时飘一片点苍苔。山僮不识林亭趣，却併松枝尽扫开。",[24,25,7,108,280,131,723,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25766ea4c8354139c698f5eeaf00d99d.jpg","泥金纸本","17×52cm",[],{"id":4599,"slug":4600,"title":4601,"dynasty":18,"author":195,"museum":355,"description":4602,"tags":4603,"thumbUrl":4604,"material":81,"size":81,"collection":81,"collections":4605,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},227803,"song-yin-ming-qin-tu-liu-song-nian-227803","松荫鸣琴图","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。",[23,48,24,25,7,26,27,109,110,280,361,293,2275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b81c56fb1a8b0fc313ca776e3e8f2af.jpg",[],{"id":4607,"slug":4608,"title":4609,"dynasty":18,"author":1413,"museum":355,"description":4610,"tags":4611,"thumbUrl":4612,"material":81,"size":81,"collection":81,"collections":4613,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":57},227778,"yuan-yang-tu-wan-shan-zhang-mao-227778","鸳鸯图纨扇","《双鸳鸯图》页，宋，张茂绘，纨扇页，绢本，设色，纵24.4厘米，横18.3厘米。\n\n本幅款识：“张茂”。\n\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。\n\n画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二\n只，它们的顾盼关系使得上半部画面更加充实生动。\n\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n\n存《纨扇画》册中。《石渠宝笈初编》著录。",[23,48,24,25,7,26,27,28,754,506,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ab6dc118a52cfd44c31806284697cf7.jpg",[],{"id":4615,"slug":4616,"title":4617,"dynasty":18,"author":44,"museum":355,"description":4618,"tags":4619,"thumbUrl":4620,"material":81,"size":81,"collection":81,"collections":4621,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":57},227353,"xue-jing-shan-shui-tu-ye-yi-ming-227353","雪景山水图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。",[23,24,48,25,7,108,27,181,251,333,1105,238,185,1875,1198,239,818,1873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfc4556f00600874ca160553f7402e2.jpg",[],{"id":4623,"slug":4624,"title":2811,"dynasty":124,"author":2812,"museum":355,"description":2813,"tags":4625,"thumbUrl":4626,"material":2816,"size":2817,"collection":81,"collections":4627,"showCount":4458,"zanCount":11,"manualWeight":38,"mainColor":39},222623,"shan-shui-shan-mian-3-gong-xian-222623",[23,24,25,7,108,185,181,360,238,113,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3bf5c009d2a486816b700ff2873d73.jpg",[],{"id":4629,"slug":4630,"title":4631,"dynasty":433,"author":1166,"museum":4632,"description":4633,"tags":4634,"thumbUrl":4635,"material":27,"size":4636,"collection":81,"collections":4637,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},222587,"shan-shui-tu-shan-mian-lan-ying-222587","山水图扇面","浙江省博物馆","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,25,7,181,185,238,333,332,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cde9f4eb2290a631bd378b1cfb6db4d.jpg","长15.8，宽47.5",[],{"id":4639,"slug":4640,"title":1913,"dynasty":433,"author":1384,"museum":20,"description":4641,"tags":4642,"thumbUrl":4643,"material":4644,"size":4645,"collection":34,"collections":4646,"showCount":4458,"zanCount":38,"manualWeight":38,"mainColor":39},222123,"qiu-kui-tu-shen-zhou-222123","此作采用没骨法写生法绘秋葵一枝，叶与干全用老绿一再渍染，因泥金地上有油质，本不托色，故笔迹重，锋芒都尽，布景不多，自有一种简秀朴质之韵。书法较晚年略觉软熟，可能是其五十至六十岁间的作品。作品左边题识：“庭前秋葵一枝。欹栏独立。檀心自舒。犹佳人含思清愁。大有可怜之态。第恐一朝萎露。因寄之丹青以永观。周”钤印“石田”。右边题识：“条条秋风清。湛湛秋露泫。许有向阳心。秋云任舒卷。石田又题于静观阁。” 钤印“启南”。",[23,48,24,25,7,27,28,131,50,1917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b2133c05bcc2d6a54e38c46654ab66.jpg","纸本，泥金，扇面，设色","纵18.0厘米， 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七子过关图》，均辑入《中国历代名画集》。",[23,7,24,48,25,27,26,109,332,113,4699,50],"行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451ce0b24dce09204b5c80da6d033aaa.jpg",[],21,{"id":4704,"slug":4705,"title":4706,"dynasty":164,"author":4707,"museum":355,"description":4708,"tags":4709,"thumbUrl":4710,"material":565,"size":566,"collection":81,"collections":4711,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},289377,"xi-shan-yuan-xiu-tu-jing-hao-289377","溪山远岫图","荆浩","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[23,48,24,7,181,108,185,818,333,3570,3114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaaf0dd9927f4e6e4fb2fa2d0fcb8487.jpg",[],{"id":4713,"slug":4714,"title":1904,"dynasty":18,"author":393,"museum":355,"description":4715,"tags":4716,"thumbUrl":4717,"material":565,"size":566,"collection":81,"collections":4718,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},289332,"guan-mei-du-shu-tu-li-tang-289332","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,24,48,7,27,109,265,493,181,1907],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b823851ea7923b11a2ee16d1934de8d.jpg",[],{"id":4720,"slug":4721,"title":4722,"dynasty":18,"author":4723,"museum":355,"description":4724,"tags":4725,"thumbUrl":4728,"material":565,"size":566,"collection":81,"collections":4729,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},289330,"qiu-shan-ce-zhang-tu-yan-su-289330","秋山策杖图","燕肃","这件作品是一幅山村之景，近处苍松并立，枝干挺拔舒展，松下有一茅草屋，屋内，一老叟凭窗闲眺，溪桥上，另一长者正策杖而行。",[24,7,1767,108,27,185,109,4664,332,111,4726,4727,712],"策杖","山野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8897b84494cbf20379ca1400ec641d.jpg",[],{"id":4731,"slug":4732,"title":4733,"dynasty":18,"author":4734,"museum":355,"description":4735,"tags":4736,"thumbUrl":4737,"material":565,"size":566,"collection":81,"collections":4738,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},288936,"chun-guang-xian-dao-tu-wang-you-288936","春光先到图","王友","米芾在画史中提到：“赵昌、王友、镡黉辈，得之可遮壁，无不为少。”",[24,48,7,28,26,422,108,2306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb5ed83558fea61ce7df0f388fb6ba6.jpg",[],{"id":4740,"slug":4741,"title":4742,"dynasty":124,"author":44,"museum":355,"description":4743,"tags":4744,"thumbUrl":4747,"material":565,"size":566,"collection":81,"collections":4748,"showCount":4702,"zanCount":312,"manualWeight":38,"mainColor":57},270528,"zhu-bing-sha-di-dui-ling-jia-xiu-hua-niao-shi-liu-shan-yi-ming-270528","竹柄纱地堆绫加绣花鸟石榴扇","花边形扇面温婉雅致，纱底暗纹朦胧柔和，衬得堆绫绣饰愈发生动鲜活。折枝月季柔蔓舒展，粉红花瓣饱满娇嫩，层叠间晕染出盛放之态，翠羽禽鸟栖于枝梢，翎毛纤毫毕现，灵动如生。堆绫工艺让花叶禽鸟颇具立体感，辅以刺绣勾勒细节，明暗相宜，将庭院清趣凝于盈尺扇面之上。\n竹柄髹漆描金，搭配錾刻纹饰的护托，工细雅致，兼顾美观与握持实用性。整扇融多工艺于一体，配色柔丽和谐，既有工笔花鸟的文雅意趣，尽显旧时工艺精巧，晕染出温婉雅致的闺阁韵致。",[7,28,78,112,2796,4745,4746,776],"堆绫加绣","日用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c67ed14c11d02ff76b1345ac1ac1f52.jpg",[],{"id":4750,"slug":4751,"title":4752,"dynasty":124,"author":44,"museum":355,"description":4753,"tags":4754,"thumbUrl":4757,"material":565,"size":566,"collection":81,"collections":4758,"showCount":4702,"zanCount":11,"manualWeight":38,"mainColor":39},270169,"jiang-se-na-sha-xiu-fo-shou-hua-niao-tan-bing-tuan-shan-yi-ming-270169","绛色纳纱绣佛手花鸟檀柄团扇","是传统刺绣形式之一。它是在方格纱的底料上严格按格数眼进行刺绣的。不仅图案美丽，而且随 着线条横、直、斜的不同排列作丰富的变化，但花纹间的空眼必须对齐。\n以素纱为绣底，绣时须按格或数眼绣制。绣法垂直进行，以大套小的几何图案，绣满全幅，用色一般以每一几何形为单位。刺绣步骤：以波浪纹为例。从纹样边缘第一眼起针，跨过六个眼，在第七个眼下针，以后每针均往下移一个眼，绣到第十针后，每针均向上移一个眼，直至与第一眼相并列时，再往下移，如此循环往复，即成波浪形。第二皮波浪纹绣法相同，落针的针迹要在第一皮原针眼中，以后类推，直至绣满。",[1649,7,4755,4756,28,1177,776,2298,2796],"纳纱绣","佛手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0b40665bcec67a5b5b7f77c7c43fa6.jpg",[],{"id":4760,"slug":4761,"title":4762,"dynasty":124,"author":44,"museum":355,"description":4753,"tags":4763,"thumbUrl":4764,"material":565,"size":566,"collection":81,"collections":4765,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},270161,"fen-hong-se-sha-xiu-hua-die-tu-mian-zi-qi-miao-jin-bing-tuan-shan-yi-ming-270161","粉红色纱绣花蝶图面紫漆描金柄团扇",[7,1649,776,2796,28,79,214,2797,2298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ac4842200c3d49183d13fc4e1697c6.jpg",[],{"id":4767,"slug":4768,"title":4769,"dynasty":433,"author":4770,"museum":355,"description":4771,"tags":4772,"thumbUrl":4773,"material":565,"size":566,"collection":81,"collections":4774,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},239012,"liu-shu-ba-ge-shan-zhang-chong-239012","柳树八哥扇","张翀","生卒不详，活动于17世纪，明代画家。字子羽，号浑然子、图南，江都（今江苏南京）人",[7,24,25,108,27,858,3469,28,1228,1114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9969dad6bbf3dbb960f381596a2faa2.jpg",[],{"id":4776,"slug":4777,"title":4778,"dynasty":124,"author":4284,"museum":355,"description":4285,"tags":4779,"thumbUrl":4781,"material":565,"size":566,"collection":81,"collections":4782,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},237969,"hong-ren-qiu-feng-shan-hong-ren-237969","弘仁秋枫扇",[24,7,108,185,181,4780,109,2767,50,131],"枫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee672f2e629a5f8260a53c32f8a229d6.jpg",[],{"id":4784,"slug":4785,"title":1493,"dynasty":433,"author":3395,"museum":355,"description":3396,"tags":4786,"thumbUrl":4787,"material":565,"size":566,"collection":81,"collections":4788,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":57},237943,"shan-shui-shan-mian-wu-bin-237943",[24,25,7,108,185,181,238,333,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102ba100191b06c111a401b4fc3e003d.jpg",[],{"id":4790,"slug":4791,"title":4792,"dynasty":433,"author":2031,"museum":355,"description":4276,"tags":4793,"thumbUrl":4794,"material":565,"size":566,"collection":81,"collections":4795,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},237850,"fang-ni-zan-shan-shui-shan-dong-qi-chang-237850","仿倪瓒山水扇",[7,24,108,1547,181,360,361,185,691,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fe56f94b85cc2111160b5c9a7022474.jpg",[],{"id":4797,"slug":4798,"title":4799,"dynasty":433,"author":4800,"museum":355,"description":4801,"tags":4802,"thumbUrl":4803,"material":565,"size":566,"collection":81,"collections":4804,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},237846,"long-tan-xiao-yu-shan-cheng-jia-sui-237846","龙潭晓雨扇","程嘉燧","程嘉燧（1565～1643）明代书画家、诗人。字孟阳，号松圆、偈庵，又号松圆老人、松圆道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，释名海能。",[24,25,7,108,181,280,238,333,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6625835e8171d6cba2ccce1bb4472c4e.jpg",[],{"id":4806,"slug":4807,"title":4808,"dynasty":124,"author":4809,"museum":355,"description":4810,"tags":4811,"thumbUrl":4812,"material":565,"size":566,"collection":81,"collections":4813,"showCount":4702,"zanCount":11,"manualWeight":38,"mainColor":39},237449,"wu-gu-xiang-qing-lu-heng-yun-shan-mian-wu-gu-xiang-237449","吴穀祥晴麓横云扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[24,25,7,27,108,181,238,333,785,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a7f0dc5675aae5a446ce84cedfe87a.jpg",[],{"id":4815,"slug":4816,"title":1493,"dynasty":433,"author":4817,"museum":355,"description":4818,"tags":4819,"thumbUrl":4820,"material":565,"size":566,"collection":81,"collections":4821,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},237404,"shan-shui-shan-mian-xie-dao-ling-237404","谢道龄","字邢台，一作彬台，吴（今江苏苏州）人。移寓江宁（今南京）。与周亮工望衡而居。善花鸟，尤工折枝，兼善山水，类赵伯驹、赵孟頫。崇祯元年（一六二八）尝作山水扇",[7,24,181,108,185,332,548,239,182,333,238,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b71c94b91201216e2e0f580b8bddcc.jpg",[],{"id":4823,"slug":4824,"title":1493,"dynasty":433,"author":4293,"museum":355,"description":4294,"tags":4825,"thumbUrl":4826,"material":565,"size":566,"collection":81,"collections":4827,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},236811,"shan-shui-shan-mian-liu-yuan-qi-236811",[24,7,181,108,27,185,238,333,306,3112,109,1874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6dd3b962fbdb6a810552885f1d4de.jpg",[],{"id":4829,"slug":4830,"title":4831,"dynasty":124,"author":4832,"museum":355,"description":4833,"tags":4834,"thumbUrl":4835,"material":565,"size":566,"collection":81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，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[606,24,25,7,27,28,1515,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b47f62afde0ec5f4a961e189b752013.jpg",[],{"id":4838,"slug":4839,"title":4840,"dynasty":433,"author":616,"museum":355,"description":3542,"tags":4841,"thumbUrl":4842,"material":565,"size":566,"collection":81,"collections":4843,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},235532,"shan-shui-shan-ye-lu-zhi-235532","山水扇页",[7,24,25,108,27,181,333,113,239,182,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe1ef5fbf574dd1807ab602c8ebf44d.jpg",[],{"id":4845,"slug":4846,"title":4847,"dynasty":124,"author":3157,"museum":4848,"description":4849,"tags":4850,"thumbUrl":4851,"material":459,"size":4852,"collection":81,"collections":4853,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},232897,"chun-se-hai-tang-zhao-zhi-qian-232897","春色海棠","张学良旧藏","同治十一年壬申，客居北京的赵之谦南归在家乡小住，旋赴江西修《江西通志》。临行前，他为朋友画了很多画，自此之后，他一心修《志》，绝少刻印画画，成了晚清艺术史上一大憾事。此轴即作于临去江西前，笔墨雄肆，构图奇突，可见当时的心情和画艺的熟练。极为难得。\n赵之谦（1829－1884），中国清代著名的书画家、篆刻家。浙江绍兴人。初字益甫，号冷君；后改字撝叔，号悲庵、梅庵、无闷等。在晚清艺术史上，赵之谦无疑是最为重要的艺术家之一。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大的影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，实得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。",[7,24,25,27,28,29,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe8b2381d0d12b3901547ff7fc132b87.jpg","19×54厘米",[],{"id":4855,"slug":4856,"title":2271,"dynasty":18,"author":44,"museum":355,"description":4857,"tags":4858,"thumbUrl":4859,"material":81,"size":81,"collection":81,"collections":4860,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},227891,"shen-tang-qin-qu-tu-yi-ming-227891","《宋扇面画深堂琴趣图》是宋代画家佚名创作的一幅绢本设色画。\n此画现藏于北京故宫博物馆。\n【文物原属】故宫旧藏 【简介】 绢本，设色，纵：2.6cm，横：24.9cm。\n本幅无款印。\n钤收藏印 “仪周珍藏”一方。\n远山一带，巨壑空茫。\n建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。\n整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。\n从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。\n从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。\n这在宋诗、宋词和宋画中留有许多经典的范例。\n如从 的《 》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。\n音乐，求其意境，要有共鸣、幽远方妙。\n《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。\n深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。\n门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。\n庭石上又有青松一株，遥承琴声，而成风如松。\n环境与音乐布局协和生发，绝无滞碍。\n主人弹琴，恰好面东，而门对南，空间方位甚为有序。\n如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。\n设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。\n所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。\n这些看似细微之处，正可见宋人对画中空间风水的深刻认知。\n画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。\n可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。\n—— 著《 》",[23,24,25,48,7,27,181,332,333,238,548,109,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1ea677f5f541183dafad361e3563ed.jpg",[],{"id":4862,"slug":4863,"title":4631,"dynasty":124,"author":1568,"museum":355,"description":1569,"tags":4864,"thumbUrl":4865,"material":565,"size":566,"collection":81,"collections":4866,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},224482,"shan-shui-tu-shan-mian-wang-jian-224482",[23,24,25,7,181,27,185,238,333,690,113,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4553a79a1bb08b744bb24b9bf960af.jpg",[],{"id":4868,"slug":4869,"title":234,"dynasty":433,"author":4870,"museum":45,"description":4871,"tags":4872,"thumbUrl":4873,"material":588,"size":4874,"collection":81,"collections":4875,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},222377,"shan-shui-tu-bian-wen-yu-222377","卞文瑜","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,7,181,185,108,27,238,333,2767,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd45f49317fea0c08e05b689921eab9.jpg","纵23.7厘米横29.3厘米",[],{"id":4877,"slug":4878,"title":4879,"dynasty":433,"author":1384,"museum":20,"description":4880,"tags":4881,"thumbUrl":4882,"material":27,"size":4883,"collection":81,"collections":4884,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},222115,"shu-yin-chui-diao-tu-shen-zhou-222115","树阴垂钓图","老树三株，点叶笔极老辣。平坡上坐一老者垂纶，笔细挺而有致。对山数石，横波数抹。",[23,24,7,108,181,360,470,50,131,723,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e71db6d9e06df008768db3647fc1e04.jpg","纵18.5公分，横50公分",[],{"id":4886,"slug":4887,"title":4888,"dynasty":275,"author":814,"museum":4889,"description":4890,"tags":4891,"thumbUrl":4892,"material":32,"size":81,"collection":204,"collections":4893,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},219394,"qiu-lin-du-qi-tu-zhao-yong-219394","秋林独骑图","上海龙美术馆","赵雍，字仲穆，湖州人。赵孟頫次子。官至集贤待制、同知湖州路总管府事。书画承家学，擅山水，师法董源；尤精人马，得曹霸、韩幹法；兰竹则腴润洒落。书善正、行、草、篆，体势清劲。",[24,25,7,27,181,109,1433,3042,333,238,1434,131,50,723,26,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82362cf51743c1d61b49e21bf59d4c8.jpg",[204],{"id":4895,"slug":4896,"title":4897,"dynasty":18,"author":44,"museum":4898,"description":4899,"tags":4900,"thumbUrl":4901,"material":32,"size":4902,"collection":34,"collections":4903,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":57},218881,"liu-yin-bai-quan-tu-yi-ming-218881","柳荫白犬图","美国克利夫兰艺术博物馆","柳丝低垂如帘，织就一片清凉荫翳。白犬闲适蜷卧，蓬松毛羽似沾草木清香，或抬首望风，或闭目假寐，神态慵懒却藏灵动。笔墨细腻不刻意，柳枝柔曼、犬身肌理皆以淡墨轻描，线条细劲含韵致。背景疏枝苔点晕染出空寂幽远，将宋代文人闲雅心境藏于日常小景间——喧嚣尘世里，柳荫下的片刻安宁，让时光随犬的呼吸慢下来。此作尽显宋人“以物寄情”的审美哲思，静谧中流淌着含蓄诗意与温柔，于细微处见天地，藏着对闲适生活的无限向往。",[24,7,26,27,528,4243,362,111,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273bfd0c5ac921b2cd1f5de5ecde964d.jpg","22.6x22.6cm",[34],{"id":4905,"slug":4906,"title":4907,"dynasty":18,"author":44,"museum":20,"description":4908,"tags":4909,"thumbUrl":4911,"material":32,"size":2943,"collection":53,"collections":4912,"showCount":4702,"zanCount":38,"manualWeight":38,"mainColor":39},218848,"qiu-shan-gu-du-tu-yi-ming-218848","秋山古渡图","这幅画描绘了一连串的山脉，右边的巨石高耸入云，岩石下隐约可见几间小屋，一只狗跑来迎接它的主人，而隐士一定是从峡谷中搜索回来的。这幅画是郭熙的研究，充满了兴趣。",[23,48,24,25,7,181,185,108,4664,4910,239,182,238,333],"古渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b2090c0a9578d59578b77ac40979c0.jpg",[53],{"id":4914,"slug":4915,"title":4916,"dynasty":124,"author":4917,"museum":355,"description":4918,"tags":4919,"thumbUrl":4920,"material":565,"size":566,"collection":81,"collections":4921,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},290516,"zhou-dun-yi-ai-lian-tu-tuan-shan-shu-hao-290516","周敦颐爱莲图团扇","舒浩","舒浩［清］字萍桥，号平桥，又号则水道人。与沙馥、钱慧安等先后同时，名誉亦杨伯仲。工人物、山水、花鸟，工细缜密，雅秀天然。按近代六十名画家传载有舒豪字萍桥，",[23,24,7,27,26,109,436,548,50,131,712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e06f70481735d4cbb314db4b28a48af.jpg",[],20,{"id":4924,"slug":4925,"title":4926,"dynasty":18,"author":178,"museum":355,"description":1966,"tags":4927,"thumbUrl":4929,"material":565,"size":566,"collection":81,"collections":4930,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},290485,"han-jiang-diao-xue-tu-fan-kuan-290485","寒江钓雪图",[24,7,108,1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字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[24,25,7,27,26,109,280,181,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e1029930cd466abff7fd39a4252439.jpg",[],{"id":5003,"slug":5004,"title":5005,"dynasty":433,"author":1523,"museum":355,"description":3138,"tags":5006,"thumbUrl":5008,"material":565,"size":566,"collection":81,"collections":5009,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},287434,"xie-qin-kan-shan-tu-shan-mian-zhou-chen-287434","携琴看山图扇面",[7,24,48,25,108,181,109,305,238,5007,50,131],"携琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b9284f4e45132c5dde01f7afc8f670.jpg",[],{"id":5011,"slug":5012,"title":5013,"dynasty":433,"author":5014,"museum":355,"description":5015,"tags":5016,"thumbUrl":5017,"material":565,"size":566,"collection":81,"collections":5018,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},239474,"xie-qin-fang-you-tu-shan-sun-zhi-239474","携琴访友图扇","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。",[48,24,25,7,108,27,185,181,333,3112,109,4688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47746b0b060c5b7809478631056a9d65.jpg",[],{"id":5020,"slug":5021,"title":1493,"dynasty":433,"author":3395,"museum":355,"description":3396,"tags":5022,"thumbUrl":5023,"material":565,"size":566,"collection":81,"collections":5024,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},237869,"shan-shui-shan-mian-wu-bin-237869",[24,7,108,185,181,333,238,182,239,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c22e0115a9fdf45ed559e83e83397d8.jpg",[],{"id":5026,"slug":5027,"title":5028,"dynasty":433,"author":5029,"museum":355,"description":5030,"tags":5031,"thumbUrl":5032,"material":565,"size":566,"collection":81,"collections":5033,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},237836,"zhu-lan-shi-shan-xiang-yuan-bian-237836","竹兰石扇","项元汴","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[24,25,7,108,280,929,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a954d83db86fd34091f955857d0069.jpg",[],{"id":5035,"slug":5036,"title":5037,"dynasty":124,"author":5038,"museum":355,"description":5039,"tags":5040,"thumbUrl":5041,"material":565,"size":566,"collection":81,"collections":5042,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},237835,"tian-zhong-jing-ying-tu-shan-ye-yun-huai-ying-237835","天中景映图扇页","恽怀英","图绘牡丹、枇杷等各色花果，它们以五彩染就，不见笔痕，色调巧妙搭配，浓淡变化自然，脱去尘俗，于妍丽中见秀雅，粉墨中露清姿，颇得恽寿平花鸟画灵秀天趣之美，呈现出一派喜庆祥和的景象，与作者自题“喜写”的意愿相契合。",[7,27,26,28,49,30,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6f440ef47ec15b743171c3ffaf0a7e3.jpg",[],{"id":5044,"slug":5045,"title":5046,"dynasty":124,"author":4284,"museum":355,"description":4285,"tags":5047,"thumbUrl":5048,"material":565,"size":566,"collection":81,"collections":5049,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},237795,"hong-ren-shan-shui-shan-hong-ren-237795","弘仁山水扇",[24,25,48,7,181,280,238,360,1105,108,27,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee2deb1860be3554b6c635c695732f0.jpg",[],{"id":5051,"slug":5052,"title":5053,"dynasty":433,"author":616,"museum":355,"description":3542,"tags":5054,"thumbUrl":5055,"material":565,"size":566,"collection":81,"collections":5056,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},237417,"you-zhang-gong-dong-shan-lu-zhi-237417","游张公洞扇",[7,24,181,27,185,305,238,50,131,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193fe877694581eca743fdfcdc0ae876.jpg",[],{"id":5058,"slug":5059,"title":5060,"dynasty":433,"author":5061,"museum":355,"description":5062,"tags":5063,"thumbUrl":5064,"material":565,"size":566,"collection":81,"collections":5065,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":57},236814,"song-zhu-shi-shan-xiang-sheng-mo-236814","松竹石扇","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。",[7,108,185,110,280,361,929,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8cd6951a13d0417c0924d7867b83608.jpg",[],{"id":5067,"slug":5068,"title":5069,"dynasty":433,"author":1523,"museum":355,"description":3138,"tags":5070,"thumbUrl":5071,"material":565,"size":566,"collection":81,"collections":5072,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":57},236701,"guan-pu-shan-zhou-chen-236701","观瀑扇",[48,24,25,7,108,185,109,181,238,333,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8157a9dde39dc9be6fd83fde962e9723.jpg",[],{"id":5074,"slug":5075,"title":5076,"dynasty":124,"author":4284,"museum":355,"description":4285,"tags":5077,"thumbUrl":5078,"material":565,"size":566,"collection":81,"collections":5079,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},235788,"hong-ren-nan-gang-qing-yun-tu-shan-ye-hong-ren-235788","弘仁南冈清韵图扇页",[24,25,7,108,181,238,333,1105,185,50,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c9cebec78b4c98d9b073af86409e76.jpg",[],{"id":5081,"slug":5082,"title":5083,"dynasty":124,"author":3157,"museum":355,"description":5084,"tags":5085,"thumbUrl":5086,"material":565,"size":566,"collection":81,"collections":5087,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},235719,"wu-rui-tu-wan-shan-zhao-zhi-qian-235719","五瑞图纨扇","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[24,25,7,27,28,1135,214,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644e153fa54bdc4622fa0c89f5baf81b.jpg",[],{"id":5089,"slug":5090,"title":5091,"dynasty":433,"author":5092,"museum":355,"description":5093,"tags":5094,"thumbUrl":5095,"material":565,"size":566,"collection":81,"collections":5096,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},234826,"jiang-nan-chun-se-tu-shan-wen-cong-jian-234826","江南春色图扇","文从简","文从简（1574年—1648年）字彦可，号枕烟老人，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明曾孙，明末清初画家。\n崇祯十三年（1640年）拔贡，入清后退居林下，以书画自娱。",[7,24,25,181,27,239,182,858,113,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9775cd52498585ad3bd8ab52b20e0ceb.jpg",[],{"id":5098,"slug":5099,"title":5100,"dynasty":433,"author":44,"museum":355,"description":434,"tags":5101,"thumbUrl":5102,"material":81,"size":81,"collection":81,"collections":5103,"showCount":4922,"zanCount":312,"manualWeight":38,"mainColor":57},234681,"ming-ren-hong-liao-qing-ting-wan-ye-yi-ming-234681","明人红蓼蜻蜓纨页",[24,25,7,26,27,28,3626,561,201,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4dece5ebaf33ae1126c53f9846d96a.jpg",[],{"id":5105,"slug":5106,"title":5107,"dynasty":124,"author":5108,"museum":355,"description":5109,"tags":5110,"thumbUrl":5111,"material":81,"size":81,"collection":81,"collections":5112,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},234617,"gu-yun-fang-tang-yin-shan-shui-wan-shan-gu-yun-234617","顾沄仿唐寅山水纨扇","顾沄","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。\n顾沄少有丹青之志。片纸尺缣，遇画辄研写不已，时常州、娄东、虞山画风鼎盛，沄深谙山水经营布置之法，画名渐起，遂往上海鬻画。上海乃商贾云集之东南都会，乾嘉时已与维扬、姑苏、宁波等城市同为鬻画之胜地。五口通商，中外资本汇聚，富庶繁华更胜苏、扬。商人风雅，各有所好，便有了各路画家一展伸手之空间。时称“三熊四任”的任渭长、任阜长、任伯年、任立凡、张子祥、朱梦泉以及朱梦庐、胡公寿、虚谷、赵之谦、王秋言、蒲作英、钱慧安、吴昌硕、吴石仙、陆廉夫、倪墨耕、吴观岱等周边画家，先后前往上海发展，遂有海上画派之兴起。沄一生恪守有清以来之正统画风，功力深厚，倒也在新风阵阵之沪上知音多多，以“泽古功深，集四王吴恽诸家之长”独树一帜。光绪十四年（1888）尝北赴京畿，与诸士大夫游，又于同年东游扶桑。画名远播（光绪十四年(1888)游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。\n工山水，由“四王吴恽”入手，上探元、明诸家。墨法明润秀雅，笔意疏古清丽，吴侬软语，浅斟低唱，得柔美之致，乏遒劲之气。间有水墨直师王蒙、小青绿逼似文徵明者，功力之深厚，时罕其俦。",[48,24,25,7,108,185,1547,181,305,109,238,1197,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ec48b9c827ff6ad82c1e990c175f2d.jpg",[],{"id":5114,"slug":5115,"title":5116,"dynasty":124,"author":4166,"museum":126,"description":5117,"tags":5118,"thumbUrl":5120,"material":5121,"size":5122,"collection":81,"collections":5123,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},234522,"teng-luo-tu-shan-ye-liao-yun-jin-234522","藤萝图扇页","此图为工写结合的设色花卉。紫藤的藤蔓由右向左延伸，结串的藤花以紫色染就不见笔痕，叶片先勾后染，设色轻妆淡写，运笔纤细工整，注重叶子阴阳向背的表现，每片叶子都具有立体感。其画风脱去尘俗，于妍丽中见秀雅，粉墨中露清姿，自出性灵，非寻常学力所能及。",[24,25,7,27,26,28,5119,50],"藤萝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15bc6b67350636ca42aa3771ac6d962f.jpg","纸本，设色","纵16.2厘米，横49.5厘米",[],{"id":5125,"slug":5126,"title":5127,"dynasty":433,"author":3146,"museum":126,"description":5128,"tags":5129,"thumbUrl":5130,"material":81,"size":81,"collection":81,"collections":5131,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},234270,"wen-zheng-ming-song-yin-lun-gu-cheng-shan-wen-zheng-ming-234270","文徵明松阴论古成扇","文征明（1470一1559年）初名壁，一字征仲，号衡山，江苏长洲（苏州）人。是明代中期著名的画家，书法家。他与沈周、唐寅、仇英并列，合称“吴门四杰”。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”。晚年与老师沈周并驾齐驱，继沈周之后成为吴门派领袖。从正德到嘉靖年间，据《吴门画史》一书统计，吴派画家共有876人，人材济济，但在当时，出类拔萃，声名显赫，唯有沈周、文征明等一些人。\n文征明的书画造诣极为全面，其诗、文、画无一不精。人称是“四绝”的全才。他虽学继沈周，但仍具有自己的风格。他一专多能，能青绿，亦能水墨，能工笔，亦能写意。山水、人物、花卉、兰竹等无一不工。",[23,24,25,7,27,109,110,181,50,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5db5d940afc01ae57628128afa2dc12.jpg",[],{"id":5133,"slug":5134,"title":5135,"dynasty":18,"author":2333,"museum":126,"description":5136,"tags":5137,"thumbUrl":5138,"material":495,"size":2339,"collection":81,"collections":5139,"showCount":4922,"zanCount":11,"manualWeight":38,"mainColor":57},234067,"shu-liu-han-ya-tu-ye-liang-kai-234067","疏柳寒鸦图页","图绘枯柳疏枝，两只乌鸦栖息于树干上，一只低头啄食，一只仰望高空，与远处的飞鸦呼应成趣，另有一只飞临树干。几枝败柳将冬季萧瑟的气氛巧妙地烘托出来，四只寒鸦形神各异。乌鸦头尾以浓墨点染，羽翼用焦墨勾写，腹部略敷白粉，更突出鸦头之黑，笔简神丰。\n梁楷的“减笔”画既带有文人的笔墨情趣，又能对物象高度概括，具有传神的效果，这在两宋花鸟画中是绝无仅有的。这种画法对元代的颜辉、明代的徐渭、清代的黄慎、近代的任伯年等著名画家都有较大的影响。",[48,24,108,2336,7,28,528,2337,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98edc522b970230b3f33e393d08d85c.jpg",[],{"id":5141,"slug":5142,"title":5143,"dynasty":124,"author":5144,"museum":355,"description":5145,"tags":5146,"thumbUrl":5147,"material":565,"size":566,"collection":81,"collections":5148,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},230928,"lan-shi-tu-wang-wu-230928","兰石图","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[24,25,7,108,27,1114,929,361,131,723,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818304cde9ff66cdef25c7b98f674d5b.jpg",[],{"id":5150,"slug":5151,"title":5152,"dynasty":433,"author":3146,"museum":355,"description":5153,"tags":5154,"thumbUrl":5156,"material":565,"size":566,"collection":81,"collections":5157,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,7,27,108,181,305,1105,109,5155,333,238,2023,239,50],"远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],{"id":5159,"slug":5160,"title":5161,"dynasty":433,"author":1225,"museum":355,"description":4998,"tags":5162,"thumbUrl":5163,"material":565,"size":566,"collection":81,"collections":5164,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},228856,"shan-mian-hua-xuan-chou-ying-228856","扇面画选",[23,24,25,7,26,27,109,182,181,360,470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc80210af56788cd85ba9dc0cd734cc.jpg",[],{"id":5166,"slug":5167,"title":5168,"dynasty":18,"author":44,"museum":355,"description":5169,"tags":5170,"thumbUrl":5171,"material":81,"size":81,"collection":81,"collections":5172,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":57},227879,"liu-yuan-xiao-shu-tu-ye-yi-ming-227879","柳院消暑图页","此作以雅致设色铺就消暑闲景。水岸庭院柳丝垂曳，将溽暑揉作柔婉绿意，半掩着临水楼阁。凭栏高士宽袍松带，懒倚轩窗，似在静听蝉鸣、细观涟漪，将暑热倦怠化为幽居闲情。\n屋下侍童躬身奉物，院角仆从悄然添茶，细碎日常衬出庭院松弛意趣。远景浅黛山峦晕染淡远，水色空濛晕着暑日微光，近院花卉娇柔点染，明暗虚实间，将江南夏日常住的清宁消暑意趣尽数铺展，淡而不寡，雅而不奢，尽显宋人的幽居美学，把溽暑里的闲静安然，尽数藏进这绢素方寸之中。",[23,48,24,25,7,27,26,331,109,332,528,64,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd078e473f04ccec6ad7f49b6b5cb6b48.jpg",[],{"id":5174,"slug":5175,"title":5176,"dynasty":18,"author":5177,"museum":355,"description":5178,"tags":5179,"thumbUrl":5182,"material":81,"size":81,"collection":81,"collections":5183,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":57},227755,"jiang-di-fang-mu-tu-yan-ci-ping-227755","江堤放牧图","阎次平","《四季牧牛图》是南宋画家阎次平创作的绢本浅设色画，现藏于南京博物院。\n\n此画共四幅。春牧绘春野柳坡，细草如茵，一童牧二牛于其间。夏牧绘高树浓荫，芦池夏草，二童跨牛浮水而渡。秋牧绘霜叶满地，幼犊依偎于牝牛，牡牛缓步于傍，牝牛坐弄蟾蜍。冬牧绘雪地残草，寒风呼号，牧童牵牛而归。全图画树木用笔粗简，画牛则精细勾描，人物尤为生动。",[23,24,25,7,27,181,185,26,1093,5180,333,690,111,239,5181],"堤岸","放牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a261f44b092c6d8d8542f432afd33d.jpg",[],{"id":5185,"slug":5186,"title":5187,"dynasty":18,"author":5177,"museum":355,"description":5188,"tags":5189,"thumbUrl":5190,"material":81,"size":81,"collection":81,"collections":5191,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},227754,"song-deng-jing-lu-tu-yan-ci-ping-227754","松磴精庐图","《宋阎次平松磴精庐图》是宋代阎次平所创的扇面图。\n\n石矶满布的江畔山岩，长松横斜，密竹丛生。一座典雅的精舍（或书院），紧密地镶嵌在这青山绿水之间。小径由岸边蜿蜒而上，岬角处两张圆石小凳闲置于松下，风景优美而宁静。",[23,24,25,7,27,181,185,50,305,332,182,238,333,691],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb29b476fe0467fa83caa5ca6d6b7ba.jpg",[],{"id":5193,"slug":5194,"title":4722,"dynasty":18,"author":5195,"museum":355,"description":5196,"tags":5197,"thumbUrl":5198,"material":81,"size":81,"collection":81,"collections":5199,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":57},227542,"qiu-shan-ce-zhang-tu-guo-xi-227542","郭熙","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。 他画山水注重深入体察生活，能真实、细致、微妙地表现出不同地区、季节、气候的特点，得“远近浅深，四时朝暮，风雨明晦之不同”，创造出极其丰富优美动人的意境，另外他还长于影塑，在墙壁上用泥堆塑浮雕式的山水，别具情趣。\n\n郭熙有《早春图》《关山春雪图》《窠石平远图》《幽谷图》《古木遥山图》等传世。其中《早春图》成功地表现出冬去春来、大地复苏、万物甦醒的细致季节变化。在绘画理论上郭熙亦有很高建树，其理论集中反映在他的《林泉高致》一书中。",[23,24,7,181,109,333,239,238,185,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F301e81485e068c4f080628a129182f75.jpg",[],{"id":5201,"slug":5202,"title":5203,"dynasty":18,"author":44,"museum":355,"description":5204,"tags":5205,"thumbUrl":5206,"material":829,"size":5207,"collection":81,"collections":5208,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":57},223376,"chu-ping-mu-yang-tu-yi-ming-223376","初平牧羊图","此图不知原载何册，也没有作者姓氏。但画法甚为高超，人物尤精。在描绘人物动态和神情方面，画家具有高超的技艺。",[23,24,25,7,27,26,109,1809,360,238,691,743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8d3b9f87123433d8f4bab4bb4d8cd5e.jpg","23.5*24.6厘米",[],{"id":5210,"slug":5211,"title":5212,"dynasty":124,"author":995,"museum":355,"description":5213,"tags":5214,"thumbUrl":5215,"material":81,"size":81,"collection":81,"collections":5216,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},223226,"shan-mian-ren-wu-ren-yi-223226","扇面人物","绘制山石花草，用笔寥寥，淡墨晕染。画中人物坐竹椅之上，身边童子抱鹅坐于地上，富有生活气息。",[23,24,25,7,27,108,109,111,797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda8dd60918c4a810ce2910db29247b93.jpg",[],{"id":5218,"slug":5219,"title":2988,"dynasty":124,"author":2812,"museum":355,"description":2813,"tags":5220,"thumbUrl":5222,"material":2816,"size":2817,"collection":81,"collections":5223,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":39},222624,"shan-shui-shan-mian-4-gong-xian-222624",[23,24,108,181,7,185,333,238,548,5221],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a851eec450e8b11c5a0839e9edbcd70.jpg",[],{"id":5225,"slug":5226,"title":5227,"dynasty":18,"author":44,"museum":45,"description":5228,"tags":5229,"thumbUrl":5230,"material":32,"size":81,"collection":401,"collections":5231,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":57},219744,"liu-xia-shuang-niu-tu-yi-ming-219744","柳下双牛图","画中柳树下悠闲的南方水牛，一母一子，尽管母牛背向而站，但眼神紧盯着小牛，而小牛似乎正围着母牛撒欢。另一侧，农夫辛勤的在水田里劳作。",[24,7,108,27,1093,362,184,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd182958fae8609b7da0dda8ab0764823.jpg",[401],{"id":5233,"slug":5234,"title":5235,"dynasty":275,"author":44,"museum":4898,"description":5236,"tags":5237,"thumbUrl":5238,"material":32,"size":81,"collection":34,"collections":5239,"showCount":4922,"zanCount":38,"manualWeight":38,"mainColor":57},216603,"shuang-yuan-tu-yi-ming-216603","双猿图","双猿相偎于岩畔，毛发以淡墨晕染，绒绒质感似触手可及。一猿侧首依偎，一猿抬眸远眺，憨然亲昵的神态里，藏着自然生灵的脉脉温情。近景山石以简劲皴擦勾勒，肌理分明；背景远山用淡墨轻笼，如隔烟霞。左侧大片留白似氤氲水气，引视线向深远处漫溯，让静谧氛围在空濛中缓缓流淌。墨色浓淡相济，古绢底色晕着时光沉韵，刚劲的山石与柔润的猿身形成刚柔对撞，却又在淡远意境里相融。整幅画不追繁复，以极简笔墨捕捉生灵之趣，将自然的恬淡与温情凝于绢素，读之如沐山风，心渐沉静。",[24,7,108,362,1357,111,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa75dc0ca0ebe129ccaa05f98ca77435c.jpg",[34],{"id":5241,"slug":5242,"title":5243,"dynasty":18,"author":44,"museum":355,"description":5244,"tags":5245,"thumbUrl":5246,"material":565,"size":566,"collection":81,"collections":5247,"showCount":5248,"zanCount":38,"manualWeight":38,"mainColor":57},290102,"zhu-lin-gao-shi-tu-yi-ming-290102","竹林高士图","该作品画面以竹石为主，还缀有点景人物。数竿修竹枝叶交错，折旋向背，姿态各异。近处危石嶙峋，突兀而起。依石傍竹，几丛野花绽放其间，一溪涧水蜿蜒而下。左下空旷之处，老翁坐对幽篁，似在吟咏，旁有童仆持杖而立。",[7,24,48,108,109,181,1059,548,238,3671,1039,712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffccafbdc43f6b75f39c364486365e0d2.jpg",[],19,{"id":5250,"slug":5251,"title":1364,"dynasty":18,"author":1365,"museum":355,"description":1366,"tags":5252,"thumbUrl":5253,"material":565,"size":566,"collection":81,"collections":5254,"showCount":5248,"zanCount":38,"manualWeight":38,"mainColor":39},289128,"tai-ye-he-feng-tu-feng-da-you-289128",[24,7,27,28,436,112,26,723,131,1927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4808c104c2ab567d8fad3a717971579.jpg",[],{"id":5256,"slug":5257,"title":5258,"dynasty":18,"author":5259,"museum":355,"description":5260,"tags":5261,"thumbUrl":5262,"material":565,"size":566,"collection":81,"collections":5263,"showCount":5248,"zanCount":38,"manualWeight":38,"mainColor":39},288518,"qiu-jiang-ming-po-tu-zhao-gou-288518","秋江瞑泊图","赵构","秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。",[23,24,48,25,7,108,181,239,182,184,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f38a38f40d9ef6cbc5a04e3d855599e.jpg",[],{"id":5265,"slug":5266,"title":5267,"dynasty":18,"author":302,"museum":355,"description":5268,"tags":5269,"thumbUrl":5270,"material":565,"size":566,"collection":81,"collections":5271,"showCount":5248,"zanCount":38,"manualWeight":38,"mainColor":57},288335,"wu-zhu-xi-tang-tu-xia-gui-288335","梧竹溪堂图","此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。",[23,24,48,25,7,108,181,280,4482,113,548,239,131,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d7e4d8b8f02db5e2072c25ef69640f.jpg",[],{"id":5273,"slug":5274,"title":5275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所创作的一幅 。\n此图原载《历代名笔集胜册》第一册。\n此图线条工谨精细，如春蚕吐丝，柔中见刚。\n《五代周文矩仙女乘鸾图》，图画明月一轮，一仙女乘鸾飞翔。\n笔墨精妙飞动，设色艳丽，构图简洁，为宋画中精品。\n无款，旧题周文矩作。\n画中钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍赏」、「珍秘」、「会侯珍藏」、「明安国玩」、「宜尔子孙」等印多方。\n对幅有耿昭忠题，经《虚斋名画录》著录。\n耿昭忠题云：“风格高妙，飘飘然有凌霞绝尘之姿，是盖周文矩胸中迥出天机，故落笔超乎物表。\n张、吴、顾、陆、何难继踵。\n”襄平耿昭忠题。\n”本幅及裱边、对幅钤耿昭忠“真赏”、“黔宁王子孙永保之”、“丹诚”、“都尉耿信公书画之章”、“信公珍藏”、“珍秘”、“宜尔子孙”、“公”等鉴藏印，共17方。\n《圣朝名画评》云：“周文矩，建康句容人。\n美风度，学丹青，颇有精思。\n仕李煜，为待诏，能画冕服车器人物仕女。\n”又云：“周文矩用意深远，于繁富则尤工。\n”按此图虽无款，而作风飞动精丽，允为北宋早期的作品。\n旧题 作，今从之。\n《五代周文矩仙女乘鸾图》图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。\n画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。\n仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。\n画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。\n周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。\n与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。\n周文矩，生卒年代不详，句容（今属江苏）人，曾在南唐后主李煜时任画院翰林待诏。\n工画佛道、人物、车马、屋木、山水，尤精于仕女，多以宫廷或文人生活为题,以“用意深远”著称。\n其仕女画师从周昉，作风更加纤丽繁复，用笔多以“战笔”为特点。\n现藏故官博物院的《重解会棋图》是他的传世作品之一。\n传世作品有《重屏会棋图》、《 》等。",[23,24,7,26,27,109,199,5974,112,5975,1197,50],"神鸟","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd1fa7526358a03d725c63f905f8a92.jpg",[],{"id":5979,"slug":5980,"title":5981,"dynasty":18,"author":44,"museum":20,"description":5982,"tags":5983,"thumbUrl":5984,"material":4407,"size":5985,"collection":81,"collections":5986,"showCount":5753,"zanCount":38,"manualWeight":38,"mainColor":39},223569,"xi-shan-xing-lv-tu-yi-ming-223569","溪山行旅图","图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。",[23,24,25,7,108,185,131,723,50,181,111,333,548,239,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce1a8b5a603f292840b46f377d5eb9e.jpg","28.6 x 44.1 cm",[],{"id":5988,"slug":5989,"title":5990,"dynasty":433,"author":1267,"museum":20,"description":5991,"tags":5992,"thumbUrl":5993,"material":397,"size":5994,"collection":81,"collections":5995,"showCount":5753,"zanCount":38,"manualWeight":38,"mainColor":39},222341,"wan-yue-tu-cheng-shan-tang-yin-222341","玩月图成扇","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 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物，间仿文、唐两家，却能逼真。万历十四年（一五八六）作山水图，四十年（一六一二）作渔翁乐图，继承南宋刘、李一派及唐寅画法，有仿唐寅人物大幅几能乱真。从艺活动在万历间。\n钱贡画山水“往往出入文征仲太史。”后人曾把他作为文征明门人之高弟。人物则“尤其所长”，“仿唐伯虎大幅，咄咄逼真”，继承了唐寅的人物大幅之风格，所画几可乱真。（《明画录》）\n其作品多旧藏于清宫内，其中录于《石渠宝笈》者甚多。绘画风格颇得清帝青睐，其作乾隆御题者众。\n《明画录》、《无声诗史》、《书史会要》、《中国版画研究重要书目》",[24,7,27,181,109,182,333,238,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9cf9fc6383b90fab6279bc982778d65.jpg",[],{"id":6201,"slug":6202,"title":6203,"dynasty":433,"author":6204,"museum":355,"description":6205,"tags":6206,"thumbUrl":6207,"material":81,"size":81,"collection":81,"collections":6208,"showCount":6011,"zanCount":38,"manualWeight":38,"mainColor":39},234491,"juan-dong-ting-ye-yue-shan-zhu-yin-234491","隽洞庭夜月扇","朱胤","明清时期，每逢中秋佳节，文人墨客们总会创作许多关于中秋赏月的扇面小品，相互赠予，以表思念团聚之情。",[24,25,7,108,185,181,711,333,238,691,690,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7189ad8459fc1b6f9a24ecaf33e0dcfd.jpg",[],{"id":6210,"slug":6211,"title":6212,"dynasty":124,"author":2599,"museum":126,"description":6213,"tags":6214,"thumbUrl":6216,"material":2816,"size":6217,"collection":81,"collections":6218,"showCount":6011,"zanCount":38,"manualWeight":38,"mainColor":39},234047,"yuan-ji-qi-feng-tu-shan-ye-shi-tao-234047","原济奇峰图扇页","此幅应是原济晚年之作。图绘黄山两处重要景观莲花峰和文殊院。构图新颖大胆，极尽含蓄隐现之妙。画幅中部的莲花峰以“截取法”表现，重点刻画了交叠错落的山顶，其山腰以下的部分利用“无中生有”的艺术手法，通过虚无飘渺的白云将它隐去，从而反衬出此峰的高深与雄伟，令整个画面也由此成为一个烟云流动、气势壮丽而又深邃空灵的小世界。",[24,7,108,185,181,6215,333,50],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7869dbee107a474422c0cb53686895.jpg","纵17.5厘米，横49厘米",[],{"id":6220,"slug":6221,"title":6222,"dynasty":433,"author":2624,"museum":126,"description":6223,"tags":6224,"thumbUrl":6225,"material":2206,"size":6226,"collection":81,"collections":6227,"showCount":6011,"zanCount":38,"manualWeight":38,"mainColor":39},234045,"qiu-xi-fan-ting-tu-shan-ye-chen-hong-shou-234045","秋溪泛艇图扇页","此图通过木叶丹黄的秋天景色和人物悠闲划艇的活动，展现出一种宁静清逸的意境，给人远离尘俗之感。清初期，陈洪绶面对明为清所灭、友人相继殉国的情境，深感亡国离乱之痛，产生了隐遁避世的情致。此图绘成后的第二年六月，他就在云门寺剃发为僧，改号“悔迟”、“悔僧”、“秃翁”，亦号“云门僧”、“迟和尚”等。图中山石、树木法自蓝瑛，多以中锋行笔，笔致粗犷，点染生动，于雄浑中见朴拙蕴藉，加强了画面的视觉效果。",[7,24,25,108,185,181,182,493,238,239,109,50,131,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca0bc4fcdb1b635c63e0a0c2219a288.jpg","纵16.3厘米，横51.8厘米",[],{"id":6229,"slug":6230,"title":6231,"dynasty":18,"author":44,"museum":126,"description":6232,"tags":6233,"thumbUrl":6235,"material":6236,"size":6237,"collection":81,"collections":6238,"showCount":6011,"zanCount":38,"manualWeight":38,"mainColor":57},233207,"liu-xi-chun-se-tu-ye-yi-ming-233207","柳溪春色图页","此画又名《柳溪春色图》，无名款，从其风格判断应属南宋时期作品。图绘一处屋宇依山傍水，四周柳树环绕，此时正值春天，微风吹拂柳叶飞动，整幅画面洋溢着春日气息。庭院中一群仕女似乎在排演着歌舞，屋前有一大片空地可能类似如今的广场。此画构图十分特别，不似传统「三远法」中任何一种，画面的组织皆围绕着建筑展开平铺直叙。其画法属工细一路，用笔精致，设色淡雅。画中前景用斧劈皴画一巨石，茂林密柳以「胡椒点」为之，有别于常见的人、个、介字的排列画法；屋宇平直处用界画成，曲折处稍用笔有放逸；远山勾画简略，几乎是平涂而成，意在衬托出前面繁密的景物。作者在马夏风格一统画坛的南宋时期，仍可另辟蹊径创出一种新面貌，故此画当属难得的宋人佳作。",[24,7,372,26,27,108,185,181,528,3970,785,360,239,6234],"春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa316a638cfd655a3d2997055ce7f48.jpg","绢本淡设色","纵23.4厘米，横24厘米",[],{"id":6240,"slug":6241,"title":6242,"dynasty":275,"author":6243,"museum":355,"description":6244,"tags":6245,"thumbUrl":6246,"material":81,"size":81,"collection":81,"collections":6247,"showCount":6011,"zanCount":38,"manualWeight":38,"mainColor":39},228075,"yue-xia-bai-mei-tu-yan-hui-228075","月下白梅图","颜辉","此作用极简笔墨，截取折枝白梅入画。枯劲苍涩的墨枝虬曲伸展，尽显老梅历经霜寒的嶙峋风骨，淡墨晕染出的柔白花瓣轻缀枝头，似将溶在朦胧月色里。\n画面空疏留白晕染开幽寂夜色，把月下梅的清冷雅致烘托到极致。笔意简淡却韵致悠长，将梅的疏淡高洁与夜色空濛融作一片，于空寂中暗涌生机，尽显文人画清雅出尘的意趣，似能让观者嗅见月下浮动的暗香，浸身于这幽谧孤高的清寂意境中。",[23,24,7,108,265,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fbf45d785efad4875fefb5551c888a.jpg",[],{"id":6249,"slug":6250,"title":6251,"dynasty":275,"author":6252,"museum":355,"description":6253,"tags":6254,"thumbUrl":6255,"material":81,"size":81,"collection":81,"collections":6256,"showCount":6011,"zanCount":38,"manualWeight":38,"mainColor":57},228055,"qiu-shan-xing-lv-tu-wang-zhen-peng-228055","秋山行旅图","王振鹏","此作用色沉郁苍润，虽经年色泽淡褪，青绿晕染的层叠山峦依旧幽邃厚重，尽显秋山沉静萧疏之态。边角处板桥茅舍隐现，策杖旅人徐行于郊野，将行旅清寂融于林山空寂之间。咫尺扇面以山林为骨，把山居行旅的闲逸藏于一隅，以简淡笔墨铺展山野深幽，暗合文人林泉高致的寄怀，晕染出空灵淡远的山水意韵。",[23,24,25,7,27,181,109,333,548,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa5a9693bc3afcdabe1cdbda25bf66e.jpg",[],{"id":6258,"slug":6259,"title":6260,"dynasty":18,"author":44,"museum":355,"description":6261,"tags":6262,"thumbUrl":6264,"material":81,"size":81,"collection":81,"collections":6265,"showCount":6011,"zanCount":11,"manualWeight":38,"mainColor":57},227918,"geng-huo-tu-ye-yi-ming-227918","耕获图页","它将江南农耕的收种全序铺展在团扇尺幅间，陂塘田垄错落交织，揉成鲜活的郊野劳作长卷。水畔有人俯身插秧，田埂上乡人肩挑饱满稻穗，场院间众人打谷堆粮，连跨水板桥、茅舍林木都晕染出江南乡野的温润烟火。\n\n构图疏密相宜，把忙而不紊的农忙日常拆解入微，小人物身形虽小却鲜活灵动，或挥汗劳作，或歇憩闲谈，尽显田家夏耘秋收的质朴暖意。以淡墨轻晕远山近树，褪去繁复设色，将纪实的乡居劳作绘成充满生机的风物小诗，藏着对烟火日常的细致体察，把辛劳又鲜活的田家日常定格为隽永的乡野图景。",[23,24,25,7,26,27,109,1093,6263,548,239,333,181,1105],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f946904c60ad2b0f73b01e183f9e3ae.jpg",[],{"id":6267,"slug":6268,"title":6269,"dynasty":18,"author":44,"museum":355,"description":6270,"tags":6271,"thumbUrl":6272,"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1,"collections":6577,"showCount":37,"zanCount":38,"manualWeight":38,"mainColor":57},227378,"qiu-ting-ru-quan-tu-yi-ming-227378","秋庭乳犬图","宋人小品画有很多题材，其中表现宠物犬的画作就有不少，尤其是宫廷贵妇在闲情逸致之时所驯养的小型观赏犬。毛益的《萱草戏狗图》与李迪的《秋葵山石图》，以及南宋无款的《秋庭乳犬图》、《秋葵犬蝶图》、《鸡冠乳犬图》、《萱花乳犬图》等就是典型代表。既反映了南宋院体花鸟画技艺的高超，又显现出画作中宠物犬的生动传神。千年之隔，犹如昨日。",[24,25,48,18,26,27,7,362,4243,111,201,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9de381462da7dc521dfb837af9d57c0.jpg",[],{"id":6579,"slug":6580,"title":6581,"dynasty":18,"author":44,"museum":355,"description":6582,"tags":6583,"thumbUrl":6584,"material":81,"size":81,"collection":81,"collections":6585,"showCount":37,"zanCount":38,"manualWeight":38,"mainColor":57},223671,"xue-xi-fang-mu-tu-ye-yi-ming-223671","雪溪放牧图页","萧寒冬日的溪岸，淡墨晕染出铺陈的积雪，留白尽显空寂清寒。几株古木依偎而生，虬枝带着残叶，苍劲古朴的身姿在素净雪色间愈显沉郁，将冬日荒郊的萧索尽数铺展。\n\n溪滩处，小童策杖引牛踏水而行，憨态的水牛缓涉浅流，细碎的动态打破了天地的岑寂，为这片清冷雪景晕开一缕烟火暖意。\n\n整幅小品以极简的笔墨勾勒意境，淡墨扫雪、枯笔写树，于留白中烘托出深静的冬日氛围，萧寒里带着鲜活的生趣，尽显以小见大的雅致意趣，将冬日郊野的清寂与悠然牧歌融为一卷，淡远悠长。",[23,24,27,7,181,1443,1093,360,1874,608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a98cdb3acb6a785bb5f2a05d96d3bfe.jpg",[],{"id":6587,"slug":6588,"title":6589,"dynasty":433,"author":44,"museum":355,"description":6590,"tags":6591,"thumbUrl":6593,"material":588,"size":6594,"collection":81,"collections":6595,"showCount":37,"zanCount":38,"manualWeight":38,"mainColor":39},223421,"xue-tong-nao-tang-yi-ming-223421","学童闹堂","绘制了学堂内学童玩笑的情形。画中先生正伏案休息，己经睡着了，众学童大肆喧闹，有的拿掉先生的帽子，有的钻到先生桌下，有的大笑，有的游戏，桌椅狼藉，一片混乱。画家抓住儿童的性格特点来绘制，绘声绘色，惟妙惟肖。",[23,24,25,7,27,26,109,423,6592,3646],"堂屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2e4a17551afa5703fada033b40620c.jpg","55×55cm",[],{"id":6597,"slug":6598,"title":6599,"dynasty":433,"author":6600,"museum":20,"description":6601,"tags":6602,"thumbUrl":6604,"material":459,"size":6605,"collection":2474,"collections":6606,"showCount":37,"zanCount":38,"manualWeight":38,"mainColor":39},222464,"shu-shan-ye-zhu-yun-ming-222464","书扇页","祝允明","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。\n祝允明出生在文化气氛很浓的苏州，他的书学生涯是在前辈的言传身教下开始的。其中对他影响最大的是外祖父徐有贞和岳父李应祯两人。 徐有贞擅长行草书。他的行草主要师法唐朝的怀素和宋朝的米芾。用笔直率而华美，结构潇洒多姿，很得古雅之气。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。在祝允明二岁时，徐有贞奉诏回苏州闲居，祝允明时常寄宿在外公家里，因此徐有贞的书法风格对他影响是很深远的。\n李应祯也是一个有名的书法家。祝允明也一直得到李应祯的指导。在跟从岳父学书的十几年中，李应祯对于祝允明在书法的发展上起了很大的作用。\n据文徵明的记载，李应祯在晚年告诉他，说自己学习书法四十年才开始有所得，并向文徵明论述了书法上的很多道理。他留下的尺牍，秀丽而又有气度，行笔自然大方，横向取势的撇、捺、横都很生动有致。字的大小，粗细变化自然。他这种富于抒情性的行草书对祝允明也有很深的影响。 祝允明自己谈幼年时学习书法，说前辈不让他学习近代人的字，看到的都是晋唐人的字帖。所指的应该是楷书的学习。应该说祝允明幼年在两位前辈的指导下，打下了很好的底子，为日后的发展作了铺垫。同时两人的书风的优点也传给了祝允明。\n祝允明书法主张是“性”与“功”并重超然出神采，祝允明的书艺思想以“神采”为最终归宿。而要达到这个目标，他认为必须“性”、“功”并重。“性”是指人的精神，“功”是指书法创作的能力和功夫。他认为只有功力而无精神境界，神采就没有，而有了高尚的精神境界，如果没有表达的功夫，那么神采就不能实在地显露。两者不可缺一，必须兼备，在他的代表作《闲居秋日》《致元和手札》《燕喜亭记》《乐志论》《饭苓赋》《云江记》等就秉承了他所倡导的“性”、“功”并重的原则。 对于“功”，祝允明认为只有在向前人学习的基础上才能得到。因此他对时人不愿好好学习传统而把这称为“奴书”的说法很愤慨。特地写下了《奴书订》予以反驳。在这一点上，他晚年在《书述》中还批评了他的岳父李应祯。他强调必须“沿晋游唐”，这是源于他对书法史的深入认识。\n他认为书理极于张芝、王羲之、钟繇、索靖，后人只是在遵循他们的法则，而在根本上已不能改变。他认为唐人能循前人之理，按照当时人的法则来写；宋初还不很差，宋中期仍有可取之处，而后便大变传统，古法遭到败坏，大多流为恶怪。到元代方有赵孟頫扭转时风，复归晋唐，但终因个性不强未免有“奴书”的遗憾。所以要知书法的本来必须向晋唐学习。在学习和熟悉了传统后，其技法必须有独到之处，这是祝允明对“功”的进一步要求。他在《评书》中说自己不屑于步钟、索、羲、献的后尘，而要学习项羽和史弘肇的勇猛以开创自己。他跋 《山谷书李诗》云: “双井之学（黄庭坚之学）大抵以韵胜，文章诗书画皆然，姑论其书积功固深，所得固别。要之得晋人之韵，故形貌若悬而神爽冥会欤!此卷驰骤藏真，殆有夺胎之妙，非有若据孔子比也，其故乃是与素同得晋韵然耳。”(《祝枝山全集》卷二十五)可见他主张学古贵在求其气韵神情，而不必规规于点画形似。 ] 因此他既反对时人对传统的忽视，又强调不能真的成为“奴书”。\n祝允明对于“性”没有很多的论述。他提倡“起雅去俗”，显然是指以学识和修养来陶冶性情、净化心灵，从而达到较高的精神境界。 有了以上两点，就可以在“入神”的状态下创作具有神采的优秀作品了。他对于“入神之境”的解释是“一时超然格度之外”，在超越各种约束的情况下，才能“闲窗散笔”，自然地表达自己。 祝允明在书法理论上的要求，既符合艺术创作本身的规律，又合乎文人书画的审美要求，从而使他的书法创作成果达到了很高的水平。\n祝允明书法主要成就在于狂草和楷书。狂草来自怀素、张旭，更多的是接近黄山谷，提按和使转的笔法交互使用，行与行之间的距离很紧，形成一种汪洋恣肆的视觉效果。受黄庭坚影响很大，所以书法有铁画银钩之称。更难得的是楷书又写得相当严谨，有晋唐人的古雅气息。这种反差很大的综合素养与唐代的张旭十分相似，如《草书自诗卷》《致元和手札》《草书千字文卷》《王文恪公卷》等。 祝允明高明之处，将黄庭坚斤书笔法的特点融于自己小行楷书作中。因此，祝允明对黄庭坚的取法无疑是一种新的创造。",[23,7,131,723,6603,25,50],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44214ec1fb685b490e03762ffc07075.jpg","31.1x37",[2474],{"id":6608,"slug":6609,"title":6610,"dynasty":433,"author":6056,"museum":20,"description":6611,"tags":6612,"thumbUrl":6613,"material":459,"size":6614,"collection":81,"collections":6615,"showCount":37,"zanCount":38,"manualWeight":38,"mainColor":39},222228,"hua-tou-tao-tu-ce-ye-wen-bo-ren-222228","画偷桃图册页","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[7,940,27,109,181,960,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15aadde44aa532d93cb51d48b1bcb53d.jpg","68x68",[],{"id":6617,"slug":6618,"title":6619,"dynasty":433,"author":6620,"museum":20,"description":6621,"tags":6622,"thumbUrl":6623,"material":32,"size":6624,"collection":400,"collections":6625,"showCount":37,"zanCount":38,"manualWeight":38,"mainColor":39},218646,"shui-xie-guan-chao-tu-shi-rui-218646","水榭观潮图","石锐","崖畔水榭错落，林木轻摇，亭台飞檐隐于枝叶间，透着清雅之致。江面铺展如练，潮势缓缓涌动，似有细微涛声随波漫来。远山含黛，层峦叠嶂隐于云气，将视野引向辽远天际。笔墨兼具精细与疏放：亭台勾勒见匠心，山石皴擦显质感，江潮晕染藏浩渺。动静相衔间，晕开观潮时的旷远心境。凭栏处，水天相接，潮声与山风交织，仿佛能触到古人临榭远眺的闲逸——于静谧里藏着对天地自然的悠然喟叹，于烟波中见出文人雅士的精神栖居。",[23,24,7,27,331,181,332,3655,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f80bce2ed040764c79282c3e63b9cab.jpg","22.1x21.9cm",[400],{"id":6627,"slug":6628,"title":6629,"dynasty":18,"author":444,"museum":355,"description":6630,"tags":6631,"thumbUrl":6634,"material":565,"size":566,"collection":81,"collections":6635,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},289787,"bing-zhu-ye-you-tu-ma-lin-289787","秉烛夜游图","朦胧的幽雾，伴随着鹅黄的月光，轻轻地降临人间。黝黑的短亭、长廊前，一朵朵犹如淡抹著胭脂、醉卧在绿沙中的海棠花们，深深地吸引着屋内主人的目光。他唤来了仆人，点起了蜡烛；在烛光映衬下，他满足地倚坐于亭内，望著这万重绰约如仙的红颜，看得都痴了。\n宋人爱花成痴的傻劲儿，是令人称奇，也令人称羡的。其中，又以素有「花中神仙」之称的海棠，最令宋人钟情、痴狂。海棠激发了宋人赏花的热情，不仅不分晴雨，也不分昼夜。古人燃烛夜赏芳华，或为牡丹，或为梅花；但能令宋人「只恐夜深花睡去，高烧银烛照红妆」的，却独独只有海棠。",[7,24,48,26,27,331,332,333,711,6632,859,6633,50],"夜色","夜游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5652c5aec70fdd55a6d5531ea6cbd2c8.jpg",[],14,{"id":6638,"slug":6639,"title":6640,"dynasty":18,"author":6641,"museum":355,"description":6642,"tags":6643,"thumbUrl":6647,"material":565,"size":566,"collection":81,"collections":6648,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},289736,"qiang-wei-shi-tuan-shan-yang-mei-zi-289736","蔷薇诗团扇","杨妹子","杨妹子，活动于宋宁宗庆元至嘉定（1195—1208）年间，亦称杨娃。宋宁宗杨皇后之妹，一说为杨皇后本人，历来众说不一。",[7,131,1444,619,6644,6645,6646,50],"蜂蝶","桂子","西风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F382045e8363d03f116391a78ba1e6476.jpg",[],{"id":6650,"slug":6651,"title":6652,"dynasty":275,"author":6653,"museum":355,"description":6654,"tags":6655,"thumbUrl":6657,"material":565,"size":566,"collection":81,"collections":6658,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":57},289567,"kong-lin-cao-ting-tu-wang-meng-289567","空林草亭图","王蒙","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[7,24,108,184,6656,181,131,50,2146,185],"草亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3923a7aafe0088246c1b96db439c1496.jpg",[],{"id":6660,"slug":6661,"title":6662,"dynasty":275,"author":6663,"museum":355,"description":6664,"tags":6665,"thumbUrl":6666,"material":565,"size":566,"collection":81,"collections":6667,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":57},289558,"shi-shu-tu-cao-zhi-bai-289558","石树图","曹知白","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[7,24,48,108,184,4244,1337,1767,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e83df6d5e7e5117629d2c3caf0c2cf6.jpg",[],{"id":6669,"slug":6670,"title":6671,"dynasty":18,"author":105,"museum":355,"description":709,"tags":6672,"thumbUrl":6673,"material":565,"size":566,"collection":81,"collections":6674,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":57},289229,"han-zhi-shuang-que-tu-ma-yuan-289229","寒枝双鹊图",[48,24,7,28,26,320,112,238,4263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7287e190573d7da521bd0f0cbe226cd.jpg",[],{"id":6676,"slug":6677,"title":6678,"dynasty":18,"author":44,"museum":355,"description":6679,"tags":6680,"thumbUrl":6682,"material":565,"size":566,"collection":81,"collections":6683,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":57},288971,"zhu-shu-xun-que-tu-yi-ming-288971","竹树驯雀图","此作以圆面取景，枯枝新竹错落交织，晕开清寂冬意。三只麻雀是画面灵动的核心，竹梢亲鸟噙虫悬停，目光柔落向下。枯枝上两只幼雏，一只昂首啾啾索食，喙角轻张满是稚态，一只振翅翘首，雀跃不已。\n\n画师用笔精微，禽鸟羽色以细墨线勾出轮廓，淡墨晕染铺就绒羽蓬松质感，羽翼层叠鲜活逼真。竹枝劲挺舒展，竹叶带着迎风轻颤之姿，枯枝皴擦简练，衬出疏淡萧索又藏着暖意的氛围。\n尺幅之间将亲鸟育雏的脉脉温情，融于冬日小景，以小见大，把自然里的细碎温情凝在绢素之上，雅致动人。",[7,24,48,26,27,28,280,112,6681],"温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be9369472d793fb1dc270c4bcff83d7.jpg",[],{"id":6685,"slug":6686,"title":6687,"dynasty":18,"author":4661,"museum":355,"description":6688,"tags":6689,"thumbUrl":6690,"material":565,"size":566,"collection":81,"collections":6691,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},288389,"liu-tang-du-shu-tu-xiao-zhao-288389","柳堂读书图","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,24,48,7,108,181,332,548,239,333,238,50,131,723,1907],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7165c71503b97e1026060a1f82efd75a.jpg",[],{"id":6693,"slug":6694,"title":1830,"dynasty":18,"author":354,"museum":355,"description":6695,"tags":6696,"thumbUrl":6697,"material":565,"size":566,"collection":81,"collections":6698,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},288365,"yuan-lu-tu-yi-yuan-ji-288365","山野古松上，猿猴振臂而挥，惊得上面白鹭啼叫而逃。画家着重刻划瞬间冲突的情节，艺术处理十分神妙。",[48,24,7,26,27,1357,112,333,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9fce78e66c5d2246f135ff668caf7e.jpg",[],{"id":6700,"slug":6701,"title":6702,"dynasty":18,"author":44,"museum":355,"description":6703,"tags":6704,"thumbUrl":6706,"material":565,"size":566,"collection":81,"collections":6707,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":57},288344,"feng-yu-la-qian-tu-yi-ming-288344","风雨拉纤图","淡墨晕染出烟雨空蒙的江天，水汽裹挟湿意漫过江岸。虬曲老树扎根滩涂，枝叶在风雨里飘摇，墨色浓淡晕开雨雾的朦胧质感。\n\n滩头纤夫躬身曳绳，身影隐在烟霭之间，江岸的冷寂荒寒里晕开细碎的人间烟火。虚虚实实的笔触，将江天浩渺的淡远与生计的艰辛相融，以方寸尺幅铺展出萧索又沉郁的意境，藏着细腻的世情体察，尽显小品画以小见大的雅致笔意，把冷寂江景与人间苦辛织进朦胧烟岚之中。",[24,7,108,184,182,181,1671,50,6705],"拉纤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2a3127e4d5c46eb9926b82d5d449dd.jpg",[],{"id":6709,"slug":6710,"title":6711,"dynasty":433,"author":44,"museum":355,"description":6712,"tags":6713,"thumbUrl":6714,"material":565,"size":566,"collection":81,"collections":6715,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},288057,"zhu-zhi-tu-tuan-shan-yi-ming-288057","竹枝图团扇","此作以团扇圆境框取景致，疏密排布极具巧思。淡赭写竹竿，清绿点染竹叶，笔致秀挺灵动，叶片错落偃仰，似有疏风拂过，摇曳生姿。\n当中湖石以枯墨皴擦晕染，苍涩古拙，和秀逸青竹形成刚柔相映的意趣。整幅设色清雅素净，无冗余修饰，以极简笔墨托出竹的清介高洁，暗藏文人爱竹慕贤的风骨。寥寥数笔间，便将林下淡然雅致的文人情韵铺陈开来，意境悠长隽永。",[23,24,25,7,27,280,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cbe8b1c7be47dc1008f4dae359086f.jpg",[],{"id":6717,"slug":6718,"title":6719,"dynasty":433,"author":2031,"museum":355,"description":4276,"tags":6720,"thumbUrl":6721,"material":565,"size":566,"collection":81,"collections":6722,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},283712,"kun-shan-dao-zhong-tu-shan-ye-dong-qi-chang-283712","昆山道中图扇页",[7,24,108,181,184,113,131,50,185,1434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8fcac3a0cb1874d19d22563b4d9bc18.jpg",[],{"id":6724,"slug":6725,"title":6726,"dynasty":124,"author":44,"museum":355,"description":1175,"tags":6727,"thumbUrl":6729,"material":565,"size":566,"collection":81,"collections":6730,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},270166,"hong-se-ke-si-hai-wu-tian-chou-tu-mian-wu-mu-diao-hua-bing-tuan-shan-yi-ming-270166","红色缂丝海屋添筹图面乌木雕花柄团扇",[7,77,1177,776,1958,332,181,112,2298,27,331,6728],"海屋添筹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e1ce388117c9c6ad5e7754b14a35556.jpg",[],{"id":6732,"slug":6733,"title":6734,"dynasty":124,"author":44,"museum":355,"description":6735,"tags":6736,"thumbUrl":6737,"material":565,"size":566,"collection":81,"collections":6738,"showCount":6636,"zanCount":11,"manualWeight":38,"mainColor":39},270158,"duan-xiu-hua-niao-tu-mian-jin-bian-gu-bing-tuan-shan-yi-ming-270158","缎绣花鸟图面锦边骨柄团扇","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼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网上引用清史稿只言片语，说侯方域为做清朝官而献计于清军直隶山东河南三省总督张存仁，镇压榆园军起义。但并非如此，侯方域在清顺治七年春，因张存仁访其父，不得已上泛泛而谈的《上三省督府剿抚议》，且张存仁在顺治八年才水淹榆园军。在35岁时，回想起自己遭遇坎坷，除诗文一无所成，悔恨不已，又因违心参与顺治八年乡试，认为自己失节于明，便将其书房更名为“壮悔堂”，表示其壮年后悔之意。在这里，完成了他的两部文集《壮悔堂文集》10卷、《四忆堂诗集》6卷明志。\n清朝顺治十一年十二月十三日（1655年1月30日），37岁的侯方域因国破家亡，复明无望，壮志难酬，郁闷在怀和思念香君，染病身亡。\n侯方域与冒襄、陈贞慧、方以智，合称明末“四公子”，有代表作《李姬传》。清初作家孔尚任撰《桃花扇》剧本，描写的就是侯方域与秦淮名姬李香君的爱情故事，侧面反映了明亡清兴的历史背景。",[24,25,7,181,108,185,493,238,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2c3bb17af8e5f52cc5fb44cd14d8c9.jpg",[],{"id":6827,"slug":6828,"title":5349,"dynasty":124,"author":6829,"museum":355,"description":6830,"tags":6831,"thumbUrl":6832,"material":81,"size":81,"collection":81,"collections":6833,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},234668,"mei-zhu-shan-ye-xu-qi-234668","徐琪","徐琪（1849～1918），字玉可、花农，号俞楼，室名玉可盦、九芝仙馆、香海盦、青琅玕馆等，浙江杭州人。光绪六年进士，授编修，历官山西乡试副考官，广东学政、官至兵部侍郎。俞樾弟子。工诗词、书画，善花卉，神似恽南田，著述甚丰。",[24,25,7,27,26,265,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be9d9bfb423e714147a62ce9fa58179.jpg",[],{"id":6835,"slug":6836,"title":6837,"dynasty":433,"author":1166,"museum":355,"description":4557,"tags":6838,"thumbUrl":6839,"material":81,"size":81,"collection":81,"collections":6840,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},234632,"fang-bei-yuan-shan-shui-shan-ye-lan-ying-234632","仿北苑山水扇页",[7,108,185,181,332,333,182,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2468ed648fd299f606049d48ceee37.jpg",[],{"id":6842,"slug":6843,"title":6844,"dynasty":124,"author":6845,"museum":355,"description":6846,"tags":6847,"thumbUrl":6849,"material":81,"size":81,"collection":81,"collections":6850,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},234624,"tao-hua-lu-yu-wan-shan-lang-bao-chen-234624","桃花鲈鱼纨扇","郎葆辰","郎葆辰(1763—1839)，初名福延，又名遂峯，字文台，号苏门，晚号桃花山人。浙江安吉人。1817年（嘉庆二十二年），授翰林院编修，掌印给事中，升贵州粮储道。\n官御史，卒于家。生前曾疏请开浚太湖七十二溇，当地百姓深受其利；又平反徐察氏冤狱。在贵州，还教当地人民种桑织布。归里后，与山人墨客为友。工诗古文辞，善行、楷书，写生得陈道复、徐渭之法。超纵生疎，别具旨趣。画蟹如生，有郎蟹之目。著有《桃花山馆诗稿》。卒年七十七。事迹收录于《墨香居画识》、《墨林今话》、《朱小茗耐洽谭》、《山东省金石书画展纪略册》。",[24,7,27,28,883,6848,50,131,723],"鲈鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7cef9325b487e627eace839e064ec50.jpg",[],{"id":6852,"slug":6853,"title":6854,"dynasty":433,"author":6855,"museum":126,"description":6856,"tags":6857,"thumbUrl":6858,"material":3150,"size":6859,"collection":81,"collections":6860,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},234044,"guan-pu-tu-shan-ye-zhang-lu-234044","观瀑图扇页","张路","图绘二人登山观瀑的情景。画中的山石杂木以饱含水分的润墨表现，用笔奔放豪爽，线条方折顿挫，富于缓疾、浓淡的变化，显然受到宋元时期粗笔水墨一派及吴伟等人水墨写意画风的影响。此作是张路在山水题材作品中不可多得的小而精之作。",[24,25,7,108,181,306,333,238,818,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdebad2d46b651dc12e1b3bbc2e6ded3.jpg","纵18厘米，横50.4厘米",[],{"id":6862,"slug":6863,"title":6864,"dynasty":18,"author":44,"museum":126,"description":6865,"tags":6866,"thumbUrl":6867,"material":188,"size":6868,"collection":81,"collections":6869,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":57},233020,"wan-shan-hua-ce-zhang-mao-shuang-yuan-yang-ye-yi-ming-233020","纨扇画册-张茂双鸳鸯页","画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二只，它们的顾盼关系使得上半部画面更加充实生动。\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。",[48,24,25,7,940,26,27,28,754,506,691],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c1f19dd445227b06136999af12f821.jpg","纵24.4cm，横18.3cm",[],{"id":6871,"slug":6872,"title":6873,"dynasty":124,"author":6874,"museum":355,"description":6875,"tags":6876,"thumbUrl":6878,"material":565,"size":566,"collection":81,"collections":6879,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},228955,"qing-jiang-pu-shu-wu-yan-shi-zhao-feng-hua-hua-hui-cheng-shan-jiang-pu-zhao-feng-228955","清蒋溥书五言诗兆丰画花卉成扇","蒋溥 兆丰","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[7,25,27,28,214,723,6877],"五言诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ce5ac31ee994c40c541683934d6fe8d.jpg",[],{"id":6881,"slug":6882,"title":6883,"dynasty":433,"author":44,"museum":355,"description":6884,"tags":6885,"thumbUrl":6889,"material":81,"size":81,"collection":81,"collections":6890,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},228817,"nao-xue-tu-tuan-shan-ye-yi-ming-228817","闹学图团扇页","整幅画面定格书塾日常的松弛一瞬，执教先生伏案酣眠，彻底解开学童身上的课业枷锁。顽童们或是肆意嬉闹，或是摆弄文房玩趣，将肃穆书斋化作稚趣横生的小天地。\n\n设色调古雅柔和，浅晕慢染间晕开旧时光的沉静质感，线条轻细灵动，精准捕捉孩童跳脱的身形与狡黠神态。以细腻的市井视角，将课业之外的稚真快活凝于绢面，把日常闲趣勾勒得鲜活饱满，尽显小品风俗画的动人情致，让旧时顽童嬉闹的鲜活意趣跨越年岁，直抵观者眼底。",[23,24,7,27,109,200,6886,6887,4045,6888],"笔","墨","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F260700c922023b178b3f968e38060294.jpg",[],{"id":6892,"slug":6893,"title":234,"dynasty":275,"author":6894,"museum":355,"description":6895,"tags":6896,"thumbUrl":6897,"material":81,"size":81,"collection":81,"collections":6898,"showCount":6636,"zanCount":11,"manualWeight":38,"mainColor":57},228170,"shan-shui-tu-cao-xing-228170","曹兴","这幅山水小品以留白云雾切割山峦，将平远、高远之景相融，铺展出空濛幽深的山水意境。山石以短皴点苔，笔墨苍劲朴拙，林木简括灵动，尽显简淡萧疏的气质。山脚板桥连起村居野渡，行旅缓步其上，将山林清寂与烟火日常相融，消解了丘壑荒寒，晕染出悠然安闲的意趣。淡墨晕染烟岚，浅设色晕衬古雅基调，以留白凸显虚空之境，把文人寄情林泉的隐逸诗意与田园安和揉为一体，笔简意足，尽显小品山水的隽永意韵。",[23,24,25,7,108,27,181,185,548,239,333,238,1197,2767,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d2d75db062a93d851a095a2564c3b.jpg",[],{"id":6900,"slug":6901,"title":6902,"dynasty":124,"author":6903,"museum":355,"description":6904,"tags":6905,"thumbUrl":6906,"material":81,"size":81,"collection":81,"collections":6907,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},224574,"mo-zhu-cheng-shan-qing-ren-224574","墨竹成扇","清人","《百年启功:书画逸兴》包括：北京师范大学校训、启功先生小学时期作品、山水四条屏、曲水群贤等。\n其实，先生的作品不在巨大认真，而在趣味逸兴，一片纸、或数笔，“千里面目”，谴兴而已，有些甚至是无意流传的。\n集中注意选集先生一些不经意、随手间的手泽，没有大义，只是把玩。\n我们这么选辑，希望读者更能了解启功先生，希望读者更加喜爱中国笔墨文化。\n《百年启功:书画逸兴》选择启功先生书画手泽若干件，是简单印刷、平实装帧的书画作品集。\n校训 北京师范大学校训（简体） 启功先生小学时期作品 山水四条屏 曲水群贤 补桐养疴图 甲申年花笺手稿 石榴图 绿竹图 江山雪霁图 荷花图 菊扇 花笺手稿沁园春 临新妇帖 一九四六年作山水 四联扇面 烟江晓泊 秋松 山雨欲来风满楼 四连屏 赠伯简先生 少文款手迹 墨竹 兰竹成扇 付文物局收条之一 付文物局收条之二 书鲁迅诗扇面 积石干寻长松万仞 手抄本题签之一 手抄本题签之二 手抄本题签之三 手抄本题签之四 论书旧作花笺 平复帖临释 临兰亭 启功遗墨册页 痛心篇一 痛心篇二 痛心篇三 南乡子手稿 书赠毛泽东词 画菊成扇 年论书绝句手稿 双蛙图及题跋（局部） 书赠重晤老友 喜竹 竹石 诗画一开 南乡子题汉吉语方砖（附拓片） 东洲草堂句 兰飘竹撇写离骚 何可一日无此君 《共勉》 李白诗书赠 赠友人竹石 购书与慎言 芳草西池路 书太白句赠友人 墨竹成扇 书自作诗 赠向彤同志竹石 教师节书颂 双松堂堂 夏老爱猫 鹅群 静观 清华 和风细雨 瘦影参差水墨松 书文心雕龙原道 八尺对联 高山流水听琴音 甲子岁朝 乐天者寿 自题小照 静心 书为第一届教师节之一 书为第一届教师节之二 墨竹 红竹 看竹者多画竹者少 晴窗漫书 玛瑙寺前过 献给教师节 美意延年迈劲松 业广维勤 百福骈臻 失眠口占 化雨春风 正大光明 佳句四屏 细 秋分菊本自锄山 硬笔和毛笔 同学存念 霜叶红于二月花 书遂堂老人诗 龙 飞腾 寥斋 联姻 卓锥有地自逍遥 红竹 南无阿弥陀佛 松风水月 亲手树人真事业 少陵惊人佳句 信封上画菊 信封上画兰 尺椟书疏千里面目 快雪时晴佳想安善 我醉欲眠枕其股 传芭 腊笺书杜律 行百里者半九十里 澄泥砚赞 竹深留客处 承露 画筵赠静翁先生 枯笔书 过岭外忆前贤别都门之作而书之 枯藤缀紫霞 奇峰高节 协力 东望望长安 少陵佳句 龙年写龙 云合山留一发青 吉祥如意 竹淡兰馨 大哉孔子 索句深霄 竹报平安 写竹寿庆 春水船如天上坐 铁网珊瑚 题诗最高处 朱竹 比寿同清 小品之一 小品之二 小品之三 小品之四 师颂 福寿康宁 福禄寿喜 金玉满堂 河清人寿 风调雨顺 职为人师 淡墨兰石 仁者寿 赠毕业同学 静观 光阴可贵 乐观 莫名其妙从前事 学记之训 学高人之师 赠董桥联 寒山寺对联 好为人师之为患",[24,25,7,108,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dba8e8fb302a09fcbb42818ccfb7ed3.jpg",[],{"id":6909,"slug":6910,"title":6911,"dynasty":124,"author":1325,"museum":355,"description":6912,"tags":6913,"thumbUrl":6914,"material":459,"size":81,"collection":81,"collections":6915,"showCount":6636,"zanCount":11,"manualWeight":38,"mainColor":39},223135,"shi-wan-tu-ce-shan-mian-2-ren-xiong-223135","十万图册-扇面2","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。\n任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，堪与陈洪绶并驾。人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。曾有《于越先贤传》、《剑侠传》、《列仙酒牌》等画曾刻印行世，\n传世作品有《十万图册》十页、《姚燮诗意图册》《自画像》轴等，现藏故宫博物院；咸丰五年（1855）作《四梅图》轴藏中国美术馆；《为姚梅伯作人物册》二十页、《洛神图》轴、《范湖草堂图》卷藏上海博物馆；《丁文蔚像》轴藏浙江省博物馆；《少康像》册页藏南京市博物馆；《瑶宫秋扇图》轴藏南京博物院；《四季花卉图》卷藏辽宁省博物馆；《人物图册》藏广州美术馆。",[23,24,7,108,185,181,1104,361,280,548,2767,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff813e453a30df81524c4b73358b23be.jpg",[],{"id":6917,"slug":6918,"title":6919,"dynasty":433,"author":1166,"museum":4632,"description":4633,"tags":6920,"thumbUrl":6923,"material":27,"size":81,"collection":81,"collections":6924,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},222588,"shan-shui-tu-shan-mian-2-lan-ying-222588","山水图扇面2",[23,7,24,181,305,238,6921,6922,493,185,108,27],"亭屋","飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8fd29104ad247fbd9575e0f584ac299.jpg",[],{"id":6926,"slug":6927,"title":6928,"dynasty":433,"author":6929,"museum":20,"description":6930,"tags":6931,"thumbUrl":6932,"material":459,"size":6933,"collection":81,"collections":6934,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":1220},222403,"hua-song-shan-tu-dong-qi-chang-shu-qi-yan-jue-ju-cheng-shan-wu-ling-222403","画松山图董其昌书七言绝句成扇","吴令","泥金扇面衬得墨色愈见苍润清雅。近岸林木攒簇，山石以干笔淡墨勾勒皴擦，朴拙苍厚，带着沉静古雅的质感。远景坡岸孤树茅舍疏淡简远，留白空灵透气，将松山幽居的静穆清远收拢在方寸之间。\n笔墨简淡松秀，以少胜多，尽显萧散幽寂的林下意趣，与另一面的书法相映成趣，悠悠漾着旧时文人幽居林泉的雅致风流。",[23,7,24,25,108,185,181,110,1104,113,360,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7fa4de35468ed5eb700e3883fbf8cc.jpg","17.8x46.8厘米",[],{"id":6936,"slug":6937,"title":4840,"dynasty":433,"author":3146,"museum":467,"description":4206,"tags":6938,"thumbUrl":6939,"material":6940,"size":6941,"collection":81,"collections":6942,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},221984,"shan-shui-shan-ye-wen-zheng-ming-221984",[23,548,239,181,1104,360,27,1114,7,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3b1f75d0ac8c2deea7ce3b35b422b3.jpg","水墨纸本","26.4×27.3厘米",[],{"id":6944,"slug":6945,"title":6946,"dynasty":18,"author":44,"museum":20,"description":6947,"tags":6948,"thumbUrl":6950,"material":32,"size":6951,"collection":34,"collections":6952,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},219316,"song-teng-yuan-xi-tu-yi-ming-219316","松藤猿戏图","松枝盘曲如铁，老藤垂绕似丝，猿猴或攀藤戏叶，或蹲枝远眺，于方寸团扇间灵动穿梭。毛发纤毫毕现，眼神憨态可掬，爪尖紧扣藤枝的力度藏于墨色浓淡，松针疏密有致的层次显于笔触轻重。宋人的写实功夫与诗意心境在此交融：苍劲的松藤衬出猿的活泼，留白处似有余韵，引人遐想山林深处的清幽野趣。无款却见匠心，每一笔皆为自然传神，尽显宋代院体画精致细腻的风骨与生机盎然的意趣，仿佛能听见枝叶轻摇、猿声轻啼，将观者带入一片静谧而鲜活的自然之境。",[23,48,24,25,7,108,26,110,6949,1357,238],"藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05efa16aa825a6b0a07bdd664e3c73bf.jpg","22x21.8cm",[34],{"id":6954,"slug":6955,"title":6956,"dynasty":18,"author":6957,"museum":20,"description":6958,"tags":6959,"thumbUrl":6960,"material":32,"size":6961,"collection":400,"collections":6962,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":39},218871,"cang-ji-qing-yue-tu-zhu-ci-zhong-218871","苍矶清樾图","祝次仲","这幅画描绘了从河面上凸出的河岛，清波荡漾，岛上绿草如茵，而学者则盘膝而坐，眺望着广阔的河面。这幅画的笔触与李唐相似，岩石是用草书的笔触凿出来的，松散而不夸张。",[23,24,7,108,27,181,111,333,112,1768],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f4386ca16a392d3045300e4db4d45d.jpg","26.4x19.8",[400],{"id":6964,"slug":6965,"title":6966,"dynasty":433,"author":44,"museum":1314,"description":6967,"tags":6968,"thumbUrl":6969,"material":32,"size":6970,"collection":400,"collections":6971,"showCount":6636,"zanCount":38,"manualWeight":38,"mainColor":57},218376,"shui-xie-xian-ju-tu-yi-ming-218376","水榭闲居图","古绢的暖褐底色里，山水林泉静静铺展。左侧老树枝干虬曲，翠叶间漏下天光，掩映着临水而建的水榭——榭中虽无人物，却似残留着茶烟淡影，待归人闲坐。右侧山峦层叠，墨色由深及浅晕开云雾，溪涧在石间隐现，岸边细草疏疏，带着几分野趣。\n\n线条细劲却不刻板，山石皴法、树木枝桠皆透着文人雅致。没有喧嚣，只有林泉清寂与水榭悠然，仿佛把“闲居”二字揉进笔墨里。观者似能听见山风掠叶、流水拍岸，跟着慢下来，坠入那片林泉栖居的诗意中。\n\n笔墨间藏着的，是文人心中对尘外之境的向往——不必车马喧，只需与林泉为伴，看山听水，便得浮生清欢。",[23,24,25,7,108,181,332,333,239,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278fcf01356ba5c87193942a159c15eb.jpg","23.7x23.7cm",[400],{"id":6973,"slug":6974,"title":6975,"dynasty":433,"author":3791,"museum":355,"description":3792,"tags":6976,"thumbUrl":6977,"material":565,"size":566,"collection":81,"collections":6978,"showCount":6979,"zanCount":38,"manualWeight":38,"mainColor":39},290924,"ming-yun-shan-t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。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 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出版的图书，作者是上海博物馆编、故宫博物院、 。\n22年，为庆祝上海博物馆成立5周年，由上海博物馆、故宫博物院、 联合举办的《晋唐宋元书画国宝展》在上海博物馆来开帷幕。\n本书集三大博物馆珍藏的国宝级 名迹72件，艺术、文化和史料价值极高。\n晋唐宋元是中国书画艺术史上最辉煌最重要的时期，作为展览的图录， 感录这些赫赫巨迹。\n其中被庋藏于清宫“三希堂”的晋王珣的《行草书伯远帖卷》，有隋展子虔的《游春图卷》，有五代南 唐时期顾闳中的千古杰作《韩熙载夜宴图卷》，还有北宋张择端脍炙人口的《清明上河图》、而王羲之的《行书上虞帖卷》、王献之的《行书鸭头丸帖卷》、欧阳询的《行书仲尼梦奠帖卷》、周昉的《簪花仕女图卷》等等精品，凡72件，引人探赜索隐。\n综观同类出版物，该书有三大特色：首先是入录书画均以原迹摄片电分，采用调频网先进技术印制。\n精密度高，真貌毕现。\n其次是卷册轴页形制齐全，所有作品前题后跋，作首次全面展示。\n三是历代鉴藏印记大都原收录，部分并以X光片摄片图版显示，以供研究。\n晋唐 1、东晋佚名曹娥诔辞卷 2、东晋王珣伯远帖 、东晋 4、东晋王献之鸭头丸帖 5、 6、唐欧阳询仲尼梦奠帖 7、唐虞世南摹兰亭序帖 8、唐孙过庭千字文 9、唐阎立本步图 1、唐韩滉五牛图 11、唐周肪簪花仕女图 12、唐颜真卿湖州帖 1、唐孙位高逸图 14、唐怀表苦荀帖 15、唐杜牧张好好诗 16、唐高闲千字文 17、 五代 两宋 18、五代杨凝式夏热帖 19、 2、五代董源夏景山待渡图 21、 22、五代顾闳中（传）韩熙载夜宴图 2、五代徐熙雪竹图轴 24、 轴 25、北宋李成茂林远岫图 26、北宋欧阳修自书诗文稿 27、北宋司马光宁州帖 28、北宋王安石楞俨经旨要 29、北宋郭熙幽谷图轴 、北宋王诜渔村小雪图 1、北宋王诜烟江叠嶂图 2、北宋蔡襄持书帖 、北宋苏轼答谢民师论文帖 4、北宋黄庭坚小子相帖 5、北宋 6、北宋李公麟韦偃牧放图 7、北宋崔白寒雀图 8、 9、 卷 4、北宋张择端清明上河图 41、金杨微二骏图 42、南宋李唐采薇图 4、南宋赵构养生论卷 44、南宋赵构书马和之画唐风图卷 45、南宋李迪雪树寒食图 46、南宋徐禹功雪中梅竹图等合卷 47、南宋陆游自书诗卷 48、南宋梁楷八高僧图 49、南宋文天祥草书木奚诗序 5、南宋朱惟德江亭揽胜图 51、南宋赵大亨薇亭小憩图 52、南宋李嵩骷髅幻戏图页 5、南宋马麟郊原曳杖图页 54、 元代 55、元代钱选浮玉山居图 56、元代赵孟俯秋兴赋卷 57、元代赵孟俯小村图卷 58、元代鲜于枢韩愈送李愿归盘谷序 59、元代吴镇渔父图 6、元代高克恭春山欲雨图 61、元代赵孟俯洞庭东山图 62、元代黄公望天池石壁图 6、元代任仁发 秋水凫鷖图轴 64、元代李士行竹石图轴 65、元代王冕墨梅图轴 66、元代杨维桢草书七绝诗 67、元代唐棣松荫聚饮图 68、元代王渊竹石集禽图 69、元代倪瓒渔庄秋霁图 7、元代王蒙青卞隐居图 71、元代 72、元代佚名民物熙乐图轴",[23,24,25,7,27,181,723,817,690,305,5629,307,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f92e1824fd7136d2cdd1d263bc3b0b.jpg",[],{"id":7176,"slug":7177,"title":7178,"dynasty":18,"author":44,"museum":355,"description":7179,"tags":7180,"thumbUrl":7181,"material":81,"size":81,"collection":81,"collections":7182,"showCount":6979,"zanCount":11,"manualWeight":38,"mainColor":57},227358,"chun-you-wan-gui-tu-ye-yi-ming-227358","春游晚归图页","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,48,24,25,7,27,26,331,109,1433,333,332,1434,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1af322108bf37992fc92f50569bfe5.jpg",[],{"id":7184,"slug":7185,"title":234,"dynasty":124,"author":7186,"museum":355,"description":7187,"tags":7188,"thumbUrl":7189,"material":565,"size":566,"collection":81,"collections":7190,"showCount":6979,"zanCount":38,"manualWeight":38,"mainColor":39},224194,"shan-shui-tu-wu-hong-224194","吴宏","吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。",[23,7,24,108,185,181,184,238,1105,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d02ac75ef5b73d4c0984f4926cabcc.jpg",[],{"id":7192,"slug":7193,"title":7194,"dynasty":18,"author":44,"museum":126,"description":7195,"tags":7196,"thumbUrl":7197,"material":495,"size":7198,"collection":81,"collections":7199,"showCount":6979,"zanCount":38,"manualWeight":38,"mainColor":57},223506,"song-yin-tan-dao-tu-ye-yi-ming-223506","松荫谈道图页","此图亦作《三教论道图》，图绘远处山峰连绵，近处一棵高大松树松杆遒劲，绿荫如盖；松荫下儒、释、道三位教徒或着长袍，或着叶装，端坐于松根、石块上谈经论道。此处环境清幽，阴凉静雅，似世外桃园般安逸。",[23,24,48,25,7,26,27,109,305,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F833d44227db51604372db96ab56fde5d.jpg","25.3＊25.6cm",[],{"id":7201,"slug":7202,"title":7203,"dynasty":433,"author":5884,"museum":20,"description":7204,"tags":7205,"thumbUrl":7206,"material":81,"size":81,"collection":81,"collections":7207,"showCount":6979,"zanCount":38,"manualWeight":38,"mainColor":39},222451,"hua-wu-ming-ji-wang-zhong-li-222451","花坞鸣鸡","王中立（公元16-17世纪初），明代画家，字振之、彦强，号子正、子和、玄洲、玄洲生，吴县（今江苏苏州）人，生卒年不详。善画花鸟，笔力苍老，钩写兼用，设色绚丽，造型生动，颇有生意。师法陈淳，画风似鲁治、王穀祥，为吴派画家之一。\n传世作品有万历三十六年（1608）作《(松树喜鹊图》轴，现藏故宫博物院；四十三年（1615）作《花鸟图》卷，款署：“万历乙卯十月既望，为秋空禅兄写，王中立。”钤“王中立印”、“玄洲”两白文方印，现藏广州美术馆；万历三十四年作《腊梅双雀图》扇页、三十五年作《梅鹊图》轴、四十四年作《菊花图》轴、天启元年（1621）作《双猫菊石图》轴，均著录于《中国书画家印鉴款识》。",[24,25,7,27,26,4033,305,49,361,3480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff98788b9f459f6714a03947aa5bb776.jpg",[],{"id":7209,"slug":7210,"title":7211,"dynasty":433,"author":1384,"museum":20,"description":7212,"tags":7213,"thumbUrl":7214,"material":4595,"size":7215,"collection":81,"collections":7216,"showCount":6979,"zanCount":38,"manualWeight":38,"mainColor":39},222113,"xing-lin-fei-yan-tu-shen-zhou-222113","杏林飞燕图","《沈周便面画选集》之一。没骨画杏花春燕。幅右款署：沉周戏墨。钤印一：启南。幅右胡师闵楷书题诗：参差茆屋燕飞来，农事方兴社鼓催。斜日半山林影乱，杏花香裹醉人回。款：胡师闵为匏菴老先生书。联钤印：师、闵。收传印记：乾隆御览之宝。",[23,24,7,108,28,112,5941,50,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2248c64a7ff427b5d20f2fffc11318b.jpg","15×44.5cm",[],{"id":7218,"slug":7219,"title":7220,"dynasty":7221,"author":7222,"museum":45,"description":7223,"tags":7224,"thumbUrl":7225,"material":81,"size":81,"collection":34,"collections":7226,"showCount":6979,"zanCount":38,"manualWeight":38,"mainColor":7227},202880,"shu-hua-cheng-shan-wu-dai-qiu-202880","书画成扇","近代","吴待秋","扇面之上，梅枝虬曲伸展，墨笔皴擦出苍劲老干，古拙中见生机；花朵以粉、黄、白诸色点染，妍丽鲜活，与墨枝相映成趣。旁侧书法笔力遒劲，墨韵流转，与梅花图相得益彰，书画合璧，尽显文人雅趣。整幅作品笔墨灵动，设色清雅，方寸之间疏密有致，意境悠长。",[7,28,265,27,131,723,24,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb84cc62fca83f03839354a306dbaeebc.jpg",[34],"49524d",{"id":7229,"slug":7230,"title":466,"dynasty":275,"author":44,"museum":355,"description":2052,"tags":7231,"thumbUrl":7232,"material":565,"size":566,"collection":81,"collections":7233,"showCount":7234,"zanCount":38,"manualWeight":38,"mainColor":57},290144,"bu-yu-tu-yi-ming-290144",[23,24,7,108,181,182,333,690,5672,470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3bc4909b20a98e28d9451ec850ccfe.jpg",[],12,{"id":7236,"slug":7237,"title":7238,"dynasty":18,"author":5259,"museum":355,"description":7239,"tags":7240,"thumbUrl":7241,"material":565,"size":566,"collection":81,"collections":7242,"showCount":7234,"zanCount":38,"manualWeight":38,"mainColor":39},289737,"tian-shan-shi-tuan-shan-zhao-gou-289737","天山诗团扇","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，东京汴梁（今河南省开封市）人。宋朝第十位皇帝（1127年6月12日-1162年7月24日在位），南宋开国皇帝，宋徽宗赵佶第九子、宋钦宗赵桓之弟。\n大观元年五月（1107年6月），生于宫中，天性聪明，博闻强记，拜检校太尉、定武军节度使。靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。康王赵构即位于南京应天府（今河南省商丘市），建立南宋。在位期间，迫于形势民心，任用岳飞、韩世忠等主战派将领抗击金军，重用主和派的黄潜善、汪伯彦、王伦、秦桧等人，一味求和，处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣。绍兴三十二年（1162年），禅位于皇太子赵昚，尊号“光尧寿圣宪天体道性仁诚德经武纬文绍业兴统明谟盛烈太上皇帝”。淳熙十四年（1187年），崩于德寿宫，时年八十一岁，成为中国历史上少有的长寿帝王之一，谥号“圣神武文宪孝皇帝”，庙号高宗。宋光宗绍熙二年（1191年），累谥“受命中兴全功至德圣神武文昭仁宪孝皇帝”。\n赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《洛神赋》（草书）等。",[7,131,723,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8ad52bc3d2b119a433a060f5ce56f0f.jpg",[],{"id":7244,"slug":7245,"title":7246,"dynasty":18,"author":419,"museum":20,"description":7247,"tags":7248,"thumbUrl":7250,"material":188,"size":566,"collection":81,"collections":7251,"showCount":7234,"zanCount":38,"manualWeight":38,"mainColor":39},288407,"huo-lang-tu-qi-yi-li-song-288407","货郎图其一","全图描绘了老货郎挑担将至村头，众多妇女儿童争购围观的热闹场面，表现了南宋时钱塘一带的风土人情。此画线条细腻雅致，货担上的物品用笔如丝柔韧圆转，而人物的衣纹则使用颤笔，转折顿挫恰当地表现出下层妇孺身着布衣的特色。细劲线描，传神地勾出朴实的形象，把劳动人民的生活作为审美对象来描绘，在中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够精微，殊少秀韵。",[24,25,7,108,181,113,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff56120562ba0870114cd6255f5a262.jpg",[],{"id":7857,"slug":7858,"title":7859,"dynasty":433,"author":2624,"museum":355,"description":2625,"tags":7860,"thumbUrl":7861,"material":565,"size":566,"collection":81,"collections":7862,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},235792,"gu-mu-shuang-qin-tu-shan-chen-hong-shou-235792","古木双禽图扇",[7,24,25,108,27,1337,184,28,112,238,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6700ebd2e30728259bed45f2fc5916.jpg",[],{"id":7864,"slug":7865,"title":3541,"dynasty":433,"author":7866,"museum":355,"description":7867,"tags":7868,"thumbUrl":7869,"material":565,"size":566,"collection":81,"collections":7870,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":57},234832,"shan-shui-shan-wei-zhi-ke-234832","魏之克","魏之克（明），后名克，字和叔，上元（今南京）人。之璜弟，与兄卖画为生。工诗，善山水追宗宋元，得其兄法。兼作工装。笔法秀美，姿颜软媚，有不胜罗绮之态。",[7,24,108,181,332,182,238,333,131,50,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57589074d4997912e0900d20e4b199ca.jpg",[],{"id":7872,"slug":7873,"title":4840,"dynasty":433,"author":1166,"museum":355,"description":1167,"tags":7874,"thumbUrl":7875,"material":565,"size":566,"collection":81,"collections":7876,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},234830,"shan-shui-shan-ye-lan-ying-234830",[7,24,25,48,108,181,493,182,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ffc56d629f48afc48a85f98b53415e.jpg",[],{"id":7878,"slug":7879,"title":7880,"dynasty":433,"author":1166,"museum":355,"description":4557,"tags":7881,"thumbUrl":7882,"material":81,"size":81,"collection":81,"collections":7883,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},234633,"fang-wang-shu-ming-qiu-jiang-shi-si-shan-ye-lan-ying-234633","仿王叔明秋江诗思扇页",[7,108,27,185,181,182,333,5629,817,238,2156,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b9e0bcf75000775f2e827ede181c39.jpg",[],{"id":7885,"slug":7886,"title":7887,"dynasty":124,"author":7888,"museum":355,"description":7889,"tags":7890,"thumbUrl":7891,"material":81,"size":81,"collection":81,"collections":7892,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},234622,"wang-fang-fang-gua-chou-shan-shui-wan-shan-wang-fang-234622","汪昉仿瓜畴山水纨扇","汪昉","汪昉（一七九九－一八七七），字叔明，号菽民，又号啜菽老人，江苏阳湖（今江苏常州）人。清书画家。\n他的仕途经历是道光二十四年（一八四四）举人，官至山东莱州府同知。豪饮善诙谐。初游汤贻汾幕中，与赵兰舟、费丹旭朝夕论画，因善山水。笔意松秀，墨法淹润，不失元人规矩。中年所作，邱壑浑成，树石苍润，颇臻妙境。惜晚年颓废，顿失奏致。书临赵孟頫，姿态秀逸，间作分、隶、尤精鉴赏。有《梦衲贪集》。卒年七十九。《武阳县志、墨林今话续编、桐阴论画、读画辑略、畊砚田斋笔记、清画家诗史》。\n汪昉的山水画在清代来说，属于“四王”正统画派的山水画；他的书法出自赵孟頫书风。读画史，能知道他是从元代文人画入手的，继攻“四王”，当时与以后的评论者评他的早年的山水是“笔意松秀，墨法淹润，不失元人矩矱。中年所作，邱壑浑成，树石苍润，颇臻妙境。”说他的书法，“姿态秀逸”。他的山水画受当时正统山水画派的一代领袖汤贻汾的影响很大。",[24,7,181,27,185,1547,113,360,238,690,691,182,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F903eaaac4280761f254d8a113782ecc4.jpg",[],{"id":7894,"slug":7895,"title":7424,"dynasty":124,"author":7442,"museum":355,"description":7443,"tags":7896,"thumbUrl":7897,"material":81,"size":81,"collection":81,"collections":7898,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},234611,"shan-shui-wan-shan-zhang-zhi-wan-234611",[24,7,27,181,185,113,333,690,871,1368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246c0a28a14775872551e950cec067a7.jpg",[],{"id":7900,"slug":7901,"title":7424,"dynasty":124,"author":7442,"museum":355,"description":7443,"tags":7902,"thumbUrl":7903,"material":81,"size":81,"collection":81,"collections":7904,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},234607,"shan-shui-wan-shan-zhang-zhi-wan-234607",[24,25,7,108,185,181,238,333,1105,818,7128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae5a3cdcc988cabf533cc71a232dc36d.jpg",[],{"id":7906,"slug":7907,"title":7908,"dynasty":124,"author":7909,"museum":126,"description":7910,"tags":7911,"thumbUrl":7912,"material":81,"size":81,"collection":81,"collections":7913,"showCount":7607,"zanCount":11,"manualWeight":38,"mainColor":39},234574,"fang-li-ying-qiu-shan-shui-shan-tang-dai-234574","仿李营丘山水扇","唐岱","清代画家唐岱, 字毓东，号静岩，又号知生、爱庐、默庄。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。唐岱山水画初从焦秉贞",[48,24,25,7,108,27,181,238,333,1105,690,1547,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca811aeb6574f8f643210f11bbff932.jpg",[],{"id":7915,"slug":7916,"title":3541,"dynasty":433,"author":6163,"museum":355,"description":7917,"tags":7918,"thumbUrl":7919,"material":81,"size":81,"collection":81,"collections":7920,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":57},234564,"shan-shui-shan-wei-zhi-huang-234564","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,7,108,27,181,238,333,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5c9eb54dfc09b3d2f3f6285bea6d59.jpg",[],{"id":7922,"slug":7923,"title":7424,"dynasty":124,"author":7924,"museum":7925,"description":7926,"tags":7927,"thumbUrl":7928,"material":81,"size":7929,"collection":81,"collections":7930,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},234519,"shan-shui-wan-shan-dai-yi-heng-234519","戴以恒","萧山博物馆","戴以恒(1826～1891)，字用伯，钱塘(今杭州)人，戴熙次子，承家传，擅山水，工刻印，有《醉苏斋书诀》。",[24,7,108,185,181,360,1105,238,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01f32cc520c460a18e50766dccc11c2.jpg","纵17.2厘米，横49.5厘米",[],{"id":7932,"slug":7933,"title":4840,"dynasty":433,"author":7934,"museum":355,"description":6205,"tags":7935,"thumbUrl":7936,"material":81,"size":81,"collection":81,"collections":7937,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":57},234490,"shan-shui-shan-ye-yin-shi-234490","殷諟",[7,24,25,108,185,181,238,333,306,239,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84869b58427aca239d1b651bb8eab1ba.jpg",[],{"id":7939,"slug":7940,"title":6143,"dynasty":433,"author":7572,"museum":126,"description":7941,"tags":7942,"thumbUrl":7943,"material":3150,"size":7944,"collection":81,"collections":7945,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},234048,"shan-shui-tu-shan-ye-jiang-song-234048","此图是一幅绘其意不绘其形的画作。远景的峰峦岭岫没有被具体地刻画，仅用淡墨晕染山头，勾勒出大体的形貌。中景的平湖静水则不着一笔，完全靠远景的山与近景河岸的夹衬暗示出来。近景枯荣相伴的杂木，以浓淡墨直接点染叶片，运笔洒脱，墨气淋漓。平坡处相向交谈的高士不见眉目的刻画，仅略具形态。简约的构图和概括的表现技法，没有令画作失去画意，蒋嵩巧妙地运用虚实映照、黑白相衬和以简胜繁的艺术手法，吟唱出一曲烟云浩渺、葱郁深秀、意境空旷而不荒凉的山水清音。",[1228,24,7,108,1114,185,181,333,238,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36eab1f04615a6a9540d6367e46439cf.jpg","纵17厘米，横51.2厘米",[],{"id":7947,"slug":7948,"title":4631,"dynasty":433,"author":7949,"museum":355,"description":7950,"tags":7951,"thumbUrl":7952,"material":565,"size":566,"collection":81,"collections":7953,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":57},228899,"shan-shui-tu-shan-mian-qian-gu-228899","钱谷","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[48,24,25,7,108,27,185,181,333,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8fe0f246adff8469cb479bfc8b1f0cf.jpg",[],{"id":7955,"slug":7956,"title":7957,"dynasty":275,"author":44,"museum":355,"description":7958,"tags":7959,"thumbUrl":7960,"material":81,"size":81,"collection":81,"collections":7961,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":57},228238,"fei-yan-tu-wan-shan-yi-ming-228238","飞燕图纨扇","此幅纨扇小品笔墨简淡却意趣盎然。虬曲的老柳占据一隅，浓墨写出苍劲老干，尽显风霜质感，柔细柳条轻曳飘拂，笔致清逸，将春柳的柔媚姿态晕染开来。枝头禽鸟各具情态，或静栖缩羽，或侧目顾盼，寥寥数笔便点染出灵动生机。空中飞燕振翅穿掠，墨色浓淡变化间，将疾飞之姿精妙定格。\n\n画面留白开阔，淡墨轻勾远坡，衬出天地空寂，把暮春时分清寂又暗含生机的氛围铺陈开来。全作用笔极简却意韵悠长，以水墨写意之法，将春日禽柳共生的雅致生机藏于尺幅之间，尽显空灵简淡的文人意趣。",[23,24,25,7,108,112,184,111,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce88bcd629a6b17d680a5dd4e32460.jpg",[],{"id":7963,"slug":7964,"title":7965,"dynasty":18,"author":3909,"museum":355,"description":7966,"tags":7967,"thumbUrl":7968,"material":81,"size":81,"collection":81,"collections":7969,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},227945,"yue-xue-ning-su-qi-jue-tuan-shan-yang-huang-hou-227945","瀹雪凝酥七绝团扇","此作笔致清婉端丽，点画匀停秀雅，自带雍容静和之气。诗作咏叹秋日桂与蔷薇，墨色沉静古雅，与泛黄绢本相融，晕开宋人风雅意趣。\n字里行间带着娴静的宫廷意韵，起收笔温婉雅致，结体舒展匀停，既有唐楷的端整法度，又暗合行书的灵动意趣，将宋诗的清隽意境，融于笔墨之中。朱红古印错落排布，与墨色、古绢相得益彰，尽显雅致的文人赏玩之态，把秋日幽居赏景的闲淡心境，藏进娟秀笔墨里，是宋韵书法小品里精巧动人的佳作。",[23,48,24,25,7,131,723,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc166f2bbfc37bdd49a9365eb4b90133.jpg",[],{"id":7971,"slug":7972,"title":7973,"dynasty":18,"author":44,"museum":355,"description":7974,"tags":7975,"thumbUrl":7976,"material":81,"size":81,"collection":81,"collections":7977,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":57},227894,"hu-ting-you-lan-tu-yi-ming-227894","湖亭游览图","这幅小品以圆框取景，铺展出一片幽寂湖山。澄澈湖面托着水畔亭台，飞檐翘角掩映在葱郁林木间，隐约可见亭边悠游的人影，将游园的闲散意趣藏在细节里。\n\n远山以淡墨晕染，轻笼在如烟暮色中，与近景亭台的精工刻画形成虚实对照，层层晕开江南湖山的清旷含蓄。整体色调古雅沉静，笔意简淡秀润，没有繁复皴擦，却将水色空濛、林影幽深的氛围感烘托尽致，仿佛能窥见千年前的临水凭栏，偷得浮生半日闲的悠然意境，尽显以小见大的雅致情致。",[23,48,24,25,7,331,26,27,181,113,333,109,332,691],"https:\u002F\u002Foss.chuangqi.sto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几只野灵飘散散落，河岸上的两只野鸭在秋荷塘畔，悠闲地享受着秋日的阳光。",[24,25,7,26,27,28,8007,64,871,361,50],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2ab1fd7d2ce25074ac44af4540be96.jpg",[],{"id":8011,"slug":8012,"title":8013,"dynasty":18,"author":44,"museum":355,"description":7179,"tags":8014,"thumbUrl":8015,"material":81,"size":81,"collection":81,"collections":8016,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":57},227359,"liu-xi-yuan-yang-tu-ye-yi-ming-227359","柳溪鸳鸯图页",[23,48,24,7,27,26,528,3970,754,112,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa830ca8abe60aea47e38b08368f2e9c6.jpg",[],{"id":8018,"slug":8019,"title":8020,"dynasty":124,"author":6903,"museum":355,"description":8021,"tags":8022,"thumbUrl":8023,"material":565,"size":566,"collection":81,"collections":8024,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},224576,"song-he-bo-tao-cheng-shan-qing-ren-224576","松鹤波涛成扇","苍松虬枝蟠曲，墨色沉凝勾勒出古木苍劲，针毫细密如攒聚霜雪。两只仙鹤姿态隽秀，一鹤引颈唳空，似欲振翅穿云，一鹤垂首理羽，悠然栖于松畔。侧边细笔晕出水波层叠，柔浪轻漾将松间清旷揉入烟波浩渺之中。\n\n旧纸泛黄晕开岁月痕迹，木骨凝住旧时光阴，整幅小品将祥瑞意趣藏在简净笔墨里，把林泉野趣收于盈尺扇面。落笔克制却意韵悠长，雅致笔墨与吉庆意涵相融，是耐人品味的小品佳构。",[24,25,7,27,108,26,110,527,28,181,871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5bc17a44121d5340a0e044499da1455.jpg",[],{"id":8026,"slug":8027,"title":8028,"dynasty":18,"author":44,"museum":126,"description":8029,"tags":8030,"thumbUrl":8031,"material":829,"size":8032,"collection":81,"collections":8033,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":57},223518,"mei-xi-fang-ting-tu-yi-ming-223518","梅溪放艇图","绘一雅士放艇溪中，回首遥视远方，渔夫于 船尾曲身奋力划桨。两株老梅斜出溪岸，虬曲多姿。山间云雾 缭绕，天水一色。大山巍然横卧，小峰如刀削斧劈，笔立其 侧。作者所绘老梅虬曲多姿，以白粉点梅花，用细笔描水草和 波浪，人物衣纹简劲，工写结合。全图用笔工细劲挺，构图生 动简洁，设色淡雅清丽",[23,24,7,108,27,181,26,182,493,111,470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F727d30aba9a4f0befd1f131f9c55d89f.jpg","纵24.4厘米横24.7厘米",[],{"id":8035,"slug":8036,"title":8037,"dynasty":18,"author":44,"museum":4898,"description":8038,"tags":8039,"thumbUrl":8041,"material":8042,"size":8043,"collection":81,"collections":8044,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":57},223390,"gu-bai-gui-qin-tu-yi-ming-223390","古柏归禽图","该图左侧塘岸土坡，白梅一枝斜出，枝上梅花怒放，枝下茶花、水仙盛开。两只野鸭嬉戏于水中，顾盼生姿，逗人喜爱。对岸土坡败苇稀疏，两只蓝色的小鸟前后相随飞向远方，从而把观赏者的视线引向画外，达到画有尽而意无穷的艺术效果。",[23,24,25,7,28,26,27,8040,112,50],"古柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41fd9a9d79ded1b45f0708614eb8c2a9.jpg","绢本水墨","23.5X24.7cm",[],{"id":8046,"slug":8047,"title":8048,"dynasty":433,"author":8049,"museum":20,"description":8050,"tags":8051,"thumbUrl":8053,"material":459,"size":8054,"collection":81,"collections":8055,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},222576,"hua-lu-ci-cheng-shan-fan-xian-222576","画鹭鹚成扇","范暹","[明]字启东，一作起东，号苇斋，东吴（今江苏苏州一带）人， 一作昆山（今昆山）人，或作镇洋（今太仓）人。\n永乐（一四o三一至一四二四）中徵入画院，供奉三十余一年，花竹翎毛，笔致隽逸。设帐授徒，多所一造就，兼工书法，老于京师。《水东日记》、《画史会要》、《无声诗史》、《明画录》、《嘉定县志》",[23,24,25,7,27,26,28,8052,3480,50],"鹭鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefebf39a0fd61bdbd0627f200f2c8853.jpg","33x50.1",[],{"id":8057,"slug":8058,"title":234,"dynasty":433,"author":8059,"museum":20,"description":8060,"tags":8061,"thumbUrl":8062,"material":81,"size":81,"collection":81,"collections":8063,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},222442,"shan-shui-tu-yang-wen-cong-222442","杨文聪","杨文聪（1596—1646）明末画家、抗清官员。字山子、龙友，号陈龙、鹤巢、雪盦，原籍贵州贵阳，流寓金陵（今江苏南京）。万历四十七年举人，官至兵部郎中，清兵入闽，被执不屈而死。博学好古，善画山水，为”画中九友”之一。\n其父杨师孔，曾任浙江参政（约相当于副省级长官）。杨文聪于万历二十四年（1596），诞生于贵阳城南郊的石林精舍少怀壮志，学兼文武，善书画，有文采，万历末期举于乡。此后屡试不第，年已30，仍功名不就，因之落魄江湖，纵情山水。他爱南京栖霞山风物，曾读书山中，暇时常登峰顶，眺望长江。数年后，回忆这段生活，曾绘《江中望栖霞》，并题咏其上，以抒怀念之情。\n崇祯十六年（1643）已近中年时，他才谋得江宁知县一职，但不久又被劾罢官。失意之余，遂盘桓于秦淮风月场中。原来秦淮内河自明太祖定都南京就异常繁华，从东水关到西水关长达十里，彻夜灯船，尽笙歌。杨文聪为人豪侠，性爱交游，不仅与素淮名妓往来甚密，而且与复社名流侯方域等结为至友。以扇血点染桃花的韵事，很有可能就发生在这时。此事本传不载，然据近人考证，在孔尚任《桃花扇》成书之前，姜实节为杨文聪题画时就有“记否桃花留扇底，一回首处一消魂”之句。由此可知，杨文聪以扇血点染桃花，并非虚构，而是实有其事。\n崇祯十七年（1644）三月十九日，李自成攻下北京，明思宗朱由检自杀。吴三桂引清兵入关，合力扑灭了李自成农民起义军的烈火。明南京兵部尚书史可法、凤阳总督马土英等拥立福王朱由崧即位南京。杨文聪和马士英是同乡，又系姻亲，同时他在武备方面也有一定才能，因此被起用，监军京口（今镇江）。其时的镇江金山尚在长江水中，他认为金山控制南北，地形利于防守，奏请筑城以资守御，很快得到允准。\n清顺治二年（1645）初，杨文聪升任兵备副使，分巡镇、常两府。到清兵逼近长江时，文聪正驻军金山，控制江防。同年五月，他被提任为右佥都御史（中央监察机关长官）兼督沿江诸军。文聪遂还驻京口，和大将郑鸿适等军合兵长江南岸，与清兵隔江相持。九日夜，清兵乘大雾偷渡，直到接近南岸才被甘露寺守军发现，遂仓皇迎敌，但被清兵冲散。杨文聪败退至苏州。十三日，清兵攻陷南京，南明文武大臣、勋戚除逃亡外，大部迎降。清将曾派人往苏州劝降文聪，说客却被杨文聪所杀，并退军处州（今属浙江）。此时唐王自立于福州，文聪遣使奉表称贺，被拜为兵部右侍郎兼右金都御史，提督军务，图谋收复南京。文聪受命于国破之际，孤军奋战，虽曾扼守仙霞岭，屡挫清军，终因众寡悬殊，于1645年7月兵败被俘，不屈而死，全家36口人同时遇难。",[23,24,25,7,181,108,27,185,1104,360,548,3570,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff191db746df3d8994d076a97913dd8b.jpg",[],{"id":8065,"slug":8066,"title":8067,"dynasty":433,"author":8068,"museum":20,"description":8069,"tags":8070,"thumbUrl":8071,"material":27,"size":8072,"collection":81,"collections":8073,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},222431,"hua-song-yin-diao-ting-ce-ye-du-jin-222431","画松阴钓艇册页","杜堇","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人，占籍燕京（今北京市）。宪宗成化（1465—1487）中试进士不第，绝意进取。工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。弘治二年（1489）为吴原博（宽）作赏菊宴集图。从艺活动约在成化、弘治间。\n明代中期的画坛，除了活跃着以沈周、文徵明等为代表的“吴门画派”和以戴进、吴伟为代表的“浙江画派”之外，在南京还出现了一些独具风格的文入画家。他们个个能诗、能文、擅书、擅画，且r生，隋开朗，豪放不羁。杜堇就是其中的一位。杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。\n传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（1500）由金琮（1449-1501）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《邵雍像》轴等，上述画均藏故宫博物院。从艺活动约在成化、弘治间。",[23,24,7,108,27,181,185,110,182,470,238,691],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70da5f12ccbc7b5817be2e5d8f1e38e.jpg","68x68厘米",[],{"id":8075,"slug":8076,"title":8077,"dynasty":433,"author":2031,"museum":20,"description":8078,"tags":8079,"thumbUrl":8080,"material":459,"size":8081,"collection":400,"collections":8082,"showCount":7607,"zanCount":38,"manualWeight":38,"mainColor":39},220943,"wu-yan-lv-shi-cheng-shan-dong-qi-chang-220943","五言律诗成扇","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\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”。",[7,24,25,108,185,131,50,181,333,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc028be8c316980beb3080dd770e1f5.jpg","33.2x47.1",[400,498],{"id":8084,"slug":8085,"title":8086,"dynasty":18,"author":44,"museum":355,"description":8087,"tags":8088,"thumbUrl":8090,"material":565,"size":566,"collection":81,"collections":8091,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":57},290480,"bi-geng-yuan-shan-shui-tu-yi-ming-290480","笔耕园山水图","此作截取山野一隅，以平远之法铺展幽寂溪林之景。坡岸苍松虬曲盘错，枝叶郁然，与周遭杂木错落成林，浅滩间苔石隐现，晕染出湿润水汽。远山以淡墨轻勾慢染，虚实掩映间，将咫尺尺幅拓出辽远空阔的意境。画面留白尽显溪面空濛，不见水波却溢出幽宁清寂。笔墨简淡清润，萧散澹泊，将寄情林泉的隐逸意趣凝于纨扇之上，尽显山水重韵尚意的雅致品格。",[23,7,24,1767,108,185,818,305,238,8089],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a0612503b4a3be40e7a4d98ea02d82.jpg",[],{"id":8093,"slug":8094,"title":8095,"dynasty":275,"author":44,"museum":355,"description":2052,"tags":8096,"thumbUrl":8098,"material":565,"size":566,"collection":81,"collections":8099,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":57},290407,"han-jiang-zhou-du-tu-yi-ming-290407","寒江舟渡图",[7,24,48,108,8097,182,109,4445,181,1999],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F428e029d3b90aa7f47de3dfb66758d4e.jpg",[],{"id":8101,"slug":8102,"title":8103,"dynasty":124,"author":8104,"museum":355,"description":8105,"tags":8106,"thumbUrl":8107,"material":565,"size":566,"collection":81,"collections":8108,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":57},290224,"gao-yan-ji-cui-tu-ai-xin-jue-luo-pu-quan-290224","高岩积翠图","爱新觉罗溥佺","此作为瓷青纸本金碧青绿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38,"manualWeight":38,"mainColor":39},236551,"xu-gu-qiu-lin-du-tiao-shan-ye-xu-gu-236551","虚谷秋林独眺扇页",[24,25,7,108,27,181,3042,333,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc42f5a51347d9182c4cf3497e332fb.jpg",[],{"id":8260,"slug":8261,"title":8262,"dynasty":124,"author":8263,"museum":355,"description":8264,"tags":8265,"thumbUrl":8266,"material":565,"size":566,"collection":81,"collections":8267,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":39},236473,"mei-hua-shan-gao-ze-huan-236473","梅花扇","高泽寰","此作以老梅入画，苍干虬曲多疤，尽展风霜磨砺的古拙筋骨，枝桠斜逸舒展，墨色浓淡铺陈出木材质感的枯涩与遒劲。梅花以没骨晕染，淡粉轻敷花瓣，花苞缀于枝头，暗涌早春生机。\n\n右侧留白题款，墨字清雅端秀，朱红闲章点缀，书画相映成趣。整体笔致简逸清隽，将寒梅孤高清癯的品格融于咫尺扇面，尽显文人画疏淡雅致的意韵，笔简而意足，寥寥数笔便将老梅凌寒独放的风骨描摹尽致。",[24,7,27,28,454,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614a3b4be3ac4a179457cbbbb1b1e0a9.jpg",[],{"id":8269,"slug":8270,"title":8271,"dynasty":124,"author":8272,"museum":355,"description":8273,"tags":8274,"thumbUrl":8276,"material":565,"size":566,"collection":81,"collections":8277,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":39},236425,"feng-hua-shan-cheng-dong-236425","蜂花扇","程东","程东，男，清朝，字 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《书.舜典》：“帝曰：‘契(Xiè)，百姓不亲，五品不逊，汝作司徒，敬敷五教，在宽。’” 《诗.商颂.玄鸟》：“天命玄鸟，降而生商。”《史记.殷本纪》：“殷契(Xiè)，母曰简狄，有娀氏之女，为帝喾次妃。三人行浴，见玄鸟堕其卵，简狄取吞之，因孕生契(Xiè)。”",[7,24,48,25,108,181,818,3570,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db2960a2de25a616e7f1a70b076637a.jpg",[],{"id":8296,"slug":8297,"title":3541,"dynasty":433,"author":8298,"museum":355,"description":8299,"tags":8300,"thumbUrl":8301,"material":565,"size":566,"collection":81,"collections":8302,"showCount":69,"zanCount":11,"manualWeight":38,"mainColor":39},236365,"shan-shui-shan-wang-sui-236365","王璲","王璲（？-1425），字汝正，以字行，号青城山人，明代遂宁（今四川遂宁）人，著名书法家。永乐（1403-1424）初官翰林检讨，直内阁，仁宗时下狱死，赠太子宾客，谥文靖。工时文，小楷、行书法晋人，皆雄秀。亦能画。",[24,7,108,185,181,238,333,1105,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b83b02098d89180142687163acf38e8.jpg",[],{"id":8304,"slug":8305,"title":4840,"dynasty":433,"author":8306,"museum":355,"description":8307,"tags":8308,"thumbUrl":8309,"material":565,"size":566,"collection":81,"collections":8310,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":39},236299,"shan-shui-shan-ye-shen-zhao-236299","沈昭","沈昭，[明]字秋萼，长洲（今江苏苏州）人，鼎弟。善山水，所作大劈斧著青绿者尤佳。《画史会要、无声诗史、明画录》。",[7,108,181,305,238,332,185,27,333,691],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe20f475312efbe08d55fc6ffa4bae3.jpg",[],{"id":8312,"slug":8313,"title":6143,"dynasty":124,"author":8314,"museum":355,"description":8315,"tags":8316,"thumbUrl":8318,"material":565,"size":566,"collection":81,"collections":8319,"showCount":69,"zanCount":11,"manualWeight":38,"mainColor":39},235789,"shan-shui-tu-shan-ye-wu-wei-ye-235789","吴伟业","吴伟业（1609年6月21日—1672年1月23日），字骏公，号梅村，别署鹿樵生、灌隐主人、大云道人，汉族，江苏太仓人。\n生于明万历三十七年，明崇祯四年（1631）进士，曾任翰林院编修、左庶子等职。清顺治十年（1653）被迫应诏北上，次年被授予秘书院侍讲，后升国子监祭酒。顺治十三年底，以奉嗣母之丧为由乞假南归，此后不复出仕。 [2]\n他是明末清初著名诗人，与钱谦益、龚鼎孳并称“江左三大家”，又为娄东诗派开创者。长于七言歌行，初学“长庆体”，后自成新吟，后人称之为“梅村体”。",[24,7,181,185,108,1104,360,1105,239,5155,8317],"近林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc92477073469b42ac6c7ee701b34fa5.jpg",[],{"id":8321,"slug":8322,"title":1493,"dynasty":124,"author":8323,"museum":355,"description":8324,"tags":8325,"thumbUrl":8327,"material":565,"size":566,"collection":81,"collections":8328,"showCount":69,"zanCount":11,"manualWeight":38,"mainColor":39},235117,"shan-shui-shan-mian-huang-yuan-jie-235117","黄媛介","黄媛介，字皆令，浙江嘉兴人，出身儒士之家，生活于明清鼎革之际，在世俗、女德与生计的多重挤压下，或鬻书画，或师闺塾，在风云幻化的江南大地上为养家糊口而羁旅转徙，与名卿士大夫、与名媛闺秀交往酬唱，用诗、词、赋的文学样式及山水花卉的绘形写神，淋漓尽致地释放着心灵的感悟，入木三分地抒写着人生感慨。有着金闺兔苑才的黄媛介，其创作独特的社会价值与艺术魅力将咏絮才女谢道韫开创的林下风推向高峰，既彰显着承前启后的因素，也催发着女性意识的觉醒，影响绵远。",[48,24,25,7,8326,108,185,181,360,2767,50],"金笺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91474d58e35571bd28c6edbbbb7ef528.jpg",[],{"id":8330,"slug":8331,"title":8332,"dynasty":433,"author":44,"museum":355,"description":434,"tags":8333,"thumbUrl":8334,"material":81,"size":81,"collection":81,"collections":8335,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":57},234696,"ming-ren-song-lin-wan-shan-yi-ming-234696","明人松林纨扇",[24,7,27,181,110,360,238,185,362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab455c347d55fb44751c40020af2b13.jpg",[],{"id":8337,"slug":8338,"title":4840,"dynasty":433,"author":1166,"museum":355,"description":4557,"tags":8339,"thumbUrl":8340,"material":81,"size":81,"collection":81,"collections":8341,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":39},234636,"shan-shui-shan-ye-lan-ying-234636",[24,25,7,108,185,181,1104,360,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a448f7356b9dea489ff04bc13fe9bc.jpg",[],{"id":8343,"slug":8344,"title":6480,"dynasty":433,"author":1166,"museum":355,"description":4557,"tags":8345,"thumbUrl":8346,"material":81,"size":81,"collection":81,"collections":8347,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":39},234630,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234630",[24,25,7,181,108,185,1547,1104,360,1105,690,6083],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581d8b3fe9cac690ab9750926dfbb899.jpg",[],{"id":8349,"slug":8350,"title":8351,"dynasty":433,"author":7468,"museum":355,"description":7469,"tags":8352,"thumbUrl":8353,"material":81,"size":81,"collection":81,"collections":8354,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":39},234492,"hua-niao-shan-ye-wei-xue-lian-234492","花鸟扇页",[1228,7,24,25,27,26,28,410,1571,169,1135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6bd18f9544bbe768327b77926cd6db.jpg",[],{"id":8356,"slug":8357,"title":8358,"dynasty":275,"author":44,"museum":355,"description":8359,"tags":8360,"thumbUrl":8361,"material":188,"size":8362,"collection":81,"collections":8363,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":57},233953,"xi-shan-ting-xie-tu-ye-yi-ming-233953","溪山亭榭图页","本幅园形设色画，无款印，有收藏印二方不辩。",[24,25,7,181,27,185,50,113,333,238,1874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F572cdae27ebe7b757d316c7e73b40b0e.jpg","纵27.5cm横26.2cm",[],{"id":8365,"slug":8366,"title":8367,"dynasty":433,"author":5061,"museum":355,"description":8368,"tags":8369,"thumbUrl":8372,"material":565,"size":566,"collection":81,"collections":8373,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":39},228308,"hong-feng-bai-he-tu-ye-xiang-sheng-mo-228308","红枫白鹤图页","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。",[23,24,25,48,7,27,181,8370,8371,185],"红枫","白鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c9862a17ee2057107c11e83ef78ddf.jpg",[],{"id":8375,"slug":8376,"title":8377,"dynasty":18,"author":44,"museum":355,"description":8378,"tags":8379,"thumbUrl":8381,"material":81,"size":81,"collection":81,"collections":8382,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":39},227341,"dong-ri-cao-wu-tu-yi-ming-227341","冬日草屋图","相对于百花齐放的春天，五彩缤纷的夏天，硕果累累的秋天，寒风萧瑟的冬天亦有其独特的韵味。\n\n每年的冬天，最盼望的就是一觉醒来，窗外银装素裹，仿佛置身于童话故事之中，整个世界都安静了。虽然冷，但雪景依旧是冬日里人们最期盼的画面。\n\n自古以来，皑皑雪景，在中国古画当中就占有一席之地。\n\n在不同的画境之下，雪，拥有了无尽的生命力，万物孤寂的冬天，被作者表现的淋漓尽致。",[24,25,7,27,181,493,8380,251,185],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e5b975f61e54f4018d0c87e8c33dd40.jpg",[],{"id":8384,"slug":8385,"title":8386,"dynasty":18,"author":44,"museum":126,"description":8387,"tags":8388,"thumbUrl":8390,"material":495,"size":8391,"collection":81,"collections":8392,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":39},223509,"liu-xi-diao-ting-tu-yi-ming-223509","柳溪钓艇图","绘江南小景，坡岸垂柳杂树，茅舍隐然，河中渔舟横陈，船头一翁垂钓",[23,24,7,108,181,50,858,182,239,690,8389],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40fa66204fb50d3e262d289a18d3643.jpg","23*24.8cm",[],{"id":8394,"slug":8395,"title":8396,"dynasty":18,"author":44,"museum":20,"description":8397,"tags":8398,"thumbUrl":8400,"material":829,"size":8401,"collection":81,"collections":8402,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":57},223498,"mu-mo-gu-ting-tu-yi-ming-223498","木末孤亭图","以半边构图铺展秋江暮色，危崖拔地而起，亭台凌于木末，枝叶染秋红暗递清寂。崖下二人曳杖徐行，抬眼望向烟水浩渺的平湖，远汀渔舟隐现，萧散悠然。\n\n笔墨清润简淡，斧劈皴勾勒山石棱骨，晕染轻敷出秋岚空蒙。咫尺纨扇载起林丘烟水，将登高骋怀的幽逸散淡融在留白间，以小见大铺展出无尽江湖意趣，萧瑟秋意里漫溢出林泉高致的悠然闲情。",[23,24,25,7,181,108,185,113,8399,333,109,871],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1bc261b54c40fc795c794e91aa014b9.jpg","23.3厘米横24.6厘米",[],{"id":8404,"slug":8405,"title":8406,"dynasty":433,"author":8407,"museum":20,"description":8408,"tags":8409,"thumbUrl":8410,"material":3867,"size":8411,"collection":81,"collections":8412,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":39},222455,"song-ren-shi-yi-shan-qian-xian-222455","宋人诗意扇","钱暹","全画墨色恬淡，景物造型简约，随处可见用笔的精到，如莲叶的盛衰枯荣、柳枝的轻盈柔美。",[24,108,7,181,305,238,690,1197,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83eb023c5f477bc2367a2db4019520b.jpg","17x52.2厘米",[],{"id":8414,"slug":8415,"title":8416,"dynasty":433,"author":1523,"museum":20,"description":8417,"tags":8418,"thumbUrl":8420,"material":27,"size":8421,"collection":81,"collections":8422,"showCount":69,"zanCount":38,"manualWeight":38,"mainColor":39},222373,"hua-luo-mu-han-shan-cheng-shan-zhou-chen-222373","画落木寒山成扇","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 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雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,25,7,108,26,28,214,576,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32eaf4d2732d6a1b1bf983ace2b1584d.jpg",[],{"id":8615,"slug":8616,"title":7339,"dynasty":433,"author":7340,"museum":355,"description":7341,"tags":8617,"thumbUrl":8618,"material":565,"size":566,"collection":81,"collections":8619,"showCount":8442,"zanCount":38,"manualWeight":38,"mainColor":39},237547,"hua-hui-shan-ye-li-yin-237547",[1228,24,7,108,28,2577,50,1114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31353b88a03f1ad3e445f9c2824c159b.jpg",[],{"id":8621,"slug":8622,"title":8623,"dynasty":124,"author":4809,"museum":355,"description":4810,"tags":8624,"thumbUrl":8625,"material":565,"size":566,"collection":81,"collections":8626,"showCount":8442,"zanCount":38,"manualWeight":38,"mainColor":39},237447,"wu-gu-xiang-ye-yue-qiu-du-shan-mian-wu-gu-xiang-237447","吴穀祥夜月秋渡扇面",[7,24,25,27,108,185,181,711,182,360,112,691,506,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8712b0fc72e34be9d880bfd2082aeef6.jpg",[],{"id":8628,"slug":8629,"title":8630,"dynasty":433,"author":8631,"museum":355,"description":8632,"tags":8633,"thumbUrl":8634,"material":565,"size":566,"collection":81,"collections":8635,"showCount":8442,"zanCount":38,"manualWeight":38,"mainColor":39},237407,"xi-xiang-ji-tu-shan-ye-xu-shi-xuan-237407","西厢记图扇页","徐士选","山阳人，万历戊午科。",[24,7,26,27,109,199,333,238,1337,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f1be9ec040238119a722cae4fc4ddd.jpg",[],{"id":8637,"slug":8638,"title":4840,"dynasty":433,"author":3987,"museum":355,"description":8639,"tags":8640,"thumbUrl":8641,"material":565,"size":566,"collection":81,"collections":8642,"showCount":8442,"zanCount":38,"manualWeight":38,"mainColor":39},237403,"shan-shui-shan-ye-ding-yun-peng-237403","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,25,7,108,181,493,1104,3112,185,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e166761ecc75bb66a219308be29751.jpg",[],{"id":8644,"slug":8645,"title":8646,"dynasty":433,"author":8647,"museum":355,"description":8648,"tags":8649,"thumbUrl":8650,"material":565,"size":566,"collection":81,"collections":8651,"showCount":8442,"zanCount":38,"manualWeight":38,"mainColor":39},237401,"ren-wu-shan-mian-yuan-shang-tong-237401","人物扇面","袁尚统","岁朝，是指一岁之始，此时一元复始，万象更新，历代画家作岁朝图含有元旦开笔、预祝一年万事吉利之意。图绘山村一隅，诸多孩童在院中敲锣、打鼓、放鞭炮，尽情嬉戏玩乐，屋内三位长者同桌对饮，观看儿童嬉耍。树石勾勒填色后皴擦，远山以花青淡淡涂染，笔法稳健苍老，画风质朴古拙。丙申为清顺治十三年（1656年），袁尚统时年87岁。",[7,108,109,181,858,608,691,1114,185,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c842323a65a9c09b0ef7f45ca83926.jpg",[],{"id":8653,"slug":8654,"title":8655,"dynasty":124,"author":4523,"museum":355,"description":4524,"tags":8656,"thumbUrl":8657,"material":565,"size":566,"collection":81,"collections":8658,"showCount":8442,"zanCount":38,"manualWeight":38,"mainColor":39},237356,"shu-guo-shan-chen-heng-ke-237356","蔬果扇",[24,7,108,27,1114,6017,78,50,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131de842b69ad77f176aecadd2445a7f.jpg",[],{"id":8660,"slug":8661,"title":6143,"dynasty":433,"author":7680,"museum":355,"description":7681,"tags":8662,"thumbUrl":8663,"material":565,"size":566,"collection":81,"collections":8664,"showCount":8442,"zanCount":38,"manualWeight":38,"mainColor":57},237218,"shan-shui-tu-shan-ye-zhang-rui-tu-237218",[24,25,7,108,185,181,333,238,113,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e35c039a90965b828f8b628798f1a4.jpg",[],{"id":8666,"slug":8667,"title":8668,"dynasty":124,"author":8669,"museum":355,"description":8670,"tags":8671,"thumbUrl":8672,"material":565,"size":566,"collection":81,"collections":8673,"showCount":8442,"zanCount":38,"manualWeight":38,"mainColor":39},237071,"duan-qiao-shu-liu-shan-zhang-wei-237071","断桥疏柳扇","张维","字叔维，号西泠寓客，常熟(今属江苏)人，常居杭州西湖，系张季【1570（隆庆四年）-1610（万历三十八年）】弟。",[24,7,108,181,548,858,113,109,333,690,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d8a6da14d451afa1a391db975c4c33.jpg",[],{"id":8675,"slug":8676,"title":3541,"dynasty":124,"author":8677,"museum":355,"description":8678,"tags":8679,"thumbUrl":8680,"material":565,"size":566,"collection":81,"collections":8681,"showCount":8442,"zanCount":38,"manualWeight":38,"mainColor":57},236815,"shan-shui-shan-wang-shi-min-236815","王时敏","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[124,24,7,108,185,181,333,238,690,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cbf9df04594e7bef96bfd038b5c46a7.jpg",[],{"id":8683,"slug":8684,"title":3541,"dynasty":433,"author":4489,"museum":355,"description":8685,"tags":8686,"thumbUrl":8687,"material":565,"size":566,"collection":81,"collections":8688,"showCount":8442,"zanCount":38,"manualWeight":38,"mainColor":39},236807,"shan-shui-shan-wang-sheng-236807","此作用金笺铺底，细笔皴写江岸坡石，修竹杂木错落布陈，枝叶扶疏间漾出清润生机。水面汀渚星罗，茅亭临水而建，亭中文士凭栏晤谈，将江南水畔的幽居雅趣，收于咫尺扇面。\n\n笔墨秀雅温润，设色浅淡明净，带着清雅淡远的画中意趣，简淡构图里藏着萧散闲逸的文人韵致，把林下清谈的悠然之态晕染开来，于尺幅间尽显山水雅集的淡远意境，是小品山水里的精妙佳构。",[7,24,181,27,185,280,111,548,239,113,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380490f5ce5ab387cf014456c62944a1.jpg",[],{"id":8690,"slug":8691,"title":8692,"dynasty":124,"author":44,"museum":355,"description":8693,"tags":8694,"thumbUrl":8695,"material":81,"size":81,"collection":81,"collections":8696,"showCount":8442,"zanCount":38,"manualWeight":38,"mainColor":39},236706,"huang-ge-song-shi-shan-yi-ming-236706","黄阁松石扇","此作用淡墨挥写松石，古松主干虬曲扭转，疤结嶙峋尽显风霜姿态，松针攒簇如聚，笔力苍劲老辣，将古松傲骨全然彰显。淡墨晕染山石，与苍松相映，留白恰到好处，空灵悠远。\n\n左侧题诗以书入画，笔墨与诗文相融，尽显文人雅致。整幅扇面以极简水墨托物言志，借苍松石畔的清寂之景，寄寓了文人隐逸高旷的襟怀，古意盎然，寥寥数笔便将松柏坚韧超拔的品格勾勒尽致，意境清寂高古。",[24,25,7,108,723,50,111,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebeebb9f699c9ab69fa016e3fe22e00.jpg",[],{"id":8698,"slug":8699,"title":3541,"dynasty":433,"author":8700,"museum":355,"description":8701,"tags":8702,"thumbUrl":8703,"material":565,"size":566,"collection":81,"collections":8704,"showCount":8442,"zanCount":38,"manualWeight":38,"mainColor":57},236690,"shan-shui-shan-zheng-yuan-xun-236690","郑元勋","郑元勋（1598-1645年），字超宗，号惠东，扬州广陵(今扬州市广陵区)人。明末画家，江左名流。\n崇祯十六年(1643年)，考中进士，官至清吏司主事。工诗善画，善山水，宗于吴镇，尤工山水小景，措笔洒落，士气得韵。\n顺治二年，“因悍镇分地临扬，欲纾难而出语小误，为众击惨死，时论惜之，卒年四十七”。（参见徐沁《明画录》卷五记载）",[24,25,7,108,185,18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，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[23,7,24,108,181,182,8977,131,50,333],"渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be58bb9d81bb2794a634ee2dc2ac48.jpg",[],{"id":8981,"slug":8982,"title":8983,"dynasty":18,"author":44,"museum":355,"description":8984,"tags":8985,"thumbUrl":8987,"material":565,"size":566,"collection":81,"collections":8988,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":788},289972,"gu-mu-han-qin-tu-yi-ming-289972","古木寒禽图","此作用淡墨晕染寒林雪滩，枯木虬曲苍劲，疏枝横斜于荒寂寒林之中。山石积雪以留白衬出，淡墨轻勾棱线，尽显冰雪凝覆之态，古木皴擦老辣，满是风霜浸蚀的苍拙质感。\n整幅画面空阔萧索，不见禽鸟却遍溢孤寒冷寂之意，以极简笔致烘托出冬日林野的清空淡远，将格物精微的写生意趣与幽寂荒寒的意境相融，寥寥数笔勾勒出冬林孤冷的林下雅趣，尽显山水小品的隽永雅致。",[23,48,24,25,7,108,181,8097,112,111,251,8986,131,50],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c8d1663817686fd51de4dc7abe3ef7.jpg",[],{"id":8990,"slug":8991,"title":7512,"dynasty":18,"author":44,"museum":355,"description":8992,"tags":8993,"thumbUrl":8994,"material":565,"size":566,"collection":81,"collections":8995,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},289938,"zhu-jian-yuan-yang-tu-yi-ming-289938","图绘坡石斜立于画面的右侧，坡上翠竹摇曳，枝页纷披。坡下竹笋破土而出，小草丛生，小溪潺缓，一派生机蓬勃景象。两只鸳鸯仰头眺望天空中飞来的一只鸟，把观赏者的目光引向画外。图中竹页、竹竿勾勒精细，山石淡染轻勾，色彩柔和自然。构图疏朗，静中有动，为南宋晚期花鸟画佳作。",[23,7,24,48,108,26,28,280,754,112,181,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45d2bb334d503fba43fc8dc9e1df148d.jpg",[],{"id":8997,"slug":8998,"title":8999,"dynasty":18,"author":44,"museum":355,"description":9000,"tags":9001,"thumbUrl":9003,"material":565,"size":566,"collection":81,"collections":9004,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},289443,"na-liang-guan-pu-tu-yi-ming-289443","纳凉观瀑图","此作以小品尺幅绘就幽寂夏夜，水墨晕染出氤氲湿润的暮色氛围。错落山石环伺水榭，清浅碧波绕阶而过，廊下一人凭栏默然，隐于浓荫翠色间。\n\n画笔工致细腻，以浓淡墨色区分远近层次，林木苍润沉郁，屋舍雅致简净，将炎夏里林泉一隅的凉意尽数铺展。全画不见奔涌飞瀑，却以幽谧氛围烘托出观瀑听泉的雅兴，将宋代文人寄情林泉、消暑寻幽的闲淡心境藏于尺幅间，尽显雅致沉静的古典意趣。",[23,48,24,7,27,331,109,332,113,111,239,50,131,181,9002],"纳凉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2499ae694906cd477b1746fe1a72d544.jpg",[],{"id":9006,"slug":9007,"title":3459,"dynasty":18,"author":44,"museum":20,"description":9008,"tags":9009,"thumbUrl":9010,"material":397,"size":9011,"collection":81,"collections":9012,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},289231,"liu-yin-mu-niu-tu-yi-ming-289231","烟霭轻笼郊野，垂柳柔条垂挂，晕开暮色里的温柔。老柳虬干苍劲，墨色皴擦尽显岁月质感，柳丝如缕轻拂软润田埂。\n\n缓步的老水牛垂首舐唇，淡墨晕染出皮毛肌理，朴拙写实，将耕罢暂歇的慵懒尽数铺陈。坡岸尽头，简笔勾勒的看牛小童似正蜷卧休憩，把牧歌式闲散揉进淡远暮色中。\n\n整幅以水墨晕染江南郊野清润底色，笔致简淡却意韵悠长，将日常牧归的细碎闲恬，晕作一卷悠然静穆的乡野旧梦。",[24,7,108,858,1093,3804],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe58490a5bc1e05c7333dbcb7a25173d3.jpg","纵137厘米，横34.5厘米",[],{"id":9014,"slug":9015,"title":9016,"dynasty":18,"author":44,"museum":355,"description":9017,"tags":9018,"thumbUrl":9020,"material":565,"size":566,"collection":81,"collections":9021,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},289230,"tian-long-mu-niu-tu-yi-ming-289230","田垄牧牛图","以圆取景铺展江南乡野闲趣，左侧田埂纵横、新苗青青，两头牛犊信步缓行，漫着春耕之余的慵懒松弛。右侧水湾萦回，岸畔老柳垂荫，枝叶婆娑间藏着三两村舍，隐在淡霭轻烟里。\n\n笔墨清润淡雅，浅赭晕染出水色天光的柔和，墨色轻施便分出柳色浓淡与田亩层次，不着繁复勾勒，便将水乡初春的柔静氛围尽数铺陈。将日常乡居的细碎景致凝缩在尺幅团扇中，带着独有的诗意静观，于细微处晕开田园真味，悠悠然尽显江南郊野的恬谧生机。",[24,7,27,9019,1093,333,239,3804,181],"田垄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31bb722b142091dfb468d28b944b61b4.jpg",[],{"id":9023,"slug":9024,"title":9025,"dynasty":18,"author":44,"museum":355,"description":9026,"tags":9027,"thumbUrl":9029,"material":565,"size":566,"collection":81,"collections":9030,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},289228,"zheng-ren-xiao-fa-tu-yi-ming-289228","征人晓发图","松荫浓翳，环抱着两间茅舍，晓色清寂里，即将远行的征人正与屋中友人对晤作别。案头堆叠起打点好的行装，篱边的白马垂首静立，等候着启程的时刻。\n\n整幅小品取景紧凑，以繁密的林木圈住方寸茅庐，将离别的缱绻私语藏在深幽静谧的氛围之中。淡墨轻施晕染出晨晓的朦胧，笔致工细朴拙，未刻意渲染离愁，却把羁旅远行的怅惘与友人相赠的温厚情意，融在这寻常晓发图景里，尽显宋代小品的雅致韵致，于细微处见悠远绵长的诗意。",[23,7,24,25,26,109,1433,9028,305,2044,27],"草舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165145a4bc26c006a7e754dbdfadc7cb.jpg",[],{"id":9032,"slug":9033,"title":9034,"dynasty":433,"author":3146,"museum":355,"description":5153,"tags":9035,"thumbUrl":9037,"material":565,"size":566,"collection":81,"collections":9038,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},287433,"wen-shi-qiao-mu-tu-shan-mian-wen-zheng-ming-287433","文石乔木图扇面",[48,24,25,7,108,9036,111,184,50],"乔木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513cc666d4642f29b5417520032a27d3.jpg",[],{"id":9040,"slug":9041,"title":9042,"dynasty":124,"author":44,"museum":355,"description":9043,"tags":9044,"thumbUrl":9045,"material":565,"size":566,"collection":81,"collections":9046,"showCount":56,"zanCount":38,"manualWe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掖城人。清代画家、学者。1832年（道光十二年）选为副贡生。同治初年，山东巡抚丁宝桢在济南历下李清照故居设尚志堂，遍请“齐鲁穷经之士”来济讲学，他“巍然居首”。1878年（光绪四年），被选任临淄教谕，卒于任上，终年73岁。",[24,7,27,26,109,184,111,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7674b12fbde72e22895e58c1ec6635ca.jpg",[],{"id":9123,"slug":9124,"title":9125,"dynasty":124,"author":925,"museum":355,"description":926,"tags":9126,"thumbUrl":9127,"material":565,"size":566,"collection":81,"collections":9128,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},239067,"jun-zi-lin-wan-shan-zhang-pan-239067","君子林纨扇",[24,25,7,27,26,28,929,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8438d22f7deef66ddf701b842910964.jpg",[],{"id":9130,"slug":9131,"title":2591,"dynasty":124,"author":9132,"museum":355,"description":9133,"tags":9134,"thumbUrl":9135,"material":565,"size":566,"collection":81,"collections":9136,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},238095,"hua-niao-shan-wang-jie-238095","王杰","王杰（1725年－1805年2月9日 ），字伟人，号惺国，陕西韩城人。清朝状元、名臣，有清一代陕西第一名臣。初在南书房当值，后经多次升迁，官至内阁学士。乾隆三十九年（1774）任刑部侍郎后又转调吏部，擢升右都御史，乾隆五十一年（1786）出任军机大臣，上书房总师傅，第二年又出任东阁大学士，总理礼部。嘉庆帝即位，仍为首辅。\n王杰在朝四十余年，忠清劲直，老成端谨，不结党营私，不趋炎附势。嘉庆十年（1805年），王杰去世，享年八十一岁，追赠为太子太师，谥号文端，祀于北京贤良祠。",[606,24,25,7,26,27,28,454,280,410,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d42141a5b528539861dcd38dc4c9d3.jpg",[],{"id":9138,"slug":9139,"title":9140,"dynasty":124,"author":2202,"museum":355,"description":9141,"tags":9142,"thumbUrl":9144,"material":565,"size":566,"collection":81,"collections":9145,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},238039,"tong-yin-ren-wu-shan-ye-fei-yi-geng-238039","桐荫人物扇页","费以耕（ ？—1870 ）清代画家。字馀伯，乌程（今浙江吴兴）人。费丹旭长子。画承家学，仕女幽静，兼工花鸟。同治九年（1870）为张鸣珂画锺进士像，侧耳作听琴状，傍坐一女郎，膝置一琴，拔铉抚弄，秀媚天成。与张熊交往甚密",[24,25,7,26,27,109,9143],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff387618c61f8edf2ffbee13f840c466c.jpg",[],{"id":9147,"slug":9148,"title":9149,"dynasty":124,"author":3210,"museum":355,"description":9150,"tags":9151,"thumbUrl":9152,"material":565,"size":566,"collection":81,"collections":9153,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},237851,"dong-gao-chun-shan-qing-cui-tu-shan-dong-gao-237851","董诰春山晴翠图扇","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[48,24,25,7,27,1008,185,181,360,238,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10d3255fc8e605f6f0016b789033f8c.jpg",[],{"id":9155,"slug":9156,"title":9157,"dynasty":433,"author":8724,"museum":355,"description":8725,"tags":9158,"thumbUrl":9159,"material":565,"size":566,"collection":81,"collections":9160,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},237825,"jian-xing-shan-ye-zhang-cheng-long-237825","饯行扇页",[7,24,109,181,27,1547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c0901f4f6229f5acb23404c2c93572.jpg",[],{"id":9162,"slug":9163,"title":9164,"dynasty":433,"author":44,"museum":355,"description":9165,"tags":9166,"thumbUrl":9167,"material":565,"size":566,"collection":81,"collections":9168,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},237810,"gao-yang-hua-hui-zhu-shi-shan-ye-yi-ming-237810","高阳花卉竹石扇页","金笺之上，水墨设色铺就幽然小景。顽石错落，勾勒简劲苍厚，皴擦间尽显嶙峋古拙。修竹劲挺清逸，枝叶舒展灵动，墨色浓淡层叠，区分阴阳向背，尽显君子之姿。柔蔓花枝穿插掩映，淡晕粉白点染花萼，轻敷浅绿晕染叶片，和挺竹顽石刚柔相济。\n\n落款题字笔意潇洒写意，与绘事相映成趣。整幅疏密有致、虚实相生，将林下幽趣收揽在尺幅扇面之间，笔底带着悠然闲适的雅致意趣，尽显传统小品画的隽秀生机。",[7,27,108,280,361,214,1228,1114,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3b6ea6dacc07c9cd180087a3d2e780.jpg",[],{"id":9170,"slug":9171,"title":9172,"dynasty":433,"author":44,"museum":355,"description":9173,"tags":9174,"thumbUrl":9175,"material":565,"size":566,"collection":81,"collections":9176,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},237805,"shao-mi-chun-xi-fang-zhao-shan-yi-ming-237805","邵弥春溪放棹扇","此作用笔简淡清逸，以淡墨晕染出春日水畔之景。柔柳垂枝披拂水岸，笔墨松灵，尽现柳条依依之态。水面留白成境，扁舟一人悠然放棹，静中生趣。远山以浅淡写意勾勒，朦胧澹远，似含烟霭。\n全幅以简驭繁，虚实相生，将江南春溪的清寂闲趣收拢于尺幅之内，晕染出幽澹空濛的诗意，尽显文人寄情林泉的隐逸意趣，寥寥数笔便烘托出恬和悠远的意境，余韵悠长。",[1228,7,24,108,422,858,1874,182,181,8793],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F493b9f515347f5763e0dd5d831dc606c.jpg",[],{"id":9178,"slug":9179,"title":9180,"dynasty":124,"author":44,"museum":355,"description":9181,"tags":9182,"thumbUrl":9184,"material":565,"size":566,"collection":81,"collections":9185,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},237498,"qing-ren-xi-ju-ren-wu-cheng-shan-yi-ming-237498","清人戏剧人物成扇","工笔重彩铺就戏曲朝会盛景，祥云萦回烘托出庄严肃穆的朝堂氛围。銮驾之上帝王威仪俨然，阶下文臣武将依序排布，旌旗列立、甲胄鲜明，朝服纹饰精工细绘，衣纹线条挺括流畅，敷色浓妍沉稳，层次分明。\n\n人物脸谱勾勒精妙，忠奸情态呼之欲出，武将的悍勇、文臣的端方各有风神，将传统戏曲的程式化仪制凝于盈尺扇面。衬景山水简淡雅致，虚实相映间让画面疏密得当，把戏曲写意之美与工笔写实技法相融，尽显民间画工的娴熟造诣，是戏曲题材成扇的上乘之作。",[124,7,27,26,109,181,9183],"戏剧人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c38faa717daae8e5a2bacb560f1f51d.jpg",[],{"id":9187,"slug":9188,"title":9189,"dynasty":124,"author":9190,"museum":355,"description":9191,"tags":9192,"thumbUrl":9194,"material":565,"size":566,"collection":81,"collections":9195,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},237402,"fang-li-cheng-yun-hai-shan-xu-ang-237402","仿李成云海扇","徐昂","此作以边角取景，右侧崖畔孤松蟠曲苍劲，松下幽人静坐远眺，淡墨短皴勾勒石体质感，松枝带霜，尽是萧寒清寂之态。左侧以留白晕作浩渺云海，几簇墨林浮沉云间，虚实相生，将平远清旷的山水意韵铺陈开来。\n\n全幅以水墨晕染，凭藉墨色浓淡分出层次，不作艳色修饰，空濛雾气晕化出幽远意境，暗合文人澄怀观道的林下襟怀，把林泉隐逸的静穆冷逸尽数藏在简淡笔墨中，淡而愈真，简而弥远。",[24,25,7,1547,108,185,181,9193,184,109,111],"云海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5233ab20a95e74ecb0720e6632edcdd.jpg",[],{"id":9197,"slug":9198,"title":4840,"dynasty":433,"author":9199,"museum":355,"description":9200,"tags":9201,"thumbUrl":9202,"material":565,"size":566,"collection":81,"collections":9203,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},237399,"shan-shui-shan-ye-lai-bai-shui-237399","赖白水","赖镜，字孟容，号白水山人、增城山人，广东广州府南海县人，清书画家。",[24,7,181,108,185,360,361],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2dadcc0de00fab72f7c699bc54786d.jpg",[],{"id":9205,"slug":9206,"title":9207,"dynasty":433,"author":9208,"museum":355,"description":9209,"tags":9210,"thumbUrl":9212,"material":565,"size":566,"collection":81,"collections":9213,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},237378,"mo-chou-hu-shan-zhang-han-237378","莫愁湖扇","张瀚","张瀚（1510—1593），字子文，号元洲 ，谥恭懿。明朝仁和（今浙江杭州）人。嘉靖十四年（1535）进士，授南京工部主事，历任庐州、大名知府、陕西左布政使、右副都御史、大理寺卿、刑部右侍郎、兵部侍郎、南京右都御史、工部尚书、吏部尚书。\n因与张居正朝议多不合，辞归故里，把平生所见所闻著录成《松窗梦语》，记载了明代经济、社会、文化、民情风俗等方面资料，对研究明代社会经济、商业贸易有重要参考价值。",[24,25,7,27,108,185,548,239,1105,333,858,9211,113],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84246136b7c834be2cf97455cb8398f.jpg",[],{"id":9215,"slug":9216,"title":9217,"dynasty":433,"author":9218,"museum":355,"description":9219,"tags":9220,"thumbUrl":9221,"material":565,"size":566,"collection":81,"collections":9222,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},237074,"mo-bi-zhu-lan-shan-xiang-de-xin-237074","墨笔竹兰扇","项德新","项德新（约1563—？）明代画家。字复初、又新，浙江嘉兴人，项元汴的三儿子，工山水，得荆关法，尤其擅长写生。 作品流传极少，有人得其片纸，珍如拱璧。",[24,25,7,108,280,929,131,50,1114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f6b181f99b7774ac392a39807b244b.jpg",[],{"id":9224,"slug":9225,"title":9226,"dynasty":124,"author":9227,"museum":355,"description":9228,"tags":9229,"thumbUrl":9230,"material":565,"size":566,"collection":81,"collections":9231,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},237070,"mo-mei-shan-huang-zhang-237070","墨梅扇","黄章","老干虬曲苍劲，枯涩笔墨刻尽风霜，枝桠舒展错落，花苞疏密点缀相宜。以浓淡墨色区分枝干与花萼，淡墨晕染花瓣，清隽雅致尽显寒梅疏朗清癯之态，自带孤高清气。\n\n右侧题款小字娟秀，朱印点睛，书画相映成趣。将文人雅致融于咫尺扇面，把梅花凌霜傲雪的品格寄于笔端，极简笔墨勾勒出盎然生机，寥寥数笔便将冬梅清逸出尘的风骨尽显无遗，方寸之间，尽揽暗香浮动的清冷诗意，尽显文人寄情花木的写意意趣。",[24,25,7,108,265,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014c4dd3b878b9f666b3714efe0597ef.jpg",[],{"id":9233,"slug":9234,"title":4840,"dynasty":124,"author":9235,"museum":355,"description":9236,"tags":9237,"thumbUrl":9238,"material":565,"size":566,"collection":81,"collections":9239,"showCount":56,"zanCount":11,"manualWeight":38,"mainColor":39},236874,"shan-shui-shan-ye-wan-shang-lin-236874","万上遴","字殿卿，号辋冈，江西分宜（分宜城郊辋冈人）拔贡生。清朝画家，曾任清宫画院待诏，专事书画。上遴年少失父，家境清寒。从小聪颖好学，酷爱王维诗画，终日练习作画，画一幅画，就写一首诗。“诗、画、行、草”，均“细筋入骨”。",[24,7,108,27,185,181,360,305,238,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba64749bd8f1082d037d2a12b1c5bb8.jpg",[],{"id":9241,"slug":9242,"title":3541,"dynasty":433,"author":3395,"museum":355,"description":3396,"tags":9243,"thumbUrl":9244,"material":565,"size":566,"collection":81,"collections":9245,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},236695,"shan-shui-shan-wu-bin-236695",[24,7,108,185,181,1104,360,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d2d1c7b189da915960a72d863ed308d.jpg",[],{"id":9247,"slug":9248,"title":9249,"dynasty":124,"author":9250,"museum":355,"description":9251,"tags":9252,"thumbUrl":9253,"material":565,"size":566,"collection":81,"collections":9254,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},236552,"song-mei-shan-ye-li-bing-shou-236552","松梅扇页","李秉绶","李秉绶（1783-1842）字佩之、芸甫，号竹坪、信天翁、环碧主人。祖籍临川县温圳杨溪村（今属江西省进贤县温圳），寄籍广西桂林。清代著名画家兼诗人。曾居官工部都水司郎中，人亦称“李水部”。后辞官回桂林，专心画事。",[24,25,7,108,265,110,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fb68fbb6b886709bb49970ba99fb69.jpg",[],{"id":9256,"slug":9257,"title":9258,"dynasty":433,"author":6743,"museum":355,"description":6744,"tags":9259,"thumbUrl":9260,"material":565,"size":566,"collection":81,"collections":9261,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},236468,"shu-lin-yuan-xiu-tu-shan-li-liu-fang-236468","疏林远岫图扇",[24,25,7,108,185,181,5702,690,238,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fc791df25ce09c2286320730928d3f4.jpg",[],{"id":9263,"slug":9264,"title":3541,"dynasty":124,"author":9265,"museum":355,"description":9266,"tags":9267,"thumbUrl":9268,"material":565,"size":566,"collection":81,"collections":9269,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},236438,"shan-shui-shan-pan-gong-shou-236438","潘恭寿","潘恭寿（1741－1794），字慎夫，号握篔，又号莲巢，丹徒（今江苏镇江）人。中年归依佛门后，法号达莲。",[24,25,7,27,181,185,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82cd4d48783a34288e4967ab54d91a17.jpg",[],{"id":9271,"slug":9272,"title":4840,"dynasty":124,"author":9273,"museum":355,"description":9274,"tags":9275,"thumbUrl":9276,"material":565,"size":566,"collection":81,"collections":9277,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},236376,"shan-shui-shan-ye-wang-ze-236376","王泽","王泽（？－？），浙江临安人，明朝政治人物。进士出身。\n王泽曾于万历年间接替赖嘉谟任邵武府知府一职，万历年间由岳钟英接任。",[24,25,7,108,181,185,1104,360,871,690,6083],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef36f243b6f7752b786cafb501caa1ec.jpg",[],{"id":9279,"slug":9280,"title":9281,"dynasty":124,"author":9282,"museum":355,"description":9283,"tags":9284,"thumbUrl":9285,"material":565,"size":566,"collection":81,"collections":9286,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},236371,"mei-hua-shu-wu-tu-shan-ye-zhu-ben-236371","梅花书屋图扇页","朱本","[清]（1761—1819）字素人，号溉夫，自署竹西，江苏扬州人。",[24,25,7,108,181,305,1571,454,5337,2767,333,238,859],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ef5ba0670559ca3dc050096d8dcb3e.jpg",[],{"id":9288,"slug":9289,"title":9290,"dynasty":433,"author":2624,"museum":355,"description":2625,"tags":9291,"thumbUrl":9292,"material":565,"size":566,"collection":81,"collections":9293,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},236190,"hua-zhu-mei-hong-li-shu-shi-cheng-shan-chen-hong-shou-236190","画竹梅弘历书诗成扇",[24,25,7,280,265,131,108,27,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21843d8b6020ed0e211a8a2725c828be.jpg",[],{"id":9295,"slug":9296,"title":9297,"dynasty":433,"author":9298,"museum":126,"description":9299,"tags":9300,"thumbUrl":9301,"material":81,"size":81,"collection":400,"collections":9302,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},236183,"shan-shui-ren-wu-shan-ye-zhou-han-236183","山水人物扇页","周翰","周翰，是清代画家，即周沈禄，字子章，号南山，工山水、人物。生卒年月不详，约活动于明弘治至嘉靖年间。\n著作：南屏烟雨图，珍藏于北京故宫绘画馆，嘉靖三十四年（一五五五）所画，绢本，此图绘群山如蘑菇般突起，山中乔松老树葱茏茂密，山下白雪滃起，似有[山雨欲来风满楼]之势。数座楼观殿阁和梵宇，或隐于绿阴云雾之中，或屹立于山巅之上。数条小路或盘山绕涧通入峰顶，或隐没于深山幽谷之中。图中山峦以浓淡色皴染出远近层次和凹凸，富有立体的质感。苍松、杂树用笔扎实，而飘浮不定的烟云用留白烘染法。故此图是考查周翰生平、艺绩的重要史料，难能可贵。",[7,24,181,109,333,50,422,27,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae35662cfd206b419ab2d7864093d15a.jpg",[400],{"id":9304,"slug":9305,"title":9306,"dynasty":124,"author":44,"museum":355,"description":9307,"tags":9308,"thumbUrl":9309,"material":565,"size":566,"collection":81,"collections":9310,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},235809,"xiao-chen-dong-po-bo-gu-tu-shan-ye-yi-ming-235809","萧晨东坡博古图扇页","画面取文人博古雅集之景，疏密排布贴合扇面形制。案上陈置古器敦朴雅致，主者持卷凝神静思，宾客倾身注目端详，侍童恭立捧物侧旁，各自身姿情态细腻传神。衣纹线条秀劲流畅，设色清雅柔和，晕染自然妥帖，将文人耽于赏珍的闲适意趣铺陈开来，笔墨间尽显沉静高古的雅韵，把文人群雅聚首、摩挲古物的风流雅致刻画入微，是工笔人物小品中的精妙之作。",[7,27,26,109,200,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F978f858e651341842a16760eec9797b4.jpg",[],{"id":9312,"slug":9313,"title":9314,"dynasty":433,"author":3146,"museum":355,"description":5153,"tags":9315,"thumbUrl":9316,"material":565,"size":566,"collection":81,"collections":9317,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},235270,"wen-zheng-ming-shan-shui-shan-ye-wen-zheng-ming-235270","文徵明山水扇页",[24,25,7,185,181,238,305,333,1548,2023,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf4462c3924a5c32075348b714c80d1a.jpg",[],{"id":9319,"slug":9320,"title":9321,"dynasty":433,"author":7866,"museum":355,"description":7867,"tags":9322,"thumbUrl":9323,"material":565,"size":566,"collection":81,"collections":9324,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},234833,"song-xi-dai-du-shan-wei-zhi-ke-234833","松溪待渡扇",[24,7,108,185,181,110,1874,182,109,2767,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F025fddfa334256eac6ef042260ea8a83.jpg",[],{"id":9326,"slug":9327,"title":3541,"dynasty":433,"author":6163,"museum":355,"description":6164,"tags":9328,"thumbUrl":9329,"material":565,"size":566,"collection":81,"collections":9330,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},234711,"shan-shui-shan-wei-zhi-huang-234711",[7,24,108,185,181,1104,333,305,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f7a56bc5709249a5c06448448396f8a.jpg",[],{"id":9332,"slug":9333,"title":4840,"dynasty":433,"author":1166,"museum":355,"description":4557,"tags":9334,"thumbUrl":9335,"material":81,"size":81,"collection":81,"collections":9336,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},234673,"shan-shui-shan-ye-lan-ying-234673",[24,25,7,108,185,181,305,182,238,109,470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3900dc596aa5e27092d92131c0b7be8f.jpg",[],{"id":9338,"slug":9339,"title":9340,"dynasty":433,"author":1166,"museum":355,"description":4557,"tags":9341,"thumbUrl":9342,"material":81,"size":81,"collection":81,"collections":9343,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},234629,"fang-wu-zhen-shan-shui-shan-ye-lan-ying-234629","仿吴镇山水扇页",[24,48,7,181,108,185,1547,182,183,184,238,239,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf73c7eda271481e6185734fa3c895cd.jpg",[],{"id":9345,"slug":9346,"title":9347,"dynasty":124,"author":9348,"museum":355,"description":434,"tags":9349,"thumbUrl":9350,"material":81,"size":81,"collection":81,"collections":9351,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},234610,"xi-hou-qiu-shuang-wan-shan-dai-zhao-chun-234610","溪后秋爽纨扇","戴兆春",[24,25,7,27,181,333,1105,239,182,50,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcdb187bcaee672d3d96a7cbb899d68a.jpg",[],{"id":9353,"slug":9354,"title":4309,"dynasty":433,"author":9355,"museum":355,"description":434,"tags":9356,"thumbUrl":9357,"material":81,"size":81,"collection":81,"collections":9358,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},234543,"shan-shui-ren-wu-shan-xue-heng-234543","薛恒",[48,24,25,7,27,185,181,109,305,238,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023ac82acfab9e807163bedf66f87e34.jpg",[],{"id":9360,"slug":9361,"title":9362,"dynasty":433,"author":7866,"museum":355,"description":9363,"tags":9364,"thumbUrl":9365,"material":81,"size":81,"collection":81,"collections":9366,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},234510,"gu-mu-you-huang-shan-wei-zhi-ke-234510","古木幽篁扇","此图以枯木竹石为题材。画面近处枯树两三株高低偃仰，其旁幽篁散生，溪流宛转，远山隐隐起伏。树法用笔严谨，立干苍迈，出枝繁密，有李、郭遗意，丛竹以墨色分出远近。近处坡石多以方笔线皴，远山参用斧劈皴。画面墨色清逸，气息幽深，颇得萧疏苍茫之趣。",[24,25,7,108,1337,184,280,111,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd633618a97d955bc1ac3a76a3633e224.jpg",[],{"id":9368,"slug":9369,"title":9370,"dynasty":433,"author":7468,"museum":355,"description":7469,"tags":9371,"thumbUrl":9372,"material":81,"size":81,"collection":81,"collections":9373,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},234494,"qiu-lin-gui-ya-shan-ye-wei-xue-lian-234494","秋林归鸦扇页",[24,25,7,108,27,1114,185,360,112,111,50],"https:\u002F\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笔墨柔滑，轮廓细腻，色彩淡雅，但柳枝荷叶的分布缺乏密度变化，不尽如人意。",[24,7,27,26,109,199,858,4090,711,9380,871],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cecd49483a77fc4fd6f91a0589d93a3.jpg","23.2x25cm",[],{"id":9385,"slug":9386,"title":9387,"dynasty":275,"author":1452,"museum":126,"description":9388,"tags":9389,"thumbUrl":9390,"material":1456,"size":9391,"collection":81,"collections":9392,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},232997,"yue-yang-lou-tu-shan-ye-xia-yong-232997","岳阳楼图扇页","画家采用虚实相对的对角线构图，高三层的岳阳楼被安排在画幅的左侧，而于右侧留下一片空白，巨壑空茫，远山一带，取孟浩然“气蒸云梦泽，波撼岳阳城”诗意，整幅笔法秀劲细密，巧妙地把直线、横线、斜线、弧线等各种线条有机地结合，通过轮廓的轻重，线条的疏密，清楚地交代出楼阁远近纵深的层次感和“向背分明”的体积感，比例构造准确合度，飞檐、梁柱、斗拱、围栏等细节描写具体而精致，让观者有几可走进画中之感。舍弃设色而纯用白描的表现手法，使得画面虽千繁万复却不显阻滞拥塞，盈尺之间，明洁素雅，美仑美奂。其精整工细的线描，正可谓“细若蚊睫，侔于鬼工”，这种纯以墨笔白描界画建筑的手法到元代以后已成为绝响，以至于清人李佐贤误以为此图是宋人所为：“《岳阳楼图》，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工……此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。”\n此幅右上以蝇头小楷题写《岳阳楼记》全文，这些题字同样“小如蚁目”、“细若标针”，与其细密的画风相和谐，同时补充了画意，增强了作品的文学性和抒情效果，这也是夏永对中国古代界画发展的一大贡献。",[331,7,108,332,181,131,723,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc087d53b49148d8ef5692355ffa9e186.jpg","纵25.2厘米，横25.8厘米",[],{"id":9394,"slug":9395,"title":9396,"dynasty":433,"author":44,"museum":355,"description":9397,"tags":9398,"thumbUrl":9399,"material":81,"size":81,"collection":81,"collections":9400,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},231360,"hu-die-cao-chong-tu-yi-ming-231360","蝴蝶草虫图","蝴蝶是一种漂亮的小动物，它千姿百态，绚丽缤纷，穿梭于繁花丛中，常被人赋予“虫国佳丽”、“会飞的花朵”、“百花仙子”等美名，更引得历代不少文人墨客为之咏怀。长期以来，历代画家更是把蝴蝶作为重要的创作题材之一，点景于花鸟画中。",[23,24,25,7,26,27,28,79,559,201,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb044f767b5955063e9771401885f8b.jpg",[],{"id":9402,"slug":9403,"title":9404,"dynasty":18,"author":44,"museum":355,"description":9405,"tags":9406,"thumbUrl":9407,"material":565,"size":566,"collection":81,"collections":9408,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},231075,"cai-hua-tu-yi-ming-231075","采花图","此作以小品形制绘就郊野雅游之景。水岸坡坨间，老柳垂荫，清润草木错落点缀，留白写尽浩渺水色，晕染出空寂淡远的氛围感。画面中，士人策杖徐行，小童执花引路，侧旁仆役正攀枝采撷，将文人日常游赏的闲逸雅趣藏于细节里。笔墨简淡秀雅，皴擦轻简便勾勒出坡岸肌理，设色古雅柔和，尽显平和天真的审美意趣，咫尺之间将林下悠游的松弛意韵铺陈开来，淡而有味，余韵悠长。",[743,24,7,27,26,109,333,238,1684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a447cd5bf553072e7e792dafc9ceb20.jpg",[],{"id":9410,"slug":9411,"title":3338,"dynasty":433,"author":9412,"museum":355,"description":9413,"tags":9414,"thumbUrl":9415,"material":565,"size":566,"collection":81,"collections":9416,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},230926,"zhu-shi-tu-feng-ke-shi-230926","冯可实","此作用泥金扇面为底，以写意法绘湖石，皴擦之间尽显朴拙苍劲。石畔新篁疏朗错落，竹叶俯仰欹侧，墨色浓淡层叠，尽显清翠舒展之姿。数只春燕掠飞于竹石之间，为幽寂小景添上灵动生气。左侧题以行书，笔致率意洒脱，与画面浑然相融，书画合璧尽显文人雅趣。整幅笔墨简逸随性，以寥寥笔意勾勒出林泉闲居的幽澹意境，将尘外闲思寄于尺幅扇面之中，尽显写意小品的雅致情致。",[24,25,7,108,280,361,131,50,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1485b46c8b893c3699de9f0da56a44.jpg",[],{"id":9418,"slug":9419,"title":9420,"dynasty":433,"author":3146,"museum":355,"description":5153,"tags":9421,"thumbUrl":9422,"material":565,"size":566,"collection":81,"collections":9423,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},228877,"shan-shui-shi-hua-ye-wen-zheng-ming-228877","山水诗画页",[23,7,24,25,185,27,181,333,238,690,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da512d12092ad5a4bca1271cc317131.jpg",[],{"id":9425,"slug":9426,"title":9427,"dynasty":18,"author":44,"museum":355,"description":9428,"tags":9429,"thumbUrl":9433,"material":81,"size":81,"collection":81,"collections":9434,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},227932,"xue-ting-shui-qin-tu-yi-ming-227932","雪汀水禽图","此作以淡墨晕染萧寒冬境，水岸枯木虬曲苍劲，瘦削枝桠凌冽舒展，数只禽鸟缩羽栖息枝头，将冬日瑟缩畏寒之态尽显。右上一双水禽振翅掠空，破静谧成动静相生之趣。\n画家以留白晕染暗喻薄雪覆汀，设色简淡清润，笔触凝练细腻，枯枝的苍古、水禽灵动神态皆跃然绢上。尺幅之间铺陈出荒寒清远的意趣，尽显冬日郊野空寂冷逸，将冬汀荒萧寒疏之美藏于方寸，余韵悠悠。",[23,24,48,7,26,108,27,493,112,9430,9431,111,9432,320,251],"水禽","雪地","汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878f36345b633ba5b5cac846f19743b3.jpg",[],{"id":9436,"slug":9437,"title":9438,"dynasty":18,"author":44,"museum":355,"description":9439,"tags":9440,"thumbUrl":9444,"material":81,"size":81,"collection":81,"collections":9445,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},227909,"zhu-lin-bo-ruan-tu-ye-yi-ming-227909","竹林拨阮图页","《古代佚名画鉴赏大系·人物篇》是2年西苑出版社出版的图书，作者是杨宪金。\n佚名画与署名的作品，从绘画艺术上讲，是没有两样的。\n但在传世过程中，却有着不同的遭遇，历代收藏家与画史主要关注有名的作品，尤其是大家的作品，而对佚名画往往不屑一顾。\n因此，在这种境遇下，大量的古代佚名画在流传过程中消失了。\n这种情况一直延续到了明代，才逐渐引起收藏家们的注意，大收藏家项子京就对佚名画的著录、流传做了很大的贡献…… 春庭行乐图 眼药酸图 人物故事图 寒林策蹇图 竹林拨阮图 蚕织图 蚕织图 蚕织图 蚕织图 女孝经图 女孝经图 女孝经图 女孝经图 千秋绝艳图 千秋绝艳图 牧马图 望贤迎驾图 蕉石戏婴图 蕉荫击球图 槐荫击球图 杂剧图 雍正妃行乐图之二 雍正妃行乐图之六 溪堂客话图",[23,48,24,25,7,26,27,109,1059,293,333,9441,2325,9442,844,9443],"宋代风格","人物活动","古典技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c0aeb9c6b9df7aa3c1f6768dc7d653.jpg",[],{"id":9447,"slug":9448,"title":9449,"dynasty":18,"author":44,"museum":355,"description":9450,"tags":9451,"thumbUrl":9452,"material":81,"size":81,"collection":81,"collections":9453,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},227890,"fan-zhou-liu-tang-tu-yi-ming-227890","泛舟柳塘图","此作用淡墨轻岚织就江南暮色小景，边角取景尽显留白意趣。右下角垂柳清润柔婉，枝叶婆娑，将视线牵向烟水间。汀洲水藻以细笔轻点数染，鲜活铺展出泽国清寂。扁舟横波，舟中二人情态悠然，寥寥数笔便勾勒出萧散野趣，似将水乡闲逸尽数揉入清波。\n全画色调苍雅古淡，借绢底晕染出薄暮烟霭，远山仅以一抹淡墨虚绘天际，不着笔皴，晕开江天寥廓的空茫意境。全作以简驭繁，无过多刻画，将江南日暮的静谧安闲，与文人幽隐林下之思相融，尽显宋人坐赏泉壑的清雅意趣。",[48,24,25,7,27,26,528,9380,691,333,181,182,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7e5d872f2a4b41216ba1cf8d91129f.jpg",[],{"id":9455,"slug":9456,"title":9457,"dynasty":18,"author":44,"museum":355,"description":9458,"tags":9459,"thumbUrl":9465,"material":81,"size":81,"collection":81,"collections":9466,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},227886,"shui-cun-yan-ai-tu-yi-ming-227886","水村烟霭图","这幅小品以淡墨晕染出烟霭笼罩的水村晨色，浅赭铺陈的远山隐在氤氲雾气里，和浩渺水面晕融成一片空濛。近岸松林错落，茅舍悄然栖于林下，仿佛还浸在拂晓的湿意中。\n\n画家以极简的笔触轻皴淡染，留白处皆是流动的水雾，将江南水乡的清寂温柔晕开。没有繁复勾勒，只借墨色浓淡铺就幽远意境，似将水村清晨的恬然凝在绢素之上，仿佛能闻见湿润的水汽，静听水波轻漾，尽显山水简淡清远的意趣，将人拉入这安谧空阔的悠然之中。",[23,48,24,7,108,27,181,9460,4444,9461,9462,114,9463,9464,185],"松林","水乡","水雾","安谧","清远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b44eb01cfd8f0d4d2d18c15bf08eed.jpg",[],{"id":9468,"slug":9469,"title":8943,"dynasty":18,"author":44,"museum":355,"description":9470,"tags":9471,"thumbUrl":9472,"material":81,"size":81,"collection":81,"collections":9473,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},227853,"shan-shui-ren-wu-tu-yi-ming-227853","此作为典型的宋人山水小品，以圆框取景，将江南烟岚山居收于尺幅间。远景山峦以淡墨轻晕，隐没在濛濛雾气之中，虚实相生间晕染出空濛悠远的暮色秋意。近景林木苍郁，墨色干湿互用，枝叶攒簇尽显山野生机，几椽村舍错落藏于树荫之下，石阶板桥隐约勾连，似有山民往来其中，暗合着幽居林泉的隐逸意趣。\n\n整幅画作以简淡笔墨写尽江南乡野的静谧闲雅，无繁复刻画，却将烟雨空蒙的氛围感烘托至极，带着宋画独有的平淡天真，引人踏入这方避世山乡，静享林泉间松弛的意韵。",[23,24,25,7,27,181,109,333,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05371d2fa860c6b3af216ce13990958.jpg",[],{"id":9475,"slug":9476,"title":5525,"dynasty":18,"author":5526,"museum":355,"description":9477,"tags":9478,"thumbUrl":9479,"material":81,"size":81,"collection":81,"collections":9480,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},227808,"cao-tang-ke-hua-tu-he-quan-227808","此作以淡墨晕染山石林木，晕开江南山野湿润清寂的氛围。临水草堂轩窗通透，堂内陈设隐约可见，屋外二人缓步闲话，将幽居雅会的闲淡意趣铺展开来。笔墨苍秀简逸，屋舍界画工致灵动，林木点染生机自现，以尺幅之境铺陈林泉高致的隐逸情怀，尽显宋人小品山水以小见大的妙处，将士人幽栖林下、寄情丘壑的心境藏于皴染点画之中，淡而有味，雅意悠长。",[23,24,25,7,27,181,332,548,239,109,113,333,238,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9398f267cba5d2aa93e5525aecdb351.jpg",[],{"id":9482,"slug":9483,"title":1131,"dynasty":18,"author":44,"museum":355,"description":9484,"tags":9485,"thumbUrl":9486,"material":81,"size":81,"collection":81,"collections":9487,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},227376,"yuan-hou-zhai-guo-tu-yi-ming-227376","《宋人画猿猴摘果图》是宋代佚名创作的一幅扇面画。\n此图绘深山野林中，三只 攀援栖止于树枝上。\n其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。\n作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。\n图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。\n深秋季节只猿猴攀援于树枝上嬉戏摘果的情景。\n猿猴和景物都集中在画的右半边，为典型的南宋画构图方式。\n猿猴神情毕肖，尤其是茸毛的绘制极为细致严谨。\n树叶用勾勒填色法，色彩并未完全填满，显得自然随意。\n黑白色对比使画面更具动感，红色的小果实在整幅画面中十分醒目。\n深山野林中，黑白二色的三只猿猴攀援栖止于树枝上。\n其中两猿相互逗趣，另一猿右臂抓着树枝，左臂摘取红果，其贪婪、欣喜之态刻画得形神兼僃。\n点景中枯黄的树页、红色的果实，以及丛生的小草和细竹，不仅打破了山石的呆板，而且渲染了秋天萧瑟的气氛，从而增添画面的自然之趣。\n画面钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍藏」、「安国珍玩」等印多方。\n对幅有清代著名收藏家耿昭忠题记，此图曾经沐璘、耿昭忠、安岐收藏。\n《石渠宝笈》著录。",[48,24,25,7,27,362,1134,360,169,1135,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a544e331d094ac541c1cff0a7db7c25.jpg",[],{"id":9489,"slug":9490,"title":4733,"dynasty":18,"author":44,"museum":355,"description":9491,"tags":9492,"thumbUrl":9493,"material":81,"size":81,"collection":81,"collections":9494,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":57},227357,"chun-guang-xian-dao-tu-yi-ming-227357","中国种植水仙始于唐末五代，\n\n《北户录》中记有花间派词人孙光宪\n\n寄居江陵（湖北荆州）期间，\n\n曾有波斯人送他数本水仙。\n\n孙光宪大概就是中国种植水仙第一人。\n\n此后，\n\n江南一带广泛种植，文人骚客甚爱之。",[48,24,25,7,26,27,28,2306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c0a447bc7811861b5899d7267215dd3.jpg",[],{"id":9496,"slug":9497,"title":9498,"dynasty":433,"author":1267,"museum":20,"description":5991,"tags":9499,"thumbUrl":9500,"material":397,"size":9501,"collection":81,"collections":9502,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":1220},222342,"hua-kan-shan-tu-bing-zi-shu-qi-yan-jue-ju-cheng-shan-tang-yin-222342","画看山图并自书七言绝句成扇",[24,25,7,108,185,27,181,1104,360,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08762db3758031108dc836b87e1b6d4d.jpg","31.7x49.5",[],{"id":9504,"slug":9505,"title":6599,"dynasty":433,"author":3146,"museum":126,"description":9506,"tags":9507,"thumbUrl":9508,"material":459,"size":9509,"collection":81,"collections":9510,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},221949,"shu-shan-ye-wen-zheng-ming-221949","释文：\n久客念当归，何待秋风生。黄花有佳色，青山无俗情。是间有真乐，悠悠空令名。\n履道心神融，驰劳情意凿。是非两悠悠，大梦谁当觉。陶翁终已久，畴须问今昨。\n款署：“旧作二首，闲录一过，戊戌八月晦日，徵明”。印“文徵明印”白方、“徵仲”朱方。\n此书录文徵明自作诗《归来堂》和《今是亭》两首，载《文氏五家集》卷一，时年六十九岁。文徵明这段时间的草书作品较多，而到了晚年几乎就见不到了。此扇面笔势曲屈环绕，线条清瘦明朗，跌宕起伏富有节奏，虽为狂草，然有规有矩，绝无草率之笔，有张旭、怀素草书的意味。",[23,7,131,723,1228,108,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed66673af90293bf58665b319efca62.jpg","纵18.1厘米，横53厘米",[],{"id":9512,"slug":9513,"title":9514,"dynasty":275,"author":9515,"museum":20,"description":9516,"tags":9517,"thumbUrl":9519,"material":32,"size":81,"collection":81,"collections":9520,"showCount":56,"zanCount":38,"manualWeight":38,"mainColor":39},218777,"xiao-yan-ping-chu-tu-guo-bi-218777","晓烟平楚图","郭畀","晓烟似纱轻笼平楚，远山如黛隐于云霭间。近树苍劲，枝桠虬曲，墨色浓淡见生机；平林疏朗，与朦胧水面相映，添几分空濛。笔墨简淡却意韵悠长，似将秋日清晨的宁静悠远凝于团扇。无需浓墨重彩，仅以线条与墨色层次，勾勒心中丘壑，传递淡然超脱的心境。文人画的雅致在此尽显，每一处留白皆藏余味，引人步入那清寂悠远的画中世界。",[23,24,7,108,181,7758,9518,333,690],"平野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0696d33e0484f97de4ee47f03417e25c.jpg",[],{"id":9522,"slug":9523,"title":9524,"dynasty":18,"author":44,"museum":355,"description":9525,"tags":9526,"thumbUrl":9528,"material":565,"size":566,"collection":81,"collections":9529,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},290776,"han-gong-chun-xiao-yi-ming-290776","汉宫春晓","松荫蓊郁如云盖，轻烟柔笼丘峦。林间文士雅聚，或围坐清谈，或信步寻幽，江岸汀洲扁舟静泊，似待归人。整画笔致温婉细腻，设色古雅沉静，将雅逸出尘的林下之趣晕染开来，把烟霞林泉间的出世闲情，凝缩在尺幅团扇中，尽显宋人追慕林泉高致、不沾尘俗的隐逸襟怀。",[24,25,7,27,181,109,305,9527,131,1444],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6572d163c768fb5c26f4919bfb08caa0.jpg",[],{"id":9531,"slug":9532,"title":9533,"dynasty":124,"author":1304,"museum":355,"description":1305,"tags":9534,"thumbUrl":9535,"material":565,"size":566,"collection":81,"collections":9536,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":1220},290210,"shan-mian-b-wu-chang-shuo-290210","扇面B",[7,131,7743,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9a55d4d4b38890d963002689c1df6d.jpg",[],{"id":9538,"slug":9539,"title":9540,"dynasty":18,"author":44,"museum":355,"description":9541,"tags":9542,"thumbUrl":9543,"material":565,"size":566,"collection":81,"collections":9544,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":57},290104,"yu-le-tu-yi-ming-290104","渔乐图","此作为宋代小景山水小品，取半边虚实构图。右上苍松虬曲斜探，笔墨苍润，晕染出烟霭空蒙的远渚平汀，轻描出江天寥廓的清寂底色。下方渔舟为画面重心，舟中人物或围坐清谈，或俯身料理渔事，情态松弛自在，将渔家日常的闲逸野趣静静铺展。\n\n全作用色浅淡古雅，留白恰到好处，以尺幅之小铺陈出悠远无尽的诗意，把渔者寄情江湖的隐世意趣融在烟水之间，尽显宋代山水小品以小见大的造境精妙。",[23,7,24,48,108,181,470,182,305,109,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0c679b034480aa30bffcc9ac9df862.jpg",[],{"id":9546,"slug":9547,"title":9548,"dynasty":18,"author":44,"museum":355,"description":1669,"tags":9549,"thumbUrl":9551,"material":565,"size":566,"collection":81,"collections":9552,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":57},289597,"xue-zhong-hang-lv-tu-yi-ming-289597","雪中行旅图",[7,24,108,251,181,493,238,1434,9550,2044,185],"马匹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b1606270dffa4f04850e1d766dc7175.jpg",[],{"id":9554,"slug":9555,"title":9556,"d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青州市），出身官宦之家，父亲赵僖官至礼部右侍郎。\n赵秉忠十五岁补府学生。万历二十六年（1598年）殿试一甲第一名进士（状元）。授翰林院修撰。历任侍读学士、礼部侍郎，官至礼部尚书。熹宗天启二年（1622年）被黄尊素弹劾去职。天启六年（1626年）去世。思宗崇祯三年（1630年）追复原官，赠太子太保，赐祭葬。",[7,25,131,723,1228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e80c8d264cb658ee7f296f38172643d.jpg",[],{"id":9627,"slug":9628,"title":9629,"dynasty":124,"author":9630,"museum":355,"description":9631,"tags":9632,"thumbUrl":9633,"material":565,"size":566,"collection":81,"collections":9634,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},240699,"wu-lv-shi-shan-mian-zheng-ban-qiao-240699","五律诗扇面","郑板桥","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[606,7,131,723,108,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d48e2c8b39e6a66e3ff0d263c728726.jpg",[],{"id":9636,"slug":9637,"title":9638,"dynasty":124,"author":3157,"museum":355,"description":5084,"tags":9639,"thumbUrl":9640,"material":565,"size":566,"collection":81,"collections":9641,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},240171,"jie-lu-ye-meng-de-shi-lin-yan-yu-wan-shan-zhao-zhi-qian-240171","节录叶梦得石林燕语纨扇",[7,131,723,108,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F542f1c659dc5ad5e75f5d8dd9060daba.jpg",[],{"id":9643,"slug":9644,"title":9645,"dynasty":433,"author":9646,"museum":355,"description":9647,"tags":9648,"thumbUrl":9649,"material":565,"size":566,"collection":81,"collections":9650,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},239681,"huo-li-bing-shi-shan-mian-zhang-bi-239681","火里冰诗扇面","张弼","张弼（1425～1487）字汝弼，家近东海，故号东海，晚称东海翁。松江府华亭县（今上海奉贤青村）人 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绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[24,7,27,185,181,360,2767,238,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7cd2f464622e9175f7f283010efb0f.jpg",[],{"id":9909,"slug":9910,"title":9911,"dynasty":124,"author":7161,"museum":355,"description":7162,"tags":9912,"thumbUrl":9913,"material":459,"size":81,"collection":81,"collections":9914,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},232681,"si-yan-shi-shan-mian-hong-yi-fa-shi-232681","四言诗扇面",[7,25,131,723,50,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2096a8250d6b8c5c2abd663a75bd0a7e.jpg",[],{"id":9916,"slug":9917,"title":9918,"dynasty":124,"author":3801,"museum":355,"description":9919,"tags":9920,"thumbUrl":9924,"material":565,"size":566,"collection":81,"collections":9925,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},231058,"sai-shang-ye-qu-tu-jiao-bing-zhen-231058","塞上野趣图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。",[23,24,25,7,27,26,181,9921,112,9922,9923],"野草","边塞","野趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708c9c2f236532c6f6469d779a3c6473.jpg",[],{"id":9927,"slug":9928,"title":9929,"dynasty":124,"author":9930,"museum":355,"description":9931,"tags":9932,"thumbUrl":9934,"material":565,"size":566,"collection":81,"collections":9935,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},230878,"zhong-jin-shi-song-mei-tu-shan-mian-sun-ji-rui-230878","钟进士送妹图扇面","孙基瑞","此作以浅淡设色铺陈场景，钟馗虬髯横剑，威严沉稳，妹妹安坐驴背，温婉静和，仆役肩挑酒食随行。淡墨晕染出郊野平坡枯木，清寂氛围感十足。线条简练挺劲，将人物神态刻画入微，刚柔反差鲜明，钟馗的凛然与小妹的柔媚相互映衬，细节生动鲜活。设色淡雅秀润，笔墨兼具写意与工致，将民间送妹传说，绘就出灵动古雅的意趣，是极具韵味的仕人小品，尽显传统人物画的雅致情致。",[7,24,25,27,422,109,493,606,9933],"人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eaa85281443b028d59b1239b5802ee2.jpg",[],{"id":9937,"slug":9938,"title":7,"dynasty":124,"author":9939,"museum":355,"description":9940,"tags":9941,"thumbUrl":9942,"material":81,"size":81,"collection":81,"collections":9943,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},230165,"shan-mian-lin-xing-230165","林行","此作用淡赭晕染山峦，以短披麻皴勾勒山石肌理，厚重朴拙间见温润质感。留白作溪云环萦，虚实相映，让山水生出空濛灵秀之态。\n左侧板桥之上，三两策杖行人徐行，为幽寂山水添上鲜活烟火气；右侧竹篁深秀间茅舍隐现，暗合山居幽栖之趣。\n笔墨舒缓柔和，不见剑拔弩张的锋芒，将江南林麓的清寂安闲铺展开来，动静相融间，把文人心中林下幽居的悠然诗意，藏在淡墨轻岚之中。",[24,25,7,108,185,181,1104,361,360,280,548,239,3570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e978dfc087b2b735d0da2f091cf4fad.jpg",[],{"id":9945,"slug":9946,"title":9016,"dynasty":18,"author":44,"museum":355,"description":9947,"tags":9948,"thumbUrl":9949,"material":81,"size":81,"collection":81,"collections":9950,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":57},227900,"tian-long-mu-niu-tu-yi-ming-227900","这幅小品以俯瞰视角铺展江南野趣，淡赭晕染出水天底色，澄澈河道切分绿野，田埂如柔织的细带，圈出片片新嫩秧田。右岸垂柳荫浓，水墨晕染出翠条拂水的柔态，树底茅舍隐现，晕淡朦胧，藏起村居日常的烟火气。田埂之上，牧者徐行，牛犊垂首啮草，意态安闲。\n\n全画笔致秀润清和，无繁缛刻画，只以极简构图晕染出初夏江南的恬谧，将耕牧闲散的乡居意趣藏于尺幅之间，把宋人浸在日常里的诗意悉数铺展，淡而有味，尽显小品画的雅致隽永。",[48,24,25,7,27,185,181,9019,1093,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e51707131104a62630a3a9f39e1b758.jpg",[],{"id":9952,"slug":9953,"title":9954,"dynasty":18,"author":44,"museum":355,"description":9955,"tags":9956,"thumbUrl":9959,"material":81,"size":81,"collection":81,"collections":9960,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},227866,"wan-he-guo-suo-tu-yi-ming-227866","晚荷郭索图","《宋扇面画晚荷郭索图》是宋代画家佚名创作一幅绢本设色画。\n此画现藏于北京 。\n此图原载《烟云集绘册》（《石渠宝笈续编》著录）。\n无款，签题黄居寀作。\n居寀为筌子。\n《圣朝名画评》云：黄居寀亦善画花竹毛羽，多与筌共为之，其气骨意思，深有父风。\n孟昶时，画四时花雀图数本，当世称绝。\n评曰：居寀之画鹤，多得筌骨。\n其有佳处，亦不能决其高下。\n至于花竹禽雀，皆不失筌法。\n对开有清乾隆皇帝御题诗一首：“从来螯蛫善横行，稻熟秋风意气生。\n甲介向称无所畏，如何每入膳人烹。\n”钤“古稀天子”、“八徵耄念之宝”、“ ”等玺印多方。\n本幅无款。\n钤鉴藏印“金陵□□□□”。\n曾经清内府收藏，《石渠宝笈续编》著录。\n图中一只硕大的 张牙舞爪踞于残荷之上，肥重的身躯竟将荷梗压断。\n衬以苍老的莲蓬、枯黄的 、稀疏的 ，更增添了萧瑟冷寂的气氛。\n荷叶和莲蓬用粗笔勾描，蟹用细笔写之，笔法粗犷写实，设色鲜艳浓重。\n无名氏。\n旧签题 “黄居寀”作，究其画风，与 相距甚远，故改为无名氏画。",[23,24,25,743,940,7,108,27,436,1368,9957,9958,723,50],"莲蓬","螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4b3faac025682ff468de9c8c866068.jpg",[],{"id":9962,"slug":9963,"title":9964,"dynasty":18,"author":44,"museum":355,"description":9965,"tags":9966,"thumbUrl":9967,"material":81,"size":81,"collection":81,"collections":9968,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":788},227855,"shan-yao-lou-guan-tu-ye-yi-ming-227855","山腰楼观图页","此作以水墨绘危峰陡立，云雾如纱空蒙，将山体半隐，仅留山腰楼宇静踞林麓。以斧劈皴利落勾勒山石筋骨，墨色由浓转淡晕染烟岚，虚实相生衬出幽谷空寂幽深。\n\n咫尺扇面以少胜多，尽显简淡空灵意趣，将林泉高致藏在淡墨轻岚间。题诗与画境呼应，把寻仙慕隐的出世之思融于山水，淡远清逸，观之如临其境，似可凭栏观山、静听穿林风声，幽远超脱的山居雅境跃然绢上。",[23,24,25,7,181,332,238,333,331,185,27,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F274facbfdb6c3c7e5bdce52d2bca3976.jpg",[],{"id":9970,"slug":9971,"title":9972,"dynasty":18,"author":44,"museum":355,"description":9973,"tags":9974,"thumbUrl":9975,"material":81,"size":81,"collection":81,"collections":9976,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":57},227836,"wu-yun-lou-ge-tu-ye-yi-ming-227836","五云楼阁图页","此作以淡墨晕染铺就空濛底色，危峰如削，拔地耸峙，尽显山石嶙峋硬朗。山脚苍松错落，林麓间野路蜿蜒隐现，以边角取景营造出幽远无际的山野氛围，水墨皴擦勾勒出峭拔山势，将烟霞缥缈的世外秘境晕染得清冷出尘。\n对页题诗与画境相融，笔墨间浸透文人幽居林泉的雅趣，简淡构图里藏着辽远的天地气象，尽显宋人对山水意境的极致追寻，静穆间带着出世的空灵韵味。",[23,48,24,25,372,7,27,723,185,331,181,332,8881,333,1197,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea704ebcc05fe27f9924065ef24fb0e.jpg",[],{"id":9978,"slug":9979,"title":9980,"dynasty":18,"author":44,"museum":355,"description":9981,"tags":9982,"thumbUrl":9983,"material":81,"size":81,"collection":81,"collections":9984,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},227346,"ming-liu-ji-zao-ce-shi-er-zhen-yi-ming-227346","名流集藻册十二帧","此《宋名流集藻册》为“蝴蝶装”形制，共十二帧。每帧有清乾隆皇帝的御笔题诗，与画意相对应，抒其感悟和评论，画页裱边的上端附有题签。依照《石渠宝笈续编》著录的顺序是，一开“燕文贵，纳凉观瀑”；二开“赵伯骕，碧山绀宇”；三开“萧照，丹林诗思”；四开“李迪，鸡雏待饲”；五开“苏汉臣，蕉阴击球”；六开“李迪，无花果图”；七开“刘松年，山馆读书”；八开“梁楷，三高游赏”；九开“梁楷，秋柳双鸦”，十开“陈宗训，秋庭戏婴”；十一开“鲁宗贵，玲峰鹁鸽”；十二开“陈可久，春溪水族”。\n\n“蝴蝶装”书籍装帧形式之一。始于唐末,盛行于北宋。其装订方法是将每页从中缝把有文字的两个半页对折,背面空白处在外,然后把这样对折的一叠散页用一张纸从前包到后面,并将各页折口处牢牢地粘连在这张纸上,以免脱落,这样就形成了蝴蝶装的书。其所以得名,是因为书册打开后左右对称,犹如蝴蝶展开双翅,因而称为“蝴蝶装”,或“蝶装”。",[23,24,25,940,7,108,27,26,181,113,608,333,109,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca49fdb98c3f08c2121cc90ba0a38f2.jpg",[],{"id":9986,"slug":9987,"title":9988,"dynasty":18,"author":9989,"museum":355,"description":9990,"tags":9991,"thumbUrl":9992,"material":81,"size":81,"collection":81,"collections":9993,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":788},227297,"shu-guang-zong-ti-yang-bu-zhi-hong-mei-tu-shi-li-zong-227297","书光宗题杨补之红梅图诗","理宗","宋理宗赵昀（1205年1月26日－1264年11月16日），初名赵与莒，后改名赵贵诚，绍兴府山阴县（今浙江绍兴）人，宋朝第十四位皇帝（1224年9月17日—1264年11月16日在位），南宋第五位皇帝。宋太祖赵匡胤十世孙，赵德昭九世孙。 [1-2]\n嘉定十五年（1222年），被立为宋宁宗弟沂王嗣子，赐名贵诚。嘉定十七年（1224年），立为宁宗皇子，赐名昀。 [3] 宋宁宗死后，赵昀被权臣史弥远拥立为帝。赵昀继位的前十年都是在权相史弥远挟制之下，自己对政务完全不过问，自己则尊崇理学，纵情声色，直到绍定六年（1233年），史弥远死后，赵昀才开始亲政。他亲政之初立志中兴，采取罢黜史党、亲擢台谏、澄清吏治、整顿财政等改革措施，史称“端平更化”。端平元年（1234年），派兵联蒙灭金。同年出兵收复三京，但以失败告终，次年（1235年）蒙古大汗窝阔台以宋朝背约为由，全面侵宋，持续四十多年的宋蒙战争爆发。晚年赵昀又沉湎于醉生梦死的荒淫生活中，朝政相继落入丁大全、贾似道等奸相之手，国势急衰。\n景定五年（1264年），赵昀在临安去世，在位四十一年，仅次于仁宗，享年六十岁。谥号建道备德大功复兴烈文仁武圣明安孝皇帝，庙号理宗。葬于永穆陵",[23,24,25,7,723,50,265,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ab459a45ebc90b3709cbd648351953.jpg",[],{"id":9995,"slug":9996,"title":9997,"dynasty":124,"author":9998,"museum":355,"description":9999,"tags":10000,"thumbUrl":10001,"material":81,"size":81,"collection":81,"collections":10002,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},224155,"hua-shan-mei-hua-ce-zhang-zhao-224155","画扇梅花册","张照","上幅行书圆劲秀逸，笔墨温润舒展，词句咏梅寄怀，文思与笔意相得益彰，自带清雅书卷气。下幅墨梅以淡墨写枝，浓墨点花，清瘦枝桠错落舒展，寒梅数朵绰约含香，不着艳色却尽得冰清之姿。留白空寂悠远，尽显文人画以意取胜的韵致。\n\n双扇合璧，书画相映，将爱梅赏梅的雅趣融于尺幅之间，以简约笔墨勾勒花木品格，暗合文人心性，尽显冲淡闲和的林下之风，是意趣隽永的文人抒情小品。",[23,24,25,7,940,265,131,723,50,108,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdda413448615adeaf8857bb9601f5a07.jpg",[],{"id":10004,"slug":10005,"title":10006,"dynasty":433,"author":44,"museum":467,"description":10007,"tags":10008,"thumbUrl":10009,"material":829,"size":1813,"collection":81,"collections":10010,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":57},223574,"mu-yang-tu-yi-ming-223574","牧羊图","绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼。",[23,24,7,27,109,1809,360,447,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d76828bbf7925e25c75ff00155b1967.jpg",[],{"id":10012,"slug":10013,"title":10014,"dynasty":433,"author":44,"museum":20,"description":10015,"tags":10016,"thumbUrl":10017,"material":829,"size":10018,"collection":81,"collections":10019,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},223392,"ping-hu-xue-ji-yi-ming-223392","平湖雪霁","此水墨小品以暗绢托出雪意清寒。近岸枯木寒枝错落斜欹，茅舍隐于林渚间，三两渔舟泊在冰封浅滩，天地间凝着凛凛寒意。远景以淡墨轻晕远峦寒雾，留白作漫天寒雪，虚实相生间晕开空濛冷寂。\n\n未用浓墨重彩，仅以极简笔墨铺陈湖山冬日疏旷萧寒。霜风仿佛正掠过镜面平湖，冷意顺着绢面漫开，将江天雪后的岑寂澹远藏进方寸画幅，把追慕幽寂山水的雅趣融在素淡墨色里，叫人坠入这万籁俱静的清寒意境中。",[24,7,108,181,251,9211,360,872,25,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e5b81a7081e638b4129936f8fc4768.jpg","38.9x81",[],{"id":10021,"slug":10022,"title":6599,"dynasty":433,"author":10023,"museum":355,"description":10024,"tags":10025,"thumbUrl":10026,"material":81,"size":10027,"collection":81,"collections":10028,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},222246,"shu-shan-ye-wang-chong-222246","王宠","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。\n王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。\n青年时代苦读书20年，建越溪庄，设有“采芝堂”、“御风亭”、“小隐阁”、“大雅堂“、“辛夷馆”、“铁观斋”等收藏书画之所，读书练字、作画于湖上，后以诸生入国子监。藏书颇多，于书无所不窥，手写经书皆一再过。滂喜斋藏宋刻《云斋广录》有“王履吉印”、“铁观斋”朱记。又宋刻《东观余论》、元本《扬子法言》印有“雅宜山人珍藏图籍”、“古吴王氏”“王履吉印”“王宠履吉”“太原王宠”“玄微子”“辛夷馆印”“王宠”“雅宜山人”“履吉父”等。",[23,7,723,131,433,108,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F041c00af70a1617f37fc92d5b937f0c4.jpg","19×54cm",[],{"id":10030,"slug":10031,"title":10032,"dynasty":433,"author":7680,"museum":355,"description":10033,"tags":10034,"thumbUrl":10035,"material":81,"size":81,"collection":81,"collections":10036,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},222054,"shan-mian-1-zhang-rui-tu-222054","扇面1","张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。",[23,1228,7,131,723,6603,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f405422bf0a2191c422398e2a1b935f.jpg",[],{"id":10038,"slug":10039,"title":10040,"dynasty":433,"author":1225,"museum":45,"description":5720,"tags":10041,"thumbUrl":10042,"material":32,"size":5724,"collection":81,"collections":10043,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":57},219765,"lin-song-ren-hua-ce-13-chou-ying-219765","临宋人画册-13",[24,25,940,7,1547,27,109,1433,331,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F462b99ebafe1a8fc7b0a0a8893b005c2.jpg",[],{"id":10045,"slug":10046,"title":10047,"dynasty":433,"author":10048,"museum":10049,"description":10050,"tags":10051,"thumbUrl":10052,"material":530,"size":81,"collection":81,"collections":10053,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":39},218489,"ri-ben-gao-xian-ren-tu-zhuo-zong-deng-yang-218489","日本· 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），生于孝宗藩邸。绍兴二十年（1150年），赐名赵惇，授右监门卫率府副率，转荣州刺史。宋孝宗即位后，拜镇洮军节度使、开府仪同三司，封恭王。乾道七年（1171年）立为皇太子。淳熙十六年（1189年），受宋孝宗禅位，登基为帝，改元绍熙。绍熙五年（1194年）禅位于次子赵扩，成为太上皇，史称“绍熙内禅”。\n庆元六年八月辛卯日（1200年9月17日），驾崩于寿康宫，享年五十四岁，谥号宪仁圣哲慈孝皇帝，庙号光宗，葬于永崇陵。嘉泰三年（1203年），加谥号为循道宪仁明功茂德温文顺武圣哲慈孝皇帝。\n赵惇继位之初，确有革故鼎新之意，能听取臣下谏言，也裁汰了一些不肖者。但他“宫闱妒悍”，惧内心理严重，以致后期荒废朝政；又听信谗言疏离太上皇赵昚，引起南宋的政治危机。赵惇在位五年，“乾淳之治”的成果渐消，南宋开始由盛转衰。",[7,131,1444,10130,50],"对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06fc23a564439189d39ab20cb50f3c6e.jpg",[],{"id":10134,"slug":10135,"title":10136,"dynasty":18,"author":44,"museum":355,"description":1669,"tags":10137,"thumbUrl":10138,"material":565,"size":566,"collection":81,"collections":10139,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":57},289598,"shui-xie-hua-xuan-tu-yi-ming-289598","水榭花轩图",[48,24,7,331,27,181,305,113,332,10099,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0544a4c9562a309cdb32d04dd35347a0.jpg",[],{"id":10141,"slug":10142,"title":10143,"dynasty":433,"author":763,"museum":355,"description":764,"tags":10144,"thumbUrl":10145,"material":565,"size":566,"collection":81,"collections":10146,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},288047,"wu-yan-lv-shi-shan-mian-chen-chun-288047","五言律诗扇面",[7,131,6603,24,25,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e7cf9a8a7c1f48fd65267ce4178706a.jpg",[],{"id":10148,"slug":10149,"title":10150,"dynasty":433,"author":3791,"museum":355,"description":3792,"tags":10151,"thumbUrl":10153,"material":565,"size":566,"collection":81,"collections":10154,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},288017,"zhu-yuan-feng-seng-tu-wen-jia-288017","竹院逢僧图",[23,7,24,25,181,280,113,493,238,548,10152,27],"僧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f7ea4709b9ab5e7b53c43d75a7ab9c3.jpg",[],{"id":10156,"slug":10157,"title":10158,"dynasty":433,"author":10159,"museum":355,"description":10160,"tags":10161,"thumbUrl":10163,"material":565,"size":566,"collection":81,"collections":10164,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},288015,"qiu-yu-wu-lv-shi-shan-mian-wen-peng-288015","秋雨五律诗扇面","文彭","文彭（1498年—1573年），字寿承，号三桥，别号渔阳子、三桥居士、国子先生，南直隶苏州府长洲（今江苏苏州）人。文徵明长子。\n以明经廷试第一，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。",[7,131,6603,50,10162],"秋雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff98ca9db7d101c21bae46736bc0b014f.jpg",[],{"id":10166,"slug":10167,"title":10168,"dynasty":433,"author":1384,"museum":355,"description":10169,"tags":10170,"thumbUrl":10171,"material":565,"size":566,"collection":81,"collections":10172,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},287680,"wei-han-wen-shi-shen-zhou-287680","为汉文诗","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 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e-tu-shan-ye-yang-da-zhang-236304","渔乐图扇页","杨大章","杨大章（生卒年不详）清代画家。",[7,26,27,181,109,10411,333,470],"渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6550dd05bbe42c4348a9bd007ebd7e46.jpg",[],{"id":10415,"slug":10416,"title":10417,"dynasty":433,"author":10418,"museum":355,"description":10419,"tags":10420,"thumbUrl":10421,"material":565,"size":566,"collection":81,"collections":10422,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":57},236300,"liu-xi-gao-shi-shan-zhang-qi-236300","柳溪高士扇","张奇","张奇，[清]字正甫，江都（今江苏扬州）人。\n山水得巨然法，云峰石迹，混漾多姿。亦擅人物、花草。兼工篆、籀印章。",[24,7,108,27,181,109,858,1874,238,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3a999a2c2c27bfa2e28e8a5b6afe41.jpg",[],{"id":10424,"slug":10425,"title":10426,"dynasty":433,"author":8247,"museum":355,"description":8248,"tags":10427,"thumbUrl":10428,"material":565,"size":566,"collection":81,"collections":10429,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":57},236294,"feng-shi-tu-shan-bao-zhuang-xing-236294","凤石图扇",[24,7,108,111,723,185,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F004c259b5b547371ae95a9860784cb28.jpg",[],{"id":10431,"slug":10432,"title":10433,"dynasty":433,"author":10434,"museum":355,"description":10435,"tags":10436,"thumbUrl":10437,"material":565,"size":566,"collection":81,"collections":10438,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},236293,"you-xi-shen-mei-shan-sheng-mao-jiong-236293","幽溪深梅扇","盛茂熲","此作用笔苍润兼具，以湿墨晕染烟岚空濛，将山林笼在江南烟雨之中。左侧古木虬枝舒展，浓墨点叶尽显苍劲生机，淡墨铺陈林野虚境。山径上策杖的行人缓步徐行，暗合林泉雅游的闲趣。右侧溪桥半隐在烟霭里，远山随墨色淡去，留白处尽显空茫雨意。干湿笔墨互衬，焦墨苔点醒出画面层次，把文人寄情丘壑、耽爱林泉的幽怀，融在朦胧烟色之中，空灵悠远，尽显山水雅韵。",[24,7,108,185,181,360,109,238,1874,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b9a94bd01a08c384b70bd69f97a006.jpg",[],{"id":10440,"slug":10441,"title":10442,"dynasty":124,"author":44,"museum":355,"description":10443,"tags":10444,"thumbUrl":10445,"material":565,"size":566,"collection":81,"collections":10446,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},235790,"wu-li-lin-tang-shi-si-tu-shan-ye-yi-ming-235790","吴历林塘诗思图扇页","此作用淡墨写就林塘秋景，取景清寂萧疏。近岸渔舟独棹，蓑翁垂纶，坡岸间疏林错落，茅庐隐于修竹茂树之下，远汀横斜，归雁掠过长天，淡墨晕开暮霭轻云，将秋日郊野的静谧寥廓尽数铺陈。\n笔墨松秀简淡，以干笔皴擦勾勒山石林木，墨色清润柔和，层次井然。题诗与画面相映成趣，将幽居闲眺、寄情林泉的隐逸诗意收束在尺幅之间，尽显萧散淡远的文人画意趣，静穆悠远，引人沉入秋日闲居的清宁遐思里。",[24,25,7,108,185,723,50,181,360,1571,548,239,112,113,182,109,184,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c905d93c173e008f79cf2e820329ff4.jpg",[],{"id":10448,"slug":10449,"title":10450,"dynasty":433,"author":44,"museum":355,"description":434,"tags":10451,"thumbUrl":10452,"material":81,"size":81,"collection":81,"collections":10453,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":57},234695,"ming-ren-dong-shan-si-zhu-tu-wan-shan-yi-ming-234695","明人东山丝竹图纨扇",[24,25,7,27,26,109,199,333,238,293,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd09617bcb4db10d2d7a50e44da7cbe.jpg",[],{"id":10455,"slug":10456,"title":7424,"dynasty":124,"author":7442,"museum":355,"description":7443,"tags":10457,"thumbUrl":10458,"material":81,"size":81,"collection":81,"collections":10459,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},234669,"shan-shui-wan-shan-zhang-zhi-wan-234669",[24,25,7,108,185,181,184,113,111,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8564562cf635c390306476346180fd6f.jpg",[],{"id":10461,"slug":10462,"title":7424,"dynasty":124,"author":10463,"museum":355,"description":10464,"tags":10465,"thumbUrl":10466,"material":81,"size":81,"collection":81,"collections":10467,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},234600,"shan-shui-wan-shan-yuan-tong-234600","袁桐","袁桐，字琴南，号琴甫（一作琴圃），又署琴居士，清朝钱塘（今杭州）人。枚（一七一六至一七九七）侄。官直隶河工通判。工小楷篆书，尤善隶法，下笔奇态，类陈鸿寿。篆刻师钟鼎、汉砖，胎息甚古。金碧山水得仇英遗意，设色花卉雅韵欲流。能诗。《墨林今话、瓯钵罗室书画过目考、清朝书画家笔录、广印人传》",[24,7,108,27,185,181,306,493,238,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc89530fcde457ec3edbfa6bd3f2f1ed1.jpg",[],{"id":10469,"slug":10470,"title":10471,"dynasty":124,"author":4696,"museum":126,"description":10472,"tags":10473,"thumbUrl":10474,"material":81,"size":81,"collection":81,"collections":10475,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":57},234271,"hua-ren-wu-zhang-zhao-lin-dong-qi-chang-shu-tang-shi-cheng-shan-ding-guan-peng-234271","画人物张照临董其昌书唐诗成扇","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响， [1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,7,109,1547,131,723,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f13ca67f90afdb783c1f99045c97754.jpg",[],{"id":10477,"slug":10478,"title":5168,"dynasty":18,"author":44,"museum":126,"description":10479,"tags":10480,"thumbUrl":10481,"material":9889,"size":10482,"collection":81,"collections":10483,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":57},233018,"liu-yuan-xiao-shu-tu-ye-yi-ming-233018","避暑是宋人夏季活动的一件大事。农历四月谓之初夏，五月初五是端午，端午过后，天气便炎热起来。宋代周密所著《武林旧事》是一部十卷本南宋杂史，详述了朝廷典礼﹑山川风俗﹑市肆经纪﹑四时节物﹑教坊乐部等情况﹐是了解南宋城市文化和市民生活的史料。其中就有对临安百姓入夏活动的记载：“盖入夏则游船不复入里湖，多占蒲深柳密宽凉之地，披襟钓水，月上始还。”描述了南宋夏季，人们不再着襦、袄，开始穿着单衫，服装质料上也以轻薄透气为主。\n此画描绘了士人在庭院中避暑纳凉的场景。院中柳树垂阴，古树掩映。画中一士人坐于室内赏景纳凉，其身后站有一双手持扇的仆僮。门前湖面宽阔，荷叶点缀其间，远山云雾变幻莫测。院侧十数株庭花盛开，绿草如茵，有一仆僮正捧盒而来。\n画中坐于室内的士人头戴小冠。“小冠”也称“束髻冠”，是一种束在髻上的发罩，多为皮制，形如手状。《宋书·五行志》曾记载：“晋末皆冠小冠，而衣裳博大，风流相仿，舆台成俗。”士人身穿大袖襕衫，腰间系带。襕衫是一种特别的长衫，其在衫的下裳处施有横襕，代表上衣下裳的含义。宋代时，襕衫常用白色细布，圆领大袖，下摆施以横襕，腰间有褶，为士人、进士、秀才服饰。《宋史·與服志》记载：“襕衫。以白细布为之，圆领大袖，下施横襕为裳，腰间有辟积。进士及国子生、州县生服之。”\n画中共有仆僮两人。士人身后持扇仆僮身穿小袖短衫，下身着长裤，腰间系带。院侧正捧盒归来的仆僮梳双丫髻，身穿小袖长衫，两侧开衩，内着中单，腰间系带，下着长裤，脚穿布鞋。长裤以透明的薄纱为面料，肌肤在薄纱下隐约可见。纱是最古老的丝织物之一，其是一种密度稀疏、轻薄、方孔的平纹织物。由于其轻盈、有孔的特点，通常用来制作夏季服饰。宋时，纺纱技术有了很大的发展，《宋史·地理志二》就有记载：“相州，……贡暗花牡丹花纱。”",[24,48,25,7,27,26,109,858,332,181,859,333,1810,1768],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d30c2c6ab3d95c7805d55f6b76dc45.jpg","纵29厘米*横29.2厘米",[],{"id":10485,"slug":10486,"title":6277,"dynasty":433,"author":7680,"museum":355,"description":7681,"tags":10487,"thumbUrl":10488,"material":565,"size":566,"collection":81,"collections":10489,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},232823,"shu-fa-shan-mian-zhang-rui-tu-232823",[7,131,723,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc735e30f8eaa4c62a480aba02c6e189.jpg",[],{"id":10491,"slug":10492,"title":10493,"dynasty":433,"author":1384,"museum":355,"description":10494,"tags":10495,"thumbUrl":10496,"material":565,"size":566,"collection":81,"collections":10497,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},228840,"chun-xue-ge-jing-xin-shen-zhou-228840","春雪歌镜心","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,7,723,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ed06e54c1727261421608c690df658.jpg",[],{"id":10499,"slug":10500,"title":10501,"dynasty":433,"author":44,"museum":355,"description":10502,"tags":10503,"thumbUrl":10504,"material":81,"size":81,"collection":81,"collections":10505,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":57},228814,"xing-lv-tu-yi-ming-228814","行旅图","此作以淡墨晕染出江南暮野水畔之景。柔柳垂丝错落于画面边角，晕开朦胧氤氲的暮色氛围。郊野水泽间，行骑缓行，驮队紧随，简笔勾勒的旅人神态松弛，带着日暮赶路的闲淡倦意。远景中山丘村舍隐于墨色晕染间，虚实相生，将乡野暮色的清寂淡远尽数铺陈。整作笔墨简淡苍润，以简驭繁，留白处尽显空濛诗意，把羁旅暮归的悠然况味融于水乡烟霭之中，尽显小品山水的雅致意趣，于古旧绢色间晕开静谧悠远的古典意境。",[24,7,108,27,109,1433,360,181,1434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21df2211d26e0597c4692d204c60fc5e.jpg",[],{"id":10507,"slug":10508,"title":10509,"dynasty":433,"author":4078,"museum":355,"description":10510,"tags":10511,"thumbUrl":10512,"material":565,"size":566,"collection":81,"collections":10513,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},228463,"song-ting-gao-yi-tu-qian-gu-228463","松亭高逸图","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[23,48,24,25,7,27,185,181,110,113,333,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe165198908dffca33a1454536263b0a.jpg",[],{"id":10515,"slug":10516,"title":10517,"dynasty":18,"author":3909,"museum":355,"description":10518,"tags":10519,"thumbUrl":10520,"material":81,"size":81,"collection":81,"collections":10521,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},227946,"bao-bao-can-zhuang-qi-jue-tuan-shan-ce-ye-yang-huang-hou-227946","薄薄残妆七绝团扇册页","此作楷书清丽秀雅，笔致温婉端凝，起转收合间尽显宋人的雅致法度。笔底诗句将暮春残妆淡香、揽春光自适，再到厌弃繁华耽于醉乡的心境缓缓铺陈，笔墨与文思相融，自带沉静隽秀的闺中韵致。泛黄绢面晕染开古雅底色，朱红印章错落点缀，尺幅之内既有笔墨书香，更具宋韵小品的精致隽永，尽显平和内敛的审美意趣，将宋代文人的雅致心境藏于团扇方寸之间。",[23,48,24,25,7,940,1444,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5abb7fcc0ede7c197ab580da97bca657.jpg",[],{"id":10523,"slug":10524,"title":10525,"dynasty":18,"author":44,"museum":355,"description":10526,"tags":10527,"thumbUrl":10528,"material":81,"size":81,"collection":81,"collections":10529,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":57},227923,"lian-tang-fan-ting-tu-yi-ming-227923","莲塘泛艇图","此作用水墨晕染铺就塘间幽趣，古木虬曲苍劲，浓墨点叶半掩水榭，凭栏二人对坐低语，檐下暗影浮动浸着凉意。扁舟缓行于烟水间，舱中三人敛衣静坐，淡墨晕开的烟霭晕化虚实界限，树影与水色融作一片朦胧，将暑夜荷塘的清宁雅致尽数铺展。\n\n全画以墨色浓淡区分层次，于尺幅团扇间营造出悠远空阔的幽居之境，尽显闲逸雅致的林下风流，寥寥笔墨便勾勒出淡远空灵的氛围感，将幽寂闲趣藏进晕染的烟水间，诗意漫溢其间。",[23,155,48,24,25,7,27,26,181,109,182,64,436,113,333,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3772f4c64aa6c5f5f71e8800df047da4.jpg",[],{"id":10531,"slug":10532,"title":8934,"dynasty":18,"author":44,"museum":355,"description":10533,"tags":10534,"thumbUrl":10536,"material":81,"size":81,"collection":81,"collections":10537,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":788},227849,"han-ke-shan-zhe-tu-yi-ming-227849","此作用笔苍劲老辣，绘就隆冬寒林之景。虬曲古柯凝着薄雪，枝桠枯瘦萧疏，晕染出彻骨清寒。两只山鹧栖于枝头，羽色晕染细腻，墨色浓淡间绒羽质感尽显，神态安闲静穆，为荒寂雪景添上灵动生机。\n\n整幅小品以极简布局营造出幽谧冷寂的意境，工写结合，山水小景与花鸟相映成趣，于简淡中藏着精微刻画，将冬日林泉的清冷凝寂与禽鸟的鲜活生机相融，尽显宋人清冷雅致的审美意趣，方寸之间，意蕴悠长。",[23,48,24,25,7,26,27,28,493,10535,111,112,50],"山鹧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8af24f946845e287b4724601d027e49d.jpg",[],{"id":10539,"slug":10540,"title":10541,"dynasty":124,"author":10542,"museum":355,"description":10543,"tags":10544,"thumbUrl":10545,"material":565,"size":566,"collection":81,"collections":10546,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},224250,"shan-shui-tu-zhou-ding-224250","山水圖","周薡","字伯龄，鄞（今浙江宁波）人。工于传神。先是有倪伯益写照逼真，鼎得其术，几突过之。人以碍之合中曾鲸。仲子天祚，季子乐克世其传。（《宁波府志》）",[23,7,24,25,181,108,185,184,238,113,112,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3808d676bfb68e7dfb8f7407d4e4c53.jpg",[],{"id":10548,"slug":10549,"title":10550,"dynasty":18,"author":44,"museum":2192,"description":10551,"tags":10552,"thumbUrl":10554,"material":495,"size":10555,"collection":81,"collections":10556,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},223465,"jun-ling-xi-qiao-tu-yi-ming-223465","峻岭溪桥图","绘山峦重叠，气势宏大，巍峨壮观，山下河面宽广，水流潺潺，楼阁依山傍水而建，一桥横跨两山，桥上行旅忙碌，崎岖小路依山延伸。此图还有一副本，藏于故宫博物院，旧题：郑虔峻岭溪桥",[23,24,25,7,181,185,108,818,1549,333,10553,6307],"峻岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5198e0f52edf2cb16b9a7ae4a13d907f.jpg","25×26.4cm",[],{"id":10558,"slug":10559,"title":10560,"dynasty":124,"author":1325,"museum":355,"description":6912,"tags":10561,"thumbUrl":10562,"material":459,"size":81,"collection":81,"collections":10563,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},223134,"shi-wan-tu-ce-shan-mian-1-ren-xiong-223134","十万图册-扇面1",[23,24,25,7,131,723,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c301b18131701c4457753e800f42e9.jpg",[],{"id":10565,"slug":10566,"title":10567,"dynasty":433,"author":1267,"museum":20,"description":5991,"tags":10568,"thumbUrl":10569,"material":397,"size":10570,"collection":81,"collections":10571,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},222343,"hua-qiu-lin-tu-cheng-shan-tang-yin-222343","画秋林图成扇",[24,25,7,108,27,181,3042,333,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d2cb0912ea0e13cd37a5e744574ae2.jpg","34.7x52.8",[],{"id":10573,"slug":10574,"title":10575,"dynasty":18,"author":1870,"museum":20,"description":10576,"tags":10577,"thumbUrl":10578,"material":829,"size":10579,"collection":81,"collections":10580,"showCount":149,"zanCount":38,"manualWeight":38,"mainColor":39},221422,"qi-feng-wan-mu-yan-wen-gui-221422","奇峰万木","这幅作品中除了峭拔的奇峰外，并未见有燕文贵画风的特点。而由山石的造型、皴法、树法、点苔、设色等，也都比较接近南、北宋之交院画家李唐的「江山小景」卷来看，应当是一幅南宋习自李唐风格的作品。\n登临高山之顶，一幕奇峰汇聚、林木茂盛、云雾蒸腾的景致，正置于观者眼前。大自然的神奇与灵秀，使得这一座座高耸峭拔的奇峰与挺劲丛生的松杉，看来犹如刺天入云的绿色天柱，由近至远，幽缈地在天地之间起落、绵延。",[23,24,48,7,108,27,185,181,6215,7020,1197,723,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d6ff8fa0d000df2a0092b1241184c30.jpg","24.5 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[清]（一八二三至一八八六）字公寿，号瘦鹤，画用字行，又号横云山民，华亭（今上海松江）人，侨上海。能诗，善书画，书法颜真卿，藏有戏鸿堂祖本争位座稿书，矜为至宝。画笔秀雅绝伦，以湿笔取胜。山水花木无所不能，尤喜画梅。咸丰十一年（一八六一）至上海初寓毛树徴家，后买宅颜曰寄鹤轩。与李壬叔（善兰）、胡鼻山（震）诸名流友善，卖画自给。卒年六十四。有寄鹤轩诗草。",[24,25,7,108,185,181,182,113,493,690,4233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8ab5db6f08dd980005bc8a8408e514.jpg",[],{"id":11714,"slug":11715,"title":7424,"dynasty":124,"author":1841,"museum":355,"description":1842,"tags":11716,"thumbUrl":11717,"material":81,"size":81,"collection":81,"collections":11718,"showCount":119,"zanCount":11,"manualWeight":38,"mainColor":39},234619,"shan-shui-wan-shan-jiang-yun-234619",[24,25,7,27,181,185,113,548,239,109,184,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca450350bd005e7d6ea3a71b235a250e.jpg",[],{"id":11720,"slug":11721,"title":11722,"dynasty":124,"author":11723,"museum":355,"description":11724,"tags":11725,"thumbUrl":11726,"material":81,"size":81,"collection":81,"collections":11727,"showCount":119,"zanCount":38,"manualWeight":38,"mainColor":39},234616,"zhu-shi-wan-shan-yang-neng-ge-234616","竹石纨扇","杨能格","杨能格（清）字季良，号简侯。汉军正红旗人，道光十六年2甲23名进士，授翰林院编修，充广东主考官、浙江同考官，官赞善。同治四年升甘肃按察使，五年、迁江宁布政使。工书，师法王羲之、颜真卿，自成一格。著有《归观斋诗赋草》、《海天集》等。见《清代翰林传略》、《中国美术家人名辞典》.",[24,25,7,108,185,280,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5115005b56a3d3b2717aaca23b528244.jpg",[],{"id":11729,"slug":11730,"title":11731,"dynasty":124,"author":11732,"museum":355,"description":11733,"tags":11734,"thumbUrl":11735,"material":81,"size":81,"collection":81,"collections":11736,"showCount":119,"zanCount":38,"manualWeight":38,"mainColor":39},234605,"qiu-shan-tu-wan-shan-hu-yi-zan-234605","秋山图纨扇","胡义赞","字叔襄，号石槎（一作石查），晚号烟视翁，光山（今河南光山）人，官海宁知州。长金石考证之学，所藏泉币皆希品，考证精确，与鲍臆园（康）抗衡。行楷、山水皆学董其昌，清润淹雅，不仅貌似，题识亦佳。刻印宗秦、汉，收藏书、画、金石甚富。光绪二十三年（1897）年六十七，尚作山水卷。",[24,7,108,27,181,185,4664,333,238,1105,2023,690,6075,1768],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48608369a82e616c313ba75102a0e69.jpg",[],{"id":11738,"slug":11739,"title":7424,"dynasty":124,"author":11740,"museum":355,"description":11741,"tags":11742,"thumbUrl":11743,"material":81,"size":81,"collection":81,"collections":11744,"showCount":119,"zanCount":38,"manualWeight":38,"mainColor":39},234604,"shan-shui-wan-shan-shen-han-234604","沈翰","沈瀚[清]字咏荪，浙江绍兴人。同光（一八六二-一九O八）二十六岁问候补湖南通判，不得意，仕于湖南，直至去世。以卖画授徒为生。善画山水，师法四王，入王时敏之室。光绪季年卒，年约六十余。作品目前市场价3000至5000一平尺。清末至民国初年，众多湖湘书画家均受其影响，如雷恪等不少都是其授业弟子。",[24,25,7,108,185,181,360,548,239,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793dea798330021dc6ac87c803934b98.jpg",[],{"id":11746,"slug":11747,"title":7424,"dynasty":124,"author":11748,"museum":355,"description":11749,"tags":11750,"thumbUrl":11751,"material":81,"size":81,"collection":81,"collections":11752,"showCount":119,"zanCount":38,"manualWeight":38,"mainColor":39},234601,"shan-shui-wan-shan-wang-ting-ru-234601","汪廷儒","汪廷儒（1804-1852）字醇卿，又字莼青，江苏仪征人。道光二十四年（1844）翰林官编修，二十六年（1846）江西副主考。、山水，极得董其昌用笔、用墨之妙，皴减而有法。墨晕黠宕，尤长画册、扇。用笔沉着苍润，亦极似查士标。辑广陵思古内、外编，书未成而卒，年四十九。",[48,24,25,7,108,185,181,548,239,1105,333,238,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b39f06e94c59a8b0568722bcc63ca0.jpg",[],{"id":11754,"slug":11755,"title":7424,"dynasty":124,"author":11756,"museum":126,"description":11757,"tags":11758,"thumbUrl":11759,"material":81,"size":81,"collection":81,"collections":11760,"showCount":119,"zanCount":38,"manualWeight":38,"mainColor":39},234598,"shan-shui-wan-shan-zhu-ling-234598","朱龄","朱龄[清]字菊坨，自号黄华道人，道光（一八二一―一八五o）时江苏上元（今南京）人。写花卉翎毛，魄力兼胜，师徐渭而有石涛逸韵。人物近唐寅，偶作山水古木槎枒，亦得蓝瑛苍古之趣。尝客清江浦寓广荫庵，一日醉后绘清奇古怪四柏树于殿之四壁，顷刻而成",[24,25,7,108,181,185,109,184,238,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88e89d4d2c2e8bf91f13c1d227e1d9d.jpg",[],{"id":11762,"slug":11763,"title":11764,"dynasty":124,"author":11765,"museum":355,"description":11766,"tags":11767,"thumbUrl":11768,"material":81,"size":81,"collection":81,"collections":11769,"showCount":119,"zanCount":38,"manualWeight":38,"mainColor":39},234488,"zhang-zong-cang-shan-shui-shan-zhang-zong-cang-234488","张宗苍山水扇","张宗苍","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱。",[24,25,7,181,108,185,238,333,4253,1105,548,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4de2c8cd77fb71aafb12dc46de73bdbe.jpg",[],{"id":11771,"slug":11772,"title":11773,"dynasty":433,"author":10326,"museum":126,"description":11774,"tags":11775,"thumbUrl":11776,"material":81,"size":81,"collection":81,"collections":11777,"showCount":119,"zanCount":38,"manualWeight":38,"mainColor":57},234474,"xie-qin-fang-you-shan-ye-zhu-shi-ying-234474","携琴访友扇页","朱士瑛[清]工细，人物似仇英。崇祯十五年（一六四二）作西园雅集扇，现藏故宫博物院。",[7,24,25,181,27,185,109,548,239,333,238,113,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff02324773abd73861c19fbb32e344e53.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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。",[24,25,7,181,108,185,131,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb277ba90b5cf505a9fa82e06e7263943.jpg",[],{"id":13019,"slug":13020,"title":11027,"dynasty":433,"author":3791,"museum":126,"description":12414,"tags":13021,"thumbUrl":13022,"material":81,"size":81,"collection":400,"collections":13023,"showCount":312,"zanCount":38,"manualWeight":38,"mainColor":39},236185,"shan-shui-cheng-shan-wen-jia-236185",[24,25,7,108,27,181,333,238,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5a8f674e70db2cbda5d3566a30ee360.jpg",[400,401],{"id":13025,"slug":13026,"title":13027,"dynasty":433,"author":3791,"museum":355,"description":3792,"tags":13028,"thumbUrl":13029,"material":565,"size":566,"collection":81,"collections":13030,"showCount":312,"zanCount":38,"manualWeight":38,"mainColor":39},234936,"hua-shan-shui-hong-li-shu-chu-li-zheng-men-guan-jia-qi-lv-cheng-shan-wen-jia-234936","画山水弘历书出丽正门观稼七律成扇",[24,25,7,108,185,181,333,109,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf216df46a4081170a214ae4d9e58148.jpg",[],{"id":13032,"slug":13033,"title":3541,"dynasty":124,"author":13034,"museum":355,"description":13035,"tags":13036,"thumbUrl":13037,"material":81,"size":81,"collection":81,"collections":13038,"showCount":312,"zanCount":38,"manualWeight":38,"mainColor":39},234687,"shan-shui-shan-wang-chen-234687","王宸","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。",[24,25,7,181,108,185,238,333,4253,7020,690,1660],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbb9677c3cc7a97a9bb9eb5329586f6.jpg",[],{"id":13040,"slug":13041,"title":7424,"dynasty":124,"author":13042,"museum":355,"description":13043,"tags":13044,"thumbUrl":13045,"material":81,"size":81,"collection":81,"collections":13046,"showCount":312,"zanCount":38,"manualWeight":38,"mainColor":39},234608,"shan-shui-wan-shan-he-wei-pu-234608","何维朴","何维朴 （1842年—1922年），湖南道县人。 字诗孙，晚号盘止，亦号盘叟，又号秋华居士、晚遂老人，室名颐素斋、盘梓山房。何绍基之孙。以山水画著称，宗娄东派；书摹其祖何绍基亦得其形似。\n同治六年（1867年）乡试副贡，官内阁中书，协办侍读，江苏候补知府。\n工书、画，晚寓上海盘梓山房，以此自给。画以山水著称。宗娄东四家，清远高妙，无时流霸悍草率习气。对于古画之鉴别尤精。书摹其祖绍基，亦得其神似。少精篆刻，宗秦汉，晚年倦于酬世不复作。有印文曰清凉山下转轮僧。收藏古印甚多，有《颐素斋印存》六卷传世。卒年八十一。",[24,7,108,27,185,181,182,333,818,239,1548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8afd6991804bbecdfb8e2d9db172223.jpg",[],{"id":13048,"slug":13049,"title":13050,"dynasty":124,"author":13051,"museum":355,"description":13052,"tags":13053,"thumbUrl":13054,"material":81,"size":81,"collection":81,"collections":13055,"showCount":312,"zanCount":38,"manualWeight":38,"mainColor":39},234603,"qiu-kong-ya-yu-wan-shan-shen-tang-234603","秋空鸦语纨扇","沈塘","沈塘，按广印人，传作唐。字莲舫，别字雪庐，世居江苏吴江。幼即好画，後从陆恢（一八五一-一九二o）游。为吴大激（一八三五-一九o二）。张之洞（一八三七-一九o九）所契重，与补修承华事略。旋移家苏州，四方求画者不绝于门。宣统三年（一九一一）尝仿倪瓒山水图，载海上名家画集。亦善篆刻。《费树蔚撰沈君墓志铭、卓观斋笔记、广印人传》",[24,25,7,108,422,27,109,184,112,111,181,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd0fcb10136472fc068076ff3d7a54d.jpg",[],{"id":13057,"slug":13058,"title":13059,"dynasty":7702,"author":13060,"museum":355,"description":13061,"tags":13062,"thumbUrl":13069,"material":565,"size":566,"collection":81,"collections":13070,"showCount":312,"zanCount":38,"manualWeight":38,"mainColor":57},232218,"dancer-with-a-bouquet-of-flowers-rhode-island-school-of-design-museum-of-art-usa-de-jia-232218","Dancer with a Bouquet of Flowers - - - Rhode Island School of Design Museum of Art (USA)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[48,13063,13064,109,13065,13066,13067,27,13068,7],"油画","印象派","芭蕾舞者","舞蹈","舞台","女性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe34b4540429e93728b7d100e8feed9.jpg",[],{"id":13072,"slug":13073,"title":13074,"dynasty":124,"author":12537,"museum":355,"description":12538,"tags":13075,"thumbUrl":13076,"material":565,"size":566,"collection":81,"collections":13077,"showCount":312,"zanCount":38,"manualWeight":38,"mainColor":39},230227,"shu-qian-long-yu-zhi-ai-wu-han-si-jun-ge-cheng-shan-peng-yuan-rui-230227","书乾隆御制爱乌罕四骏歌成扇",[7,131,723,1433,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e89d137ba2f4d99b009305064d9d5bc.jpg",[],{"id":13079,"slug":13080,"title":13081,"dynasty":124,"author":11213,"museum":355,"description":11214,"tags":13082,"thumbUrl":13083,"material":565,"size":566,"collection":81,"collections":13084,"showCount":312,"zanCount":38,"manualWeight":38,"mainColor":39},224202,"shu-qian-long-yu-zhi-yong-shi-er-chen-ben-zi-ti-si-ku-quan-shu-cheng-shan-liang-guo-zhi-224202","书乾隆御制用十二辰本字题四库全书成扇",[7,131,25,606,1444,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b23a8a7f55e01c553bbd058cb20443.jpg",[],{"id":13086,"slug":13087,"title":6599,"dynasty":433,"author":5092,"museum":20,"description":13088,"tags":13089,"thumbUrl":13090,"material":459,"size":12417,"collection":81,"collections":13091,"showCount":312,"zanCount":38,"manualWeight":38,"mainColor":39},222410,"shu-shan-ye-wen-cong-jian-222410","文从简（1574年—1648年）字彦可，号枕烟老人，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明曾孙，明末清初画家。\n崇祯十三年（1640年）拔贡，入清后退居林下，以书画自娱。\n山水画似文徵明、文嘉，能传家法，笔墨简淡，略带荒率之致，但较少变化。用水墨居多，思致清或，布局安详，境界空灵，气韵浑厚。兼学王蒙、倪瓒，喜用枯笔皴斫，作方从义笔法，脱尽时人蹊径。书法李邕，最得其神。",[23,1228,7,723,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d64f0c9f7beefda418341964eb025f.jpg",[],{"id":13093,"slug":13094,"title":6599,"dynasty":433,"author":10159,"museum":20,"description":13095,"tags":13096,"thumbUrl":13097,"material":459,"size":13098,"collection":81,"collections":13099,"showCount":312,"zanCount":38,"manualWeight":38,"mainColor":39},222387,"shu-shan-ye-wen-peng-222387","文彭（1498年—1573年），字寿承，号三桥，别号渔阳子、三桥居士、国子先生，南直隶苏州府长洲（今江苏苏州）人。文徵明长子。\n以明经廷试第一，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。\n文彭为明代画家文徵明之子，文彭少承家学，初学钟（繇）王（羲之），后效怀素，自成一家。晚年全力倾于孙过庭，篆、隶最见精粹，曾书《古诗十九首卷》，并有嘉靖三十年（1551）《题仇十洲摹本清明上河图记》。尤精篆刻，风格工稳，与何震并称“文何”。原多作牙章，亲自落墨，请南京李石英镌刻。后得灯光石，乃多刻石章，为后世所宗，称为文人流派印章之“开山鼻祖”。传世画作有隆庆六年（1572）作《兰竹图》卷，图录于《晋唐五代宋元明清书画集》《兰花图》轴现藏故宫博物院。嘉靖四十一年（1562）作《墨竹图》轴，自题：“我爱江南小满天，繁花销尽竹娟娟。北窗自展南华读，时有凉风到枕边。文彭写寄方壶先生，壬戌端阳日。”现藏广东省博物馆。亦能诗，著有《博士诗集》。\n初学钟、王，后效怀素，晚年则全学过庭，而尤精于篆、隶。索书者接踵不断。其父以书名当代，然有时不乐书，虽权贵人不敢强。彭手不停挥，求者无不当意。工刻印，后人奉为金科玉律。所作多牙章，往往自落墨而命金陵人李文甫镌之。李善雕箑边，其所镌花卉，皆玲珑有致，彭以印属之，辄能不失笔意，故其牙章半出李手。彭后在南监时得灯光石，乃不复治牙，于是冻石之名，始艳博于世。写墨竹，老笔纵横，直入文同之室。山水苍郁似吴镇。亦善写花果。卒年七十六。\n文彭对诗文、书画、篆刻均有造诣。对六书有深入的研究，和何震主张篆刻必须精通六书，才能入印。他所用牙章，亲自篆写，请南京李石英镌刻。据说在南京时，偶然得到民间雕琢首饰用的灯光石，用来制作印材，篆刻家可以亲自镌刻，既方便又能得到满意的效果。从此冻石之名才被世知，冻石也被篆刻家所广泛采用，给明、清流派篆刻的发展提供了条件。\n继承父亲藏书和书画，有藏书处曰“清白堂”，收藏宋元古籍和当代书画作品。藏书印有“渔阳子”“清白堂”。弟文嘉，亦喜藏书，藏书楼有“归来堂”，藏书印有“五峰山人”“元珠室”“五峰樵客”等。文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。子文元发，字子悱，官卫辉同治，喜藏书，其藏书印有“二楚精神”等；孙文震孟，字文起，号湖南，亦有藏书印曰“石经堂”“两日平章”等。\n文彭草书闲散不失章法，错落有致，神采风骨，兼其父文徵明和孙过庭之长，甚见功力。善写墨竹，老笔纵横，直入文同之室。亦工山水，所作类父风，花果亦佳。精书法，与何震（字主臣、长卿，号雪渔）并称“文何”。文彭书《岳阳楼记》，取法北宋书法家黄庭坚。传世作品有辽宁博物馆藏的《小楷赤壁赋》，故宫博物院藏的《行草五律诗》轴，上海博物馆藏有《隶书有美堂记》等19幅隶、行、草书作品，文彭亦擅绘画，作品不多。\n文彭篆刻秀丽典雅，风格妍媚清新。他的朱文章法疏朗，在宋、元圆朱文的基础上加以变化，篆法略呈方，显得质朴浑厚。他另一种朱文，纯用方折结构，可能是受汉印的影响。由于他刻印讲究六书，篆文不涉怪诞，又能向秦、汉玺印汲取营养，因而他的印章在当时确使印坛面目为之一新。冻石便于镌刻，印章的边款也可以由作者自己镌刻。他的边款是先在石面上书写行楷书，再依字迹用双刀刻成。在文彭、何震的倡导和影响下，一时篆刻之风大起，文人、书法家和画家都参加篆刻创作，文彭成为文人篆刻流派的先导。苏州一带学习文彭的有陈万言、李流芳、归昌世、顾听等，后人称他们为吴门派。\n文彭在印学上的地位要比在书法上高得多,他是公认的明清流派篆刻的开山祖师。真正有史料记载第一个用青田石治印的是明代国子监博士文彭，他在南京任职时，有一天偶遇一位卖青田石的老汉，买下了四筐石头，回家锯开一看，灯光下奇石晶莹剔透，成了一方方晶莹夺目的图章，其中质优者，就是半透明的“灯光冻石”，稍差者，也是当时的老坑矿石。从此他治印不再用象牙而用青田石了。于是冻石之名始见于世，名传四方。在印章流派艺术的历史上，文彭堪称鼻祖。从此，文人学士便逐渐改用石章，自篆自刻。由于石章的广为使用，对篆刻艺术的发展起了很大的催化作用。明代著名篆刻家朱简描述：“自三桥下，无不从斯、籀，字字秦汉，猗欤盛哉！”可见文人流派篆刻艺术发展史上文彭的重要地位。文彭以后，印学大发展，四百年来，影响遍及海内外。文彭是明代江南四大才子之一文征明的长子，家学渊博，才华出众，诗文、书画、篆刻均有造诣，被后人尊为我国篆刻艺术的开山鼻祖。文彭用青田石治印，结束了我国2000多年的铜印时代，进入了以文士为主体、个性为特征、名家辈出的石章时代。由于文彭的影响,加上石质印章本身具有的优越性,以石治印便在文人中很快地流行开来。\n文彭用冻石刻印，并首创印章边款，改变了元代以来板滞纤弱的弊病，恢复了汉印传统，他和何震提出篆刻应以六书为准则，并努力创作实践，取得了空前的成就，开创了文人自篆自刻并与书画三足鼎立的局面，文人掀起了学习篆刻的热潮。有很多人专学文彭，后人称“吴门派”；有些人则学何震，后人称“徽派”或“皖派”。\n他的篆刻具有开朝华而启夕秀的承上启下的意义，作品以安逸典雅、沉静清丽为基调，白文刻意追溯汉法，朱文则取宋元遗风而自出新意。文彭还创立了明代的第一个篆刻流派--吴门派，或称三桥派，该派的健将主要有陈万言、李流芳、归昌世等。他的篆刻作品，在当时没有编过印谱，原作存世极少，而张灏在万历年间把所藏印编为《承清馆印谱》，收有文彭刻的白文印十九方，但这些印章原石，至今未曾发现。作为书画地位均很高的两京国博，文彭对篆刻的提倡与参与，对于初创阶段的篆刻艺术，其意义是巨大的。　文彭对于篆刻艺术的杰出贡献是毋庸置疑的。他开倡明清篆刻的风气，曾直接和间接地影响了以后篆刻流派的形成和发展，功莫大焉。然而过去我们对其人其艺却所知甚少，这不能不说是明清篆刻史研究中的一桩缺憾。笔者通过研究，对过去对文彭的一些错误认识，进行了必要的澄清，对其在篆刻史上的地位和贡献，进行了较为接近真实的评价。",[23,7,131,723,108,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F595e1f71fa271dc59d1f36164528c840.jpg","17.4x50.3",[],{"id":13101,"slug":13102,"title":13103,"dynasty":7221,"author":12423,"museum":45,"description":13104,"tags":13105,"thumbUrl":13107,"material":81,"size":81,"collection":400,"collections":13108,"showCount":312,"zanCount":38,"manualWeight":38,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号射陵，又号耕海潜夫。明泰昌元年生于盐城县新兴场人（现盐城市亭湖区新兴镇）。宋家祠堂大门两侧曾有两朝辅弼，十世簪缨的对联。从宋曹曾祖、祖父起，皆以举人入官。\n明崇祯时，25岁官至中书舍人，其位级从七品官。南明复亡，1642年，宋曹的好友司石盘、厉豫等人因不满清朝黑暗统治，举兵起义。未及一年，兵败淮安。清政府派人四处抓拿，宋曹受其牵连，身陷囹圄。营释后，先到北宋庄，后又携家小隐居到30公里以外的汤庄，筑蔬枰园侍奉老母。每年仍到北宋庄祭祖。大纵湖有一龙兴寺，建于明开启年间，苦于无名。宋曹隐居北宋庄，让寺庙主持喜出望外，请他题名龙兴禅院，他欣然挥毫。抗战爆发，禅院毁于战火，宋曹真迹随之荡然无存了。三十寒暑，宋曹闭门养息，会友谈艺，聚首唱和，遂使诗书融合，造诣日深。康熙元年到八年间，两度诏举，不肯出林，仍隐逸汤村。康熙十七年，清以纂修明史，开博学鸿词科，征召海内名儒，侍郎严沅和江苏巡抚慕无颜共举宋曹为博学鸿词，他均以母老固辞未赴。康熙22年（1683）年，两江总督于成龙请他去 南京编撰《江南通志》，盛情难却，他带上长子恭贻一起赴任。志书编成，宋曹坚不留名，最终《江南通志》仅署了恭贻的名字。于成龙敬重他的人品，称他为射陵先生。于成龙邀其出山，终于使宋曹结束了隐居生涯。为了实现书法方面的抱负，他毅然离家出游，浪迹江淮，客维扬、润州、昆山、苏州、杭州等地，拜师会友，吊古觅胜。康熙六年，会顾炎武，互赠诗赋，结为友好。历数载，他纵觅南北名碑，吮吸精髓，悟入微际，并加以融会贯通，取舍扬弃，为自己寻得一条正宗的书法道路。",[131,7,723,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7958df6cac865a64d2f3f9787858ac98.jpg",[],{"id":13521,"slug":13522,"title":1375,"dynasty":433,"author":13523,"museum":355,"description":13524,"tags":13525,"thumbUrl":13526,"material":565,"size":566,"collection":81,"collections":13527,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},241127,"shi-shan-mian-yue-he-sheng-241127","岳和声","岳和声（生卒年不详），字尔律，一作之律，号石梁，一号梁父，自号餐微子，浙江嘉兴府秀水县（今桐乡市）人。南宋著名军事家、诗人岳飞十八世孙。",[7,25,24,131,723,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccee7fac868431af3f2b48b1400c94bf.jpg",[],{"id":13529,"slug":13530,"title":13531,"dynasty":433,"author":13532,"museum":355,"description":13533,"tags":13534,"thumbUrl":13535,"material":565,"size":566,"collection":81,"collections":13536,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},241120,"jie-lu-song-luo-da-jing-shan-jing-ri-zhang-shan-mian-fei-meng-yan-241120","节录宋罗大经山静日长扇面","费孟彦","此作为泥金扇面，墨色沉润与金底相映，愈见雅致。行书笔致灵动秀逸，结体疏密随扇面弧度自然排布，行气舒展贯通，毫无壅滞之感。笔墨温润兼具筋骨，既有晋唐行书的飘逸韵致，又带着明代书风特有的妍雅之态。\n\n节录文辞的安闲意趣，与书法的悠然笔意相融，将山静日长的林下幽思藏入毫端，观之如临松窗竹下，仿佛能窥见书者展卷挥毫时的澹然心境，墨痕里漫溢出古典文人的闲适襟怀。",[1228,7,131,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92c3126555687761d6012727a3bb0bfd.jpg",[],{"id":13538,"slug":13539,"title":13540,"dynasty":433,"author":13541,"museum":355,"description":13542,"tags":13543,"thumbUrl":13544,"material":565,"size":566,"collection":81,"collections":13545,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},241115,"deng-qing-yun-si-zuo-qi-yan-shi-shan-mian-wang-shi-he-241115","登青云寺作七言诗扇面","王时和","此作为金笺行书扇面，用笔苍劲舒展，提转间筋骨尽显，结体疏密欹正相映，顺着扇形走势排布章法，行气流宕自然。诗作纪游寄禅，笔墨与诗意相融，将登寺览景的幽远禅思，藏于朴拙沉稳的点画之间。既有明人行书尚态抒情的典型风貌，亦带着文人雅逸的林下之风，笔墨间尽显沉静古雅的气韵，是兼具文学意涵与书法美感的佳制。",[7,131,723,108,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83929176e431f15ea9b64fa45891cf07.jpg",[],{"id":13547,"slug":13548,"title":13549,"dynasty":433,"author":13550,"museum":355,"description":13551,"tags":13552,"thumbUrl":13554,"material":565,"size":566,"collection":81,"collections":13555,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},240938,"ji-huai-shi-er-shou-shan-mian-dong-si-cheng-240938","寄怀诗二首扇面","董嗣成","董嗣成 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云山相映，人工匠巧与山水灵秀相融，古雅底色晕染出清寂幽远的意境，尽显冬日水岸楼阁的静谧雅致，暗合幽淡清空的古典审美意趣。",[48,24,25,7,27,331,181,332,785,1104,333,2767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021f54f8ad94b3b66812fb3b2359bc47.jpg",[],{"id":13627,"slug":13628,"title":3541,"dynasty":433,"author":1543,"museum":355,"description":1544,"tags":13629,"thumbUrl":13630,"material":565,"size":566,"collection":81,"collections":13631,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},237857,"shan-shui-shan-zhang-hong-237857",[7,24,25,181,185,108,1104,333,1105,111,50,113,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F838ad09356f496023e03e1254a6daa87.jpg",[],{"id":13633,"slug":13634,"title":3541,"dynasty":124,"author":13635,"museum":355,"description":13636,"tags":13637,"thumbUrl":13638,"material":565,"size":566,"collection":81,"collections":13639,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},237854,"shan-shui-shan-zhu-nian-xiu-237854","诸念修","诸念修. 婡明朝洎頭人筿，生平不详，史籍中对诸氏并无明确记载。从文献和他现存的少量书画作品中可以大致勾勒其生平行迹。",[24,25,7,108,185,181,1104,360,1105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051b87ce4955ebc9918e1fc4147c15ed.jpg",[],{"id":13641,"slug":13642,"title":13643,"dynasty":124,"author":13644,"museum":355,"description":13645,"tags":13646,"thumbUrl":13648,"material":565,"size":566,"collection":81,"collections":13649,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":57},237847,"xu-yong-jia-shan-shui-shan-ye-xu-yong-jia-237847","须用嘉山水扇页","须用嘉","须用嘉，明末清初，字嘉客，毗陵（今江苏常州）人。主要活动于崇祯年间，擅山水、枯木，竹石等，其作品以水墨为主。其山 水师法倪瓒，加以发展，画法疏简，格调幽淡 ，笔法精细流畅，用笔工细绵密，稍带生涩，于精熟中见稚拙，多作疏林坡岸，浅水遥岑。折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，外落寞而内蕴激情。浓墨苔点，风格突出，画面常有“山木半落叶，西风方满林”的意境。画作流传极为少见。",[24,7,108,185,181,360,238,239,548,4253,4688,7020,818,1874,1548,13647,11633,11632,1114],"苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e70765a086f8a8eef626ef92038b382.jpg",[],{"id":13651,"slug":13652,"title":4840,"dynasty":124,"author":11480,"museum":355,"description":11481,"tags":13653,"thumbUrl":13655,"material":565,"size":566,"collection":81,"collections":13656,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":57},236954,"shan-shui-shan-ye-cao-you-guang-236954",[7,24,181,108,27,185,1104,871,360,361,2404,5155,13654,691,7128],"近岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef854c1188bba4c5b7d7ba3e0b16df8a.jpg",[],{"id":13658,"slug":13659,"title":7424,"dynasty":124,"author":13660,"museum":355,"description":13661,"tags":13662,"thumbUrl":13663,"material":81,"size":81,"collection":81,"collections":13664,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},236743,"shan-shui-wan-shan-chen-yan-shu-236743","陈衍庶","此作用水墨写就丘壑，团扇尺幅里铺展山林幽境。以干笔皴擦勾勒山石肌理，披麻皴带出苍朴质感，远山以淡墨晕染，虚实相映，将山岚空濛之态藏于留白间。近坡虬松错落，林木蓊郁，崖谷间隐见涧水，暗合听泉寻幽之趣。\n\n左上题款墨色沉凝，与画面淡润笔调相映，文气悠悠。整体萧散简远，以笔墨写胸中丘壑，不着意实景刻画，只以清润淡远的意韵传递林下幽居的隐逸心绪，尽显文人山水的雅逸风神。",[24,7,108,181,185,238,333,690,239,305,1197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1939249652ac833fe6e4dedf9382f96c.jpg",[],{"id":13666,"slug":13667,"title":13668,"dynasty":124,"author":13669,"museum":355,"description":13670,"tags":13671,"thumbUrl":13672,"material":565,"size":566,"collection":81,"collections":13673,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},236478,"kan-yun-tu-shan-zhou-gao-236478","看云图扇","周杲","此作用淡墨晕染云山，留白托出云气与飞瀑，空濛悠远如幻。右侧林木蓊郁，白衣策杖文士临溪伫望，将观云的幽闲心境融于林泉间。金笺底衬得水墨层次愈见分明，干湿浓淡铺陈出悠远空寂的山林意趣。左侧题诗与画面相映，诗画合璧尽显萧散隐逸的文人高致。笔致松秀简淡，以意驭墨，寥寥数笔便勾勒出林泉雅兴，尽显文人山水小品的空灵雅致。",[24,7,108,185,181,785,333,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d3eed202b6ffbcda79e70878b8e79e.jpg",[],{"id":13675,"slug":13676,"title":13677,"dynasty":124,"author":13042,"museum":355,"description":13678,"tags":13679,"thumbUrl":13680,"material":565,"size":566,"collection":81,"collections":13681,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},236443,"qing-lu-heng-yun-shan-he-wei-pu-236443","晴麓横云扇","何维朴 （1842年—1922年），湖南道县人。 字诗孙，晚号盘止，亦号盘叟，又号秋华居士、晚遂老人，室名颐素斋、盘梓山房。何绍基之孙。以山水画著称，宗娄东派；书摹其祖何绍基亦得其形似。",[24,25,7,108,185,181,785,333,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ef9a2e0584bb0c32037ab9123c53d01.jpg",[],{"id":13683,"slug":13684,"title":13685,"dynasty":124,"author":13686,"museum":355,"description":13687,"tags":13688,"thumbUrl":13689,"material":565,"size":566,"collection":81,"collections":13690,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},236439,"cao-lan-hua-hui-shan-cao-lan-236439","曹澜花卉扇","曹澜","此作用没骨法写藤蔓蔬果，淡彩晕染出叶片的深浅层次，将草木舒展之姿与蔬果饱满情态描摹鲜活生动。浅淡石青、赭石设色清润柔和，不见浓艳堆砌，尽显雅淡之致。\n\n画面以藤蔓牵引布局，左右舒展虚实相生，借扇面形制留白布陈，尽显空灵悠远。右侧题字笔墨清隽，书画相映成趣，晕染出文人画淡逸萧散的清幽意境。作者以日常蔬果入画，以写生之法捕捉草木生机，褪去匠气，尽显清逸脱俗的文人意趣，尽显晚清花鸟崇尚秀润雅致的审美意趣。",[24,25,7,28,27,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05fe420521fe53e9979b1a7bdd5eaec.jpg",[],{"id":13692,"slug":13693,"title":3541,"dynasty":124,"author":4523,"museum":355,"description":4524,"tags":13694,"thumbUrl":13695,"material":565,"size":566,"collection":81,"collections":13696,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},236349,"shan-shui-shan-chen-heng-ke-236349",[24,7,108,181,238,333,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53e25b1a625e1e05d444ea8323875b20.jpg",[],{"id":13698,"slug":13699,"title":3541,"dynasty":124,"author":4523,"museum":355,"description":4524,"tags":13700,"thumbUrl":13701,"material":565,"size":566,"collection":81,"collections":13702,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},236344,"shan-shui-shan-chen-heng-ke-236344",[24,25,7,108,181,333,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2629168ce2c1a6df5da53c1c4c4d22e.jpg",[],{"id":13704,"slug":13705,"title":3541,"dynasty":124,"author":13706,"museum":355,"description":13707,"tags":13708,"thumbUrl":13709,"material":565,"size":566,"collection":81,"collections":13710,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":57},236342,"shan-shui-shan-li-bin-236342","李霦","金笺纸本晕染古雅底色，整幅以平远之法铺陈丘壑。近岸乱石层叠，杂木虬曲错生，浓淡墨笔分出枝叶枯荣，苍劲中带着生机。板桥连起水榭村居，房舍掩映在林麓间，尽显山居野趣。远景山峦以淡墨轻勾晕染，留白衬出空濛天色，和近景的繁密形成虚实对照。笔墨苍秀兼具，将江南林泉的静谧闲适收拢在咫尺扇面里，方寸间见山水丘壑，把冲淡平和的隐逸意趣融在细节之中，藏着日常山居的清寂雅致，耐看且余韵悠长。",[24,25,7,181,185,333,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e81413a64675c292eb0d4a30477131a.jpg",[],{"id":13712,"slug":13713,"title":12292,"dynasty":124,"author":44,"museum":355,"description":13714,"tags":13715,"thumbUrl":13716,"material":565,"size":566,"collection":81,"collections":13717,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":57},236256,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236256","此扇以泥金笺为地，墨笔晕染山水层峦，皴法细腻勾勒出山岩苍朴肌理，茂林深秀，屋舍隐于林泉之间，将幽寂清润的山居夏景凝于盈尺扇面，自带静穆淡远的林下之风。\n\n书画合璧，题诗与绘景相映成趣，深色竹骨配青绿扇钉，形制清雅规整。整器融山水逸趣、笔墨文思与制扇工艺为一体，把林泉雅意藏于开合之间，尽显隽秀雅致的文人赏玩格调。",[606,24,7,27,181,332,131,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65f92879707f1fbfcf354828b3a5508c.jpg",[],{"id":13719,"slug":13720,"title":12292,"dynasty":124,"author":44,"museum":355,"description":13721,"tags":13722,"thumbUrl":13723,"material":565,"size":566,"collection":81,"collections":13724,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":57},236238,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236238","此扇以泥金为底，自带雍容华贵的底色，山水景致铺陈其上。山峦以披麻皴写就，层叠逶迤，苍松茂木错落点染，屋庐隐于林泉之间，晕染出幽寂空凉的山居意趣。淡赭轻敷山岩，墨色勾勒林麓，笔墨清润秀雅，将夏山翠色与静穆凉意融于盈尺扇面。书画合璧，山水与题诗相互呼应，把林泉高致藏于开合之间，抬手便可将山野幽意携于袖中，尽显悠然雅致的赏玩意趣。",[24,25,7,27,181,185,131,1104,360,5975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f5c9e0d646867a23d17ffde919391e.jpg",[],{"id":13726,"slug":13727,"title":7424,"dynasty":124,"author":13042,"museum":355,"description":13043,"tags":13728,"thumbUrl":13729,"material":81,"size":81,"collection":81,"collections":13730,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},234606,"shan-shui-wan-shan-he-wei-pu-234606",[24,25,7,108,181,185,548,239,182,113,333,818,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead678894b438df0db08e139fb584e16.jpg",[],{"id":13732,"slug":13733,"title":9964,"dynasty":18,"author":44,"museum":126,"description":13734,"tags":13735,"thumbUrl":13736,"material":188,"size":13737,"collection":81,"collections":13738,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},234025,"shan-yao-lou-guan-tu-ye-yi-ming-234025","山水画至宋代进入了全盛时期，百花齐放，名家竞起。正如元代汤垕在《画鉴》中所说：“唐画山水，至宋始备。”山水画的许多表现方法都发轫于宋代，创造这些画法的名家大师们都成了后世争相效仿的典范。宋代山水画成了人们心目中一座永远无法逾越的高峰。而山水小品画则可看作是宋代山水画发展中百家争鸣的一个缩影，从中也能看出宋代山水画的众多源流。\n魏晋南北朝时期，山水画逐步摆脱了作为人物画背景的角色，并发展成为一门独立的画种。此时的山水画技法与人物画大体相似，所运用的都是勾线填彩法，即以线描勾勒出山石树木的轮廓，再用颜色渲染出其形体。从现存的宋人摹顾恺之《洛神赋图》中可以看出当时的大致风貌。山水画发展到唐代，呈现出一片繁荣的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。\n唐代的水墨山水画尚处在发展阶段，并不能做到笔墨兼济。吴道子、项容、王维、张璪、王墨等人都使用了水墨来表现山水风光，他们在画法上各具特色，开启了后世水墨画的先声。直到五代十国时期，荆浩的出现才打破了笔墨之间的藩篱，他创造性地在山水画中使用了“皴法”，真正地做到了笔墨兼济的理想状态，并将自己的绘画心得记录下来，写成了《笔法记》一书。荆浩的弟子关仝继承其衣钵，后有出蓝之誉，与其师并称“荆关”。与此同时，南唐的董源在表现南方烟雨空濛的景色上独具面貌。其弟子巨然在“短披麻皴”的基础上发展出“长披麻皴”，画史将师徒二人称为“董巨”。至此，山水画中影响后世最为深远的两大流派已然形成，这也标志着中国山水画由此走向了成熟。\n北宋时期山水画迎来了历史性的高峰，其空前的成就堪称“百代标程”。北宋初年，山水流派出现了所谓“三家鼎峙”的局面，关仝、李成、范宽被画史誉为“北宋三大家”。其中关仝、李成乃至北宋中后期的郭熙、王诜都继承了荆浩“卷云皴”的画法流派，如山水小品中的《山店风帘图》《青山白云图》《风雨归舟图》《春江帆饱图》即属此种风格。范宽则在荆浩“斧劈皴”的基础上稍变其趣，独创“豆瓣皴”，如《云关雪栈图》《雪山萧寺图》都属范宽画派风格。北宋时期，并非所有的画家都钟情于描绘雄伟壮丽的宏阔之景，如惠崇、赵令穰便是以描绘湖山小景而著称，由此也开创了南宋山水小景之先河。山水小品中的《橙黄橘绿图》《秋塘图》《柳溪春色图》都是这类风格的典型作品。\n伴随着王朝更迭，赵宋南渡，山水画的风格面貌也发生了非常大的转变，其最为显著的特征就是南宋一改北宋山水画全景式的宏大构图，代之以空灵雅致的边角式构图。这是南北山河地貌的差异造成的：描绘的对象发生了改变，画家们的画法自然也会随之改变。这种画风上的变革却常常被后世附会为画家们用画作中的“残山剩水”寄托对故土的哀思，更以此去劝诫君王莫要偏安一隅。然而，正是南宋时期对山水画独特的审美追求造就了山水小品画空前繁荣，现存的宋代山水小品画也大多创作于这一时期。\n南宋时期山水画的主流是李唐画派。李唐的山水画早年师法荆浩、范宽，多以“小斧劈皴法”为主，晚年一变古法而创“大斧劈皴法”。小品画中署款李嵩所作的《赤壁赋图》、旧题为刘松年所作的《秋窗读书图》、旧题为燕文贵所作的《层楼春眺图》都属于受李唐早期“小斧劈皴”画法风格影响的典型作品。或许是江南的烟雨朦胧，加之其年逾古稀后的放达，李唐一改早年严谨且略带刻画的刚劲笔致，变为粗犷简阔的“大斧劈皴法”；用墨上也十分大胆，变“惜墨如金”为“水墨淋漓”。这种风格影响了其后众多名家，与李唐并称“南宋四大家”的马远、夏圭的山水画正是在李唐晚年画风影响下发展出来的。李唐画派正是在马远、夏圭的推动下极大地影响了其后绘画的发展，这也使得马、夏的画风堪称是南宋山水画的代名词。",[24,7,108,185,331,131,50,181,332,8881,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e2993d2fd93e9d4f6b8f0edca7e429.jpg","22.6×23.7cm",[],{"id":13740,"slug":13741,"title":13742,"dynasty":433,"author":6600,"museum":20,"description":6601,"tags":13743,"thumbUrl":13744,"material":459,"size":6605,"collection":81,"collections":13745,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":39},222465,"shu-shan-ye-1-zhu-yun-ming-222465","书扇页1",[23,7,131,723,6603,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc45a10c3a0a7e14fdde16959d364d2.jpg",[],{"id":13747,"slug":13748,"title":13749,"dynasty":7221,"author":12423,"museum":45,"description":13750,"tags":13751,"thumbUrl":13752,"material":81,"size":81,"collection":81,"collections":13753,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":13754},203123,"fang-liu-jue-lan-rong-chuan-se-tu-zhe-shan-wu-hu-fan-203123","仿刘珏岚容川色图折扇","此扇面山水取意刘珏笔意，山峦层叠起伏，林木苍劲错落，云雾轻笼如纱，晕染出岚容川色的朦胧意蕴。笔墨运用娴熟，皴法温润有致，线条清逸中见骨力，墨色浓淡干湿交错，层次丰富而和谐。构图于咫尺间铺展山川气象，疏密得宜，动静相生，既葆有古法的雅正韵致，又流露吴氏特有的秀逸气度，将山水之美凝于扇面方寸，尽显近代文人画的雅致情味。",[24,7,181,108,185,1547,1197,818,7020],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e064e6be4cd8bbb255dcd23ac57809a.jpg",[],"b3aca5",{"id":13756,"slug":13757,"title":13758,"dynasty":7221,"author":12423,"museum":45,"description":13759,"tags":13760,"thumbUrl":13761,"material":81,"size":81,"collection":81,"collections":13762,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":13763},203030,"yun-pu-xiao-jing-tu-cheng-shan-wu-hu-fan-203030","云瀑小景图成扇","这幅扇面山水以水墨为基调，云瀑如流烟漫卷，从山间倾泻而下，与浓墨点染的树木形成虚实对比。山石轮廓用皴法勾勒，纹理细腻见古意；云雾以淡墨晕开，留白处尽显空濛之趣。右侧题字与朱印错落，文气与画意相融，整体笔墨雅致，意境清幽，将自然之美凝于咫尺扇面间。",[24,7,181,108,185,50,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb84f430c294493560b0c2af1190a26f4.jpg",[],"b3afaa",{"id":13765,"slug":13766,"title":13767,"dynasty":124,"author":13768,"museum":45,"description":13769,"tags":13770,"thumbUrl":13771,"material":81,"size":81,"collection":81,"collections":13772,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":13773},202739,"song-jiang-yuan-tiao-tuan-shan-xu-wen-cheng-202739","松江远眺团扇","徐文承","扇面之上，松江景致婉转铺陈。苍松虬枝劲挺，松针细密如簇，尽显古木峥嵘之态；近岸小亭隐于林麓，翼角轻翘似邀人驻足。桥下流水蜿蜒，远山层叠云雾轻笼，江天相映成空濛之境。笔墨兼具工致与灵动，山石以皴法晕染肌理，设色淡雅却层次分明，天光（或月色）洒于江面，更添清寂悠远之韵。方寸之间融江南水乡灵秀与旷远，观之如临江畔，松涛与流水交织，心境随之沉静。",[7,181,27,185,110,113,548,239,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F873971d80be2fb714d8f50c78a34c904.jpg",[],"b6ab9a",{"id":13775,"slug":13776,"title":13777,"dynasty":433,"author":1166,"museum":45,"description":13778,"tags":13779,"thumbUrl":13780,"material":81,"size":81,"collection":81,"collections":13781,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":13782},202299,"shui-ge-yan-qiu-tu-shan-ye-lan-ying-202299","水阁延秋图扇页","秋林翳翳，水阁静卧于树石之间，小径穿林而过，山石错落有致，红叶点染出清寂秋意。笔墨苍劲洒脱，树木枝干以浓墨勾勒，叶片或疏或密，山石用皴法表现肌理，设色淡雅却见秋韵。构图于扇面弧度中见巧思，疏密相生，动静相宜，尽显山野间的悠然之趣。",[7,181,185,27,333,11002,238,2156,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff48cbd2edd46e7fc5dd6fd02eebb5013.jpg",[],"c4bead",{"id":13784,"slug":13785,"title":13786,"dynasty":433,"author":1225,"museum":45,"description":13787,"tags":13788,"thumbUrl":13789,"material":81,"size":81,"collection":81,"collections":13790,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":13791},202219,"you-chun-tu-shan-chou-ying-202219","游春图扇","画面以雅致青绿设色铺展春日盛景，山峦叠翠间林木葱茏，细笔勾勒的枝叶透着盎然生机。小桥流水蜿蜒穿境，仕女与士人或缓步赏春，或凭栏闲谈，姿态闲适自然。仇英以工笔之细腻绘出景物的精致质感，设色清丽却不艳俗，将游春的悠然氛围融入弧形扇面的独特形制中，山水的悠远与人物的闲雅相映成趣，尽显文人雅士春日踏青的诗意情境，是明代工笔青绿扇面的典范之作。",[26,1008,27,7,181,109,548,239,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f6e29e7bc8a15fa9f93f0c8bdca1c3.jpg",[],"c2b8a8",{"id":13793,"slug":13794,"title":13795,"dynasty":124,"author":1304,"museum":45,"description":13796,"tags":13797,"thumbUrl":13798,"material":81,"size":81,"collection":81,"collections":13799,"showCount":11,"zanCount":38,"manualWeight":38,"mainColor":13800},202127,"liao-hua-cheng-shan-wu-chang-shuo-202127","蓼花成扇","蓼花垂垂如缀，藤蔓缠绕间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），字原博，号匏庵、玉亭主，世称匏庵先生。直隶长州（今江苏苏州）人。明代名臣、诗人、散文家、书法家。\n吴宽为明宪宗成化八年（1472年）状元，授翰林修撰，曾侍奉孝宗读书。孝宗即位，迁左庶子，预修《宪宗实录》，进少詹事兼侍读学士。官至礼部尚书，卒赠太子太保，谥号“文定”。\n吴宽的诗深厚醲郁，自成一家，著有《匏庵集》。又擅书法，作书姿润中时出奇崛，虽规模于苏，而多所自得。\n吴宽生于明宣宗宣德十年（1435）。他成年后，以文章及品行闻名于诸生之中。明宪宗成化八年（1472年），吴宽在会试、廷试中均获第一，为明朝苏州第二位状元。后任翰林院修撰。曾侍皇太子朱佑樘，秩满进宫为右谕德。\n成化二十三年（1487）宪宗驾崩，皇太子朱祐樘即位，是为孝宗。吴宽以东宫旧僚身份，迁左庶子，参与修撰《宪宗实录》，进少詹事兼侍读学士。\n弘治八年（1495年），升任吏部右侍郞。适逢继母去世，吴宽守孝归家。吏部缺员，孝宗命虚位待之，待吴宽守丧三年，让其掌詹事府事，入直东阁，专典诰敕，并侍从皇太子朱厚照。\n宦官大多不愿让太子接近儒臣，多次用他事间断讲读。吴宽率领僚属上疏说：“东宫讲学，寒、暑及风雨天就停讲，每月初一、十五和节日停讲，讲学一年不过数月，一月不过数日，一日不过数刻。是进讲的时间少，停讲的日子多，怎能容许又借其他事妨碍讲学。古人八岁时就随师学习，居宿于外，是想他远离不好的环境亲近君子。百姓尚且如此，况且是天下之本的太子呢？”孝宗赞许并接纳了他的意见。\n弘治十六年（1503年），吴宽升任礼部尚书，仍掌詹事府事。他是当时文学侍从之臣中声望最高的一位。另一位状元谢迁进入内阁后，曾经建议引吴宽入阁参与机务，但遭到另一位阁臣刘健的反对。一次，谢迁又说：“吴公的科第、年岁、声望都超过我，我实在是自愧不如，哪是寄情于吴公呢？”到谢迁引退时，举荐吴宽接替自己，其建议仍未被采用。朝内外都为吴宽惋惜，但吴宽很是坦然，说道：“我一开始就没有入阁的念头。”\n孝庄钱太后去世时，朝臣商议将来孝肃周太后去世，与钱太后一同合葬到明英宗的裕陵中，将灵位纎享到太庙中英宗的庙室里，享受原配待遇。弘治十七年（1504年），孝肃周太后去世，准备纎享太庙，孝宗却认为将英宗周贵妃（周太后）与英宗钱皇后一同祔享太庙不合适，要求礼官重新讨论。吴宽说《诗经·鲁颂》中的《閟宫》篇以及《春秋》记载的仲子之宫都是另建一神庙，认为汉、唐也是依照此例。正好朝臣大多也主张周太后纎享别庙，孝宗允准。\n吴宽七十岁时，多次因病请辞，都被慰留，后于弘治十七年（1504年）七月十日（8月19日） 卒于礼部尚书任上。孝宗闻讯后，派官治丧，加祭二坛。追赠太子太保，谥号“文定” 。葬于木渎西花园山。孝宗破格封赠了他的两个儿子，授长子吴奭为中书舍人，补次子吴奂为国子生。\n吴宽操行高洁，不受外界的评价所干扰，对自身严格要求。他对于书籍涉猎广泛，善诗能书。他有几顷田，曾用以救济亲友中的贫困者。友人贺恩患病后，吴宽将他接到家里照顾，日夜探视。贺恩病逝后，吴宽为他服丧达一月之久。\n吴宽少壮时好学，于书无所不读，尤喜《左传》《汉书》以及唐宋大家的散文，最喜苏轼文章。他学有根底，诗文和平恬雅，有典则。《明诗评》说：“文定力扫浮靡，一归雅淡，诗如杨柳受风，煦然不冽；又如学究论天下事，亹亹竟日，本色自露。”代表作有七律《悼沈癯樵画史》《题杨铁崖墓铭后》《送张兼素出知施宗州》《谢顾良弼李世贤携酒过访》等，七古有《赋黄楼送李贞伯》等。诗文集有《家藏集》77卷，其中诗30卷，文40卷，为吴宽自订。后7卷疑为其子所增益。\n吴宽工书法 [13] ，善写真、行、草书，尤工行书，源出自苏东坡，为尊其人而爱其艺，故其书法师承东坡笔意。吴宽《跋黄庭坚“诸上座帖”》云：昔东坡见山谷草书，从旁称叹。钱穆父独惜，以为未见怀素真迹。后山谷见《自叙帖》，书法遂觉顿异。不审此卷作时是尝见耶，抑或未见耶？职方公深于书者，藏此必能辨之。\n书法家邢侗在《来禽馆帖》中曾说：“匏翁吴中前辈，行谊擅绝，不直文翰之工尔也。书法法苏学士，浓颜厚面，祛去吴习。” 吴宽学习的是苏东坡“端庄淳朴，凝重厚实”的书风，而一反当时吴中盛行的“纤巧媚美”风格。 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